This week [May 14 - 21, 2006] in avant garde cinema

From: weekly listing (email suppressed)
Date: Sat May 13 2006 - 07:31:25 PDT

This week [May 14 - 21, 2006] in avant garde cinema

"Authority Head Exorcism" by Daniel J. King

Aurora Picture Show (Houston, TX 77009; Deadline: May 12, 2006)
Pacific Cinémathèque (Vancouver, BC Canada; Deadline: September 01, 2006)
Bernal Heights Outdoor Cinema (San Francisco, Ca USA; Deadline: June 15, 2006)
PARIS STRIP FILM FESTIVAL (Paris, France; Deadline: February 26, 2007)
Lausanne Underground Film & Music Festival (Lausanne, Switzerland; Deadline: May 31, 2006)
Ask the Robot (New York, NY; Deadline: May 29, 2006)
Under Ten (Oakland, CA; Deadline: May 28, 2006)
New Bedford Film Festival (new bedford ma, USA; Deadline: May 31, 2006)
35th Festival du Nouveau Cinema - Montreal (October 18 - 28, 2006) (Montreal (Qc) CANADA; Deadline: June 15, 2006)
San Diego Women Film Festival (San Diego, CA, USA; Deadline: July 01, 2006)

25 FPS (Zagreb, Croatia; Deadline: June 01, 2006)
Hull Screen (Hull; Deadline: May 31, 2006)
MadCat Women's International Film Festival (San Francisco, CA; Deadline: May 15, 2006)
Call for filmmaking stories (Toronto, Canada; Deadline: June 01, 2006)
Antimatter Underground Film Festival (Victoria, BC, Canada; Deadline: May 31, 2006)
Perform.Media (Bloomington, IN USA; Deadline: May 15, 2006)
Cinematexas International Short Film Festival (Austin, Texas, USA; Deadline: June 02, 2006)
Artists' Television Access (San Francisco, CA, USA; Deadline: May 19, 2006)
Chicago International Children's Film Festival (Chicago, IL, USA; Deadline: May 30, 2006)
Experimental Film Festival in Seoul (Seoul. South Korea; Deadline: May 13, 2006)
Mexico! (Monterrey, NL; Deadline: May 19, 2006)
Distillery (South Boston, ; Deadline: May 19, 2006)
NoBudget VideoFilmfestival, Weimar (Weimar, Germany; Deadline: May 15, 2006)
Lausanne Underground Film & Music Festival (Lausanne, Switzerland; Deadline: May 31, 2006)
Ask the Robot (New York, NY; Deadline: May 29, 2006)
Under Ten (Oakland, CA; Deadline: May 28, 2006)
New Bedford Film Festival (new bedford ma, USA; Deadline: May 31, 2006)

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Also available online at Flicker:

 * The Autofilmography of Fred Mcleod Or the Film You Are Looking For Is Not
    On This Reel ~Plus~ Some Pittsburgh Filmmaking (1959 - 2006) [May 14, Chicago, Illinois]
 * The Short Documentaries of Krzysztof Kieslowski, Part 1 [May 14, Los Angeles, California]
 * The West May Save Us Yet [May 14, San Francisco, California]
 * Questions Concerning Technology: Experimental Works [May 14, San Francisco, California]
 * More Experimental Films [May 15, Gent, Belgium]
 * Slack video Presents [May 15, Hull]
 * The Myth of Obo Martin By Michael Musika - Mission Creek Music and Film
    Festival [May 16, San Francisco, California]
 * Magic Lantern Presents "The Magic Show" [May 17, Providence, RI]
 * Mission Creek Music and Film Festival [May 18, ]
 * 23rd Annual Media Arts Department Showcase and Awards Presentation [May 18, Jersey City, New Jersey]
 * Her Shorts: 1st Annual Women's International video Festival [May 18, Tucson]
 * You Killed the Underground Film [May 19, London, England]
 * Brett Kashmere: Geographies of Identity [May 19, Montreal]
 * Material As Content: Wilhelm Hein & Malcolm Le Grice [May 20, London, England]
 * Wilhelm Hein's Secret Cabinet: Films From A Private Collection [May 20, London, England]
 * New Experimental Works [May 20, San Francisco, California]
 * Filmforum Presents the Short Documentaries of Krzysztof Kieslowski, Part
    2. [May 21, Los Angeles, California]
 * Kidlat Tahimak's Perfumed Nightmare [May 21, San Francisco, California]
 * Illuminated Corridor Outdoor Performative Projection [May 21, San Francisco, California]

Events are sorted by CITY within each DATE.

SUNDAY, MAY 14, 2006

Chicago, Illinois: The Orgone Archive
8pm, Chicago Filmmakers 5243 North Clark Street Chicago, IL 60640

  Chicago Filmmakers presents an evening of Pennsylvania filmmaking
  screened for you in two parts by The Orgone Archive (ex-Orgone Cinema)
  from Pittsburgh 13, Penna. Part 1: The Autofilmography of Fred McLeod or
  The Film You Are Looking For Is Not On This Reel Mix Warhol's static
  voyeurism, Markopoulos' intricate sense of place and Anger's flair for
  pop music and color, and you might come close describing the cinema of
  Oakmont, Pennsylvania's amateur, Auricon auteur Fred McLeod. Considered
  by railroad enthusiasts to be the father of sync sound train films,
  McLeod left behind a legacy of personal movies made between 1933 and
  1980. Whereas the majority of amateurs were out documenting vacations,
  parties and picnics, McLeod was busy making films about wood saws,
  bicycles, Buicks, golf, television, churches, Christmas trees, autumn
  leaves and steam locomotives. Greg Pierce of The Orgone Archive will be
  presenting a healthful dose of McLeod's cinematic wonders, each one a
  pure and particular peek at everyday marvels and the man in front of the
  camera. No disappointment! Part 2: Some Pittsburgh Filmmaking (1959 -
  2006) Continuing the no disappointment and adding the almost
  never-before-seen we conclude with a slight inventory of Pittsburgh
  (ex-Smoke City) 16mm filmmaking. Take a Kodachromatic tour of Joseph D.
  Kramer's Squirrel Hill Home Inventory; watch real zombies act like
  consumers at the Monroeville Mall in rushes from Dawn of the Dead; revel
  in Roger Jacoby's rarely seen hand-processed gem Kunst Life IV; see two
  serenely beautiful unknowns from Al Mahler; and witness the first public
  screening of Dave Saz's camera roll document of Stan Brakhage speaking
  at Chatham College in 1973 to some of Pittsburgh's best known filmmakers
  and film advocates. Also Chicago premieres from Brian Dean Richmond and
  the Orgon Filmarbeiter Kollektiv along with the surface turmoil, twin
  attack of Adam Abrams and Steven X. Boyle. Program 1 The Autofilmography
  of Fred McLeod or The Film You Are Looking For Is Not On This Reel 1)
  All Personal Sound Movies (1951 - 63) 22min. color / b&w, sound 2) BA BA
  and gary playing football 1979 (1979) 5min. color, sound 3) Unknown
  Footage + Tests* (1958) 5min. color / b&w, sound 4) Chuck's Trains
  (1939/45) 3min. b&w / color, silent 5) Train Views Near Harrisburg,
  Lewistown Narrows, Besserman Coal Train 1980 (1980) 10min. b&w, sound 6)
  Edgewater Picnic / Autumn Leaves (1948 / 1960) 9 min., b&w / color,
  silent / sound 7) All Golf Films (1973) 30min. color, sound 8) Wash
  Cathedral (1955) 3min. b&w, sound 9) BICYCLES Joe Jenkins Me Anita Sept
  5, 1980 (1980) 6min. color, silent ~ All films are 16mm camera original
  then... Program 2 SOME PITTSBURGH FILMMAKING (1959 - 2006) 1) HOME
  INVENTORY (1959) by Joseph D. Kramer 3min 2) ROTASIA &/OR SKRIMMENFLIGGA
  (2006) by Adam Abrams. Sound by Steve Boyle ?min 3) WAVE POSITIVE [test
  roll for unfinished film SKYLIGHT] (1976) by Al Mahler 3min 4) STAN
  BRAKHAGE AT CHATHAM COLLEGE, 1973 (1973) by Dave Saz 4min 5) UNTER DER
  MITTLEREN BRÜCKE (1989) by Brian Dean Richmond sound 9min 6) UNKNOWN
  [HIGH SPEED HALLER] (1978) by Al Mahler 1.5min 7) DAWN OF THE DEAD
  RUSHES, 11/6/77 (1977) by George Romero 9min 8) KUNST LIFE IV (1977) by
  Roger Jacoby sound 6m 9) 28 JÄHRIGER BEIM SCHÜTTERN DES KOPFES (1993) by
  Orgon Filmarbeiter Kollektiv 3min All films are 16mm, b/w or color,
  silent except where noted. ORGONE NOT WAR. S A V E P I T T S B U R G H.
  S U P P O R T P I T T S B U R G H F I L M A N A L Y S I S.

Los Angeles, California: Filmforum
4:00 and 7:00 pm, Egyptian Theatre, 6712 Hollywood Blvd.

  In conjunction with LACMA's presentation of the features of Kieslowski,
  Filmforum is honored to present the Los Angeles screenings of the short
  documentary films of Kieslowski, over the course of three Sundays in
  May. This series offers a unique opportunity to follow an artist moving
  from what might be considered "studies," then to sketches, and then
  finally to fully realized portraits. Tonight:?The Office (1966)?The Tram
  (1966) ?Concert of Requests (1967)?From the City of Lodz (1969),?I Was a
  Soldier (1970)?Factory (1970),?Before the Rally (1971)

San Francisco, California: Artists Television Access
8PM, 992 Valencia Street (at 21st)

  Sunday, May 14, 2006. 8PM The West May Save Us Yet 10th annual Mission
  Creek Music and Film festival From Olympia to Los Angeles, musicians and
  film artists up and down the Pacific coast are getting together to
  liberate the music video from its status-quo context as self-promotional
  tool and transform it into a new, confrontational art form, displacing
  major-label preen with honest, direct address and DIY visual kinesis
  Despite having next-to-nothing budgets, production values are way high,
  and you will be as well. Assembled by musician and curator Nick Hallett,
  the reel is a follow-up to last fall's '23 Reasons to Spare New York,' a
  syllabus of the Big Apple's new psychedelic wave. This screening will
  likewise involve its fair share of the heavy, heady visuals (this is the
  west coast, man!) Just imagine what MTV would look like if it still
  broadcast subversive, anti-consumerist, revolution-invoking, and
  seizure-inducing films, soundtracked by bands that actually push the
  boundaries of sound. * Deerhoof: Wrong Time Capsule, dir. Martha Colburn
  3:00 * Black Mountain: Druganaut dir. Heather Trawick 4:00 * Ariel Pink:
  Life in LA, dir. Nicolas Amato :30 * BARR: Lights Out, dir. Donovan/Vim
  Crony 3:00 * Mae Shi: Chop 2, dir. David Park 1:00 * Numbers: Fuck You
  Garage, dir. Eric Landmark 3:00 * Dynasty Handbag: I Can't Wait, dir.
  Jibz Cameron, Sue Costibile and Indra * Dunis 2:45 * Tussle: Entre Chien
  et Loup, dir. Alison Childs 2:00 * Crime in Choir: The Hoop, dir. Tim
  Miller 4:00 * Ariel Pink: Bloody Bagonias, dir. Nicolas Amato :30 * Eats
  Tapes: Pteryd, dir. Nate Boyce 3:00 * Sexy Midi: Wizards, dir. Kelly
  Sears 1:15 * Push {H}it (Abe's the S Stands for Suppa Glitch Out for all
  You Sukkas! Mix) from Universal Acid, dir. Marisa Olson and Abe Linkoln
  1:30 * Phase Chancellor: exerpt from live performance, dir. Phase *
  Chancellor 5:30 * Starter Set: In Can Can Descent, dir. Lindsay Beamish
  4:00 * Matt Reilly: Punk House 6:30 * Ariel Pink: Loverboy, dir. Nicolas
  Amato :30 * White Rainbow: Full Spectrum Healing Center, dir. Adam
  Forkner 1:30 * Bonus: Tone Trad, dir. Jamie Potter 5:00 * Comets on
  Fire: Beneath the Ice Age, dir. Elise Irving 3:30 * Casiotone for the
  Painfully Alone: The Subway Home, dir. David Enos, Paul Stephanin 3:45 *
  Bobby Birdman: Steal Yr Face, dir. Jona Bechtolt 3:30 * Ariel Pink:
  Beverly Kills, dir. Nicolas Amato 2:15 * The Gossip: Standing in the Way
  of Control, dir. Wyld File 4:30

San Francisco, California: San Francisco Cinematheque
7:30pm, Yerba Buena Center for the Arts, 701 Mission Street at Third

  Filmmakers Gibbs Chapman, Yin-Ju Chen, James T. Hong, Kerry Laitala In
  Person. The works in tonight's program examine, use, and imagine
  technology in provocative ways. Collectively they ask not only how do
  –or might– technologies affect us, but how they determine our images and
  imaginings of the world. From fairgrounds to the Zuse strip, from push
  buttons to cars, video games, reproductive and waste technologies, the
  works explore our cyborg nature. Created using either hand-processed
  film, cgi, appropriated tv, or plain old cameras, and made for the big
  screen or the i-pod, works include Kerry Laitala's Orbit, Caspar
  Stracke's Zuse Strip, Gibbs Chapman's Push Button: A History of Idleness
  & Ignorance, Scott Stark's Driven, Pawel Wojtasik's Dark Sun Squeeze,
  Yin-Ju Chen and James T. Hong's Suprematist Kapital, and Hong's The
  Coldest War Part 1. ADMISSION: $8 General, $5 Cinematheque Members,
  Seniors, Disabled, Students (w. ID). Advance Tickets: 415-978-ARTS

MONDAY, MAY 15, 2006

Gent, Belgium: artcinema OFFOFF Film-Zien vzw
20:00, Lange Violettestraat 237

  MICHAEL MAZIERE UNTITLED UK, 1980, sound mag stripe, B&W, 18 mins, 16mm
  A highly experimental film which uses a kaleidoscope array of techniques
  to question the representation of space in film. The film can be read as
  an existential journey through interior spaces or as a phenomenological
  inquiry into the relationship between what is seen and the act of
  seeing. By using a multiplicity of camera movements, image
  superimpositions, sound dislocations, the film presents spaces in
  constant transition and consecutively in motion never assuming a fixed
  form. WILL MILNE SHOWN TOES UK, 1980, sound mag stripe, colour, 17 mins,
  16mm With help from Edward Woodman. Picture cuts sound, rhythm cuts
  picture, shot bursts divide colour sections. A crude index of
  disparities, no imposition of overall order. Some basics: a crowd,
  traffic, sounds of jets, babies, cacophony, a strange room. Space for
  projection between everything. - W.M. PAT O'NEILL RUNS GOOD USA, 1970,
  sound, B&W and colour, 15 mins, 16mm A darkish journey down memory lane,
  to visit some news events, folkways and thought patterns associated with
  the late forties and early fifties. The film is also concerned with such
  perceptual phenomena as color-space, "false tones" caused by varying
  black-white alternations of simultaneously seen rhythms set up by
  multiple repetitive actions, and the use of image outlines as
  "containers" for other imagery. Sort of a working notebook, which is
  continued in EASYOUT and DOWN WIND. The optical printer is, in very
  simplified terms, a combination of projector and camera that at its most
  basic is used for technical devices like dissolves, freezes, slow
  motions etc. Used by film-artists, it can produce moving compositions as
  dense and complex as the static compositions of painting or collage. Pat
  O'Neill is probably the best film-maker on the West Coast and, like most
  Californian Art, his work shows a great concern for technical
  sophistication and perfection. But O'Neill's films are much more than
  brilliant technical exercises. There is an intense awareness and control
  of pace and colour, that combines with the complex images made by the
  optical printer to communicate meaning by the integral qualities of the
  images rather than by narrative, thus creating a new film language. Pat
  O'Neill writes: "The purpose of Runs Good is a personal exploration of
  the unique experience of the film image. It emphasises differences
  between photographed reality and ordinary reality by setting up a
  progression of paradoxical situations which cannot be perceived either
  as flat or as three-dimensional, but somewhere between". N.B. Parts of
  this film are not considered suitable for children. Award: First Prize,
  Ann Arbor Film Festival, 1971 LIS RHODES LIGHT READING UK, 1979, sound,
  B&W, 20 mins, 16mm ''Light Reading' is the possibility of a new
  direction in film, not to be co-opted by an overriding definition.'--
  Peter Gidal, Materialist Film 'The film begins in darkness as a woman's
  voice is heard over a black screen. The voice is questioning, searching.
  She will act. But how? Act against what? The bloodstained bed suggests a
  crime. . . could it be HIS blood? Could it be HER blood? The voice
  searches for clues. . . . The clues suggest it is language that has
  trapped her, meanings that have excluded her and a past constructed to
  control her. 'she watched herself being looked at she looked at herself
  being watched but she couldn't perceive herself as the subject of the
  sentence. . . ' 'Light Reading' ends with no single solution. But there
  is a beginning. Of that she is positive. She will not be looked at but
  listened to. . . ' 'Light Reading', Felicity Sparrow, in 'Her image
  fades as her voice rises', Arts Council 'Lis Rhodes uses often
  mysterious, dangerous and highly personal images.'--Amy Taubin, Village
  Voice CHARLES LEVINE PEACHES AND CREAM USA, 1969, sound, colour, 6 mins,
  16mm Assisted by Paul Morrisey. Music by Louis Misclagna. "The Collage
  paintings of Stanely Fisher: sin, sex, and gore blazing across the
  screen." - P.M. PEACHES AND CREAM which closes in on the paintings and
  closes in on the distance, is a spectacular success. The camera supplies
  visual movement to these spatially static canvases. Something is
  happening - never mind if its art. For five minutes or so, one can tap
  one's foot to the music and look." - Arts Magazine, Nov. 1969. PETER
  LIPSKIS EXPERIMENTAL RHYTHMS Canada, 1976, sound, B&W & colour, 20 mins,
  16mm "A collection of nine short films in which cinematic representation
  has been altered through optical printing techniques, as well as the
  application of numerical systems and 'cut up' editing (a la William
  VALDEMAR USA, 1976, sound, colour, 12 mins, 16mm Scientists always have
  called upon their imaginations to make sense of their experimental
  observations. And shortly before the French Revolution, science was not
  free of its fictions. Franz Anton Mesmer was then attempting serious
  explanations of the wonderful forces of nature by suggesting that some
  impalpable, invisible fluid carried electricity, magnetism and light.
  His pseudo-scientific system for bringing the world into focus -
  'mesmerism' - forms the central motif of the Edgar Allen Poe short story
  from which this film derives its title. Two strains dominate the film
  "... VALDEMAR...": one celebrates a delight in the mesmeric state
  induced by the random repetitive movements of a mechanical toy car with
  its flickering coloured light and the second traces recollections of the
  humorous process of shooting the film. Oscillations between these two
  elements underscore the play between illusions of physical reality and
  consciousness-altering. "... VALDEMAR..." is an entire 400-foot camera
  roll with synchronous sound. Made with assistance from the Louis B.
  Mayer Foundation

Hull: Slack Video
7pm, Lamp, 2 Norfolk Street

  Slack Video Presents: The 9th Triannual Review Plus Films from
  Undercurrents News Network Monday 15th May 2006 @ the Lamp, 2 Norfolk
  Street, Hull, 7 pm – midnight. Free entry. 9.15 pm - 11 pm - The 9th
  Triannual Review : A fine handpicked selection of short narrative,
  experimental and animated films from our February, March and April
  screenings. 7.30 pm - 9.10 pm - BroadHorizons : - radical women's video
  from undercurrents news network Food Available till 8.30 tel: +44
  (0)7989 47786 / (0)7833 753 951 email: email suppressed /
  email suppressed

TUESDAY, MAY 16, 2006

San Francisco, California: Artists Television Access
8PM, 992 Valencia Street (at 21st)

  Tuesday, May 16, 2006. 8PM the myth of Obo Martin by Michael Musika
  Mission Creek Music and Film Festival A lyrical documentary shot in
  colour and black and white by Chris Arnold and Isabel Fondevila in 2005
  .The movie explores a question Michael Musika asks his third grade
  students " if being a creative person means to remain a child in an
  adult world ?" At the heart of the question, is Michael Musika and his
  friend Obo Martin and their adventures through San Francisco¹s music
  scene, playing shows in hallways , baroque bars, social séances, and
  lantern-lit forests. Musika translates the experience to the children as
  a spooky comic myth. Through fact, fiction, and fairy tale the movie
  questions the difference between artistic freedom and childhood. Do you
  have to sell your dreams to make a living? This full length documentary
  features musical performances by San Francisco luminaries Sean Hayes,
  Jolie Holland, Michael Musika, Sleepy Todd and Ara Anderson


Providence, RI: Magic Lantern
9:30 pm, 204 South Main

  CURATOR MICHELLE PUETZ IN PERSON! Because "M" is for "May" and "Myth"
  and "Mekalekahimekahineyho," and because that last word is TV
  Genie-Speak for "Magic" which is shorthand for "Magic Lantern" which is,
  in turn, Rhode Island slang for "Movie," your supernatural friends at
  Magic Lantern have conjured up "The Magic Show" for your wide-open eyes.
  Guest-curated by Michelle Puetz from the Windy City, this program makes
  manifest an assortment of fantastical films in which cinema is revealed
  as Magical Form and magic is visualized through the space of the
  theater.  Dearest viewers, don't forget to bring your lucky rabbit's
  foot and your amulet pouch, for you will bear witness as 16mm practices
  of the occult, black magic, and alchemy are brought to light at 24
  frames a second. This is no sleight-of-hand trickery, and there is no
  rabbit in our hat - this is the true Magic of Magic Lantern, a cinema of
  demons and ghosts and Mick Jagger (!) and puffs of smoke and the marks
  of fireflies and crabs and the dance of light on the inside of your
  skull. Yes, dear viewer, be prepared - your eyes will bulge and your
  world will expand infinitely as invisible realities emerge through a
  Magical Explosion of Sensations! Featuring: The Red Spectre by Ferdinand
  Zecca (7:00, 16mm, 1903), Our Lady of the Sphere by Larry Jordan (10:00,
  16mm, 1969), Spiral Vessel by Janie Geiser (6:00, 16mm, 2000), Cat's
  Cradle by Stan Brakhage (6:00, 16mm, 1959), Lachrymae by Brian Frye
  (3:00, 16mm, 2000), What the Water Said, Nos. 1-3 by David Gatten
  (16:00, 16mm, 1997-98), Early Abstractions, No. 10 by Harry Smith (6:00,
  16mm, 1956), Allures by Jordan Belson (8:00, 16mm, 1961), Invocation of
  My Demon Brother by Kenneth Anger (11:00, 16mm, 1969) TRT 73:00 $5

THURSDAY, MAY 18, 2006

8:00 pm, 992 Valencia St.

  Mission Creek Music and Film Festival From The Dawn of Time Until The
  Day After Tomorrow: Music Films and Videos Curated by Danny Plotnick
  Thursday, May 18, 8 pm, $5 Artists' Television Access 992 Valencia, SF,
  CA 94110 contact: Artists' Television Access, email suppressed, (415)
  824-3890 Mission Creek Music Fest, Heather Snider,
  email suppressed, Danny Plotnick,
  email suppressed, (415) 994-9323 For the third year in a row
  local filmmaker Danny Plotnick is curating music-based films and videos
  from around the planet. Time traveling from the '60's to the '80's and
  boldly venturing into the '00's, this program is an inspired sonic and
  visual smorgasbord that travels across both time and space. The show
  will include a Birdman Records sampler platter featuring animated
  attacks from the Modey Lemon, the classic stylings of Foetus, the Wonder
  Showzen-inspired PFFR, and the serene style of local chanteuse Paula
  Frazier. Also on the bill will be horror show offerings from Buckethead
  created by film maestros Syd Garon and Rodney Ascher, the urban spaces
  shakedown of England's Semiconductor, creepy depression-era flashbacks
  from Vanessa Renwick, Bryan Boyce's ode to Valencia Gardens, Sue C's
  garage door fetishism, a double dose of the billion beats per second,
  scorched retinal policy of the TV Sheriff, non pornographic fare from
  porn impresario Eon Mackai, the sexy rap damage of Gold Chains, the
  blink or lose your eyesight offerings of Nate Boyce, the cut-and-paste
  collage of Martha Colburn, sights and sounds of local heroes Deerhoof
  and more. Setting the time machine to wayback will allow us to take in
  super 8 views of Berlin circa 1980 courtesy of Malaria, as well as 16mm
  views of the East Village circa the mid-60's courtesy of the one of the
  all time great primitive rock acts (whose name can't be mentioned in a
  press release).

Jersey City, New Jersey: Landmark Loew's Jersey Theatre
7:00PM, 54 Journal Square, Jersey City, NJ

  The 23rd Annual Media Arts Department Showcase and awards presentation
  will be held on Thursday night, May 18th, 2006, at 7:00 PM, at the
  Landmark Loews Jersey Theatre, 54 Journal Square, Jersey City, NJ. Works
  including film, video, and digital media will be screened. A donation of
  $3 to benefit the Theatre is suggested. The Dr. Joseph Drew Award for
  Excellence in Media Production will be presented to selected graduating
  seniors nominated by a faculty jury in the Media Arts Department of NJ
  City University. This prestigious award recognizes a strong academic
  standing; the production of a body of outstanding work; and service to
  the Media Arts Department. Past winners of the award have gone on to be
  independent producers, writers, directors, graduate students, teachers,
  and media technicians. The Landmark Loews Jersey Theatre opened its
  polished brass doors on September 28, 1929. Built at what was then the
  impressive sum of $2 million dollars, the Loews was accurately called
  the most lavish temple of entertainment in New Jersey. The Landmark
  Loews Jersey Theatre emphasizes the appreciation and enjoyment of
  classic and independent film. Going to the movies is the way many
  people, especially young people, discover the power of the art of
  American entertainment in their own lives. Reduced rate parking is
  available for the 23rd Annual Media Arts Department Showcase at the
  Landmark Loews Jersey Theatre for $3.50 at the Square Ramp Parking
  Garage, behind the theater on Magnolia Street. A party following the
  screening will be held at the MoJo Lounge, at 130 Westside Ave., in
  Jersey City, phone (201) 333-9092. The Media Arts Department is the
  official home of The Thomas Edison Media Arts Consortium - The Black
  Maria Film & Video Festival, New Jerseys own Academy Award qualifying
  festival for documentary shorts. The department is also the co-sponsor,
  with the Black Maria Film & Video Festival, of the New Jersey Young Film
  and Videomakers Festival. The Womenswork Media Collective and URBAN
  IMAGE, based at the University, provide opportunities for emerging
  artists from NJ City Universitys Media Arts Department to screen their
  work at prestigious arts venues including the Jersey City Museum, the
  Fort Lee Museum, the Hoboken Historical Museum, and the Red Saw Gallery
  in Newark, NJ. The Department offers a major program of study in media
  including film theory, audio, video, film, and digital media production
  and is accredited by NASAD - the National Association of Schools of Art
  and Design.

Tucson: Plugged Video Collective
6:00 PM, Dinnerware Contemporary Art Project Gallery, 101 W. 6th Street

  Tucson, AZ (April 19, 2006) – Her Shorts opens at Dinnerware
  Contemporary Art Project Gallery, on May 18, and runs 19, 20 and 21 for
  it's 1st year to showcase and celebrate new video art and film conceived
  and directed by emerging and established women artists from the USA and
  abroad. Two forty-five minute programs of short films and videos will
  screen each evening highlighting the work of many first time video
  artist and directors who are working nationally and around the globe
  including Russia, Kazakhstan, China, and London. Her Shorts was
  conceived by the local all women Plugged Video Art Collective.
  Organizing members include Lora Alaniz, Raina Benoit, Gina Cestaro,
  Jennifer Beth Guerin, Laura Milkins, Maria Navarro, Eliane Paulino,
  Kristin Skees, Kate Walker and Amanda Yopp. The festival's central
  objective is to celebrate short video art and film making, 10 minutes or
  less in length, which have been directed and written by contemporary
  women video artist and filmmakers. All genres, topics and themes,
  including experimental, documentary, narrative and animation were
  considered for the festival. Final selection was made based on
  compelling visual aesthetics, subject matter, creative story telling,
  and innovative production quality and the use of media and technology.
  Most importantly, Her Shorts festival aims to introduce and promote a
  diverse body of work and topics to audiences who may not otherwise have
  an opportunity to view contemporary video art and films. This year's
  festival will showcase videos and films with themes that run the gamut
  of: reflective, surreal, dark, honest, passionate, humorous to absurd.
  Highlights include: Cecille Manson (USA-Sweden), The Yellow Butterfly,
  Jamie Williams (USA), American Cowgirl, Lisa Vinebaum (London), Blow Up,
  Paula Thum (Russia), Talking to Myself, Alla Girik and Oksana Shatalova
  (Kazakhstan), Warning! Woman, Jennifer L. Porter (USA), The Puddle,
  Elena Tejeda-Herrera (USA-Peru), Teddy. All screenings are free and
  start at 6:00 pm and will take place at Dinnerware Contemporary Art
  Project Gallery, 101 W. 6th Street, Tucson, AZ 85701. A Welcome reception will take place on Thursday
  May 18, from 6:00 to 8:00 PM at the DCA Project Gallery- featuring work
  of Plugged Video Collective members. Friday May 19th, 6:00 pm, Project
  Gallery- Take 1 - Cecille Manson (USA-Sweden), director of The Yellow
  Butterfly talks about her experimental narrative that follows a 4-year
  old girl's escape of the parade into the ghetto with her mother in Nazi
  occupied Germany. Saturday May 20th, 6:00 pm, Project Gallery- Take 2 -
  Saddle up with Jamie Williams (USA) as she discusses her documentary
  American Cowgirl, set against the wide-screen grandeur and spirit of the
  American West. Sunday May 22nd, 2 pm, Treistmen Center UA – Join
  University of Arizona Visiting Professor Lucy Petrovich (USA) for her
  3-D interactive video demonstration and her talk on women in the digital
  arts. The Treistman Center is located on the University of Arizona
  campus at 1017 N. Olive, Music Bldg. Room 137 For more info visit our
  website call (520) 792-4503.

FRIDAY, MAY 19, 2006

London, England: The Horse Hospital
7:30pm, Colonnade, Bloomsbury, London, WC1N 1HX (Nearest Tube: Russell Square)

  BLEIBT. Wilhelm Hein (Germany), 2002-06, b/w & colour, sound-on-cd, 120
  mins. Wilhelm Hein, punk pioneer of the German underground, presents You
  Killed The Underground Film, or The Real Meaning of Kunst Bleibt,
  Bleibt, a diaristic odyssey that slides from the sublime to the
  ridiculous, between document and performance. Jack Smith, Nick Zedd and
  others appear in the film, which transcends nostalgia to become a pure
  and progressive affirmation of independence. Defiant, didactic and
  polemical, this sprawling opus is a kick in the teeth for convention.
  Hein began filmmaking in the 1960s, with rough collages that were
  audio-visual assaults on the senses. A true radical, who has resisted
  become part of the establishment, Wilhelm Hein remains committed to the
  underground and maintains a subversive practice dedicated to the freedom
  of expression. "Assembled from over 10 years of footage he shot and
  collected, Wilhelm Hein's new film is a fascinating and challenging
  example of what it means to make politically relevant underground film
  in an increasingly rented world. The film's title is partly taken from a
  text of a performance by Jack Smith at the 1974 Cologne Art Fair that
  Hein documented and uses here in the film's prologue. On the soundtrack
  we hear Smith's familiar, almost comforting, nasaldrone bemoaning
  museums, the art market and artists whose images suck the life out of
  their subjects, and the thinning of art. Images of Hein next to various
  public sculptures and monuments in Poland, the Ukraine, and Russia
  accompany parts of Smith's rant. In this sequence, as in many others
  (for instance, the witty nod to Andrew Warhola set in Warsaw and scored
  with A Night In Tunisia), Hein's unexpected combination of sound and
  image, of references and citations, calls to mind what might be one of
  the film's central concerns: what can underground film tell us about the
  changes in Eastern Europe over the past 15 years? Hein's révue-like film
  demonstrates the relevance of asking the question while offering
  numerous ways of answering it. The film functions as a burlesque show of
  aesthetic strategies and possibilities, invoking either directly or
  indirectly a mix of Hein's favourites, including Marcel Duchamp, George
  Grosz, Nick Zedd, Arnold Schoenberg, Derek Jarman, Kurt Kren, Jerry
  Tartaglia, Samuel Beckett, Pete Seeger, Jack Smith, Andy Warhol and many
  more. Hein never slips into a mode of irony or cynicism while poignantly
  and beautifully juxtaposing an earnest humanitarian Michael Jackson song
  with some re-edited Japanese porn. With his sexy, playful and
  contemplative film, Hein asks of the underground what Jack Smith asked
  of Maria Montez: give socialist answers to a rented world!" (Marc

Montreal: Concordia University
2pm, de Sève Cinema in McConnell (Library) Building, LB-125, 1400 de Maisonneuve W

  Premiere screening! Valery's Ankle: A film-essay by Brett Kashmere (31
  minutes, digital video, colour, 2006). Valery's Ankle explodes the
  spectacle of hockey violence and its representation in North American
  media -- from Eddie Shore's vicious, career-ending hit on Ace Bailey, to
  Bobby Clarke's pre-emptive smashing of rival Russian star Valery
  Kharlamov's ankle during the 1972 Summit Series, to Todd Bertuzzi's
  revenge assault on Steve Moore -- filmmaker Brett Kashmere uncovers a
  disturbing history of unforetold and abject Canadian behaviour. Preceded
  by: unfinished passages (Brett Kashmere, 17 minutes, digital video, b&w,
  2005). Small monument to my great-grandfather, prairie homesteader and
  giver of consciousness. Internalized history lesson for the birth of a
  province - in honour of 100 years since Saskatchewan's named
  independence - and light reflection on cinema's unreeling history,
  coterminously. Free! Financial Assistance: The Henry P. & Thomas R.
  Schreiner-National Film Board of Canada Research/Production Grant in
  Documentary, Mel Hoppenheim School of Cinema at Concordia University,
  CIAM - Centre interuniversitaire des arts médiatiques. Info:
  email suppressed

SATURDAY, MAY 20, 2006

London, England: Goethe-Institute London
4pm, 50 Princes Gate, Exhibition Road, London, SW7 2PH (Nearest Tube: South Kensington)

  An informal discussion between Malcolm Le Grice and Wilhelm Hein on the
  origins and development of Materialist filmmaking, and the connections
  and common ground shared between British and German artists in the 1960s
  and 1970s. Each will show selections of their work from this formative
  period. REPRODUCTIONS W+B Hein, Germany, 1969, b/w, sound, 28 min Strips
  of 35mm photographic negatives are hand manipulated in a Moviola editing
  machine and shot from its screen. The images are accompanied by a
  soundtrack by Christian Michelis. Hein considers this early anti-art
  film "even more concentrated than Rohfilm." YES NO MAYBE MAYBENOT
  Malcolm Le Grice, UK, 1967, b/w, silent, 8 min "A film that makes its
  experience through specific cutting devices in the printing and
  processing technique, which mainly involved certain kinds of
  positive-negative superimposition." LITTLE DOG FOR ROGER Malcolm Le
  Grice, UK, 1967, b/w, sound, 12 min Le Grice's early Materialist project
  was created by pulling 9.5mm home movie footage through the 16mm
  printer. In projection, the photographic images become difficult to read
  and the primary content becomes the film strip itself.

London, England: Goethe-Institute London
7pm, 50 Princes Gate, Exhibition Road, London, SW7 2PH (Nearest Tube: South Kensington)

  This screening of films from Wilhelm Hein's personal collection includes
  rarely seen works by some of the major artists of the last century,
  including Andy Warhol and Dieter Roth. The afternoon's Materialist theme
  is extended with the process works of Tony Conrad and Peter Weibel, but
  here it collides with the German punk scene of the 1980s and the
  controversial performance art of the Viennese Aktionists Brus and Mühl.
  (This screening is not suitable for persons under 18 years of age.) KISS
  (excerpt) Andy Warhol, USA, 1963, b/w, silent, 12 min Three kissing
  couples from the Andy Warhol serial. MARIO BANANA #1 Andy Warhol, USA,
  1964, colour, silent, 4 min Underground superstar Mario Montez eats a
  banana … in his own special way. 4 FILME (DOCKS & DOTS) Dieter Roth,
  Germany, 1956-62, b/w & colour, silent, 10 min German artist Dieter Roth
  made early direct cinema experiments by physically punching holes into
  the film material. FINGERPRINT Peter Weibel, Austria, 1969, b/w, silent,
  1 min "The film was produced by means of pressure rather than exposure –
  film as the trace of a touch rather than light." 4-X ATTACK Tony Conrad,
  USA, 1973, b/w, silent, 3 min What remains of raw, unexposed black and
  white film stock that has been violently battered with a hammer. CHÉRIE
  CHÉRIE Lukas Schmied, Germany, 1993, b/w, sound, 10 min Boredom, sex and
  destruction: A film that encapsulates the German punk aesthetic.
  UNFINISHED FILM Kurt Kren, Austria, c.1970, b/w, silent, 3 min An
  unknown, unseen, and unfinished work by the legendary Austrian
  filmmaker. ZERREISSPROBE Günther Brus, Austria, 1970, colour, sound, 15
  min This final solo performance by Viennese Aktionist Brus is an extreme
  test of endurance and suffering. DAS LEBEN DES SID VICIOUS Nikolaus
  Utermöhlen & Max Müller, Germany, 1981, colour, sound, 12 min Oskar &
  Angie (aged 3 and 7 years) act out the tragic story of Sid & Nancy,
  punk's royal couple, in a film by the art group Die Tödliche Doris.
  JOYCE IN PREUSSEN Annette Frick, Germany, 2004, b/w, sound, 5 min A film
  reconstruction of Marie-Guillemine Benoist's "Portrait of a Negress"
  (1900). SCHEISSKERL Otto Mühl, Austria, 1969, colour, sound, 12 min
  Dedicated to Bataille, this rarely seen film is a hilarious, subversive
  and explicit, performance for camera.

San Francisco, California: Other Cinema
8:30pm, 992 Valencia Street

  Comes now an energized exhibition of new efforts that champion personal
  expression and radical cinematic form. Constituting the season’s
  most exploratory programming initiative—and with many of the makers
  in person—are Vanessa Renwick’s God Bless America, Nomi
  Talisman’s David & Hazel, Jeanne Liotta’s Hephaestus of
  the Airshaft, Robbyn Leonard’s Limerance, John Rroom’s Boyband
  Mayhem, Enid Blader’s Love Diaries, David Cox’ Veromo, Kerry
  Laitala’s Orbit, and James Hong / Yin-Ju Chen’s Suprematist
  Kapital. AND: Damon Packard, Michelle Silva, Katherin McGinnis, Ken Paul
  Rosenthal, Ben Folstein, et al.

SUNDAY, MAY 21, 2006

Los Angeles, California: Filmforum
4:00 and 7:00 pm, Egyptian Theatre, 6712 Hollywood Blvd.

  These lovely short works show the film master develop from film school
  to early political films, as well as provide a fascinating look at
  Poland in the days of Communism. Tonight:?Refrain (1972,)?The Principles
  of Safety and Hygiene in a Copper Mine (1972)?Between Wroclaw and
  Zielona Gora (1972),?Workers 1971: Nothing About Us Without Us
  (1972)?Bricklayer (1973, released in 1981)

San Francisco, California: San Francisco Cinematheque
7:30pm, Yerba Buena Center for the Arts, 701 Mission Street at Third

  Exuberant, witty, and politically incisive, Tahimik's now classic 1977
  feature/essay Perfumed Nightmare takes a wry look at American cultural
  influence and globalization from the artist's playful and idiosyncratic
  perspective. The nightmare is the "cocoon of American dreams" which the
  film evokes and then parodies. From Tahimik's childhood village, where
  Voice of America, movies, and space travel transform his lively
  imagination, the film moves to Paris and Bavaria where he tastes the
  fruits of the capitalism alongside an American bubble gum entrepreneur.
  Produced with the help of Werner Herzog, Perfumed Nightmare "reminds one
  that invention, insolence, enchantment –even innocence– are still
  available on film" according to Susan Sontag. Presented in Association
  with the Center for Asian American Media. ADMISSION: $8 General, $5
  Cinematheque Members, Seniors, Disabled, Students (w. ID). Advance
  Tickets: 415-978-ARTS

San Francisco, California: The Illuminated Corridor
8:48pm, Capp Street between 16th & Adair

  The San Francisco debut of the Illuminated Corridor comes to the street
  outside The LAB in a night of collaborative intermedia, performative
  projection, live music and public art. Under the dynamic umbrella of the
  Mission Creek Music & Arts Festival's Collision Series, the Corridor has
  assembled seven ensembles featuring the work of over two dozen
  filmmakers, media artists and musicians. Together they will relight a
  historic city block and thread a story in cinematic sound and vision
  along its facades. Inside the LAB, four intermedia ensembles (The
  Deletist, Neigborhood Bass Coalition, Nullspace and Soundshack) will
  create immersive environments with video, film, dance, theater, and
  sonic arts. Artists include the Cinepimps with Alfonso Alvarez, Keith
  Arnold, Steve Dye, Jeff Hobbs, Alan Korn and Joe Rut Epic [Abridged]
  with Christian Bruno, Charles Kremenak, Steve Dye, Biagio Azzerelli,
  Eric Steinberg and Arturo Cesares Cecilia Elguero Killer Banshee (Eliot
  Daughtry and Kriss De Jong) Sarah Lockhart with Aurora, Damon Smith and
  Weasel Walter Kathleen Quillian and Gilbert Guerrero and Sun-X (Peter
  Nyboer and Eric van Osdel) free street performance $7-$15 sliding scale
  admission to indoor performance About the Corridor The Illuminated Corridor is a next step in
  outdoor cinema: a nomadic public art installation that creates
  site-specific illumination of public space, drawing on local traditions
  of film and live music. Launched in the Summer of 2005 by a
  collaboration of over 50 Bay Area filmmakers, media artists, sound
  artists and musicians, the Illuminated Corridor catalyzes new work,
  showcases diverse collaborations between performative projectionists and
  performing artists, and covers a vast territory of film and music

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