[Frameworks] This week [November 16 - 24, 2013] in avant garde cinema
Weekly Listing
weeklylisting at hi-beam.net
Sun Nov 17 17:08:28 UTC 2013
This week [November 16 - 24, 2013] in avant garde cinema
3/30
Call for Entries:
Columbus International Film + Video Festival
(Location: Columbus, Ohio, USA; Deadline: July 1, 2013)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1570.ann
Call for Entries:
LITTLE SCUZZY FILM FESTIVAL (Location:
Carbondale, IL, USA; Deadline: April 20, 2013)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1571.ann
3/30
Call for Entries:
Festival du nouveau cinéma (Location: Montréal,
Québec, Canada; Deadline: June 15, 2013)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1572.ann
Call for Entries:
Ottawa International Animation Festival
(Location: Ottawa, Ontario, Canada; Deadline: May 17, 2013)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1573.ann
Call for Entries:
Regent Park Film Festival (Location: Toronto,
Ontario, Canada; Deadline: May 10, 2013)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1574.ann
Call for Entries:
Propeller Centre for the Visual Arts (Location:
Toronto, Ontario, Canada; Deadline: May 10, 2013)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1575.ann
New Film/Video: non-feature:
"Miss Candace Hilligoss' flickering halo" by Fabio Scacchioli
http://www.hi-beam.net/cgi-bin/ann.pl?type=newwork&readfile=509.ann
4/6
4/13
Call for Entries:
The Winnipeg U. F. F.'s 90 Second Quickie
(Location: Winnipeg, Manitoba, Canada; Deadline: June 1, 2013)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1579.ann
Call for Entries:
Blind Date [Vox Populi & Goldilocks Gallery,
Philadelphia] (Location: Philadelphia, PA, USA; Deadline: May 15, 2013)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1580.ann
Call for Entries:
Festival of (In)appropriation (Location: Los
Angeles, CA; Deadline: May 15, 2013)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1581.ann
Call for Entries:
Team Vector + videofag : Queer Arcade Call for
Submissions Now Open! (Location: Toronto,
Ontario, Canda; Deadline: June 1, 2013)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1582.ann
New Film/Video: feature:
"Black Holi " by karan sharma
http://www.hi-beam.net/cgi-bin/ann.pl?type=newworkf&readfile=137.ann
Call for Entries:
Antimatter [Media Art] (Location: Victoria, BC,
Canada; Deadline: July 19, 2013)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1583.ann
4/20
Item for Sale:
Cinema Noise DVD
http://www.hi-beam.net/cgi-bin/ann.pl?type=sale&readfile=35.ann
Call for Entries:
ARTErra - Rural Artistic Residencies Portugal
(Location: Tondela, Portugal; Deadline: June 15, 2013)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1584.ann
Call for Entries:
Beloit International Film Festival (Location:
Beloit, WI, USA; Deadline: October 23, 2013)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1585.ann
New Film/Video: non-feature:
"Stuck in the 90's" by MWoods
http://www.hi-beam.net/cgi-bin/ann.pl?type=newwork&readfile=511.ann
Call for Entries:
VIDEOHOLICA 2013 [OUT OF FOCUS!] OPEN CALL
<REMINDER> (Location: Varna, Bulgaria; Deadline: June 15, 2013)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1586.ann
5/4
Call for Entries:
Stop & Go Made From Scratch (Location: San
Francisco; Deadline: November 15, 2013)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1587.ann
Call for Entries:
VIDEOFOCUS14 Review (Location: Italy; Deadline: June 3, 2013)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1588.ann
New Film/Video: non-feature:
"Hermeneutics" by Alexei Dmitriev
http://www.hi-beam.net/cgi-bin/ann.pl?type=newwork&readfile=512.ann
5/11
Call for Entries:
Festival du nouveau cinéma (Location: Montréal,
Québec, Canada; Deadline: June 15, 2013)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1589.ann
5/18
Call for Entries:
Beloit International Film Festival (Location:
Beloit, WI, USA; Deadline: October 19, 2013)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1590.ann
Call for Entries:
5th Cairo Video Festival (Location: Cairo, Egypt; Deadline: June 30, 2013)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1591.ann
5/25
Call for Entries:
Sydney Underground Film Festival (Location:
Sydney, Australia; Deadline: June 28, 2013)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1592.ann
Call for Entries:
Arquiteturas Film Festival Lisbon (Location:
Lisbon, Portugal; Deadline: August 1, 2013)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1593.ann
Call for Entries:
Journal of Short Film Volume 31 (Location:
Columbus, Ohio, USA; Deadline: July 5, 2013)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1594.ann
Call for Entries:
The 25th Onion City Experimental Film and Video
Festival (Location: Chicago, IL, USA; Deadline: July 19, 2013)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1595.ann
Call for Entries:
There Shall Be Popcorn (Location: Dayton, Oh, USA; Deadline: February 5, 2014)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1596.ann
Call for Entries:
Kinofilm: Manchester International Short Film
Festival (Location: Manchester, United Kingdom; Deadline: August 15, 2013)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1597.ann
Call for Entries:
INFRARED 4: New Visions from the Queer
Underground (Location: Seattle, WA USA; Deadline: July 1, 2013)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1598.ann
Call for Entries:
danubeVIDEOARTfestival (Location: Austria; Deadline: August 31, 2013)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1599.ann
Funding:
LOOKING FOR SUPPORT (Deadline: , )
http://www.hi-beam.net/cgi-bin/ann.pl?type=funding&readfile=21.ann
Call for Entries:
Innsbruck Nature Film Festival (Location:
Innsbruck, Austria; Deadline: August 31, 2013)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1600.ann
New Film/Video: feature:
"Love Thing" by Mike Mannetta
http://www.hi-beam.net/cgi-bin/ann.pl?type=newworkf&readfile=138.ann
6/8
Call for Entries:
The 8 Fest Small-Gauge Film Festival (Location:
Toronto, Ontario, Canada; Deadline: September 1, 2013)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1601.ann
Miscellaneous:
100x100=900 Project | Partnership program
http://www.hi-beam.net/cgi-bin/ann.pl?type=misc&readfile=130.ann
Call for Entries:
Chicago 8 Small Gauge Film Festival (Location:
Chicago, IL, USA; Deadline: September 15, 2013)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1602.ann
Call for Entries:
Visible Verse Festival (Location: Vancouver; Deadline: August 1, 2013)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1603.ann
Job Available:
Canyon Cinema Foundation
http://www.hi-beam.net/cgi-bin/ann.pl?type=jobs&readfile=1.ann
New Film/Video: non-feature:
"The Bug" by Alexe Lupea
http://www.hi-beam.net/cgi-bin/ann.pl?type=newwork&readfile=513.ann
New Film/Video: non-feature:
"Subterrenean Projection" by Charles Chadwick
http://www.hi-beam.net/cgi-bin/ann.pl?type=newwork&readfile=514.ann
Call for Entries:
now what: an open call (Location: New York, NY, USA; Deadline: July 15, 2013)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1604.ann
Services:
Composing for Multimedia
http://www.hi-beam.net/cgi-bin/ann.pl?type=services&readfile=114.ann
6/22
Call for Entries:
Alchemy Film and Moving Image Festival -
Residencies (Location: Ettrick, Scotland; Deadline: July 20, 2013)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1605.ann
Call for Entries:
Greentopia | FILM (Location: Rochester, NY, USA; Deadline: July 1, 2013)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1606.ann
Call for Entries:
ARTErra - Rural Artistic Residencies Portugal
(Location: Tondela, Portugal; Deadline: September 15, 2013)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1607.ann
6/29
7/6
New Film/Video: non-feature:
"Diluvi Privati. Film." by Andrea Vincenzi
http://www.hi-beam.net/cgi-bin/ann.pl?type=newwork&readfile=515.ann
Call for Entries:
Transient Visions: Festival of the Moving Image
(Location: Johnson City, NY, USA; Deadline: August 1, 2013)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1608.ann
Call for Entries:
Last 2013 Call for Artists (multidisciplinary)
(Location: Tondela, Portugal; Deadline: September 15, 2013)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1609.ann
Call for Entries:
Angular (Location: Barcelona-Madrid, Spain; Deadline: November 1, 2013)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1610.ann
Call for Entries:
LITTLE SCUZZY FILM FEST (Location: Carbondale,
IL, USA; Deadline: October 10, 2013)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1611.ann
Call for Entries:
Experimental Documentaries (Location: new york, NY; Deadline: October 15, 2013)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1612.ann
New Film/Video: non-feature:
"love me please dance 2" by nino fournier
http://www.hi-beam.net/cgi-bin/ann.pl?type=newwork&readfile=516.ann
Call for Entries:
Images Festival (Location: Toronto, Ontario; Deadline: November 15, 2013)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1613.ann
7/20
Call for Entries:
Comedy Ninja Film Festival (Location: Los
Angeles, CA, United States; Deadline: January 15, 2014)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1614.ann
Call for Entries:
MONO NO AWARE VII (Location: Brooklyn, New York; Deadline: October 31, 2013)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1615.ann
Call for Entries:
13 at Propeller Centre for the Visual
Arts (Location: Toronto, Ontario, Canada; Deadline: August 16, 2013)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1616.ann
Call for Entries:
Artisans at Work (Location: Toronto; Deadline: August 19, 2013)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1617.ann
New Film/Video: non-feature:
"Distractions" by Kat McLain
http://www.hi-beam.net/cgi-bin/ann.pl?type=newwork&readfile=517.ann
7/27
Call for Entries:
Transient Visions: Festival of the Moving Image
(Location: Johnson City, NY, USA; Deadline: August 25, 2013)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1618.ann
Call for Entries:
Experiments in Cinema v9.72 (Location:
Albuquerque, New Mexico; Deadline: November 1, 2013)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1619.ann
8/3
Call for Entries:
Punto y Raya Festival (Location: Barcelona, Spain; Deadline: October 28, 2013)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1620.ann
Call for Entries:
Go Short - International Short Film Festival
Nijmegen (Location: Nijmegen, the Netherlands; Deadline: November 1, 2013)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1621.ann
8/10
8/17
Call for Entries:
RICHMOND RADICALS (Location: Richmond, VA usa; Deadline: October 18, 2013)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1622.ann
Item for Sale:
Experiments in Cinema fundraising DVD collections
http://www.hi-beam.net/cgi-bin/ann.pl?type=sale&readfile=36.ann
Call for Entries:
Plug Projects (Location: Kansas City, MO. 64108; Deadline: October 1, 2013)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1623.ann
Miscellaneous:
Magmart search videoart curators
http://www.hi-beam.net/cgi-bin/ann.pl?type=misc&readfile=131.ann
Funding:
100x100=900 Project (Deadline: December 31, 2013)
http://www.hi-beam.net/cgi-bin/ann.pl?type=funding&readfile=22.ann
Call for Entries:
Black Maria Film and Video Festival (Location:
Jersey City, NJ, USA; Deadline: November 19, 2013)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1624.ann
Call for Entries:
Newport Beach Film Festival (Location: Newport
Beach, CA, USA; Deadline: January 24, 2014)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1625.ann
New Film/Video: non-feature:
"SEDUX" by David Wilde
http://www.hi-beam.net/cgi-bin/ann.pl?type=newwork&readfile=518.ann
New Film/Video: non-feature:
"As It Is" by David Wilde
http://www.hi-beam.net/cgi-bin/ann.pl?type=newwork&readfile=519.ann
New Film/Video: non-feature:
"WHAT" by David Wilde
http://www.hi-beam.net/cgi-bin/ann.pl?type=newwork&readfile=520.ann
New Film/Video: non-feature:
"fashion" by David Wilde
http://www.hi-beam.net/cgi-bin/ann.pl?type=newwork&readfile=521.ann
New Film/Video: non-feature:
"A-Z" by David Wilde
http://www.hi-beam.net/cgi-bin/ann.pl?type=newwork&readfile=522.ann
New Film/Video: non-feature:
"TRANS" by David Wilde
http://www.hi-beam.net/cgi-bin/ann.pl?type=newwork&readfile=523.ann
New Film/Video: non-feature:
"essences" by David Wilde
http://www.hi-beam.net/cgi-bin/ann.pl?type=newwork&readfile=524.ann
New Film/Video: non-feature:
"Solaristics" by Peter Rose
http://www.hi-beam.net/cgi-bin/ann.pl?type=newwork&readfile=525.ann
Call for Entries:
Strange Beauty Film Festival (Location: Durham,
NC USA; Deadline: March 1, 2014)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1626.ann
Call for Entries:
Open City Cinema (Location: Winnipeg, Manitoba,
Canada; Deadline: October 15, 2013)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1627.ann
Call for Entries:
Exuberant Politics (Location: Iowa City, IA, USA; Deadline: December 15, 2013)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1628.ann
Call for Entries:
21st Chicago Underground Film Festival (Location:
Chicago, Illinois, USA; Deadline: December 15, 2013)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1629.ann
9/7
New Film/Video: non-feature:
"Almost there" by Kim Collmer
http://www.hi-beam.net/cgi-bin/ann.pl?type=newwork&readfile=526.ann
9/14
Call for Entries:
MVAS Screening/Exhibition at Kings ARI (Location:
Melbourne, Vic. Australia; Deadline: October 15, 2013)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1630.ann
Call for Entries:
Multidiciplinary artist call 2014 (Location:
Tondela,Portugal; Deadline: February 15, 2014)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1631.ann
Miscellaneous:
Experimental Video Course
http://www.hi-beam.net/cgi-bin/ann.pl?type=misc&readfile=132.ann
9/21
New Film/Video: non-feature:
"defunct" by Andrea Vincenzi
http://www.hi-beam.net/cgi-bin/ann.pl?type=newwork&readfile=527.ann
Call for Entries:
Ann Arbor Film Festival (Location: Ann Arbor, MI,
USA; Deadline: October 7, 2013)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1632.ann
Job Available:
Academy of Art University
http://www.hi-beam.net/cgi-bin/ann.pl?type=jobs&readfile=2.ann
Job Available:
Binghamton University
http://www.hi-beam.net/cgi-bin/ann.pl?type=jobs&readfile=3.ann
Job Available:
Binghamton University
http://www.hi-beam.net/cgi-bin/ann.pl?type=jobs&readfile=4.ann
Call for Entries:
Haverhill Experimental Film Festival (Location:
Haverhill, MA, USA; Deadline: February 1, 2014)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1633.ann
10/5
Item for Sale:
1 inch lens for Kodak Pageant Projector
http://www.hi-beam.net/cgi-bin/ann.pl?type=sale&readfile=37.ann
Call for Entries: no deadline:
2014 NEWPORT BEACH FILM FESTIVAL EARLY BIRD
DEADLINE OCT 25! (Location: Newport Beach, CA USA; No entry deadline)
http://www.hi-beam.net/cgi-bin/ann.pl?type=callsnd&readfile=164.ann
Call for Entries:
Gimme Some Truth Documentary Festival (Location:
Winnipeg, Manitoba, Canada; Deadline: December 13, 2013)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1634.ann
Call for Entries:
Little Scuzzy Film Festival-EXTENDED DEADLINE
(Location: Carbondale, IL; Deadline: January 18, 2014)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1635.ann
10/12
Call for Entries:
SCUFF- SCREW CITY UNDERGROUND FILM FESTIVAL
(Location: Rockford, IL, USA; Deadline: February 15, 2014)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1636.ann
Call for Entries:
VIDEOFOCUS 2014: INTERNATIONAL CALL FOR
EXPERIMENTAL FILMMAKERS AND VIDEOARTISTS
(Location: Paris, France; Deadline: November 30, 2013)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1637.ann
10/19
Call for Entries:
transmediale (Location: Bulgaria, Greece, Turkey; Deadline: November 10, 2013)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1638.ann
10/26
Job Available:
Dept of Cinema and Photography, SIUC
http://www.hi-beam.net/cgi-bin/ann.pl?type=jobs&readfile=5.ann
Call for Entries:
Big Muddy Film Festival (Location: Carbondale,
IL, USA; Deadline: November 15, 2013)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1639.ann
Call for Entries:
CologneOFF_Cologne International Videoart
Festival (Location: Cologne, Germany; Deadline: April 30, 2014)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1640.ann
Call for Entries:
Finger Lakes Environmental Film Festival
(FLEFF) (Location: Ithaca, New York, United State; Deadline: January 15, 2014)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1641.ann
Call for Entries:
Display Exhibition at Fleisher Art Memorial
(Location: Philadelphia, PA USA; Deadline: December 1, 2013)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1642.ann
Call for Entries:
2014 NEWPORT BEACH FILM FESTIVAL THANKSGIVING
SPECIAL (Location: Newport Beach, CA; Deadline: November 6, 2013)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1643.ann
11/9
Call for Entries:
What the Festival (Location: Alfred, NY, United
States; Deadline: February 1, 2014)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1644.ann
New Film/Video: non-feature:
"De Luce 2: Architectura" by Janis Crystal Lipzin
http://www.hi-beam.net/cgi-bin/ann.pl?type=newwork&readfile=528.ann
THIS WEEK'S PROGRAMS (SUMMARY):
==============================
* David Sherman's Wasteland Utopias [November 16, Austin, TX]
* Spectacles of Light and Language [November 16, Brooklyn, New York]
* Short Films: Experimental &Amp; Underground
@ Cine-Rebis London [November 16, London, England]
* A Warhol Sleepover [November 16, Los Angeles, CA]
* Los Angeles Filmforum and Human Resources
Present A Warhol Sleepover [November 16, Los Angeles, California]
* New Works Salon Xvi [November 16, Los Angeles, California]
* Performa: Rosa Barba [November 16, New York, New York]
* Traveling Light [November 16, New York, New York]
* Peter Rose: Spectacle of Light and Languages
[November 16, New York, New York]
* Speaking of: Kate Lain [November 16, Pasadena, CA]
* Lynne Sachs Your Day Is My Night + Chris
Marker + [November 16, San Francisco, California]
* Short Films: Meditations @ Cine-Rebis,
London [November 17, London, England]
* Los Angeles Filmforum Presents A Tribute To Allan Sekula: "The Forgotten
Space," A Film Essay By Allan Sekula and
NoëL Burch [November 17, Los Angeles, California]
* Traveling Light [November 17, New York, New York]
* Joan Jonas: Reanimation [November 17, New York, New York]
* Selections From Treasures 6: Next Wave
Avant-Garde [November 18, Los Angeles, California]
* Rakhshan Banietemad the Hidden Cost of
violence [November 18, Los Angeles, California]
* Early Monthly Segments #57 = Alfred
Guzzetti's Family Portrait Sittings [November 18, Toronto, Ontario, Canada]
* Gregg Bordowitz Presents Yvonne Rainer's
Lives of Performers [November 19, Brooklyn, NY]
* Scott Stark's the Realist [November 20, Austin, TX]
* Alternative Measures: An Exploration of
Artist-Run Film Labs [November 20, Colorado Springs, Colorado]
* Pie In the Sky [November 20, Colorado Springs, Colorado]
* Cinematographe: the Hand-Cranked Film
[November 20, Colorado Springs, Colorado]
* Welcome and Opening Lecture On Materialism
[November 20, Colorado Springs, Colorado]
* Creating Celluloid 16mm - How To Invent New
Parallel Universes [November 20, Colorado Springs, Colorado]
* Ex Voto, A Tama For Ektachrome [November 20, Colorado Springs, Colorado]
* Starting A Film Lab Collective - A D.I.Y.
Introduction [November 20, Colorado Springs, Colorado]
* Eztv Shorts [November 20, New York, New York]
* Blond Death [November 20, New York, New York]
* Dance Film: Back To Nature [November 20, Tucson, AZ]
* Mono No Aware - Heavy Hands [November 21, Colorado Springs, Colorado]
* Expanded Cinema: Apparatus and Methodology
[November 21, Colorado Springs, Colorado]
* Creating Celluloid Super-8 - How To Invent
New Parallel Universes [November 21, Colorado Springs, Colorado]
* Luminous Passages [November 21, Colorado Springs, Colorado]
* Film Bee - Recent Works [November 21, Colorado Springs, Colorado]
* Caffenol: Cinema, Coffee, vitamin, and
Alchemy [November 21, Colorado Springs, Colorado]
* Caffenol: Cinema, Coffee, vitamin, and
Alchemy [November 21, Colorado Springs, Colorado]
* Handmade Emulsion [November 21, Colorado Springs, Colorado]
* The Future of 16mm Projection [November 21, Colorado Springs, Colorado]
* L`Abominable Short Film Program
#1 [November 21, Colorado Springs, Colorado]
* History and Significance of Artist-Run Film
Labs [November 21, Colorado Springs, Colorado]
* Frenkel Defects [November 21, Colorado Springs, Colorado]
* Cosmic Abstractions From Courtney Hoskins
&Amp; Fred Worden [November 21, Los Angeles, CA]
* Performa: Ed Atkins [November 21, New York, New York]
* Free 35mm Screening: Two Years At Sea [November 22, Austin, Texas]
* Celebrating Filmwerkplaats [November 22, Colorado Springs, Colorado]
* L`Abominable Short Film Program #2 [November
22, Colorado Springs, Colorado]
* Laborberlin Screening Program (Super 8)
[November 22, Colorado Springs, Colorado]
* Laborberlin Screening Program (16mm)
[November 22, Colorado Springs, Colorado]
* Laba For Beginners [November 22, Colorado Springs, Colorado]
* Chromaflex! [November 22, Colorado Springs, Colorado]
* Strata Space [November 22, Colorado Springs, Colorado]
* Problems In Placement Panel [November 22, Colorado Springs, Colorado]
* Essential Cinema: Hollis Frampton [November 22, New York, New York]
* Gaze #6: Luminous Impulse (All-Animation
Show!) [November 22, San Francisco, CA]
* Preservation, Product, Profit [November 23, Colorado Springs, Colorado]
* Oh Piola! [November 23, Colorado Springs, Colorado]
* L`Abominable Film Program #3: anders,
Mollusien [November 23, Colorado Springs, Colorado]
* Antiquated Film Formats [November 23, Colorado Springs, Colorado]
* Formalistic Fixations [November 23, Colorado Springs, Colorado]
* 16mm Projectors For Small Screen
Presentation [November 23, Colorado Springs, Colorado]
* Strife Saga [November 23, Colorado Springs, Colorado]
* Chromaflex! Day 2 [November 23, Colorado Springs, Colorado]
* Bill Brand Program For Alternative Measures
[November 23, Colorado Springs, Colorado]
* The Significance of Color In A New Realism
[November 23, Colorado Springs, Colorado]
* Cineworks Annex Lab Program [November 23, Colorado Springs, Colorado]
* Hearkenings Presents D.W. Griffith's Dream
Street [November 23, Los Angeles, California]
* Jeanne Finley + Brigid Mccaffrey + Slab City
+ Tar Sands + [November 23, San Francisco, California]
* Early Signs of Decay -
?????????
6;? [November 23, Tokyo, Japan]
* German Cinema Showcase: Ulrike Ottinger's
Under Snow [November 23, Tucson, AZ]
* After Psycho Shower [November 24, Colorado Springs, Colorado]
* Last Light of A Dying Star [November 24, Colorado Springs, Colorado]
* Intertidal [November 24, Colorado Springs, Colorado]
* Film (Parkour) [November 24, Colorado Springs, Colorado]
* Exploring Contemporary Expanded Cinema
[November 24, Colorado Springs, Colorado]
* Handmade Emulsion - the Quick and Dirty Way
[November 24, Colorado Springs, Colorado]
* Johnny Minotaur [November 24, Colorado Springs, Colorado]
* Archival Handling and Projection Practices
[November 24, Colorado Springs, Colorado]
* A Stark view of the World An Evening With
Scott Stark [November 24, Los Angeles, California]
* Essential Cinema: Genet/Frank & Leslie
Program [November 24, New York, New York]
* White Cube/Black Box: Ed Ruscha [November 24, New York, New York]
Events are sorted by CITY within each DATE.
---------------------------
SATURDAY, NOVEMBER 16, 2013
---------------------------
11/16
Austin, TX: Experimental Response Cinema
http://ercatx.org
8pm, Farewell Books, 913 E Cesar Chavez
DAVID SHERMAN'S WASTELAND UTOPIAS
with David Sherman in person! - Experimental Response Cinema and
Farewell Books are very excited to present a screening of Wasteland
Utopias with filmmaker David Sherman in person! Wasteland Utopias is a
cinematic essay featuring visionary developer Del Webb (Sun City) and
legendary radical psychiatrist/naturalist Wilhelm Reich (Orgone Energy).
What on earth could these two possibly have in common? The sunny Sonoran
Desert for one thing, a shadowy CIA Operative for another. Desert
landscapes, desert soulscapes, sex, sustainability, Emotional Plague,
cloudbusting, water retention, cosmic interventionthese and other
relevancies link the 1950s with our present moment in surprising, and
seemingly prophetic, ways. - more info here:
http://ercatx.org/david-shermans-wasteland-utopias/
11/16
Brooklyn, New York: Microscope Gallery
http://www.microscopegallery.com
7 PM, 4 Charles Place
SPECTACLES OF LIGHT AND LANGUAGE
Peter Rose will screen a serendipity of work including: Incantation
(film) 1970; Secondary Currents (excerpt) film 1982; Pneumenon (video
installation) 2003; Odysseus in Ithaca (video) 2006; Studies in
Transfalumination (video) 2008; The Indezerian Tablets (video) 2013;
Solaristics (video) 2014; and new 3D work in progress
11/16
London, England: London Underground Film Festival
7:15pm, The Horse Hospital, Colonnade, Bloomsbury
SHORT FILMS: EXPERIMENTAL & UNDERGROUND @ CINE-REBIS LONDON
FOR ADVANCE, DISCOUNTED TICKETS £3.50 + BOOKING FEE, CLICK
HERE: http://www.wegottickets.com/event/247223, OR £5 ON
THE DOOR. - 7.15pm Saturday 16th November 2013 @The Horse Hospital,
London - SHORT FILMS: EXPERIMENTAL & UNDERGROUND, A collection of
short films from this year's submissions. - - ALTER'DEGO_A, Dir: William
R. Bullock | Australia, 2013 | 8 mins, Referencing liminal aspects of
ritual, initiatory and shamanic practices, this is an exploration of the
ability to create altered states of consciousness via the medium of
temporal visual and audio means. - HEX SUFFICE CACHE TEN, Dir: Thorsten
Fleisch | Cast: Lise Ivanouw, Daniel Scheimberg, Timo Fleisch and
Thorsten Fleisch | Germany, 2012 | 13 mins, This exploration of
cinematic space within an implosion of cerebral space is a daring tale
of aliens, experiments on humans, video games and mutation. It is
showering the unsuspecting viewer in handmade visual and aural stimuli
from planet Fleisch. - MONK, Dir: Geoffrey Sexton | Music: Trabajo |
USA, 2013 | 4 mins, The motion of wave surfaces manifest over murky
marine layers as several miniature, aquatic experiments pulsate and
overlay. These phosphorescent, visual gestures to the music result in
forming a living, breathing entity. - YELLOWBLUE, Dir: Paul Hinson |
USA, 2012 | 5 mins, A 16mm optically printed film that explores the
physical potential of images through their invocation of simultaneous
sensations of warmth and coldness, nearness and distance, intimacy and
alienation. - BINDING, Dir: Katarzyna Plazinska & Aaron Ellis |
Cast: Henry Carter, Joann Boswank, Drew Cavenas | Poland/USA, 2013 | 9
mins, A basic social cell is dissected by the power of light and sound
in this Caligariesque retelling of an old tale. - ATOMIC THEORY AND
CHEMISTRY, Dir: Jon Behrens | USA, 2012 | 5 mins, In this film I have
began to experiment with incorporating found footage into my hand
painted and optical printing filmmaking. I also experimented with using
jelled light using a variety of different colours. I also created this
films sound design. (JB) - BLOOM, Dir: Scott Stark | Music: Greg Headley
| USA, 2012 | 11 mins, Industrial penetrations into the arid Texas
landscape yield a strange and exotic flowering. Using images from the
Texas Archive of the Moving Image, based on oil drilling footage from
the first half of the 20th century. - AVALANCHE, Dir: Michael Fleming |
The Netherlands, 2013 | 11 mins, An experimental, found-footage, hand
manipulated, cameraless 35mm celluloid film. This collage film is about
the perpetual image flood we receive daily. Loaded with iconographic
images of consumerism and amusement it releases an overflow of our own
popular culture to the viewer. - DECAPODA SHOCK, Dir: Javier Chillon |
Cast: Federico Martin, Jaroslaw Bielski, Benito Sagredo | Spain, 2011 |
9 mins, An astronaut returns to Earth after a fatal accident on a
distant planet. When he discovers he has been the victim of a sinister
plot, he decides to take vengeance on those responsible for the death of
his family... - EPISTOLARY FUSILLADES, Dir: David Finkelstein | Cast:
David Finkelstein and Ian W. Hill | USA, 2011 | 18 mins, Shattered mind,
shattered images, shattered culture. An examination of the fractured
nature of contemporary thought, and the possibility of using collage to
create a new coherence. - - ALL EVENTS TAKE PLACE AT The Horse Hospital
11/16
Los Angeles, CA: Los Angeles Filmforum
11:50pm-6am, Human Resources, 410 Cottage Home Street
A WARHOL SLEEPOVER
Los Angeles Filmforum and Human Resources present a rare screening of
Andy Warhol's legendary 1963 debut film, SLEEP, in a 16mm all-night
screening. SLEEP, which runs approximately five hours, has been called a
"monumental screen piece" by Jonas Mekas, creating " a powerful mix of
intimacy and detachment, of closeness to a living being and a foreboding
feeling of distance, darkness, and separation," in the words of critic
Fred Camper. - Contrary to the notion that the film is a an audaciously
static single take of John Giorno sleeping for several hours, the
reality of the film is far more interesting and complex. Warhol actually
shot far less than five hours of Giorno, from several different angles,
and assembled the finished film by duplicating sequences multiple times.
The final result, though still offering an expected continuity, actually
takes us powerfully out of real time - not just through the use of
repeated footage and angles, but from the sheer length of the film, and
the suspension of traditional tension and expectation that occurs in the
viewer over its duration. It's a one of a kind experience, and not
likely to be repeated anytime soon. - Saturday, November 16, 2013,
Doors: 11:59pm, Screening begins: 1:00am, Screening concludes:
approximately 6:00am - Screening location: Human Resources, 410 Cottage
Home St (near Broadway, in Chinatown) - Los Angeles CA, 90012 - tickets:
$10 (advance tickets @ lafilmforum.org) - There will be chairs
available, but please feel free to bring: - pillows, beanbag chairs,
blankets, etc. - Snacks and coffee/tea will be provided throughout the
screening.
11/16
Los Angeles, California: Filmforum
http://www.lafilmforum.org/
11:59pm, At Human Resources, 410 Cottage Home St (near Broadway, in Chinatown)
LOS ANGELES FILMFORUM AND HUMAN RESOURCES PRESENT A WARHOL SLEEPOVER
Doors open: 11:59pm on Saturday night / Screening begins: 1:00am on
Sunday morning / Screening concludes: approximately 6:00am on Sunday
morning / Los Angeles Filmforum and Human Resources present a rare
screening of Andy Warhol's legendary 1963 debut film, SLEEP, in a 16mm
all-night screening. SLEEP, which runs approximately five hours, has
been called a "monumental screen piece" by Jonas Mekas, creating " a
powerful mix of intimacy and detachment, of closeness to a living being
and a foreboding feeling of distance, darkness, and separation," in the
words of critic Fred Camper. Screening: Sleep (1963, 321 minutes, 16mm)
For more information:
http://lafilmforum.org/schedule/fall-2013-schedule/a-warhol-sleepover/
Tickets: $10 general, $6 students/seniors; free for Filmforum members.
Available in advance from Brown Paper Tickets at
http://www.brownpapertickets.com/event/506092 or at the door
11/16
Los Angeles, California: Echo Park Film Center
http://www.echoparkfilmcenter.org/
8 pm, 1200 N. Alvarado St
NEW WORKS SALON XVI
$5 / 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.
Silvia das Fadas will show Square Dance, McIntosh County, Oklahoma, 1939
(16mm, 9 min, color, sound). Jackson McCoy Astor Place (2013, 5 minutes,
16mm) a square in New York, Untitled (Chelsea Manning) (2012, 11
minutes, HD video) illustrating WikiLeaks, and/or Sugar Rushes (2013, 10
minutes, 16mm) a ten-minute study of the interaction between a shuttered
sugar factory and film. Visiting from Oakland, Zach Iannazzi will show
his 16mm film California Picture Book (2013, 16mm, 12 minutes). Plus
others TBA!
11/16
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
7:30 pm, 32 2nd Avenue
PERFORMA: ROSA BARBA
See notes for Nov. 14, 7:30 pm.
11/16
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
9:00 pm, 32 2nd Avenue
TRAVELING LIGHT
See notes for Nov. 15, 7 pm.
11/16
New York, New York: Microscope Gallery
http://www.microscopegallery.com
7pm, 4 Charles Place, Brooklyn NY 11221
PETER ROSE: SPECTACLE OF LIGHT AND LANGUAGES
Microscope Gallery welcomes Philadelphia-based film and video artist
Peter Rose for "Spectacle of Light and Languages", a comprehensive
screening of his works in film and video since the 70s, including the
premiere of his latest short "Solaristics" and footage from new 3D
works-in-progress. / / / A mathematical training underlies Rose's early
structural films, where quick cuts and superimposed images form the
basis of a kinesthetic exploration of space, time, light and perception.
Lyricism and a persistent attempt at breaking down language and meaning
continue to guide the artist's later works, in a personal and
uncompromising search for transcendence. / / / Peter Rose will be in
attendance to introduce the screening and available afterwards for Q&A.
/ / / __ Philadelphia-based artist Peter Rose readily moves between
film, video, performance, and installation, creating thought provoking
works since the late 1960s. Both formally inventive and mischievously
articulate, these propose raptures of vision and riddles of language
that position his work as entirely unique within the contemporary
American avant-garde. Rose's work has received extensive national and
international exhibition, including shows at the Whitney Museum, the
Museum of Modern Art, Centre Pompidou (Paris), the Yokohama Museum of
Art, the Fabric Workshop and Museum, the Rotterdam International Film
Festival and the Film Society of Lincoln Center. His work is included in
several international collections. / / / Program includes:....
Incantation (1970, 8 min, 16mm, color, sound).... Secondary Currents
(1982, excerpt, 16mm, B&W, sound) .... Pneumenon (2003, 5 min,
two-channel video installation).... Odysseus in Ithaca (2006, 5 min,
video) .... Studies in Transfalumination (2008, 5 min, video) .... The
Indezerian Tablets (2013 17 min, video).... Solaristics (2013, 10 min,
video) (premiere).... Selections from 3D works-in-progress
11/16
Pasadena, CA: Allendale Branch Library
http://cityofpasadena.net/library/about_the_library/allendale_branch/
2:00pm, 1130 S. Marengo Ave.
SPEAKING OF: KATE LAIN
Engaging and inspiring, the Allendale Branch Library's ongoing "Speaking
Of" series features a discussion with film/video artist Kate Lain. Born
and raised in Pasadena, Lain received a Master of Fine Arts in science
and natural history filmmaking from Montana State University. She works
at the intersections of stillness/motion, feminine/masculine,
human/nature, past/present, and her short films range from artist
portraits to explorations of nature to essay films. The program will
include a selection of Lain's film and video work.
11/16
San Francisco, California: Other Cinema
http://www.othercinema.com/
8:30, 992 Valencia St.
LYNNE SACHS YOUR DAY IS MY NIGHT + CHRIS MARKER +
Prodigal daughter Sachs returns with a dramatic ethnography on a
little-seen subculture: older residents of "shift-bed" apartments in New
York's Chinatown, where immigrants are jammed into shared rooms, beds in
use around the clock. Non-professional actors play out issues of
privacy, intimacy, and ownership, as their shift-bed experience finds
cinematic expression through vérité conversations, character-driven
fictions, and integrated movement pieces. Collaborating with
cinematographer Sean Hanley and composer Stephen Vitiello, Sachs'
mixture of reportage, play-acting, and memory opens up an Other hidden
world. Preceded by: Lynne's collaboration with Chris Marker, Three
Cheers for the Whale, plus 3 of her NYC portraits. chinatown tales
-------------------------
SUNDAY, NOVEMBER 17, 2013
-------------------------
11/17
London, England: London Underground Film Festival
12pm, The Horse Hospital, Colonnade, Bloomsbury
SHORT FILMS: MEDITATIONS @ CINE-REBIS, LONDON
FOR ADVANCE, DISCOUNTED TICKETS £3.50 + BOOKING FEE, CLICK
HERE: http://www.wegottickets.com/event/247231, OR £5 ON
THE DOOR. - SHORT FILMS: MEDITATIONS - Three medium length experimental
films from this year's submissions. - Please note: the films in this
event contain strobe effects and flashing images. - - TRAUM, Dir:
Heinrich von Kleist | UK, 2013 | 17mins - Traum is a high-intensity
hallucinogenic mash-up of YouTube found-footage, underpinned by a
pulsing electronic drone. The film aims for maximum apocalyptic
intensity in sound and vision. Contemporary existence is portrayed as a
chaotic maelstrom of beauty and horror from which there is no escape. -
- TEMPESTARII, Dir: Gast Bouschet & Nadine Hilbert |
Luxembourg/Iceland, 2013 |38mins - Dawn spreads its luminous rays across
the coast of Iceland, to reveal a sorcerer standing between wine-dark
sea and mountainous black rock. He is tempestarii, a figure of medieval
lore, undertaking a primitive rite manifested to conjure a storm. The
tides of the deep ocean breathe heavily rising and falling across the
cinema screen with amplifying power, as the weather-maker beats a
mysterious sack against the monolithic cliffs with powerful repetition.
As a magical tool, this sack contains forceful winds pulled from each
corner of world. As an analogy, it is aligned with the revolutionary
transformations of nature by water, air, solar radiation, and geological
shifts and filled with the vast potential of man's will in alliance with
Nature. As an omen, the tempestarii signals profound change on both
physical and metaphysical realms. - - THE REALIST, Dir: Scott Stark |
USA, 2013 | 40mins - The Realist is an experimental and highly
abstracted melodrama, a "doomed love story" storyboarded with
flickering still photographs, peopled with department store mannequins,
and located in the visually heightened universe of clothing displays,
fashion islands and storefront windows. - - ALL EVENTS TAKE PLACE AT The
Horse Hospital
11/17
Los Angeles, California: Filmforum
http://www.lafilmforum.org/
7:30pm, Spielberg Theatre at the Egyptian, 6712 Hollywood Blvd.
LOS ANGELES FILMFORUM PRESENTS A TRIBUTE TO ALLAN SEKULA: "THE FORGOTTEN
SPACE," A FILM ESSAY BY ALLAN SEKULA AND NOëL BURCH
Allan Sekula (1951-2013) was an influential artist, writer, and teacher.
His works, including books, photographic sequences, written texts, slide
sequences, and sound recordings, are among the most moving and incisive
critiques of global capital from the latter half of the twentieth
century. In 2001, he turned to digital video as yet another means to
make art that critically engages the world. Los Angeles Filmforum is
proud to present two programs of Sekula's work in video this week in
tribute. On this second night, we screen his last film, The Forgotten
Space (2010, digital, 112 min). The sea is forgotten until disaster
strikes. But perhaps the biggest seagoing disaster is the global supply
chain, which maybe in a more fundamental way than financial
speculation leads the world economy to the abyss. In The Forgotten
Space, Sekula and Noël Burch tackle the largest of topics the ocean
and the world. Introduced by: Edward Dimendberg, Professor of Film and
Media Studies, Visual Studies, and European Languages and Studies at UC
Irvine. Tickets: $10 general, $6 students/seniors; free for Filmforum
members. Available in advance from Brown Paper Tickets at
http://www.brownpapertickets.com/event/505278 or at the door For more
information:
http://lafilmforum.org/schedule/fall-2013-schedule/a-tribute-to-allan-se
kula-the-forgotten-space/
11/17
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
4:30 pm, 32 2nd Avenue
TRAVELING LIGHT
See notes for Nov. 15, 7 pm.
11/17
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
7:30 pm, 32 2nd Avenue
JOAN JONAS: REANIMATION
by Rima Yamazaki 2013, 72 min, digital video Share + This screening is
part of: PERFORMA 13 PRESENTS: ED ATKINS, ROSA BARBA & JOAN JONAS Film
Notes JOAN JONAS WILL BE HERE IN PERSON FOR A Q&A FOLLOWING THE
SCREENING! A profoundly influential figure in the New York art scene,
Joan Jonas is a pioneer of conceptual art, video, and experimental
theater. This new portrait follows the artist from her SoHo home and
studio to onsite work around the world, narrating the construction of
her performance with pianist Jason Moran for dOCUMENTA (13),
Reanimation, which will also be featured as part of Performa 13.
Director Rima Yamazaki highlights Jonas's use of improvisation while
showcasing her most seminal works and the ongoing presence of nature
throughout her groundbreaking oeuvre. Born in 1936, Jonas was trained as
a sculptor and moved into film and performance in the 1960s, subverting
mediated images to question (self-)portraiture and the representation of
the body. Her seminal video works in the 1970s pushed her investigation
further and addressed issues of gender and feminism. Since then,
investigating ideas of ritual, process, and repetition, Jonas has
developed a large body of work exploring the potentialities of drawing.
Presented in conjunction with Reanimation, taking place November 15-16
at Roulette. For more information see performa-arts.org.
-------------------------
MONDAY, NOVEMBER 18, 2013
-------------------------
11/18
Los Angeles, California: Academy Film Archive, Linwood Dunn Theater
7:30 PM, 1313 Vine Street
SELECTIONS FROM TREASURES 6: NEXT WAVE AVANT-GARDE
Free and open to the public. As part of "Back for the Future: Film
Restoration in the 21st Century" Jeff Lambert from the National Film
Preservation Foundation will present a selection of films from the
upcoming DVD set Treasures 6: Next Wave Avant-Garde. A discussion with
Michael Pogorzelski, Director of the Academy Film Archive, will follow
the screening. Films to be shown: A Visit to Indiana (1970) by Curt
McDowell, preserved by Pacific Film Archive. Plumb Line (1978) by
Carolee Schneemann, preserved by The Museum of Modern Art. Radio Adios
(1982) by Henry Hills, preserved by Anthology Film Archives. 11 thru 12
(1977) by Andrea Callard,preserved by New York University. Hi-Fi Cadets
(1989) by Lewis Klahr, preserved by the Academy Film Archive
(preservation premiere!). Report (1967) by Bruce Conner, preserved by
Anthology Film Archives as part of the NFPF's Avant-Garde Masters
Program funded by The Film Foundation.
11/18
Los Angeles, California: Redcat
http://www.redcat.org/
8:30pm, 631 West 2nd Street, Los Angeles, CA 90012
RAKHSHAN BANIETEMAD THE HIDDEN COST OF VIOLENCE
World Premiere Iran's most celebrated female filmmaker, Rakhshan
Banietemad, screens two passionate and fascinating explorations of the
impact of the recent electoral processes in her country. We Are Half of
Iran's Population (Ma Nimi Az Jameiate Iranim, 2009, video, 42 min)
films a diverse coalition of women's rights activists. In the world
premiere of See You Tomorrow Elina! (Farda Mibinamet Elina, 2013, DVD,
52 min), Banietemad returns to the kindergarten where she had enrolled
her daughter Baran now an actress and activist who has since appeared
in many of Banietemad's narrative films. The film compares the violence
witnessed by Iranian kindergarten students during the Iran-Iraq War of
the 1980s with that of the recent political protests following the
controversial 2009 elections. Jack H. Skirball Series | $10.00 [members
$8.00] In person: Rakhshan Banietemad
11/18
Toronto, Ontario, Canada: Early Monthly Segments
http://earlymonthlysegments.org/
8:00 PM, Gladstone Hotel, 1214 Queen St W
EARLY MONTHLY SEGMENTS #57 = ALFRED GUZZETTI'S FAMILY PORTRAIT SITTINGS
Guest Programmed by Derek Jenkins Family Portrait Sittings is most
immediately notable for having the audacity to call itself interesting.
Comprising contemporaneous documentation and travel footage, oral
histories, home movies, and family photos, it presents as personal, as
of a narrowness, but vibrates natively with the political. There is
simple charm in competing claims of authority, but here is an
orchestration of apparent conflictbetween spoken memories and other
forms of representation, between the object and its imageproduced by a
filmmaker who will not consent to privilege one story or another.
Guzzetti, over a career that spans decades, in the marked variety of his
art and his writing, has consistently and explicitly been occupied by
the representation of subjective experience. In Family Portrait
Sittings, he offers nested removes: a rememberer speaks, a still image
floats, a film bleeps and crackles outthe relationship between these
objects never direct, only phenomenal and continuous. His subjects
discover and encounter questions of radical politics, of reproduction,
of labour (aesthetic, domestic, provisional) stowed in the shoebox of
practical history. They test out theories on each other, are distracted
at times by verification. If by temperament they resist one form, they
prove generous in another. Guzzetti himself prods and challenges
intermittently but freely: openly participant. Divided into three parts,
thematized (roughly) by genealogical, individual, and generational
concerns, the film stitches accidental resonances of autobiography into
a momentarily stable image of the family, activated at last by the cold
intimacy of spectatorship. A few years prior to its release, Guzzetti
discussed the movies as a "fugitive experience," one that, after it is
spun, can exist only in memory. If so, what fitter subject than memory
itself? Programme Family Portrait Sittings, Alfred Guzzetti, 1975, USA,
16mm, 103 minutes, B&W, sound.
--------------------------
TUESDAY, NOVEMBER 19, 2013
--------------------------
11/19
Brooklyn, NY: Light Industry
http://www.lightindustry.org/
7:30pm, 155 Freeman Street
GREGG BORDOWITZ PRESENTS YVONNE RAINER'S LIVES OF PERFORMERS
Lives of Performers, Yvonne Rainer, 16mm, 1972, 90 mins, Introduced by
Gregg Bordowitz - Yvonne Rainer's first feature film, Lives of
Performers combines footage of her rehearsals with the dance company
Grand Union, as well as the dancers themselves performing in vignettes
drawn from the film script of a melodrama. It's about a guy who can't
choose between two women and makes them both suffer. The parts are
played by two women and two men, confusing the viewerwho desires
whom? The written lines of the script appear on screen\; the pages of
the script are additional characters in the melodrama. This film could
be understood by turns as feminist, structural, minimalist, and
postmodern. Today we can see that Lives of Performers is an example of
art that anticipated (initiated) discussions around gender performance,
and queer desire. Additionally, the film addresses current concerns such
as affect, sensibility, and sincerity. Watching the film, we don't know
what parts are Rainer's and what parts are quotations. We don't know
whether we should laugh or cry. This is perhaps the most radical job art
can perform: producing new emotions. Yvonne Rainer has changed the way
we feel and the way we understand our feelings. Her contribution to art
is equal to Gertrude Stein's contribution to literature. In all her
worksincluding dance, choreography, film, and poetrythe
artist changes the very syntax of disciplines and forms. - GB - Followed
by a conversation with Bordowitz and Rainer. - Print courtesy of the
Museum of Modern Art. - Tickets - $7, available at door. - Please note:
seating is limited. First-come, first-served. Box office opens at 7pm.
----------------------------
WEDNESDAY, NOVEMBER 20, 2013
----------------------------
11/20
Austin, TX: Experimental Response Cinema
http://ercatx.org
7:30, Austin Film Society Screening Room, 1901 E. 51st Street
SCOTT STARK'S THE REALIST
With Scott Stark in person! - ERC passholders welcome! - Experimental
Response Cinema and the Austin Film Society are proud to present an
evening of recent films and videos by Scott Stark, including the widely
acclaimed The Realist! The Realist is an experimental and highly
abstracted melodrama, a "doomed love story" storyboarded with
flickering still photographs, peopled with department store mannequins,
and located in the visually heightened universe of clothing displays,
fashion islands and storefront windows. It has already screened in many
highly regarded festivals around the world including the Toronto Film
Festival, the NY Film Festival, the London Film Festival and many
others. Come see the Austin premiere with Austinite Scott Stark in
person! A reception will follow the screening. - See full program
details here: http://ercatx.org/nov-20th-scott-starks-the-realist/
11/20
Colorado Springs, Colorado: TIE, The
International Experimental Cinema Exposition
https://www.facebook.com/events/448704071873282/
November 20-24, 2013, EDITH KINNEY GAYLORD
CORNERSTONE CENTER FOR THE ARTS, 825 N Cascade Ave.,Colorado Springs, CO 80903
ALTERNATIVE MEASURES: AN EXPLORATION OF ARTIST-RUN FILM LABS
TIE presents five-days of film screenings, lectures, receptions, panel
discussions, a photo exhibit, installations and workshops...The festival
is a meeting place for these different labs, filmmakers and other
creative minds, to foster the transmission of knowledge and experience
cross-culturally. Alternative Measures takes place November 20-24, 2013
and is open to the public. Please join the TIE email list for updates
and registration info: sign up at experimentalcinema.org.
11/20
Colorado Springs, Colorado: TIE - Alternative
Measures: an investigation of artist-run film labs
https://www.regonline.com/Register/Checkin.aspx?EventId=1234975
11:59 PM - 1:20 AM, Edith Kinney Gaylord
Cornerstone Arts Center, 825 N. Cascade Ave
PIE IN THE SKY
"The mundane everyday world receives a special treatment in this
collection of films. What is left are mythical and fantastical settings,
newly invented. Characters interact without invitation, developed and
multidimensional individuals under their own spell. Beautiful pieces of
music and haunting incantations accompany obscure settings, impossible
dreamscapes and ribbons of roads, cars cutting in and out of existence.
People, places, and things blur and unite the worlds." -Brendan Verville
*Post-screening Q&A with special guest(s) in the Flex Room (Deluxe and
Patron Package registrants only) Films include: en-corps by Colas Ricard
[2001-2002, 7 min., Super-8, 18 fps, sound, France] Shooting like acts
of desire. Shooting between body and nature. Shooting through the matter
and the darkness. *This film was made in-part at L'Abominable (France).
The Feet and the Spirit by Ricardo Leite [2010, 9 min., Super-8, 24 fps,
sound, Portugal] "In this film, the main character is played by the
director. The character/director walks 250km to Fatima, a portuguese
catholic sanctuary. Inspired in the books of Merleau Ponty "Oeil et l
esprit" and Jean Brun "La Main et l'esprit," it starts to build a
spiritual body, adding the feet to the eyes and the hands, studied by
both authors. Starting with a ritual that has been repeated in other
films (becoming an archetype), he drinks wine from a silver cup on a
hill near Oporto, where he starts his journey. His path is unique, he
has no defined religion, he isn't Catholic, Muslim, Buddhist or Hindu.
In his journey he faces the violence of the machine, hundreds of cars
and trucks travel at high speed toward him. The film becomes a
documentary about a character that the director doesn't know, because
the path is also unknown, as well as his destiny. It is a meta and
physical path, a clash and a communion between the "feet" and the
"spirit". At his arrival, a strange episode isn't shown by the cameras.
Before the final shot, an Indian family greets the character and offers
him food and drink. The character refuses politely and they leave with a
smile without turning their back on him, in a strange sign of respect.
As soon as the final scene approaches, nobody else talks with the
pilgrim. Chaotic believers turn their faces from him, like his presence
is an insult. In the end, the other two characters appear, they are also
friends of the director and their roles in the film are indefinite, one
brings the water, that she accidentally throws on the steps, the second
character enters the scene to wash the pilgrim's feet. This scene is
enigmatic and acted as some kind of a presage. Although it has been
built under symbols, what it represents in reality is impossible to
understand. This film was built under the feet of the spirit, the flesh
has traversed the road with joy." *This film was made in-part at Atomo47
(Portugal). Woolgatherers by Matt Soyka & Christopher May [2013, 10
min., Regular-8, 18 fps, sound, USA] Woolgatherers pairs found footage
of an obscure film type with found audio of an obscure format. This
gathering is a foggy dream state that takes place in the mountains of a
Colorado inspired apathy. Paradise is a fiction whose only true
expression can be found in the most idealistic of film genres, the home
movie. *This film was made in-part at TIE space (USA). IO by Ricardo
Leite & Mariana Figueroa [2011, 8 min., Super-8, 24 fps, cassette,
Portugal] "In Greek mythology, Io was a priestess of Hera in Argos, a
nymph seduced by Zeus, who changed her into a heifer to escape
detection. Her mistress Hera set ever-watchful Argus Panoptes to guard
her, but Hermes was sent to distract the guardian and slay him. Heifer
Io was loosed to roam the world, stung by a maddening gadfly sent by
Hera, and wandered to Egypt, thus placing her descendant Belus in Egypt;
his sons Cadmus and Danaus would thus "return" to mainland Greece." This
film was shot in Quarz camera in Double-Super8 format. *This film was
made in-part at Atomo47 (Portugal). Corto by Dairo Cervantes Duque
[2009, 8 min., Super-8, 24 fps, sound, Colombia] Two odd yet ordinary
people are the main characters of this idyllic fantasy filmed in Super-8
by Colombian Dairo Cervantes, which approaches the thin line dividing
reality and fiction. As the story of these two neighbors/enemies/lovers
unravels, it loses, both consciously and unconsciously, its potential
dramatic quality to become a true excruciatingly sensorial journey.
*This film was made in-part by Kinolab (Columbia). Marché by Carole
Contant [2006, 4 min., Super-8, 18 fps, sound, France] Walking by the
marketplace, exchanging money and smiles for a minute of silence and
music for my baker on Myrha street, Paris 18th district. Constraint
petit film 2006: a little film with a text from "CDF" (collective diary
film). *This film was made in-part at L'Abominable (France). dog, girl,
stars by Matt Soyka & Christopher May [2013, 5 min., Super-8, 18 fps,
sound, USA] Funny, beautiful, then sad, with music. *This film was made
in-part at TIE space (USA). Gordijn by Daan de Bakker [2008, 4 min.,
Super-8, 18 fps, silent, Netherlands] A mesmerizing picture of a
curtain, set into motion by multiple exposures. Shot on one cartridge of
Fujichrome R25N Single-8 film. No edits, hand-processed. *This film was
made in-part at Filmwerkplaats (Netherlands). [for program details and
registration www.regonline.com/tie]
11/20
Colorado Springs, Colorado: TIE - Alternative
Measures: an investigation of artist-run film labs
https://www.regonline.com/Register/Checkin.aspx?EventId=1234975
12:30 PM - 9:30 PM, Edith Kinney Gaylord
Cornerstone Arts Center, 825 N. Cascade Ave
CINEMATOGRAPHE: THE HAND-CRANKED FILM
[Instructor: Kevin Rice (Boulder, Colorado)] The Cinématographe was the
first device of it's kind which was easily deployable in the field
rather than being tightly constrained to a studio. This was possible not
only because of it's relatively light weight (16 lb. / 7.3 kg), but also
because of it's use of a hand-cranked drive shaft as opposed to an
electrically powered one such as with Edison's Kinetograph. As a result
of each of these elements, the Cinématographe allowed for the film
makers to explore both the science of light, motion and chemistry as
well as the science of everyday life; more conductors of research than
storytellers...In this workshop, we will be exploring this form of film
making whereby the camera, film strip, chemistry and projector are
seemingly integrated with the body and mind of the film maker
themselves. Participants will collaborate with one another to
photograph, print and project 100 feet (approx. 2 minutes) of 35mm
motion picture film using nothing more than gears, buckets and
apertures. [for program details and registration visit
www.regonline.com/tie]
11/20
Colorado Springs, Colorado: TIE - Alternative
Measures: an investigation of artist-run film labs
https://www.regonline.com/Register/Checkin.aspx?EventId=1234975
5:45 PM - 7:15 PM, Edith Kinney Gaylord
Cornerstone Arts Center, 825 N. Cascade Ave
WELCOME AND OPENING LECTURE ON MATERIALISM
Jessica Hunter-Larsen, curator of the IDEA Space (Interdisciplinary
Experimental Arts) at Colorado College, welcomes invited guests and
attendees from around the world to the Cornerstone Arts Center. Scott
Krzych, whose teaching and research focuses on theoretical approaches to
media and culture with an emphasis on the relation between technology
and ideology, will be lecturing on materialism. [for program details and
registration visit www.regonline.com/tie]
11/20
Colorado Springs, Colorado: TIE - Alternative
Measures: an investigation of artist-run film labs
https://www.regonline.com/Register/Checkin.aspx?EventId=1234975
7:45 PM - 8:45 PM, Edith Kinney Gaylord
Cornerstone Arts Center, 825 N. Cascade Ave.
CREATING CELLULOID 16MM - HOW TO INVENT NEW PARALLEL UNIVERSES
Curated by Nadine Taschler This program celebrates five years of
independent film creation at Filmkoop Wien. Films from the first days of
the lab and more recent works are combined into two short film programs
that allow you to dive into the micro-cosmos of Austrian experimental
films. You will join us on a journey from abstract to hand-processed
films, experiencing innovative minute documentaries, flying through a
cloud of invented illusions, and meeting the stars created through
filming. *Post-screening Q&A with special guest(s) in the Flex Room
(Deluxe and Patron Package registrants only) Films include: Bolex Mon
Amour by Daniela Zahlner [2012, 3 min., 16mm, 24 fps, silent, Austria] A
muse and heroine, beloved accessoire and technical playground of
avant-garde cinema. Fixed on a treadmill, I keep running toward the
lens. Being filmed and handling the camera at the same time, I conjugate
the technical possibilities of the Bolex. A love song for the camera.
Daniela Zahlner Unterwäsche oben Party by Nadine Taschler [2008, 3 min.,
16mm, 24 fps, sound, Austria] You think you know how to party? Then you
should definitely dare to wear your underpants on top, dance, jump and
sing in front of a 16mm grandpa style wind-up camera. And if you don't,
we will film you anyhow. Enjoy the party! Golan by Viktoria Schmid
[2012, 2 min., 16mm, 18 fps, sound, Austria] A contribution in the vein
of the long-lasting tradition of picturing the horse as well as a
portrait of a longtime companion of the filmmaker. In front of the
camera the horse behaves differently than in other known images in art
history. The audio is generated by contact-printing the picture
information. En Passant by Piers Erbslöh [2011, 5 min., 16mm, 24 fps,
silent, Austria] A hotel room, a man is smoking, waiting. A woman
enters, a couple, an affair, a passing moment locked in time. Fading
love and lost passion reflected in a final glance back. en
pas?sant /?än pä?sänt/ Adverb By the way; incidentally
By the en passant rule (chess) Synonyms in passing - passingly -
incidentally - by the way Albern II by Nina Kreuzinger [2011, 2 min.,
16mm, 24 fps, silent, Austria] Albern II exhibits sculptural female
bodies as (anonymous) objects of projection. Instead of culturally
prepossessed textiles or jewelry, geometric shapes form reference points
towards the history of female nudes. Adapting to the shape of
industrial, geometric, standardized machine parts refers to the (painful
self) "functionalization" of the human body especially female bodies.
Rust and rotting material on bare skin are evidence of the transience of
the "apparatus." In its object oriented perspective, the outside
reflects the manipulated inside. Editor and second director of
photography: Marie-Thérèse Jakoubek Mimicry by Marie-Thérèse Jakoubek
and Antoinette Zwirchmayr [2013, 3 min., 16mm, 24 fps, silent, Austria]
Mimicry is the attempt to give seemingly useless chinaware a purpose. In
biology, mimicry refers to lifeforms, which imitate others to survive.
There is a porcelain swan who really tries to be an attractive napkin
holder or a dull snail who wants to be a pot of jam. This seemingly
playful handling of animal figurines is questioning our self-perception.
The desire to be someone else becomes noticeable. Für Oma by Johannes
Schrems [2006, 3 min., 16mm, 18 fps, silent, Austria] In the first
exposure, I filmed my grandmother lying on her deathbed. In the second
exposure I filmed my newborn daughter. Even though the two parts were
filmed separately, they start to communicate. Johannes Schrems
Untitled by Antoinette Zwirchmayr [2012, 2 min., 16mm, 24 fps, silent,
Austria] Lit like the central figure on a stage, the body, seen here as
a quiet monument, fills out the frame. There's a mud and flesh-colored
silhouette, rounded, dreamlike, and eventually resembling a softly
shaped mountain range in a 1970s illustration. Small puffy clouds of
steam hover across it. Through the fine mist of humidity exuding from
beyond one corner of the frame, a porous landscape of skin draped in
ample rings of flesh can be made out. Before the shot changes to show a
new perspective of the body, it becomes clear that it belongs to a
female figure, revealed in large fragments shot by shot, creating the
impression of a living and breathing Venus of Willendorf, a kind of
dormant volcano. Film Still by Olena Newkryta and Nana Thurner [2013, 6
min., 16mm, 18 fps, sound, Austria] Film Still is a 16mm black and white
film which is showing fragmented parts of different structures. The
motifs are photographs originating from realms of human and nature. The
topics of the film are the visual similarities of these different
structures, the connection that can develop between them through the
projection and the fragmentation of the photographs. The photographs
were contact printed onto the 16 mm film in the darkroom. Doing that, a
part of the picture was exposed on the soundtrack. This way the pictures
will become audible during the projection, due to the optical sound. The
main question of the film is whether the visual relationship of the
structures can also have audible similarities. Travers 1-2a (Odessa) by
Daniela Zahlner [2011, 4 min., 16mm, 24 fps, silent, Ukraine/Austria]
Odessa's seaside: a place full of history and cinema. Super-8 footage of
my trip. Memories. I project and refilm onto 16mm, contact print
manually frame per frame. Remember, forget, remember. While working with
the material, the place Odessa disappears, and cinematic space opens up.
Tic Tac by Josephine Ahnelt [2011, 3 min., 16mm, 24 fps, silent,
Austria] Tic Tac is a zigzagging parkour move in which the runner pushes
off from a surface to jump over obstacles or climb tight spaces between
buildings. However, not much of the eponymous technique can be seen in
young filmmaker Josephine Ahnelt's work. The movement takes place in the
protagonists' faces. Tic Tac examines in microscopic detail the
psychological processes that play out while a group of young parkour
traceurs do their thing. The camera focuses on their facial expressions
and gestures, their anxiety and nervousness, and also their pleasure and
pain. Kaviar im Mund by Marie-Thérèse Jakoubek [2013, 4 min., 16mm, 24
fps, silent, Austria] Kaviar is a very sensual film about shimmering
soft blond hair dancing in the sun. Set on a wild meadow full of
dandelions, the protagonist sits on a light fabric which is decorated
with orange flowers. As she starts to play with her picnic of fish and
shimmering orange caviar, she begins to decorate herself and her
surroundings with it. The sticky caviar eggs are glued onto her hair and
hands. It seems hard to get them off her fingers. Just like the
pictures, the hair sometimes tries to escape the frame and eventually
gets lost in the wind.
11/20
Colorado Springs, Colorado: TIE - Alternative
Measures: an investigation of artist-run film labs
https://www.regonline.com/Register/Checkin.aspx?EventId=1234975
9:30 PM - 11:10 PM, Edith Kinney Gaylord
Cornerstone Arts Center, 825 N. Cascade Ave.
EX VOTO, A TAMA FOR EKTACHROME
[Presented by Vassily Bourikas] *Post-screening Q&A with special
guest(s) in the Flex Room (Deluxe and Patron Package registrants only)
11/20
Colorado Springs, Colorado: TIE - Alternative
Measures: an investigation of artist-run film labs
https://www.regonline.com/Register/Checkin.aspx?EventId=1234975
TBA, Edith Kinney Gaylord Cornerstone Arts Center, 825 N. Cascade Ave
STARTING A FILM LAB COLLECTIVE - A D.I.Y. INTRODUCTION
[Instructor: LaborBerlin] Thanks for taking part in our workshop. Your
instructors, Anja Dornieden, Iana Stefanova, Meg Rorison, Juan David
González Monroy and Oscar de Gispert, are members of the artist-run film
lab LaborBerlin. LaborBerlin is a collective dedicated to analog
filmmaking in all its shapes and forms. For this purpose we've created a
space where anyone can have the freedom and independence to develop,
print and cut their own films. Since our location is in the old locker
room of an empty neighborhood swimming pool in Berlin we've used a
D.I.Y. approach to adapt the space to our needs. At LaborBerlin we've
also made an effort to support individuals and groups around the world
that have an interest in creating their own spaces and initiatives.
Members of LaborBerlin have taught workshops or helped start labs in
places such as Cairo, Beirut, Beijing, Oslo, Budapest, Recife, Jakarta
and Belgrade. In this workshop you will learn the basics on how to start
your own D.I.Y. film lab. We will go over the materials and minimum
space requirements you will need to get started. We will also go over
different organizational approaches as well as share how our
organization works and how we function as a collective. The workshop
will also have a practical section where we will shoot and develop some
black and white 16mm film. This way you can learn both the theory and
practice of starting your own lab. Make sure to bring pen and paper and
a coat or shirt that you don't mind getting chemicals on. **Exact times,
other details and locations coming soon [for program details and
registration visit www.regonline.com/tie]
11/20
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
7:00 pm, 32 2nd Avenue
EZTV SHORTS
ONE ARCHIVES & DIRTY LOOKS NYC PRESENT: EZTV Founded by pioneering
video-maker John Dorr in 1979, EZTV was an artist-run space in the West
Hollywood neighborhood of Los Angeles dedicated to the presentation and
production of alternative video projects. Perhaps the country's first
micro-cinema dedicated exclusively to video, EZTV's early, predominately
queer members produced numerous video projects from campy shorts to
feature-length docs to experimental video installations. EZTV functioned
in many ways as an open platform for a wide-range of video-antics as
well as a much-needed space for experimentation and camaraderie. While
locally well-recognized throughout the 1980s, EZTV's role as a queer
video center has gone largely unacknowledged and undocumented. This
screening presents videos from the archives of EZTV, part of the
collections at ONE Archives at the USC Libraries in Los Angeles, the
largest LGBTQ repository in the world. In 2011, EZTV was featured in the
exhibition "Collaboration Labs: Southern California Artists and the
Artist Space Movement", curated by Alex Donis at LA's 18th Street Art
Center. ONE Archives will present a larger retrospective on the space in
Spring 2014 to be accompanied by a screening series of newly
re-discovered videos in the collection. A salon of influences, DIRTY
LOOKS NYC is a New York-based roaming series, an open platform for
inquiry, discussion, and debate. Designed to trace contemporary queer
aesthetics through historical works, Dirty Looks presents quintessential
GLBT film and video alongside up-and-coming artists and filmmakers.
Dirty Looks exhibits a lineage of queer tactics and visual styles for
younger artists, casual viewers, and seasoned avant-garde filmgoers
alike. ONE National Gay & Lesbian Archives at the USC Libraries is the
oldest active Lesbian, Gay, Bisexual, Transgender, Queer (LGBTQ)
organization in the United States and the largest repository of LGBTQ
materials in the world. Founded in 1952, ONE Archives currently houses
over two million archival items including periodicals, books, film,
video and audio recordings, photographs, artworks, organizational
records, and personal papers. More information at onearchives.org.
Co-organized by David Frantz, Curator at ONE Archives, and Bradford
Nordeen, Director of Dirty Looks NYC. SHORTS Shorts to be screened from
the EZTV archives include: LOUISE NEVELSON TAKES A BATH (1983, 4 min), a
portrait of the modernist artist "portrayed as a droll transvestite" by
Jamie Walters, co-founder of EZTV's sister organization Video Free Earth
in Washington DC; James Williams's CLEAR CANVAS (1984, 5 min), a
mediation on the then-new medium of video by EZTV's co-founder and
artistic director; an excerpt from the only known surviving tape of
FACULTY WIVES (1983), a riff on the soap opera chronicling the scandal
and tribulations of higher education and departmental politics; an
excerpt from John Dorr's SUDZALL DOES IT ALL (1979), a low-budget,
high-camp satire of commercial success and the first feature-length
production on video; and I THOUGHT THIS WAS WHAT YOU WANTED (1989, 8
min), a poetic, striking collaboration between ia Kamandalu (Kim
McKillip) & Michael Masucci. And more to be announced!
11/20
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
9:00 pm, 32 2nd Avenue
BLOND DEATH
by James Dillinger 1984, 98 min, 3?4" video-to-digital ONE
ARCHIVES & DIRTY LOOKS NYC PRESENT:EZTV FEATURE FILM: BLOND DEATH EZTV's
first 'hit', BLOND DEATH follows the exploits of Tammy, the 'teenage
time-bomb', as she is kidnapped and led into a life of senseless
violence and murder by her two bisexual companions. With outrageous
lines like "I'm gonna give you a scaldin' Clorox enema!", Dillinger's
low-brow camp classic pays tribute to cult directors like Roger Corman
and John Waters while taking on the Orange County Christians and
sensationalized violence. Dillinger would later release a number of
transgressive, anarchistic novels under his real name, and though widely
unrecognized, BLOND DEATH in many ways anticipates these satirical
works.
11/20
Tucson, AZ: Exploded View
http://explodedviewgallery.org
7:30, 197 E Toole Ave
DANCE FILM: BACK TO NATURE
EV presents the premiere of Kimi Eisele and Ben Johnson's Rosemont Ours:
A Field Guide, a dance film celebrating the plant and animal species
that inhabit or migrate through Southern Arizona's Santa Rita Mountains
and are being endangered by the proposed open pit Rosemont Mine. Also,
films by Maya Deren's, Norman Mclaren, Yvonne Rainer and Hilary Harris.
---------------------------
THURSDAY, NOVEMBER 21, 2013
---------------------------
11/21
Colorado Springs, Colorado: TIE - Alternative
Measures: an investigation of artist-run film labs
https://www.regonline.com/Register/Checkin.aspx?EventId=1234975
1:40 PM - 2:40 PM, Edith Kinney Gaylord
Cornerstone Arts Center, 825 N. Cascade Ave
MONO NO AWARE - HEAVY HANDS
[Curated by Josh Lewis] Mono No Aware is an organized group of
individuals working to promote the cinematic experience through art,
film, and literature. Based in Brooklyn, NY, Mono No Aware presents
screenings, operates filmmaking workshops, and hosts an international
exhibition for contemporary artists and filmmakers whose work
incorporates Super-8, 16mm, 35mm, or altered light projections as part
of a live performance or installation. The films in this program were
all processed by the filmmakers themselves at our facility, and
represent a variety of approaches to utilizing the industry standard
100-foot roll of 16mm film as a self-contained, autonomous work of art.
Josh Lewis *Post-screening Q&A with special guest in the Flex Room
(Deluxe and Patron Package registrants only) Films include: Summer Dream
by Steve Cossman [2013, 3 min., 16mm, 24 fps, silent, USA] It is summer.
A group of friends have gathered in order to celebrate a birthday. There
is no cake or candles. As the evening progresses, they collectively
decide to feast on the woman of the hour. This is my dream. Manhattan
Beach by David Beard [2013, 2 min., 16mm, 24 fps, silent, USA] Sun and
surf downtown Correspondances IV by David Beard & Christy Shigekawa
[2013, 2 min., 16mm, 24 fps, silent, USA] An "exquisite corpse" film
featuring light reflected and emitted in marvelous "duo tone" Captive
Suns by Antonia Kuo [2013, 3 min., 16mm, 24 fps, silent, USA] Captive
Suns is a 16mm project comprised of found footage of the cosmos,
manipulated in the darkroom through hand-processing, tinting, toning,
and bleaching. The film embodies a fluctuating pulse of energy mirrored
in the primordial vastness of space, an attempt to give materiality to
the intangible and create a direct experience with what is beyond our
reach. 39,82880, -76,0121 by Katherine Bauer [2012, 3 min., 16mm, 24
fps, silent, USA] The filming of Agnes Lux's spiral through her graphite
and postcard pieces, out of her East Village studio window and then back
into the blocks that are both building and destroying themselves within
the cityscape. Carpe Noctem by Kenneth Zoran Curwood [2013, 3 min.,
16mm, 24 fps, silent, USA] Caligula and his sister attempt to free
themselves from the bondage of their societal roles through lucid
dreaming. Antiquity by Rachelle Rahme [2013, 3 min., 16mm, 24 fps,
silent, USA] Fireworks by Allison Sommers [2013, 3 min., 16mm, 24 fps,
silent, USA] After several months producing black and white photograms
in my home darkroom, experimenting with long exposures, submerging the
photo-sensitive paper in water with added materials, I have developed a
process resulting in images akin to fireworks or cluster bombs in a
night sky. These prints are records of materials dissolving in water and
floating above the surface of the paper while the exposure is in
progress. In Fireworks, this process is reconfigured for use with 16mm
film. I am employing a similar process of submerging the photo-sensitive
material (the unexposed film) in water with dissolving materials, then
exposing to light, and processing as usual. The resulting film is (now)
a durational record of the chemical and material changes affecting the
film, and visually reads as something like a light display on a dark
night. Door #2 by Sarah Halpern [2013, 3 min., 16mm, 24 fps, silent,
USA] I am very conflicted about making 16mm films in 2013. It's
difficult to proceed in time with a format that is increasingly
considered antiquated. This film is about timeliness and novelty. Water
Treatment by Sean Hanley [2013, 3 min., 16mm, 24 fps, silent, USA] A
film exhibiting one hundred feet of the Gowanus Canal by canoe, New
York's most notorious waterway. Doubt by Josh Lewis [2013, 6 min., 16mm,
12 fps, silent, USA] If one begins from the premise that film emulsion
is simply a material that responds to light and chemistry, a widening,
primeval chasm of possible outcomes begins to open up. Doubt is the
result of many 100' foot sessions executed quickly under a red light
using a variety of chemicals applied directly to black and white film
stock. Imbued within is a desire for a mastery that can never be fully
attained, a panic that is ever present, and an attempt at accepting the
condition of forever sliding along a continuum of belief and doubt. [for
program details and registration visit www.regonline.com/tie]
11/21
Colorado Springs, Colorado: TIE - Alternative
Measures: an investigation of artist-run film labs
https://www.regonline.com/Register/Checkin.aspx?EventId=1234975
10:00 AM - 3:00 PM, Edith Kinney Gaylord
Cornerstone Arts Center, 825 N. Cascade Ave
EXPANDED CINEMA: APPARATUS AND METHODOLOGY
[Instructor: Alex MacKenzie (Vancouver, Canada)] In this workshop, we
take a closer look at the original engine of expanded cinema: the
projector. Specifically, participants will explore how to work with 16mm
projection devices to allow an expansion of their potential and a
re-purposing of their function. Discussion and examination of the
various elements of projection - light, lens, focal plane, film gate,
speed, shutter, motor, bulb, and screen will all be explored with live
examples and an up-close and hands-on approach. The work of contemporary
media artists Bruce McLure, Presstapes (Luis Recoder/ Sandra Gibson),
Wetgate, and others as well as historically significant artists will be
discussed. Participants will be given the opportunity to try out various
techniques, and will leave with a better understanding of how these
elements work both separately and in tandem, a demystification of the
primary instrument of the motion picture. [for program details and
registration visit www.regonline.com/tie]
11/21
Colorado Springs, Colorado: TIE - Alternative
Measures: an investigation of artist-run film labs
https://www.regonline.com/Register/Checkin.aspx?EventId=1234975
10:30 AM - 11:40 AM, Edith Kinney Gaylord
Cornerstone Arts Center, 825 N. Cascade Ave.
CREATING CELLULOID SUPER-8 - HOW TO INVENT NEW PARALLEL UNIVERSES
[Curated by Nadine Taschler] This program celebrates five years of
independent film creation at Filmkoop Wien. Films from the first days of
the lab and more recent works are combined into two short film programs
that allow you to dive into the micro-cosmos of Austrian experimental
films. You will join us on a journey from abstract to hand-processed
films, experiencing innovative minute documentaries, flying through a
cloud of invented illusions, and meeting the stars created through
filming. *Post-screening Q&A with special guest(s) in the Flex Room
(Deluxe and Patron Package registrants only) Films include: Mariposa by
Rosa John [2013, 4 min., Super-8, 18 fps, silent, Nicaragua] Views of
Nicaragua with compound eyes. A Journey to Empathy (Dead Film No. 1) by
Christian Kurz [2013, 7 min., Super-8, 24fps, silent, Germany/Austria]
Made from the vastly expired kodachrome film-stock, the journey takes
the viewers through Berlin. Like in human vision, the material turns
bichrome when there is low light and shows bright colors in the full
sunshine. Only cyan and white stay on the dark in the seemingly endless
ride on the trains and tramways while there is bright off-color, looking
at kites in the clear tempelhof sky. Underwater by Nadine Taschler
[2011, 2 min., Super-8, 24 fps, silent, Austria] Underwater follows
movements under the water, examines the surface and plays with crisp but
still blurry reflections of the outside world. This film takes you into
the river and out to experience new sights away from typical BBC
documentaries and their boundaries. Images of an Artist by Cana
Bilir-Meier [2012, 3 min., Super-8, 24 fps, silent, Austria] Painting.
Light. Sun. Mirror. Hands. Fragments. Studio. Image. Cosmopolitan.
Shadow. Meeting. Old-age home. Hair. Brush. Chess game. A short film
with the painting artist Soshana, alias Susanne Afroyim. Born in Vienna
1927, she and her family were forced to leave the country by the NS
regime in 1939. Soshana travelled and exhibited all over the world
during her life. Since 1985 Soshana is again living in Vienna.
Taborstraße 135 by Magdalena Pfeifer [2012, 3 min., Super-8, 18 fps,
silent, Austria] Threatening shadows cast by ordinary people on the
rain-soaked ground wander spookily up and down the curb. The Taborstraße
(Tabor Road) is in the 2nd District of Vienna, around the 20th century
many Jewish cinemas were located there. Today the buildings have been
demolished and not a single cinema remains in the district.
11/21
Colorado Springs, Colorado: TIE - Alternative
Measures: an investigation of artist-run film labs
https://www.regonline.com/Register/Checkin.aspx?EventId=1234975
10:55 PM - 12:35 AM, Edith Kinney Gaylord
Cornerstone Arts Center, 825 N. Cascade Ave
LUMINOUS PASSAGES
In the passage of time, captured within a film reel, a narrative is born
that stands the test of age. All forms of passage are celebrated in this
collection of films, in experimental styles and hand-processed
techniques. There is the passage of light into dark, the bridge of
generations, the turning of the seasons and the history of change. All
opposing forces must come together now for one final show. Brendan
Verville *Post-screening Q&A with special guest(s) in the Flex Room
(Deluxe and Patron Package registrants only) Films include: Shutter by
Alexi Manis [2010, 9 min., 16mm, 24 fps, sound, Canada] Shutter tracks
the rising sun, the lengthening shadows and the darkening day of a total
solar eclipse. Inspired by a 16mm record of the 1980 total solar
eclipse, this work captures the beauty, complexity and terror of the
shifting light that precedes and accompanies a solar eclipse. *This film
was made in-part at Niagara Custom Lab Toronto (Canada). Generations by
Barbara Hammer and Gina Carducci [2010, 30 min., 16mm, 24 fps, optical
sound, USA] In the spirit of mentoring and passing on the tradition of
personal experimental filmmaking, 70-year old Barbara Hammer the
legendary pioneer of lesbian experimental cinema hands the camera to
Gina Carducci, a young queer filmmaker who hand-processes and edits 16mm
film rather than conceding to the dominance of digital. Celebrating
Hammer's spontaneous shooting style and dense editing montage with
Carducci's studied cinematography, the two filmmakers, generations apart
in age, shoot the last days of Astroland in Coney Island, New York. The
filmmakers find that the inevitability of aging is echoed in the
architecture of the amusement park and the emulsion of the film medium
itself. Inspired by Shirley Clarke's Bridges Go Round, both filmmakers
edit their own versions of picture and sound, and then splice their
films together, each contributing one half of what becomes one
intergenerational experimental film. *This film was made in-part at MIX
Lab (USA). Legacies by John Woods [2012, 3 min., 16mm, 24 fps, optical
sound, Canada] Twenty-five years after Expo 86 set out to change
Vancouver, this hand-processed cinematic survey looks at the few
surviving Expo structures as vintage audio promises an untold economic
windfall to the city. John Woods *This film was made in-part at
Cineworks and Niagara Custom Lab Toronto (Canada). The Crossing by Sook
Hyun Kim [2007, 2010, 10min., 16mm, 24 fps, optical sound, South Korea]
Synchronic and diachronic figures and texts negotiate with and collide
with one another on the film. These are visual language, traces of
cultural translation or realistic objects, which are already reflected
in language. Western god and Oriental god, material civilization and
mental culture, global world and locality, patriotism and commercialism,
life and death, femininity and masculinity, popular culture and elite
culture, and symbolism and phenomenology. All of these are examples
because these figures acquire their own life, settle themselves in every
corner of downtown and contain social, cultural, and historical
implication. *This film was made in-part at Space Cell (South Korea).
Autumn Film by Jangwook Lee [2013, 13 min., 16mm, 24 fps, silent, South
Korea] "This film is inspired by the very moment of one autumn day from
my childhood. The moment I experienced was impossible to be measured or
represented. I became curious about this 'Image of Time". This film is a
first step for the journey." --Jangwook Lee [for program details and
registration visit www.regonline.com/tie]
11/21
Colorado Springs, Colorado: TIE - Alternative
Measures: an investigation of artist-run film labs
https://www.regonline.com/Register/Checkin.aspx?EventId=1234975
12:10 PM - 12:55 PM, Edith Kinney Gaylord
Cornerstone Arts Center, 825 N. Cascade Ave.
FILM BEE - RECENT WORKS
[Curated by Mat Fleming] Established in 2002, Film Bee is a
lab/collective located in Newcastle Upon Tyne in the North East of
England. Film Bee is based around a friendship group and a cinema
collective (first Side Cinema and then Star and Shadow). The lab has
existed in three different locations. Although the work is wide ranging,
the common thread is that we like to learn new techniques together and
incorporate them immediately into films. Also, the films that come out
of the lab tend to be co-authored. This programme includes a variety of
recent works. *Post-screening Q&A with special guest(s) in the Flex Room
(Deluxe and Patron Package registrants only) Films include: Abstract
Film Club by Filmmaker Group Work [2013, 2 min., 16mm, 24 fps, sound,
United Kingdom] A short taster of an ongoing collective workshop film.
Wallaw Preview Time by Mat Fleming [2013, 5 min., 16mm, 24 fps, sound,
United Kingdom] The Wallaw was a cinema in Blyth on the the North
Eastern coast of England which was open between 1936 and 2005. The film
tries to reflect on the irony of cinema's constant permanent view to the
future and Art Deco's progressive outlook. Made from stills, fabric
patterns, and film trailers taken from the site. Gillian by Christo
Wallers [2011, 5 min., 16mm, 24 fps, sound, United Kingdom] Made during
a residency at the Northern Region Film & Television Archive (NRFTA),
this film is about Gillian learning to skate. Her progression provided
allegorical inspiration for learning new home printing techniques.
Gillian, in (changed "her" to "the") the film, becomes a success in the
eyes of the establishment. Maybe she became too good? Two Lakes by
Deborah Bower, Amelia Bande, Mat Fleming, and Annette Knol [2012, 7
min., 16mm, 24 fps, sound, United Kingdom] Two Lakes was created from
piles of luscious colour gels, cut, stuck and manipulated into 16mm
film, echoing a narrated story. A teenager moves to the big city, a
universal city without a name. In between low-pay jobs, lesbian parties,
and junk food, she makes new friends and falls in love. Tracing Birds in
Isolation by Chris Bate, and Sarah Bouttell [2013, 8 min., 16mm, 24 fps,
sound, United Kingdom] They soar and they flap. They are found and then
lost. They are dark and then light, with color and then without. They
appear and then dissolve. They are free and they are captured. It is at
once a title, a description, a direction, and a method. Originated on
black and white super 8 and evolved into 16mm through a layered colour
printing process. For program details and registration visit:
www.regonline.com/tie
11/21
Colorado Springs, Colorado: TIE - Alternative
Measures: an investigation of artist-run film labs
https://www.regonline.com/Register/Checkin.aspx?EventId=1234975
12:15 PM - 9:15 PM, Edith Kinney Gaylord
Cornerstone Arts Center, 825 N. Cascade Ave.
CAFFENOL: CINEMA, COFFEE, VITAMIN, AND ALCHEMY
[Instructor: Ricardo Leite (Portugal)] Although the use of coffee, as a
beverage, has existed noticeably since the 13th century, it's use as a
film developer is very contemporary. Actually, the first reference to
successful experiences date back to 1995 in RIT, Rochester. The idea of
the creators of caffenol was to create an efficient film developer with
simple components. Caffeine beverages seemed to be the most efficient
substances, so coffee was chosen. The idea to use ascorbic acid
(vitamin-c) as an additional component for caffenol developer came
later. In this workshop we will develop black and white film in reversal
process in black and white super 8 or 16mm film formats. We will only
use simple ingredients easilly found in any drugstore. And we will use
it to make developer, bleach, clearing bath and fixer. This will be a
perfect way to use a film developing process with very low toxicity, but
also to obtain beautiful yellow brown tone images. So, let's drink and
taste different coffee: aromatic, bitter, strong, you name it. But let's
save some of it to develop our films and drink the rest while we watch
them in the end. For program details and registration visit:
www.regonline.com/tie
11/21
Colorado Springs, Colorado: TIE - Alternative
Measures: an investigation of artist-run film labs
https://www.regonline.com/Register/Checkin.aspx?EventId=1234975
12:15 PM - 9:15 PM, Edith Kinney Gaylord
Cornerstone Arts Center, 825 N. Cascade Ave.
CAFFENOL: CINEMA, COFFEE, VITAMIN, AND ALCHEMY
[Instructor: Ricardo Leite (Portugal)] Although the use of coffee, as a
beverage, has existed noticeably since the 13th century, it's use as a
film developer is very contemporary. Actually, the first reference to
successful experiences date back to 1995 in RIT, Rochester. The idea of
the creators of caffenol was to create an efficient film developer with
simple components. Caffeine beverages seemed to be the most efficient
substances, so coffee was chosen. The idea to use ascorbic acid
(vitamin-c) as an additional component for caffenol developer came
later. In this workshop we will develop black and white film in reversal
process in black and white super 8 or 16mm film formats. We will only
use simple ingredients easilly found in any drugstore. And we will use
it to make developer, bleach, clearing bath and fixer. This will be a
perfect way to use a film developing process with very low toxicity, but
also to obtain beautiful yellow brown tone images. So, let's drink and
taste different coffee: aromatic, bitter, strong, you name it. But let's
save some of it to develop our films and drink the rest while we watch
them in the end.
11/21
Colorado Springs, Colorado: TIE - Alternative
Measures: an investigation of artist-run film labs
https://www.regonline.com/Register/Checkin.aspx?EventId=1234975
3 day workshop, Edith Kinney Gaylord Cornerstone
Arts Center, 825 N. Cascade Ave
HANDMADE EMULSION
[Instructor: Robert Schaller (Ward, Colorado)] **This workshop takes
place over the course of 3 days.** To make your own emulsion is to
embark on a journey into a different world of image making, one in which
standard thinking must give way to physical realities that don't match
convention. It's not going to be "as good," and that's beside the point.
Ask, rather, what is it good for? What are its inherent properties, and
how can they be worked with? We're not going to repeat Kodak's years of
hard work in our basement, so why try? Let's do something else,
something that they didn't do because it didn't match their objectives,
neither aesthetically nor commercially. We don't have to sell it or be
driven by a need to make money from it. That opens up enormous
possibilities that Kodak could never pursue, burdened as it was by
commercial necessity and the aesthetic conventionality this required.
This is a three-day workshop, in which all three-days are required to
participate. Pricing includes all three days of the workshop. [for
program details and registration visit www.regonline.com/tie]
11/21
Colorado Springs, Colorado: TIE - Alternative
Measures: an investigation of artist-run film labs
https://www.regonline.com/Register/Checkin.aspx?EventId=1234975
3:20 PM - 4:20 PM, Edith Kinney Gaylord
Cornerstone Arts Center, 825 N. Cascade Ave
THE FUTURE OF 16MM PROJECTION
Panelists will discuss the importance and challenges that archivists,
filmmakers, and exhibitors face in terms of cinema projection in a world
that appears to be dominated by digital screen technologies. This panel
includes Anthony Vazquez-Hernandez, Dino Everett, and Alain LeTourneau.
[for program details and registration visit www.regonline.com/tie]
11/21
Colorado Springs, Colorado: TIE - Alternative
Measures: an investigation of artist-run film labs
https://www.regonline.com/Register/Checkin.aspx?EventId=1234975
5:00 PM - 6:05 PM, Edith Kinney Gaylord
Cornerstone Arts Center, 825 N. Cascade Ave.
L`ABOMINABLE SHORT FILM PROGRAM #1
L'Abominable is an artist-run film laboratory near Paris. Since 1996, it
offers filmmakers the tools to work with silver-based film material:
super-8, 16mm and 35mm. Different machines used for film production have
been pooled together : one can develop negative or reversal originals,
create blow-ups or optical printer effects, edit, work on sound or
strike prints. The filmmakers who already know how to work these
machines train the ones who are just starting out. After this support
period, each filmmaker can be independent in his or her work and explore
the technical possibilities on one's own. *Post-screening Q&A with
special guest(s) in the Flex Room (Deluxe and Patron Package registrants
only) Films include: PTKHO by Mahine Rouhi [2001, 7 min., 16mm, 24 fps,
optical sound, France] "Escaped from a dream close to the ground,
phenomena of sound poetry retreat farther and farther away until they
vanish." Olivier Fouchard Soupirs d'écumes III by Dominik Lange [2002,
10 min., 16mm, 24 fps, silent, France] Deep crossings through agony seem
to chant a dull sound
The perspective changes by itself, veering from
its own appearance, shaping and molding wilder horizons, more elusive
constellations... A few patchworked arabesques can still be discerned
for a little while longer
As long as time is ready for a flight! 9 ½ by
Olivier Fouchard [1999, 3 min., 16mm, 24 fps, silent, France] This
self-portrait fades, giving way to a dance of bright rhythms. Shot
originally in 9.5 mm, the film was printed onto b/w positive 16mm high
contrast stock. Thank you to Mr Eliopoulos, Laurent Huyart, Large Films,
Mahine Rouhi, Atelier MTK and Light Cone Logomagie by Frédérique Devaux
[1997, 4 min., 16mm, 24 fps, optical sound, France] "Smashed up images,
beginnings and endings of shots, interventions at different levels,
re-framings, various formats (8mm, Super 8, 16mm ...), blurred images,
flashes of color and light. Crackling visions. Visions and derisions of
the filmmaker's life, filmed in Super-8 and embedded into banal 16mm
images from Zorro or porn films. An illusion play of shots reworked on
the optical printer. The sound, quieter, like another layer of memory,
is filled with well-known songs. Something else thus unfolds in the
contrapuntal contrast between picture and sound." - Michel Amarger
Shanshui by Yannick Koller [2006, 5 min., 16 mm, 24 fps, silent, France]
Shanshui, literally translated 'Mountain and Water', notably refers to a
literary and pictorial landscape in the Chinese culture where the
intimate experience between human and nature appears through the image
and the written. Here, the cinematographic transcription reveals the
concrete shapes of the landscape, its contours and broken rhythms, its
depths and folds in order to capture its scenic values as well as its
expressive qualities. Along with the Phoenix by Masha Godovannaya [2008,
10 min., 16mm, 24 fps, silent, Russia/ Netherlands] "... but when Eve
plucked the fruit of the tree of knowledge of good and evil, when she
and Adam were driven from Paradise, there fell from the flaming sword of
the cherub a spark into the nest of the bird, which blazed up
forthwith... the bird perished in the flames; but from the red egg in
the nest there fluttered aloft a new one - the one solitary Phoenix
bird...." (from The Phoenix Bird by Hans Christian Andersen, 1850) The
film is conceived as a free cinematic improvisation vaguely based on the
myth of the Phoenix. According to Ovid, Phoenix is "a bird, which renews
itself, and reproduces from itself". The myth narrates that after
certain centuries (500 or 1461 years) the bird prepares a pyre for
herself from twigs of fragrant trees, lights a fire there and is
consumed by it. The following day in the ashes a small worm is found
which is transmuted into a small bird on the next day, and on the third
the bird has the form of the Phoenix again. The film concentrates on the
moment when the fire gives birth to the bird. We will not see the actual
creature but watch mythological flames transforming themselves into
mystical ashes from which the new Phoenix will be born. Objets trouvés
by Anne-Marie Cornu [1998, 5 min., 16mm, 24 fps, silent, France] "When
Kodak used to develop super-8 films, they would send the rolls back by
mail. There was always a strip of film in the bag a few frames long that
did not come from your roll. I kept these strips of leader with images
from other people's films. Objets trouvés was made from
this collection." For program details and registration visit:
www.regonline.com/tie
11/21
Colorado Springs, Colorado: TIE - Alternative
Measures: an investigation of artist-run film labs
https://www.regonline.com/Register/Checkin.aspx?EventId=1234975
6:50 PM - 7:50 PM, Edith Kinney Gaylord
Cornerstone Arts Center, 825 N. Cascade Ave
HISTORY AND SIGNIFICANCE OF ARTIST-RUN FILM LABS
[A Lecture by Nicholas Rey (France)] "In order to understand the
significance of the artist-run film lab movement, it might be useful to
go back to history of the practice of filmmakers processing and printing
their own material. I will try do this, based on my personal experience
in the network of French and European labs that started some twenty
years ago. A series of labs, now joined by many others over the world,
that where conceived as a grass-roots alternative to a powerful industry
and that now become pretty much the only option to continue work on the
film medium in the "all-digital" world." [for program details and
registration visit www.regonline.com/tie]
11/21
Colorado Springs, Colorado: TIE - Alternative
Measures: an investigation of artist-run film labs
https://www.regonline.com/Register/Checkin.aspx?EventId=1234975
8:20 PM - 10:10 PM, Edith Kinney Gaylord
Cornerstone Arts Center, 825 N. Cascade Ave.
FRENKEL DEFECTS
[Curated by Kevin Rice] Frenkel Defects is a recurring, interstitial
program of works from various correspondences, friends and affiliates of
Process Reversal. This particular edition was developed while on the
road, visiting filmmakers and film centers in and around North America,
and includes works from Echo Park Film Center (Los Angeles, CA), The
Handmade Film Institute (Boulder, CO), Cherry Kino (Leeds, UK), the
Process Reversal Collective and many more. Kevin Rice *films announced
at the screening Post-screening Q&A with special guests in the Flex Room
(Deluxe and Patron package registrants only) For program details and
registration visit: www.regonline.com/tie
11/21
Los Angeles, CA: Echo Park Film Center
http://www.echoparkfilmcenter.org/
8pm, 1200 N. Alvarado Street
COSMIC ABSTRACTIONS FROM COURTNEY HOSKINS & FRED WORDEN
Filmmakers Courtney Hoskins and Fred Worden live on opposite sides of
the country, are three decades apart in age, and have certainly never
made a film together. But they do have a few things in common: they both
know each other, they both lived in Colorado, they both knew Stan
Brakhage, and (this is where the curator comes in) they both have a
particular talent in exploring abstraction and perception, the macro-
and microcosmic, and the deep small spaces and vast open areas which
cinema is uniquely suited to expressing. - Half of this program will
feature 16mm films by Courtney Hoskins, and the other half will feature
16mm films and a video by Fred Worden. The evening overall will comprise
work by two quite distinctive artists, each exploring an indefinable and
visually rich cinematic space that dances between abstraction and
figuration, perception and illusion, and with an exhilarating awareness
of the large and small mysteries of the cosmos. - Courtney Hoskins in
person! - BY COURTNEY HOSKINS: The Galilean Satellites (all 16mm, color,
sound, unless noted): Europa (2003, 7.5min.) - Io (2003, 12.5min.) -
Ganymede (2003, 4min.) - Callisto (2003, 16mm, silent 24fps, 3min.) -
Ether Twist (2002, 16mm, color, sound, 10.5min.) - Polymer (with Carl
Fuermann, 2003, 16mm, color, silent 24fps, 30sec.) - * - BY FRED WORDEN:
The Or Cloud (2001, 16mm, b/w, silent 24fps, 7min.) - If Only (2003,
16mm, b/w, silent 24fps, 7min.) - Blue Pole(s) (2005, video, color,
sound, 20min.)
11/21
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
7:30 pm, 32 2nd Avenue
PERFORMA: ED ATKINS
FILMMAKER IN PERSON! Ed Atkins is part of a generation of artists who
have emerged in London in recent years who are known for their ability
to identify and manipulate the emotions, experiences, and poetics unique
to contemporary media, including digital video, surround-sound,
computer-generated imagery, and the Internet. Atkins will host MAN OF
STEEL, an evening considering avatar performances in moving image works,
particularly those that appear to dismiss any sense of truth or
authentic identity behind a performance, favoring instead pure surface
and artifices that speak of nothing beneath. Recent works by Atkins,
including EVEN PRICKS (2013) made for the Biennale de Lyon, and WARM,
WARM SPRING MOUTHS (2013) will be shown, alongside the artist's
selection of works by other filmmakers, all featuring surrogates, alter
egos, and characters computer-generated, morphed, masked, or stripped
back which are utilized to speak, act, or exist in the stead of an
artist or performer. Atkins casts avatars as misanthropic figures:
characters who, separated from their milieu and liberated from social
mediums and the economics of likability, might be melancholic, embattled
figures whose most evident correspondents are the anonymous, grotesque
trolls of online commentary. Punctuating the evening will be
newly-produced videos by Atkins, featuring performances by invited
performers who, via computer-generated, motion-captured avatars will
each sing an unaccompanied song, alone, from memory.
-------------------------
FRIDAY, NOVEMBER 22, 2013
-------------------------
11/22
Austin, Texas: The Mad Stork Cinema
8pm, Texas Union Theater, UT Campus
FREE 35MM SCREENING: TWO YEARS AT SEA
A man called Jake lives in the middle of the forest. He goes for walks
in whatever the weather, and takes naps in the misty fields and woods.
He builds a raft to spend time sitting in a loch. He sleeps in a caravan
that floats up a tree. He is seen in all seasons, surviving frugally,
passing the time with strange projects, living the radical dream he had
as a younger man, a dream he spent two years working at sea to realize.
- I made a short film about Jake five years ago, and as time has passed
and other films have been made, I have had a continual feeling that I
should go backto make another film where I, and then the
audience, can spend more time hanging around Jake's place in the forest.
I want the film to embrace the different perception of time that Jake
and his environment have, which is much more patient and relaxed than my
own urban living. The film will have at its core the relationship
between a person and the place they have chosen to live out their life,
and the deep connection there is between them.Ben Rivers - -
88min / 35mm / sound / 2011/ UK, dir: Ben Rivers - Location: Texas Union
Theater, UT Campus, Time: 8:00pm
11/22
Colorado Springs, Colorado: TIE - Alternative
Measures: an investigation of artist-run film labs
https://www.regonline.com/Register/Checkin.aspx?EventId=1234975
1:45 PM - 3:10 PM, Edith Kinney Gaylord
Cornerstone Arts Center, 825 N. Cascade Ave.
CELEBRATING FILMWERKPLAATS
The roots of the film studio lay in experimental and D.I.Y. film making.
With the available equipment all aspects and processes of film making
can be dealt with, and a "no budget" work can be completed. The
Worm.filmwerkplaats is an open studio in which you are allowed to work
independently. Filmmakers and artists are free to use our equipment to
be able to shoot, edit, and complete an entire film at minimum cost. We
can also act as a producer for film projects and assist in the
production and completion of the films themselves. Worm.filmwerkplaats
is an artist-run workspace dedicated to motion picture film as an
artistic, expressive medium. It's geared towards filmmakers, artists,
and art school students interested in film not purely as a storage
medium for their ideas, visuals, and soundtrack, but as a material that
actively shapes and distorts these thoughts, images, and sounds. The
following 16mm films celebrate several years of creativity at
Filmwerkplaats." *Post-screening Q&A with special guest(s) in the Flex
Room (Deluxe and Patron Package registrants only) Films include: Zeebra
by Peter Max [2003, 2 min., 16mm, 24 fps, optical sound, Netherlands] A
mathematical composition of a street crossing, with a certain number of
frames filmed forward and some frames filmed backwards so that
superimpositions appear. Gebouwen by Ferenc Sebök [2003, 2 min., 16mm,
24 fps, optical sound, Netherlands/Hungary] This film was made during a
workshop by filmmaker Tony Hill (UK). The workshop was about building
DIY tools to create special effects. The film is made animation wise,
frame by frame, going from far left 1 frame to far right 1 frame. Still
by Tim Leyendekker [2005, 5 min., 16mm, 24 fps, optical sound,
Netherlands] The year is 1989. Two kids make their first date through a
telephone dating line. We see the bench and the park as silent witnesses
to their encounter. It is an autobiographical film about desire and
memory. Color Writing Me Out by Christelle Gualdi [2006, 6 min., 16mm,
24 fps, optical sound, Netherlands/France] Color Writing Me Out was made
by freaking with the optical (J-K) printer one late night. Although it
looks like Gualdi quite mishandled the precious machine, the resulting
imagery is very powerful. The original footage is from a film by Joris
Ivens, a Dutch master of film, which was found in the garbage. The
soundtrack is from her close friend's band. Interlude by Joost van Veen
[2004, 2 min., 16mm, 24 fps, optical sound, Netherlands] Interlude is a
short meditation inspired by the track "Interlude" by the British band
Manyfingers, a Chris Cole project. The film shows a group of "Lookdown
Fish" (Selene Vomer) swimming through chemical layers of high-contrast,
black-and-wite film stock. Originally shot on Super 8 and blown-up to
16mm using cheap high contrast b/w material, treated with a no longer
available Tetenal photographic kit officially made for reversing
photographic papers; used on film, it does weird things. Winner of a
Tiger Award for Short Films at the International Film Festival Rotterdam
2005. v=d/t by Amanda Dawn Christie, [2008, 6 min., 16mm, 24 fps,
optical sound, Netherlands/Canada] v=d/t is the physics formula which
calculates velocity by dividing the distance traveled by the time
required to travel that distance. This film explores the possibility of
measuring distances between loved ones through time zones. The
soundtrack is comprised of personal and tragic phone messages left on
voicemail when individuals could not connect due to great time zone
differences, while the visual elements present simple and contemplative
images of antique telephones. Roosie's Athleet 35133 by Pim Zwier [2005,
6 min., 16mm, 24 fps, optical sound, Netherlands] Made as part of the
cooperative project 'Blues voor koeien' [Blues for cows] by filmmaker
Pim Zwier and the Frisian poet Elmar Kuiper. The film is not documentary
in structure, but a personal imagining of shooting footage of cows. A
mix of archive footage of champion Frisian cows, Elmar's dramatised
memories of youth (his father was a cow photographer), in which a
harmonica is played to get the ears in the picture and detail shots of
the markings of Frisian cows. The film was shot using orthochromatic
film which provides additional emphasis to black and white. Sciopticon
by Hanne van Asten [2004, 6 min., 16mm, 24 fps, Netherlands] The film
looks as if a Sciopticon a 19th-century magic lantern, equipped with
built in colour filters (red and green) and a transition mechanism was
used to shoot it. Filming is all about capturing light. Light is colour,
shape, structure and, most importantly, movement. Light breathes life
into everything around us. Light is life. Monologue Exterieur by
Francien van Everdingen [2004, 3 min., 16 mm, silent, Netherlands] The
film Monologue Exterieur was inspired by Edouard Vuillard's paintings.
From the dark, something emerges little by little which provides the
viewer a glimpse of tree tops, foliage, and blossoms. This
kaleidoscopic, botanical collection of jigsaw pieces turns out to make
up an interior with a neurotic, claustrophobic undertone. It is a
tranquil chaos that seems to or seems not to go off the rails. Flow by
Lichun Tseng [2013, 18 min., 16mm, 24 fps, optical sound, Netherlands]
Change is a process. Is the starting point equal to the end point? What
if everything is in a flow? What meaning or value of life can be derived
from the interconnectedness of all things? Flow reflects the subtle
relationships between the flow of changing, awareness of being, and
observation of breathing through abstract and rhythmic moving images. It
integrates and develops a poetic state of contemplative and meditative
process and flow in between void and solid, moving and still, expanding
and gathering, strength and softness. Rode Molen by Esther Urlus [2013,
5 min., 16mm, 24 fps, optical sound, Netherlands] Rode Molen (Red Mill)
is a research into motion picture printing techniques. The starting
point and inspiration for the film are the mill paintings of Piet
Mondriaan, especially Rode Molen. In the film, color is created by
multiple exposures through different masks during printing. Depending
what developing process is used, the colors mix in two ways: additive or
subtractive. NYC by Jutu van der Made [2012, 2 min., 16mm, 18/24 fps,
silent, Netherlands] NYC was made with Robert Schaller's pinhole camera,
a camera made from scrap materials. Jutu got obsessed with this DIY
camera and has begun to make a whole pinhole film oeuvre.
11/22
Colorado Springs, Colorado: TIE - Alternative
Measures: an investigation of artist-run film labs
https://www.regonline.com/Register/Checkin.aspx?EventId=1234975
11:50 AM - 1:00 PM, Edith Kinney Gaylord
Cornerstone Arts Center, 825 N. Cascade Ave
L`ABOMINABLE SHORT FILM PROGRAM #2
L'Abominable is an artist-run film laboratory near Paris. Since 1996, it
offers filmmakers the tools to work with silver-based film material:
super-8, 16mm and 35mm. Different machines used for film production have
been pooled together : one can develop negative or reversal originals,
create blow-ups or optical printer effects, edit, work on sound or
strike prints. The filmmakers who already know how to work these
machines train the ones who are just starting out. After this support
period, each filmmaker can be independent in his or her work and explore
the technical possibilities on one's own. *Post-screening Q&A with
special guest(s) in the Flex Room (Deluxe and Patron Package registrants
only) Films include: L'arbre bleu by Marcelle Thirache [2001, 2 min., 16
mm, 18 fps, silent, France] "A plane tree filmed from my window on a day
with blue sky, onto which I applied ink." Hôtel Turkoman by Martine
Rousset [2000, 15 min., 16 mm, 24 fps, optical sound, France] "This is
what the city offers the passing foreigner: gold and night to the
visitor who has barely arrived. Fragments, the stone found by the
wayside, raw. We pick it up and keep it. Can we read into the gleaming
lights passing by? What is written? Whole images, raw images, far from
art and style." Underground by Emmanuel Lefrant [2001, 8 min., 16 mm, 24
fps, optical sound, France] "Roland Barthes used to say 'Aptly named,
film (pellicula) is but skin without a gape, without an opening, without
a wound.' With direct cinema, this formula, which became axiomatic
because of the flawless imagery found in traditional cinema, no longer
verifies. The 'smooth' film of the image is metamorphosed into fragile
skin. Contrary to scientific cinematography from the beginning of the
century, the micro-organisms are not recreated (by being filmed) but
rather reproduced directly on the film (frozen on the film strip, but
made to move on screen by the driving mechanism of the projector). The
point is, paradoxically, to reach the extreme of realistic
representation by way of an abstract image, by actually showing the
micro-organisms, with no other mediator than the lens of the projector.
Every single curve, every single asperity that leaves a mark on the film
is the movement of time itself, a trace of its passage. The 'secret
forms' of emulsion are unveiled, and emphasize the materiality of
celluloid, and the processes that reveal the image. Proposing further
evidence that film material is not inert, this film was made by
literally burying pieces of black film during different periods of time
and in different kinds of grounds (soil, snow, mud, etc.)." Split film
100110 by Drazen Zanchi [2010, 30 min., 16 mm, 24 fps, sound,
France/Croatia] Boats enter the Split harbor. Each sequence is a
maneuver, slow and continuous. Nevertheless, boats and their movements
become more and more difficult to recognize because the image is drawn
in fluctuations of its physical elements. Textures of bulky light layers
and grainy grey noises are confounded with the soundtrack. The latter is
articulated around the touch, i.e. local and non-propagating formations
grafted on thick resonant and tonal substrate. [for program details and
registration visit www.regonline.com/tie]
11/22
Colorado Springs, Colorado: TIE - Alternative
Measures: an investigation of artist-run film labs
https://www.regonline.com/Register/Checkin.aspx?EventId=1234975
3:45 PM - 4:20 PM, Edith Kinney Gaylord
Cornerstone Arts Center, 825 N. Cascade Ave
LABORBERLIN SCREENING PROGRAM (SUPER 8)
[Curated by LaborBerlin] LaborBerlin is a nonprofit, independent film
collective, open to every individual interested in artist-run
initiatives and analogue film practices. It embraces an experimental and
D.I.Y. craft approach to film production with a mission to support the
use of film outside of the commercial film industry. With this purpose
it has set up a lab where, under a non hierarchical structure, anybody
can become a member, use the space to process his or her own film
material and participate in the variety of events, workshops and
activities that take place throughout the year. A variety of animation,
editing and projection equipment is also available to members allowing
them to work on their films with creative and financial independence.
Here we will present a selection of films created on Super-8 by
LaborBerlin members. The works cover a wide thematic and technical
range, all handmade, all analogue. *Post-screening Q&A with special
guest(s) in the Flex Room (Deluxe and Patron Package registrants only)
Films include: Vanishing Cinema #3 by Clara Bausch & Linn Löffler [2013,
3 min., Super-8, 18 fps, silent, Germany] Vanishing Cinema #3 is an
ongoing collaborative Super-8 project by Linn Löffler and Clara Bausch.
It explores locations that were formerly cinemas in various European
cities searching for the traces of their previous existence. It aims at
creating a fictional space through fragmented images of audience and
architecture. Im Garten der Libidasia by Lilja & Linn Löffler [2007, 3
min., Super-8, 6 fps, silent, Germany] A young girl dances dreamily in
her garden. When a hunter enters, disaster takes its course. Blitzen #1
by Clara Bausch [2011, 4 min., Super-8, 18 fps, silent, Greece] Blitzen
#1 shows glimpses of Athens by looking at reflecting and mirroring
surfaces. Edited inside the camera, the film was shot and hand processed
in the summer of 2011, as part of the project Hand over Cinema, which
was a collaboration between the Athens based lab, LabA, LaborBerlin and
the Goethe Institut Athens. Sketches, I is Memory by Iana Stefanova
[2013, 3 min., Super-8, 18 fps, silent, Russia/Germany] Observations of
a traveler who experiences the feeling of being a native and a foreigner
at the same time. A trip back to a long-abandoned homeland, with a
desire to confront personal fictions and faded memories with the "here
and now." [for program details and registration visit
www.regonline.com/tie]
11/22
Colorado Springs, Colorado: TIE - Alternative
Measures: an investigation of artist-run film labs
https://www.regonline.com/Register/Checkin.aspx?EventId=1234975
5:05 PM - 6:20 PM, Edith Kinney Gaylord
Cornerstone Arts Center, 825 N. Cascade Ave
LABORBERLIN SCREENING PROGRAM (16MM)
[Curated by LaborBerlin] LaborBerlin is a nonprofit, independent film
collective, open to every individual interested in artist-run
initiatives and analogue film practices. It embraces an experimental and
D.I.Y. craft approach to film production with a mission to support the
use of film outside of the commercial film industry. With this purpose
it has set up a lab where, under a non hierarchical structure, anybody
can become a member, use the space to process his or her own film
material and participate in the variety of events, workshops and
activities that take place throughout the year. A variety of animation,
editing and projection equipment is also available to members allowing
them to work on their films with creative and financial independence.
Here we will present a selection of films created on 16mm film by
LaborBerlin members. The works cover a wide thematic and technical
range, all handmade, and all analogue. *Post-screening Q&A with special
guest(s) in the Flex Room (Deluxe and Patron Package registrants only)
Films include: Der Spaziergang by Margaret Rorison [2013, 3 min., 16mm,
24 fps, silent, Germany/USA] This short film documents my extended walks
throughout Berlin, Germany during the cold days of April 1-7, 2013. The
footage is composed of single frame snapshots, along with longer moments
of glance, entirely captured on one 100' roll of 16mm film. Abdou's
Dread In Teatro Argentina, Roma by Guillaume Cailleau [2013, 3 min., 16
mm, 24 fps, silent, Germany] On tour with "a magic Flute" by P. Brook,
between 2 rehearsals, Abdou is showing me how he deals with his dread on
stage. Schleusenroth by Volga (Oscar de Gispert and Enric Rebordosa)
[2013, 15 min., 16 mm, 24 fps, sound, Germany] Glimpses of landscapes of
Berlin's waterways through the seasons of the year. The observer, a
stranger in town, reads passages by Joseph Roth. Foto-Kino by Distruktur
[2013, 2 min., 16 mm, 24 fps, silent, Germany] Foto-Kino is a
transposition of 35mm slides, taken by the filmmakers during a period of
10 years, into 16mm film. At the End of the Night by Michel Balagué
[2012, 4 min., 16 mm, 24 fps, sound, Germany/Greece] After destructive
chaos, the night seems endless. Slowly, different lights appear and
reconstruct a sense of hope. This hope culminates in multiple exposures
of the sun illuminating individuals in front of the world's oldest
parliament. The Handeye (Bone Ghosts) by Anja Dornieden & Juan David
González Monroy [2012, 7 min., 16 mm, 24 fps, sound, Austria/Germany] A
distinguished flea hypnotizes the ghost of a distinguished man. Studie
Zur Farbe by Lucas Maia [2013, 5 min., 16 mm, 24 fps, sound, Germany] A
film about the reality of colors, of colors as a being that is being. An
anthology of color's ontology. A Home Inside by Anja Dornieden & Juan
David González Monroy [2013, 20 Min, 16mm, 8 fps, sound, Germany
(PERFORMANCE)] Now you can protect precious lives with this blast
resistant home installed permanently inside your body. Here is a home
with all the advantages of any concrete home plus protection from the
outer agents of disorder, imbalance and instability. You know no
disorder can be cured without being brought to a crisis. Together with
the action of the dream fluid, we will create a representation of the
crisis that will dissolve the obstructions that prevent proper
circulation and re-establish harmony and equilibrium in every part of
your inner home. A live audiovisual presentation with three 16mm
projectors. [for program details and registration visit
www.regonline.com/tie]
11/22
Colorado Springs, Colorado: TIE - Alternative
Measures: an investigation of artist-run film labs
https://www.regonline.com/Register/Checkin.aspx?EventId=1234975
7:30 PM - 8:30 PM, Edith Kinney Gaylord
Cornerstone Arts Center, 825 N. Cascade Ave.
LABA FOR BEGINNERS
[Curated by Vassily Bourikas] "Since September 2009, when Tim Blue and
Paul Rowley came to LabA to shoot and process parts of the their feature
length film The Rooms, many filmmakers from all over the world have
visited and used LabA. If a complete filmography of our lab was ever
compiled it would show that not even one in five finished films were
made by Athenians. We are doing our best to increase this percentage. We
depend on the interaction with our international partners and friends
and the knowledge and inspiration they bring to us and to our city but
we will keep trying to give opportunities to local filmmakers to shoot
and process films. So we are really happy to be able to present this
mix, which might not be exactly representative of our lab, as most of
them are made by Greek artists, but at least gives an idea of what has
started happening down there." -Vassily Bourikas *Post-screening Q&A
with special guest(s) in the Flex Room (Deluxe and Patron Package
registrants only) Films include: Ceci Est Une Bobine Test / This is a
Test Reel by Daphne Hérétakis [2010, 3 min., super-8, 18 fps, silent,
Greece/France] An Athens walkabout with a Super 8 camera in search of
contact with people on the street, becomes an instant collective
project. The nostalgic gaze is reciprocal, from the camera to its
subjects and back. Daphne Hérétakis seems to merge with the subjects of
her film and in the background the city is desired as a paradise lost.
Driving Film by Natasa Efstathiadi [2011, 4 min., 2x 16mm projectors, 24
fps, silent, Greece] There is an emotional and ethical fall that goes
along with the economic one. A dive in the sea is also a fall but it is
safe, it is fun and can be repeated. N.E. Natasa Efstathiadi is an
artist working in Greece. Completed during a 6 days workshop which was
charged with the economic crisis riots, Diving Film is a mellow ride and
appears disengaged at first. But soon enough this beautifully
in-camera-edited film bypasses its own irony, melancholy and beauty and
makes a liberating point: there is also hope in a fall. Circling The
Square by Alexandros Kontos [2011, 4 min., super-8, 24 fps, sound,
Greece] Syntagma Square. Thousands of people protest against the
implemented Economic Adjustment Programme for Greece. The efforts of a
suppressive mechanism to scatter the determined crowds. Something that
didn't happen
at least that day. "Under the paving stones, the beach."
AK Alexandros Kontos is a civil engineer and amateur filmmaker, lives in
Athens. Disobedience / Anyiiakoh by Alexandros Kontos [2011, 6 min.,
16mm, 24 fps, external sound, Greece] The protests on 23-2-2011 brought
thousands of people in the streets of Athens. The police dividing and
splitting the crowds, forcing them to slowly leave the grounds. Where
does everyone retreat to? What are the afterthoughts on days like these?
Could the message of disobedience generate the creation of new
possibilities? A.K. The Green Sheep / ??
???????
??????? by V. Bourikas & Yanni Yaxas
[2009, 7 min., super-8, 24 fps, sound, The Balkans] In Athens we packed
a box with all the basic gear needed for developing and projecting on
the road. We shipped chemicals to some bus depot in Bucharest. We picked
them up and started a 15 days journey throughout the Balkans. Alone or
with old and new friends we shot and developed a travelogue which in the
course of 15 days screened for unusual audiences, in bizarre venues and
in increasing lengths, until it reached its final 45 minute duration.
The Green Sheep is a part of that untitled film and it was conceived,
shot, developed and dried inside a coupé of the Sarajevo Budapest train.
Edited in camera and preferably projected "chilled" inside
refrigerators. Austerity Measures by Guillaume Cailleau and Ben Russel
[2011, 8 min., 16mm, 24 fps, silent, Greece/USA/Germany] "A
color-separation portrait of the Exarchia neighborhood of Athens: In a
place where fists are raised like so many columns in the Parthenon, this
is a film of surfaces of grafittied marble streets and wheat-pasted
city walls." Guillaume and Ben visited Athens for the workshop Hand Over
Cinema in September 2011, where besides making their own film they
helped us train local filmmakers. XXXIII by Theofanis De Lezioso [2011,
8 min., 16 mm, 24 fps, optical sound, Greece] The film's main character
is a small white cat on a motorcycle. She is forced to keep her organs
in top condition so that her family can maximize profit by selling them
at the right time. Obviously she is in desperate need of good advice.
Theofanis de Lezioso lives and mixes chemicals in the southern Balkans.
For program details and registration visit: www.regonline.com/tie
11/22
Colorado Springs, Colorado: TIE - Alternative
Measures: an investigation of artist-run film labs
https://www.regonline.com/Register/Checkin.aspx?EventId=1234975
8:00 AM - 6:00 PM, Edith Kinney Gaylord
Cornerstone Arts Center, 825 N. Cascade Ave.
CHROMAFLEX!
[Instructor: Richard Tuohy (Australia)] The Chromaflex workshop will
explore a jazzy new photo-chemical technique which allows selectively
controlled negative and positive colour and black and white images on
the same strip of film. What's more, the technique allows these
selection decisions to be made in full light. This technique can
generate areas of colour negative, areas of colour postive, areas of
black and white, as well as areas of clear or black all on the one strip
of film or indeed within the one frame. Further, as all colour work with
this technique occurs in full light, it is possible to watch the colour
chemistry working its magic in front of your eyes. The process begins
with a freshly made colour print of colour negative material. Instead of
processing this print in the normal ECP process, however, the Chromaflex
method involves a novel processing sequence that initially produces an
odd looking positive black and white image on the film. Once this stage
is complete, the film is then ready to be handled in full light. This is
the part one of a two day workshop, both days are mandatory to attend.
An example of the finished product using this technique can be viewed
here: http://vimeo.com/45007499 . ** Participants must bring 50-100ft of
freshly exposed but unprocessed Kodak 3383 16mm colour print stock of
footage he/she has shot. Pricing includes both days of the workshop. For
program details and registration visit: www.regonline.com/tie
11/22
Colorado Springs, Colorado: TIE - Alternative
Measures: an investigation of artist-run film labs
https://www.regonline.com/Register/Checkin.aspx?EventId=1234975
9:15 PM - 10:35 PM, Edith Kinney Gaylord
Cornerstone Arts Center, 825 N. Cascade Ave
STRATA SPACE
["Pictures and concepts collapse upon themselves for dissection. Like a
scientist with his microscope, or a filmmaker with his reel of film,
everything is reduced to its basic elements. Returning to a quantum
level, symbols speak for themselves in a language of optical illusions
and sound effects. Though these quantum levels are chaotic and often
paradoxical, strangely, this language is easy to understand. It is the
universe speaking directly to us." -Brendan Verville] *Post-screening
Q&A with special guest(s) in the Flex Room (Deluxe and Patron Package
registrants only) Films include: United Nation by Matt Soyka &
Christopher May [2013, 14 min., 2x16mm, 24 fps, sound, USA] United
Nation collapses one nation's view of itself and of the Foreign into a
single narrative of power lust, exceptionalism, and xenophobia. Rather
than adopting a typically political interrogation of these symptoms,
United Nation aims to deconstruct their glamour and expose an ultimately
fragile and adolescent motivation. *This film was made in-part at TIE
space (USA). Dot Matrix by Richard Tuohy [2013, 16 min., 2x16mm, 24 fps,
optical sound, Australia] "Working from the original photogram 'dot'
material from Richard's film Screen Tone (2012), Dot Matrix is an
expanded cinema performance involving two almost completely overlapping
projected images. The 'dots' were produced by laying sheets of half-tone
'dot' paper, which are intended for use as shading comic illustrations
directly onto raw 16mm film stock. These dots were then contact-printed
with 'flicker' (alternating black frames). The 'drama' of the film
happens in the overlap of the two images. The product they make is
greater than the parts. As in Screen Tone, the sounds heard are those
that the dots themselves produce as they pass the optical sound head of
the 16mm projector." *This film was made in-part at Nano Lab
(Australia).
11/22
Colorado Springs, Colorado: TIE - Alternative
Measures: an investigation of artist-run film labs
https://www.regonline.com/Register/Checkin.aspx?EventId=1234975
9:50 AM - 11:05 AM, Edith Kinney Gaylord
Cornerstone Arts Center, 825 N. Cascade Ave
PROBLEMS IN PLACEMENT PANEL
This lively panel discusses placement issues and philosophical concerns
associated with artist-run film labs. Hear from Ethan Berry, Ricardo
Leite, Kevin Rice, Enrico Mandirola and others who have experience in
handling a variety of issues that come with maintaining their own
artist-run film labs. [for program details and registration visit
www.regonline.com/tie]
11/22
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
7:30 pm, 32 2nd Avenue
ESSENTIAL CINEMA: HOLLIS FRAMPTON
ZORNS LEMMA & (nostalgia) by Hollis Frampton Share + Film Notes ZORNS
LEMMA 1970, 60 min, 16mm. Preserved by Anthology Film Archives. "A major
poetic work. Created and put together by a very clear eye-head, this
original and complex abstract work moves beyond the letters of the
alphabet, beyond words and beyond Freud. If you don't understand it the
first time you see it, don't despair, see it again! When you finally
'get it,' a small light, possibly a candle, will light itself inside
your forehead." Ernie Gehr & HAPAX LEGOMENA I: (nostalgia) 1971, 36
min, 16mm, b&w. Preserved by Anthology Film Archives. "In (nostalgia)
the time it takes for a photograph to burn (and thus confirm its
two-dimensionality) becomes the clock within the film, while Frampton
plays the critic, asynchronously glossing, explicating, narrating,
mythologizing his earlier art, and his earlier life, as he commits them
both to the fire of a labyrinthine structure; for Borges too was one of
his earlier masters, and he grins behind the facades of logic,
mathematics, and physical demonstrations which are the formal metaphors
for most of Frampton's films." P. Adams Sitney Total running time: ca.
100 min.
11/22
San Francisco, CA: Gaze #6
8pm, Artists' Television Access, 992 Valencia St.
GAZE #6: LUMINOUS IMPULSE (ALL-ANIMATION SHOW!)
Cobbled together using smoke, mirrors, and the old projector from your
grandma's attic, we bring you GAZE's first ever all-animation show. From
the hand-drawn and low fi to the digitally seamless, this series of
films is a celebration of light, alchemy, and persistence of vision.
There will be 3D glasses. There will be popcorn. See the beauty - touch
the magic. - Featuring Works By: Laura Heit, Tess Martin - Christine
Lucy Latimer - Sara Ludy - Kate Nartker, Sarah Klein - Jodie Mack -
Larissa Sansour - Hilary Goldberg - Kerry Laitala, Kiri Hargie - Friday,
November 22nd, 8PM, 992 Valencia, San Francisco, CA - $6-10
---------------------------
SATURDAY, NOVEMBER 23, 2013
---------------------------
11/23
Colorado Springs, Colorado: TIE - Alternative
Measures: an investigation of artist-run film labs
https://www.regonline.com/Register/Checkin.aspx?EventId=1234975
10:05 AM - 11:40 AM, Edith Kinney Gaylord
Cornerstone Arts Center, 825 N. Cascade Ave
PRESERVATION, PRODUCT, PROFIT
This panel discussion features M.M. Serra (Filmmakers Co-op), Andrew
Busti (TIE associate and Owner/Operator Analogue Industries Ltd.), Dino
Everett (punk rock archivist), plus a legal expert and film curator. The
panelists will be discussing challenges within preservation and
restoration while providing artist-run/DIY solutions to these various
issues. [for program details and registration visit
www.regonline.com/tie]
11/23
Colorado Springs, Colorado: TIE - Alternative
Measures: an investigation of artist-run film labs
https://www.regonline.com/Register/Checkin.aspx?EventId=1234975
11:59 PM - 12:55 AM, Edith Kinney Gaylord
Cornerstone Arts Center, 825 N. Cascade Ave
OH PIOLA!
"Stunning soundtracks and compact images burst and boom on the screen.
Each film is confronting in its design, an experiment in order and
theme. Time and space are distorted along with the changing background
noise and music, where nothing is safe and will ever be the same."
-Brendan Verville *Post-screening Q&A with special guest(s) in the Flex
Room (Deluxe and Patron Package registrants only) Films include: The
Western by Matt Soyka & Christopher May [2013, 29 min., Super-8,
variable, live sound, USA] The Western is an exploration. By drastically
altering the playback speed of the film and adding an improvised ambient
soundtrack, The Western aims to confront the nascent textures, meanings,
and bias of the classic Hollywood film genre. *This film was made
in-part at TIE space (USA). Soleil Noir by Elvira and Emmanuel Piton
[2013, 8 min., Super-8 and 2x 16mm, sound, Spain] Soleil noir is a
performance by Elvira Martinez and Emmanuel Piton. "In a myriad of
different musical styles and tango renditions, the images and music are
paired purposefully together, in a synchronized dance. To further stress
this importance of dance partners, split screens play off the
nonlocality of subjects, as two different puppets moving at the same
speed. As music skips and rewinds, so do the images, breaking free from
their split-screens, and forever proving that it takes two to tango."
-Brendan Verville **Film not 100% confirmed for exhibition in AM at this
time *This film was made in-part at LaboTuerto (Spain). [for program
details and registration visit www.regonline.com/tie]
11/23
Colorado Springs, Colorado: TIE - Alternative
Measures: an investigation of artist-run film labs
https://www.regonline.com/Register/Checkin.aspx?EventId=1234975
12:10 PM - 1:50 PM, Edith Kinney Gaylord
Cornerstone Arts Center, 825 N. Cascade Ave
L`ABOMINABLE FILM PROGRAM #3: ANDERS, MOLLUSIEN
L'Abominable is an artist-run film laboratory near Paris. Since 1996, it
offers filmmakers the tools to work with silver-based film material:
super-8, 16mm and 35mm. Different machines used for film production have
been pooled together : one can develop negative or reversal originals,
create blow-ups or optical printer effects, edit, work on sound or
strike prints. The filmmakers who already know how to work these
machines train the ones who are just starting out. After this support
period, each filmmaker can be independent in his or her work and explore
the technical possibilities on one's own. *Post-screening Q&A with
special guest(s) in the Flex Room (Deluxe and Patron Package registrants
only) anders, Molussia by Nicolas Rey [2012, 81 min., 16mm, 24 fps,
optical sound, France] "A film in nine chapters, on nine reels, shown in
random order and based on fragments from the novel Günther Anders (a
pseudonym, Anders is German for "Differently") wrote between 1932 and
1936 : "The Molussian Catacomb". Prisoners sitting in the pits of an
imaginary fascist state, Molussia, share with one another stories about
the outside world like a series of philosophical fables." [for program
details and registration visit www.regonline.com/tie]
11/23
Colorado Springs, Colorado: TIE - Alternative
Measures: an investigation of artist-run film labs
https://www.regonline.com/Register/Checkin.aspx?EventId=1234975
2:00pm-4:00pm, Edith Kinney Gaylord Cornerstone Arts Center, 825 N. Cascade Ave
ANTIQUATED FILM FORMATS
[A Lecture and Film Presentation by Dino Everett] For many years, Dino
Everett spent his time as a touring punk rock musician, but in the back
of his mind were a love of movies and his grandfather's stories of the
silent films he had watched as a child films that were no longer
accessible. That same punk DIY ethic Everett exhibits in his
professional life also extends to his personal interests, which include
collecting film equipment. His interest in "the outliers," as he calls
them, led to amassing a collection of equipment such as 9.5 mm, 4.75 mm,
22 mm, and 28 mm film formats. With a professional background covering
all forms of media and archiving, Dino Everett is the new archivist of
the Hugh M. Hefner Moving Image Archive. [for program details and
registration visit www.regonline.com/tie]
11/23
Colorado Springs, Colorado: TIE - Alternative
Measures: an investigation of artist-run film labs
https://www.regonline.com/Register/Checkin.aspx?EventId=1234975
3:15 PM - 5:00 PM , Edith Kinney Gaylord
Cornerstone Arts Center, 825 N. Cascade Ave.
FORMALISTIC FIXATIONS
These three films explore a reality that does not stay still, only as an
optical play of images, both familiar and abandoned. In a world where
the surface of the unknown is scratched, the understanding of life's
greatest mysteries can be had if only for a fleeting glimpse. Images,
which contain within themselves the universe, are stacked together to
fill the void, and the movement of pictures will take on a new form, as
a long lost friend, as the unknowable. Brendan Verville
*Post-screening Q&A with special guest(s) in the Flex Room (Deluxe and
Patron Package registrants only) Films include: Mail, Parts I and II by
Robert Schaller [2013, 5 min., 16mm, 24 fps, live violin, USA] A letter
from the ephemeral pinhole world, sent then written, silent then sound.
Physicality by Michelle Ellsworth and music by Simon Christensen
Landscape in the Afternoon by Jangwook Lee [2013, 8 min., 16mm, 24 fps,
silent, South Korea] Images out of their intended context create new
context, and also provide us the perception to be able to see which were
there but not seen in its own context. This work is a process of
research on the world which is familiar, but at the same time full of
mysteries. This film is based on the abandoned images with variable
reasons. I hoped the images would be free from the logic of selection.
At the same time, I was curious about the world which is full of
mysteries, always richer than the personal perception. Jangwook Lee
*This film was made in-part at Space Cell (South Korea). Africa I by
Shinkan Tamaki [2010, 12 min., 16mm, 24 fps, silent, Japan] Africa I is
an observation of the texture of the subject and the film, and the
cinema's movement itself, by going through a four-second-long piece of
footage duplicated in a large volume. *This film was made in-part at
personal lab (Japan). Gradual Speed by Els van Riel [2013, 53 min.,
16mm, 24 fps, optical sound, Belgium] A few years ago I started
collecting images with the idea to pay homage to the slowly vanishing
techniques of analog film making. Now a series of these recordings makes
Gradual Speed, a work on and for black and white 16mm-film seen as
matter, and at the same time as a metaphor for everything we cannot
grasp. Els van Riel *This film was made in-part at MAAC Le Labo
(Belgium). For program details and registration visit:
www.regonline.com/tie
11/23
Colorado Springs, Colorado: TIE - Alternative
Measures: an investigation of artist-run film labs
https://www.regonline.com/Register/Checkin.aspx?EventId=1234975
4:15 PM - 7:45 PM, Edith Kinney Gaylord
Cornerstone Arts Center, 825 N. Cascade Ave.
16MM PROJECTORS FOR SMALL SCREEN PRESENTATION
[Instructor: Alain LeTourneau of 40 Frames (Portland, Oregon)] This
workshop will look at a handful of 16mm portable projectors, and discuss
the merits of each. The projectors will be discussed within the context
of classroom, artist studio and micro-cinema applications. Projectors
will include Eiki EX-3500-S, Eiki SL-0, Elmo CL-16, Telex 1115 AR
Insta-Load, and other projectors that may be on-hand. Also discussed
will be sourcing projector parts and service, lens options, image size
and screen brightness (luminance). For program details and registration
visit: www.regonline.com/tie
11/23
Colorado Springs, Colorado: TIE - Alternative
Measures: an investigation of artist-run film labs
https://www.regonline.com/Register/Checkin.aspx?EventId=1234975
6:05 PM - 7:25 PM, Edith Kinney Gaylord
Cornerstone Arts Center, 825 N. Cascade Ave
STRIFE SAGA
[A journey must accept challenges in all its forms, in times of war, in
the everyday routine. Sometimes the repercussions of any one journey are
hard to grasp, like warships that slip into smoky light. Road signs
repeat themselves along the way and beg the question, 'Have we been here
before?' Of course we have. Our choices and mistakes must remain in our
memories, imprinted on the face of our surroundings, and glamorized
inside cool ethereal sheens. Strife is spelled out in this way, and with
every journey there must be someone to narrate the darkness. -Brendan
Verville] *Post-screening Q&A with special guest(s) in the Flex Room
(Deluxe and Patron Package registrants only) Films include: Warships by
Georg Koszulinski [2011, 2 min., 16mm, 24 fps, silent, USA] "Warships
flicker and fade in the celluloid." *This film was made in-part at The
Dungeon (USA). El Cuento by Enrico Mandirola [2011, around 50, 16mm, 24
fps, optical Colombia] A Cinema-poem that was born out of road signs
found scattered on the road. The theme is a war, an opaque and archaic
war that is never named. The text is a chant about the behavior of a
"timeless-man" during a war. The film's structure is drawn around the
road signs found as fragments of a trip, as images stolen from our daily
living. The "writing on screen" is the object of the research. The
images were filmed during more than one decade of peregrinations
throughout the roads on this planet, accompanied by a Super-8 camera.
The images are never a direct comment about the text; rather they will
try to move and we can listen to the voice of the chant. A damaged LP
vinyl that repeats itself? The time and the rhythm are those of the
repetition transported by the wind, as the text tells in its conclusion:
Now that you know this, try to protect yourself and save your head. If
you cannot do it, at least, you will not be bored. *This film was made
in-part at Kinolab (Columbia). **This film is still pending conformation
for Alternative Measures exhibition. All That Sheltering Emptiness by
Gina Carducci & Mattilda Bernstein Sycamore [2010, 7 min., 16mm, 24 fps,
optical, USA] "All That Sheltering Emptiness is a meditation on
elevators, hotel lobbies, hundred dollar bills, the bathroom, a cab,
chandeliers, cocktails, the receptionist, arousal, and other routines in
the life of a NYC call boy. Gorgeously hand-processed in full 16mm
glory, All That Sheltering Emptiness explodes the typical narratives of
desire, escape, and intimacy to evoke something more honest." *This film
was made in-part at MIX Lab (USA). [for program details and registration
visit www.regonline.com/tie]
11/23
Colorado Springs, Colorado: TIE - Alternative
Measures: an investigation of artist-run film labs
https://www.regonline.com/Register/Checkin.aspx?EventId=1234975
8:00 AM - 6:00 PM, Edith Kinney Gaylord
Cornerstone Arts Center, 825 N. Cascade Ave.
CHROMAFLEX! DAY 2
[Instructor: Richard Tuohy (Australia)] The Chromaflex workshop will
explore a jazzy new photo-chemical technique which allows selectively
controlled negative and positive colour and black and white images on
the same strip of film. What's more, the technique allows these
selection decisions to be made in full light. This technique can
generate areas of colour negative, areas of colour postive, areas of
black and white, as well as areas of clear or black all on the one strip
of film or indeed within the one frame. Further, as all colour work with
this technique occurs in full light, it is possible to watch the colour
chemistry working its magic in front of your eyes. The process begins
with a freshly made colour print of colour negative material. Instead of
processing this print in the normal ECP process, however, the Chromaflex
method involves a novel processing sequence that initially produces an
odd looking positive black and white image on the film. Once this stage
is complete, the film is then ready to be handled in full light. This is
the part one of a two day workshop, both days are mandatory to attend.
An example of the finished product using this technique can be viewed
here: http://vimeo.com/45007499 . ** Participants must bring 50-100ft of
freshly exposed but unprocessed Kodak 3383 16mm colour print stock of
footage he/she has shot. Pricing includes both days of the workshop. For
program details and registration visit: www.regonline.com/tie
11/23
Colorado Springs, Colorado: TIE - Alternative
Measures: an investigation of artist-run film labs
https://www.regonline.com/Register/Checkin.aspx?EventId=1234975
8:00 AM - 9:35 AM, Edith Kinney Gaylord
Cornerstone Arts Center, 825 N. Cascade Ave.
BILL BRAND PROGRAM FOR ALTERNATIVE MEASURES
Bill Brand acquired a JK Optical printer in 1976 to make his own films
but soon began doing optical printing jobs for friends in the
experimental film making community. He named his company BB Optics and
this eventually evolved into an artist-run film lab specializing in the
production and preservation of films by artists. Since then, Bill has
continued to make his own films, but has also worked on hundreds of
films by other experimental and documentary filmmakers including Stan
Brakhage, Yvonne Rainer, Hollis Frampton, Carolee Schneemann, Paul
Sharits, Robert Huot, Todd Haynes, Zoe Beloff, Saul Levine, Bradley
Eros, Ericka Beckman, Luther Price, Jeanne Liotta, Peggy Ahwesh, Ross
McElwee, Andrea Callard, Alan Berliner, David Wojnarowicz, Pola
Rapaport, and Helen Hill among many others. He works with individual
artists as well as major institutions including the Museum of Modern
Art, the Whitney Museum of American Art, the Art Institute of Chicago,
Anthology Film Archives, the Berkeley Art Museum, the Tate Modern, and
the National Archives and Records Administration. This program
juxtaposes a small selection of films by Bill Brand, and four other
artists, whose work he has preserved or helped complete with his optical
printer. Together the films celebrate and mourn the passing of friends,
family as well as the changing place of film in moving image culture.
Bill Brand's Angular Momentum (1973) is a precisely structured
minimalist composition of continuously changing color created by
removing layers of film emulsion. Peter Herwitz's expressionistic,
hand-painted Gesturings (2010) also explores the materiality of film,
but here, "Everything is a kind of gesture" including, "splice marks,
funky tape splices, fingerprints, and dirt." In Andrea Callard's No Wave
masterpiece 11 thru 12 (1977), meaning is lost through the absurdity of
explanation. Bill Brand's Chuck's Will's Widow (1982) and Jeanne
Liotta's Ceci N'est Pas (1997) are both eulogies. Brand's film is an
intricately optical printed composition, while Liotta's is a
hand-developed, unedited camera roll that, "Authored itself." Filmed
with an assortment of out-of-date film stocks, Bill Brand's Susie's
Ghost (2011) marks personal loss, a changing neighborhood and the
imminent disappearance of the medium of 16mm film. Saul Levine's
,I>Light Licks: By the Waters of Babylon: This May Be the Last Time
(2011) commemorates the last days of Kodachrome and the passing of
autumn light into winter. *Post-screening Q&A with special guest(s) in
the Flex Room (Deluxe and Patron Package registrants only) Angular
Momentum by Bill Brand [1973, 20 min., 16mm, 24 fps, optical sound, USA]
A classic Structural Film, Angular Momentum (1973) is the second film in
a trilogy titled Acts of Light (1972-74). These works explore human
color perception, the system of color production in the photographic
emulsion, the physical qualities of the emulsion and base, the
laboratory methods of producing and reproducing prints, and the ordering
system of successive individual frames that create the illusion of
motion and the passage of time. Angular Momentum was created on an
optical printer from a reel of black leader scraped with a razor blade.
The colors were all generated from multiple exposures of red, green and
blue color separation filters. Following a precise score, the film
exhibits continuous color changes that rotate around a spectrum at
varying speeds of rotation and degrees of saturation and value. The
colors change in opposite directions on the left and right sides of the
frame. On the left the colors start nearly white and rotate very slowly.
As the film progresses their values become darker and the speed of
rotation increases until, by the end, the colors are nearly black, and
rotate around the spectrum very rapidly. Color combinations,
moment-to-moment, are determined by the double helix structure of the
picture score. The soundtrack was improvised for the film on Moog
Synthesizer by renowned composer/keyboardist Richard Teitelbaum. 11 thru
12 by Andrea Callard [1977, 11 min., 16mm, 24 fps, optical sound, USA]
In this most untypical, and until recently, unrecognized No Wave
masterpiece, Andrea Callard uses the structure of the 'I Ching' to
explore the absurdity of explanation and the limits of the measuring
mind. "Celebrating Orphan Films," UCLA Film & Television Archive, New
York University and Los Angeles Filmforum. This film was blown up from
Super-8. Chuck's Will's Widow by Bill Brand [1982, 13 min., 16mm, 24
fps, silent, USA] "Chuck's Will's Widow is a eulogy for my father and
mother whose ashes are spread in the Adirondack mountain woods where the
film is shot. Visualized through a field of swirling shapes, the
fragmented landscapes weave an emotional fabric containing inexplicable
personifications and associations." Bill Brand. "The projected
rectangle is seldom as energized as in the 13 minutes of Chuck's Will's
Widow, a film by Bill Brand. This movie pulverizes space. Brand uses a
jagged, free-form traveling matte to combine two separate images in a
constantly shuffling jigsaw pattern. The overall field resembles a flock
of origami birds, a moving linoleum floor, or maybe a Dubuffet mosaic.
The scenes Brand combines are all bucolic rolling hills, an apple
orchard, a country road but the effect is hardly tranquil. The
seemingly random motion of the interpenetrated planes as dizzying to
decode as a Cubist still life, and flashing as fast as a disco strobe
provides an exhilarating experience of cinema as pure kinesis." J.
Hoberman, Voice, June 19, 1984 Gesturings by Peter Herwitz [2010, 7
min., 16mm, 18 fps, silent, USA] This film represents the apotheosis of
my hand painted film style, and the belief that, in the materiality of
film, everything is a kind of gesture: color, rhythm, texture, splice
marks, funky tape splices, fingerprints, and dirt. I worked on and off
on the film for seven years. Reprinting each frame twice, my hope was
that slowing down would echo Baudelaire´s Lux, Calme, et Volupte
(luxury, calm, and pleasure). The film is dedicated to Bill Brand.
Peter Herwitz Ceci N'est Pas by Jeanne Liotta [1977, 7 min., 16 mm, 24
fps, silent, USA] "Hand-developed and unedited, this roll lived in my
camera from March to May 1995: A trip to New Orleans, a train ride, the
death of a dear friend and artist. This film is the author of itself;
its trace function leaves me behind." Jeanne Liotta "In Ceci Níest
Pas, the train, that ubiquitous symbol of sex, death, and cinema itself,
draws us away from the fantasy of a presence in this world and towards
the phantasms beyond. The destination of this unseen train can only be
the invisible realm of nowhere." Bruce Stater, online review of MOMA's
Big as Life 1998 screening Susie's Ghost by Bill Brand [2011, 7 min.,
16mm, 24 fps, optical sound, USA] Susie's Ghost is about the mystery of
the marks we make and leave behind. The "Susie" in the title refers to
my older sister who had died shortly before we shot the film, but the
"ghost" refers more generally to feelings of lingering loss. Both my
photography and the performance of collaborator Ruthie Marantz express a
tentative presence and a diffuse sense of disappearance. Is she looking
for something or someone? Is she really there? Is she really gone? We
shot with aging 16mm film in my downtown Manhattan neighborhood, just
before construction mania obliterated the last traces of the
manufacturing district I'd moved to 35 years earlier. That too has
passed. Bill Brand Light Licks: By the Waters of Babylon: This May Be
the Last Time by Saul Levine [2011, 7 min., 16mm, 18 fps, silent, USA]
This film was shot right before Dwayne's stopped processing Kodachrome
and the last time I shot Kodachrome for Light Lick. It was right after
Thanksgiving weekend and the light is very much late November right
before the Winter Solstice. Saul Levine
11/23
Colorado Springs, Colorado: TIE - Alternative
Measures: an investigation of artist-run film labs
https://www.regonline.com/Register/Checkin.aspx?EventId=1234975
8:00 PM - 9:20 PM, Edith Kinney Gaylord
Cornerstone Arts Center, 825 N. Cascade Ave
THE SIGNIFICANCE OF COLOR IN A NEW REALISM
A conversation between handmade emulsion specialist, Robert Schaller,
and writer, Rachel Cole Dalamangas, regarding material, realism,
technology, the end of reality, sex, grief, object-loss, paranoia, and
death. [for program details and registration visit
www.regonline.com/tie]
11/23
Colorado Springs, Colorado: TIE - Alternative
Measures: an investigation of artist-run film labs
https://www.regonline.com/Register/Checkin.aspx?EventId=1234975
9:45 PM - 11:30 PM, Edith Kinney Gaylord
Cornerstone Arts Center, 825 N. Cascade Ave.
CINEWORKS ANNEX LAB PROGRAM
[Curated by Alex MacKenzie] This is a collection of work created through
Cineworks, the Vancouver-based film cooperative, and more specifically
their Analog Annex where a darkroom and lab facility are available to
members. A number of these works in 16mm are based on pieces initiated
by an extended series of workshops, presented by myself, entitled
Expanding Cinema at the Annex, over the course of a five month period.
Following this, Annex coordinators Ariel and Zoe Kirk-Gushowaty put out
a call to workshop participants and others to create collaborative works
between Vancouver-based experimental filmmakers and musicians that
explore relationships and interplays of audible and visual language.
This project, entitled Sound + Vision, was presented as a part of
Vancouver's Art Waste event in June of 2013. Other works presented here
used the lab facilities in an integral way in their formation. -Alex
MacKenzie *Post-screening Q&A with special guest(s) in the Flex Room
(Deluxe and Patron Package registrants only? Films include: Logbook by
Alex MacKenzie [2011, 25 min., 16mm analytic, sound, Canada] Using black
and white film emulsions handmade and painted onto raw celluloid,
Logbook is a visual investigation and catalogue with traces of past life
and moments passed, on a remote island mountain on the Pacific Northwest
Coast of Canada. Filmed with a 1923 Cine-Kodak Model A--the first
hand-cranked 16mm camera produced by Kodak--and presented live on a 16mm
analytic projector. Frames are slowed, frozen, reversed and reprised in
a study and interplay of surface and subject, where fleeting images
crackle, tear, and fold in on themselves to invoke the very silver
nitrate of which they are made. Inner Landscapes by PrOphecy Sun and
Ariel Kirk-Gushowaty [2013, 12 min., 16mm, 24 fps, sound, Canada] This
piece explores life from the inside out. The sounds are a combination of
fetal heartbeats and underwater noises recorded on a homemade
hydrophone. Visuals were made using a combination of 16mm, Super 8, ink
on film, and digital technology. Night Visions by Zoe Kirk-Gushowaty and
Lux Petrova [2013, 13 min., 16mm, 24 fps, sound, Canada] A haunting
spell of color and rhythm developed as an audio/visual conversation.
Visuals were created with 16 mm rayograms and digital effects output to
16mm. The Hammer and the Feather by John Woods, Mark Cernigoj [2013, 20
min., 16mm, 24 fps, optical sound, Canada] This three part film
re-purposes footage excised from 1960s educational films with a collage
of looped audio samples. The audience will be taken on a 400 year
odyssey that began with Galileo Galilei's early sketches of the moon and
his experiments with gravity that would eventually change our
understanding of the solar system and start a series of scientific
achievements that would reach for the stars. Sunlight in a Dark Room by
Amanda Thomson [2013, 2 min., 16mm, 24 fps, silent, Canada] A super 8
film shot on color negative, developed in B/W chemistry and blown up to
16mm color positive. The glimmer of water blends with emulsion and hand
processing. Not Just Black and White by Lisa g and the littlest homie
[2013, 7 min., 16mm, 24 fps, sound, Canada] Neighbourhoods travel the
screen, in a search for cultural diversity. Do people feel welcome in
this Canadian city? Filmed on super 8 with digital additions of colour
blocking and portraiture. Audio interviews and musical interruptions
round out the journey. Inspired by the Diverse Voices & Portraits
project. A Seafaring Print by CJ Brabant [2011, 4 min., 16mm, 24 fps,
sound, Canada] A western harbor excursion in the form of an unedited
monochrome one-off...
11/23
Los Angeles, California: Echo Park Film Center
http://www.echoparkfilmcenter.org/
8 pm, 1200 N. Alvarado St
HEARKENINGS PRESENTS D.W. GRIFFITH'S DREAM STREET
$5 / Whereas the power of the technical innovations on which Griffith's
reputation largely rests has been diluted by a century of cinematic
conventionalization, the depth of his emotions and the force of his
vision of humanity have been preserved intact. He once declared, "A
street might be recalled to us as a beautiful street. If our dreams of
the people we met and knew and loved on that street are beautiful, then
the street will be beautiful to us. It is the same with everything else.
There is nothing in life but humanity." (Dream Street, directed by D.W.
Griffith, 93 minutes, 16mm)
11/23
San Francisco, California: Other Cinema
http://www.othercinema.com/
8:30, 992 Valencia St.
JEANNE FINLEY + BRIGID MCCAFFREY + SLAB CITY + TAR SANDS +
Appreciating the nuances of Place, especially the (no-)zones of the
American West, we premiere Jeanne Finley's Fat Chance, a meditation on a
Point Reyes shipwreck. Katherin McInnis seconds the motion with her Bay
Area Disaster Drills. ALSO in its debut, Brigid McCaffrey and Elizabeth
Knafo's De Re Metallica transports us to the scorched environs of Mojave
gold mines, updating buried-treasure legends. PLUS Jonathan (Commune)
Berman's sneak peek at Van Tassel's Giant Rock, Jordan Blady's Slab City
Prom, Dan Anderson's Food City, John Warren's Action on the Strip, and
pieces by Pierre Conti, Wago Kreider, Jim Granato, and Enid Blader. Come
early for Peter Mettler's aerial lyric on Alberta's Tar Sands. $7.
psycho-geography
11/23
Tokyo, Japan: PLUS (+)
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December 30th and based in Tokyo. I'm thinking about composition for the
simple harmony and structure, and improvising by music instruments and
non-music instruments. Before turning to electronic music and
improvisation I was playing the guitar on a rock band in early 2000s.
Now I'm mainly using audio mixer, guitar and other objects (such as
glass, plastic bag and strings) but it depends on the circumstances. I'm
a member of Hello (with Takahiro Kawaguchi, Satoshi Kanda) and a rock
band "likea". There are more than 15 recordings, such as solo album [in
the suburb] from cherry music (jp), [niju] from ristretto (pt), "hello"
(takahiro kawaguchi + shinjiro yamaguchi) [hello] from ftarri (jp) and
[november 9, 2007] by sawako + richard chartier + shinjiro yamaguchi
from 12k term (USA), and performances at Tokyo (uplink factory, Super
deluxe, Kawagoe Art Museum, Ueno Royal Museum Gallery, bankart 1929,
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Japan. Experimental filmmaker and pilgrim in search of never-before-seen
images and new perceptual experience. He started making moving image
with 16mm film in 2006. Main theme is to lead the audience's perception
to change naturally and sometimes drastically by coming and going across
borders between image and non-image, sound and image with extracting
film's materiality. The works have been screened at many film festivals,
including International Film Festival Rotterdam. Recently, He performs
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need, guilt, nostalgia, and transcendence. His film-based work revolves
heavily around chemical experimentation and an unconventional, often
derelict approach to darkroom procedures. He is a firm believer in
manual knowledge and the transformative potential of an immediate bodily
struggle with the elements of the natural world.
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Zoran Curwood is a Brooklyn based artist working in film, animation and
sculpture. He received a BA (concentration in Sculpture) from School of
Visual Arts in 1995. His 16mm films combine traditional animation
practices (cel, rotoscope, stop-motion) with many bygone special effects
techniques (slit-scan, optical printing, tinting, toning). He has
exhibited his work locally at Anthology Film Archives, Canada, Union
Docs, Monkeytown, Secret Project Robot, Vaudeville Park, CREAM Gallery,
and Heliopolis. He has taught workshops at Columbia University, Mono No
Aware, and Camera Club New York. He is a member of the collective
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ononoawarefilm.com/ Steve Cossman is Founder and Director of Mono No
Aware; a non-profit cinema arts organization whose annual event exhibits
the work of contemporary artists who incorporate live film projections
and altered light as part of a performance, sculpture, or installation.
In 2010 the organization established a series of analog film-making
workshops in conjunction with the event, that currently works with 200
participants a year. His first major work on film, TUSSLEMUSCLE, earned
him Kodak's Continued Excellence in Film-making award and has screened
at many festivals/ institutions internationally. In 2013, Cossman
completed a residency at PS1 MoMA as part of Expo 1 and at the Liaison
of Independent Filmmakers of Toronto (Canada). He has been a visiting
artist at Dartmouth, the New York Academy of Art, Yale, and the Aurora
Picture Show in Houston Texas. His newest work on film WHITE CABBAGE
(2011-2013), a collaboration with Jahiliyya Fields of L.I.E.S., will
have its US premiere with a series of new work at Anthology Film
Archives December 20th 2013. Steve Cossman currently lives and works in
Brooklyn New York as a director, curator, visual artist, and member of
the collective DecayNY creating time-based works on film, video, and
paper.
11/23
Tucson, AZ: Exploded View
http://explodedviewgallery.org
7:30, 197 E Toole Ave
GERMAN CINEMA SHOWCASE: ULRIKE OTTINGER'S UNDER SNOW
*Co-sponsored by U of A's Dept. of German Studies. In the Japanese
region Echigo, the locals live with and under the heavy snowfall
half?of the year. Because of this they have developed their own
customs of everyday life,?festivals, and religious rituals. In a
poetic way Ulrike Ottinger leads us into the reality?of the snow
landscape with its beauty and austere living conditions, follows
the?mythical tracks of the "gods of paths and roads" and mountain
spirits, and places us?within the fairytale world of a beautiful
fox and her lover.
-------------------------
SUNDAY, NOVEMBER 24, 2013
-------------------------
11/24
Colorado Springs, Colorado: TIE - Alternative
Measures: an investigation of artist-run film labs
https://www.regonline.com/Register/Checkin.aspx?EventId=1234975
10:10 AM - 10:40 AM, Edith Kinney Gaylord
Cornerstone Arts Center, 825 N. Cascade Ave.
AFTER PSYCHO SHOWER
After Psycho Shower [by Hangjun Lee] [2012, 12 min., 3x16mm, optical
sound, South Korea/France] I have been performing After Psycho Shower
with a musician over the last three years. This performance had its
origin in Hitchecock's famous shower scene (Psycho, 1960) and Tony Wu's
Psycho Shower (2001) print which I received as a gift. In its first
performance, there was no title. Since then, I used the title "After",
inspired by many artistic practice such as Pablo Picasso, Pieter de
Hooch, Malcolm Le Grice etc. We can easily categorize this work as a
so-called "found footage" work, but I keep asking myself, "What is
'found', 'what is 'footage.'" Can a filmmaker really find a logical
connection between the idea of "footage" and that of a strip, roll, or
print? (Hollis Frampton's Metahistorical idea). What is the difference
between splicing/cutting and projecting/looping or editing/printing and
the idea of "footage?" For three years, I couldn't find a proper answer
from my performance activity, but I did develop some notions toward such
an answer while defining those terms. Finally I decided to make a
screening version to get away from this footage and find new questions.
This work is an expression of my provisional conclusions which have
emerged through the back-and-forth between performance space/locating
and darkroom space/mapping. Hangjun Lee *This film was made in-part at
MTK Grenoble (South Korea/France). **Post-screening Q&A with special
guest(s) in the Flex Room (Deluxe and Patron Package registrants only)
[for program details and registration visit www.regonline/tie]
11/24
Colorado Springs, Colorado: TIE - Alternative
Measures: an investigation of artist-run film labs
https://www.regonline.com/Register/Checkin.aspx?EventId=1234975
11:10 AM - 12:00 PM, Edith Kinney Gaylord
Cornerstone Arts Center, 825 N. Cascade Ave
LAST LIGHT OF A DYING STAR
[Last Light of a Dying Star by Roger Beebe] [2008 rev 2011, 26 min.,
5x16mm projectors, 1xSuper-8, 24 fps and 18 fps, sound, USA] A
multi-projector meditation that takes the form of trajectory through
different modes of representing outer space, from abstraction to
animation to more traditional photographic imagery. Originally made for
an installation/performance in a planetarium at the Museum of Arts and
Sciences in Macon, GA, the film attempts to recapture both the
excitement of the early days of space exploration and the utopian
aspirations of expanded cinema. Made as an orchestration of a number of
different elements, both original and found: handmade cameraless film
loops by Beebe and Jodie Mack alongside 16mm educational films about
eclipses, asteroids, comets, and meteorites and a super 8 print of the
East German animated film "The Drunk Sun." *This film was made in-part
at The Dungeon (USA) *Post-screening Q&A with special guest in the Flex
Room (Deluxe and Patron Package registrants only) [for program details
and registration visit www.regonline.com/tie]
11/24
Colorado Springs, Colorado: TIE - Alternative
Measures: an investigation of artist-run film labs
https://www.regonline.com/Register/Checkin.aspx?EventId=1234975
12:55 PM - 2:10 PM, Edith Kinney Gaylord
Cornerstone Arts Center, 825 N. Cascade Ave.
INTERTIDAL
Intertidal by Alex MacKenzie [2012, 55 min., 16mm x2, variable, separate
digital audio player, Canada] Inspired both by the work and thought of
1940s marine scientist Ed Ricketts and the technical approach of french
filmmaker Jean Painleve in the same era, Intertidal presents a
submersive exploration of the tidal zones and marine life off the shores
of Western Canada. Using both camera and non-camera approaches, this
performance-based work, presented on two analytic 16mm projectors,
speaks to the fragility of both the film medium and the marine
environment explored. Traveling as far West as Nootka Sound on Vancouver
Island and North to the tip of Naikoon on Haida Gwaii, this route
purposefully emulates that which Ricketts and his close friend author
John Steinbeck intended to revisit prior to Ricketts' untimely death in
1948. The scope and materiality of both emulsion and environment are
explored using elements as wide ranging as photograms, alternative film
chemistry, live manipulation, and the very movement of the tides
themselves. At once personal, political, visual, and ecological, the
work gives equal weight to representation and abstraction. A project of
process through exploration, Intertidal is a marine ecology for
emulsion: teeming and tenuous, fleeting and alive. *This film was made
in-part at Cineworks (Canada). *Post-screening Q&A with special guest(s)
in the Flex Room (Deluxe and Patron Package registrants only) For
program details and registration visit: www.regonline.com/tie
11/24
Colorado Springs, Colorado: TIE - Alternative
Measures: an investigation of artist-run film labs
https://www.regonline.com/Register/Checkin.aspx?EventId=1234975
2:50 PM - 4:20 PM, Edith Kinney Gaylord
Cornerstone Arts Center, 825 N. Cascade Ave.
FILM (PARKOUR)
[by Christopher May in collaboration with various artists and traceurs]
[2013, Super-8 and 16mm, silent/sound, USA/Argentina/Austria] This
program illuminates experimental, expanded, and lyrical cinema featuring
organic and intimate life portraits of traceurs. *This film was made
in-part at TIE space (USA). *Post-screening Q&A with special guest(s) in
the Flex Room (Deluxe and Patron Package registrants only) For program
details visit: www.regonline.com/tie
11/24
Colorado Springs, Colorado: TIE - Alternative
Measures: an investigation of artist-run film labs
https://www.regonline.com/Register/Checkin.aspx?EventId=1234975
4:55 PM - 6:00 PM, Edith Kinney Gaylord
Cornerstone Arts Center, 825 N. Cascade Ave
EXPLORING CONTEMPORARY EXPANDED CINEMA
Ryan Platt, Assistant Professor of Performance Studies at Colorado
College, explores the screen as a conceptual model that mediates
phenomena excluded from the formal construction of theatre and film.
Join Ryan Platt as he leads a discussion between world-renowned film
artists Richard Tuohy, Roger Beebe, Hangjun Lee, Alex MacKenzie, Juan
David Gonzalez, Anja Dornieden and others on the experimental art of
expanded cinema. [for program details and registration visit
www.regonline.com/tie]
11/24
Colorado Springs, Colorado: TIE - Alternative
Measures: an investigation of artist-run film labs
https://www.regonline.com/Register/Checkin.aspx?EventId=1234975
6:30 PM - 12:30 AM , Edith Kinney Gaylord
Cornerstone Arts Center, 825 N. Cascade Ave
HANDMADE EMULSION - THE QUICK AND DIRTY WAY
[Instructor: Lindsay McIntyre] In this one-day workshop, experience a
taste of 19th Century darkroom magic and create a simple B+W silver
gelatin emulsion from scratch on 16mm film. Handmade emulsions have a
distinct and wonderful look to them that cannot be duplicated by other
means and provide a wonderful basis for nearly-endless experimentation.
Topics include: emulsion creation and handling; recipes; film coating
techniques; processing; basic troubleshooting. Participants will gain an
understanding of the elementary silver gelatin emulsion chemistry and
technique and see the results developed by the end of the session. All
chemicals, supplies and workbook are included. [for program details and
registration visit www.regonline.com/tie]
11/24
Colorado Springs, Colorado: TIE - Alternative
Measures: an investigation of artist-run film labs
https://www.regonline.com/Register/Checkin.aspx?EventId=1234975
6:45 PM - 9:25 PM, Edith Kinney Gaylord
Cornerstone Arts Center, 825 N. Cascade Ave.
JOHNNY MINOTAUR
Johnny Minotaur by Charles Henri Ford [1971, 16mm, color & b/w, 79.5
min] Starring Allen Ginsberg. The US premier. Newly restored by the
Museum of Modern Art, 2013. This includes a presentation from MM Serra
(Filmmakers Co-op). For program details and registration visit:
www.regonline.com/tie
11/24
Colorado Springs, Colorado: TIE - Alternative
Measures: an investigation of artist-run film labs
https://www.regonline.com/Register/Checkin.aspx?EventId=1234975
9:00 AM - 11:00 AM, Edith Kinney Gaylord
Cornerstone Arts Center, 825 N. Cascade Ave.
ARCHIVAL HANDLING AND PROJECTION PRACTICES
[Instructors: The Northwest Chicago FIlm Society] The Northwest Chicago
Film Society hosts a workshop on keeping archival film handling alive in
the 21st century. The workshop will teach the basics of film projection,
film inspection, film shipping practices with an eye toward planning for
a world where film prints are precious and parts for film projectors are
scarce. For program details and registration visit:
www.regonline.com/tie
11/24
Los Angeles, California: Filmforum
http://www.lafilmforum.org/
7:30pm, Spielberg Theatre at the Egyptian, 6712 Hollywood Blvd.
A STARK VIEW OF THE WORLD AN EVENING WITH SCOTT STARK
An Evening With Scott Stark - Scott Stark's films, videos and
installations are kinetic revelations that can be shocking, mesmerizing
and narratively rich. We're delighted to welcome Scott to Los Angeles
again. We last featured him at Filmforum in 2002. Over two nights in
November, he will present a wide array of new work created since then,
along with a few earlier works. On Sunday, the works display a
consistent remaking of the screen, rendering past into present, and
colliding spaces in ways that find new political and narrative meaning.
Air (1986, 16mm, color, silent with sound on CD, 8 min.) Shot in an
airline terminal, Air studies the movements of people and airplanes
across and through the "planes" of the film's surface. An obsessive
geometric structure is formed with camera angles and tracking shots.
Acceleration (1993, super 8mm, color, sound, 8 min.) A snapshot taken in
a moment of human evolution, where the souls of the living are reflected
in the windows of passing trains. The camera captures the reflections of
passengers in the train windows as the trains enter and leave the
station, and the movement creates a stroboscopic flickering effect that
magically exploits the pure sensuality of the moving image. The Sound of
His Face (1988, 16mm, color, sound, 5 min.) A "filmed biography" of Kirk
Douglas -- literally. Pages of a book -- the lines of text, and the tiny
dots comprising the half-tone photographs -- create odd musical notes,
which are edited into a pounding rhythm. This film examines the
molecular fabric of Hollywood superficiality. I'll Walk with God (1994,
16mm, color, sound, 8 min.) Using emergency information cards
surreptitiously lifted from the backs of airline seats, I'll Walk with
God pictorially charts an airline flight attendant's stoic transcendence
through and beyond worldly adversity. Through an elaborate system of
posturing and nuance that evokes an almost ritualistic synergy, the
female protagonist(s) are shuttled toward a higher spiritual plane,
carried aloft on the shimmering wings of Mario Lanza's soaring tremolo.
First Prize (Director's Choice), Black Maria Film Festival, 1995 Shape
Shift (excerpt) (2004, DV, color, sound, 2 min.) A simple technique with
two opposing cameras reveals a body transposed upon itself, confounding
the limits of its own physical space. To Love or To Die (2003, DV,
color, sound, 5 min.) Los Angeles premiere! Made with two parallel
cameras, To Love or To Die is a brief binocular odyssey through a
suburban wonderland of desire and fulfillment. Right (2008, DV, color,
sound, 10 min.) Los Angeles premiere! A playful study of one of the
U.S.A.'s most ubiquitous symbols, and an attempt to re-invent it as a
thing of problematic beauty. Overlayed on top of the imagery are
snippets of an email exchange I had with a person who was and remains a
staunch apologist for the Bush administration's hundreds of lies leading
up to the 2003 U.S. invasion of Iraq, as well as for the
administration's many other crimes, corruptions and failings. Longhorn
Tremolo (2010, DV, color, sound, 14 min.) Los Angeles premiere! Excited
football fans move through a visually kinetic space in slow motion
toward their goal. BLOOM (2012, DV, color, sound, 11 min.) Los Angeles
premiere! Industrial penetrations into the arid Texas landscape yield a
strange and exotic flowering. Using images from the Texas Archive of the
Moving Image, based on oil drilling footage from the first half of the
20th century.
11/24
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
4:45 pm, 32 2nd Avenue
ESSENTIAL CINEMA: GENET/FRANK & LESLIE PROGRAM
Jean Genet UN CHANT D'AMOUR 1950, 26 minutes, 16mm, b&w, silent. Jean
Genet's poetic expression of male eroticism pitted against the confines
of prison cells and a homophobic state
a powerfully resonant work that
explores individual freedom and the laws of desire. Robert Frank &
Alfred Leslie PULL MY DAISY 1959, 28 minutes, 35mm, b&w. A largely
spontaneous experiment, arranged in 1959 by Robert Frank along with
Alfred Leslie. They enlisted the participation of Jack Kerouac, who
offered in place of an original screenplay a stage play he'd never
finished writing, "The Beat Generation." The plot is based on an
incident in the life of Neal Cassady and his wife Carolyn. They're
raising a family and trying to fit in with their suburban neighbors, and
one night they invite a respectable neighborhood bishop over for dinner.
But Neal's Beat friends crash the party, and that Marx Brothers-like
scenario is the closest thing the film has to a storyline. Total running
time: ca. 60 minutes.
11/24
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
6:30 pm, 32 2nd Avenue
WHITE CUBE/BLACK BOX: ED RUSCHA
Bridging the gap between the white walls of the gallery and the
immersive darkness of a movie theater, Anthology's new, ongoing series
WHITE CUBE / BLACK BOX seeks to create a dialogue between films made by
visual artists and works by experimental filmmakers. These differences
are multivalent and not easily defined; this series aims to be a
starting point for an exchange between these two arguably
arbitrarily-separated categories by presenting them side-by-side to
investigate their similarities, differences, and histories. This
installment of WHITE CUBE / BLACK BOX presents Ed Ruscha's cunning and
comic 16mm films MIRACLE and PREMIUM, alongside experimental films that
offer the same tongue-in-cheek wit. Ruscha, one of the founders of the
West Coast pop art scene of the early '60s, cites cinema as one of the
primary influences on his aesthetic. His films deliver the same deadpan
humor and pure pop fun of his paintings: MIRACLE reveals the
transformation of a mechanic into a meticulous scientist of sorts as he
becomes tormented by the engine of a '65 Mustang, and PREMIUM, based on
his 1969 photo book CRACKERS, follows an obsessed, outré man (played by
artist Larry Bell) as he prepares for his version of a dinner date.
Playing off the preoccupation of food and foreplay in PREMIUM, Owen
Land's NO SIR, ORISON! offers, by way of an absurd minstrel in a
supermarket, a wry critique of commodity culture, while Bette Gordon's
AN EROTIC FILM is a jocular cover-up, and LEMON, Frampton's wily,
minimalist film, strips the fruit and cinema down to its barest. Echoing
the auto-obsession of MIRACLE, KUSTOM KAR KOMMANDOS is Anger's coy
depiction of hot rod fetishism, with Morgan Fisher's TURNING OVER
countering the exuberance with a deadpan narration of the moment his
car's odometer reaches 100,000 miles. Curated by Ava Tews. Very special
thanks to Ed Ruscha and Bob Monk (Gagosian Gallery). Ed Ruscha MIRACLE
1975, 28 min, 16mm. Featuring artist Jim Ganzer and actress Michelle
Phillips. Ed Ruscha PREMIUM 1971, 24 min, 16mm. Featuring artist Larry
Bell and model Léon Bing. Owen Land NO SIR, ORISON! 1975, 3 min, 16mm
Bette Gordon AN EROTIC FILM 1975, 3 min, 16mm. Preserved with support
from The Andy Warhol Foundation for the Visual Arts and The Women's Film
Preservation Fund. Hollis Frampton LEMON 1969, 7 min, 16mm, silent
Kenneth Anger KUSTOM KAR KOMMANDOS 1965, 4 min, 16mm Morgan Fisher
TURNING OVER 1975, 13 min, video, b&w. Courtesy of the Academy Film
Archive.
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