From: ben d (email suppressed)
Date: Fri Mar 09 2007 - 01:37:21 PST
Sorry about the email unfreindly format of the text for the 23rd. Thanks to
Amanda for sending it along.
Hungry Ghost Cinema, etc.
"It is a society, and not a technique, which has made the cinema like this.
It could have been historical examinations, theory, essay, memoirs. It could
have been the film I am making at this moment." -Guy Debord
>From: amanda christie <email suppressed>
>Reply-To: Experimental Film Discussion List <email suppressed>
>To: email suppressed
>Subject: Re: Vancouver event and more
>Date: Fri, 9 Mar 2007 03:17:37 -0500
>hey flick et al....
>here's the updated info on ben russell's other
>screening in vancouver (flick has already sent the
>press release for the march 24 screening... here's the
>finalized info for the march 23 screening....
>location... call the phone number for the location.)
>and he's giving an artist talk at the emily carr
>institute of art that afternoon.
>Hungry Ghost Cinema Presents the Vancouver Screening
>LAST REFUGE FOR THE SENSES or NOISE HIPPIES AGAINST
>Friday March 23, 9:00pm • $5
>for location and/or further information contact:
>Curator and Filmmaker Ben Russell in Person
>Run a female artists’ collective, brew your own
>absinthe, attend an
>anti-gentrification community board meeting,
>the war(s), and then lose yourself in what may very
>well be the Last
>Refuge for the Senses. A new breed of
>noise/psychedelia has sprung up
>the only rational response to an increasingly
>alienating form of global
>capitalism, in an increasingly violent-and-joyless
>this new media responds with a Chaos of Sound and
>Light that seeks to
>overwhelm you but stops before you’re lost, its kind
>hippie heart still
>beating out a space for you to occupy and own.
>Think Global but Act Local and Better Yet, Act Analog.
> Like the
>psychedelic cinema of the 60s and 70s, this crop of
>films enunciates an emotional response to an
>moment (now). Their use of analog technologies, of
>cameraless processes is indicative of a DIY approach
>that has its
>political roots in resistance and its aesthetic roots
>in a gentler
>geography has conspired to create a micro-movement,
>for these are all
>works from the same community (Providence, RI),
>emo-activist films by
>silkscreen artists and noise musicians and puppeteers
>political ideologies form the basis for their artistic
>community already well-known for its costume
>drum-and-bass duos (Lightning Bolt), its warehouse
>Thunder, the Dirt Palace, the Pink Rabbit), and its
>most graphic of
>(Paper Rodeo), filmmaking is a piece of a larger
>whole, and these
>seeming deference to a prior psychedelic moment is a
>superficial one –
>is evident in their relatively self-conscious means of
>strength of these films lies in their denial of total
>collective decision to create a communal experience
>that can move
>the screen and into the world outside.
>Featuring music by Lightning Bolt, Mystery Brinkman,
>Almanac), the Shirelles vs Suicidal Tendencies, Jodi
>we’ve got Noise Band Concert Footage, Direct
>History Through the Eyes of Bats, Live Soundtracks,
>Single Frame Collectives, Puppet Chaos, Analog
>Transcendence, and So
>This is the cinema of deliverance, the theater of
>psychic hearts and
>radical love - bleeding your eyes and ears clean of
>the sorrow of the
>everyday, swelling your body full with hope for the
>FEATURING: Black and White Trypps Number Three by Ben
>35mm, 2007), Paranoia Trilogy Part One: The Chemical
>Bath by Xander
>(6:00, 16mm, 2001), Scream Tone by Jo Dery (3:00,
>16mm, 2002), Echoes
>Bats and Men by Jo Dery (7:00, 16mm, 2005), The Red
>and the Blue Gods
>Ben Russell (8:00, 16mm, live sound, 2005), 01/06 by
>Mat Brinkman and
>Xander Marro (13:00, 16mm, 2006), The Great Exodus by
>Jo Dery (6:30,
>2005), L’Eye by Xander Marro (2:00, 16mm, 2004), Third
>Motion Picture by Forcefield (6:30, 16mm, 2002)
>**This program is funded in part through the Rhode
>Island State Council
>for the Arts**
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>For info on FrameWorks, contact Pip Chodorov at <email suppressed>.
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