[Frameworks] This Week in Avant Garde Cinema: November 12 - 20, 2022
This Week
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Sun Nov 13 04:45:24 UTC 2022
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*This Week [November 12 - 20, 2022] in Avant Garde Cinema*
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*DEADLINES APPROACHING*
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*sorted by submission deadline*
Ongoing Films for Ukrainian Border Crossings
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(No Dialogue + PG)
11.13.2022 LOST IN TRANSLATION
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11.15.2022 Wide Open Experimental Film Festival
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(Regular Deadline)
11.17.2022 Fisura, International Festival of Experimental Film and Video
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(Regular Deadline)
11.18.2022 16mm Tips + Tricks Workshop
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11.30.2022 Laterale Film Festival
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(Second Deadline)
11.30.2022 Braziers International Film Festival
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11.31.2022 Lightpress Grant
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12.01.2022 Athens International Film + Video Festival
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(Extended Deadline)
12.13.2022 LMCC Arts Center Residency & 2023 SU-CASA
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12.15.2022 Light Field
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12.15.2022 Onion City Film Festival
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(Early Deadline)
12.16.2022 Coney Island Film Festival
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(Regular Deadline)
12.31.2022 dresdner schmalfilmtage
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01.01.2023 Cosmic Rays Film Festival
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02.01.2023 International Short Film Festival Oberhausen
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(Early Deadline)
02.01.2023 Chicago Underground Film Festival
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(Early Deadline)
02.01.2023 Winnipeg Underground Film Festival
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03.01.2023 Media City Film Festival
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03.01.2023 Fracto Experimental Film Encounter
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03.26.2023 Magmart international videoart festival
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*EVENTS*
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*complicated sorting but a true attempt, enjoy!*
This week's programs (summary):
- Jonas Mekas 100!
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[November
1, 2021-January 25, *2023*, worldwide]
- Refresh
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[March
2022 - Fall 2022, Denver, CO]
- VISIONS: HÁ TERRA! By Ana Vaz
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[November
3-December 3, online]
- Filmmaker In Person: Scott Stark
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[November
12, New York, NY]
- Incredibly Strange Music3
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[November
12, San Francisco, CA]
- Secrets of the Shadow World
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[November
13 + 15, New York, NY]
- EC: Franju / Genet
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[November
13, New York, NY]
- EC: Eggeling / Grant / Jacobs & Fleischner
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[November
13, New York, NY]
- Pool Party 2022: Three Parts Group Screening
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[November
13, New York, NY]
- Anne Rainwater, Eric theise + Krys Bobrowski
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[November
13, Oakland, CA]
- Films By Massimo Bacigalupo
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[November
14, New York, NY]
- An Evening With Simon Liu
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[November
14, New York, New York, NY]
- EC: Jerome Hill
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[November
15, New York, NY]
- aCinema: Notes For A Future Ecology
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[November
15, Milwaukee, WI]
- J.P. Sniadecki: Two Films, A Decade Apart…
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[November
16, Los Angeles, CA]
- Millennium Film Journal No. 76
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[November
16, New York, NY]
- Films by Chick Strand on 16mm
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[November
18, Pittsburgh, PA]
- Film Diary NYC 2.0
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[November
18, Santa Fe, NM]
- Eighth Annual Report
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[November
18-20, Petaluma, CA]
- Archive Fever2
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[November
19, San Francisco, CA]
- Lewis Klahr: Circumstantial Pleasures
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[November
20, Los Angeles, CA]
- Gary Adlestein Memorial Film Screening
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[November
20, Reading, PA]
- Gearwax: Old Vinyl, Repurposed
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[November
20, online]
- The Long Conversation
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[ongoing, online]
- 6x6 Project: Artists' Moving Image Works
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[ongoing,
online]
*STARTING BEFORE NOVEMBER 12, 2022*
*November 1 - January 25, 2023*
Venue type: *Both physical and online*
Jonas Mekas 100!
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times and locations vary, see below
Event URL: https://jonasmekas100.com/
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*Jonas Mekas 100!*
In 2022, the world and Lithuania celebrate the life and work of Jonas
Mekas, one of the country’s most prominent cultural figures of the 20th and
21st centuries and a global cultural phenomenon in his own right,
considered by many to be the “godfather of avant-garde cinema”.
Throughout his life, Mekas always emphasized and cherished his Lithuanian
roots. After fleeing the foreign occupation of his native land, he arrived
in New York City, in his own words “at exactly the right moment”, joining
thousands of others escaping the devastation wrought by destructive
ideologies and tyrannical regimes in Europe. One might say that Mekas left
one village, his native Semeniškiai in northern Lithuania, and immersed
himself in the life of another – the Village thriving in and around lower
Manhattan, and in its landmark publication, the Village Voice, helping to
shape American and global culture so profoundly in the latter half of the
20th century.
This centennial celebration, Jonas Mekas 100!, seeks to expand global
recognition of his work and encourage a deeper exploration of Mekas’
prolific contributions to cinema, film criticism, cultural organization,
and, in particular, his body of poems and prose, now published in
Lithuanian, French, German, English, Japanese, Hebrew, and many other
languages.
The centennial program features over 50 events in an expanding list of
countries, including: Belgium, Denmark, Finland, France, Germany, Greece,
Israel, Italy, Lithuania, Norway, Poland, South Korea, Sweden, Taiwan,
Ukraine, the United Kingdom, and the United States. The vast scope of
Mekas’ contribution to global cultural is examined through film screenings
and retrospectives, exhibitions, readings, workshops, new publications and
translations of Mekas’ writings, and concerts celebrating the spirit of his
work, among other events.
The centennial program is a joint international collaboration between
leading art and cinema organisations, curators, publishers, the global
network of Lithuanian cultural attachés, the Estate of Jonas Mekas, and the
Lithuanian Culture Institute.
*___________________________________________________________________*
*March 2022 - Fall 2022*
Venue type: *Live, physical event*
Denver Museum of Nature & Science
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open during Museum hours,
The Summit Stage and Expedition Health, Denver Museum of Nature & Science,
2001 Colorado Blvd, Denver, CO
*REFRESH: *CYANOBACTERIA OFFER PERSPECTIVE ON OURSELVES
This art-science collaboration looks at the microscopic ways cyanobacteria
move, on an individual level and in colonies. If we study these organisms
and their varied forms, we might discover ways to improve our future.
On display at the Denver Museum of Nature & Science in the Summit Stage and
Expedition Health, March 2022 - Fall 2022
The cells in your body take in oxygen and sweep out waste products like
carbon dioxide (CO2). Microscopic cyanobacteria use photosynthesis to work
in reverse, breathing in CO2 and pumping out oxygen.
Three billion years ago, cyanobacteria created Earth’s oxygenfilled
atmosphere, supporting the evolution of creatures like us. Today, they
provide one-quarter of the planet’s oxygen, and cyanobacteria like
spirulina provide us with food.
Researchers believe that cyanobacteria —which need only sunlight, CO2, and
water to thrive— could offer solutions to our changing climate. They might
help reduce CO2 on a grand scale, contribute to biofuel production, and
support long-term space travel. This diverse group of organisms offers a
symbolic warning as well: when colonies of cyanobacteria become too dense
or stressed, they can run out of nutrients or be destroyed by their own air
pollution.
Made with the collaborative efforts of filmmaker Erin Espelie and the
Jeffrey Cameron Laboratory at the University of Colorado Boulder, which
created a customized microscope system specifically tailored for long-term
growth and quantitative imaging of cyanobacterial cells; with special
thanks to microbiologist and cinematographer Evan Johnson and artists Nima
Bahrehmand, Travis Austin, Will Alstetter, as well as NEST Studio for the
Arts.
*___________________________________________________________________*
*November 3 - December 3*
Venue type: *Virtual, online event*
VISIONS
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streaming 24/7, Event URL: https://visionsmtl.com/2022/ana-vaz/
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*VISIONS: HÁ TERRA! by Ana Vaz*
As part of its new online cinema series, VISIONS presents *HÁ TERRA!* by
Ana Vaz with a text by Ralitsa Doncheva | 2016 | 16mm to digital | 12 mins
37 secs
In *Poetics of Cinema*, Raul Ruiz writes that “films are like human beings,
you look at them and they look back at you”. I think about this idea while
watching *HÁ TERRA!* imagining the film’s body as a wild animal that preys
on me as much as I glimpse at it. Does it sense my shame, my fear?
I experience *HÁ TERRA!* as a choreography of gestures and gazes that hits
like a rock. A bodily cinema where the eye blurs into the ear, ending in
the shape of a mouth. Where one gazes at an animal, animal-like, and
listens to the stories vibrating in the landscape while touching it.
Where am I in this dream? Perhaps under the hand, hiding. Without a sense
of self, levitating. Like a piece of clothing, floating at sea. There is no
understanding without feeling, no justice without poetry. There is no
encounter without a loss. No moving forward without paddling back to a
fractured past that, like the swollen foot of the girl in the film, changes
with the moon’s phases. Before language, before language. Back to the land.
*SATURDAY, NOVEMBER 12, 2022* Venue type: *Live, physical event*
Anthology Film Archives
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7:30pm ET,
32 Second Avenue, New York, NY
*Filmmaker in person: SCOTT STARK*
Acclaimed experimental filmmaker Scott Stark has produced more than 85
films and videos since 1980, including seminal works such as *NOEMA*
(1998), *ANGEL BEACH* (2001), *THE REALIST* (2013), and many others. He
has also created a number of gallery and non-gallery installations
utilizing film and video, as well as elaborate photographic collages
comprising large grids of images. Both a passionate purist and a cynical
skeptic, he likes to emphasize the physicality of film while
cross-referencing it to the world outside the cinema, attempting to lay
bare the paradoxes of modern culture and the magical nature of the
perceptual experience.
On Saturday, November 12, Stark will visit Anthology for a rare
presentation of three recent works: the digital pieces *IS IT TRUE WHAT
THEY SAY* (2015) and *DAMNATION* (2022), and the multimedia work *LOVE AND
THE EPIPHANISTS (PART 1)* (2019), which encompasses 35mm, slides, live
sound, and other elements.
Total running time: ca. 65 min.
*___________________________________________________________________*
Venue type: *Live, physical event*
Other Cinema
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8pm PT,
ATA Gallery, 992 Valencia (@ 21st), San Francisco, CA
*INCREDIBLY STRANGE MUSIC3*
STAND BY FOR FAILURE: A NEGATIVLAND DOCUMENTARY +
The third of our Fall ISM GIGS proudly proffers the World premiere
of Ryan Worsley's *Stand by for Failure*, thee latest and greatest of
several docs to address the utter brilliance of our very own Negativland.
Born in the East Bay in the early '80s, this pioneering audio-collage
ensemble has marvelously demonstrated how the material of a distinctive
practice of sound art can be retrieved and “redeemed” from the utterly sick
detritus of pop culture. Worsley's feature wraps interviews, archival
excerpts, and a zillion satirical stabs around concert clips that
feature Mark Hosler, Jon Wobbly Leidecker, and Sue-C. Opening the program
is a wild mix of audio-visual oddities that set the stage for Worsley's
group portrait: Cuts from Negativland's out-of-print DVD *My Favorite
Things*, Standish Lawder's *Dangling Participle,* Joe Milutis/Joker's
*Illuminations*, and highlights from Craig Baldwin's '95 *Sonic Outlaws*,
shoe-horning in glimpses of satellite members Chris Grigg, the Weatherman,
and the band's wellspring and the much missed genius behind KPFA's
longest-running program *Over the Edge*...Don Joyce!
*SUNDAY, NOVEMBER 13, 2022* *November 13 + 15*
Venue type: *Live, physical event*
Anthology Film Archives
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times vary, see below,
32 Second Avenue, New York, NY
*SECRETS OF THE SHADOW WORLD*
November 13 @ 5pm ET
November 15 @ 7:30pm ET
*SECRETS OF THE SHADOW WORLD* by George Kuchar, 1989-99, 135 min, digital
The film ostensibly chronicles Kuchar’s attempts to make his own “flying
saucer” movie, pulling from footage from across the ’90s. What emerges is a
loving tableau of the strange company he keeps, an off-the-wall tribute to
aliens, cryptids, B-movies, and all things gonzo Americana.
Preceded by:
*THE TOWER OF THE ASTRO-CYCLOPS*, George Kuchar, 1994, 17.5 min, digital
A comparably zany study of ufologist Jacques Vallée. Kuchar writes: “A
portrait of a French scientist and author who explores the heavens above
and beyond the call of duty. A man unafraid to turn over the rocks that
litter a terrain of terror and titillation: a terrain of things that go
jump in the night and hide by day only, to re-surface in our nightmares.
The screening on Sun, Nov 13 will be introduced by writer and musician Doug
Skinner!
*___________________________________________________________________*
Venue type: *Live, physical event*
Anthology Film Archives
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6pm ET,
32 Second Avenue, New York, NY
*EC: FRANJU / GENET*
Georges Franju, *BLOOD OF THE BEASTS / LE SANG DES BÊTES*, 1949, 20 min,
35mm-to-digital. In French with English subtitles.
“This documentary on the slaughterhouses of Paris is one of the great
masterpieces of the subversive cinema; here, for once, we are face to face
with death, and are neither protected nor cheated. […] A dream-like quality
permeates the intense realism of the images; a surrealist intent – akin to
Buñuel’s slitting of the eyeball in *UN CHIEN ANDALOU* – is discernible in
this anti-bourgeois film. But the eyeball, however shocking, was
fictional; *BLOOD
OF THE BEASTS* is real.” –Amos Vogel, FILM AS A SUBVERSIVE ART
Jean Genet, *UN CHANT D’AMOUR*, 1950, 26 min, 16mm, silent
“Genet’s only film – hounded by the censors, unavailable, secret – is an
early and remarkably moving attempt to portray homosexual passions. Already
a classic, it succeeds as perhaps no other film to intimate the explosive
power of frustrated sex…. Like all Genet’s early work, the entire film is,
in effect, a single onanistic fantasy, filled with desperate frustration
and sensuous nostalgia.” –Amos Vogel, FILM AS A SUBVERSIVE ART
“There’s no smoke without fire; *UN CHANT D’AMOUR* is a communion in which
Genet takes us into the prison in order to liberate us from it.” –Derek
Jarman
Total running time: ca. 50 min.
*___________________________________________________________________*
Venue type: *Live, physical event*
Anthology Film Archives
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7:30pm ET,
32 Second Avenue, New York, NY
*EC: EGGELING / GRANT / JACOBS & FLEISCHNER*
*SYMPHONIE DIAGONALE*, Viking Eggeling (1924, 8 min, 35mm)
*COMPOSITION #2 CONTRATHEMIS*, Dwinell Grant (1941, 5 min, 16mm, silent)
*STOP MOTION TESTS*, Dwinell Grant (1942, 3 min, 16mm, silent)
*COLOR SEQUENCE*, Dwinell Grant (1943, 3 min, 16mm, silent)
*BLONDE COBRA*, Ken Jacobs & Bob Fleischner, 1959-63, 35 min, 16mm-to-35mm
blow-up. With Jack Smith. Preserved by Anthology Film Archives with support
from The Film Foundation.
Total running time: ca. 60 min.
*___________________________________________________________________*
Venue type: *Both physical and online*
Microscope Gallery
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3:00pm ET, 4:30pm ET, 6:00pm ET,
525 W 29th St, New York, NY
Event URL: https://microscopegallery.com/pool-party-2022/
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*Pool Party 2022: Three parts group screening*
Advance In Person Tickets: https://tinyurl.com/4r5w3bx7
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All New York-based artists will be in attendance.
Online tickets available at 6pm ET day of show for full program here:
https://microscopegallery.com/pool-party-2022/
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The 3-part program features a wide-ranging program of artists, established
and emerging, from around the globe utilizing and incorporating Super 8mm,
16mm film, 35mm photographs, miniDV, HD, 4K, stop-motion, 3D animation,
computer graphics and other formats. The works were selected from our most
recent Open Call. With the majority of works made while the artists were
entrenched in lock-down, the event finds many considering their bodies,
personal spaces, computer screens, and relationships with nature — other
animals and insects, oceans and plant life, and the light from our sun, and
more.
Several highly personal works celebrate everyday moments with friends or
unearth previously unprocessed memories and histories. Others focus on acts
of protests; themes of social justice and war; the excess living styles of
the super rich; utopian proposals of world community and connection; and a
longing for and appreciation of connections.
The program will take place in 3 parts of approximately 65 minutes each,
with tickets available for individual parts or for the full program.
--- PART 1, 3pm ET ---
Yuula Benivolski // Jean-Michel Rolland // Megan Dieudonné & Andrea Rüthel
// Bayu Kusuma // Yacob Bizuneh // Lorenzo Gattorna // Vivian Ostrovsky //
Zorica Čolić // Anuj Malhotra // Abigail He // Duane Peterson III.
--- PART 2, 4:30pm ET ---
Nate Dorr // Zainab Aliyu // Kamila Kuc // Diane Nerwen // Jung-Chul Hur //
Hana Yoo // Lucas Kane // Rodrigo Nava Ramirez // Francisco Rojas // Sabine
Gruffat // Gloria Chung // Shon Kim.
--- PART 3, 6:00pm ET ---
Niyaz Saghari // Michael Lyons // Tetsuya Maruyama // Allyson Packer &
Jesse Fisher // Anna Kipervaser // Sara Bonaventura // Yinglin Zhou // Paul
Khahliso Matela Zisiwe // Agustina Markez // Jeri Coppola.
Masks Required
*___________________________________________________________________*
Venue type: *Live, physical event*
Mosswood Sound Series
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7pm PT,
mosswood chapel, 3630 telegraph, oakland, ca (2 blocks from macarthur bart,
enter 2nd door on 37th st)
*ANNE RAINWATER ERIC THEISE + KRYS BOBROWSKI*
ANNE RAINWATER performs San Francisco composer Danny Clay's Ten Pages for
piano and electronics, written for her in 2016. The program also features
Ian Power's Ave Maria: Variations on a Theme by Giacinto Scelsi, which
takes a melody by the Italian composer and augments it and distorts it
through meditative and penitent variations.
ERIC THEISE and KRYS BOBROWSKI present real time cartographic
improvisations using projected, manipulated digital maps, and custom-built
electro-acoustic instruments. Evenings of street grids, rivers, islands,
and curiosities from the built environment. Saturated colors. Glitches in
crowdsourced data. Orphaned information and free-floating symbology.
masks and vaccination required. performers may be unmasked
*MONDAY, NOVEMBER 14, 2022* Venue type: *Live, physical event*
Microscope Gallery
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7:00 pm ET,
525 W 29th St, New York, NY
*Films by Massimo Bacigalupo*
An evening of rarely screened films by Italian experimental filmmaker
Massimo Bacigalupo, on the occasion of one of his seldom visits to New
York. Bacigalupo will be in attendance and available for a Q&A following
the screening.
After first receiving attention at the age of 19 for his independent,
medium-length film *Quasi una tangente (Almost a tangent)* (1966) — which
like many of his early works was shot on standard 8mm — Bacigalupo soon
became a central figure in the experimental film scene in Italy as both
artist and critic/theoretician. As a student in Rome he was a founding
member of the Cooperative del Cinema Indipendente in 1967 — which was
modeled after the Film-makers’ Co-operative in New York — and wrote film
criticism for magazines such as “Film Critica,” “Bianco & Nero,” and Mekas’
“Film Culture.”
Bacigalupo’s filmmaking has been informed by American poetry and the
lyrical and anti-commercial forms of the New American Cinema in New York.
Shot on black & white 8mm film and often edited in camera, early ambitious
films in terms of length and aesthetic, like* Quasi una Tangente* and *60
Metri per il 31 Marzo (200 ft. for March 31st)*, nevertheless retain a
sense of the personal. And, at the time they were made, they could be
shared with friends in a living room via a small-sized 8mm projector.
Located outside of the perceived epicenter of the film revolution in the
US, through his oeuvre — which is infused with experimentation, everyday
life, and friendship — Bacigalupo offers a unique contribution to the
history of avant-garde and independent film. The filmmaker has always had
deep connections with the United States. His mother was born and raised in
Elizabeth, PA, and between 1973 and 1975 he lived in New York, where he
attended Columbia University and received his PhD in American Literature.
*QUASI UNA TANGENTE (ALMOST A TANGENT)*, 8mm film, b&w, 1966, 37 minutes
*60 METRI PER IL 31 MARZO (200 FEET FOR MARCH 31st)*, 8mm film, b&w, 1968,
15 minutes
*HER *, 16mm film, color, silent, 1968, 5 minutes
*CARTOLINE DALL’AMERICA (POSTCARDS FROM AMERICA)*, 16mm film, color, 1975,
25 minutes
*RICERCAR*, 16mm film, color, sound, 1973, 8 minutes 30 seconds
Masks Required
*___________________________________________________________________*
Venue type: *Live, physical event*
Museum of Modern Art
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7pm ET, MoMA, 11 West 53 Street, New York, NY
*An Evening with Simon Liu*
Join filmmaker Simon Liu for a deep dive into his wide-ranging body of
analog-based experimental films. Made between 2014 and 2022, Liu’s
sensorially overwhelming repositories of memory and feeling function as
transnational time machines. Over this relatively short period, Liu—who was
born and raised in Hong Kong and is now based in New York City—has created
a psychogeographic archive of his homeland as it undergoes rapid historical
changes, a body of short films that powerfully reflect on his place of
origin and family, including breathtaking 16mm multiple-projection
performances (two of which, *Highview* and *Harbour City Redux*, are
featured in this program). His work channels the post-digital,
post-colonial, and postmodern qualities of a contemporary diasporic
experience. A slew of labor-intensive image-making processes, utilizing
both the camera and film lab, reveal a search for unpredictable images,
reflecting dislocation and pushing visual experimentation to extremes. This
is exemplified by the evocatively titled E-Ticket, a collage comprising
13,000 individual 35mm splices that frantically merges the kaleidoscopic
and the encyclopedic in the obliteration of a personal archive. Liu’s
unique combination of editorial precision and trust in light and
photochemical processes allows for moments of tender clarity amid frenetic
abstraction.
*Signal 8*, *Happy Valley*, and *-force-*, a trio of works that subvert
documentary form, made amid the ongoing sociopolitical upheaval in Hong
Kong, consciously avoid explicit imagery of the unrest, but eeriness, pain,
and violence haunt the edges of their hypnotic frames. When working in Hong
Kong, a city already richly captured in its own cinematic history, Liu
focuses an expansive gaze on overlooked details, elevating the mundane to
conjure ghostly whispers from the concrete. The digital animation in
*-force-*, made in collaboration with sibling Jennie MaryTai Liu, is
especially notable for this post-Internet, analog filmmaker, suggesting a
point of no return. These deeply enigmatic works can be viewed as clues to
what it means to call a place home. Liu’s films wonder, can we ever go
back? Perhaps only through images.
*Harbour City Redux*. 2015/22, Hong Kong/USA. Directed by Simon Liu.
Quadruple 16mm projection performance. 12 min.
*Signal 8*. 2019. Hong Kong/USA. Directed by Simon Liu. 14 min.
*E-Ticket*. 2019. Hong Kong/USA. Directed by Simon Liu. 13 min.
*-force-*. 2020. Hong Kong/USA. Directed by Simon Liu & Jennie MaryTai Liu.
9 min.
*Happy Valley*. 2020. Hong Kong/USA. Directed by Simon Liu. 13 min.
*Highview*. 2017. Hong Kong/USA. Directed by Simon Liu. Quadruple 16mm
projection performance. Silent. 22 min.
Program approx. 87 min.
All films produced by Rachael Lawe.
Sound from *Signal* 8 and E-Ticket by Devin Johnson.
Sound from *-force-* by Andrew Gilbert.
Sound from *Harbour City Redux* and *Happy Valley* by LiuSeeLiu.
Please note this program contains strobing effects
*TUESDAY, NOVEMBER 15, 2022* Venue type: *Live, physical event*
Anthology Film Archives
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8:45pm ET,
32 Second Avenue, New York
*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)
“*FILM PORTRAIT* is an autobiography in the sense that it deals explicitly
with Jerome’s most personal life’s relationship to film. It draws on film
clips taken in his childhood and his whole childhood involvement in art and
life. It comes closest to any kind of filmic answer to Proust. […] *FILM
PORTRAIT* is, I believe, the only direct autobiography we have in film.
There is Jonas Mekas’s WALDEN, which is diary but not autobiography in a
strict sense. We have Cocteau’s *BLOOD OF A POET*, *ORPHEUS*, and *TESTAMENT
OF ORPHEUS*. One could say that this last is autobiographical, but it is
also allusive and poetic; whereas Jerome’s *FILM PORTRAIT* is a very
straight attempt to present autobiography on film. Of course, subsequently,
James Broughton’s *TESTAMENT* and my own *SINCERITY & DUPLICITY* series of
autobiographical films were very much inspired by Jerome’s *FILM PORTRAIT* as
well as by Jonas’s *WALDEN*. […] Jerome Hill’s films are great because they
are poised on wit and achieve a balance – a gentle, intentional,
particularly American balance.” –Stan Brakhage, FILM AT WIT’S END
Total running time: ca. 90 min.
*___________________________________________________________________*
Venue type: *Live, physical event*
*aCinema*
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7pm CT, Milwaukee Institute of Art & Design, 273 E Erie St, Milwaukee, WI
*aCinema: Notes for a Future Ecology*
This screening is being held at MIAD in conjunction with the current
exhibition *THEN AS NOW: Woodland Pattern 1980 - 2022* which celebrates the
COVID-delayed 40 year anniversary of our host venue Woodland Pattern Book
Center
*Reverie At Noon* | 03:13 | Melina Kiyomi Coumas
*The Decameron I* | 03:09 | Kim Kielhofner
*The Well-Prepared Citizen’s Solution* | 04:45 | Lydia Moyer
*Inner Smoke* | 11:39 | Kim-Sanh Châu (in collaboration with Ray Lavers)
*Call Me Back* | 02:38 | Melina Kiyomi Coumas
*What’s Best (part 2)* | 03:15 | Lydia Moyer
*MIDLAND* | 06:59 | Kim-Sanh Châu
*The Coldest Day Of The Year* | 08:46 | Kim Kielhofner
We will have screening artists Kim Kielhofner (in-person) and Kim-Sanh Châu
+ Lydia Moyer (virtual via Zoom) available for a Q&A following the program!
*WEDNESDAY, NOVEMBER 16, 2022* Venue type: *Live, physical event*
Academy Museum
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7:30pm PT,
Academy Museum, 6067 Wilshire Boulevard, Los Angeles, CA 90036
*J.P. Sniadecki: Two Films, A Decade Apart…*
In person: J.P. Sniadecki
A thinker, anthropologist, and filmmaker, J.P. Sniadecki works between the
US and China, producing an incredible array of films that explore
collective experience and the possibilities of cinema in the scope of
sensory ethnography and observational filmmaking. In his films, Sniadecki
employs cinematic techniques and an engaging narrative approach to help
create idiosyncratic spaces between the filmmaker(s), subject, and
audience, in which radically inquisitive and responsive senses and
sympathetic sensibilities are allowed.
Land, sky, and Sundog—a recluse who lives in the Sonora Desert and the
central character compositions of *A Shape of Things to Come*
(2020)—together construct a type of rhythmic pattern that humanely reminds
the audience of the bleak truth about our fragile biological and
intellectual capacities. In this collaboration co-directed with Lisa Marie
Malloy, Sniadecki focuses an intimate lens on Sundog’s everyday life and
his unpredictable characteristics, which are constantly recreated by the
filmmakers and Sundog himself. In the Sonoran Desert, the idea of a harmony
of nature is ironically challenged by the contradictions developed by a
human being and traces of civilization—Sundog's resentment toward
mainstream society, which harms and terrorizes the environment, brings him
to this desolate nature, but his off-the-grid everyday life somewhat
resembles the societal structure he dismisses. In this fascinating work,
the complexities of undefinable relationships between humans and their
surroundings (whether conventional society or vast nature) are candidly
explored, showcasing poetic compositions of cinematography and soundscape.
Following *A Shape of Things to Come* is *Foreign Parts*, Sniadecki’s 2010
collaboration feature with Verena Paravel. The film starts with a loud
mechanical noise over the title text, followed by shots of a blue Chevrolet
van being mercilessly dismantled by a mechanic from Willets Point, Queens
(aka the Iron Triangle), where a community of auto body shops, salvage
junkyards, and a small mom-and-pop bar/restaurant are run harmoniously
along with residents who live on and/or off the neighborhood streets.
Despite the significantly urgent matter (the city’s
redevelopment/gentrification plan) hanging above their heads, the members
of the Iron Triangle community steadily and zealously live their lives,
fulfilling their daily functions and responsibilities. The sympathetic gaze
of the camera and the filmmakers is modest and subjectively fair,
portraying the stories of all characters encountered, including non-living
ones such as car scraps, mud, and rain.
Programmed and notes by Hyesung ii
*A Shape of Things to Come*, DIRECTORS: J.P. Sniadecki, Lisa Marie Malloy.
2020. 77 min. USA. Color. English. DCP.
*Foreign Parts*, DIRECTORS: J.P. Sniadecki, Verena Paravel. 2010. 80 min.
USA/France. Color. English, Spanish, Hebrew. DCP.
Academy Museum film programming generously funded by the Richard Roth
Foundation.
*___________________________________________________________________*
Venue type: *Live, physical event*
Anthology Film Archives
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7:30pm ET,
32 Second Avenue, New York
*MILLENNIUM FILM JOURNAL NO. 76*
Celebrating the publication of Millennium Film Journal No. 76, this program
consists of six recent experimental media works from around the world. The
subjects cover a wide range: from the ambiguity of gesture in the time of
Covid (Eva Giolo, Belgium); the hurricane-battered East coast of India
(Paribartana Mohanty, India); and a discussion between a mother and her
filmmaker son about the almost-lost Pechanga language of the Luiseño
Indians (Sky Hopinka, USA); to a layered animation produced as spiritual
practice (Alisi Telengut, Canada/Mongolia). The program also includes
fascinating works by Vika Kirchenbauer (Germany) and Chiara Caterina
(Italy).
Programmed by Grahame Weinbren and Jonathan Ellis.
Chiara Caterina *L’INCANTO [ENCHANTMENT]* Italy, 2021, 20 min, digital
Eva Giolo *FLOWERS BLOOMING IN OUR THROATS* Belgium, 2020, 8 min,
16mm-to-digital
Sky Hopinka *KICKING THE CLOUDS* U.S., 2021, 15 min, 16mm-to-digital
Vika Kirchenbauer *THE CAPACITY FOR ADEQUATE ANGER* Germany, 2021, 15 min,
digital
Paribartana Mohanty *RICE HUNGER SORROW* 2021, 20.5 min, single channel
video. Commissioned by VH AWARD of Hyundai Motor Group.
Alisi Telengut *FOURFOLD* Canada/Mongolia, 2020, 7 min, digital
Total running time: ca. 90 min.
*FRIDAY, NOVEMBER 18, 2022* Venue type: *Live, physical event*
Pittsburgh Sound + Image
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8PM EST,
Eberle Studios, 229 E. 9th Ave, Homestead, PA 15120
*Films by Chick Strand on 16mm*
Pittsburgh Sound + Image is excited to partner with scholar, author, and
archivist Adam Hart to co-curate a show we've all dreamed of for years: an
evening of films by Chick Strand! Strand is a legend, known for
co-founding landmark of the avant-garde film world, Canyon Cinema, and then
going on to herself create many movies. In the process, she refined her own
radical melding of avant-garde and documentary film forms. Yet her work
has largely remained unavailable outside of the occasional 16mm
presentation. Those few that circulate online are mostly poor quality
digital transfers.
Join us for these Strand films, in sensuous 16mm, just as they were meant
to be experienced:
*Waterfall Cosas de mi Vida Cartoon le Mousse Kristallnacht Anselmo
and the Women*
Doors open at 7:30, the films dance at 8.
BYOB
*___________________________________________________________________*
Venue type: *Live, physical event*
No Name Cinema
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7pm MST,
No Name Cinema, 2013 Pinon Street, Santa Fe
*FILM DIARY NYC 2.0*
Festival selections of experimental non-fiction films that capture the
personal history and daily experiences of the filmmaker and the world they
encounter. A showcase highlighting the most heartfelt but most overlooked
cinema: diary films, home movies, and personal documentary.
Films by Sonnie Wooden, Grant Conversano, Pegah Pasalar, Devon
Narine-Singh, Jason Younkman, RS Magtaan, Ilina Bhatia, Peixuan Ouyang, Ji
Stribling, Grace E Mitchell, Hunter Blu, Jard Lerebours.
*___________________________________________________________________*
*November 18 - 20*
Venue type: *Live, physical event*
Camera Obscura
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times variable,
Hotel Petaluma [205 Kentucky Street, Petaluma, CA]
*Eighth Annual Report*
The reconvened Camera Obscura Film Society, under the coordinated
co-direction of Amanda Salazar and Jonathan Marlow, will present its Eighth
Annual Report from 18- to 20-November in its long-anticipated return to
Petaluma, California (roughly forty-five minutes north of San Francisco)!
Over the course of this extraordinary weekend, "unusual, antique and
experimental" films will be presented at a pop-up cinema constructed inside
the grand ballroom of the one-hundred-year-old Hotel Petaluma. Selections
of longer-works-paired-with-shorter-works will be screened along with
filmmaker Q&As and related events at the venue (and a handful of assorted
nearby locations in downtown Petaluma).
The original Camera Obscura Film Society was founded in 1957 by Lawrence
Jordan and Bruce Conner (along with Roger Ferragallo, Willy [Wilma] Werby,
Ben Payne and a handful of others) in the years following the closing of
Frank Stauffacher's legendary "Art in Cinema" series at SFMOMA. COFS'
eclectic programs continued at occasional intervals until the organization
ceased to exist in 1962 (although research by Steve Seid suggests that it
largely folded after Conner and Jordan disappeared in late-1958 to open the
Movie, a cinema in North Beach dedicated to underground film). With
CO-VIII-AR, the reconstituted Camera Obscura has existed for a handful of
years longer than its original incarnation!
EXPANDING CO-Independence: Annual Reports are occasionally accompanied by
Quarterly Reports around the world and supplemental Monthly Reports in
Petaluma and surrounding areas.
In the intervening period, Camera Obscura has featured works by its
illustrious original founders and over one-hundred-twenty other remarkable
filmmakers. As in prior Reports, the precise program of film screenings and
events of CO-VIII-AR will only be announced in the days prior to opening
night.
*SATURDAY, NOVEMBER 19, 2022* Venue type: *Live, physical event*
Other Cinema
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8pm PT,
ATA Gallery, 992 Valencia (@ 21st), San Francisco, CA
*ARCHIVE FEVER2*
PRELINGER's HOME MOVIES + BEST OF FOUND FOOTAGE FEST
Prelinger present! Yes, walking amongst us is thee planet's most visionary
polymath facilitating Public Memory, and tonight he brings us a pair of
revelatory programs of amateur films originally curated for the
esteemed Art Gallery of Ontario. One is the broader *Panorama*, a half-hour
“montage” of clips from personal, small-gauge cameras, surveying everyday
life in the last half of the 20th Century. His other “special collection”
is a super-rare cache of 8mm material from an African-American scene-maker
in the River Rouge (Detroit) area from the dynamic '63-'67 period,
including dances, street views, and historic anti-racism protests.
After Rick's home-movie hour, we return for a 40-min. *focus* on archival
production in the Art World, drawing from the fantastic *Found Footage *boxset
recently published by the eponymous Spanish collective...their marvelous
catalog boasting exquisite digital versions of essential pieces from the
last 60 years. Five of their 16 selections will sparkle again on our big
screen---landmark works from Jeff Keen, Cécile Fontaine, Thomas
Draschan, Jean-Gabriel Périot, and Gianikian/Lucci. Free film cans!
*SUNDAY, NOVEMBER 20, 2022* Venue type: *Live, physical event*
Filmforum
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7:30 pm PT,
2220 W. Beverly Blvd, Los Angeles CA 90057
*Lewis Klahr: Circumstantial Pleasures*
We’re happy to welcome back Lewis Klahr with the long-overdue Los Angeles
premiere of his feature film *Circumstantial Pleasures*!
“Leaving the seductive mid-century imagery that he’s best known for far
behind, *Circumstantial Pleasures* looks at the raw materials of
contemporary life and distills them into a demanding and powerful work of
anxiety, alienation, agitation, and abrasion. The film consists of six
short works (ranging from two to 22 minutes) that convey the experience of
being alive in the 21st century in ways that few other films have…---Chris
Stults, Assistant Curator Film/Video Wexner Center for the Arts.
In person: Lewis Klahr
*___________________________________________________________________*
Venue type: *Live, physical event*
Moviate + Albright College
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3PM EST,
1621 N. 13th St, Reading, PA
*Gary Adlestein Memorial Film Screening*
A special screening of films by Gary Adlestein, who passed away in June.
This special memorial will be held in Klein Hall, where many Berks
Filmmakers screenings occurred since the early 90's. A curated program of
his Super-8, 16mm, and video pieces will be screened at 3pm on Sunday
November 20th. Klein Hall is located in the Center for the Arts at Albright
College in Reading, Pennsylvania.
*___________________________________________________________________*
Venue type: *Virtual, online event*
GearWax
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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 PT!
*ONGOING*
Venue type: *Virtual, online event*
*Riverwest Radio*
https://www.riverwestradio.com/show/the-long-conversation/
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streaming 24/7
*THE LONG CONVERSATION*
THE LONG CONVERSATION with Xav Leplae and Stephanie Barber is on indefinite
hold. But... all episodes from the last year and a half are streaming!!!
*___________________________________________________________________*
Venue type: *Virtual, online event*
*6x6 Project*
https://6x6project.com/
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streaming 24/7
*Artists' Moving Image Works*
6x6 project is an online artists' community that serves as a platform for
disseminating artists' moving image works, and to create
an ever-growing network among peers.
There are now more than four hundred artists’ film and moving image works
available to view on the website.
------------------------------
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