[Frameworks] This week [March 23 - 31, 2013] in avant garde cinema
Weekly Listing
weeklylisting at hi-beam.net
Sat Mar 23 13:44:58 UTC 2013
This week [March 23 - 31, 2013] in avant garde cinema
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ITEM FOR SALE:
==============
Eupraxis Media Art Procedures Deck
http://www.hi-beam.net/cgi-bin/ann.pl?type=sale&readfile=33.ann
Electromediascope 20th Anniversary catalogry
http://www.hi-beam.net/cgi-bin/ann.pl?type=sale&readfile=34.ann
NEW CALLS FOR ENTRIES:
=====================
Plug Projects: FPS (Kansas City, MO, USA; Deadline: April 05, 2013)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1569.ann
DEADLINES APPROACHING:
======================
Hamburg Short Film Festival (Hamburg, Germany; Deadline: April 01, 2013)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1498.ann
ImagineIndia International Film Festival (Madrid; Deadline: March 31, 2013)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1503.ann
Festival du Film Merveilleux & Imaginaire (France; Deadline: April 01, 2013)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1510.ann
URBAN RANCH PROJECT (Facebook; Deadline: March 31, 2013)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1521.ann
Esperimental Documentaries (New York, NY; Deadline: April 15, 2013)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1522.ann
filmarmalade (london, united kingdom; Deadline: April 01, 2013)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1533.ann
Haverhill Experimental Film Festival (Haverhill, MA, USA; Deadline: April 15, 2013)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1539.ann
Termite TV (Baltimore, MD USA; Deadline: March 29, 2013)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1540.ann
Termite TV (Philadelphia, PA USA; Deadline: March 29, 2013)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1542.ann
MudasFest (Portugal; Deadline: April 05, 2013)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1544.ann
Familius Family International Fim Festival (Provo, UT, USA; Deadline: March 31, 2013)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1545.ann
Liaison of Independent Filmmakers of Toronto (Toronto, Ontario, Canada; Deadline: April 01, 2013)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1546.ann
The White House Studio Project (Toronto, ON, Canada; Deadline: March 25, 2013)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1548.ann
Con i minuti contati - International Short Film Festival (Montefalco, Umbria, Italy; Deadline: April 15, 2013)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1553.ann
Video Art Festival Miden (Greece; Deadline: March 31, 2013)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1555.ann
Rencontres Internationales Sciences et Cinémas (Marseilles, France; Deadline: April 15, 2013)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1559.ann
Somerville Open CInema (Somerville, MA 02143; Deadline: April 05, 2013)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1564.ann
Exuberant Politics (Iowa City, IA; Deadline: April 21, 2013)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1565.ann
Plug Projects: FPS (Kansas City, MO, USA; Deadline: April 05, 2013)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1569.ann
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THIS WEEK'S PROGRAMS (SUMMARY):
==============================
* New Works Salon [March 23, Los Angeles, California]
* Behindert [March 23, New York, New York]
* Sat. 3/23: Western Psycho-Geographies + Jackie-O Motherfucker + [March 23, San Francisco, California]
* Sight Unseen Presents Ben Russell's Trypps #1-7 [March 24, Baltimore, MD]
* Triple Blind: Bradley Eros, Jeanne Liottoa, Kenneth Curwood [March 24, Brooklyn NY]
* L.A. Filmforum Presents Parable By Jon Jost [March 24, Los Angeles, California]
* Essential Cinema: Carriage Trade [March 24, New York, New York]
* 70 Letters [March 24, New York, New York]
* Grahame Weinbren "70 Letters" [March 24, New York, New York]
* Faces: 2 Works By Stephen Dwoskin [March 25, Brooklyn, New York]
* Essential Cinema: Kino-Eye [March 25, New York, New York]
* Essential Cinema: Forward, Soviet! [March 25, New York, New York]
* Hollis Frampton's Poetic Justice + Beatrice Gibson's the Tiger's Mind [March 26, Brooklyn, NY]
* Workers Leaving the Factory [March 27, Austin, TX]
* 7th Film-Makers' Cooperative Benefit Concert and Art Auction [March 27, New York, NY]
* Focus Group: the Screening Room With Suzan Pitt [March 28, Austin, TX]
* <B>L.A. Rebellion</B> [March 28, Chicago, Illinois]
* Walter Ungerer [March 28, Lewiston]
* La Air: Kate Brown [March 28, Los Angeles, California]
* Essential Cinema: Man With A Movie Camera [March 28, New York, New York]
* Essential Cinema: Enthusiasm [March 28, New York, New York]
* Walter Ungerer [March 28, Portland]
* The Illuminations of Nathaniel Dorsky - Filmmaker In Person [March 29, Cambridge, Massachusetts]
* The Real World At Last Becomes A Myth: Jeanne Liotta [March 29, New York, NY]
* Jeanne Liotta Program 1 [March 29, New York, New York]
* Jocelyne Saab, RÉTrospective À La
CinÉMathÈQue FranÇaise [March 29, Paris, France]
* The Illuminations of Nathaniel Dorsky - Filmmaker In Person [March 30, Cambridge, Massachusetts]
* Walter Ungerer [March 30, Lewiston]
* Hearkenings Presents Two Films By Newsreel [March 30, Los Angeles, California]
* Essential Cinema: A Sixth of the World [March 30, New York, New York]
* Jeanne Liotta Program 2 [March 30, New York, New York]
* Jeanne Liotta Program 3 [March 30, New York, New York]
* Walter Ungerer [March 30, Portland]
* Sat. 3/30: Adam Parfrey's Ritual America [March 30, San Francisco, California]
* Essential Cinema: the Eleventh Year [March 31, New York, New York]
* Three Songs About Lenin [March 31, New York, New York]
Events are sorted by CITY within each DATE.
------------------------
SATURDAY, MARCH 23, 2013
------------------------
3/23
Los Angeles, California: Echo Park Film Center
http://www.echoparkfilmcenter.org/
8 pm, 1200 N. Alvarado St.
NEW WORKS SALON
Several local and visiting artists will present in-progress or recently
completed works in an informal screening with brief introductions by the
artists and time for discussion between each work. This month's artists
include Lisa Marr, an award-winning filmmaker, writer and musician,
Lisa's work has been performed and exhibited throughout the world. Also
on the program is a new work by Yelena Zhelezov, a Belarusian-Israeli
artist and director based in Los Angeles. Yelena's work investigates the
representation of body biological and social, and as such takes form of
video projection, participatory installation, and puppetry/object
performance. Yelena stages considerations of film, language, and
architecture that manage to be both whimsical and critically engaged.
She uses strategies of research, editing, and accidents in her practice.
Also a live performance by Jeremy Rourke, a self taught animator and
musician from San Francisco. He uses paper, paint, shadows, wood, glass,
photographs, charcoal, flowers, tape, pens, pencils, sticks and leaves
to piece together his animations, which are set to his own music.
3/23
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
9:15 pm, 32 2nd Avenue
BEHINDERT
See notes for March 16, 7 pm.
3/23
San Francisco, California: Other Cinema
http://www.othercinema.com/
8:30 PM, 992 Valencia St
SAT. 3/23: WESTERN PSYCHO-GEOGRAPHIES + JACKIE-O MOTHERFUCKER +
Ending our psycho-geo triptych with a focus on the American West: Four
premieres, all in fact, by women. Kathryn Ramey's 16mm West: What I Know
About Her retraces Elizabeth Crandall Perry's 19th Century expedition to
the Northwest. Her experimental approach rhymes with that of Marcy
Saude, whose Sangre de Cristo explores the rich cultural terrain around
that famous New Mexican range. Oregonian Vanessa Renwick arrives to
debut her Portland Meadows, a meticulously-observed essay on that
eponymous racetrack, and Brigid McCaffrey delivers AM/PM, a curious
engagement with a displaced gold miner. PLUS Bill Daniel's Texas City,
Greta Snider's Urine Man, and Steve McQueen's Bullitt production-short.
The Jackie-O quartet dialogues with multiple film projections, including
the banned section of David Wojnarowicz' Fire in My Belly. $7.
----------------------
SUNDAY, MARCH 24, 2013
----------------------
3/24
Baltimore, MD: Sight Unseen
7:30, 12 W. North Avenue
SIGHT UNSEEN PRESENTS BEN RUSSELL'S TRYPPS #1-7
Doors @ 7:30pm, Films @ 8pm. - All films shown on 16mm. - Sight Unseen
is happy to show the entirety of Ben Russell's TRYPPS series in
Baltimore for the first time. Ben has come and shown his films in
Baltimore several times over the last few years, and we're excited to
present a culmination of that work. - "Using a fabricated Old
English word as its guiding principle, this ongoing series of (mostly)
16mm films is conceptually organized around the possible meanings that
its title elicits – physical voyages, psychedelic journeys, and a
phenomenological experience of the world. - Begun in 2005 in a somewhat
vain attempt to hold cinema up as a mirror to the live and fully
embodied reception of the crazy noise music scene in Providence, Rhode
Island, the TRYPPS films quickly expanded their formal and critical
language to include the various poles of action painting, avant-garde
cinema, portraiture, stand-up comedy, global capitalism, and
trance-dance a lá Jean Rouch. While the form of these works varies
radically from one to the next, when taken as a whole they can be seen
to enunciate a broader project of "psychedelic ethnography" – a
practice whose aim is a knowledge of the Self/self, a movement towards
understanding in which the trip is both the means and the end." -
– Ben Russell - For more information on the individual TRYPPS
films and Ben Russell, please visit http://www.sightunseenbaltimore.com/
- $5 General Admission
3/24
Brooklyn NY: Microscope Gallery
http://www.microscopegallery.com
Opening 6 to 9PM, 4 Charles Place
TRIPLE BLIND: BRADLEY EROS, JEANNE LIOTTOA, KENNETH CURWOOD
film and slide show works on exhibit through April 15. MIcroscope is
extremely pleased to present Triple Blind an exhibition of moving-image
installations and objects by Bradley Eros, Jeanne Liotta and Kenneth
Curwood. Each of the artists – who have previously shown works with the
gallery and are also friends and collaborators – work in multiple
mediums, with an emphasis on light-based forms, including film and
expanded cinema. While acknowledging these and other shared interests
including the usage of found footage, cameraless cinema, decay and
deterioration processes, and – perhaps most strongly – science and its
connection to art, Triple Blind strives to avoid making assumptions or
postulations about the relationships among these artists and their
current practices. For Triple Blind, Eros, Liotta, and Curwood were
invited to contribute installations of their own choosing, independent
of subject matter and without knowledge of the other artists in the
show. The approach - as the name suggests – is one of random control,
not only in curation, but also in the inherent nature of the film and
slide installations on view. Additional info: www.microscopegallery.com.
tel: 347.925.1433. info at microscopegallery.com. Nearest subwayç J-M-Z
Myrtle/Broadway. Other options L Morgan Ave or Jefferson Street.
3/24
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 PARABLE BY JON JOST
Los Angeles premiere — with filmmaker Jon Jost in person! PARABLE works
on a visual and visceral level for which a synoptic summary is
impossible. It is a reflection of The Time of Bush in America, a squalid
period of corruption equal to our country's worst, or, as if possible,
even the worst. The film tackles this era with a melange of genres
typical of our culture, a culture which distills in reality down to
cartoons and in which a trajectory from domestic melodrama leads
axiomatically to Abu Ghraib. PARABLE is history as farce, an American
tragedy limned by the Flintstones and Simpsons, where seriousness has
been subsumed by "reality TV," and the populace has been reduced to
zombie-like consumers busy eating themselves. Read Dennis Grunes' review
at http://www.jon-jost.com/work/parable2.html. Screening: Parable (2008,
Digital Video, Color, Sound, 72 min.), preceded by the LA Premiere of
the short film A Walk Through Waseda Garden! Tickets: $10 general, $6
students/seniors; free for Filmforum members. Available by credit card
in advance from Brown Paper Tickets or by cash or check at the door.
3/24
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
5:15 pm, 32 2nd Avenue
ESSENTIAL CINEMA: CARRIAGE TRADE
by Warren Sonbert 1973 version, 61 min, 16mm "My magnum opus. Travels
over four continents in six years." –W.S. "With CARRIAGE TRADE, Sonbert
began to challenge the theories espoused by the great Soviet filmmakers
of the 1920s; he particularly disliked the 'knee-jerk' reaction produced
by Eisensteinian montage. In both lectures and writings about his own
style of editing, Sonbert described CARRIAGE TRADE as 'a jig-saw puzzle
of postcards to produce varied displaced effects.' This approach,
according to Sonbert, ultimately affords the viewer multi-faceted
readings of the connections between shots through the spectator's
assimilation of 'the changing relations of the movement of objects, the
gestures of figures, familiar worldwide icons, rituals and reactions,
rhythm, spacing, and density of images." –Jon Gartenberg
3/24
New York, New York: Experimental Intermedia
http://www.experimentalintermedia.org/concerts/13/march13.shtml
9pm, 224 Center Street
70 LETTERS
I have been screening Letters as a continuing, unfolding work for about
6 years. It consists of an indeterminate number of films, each one
minute in duration, and connected―somehow―with a letter of
the alphabet. I see the work as a kind of container of and test-ground
for ideas: certainly ideas about cinema, both technical and conceptual,
but also another kind of idea, the externalization of an inner life,
inasmuch as that tired phrase describes anything. ---- * * * ---- For
each screening of the piece I remove some Letters and add others. In the
EI screening, there will be about 70 Letters, including some that are
quite personal and private, and some which I have never shown to anyone.
The subjects range from portraiture to still life, from musical to
memorial, from landscape to kitchen, from manic to depressive. ---- * *
* ---- Letters is a single work that constantly changes over the years,
shedding some parts and gaining others. There isn't and won't be a
definitive version of the piece―it is deliberately elusive,
impossible to pin down as a single object. The upper limit will be 100
Letters, if I make it that far―but the 100 Letters version will,
like any living creature, always be in the process of discarding some
cells while growing new ones.
3/24
New York, New York: Experimental Intermedia
http://www.experimentalintermedia.org/concerts/13/march13.shtml
9pm, 224 Center Street
GRAHAME WEINBREN "70 LETTERS"
I have been screening Letters as a continuing, unfolding work for about
6 years. It consists of an indeterminate number of films, each one
minute in duration, and connected―somehow―with a letter of
the alphabet. I see the work as a kind of container of and test-ground
for ideas: certainly ideas about cinema, both technical and conceptual,
but also another kind of idea, the externalization of an inner life,
inasmuch as that tired phrase describes anything. ---- * * * ---- For
each screening of the piece I remove some Letters and add others. In the
EI screening, there will be about 70 Letters, including some that are
quite personal and private, and some which I have never shown to anyone.
The subjects range from portraiture to still life, from musical to
memorial, from landscape to kitchen, from manic to depressive. ---- * *
* ---- Letters is a single work that constantly changes over the years,
shedding some parts and gaining others. There isn't and won't be a
definitive version of the piece―it is deliberately elusive,
impossible to pin down as a single object. The upper limit will be 100
Letters, if I make it that far―but the 100 Letters version will,
like any living creature, always be in the process of discarding some
cells while growing new ones.
----------------------
MONDAY, MARCH 25, 2013
----------------------
3/25
Brooklyn, New York: Microscope Gallery
http://www.microscopegallery.com
7PM, 4 Charles Place (at Myrtle between Bushwick & Evergreen Aves)
FACES: 2 WORKS BY STEPHEN DWOSKIN
80 minute program. Admission $6. In conjunction with the first major NY
retrospective of works by Brooklyn-born filmmaker Stephen Dwoskin,
"Kissing the Moon" at Anthology Film Archives (March 15 – 24)
co-organized by Microscope's own Andrea Monti, we are very pleased to
present "Faces", a program of two works exploring the depths of the
female face. What is concealed in the creases of the skin, in a look, an
expression, and how can a face carry on its surface all the memories,
hopes, thoughts, emotions of an individual? In "Face Anthea", a single,
60 minute close-up of the face of a filmmaker's friend, the viewer is
forced into the prolonged observation of a woman silently looking at the
camera as though she were keeping an unspeakable secret. The other
featured video, "Lost Dreams" gathers moments of intimacy spent by the
artist with different women in what appears to be before or after sexual
intercourse. The work is approached with great disenchantment, and
pervaded by the melancholy of the ones who, perhaps, can no longer
dream. Stephen Dwoskin was influential in both American and European
avant garde cinema, working with both film and video in short and
feature-length formats until his death last summer resulting from
complications from polio, which he had suffered from since childhood.
Dwoksin was among the original founders of the London Film-maker's Co-op
and the author of FILM IS... Full Program Notes and more info:
www.microscopegallery.com. Nearest subway: J/M/Z - Myrtle/Broadway.
Other options: L Morgan Ave or Jefferson Street. B54 - Myrtle/Willoughby
stop. tel: 347.925.1433.
3/25
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
7:30 pm, 32 2nd Avenue
ESSENTIAL CINEMA: KINO-EYE
by Dziga Vertov 1925, 70 min, 16mm, b&w, silent
3/25
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
9:15 pm, 32 2nd Avenue
ESSENTIAL CINEMA: FORWARD, SOVIET!
by Dziga Vertov With Russian intertitles, English synopsis available;,
1925-26, 73 min, 35mm, b&w, silent
-----------------------
TUESDAY, MARCH 26, 2013
-----------------------
3/26
Brooklyn, NY: Light Industry
http://www.lightindustry.org/
7:30, 155 Freeman Street
HOLLIS FRAMPTON'S POETIC JUSTICE + BEATRICE GIBSON'S THE TIGER'S MIND
Poetic Justice, Hollis Frampton, 16mm, 1972, 31 mins, The Tiger's Mind,
Beatrice Gibson, HD, 2012, 23 mins - In 1972, Hollis Frampton made a
film from a script, but not in the way you'd expect. He completed Poetic
Justice, which he called "a film script in the act of becoming a film,"
consisting of a series of consecutive images of a handwritten
screenplay. The stack of letter-size paper is situated on a table (as
Frampton put it, "between a cactus, since unfortunately deceased, and a
cup of coffee"), and the shots of its 240 pages are interrupted by flash
frames. Like (nostalgia), which would also come to serve as one of the
seven works in Frampton's Hapax Legomena cycle, Poetic Justice plays
with the optical and conceptual relationships between the still and
moving image, between photography and film, describing a second-person
narrative about lovers with cameras that takes place at the moment of
its reading, in the invisible cinema of the spectator's imagination. Or,
as Annette Michelson observed, "the projection is that of a film as
consonant with the projection of the mind." - In 2012, Beatrice Gibson
played a musical score, but not in the way you'd expect. She took
composer Cornelius Cardew's 1967 narrative score The Tiger's Mind and
rethought its sextet of characters—Tiger, Mind, Tree, Wind,
Circle, and Amy—as the elements in a film production—the
set, music, sounds, special effects, director, and narration,
respectively. With five collaborators—artist Jesse Ash, architect
Céline Condorelli, designer Will Holder, and musicians John
Tilbury and Alex Waterman—she used Cardew's piece as the basis for
four week-long conversations, which in turn led to the development of
the film itself. Set in and around a Brutalist villa, the result took
the form of an elliptical crime story, with each character's
contribution working against the others in a dialectical struggle. For
the viewer, The Tiger's Mind functions as a kind of philosophical
riddle, pointing back through its many layers of becoming to Cardew's
enigmatic notation. "I suggested another kind of language, the language
of things, the language of shapes, surfaces, and wide screens. I
suggested speaking through objects and glass. The film became the
landscape of those things, the thing made up of those things, the
remnants of a conversation." - Tickets - $7, available at door. - Please
note: seating is limited. First-come, first-served. Box office opens at
7pm.
-------------------------
WEDNESDAY, MARCH 27, 2013
-------------------------
3/27
Austin, TX: Mad Stork Cinema
9pm, Studio 4D / CMB / UT Campus at Dean Keaton and Guadalupe
WORKERS LEAVING THE FACTORY
Mad Stork Cinema presentes a screening devoted to the genesis of movies,
WORKERS LEAVING THE FACTORY by the Lumiere Brothers! Mad Stork will be
screening the original Lumiere piece on films, along with several other
works that tackle this moment of origin. Including work by Harun
Farocki, Eve Heller, Les Leveque, Ben Russell along with several other
Lumiere films and surprises! La Sortie des usines Lumière à Lyon by
Auguste and Louis Lumiere 46sec / 16mm / silent / 1895 Often referred to
as the first film ever made (although Roundhay Garden Scene by Louis Le
Prince was made seven years before), the film consists of a single shot
of workers leaving the Lumiere photographic goods factory in
Lyon-Montplaisir. Originally shot on 35mm, presented in 16mm. Workers
Leaving the Factory by Harun Farocki 36min / digital video / sound /
1995 Workers Leaving the Factory – such was the title of the first
cinema film ever shown in public. For 45 seconds, this still-existent
sequence depicts workers at the photographic products factory in Lyon,
owned by the brothers Louis and Auguste Lumière, hurrying, closely
packed, out of the shadows of the factory gates and into the afternoon
sun. Only here, in departing, are the workers visible as a social group.
But where are they going? To a meeting? To the barricades? Or simply
home? Astor Place by Eve Heller 10min / 16mm / silent / 1997 Passersby
at Astor Place in New York City speak silent volumes as they move by the
mirrored surface of a diner window. I wanted to capture the unscripted
choreography of the street, its dance of gazes and riddle of identities.
This film is informed by the work of the Lumiere brothers, with an eye
to permeating an authority of the static camera and establishing a
question as to who is watching whom. – Eve Heller. Workers Leaving the
Factory (Dubai) by Ben Russell 8min / 16mm / silent / 2008 "115 years
later, a(nother) remake of the Lumiere Brothers pseudo-actuality film La
Sortie des usines Lumière. This time around our factory is a job site, a
construction site peopled by thousands of Southeast Asian laborers, a
neo-Fordist architectural production site that manufactures skyscrapers
like so many cars." – BR. Workers Leaving the Factory – 10 Days That
Shook the World by Les Leveque 13min / digital video / sound / 2011
Workers Leaving the Factory – Ten Days that Shook the World –
downloaded, repeatedly recompressed and reversed V.1 is a 13-minute
re-edit of the film Workers Leaving The Lumière's Factory in Lyon.
Famously, in 1895 the Lumières assembled approximately 100 workers and
crowded them together behind the gates of their factory.
3/27
New York, NY: Filmmakers Co-op
7pm, Santos Party House, 96 Lafayette Street
7TH FILM-MAKERS' COOPERATIVE BENEFIT CONCERT AND ART AUCTION
TICKETS AVAILABLE NOW!!! - A highlight of the concert season for many,
this year's Film-Makers' Cooperative Benefit Concert and Art Auction
features performances by Laurie Anderson, Ken Jacob's Nervous Magic
Lantern Performance to music by J.G. Thirlwell, John Zorn and the Aleph
Trio performing with Wallace Berman's "Aleph", Nomi Ruiz,
Transgendered Jesus, and Zero Times Everything! Musicians will be paired
with rare screenings of experimental films from FMC's collection. - John
Torreano will be MC of the evening! - The concert is also a silent art
auction and this year Jonas Mekas has donated a special artwork along
with works by Carolee Schneemann, Peggy Ahwesh, Ken Jacobs, Molly Surno,
Coleen Fitzgibbon, Tom Otterness, Bill Brand, Bradley Eros, Richard
Sylvarnes, Hal Hartley, among many others. - Tickets are $40 and are
available online at http://www.brownpapertickets.com/event/345515 or at
the door. - Contact filmmakerscoop at gmail.com or call 212-267-5665 for
more information. - Visit us on the web at www.film-makerscoop.com. -
Image: JG Thirwell by Marylene Mey. - Funding in part from the New York
State Council on the Arts and the New York Department of Cultural
Affairs.
------------------------
THURSDAY, MARCH 28, 2013
------------------------
3/28
Austin, TX: Experimental Response Cinema
http://ercatx.org
7pm, Visual Arts Center, UT Campus, Art Building, 23rd and San Jacinto Streets
FOCUS GROUP: THE SCREENING ROOM WITH SUZAN PITT
Join us for the second edition of the Visual Art Center's series
featuring Robert Gardner's The Screening Room! For this screening, the
Visual Arts Center will be showing the episode focusing on animator
Suzan Pitt. Preceding The Screening Room, ERC's Rachel Stuckey will do a
presentation on women animators and showcase films by Janie Geiser,
Daina Krumins and Gunvor Nelson. All films will be on 16mm. - Rachel
Stuckey is a moving image artist and native Austinite who works
primarily with video, film, and across media in live-action and
animation to make exploratory, non-narrative films. She holds a BFA in
Experimental Filmmaking from the University of Colorado at Boulder and
will begin her graduate studies in Transmedia at The University of Texas
this fall. - Program: Secret Story by Janie Geiser 8.30min / 16mm /
sound /1996 Music composed and arranged by Dick Connette. Vocals by
Sonya Cohen. Music produced and arranged by Dick Connette and Scott
Lehrer, engineered by Scott Lehrer. Soundtrack by Janie Geiser and Dick
Connette, engineered by Beo Morales. The Secret Story arose as a
response to several beautifully decayed toy figures from the 1930's that
were given to me as a gift. These figures, and other toys, objects, and
illustrations that I found from the period between the world wars,
suggested a kind of unearthed hidden narrative which I have attempted to
re-piece together, as if these figures were the hieroglyphics of a
just-forgotten tongue. The Secret Story revolves around the central
figure of the woman, and her girl-double, who look somewhat like a
versions of Snow White. She wanders through landscapes of rivers and
floods, home and war, and memory and illness, culminating in an ecstatic
walk in the forest, suggesting both the dark and cathartic trajectories
of the richest fairy tales. - Janie Geiser Babobilicons by Daina Krumins
16min / 16mm / sound / 1982 "Daina Krumins's 1982 BABOBILICONS is a
spectacular special-effects study of molds, mushrooms and similar
vegetation." - Richard Shephard, The New York Times Field Study #2 by
Gunvor Nelson 8min / 16mm / sound / 1988 Another collage film. Part of
the on-going series of "Field Studies" (which includes FRAME LINE, LIGHT
YEARS, and LIGHT YEARS EXPANDING) combining live action with animation.
Superimpositions of dark pourings are perceived through the film.
Suddenly a bright color runs across the picture and delicate drawings
flutter past. Grunts from animals are heard. - GN
3/28
Chicago, Illinois: Conversations at the Edge
http://www.saic.edu/cateblog
6:00pm, Gene Siskel Film Center / 164 N. State St.
L.A. REBELLION
Introduced by co-curator Jacqueline Stewart. From the early 1970s
through the late 1980s, a group of African and African American
filmmakers emerged from UCLA's film school with a body of provocative
and visionary works. Referred to now as the L.A. Rebellion, this group
would have a radical impact on black cinematic practice and alternative
filmmaking in the U.S. This program kicks off a multi-institutional
series in Chicago exploring the L.A. Rebellion. Introduced by series
co-curator Jacqueline Stewart, it features shorts by Ben Caldwell, Julie
Dash, O.Funmilayo Makarah, Barbara McCullough, and Elyseo J. Taylor.
Presented in association with UCLA Film & Television Archive and
supported in part by grants from the Getty Foundation and the Andy
Warhol Foundation for the Visual Arts, the L.A. Rebellion series is
curated by Allyson Nadia Field, Jan-Christopher Horak, Shannon Kelley,
and Jacqueline Stewart. Upcoming screenings will take place at the
University of Chicago's Logan Center and Northwestern University's Block
Museum.
3/28
Lewiston: Maine Public Broadcasting Network
10:30 PM, Maine Public Television Channel 10
WALTER UNGERER
A program about media artist Walter Ungerer will be aired on MPBN (Maine
Public Broadcasting Network) on March 28, 10:30 PM and again on March
30, 11:30 AM. The program is comprised of first a short documentary
about Ungerer, and then his recent film PARVA SED APTA MIHI. The
documentary was produced by students of the College of the Atlantic
media production program under the supervision of two of the school's
media instructors, David Camlin and Petra Simmons. Hannah Piper Burns of
the Experimental Film Festival, Portland, Oregon writing about PARVA SED
APTA MIHI describes the film this way, "In a surreal and psychedelic
atmosphere the film deals with life, freedom, and transcendence of
limitations". PARVA SED APTA MIHI uses the short form, and is
representative of Ungerer's layering style of building visual sequences.
For years he was noted for using the long form (films over 75 minutes)
shooting narrative films with concern for static shots devoid of any
camera movement but with careful concern for composition, suggesting a
painterly quality. This is no surprise since Ungerer studied fine and
graphic arts at Pratt Institute in the 1950s. His willingness to begin
to embrace the computer in the 1990s is a change thought by some to be
brought about by the prohibitively more expensive cost of film in the
style Ungerer was accustomed to shooting. To focus on the visual
qualities of Ungerer's films without mentioning the ethereal, meditative
tones they eschew, is to miss the most important part of his work, the
ability to take the viewer to another realm, another space, as Hannah
Piper Burns describes PARVA SED APTA MIHI, "In a surreal and psychedelic
atmosphere the film deals with life, freedom, and transcendence of
limitations".
3/28
Los Angeles, California: Echo Park Film Center
http://www.echoparkfilmcenter.org/
8 pm, 1200 N. Alvarado St.
LA AIR: KATE BROWN
LA AIR is a new artist-in-residence program that invites Los Angeles
filmmakers to utilize EPFC resources in creating a new work over a
four-week period. March LA AIR resident Kate Brown will screen her new
16mm film Vilas Kortas, celebrating cars, film, sound, and Los Angeles.
The evening will include a short program of other car films. Kate Brown
lives in Los Angeles. She makes 16mm films and works on paper. Her films
have been shown at Anthology Film Archive and Museum of Modern Art in
New York, and at the Schindler House, Barnsdall, and Calarts in Los
Angeles. Free event!
3/28
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
7:00 pm, 32 2nd Avenue
ESSENTIAL CINEMA: MAN WITH A MOVIE CAMERA
by Dziga Vertov 1929, 104 min, 35mm, b&w, silent (CHELOVEK S
KINO-APPARATOM) "Little introduction is needed for one of the great
masterpieces of world cinema, Vertov's extraordinary meditation on
then-contemporary Soviet Russian society and the place of filmmakers
within it. A kind of 'city symphony,' cataloguing the sights and sounds
of urban life, the film is structured across a day, beginning with
citizens waking up while machines are revved up. As Vertov shows us,
among the first heading off to work is the 'man with the movie camera,'
played in the film by his brother and cameraman Mikhail Kaufman. For
Vertov, the camera was a kind of infinitely more perfect eye: it could
offer details and aspects of the world that might be missed otherwise."
–FILM SOCIETY OF LINCOLN CENTER
3/28
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
9:15 pm, 32 2nd Avenue
ESSENTIAL CINEMA: ENTHUSIASM
by Dziga Vertov In Russian with no subtitles, English synopsis
available, 1931, 67 min, 35mm, b&w
3/28
Portland: Maine Public Broadcasting Network
10:30 PM, Maine Public Television Channel 10
WALTER UNGERER
A program about media artist Walter Ungerer will be aired on MPBN (Maine
Public Broadcasting Network) on March 28, 10:30 PM, March 30, 11:30 AM,
and again on April 8, 12:30 AM. The program is comprised of first a
short documentary about Ungerer, and then his recent film PARVA SED APTA
MIHI. The documentary was produced by students of the College of the
Atlantic media production program under the supervision of two of the
school's media instructors, David Camlin and Petra Simmons. Hannah Piper
Burns of the Experimental Film Festival, Portland, Oregon writing about
PARVA SED APTA MIHI describes the film this way, "In a surreal and
psychedelic atmosphere the film deals with life, freedom, and
transcendence of limitations". PARVA SED APTA MIHI uses the short form,
and is representative of Ungerer's layering style of building visual
sequences. For years he was noted for using the long form (films over 75
minutes) shooting narrative films with concern for static shots devoid
of any camera movement but with careful concern for composition,
suggesting a painterly quality. This is no surprise since Ungerer
studied fine and graphic arts at Pratt Institute in the 1950s. His
willingness to begin to embrace the computer in the 1990s is a change
thought by some to be brought about by the escalating costs of producing
a film. To focus on the visual qualities of Ungerer's films without
mentioning the ethereal, meditative tones they eschew, is to miss the
most important part of his work, the ability to take the viewer to
another realm, another space, as Hannah Piper Burns describes it, "In a
surreal and psychedelic atmosphere the film deals with life, freedom,
and transcendence of limitations".
----------------------
FRIDAY, MARCH 29, 2013
----------------------
3/29
Cambridge, Massachusetts: Harvard Film Archive
http://hcl.harvard.edu/hfa
7pm, Harvard Film Archive, 24 Quincy Street
THE ILLUMINATIONS OF NATHANIEL DORSKY - FILMMAKER IN PERSON
This evening's program of three films represents a selection from work
made since my last appearance at the HFA. It has been a period of
adjustment, an attempt to find the affective beauty in the film stocks
that have survived the demise of Kodachrome, a stock I had shot all my
life. After two shorter attempts with the disappointingly thin Eastman
negative, I ventured into the murky world of Fuji negative. We will
begin with The Return, my first exploration within its strange and
intriguingly dark and silky palette, followed by August and After, a
second, more light-filled evocation of the Fuji, and finally with April,
a hybrid of Fuji negative and the new state of the art Eastman negative,
a stock which has opened for me a whole new range of color and imagery.
Each of these emulsions has its own sense of poetry, its own attractions
and emphasis within the world around us. I might mention that as of the
date of our screening, Fuji negative has also been terminated. –
Nathaniel Dorsky The Return US 2011, 16mm, color, silent, 27 min August
and After US 2012, 16mm, color, silent, 18.5 min April US 2012, 16mm,
color, silent, 26 min
3/29
New York, NY: Anthology Film Archives
http://www.anthologyfilmarchives.org/
7:30, 32 2nd Ave
THE REAL WORLD AT LAST BECOMES A MYTH: JEANNE LIOTTA
3 programs of films, video and projection performances by Jeanne Liotta:
SCIENCE MIX, Friday March 29, 730 pm, IRL MIX, Saturday March 30, 6 pm,
WORDY MIX, Saturday March 30, 8 pm--post screening conversation with
Anselm Berrigan -
http://anthologyfilmarchives.org/film_screenings/calendar?view=list&
month=03&year=2013#showing-40620
3/29
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
7:30 pm, 32 2nd Avenue
JEANNE LIOTTA PROGRAM 1
JEANNE LIOTTA: THE REAL WORLD AT LAST BECOMES A MYTH Whether focusing on
stars in the sky, documenting her Lower East Side neighborhood,
lyrically investigating language, or examining the inherent properties
of light and celluloid, Jeanne Liotta is undoubtedly one of the most
inquisitive moving image artists working today. Born and raised in NYC,
but currently teaching at the University of Colorado, Boulder, as well
as on Faculty in the Bard MFA program, Liotta makes films, videos, and
other ephemera – including photographs, works on paper, and live
projection performances. Her latest body of work takes place in a
constellation of mediums investigating the cosmic landscape, at a
curious intersection of art, science, and natural philosophy. These
three programs divide more than two decades of work into groupings that
revolve around science, the urban landscape (and its inhabitants), and
cinematic poetry. Throughout these shows you will encounter 35mm, 16mm,
Super 8mm, and video, each of which are employed in highly distinctive
ways. Liotta is an intrepid explorer who uses all the tools in her reach
both to investigate the nature of the medium and to engage with the
world (and the cosmos) around her. Unless noted, all descriptions
written by the filmmaker. PROGRAM 1: SCIENCE MIX. the poetry of facts.
BLUE MOON 1988, 3 min, Super 8-to-16mm. Preserved by BB Optics and NYU's
MIAP in 2012 with support from the Orphans Film Symposium. My very first
film, made for Owen O'Toole's FILMERS ALMANAC, an international
collaborative Super 8 project inspired in equal parts by Hollis
Frampton's 'Magellan' cycle of films and the cassette music underground.
Erratic, erotic, arrhythmic lunar trauma. LORETTA 2003, 4 min, 16mm.
Sound by Carlo Altomare. An abstract moving rayogram in the form of a
woman or an aria. Living in time experienced as high drama, dissolving
into the infinite. A dialectical manifestation of phenomena in flux,
like any other movie. "I love that which dazzles me and then accentuates
the darkness within me." –Rene Char ECLIPSE 2005, 3 min, 16mm The lunar
eclipse event of November 2003 is observed, documented, and translated
via the light-sensitive medium of Kodachrome film. In the 4th century
BCE Aristotle founded The Lyceum, a school for the study of all natural
phenomena pursued without the aid of mathematics, which was considered
too perfect for application on this imperfect terrestrial sphere. By eye
and hand, in the spirit of. OBSERVANDO EL CIELO 2007, 19 min, 16mm Seven
years of celestial field recordings gathered from the chaos of the
cosmos and inscribed onto 16mm film from various locations upon this
turning tripod Earth. This work is neither a metaphor nor a symbol, but
is feeling towards a fact in the midst of perception, which time flows
through. Natural VLF radio recordings of the magnetosphere in action
allow the universe to speak for itself. "The Sublime is Now." –Barnett
Newman "Amor Fati!" –Friedrich Nietzsche ONE DAY THIS MAY NO LONGER
EXIST 2005, 8 min. Live double projection performance, for 16mm loop and
archival travelogue, with colored filters, set to sound by Sun City
Girls. Lucretius has identified the substratum of everything that exists
with homogeneous atoms too small to be perceived. These atoms aggregate
by chance to produce the visible world, and by chance they will
eventually disperse, demolishing the cosmos as we know it. There are no
permanent beings beneath, within, or above the heavens. There are no
gods, and the universe manifests no final cause. WHAT MAKES DAY AND
NIGHT 1998, 10 min, 16mm This 1940s artifact is coupled with music by
Nino Rota to expose the existential skeleton in the closet: our perilous
journey on the planet Earth. A readymade film with the barest of
interventions. Thanks to Hollis, Federico, and Materials for the Arts.
"Jeanne Liotta dares to leave the perceived perfect." –Matthias Mueller
HYMN TO THE VOID 2006, 3 min, for 16mm film and hymnboard Work, for The
Night is Coming. SCIENCE'S TEN MOST BEAUTIFUL EXPERIMENTS 2005, 2 min
each, digital video Inspired by a 2005 Physics World magazine poll. #2:
GALILEO'S One of the first experimentalists was Galileo, who supposedly
dropped a feather and a hammer simultaneously from the Leaning Tower of
Pisa in order to demonstrate that the two would hit the ground at the
same time. Approximately 400 years later that trick still works,
courtesy NASA (1971). #10: FOUCAULT'S The California Academy of Sciences
in San Francisco houses this particular Foucault's Pendulum, where one
can go to watch the Earth rotating, by deduction. SWEET DREAMS 2009, 4
min, video Ostensibly a karaoke music video shot on location in Second
Life, featuring Sunshine Hernandoz as herself. A virtual derive, flying
through 360 degrees of a built environment, inclusive of random
encounters, poetic objects, and impossible architecture. A science
fiction dream of fluid identities and fantasy as a practice of everyday
life. "It is the possible we place before us." –Gilles Deleuze, on the
virtual Total running time: ca. 65 min.
3/29
Paris, France: La Cinémathèque française
7:30pm, 51 rue de Bercy
JOCELYNE SAAB, R&EACUTE;TROSPECTIVE &AGRAVE; LA
CIN&EACUTE;MATH&EGRAVE;QUE FRAN&CCEDILAISE
Reporter, photographe, scénariste, productrice, metteur en
scène, plasticienne, Jocelyne Saab est née et a grandi
à Beyrouth. Après avoir travaillé à la
télévision libanaise, en 1973 elle devient reporter de
guerre.
------------------------
SATURDAY, MARCH 30, 2013
------------------------
3/30
Cambridge, Massachusetts: Harvard Film Archive
http://hcl.harvard.edu/hfa
4:30pm, Harvard Film Archive, 24 Quincy Street
THE ILLUMINATIONS OF NATHANIEL DORSKY - FILMMAKER IN PERSON
Threnody US 2004, 16mm, color, silent, 25 min Alaya US 1987, 16mm,
color, silent, 28 min Compline US 2009, 16mm, color, silent, 18.5 min
The screening will be followed by a discussion about Nathaniel Dorsky's
work and its connection to Buddhism, the ineffable, and devotional
practices. Tickets for this and other free events hosted by the
"Imagining the Ineffable" Conference are available by registering on
their conference website. HFA members may also reserve tickets to this
screening by contacting Brittany Gravely.
3/30
Lewiston: Maine Public Broadcasting Network
11:30 AM, Maine Public Television Channel 10
WALTER UNGERER
A program about media artist Walter Ungerer will be aired on MPBN (Maine
Public Broadcasting Network) on March 28, 10:30 PM and again on March
30, 11:30 AM. The program is comprised of first a short documentary
about Ungerer, and then his recent film PARVA SED APTA MIHI. The
documentary was produced by students of the College of the Atlantic
media production program under the supervision of two of the school's
media instructors, David Camlin and Petra Simmons. Hannah Piper Burns of
the Experimental Film Festival, Portland, Oregon writing about PARVA SED
APTA MIHI describes the film this way, "In a surreal and psychedelic
atmosphere the film deals with life, freedom, and transcendence of
limitations". PARVA SED APTA MIHI uses the short form, and is
representative of Ungerer's layering style of building visual sequences.
For years he was noted for using the long form (films over 75 minutes)
shooting narrative films with concern for static shots devoid of any
camera movement but with careful concern for composition, suggesting a
painterly quality. This is no surprise since Ungerer studied fine and
graphic arts at Pratt Institute in the 1950s. His willingness to begin
to embrace the computer in the 1990s is a change thought by some to be
brought about by the prohibitively more expensive cost of film in the
style Ungerer was accustomed to shooting. To focus on the visual
qualities of Ungerer's films without mentioning the ethereal, meditative
tones they eschew, is to miss the most important part of his work, the
ability to take the viewer to another realm, another space, as Hannah
Piper Burns describes PARVA SED APTA MIHI, "In a surreal and psychedelic
atmosphere the film deals with life, freedom, and transcendence of
limitations".
3/30
Los Angeles, California: Echo Park Film Center
http://www.echoparkfilmcenter.org/
8 pm, 1200 N. Alvarado St.
HEARKENINGS PRESENTS TWO FILMS BY NEWSREEL
"Newsreel was conceived out of the progressive social movements of the
late 1960's. At the height of the Vietnam War and as liberation
movements mobilized worldwide, hundreds of artists and activists were
compelled to document events and issues which were being distorted or
ignored by the mass media. In December 1967, Newsreel was established in
New York City, and within two years, a national network of activist
documentary film collectives was formed, with chapters in Boston, Yellow
Springs, Chicago and Ann Arbor and San Francisco and other cities. This
network produced large numbers of short 16mm documentaries quickly and
inexpensively and would distribute them – almost always with someone
accompanying them to discuss the content, providing an alternative media
that would increase public awareness of topical issues. The goal,
though, was not just to educate, but to inspire action for change." --
Third World Newsreel. In this program, Hearkenings presents two of
Newreel's most important films: Off the Pig (1968, 15min, 16mm) "The
film on the Black Panther Party turns people's heads around, awing them
with the strength and the nature of the Panthers of which they may not
have previously conceived. We think this film is politically and
visually exciting -- it demands that people react to it, and not pass it
off. It is a film that evokes response with the most diverse kinds of
audiences -- liberals on their way to the film festival, students at
universities, the black community." -- San Fransisco Newsreel, Film
Quarterly. The Woman's Film (1970, 40min, 16mm presented on DVD) "The
Woman's Film was made entirely by women in San Fransisco Newsreel. It
was a collective effort between the women behind the camera and those in
front of it. The script itself" -- San Fransisco Newsreel. "The
protagonists are strong, perceptive women who bear witness to the
strength and self-awareness of the working class. They conquer
stereotypes and demolish myths. Despite its flaws, The Woman's Film is
one of Newsreel's greatest accomplishments." -- Bill Nichols, Cineaste.
3/30
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
4:00 pm, 32 2nd Avenue
ESSENTIAL CINEMA: A SIXTH OF THE WORLD
by Dziga Vertov With Russian intertitles, English synopsis available,
1926, 74 min, 35mm, b&w, silent
3/30
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
6:00 pm, 32 2nd Avenue
JEANNE LIOTTA PROGRAM 2
PROGRAM 2: IRL MIX. stylistic contaminations from the urban field. "o
little jeannie" anon, unknown date, 3 min, 8mm My fake autobiography.
HEPHAESTUS OF THE AIRSHAFT 2005, 3 min, digital video The god of
metallurgy manifests in Manhattan, with the radio on. A YEAR OF YOUTUBE
A random mix of my point 'n' shoot urban field recordings; here comes
everybody. CROSSWALK 2010, 18 min, 35mm "'Nuyo-realism' from the streets
of Manhattan's Lower East Side, CROSSWALK is a locative portrait in
sound and image, shot at the intersection of home movie and cinema
vérité. Participation and observation take place on consecutive Good
Fridays, highlighting the hybrid urban collage of peoples, cultures, and
performances in daily life. A set of physical facts and a groove."
–Michael Sicinski, GREEN CINE DAILY "The cinema is an explosion of my
love for reality." –Pier Paolo Pasolini MANIFESTO! (STRUCK BY THE HAND)
2001, 11 min, digital video. With Andrew Castrucci. A guerilla action
performed on the steps of The Met, by Italo Zamboni, the last painter of
the 20th century. OCCUPY DENVER 2011, 4 min, Super-8mm A matter of
record. SUTRO 2009, 3 min, digital video. Sounds by Scanner. Animated
glitch portrait of the eponymous television tower on the hill, guardian
of fog and electronic signals in that earthshaking city by the Bay…
"Like the two main strands of the accompanying music (sustained minor
chords / fractured, hyperkinetic drum machine pitter-pat), SUTRO is
never not a clash of opposing forces. Get down with your bad-ass
Hegelian self." –Michael Sicinski, GREEN CINE DAILY
3/30
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
8:00 pm, 32 2nd Avenue
JEANNE LIOTTA PROGRAM 3
PROGRAM 3: WORDY MIX. words are working hard for you. Following this
program, Liotta will be take part in a conversation with poet Anselm
Berrigan! @movies (iPhoto slide installation) SWEET DREAMS 2009, 4 min,
video See above for description. WHAT WE AS HUMANS TRYING FALLIBLY
FOREVER 2006, DV loop A singular dissolve extracted from the media
haystack of the mid-20th century. HYMN TO THE VOID 2006, 3 min, for 16mm
film and hymnboard Work, for The Night is Coming. HAIKU FOR ONIZUKA
2007, 1 min, 16mm On January 28, 1986 the Challenger Mission 51-L set
out to observe Halley's Comet from space but exploded about one minute
into the launch killing everyone on board. A monument to the Challenger
astronaut Ellison J. Onizuka stands in Los Angeles's Little Tokyo, where
I made graphite rubbings from the plaque onto plain paper, resulting in
nearly a perfect haiku. Then refilmed to emphasize poetic structure, and
disaster duration. DARK ENOUGH 2011, 7 min, video. Text by Lisa Gil.
Text-as-text and text-as-image, avoiding poetic illustration by way of
poetic illustration. Lines from Lisa Gill's DARK ENOUGH. Sound composed
for 60 cycle speaker hum and Tibetan bell. SPONTANEOUS GEOMETRY (for Jen
Hofer) 2012, 1 min, video An occasional; made to celebrate Hofer's
recent award-winning translation of Myriam Moscona's NEGRO MARFIL, Les
Figues Press. SOME WORLDS 2012, 8 min, video. With Matvei Yankelevich. A
collaborative game for video, objects, voice and text, based on
Yankelevich's long poem 'Some Worlds for Dr Vogt.' "E a c h F o r m i s
a W o r l d" –M a l e v i c h LEXICON OF SPATIAL CONCEPTS FOR GIORDANO
BRUNO 2012 (work-in-progress), 2 min Pattern poetry and public speech.
Towards a working project in diverse media with a door at anyplace, a
film to be composed of interlocking passages inspired by Bruno's
L'infinito: cruciform wordplay, scientific visualization, lyrical social
media, interviews, and jargon. Raul Ruiz LE FILM A VENIR 1997, 9 min,
video Plot keywords: secret society, absurdism, non-professional cast,
meta film, cult director, film within a film. –IMDb
3/30
Portland: Maine Public Broadcasting Network
11:30 AM, Maine Public Television Channel 10
WALTER UNGERER
A program about media artist Walter Ungerer will be aired on MPBN (Maine
Public Broadcasting Network) on March 28, 10:30 PM, on March 30, 11:30
AM, and again on April 8, 12:30 AM. The program is comprised of first a
short documentary about Ungerer, and then his recent film PARVA SED APTA
MIHI. The documentary was produced by students of the College of the
Atlantic media production program under the supervision of two of the
school's media instructors, David Camlin and Petra Simmons. Hannah Piper
Burns of the Experimental Film Festival, Portland, Oregon writing about
PARVA SED APTA MIHI describes the film this way, "In a surreal and
psychedelic atmosphere the film deals with life, freedom, and
transcendence of limitations". PARVA SED APTA MIHI uses the short form,
and is representative of Ungerer's layering style of building visual
sequences. For years he was noted for using the long form (films over 75
minutes) shooting narrative films with concern for static shots devoid
of any camera movement but with careful concern for composition,
suggesting a painterly quality. This is no surprise since Ungerer
studied fine and graphic arts at Pratt Institute in the 1950s. His
willingness to begin to embrace the computer in the 1990s is a change
thought by some to be brought about by the escalating costs of producing
a film. To focus on the visual qualities of Ungerer's films without
mentioning the ethereal, meditative tones they eschew, is to miss the
most important part of his work, the ability to take the viewer to
another realm, another space, as Hannah Piper Burns describes it, "In a
surreal and psychedelic atmosphere the film deals with life, freedom,
and transcendence of limitations".
3/30
San Francisco, California: Other Cinema
http://www.othercinema.com/
8:30 PM, 992 Valencia St
SAT. 3/30: ADAM PARFREY’S RITUAL AMERICA
In the first part of our Secret Agents diptych, Mr. Parfrey jets in from
Washington state to introduce his rogue publication with a riveting
50-min. slideshow. Adam foregrounds the major groups, players, and
beliefs in this provocative exposé on American fraternal and religious
organizations. He answers any and all questions, and signs this and
other books from his Feral House imprint. PLUS curious footage of the
Masons, Mormons, Moose Lodgers, Shriners, and Legionnaires! Come early
for reception and booksigning. $6.66.
----------------------
SUNDAY, MARCH 31, 2013
----------------------
3/31
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
5:00 pm, 32 2nd Avenue
ESSENTIAL CINEMA: THE ELEVENTH YEAR
by Dziga Vertov With Russian intertitles, English synopsis available,
1928, 60 min, 35mm, b&w, silent
3/31
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
6:30 pm, 32 2nd Avenue
THREE SONGS ABOUT LENIN
by Dziga Vertov In Russian with no subtitles, English synopsis
available, 1934, 60 min, 35mm, b&w
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