This week [January 20 - 28, 2007] in avant garde cinema (part 1 of 2)

From: weekly listing (email suppressed)
Date: Sat Jan 20 2007 - 09:07:37 PST


This week [January 20 - 28, 2007] in avant garde cinema (part 1 of 2)

To subscribe/unsubscribe to the weekly listing, send an
email to (address suppressed)-beam.net.

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

http://www.hi-beam.net/cgi-bin/ann.pl

NEW FILM/VIDEO: NON-FEATURE:
===========================
"Wrap" by Jerry King Musser
  http://www.hi-beam.net/cgi-bin/ann.pl?type=newwork&readfile=288.ann

ITEMS FOR SALE:
==============
magnasync 16mm synchronizer
http://www.hi-beam.net/cgi-bin/ann.pl?type=sale&readfile=3.ann
super 8 film editor
http://www.hi-beam.net/cgi-bin/ann.pl?type=sale&readfile=4.ann

JOB AVAILABLE:
=============
The Liaison of Independent Filmmakers of Toronto
http://www.hi-beam.net/cgi-bin/ann.pl?type=jobs&readfile=22.ann

NEW CALLS FOR ENTRIES:
=====================
OPENSOURCE Art/Collected (Champaign, IL 61820, USA; Deadline: January 22, 2007)
  http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=675.ann
WPA\C Experimental Media Series - ColorField Remix (Washington, DC, USA;
Deadline: March 07, 2007)
  http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=676.ann
Experiments in Cinema V 2.0 (albuquerque, New Mexico USA ; Deadline:
January 21, 2007)
  http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=677.ann
No Fixed Abode and the Mobile Cinema (Sheffield, UK; Deadline: February 23,
2007)
  http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=678.ann
Daily Constitutional, Issue 4 (Richmond, VA; Deadline: February 02, 2007)
  http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=679.ann
Streaming Festival (The Hague; Deadline: February 07, 2007)
  http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=680.ann
San Francisco International Film Festival (San Francisco, CA, USA;
Deadline: March 23, 2007)
  http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=681.ann
19th Onion City Experimental Film and Video Festival (Chicago, IL, USA;
Deadline: April 13, 2007)
  http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=682.ann
10 or Less Film Festival (Portland, OR, USA; Deadline: June 15, 2007)
  http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=683.ann
Worldwide Short Film Festival (Toronto, ON, Canada; Deadline: February 23,
2007)
  http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=684.ann

DEADLINES APPROACHING:
======================
PA Festival of Films (Slippery Rock, PA, USA; Deadline: February 01, 2007)
  http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=607.ann
Hong Kong International Film Festival (Hong Kong ; Deadline: January 27, 2007)
  http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=608.ann
Independent Film Festival of Boston (Boston, MA, U.S.A.; Deadline: January
31, 2007)
  http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=623.ann
The Play Ground (Duluth, MN, USA; Deadline: January 26, 2007)
  http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=624.ann
Dereel Independent Film Festival (Melbourne, Victoria, Australia; Deadline:
February 03, 2007)
  http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=634.ann
The Delta International Film and Video Festival (Cleveland, MS USA;
Deadline: February 01, 2007)
  http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=642.ann
Visual Music Marathon (Boston, MA; Deadline: January 22, 2007)
  http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=662.ann
Studio 27 - Oral Action (San Francisco, CA USA; Deadline: February 01, 2007)
  http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=669.ann
Heaven Gallery (Chicago, IL ; Deadline: January 22, 2007)
  http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=670.ann
The Secret Technology Show (San Francisco, CA; Deadline: February 16, 2007)
  http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=672.ann
Bicycle Film Festival (New York, NY, United States; Deadline: February 17,
2007)
  http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=674.ann
OPENSOURCE Art/Collected (Champaign, IL 61820, USA; Deadline: January 22, 2007)
  http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=675.ann
Experiments in Cinema V 2.0 (albuquerque, New Mexico USA ; Deadline:
January 21, 2007)
  http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=677.ann
No Fixed Abode and the Mobile Cinema (Sheffield, UK; Deadline: February 23,
2007)
  http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=678.ann
Daily Constitutional, Issue 4 (Richmond, VA; Deadline: February 02, 2007)
  http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=679.ann
Streaming Festival (The Hague; Deadline: February 07, 2007)
  http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=680.ann
Worldwide Short Film Festival (Toronto, ON, Canada; Deadline: February 23,
2007)
  http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=684.ann

Enter your event announcements by going to the Flicker Weekly Listing Form
at http://www.hi-beam.net/cgi-bin/thisweek.pl

Also available online at Flicker: http://www.hi-beam.net

THIS WEEK'S PROGRAMS (SUMMARY):
==============================
  * Apichatpong Weerasethakul Shorts Program [January 20, Chicago, Illinois]
  * Adam Kendall and Vortex [January 20, Houston, Texas]
  * Azazel Jacobs the Goodtimeskid [January 20, New York, New York]
  * Ken Jacobs Two Wrenching Departures [January 20, New York, New York]
  * Ocularis At 10 [January 20, New York, New York]
  * John Cage One11 and 103 [January 20, New York, New York]
  * Films By LÁSzlÓ Moholy-Nagy [January 20, New York, New York]
  * Vancouver Film Experiments [January 20, Toronto, Ontario, Canada]
  * Adam Kendall and Vortex [January 21, Houston, Texas]
  * Filmforum Presents An Evening With Gary Kibbins [January 21, Los
Angeles, California]
  * Azazel Jacobs the Goodtimeskid [January 21, New York, New York]
  * Ken Jacobs Two Wrenching Departures [January 21, New York, New York]
  * Strike / Stachka [January 21, New York, New York]
  * John Cage One11 and 103 [January 21, New York, New York]
  * Mike Kelley [January 22, Los Angeles, California]
  * The Goodtimeskid By Azazel Jacobs [January 22, New York, New York]
  * Two Wrenching Departures By Ken Jacobs [January 22, New York, New York]
  * Ocularis At 10 [January 22, New York, New York]
  * In the Poem About Love You Don’T Write the Word Love [January 22, New
York, New York]
  * Yoko Ono: Rape [January 23, Berkeley, California]
  * Day Is Done (Extracurricular Activity Projective Reconstructions #2–#32)A
     Film By Mike Kelley [January 23, Los Angeles, California]
  * The Goodtimeskid By Azazel Jacobs [January 23, New York, New York]
  * Two Wrenching Departures By Ken Jacobs [January 23, New York, New York]
  * Together Again: Collectively Created Compilations [January 24,
Berkeley, California]
  * Like Mangoes In July: the videos of Richard Fung [January 24, New
York, New York]
  * "The Remake Show" [January 24, Providence, RI]
  * Chicago Motion Graphics Festival 2007 [January 25, Chicago, Illinois]
  * Feedback: the video Data Bank, video Art, and Artist Interviews
[January 25, New York, New York]
  * Facing South (Shorts Programme) [January 25, New York, New York]
  * Facing South [January 25, New York, New York]
  * Film Love: andy Warhol 1 [January 26, Atlanta, Georgia]
  * "Jud Yalkut: Twenty Years of Digital video 1980-2002" [January 26,
Dayton, Ohio]
  * I Am Not A War Photographer: Films of Lynne Sachs [January 26, New
York, New York]
  * Film Love: andy Warhol 2 [January 27, Atlanta, Georgia]
  * Essential Cinema - Sergei Eisenstein [January 27, New York, New York]
  * I Am Not A War Photographer: Films of Lynne Sachs [January 27, New
York, New York]
  * Japanese Animation Trips [January 27, Toronto, Ontario, Canada]
  * Meet the Maker - Documentary Filmmaker Joanna Kohler Presents Boxers
[January 28, Chicago, Illinois]
  * Filmforum Presents the World Premiere of Erika Suderberg's New Work
     “Decline and Fall" [January 28, Los Angeles, California]
  * Essential Cinema - Sergei Eisenstein [January 28, New York, New York]
  * I Am Not A War Photographer: Films of Lynne Sachs [January 28, New
York, New York]

Events are sorted by CITY within each DATE.

--------------------------
SATURDAY, JANUARY 20, 2007
--------------------------

1/20
Chicago, Illinois: Chicago Filmmakers
http://www.chicagofilmmakers.org/
8:00pm, Chicago Filmmakers (5243 N. Clark St.)

  APICHATPONG WEERASETHAKUL SHORTS PROGRAM
   A special repeat screening of the hard to see short works of acclaimed
   Thai filmmaker Apichatpong Weerasethakul. Weerasethakul has become one
   of the leading figures in World Cinema, with his stylistic and
   unconventional feature films Mysterious Object at Noon, Blissfully
   Yours, and Tropical Malady. But he really got his filmmaking start here
   in Chicago at the School of the Art Institute of Chicago and his
   exhibition start at Chicago Filmmakers, one of the first venues to show
   his work. Tonight's program features a generous selection of his amazing
   short films and videos. Malee and the Boy (1999): A collaborative
   project with a 10 year-old boy who is in charge of the microphone. He
   roams around Bangkok to gather sounds for the project. The narrative,
   presented in text, is taken from a Thai comic book. Like the Relentless
   Fury of the Pounding Waves (1995): On a hot day in a small town a mystic
   radio fills the air with the sounds of a melodramatic play, The Sea
   Goddess. Also showing are Windows (1999), 0116643225059 (1994), Nokia
   Shorts (2003), thirdworld (1997), and This And Million More Light (2003)

1/20
Houston, Texas: Aurora Picture Show
http://www.aurorapictureshow.org
8pm, 800 Aurora St.

  ADAM KENDALL AND VORTEX
   The A/V trio of Adam Kendall and Vortex (Satoshi Takeishi and Shoko
   Nagai) perform collaborative multimedia pieces stressing improvisation
   and rules-based techniques. The trio process their video and sounds in
   real-time, integrating their images and music with custom video
   software, acoustic keyboards and percussion, and electronic
   audio-devices. The result is a dynamic range of abstraction and
   literalism and an ongoing interplay of A/V motifs and textures. Their
   shows will feature new work specifically intended for their appearance
   at Aurora Picture Show.

1/20
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
5:00, 9:00, 32 Second Ave

  AZAZEL JACOBS THE GOODTIMESKID
   Azazel Jacobs THE GOODTIMESKID KEN AND AZAZEL JACOBS Anthology is
   pleased to present premiere engagements of new feature-length films by
   two members of the unceasingly prolific and preternaturally talented
   Jacobs clan. From Essential Cinema stalwart and avant-garde luminary Ken
   Jacobs comes TWO WRENCHING DEPARTURES, a new video version of an earlier
   Nervous System projector performance-piece, while, representing the next
   generation of Jacobs (which also includes his sister and fellow
   filmmaker Nisi), Azazel follows his accomplished feature debut, NOBODY
   NEEDS TO KNOW, with the equally wonderful THE GOODTIMESKID. Azazel
   Jacobs THE GOODTIMESKID A story about stolen love and stolen identities,
   shot on stolen film. 2005, 77 minutes, 35mm, color. Starring Sara Diaz,
   Gerardo Naranjo, Azazel Jacobs. "THE GOODTIMESKID is the relaxed and
   episodic story of two men with the same name who cross paths one day,
   and the girl [caught] between them who gets the chance to escape her
   daily routine. As their lives intertwine and unravel, they embark on a
   personal odyssey together, affected only by those they encounter along
   the way. Jacobs (NOBODY NEEDS TO KNOW), son of avant-garde filmmaker Ken
   Jacobs, draws on influences from Jarmusch to his own father, but has an
   original voice, clear and resonant. He uses subtle shifts in sound and
   music, a voyeuristic camera and unexpected narrative jump cuts to create
   a unique vision of the people inhabiting the engaging universe he and
   his cohorts have created." –Shaz Bennett, AFI FEST 2005 "Minimalist to
   the max, THE GOODTIMESKID emerges as an absurdist and nearly wordless
   urban dance between two men and a woman over 24 hours in Los Angeles.
   Building his dry comedy out of a basic confusion of names, an Army
   recruitment slip and one man's curiosity, Jacobs creates a droll,
   meandering and defiantly uncommercial film…[he] is able to juggle his
   expression of love for the films of Chaplin, Jacques Rivette and Aki
   Kaurismäki along with a light-hearted application of sustained silences
   and barely articulated behavior." –Robert Koehler, VARIETY "In the
   spirit of the indie heyday, when names like Alex Cox, Stephen Frears,
   Wim Wenders and Jim Jarmusch were the currency of cinema's promise,
   comes Azazel Jacobs, hopefully the new bearer of the long-smoldering
   punk cinema torch. THE GOODTIMESKID is a wonderfully observant and
   comical character study made with nothing but pocket change and a love
   of movies." –hypersquared

1/20
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
7:00, 32 Second Ave

  KEN JACOBS TWO WRENCHING DEPARTURES
   Ken Jacobs TWO WRENCHING DEPARTURES 2006, 90 minutes, video, b&w, sound.
   Ken Jacobs TWO WRENCHING DEPARTURES 2006, 90 minutes, video, b&w, sound.
   In October 1989, estranged friends Bob Fleischner and Jack Smith died
   within a week of each other. Ken Jacobs met Smith through Fleischner in
   1955 at CUNY night school, where the three were studying camera
   techniques. This feature-length work, first performed in 1989 as a live
   Nervous System piece is a "luminous threnody" (Mark McElhatten) made in
   response to the loss of Jacobs' friends.

1/20
New York, New York: Museum of Modern Art
http://www.moma.org
8:30, MoMA, 11 West 53 St

  OCULARIS AT 10
   OCULARIS AT 10 JANUARY 20 & 22 Founded in 1996 as a rooftop film series
   in Williamsburg, Brooklyn, Ocularis evolved into a weekly cinema at
   Galapagos Art Space. Artforum called Ocularis "one of the most
   innovative film venues in New York." In commemoration of a highly
   eventful decade, this retrospective screening—collectively curated by
   ten key Ocularis organizers past and present (Donal O'Ceilleachair,
   Marie Losier, Jonathan Howell, Isabelle Dupuis, Karyn Riegel, Henriette
   Huldisch, Moira Tierney, Sophie Fenwick, Lauren Cornell, and Thomas
   Beard)—reflects the diversity of programming that established Ocularis's
   reputation as a vibrant forum, outside galleries and museums, for the
   contemporary moving image. Organized by Charles Silver, Associate
   Curator, Department of Film. Jejeune (Nouvelle Vache). 1998. USA.
   Directed by Bruce McClure. 6 min. The Girl with Three Socks/Shalmont
   Field/Speed Reader. 2002. USA. Directed by Shannon Plumb. 6 min. The
   Moschops. 2000. USA. Directed by Jim Trainor. 13 min. Isle of Flowers.
   1989. Brazil. Directed by Jorge Furtado. 12 min. Little Flags. 2000.
   USA. Directed by Jem Cohen. 7 min. Endless Obsession. 2001. USA.
   Directed by Glen Fogel. 6 min. Les Malles. 1989. Senegal. Directed by
   Felix Samba N'Diaye. 13 min. Nettezza Urbana. 1948. Italy. Directed by
   Michelangelo Antonioni. 9 min. Welcome to My Homey Page. 2003. USA.
   Directed by Paper Rad. 3 min. Pixillation. 1970. USA. Directed by
   Lillian Schwartz. 4 min. Program 79 min. Saturday, January 20, 8:30
   (introduced by Donal O'Ceilleachair, Founder; and Thomas Beard, former
   Program Director, Ocularis); Monday, January 22, 5:00

1/20
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
6:00, 32 Second Ave

  JOHN CAGE ONE11 AND 103
   MODE RECORDS PRESENTS John Cage ONE11 AND 103 1992, 94 minutes, 35mm,
   b&w, sound. Produced and directed by Henning Lohner, cinematography by
   Van Carlson. Filmmaker Henning Lohner in person! Special note: the film
   will be screened with alternate soundtracks each night. John Cage
   created his only feature-length film in the year he died. A sublime
   performance for camera-person and light, ONE11 is, in Cage's words, "a
   film without subject. There is light but no persons, no things, no ideas
   about repetition and variation. It is meaningless activity which is
   nonetheless communicative, like light itself, escaping our attention as
   communication because it has no content to restrict its transforming and
   informing power." The final impression is of another, timeless place –
   freely roaming amidst the clouds or, perhaps, under the sea. Chance
   operations were used with respect to the shots and the editing of the
   film. The light environment was designed and programmed by John Cage and
   Andrew Culver. The orchestral work 103 musically accompanies ONE11. Like
   the film, 103 is 90 minutes long, divided into seventeen parts – its
   density varies from solos, duos, trios to full orchestral tuttis. "ONE11
   AND 103 is very strong, very daring, and finally completely
   mesmerizing." –Louis Malle This is the first screening of a 35mm print
   in New York since its premiere in 1992. This screening is presented by
   Mode Records in conjunction with ONE11's first release on DVD.

1/20
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
8:00, 32 Second Ave

  FILMS BY LÁSZLÓ MOHOLY-NAGY
   Introduction by Hattula Moholy-Nagy, daughter of László Moholy-Nagy and
   director of The Moholy-Nagy Foundation. Presented in collaboration with
   the Whitney Museum of American Art. From his innovative photographs,
   including his 'camera-less' photograms and photomontages, to his
   experiments with novel synthetic materials such as Perspex and Rhodoid,
   László Moholy-Nagy explored the changing nature of art in the face of
   new technology. As he wrote, "[P]ainting, photography, and film are
   parts of one problem although their techniques may be entirely
   different. They belong to the same realm; that is, to visual expression,
   where cross-fertilizations are possible." Tonight, six of his
   experimental and documentary films will be screened: MARSEILLE VIEUX
   PORT (1929, 9 minutes) LIGHT DISPLAY: BLACK-WHITE-GREY (1930, 5.5
   minutes) BERLIN STILL LIFE (1931, 9 minutes) URBAN GYPSIES /
   GROSSSTADT-ZIGEUNER (1932, 11 minutes) THE LIFE OF THE LOBSTER (1936, 16
   minutes) THE NEW ARCHITECTURE AT THE LONDON ZOO (1936, 15.5 minutes)

1/20
Toronto, Ontario, Canada: Hungry Ghost Cinema
8:00pm, Cinecyle, 129 Spadina (down the lane)

  VANCOUVER FILM EXPERIMENTS
   Vancouver Film Experiments, At Cinecycle, 129 Spadina Ave. (down the
   lane),January 20, 8:00pm New and recently recycled works by some of the
   wet-coast's most celebrated, subtle, and secret celluloid artists. From
   nuanced film based textures to digitally rendered outputs and stripped
   down dark noise aesthetics, it's all here. Reinventing the Vancouver
   style, this program balances the violence of the downtown eastside with
   an investigation of geographies that evokes an intricate and saturated
   view on handmade film and the BC landscape. Almost all Toronto
   premieres, these films are likely to migrate a fault-line or two.
   Virtually all formats will be crossed in the night: Super 8, 16mm, 35mm
   and video. Note: Film-artist and curator Ben Donoghue will be in
   attendance for a live optical sound performance along with filmmaker Amy
   Kazymerchyk for questions. Films and Videos by: Alex Mackenzie, Amanda
   Dawn Christie, Amy Kazymerchyk, Ben Donoghue, Chris Brabant, Christoph
   Runne, Julie Saragosa, Yun Lam Li, Zoe Gordini. $5-10 at the door.
   Please contact email suppressed for more info, previews,
   interviews.

------------------------
SUNDAY, JANUARY 21, 2007
------------------------

1/21
Houston, Texas: Aurora Picture Show
http://www.aurorapictureshow.org
7pm, 800 Aurora St.

  ADAM KENDALL AND VORTEX
   The A/V trio of Adam Kendall and Vortex (Satoshi Takeishi and Shoko
   Nagai) perform collaborative multimedia pieces stressing improvisation
   and rules-based techniques. The trio process their video and sounds in
   real-time, integrating their images and music with custom video
   software, acoustic keyboards and percussion, and electronic
   audio-devices. The result is a dynamic range of abstraction and
   literalism and an ongoing interplay of A/V motifs and textures. Their
   shows will feature new work specifically intended for their appearance
   at Aurora Picture Show.

1/21
Los Angeles, California: Filmforum
http://www.lafilmforum.org/
7:00 pm, Egyptian Theatre, 6712 Hollywood Blvd. at Las Palmas

  FILMFORUM PRESENTS AN EVENING WITH GARY KIBBINS
   New video work by Gary Kibbins, media artist and writer. He currently
   teaches in the Department of Film Studies, Queen's University, Kingston,
   Canada. Until 2000 he taught at the California Institute of the Arts. A
   book of essays and scripts was published in 2005: Grammar & Not-Grammar:
   Selected Scripts and Essays by Gary Kibbins, ed. Andrew J. Paterson.
   Tonight's works include APRIL 1967 (2005), 10 Phrase Studies (2005), The
   Harvest Is In (2006), Jesuscallingthelittlechildrenuntohim (2006), and
   P&Not-P (1994; 16mm)

1/21
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
5:00, 9:00, 32 Second Ave

  AZAZEL JACOBS THE GOODTIMESKID
   Azazel Jacobs THE GOODTIMESKID A story about stolen love and stolen
   identities, shot on stolen film. 2005, 77 minutes, 35mm, color. Starring
   Sara Diaz, Gerardo Naranjo, Azazel Jacobs. See notes for Wednesday,
   January 20.

1/21
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
7:00, 32 Second Ave

  KEN JACOBS TWO WRENCHING DEPARTURES
   Ken Jacobs TWO WRENCHING DEPARTURES 2006, 90 minutes, video, b&w, sound.
   See notes for Wednesday, January 20.

1/21
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
5:30, 32 Second Ave

  STRIKE / STACHKA
   Sergei Eisenstein STRIKE / STACHKA 1925, 106 minutes, b&w. With Russian
   intertitles. English synopsis available. Eisenstein's interest in the
   Freudian father complex drives this psychological scenario in which
   non-actors step forward to acknowledge the viewer, illustrating
   Eisenstein's desire to penetrate to the heart of cinema, sidestepping
   realism by "being real." Governmental restrictions made STRIKE the only
   completed film of a series intended to portray the road to revolution.

1/21
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
8:00, 32 Second Ave

  JOHN CAGE ONE11 AND 103
   John Cage ONE11 AND 103 1992, 94 minutes, 35mm, b&w, sound. Produced and
   directed by Henning Lohner, cinematography by Van Carlson. Filmmaker
   Henning Lohner in person! Special note: the film will be screened with
   alternate soundtracks each night. See notes for Saturday, January 20.

------------------------
MONDAY, JANUARY 22, 2007
------------------------

1/22
Los Angeles, California: Redcat
http://www.redcat.org/
8pm, 631 W. 2nd st

  MIKE KELLEY
   World theatrical premiere 2005–06, 150 min., DigiBeta A major new video
   work by the Los Angeles artist, Day Is Done is a feature-length musical
   that examines American subcultures and folk events through the restaging
   of 31 carnivalesque productions intermixed into a meandering
   semi-narrative. Each reconstruction is a live-action scene that has been
   extrapolated from photographs found in high school yearbooks, with such
   familiar diversions from the day-to-day routine as dress-up days,
   memorial speeches, religious spectacles, fashion shows, singles' mixers
   and musical follies. Kelley disrupts the traditional structures of such
   events to construct a dizzying daisy chain of performances that results
   in an institutional landscape populated by dancing Goths, singing
   vampires, hick storytellers, horse dancers, and the Virgin Mary. Written
   and directed by Mike Kelley, with original music by Mike Kelley and
   Scott Benzel and choreography by Kate Foley. In Person: Mike Kelley $6
   Student with valid ID $8 General

1/22
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
7:00pm, 32 Second Ave @ 2nd St

  THE GOODTIMESKID BY AZAZEL JACOBS
   See notes for January 20

1/22
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
9:00pm, 32 Second Ave @ 2nd St

  TWO WRENCHING DEPARTURES BY KEN JACOBS
   See notes for January 20

1/22
New York, New York: Museum of Modern Art
http://www.moma.org
5:00, MoMA, 11 West 53 St

  OCULARIS AT 10
   OCULARIS AT 10 JANUARY 20 & 22 Founded in 1996 as a rooftop film series
   in Williamsburg, Brooklyn, Ocularis evolved into a weekly cinema at
   Galapagos Art Space. Artforum called Ocularis "one of the most
   innovative film venues in New York." In commemoration of a highly
   eventful decade, this retrospective screening—collectively curated by
   ten key Ocularis organizers past and present (Donal O'Ceilleachair,
   Marie Losier, Jonathan Howell, Isabelle Dupuis, Karyn Riegel, Henriette
   Huldisch, Moira Tierney, Sophie Fenwick, Lauren Cornell, and Thomas
   Beard)—reflects the diversity of programming that established Ocularis's
   reputation as a vibrant forum, outside galleries and museums, for the
   contemporary moving image. Organized by Charles Silver, Associate
   Curator, Department of Film. Jejeune (Nouvelle Vache). 1998. USA.
   Directed by Bruce McClure. 6 min. The Girl with Three Socks/Shalmont
   Field/Speed Reader. 2002. USA. Directed by Shannon Plumb. 6 min. The
   Moschops. 2000. USA. Directed by Jim Trainor. 13 min. Isle of Flowers.
   1989. Brazil. Directed by Jorge Furtado. 12 min. Little Flags. 2000.
   USA. Directed by Jem Cohen. 7 min. Endless Obsession. 2001. USA.
   Directed by Glen Fogel. 6 min. Les Malles. 1989. Senegal. Directed by
   Felix Samba N'Diaye. 13 min. Nettezza Urbana. 1948. Italy. Directed by
   Michelangelo Antonioni. 9 min. Welcome to My Homey Page. 2003. USA.
   Directed by Paper Rad. 3 min. Pixillation. 1970. USA. Directed by
   Lillian Schwartz. 4 min. Program 79 min. Saturday, January 20, 8:30
   (introduced by Donal O'Ceilleachair, Founder; and Thomas Beard, former
   Program Director, Ocularis); Monday, January 22, 5:00

1/22
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
7:30pm, 32 Second Ave @ 2nd St

  IN THE POEM ABOUT LOVE YOU DON’T WRITE THE WORD LOVE
   Anthology presents a film/video series as part of Artists Space's
   exhibition IN THE POEM ABOUT LOVE YOU DON'T WRITE THE WORD LOVE. This
   project brings together works by several generations of artists and
   filmmakers whose practices engage – in tacit and explicit ways – the
   overwhelming media culture in which we live. Displacement is a seam that
   emerges and retreats through more than 30 works: a selection of film and
   video installations, sculptures, paintings, drawings, collages, and
   photographs. These works demonstrate a fundamental incompleteness,
   deferring any sense of a true image, reinforcing the confused neurotic
   state between entities, and challenging the status of the "visual."
   Works to be shown: Marcel Broodthaers LA PIPE COULEUR (1969-71, 4 min,
   16mm, b&w/color) Marcel Broodthaers CECI NE SERAIT PAS UNE PIPE (UN FILM
   DU MUSÉE D'ART MODERNE) / THIS WOULDN'T BE A PIPE (1969-71, 2.5 min,
   35mm, b&w) Marcel Broodthaers LA PIPE SATIRE (1969, 2 min, 35mm, b&w);
   AND: Ayreen Anastas PASOLINI PA* PALESTINE (2003, 60 min, DVD, color,
   sound) Inspired by Pier Paolo Pasolini's film Seeking Locations in
   Palestine for the Gospel According to Saint Matthew (1963), Anastas
   adapts a new script which attempts to repeat Pasolini's endeavors and
   resuscitates his missed opportunities.

-------------------------
TUESDAY, JANUARY 23, 2007
-------------------------

1/23
Berkeley, California: Pacific Film Archive
http://www.bampfa.berkeley.edu/
7:30PM, 2575 Bancroft Way, Berkeley, CA 94720

  YOKO ONO: RAPE
   RapeYoko Ono, John Lennon (U.K., 1969) To make Rape, Ono's cameraman Nic
   Knowland picked up a woman in a London cemetery and pursued her,
   relentlessly, through the streets, into a friend's flat and finally to
   her own place. Speaking only German and Italian, she can neither discern
   why she is being filmed nor make her stalkers go away; other women
   appear to be accomplices. She becomes frantic. Usually interpreted as a
   realization in the extreme of the paparazzi syndrome, Rape speaks
   (rather screams) to the cinema, as well. And specifically, to woman as
   she is captured in the cinema—her inability to communicate from "behind
   the screen," pursued by a (phallic) lens and microphone, the camera so
   close as to refuse the whole picture, a cameraman whose silence is
   power. (77 mins) Preceded by shorts: Freedom (Yoko Ono, U.S., 1970).
   Yoko tries to free herself from her brassiere, in slow motion. (1 min)
   Fly (Yoko Ono, John Lennon, U.S., 1970). One of Ono and Lennon's most
   beautiful films explores the idea of the female body on screen as a fly
   explores the naked body of a woman, lying prone. Here the high-pitched
   sounds of Ono's music find their natural niche. (25 mins)

1/23
Los Angeles, California: Redcat
http://www.redcat.org/
8pm, REDCAT at the Walt Disney Concert Hall 631. W 2nd St.

  DAY IS DONE (EXTRACURRICULAR ACTIVITY PROJECTIVE RECONSTRUCTIONS #2–#32)A
  FILM BY MIKE KELLEY
   World theatrical premiere 2005–06, 150 min., DigiBeta Day Is Done, a
   major new video work by the Los Angeles artist, is a feature-length
   musical that examines American subcultures and folk events through the
   restaging of 31 carnivalesque productions intermixed into a meandering
   semi-narrative. Each reconstruction is a live-action scene that has been
   extrapolated from photographs found in high school yearbooks, with such
   familiar diversions from the day-to-day routine as dress-up days,
   memorial speeches, religious spectacles, fashion shows, singles' mixers
   and musical follies. Mon Jan 22, Tuesday Jan 23 | 8 pm | $8–6 Jack H.
   Skirball Screening Series In Person: Mike Kelley

1/23
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
7:00pm, 32 Second Ave @ 2nd St

  THE GOODTIMESKID BY AZAZEL JACOBS
   See notes for January 20

1/23
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
9:00pm, 32 Second Ave @ 2nd St

  TWO WRENCHING DEPARTURES BY KEN JACOBS
   See notes for January 20

---------------------------
WEDNESDAY, JANUARY 24, 2007
---------------------------

1/24
Berkeley, California: Pacific Film Archive
http://www.bampfa.berkeley.edu/
7:30PM, 2575 Bancroft Way, Berkeley, CA 94720

  TOGETHER AGAIN: COLLECTIVELY CREATED COMPILATIONS
   Generic Remix Project Curated by Nancy Buchanan (U.S., 2006) Nancy
   Buchanan in Person The power of the generic is its utter familiarity. It
   is a form of visual shorthand, relying on indistinct features to summon
   the sense of an entire class or category. The reduction of the
   remarkable, the expunging of the unexpected is what the generic is all
   about. This becomes unexpectedly and remarkably evident when we look at
   that storehouse of moving images described as "stock," film footage
   reused as all-purpose, non-particular padding. Curator Nancy Buchanan
   was fascinated by the generic categorizations themselves, the products
   of an odd diminution of difference. After purchasing copyright-free
   stock footage, Buchanan engaged a group of never-bland artists to
   interrogate "what is supposedly the 'norm' for categories such as
   'nature,' 'family,' 'health,' 'history,' etc. as defined by commercial
   suppliers." The remixed result is a defamiliarizing bit of stock
   therapy. The artists are: Nancy Buchanan, Doug Goodwin, Hilja Keading,
   Carole Kim, Tom Leeser, Les LeVeque, Eve Luckring, Pat O'Neill, Astra
   Price, Natasa Prosenc, Joseph Santarromana, Erika Suderburg, Jocelyn
   Taylor. (43 mins) Preceded by short: Exquisite Corpse (U.K., 2004).
   Rachel Cornish curated this classic "corpse" in which artists riff on
   the creative clues of earlier contributions. Included are shorts by
   Eileen Bonner, Rachel Cornish, Sally Irvine, Liliana Lopez, Fritz
   Stolberg, and Teresa Whiting. (20 mins)

1/24
New York, New York: Images Festival
http://www.imagesfestival.com/
2000, Anthology Film Archives, 32 Second Avenue

  LIKE MANGOES IN JULY: THE VIDEOS OF RICHARD FUNG
   THE IMAGES FESTIVAL AND ANTHOLOGY FILM ARCHIVES PRESENT: SIX OF ONE,
   HALF-DOZEN OF THE OTHER: IMAGES FROM CANADA PROGRAM 7; RICHARD FUNG LIKE
   MANGOES IN JULY: THE VIDEOS OF RICHARD FUNG (RICHARD FUNG in person!)
   This calendar continues the 8-month screening series of Canadian
   artists' film and video organized by Anthology and The Images Festival,
   Toronto. Following our successful spotlights on Philip Hoffman, Barbara
   Sternberg, Robert Lee and Leslie Peters, this season sees spotlights on
   three Canadian media artists: the activist Richard Fung, the poet Clive
   Holden and the Super 8 stalwart John Porter. Richard Fung will be paired
   with a program of shorts with pieces by artists reflecting on the USA
   including Gilles Groulx, Joyce Wieland, Arthur Lipsett, Richard Kerr and
   John Price. Wednesday January 24, 8:00 pm Like Mangoes in July: the
   videos of Richard Fung (Richard Fung in person!) "Richard Fung has been
   a key figure in the Canadian and international video art community for
   over twenty years. Fung's work as an artist, theorist and activist has
   consistently challenged fixed notions of identity and comfortable
   Canadian ideas about our nation's historic virtues. He has recognized
   the ways in which sexual identity, ethnic identity, family history and
   language determine an individual's self-conception in complicated and
   overlapping ways, and how important that conception is to how we live in
   the world." – Chris Gehman Islands (2002, 9 minutes, video) In 1957,
   John Houson used Tobago as the set for the war drama, Heaven Knows, Mr.
   Allison. One of Fung's uncles worked as an extra on the shoot, playing a
   Japanese soldier. With Islands, Fung brings this background role to the
   fore. My Mother's Place (1990, 49 minutes, video) "Rita Fung, the
   artist's mother, is the granddaughter of Chinese indentured labourers
   brought to Trinidad in the mid-nineteenth century…My Mother's Place
   weaves interviews with Rita Fung and four women thinkers, an
   autobiographical narration, home movies, and documentary footage of the
   Caribbean to explore the formation of consciousness of race, class, and
   gender under colonialism." – Chris Gehman School Fag (Made with Tim
   McCaskell, 1996, 16 minutes, video) Much has been said about the trauma
   of coming out as a gay man or lesbian. Shawn Fowler never had that
   problem - everyone always knew. From his early yearnings to play Wonder
   Woman in preschool neighbourhood games, to losing the much publicized
   prom competition at his high school, Shawn offers a fresh account of
   homophobia and resistance. Sea in the Blood (2000, 26 minutes, video)
   "Comprised of a moving and subtle mix of home movies, family
   photographs, line drawings and titles, Sea in the Blood eloquently
   expresses the sensibility of one who has lived much of his life with
   loved ones suffering from incurable illnesses. Fung's relationship with
   his late sister Nan, who eventually succumbed to a rare blood disease
   called Thalassaemia, is described with unflinching honesty and a light
   touch." – Chris Gehman Series made possible thanks to the Canada Council
   for the Arts (Media Arts Section) and the Canadian Consul General, New
   York CitySpecial thanks to Anthology Film Archives!

1/24
Providence, RI: Magic Lantern
http://magiclanterncinema.com/
9:30pm, Cable Car Cinema, 204 S Main St.

  "THE REMAKE SHOW"
   This remake show is not the same old same old re-dressed for 2007. It's
   about something different, it's about how remaking, reframing and
   revising can lead to reconsiderations and revelations, to clarifications
   and complications. Without the slightest fear of redundancy, all of
   tonight's videos concern themselves with the act of repetition. They
   remake a range of documents including a socialist home movie, a
   Vietnam-era documentary film, one of Patty Hearst's missives, and a
   series of secret files from the not so distant past. These videos focus
   on the process of literal recollection and they call our attention to
   the role that memory and media play in the re-presentation of history.
   These works illustrate how re-vision and re-voicing can produce spaces
   in which resonances between the past and the present can be made visible
   and audible. FEATURING: What Farocki Taught by Jill Godmilow (30:00,
   video, 1998), Intervista by Anri Sala (26:00, video, 1998), Symbionese
   Liberation Army (SLA) Screed #29 by Sharon Hayes (3:00, Video, 2003),
   Telegraph by Jesal Kapadia (3:30, video, 2005), It's Not My Memory of
   It: Three Recollected Documents by Speculative Archive (25:00, video,
   2003), Notes by Jenny Perlin (3:20, 16mm, 2006). TRT: 90:50, $5

--------------------------
THURSDAY, JANUARY 25, 2007
--------------------------

1/25
Chicago, Illinois: Chicago Motion Graphics
http://www.mgchicago.com
various times over weekend, various locations, see website in description below

  CHICAGO MOTION GRAPHICS FESTIVAL 2007
   Chicago Motion Graphics Festival 2007 The Premier Midwestern Event
   catering to 3D and Compositing Effects January 25-28th 2007, various
   locations downtown Chicago This four-day festival pairs daily
   educational opportunities with nightly industry events. [ Thr ] Screen
   Magazine's Star Awards (see the nominees,
   http://screenmag.tv/feature.aspx?fid=1572 ) [ Fri ] Motion Graphics
   Interactive Mixer @ Bridges Media Group [ Sat ] Two Hi-Def Screenings of
   Festival Winners @ the Chicago Cultural Center [ Sun ] Forward thinking
   online event in the virtual worlds of SecondLife.com The educational
   conference hosts workshop, lectures, panels and classes on all four
   days. Check the website below for a complete list of topics and
   presenters. Also check out our website below for Festival Badges and
   individual tickets on sale now! Also, Join us Wednesday night for our
   free informational Pre-party and DVD launch on Wed, Jan 24th @ Dulcene,
   1431 N. Milwaukee Ave. from 7pm - 12am. www.MGChicago.com Also check our
   website for a poster: http://www.mgchicago.com/poster.pdf Feel free to
   post it at work places and message boards.

1/25
New York, New York: Video Data Bank
http://www.vdb.org
6 p.m., The Museum of Modern Art, 11 West 53rd Street, New York, NY 10019

  FEEDBACK: THE VIDEO DATA BANK, VIDEO ART, AND ARTIST INTERVIEWS
   MoMA PRESENTS SCREENINGS OF VIDEO ART AND INTERVIEWS WITH WOMEN ARTISTS
   FROM THE ARCHIVE OF THE VIDEO DATA BANK// Video Art Works by Laurie
   Anderson, Miranda July, and Yvonne Rainer and Interviews With Artists
   Such As Louise Bourgeois and Lee Krasner Are Presented// FEEDBACK: THE
   VIDEO DATA BANK, VIDEO ART, AND ARTIST INTERVIEWS// Program 1: Excerpted
   interviews by women artists, curators, and writers show issues that have
   influenced the development of feminist thought from the 1960s to the
   present. Interviewees include Marcia Tucker, Joan Mitchell, and Lee
   Krasner. Program includes the New York DVD premiere of Trio A by Yvonne
   Rainer. Program 70 min. // Introduced with commentary by Kate
   Horsfield//

1/25
New York, New York: Images Festival
http://www.imagesfestival.com/
2000, Anthology Film Archives, 32 Second Avenue

  FACING SOUTH (SHORTS PROGRAMME)
   THE IMAGES FESTIVAL AND ANTHOLOGY FILM ARCHIVES PRESENT: SIX OF ONE,
   HALF-DOZEN OF THE OTHER: IMAGES FROM CANADA PROGRAM 7: FACING SOUTH This
   calendar continues the 8-month screening series of Canadian artists'
   film and video organized by Anthology and The Images Festival, Toronto.
   Following our successful spotlights on Philip Hoffman, Barbara
   Sternberg, Robert Lee and Leslie Peters, this season sees spotlights on
   three Canadian media artists: the activist Richard Fung, the poet Clive
   Holden and the Super 8 stalwart John Porter. Richard Fung will be paired
   with a program of shorts with pieces by artists reflecting on the USA
   including Gilles Groulx, Joyce Wieland, Arthur Lipsett, Richard Kerr and
   John Price. Thursday January 25, 2007, 8:00 pm Facing South A program of
   self-recognition, often clouded by the influence of politics and culture
   from the neighbours to the south. Arthur Lipsett, 21-87 (1964, 9
   minutes, 16mm) Described as "a wry commentary on machine-dominated man,
   the man to whom nothing matters, who waits for chance to call his
   number", Lipsett haunted trim-bins at the NFB and shot in New York and
   Montréal to piece together this misanthropic look at spirituality and
   science. Gilles Groulx, Les héritiers (1954/1998, 13 minutes, 16mm) Les
   héritiers, an initimate portrait of Montréal in the 1950's, was the
   first film by Gilles Groulx, who later became a prominent representative
   of Québec's "cinema direct" documentary movement with such films as
   Golden Gloves and Le chat dans le sac. Shot with a hand-held Bolex and
   edited surreptitiously during his spare time in the Radio Canada
   newsroom, we will never know if Groulx considered Les héritiers to be
   complete; he died in 1994 before the film was rediscovered in 1998. –
   Jeremy Rigsby Joyce Wieland, Rat Life and Diet in North America (1968,
   14 minutes, 16mm) "… may be about the best (or richest) political movie
   around. It's all about rebels (enacted by real rats) and police (enacted
   by real cats). After long suffering under the cats, the rats break out
   of prison and escape to Canada. There they take up organic gardening,
   with no DDT in the grass. It is a parable, a satire, an adventure movie,
   or you can call it pop art or any art you want - I find it one of the
   most original films made recently." - Jonas Mekas Richard Kerr, The Last
   Days of Contrition (1988, 35 minutes, 16mm) An exploration of the
   Canadian and American landscapes, and the relationship between the two.
   The narrative deals with a journey through timeless, vacant American
   landscapes (baseball stadiums, Venice Beach, Mojave Desert, and a US
   Missile Base). The photographic strategy is influenced by a
   consciousness of light, a quintessential characteristic of American
   photography. "I documented the American landscape in the tradition of
   the early formalist photographers (Walker Evans, Paul Strand, etc.)
   allowing there to be content in form. The Last Days of Contrition
   straddles two cultural forces while developing an understanding about
   our Canadian origins and muses. – Richard Kerr John Price, gun/play
   (2006, 8 minutes, 35mm) Price's camera peers over the rushes like a
   hunter. Three incongruent and gloriously hazy sequences discover the
   malice in the bucolic. Series made possible thanks to the Canada Council
   for the Arts (Media Arts Section) and the Canadian Consul General, New
   York CitySpecial thanks to Anthology Film Archives! Thursday, January
   25, 8 pm Anthology Film Archives 32 Second Avenue @ 2nd Street, New York
   http://www.anthologyfilmarchives.org (212-505-5181) Subway: F, V to
   Lower East Side–Second Ave; 6 to Bleecker Street $8; students, seniors
   and members $5.

1/25
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
8:00pm, 32 Second Ave @ 2nd St

  FACING SOUTH
   A program of self-recognition, often clouded by the influence of
   politics and culture from Canada's neighbors to the south. Arthur
   Lipsett 21-87 (1964, 9 minutes, 16mm) Lipsett haunted trim-bins at the
   National Film Board and shot in New York and Montréal to piece together
   this misanthropic look at spirituality and science. Gilles Groulx LES
   HÉRITIERS (1954/1998, 13 minutes, 16mm) "LES HÉRITIERS, an intimate
   portrait of Montréal in the 1950's, was the first film by Gilles Groulx,
   who later became a prominent representative of Québec's 'cinema direct'
   documentary movement. Shot with a hand-held Bolex and edited
   surreptitiously during his spare time in the Radio Canada newsroom, we
   will never know if Groulx considered LES HÉRITIERS to be complete; he
   died in 1994 before the film was rediscovered in 1998." –Jeremy Rigsby
   Joyce Wieland RAT LIFE AND DIET IN NORTH AMERICA (1968, 14 minutes,
   16mm) "… [M]ay be about the best (or richest) political movie around.
   It's all about rebels (enacted by real rats) and police (enacted by real
   cats). After long suffering under the cats, the rats break out of prison
   and escape to Canada. There they take up organic gardening, with no DDT
   in the grass. It is a parable, a satire, an adventure movie, or you can
   call it pop art or any art you want – I find it one of the most original
   films made recently." –Jonas Mekas Richard Kerr THE LAST DAYS OF
   CONTRITION (1988, 35 minutes, 16mm) An exploration of the Canadian and
   American landscapes, and the relationship between the two. "I documented
   the American landscape in the tradition of the early formalist
   photographers (Walker Evans, Paul Strand, etc.), allowing there to be
   content in form. THE LAST DAYS OF CONTRITION straddles two cultural
   forces while developing an understanding about our Canadian origins and
   muses." –Richard Kerr John Price "gun/play" (2006, 8 minutes, 35mm)
   Price's camera peers over the rushes like a hunter. Three incongruent
   and gloriously hazy sequences discover the malice in the bucolic.

------------------------
FRIDAY, JANUARY 26, 2007
------------------------

1/26
Atlanta, Georgia: Eyedrum
http://www.eyedrum.org
8:00 PM, 290 Martin Luther King Jr Dr Suite 8

  FILM LOVE: ANDY WARHOL 1
   In addition to being one of the twentieth century's most famous artists,
   Andy Warhol was also one of the most influential filmmakers of the
   1960s. With their outrageous conceptual gestures, voluble personalities,
   and provocative content, Warhol's films became notorious and bridged
   underground and mainstream cinema as never before. | But most of
   Warhol's important early films have never been released on video and to
   this day exist only as 16mm prints. In a two-night series of screenings
   at Eyedrum, Frequent Small Meals presents a rare opportunity to view
   some of these much-discussed but little-seen films. | On Friday January
   26, we present two classics from Warhol's early minimalist phase,
   Haircut (No. 1) and Eat. In his early films, Warhol trained the camera
   on a single activity for a lengthy period, with an often extraordinary
   sense of composition. He then projected the films at a slightly slower
   speed, creating a dreamlike movement and revealing how much there is to
   see in small gestures. Despite their beauty, the radical simplicity of
   these films scandalized audiences. Haircut and Eat are accompanied by a
   selection of "screen tests," the three-minute portrait films (which
   Warhol produced by the hundreds) of famous and infamous visitors to the
   artist's Factory studio. | PROGRAM: Haircut (No. 1) (1963), 16mm, 24
   minutes; Four of Andy Warhol's Most Beautiful Women (1964-70), 16mm, 15
   minutes; Eat (1964), 16mm, 35 minutes | See January 27 calendar entry
   for Saturday's program details | Andy Warhol 1 and 2 is a Film Love
   event, programmed and hosted by Andy Ditzler for Frequent Small Meals.
   More information on Frequent Small Meals music, film, and art events can
   be found at www.frequentsmallmeals.com

1/26
Dayton, Ohio: Miami Valley Cooperative Gallery
7 pm, Sinclair Community College, Bld. 12, W 3rd Street

  "JUD YALKUT: TWENTY YEARS OF DIGITAL VIDEO 1980-2002"
   This screening is a selection of works made by Jud Yalkut during video
   residences at the Experiental Television Center in Owego, NY, from
   1982-2002. Pieces include: "Self-Portrait II," "The Garden of Paradise",
   "Light Display: Color," and "Noh Age Video." There will be an artist
   talk and a reception following.

1/26
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
7:30pm, 32 Second Ave @ 2nd St

  I AM NOT A WAR PHOTOGRAPHER: FILMS OF LYNNE SACHS
   WHICH WAY IS EAST: NOTEBOOKS FROM VIETNAM (1994, 33 minutes, 16mm. Made
   in collaboration with Dana Sachs.) When Sachs and her sister Dana travel
   north from Ho Chi Minh City to Hanoi, conversations with Vietnamese
   strangers and friends reveal to them the flip side of a shared history.
   "The film has a combination of qualities: compassion, acute observation,
   an understanding of history's scope, and a critical ability to discern
   what's missing from the textbooks and TV news." –THE INDEPENDENT;
   Screening with: INVESTIGATION OF A FLAME: THE CATONSVILLE NINE (2001, 45
   minutes, 16mm) On May 17, 1968, three priests, a nurse, an artist and
   four others walked into a Maryland draft board office, grabbed hundreds
   of selective service records and burned them with home-made napalm.
   Sachs' film is an intimate look at this unlikely band. "One of the 10
   Best Films of the Year" –Phillip Lopate, FILM COMMENT

(continued)

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