[Frameworks] This week [October 28 - November 5, 2017] in avant garde cinema

Sun Oct 29 14:19:47 UTC 2017

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** This week [October 28 - November 5, 2017] in avant garde cinema
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Media Archeology 3: David Sherman + B.Darr + R.Ascher + G.Kuchar + (#anchor10) [November 4, San Francisco, California]

NEW CALLS FOR ENTRIES:
Black Maria Film Festival (Jersey City, NJ, USA; Deadline: October 20, 2017)
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DEADLINES APPROACHING:
Single Frame (Durham, NC, USA; Deadline: December 01, 2017)
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Experiments in Cinema (Albuquerque, New Mexico USA; Deadline: November 01, 2017)
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25th Chicago Underground Film Festival (Chicago; Deadline: December 01, 2017)
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Events are sorted alphabetically BY CITY within each DATE.

This week's programs (summary):
* Ec: George Landow, Aka Owen Land (#anchor1) [October 28, New York, NY]
* Portland Pixilation: Heit + Popp + Hough (#anchor2) [October 28, San Francisco, California]
* Los NiÑOs Abandonados & Llanito (#anchor3) [October 29, Cambridge, Massachusetts]
* Ism, Ism, Ism: Dark Matter: Collective, Singular and Parodic Resistance (#anchor4) [October 29, Los Angeles, California]
* Ec: Christopher Maclaine (#anchor5) [October 29, New York, NY]
* Boxing On Film: Part 2: Short Film Program (#anchor6) [October 30, New York, NY]
* Photographing A Ghost (#anchor7) [October 31, Brooklyn, NY]
* Film Screening: Coding and Decoding (#anchor8) [November 1, Berkeley, California 94704]
* Ec: Marie Menken (#anchor9) [November 4, New York, NY]
* Media Archeology 3: David Sherman + B.Darr + R.Ascher + G.Kuchar + (#anchor10) [November 4, San Francisco, California]
* Nathalie Magnan: Program 1: Media Jams (#anchor11) [November 5, New York, NY]

SATURDAY, OCTOBER 28, 2017

10/28
New York, NY: Anthology Film Archives
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5:15 PM, 32 Second Avenue
EC: GEORGE LANDOW, AKA OWEN LAND
"The unique contribution of Land's work lies in the fusion of intellectual reason and, significantly, the humor that distances it from the supposedly 'boring' world of avant-garde film. Having explored the basic properties of the celluloid strip itself in early works such as FILM IN WHICH THERE APPEARâ€¦, his attention turned to the spectator in a series of 'literal' films that question the illusionary nature of cinema through the use of word play and visual ambiguity. His work often parodies experimental film itself by mimicking his contemporaries and mocking the solemn approach of film theorists and scholars." -Mark Webber, TWO FILMS BY OWEN LAND FLEMING FALOON (1963, 6 min, 16mm) FILM IN WHICH THERE APPEAR SPROCKET HOLES, EDGE LETTERING, DIRT PARTICLES, ETC. (1965/66, 5 min, 16mm, silent) DIPLOTERATOLOGY (1967/78, 7 min, 16mm, silent) THE FILM THAT RISES TO THE SURFACE OF CLARIFIED BUTTER (1968, 9 min, 16mm, b&w) INSTITUTIONAL QUALITY (1969, 5 min, 16mm) REMEDIAL READING
COMPREHENSION (1970, 5 min, 16mm) WHAT'S WRONG WITH THIS PICTURE? (1972, 13 min, 16mm) THANK YOU JESUS FOR THE ETERNAL PRESENT (1973, 6 min, 16mm) A FILM OF THEIR 1973 SPRING TOUR COMMISSIONED BY CHRISTIAN WORLD LIBERATION FRONT OF BERKELEY, CALIFORNIA (1974, 11.5 min, 16mm) FILM IN WHICHâ€¦, INSTITUTIONAL QUALITY, and FILM OF THEIR 1973 SPRING TOUR have been preserved by Anthology Film Archives through the National Film Preservation Foundation's Avant-Garde Masters Grant program and The Film Foundation. Funding provided by the George Lucas Family Foundation. Total running time: ca. 70 min.

10/28
San Francisco, California: Other Cinema
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8:30PM, ATA, 992 Valencia Street
PORTLAND PIXILATION: HEIT + POPP + HOUGH
OC welcomes Oregon animation maven Laura Heit, with a “Best Of” selection of single-frame work from her Portland hometown! A hands-on artist partial to puppets, Heit offers an entrée into the DIY aesthetic of the Pacific Northwest, where the art-form has always flourished. And so to her Rover’s Eye (Mars imaging!), Apollo Six (cut-outs of the failed flight), Two Ways Down (fall into underworld), and Deep Dark (song-cycle of projected shadows). PLUS Ben Popp’s Coastal Observations (shoreline flipbook), Juxtaposition (sensual foray from S8mm), HearNW (rhythmic synesthesia), and East Lake San Souci (Super16mm in the track area). Thirdly, Kurtis Hough honors us with his Cryosphere (tears against global warming), Painted Hills (the geometry of geology), To See More Light (elemental/cosmic), and Some Trees (poetic short). BONUS: 16mm ‘toons for trick ‘r treat goblin gobblin’!

SUNDAY, OCTOBER 29, 2017

10/29
Cambridge, Massachusetts: Harvard Film Archive
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7pm, 24 Quincy Street
LOS NIÑOS ABANDONADOS & LLANITO
Los niños abandonados In 1974 Danny Lyon traveled to Colombia and made an unblinking yet lyrical film dedicated to the surging population of homeless children living on the streets, abandoned by family and ignored by Church and State alike. Guided by his deft photographer’s eye, Lyon captures the stark paradoxes of an adult society that sidesteps the forgotten children who embody precisely that poverty and desolation that the adults deny and fear most. Brutally thrust into an uncaring world and prematurely aged into a stunted adulthood, los niños abandonados are refugees of the shattered myth and lie of the State as a nurturing family. Directed by Danny Lyon Colombia 1975, 16mm, color, 63 min Llanito Llanito is the first of Lyon’s trio of films shot in and around Bernalillo, New Mexico, and it is also the screen debut of Willie Jaramillo. The twelve-year-old boy acts as a guiding force for Lyon and his audience, reading out the names on gravestones and relating the stories of
the people buried there. He is the focal point of a group of mostly young men with whom Lyon would remain friends and continue to document for the next several decades. The film meanders through the town and among its inhabitants, passing between groups of people at times with the keen instinct of a desert eagle and at others in a drunken stupor, stumbling from one scene into the next with the visceral and irrational inevitability of a gravitational pull. Directed by Danny Lyon US 1971, digital video, b/w, 54 min

10/29
Los Angeles, California: Filmforum
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7:30 pm, Spielberg Theatre at the Egyptian, 6712 Hollywood Blvd.
ISM, ISM, ISM: DARK MATTER: COLLECTIVE, SINGULAR AND PARODIC RESISTANCE
Filmmaker Bruno Varela in person! INFO: www.lafilmforum.org, 323-377-7238 Created during and between military coups, civil wars, diverse authoritarian regimes, and invasions led by the United States, experimental cinema in Latin America has not escaped the impact diverse forms of social upheavals and violence. In many of these contexts, resistance, even social commentary, can be a precarious, even dangerous, project, and tonight’s program surveys some of these expressions. In the war-torn El Salvador of 1980, the collective “Los Vagos” shot documentaries and one fiction film, Zona intertidal, a poetic treatment of the politically motivated assassination of a leftist professor by death squads. In 2014, in the town of Iguala, in Southern Mexico, 43 students from a rural teachers’ college were detained by the military and handed over to a local criminal organization. Forensic specialists have only been able to identify the remains of two of the students among the numerous mass
graves excavated during the ensuing search for clues to their disappearance, a process which Bruno Varela comments upon in Materia Oscura (2016). Zigmunt Cedinsky takes a satirical approach in La Guerra sin fin (I’m very Happy) (2006), while the Colombian filmmaker Camilo Restrepo’s Impresión de una Guerra (2015) visits textile factories, tattoo parlors, print shops, and punk rock concerts to offer up an essayistic reflection on the lasting legacies of decades on his homeland. Tickets: $10 general; $6 for students/seniors; free for Filmforum members. Available in advance from Brown Paper Tickets at https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=736883aab9&e=4e65756555 or at the door.

10/29
New York, NY: Anthology Film Archives
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4:45 PM, 32 Second Avenue
EC: CHRISTOPHER MACLAINE
"The few facts that are known about Maclaine are, at best, sketchy. He was a published poet, a sort of down and out San Francisco bohemian who later became one of the psychic casualties of that scene. His last years were spent at Sunnyacres, a state mental hospital in Fairfield, California. These films, along with Ron Rice's, are clearly the most significant work to come out of the beat period." -J.J. Murphy All films preserved by Anthology Film Archives. THE MAN WHO INVENTED GOLD (1957, 14 min, 16mm) BEAT (1958, 6 min, 16mm) SCOTCH HOP (1959, 5.5 min, 16mm) THE END (1953, 35 min, 16mm) Total running time: ca. 65 min. [THE MAN WHO INVENTED GOLD, BEAT, and SCOTCH HOP are not part of the Essential Cinema collection, but they are included here as a special bonus.]

MONDAY, OCTOBER 30, 2017

10/30
New York, NY: Anthology Film Archives
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9:00 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.

TUESDAY, OCTOBER 31, 2017

10/31
Brooklyn, NY: Light Industry
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7:30pm, 155 Freeman Street
PHOTOGRAPHING A GHOST
Curated by Caroline Golum. Complementing these silent works, a selection of contemporaneous Spiritualist accounts will be read between the films. Dead cinema and live readings will be soundtracked throughout with an improvised score by Zachary Koeber. - CG Works to be screened include but are not limited to: The Haunted Castle, George Méliès, 1896 The Strange Adventures of a New York Drummer, Thomas Edison, 1899 A Visit to the Spiritualist, J. Stuart Blackton and Albert E. Smith, 1899 Uncle Josh in a Spooky Hotel, Thomas Edison, 1900 The Haunted Curiosity Shop, Robert W. Paul and Walter R. Booth, 1901 Apparitions, George Méliès, 1903 The Monster, George Méliès, 1903 Is Spiritualism a Fraud?, Robert W. Paul and Walter R. Booth, 1906 The Haunted House, Segundo de Chomón, 1908 La Légende du fantôme, Segundo de Chomón, 1908 Tickets - $8, available at door. Please note: seating is limited. First-come, first-served. Box office opens at 7:30pm

WEDNESDAY, NOVEMBER 1, 2017

11/1
Berkeley, California 94704: Pacific Film Archive
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7pm, 2155 Center St
FILM SCREENING: CODING AND DECODING
David Sherman worked at Canyon Cinema from 1989 to 2001, and in 1993 began the artist collaboration Total Mobile Home, the first microcinema. He has selected a program of films that explore place and time through artists' observations and others' documentation. Archival and found footage, popular culture, and home movies are collaged or appropriated. Sherman's To Re-edit the World is assembled from four boxes of film material and audiotapes made by Beat-era filmmaker Dion Vigné, reconstituting a lost history of San Francisco. FILMS IN THIS SCREENING Premonition, Dominic Angerame, United States, 1995; No-Zone, Greta Snider, United States, 1993; Decodings, Michael Wallin, United States, 1988; To Re-edit the World, David Sherman, United States, 2002.

SATURDAY, NOVEMBER 4, 2017

11/4
New York, NY: Anthology Film Archives
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5:00 PM, 32 Second Avenue
EC: MARIE MENKEN
All films preserved by Anthology Film Archives. GLIMPSE OF THE GARDEN (1957, 5 min, 16mm) NOTEBOOK (1962-63, 10 min, 16mm, silent) ARABESQUE FOR KENNETH ANGER (1961, 4 min, 16mm) EYE MUSIC IN RED MAJOR (1961, 4 min, 16mm, silent) GO! GO! GO! (1962-64, 12 min, 16mm, silent) LIGHTS (1964-66, 7 min, 16mm, b&w, silent) ANDY WARHOL (1965, 17 min, 16mm) "Marie Menken pioneered the radical transformation of the handheld, somatic camera into a formal matrix that would underpin an entire work in the films she made between 1945 and 1965. [â€¦] The extraordinary cinematic style that I have been calling Menken's somatic camera has been her most influential gift to the American avant-garde cinema. It is an embodiment of the Emersonian invention of a pictorial air, the spiritual emancipation automatically brought about by 'certain mechanical changes, a small alteration in our local position.' It is also analogous to the equally Emersonian somatic theory of poesis Charles Olson was
developing at nearly the same time: his emphasis on breath and proprioception corresponds to Menken's identification of the camera with her body in motion and her cultivation of the respiratory and nervous agitation of the handheld camera even in its quietest moments." -P. Adams Sitney, EYES UPSIDE DOWN Total running time: ca. 65 min.

11/4
San Francisco, California: Other Cinema
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8:30 PM, ATA, 992 Valencia Street
MEDIA ARCHEOLOGY 3: DAVID SHERMAN + B.DARR + R.ASCHER + G.KUCHAR +
Epicenter of the experimental scene in Tucson, our much-missed microcinema soulmate David Sherman flies in to share a sneak peek at his new media inquiry coder decoder exploder. Sherman’s rep precedes him via a hilarious tour of his former SF Cellar Sinema, shot by none other than George Kuchar! ALSO: Brian Darr “unpacks” a carousel of 35mm Citizen Kane slides in Fun to Run, exposing a matrix of amazing connections between Orson Welles, William Randolph Hearst, and that Sur-real castle on the California coast. PLUS the theatrical premiere of ex-neighbor Rodney (Room 237) Ascher’s The Wooden Boy, on Horror Film tropes that, as a generation, we’ll never be able to shake. AND another debut from another former San Franciscan: Sam Green’s A Drink with Louis pays tribute to Louis Armstrong’s ¼” audiotape hobby, a now-public record of the jazz great’s dirty jokes and love of laxatives. MORE: Mechanical Turks, Zuse computers, Optigan keyboards, filmstrip projectors, and VR displays.

SUNDAY, NOVEMBER 5, 2017

11/5
New York, NY: Anthology Film Archives
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7:30 PM, 32 Second Avenue
NATHALIE MAGNAN: PROGRAM 1: MEDIA JAMS
Introduced by Catherine Lord. NATHALIE MAGNAN: MEDIA THEORETICIAN / NATHALIE MAGNAN, THÃ‰ORICIENNE DES MÃ‰DIAS (2012, 12 min, video) In this interview with the magazine MONSTER, Magnan speaks about tactical media, jamming, gender changes, the cyborg manifesto, and (h)activism. INTERNAUTES (1995, 13 min, video) With humor and intensity, Magnan documents all manner of internet communities, from small to large, from young artists to engineers. HAVE YOU SEEN THE WAR? / AVEZ-VOUS VU LA GUERRE? (1991, 45 min, video. Made in collaboration with Canal Dechaine.) A montage of archival footage and interviews (with Serge Daney and FÃ©lix Guattari, among others) about the representation of the First Gulf War on French television. THERE'S NO SMOKE WITHOUT FIRE AND BESIDES, IT'S TRUE / IL N'Y A PAS DE FUMÃ‰E SANS FEU ET EN PLUS C'EST VRAI (1996, 24 min, video) A visionary document examining what we now call fake news: the explosion of unverified rumor into the public sphere. Total running
time: ca. 100 min.
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