[Frameworks] This Week in Avant Garde Cinema: July 1 - 9, 2023
This Week
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*This Week [July 1 - 9, 2023] in Avant Garde Cinema*
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*sorted by submission deadline*
Ongoing Films for Ukrainian Border Crossings
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(No Dialogue + PG)
07.01.2023 Small File Media Festival
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07.07.2023 Buffalo Int’l Film Festival
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(Extended Deadline)
07.10.2023 Affective Intermediality International Conference
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07.15.2023 Istanbul International Experimental Film Festival
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(8th Deadline)
07.15.2023 Strangloscope Experimental International Film Festival
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(Late Deadline)
07.31.2023 ULTRAcinema
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(Extended Deadline)
09.01.2023 Cauldron International Film and Video Festival
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(Early Deadline)
09.03.2023 PRISME #6
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09.06.2023 Punto de Vista
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*EVENTS*
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*complicated sorting but a true attempt, enjoy!*
This week's programs (summary):
- Refresh
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[March
2022 - Spring 2023, Denver, CO]
- Inheritance
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[June
22, 2023-Feb 2024, New York, NY]
- A Dweller On Two Planets: Ayoung Kim, Yin-Ju Chen, Sow Yee Au, Su Yu
Hsin
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[Jun29-Jul29,
New York, NY]
- John Torres: Poet of Philippine Cinema
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[July
2, Los Angeles, CA]
- EC: George & Mike Kuchar
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[July
5, New York, NY]
- EC: George Landow, AKA Owen Land
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[July
5, New York, NY]
- EC: Léger & Murphy / Picabia & Clair / Man Ray & Duchamp
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[July
7, New York, NY]
- EC: Reminiscences of A Journey To Lithuania
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[July
7, New York, NY]
- Short Films For Short Nights
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[July
7-9, New York, NY]
- EC: Walden (Diaries, Notes, And Sketches)
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[July
8, New York, NY]
- EC: Christopher Maclaine
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[July
8, New York, NY]
- EC: Georges Méliès, Program 1+2
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[July
9, New York, NY]
- The Long Conversation
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[ongoing, online]
- 6x6 Project: Artists' Moving Image Works
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[ongoing,
online]
*STARTING BEFORE JULY 1, 2023*
*March 2022 - Spring 2023*
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.
*___________________________________________________________________*
*June 22, 2023 - February 2024*
Venue type: *Live, physical event*
Whitney Museum of American Art
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99 Gansevoort St, New York, NY
*Inheritance*
Inheritance traces the profound impacts of legacy and the past across
familial, historical, and aesthetic lines. Featuring new acquisitions and
rarely-seen works from the Whitney collection by forty-three leading
artists, the exhibition includes paintings, sculptures, videos,
photographs, and time-based media installations from the 1970s to today.
This diverse array of works consider what has been passed on and how it may
shift, change, or live again.
Drawing inspiration from Ephraim Asili’s 2020 film of the same title,
Inheritance reflects on multiple meanings of the word, whether celebratory
or painful, from one era, person, or idea to the next. The exhibition takes
a layered approach to storytelling by interweaving narrative with
documentary and personal experiences with historical and generational
events. A group of works examining the cycle from birth to death opens the
exhibition, while other galleries take up different kinds of lineages, such
as how artists borrow from and remake art history or unspool legacies of
racialized violence and their recurrences.
The poet Rio Cortez speaks of being “framed by our future knowing”—even as
we sit in this moment, we slide backward and forward in time, between our
foremothers and the descendants we will never know. Rather than passively
accepting our current state, the artists whose work is on view here ask:
How did we get here, as individuals and as a society, and where are we
going?
Artists featured in this exhibition include Ephraim Asili, Sadie Barnette,
Kevin Beasley, Diedrick Brackens, Beverly Buchanan, Widline Cadet, Andrea
Carlson, Jonathan Lyndon Chase, Ralston Crawford, Mary Beth Edelson, John
Edmonds, Kevin Jerome Everson, Chitra Ganesh, Todd Gray, Wade Guyton, David
Hartt, Emily Jacir, Wakeah Jhane, Mary Kelly, Deana Lawson, An-My Lê,
Maggie Lee, Sherrie Levine, Dindga McCannon, Ana Mendieta, Thaddeus Mosley,
Lorraine O’Grady, Kambui Olujimi, John Outterbridge, Pat Phillips, Faith
Ringgold, Sophie Rivera, Carissa Rodriguez, Cameron Rowland, Sturtevant,
Hank Willis Thomas, Clarissa Tossin, Kara Walker, Joan Wallace, Carrie Mae
Weems, WangShui, and Bruce and Norman Yonemoto.
This exhibition is organized by Rujeko Hockley, Arnhold Associate Curator
at the Whitney Museum of American Art.
*___________________________________________________________________*
*June 29 - July 29*
Venue type: *Live, physical event*
Microscope Gallery
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12:00-6:00pm ET,
525 W 29th St, 2nd floor, New York, NY, 10001
*A Dweller on Two Planets: Ayoung Kim, Yin-Ju Chen, Sow Yee Au, Su Yu Hsin*
Microscope is very pleased to present this group exhibition curated by
Alice, Nien-pu Ko featuring new and recent works in single- and
multi-channel video and video installation by four East Asian and Southeast
Asian woman artists: Ayoung Kim, Yin-Ju Chen, Sow Yee Au, and Su Yu Hsin.
>From Alice, Nien-pu Ko:
Inspired by the early science fiction novel, '*A Dweller on Two Planets*,'
by Frederick Spencer Olive, this exhibition suggests some possibilities for
cultural engagement today. This story of time-traveling consciousness,
revealed by an Eastern spirit, depicts imaginary submerged ancient
civilizations that have developed futuristic technology and scientific
discoveries, including holograph-like art works and interplanetary
cohabitation. This fictional story discloses a vision of human existence in
the future, where the co-existence between East and West extends into outer
space. Taking these speculations as a starting point, this exhibition links
four media artists based in Asia. Together, their recent works explore
cultural interference, remixing historical events and colonial legacy in
order to develop an alternative narrative that suggests a mode of planetary
thinking with regards to immigration, futurism, and nature.
*SUNDAY, JULY 2, 2023* Venue type: *Live, physical event*
Los Angeles Filmforum
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7:30 PM PST,
2220 Arts & Archives - 2220 Beverly Blvd, Los Angeles, CA 90057
*John Torres: Poet of Philippine Cinema*
Filmforum has commissioned five artists to make new work, generously funded
by the Mike Kelley Foundation for the Arts, and over the next year will be
presenting the premieres of the works, including discussions with the
artists. We are delighted to welcome John Torres from the Philippines for
two public screenings, one at Whammy! Analog on June 30, and one at 2220
Arts on Sunday July 2. The screening at 2220 Arts will include the newly
commissioned film, *Room in a crowd*, a recent short, and a
work-in-progress.
John Torres is an independent filmmaker, musician and writer. He has made
more than a dozen short films and five features. His work fictionalizes and
reworks personal and found documentations of love, family relations, and
memory in relation to current events, hearsays, myth, and folklore. He
teaches at the University of the Philippines and Ateneo de Manila
University and conducts filmmaking workshops and co-organizes artist talks
and screenings in Los Otros, a Manila-based space, film lab, and platform
committed to the intersections of film and art, with a focus on process
over product. A special focus of his works has been shown at the Viennale,
Seoul, Cosquín, and Bangkok.
*We still have to close our eyes *2019, color, sound, 13 mins
Repurposed documentary footage captured from the sets of various Filipino
productions (including the likes of Lav Diaz and Erik Matti) into an eerie,
elliptical sci-fi narrative about human avatars controlled by apps.
*Room in a crowd *2023, digital, color, sound, 45 minutes, World Premiere!
A diaristic exploration of time, loss, and sound that roams during the
pandemic. The sound of a late night car ride saying goodbye to a friend,
recorded as the filmmaker prepares to move to Berlin with his family, forms
the foundation of this personal documentary. From the faint sound of a
daycare Zoom class in Manila to the rhythm of a windshield wiper during
heavy rain to the hypnotic tone of a car engine on idle as the filmmaker
waits for the friend to come in, we are transported to spaces that evoke a
dream-like yet continuing diary of the past tumultuous years. Composed of a
collage of recorded moments across locked-down spaces, it gathers Zoom
recordings with a four-year-old daughter, student video submissions in
production classes through the pandemic, and dashcam footage of an ambushed
newsman, juxtaposed with commercial stock footage to explore how personal
emotions may still resonate in neutral compositions. These were edited only
after the move to Berlin months after. And across this collage, diegetic
and non-diegetic relations between sound and image shift to explore how
distance is felt to evoke memory and longing. Reflections emerge on years
as parent, filmmaker, and a grieving son, always striving to capture time
through these different cycles.
*Half-film *Work-in-progress, 42 mins
Sci-fi version of We still have to close our eyes, where humans in an
island are being used as avatars for a mobile driving app by a mysterious
voice that controls their bodies. The filmmaking process has started, and
the film ends midway as police investigates a road accident involving one
of the remote avatars, taking us on a journey to identify the voice that
controls bodies of several citizens.
*WEDNESDAY, JULY 5, 2023* Venue type: *Live, physical event*
Anthology Film Archives
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7pm ET,
32 Second Avenue, New York, NY
*EC: GEORGE & MIKE KUCHAR*
All films in this program have been preserved by Anthology Film Archives
with support from the National Film Preservation Foundation.
*I WAS A TEENAGE RUMPOT* 1960, 10 min, 8mm-to-16mm
George and Mike here stumbled upon something big: their names were Arline,
Edie, and Harry. A documentary about people like you and me, people with a
zest for life.
*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
*A WOMAN DISTRESSED* 1962, 12 min, 8mm-to-16mm
Pre-dating *SHOCK CORRIDOR*, the Kuchars bring us this tantalizing tale of
the inner workings of a very, very insane asylum.
*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.
[*I WAS A TEENAGE RUMPOT* and *A WOMAN DISTRESSED* are not part of the
Essential Cinema collection, but are included here as a special bonus.]
Total running time: ca. 55 min.
*___________________________________________________________________*
Venue type: *Live, physical event*
Anthology Film Archives
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8:45pm ET,
32 Second Avenue, New York, NY
*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 EDGE LETTERING, SPROCKET HOLES, 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)
*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 Hobson/Lucas Family Foundation.
Total running time: ca. 70 min.
*FRIDAY, JULY 7, 2023* Venue type: *Live, physical event*
Anthology Film Archives
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6:30pm ET,
32 Second Avenue, New York, NY
*EC: LÉGER & MURPHY / PICABIA & CLAIR / MAN RAY & DUCHAMP*
Fernand Léger & Dudley Murphy
*BALLET MÉCANIQUE* (1924, 19 min, 35mm, silent. Preserved by Anthology Film
Archives.)
“The two fundamental works of the graphic cinema from the 1920s made
without animation were Fernand Léger’s *BALLET MÉCANIQUE* and Marcel
Duchamp’s *ANEMIC CINEMA*. By extending a metaphor from several of his
paintings into film, Léger compared a universe of human actions and
everyday objects to the functions of a machine.” –P. Adams Sitney,
VISIONARY FILM
René Clair & Francis Picabia
*ENTR’ACTE* (1924, 22 min, 35mm)
One of the indisputable masterpieces of Dada cinema, *ENTR’ACTE* was
created, as its title suggests, to function as a diversion in between the
two acts of Francis Picabia and Erik Satie’s avant-garde ballet RELÂCHE.
Man Ray
*LE RETOUR À LA RAISON* (1923, 2 min, 16mm, silent)
*ÉTOILE DE MER* (1927, 13 min, 16mm, silent)
*EMAK BAKIA* (1927, 18 min, 35mm, silent)
“All the films I have made have been improvisations. I did not write
scenarios. It was automatic cinema. I worked alone. My intention was to set
in motion the compositions I made in photography. As for the camera, I use
it to capture something I do not want to paint. But I am not interested in
producing ‘beautiful photography’ for the cinema.” –Man Ray, “All the Films
I Have Made” (1965)
Marcel Duchamp & Man Ray
*ANEMIC CINEMA* (1926, 7 min, 35mm, silent)
“Duchamp alternates head-on views of his illusion-producing roto-reliefs
with similarly turned discs of words, elaborate French puns printed
spirally, creating a fluctuation of illusory depth within a very narrow
spectrum (from the slightly convex or slightly concave illusions) to the
flat readings. In this, his only film, Duchamp typically crystallized the
significance of the graphic film.” –P. Adams Sitney, VISIONARY FILM
Total running time: ca. 85 min.
*___________________________________________________________________*
Venue type: *Live, physical event*
Anthology Film Archives
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8:45pm ET,
32 Second Avenue, New York, NY
*EC: REMINISCENCES OF A JOURNEY TO LITHUANIA*
by Jonas Mekas
1971-72, 82 min, 16mm-to-35mm
Preserved by Anthology Film Archives with support from The Film Foundation.
Special thanks to Cineric, Inc., and Trackwise.
“The film consists of four parts. The first part contains some footage from
my first years in America, 1949-52. The second part was shot in August 1971
in Lithuania. The third part is in Elmshorn, near Hamburg, where I spent
eight months in a forced labor camp. The fourth part is in Vienna (1971)
with Peter Kubelka, [Hermann] Nitsch, Annette Michelson, Ken Jacobs, etc.
The film deals with home, memory, and culture.” –Jonas Mekas
*___________________________________________________________________*
*July 7 - 9*
Venue type: *Live, physical event*
The Metropolitan Museum of Art
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see below for times,
1000 5th Ave, New York, NY
*Short films for Short nights*
A program of film screenings with live music to accompany silent films.
*Sunlight filtered through trees into abstract patterns ... A mechanical
man sputtering to life ... The rumble of a subway train ...*
With the advent of cinema came new ways of experiencing and representing
modern life. Join The Met’s Leonard A. Lauder Research Center for Modern
Art for a three-part film series featuring dozens of short films made
between 1896 and 1959 that collectively explore themes of modernity through
cinema and film technologies.
--- Program One: Perceptions Friday, July 7, 2023, 7 pm ET ---
Live music by Brandon Lopez
Opening remarks from actor, producer, and director Paul Dano and actor,
producer, and writer Zoe Kazan. Modern artists harnessed new ideas about
optical perception, agitating the picture plane and upending conventional
forms of representation. Cinema technology also brought new ways of seeing:
Two-dimensional drawings sprang to life through early animations,
three-dimensional and stereoscopic films allowed viewers to experience
moving images in "natural vision," and manipulations of the camera lens
tricked the eyes.
*L'arrivée d'un train en gare de La Ciotat *(1896), Auguste and Louis
Lumiére, black and white, silent, 1 min., 30 sec.
*Koko's Earth Control *(1928), Fleischer Bros., silent, 6 min.
*Fantasmagorie* (1908), Emile Cohl, black and white, silent, 2 min.
*The Infernal Cauldron* (1903), Georges Méliès, color, silent, 2 min.
*Around Is Around* (1951), Norman McLaren, color, sound, 10 min.
*Étude cinégraphique sur une arabesque* (1929), Germaine Dulac, black and
white, silent, 7 min.
*Color Rhapsodie* (1948), Mary Ellen Bute, sound, 6 min.
*Brumes d'automne* (1928), Dimitri Kirsanoff, black and white, original
soundtrack by Paul Devred, 12 min.
*Séance* (1959), Jordan Belson, sound, 3 min.
*Rain* (1929), Mannus Franken and Joris Ivens, black and white, sound, 15
min.
*The Wonder Ring* (1955), Stan Brakhage, silent, 5 min.
--- Program Two: Bodies Saturday, July 8, 2023, 7 pm ET ---
Live music by Matana Roberts
Just as modern artists reconfigured and reimagined the moving body, cinema
compelled spectators to establish a new relationship with their own bodies
as viewers confronted by a filmic screen and by actors mediated through the
camera lens. Filmmaking techniques like cropping and montage abstracted
human forms, making the familiar strange, while the enhanced vision made
possible by cinema technologies found reflection in the superhuman content
of early films, which often featured bodies supplanted by (or turned into)
robots.
*The Automatic Motorist *(1911), W. R. Booth, black and white, silent, 6
min.
*A Study in Choreography for Camera *(1945), Maya Deren, black and white,
silent, 2 min.
*The Skeleton Dance – Silly Symphonies* (1929), Walt Disney, black and
white, sound, 5 min.
*The Life and Death of 9413: A Hollywood Extra* (1928), Robert Florey and
Slavko Vorkapić, silent, 15 min.
*An Extraordinary Dislocation (*1901), Georges Méliès, black and white,
silent, 2 min.
*Dance Chromatic* (1959), Ed Emshwiller, color, sound, 7 min.
*Filmstudie *(1926), Hans Richter, black and white, silent, 4 min.
*Laughing Gas* (1907), Edwin S. Porter, black and white, silent, 8 min., 30
sec.
*L’opéra-Mouffe* (1958), Agnès Varda, black and white, sound, 17 min.
--- Program Three: Systems Sunday, July 9, 2023, 2 pm ET ---
Live music by Lea Bertucci and Ben Vida
The early twentieth century saw advancements in nearly every aspect of
industrial society, from urban planning and the growth of cities to the
development of telecommunications systems. At the same time, scientific
innovations allowed microcosmic glimpses of the natural world, opening new
ways of apprehending organic life. Such shifts in scale generated both
shock and wonder as modern artists grappled with methods for depicting
rapidly changing structures.
*Inflation* (1928), Hans Richter, black and white, silent, 3 min.
*A Bronx Morning *(1931), Jay Leyda, black and white, silent, 15 min.
*Mechanical Principles* (1930), Ralph Steiner, black and white, silent, 10
min.
*Peas and Cues* (1930), British Instructional Films, black and white,
sound, 9 min.
*To Demonstrate How Spiders Fly *(1909), Percy Smith, black and white,
silent, 1 min.
*N or NW* (1938), Len Lye, black and white, sound, 7 min.
*One Week* (1920), Buster Keaton, black and white, silent, 25 min.
Masks are strongly recommended. Free with Museum admission; advance
registration is recommended. Note: Space is limited; first come, first
served. Running order of films may be subject to change.
*SATURDAY, JULY 8, 2023*
Venue type: *Live, physical event*
Anthology Film Archives
<https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=bea4f5b654&e=857b71a9cb>
4pm ET,
32 Second Avenue, New York, NY
*EC: WALDEN (DIARIES, NOTES, AND SKETCHES)*
by Jonas Mekas
1968-69, 180 min, 16mm
“Since 1950 I have been keeping a film diary. I have been walking around
with my Bolex and reacting to the immediate reality: situations, friends,
New York, seasons of the year. On some days I shot ten frames, on others
ten seconds, still on others ten minutes. Or I shot nothing. When one
writes diaries, it’s a retrospective process: you sit down, you look back
at your day, and you write it all down. To keep a film (camera) diary, is
to react (with your camera) immediately, now, this instant: either you get
it now, or you don’t get it at all.” –Jonas Mekas
*___________________________________________________________________*
Venue type: *Live, physical event*
Anthology Film Archives
<https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=30304b49ea&e=857b71a9cb>
7:45pm ET,
32 Second Avenue, New York, NY
*EC: CHRISTOPHER MACLAINE*
“The few facts that are known about Maclaine are, at best, sketchy. He was
a published poet, a sort of down and out San Francisco bohemian who later
became one of the psychic casualties of that scene. His last years were
spent at Sunnyacres, a state mental hospital in Fairfield, California.
These films, along with Ron Rice’s, are clearly the most significant work
to come out of the beat period.” –J.J. Murphy
All films preserved by Anthology Film Archives.
*THE MAN WHO INVENTED GOLD* (1957, 14 min, 16mm)
*BEAT* (1958, 6 min, 16mm)
*SCOTCH HOP* (1959, 5.5 min, 16mm)
*THE END* (1953, 35 min, 16mm)
Total running time: ca. 65 min.
[*THE MAN WHO INVENTED GOLD*, *BEAT*, and *SCOTCH HOP* are not part of the
Essential Cinema collection, but they are included here as a special bonus.]
*SUNDAY, JULY 9, 2023*
Venue type: *Live, physical event*
Anthology Film Archives
<https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=2945290b6e&e=857b71a9cb>
5pm + 7pm ET,
32 Second Avenue, New York, NY
*EC: GEORGES MÉLIÈS, PROGRAM 1+2*
--- PROGRAM 1 @ 5pm ---
<https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=a122236450&e=857b71a9cb>
All films in this program are b&w and silent.
*THE CONJUROR / L’ILLUSIONISTE FIN DE SIÈCLE* (1899, 1 min, 35mm)
*TRIP TO THE MOON / VOYAGE DANS LA LUNE* (1902, 12 min, 35mm)
*THE PALACE OF THE ARABIAN NIGHTS / LE PALAIS DES MILLE ET UNE NUITS* (1905,
21 min, 35mm)
*MERRY FROLICS OF SATAN / LES QUATRES CENT FARCES DU DIABLE* (1906, 18 min,
35mm)
*DELIRIUM IN A STUDIO / ALI BARBOUYOU ALI BOUF À L’HUILE* (1907, 5 min,
35mm)
Magician, master of special effects, Méliès broke with the realistic
(Lumière) mode of cinema and celebrated unlimited fantasy and artificiality
(in its best sense).
“All early filmmakers were fascinated at first with the camera’s
possibilities for tricks and illusionism. In fact, many were magicians
before becoming filmmakers. But it was Georges Méliès, the French magician,
producer of spectacles, actor, artist, and poet, who had the imagination
and enthusiasm to fully exploit its marvels. His films are spectacles that
amaze and delight. He created fantastic visions – all of them curious, some
of them comic.” –MUSEUM OF MODERN ART
Total running time: ca. 60 min.
--- PROGRAM 2 @ 7pm ---
<https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=bbb01bafcd&e=857b71a9cb>
The films on this program are hand-tinted and silent.
*A DIABOLICAL TENANT / UN LOCATAIRE DIABOLIQUE* (1909, 8 min, 35mm)
*THE CASCADE OF FIRE / LA CASCADE DE FEU* (1904, 3 min, 35mm)
*VOYAGE ACROSS THE IMPOSSIBLE / LE VOYAGE À TRAVERS L’IMPOSSIBLE* (1904, 20
min, 35mm)
*THE HUNCHBACK FAIRY / LA FÉE CARABOSSE* (1906, 13 min, 35mm)
Total running time: ca. 50 min.
*ONGOING*
Venue type: *Virtual, online event*
Riverwest Radio
<https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=6ffcf4b759&e=857b71a9cb>
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://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=3f8035e8ec&e=857b71a9cb>
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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