This week [February 3 - 11, 2007] in avant garde cinema (part 1 of 2)

From: weekly listing (email suppressed)
Date: Sat Feb 03 2007 - 14:08:10 PST

This week [February 3 - 11, 2007] in avant garde cinema (part 1 of 2)

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Music for indie films

2007 Great Lakes Film Festival (Erie PA USA; Deadline: June 30, 2007)
James River Film Festival (Richmond; Deadline: February 15, 2007)
ARTSFEST FILM FESTIVAL (9th Annual) from MOVIATE (Harrisburg, PA USA;
Deadline: March 30, 2007)
Milwaukee International Film Festival (Milwaukee, WI USA; Deadline: April
23, 2007)
Compass International Film Festival (Bristol, UK; Deadline: April 20, 2007)

PARIS UNDERGROUND FILM FESTIVAL {PIUFF# 3} (Paris / France; Deadline: March
10, 2007)
PARIS STRIP FILM FESTIVAL (Paris, France; Deadline: February 26, 2007)
Dereel Independent Film Festival (Melbourne, Victoria, Australia; Deadline:
February 03, 2007)
Images Contre Nature (Marseille, France; Deadline: March 01, 2007)
Evolution 2007 (Leeds, UK; Deadline: March 09, 2007)
The Secret Technology Show (San Francisco, CA; Deadline: February 16, 2007)
Bicycle Film Festival (New York, NY, United States; Deadline: February 17,
WPA\C Experimental Media Series - ColorField Remix (Washington, DC, USA;
Deadline: March 07, 2007)
No Fixed Abode and the Mobile Cinema (Sheffield, UK; Deadline: February 23,
Streaming Festival (The Hague; Deadline: February 07, 2007)
Worldwide Short Film Festival (Toronto, ON, Canada; Deadline: February 23,
James River Film Festival (Richmond; Deadline: February 15, 2007)

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Also available online at Flicker:

  * Re-Defining video: Work By Kyle Canterbury [February 3, Chicago, Illinois]
  * Goodbye Cp [February 3, New York, New York]
  * Extreme Private Eros: Love Song 1974 By Kazuo Hara [February 3, New
York, New York]
  * Landscape of Mind: Location, Location, Location; Frederic Worden, Usa,
     Emmanuel Lefrant, France, Julie Murray, Ireland [February 3,
Toronto, Ontario, Canada]
  * Robert Beavers: To the Winged Distance: 2 [February 4, London, England]
  * Filmforum Presents the Full-Length Version of Adele Horne's Documentary
     "The Tailenders" [February 4, Los Angeles, California]
  * Tie: the Experimental Cinema Exposition—“Celluloid Cinema” Program One
[February 4, San Francisco, California]
  * Artists Space Program 5 [February 5, New York, New York]
  * Processed Decay, Time Intertwined [February 5, San Francisco, California]
  * Alternative visions: the Other Side [February 6, Berkeley, California]
  * Together Again [February 7, Berkeley, California]
  * "The Captivity Show" [February 7, Chicago, Illinois]
  * New Filmmakers [February 7, New York, New York]
  * Magic Lantern Presents "The Wastelandscape Show" [February 7,
Providence, RI]
  * Michael Snow: Wavelength & (Back and Forth) [February 8, Chicago,
  * Films In February [February 8, Jersey City, New Jersey]
  * Films From Wallace Berman and the Semina Circle [February 8, New York,
New York]
  * Michael Snow: Reverberlin + Sound Works [February 9, Chicago, Illinois]
  * Electromediascope [February 9, Kansas City, Missouri]
  * Robert Beavers: To the Winged Distance: 3 [February 9, London, England]
  * Notes On Marie Menken [February 9, New York, New York]
  * Semina Circle Program 2 [February 9, New York, New York]
  * Tie: the Experimental Cinema Exposition—“Celluloid Cinema” Program Two
[February 9, San Francisco, California]
  * Crossing Borders - Northwest Folklife Documentary Film Festival
[February 9, Seattle, Washington]
  * Dyke Delicious Series - Something Romantic Is In the Air [February 10,
Chicago, Illinois]
  * Tales From the Datastream Jukebox [February 10, Houston, Texas]
  * Notes On Marie Menken [February 10, New York, New York]
  * Seminal Cinema Program 3: Films By Lawrence Jordan [February 10, New
York, New York]
  * Notes On Marie Menken [February 10, New York, New York]
  * Semina Circle Program 4: Seminal Shorts [February 10, New York, New York]
  * Julian Samuel Program [February 10, New York, New York]
  * Crossing Borders - Northwest Folklife Documentary Film Festival
[February 10, Seattle, Washington]
  * Daddy Knows Best; Guy Ben-Ner In Person [February 10, Toronto,
Ontario, Canada]
  * Tales From the Datastream Jukebox [February 11, Houston, Texas]
  * Robert Beavers: To the Winged Distance: 4 [February 11, London, England]
  * Program 5: Beat Mysteries [February 11, New York, New York]
  * Notes On Marie Menken [February 11, New York, New York]
  * Bay Area Roots Flesh of This World: Films By Sandra Davis [February
11, San Francisco, California]

Events are sorted by CITY within each DATE.


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

   Kyle Canterbury in Person! Chicago Filmmakers is extremely pleased to
   present the first one-person show (and first ever U.S. screening) of the
   work of Kyle Canterbury, an extraordinarily talented new experimental
   video artist who lives in Michigan. Canterbury has been making videos
   for only a little over a year, and his work is already some of the most
   exciting and dynamic film or video of any kind of the last decade or
   more. Oh, and he's only 17 years old! Canterbury has developed a palette
   of techniques that emphasize the specificity and artistic potential of
   the video medium unlike anyone else. He uncovers a stunning array of
   textures, formal compositions, and rhythmic patterns in the normally
   flat video image. Fred Camper has written: "I do not think it is too
   grand to declare that Canterbury has done for video something like what
   Brakhage has done for film. In his hands, after less than a year of
   work, this medium, which so many have found severely limited, has become
   as supple, as pliable, as sensuous, and as rhythmically various, as film
   was for Brakhage." Canterbury will screen approximately 30 short works,
   including 19: passage, A VIDEO, EVODI, and Fragments from a Room (all
   2006) Complete titles available on our website.

New York, New York: Anthology Film Archives
5:30pm, 32 Second Ave. @ 2nd St.

   see notes for Feb 1.

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

   See notes for Feb. 2

Toronto, Ontario, Canada: Pleasure Dome
8 pm, 129 Spadina Ave

   The films in this programme are, for the most part, abstract or use
   representational images to abstract ends — Emmanuel Lefrant speaks of
   his cameraless films as being in the Landscape Art tradition; Frederic
   Worden's films are called Here and The OR Cloud (which is short for ORT
   Cloud , a cluster of rocks orbiting in outer space); and Julie Murray's
   Orchard is really that, shots of an orchard. Hence the title of the show
   — Landscape of Mind: Location, Location, Location — a selection of films
   of differing techniques which cover the optical landscape: external
   ground, inner mind, cosmic universe. Julie Murray works in a number of
   different styles: collage, animation, landscape. Exquisitely shot and
   edited, Murray's films are located somewhere we recognize – they just
   don't stay there. " …in all of Murray's films, the images and the
   editing can pull several ways at once. There are no absolutes, and even
   the light by which we see is altered by the material it passes through."
   (Fred Camper) Emmanuel Lefrant works on speed, rhythm, materiality, and
   colour, and on developing the "secret forms" in the emulsion. Frederic
   Worden's films develop from his interest in intermittent projection as
   the source of cinema's primordial powers — a cinema of pure energy that
   bypasses the discursive mind and goes right at the body; a cinema of
   direct experiences that stalks the unforeseen, non-translatable.
   (Curated by Barbara Sternberg)


London, England: Tate Modern
3pm, Bankside, SE1

   Introduction by P. Adams Sitney (Princeton University, author of
   "Visionary Film"). Screening followed by a discussion between Robert
   Beavers and P. Adams Sitney. FROM THE NOTEBOOK OF … (1971/1998, 48 min)
   From the Notebook of … was shot in Florence and takes as its point of
   departure Leonardo da Vinci's notebooks and Paul Valéry's essay on da
   Vinci's process. These two elements suggest an implicit comparison
   between the treatment of space in Renaissance art and the moving image.
   The film marks a critical development in the artist's work in that he
   repeatedly employs a series of rapid pans and upward tilts along the
   city's buildings or facades, often integrating glimpses of his own face.
   As Beavers notes in his writing on the film, the camera movements are
   tied to the filmmakers' presence and suggest his investigating gaze.
   (Henriette Huldisch, Whitney Museum of American Art)

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

   Nominated in the Independent Spirit Awards `Truer Than Fiction"
   category! A portrait of Gospel Recordings Network (GRN), a grassroots
   organization founded in 1939 in Los Angeles that has recorded Bible
   stories in over 5,500 of the world's 8,000-plus languages and dialects,
   and made those recordings available in the most remote regions through
   inventive, ultra-low technology. Filmmaker Adele Horne in person!

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

   Conceived in Telluride, CO in 2000, the Denver-based TIE has quickly
   become an exemplary festival celebrating contemporary and historical
   avant-garde cinema. Taking as its mission the "preservation of the
   fundamental qualities of cinema and film exhibition," the festivals
   have, to date, screened over 600 films and hosted over 200 artists and
   renowned for artistic vision and an exaltation of the direct viewing
   experience of original-format film works. Cinematheque is proud to
   present a two-program sampler of TIE's past festivals. Note: This is
   two-part screening series. Individual programs take place on different
   evenings, at different venues, and are ticketed separately. Excerpts
   from author Richard Meltzer's 250 minute 8mm work Bogus Boxing Trash
   will precede each screening. TIE, Program One: An international
   selection of shorts in 8mm, 16mm and sumptuous 35mm. Highlights include
   some of the earliest examples of x-ray cinematography from the 1930s;
   Abu Kifan's ethereal slow motion underwater landscapes; and a rare
   double panel presentation of footage shot by Andy Warhol of a very noisy
   Velvet Underground practice that's eventually broken up by the NYPD
   (with Warhol himself interceding). This setup allows the projectionist
   to switch from one optical track to the other, making the projection as
   much a part of the viewing experience as the band's raw performance and
   Paul Morrisey's psychedelic cinematography. Screening: Christopher
   Becks: Pan of the Landscape. Gerard Holthuis: Careless Reef, Part 2: Abu
   Kifani. Jason Livingston: July Fix. Luther Price: Mother (revised).
   Michael Robinson: The General Returns from One Place to Another.
   Bernhard Schreiner: Hwa-Shan District. Sami van Ingen: The Sequent of
   Hanna Ave. Andy Warhol: The Velvet Underground and Nico (presented in
   double projection!). Sheri Wills: Anodyne. Admission:$8 General / $6
   Members, Seniors, Students w/ID Advance Tickets (THIS SHOW ONLY):


New York, New York: Anthology Film Archives
7:30, 32 Second Avenue (at Second Street)

   Dir: Various. a project that consists of an exhibition, a film series,
   and an accompanying book, 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.". This series takes as its starting point the distinction
   that the great French film critic Serge Daney made between the "image"
   and the "visual." Daney's distinction refers to an "image" that can
   critically challenge and destabilize predominant models of information,
   resisting the "purely technical," that which is nothing other than the
   verification that something functions. How, asked Daney, can
   contemporary art fracture the dominant model of the visual and its
   thoughtless circulation? What kind of audience can it address or
   mobilize? What form of community can it suggest? The works included in
   this series attempt to grapple with these questions, staging, through
   various strategies of dislocation or slippage, an unsettling tension
   that challenges visual conventions in an increasingly mediated culture.
   . PROGRAM 5 . Bernadette Corporation. GET RID OF YOURSELF. 2002, 60
   minutes, DVD, b&w/color, sound. Courtesy of the artists and Electronic
   Arts Intermix, New York. Preceded by: David Lamelas THE INVENTION OF DR.
   MOREL (2000, 23 minutes, 16mm, color, sound). Courtesy of artist and
   LUX, London. Phillip Lai HIS DIVINE GRACE (2000, 25 minutes, DVD, color,
   sound). Courtesy of the artist. Total running time: ca. 110 minutes.

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

   French filmmaker Frédérique Devaux's method of literally sewing pieces
   of found footage together in "Entrecroisées" becomes a metaphor for this
   program, the forward process of cinema becoming a frankenstein of both
   the future and the past. Phil Solomon's "Clepsydrda" uses the image of
   an ancient Greek water clock, visually stripped through chemical
   treatments, to mark the passing dreams of a growing child. This suture
   of past and future unravels in Leslie Thornton's "Peggy & Fred In Hell",
   where her child actors play in the post-apocalypse, their surroundings
   filled with decaying signifiers detached from their signified - a desert
   of the real. Also showing is Mary Beth Reed's "Moon Streams" and Stan
   Brakhage's "Desert". --------- The SFAI Film Salon is a weekly film
   screening program, organized by film students for the entire SFAI
   community. Supported by the SFAI Student Union and Legion Of Graduate
   Students. For more information email: email suppressed or
   email suppressed


Berkeley, California: Pacific Film Archive
7:30PM, 2575 Bancroft Way, Berkeley, CA 94720

   The Other Side Bill Brown (U.S., 2006, 43 mins) Bill Brown in Person
   Bill Brown's ramblings and rumblings on the road make up a unique body
   of cinema, personal and political, low-budget yet conceptual. To make
   The Other Side, he traveled the U.S.–Mexico border for two years,
   building on his previous explorations into the relationship between
   place and history. Testimony recounting attempts to cross from Mexico is
   interwoven with interviews with activists who work to make the dangerous
   crossing safer, as well as Brown's own musings. Political questions are
   raised and immigration policy is probed . . . but there is no escaping
   the physical fact of the fence. Brown's pondering camera reveals a
   landscape marked by traces of past crossings and long shadows cutting
   across the desert, beautiful yet imposing, a graveyard to many. Followed
   by shorts: Portrait #2: Trojan (Vanessa Renwick, U.S., 2006, 5 mins). A
   haunting record of a historic landmark. Music by Quasi's Sam Coomes. A
   Bridge over the Drina (Un pont sur la Drina) (Xavier Lukomski, Belgium,
   2005, 17 mins). Commemorated in a novel by Ivo Andric, this bridge is a
   symbol of the long history of conflict in the Balkans. Here exquisite,
   minimal shots of it are combined with testimony of war atrocities, to
   powerful effect.


Berkeley, California: Pacific Film Archive
7:30PM, 2575 Bancroft Way, Berkeley, CA 94720

   LunchFilms Curated by Mike Plante (U.S., 2006, 64 mins) Mike Plante has
   a hearty appetite and a succulent sense of play. To combine those
   traits, Plante, a programmer from Cinevegas, began inviting media
   artists to lunch, only there was a hitch—they owed him a film, because,
   as we all know, there's no such thing as a free lunch. The first
   "lunchfilm" began with James Fotopoulos and during a meal that cost
   $30.40, the title of the film as well as the tab, they devised the
   rules: "Must have humans in it. Must use title cards. Strangers' lives
   must not collide. Images are self-reliant." Each film among the fourteen
   and counting has its own set of directives, such as Cam Archer's work
   orders, "All actors are over 18. Must contain one tree. Color. Bigfoot
   reference. No irony," or James Benning's, "No people in it. Must make
   people hungry. Must be in color," and, of course, its own budget,
   topping out at €101.35. As they say: let's do lunch. The artists are:
   Cam Archer, Roger Beebe, James Benning, Jem Cohen, Ben Coonley, Kevin
   Everson, James Fotopoulos, Sharon Lockhart, Eileen Maxson, Nina Menkes,
   Chris Peters, Elizabeth Skadden, Sebastien Wolf and Ian Ritterskamp, The
   Zellner Brothers.

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

   The slow and steady slog of winter is painting black lines on your grey
   suit, ringing your windows with jailbar icicles, and making you shudder
   at the one-hour of sunlight you'll have to endure to get from covered
   indoor space to covered indoor space. Your cellphone ring is a cell door
   clang and, I know - this a pretty awkward metaphor, for sure. For while
   the gloom of your February everyday may very well have all the trappings
   of our captive capitalist existence, at least you're free to wander the
   dark and icy streets in all manners of undress - something that can't be
   said for the incarcerated, much less the stars of our second Gallery 400
   experimental film/video program. Presented in conjunction with Gallery
   400's "Captive Audience" (on view 1/16-2/24), we've got Men Tied To Each
   Other, A Boy in A Dunk Tank, Sad Lemurs, A Jailbreak Hodown, Chuck E
   Cheese Psychedelia, London Housing Projects, Un Cárcel de Mexico, and A
   Naked Screaming Man. Captivating, without a doubt... FEATURING: Three
   Legged by John Wood & John Harrison (3:00, video, 2001), Dipping Sauce
   by Luther Price (10:00, 16mm, 2005), Hillbilly Hoose-Gow feat. Tom
   Emerson (3:00, 16mm), The Magic Kingdom by Jim Trainor (7:00, 16mm,
   2004), Trauma Victim by Rob Todd (17:00, 16mm, 2003), Everyday Bad Dream
   by Fred Worden (6:00, DV, 2006), Block by Emily Richardson (11:00, 16mm,
   2006), Mexican Jail Footage by Gordon Ball (18:00, 16mm, 1980), Exercise
   #3 by Eva Dransholt (3:10, DV, 2005) TRT 77:00 FREE!

New York, New York: Anthology Film Archives
6:00 & 7:00, 32 Second Avenue (at Second Street)

   Dir: Various. Brian Liloia RUBBER BAND HAND (2005, 3 minutes, mini-DV).
   Karen Dee Carpenter MY SCARLET LETTER (2004, 10 minutes, 16mm). Joe
   Harris WITCHWISE (2006, 13 minutes, video). Seth Manheimer THE PROS AND
   CONS OF BREATHING (2006, 21 minutes, 35mm). Jay Leibowitz COULROPHOBIA
   (2006, 10 minutes, video)

Providence, RI: Magic Lantern
9:30pm, Cable Car Cinema, 204 South Main Street

   Magic Lantern Presents "The Wastelandscape Show" Wednesday February 7th
   at 9:30pm at the Cable Car Cinema (204 South Main Street, Providence,
   winter finally sets in this year and the view outside the window becomes
   ever more barren, let us take a moment to reflect on the different
   shades of picturesque we trudge through in our day-to-day lives. Enjoy
   it while you can, for at the current rate it might not exist as we know
   it for much longer. So for one night let Magic Lantern take you on a
   guided tour through decay and beauty of all kinds. Pulsating abandoned
   buildings, front yards full of nuclear waste, a downtown district buffed
   clean of any traces of character, suburban sprawl, Havana trapped in a
   time warp, train-hopping hobos, and Providence's own mill buildings are
   just a few of the stops that await you. Hop aboard! FEATURING: The Strip
   Mall Trilogy by Roger Beebe (9:00, Super8/video, 2001), Untitled Mill
   Building Movie by Jo Dery and Mike Stoltz (5:00, 16mm, 2007), No Zone by
   Greta Snider (19:00, 16mm, 1993), Hwa-Shan District: Tapei by Bernhard
   Schreiner (13:00, 16mm, 2001), NOSTALGIA by Iggy Scam (12:00,
   Super8/video 2002), Dignity Stridge by Dignity Stridge (4:00, Super8,
   2007), MarketStreet by Tomonari Nishikawa (5:00, 16mm, 2005). Total
   Running Time: 68 minutes


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

   MICHAEL SNOW IN PERSON! Michael Snow is one of the true immortals of the
   international avant-garde. Ranging across film, photography, music,
   painting, and sculpture, his work surveys the terrain of life and its
   representation, revolutionizing each medium along the way. Tonight, Snow
   presents two of his best-known works, including the perpetual motion
   film (BACK AND FORTH) (1968-9) and his breakthrough WAVELENGTH (1966-7),
   a landmark of structuralist cinema and one of the most influential films
   in the history of independent cinema. (1966-69, Michael Snow, Canada,
   16mm, ca. 120 min).

Jersey City, New Jersey: Urban Image Showcase
7:30PM, Margaret Williams Theater, NJ City University, 2039 Kennedy Blvd.

   FILMS IN FEBRUARY, two award-winning showcases curated by the Media Arts
   Department collective, URBAN IMAGE, will screen on the NJ City
   University campus at Margaret Williams Theater at 7:30PM, Thursday
   evening, February 8th, 2007. Admission is free. First to screen is the
   showcase entitled, MEMOIR which played to rave reviews in November 2006
   at the Cape May Film Festival. TRUTH, LIES, SECRETS which premiered at
   the Jersey City Museum on December 14th, 2006 will reprise on Thursday,
   February 15th, at 6:00PM at the opening gala of the Jersey City Museum
   Spring Exhibition, at the Museum, 350 Montgomery Street in Jersey City.
   The MEMOIR showcase focuses on accounts of personal experiences,
   biographical sketches, anecdotes, memories, narratives, and
   recollections. Mining the depths of the artistic imagination, the works
   featured in TRUTH, LIES, SECRETS explore what may be true or false,
   confessional, diaristic, unknown, or hidden. Following opening remarks
   by Jo Bruno, Esq., Interim VP of Academic Affairs, and Jane Steuerwald,
   NJ City University professor of media arts and program coordinator, the
   screenings will begin at 7:30PM. A question and answer session with the
   artists will follow. Founded in the fall of 2004, URBAN IMAGE provides
   opportunities for emerging artists from the NJ City University Media
   Arts Department to screen their work at arts venues throughout New
   Jersey. Newly curated showcases have bi-annual screenings at the Jersey
   City Museum and the Hoboken Historical Museum. URBAN IMAGE is grateful
   for the generous support from Jo Bruno, Interim Vice President of
   Academic Affairs; Dr. Liza Fiol-Matta, Dean of the William J. Maxwell
   College of Arts and Sciences; Roddy Bogawa, Chair, Media Arts
   Department; Rocio Aranda–Alvarado, curator, Jersey City Museum; and
   Robert Foster, Executive Director, Hoboken Historical Museum.

New York, New York: Anthology Film Archives
8:00, 32 Second Avenue (at Second Street)

   Dir: Wallace Berman. Wallace Berman (1926-1976) was a central aesthetic,
   physical and spiritual presence in the California and international
   underground art scene of the 50s, 60s and 70s. He was even included by
   the Beatles (who had never met him) on the cover of SGT. PEPPERS. Born
   in Staten Island but raised in Los Angeles, Berman is often mentioned
   and exhibited in relation to both the Beat and Pop Art worlds. As an
   artist, he is best remembered for his verifax collages (an early form of
   xeroxography) which feature serialized variations of a hand holding a
   transistor radio. One of the things that makes Berman so iconic is that
   he managed to create and disseminate his art outside the traditional
   gallery system. From 1955 to 1965 Berman self-published the exquisite
   journal SEMINA, a privately distributed collection of writings by all
   manner of writers, poets and artists operating on the fringe of polite
   society. A renaissance man of sorts, and a hero to his extended circle
   of highly notable friends, Berman was the epitome of cool, a true model
   of independence. . This series was created in response to the current
   exhibition SEMINA CULTURE: WALLACE BERMAN & HIS CIRCLE (co-curated by
   Michael Duncan and Kristine McKenna) currently on display at NYU's Grey
   Art Gallery. The exhibit runs from January 16-March 31, 2007 at 100
   Washington Square East. Go to for more information.
   Programmed by Andrew Lampert for Anthology Film Archives in association
   with the Grey Art Gallery, NYU. Extreme gratitude to the following:
   Shirley Berman, Tosh Berman and Lun*na Menoh, Kristine McKenna, Michael
   Duncan, Lucy Oakley/NYU, Kathy Geritz and Mona Nagai/Pacific Film
   Archive, Mark Toscano/Academy Film Archive, Dean Otto/Walker Art Center,
   John Zorn, Lawrence Jordan, Taylor Mead, Bill Brand/BB Optics, The Andy
   Warhol Foundation For The Visual Arts, Canyon Cinema. . . PROGRAM 1:
   (1958-1976, 9 minutes, 16mm, silent). Preserved with support from the
   National Endowment for the Arts. Berman worked on his only film over
   many years and never presented it in public. Instead, he projected it at
   home on a white wall or refrigerator for a small audience on a
   one-to-one basis. Anthology is thrilled to have our Composer In
   Residence John Zorn on hand to provide live musical accompaniment for
   this gorgeous new print. The film will be presented once silently and
   once with Zorn's new score for saxophone, bass and drums. Curtis
   Harrington WORMWOOD STAR (1956, 10 minutes, 16mm, sound). Print courtesy
   of Academy Film Archive. Marjorie Cameron had an amazing life. She was
   married to Jack Parsons, a scientist deeply associated with the occult
   who helped to create modern rocket technology (and who ultimately died
   in a mysterious explosion). Cameron, who also co-starred in Kenneth
   Anger's INAUGURATION OF THE PLEASURE DOME, left behind a remarkable
   array of darkly erotic, proto-goth drawings that are only being
   rediscovered today. A great inspiration to Berman and his friends, this
   gorgeous color portrait by Curtis Harrington features the woman in all
   her mystic glory. FILMS FROM THE WALLACE BERMAN COLLECTION (Compiled in
   2006, ca. 28 minutes, 16mm, silent). Preserved with support from The
   Andy Warhol Foundation for the Visual Arts. 8mm-to-16mm blow-up by BB
   Optics. Wallace Berman only made one film in his lifetime that was
   posthumously titled ALEPH by his son, Tosh. While preserving this film,
   another assortment of reels was uncovered by Tosh containing many more
   films with footage by and of Berman. These various 8mm pieces have now
   been collected together and blown-up to 16mm. Tonight's premiere
   screening of this new compilation features unseen footage of Berman in
   his milieu with friends and family, including footage of a George Herms
   exhibition, a motorcycle ride, materials related to ALEPH and much more.
   Christopher MacLaine THE MAN WHO INVENTED GOLD (1957, 14 minutes, 16mm,
   sound). Preserved by Anthology Film Archives. MacLaine was a poet and
   contributor to SEMINA who used to walk around San Francisco with a loose
   noose tied around his neck. He wanted people to call him "Crazy Bird."
   Of his four completed films, THE MAN WHO INVENTED GOLD is perhaps the
   most concise distillation of his deeply hermetic worldview. Total
   running time: ca. 75 minutes. .


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

   MICHAEL SNOW IN PERSON! Renowned for his innovative and revolutionary
   work in film, Michael Snow is also an accomplished musician and sound
   artist. He began playing jazz piano in the late 1940s and has worked
   with free improvisation--piano, voice, radio, microphones, and
   recordings--since the 1960s. Tonight, Snow will present his latest
   digital video REVERBERLIN (2006) featuring sound by his pioneering New
   Music trio, CCMC (Paul Dutton, John Oswald, Michael Snow) along with a
   survey of his sound recordings, compositions, sculptures, and
   installations. Co-presented by CATE and SAIC's Sound Department.
   (1950-2006, Michael Snow, Canada, various formats, ca. 100 min).

Kansas City, Missouri: Nelson-Atkins Museum of Art
7:00, 4525 Oak Street

   Pop Music and Consumer Culture. Although the dialog between contemporary
   art, mass media and popular culture does initiate revitalizing processes
   within different forms of cultural expression, recent technological,
   socio-economic and political developments are impacting all aspects of
   contemporary life, and human behavior and experience are becoming less
   diversified as culture becomes increasingly corporate, totalized and
   reductive. Independent experimental production by artists that address
   these issues and new forms of communication between individuals and
   groups are emerging as an alternative creative economy whose critical
   discourses and projects contribute to the diversity of contemporary
   global life. –Patrick Clancy. The Target Shoots First, Chris Wilcha
   (USA), 1999, 70 min., video. Beach Boys / Geto Boys, Cory Arcangel /
   Beige (USA), 2004, 4:13 min., video. Celebrations for Breaking Routine,
   Kristin Lucas (USA), 2003, 24:51min., video.

London, England: Tate Modern
7pm, Bankside, SE1

   EARLY MONTHLY SEGMENTS (1968-70/2002, 33 min) Early Monthly Segments,
   filmed when Beavers was 18 and 19 years old, now forms the opening to
   his film cycle, "My Hand Outstretched to the Winged Distance and
   Sightless Measure." It is a highly stylized work of self-portraiture,
   depicting filmmaker and companion Gregory J. Markopoulos in their Swiss
   apartment. The film functions as a diary, capturing aspects of home life
   with precise attention to detail, documenting the familiar with great
   love and transforming objects and ordinary personal effects into a
   highly-charged work of homoeroticism. (Susan Oxtoby, Toronto
   International Film Festival) SOTIROS (1976-78/1996, 25 min) In Sotiros,
   there is an unspoken dialogue and a seen dialogue. The first is held
   between the intertitles and the images; the second is moved by the
   tripod and by the emotions of the filmmaker. Both dialogues are
   interwoven with the sunlight's movement as it circles the room, touching
   each wall and corner, detached and intimate. (Robert Beavers) THE GROUND
   (1993-2001, 20 min) What lives in the space between the stones, in the
   space cupped between my hand and my chest? Filmmaker/stonemason. A tower
   or ruin of remembrance. With each swing of the hammer I cut into the
   image and the sound rises from the chisel. A rhythm, marked by
   repetition, and animated by variation; strokes of hammer and fist,
   resounding in dialogue. In this space which the film creates, emptiness
   gains a contour strong enough for the spectator to see more than the
   image – a space permitting vision in addition to sight. (Robert Beavers)

New York, New York: Anthology Film Archives
7:00 & 9:00, 32 Second Avenue (at Second Street)

   Dir: Martina Kudlácek. NEW YORK THEATRICAL PREMIERE RUN! . .
   NOTES ON MARIE MENKEN explores the almost forgotten story of the
   legendary artist Marie Menken (1909-1970) who became one of New York's
   outstanding underground experimental filmmakers of the 1940s through the
   1960s, inspiring artists such as Stan Brakhage, Andy Warhol, Jonas
   Mekas, and Kenneth Anger. Providing a glimpse into her social and
   artistic struggle and radical integrity, NOTES sketches a portrait of
   the artist in personal-diary style. The film features never-before-seen
   footage by Menken salvaged from basements and storage vaults, including
   a camera "duel" for Bolexes waged by Menken and Warhol. "Marie was one
   of the first filmmakers to improvise with a camera and edit while
   shooting. She filmed with her entire body, her entire nervous system.
   You can feel Marie behind every image, how she constructed the film in
   tiny pieces and through the movement and the rhythm - it is this that so
   many of us seized upon and have developed further in our own work…[S]he
   gave us a new beginning. She took the film - the non-narrative film, the
   poetic film, the language of film - in a completely new direction, away
   from classic filmmaking and into a new adventure." -Jonas Mekas.
   "Martina Kudlá?ek has made a name for herself creating bio-docs
   on experimental cinema personalities such as Maya Deren (IN THE MIRROR
   OF MAYA DEREN) and Alexander Hammid (AIMLESS WALK). Her latest brings
   into focus the underground film icon Marie Menken, best known for her
   role as the protagonist in Andy Warhol's CHELSEA GIRLS. Menken's role in
   Warhol's underground classic…brought her a certain degree of fame, [but]
   people often forget that she was a talented filmmaker in her own right.
   Kudlá?ek's fascinating, oneiric diary NOTES ON MARIE MENKEN
   follows the reminiscences of her friends and colleagues. Various
   interviewees recount how the public marital theatrics of Menken and her
   husband, filmmaker Willard Maas, became the inspiration for the
   perennially-battling older couple in Edward Albee's WHO'S AFRAID OF
   VIRGINIA WOOLF?..Beginning with the excavation of Marie's rusty film
   cans, old photographs, and papers housed in a storage locker,
   Kudlá?ek brings Menken vividly back to life." -Jon Gartenberg,

New York, New York: Anthology Film Archives
8:00, 32 Second Avenue (at Second Street)

   Dir: . TAYLOR MEAD IN PERSON!. Taylor Mead MY HOME MOVIES (1964, ca. 20
   minutes, 16mm, sound on tape). Anthology preservation supported by the
   National Film Preservation Foundation. Underground icon and Warhol
   superstar Taylor Mead was in the car and on the road with Warhol during
   his 1963 trip to Los Angeles. This single-frame home-movie documents
   their trip and all the fun times they had. It also shows
   behind-the-scenes footage shot during the filming of…. Andy Warhol.
   TARZAN AND JANE REGAINED…SORT OF. 1963, 80 minutes, 16mm, sound. . "Andy
   Warhol goes Hollywood…sort of. Warhol made his first sound film during a
   sojourn in Los Angeles in 1963. Along with leading players Taylor Mead
   and Naomi Levine, plus Dennis Hopper and a cavalcade of art stars
   including Claes and Pat Oldenburg and Wallace Berman (and his son Tosh),
   Warhol spent two weeks exploring the city, shooting (in black-and-white
   and color) everywhere from Berman's studio to the Beverly Hills Hotel to
   an unglamorous stretch of freeway. Jane swims naked in John Houseman's
   pool, Tarzan hunts for coconuts in the local palms, and the Watts Towers
   become an unlikely backdrop for an Edenic idyll." -Juliet Clark. Total
   running time: ca. 105 minutes.

San Francisco, California: San Francisco Cinematheque
7:30pm, California College for the Arts, San Francisco Campus, 1111 Eighth
Street (at Irwin, near Sixteenth)

   Conceived in Telluride, CO in 2000, the Denver-based TIE has quickly
   become an exemplary festival celebrating contemporary and historical
   avant-garde cinema. Taking as its mission the "preservation of the
   fundamental qualities of cinema and film exhibition," the festivals
   have, to date, screened over 600 films and hosted over 200 artists and
   renowned for artistic vision and an exaltation of the direct viewing
   experience of original-format film works. Cinematheque is proud to
   present a two-program sampler of TIE's past festivals. Note: This is
   two-part screening series. Individual programs take place on different
   evenings, at different venues, and are ticketed separately. Excerpts
   from author Richard Meltzer's 250 minute 8mm work Bogus Boxing Trash
   will precede each screening. TIE, Program Two: While the shorts in
   Program Two are exclusively 16mm, their aesthetic approaches are as
   varied as their directors' nationalities. Influential formalist
   pieces—A. Keewatin Dwedney's 1967 synaesthetic experiment in rapidly
   inter-cut footage of Warhol superstar Gerald Malanga reading and
   dancing—abut contemporary films that toy with and trouble figurative
   cinematic representation, such as Thomas Draschan and Stella Friedrichs'
   deconstruction of vintage Italian porn loops or Ben Russell's unsettling
   faux ethnography of masked subjects. Screening: Paul (Eating Raoul)
   Bartel: Progetti (Plans). Frank Biesendorfer: No Wonder. Dietmar Brehm:
   Peng Peng. Eduardo Darino: Meat Packing House. A. Keewatin Dewdney:
   Malanga. Thomas Draschan and Stella Friedrichs: The Influence of Ocular
   Light Perception on Metabolism in Man and in Animal. Amy Greenfield:
   Dirt. Vincent Grenier: While Revolved. Standish Lawder: Colorfilm. Tim
   Leyendekker: Still. James Prange: Clip from Colorado Springs Home of
   Champions. Michael Robinson: And We All Shine On. Ben Russell: Daume.
   Albert Sackl: Vom Innen, Von Aussen. Admission:$8 General / $6 Members,
   Seniors, Students w/ID

Seattle, Washington: Northwest Folklife
8:00pm - opening night, Nesholm Family Lecture Hall at Marion Oliver McCaw
Hall at Seattle Center

   CROSSING BORDERS Northwest Folklife Documentary Film Festival
   Friday-Sunday, February 9-11 and 16-18, 2007 Nesholm Family Lecture Hall
   at Seattle Center Northwest Folklife puts a human face on some of
   today's hot issues with the Crossing Borders theme of the first
   Northwest Folklife Documentary Film Festival. Films and speakers examine
   the experiences of ordinary people who straddle, challenge and transcend
   the boundaries separating us from one another. Topics range from
   immigration tales to gender stereotypes, from unlikely peace movements
   to cross-border musical traditions. The program even includes a
   family-friendly session of animation and music. Visit
   for schedule, film descriptions and tickets. Friday, February 9 8:00pm
   Film Festival Opening Event Featuring filmmaker and anthropologist Ruth
   Behar and her film Adio Kerida Saturday, February 10 1:00 PM Spirit
   Wrestlers Discussion with Doukhobor scholar Andrei Bondoreff 3:30 PM
   Linda & Ali 7:30 PM Busting Out Filmmaker Q&A with Laurel Spellman Smith
   Sunday, February 11 2:00 PM Crossing Arizona 4:30 PM Reception hosted by
   Northwest Documentary Association at Solo (200 Roy Street). Come support
   the film festival and local filmmakers. Tapas and happy hour drink
   specials will be served. 7:30 PM Another Side of Peace Filmmaker Q & A
   with Ellen Frick & Gretchen Burger 9:30 PM Adio Kerida Friday, February
   16 7:00 PM Bombay Calling Saturday, February 17 2:00 PM Chulas Fronteras
   Musical Talk with Juan Barco 4:00 PM Labor Across Borders Show Suenos
   Binacionales Morristown 7:00 PM Al Otro Lado 9:30 PM Crossing Arizona
   Sunday, February 18 2:00 PM Animated Canada Show A family-friendly
   program with live music Crac! Talespinners (3 short animations) 4:00 PM
   9/11 and the Canadian Border The 49th Parallel The Undefended Border
   7:00 PM Medicine Fiddle 9:30 PM Escape to Canada

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