[Frameworks] This Week in Avant Garde Cinema: May 18 - 26, 2024
This Week
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Sun May 19 12:04:51 CDT 2024
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*This Week [May 18 - 26, 2024] in Avant Garde Cinema*
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*DEADLINES APPROACHING*
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___________________________________________________________________________________
*sorted by submission deadline*
05.19.2024 Braziers International Film Festival
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(Late Deadline)
05.30.2024 Analogica
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(Extended Deadline)
05.30.2024 Cairo Video Festival
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05.31.2024 Laterale Film Festival
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(Seventh Deadline)
05.31.2024 25FPS Festival
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05.31.2024 San Diego Underground Film Festival
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(Early Deadline)
05.31.2024 Interbay Cinema Society (ICS) Lightpress Grants
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06.01.2024 Engauge Experimental Film Festival
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06.01.2024 Chicago Underground Film Festival
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(Extended Deadline)
06.15.2024 RPM Fest - Revolutions Per Minute Festival
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(Extended Deadline)
06.21.2024 Edinburgh Short Film Festival
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(Late Deadline)
06.28.2024 Duluth Superior Film Festival
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(Regular Deadline)
06.30.2024 Thomas Edison Film Festival
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(Early Deadline)
07.14.2024 Cindependent Film Festival – NEW Experimental Section
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(Early Deadline)
*EVENTS*
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*complicated sorting but a true attempt, enjoy!*
This week's programs (summary):
- Atlas Variations: The Moving-Image Work of Charles Atlas
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[May
8-June 27, New York, NY]
- Illuminated Hours: Three Evenings With Nathaniel Dorsky And Jerome
Hiler
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[May
17-19, New York, NY]
- Archive Fever
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[May
18, San Francisco, CA]
- Courtney Stephens
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[May
18, Santa Fe, NM]
- Frequency In Motion
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[May
21, Kowloon, Hong Kong]
- Ross Mclaren
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[May
23-24, New York, NY]
- Séances régulières du CJC #10: Duras, pour toujours!
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[May
23, Paris, France]
- Avant To Live
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[May
25, San Francisco, CA]
- Mono No Aware Community Screening Program
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[May
26, New York, NY]
- Stan Brakhage's Passage Through: A Ritual
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[May
26, 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 SATURDAY, MAY 18, 2024* *May 8 - June 27*
Venue type: *Live, physical event*
Anthology Film Archives
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times vary, see below,
32 Second Avenue, New York, NY
*ATLAS VARIATIONS: THE MOVING-IMAGE WORK OF CHARLES ATLAS*
FILMMAKER IN PERSON! Charles Atlas will be here in person for most if not
all of the screenings!
Anthology is overjoyed to present a major survey – throughout May and June
– of the moving-image work of the one-and-only Charles Atlas. An
exceptionally prolific, protean, and inventive artist, Atlas has
collaborated for the past fifty years with an extraordinary array of
choreographers, dancers, musicians, actors, and performance artists, and
has himself occupied a crucial role at the intersection of the worlds of
art, film, video, performance, dance, and installation. During the course
of his career, he has pioneered the medium of videodance, documented the
nightlife and performance scenes of New York City throughout the past
several decades, and created some of the most inspired works of
installation art in recent memory. Arguably no other single figure has
contributed as substantially to so many of the most advanced and important
currents in American culture since the 1970s, both as a chronicler,
collaborator, and creator.
Atlas’s films and videos have taken so many forms and involved so many
collaborations that his moving-image career can only be conveyed through a
large-scale series. Indeed, even this 10-program survey represents a
partial retrospective: since Anthology focused on Atlas’s seminal
collaborations with Merce Cunningham (with whom he collaborated on numerous
films beginning in 1975) during our Cunningham centennial screenings in
2019, we’ve chosen to focus on Atlas’s other collaborations and solo works
here. Encompassing some of his best-known works (including *THE LEGEND OF
LEIGH BOWERY*, *HAIL THE NEW PURITAN*, *SUPERHONEY*, and so on), as well as
more rarely-screened pieces such as the various *“MARTHA” TAPES*, his early
films *MAYONNAISE*, *#1* (1972) and *NEVADA* (1974), his ad campaign for
Calvin Klein, and his stereoscopic film *TESSERACT 3D* (2017), this survey
demonstrates the embarrassment of riches contained within Atlas’s
dizzyingly inventive and ever-morphing body of work.
“Collaboration is a major aspect of Atlas’s expansive practice. He has
collaborated with important figures from the worlds of dance, art,
performance, music and theater, including Michael Clark, Merce Cunningham,
Leigh Bowery, John Kelly, Marina Abramovic, Anohni, Yvonne Rainer, Fennesz,
New Humans (Mika Tajima and Howie Chen), Karole Armitage and Bill Irwin.
For Atlas, the theatricality of dance and performance is a point of inquiry
into artifice, fiction and reality. After first working in film, Atlas was
a pioneer of videodance, collaborating on performance works created
specifically for the two-dimensional space, intimate scale and temporality
of video. His groundbreaking early works…evolved from a unique
collaboration with Merce Cunningham, for whose dance company he was
filmmaker-in-residence from 1975 to 1983. Since then, Atlas has worked on
numerous international productions for television with choreographers,
artists and musicians. In these extravagantly stylized ‘documentary
fictions,’ Atlas manifests his fascination with what he terms ‘narrative,
psychology, dance and flights of fantasy.’ Typified by a provocative,
postmodern performance sensibility and an ironic urban insouciance, Atlas’s
works transform performances into vivid time capsules of contemporary
culture.” –ELECTRONIC ARTS INTERMIX
Co-organized and co-presented by Electronic Arts Intermix; special thanks
to Rebecca Cleman & Karl McCool. Unless otherwise noted, all the individual
film descriptions are from the Electronic Arts Intermix catalogue.
Upcoming Screenings
CHARLES ATLAS, PROGRAM 1
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May 8 at 7:30 PM
CHARLES ATLAS, PROGRAM 2
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May 16 at 7:30 PM
CHARLES ATLAS, PROGRAM 3
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May 22 at 7:30 PM
CHARLES ATLAS, PROGRAM 4
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May 25 at 7:30 PM
CHARLES ATLAS, PROGRAM 5
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May 30 at 7:30 PM
CHARLES ATLAS, PROGRAM 6
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June 5 at 7:30 PM
CHARLES ATLAS, PROGRAM 7
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June 11 at 7:30 PM
CHARLES ATLAS, PROGRAM 8
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June 15 at 7:30 PM
CHARLES ATLAS, PROGRAM 9
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June 19 at 7:30 PM
CHARLES ATLAS, PROGRAM 10
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June 27 at 7:15 PM
*___________________________________________________________________*
*May 17 - 19*
Venue type: *Live, physical event*
Anthology Film Archives
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times vary, see below,
32 Second Avenue, New York, NY
*ILLUMINATED HOURS: THREE EVENINGS WITH NATHANIEL DORSKY AND JEROME HILER*
In conjunction with a major retrospective at the Museum of Modern Art
devoted to the work of both Nathaniel Dorsky and Jerome Hiler, Anthology
will welcome the two filmmakers back to the Maya Deren theater – where
we’ve presented several memorable programs of their work over the years –
for a weekend of rare screenings encompassing Hiler’s 1995 film *GLADLY
GIVEN*, two of Dorsky’s most inspiring works (*VARIATIONS* and *AUGUST AND
AFTER*), and very special projections of Dorsky’s intimate Kodachrome
originals and dailies. These are unique personal prints and spliced camera
reversal footage from 1995 through 2006, some of it unedited (the *KODACHROME
DAILIES*) or revisited more than a decade later. Travelogues, portraits of
friends, a document of Stan Brakhage a month before his death, and a
montage of eleven years of footage – these are unassuming, heartfelt films
originally intended for the privacy of the filmmakers’ apartment rather
than a public cinema. The blissful warmth of the original Kodachrome stock
and Dorsky and Hiler’s delicately precise editing combine to make this an
unmissable event!
These screenings coincide with the American release of “Illuminated Hours.
The Early Cinema of Nathaniel Dorsky and Jerome Hiler”, a publication that
brings together texts and images on each filmmaker’s life and work from
childhood to the early 2000s, telling the story of half a century of
self-discovery and personal and artistic relationships. The book’s editors,
Francisco Algarín Navarro and Carlos Saldaña, have guest-curated both this
series and the one taking place at the Museum of Modern Art.
“Illuminated Hours” is presented with generous support from NYU KJCC, NYU’s
Martin Scorsese Department of Cinema Studies, and the Consulate General of
Spain in New York.
Nathaniel Dorsky and Jerome Hiler will be here in person for all three
screenings!
The Museum of Modern Art’s film series, “Illuminated Hours: The Cinema of
Nathaniel Dorsky and Jerome Hiler”, will take place from May 9-16; for more
info visit: https://www.moma.org/calendar/film
Dorsky’s work will also be showcased at Peter Blum Gallery (176 Grand St,
New York), which will present the exhibition “Arboretum Cycle” from May
1-18. The exhibition features the Arboretum portfolio, which extracts
intimate moments of observation from his ARBORETUM CYCLE films, shot
between February and December of 2017. For more info visit:
https://www.peterblumgallery.com/
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NATHANIEL DORSKY & JEROME HILER, PROG. 1 - SOLD OUT!
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May 17 at 7:00 PM
NATHANIEL DORSKY & JEROME HILER, PROG. 2: FIVE KODACHROME ORIGINALS, PART 1
- SOLD OUT!
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May 18 at 7:30 PM
NATHANIEL DORSKY & JEROME HILER, PROG. 3: FIVE KODACHROME ORIGINALS, PART 2
- SOLD OUT!
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May 19 at 7:30 PM
*SATURDAY, MAY 18, 2024* Venue type: *Live, physical event*
Other Cinema
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8pm PT,
ATA Gallery, 992 Valencia (@ 21st), San Francisco, CA
*ARCHIVE FEVER*
BILL MORRISON's INCIDENT + CALONICO/ELSHEIMER's SUDDEN BIRTH +
Bill Morrison, thee Archival Film Artiste of our moment, happens to be a
beloved friend of the Other Cinema family, and tonight he's sharing
thee West Coast premiere of his masterful half-hour re-working of rather
recent and problematic Chicago Police body-cam footage...with Bill's
personal video intro shot in the *Cursed Collector Cave* right under our
floor! Co-billed is Scott Calonico/Skip Elsheimer's (A/V Geeks)
incredible educational-film de-construction *Everything You Always Wanted
to Know* *about Sudden Birth*. Port Costa's Ian Saroka kicks in a hefty
excerpt about his discovery of a hidden Slovenian Film Archive, *Greetings
from Free Forests*, while media magician Caspar Stracke's *Zuse Strip* anchors
an amazing set of four media-archeological anomalies that also boasts IBM's
'53 mainframe promo *Piercing the Unknown* and Walter Cronkite's
mid-60s internet prototypes. Our curiosity also leads us to the famous
lost-and-found S8 reel shot on the Altamont stage, a
disco-fuelled Oscar Mayer weiner industrial, and Justin Rhody's massively
collaborative *Potemkin* exquisite corpse! PLUS a Bruce
Conner rarity, Standish Lawder's legendary *Dangling Participle**,* and free
cookies!!
*___________________________________________________________________*
Venue type: *Live, physical event*
No Name Cinema
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7pm MST,
No Name Cinema, 2013 Pinon Street, Santa Fe, NM
*COURTNEY STEPHENS*
*Terra Femme* (hour long live archival film performance)
"...an essay film comprised of amateur travelogues filmed by women in the
1920s-1950s. The piece weaves between geographical essay, personal inquiry,
and historical speculation, examining these films as both private documents
and accidental ethnographies. The films present a new type of traveler: no
longer a male seeker of conquests, she might be a divorcee on a tour of
biblical gardens, or a widow on a cruise to the North Pole. Representing
the world through women’s eyes, the films raise questions about female
representation in the archive, the role of amateurism in early non-fiction
filmmaking, and the politics of the Western gaze. At once a film about
longing for past worlds through cinematic excavation, this force flows in
both directions: as women from the past search for self-making in the act
of looking." -LightDox
with opening short (filmed in New Mexico) *Ida Western Exile* (2014, color
and b/w, sound, 9 min)
"Using the framework of O’Keeffe’s iconic sojourn to Ghost Ranch, New
Mexico, where she lived alone in the latter part of her life and created
desert-inspired masterworks, Stephens explores what this sort of elective
isolation might look like for a woman living in today’s world of
information overload.... Familiar images of O’Keeffe on the ranch are
accompanied by an anonymous woman’s tightly-wound phone calls with customer
service representatives from places like Expedia and Starkist as she plans
a trip alone out west, wondering about everything from mercury levels in
tuna to weapons she’ll need for self-defense.... Ghost Ranch was itself the
site of several late Westerns, including Silverado and Cowboys vs. Aliens.
Here, the American West’s reputation for masculine adventure and
reinvention is re-envisioned through Stephens’s eyes as space for female
exploration and escape. There’s a tension, however, between this pull
toward oblivion, and the knowledge of the inherent risk involved in
traveling alone as a woman. These phone calls reveal one woman’s
conflicting hopes and fears as she prepares to embark on a journey. It’s
unclear whether it’s real, or simply a fantasy of finding one’s own agency
in the vast expanses of unfamiliar territory." -Le Cinema Club
*TUESDAY, MAY 21, 2024* Venue type: *Live, physical event*
JCCAC
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20.00 GMT+8,
30 Pak Tin Street, Shek Kip Mei, Kowloon, Hong Kong
*Frequency in Motion 振頻迴響*
AUDIO VISUAL BUTOH PERFORMANCE 聲影舞踏演出
Live sounds, field recordings, objects, music: Chris H.Lynn (US) x Hiroko
Komiya 小宮廣子 (JP) Super 8 and digital film: Chris H.Lynn (US), with Butoh
dance performers loku Ero Nikaido 二階堂 伊奥 (HK)、Kiwi Chan 陳家蔚 (HK) & guest
dancer (JP)
*Silent images on the screen A Dancer pauses sounds and notes linger on
frequency in motion*
萬物皆為頻率，一聲一吭造就不同迴響。一個空的空間內，Hiroko 以聲音出發，結合 Chris
的影像，舞者或停或動般遊走探索。「念念不忘，必有回響」，同頻共振，一念一思間造就共鳴風景。
Live sounds, field recordings, objects, music 聲音及現場音樂: Chris H.Lynn (US) x
Hiroko Komiya 小宮廣子 (JP)
Super 8 and digital film超8影片及錄像： Chris H.Lynn (US)
Butoh dance performers舞踏表演者： 二階堂 伊奥 (HK)、陳家蔚 (HK) & guest dancer (JP)
Project Producer 項目製作人：陳家蔚
Presented by主辦：一與異作邦
*THURSDAY, MAY 23, 2024* *May 23 - 24*
Venue type: *Live, physical event*
Anthology Film Archives
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7:30pm ET both nights,
32 Second Avenue, New York, NY
*ROSS MCLAREN*
This spring, Anthology hosts a memorial tribute to filmmaker, curator, and
teacher Ross McLaren (1953-2023). McLaren was, in a sense, hiding in plain
sight in recent years, his films relatively rarely screened here in New
York, despite living and working in the city for decades as a beloved
teacher, colleague, and mentor. Born in Canada, McLaren began making
extraordinary films there in the mid-1970s, including his seminal punk
chronicle, *CRASH ‘N’ BURN* (1977), shot at (and named after) Canada’s
first punk club, which features performances by the Dead Boys, Teenage
Head, The Boyfriends, and the Diodes. But his importance within the
Canadian film scene extended far beyond his own films – soon after
graduating from the Ontario College of Art, he co-founded the Toronto Super
8 Film Festival, and later founded and directed the experimental film
collective and venue, The Funnel, which became the epicenter of underground
cinema in Toronto. Later in his career, after relocating to New York, he
continued to make genuinely underground, uncompromising, and vital films,
while also inspiring generations of young filmmakers through his teaching
at Fordham University (since 1986), Cooper Union, Pratt Institute,
Millennium Film Workshop, and other institutions.
For this initial tribute to McLaren’s work, we’ll be screening the six
Super-8mm and 16mm films that are currently in distribution (with the aim
of organizing a more comprehensive series at a later date, when his
undistributed, lesser-known films become available).
“Ross McLaren’s films fall roughly into three areas of concern. One
direction is typified by *WEATHER BUILDING* and his segment of *LAUNCH FIVE*.
These are characterized by a dark ground (shot at night) from which emerge
the images and form of the work. They are constructed intuitively and
demand an intuitive reading by others. The second group includes
*9X12* and *WEDNESDAY,
JANUARY 17, 1979*, and show a concern for the nature of the film material,
typical of ‘structural’ or conceptual films. Finally *CRASH ‘N’ BURN*, *SUMMER
CAMP* and *SEX WITHOUT GLASSES* share a fascination with human performance
before a camera.” –John Porter
Special thanks to McLaren’s collaborators and colleagues, filmmaker James
Kienitz Wilkins and professor Stephan Apicella-Hitchcock (Fordham
University), both of whom will be here in person to speak about McLaren’s
work.
Thanks as well to Mike Hoolboom and the CFMDC.
*I.E.* (1976, 15 min, 16mm)
*WEATHER BUILDING* (1976, 10 min, Super-8mm-to-16mm)
*CRASH ‘N’ BURN* (1977, 28 min, 16mm)
*WEDNESDAY, JANUARY 17, 1979* (1979, 4 min, 16mm)
*SEX WITHOUT GLASSES* (1983, 12 min, 16mm)
Total running time: ca. 75 min
*___________________________________________________________________*
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
*Séances régulières du CJC #10: Duras, pour toujours!*
On the occasion of the 110th anniversary of her birth and the major
retrospective dedicated to Marguerite Duras at La Cinémathèque française,
the Collectif Jeune Cinéma pays tribute to her in a special screening
around titles from the cooperative's catalog, inspired by her
cinematographic gesture, inhabited by her voice or even made by her close
friends.
Duras, pour toujours! Last, forever!
*Cygne I.* / Absis / 1976 / 12min / color / sound / 35mm on DCP / France
*Swan II.* / Absis / 1976 / 9min / color / sound / 35mm on DCP / France
*We will go to Neuilly inch'Allah* / Anna Salzberg, Mehdi Ahoudig / 2015 /
20min / B&W / sound / 16mm / France
*The Atlantic Man* / Marylène Negro / 2008 / 33min / color / silent / num.
on DCP / France
*Fotomatar* / Dominique Noguez / 1979 / 12min / color / sound / 16mm /
France
*SATURDAY, MAY 25, 2024* Venue type: *Live, physical event*
Other Cinema
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8pm PT,
ATA Gallery, 992 Valencia (@ 21st), San Francisco, CA
*AVANT TO LIVE*
JEANNE FINLEY's RED BOAT CROSSING + BARON's NEAREST NEIGHBOR + NEW
EXPERIMENTAL WORKS
Our seasonal mini-fest of innovation in film form, this Spring's NEW night
boasts a healthy crop of contemporary visions, each program-half anchored
by the NorCal theatrical debut of a major essay from our State's most
esteemed women makers...both in person! Yes, SF's Jeanne
Finley and LA's Rebecca Baron are both in the house to introduce their
sublimely smart cine-meditations—Finley's 40-min. *Red Boat Crossing* on
her mother's European experience in WWII, and Baron's 20-min. *Nearest
Neighbor*--a collab with Cal Arts' Doug Goodwin--on human communication
with both birds and computers. Baron/Goodwin's provocative
thought-experiment is showcased in the opening half-- they self-consciously
exploit AI agency to generate novel image/sound relations, comparing and
contrasting communication with animals to that with machines, and so
affording new understandings of language acquisition in
both Nature and Technology. And in the program's finale, Finley takes her
camera back to France's southern coast, to the precise location of
the Allied landing and where her mother, 65 years earlier, had served on
a Red Cross ship, tending to the War wounded--the resulting footage later
layered with memorabilia discovered in a long-lost family trunk,
Captain's logs, letters, phone calls, and archival footage--all weaving a
rich tapestry of memory, history, and heroism. ALSO: The in-the-flesh
return of Canadian whiz-kid Jake Scott with his 15-min. live
expanded-cinema piece *On Leadership*, TT Takemoto's lovely *Lion in the
Wind*, Alex Miller's *Denis Anatomy*, and new shorts from Bryan Boyce,
Yuyan Wang, and Others TBA! Free pencils.
*SUNDAY, MAY 26, 2024* Venue type: *Live, physical event*
Anthology Film Archives
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1pm ET,
32 Second Avenue, New York, NY
*MONO NO AWARE COMMUNITY SCREENING PROGRAM*
Featuring the world premiere of films made locally with the support of MONO
in Spring/Summer 2024.
This program will include films made through the educational initiatives of
MONO NO AWARE, a cinema-arts nonprofit organization and film positive
community working to promote connectivity through the cinematic experience.
Established in 2007 and based in downtown Brooklyn, MONO NO AWARE presents
monthly artist-in-person screenings, facilitates equipment rentals,
operates a film distribution initiative, maintains wet & dry lab
facilities, and hosts an annual exhibition for contemporary artists and
international filmmakers whose work incorporates Super-8mm, 16mm, 35mm, or
altered light projections.
For more info visit: www.mononoawarefilm.com
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*___________________________________________________________________*
Venue type: *Live, physical event*
San Francisco Cinematheque
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7:30pm PT,
COUNTERPULSE, 80 Turk Street, San Francisco, CA 94102
*Stan Brakhage’s Passage Through: A Ritual*
presented by John Powers
Created over fifty years of ceaseless activity, filmmaker Stan Brakhage’s
body of nearly 400 films is notable for its dazzling kineticism, expressive
camerawork and rich use of optical and painterly abstraction and for its
emphasis on direct, primal and pre-linguistic vision as direct conduit to
the nervous system and as the conveyor of experience and meaning. In this
radical centering of vision, Brakhage promoted a general aesthetics of
cinematic silence and the abstraction of experience through the attenuation
of the auditory. Considering his work to be expressive of “moving visual
thinking” Brakhage was, of course, deeply influenced by music and the
experience of sound. It is not surprising then that his rare forays into
sound filmmaking have resulted in films which are among the most unique
sound/image works in the history of the medium.
An anomalous entry in Brakhage’s oeuvre, *Passage Through: A Ritual* (1990)
pairs Fluxus composer Philip Corner’s long form solo piano piece *Through
the Mysterious Barricade: Lumen* (after F. Couperin)—itself composed in
response to Brakhage’s *The Riddle of Lumen* (1972)—to a pointilist stream
of image bursts (Brakhage: “the most exacting editing process ever”)
punctuating an experience of cinematic darkness. Engaging rhythmically with
Corner’s rejoinder, Brakhage’s *Passage Through…* presents contrapuntal
dialog with the obsessions with sound/image synchrony of Sharits and
Kubelka and the minimal and temporarily spacialized cinema of Markopoulos
while—most crucially—creating space for the reflective experience of
memory, anticipation and perceptual surprise. This evening’s program—which
will also include Brakhage’s *The Riddle of Lumen* (1972) and *Ephemeral
Solidity* (1993)—will be introduced by John Powers, author of “Moving
through stasis in Stan Brakhage’s Passage Through: A Ritual,” published
2019 in Screen, vol. 60, Issue 3.
PROGRAM
*The Riddle of Lumen* (1972) by Stan Brakhage; 16mm, color, silent, 14
minutes. Print from Canyon Cinema
*Ephemeral Solidity* (1993) by Stan Brakhage; 16mm, color, silent, 4
minutes. Print from Canyon Cinema
*Passage Through: A Ritual* (1990) by Stan Brakhage; 16mm, color, sound, 50
minutes. Print from Canyon Cinema
The making of *Passage Through…* was unlike that of any other film in
Brakhage’s career. The film began with [composer Philip] Corner, who
performed this rendition of *Through the Mysterious Barricade* as part of a
general series of improvisations called Withinstascys, continuing efforts
to create a “daily personal spiritual practice with music.” Corner was
inspired by *The Riddle of Lumen* (1972), an earlier film that Brakhage had
always hoped would, in the manner of a riddle, engender a creative response
affirming that another artist recognized the mysteries of the film and
himself paid homage with another enigma. Brakhage pinned this hope on
filmmaker Hollis Frampton, but Frampton never fashioned an explicit
artistic response. Consequently Brakhage was eager to reciprocate by making
a film using Corner’s piece in the spirit of an anagogic exchange. In his
few statements on the film, Brakhage followed Corner’s lead and suggested a
spiritual reading: “I think it’s a film about the dark night of the soul
with moments of Illumination that are intrinsic to my present, where I am
now. In that sense, the film is very cathartic.” (John Powers: “Moving
through stasis in Stan Brakhage’s Passage Through: A Ritual,” published
2019 in Screen, vol. 60, Issue 3.
*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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