[Frameworks] This week [January 26 - February 3, 2013] in avant garde cinema
Weekly Listing
weeklylisting at hi-beam.net
Sat Jan 26 10:32:38 CST 2013
This week [January 26 - February 3, 2013] in avant garde cinema
To subscribe/unsubscribe to the weekly listing, go to
http://www.hi-beam.net/cgi-bin/mailto.pl?mailto=subscribe
or send an email to weeklylisting at hi-beam.net.
Enter your announcements (calls for entries, new work, screenings,
jobs, items for sale, etc.) at:
http://www.hi-beam.net/cgi-bin/ann.pl
NEW CALLS FOR ENTRIES:
=====================
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
West Virginia Mountaineer Short Film Festival (Morgantown, WV, USA; Deadline: February 25, 2013)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1536.ann
ArtUP! | Exhibition PARABOLE (Bulgaria; Deadline: March 15, 2013)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1537.ann
Philadelphia Short Film Night (Philadelphia, PA, USA; Deadline: February 10, 2013)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1538.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
Accolade Competition (La Jolla, CA, USA; Deadline: March 01, 2013)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1501.ann
Magmart | video under volcano (Naples, Italy; Deadline: February 28, 2013)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1506.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
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
West Virginia Mountaineer Short Film Festival (morgantown, WV, USA; Deadline: February 25, 2013)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1525.ann
ANIMATOR - International Festival of Animated Film (Poland; Deadline: March 01, 2013)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1527.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
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
West Virginia Mountaineer Short Film Festival (Morgantown, WV, USA; Deadline: February 25, 2013)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1536.ann
Philadelphia Short Film Night (Philadelphia, PA, USA; Deadline: February 10, 2013)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1538.ann
Enter your event announcements by going to the Flicker Weekly Listing Form
at http://www.hi-beam.net/cgi-bin/thisweek.pl
Also available online at Flicker: http://www.hi-beam.net
THIS WEEK'S PROGRAMS (SUMMARY):
==============================
* 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]
* Frame 1 – City, Country, Dwelling, Travelling [January 27, Cambridge, UK]
* 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]
* Richard Kern's the Bitches + Abram Room's Bed and Sofa [January 29, Brooklyn, NY]
* Sight Unseen Presents: Ten Ways of Doing Time [January 30, Baltimore]
* 3 Shorts By Chris Kraus [January 30, New York, NY]
* Reception and Artist Talk: Jud Yalkut "Visions & Sur-Realities" [January 31, Dayton, Ohio]
* Hanoi Rocks [January 31, Los Angeles, California]
* Peggy Ahwesh & Joe Gibbons [January 31, New York, New York]
* Los Olvidados [February 1, Boston, Massachusetts]
* The Music Room [February 1, Boston, Massachusetts]
* This Orientation - An Exhibition By Riccardo Iacono - 2.-17. February
2013 [February 1, London, England]
* Collin Mckelvey / Paul Clipson [February 1, Los Angeles, California]
* Fanny and Alexander [February 2, Boston, Massachusetts]
* In the Mood For Love [February 2, Boston, Massachusetts]
* Blue Velvet [February 2, Boston, Massachusetts]
* Landscape Dissolves: Films By Paul Clipson [February 2, Los Angeles, California]
* Landscape Dissolves: Films of Paul Clipson [February 2, Los Angeles, California]
* Syndromes and A Century [February 3, Boston, Massachusetts]
* L.A. Filmforum Presents the 50th Ann Arbor Film Festival Traveling Tour –
New 16mm Films! [February 3, Los Angeles, California]
Events are sorted by CITY within each DATE.
--------------------------
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
Cambridge, UK: Frame
3pm, Keynes Hall, King's College, Cambridge
FRAME 1 – CITY, COUNTRY, DWELLING, TRAVELLING
Frame. An informal series of artist and independent film events curated
by Becca Voelcker. Two afternoons of film screenings, talks and
discussions. Keynes Hall, King's College, University of Cambridge, CB2
1ST. Events are free and there is no need to book. Event 1: 3-4pm Sunday
27th January. City, Country, Dwelling, Travelling. films: London
(Patrick Keiller) 1994 extracts. Portrait of Ga (Margaret Tait) 1955 7
min. Jaunt (Andrew Kotting) 1995 6 min. Bogman Palmjaguar (Luke Fowler)
2007 30 min. Event 2: 3-4/4.30pm Sunday 24th February. Looking, Caring.
speakers: JENNY CHAMARETTE, Queen Mary, University of London. GARETH
EVANS, Whitechapel Gallery, London. films: Block (Emily Richardson) 2005
12 min. We Saw (Peter Todd) 2009 4 min. Aerial (Margaret Tait) 1974 4
min. Sleep Furiously (Gideon Koppel) 2008 extracts. George (Luke Fowler)
2008 4 min.
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.
-------------------------
TUESDAY, JANUARY 29, 2013
-------------------------
1/29
Brooklyn, NY: Light Industry
http://www.lightindustry.org/
6:30, 155 Freeman Street, Brooklyn
RICHARD KERN'S THE BITCHES + ABRAM ROOM'S BED AND SOFA
The Bitches, Richard Kern, Super-8 on BluRay, 1992, 9 mins - Bed and
Sofa, Abram Room, 16mm, 1926, 80 mins - Abram Room, a young Soviet
director who had previously worked under Vsevolod Meyerhold, published a
brief manifesto in 1925 arguing against the straightforward importation
of theatrical aesthetics into the new art of cinema. "Cinema is
pre-eminently realism, life, the everyday, objectivity, properly
motivated behavior, rational gesture," Room wrote. "If we had to
characterize theater and cinema in simple terms we should have to say:
theater is ‘seeming' whereas cinema is
‘being.'" Room soon produced a cluster of films that
sought to bring a deeper psychological veracity to cinema. The most
remarkable of these is Bed and Sofa, a tale of a menage à trois
between a woman and two men, co-written with Viktor Shklovsky. - "This
almost legendary ‘lost' masterpiece of the Soviet
cinema, hampered by its subject matter, has suffered from even more
restricted circulation than other Russian films," Amos Vogel observed in
Film as a Subversive Art. "A masterpiece of psychological realism, its
sexual triangle (caused by the post-revolutionary housing shortage)
involved husband and lover changing places on bed and sofa, until the
pregnant woman, tired of male chauvinism, decides to leave them both.
The film is unique in its emphasis on the individual rather than class
and its portrayal of unconventional sexual mores in early Soviet
Russia\; it reflects, in its anti-puritanical humanism, the atmosphere
of the early revolutionary days far more accurately than some of the
large-scale propagandist works of the period." - Bed and Sofa is shown
with Richard Kern's The Bitches, which likewise concerns an erotic
triangulation, this time between two women and a man. Whereas Room's Bed
and Sofa marks a time when cinema was first ascendant as the primary
visual medium through which modern sexuality would be conceived, Kern's
Super-8 work can be seen as one of the endpoints of film's hold on the
erotic imagination, just prior to its displacement onto the internet.
The Bitches, shot non-sync, channels the somatic vocabulary of silent
cinema, almost atavistically. But unlike Bed and Sofa, which is
centrally concerned with internalized psychology, The Bitches presents
sex as a fantasy of externalities, a multi-act play that unfolds through
the choreographed revelation of costumes and props. - Tickets - $7,
available at door. - Please note: seating is limited. First-come,
first-served. Box office opens at 7pm.
---------------------------
WEDNESDAY, JANUARY 30, 2013
---------------------------
1/30
Baltimore: Sight Unseen
http://www.sightunseenbaltimore.com/
7:00pm, Maryland Institute College of Art Graduate Studio Center Auditorium, 131 W. North Ave, Room 115A
SIGHT UNSEEN PRESENTS: TEN WAYS OF DOING TIME
Doors @6:30pm | Screening @7pm | $5 | Laura Parnes & James Fotopolous
will be in attendance for a Q&A following the film. In James Fotopoulos
and Laura Parnes' "Ten Ways of Doing Time" (2012 premiere at NY MoMA
PS1), prison drama and science fiction motifs are fused to create an
experimental narrative where scientists research on prisoners attempting
to create psychotic warriors for the army. This sprawling chapter-based
project, both irreverent and outrageous, begins with a formally based
structure and then explodes into controlled states of anarchy. Prison
life unfolds through a series of vignettes where the prisoners are
forced to submit to the rules of life in captivity. Often these rules
are immediately contradicted. Central characters such as the prisoner,
guard, female scientist and witness are performed by actors playing
multiple roles. This device is used in both Fotopoulos and Parnes' past
work and is employed to emphasize the iconic nature of the characters
while exploring issues of gender and authorship. The highly stylized
dialogue shifts back and forth from prison genre-influenced slang to
that of a psychotic romance novel. Deploying visual and verbal
quotations ranging from The Stanford Prison Experiment (1971), Titicut
Follies (1967), Rousseau, Ghostbusters (1984) and soft-core porn - Ten
Ways of Doing Time presents a highly charged world of psychosexual drama
and sublimated violence. For more information on the film, artists, and
film series, visit http://www.sightunseenbaltimore.com/
1/30
New York, NY: Filmmakers Co-op
7:30, 475 Park Avenue South, 6th Floor
3 SHORTS BY CHRIS KRAUS
WEDNESDAY January 30th, 2013, 7:30PM at the Film-Makers' Cooperative -
$10 Suggested, Pizza and refreshments provided! (Thanks to Two Boots
Pizza!) - PLEASE SHOW UP EARLY TO GET A SEAT!!! - 3 Short Films by Chris
Kraus - THE GOLDEN BOWL OR REPRESSION (1984-88) 12 min. - Inspired
partly by the Henry James' novel. Empty rooms, well kept gardens. Noted
by photographer Nan Goldin for its dissection of "romance, mystification
and the inability to connect." - HOW TO SHOOT A CRIME (1987) 28 min.
"How to Shoot a Crime was about gentrification, urban rootlessness, and
the possibility that the only way of memorializing the anonymous thread
of a city is through crime scene investigation." -CK - FOOLPROOF
ILLUSION (1988) 18 min. - Musings on Antonin Artaud from a feminist
point of view. Poet David Rattray reads from his translations of Artaud.
Chris Kraus in disguise tells a disturbing story while building
something in the snow. Also stars Suzan Cooper as an Artaud clone.
… - "My personal narrative interests me very
little\; I would rather the films be perceived as powerful objects in
their own right. For example, How to Shoot a Crime was a very
aggressive, polemical, and passionate movie, and I would hope that it's
viewed in the spirit that it was made. A film is meant to be something
provocative, something hurled into the culture. And I feel that the
films get defanged when they're subsumed into the personal narrative of
the artist. I hate that." -CK - Chris Kraus is a Los Angeles based
writer and professor of writing at the European Graduate School and UC
San Diego. Raised in New Zealand, Kraus moved to New York in 1978 and
became active in the downtown scene as a filmmaker, video artist,
actress and performance artist. She continued to make films into the
‘90s. She published her first book, I Love Dick, in
1997 and has become best known for her publications which also include
Aliens & Anorexia (2000), Video Green: Los Angeles Art and the
Triumph of Nothingness (2004), Torpor (2006), David Wojnarowicz: A
Definitive History of Five or Six Years on the Lower East Side (2006),
Where Art Belongs (2011) and her recently published novel Summer of Hate
(2012). She was co-editor of Hatred of Capitalism: A Semiotext(e) Reader
(2001). She has worked with American independent publisher Semiotext(e)
since the 1980s, and created their Native Agents series, publishing the
works of Kathy Acker, Eileen Myles, Lynne Tillman, David Rattray,
Barbara Barg, Cookie Mueller, Michelle Tea, Ann Rower and more recently
Penny Arcade and Gary Indiana. - Curated by Katie Bradshaw, Special
thanks to Chris Kraus! - Funding in part from the New York State Council
on the Arts and the New York Department of Cultural Affairs.
--------------------------
THURSDAY, JANUARY 31, 2013
--------------------------
1/31
Dayton, Ohio: The University of Dayton, Ohio
http://www.udayton.edu/news
5-7 PM, Gallery 249, University of Dayton Art Department
RECEPTION AND ARTIST TALK: JUD YALKUT "VISIONS & SUR-REALITIES"
Opening of a retrospective exhibition of media and graphic works by
film/video artist Jud Yalkut, with the video projection installation
"Vision Cantos", "Light Display: Color", and collages from the "Video
Dada" series, all at the Gallery 249. A second component, "Movie
Machines and Holograms" appears in Studio D at ArtStreet on Kefauver
Street; followed by the February 4th opening of collages by Jud Yalkut
in the Roesch Library on campus. Exhibition continues through March 7th.
1/31
Los Angeles, California: Echo Park Film Center
http://www.echoparkfilmcenter.org/
8 pm, 1200 N. Alvarado St
HANOI ROCKS
$5 / Join EPFC Staff members Lisa Marr and Paolo Davanzo for their
triumphant and joyous return from 6 weeks in Vietnam teaching, making
work, and sharing the cinematic revolution with their brothers and
sisters in Hanoi. On this special night they will screen new work made
overseas including the 3rd and newest installment of the SOUND WE SEE
series - A HANOI CITY SYMPHONY on SUPER 8! They will also screen a
series of Vietnamese documentaries created by our sister organization in
Vietnam HANOI DOCLAB. If that is not enough … they will sing you a song
or two and share photos of their adventure overseas. They may be
jet-lagged and punch drunk but they will be ready to deliver the goods.
1/31
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
7:30 pm, 32 2nd Avenue
PEGGY AHWESH & JOE GIBBONS
The most recent edition of the Views from the Avant-Garde section of the
New York Film Festival featured the premiere of newly preserved works by
two of contemporary experimental cinema's most revered artists, Peggy
Ahwesh and Joe Gibbons. Pioneers of small-gauge filmmaking since the
1970s, Ahwesh and Gibbons are both superior storytellers who don't
necessarily rely on actors or scripts to tell their inquisitive tales.
The filmmakers are longtime friends, and their works have a certain
sympathetic resonance. Blown-up to 16mm from Super 8, these crucial
pieces have never looked or sounded better. Seen today, the films are as
surprising, thoughtful, and darkly funny as they were back in the day.
All films in this program were preserved by Bard College with support
from the National Film Preservation Foundation. Preservation undertaken
by BB Optics. Thanks to Peggy Ahwesh, Joe Gibbons, and Vanessa
Haroutunian. Peggy Ahwesh MARTINA'S PLAYHOUSE 1989, 20 min, Super
8mm-to-16mm blow-up. "In MARTINA'S PLAYHOUSE everything is up for grabs.
The little girl of the title oscillates from narrator to reader to
performer and from the role of baby to that of mother. While the roles
she adopts may be learned, they are not set, and she moves easily
between them. Similarly, in…Ahwesh's playhouse of encounters with
friends, objects aren't merely objects but shift between layers of
meaning. Men are conspicuously absent, a 'lack' reversing the
Lacanian/Freudian constructions of women as Ahwesh plays with other
possibilities." –Kathy Geritz Peggy Ahwesh FROM ROMANCE TO RITUAL 1985,
20 min, Super 8mm-to-16mm blow-up. "FROM ROMANCE TO RITUAL invokes and
inverts the title of the 1920 book by Jessie L. Weston as it, like the
book, draws connections between pagan history and ritual and mythology.
In one scene, a very animated woman digs and scratches at the earth to
give us a show-and-tell history of the megalithic site at Avebury. A bit
tongue in cheek like playing around in the backyard (Prehistoric Sandbox
101) but not far from the truth in its reading of the erasure of
matriarchal tendencies from traditional histories." –P.A. Joe Gibbons
CONFIDENTIAL PART 2 1980, 26 min, Super 8mm-to-16mm blow-up. "Overtly a
portrait of the filmmaker confessing his remorse at the scandalous
manner in which he gathered material for his near-classic SPYING, here
an eerie interpersonal relationship is developed between the filmmaker
and his camera which culminates in violence. The 'sin' as act of the
imagination and its degenerative effect on the personality." –Henry
Hills Joe Gibbons SPYING 1977-78, 31.5 min, Super 8mm-to-16mm blow-up.
"Too controversial to describe in detail, this film reveals the
underlying voyeuristic nature of the cinema-phile." –Joe Gibbons "An
exercise in applied voyeurism – a hilariously perverse MAN WITH A MOVIE
CAMERA – in which the filmmaker secretly observes his neighbors (and
their pets) sunbathing, gardening, or gazing out of the window." –J.
Hoberman, VILLAGE VOICE
------------------------
FRIDAY, FEBRUARY 1, 2013
------------------------
2/1
Boston, Massachusetts: ArtsEmerson
http://ArtsEmerson.org
6:00 PM, Bright Family Screening Room at the Paramount Center, 559 Washington Street
LOS OLVIDADOS
ArtsEmerson: The World On Stage presents Los Olvidados. In what became
his first international box-office success, Luis Buñuel tells the story
of a gang of juvenile delinquents trapped by circumstances of poverty in
the slums of Mexico City. The youngest member of this gang of loyal
street kids, Pedro is taken down a dark path by El Jaibo, who commits a
series of terrible crimes of theft and even murder. Pedro tries to get
his act together and appease his mother, but El Jaibo and the street
life inevitably cause a relapse into the old way of life. As a giant
skyscraper rises on the city's skyline, those in the slums cannot help
but wonder at the injustice of this world. Filled with vivid dream
sequences and fantastical imagery, Los Olvidados won Buñuel the honor of
Best Director at the Cannes Film Festival and marks the beginning of his
most creative period.
2/1
Boston, Massachusetts: ArtsEmerson
http://ArtsEmerson.org
9:00 PM, Bright Family Screening Room at the Paramount Center, 559 Washington Street
THE MUSIC ROOM
ArtsEmerson: The World On Stage presents The Music Room. Acclaimed
Bengali film-maker Satyajit Ray tells the moody story of a prosperous
man whose wealth crumbles as he attempts to cling to the old way of
life. His music room used to be his pride and joy—filled on a regular
basis with the country's most prized musicians providing private
concerts for invited guests. Although funds are too tight to keep the
music room open, the man decides to spend his last rupees hosting one
last glorious concert in the hall…if nothing else, out of spite for his
competitive neighbor. With delicate storytelling and evocative imagery,
Ray gives the audience an intimate portrait of loss, tradition and
perseverance.
2/1
London, England: Summit Gallery
6-9pm, Unit 9, Floor 5, Queens Yard, White Post Lane, Hackney Wick, E9 5EN
THIS ORIENTATION - AN EXHIBITION BY RICCARDO IACONO - 2.-17. FEBRUARY
2013
Artist Riccardo Iacono will be resident at Summit Gallery during the two
weeks preceding the exhibition to create a site-specific installation.
Iacono will be combining video, photography and collage formed and
arranged in direct response to the gallery space and its unique location
high above the streets of Hackney Wick. Known largely for his frenetic
abstract films, Iacono's recent works include absurd and disorientating
performance tapes made by throwing peas, garbage and colourful pieces of
wet cloth. The artist states, "My work is process-based and formed
through improvisation and play. My concerns are with the situation of
seeing and how we negotiate optical, physical and psychological space."
Iacono works in outside spaces, using the environment as a playground
for event, intervention, feedback and documentation. For this exhibition
he will use Summit Gallery to bridge the gap between these external
locations and the traditional white cube gallery space. The gallery will
be transformed into an observatory extending the work into surrounding
sites. http://www.riccardoiacono.co.uk/ www.summitgallery.co.uk
2/1
Los Angeles, California: ZINE WORLD THEATRE at Printed Matter's LA Art Book Fair
4pm, The Geffen Contemporary at MOCA, 152 North Central Avenue (performance in Theater Z)
COLLIN MCKELVEY / PAUL CLIPSON
Bay Area experimental sound maker Collin McKelvey performs a four
channel surround sound composition with Super 8mm film projections by
Paul Clipson. Part of a four day series of performances presented by
LAND AND SEA.
--------------------------
SATURDAY, FEBRUARY 2, 2013
--------------------------
2/2
Boston, Massachusetts: ArtsEmerson
http://ArtsEmerson.org
1:00 PM, Bright Family Screening Room at the Paramount Center, 559 Washington Street
FANNY AND ALEXANDER
ArtsEmerson: The World On Stage presents Fanny and Alexander. The joys
and sorrows of a bourgeois Swedish family around the turn-of-the-century
are told through the eyes of ten-year-old Alexander. The children must
live through the death of their father and their mother's re-marriage to
a cold-hearted clergyman in what is considered legendary director Ingmar
Bergman's warmest and most autobiographical film. Winner of four Academy
Awards, including Best Foreign Film, this thematically simple and
visually stunning film was set to be Bergman's last project—bringing all
the emotional intensity to light in what is one of his culminating
works.
2/2
Boston, Massachusetts: ArtsEmerson
http://ArtsEmerson.org
6:00 PM, Bright Family Screening Room at the Paramount Center, 559 Washington Street
IN THE MOOD FOR LOVE
ArtsEmerson: The World On Stage presents In the Mood for Love. Two
couples move into neighboring apartments on the same day. Over time, Mr.
Chow and Mrs. Chen come to realize that their frequently absent spouses
are having an affair. Although the two experience a similar attraction
to each other, especially with their new knowledge, they each understand
that the other plans to remain faithful no matter what. Still, they
cannot deny their newly formed bond and embark on a journey exploring
the parameters of love. Hong Kong-based director Wong Kar Wai litters
the film with stunning cinematography, moody music, and structured
improvisations that lend a relatable, endearing tone to the work.
2/2
Boston, Massachusetts: ArtsEmerson
http://ArtsEmerson.org
9:00 PM, Bright Family Screening Room at the Paramount Center, 559 Washington Street
BLUE VELVET
ArtsEmerson: The World On Stage presents Blue Velvet. College boy Kyle
MacLachlan is forced to return home after the ominous death of his
father. When he arrives, however, he stumbles upon a severed ear in an
empty field. Together with the detective's daughter, MacLachlan sets out
to uncover the mystery behind the dismembered body part, which draws him
into a nightmarish world of voyeurism and sex completely unexpectedly.
Face-to-face with evil incarnate (played by a maniacal Dennis Hopper),
Kyle is forced to re-evaluate his perception of the world. From the dark
mind of David Lynch, Blue Velvet serves as a deconstruction of white
picket fence America under which true evil and darkness lie.
2/2
Los Angeles, California: Echo Park Film Center
http://www.echoparkfilmcenter.org/
8pm, 1200 N. Alvarado St. (at Sunset Blvd)
LANDSCAPE DISSOLVES: FILMS BY PAUL CLIPSON
San Francisco based artist Paul Clipson's heavily in-camera edited Super
8mm films utilize multiple exposures, densely layering images into
unexpected collages that to bring to light subconscious optical
obsessions. For this program he will show a suite of eight short films,
each with music by a different artist, as well as a live performance
with music by filmmaker/sound artist John Davis. Davis's sound
performance is an arrangement utilizing an eight-channel tape loop
system incorporating field recordings and processed electronic music.
John Davis is an Oakland-based artist and musician working primarily
with moving images and sound, whose work builds on the transcendental
nature of film in direct response to sound and music. Clipson works with
sound artists and musicians, often collaborating on films, live
performances and installations. Program: The Crystal Text (2012) with
music by young Moon, Chorus (2009) with music by Gregg Kowalsky,
Landscape Dissolves (2012) music by Alex Cobb, Light from the Mesa
(2010) music by Barn Owl, Absteigend (2012) music by Evan Caminiti,
Origin (2012) music by Che Chen, Speaking Corpse (2012) music by Jefre
Cantu-Ledesma, live tape loop performance by John Davis. All works shown
on Super 8.
2/2
Los Angeles, California: Echo Park Film Center
http://www.echoparkfilmcenter.org/
8 pm, 1200 N. Alvarado St
LANDSCAPE DISSOLVES: FILMS OF PAUL CLIPSON
San Francisco based artist Paul Clipson's heavily in-camera edited Super
8mm films utilize multiple exposures, densely layering images into
unexpected collages that to bring to light subconscious optical
obsessions. For this program he will show a suite of 8 short films, each
with music by a different artist, as well as a live performance with
music by filmmaker/sound artist John Davis. John's sound performance is
an arrangement that utilizes an eight-channel tape loop system
incorporating field recordings and processed electronic music. John
Davis is an Oakland-based artist and musician working primarily with
moving images and sound, whose work builds on the transcendental nature
of film in direct response to sound and music.
http://www.noiseforlight.com. Paul Clipson has shown his films
internationally in various galleries, festivals and performance venues
in Europe and the U.S., with films recently screening at the Centre
Pompidou in Paris, and in Havana, Cuba. He works primarily in film,
video and on paper, often collaborating on films, live performances and
installations with sound artists and musicians. Clipson and musician
Jefre Cantu-Ledesma have recently been awarded a Headlands Artist
Residency for spring of 2013. http://www.withinmirrors.org/Program: The
Crystal Text (2012) with music by young Moon, Chorus (2009) with music
by Gregg Kowalsky, Landscape Dissolves (2012) music by Alex Cobb, Light
from the Mesa (2010) music by Barn Owl, Absteigend (2012) music by Evan
Caminiti, Origin (2012) music by Che Chen, Speaking Corpse (2012) music
by Jefre Cantu-Ledesma, live performance for Super 8mm film and
eight-channel tape loop system. All works shown on Super 8.
------------------------
SUNDAY, FEBRUARY 3, 2013
------------------------
2/3
Boston, Massachusetts: ArtsEmerson
http://ArtsEmerson.org
1:00 PM, Bright Family Screening Room at the Paramount Center, 559 Washington Street
SYNDROMES AND A CENTURY
ArtsEmerson: The World On Stage presents Syndromes and a Century. In
this charming "memory film," Thai director Weerasethakul portrays an
imagined representation of his parents' romance in two parts. The first
is told from his mother's point of view several decades ago when his
parents would have actually met, and the second from his father's
viewpoint in a more present-day environment. The result is a stimulating
look at the nature of love, how it affects others, and how it endures
over time.
2/3
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 THE 50TH ANN ARBOR FILM FESTIVAL TRAVELING TOUR –
NEW 16MM FILMS!
Los Angeles Filmforum brings the 16mm show of the Ann Arbor Film
Festival Tour to Los Angeles, a great program of short films including
recent experimental, narrative, documentary and animated films from
across the US all in 16mm. Featuring two films from LA as well, and
multiple premieres in Los Angeles! The highlights are constant. Several
makers intensely deal with materials, sometimes of film, sometimes of
other sources (yarn or garbage or old film clips) to find their beauty.
Explorations of natural and intensely human-built spaces; abstractions;
fun and games; books and classic tales; pinhole lenses and the electric
currents on which our society runs – all come into play. Come see what
can be done in film – real living celluloid – today! Charlotte Pryce in
person! Tickets: $10 general, $6 students/seniors; free for Filmforum
members. Available by credit card in advance from Brown Paper Tickets at
http://www.brownpapertickets.com/event/319073 or by cash or check at the
door Screening: Passage Upon The Plume by Fern Silva (2011, Brooklyn,
NY, 7 min., silent - L.A. premiere), Tokyo-Ebisu Tomonari Nishikawa
(2010, Binghamton, NY, 5 min), Point de Gaze Jodie Mack (2012, Lebanon,
NH, 5 min., silent), A Preface to Red Jonathan Schwartz (2011,
Brattleboro, VT, 6 min - L.A. premiere), Under the Shadow of Marcus
Mountain Robert Schaller (2011, Ward, CO, 6 min., silent - L.A.
premiere), Curious Light Charlotte Pryce (2011, Los Angeles, CA, 4 min.,
silent - L.A. premiere), The Electrical Embrace Norbert Sheih (2011, Los
Angeles, CA, 2 min., silent), Craig's Cutting Room Floor Linda Scobie
(2011, San Francisco, CA, 2 min., silent - L.A. premiere), Undergrowth
Robert Todd (2011, Boston, MA, 12 min. - L.A. premiere), Landfill 16
Jennifer Reeves (2011, New York, NY, 9 min. - L.A. premiere)
Enter your event announcements by going to the Flicker Weekly Listing Form
at http://www.hi-beam.net/cgi-bin/thisweek.pl
The weekly listing is also available online at Flicker:
http://www.hi-beam.net
More information about the FrameWorks
mailing list