Part 1 of 2: This week [December 2 - 10, 2006] in avant garde cinema

From: Weekly Listing (email suppressed)
Date: Sat Dec 02 2006 - 14:59:35 PST

Part 1 of 2: This week [December 2 - 10, 2006] in avant garde cinema

GOODBYE IRINA LEIMBACHER! Thanks for 12 fantastic years with the San Francisco Cinematheque, and best wishes in your future endeavors.

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"Anoesia" by David Han

Streaming Festival {The Hague} (The Hague. Netherlands; Deadline: January 14, 2007)
MEDIA CITY (Windsor, Ontario, Canada; Deadline: November 24, 2006)
Images Contre Nature (Marseille, France; Deadline: March 01, 2007)
BROOKLYN INTERNATIONAL FILM FESTIVAL (Brooklyn, NY; Deadline: March 15, 2007)
Boston Underground Film Festival (Boston, MA, USA; Deadline: November 30, 2006)
Chicago Motions Graphics Festival 2007 (Chicago, IL, USA; Deadline: December 08, 2006)
Davis Feminist Film Festival (Davis, California; Deadline: January 01, 2007)
Newport Beach Film Festival (Newport Beach, CA USA; Deadline: December 22, 2006)
Northwest Folklife Documentary Film Festival (Seattle, WA; Deadline: December 01, 2006)

Lake County Film Festival (Libertyville, IL, USA; Deadline: December 20, 2006)
IFFBoston (Boston, MA; Deadline: December 31, 2006)
offcuts (london, UK; Deadline: December 25, 2006)
Portland Documentary and eXperimental Film Festival (Portland, Oregon; Deadline: December 15, 2006)
Asbury Shorts of New York 2007 (New York, NY USA; Deadline: December 20, 2006)
Flatpack Festival (Birmingham, UK; Deadline: December 15, 2006)
Magmart | video under volcano (Naples, Italy; Deadline: December 31, 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)
Starting from Scratch (Amsterdam; Deadline: December 10, 2006)
Wisconsin Film Festival (Madison, Wisconsin, USA; Deadline: December 29, 2006)
EYE AM: Women Behind the Lens ( Neighborhood Network) (NY, NY, USA; Deadline: December 20, 2006)
Chicago Motions Graphics Festival 2007 (Chicago, IL, USA; Deadline: December 08, 2006)
Davis Feminist Film Festival (Davis, California; Deadline: January 01, 2007)
Newport Beach Film Festival (Newport Beach, CA USA; Deadline: December 22, 2006)

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

Also available online at Flicker:

 * La Commune By Peter Watkins [December 2, Baltimore, MD]
 * Luz Y Tiempo: Historia Parcial Del Cine Experimental Y videoarte
    Britanico 1968-2006 [December 2, Madrid]
 * Phil Weisman/ Bob Fleischner Program [December 2, New York, New York]
 * Prelinger's Industrial and Institutional Films: A Field Guide + [December 2, San Francisco, California]
 * Luz Y Tiempo: Historia Parcial Del Cine Experimental Y videoarte
    Britanico 1968-2006 [December 3, Madrid]
 * Vertigo [December 5, Reading, Pennsylvania]
 * Nathaniel Dorsky's Hours For Jerome [December 5, San Francisco, California]
 * "The Desert Show" [December 6, Chicago, Illinois]
 * Xie Fei's Song of Tibet [December 6, New York, New York]
 * The Secret Story: Films By Janie Geiser [December 7, Chicago, Illinois]
 * Prix Jean vigo [December 7, New York, New York]
 * Xie Fei's Song of Tibet [December 7, New York, New York]
 * Like A Dream That Vanishes: the Films of Barbara Sternberg [December 7, New York, New York]
 * Voom Hd Lab Presents: New Selections From Our High Definition Artist
    Residency [December 7, New York, New York]
 * Berks Area Film & video Show [December 7, Reading, Pennsylvania]
 * Karen Mirza & Brad Butler: Creative Projection [December 7, Stuttgart, Germany]
 * Expanded Cinema Screening 1 [December 7, Stuttgart, Germany]
 * Expanded Cinema: Opening Reception [December 7, Stuttgart, Germany]
 * “I Am Not A War Photographer” - An Illustrated Talk By Lynne Sachs and
    Screening of States of Unbelonging [December 8, Chicago, Illinois]
 * 3rd Annual Immi Fest 2006 [December 8, Eugene, Oregon]
 * En Plein Air (Shorts Programme) [December 8, New York, New York]
 * Joan Jonas: Portrait of the Artist With Dog [December 8, New York, New York]
 * Expanded Cinema: the Future of Expanded Cinema [December 8, Stuttgart, Germany]
 * Tony Conrad: Pickled Film [December 8, Stuttgart, Germany]
 * Expanded Cinema: Screening 2 [December 8, Stuttgart, Germany]
 * Expanded Cinema: William Raban [December 8, Stuttgart, Germany]
 * 3rd Annual Immi Fest 2006 [December 9, Eugene, Oregon]
 * Prix Jean vigo [December 9, New York, New York]
 * Joan Jonas: Portrait of the Artist With Dog [December 9, New York, New York]
 * Essential Cinema: Stan Brakhage: the Pittsburgh Trilogy [December 9, New York, New York]
 * Essential Cinema: Stan Brakhage: Text of Light [December 9, New York, New York]
 * Joan Jonas: Portrait of the Artist With Dog [December 9, New York, New York]
 * Alfonso Alvarez + Overdub Club + [December 9, San Francisco, California]
 * William Raban: Expanded Cinema & Structural Film [December 9, Stuttgart, Germany]
 * Expanded Cinema: Screening 3 [December 9, Stuttgart, Germany]
 * Expanded Cinema: Bruce Mcclure [December 9, Stuttgart, Germany]
 * Thom andersen Presents New video Work By William E. Jones [December 10, Los Angeles]
 * Joan Jonas: Portrait of the Artist With Dog [December 10, New York, New York]
 * Essential Cinema: Robert Breer [December 10, New York, New York]
 * Joan Jonas: Portrait of the Artist With Dog [December 10, New York, New York]
 * Essential Cinema: Conner/Conrad [December 10, New York, New York]
 * Bruce Mcclure: Demonstration [December 10, Stuttgart, Germany]
 * Expanded Cinema: Screening 4 [December 10, Stuttgart, Germany]
 * Tony Conrad: Film Performances [December 10, Stuttgart, Germany]
 * James Tenney On Film [December 10, Valencia, California]

Events are sorted by CITY within each DATE.


Baltimore, MD: Red Emma's Collective
6:00 PM, St. John's Church 27th and St. Paul

  Join us for the Baltimore premiere of director Peter Watkins '
  iconoclastic masterpiece of documentary reenactment, La Commune, which
  retells the story of the Paris Commune of 1871. Watkins, whose
  film-making career spans over 4 decades, is famous for his unorthodox
  techniques of filmmaking, including his use of non-professional actors
  with a real connection to the subject matter(in La Commune, most of the
  Communards are portrayed by altermondialist activists), his creative use
  of anachronism and meta-narration(in La Commune he interpolates
  television journalists into the historical context to better address
  issues of revolutionary representation) and his non-commercially-
  dictated approach to film length(La Commune clocks in at just over five
  and a half hours, which is why were serving up vegan dinner halfway
  through, and inviting everyone to bring something more comfortable than
  the chairs we'll provide - think couches, pillows, lawn chairs...)

Madrid: La Enana Marron
21.30, La Enana Marron, Sale de Cine Independiente, Travesia San Mateo 8, bajo dche, Madrid 28004

 BRITANICO 1968-2006
  A selection of British artists film and video produced between
  1968-2006. PROGRAMME II: THE WEATHER, George Barber, video, 2 min, 1996;
  I AM, David Blandy, video, 2 min, 2004; PERPETUAL MOTION IN THE LAND OF
  MILK AND HONEY, AL+AL, video, 6 min, 2004; SUNDIAL William Raban, video,
  1'30 min, 1992; 1001 COLOURS ANDY NEVER THOUGHT OF, George Barber,
  video, 4 min, 1984; DO YOU LOVE ME? Alnoor Dewshi, video, color, 2'47
  min, 2001; EAD THE BALL, Simon Richardson, video, color, 4 min, 2001;
  WORST CASE SCENARIO, John Smith, video, 18 min, 2004; FRAMES, Annabel
  Nicolson, 16mm, 6 min, color, muda, 1971-72; FROM MEMORY, Riccardo
  Iacono. 16mm, color, mudo, 15 min, 1994-2003; Total running time: 62
  min. (Curated by David Reznak and Riccardo iacono)

New York, New York: Millennium Film Workshop
8pm- Saturday evening, 66 East 4th Street (Between Bowery & 2nd Avenue)

  THE FUGITIVE CHEF (37 min.-2006), KLADNO* (20 min.-2005) by PHIL
  WEISMAN, MAX'S SHIRT (5 min.-1975), CURTAIN CALL (5.5 min.-1976), A TIRE
  FILM (6.5 min.-1976), PARADISE (3 min.-1978) by BOB FLEISCHNER. Phil
  Weisman will be having his first program at Millennium. A filmmaker,
  teacher and founding member lof the Coll;ective for Living Cinema, he
  will present a quartet of films by Bob Fleischner as well as premiere
  two of his own. "Although I tend to, at times while working, have a
  running dialogue with the films I have known and loved, it is Bob's
  mid-70's films that are particularly moving to me, several having a
  profound effect on the making of THE FUGITIVE CHEF. I'd like to honor
  the man whose work is rarely screened and add a complementary set of
  works of my own. Think of this as a two-person show with Bob in
  absentia."- POW On the FUGITIVE CHEF-"The death of the filmmaker Bob
  Fleischner, my childhood friend Jeff Tenzer and my father Marc Weisman,
  all in 1989 hastened an already made decision to leave the avant-garde
  community and seek respite elsewhere. The resolution didn't alter my
  desire to work at filmmaking or even attempt, or occasionally to alter
  its known forms; it simply restated it within a different context. THE
  FUGITIVE CHEF is a fractured personal documentary (with other genres
  thrown in) shot mostly in Brooklyn and at the MacDowell Colony."- POW.

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

  Indubitably the world's leading expert on industrial films, Mr. Rick
  Prelinger graces our gallery once again with selections from this new
  encyclopedia published by the National Film Preservation Foundation.
  Drawing from a life spent slaving in the archives, Rick's commentary
  provides fascinating historical context for these magnificent
  educational-film artifacts. Projected in both video and 16mm, his
  program does justice to this relatively new branch of film archaeology,
  while also providing for a richly engaging cinema experience. Among the
  recovered specimens are Your Name Here; Why Not Live?; A Is for Atom;
  Once Upon a Honeymoon; and Ask Me, Don't Tell Me. PLUS Megan
  Prelinger-Shaw's Cabinet of Curiosities.


Madrid: La Enana Marron
20.30, La Enana Marron, Sale de Cine Independiente, Travesia San Mateo 8, bajo dche, Madrid 28004

 BRITANICO 1968-2006
  A selection of British artists' film and video produced between
  1968-2006. PROGRAMME V: TRAFFIC, Roderick Buchanan, video, 2 min, 2001;
  THE KISS, John Smith, video, 5 min, color, 1999; THE RUMOUR OF TRUE
  THINGS, Paul Bush, video, 25 min, 1996; THE NIGHTINGALE, Grace Ndiritu,
  video, 7 min, 2004; THE DEFENESTRASCOPE, Steven Ball, video, 6 min,
  2003; BIOGENESIS, William Latham, video, 6 min, 1993. running time 51
  min. (curated by David Reznak and Riccardo iacono).


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

  Vertigo (1958, 129 min.) by ALFRED HITCHCOCK.. One of the greatest films
  ever made (voted number 2 on the 2002, Sight and Sound "Critics Top Ten
  Poll" and number 3 on the Village Voice "100 Best Films of the 20th
  Century" critics poll, 1999 ). " …a masterpiece: I can think of no film
  that makes romance more palpable and affecting. As Scottie Ferguson
  (James Stewart) follows Madeleine (Kim Novak), the wife of a wealthy
  acquaintance who has hired him to help unravel the mystery of her
  wanderings around San Francisco, the city's hilly topography, a redwood
  forest, and the seacoast all become metaphors for the illusion of
  romantic infatuation….The compositions and colors are profoundly
  alluring — never has Hitchcock's famously preplanned imagery been more
  sensual and seductive. But every image is also undermined by a deep
  instability: sensuous colors, shifting camera angles, and the
  inward-directed camera movements all create an imbalance that denies the
  viewer any firm ground. The "vertigo" shots — in which Scottie and his
  view seems to recede and advance at once — make explicit the push-pull
  that undermines every composition."- Fred Camper, Chicago Reader

San Francisco, California: SFAI Film Salon
8 pm, San Francisco Art Institute, 800 Chestnut Street, Lecture Hall

  Nathaniel Dorsky in person! As a preamble to the upcoming premiere of
  his new film at the SF Cinematheque, we have invited Nathaniel Dorsky to
  show his earlier Hours for Jerome. Drawing inspiration from the medieval
  illuminated Book of Hours, Dorsky traces the seasons through resonant
  and poetic film language. The everyday becomes transformed through
  intuitive editing and visual rhythms. His filmmaking explores the
  transcendental nature of film, creating a unique style where images
  resonate across the cut in an accumulative, magical effect. The
  screening will also include 17 Reasons Why, a film using the unique
  quadriptych form of unsplit regular 8mm film. ".. allowing things to be
  seen for what they are offers a more open, more fertile ground than the
  realm of predetermined symbolic meaning. After all, the unknown is pure
  adventure." – Nathaniel Dorsky, Devotional Cinema ---------- The SFAI
  Film Salon is a weekly film screening program, organized by SFAI film
  students. Screenings are free and open to the public. Supported by the
  SFAI Student Union and Legion Of Graduate Students. For more information
  email: or


Chicago, Illinois: Gallery 400
7:00pm, 400 South Peoria Street

  The snow is piling up around your Chicago head and your Windy City toes
  are turning a lovely frostbite blue, but don't stand there shivering for
  too long, Dear Friend. Presented in conjunction with the gallery show
  "John Arndt: Empire" (on view 11/14-12/23), your pals at Gallery 400
  have got that scalding sun you've been looking for, so come out of the
  cold and settle into the desert heat for an evening of warm cinema-sand
  in your eyes and ears. Let the light from the projector tan your pale
  skin, let it reflect the dust and sky and silence of your memory as you
  buckle up for a road trip into the drier and emptier parts of the world.
  With the Road Runner as your host, you'll skitter past UFO landing
  sites, scorpion play pens, artstar auto graveyards, nuclear test sites,
  and arrive at a new understanding of that vast and neverending silence
  that lies just outside yourself... FEATURING: Highway Runnery (Road
  Runner Cartoon) by Chuck Jones (7:00, 16mm, 1953), Roswell by Bill Brown
  (20:00, 16mm, 1994), Playing with Scorpions by John Marshall (4:00,
  16mm, 1972), Cadillac Ranch Show by Ant Farm (16:40, video, 1974/1994),
  Topsoil by Effi Weiss and Amir Borensein (8:35, video, 2003), Desert
  Rose by Cordelia Swann (26:00, 16mm/Betacam, 1996), Lake of the Spirits
  by Timoleon Wilkins (7:00, 16mm, 1998) TRT 89:00

New York, New York: Museum of Modern Art
6:15pm, 11 West 53rd Street

  Shot in Tibet with a Tibetan cast, Song of Tibet, about a woman and the
  three men in her life, is a sweeping multigenerational epic played out
  against the chaos of a society in turmoil. Direc-tor Xie Fei was a
  teacher to many Fifth Generation Chinese filmmakers, including Chen
  Kaige and Tian Zhuangzhuang. Organized by Laurence Kardish, Senior
  Curator, Department of Film. Presented in collaboration with the AMS
  Foundation for the Arts, Sciences and Humanities, and the China
  International Culture Exchange Center (CICEC). Yeshe Doma
  (Yixihuoma/Song of Tibet). 2000. China. Directed by Xie Fei. With
  Danzengzuoga, Laqoing. In Mandarin, Tibetan; English subtitles. 104 min.
  New York premiere. Wednesday, December 6, 6:15; Thursday, December 7,
  8:45. T1


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

  Janie Geiser in person! Janie Geiser is at the forefront of today's
  experimental animators. Drawing on her renowned work in puppet-theater,
  her films use the miniaturized scale of paper cutouts, dollhouses, and
  antique toys to create mysterious, multilayered worlds of cryptic
  messages, enigmatic women, and half-forgotten dreams. Tonight, she
  presents an overview of her cinematic work to date, including VAPOR
  DRAMA (2004, 7 min.), TERRACE 49 (2004, 5 min.), ULTIMA THULE (2002, 10
  min.), THE FOURTH WATCH (2000, 10 min.), SPIRAL VESSEL (2000, 7 min.),
  LOST MOTION (1999, 11 min.), IMMER ZU (1997, 9 min.), and THE SECRET
  STORY (1996, 9 min.). 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 (1996-2004, USA, 16mm, ca. 70 min.)

New York, New York: Museum of Modern Art
6:30pm, 11 West 53rd Street

  Created in 1951 and awarded annually, the Prix Jean Vigo was established
  in the name of the French filmmaker who made his indelible mark with
  Zéro de conduite and L'Atalante before his death at the age of
  twenty-nine. In a yearlong tribute to the award and the filmmakers it
  has honored, the Department of Film presents works by past winners. All
  films are in French with English subtitles, unless otherwise noted.
  Organized by Véronique Godard, Prix Jean Vigo Committee; and Jytte
  Jensen, Curator, and Leigh Goldstein, Executive Assistant, Department of
  Film. Grateful thanks for the advice of the current Prix Jean Vigo
  Committee and its President, Luce Vigo, and for the generous
  collaboration of the Consulate General of France, New York; the Cultural
  Services of the French Embassy, New York; and for their invaluable
  support of our subtitling efforts, Titra-Film and Alex Kuczynski.
  Remparts d'argile (Ramparts of Clay). 1970. France/Algeria. Directed by
  Jean-Louis Bertucelli. Screenplay by Jean Duvignaud. With Leila Schenna.
  A young Tunisian woman wordlessly revolts against her community. Working
  from Duvignaud's book about the backbreaking labor and daily habits of a
  Tunisian salt-mining community, Bertucelli filmed on location in
  Tehouda, a village in southern Algeria. 87 min. Enfants des courants
  d'air.1959. France. Directed by Edouard Luntz. The lonely life of a boy
  living on the degraded outskirts of Paris. 24 min. Thursday, December 7,
  6:30 (T1); Saturday, December 9, 2:00 (T2)

New York, New York: Museum of Modern Art
8:45pm, 11 West 53rd Street

  Shot in Tibet with a Tibetan cast, Song of Tibet, about a woman and the
  three men in her life, is a sweeping multigenerational epic played out
  against the chaos of a society in turmoil. Direc-tor Xie Fei was a
  teacher to many Fifth Generation Chinese filmmakers, including Chen
  Kaige and Tian Zhuangzhuang. Organized by Laurence Kardish, Senior
  Curator, Department of Film. Presented in collaboration with the AMS
  Foundation for the Arts, Sciences and Humanities, and the China
  International Culture Exchange Center (CICEC). Yeshe Doma
  (Yixihuoma/Song of Tibet). 2000. China. Directed by Xie Fei. With
  Danzengzuoga, Laqoing. In Mandarin, Tibetan; English subtitles. 104 min.
  New York premiere. Wednesday, December 6, 6:15; Thursday, December 7,
  8:45. T1

New York, New York: Images Festival
2000, Anthology Film Archives, 32 Second Avenue @ 2nd Street

  This calendar continues the 6-month screening series of Canadian
  artists' film and video organized by Anthology and The Images Festival,
  Toronto. Following our successful spotlight of Philip Hoffman in
  September, this season sees programs devoted to three Canadian media
  artists: the well-respected Barbara Sternberg, the reinvented Robert Lee
  and the emergent Leslie Peters. Each solo program will be paired with a
  show of short works by artists that navigate similar conceptual
  terrains. Look for our final spotlights on Richard Fung, Clive Holden
  and John Porter in the winter season. Barbara Sternberg's
  twenty-five-year career has brought forth a distinctly personal oeuvre
  of filmmaking that emphasizes the rhythms of light and the magical
  displacement of the everyday. Her work reveals a lyrical attention to
  image and intuition, allowing us to tumble through ideas and visions
  that are joined with the sinews of thought. Like the work of Gertrude
  Stein, who is a deep influence on Sternberg, these films employ
  repetition and personal vision as a way to engage with the ephemeral
  passions of life. BURNING (2002, 7 minutes, 16mm, silent) "Your life is
  like a candle. Whether you are aware of it or not, it is burning." –Sri
  Sri Ravi Shankar A multiplicity of diverse images, cut together
  rhythmically, flicker with energy, fire, light, life. TRANSITIONS (1982,
  10 minutes, 16mm) "TRANSITIONS pictures a woman dressed in white caught
  between "asleep and awake". The bed is drawn in the same white cast of
  its occupant, and together they constitute an arena of projection, a
  blank scrim on which the filmmaker inscribes the dreams of her
  protagonist." –Mike Hoolboom OPUS 40 (1979, 15 minutes, 16mm) "OPUS 40
  is set in a New Brunswick foundry, looking on as men perform the simple
  and repetitious gestures that forge oven parts. Their movements are
  treated as a series of themes and variations… OPUS 40 (the title derives
  from the 40-hour work week) is at once a documentary on labour and a
  meditation on repetition." –Mike Hoolboom LIKE A DREAM THAT VANISHES
  (1999, 41 minutes, 16mm) Music by Rainer Weins. "Sternberg intercuts
  interview fragments of philosopher John Davies, shot the year before he
  died, with fleeting images taken from everyday life – fall leaves, a
  teenager's party, flowing water, children at a playground – all shot in
  the filmmaker's characteristic handheld camera style… What unites
  Sternberg's disparate material is a concern with the temporality of all
  existence, a preoccupation not so much with death as with the
  fleetingness of every moment of experience. The themes of the film are
  closely tied to fundamental aspects of cinema: the image perpetually
  vanishes, only to be replaced, instantaneously, by another image."
  –Chris Gehman, THE CANADIAN FILM ENCYCLOPEDIA Series made possible
  thanks to the Canada Council for the Arts (Media Arts Section) and the
  Canadian Consul General, New York City Special thanks to Anthology Film
  Archives (212-505-5181) Subway: F,
  V to Lower East Side–Second Ave; 6 to Bleecker Street $8; students,
  seniors and members $5

New York, New York: Anthology Film Archives
7:30, 32 Second Ave. @ 2nd St.

  Voom HD Lab will present the work of artists and filmmakers who push the
  limits of expression in high-definition video. VOOM HD Lab is an
  outreach program of VOOM HD Networks that encourages artists and
  filmmakers to explore the new medium of HDTV. Selected participants are
  given production support that includes access to a professional
  high-definition production facility. They work in an atmosphere of
  complete creative freedom. This screening includes emerging and
  established filmmakers, a number of whom will be present for a Q & A
  discussion after the screening. Works to be shown: Leslie Thornton
  SAHARA MOJAVE (12 min) A little trip to Hollywood via North Africa,
  circa 1900; Pawel Wojtasik LANDFILL (5 minutes) This video describes the
  formation of the landfill, a potent symbol of our consumer society; Lili
  Chin MAY MAD GAB (4.5 min) A mis-registered camera-roll depicts a
  playful distortion of language and form; Angie Eng SCHPILIN AQUI (tbd)
  Play Here is a 'cinepoem' about the mix of the spanish and jewish
  traditional culture that has dominated the area since WWII; David Kramer
  MORE FUNERALS THAN WEDDINGS IN MY FAMILY (tbd) A satire about external
  forces driving a family to the brink as they persue the trappings of the
  American Dream; Birgit Rathsmann THE UNICORN HUNT (9.5 minutes) An
  adaptation of the Unicorn Tapestries leads to beautiful slapstick
  horror; Theo Angell TREE GRAFTREETIS (5 min) Delve inside a psychedelic
  collage where trees and graffiti create a magical landscape; Jennifer
  Reeves LIGHT WORK I (8 min) Crystals, medicine and sumptuous
  optical-printing transcend an audio/visual collaboration originally
  performed in Scotland; Leighton Pierce MY PERSON IN THE WATER (5.5 min)
  A woman moving in the water and the gaze of a man creates a desire for
  merge among the knowledge of separateness; Ben Fries SOFT SCIENCES (12
  min) You have beautiful eyes. Why is this?; Ali Hossaini UNPERCEPTION
  NOW (4 min) Kalaeidiscopic impressions of the other-worldly landscapes,
  life-forms and cultures of Madagascar; Fred Barney Taylor ATLANTIS (5.5
  min) New York bridges take lyrical form in their state of transition,
  strength and beauty; Trine Nedreass UNDERBELLY (10 min) Trapped in a
  claustrophobic environment of uncertainty, life is an endless cycle of
  limbo and panic; Benton C Bainbridge NORTH BROTHER (10 min) North
  Brother Island of New York City is revealed in the collision of urban
  ruins and rampant nature; Ellen Zweig THE LONELY GIRL (10 minutes) A
  video that depicts what home means to an immigrant – not just the
  location of home, but the home that lives inside a person's heart;

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

  Recent works by Berks County film & video artists and students, most of
  who will be present at the show.

Stuttgart, Germany: WKV-Stuttgart
1pm, Schlossplatz 2

  Artists Karen Mirza and Brad Butler wil lead a practice-based workshop
  in creative projection that explores different approaches to EXPANDED
  CINEMA. Participants will be encouraged to experiment with
  unconventional modes of projection, and investigate the sculptural
  nature of film as a spatial and temporal medium. (Part of the symposium

Stuttgart, Germany: WKV-Stuttgart
7pm, Schlossplatz 2

  Introduced by Karen Mirza & Brad Butler. PAN FILM (Gill Eatherley, 1972,
  triple projection, 8 mins) Representation of a personal space through
  visual counterpoint, and positive / negative shifts. GAS STATION (Robert
  Morris, 1969, double projection, 34 mins) Gas Station explores the lived
  experience of space and the fixed viewpoint of the camera. PLAY (Sally
  Potter, 1971, double projection, 7 mins) Seen from the filmmaker's
  window, the choreographic play of twin children is fractured into
  cinematic space. WHERE A STRAIGHT LINE MEETS A CURVE (Karen Mirza & Brad
  Butler, 2003, double projection, 30 mins) "A durational sculpture, of
  real and imagined activity shot entirely in one room. It is a film
  concerned with the objective reduction of space, a film 'about' the
  recording and representation of space and the politics of the viewing
  space of film itself." (Part of the symposium EXPANDED CINEMA: SPACE /

Stuttgart, Germany: WKV-Stuttgart
8:30pm, Schlossplatz 2

  Introduction and drinks, followed by a screening of LINE DESCRIBING A
  CONE (Anthony McCall,, 1973, film environment, 30 mins) Over time, a
  projected beam of light is transformed into an apparently solid volume
  that stretches across the room, inviting the audience to experience it
  from all perspectives. (Part of the symposium EXPANDED CINEMA: SPACE /


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

  Lynne Sachs in Person! I Am Not a War Photographer is a cinematic
  presentation and talk exploring Sachs' decade-long artistic rather than
  physical immersion in war. From Vietnam to Bosnia to WWII Occupied Rome
  to the Middle East today, her experimental documentary films push the
  borders between genres, discourses, radicalized identities, psychic
  states and nations through the intertwining of abstract and reality
  based imagery. In her talk, she will introduce precise visual strategies
  she has discovered in working with these fraught and divisive themes.
  Often opting for a painterly rather than a photographic articulation of
  conflict, she attempts with each new project to find a precise language
  of images and sounds with which to discuss these volatile moments in
  history, exposing what she see as the limits of a conventional,
  documentary representation of both the past and the present. Included
  are selections from Which Way is East: Notebooks from Vietnam;
  Investigation of a Flame;; and a new
  work-in-process. The program also includes Sachs' newest film, showing
  in its entirety. States of Unbelonging (2005) is a personal and moving
  documentary essay about Sachs' investigation into the life and death of
  a young Israeli woman, Revital Ohayon, who was a mother, a filmmaker, a
  teacher, and a Jew. This shared identity draws Sachs to Revital's story
  and her search for the person behind the news accounts leads her on a
  journey that resonates with meaning beyond the private life of one
  person and the filmmaker looking for answers.

Eugene, Oregon: DIVA Center
8:00 PM, DIVA Center 110 W. Broadway

  The Third Annual Festival of Improvised Music and Moving Image (IMMI
  Fest) once again delights the aural and visual senses December 8th and
  9th at the DIVA Center 110 W. Broadway. IMMI Fest features classic
  silent film, freely improvised music and progressive video, all melded
  together for maximum spontaneity and simultaneous sensory pleasure. The
  festival showcases west coast musicians and media artists in an intimate
  listening and viewing environment for optimal audience exposure. The
  Knotty Ensemble of Vancouver, BC/ Eugene host the festival. The ensemble
  features Jared Burrows - guitar, accordion, and clarinet; Rob Kohler -
  bass; Sonya Lawson - viola; Daniel Heila - flute and winds, and Stan
  Taylor - drums. The Knotty Ensemble is joined by The Three Pipes from
  Mills College in Oakland, California. The group consists of Charity
  Chan, Noah Phillips, and Jordan Glen whose work together is an evocation
  of alternative timbres informed by the immediacy of physical gesture in
  live performance. Trombonist Scott Thomson, a key member of the thriving
  Toronto improvisation scene, will join The Three Pipes in Eugene.
  Festival highlights include experimental short video works as well as
  classic silent films accompanied by a live improvisation. The classic
  film TABU (1931) by F. W. Murnau and Robert J. Flaherty (Nanook of the
  North fame) will be screened Friday evening. On Saturday, A STORY OF
  FLOATING WEEDS (1934) by Yasujiro Ozu will be featured. Both programs
  begin at 8:00pm. General Admission is $5.00. Students $3.00 with School
  photo I.D. For more information contact IMMI Fest Director Daniel Heila,
  (address suppressed) Or, call 344-3482. Full details on the DIVA
  Media Arts Calendar at www.

New York, New York: Images Festival
2000, Anthology Film Archives, 32 Second Avenue @ 2nd Street

  AIR (shorts program) The abundance of land has always figured into the
  Canadian imagination. These works show their makers acutely aware of
  their context, both geographic and aesthetic. References to painters
  like Agnes Martin and the Group of Seven play out against new visions of
  what effect landscape has on one's sense of place. Larissa Fan COMING +
  GOING (2005, 3 minutes, 16mm) FILMMAKER IN PERSON! A portrait of the
  energy of urban life in split-screen. COMING + GOING was shot on one
  roll of regular-8 film, with all editing and split-screen effects
  created in-camera. Ellie Epp TRAPLINE (1976, 18 minutes, 16mm) "Filmed
  in a London, UK swimming pool, TRAPLINE is a painterly film conveying a
  state of limbo…giving one the feeling of being trapped between the
  unconscious and consciousness." –Tina Keane, READINGS Chris Gallagher
  SEEING IN THE RAIN (1981, 10 minutes, 16mm) On a bus route through
  downtown Vancouver, a fixed shot and a rainstorm create the opportunity
  for an exploration of the cinematic "wipe." Philip Barker A TEMPORARY
  ARRANGEMENT (1995, 12 minutes, 16mm) FILMMAKER IN PERSON! "The film
  began as an experiment: to study the human form suspended in a body of
  water – a search for commonality. However, during the filming, a shift
  occurred in the agenda. Individual dramas unfolded as each person had to
  confront their ability – or inability – to relinquish control to the
  water. A personal narrative evolved as I intimately observed my friends
  and family coming to terms with this natural force." –Philip Barker Dana
  Claxton BUFFALO BONE CHINA (1997, 12 minutes, video) An experimental
  video metaphorically recalls First Nations peoples' loss of the buffalo
  and the historical use of buffalo bone to make fine china. John Price
  THE VIEW NEVER CHANGES (1996, 6 minutes, 16mm) "Carefully composed as
  both a gentle and highly critical portrait of the filmmaker's
  relationship with his father, this beautifully hand-processed film
  manages to offer a balanced study heavy with the weight of family
  history and family ties." –Alex Mackenzie David Rimmer SURFACING ON THE
  THAMES (1970, 5 minutes, 16mm) "The loveliest Rimmer film shows a river
  boat slowly steaming past the Houses of Parliament – so slowly that it
  seems not to be moving, and surrounded by such luminous mistiness that
  one critic is supposed to have thought he was looking at a Turner
  painting rather than at film footage. Gradually the surface of the film
  begins to wrinkle slightly, to spot, to show minor blemishes – in a
  sense to assert itself above and before the rich density it contains."
  –Roger Greenspun, NEW YORK TIMES Izabella Pruska-Oldenhof SONG OF THE
  FIREFLY (2002, 4 minutes, 35mm) SONG OF THE FIREFLY transports the
  viewer to an open field on a warm summer night, where the luminous dance
  of the fireflies can be experienced. Joanna Empain MOUVANCES (2005, 4
  minutes, video) A wandering over a landscape. Observation, but also the
  desire for proximity. The scenery alternates and metamorphoses. Vincent
  Grenier NORTH SOUTHERNLY (2006, 7 minutes, video) "Changes of
  directions, in the wind, the edges, the shapes, a joyous and mesmerizing
  Intrigue. Perhaps another way to put it is to describe this piece as a
  humorous digital cine take on the long cultural history of the lessons
  left by the great Chinese painters of the 13th century for whom shapes
  and edges were often all one and the same." –Vincent Grenier Series made
  possible thanks to the Canada Council for the Arts (Media Arts Section)
  and the Canadian Consul General, New York City. Special thanks to
  Anthology Film Archives
  (212-505-5181). Subway: F, V to Lower East Side–Second Ave; 6 to
  Bleecker Street $8; students, seniors and members $5

New York, New York: Anthology Film Archives
7pm, 32 Second Ave. @ 2nd St.

  A documentary of the artist Joan Jonas by Brigitte Cornand, (2006, 75
  minutes, video); This intimate journey into the poetical world of one of
  the major contemporary artists of our time, Joan Jonas. This documentary
  begins with the opening of the exhibition "Joan Jonas: Five Works" at
  the Queens Museum in 2003. Journeying from the artist's New York studio
  to her house on Cape Breton, filmmaker Brigitte Cornand documents her
  numerous encounters with the Jonas, capturing her at work on "The Scent,
  the Shape, the Feel of Things," a large-scale performance piece inspired
  by the work of the late German art-historian-extraordinaire Aby Warburg,
  and culminating in the piece's 2005 premiere at Dia:Beacon. (The piece
  had an encore presentation at Dia:Beacon in October 2006.) The program
  will also include several recent videos by Joan Jonas, presented in
  collaboration with Electronic Arts Intermix (EAI). "Like many members of
  her influential generation, Joan Jonas stopped making sense in the late
  1960's, replacing narrative continuity with a fragmented multimedia
  performance style that incorporates drawing, sculpture and video;
  emphasizes everyday objects and gestures; and often uses amateur dancers
  and musicians. Such strategies personify the art of the early 1970's,
  with its love of process, heightened banality and accident. To these Ms.
  Jonas has always added interests of her own: folk tales and songs,
  shamanistic ritual and mythic beings, favored props and, sometimes, one
  of several soulful white dogs she has owned. A result is an air of
  unabashed lyricism, a wildness that is less artistic device than
  elemental condition, basic to life since the beginning of human
  consciousness." —Roberta Smith, New York Times

Stuttgart, Germany: WKV-Stuttgart
11am, Schlossplatz 2

  An open meeting. Guest artists and invited speakers will discuss issues
  related to the presentation and documentation of EXPANDED CINEMA works,
  addressing important questions concerning the conservation, presentation
  and study of this filmic performance art. EXPANDED CINEMA often demands
  the direct participation of the artist-creator, resisting re-enactment
  and reconstruction in their absence. Each projection is different,
  embracing chance and variation, and adapted to its exhibition
  environment, making it impossible to encapsulate a definitive
  performance. Given these conditions, how can such works be adequately
  recorded and studied outside of the live experience, whilst retaining
  the unique characteristics of this dynamic, ephemeral art form ? (Part

Stuttgart, Germany: WKV-Stuttgart
3pm, Schlossplatz 2

  In a radical approach to film preservation, Tony Conrad will discuss and
  prepare 'Pickled Film', methodically mixing raw film stock, vinegar,
  vegetables and spices.

Stuttgart, Germany: WKV-Stuttgart
7pm, Schlossplatz 2

  OPENING THE NINETEENTH CENTURY: 1896 (Ken Jacobs, 1990, 16mm film, 9
  mins) An archival film from the turn of the century, transformed into
  impossible 3D. MORNINGFILMS DOUBLE PROJECTION 8/2001-10/2004 (Hans
  Michaud, 2004, double projection, 5 mins) A celluloid sketchbook
  composed to a strict mathematical scheme. CERTAINES OBSERVATIONS (Rose
  Lowder, 1979, double projection, 14 mins) "Certain observations are used
  to define notions regarding the appearance of things in true or apparent
  motion." SANS TITRE 84 (Yann Beauvais, 1984, double projection, 14 mins)
  Photographs of the Arc de Triomphe, split into strips, reformed and
  transformed. GURTRUG NO. 2 (Werner Nekes, 1967, double projection, 13
  mins) Two triangular images, vertically aligned, form an X in space and
  time. DOPPELPROJEKTION (Ernst Schmidt Jr., 1969, double projection, 5
  mins) Doppelprojektion explores the transformation of events from
  physical space into visual space.

Stuttgart, Germany: WKV-Stuttgart
8:30pm, Schlossplatz 2

  English artist William Raban is one of the leading practitioners of
  EXPANDED CINEMA, mixing the materialist aesthetic with time-lapse and
  observational documentary. Tonight's programme draws on key works from
  the 1970s, and features the world premiere of a new arrangement of 'Wave
  Formations'. SURFACE TENSION (William Raban, 1976, double projection, 15
  mins) ANGLES OF INCIDENCE (William Raban, 1973, double projection, 10
  mins) MOONSHINE (William Raban, 1974, double projection, 8 mins)
  DIAGONAL (William Raban, 1973, triple projection, 5 mins) WAVE
  FORMATIONS (William Raban, 1977-2006, quintuple projection, 20 mins)

(continued in next email)

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