Part 2 of 2: This week [October 13 - 21, 2007] in avant garde cinema

From: Weekly Listing (email suppressed)
Date: Sat Oct 13 2007 - 11:51:52 PDT

Part 2 of 2: This week [October 13 - 21, 2007] in avant garde cinema


Atlanta, Georgia: Eyedrum
8:00 PM, 290 Martin Luther King Jr Dr Suite 8

  "Pictures worth a thousand words" shows three films which tell their
  stories almost entirely with still photographs (but watch closely!). |
  Chris Marker's classic La Jetée – the inspiration for the Terry Gilliam
  film 12 Monkeys – is the story of a mysterious childhood memory in a
  dystopian future. Using still photos, a hot plate, and a poignant
  narration, Hollis Frampton's film (nostalgia) works an ingenious
  cognitive trick on the audience, while Morgan Fisher's Production Stills
  turns a Polaroid camera on a movie camera, then turns the movie camera
  back on the Polaroid photos and thus manages to document its own making!
  | Program: Production Stills (Morgan Fisher, 1970), 16mm, black & white,
  sound, 11 minutes | (nostalgia) (Hapax Legomena I) (Hollis Frampton,
  1971), 16mm, black & white, sound, 36 minutes; | La Jetée (Chris Marker,
  1962), 16mm, black & white, sound, 28 minutes

Brussels: ARGOS
14:00, ARGOS Brussels

  Sa 20.10.2007 // 14:00 – 23:00 Ken Jacobs Star Spangled To Death
  1957-2003, col./b&w, English spoken, 393' organised by ARGOS
  ( and BOZAR cinema ( 14:00 Mark Webber in
  conversation with Ken Jacobs 15:00 part 1+2 (with short break in
  between) 18:00 dinner 20:00 part 3+4 (with short break in between) This
  Magnum Opus by Ken Jacobs was in the making for almost half a century.
  Initiated in 1957 as one of his "urban-guerilla-cinema" projects with
  avant-garde legend Jack Smith, this film developed into a 6-hour-plus
  social criticism of the U.S. which, in his words, was "stolen and
  dangerously sold-out". Footage of his own is combined with fragments
  from documentaries, cartoons, musicals and educational films, as a
  reflection on such issues as race and religion, war addiction and the
  monopolisation of wealth. A splendid immersion in clownish euphoria and
  political despair. Mark Webber is an independent curator of avant-garde
  / experimental / artists' film and video. He has presented events and
  screenings as the Barbican Centre (Underground America, Cinema
  Auricular: Electronic Music and Film), ICA (Little Stabs at Happiness),
  Tate Modern (Like Seeing New York For The First Time, The Films of Andy
  Warhol), London Film Festival (Ken Jacobs' Nervous System, Peter
  Kubelka: What Is Film), Oberhausen Kurzfilmtage (Came the Loop Before
  The Sampler, Floating Through Time: The Films of Larry Jordan) and the
  Whitney Museum of American Art (The American Century Part 2: 1950s &
  1960s). He has been touring the world with Shoot Shoot Shoot, a major
  retrospective of the London Film-Makers' Co-operative & British
  Avant-Garde Film from 1966-76.

New York, New York: Millennium Film Workshop
8:00PM, 66 E. 4th St.

  Situated at a crossroads, City Film Berlin is a multidirectional program
  of new cinema by Caroline Koebel. The filmmaker shot the two featured
  titles Berlin Warszawa Express and Alex, Wait! while living as a
  pregnant artist in Berlin. These works traverse performance and film,
  documentation and intervention, seriality and narrative, rhythm and
  stillness, tourist snapshot and meditative portrait, the city film genre
  and conceptual art. They re-site the kino eye in the protruding belly,
  the filmmaker becoming a visible body and a body of vision. Inverse to
  Walter Ruttmann's Berlin: Symphony of A City in which the camera was
  hidden in order to capture the metropolis in its authenticity, in these
  films the spectacle of the filmmaker as public maternal body casts
  shadow enough on the camera in effect to conceal it. The program also
  includes a collaboration with Katherine Crockett of the Martha Graham
  Dance Company, a reenactment of a 1968 action by Valie Export and Peter
  Weibel starring Tony Conrad and Bernadette Wegenstein,  and two 16mm

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

  OC is honored to host, in person, prodigal daughter Lynne Sachs. Both a
  screening and spoken-word event, in I Am Not a War Photographer Lynne
  discusses her decade-long artistic—rather than physical—immersion in
  war. From Vietnam to Bosnia to WWII-occupied Rome to the Middle East
  today, her experimental documentaries probe the borders between genres,
  discourses, radicalized identities, psychic states, and nations through
  the intertwining of abstract and reality-based imagery. Sachs is not
  avoiding graphic realism, but instead is unpeeling the outer, more
  familiar layers, hoping to reveal something new about perception and
  engagement in cinema.


Brussels: ARGOS
20:30, BOZAR Brussels

  Su 21.10.2007 // 20:30 Ken Jacobs & Aki Onda Nervous Magic Lantern
  Performance Paleis voor Schone Kunsten / Palais des Beaux-Arts entry
  fee: 9/7 euros organised by ARGOS ( and BOZAR cinema
  ( Ken Jacobs (US, 1933) is a key figure in the post-war
  experimental film world. After his university studies he found himself
  in the vivid artistic climate of New York of the 50s and 60s, where he
  made a name for himself as a committed filmmaker and activist. Together
  with his wife Flo he founded the Millennium Film Workshop, and was
  responsible for one of the first university cinema training courses.
  Jacobs' films and performances explore the subconscious of the cinematic
  experience, the regions where the construction of light, movement, speed
  and frame incite a purely sensorial shadowplay, beyond the borders of
  cinematographic time and space. In films such as Tom, Tom the Piper's
  Son (1969-1971) he dissects and manipulates existing film material,
  deconstructs each sequence and gesture, applies himself to texture and
  space, and choreographs, like a self-appointed "cine-puppeteer", a
  secondary discourse of forgotten and explored time. In his performances
  and recent video work he explores the phenomenon of "eternalisms",
  paradoxical appearances in which objects and figures seem to be captured
  in a spasm of infinite, slowly moving rotations. This is cinema which
  reverses the curve of human perception, and which takes its force from
  the mysteries of our own looking and thinking. The Nervous Magic
  Lantern, a film projector Jacobs made himself, unravels an unexpected
  film before our eyes, without actors, without a plot, without celluloid
  or video. Making use of pre-cinematographic techniques an illusory
  dreamworld is created, where the spectator is immersed in alienating,
  rotating landscapes suggesting the shape of volcanic glass, desolate
  craters or glacial gorges. The result is a hallucinatory
  three-dimensional watching experience, in which impossible phenomena and
  non-existing locations come to life in the projected dimension between
  the screen and the gaze of the spectator, like an innuendo of abstract
  shapes. Musician, composer and visual artist Aki Onda (JP, 1967) is
  always on the lookout, camera and sound recorder at hand, ready to
  document his travels and encounters. He looks for meaning in the
  accumulation of those memories, when the specific experiences fade out
  and the architecture and essence of the memory reveals itself. His
  ongoing project Cassette Memories consists of a series of performances,
  or rituals, where he lets memories, recorded on soundtape, wander and
  collide with the sounds of the site-specific memory. Onda has previously
  worked with such artists as Alan Licht, Loren Connors, Michael Snow and
  Otomo Yoshihide. This is his first collaboration with Ken Jacobs.

Los Angeles, California: Filmforum
7:00 pm, Echo Park Film Center, 1200 Alvarado Street (at Sunset)

  Rarely screened classics, curiosities, forgotten wonders including
  Runaway (Standish Lawder, 1969); Book of Dead (Victor Faccinto, 1978);
  Blutrausch – Bloodlust (Thorston Fleisch, 1999); 3/60: Baume im Herbst
  (Trees in Autumn) (Kurt Kren, 1960); Billabong (Will Hindle, 1969) and

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

  Dir: STAN BRAKHAGE. PASHT (1965, 5 minutes, 16mm). THE WONDER RING
  (1955, 4 minutes, 16mm). FLESH OF MORNING (1956, 25 minutes, 16mm). FIRE
  OF WATERS (1965, 10 minutes, 16mm, sound). WINDOW WATER BABY MOVING
  (1959, 12 minutes, 16mm). . Films made during the early period of one of
  modern cinema's greatest innovators, including one of his early
  experiments with sound.

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

  Jordan Belson . ALLURES (1961, 9 minutes, 16mm) . RE-ENTRY (1964, 6
  minutes, 16mm). PHENOMENA (1965, 6 minutes, 16mm). WORLD (1970, 7
  minutes, 16mm). "Our greatest abstract film poet: he has found how to
  combine the vision of the outer and the inner eye." -Gene Youngblood.
  Bruce Baillie . CASTRO STREET (1966, 10 minutes, 16mm). ALL MY LIFE
  (1966, 3 minutes, 16mm) . HERE I AM (1962, 11 minutes, 16mm). Songs and
  poems of everyday reality. Funding for the preservation and restoration
  of HERE I AM graciously provided by Sony Pictures Entertainment.
  Douglass Crockwell . GLEN FALLS SEQUENCE (1964, 8 minutes, 16mm).
  Preserved by Anthology Film Archives. "The basic idea was to paint
  continuing pictures on various layers with plastic paint, adding at
  times and removing at times, and to a certain extent these early
  attempts were successful." -D.C.

San Francisco, California: San Francisco Cinematheque
8:00pm, San Francisco Art Institute, 800 Chestnut Street (at Jones)

  From 2004 through 2006, Voom HD LAB, a project of Voom HD Networks,
  conducted a residency program which offered a wide range of filmmakers
  access to state of the art facilities and fostered a diverse body of
  works, imagining the televised signal as an ambient experience based on
  experimentation and free play. Screening: Aerodynamics of the Black Sun
  by Bradley Eros; The Tension Building by Ericka Beckmann; Newr
  Bloodpinkis by Theo Angell; Sahara Mojave by Leslie Thornton; May Mad
  Gab by Lili Chin; Walden by Jennifer Sullivan; Angie Eng's Schpilin
  Aqui; Landfill by Pawel Wojtasik; 16 Letters by Grahame Weinbren;
  Unperception Now by Ali Hossaini; My Person in the Water by Leighton
  Pierce; Light Work One by Jennifer Reeves and Sorry by Gail Vachon.

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