[Frameworks] 11/5 screening at Oberlin

Sun Nov 4 19:46:12 UTC 2018

I forgot to add a program I put together to the weekly list that just went
around. I wanted to send it along in case anyone on the list is in northern
Ohio tomorrow... 16mm screening of rarely screened 80s/90s work by [women]
filmmakers in Canyons collection. Films by Arledge, Fonoroff, Geiser,
Kirby, Smith, and Strand. Feel free to spread the word to anyone/everyone
in Ohio!

https://calendar.oberlin.edu/event/cinema_artists_cinema_16mm_film_series_women_in_minor_cinema

best,
james

On Sun, Nov 4, 2018, 2:06 PM <frameworks-request at jonasmekasfilms.com wrote:

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>    1. This week [November 3 - 11, 2018] in avant garde cinema
>       (weeklylisting at hi-beam.net)
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> Date: Sat, 3 Nov 2018 17:02:52 -0500
> Subject: [Frameworks] This week [November 3 - 11, 2018] in avant garde
> cinema
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> This week [November 3 - 11, 2018] in avant garde cinema
>
> Enter your event announcements by going to the Flicker Weekly Listing Form
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> [image:
> Modern%20Mondays%20-%20An%20Evening%20with%20Marie%20Losier.jpg?sha=d6bf75b665659681]
> *An Evening With Marie Losier <#m_-7989394390559747557_anchor6> [November
> 5, New York, NY United States] *
>
> [image: cropped---Preiss1-1600x900-c-default-wpcf_320x213.png]
> *Infrared Program 4 - Jeff Preiss' Stop <#m_-7989394390559747557_anchor7>
> [November 6, San Francisco, California] *
>
> [image:
> 45011726_1878504102266998_3547895474738429952_o.jpg?_nc_cat=101&_nc_ht=scontent-dfw5-1.xx&oh=5d70ec5ce3494706165a51b57d21a8c7&oe=5C7863EC]
> *Cineinfinito #74/75: Gordon Ball <#m_-7989394390559747557_anchor11>
> [November 8, Santander, Spain] *
>
> [image: Epiphanists-01-1920x1080.jpg]
> *Love and the Epiphanists: A Scott Stark Performance
> <#m_-7989394390559747557_anchor17> *
>
> [image: 003_Faber.jpg]
> *Engauge Experimental Film Festival Program 4: the Open Window
> <#m_-7989394390559747557_anchor22> *
>
> *NEW CALLS FOR ENTRIES:*
> Magmart Festival XI edition (Naples, Italy; Deadline: April 07, 2019)
>  http://hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=2003.ann
> <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=e5c4e142d1&e=f36020cad0>
> Onion City Experimental Film and Video Festival (Chicago; Deadline:
> January 04, 2019)
>  http://hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=2004.ann
> <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=b0055e7ef5&e=f36020cad0>
> Single Frame (Durham, NC, USA; Deadline: January 01, 2019)
>  http://hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=2005.ann
> <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=2d1b95d61e&e=f36020cad0>
> Laterale Film Festival (Cosenza, Southern Italy; Deadline: March 31, 2019)
>  http://hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=2006.ann
> <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=baca65b3b4&e=f36020cad0>
>
> *DEADLINES APPROACHING:*
> Alchemy Film & Moving Image Festival (Hawick, Sotland; Deadline: November
> 30, 2018)
>  http://hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1989.ann
> <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=26a9531e26&e=f36020cad0>
> Cosmic Rays Film Festival (Chapel Hill, NC USA; Deadline: December 01,
> 2018)
>  http://hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1994.ann
> <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=6dc69e1aa5&e=f36020cad0>
> On Screen/In Person (Baltimore, MD, USA; Deadline: December 07, 2018)
>  http://hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1995.ann
> <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=50955c8622&e=f36020cad0>
> Experimental & Expanded Animation: Current Perspectives & New Directions
> (Farnham, Surrey, UK; Deadline: November 15, 2018)
>  http://hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1999.ann
> <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=61a0e1e018&e=f36020cad0>
> 26th Chicago Underground Film Festival (Chicago, Il, USA; Deadline:
> December 03, 2018)
>  http://hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=2000.ann
> <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=ff79530c27&e=f36020cad0>
> The Florida Experimental Film/Video Festival (Tampa, Florida, USA;
> Deadline: November 20, 2018)
>  http://hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=2002.ann
> <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=e2e8f2653c&e=f36020cad0>
>
> Events are sorted alphabetically *BY CITY* within each *DATE*.
>
> This week's programs (summary):
>
> ·        Show & Tell: Helga Fanderl <#m_-7989394390559747557_anchor1>
> [November 3, New York, NY]
>
> ·        Scritti Politti1: Adam Khalil/Bayley Sweitzer's "Empty Metal"
> <#m_-7989394390559747557_anchor2> [November 3, San Francisco, California]
>
> ·        Sight Unseen Presents Canyon Cinema 50 Tour
> <#m_-7989394390559747557_anchor3> [November 4, Baltimore, MD United
> States]
>
> ·        Experimenta Presents.Cross-Generation Dialogue: the Margaret
> Tait Award + Q+A With Directors Kate Davis, Sarah Forrest, Duncan Marquiss.
> <#m_-7989394390559747557_anchor4> [November 5, London, England]
>
> ·        Margarer Tait Film Poems + Discussion With Writer Anna Coatman,
> Writer So Mayer, Academic Lucy Reynolds and Season Curator Peter Todd
> <#m_-7989394390559747557_anchor5> [November 5, London, England]
>
> ·        An Evening With Marie Losier <#m_-7989394390559747557_anchor6>
> [November 5, New York, NY United States]
>
> ·        Infrared Program 4 - Jeff Preiss' Stop
> <#m_-7989394390559747557_anchor7> [November 6, San Francisco, California]
>
> ·        The Black Maria Film Festival's Hudson County Movie Tour At the
> Hoboken Historical Museum Presents the Award-Winning Film, “The Washing
> Society” By Lizzie Olesker and Lynne Sachs.
> <#m_-7989394390559747557_anchor8> [November 7, Hoboken, NJ]
>
> ·        When I Look At You <#m_-7989394390559747557_anchor9> [November
> 7, San Francisco, California]
>
> ·        One Plus One, By Jean-Luc Godard, official La Premiere!
> <#m_-7989394390559747557_anchor10> [November 8, Los Angeles, California]
>
> ·        Cineinfinito #74/75: Gordon Ball
> <#m_-7989394390559747557_anchor11> [November 8, Santander, Spain]
>
> ·        Engauge Experimental Film Festival Program 1: the Aura of
> Uncertainty <#m_-7989394390559747557_anchor12> [November 8, Seattle,
> Washington]
>
> ·        Imaging Actors With Stacey Steers and Lynn Hershman Leeson
> <#m_-7989394390559747557_anchor13> [November 9, Houston, Texas]
>
> ·        Trans Film: On the Record <#m_-7989394390559747557_anchor14>
> [November 9, New York, NY]
>
> ·        Engauge Experimental Film Festival Program 3: "Astro Trilogy and
> Other Works" By Kerry Laitala <#m_-7989394390559747557_anchor15>
> [November 9, Seattle, Washington]
>
> ·        Engauge Experimental Film Festival Program 2: Films To Break
> Projectors <#m_-7989394390559747557_anchor16> [November 9, Seattle,
> Washington]
>
> ·        Love and the Epiphanists: A Scott Stark Performance
> <#m_-7989394390559747557_anchor17> [November 10, Houston, Texas]
>
> ·        Ufos, Prog. 3: Yann Gonzalez, Bertrand Mandico, Joana Preiss
> <#m_-7989394390559747557_anchor18> [November 10, New York, NY]
>
> ·        F.J. Ossang: Short Film Program
> <#m_-7989394390559747557_anchor19> [November 10, New York, NY]
>
> ·        Desire and Resistance - Unearthing Trans Legacies
> <#m_-7989394390559747557_anchor20> [November 10, New York, NY]
>
> ·        Girl's Choice: Christian Divine's "The Blue Age of video Games"
> <#m_-7989394390559747557_anchor21> [November 10, San Francisco,
> California]
>
> ·        Engauge Experimental Film Festival Program 4: the Open Window
> <#m_-7989394390559747557_anchor22> [November 10, Seattle, Washington]
>
> ·        Engauge Experimental Film Festival Program 5--Crackpot Crafters:
> "Localoops" <#m_-7989394390559747557_anchor23> [November 10, Seattle,
> Washington]
>
> ·        50s West German Avant Garde Films
> <#m_-7989394390559747557_anchor24> [November 11, Cambridge]
>
> ·        Compressed Air: the Best Experimental Films of 2018 With Michael
> Sicinski <#m_-7989394390559747557_anchor25> [November 11, Houston, Texas]
>
> ·        London Restoration Premiere: Margaret Tait's: Blue Black
> Permanent + Intro By Writer So Mayer <#m_-7989394390559747557_anchor26>
> [November 11, London, England]
>
> ·        Rose Lowder: Bouquets 11-20 <#m_-7989394390559747557_anchor27>
> [November 11, New York, NY]
>
> ·        From Anger To Utah <#m_-7989394390559747557_anchor28> [November
> 11, New York, NY]
>
> *SATURDAY, NOVEMBER 3, 2018*
>
> 11/3
> New York, NY: *Anthology Film Archives*
> http://www.anthologyfilmarchives.org/
> <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=80c8117c1e&e=f36020cad0>
> 7:30 PM, 32 Second Avenue
> *SHOW & TELL: HELGA FANDERL*
> CORRESPONDENCES: THE SILENT FILMS OF HELGA FANDERL German filmmaker Helga
> Fanderl makes her first visit to Anthology in many years to present this
> specially-selected program drawn from her astoundingly vast body of silent
> Super-8mm films and 16mm blow-ups (she has made around 1,000 short films
> since 1986). A onetime student of both Peter Kubelka and Robert Breer,
> Fanderl makes her work impressionistically and intuitively, in response to
> the rhythms, forms, textures, and colors she encounters, and always limits
> herself to in-camera editing, so that each film becomes a reflection of the
> process of its own creation. Her practice is distinguished as well by her
> commitment to a particular way of presenting her work in public: generally
> projecting the films herself from within the screening space, Fanderl
> conceives of each screening program as a unique 'montage' of individual
> works that together comprise a kind of ephemeral, never-to-be-repeated
> 'film' in their own right (an approach made possible by the sheer multitude
> of pieces she's created over the years). The interplay of the varied films
> with their different motifs and rhythms evokes ever-changing and infinitely
> diverse correspondences and contrasts, and transforms each screening into a
> unique performance, more than a fixed presentation. "My films record
> encounters with events and images in the real world that attract me. There
> is no postproduction in my work. Every single film preserves and reflects
> the traces of its creation, the sensations and emotions I felt in the
> moment of filming." -Helga Fanderl SUPER-8MM: FOUNTAIN / BRUNNEN 2000, 3.5
> min, Super-8mm GIRLS / MÃ„DCHEN 1995, 2 min, Super-8mm BULRUSHES / BINSEN
> 2003, 2.5 min, Super-8mm CAROUSEL / KARUSSELL 2006, 3 min, Super-8mm WATER
> PLANTS / WASSERPFLANZEN 2017, 2.5 min, Super-8mm LEAVES ON A GLASS ROOF /
> BLÃ„TTER AUF DEM GLASDACH 2017, 3.5 min, Super-8mm CLOUDS OVER THE PALAIS
> ROYAL / WOLKEN ÃœBER DEM PALAIS ROYAL 2018, 3.5 min, Super-8mm CIRCULATION
> TANK / UMLAUFTANK 2017, 3.5 min, Super-8mm MIRRORED / GESPIEGELT 2018, 3.5
> min, Super-8mm FLOWERING TREE / BLÃœTENBAUM 2018, 1.5 min, Super-8mm SCHOOL
> OF BEEKEEPERS / IMKERSCHULE 2018, 30 sec, Super-8mm PLEIN-AIR PHOTOS /
> PLEINAIR FOTOS 2018, 1 min, Super-8mm MIMOSAS IN THE WIND / MIMOSEN IM WIND
> 2018, 3.5 min, Super-8mm 16MM: NIGHT ON A CANAL / NACHT AM KANAL 2002, 1
> min, Super-8mm-to-16mm SNOWFALL / SCHNEEFALL 2010, 1.5 min,
> Super-8mm-to-16mm WHITE FLOWERS / WEIÃŸE BLUMEN 2016, 1.5 min,
> Super-8mm-to-16mm WILD GEESE / WILDGÃ„NSE 2016, 3.5 min, Super-8mm-to-16mm
> LEOPARD 2012, 3 min, Super-8mm-to-16mm LEAVES / LAUB 2010, 1.5 min,
> Super-8mm-to-16mm RUST / ROST 2010, 3 min, Super-8mm-to-16mm CONTAINER
> 2011, 1 min, Super-8mm-to-16mm GLASSES / GLÃ„SER 2011, 2 min,
> Super-8mm-to-16mm YELLOW LEAVES / GELBE BLÃ„TTER 2010, 1 min,
> Super-8mm-to-16mm STREAM / STROM 2010, 3 min, Super-8mm-to-16mm Total
> running time: ca. 65 min.
>
> 11/3
> San Francisco, California: *Other Cinema*
> http://www.othercinema.com/
> <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=be89362cd5&e=f36020cad0>
> 8 PM, 992 Valencia Street
> *SCRITTI POLITTI1: ADAM KHALIL/BAYLEY SWEITZER'S "EMPTY METAL"*
> In our co-presentation with PFA, both sides of the Bay are mobilized by
> the excitement around this feature debut from a pair of young radicals out
> of Brooklyn’s fabled Union Docs incubator. With mass surveillance and
> pervasive policing as context, both outside and in the fiction, Adam Khalil
> and Bayley Sweitzer, here in the flesh, have managed to conjure a
> revolutionary spirit at world’s end. Set in the near future, their
> speculative drama, just a few degrees off our current climate of national
> collapse, opens up a space for imaginative story-telling...but is still
> close enough to a possible present to pop up in Doc Fests! In their taut
> thriller, a punk band is coerced into an assassination plot by militant
> Native Americans, with support from hackers and hermits. The lives of these
> several people, at extreme poles of the nation’s social consciousness,
> weave together into a collective against our American Apocalypse. The
> evening opens with a selection of trailers and clips from the subversive
> cinema that inspired our guests: Ice, Born in Flames, Southland Tales, et
> al.
>
> *SUNDAY, NOVEMBER 4, 2018*
>
> 11/4
> Baltimore, MD United States: *Sight Unseen*
> http://sightunseenbaltimore.com
> <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=a70d1c518a&e=f36020cad0>
> 4:30 PM, 5 West North Avenue
> *SIGHT UNSEEN PRESENTS CANYON CINEMA 50 TOUR*
> SIGHT UNSEEN presents Canyon Cinema 50 Film Tour Presented by David
> Dinnell Q&A with curator, David Dinnell and filmmaker, Stephanie Barber
> immediately following the screening. PROGRAM DESCRIPTION ASSOCIATIONS is
> titled after John Smith’s 1975 film, a joyfully dense rebus-like image-word
> construction. Smith’s film is preceded by Sara Kathryn Arledge’s rarely
> seen 1958 work What is A Man, a film years ahead of its time, and Mark
> Toscano’s 2012 piece Releasing Human Energies, which utilizes film
> laboratory test footage of a “China Girl” set to a found text read by
> Morgan Fisher. The program also features Abigail Child’s classic 1989 film
> Mercy, from her celebrated “Is This What You Were Born For?” series;
> canonical works by Phil Solomon, Barbara Hammer, Robert Breer, and Robert
> Nelson; and two recent restorations: the humorously poignant Confessions by
> Curt McDowell and Akbar, Richard Myers’ extraordinary 1970 portrait of
> young black filmmaker and student, Akbar Ahmed. Total running time: 90
> minutes Releasing Human Energies Mark Toscano, 2012, 5.5 minutes, color,
> sound What is a Man? Sara Kathryn Arledge, 1958, 10 minutes, color, sound
> Associations John Smith, 1975, 7 minutes, color, sound Hot Leatherette
> Robert Nelson, 1967, 5 minutes, B&W, sound Dyketactics Barbara Hammer,
> 1974, 4 minutes, color, sound Flower, the Boy, the Librarian Stephanie
> Barber, 1997, 5 minutes, color, sound The Snowman Phil Solomon, 1995, 8
> minutes, color, sound Swiss Army Knife with Rats & Pigeons Robert Breer,
> 1981, 6 minutes, color, sound Confessions Curt McDowell, 1971, 11 minutes,
> B&W, sound Thine Inward-Looking Eyes Thad Povey, 1993, 2 minutes, color,
> sound Mercy Abigail Child, 1989, 10 minutes, color, sound Akbar Richard
> Myers, 1970, 16 minutes, color, sound
>
> *MONDAY, NOVEMBER 5, 2018*
>
> 11/5
> London, England: *BFI Southbank*
> http://www.bfi.org.uk/whatson/southbank/
> <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=0d0d2bab1a&e=f36020cad0>
> 20.45, BFI Southbank, London, SE1 8XT
> *EXPERIMENTA PRESENTS.CROSS-GENERATION DIALOGUE: THE MARGARET TAIT AWARD +
> Q+A WITH DIRECTORS KATE DAVIS, SARAH FORREST, DUNCAN MARQUISS.*
> Supported by Glasgow Film Festival, LUX Scotland and Creative Scotland,
> the Margaret Tait Award was founded in 2010 to support experimental and
> innovative artists working with film and the moving image. In this
> programme, we present the eclectic and fascinating works produced by
> previous winners (2015-2017) Duncan Marquiss, Kate Davis and Sarah Forrest
> – each reflecting Tait’s personal, individual approach, and the strength
> and dynamism of artist filmmaking in Scotland right now. Presented by BFI
> Curator William Fowler.
>
> 11/5
> London, England: *BFI Southbank*
> http://www.bfi.org.uk/whatson/southbank/
> <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=38fc36e934&e=f36020cad0>
> 18.10., BFI Southbank, London, SE1 8XT
> *MARGARER TAIT FILM POEMS + DISCUSSION WITH WRITER ANNA COATMAN, WRITER SO
> MAYER, ACADEMIC LUCY REYNOLDS AND SEASON CURATOR PETER TODD*
> This programme in our season celebrating the remarkable, visionary artist.
> includes Three Portrait Sketches (1951), The Leaden Echo and the Golden
> Echo (1955) – Tait’s reading of Gerard Manley Hopkins’ poem set to her
> images, and Hugh MacDiarmid – A Portrait (1964). We also screen A Portrait
> of Ga (1952), a stunning film about Tait’s mother, and Colour Poems (1974),
> a poem started in words and finished in images. Plus Where I Am Is Here
> (1964), which shows the winter streets of Edinburgh – a beautiful contrast
> with Tait’s elemental masterpiece Aerial (1974). Followed by discussion.
>
> 11/5
> New York, NY United States: *MoMA The Museum of Modern Art*
> 7:00 PM, 11 W 53rd St
> *AN EVENING WITH MARIE LOSIER*
> In this intimate evening complementing the artist’s midcareer
> retrospective, Marie Losier presents a specially assembled program of
> unseen works, ranging from early personal films to footage from her many
> years documenting New York’s avant-garde film community and a preview of
> ongoing projects.
>
> *TUESDAY, NOVEMBER 6, 2018*
>
> 11/6
> San Francisco, California: *San Francisco Cinematheque*
> http://www.sfcinematheque.org
> <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=289bf34188&e=f36020cad0>
> 8:00 PM, 80 Turk Street San Francisco, CA 94102
> *INFRARED PROGRAM 4 - JEFF PREISS' STOP*
> About INFRARED: In 2017, the City of San Francisco indicated intention to
> designate a portion of its Tenderloin neighborhood (a portion which
> includes CounterPulse and the office of San Francisco Cinematheque
> Cinematheque) as the “Compton’s Transgender, Lesbian, Gay, and Bisexual
> District” in reference to a 1966 protest action held at Compton’s
> Cafeteria, located at the intersection of Turk and Taylor Streets in San
> Francisco. This pre-Stonewall action is recognized as a significant
> milestone in queer and transgender political activism. In celebration of
> this designation—the first legally recognized municipal transgender
> district in the world—San Francisco Cinematheque is proud to present
> INFRARED, four nights of experimental films by and about transgender,
> nonbinary and gender nonconforming artists curated by transgender filmmaker
> Malic Amalya. Full series details available here. STOP (1995–2012) by Jeff
> Preiss; 16mm to digital video, color, sound, 120 minutes, exhibition file
> from the maker In the tradition of home movies, Jeff Preiss’ experimental
> documentary STOP begins in his child’s early years and concludes in his
> child’s teenage years. In brief, rhythmic flashes, subjects repeat in
> cycles while others form isolated episodes. The formation of an art gallery
> entangles with family celebrations. Quotidian violence—including a white
> man in a Native American costume—intertwines with transportation and
> television programs. London and New York City are captured as they mourn
> the loss of Princess Diana and react in shock to the September 11th
> attacks. Silence and atmospheric ambiance alter, while light leaks and jump
> cuts pulse throughout the film. Over the course of sixteen years, Priess’
> child is the only reliable marker of time. The film not only chronicles
> advancing age. It also maps the advancing self-awareness that
> differentiates from parental expectations. Preiss’ camera does not
> distance, judge or sensationalize but provides a platform for his child to
> proclaim his gender identity. (Malic Amalya) “Airplanes, holidays, tigers,
> funerals, friends, dogs, car crashes, dead birds, the Twin Towers, 14th
> Street, clouds, windshield wipers, rain, buildings, terraces, babies, kids,
> old people, Stan Brakhage, art, movies, Planet of the Apes, a monkey
> reading a newspaper, New York, Seoul, Paris, Berlin, Boston, apartments,
> fireworks, flags, houses, terraces, beaches, trains, cars, driftwood,
> billboards, Los Angeles, September 11, Ground Zero, George W. Bush, the
> Iraq War, chicken nuggets, French fries, pizza, döner kebab, airports,
> haircuts, dentists, doctors, laptops, cell phones, 23rd Street, subways,
> Chet Baker, SlutWalk, coffee, bagels, dresses, advertisements, skirts,
> ties, bathing suits, Orchard Street, traffic. This is a sampling of what
> enters the world of Jeff Preiss’s STOP, a film of beautiful observations
> and revelations, chronicling magnificent transformations and recent history
> with a feverish urgency.” (Giampaolo Bianconi: “In Retrospect: Jeff Preiss’
> STOP. The Brooklyn Rail) “Among the stops referred to in the title, one was
> the act of assigning an end within the accumulating mass of my personal
> archive—so that a film could be possibly shaped. Many converging threads of
> ends and transformations were candidates: the nearing end of celluloid film
> and the end of the 4 x 3 video standard—or the end of an archival set as I
> approached camera roll #2500. But most evident was the quintessential end
> of nearly all home-movie cycles: the awkward end of my child’s
> prepubescence—in this case hinging on a heroically decisive transformation
> of gender expression. :It was not until this particular end was in sight
> that I began to consider the possibility of illusionary synchronized sound.
> Maybe the spring-driven Bolex I used exclusively had made too convincing a
> case as the sole-silent technology—but now moved by the
> connection-disconnection of the two media channels somehow mirroring the
> fit/non-fit of the body, I started assigning alternating sections to be
> post-synchronized—and having on no occasion recorded sound along with the
> film, this required a process diametrically opposed to shooting’s
> immediacy, one that was entirely fictional. In all sixteen years, on only
> one occasion did I have access to simultaneously recorded sound. It was
> just by chance that a friend was shooting video alongside me and sometime
> later realized it would be useful. Only a few seconds of my kid speaking
> directly to camera declaring the right of gender self-determination.” (Jeff
> Preiss)
>
> *WEDNESDAY, NOVEMBER 7, 2018*
>
> 11/7
> Hoboken, NJ: *Black Maria Film Festival*
> http://www.blackmaria.org
> <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=f4d58f9b4c&e=f36020cad0>
> 7:00PM, Hoboken Historical Museum, 1301 Hudson St.
> *THE BLACK MARIA FILM FESTIVAL’S HUDSON COUNTY MOVIE TOUR AT THE HOBOKEN
> HISTORICAL MUSEUM PRESENTS THE AWARD-WINNING FILM, “THE WASHING SOCIETY” BY
> LIZZIE OLESKER AND LYNNE SACHS.*
> In collaboration with the Hoboken Historical Museum, the Black Maria Film
> Festival continues its series of documentary and theme-based film programs
> from the Festival collection on Wednesday evenings this fall. Black Maria
> Executive Director Jane Steuerwald will present the custom-curated programs
> and lead a discussion with the audience. Program 3 features the Black Maria
> Stellar Award-Winning documentary, “The Washing Society” by Lizzie Olesker
> and Lynne Sachs. The program will also include an epilogue by Olesker and
> Sachs called, ¡Despertar! - New York City Laundry Workers Rise Up. The
> filmmakers will be present to discuss the film, it’s impact and subsequent
> outreach with the audience. Special guest, author and producer Emily Rubin,
> will join in with a reading inspired in part by the themes of changing
> neighborhoods addressed in “The Washing Society.” Launched in 2005, Rubin’s
> project Dirty Laundry: Loads of Prose is a “ground-breaking,
> suds-producing” reading series held in local laundromats in and around the
> Lower East Side and in between washers and dryers in California, Colorado
> and Massachusetts. This special program will be held on Wednesday evening,
> November 7th, 2018. Doors open at 6:30PM, and the films screen at 7:00PM. A
> suggested $5 donation at the door includes light refreshments. Now in its
> 37th consecutive year, the Black Maria Film Festival focuses on diverse
> short films – narrative, experimental, animation, and documentary -
> including those, which address issues and struggles within contemporary
> society such as the environment, public health, race and class, family,
> sustainability, and more. The Black Maria Film Festival’s Hudson County
> Movie Tour is made possible through the generous support of The Hudson
> County Hudson County Office of Cultural & Heritage Affairs & Tourism, Gina
> Hulings, Director/Administrator. For further information, consult the
> Hoboken Historical Museum at 201-656-2240, www.hobokenmuseum.org; or
> contact Black Maria Festival Director Jane Steuerwald,
> jane at blackmariafilmfestival.org. Program information is posted on the
> Black Maria Film Festival website under the Tour Schedule link:
> www.blackmariafilmfestival.org.
>
> 11/7
> San Francisco, California: *Peephole Cinema*
> http://peepholecinema.com
> <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=80245a6aa1&e=f36020cad0>
> 24hrs a day 7 days a week, 280 Orange Alley, San Francisco (Off 26th
> Street near Valencia Street)
> *WHEN I LOOK AT YOU*
> The Peephole Cinema in San Francisco is pleased to present When I Look At
> You a collection of three videos where artists observe our natural
> surroundings and find wonder within them. Work by Amy Hibbs, Wioleta
> Kaminska and Juila Oldham. Curated by Sarah Klein. On view November 7, 2018
> – January 5, 2019. The Peephole Cinema is a free, public cinema showing
> media-based works, 24 hours a day and seven days a week, through a
> dime-sized peephole in the Mission District of San Francisco.
>
> *THURSDAY, NOVEMBER 8, 2018*
>
> 11/8
> Los Angeles, California: *Filmforum*
> http://www.lafilmforum.org/
> <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=cfebf22ec2&e=f36020cad0>
> 7:00 pm, MOCA Grand Avenue, Ahmanson Theater, 250 S. Grand Ave.,
> *ONE PLUS ONE, BY JEAN-LUC GODARD, OFFICIAL LA PREMIERE!*
> Official Los Angeles Premiere of Godard’s original cut, not seen at a
> proper public screening in Los Angeles since the 1970s, if ever! A new 4K
> Restoration! Introduction by Tony Richmond, Cinematographer ! More commonly
> known as Sympathy for the Devil after re-editing by its producer, One Plus
> One, filmed in 1968, is one of the most complex and feisty films of that
> year. The producer altered the ending, changing Godard’s intended meaning,
> provoking Godard to punch the producer after the revised cut was first
> revealed at the London Film Festival in November 1968. Godard’s original
> edit, One Plus One, had some screenings in the first year (we found record
> of one in San Francisco in a 1970 Rolling Stone review), but was never
> regularly distributed in the US after that. Now ABKCO, the owners of US
> rights of both versions, have restored both in 4K, releasing them in
> October 2018. Filmforum is proud to present the Los Angeles (and possibly
> the US) premiere of the new restoration of One Plus One, Godard’s original
> cut. Featuring the Rolling Stones working out their landmark song “Sympathy
> for the Devil” in a recording studio in June 1968, intercut with several
> scenarios devised by Godard to convey his vision of the inhumane flaws of
> capitalism, and his views of the actions of that year, One Plus One has
> been a controversial film from its original appearance, highly praised and
> damned. You won’t want to miss this critical cinematic expression of 1968
> from one of the world’s most intellectual and complex filmmakers. Tickets:
> $15 general; $10 for seniors; $8 for students with ID; free for Filmforum
> and MOCA members. Available in advance from Brown Paper Tickets at
> https://www.brownpapertickets.com/event/3620859 or at the door.
>
> 11/8
> Santander, Spain: *Filmoteca de Cantabria*
> 10:00 PM, Calle Bonifaz 6
> *CINEINFINITO #74/75: GORDON BALL*
> Cineinfinito #74/75: Gordon Ball CINEINFINITO / Cine Club Filmoteca de
> Cantabria Jueves 8 de Noviembre de 2018, 22:00h. Filmoteca de Cantabria
> Calle Bonifaz, 6 39003 Santander -- #74: Farm Diary I (1975) 8mm, color,
> silente, 61 min https://www.cineinfinito.org/cineinfinito-gordon-ball/
> #75: Father Movie (1975) Super 8, color, silente, 10 min Prothalamion
> (1978) Super 8, color, silente, 4 min Clouds of Glory (1975) 16 mm, color,
> silente, 12 min https://www.cineinfinito.org/cineinfinito-75-gordon-ball/
>
> 11/8
> Seattle, Washington: *Interbay Cinema Society*
> http://http://interbaycinemasociety.org/film-festival/
> <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=21408f5630&e=f36020cad0>
> 7 pm, Northwest Film Forum, 1515 12th Avenue
> *ENGAUGE EXPERIMENTAL FILM FESTIVAL PROGRAM 1: THE AURA OF UNCERTAINTY*
> A sprocket – driven shorts program, showing works finished on 35mm and
> 16mm film from Devon Damonte ("Welcome En Gauge"), Ryan Marino (whose film
> "The Aura of Uncertainty" supplies the title of our program), Josh
> Weissbach ("theoria"), A. Moon ("I Am Learning To Abandon the World"), Rhys
> Morgan ("Contact"), Paul Turano ("My Earth's Eye"), Sofia Canales
> ("Mujer"), Sasha Waters Freyer ("Our Summer Made Her Light Escape"), Vera
> Brunner-Sung ("Minong, I Slept"), Cherlyn Hsing-Hsin Liu ("A Study of
> Fly"), and Sabine Gruffat ("Framelines"). The Engauge Experimental Film
> Festival is co-sponsored by Northwest Film Forum, with support from
> EXcinema and The Sprocket Society. Please join us for an opening reception
> at 5:30 pm in the Northwest Film Forum lobby.
>
> *FRIDAY, NOVEMBER 9, 2018*
>
> 11/9
> Houston, Texas: *Houston Cinema Arts Festival*
> 7:30, Brasil Houston
> *IMAGING ACTORS WITH STACEY STEERS AND LYNN HERSHMAN LEESON*
> Two media artists who presented memorable programs during HCAF’s first
> decade return to Houston with a selection of works that play with the
> images of notable Hollywood actresses. Artist Lynn Hershman will screen her
> latest film, Vertighost (2017, 12 min), which offers a feminist riff on
> Alfred Hitchcock’s Vertigo and the characters of Carlotta and Madeline
> played by Kim Novak. Stacey Steers will project her two latest handmade
> collage films, Night Hunter (2011, 16 min) , and Edge of Alchemy (2017, 19
> min), part of her trilogy of films examining women’s inner worlds. Steers
> cuts out movie frames of silent film stars Lillian Gish, Mary Pickford, and
> Janet Gaynor, and sets them in surreal, environments, built by hand from
> fragments of 19th century engravings and illustrations.
>
> 11/9
> New York, NY: *Anthology Film Archives*
> http://www.anthologyfilmarchives.org/
> <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=6ef691c250&e=f36020cad0>
> 7:15 PM, 32 Second Avenue
> *TRANS FILM: ON THE RECORD*
> GUEST CURATED AND PRESENTED BY DORIAN FRASER In this selection of short
> films featuring indigenous and Canadian trans, two-spirit, and gender
> nonconforming filmmakers, personal narratives are pulled from albums,
> journals, and film stills to subvert the 'clinical' cinematic gaze of
> traditional documentary. GENDERTROUBLEMAKERS is what you get when two
> broke, pissed-off trans dykes respond to cis narratives around trans
> experiences in the early 1990s in metropolitan Toronto. PUTTING THE "I" IN
> TRANS is a satirical look at the authority of the printed record, and
> 'tracks' daily oppressions faced by the community. THE LONGFORM LESBIAN
> CENSUS is a sweet and short meditation on the census information-gathering
> practice and the politics of being left out. TRANSFORMING FAMILY surveys
> contemporary experiences of kinship and family-making in trans roles, and
> outside normative narratives while HOLY MOTHER, MY MOTHER pulls from the
> tape library of family vacations to connect filmmaker Vivek Shraya's
> experience to her maternal lineage and link to the divine mother. FEELING
> RESERVED is an animated story of racism and 'twilight tours' by
> Saskatchewan's police force, while other official structures that
> transcribe, support, and engender systemic injustices are questioned in
> STEALTH. THE MISADVENTURES OF PUSSY BOY: FIRST LOVE is the first part of an
> animated diary-style narrative trilogy about growing up indigenous and
> intersex, and discovering clique divides and teen love on the reservation
> in the 1970s. Finally, TSANIZID (WAKE UP!) is an exploration of dissolving,
> interconnected forms in a saturated homage to two-spirit and trans
> becoming. Mirha-Soleil Ross GENDERTROUBLEMAKERS (1993, 20 min, video) Steen
> Starr PUTTING THE "I" IN TRANS (2012, 5 min, digital) Thirza Cuthand & Riki
> Yandt THE LONGFORM LESBIAN CENSUS (2017, 4 min, digital) RÃ©my Huberdeau
> TRANSFORMING FAMILY (2012, 11 min, digital) Vivek Shraya HOLY MOTHER, MY
> MOTHER (2013, 7 min, digital) Jess MacCormack FEELING RESERVED (2012, 6
> min, digital) Chase Joynt & Alexis Mitchell STEALTH (2012, 17 min, digital)
> Alec Butler THE MISADVENTURES OF PUSSY BOY: FIRST LOVE (2003, 4 min,
> digital) Beric Manywounds TSANIZID (WAKE UP!) (2017, 6 min, digital) Total
> running time: ca. 85 min.
>
> 11/9
> Seattle, Washington: *Interbay Cinema Society*
> http://interbaycinemasociety.org/film-festival/
> <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=11ca94702a&e=f36020cad0>
> 9 pm, Northwest Film Forum, 1515 12th Avenue
> *ENGAUGE EXPERIMENTAL FILM FESTIVAL PROGRAM 3: "ASTRO TRILOGY AND OTHER
> WORKS" BY KERRY LAITALA*
> We’ll experience a mind-boggling expanded cinema performance from
> San-Francisco based filmmaker Kerry Laitala with live sound by Wobbly.
> "Kerry Laitala looks to the heavens for inspiration for her latest
> trichotomous tri-projector triumph, the Astro Trilogy. She unveils the
> cosmic patterns we've envisaged our mythologies into, simulates the
> spectacles with which we've dared to decorate Uranus's cloak, and summons
> the goddess of endless night to bring us into ecstatic realms with
> pulsations of luteal lubriciousness." "Astro Trilogy" will be preceded by
> several of Laitala's single channel works, "Hallowed," "Retrospectroscope,"
> "Out of the Ether," "Orbit," "Conjurer's Box,"and "City Blight."
>
> 11/9
> Seattle, Washington: *Interbay Cinema Society*
> http://http://interbaycinemasociety.org/film-festival/
> <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=cfd58faca3&e=f36020cad0>
> 7 pm, Northwest Film Forum, 1515 12th Avenue
> *ENGAUGE EXPERIMENTAL FILM FESTIVAL PROGRAM 2: FILMS TO BREAK PROJECTORS*
> Short films from the region, the country and the world with an emphasis on
> editing, featuring works by Nicole Baker ("Lost in the Forest, All Alone"),
> Bill Brown ("XCTRY"), Monica Saviron ("Broken Tongue"), Tim Grabham (whose
> "Films To Break Projectors" supplies the title for our program), Nicholas
> Kovats ("Gitpu"), P. Sam Kessie ("bodyshutter"), Grayson Cooke ("Frack"),
> Luz Olivia ("Splintering"), Aylon Ben-Ami ("Fire Escape on 34th Street"),
> Rita Mahfouz ("On Familiar Waters"), Miles Sprietsma ("Spatial"), Gwendolyn
> Audrey Foster ("No Personal Checks"), Kate Lain ("Fifty Feet From
> Wendover"), Luisa Sequeira ("Memory, Female Noun"), Charlotte Pryce ("Pwdre
> Ser . the rot of stars").
>
> *SATURDAY, NOVEMBER 10, 2018*
>
> 11/10
> Houston, Texas: *Houston Cinema Arts Festival*
> https://www.cinemahtx.org/event/love-and-the-epiphanists/
> <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=aa9b4303b5&e=f36020cad0>
> 12:45pm, Rice Media Center
> *LOVE AND THE EPIPHANISTS: A SCOTT STARK PERFORMANCE*
> Building in elements of humor and incongruity, media artist Scott Stark
> interweaves non-traditional uses of film and video with an assortment of
> art disciplines. Stark’s presentation will culminate with Love and the
> Epiphanists, the first part of a 35mm film, 35mm slides, digital video,
> audio recordings and live spoken text. The films used are largely sourced
> from Stark’s collection of 35mm Hollywood movie trailers from the past 20+
> years. Traces/Legacy, 2015, 35mm film, color/sound, 9 minutes] Is It True
> What They Say, 2015, HD Video, color/sound, 9 minutes] Right, 2008,
> mini-dv, color/sound, 13 minutes] Splitting You Splitting Me Still, 1988,
> 8mm transferred to digital video, 7 minutes] Love and the Epiphanists (Part
> 1), 2018, 35mm film, 35mm slides, digital projections, music, live
> voice-over, 30 minutes.
>
> 11/10
> New York, NY: *Anthology Film Archives*
> http://www.anthologyfilmarchives.org/
> <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=0fe8e4d0bd&e=f36020cad0>
> 1:30 PM, 32 Second Avenue
> *UFOS, PROG. 3: YANN GONZALEZ, BERTRAND MANDICO, JOANA PREISS*
> Yann Gonzalez ISLANDS / LES ÃŽLES 2017, 23 min, digital. In French with
> English subtitles. "With the soberly lyrical and infinitely gracious
> ISLANDS, Yann Gonzalez gives his personal version of LA RONDE by Max
> OphÃ¼ls." -Charles Tesson, LA SEMAINE DE LA CRITIQUE, CANNES Bertrand
> Mandico ULTRA PULPE 2018, 37 min, DCP. In French with English subtitles.
> Made immediately after his extraordinary feature film, THE WILD BOYS, and
> with much of the same cast and crew, Mandico's typically stylized and
> inspired ULTRA PULPE centers on a female director of pulp cinema. Joana
> Preiss LANDS CLOSE TO PATERSON 2013, 35 min, digital In New York to present
> her film SIBERIA, Joana Preiss documents the city as she encounters it
> through her meetings and encounters, and as filtered through her
> imagination. Total running time: ca. 100 min.
>
> 11/10
> New York, NY: *Anthology Film Archives*
> http://www.anthologyfilmarchives.org/
> <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=f3fc0a7763&e=f36020cad0>
> 4:15 PM, 32 Second Avenue
> *F.J. OSSANG: SHORT FILM PROGRAM*
> THE LAST ENIGMA / LA DERNIÃˆRE ENIGME (1982, 13 min, 16mm-to-DCP. In
> French with English subtitles.) "In between essay and fiction, THE LAST
> ENIGMA established Ossang's formal territory: a contemporary mythology.
> Inspired by the book 'On Terrorism and the State' by Gianfranco
> Sanguinetti, it evokes visual echoes of political events, where a
> generation forfeits all revolutionary aspirations due to state terrorism."
> -Nicole Brenez ZONA INQUINATA (1983, 22 min, 16mm-to-DCP. In French with
> English subtitles.) "La Zone: the poor, dangerous quarters of Paris (George
> Lacombe, 1928); the administrative zone where Orpheus looks for his lost
> Eurydice (Jean Cocteau, 1950); Interzone - the working title for William
> Burroughs's NAKED LUNCH (1959). In 1983, Ossang created a synthesis of all
> these territories of unrest under a banner of dead colors." -Nicole Brenez
> TRIPTYQUE DU PAYSAGE: SILENCE / SILENCIO (2006, 21 min, 35mm. Music by
> Throbbing Gristle. In French with English subtitles.) "[In] the era of
> Throbbing Gristle, poetry must measure itself against industrial disasters,
> invisible nuclear apocalypses, a travel report, an optical meditation, an
> overwhelming array of black and white tones, a love song, a progression of
> dim phantoms in the terrifying caverns of hopeâ€¦strike!" -Nicole Brenez
> SKY'S BLACK OUT / CIEL Ã‰TIENT! (2008, 23 min, 35mm. In French with English
> subtitles.) "With the mythological everydayness of the young, destitute
> lovers PhilÃ©mon and Baucis live in their cottage (made of reed in Ovid,
> made of wood in Ossang). At the end of the credits, we find the most
> beautiful visual declaration of love ever."-Nicole Brenez VLADIVOSTOK
> (2008, 5 min, 35mm. In French with English subtitles.) "'Between word and
> worlds, teeming with mysteries', wrote the psychedelic poet Claude PÃ©lieu
> about Ossang. The fragmentary VLADIVOSTOK cultivates the wealth of such
> in-between places."-Nicole Brenez Total running time: ca. 90 min.
>
> 11/10
> New York, NY: *Anthology Film Archives*
> http://www.anthologyfilmarchives.org/
> <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=35595b516a&e=f36020cad0>
> 7:00 PM, 32 Second Avenue
> *DESIRE AND RESISTANCE - UNEARTHING TRANS LEGACIES*
> GUEST CURATED AND PRESENTED BY FINN PAUL Anonymous sexual encounters,
> flirtations with the camera, appropriations, and the Christopher Street
> Pier: this program proposes alternative modes of retrieving and
> disseminating a trans past through an erotic gaze. Addressing an erasure of
> trans legacies, these works place trans sexual expression and resistances
> in conversation with a non-linear idea of history that is both real and
> fabricated, defiantly looking toward a future of pleasure, play, and
> beauty. Jason Elvis Barker ST. PELAGIUS THE PENITENT (1998, 13 min,
> Super-8mm) Zackary Drucker YOU WILL NEVER BE A WOMAN (2014, 9 min, digital)
> Malic Amalya FLYHOLE (2018, 6 min, 35mm slides) Pol Merchan FAMILIAR
> MEMORIES (2016, 4 min, Super-8mm) Finn Paul BESIDE THE WATER, 1999-2004
> (2018, 11 min, digital) Ho Tam POCAHONTAS - TRANSWORLD REMIX (1998, 4 min,
> digital) Andre Keichian DESPERADO (2010, 2 min, digital) Vicente Ugartechea
> MIGHTY REAL (2018, 3 min, digital) Vika Kirchenbauer SHE WHOSE BLOOD IS
> CLOTTING IN MY UNDERWEAR (2016, 4 min, digital) Tourmaline ATLANTIC IS A
> SEA OF BONES (2018, 8 min, digital) Total running time: ca. 70 min.
>
> 11/10
> San Francisco, California: *Other Cinema*
> http://www.othercinema.com/
> <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=713ad0e05e&e=f36020cad0>
> 8 PM, 992 Valencia Street
> *GIRL'S CHOICE: CHRISTIAN DIVINE'S "THE BLUE AGE OF VIDEO GAMES"*
> He’s back! Our homeboy who hit it big with the world’s first chart-topping
> video game played through a female protagonist! From Pong to Doom and
> beyond, the cultural expansion and global reach of games has ushered in a
> new era of diversity, story-telling and representation, along with
> cautionaries over their social impact. Games from around the world now
> explore issues of war, abuse, poverty, racism, sexism, even colonialism.
> Generations raised with computer games as an organic part of a media diet
> now accept and embrace them as a valid aesthetic force and all that
> implies. Christian Divine, writer for Life is Strange, the first video game
> to win a Peabody Award (along with a BAFTA), explores this strange new
> world with behind-the-scenes insights and interactive audience gameplay!
> Come early for a 25-min. opening set of choice clips from “classic”
> computer-geek teen flicks from the 80s. *$9
>
> 11/10
> Seattle, Washington: *Interbay Cinema Society*
> http://http://interbaycinemasociety.org/film-festival/
> <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=277425b67d&e=f36020cad0>
> 4 pm, Northwest Film Forum, 1515 12th Avenue
> *ENGAUGE EXPERIMENTAL FILM FESTIVAL PROGRAM 4: THE OPEN WINDOW*
> Our third and final shorts program features several films with direct
> animation, hand-colored frames, hand- and eco-processing, scratching, found
> footage and other analog strategies. Films by Michael Lyons ("Film Loop 31:
> Shisendo"), Louise Bourque ("Self-Portrait, Post Partum"), Peter Lichter
> ("Nutrition Fugue"), Dawn George ("See Weeds"), Kevin Obsatz ("Big Agnes
> Ascent"), Parker Thiessen ("End of an Era"), Linda Fenstermaker ("Erased
> Etchings"), Kiera Faber ("T is for Turnip"), Michelle Trujillo ("Cuentos
> Para Los Niños #1"), Matthew Pell ("Pulse"), Ingrid Stobbe ("The Four Five
> Bleed"), Nathaniel Cummings-Lambert ("Principle Meridian"), Bori Mate ("The
> Headless Appearance"), Dinorah de Jesus Rodriquez ("Sonámbula"), Lorenzo
> Gattona ("Even in paradise it is not good to be alone"), Lynne Siefert
> (whose film "The Open Window" inspired our title for this program), and
> Matt Soar ("Love Leaders").
>
> 11/10
> Seattle, Washington: *Interbay Cinema Society*
> http://http://interbaycinemasociety.org/film-festival/
> <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=c6d7c12709&e=f36020cad0>
> 8 pm, LoveCityLove, 1406 East Pike Street
> *ENGAUGE EXPERIMENTAL FILM FESTIVAL PROGRAM 5--CRACKPOT CRAFTERS:
> "LOCALOOPS"*
> *Note the change in venue for this event!* On Saturday night, we’ll
> interact with the LocaLoops craziness from the Olympia, WA-based
> film-making collective Crackpot Crafters. "Emerging from the ground
> unpredictably like mushrooms from mycelium, LocaLoops is an immersive
> manifestation of Crackpot Crafters direct animation gang, a weird,
> wonderful subversive, DIY, technologically dumpster-diving genre of
> cavemanic filmmaking presented via multiple projectors, screens adapted
> from many materials and live sound accompaniment. Join us for this
> eye-popping event."
>
> *SUNDAY, NOVEMBER 11, 2018*
>
> 11/11
> Cambridge: *Harvard Film Archive*
> http://hcl.harvard.edu/hfa
> <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=317af6b92f&e=f36020cad0>
> 7pm, 24 Quincy Street
> *50S WEST GERMAN AVANT GARDE FILMS*
> Avant-garde is a word rarely used in discussions of 50s West German
> cinema, which at first seems absurd considering that so much of the young
> nation’s most interesting works of art would qualify as experimental and
> pioneering. That said, save for the painter-sculptor-inventor-“occasional
> chemist” Franz Schömbs (who actually built his own optical bench—called the
> Integrator—for Opuscula!), there were no other filmmakers who devoted their
> time and energies to the creation of works formally challenging and nothing
> but. This doesn’t mean directors weren’t experimenting like mad, just not
> as l’art pour l’art but, rather, in the context of other genres. For
> instance, Neue Kunst – Neues Sehen is a documentary about modern art that
> lends its formal strategies from the works and artist presented; Der
> Wundertisch starts as a popular educational documentary on editing that
> ends in a hand-painted abstract film (made for the main part in 1943!); the
> animated commercial Alles für alle perplexes and enchants through its jazzy
> mix of styles and tones, while Die Purpurlinie delights with its cheekily
> surreal imagination; Das magische Band, finally, made in praise of
> BASF-manufactured magnetic tape, is a playfully essayistic piece of
> meta-cinema on time and memory. *Introduction by Jennifer Lynde Barker* *New
> Art – New Vision (Neue Kunst – neues Sehen)* Directed by Ottomar Domnick.
> West Germany 1950, 35mm, b/w, 10 min. German with English subtitles
> *Opuscula* Directed by Franz Schömbs. West Germany 1946-52, 16mm, color,
> 5 min *The Miracle Table (Der Wundertisch)* Directed by Herbert Seggelke.
> West Germany 1954, 35mm, color, 10 min. German with English subtitles *Everything
> for Everybody (Alles für alle)* Directed by Hans Fischerkösen. West
> Germany 1955, DCP, color, 4 min *The Magic Tape (Das magische Band)*
> Directed by Ferdinand Khittl. West Germany 1959, DCP, color, 21 min *The
> Purple Line (Die Purpurlinie)* Directed by Florenz von Nordhoff. West
> Germany 1959, DCP, color, 14 min
>
> 11/11
> Houston, Texas: *Houston Cinema Arts Festival*
> 12:30, Rice Media Center
> *COMPRESSED AIR: THE BEST EXPERIMENTAL FILMS OF 2018 WITH MICHAEL SICINSKI*
> From myth to Motown; Berlin to Paris, and beyond; the experimental films
> in this program explore a gamut of cinematic styles and visual substance.
> Creativity and imagination abound in this spectacular selection of shorts
> from around the globe. Thoughtfully chosen by film critic and University of
> Houston lecturer Michael Sicinski, this surprising compilation of
> contemporary short films features several US, North American and World
> premieres. All films projected in their original formats.
>
> 11/11
> London, England: *BFI Southbank*
> http://www.bfi.org.uk/whatson/southbank/
> <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=10f187999e&e=f36020cad0>
> 15.00., BFI Southbank, London, SE1 8XT
> *LONDON RESTORATION PREMIERE: MARGARET TAIT'S: BLUE BLACK PERMANENT +
> INTRO BY WRITER SO MAYER*
> UK 1992.Dir Margaret Tait. With Celia Imrie, Gerda Stevenson, Jack
> Shepherd, James Fleet. 86min. Digital Certificate PG. This haunting and
> magical film moves between Edinburgh and Orkney as it tells of a woman’s
> attempts to come to terms with her mother’s death through her childhood
> memories. Filled with flashbacks and dream sequences, it’s also a film
> about islanders’ relationship with the ever-present sea. Tait’s only
> feature-length film, from her own screenplay, has been newly remastered in
> 2K by the BFI. + Calypso UK 1955. Dir Margaret Tait. 4min Tait’s earliest
> hand-painted work.
>
> 11/11
> New York, NY: *Anthology Film Archives*
> http://www.anthologyfilmarchives.org/
> <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=54be5c8cfe&e=f36020cad0>
> 4:00 PM, 32 Second Avenue
> *ROSE LOWDER: BOUQUETS 11-20*
> FILMMAKER IN PERSON! On the occasion of the Visual Studies Workshop's new
> publication, NOTEBOOKS OF ROSE LOWDER: BOUQUETS 11-20, Anthology welcomes
> back filmmaker Rose Lowder for a program of her exquisite and formally
> precise short films, including BOUQUETS 11-20 as well as a selection of
> works made since her last visit to Anthology in 2011. Lowder has composed
> more than fifty films since the late 1970s, mostly in and around her home
> in the Avignon region of France. Lowder's breathtaking and carefully
> composed films explore landscape and cityscape, often using superimposition
> and a unique single-frame structure. In addition to her work as a
> filmmaker, she has been active as a curator and as the co-founder of both
> the Experimental Film Archive of Avignon and the experimental film
> distribution organization, Light Cone. Designed by Joan Lyons, founder of
> VSW Press, and edited by Tara Merenda Nelson, Curator of Moving Image
> Collections at the Visual Studies Workshop, NOTEBOOKS OF ROSE LOWDER:
> BOUQUETS 11-20 includes 88 pages of images and texts from the voluminous
> notebooks Lowder creates in parallel with her films. Copies of the book
> will be available for sale after the screening. This program is
> co-presented by Mono No Aware and the Visual Studies Workshop; for more
> info about Mono No Aware visit: mononoawarefilm.com; for more info about
> VSW visit: www.vsw.org In addition to Anthology's film screening, a book
> release party will take place on Saturday, November 10 at Printed Matter
> (231 11th Avenue); for more info visit: www.printedmatter.orgBOUQUETS
> 11-20 (2005-10, 14 min, 16mm, silent) FORYANNFROMROSE WITHOUT A HAIR (2014,
> 1 min, 16mm, silent) TURBULENCE (2015, 7.5 min, 16mm, silent) TARTARUGHE
> D'ACQUA (2016, 24.5 min, 16mm, silent) Total running time: ca. 55 min.
>
> 11/11
> New York, NY: *Anthology Film Archives*
> http://www.anthologyfilmarchives.org/
> <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=4e2d9d373e&e=f36020cad0>
> 6:45 PM, 32 Second Avenue
> *FROM ANGER TO UTAH*
> DEVIN UTAH IN PERSON! In this experimental trifecta, queer intimacy and
> instinct are portrayed by cinematic visionaries, past and present. Films
> made thirty years apart seem to speak to us, and to each other, in a
> similar visual language. Beginning in the fountains of Tivoli, Italy,
> Kenneth Anger's EAUX D'ARTIFICE sexualizes piss as queer fluid. Devin Utah
> dives into this experimental inspiration, framing found and original
> footage with a trans lens: SOAK uncovers a fever-dream of identity and
> desire, and explores questions of intuition and safety. Finally, in
> ritualistic celebration, Luther Price's SODOM consecrates a visceral
> fragmentation of the human form through penetration and collage. Kenneth
> Anger EAUX D'ARTIFICE (1953, 13 min, 16mm) Devin Utah SOAK (2018, 12 min,
> digital) Luther Price SODOM (1989, 21 min, Super-8mm-to-16mm. Print made
> with support from the Andy Warhol Foundation for the Visual Arts.) Total
> running time: ca. 50 min.
> ------------------------------
>
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