This week [September 3 - 10, 2006] in avant garde cinema

From: weekly listing (email suppressed)
Date: Sat Sep 02 2006 - 11:47:18 PDT

This week [September 3 - 10, 2006] in avant garde cinema

PROGRAMMERS AND CURATORS! Enter your fall calendars now!

Florida Atlantic University

"invisibilities" by Jennifer Proctor
"Through My Fingers" by Janene Higgins
"More Than Meets the Eye: Remaking Jane Fonda" by Scott Stark

Lake Forest Film Festival (Lake Forest, IL USA; Deadline: September 08, 2006)
LiveBox Gallery (Chicago, IL, USA; Deadline: October 01, 2006)
ArtsUnion (Somerville, MA, USA; Deadline: October 03, 2006)
Research Spaces 3: Topos - The Moving Image between Art and Architecture (London, UK; Deadline: October 10, 2006)
UPDATED! Elastic Gallery / The Ruckel Patzke Project (Chicago, IL, USA; Deadline: September 15, 2006)

Eerie Horror Film Festival (Erie, Pa. USA; Deadline: September 09, 2006)
Echo Park Film Center (Los Angeles, CA, USA; Deadline: September 15, 2006)
Elastic Gallery (Chicago, IL, USA; Deadline: September 15, 2006)
Pleasure Dome (Toronto; Deadline: September 15, 2006)
Polymer at the Hunter Museum of American Art (Chattanooga, TN, US; Deadline: September 15, 2006)
19th SEAGATE FOYLE FILM FESTIVAL (Derry City, Derry, N.Ireland; Deadline: September 04, 2006)
Seagate Foyle Film Festival (Derry, Northern Ireland; Deadline: September 04, 2006)
Abrasions: Architecture and Accident (San Francisco, CA USA; Deadline: September 30, 2006)
Lake Forest Film Festival (Lake Forest, IL USA; Deadline: September 08, 2006)
LiveBox Gallery (Chicago, IL, USA; Deadline: October 01, 2006)
ArtsUnion (Somerville, MA, USA; Deadline: October 03, 2006)
UPDATED! Elastic Gallery / The Ruckel Patzke Project (Chicago, IL, USA; Deadline: September 15, 2006)

Edit Suite Rental

History of Xperimental Cinema class
38mm Pageant projector lens WANTED

Enter your event announcements by going to the Flicker Weekly Listing Form

Also available online at Flicker:

 * Haunted Cameras: Recent Avant-Garde Films [September 5, Berkeley, California]
 * World Premiere: Electra Elf : vile Buddies [September 5, New York, New York]
 * Film Screening: Matthew Barney: No Restraint [September 5, San Francisco, California]
 * Cash Refund Annuity [September 5, USA]
 * David Lamelas: Time Is A Fiction [September 7, Chicago, Illinois]
 * Canyon Cinema Presents... Not At Ease and Not At Rest [September 8, San Francisco, California]
 * Wavelengths: Programme 1 [September 8, Toronto, Ontario, Canada]
 * Dark Toons: Fugazi and Califone Live At Rooftop Sept 9 [September 9, Brooklyn, New York]
 * Cinnamon By Kevin Everson [September 9, Chicago, Illinois]
 * Wavelengths: Programme 2 [September 9, Toronto, Ontario, Canada]
 * Wavelengths: Programme 3 [September 9, Toronto, Ontario, Canada]
 * Cinnamon By Kevin Everson [September 10, Chicago, Illinois]
 * Wavelengths: Programme 4 [September 10, Toronto, Ontario, Canada]

Events are sorted by CITY within each DATE.


Berkeley, California: Pacific Film Archive
7:30PM, 2575 Bancroft Avenue

   Haunted Camera (U.S., 2006, 30 mins, B&W, 16mm), Nancy Andrews's
  handcrafted homage to film noir and early motion-study photographers
  Marey and Muybridge, features puppets, a chalk illustrator, a possible
  death, and things one cannot draw. Fred Worden's Here (U.S., 2005, 11
  mins, B&W/Color, Beta SP) conjures a dizzying optical encounter between
  actor Sir Laurence Olivier and turn-of-the-century cinema magician
  Georges Méliès. Dangerous Supplement (Soon-Mi Yoo, Korea/U.S., 2005,
  14 mins, Color/B&W, DVCam), composed of both aerial shots filmed by
  bomber planes during the Korean War and contemporary footage of Korea,
  suggests the limited ability of images to represent the horrors of war.
  Jim Jennings's Made in Chinatown (U.S., 2005, 12 mins, Silent, Color,
  16mm) exquisitely observes New York, being "a condensation of an emotion
  related to being on the outside looking in" (Jennings). The wonderful,
  intricate collage Phantom Canyon (Stacey Steers, U.S., 2006, 10 mins,
  B&W, 35mm) recalls a woman's journey long ago. Olivo Barbieri's aerial
  city study site specific_Las Vegas 05 (Italy, 2005, 12 mins, Color,
  35mm) reveals a strangely unreal landscape.

New York, New York: Penetration Films & Television
7:00 PM, Mo Pitkins, 34 Ave A.

  The Adventures of Electra Elf : Vile Buddies starring Saint Rev Jen,
  Brenda Bergman, Alison Gordy, Faceboy, Joseph Mauricio, Angry Bob, Mike
  Raphone. Episode 14 in the groundbreaking tv series written & directed
  by Nick Zedd, Vile Buddies stars Alison Gordy (Sopranos; singer for
  Johnny Thunders) as Tantalus, masked queen of fetish wear who wreaks
  havoc flying on a giant bat as an agent for a terrorist organization
  using weather as a weapon. When Fluffer (Rev Jen Jr.) crashlands in
  Gramercy Park, getting arrested for trespassing, Electra Elf (Rev Jen)
  must raise her bail by competing in a wrestling tournament against
  Tantalus and guest star Brenda Bergman! A collossal mismatch? Action,
  adventure and scathing satire with guest appearance by Angry Bob as Biff
  Hitler! $5 cheap As an added attraction, Brenda Bergman & the Bodacious
  Ta Tas will open the show!

San Francisco, California: San Francisco Museum of Modern Art
12:00 pm, 151 Third Street

  Free Tuesday Program Matthew Barney: No Restraint By Alison Chernick,
  2005, 72 min. - September 05, 2006, Noon, Phyllis Wattis Theater -
  Chernick chronicles the action behind the scenes in Matthew Barney's
  film DRAWING RESTRAINT 9 as the artist navigates cultural divides and
  challenging logistics to realize his creative vision. She also
  highlights how the soundtrack composed by Barney's costar and
  collaborator Björk influenced his process. Museum and program admission
  are free. DRAWING RESTRAINT 9 By Matthew Barney, 2005, 145 min. June 23
  - September 17, 2006, Daily (except Wednesdays): 2:00 p.m. Thursdays at
  6:15 p.m. Phyllis Wattis Theater. Free. Seating is limited and available
  on a first-come, first-served basis.

USA: The Best
Under construction, Very site

  Emotionally Packed Words Will Cash refund annuity Earn You More Money.


Chicago, Illinois: Conversations at the Edge
6:00 p.m., 164 N. State Street

  Argentine-born conceptual artist David Lamelas has produced an
  extraordinary body of film and video work over the past 30 years,
  balancing a cheeky sensibility with a serious inquiry into the rhythms
  and syntax of contemporary life. Tonight's program is a rare opportunity
  to see five of his earliest 16mm experiments, including READING OF AN
  A GLASS (1972, 8 min.), TIME AS ACTIVITY (DÜSSELDORF) (1969, 13 min), A
  and THE DESERT PEOPLE (1974, 48 min.). Curated by Jacqueline Holt for
  LUX. (1969-74, Germany/UK/USA, 16mm, ca. 95 min.)


San Francisco, California: Canyon Cinema
7:30pm, 145 Ninth Street @ Minna

  CANYON CINEMA presents... NOT AT EASE AND NOT AT REST A selection of
  short, 16mm films from the collection. An evening of adolescent
  disquiet, geothermal & meteorological agitation, drastic measures,
  retinal assault, California Dreamin', and the discomfort that comes with
  the impossibility of fully understanding the other, at any age. JOHN
  LUTHER SCHOFILL, Filmpiece for Sunshine (1966-1968), DOROTHY WILEY, Miss
  Jesus Fries on Grill (1973), GEORGE KUCHAR, Wild Night in El Reno
  (1977), ED EMSHWILLER, Thanatopsis (1962), WARREN HAACK, Selective
  Service System (1970), ANDREJ ZDRAVIC, Restless (1987), JAMES IRWIN, Old
  Argument on MacDougal Street (1985), with unannounced respites
  throughout. Curated by Eric Theise FRIDAY, SEPT 8TH at 7:30pm.
  Admission: $7. Since 1967, Canyon Cinema has led the way in distributing
  experimental, avant-garde, and independent films. Unapologetically
  committed to film in its many formats--8mm, Super 8, 16mm, and
  35mm--Canyon distributes over 3,700 titles by nearly 400 maker/members.
  For more information, visit , email
  email suppressed, or call 415 626 2255.

Toronto, Ontario, Canada: Toronto International Film Festival
7:00 p.m., 750 Spadina Avenue, Toronto, ON M5S 2J2

  This programme of three masterful works explores the intersections
  between landscape, history and representation. Rose Lowder's Bouquets
  28-30 complete what she calls a series of "ecological" films that began
  with Bouquet 20 in 2001. Lowder's exquisite, optically dense films are
  composed in-camera, frame by frame, interweaving floral images of three
  environments with rural activities in the immediate area. Lowder is one
  of cinema's supreme colourists, and the vibrating energy of her work is
  unmistakable. In This House documents Lebanese artist Akram Zaatari's
  mission to uncover a letter buried in a garden in the village of Ain el
  Mir, forty-five kilometres southeast of Beirut. For six years, members
  of the Lebanese resistance occupied a family's home there, while the
  Israeli army occupied the nearby hills. Unbeknownst to the family, when
  the fighting was over one of the soldiers left behind a note of
  gratitude buried inside the casing of a B-10 mortar. Using a playful,
  diagrammatic schema, Zaatari juxtaposes the testimony of the soldier who
  wrote the letter with a hired gardener's sweaty, dogged search for it.
  Complex and demanding, but consistently witty, In This House incisively
  highlights the absurd and peculiar situations that arise in times of
  war. Haunting and spare, Xavier Lukomski's Un Pont sur la Drina reflects
  on the history of a wounded place. The Drina River and the bridge that
  crosses it at Višegrad hold great significance in the history of the
  Balkan region. (The Drina flows from Montenegro along the borders of
  Bosnia, Herzegovina and Serbia.) Nobel Prize-winning author Ivo Andriæ's
  novel "The Bridge on the Drina," from which this film takes its name,
  raised the Višegrad bridge to iconic status as a symbol of the
  centuries-old tensions between the Muslim and Christian cultures of
  these nations. Lukomski's film unfolds in a series of stately shots of
  the seemingly placid river and bridge at different times of day, a
  painterly landscape worthy of endless contemplation. Yet, as the film
  reveals, the scene's beauty alone can communicate nothing of the
  gruesome horrors recently witnessed there. The Toronto International
  Film Festival presents Wavelengths. For ticket information please call
  (416)968-FILM or go to All Wavelengths
  screenings will be held at the Al Green Theatre.


Brooklyn, New York: Rooftop Films
8:30PM, 210 Cook Street, East Williamsburg

  (LIVE!) Rooftop Films is known for our impressive combinations of
  spectacular venues, fabulous films, and great music, and this show is
  sure to be a smash. Atop a gorgeously gritty, rust-covered roof in East
  Williamsburg, we'll be screening some of the coolest, cruelest, most
  disturbing and delightful cartoons you'll ever see, accompanied by rock,
  rollick and roll by the legendary Brendan Canty (Fugazi), Jim Becker
  (Califone) and Jerry Busher, playing live before the movies and along
  with the films of Brent Green. This is a program you don't want to miss,
  because "Wondrous things happen all the time, and to sleep through even
  one of them could cripple your life" (Hadacol Christmas). SATURDAY,
  SEPTEMBER 9, 2006 Time: Music at 8:30 | Films at 9:00 Venue: The roof of
  210 Cook St. (East Williamsburg, Brooklyn) Tickets: $8 available at the
  door or online at Advance tickets are
  recommended as the show may sell out. After Party: Cheap drinks at The
  Wreck Room, just around the corner on Flushing at White.

Chicago, Illinois: Chicago Filmmakers
8:00 pm, Chicago Filmmakers (5243 N. Clark St.)

  Kevin Everson's exceptional second feature, Cinnamon (2006) is intimate
  look at the diversity of African-American life. Told in a hybrid
  narrative-documentary style, the film centers on drag racing. Home
  scenes of the Bowles family alternate with preparations for racing,
  practice runs, and the races themselves. The focus, however, is on
  individual improvement rather than competition - a metaphor for a way of
  living. Former racer John Bowles is now the mechanic and coach for his
  wife Rhonda, brother Larry, 12-year old daughter Ashley, and another
  driver - mortgage loan officer Erin. Everson seamlessly combines the
  documentary (the Bowles family) with the fictional (Erin's scenes -
  she's played by actress Erin Stewart) into an impressionistic drama
  about the quest for perfection, filtered through the grit, grime,
  repetition, and exhilaration of drag racing.

Toronto, Ontario, Canada: Toronto International Film Festival
6:30 p.m., 750 Spadina Avenue, Toronto, ON M5S 2J2

  From home movies to the nightly news, from the structure of the video
  image to the icons of Hollywood, these works ask questions about how
  images are created, circulated and understood. The young video artist
  Kyle Canterbury works through a multi-stage process of reshooting
  small-sized video images. His source material becomes highly abstracted,
  while the resulting interference patterns create a rhythmic pulse with a
  strong musical quality. Cynthia Madansky's The PSA Project was designed
  as a protest against the United States-led war in Iraq. In these three
  instalments of the series, Madansky draws on a wide range of images to
  create a moving condemnation of the war, and of war as a means to
  supposedly positive ends. In hysteria, Christina Battle refers more
  obliquely to the contemporary political climate using schoolbook
  illustrations of the Salem witch trials. She works the surface of the
  film in distinctive ways, here lifting the emulsion to literally add new
  wrinkles to the image one frame at a time. Christoph Girardet and
  Matthias Müller's Kristall extends from the artists' previous work using
  iconic images from commercial cinema. Here they draw on the rich
  tradition of mirror imagery in the movies, introducing unexpected visual
  ruptures and passages of quiescence. Peter Tscherkassky's latest,
  Nachtstûck, was commissioned as part of a series of one-minute films
  commemorating the 250th anniversary of Mozart's birth. Here
  Tscherkassky's method of elaborately contact-printing film by hand is
  informed by Mozart's "Eine Kleine Nachtmusik." In Afraid So, Jay
  Rosenblatt creates a statement-and-response structure alternating
  between speech and image. Garrison Keillor's reading of Jeanne Marie
  Beaumont's poem lends the film a suitably understated sense of anxiety.
  Memo to Pic Desk takes an idiosyncratic look at staging in news
  photography, using photos and related memos from the archives of a
  Toronto daily. The film closely examines two sets of images, from
  stories on female juvenile delinquents and deserted wives. In Roads of
  Kiarostami the Iranian master looks back over decades of his photographs
  of landscapes with roads, ruminating on his fascination with these
  spaces and touching on the path as a longstanding motif in Persian
  poetry. The film's themes subtly broaden, culminating in a haunting and
  unexpected final image. Yuiko Matsuyama's contemplative Reminiscence
  uses old home-movie footage, layered and multiplied on an optical
  printer, to create a reflection on memory. The Toronto International
  Film Festival presents Wavelengths. For ticket information please call
  (416)968-FILM or go to All Wavelengths
  screenings will be held at the Al Green Theatre.

Toronto, Ontario, Canada: Toronto International Film Festival
9:00 p.m., 750 Spadina Avenue, Toronto, ON M5S 2J2

  This series of striking and colourful films and videos takes us to a
  series of distinctive spaces: observed, imagined and recombined. The
  great surrealist animator Lawrence Jordan's new work, Poet's Dream,
  begins in sleepy darkness but soon bursts into brilliant colour. It is a
  work of exquisite, languid beauty set in a wilderness of
  nineteenth-century engravings. In lions and tigers and bears, Rebecca
  Meyers focuses on the urban wildlife, both real and simulated, with
  which we share our cities. The most unlikely creatures somehow survive
  in a hostile environment, while animals are also invoked in artworks,
  corporate logos and other icons. Pets and animal icons testify to a
  human longing for proximity to wildlife, while the urban landscape
  offers its fugitive creatures artificial substitutes for the tree limbs
  and tunnels of the wild. Oliver Husain's Swivel creates a kind of
  Frankenstein portrait of the new Shanghai, digitally stitching together
  shots captured all over the city by an insistently panning camera.
  Locations shift from the suburbs into the city and back. The result is
  an oddly mesmerizing picture of a city whose architecture becomes a
  highly theatrical space for its inhabitants. Little known in North
  America, Josef Dabernig is an established photographer and filmmaker
  whose sense of the uncanny is matched by a rigorous practice. In Lancia
  Thema, a mysterious man travels through an unsigned European landscape
  in the titular vehicle. Though shot in the tradition of European art
  cinema (Antonioni's Red Desert and The Passenger come to mind), the film
  playfully raises narrative expectations that become increasingly
  untenable. For 3 Minuten, Christoph Brunner created three one-minute
  shots of a train station platform by running the same strip of film
  through the camera 240 times over the course of four hours. The result
  is an image in which moving objects appear only as the most subtle of
  ghostly impressions in a mysteriously empty space. Takashi Ishida's Ema
  • Emaki II is also composed using a series of minute-long units. In this
  film Ishida animates organic linear forms that grow ever upwards. Each
  piece of animation is then recombined with the others in a series of
  variations created through multiple exposures. The Toronto International
  Film Festival presents Wavelengths. For ticket information please call
  (416)968-FILM or go to All Wavelengths
  screenings will be held at the Al Green Theatre.


Chicago, Illinois: Chicago Filmmakers
8:00 pm, Chicago Filmmakers (5243 N. Clark St.)

  See September 9.

Toronto, Ontario, Canada: Toronto International Film Festival
8:45 p.m., 750 Spadina Avenue, Toronto, ON M5S 2J2

  With Schuss!, Nicolas Rey has created a delightfully confounding work
  that reinvigorates the experience of film-viewing. Rey describes Schuss!
  as an "Alpine film," implying a documentary about skiing, but the first
  few sentences of voice-over already suggest broader, more complex
  themes. As Schuss! unfolds in a series of chapters with puckish titles
  like "Arlette Puts on Her Skis" and "Bold Bamboozle," it expands to
  sketch out a history of the aluminum industry, the shifting economy of
  France's Romanche valley, and the relationship between the leisure
  industry and local public interests, making reference to the history of
  film along the way. As a sagacious chronicler, Rey's method is to place
  his materials (skiers, studies in landscape, archival footage,
  historical documents and more) in clusters whose relations to one
  another are initially unclear, then gradually develop connections.
  Winter sports, the aluminum industry, the cinema – each has its origins
  in the late nineteenth century, and each can be taken as a case study in
  capitalist development. Schuss! is Rey's second slalom into an
  idiosyncratic and compelling style of long-form essay/documentary film
  (his previous work was the three-hour epic Les Soviets plus
  l'électricité, shot entirely on dated Soviet Super 8 film stock).
  Formally, Schuss! continues Rey's exploration of unusual materials and
  processes; much of the colour footage has been created using a method
  that dates back to 1908. Colour is built up through the successive
  filtration of a black-and-white image through three primary-colour
  filters, and the resulting footage has a peculiar, radically distinct
  cast. For Rey, the alchemic possibilities of the film lab are an
  integral part of the creative process, and make Schuss! as compelling
  visually as it is thematically. The German word schuss describes a fast,
  straight, downhill run on skis, with no slowing down. Does this
  correspond to the structure of the film or its subject? Do we now look
  back at the twentieth century as a fast downhill slide, bottoming out in
  the conditions of contemporary global capitalism? Rey's aim is not to
  propagandize, but, in his words, to "question habits of thought – my own
  first of all." The Toronto International Film Festival presents
  Wavelengths. For ticket information please call (416)968-FILM or go to All Wavelengths screenings will be held at the
  Al Green Theatre.

Enter your event announcements by going to the Flicker Weekly Listing Form

The weekly listing is also available online at Flicker:

For info on FrameWorks, contact Pip Chodorov at <email suppressed>.