[Frameworks] This week [November 23 - December 1, 2013] in avant garde cinema
Weekly Listing
weeklylisting at hi-beam.net
Sat Nov 23 23:07:37 UTC 2013
This week [November 23 - December 1, 2013] in avant garde cinema
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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
NEW CALLS FOR ENTRIES:
=====================
What the Festival (Alfred, NY, United States; Deadline: February 01, 2014)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1644.ann
Extremely Young Film Festival (Houston, TX; Deadline: January 15, 2014)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1645.ann
DEADLINES APPROACHING:
======================
Exuberant Politics (Iowa City, IA, USA; Deadline: December 15, 2013)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1628.ann
21st Chicago Underground Film Festival (Chicago,
Illinois, USA; Deadline: December 15, 2013)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1629.ann
Gimme Some Truth Documentary Festival (Winnipeg,
Manitoba, Canada; Deadline: December 13, 2013)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1634.ann
VIDEOFOCUS 2014: INTERNATIONAL CALL FOR
EXPERIMENTAL FILMMAKERS AND VIDEOARTISTS (Paris,
France; Deadline: November 30, 2013)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1637.ann
Display Exhibition at Fleisher Art Memorial
(Philadelphia, PA USA; Deadline: December 01, 2013)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1642.ann
THIS WEEK'S PROGRAMS (SUMMARY):
==============================
* 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]
* White Cube / Black Box: Ed Ruscha [November 24, New York, NY]
* Essential Cinema: Genet/Frank & Leslie
Program [November 24, New York, New York]
* White Cube/Black Box: Ed Ruscha [November 24, New York, New York]
* Anything Is Always Nearby Or Next To
Something Else [November 25, Brooklyn, New York]
* Paul Clipson / Luke Younger (Helm) + Dalgish
[November 25, London, England]
* The Real and the Hyper-Real: Films and
videos By Scott Stark [November 25, Los Angeles, California]
* Carry On Talking, A Lecture By Felicity D.
Scott [November 26, Brooklyn, NY]
* Flaherty Program 5 [November 26, New York, New York]
* Elemental Studies: Recent Hand-Made 16mm Works By Richard Tuohy and
Dianna Barrie [November 26, Oakland, CA]
* Nicolas Rey: Differently, Molussia [November 27, Seattle, Washington]
* Live Sound // Silent Film: Tod Browning's
The Unknown [November 27, Tucson, AZ]
* Essential Cinema: Grant/Jacobs & Fleischner
Program [November 29, New York, New York]
* Alex Mackenzie: Live Cinema Works [November 30, Los Angeles, California]
* Essential Cinema: Une Simple Histoire [November 30, New York, New York]
* Essential Cinema: Spring [November 30, New York, New York]
* Essential Cinema: Jerome Hill [November 30, New York, New York]
* Synth Britannia + Davis + Voronina +
Headboggle + [November 30, San Francisco, California]
Events are sorted by CITY within each DATE.
---------------------------
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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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,
Jiyu Gakuen Myonichikan), Chicago, London (ICA) and Lisbon.
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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
to transform optical phenomenon into moving image.
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photography and performance as a gateway into the mechanisms of human
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
DecayNY.
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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, NY: Anthology Film Archives
http://www.anthologyfilmarchives.org/
6:30pm, 32 2nd Ave.
WHITE CUBE / BLACK BOX: ED RUSCHA
WHITE CUBE / BLACK BOX: ED RUSCHA, Sunday, Nov. 24 at 6:30 PM, Featuring
films by: Hollis Frampton, Kenneth Anger, Bette Gordon, Morgan Fisher,
and Owen Land. - 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 â60s, 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
â65 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.
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.
-------------------------
MONDAY, NOVEMBER 25, 2013
-------------------------
11/25
Brooklyn, New York: Microscope Gallery
http://www.microscopegallery.com
7pm, 4 Charles Place (at Bushwick btwn Mytrle & Evergreen Ave)
ANYTHING IS ALWAYS NEARBY OR NEXT TO SOMETHING ELSE
Films and videos by Ugnius Gelguda & Neringa Cerniauskaite. Admission
$6. Artists in person. Microscope Gallery is pleased to present the
American debut of films and videos, accompanied by sounds, repetitions,
and interruption, by Lithuanian artists Ugnius Gelguda and Neringa
Cerniauskaite. The works by the currently Brooklyn-based collaborators
include the premiere of their latest video "Patterns", a film approached
from the perspective of recognized Western artist patterns which were
appropriated by artists that worked in the first Experimental Bureau of
Artistic Construction in the Soviet Union. "Let's take a walk through
some histories of things buildings, sculptures, ornaments. It's the
first time they all meet together in one room, in one hour. Let's see
what will come out of this." UG & NC. Ugnius Gelguda and Neringa
Cerniauskaite have collaborated since 2009. Their body of work includes
16mm films, photo slides, objects, performance, and sound. Since their
first project, the artists have followed the social life of objects, how
they participate in human history and activities, and how objects relate
and perform for one another. Ugnius Gelguda and Neringa Cerniauskaite
have collaborated since 2009. Their body of work includes 16mm films,
photo slides, objects, performance, and sound. Ugnius Gelguda's (born
1977, Lithuania) films have previously screened at Les Rencontres
Internationales (Centre Pompidou (Paris), Haus der Kulturen der Welt,
Berlin, and Cineteca Matadero, Madrid).Neringa Cerniauskaite (born 1984,
Lithuania) is an art critic, curator, editor. She has curated several
exhibitions of younger generation artists as well as international group
exhibitions at the largest contemporary art gallery in Vilnius Vartai as
well as in unconventional spaces in Vilnius. Full program notes and
additional bio info www.microscopegallery.com. Nearest subway J/M/Z
Myrtle/Broadway. Other options L Morgan Ave, B54 Myrtle/Bushwick. tel:
347.925.1433.
11/25
London, England: Cafe OTO
http://www.cafeoto.co.uk/luke-younger-paul-clipson.shtm
8pm, 18-22 Ashwin Street, Dalston, London E8 3DL
PAUL CLIPSON / LUKE YOUNGER (HELM) + DALGISH
Filmmaker Paul Clipson pairs his saturated super 8mm film projections in
two new collaborations; one with Luke Younger aka Helm, and one with
Berlin-based musician and producer Dalglish. Since 2003, Clipson has
collaborated on film/music performances, documentaries and short films
with sound/music artists such as Jefre Cantu-Ledesma, Joshua Churchill,
Tashi Wada, and Grouper, projecting largely improvised in-camera edited
experimental films employing multiple exposures, dissolves and macro
imagery, that bring to light subconscious preoccupations and unexpected
visual forms. Younger's compositions build a dense aural landscape that
touches on musique concrete, uncomfortable sound poetry, noise, and
hallucinatory drones. Also on the bill is Berlin-based musician and
producer Dalglish (aka Chris Douglas), who's been crafting richly
immersive algorithmic sound constructions over the past 20 years that
play with and reconfigure the roots of electronic music.
11/25
Los Angeles, California: Redcat
http://www.redcat.org/
8:30pm, 631 West 2nd Street, Los Angeles, CA 90012
THE REAL AND THE HYPER-REAL: FILMS AND VIDEOS BY SCOTT STARK
Scott Stark's films, videos, and installations are kinetic revelations
that can be shocking, mesmerizing and narratively rich. Each is a
distinctive cultural and aesthetic adventure with its own conceptual
rigor. Films include the mysterious and delightful Hotel Cartograph
(1983); More Than Meets the Eye: Remaking Jane Fonda (2001/06), Stark's
witty response to this American icon; Speechless (2008), a visceral
collision of anatomy with rough-hewn surfaces; Traces (2012), a
flickering play of fragmented objects; and his masterful The Realist
(2013), a "doomed love" melodrama peopled with department store
mannequins, and located in the visually heightened universe of clothing
displays, fashion islands and storefront windows. Jack H. Skirball
Series | $10.00 [members $8.00] In person: Scott Stark
--------------------------
TUESDAY, NOVEMBER 26, 2013
--------------------------
11/26
Brooklyn, NY: Light Industry
http://www.lightindustry.org/
7:30, 155 Freeman Street
CARRY ON TALKING, A LECTURE BY FELICITY D. SCOTT
+In the first all-out adoption here of the principle that the medium is
the message, planners of an international conference on human
settlements have decided that films will replace speeches," Don Shannon
announced in the Los Angeles Times. Shannon was referring to Habitat:
The United Nations Conference on Human Settlements, which took place in
Vancouver in 1976, and to the distinctly McLuhanesque shift from talk
and print-media to film and new audio-visual formats which the UN and
the Canadian government tested during this international event. This
lecture will address this remarkable and problematic attempt to
integrate film as a medium and as a tool into an expanding apparatus of
developmentalism geared to managing environments and populations in the
Global South. Felicity D. Scott is Associate Professor of Architecture
and founding director of the program in Critical, Curatorial and
Conceptual Practices in Architecture (CCCP) at Columbia University.
11/26
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
7:00 pm, 32 2nd Avenue
FLAHERTY PROGRAM 5
PROGRAM 5 VIOLENCE OF THE IMAGE: THE CRISIS OF REPRESENTATION In butting
up against the limits of representation these films take on an element
of risk, sometimes formally, in refusing the conventional consolations
of realism, and sometimes performatively, as the filmmakers expose
themselves to direct physical danger. Sharon Hayes SLA SCREED #16 (USA,
2002, 10 min) John Greyson 14.3 SECONDS (Canada, 2008, 9 min) Kiri
Dalena REQUIEM FOR M (Philippines, 2010, 7 min) Abounaddara SYRIA TODAY
(Syria, 2012, 1 min) Abounaddara IMMOLATION (Syria, 2012, 1 min)
Abounaddara I WILL CROSS TOMORROW (Syria, 2012, 4 min) Jacques Perconte
SATYAGRAHA (France, 2009, 5 min) Jesal Kapadia A NON-CAPITALIST CINEMA:
SIKKIM (India/USA, 2013, 9-min excerpt) Total running time: ca. 50 min.
Speakers: Sharon Hayes & Jesal Kapadia.
11/26
Oakland, CA: Black Hole Cinematheque
https://www.facebook.com/xvxvxvxo
8:30pm, 1038 24th street x linden
ELEMENTAL STUDIES: RECENT HAND-MADE 16MM WORKS BY RICHARD TUOHY AND
DIANNA BARRIE
**Australian filmmakers Richard Tuohy and Dianna Barrie in person!** -
Elemental Studies, Eight recent hand-made 16mm film works by Australian
experimental film, artists Richard Tuohy and Dianna Barrie. While these
works cover a range, of techniques and strategies, they each share the
same tenacious, experimental unfolding of a set of abstract possibilites
from out of, singular visual ideas, much as might a set of theme and
variation musical, studies. - All films are 16mm with optical sound. -
Screening order - Iron-wood, 7 minuetes, bw, 2009, Iron-wood is an
abstract visual exploration of the deeply fissured - 'cog-like' bark of
the Australian tree Eucalyptus Sideroxylon - Red, Ironbark. - Ginza
Strip, 6 minutes, colour, 2013, The Ginza of fable and memory. - The
Dear Colour, The Dread Colour, Dianna Barrie, 2012, 7 min. - Tree ferns
filmed and then re-filmed on black and white film are inter-cut, to
produce a collage of green tinted positive images and green toned,
negative images. As the ferns' leaves are pale in dark surroundings,
the, tinted positive yields green leaves in a black background, and the
toned, negative green leaves in a white background. Excerpts from
Schubert's, Schoene Muellerin lament and laud the colour green by turns.
- - Flyscreen, 8 min, bw, 2010, Flyscreen is a camera-less
ârayogram' film, made by layering fly-screen, material
onto raw 16mm film stock and then exposing to light. The sound, heard is
the optical sound of the images passing the 16mm optical sound, head. -
Tasmanian Splintering, 14 minutes, colour, 2011, Bones of a dead
Tasmanian forest colourfully â re-animated' in a film,
printer. - Etienne's Hand, 16mm, 13 minutes, bw, 2011, A movement study
of a restless hand. Made from one five second shot. - Sound constructed
from an old French folk tune played on a hand cranked, music box. -
Seoul Electric, 7 minutes, colour, 2012, A North Asian metropolis.
Electricity wires draped like thick webs adorn, the streetscape.
Expolsive sparks of colour electrify the frame. - Filmed in Seoul in
black and white. Colourised during processing using, coloured torch
light. - - Dot Matrix - [2013, 16 min., 2x16mm, 24 fps, optical sound,
Australia] - Working from the original photogram 'dot' material from
Richard's earlier, film Screen Tone (2012), Dot Matrix is an expanded
cinema performance, involving two almost completely overlapping
projected images. The âdots' - were produced by laying
sheets of half-tone âdot' paper, which are, intended
for use as shading comic illustrations directly onto raw 16mm, film
stock. These dots were then contact-printed with
âflicker' (alternating black frames). The
âdrama' 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.
--------------------------------------------------------------- **PLEASE
BRING SLIDING SCALE DONATIONS FOR THE TRAVELING FILMMAKERS** (no one
turned away for lack of funds)
----------------------------
WEDNESDAY, NOVEMBER 27, 2013
----------------------------
11/27
Seattle, Washington: Northwest Film Forum
http://www.nwfilmforum.org
7:00pm, 1515 12th Ave
NICOLAS REY: DIFFERENTLY, MOLUSSIA
Based on fragments from Günther Anders' novel The Molussian Catacomb,
which was written between 1932 and 1936, Nicolas Rey's captivating
nine-part film presents allegorical stories and musings by political
prisoners sitting in the pits of an imaginary fascist state called
Molussia. Shown in random order whenever it is screened (there are
362,880 potential versions of the film), the film's nine 16mm reels
ruminate on capitalism, imperialism and resistanceaccompanied by
gritty, unsettling self-processed images of undefined landscapes. A
haunting and moving meditation on brutality and control, differently,
Molussia has galvanized audiences at festivals around the world. Since
1993 Rey has been making films that hover between photography,
documentaries and the avant-garde. He is one of the founders of the
Paris-based artist film lab L'Abominable. This is a not-to-be-missed
event. http://www.nwfilmforum.org/live/page/calendar/2915
11/27
Tucson, AZ: Exploded View
http://explodedviewgallery.org
7:30, 197 E Toole Ave
LIVE SOUND // SILENT FILM: TOD BROWNINGS THE UNKNOWN
Live musical live accompaniment by Connor Gallaher and Louise Le Hir!!
Featuring Lon Chaney as carnival knife thrower Alonzo the Armless and
Joan Crawford as the scantily clad carnival girl he hopes to marry.
Alonzo (Lon Chaney), the Armless, throws knives, with his feet, at the
object of his secret affection, Nanon (an 18 year old Joan Crawford).The
Unknown (1927) is one of the final masterpieces of the silent film era.
Suspend disbelief and step into the carnival of the absurd. Co-sponsered
by The Hanson Film Institute.
-------------------------
FRIDAY, NOVEMBER 29, 2013
-------------------------
11/29
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
7:30 pm, 32 2nd Avenue
ESSENTIAL CINEMA: GRANT/JACOBS & FLEISCHNER PROGRAM
Dwinell Grant COMPOSITION #2 CONTRATHEMIS (1941, 5 min, 16mm, silent)
"An attempt to develop visual abstract themes and to counterpoint them
in a planned, formal composition." D.G. STOP MOTION TESTS (1942, 3 min,
16mm, silent) A self-portrait. COLOR SEQUENCE )1943, 3 min, 16mm,
silent) "Pure solid-color frames which fade, mutate and flicker. A
research into color rhythms and perceptual phenomena." William Moritz
Ken Jacobs LITTLE STABS AT HAPPINESS (1959-63, 18 min, 16mm.) With Jack
Smith. "Material was cut in as it came out of the camera, embarrassing
moments intact. 100' rolls timed well with music on old 78s. I was
interested in immediacy, a sense of ease, and an art where suffering was
acknowledged but not trivialized with dramatics. Whimsy was our
achievement, as well as breaking out of step." K.J. Ken Jacobs & Bob
Fleischner BLONDE COBRA (1959-63, 35 min, 16-to-35mm blow-up,
b&w/color.) With Jack Smith. Preserved by Anthology, with the generous
support of The Film Foundation. "BLONDE COBRA is an erratic narrative
no, not really a narrative, it's only stretched out in time for
convenience of delivery. It's a look in on an exploding life, on a man
of imagination suffering pre-fashionable Lower East Side deprivation and
consumed with American 1950s, 40s, 30s disgust. Silly, self-pitying,
guilt-strictured and yet triumphing on one level over the situation
with style
enticing us into an absurd moral posture the better to
dismiss us with a regal 'screw off.'" K.J. Total running time: ca. 70
min.
---------------------------
SATURDAY, NOVEMBER 30, 2013
---------------------------
11/30
Los Angeles, California: Echo Park Film Center
http://www.echoparkfilmcenter.org/
8 pm, 1200 N. Alvarado St
ALEX MACKENZIE: LIVE CINEMA WORKS
$5 / Vancouver-based Canadian film artist Alex MacKenzie returns to EPFC
with a collection of recent projector performance works and a few new
surprises! Working with analog equipment and hand-processed imagery,
Alex creates works of expanded cinema, light projection installation,
and projector performance. His work has screened at the Rotterdam
International Film Festival, the EXiS Experimental Film Festival in
Seoul, Lightcone in Paris, Kino Arsenal in Berlin and others. Logbook is
a visual investigation and catalogue; 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 Athe first hand-cranked
16mm camera produced by Kodakand 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. This Charming Couple is built from fragments of a
water-damaged educational film, repurposed. Its original message of the
risks of entering marriage without fully knowing your partner is
visually abstracted, rendering a moral lesson into a shifting landscape
of emulsion. Played in reverse, the couple in question slowly move
apart, becoming less and less visible as the damage worsens at film's
edge... Also on the bill will be recent experiments with found film
materials and projector interference... not to be missed!
11/30
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
5:00 pm, 32 2nd Avenue
ESSENTIAL CINEMA: UNE SIMPLE HISTOIRE
by Marcel Hanoun In French with no subtitles (English synopsis
available), 1958, 68 min, 16mm, b&w "Based on a true incident, the film
chronicles the wanderings of a woman and child looking for work and
lodging in Paris. This is the only plot, and Hanoun has little interest
in embellishing it with background and motivation: he never even makes
it clear, for example, whether the woman is the child's mother, guardian
or companion. UNE SIMPLE HISTOIRE is, more than a narrative, a formal
stylistic exercise so rigorously disciplined and understated that it
makes the visual asceticism of Robert Bresson seem almost Fellini-esque
by comparison." TIME
11/30
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
6:45 pm, 32 2nd Avenue
ESSENTIAL CINEMA: SPRING
by Marcel Hanoun In French with no subtitles, 1972, 82 min, 35mm RARE
SCREENING! With Michael Lonsdale and Véronique Andries. Very special
thanks to the Cinémathèque française. One of four Hanoun films that take
their titles from the seasons of the year, SPRING tells two parallel
stories: a man, fleeing the forces of order, takes refuge in the forest,
while a young girl living with her grandmother in a nearby village
approaches the threshold of adolescence, and begins to discover both the
world and herself. [Please note: in our printed calendar we indicated
that we'd be screening a severely faded and unsubtitled print. However,
since going to press we've arranged a loan of an imported print that's
in far better condition, making this an even more exciting opportunity
to see a very rarely-screened Essential Cinema film!]
11/30
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
8:45 pm, 32 2nd Avenue
ESSENTIAL CINEMA: JEROME HILL
These 35mm prints are the result of a recent preservation project
undertaken by the Museum of Modern Art. DEATH IN THE FORENOON (1934/66,
2 minutes, 35mm, color) CANARIES (1969, 4 minutes, 35mm, color) & FILM
PORTRAIT 1971, 81 minutes, 35mm, color. A pioneering work in
autobiographical cinema; masterfully combines actual and staged footage
and painting over images. Filmmaker, painter, and composer Jerome Hill
was descended from the famous railroad-building family and lived on the
same street with F. Scott Fitzgerald. Here he re-creates wonderfully
with old family footage the period and milieu of the American upper
class at the beginning of this century. Total running time: ca. 90
minutes.
11/30
San Francisco, California: Other Cinema
http://www.othercinema.com/
8:30, 992 Valencia St.
SYNTH BRITANNIA + DAVIS + VORONINA + HEADBOGGLE +
Inspired by Kraftwerk and JG Ballard, and against the backdrop of bleak,
high-rise '80s Britain, small pockets of electronic musicians dreamt of
a synth-powered Sound of the Future. Featuring Gary Numan, Human League,
Cabaret Voltaire, Throbbing Gristle, Depeche Mode, et al, this BBC debut
follows that generation of post-punk musicians who took the synthesizer
from the experimental fringes to the center of the pop stage. Preceding
this hr-plus survey, analog maestros John Davis, Lana Voronina, and
Headboggle each perform a tribute to this defining period. AND '80s
cocktail specials! $8.00. uk synthpop
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