[Frameworks] This Week (March 7-15, 2015) in Avant Garde Cinema

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** This week [March 7 - 15, 2015] in avant garde cinema
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NEW FILM/VIDEO: NON-FEATURE:
"Ego" by Michel Goossens
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ITEM FOR SALE:
Pixelvision 2000 Camera
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NEW CALLS FOR ENTRIES:
FCDEP - Festival des Cinémas Differents et Experimentaux de Paris (Paris, France; Deadline: May 12, 2015)
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Art in the Dark @ Isadore gallery (Lancaster, PA USA; Deadline: April 01, 2015)
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Art in the Dark @ Isadore Gallery (Lancaster, PA, USA; Deadline: June 01, 2015)
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Art in the Dark @ Isadore Gallery (Lancaster, PA, USA; Deadline: August 01, 2015)
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Art in the Dark @ Isadore Gallery (Lancaster, PA, USA; Deadline: October 01, 2015)
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Art in the Dark @ Isadore Gallery (Lancaster, PA, USA; Deadline: December 01, 2015)
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Khôra Residency, Syros Intl. Film Festival (Hermoupolis, Syros, Greece; Deadline: March 25, 2015)
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Antimatter [media art] (Victoria, BC, Canada; Deadline: July 24, 2015)
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DEADLINES APPROACHING:
Magmart Festival 9th Edition (2014-15) (Naples, Italy; Deadline: March 31, 2015)
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INTERNATIONAL VIDEO ART REVIEW THE 03 (Krakow, Poland; Deadline: April 01, 2015)
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Winnipeg Underground Film Festival (Winnipeg, MB, Canada; Deadline: March 31, 2015)
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The Center for Fine Art Photography (Fort Collins, Colorado US; Deadline: March 18, 2015)
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Art in the Dark @ Isadore gallery (Lancaster, PA USA; Deadline: April 01, 2015)
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Khôra Residency, Syros Intl. Film Festival (Hermoupolis, Syros, Greece; Deadline: March 25, 2015)
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Events are sorted alphabetically BY CITY within each DATE.

This week's programs (summary):
* Bnsf By James Benning (#anchor1) [March 7, New York, New York 10002]
* Essential Cinema: Songs 1-14 (#anchor2) [March 7, New York, New York]
* Ex-Yugoslavia: Croatia (#anchor3) [March 7, New York, New York]
* Film: the Society of the Spectacle - Guy Debord's Feature, Dubbed In English (#anchor4) [March 7, Oakland, California 94609]
* Chapman's Mother Mortar, Father Pestle + (#anchor5) [March 7, San Francisco, California]
* Women: Experimental Films (#anchor6) [March 8, Brooklyn, New York]
* Essential Cinema: Stan Brakhage Program 3 (#anchor7) [March 8, New York, New York]
* Ex-Yugoslavia: Serbia Program 1 (#anchor8) [March 8, New York, New York]
* Ex-Yugoslavia: Serbia Program 2 (#anchor9) [March 8, New York, New York]
* Encounters: Experimental Film and Animation From Croatia (#anchor10) [March 12, Chicago, Illinois]
* Los Angeles Filmforum At Moca Presents Cauleen Smith: the Way Out Is the Way Two (#anchor11) [March 12, Los Angeles, California]
* Neither Day, Nor Night: A Program of Films By Peggy Ahwesh (#anchor12) [March 13, New York, New York 10014]
* Essential Cinema: Text of Light (#anchor13) [March 13, New York, New York]
* Animations By Overture (#anchor14) [March 14, Los Angeles, California]
* Essential Cinema: the Pittsburgh Trilogy (#anchor15) [March 14, New York, New York]
* White Cube/Black Box (#anchor16) [March 14, New York, New York]
* Beth B's Exposed + Gabriela Starchild + (#anchor17) [March 14, San Francisco, California]
* Essential Cinema: Stan Brakhage Program 4 (#anchor18) [March 15, New York, New York]
* Essential Cinema: Robert Breer Program 1 (#anchor19) [March 15, New York, New York]
* Essential Cinema: Robert Breer Program 2 (#anchor20) [March 15, New York, New York]

SATURDAY, MARCH 7, 2015

3/7
New York, New York 10002: Miguel Abreu Gallery
7:00pm, 36 Orchard St
BNSF BY JAMES BENNING
A screening in conjunction with the exhibition James Benning & Peter Hutton: Nature is a Discipline at Miguel Abreu Gallery. BNSF James Benning, 2013, 193 mins, HD video New York premiere "BNSF is a HD companion film the 16mm film RR (2007). Unlike RR, which was shot in 47 different locations throughout the US, it is one 3-plus hour shot in the Mojave Desert just west of Amboy, California, during which time 13 trains pass by." - James Benning Admission is free.

3/7
New York, New York: Anthology Film Archives
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5:30 pm, 32 2nd Avenue
ESSENTIAL CINEMA: SONGS 1-14
by Stan Brakhage 1964-65, ca. 53 min, 16mm, silent “SONG 1: Portrait of a lady. SONGS 2 & 3: Fire and a mind’s movement in remembering. SONG 4: Three girls playing with a ball. Hand painted. SONG 5: A childbirth song. SONG 6: The painted veil via moth-death. SONG 7: San Francisco. SONG 8: Sea creatures. SONG 9: Wedding source and substance. SONG 10: Sitting around. SONG 11: Fires, windows, an insect, a lyre of rain scratches. SONG 12: Verticals and shadows caught in glass traps. SONG 13: A travel song of scenes and horizontals. SONG 14: Molds, paints and crystals.” –S.B.

3/7
New York, New York: Anthology Film Archives
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7:30 pm, 32 2nd Avenue
EX-YUGOSLAVIA: CROATIA
Along with Mihovil Pansini, Ante Verzotti, and a few others, the filmmakers represented in this program are the most prominent members of the enormously vibrant Croatian experimental scene of the 1960s. All of them were members of the amateur cine-clubs that formed in all the major cities of Yugoslavia at the time, as well as prominent participants of the unique festival of experimental film – the Genre Film Festival (GEFF, 1963-70), based in Zagreb – which was the most important gathering point for ‘film researchers’ and other independent filmmakers from Yugoslavia. Sometimes they collaborated (Petek and Gotovac co-directed some of their early works, Gotovac starred in Martinac’s and Zafranović’s works, and Zafranović was Martinac’s favorite actor), but despite these links their approach to cinematic experiments differed greatly. Thus, Petek’s early work represents a prototype of the so-called anti-film, a very influential concept launched by Zagreb experimentalists in the
early 1960s, which was both the key driving force and thematic focus of the first GEFF. Gotovac’s films anticipated the structural film movement, while Martinac embodied a poetic-meditative orientation that has been the hallmark of the so-called Split Film Circle, which also includes Zafranović, a filmmaker more inclined to fiction and proto-narrative forms. Both the amateur and the professional stages of their work were related in various ways to the Croatian Film Association, whose Archives, founded in 1974, preserve their amateur shorts and distribute professional ones produced by Filmski autorski studio. Vladimir Petek ENCOUNTER / SRETANJE (1963, 5 min, 35mm, b&w) Tomislav Gotovac THE FORENOON OF A FAUN / PRIJE PODNE JEDNOG FAUNA (1963, 8 min, 16mm, b&w) Tomislav Gotovac STRAIGHT LINE (STEVENS-DUKE) / PRAVAC (STEVENS-DUKE) (1964, 10 min, 16mm, b&w) Tomislav Gotovac CIRCLE (JUTKEVICH-COUNT) / KRUŽNICA (JUTKEVIČ-COUNT) (1964, 12 min, 16mm, b&w) Ivan Martinac I’M MAD (1967,
5 min, Super 8mm-to-16mm) Ivan Martinac FOCUS (1967, 7 min, 35mm, b&w) Lordan Zafranović PEOPLE (IN PASSING) II / LJUDI (U PROLAZU) II (1967, 11 min, 35mm, b&w) Lordan Zafranović AFTERNOON (THE GUN) / POSLIJE PODNE (PUŠKA) (1968, 15 min, 35mm, b&w) Total running time: ca. 80 min.

3/7
Oakland, California 94609: The Omni
7:00pm - 10:00pm, 4799 Shattuck Ave
FILM: THE SOCIETY OF THE SPECTACLE - GUY DEBORD'S FEATURE, DUBBED IN ENGLISH
The Society of the Spectacle by Guy Debord (b/w, sound, 90min, France, 1973) Suggested donation $5-$10, but no one will be turned away. All proceeds go to support the Omni Oakland Commons. Guy Debord (1931-Â1994) was the most influential figure in the Situationist International, the notorious subversive group that played a key role in provoking the May 1968 revolt in France. "The Society of the Spectacle" (1973) is Debord's ambitious film adaptation of his own 1967 book of the same name. In 2007 with artist / scholar Dore Bowen and author / translator Ken Knabb San Francisco filmmaker Konrad Steiner took the original French film and produced an English overdubbed version. Using Ken's translation read by Dore, and ripped DVD clips from the many quoted films (which in Debord's film were all dubbed into French), SOS, as it is affectionately known, has been re-rendered for an English speaking audience. Now students of revolutionary politics and history, latter day situationists
and pro situs alike, not to mention Francophiles who don't love French THAT much to speak it can use both ears and eyes to watch the film instead of read it. The intention was to create a version that allows more people to appreciate the complex interplay between montage, image and language with which Debord lays out his theses. As passages from the book are read in voiceover the text is illuminated, via direct illustration or various types of ironic contrast, by clips from Russian and Hollywood features ("Potemkin," "Ten Days That Shook the World," "For Whom the Bell Tolls," "Shanghai Gesture," "Johnny Guitar," "Mr. Arkadin," etc.), TV commercials, softcore porn, and news and documentary footage, including glimpses of Spain 1936, Hungary '56, Watts '65, France '68, and other revolts of the past. Inter-title quotes from Marx, Machiavelli, Clausewitz, Tocqueville, and Debord himself occasionally break the flow, challenging the viewers to question their own relation to the film
- and to the society as a whole. Ken will introduce the film, and he and Konrad and Dore will be on hand for discussion of the film and its meaning, influence and relevance.

3/7
San Francisco, California: Other Cinema
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8:30, 992 Valencia
CHAPMAN'S MOTHER MORTAR, FATHER PESTLE +
The entire NorCal film community is deeply indebted to Gibbs Chapman’s amazing production wizardry. Too rarely do we get to see the wonders conjured up by this meticulous craftsman from his own portfolio, but in fact tonight he introduces his new feature MMFP. This elliptical series of vignettes constitutes a black, white, and gray-area speculation on failing belief systems, in a perpetual twilight-zone of human foibles. This Mission-lensed labor of love stars Kurt Keppeler, Monica Nolan, Thad Povey, Kara Herold, with original music by Brian Burman. Opening are Gibbs’ earlier 16mm marvels, Push Button and Thinking Fellers. $7.

SUNDAY, MARCH 8, 2015

3/8
Brooklyn, New York: The Shed Space
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7:00, at BAX - 421 5th Ave. Park Slope
WOMEN: EXPERIMENTAL FILMS
The Shed will present at BAX a film screening entitled Women: Experimental Films. This is the second annual screening event organized by The Shed in celebration of Women’s International Day. This year the screening will showcase 25 films made by women, who, through the moving images, explore ideas related to rituals, time, history, vulnerability, privacy and freedom. Programmed by Roberta Bonisson, this celebration features the following filmmakers: Sasha Waters Freyer, Kathryn Ramey, Amy Podmore, Angela Ellworth, Yuliya Lanina, Shannon Plumb, Judith Henry, Graça Pereira Coutinho, Bahar Behbahani, Fiona Post, Hildebrand + Magsamen, Ana Dantas, Gisela Milman, chameckilerner, Camila Sobral, Amelia Wilson, Isabella Kross, Negar Behbahani, Mehrnoush Aliaghaei, Beth Portnoy, Kay Hines, Fátima Rodrigues, Meighan Gale, Susana Anágua, Cristina Ataíde. This program is dedicated to the memory of Elcy Bonisson Machado. For more information about the films click here

3/8
New York, New York: Anthology Film Archives
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3:30 pm, 32 2nd Avenue
ESSENTIAL CINEMA: STAN BRAKHAGE PROGRAM 3
All films are silent. LOVING (1956, 4 min, 16mm) PASHT (1965, 5 min, 16mm) FIRE OF WATERS (1965, 10 min, 16mm, b&w, sound) THE HORSEMAN, THE WOMAN AND THE MOTH (1968, 19 min, 16mm) THE WEIR-FALCON SAGA (1970, 29 min, 16mm) SEXUAL MEDITATION #1: MOTEL (1970, 7 min, 16mm. Preserved by Anthology Film Archives.) SEXUAL MEDITATION: ROOM WITH A VIEW (1971, 4 min, 16mm, b&w. Preserved by Anthology Film Archives.) THE SHORES OF PHOS: A FABLE (1972, 10 min, 16mm) A selection from some of Brakhage’s most densely mysterious works. Total running time: ca. 95 min.

3/8
New York, New York: Anthology Film Archives
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6:00 pm, 32 2nd Avenue
EX-YUGOSLAVIA: SERBIA PROGRAM 1
FORMATIVE YEARS (1950s-60s) Dušan Makavejev ANTONIO’S BROKEN MIRROR / ANTONIJEVO RAZBIJENO OGLEDALO (1957, 11 min, 16mm, b&w) Živojin Pavlović TRYPTICH ON MATTER AND DEATH / TRIPTIH O MATERIJI I SMRTI (1960, 9 min, 16mm, b&w) Vojislav Kokan Rakonjac (THE WALL / ZID 1960, 8 min, 16mm, b&w) Dragoslav Lazić SMOKE AND WATER / DIM I VODA (1962, 12 min, 16mm, b&w) Sava Trifković ARMS IN THE PURPLE DISTANCE / RUKE LJUBIČASTIH DALJINA (1962, 11 min, 16mm, b&w) Petar Arandjelović ECSTASY / EKSTAZA (1963, 5.5 min, 16mm, b&w) Tomislav Gotovac BLUE RIDER (GODARD-ART) / PLAVI JAHAČ (GODARD-ART) (1964, 14 min, 16mm, b&w) Total running time: ca. 75 min.

3/8
New York, New York: Anthology Film Archives
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8:00 pm, 32 2nd Avenue
EX-YUGOSLAVIA: SERBIA PROGRAM 2
YEARS OF STRUCTURE (1960s-80s) Zoran Popović HEAD – CIRCLE / GLAVA – KRUG (1968-69, 5 min, 8mm) Vjekoslav Nakić COMPOSITION / KOMPOZICIJA (1970, 6 min, 16mm, b&w) Slobodan Šijan THE GARDEN OF FORKING PATHS / VRT SA STAZAMA ŠTO SE RAČVAJU (1971, 4 min, 8mm) Bojana Vujanović JOURNEY / PUTOVANJE (1972, 2 min, 16mm, b&w/color) Mirko Avramović & Miodrag Tarana FROM ME TO YOU / OD MENE DO TEBE (1972, 4 min, 8mm, b&w) Nikola Đurić VOWELS / SAMOGLASNICI (1973, 8 min, 16mm, b&w) Ljubomir Šimunić GERDY, THE WICKED WITCH / GERDY, ZLOČESTA VJEŠTICA (1973-76, 9.5 min, 8mm) Ivan Obrenov EXPIRATION / IZDAH (1976, 12 min, 16mm) Radoslav Vladić HOUSE / KUĆA (1977, 8 min, 16mm) Bojan Jovanović HOLIDAY / PRAZNIK (1983, 11 min, 16mm) Miroslav Bata Petrović PURE FILM: MEMENTO OF GEFF / ČISTI FILM: SEĆANJE NA GEFF (1984, 5 min, 16mm, b&w) Total running time: ca. 80 min.

THURSDAY, MARCH 12, 2015

3/12
Chicago, Illinois: Conversations at the Edge
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18:00, Gene Siskel Film Center, 164 N. State
ENCOUNTERS: EXPERIMENTAL FILM AND ANIMATION FROM CROATIA
Zagreb, Croatia has long been an important hub for animation, experimental film, and avant-garde culture. Informed by unique cultural, intellectual, and political legacies, filmmakers there have produced decades of strong, challenging, and fascinating experimental work. Filmmaker Alexander Stewart (MFA 2005) presents a selection of films and videos produced in Croatia from the 1960s through today–much of it rarely screened in the US. Drawing upon research undertaken as part of a series of visits to the country over the past year, the program features gems by such notables as Vlado Kristl, Ivan Ladislav Galeta, and Dalibor Martinis, and encompasses animation, performative video art, and structural film. 1961–2011, multiple directors, Croatia/Yugoslavia, 35mm, 16mm and digital video, ca 70 min + discussion.

3/12
Los Angeles, California: Filmforum
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7:00 pm, MOCA, 250 South Grand Avenue
LOS ANGELES FILMFORUM AT MOCA PRESENTS CAULEEN SMITH: THE WAY OUT IS THE WAY TWO
The Way Out Is the Way Two: Fourteen Short Films About Chicago and Sun Ra is a feature-length constellation of experimental psychogeographic films on Sun Ra, improvisation, and creative music. Revolving around cosmic jazz composer Sun Ra's time in Chicago, from 1945-1961, this lyrical, sci-fi, history lesson moves freely between quasi-narrative, documentary, and performance practices. These frequent jumps between idioms create a vibrating tension, oscillating between art and life, joy and mourning, hope and paranoia. Smith will be in attendance to discuss her work. Tickets: $12 general admission; $7 students with valid ID Tickets available in advance at http://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=49782f6dcf&e=4e65756555 FREE for MOCA and Los Angeles Filmforum members; must present current membership card to claim free tickets INFO 213/621-1745 or education at moca.org

FRIDAY, MARCH 13, 2015

3/13
New York, New York 10014: Soho House New York
9:30pm, 29 9th Ave # 35
NEITHER DAY, NOR NIGHT: A PROGRAM OF FILMS BY PEGGY AHWESH
Friday, March 13 at 9:30pm Soho House 29 Ninth Ave, New York, NY Admission: Reserved Seating Limited Seating Avaliable (RSVP at filmmakerscoop at gmail.com) Program Includes: Neither Day, Nor Night (video, 2015, 25 minutes, sound) A visual essay, with feeling from being embedded in a place, a foreign place that is both wonderfully beautiful and an abysmal war zone, the occupied territory of Palestine. The video quotes Jalal Toufic from his book "Vampires: an Uneasy Essay on the Undead in Film" drawing parallels between the familiar tropes of the undead with the lives of Palestinians: refugees between worlds, yearning for their original soil, in limbo, lost in the labyrinth. Neither Day, Nor Night is a companion piece to the video installation Kissing Point, recently on view at the Microscope Gallery, Brooklyn. Collections (video, 2014, 6 minutes, silent) A short video about the spiritual currency of objects, the desire to hang on to the inexplicable..."something profoundly
related to subjectivity: for while the object is a resistant material body, it is also, simultaneously, a mental realm over which I hold sway, a thing whose meaning is governed by myself alone." Lessons of War (video, 2014, 6 minutes, sound) Five little narratives, 'newsworthy' stories from the most recent war in Gaza-\-\retold to not forget the details, to reenact the trauma and to honor the dead. The footage is lifted from a Youtube channel that renders the news in animation-already a layer away from reality- and in this case, represented to critique the safe distance from violence and the antiseptic nature of the virtual narrative.

3/13
New York, New York: Anthology Film Archives
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7:30 pm, 32 2nd Avenue
ESSENTIAL CINEMA: TEXT OF LIGHT
by Stan Brakhage 1974, 67 min, 16mm. Preserved by Anthology Film Archives. Brakhage’s tour-de-force exploration of refracted light in an ashtray. “All that is, is light.” –Johannes Scotus Erigena

SATURDAY, MARCH 14, 2015

3/14
Los Angeles, California: Echo Park Film Center
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8pm, 1200 N. Alvarado St. 90026
ANIMATIONS BY OVERTURE
A collection of short animations by Beppu(Japan)/Western Massachusetts independent animators Overture (Jason and Aya Brown). Simple stories of animism and cosmic nature depicted in hand drawn animation with watercolors. Music plays a critical role in each piece, instructing the movements or added later live. Artists in attendance! Admission: $5 (snacks included!)

3/14
New York, New York: Anthology Film Archives
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4:45 pm, 32 2nd Avenue
ESSENTIAL CINEMA: THE PITTSBURGH TRILOGY
by Stan Brakhage Preserved by Anthology Film Archives. EYES 1970, 36 min, 16mm, silent. “After wishing for years to be given-the-opportunity of filming some of the more ‘mystical’ occupations of our Times – some of the more obscure Public Figures which the average imagination turns into ‘bogeymen’... viz.: Policemen, Doctors, Soldiers, Politicians, etc.: – I was at last permitted to ride in a Pittsburgh police car, camera in hand, the final several days of September 1970.” –S.B. & DEUS EX 1971, 34 min, 16mm, silent. “I have been many times very ill in hospitals; and I drew on all that experience while making DEUS EX in West Penn. Hospital of Pittsburgh; but I was especially inspired by the memory of one incident in an emergency room of San Francisco’s Mission District: while waiting for medical help, I had held myself together by reading an April-May 1965 issue of ‘Poetry Magazine’: and the following lines from Charles Olson’s ‘Cole’s Island’ had especially centered the expe
rience, ‘touchstone’ of DEUS EX, for me: Charles begins the poem with the statement ‘I met Death –’ And then: ‘He didn’t bother me, or say anything. Which is / not surprising, a person might not, in the circumstances; / or at most a nod or something. Or they would. But they wouldn’t, / or you wouldn’t think to either, / it was Death. And / He certainly was, the moment I saw him.’” –S.B. & THE ACT OF SEEING WITH ONE’S OWN EYES 1971, 32 min, 16mm, silent. “…Brakhage, entering, with his camera, one of the forbidden, terrific locations of our culture, the autopsy room. It is a place wherein, inversely, life is cherished, for it exists to affirm that no one of us may die without our knowing exactly why. All of us, in the person of the coroner, must see that, for ourselves, with our own eyes. It is a room full of appalling particular intimacies, the last ditch of individuation. Here our vague nightmare of mortality acquires the names and faces of others.” –Hollis Frampton Total ru
nning time: ca. 105 minutes.

3/14
New York, New York: Anthology Film Archives
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7:30 pm, 32 2nd Avenue
WHITE CUBE/BLACK BOX
ABOUT WHITE CUBE / BLACK BOX: Bridging the gap between the white walls of the gallery and the immersive darkness of a movie theater, Anthology’s ongoing series WHITE CUBE / BLACK BOX seeks to create a dialogue between films made by visual artists and works by experimental filmmakers. Curated by Ava Tews. Joan Jonas LEFT SIDE RIGHT SIDE (1972, 9 min, video, b&w) Richard Serra BOOMERANG (1974, 11 min, video. With Nancy Holt.) Footage of the RCA “See Yourself on Color Television” pavilion at the 1964 World’s Fair (1964, ca. 4-min excerpt, video) Andy Warhol OUTER AND INNER SPACE (1965, 33 min, 16mm dual projection, b&w) Total running time: ca. 65 min.

3/14
San Francisco, California: Other Cinema
http://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=733ff45f88&e=4e65756555
8:30, 992 Valencia
BETH B'S EXPOSED + GABRIELA STARCHILD +
Tigger, Bunny Love, Dirty Martini, and Bambi the Mermaid use satire and their own bodies to send up conventional notions of body image, gender, and sexuality in their post-modern burlesque performances. NY underground film legend Beth B enters their subversive world both on the stage and behind-the-scenes, in this provocative portrait of bawdy artists gleefully breaking taboos as they entertain. PLUS, IN THE FLESH: Gabriela Starchild’s artful striptease, amidst cameos by Sally Rand, Lili St. Cyr, and an orgy of beefcakes and cheesecakes. $6.

SUNDAY, MARCH 15, 2015

3/15
New York, New York: Anthology Film Archives
http://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=595bfdfb82&e=4e65756555
4:15 pm, 32 2nd Avenue
ESSENTIAL CINEMA: STAN BRAKHAGE PROGRAM 4
THREE FILMS: BLUEWHITE, BLOOD’S TONE, VEIN (1965, 10 min, 16mm) THE MACHINE OF EDEN (1970, 11 min, 16mm) THE ANIMALS OF EDEN AND AFTER (1970, 35 min, 16mm) ANGELS’ (1971, 2 min, 16mm) DOOR (1971, 4 min, 16mm) WESTERN HISTORY (1971, 8 min, 16mm) THE PEACABLE KINGDOM (1971, 8 min, 16mm) Total running time: ca. 85 min.

3/15
New York, New York: Anthology Film Archives
http://hi-beam.us9.list-manage2.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=157d7badcd&e=4e65756555
6:15 pm, 32 2nd Avenue
ESSENTIAL CINEMA: ROBERT BREER PROGRAM 1
With the exception of BREATHING, all of the films in this program were preserved by Anthology with generous support from the Andy Warhol Foundation for the Visual Arts and the National Endowment for the Arts. FORM PHASES I (1952, 2 min, 16mm) FORM PHASES II (1953, 2 min, 16mm) UN MIRACLE (1954, 30 sec, 16mm-to-35mm, Made with Pontus Hulten) RECREATION (1956, 1.5 min, 16mm-to-35mm) A MAN AND HIS DOG OUT FOR AIR (1957, 2 min, 16mm-to-35mm) JAMESTOWN BALOOS (1957, 6 min, 16mm-to-35mm) LE MOUVEMENT (1957, 14 min, 16mm-to-35mm) EYEWASH (1959, 3 min, 16mm-to-35mm) EYEWASH (ALTERNATIVE VERSION) (1959, 3 min, 16mm-to-35mm) BLAZES (1961, 3 min, 16mm-to-35mm) PAT’S BIRTHDAY (1962, 13 minutes, 16mm) BREATHING (1963, 5 minutes, 16mm) 66 (1966, 5.5 min, 16mm-to-35mm) 69 (1969, 4.5 min, 16mm-to-35mm) Total running time: ca. 70 min.

3/15
New York, New York: Anthology Film Archives
http://hi-beam.us9.list-manage1.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=ca505f09e6&e=4e65756555
8:00 pm, 32 2nd Avenue
ESSENTIAL CINEMA: ROBERT BREER PROGRAM 2
With the exception of GULLS AND BUOYS, all of the films in this program were preserved by Anthology with generous support from the Andy Warhol Foundation for the Visual Arts and the National Endowment for the Arts. 70 (1970, 5 min, 16mm-to-35mm) 77 (1970, 6.5 min, 16mm-to-35mm) FIST FIGHT (1964, 9 min, 16mm-to-35mm) GULLS AND BUOYS (1972, 8 min, 16mm) FUJI (1974, 9 min, 16mm-to-35mm) SWISS ARMY KNIFE WITH RAT AND PIGEON (1981, 6.5 min, 16mm-to-35mm) BANG (1986, 10 min, 16mm-to-35mm) Total running time: ca. 60 min.
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