[Frameworks] This week [June 10 - 18, 2017] in avant garde cinema
Flicker weekly listing
weeklylisting at hi-beam.net
Sat Jun 10 13:29:42 UTC 2017
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** This week [June 10 - 18, 2017] in avant garde cinema
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Empathetic Waves (#anchor3) [June 10, San Francisco]
Dan Graham and Glenn Branca / William Raban (#anchor7)
[June 13, Brooklyn]
NEW CALLS FOR ENTRIES:
Coney Island Film Festival (Brooklyn, NY; Deadline: June 30, 2017)
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Coop Microcinema (Nashville, TN; Deadline: August 18, 2017)
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Light Field (San Francisco, CA ; Deadline: August 15, 2017)
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DEADLINES APPROACHING:
Edinburgh Short Film Festival (Musselburgh; Deadline: June 26, 2017)
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Arts + Literature Laboratory (Madison; Deadline: June 15, 2017)
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Off the Wall (Madison, Wisconsin, USA; Deadline: June 15, 2017)
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Projections at the New York Film Festival (New York, NY, USA; Deadline: June 16, 2017)
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Sign on / Sign off (Stuttgart, Germany; Deadline: June 15, 2017)
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Coney Island Film Festival (Brooklyn, NY; Deadline: June 30, 2017)
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JOBS:
Chicago Filmmakers (Chicago)
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Events are sorted alphabetically BY CITY within each DATE.
This week's programs (summary):
* Re-Visions: American Experimental Film 1975-90: Jeff Preiss Pgm 2 (#anchor1) [June 10, New York, NY]
* Re-Visions: American Experimental Film 1975-90: Jeff Preiss Pgm 1 (#anchor2) [June 10, New York, NY]
* Empathetic Waves: An Evening of Spontaneous Collisions Showcasing Experimental Film, Animation, and Improvisational Audio/Visual Performances (#anchor3) [June 10, San Francisco, California]
* Show &Amp; Tell: andrew Busti (#anchor4) [June 11, New York, NY]
* Celebrating Five Years of Shapeshifters Cinema With the Cinepimps (#anchor5) [June 11, Oakland, CA]
* Show &Amp; Tell: Astral Projections (#anchor6) [June 12, New York, NY]
* Dan Graham and Glenn Branca / William Raban (#anchor7) [June 13, Brooklyn, New York 11222]
* Newfilmmakers (#anchor8) [June 14, New York, NY]
SATURDAY, JUNE 10, 2017
6/10
New York, NY: Anthology Film Archives
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5:00 PM, 32 Second Avenue
RE-VISIONS: AMERICAN EXPERIMENTAL FILM 1975-90: JEFF PREISS PGM 2
1995-2012, 120 min, 16mm-to-digitalShare +Twitter. With the ongoing series RE-VISIONS: AMERICAN EXPERIMENTAL FILM 1975-90, Anthology spotlights the generation(s) of experimental film artists who emerged after the final formation in 1975 of our Essential Cinema repertory screening cycle. As hotly debated as it was widely celebrated, the EC had a seismic effect (for better or worse) on both cinema studies scholarship and international film curatorial practice. Even though the EC was intended as a direct response to the exclusion of the avant-garde from official Film History, by so concisely outlining a canon it effectively shifted critical and public interest away from the still developing experimental film movement and focused attention squarely on certain artists and works considered to be historically important. Subsequent generations of cinema artists have never received the same level of intellectual/institutional recognition or encouragement. We believe that it is high
time for a re-evaluation. With the support of a significant grant from the Andy Warhol Foundation for the Visual Arts, Anthology has been engaged in a multi-year project to preserve significant works by a wide range of cinema artists who largely became active or reached their prime after 1975. Rather than attempt to amend the EC, RE-VISIONS uses it as a starting point from which to explore the continuities, fractures, corollaries, and connections between cinema artists of the last 40 years and the previous avant-garde film movements. Much like their predecessors, these artists continued to tirelessly push at the parameters of cinematic form. RE-VISIONS features single-artist screenings of our new preservations alongside other exemplary and enticing titles spanning each artist's career, as well as group shows bringing together multiple artists. When possible, artists will appear in person to discuss their work and answer questions. Special thanks to the Andy Warhol Foundation
for the Visual Arts, Audio Mechanics, BB Optics, Cinema Arts, Cineric, Colorlab, The Film Foundation, FotoKem, the Mike Kelly Foundation for the Arts, The National Endowment for the Arts, the National Film Preservation Foundation, Sony Pictures Entertainment, Trackwise, Video and Film Solutions, Women's Film Preservation Fund of New York Women in Film & Television, and all the artists who were involved in this project. STOP (1995-2012, 120 min, 16mm-to-digital) "STOP is a feature-length chronicle distilled from 2,500 100-ft rolls of 16mm film shot between 1995 and 2011 - organized sequentially by numbered lab rolls of camera negative into four half-hour parts. It operates around the conventions of home movies: the images are of my own life and in classic home-movie tradition the alternating subjects of family, friends, and travel are set by the filmstrip with absolute chronological certainty. Subjects repeat in cycles while others form internal episodes. But as home-movie
impulses dictate, the central subject is my child. Among the stops referred to in the title, one was the act of assigning an end within the accumulating mass of my personal archive - so that a film could be possibly shaped. Many converging threads of ends and transformations were candidates, but most evident was the quintessential end of nearly all home-movie cycles: the awkward end of my child's prepubescence - in this case hinging on a heroically decisive transformation of gender expression." -Jeff Preiss Preceded by: WARREN SONBERT (1988, 3 min, Regular 8mm-to-2K digital, silent. Restored by Anthology Film Archives with support from the Andy Warhol Foundation for the Visual Arts.)
6/10
New York, NY: Anthology Film Archives
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8:00 PM, 32 Second Avenue
RE-VISIONS: AMERICAN EXPERIMENTAL FILM 1975-90: JEFF PREISS PGM 1
See 6/9.
6/10
San Francisco, California: Artists Television Access
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8:00pm, 992 Valencia Street
EMPATHETIC WAVES: AN EVENING OF SPONTANEOUS COLLISIONS SHOWCASING EXPERIMENTAL FILM, ANIMATION, AND IMPROVISATIONAL AUDIO/VISUAL PERFORMANCES
This program features collaborative sound and 16mm and video performances by Jeffrey Alexander and Stephanie Sherriff, Faith Arazi and CaptJRab, Paul Clipson and Gabriel Dunne and Tooth.
SUNDAY, JUNE 11, 2017
6/11
New York, NY: Anthology Film Archives
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7:30 PM, 32 Second Avenue
SHOW & TELL: ANDREW BUSTI
Andrew Busti has been making handmade films in various forms since 1999. His work revolves around the idea of the subjective and the languages that evolve through experience and perception. He is the technical director for the Film Studies Program at University of Colorado in Boulder and teaches classes in Alternative Process and Alchemical Cinema. He works with artists, museums, and archives through the name Analogue Industries Ltd., facilitating new works, helping to preserve any work that may be of value, and always striving to support analog cinema in all its ongoing forms. He is a founding member of Process Reversal, a nonprofit artist-run analog film initiative that currently educates, informs, supports, and outfits artist-run film labs and communities around the globe. He is an integral part of the new media preservation program for Film Studies at the University of Colorado in Boulder. When not working long hours and helping others make films or trying to actually
make his own, he might be found cooking in his very small kitchen, incessantly smoking cigarettes, drinking scotch, and ruminating on all the lost hours that slip through his fingers…. He currently obsesses about the reclaiming and refining of silver from the photographic process .999 percent of his time. For his Show & Tell program, Busti will present three films from his in-progress project, 26 PULSE WROUGHT (film for rewinds), which will ultimately comprise nine parts, as well as selected earlier works, and at least one live performance! As if that's not enough, he has also curated a group program devoted primarily to films that have been created with the support of Process Reversal (as well as by filmmakers associated with the group). 26 PULSE WROUGHT (film for rewinds) A series of 9 films investigating subjective languages, languages of subjectivity, and interpretive modes through coded polyphonic articulate signals. A cinema of illumination and reflection. Screening
tonight: 26 PULSE WROUGHT - (FILM FOR REWINDS) VOL. I: WINDOWS FOR RECURSIVE TRIANGULATION (2014, 3 min, 16mm) 26 PULSE WROUGHT - (FILM FOR REWINDS) VOL. III: PARALLEL BEAMS OR THE INEFFABLE INEFFCIENCY OF WORDS (2015, 3 min, 16mm, b&w) 26 PULSE WROUGHT - (FILM FOR REWINDS) VOL. II: EXCEPTIONAL VIOLENTS (2017, 4 min, 16mm, b&w) Additional films and performances to be announced! Total running time: ca. 70 min.
6/11
Oakland, CA: Shapeshifters Cinema
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8pm, 511 48th Street
CELEBRATING FIVE YEARS OF SHAPESHIFTERS CINEMA WITH THE CINEPIMPS
ABOUT THE PERFORMANCE: Cinepimps reprise their collaging quartet at Shapeshifters’ fifth anniversary, reuniting Alfonso Alvarez and Keith Arnold (on projectors) with Suki O’Kane, and Wayne Grim (on electroacoustics) to perform the new piece “1000 Vaults Plundered (for One Mighty Show)”. Layering found footage, processed optical tracks, and the occasional abandoned brass instrument, they create immersive, environmental fields of light and sound.
MONDAY, JUNE 12, 2017
6/12
New York, NY: Anthology Film Archives
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7:30 PM, 32 Second Avenue
SHOW & TELL: ASTRAL PROJECTIONS
Presented by Andrew Busti of Process Reversal. A program of contemporary films exploring "The Other Side" of the line. Communication with and/or through mediums, residues, and intelligences that may or may not be located within our current "Time/Space." These films collectively speak from a concurrent field of light, while addressing questions of materiality, spirituality, and ethereality, in regards to the essence of the physical and its perceived presence. Andrew Kim WILL O' THE WISP (2013, 23 min, 16mm) Alee Peoples THEM ORACLES (2012, 7.5 min, 16mm) Mike Stoltz HALF HUMAN, HALF VAPOR (2015, 11.5 min, 16mm) Sarah Biagini THE BLACK SPOUT (2017, 9 min, 16mm) David Gatten FILM FOR INVISIBLE INK, CASE NO. 71: BASE-PLUS-FOG (2006, 10 min, 16mm, b&w) Erin Espelie ??? (A NET TO CATCH THE LIGHT) (2016, 8.5 min, HD-and-16mm-to-digital) Kelly Sears A TONE BETWEEN LIGHTNESS AND DARKNESS (2015, 7.5 min, digital) Heather Trawick CENTRE OF THE CYCLONE (2015, 12 min, 16mm) Eric Stewart
WAKE, (2015, 8 min, 16mm, b&w, silent) Taylor Dunne CORN MOTHER (2012, 6 min, 16mm, silent) Curt Heiner LIMITED SIGHT DISTANCE (2017, 7 min, 16mm, silent) Eric Coombs ESMERILLION: Y GWYLLT (2017, 10 min, 16mm) Total running time: ca. 125 min.
TUESDAY, JUNE 13, 2017
6/13
Brooklyn, New York 11222: Light Industry
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7:30 PM EDT, 155 Freeman St
DAN GRAHAM AND GLENN BRANCA / WILLIAM RABAN
Performance and Stage-Set Utilizing Two-Way Mirror and Video Time Delay, Dan Graham and Glenn Branca, 1983, video, 46 mins The audience is seated on the right side; the musicians are on the left side. Both audience and musicians face a large, wall-sized, two-way mirror. This mirror reflects both the audience's and the musician's front and eyes. A video screen, whose image is sufficiently luminescent to be seen through the two-way mirror, shows (by means of a tape loop) a six-second time-delayed view of the entire room, taken from a wide-angle lens placed on top of the video screen. Conventionally, the audience identifies with the performer by gazing directly at his or her frontal area and eyes. In this set-up, the audience must look to the mirror in order to see the performer playing his or her instrument. At the same time, a member of the audience sees other audience members (including him- or herself) gazing. When the musicians look toward the mirror image to see other
musicians for cues or to the six-second time-delayed image on the video, the audience member's view is positioned between the intersubjective gazes of the three musicians. After the performance, a video recording of the work taken by the camera behind the two-way mirror replays the musical performance. Spectators can hear and see the playback, gazing into the two-way mirror, standing either where the musicians or the audience members had been located. - DG 2'45", William Raban, 1972, 16mm, 10 mins An important aspect of 2'45" is that it records the history of its making. It is a 'time-lapse' film in the sense that within its 2 minutes 45 seconds duration, it reveals all its past presentations as a film of a film of a film etc. Once the film has been projected, it is discarded, since it exists in the form of a latent image on the film in the camera, and will be developed prior to its projection for the next audience viewing and refilming. - WR Tickets - $8, available at door.
Please note: seating is limited. First-come, first-served. Box office opens at 7pm.
WEDNESDAY, JUNE 14, 2017
6/14
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.
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