[Frameworks] This week [January 19 - 27, 2013] in avant garde cinema
Weekly Listing
weeklylisting at hi-beam.net
Sat Jan 19 14:01:22 CST 2013
This week [January 19 - 27, 2013] in avant garde cinema
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MISCELLANEOUS:
==============
Petition for Lawrence Brose
http://www.hi-beam.net/cgi-bin/ann.pl?type=misc&readfile=126.ann
NEW CALLS FOR ENTRIES:
=====================
CTF - Collective Trauma Film Collections (Cologne, Germany; Deadline: July 01, 2013)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1528.ann
Flatpack Festival (Birmingham, UK; Deadline: January 18, 2013)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1529.ann
Newport Beach Film Festival (Newport Beach, CA; Deadline: January 18, 2013)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1530.ann
Australian International Experimental Film Festival (Australia; Deadline: February 18, 2013)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1531.ann
ANOTHER EXPERIMENT BY WOMEN FILM FESTIVAL (NY NY USA; Deadline: March 01, 2013)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1532.ann
filmarmalade (london, united kingdom; Deadline: April 01, 2013)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1533.ann
Cinethesia Feminist Film Festival (Carbondale, IL, USA; Deadline: February 01, 2013)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1534.ann
twin rivers media festival (Asheville, NC USA; Deadline: May 06, 2013)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1535.ann
DEADLINES APPROACHING:
======================
Newport Beach Film Festival (Newport Beach, CA; Deadline: January 27, 2013)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1475.ann
ARTErra - Rural Artistic Residencies (Tondela, Portugal; Deadline: February 15, 2013)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1482.ann
Indie Fest (La Jolla, CA, USA; Deadline: February 08, 2013)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1500.ann
Visions Film Festival and Conference (Wilmington, NC, USA; Deadline: February 15, 2013)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1514.ann
ARTErra - Rural Artistic Residencies Portugal (Tondela, Portugal; Deadline: February 15, 2013)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1515.ann
What the Festival (Alfred, NY, United States; Deadline: February 01, 2013)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1519.ann
Montreal Underground Film Festival (Montreal, QC, Canada; Deadline: February 15, 2013)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1524.ann
Australian International Experimental Film Festival (Australia; Deadline: February 18, 2013)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1531.ann
Cinethesia Feminist Film Festival (Carbondale, IL, USA; Deadline: February 01, 2013)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1534.ann
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THIS WEEK'S PROGRAMS (SUMMARY):
==============================
* Artsemerson: the World On Stage Presents: Can We Talk [January 19, Boston, Massachusetts]
* Do the Right Thing [January 19, Boston, Massachusetts]
* Nick Zedd Presents the Cinema of Transgression Festival [January 19, Brooklyn]
* Mother [January 19, New York, New York]
* Stuart Sherman 16mm Films [January 19, New York, New York]
* Stuart Sherman videos [January 19, New York, New York]
* Medicine For Melancholy [January 20, Boston, Massachusetts]
* The Art of vision: Two Nights Honoring Stan Brakhage Night One
(Co-Presented By Redcat, L.A. Filmforum, and the Academy of Motion
Pictures Arts and Sciences) [January 20, Los Angeles, California]
* The Art of vision: Honoring Stan Brakhage [January 20, Los Angeles, California]
* Rice/Richter/Sharits Program [January 20, New York, New York]
* Stuart Sherman Solo Spectacles [January 20, New York, New York]
* Stuart Sherman Group Spectacles [January 20, New York, New York]
* The Art of vision: Two Nights Honoring Stan Brakhage Night Two
(Co-Presented By Redcat, L.A. Filmforum, and the Academy of Motion
Pictures Arts and Sciences) [January 21, Los Angeles, California]
* Early Monthly Segments #47 = Jonas Mekas + Lorne Marin [January 21, Toronto, Ontario, Canada]
* A Third Cinema Vol. I [January 23, Boston, MA]
* George Griffin: Show & Tell [January 24, New York, New York]
* Boys Don't Cry [January 25, Boston, Massachusetts]
* Paris Is Burning [January 25, Boston, Massachusetts]
* Tomboy [January 26, Boston, Massachusetts]
* Xxy [January 26, Boston, Massachusetts]
* Transamerica [January 26, Boston, Massachusetts]
* Fred Halsted's L.A. Plays Itself [January 26, Chicago, Illinois]
* Fred Halsted's L.A. Plays Itself [January 27, Chicago, Illinois]
* L.A. Filmforum Presents Horendi (Part of Farther Than Far: the Cinema of
Jean Rouch) [January 27, Los Angeles, California]
Events are sorted by CITY within each DATE.
--------------------------
SATURDAY, JANUARY 19, 2013
--------------------------
1/19
Boston, Massachusetts: ArtsEmerson
http://ArtsEmerson.org
5pm, Bright Family Screening Room at the Paramount Center
ARTSEMERSON: THE WORLD ON STAGE PRESENTS: CAN WE TALK
This impressive documentary offers powerful stories from the 1970s
busing/desegregation crisis that changed Boston forever. Personal and
intimate testimonials infuse Can We Talk with their candor and raw
emotion: a bus driver who delivered children to schools and
neighborhoods that didn't want them; a resident of the projects whose
admittedly racist family refused to let her be bused to a school with
children of color; a parent who got involved in politics by accident
because of the forces of systemic racism that denied quality of
education and simple respect. This program features a discussion with
the Boston Busing Desegregation Project following the screening.
1/19
Boston, Massachusetts: ArtsEmerson
http://ArtsEmerson.org
9pm, Bright Family Screening Room at the Paramount Center
DO THE RIGHT THING
ArtsEmerson: The World On Stage presents: On the hottest day of the
summer in the Bedford-Stuyvesant area of Brooklyn, a series of small
misunderstandings in the colorful community eventually explodes into a
riot ignited by racial politics, prejudice and misinformation. With a
Korean grocery store, an Italian pizza parlor and a strong
African-American community as the background, the multi-faceted
characters perform sometimes startling actions that calls into question
what exactly the "right thing" is. Considered a masterpiece for director
Spike Lee, Do the Right Thing is bolstered by the acting talents of Ruby
Dee, Ossie Davis and Samuel L. Jackson, among others.
1/19
Brooklyn: GlassHouse
http://dotan-perry.com/our-glasshouse-home
9 PM, 246 Union Ave, Brooklyn, NY 11211
NICK ZEDD PRESENTS THE CINEMA OF TRANSGRESSION FESTIVAL
Leading figure in the avant-garde cinema and NYC underground scene of
the 1980's and 1990's, iconic filmmaker, writer, and painter, Nick Zedd
returns to New York City for a festival dedicated to his work, providing
New Yorkers with the rare opportunity to meet and experience this body
of work. In addition to coining the term "Cinema of Transgression" and
critically framing the work of his contemporaries (as creator of
Underground Film Bulletin from 1984–90 and writer of the Cinema of
Transgression manifesto), Zedd is known for his low-budget films,
paintings, and mid-2000's public television series with Reverend Jen,
Electric Elf. Among works to be screened: Electra Elf: Hellbound
Heiresses Electra Elf: Of Lice & Men Electra Elf: Vile Buddies Electra
Elf: No Plague Like Home Electra Elf: Hollow Be Thy Name NYC/MEXICO The
Birth of Zerak Paintings: 2009-11 Cockfight
1/19
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
4:00 pm, 32 2nd Avenue
MOTHER
by Vsevolod I. Pudovkin In Russian with no subtitles; English synopsis
available, 1926, 104 min, 35mm, b&w, silent Based on the novel by Maxim
Gorky. With the simple theme of a working-class mother growing in
political consciousness through participation in revolutionary activity,
this film established Pudovkin as one of the major figures of the Soviet
cinema. A student of Kuleshov and an admirer of Griffith's films, he was
writing his first book of film theory at the same time he was making
MOTHER. His expert cutting on movement and his associated editing of
unrelated scenes to form what he called a "plastic synthesis" are amply
demonstrated here. Although in direct opposition to Eisenstein's shock
montage, Pudovkin used a linkage method advanced far beyond Kuleshov's
theories.
1/19
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
6:30 pm, 32 2nd Avenue
STUART SHERMAN 16MM FILMS
See notes for Jan. 18, 7:30 pm.
1/19
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
8:45 pm, 32 2nd Avenue
STUART SHERMAN VIDEOS
PROGRAM 2: VIDEOS This program features all the videos that Sherman
produced from 1986 onwards. To round out the show we'll be presenting
special selections from the Stuart Sherman collection at the Fales
Library & Special Collections, NYU. BERLIN (WEST)/ANDERE RICHTUNGEN
1986, 6 min GRAY MATTER 1987, 1 min VIDEO WALK 1987, 1 min DON'T HANG UP
I'M FREEZING 1993, 4 min A GLASS OF FISH 1993, 2 min CHEERS! 1993, 2 min
BLACK AND WHITE & GRAIN 1993, 1 min THE LEAP 1993, 3 min SON OF SCOTTY
AND STUART 1993, 5 min BILL RICE'S BEER GARDEN 1994, 5 min ME AND JOE
1994, 4 min 8 EGGS 1994, 5 min NEWSBREAK 1994, 4 min HOLY BIBLE 1994,
3.5 min AH CHOO! 1994, 39 sec Total running time: ca. 85 min.
------------------------
SUNDAY, JANUARY 20, 2013
------------------------
1/20
Boston, Massachusetts: ArtsEmerson
http://ArtsEmerson.org
1pm, Bright Family Screening Room at the Paramount Center
MEDICINE FOR MELANCHOLY
ArtsEmerson: The World On Stage presents: Medicine for Melancholy. In
this internationally acclaimed and award-winning debut feature film by
director Barry Jenkins, 24 hours in the life of two African-American
twenty-somethings are shown with distinct humanity, vibrancy and heart.
What begins as a one-night stand neither truly remember bleeds into a
day neither of them will forget. Set against the monotone background of
San Francisco, the couple deals with the racism, gentrification and
prejudice the city can frequently offer, while experiencing the thrill
of new love in this modern urban romance. With as much heart as it has
substance, this independent film was a hit during the 2008 festival
circuit and became one of the most successful indie-flicks of the year.
1/20
Los Angeles, California: Filmforum
http://www.lafilmforum.org/
5:00 p.m., REDCAT, 631 West 2nd Street
THE ART OF VISION: TWO NIGHTS HONORING STAN BRAKHAGE NIGHT ONE
(CO-PRESENTED BY REDCAT, L.A. FILMFORUM, AND THE ACADEMY OF MOTION
PICTURES ARTS AND SCIENCES)
Stan Brakhage's (1933-2003) passionate and lifelong devotion to
filmmaking as a radical, resolutely personal practice still pushes the
boundaries of cinema as art ten years after his death. In more than 350
films completed during fifty-one years of uninterrupted activity,
Brakhage explored cinematic vision as a means of poetic expression and
used film to create revelations of the physical world. Defying
traditional film language, Brakhage's distinctive techniques—hand-held
camera movement, rapid editing, intricate superimpositions, photographic
abstractions, and painting directly on the film surface—contributed to a
singular, humanizing sensibility. In celebration of Brakhage's eightieth
birthday (January 14), the Academy of Motion Picture Arts and Sciences,
Los Angeles Filmforum, and REDCAT co-present two evenings of major early
works: The Art of Vision (1961-65, 255 min.), a rare screening with a
new print of Brakhage's monumental and deeply meditative
'deconstruction' of Dog Star Man (Jan 20); Early Short Masterworks (Jan
21), eight films newly restored by the Academy Film Archive, ranging
from the seminal psychodrama, Reflections on Black (1955) to his
landmark ode to subjective seeing, Anticipation of the Night (1958).
Tickets: $10 [members/students $8, CalArts $5] For tickets and more
information, visit http://www.redcat.org/event/stan-brakhage Screening
Night One: The Art of Vision, 1961-65, 16mm, color, silent, 255min. (new
print from the Academy Film Archive; preservation by MoMA)
1/20
Los Angeles, California: Redcat
http://www.redcat.org/
5:00pm, 631 West 2nd St., Los Angeles, CA 90012
THE ART OF VISION: HONORING STAN BRAKHAGE
With a lifelong devotion to filmmaking as a radical and resolutely
personal practice, Stan Brakhage (1933–2003) completed more than 350
films that explored cinematic vision as a means of poetic expression and
pushed the boundaries of cinema as art. Defying traditional film
language, his distinctive techniques—expressive camera movement,
intricate editing, subtle superimpositions, photographic abstractions
and painting directly on the film surface—contributed to a singular,
humanizing sensibility. Ten years after his death, Brakhage is
celebrated on the occasion of his 80th birthday with two programs of
major early works: a rare screening of The Art of Vision (1961–65, 255
mins.), his monumental and deeply meditative deconstruction of Dog Star
Man, and a second evening devoted to eight short masterworks newly
restored by the Academy Film Archive, from the seminal psychodrama
Reflections on Black (1955), to his landmark ode to subjective seeing,
Anticipation of the Night (1958).
1/20
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
4:00 pm, 32 2nd Avenue
RICE/RICHTER/SHARITS PROGRAM
Ron Rice CHUMLUM (1964, 23 min, 16mm) With Jack Smith, Mario Montez,
Gerard Malanga. "One of the underground's best and most influential
films." –Peter Gidal Hans Richter RHYTHMUS 21 (1921, 3 min, 16mm, b&w,
silent) "Its content is essentially rhythm, the formal vocabulary is
elemental geometry, and the structural principle is counterpoint of
contrasting opposites." –Standish Lawder EVERYTHING REVOLVES, EVERYTHING
TURNS / ALLES DREHT SICH, ALLES BEWEGT SICH (1929, 9 min, 16mm, b&w,
silent) Paul Sharits N:O:T:H:I:N:G (1968, 36 min, 16mm) Preserved by
Anthology Film Archives with support from the National Film Preservation
Foundation. "Based in part on the Tibetan Mandala of the Five Dhyani
Buddhas/a journey toward the center of pure consciousness (Dharma-Dhatu
Wisdom)/space and motion generated rather than illustrated/time-color
energy create virtual shape/in negative time, growth is inverse decay."
–P.S. "In essence there are only three flicker films of importance,
ARNULF RAINER, THE FLICKER, and N:O:T:H:I:N:G… In terms of the subject
we have discussed here, it is Sharits' N:O:T:H:I:N:G that opens the
field for the structural film with a flicker base." –P. Adams Sitney
T,O,U,C,H,I,N,G (1969, 12 min, 16mm) Newly preserved print! Starring
poet David Franks whose voice appears on the soundtrack/an uncutting and
unscratching mandala. "Merges violence with purity." –P. Adams Sitney
"Surrealist tour de force." –Parker Tyler Total running time: ca. 90
min.
1/20
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
6:00 pm, 32 2nd Avenue
STUART SHERMAN SOLO SPECTACLES
Sherman may best be known for his solo SPECTACLE performances, which
usually took the form of quick-paced interactions with everyday objects
over a tabletop. He created and performed eighteen SPECTACLES in total,
twelve of which he performed solo, and six with groups of collaborators.
A prominent theme of the SPECTACLES was Sherman's playful use of scale,
either in the amplification of small gestures and details, or the
miniaturization of theatrical spectacle. All works in this program will
be projected on video. TENTH SPECTACLE 1978, 30 min Sherman draws from
his supply of mass-produced objects and site-gags to enact portraits of
places ranging from Coconut Grove, Florida to Cairo, Egypt. TWELFTH
SPECTACLE (LANGUAGE) 1980, 32 min Plays with the syntax of common
objects, using familiar items such as telephones, balloons, and magnets
to stage rhetorical questions. SELECTIONS FROM THE ELEVENTH SPECTACLE
(THE EROTIC) AND EIGHTH SPECTACLE (PEOPLE'S FACES) ca.1979, 20 min Total
running time: ca. 85 min.
1/20
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
8:15 pm, 32 2nd Avenue
STUART SHERMAN GROUP SPECTACLES
All works in this program will be projected on video. SECOND SPECTACLE
1976, 45 min Sherman performs with Stefan Brecht, Richard Foreman, and
Kate Manheim in a series of choreographed skits. In NAME, each of the
performers takes turns wearing a top hat and spelling out famous names;
in PARTY, Manheim sets a table with four plates and noisemakers, then
methodically blows the noisemakers and trims off their tips with
scissors before ordering Brecht, Foreman, and Sherman to collect the
remnants. SEVENTH SPECTACLE 1976, 31 min In this group SPECTACLE, thirty
performers take turns drawing from a pile of props and creating absurd
vignettes with their chosen objects. Total running time: ca. 80 min.
------------------------
MONDAY, JANUARY 21, 2013
------------------------
1/21
Los Angeles, California: Filmforum
http://www.lafilmforum.org/
8:30 p.m., REDCAT, 631 West 2nd Street
THE ART OF VISION: TWO NIGHTS HONORING STAN BRAKHAGE NIGHT TWO
(CO-PRESENTED BY REDCAT, L.A. FILMFORUM, AND THE ACADEMY OF MOTION
PICTURES ARTS AND SCIENCES)
Stan Brakhage's (1933-2003) passionate and lifelong devotion to
filmmaking as a radical, resolutely personal practice still pushes the
boundaries of cinema as art ten years after his death. In more than 350
films completed during fifty-one years of uninterrupted activity,
Brakhage explored cinematic vision as a means of poetic expression and
used film to create revelations of the physical world. Defying
traditional film language, Brakhage's distinctive techniques—hand-held
camera movement, rapid editing, intricate superimpositions, photographic
abstractions, and painting directly on the film surface—contributed to a
singular, humanizing sensibility. In celebration of Brakhage's eightieth
birthday (January 14), the Academy of Motion Picture Arts and Sciences,
Los Angeles Filmforum, and REDCAT co-present two evenings of major early
works: The Art of Vision (1961-65, 255 min.), a rare screening with a
new print of Brakhage's monumental and deeply meditative
'deconstruction' of Dog Star Man (Jan 20); Early Short Masterworks (Jan
21), eight films newly restored by the Academy Film Archive, ranging
from the seminal psychodrama, Reflections on Black (1955) to his
landmark ode to subjective seeing, Anticipation of the Night (1958). In
Person: Curators Steve Anker and Mark Toscano Tickets: $10
[members/students $8, CalArts $5] For tickets and more information,
visit http://www.redcat.org/event/stan-brakhage Screening Night Two:
Reflections on Black (1955, 16mm, b/w, sound, 11min.), The Wonder Ring
(1955, 16mm, color, sound, 5.5min.), Zone Moment (1956, 16mm, color,
silent, 3.5min.), Daybreak and White Eye (1957, 16mm, b/w, sound,
9.5min.), Loving (1957, 16mm, color, silent, 4min.), Sirius Remembered
(1959, 16mm, color, silent, 10.5min.), The Dead (1960, 16mm, color &
b/w, silent, 10.5min.), Anticipation of the Night (1958, 16mm, color,
silent, 40min.)
1/21
Toronto, Ontario, Canada: Early Monthly Segments
http://earlymonthlysegments.org/
8:00 PM, Gladstone Hotel, 1214 Queen Street West
EARLY MONTHLY SEGMENTS #47 = JONAS MEKAS + LORNE MARIN
We toast a new year with a celebration of Jonas Mekas's 90th birthday
last month and showing a film that documents his early years in New
York. These "Diaries, Notes and Sketches" open in November, 1949 with
the Mekas's arrival in Brooklyn. He and his brother Adolfas borrow money
to buy a Bolex camera and Jonas starts shooting their daily lives. These
first two reels we're presenting (from a six-reel, 3-hour film titled
"Lost Lost Lost") frame their first five years after landing, living
with fellow post-war Lithuanian immigrants and other "displaced persons"
and their attempts at melding into their new surroundings while holding
onto hopes for Lithuanian independence. Political meetings and rallies,
meals, weddings, readings and visits to Long Island are captured and
narrated with a blunt reflection on Mekas's loneliness and longing to
both fit in to New York while simultaneously not losing touch with his
past. "The period I am dealing with in these reels was a period of
desperation, of attempts to desperately grow roots into the new ground,
to create new memories…These reels carry the title Lost Lost Lost, the
title of a film myself and my brother wanted to make in 1949, and it
indicates the mood we were in, in those years. It describes the mood of
a Displaced Person who hasn't yet forgotten the native country but
hasn't gained a new one." -Jonas Mekas We open with a short film from
1972 by Toronto's Lorne Marin: "When I first conceived "Rhapsody", I saw
it as a purely formal investigation of the visual effect(s) of creating
a constant rhythmic series of lap dissolves. My original expectation was
that by dissolving together overlapping static-camera shots, an illusion
of movement might occur. After viewing the initial film footage, I
realized that, apart from the intended formal/structural context, there
existed in the imagery a rich, detailed portrait of my street and its
inhabitants." -Lorne Marin Programme: Rhapsody on a Theme From A House
Movie, Lorne Marin, 1972, 16mm, Canada, 7 min. Diaries, Notes and
Sketches (Lost Lost Lost, reels 1-2), Jonas Mekas, 1975, 16mm, USA, 60
min. @ Gladstone Hotel, Art Bar 1214 Queen St West Monday January 21,
2013 8:00 pm screening $5 suggested donation
www.earlymonthlysegments.org
---------------------------
WEDNESDAY, JANUARY 23, 2013
---------------------------
1/23
Boston, MA: MassART FILM SOCIETY
http://massartfilmsociety.blogspot.com/
8pm, 621 Huntington Avenue
A THIRD CINEMA VOL. I
MASSART FILM SOCIETY presents, A Third Cinema Vol. I - Program: 1976
– LUGAR SAGRADO (1976 – Sacred Place, directed by
Carlosmagno Rodrigues & Alonso Pafyeze, Brazil, 2009, 6 min.) -
Three living beings are kept in the bottom of a pool. Video of physical
and emotional immersion, where there's no metaphysics, no feelings of
spirituality, no mysticism- just the torpor of the condition of being
alive and reluctant. - DROP IN THE DARKNESS. Directed by Carlosmagno
Rodrigues & Cris Ventura, Brazil, 2011, 7 min.) - A movie about the
Christian conversion based on the Letters to the Seven Churches, Chapter
2, Verse 19 of the biblical Book of Revelation, which talks about the
speeches used for people's conversion. The movie is filmed with vertical
tracking shots that refer to the Hell archetype. - Permanencias (Ricardo
Alves Jr, Brazil, 2011, 34min) - From the inside the air is heavier. -
AHENDU NDE SAPUKAI (I Hear Your Scream, directed by Pablo Lamar,
Paraguay/Argentina, 2008, 11 min.) - At dawn, a man watches the horizon
as he stands near his wooden house that dominates the landscape. After a
few moments, he returns to his simple dwelling and a short while later a
small funeral procession emerges. The man does not take part in it and
remains alone, staring into the emptiness before him. - NOCHE ADENTRO (
Pablo Lamar, 2009, Paraguay/Argentina, 18 min) - The newlyweds have
already left the party where the guests are still dancing. The bride has
bled to death and the groom carries the body. He drags her down the
stairs and along a long corridor until they fall down. At the shore the
groom gives her away to the river, floating in a boat. - MARTES DE
CH'ALLA (Tuesday Ch'alla, directed by Carlos Piñeiro,
Bolivia, 2009, 12 min.) Images and situations linked to a kept belief
among construction workers who know a way to invoke some kind of
blessing through a secret ancient ritual. - curated by Juan Daniel F.
Molero, http://jdmolero.com/ - - MASSART FILM SOCIETY,
http://massartfilmsociety.blogspot.com/ - Programmed by Saul Levine,
FILM SOCIETY is a screening class for MassArt film students open to
those who are interested. We hope to provide access to films and videos
not often shown at other venues. - Enter to MASSART through the South
Building, Admissions on Huntington Ave. FILM SOCIETY shows are held in
Screening Rm 1 in East Hall in the FILM Department. Suggested donation
is $4 at the door and free to MassArt community with their ID. Donations
are used to give visiting artist something for their expenses of coming
to show their work.
--------------------------
THURSDAY, JANUARY 24, 2013
--------------------------
1/24
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
7:30 pm, 32 2nd Avenue
GEORGE GRIFFIN: SHOW & TELL
For more than 40 years, George Griffin has explored the capabilities and
potentialities of animation as an art form, through his own film work,
his abundant writings for journals such as Cartoons and EnterText, and
through his teaching at Harvard, Pratt, Parsons, and elsewhere. Starting
out as an apprentice in commercial animation studios, Griffin has
remained active in that realm, contributing to television programs
including the Great Performances adaptation of Stravinsky's L'HISTOIRE
DU SOLDAT and producing commissioned animation and public service spots
at his studio, Metropolis Graphics. Griffin was drawn to animation,
though, through his devotion to independent filmmakers such as Robert
Breer, Stan Vanderbeek, and John Hubley, and in the tradition of their
work he has produced over 30 personal films that are irreverent,
playful, and vibrant, yet also self-reflexive, both personally and
cinematically. Using imagery familiar from commercial animation, Griffin
invests it with a formal sophistication and a depth of feeling rarely
found in such films. This program will feature a selection of works from
throughout Griffin's career – delightful, affecting, and astonishingly
inventive, these are all-too-rarely-seen gems! HEAD (1975, 10.5 min,
16mm) VIEWMASTER (1976, 3.5 min, 16mm) FLYING FUR (1981, 7 min, 16mm)
KO-KO (1988, 3 min, video) NEW FANGLED (1990, 2 min, video) A LITTLE
ROUTINE (1994, 7 min, video) IT PAINS ME TO SAY THIS (2006, 10 min,
video) MACDOWELL: A USER'S MANUAL (2007, 14 min, video) THE BATHER
(2008, 3 min, video) YOU'RE OUTA HERE (2009, 3 min, video) FLYING FUR
FRAGMENTS (2012, 6.5 min, video) Total running time: ca. 80 min.
------------------------
FRIDAY, JANUARY 25, 2013
------------------------
1/25
Boston, Massachusetts: ArtsEmerson
http://ArtsEmerson.org
6pm, Bright Family Screening Room at the Paramount Center
BOYS DON'T CRY
ArtsEmerson: The World On Stage presents: Boys DOn't Cry. Based on
actual events, Boys Don't Cry looks at the life of a young man named
Brandon Teena. He is popular with the guys and easily charms the girls.
But Brandon's popularity is shattered when it is discovered that he was
actually born female and preferred living life as a male—a realization
that brings about tragic results for Brandon and his community. With
this sweeping, controversial film, Hilary Swank delivers the Academy
Award-winning performance that made her career and challenged the nation
to examine its views on gender roles and sexuality.
1/25
Boston, Massachusetts: ArtsEmerson
http://ArtsEmerson.org
9pm, Bright Family Screening Room at the Paramount Center
PARIS IS BURNING
ArtsEmerson: The World On Stage presents: Paris is Burning. In this
unflinching documentary, the fashion-obsessed originators of New York
City's famous "drag balls" are interviewed and intimately examined to
paint a portrait of the niche phenomenon. The history of these
outlandish evenings of gaudiness, cross-dressing and overall pride
proves to be a fascinating one—as the community learns to harness the
bawdy celebration with terms of personal expression and identity
exploration. The allure of high fashion, status and wealth tempts and
entices members of this eccentric grouping, challenging their
expressions not only of themselves, but also of their love.
--------------------------
SATURDAY, JANUARY 26, 2013
--------------------------
1/26
Boston, Massachusetts: ArtsEmerson
http://ArtsEmerson.org
1pm, Bright Family Screening Room at the Paramount Center
TOMBOY
ArtsEmerson: The World On Stage presents: Tomboy. A family moves into a
new neighborhood on the outskirts of Paris. One of the daughters,
10-year-old Laure, goes to play with the other kids and is immediately
mistaken for a boy. Rather than correcting them, she decides to present
herself as the male Mikael. With her short hair and plain exterior, the
community immediately accepts that Laure is a boy, even prompting one of
the young girls to fall in love with "him," and soon she cannot turn
back from the identity she has presented. Director Céline Sciamma, in
her second feature film, presents a fascinating look at gender
performance in those too young to comprehend it.
1/26
Boston, Massachusetts: ArtsEmerson
http://ArtsEmerson.org
6pm, Bright Family Screening Room at the Paramount Center
XXY
ArtsEmerson: The World On Stage presents: XXY. Things get complicated
for 15 year-old Alex, who was born as an inter-sexed child—something her
parents never really dealt with. When a friend of the family comes to
visit with a doctor and his son, it is revealed that Alex's father
intended for the doctor to operate on her. Instead, Alex begins to fall
in love with the doctor's son…but what will happen when he discovers she
is a hermaphrodite? Acclaimed Argentinean director Lucia Puenzo makes a
brilliant feature film debut in this multi-layered, raw, and tender
coming-of-age tale, complicated by gender confusion. Winner of the Grand
Prix at the 2008 Cannes Film Festival and nominated for an Academy Award
for Best Foreign Language Film.
1/26
Boston, Massachusetts: ArtsEmerson
http://ArtsEmerson.org
9pm, Bright Family Screening Room at the Paramount Center
TRANSAMERICA
ArtsEmerson: The World On Stage presents: Transamerica. Felicity Huffman
delivers a Golden Globe-winning performance as Bree Osbourne, a
conservative transsexual woman who has been scheduled for the official
male-to-female surgery. Before she can get there, however, she receives
a call from Toby, a 17-year-old boy looking for his father. Bree
disguises herself as a Christian social worker and goes to bail Toby out
of jail in New York and take him back to Los Angeles. Along the way,
however, Bree must decide what information to divulge to her son, and
what situation would be the best for both of them. This twist on the
traditional family drama looks at the expectations we place on each
other and the bonds that extend beyond gender.
1/26
Chicago, Illinois: White Light Cinema
http://www.whitelightcinema.com
8:00pm, The Nightingale (1084 N. Milwaukee Ave.)
FRED HALSTED’S L.A. PLAYS ITSELF
1970's Gay Experimental-Porn Classic in an Ultra-Rare Version ***** New
High Definition Transfer of the Complete Uncut Film! ***** Two
Screenings! (January 26 and 27) ***** Saturday, January 26 – 8:00pm, At
The Nightingale (1084 N. Milwaukee Ave.), Co-Presented by The
Nightingale ***** L.A. PLAYS ITSELF (1972, 51 min, New High Definition
Transfer of 16mm) by Fred Halsted ***** "Fred Halsted clearly is the Ken
Russell of S&M homoerotica." (Variety) ***** "This film breaks all the
stereotypes! I recommend it for all audiences." (William S. Burroughs)
***** "New information for me…" (Salvador Dali) ***** White Light Cinema
is pleased to begin its fifth year with a very rare presentation of a
new high definition transfer of the complete and uncut version of Fred
Halsted's famed and infamous 1972 gay porn film L.A. PLAYS ITSELF.
Although a part of the permanent film collection at the Museum of Modern
Art in New York, this rare version has never been released on home video
and has been screened publicly less than half a dozen times in the past
30 years. The film was released at a rarified time in the history of
x-rated cinema. Pornographic films had only been legal to screen
publicly for a couple of years and both gay and straight variants had
been looking to "legitimize" themselves through consciousness artistic
flourishes. Wakefield Poole's Boys in the Sand (1971) and Bijou (1972)
led the way for gay adult films and Gerard Damiano's Deep Throat (1972)
exemplified the short-lived "porno chic" era in heterosexual porn that
L.A. Plays Itself attempted to capitalize on, though Halsted's film was
conceived of and in production well before any of them. Halsted hired a
publicist for the film, held VIP advance screenings, and had remarkable
success for a low-budget, gritty, and very graphic gay porn film. It was
even screened at the Museum of Modern Art in 1974. Part of the success
of the film, and part of its controversy, is Halsted's unflinching
portrait of the leather and S&M scene in Los Angeles in the second half
of the film. But, like the Poole films and the straight porno chic
straight films of the time, the film also had artistic ambitions. The
first half is a lyrical ode to lesser-seen sections of Halsted's beloved
Los Angeles and the surrounding "countryside," which was rapidly
disappearing to development. The film can be viewed almost as a
city-symphony of sorts, a film of landscape and cityscape, a film
heralding some changes and lamenting others. Throughout, it is also a
film that plays with form—experimenting with structure, editing, and
sound in particular. While Halsted was not a trained filmmaker and the
film has a definite roughness, it is a roughness that amplifies its
themes and content, that functions like a queer art brut rather than
simply as poor craftsmanship. Hasted was too smart for that. He knew his
limitations and worked with them. ***** "In 1972 Fred Halsted
released--perhaps unleashed is more apt--his hardcore gay S&M porn film
L.A. Plays Itself, a pioneering work of the genre and one that
surprisingly crossed over to achieve some mainstream attention and
acclaim for its aesthetic vision (it even screened at the Museum of
Modern Art). … While L.A. is still known and discussed among scholars
and cinephiles, it is virtually impossible to see, apart from bootlegs
of an out-of-print and incomplete VHS release. For most people, it
resides in distant memory or speculative imagination." (Patrick Friel,
Afterimage) ***** "One of the only gay porn films acquired by the Museum
of Modern Art's permanent collection, Fred Halsted's L.A. PLAYS ITSELF
marked a special moment in early gay liberation, arriving before the
commercial porn industry eliminated traces of the avant-garde from its
films. But make no mistake - the film is hardcore - featuring hot and
heavy graphic S&M sex scenes. Halsted stars as a rough loner in a fast
car, driving through Los Angeles stopping along the way to hook up with
hot hustlers, rough trade and sexy studs. At one New York screening,
Salvador Dali left the theater muttering 'new information for me.'"
(Outfest) ***** "Born in Long Beach in 1941 and raised all over the
state of California, Fred Halsted rarely left his adopted city of Los
Angeles. Capturing the city as few other films could, L.A. Plays Itself
(1972), Halsted's first film, has come to be regarded as a classic
within the genre of gay porn. Its images of beautiful young men in
sylvan Malibu Canyon and boy hustlers on the mean streets of Hollywood
gained for Halsted the kind of celebrity than simply isn't possible
today. Fred Halsted never held a regular job; he didn't teach; he had no
gallery representation; he had no agent; he didn't shoot commercials or
advertising campaigns; he didn't even have a social security number. He
made films and performed in them, published a magazine (Package), ran a
sex club (Halsted's), and became a legendary sex radical and
provocateur." (Light Industry) ***** 2K transfer created by Joe Rubin of
www.processblue.tv. ***** Admission: $7-10 sliding scale
------------------------
SUNDAY, JANUARY 27, 2013
------------------------
1/27
Chicago, Illinois: White Light Cinema
http://www.whitelightcinema.com
7:00pm, Chicago Filmmakers (5243 N. Clark St.)
FRED HALSTED’S L.A. PLAYS ITSELF
1970's Gay Experimental-Porn Classic in an Ultra-Rare Version ***** New
High Definition Transfer of the Complete Uncut Film! ***** Two
Screenings! (January 26 and 27) ***** Sunday, January 27 – 7:00pm, At
Chicago Filmmakers (5243 N. Clark St.) ***** L.A. PLAYS ITSELF (1972, 51
min, New High Definition Transfer of 16mm) by Fred Halsted ***** "Fred
Halsted clearly is the Ken Russell of S&M homoerotica." (Variety) *****
"This film breaks all the stereotypes! I recommend it for all
audiences." (William S. Burroughs) ***** "New information for me…"
(Salvador Dali) ***** White Light Cinema is pleased to begin its fifth
year with a very rare presentation of a new high definition transfer of
the complete and uncut version of Fred Halsted's famed and infamous 1972
gay porn film L.A. PLAYS ITSELF. Although a part of the permanent film
collection at the Museum of Modern Art in New York, this rare version
has never been released on home video and has been screened publicly
less than half a dozen times in the past 30 years. The film was released
at a rarified time in the history of x-rated cinema. Pornographic films
had only been legal to screen publicly for a couple of years and both
gay and straight variants had been looking to "legitimize" themselves
through consciousness artistic flourishes. Wakefield Poole's Boys in the
Sand (1971) and Bijou (1972) led the way for gay adult films and Gerard
Damiano's Deep Throat (1972) exemplified the short-lived "porno chic"
era in heterosexual porn that L.A. Plays Itself attempted to capitalize
on, though Halsted's film was conceived of and in production well before
any of them. Halsted hired a publicist for the film, held VIP advance
screenings, and had remarkable success for a low-budget, gritty, and
very graphic gay porn film. It was even screened at the Museum of Modern
Art in 1974. Part of the success of the film, and part of its
controversy, is Halsted's unflinching portrait of the leather and S&M
scene in Los Angeles in the second half of the film. But, like the Poole
films and the straight porno chic straight films of the time, the film
also had artistic ambitions. The first half is a lyrical ode to
lesser-seen sections of Halsted's beloved Los Angeles and the
surrounding "countryside," which was rapidly disappearing to
development. The film can be viewed almost as a city-symphony of sorts,
a film of landscape and cityscape, a film heralding some changes and
lamenting others. Throughout, it is also a film that plays with
form—experimenting with structure, editing, and sound in particular.
While Halsted was not a trained filmmaker and the film has a definite
roughness, it is a roughness that amplifies its themes and content, that
functions like a queer art brut rather than simply as poor
craftsmanship. Hasted was too smart for that. He knew his limitations
and worked with them. ***** "In 1972 Fred Halsted released--perhaps
unleashed is more apt--his hardcore gay S&M porn film L.A. Plays Itself,
a pioneering work of the genre and one that surprisingly crossed over to
achieve some mainstream attention and acclaim for its aesthetic vision
(it even screened at the Museum of Modern Art). … While L.A. is still
known and discussed among scholars and cinephiles, it is virtually
impossible to see, apart from bootlegs of an out-of-print and incomplete
VHS release. For most people, it resides in distant memory or
speculative imagination." (Patrick Friel, Afterimage) ***** "One of the
only gay porn films acquired by the Museum of Modern Art's permanent
collection, Fred Halsted's L.A. PLAYS ITSELF marked a special moment in
early gay liberation, arriving before the commercial porn industry
eliminated traces of the avant-garde from its films. But make no mistake
- the film is hardcore - featuring hot and heavy graphic S&M sex scenes.
Halsted stars as a rough loner in a fast car, driving through Los
Angeles stopping along the way to hook up with hot hustlers, rough trade
and sexy studs. At one New York screening, Salvador Dali left the
theater muttering 'new information for me.'" (Outfest) ***** "Born in
Long Beach in 1941 and raised all over the state of California, Fred
Halsted rarely left his adopted city of Los Angeles. Capturing the city
as few other films could, L.A. Plays Itself (1972), Halsted's first
film, has come to be regarded as a classic within the genre of gay porn.
Its images of beautiful young men in sylvan Malibu Canyon and boy
hustlers on the mean streets of Hollywood gained for Halsted the kind of
celebrity than simply isn't possible today. Fred Halsted never held a
regular job; he didn't teach; he had no gallery representation; he had
no agent; he didn't shoot commercials or advertising campaigns; he
didn't even have a social security number. He made films and performed
in them, published a magazine (Package), ran a sex club (Halsted's), and
became a legendary sex radical and provocateur." (Light Industry) *****
2K transfer created by Joe Rubin of www.processblue.tv. ***** Admission:
$7-10 sliding scale
1/27
Los Angeles, California: Filmforum
http://www.lafilmforum.org/
7:30pm (box office opens 6:30, doors open 7), Spielberg Theatre at the Egyptian, 6712 Hollywood Blvd.
L.A. FILMFORUM PRESENTS HORENDI (PART OF FARTHER THAN FAR: THE CINEMA OF
JEAN ROUCH)
With Nancy Lutkehas, Michael Renov, and Olivia Wyatt in person! A
seminal figure of both film art and social science, Jean Rouch
(1917-2004) represents a fountainhead of many aspects. A filmmaker who
came to cinema gradually, Rouch had been a civil engineer in colonial
Niger, where his observation of possession rituals formed the basis of
his interest in anthropology. Formally trained to gather visual
evidence, he evolved radically new approaches to documentary practice in
Africa over many decades. Among these, one finds the assumption of
scientific neutrality replaced by the possibility of fruitful and
revealing stimulations in the acknowledgement of the camera, and the
possibility of cinema as participating in and subject to trance states.
Such affronts to received Western notions opened still-ongoing debates
within anthropological circles. Rouch's interest in the ontology of
cinema led to experiments that proved hugely influential in his native
France and worldwide, as in his most famous work Chronique d'un Été
(1961), co-directed with Edgar Morin, now regarded as a foundation
document of cinema verité and a cornerstone of the French New Wave.
Rouch's continuing work in post-colonial Africa evolved collaborative
filmmaking approaches with colleagues including Damouré Zika and Oumarou
Ganda, creating proto-fictional modes only partly distinct from
documentary practice, and opening up the distinction of "ethno-fiction."
This series samples but a fraction of Rouch's vast cinematic output, and
celebrates his unique contributions to human understanding. – Shannon
Kelley Tickets: $10 general, $6 students/seniors; free for Filmforum
members. Available by credit card in advance from Brown Paper Tickets at
or by cash or check at the door. Additional programs in this series will
take place at the UCLA Film & Television Archive and REDCAT, beginning
January 25th at UCLA. Visit
http://www.cinema.ucla.edu/events/2013-01-25/farther-far-cinema-jean-rou
ch and www.redcat.org respectively, for information on these programs.
Horendi by Jean Rouch and Gilbert Rouget (1972, 16mm, 68 min) Horendi
treats the relationship between music, ceremony, and dance. HORENDI
focuses on what ethnographer Luc de Heusch has called an "endorcism", a
ceremony in which Songhai women learn not how to cast off spirits, but
how to host them through ritualized dance.
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