[Frameworks] This week [November 16 - 24, 2019] in avant garde cinema

[weeklylisting at hi-beam.net]

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This week
[November 16-24, 2019]
in avant garde cinema







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Refuge. [November 16, London, England] 

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A Survey In Trance: Will Hindle In the Contemporary Avant Garde [November 16, Queens, NY] 

NEW CALLS FOR ENTRIES:
Bethesda Film Fest (Bethesda, MD USA; Deadline: January 06, 2020)
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The 3rd Annual Film and Video Poetry Symposium (Los Angeles, Ca. USA; Deadline: May 03, 2020)
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Flight/Mostra del Cinema di Genova (Genova, Italy; Deadline: November 15, 2019)
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That One Film Festival (Muncie, Indiana, USA; Deadline: January 15, 2020)
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Experimental Response Cinema (Austin, TX; Deadline: December 30, 2019)
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DEADLINES APPROACHING:
NOFLASH Video Show (New Brunswick, NJ, USA; Deadline: December 15, 2019)
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Light Field (San Francisco, CA; Deadline: December 15, 2019)
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Cosmic Rays Film Festival (Chapel Hill, NC, USA; Deadline: December 01, 2019)
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Video Art Miden (Greece; Deadline: November 30, 2019)
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Microscope Gallery (New York; Deadline: November 30, 2019)
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Events are sorted alphabetically BY CITY within each DATE.

This week's programs (summary):

*	Refuge. [November 16, London, England]
*	South Oxford, All Iowa Lawn Tennis Club, Maravilla, Serve [November 16, Los Angeles, California]
*	Ec: Jerome Hill [November 16, New York, NY]
*	Ec: Hugo / Jacobs / Levitt / Maas [November 16, New York, NY]
*	Jonas Mekas, Program 4: Shorts Pgm [November 16, New York, NY]
*	A Survey In Trance: Will Hindle In the Contemporary Avant Garde [November 16, Queens, NY]
*	Media Archeology2: Optron3 [November 16, San Francisco]
*	South Oxford, All Iowa Lawn Tennis Club, Maravilla, Serve [November 17, Los Angeles, California]
*	Visions: Filipa CÉSar | 17.11.19 | Spell Reel [November 17, Montrèal]
*	Jonas Mekas, Program 5: the Education of Sebastian Or Egypt Regained [November 17, New York, NY]
*	Myth & Memory: 16mm Restorations From the Academy Film Archive [November 18, Baltimore, MD United States]
*	Mati Diop'S Atlantiques + Nagisa Oshima'S Death By Hanging [November 19, Brooklyn, NY United States]
*	An Evening With Peter Rose [November 19, Philadelphia, Pennsylvania]
*	Present. Perfect. (Wan Mei Xian Zai Shi) [November 20, Los Angeles, California]
*	Millennium Film Journal No. 70 [November 20, New York, NY]
*	Millennium Film Journal No. 70 Launch Screening [November 20, New York, New York]
*	Http://Fest.Afi.Com Present. Perfect. [November 21, Los Angeles, California]
*	Visions: Colectivo Los IngrÁVidos | 21 + 22.11.19 [November 21, Montrèal]
*	Cod Holy Water [November 21, Portland]
*	Miguel CalderóN: On George Kuchar and Tropical Vultures [November 21, San Francisco]
*	My First Film, A Live Cinema Presentation By Zia Anger [November 22, Los Angeles, California]
*	Psycho-Geo 3: Tales From Southern Mexico [November 23, San Francisco]
*	I, Apostate - Documentary Film Screening W/ Jeremy Moss [November 24, Harrisburg, PA United States]


SATURDAY, NOVEMBER 16, 2019

 

11/16
London, England: Close-up Film Centre
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18.00pm., 97 Sclater Street. E1 6HR.
REFUGE.
We're pleased to present a programme of films on curated by Peter Todd to explore the theme of "refuge" featuring films by ROBERT VAS, LUKE FOWLER, ANTHEA KENNEDY, LEAH MILLAR, JOANNA MARGARET PAUL, MARGARET TAIT, PETER TODD, SARAH WOOD and poems read by poet STEPHEN WATTS. "A programme of films themed around finding a place to be, of refuge, of home, which can of course be various, by choice, by necessity, and in-between these two. Refuge England, a Free Cinema film made in 1950s London provides a starting point. The programme also includes work by Margaret Tait in this last month of the year long celebrations marking her birth one of which Garden Pieces was her last film and reflects the importance of her garden and the natural world as a place of refuge. I hope the films all get their space, and the resonances between them, and this occasion provides a unique experience." – Peter Todd. Introduced by Peter Todd with filmmakers Anthea Kennedy, Leah Millar, and Sarah Wood. REFUGE ENGLAND. 
Robert Vas, 1959, 27 min, 16mm. "The film records the experiences of a Hungarian refugee arriving in London with no English, little money and with his only prospect of help an incomplete address written on a postcard. The director's own experiences - Vas himself came to London as a refugee in 1956 - give the film an authenticity in its portrayal of the protagonist's conflicting responses to his new environment: isolation and wonder, despair and hope. Refuge England is also a unique record of London in the late 1950s, from Waterloo to the West End to the semi-detached houses of suburbia, seen through the enquiring and impartial eyes of an outsider"’ – Christophe Dupin. MUM"S CARDS. 
Luke Fowler, 2018, 9'03 min, digital. “My mother is a Sociologist – she came to Glasgow from the south of England in the 60’s to work within the Politics Department of Glasgow University- after a few years the Sociologists broke away and formed their own department, where she taught until she retired. Although the university advocated and furnished her with her own personal computer – she still used index cards to make notes on the books and articles that she read. Now that she no longer has an office her house is filled with shoeboxes and filing cabinets containing these cards. My mother was absent on the day that I shot this film; the interview and sounds were recorded at a later date" – Luke Fowler. JILLIAN DRESSING
. Joanna Margaret Paul, 1976, 2'30 min.* Filmed in a mirror, in silhouette, a woman preparing for the day. AERIAL. 
Margaret Tait, 1974, 4 min, 16mm. "Touches on elemental images: air, water (and snow), earth, fire (and smoke), all come into it. The track consists of a drawn out musical sound, single piano notes and some neutral sounds." – Margaret Tait. "Here’s a tiny poem of the relentlessness and beauty all around us, I would say unnoticed, but the point of a Tait film is the noticing." – Ali Smith. A RECIPE FOR MAGICAL PROJECTION. 
Leah Millar, 2018, 6'53 min digital. “Made in and of a community garden in Whitley Bay, where I found children and their pets playing in on a small patch of land between houses. Their families watched closely from the sidelines, maintaining a safe space for daring tree climbs, potion making and make believe. Film footage was hand-developed using locally harvested rosemary and is interspersed with animation in a narrative of ritual, play, protection and growth. Thanks to the spell-casters and their animal familiars." – Leah Millar. GARDEN PIECES. 
Margaret Tait, 1998, 12 min. 16mm. Tait’s last film. A set of three film poems composed around the theme of the garden – the central one featuring hand scratched animated drawings. THE BAG OF A THOUSAND POCKETS. 
Anthea Kennedy, 2002, 8 min digital. ""My bag has a thousand pockets. In each one is a memory." So says my father as he reels off brief and fragmented recollections of his life in Germany." – Anthea Kennedy. AZURE. Sarah Wood, 2016, 7 min digital. Text/voice Ali Smith. "Azure is the colour of the sky on a clear summer’s day. Azure is a colour that suggests openness, ease, possibility. Azure is the name of the card given to the people who arrive in Britain seeking asylum." – Sarah Wood. TOGETHER. 
Peter Todd, 2018, 3 min, 16mm. "Cups on a sunlit table. Flowers and tomatoes in a garden. A view through a window. Views of the sea. Plates on a sunlit table. A few of the sequence of images." – Peter Todd. Total runtime: ca 90 min. With thanks to Gareth Evans for his programme at the Whitechapel Gallery also called Refuge 8th Feb 2018, to Sarah Christian, Luke Fowler, Magdalena Harris and the Paul family, Anthea Kennedy, Leah Millar, the late Alex Pirie, the late Margaret Tait, Sarah Wood, BFI, LUX, MT100, Refugee Tales, and to Camille, Damian, and Oliver at Close-Up. *In fond memory of Jane Paul film archivist - 19 January 1958 Hamilton, New Zealand – 13 November 2018 Wellington, New Zealand.

11/16
Los Angeles, California: Filmforum
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9:00 pm, TCL Chinese Theatre
SOUTH OXFORD, ALL IOWA LAWN TENNIS CLUB, MARAVILLA, SERVE
South Oxford, All Iowa Lawn tennis Club, Maravilla, Serve At the AFI Fest, http://fest.afi.com. Director: Darius Clark Monroe USA, 2019, Feature Documentary, 46 min. Screening: Saturday, November 16 @ 9:00 pm, Chinese 5 Sunday, November 17 @ 1:00 pm, Chinese 5 https://fest.afi.com/2019/short-films-2019/south-oxford-all-iowa-lawn-tennis-club-maravilla-serve Filmmaker Darius Clark Monroe returns to the screen with a series of intimate nonfiction shorts exploring America’s culture and passion for tennis and handball. Four stories, warmly crafted with both archival and original materials, illustrates the great humanity of society and the powerful, soulful bond we experience through sports. Richard Northern and his wife reflect on owning a tennis club for almost two decades in Brooklyn. In Iowa, Mark Kuhn shares his story of building a grass-court on their farmland and what their passion project means after the family is struck by tragedy. An East LA handball court creates an unexpected community amongst political and social turmoil. A woman cares for her elderly mother while passionately coaching students on the court. Their stories, warmly crafted with both archival and original materials, illustrates the great humanity of society and the powerful, soulful bond we experience through sports. Darius Clark Monroe (BLACK 14, RANDOM ACTS OF FLYNESS, EVOLUTION OF A CRIMINAL) is a writer, producer and director. Monroe’s collective work has screened at SXSW, BAMcinemaFest, Full Frame, BlackStar, MoMA, Whitney Museum, Palm Springs, Sundance, True/False, New Directors, AFI FEST, Tribeca, Telluride, Tokyo and Uppsala and appeared on HBO, PBS, Netflix, and at innumerable galleries, schools, churches, backyards, and hotel banquet halls. Monroe was born/bred in Houston and lives in BedStuy, BK.

11/16
New York, NY: Anthology Film Archives
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4:30 PM, 32 Second Avenue
EC: JEROME HILL
These 35mm prints are the result of a preservation project undertaken by the Museum of Modern Art. DEATH IN THE FORENOON (1934/66, 2 min, 35mm) CANARIES (1969, 4 min, 35mm) & FILM PORTRAIT (1971, 81 min, 35mm) A pioneering work in autobiographical cinema, FILM PORTRAIT masterfully combines actual and staged footage and painting over images. Filmmaker, painter, and composer Jerome Hill was born into the famous James J. Hill railroad-building family and lived on the same street as F. Scott Fitzgerald. Here he re-creates wonderfully - with old family footage - the period and milieu of the American upper class at the beginning of the 20th century. Total running time: ca. 90 min.

11/16
New York, NY: Anthology Film Archives
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6:30 PM, 32 Second Avenue
EC: HUGO / JACOBS / LEVITT / MAAS
Ian Hugo BELLS OF ATLANTIS (1952, 10 min, 16mm. Preserved by the Library of Congress through the Avant-Garde Masters program funded by The Film Foundation and administered by the National Film Preservation Foundation.) A film poem, based on Anaïs Nin's HOUSE OF INCEST, narrated by and featuring Nin. "[BELLS OF ATLANTIS was] inspired by the prologue to my HOUSE OF INCEST and the line: 'I remember my first birth in water.' The film evoked the watery depths of the lost continent of Atlantis. It is a lyrical journey into prenatal memories, the theme of birth and rebirth from the sea." -Anaïs Nin Ken Jacobs LITTLE STABS AT HAPPINESS (1959-63, 18 min, 16mm. With Jack Smith.) "Material was cut in as it came out of the camera, embarrassing moments intact. 100' rolls timed well with music on old 78s. I was interested in immediacy, a sense of ease, and an art where suffering was acknowledged but not trivialized with dramatics. Whimsy was our achievement, as well as breaking out of step." -Ken Jacobs Helen Levitt, Janice Loeb, and James Agee IN THE STREET (1952, 12 min, 16mm, b&w. Preserved by Anthology Film Archives.) "Informality is indeed the crucial and virtually definitive quality of IN THE STREET; it is even the guiding principle and vision. […] This is the extreme realization of a classic 'naturalistic' genre, the German 'street film,' where the street was imaged as the arena of the everyday and random, the channel in which the 'stream of life' conveniently became microcosmic." -Ken Kelman, THE ESSENTIAL CINEMA Willard Maas GEOGRAPHY OF THE BODY (1943, 7 min, 16mm, b&w. Preserved by Anthology with support from The National Film Preservation Foundation.) "The terrors and splendors of the human body as the undiscovered, mysterious continent." -Willard Maas Total running time: ca. 55 min.

11/16
New York, NY: Anthology Film Archives
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8:15 PM, 32 Second Avenue
JONAS MEKAS, PROGRAM 4: SHORTS PGM
CASSIS (1966, 4.5 min, 16mm) I was visiting Jerome Hill. Jerome loved France, especially Provence. He spent all his summers in Cassis. My window overlooked the sea. I sat in my little room, reading or writing, and looked at the sea. I decided to place my Bolex exactly at the angle of light as what Signac saw from his studio which was just behind where I was staying, and film the view from morning till after sunset, frame by frame. ON MY WAY TO FUJIYAMA I MET… (Filmed 1983/91/edited 1995, 25 min, 16mm) Images from two trips to Japan, 1983 and 1991. With music - percussion - by Dalius Naujokaitis. A song, or maybe a duet between images and sound. A sutra, perhaps. SONG OF AVIGNON (1998, 8.5 min, 16mm) Reflections on my 1966 trip to Avignon that helped me to survive a deep crisis I was going through. Texts from my diaries of that period on the soundtrack are read by Angus MacLise. TRAVEL SONGS Filmed (1967-81/edited 2003, 28 min, 16mm, silent. Preserved by Anthology Film Archives with support from the National Film Preservation Foundation.) Five different 'songs' or segments: footage from Avila (Spain), Stockholm, Moscow, Assisi, Italy. Brief images, a lot of single frame activity. MT. VENTOUX (2011, 3 min, digital) I am in Provence near Mt. Ventoux. I remember the poet Petrarca walking on Mt. Ventoux and carrying with him a volume of St. Augustine's CONFESSIONS, transcribed by hand, and reading it… on Mt. Ventoux… It's my meditation in honor of Petrarca. Total running time: ca. 75 min.

11/16
Queens, NY: Museum of the Moving Image
6pm, Bartos Screening Room
A SURVEY IN TRANCE: WILL HINDLE IN THE CONTEMPORARY AVANT GARDE
Introduced by guest curator Becca Keating and with Jennifer Reeves in person From 1958 to 1976, Will Hindle made ten films. While his work is not as well known as that of some contemporaries within experimental cinema, his ambitious technical prowess and personal, erotic, and psychedelic sensibility has nevertheless illuminated a path for many in the current generation of experimental filmmakers. His expressive visual style, unusual editing, and effects, and his intuitive use of image and sound to activate complex emotional and psychic states characterize a body of work that, while modest in scope, stands among the most distinctive and evocative in the American avant-garde. Two of Hindle’s seminal works, Watersmith(1969) and Saint Flournoy Lobos-Logos and the Eastern Europe Fetus Taxing Japan Brides in West Coast Places Sucking Alabama Air, (1970) will provide a jumping off point for this first iteration of a new ongoing series, Persistent Visions, as we discover how—in addition to Hindle’s own examples—some contemporary experimental filmmakers have explored trance, ritual, and dream states in a uniquely cinematic language. Organized by Becca Keating Program 1: Bodies in Motion Saturday, November 16, 6:00 p.m.A stunning portrait of water polo athletes in training, Watersmith is one of Will Hindle’s acknowledged masterpieces. Featuring an intensely nuanced attention to bodies, motion, and space, amplified by Hindle’s hypnotic and ecstatic rephotography effects, Watersmith launches this program in which filmmakers use widely varying approaches and techniques to activate spaces, with a heightened subjectivity that suggest trance states and poetic, emotionally evocative experiences. Total running time: 64 mins. Watersmith; Will Hindle. 1969, 32 mins. 16mm. Trains Are for Dreaming; Jennifer Reeves. 2009, 7 mins. 16mm. Sounding Glass; Sylvia Schedelbauer. 2011, 10 mins. Digital projection. Red Mill; Esther Urlus. 2013, 6 mins. 16mm. Still Life; Bruce Baillie. 1966, 3 mins. 16mm. If the War Continues; Jonathan Schwartz. 2012, 6 mins. 16mm. Program 2: Rituals in Time Will Hindle’s Saint Flournoy Lobos-Logos and the Eastern Europe Fetus Taxing Japan Brides in West Coast Places Sucking Alabama Air combines the psychic upheaval of the late 1960s and the alien barrenness of the desert to conjure a mesmerizing array of dreams and nightmares. Related themes of ritual, transcendence, and a subjective experience of time and space characterize the four contemporary works that accompany Hindle’s cinematic mind trip.Total running time: 84 mins. St. Flournoy Lobos-Logos and the Eastern Europe Fetus Taxing Japan Brides in West Coast Places Sucking Alabama Air Will Hindle. 1970, 12 mins. 16mm. A Idade De Pedra; Ana Vaz. 2013, 29 mins. Digital projection. Elixir; Amy Halpern. 2012, 7 mins. 16mm. Wayward Fronds; Fern Silva. 2014, 13 mins. 16mm. Atlantis; Ben Russell. 2015, 23 mins. Digital projection.

11/16
San Francisco: Other Cinema
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8:30, 992 Valencia Street
MEDIA ARCHEOLOGY2: OPTRON3
NOV.16: BRIAN DARR + SYLVIA SCHEDELBAUER + APHID + X73 We celebrate the diversity of means of personal expression in our lo-fi media landscape! OC fave Brian (Hell On Frisco Bay) Darr deploys 35mm slides, 16mm clips, VHS tapes, Glenn Waite’s home-made analog synth, and bits of Thom Andersen/Noel Burch’s Red Hollywood to tell the tale of Hollywood 10 victim Abraham Polonsky’s Force of Evil, a noir critique that turns on emerging surveillance themes. In from Berlin, trans-national kino-collagist Sylvia Schedelbauer’s Memories is an amateur b/w photo retrospective spun from a shoebox of family snapshots from mid-century Germany. In the Antikytheran Mechanism, X73’s David Cox, John Smalley, and Rachel Levin weave together vocals, video, film, and music to rhapsodize on the Aegean Sea discovery of that ancient Greek astronomical clock that could forecast solar eclipses. Abram (Aphid) Stern fast-forwards though this history of thinking machines to the new mode of “generative-video” with his Unburning show’n’tell, operating on FBI aerial footage of the 2015 Baltimore Uprising to reveal hidden data-overlays “burned in” by the Bureau’s infrared sensors.*$9


SUNDAY, NOVEMBER 17, 2019

 

11/17
Los Angeles, California: Filmforum
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1:00 pm, TCL Chinese Theatre
SOUTH OXFORD, ALL IOWA LAWN TENNIS CLUB, MARAVILLA, SERVE
Filmforum co-hosts the following at AFI Fest, http://fest.afi.com South Oxford, All Iowa Lawn tennis Club, Maravilla, Serve By Darius Clark Monroe USA, 2019, Feature Documentary, 46 min. Screening: Saturday, November 16 @ 9:00 pm, Chinese 5 Sunday, November 17 @ 1:00 pm, Chinese 5 https://fest.afi.com/2019/short-films-2019/south-oxford-all-iowa-lawn-tennis-club-maravilla-serve Filmmaker Darius Clark Monroe returns to the screen with a series of intimate nonfiction shorts exploring America’s culture and passion for tennis and handball. Four stories, warmly crafted with both archival and original materials, illustrates the great humanity of society and the powerful, soulful bond we experience through sports. Richard Northern and his wife reflect on owning a tennis club for almost two decades in Brooklyn. In Iowa, Mark Kuhn shares his story of building a grass-court on their farmland and what their passion project means after the family is struck by tragedy. An East LA handball court creates an unexpected community amongst political and social turmoil. A woman cares for her elderly mother while passionately coaching students on the court. Their stories, warmly crafted with both archival and original materials, illustrates the great humanity of society and the powerful, soulful bond we experience through sports. Darius Clark Monroe (BLACK 14, RANDOM ACTS OF FLYNESS, EVOLUTION OF A CRIMINAL) is a writer, producer and director. Monroe’s collective work has screened at SXSW, BAMcinemaFest, Full Frame, BlackStar, MoMA, Whitney Museum, Palm Springs, Sundance, True/False, New Directors, AFI FEST, Tribeca, Telluride, Tokyo and Uppsala and appeared on HBO, PBS, Netflix, and at innumerable galleries, schools, churches, backyards, and hotel banquet halls. Monroe was born/bred in Houston and lives in BedStuy, BK.

11/17
Montrèal: VISIONS
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20H, la lumière collective [7080, rue Alexandra, #506, Montréal]
VISIONS: FILIPA CÉSAR | 17.11.19 | SPELL REEL
​Filipa César was born in Portugal in 1975 ; she lives and works in Berlin. She studied at the University of the Arts in Porto and Lisbon, at the Academy of the Arts in Munich and obtained a master’s in Context at the University of the Arts in Berlin (2007). Her work interrogates the porous relation between the animated image and its reception by the public. || Filipa César est née au Portugal en 1975 ; elle vit et travaille à Berlin. Elle a étudié à la Faculté des Arts de Porto et de Lisbonne, à l’Académie des Arts de Munich et a obtenu le Master Art in Context de l’Université des Arts de Berlin (2007). Son travail interroge la relation poreuse entre l’image animée et sa réception publique. Tickets $7

11/17
New York, NY: Anthology Film Archives
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5:30 PM, 32 Second Avenue
JONAS MEKAS, PROGRAM 5: THE EDUCATION OF SEBASTIAN OR EGYPT REGAINED
THE EDUCATION OF SEBASTIAN OR EGYPT REGAINED (1992, 228 min, digital) A video record of a mental and physical journey through 5,000 years of Egypt at the End of History; an attempt to reconnect with the Source, with Jean Houston acting as Virgil; as Sebastian watches and absorbs it all from the corner of his eye, focusing on the tip of the Great Pyramid. All very personal, and it goes on and on, perhaps of very little meaning to others, but of crucial importance to myself, a record not for Entertainment or Public Exhibition, but something to share with friends, one long evening. Maybe there is a letter to my friends about a very crucial journey back to Ithaca - and a present for Sebastian, something that he'll rediscover when he'll be approaching the age when I, Odysseus, began my own travels - this may serve him as a beginner's map - the Fates will give him better ones.


MONDAY, NOVEMBER 18, 2019

 

11/18
Baltimore, MD United States: SNF Parkway Theatre / Maryland Film Fest
7:00 PM, 5 West North Avenue
MYTH & MEMORY: 16MM RESTORATIONS FROM THE ACADEMY FILM ARCHIVE
SIGHT UNSEEN PRESENTS: MYTH & MEMORY 16mm restorations from the Academy Film Archive This special program has been curated, and will be presented by Curator, & Film Preservationist, Mark Toscano. "This program is composed of some films I’ve worked on over the past few years, a diverse mix of 16mm shorts which approach these themes in a wide range of techniques and tones, from dreamy to direct to sensual to ecstatic, and spanning animation, found footage, home movies, portraiture, scrapbooks, reminiscences, fantasies, and fireworks. A deep current of empathy runs vividly throughout these beautiful, moving, and complicated works, and I’m thrilled to do my first ever program in Baltimore with some genuine favorites of mine." Program and notes by Mark Toscano. Thanks to the filmmakers and Canyon Cinema. PROGRAM TRT: 84.5m Anselmo Chick Strand, 1967, 16mm, color, sound, 4m “An experimental documentary in the sense that it is a symbolic reenactment of a real event. I asked a Mexican Indian friend what he would like most in the world. His answer was, "A double E flat tuba." I thought it would be easy to find one at the Goodwill very cheap. This wasn't so, but a sympathetic man in a music store found a cheap but beautiful brass wrap-around tuba. I bought it, smuggled it into Mexico and gave it to my friend in the desert. The film is a poetic interpretation of this event in celebration of wishes and tubas.” (Chick Strand) Crocus Suzan Pitt, 1971, 16mm, color, sound, 7m “In her early masterpiece, Suzan Pitt created a movingly intimate and dream-like self-portrait of the young artist in the conflicted, prismatic identity of mother, wife, artist, and sexual being.” (Mark Toscano) Throbs Fred Worden, 1972, 16mm, bw & color, sound, 7m "Fred Worden's magical CalArts thesis film collages all manner of spectacle (car crashes, football, circus, television) into a hypnotic and dream-like reverie that feels somehow personal, as if a revisited catalog of images that might once have given him delight in his youth. The eclectic source material, woven together with genuine and unexpected beauty on the optical printer, moves from refrain to refrain with a fluidity that suggests a free-associating cinematic consciousness, a momentary pause in the now on the then." (Mark Toscano) The Secret Story Janie Geiser, 1996, 16mm, color, sound, 8.5m “The Secret Story arose as a response to several beautifully decayed toy figures from the 1930s that were given to me as a gift. These figures, and other toys, objects and illustrations that I found from the period between the world wars, suggested a kind of unearthed hidden narrative which I have attempted to re-piece together, as if these figures were the hieroglyphics of a just-forgotten tongue. THE SECRET STORY revolves around the central figure of the woman, and her girl-double, who look somewhat like versions of Snow White. She wanders through landscapes of rivers and floods, home and war, and memory and illness, culminating in an ecstatic walk in the forest, suggesting both the dark and cathartic trajectories of the richest fairy tales.” (Janie Geiser) Back in the Saddle Again Scott Stark, 1997, 16mm, bw, sound, 8m “A family's playful interaction with a 16mm sound movie camera, singing along as a group with Gene Autry's title song in front of the camera, combines western fantasy, American kitsch, gender posturing, deterioration of the film's surface, the wonderment of the cinematic process, and the use of controlled accidents to shape the form of the film. My only intrusion on the footage was to print it first in negative, which adds a bleak, mysterious edge to it, and to print it again in positive, which seems to answer many of the questions raised in the first part.” (Scott Stark) Chronicles of a Lying Spirit by Kelly Gabron Cauleen Smith, 1992, 16mm, color, sound, 6m “Chronicles was really fun to make in part because it was truth and out-and-out lies combined, written history and oral history combined. It’s my theory, I guess, that Black women have always been doing incredible things throughout history and that we’ve been able to do these things in part because no one pays much attention to us. While you can feel - I hate to use the word - disempowered by being invisible, I think a lot of women have been resourceful in making invisibility a shield that protects them while they do and experience amazing things. Chronicles was an homage to all the accomplished Black women in global history who are not documented anywhere.” (Cauleen Smith) Where’d She Go? Gus Van Sant, 1982, 16mm, color, sound, 3m “Superficially a sweet, sad, and funny tribute to the filmmaker’s recently deceased grandmother, Van Sant’s early short film resonates on a larger scale with questions about time, memory, class, and family.” (Mark Toscano) Roslyn Romance (is it really true?) Bruce Baillie, 1976, 16mm, color, sound, 16m “My Romance is intended for something like "broadcast" form, or like a correspondence ... not so much for showing a big batch of it at one sitting. … The work seems to be a sort of manual, concerning all the stuff of the cycle of life, from the most detailed mundanery to ... God knows.” (Bruce Baillie) Women I Love Barbara Hammer, 1976, 16mm, color, sound, 25m “Women I Love is a series of cameo portraits of the filmmaker's friends and lovers intercut with a playful celebration of fruits and vegetables pixilated in nature. Culminating footage evokes a tantric painting of sexuality sustained.” (Barbara Hammer) Restored by Electronic Arts Intermix and the Academy Film Archive through the National Film Preservation Foundation’s Avant-Garde Masters Grant program and The Film Foundation. Funding provided by the George Lucas Family Foundation. ABOUT THE CURATOR Mark Toscano is a filmmaker, curator, and film preservationist based in Los Angeles. Since 2003, he has worked at the Academy Film Archive, where he specializes in the curation, conservation, and preservation of artists’ films. He works with the collections of over 100 filmmakers, and has overseen the conservation and preservation of hundreds of films, including work by Stan Brakhage, Barbara Hammer, Chick Strand, Tacita Dean, Penelope Spheeris, the Whitney brothers, Gus Van Sant, Pat O’Neill, Suzan Pitt, and many others. He has curated and presented programs at numerous venues, including MoMA, Arsenal, Eye Filmmuseum, Centre Pompidou, and festivals in Rotterdam, London, Oberhausen, Zagreb, Bangalore, Seoul, and elsewhere. He is a programmer with Los Angeles Filmforum, and has lectured at various universities on experimental film and archiving, as well as teaching in the Experimental Animation department at CalArts.


TUESDAY, NOVEMBER 19, 2019

 

11/19
Brooklyn, NY United States: Light Industry
 <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=aca477e3b1&e=f36020cad0> http://www.lightindustry.org/
7:00 PM, 155 Freeman St
MATI DIOP'S ATLANTIQUES + NAGISA OSHIMA'S DEATH BY HANGING
Introduced by Daniel Schmidt Atlantiques, Mati Diop, 2009, digital projection, 15 mins Death by Hanging, Nagisa Oshima, 1968, digital projection, 118 mins \

11/19
Philadelphia, Pennsylvania: Nightletter
 <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=13115759df&e=f36020cad0> http://nightletter.org/peterrose
7:30pm, 413 S. 44th Street
AN EVENING WITH PETER ROSE
One of the major yet still underappreciated heroes of the American Experimental cinema of the 1970s and 80s, Philadelphia-based artist Peter Rose has created a body of work fusing his interest in the nature of the physical film frame itself with the humor of invented languages and idioms. Rose is a master of the optical printer, which he used to combine as many as 25 separately photographed 16mm images into each frame. In Analogies, Rose uses this technique to break down his “Godardian movements” (in the words of Amos Vogel), creating something akin to filmic cubism. The Man Who Could Not See Far Enough utilizes the same technique (and more!) alongside an autobiographical narrative. It is a film that can move from a solar eclipse to a first person perspective climbing the Golden Gate Bridge in intricate patterns all to investigate the act of seeing. With the final three films in our program, Rose reveals his increased interest in language and the written word. Secondary Currents uses only a black screen and white text as its image accompanied by voiceover. As the film proceeds, language begins to fail until the screen is entirely filled with letters devoid of meaning. Pressures of the Text highlights another amusement with language. Rose himself performs a parody of the professorial lecture, exaggerating academic jargon to such a fever pitch that he begins to speak in a convincing form of gibberish. SpiritMatters presents a similar game where text presented horizontally as a photographed image and also painted on the film frame itself running vertically, playing tricks on our perception while constantly service as a reminder of film’s dual existence as both a record and an object. FILMS WILL INCLUDE: Analogies: Studies in the Movement of Time / Peter Rose / 1977 / 14 min / 16mm The Man Who Could Not See Far Enough / Peter Rose / 1981 / 32 min / 16mm Secondary Currents / Peter Rose / 1982 / 16 min / 16mm The Pressures of the Text / Peter Rose / 1983 / 17 min / Digital Video SpiritMatters / Peter Rose / 1984 / 6 min / 16mm


WEDNESDAY, NOVEMBER 20, 2019

 

11/20
Los Angeles, California: Filmforum
 <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=bb06fbb974&e=f36020cad0> http://www.lafilmforum.org/
3:30 pm, TCL Chinese Theatre
PRESENT. PERFECT. (WAN MEI XIAN ZAI SHI)
Filmforum co-hosts the following at AFI Fest, http://fest.afi.com Present. Perfect. (WAN MEI XIAN ZAI SHI) By Shengze Zhu USA, Hong Kong, 2019, Feature Documentary, 124 min. Screening Wednesday, November 20 @ 3:30 pm, Chinese 2 Thursday, November 21 @ 5:30 pm, Chinese 2 https://fest.afi.com/2019/short-films-2019/present-perfect-wan-mei-xian-zai-shi Winner of the Tiger Award at the 2019 Rotterdam Film Festival, PRESENT.PERFECT. is a poetic demonstration of the need to seek out or create global communities and the shrouded threat that doing so poses to state control. Zhu Shengze’s found-footage documentary compiles live streaming footage from over 800 hours of material. Its hosts are those with disabilities, the marginalized and the working-class, who poetically demonstrate the need to seek out or create global communities and the threat this poses to state control. An immersive depiction of the proliferation of self-documentation in China before its suppression by the country’s 2017 Cybersecurity Law, Zhu Shengze’s enthralling found-footage documentary compiles live streaming footage assembled from over 800 hours of material. By enabling individuals — many of whom are disabled, marginalized or from the working class — to candidly engage with viewers and also generate revenue, live streaming not only provides a meager supplemental income, but also a vital source of connection to those who are particularly vulnerable and live in relative isolation and obscurity. Shengze Zhu is a documentary filmmaker and producer. She co-founded Burn The Film with Zhengfan Yang, her collaborator since 2012. Her directorial debut OUT OF FOCUS (2014) premiered at Cinéma du Réel; her second film ANOTHER YEAR (2016) received the Best Film Award at Visions du Réel, Grand Prize at RIDM Montreal Int’l Documentary Festival, Critic’s Award at Olhar de Cinema (Brazil), and was honored as “Top 10 Films of the Year” in 2016 by 24 Images. Her third film PRESENT.PERFECT. received the Tiger Award at the International Film Festival Rotterdam.

11/20
New York, NY: Anthology Film Archives
 <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=0a63b859cb&e=f36020cad0> http://www.anthologyfilmarchives.org/
7:30 PM, 32 Second Avenue
MILLENNIUM FILM JOURNAL NO. 70
"I came to think of the film strip as a body that's acquiring memory." -Alexandre Larose, quoted in Tess Takahashi's article on his film BROUILLARD #14 The works in this program are all featured in Millennium Film Journal No. 70 (Fall 2019, "Body Memory"). The body is a consistent presence in the issue - as image of self-identity, as corporate culture battleground, as representation of colonialist tendencies in sculptural memorials, and as reminder of the demise of several major figures in our field. All descriptions are taken from articles in MFJ No. 70. For more info about Millennium, visit: mfj-online.org Adam & Zack Khalil CULTURE CAPTURE: TERMINAL ADDITION (2019, 7 min, digital) "What if a shadowy militant cell started breaking into universities and museums, digitally reclaiming indigenous patrimony, and disappearing public monuments to colonialism? The NRO is not offering how-to guides but rather pre-figuring possible modes of resistance. Positing the reterritorialization of indigenous culture in the digital realm, they reveal and contest how the settler colonial imaginary has already claimed the digital 'frontier' in advance, as well as the futurity with which it is associated." -Patrick Harrison, "New Red Order" Alexandre Larose BROUILLARD #14 (2012, 10 min, 35mm) "In much the same way that many popular data visualizations compress decades into a few seconds or minutes, BROUILLARD #14 condenses and averages over forty individual ten-minute walks into a single ten-minute cinematic passage. […] Despite its visual vibrations and disjoints, BROUILLARD #14's layering of ambulatory passes through the Quebec landscape surrounding the home of Larose's parents produces an average of experience that results in a relatively steady amalgamated image." -Tess Takahashi, "Alexandre Larose's BROUILLARD #14: Analog Experimental Film as Data Visualization" Ardele Lister SUGAR DADDY (1980, 30 min, digital) "A life-saving feminist talisman. As we look over old family photos and scattered audio cassettes, Lister explains that for 20 years her father had a mistress, Eva M.: a warm and generous woman whom the child Ardele knew and loved, and a prostitute. In a remarkable breach of patriarchal rules, the two stayed in touch throughout the affair, and Eva's confidence in Lister was such that she sent her audio recordings in the hope that she would write her biography. What follows is an uncanny reenactment." -Laura U. Marks, "Ardele Lister's Divine Irony" Marie Losier BYUN, OBJET TROUVÉ (2012, 7 min, 16mm) "Byun is a North Korean artist, and he escaped the dictatorship there. He's a very talented painter. When he came to New York he started collecting these found objects, finding trash objects and buying some. He started transforming them so they became inhabited by stories. […] Because he's not very good at speaking English, I thought the best way to make a portrait of Byun - because I was very much attracted to his objects - was animation. He's the center of all of this family of objects, the king of the kingdom." -Marie Losier, in Joel Schlemowitz, "A Playground for Filmmaking: Interview with Marie Losier" Shana Moulton Selections from WHISPERING PINES (2012, 15 min, digital) "Among the common tropes of the New Age healing narrative is that the self must be dismembered before it can be made whole. Visualization and channeling, aromatherapy and crystals are aids to that labor of self-excavation. Moulton's deft use of the video medium has often been used to portray such experience - to make graphically manifest the metaphysics of feeling-good. […] Cultural techniques of healing and spirit switch from tchotchkes to touch screens, from pink sand to pixels. Both image and self are composed of many layers and the astral plane coincides with the digital picture plane." -Faith Holland & Seth Watter, "From Picture Plane to Astral Plane: Shana Moulton's WHISPERING PINES" Total running time: ca. 75 min.

11/20
New York, New York: Millennium Film Journal
mfj-online.org
7:30pm, Anthology Film Archives
MILLENNIUM FILM JOURNAL NO. 70 LAUNCH SCREENING
The Millennium Film Journal is celebrating the launch of its Fall 2019 issue (no. 70, "Body Memory") with a launch screening at Anthology Film Archives, November 20th at 7:30pm. The program includes the following work: New Red Order, CULTURE CAPTURE: TERMINAL ADDITION (2019, 7 min, digital), Alexandre Larose BROUILLARD #14 (2012, 10 min, 35mm), Ardele Lister SUGAR DADDY (1980, 30 min, digital), Marie Losier BYUN, OBJET TROUVÉ (2012, 7 min, digital), Shana Moulton Selections from WHISPERING PINES (2012, 15 min, digital). Ardele Lister will be present at the screening for a Q&A.


THURSDAY, NOVEMBER 21, 2019

 

11/21
Los Angeles, California: Filmforum
 <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=976f9401e3&e=f36020cad0> http://www.lafilmforum.org/
5:30 pm, TCL Chinese Theatre
 <HTTP://FEST.AFI.COM> HTTP://FEST.AFI.COM PRESENT. PERFECT.
Filmforum co-hosts the following at AFI Fest, http://fest.afi.com Present. Perfect. (WAN MEI XIAN ZAI SHI) By Shengze Zhu USA, Hong Kong, 2019, Feature Documentary, 124 min. Screening Wednesday, November 20 @ 3:30 pm, Chinese 2 Thursday, November 21 @ 5:30 pm, Chinese 2 https://fest.afi.com/2019/short-films-2019/present-perfect-wan-mei-xian-zai-shi Winner of the Tiger Award at the 2019 Rotterdam Film Festival, PRESENT.PERFECT. is a poetic demonstration of the need to seek out or create global communities and the shrouded threat that doing so poses to state control. Zhu Shengze’s found-footage documentary compiles live streaming footage from over 800 hours of material. Its hosts are those with disabilities, the marginalized and the working-class, who poetically demonstrate the need to seek out or create global communities and the threat this poses to state control. An immersive depiction of the proliferation of self-documentation in China before its suppression by the country’s 2017 Cybersecurity Law, Zhu Shengze’s enthralling found-footage documentary compiles live streaming footage assembled from over 800 hours of material. By enabling individuals — many of whom are disabled, marginalized or from the working class — to candidly engage with viewers and also generate revenue, live streaming not only provides a meager supplemental income, but also a vital source of connection to those who are particularly vulnerable and live in relative isolation and obscurity. Shengze Zhu is a documentary filmmaker and producer. She co-founded Burn The Film with Zhengfan Yang, her collaborator since 2012. Her directorial debut OUT OF FOCUS (2014) premiered at Cinéma du Réel; her second film ANOTHER YEAR (2016) received the Best Film Award at Visions du Réel, Grand Prize at RIDM Montreal Int’l Documentary Festival, Critic’s Award at Olhar de Cinema (Brazil), and was honored as “Top 10 Films of the Year” in 2016 by 24 Images. Her third film PRESENT.PERFECT. received the Tiger Award at the International Film Festival Rotterdam.

11/21
Montrèal: VISIONS 
 <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=495135c7c1&e=f36020cad0> http://www.visionsmtl.com
19 H, Cinéma Moderne, 5150 St Laurent Blvd
VISIONS: COLECTIVO LOS INGRÁVIDOS | 21 + 22.11.19 
VISIONS : COLECTIVO LOS INGRÁVIDOS / First Program 21.11.19 | 19h | Cinéma moderne | 69 minutes VISIONS : COLECTIVO LOS INGRÁVIDOS / Second Program 22.11.19 | 19h | Cinéma moderne | 61 minutes En présence de la cinéaste | Filmmaker Present | ​Projection HD

11/21
Portland: Nine Gallery
 <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=4bc151f917&e=f36020cad0> https://www.blueskygallery.org/nine-gallery
12-5, 3727 NE 11th Avenue
COD HOLY WATER
a video installation by Vanessa Renwick dedicated to those migrating in aspiration as well as desperation November 7–December 1, 2019

11/21
San Francisco: Kadist
 <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=f80032385f&e=f36020cad0> https://kadist.org/program/miguel-calderon-on-george-kuchar-and-tropical-vultures/
6p, SFAI—Chestnut Street Campus, 800 Chestnut St
MIGUEL CALDERóN: ON GEORGE KUCHAR AND TROPICAL VULTURES
Miguel Calderón, On George Kuchar and Tropical Vultures with Julio Morales, presented in collaboration with and at San Francisco Art Institute (SFAI), Thursday, November 21, 6–8pm. Ten years ago, underground film legend George Kuchar and his then-student, Miguel Calderón, took a working vacation to Acapulco, Mexico where they made two extraordinary films. On the anniversary of their collaboration, Calderón reflects on both of these films, followed by a conversation with Julio Morales. They present a never-before-seen interview with Kuchar and the details of an unreleased book on his life and work.


FRIDAY, NOVEMBER 22, 2019

 

11/22
Los Angeles, California: Filmforum
 <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=3766a8ae0d&e=f36020cad0> http://www.lafilmforum.org/
7:30 pm, Downtown Independent, 251 S Main Street,
MY FIRST FILM, A LIVE CINEMA PRESENTATION BY ZIA ANGER
MEMORY, Los Angeles Filmforum, and Cinema Guild present My First Film, A Live Cinema Presentation by Zia Anger. The international tour of Zia Anger’s MY FIRST FILM concludes on Friday November 22 in Los Angeles. In this expanded cinema performance the artist attempts to recount the stories behind her lost and abandoned work - including her first feature. From Zia Anger, “Last year I Googled myself. I found my IMDB page, which listed my first attempt at a feature film as still being in “post-production.” In the interest of mitigating the risk of any potential financiers coming along and seeing that I had a film from 2012 still unfinished I emailed IMDB to ask if they could remove the listing. It had been automatically added when I used Withoutabox to apply to festivals and without proper release, the entry sat in limbo. I never heard back, and a month later I checked my page again, and was surprised to learn that instead of removing the listing, they had labeled it ‘abandoned' in red italic letters. “My First Film” explores this “abandoned” mythos - from expired Instagram stories, to the nearly-finished feature I made in grad school. It erases the line drawn between a filmmaker's body and body of work. Lasting roughly 75 minutes, MY FIRST FILM reimagines the relationship between the audience, the filmmaker, the movie theatre, and the cinematic narrative, as I weave a narrative using real-time text, spontaneous Google searches, audience directives and AirDrops.” INFO: http://memory.is/my-first-film , www.lafilmforum.org , https://downtownindependent.com/ TICKETS: $18 General Admission, $10 LA Filmforum Members, $10 Students (with ID). Available in advance at https://www.brownpapertickets.com/event/4437070 Or at the door Trailer: https://memory.is/my-first-film/trailer


SATURDAY, NOVEMBER 23, 2019

 

11/23
San Francisco: Other Cinema
 <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=b5bc0f2994&e=f36020cad0> http://www.othercinema.com/
8:30, 992 Valencia Street
PSYCHO-GEO 3: TALES FROM SOUTHERN MEXICO 
NOV.23: DISPATCHES FROM ATZLAN: CHARLES FAIRBANKS + CAITLIN MANNING + For our annual No-Thanks Giving gathering, we host Charles Fairbanks and Caitlin Manning, both filmmaker expats coming up from separate towns in Southern Mexico. Charles shares the West Coast premiere of The Modern Jungle, his hour-long collaboration with Saul Kak--a visual artist from a Zoque village--on a lush but critical allegory of globalization, as filtered though the fever-dream of a Mexican shaman. Ex-Mission sister Caitlin circles back to San Fran with Resistance, Autonomy, and Women’s Rights in Chiapas, on the community craftwork of A.G. Lopez. Oaxacan visionary Bruno Varela is also represented with another of his exquisite experimental essays. AND North-of-the-border Native (now NY-based) Adam Khalil sends in the debut of Cultural Capture: Terminal Addition, on cultural appropriation and the white-washing of indigenous history. Food and drink from the region will be on hand in a festive reception for our much-missed comrades!


SUNDAY, NOVEMBER 24, 2019

 

11/24
Harrisburg, PA United States: Midtown Cinema
7:00 PM, 250 Reily St
I, APOSTATE - DOCUMENTARY FILM SCREENING W/ JEREMY MOSS
I, Apostate. A Feature Film by Jeremy Moss In Person Screening with Post Film Q&A Trailer - https://vimeo.com/272676238 A fantasia of post-indoctrination, immigration, and iconography. A pageant of wanderers and searchers: Mormon missionaries, a pioneer, polygamists, scouts, hunters, church-goers, and an aspiring prophet walk and walk and walk. A pilgrimage of memory, history, ancestry, and place. An experimental documentary that interrogates and explores the seeds of the filmmaker’s own religious indoctrination and eventual apostasy. He revisits the European landscapes where his ancestors were converted to Mormonism in the 1800s. He examines the desert places they colonized in the American West. He returns to Brazil and interviews individuals he had converted to the faith twenty years ago. Part diary film and part surrealist essay, the film deals with the experience of conversion and indoctrination, the pain of apostasy, and the discomfort and contentment from never fully breaking free.

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