This week [October 22 - 29, 2006] in avant garde cinema (part 1 of 2)

From: weekly listing (email suppressed)
Date: Sun Oct 22 2006 - 09:21:57 PDT

This week [October 22 - 29, 2006] in avant garde cinema (part 1 of 2)

Enter your announcements (calls for entries, new work, jobs, items
for sale, etc.) at:


conflict zone film fund

Asbury Shorts of New York 2007 (New York, NY USA; Deadline: December 20, 2006)
Flatpack Festival (Birmingham, UK; Deadline: December 15, 2006)
Single Reel Film & Video Festival (New York, NY, USA; Deadline: December
01, 2006)
Magmart | video under volcano (Naples, Italy; Deadline: December 31, 2006)
Dereel Independent Film Festival (Melbourne, Victoria, Australia; Deadline:
February 03, 2007)
Research Spaces III: Topos - The Moving Image between Art and Architecture
(London, UK; Deadline: October 15, 2006)
ZEMOS98 (Sevilla, Spain; Deadline: November 01, 2006)
Naples / Tam Tam Digifestival (Naples, NA, Italy; Deadline: December 31, 2006)
Experimenta 2007 (Bangalore, India; Deadline: December 15, 2006)
Reel Shorts (Saratoga Springs, NY. U.S.A.; Deadline: December 07, 2006)
Apple Cider Screening (Chicago, IL USA; Deadline: October 30, 2006)
Finger Lakes Environmental Film Festival (Ithaca, New York, U.S.; Deadline:
November 15, 2006)
The Delta International Film and Video Festival (Cleveland, MS USA;
Deadline: February 01, 2007)
Daughters of Joy! Film + Video Festival (Montreal, Quebec, Canada;
Deadline: January 15, 2007)

Videologia (Volgograd, Russia; Deadline: November 01, 2006)
OpenLens Festival (Eugene, Oregon; Deadline: October 27, 2006)
The Journal of Short Film (DVD) (Columbus, OH, USA; Deadline: November 08,
Images Festival (Toronto, Ontario, CANADA; Deadline: November 17, 2006)
Cinematic CD FILM2MUSIC Competition (Los Angeles, CA USA; Deadline:
November 01, 2006)
Omaha Film Festival (Omaha, Ne, USA; Deadline: November 08, 2006)
ZEMOS98 (Sevilla, Spain; Deadline: November 01, 2006)
Apple Cider Screening (Chicago, IL USA; Deadline: October 30, 2006)
Finger Lakes Environmental Film Festival (Ithaca, New York, U.S.; Deadline:
November 15, 2006)

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

Also available online at Flicker:

  * Split Pillow Showcase: Soulmaid [October 22, Chicago, Illinois]
  * 30th Anniversary Series Continues With Former Director Amy Murphy Hosting
     Films By andy Warhol! [October 22, Los Angeles, California]
  * New York Experimental: the Work of Chiaki Watanabe 2002-2006 [October
22, New York, New York]
  * Films By Kelly Reichardt [October 22, New York, New York]
  * Thread, Frame, and Flicker: Recent 16mm Films [October 22, San
Francisco, California]
  * Therefore I Live Part 3: Testament [October 23, Atlanta, Georgia]
  * Gunvor Nelson Retrospective: Personal Lens [October 23, New York, New
  * Multi-Media Performance By Miranda July [October 23, San Francisco,
  * Pioneers In Revolt: A Lesbian and Gay Avant-Garde Film Retrospective
[October 24, Pittsburgh, Pennsylvania]
  * Fallen Angels [October 24, Reading, Pennsylvania]
  * Multi-Media Performance By Miranda July [October 24, San Francisco,
  * The Motherhood Manifesto [October 24, Seattle, Washington]
  * The Free Screen - Gunvor Nelson In Person! [October 24, Toronto,
Ontario, Canada]
  * Pioneer of the Minimal: Tony Conrad Retrospective [October 25,
Buffalo, New York]
  * Peek-A-Boo! Magic Lantern Presents "The Peep Show" [October 25,
Providence, RI]
  * Pioneer of the Minimal: Tony Conrad Retrospective [October 26,
Buffalo, New York]
  * The Animated Films of Adam K. Beckett [October 26, Chicago, Illinois]
  * One Way Boogie Woogie / 27 Years Later [October 26, London, England]
  * Jack Smith & the Destruction of Atlantis [October 26, London, England]
  * Taste of Iceland Film Festival [October 26, Philadelphia, Pennsylvania]
  * Pioneer of the Minimal: Tony Conrad Retrospective [October 27,
Buffalo, New York]
  * Half-Cocked - A Rare Screening of the Legendary Rock 'n Roll Road
Movie! [October 27, Chicago, Illinois]
  * Anger Me [October 27, London, England]
  * The Holy Mountain [October 27, London, England]
  * Arkansas Auteur: the Folk Art Films of Phil Chambliss [October 27,
London, England]
  * Halloween Special 1st of 2 Shows [October 27, New York, New York]
  * On the Threshold: videos By Leslie Peters [October 27, New York, New York]
  * Urban/ Rural Landscapes Explored In video and Film [October 28,
Greenbelt, MD]
  * Games People Play [October 28, London, England]
  * Distance and Displacement [October 28, London, England]
  * One Way Boogie Woogie / 27 Years Later [October 28, London, England]
  * Jack Smith & the Destruction of Atlantis [October 28, London, England]
  * Halloween Special 2nd of 2 Shows [October 28, New York, New York]
  * Let Me Start By Saying (Shorts Programme) [October 28, New York, New York]
  * Laitala's Halloween Spooktacular! [October 28, San Francisco, California]
  * Incendiary video: Selections From the Media Burn Archive [October 29,
Chicago, Illinois]
  * Within You, Without You [October 29, London, England]
  * Kenneth Anger 35mm Preservations With Kenneth Anger In Person !
[October 29, London, England]
  * Anger Me [October 29, London, England]
  * Shine On [October 29, London, England]
  * Inward & Outward Journeys - Films By Sarah Miles and Laura
Waddington [October 29, Los Angeles, California]
  * Winter Fire: Swiss Filmmaker Hannes Schupbach In Person [October 29,
San Francisco, California]

Events are sorted by CITY within each DATE.


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

   See October 20.

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

   Amy Murphy, director of Filmforum in 1994, hosts a show revisiting
   Filmforum's Andy Warhol Weekend, including a reel of Warhol's screen
   tests, including those of the late Susan Sontag and avant-garde
   filmmaker Jack Smith. Then we'll screen the classic "Harlot." General
   admission $9, students/seniors $6. Cash and check only.

New York, New York: The Tank
8:00 PM (Doors), 279 Church Street

   A screening of works from visual music artist Chiaki Watanabe's recently
   released compilation DVD, "muX", in addition to her recent video series,
   o.t.m. "muX" is a collection of six visual music works created between
   2002 and 2006. The title of this compilation is derived from the digital
   processing term "muXing": fusing audio and visual data into one. muX
   represents the best of Watanabe's works, including those featured in the
   NY Video Festival, European Media Art Festival, Microcinema
   International, MOMA and ICA London. All live visual works were performed
   with various experimental, electronica and avant classical sound artists
   in NY and abroad. "o.t.m." (on the move) is a series of abstract video
   collages consisting of footage captured from everyday life, including
   the street, vehicles, and nature. The collages are composed of
   observations of fragments of moments. These fragments form patterns,
   creating a pulse for each moment. In "o.t.m." she weaves each of these
   moments into a poetic tapestry. Watanabe's work has been presented
   internationally in various venues ranging from media art and video
   festivals such as the New York Video Festival, Microcinema
   International, European Media Art Festival (DE), Viper New Media
   Festival (CH) to art institutions including MOMA, ICA (UK), Austin
   Museum of Digital Art , and Kunsthall (NO). She has performed at venues
   throughout New York City including Location One, Dance Theater Workshop,
   The Knitting Factory, The Kitchen and Merce Cunningham studio. * muX is
   made possible with support from the Experimental Television Center's
   (ETC) Finishing fund. The Experimental Television Center (ETC) is
   supported by The New York State Council on the Arts (NYSCA) and Media
   The Foundation. FOR MORE INFORMATION PLEASE CONTACT: Susan Agliata -
   email suppressed - 212.563.6269 FOR MORE INFORMATION PLEASE VISIT: and

New York, New York: Anthology Film Archives
6pm and 8:30pm, 32 Second Ave. @ 2nd St.

   With Kelly Reichardt's acclaimed new film OLD JOY enjoying a recent
   theatrical release, Anthology is pleased to present her much-admired
   feature-debut, RIVER OF GRASS, along with its medium-length follow-up
   ODE, and her two short films, THEN A YEAR and TRAVIS. PROGRAM ONE:
   Sunday, October 22 at 6:00: RIVER OF GRASS (1993, 81 min, 16mm, color)
   "A canny, contemporary portrait of shiftlessness, this adept first
   feature...set in the Florida Everglades, is about people so bored they
   jump at the chance to go on the lam – taking off even before they've
   committed a crime. Reichardt has an original sense of how to put
   together a film sequence and an effective way of guiding her cast of
   unknowns through an absurdist comedy of errors." –Jonathan Rosenbaum,
   audiences have embraced the theme of young lovers on the run, engaged in
   sexy revolt against middle-class conventions. Kelly Reichardt's RIVER OF
   GRASS, a funny, sad and honest independent film, is the first American
   movie to deconstruct that myth." –Dave Kehr, NEW YORK DAILY NEWS -----
   PROGRAM TWO: Sunday, October 22 at 8:00: ODE (1999, 48 min, Beta, color)
   "... ODE spins the legend of Billy Joe McAllister (he who jumped off the
   Tallahatchie Bridge) into a haunting…narrative about gay sexuality,
   repression, and teen suicide. The film is expressively shot by Reichardt
   herself in the fragile, all-but-obsolete medium of Super-8…Reichardt
   cherishes film for its grain. The more grainy the image, the more
   ghostly it appears, but also the livelier it seems – even when the image
   is dead still, the grain never stops moving." –Amy Taubin, VILLAGE VOICE
   & THEN, A YEAR (2002, 14 minutes, Beta, color) "[A] voice-over collaged
   from true crime shows [with a] Super-8 picture that's essential
   Reichardt: lyrical, ominous, and evocative of how horribly love can
   hurt." –Amy Taubin, VILLAGE VOICE & TRAVIS (2004, 11 min, Beta, color)
   "Reichardt appropriates and illustrates an NPR radio interview with the
   Portland mother whose son Travis was killed clearing mines in Iraq just
   after President Bush declared the end to major combat. Through intricate
   sound-editing the full story of this loss is revealed with chilling
   clarity." –MadCat Women's International Film Festival -- Directions:
   Subway: F or V to Second Ave; 6 to Bleecker; Tickets: $8 for adults, $6
   for students & seniors; $5 for members.

San Francisco, California: San Francisco Cinematheque
7:30, Yerba Buena Center for the Arts

   San Francisco Cinematheque @YBCA presents Sinew of Cinema: Work by
   Angelina Krahn and Tomonari Nishikawa, Angelina Krahn and Tomonari
   Nishikawa In Person. Sunday, October 15, 7:30 pm $8 regular /$6
   Cinematheque members, students, seniors /$6 YBCA members. The art of
   cinema may be ultimately optical and auditory, but its processes are
   chemical, electrical and material. Two young Bay Area-based film
   artists, Krahn and Nishikawa refract landscape and gesture through the
   technology called cinema and orchestrate its traces into expressive
   nuance and delicate visual pleasure. They will each screen a selection
   of their work with rent and re-sewn 16mm film, hand processed emulsions,
   pinhole and slit-aperture videos and pixilated films.


Atlanta, Georgia: Eyedrum
8:00 pm, 290 Martin Luther King Jr Dr Suite 8

   Testament: Diary Films ** An evening dedicated to artists filming their
   own lives and surroundings. Independent film legend George Kuchar (a
   major influence on John Waters among many others) appears in Rainy
   Season, a classic video diary work that alternates between the
   hilarious, the subversive, and the poignant. Kuchar's Wild Night in El
   Reno is a short, brilliant "weather diary" of a storm in Oklahoma. **
   Since the early 1980s, Anne Charlotte Robertson has been making an epic
   diary work on super-8 film. Emily Died is an excerpt from this work,
   detailing the events of May to September 1994, as Robertson comes to
   terms with a death in her family and the surrounding difficulties. This
   screening represents a rare opportunity to see Robertson's brave, highly
   personal film work. ** As an originator of the modern diary film, Jonas
   Mekas is a crucial figure of American independent film. Walden, one of
   his most highly praised works, is a three-hour diary film consisting of
   footage Mekas shot in the mid-1960s. (We will screen the first 43
   minutes, which stands as a separate work in its own right.) Walden Reel
   1 is a collection of exquisite small films woven together to form a
   larger whole. Above all it is a celebration of the act of filmmaking. A
   line from Mekas's poetic narration, "I make home movies, therefore I
   live," provides the title for this film series. "They tell me I should
   always be searching," he says in the film. "But I am only celebrating
   what I see." ** Also included in the screening are three shorter works.
   Brian Parks's video piece follows his father on a typical work day,
   finding absurdity and strangeness in the everyday. Gordon Ball's
   Enthusiasm, in which the filmmaker explores the death of his mother,
   moved poet Allen Ginsberg to comment, "Gordon Ball makes you cry for
   life itself." DHPG Mon Amour is a touching home movie of a devoted gay
   couple and their use of alternative treatments for AIDS. Originally
   intended as a promotional film for these treatments, it now resides in
   the collection of the Museum of Modern Art as a classic of personal
   cinema. ** PART 1 George Kuchar, Wild Night in El Reno (1977), 16mm,
   color, sound, 6 minutes; George Kuchar, Rainy Season (1987), video, 28
   minutes; Brian Parks, Atlanta Trailer City (2003), miniDV, color, sound,
   6 minutes; Anne Charlotte Robertson, Emily Died (1994), super-8mm,
   color, sound, 26 minutes (screened on VHS); Jonas Mekas, Walden Reel 1
   (1969), 16mm, color, sound, 43 minutes ** PART 2 Gordon Ball, Enthusiasm
   (1979), 16mm, color and black & white, sound, 13 minutes; Carl Michael
   George, DHPG Mon Amour (1989), 8mm, color, sound, 12 minutes (screened
   on VHS); Program subject to change ** THEREFORE I LIVE is a Film Love
   event, programmed and hosted by Andy Ditzler for Atlanta Celebrates
   Photography and Frequent Small Meals.

New York, New York: Museum of Modern Art
6:00 pm, MoMA, 11 West 53 St

   Field Study #2. 1988. Animation using cutouts, found footage, and
   pouring sand. 8 min. Light Years Expanding. 1988. An extension of the
   visual ideas and themes of Light Years (Program 2). "[T]he distance of
   time makes home further, the intensity of memory makes it richer"
   (Parabola). 25 min. Trace Elements. 2003. A "sound video" highlighting
   the act of shooting based on the idea that the active, ever-searching
   camera never quite finds its target. 10 min. Snowdrift. 2001. (Also
   known as Snowstorm.) Sudden changes in composition, background, density,
   color, and contrast interrupt the perpetual flow of snowflakes,
   floating, whirling, and dancing in constant restlessness. 9 min. New
   Evidence. 2006. A new work created by reworking and condensing combined
   material from four videos used in the installation Collected Evidence:
   52 Weeks. 22 min. Premiere. Program 74 min.

San Francisco, California: San Francisco Cinematheque
8:00, Project Artaud Theater, 450 Florida Street at Mariposa St

   Things We Don't Understand and Definitely Don't Want To Talk About A
   Multi-Media Performance by Miranda July Monday, October 23 & October 24,
   2006 @ 8PM Project Artaud Theater, 450 Florida Street, San Francisco
   Tickets: $20 or $60, including gala reception on Tuesday 10/24 a benefit
   for the San Francisco Cinematheque Filmmaker, writer, and performer
   Miranda July is no stranger to the Bay Area (she grew up in Berkeley).
   Nor to Cinematheque, where she has shown The Amateurist, Nest of Tens,
   and performed The Swan Tool. Internationally acclaimed since the success
   of Me and You and Everyone We Know, July graces us with a special
   two-night-only performance at Project Artaud Theater to benefit the San
   Francisco Cinematheque. In collaboration with the audience, she will
   perform a story of love, obsession, and heartbreak. This multi-media
   production is a work-in-progress that will be shot as a feature film in
   Spring 2007.


Pittsburgh, Pennsylvania: Jefferson Presents ...
9:15, Pittsburgh Filmmakers’ Harris Theater, 809 Liberty Ave.

   Curated by Gordon Nelson of Jefferson Presents. This program is designed
   to serve as an introduction to a selection of essential gay and lesbian
   artists working in the area of experimental film and video. All of the
   short films and videos included in this screening are considered
   significant revolutionary milestones in the history of film and
   represent a wide array of approaches to personal expression through
   cinema. Kenneth Anger - Fireworks (1947, 16mm, b&w/so, 15 min.) A
   landmark of both experimental and gay cinema, Kenneth Anger's film is a
   bizarre, disturbing dreamscape of violation, rape, and homoerotic
   sadomasochism. The film opens with Anger awaking from a troubled dream
   and leaving his house to go on a stroll. He is confronted by a band of
   buff sailors who proceed to beat, manhandle, and molest him. Fireworks
   ends with the amazing image of a sailor unzipping his fly and pulling
   out a lit roman candle. Recalling other surrealist masterpieces such as
   Un Chien Andalou and Meshes in the Afternoon, this film uses elliptical
   narrative structure and dream-like visual metaphors and puns. Jack Smith
   - Scotch Tape (1959-1962, 16mm, color/so, 3 min. ) With Jerry Sims, Ken
   Jacobs and Reese Haire. Scotch Tape was shot on the rubble strewn site
   of the future Lincoln Center. The title arises from the piece of scotch
   tape which had become wedged in the camera gate. George Kuchar - Hold Me
   While I'm Naked (1966, 16mm, color/so, 15 min.) "A very direct and
   subtle, very sad and funny look at nothing more or less than sexual
   frustration and aloneness. In its economy and cogency of imaging, HOLD
   ME surpasses any of Kuchar's previous work. The odd blend of Hollywood
   glamour and drama with all-too-real life creates and inspires
   counterpoint of unattainable desire against unbearable actuality." - Ken
   Kelman Barbara Hammer - Superdyke (1975, 16mm, color/so, 20 min.) A
   comedy about a troop of shield-bearing Amazons who take over city
   institutions before relaxing in the country. Curt McDowell - Loads
   (1980, 16mm, b&w/so, 22 min.) "San Francisco-based Curt McDowell has
   always been a pioneer in sexual frankness, but his new film, LOADS, goes
   far beyond his earlier all-out efforts and puts such big-time dabblers
   in eroticism as Bernardo Bertolucci and Nagisa Oshima decidedly in the
   shade." - David Ehrenstein, Los Angeles Herald Examiner Matthias Muller
   - Alpsee (1994, 16mm, color/so, 15 min.) "ALPSEE is a brilliant
   autobiographical essay on childhood, family and memory. It is an
   exceedingly complex work revealing new layers every time you watch it.
   In Alpsee, terror has taken on a harder-edged shape compared to previous
   films by Matthias Müller; this nightmare has something alluring about
   it. I could not take my eyes off the mellow colors of this film. In the
   end, the blue of the skies is falling down and turning into red. This
   part appears almost Dionysian to me, sensuous and liberating, as if the
   cyclical structure of ALPSEE had to be blown up in the end by a final
   intimate moment." - Christian Cargnelli Sadie Benning - Jollies (1990,
   video, 11 min.) Intensely personal and revealing, Jollies details
   Benning's early sexual experiences and experimentation with both boys
   and girls until, eventually losing her virginity to a girl, she embraces
   her coming-out and her queer identity. Benning takes us through typical
   pre-teen and adolescent experiences as she attempts to sort through and
   understand both her feelings and her sexuality. She is quick to note
   that although her feelings are perfectly normal for any adolescent, it
   is the object of her affections that makes her not only different but,
   as she will soon come to realize, invisible in the larger culture that
   expends its time, energy, and advertising on heterosexual love. -Melissa
   Rigney, Senses of Cinema

Reading, Pennsylvania: Berks Filmmakers
7:30, Albright College

   Fallen Angels (1996, 90 min.) by WONG KAR-WAI - "Fallen Angels takes
   every risk known to filmmaking and succeeds triumphantly" -Sight and
   Sound "The acme of neo-new-wavism, the ultimate in MTV alienation, the
   most visually voluptuous flick of the fin de siecle, Wong Kar-Wai's
   quintessential movie is an intermittently violent, wildly stylized,
   garishly soulful gangster film with almost no narrative and a surplus of
   shaggy-dog digression. Fallen Angels is a reverie—albeit one erupting
   periodically into slo-mo gunfights of pure, light-smearing energy. All
   romantic cinephiles owe it to themselves to take in the last installment
   of Wong's long goodbye to the now-lost paradise of colonial Hong Kong
   and the sensationally florid film culture it incubated."- J. Hoberman,
   Village Voice (Cantonese with English subtitles)

San Francisco, California: San Francisco Cinematheque
8PM, Project Artaud Theater, 450 Florida Street at Mariposa St

   see Multi-Media Performance by Miranda July on Cotober 23 for details

Seattle, Washington: 911 Media Arts Center
7pm, 402 9th Ave N

   In recognition of Take Back Your Time Day (October 24), 911 Media Arts
   Center, Take Back Your Time and present a screening of
   THE MOTHERHOOD MANIFESTO documentary The Motherhood Manifesto (USA,
   2006, 60min) -A Documentary by Laura Pacheco and John de Graaf. Q&A
   after screening with local filmmaker and the national coordinator for
   Take Back Your Time John de Graaf and Kristin Rowe-Finkbeiner,
   co-founder of "The Motherhood Manifesto documentary is a
   funny, fascinating, informative, and finally infuriating film about
   motherhood in America. At the end of this one, you'll want to jump out
   of your seat, rush out the door, and start demanding change
   immediately!" -- Ann Crittenden, author, The Price of Motherhood The
   film brings to the screen many of the characters, experts and stories
   from the new book by the same name, written by Joan Blades, co-founder
   of and Kristin Rowe-Finkbeiner. Blades and Rowe-Finkbeiner
   are also the founders of Moving personal stories
   combined with humorous animation, expert commentary and hilarious old
   film clips tell the tale of what happens to working mothers and families
   in America and how enlightened employers and public policy can make paid
   family leave, flexible working hours, part-time parity, universal
   healthcare, excellent childcare, after-school programs and realistic
   living wages a reality for American families. Fast-paced and engaging
   yet carefully balanced and researched for journalistic credibility, THE
   MOTHERHOOD MANIFESTO turns the camera on America's hidden crisis of

Toronto, Ontario, Canada: Cinematheque Ontario
6:30 p.m., Art Gallery of Ontario's Jackman Hall, 317 Dundas Street West

   Cinematheque Ontario presents THE FREE SCREEN (formerly The
   Independents). The Free Screen is your window on the vast and rewarding,
   but often overlooked, world of unconventional, non-commercial cinema -
   those films and videos made by committed artists working outside of
   mainstream channels of production and distribution. These artists prefer
   to work free from the restrictive aesthetic conventions and commercial
   concerns of the movie business, a position which allows them to explore
   the possibilities of the art of cinema to the fullest. The Free Screen
   presents work by artists engaged in fields ranging from avant-garde film
   and animation to hybrid documentaries, essay films and video art, often
   with the artists in attendance to present their work. - Chris Gehman,
   Free Screen programmer. "Gunvor Nelson's poetically expansive work. . .
   . has made her one of the most experimental of artists, with no
   definable 'style,' but rather a sustained aesthetic illumination of such
   elusive and intimate matters as childhood, aging, displacement, memory,
   women's roles, death, and the symbolic forces of nature" (Museum of
   Modern Art, New York). Swedish-born filmmaker Gunvor Nelson was a key
   figure in the vibrant American West Coast film scene from the
   mid-Sixties through the early Nineties, when she returned to her native
   Sweden, where she has continued to work in film, video, painting and
   drawing. The creator of several classics of personal cinema, Nelson has
   been a restless filmmaker, forever moving in new directions. The first
   programme in this brief survey draws from almost four decades of
   material, and demonstrates the extraordinary range of Nelson's work. It
   includes established classics such as MY NAME IS OONA (USA, 1969, 10
   min. b&w, 16mm), an incantatory portrait of her young daughter, and the
   anomalous but delightful "metaphysical striptease," TAKE OFF(Featuring:
   Ellion Ness, USA, 1972, 10 min. b&w, 16mm), as well as harder-to-see
   works such as LIGHT YEARS(Sweden/USA, 1987, 28 min. 16mm) and FIELD
   STUDY #2 (USA, 1988, 8 min. 16mm), which use a multi-layered combination
   of live-action footage, still photographs and animation. Recently Nelson
   has shifted her practice to video, and two of her precisely edited
   studies, TREE-LINE (Sweden, 1998, 8 min. video) and SNOWDRIFT(Sweden,
   2001, 9 min. video), are included here. The second programme is
   comprised exclusively of recent videos, beginning with TRACE ELEMENTS, a
   reflexive work that "highlight[s] the act of shooting based on the idea
   that the active, ever-searching camera never quite finds its target"
   (Nelson). In the surprising and mesmerizing epic TRUE TO LIFE, the
   garden becomes a site for a literal confrontation between camera and
   nature, while NEW EVIDENCE presents material from the installation
   Collected Evidence: 52 Weeks. Gunvor Nelson will be present to
   introduce Program One . Nelson is currently on her final tour of North
   America, so don't miss this unique opportunity! All screenings in this
   series are FREE, non-ticketed events. Programming suggestions and
   submissions are welcome. All Cinematheque Ontario screenings are held at
   the Art Gallery of Ontario's Jackman Hall, 317 Dundas St. West, Toronto
   (McCaul Street entrance). All screenings are restricted to individuals
   18 years of age or older. For more information, visit the Official
   website,, the year-round Box Office at Manulife
   Centre (55 Bloor Street West, main floor, north entrance), or call


Buffalo, New York: Hallwalls
8pm, 341 Delaware Ave.

   Pioneer of the Minimal: Tony Conrad Retrospective (Oct 25-27) kicks off
   on Wednesday, Oct. 25th at 8pm with a musical performance in Asbury Hall
   at The Church, 341 Delaware Ave. in Buffalo, New York. An ensemble will
   accompany Conrad; title and details of this performance TBD! Tickets $10
   members, $15 general.

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

   FILM ARCHIVIST NOEL LAWRENCE IN PERSON! Just in time for Halloween, film
   archivist Noel Lawrence flies out from the San Francisco Fog of Doom to
   present the 16mm films of obscurist cult-mysterioso Commie director J.X.
   Williams before your unbelieving eyes. Lawrence is point-man for the
   J.X. Williams Archive and the horned shadow behind the recent
   "rediscovery" of Williams' lost treasure trove of
   psycho-demonic-porno-mafioso films... Not only will he be
   trick-or-treating you to a history lesson on the events surrounding
   Williams' most significant film ("Peep Show" - a 1965 found-footage
   expose on the secret history of the Kennedy administration, involving a
   mafia plot to addict Frank Sinatra to heroin!), but he'll be lighting up
   that silver screen with a plastic pumpkin full of skullhead psychedelia,
   B-movie nudie sacrifice, Satan Claus, and a wild ride through the mean
   mobster streets of cement-shoed Chicago. Jeepers creepers, indeed!
   FEATURING: Psych-Burn by J.X. Williams (3:00, 16mm, 1968), Satan Claus
   J.X. Williams (3:00, 16mm, 1975), The Virgin Sacrifice by J.X. Williams
   (9:00 excerpt, 16mm, 1969), Peep Show by J.X. Williams (46:00, 16mm,
   1965) TRT 61:00 $5


Buffalo, New York: Hallwalls
8pm, 341 Delaware Ave.

   Part two of "Pioneer of the Minimal: Tony Conrad Retrospective" (Oct.
   25-27) features an evening of videos/film by Tony Conrad including: NO
   EUROPE (1990, 14 min), made in collaboration with Chris Hill. BEHOLDEN
   TO VICTORY (1983, 26 min.), featuring Mike Kelley and Tony Oursler.
   Writes Kelley: "Beholden To Victory is an edited video version of the
   full-length super-8 film Hail the Fallen. It is a 'war movie' genre
   picture… The film was not directed in the traditional sense. There was
   no script. The actors were required to play as in a game—to follow
   certain rules, or to be more precise, to follow certain restrictions.
   They were told only what they were NOT ALLOWED TO DO. Thus the film
   consists of a series of scenes, of examples of correct behavior." STUDIO
   OF THE STREETS (20 min. excerpt), from the activist cable access show,
   starring the people of Buffalo. COMING ATTRACTIONS (1970, 77 min), made
   in collaboration with Beverly Grant Conrad, this is Conrad's rarely
   screened feature film. The work "looks backward moment into the memories
   and forward into the future of Francis Francine (who first appeared in
   Flaming Creatures), an elegantly dowdy transvestite of, and indeed
   beyond, a certain age. The memories, haunted by a Spirit of Seductions
   Past suggest a generally lurid life of sumptuous sex and questionable
   liaisons." – Filmmakers Cooperative This screening will take place at
   8pm in the Hallwalls cinema, 341 Delaware Ave, Buffalo NY. Tickets are
   $7 general, $5 students/seniors, $4 members.

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

   The young animator Adam K. Beckett created a handful of vivid,
   astonishing films in the early 1970s, but died tragically at the age of
   29 at the peak of his creative frenzy. Based on an innovation he called
   the evolving cycle—whereby an animated image grows bizarrely complex
   under the camera—the films combine trippy meditative rhythms with the
   edgy sensibility of underground comics. SAIC film professor Jim Trainor
   presents newly restored prints of five Beckett films—EVOLUTION OF THE
   RED STAR (1973, 7 min.); HEAVY-LIGHT (1973, 7 min.); FLESH FLOWS (1974,
   7 min.); SAUSAGE CITY (1974, 6 min.); KITCH IN SYNC (1975, 5 min.)—along
   with selected animations admired by the artist: MOTION PAINTING, NO. 1
   (Oskar Fischinger, 1947, 11 min.); 7362 (Pat O'Neill, 1965-67, 10 min.),
   MIRROR PEOPLE (Kathy Rose, 1974, 4 min.); and LUMA NOCTURNA (Dennis
   Pies, 1974, 4 min.), among others. Beckett's films are courtesy Canyon
   Cinema and the iotaCenter, which is sponsoring an extensive preservation
   project and monograph of Beckett's work. For more information, visit
   iota's website: Tonight's
   program is part of a conference and series of related workshops and
   screenings on animation hosted by SAIC's Department of Film, Video, &
   New Media. For more information, visit (1925-75, Adam K.
   Beckett & various, USA, 16mm, ca. 90 min.)

London, England: London Film Festival
4:15pm, ICA, The Mall, SW1

   ONE WAY BOOGIE WOOGIE / 27 YEARS LATER (James Benning / USA 1977-2005 /
   120 mins) In 1977, concerned about the decaying nature of his native
   Milwaukee, Benning shot One Way Boogie Woogie, an hour long film
   composed of 60 shots of industrial urban landscape: smokestacks,
   sidewalks, three Volkswagens, people few and far between, an animal here
   and there. In characteristic fashion, Benning's apparently simple,
   static shots are exercises in meticulous painterly composition, and
   their careful sequencing ensures that the director's playful humour is
   given full expression. For 27 Years Later, Benning returned to Milwaukee
   to shoot 'the same film again'. The shot by shot re-staging uses very
   obviously different stock – the colours are brighter, there's a
   distinctly modern tone. Buildings are showing their age, or gone; people
   likewise. Seen together, these two films offer a cogent illustration of
   how America has changed in the intervening years, fraying in places,
   gentrified in others. Benning's method, and his affinity with his
   subjects is extraordinary – as if he completely absorbs the landscape,
   imbues it with geo-political and cultural relevance, and re-presents it
   to us in a unique mix of formal rigour and mischievous invention.

London, England: London Film Festival
13.15, NFT 2, National Film Theatre, Waterloo, SE1

   mins)' The only person I would ever copy. He makes the best movies.'
   (Andy Warhol) Diving headlong into the exotic world of Jack Smith, this
   is a ravishing celebration of a seminal figure of contemporary art,
   experimental theatre, fashion, film and photography. A devotee of 'moldy
   glamour', Smith was shooting fanciful tableau vivants in 1957, later
   naming his ensemble the 'Superstars of Cinemaroc' way before Warhol had
   a Silver Factory. His ethereal masterpiece Flaming Creatures is an epic
   fantasy, featuring blonde vampires and bohemians cavorting amid a tangle
   of naked bodies. Fęted by Fellini, but denounced by Playboy for
   'defiling at once both sex and cinema', the film was became a totem in
   the battle against censorship. Dismayed and resentful, Smith reacted to
   this unwanted attention by never completing another film. To become a
   product was to be embalmed. Returning to the ephemeral medium of
   performance, he appeared amongst piles of meticulously arranged garbage
   with Yolanda, a toy penguin with jewel-encrusted brassiere. Utterly
   opposed to the concept of rented accommodation, Smith railed against
   'landlordism', transforming his dilapidated apartment into an homage to
   Babylonian architecture. This documentary opens up Ali Baba's cave,
   mixing commentary from friends and enemies with the glistening treasures
   of Smith's own creation. An abundance of rare photographs, footage and
   audio bear testament to his uniquely baroque vision.

Philadelphia, Pennsylvania: Iceland Naturally / Package Deals
7pm and 9pm, The Ritz at the Bourse, 400 Ranstead St.

   One night only! Some of the hottest films to come out of Iceland in
   recent memory will be shown Thursday, Oct. 26 at the Ritz at the Bourse
   (, $8). Screaming Masterpiece (7 p.m.), delves into
   Iceland's incredible music scene, featuring interviews with native
   musicians from Björk and Sigur Rós to the teenage band Nilfisk, who
   opened for the Foo Fighters when they played in Iceland. Cold Hearts (9
   p.m.) is an eclectic collection of 17 experimental short films and music
   videos by young Icelandic artists, providing a rare glimpse into this
   small country's imaginative visual output. A cocktail reception
   featuring Icelandic drinks and seafood precedes the screenings at Voices
   and Visions bookstore next door, 6pm (the Bourse - 4th Street - Lower
   Level). Co-hosted with the Philadelphia Film Society and Sherman Arts.

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