[Frameworks] Part 1 of 2: This week [March 30 - April 7, 2013] in avant garde cinema
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Sun Mar 31 01:14:53 UTC 2013
Part 1 of 2: This week [March 30 - April 7, 2013] in avant garde cinema
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NEW CALLS FOR ENTRIES:
=====================
Columbus International Film + Video Festival (Columbus, Ohio, USA; Deadline: July 01, 2013)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1570.ann
LITTLE SCUZZY FILM FESTIVAL (Carbondale, IL, USA; Deadline: April 20, 2013)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1571.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
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
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
Edinburgh Short Film Festival 2013 Call for Entries (UK; Deadline: May 03, 2013)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1556.ann
Mumbai Women's International Film Festival (Mumbai,India; Deadline: April 30, 2013)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1558.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
SiciliAmbiente Documentary Film Festival (San Vito Lo Capo (TP), Italy; Deadline: April 30, 2013)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1562.ann
Federation Square - Melbourne (Australia; Deadline: April 30, 2013)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1563.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
LITTLE SCUZZY FILM FESTIVAL (Carbondale, IL, USA; Deadline: April 20, 2013)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1571.ann
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THIS WEEK'S PROGRAMS (SUMMARY):
==============================
* 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]
* Resurrections: Rare Super-8 Films and Handmade Slides By Luther Price -
With Luther Price In Person! [March 31, Chicago, IL]
* Resurrections: Rare Super-8 Films and Handmade Slides By Luther Price -
With Luther Price In Person! [March 31, Chicago, Illinois]
* Essential Cinema: the Eleventh Year [March 31, New York, New York]
* Three Songs About Lenin [March 31, New York, New York]
* "My First 3d" video Program Organized By Ben Coonley [April 1, Brooklyn, New York]
* Balagan Presents... An Evening With Sami Van Ingen [April 1, Cambridge, Massachusetts]
* More Than Meets the Eye: Films By Scott Stark [April 2, San Francisco, California]
* Laura Parnes: County Down [April 3, Boston, MA]
* Studio Des Ursulines: January 21, 1926 [April 3, Brooklyn, NY]
* L.A. Filmforum and Associates of Brand Library Present Free Radicals: A
History of Experimental Film [April 3, Glendale, CA]
* <B>Spin/Verso/Contour: An Evening With Hannes SchüPbach</B> [April 4, Chicago, Illinois]
* Open Screen [April 4, Los Angeles, California]
* Ihp 79-13: A Short Film Program [April 4, Philadelphia, Pennsylvania]
* Resisting Paradise W/ Pools [April 4, Toronto, Ontario, Canada]
* Brave New World: the Films of Barbara Hammer [April 4, Toronto, Ontario, Canada]
* Stom Sogo Program 1 [April 5, New York, New York]
* Stom Sogo Program 2 [April 5, New York, New York]
* Gaze Screening #4: Bodies Rest and Motion [April 5, San Francisco, CA]
* Leviathan [April 5, Seattle, Washington]
* Seeing Sound: visual Music Films [April 5, St. Louis, MO]
* 13 Lakes: Recent Films of James Benning [April 6, Austin, TX]
* Ten Skies: Recent Films of James Benning [April 6, Austin, TX]
* Ria Live Cinema (Aka Our Eye Aye = Ria = Resonant Interval Algorythmns) [April 6, Los Angeles, California]
* Stom Sogo Program 3 [April 6, New York, New York]
* Stom Sogo Program 4 [April 6, New York, New York]
* Doug Harvey's Pataphysical Interrogation Techniques [April 6, San Francisco, California]
* Brave New World: the Films of Barbara Hammer [April 6, Toronto, Ontario, Canada]
* Brave New World: the Films of Barbara Hammer [April 6, Toronto, Ontario, Canada]
* The War: Recent Films of James Benning [April 7, Austin, TX]
* L.A. Filmforum Presents Leighton Pierce: Familial Time Defamiliarized [April 7, Los Angeles, California]
* Essential Cinema: Valentin/Vigo Program [April 7, New York, New York]
* Stom Sogo Program 5 [April 7, New York, New York]
* Stom Sogo Program 6 [April 7, New York, New York]
* Brave New World: the Films of Barbara Hammer [April 7, Toronto, Ontario, Canada]
* Brave New World: the Films of Barbara Hammer [April 7, Toronto, Ontario, Canada]
Events are sorted by CITY within each DATE.
------------------------
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
Chicago, IL: White Light Cinema
http://www.whitelightcinema.com
7:30, 1084 N. Milwaukee
RESURRECTIONS: RARE SUPER-8 FILMS AND HANDMADE SLIDES BY LUTHER PRICE -
WITH LUTHER PRICE IN PERSON!
White Light Cinema and The Nightingale Present - Resurrections: Rare
Super-8 Films and Handmade Slides by Luther Price, With Luther Price in
Person! - Sunday, March 31 – 7:30pm, At The Nightingale (1084 N.
Milwaukee Ave.) - White Light Cinema and The Nightingale are pleased to
welcome back Boston-area filmmaker and artist Luther Price for a program
that explores then and now. The majority of the films in this program
are rarities, some have never been shown publicly before, and date to
the beginnings of Price's filmmaking career, when he was working as Tom
Rhoads. Included are photographed works (including his very first film
COLD COLD HEART from 1986) and found footage films, the practice for
which he is best known. The program of films is still being finalized,
but a partial listing is below. - The other end of the program is his
current practice of individually crafting handmade
slides—miniature collages made of bits of film, splicing tape,
paint, cut-outs, dead flies, and other random detritus. Though Price has
been making slides for several years, they have only recently come to
light and were featured in the 2012 Whitney Biennial. They have
subsequently shown in a variety of museums (including the Walker Art
Center), festivals (first, here at the Onion City Experimental Film and
Video Festival [nb—I program this], and at the Toronto
International Film Festival), and galleries. We will be showing two 2012
slide series—UTOPIA and RIBBON CANDY. Like his films, which often
exist only as edited originals, Price's slides are rough-hewn but
stunningly beautiful—especially in sequence—works that carry
through themes of fragility, rupture, rapture, and discomfort seen in
his films. - - Utopia (2012, slides) - Ribbon Candy (2012, slides) -
Cold Cold Heart (1986, 3 min) as Tom Rhoads - Portrait (1986, 4 min) as
Brigk Aethey - Letter to Tom Rhoads (1987, 4 min) by Joe Shepard - #12
(1990, 8 min, silent) [tentative, based on projectability] - House
(1990, 3 min, silent) as Tom Rhoads - Fumf und Fumf Sig (1990, 4 min,
silent) as Tom Rhoads - run (1994, 16 min) as Luther Price - Plus
additional films to be announced. - - Also see: - Whitney Museum of Art,
http://whitney.org/Exhibitions/2012Biennial/LutherPrice - "Luther Price"
by Andrew Lampert – BOMB Magazine,
http://bombsite.com/issues/120/articles/6622 - "Luther Price" by David
Duncan – Art in America,
http://www.artinamericamagazine.com/reviews/luther-price/ - - Admission:
sliding scale $7.00-10.00 - www.whitelightcinema.com -
http://nightingaletheatre.org - - Also, Price will be screening a second
program of work, presented by SAIC's Eye & Ear Clinic graduate
student group. We will update this with more specific details when
available. - Eye & Ear Clinic, School of the Art Institute of
Chicago (112 S. Michigan Ave.) - Tuesday, April 2, Luther Price in
Person - Sodom – Double Projector Version (1989-92, 20 min, sound)
- Meat Blue 03 (1999, 12 min, sound) - Eruption-Erection (1989-90, 5
min, sound) - Red Rooster (1987, 4 min, sound) - Warm Broth (1988, 36
min, sound)
3/31
Chicago, Illinois: White Light Cinema
http://www.whitelightcinema.com
7:30pm, The Nightingale (1084 N. Milwaukee Ave.)
RESURRECTIONS: RARE SUPER-8 FILMS AND HANDMADE SLIDES BY LUTHER PRICE -
WITH LUTHER PRICE IN PERSON!
White Light Cinema and The Nightingale Present ***** Resurrections: Rare
Super-8 Films and Handmade Slides by Luther Price ***** With Luther
Price in Person! ***** White Light Cinema and The Nightingale are
pleased to welcome back Boston-area filmmaker and artist Luther Price
for a program that explores then and now. The majority of the films in
this program are rarities, some have never been shown publicly before,
and date to the beginnings of Price's filmmaking career, when he was
working as Tom Rhoads. Included are photographed works (including his
very first film COLD COLD HEART from 1986) and found footage films, the
practice for which he is best known. The program of films is still being
finalized, but a partial listing is below. ***** The other end of the
program is his current practice of individually crafting handmade
slides—miniature collages made of bits of film, splicing tape, paint,
cut-outs, dead flies, and other random detritus. Though Price has been
making slides for several years, they have only recently come to light
and were featured in the 2012 Whitney Biennial. They have subsequently
shown in a variety of museums (including the Walker Art Center),
festivals (first, here at the Onion City Experimental Film and Video
Festival [nb—I program this], and at the Toronto International Film
Festival), and galleries. We will be showing two 2012 slide
series—UTOPIA and RIBBON CANDY. Like his films, which often exist only
as edited originals, Price's slides are rough-hewn but stunningly
beautiful—especially in sequence—works that carry through themes of
fragility, rupture, rapture, and discomfort seen in his films. *****
Showing: Utopia (2012, slides), Ribbon Candy (2012, slides), Cold Cold
Heart (1986, 3 min) as Tom Rhoads, Portrait (1986, 4 min) as Brigk
Aethey, Letter to Tom Rhoads (1987, 4 min) by Joe Shepard, #12 (1990, 8
min, silent) [tentative, based on projectability], House (1990, 3 min,
silent) as Tom Rhoads, Fumf und Fumf Sig (1990, 4 min, silent) as Tom
Rhoads, run (1994, 16 min) as Luther Price, plus additional films to be
announced. ***** Admission: sliding scale $7.00-10.00 *****
www.whitelightcinema.com ***** http://nightingaletheatre.org
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
---------------------
MONDAY, APRIL 1, 2013
---------------------
4/1
Brooklyn, New York: Microscope Gallery
http://www.microscopegallery.com
7pm, 4 Charles Place (at Myrtle btwn Bushwick & Evergreen Aves)
"MY FIRST 3D" VIDEO PROGRAM ORGANIZED BY BEN COONLEY
70 minute program – admission $6.reservations recommended:
rsvp at microscopegallery.com. Works by: Trisha Baga, Jeremy Bailey, Peter
Burr, Ben Coonley, Ian Cheng, James Fotopoulos, Dara Greenwald, Adam
Khalil, Monica Kogler & Rose Mori, Sara Ludy, Thomas Martinez, Yvonne
Martinez, Eric W Mast, Brenna Murphy, Tara Mateik, Sabrina Ratté, Billy
Rennekamp, Yoshi Sodeoka, JD Walsh and more. Microscope welcomes Ben
Coonley back to the space to present an April Fools Day screening of
over a dozen artists' first attempts at using stereoscopic 3D video
and/or 3D animation software. Stereoscopic video, which requires the
audience to wear special glasses to create binocular impressions of
depth, is different than 3D animation, the process used to create movies
like "Wall-E", in which computer-generated objects are manipulated in a
virtual 3D production environment. In creating either stereoscopic 3D
video or 3D animation artists are forced to contend with complicated
physical and optical laws as well as novel technical demands. These
conditions occasionally require or inspire desperate shortcuts and
unruly cinematic visions. "My First 3D" unites the two "3Ds" for a
celebration of accidents, partially rendered visions, self-effacing
illusions, the z-axis, red and cyan, the act of seeing with two eyes
simultaneously, polygons, render time, techno-adolescence, and the
thrill of doing it in deep space for the first time.Ben Coonley's works
been exhibited at venues in the US and internationally including MoMA
PS1's "Greater New York: Cinema," Performa, the New Museum for
Contemporary Art, The Moscow Biennale, and the International Film
Festival Rotterdam among many others. He is an Assistant Professor of
Film and Electronic Arts at Bard College and lives and works in Brooklyn
NY and Annandale-on-Hudson.
4/1
Cambridge, Massachusetts: Balagan Films
http://www.balaganfilms.com
7:30pm, Brattle Theatre, 40 Brattle Street
BALAGAN PRESENTS... AN EVENING WITH SAMI VAN INGEN
Filmmaker in attendance! "A twenty-year veteran of moving images, van
Ingen has produced many films, videos and installations from his home
base in Finland. Van Ingen's work has been influenced both by
documentary and experimental traditions and his own observations of
culture as coloured by his childhood growing up in both India and
Finland… He explains, '[It is an] endless fascination on the simple
co-operation of the cinematic apparatus and the eye. I find life a
bewildering experience and I try to put film technology and art together
to examine it closely-not only to understand, but just to keep movement
going.' As a result, his films are extremely rich visually and create a
visceral response to what one sees." (C. Kennedy, 2004) PROGRAM: Texas
Scramble (1996, 21 mins, 16mm), Deep Six (2007, 7 mins, 35mm), Fokus
(2004, 40 mins, 35mm).
----------------------
TUESDAY, APRIL 2, 2013
----------------------
4/2
San Francisco, California: San Francisco Art Institute
http://www.sfai.org
7pm, 800 Chestnut Street
MORE THAN MEETS THE EYE: FILMS BY SCOTT STARK
The San Francisco Art Institute Filmmaking Department presents an
in-person screening of old and new works by Scott Stark, whose new work
The Realist will be premiering at the Crossroads Festival on Sunday,
April 7. Stark will present: Under a Blanket of Blue (super-8 film,
1996, 15 mins.) A super-8 alchemy of song and imposing urban landscapes.
Filmed in heavily over-developed areas of northern and central Spain,
the dehumanizing and impersonal architectural structures that the
inhabitants call "home" are edited into a bittersweet array of rigid
geometric forms and bland textures. Ironically grafted onto the imagery
is Glenn Miller's sweet romantic ballad, "Under a Blanket of Blue," both
in original recording and in a breathless vocal a capella by the maker
during the filming. Noema (16mm film, 1998, 10 mins.) Pornographic
videos are mined for the unerotic moments between moments, when the
actors are engaging in an awkward change of position or when the camera
pans meaningfully away from the urgent mechanisms of sex up to a cheap
painting on the wall or the distant embers of a crackling fire. A
piercing musical score loops endlessly throughout, and the repetitive
and curious iterations of movement become furtive searches for meaning
within their own blandness. Shape Shift (digital video, 2004, 2 mins.) A
simple technique with two opposing cameras reveals a body transposed
upon itself, confounding the limits of its own physical space. More Than
Meets the Eye: Remaking Jane Fonda (2001/2006, digital video,
color/sound, 20mins.) An indirect chronicle of the remaking of a
celebrity activist and the cultural shifts that allowed it happen. More
Than Meets the Eye: Epilog (2006, digital video, color/sound, 7 mins.) A
companion to More Than Meets the Eye: Remaking Jane Fonda. Speechless
(2008, 16mm film, color/sound, 13 mins.) 3D photographs of human vulvae
are animated and interwoven with surfaces and textures from natural and
human-made environments. The genital images were taken from a set of
ViewMaster 3D reels that accompanied a textbook entitled The Clitoris,
published in 1976 by two medical professionals.
------------------------
WEDNESDAY, APRIL 3, 2013
------------------------
4/3
Boston, MA: MassART FILM SOCIETY
8pm, 621 Huntington Avenue
LAURA PARNES: COUNTY DOWN
MASSART FILM SOCIETY presents, LAURA PARNES, Filmmaker in attendance! -
Program: COUNTY DOWN is a multi-platform project, combining web-based
elements, a video installation and a feature film component. Mirroring
rave culture and the unbridled optimism around technology during the
1990s, County Down presents a society so obsessed with novelty and
consumerism that it euphorically embraces its own destruction. - The
film uses the structure of youth-culture media products, such as horror
and science fiction movies, video games and coming-of-age films as a
barometer of cultural depression. In this live-action animation, reality
and illusion intermingle, creating a highly stylized world of visual
excess.http://www.lauraparnes.com
4/3
Brooklyn, NY: Light Industry
http://www.lightindustry.org/
7:30, 155 Freeman Street
STUDIO DES URSULINES: JANUARY 21, 1926
Introduced by Noam M. Elcott - "A theater is like the planchette at a
spiritualistic séance. The whole table is strung together with a
chain of nerves." - Adolf Loos (1925) - Tonight, Light Industry will
reconstruct the January 21, 1926 inaugural screening (or séance)
at the Studio des Ursulines, among the most influential cinemas in
interbellum France. On that date, the Montparnasse theater presented a
triple bill of Léonce Perret's Mimosa, la dernière
grisette (1910), a re-edited version of René Clair and Francis
Picabia's Dada interlude Entr'acte (1925), and G.W. Pabst's Weimar
morality tale Joyless Street (1924), establishing the cine-club format
of combining early cinema ("avant-guerre," or pre-WWI), the avant-garde,
and feature films outside commercial distribution, often foreign. By
bringing together historical, experimental, and international
perspectives, the first event at the Studio des Ursulines instituted a
model that continues to resonate today. For our event, the melodrama
Mimosa (of which no copies appear to have survived) will be replaced by
Gaumont's digital restoration of Perret's comedy Léonce
cinématographiste (1913), and shown with prints of Entr'acte and
Joyless Street from MoMA's Circulating Film Library. - This screening is
held as part of Séances: The Cinematic Event, an ongoing research
initiative organized by Noam M. Elcott and Eric de Bruyn which seeks to
investigate the screening session as a model of artistic practice, one
that may foster new and different relationships between audience and
screen. - On Friday, April 5, Columbia will host a day-long conference
with participants Yto Barrada, Stuart Comer, Branden W. Joseph, Sven
Lütticken, Scott MacDonald, Stefanie Schulte Strathaus
and others, ending with a restaging of Paul Chan's What Can 1 Know? What
Ought 2 Do? What May 3 Hope For?, a three-part cinematic event
originally presented last year at mumok in Vienna. - Noam M. Elcott
teaches the history of modern art and media in the department of Art
History and Archaeology at Columbia University. He is currently at work
on a book-length study titled Artificial Darkness. Recent essays have
appeared in Grey Room, October, Aperture, and many catalogues and
anthologies. Elcott is an editor of the journal Grey Room. - FREE -
Please note: seating is limited.
4/3
Glendale, CA: Filmforum
http://www.lafilmforum.org/
7:00pm, Glendale Public Library Auditorium, 222 East Harvard Street, Glendale, CA 91205
L.A. FILMFORUM AND ASSOCIATES OF BRAND LIBRARY PRESENT FREE RADICALS: A
HISTORY OF EXPERIMENTAL FILM
The Associates of Brand Library is partnering with Los Angeles Filmforum
to present a screening of the documentary, Free Radicals: A History of
Experimental Film. This is the first offering in the 2013 REEL ART Film
Series presented by the Associates of Brand Library & Art Center in
cooperation with Glendale Library, Arts, and Culture. This award-winning
2011 documentary film, by Pip Chodorov, provides an intimate and
affectionate look into the many shapes, sizes, languages, and colors of
experimental film and its auteurs through the years. The filmmaker,
narrating in a very plainspoken and personal manner, gives us an
overview of some of the leading figures of 20th century experimental
film. Chodorov combines clips and even films in their entirety including
conversations with such luminaries as Hans Richter, Robert Breer,
Michael Snow, and Stan Brakhage in his final recorded interview. From
Hans Richter to Maya Deren, the film documentary gives us a glimpse into
one of the least understood and most mysterious sectors of the modern
art world. Adam Hyman, Executive Director of Filmforum will discuss the
film and answer questions after the screening. Trailer and more:
http://www.kinolorber.com/film.php?id=1315 Attendance is free and open
to the public. Screening: Free Radicals: A History of Experimental Film
by Pip Chodorov (2011, Digital Video, Color, Sound, 82 min.) Featuring
(in alphabetical order): Stan Brakhage, Robert Breer, Pip Chodorov,
Stephan Chodorov, Ken Jacobs, Peter Kubelka, Maurice Lemaître, Len Lye,
Jonas Mekas, John Mhiripiri, Nam June Paik, Hans Richter, MM Serra,
Michael Snow, Stan Vanderbeek, Andy Warhol
-----------------------
THURSDAY, APRIL 4, 2013
-----------------------
4/4
Chicago, Illinois: Conversations at the Edge
http://www.saic.edu/cateblog
6:00 pm, Gene Siskel Film Center / 164 N. State St.
SPIN/VERSO/CONTOUR: AN EVENING WITH HANNES SCHüPBACH
An evening with renowned Swiss artist Hannes Schüpbach whose films are
lyrical, often transcendent portraits of people, spaces, and everyday
life. A painter, performance artist, and expert on textile art,
Schüpbach weaves together light, gesture, and a keen attentiveness to
the material world into meticulously structured compositions. For this
program, he presents Spin/Verso/Contour (2001-11), an affecting trilogy
about his parents, and L'Atelier (2008), a portrait of an artist's
studio in Paris. Organized with the support of SWISS FILMS–The Arts
Council of Switzerland. Hannes Schüpbach (b. 1965, Winterthur,
Switzerland) is a painter, performance artist, filmmaker and curator.
His 16mm films have screened worldwide, including the Centre Pompidou,
Paris and the Tate Modern, London; among others. 2001-11,
France/Switzerland, 16mm, ca 60 min + discussion
4/4
Los Angeles, California: Echo Park Film Center
http://www.echoparkfilmcenter.org/
8 pm, 1200 N. Alvarado St.
OPEN SCREEN
Our cinematic free-for-all dares you to share your film with the feisty
EPFC audience. Any genre! Any style! New, old, work-in-progress! First
come, first screened; one film per filmmaker; 10-minute maximum. DVD,
VHS, mini-DV, DV-CAM, Super 8, standard 8mm, 16mm. We encourage a $5
donation from everyone (including filmmakers).
4/4
Philadelphia, Pennsylvania: International House Philadelphia
http://ihousephilly.org/events/cinedelphia-film-festival-opening-nightihp-79-13-a-short-film-program/
7:00PM, 3701 Chestnut Street
IHP 79-13: A SHORT FILM PROGRAM
In late 2012, the staff of International House Philadelphia's Arts
program started a concerted effort to begin examining and working
through their "archive," a few rooms overstuffed with dusty boxes that
hadn't been touched in years. Through many hours of lugging, sorting and
organizing, a clearer picture has come through regarding the legacy of
film and video programming at IHP, a legacy that reaches back to the
mid-1970s. IHP 79-13 is the first of what we hope to be an ongoing
examination that brings our past into the present and future. In the
summer of 1979, IHP welcomed the Neighborhood Film Project into the
building and organization. This partnership was celebrated with "Rialto
Bijou: Films for Summer Nights," a series of fun and interesting short
films. Our program for Cinedelphia Film Festival will bring together a
number of animated, comedic and experimental 16mm short films that were
screened in this series, including work by well-loved filmmakers George
Kuchar, Robert Breer and Sally Cruikshank. Audience members will receive
a reproduction of the series catalog and are encouraged to come early to
view the exhibition of letters, posters, photos and ephemera showcasing
the history of film at IHP in our east gallery. ///// Pasadena Freeway
Stills dir. Gary Beydler, US, 1974, 16mm, 6 min., silent Black-and-white
photos of freeway traffic are inserted and removed from a masking tape
rectangle to create an engaging film puzzle with the filmmaker as human
projector. ///// Hold Me While I'm Naked dir. George Kuchar, US, 1966,
16mm, 15 min. A favorite among those who love Hollywood as well as those
who hate it. Kuchar spares no cliché; melodramatic movie music, roll on
titles, garish lighting and a star-studded cast that includes his mother
in this story of the heart-rending sexual mores and pathos. Print
courtesy of Anthology Film Archives. ///// Coney dir. Frank and Caroline
Mouris, US, 1975, 16mm, 5 min. Coney Island in the day, at night and
during all the seasons of the year. Print courtesy of the Academy Film
Archive. ///// Shorelines dir. Al Jarnow, US, 1977, 16mm, 3 min.
Playfully animated sea shells become the visual tour-de-force that
appeals to the mind as well as the senses. ///// Styx dir. Jan Krawitz
and Thomas Ott, US, 1977, 16mm, 10 min. A very unusual exploration of
the Philadelphia subway and its riders, which creatively utilizes black
and white photography. ///// Rubber Cement dir. Robert Breer, US, 1976,
16mm, 10 min. The rich, seemingly infinite varieties of Breer's graphic
expression come bursting out in a rollicking joyous collage of
invention. ///// Real Italian Pizza dir. David Rimmer, US/Canada, 1971,
16mm, 10 min. Life outside a New York pizza shop is studied over a six
month period of time. ///// Quasi at the Quackadero dir. Sally
Cruikshank, US, 1975, 16mm, 10 min. Quasi (a charming duck-like creature
of some future century), his girlfriend Anita, and their robot companion
Rollo visit the Quackadero, an elaborate amusement park, in this
lavishly colored and imaginative cartoon. ///// Rapid Eye Movements dir.
Jeff Carpenter & Mary Lambert, US, 1977, 16mm, 13 min. REM uses a wide
variety of stylistic approaches and animated techniques to build a
complex, yet intentionally ambiguous science-fiction narrative.
Poliphilo, a member of the space age La Dolce Vita, is its protagonist.
///// Hand Held Day dir. Gary Beydler, US, 1975, 16mm, 6 min., silent An
exploration of time/space relationships and the mysteries and tensions
produced by a landscape within a landscape. Total running time: 88 min.
4/4
Toronto, Ontario, Canada: TIFF Bell Lightbox
http://tiff.net
6:15pm , 350 King Street West
RESISTING PARADISE W/ POOLS
Barbara Hammer ponders the relationship between art and political
resistance in this essay film made at the time of the war in Kosovo.
4/4
Toronto, Ontario, Canada: TIFF
http://tiff.net
9:00pm, 350 King Street West
BRAVE NEW WORLD: THE FILMS OF BARBARA HAMMER
Tender Fictions w/ Still Point. Barbara Hammer draws from her personal
archive of self-documentation and found footage to trace the successive
constructions of her identity as feminist, lesbian, and filmmaker, and
to draw links between her life and the political movements of the time.
---------------------
FRIDAY, APRIL 5, 2013
---------------------
4/5
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
7:15 pm, 32 2nd Avenue
STOM SOGO PROGRAM 1
This screening is part of: SWEET FIRST, SEIZURE SECOND: A TRIBUTE TO
STOM SOGO GUIDED BY VOICES (2000, 10.5 min, video) SILVER PLAY (2002, 16
min, video) SONG FOR TV (2002, 4 min, video) A PERFECT THREE (1997, 4
min, 16mm) CARRIE AT STILL (1998, 27 min, Super-8mm) Total running time:
ca. 70 min.
4/5
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
9:00 pm, 32 2nd Avenue
STOM SOGO PROGRAM 2
YA PRIVATE SKY (2001, 3.5 min, video) SLOW DEATH (2000, 15.5 min,
Super-8mm) PS WHEN YOU THOUGHT YOU ARE GOING TO DIE (2003, 18 min,
video) TAKE THESE TABLETS (2004, 16 min, video) IMITATION OF SOUTH
(2003, 14 min, Super-8mm) Total running time: ca. 75 min.
4/5
San Francisco, CA: Artists Television Access
http://www.atasite.org/
8:00, 992 Valencia
GAZE SCREENING #4: BODIES REST AND MOTION
As San Francisco's dank and verdant spring arrives, GAZE presents a
zestful program of short moving image works that lay bare both streams
of consciousness and shameless embodiment. Absurdity, queerness, and
melodrama collide\; the camera is a mirror, the screen is a diary. -
Featuring film, video and animation by local and international women
filmmakers. - Compromise, by Jillian Peña, The Green
Carnation, by Angel Rose, Culture as Commodity, by Jamie Walters,
Rendezvous, by Emily Kuehn, I remember my dreams by the colors they are,
by Maria Magnusson, The White Coat Phenomenon, by Kristin Reeves,
Nocturnes for Anatomers, by Christina Kolozsvary - Salt Lick, by Allison
Halter, Half Shell, by Dolissa Medina, Bolex Mon Amour, by Daniela
Zahlner - and more... - GAZE is a film series dedicated to screening
independent film and video made by women. GAZE promotes women's artistic
expression and creates dialogue related to the influence of this
powerful medium.
4/5
Seattle, Washington: Northwest Film Forum
http://www.nwfilmforum.org
April 05 - April 11 7:00PM & 9:00PM, 1515 12th Ave Seattle, WA 98122
LEVIATHAN
The border between viewer and subject is resoundingly breached in
Leviathan, which follows a commercial fishing boat from whatever
viewpoints it can, be they the hands of a fisherman or a helmet
containing a tiny camera as it tumbles across the deck. Directorial
super-duo Taylor and Paravel take the narrative of a nature documentary
deep into uncharted waters, leaving us orphaned from the idea of a
storyteller, even as the story itself—which roams through the daily
lives of fishermen, ethical issues in the industry and ecosystems far
out at sea—bears us forward helplessly in its net. The most
groundbreaking work of cinema in decades, the documentary form will
never be the same after Leviathan.
4/5
St. Louis, MO: New Music Circle
http://newmusiccircle.org/
7:30, Webster Film Series, 470 E. Lockwood, Webster Groves
SEEING SOUND: VISUAL MUSIC FILMS
"Seeing Sound: Visual Music Films, a new program from Center for Visual
Music featuring a wide range of historical approaches to the music of
Visual Music film. Presented by New Music Circle and Webster Film
Series, St. Louis, MO. PROGRAM: Walther Ruttmann, Opus IV, 1925, 16mm,
b/w, silent, 4 mins. Oskar Fischinger, Studie nr 5, 1930, 35mm, b/w,
sound, 4 mins. Oskar Fischinger, Kreise (Circles), 1933-34, 35mm, color,
sound, 2 min. Oskar Fischinger, Composition in Blue, 1935, 35mm, color,
sound, 4 min. Oskar Fischinger, Allegretto, 1936-43, 35mm, color, sound,
2.5 min. Oskar Fischinger, Radio Dynamics, 1942, 35mm, color,
intentionally silent, 4 min. Norman McLaren, Dots (1940) and Loops
(1940), 35mm, color, sound, c. 5 min. Sound: drawn sound by Norman
McLaren. Len Lye, Kaleidoscope, 1935, color, sound, 4 min. Originally
35mm, screened on 16mm. Len Lye, Colour Flight, 1938, color, sound, 4
min. Originally 35mm, screened on 16mm. Mary Ellen Bute, Abstronic,
1952, color, sound, 7 min. Originally 35mm, screened digitally. Harry
Smith, Film # 11, Mirror Animations, c. 1957, color, sound, 3:34 min,
Originally 16mm, screened digitally Jordan Belson, World, 1970, 5.5
mins. Originally 16mm, screened on video. Stan VanDerBeek & Kenneth
Knowlton, Poemfield no 2, 1966, color, sound, 6 mins, 16mm. Barry
Spinello, Six Loop Paintings, 1970, color, sound, 11 mins. Sound: direct
sound drawn by Spinello on the film's optical soundtrack, 16mm. Program
from Center for Visual Music, www.centerforvisualmusic.org
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