This week [October 20 - 28, 2007] in avant garde cinema (part 2 of 2)

From: weekly listing (email suppressed)
Date: Sat Oct 20 2007 - 12:44:47 PDT

This week [October 20 - 28, 2007] in avant garde cinema (part 2 of 2)


Greenbelt, Maryland: Utopia Film Festival-Urban/Rural Program 3
12noon, municipal building

   Urban/Rural Landscapes Curated by local filmmaker Chris Lynn
   Experimental Shorts, 90 minute program A program of captivating and
   challenging experimental shorts by moving image artists from around the
   globe. The films include: Observation of a Satellite by Andrew Busti and
   Layne Garrett (4 minutes). An homage to the enchanted wanderer, Joseph
   Cornell. Interstate (part one) by Cortlund and Halperin (6 minutes). A
   night surveillance artifact. Elephants and zebras move in circadian
   rhythm while traffic flashes across the stream in waves. Iceland by
   Fabiene Gautier (4 minutes). Iceland's landsape seems to reflect a
   particular internlization of feeling. It speaks to the internal mind.
   London 6 by Chris Lynn (5 minutes). A typical Sunday near a London train
   station provides the backdrop to this meditative and transformative
   piece. Premonition by Dominic Angerame (10 minutes). Influenced by the
   avant garde filmmakers of the 1920s-30s, this is a city symphony that is
   haunting, lyrical, and serene. Berlin Warszawa Express by Caroline
   Koebel (19 minutes). A disappearance becomes a departure, but rather
   than attempting to reconstitute what is lost,the filmmaker follows the
   clues and signs framing the site with an anticipatory gaze. Midden by
   David Dinnell (20 minutes). Shot in rural Japan, a video that documents
   the rapidily disappearing landscape near Mt.Tsukuba. I'm Back by Robert
   Robertson (13 minutes). Spike Hawkins' poems are set to film in an
   attempt to capture what happens at the moment a poem is being written.
   Screening Saturday, October 27 at 12:00 noon at the Greenbelt Municipal

London, England: London Film Festival
12pm, BFI Southbank, Belvedere Road, London, SE1 8XT

   CAPITALISM: CHILD LABOR (Ken Jacobs, USA 2006, 14 mins looped) Ken
   Jacobs continues his interrogation of archival sources by deconstructing
   a single stereoscopic photograph from the Victorian era. The image of
   barefoot children in a textile mill is spun into a critique of
   capitalism and the workforce of child labour which sustained the
   industrial revolution. With a dizzying array of visual techniques, space
   is condensed, expanded, flipped and cropped, accompanied by Rick Reed's
   compelling soundtrack. [Free Admission]

London, England: London Film Festival
2pm, BFI Southbank, Belvedere Road, London, SE1 8XT

   SEEING RED (Su Friedrich, USA 2005, 27 mins) A video confessional in
   which the artist expresses her frustration with the onset of middle age,
   frankly declaring personal anxieties. Interspersed with observational
   vignettes edited to Bach's Goldberg Variations (played by Glenn Gould),
   Seeing Red is ultimately less an admission of crisis than a roar of
   defiance. JE SUIS UNE BOMBE (Elodie Pong, Switzerland 2006, 7 mins)
   Unprecedented and absolute: The image of a young woman 'simultaneously
   strong and vulnerable, a potential powder keg.' I JUST WANTED TO BE
   SOMEBODY (Jay Rosenblatt, USA 2006, 10 mins) American pop singer Anita
   Bryant, the face of Florida orange juice, led a political crusade
   against the 'evil forces' of homosexuality in the 1970s. Local success
   was short lived, and a national boycott of Florida oranges was the first
   sign of her loss of public approval. REGARDING THE PAIN OF SUSAN SONTAG
   (NOTES ON CAMP) (Steve Reinke, Canada 2006, 4 mins) A journey from
   schoolyard to graveyard, with author Susan Sontag as philosophical
   guide. PART TIME HEROES (Mara Mattuschka, Chris Haring, Austria 2007, 33
   mins) Mattuschka's second adaptation of a piece by Vienna's ingenious
   Liquid Loft (following Legal Errorist in 2004) exposes a trio of
   fractured characters. In the lonely hearts hotel of an unfamiliar zone,
   the amorphous heroes erratically construct and reveal their
   unconventional personas.

London, England: London Film Festival
4pm, BFI Southbank, Belvedere Road, London, SE1 8XT

   HYSTERIA (Christina Battle, Canada 2006, 4 mins) Through the
   manipulation of drawings of the Salem witch trials, using techniques
   which include peeling layers of emulsion from the filmstrip, oblique
   parallels are drawn with modern day hysteria. DANGEROUS SUPPLEMENT
   (Soon-Mi Yoo, USA-Korea 2006, 14 mins) 'Is it possible to see the
   landscape of the past even though it was first seen by the other's
   murderous gaze?' Dangerous Supplement poetically appropriates footage
   shot by US military to explore the secrets of the mountain, and the
   legacy of the Korean War. CATALOGUE OF BIRDS: BOOK 3 (Jayne Parker, UK
   2006, 16 mins) Following World War II, Messiaen's fascination with
   birdsong inspired many compositions, and dominates the monumental
   'Catalogue d'Oiseaux' of 1959. Jayne Parker has created a visual
   interpretation of the third movement ­ The Tawny Owl and The Woodlark ­
   which evokes the habitat and symbolism of these nocturnal birds. HIS EYE
   ON THE SPARROW (Bruce Conner, USA 2006, 4 mins) The power of music
   transports the founders of the Soul Stirrers gospel quartet back in time
   to the Depression Era. A poignant refrain by a master of found footage.
   MARGUERITE DURAS, ALAIN RESNAIS (0.65, 0.85, 1.0 FPS) (David Dempewolf,
   USA 2007, 19 mins) The opening act of Hiroshima, Mon Amor has been
   condensed and structured, with urgent repetition, to reconstitute the
   dialogue between Duras' text and Resnais' vision. Words assume priority
   as potent images are crudely masked, emphasising details and inviting
   fresh analysis of this powerful sequence. HELENÉS (APPARITION OF
   FREEDOM) (Christoph Draeger, Switzerland 2005, 18 mins) Helenés combines
   two examples of propaganda from East and West. A bleak Hungarian
   instructional film on nuclear attack is presented in its entirely,
   strategically subtitled with text from George Bush's inauguration speech
   (an idiosyncratic interpretation of the concept of freedom).

London, England: London Film Festival
7pm, BFI Southbank, Belvedere Road, London, SE1 8XT

   Newly preserved prints. Carolee Schneemann is a multi-media artist whose
   films, performances, installations and writings are a radical discourse
   on the body, sexuality and gender. FUSES (Carolee Schneemann, USA
   1964-67, 29 mins) Fuses is a vibrant celebration of a passionate
   relationship, openly portraying sexual intercourse without the
   objectification of pornography. To extend the tactile intimacy of
   lovemaking to filmmaking, Schneemann treated the filmstrips as a canvas,
   working by hand to paint, transform and cut the footage into a dense
   collage. The erotic energy of the body is transferred directly onto the
   film material. Recently preserved by Anthology Film Archives, this
   legendary work glows with a clarity unseen since its debut in the 1960s.
   KITCH'S LAST MEAL (Carolee Schneemann, USA 1973-76, c.60 mins) The
   moving conclusion to the autobiographical trilogy which began with
   Fuses, Kitch's Last Meal documents the routines of daily life. It was
   shot on the Super-8 home movie format and is projected double screen
   (one image above the other) as an interchangeable set of 18-minute
   reels. The soundtrack mixes personal reminiscences with ambient sounds
   of the household, and includes the original text used for Schneemann's
   1975 performance 'Interior Scroll'. Time passes, a relationship winds
   down and death closes in: filming and recording stopped when the elderly
   cat Kitch, Schneemann's closest companion for two decades, died. Each
   performance of the film in its original state was a re-ordering of the
   visual and aural materials, arranged by the artist according to mood and
   environment. For the preservation print, three pairs of reels have been
   selected and blown up to 16mm.

London, England: London Film Festival
9pm, BFI Southbank, Belvedere Road, London, SE1 8XT

   WATER SPELL (Sandy Ding, USA 2007, 42 mins) A journey from realism to a
   supersensory realm, slipping under the surface and between molecules at
   a microscopic scale. Channeling the subconscious, Water Spell is both
   odyssey and invocation; a ritual of transformation and retinal blast.
   The film releases the energy locked within its frames through flickering
   pulsations of light. BLUE MONET (Carl E. Brown, Canada 2006, 56 mins)
   (double screen) Rarely shown in the UK, Carl Brown is a long-established
   film artist whose practice is dedicated to the modification of images by
   chemical means. Blue Monet is an homage to the French Impressionist, and
   an attempt to bring the Monet experience into the realm of cinema.
   Through the ebb and flow of intricate imagery, water lilies eternally
   blossom and fade with otherworldly grace. Brown has used his alchemical
   techniques to transfer Monet's sense of colour, light, sky and water
   onto film. Viewed in spacious double-screen and enhanced by swathes of
   sound, this film is an immersive experience.

Los Angeles, California: UCLA Film & Television Archive
7:30 p.m., Billy Wilder Theatre located at The Hammer Museum, 10899
Wilshire Blvd.

   MY BROTHER'S WEDDING (1983/2007) Pierce Mundy works at his parent's
   South Central dry cleaners with no prospects for the future and his
   childhood buddies in prison or dead. With his best friend just getting
   out of jail and his brother planning a wedding, Pierce navigates his
   conflicting obligations while trying to figure out what he really wants
   in life. QUIET AS KEEP (2007) Charles Burnett's recent short about
   Hurricane Katrina. KILLER OF SHEEP (1977) Now recognized as a landmark
   independent filmmaker, Charles Burnett shot his first feature on the
   streets of South Central Los Angeles in the early 1970s. Rather than
   sensationalizing its "inner-city" setting, the film provides and
   unforgettable vision of working-class life.

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

   BOO! Our annual Halloween horror show boasts the debut of a program
   curated and introduced by Noel Lawrence: Body-parts of cinema
   past—silents, grind-house, giallos, Hitchcock, and Karloff—are exhumed,
   disemboweled, then stitched back together into shockingly new creations
   of frightful power and monstrous beauty, through fiendishly clever
   montage and sinister sound design. Featuring Bill Morrison's Mesmerist
   (with music by Bill Frisell), Michelle Silva's Amor Peligrosa, Wago
   Krieder's Between 2 Deaths, J.X. Williams' Psych-Burn, a Damon Packard
   blow-out, and legions more. Arrive early for free blood-red mulled wine
   amidst the mournful dirges of Douglas Katelus. Come in costume for
   tricks and treats!


London, England: London Film Festival
9pm, BFI Southbank, Belvedere Road, London, SE1 8XT

   2006, 10 mins) 'Just barely a whisper. The minimum density, the
   slightest shape. A series of measurements, an equation for living. The
   edge of what matters, the contours of an idea. A selection of
   coordinates for finding one's way back.' SHADOW TRAP (Greg Pope,
   UK-Norway 2007, 8 mins) Shards of emulsion produced during an
   auto-destructive film performance have been layered and structured onto
   clear 35mm. Extending across the soundtrack area, the synaesthetic image
   creates an intense volley of sound and light. THE OBJECT WHICH THINKS
   US: OBJECT 1 (Samantha Rebello, UK 2007, 7 mins) Utilitarian objects,
   related to health and hygiene, rendered in unconventional ways. This
   unsettling film questions the way that we relate to our surroundings by
   exploring the 'radical otherness' of things. FUGITIVE L(I)GHT (Izabella
   Pruska-Oldenhof, Canada 2005, 9 mins) Adrift on the mists of time,
   archival images of Loïe Fuller's 'Serpentine Dance' shimmer forth and
   dissolve in folds of abstract colour. SICK SERENA AND DREGS AND WRECK
   AND WRECK (Emily Wardill, UK 2007, 10 mins) A farce of fractures: part
   study of allegorical stained glass windows, part fiction of disparate
   doppelgangers. VICTORY OVER THE SUN (Michael Robinson, USA 2007, 13
   mins) Viewed through science fiction or scientific innovation, the
   future is as far away now as it ever was. Sites of past World's Fairs
   witness battles between good and evil, the spirit world and the cold
   hard light of day. TODAY! (Jessie Stead, David Gatten, USA 2007, 11
   mins) 'Touch what you see when you find it or pick it up. Fall off
   tomorrow's promise, not injured and again. In the woods there is snow,
   in the water there is sugar, bodies are made of salt and (yesterday is

London, England: London Film Festival
12pm-7pm, BFI Southbank, Belvedere Road, London, SE1 8XT

   NOW WAIT FOR LAST YEAR (Rachel Reupke, UK-China 2007, 9 mins looped) In
   response to the rapid pace of property development in Beijing, Reupke
   references the visual style of architectural practice and corporate
   videos to present a sequence of fixed views of urban landscapes.
   Buildings which share the characteristics of both traditional and
   futuristic design are displayed, but all is not what it seems. Digital
   images cannot be trusted: these could be plans for future structures or
   computer-aided fantasy. [Free Admission]

London, England: London Film Festival
2pm, BFI Southbank, Belvedere Road, London, SE1 8XT

   THE IVALO RIVER DELTA (Patrick Beveridge, UK 2007, 17 mins) Shot within
   the Arctic Circle in northern Lapland, the film documents the landscape
   and lively night sky of an icy wilderness. The Aurora Borealis and other
   extraordinary phenomena are captured through long exposures and stunning
   time-lapse photography. AT SEA (Peter Hutton, USA 2007, 60 mins) Peter
   Hutton has modestly spoken of his work as being 'a little detour' from
   the history of cinema but perhaps he is following a path that others
   have neglected, or are yet to discover. Typified by fixed shots of
   extended duration, his concentrated gaze builds a bridge between early
   cinema, landscape painting and still photography, evoking Lumière,
   Turner and Stieglitz. Hutton's camera often records the subtle changes
   of light and atmospheric conditions of rural and urban locations, and
   has frequently been directed toward nautical themes. This new film is
   essentially about the birth, life and death of large merchant ships.
   Following the construction of the vessels in South Korea and the passage
   of a massive container ship across the North Atlantic, it ends with
   images of shipbreaking in Bangladesh. At Sea is a real tour-de-force, in
   which the weight and scale of its subject is conveyed by masterful
   cinematography over a series of breathtaking compositions.

London, England: London Film Festival
4pm, BFI Southbank, Belvedere Road, London, SE1 8XT

   DISCOVERIES ON THE FOREST FLOOR 1-3 (Charlotte Pryce, USA 2007, 4 mins)
   'Three miniature, illuminated, hagiographic studies of plants observed
   and imagined, hand-processed and optically printed.' THE SKY WALKS ME
   HOME Allen D. Glass II, USA-China 2005, 24 mins) A journey through
   China, visiting northern provinces, Inner Mongolia, Tibet and Beijing.
   The filmmaker travelled alone, photographing the landscape and
   inhabitants of this extraordinary region with a keen and compassionate
   eye. THE CROSSING (Timoleon Wilkins, USA 2007, 6 mins) Crowns of light
   and subtle gradations of colour are refracted through extreme close-ups
   of natural phenomena. Moments of sentience, an elevation of
   consciousness. THE BREATH (Minyong Jang, Korea 2007, 10 mins) 'A
   respiratory exchange between me and a bamboo forest.' PITCHER OF COLORED
   LIGHT (Robert Beavers, USA 2007, 24 mins) Following the completion of
   his 17-film cycle 'My Hand Outstretched', Beavers travelled to New
   England to photograph the solitude of his mother's house. Employing a
   more intimate approach to filming, he created this tender portrait which
   contrasts a dark interior with the vibrancy of an abundant garden. As
   seasons pass, the camera searches through shadows, conveying the slowed
   pace of life in old age.

London, England: London Film Festival
7pm, BFI Southbank, Belvedere Road, London, SE1 8XT

   mins) For one week in November 2005, Yugoslavian artist Marina Abramovic
   gave seven consecutive performances in the rotunda of the Guggenheim
   Museum in New York City, presenting her own works alongside
   interpretations of what are now regarded as seminal performance pieces
   by artists such as Joseph Beuys and Bruce Nauman. Actions that were once
   performed to select audiences in studios or small galleries were
   transformed into public spectacle. The artist's own 'Lips of Thomas' is
   an intense ritual that repeatedly subjects the body to physical pain,
   being clearly related to her country's war torn past. Other
   uncompromising works address sexuality (Vito Acconci, 'Seedbed'),
   confrontation (Valie Export, 'Genital Panic') and suffering (Gina Pane,
   'The Conditioning'). The performances, executed with extraordinary
   discipline and composure, test the thresholds of endurance and
   determination. Babette Mangolte's mesmerising document of this event
   condenses the entire series into 90 minutes. The camera, cool and
   detached, rarely strays from the artists' body, detailing mental and
   physical tension with the sharp clarity of high definition video. Live
   art, best experienced in the moment, has rarely been captured with such

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

   The Los Angeles stop for this traveling program of masterful
   experimental animation from the pioneering Lye (1901-1980), organized by
   New Zealand Film Archive and The Len Lye Foundation. Films include
   Tusalava (1929), A Colour Box (1935), Rainbow Dance (1936), Swinging the
   Lambeth Walk (1939), Tal Farlow (1950s), Rhythm (1957), Free Radicals
   (1958/1979) and more! General admission $9, students/seniors $6, free
   for Filmforum members, cash and check only.

Los Angeles, California: UCLA Film & Television Archive
7:00 p.m., Billy Wilder Theatre located at The Hammer Museum, 10899
Wilshire Blvd.

   GOSPEL ACCORDING TO HARRY (USA, 1992) Starring Viggo Mortensen before he
   became famous, this maverick allegory takes place, according to
   Majewski, when "the Pacific has dried up and California has become a
   desert. A couple try to make the best of it but life is hard; even sex
   hurts. The only person who enjoys himself is Harry, the Tax collector."

New York, New York: Anthology Film Archives
4:30, 32 Second Avenue (at Second Street)

   Dir: Stan Brakhage.

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