[Frameworks] FW: This week [February 15 - 23, 2020] in avant garde cinema

Sat Feb 15 22:08:51 UTC 2020

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This week
[February 15-23, 2020]
in avant garde cinema

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  <https://www.lafilmforum.org/assets/Uploads/Screenings/_resampled/FitWyIyMzQiLCIxNjUiXQ/Posthaste-PPP11X14-2-smaller.jpg> 
Jodie Mack: Patterns, Posthaste [February 16, Los Angeles, California] 

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Musical Sequence: Music For the Eyes, Film For the Ears [February 16, Barcelona, Spain] 

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Masks. Noemia Delgado [February 23, Barcelona, Spain] 

NEW CALLS FOR ENTRIES:
Fracto Experimental Film Encounter (Berlin, Germany; Deadline: April 01, 2020)
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DEADLINES APPROACHING:
Another eXperiment by Women Film Festival (NY NY; Deadline: February 15, 2020)
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Events are sorted alphabetically BY CITY within each DATE.

This week's programs (summary):

*	39th Annual Thomas Edison Black Maria Film Festival - Hoboken Museum Debut [February 15, Hoboken, NJ]
*	Musical Sequence: Music For the Eyes, Film For the Ears [February 16, Barcelona, Spain]
*	Jodie Mack: Patterns, Posthaste [February 16, Los Angeles, California]
*	Live Kurt Schwerdtfeger: Reflektorische Farblichtspiele (Reflecting Color-Light-Play) [February 17, Brooklyn, New York]
*	Nick Pinkerton Presents Ann Hui'S Song of the Exile [February 18, Brooklyn, NY United States]
*	Parallel Cinema: Aleinikov, Yufit and Symptoms of the Collapse of the Soviet Era [February 20, Barcelona, Spain]
*	Visions : Tomonari Nishikawa [February 20, Montreal, QC Canada]
*	Visions : Tomonari Nishikawa | 20.02.20 [February 20, Montreal]
*	Ed Emshwiller: Program 1 [February 20, New York, NY]
*	Ed Emshwiller: Program 2: Hallelujah the Hills [February 21, New York, NY]
*	Black Life: Stephanie Hewett [February 22, Berkeley, CA United States]
*	Ed Emshwiller: Program 3: Image, Flesh and Voice [February 22, New York, NY]
*	Ed Emshwiller: Program 4 [February 22, New York, NY]
*	Masks. Noemia Delgado [February 23, Barcelona, Spain]
*	Ed Emshwiller: Program 5 [February 23, New York, NY]
*	Ed Emshwiller: Program 6 [February 23, New York, NY]

SATURDAY, FEBRUARY 15, 2020

2/15
Hoboken, NJ: Black Maria Film Festival
 <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=30e06aacba&e=f36020cad0> http://blackmaria.org
7:30PM, Hoboken Historical Museum, 1301 Hudson Street, Hoboken, NJ
39TH ANNUAL THOMAS EDISON BLACK MARIA FILM FESTIVAL - HOBOKEN MUSEUM DEBUT
The 39th Annual Thomas Edison Black Maria Film Festival presents a program of award-winning selected shorts from the Festival's 2020 tour at the Hoboken Historical Museum. Works include Medium Rare by Luca Cioci, Pavia, Italy; Faithy, hey by Emily Hubley, East Orange, NJ; Movement in Structure by Shaun Clarke, Boston, MA; Box of Memories by Felicitas Yang, Heidelberg, Germany; DONT KNOW WHAT by Thomas Renoldner, Wien, Austria; Take Off Your Skin by Luke Jaeger, Northampton, MA; Code Ruth by Caroline Voagen Nelson, Astoria, NY; They Say Iï¿½m Your Teacher by Catherine Murphy, Portola Valley, CA; Freeze Frame by Soetkin Verstegen, Brussels, Belgium; Thin Places Iceland by Michael Chaney, Savannah, GA; and Cold Storage by Thomas Freundlich, Helsinki, Finland. Tickets can be purchased in advance on-line through the Hoboken Museum website for $10. https://www.hobokenmuseum.org. The night of, tickets are $15 at the door. Light refreshments will be served.

SUNDAY, FEBRUARY 16, 2020

2/16
Barcelona, Spain: Xcentric Cinema
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18:30, CCCB (Centre de Cultura Contemporania de Barcelona)
MUSICAL SEQUENCE: MUSIC FOR THE EYES, FILM FOR THE EARS
The films in this session materially present music among their images, without attempting to illustrate or describe it. These are works that show the visible part of music on screen: sheet music, instruments, performers, rehearsals, recordings, recitals and audiences. Following the notes of Robert Bresson, here the music does not accompany, sustain or reinforce the images, instead, performed on screen, structuring and overturning them. Sequenza, Manon de Boer, 2014, 16 mm, 14 min; The Oblique, Jayne Parker, 2018, 16 mm, 11 min; One, Two, Many, Manon de Boer, 2012, Super 16 mm, Catalan subtitles, 21 min; Play Back, Pere Portabella, 1970, 35 mm, 8 min; Acciï¿½ Santos, Pere Portabella, 1973, 35 mm, 12 min; Two Times 4ï¿½33ï¿½, Manon de Boer, 2008, 35 mm, 12 min; For Christian, Luke Fowler, 2016, 16 mm, Catalan subtitles, 6 min. Digital screening. Copies courtesy of LUX and Pere Portabella ï¿½ Films 59.

2/16
Los Angeles, California: Filmforum
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7:30 pm, Spielberg Theatre at the Egyptian, 6712 Hollywood Blvd.
JODIE MACK: PATTERNS, POSTHASTE
Jodie Mack in person! Filmforum welcomes back the wonderful animator Jodie Mack with a couple of her most recent films, followed by her epic feature The Grand Bizarre. ï¿½Hoarders Without Boardersï¿½, in its LA premiere, features a dazzling display of minerals at the Harvard Mineralogical and Geological Museum while making evident the archival work surrounding each one. Weï¿½ll revisit ï¿½Posthaste Perennial Patternï¿½, an earlier work, in which she was already placing her visual fantasias of textile patterns against sounds that expand or play with the interpretation of the images. ï¿½Wasteland No. 1ï¿½ colorfully combines or contrasts computer waste with natural lands. All lead to The Grand Bizarre, which takes her animation around the world as Mack tracks the pathways of textiles through global commerce. Screening the short films in 16mm and The Grand Bizarre in 35mm! 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=2020-02-16 or at the door. Filmforum member tickets available through Brown Paper Tickets at https://jodiemack2.bpt.me or at the door

MONDAY, FEBRUARY 17, 2020

2/17
Brooklyn, New York: Microscope Gallery
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7:30pm, 1329 Willoughby Ave
LIVE KURT SCHWERDTFEGER: REFLEKTORISCHE FARBLICHTSPIELE (REFLECTING COLOR-LIGHT-PLAY)
Performed by Lary 7, Bradley Eros, Rachael Guma, Joel Schlemowitz. A live performance of Kurt Schwerdtfetgerï¿½s ï¿½Reflektorishe Farblichtspiele (Reflecting Color-Light-Play)ï¿½ (1922/66) in connection with a solo exhibition of the work at the gallery through March 15th. The work utilizes a large hand-built cube projection apparatus in which performers activate stencil shapes and a switchboard of colored lights to form a complex, abstract light play appearing on its screen surface. The piece ï¿½ which was first performed at Kandinsky's loft as part of the Bauhaus Lantern festival in 1922 - is now considered a groundbreaking work of light performance, experimental film, and sculpture. The performance features Lary 7 on the keyboard-like light system; Bradley Eros and Joel Schlemowitz manipulating the stenciled shapes, and Rachael Guma on live sound augmentations to the 1966 soundtracks by Wolfgang Roscher, as well as offering additional visual support. A Q&A with the performers 7, Eros, Guma, and Schlemowitz, joined by Daniel Wapner, who reconstructed the work in 2016 with the gallery, will follow the performance. More info www.microcopegallery.com <http://www.microcopegallery.com> . info at microscopegallerey.com <mailto:info at microscopegallerey.com> , Advance tickets: https://bit.ly/3bCtSMW

TUESDAY, FEBRUARY 18, 2020

2/18
Brooklyn, NY United States: Light Industry
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7:00 PM, 155 Freeman St
NICK PINKERTON PRESENTS ANN HUI'S SONG OF THE EXILE
Song of the Exile, Ann Hui, 1990, 16mm, 100 mins Introduced by Nick Pinkerton Ann Hui was, alongside the likes of Tsui Hark and Patrick Tam, one of the leading lights of the Hong Kong New Wave, working steadily as a feature filmmaker since making her astonishing debut with 1979’s The Secret. If Hui has sometimes failed to be recognized as one of the greatest living female directors, then, it is perhaps due to the enormous eclecticism of her filmography, which encompasses ghost stories, political thrillers, crime dramas, comedies, period pieces, sprawling wuxia, and old-fashioned melodrama. Song of the Exile is arguably Hui’s most personal work, a film à clef starring Maggie Cheung as Hueyin, a Hong Konger who, upon completing her studies in England in 1973, returns home for her sister’s wedding, where she’s forced to reckon with her hard-edged Japanese-born mother (Lu Hsiao-fen) and their complicated dynamic. Hueyin’s story has clear parallels to Hui’s own—both are daughters of a mixed Japanese-Chinese marriage, both educated abroad, like many prosperous Hong Kongers of their generation. (Hui studied at London Film School.) It also reflects something of Cheung’s own experience, having been largely educated in Britain, and an experience of diasporic rootlessness common to many Chinese living through the wartime and postwar years—its story unfolding in present and flashback timelines, Song of the Exile sets scenes in Hong Kong, Macao, London, occupied Manchuria, Guangdong, and Beppu, Japan, with dialogue spoken in Cantonese, Mandarin, Japanese, and English. Hui was more than acquainted with the strategies of experimental art and literature in the 1960s and 70s—she wrote her thesis on Alain Robbe-Grillet—and helped to usher the language of cinematic modernism into Hong Kong movies, but undergirding her work is an essentially emotional and populist impulse, nowhere more evident than in the enormously moving, five-hankie Song of the Exile. What the film depicts, with nuance and a remarkably delicate feeling for the invisible currents that pass between people, are the myriad little stored-up resentments that comprise family relationships, as well as the grudging, painful work that comes of moving beyond those resentments, in this case through learning to recognize one’s mother as a fellow, flawed human being. It’s anchored by two magnificent central performances, with special notice due to Cheung, one of the finest actresses of her generation, here displaying not only her usual wide-eyed emotional opacity but, in the film’s stranger-in-a-strange-land Japanese passages, a gift for understated comedy. - NP

THURSDAY, FEBRUARY 20, 2020

2/20
Barcelona, Spain: Xcentric Cinema
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19:30, CCCB (Centre de Cultura Contemporania de Barcelona)
PARALLEL CINEMA: ALEINIKOV, YUFIT AND SYMPTOMS OF THE COLLAPSE OF THE SOVIET ERA
This session is devoted to brothers Igor and Gleb Aleinikov and Yevgeny Yufit, founders of the underground Soviet movement known as Parallel Cinema, during the period of Perestroika and the disintegration of the former USSR, without the official support or consent of the authorities. Gleb and Igor Aleinikov: Traktora, 1987, 12 min;ï¿½Revolutionary Sketch, 1987, 8 min;ï¿½Cruel Illness of Men, 1987, 10 min. Yevgeny Yufit: Lesorubï¿½(Woodcutter), 1985, digital, 8 min;ï¿½Vesnaï¿½(Spring), 1987, digital, 10 min;ï¿½Rytsary podnesbesyaï¿½(Knights of Heaven), 1989, 16 mm, 25 min. Digital screening. English and Catalan subtitles. Copies courtesy of Gleb Aleinikov, Masha Godovannaya, exceptï¿½Knights of Heaven, courtesy of EYE Film Institute.

2/20
Montreal, QC Canada: La lumière collective
7:00 PM, 7080, rue Alexandra #506
VISIONS : TOMONARI NISHIKAWA
VISIONS, en collaboration avec Double Negative Collective et la lumière collective, présente : TOMONARI NISHIKAWA. - TWO FILM SCREENINGS by Tomonari Nishikawa Filmmaker present | En présence du cinéaste - Projections 35mm, 16mm & HD + LIVE Performance w/ Jeremy Young 𝐏𝐑𝐄𝐌𝐈𝐄𝐑 𝐏𝐑𝐎𝐆𝐑𝐀𝐌𝐌𝐄 : SHADES AND MOTIFS 19H | 60'00 LUMPHINI 2552 2009 / 35mm / b&w / sound / 3' 00 - TEN MORNINGS TEN EVENINGS AND ONE HORIZON 2016 / 16mm / color / sound / 10' 00 - LUMINOUS VEIL 2016 / super 16 to digital file / sound, color / 6’00 - 45 7 BROADWAY 2013 / 16mm / color / sound / 5' 00 - SHIBUYA - TOKYO 2010 / 16mm / color / sound / 10' 00 - AMUSEMENT RIDE 2019 / 16mm / sound / 6’00 - 35MM SLIDE PROJECTORS + SOUND PERFORMANCE (with Jeremy Young) (about 15 - 20 min.) 𝐃𝐄𝐔𝐗𝐈𝐄̀𝐌𝐄 𝐏𝐑𝐎𝐆𝐑𝐀𝐌𝐌𝐄: 21H | 60'00 THIS SIDE OF PARADISE Ernie Gehr, 1991, 16mm, 14 min. - KOLKATA Mark LaPore, 2002, 16mm, 35 min. - SUPER 8 ROLLS SHOT AROUND SHIBUYA STATION Tomonari Nishikawa, 2016-, Super 8, ~ 10 min.

2/20
Montreal: VISIONS
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19 H, 7080 Rue Alexandra
VISIONS : TOMONARI NISHIKAWA | 20.02.20
TWO FILM SCREENINGS by Tomonari Nishikawa Filmmaker present | En prï¿½sence du cinï¿½aste - Projections 35mm, 16mm & HD + LIVE Performance w/Jeremy Young - la lumiï¿½re collective [7080, rue Alexandra, #506, Montrï¿½al] | 19h00 | 7$

2/20
New York, NY: Anthology Film Archives
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7:30 PM, 32 Second Avenue
ED EMSHWILLER: PROGRAM 1
This program represents a brief introduction to Ed Emshwiller's work as a filmmaker, including three of his earliest films which have been newly preserved for this retrospective. These films demonstrate Emshwiller's interest in merging human figures with an abstract, kinetic environment, as well as his unique approach to sound and rhythm. Ed Emshwiller PAINTINGS BY ED EMSHWILLER (1955-58, 10 min, 16mm. Preserved through a collaboration between Anthology Film Archives and Lightbox Film Center.) Ed Emshwiller TRANSFORMATION (1959, 5 min, 16mm. Preserved by Anthology Film Archives.) Ed Emshwiller DANCE CHROMATIC (1959, 7 min, 16mm. Preserved through a collaboration between Anthology Film Archives and Lightbox Film Center.) Ed Emshwiller LIFELINES (1960, 7 min, 16mm. Preserved through a collaboration between Anthology Film Archives and Lightbox Film Center.) Ed Emshwiller THANATOPSIS (1962, 6 min, 16mm. Preserved by Anthology Film Archives.) Ed Emshwiller RELATIVITY (1966, 38 min, 16mm. Preserved by Anthology Film Archives with support from the National Film Preservation Foundation.) Total running time: ca. 75 min.

FRIDAY, FEBRUARY 21, 2020

2/21
New York, NY: Anthology Film Archives
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7:30 PM, 32 Second Avenue
ED EMSHWILLER: PROGRAM 2: HALLELUJAH THE HILLS
Adolfas Mekas HALLELUJAH THE HILLS 1963, 80 min, 35mm. With Peter H. Beard, Sheila Finn, Martin Greenbaum, Peggy Steffans, Jerome Raphael, Blanche Dee, Jerome Hill, Taylor Mead, and Ed Emshwiller. This feature film by Adolfas Mekas is a farcical, experimental slapstick comedy set in the woods of Vermont. Jack and Leo both pine for the love of Vera, but their sophomoric antics get the best of them, as does the brutish Gideon, played by Ed Emshwiller, who ultimately wins over Vera. HALLELUJAH THE HILLS is the New American Cinema at its most unhinged. "Imagine a combination of HUCKLEBERRY FINN, PULL MY DAISY, the Marx Brothers, and the complete works of Douglas Fairbanks, Mary Pickford, and D.W. Griffith, and you've got it. What have you got? A film which is both deliriously funny and ravishingly lyrical." -Richard Roud, THE GUARDIAN Preceded by: Leon Prochnik THE EXISTENTIALIST (1964, 8 min, 16mm. Photographed by Ed Emshwiller.) A walk through the city where not everything is as it seems. Total running time: ca. 90 min.

SATURDAY, FEBRUARY 22, 2020

2/22
Berkeley, CA United States: Berkeley Art Museum & Pacific Film Archive
4:00 PM, 2155 Center St
BLACK LIFE: STEPHANIE HEWETT
Choreographer and movement artist Stephanie Hewett presents (E)cho Queue, a performance that aims to reclaim the inextricable connection between techno music and black life. In response to Jenn Nkiru’s documentary Black to Techno, Hewett reinforces the inherently Black American nature of this invention by examining its true origins and locating its syncopated, complicated, and paradoxical rhythms in the black, dancing body. Stephanie Hewett is a choreographer, movement researcher, performer, and teacher from the Bronx, New York (Lenape territory). She holds an MFA in dance from Mills College, and has held residencies at Counterpulse and the Paul Dresher Ensemble. Her current research entails navigating performance through injury, pleasure frequencies, Detroit techno, dance-floor exorcisms, and excavating ancestral vestiges in the body. She is a collaborator/member of Lxs Dxs, a queer performance collective making messes in the Bay, LA, and abroad. Programmed by Ryanaustin Dennis Included with admission

2/22
New York, NY: Anthology Film Archives
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5:15 PM, 32 Second Avenue
ED EMSHWILLER: PROGRAM 3: IMAGE, FLESH AND VOICE
Ed Emshwiller IMAGE, FLESH AND VOICE 1969, 77 min, 16mm "This is a film about Images (visual and psychological), Flesh (sensuality), and Voice (as a revelation and as a textural element in the film). The pictures range back and forth from the completely spontaneous to very formal choreography. The voice track, a collage edited into thematic sequences from a mass of interviews and informal discussions, gives an inner portrait of men and women candidly revealing their relationships. It is a non-story-telling feature film, a structured interplay of sound, image and sensual tensions." -Ed Emshwiller Preceded by: Ed Emshwiller GEORGE DUMPSON'S PLACE (1964, 8 min, 16mm. Preserved by Anthology Film Archives with support from the National Film Preservation Foundation.) "George Dumpson was a scavenger. He created a small universe with what he found and could carry on his homemade wagon. To me he epitomized the soul of the artist. He put together what things he could in such a way as to satisfy some inner need, just as I had to make this picture of him and his place." -Ed Emshwiller Total running time: ca. 90 min.

2/22
New York, NY: Anthology Film Archives
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7:30 PM, 32 Second Avenue
ED EMSHWILLER: PROGRAM 4
Ed Emshwiller FREEDOM MARCH (1963, 9 min, 16mm. Preserved by Anthology Film Archives.) This rarely-screened short film documents the historic 1963 march on Washington, DC. Jack Willis STREETS OF GREENWOOD (1963, 20 min, 16mm. Photographed by Ed Emshwiller. Print courtesy of Washington University in St. Louis.) A short documentary about the efforts of the Student Non-Violent Coordinating Committee (SNCC) to register voters in rural Mississippi. The film is a remarkable document of the civil-rights-era southern United States. The concert featured in the film includes an early performance by Bob Dylan which was ultimately used in the 1967 D.A. Pennebaker film, DON'T LOOK BACK. Jean-Bernard Bucky & Robert Peyton REPORT 1970, 60 min, 16mm. Photographed by Ed Emshwiller. Courtesy of Jean-Bernard Bucky. This film is one of several projects related to Emshwiller's time as Film Advisor and Cinematographer at UC Berkeley in 1968. REPORT is a chronicle of Norman Jacobson's attempt to conduct an experimental class called "Toward the Expression of the Idea of Freedom." Total running time: ca. 95 min.

SUNDAY, FEBRUARY 23, 2020

2/23
Barcelona, Spain: Xcentric Cinema
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18:30, CCCB (Centre de Cultura Contemporania de Barcelona)
MASKS. NOEMIA DELGADO
Mascaras(1976), by Noemia Delgado, is a pioneering work that crosses ethnographic cinema with elements of fiction. Inspired by various works of anthropology, the filmmaker documents festivals and rituals in the Portuguese region of Tras-os-Montes, ancient traditions of the so-called winter cycle, celebrations of pagan origin that evoke the solstice, coming of age and the different cycles of life. But the masked rituals were just a pretext to show aspects of life in this region, where ancient uses and unique sociocultural traits remained unchanged. Like Manoel de Oliveira, Antonio Reis and Margarida Cordeiro, Antonio Campos and Joao Cesar Monteiro, Noemia Delgado set out to portray this relatively isolated, unknown rural world, forgotten even by the Portuguese dictatorship. Accordingly, Tras-os-Montes became a mythical territory for Portuguese cinema. The films made there, like the one in this session, were an act of resistance and shaped some of the most radical cinematographic experiences of the new Portuguese cinema. Mascaras,ï¿½Noemia Delgado, 1976, 35 mm, 110 min. Catalan subtitles. Copy courtesy of Cinemateca Portuguesa.

2/23
New York, NY: Anthology Film Archives
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5:15 PM, 32 Second Avenue
ED EMSHWILLER: PROGRAM 5
Ed Emshwiller CAROL (1970, 5 min, 16mm. Preserved by Anthology Film Archives.) This elegant film portrait of Carol Emshwiller uses images from a forest - trees shimmering in the sunlight - to frame its subject. A simple score composed on thumb piano combines with double-exposed images to capture the poetry of the everyday. Ed Emshwiller TOTEM (1963, 16 min, 16mm) "A filmic interpretation of the ballet TOTEM by Alwin Nikolais. A cine-dance in which the choreography often comes as much from camera movement and film editing as from the dancers. A mysterious, primordial, and ritualistic sequence of movements." -Ed Emshwiller Ed Emshwiller FUSION (1967, 16 min, 16mm. Courtesy of the Jerome Robbins Dance Division, The New York Public Library for the Performing Arts.) "A cine-dance film sponsored by Springs Mills to promote a new line of towels designed by Pucci. Dancers throw, move through, dance with, and are draped in a variety of designer towels." -Ed Emshwiller Ed Emshwiller FILM WITH THREE DANCERS (1970, 20 min, 16mm) "Three dancers are seen in different ways. They are seen in formal movements combined and transformed by cinematic techniques. They are shown in semi-documentary fashion, in surreal fashion. They reveal themselves, their aesthetics, their method of working together. The film is an exploration of ways of seeing, of ways of showing dancers." -Ed Emshwiller Ed Emshwiller CHRYSALIS (1973, 22 min, 16mm) "Dancers coming from a black void move in slow, normal, and rapid motion. They are transformed by light, by pixilation, by projections on them, by their actions and costumes. They pass through a series of violent, humorous, and strange states, emerging in a form of rebirth." -Ed Emshwiller Total running time: ca. 85 min.

2/23
New York, NY: Anthology Film Archives
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7:30 PM, 32 Second Avenue
ED EMSHWILLER: PROGRAM 6
Ed Emshwiller WOE OH HO NO (1972, 13 min, 16mm-to-DCP) Collaboratively produced at Wantagh High School in New York, WOE OH HO NO ventures into the unconscious mind of the average student. Ed Emshwiller IDENTITIES (1973, 10 min, 16mm) This is the second of the two short films Emshwiller created with Wantagh High School students. Ed Emshwiller FAMILY FOCUS 1975, 58 min, video "FAMILY FOCUS is an Emshwiller family self-portrait, a stylized group autobiography. It was recorded for the most part with a black and white video portapak over a span of a year and a half. One series of Christmas movies shows the growth of the children covering 20 years. The camera was available for spontaneous taping by members of the family. It is documentary/video art transformation of self-revealing images, a playful ironic tape." -Ed Emshwiller Total running time: ca. 85 min.

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