From: weekly listing (email suppressed)
Date: Sat Apr 22 2006 - 06:04:17 PDT
This week [April 23 - 30, 2006] in avant garde cinema
NEW FILM/VIDEO: NON-FEATURE:
===========================
"Paraíso" by Felipe Guerrero
http://www.hi-beam.net/cgi-bin/ann.pl?type=newwork&readfile=245.ann
JOB AVAILABLE:
=============
Free Speech TV
http://www.hi-beam.net/cgi-bin/ann.pl?type=jobs&readfile=12.ann
NEW CALLS FOR ENTRIES:
=====================
Ruckel Patzke Collaborative Project (Chicago, IL, USA; Deadline: April 30, 2006)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=530.ann
Experimental Film Festival in Seoul (Seoul. South Korea; Deadline: May 13, 2006)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=547.ann
Rencontres internationales Paris/Berlin (Paris; Deadline: April 30, 2006)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=548.ann
Artist' Television Access (San Francisco, ca 94110; Deadline: April 30, 2006)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=549.ann
Atists' Television Access (san francisco, ca, usa; Deadline: May 19, 2006)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=550.ann
YoungCuts (Toronto, Ontario, Canada; Deadline: April 30, 2006)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=551.ann
London Film Festival (London, UK; Deadline: June 30, 2006)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=552.ann
Mexico! (Monterrey, NL; Deadline: May 19, 2006)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=553.ann
Los Angeles International Short Film Festival (Hollywood, CA 90028; Deadline: June 17, 2006)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=554.ann
Distillery (South Boston, ; Deadline: May 19, 2006)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=555.ann
DEADLINES APPROACHING:
======================
Imaginaria Film Festival (Conversano, Italy; Deadline: April 30, 2006)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=484.ann
Portable Cinema Series (san francisco, ca USA; Deadline: April 30, 2006)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=494.ann
Onion City Experimental Film and Video Festival (Chicago, IL, USA; Deadline: April 28, 2006)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=497.ann
MadCat Women's International Film Festival (San Francisco, CA; Deadline: May 15, 2006)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=498.ann
Perform.Media (Bloomington, IN USA; Deadline: May 15, 2006)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=516.ann
theARTDISK (Chicago, IL., USA; Deadline: May 01, 2006)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=520.ann
Zeitgeist International Film Fstival (San Francisco, CA, USA; Deadline: April 30, 2006)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=522.ann
Milwaukee International Film Festival (Milwaukee, WI, USA; Deadline: April 24, 2006)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=527.ann
TIE-The International Experimental Cinema Exposition (Denver, Colorado, U.S.; Deadline: April 28, 2006)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=528.ann
Hell on Reels [Astoria Moving Picture Festival] (Astoria, NY, USA; Deadline: April 28, 2006)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=529.ann
Ruckel Patzke Collaborative Project (Chicago, IL, USA; Deadline: April 30, 2006)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=530.ann
Reel Venus Film Festival (New York, NY USA; Deadline: May 12, 2006)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=537.ann
2006 Planet Ant Film & Video Festival (Detroit, MI; Deadline: May 01, 2006)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=539.ann
MadCat Women's International Film Festival (San Francisco; Deadline: May 15, 2006)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=540.ann
Artists' Television Access (San Francisco, CA, USA; Deadline: May 19, 2006)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=541.ann
Milwaukee Short Film Festival (Milwaukee, WI, USA; Deadline: April 22, 2006)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=543.ann
Chicago Underground Film Festival (Chicago; Deadline: May 01, 2006)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=544.ann
vBrooklyn video festival (Brooklyn, NY, USA; Deadline: May 01, 2006)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=545.ann
Experimental Film Festival in Seoul (Seoul. South Korea; Deadline: May 13, 2006)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=547.ann
Rencontres internationales Paris/Berlin (Paris; Deadline: April 30, 2006)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=548.ann
Artist' Television Access (San Francisco, ca 94110; Deadline: April 30, 2006)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=549.ann
Atists' Television Access (san francisco, ca, usa; Deadline: May 19, 2006)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=550.ann
YoungCuts (Toronto, Ontario, Canada; Deadline: April 30, 2006)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=551.ann
Mexico! (Monterrey, NL; Deadline: May 19, 2006)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=553.ann
Distillery (South Boston, ; Deadline: May 19, 2006)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=555.ann
Enter your event announcements by going to the Flicker Weekly Listing Form
at http://www.hi-beam.net/cgi-bin/thisweek.pl
Also available online at Flicker: http://www.hi-beam.net
THIS WEEK'S PROGRAMS (SUMMARY):
==============================
* Media Archeology: Software Cinema Presents Madeline Minx [April 23, Houston, Texas]
* Filmforum Presents Films From the Closet of Terry Cannon [April 23, Los Angeles, California]
* If Water Were Present It Would Be Called Drowning [April 23, Los Angeles, California]
* Anticipation and Memory: Films By Larry Gottheim [April 23, San Francisco, California]
* Argument [April 24, Brooklyn, New York]
* Ahmet Kut & Owen Land [April 24, Gent, Belgium]
* The Queen of Sheba Meets the Atom Man [April 25, Reading, Pennsylvania]
* "The Cinema I Care About Is At the Level of Poetry" Films By Margaret
Tait [April 26, Frankfurt Main, Germany]
* Mood Alterations [April 26, Syracuse, NY]
* "The Cinema I Care About Is At the Level of Poetry" Films By Margaret
Tait [April 27, Berlin, Germany]
* The Memo Book: the Films and videos of Matthias MüLler [April 27, Chicago, Illinois]
* Open Screening [April 27, Reading, Pennsylvania]
* Electromediascope [April 28, Kansas City, Missouri]
* A/V Geeks Presents "The Modern Housewife" [April 29, Iowa City, Iowa]
* Billboard Liberation Front Presents Popaganda [April 29, San Francisco, California]
Events are sorted by CITY within each DATE.
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SUNDAY, APRIL 23, 2006
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4/23
Houston, Texas: Aurora Picture Show
http://www.aurorapictureshow.org
8pm, DiverseWorks, 1117 East Freeway
MEDIA ARCHEOLOGY: SOFTWARE CINEMA PRESENTS MADELINE MINX
Tickets are $8 per show or $20 for a festival pass and are available by
contacting Aurora at 713.868.2101 or (address suppressed)
Singer-songwriter for the poptronica band PUSHY, Madeline Minx brings
her solo act to Aurora. Her self-directed, self-produced weekly
television show "Pushy TV" can be seen on Cable Access (Channel 29, San
Francisco). She has written, directed, and performed in numerous plays,
short films, and music videos, and is both creator and subject of Get
Pushy, a feature-length documentary following her quest to climb to the
top of the pop charts. www.getpushy.com
4/23
Los Angeles, California: Filmforum
http://www.lafilmforum.org/
7:00 pm, Egyptian Theatre, 6712 Hollywood Blvd.
FILMFORUM PRESENTS FILMS FROM THE CLOSET OF TERRY CANNON
Filmforum's 30th anniversary! An ongoing series. Filmforum founder Terry
Cannon visits with a variety of short experimental films that he
purchased, traded for, and received as gifts while running Filmforum.
Most never publicly screened! Including works by Kurt Kren, Willie
Varela, Bruce Posner, Craig Rice, and Yervant Gianikian & Angela Ricci
Lucchi.
4/23
Los Angeles, California: Redcat
http://www.redcat.org/
08:30 PM, 631 W. 2nd St
IF WATER WERE PRESENT IT WOULD BE CALLED DROWNING
INTEGRITY PUBLICITY FOR IMMEDIATE RELEASE April 14, 2006 SINNER'S 15
MINUTE EXPERIMENT IS LOLLY'S 15 MINUTES IN HELL! John Sinner's New Work
To Find Friends In Anyone Who's Ever Suffocated! John Sinner's new
experimental performance piece, IF WATER WERE PRESENT IT WOULD BE CALLED
DROWNING, will be performed on April 23rd and 24th, 8:30 PM, at the
Studio @ REDCAT in the Walt Disney Concert Hall. REDCAT (The Roy and
Edna Disney Cal Arts Theatre) is located at 631 West 2nd Street, Los
Angeles, California 90012. IF WATER… is part of an evening of new works
being presented by the prestigious REDCAT to showcase cutting edge new
theatrical ideas. IF WATER WERE PRESENT IT WOULD BE CALLED DROWNING is
an exciting romp through the exploding mind of housewife Lolly, as she
takes us into the hellish trenches of her daily battle between
domesticity and self-preservation. Lolly short-circuits before our eyes,
her psyche disintegrating in the fog of her mind-numbing daily family
routine. Writer-Director John Sinner is drawn to spinning stories about
those who feel disenfranchised and disconnected from what we call a
cherished seat at the table of American culture. Lolly's life is an
example of the American Dream gone haywire. John Sinner's work is one of
six pieces chosen from hundreds of applicants. A panel of curators
appointed by REDCAT makes the choice of which short (15 minutes) works
or sections thereof make the grade. In the fall of 2005, his full-length
satire BLOOD IS MY LEGACY! had a critically acclaimed six-week run at
the Art/Works Performance Space in Hollywood. He is the Producing
Artistic Director of Theatre Revelation, a 501(c)(3) theatre company and
is making plans to expand IF WATER… into a full-scale production. IF
WATER WERE PRESENT IT WOULD BE CALLED DROWNING will utilize video
projections and disorienting sound cues, both Sinner trademarks. The
piece stars Betsy Moore as Lolly and Mike Hartley as the husband, both
veterens of BLOOD IS MY LEGACY!. Tickets are only $10 and can be
purchased by phoning (213) 237-2800 or by visiting www.redcat .org. For
Press, Radio, & TV Interviews, PRESS RESERVATIONS, & All Other Media
Requests Contact: INTEGRITY PUBLICITY: In L.A. : Robert Axelrod (213)
483-1449 & (323) 288-9452 In N.Y. : Sheryl Mandel (718) 352-5976
4/23
San Francisco, California: San Francisco Cinematheque
http://www.sfcinematheque.org
7:30pm, Yerba Buena Center for the Arts, 701 Mission Street
ANTICIPATION AND MEMORY: FILMS BY LARRY GOTTHEIM
This program is part of San Francisco Cinematheque's RECENT AVANT-GARDE
PRESERVATIONS series. From his late-sixties series of sublime
"single-shot" films to the dense sound/image constructs of the
mid-seventies and after, the cinema of Larry Gottheim is the cinema of
presence, of observation, and of deep conscious engagement. While
addressing genres of landscape, diary and assemblage filmmaking,
Gottheim's work properly stands alone in its intensive investigations of
the paradoxes between direct, sensual experience in collision with
complex structures of repetition, anticipation and memory. Tonight's
program includes new prints of Blues, Doorway, and Tree of Knowledge
(from the four-part series, Elective Affinities) plus Your Television
Traveler and The Opening, part of the in-progress Chants & Dances for
Hand, based on material shot in Haiti. Larry Gottheim in person.
ADMISSION: $8 general, $5 Cinematheque Members, Seniors, Disabled,
Students (w. ID). advance tickets: 415-978-ARTS
----------------------
MONDAY, APRIL 24, 2006
----------------------
4/24
Brooklyn, New York: Ocularis
http://www.ocularis.net
8 PM, 70 North 6th Street
ARGUMENT
Anthony McCall and Andrew Tyndall, 1978, 84 min "The twin principles of
modernism and marketing: seeing fresh promise in familiar things."
Anthony McCall and Andrew Tyndall's legendary and provocative essay film
Argument, first screened at the Edinburgh International Film Festival in
1978, has been almost unseen for the last twenty years. LUX has now made
a new High Definition restoration of the film, and its trenchant
analysis of media ideology seems more pertinent than ever. Three male
voices dissect one edition of the New York Times through a series of
locked-off shots, revealing the prejudice and latent content of news and
advertisements, reading images as texts and presenting text as an image.
Fashion photographs are used as a starting point for a political
investigation of news, advertising, and images of masculinity - while at
the same time, the filmmakers reflect on their own position and the
possibility of radical film practice. Influenced by both the America and
European avant-gardes, notably Godard and Hollis Frampton, Argument is
stylistically beautiful and relentless in its enquiry. With an
introduction by Anthony McCall.
4/24
Gent, Belgium: artcinema OFFOFF Film-Zien vzw
http://www.offoff.be
20:00, Lange Violettestraat 237
AHMET KUT & OWEN LAND
AHMET KUT POUR FAIRE UN BON VOYAGE PRENONS LE TRAIN (TO HAVE A GOOD TRIP
LET'S TAKE THE TRAIN) France, 1973, sound mag strip, colour, 20 mins,
16mm Music by Red Sunshine. " ... a mad film."- F.Deeth, L'Officiel de
Spectacles' " ...multiple super-impression whose rhythm has inspired
original pop music." - Jaques Doyon, 'Liberation'. The railway
advertisement To Have A Good Trip Let's Take The Train, had given me the
idea of a speedy violent film with plenty of information, the
intensityand speed of which cannot be perceived complacently by the
spectator. All this gives an aggression to the film not unlike the
actual transport system...the train was a pretext and I started to shoot
as though I were using a gun-machine, trains and pseudo amusements
becoming all mixed up. While cutting, I discovered that in most of the
sections the succession of shots had a rhythm, which reminded me of
rock. Thus I cut the film according to a 'rock de-coupage'. After
editing, I showed it to my musician friends; Jean-Luis Aubert
immediately grasped the mood of the film and in three days composed the
sound track with his friends. The final shot was photographed while they
were composing. It is a speedy rock, roughly recorded, 'which makes love
with the image', according to Red Sunshine (who, though seen for only a
few minutes, actively participated in realising the film). - A.K.
Selected for 'The French Cinema from the New Wave Today', Algeria. OWEN
LAND (formerly George Landow) REMEDIAL READING COMPREHENSION USA, 1970,
sound, colour, 5 mins, 16mm. "The favorite film at the London Festival
of Avant-Garde Film 1973"- Appearing: Jane Yablonsky, George Landow. The
first image is a female head, horizontal and more or less suggestive of
three-dimensional space. The next to last image is the same head, which
becomes a white silhouette in a shallow white (not black) space. Compare
the two grains of rice - wholegrain (brown) and processed (white). The
white rice grain has lost its 'essence' (the germ) just as the
silhouette has lost its three dimensionality. One thing this suggests is
the process of removing substance to get a 'purer' product. The
film-maker himself appears in the film, yet he tells us it is about us
and "not about its maker". Certain images - the rice, 'Madge's' friend -
are impersonal. They are facsimiles of images from TV commercials or
industrial promotional films. There is a relationship between the first
image and the next-to-last image. Before the female becomes a silhouette
there is a transition period in which a struggle seems to take place
between the three-dimensional form and the flat one. The rhythm of the
soundtrack is the rhythm of this alteration. OWEN LAND (formerly George
Landow) WIDE ANGLE SAXON USA, 1974, sound, colour, 22 mins, 16mm "Wide
Angle Saxon deserves to become a landmark in Landow's development as a
film-maker, for in it he presents a complete in-depth critique of his
religious beliefs, his own film aesthetics, and the larger context of
the experimental and structural films to which these relate. In fact,
the film might be subtitled The New American Cinema Reaches
Enlightenment. His approach is Kabbalistic in that he quotes extensively
from other films, which means that his points are phrased in the
language of these texts. Wide Angle Saxon, unlike most Landow films, has
a clearly stated narrative line: our hero, ruminating on the Biblical
command to give up worldly possessions, discovers that he is alarmingly
attached to them; this realisation eventually results in a moment of
enlightenment while he is in the very act of watching an independent
film at the Walker Arts Center. Landow's films have sometimes used
apparent found footage - actually re-created facsimilies - as their
texts. Here he has chosen to re-create the artifacts of a personal film
instead of those of the instructional/education genre. This move may
suggest that Landow now sees himself as working outside the province of
the personal film. WIDE ANGLE SAXON is not a "separatist" work. Its
closing statement acknowledges the current realisation that film
audiences tend to exist in a dream state lulled by the conventions of
traditional movies..." - B. Ruby Rich, Film Center, Chicago. OWEN LAND
(formerly George Landow) ON THE MARRIAGE BROKER JOKE AS CITED BY SIGMUND
FREUD IN WIT AND ITS RELATION TO THE UNCONSCIOUS, OR CAN THE AVANT-GARDE
ARTIST BE WHOLED? USA, 1980, sound, colour, 17 mins, 16mm "Freud
established that jokes were structurally akin to dreams in their use of
condensation, displacement, representation by opposites, punning and
'nonsense'. All of these strategies are much in evidence in (Land's)
marvellously duplicitous ON THE MARRIAGE BROKER JOKE... (Land) is so
clever and original a filmmaker as to make most others - not to mention
his critics - seem flat-footed by comparison. ON THE MARRIAGE BROKER
JOKE harks back to Bunuel's early work. Not only is it structured like a
dream and filled with sexual imagery, but like Un Chien Andalou, it
smacks of being an insider's joke played upon the avant-garde. Where
Bunuel used the insights of psychoanalysis to satirize Christianity,
(Land) - with an almost equal perversity - reverses the process and uses
Christianity to send up Freud." - J. Hoberman, American Film.
-----------------------
TUESDAY, APRIL 25, 2006
-----------------------
4/25
Reading, Pennsylvania: Berks Filmmakers, inc
http://www.berksfilmmakers.org
7:30 p.m., Albright College Center for the Arts
THE QUEEN OF SHEBA MEETS THE ATOM MAN
The Queen of Sheba Meets the Atom Man (1968/82, 109 min.) by RON RICE.
"We defy anyone to cop our style…. This is your opportunity to help
challenge the Hollywood stranglehold on morals, expression, and art and
what have you. Dig us." - R.R. A comic, lyric masterpiece shot in 1963
and left unfinished at Rice's death at the age of 29. In 1982, Taylor
Mead (who –all atremble- appears in the film along with the
unforgettable "Queen", Winifred Bryan) restored and completed the film
and added the soundtrack. "Ron Rice was a man of action in those days,
and the idea was put into motion before my doubts could formulate. We
were in a taxi within minutes, off to borrow a camera and then travel
Manhattan looking for locations. On Park Avenue around 46th Street we
saw a building with a dramatic escalator in the lobby. The guard refused
to let us use it. We went next door to the Union Carbide building, and
rather than ask permission we went ahead and took shots of their
escalator with me ascending and descending it. It became the ending of
the film. There was an 'Atomic Exhibit' going on in the building with
huge replicas of atoms and panoramic photographs of New York buildings.
I related in a slightly insane mad-scientist way to the atoms and
buildings. We decided then and there to call the film "The Queen of
Sheba Meets the Atom Man." We then rooted out Winifred Bryan and in
various apartments and outdoor venues constructed what I think is one of
the most beautiful movies ever made."- Taylor Mead
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WEDNESDAY, APRIL 26, 2006
-------------------------
4/26
Frankfurt Main, Germany: The Lux
http://www.lux.org.uk
20.30+22.30, Deutsches Filmmuseum Frankfurt
"THE CINEMA I CARE ABOUT IS AT THE LEVEL OF POETRY" FILMS BY MARGARET
TAIT
11 films by the scottish filmmaker Maragret Tait (1919-99). Presented by
Peter Todd, filmmaker and curator, London. The films are rented by LUX,
London. Margaret Tait made 32 mostly short films between 1951 and 98.
She desribed her life's work as consisting of making film poems, and
denied suggestions that they were documentaries or diary films. Once she
said of her films that they are born "of sheer wonder and astonishment
at how much can be seen in any place that you choose --- if you really
look"
4/26
Syracuse, NY: MadCat Women's International Film Festival
http://www.madcatfilmfestival.org
9pm, Syracuse University, Shemin Auditorium in the Shaffer Art Building
MOOD ALTERATIONS
These alternately loving and disturbing 16mm portraits hail from
Austria, France, Germany, Mexico and the US. Filmmakers use editing,
optical printing and camera movement (or lack there of) to create an
ethnographic study of Romania, a musical peek at a girl on the verge of
puberty and a pulsating found footage bonanza among other stories. Films
include ICE/SEA by VIVIAN OSTROVSKY, BUBONIC PRAIRIE by MARY BETH REED
and THE INFLUENCE OF OCULAR LIGHT PERCEPTION ON METABOLISM by STELLA
FRIEDRICHS AND THOMAS DRASCHAN.
------------------------
THURSDAY, APRIL 27, 2006
------------------------
4/27
Berlin, Germany: The Lux
http://www.lux.org.uk
19.30 + 21.30, kino arsenal
"THE CINEMA I CARE ABOUT IS AT THE LEVEL OF POETRY" FILMS BY MARGARET
TAIT
11 films by the scottish filmmaker Maragret Tait (1919-99). Presented by
Peter Todd, filmmaker and curator, London. The films are rented by LUX,
London. Margaret Tait made 32 mostly short films between 1951 and 98.
She desribed her life's work as consisting of making film poems, and
denied suggestions that they were documentaries or diary films. Once she
said of her films that they are born "of sheer wonder and astonishment
at how much can be seen in any place that you choose --- if you really
look"
4/27
Chicago, Illinois: Conversations at the Edge
http://www.artic.edu/webspaces/siskelfilmcenter/
6:00 p.m., 164 N. State St.
THE MEMO BOOK: THE FILMS AND VIDEOS OF MATTHIAS MüLLER
Curator Stefanie Schulte Strathaus in person! Matthias Müller's work can
be read as the unwritten history of German experimental film. At once
moving and smart, his lush, image-rich films and videos draw on the
broad iconography of Hollywood melodrama (and its reflection in the
queer avant-garde), Super 8 home-movie fragments, brooding Expressionist
themes, and structuralist rigor to reflect a deep engagement with
history, media, and memory. Tonight's program is the second evening in a
three-part retrospective of Müller's work curated by Stefanie Schulte
Strathaus, artistic director of the Freunde der Deutschen Kinemathek in
Berlin and co-presented by the Experimental Film Club at the University
of Chicago and Block Cinema and includes his 1989 masterpiece AUS DER
FERNE – THE MEMO BOOK (28 min.) along with: SLEEPY HAVEN (1993,14 min.);
STERNENSCHAUER – SCATTERING STARS (1994, 2 min.); HOME STORIES (1990, 6
min.); and ALPSEE (1994, 15 min.). Part one screens Wednesday, April 26
at Block Cinema. Part three screens Friday, April 28 at the EFC.
Matthias Müller, 1989-1994, Germany, 65 min. 16mm.
4/27
Reading, Pennsylvania: Berks Filmmakers, inc
http://www.berksfilmmakers.org
7:30 p.m., Albright College Center for the Arts
OPEN SCREENING
Bring your own films, tapes & DVD's: all works will be screened.
----------------------
FRIDAY, APRIL 28, 2006
----------------------
4/28
Kansas City, Missouri: Nelson-Atkins Museum of Art
http://www.nelson-atkins.org
7:00 p.m., 4525 Oak Street
ELECTROMEDIASCOPE
Songs, Cycles and Stories. Songs and poems linked to the rhythms of
nature, the earth and its peoples have been preserved and transmitted
through oral traditions for millennia. These stories celebrate and
re-imagine the complexity and diversity of generations of human
experiences of life on this planet. The films and videos in Songs,
Cycles and Stories extend this practice of finding beauty and magic in
everyday life and also critically engage timeless knowledge, historical
references and contemporary experiences of media culture. There is a
kind of political activism in these works of personal cinema that calls
into question imposed cultural conformity while preserving knowledge and
documenting experiences by travelers into other dimensions and worlds.
As story-tellers, these artists experiment with relationships between
sound and image and combine fictional, appropriated and documentary
techniques while exploring personal identity and self-discovery within a
changing world. –Patrick Clancy Peggy and Fred in Hell, Leslie Thornton
(USA), 1984 – 2005, 92 min. Peggy and Fred in Hell: The Prologue, 1984,
20 min., 16mm film Peggy and Fred in Kansas, 1987, 10 min., video. Peggy
and Fred and Pete, 1988, 20 min., video. (Dung Smoke Enters the
Palace),1989,16 min., simultaneous 16mm film and video. Introduction to
the So-Called Duck Factory, 1990, 7 min., video Have a Nice Day Alone,
2001, 7 min., video. Paradise Crushed, 2003, 12 min., video.
------------------------
SATURDAY, APRIL 29, 2006
------------------------
4/29
Iowa City, Iowa: Iowa City Microcinema
http://icmicrocinema.com
7pm, Terrace Room, Iowa Memorial Union, University of Iowa
A/V GEEKS PRESENTS "THE MODERN HOUSEWIFE"
Saturday, April 29th at 7pm Terrace Room, Iowa Memorial Union,
University of Iowa FREE and open to the public Presented by Creative
Cinema Unit, IC Microcinema, and the Bijou Theatre In glorious 16mm!
Direct from Raleigh, North Carolina, film collector, curator, and mad
scientist Skip Elsheimer will visit Iowa City to present "The Modern
Housewife," a screening of classic 1960s educational films about
today's–well, actually, yesterday's–modern housewife. Carefully selected
from Elsheimer's A/V Geeks Educational Film Archive, films in the
program include Goodbye to Garbage, Home is What You Make it, Soft as a
Cloud, Joy of Living with Fragrance and Freeze-In. The program promises
to be informational, fascinating, and downright hilarious. The screening
will feature a bake sale and door prizes, and anyone who attends the
event in full housewife or salesman attire will receive a complimentary
potholder! Presented by the Creative Cinema Unit, Iowa City Microcinema,
and the Bijou Theatre. Sponsored by the UISG. Individuals with
disabilities are encouraged to attend all University of Iowa-sponsored
events. If you are a person with a disability who requires an
accommodation in order to participate in this program, please contact
Creative Cinema Unit in advance at 466-9298 or
(address suppressed)
4/29
San Francisco, California: Other Cinema
http://www.othercinema.com/
8:30pm, 992 Valencia Street
BILLBOARD LIBERATION FRONT PRESENTS POPAGANDA
In the second installment of our Pranks series, the BLF, those storied
stalwarts of late-night billboard alteration, surface in our
gallery—merry, masked, and Mayday-mobilized, to introduce Pedro
Carvajal’s POPaganda. Pedro’s hr-plus doc focuses on the
antics of painter Ron English, a modern-day Robin Hood of Madison Ave.,
who renders an alternative universe of advertising subversion. Shepard
Fairey, Daniel Johnston, and the Dandy Warhols also have a hand in the
production. PLUS Craig Baldwin’s history of billboard hits, Bryan
Boyce’s latest celebrity defenestration, and a preview of
Negativland’s upcoming DVD. Free toast and grape jam (and grape
wine)!
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For info on FrameWorks, contact Pip Chodorov at <email suppressed>.