[Frameworks] This week [March 2 - 10, 2019] in avant garde cinema
weeklylisting at hi-beam.net
weeklylisting at hi-beam.net
Sat Mar 2 17:56:46 UTC 2019
<http://www.hi-beam.net/now.gif>
<https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=568e5b65e1&e=f36020cad0>
<https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=e875c4fad3&e=f36020cad0>
This week [March 2 - 10, 2019] in avant garde cinema
Enter your event announcements by going to the Flicker Weekly Listing Form <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=a6205ba2da&e=f36020cad0> .
To receive the weekly listing via email: Subscribe <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=63978f6fc5&e=f36020cad0> .
<http://www.hi-beam.net/whats-screenshots/other-3-2-19.jpg>
Unicorn Riot's <> "Black Snake Killaz" [March 2, San Francisco]
<https://www.redcat.org/sites/redcat.org/files/styles/redcat-carousel-large/public/event/associated-images/2018-12/Screen%20Shot%202018-12-17%20at%201.05.31%20PM.png?itok=s9s_MwRq>
Sharon Lockhart: Rudzienko and PodwÓRka New Films From Poland <> [March 4, Los Angeles, CA United States]
<https://scontent-sjc3-1.xx.fbcdn.net/v/t1.0-9/52134226_2021088178008589_5894649219972595712_n.jpg?_nc_cat=109&_nc_ht=scontent-sjc3-1.xx&oh=4a7d195dd3d4dd0ccf00d29c8ae8bb91&oe=5D27DB8E>
Cineinfinito #83 / 84: Dirk De Bruyn <> [March 4, Santander, Spain]
<http://film-makerscoop.com/public/upload/news/thumb/5c5da6ae263c6.jpg>
Joyce Wieland's La Raison Avant La Passion and Rat Life and Diet In North America <> [March 5, New York, New York]
<https://scontent-sjc3-1.xx.fbcdn.net/v/t1.0-9/52845302_2315290591866489_8485402312150351872_n.jpg?_nc_cat=110&_nc_ht=scontent-sjc3-1.xx&oh=2148de073b812fd44c977029c36f6dae&oe=5D22DCA8>
An Evening With Craig Baldwin <> [March 6, Brooklyn, NY United States]
NEW CALLS FOR ENTRIES:
Microscope Gallery (Brooklyn, NY; Deadline: March 31, 2019)
http://hi-beam.net/cgi-bin/ann.pl?type=calls <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=d96522133d&e=f36020cad0> &readfile=2021.ann
6th Annual Flamingo Film Festival (Fort Lauderdale, FL USA; Deadline: April 01, 2019)
http://hi-beam.net/cgi-bin/ann.pl?type=calls <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=4c32e860e6&e=f36020cad0> &readfile=2022.ann
Braziers Mini Indi Film Festival (Oxfordshire, UK; Deadline: March 31, 2019)
http://hi-beam.net/cgi-bin/ann.pl?type=calls <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=979d1fc34f&e=f36020cad0> &readfile=2023.ann
DEADLINES APPROACHING:
Laterale Film Festival (Cosenza, Southern Italy; Deadline: March 31, 2019)
http://hi-beam.net/cgi-bin/ann.pl?type=calls <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=4d9524311e&e=f36020cad0> &readfile=2006.ann
9th Cairo Video Festival (Egypt; Deadline: March 20, 2019)
http://hi-beam.net/cgi-bin/ann.pl?type=calls <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=af7c18d24a&e=f36020cad0> &readfile=2018.ann
Microscope Gallery (Brooklyn, NY; Deadline: March 31, 2019)
http://hi-beam.net/cgi-bin/ann.pl?type=calls <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=729f0b603f&e=f36020cad0> &readfile=2021.ann
6th Annual Flamingo Film Festival (Fort Lauderdale, FL USA; Deadline: April 01, 2019)
http://hi-beam.net/cgi-bin/ann.pl?type=calls <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=35a94f892d&e=f36020cad0> &readfile=2022.ann
Braziers Mini Indi Film Festival (Oxfordshire, UK; Deadline: March 31, 2019)
http://hi-beam.net/cgi-bin/ann.pl?type=calls <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=645352d4e3&e=f36020cad0> &readfile=2023.ann
Events are sorted alphabetically BY CITY within each DATE.
This week's programs (summary):
* Close Encounters With Craig: Orbiting Other Cinema <> [March 2, Brooklyn, NY United States]
* Unicorn Riot's <> "Black Snake Killaz" [March 2, San Francisco]
* Private Imaginings: the Films of Edward Owens <> [March 3, Los Angeles, California]
* Green Screen (Part 1) <> [March 4, Brooklyn]
* Sharon Lockhart: Rudzienko and PodwÓRka New Films From Poland <> [March 4, Los Angeles, CA United States]
* Ismo Ismo Ismo <> [March 4, Madrid]
* Cineinfinito #83 / 84: Dirk De Bruyn <> [March 4, Santander, Spain]
* Joyce Wieland's La Raison Avant La Passion and Rat Life and Diet In North America <> [March 5, New York, New York]
* An Evening With Craig Baldwin <> [March 6, Brooklyn, NY United States]
* Ismo Ismo Ismo <> [March 6, Madrid]
* Frisco Grit: Baldwin Selects Other Cinema <> [March 7, Brooklyn, NY United States]
* Ice Hours: video + Performance <> [March 7, San Francisco, CA United States]
* Sub Frequency's <> "Ouyala's Wedding" [March 9, San Francisco]
* Jim Finn: Comedic Laments <> [March 10, Los Angeles, California]
SATURDAY, MARCH 2, 2019
3/2
Brooklyn, NY United States: UnionDocs
http://www.uniondocs.org <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=be0b451ad6&e=f36020cad0>
7:30 PM, 322 Union Ave
CLOSE ENCOUNTERS WITH CRAIG: ORBITING OTHER CINEMA
Explore the Nth Dimension with West Coast arts impresario Craig Baldwin and those who have dug through his archive, gleaned his influence, and have spent time in and passed through his legendary and beloved Other Cinema in the heart of San Francisco’s Mission District. We’re delighted to have him here in town for a week of celebration including two nights (don’t miss FRISCO GRIT: BALDWIN SELECTS OTHER CINEMA) at UnionDocs and a run of his feature-length and short work over at Metrograph on March 3 and 4. If you aren’t familiar with the legendary status of Other Cinema, Jim Knipfel in The Believer said, “One way to think about San Francisco-based filmmaker, archivist, and artist Craig Baldwin is as the dialectical result of a collision between the Dadaists, the Situationists, the Beats, and the punks. He exists today as a kind of figurehead, a holdover anarchist beatnik from the Bay Area’s pre-tech boom days.” Other Cinema is a long-standing bastion of experimental film, video, and performance where artists are inspired and sustained by the ongoing practice of fine-art filmmaking, as well as engaged essay and documentary forms. Not only sticking to these more lauded practices, Other Cinema also embraces marginalized genres as media-archeological core-samples, and blows against consensus reality and the sterility of museum culture. SF Cinematheque curator Steve Polta, who will be co-publishing with Incite: Journal For Experimental Media a historical compendium of Baldwin and Other Cinema, describes the last twenty years of programming: It’s an “insane amalgam of underground cinema, genre film, media and community activism, performance and sound art, and unique and astounding lost-and-found orphan works from Baldwin’s infamous film/video archive as well as hosting a dizzying array of artists, curators, community activists, conspiracy freaks, and other indescribable and wonderful wackos.” Join filmmakers Bill Morrison, Soda_Jerk, Sam Green, Katherin McInnis, Jennifer Reeves, Adam Khalil, Lynne Sachs, and Ben Folstein to honor the legacy and impact of Baldwin’s work and ethos. This evening will be a dizzying and dazzling extravaganza with a program that features classic OC Live A/V, short films, excerpts, tributes and video selections from Bill Morrison, Soda_Jerk, Katherin McInnis, Jennifer Reeves, Adam Khalil, and Lynne Sachs, alongside 3D, and dual 16mm projection from Craig himself, live performance from Sam Green, “When Craig Baldwin Asks You to Do Something, You Do It!”, of course celebratory hanging to welcome Craig to town. Plus short Zog, from Ben Folstein who will be providing ambient light and sound for the whole event with Tony Delorenzo!
3/2
San Francisco: Other Cinema
http://www.othercinema.com/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=0945b54a39&e=f36020cad0>
8pm, 992 Valencia Street
UNICORN RIOT'S "BLACK SNAKE KILLAZ"
The first of three programs in our Tribes Indigenous series, here’s the NorCal debut of a feature doc about resistance to the Dakota Access Pipeline. From a young, brave collective of engaged electronic journalists, this exhaustive account explores actions taken by water protectors to stop the construction of the oil pipeline, and highlights actions taken by law enforcement, military, and corporate mercenaries to quell the months-long protest. BSK timelines the events that unfolded in Standing Rock throughout 2016, delivering the raw experience from many frontline actions to protect the water. Although the DAPL is completed, the impact of the movement will be long-lasting. As fossil-fuel extraction projects continue to impact some of the most vulnerable communities throughout the US, the importance of the water protectors story grows.
SUNDAY, MARCH 3, 2019
3/3
Los Angeles, California: Filmforum
http://www.lafilmforum.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=9e42c9562b&e=f36020cad0>
7:30 pm, Spielberg Theatre at the Egyptian, 6712 Hollywood Blvd.
PRIVATE IMAGININGS: THE FILMS OF EDWARD OWENS
In our screening with Josh Mabe on January 18 of some Chicago favorites, we were blown away by the film Remembrance: A Portrait Study, by Edward Owens, previously unknown to us. In response, we’ve decided to screen all three of Owens’s films currently in distribution! We’re not the only ones; on January 21, MoMA ran a similar show, and Light Industry in New York has also done one, along with one in Chicago. But that might well be it, and this show might be the Los Angeles premiere of two of his films, both little known works from the mid-1960s. But who was Edward Owens? A queer black artist, working first in 8mm, discovered by Gregory Markopoulos at the Art Institute of Chicago. Encouraged by Markopoulos to go to New York, Owens did, and became part of the scene, and made three marvelous films, largely portraits, with references to Markopoulos’s Twice a Man as well. But in 1971, he gave up filmmaking, returned to Chicago, and lived a different life. Ed Halter found the titles in the Filmmakers Coop collection, interviewed him in 2009 shortly before his death, and started the rediscovery of Edward Owens. We hope you’ll join us as we spread the word about these beautiful films, all made before Owens was 21 years old.
MONDAY, MARCH 4, 2019
3/4
Brooklyn: Microscope Gallery
http://www.microscopegallery.com <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=99c031f2db&e=f36020cad0>
7:30pm, 1329 Willoughby Ave, 2B
GREEN SCREEN (PART 1)
works by Ina Archer, Ben Coonley, Torsten Zenas Burns and Darrin Martin, E.S.P. TV, James Fotopoulos, Maggie Hazen, Xandra Ibarra, Kristin Lucas, Erica Magrey, Eileen Maxson, Alex McQuilkin, Shana Moulton, Isabel Sakura, Marco Scozzaro, Nastya Valentine. Green Screens (Part 1) is the first in a screening series of moving image works made using green screen or other chroma key compositing. The focus of the series is on the artistic use of chroma keying in both analog and digital formats. Part 1 launches Green Screens with a selection of short video works, made over the past 15 years, by a contemporary artists representing several generations who employ the green screen — or blue, black, orange, or other chromatic tones — in various personal, provocative, and frequently humorous ways. Green Screens (Part 1) also considers the green screen more broadly as a magical surface that vanishes in order for new images to appear, a portal freeing artists from spacial and temporal constraints, even from visibility, as well as a resourceful technology for visual experimentation, often tied to performance. For the works in the program the artists create alternative narratives, propose unlikely parallel universes, elude objectification, and parody cultural tropes, among other approaches. More info: www.microscopegallery.com <http://www.microscopegallery.com> . Admission $9, Members & Students $7. tel: 347.925.1433. info at microscopegallery.com <mailto:info at microscopegallery.com>
3/4
Los Angeles, CA United States: Redcat
http://www.redcat.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=f9af63d424&e=f36020cad0>
8:30 PM, 631 W 2nd St
SHARON LOCKHART: RUDZIENKO AND PODW&OACUTE;RKA NEW FILMS FROM POLAND
Artist/filmmaker Sharon Lockhart returns to REDCAT with two films shot in Poland. "Podwórka" (31 min, 2009) is an exploration of the real and imaginary playgrounds children inhabit in the courtyards of Łódz. During the shooting, she met 9-year old Milena, and kept in contact with her. "Rudzienko" (53 min, 2016) is structured around summer retreats Lockhart organized with Milena and the other teenagers living in a girls’ home in a small town near Warsaw. Through exercises in movement, dance, yoga, craft, cooking, writing, and performance, she encouraged the girls to bring forth their personal narratives – finding an original way to acknowledge, yet bridge, the language barrier. Following the trajectory of a girl’s maturation, Lockhart’s collaboration with Milena echoes similar, felicitous experiments in the films of Jean Rouch. In Person: Sharon Lockhart.
3/4
Madrid: Museo Nacional de Arte Reina Sofia
https://www.museoreinasofia.es/actividades/ismo-ismo-ismo <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=50745428fd&e=f36020cad0>
7:00 P.M., Calle de Santa Isabel, 52, 28012 Madrid, Spain
ISMO ISMO ISMO
Programa 10 Umbrales: realizadoras experimentales de América Latina Duración: 81 min Narcisa Hirsch. Come Out 1971, 11 min, color, sonido, Super 8 transferido a digital, Argentina Lydia García. Color 1955, 3 min, color, sonido, Super 8 transferido a digital, Uruguay Silvia Gruner. Desnudo con alcatraces 1986, 1 min 50 seg, Super 8 transferido a digital, b/w, silente, México Gloria Camiruaga. Popsicles 1982- 1984, 4 min 42 seg, color, silente, vídeo, Estados Unidos-Chile Marie Louise Alemann. Umbrales 1967, 19 min, color, sonido, 16mm, Argentina Cecilia Vicuña. Paracas 1983, 18 min, color, sonido, 16mm transferido a digital, Estados Unidos/Chile Ximena Cuevas. Devil in the Flesh 2003, 5 min, b&n y color, sonido, México Vivian Ostrovsky. Copacabana 1983, 10 min, color, sonido, Super 8 transferido a digital, color, Brasil Poli Marichal. Blues Tropical 1982, 8 min, color, sonido, Super 8 transferido a digital, Puerto Rico Umbrales busca indagar los posibles desbordes e implicaciones de los términos “mujer latinoamericana” y “artista latina” para componer un mapa de empatías conceptuales, estrategias coincidentes y redes afectivas que traspasaron barreras geopolíticas y apostaron a la subversión del canon moderno. Come Out (1975) de Narcisa Hirsch funciona como síntesis conceptual de este panorama. Lydia García, una de las pioneras en esta práctica, en Color (1954/1955) trabaja con el Hot Jazz Club que acompaña en vivo la filmación de una pintura de acción realizada por la artista. Vivian Ostrovsky realiza en Copacabana Beach (1983) un collage lúdico que retrata las escenas cotidianas de una jornada en la playa de Copacabana. A partir del ritmo de fragmentos musicales, entre ellos canciones de Carmen Miranda, la película puede ser entendida como una sinfonía costera. En Popsicles (1983/1984) Gloria Camiruaga trabaja la sonoridad con bocas que repiten el mantra del Ave María, mientras chupan un helado de agua que dentro contiene el clásico soldadito miniatura. La obra es una fuerte denuncia a la ligazón entre la iglesia y la dictadura militar chilena. Poner el cuerpo es sin duda otro de los nodos de estas indagaciones experimentales. Marie Louise Alemann tuvo especial importancia en la investigación en el cruce de la captura cinematográfica y la corporalidad en todas sus formas. En Umbrales (1980) compone una coreografía de cuerpos masculinos, destacada como una clave del cine queer de América Latina. La enunciación feminista a través del señalamiento poético de la corporalidad en escena se muestra en Desnudo con alcatraces (1986), de Silvia Gruner.
3/4
Santander, Spain: Centro Cultural Doctor Madrazo
6:00 PM, Casimiro Sainz, S/N
CINEINFINITO #83 / 84: DIRK DE BRUYN
Programa 1: Running (1976), 30 min Feyers (1979), 20 min https://www.cineinfinito.org/cineinfinito-83-dirk-de-bruyn/ Programa 2: Discs (1982), 3 min Migraine Particles (1984), 7 min Light Play (1984), música de Michael Luck, 7 min Vision (1985), música de Michael Luck, 4 min Cha Hit (1988), música de Michael Luck, 16 min Frames (1988), música de Michael Luck, 7 min Knots (1990), 8 min https://www.cineinfinito.org/cineinfinito-84-dirk-de-bruyn/ Formato de proyección: HD (copias supervisadas por Dirk de Bruyn) Agradecimiento especial a Dirk de Bruyn y a Steven McIntyre.
TUESDAY, MARCH 5, 2019
3/5
New York, New York: The Film-maker's Coop
http://film-makerscoop.com/screenings/david-schwartz-in-person <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=7d7607932a&e=f36020cad0>
7:00 p.m., 475 Park Avenue South, 6th Floor
JOYCE WIELAND’S LA RAISON AVANT LA PASSION AND RAT LIFE AND DIET IN NORTH AMERICA
The first installment of David Schwartz’s new bimonthly series “Songs of the Unsung” featuring great but neglected films in the Co-op collection focuses on the formally inventive, playful, politically engaged, sensuous, and wrily comic work of Canadian artist and filmmaker Joyce Wieland. Two of her greatest films, which grapple with questions of national identity, borders, and journeys, will be shown in this ever-timely double-feature. Wieland lived in New York in the 1960s. Rat Life and Diet in North America (1969, 14 mins., 16mm) is a political allegory starring rats (played by gerbils) who are being held as political prisoners by a cat. The film follows their dramatic escape to Canada, which at the time offered asylum to American war protestors resisting the draft. Jonas Mekas described it as “maybe the best (or richest) political movie around.” Wieland’s first feature film, La Raison Avant La Passion (1969, 80 mins., 16mm) is a beautiful and deeply ambivalent study of the Canadian landscape that seemingly embraces Wieland’s love of her own country while also raising questions about political idealism. A collage of sorts, the film combines landscape views that traverse the vast expanse of the country, recurring images of the Canadian flag, computer-generated scrambling of the letters in Prime Minister Trudeau’s phrase “REASON OVER PASSION,” and degraded news footage of Trudeau (and of the filmmaker herself). The film’s “meaning” is open-ended, and it is anchored by a physical beauty and playful structuralism that make it a pleasure to watch. --David Schwartz Film programmer David Schwartz will introduce the program and lead a discussion. David Schwartz is the former Chief Curator of Museum of the Moving Image, where he worked for 33 years. He specializes in independent and experimental cinema, teaches film history in the graduate production program at NYU, is the host of the new podcast ScreenLit, about books on cinema, and is the founder of Cinema Projects (www.cinemaprojects.net <http://www.cinemaprojects.net> ).
WEDNESDAY, MARCH 6, 2019
3/6
Brooklyn, NY United States: Light Industry
http://www.lightindustry.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=2536096a91&e=f36020cad0>
7:00 PM, 155 Freeman St
AN EVENING WITH CRAIG BALDWIN
As part of a barnstorming tour of New York venues, including a retrospective at Metrograph and a pair of guest-curated shows at UnionDocs, Light Industry presents an evening with Craig Baldwin, found-footage filmmaking virtuoso, longtime proprietor of San Francisco's legendary Other Cinema, and one of the pillars of alternative film culture in America. As Other Cinema’s impresario, Baldwin has played host to generations of experimental filmmakers and artists, and continues to celebrate a panoply of “marginalized genres like ‘orphan’ industrial films, home movies, ethnography, and exploitation,” presenting them as “media-archeological core-samples, and blows against consensus reality and the sterility of museum culture.” Please note: seating is limited. First-come, first-served. Box office opens at 6:30pm.
3/6
Madrid: Museo Nacional de Arte Reina Sofia
https://www.museoreinasofia.es/actividades/ismo-ismo-ismo <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=f5b4e20d24&e=f36020cad0>
7:00 P.M., Calle de Santa Isabel, 52, 28012 Madrid, Spain
ISMO ISMO ISMO
Programa 11 Malas lecturas Duración: 62 min Nicolás Guillén Landrián. Coffea arábiga 1968, 18 min, b&n, sonido, 35mm transferido a digital, Cuba Paulo Bruscky. Poema 1979, 2 min, color, sonido, Super 8 transferido a digital, Brasil Salvador Díaz Zubieta y Óscar Santos. Jícama 1970, 6 min, color, sonido, Super 8 transferido a digital, México Jorge Honik y Laura Abel. El inmortal 1968, 7 min, color, sonido, Super 8 transferido a digital, Argentina Francisca Durán. Even If My Hands Were Full of Truths 2012, 7 min, color, VOSE, digital, Canadá y Chile Leticia Obeid. Jano 2015, 2 min, color, silente, digital, Argentina Juan Carlos Alom. Diario 2009, 14 min, b&n, sonido, 16mm transferido a digital, Cuba Poli Marichal. Underwater Blues 1981, 6 min, color, sonido, Super 8 transferido a 35mm, Puerto Rico Este programa explora la relación de afinidad, complemento, interrupción, distancia, parodia, y devoción entre el cine experimental y la textualidad dentro y fuera de la pantalla. A finales de la década de los sesenta, en Cuba el uso del texto en la pantalla encuentra un amo de la ambigüedad y la ironía con Nicolás Guillén Landrián. Siguiendo la tradición de Santiago Álvarez, Guillén Landrián —sobrino del poeta laureado Nicolás Guillén— utiliza el texto en interacción con imágenes en niveles diferentes, generando un sentido corrosivo de ironía y confusión en documentales supuestamente “didácticos”. El punto de partida de este programa es su obra maestra, Coffea arábiga (1968), una parodia del utópico proyecto agrícola del Cordón Verde de 1968. Una nueva generación del cine afrocubano está representada por el fotógrafo y cineasta Juan Carlos Alom. En Diario (2009) el paisaje del interior de Cuba, y sus trabajadores rurales, se transforman en una lírica relectura visual del Diario de la última visita de José Martí al territorio cubano.Salvador Díaz Zubieta y Óscar Santos en Jícama (1970) subvierten la textualidad del discurso político para vaciarla de su capacidad comunicativa. Francisca Durán en Even If My Hands Were Full of Truths (2012) utiliza extractos de la correspondencia de la CIA y un fotomontaje tomado en el Museo de los Derechos Humanos y la Memoria en Santiago, en un intento por revisar los modos de la construcción de la memoria colectiva y el legado del dictador chileno Augusto Pinochet.
THURSDAY, MARCH 7, 2019
3/7
Brooklyn, NY United States: UnionDocs
http://www.uniondocs.org <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=78b321f6fe&e=f36020cad0>
7:30 PM, 322 Union Ave
FRISCO GRIT: BALDWIN SELECTS OTHER CINEMA
UnionDocs presents a special night of Other Cinema’s greatest hits with a program of rare, and diverse works selected by Craig Baldwin himself, ‘FRISCO GRIT: CRIT-cum-WIT.’ We’re delighted to have him here in town for a week of celebration including two nights (don’t miss CLOSE ENCOUNTERS WITH CRAIG: ORBITING OTHER CINEMA) at UnionDocs and a run of his feature-length and short work over at Metrograph on March 3 and 4. I If you aren’t familiar with the legendary status of Other Cinema and its founder and fearless leader, Craig Baldwin, Jim Knipfel in The Believer helped to capture his energy in saying, “one way to think about San Francisco-based filmmaker, archivist, and artist Craig Baldwin is as the dialectical result of a collision between the Dadaists, the Situationists, the Beats, and the punks. He exists today as a kind of figurehead, a holdover anarchist beatnik from the Bay Area’s pre-tech boom days.” We are excited to bring the exploratory, and otherworldly vibes of Other Cinema all the way to UnionDocs for the night. We’re passing the reins over to Craig Baldwin, who will unearth our VCR from the basement to share some rare VHS archives, and screen a 90 minute ride of a reel all the way from SF to UnionDocs! ---------- PROGRAM ----------- N.E.W.A.T.A 1 min., 2015 By Bryan Boyce Urine Man 5 min., 2000, 16mm By Greta Snider The Urine Man, a longtime neighbor, agreed to be interviewed but with a great many stipulations. One of these was that he would only discuss his philosophical platform, and would not answer any questions. Nor were we to turn the camera on or off without permission. It became an enormous power struggle. Thus, this eloquent rant of the Urine Man’s unique cosmology. Mysteriously, the Urine Man and his schoolbus/home disappeared the week after the filming, after being in the same location for at least ten years. Turbine: Russian Scissors 4 min., 2002, 16mm By Gibbs Chapman A commissioned alternative “music video” for (firstly) DVD release, to accompany a musical piece called russian scissors by the euro-trash parody techno ensemble, turbine. The band’s only suggestion was that the piece visually contain some reference to a pre-elite-seized San Francisco, and with this in mind, “out came the box of miscellaneous SF singularities and urban landscapes.” St. Louise 5 min., 1998, 16mm By Thad Povey With music by Soul Coughing Walk Long Inside Upon Your Land 8 min., 2013 By Jeremy Rourke Condor: A Film From California 7 min., 1999, 16mm By James T. Hong The condor within us. Manhole #452 12 min., 2011 By Jean Finley and John Muse Despite assurances from local municipalities, manholes occasionally blow sky-high, more than most people realize. The fictionalized film is a first person narrative that follows the reflections of a middle-aged man whose car was hit by an exploding manhole; he now rides the Geary Limited bus the length of Geary Street to his job fitting prosthetic limbs. The narrative explores his obsession with calculating odds and the possibility of miracles amid random violent occurrence. Other Basement 5 min., 2013 By Bryan Boyce A virtual tour in ChromaDepth 3D of Craig Baldwin’s basement studio at Artists’ Television Access in San Francisco’s Mission District. Joe DiMaggio 11 min., 1991 By Anne McGuire The artist stalks and serenades Joe Dimaggio in her car as he strolls the docks, unaware that McGuire is secretly videotaping his every step. Song For KOKO 4 min., 2015 By Tommy Becker A life force is being held against its will or running wild through the streets. The moment the lion lunges at the tamer we understand their motives. We relate viscerally to their oppression as we connect to the soul of their being. After-Image: A Flicker of Life 11 min., 2010 By Kerry Laitala Beginning with an animated wood-cut of a beating heart, Afterimage: A Flicker of Life traces a trajectory of Eadweard Muybridge and Etienne Jules Marey’s 19th Century motion studies using iconic representations of artifacts that they left behind. It then takes the viewer into the 21st Century using three dimensional technology. Human beings are reduced to their gestures and movements in space, becoming forms of pure colored light. Afterimage: a Flicker of Life employs graphic tracings to create kinesthetic inscriptions that speak to the physicality of working with the film medium. Just as Marey and Muybridge strove to make motion visible to the naked eye, this archival/live action 16mm-to-digital hybrid takes a whimsical approach to envisaging human and animal locomotion by illuminating the traces of their presence. Walt Disney's Taxi Driver 5 min., 2011 By Bryan Boyce Walt Disney’s re-imagineering of Martin Scorsese’s classic film Taxi Driver follows Mickey Mouse-obsessed Travis Bickle as he looks for love in a rapidly transforming New York City. Astroblack 27 min., (2007–ongoing) By Soda_Jerk Taking its title from Sun Ra’s 1972 album, Astro Black is an ongoing video series that features the cosmic jazz musician as the central character in an alternate, Afrofuturist history of music and culture emerging from what scholar Paul Gilroy has termed the hybrid, diasporic Black Atlantic space. In the four episodes on view, the Australian duo remix footage and sounds ranging from I Dream of Jeannie and The Matrix to Grandmaster Flash and Public Enemy. Sounding Glass 10 min., 2011 By Sylvia Schedelbauer A man in a forest is subject to a flood of impressions; structurally rhythmic waves of images and sounds give form to his introspection. Lot 63, Grave C 10 min., 2006 By Sam Green The mystery behind the man who died at Altamont.
3/7
San Francisco, CA United States: San Francisco Cinematheque
http://www.sfcinematheque.org <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=8609e1418c&e=f36020cad0>
7:30 PM, Pier 15 Embarcadero at Green St
ICE HOURS: VIDEO + PERFORMANCE
NOTE: admission to this event provides full access to The Exploratorium After Dark. ICE HOURS is a collaboration between photographer Camille Seaman, film artist Kim Miskowicz and composer/musicians Kristina Dutton and Nathan Clevenger. It is a multimedia concert event featuring footage of stunning Antarctic landscapes and the surrounding ocean. It is crafted from over a decade of video footage, documenting inspiring and endangered features of our changing planet. Offering a glimpse into the overwhelming majesty of the natural world, the piece reflects on nature’s fragility, and presents a cathartic lens as an acknowledgement that we, in our inevitable turn, are faced with such fragility as well. At its core, ICE HOURS illustrates the inextricable connection and interdependence of humans and the natural environment. ICE HOURS is presented as part of The Exploratorium After Dark: STEAM-Y Stories. Find more information about the screening here: bit.ly/2T7ni7w
SATURDAY, MARCH 9, 2019
3/9
San Francisco: Other Cinema
http://www.othercinema.com/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=e4897caffb&e=f36020cad0>
8pm, 992 Valencia Street
SUB FREQUENCY'S "OUYALA'S WEDDING"
By popular demand after a sold-out Mississippi Records show, RMI’s Cyrus Moussavi returns to our gallery to premiere the long-awaited Ouyala’s Wedding, co-directed with Hisham Mayet—Sublime Frequencies’ intimate look into a truly splendid Western Saharan nuptial celebration. The bride happens to be the daughter of a legendary musician family (Group Doueh), so this ceremony marks the most ‘musical’ in memory. From Morocco himself, Mayet had unprecedented access to this desert rite, respectfully bringing in the cameras to record details never before seen outside of the region. As to Moussavi, well, this trooper has trekked tens of thousands of miles across the globe in an effort to record ethnic musics before they are forever rendered extinct. Tonight he introduces some 40 mins of material from many remote locations, including sweet songs from Kurdistan, lovely lyricism from Kenya, stunning scenes from Mongolia, folk performances from Burma, and even finger-picking from Cambodia.*$9
SUNDAY, MARCH 10, 2019
3/10
Los Angeles, California: Filmforum
http://www.lafilmforum.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=eb6bc45d6e&e=f36020cad0>
7:30 pm, Spielberg Theatre at the Egyptian, 6712 Hollywood Blvd.
JIM FINN: COMEDIC LAMENTS
Filmforum welcomes back filmmaker Jim Finn with LA premieres of two of his latest indefinable humorous experimental works, along with two golden not-so-oldies. “Chums from Across the Void” is the newest self-help phenomenon, guiding us from a post-Trotskyite position to deal with corporate capitalism. “The Drunkard’s Lament” is an epistolary musical from the vantage point of little known Brontë brother Branwell (a real person), his views on how sister Emily should revise the draft of her novel Wuthering Heights, and his difficult livelihood after the husband of his mistress died, all in the form of a reconstructed lost 1898 film version of the novel. (Branwell himself died in 1848, followed a few months later by Emily.) The film, constructed on hand-made emulsion, is a black & white work of beauty. Along with the haunting “might-have-been” found footage recap of “Decision ‘80” and the unremitting delight of “wüstenspringmaus”, Finn continues his unique merging of humor, history, politics, propaganda, and savvy understanding of media history.
_____
Let us know about your alternative film/video event!
Enter your event announcements by going to the Flicker Weekly Listing Form <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=bf57e738b0&e=f36020cad0> .
To receive the weekly listing via email, send a message to Subscribe <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=03912a7f15&e=f36020cad0> .
<https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=342ae47ef2&e=f36020cad0>
<https://hi-beam.us9.list-manage.com/track/open.php?u=e4e99825c1d97f8de6eaffad3&id=1fd8208f68&e=f36020cad0>
-------------- next part --------------
An HTML attachment was scrubbed...
URL: <http://mailman-mail5.webfaction.com/pipermail/frameworks/attachments/20190302/217fd36d/attachment.html>
More information about the FrameWorks
mailing list