[Frameworks] This Week in Avant Garde Cinema: August 14-23, 2021
This Week
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Sun Aug 15 03:02:33 UTC 2021
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*This Week [August 14 - August 23, 2021] in Avant Garde Cinema*
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*DEADLINES APPROACHING*
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___________________________________________________________________________________
*sorted by submission deadline*
08.15.2021 Imagine Science Film Festival
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08.16.2021 Media City Film Festival
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08.16.2021 Slamdance
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(Regular Deadline)
08.23.2021 Sundance Film Festival
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(Regular Deadline)
08.25.2021 International Film Festival Rotterdam (IFFR)
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08.26.2021 28th Chicago Underground Film Festival
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08.31.2021 Ann Arbor Film Festival
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(Regular Deadline)
09.01.2021 Swedenborg Film Festival
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09.04.2021 The 4th Annual Film and Video Poetry Symposium
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09.10.2021 Light Matter Experimental Film and Media Arts Festival
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09.13.2021 Festival Prisme #4
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09.19.2021 Punto de Vista
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09.24.2021 18th accordi @ DISACCORDI - International Short Film Festival
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09.30.2021 Rencontres Internationales Sciences & Cinémas (RISC)
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10.01.2021 International Short Film Festival Oberhausen
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(Early Deadline)
10.15.2021 Thomas Edison Film Festival
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11.01.2021 Experiments in Cinema
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*EVENTS*
Enter your event announcements here
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___________________________________________________________________________________
*complicated sorting but a true attempt, enjoy!*
This week's programs (summary):
- Film Kitchen Presents A Tribute To Leo Vale
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[August
10-24, online]
- The Crack-Up and War and the Weather
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[August
11-17, online]
- Superimpositions 1964
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[August
12-15, NYC]
- Kenneth Anger
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[August
14, NYC]
- Baillie / Belson
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[August
15, NYC]
- The Long Conversation
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[August 15, online]
- Gearwax: Old vinyl, Repurposed
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[August
15, online]
- Process Experimental Film Festival
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[August
18-22, Riga, Latvia]
- EIFF Black Box Shorts: Interruptions
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[August
18-25, online, UK geolock]
- EIFF Black Box Shorts: Interconnections
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[August
18-25, online, UK geolock]
- Good Skies Almost All the Time: Bruce Baillie Memorial Screening +
Publication Launch
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[August
23, SF]
- The Long Conversation
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[August 22, online]
- Ecstatic Static Screenings
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[ongoing,
online]
*STARTING ON OR BEFORE AUGUST 14, 2021*
*August 10 - August 24*
Venue type: *Virtual, online event*
*Film Kitchen*
https://www.jumpcuttheater.org/film-kitchen
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7 PM EST August 10, recording avail until August 24, Event URL:
https://www.twitch.tv/jumpcuttheater
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*FILM KITCHEN PRESENTS A TRIBUTE TO LEO VALE*
Film Kitchen presents a very special tribute to Leo Vale, stalwart of the
1970s and 80s Pittsburgh film scene, who passed away in December of 2020.
Leo was a lifelong movie lover who started making 8mm films with his
brother Jim (J.T.) when they were kids. He attended CalArts in the 1970s
and was also a crucial figure in the early days of Pittsburgh Filmmakers,
where he developed a distinctive style of filmmaking reflecting a breadth
of cinematic and historical influences. His work can varyingly be described
as experimental, narrative, documentary, found footage, b-movie (and
sometimes all at once) but it is consistently visionary. Yet his films have
been almost entirely unseen for over 30 years, so we are honored to be able
to present every extant, complete Leo Vale movie. Of particular note is the
world premiere of a brand new 2K digital transfer of Leo’s most
well-remembered film, A Mighty Fortress Is Our God, a brilliantly edited,
shot-on-a-shoestring adventure spectacle that reimagines Pittsburgh’s South
Side as the site of holy fortress under attack from an airplane gunner.
Leo’s family and friends will join hosts Matthew R. Day and Steven Haines
for a remembrance. The live program will be broadcast free of charge to the
Jump Cut Theater Twitch stream starting at 7 PM on Tuesday, August 10th. A
recording of the event will remain viewable online until 8/24.
www.twitch.tv/jumpcuttheater
*___________________________________________________________________*
*August 11 - August 17*
Venue type: *Virtual, online event*
National Gallery of Art
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streaming 24/7,
Event URL:
https://www.nga.gov/calendar/film-programs/spring-2021/war-weather-the-crack-up.html
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*The Crack-Up and War and the Weather*
* Jonathan Schwartz*The Crack-Up
Taking its name from F. Scott Fitzgerald’s 1936 autobiographical essay,
Jonathan Schwartz’s *The Crack-Up* is a powerful cinematic excursion
through fear, near-collapse, and transformation. Reflecting on life’s
“process of breaking down,” the film is extremely personal, yet also a
commentary on the political and climate crises of this early 21st century.
With awe-inspiring 16mm footage of glaciers, monumental snow-covered
landscapes, and an icy, roiling sea, The Crack-Up alternates strident
sounds and brash rhythms and gestures of the camera with moments of
arresting fragility and grace. (Jonathan Schwartz, 2017, 18 minutes). With
special thanks to Irina Leimbacher.
* Enid Baxter Ryce*War and the Weather
Artist Enid Baxter Ryce created an experimental documentary with a musical
score by Philip Glass to portray, in moving images, the history of
“atmospheric rivers,” or streams of water vapor in the sky. Just like
rivers that move water around on the land, atmospheric rivers—never visible
to the naked eye—were a vital force in shaping the colonization of the
American West. Today, the evolving scientific and cultural understandings
of atmospheric rivers exemplify the complexity and importance of the
stories we tell ourselves about science, climate, and the natural world.
This film was created at the Days and Nights Festival held at the Philip
Glass Center for the Arts, Science, and the Environment. (Enid Baxter Ryce,
2020, 65 minutes)
*___________________________________________________________________*
*August 12 - August 15*
Venue type: *Live, physical event*
Anthology Film Archives
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7pm + 9pm ET, 32 Second Avenue
*SUPERIMPOSITIONS 1964*
1964 brought about the release of two pioneering superimposition films:
FILM NO. 14 (LATE SUPERIMPOSITIONS) by artist, animator, and mystic Harry
Smith, and CHUMLUM by bohemian film legend Ron Rice. Both feature
mesmerizing, complex, and psychedelic in-camera Kodachrome layering set to
memorable soundtracks. While the two films share a lot in common and are
among the most celebrated experimental films of that era, they have rarely
screened together. For this program, we’ll be pairing these seminal films
in glorious new 16mm-to-35mm blow-ups, and further contextualizing them
with shorts by two other trailblazing (if under-recognized) New York City
filmmakers – Barbara Rubin and Jerry Jofen – who also worked wonders with
the technique of superimposition. Special thanks to The Film Foundation,
Simon Lund (Cineric, Inc.), and John Polito (Audio Mechanics).
*Harry Smith*
FILM NO. 14 (LATE SUPERIMPOSITIONS)
1964, 28 min, 16mm-to-35mm. Restored by Anthology Film Archives and The
Film Foundation with funding provided by the Hobson/Lucas Family
Foundation. Restoration premiere! “Superimposed photographs of Mr.
Fleischman’s butcher shop in New York, and the Kiowa around Anadarko,
Oklahoma – with Cognate Material. The strip is dark at the beginning and
end, light in the middle, and is structured 122333221. I honor it the most
of my films, otherwise a not very popular one before 1972.” –Harry Smith
*Ron Rice*
CHUMLUM
1964, 23 min, 16mm-to-35mm. With Jack Smith, Beverly Grant, Mario Montez,
Joel Markman, Frances Francine, Guy Henson, Barry Titus, Zelda Nelson,
Gerard Malanga, Barbara Rubin, and Frances Stillman. Music by Angus
MacLise. Restored by Anthology Film Archives and The Film Foundation with
funding provided by the Hobson/Lucas Family Foundation. “In a house that
one could believe was created just for the purpose, Rice gives us an
infinite spectacle, superimposing bodies swinging in hammocks, back and
forth through diaphanous gossamer draperies that slow the movements, and
suspend them on the edge of the abyss.” –Rene Micha, LES TEMPS MODERNES
Preceded by:
*Barbara Rubin*
[REEL 5347]
ca. 1964, 4 min, 16mm, silent. Preserved by Anthology Film Archives.
*Jerry Jofen*
HOW CAN YOU TELL THE DANCER FROM THE DANCE?
ca. 1968, 10 min, 16mm-to-digital
Total running time: ca. 70 min.
*___________________________________________________________________*
Venue type: *Live, physical event*
Anthology Film Archives
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4:45pm ET, 32 Second Avenue
*KENNETH ANGER*
“Scandal, evil, violence, and Fascism, like Hollywood, are centers of
fascination for Anger, and his films are the fields in which the dialectic
of that fascination is played and fought.” –P. Adams Sitney, VISIONARY FILM
“All of [Anger’s] films have been evocations or invocations, attempting to
conjure primal forces which, once visually released, are designed to have
the effect of ‘casting a spell’ on the audience. […] Not a surrealist who
puts blind faith in his own dream images and trusts his dreams to convey an
‘uncommon unconscious,’ Anger works predominantly in archetypal symbol. As
the magus, he is the juggler of these symbols, just as in the Tarot, where
the Magician is represented by the Juggler and is given the attribution of
Mercury, the messenger.” –Carel Rowe, FILM QUARTERLY
FIREWORKS (1947, 15 min, 16mm-to-35mm, b&w. Preserved by the UCLA Film &
Television Archive, with funding from the Film Foundation.)
RABBIT’S MOON (1950-70, 15 min, 35mm. Preserved by the UCLA Film &
Television Archive, with funding from the Film Foundation.)
EAUX D’ARTIFICE (1953, 13 min, 16mm)
SCORPIO RISING (1963, 30 min, 16mm)
KUSTOM KAR KOMMANDOS (1965, 3 min, 16mm)
Total running time: ca. 80 min.
*SUNDAY, AUGUST 15, 2021*
Venue type: *Live, physical event*
Anthology Film Archives
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4:45pm ET, 32 Second Avenue
*BAILLIE / BELSON*
*Bruce Baillie*
MASS FOR THE DAKOTA SIOUX (1963-64, 20 min, 16mm, b&w)
CASTRO STREET (1966, 10 min, 16mm)
ALL MY LIFE (1966, 3 min, 16mm)
VALENTIN DE LAS SIERRAS (1968, 10 min, 16mm. Preserved by Anthology Film
Archives)
“In [Baillie’s late 1960s films], the eye of the film-maker quiets his mind
with images of reconciliation; the dialectics of cinematic thought become
calm in the filming of the privileged moment of reconciliation.” –P. Adams
Sitney, VISIONARY FILM
*Jordan Belson*
ALLURES (1961, 9 min, 16mm)
RE-ENTRY (1964, 6 min, 16mm)
SAMADHI (1967, 6 min, 16mm)
WORLD (1970, 6 min, 16mm)
“Our greatest abstract film poet: he has found how to combine the vision of
the outer and the inner eye.” –Gene Youngblood
Total running time: ca. 75 min.
*___________________________________________________________________*
Venue type: *Virtual, online event*
*GearWax*
https://gutsyradio.org/
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6pm-8pm PT,
*GEARWAX: OLD VINYL, REPURPOSED*
A bi-weekly online radio program featuring old LPs, 45rpm and 78rpm
records. Hosted by Kathleen and Scott from San Francisco. Every other
Sunday 6-8pm Pacific time on Gutsy Radio @ https://gutsyradio.org/
*___________________________________________________________________*
Venue type: *Virtual, online event*
*Riverwest Radio*
riverwestradio.com
<https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=8e589624dd&e=857b71a9cb>
8pm ET,
*THE LONG CONVERSATION*
THE LONG CONVERSATION...new episodes live every Sunday night! 8 pm eastern
standard time & 7 by Xav Leplae and Stephanie Barber for Riverwest Radio,
104.1 or at riverwestradio.com ***& a new song by stephanie & xav for every
episode***
*WEDNESDAY, AUGUST 18, 2021*
*August 18 - August 22*
Venue type: *Live, physical event*
Process Experimental Film Festival
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varies,
*Process Experimental Film Festival*
Experimental Film Festival Process will take place from 18th to 22nd of
August 2021 in Riga, Latvia. The festival is dedicated to analogue cinema,
celebrating the physical medium of film in all its personal, adventurous
and uncompromising forms. The first of a kind in Baltics, for the fourth
time Process will provide five days of film screenings, expanded cinema
performances, lectures, discussions as well as a two day expanded cinema
workshop on the weekend before the festival on August 14-15. This year the
overall theme of the festival is "End Of The World", reflecting both on
different kinds of loss and a possibility of something new. Along with
special focus programmes and events, the festival has three non-competitive
short film programmes for which everyone working with analogue film in any
kind of unconventional way is welcome to submit their work related to this
year's theme. Process is organised by Baltic Analog Lab which is an
artist-run film laboratory based in Riga, in collaboration with
guest-curators and artists differing each year. This year the programmes
will be selected by Erwin van't Hart from Rotterdam IFF and Tommaso
Isabella – a freelance curator of Filmmaker IFF (Milan), as well as Lāsma
Bērtule and Ieva Balode – members of Baltic Analog Lab. The festival is
organised by Baltic Analog Lab Main support comes from the State Culture
Capital Foundation.
*___________________________________________________________________*
*August 18 - August 25*
Venue type: *Virtual, online event, UK geolock*
Edinburgh International Film Festival
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streaming 24/7, Event URL:
https://www.filmhouseathome.com/tv/black-box-shorts-interruptions/1
<https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=3fd674631d&e=857b71a9cb>
*Black Box Shorts: Interruptions*
Nine immersive works that engage with, reconfigure or subvert, the grammar
and processes of moving image making, applying the tools of repetition,
layering, circularity and physical contact, to strikingly inventive ends.
In considering cinematic space as a sensory landscape, the filmstrip is
explored as a vibrant site of tactile interactions and transformation;
reactivating archival ephemera, harnessing the artisanal processes of early
cinematic innovation, and powerfully entangling politics and aesthetics.
With works by Cherlyn Hsing-Hsin Liu, Michael Pisaro, Andrés Baron, Ann
Oren, Rhys Morgan, Kamila Kuc, Anna Kipervaser, Stefanie Weberhofer,
Stefano Canapa, Siegried A. Fruhauf.
Followed by a pre-recorded 30min Q&A
*___________________________________________________________________*
*August 18 - August 25*
Venue type: *Virtual, online event, UK geolock*
Edinburgh International Film Festival
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streaming 24/7, Event URL:
https://www.filmhouseathome.com/tv/black-box-shorts-interconnections/1
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*Black Box Shorts: Interconnections*
With their fluid approach to structure and close attention to rhythm, the
films in this programme demonstrate different ways of expressing connection
and interconnection – with oneself, with another, between humans and
non-humans, and with both the urban environment and natural surroundings.
They ask us to be attentive to the relationship between exterior and
interior worlds, transforming perception through new languages of
observation and contemplation.
With works by Lynne Sachs, Laida Lertxundi, Simon Liu, Caryn Cline, Linda
Fenstermaker, Reed O'Beirne, Julieta Maria, Peter Conrad Beyer, Charlotte
Pryce.
Followed by a pre-recorded 30min Q&A
*SUNDAY, AUGUST 22, 2021*
Venue type: *Virtual, online event*
*Riverwest Radio*
riverwestradio.com
<https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=e381ba67a0&e=857b71a9cb>
8pm ET,
*THE LONG CONVERSATION*
THE LONG CONVERSATION...new episodes live every Sunday night! 8 pm eastern
standard time & 7 by Xav Leplae and Stephanie Barber for Riverwest Radio,
104.1 or at riverwestradio.com ***& a new song by stephanie & xav for every
episode***
*MONDAY, AUGUST 23, 2021*
Venue type: *Live, physical event*
Canyon Cinema + SF Cinematheque /// Canyon at the Roxie
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6:30pm PT, 3117 16th Street
*Good Skies Almost All the Time: Bruce Baillie Memorial Screening +
Publication Launch*
Admission: $15 General / $12 Members of Cinematheque, Canyon and/or the
Roxie Theater
August 21 is sold out
Second screening on August 23
Event tickets here
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.
San Francisco Cinematheque returns to public screenings, joining forces
with sister org Canyon Cinema as they inaugurate Canyon at the Roxie, a
monthly series of monographic screenings featuring Bay Area filmmakers past
and present! This inaugural edition of Canyon at the Roxie is dedicated to
Cinematheque’s and Canyon’s founding filmmaker, Bruce Baillie (1931-2020),
who brought to life exceptional works of film art and a thriving cinema
counterculture. Beginning in the late 1950s, Baillie created a vagabond,
romantic, first-person filmmaking style that continues to enchant and
influence new generations drawn to the artistic possibilities of the 16mm
film medium. Beginning with a visit to the filmmaker’s editing bench and a
few words from Dr. Bish himself, this memorial screening focuses attention
on some of Baillie’s lesser-known lyrical films (Little Girl, Still Life)
and Canyon Newsreels (Termination), culminating with two of his distinctly
different masterpieces: the expansive, densely-layered Quixote and the
compact, elegant All My Life.
A wandering poet, Bruce Baillie was also an inveterate community builder.
>From the ambitious yet unassuming 1961 screenings presented by Baillie and
friends in the rural East Bay community of Canyon, California emerged two
essential institutions of American independent filmmaking: San Francisco
Cinematheque and the Canyon Cinema Co-op. In addition to marking the 60th
anniversary of these sister organizations, this program coincides with the
release of Canyon’s newest publication. Dear Folks: Notes and Letters from
Bruce Baillie collects some of Baillie’s many dispatches to and about
Canyon Cinema, ranging from a 1962 announcement co-signed with Chick Strand
to voicemail messages left on Canyon’s office answering machine in the last
years of his life. The bulk of this material derives from the Canyon
Cinemanews, which began in 1962 as a newsletter to solicit and circulate
“fugitive information” related to a fledgling independent film movement.
Years before Canyon was formally organized as a distribution cooperative,
the lively pages of the Cinemanews demonstrated that there was such a
community of filmmakers to be incorporated. (Canyon Cinema)
*Introduction to the Holy Scrolls* (1998)
video, color, sound, 10 minutes, exhibition file from Canyon Cinema
Bruce Baillie edits film and talks to the audience. This video work was
often used by the filmmaker to introduce, in his absence, film programs
scheduled in distant venues. Created also as an formal introduction to an
11-hour archival collection of unfinished films. (Canyon Cinema)
*Show Leader* (1966)
16mm, b&w, sound, 1 minute, print from Canyon Cinema
A repeated shot of me in a stream talking to the audience, used as an
introduction to Baillie film programs. (Bruce Baillie)
*Little Girl *(1966)
16mm, color, sound, 9 minutes, print from Canyon Cinema
This film by Bruce Baillie, completed in 1966 but unreleased until 2014, is
contemporaneous with *Castro Street*, but is much more formally connected
to *All My Life* or *Still Life*, also from the same year. In three
sections with three different formal strategies, Baillie shares distilled
moments of found natural beauty as he encountered them in the North Bay
outside San Francisco. The first section features a study of plum blossoms,
rendered in rich, multiple superimpositions that allow the white flowers to
explode into a blizzard of visual complexity, framed by a panning shot of
purple mountains. In the second section, Baillie allows us a furtive
glimpse of the titular little girl, waving to cars with her dog on the side
of the road, lost in her world and thoughts. Bruce’s framing remains
unadorned, feeling no need to add to or take away from a beautiful piece of
simple portraiture. The third section, of waterbugs on the surface of a
pond, remind us how remarkable and sensitive Baillie’s camerawork can be,
as he observes their graceful dances, and the subtle light and water
effects they produce by their movements. (Mark Toscano)
*Termination* (1966)
16mm, b&w, sound, 5 minutes, print from Canyon Cinema
[Paul] Tulley and I made this film for some people up at the Laytonville
Rancheria. They were being “terminated” under a new Bureau of Indian
Affairs program. (Bruce Baillie)
*Still Life* (1966)
16mm, color, sound, 2 minutes, print from Canyon Cinema
>From the commune life at Morning Star, where I made Castro Street. (Bruce
Baillie)
*Quixote* (1965)
16mm, color, sound, 45 minutes, print from Canyon Cinema
One-year journey through the land of incessant progress, researching those
sources which have given rise twenty years later to the essential question
of survival. (Bruce Baillie)
*All My Life* (1966)
16mm, color, sound, 3 minutes, print from Canyon Cinema
“Singing fence,” Caspar, California. One continuous moving shot. Ella
Fitzgerald singing “All My Life” on the soundtrack. (Bruce Baillie)
TRT: 75 minutes
*ONGOING*
Venue type: *Virtual, online event*
*Ecstatic Static*
https://www.ecstaticstatic.com/screenings/
<https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=f5de29fc2b&e=857b71a9cb>
streaming 24/7
*ECSTATIC STATIC SCREENINGS*
We host regular online screenings of artists’ films and videos on the
landing page, as a way to share work both new and rare, that may otherwise
have a limited release. For more information on each artist and ways on how
to support their work, please see the links below.
*Screening No. 4: I Remember*
Bani Abidi, Funland (Karachi Series II). 2014, 12 min, 48 sec
Luis Arnías, Punky Eye / Ojo Malcriado. 2018, 15 min
Tinne Zenner, Sleeping District. 2014, 12 min
Miko Revereza, Distancing. 2019, 10 min
Catarina Vasconcelos, Metaphor or Sadness Inside Out. 2013, 31 min
Leonardo Mouramateus, A Festa e os cães. 2015, 25 min
*Screening No. 3: W,O,R,D,S*
Erica Sheu, first draft. 2017, 3 min
Anna Thew, Lost for Words. 1980, 25 min
Abigail Child, Mutiny. 1983, 11 min
Yann Beauvais, SID A IDS. 1992, 5 min, 30 sec
Rhea Storr, Junkanoo Talk. 2017, 11 min, 36 sec
John Smith , Steve Hates Fish. 2015, 5 min
Jenny Brady , Wow and Flutter. 2013, 13 min, 3 sec
Eva Giolo, A Tongue Called Mother. 2019, 18 min
*Screening No. 2: Five Films by Jodie Mack*
Jodie Mack, Wasteland #1: Ardent, Verdant. 2017, 4min, 30 sec
Jodie Mack, Something Between Us. 2015, 9 min, 30 sec
Jodie Mack, Razzle Dazzle. 2014, 5 min
Jodie Mack, Undertone Overture. 2013, 10 min, 30 sec
Jodie Mack, Blanket Statement #1: Home is Where the Heart is. 2012, 3 min
*Screening No. 1: The Ecstatic Static*
Luca Werner, Schöngeising. 2020, 1 min, 10 sec
Kersti Jan Werdal, Slow Shapes. 2017, 12 min, 54 sec
Taiyo Onorato & Nico Krebs, Wrestlers. 2015, 7 min
Beatriz Santiago Muñoz, Black Beach/Horse/Camp/The Dead/Forces. 2016, 8 min
Simon Liu, Signal 8. 2019, 14 min
Anna Marziano, La Veglia. 2010, 2 min
Andrea Franco, East Los Angeles Punk. 2012, 7 min
Jeano Edwards, Familiar Strangers. 2020, 2 min, 22 sec.
Melanie Smith with Rafael Ortega, Parres Trilogy. 2004, 12 min, 56 sec
Gillian Garcia, YDS. 2021, 3 min, 49 sec
------------------------------
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