This week [April 7 - 15, 2007] in avant garde cinema

From: Weekly Listing (email suppressed)
Date: Sat Apr 07 2007 - 08:31:33 PDT

This week [April 7 - 15, 2007] in avant garde cinema

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"Herna" by craig nugent
"Choking Your Chicken Helps Reduce Stress" by Mike Celona

School of Creative Media of City University of Hong Kong invites application

Sound Design, Original scores, Mix and Editing

14th Chicago Underground Film Festival (Chicago, IL 60647; Deadline: May 01, 2007)
Yaitrei ß (England U.K.; Deadline: April 09, 2007)
National Museum of Women in the Arts 20th Anniversary Festival of Film & Media Arts (Washington, DC, USA; Deadline: May 04, 2007)
Emotion Pictures (Athens, Greece; Deadline: April 30, 2007)
Experimental Film and Video Festival in Seoul (Seoul, Korea; Deadline: May 05, 2007)
Filming Music Festival (Paris; Deadline: April 20, 2007)
Extremely Shorts 10 (Houston; Deadline: May 01, 2007)

3rd Annual Flatland Film Festival (Lubbock, TX USA; Deadline: April 21, 2007)
25 FPS Festival (Zagreb, Croatia; Deadline: April 20, 2007)
19th Onion City Experimental Film and Video Festival (Chicago, IL, USA; Deadline: April 13, 2007)
Milwaukee International Film Festival (Milwaukee, WI USA; Deadline: April 23, 2007)
Compass International Film Festival (Bristol, UK; Deadline: April 20, 2007)
ARTDISK, DVD Magazine (Chicago, IL, USA; Deadline: April 15, 2007)
Moves07 (Manchester, UK; Deadline: May 04, 2007)
Milwaukee Underground Film Festival (Milwaukee, WI, USA; Deadline: April 12, 2007)
Zeitgeist Int'l Film Festival (San Francisco, Ca USA; Deadline: April 15, 2007)
14th Chicago Underground Film Festival (Chicago, IL 60647; Deadline: May 01, 2007)
Yaitrei ß (England U.K.; Deadline: April 09, 2007)
National Museum of Women in the Arts 20th Anniversary Festival of Film & Media Arts (Washington, DC, USA; Deadline: May 04, 2007)
Emotion Pictures (Athens, Greece; Deadline: April 30, 2007)
Experimental Film and Video Festival in Seoul (Seoul, Korea; Deadline: May 05, 2007)
Filming Music Festival (Paris; Deadline: April 20, 2007)
Extremely Shorts 10 (Houston; Deadline: May 01, 2007)

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

Also available online at Flicker:

 * Collective For Living Cinema Program 2 [April 7, New York, New York]
 * Brecke On Darfur + Martinez On Iraq [April 7, San Francisco, California]
 * Program 3 [April 8, New York, New York]
 * Collective: Program 4 [April 8, New York, New York]
 * Cinnamon [April 9, Los Angeles, California]
 * Entomelodical Opportunity: An Evening of Film, Insects, Fables and
    Electronic Moodscapes From Irene Moon and Marcia Bassett [April 9, New York, New York]
 * Frame By Frame: Avant-Garde Film Preservation [April 10, Berkeley, California]
 * Frame By Frame: Avant-Garde Film Preservation [April 10, Berkeley, California]
 * Jennifer Montgomery: Notes On the Death of Kodachrome [April 12, Chicago, Illinois]
 * Kill Your Timid Notion [April 12, Dundee, Scotland]
 * Cold Hearts Revisited: New Icelandic Film and video [April 12, New York, New York]
 * Electromediascope [April 13, Kansas City, Missouri]
 * Zorns Lemma & Hapax Legomena I [April 13, New York, New York]
 * Fetish Films #1: "Celluloid Scopophilia: Sensual Dimensions of the Human
    Body" [April 13, San Francisco, California]
 * Dis-Oriented: Hong + Chen + Ligon [April 14, San Francisco, California]
 * New England Filmmakers See In the Dark [April 15, Cambridge, Massachusetts]
 * Ken Jacobs, Jean Epstein & Dwinell Grant Shorts [April 15, New York, New York]

Events are sorted by CITY within each DATE.


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

  PROGRAM 2: DOUBLE FEATURE AND MORE!. This double bill is not unlike what
  one would have seen at the COLLECTIVE on any given night. In addition to
  these two feature film presentations we will be including a selection of
  shorts by the magnificent filmmaker/performer Stuart Sherman. . H.C.
  Potter. HELLZAPOPPIN'. 1941, 84 minutes, 16mm, b&w. With Ole Olsen, Chic
  Johnson, Mischa Auer, Shemp Howard, and Elisha Cook Jr. "Rarely shown in
  the U.S. these days, this 1941 film of the wildly deconstructive stage
  farce with Ole Olsen and Chic Johnson is still regarded as a classic in
  Europe, and it lives up to its reputation. The credit sequence
  establishes the wartime mood with its vision of hell as a munitions
  factory (where demons preside over the packaging of . Canned Guy and
  Canned Gal), which is shortly revealed as a movie soundstage, the first
  of many metafictional gags. Very belatedly the movie gets around to
  telling a spare musical-comedy story (with swell numbers by Martha Raye
  and the jazz duo of Slim Gaillard and 'Slam' Stewart, and some very
  acrobatic jitterbugging), but the main bill of fare is manic nonsense
  that almost makes the Marx Brothers look sober." -Jonathan Rosenbaum,
  LUBOVNIK. 1931, 80 min, 16mm, b&w. In Yiddish w/ English subtitles.
  Based on a Yiddish stage hit and billed as the "first Jewish musical
  comedy talking picture," HIS WIFE'S LOVER reverses roles and twists love
  triangles as if reincarnating Moličre at the corner of Orchard
  and Rivington. Made at the height of the Depression, this fast-paced,
  song-filled farce benefits from location camerawork, fine acting and
  inspired singing as it contrasts the desperate, crowded sweatshop with
  idle luxury. When handsome actor Eddie Wien decides to marry, his uncle
  (and backer) Oscar advises Eddie that all women are looking for is a fat
  pocketbook, and the two make a bet to see if Oscar's right. But
  surprises confront this devilish pair as their poor target Golde
  Blumberg struggles to separate her feelings from her scruples. .

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

  Globe-trotting photog Mark Brecke walks us through his work-in-progress,
  They Turned Our Desert into Fire, framed by a pair of '06 journeys:
  First, to Western Sudan to retrieve images of the human calamity there;
  on the second sojourn, Brecke brought his prints for an installation to
  the US Capitol by way of a cross-country Amtrak train, sharing the
  depicted stories with fellow passengers. During the same period,
  compatriot freelancer David Martinez, also locally based, was circling
  through the war-scarred streets and countryside of Iraq on his own
  journalistic quest. In the show's second half, Martinez introduces and
  answers questions about the personal documentary that resulted from his
  gutsy junkets, 500 Miles to Babylon: A Film about Iraq under US
  Occupation. A portion of the proceeds go to Doctors Without Borders. $7.


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

  Ester Shatavsky BEDTIME STORY (1981, 6 minutes, 16mm, silent) . Bette
  Gordon EXCHANGES (1979, 15 minutes, 16mm, sound) . Martha Haslanger
  FRAMES AND CAGES AND SPEECHES (1976, 13 minutes, 16mm, sound) . Jim
  Jennings EDGE (1972, 6 minutes, 16mm, silent) . Jim Hoberman MISSION TO
  MONGO (1977/78, 3.5 minutes, 16mm, sound) . Charles Wright SORTED
  DETAILS (1979, 12.5 minutes, 16mm, sound) . Vincent Grenier TREMORS
  (1984, 13 minutes, 16mm, sound) . Abigail Child PREFACES IS THIS WHAT
  YOU WERE BORN FOR? (PART 1) (1981, 9.5 minutes, 16mm, sound). Total
  running time: ca. 80 minutes.

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

  Peggy Ahwesh FROM ROMANCE TO RITUAL (1985, 21 minutes, Super-8, sound) .
  Joe Gibbons WELTSCHMERTZ (1979, 15 minutes, Super-8 on VHS, sound) .
  Marjorie Keller THE FALLEN WORLD (1983, 9.5 minutes, 16mm, sound) . Saul
  Levine TIME TO GO TO WORK (1978, 10.5 minutes, 16mm, sound) . Bob
  Fleischner MAX'S SHIRT (1975, 5 minutes, 16mm, silent) . Holly Fisher
  THIS IS MONTAGE (1978, 7 minutes, 16mm, silent). Henry Hills MONEY
  (1985, 14.5 minutes, 16mm, sound). Total running time: ca. 85 minutes.


Los Angeles, California: Redcat
8pm, 631 W. 2nd st

  Los Angeles premiere USA, 2006, 71 min., color and b/w, Beta SP
  Documentary footage and conventionally scripted narrative alternate in
  this engrossing and lush portrait of African American drag racing as
  Kevin Jerome Everson lovingly tracks the meticulous routine kept by
  Erin, a mortgage loan officer who races on weekends, and John, her ace
  mechanic and coach. An ode to the beauty of repetition as much as to the
  thrill of automobile and racetrack, Cinnamon is also an intimate
  celebration of African American craft. In person: Kevin Jerome Everson
  $6 Student with Valid ID $8 General

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

  Anthology is proud to present the provocative pairing of Performance
  Artist/Entomologist Irene Moon and musician Marcia Bassett for a
  multi-media evening of audio-visual exploration and excavation. Moon has
  been creating music, film and musical lectures since the mid-90s and
  received a Masters degree in Insect Systematics and Evolution from the
  University of Kentucky in 2004. Her brilliant SCIENTIFICALLY SPEAKING
  lectures are head-scratching combinations of completely factual
  information with neo-Dada homemade New Wave music, insect sound samples,
  microphotography, animations and so much more. Bassett is best known for
  her intensely sonic work with the likes of Double Leopards and
  Hototogisu, but tonight will be appearing under the moniker Zaďmph.
  Her sets verge on the ritualistic as the room is turned into a swirling
  vortex of energy with mirage-like guitar, fried electronics and
  disembodied vocals. This program will include live performances by both
  artists as well as a number of rather disturbed short videos by Moon and
  her touring theater company, the Auk Theatre. It should be quite an
  evening…. Program includes: TERRORISTIC ENTOMOLOGY SUPER 8 SERIES. Early
  films from Moon with soundtracks created from field recordings of
  insects and machines commonly found in a laboratory environment. FILMS
  OF THE AUK THEATRE. Short 'plays' that create modern fables. The Auk
  Theatre is a touring theater that performs absurd, classical and heavily
  stylized theater in rock clubs and music venues. All of the short Auk
  plays are from 2004-2005. COURT OF COMMON PLEAS. 2005, 17 minutes, DV.
  Music: Hototogisu (Marcia Bassett and Matthew Bower). Animation: Irene
  Moon/Auk Theatre. A psychedelic story of mystical transformation. More
  information about Irene Moon and Auk Theatre can be found at


Berkeley, California: Pacific Film Archive
6:00PM, 2575 Bancroft Ave. (at Bowditch)

  A Self-Preservation Workshop for Film and Video Makers Presentation and
  Booksigning by Bill Brand Artist and preservationist Brand will talk
  about how artists can implement simple steps to take better archival
  care of their films and videos. Anthology Film Archives' Results You
  Can't Refuse: Celebrating 30 Years of BB Optics, edited by Andrew
  Lampert, which includes an article by Brand, is available in the Museum
  Store; Purchase a copy at the workshop and receive a 10 percent

Berkeley, California: Pacific Film Archive
7:30PM, 2575 Bancroft Ave. (at Bowditch)

  BB Optics: Optical Printing and Preservation Work Bill Brand in Person
  Brand presents a wide range of works preserved or printed by his firm,
  BB Optics, including avant-garde pieces and films confiscated from the
  Nixon White House by the FBI. Program includes: New Left Note (Saul
  Levine, 1968/82). Nixon White House Super-8 Films (Reel S-10) (1969–73).
   The Fallen World (Marjorie Keller, 1983). Fire in My Belly (David
  Wojnarowicz, 1986–87). Home Avenue (Jennifer Montgomery, 1989). Black
  and White Film (Robert Huot, 1968–69). Daffodils (Katy Martin, 1979/81)


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

  KODACHROME pretends to be about the discontinuation of the much-beloved
  Super-8 film stock, Kodachrome, and with it, the possible demise of
  small-gauge filmmaking. The premise is simple: director Jennifer
  Montgomery tracks down three old friends--the writer Joe Westmoreland
  and directors Lisa Cholodenko and Todd Haynes--who once borrowed but
  never returned her Super-8 equipment. As each encounter unfolds, the
  film reveals new layers and its true subjects: the political character
  of filmmaking, the nature of friendship, and personal reckoning. With
  Montgomery's 1990 Super-8 film, AGE 12: LOVE WITH A LITTLE L.
  (1990-2006, Jennifer Montgomery, USA, various formats, ca. 80 min).

Dundee, Scotland: arika
all day, Dundee Contemporary Arts

  Kill Your Timid Notion 12-15th April DCA, Dundee, Scotland KYTN is a festival of sound and image, exploring
  as many different ways in which artists, filmmakers and musicians can
  investigate the border between what you hear and what you see. And in
  particular, it looks at the margins, at the leading edge of creativity
  where people test out and cross the boundaries of what has been done
  before, and define them anew for themselves: after all, doesn't the
  notion of a boundary presuppose something beyond it; isn't transgression
  exciting? PERFORMANCES CUBE (Etienne Caire, Gaelle Rouard, Christophe
  Cardoen, Christophe Auger, Xavier Querel, Jerome Noetinger, Lionel
  Cardoen, Christophe Auger, Xavier Querel) AVVA: Billy Roisz and Toshi
  Nakamura LEVOX (eriKm, Etienne Caire, Gaelle Rouard) INSTALLATIONS
  ARTIFICIEL: Beyond 6281 BARRY WEISBLAT: Chord of the Fifth Force TALKS
  Get enlightened (or confused) about work at the festival with a series
  of talks hosted by the Wire. FILM PROGRAMME eight programmes of light as
  music, film as sound from artists including: Saturday 14 – Cinema 1
  13:00 Film Programme 1: In & Out I am Going, Józef Robakowski, Poland,
  1973 Daybreak Express, D A Pennebaker, USA, 1953 Block, Emily
  Richardson, UK, 2005 La-Lu, Józef Robakowski, Poland, 1985 Views from
  Home, Guy Sherwin, UK, 1987-2005 Radar, Volker Schreiner, Germany, 2006
  Pioneer, James Beckett, The Netherlands, 2003 Counter, Volker Schreiner,
  Germany, 2004 Roomtone #1, Mark Slankard, USA, 2003 14:20 Film Programme
  2: Humans Britton, South Dakota, Vanessa Renwick, USA, 2004 The Coming
  Race, Ben Rivers, UK, 2007 The Girl Chewing Gum, John Smith, UK, 1976
  The Market, Józef Robakowski, Poland, 1970 Capitalism: Child Labor, Ken
  Jacobs, USA, 2007 Black and White Trypps Number Three, Ben Russell, USA,
  2007 15:45 Film: Hope & Prey, Vanessa Renwick, USA, 2005, 23 mins 16:30
  Film Programme 3: Earth Brilliant Noise, Semiconductor, UK, 2006 Le
  Petit Mort, Damir Cucic, Croatia, 2007 Rust to Dust, Ian Helliwell, UK,
  2006 Pulse, Pink Twins, Finland, 2006 U, Vesa Puhakka, Finland, 2003
  Acoustic Apple, Józef Robakowski, Poland, 1994 What the Water Said no.
  4-6, David Gatten, USA, 2006 You Don't Bring Me Flowers, Michael
  Robinson, USA, 2006 Skull and Blackberries, Eric Ostrowki, USA, 2006
  Sunday 15 – Cinema 1 13:00 Film Programme 4: Beyond Image a1b2c3,
  Norbert Pfaffenbichler & Lotte Schreiber, Austria, 2006 Matrix III, John
  Whitney, USA, 1972 Lines Horizontal, Norman McLaren & Evelyn Lambart,
  Canada, 1962 Beyond Image, The Sensual Laboratory, UK, 1969 Kyldex
  Projections, Nicolas Schoffer, Hungary, 1973 FBCK/AV - Red Flag, Bas van
  Koolwijk, The Netherlands, 2005 Hello Again, Michaela Grill, Austria,
  2006 Attention: Light, Józef Robakowski & Wieslaw Michalak, Poland, 2004
  14:20 Film Programme 5: Word Money, Emma Hart, UK, 2006 Oscillation,
  Simo Rouhiainen, Finland, 2006 Gertrude Stein Film, William Moritz, USA,
  1969 Poemfield No 2, Stan Vanderbeek, USA, 1966 Secondary Currents,
  Peter Rose, USA, 1982 Word Movie, Paul Sharits, USA, 1966 Mile End
  Purgatorio, Guy Sherwin, UK, 1991 Associations, John Smith, UK, 1975
  Newsprint, Guy Sherwin, UK, 1972 15:40 Lost Sound, Graeme Miller & John
  Smith, UK, 2001, 28 mins 16:30 Film Programme 6: Contrast Tile 11 of 16:
  space "trial and error in urban development", Mike Shiflet, Lori Felker,
  USA, 2005 Ersaztitel, Jens Rudolph, Germany, 2005 ORDER-RE-ORDER,
  Barbara Doser & Hofstetter Kurt, Austria, 2006 void.seqz 3, n:ja &
  Dariusz Kowalski, Austria, 2005 Moment Musical, Bruce Checefsky, UK,
  2006 modal.patterns_txt/anagram 0.02, Andrés Ramírez Gaviria,
  Switzerland, 2006 The Eye and the Ear, Franciska & Stefan Themerson,
  UK,1944-45 Test 1, Józef Robakowski, Poland, 1971 Cycles 3, Guy Sherwin,
  UK, 1972/2003

New York, New York: Scandinavia House
7:30pm, 58 Park Ave btwn 37th and 38th Streets

  With their follow-up to 2006's "Cold Hearts," a video exploration of the
  cinematic and musical output of young Iceland, the Package Deals
  curatorial team presents a fresh batch of the best in new short films
  and music videos from the vibrant Icelandic creative community with
  "Cold Hearts Revisited." From irreverent faux pop songs and edible
  instruments to escapist fantasies and unorthodox quests, the program of
  twelve rarely-seen films (many of which have never screened before in
  the U.S.) encapsulates all that is enchanting and inventive about this
  small island nation. Featuring Isold Uggadóttir's short "Family Reunion"
  (fresh from Sundance!) and films by Sigur Ros, Bang Gang, GusGus, Egill
  Sćbjörnsson, Apparat Organ Quartet, Trabant, Unnur Andrea Einarsdóttir,
  Erla Haraldsdóttir, Kyja Kristjansson-Nelson, Reynir Lyngdal, and Leaves
  Q&A with Uggadóttir and reception to follow. For more info, visit

FRIDAY, APRIL 13, 2007

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

  Being There: Experiencing Place and Non-place. Cinema, video,
  installation art and new media all involve different relationships
  between place and non-place. In the past most people's sense of place
  and personal space was defined in terms of location, residence and
  cultural traditions. Our contemporary sense of place now also includes
  non-places such as airports, shopping malls, interstate highway networks
  and the Internet. These non-places are familiar discontinuous scenes
  marked by experiences of waiting and transition that incorporate
  distancing effects of incongruity and repetition. Some of the works in
  Being There emphasize place while others survey conditions of both place
  and non-place. Several artists employ long constant shots, silence and
  ambient sound while exploring different experiences of seeing, knowing
  and immersion in relation to nature, territory and cultural space. Some
  works have as much in common with photography and painting as with
  filmmakng and video in that it is possible for the viewer to control and
  spatialize the temporal experience while breaking through media
  conditioning involving our expectations of conventional narrative
  continuity and timing. These works involve exceptional ways of seeing
  and revealing that which may have been unrecognizable, lost or
  concealed. Some places are discovered through close observation and
  spending enough time to pass through the stereotypical spectacle of
  place in order to get in touch with a more expansive sensory awareness
  and palpable sense of presence. Other works perform defamiliarizing,
  ironic or humorous manipulations of the frame of reference that disturb
  the natural, and by establishing artificial or constructed perceptions,
  make it possible to actually get closer to what these places are about.
  All of the works challenge what we think we know or recognize about the
  geophysical, institutional and cultural aspects of particular places, so
  that it is possible to experience them from fresh perspectives. –
  Patrick Clancy. Skagafjordur, Peter Hutton (USA), 2004, 33 min.,16mm
  film. Palast, Tacita Dean (UK), 2004, 10:30 min., 16mm film. Nocturne,
  Emily Richardson (UK), 2002, 4:56 min., 16mm film shown on video. 1.1
  Acre Flat Screen, eteam [Franziska Lamprecht (Germany) and Hajoe
  Moderegger (Germany)], 2004, 45:05 min., video. Program continues April
  20 and 27.

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

  Dir: Hollis Frampton. ZORNS LEMMA. 1970, 60 minutes, 16mm, color, sound.
  . "A major poetic work. Created and put together by a very clear
  eye-head, this original and complex abstract work moves beyond the
  letters of the alphabet, beyond words and beyond Freud. If you don't
  understand it the first time you see it, don't despair, see it again!
  When you finally 'get it,' a small light, possibly a candle, will light
  itself inside your forehead." -Ernie Gehr. HAPAX LEGOMENA I:
  (nostalgia). 1971, 36 minutes, 16mm, b&w, sound. . "NOSTALGIA, beginning
  as an ironic look upon a personal past, creates its own filmic time, a
  past and future generated by the expectations elicited by its basic
  disjunctive strategy." -Annette Michelson. "In NOSTALGIA the time it
  takes for a photograph to burn (and thus confirm its two-dimensionality)
  becomes the clock within the film, while Frampton plays the critic,
  asynchronously glossing, explicating, narrating, mythologizing his
  earlier art, and his earlier life, as he commits them both to the fire
  of a labyrinthine structure; for Borges too was one of his earlier
  masters, and he grins behind the facades of logic, mathematics, and
  physical demonstrations which are the formal metaphors for most of
  Frampton's films." -P. Adams Sitney. .

San Francisco, California: Oddball Films
8:30 PM, 275 Capp Street

  On Friday, April 13th at 8:00PM Oddball Films presents Fetish Films #1:
  "Celluloid Scopophilia: Sensual Dimensions of the Human Body", the first
  in a series of film programs examining the fetishization of the human
  body. The program is curated by Oddball Films Director Stephen Parr and
  filmmaker/cinema historian Kerry Laitala. All films will be screened in
  16mm film. Admission is $10.00. Seating is limited. RSVP is essential.
  Oddball Films is located at 275 Capp Street, San Francisco. "Celluloid
  Scopophilia" is a cinema program inspired by the writings of Wilhelm
  Stekel, author and contemporary of Sigmund Freud who postulated that all
  fetishes are a regressive form of Infantilism. In his books "Sadism and
  Masochism" and "Patterns of Psychosexual Infantilism", Stekel presents
  many case studies of paraphilias and their causes. This program
  investigates this and includes rare medical films such as "Pain and Its
  Alleviation" (Color, 1961) and Oral Hygiene films such as the
  Technicolor Danish, English co-production "Es Leight Ans Dir"(1951),
  later dubbed in German (1951), industrial First aid films such as
  "Shock" and "Breathing For Others"(1955), and underground foot fetish
  films. The program will conclude with the viscerally compelling
  "Hallowed" (2001), a hand-made film by Laitala, a filmmaker and long
  time collector of obscure and disturbing medical and industrial films
  comments on "Celluloid Scopophilia": "The program treads the lines
  between visual pleasure and pain in the context of Scopophila, (the
  pleasure of looking). Through the camera's gaze, the pleasure imparted
  by the extraction and isolation of body parts is explored and dwelled
  upon, sucking the viewer into this seductive, unseemly form of cinema"
  says Laitala. "We have sequenced the program to make the resonance
  between the films vibrate with a pervy frequency". Together with
  Laitala's films and a treasure trove of unseen and recently unearthed
  medical films Oddball Films Director Stephen Parr has obtained
  "Celluloid Scopophilia: Sensual Dimensions of the Human Body" promises
  to be a disturbing, darkly humorous and ultimately fascinating look at
  the human body in all its fetishistic glory. For further information,
  still images and interviews contact Stephen Parr at 415.558.8117 or
  email suppressed


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

  As the first half of this season's installment of our Historical
  Reversionism series, our program exploits the contradictions between and
  within various and varying official histories of China, Japan, and the
  US. Featured in this mortal combat between propaganda, political
  fantasy, and critique, is the world premiere of 731: Two Versions of
  Hell, a 27 min. master-stroke of (re)deconstruction, crafted by Goldie
  awardee James Hong and collaborator Yin-Ju Chen. This ingenious
  ideological puzzle takes as its subject the infamous Japanese military
  lab (731) that housed experiments using Chinese prisoners as live guinea
  pigs. In a telling structural move, Hong re-presents the same assembly
  of shots with an altogether different soundtrack, demonstrating
  ever-so-artfully (and with more than a little morbidity) the critical
  principle at stake. This inquiry into the construction of History serves
  as healthy response to the blatantly racist and nationalistic "war
  information" films (16mm) that open the show (Why We Fight, My Japan,
  Our Job in Japan). A similar service is performed by JD Ligon's Ha Ha Ha
  America, an audaciously provocative skewering of assumptions about China
  vs. US global supremacy and pride.

SUNDAY, APRIL 15, 2007

Cambridge, Massachusetts: Harvard Film Archive
7:00 pm, Harvard Film Archive, 24 Quincy St

  Freshly unearthed from the northeastern topsoil, a few resilient
  experimental films slither forth from the dormancy of winter and work
  their way to the warm screen of the Harvard Film Archive. The
  flickering, incandescent residue of 16mm will surely awaken all the
  workers, drifters, outsiders and romantics from the damp cold to see the
  latest in absurdist cultural commentary, explosive poetic montage, and
  tormented dream reverie. The filmmakers and the Harvard Film Archive
  would like to dedicate this screening to Max Coniglio, who passed away
  on February 9, 2007. April 15 (Sunday) 7 pm Blood of the Earthworm
  Trailer Directed by Brittany Gravely, Appearing in Person US 2002,
  video, color, 5 min. A pre-production trailer for the film—barely a
  sketch of things to come. The Daily Planner Directed by Max Coniglio US
  2006, 16mm, 9 min. A lazy, disorganized couch potato is miraculously
  transformed into a manic, over-achieving member of the rat race after
  his wife hands him a daily planner. 0106 Directed by Xander Marro and
  Mat Brinkman, Xander Marro Appearing in Person US 2006, 16mm, 13 min. A
  single-frame barrage of DIY living quarters, puppeteer frontiers, too
  many cats, silkscreen explosions, portable cooking stoves, zine
  libraries, drum kits, and more - all to the discordant squall of Marro
  and Brinkman's manic sonar hearts (Rotterdam Film Festival program
  notes). Porch Film: 76 Day Street #2 Directed by Paul Turano, Appearing
  in Person US 2004, 16mm, 18 min. A domestic pastoral, summertime on a
  back porch, the sound track a mixed tape of emotions. for them ending
  Directed by Jonathan Schwartz, Appearing in Person US 2005, 16mm, 3 min.
  a raised hand, the children's cheer, the distant fireworks explode like
  bombs. for quiet nights and summertime and a life in the absence of war
  (Jonathan Schwartz). for a winter Directed by Jonathan Schwartz,
  Appearing in Person US 2007, 16mm, 3 min. for a winter (without much
  snow, we can all see the evidence in the exhales). L'Eye Directed by
  Xander Marro, Appearing in Person US 2006, 16mm, 3 min. Who watches the
  Watchmen? Doom drones and Italian supermodels conspire to turn your
  loving capitalist gaze back into your own insides. With sound by Carly
  Ptak of the Baltimore noise band Nautical Almanac hearts (Rotterdam Film
  Festival program notes). Blood of the Earthworm Directed by Brittany
  Gravely, Appearing in Person US 2006, 16mm, color, 32 min. An
  anti-climactic barrage of original footage and unoriginal extractions
  from horror, science fiction, and educational films, all of which
  feature contemporary maladies of civilization, such as ecological
  devastation, bio-terrorism, consumerism, and government conspiracy, in
  their story or subtext. New England premiere!

New York, New York: Anthology Film Archives
5:30, 32 Second Avenue (at Second Street)

  minutes. Made for the United Nations. Dwinell Grant. COMPOSITION #2
  CONTRATHEMIS. 1941, 5 minutes. "An attempt to develop visual abstract
  themes and to counterpoint them in a planned, formal composition." -D.G.
  "Austere and chaste combinations, with subtle manipulation of structure,
  density and rhythm." -William Moritz. STOP MOTION TESTS. 1942, 3
  minutes. . A self-portrait. COLOR SEQUENCE. 1943, 3 minutes. . "Pure
  solid-color frames which fade, mutate and flicker. A research into color
  rhythms and perceptual phenomena." -William Moritz. Ken Jacobs. LITTLE
  STABS AT HAPPINESS. 1959-63, 18 minutes. Featuring Jack Smith. .
  "Material was cut in as it came out of the camera, embarrassing moments
  intact. 100' rolls timed well with music on old 78s. I was interested in
  immediacy, a sense of ease, and an art where suffering was acknowledged
  but not trivialized with dramatics. Whimsy was our achievement as well
  as breaking out of step." -K.J. Ken Jacobs & Bob Fleischner. BLONDE
  COBRA. 1962, 35 minutes. Featuring Jack Smith. "BLOND COBRA is an
  erratic narrative - no, not really a narrative, it's only stretched out
  in time for convenience of delivery. It's a look in on an exploding
  life, on a man of imagination suffering pre-fashionable Lower East Side
  deprivation and consumed with American 1950s, 40s, 30s disgust. Silly,
  self-pitying, guilt-strictured and yet triumphing - on one level - over
  the situation with style… enticing us into an absurd moral posture the
  better to dismiss us with a regal 'screw off.'" -K.J. Total running
  time: ca. 90 minutes. .

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