Part 2 of 2: This week [November 3 - 11, 2007] in avant garde cinema

From: Weekly Listing (email suppressed)
Date: Sat Nov 03 2007 - 10:54:50 PDT

Part 2 of 2: This week [November 3 - 11, 2007] in avant garde cinema


Columbus, Ohio: Wexner Center for the Arts
7 PM, 1871 N. High St.

  Brooklyn-based Bruce McClure makes his first Columbus appearance with
  one of his in-demand projection performances. McClure loads custom-made
  film loops into three specially modified 16mm projectors and then hooks
  the projectors up to guitar-effect pedals, using the projectors and
  their beams of light as a densely modulating instrument. The result is a
  unique film that exists only during the moment of projection, and an
  experience that's impossible to record or describe. The throbbing
  visuals (which have been compared to the paintings of Mark Rothko, the
  films of Paul Sharits, and the motion optics of rotoreliefs) combine
  with the dense soundscape of visceral, modulating beats to build a
  transporting sensation of existing outside of time and space. Screening:
  Rack & Slide, Nethergate, Unnamed Compliment (program app. 100 mins.,
  [modified] 16mm)

London, England: BFI Southbank
8:40pm, Belvedere Road, London, SE1 8XT

  Moving from ocean to sky and back to the land, these six films respond
  to nature in less programmatic ways. Peter Hutton's camera explores the
  coastal landscape and swirling waters of the Irish West Coast, whilst
  David Gatten immerses raw film stock in seawater, allowing the ocean to
  inscribe its presence in constantly shifting abstract patterns. Three
  films use time-lapse and long exposure to reveal the celestial mysteries
  of night-time, and the final work gently lifts us from our reverie with
  an ecological warning. LOOKING AT THE SEA (Peter Hutton, 2001, 15 mins)
  WHAT THE WATER SAID 4-6 (David Gatten, 2006, 17 mins) LAKE (Lucy
  Reynolds, 2007, 12 mins) REDSHIFT (Emily Richardson, 2001, 4 mins)
  OBSERVANDO EL CIELO (Jeanne Liotta, 2007, 17 mins) YOU DON'T BRING ME
  FLOWERS (Michael Robinson, 2005, 8 mins)

Los Angeles, California: Los Angeles County Museum of Art
7:30 pm, 5905 Wilshire Boulevard

  7:30 PM The Birth of Poetic Cinema: The Blood of a Poet (1930/b&w/50
  min. | Scr/dir: Jean Cocteau; w/ Lee Miller, Enrique Rivero); Les
  Mystères du château de Dé (1929/b&w/20 min. | Scr/dir: Man Ray). In The
  Blood of a Poet, Cocteau follows a young artist as he plunges into the
  blackness of a mirror and drifts through a sublime realm of visions and
  dreams populated with sphinxes, angels and living statues (among them
  Lee Miller, Man Ray's lover and collaborator). In Man Ray's last film, a
  strange group of visitors, faces obscured by shrouds, go about fanciful
  games and movements in and around the striking modernist villa (designed
  by Robert Mallet-Stevens) belonging to the Vicomte de Noailles, who also
  commissioned both Cocteau's film and L'Âge d'or. 9:20 pm Trance Films:
  Meshes of the Afternoon (1943/b&w//18 min | Scr/dir: Maya Deren,
  Alexander Hammid); At Land (1944/b&w/14 min. | Scr/dir: Maya Deren); Du
  sang, de la volupté et de la mort (1947-48/color/70 min./three parts:
  Psyche, Lysis, Charmides | Scr/dir: Gregory J. Markopoulos). European
  surrealism hit American screens with the development of the trance film.
  Described as works of "visionary experience" by scholar P. Adams Sitney,
  they feature "somnambulists, priests, initiates of rituals, and the
  possessed" as protagonists "wandering through a potent environment
  toward a climactic scene of self-realization." In Meshes of the
  Afternoon and At Land, Maya Deren infuses this model with psychodrama
  and mystery. Begun in Los Angeles while he was a student at USC and
  completed in his hometown of Toledo, Ohio, Gregory J. Markopoulos' Du
  sang, de la volupté et de la mort is inspired by an unfinished Pierre
  Louys novella and Platonic dialogues. "His shimmering, complex films,
  with their elusive themes of memory, desire, and creativity...were once
  compared to the works of Joyce, Proust, and Eisenstein." - Kristin M.
  Jones, Artforum.

New York, New York: Anthology Film Archives
8:00pm, Anthology Film Archives, 32 Second Avenue

  aren Treanor MUSLIM QUARTER (6 minutes) PATIO (5 minutes) DIM SUM (6
  minutes) Jim Jennings SILK TIES (2006, 9.5 minutes, 16mm, silent) "Jim
  Jennings's SILK TIES renders a sumptuously black-and-white New York
  City, owing to the photographic tradition of William Klein and Robert
  Frank." –Andrea Picard, TORONTO FILM FESTIVAL Plus, a selection of new
  work! Vincent Grenier TABULA RASA (1993-2004, 7.5 minutes, 16mm to
  mini-DV, color, sound) Camera, production and editing by Vincent
  Grenier. Additional camera by Bill Rowley. Sound recording by Joel
  Schlemowitz. Filmed in a South Bronx high school, TABULA RASA attempts
  through sound-image juxtapositions, digital manipulation and layering to
  deal at once with the propensity to mislead and the eloquence of the
  recorded image. NORTH SOUTHERNLY (2005, 6 minutes, video) Stereo?sound:
  edited fragments from John Cage's CREDO IN US, performed by Markus Hauke
  & Mainz Percussion Ensemble. Changes of directions, in the wind, the
  edges, the shapes, a joyous and mesmerizing intrigue. THIS, AND THIS
  (2006, 10.5 minutes, video) THIS, AND THIS is digital immediacy and
  splendor wherein images of nature cannot be merely innocent. Plus, a
  possible new piece! Upcoming Showings: Friday Nov 9 8:00 PM

New York, New York: Anthology Film Archives
8 pm, Anthology Film Archives

  New and recent works by Jim Jennings, Karen Treanor and Vincent Grenier

San Francisco, California: Artists Television Access
8:00 pm, 992 Valencia Street (at 21st)

  ALTERNATIVES OF ALTERNATIVES Co-presented by Artists' Television Access,
  Arthur Magazine, and Saturnalia. *with artists Ira Cohen and Andrew
  Wilson in attendance* Alternatives of Alternatives introduces film and
  video works that focus on "alternative" lifestyles or subcultures (new
  age gnostics, new media-art zealots, cryptozoologists, revolutionary
  theatre collectives) with critical eyes and ears, presented in an
  "alternative" cinematic structure. One purpose of the screening is to
  investigate the way "alternative" forces arrange and define themselves
  in our world, another is to present works in which form meets content in
  a synthesis beyond the industry standard for documentary. PARADISE NOW:
  The Living Theatre in Amerika (1969) a film by Marty Topp, produced by
  Ira Cohen for Universal Mutant. In 1968 The Living Theatre, led by
  Julian Beck and Judith Malina, triumphantly returned to America from
  years of self-imposed exile in Europe with their theatrical breakthrough
  Paradise Now. The play introduces the practice of collective creation,
  dissolving the boundaries of human interactions and forging a harmony
  between the actors and audience. Of this process, Julian Beck writes,
  "Collective creation is the secret weapon of the people... This play is
  a voyage from the many to the one and from the one to the many. It's a
  spiritual voyage and a political voyage, a voyage for the actors and the
  spectators. The play is a vertical ascent toward permanent revolution,
  leading to revolutionary action here and now. The revolution of which
  the play speaks is the beautiful, non-violent, anarchist revolution. The
  purpose of the play is to lead to a state of being in which non-violent
  revolutionary action is possible." The result of this shared voyage is
  the spontaneous creation of a temporary anarchist collective- free from
  the enslavements of war, violence, the State, money and the self. FOLK /
  TAX (2007) a video by Andrew Wilson - 32 min. The purpose of this video
  was to engage in the creative production of a map in order to understand
  and then expose the ways in which certain New Age Gnostic
  entrepreneurial forces arrange themselves in our world. The
  classificatory system produced for this semiotic regime is esoteric in
  its nature, as the classifications arose from the gradual analysis of
  the content. Concepts are organized to call attention to specific
  information, while the work also serves to blur the conventional
  distinction between a folk taxonomy and a scientific/academic taxonomy.
  Blobsquatch: In the Expanded Field (2007) a video by Carl Diehl - 11
  min. 30 sec. Cryptozoology, a field known for its inquiries into unknown
  creatures like the Bigfoot and Lock Ness Monster, constitutes a
  challenge to exclusive hierarchies of knowledge and established
  scientific authority by presenting alternative theories and new
  taxonomic models. While many Bigfoot aficionados have dismissed
  Blobsquatches (photos too blurry to be discernible as Sasquatches) as
  impediments to serious cryptozoological research, this densely packed
  document speculates on another understanding of the blobsquatch. Under
  the panopticonfident gaze of a Google-crazed world, the Blobsquatch
  personifies noise, is a provocative counter-sight to the over-exposed
  Sasquatch, and simultaneously challenges and perpetuates alternative
  thought processes.

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

  "Calling Betty Page: Surveying Sex in Cinema" With Portland Curator Ian
  Sundahl in Person! Sex is where you find it and Portland archivist and
  collector Ian Sundahl has excavated hundreds of reels of it-on film. On
  Friday, November 9, 2007 at 8:30PM Oddball Films Presents "Calling Betty
  Page: Surveying Sex in Cinema", Sundahl's intriguing program focusing on
  the historically offbeat gems from his personal collection of "non
  commercial" erotic films. Found in dumpsters, basements and purchased at
  garage sales and on ebay over a 15 year period these forgotten fragments
  comprise a unique inventory of one-of-a-kind underground erotica.
  Program highlights feature rare films of the legendary "Tease From
  Tennessee" Betty Page, the infamous 60's topless stripper and star of
  San Francisco's Condor Club Carol Doda and the San Francisco premiere of
  Sundahl's own 2006 film "Bump and Grind" starring girls, snakes and cult
  film director George Kuchar. Admission is $10.00. Limited Seating. RSVP
  Only. Also Featuring! Naughty, Haughty Home Movies (1940's, Color) Watch
  this rich (and not so famous) couple parade around in their pajamas.
  Witness wifey as she poses topless in furs, lingerie and swimsuits at
  the beach and at their lavish home. Shot in eye-popping Kodachrome! Oh
  you Beautiful Doll (1960, B+W) A truly bizarre amateur underground
  erotic film, directed by "unknown." This garage sale find was originally
  shot and produced on Super 8mm and later blown up to 16mm. "Doll"
  features complex stop motion animation, gender bending drag queens and a
  appearance by "paper doll" dictator Adolf Hitler. The Magician's
  Assistant (1950's, B+W) What happens when a cute girl gets a magic book
  in the mail? Find out with this fun early 50's nudie cutie. The Wank
  (2005, B+W) Painstakingly created over the course of months, filmmaker
  Jorge Lorenzo's one-minute-long " Wank" packs a "dildo inspired",
  scratch animated visual punch. The Bet (1970's, Color) Big busted Candy
  Samples stars in this early 70's Grindhouse trailer. Plus! "How to See a
  French Doctor", "Captain Mom", "Merry XXXMiss", "Voyeur at the Window"
  and much, much more! All films screened in glorious 16mm film! About
  Curator Ian Sundahl Film archivist/artist Ian Sundahl has been
  collecting and compiling offbeat and bizarre films for over 15 years. A
  recent SFAI MFA grad, Sundahl acted as archivist for the documentary
  "American Stag" and has been entertaining audiences with unusual film
  shows in Portland, Oregon for the past several years.

Toronto, Ontario, Canada: Cinematheque Ontario
9:30 p.m., Jackman Hall - 317 Dundas Street West (use east entrance at McCaul Street)

  ACÉPHALE Director: Patrick Deval (France, 1968, 65 minutes). "Traveling
  backward on the world ending. French heads exit their corpses, twirling
  thick and dry" (Patrick Deval). Patrick Deval's debut film takes its
  name from Surrealist provocateur George Bataille's journal, ACÉPHAL, and
  rallies with like-minded fervency. Its title a double entendre –
  literally, a headless man; figuratively, expressing the need to
  transcend rational ways of thinking – ACÉPHALE begins with a dizzying
  three-hundred-and-sixty-degree panoramic shot of painter Jacques
  Monory's head being shaved. The off-screen sound is that of an electric
  saw, invoking the Surrealist juxtapositions of Buñuel and Dali. Its
  radical call for a cinematic tabula rasa is abetted by a cast of
  non-professional actors whose showy demonstrations are steeped in the
  rebellious post-'68 spirit. Displaying wild contempt for narrative
  conventions, Laurent Condominas proclaims: "I cannot stand the facility
  of fiction. I demand reality. I am going mad." One of the film's most
  telling lines is spoken by Jackie Raynal, as she announces: "Europe for
  us has become a blank page." Preceded by: NEW 35MM PRINT! VITE Director:
  Daniel Pommereulle (France, 1969, 37 minutes). "To be a dandy, one must
  approach death" (Daniel Pommereulle). Despite its short run-time, VITE
  was one of the Zanzibar's most expensive border-crossing productions.
  Half of the film takes place in Morocco where Pommereulle and a young
  Arab man spit on the Western world's unlawful hegemony. Sweeping desert
  landscapes are juxtaposed with ethnographic images of the moon taken by
  the Questar, a fancy telescope that Pommereulle encountered while
  visiting Marlon Brando in Los Angeles. The lunar images were
  subsequently used in a few French films, including Bresson's L'ARGENT.
  VITE takes up Pommereulle's dandy diatribe, begun in Godard's WEEK-END
  and Rohmer's LA COLLECTIONNEUSE. Friday, November 9 9:30 p.m. For more
  information visit:


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

  In conjunction with the Dead Flowers gallery exhibition at Eyedrum, a
  program of films on gardens, loss, and the passage of time. Curated by
  Andy Ditzler for Frequent Small Meals. ** Films: Marjorie Keller, The
  Answering Furrow (1985), 16mm, color, sound, 27 minutes ** Anne
  Charlotte Robertson, Emily Died (1994), super-8mm, color, sound, 26
  minutes (screened on VHS) ** The Answering Furrow: Owing to Virgil's
  Georgics. Music: Charles Ives. Filmed in Yorktown Heights, New York; St.
  Remy en Provence, France; Mantua, Rome and Brindisi, Italy; and in
  Arcadia and the island of Kea in Greece. ** Emily Died: Since the early
  1980s, Anne Charlotte Robertson has been making an epic diary work on
  super-8 film. Emily Died is an excerpt from this work, detailing the
  events of May to September 1994, as Robertson comes to terms with a
  death in her family and the surrounding difficulties. This screening
  represents a rare opportunity to see Robertson's brave, highly personal
  film work. ** The Film Love series provides access to great but
  rarely-screened films, and promotes awareness of the rich history of
  experimental and avant-garde filmmaking. Film Love was voted Best Film
  Series in Atlanta 2006 by the critics of Creative Loafing. More
  information about the series is at

London, England: BFI Southbank
8:40pm, Belvedere Road, London, SE1 8XT

  Technological systems create, fragment and transform landscapes: a long
  video monitor stream, digitally mutated coastlines and strange urban
  microclimates introduce fascinating artificial worlds, blurring the
  boundaries between natural and constructed landscapes. Starting with
  documentation of Chris Meigh-Andrews' video installation Stream Line and
  passing through a variety of spellbinding single-screen film and video
  environments, the programme also incorporates a presentation of Susan
  Collins' most recent internet transmitted, real-time reconstruction of
  Loch Faskally in Perthshire. STREAM LINE (Documentation) (Chris
  Meigh-Andrews, 1991, 6 mins) BIT-SCAPES 135.1_08 (Davide Quagliola &
  Chiara Horn, 2006, 3 mins) THE SOUND OF MICROCLIMATES (Semiconductor,
  2004, 8 mins) SUBURBS OF THE VOID (Thomas Köner, 2004, 14 mins) TRAIN
  NO. 8 (Daniel Crooks,2005, 6 mins) BIT-SCAPES 135.2_03 (Davide Quagliola
  & Chiara Horn, 2006, 3 mins) UNTITLED (Rachel Reupke, 2006, 2 x 90 secs)
  VOILIERS ET COQUELICOTS (Rose Lowder, 2002, 3 mins) BIT-SCAPES 135.7_13
  (Davide Quagliola & Chiara Horn, 2006, 3 mins) AS WE ALL KNOW (Alix
  Poscharsky, 2006, 3 mins) GLENLANDIA (Susan Collins, 2006, continuous)

Los Angeles, California: Los Angeles County Museum of Art
7:30 pm, 5905 Wilshire Boulevard

  7:30 PM The Magik Lantern: Harry Smith 1957-62/b&w/66 min. | Scr/dir:
  Harry Smith | Newly preserved with support from the National Film
  Preservation Foundation. Preservation work by Cineric, Inc. The Harry
  Smith Archives will present a live performance of the newly restored
  version of Harry Smith's film Heaven and Earth Magic with specially
  designed slides, colored gels and maskings. A collage film of animated
  segments created from antique catalogues and elocution manuals, Smith
  showed the film with its special projection set-up only once, in the
  late 1950s at Carnegie Hall, New York City on a specially built
  projector. This show involved the use of colored gels and slide overlays
  to create a vividly colored presentation that had the strong feel of a
  magic lantern show with an animated shadow play at its center. It is
  characteristic of Smith to have created this antiquated form of color
  presentation, very much akin to the tinting and toning of silent films,
  rather than naturalistic color. With the slides and gels, Heaven and
  Earth Magic regains its aboriginal character as an alchemical séance.
  This reconstructed version gives a depth and vitality to the film that
  has not been experienced for thirty years. 9:20 PM The Magik Lantern:
  Joseph Cornell and Larry Jordan Rose Hobart (1936/b&w/17 min. | Scr/dir:
  Joseph Cornell) The Children's Trilogy: Cotillion/The Midnight
  Party/Children's Party (1940s/b&w and color/25 min. | Scr/dir: Joseph
  Cornell) Duo Concertantes (1964/b&w/9 min. | Scr/dir. Larry Jordan)
  Hamfat Asar (1965/b&w/15 min | Scr/dir: Larry Jordan) Our Lady of the
  Sphere (1969/color/10 min. | Scr/dir: Larry Jordan) Joseph Cornell's
  Rose Hobart, arguably the earliest found-footage film, transforms the
  1931 B-picture East of Borneo - the story of a woman in pursuit of her
  missing husband through a tropical jungle - into a mystical collage
  blasted by Dalí upon its New York premiere. Dalí allegedly accused
  Cornell of stealing the film from Dalí's own subconscious. Before he
  died, Cornell handed over six unfinished films to Larry Jordan for
  completion. Among them was The Children's Trilogy (Cotillion, The
  Midnight Party and The Children's Party), described as "a hilarious and
  touching tribute to the ecstasy of childhood - and childlike - make
  believe," by Michael Joshua Rowin in Reverse Shot. In his own work,
  Jordan creates transportive fantasies by animating Victorian engravings.
  Duo Concertantes, Hamfat Asar and Our Lady of the Sphere date from "the
  climax of Jordan's exquisite space and time where reverie
  and dream meet, delicately poised between nostalgia and terror," per P.
  Adams Sitney

New York, New York: Millennium Film Workshop
8PM, 66 East 4th Street

  Joel Schlemowitz - New Experimental Films and DVD Release Party 8PM -
  Saturday, November 10, 2007 Millennium Film Workshop 66 East 4th Street
  New York City New York City
  filmmaker, Joel Schlemowitz had his first one-person show at the
  Millennium ten years ago. He returns with a wide-ranging program of new
  and old films, multi-projection works, film loops, 35mm slides. There
  are several premieres including SILO, a single camera roll shot in time
  lapse, documenting the final night of Issue Project Room at their former
  space inside a converted silo on the Gowanus Canal. Also premiering are
  THE GLOWING WOMAN and MORNING POEM #43, poem films inspired by the
  writings of Wanda Phipps. The poem films are made with low-tech contact
  printing techniques, with raw color film stock exposed in the dark using
  a flashlight and color filters. Other works showing, include FOREST AT
  NIGHT, a double projection piece with music by Rebecca Moore, and THE
  DREAM KING, A TABLEAUX FOR MAGIC LANTERN, a multi-projection piece with
  16mm film loops, 35mm slides, magic lantern, and Victrola sound track. A
  DVD set of 45 experimental films by the filmmaker will be available at a
  discounted price for this special screening. Joel Schlemowitz teaches at
  the New School and has had two previous one-person shows at the
  Millennium. ***Reception to follow with DJ Eros on the Victrola***

New York, New York: Anthology Film Archives
6:00pm, Anthology Film Archives, 32 Second Avenue

  STAN BRAKHAGE -EYES (1970, silent, 35 minutes), DEUS EX (1971, silent,
  34 minutes) -THE ACT OF SEEING WITH ONE'S OWN EYES (1971, silent, 32
  minutes). The "Pittsburgh Documents" about the police, open-heart
  surgery, and the morgue. The films were made with the active assistance
  of Sally Dixon (provided funding and introductions) and photographer
  Mike Chikiris (introductions and transportation). The decade of the
  1970s was a pivotal one for the growth of avantgarde cinema in the
  United States. In the 1940s, 50s, and especially the 60s, generations of
  personal, experimental filmmakers had emerged largely in New York City,
  Los Angeles, and in the San Francisco Bay Area. The films that they
  made, however, were only rarely seen outside Manhattan and San
  Francisco. This changed dramatically in 1970 and 1971 with the
  unorganized, nearly simultaneous appearance of museum exhibition
  programs, community film workshops, and university-related screenings in
  many cities between the Atlantic and Pacific coasts. Pittsburgh was one
  of the earliest cities to devote substantial resources to screening,
  making, discussing, and supporting the making of avantgarde cinema.
  Indeed, in the 1970s Pittsburgh became the "third center" of avantgarde
  film in America. Starting in 1970, the Film Section of the Museum of Art
  of Carnegie Institute presented ten to fifteen in-person programs with
  the filmmakers each year, in addition to scores of supporting
  screenings, lectures, and the sponsoring of a filmmaking organization –
  Pittsburgh Film-Makers – which soon became an autonomous partner in
  making Pittsburgh a magnet for film artists. Upcoming Showings: Saturday
  Nov 10 6:00 PM

New York, New York: Anthology Film Archives
8:00pm, Anthology Film Archives, 32 Second Avenue

  artist/filmmaker Kirt Markle and his collaborator, Rosebud Pettet. These
  films have been described as "reminiscent of the later work of Harry
  Smith." Rosebud, Smith's close companion for 27 years, says, "Harry
  would have loved these." WORLD'S FAIR (2007, 3.5 minutes) Manipulation
  of long-lost footage – time travel back to the 1964 New York World's
  Fair! 12 FLOWERS (2007, 3.5 minutes) Laboriously created from 12 single
  frames. LOWER EAST SIDE (2007, 7.5 minutes) A heart-pounding roller
  coaster ride through the lost Lower East Side. MY WORLD (2007, 5.5
  minutes) A painting in light. NEW YORK #1 (2007, 10.5 minutes)
  Hallucinatory visions of New York City, as seen through a Hell's Kitchen
  window. GIRL U WANT (2007, 4.5 minutes) Naughty girls act up! ANIMATION
  #7 (2007, 3 minutes) A hypnotic, kaleidoscopic visual carnival. THREE
  (2007, 5.5 minutes) Dreamlike meditation on the city as circus,
  zoological garden and Masonic temple. TIBETAN FESTIVAL (2007, 9 minutes)
  A celebration of old and new Tibet in Battery Park, 2001. CONEY ISLAND
  #1 (2007, 11.5 minutes) Step right up, folks! A dizzying dreamscape of
  the Mermaid Parade! Plus, a couple surprises! Total running time: ca. 75
  minutes. Upcoming Showings: Saturday Nov 10 8:00 PM

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

  Attendant upon the release of Process Media's fascinating volume on the
  storied SoCal commune, The Source: The Untold Story of Father Yod, Ya Ho
  Wa 13 and The Source Family, we welcome authors Isis Aquarian and
  Electricity Aquarian, editor Jodi Wille, and ex-members of that Family
  in the flesh! The group grounds a 2 hr. audio-visual survey of the life
  and times of this seminal '60s/'70s countercultural force in Los Angeles
  spirituality, music, and lifestyle (their famous restaurant The Source).
  Literally hundreds of slides, several family home movies and 70s cable
  access video clips, and numerous Ya Ho Wa 13 musical selections serve as
  springboards for anecdotes, discussion, and Q&A. OC fave Erik Davis, who
  wrote the book's introduction, opens the show with prefatory remarks,
  framing the cult's activity within his Visionary State cosmology. *$7.77

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

  Twin beacons of local enlightenment, Rick and Megan Shaw Prelinger
  propose a new model for understanding the importance of grassroots
  collecting and conserving in their multimedia performative essay.
  Through evocative photos, smart text-graphics, and an intricate
  double-helix spoken-word duet, the pair advances an urgent argument at
  this crucial juncture between analog and digital modes. ALSO advocating
  for a vernacular cultural stewardship, Stephen Parr of the SF Media
  Archive tips his hat to Raleigh's A/V Geeks and Pittsburgh's Orgone
  Archives in sharing a couple of clips from the new Home Movie Day album,
  consummated by the 1961 San Francisco in Cinemascope. PLUS Sarah
  Christman's Dear Bill Gates, Scott Calonico's Mondo Intro (exc.), and a
  section from Prelinger's Panorama Ephemera, re-tracked by Gino Robair.
  Bring in your old books for pre-show potlatch, and expect to take some
  "new" old ones home with you!

Seattle, Washington: Northwest Film Forum
7pm, 1515 12th Ave

  32 min) CHARMING AUGUSTINE (USA, 16mm, 40 min) These films explore the
  prehistory of cinema, not simply from the point of view of technology,
  but from a psychic perspective, how the projection of images grew out of
  the desire to manifest the unconscious. SHADOW LAND OR LIGHT FROM THE
  OTHER SIDE is based on the 1897 autobiography of Elizabeth d'Esperance,
  an English medium who could conjure up full body apparitions. CHARMING
  AUGUSTINE is inspired by series of photographs and texts on hysteria
  published by the great insane asylum in Paris in the 1880s under the
  title of the "Iconographie Photographique de la Salpetriere." "To
  conjure up a time just prior to the invention of cinema I shot the films
  in a stereoscopic format to suggest a different direction that cinema
  might have taken. Ultimately what I wish to convey is a fragile,
  spectral, what if a moment in time when the moving image was on the
  brink of existence in a form not yet standardized."-Zoe Beloff

Toronto, Ontario, Canada: Cinematheque Ontario
7:30 p.m., Jackman Hall - 317 Dundas Street West (use east entrance at McCaul Street)

  ICI ET MAINTENANT Director: Serge Bard (France, 1968, 90 minutes). "I
  had the idea to call my film ICI ET MAINTENANT, because the cinema is
  exactly the contrary of the here and now. The cinema is always elsewhere
  and before…It seemed important to rediscover the magic of the present,
  that is the here and now. I wanted the spectator during the film to
  return to himself and thus not to participate in the usual process of
  identification where he is able to escape from himself" (Serge Bard).
  Emblematic of the Zanzibar movement's youthful, revolutionary zeal, the
  title of Bard's film ICI ET MAINTENANT is a "seize the day" clarion
  call, fitting for a generation who sought to change the world. Shot in
  Brittany, with Caroline de Bendern and Olivier Mosset who were lovers at
  the time, and no script, the film took as its subject the idea of
  "contestation." With its loose, radicalized narrative, and
  hyper-aestheticized flamboyance, ICI ET MAINTENANT depicts a series of
  symbolic attacks against society and an atomic factory threatened by
  sketchy characters. This was the final film Bard made before decamping
  for Africa and clandestinely converting to Islam, expeditiously sending
  his film crew, many of whom had worked on ICI ET MAINTENANT, back to
  Paris, bewildered. Saturday, November 10 7:30 p.m. For more information

Toronto, Ontario, Canada: Cinematheque Ontario
9:15 p.m., Jackman Hall - 317 Dundas Street West (use east entrance at McCaul Street)

  Philippe Garrel (France, 1968, 114 minutes). A major rediscovery at this
  year's Berlin film festival, LE LIT DE LA VIERGE is Philippe Garrel's
  haunting and hallucinatory fifth feature film, made when he was just
  twenty-one years old. A minimalist-psychedelic retelling of the Christ
  story shot in Brittany, Morocco, and Rome in black-and-white Scope, with
  bleached-out mise en scènes, bewildering but also bewitching ritualistic
  exchanges, entropic dialogue, and LSD-fueled performances, the film
  feels like a modern miracle. The rawness of Pierre Clémenti's depiction
  of the reluctant Christ figure is unnerving, even to non-believers.
  VIERGE was edited by Françoise Colin, who worked on Godard's
  frenetically-paced PIERROT LE FOU; she admitted she had very little to
  do on the two-hour film as it consists of a mere thirty shots. Summed up
  by Garrel: "I believe my point of view on the Christian myth is quite
  clear in LE LIT DE LA VIERGE . . . It is a non-violent parable in which
  Zouzou incarnates both Mary and Mary Magdalene while Pierre Clémenti
  incarnates a discouraged Christ who throws down his arms in face of
  world cruelty. In spite of its allegorical nature, the film contains a
  denunciation of the police repression of 1968, which was generally well
  understood by viewers at the time." Features music by Nico, Garrel's
  muse, and his Zanzibar band, Les Jeunes rebelles. Saturday, November 10
  9:15 p.m. for more information visit:


London, England: National Maritime Museum
12pm, Park Row, Greenwich, London, SE10 9NF

  A screening, over two consecutive Sundays, of Hollis Frampton's
  monumental film sequence Magellan, which uses Fernand Magellan's
  circumnavigatory voyage as a metaphor for a meditation on the history
  and language of cinema, and the phenomena of perception. The schedule of
  4 x 2-hour programmes, structured by Michael Zryd (who will introduce
  the first programme), is based on the 1978 version of Frampton's
  "Magellan Calendar" and the last work-in-progress screenings presented
  by the artist at the Whitney Museum of American Art (New York) in
  January 1980.

London, England: National Maritime Museum
3pm, Park Row, Greenwich, London, SE10 9NF

  A screening, over two consecutive Sundays, of Hollis Frampton's
  monumental film sequence Magellan, which uses Fernand Magellan's
  circumnavigatory voyage as a metaphor for a meditation on the history
  and language of cinema, and the phenomena of perception. "A series of
  shaped observations that include portraits, cadaver footage, re-stagings
  of Lumière films, visits to slaughterhouses, double exposures, a field
  of peaceful dairy cattle, allusions to Muybridge, electronic imagery,
  industrial pictures, a state fair – a kind of capsule version of the
  twentieth century that might have been placed on the Voyager spacecraft
  as it soared out of the solar system to worlds unknown." (Robert Haller,
  Anthology Film Archives, New York)

New York, New York: Anthology Film Archives
5:30pm, Anthology Film Archives, 32 Second Avenue

  Stan Brakhage EYES 1970, 36 minutes, 16mm, silent. Preserved by
  Anthology Film Archives. "After wishing for years to be
  given-the-opportunity of filming some of the more 'mystical' occupations
  of our Times – some of the more obscure Public Figures which the average
  imagination turns into 'bogeymen'? viz.: Policemen, Doctors, Soldiers,
  Politicians, etc.: – I was at last permitted to ride in a Pittsburgh
  police car, camera in hand, the final several days of September 1970 –
  this opportunity largely due to the efforts of a Pittsburgh newspaper
  photographer, Mike Chikiris – who was sympathetic to my film show at The
  Carnegie Institute and responded to my wish as stated on that occasion –
  therefore pleaded my 'cause' eloquently with Police Inspectors of his
  acquaintance: my thanks to him, to Sally Dixon of The Carnegie Institute
  and to the Policemen who created the situation that made this film
  possible." –S.B. DEUS EX 1971, 34 minutes, 16mm, silent. Preserved by
  Anthology Film Archives. "I have been many times very ill in hospitals;
  and I drew on all that experience while making DEUS EX in West Penn.
  Hospital of Pittsburgh; but I was especially inspired by the memory of
  one incident in an emergency room of San Francisco's Mission District:
  while waiting for medical help, I had held myself together by reading an
  April-May 1965 issue of 'Poetry Magazine': and the following lines from
  Charles Olson's 'Cole's Island' had especially centered the experience,
  'touchstone' of DEUS EX, for me: Charles begins the poem with the
  statement 'I met Death –' And then: 'He didn't bother me, or say
  anything. Which is / not surprising, a person might not, in the
  circumstances; / or at most a nod or something. Or they would. But they
  wouldn't, / or you wouldn't think to either, / it was Death. And / He
  certainly was, the moment I saw him.' The film begins with this sense of
  such an experience and goes on to envision the whole battle of hospital
  on these grounds, thru to heart surgery seen as equivalent to Aztec
  ritual sacrifice? the lengths men go to avoid so simple and straight a
  relationship with Death as Charles Olson managed on/in 'Cole's Island.'"
  –S.B. THE ACT OF SEEING WITH ONE'S OWN EYES 1971, 32 minutes, 16mm,
  silent. Preserved by Anthology Film Archives. "Stan Brakhage, entering,
  with his camera, one of the forbidden, terrific locations of our
  culture, the autopsy room. It is a place wherein, inversely, life is
  cherished, for it exists to affirm that no one of us may die without our
  knowing exactly why. All of us, in the person of the coroner, must see
  that, for ourselves, with our own eyes. It is a room full of appalling
  particular intimacies, the last ditch of individuation. Here our vague
  nightmare of mortality acquires the names and faces of others. This last
  is a process that requires a witness; and what 'idea' may finally have
  inserted itself into the sensible world we can still scarcely guess, for
  the camera would seem to be the perfect Eidetic Witness, staring with
  perfect compassion where we can scarcely bear to glance." –Hollis
  Frampton Total running time: ca. 105 minutes. Upcoming Showings: Sunday
  Nov 11 5:30 PM

New York, New York: Anthology Film Archives
8:00pm, Anthology Film Archives, 32 Second Avenue

  Brakhage's tour-de-force exploration of refracted light in an ashtray.
  "All that is, is light." – Dun Scotus Erigena Upcoming Showings: Sunday
  Nov 11 8:00 PM

San Francisco, California: San Francisco Cinematheque
7:30pm, Yerba Buena Center for the Arts, 701 Mission Street (corner of Third)

  Filmmaking in the Bay Area has an explosive history and has had a far
  lasting dynamic effect around the world. Explosive new forms of film
  have emerged from the Bay Area community over the years to reveal
  unheralded new visions of the medium and explorations into its aesthetic
  properties. This program presents a sampling of experimental cinema by
  artists in the Bay Area from the late 1940s and '50s. Screening: Horror
  Dream and Clinic of Stumble by Sidney Peterson, Things to Come and
  Obmaru by Patricia Marx, Four in the Afternoon by James Broughton, Notes
  on the Port of St. Francis by Frank Stauffacher, Divertissement Rococo
  and Eneri by Hy Hirsch, In Between by Stan Brakhage, Logos and Odds and
  Ends by Jane Conger, and Beat by Christopher Maclaine.

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

The weekly listing is also available online at Flicker:

For info on FrameWorks, contact Pip Chodorov at <email suppressed>.