[Frameworks] This week [April 21 - 29, 2018] in avant garde cinema

[weeklylisting at hi-beam.net]

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This week [April 21 - 29, 2018] in avant garde cinema


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NEW CALLS FOR ENTRIES:
Compassion Film Festival (Carbondale, CO, USA; Deadline: May 17, 2018)
 http://hi-beam.net/cgi-bin/ann.pl?type=calls <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=2a18e3440a&e=f36020cad0> &readfile=1976.ann
WNDX Festival of Moving Image (Winnipeg, Manitoba, Canada; Deadline: June 01, 2018)
 http://hi-beam.net/cgi-bin/ann.pl?type=calls <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=3e893c0ddb&e=f36020cad0> &readfile=1977.ann

DEADLINES APPROACHING:
Festival of (In)appropriation (Los Angeles, CA, USA; Deadline: May 01, 2018)
 http://hi-beam.net/cgi-bin/ann.pl?type=calls <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=7ad0db24ec&e=f36020cad0> &readfile=1969.ann
Compassion Film Festival (Carbondale, CO, USA; Deadline: May 17, 2018)
 http://hi-beam.net/cgi-bin/ann.pl?type=calls <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=8f1004d209&e=f36020cad0> &readfile=1976.ann

Events are sorted alphabetically BY CITY within each DATE.

This week's programs (summary): 

*        Maurice Lemaà <> &Reg;Tre's Has the Film Already Started? [April 21, Brooklyn, NY] 

*        Through the Margin of Mirrors: A Lecture/Performance By Malena Szlam <>  [April 21, Los Angeles, California] 

*        Ec: Stan Brakhage Pgm 2 <>  [April 21, New York, NY] 

*        Trans Film: To Speak, To Find: Program 2 <>  [April 21, New York, NY] 

*        Trans Film: Kate Bornstein Is A Queer and Pleasant Danger <>  [April 21, New York, NY] 

*        Peripheral visions Program 3: Texture <>  [April 21, New York, New York] 

*        Peripheral visions Program 4: Texture | Space <>  [April 21, New York, New York] 

*        Peripheral visions Program 5: Space <>  [April 21, New York, New York] 

*        X~Peri~Mental Animation: Colburn + Gallagher + Geiser + Quillian + <>  [April 21, San Francisco, California] 

*        Harun Farocki: Program 3 <>  [April 22, New York, NY] 

*        Trans Film: Pay It No Mind:  <> &Quot;Archival Footage&Quot; As the Main Attraction [April 22, New York, NY] 

*        Trans Film: T4t: Films By Jules Rosskam <>  [April 22, New York, NY] 

*        Trans Film: When This World Ends: Dandy Dust <>  [April 23, New York, NY] 

*        Trans Film: Teknolust <>  [April 23, New York, NY] 

*        Paige K. Bradley Presents Jin-Roh: the Wolf Brigade <>  [April 24, Brooklyn, NY] 

*        Trans Film: FluidØ <>  [April 24, New York, NY] 

*        Trans Film: Rukus <>  [April 24, New York, NY] 

*        'Manuel Delanda: Ism Ism' Book Release Screening! <>  [April 25, New York, NY] 

*        K8 Hardy's Outfitumentary <>  [April 25, San Francisco, California] 

*        Show  <> &Amp; Tell: Jon Beacham [April 26, New York, NY] 

*        Canyon Cinema 50: Program 1: Studies In Natural Magic <>  [April 27, New York, NY] 

*        Canyon Cinema 50: Program 2: Associations <>  [April 28, New York, NY] 

*        Canyon Cinema 50: Program 3: Decodings <>  [April 28, New York, NY] 

*        Scritti Politti:Mayday Media With J.Drew/Newsreel + J.Harper/Freak Tv + <>  [April 28, San Francisco, California] 

*        Harun Farocki: Program 4 <>  [April 29, New York, NY] 

*        Canyon Cinema 50: Program 4: Continuum <>  [April 29, New York, NY] 


SATURDAY, APRIL 21, 2018

4/21
Brooklyn, NY: Light Industry
http://www.lightindustry.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=c3c38f1095&e=f36020cad0> 
7:30, 155
MAURICE LEMA&ATILDE;®TRE'S HAS THE FILM ALREADY STARTED?
https://www.facebook.com/events/619850555024311/ 

4/21
Los Angeles, California: Filmforum
http://www.lafilmforum.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=fde15d566f&e=f36020cad0> 
8:00 pm, Echo Park Film Center, 1200 N. Alvarado St.
THROUGH THE MARGIN OF MIRRORS: A LECTURE/PERFORMANCE BY MALENA SZLAM
Los Angeles Filmforum presents Through the Margin of Mirrors: a Lecture/Performance by Malena Szlam (with additional films to be announced) Saturday, April 21, 2018, 8pm At Echo Park Film Center, 1200 N. Alvarado St., Los Angeles CA 90026 With filmmaker Malena Szlam in person from Montréal! In this lecture/performance, Szlam will draw from her writing and personal visual film archive to compose an ephemeral re-enactment of her 2010 installation piece Through The Margin Of Mirrors. Fueled by experiences of displacement and migration between the Northern
 and Southern Hemispheres, Szlam will disclose aleatory links forged through dreams, language(s) and desire. An evening of reading and projection will form a vivid collage in dialogue with texts and recordings from friends, artists, and filmmakers. The performance will be followed by a special screening of short experimental works by international filmmakers, curated by Szlam. Details to be announced at the show. INFO: www.lafilmforum.org , 323-377-7238 Tickets: $5 general/students/seniors; free for Filmforum members. Available in advance at https://szlamperformance.bpt.me or at the door. 

4/21
New York, NY: Anthology Film Archives
http://www.anthologyfilmarchives.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=504b8b80d1&e=f36020cad0> 
3:00 PM, 32 Second Avenue
EC: STAN BRAKHAGE PGM 2
Unless otherwise noted, all films are silent. THE DEAD (1960, 11 min, 16mm) PASHT (1965, 5 min, 16mm) THREE FILMS: BLUEWHITE, BLOOD'S TONE, VEIN (1965, 10 min, 16mm) FIRE OF WATERS (1965, 10 min, 16mm, b&w, sound) THE HORSEMAN, THE WOMAN AND THE MOTH (1968, 19 min, 16mm) Total running time: ca. 60 min. 

4/21
New York, NY: Anthology Film Archives
http://www.anthologyfilmarchives.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=71db1cc818&e=f36020cad0> 
5:00 PM, 32 Second Avenue
TRANS FILM: TO SPEAK, TO FIND: PROGRAM 2
SELECTED FILMMAKERS IN PERSON! "STRANGER BABY is Lana Lin's exploration of the meaning of the term "alien" through fiction, non-fiction, and science fiction. In OPERATION INVERT, Tara Mateik exposes the absurdities of medical regulations that seem to fear gender outlaws as the new biological terrorists seeking weapons of mass bodily destruction. Vika Kirchenbauer's essay film LIKE RATS LEAVING A SINKING SHIP uses text from the DSM combined with intimate personal writings that reflect upon the nature of memory and the present interpretation of the past to question the possibility of any coherent narrative. Joey Carducci uses the language of film, feminism, and outtakes to come out to his longtime mentor in A VIDEO LETTER TO BARBARA HAMMER. Tiona Nekkia McClodden's THE LABYRINTH 1.0 revisits Brad Johnson's 1995 poem of the same title to create a poetic essay film exploring the HIV/AIDS crisis and surveillance culture. Zackary Drucker's AT LEAST YOU KNOW YOU EXIST uses the home of legendary performer Flawless Sabrina to tell a story of intergenerational companionship and trans legacy. Lana Lin STRANGER BABY (1995, 12 min, 16mm) Tara Mateik OPERATION INVERT (2003, 12 min, digital) Vika Kirchenbauer LIKE RATS LEAVING A SINKING SHIP (2012, 25 min, Super-8mm-to-digital) Joey Carducci A VIDEO LETTER TO BARBARA HAMMER (work in progress) (2017, 16 min, 16mm-to-digital) Tiona Nekkia McClodden THE LABYRINTH 1.0 (2017, 6 min, digital) Zackary Drucker AT LEAST YOU KNOW YOU EXIST (2011, 16 min, 16mm-to-digital) Total running time: ca. 90 min. 

4/21
New York, NY: Anthology Film Archives
http://www.anthologyfilmarchives.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=5977758082&e=f36020cad0> 
7:30 PM, 32 Second Avenue
TRANS FILM: KATE BORNSTEIN IS A QUEER AND PLEASANT DANGER
FILMMAKER IN PERSON! Sam Feder KATE BORNSTEIN IS A QUEER AND PLEASANT DANGER (2014, 73 min, digital) Performance artist and writer Kate Bornstein explodes binaries while deconstructing gender - and her own identity. Trans-dyke. Reluctant polyamorist. Sadomasochist. Recovering Scientologist. Pioneering gender outlaw. Sam Feder's playful and meditative portrait of Bornstein captures rollicking public performances and painful personal revelations as it bears witness to Kate as a trailblazing artist-theorist-activist who inhabits a space between male and female with wit, style, and astonishing candor. 

4/21
New York, New York: Qubit
https://qubitmusic.com/visions <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=5b614de232&e=f36020cad0> 
1:00 PM, Project Q, 1850 Amsterdam Ave
PERIPHERAL VISIONS PROGRAM 3: TEXTURE
The screen is transformed into a surface, channeling a myriad of textures from vibrant fabrics, verdant fields, and prismatic crystallography to the materiality of the image itself: the film strip and the pixel. Featuring films by Jodie Mack, Maria Constanza Ferreira, Johan Rijpma, Jake Fried, Ryoichi Kurokawa, Peter Burr, Thomas de Rijk, Yoshihide Sodeoka, Sabrina Ratte, Nic Hamilton, Evan Boehm, Parag K. Mital, Mateo Amaral, Simon Liu, Thorsten Fleisch, and Sam Speckley. For a full listing of films and ticket information visit: http://bit.ly/texturevisions (Tickets $7) The third screening of the Peripheral Visions Film Festival presented by Qubit and programmed by Bernhard Fasenfest. 

4/21
New York, New York: Qubit
https://qubitmusic.com/visions <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=8d09d2b004&e=f36020cad0> 
3:30 PM, Project Q, 1850 Amsterdam Ave
PERIPHERAL VISIONS PROGRAM 4: TEXTURE | SPACE
Explore the scenic hills of the Scottish Borders through stunning digital disintegration in Jacques Perconte’s mind-bending film “Ettrick”. “Slipping through poetry, between the brutality of matter and the sublime landscape, we experience a penetrating vision that embodies the stability of our deep desire to live in peace.” -- Jacques Perconte. For tickets visit: http://bit.ly/ettrickvisions (Tickets $7) The fourth screening of the Peripheral Visions Film Festival presented by Qubit and programmed by Bernhard Fasenfest. 

4/21
New York, New York: Qubit
https://qubitmusic.com/visions <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=ede5d6579e&e=f36020cad0> 
5:00PM, Project Q, 1850 Amsterdam Ave
PERIPHERAL VISIONS PROGRAM 5: SPACE
Portraits of interior and exterior spaces, exploring our visions of the city, our work, our dreams, and our selves. Featuring Films by Alan Warburton, Michael Robinson, Emily Drummer, Ryan Ferko, Parastoo / Faraz Anoushahpour, Kevin Jerome Everson, Zach Hart, Alexandra Wilson, Philippe Leonard, Jodie Mack, and Simon Liu. "R-15" by Kevin Jerome Everson and "Histories of Simulated Intimacy No. 1" by Emily Drummer will receive their New York Premieres. "Heart of a Mountain" by Ryan Ferko and Parastoo / Faraz Anoushahpour will receive its US Premiere and "Conenct Haven - Interior" by Zach Hart and Alexandra Wilson will receive its World Premiere. For tickets and more information: http://bit.ly/spacevisions (Tickets $7). The fifth and final screening of the Peripheral Visions Film Festival presented by Qubit and programmed by Bernhard Fasenfest. 

4/21
San Francisco, California: Other Cinema
http://www.othercinema.com/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=84df6c96bc&e=f36020cad0> 
8 PM, 992 Valencia Street
X~PERI~MENTAL ANIMATION: COLBURN + GALLAGHER + GEISER + QUILLIAN +
For the second of our SisPics diptych, we’ve assembled a veritable mothership of animators--almost all women—making this showcase a regular on OC calendars! Featured is the Cali debut of Martha Colburn’s Rotterdam-selected Western Wilds, her account of Karl May--the German writer who made the Western novel a fixture on European bookshelves--that turns into an auto-bio revelation of Martha’s own upbringing as a hick kid surrounded by guns. ALSO premiering are Kathleen Quillian’s (in person) Confidence Game, Kelly Gallagher’s Your Gossip, Ellie Vanderlip’s (in person) Egg Tree, Salise Hughes’ Eldorado, Leslie Supnet’s The Peak Experience, and the recent Silent Sister by none other than Janie Geiser! PLUS chestnuts from Helen Hill, Sally Cruikshank, and Mary Ellen Bute...and a couple from the boys--Ben Popp’s Sexy Noir and Winston Hacking/Andy Shauf’s The Worst in You. 


SUNDAY, APRIL 22, 2018

4/22
New York, NY: Anthology Film Archives
http://www.anthologyfilmarchives.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=23a11065ab&e=f36020cad0> 
2:00 PM, 32 Second Avenue
HARUN FAROCKI: PROGRAM 3
BEDTIME STORIES: BRIDGES / EINSCHLAFGESCHICHTEN (1977, 3 min, 16mm-to-digital. In German with English subtitles.) HOW TO LIVE IN THE FRG / LEBEN - BRD (1990, 79 min, 16mm-to-digital. In German with English subtitles.) Before the fall of the Berlin Wall, Farocki sharply dissects life in West Germany. Composed entirely of short scenes taken from instructional and training classes, the film reveals West Germany as a country where nothing happens without rehearsal, training, or preparation. "I filmed games, because games have rules and establish rules. There are all too few rules determining the speech and actions of people in documentary films today. […] The plasticity of life and work processes decreases everywhere. At the same time, more and more games are played which are intended to expose what lies hidden within human beings. The rules by which we are supposed to live are increasingly uncertain, and there are more and more games where life is trained, like a sport. Instruction manuals for life: in the commodity society, the instruction manual is the only record of theory." -Harun Farocki 

4/22
New York, NY: Anthology Film Archives
http://www.anthologyfilmarchives.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=db97f2bed6&e=f36020cad0> 
5:00 PM, 32 Second Avenue
TRANS FILM: PAY IT NO MIND: "ARCHIVAL FOOTAGE" AS THE MAIN ATTRACTION
FILMMAKERS IN PERSON! For this program, films that have been cut into other features as "archival footage" are featured in their own right. Michael Kasino & Richard Morrison PAY IT NO MIND: THE LIFE AND TIMES OF MARSHA P. JOHNSON (2012, 54 min, digital) This documentary focuses on legendary transgender activist, Marsha "Pay It No Mind" Johnson, who was a Stonewall instigator, Andy Warhol model, drag queen, sex worker, and Saint. In Johnson's final interview before her death in 1992, Kasino and Morrison capture the queen of the revolution recounting her life at the forefront of the Stonewall Riots in the 1960s, the creation of S.T.A.R. (Street Transvestite Action Revolutionaries) with Sylvia Rivera in the 1970s, and her life as an activist in the New York City of the 80s and early 90s. Zavé Martohardjono CHANGING HOUSE (2009, 18 min, digital) Rusty and Chelsea are a transgender lesbian couple who, for fifteen years, opened their home to transgender women in need. Among these women was Stonewall veteran Sylvia Rivera, who spent the last years of her life there. The film celebrates the long and vibrant activist history of the house, the difficulties and triumphs of communal living, and the ongoing discrimination faced by the transgender community. 

4/22
New York, NY: Anthology Film Archives
http://www.anthologyfilmarchives.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=123593ea20&e=f36020cad0> 
7:30 PM, 32 Second Avenue
TRANS FILM: T4T: FILMS BY JULES ROSSKAM
FILMMAKER IN PERSON! SOMETHING TO CRY ABOUT (2018, 12 min, digital. World Premiere!) In this film three transmasculine-identified people watch a movie or television show that makes them cry. The result is a touching and humorous short documentary that explores the difficulty of expressing intimacy between men, the complexities of desire, and the gift of a good cry. AGAINST A TRANS NARRATIVE (2009, 60 min, digital) In a genre-busting combination of intimate diary footage, stylized dramatic scenes, spoken word performance, faux audition tapes, and roundtable interview footage, Rosskam explores and initiates a dialogue between feminists, queers, and transfolk about the way we construct personal and historical narratives. Careful attention is given to the ways generation, race, class, and culture impact our understandings of gender. 


MONDAY, APRIL 23, 2018

4/23
New York, NY: Anthology Film Archives
http://www.anthologyfilmarchives.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=7e551ffbc2&e=f36020cad0> 
6:45 PM, 32 Second Avenue
TRANS FILM: WHEN THIS WORLD ENDS: DANDY DUST
Kelley Meister's short hand-drawn animation NOW I AM BECOME DEATH explores the queer realities of living in the nuclear age, while Ashley Hans Scheirl's DANDY DUST creates another dimension of crude sets and clay planets in the year 3075. In a cyberpunk, crustcore, stop-motion, and live-action coming-of-age extravaganza, the character Dandy Dust must go to different planets to boost his/her sex drive and defeat a depraved villain. Disparate characters and explicit scenarios pepper the narrative as a spider vagina humanoid named "SpiderCuntBoy" arrives, strange twins appear and disappear, and a scene featuring a giant strap-on drill pushes erotics and violence to the max. Ashley Hans Scheirl DANDY DUST (1998, 92 min, digital) Preceded by: Kelley Meister NOW I AM BECOME DEATH (2017, 8 min, digital) 

4/23
New York, NY: Anthology Film Archives
http://www.anthologyfilmarchives.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=8179653024&e=f36020cad0> 
9:00 PM, 32 Second Avenue
TRANS FILM: TEKNOLUST
GUEST CURATED AND PRESENTED BY S. H. VARINO DOUBLE LUST: PART 1: Lynn Hershman Leeson TEKNOLUST (2001, 82 min, 35mm-to-digital. With Tilda Swinton, Jeremy Davies, John O'Keefe, Josh Kornbluth, and Karen Black.) "Loneliness breeds strange bedfellows. Rosetta Stone (played to a timorous 't' by Tilda Swinton), a bashful biogeneticist, downloads her own DNA into an experimental A.I. program, creating a trio of Self-Replicating Automatons (SRAs). Olive, Marine, and Ruby (Swinton3) live in seclusion in a color-coordinated condo where they spend their time Web-surfing, mainlining protein, and being inundated by motivational tapes that shape their sense of the 'human.' Ensconced like priestesses in shimmering robes, the SRA sisters oscillate between machine superiority - 'We're self-replicating' - and devolution - 'When you are defensive and regressive you seem completely human.' Beyond their jacked-in consciousness, they yearn for attachments, but not the e-mail kind. Hershman Leeson has modified the gene for humor, creating a franken-farce wired for witticisms. Designed with sleek graphical interfaces, TEKNOLUST bodes of a future when we will rise through 'flesh, spirit' to 'soul, icon.' Yet the film is also about something more fundamentally human - the impulse to fill the world with progeny as a gesture of existence." -Steve Seid, PACIFIC FILM ARCHIVE 


TUESDAY, APRIL 24, 2018

4/24
Brooklyn, NY: Light Industry
http://www.lightindustry.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=1c9c1c6f87&e=f36020cad0> 
7:30 PM EDT, 155 Freeman Street
PAIGE K. BRADLEY PRESENTS JIN-ROH: THE WOLF BRIGADE
Jin-Roh: The Wolf Brigade, Hiroyuki Okiura, 1999, digital projection, 102 mins Jin-Roh is a 1999 anime film written by Oshii Mamoru and loosely adapted from a manga he wrote—called the Kerberos series or Kerberos saga after the multi-headed hound that guarded the gate of hell in Greek mythology—which ran from about 1988 to 2009. Though the series, meticulously illustrated by Fujiwara Kamui, spawned several live action films, Jin Roh is the only animated film based on the material, and the various arcs of the story are all set in a parallel universe where Germany, rather than the US, has asserted militaristic and cultural influence over Japan in the postwar era. The foundation of Jin Roh’s story then, as often in life, is the fight for domination, and separating the dogs from the wolves. Packs of hounds maneuver around each other throughout the film: the heavily armed paramilitary Capital Police, ostensibly formed for counterterrorism operations; their bureaucrat supervisors in the Public Security Division; a Special Unit within the police force that mainly combats a radical guerilla group called the Sect; and a rumored splinter cell within the Special Unit itself called Jin-Roh, translated as "Wolf Brigade." 

4/24
New York, NY: Anthology Film Archives
http://www.anthologyfilmarchives.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=81d70a5f7e&e=f36020cad0> 
6:45 PM, 32 Second Avenue
TRANS FILM: FLUIDØ
GUEST CURATED AND PRESENTED BY S. H. VARINO DOUBLE LUST: PART 2:Shu Lea Cheang FLUIDØ (2017, 99 min, digital) Set in the post-AIDS future of 2060, where the Government is the first to declare the era AIDS FREE, mutated AIDS viruses give birth to ZERO GEN - humans that have genetically evolved in a very unique way. These gender fluid ZERO GENs are the bio-drug carriers whose white fluid is the hypernarcotic for the 21st century, taking over the markets of the 20th century white powder high. The ejaculate of these beings is intoxicating and the new form of sexual commodity in the future. The new drug, code named DELTA, diffuses through skin contact and creates an addictive high. A new war on drugs begins and the ZERO GEN are declared illegal. The Government dispatches drug-resistant replicants for round-up arrest missions. When one of these government android's immunity breaks down and its pleasure centers are activated, the story becomes a tangled multi-thread plot and the ZERO GENs are caught among underground drug lords, glitched super agents, a scheming corporation, and a corrupt government. 

4/24
New York, NY: Anthology Film Archives
http://www.anthologyfilmarchives.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=fb6b55d7c9&e=f36020cad0> 
9:00 PM, 32 Second Avenue
TRANS FILM: RUKUS
NYC PREMIERE! FILMMAKER IN PERSON! Brett Hanover RUKUS (2018, 87 min, digital) Brett Hanover's raw documentary/fiction hybrid film locates the queer coming-of-age story amid dated hotel furry conventions, steamy southern punk houses, and unending virtual worlds. Rukus is a 20-year-old furry artist living with his boyfriend Sable in the suburbs of Orlando, Florida. Through his sprawling graphic novels, Rukus constructs an imaginary universe where painful childhood memories are restaged as epic fantasies. Brett is a 16-year-old filmmaker with OCD trying to figure out his position in kinky subcultures. The two develop an unexpected online friendship which propels an exploration and reimagining of who they are and who they want to be. 


WEDNESDAY, APRIL 25, 2018

4/25
New York, NY: Anthology Film Archives
http://www.anthologyfilmarchives.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=aa54bb03f5&e=f36020cad0> 
7:30 PM, 32 Second Avenue
'MANUEL DELANDA: ISM ISM' BOOK RELEASE SCREENING!
MANUEL DELANDA IN PERSON! Recognized today as a philosopher, professor, and author (of WAR IN THE AGE OF INTELLIGENT MACHINES and A THOUSAND YEARS OF NONLINEAR HISTORY, among other titles), Manuel DeLanda initially came to prominence as one of the premier experimental filmmakers of his generation. Fueled by the gonzo humor and graphic audacity of Frank Zappa and ZAP Comix, DeLanda's fevered productions were among the most deliriously innovative movies of the punk era. While films like RAW NERVES: A LACANIAN THRILLER and INCONTINENCE: A DIARRHETIC FLOW OF OBVIOUS MISMATCHES are certified underground classics, DeLanda's visually striking, virtually unknown graffiti work (signed with the tag "ISM ISM") has long remained more urban legend than legendary. That is hopefully poised to change now that Anthology has teamed up once again with J&L Books (our partner for recent publications devoted to Harry Smith's collections) to issue MANUEL DELANDA: ISM ISM. This new book presents a comprehensive overview of DeLanda's ephemeral street collages with a colorful frame-by-frame breakdown of a Super 8mm short film completed in 1979 in order to document his sweetly subversive activities. Extensive still images, an expansive interview, and copious contextual materials combine to illustrate the story of DeLanda's aesthetic attack on 23rd Street, including his friendly competition with fellow artist-taggers Keith Haring and Jean-Michel Basquiat. To celebrate the release of this new publication, we proudly present a selection of DeLanda's moving-image work, including the eponymous film, ISM ISM, and the premieres of two new videos. In conjunction with this screening, two bookstore release events will be held in April. For more info, please visit: ismism.net and jandlbooks.org Special thanks to Jason Fulford (J&L Books), Andrew Lampert, and Jamie Johnston (DAP). SALIVA DILDO - PREMATURE EJACULATORS (1976, 2 min, 16mm-to-digital. Digitized with support from the Andy Warhol Foundation for the Visual Arts. Special thanks to M. Henry Jones.) A recently rediscovered fragment from an early film, featuring regular DeLanda collaborator M. Henry Jones navigating time-warped NYC sidewalks. ISM ISM (1979, 8 min, Super 8mm-to-16mm. Preserved with support from the National Film Preservation Foundation and the Andy Warhol Foundation for the Visual Arts.) "ISM ISM documents my graffiti activities in New York. The film was originally made as a class project for P. Adams Sitney. It has the form of a manifesto against the orthopedic power of language." -Manuel DeLanda ANONYMOUS MULTITUDES (2015, 8 min, digital) DeLanda takes on the NYC masses, deforming faces and stretching moving figures in strange and disorienting ways. HARMFUL OR FATAL IF SWALLOWED (1982, 14 min, Super 8mm-to-16mm-to digital. Digitized by Anthology Film Archives with support from the Andy Warhol Foundation for the Visual Arts.) A dynamic and demented city symphony, HARMFUL takes the extreme techniques of DeLanda's earlier films and unleashes them on the businessmen and denizens of NYC. Outlandish and truly unforgettable, this film premiered in a slightly neutered version at the 1982 New York Film Festival, where it elicited many loud hisses and boos. Anthology's new digital restoration features the recently rediscovered original edit. THE SUPER 8 SHOW: BEYOND HOME MOVIES (1981, 7-min excerpt, U-Matic videotape-to-digital. Produced by John Sanborn and Kit Fitzgerald for WNET/New York.) Manuel DeLanda discusses his Super 8mm filmmaking in this rare video interview originally produced for WNET in connection with J. Hoberman's 1981 Anthology screening series, "Home Made Movies: 20 Years of American 8mm and Super-8 films." FRACTURED LANDSCAPES (2014, 12 min, digital) Through digital layering and animating masks DeLanda creates a dissonant kaleidoscopic urban symphony, bending, mirroring, and distorting New York's unique architectural surroundings. JUDGEMENT DAY (1983, 8 min, Super 8mm-to-16mm. Preserved with support from the National Film Preservation Foundation and the Andy Warhol Foundation for the Visual Arts.) Cockroaches meet their maker in the first installment of DeLanda's incomplete "Jerry Falwell trilogy." ELECTRIC ARTHROPODS (2017, 3 min, digital. Theatrical premiere!) DeLanda revisits the horror of insects in macro, electrically colorized among animated particle backgrounds. TWISTED FLESH (2018, 3 min, digital. Theatrical premiere!) A "battle" between complex image processing and pornography. Will porno always win? Total running time: ca. 70 min. 

4/25
San Francisco, California: San Francisco Cinematheque
http://www.sfcinematheque.org <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=0310286fbb&e=f36020cad0> 
7:30, Roxie Theatre / 3117 Sixteenth Street (at Valencia) San Francisco, CA 94103
K8 HARDY’S OUTFITUMENTARY
Presented in association with Frameline and the Roxie Theater // Admission: $12 General Admission/$5 for Cinematheque members // I discovered video art through punk rock and riot Grrrl, and through artists and bands that were making videos in that scene. Video was the easiest way for me to make my own statement, to represent myself as a young angry woman, and to get the work out there. I had previously been making small zines and mailing them all over the states. I had a drive to tell my own story. Outfitumentary was a step beyond. Video was also a way for me to express my queer identity and articulate my thoughts of gender as performance. I was connecting the sexual politics with the experiential. And I was connecting an experimental process with queer politics. This is a Gesamtkunstwerk. — K8 Hardy // For ten years, beginning in 2001, artist and filmmaker K8 Hardy documented her daily outfits on video according to a very simple set of self-imposed rules. Over an eleven-year period, until the camera broke, she captured these outfits—and outfitting—on a fairly consistent, if not daily basis, using the same “shitty” mini-DV camera, filming in an ever-changing series living spaces and art studios in New York. The result of this disciplined process is the fascinating Outfitumentary (2016), a thrilling evolutionary document of life and living, fashion and persona in 21st Century New York; an episodic first-person account of a young, lesbian feminist dressed and styled in her “coming of age;” and an examination of coded fashion statements and subcultural communication in the pre-instagram era. “I named the project at the outset, and considered it a document for posterity, an important record of the dress codes of a radical lesbian underground. The film expresses a fundamental principle running through my work and practice—the ways in which the body becomes its own medium. [Outfitumentary is about identity, and the way in which both the materiality of the body and its subsequent “outfitting” serves to refine, define and probe the very nature of the body politic.” (K8 Hardy) 


THURSDAY, APRIL 26, 2018

4/26
New York, NY: Anthology Film Archives
http://www.anthologyfilmarchives.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=3a6e61b9ad&e=f36020cad0> 
7:30 PM, 32 Second Avenue
SHOW & TELL: JON BEACHAM
As a filmmaker working in the medium of 16mm silent film, Jon Beacham's work focuses on the world close at hand. His use of color and light illuminate and bring a focused attention to the wordless world we pass through daily. Beacham also works in collage, photography, letterpress printing, and bookmaking. He runs the publishing imprint The Brother in Elysium, which provides a context for his work, as does his practice of collaborating with like-minded poets and artists. The Brother in Elysium has also operated a 16mm film series since 2008, projecting prints in non-theater venues. Beacham currently resides in Kingston, New York. RETURN (2006, 10 min, 16mm, silent) Shot over the course of one year beginning in Bolinas, CA, and moving through San Francisco, New York, and Cleveland. We see glimpses of all of these locations - from San Francisco's Chinatown to NYC's East Village & Lower East Side, evoking a feeling of people moving through time and space before the onslaught of digital delirium. RETURN will be screening from an original Kodachrome print. THE LAST ROLL OF KODACHOME (2007, 3 min, 16mm, silent) The last roll of this wonderful film stock which went through my Bolex before Kodak shamefully pulled the plug on its production. It was initially intended for a project, but upon viewing I decided to keep it in its original format as an unedited camera roll. An exercise in process and the idea of 'first thought, best thought.' Shot during the summer of 2007 while living in the Catskills. WHAT I SAW ON THE PERIPHERY (2011, 10 min, 16mm, silent) A travel film shot in the Midwest, constructed in eight parts focusing on locations in Michigan, Wisconsin, and Ohio. Interspersed chapter headings - Houghton, Michigan / Poor Farm / Photographing Buildings / Winter in the Country - give a sense of the feeling of this film. DAYBOOKS (2017, 9 min, 16mm, silent) Shot primarily in Kingston. Daily. Out walking. Looking at the things which hold oneself. FILM FOR VIOLET (2017, 7 min, 16mm, silent) A portrait of my grandmother Violet's house and Lake Erie. Shot in Euclid, Ohio, slowly over the course of three years. Golden light and the calm of the lake. A film about an interior. Total running time: ca. 45 min. 


FRIDAY, APRIL 27, 2018

4/27
New York, NY: Anthology Film Archives
http://www.anthologyfilmarchives.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=804ecee6b6&e=f36020cad0> 
7:30 PM, 32 Second Avenue
CANYON CINEMA 50: PROGRAM 1: STUDIES IN NATURAL MAGIC
Saul Levine LIGHT LICK: AMEN (2017, 4 min, 16mm, silent) "A stark portrait of my father at daily morning prayers to which I respond, AMEN. LIGHT LICKS are a series of films I began in 1999. The films are made frame by frame, often by flooding the camera with enough light to spill beyond the gate into the frame left unexposed. LIGHT LICKS are ecstatic flicker films inspired by jazz and mystic visionary practice, and extend my interest in the ways film can be a medium of visual improvisation." -Saul Levine Standish Lawder CAT FILM FOR KATY AND CYNNIE (1973, 3 min, 16mm, silent. New print, preserved by the Academy Film Archive!) "In the early 1970s, a New York cat-lover and filmmaker named Pola Chapelle produced a 'Cat Film Festival,' which was shown in a large downtown NYC auditorium to an audience of more than a thousand cat-lovers. At the time, I lived with my wife Ursula and our daughters Katy and Cynnie, together with many, too many cats. I loved my family but not the cats." -Standish Lawder Betzy Bromberg CIAO BELLA or FUCK ME DEAD (1978, 9 min, 16mm. New print!) "CIAO BELLA is a summer-in-the-city travelogue that mixes vérité of Lower East Side Bikers, Times Square topless dancers, and Coney Island crowds to achieve a highly charged atmosphere of manic exhibitionism and sexual raunch." -J. Hoberman Christopher Harris 28.IV.81 (BEDOUIN SPARK) (2009, 3 min, 16mm, silent) "Approximates a small child's fantasy world in the dark. In a series of close-ups, the nightlight is transformed into a meditative star-spangled sky. An improvisation, edited inside the camera and shot on a single reel. The stars swirl in silence." -INTERNATIONAL FILM FESTIVAL ROTTERDAM Emily Richardson REDSHIFT (2001, 4 min, 16mm) "In astronomical terminology redshift is a term used in calculating the distance of stars from the earth, hence determining their age. REDSHIFT attempts to show the huge geometry of the night sky and give an altered perspective of the landscape, using long exposures, fixed camera positions, long shots and time-lapse animation techniques to reveal aspects of the night that are invisible to the naked eye." -Emily Richardson Charlotte Pryce A STUDY IN NATURAL MAGIC (2013, 3 min, 16mm, silent) "Witness an alchemist's spell: the transmutation of light into substance: a glimpse of gold." -Charlotte Pryce Robert Fulton STARLIGHT (1970, 5 min, 16mm) "A Tibetan Lama. His disciple. The disciple's wife, young boy and terrier. An old tugboat crossing the Mississippi River. A man in his seventh month of solitude. His hermitage built by his own hands. The man's bloodhound; his cat. Clouds crossing the Continental Divide. A mountain stream. A girl. The sun." -Robert Fulton Jean Sousa SWISH (1982, 3 min, 16mm, silent) "The subject of the film is motion, and it is an attempt to get inside of it. It was made with a moving subject and a moving camera with an open shutter, the result being that each frame is unique, without the smooth continuity that is expected in film. The subject, a female body at close range, provides an intimacy and eroticism. At the same time it can be seen as a modern version of Futurist simultaneity." -Jean Sousa Gary Beydler HAND HELD DAY (1975, 6 min, 16mm, silent. New print, preserved by the Academy Film Archive!) "Over the course of two Kodachrome camera rolls, we simultaneously witness eastward and westward views of the surrounding landscape as the skies, shadows, colors, and light change dramatically. Beydler's hand, holding the mirror carefully in front of the camera, quivers and vibrates, suggesting the relatively miniscule scale of humanity in the face of a monumental landscape and its dramatic transformations." -Mark Toscano Greta Snider PORTLAND (1996, 12 min, 16mm, b&w) "Three friends, including the filmmaker, rendezvous in Portland by hitchhiking or train-hopping from different cities. After a week of arguments, soup kitchens, brushes with the law, and bad weather, each leaves with a different memory of the trip, refracted through the tensions and expectations of their triangulated friendship." -Greta Snider Scott Stark DEGREES OF LIMITATION (1982, 3 min, 16mm, silent. New print!) "A single 100' roll shot with a hand-wound 16mm Bolex. For each shot the camera was wound one additional time, allowing me to make it a little bit farther up the hill. Will I reach the top before the film runs out? A study in self-imposed limitations." -Scott Stark David Gatten SHRIMP BOAT LOG (2006/10, 6 min, 16mm, silent) "A mathematical concept by Leonardo da Vinci, translated into a beautiful conceptual film consisting of 300 shots, each 29 frames long. Footage of a logbook of shrimp boat names and the image of those same boats at the mouth of the Edisto River." -Erwin Van't Hart, INTERNATIONAL FILM FESTIVAL ROTTERDAM Peter Hutton BOSTON FIRE (1979, 8 min, 16mm, b&w, silent. Preserved by Anthology Film Archives with support from the Andy Warhol Foundation for the Visual Arts.) "BOSTON FIRE finds grandeur in smoke rising eloquently from a city blaze. Billowing puffs of darkness blend with fountains of water streaming in from off screen to orchestrate a play of primal elements. The beautiful texture of the smoke coupled with the isolation from the source of the fire erases the destructive impact of the event. The camera, lost in the immense dark clouds, produces images for meditation removed from the causes or consequences of the scene." -MILLENNIUM FILM JOURNAL Julie Murray ORCHARD (2004, 10 min, 16mm) "Much of the footage that comprises ORCHARD is of a 19th-century ruins that included a walled orchard in an area known as Rostellen in southwest Ireland. It is set deep in the woods and the crumbling brick and mortar of the broken walls has become the anchor for the roots of slender trees, so uninhibited for all this time that they reach twenty feet in height and have thick roots that follow like slow lazy trickles of water and in other places branch and wind over the brickwork in an apparently intelligent arterial arrangement reminiscent of the human body." -Julie Murray Total running time: ca. 85 min. 


SATURDAY, APRIL 28, 2018

4/28
New York, NY: Anthology Film Archives
http://www.anthologyfilmarchives.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=606acd9268&e=f36020cad0> 
5:00 PM, 32 Second Avenue
CANYON CINEMA 50: PROGRAM 2: ASSOCIATIONS
Mark Toscano RELEASING HUMAN ENERGIES (2012, 5.5 min, 16mm. New print!) "A film about control. A refinement of energy for purposes of conserving resources, materials, impetus, potential, so they might all be narrowly channeled toward an unquestioned goal of maximum profit with minimum waste. Capitalism, in this example, as a process of understanding how to make use of someone as efficiently as possible to get the most out of them that is desired. Instructions for keeping people on task." -Mark Toscano Sara Kathryn Arledge WHAT IS A MAN? (1958, 10 min, 16mm) "WHAT IS A MAN? propels Sara Kathryn Arledge from the realm of formal experimentation to social satire. Made with a remarkably sharp wit and a trenchant, mocking view of gender conventions, Arledge gives us a work far ahead of its time. Begun in 1951, Arledge received the first Creative Film Foundation award (established by Maya Deren) for script development in 1956 and completed the film in 1958. It was not until Nelly Kaplan's also neglected feature A VERY CURIOUS GIRL (1969) that women's cinema would once again celebrate such a spirited, subversive artist." -Bill Nichols John Smith ASSOCIATIONS (1975, 7 min, 16mm) "Images from magazines and color supplements accompany a spoken text taken from 'Word Associations and Linguistic Theory' by Herbert H. Clark. By using the ambiguities inherent in the English language, ASSOCIATIONS sets language against itself. Image and word work together/against each other to destroy/create meaning." -John Smith Robert Nelson HOT LEATHERETTE (1967, 5 min, 16mm, b&w. New print, preserved by the Academy Film Archive!) "A kinetic film sketch designed to involve the viewers' muscles. The rocky seaside cliffs near Stinson Beach, California, hold the wrecked carcass of a #52 pickup that is a rusting monument to Hot Leatherette." -Robert Nelson Barbara Hammer DYKETACTICS (1974, 4 min, 16mm) "A popular lesbian 'commercial,' 110 images of sensual touching montages in A, B, C, D rolls of 'kinaesthetic' editing." -Barbara Hammer Stephanie Barber FLOWER, THE BOY, THE LIBRARIAN (1997, 5 min, 16mm) "It's a love story, with the usual dashing figures and old habits of spelling, repetition and listing." -Stephanie Barber Phil Solomon THE SNOWMAN (1995, 8 min, 16mm) "A meditation on memory, burial and decay - a belated kaddish for my father." -Phil Solomon Robert Breer SWISS ARMY KNIFE WITH RATS & PIGEONS (1981, 6.5 min, 16mm-to-35mm. Preserved by Anthology Film Archives with generous support from the Andy Warhol Foundation for the Visual Arts and the National Endowment for the Arts.) "…a typically bravura and delightful display of simple objective forms flashing, rotating, and dissolving into abstraction…" -J. Hoberman Curt McDowell CONFESSIONS (1971, 11 min, 16mm, b&w. New print, preserved by the Academy Film Archive!) As part of a "legendary body of work that is wildly life-affirming, bawdy, tender, often hilarious, sassy and frequently penetrating" (Mark Toscano), the nakedly personal CONFESSIONS, made while Curt McDowell (1945-87) was a graduate student in San Francisco, opens with the filmmaker looking into the camera while directly addressing his parents (who never did see the film) as he tenderly admits to childhood thefts and lies, drinking and taking drugs, and bluntly describes his varied sexual experiences. Thad Povey THINE INWARD-LOOKING EYES (1993, 2 min, 16mm) "To paraphrase something Lao Tzu didn't say: This film's an empty cup - You fill it up." -Thad Povey Abigail Child MERCY (1989, 10 min, 16mm) The final film in Abigail Child's seven-part series "Is This What You Were Born For?", Child has described MERCY as "dissecting the game mass media plays with our private perceptions." Child masterfully composes a rhythmic collage of symmetries and asymmetries in a fluid essay that forefronts the treatment of the body as a mechanized instrument - placing the body in relation to the man-made landscape of factories, amusement parks and urban office complexes. With vocals performed by Shelley Hirsch. Richard Myers AKBAR (1970, 16 min, 16mm. New print, preserved by the Academy Film Archive!) "A conversation with a friend - Ahmed Akbar. A short interview-type film portrait with Akbar, a black filmmaker and former student of mine at Kent State. Akbar expresses an unusual and exciting view of himself/blacks in America/and such varied subjects as 'this moon race shit!' A friendly, lively, exciting portrait of a very extraordinary person from Akron, Ohio." -Richard Myers Total running time: ca. 95 min. 

4/28
New York, NY: Anthology Film Archives
http://www.anthologyfilmarchives.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=3059346487&e=f36020cad0> 
7:30 PM, 32 Second Avenue
CANYON CINEMA 50: PROGRAM 3: DECODINGS
Lawrence Jordan DUO CONCERTANTES (1964, 9 min, 16mm, b&w) "Birds, butterflies, old engravings - the mind's moving fantasmagoria. A binder on the spell of the white witch." -Lawrence Jordan "Jordan's imagery is exquisite and eloquent, concentrating on simple, repeated use of particularly poetic symbols and figures, a conglomerative effect of old Gustave Doré drawings, 19th century whatnot memorabilia, all fused to a totally aware perception." -Lita Eliseu Will Hindle BILLABONG (1969, 9 min, 16mm) "A remarkably intimate and at times palpably erotic study of boys in a Job Corps camp on the Oregon coast, BILLABONG is a sensuously humanist encounter with alienated youth, told in the filmmaker's trademark undulating lap dissolves and scintillatingly grainy high contrasts. Loneliness and longing-for-elsewhere alternate with horseplay and horniness, and hijinks around urinals and pool tables culminate in an ecstatic moment of onanistic release." -Chuck Stephens Tom Palazzolo LOVE IT / LEAVE IT (1973, 15 min, 16mm. New print, preserved by Chicago Filmmakers with funding by the National Film Preservation Foundation!) "What you see is what you get, as heimlich and American as apple pie and neo-Nazis: fragments and fleeting glimpses of neighborhood gatherings and celebrations, ball games, Civil War re-enactments, wrestling matches, rock concerts, and the 1968 Democratic National Convention all join in LOVE IT / LEAVE IT's visual churn, while Ray Wilding White's musique concrète soundtrack loops and reloops the film's titular mantra - a dialectical cri de coeur in which the former proposition is clearly the salutary one: to leave America would be to miss the parades, this rich pageant of life, these boobs and their boobs." -Chuck Stephens Naomi Uman REMOVED (1999, 6 min, 16mm. New print!) "Using a piece of found European porn from the 1970s, nail polish and bleach, this film creates a new pornography, one in which the woman exists only as a hole, an empty, animated space." -Naomi Uman Cauleen Smith CHRONICLES OF A LYING SPIRIT (BY KELLY GABRON) (1992, 6.5 min, 16mm. New print, preserved by the Academy Film Archive!) "Less a depiction of 'reality' than an exploration of the implications of the mediation of Black history by film, television, magazines and newspapers. Using her alter ego, Kelly Gabron, Smith fabricates a personal history of her emergence as an artist from white-male-dominated American history (and American film history)." -Scott MacDonald Jodie Mack POINT DE GAZE (2012, 5 min, 16mm, silent) "Named after a type of Belgian lace, this fabric flicker film investigates intricate illusion and optical arrest." -Jodie Mack Mariah Garnett ENCOUNTERS I MAY OR MAY NOT HAVE HAD WITH PETER BERLIN (2014, 14 min, 16mm) ENCOUNTERS deals primarily with monumentality, narcissism and the ways in which our heroes are embedded into our identities, and manifested through the body. Through a variety of gestures, the pervasiveness of this practice is highlighted alongside its ultimate, inevitable failure. The viewer moves through various stages of anxiety, idolization and actual touchdown with 70s gay sex icon Peter Berlin himself, capturing both the apparent and the hidden. JoAnn Elam LIE BACK & ENJOY IT (1982, 8 min, 16mm, b&w) "An absorbing eight-minute dialectical film about the politics of representation. More specifically, it examines the politics of filmic representation of women under patriarchy. […] The film is endowed with remarkable structural and rhetorical lucidity." -Claudia Gorbman Michael Wallin DECODINGS (1988, 15 min, 16mm, b&w) "A profoundly moving, allegorical search for identity from the documents of collective memory, in this case, found footage from the 1940s and 50s. […] The search for self ends in aching poignancy with stills of a boy and his mother at the kitchen table, catching the moment that marks the dawning of anguish and loss; desire becomes imprinted on that which was long ago." -Manohla Dargis Total running time: ca. 95 min. 

4/28
San Francisco, California: Other Cinema
http://www.othercinema.com/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=bdb704e985&e=f36020cad0> 
8 PM, 992 Valencia Street
SCRITTI POLITTI:MAYDAY MEDIA WITH J.DREW/NEWSREEL + J.HARPER/FREAK TV +
For our Maypole party, we’re sprouting radical cinema seeds planted by the heroic 16mm film collective Newsreel (50th anniversary!). Jesse Drew himself rolls in from Davis to intro these essential pieces from the 60s/70s, when the collective became the de facto chronicler of the revolutionary moment. He’ll highlight clips from the 1969 Amerika (street battles in the heart of the beast), and People’s War (shot in Vietnam), plus Off the Pig (on Black Panthers), SF State Strike, and Santiago Alvarez’ Cuban cornerstone Now! Carla Leshne shares an earlier history, that of the Workers’ Film and Photo League. ALSO: Our East Bay brother Joshua Harper (Berkeley Comm. Media) details a video history of the democratic urge within the TV medium–pirates, activists, artists, and nudists taking over the airwaves, from the first 60s experiments to the current cutting-edge of online transmission, including Portapacks, Public Access, Paper Tiger, micro-broadcasting, Youtube and the false promises of internet television. Come early for anti-Trump jams, and free bread, and red roses. 


SUNDAY, APRIL 29, 2018

4/29
New York, NY: Anthology Film Archives
http://www.anthologyfilmarchives.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=b26a154b85&e=f36020cad0> 
2:00 PM, 32 Second Avenue
HARUN FAROCKI: PROGRAM 4
BEDTIME STORIES: RAILWAYS / EINSCHLAFGESCHICHTEN (1977, 3 min, 16mm-to-digital. In German with English subtitles.) IMAGES OF THE WORLD AND THE INSCRIPTION OF WAR / BILDER DER WELT UND INSCHRIFT DES KRIEGES (1988, 77 min, 16mm-to-digital. In German with English subtitles.) This film focuses on the 'blind spots' in the interpretation of aerial photographs taken during an American bombing raid in 1944 of an industrial plant in Germany. Only decades later, when the photos were analyzed by the CIA, was it realized that the Auschwitz concentration camps were also captured in these images. Farocki shows the links between war and photography, exploring how perception during times of conflict is conditioned by what people want or don't want to see, rendering observers as either passive accomplices or victims in times of war. 

4/29
New York, NY: Anthology Film Archives
http://www.anthologyfilmarchives.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=659a700ff1&e=f36020cad0> 
7:30 PM, 32 Second Avenue
CANYON CINEMA 50: PROGRAM 4: CONTINUUM
Bruce Baillie VALENTIN DE LAS SIERRAS (1968, 10 min, 16mm. New print!) "Song of revolutionary hero, Valentin, sung by Jose Santollo Nasido en Santa Cruz de la Soledad; Chapala, Jalisco, Mexico." -Bruce Baillie Gunvor Nelson MY NAME IS OONA (1969, 10 min, 16mm, b&w) "MY NAME IS OONA captures in haunting, intensely lyrical images fragments of the coming to consciousness of a child girl. A series of extremely brief flashes of her moving through night-lit space or woods in sensuous negative, separated by rapid fades into blackness, burst upon us like a fairy-tale princess, with a late sun only partially outlining her and the animal in silvery filigree against the encroaching darkness; one of the most perfect recent examples of poetic cinema. Throughout the entire film, the girl, compulsively and as if in awe, repeats her name, until it becomes a magic incantation of self-realization." -Amos Vogel Pat O'Neill DOWN WIND (1973, 15 min, 16mm) "A thoughtful treatment of some of the problems we (mankind) have been having in dealing with our fellow species, animal and vegetable. Actually an undercover 'structural' film, this one seems at first to be some sort of berserk travelogue. I spent years going to travelogues as a child, and still have a great fondness for visiting natural history museums in strange cities." -Pat O'Neill Janie Geiser TERRACE 49 (2004, 5 min, 16mm) "Images of impending disaster - slamming doors, a truck careening down a hill, and a frayed, almost snapping, elevator rope - collide with the repeated image of a woman's body, cycling toward ephemerality as the woman disappears into the texture of the film itself." -Janie Geiser Tomonari Nishikawa MARKET STREET (2005, 5 min, 16mm, b&w, silent. New print!) "As I am interested in the projection apparatus and human visual perception, I carefully juxtaposed images on Market Street by single-framing, in order to create certain happenings on the screen. By studying my super 8 films, SKETCH FILM #1 and SKETCH FILM #2, I made decisions for sequences of this film before working on this project. No re-photographing technique is involved. The result may look abstract, yet representative enough to show the characteristics of the street." -Tomonari Nishikawa Dominic Angerame CONTINUUM (1987, 17 min, 16mm, b&w, silent) "CONTINUUM, though a film only 15 minutes in length, is one of the more remarkable works within recent cinematic history. In it, the world, the workers within the world, and the labor of making the film itself are equated through montage and a brilliantly concentrated filmic 'painterliness.'" -Jack Hirschman Karen Holmes SAVING THE PROOF (1979, 11 min, 16mm) "SAVING THE PROOF is a complex transformation of an ordinary action: a woman walking. The rhythm of her gait and the pulsating, repetitive sounds counterpoint with alternating images of her transversing city streets, passing windows and fences, descending stairs. As the images repeat and vary with mathematical precision, one becomes more interested in the process itself than in her destination." -Margaret Ganahl Chick Strand MUJER DE MILFUEGOS (1976, 15 min, 16mm. New print!) "A kind of heretic fantasy film. An expressionistic, surrealistic portrait of a Latin American woman. Not a personal portrait so much as an evocation of the consciousness of women in rural parts of such countries as Spain, Greece and Mexico; women who wear black from the age 15 and spend their entire lives giving birth, preparing food and tending to household and farm responsibilities. MUJER DE MILFUEGOS depicts in poetic, almost abstract terms, their daily repetitive tasks as a form of obsessive ritual." -Chick Strand Total running time: ca. 95 min. 

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