This week [February 25 - March 4, 2007] in avant garde cinema

From: Weekly Listing (email suppressed)
Date: Sat Feb 24 2007 - 13:42:39 PST


This week [February 25 - March 4, 2007] in avant garde cinema

Enter your avant garde cinema announcements, events, etc.:
http://www.hi-beam.net/cgi-bin/ann.pl

FUNDING:
========
Museum of Contemporary Cinema Foundation (Deadline: May 10, 2007)
 http://www.hi-beam.net/cgi-bin/ann.pl?type=funding&readfile=12.ann

NEW FILM/VIDEO: NON-FEATURE:
===========================
"A Trip Down 3rd Street: Scenic Highlights from the SFMUNI T-Line" by Brook Hinton
 http://www.hi-beam.net/cgi-bin/ann.pl?type=newwork&readfile=289.ann

MISCELLANEOUS:
==============
seeking images of filmmakers at work
 http://www.hi-beam.net/cgi-bin/ann.pl?type=misc&readfile=88.ann

NEW CALLS FOR ENTRIES:
=====================
Strawberry Super 8 Film Festival (Cambridge; Deadline: April 01, 2007)
 http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=696.ann
20thcentury (on video) (Athens, Greece; Deadline: July 27, 2007)
 http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=697.ann
Animated Bike -In II (Vancouver, British Columbia, C; Deadline: June 30, 2007)
 http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=698.ann
MadCat Women's International Film Festival (San Francisco, CA, US; Deadline: May 21, 2007)
 http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=699.ann

DEADLINES APPROACHING:
======================
PARIS UNDERGROUND FILM FESTIVAL {PIUFF# 3} (Paris / France; Deadline: March 10, 2007)
 http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=533.ann
PARIS STRIP FILM FESTIVAL (Paris, France; Deadline: February 26, 2007)
 http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=561.ann
Images Contre Nature (Marseille, France; Deadline: March 01, 2007)
 http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=650.ann
BROOKLYN INTERNATIONAL FILM FESTIVAL (Brooklyn, NY; Deadline: March 15, 2007)
 http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=651.ann
Evolution 2007 (Leeds, UK; Deadline: March 09, 2007)
 http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=664.ann
FAST WOMEN (Boston, MA, USA; Deadline: March 16, 2007)
 http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=673.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
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
ARTSFEST FILM FESTIVAL (9th Annual) from MOVIATE (Harrisburg, PA USA; Deadline: March 30, 2007)
 http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=687.ann
Feminism(s): Film, Video, Politics (West Hartford, CT; Deadline: February 25, 2007)
 http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=690.ann
Aurora Picture Show's Slant 7 (Houston, TX USA; Deadline: March 01, 2007)
 http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=692.ann
The End of the Pier International Film Festival (UK; Deadline: March 01, 2007)
 http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=693.ann
Rubric (Denver, Colorado; Deadline: March 01, 2007)
 http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=694.ann

Enter your event announcements by going to the Flicker Weekly Listing Form
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THIS WEEK'S PROGRAMS (SUMMARY):
==============================
 * Jordan Biren: “From My Mother's Family To My Mother's House” and
    “Inspired Envelopes of Space” [February 25, Houston, Texas]
 * Robert Beavers: My Hand Outstretched: 6 [February 25, London, England]
 * Robert Beavers: My Hand Outstretched: 7 [February 25, London, England]
 * Robert Beavers: My Hand Outstretched: 8 [February 25, London, England]
 * Huot Program 3 [February 25, New York, New York]
 * Starting In San Francisco/ Going On Curated and Presented By Charles
    Boone [February 25, San Francisco, California]
 * Dual Sp/Place [February 26, New York, New York]
 * Alternative visions: Pine Flat [February 27, Berkeley, California]
 * Unessential Cinema Presents: the Standard Gauge and the Irregular Fit [February 27, New York, New York]
 * Then, Not Nauman: Conceptualists of the Early 70s [February 28, Berkeley, California]
 * Newfilmmakers Invites You To A Night of Twelve Movies [February 28, New York, New York]
 * Newfilmmakers: Short Film Program [February 28, New York, New York]
 * . . . via Lima, Veracruz Y Valparaiso At Cinematheque Ontario [February 28, Toronto, Ontario, Canada]
 * A Home-Made Optics: Films & videos By Leighton Pierce [March 1, Chicago, Illinois]
 * The Great Wall of Oakland [March 2, Oakland]
 * The Nixon White House Staff Super 8 Films [March 3, Chicago, Illinois]
 * Art/New York- Program # 3, Paul Tschinkel's Nam June Paik- Prisoner of
    the Cathode Ray [March 3, New York, New York]
 * Art/New York- Program # 3, Paul Tschinkel's Nam June Paik- Prisoner of
    the Cathode Ray [March 3, New York, New York]
 * Stoney Burke's Dvd Release Celebration! [March 3, San Francisco, California]
 * Re-Defining video: Work By Kyle Canterbury [March 4, Chicago, Illinois]
 * Film Art Phenomena: Works By Nicky Hamlyn, Nicky Hamlyn In Person [March 4, San Francisco, California]

Events are sorted by CITY within each DATE.

-------------------------
SUNDAY, FEBRUARY 25, 2007
-------------------------

2/25
Houston, Texas: Aurora Picture Show
http://www.aurorapictureshow.org
3pm, 800 Aurora St.

 JORDAN BIREN: “FROM MY MOTHER’S FAMILY TO MY MOTHER’S HOUSE” AND
 “INSPIRED ENVELOPES OF SPACE”
  Steve Seid, of the Pacific Film Archive describes the work of media
  artist Jordan Biren as, "subtle works combining a naturalistic pictorial
  sense and text, either inscribed in the image or recited." "The now
  brittle, now effusive language often operates as a direct challenge to
  the droll moving images." For his first program, Biren will present
  three videos of his own work, combining his imagery—subtle filmic homage
  to the likes of Chris Marker, David Lynch and Thomas Kinkade—with his
  texts, in a pastiche of colliding remembrances. Films include My
  Mother's Family, From Here Home and My Mother's House. On Sunday, Biren
  will present works from William Jones and Janie Geiser, in addition to
  his own piece Stellbar.

2/25
London, England: Tate Modern
http://www.tate.org.uk/modern/programmes/film
12pm, Bankside, SE1

 ROBERT BEAVERS: MY HAND OUTSTRETCHED: 6
  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) AMOR (1980, 15 min) Amor is an exquisite
  lyric, shot in Rome and at the natural theatre of Salzburg. The
  recurring sounds of cutting cloth, hands clapping, hammering, and
  tapping underline the associations of the montage of short camera
  movements, which bring together the making of a suit, the restoration of
  a building, and details of a figure, presumably Beavers himself,
  standing in the natural theatre in a new suit, making a series of hand
  movements and gestures. A handsomely designed Italian banknote suggests
  the aesthetic economy of the film: the tailoring, trimming, and
  chiselling point to the editing of the film itself. (P. Adams Sitney,
  Film Comment)

2/25
London, England: Tate Modern
http://www.tate.org.uk/modern/programmes/film
2pm, Bankside, SE1

 ROBERT BEAVERS: MY HAND OUTSTRETCHED: 7
  ?????? (Efpsychi) (1983/1996, 20 min) The details of the young actor's
  face – his eyes, eyebrows, earlobe, chin, etc. – are set opposite the
  old buildings in the market quarter of Athens, where every street is
  named after a classic ancient Greek playwright. In this setting of
  intense stillness, sometimes interrupted by sudden sounds and movements
  in the streets, he speaks a single word, "teleftea", meaning the last
  (one), and as he repeats this word, it moves differently each time
  across his face and gains another sense from one scene to the next,
  suggesting the uncanny proximity of eroticism, the sacred and chance.
  (Robert Beavers) WINGSEED (1985, 15 min) A seed which floats in the air,
  a whirligig, a love charm. This magnificent landscape, both hot and dry,
  is far from sterile; rather, the heat and dryness produce a distinct
  type of life, seen in the perfect forms of the wild grass and seed pods,
  the herds of goats as well as in the naked figure. The torso, in itself,
  and more, the image which it creates in this light. The sounds of the
  shepherd's signals and the flute's phrase are heard. And the goats'
  bells. Imagine the bell's clapper moving from side to side with the
  goat's movements like the quick side-to-side camera movements, which
  increase in pace and reach a vibrant ostinato. (Robert Beavers) THE
  HEDGE THEATRE (1986-90/2002, 19 min) Beavers shot The Hedge Theatre in
  Rome in the 1980s. It is an intimate film inspired by the Baroque
  architecture and stone carvings of Francesco Borromini and "St. Martin
  and the Beggar," a painting by the Sienese painter Il Sassetta. Beavers'
  montage contrasts the sensuous softness of winter light with the lush
  green growth brought by spring rains. Each shot and each source of sound
  is steeped in meaning and placed within the film's structure with
  exacting skill to build a poetic relationship between image and sound.
  (Susan Oxtoby, Toronto International Film Festival)

2/25
London, England: Tate Modern
http://www.tate.org.uk/modern/programmes/film
5pm, Bankside, SE1

 ROBERT BEAVERS: MY HAND OUTSTRETCHED: 8
  THE STOAS (1991-97, 22 min) The title refers to the colonnades that led
  to the shady groves of the ancient Lyceum, here remembered in shots of
  industrial arcades, bathed in golden morning light, as quietly empty of
  human figures as Atget's survey photos. The rest of the film presents
  luscious shots of a wooded stream and hazy glen, portrayed with the
  careful composition of 19th century landscape painting. An ineffable,
  unnameable immanence flows through the images of The Stoas, a kind of
  presence of the human soul expressed through the sympathetic absence of
  the human figure. (Ed Halter, New York Press) 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)

2/25
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
8:00, 32 Second Avenue (at Second Street)

 HUOT PROGRAM 3
  Dir: Robert Huot. FADES AND CLOSE-UPS (1978, 7 minutes, Super-8mm, b&w,
  sound). An intimate, collaborative portrait of two lovers, Huot and
  artist Carol Kinne. SUPER-8 DIARY 1979. 1980, 60-minute excerpt of
  200-minute film, Super-8mm, color, sound. Huot's first Super-8 diary
  film continues many of the motifs of the earlier diaries, but with the
  high-spiritedness of a man now entirely at home in his world and with a
  newfound exuberance about Super-8 filmmaking: "Convenience, Lower Cost,
  Good Sound Quality, and Demystified Image: or, Why I Like Super-8" was
  the title of a piece Huot contributed to THE CINEMANEWS (no. 81: 2-6),
  soon after he finished SUPER-8 DIARY 1979. The film is segmented into
  half-hour modules. HOLLIS FRAMPTON 1936-84 (1984, 9 minutes, Super-8mm,
  color, sound). An elegy to Frampton, filmed at Frampton's funeral in
  Buffalo in 1984. SOUND MOVIE (1972/2005, 10 minutes, DVD, color, sound).
  Returning to a roll of film of Twyla Tharp walking through the woods,
  shot in 1972 (and included in THIRD ONE-YEAR MOVIE), Huot finished a
  project that was conceived in the early 1970s, but put on hold because
  of his complicated feelings about Tharp at the time of their divorce.

2/25
San Francisco, California: San Francisco Cinematheque
http://www.sfcinematheque.org
7:30 pm, Yerba Buena Center for the Arts 701 Mission st. at 3rd st.

 STARTING IN SAN FRANCISCO/ GOING ON CURATED AND PRESENTED BY CHARLES
 BOONE
  Our city is widely recognized as a significant pad from which flights of
  artistic discovery have long been launched. These works by recent San
  Francisco Art Institute graduates demonstrate ongoing pursuits of
  exploration and excellence, showing clearly the broad range of
  investigation and viewpoint Bay Area creativity represents. Taeko
  Horigome's Facing the Dragon explores personal intimacy, plus both tough
  control—and radical loosening—of her processes. Minyong Jang's newest
  work, The Breath, looks inventively at quiet beauties of the natural
  world. Joshua Kanies' Zen of John Muir and Scar lyrically focus on our
  planet, but are concerned with man's relationship to it. In Rue
  Vaugirard, L'Amour Physique, Matthew Swiezynski patiently expands time
  in his observations of quotidian minutiae mediated by technology.
  Finally, Christina Battle explores filmic tactility in her 35mm works
  Hysteria, Traveling With Eyes Closed Tight, The Distance Between Here
  and There, and Migration. (Charles Boone)

-------------------------
MONDAY, FEBRUARY 26, 2007
-------------------------

2/26
New York, New York: NY film-makers coop
http://film-makerscoop.com
7:30PM, Collective:Unconscious 279 Church Street

 DUAL SP/PLACE
  DUAL SP/PLACE curated by Lili White & Cara Weiner Featuring film video
  and installation "standing on the corner my mind a million miles away" —
  old blues song Circumnavigating around ideas about ourselves, the arts
  and architecture — We travel between 2 intersecting but distinct places:
  the material body exists in time and place while emotion mind soul
  occupies another space. One can be seen and the other is often perceived
  by only one person in an instance.

--------------------------
TUESDAY, FEBRUARY 27, 2007
--------------------------

2/27
Berkeley, California: Pacific Film Archive
http://www.bampfa.berkeley.edu/
7:30PM, 2575 Bancroft Way, Berkeley, CA 94720

 ALTERNATIVE VISIONS: PINE FLAT
  Pine Flat Sharon Lockhart (U.S., 2005, 138 mins) Sharon Lockhart in
  Person The long static shot has been used to beautiful, often demanding,
  ends by filmmakers as diverse as the Lumière Brothers, Jean-Marie Straub
  and Danièle Huillet, Andy Warhol, and James Benning. For Pine Flat,
  Sharon Lockhart, who is also a photographer, collaborated with a group
  of youths living in a small town in the Sierra foothills. As they worked
  together over three years, an intimacy developed, and the kids shared
  the places they valued and the rhythms of their everyday life. Slowly a
  film emerged: a girl reading alone, a boy asleep outside, some kids
  playing in the river, others traipsing among the trees are depicted in
  twelve ten-minute shots. While Pine Flat provides a portrait of rural
  life and landscape, the pregnant shots also contain the promise of
  narrative. Tender and endearing, the film gives the young people
  unusually extended time on the screen, and allows us to contemplate how
  we experience the passing of time.

2/27
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
8:00, 32 Second Avenue (at Second Street)

 UNESSENTIAL CINEMA PRESENTS: THE STANDARD GAUGE AND THE IRREGULAR FIT
  35mm has been the commercial standard theatrical production/projection
  gauge since the nineteen-teens. 28mm, 16mm, 9.5mm, 8mm and Super-8mm (to
  name a few) are technically considered to be amateur formats. Today,
  digital video is quickly usurping the place of celluloid film in our
  multiplexes. Inspired by the 35mm detritus floating around in our vast
  collection, tonight's show spotlights some of the intrinsic
  possibilities of this endangered format. Expect to see unfamiliar images
  (and soundtracks) upside down and backwards, misaligned,
  double-projected, grossly out-of-focus, spilling off the screen on to
  the wall, and so on and so forth. If anything, this will make for a
  blindingly bright program.

----------------------------
WEDNESDAY, FEBRUARY 28, 2007
----------------------------

2/28
Berkeley, California: Pacific Film Archive
http://www.bampfa.berkeley.edu/
7:30PM, 2575 Bancroft Way, Berkeley, CA 94720

 THEN, NOT NAUMAN: CONCEPTUALISTS OF THE EARLY 70S
  Body Armor Works by Vito Acconci, Paul McCarthy, Susan Mogul, Rita
  Myers, Charlemagne Palestine As a vessel for internal states, the body
  need only be activated. Then these deep-seated states can be summoned
  via performance in a kind of psychodramaturgy. Charlemagne Palestine was
  known for his highly energetic, visceral exercises. In Internal Tantrum,
  he attempts to expel interior distress by chanting and swaying with
  remarkable focus. Rita Myers's Slow Squeeze is a self-conscious
  shrinking from the world's weight. As the camera zooms in, the artist
  compresses her body to fit the ever-diminishing frame. Through a
  coercive struggle, Vito Acconci's Pryings describes a resistance to
  intimacy. Trying to pry open the eyes of fellow performer Kathy Dillon,
  Acconci engages the body as a bearer of reluctant desire. Desire is not
  so reluctant in Susan Mogul's Take Off, a pun-inflected response to
  Acconci's notorious 'Undertone'. Here, Mogul transforms Acconci's "girl
  under the table" into a woman who, seated directly across from the
  viewer, brazenly discusses the virtues of her vibrator. Paul McCarthy is
  a Dionysian delight, pushing his body through raw and provocative
  investigations. Interspersed throughout the program, the Black and White
  Tapes illustrate his early adventures in taste, good, bad, and artful.

2/28
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
6:00, 32 Second Avenue (at Second Street)

 NEWFILMMAKERS INVITES YOU TO A NIGHT OF TWELVE MOVIES
  Dir: Various. Kat Kosmala LINEAR PROGRESSION (2005, 4 minutes, video).
  Martin Matthews WHEN DAD & MOM FOUGHT (2005, 15 minutes, mini-DV).
  William Harkings MARCUS' STORY (2004, 25 minutes, mini-DV). Sarah Stuve
  THE JONAS UPLOAD (2006, 10 minutes, mini-DV). James Wilkins SPRINGTIME
  (2006, 5 minutes, 16mm).

2/28
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
7:00, 32 Second Avenue (at Second Street)

 NEWFILMMAKERS: SHORT FILM PROGRAM
  Dir: Various. Eduarda Ribeiro COKE (2005, 4 minutes, 16mm). Todd
  Redenius IN MEMORY OF (2006, 16 minutes, mini-DV). Ian Ogden COPPERHEAD
  ROAD (2005, 15 minutes, 35mm). Martin Matthews THE FAITHFUL (2005, 13
  minutes, mini-DV). Adam Hall THE DISCIPLINE OF D.E. (2006, 12 minutes,
  16mm). .

2/28
Toronto, Ontario, Canada: Cinematheque Ontario
http://www.bell.ca/cinematheque
6:30 p.m., 317 Dundas Street West

 . . . VIA LIMA, VERACRUZ Y VALPARAISO AT CINEMATHEQUE ONTARIO
  . . . VIA LIMA, VERACRUZ Y VALPARAISO. Remarkable for their balance of
  political and aesthetic concerns, these black-and-white films document
  daily life through the lens of history. Marcos Arriaga's 3 x 16 was shot
  in his hometown of Lima and in Toronto, where he now lives. This
  triptych, edited in camera, consists of perceptive depictions of a
  public square in Lima, the view from his mother's rooftop, and work at a
  Toronto film festival. MAGNAVOZ is Jesse Lerner's elegant adaptation of
  Xavier Icaza's Estridentista essay on Mexico's future. Writing in 1926,
  Icaza fused poetry with polemics in an attempt to distinguish Mexico's
  "true voice" amid the cacophony of those who would presume to speak for
  the nation. Lerner illustrates this vanguard text with archival images,
  reconstructions, and a complex mix of audio elements. Direct without
  being didactic, this film presents a lively picture of a nation and a
  people in flux. In 1962, Joris Ivens was invited to Chile to teach,
  where he made ...A VALPARAISO with his students. In this masterpiece,
  Ivens documents life in this old port city built on forty-two hills. We
  see its stairways and slums, funiculars and fishermen as Chris Marker's
  commentary reveals the city's unseen dimensions. A smashed mirror near
  the end of the film jolts us out of the quotidian and into the broader
  currents of history with colour images of the past and the children who
  would be the future. World Premiere! Marcos Arriaga in Person! 3 x 16.
  Director: Marcos Arriaga. Canada, 2006, 10 min. 16mm b&w. Canadian
  Premiere! MAGNAVOZ. Director: Jesse Lerner. USA, 2006, 26 min. 16mm b&w.
  35MM ARCHIVAL PRINT! …A VALPARAISO Director: Joris Ivens. Commentary:
  Chris Marker. Chile/France, 1963, 37 min. 35mm b&w and colour. All
  Cinematheque Ontario screenings are held at the Art Gallery of Ontario's
  Jackman Hall, 317 Dundas St. West (McCaul Street entrance), Toronto. For
  ticket information, visit the Official website,
  www.cinemathequeontario.ca, the year-round Box Office at Manulife Centre
  (55 Bloor Street West, main floor, north entrance), or call
  416-968-FILM.

-----------------------
THURSDAY, MARCH 1, 2007
-----------------------

3/1
Chicago, Illinois: Conversations at the Edge
http://www.siskelfilmcenter.org/
6 pm, 164 N. State St.

 A HOME-MADE OPTICS: FILMS & VIDEOS BY LEIGHTON PIERCE
  LEIGHTON PIERCE IN PERSON! Since the 1980s, many of the films and videos
  of Iowa-based artist Leighton Pierce have painted a lush portrait of
  Midwestern life. Tonight's program compiles his rich domestic
  observations--a gurgling, backyard fountain in GLASS (1998); the
  repetitive clatter of children's feet on the porch in THE BACK STEPS
  (2001); and the plucking of a solitary, stretched length of twine in 50
  FEET OF STRING (1995)--to reveal everyday drama lurking in the quietude.
  Also on the program: WOOD (2000) and PUPPY-GO-ROUND (1996). Co-presented
  by CATE and the Experimental Film Club at the University of Chicago,
  which will present "A Wandering Optics" on Friday, March 2. (1995-2001,
  Leighton Pierce, USA, various formats, ca. 90 min).

---------------------
FRIDAY, MARCH 2, 2007
---------------------

3/2
Oakland: Illuminated Corridor
http://www.illuminatedcorridor.com/
7:00pm, West Grand between Broadway and Valley

 THE GREAT WALL OF OAKLAND
  Performative projection and live music from myrmyr,Shudder, and a work
  for string ensemble by Dan Plonsey [performed by Myles Boisen, Merlin
  Coleman, George Cremaschi, Jeff Hobbs, Lisa Mezzacappa, Jonathan Segel,
  John Shiurba and Bill Wolter] with new performative projection by
  Cinepimps [Alfonso Alvarez, Keith Arnold and Lucio Menegon]***** This
  Corridor seeks to illuminate the north facade of the former Breuner's
  Furniture Store, on West Grand between Broadway and Valley in Oakland.
  This "Great Wall" a seven-story windowless tabula rasa stretching the
  length of a city block— provides one of Oakland's most spectacular urban
  canvases. The Corridor will take place in three one-hour movements: Key
  Route Inn, myrmyr's meditation on the building that flanked 2201
  Broadway's north façade, destroyed by fire in the 1930s; The Great Wall,
  Shudder's contrapuntal exploration of the current identity of the site,
  and Good Times, a new anthem drawn from the momentum of urban
  redevelopment, composed by Dan Plonsey and realized by string ensemble.

-----------------------
SATURDAY, MARCH 3, 2007
-----------------------

3/3
Chicago, Illinois: Chicago Filmmakers
http://www.chicagofilmmakers.org/
8:00pm, Chicago Filmmakers (5243 N. Clark St.)

 THE NIXON WHITE HOUSE STAFF SUPER 8 FILMS
  Rare "Home-Movies" from the Nixon Administration! An extraordinarily
  rare and unique glimpse into our not-too-distant past, this program
  features a selection of the more than 200 rolls of Super-8mm film shot
  by several members of President Richard Nixon's staff between 1969 and
  1973, including John Ehrlichman and Chief of Staff H.R. Haldeman. The
  originals, confiscated by the FBI from Ehrlichman's office in 1973, are
  now housed at the National Archives and Records Administration. The
  films screening (1969-71, approx. 73 mins., silent) feature an array of
  official functions and special guests to the White House - from the
  mundane, to the fascinating, to the bizarre. Included are scenes from a
  performance of the musical 1776; a Presidential visit to the United
  Nations; various staff meetings and photo ops; Nixon visiting a
  Washington Redskins football practice; activities during Armed Forces
  Day; and appearances by Johnny Cash and June Carter Cash, Indira Ghandi,
  Bob Hope, and Pat Boone. 16mm preservation prints courtesy of BB Optics
  (special thanks to Bill Brand) with permission from the National
  Archives and Records Administration.

3/3
New York, New York: Millennium Film Workshop
http://www.millenniumfilm.org/
8pm- Saturday evening, 66 East 4th Street (Between Bowery & 2nd Avenue)

 ART/NEW YORK- PROGRAM # 3, PAUL TSCHINKEL'S NAM JUNE PAIK- PRISONER OF
 THE CATHODE RAY
  ART/new york, a video series on contemporary art, was begun in 1979.
  Paul Tschinket is the creator, producer, and director. NAM JUNE PAIK-
  Prisoner of te Cathode Ray (54 min.-2000) Nam June Paiuk (1932-2006) was
  the founding father of video art. For more than four decades he had
  explored and exploited television technology and used it as an artist's
  medium. Paik confessed that he had become the "prisoner of the cathode
  ray." Over the years he created an impressive, visionary and influential
  body of work that was not only shown world-wide but also greatly
  influenced both commercial and artistic media. Interviews are with NAM
  JUNE PAIK, art dealers' DOROTHY GOLDEEN and HOLLY SOLOMON and JOHN
  HANHARDT, then the senior curator of film and media arts at the
  Guggenheim Museum in New York City. Paul Tschinkel will be present to
  introduce and discuss this work. In addition we are expecting a guest
  speaker.

3/3
New York, New York: Millennium Film Workshop
http://www.millenniumfilm.org/
8pm- Saturday evening, 66 East 4th Street (Between Bowery & 2nd Avenue)

 ART/NEW YORK- PROGRAM # 3, PAUL TSCHINKEL'S NAM JUNE PAIK- PRISONER OF
 THE CATHODE RAY
  ART/new york, a video series on contemporary art, was begun in 1979.
  Paul Tschinket is the creator, producer, and director. NAM JUNE PAIK-
  Prisoner of te Cathode Ray (54 min.-2000) Nam June Paiuk (1932-2006) was
  the founding father of video art. For more than four decades he had
  explored and exploited television technology and used it as an artist's
  medium. Paik confessed that he had become the "prisoner of the cathode
  ray." Over the years he created an impressive, visionary and influential
  body of work that was not only shown world-wide but also greatly
  influenced both commercial and artistic media. Interviews are with NAM
  JUNE PAIK, art dealers' DOROTHY GOLDEEN and HOLLY SOLOMON and JOHN
  HANHARDT, then the senior curator of film and media arts at the
  Guggenheim Museum in New York City. Paul Tschinkel will be present to
  introduce and discuss this work. In addition we are expecting a guest
  speaker.

3/3
San Francisco, California: Other Cinema
http://www.othercinema.com/
8:30pm, 992 Valencia Street

 STONEY BURKE’S DVD RELEASE CELEBRATION!
  Stoney's fearless voice of liberty has given so much to the Bay Area
  over the years that the SF Board of Supervisors recently declared a
  Stoney Burke Day! Putting his body on the line, the epitome of free
  speech in action, our favorite street comedian has railed against war
  and injustice for decades now, earning for him a place in the hearts of
  many citizens—and several stays in jail! Finally, the best recorded
  performances of this live-improvising raconteur have been compiled into
  a Greatest Hits collection, taking us through the turbulent years
  between 1977–2007. Stoney opens the show with a set of political
  stand-up, and then introduces each piece with an improvised comic
  anecdote. Doors open at 8pm for a meet 'n' greet amidst free Nutella and
  jaunty roller-rink melodies from David Cox on the mighty Korg.

---------------------
SUNDAY, MARCH 4, 2007
---------------------

3/4
Chicago, Illinois: Chicago Filmmakers
http://www.chicagofilmmakers.org/
7:00 pm, Chicago Filmmakers (5243 N. Clark St.)

 RE-DEFINING VIDEO: WORK BY KYLE CANTERBURY
  SPECIAL REPEAT SCREENING! Due to the great response and standing room
  only crowd for our first screening (and the bitter cold temperatures),
  we will be doing a special repeat screening of the video work of Kyle
  Canterbury. [This is a repeat of the February 3 show.] 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 24 short works, including 19: passage, A VIDEO,
  EVODI, and Fragments from a Room (all 2006). Visit Fred Camper's website
  for extensive commentary on Canterbury's work and ten of the videos
  screening: www.fredcamper.com/Film/Canterbury.html

3/4
San Francisco, California: San Francisco Cinematheque
http://www.sfcinematheque.org
7:30 pm, Yerba Buena Center for the Arts 701 Mission st. at 3rd st.

 FILM ART PHENOMENA: WORKS BY NICKY HAMLYN, NICKY HAMLYN IN PERSON
  Composing his work "in camera," the films of Nicky Hamlyn incorporate
  each shooting's unique character, producing open-ended outcomes while
  questioning matter and perception. Quoting from his Film Art Phenomena
  (published 2003): "I see my films as arising out of an encounter between
  a situation or location or subject, and a camera/production strategy. I
  have been inspired partly by Robert Morris' reading of Jackson Pollock's
  paintings as resulting from the interactions of horizontal canvas, paint
  viscosity, stick, gravity, arm mechanics. Morris' behavioristic take on
  Pollock redeems it from an expressionistic reading." Screening:
  Minutiae, Hole, Not Resting, Pistrino, Water, Matrix, Penumbra, Object
  Studies, and Transit of Venus, which records two consecutive passes of
  Venus across the sun. (Caroline Savage)
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For info on FrameWorks, contact Pip Chodorov at <email suppressed>.