[Frameworks] This Week in Avant Garde Cinema: June 10 - 18, 2023
This Week
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Sun Jun 11 18:56:37 UTC 2023
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*This Week [June 10 - 18, 2023] 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)
06.14.2023 New Orleans Film Festival
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(Extended Deadline)
06.15.2023 Festival of (In)appropriation
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06.15.2023 Revolutions Per Minute Festival
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(Extended Deadline)
06.21.2023 Istanbul International Experimental Film Festival
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(8th Deadline)
06.23.2023 Edinburgh Short Film Festival
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(Late Deadline)
06.30.2023 WNDX Festival of Moving Image
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06.30.2023 ANALOGICA
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(Extended Deadline)
06.30.2023 Celluloid Now
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06.30.2023 Antimatter [media art]
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(Regular Deadline)
06.30.2023 Ji.hlava International Documentary Film Festival
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(rough cuts + pre world premiere)
06.30.2023 ULTRAcinema
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(Regular Deadline)
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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*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]
- Film Poems: Amplifying Mysteries
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[June
10, Los Angeles, CA]
- The Wyvernwood Chronicles: Part 1
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[June
11, Los Angeles, CA]
- The Films of Maya Deren
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[June
14, Chicago, IL]
- Frameworks Monthly Screening: French Avant-Garde
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[June
15, Seoul, South Korea]
- CJC Regular Sessions #5: Spring Awakenings
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[June
15, Paris, France]
- Moving or Being Moved: Short Films By Sabine Gruffat And Bill Brown
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[June
16, Santa Fe, NM]
- EC: Hollis Frampton
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[June
18, New York, NY]
- EC: Franju / Genet
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[June
18, New York, NY]
- Maya Deren: Choreographed For Camera
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[June
18, San Francisco, CA]
- The Long Conversation
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[ongoing, online]
- 6x6 Project: Artists' Moving Image Works
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[ongoing,
online]
*STARTING BEFORE JUNE 10, 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.
*SATURDAY, JUNE 10, 2023* Venue type: *Live, physical event*
Whammy!
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7:30pm PT,
Whammy!, 2514 Sunset Blvd. Los Angeles, CA (Entrance in rear off Rampart!)
*Film Poems: Amplifying Mysteries*
A momentary poem made from inner objects, a dream crawling out of a house
deep in the forest, and countless insect lights coming up from the ground,
this program floats and sinks in luminous mysteries. These mysteries will
only be revealed quietly when a beam of light from the projector hits the
screen in the dark. A film, a poem, a writer, a secret. (c.h.l.)
These pieces hold a certain enigmatic quality, captivating us with abstract
imagery that shimmers with seductive glamor. Their opaque and ambiguous
nature prompts us to contemplate the meaning behind their intricacies.
(S.Y.)
Poetry Reading:
*collaged sonnets* by Julia Sáenz Lorduy
Screening:
*A Throwing Forth* Xiao Zhang (2023, 6:04, Color, Sound, 16mm > digital)
*let me tell you a secret* Yanbin Zhao (2023, 4:31, B/W, Sound, 16mm >
digital)
*Rosha* Sujin Lee ( 2022, 04:27, B/W, Silent, 16mm > digital)
*and so it came about (A Tale of Consequential Dormancy)* Charlotte Pryce
(2023, 13:00, Color, Sound, 16mm, S8mm, magic lantern slides > digital)
*La Notte Salva (The Saved Night)* Giuseppe Boccassini (2019, 11:53,
Color-B/W, Sound, Found footage and 16mm > Mini DV)
*echoed silence* Jangwook Lee (1998, 8:00, Color, Silent,16mm > digital)
*With The Tide, with the tide* Anna Kipervaser (2022, 3:00, Color, Sound,
16mm)
digital and film projection, runtime 65 min, curated by Cherlyn Hsing-Hsin
Liu & Seokyoung Yang, poster design by Jaemin Lee
*SUNDAY, JUNE 11, 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
*The Wyvernwood Chronicles: Part 1*
Filmforum welcomes local filmmaker Diego Robles with two of the films he
has made with the residents of the Wyvernwood Garden Apartment Complex in
East Los Angeles. The Wyvernwood Chronicles is a series of short films and
one feature-length film that engage in provoking both agency and patience.
The films center around a group of residents and community homes located
just east of the Los Angeles River, in Boyle Heights between the years
2007-2015, where many attempts by the city to displace the residents were
challenged by its residents.
*If We Are Wyvernwood* (2011, color, sound, 7:31) acts as a plea to those
outside of the community to save their neighborhood, *Wyvernwood: The
Garden City* (2019, color, sound 69:45) acts as a self-contained reflection
on passing time with a living community in their everyday lives, blossoming
into a profound rumination about what it means to participate in and be
part of a community. Robles quietly but firmly asks the viewer if they can
“show up” to the discomfort of the colloquial, creating a portal into the
very real experiences of people in Los Angeles living outside of the
culture of individualism.
This is the first screening in a two-part series of films about Wyvernwood.
The second screening will feature a collection of shorts from Diego and
other collaborators, with a focus on members within the Wyvernwood
Community.
Guests: Diego Robles, Filmmaker and Roberto Mojica, Resident of Wyvernwood
and member of Comité de la Esperanza
This program is supported by the Los Angeles County Board of Supervisors
through the Los Angeles County Arts Commission, the Department of Cultural
Affairs, City of Los Angeles, and the Mike Kelley Foundation for the Arts.
We also depend on our members, ticket buyers, and individual donors.
*WEDNESDAY, JUNE 14, 2023* Venue type: *Live, physical event*
Chicago Film Society
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8:30 PM CST,
Comfort Station - 2579 N Milwaukee Av, Chicago, IL
*The Films of Maya Deren*
1943 – 1959
Born in Kyiv to a prosperous Jewish family in the same year as the Russian
Revolution, Maya Deren would study dance, Symbolist poetry, and voudou,
fusing these disparate interests into a new template of personal
filmmaking. After buying a used 16mm Bolex camera with inheritance
proceeds, Deren and her husband Alexander Hammid created *Meshes of the
Afternoon*, a spooky, small-gauge reverie that teased and tarnished the
contours of Hollywood’s ‘women’s pictures,’ in their Laurel Canyon bungalow
for $250. Now established as a canonical clarion of avant-garde film,
*Meshes* was scarcely seen when new because there was no distribution or
exhibition network for such a film—a literal “home movie” of infinite
interior depths. Deren, who spent her college years as a Socialist agitator
and activist, quickly began organizing: renting out theaters, posting
flyers, promoting the hell out of herself and her new art form, and
lecturing at any college or gallery that would allow her to set up a
projector. Although Deren’s entire cinematic output could be viewed
(twice!) in the time it takes to watch a modern comic book movie or an
Alejandro González Ińárritu ego trip, her legacy as a boundless artist,
bohemian entrepreneur, and instinctive scene-maker remains unsurpassed.
Nowadays Deren’s films are most often encountered in the staid confines of
a film studies class, but we’re showing these witchy landmarks where they
belong: under the stars in 16mm, the very eye of night.
*Meshes of the Afternoon* (1943, 14 min)
*At Land* (1944, 15 min)
*A Study in Choreography for the Camera *(1945, 3 min)
*Ritual in Transfigured Time* (1946, 15 min)
*The Private Life of a Cat* (1946, 22 min, preserved by Anthology Film
Archives)
*The Very Eye of Night *(1959, 15 min)
*THURSDAY, JUNE 15, 2023* Venue type: *Live, physical event*
Seoul Art Cinema
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7:30pm (Korea),
Seoul Art Cinema, 22-7 Jeong-dong, Jung-gu, Seoul, South Korea
*Frameworks monthly screening: French avant-garde*
Adolpho Arrietta: *Pointilly*, 1972, 39'
Adolpho Arrietta: *Flammes*, 1978, 82'
The final cut of *Pointilly*, a strange but magnificent film which was
praised by Marguerite Duras back in 1972, featuring Françoise Lebrun in her
first role, briefly before her breakthrough with Jean Eustache’s *The
Mother and the Whore*.
“Chaotic, underground, fleeing the standards of commercial cinema, the
centerpiece of Arrietta’s lifework is a film of a more classical nature
than his others, *Flammes*, and it is also his masterpiece. *Flammes *occupies
a place in his work comparable to *Chelsea Girls *for Andy Warhol: they
would have been crown jewels in the history of classical cinema if only the
names of their creators were not so radically associated with the fringe
movements.” -Isabelle Regnier, *Le Monde*
*___________________________________________________________________*
Venue type: *Live, physical event*
Collectif Jeune Cinema
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8pm GMT+2,
Cinema Le Grand Action, 5, rue des Ecoles, 75005, Paris, France
*CJC REGULAR SESSIONS #5: SPRING AWAKENINGS*
The screening will be followed by a discussion with Camille Simon Baudry.
Notwithstanding those allergic to pollen, the arrival of spring is a sign
of renewal that it was time to welcome into our regular sessions. For the
last session before summer, let's celebrate spring with pride and beauty!
For sunny days, we turn to nature, at the center of this program.
Blossoming buds and bucolic rivers are the scene of sensory, sensual,
sexual awakenings and political upheavals that revive in our memories the
memory of a springtime struggle. With poetry and delicacy, or assertive
irreverence, these films each explore a different direction on the queer
spectrum. It's going to be hot !
*PRIMAVERA* Adrian Garcia Gomez, USA, 2020, Digital, 5'
A frenetic experimental animation that documents the pandemic and the Black
Lives Matter protests that intersect in the springtime in Brooklyn. Shot in
isolation on a phone, the video explores the effects of enforced distancing
on touch and intimacy, the proximity of an invisible virus and invisible
deaths, and the revolt against racist and corrupt systems that commodify,
exploit and make their most vulnerable citizens disposable. The video also
draws a parallel between the current uprisings and the gay liberation
movement, which began with a riot in Stonewall and was led largely by
transgender people of color who still experience violence at
disproportionate rates.
*CRYSTAL BREATHING* Camille Simon Baudry, France, 2021, Digital, 33'
As the summers pass and a moist climate continues to grow on the banks of
the Oise, a living organism develops a special relationship with the water,
rocks and other living things that surround it.
*MIKVEH* Adrian Garcia Gomez, USA, 2016, Digital, 5'
In this reinterpretation of the mikveh - a purifying ritual bath practiced
by Jewish brides about to marry - the immersions of the filmmaker and her
husband are disrupted by a government that refuses to recognize their
marriage. While the couple must, time and time again, prove that their
relationship exists legally, the mikvah they share helps them overcome
cutthroat bureaucracies and get back to what really matters.
*ECOSEXUAL* Antonio Da Silva, Portugal, 2015, Digital, 12'
*WARNING Not recommended for children under 18*
A poetic monologue that takes place on the Portuguese Atlantic coast. The
male body is both an erotic object and a thinking and feeling subject.
Through the senses of taste, touch, smell and sight, the protagonist loses
himself in a communion with the natural world.
*THERE'S NO SIN TO THE SOUTH OF ECUADOR* Igor Furtado, Brazil, 2017,
Digital, 6'
Two Christians meet during the Círio de Nazaré festivities in Belém do
Pará, the largest Catholic procession in Latin America.
*KNIFE PLAY (FOR TWO ANGELS)* a. laurel lawrence, Canada, 2022, 16 mm
digitized, 12'
as the blood falls, I wonder to whom it belongs;
is it mine, as it oozes out of my body,
or yours, as you did with that knife,
you took it from me?
a film in two acts
*FRIDAY, JUNE 16, 2023* Venue type: *Live, physical event*
No Name Cinema
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7pm MST,
No Name Cinema, 2013 Pinon Street, Santa Fe, NM
*Moving or Being Moved: short films by Sabine Gruffat and Bill Brown*
*filmmakers in attendance *presented on 16mm film *post screening Q&A*
The dynamic artist-filmmaker duo of Gruffat and Brown have been making
experimental films, documentaries and essay films, and performing live
electronic improvisation, for over two decades. Sabine Gruffat explores
different methods to generate content and images, from laser
cutting/etching on 35mm film strips to 3D animation. Bill Brown is known
for his nomadic filmmaking and for transporting us to various destinations.
The program, *Moving or Being Moved*, features seven short and
medium-length films and videos created 1994-2020, including Brown's classic
short *Roswell* presented on 16mm film!
*SUNDAY, JUNE 18, 2023* Venue type: *Live, physical event*
Anthology Film Archives
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5pm ET,
32 Second Avenue, New York, NY
*EC: HOLLIS FRAMPTON*
*ZORNS LEMMA* (1970, 60 min, 16mm. Preserved by Anthology Film Archives.)
“A major poetic work. Created and put together by a very clear eye-head,
this original and complex abstract work moves beyond the letters of the
alphabet, beyond words and beyond Freud. If you don’t understand it the
first time you see it, don’t despair, see it again! When you finally ‘get
it,’ a small light, possibly a candle, will light itself inside your
forehead.” –Ernie Gehr
*HAPAX LEGOMENA I: (nostalgia)* (1971, 36 min, 16mm. Preserved by Anthology
Film Archives, MoMA, and the NYU Moving Image Archiving and Preservation
Program, with funding from the National Film Preservation Foundation.)
“In *(nostalgia)* the time it takes for a photograph to burn (and thus
confirm its two-dimensionality) becomes the clock within the film, while
Frampton plays the critic, asynchronously glossing, explicating, narrating,
mythologizing his earlier art, and his earlier life, as he commits them
both to the fire of a labyrinthine structure; for Borges too was one of his
earlier masters, and he grins behind the facades of logic, mathematics, and
physical demonstrations which are the formal metaphors for most of
Frampton’s films.” –P. Adams Sitney
Total running time: ca. 100 min
*___________________________________________________________________*
Venue type: *Live, physical event*
Anthology Film Archives
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7:30pm ET,
32 Second Avenue, New York, NY
*EC: FRANJU / GENET*
Georges Franju *BLOOD OF THE BEASTS / LE SANG DES BÊTES* 1949, 20 min,
16mm. 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. Brand-new 35mm
print by Anthology!
“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*
San Francisco Cinematheque
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7:30pm PT,
GRAY AREA / GRAND THEATER, 2665 Mission Street, San Francisco, CA
*Maya Deren: Choreographed for Camera*
Deren Biographer Mark Alice Durant in person. On the occasion of the
publication of *Maya Deren: Choreographed for Camera* (2022; St. Lucy
Books) San Francisco Cinematheque and Gray Area welcome Deren biographer
Mark Alice Durant who will appear in person to discuss this book and
present three films by Deren: *Meshes of the Afternoon* (1943), *At
Land* (1944)
and *Ritual in Transfigured Time* (1946).
She is sealed behind glass. Her fingertips press lightly on the transparent
surface as if to confirm the barrier between the interior and exterior. The
window is a medium of dueling functions—reflecting and transmitting. She
looks out at the world full of things and people, but is aware of herself
as an image, as the camera sees her. She is appearing in a film she is
making with her husband, Sasha. They call it a “home movie.” (Mark Alice
Durant; from the prologue to *Maya Deren: Choreographed for Camera*)
Ukrainian-born Eleanora Derenkowsky—better known as Maya Deren
(1917–1961)—is one of the most influential figures in American avant-garde
cinema. *Her Meshes of the Afternoon* (1943)—with its circling
semi-narrative and its groundbreaking use of creative cinematography and
dreamlike associative montage—remaining to this day, infinitely new, deeply
inspiring and prescient in its subtly defiant feminism and disdain for
domesticity while works such as *At Land* (1944) and *A Study in
Choreography for Camera* (1945) are enduringly shocking in their use of
creative geography and motion.
Proclaimed by filmmaker Stan Brakhage as “the mother of us all,” Deren was
also a fierce advocate for personal cinema, composing the visionary
theoretical text *An Anagram of Ideas on Art, Form and Film* in 1946 and
presenting underground screenings in New York City which set the model for
today’s network of independent microcinemas and film festivals. With a life
story saturated with mystery, self-mythology, bohemian intrigue and
spiritual questing, Deren’s fascinating tale is told in Mark Alice
Durant’s *Maya
Deren: Choreographed for Camera* (2022) an engrossingly impressionistic
biography of the enigmatic artist, discussing at length her passions for
filmmaking and dance and her deep personal experience with the spirituality
and ritual of Haitian Vodou. This special screening/reading will include
author Mark Alice Durant reading excerpts from the book, with screenings in
16mm of *Meshes of the Afternoon* (1943), *At Land* (1944) and *Ritual in
Transfigured Time* (1946). (Steve Polta)
Drawing from a treasure trove of archival materials, Durant gives a vivid
account of the swath Maya Deren cut through the modernist century. Durant’s
gorgeous writing captures how, in Deren’s hands, cinema is a devotion to
life itself. (Laura U. Marks)
Copies of *Maya Deren: Choreographed for Camera* will be available for
purchase at this screening and are also available in Cinematheque’s online
bookstore.
*ONGOING*
Venue type: *Virtual, online event*
Riverwest Radio
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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
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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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