[Frameworks] This week [November 30 - December 8, 2019] in avant garde cinema

[weeklylisting at hi-beam.net]

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This week
[Nov. 24 - Dec. 10, 2019]
in avant garde cinema







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Optron 4: Sispix 2 [November 30, San Francisco] 

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Salomé, A Film By Teo Hernandez, Scored Live By Dorian Wood [December 5, Los Angeles, California] 

NEW CALLS FOR ENTRIES:
Flatpackfestival (Birmingham, UK; Deadline: January 26, 2020)
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DEADLINES APPROACHING:
ARTerra (Tondela, Portugal; Deadline: December 31, 2019)
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27th Chicago Underground Film Festival (IL; Deadline: January 03, 2020)
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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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FLEFF (Ithaca, NY, USA; Deadline: January 01, 2020)
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Experimental Response Cinema (Austin, TX; Deadline: December 30, 2019)
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Events are sorted alphabetically BY CITY within each DATE.

This week's programs (summary):

*	Ec: Tom, Tom, the Piper'S Son [November 30, New York, NY]
*	Ec: Larry Jordan [November 30, New York, NY]
*	Ec: Jennings / Kirsanoff [November 30, New York, NY]
*	Optron 4: Sispix 2 [November 30, San Francisco]
*	Ec: Kubelka / Lye [December 1, New York, NY]
*	Jonas Mekas, Program 6: A Letter From Greenpoint [December 3, New York, NY]
*	The Latent Image Presents: Karen Holmes & Zach Iannazzi [December 3, Oakland CA]
*	Systems Cinema (In Company) [December 3, Paris, France]
*	Nitrate Kisses [December 4, New York, NY]
*	Festival of the Moving Image #9 Screening At the Roxie Sf [December 4, San Francisco, CA United States]
*	Archive Fever [December 4, San Francisco]
*	Salomé, A Film By Teo Hernandez, Scored Live By Dorian Wood [December 5, Los Angeles, California]
*	30/30 vision: 3 Decades of Strand Releasing [December 5, San Francisco, CA United States]
*	Being Singular Plural: Expansive Personal Documentary [December 6, Brooklyn, NY United States]
*	Shapeshifters Cinema Presents Elena Pardo & Laboratorio Experimental De Cine [December 6, Oakland]
*	Surname viet Given Name Nam [December 7, New York, NY]
*	Ec: George &Amp; Mike Kuchar [December 7, New York, NY]
*	Naked Spaces - Living Is Round [December 7, New York, NY]
*	Archive Fever [December 7, San Francisco]
*	Subjects For Further Research: A Collections-Based Micro-Residency [December 8, Berkeley, California]
*	The Festival of (In)Appropriation #11 [December 8, Los Angeles, California]
*	Ec: George Landow, Aka Owen Land [December 8, New York, NY]
*	Reassemblage [December 8, New York, NY]
*	Shoot For the Contents [December 8, New York, NY]


SATURDAY, NOVEMBER 30, 2019

 

11/30
New York, NY: Anthology Film Archives
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3:45 PM, 32 Second Avenue
EC: TOM, TOM, THE PIPER'S SON
by Ken Jacobs. "Original 1905 film shot and probably directed by G.W. 'Billy' Bitzer, rescued via a paper print filed for copyright purposes with the Library of Congress. It is most reverently examined here, absolutely loved, with a new movie, almost as a side effect, coming into being." -Ken Jacobs

11/30
New York, NY: Anthology Film Archives
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6:30 PM, 32 Second Avenue
EC: LARRY JORDAN
DUO CONCERTANTES (1962-64, 6 min, 16mm, b&w) HAMFAT ASAR (1965, 13 min, 16mm, b&w) GYMNOPEDIES (1968, 6 min, 16mm) THE OLD HOUSE, PASSING (1966, 45 min, 16mm, b&w. Preserved by Anthology Film Archives.) OUR LADY OF THE SPHERE (1968, 9 min, 35mm) "With a taste for nostalgic romanticism…Jordan creates a magical universe of work using old steel engravings and collectable memorabilia. His 50-year pursuit into the subconscious mind gives him a place in the annals of cinema as a prolific animator on a voyage into the surreal psychology of the inner self." -Jackie Leger Total running time: ca. 85 min.

11/30
New York, NY: Anthology Film Archives
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8:30 PM, 32 Second Avenue
EC: JENNINGS / KIRSANOFF
Humphrey Jennings LISTEN TO BRITAIN (1941, 19 min, 35mm, b&w) Jennings's film is a masterpiece of sound mixing; it creates an audio landscape of Britain during the war, with images both accompanying and conflicting with the multitude of sounds. Dimitri Kirsanoff MÉNILMONTANT (1924-25, 38 min, 35mm, b&w, silent) "[T]o a remarkable degree, MÉNILMONTANT seems an autonomous creation, as sophisticated and demanding as any narrative film of the silent period, without obvious imitators. Although Richard Abel has astutely called attention to aspects the film shares with Abel Gance's LA ROUE (1923) and Leon Moussinac's LE BRASIER ARDENT (1923)…and with Jean Epstein's COEUR FIDELE (1923)…any comparison of the film as a whole with those admirable works would have to underline the intensity, uniqueness, and exceptional rigor of Kirsanoff's achievement." -P. Adams Sitney, THE CINEMA OF POETRY Total running time: ca. 60 min.

11/30
San Francisco: Other Cinema
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8:30, 992 Valencia Street
OPTRON 4: SISPIX 2
NOV.30: CHURCH OF COLOR AND LIGHT + KRISTIN CATO + ELLIE VANDERLIP + Concluding ATA’s Nov. Performance series, this ALL WOMEN:AUDIO-VISUAL event guarantees a garden of cinematic delights fabulously festooned by more than a dozen in-person artistes! On musical saw, Cindy Sawprano accompanies Kristin Cato’s violin in the latter’s ongoing Numbers Project, this new live-cine iteration titled L00p8L00p∞. The two women swoop through vocal, musical, biological, and psychological loops mirrored on the big screen by tip-toeing spiders, jumping ropes, planetary orbits, and gypsy curses! Ellie Vanderlip teams up with Karen Trinidad in their multi-projector Scatter, after we enjoy an animation from each. Oakland’s Church of Color and Light presents IRKALLA, invoking the myth of the Queen of Hell through projections, movement, and spoken word. Exploring themes of recovery, and the reclaiming of one’s own narrative are Eva and Phaedra Restad, Kaitlin Duffy, Laura Cohen, Ryan Cicak, Sophie Becker, and Courtney Fellion. Interpolating between the three acts are precious pressed flowers from motion-picture matriarchs Mary Ellen Bute, Daphne Oram, Lillian Schwartz, and Vicki Bennett *$8.88


SUNDAY, DECEMBER 1, 2019

 

12/1
New York, NY: Anthology Film Archives
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8:30 PM, 32 Second Avenue
EC: KUBELKA / LYE
Peter Kubelka MOSAIC IN CONFIDENCE / MOSAIK IM VERTRAUEN (1955, 16 min, 35mm, Made in collaboration with Ferry Radax.) ADEBAR (1957, 1 min, 35mm) SCHWECHATER (1958, 1 min, 35mm) ARNULF RAINER (1960, 7 min, 35mm) OUR TRIP TO AFRICA / UNSERE AFRIKAREISE (1966, 12 min, 16mm) "Peter Kubelka is the perfectionist of the film medium; and, as I honor that quality above all others at this time finding such a lack of it now elsewhere, I would simply like to say: Peter Kubelka is the world's greatest filmmaker - which is to say, simply: see his films!…by all means/above all else…etcetera." -Stan Brakhage Len Lye TUSALAVA (1929, 10 min, 16mm, silent) TRADE TATTOO (1937, 5 min, 16mm) RHYTHM (1957, 1 min, 16mm) FREE RADICALS (1958/79, 4 min, 16mm) A giant of experimental animation, Len Lye was born in New Zealand in 1901. He moved to England in the 1920s and subsequently to New York in 1944, where he spent the last 40 years of his life. A pioneer of 'scratch' or 'direct' filmmaking, Lye used various tools to mark patterns, shapes, and images directly onto the film's surface, and often explored the dynamic energy of abstract images propelled into life by lively jazz scores or Pacific-inspired rhythms. Total running time: ca. 60 min.


TUESDAY, DECEMBER 3, 2019

 

12/3
New York, NY: Anthology Film Archives
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7:30 PM, 32 Second Avenue
JONAS MEKAS, PROGRAM 6: A LETTER FROM GREENPOINT
WILLIAMSBURG, BROOKLYN Filmed (1950/72/edited 2002, 15 min, 16mm, silent) Footage I shot in 1950, my first year in New York, more precisely, in Brooklyn. Williamsburg was a small miserable part of Brooklyn inhabited at that time mostly by Lithuanian immigrants and Hassids. That was my new home. Miserable home but home. And I knew that Henry Miller had lived in Williamsburg, I passed his house every day. So I was happy to be there. And I was free! I was free and I had just acquired my first Bolex camera. REMINISZENZEN AUS DEUTSCHLAND Filmed (1971/93/edited 2012, 25 min, digital) This movie is my attempt to provide a brief introduction to the Germany period of my life, July 1944 to October 1949. Using original photos from that period, taken by myself and my brother Adolfas, and film/video footage from 1971 and 1993, I revisit Elmshorn, Flensburg, Wiesbaden, Mainz and Kassel where I spent five years of my life - first as a Forced Laborer in a war prisoner's camp, and later as a Displaced Person in displaced persons camps. The soundtrack consists of brief excerpts from my written diaries of that period, current reflections, and passages from the writings of Wolfgang Borchert. A LETTER FROM GREENPOINT (2004, 80 min, digital) In February 2004, after 30 years of my life in SoHo, I made a decision to leave SoHo and move to Greenpoint, Brooklyn. This video is about what it feels like to leave a place in which one has spent more time than any other place, and which was also the place of my family life. I am somewhere else now. It's about beginning of growing roots in a new place, new home, with new friends, new thoughts, experiences. Total running time: ca. 125 min.

12/3
Oakland CA: latent image
8:00pm, Beauty Supply
THE LATENT IMAGE PRESENTS: KAREN HOLMES & ZACH IANNAZZI
Films by local filmmakers Karen Holmes and Zach Iannazzi. California past and present. And Having Writ (1971) Saving the Proof (1979) Returning the Shadow (1985) -- California Picture Book (2013) Old Hat (2016) E-mail  <mailto:apparatus.cine at gmail.com> apparatus.cine at gmail.com for address

12/3
Paris, France: Scratch Projections
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20:30, Luminor Hôtel de Ville, 20 rue du Temple 75004, Paris
SYSTEMS CINEMA (IN COMPANY)
A screening of systematic experimental cinema by Simon Payne with Nicky Hamlyn, Neil Henderson and Jennifer Nightingale. Simon Payne has been committed to making abstract cinema for twenty years. His videos are predominantly orientated around bold graphic forms and highly structured sequences that produce unexpected colour combinations and conflicting planes. This programme, originally commissioned by Lightcone (Paris), also includes 16mm films by three friends and colleagues: Nicky Hamlyn, Neil Henderson and Jennifer Nightingale. Despite the difference in medium, several shared principles span their work. Each of them sees explicit processes and time-based structures as the essence of cinema.Systems Cinema also celebrates the launch of a new DVD by Simon Payne that includes several works from 2010-2018. It is the second compilation of his work on the RGB label, which has published DVDs by Nick Collins, Nicky Hamlyn, Neil Henderson and Samantha Rebello. Systems Cinema and other RGB DVDs will be available at the screening. They are also available from the BFI and LUX.


WEDNESDAY, DECEMBER 4, 2019

 

12/4
New York, NY: Anthology Film Archives
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7:30 PM, 32 Second Avenue
NITRATE KISSES
by Barbara Hammer. New print courtesy of the Academy Film Archive. "At the heart of Barbara Hammer's first feature, the now-iconic NITRATE KISSES, is a question articulated as a radical action: How do we discover and define cinematic images of queerness? The resulting film is both a query as to the very nature of a queer cinema as well as a complex and deeply empathic gesture towards the ongoing creation of one. By employing gorgeous black and white cinematography intermixed with historical found footage, Hammer aesthetically disintegrates temporal, geographical, creative, and political boundaries in her effort to unify rather than separate. Embracing and exploring sexuality, intimacy, and identity across wide expanses of time, age, gender, race, and politics, NITRATE KISSES still stands today as a defining call to action and awareness not just for queer cinema, but for our larger global consciousness." -KJ Relth & Mark Toscano

12/4
San Francisco, CA United States: Roxie Theater
6:15 PM, 3117 16th St
FESTIVAL OF THE MOVING IMAGE #9 SCREENING AT THE ROXIE SF
See emerging talent. Visual storytellers from CCSF's BEMA, CINE and VMD program show best and selected from 2018-19.

12/4
San Francisco: Other Cinema
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8:30, 992 Valencia Street
ARCHIVE FEVER 
DEC.7: RICK PRELINGER + JAY ROSENBLATT + SKIP ELSHEIMER + MICHAEL MORRIS’ ARK + Here’s the New Model Army of archivists who recognize that access and use rank with preservation! The Internet Archive’s Rick Prelinger presents Wildcards of the Ether, on QSL Cards from the Citizens’ Band radio era--an amazing panoply of working-class creativity focused on “friending” 70s style—and a pre-figuration of social media tinged with workerist resistance of the times. Anthology Film Archivist John Klacsmann holds forth on his restoration/premiere revival of Anger/Nin protégé Renate Druks’ rarely seen Space Boy (1973), sequel to Harrington’s Queen of Blood, with music by Louis and Bebe Barron (and drums by Frank Zappa?). Walter Forsberg, too, jets in (from Mexico City) with a trove of fabled Auroratones–the late-40s visual-therapy abstractions for WWII PTSD victims. Walter also lays out a party-platter of Mexican TV Commercials from the early 80’s (made by father of cineasta Elena Pardo). Good neighbor Jay Rosenblatt shares family memories in his Kodachrome Elegies, and Diana Sanchez introduces her sublime STREAM, from a found photo album. Michael Morris sets sail his exquisite ARK, a marvelous montage of mid-century archival films, and Scott Calonico sends in his Sudden Birth, a hilariously disturbing doc on that peculiar sex-ed genre...narrated by Skip Elsheimer, the AV Geek! *$9


THURSDAY, DECEMBER 5, 2019

 

12/5
Los Angeles, California: Filmforum
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7:30 pm, Philosophical Research Society, 3910 Los Feliz Boulevard
SALOMé, A FILM BY TEO HERNANDEZ, SCORED LIVE BY DORIAN WOOD
Note the change in location & ticketing. Co-presented by the French Film & TV Office and the Philosophical Research Society The Mexican-born Teo Hernandez, embarked on a self-imposed exile to Paris in the late 1960s and became part of the super8 film movement, L’Ecole du Corps. loose-knit group of filmmakers used film to elliptically document and emulate the body in movement. Filmforum included a couple of Hernandez’s astonishing short films in our series Ism, Ism, Ism: Experimental Cinema in Latin America. Hernandez’s reworking of Oscar Wilde’s Salomé is similarly impressionistic, moving over the surface of fabrics and architecture with as much care as it weaves its story arc. The film was initially projected at varying speeds, with differing soundtracks provided by the filmmaker, who requested that it be shown late in the evening, to best induce its dream-like trance upon audiences. We bring you Salomé in 2019 with an original soundtrack performed by Dorian Wood, marrying the operatic evocations of Wood's singular voice with Hernandez’s baroque cinematography in the unique, Mayan-inspired architecture of the Philosophical Research Society. Tickets: $20; Filmforum Members $15, available on Restless Nights at restlessnites.com/salomedorianwood More info at  <https://www.facebook.com/events/2944194768942531/> https://www.facebook.com/events/2944194768942531/  <http://www.lafilmforum.org> www.lafilmforum.org or 323-377-7238.

12/5
San Francisco, CA United States: SFMOMA San Francisco Museum of Modern Art
6:00 PM, 151 3rd St.
30/30 VISION: 3 DECADES OF STRAND RELEASING
Join us for an evening celebrating the 30th anniversary of one of the leading US distributors of international and independent cinema, Strand Releasing. The company will be exhibiting a series of 30 short films shot around the world on iPhones. Join Strand copresident Marcus Hu and special guests for a screening of this eclectic compilation. A film from the Strand catalogue will follow the presentation. Artists involved in the project include SFMOMA Media Arts collection artists Lynn Hershman Leeson and Apichatpong Weerasethakul along with Andrew Ahn, Karim Aïnouz, Fatih Akin, Catherine Breillat, Roddy Bogawa, Alain Gomis, Alain Guiraudie, Christophe Honoré, Jon Jost, Bruce LaBruce, , Rithy Panh, João Pedro Rodrigues, Ira Sachs, James Schamus, A. B. Shawky, John Waters, and. Additional filmmakers to be announced shortly. Over the past 30 years, Strand has cultivated relationships with auteurs, producers, and sales agents by closely collaborating with them on the presentation of their films in the US marketplace. Having released over 400 films since 1989, the company has maintained an exceptional group of globally recognized filmmakers, making it one of the longest running independent distributors in the United States. Free and open to the public. RSVP encouraged. #SFMOMAfilm


FRIDAY, DECEMBER 6, 2019

 

12/6
Brooklyn, NY United States: UnionDocs
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10:00 AM, 322 Union Ave
BEING SINGULAR PLURAL: EXPANSIVE PERSONAL DOCUMENTARY
** Note this workshop is extremely limited in space and can only accommodate 12 participants - save your seat now!** As the field of nonfiction continues to expand its own notions of the possible, it also disrupts historical precedents of who directs documentaries, for whom, and how. These tectonic shifts are surfacing the raw materials of stories heretofore untold, often extending deep into the core of directors’ own lives. This is the new personal documentary: unflinchingly honest, formally ambitious, singular and plural–gestures that interrogate what is often unspoken, unscripted, and underneath. With this three day workshop, we ask what does it mean to tell a story that is personal, vulnerable, ethical? How to steer away from the trappings of predictability and narcissism, and instead use self-reflection productively? Does ‘personal’ always mean autobiographical? How do race, sexuality, class and gender burden or liberate personal filmmaking? How might we reimagine the personal is political? And what about personal archives, how might they be evoked creatively? How to position personal work against the pressures of industry and market? Beginning from the premise that there is no single way to tell a personal story, this weekend intensive will explore a formally rich, ever-expanding landscape of personal filmmaking practices. Topics include: Finding and asserting one’s own voice Navigating trauma and ethical dilemmas Exploring conflicting testimonies and memories Collaborating with key creatives Boundary-pushing formal strategies Translating ideas to funders Options for distribution and exhibition Participants will spend three intensive days in conversation with leading practitioners in the field of personal nonfiction film, including curators, filmmakers, funders and collaborators. Through masterclasses, group discussions, short exercises and work-in-progress critique, we will explore key ideas that range from the creative to the pragmatic. This rich three-day workshop will be led by directors Cecilia Aldarondo (Memories of a Penitent Heart, You Were My First Boyfriend) and Samara Grace Chadwick (1999). Guest presenters include Alan Berliner (Nobody’s Business, Intimate Stranger, First Cousin Once Removed), Hannah Buck (Editor: Vision Portraits, The Proposal, Memories of a Penitent Heart), Monika Navarro (Lost Souls (Animas Perdidas) and more. Please note: Participants are accepted on a first-come, first-served basis. Upon registration, participants will complete a brief survey that will enable us to further tailor the workshop to their needs.

12/6
Oakland: Shapeshifters Cinema
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7:30-10PM, 567 5th St. Oakland (PLEASE NOTE OUR NEW LOCATION)
SHAPESHIFTERS CINEMA PRESENTS ELENA PARDO & LABORATORIO EXPERIMENTAL DE CINE
In 2018 the Mexico City experimental film collective Laboratorio Experimental de Cine (LEC) held a residency at the film laboratories of the famous Mexican national film studio, Estudios Churubusco. Over the course of a year, a dozen filmmakers partnered with laboratory staff to create short films and exchange knowledge and approaches to analog film. The LEC residency culminated in the second biennial international independent film laboratories conference and the publication Recetario. The first part of this program screens some highlights from the residency, including "Bandera Churubusco" by Walter Forsberg, "Filmer & Son" by Antonio Bunt, "Churubusco Inventory" by Elena Pardo and "Boom boom boom" by Naomi Uman. The second part of the program features "Underground Pulses," a new expanded cinema performance looking at community resistance to underground mining in Mexico by LEC co-founder Elena Pardo. Elena's performance is presented with the support of Fondo Nacional para la Cultura y las Artes.


SATURDAY, DECEMBER 7, 2019

 

12/7
New York, NY: Anthology Film Archives
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4:30 PM, 32 Second Avenue
SURNAME VIET GIVEN NAME NAM
by Trinh T. Minh-ha. Newly restored by Women Make Movies. Trinh's third film is a meditation on identity, popular memory, and culture. While focusing on aspects of Vietnamese reality as seen through the lives of women and the history of female resistance in (both north and south) Vietnam and in the U.S., it raises questions regarding the politics of interviewing and documenting. A theoretically and formally complex work, SURNAME VIET GIVEN NAME NAM explores the difficulty of translation, and themes of dislocation and exile, critiquing both traditional society and life since the war. "A film made with emotional confidence and intellectual nerve, a documentary that questions the nature of documentaries, a history that uses the testimony of poetry, a polemic that appeals to the heart." -G. Gabrenya, DISPATCHThis screening is also part of The Cinema of Gender Transgression: Trans Film Series; click here for details.

12/7
New York, NY: Anthology Film Archives
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4:45 PM, 32 Second Avenue
EC: GEORGE & MIKE KUCHAR
All films in this program have been preserved by Anthology Film Archives with support from the National Film Preservation Foundation. THE THIEF & THE STRIPPER (1959, 25 min, 8mm-to-16mm) Dares to lay bare the naked carcass of a generation gone mad with moral decay. A REEL OF HOME MOVIES (1959-61, 25 min, 8mm-to-16mm, silent) An eclectic compilation of home movies and early cinematic experiments. "From the age of 12 onward until 17 (the restless years) the Kuchar brothers lived life to the fullest and tasted the spices of the lower class, the sugar of the bourgeoisie and the kasha of the jet set. At this time their films were seldom longer than four minutes." -George Kuchar PUSSY ON A HOT TIN ROOF (1961, 14 min, 8mm-to-16mm) "It glows with the embers of desire! It smokes with the revelation of men and women longing for robust temptations that will make them sizzle into maturity with a furnace-blast of unrestrained animalism. A film for young and old to enjoy." -George Kuchar TOOTSIES IN AUTUMN (1963, 15 min, 8mm-to-16mm) A cautionary tale about past-their-prime thespians caught up in a typically Kucharian vortex of madness. Total running time: ca. 85 min. [THE THIEF & THE STRIPPER and A REEL OF HOME MOVIES are not part of the Essential Cinema collection, but are included here as a special bonus.]

12/7
New York, NY: Anthology Film Archives
 <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=dcb6d6c9b8&e=f36020cad0> http://www.anthologyfilmarchives.org/
7:30 PM, 32 Second Avenue
NAKED SPACES - LIVING IS ROUND
by Trinh T. Minh-ha. Print courtesy of the Academy Film Archive. Shot with stunning elegance and clarity, NAKED SPACES explores the rhythm and ritual of life in the rural environments of six West African countries (Mauritania, Mali, Burkino Faso, Togo, Benin, and Senegal). The nonlinear structure of NAKED SPACES challenges the traditions of ethnographic filmmaking, while sensuous sights and sounds lead the viewer on a poetic journey to the most inaccessible parts of the African continent: the private interaction of people in their living spaces. "Trinh's images are as unpretentious as home movies. […] There are times in NAKED SPACES when representation decomposes into isolated details and pure sensation. More than a mosaic of impressions however, the film is nonlinear, de-centered, and deliberately unsettling." -J. Hoberman, VILLAGE VOICE

12/7
San Francisco: Other Cinema
 <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=343a6162f5&e=f36020cad0> http://www.othercinema.com/
8:30, 992 Valencia Street
ARCHIVE FEVER 
DEC.7: RICK PRELINGER + JAY ROSENBLATT + SKIP ELSHEIMER + MICHAEL MORRIS’ ARK + Here’s the New Model Army of archivists who recognize that access and use rank with preservation! The Internet Archive’s Rick Prelinger presents Wildcards of the Ether, on QSL Cards from the Citizens’ Band radio era--an amazing panoply of working-class creativity focused on “friending” 70s style—and a pre-figuration of social media tinged with workerist resistance of the times. Anthology Film Archivist John Klacsmann holds forth on his restoration/premiere revival of Anger/Nin protégé Renate Druks’ rarely seen Space Boy (1973), sequel to Harrington’s Queen of Blood, with music by Louis and Bebe Barron (and drums by Frank Zappa?). Walter Forsberg, too, jets in (from Mexico City) with a trove of fabled Auroratones–the late-40s visual-therapy abstractions for WWII PTSD victims. Walter also lays out a party-platter of Mexican TV Commercials from the early 80’s (made by father of cineasta Elena Pardo). Good neighbor Jay Rosenblatt shares family memories in his Kodachrome Elegies, and Diana Sanchez introduces her sublime STREAM, from a found photo album. Michael Morris sets sail his exquisite ARK, a marvelous montage of mid-century archival films, and Scott Calonico sends in his Sudden Birth, a hilariously disturbing doc on that peculiar sex-ed genre...narrated by Skip Elsheimer, the AV Geek! *$9


SUNDAY, DECEMBER 8, 2019

 

12/8
Berkeley, California: BAMPFA
 <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=6eca27d8c3&e=f36020cad0> https://bampfa.org/event/subjects-further-research-collections-based-micro-residency
5:00pm, 2155 Center Street
SUBJECTS FOR FURTHER RESEARCH: A COLLECTIONS-BASED MICRO-RESIDENCY
Research-as-artistic-process. Work-as-experiment. Cinema-as-archaeology. In the spirit of open-ended curiosity, Oakland filmmaker and curator Alix Blevins will lead participants through her research in the BAMPFA collections of experimental films and ephemera. Blevins applies the lens of an artist-filmmaker to explore how filmmakers have used visual scores as a conceptual armature for their works. Uncovering fragmentary notes by artists like Paul Sharits for films that may or may not have ever existed, Blevins will use 16mm film loops to sift through her own visual notes for a speculative film structure--a structure that may or may not correspond to real works. Participants will be invited to walk through an installation of Blevins’s research as an embodiment of her engagement with visual scores.

12/8
Los Angeles, California: Filmforum
 <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=8539768b21&e=f36020cad0> http://www.lafilmforum.org/
7:30 pm, Spielberg Theatre at the Egyptian, 6712 Hollywood Blvd.
THE FESTIVAL OF (IN)APPROPRIATION #11
In person: Filmmakers Kristy Guevara-Flanagan and Kate Lain, curators Jaimie Baron, Greg Cohen, and Lauren Berliner! Collage or compilation. Found footage film or recycled cinema. Remix or détournement. Whatever one might call it, the practice of incorporating preexistent media into new artworks engenders novel juxtapositions, new ideas, and latent connotations… often entirely unrelated to the intentions of the original makers. In that regard, such works are truly “inappropriate.” Founded in 2009 and curated by Jaimie Baron, Greg Cohen, and Lauren Berliner, the Festival of (In)appropriation is a yearly showcase of contemporary, short-form, audiovisual works that appropriate existing film, video, or other media and redeploy them in “inappropriate” and inventive ways. The Festival’s 11th edition gathers a self-reflexive experimental biopic, a surreal Frankenstein collage animation, a YouTube-sourced musical supercut, a queer reframing of Mexican and Hollywood films, an acousmatic exploration of online beauty standards, a canine-based critique of capitalism, a playful quantum animation of old 16mm film, an interrogation of the dismantling of the major opposition newspaper in Hungary, a deconstruction of our popular culture obsession with female corpses, and a performative rejection of the gender politics of a cult film. Tickets: $12 general; $8 students (with ID)/seniors; $8 for American Cinematheque members; free for Filmforum Members. Paid tickets available in advance through the American Cinematheque from Fandango at  <https://www.fandango.com/egyptian-theatre-hollywood-aaofx/theater-page?date=2019-12-08> https://www.fandango.com/egyptian-theatre-hollywood-aaofx/theater-page?date=2019-12-08 or at the door. Filmforum member tickets available through Brown Paper Tickets at  <https://festivalofinappropriation.bpt.me> https://festivalofinappropriation.bpt.me or at the door.

12/8
New York, NY: Anthology Film Archives
 <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=1dca6a6a18&e=f36020cad0> http://www.anthologyfilmarchives.org/
5:00 PM, 32 Second Avenue
EC: GEORGE LANDOW, AKA OWEN LAND
"The unique contribution of Land's work lies in the fusion of intellectual reason and, significantly, the humor that distances it from the supposedly 'boring' world of avant-garde film. Having explored the basic properties of the celluloid strip itself in early works such as FILM IN WHICH THERE APPEAR…, his attention turned to the spectator in a series of 'literal' films that question the illusionary nature of cinema through the use of word play and visual ambiguity. His work often parodies experimental film itself by mimicking his contemporaries and mocking the solemn approach of film theorists and scholars." -Mark Webber, TWO FILMS BY OWEN LAND FLEMING FALOON (1963, 6 min, 16mm) FILM IN WHICH THERE APPEAR SPROCKET HOLES, EDGE LETTERING, DIRT PARTICLES, ETC. (1965/66, 5 min, 16mm, silent) DIPLOTERATOLOGY (1967/78, 7 min, 16mm, silent) THE FILM THAT RISES TO THE SURFACE OF CLARIFIED BUTTER (1968, 9 min, 16mm, b&w) INSTITUTIONAL QUALITY (1969, 5 min, 16mm) REMEDIAL READING COMPREHENSION (1970, 5 min, 16mm) WHAT'S WRONG WITH THIS PICTURE? (1972, 13 min, 16mm) THANK YOU JESUS FOR THE ETERNAL PRESENT (1973, 6 min, 16mm) A FILM OF THEIR 1973 SPRING TOUR COMMISSIONED BY CHRISTIAN WORLD LIBERATION FRONT OF BERKELEY, CALIFORNIA (1974, 11.5 min, 16mm) FILM IN WHICH…, INSTITUTIONAL QUALITY, and FILM OF THEIR 1973 SPRING TOUR have been preserved by Anthology Film Archives through the National Film Preservation Foundation's Avant-Garde Masters Grant program and The Film Foundation. Funding provided by the George Lucas Family Foundation. Total running time: ca. 70 min.

12/8
New York, NY: Anthology Film Archives
 <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=65088fd032&e=f36020cad0> http://www.anthologyfilmarchives.org/
6:30 PM, 32 Second Avenue
REASSEMBLAGE
by Trinh T. Minh-ha. Newly restored by Women Make Movies. Women are the focus but not the object of Trinh's influential first film, a complex visual study of the women of rural Senegal. Through a complicity of interaction between film and spectator, REASSEMBLAGE reflects on documentary filmmaking and the ethnographic representation of cultures. "Disentangling sound from image, foregoing an authoritative voice-over, and relinquishing the long takes of an observational style for a disjunctive montage aesthetic, Trinh overturns the conventions traditionally employed in anthropological filmmaking. Rather than a work of ethnographic cinema, REASSEMBLAGE is better understood as anti-ethnography - a film that reflexively dismantles the objectification and exoticization of otherness which mark the ethnographic and colonial projects alike." -Erika Balsom, FRIEZE "[The film] denotes something more than an exceptional spirit of observation; let's say by all means a kind of amorous enthrallment." -Alberto Moravia, L'EXPRESSO

12/8
New York, NY: Anthology Film Archives
 <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=b7b24de346&e=f36020cad0> http://www.anthologyfilmarchives.org/
8:00 PM, 32 Second Avenue
SHOOT FOR THE CONTENTS
by Trinh T. Minh-ha. Reflecting on Mao's famous saying, "Let a hundred flowers blossom and a hundred schools of thought contend," Trinh's film - whose title refers in part to a Chinese guessing game - is a unique excursion into the maze of allegorical naming and storytelling in China. The film ponders questions of power and change, politics and culture, as refracted by the events in Tiananmen Square. It offers at the same time an inquiry into the creative process of filmmaking, intricately layering Chinese popular songs and classical music, the sayings of Mao and Confucius, women's voices, and the words of artists, philosophers, and other cultural workers. Video images emulate the gestures of calligraphy and contrast with film footage of rural China and stylized interviews. Like traditional Chinese opera, Trinh's film unfolds through "bold omissions and minute depictions" to render "the real in the illusory and the illusory in the real." "One of the most extraordinary documentaries of recent years and a major creative intervention on the conventions of the genre…. A beautiful and moving film, as challenging and stimulating formally as it is politically." -LONDON FILM FESTIVALThis screening is also part of The Cinema of Gender Transgression: Trans Film Series; click here for details.

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