[Frameworks] This week [October 14 - 22, 2017] in avant garde cinema
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Sat Oct 14 15:00:11 UTC 2017
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** This week [October 14 - 22, 2017] in avant garde cinema
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Ryoichi Kurokawa & Novi_sad / Pierce Warnecke & Frank Bretschneider #372 (#anchor1) [October 14, Berlin, Germany]
NEW CALLS FOR ENTRIES:
25th Chicago Underground Film Festival (Chicago; Deadline: December 01, 2017)
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the8fest (Toronto, Ontario, Canada; Deadline: October 15, 2017)
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Haverhill Film Festival (Haverhill, MA, USA; Deadline: June 01, 2018)
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Drone Cinema Film Festival (San Francisco, CA, USA; Deadline: December 31, 2017)
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DEADLINES APPROACHING:
Experiments in Cinema (Albuquerque, New Mexico USA; Deadline: November 01, 2017)
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Black Maria Film Festival (Jersey CIty, NJ, USA; Deadline: October 15, 2017)
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Microscope Gallery Event Series 2017-2018 (Brooklyn, NY, USA; Deadline: October 15, 2017)
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the8fest (Toronto, Ontario, Canada; Deadline: October 15, 2017)
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Events are sorted alphabetically BY CITY within each DATE.
This week's programs (summary):
* Ryoichi Kurokawa & Novi_sad / Pierce Warnecke & Frank Bretschneider #372 (#anchor1) [October 14, Berlin, Germany]
* The Films of Paul Bartel: Short Film Program (#anchor2) [October 14, New York, NY]
* 16mm Mothership (#anchor3) [October 14, San Francisco, California]
* Empire ii Screening Night (#anchor4) [October 15, Berlin, Germany]
* Double vision: Recent Films By Janie Geiser (#anchor5) [October 16, LOS ANGELES]
* Flaherty Nyc: Program 2: Migration (#anchor6) [October 16, New York, NY]
* Nathaniel Dorsky X 4 (#anchor7) [October 16, New York, NY]
* Nathaniel Dorsky X 4 (#anchor8) [October 17, New York, NY]
* Newfilmmakers (#anchor9) [October 18, New York, NY]
* Show &Amp; Tell: John Porter: B-Sides and Rarities (#anchor10) [October 18, New York, NY]
* the Computational Sublime - Works By Gregg Biermann (#anchor11) [October 18, New York, New York]
* Seeing With Experimental Eyes: Stan Brakhage's Pittsburgh Trilogy (#anchor12) [October 18, Pittsburgh, Pennsylvania]
* The Films of Paul Bartel: Short Film Program (#anchor13) [October 19, New York, NY]
* Screening & Discussion: Womanhood, An Egyptian Kaleidoscope #373 (#anchor14) [October 20, Berlin, Germany]
* Scope Presents: H. Schramm & N. Wiese / Patrick K.H. & A. Karaoulanis / Xname #376 (#anchor15) [October 21, Berlin, Germany]
* Soc. Sci. 127 & Little Boy - Danny Lyon In Person (#anchor16) [October 21, Cambridge, Massachusetts]
* Ism, Ism, Ism: Claudio Caldini In Person At Con+Tagion (#anchor17) [October 21, Los Angeles, California]
* Media Archeology2 (#anchor18) [October 21, San Francisco, California]
* Willie - Danny Lyon In Person (#anchor19) [October 22, Cambridge, Massachusetts]
* Claudio Caldini - 8mm Film Master - In Person! (#anchor20) [October 22, Los Angeles, California]
* Boxing On Film: Part 2: Short Film Program (#anchor21) [October 22, New York, NY]
SATURDAY, OCTOBER 14, 2017
10/14
Berlin, Germany: Spektrum
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19:00, Bürknerstraße 12s
RYOICHI KUROKAWA & NOVI_SAD / PIERCE WARNECKE & FRANK BRETSCHNEIDER #372
Sirens: Ryoichi Kurokawa & Novi_sad (Berlin premier) Sirens is a project which explores the aesthetics of information on sound. Initially based on multiple ways of analysis in various types of recordings, the project uses numerical and quantitative data from periods of economic panic and major stock market crashes.
10/14
New York, NY: Anthology Film Archives
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4:15 PM, 32 Second Avenue
THE FILMS OF PAUL BARTEL: SHORT FILM PROGRAM
MID-TOWN BOOGIE (1960s, 5 min, 16mm-to-digital) Found lurking in Anthology's vaults as we prepared for this retrospective, this dynamic short film - which follows the nightlife wanderings of a man depicted only from the socks down - is remarkable both for its 16mm Cinemascope format and its surprisingly virtuosic (and genuinely jazz-like) layering of tinted imagery. THE SUBJECT WAS WRINKLES (1960s, 7.5 min, 16mm-to-digital) This recently discovered industrial short, anonymously made by Bartel, follows a woman with shamefully wrinkled clothing who's inducted into the brave new world of wrinkle-free fabrics. PROGETTI (PLANS) (1962, 17 min, 16mm, b&w. In Italian with projected English subtitles.) Made in Italy while Bartel was studying at the famous Centro Sperimentale di Cinematografia on a Fulbright scholarship, PROGETTI is about two aspiring actors who are convinced that if they can make it to the Actor's Studio in NYC they'll become movie stars overnight. One of the
protagonist's dialogue was dubbed by future filmmaker Marco Bellocchio (FISTS IN THE POCKET). THE SECRET CINEMA (1968, 28 min, 16mm, b&w. Newly restored by the Academy Film Archive and The Film Foundation with funding provided by The George Lucas Family Foundation.) Bartel's first fully accomplished (and still extraordinary) work is this comic nightmare about a young woman who comes to suspect that her life is being surreptitiously filmed and screened for audiences at a secret cinema. NAUGHTY NURSE (1969, 9 min, 16mm-to-digital) Bartel's raunchy, hilarious follow up to THE SECRET CINEMA lifts the veil on the perverse sex games indulged in by the medical community during their lunch hours. Plus a special surprise! Total running time: ca. 95 min.
10/14
San Francisco, California: Other Cinema
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8:30PM, ATA Gallery 992 Valencia St.
16MM MOTHERSHIP
OCT14: CANYON CINEMA'S 50th: LOOSE ENDS ZINE RELEASE! The 50th Anniversary of our beloved Bay Area film co-op, Canyon alums Courtney Fellion and Linda Scobie twirl a whirlygig of illusory narratives and critical thoughts. The luv-fest features rarely seen 16mm prints from the legendary collection, including Diana Krumins’ surrealist assemblage Babobilicons and Mark Lapore’s The Glass System, a cross-cultural mediation on the “impact of globalization and the hegemony of Western-style capitalism”. Local light Greta Snider’s street-poetic Blood Story precedes headliner Loose Ends, Chick Strand’s kaleidoscopic collage on media oversaturation and psychological entropy. And tying up a final loose end, tonight’s party also sees the release of the fifth, consummating issue of the current configuration of Canyon Cinemazine, as editors Fellion and Scobie return the baton to director Antonella Bonfanti for future incarnations. All five editions of their project are available for
purchase, along with a raffle of color posters, test prints, plus free cake and champagne!!
SUNDAY, OCTOBER 15, 2017
10/15
Berlin, Germany: Spektrum
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19:00, Bürknerstraße 12s
EMPIRE II SCREENING NIGHT
EMPIRE II is an artist led satellite project, originally devised and curated by Vanya Balogh for 57th La Biennale di Venezia This intimate, immersive film hub space will feature three chambers; beginning with an extensive library, engaging in film history and theory, curated attentively by participating artists from their personal book collections and intended for browsing and perusing; leading...
MONDAY, OCTOBER 16, 2017
10/16
LOS ANGELES: Ms.
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8:30 pm, 631 WEST 2ND STREET LOS ANGELES, CA 90012
DOUBLE VISION: RECENT FILMS BY JANIE GEISER
FILM AT REDCAT PRESENTS Janie Geiser: Double Vision Recent films by Janie Geiser “Geiser gives voice to the reaches of the unconscious, pointing to the abandoned splendor that exists prior to the rules of society and language.” - Holly Willis, RES. Janie Geiser’s acclaimed collage films delve deeply into the realm of waking dreams, weaving fragments of sounds and moving images into mysterious, elliptical narratives at the edge of logic and memory. Geiser is a master of minimal means. Her work recontextualizes out-moded images and photographs, arcane objects, and forgotten popular culture, releasing us into a sensual undercurrent of textures---the anteroom of suspended time. Double Vision is a series of 7 recent, including five Los Angeles premieres: Kriminalistik (2014), Silent Sister (2015), Cathode Gar-den (2015), Flowers of the Sky (2016) and Look and Learn (2017); as well as Geiser’s films Arbor (2012) and The Hummingbird Wars (2013). www.janiegeiser.com
10/16
New York, NY: Anthology Film Archives
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7:00 PM, 32 Second Avenue
FLAHERTY NYC: PROGRAM 2: MIGRATION
Kimi Takesue and Terron Jones in person.From animation to speculative realism, this program of short films images and imagines migration and exile due to endless war, economic inequality, and environmental disaster. The protagonists in these films encounter loss as well as unexpected love, often moving from the Global South to the Global North and sometimes back again, navigating spaces underground or underwater in a series of departures and returns. Terron Jones IBRAHIM (2017, 19 min, digital) Eli Zwimfer SHIPS PASSING IN THE NIGHT (2015, 12 min, DCP) Jenna Bass THE TUNNEL (2010, 25 min, digital) Kimi Takesue THAT WHICH ONCE WAS (2011, 20 min, digital) Michael MacGarry SEA OF ASH (2015, 15 min, digital) Total running time: 95 min.
10/16
New York, NY: Anthology Film Archives
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7:30 PM, 32 Second Avenue
NATHANIEL DORSKY X 4
FILMMAKER IN PERSON! Anthology presents NYC premieres of not one but four brand-new films by Nathaniel Dorsky, one of the modern masters of the art of 16mm filmmaking, whose command of photochemical photography and editing is unsurpassed. Typically exquisite and achingly beautiful, this new quartet finds Dorsky subtly but perceptibly recalibrating his approach, with a recurring exploration of planes of focus and an intricate structure of theme and variation between individual chapters that gives the films a quality markedly distinct from his earlier work. Dorsky will be here in person to present both screenings of the quartet. "For the past several years California experienced an extreme drought. But this past winter good fortune brought a bountiful amount of storms and liquid refreshment. The spring that followed took on magical and celebratory qualities of energy, joy, fullness, and rebirth. In walking distance from my apartment is San Francisco's Arboretum located in
Golden Gate Park. I decided that I would make a film now on a single subject and that subject would be the light - not the objects, but the sacredness of the light itself in this splendid garden. What I did not know is that the great beauty of this magnificent spring would bring forth not one, but four films, each one immediately following the previous. I began the second week of February to photograph and finished the editing of the fourth film during the first days of August. "These four films spontaneously manifested as four stages of life: childhood, youth, maturity, and old age. ELOHIM was photographed in early spring, the week of the lunar new year, the very spirit of Creation. ABATON was photographed a few weeks later in the full ripeness of spring, the very purity and passion of the Garden. CODA was photographed in late spring, in the aftermath of this purity, the first shades of mortality and Knowledge appearing. And finally, ODE, photographed in early summer, is a
soft textured song of the Fallen, the dissonant reds of death, seeds, and rebirth." -Nathaniel Dorsky ELOHIM (2017, 31 min, 16mm, silent) ABATON (2017, 19 min, 16mm, silent) CODA (2017, 16 min, 16mm, silent) ODE (2017, 20 min, 16mm, silent) Total running time: ca. 90 min.
TUESDAY, OCTOBER 17, 2017
10/17
New York, NY: Anthology Film Archives
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7:30 PM, 32 Second Avenue
NATHANIEL DORSKY X 4
FILMMAKER IN PERSON! See 10/16 for details.
WEDNESDAY, OCTOBER 18, 2017
10/18
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.
10/18
New York, NY: Anthology Film Archives
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7:30 PM, 32 Second Avenue
SHOW & TELL: JOHN PORTER: B-SIDES AND RARITIES
John Porter has been active as a filmmaker, performer, photographer, and writer in Toronto since 1968. A committed champion of super 8 film and a chronicler of the artistic activities of the local film scene, Porter is a ubiquitous presence at any alternative film event in Toronto. And on special nights, his filmmaking - he has made over 300 films since 1968, all but a very few of them shot and finished on super 8 - is in the spotlight. A true master of his medium, Porter has used the limits of his chosen technology to propel an unbridled imagination. Creating contraptions like his Cinefuge, using time-lapse in his Condensed Rituals, and practically seeing through walls in his amazing Scanning performance series, Porter has created a body of work that continues to play with our expectations of vision. Often incorporating performance into his presentations, Porter has been known to achieve "Surround Super 8" by carrying his small projector through the venue, and to project his
films onto passing people and vehicles while "film-busking" on the street at night. In short, every Porter event is a unique, spontaneous, and dynamic happening. Tonight he'll be here in person to present a sprawling selection of work spanning the last forty years. Expect the unexpected! "As magical for contemporary audiences as the original, Georges Méliès trick-films must have seemed a century ago." -Scott MacDonald, A CRITICAL CINEMA 3 MOTHER AND CHILD (1977, 2 min, super 8, silent) WATCHING TV (1977, 3.5 min, super 8, silent) FASHION SHOW 1 (1978, 5.5 min, super 8, silent) FIFTH COLUMN AT THE FUNNEL (1982, 7 min, super 8) A TRIP AROUND TORONTO HARBOUR (1986, 3.5 min, super 8, silent) ELLEN'S COTTAGE (1986, 9 min, super 8) PICTURE PITCHER (1989, 4 min, super 8) THE SECRET OF THE LOST TUNNEL (1992, 3.5 min, super 8) Kate Edwards SKITZOID EPIZOID (1993, 4.5 min, super 8) THE LIST OF BICYCLE MESSENGER (1994, 4 min, super 8) IN THE GUTTER (2000, 3.5 min, super 8) LIGHT
SLEEPER (2011, 3.5 min, super 8, silent) JOHN PORTER'S T-SHIRT COLLECTION (2014, 2 min, digital, silent. Made with Clint Enns and Leslie Supnet.) JOHN'S T-SHIRTS (2014, 2 min, super 8, silent) SCANNING 8 (2016, 3.5 min, super 8, silent projector performance) Total running time: ca. 65 min.
10/18
New York, New York: Filmmakers Coop
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7PM, Ludlow House 139 Ludlow Street
THE COMPUTATIONAL SUBLIME - WORKS BY GREGG BIERMANN
RSVP REQUIRED: filmmakerscoop at gmail.com. Free admission. “In this work Gregg Biermann has taken head-on some of the supreme moments of classical cinema and subjected them to a dazzling transformation in the digital domain. The results are exhilarating, surprising tours de force. They also have a zany quality that shows the artist to have a witty imagination. He is a prober into the hidden corners of cinema, and a master of computer-based wizardry.” – Larry Gottheim “As a whole, Gregg Biermann’s recent work suggests a sense of the overwhelming in a historical moment in which we are disoriented visually, sonically, socially, politically, and even biologically. It reflects and refracts the sense that, even as we attempt to make sense of the contemporary world, it continues to shift, becoming a foreign and unfamiliar territory. In Biermann’s work, as in contemporary life, our landmarks are constantly shifting, forcing us to find new ways of locating ourselves in a spatial and
temporal situation that is ever slipping beyond our mind’s grasp.” – Jaimie Baron, Barely Recognizable: The Horizons of the Digital Medium in the Work of Gregg Biermann PROGRAM: TIMESLICES (2017). 7 min. LABYRINTHINE (2010). 8 min. JULIE ANDREWS SINGS A ROUND WITH HERSELF (2017). 7 min. UTOPIA VARIATIONS (2008). 5 min. SPHERICAL COORDINATES (2005). 5 min. CROP DUSTER OCTET (2011). 5 min. OUT THERE IN THE DARK (2016). 4 min. MAGIC MIRROR MAZE (2013). 5 min. ITERATIONS (2014). 5 min. SCENES FROM THE ANTHROPOCENE (2017). 14 min.
10/18
Pittsburgh, Pennsylvania: Pittsburgh Filmmakers
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6:30 EST, 477 Melwood Avenue Pittsburgh, Pa 15213
SEEING WITH EXPERIMENTAL EYES: STAN BRAKHAGE’S PITTSBURGH TRILOGY
Original 16mm prints, FREE event. The prolific artist and filmmaker Stan Brakhage visited Pittsburgh in the fall of 1970 at the request of Sally Dixon, curator of the Carnegie Museum of Art’s former Film and Video Department. Facilitated by Filmmakers’ then-director Robert Haller, Brakhage generated hundreds of hours of observational footage, leading to a trio of documentary films that are now considered to be his masterworks. Post-screening roundtable with: Bill Judson, former curator, Carnegie Museum of Art Film and Video Department; Victor Grauer, filmmaker, ethnomusicologist; Charles Glassmire, filmmaker, teacher, publisher of Film Feedback. Curated by Ben Ogrodnik, PhD candidate in the University of Pittsburgh’s Film Studies Program; co-organized by Lauren Goshinski, Dir. of Exhibitions & Programming. SERIES I Films: eyes. Stan Brakhage. 1971. Deus Ex. Stan Brakhage. 1971. The Act of Seeing with one’s own eyes. Stan Brakhage. 1971. Mothlight. Stan Brakhage. 1963. Gnir
Rednow. Stan Brakhage. 1955. This two-part microcinema series - Pittsburgh's Avant-Garde - commemorates important avant-garde films made with the support of Pittsburgh Filmmakers in the 1970s-90s. This selection explores sensual, tactile, shocking images and rarely seen works, and honors Filmmakers’ legacy as hub for artistic experimentation and innovation. Second screening Nov 14 features Roger Jacoby, Peggy Awesh and Stephanie Beroes.
THURSDAY, OCTOBER 19, 2017
10/19
New York, NY: Anthology Film Archives
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6:45 PM, 32 Second Avenue
THE FILMS OF PAUL BARTEL: SHORT FILM PROGRAM
MID-TOWN BOOGIE (1960s, 5 min, 16mm-to-digital) Found lurking in Anthology's vaults as we prepared for this retrospective, this dynamic short film - which follows the nightlife wanderings of a man depicted only from the socks down - is remarkable both for its 16mm Cinemascope format and its surprisingly virtuosic (and genuinely jazz-like) layering of tinted imagery. THE SUBJECT WAS WRINKLES (1960s, 7.5 min, 16mm-to-digital) This recently discovered industrial short, anonymously made by Bartel, follows a woman with shamefully wrinkled clothing who's inducted into the brave new world of wrinkle-free fabrics. PROGETTI (PLANS) (1962, 17 min, 16mm, b&w. In Italian with projected English subtitles.) Made in Italy while Bartel was studying at the famous Centro Sperimentale di Cinematografia on a Fulbright scholarship, PROGETTI is about two aspiring actors who are convinced that if they can make it to the Actor's Studio in NYC they'll become movie stars overnight. One of the
protagonist's dialogue was dubbed by future filmmaker Marco Bellocchio (FISTS IN THE POCKET). THE SECRET CINEMA (1968, 28 min, 16mm, b&w. Newly restored by the Academy Film Archive and The Film Foundation with funding provided by The George Lucas Family Foundation.) Bartel's first fully accomplished (and still extraordinary) work is this comic nightmare about a young woman who comes to suspect that her life is being surreptitiously filmed and screened for audiences at a secret cinema. NAUGHTY NURSE (1969, 9 min, 16mm-to-digital) Bartel's raunchy, hilarious follow up to THE SECRET CINEMA lifts the veil on the perverse sex games indulged in by the medical community during their lunch hours. Plus a special surprise! Total running time: ca. 95 min.
FRIDAY, OCTOBER 20, 2017
10/20
Berlin, Germany: Spektrum
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20:00, Bürknerstraße 12s
SCREENING & DISCUSSION: WOMANHOOD, AN EGYPTIAN KALEIDOSCOPE #373
Filmed in 2015 in Cairo, womanhood is an interactive documentary: an ABC on Gender. 15 Egyptian women - who have all been confronted to the question of Gender in their social activities - share their views on chosen words. This event will include a brief presentation of the project by the film director Florie Bavard, followed by a screening of 10 clips taken from the full interactive documentary....
SATURDAY, OCTOBER 21, 2017
10/21
Berlin, Germany: Spektrum
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20:00, Bürknerstraße 12s
SCOPE PRESENTS: H. SCHRAMM & N. WIESE / PATRICK K.H. & A. KARAOULANIS / XNAME #376
AV performance night with: Heidrun Schramm & Nicolas Wiese - audiovisual electroacoustic set premier performance of three new pieces: 1. Sightings > Repercussions 2. International Scribblings 3. Pseudo_Code / Version 3.2 Heidrun Schramm and Nicolas Wiese have been performing together since 2004, mostly in either audiovisual or site-specific, installative formats. Patrick K.H. & Andreas Karaoulanis Each performance of Vienna-based Patrick K.-H. (aka Anton Iakhontov) and Berlin-based bestbefore (aka Andreas Karaoulanis) isn’t easily characterised or deconstructed — their absurd digital / analogue hybrid concoctions are built upon dada collage approach in graphic and sonic art and a need to confound assumptions. They make live and studio animations by sharing, combining, mutating, convolving, variating hints, sketches, sequences and bits of each other’s material until their animated homunculus is ready to go. xname - Live composition Her live compositions transform light and
other electromagnetic frequencies in sound waves through self built synthesizers and complex semi chaotic machines. The result is an hypnotic spectacle dominated by stroboscopy and industrial and noise-techno frequencies. Installation-screening: Animation / video by Patrick K.-H. and bestbefore 1) "Dbl Trbl" (music - diNMachine), 2016 2) "Maldek" (music - Antonis Anissegos and Daniel Schröteler), 2017 3) "Piano Etude 1" (music - Antonis Anissegos), 2015 4) "Piano Etude 2" (music - Antonis Anissegos), 2015 5) "Chaoskampf" (music - unu), 2014
10/21
Cambridge, Massachusetts: Harvard Film Archive
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7pm, 24 Quincy Street
SOC. SCI. 127 & LITTLE BOY - DANNY LYON IN PERSON
Soc. Sci. 127 It is with the same tousled logic that occupies the tenuous edges of the film itself that Danny Lyon describes Soc. Sci. 127, his first motion picture, as a comedy. A less careful spectator might be quick to label Bill Sanders, the Houston tattoo artist at the center of this brief, ecstatic portrait, as more tragic clown than comic hero, but a sustained inspection rewards us with a startling community between cameraman and performer. Shot entirely within the confines of Sanders’ cramped, boudoir-like studio, the film is a study in the intimacy of performance and of image-making: Polaroid collages of past clients, many of them nude women alone or in pairs, cover the walls; a woman seeking a consultation undresses proudly for Sanders and camera; Sanders himself drinks, smokes, and snatches at a matted worldview stitched together from haphazard opinions on everything from the telling etymology of “fellatio” to his own motivations for making a documentary film.
Fluid elisions between sequences of color and monochrome, connected only by the continuity of space, foreground the sense of depth of these rooms, and the tendency of stories to entangle, the film presenting itself as a collection of the loose ends of much longer narrative strands buried in the backgrounds of the photographs or languishing on the cutting-room floor. And throughout this patchwork wellspring of intimacy, performance, delusion and discovery, Lyon manages to decentralize both subject and self: Sanders’ lonely drunk qua artist-philosopher and his own burdensome cinema verité auteur mantle, flattening the normal power relation on a bedrock of humility, a kind of utopian stage where the two men can coexist in a resonant, if not always straightforward, creative harmony. Directed by Danny Lyon US 1969, digital video, color & b/w, 21 min Little Boy The Little Boy bomb dropped on the people of Hiroshima was designed and tested in New Mexico, not far from Bernalillo, a
depressed, ramshackle town north of Albuquerque where Danny Lyon constructed an adobe house for his family in the early 1970s. A protracted interview airing a man’s wildest hopes and concerns about nuclear energy, played out in double exposure with scenes of the nearby National Atomic Museum––where a pair of tourists takes snapshots by a model warhead, a crew of airmen attends to a taxiing bomber, an American flag ripples, and a lanky, shock-blonde boy eats a bright red apple––form the core of a film with the same name; but its flesh takes the form of another little boy, Willie Jaramillo, a friend of Lyon’s who previously appeared in his 1971 film Llanito. At age eighteen, he has just been released from prison for a series of minor offenses. As Lyon pounds his beat around town, asking friends and neighbors about Willie or about themselves, the film jumps back in time to scenes from Willie’s childhood, now idyllic next to his current troubles, and the history of one man’s life
emerges as a fact of greater significance than the atom bomb itself. Directed by Danny Lyon US 1977, digital video, color, 54 min
10/21
Los Angeles, California: Filmforum
https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=43e6f7c6c5&e=4e65756555
4:00 pm, The Fanny Brice Theatre, SCA 110, George Lucas Building Lobby USC School of Cinematic Arts Complex, 900 W. 34th Street
ISM, ISM, ISM: CLAUDIO CALDINI IN PERSON AT CON+TAGION
https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=37052e9973&e=4e65756555 In Person: Claudio Caldini Part of First Forum, USC Cinema and Media Studies Graduate Conference, "Con+tagion", Oct 20-21. Q&A Moderated by Professor David E. James. LA premieres! A major force of Argentine and Latin American experimental cinema for 45 years, Claudio Caldini was an active member of the "Cine Ex" group gathered at the Goethe Institut Buenos Aires between 1974 and 1983 to promote production, screening and lecturing on experimental film. Join us for his first visit to Los Angeles! Caldini is a dedicated 8mm filmmaker, performance artists, composer, and curator. He has mentored several generations of younger 8mm filmmakers who have gained international prominence over the past decade, and has collaborated with artists in many media. His small–gauge films are remarkable for their sensuality, intimacy and precision. Caldini’s visit to California is part of Los Angeles Filmforum’s screening series Ism, Ism, Ism: Experimental
Cinema in Latin America (Ismo, Ismo, Ismo: Cine Experimental en América Latina) and was made possible by the Mike Kelley Foundation for the Arts.
10/21
San Francisco, California: Other Cinema
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8:30PM, ATA Gallery 992 Valencia St.
MEDIA ARCHEOLOGY2
OCT21: OC ARCHIVAL ANOMALIES Industrials amok! Here’s a jaw-dropping 16mm compilation of our most time-warped titles--educational, informational, and promotional films that together map out the real underside of 20C film production. These preposterous shorts—at times excerpted to foreground their sublimely ridiculous essence—come from that great mass of non-fiction films produced for extra-theatrical audiences—schools, churches, corporate groups—for the promulgation of certain ideas and products. Over these eight decades, their retrograde ideologies and modes of address have become increasing exposed, naked to the eye, like grotesque fossil skeletons in a paleo-media boneyard. Curated by Craig Baldwin, this uncanny initiative mines the most mind-melting filmic artifacts from OC’s 4000-plus, including Little Oscar Meyer, sex-ed, bed-wetting, noise cults, religious ecstasies, car fantasias, tech obsessions, ad absurdum. And beers for a buck!
SUNDAY, OCTOBER 22, 2017
10/22
Cambridge, Massachusetts: Harvard Film Archive
https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=1cdc69c0a9&e=4e65756555
7pm, 24 Quincy Street
WILLIE - DANNY LYON IN PERSON
Lyon’s third film shot in Bernalillo, New Mexico and the final film with Willie Jaramillo. More explicitly concerned with the fate of his friend here than in either Little Boy or Llanito, Lyon enters the prisons and precincts where Willie or his childhood friends have served time, observing and interviewing him, his brothers, his fellow inmates, wardens, and anyone else in his circle of acquaintance, as if there might be a clue somewhere to the trouble that seems to endlessly and ruthlessly seek Willie out and take a hold of his fate.Directed by Danny Lyon US 1985, 16mm, color & b/w, 82 min
10/22
Los Angeles, California: Filmforum
https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=8dec6da523&e=4e65756555
7:30 pm, Echo Park Film Center, 1200 N. Alvarado St.
CLAUDIO CALDINI - 8MM FILM MASTER - IN PERSON!
In Person: Claudio Caldini A major force of Argentine and Latin American experimental cinema for 45 years, Claudio Caldini was an active member of the "Cine Ex" group gathered at the Goethe Institut Buenos Aires between 1974 and 1983 to promote production, screening and lecturing on experimental film. Join us for his first visit to Los Angeles! Caldini is a dedicated 8mm filmmaker, performance artists, composer, and curator. He has mentored several generations of younger 8mm filmmakers who have gained international prominence over the past decade, and has collaborated with artists in many media. His small–gauge films are remarkable for their sensuality, intimacy and precision. Caldini’s visit to California is part of Los Angeles Filmforum’s screening series Ism, Ism, Ism: Experimental Cinema in Latin America (Ismo, Ismo, Ismo: Cine Experimental en América Latina) and was made possible by the Mike Kelley Foundation for the Arts. $5 general/seniors/students; free for Filmforum
members. Available in advance from Brown Paper Tickets at https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=bf951e2229&e=4e65756555 or at the door. The screening includes Film-Gaudí (1975, Super 8mm); Baltazar (1975, Super 8mm); Cuarteto (1978, Super 8mm); Un enano en el jardín (1981, Super 8mm); S/T (2015, Super 8mm); Ofrenda (1990, video), Heliografía (1993, video)
10/22
New York, NY: Anthology Film Archives
https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=775fb04b25&e=4e65756555
5:00 PM, 32 Second Avenue
BOXING ON FILM: PART 2: SHORT FILM PROGRAM
Charles Dekeukeleire COMBAT DE BOXE (1927, 8 min, 35mm, b&w) For his very first film, Dekeukeleire, one of the giants of Belgian cinema, staged a boxing match in his studio. The result is a work of great graphic complexity, a cinematic poem in which the boxers' movements are deconstructed into rapidly edited fragments that alternate between positive and negative images. Stanley Kubrick DAY OF THE FIGHT (1951, 13 min, 35mm, b&w. Preserved by the Library of Congress.) Kubrick's film debut, which was based upon an earlier photo feature he had done for Look Magazine in 1949, documents Irish-American middleweight Walter Cartier during the height of his career, on the day of a fight with black middleweight Bobby James. Bill Powers THE FIGHT GAME (1965, 5 min, 16mm-to-digital, b&w) This intricately edited and exquisitely photographed black and white short captures a young Jose Torres working out with a bag in the gym. Praised by Jonas Mekas in the Village Voice, THE FIGHT GAME is a
graceful display of the balletic art that is boxing. Bill Powers JOSE AND RAMONA TORRES WEDDING FILM (1961, 12 min, 16mm-to-digital. Special thanks to Colorlab, The Center For Home Movies, and Russ Suniewick.) This film was discovered during Anthology's 2006 Home Movie Day celebration. Filmmaker Jeanne Liotta brought a reel found inside a projector she had acquired many years ago from a neighbor. It contained spliced camera original footage documenting the wedding party of a lovely young couple named Jose and Ramona. One astute viewer, Craig Lopez, noted the names, googled them and quickly deduced that this was the wedding film of boxing legend (and Norman Mailer actor) Jose Torres! Richard Meltzer BOGUS BOXING TRASH: PART 1 (1969, 36 min, 8mm-to-16mm. Preserved by the Film-Makers' Coop with support from the National Film Preservation Foundation. World Premiere screening of the new preservation!) "All the savage glory of the Olympics, including George Foreman's now-famous
flag ceremony; two females having at each other (we don't approve of the fairer sex fighting but here it is in all its raw torrid brutality); Sandy Saddler vs. Carlos Ortiz in a battle of ex-champs; George Chuvalo's awesome knockout of Dante Cane; all-time mauler Sonny Liston KO'ing Roger Rischer; Bob Foster's crushing KO of Biafran Dick Tiger; man vs. dog (who will win?) and man vs. woman!" -Richard Meltzer Rachael Guma BAM! (2016, 3 min, Super-8mm, b&w, silent. With Sean Nam.) A study in movement, this rapidly edited Super-8 film deconstructs the dance of the shadow boxer. Total running time: ca. 80 min.
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