[Frameworks] This week [January 28 - February 5, 2017] in avant garde cinema

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** This week [January 28 - February 5, 2017] in avant garde cinema
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link to screening (#link to screening)
NEW FILM/VIDEO: NON-FEATURE:
"Bleach" by chris
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NEW CALLS FOR ENTRIES:
Edinburgh Short Film Festival (Musselburgh; Deadline: June 26, 2017)
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DEADLINES APPROACHING:
MUFF - Montreal Underground Film Festival (Montreal, QC, Canada; Deadline: February 14, 2017)
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The Great Wall of Oakland + Mobile Arts Platform Present "On the Road" (Oakland, CA, USA; Deadline: March 01, 2017)
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Events are sorted alphabetically BY CITY within each DATE.

This week's programs (summary):
* New Year New Works - Screening Two (#anchor1) [January 28, New York, New York 10016]
* Gutboy: A Badtime Story Showing (#anchor2) [January 29, Manhattan]
* Masao Adachi's Female Student Guerrilla (#anchor3) [January 31, Brooklyn, New York 11222]
* Newfilmmakers (#anchor4) [February 1, New York, NY]
* Unbuilding: Experimental Films About the Urban Environment (#anchor5) [February 2, San Francisco, California]
* Ec: Wavelength (#anchor6) [February 3, New York, NY]
* Ec: Carriage Trade (#anchor7) [February 3, New York, NY]
* El Pueblo Searching For Contemporary Latin America, Program 1 (#anchor8) [February 3, San Francisco, California 94102]
* El Pueblo: Searching For Contemporary Latin America, Program 2 (#anchor9) [February 4, San Francisco, California 94102]

SATURDAY, JANUARY 28, 2017

1/28
New York, New York 10016: Filmmakers Coop
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7 PM - 9 PM EST, 475 Park Ave S Fl 6th
NEW YEAR NEW WORKS - SCREENING TWO
Join us for our fourth annual New Year, New Works program, a two-day screening showcasing the wide-ranging work of both new and long-term Coop members. Filmmakers will be present for Q&A following screening. Programmed and curated by Gregg Biermann, G. Anthony Svatek and Courtney Muller. Admission: $10 suggested donation Pizza and wine following screening, donated by Two Boots Pizza. PROGRAM: Robbie Land, Matters of Bioluminescence (2012), 8 min. Jerry Tartaglia, Remembrance (1990), 5 min. Katherine Bauer, Popple's Feet (2017), 4 min. Tessa Hughes-Freeland, Baby Doll (1982), 5 min. Will Erokan & Gerry Fialka, RIAtoo (2016), 2 min. Emily Hubley, Delivery Man (1982), 8 min. Mary Billyou, The Invalids (2003), 9 min. Rrose Present, Tempesta a "Les Fonts" d'una memoria (Storm in "the Sources" of a Memory) (2015), 4 min. Barbara Rosenthal, I Have a New York Accent (1988), 3 min. Amanda Katz, 4 Bed, 4 1/2 Bath (2016), 11 min. Karissa Hahn & Andrew Kim, (I)FRAME (2016), 11 min.

SUNDAY, JANUARY 29, 2017

1/29
Manhattan: Rook Productions
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8 PM, 295 E 8th St.
GUTBOY: A BADTIME STORY SHOWING
Gutboy is a marionette musical about a poor fisherman who is tricked by a capitalist into selling him his skin. He is flayed on the spot to become Gutboy! He teams up with a mermaid that suffered a similar fate, and together they wreak bloody revenge! You can check out the venue and see posts about the screening here: http://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=1e2850e869&e=4e65756555. You can see the trailer here: http://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=469f3310ec&e=4e65756555 You can check out more about Gutboy at our Facebook Page: www.facebook.com/gutboy We hope to see you all there!

TUESDAY, JANUARY 31, 2017

1/31
Brooklyn, New York 11222: Light Industry
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7:30 PM - 9 PM EST, 155 Freeman St
MASAO ADACHI'S FEMALE STUDENT GUERRILLA
Female Student Guerrilla, Masao Adachi, 1969, digital projection, 72 mins Tonight, film historian Go Hirasawa presents a rare screening of Adachi’s feature Female Student Guerrilla, a work whose insurrectionary outlook includes a healthy dose of satirical self-critique, advancing a ribald, oddball model for militant cinema. “Female Student Guerrilla is Masao Adachi’s fifth pink film directed for Wakamatsu Productions. The post-1968 direction of the student protest movement is depicted in this story about five high schoolers who take up arms and embark on a guerrilla-style revolution in the mountains in protest against their school’s graduation ceremony. The movie's portrait of crazed fighters prefigures the following year’s coup attempt, led by writer Yukio Mishima, at a Tokyo Self-Defence Forces base, and its examination of inner-group frictions (uchi-geba) foreshadows the Asama Sanso Incident of 1972, where conflicts culminated in a shoot-out between police and student
activists. In order to limit costs, this production was shot sharing the staff, cast, and location of another film, Violated Virgin (Shojo geba geba, 1969), directed by Koji Wakamatsu and written by Atsushi Yamatoya. Intricately fusing the subjects of sex and politics, Female Student Guerrilla is Adachi’s masterpiece.” - GH

WEDNESDAY, FEBRUARY 1, 2017

2/1
New York, NY: Anthology Film Archives
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6:00 PM, 32 Second Avenue
NEWFILMMAKERS
For full program listings, visit www.newfilmmakers.com.

THURSDAY, FEBRUARY 2, 2017

2/2
San Francisco, California: Gallery Wendi Norris
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7-8:00pm (doors 6:30pm), 161 Jessie Street
UNBUILDING: EXPERIMENTAL FILMS ABOUT THE URBAN ENVIRONMENT
A one hour selection of experimental short 16mm films from around the world that engage the concept of the abstraction of the built environment. Using the city as a metaphor for the self and of the community, these works of art take us on a trip around the globe to investigate how our shared spaces can unravel and become something new. Curated in collaboration with local filmmaker Paul Clipson, doors open at 6:30pm. At 7:00 the film program begins with 16mm projection of THE WONDER RING (1955) - Stan Brakhage, BRIDGES GO ROUND (1958) - Shirley Clarke , GO! GO! GO! (1962-64) - Marie Menkin, VISIONS OF A CITY (1978) - Lawrence Jordan, REMAINS (1990) Konrad Steiner, TOKYO-EBISU (2010) - Tominari Nishikawa, 45 7 BROADWAY (2013) - Tominai Nishikawa, LIGHTHOUSE (2015) - Paul Clipson. Seating is limited.

FRIDAY, FEBRUARY 3, 2017

2/3
New York, NY: Anthology Film Archives
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7:00 PM, 32 Second Avenue
EC: WAVELENGTH
by Michael Snow. "[It] is without precedent in the purity of its confrontation with the essence of cinema: the relationships between illusion and fact, space and time, subject and object. It is the first post-Warhol, post-Minimal movie; one of the few films to engage those higher conceptual orders which occupy modern painting and sculpture. It has rightly been described as a 'triumph of contemplative cinema.'" -Gene Youngblood, L.A. FREE PRESS

2/3
New York, NY: Anthology Film Archives
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8:30 PM, 32 Second Avenue
EC: CARRIAGE TRADE
by Warren Sonbert. "My magnum opus. Travels over four continents in six years." -W.S. "With CARRIAGE TRADE, Sonbert began to challenge the theories espoused by the great Soviet filmmakers of the 1920s; he particularly disliked the 'knee-jerk' reaction produced by Eisensteinian montage. In both lectures and writings about his own style of editing, Sonbert described CARRIAGE TRADE as 'a jig-saw puzzle of postcards to produce varied displaced effects.' This approach, according to Sonbert, ultimately affords the viewer multi-faceted readings of the connections between shots through the spectator's assimilation of 'the changing relations of the movement of objects, the gestures of figures, familiar worldwide icons, rituals and reactions, rhythm, spacing, and density of images." -Jon Gartenberg

2/3
San Francisco, California 94102: San Francisco Cinematheque
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7:30 PM - 10 PM PST, Various Venues Around San Francisco / Offices at 55 Taylor St San Francisco CA 94102.
EL PUEBLO SEARCHING FOR CONTEMPORARY LATIN AMERICA, PROGRAM 1
Tropic Pocket (2012) by Camilo Restrepo: In El Chocó, religious, military, and touristic projects have come and gone, coexisted, and ignored each other at the same time. Without judgment and narration, Tropic Pocket steals images that reflect and justify these actions, unburdening itself of the passage of their argumentative force. The viewer will decide which images among these strata of reality and mystification are most deceitful. (Camilo Restrepo) La estancia (2014) by Federico Adorno (Paraguay): Produced after the Curuguaty Massacre, a violent confrontation between police and rural residents occupying lands claimed by a local business group, this film responds not only to that incident but also to what Adorno sees as a “history of the Paraguayan peasant that has been repeating itself for some time now.” (Federico Windhausen) Ficções (2013) by Naldo Martins (Brazil): A foreign body which transgressed a space…which broke with the look of those who customarily came to the
market and those who passed by. And such is my poetic, this fissure of the look. (Naldo Martins) Corda (2014) by Pablo Lobato (Brazil): Flow and disjunction, order and discord, during a Catholic procession centered around an 800-meter holy rope. (Pablo Lobato) Evil Eye (2013) by Leandro Listorti (Argentina): A short made as part of the Buenos Aires version of the workshop Labor in a Single Shot, conducted by Antje Ehmann and Harun Farocki. The workshop was intended to generate single-shot videos about labor, each 1 to 2 minutes in length, with no cuts. La cabeza mató a todos (2014) by Beatriz Santiago Muñoz (Puerto Rico): Instructions to destroy the war apparatus with a spell. The form of this spell is precise. (Beatriz Santiago Muñoz) Nariño (2013–2014) by José Luis Bongore (Colombia): This video comes from theater workshops conducted in southern Colombian conflict zones, among populations affected by fighting between guerrillas, paramilitaries, drug traffickers, and
prospectors. The workshops were aimed at creating tools for self-representation. I accompanied to Nariño the team led by Cesar Castaño (playwright) and Nemesio Berrio (choreographer). (José Luis Bongore) Echo Chamber (2014) by Guillermo Moncayo (France/Colombia). This film is based on a very concrete reality, the gradual abandonment of Colombia’s rail network in the second half of the 20th century, reflecting the country’s complex relation to the notion of modernity over the decades. This is seen as a kind of intimate process of deconstruction of the territory’s imaginary cartography. (Guillermo Moncayo)

SATURDAY, FEBRUARY 4, 2017

2/4
San Francisco, California 94102: San Francisco Cinematheque
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2 PM - 5 PM PST, Various Venues Around San Francisco / Offices at 55 Taylor St San Francisco CA 94102.
EL PUEBLO: SEARCHING FOR CONTEMPORARY LATIN AMERICA, PROGRAM 2
Program 2: Performing the Portrait "I'm sorry," says the estimable Phedra D. Córdoba in Quem tem medo de Cris Negaõ?, "but I need to know what I'll be facing in order to get into character. So that I can get into character, who of course is myself, but still…." What all of the "characters" depicted in the films in this program face is a camera, and that meeting or confrontation is framed in ways that bring the issue of performativity to the fore. When are expressive manifestations of speech, action and gesture simply being captured by the cinema and when does it more actively ascribe to its subjects performative qualities? Whether offering an excerpt of a conversation rife with the apparent codes of class, age and regional identity (Hotel Punta del Este), demonstrating how the willed construction of identity depends upon reciprocal recognition (Filme Para Poeta Cego), or spotlighting a shopkeeper's wares (El guaraches), these films play with the openness of that
question. SCREENING: Hotel Punta del Este (2015) by Luis Sens (Argentina): I go down to the lobby during a shoot. I see them sitting there. I can't believe it. I ask if they will let me take their picture. I leave the digital camera recording on a tripod while I fake being occupied. I do not get to hear what they say. (Luis Sens) Quem tem medo de Cris Negaõ? (2012) by René Guerra (Brazil): The life and death of Cris Negaõ, a.k.a. Cristiane Jordaõ, a.k.a. Nego Marcos, according to those who knew her in Saõ Paulo's trans community. "Depending on your point of view / I'm the bad one / Vamp in your novel / The great tyrant. / Everyone in this world / tells the story in their own way." Filme Para Poeta Cego (2012) by Gustavo Vinagre (Brazil/Cuba): Glauco Mattoso, a blind, sadomasochistic poet, agrees to participate in a documentary about his own life, but the conditions he imposes hinder the work of the young director. El guaraches (2012) by Azucena Losana
(Mexico/Argentina): "El guaraches" (leather sandals) is the nickname of the owner of this traditional mezcalería and handmade-sandal shop in Cuicatlán, Oaxaca, Mexico. From his collection of handcrafted mezcal bottles made by Oaxacan families, we chose two of the "Porn" collection to go…. (Azucena Losana)
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