Part 1 of 2: This week [November 10 - 18, 2007] in avant garde cinema

From: Weekly Listing (email suppressed)
Date: Sat Nov 10 2007 - 12:06:42 PST

Part 1 of 2: This week [November 10 - 18, 2007] in avant garde cinema

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Enter your announcements (calls for entries, new work, screenings,
jobs, items for sale, etc.) at:


Southern Illinois University. Carbondale
York University, Dept of Film

Ann Arbor Film Festival (Ann Arbor, MI, U.S.A.; Deadline: November 15, 2007)
CinemaJAZZ (Kansas City, MO USA; Deadline: December 01, 2007)
Kansas City Filmmakers Jubilee (Kansas City, MO USA; Deadline: December 01, 2007)
Boston Underground Film festival (Boston, Ma ; Deadline: December 14, 2007)
Black Maria Film + Video Festival (Jersey City, New Jersey, USA; Deadline: November 16, 2007)
Nashville Film Festival (Nashville, TN, USA; Deadline: November 16, 2007)
LIFT (Toronto; Deadline: November 15, 2007)
Media City (Windsor ON Canada; Deadline: November 30, 2007)
Fargo Film Festival (Fargo, ND, USA; Deadline: December 01, 2007)
Studio 27 (San Francisco, CA USA; Deadline: December 15, 2007)
Portland Documentary & eXperimental Film Festival (PDX Fest) (Portland, Oregon USA; Deadline: December 14, 2007)
OpenLens Short Film/Video Festival (Eugene, OR, USA; Deadline: November 21, 2007)
Northwest Folklife Film Series (Seattle, WA, USA; Deadline: November 16, 2007)

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

Also available online at Flicker:

 * Film Love #52: Dead Flowers [November 10, Atlanta, Georgia]
 * Double vision : Berlin / Toronto [November 10, Berlin, Germany]
 * The Nature of Systems [November 10, London, England]
 * European Surrealism and the American Avant-Garde Cinema [November 10, Los Angeles, California]
 * Joel Schlemowitz - New Experimental Films and Dvd Release Party [November 10, New York, New York]
 * Stan Brakhage [November 10, New York, New York]
 * Kamouflage Films [November 10, New York, New York]
 * Erik Davis + Isis Aquarian On Father Yod and the Source Family [November 10, San Francisco, California]
 * Prelingers' Ecology of Libraries + Parr + [November 10, San Francisco, California]
 * Two Stereoscopic Films By Zoe Beloff [November 10, Seattle, Washington]
 * Zanzibar Films At Cinematheque Ontario [November 10, Toronto, Ontario, Canada]
 * Philippe Garrel's Le Lit De La vierge At Cinematheque Ontario [November 10, Toronto, Ontario, Canada]
 * Double vision : Berlin / Toronto [November 11, Berlin, Germany]
 * Nwa [November 11, Chicago, Illinois]
 * Hollis Frampton's Magellan 1: the Birth of Magellan [November 11, London, England]
 * Hollis Frampton's Magellan 2: the Straits of Magellan I [November 11, London, England]
 * Pittsburgh Trilogy [November 11, New York, New York]
 * The Text of Light [November 11, New York, New York]
 * Pioneers of Bay Area Filmmaking [November 11, San Francisco, California]
 * Two Works By the Speculative Archive [November 12, Los Angeles, California]
 * My Name Is Albert Ayler [November 12, New York, New York]
 * Performa07: An Evening With Grand Union [November 12, New York, New York]
 * My Name Is Albert Ayler [November 12, New York, New York]
 * The Road To Who Knows Where [November 13, London, England]
 * Structuring Strategies: Gregg Biermann [November 13, Los Angeles, California]
 * My Name Is Albert Ayler [November 13, New York, New York]
 * Performa07: Film Work By Judson Artists [November 13, New York, New York]
 * Double vision: Paris / Montreal [November 13, Paris, France]
 * Double vision: Paris / Montreal [November 13, Paris, France]
 * Persona [November 13, Reading, Pennsylvania]
 * Old Battle Axes [November 13, San Francisco, California]
 * Picture This! Gallery 400 Presents "The Photography Show" [November 14, Chicago, Illinois]
 * My Name Is Albert Ayler [November 14, New York, New York]
 * The Face-To-Face Show [November 14, Providence]
 * Lovid: Flipped Chips [November 15, Chicago, Illinois]
 * Filmforum Presents Gregg Biermann & “Material Excess” [November 15, Los Angeles, California]
 * Carolee Schneemann Program [November 15, New York, New York]
 * Raiders of the Lost Ark: the Adaptation [November 15, New York, New York]
 * Delicatrocity Exhibition: Demons/Tarantism/ Arford [November 15, San Francisco, California]
 * The Films of Michael Robinson [November 15, Seattle, Washington]
 * European Surrealism and the American Avant-Garde Cinema [November 16, Los Angeles, California]
 * Kitch's Last Meal [November 16, New York, New York]
 * Raiders of the Lost Ark: the Adaptation [November 16, New York, New York]
 * Films By Eric Patrick [November 17, Chicago, Illinois]
 * European Surrealism and the American Avant-Garde Cinema [November 17, Los Angeles, California]
 * Alchemical Dreams: the Short Films of Harry Smith [November 17, Los Angeles, California]
 * Raiders of the Lost Ark (Spielberg) [November 17, New York, New York]
 * A First Quarter [November 17, New York, New York]
 * Kitch's Last Meal [November 17, New York, New York]
 * Radical Jesters + Blows Against the Empire [November 17, San Francisco, California]
 * Hollis Frampton's Magellan 3: the Straits of Magellan ii [November 18, London, England]
 * Hollis Frampton's Magellan 4: the Death of Magellan [November 18, London, England]
 * Filmforum Presents Trumpetistically, Clora Bryant and More Jazz Films [November 18, Los Angeles, California]
 * Performa07: Bel, Charmatz and Chamblas [November 18, New York, New York]
 * Films By Tony Conrad [November 18, New York, New York]
 * Films By Hans Michaud [November 18, San Francisco, California]

Events are sorted by CITY within each DATE.


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

Berlin, Germany: Images Festival
7 pm & 9:30 pm, Kino Arsenal, Potsdamer Strasse 2

  The Images Festival, Canadian Filmmakers Distribution Centre and Arsenal
  Experimental present: DOUBLE VISION: BERLIN / TORONTO Arsenal Kino
  Potsdamer Straße 2 D-10785 Berlin Telefon +49-30-26955-100 arsenal(at) TORONTO PROGRAM 2
  (Saturday 10.11., 7:00 pm, Arsenal 1) TRAVELING THRU WITH EYES CLOSED
  TIGHT Christina Battle (CA 2006, 35mm, 4 min) NOTES IN ORIGIN Ellie Epp
  (CA 1987, 16mm, 15 min) KITCHENER - BERLIN Phil Hoffman (CA 1990, 16mm,
  34 min) DISTANCE BETWEEN HERE AND THERE Christina Battle (CA 2005, 35mm,
  8 min) Followed by a Q&A with Philip Hoffman and Christina Battle For
  Arsenal Experimental's „responding program" we have chosen films and
  videos wich are represented by arsenal experimental in Berlin. Many of
  the artists will be present for the screenings and discussions. BERLIN
  PROGRAM 1 (Saturday 10.11., 9.30 pm Arsenal 2) PARADE Lothar Spree and
  Detten Schleiermacher (CA/BRD 1972 12 min) SIGNAL - GERMANY ON THE AIR
  Ernie Gehr (BRD/USA 1985 34 min)

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:


Berlin, Germany: Images Festival
4 pm, 5:30 pm, 7 pm, Kino Arsenal, Potsdamer Strasse 2

  the images festival, canadian filmmakers distribution centre and arsenal
  experimental present: Sunday 11.11. 4pm A panel framed by many filmic
  surprises will give the distributors, festival organisors and artists
  the oportunity to present their work. In addition to the Images Festival
  (represented by Scott M. Berry and Pablo de Ocampo) and CFMDC (Lauren
  Howes) the artists that will be present from Canada represent another
  institution: Vtape, the counterpart to CFMDC in the areas of video and
  new media art. The distribution- and research platform was founded by
  Lisa Steele and Kim Tomczak in 1980. The panel will be joined by Steven
  Kovats from Transmediale, Stefanie Schulte Strathaus from arsenal
  experimental and Forum expanded and Doina Popescu (Goethe-Institut,
  Toronto) Sunday 11.11 5:30pm - Reception Sunday 11.11. 7pm In a second
  round table discussion, to which we invite everybody to contribute, we
  want to raise the question, how an International Experimental Film
  Congress, as it was organised in 1989 in Toronto by filmmakers, curators
  and film scholars and which left a thorough impression on both
  discourses and film history, could look today, 20 years later. The
  Congress in 1989 used film screenings and panels to ask what makes up
  the idea of experimental film and which conditions and possibilities are
  connected to it. We welcome one of the participants of the Congress 1989
  to this open discussion, Doina Popescu, who has also contributed
  tremendously to the history of experimental cinema (and not only that)
  with her work as curator, networker and host at the Goethe Institut in
  Toronto. The film programs belong in part to the „Double Vision" tour
  program. „Double Vision" was organised by Images Festival (Toronto) and
  the Canadian Filmmakers Distribution Centre (CFMDC) and is supported
  generously by the Canada Council for the Arts and the Canadian Embassy
  in Berlin.

Chicago, Illinois: NWA
7:30pm, 1537 N. Western Ave. #3

  Ernie Gehr: "This Side of Paradise" (1991, 14min) "Behind the Scenes"
  (1975, 5min) Dorothy Wiley's "Miss Jesus Fries on Grill," (1973, 12min)
  Gunvor Nelson's "Take Off" (1972, 10min) Pat O'Neil's "Runs Good" (1970,
  15mm) Other films might make the program, which will run about an
  hour... twice as long with rambling introductions, projection
  breakdowns, cigarette breaks (outside), and yelling - always with the

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.


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

  We will live to see these things, or, five pictures of what may come to
  pass 2007, 47 min., DigiBeta The latest piece from the duo of Julia
  Meltzer and David Thorne offers a different perspective on what might
  happen in Damascus, Syria, caught between a repressive regime, a
  conservative Islamic movement, and pressure from the United States.
  Preceded by: Not a matter of if but when: brief records of a time in
  which expectations were repeatedly raised and lowered and people grew
  exhausted from never knowing if the moment was at hand or still to come
  (2006, 32 min., DigiBeta) In person: Julia Meltzer and David Thorne

New York, New York: Anthology Film Archives
7:00pm, 32 2nd Avenue

  The prophetic free jazz saxophonist Albert Ayler, who today is seen as
  one of the most important innovators in jazz, was ferociously committed
  to his radical music and convinced that one day people would understand
  it; as he said in his own words, "If people don't like it now, they
  will." In 1962 he recorded his first album in Sweden. Eight years later
  he was found dead in New York's East River, aged 34. Produced in Sweden,
  this new documentary follows the trail of Ayler from his native town of
  Cleveland by way of Sweden to New York, meeting family, friends and
  close colleagues. Ayler himself guides us with his voice and music.
  Seven years in the making, the film includes remarkable, newly
  discovered footage of Ayler and his band. "To make Albert Ayler live
  again is a daunting task for a filmmaker, because little archival
  footage exists of Ayler's life and career. But through an inspired
  assemblage of photos, rare films, music, audio interviews with Ayler and
  extensive recently filmed interviews with family members, friends and
  fellow artists, Ayler is indeed made flesh…

New York, New York: Anthology Film Archives
7:30pm, 32 2nd Avenue

  In the early 1960s, a group of artists, choreographers, and musicians
  held a series of performances at the Judson Church in Greenwich Village
  that radically broke with the conventions of concert dance. The Judson
  Dance Theater, as the group came to be known, reduced the medium to its
  most essential elements, discarding drama and expressionism in favor of
  pedestrian movement and improvisation, and rejecting the notion of the
  performer as virtuoso in favor of "democratic" dance. The concepts
  behind their groundbreaking performances had as much to do with
  conversations among minimalist sculptors and musicians at the time as it
  did with other dance pioneers such as Merce Cunningham and Anna Halprin,
  and many visual artists – including Robert Rauschenberg, Claes
  Oldenburg, and Robert Morris – were active participants in a period that
  was remarkable for its fluidity between disciplines.

New York, New York: Anthology Film Archives
9:00pm, 32 2nd Avenue

  See November 12th, 7:00pm - My Name is Albert Ayler


London, England: Roxy Bar and Screen
8pm, 128-132 Borough High Street, London, SE1 1LB

  Two fragmented and dysfunctional road movies imagined as a series of
  episodic vignettes or misty memories. Jessie Stead's "Foggy Mountains
  Breakdown More Than Non-Foggy Mountains", a cryptic album of weird and
  wonderful versions of Flatt & Scrugg's bluegrass standard won first
  prize at the Ann Arbor Film Festival. "The Secret Apocalyptic Love
  Diaries" of Enid Baxter Blader is a windswept folk-poem shot on a
  homemade video camera. Both cast a discreet nod of recognition to Harry
  Smith's Anthology of American Folk Music. THE SECRET APOCALYPTIC LOVE
  DIARIES (Enid Baxter Blader, USA, 2006-07, 12 minutes) FOGGY MOUNTAINS
  minutes). Part of The Wire 25, a month long season of music celebrating
  The Wire magazine's 25th birthday.

Los Angeles, California: Cal Arts
7:00PM, 24700 McBean Parkway

  "I've just enjoyed a renewed acquaintance with some of Gregg Biermann's
  recent work. In this work he has taken head-on some of the supreme
  moments of classical cinema and subjected them to a dazzling
  transformation in the digital domain. The results are exhilarating,
  surprising tours de force. They also have a zany quality that shows the
  artist to have a witty imagination. He is a prober into the hidden
  corners of cinema, and a master of computer-based wizardry." —Larry
  Gottheim Works to be screened are: Happy Again, The Hills Are Alive,
  Spherical Coordinates, The Waters of Casablanca, Cinema Study, Paradiso
  and Hackensack Motet. TRT 1 hour

New York, New York: Anthology Film Archives
7:00pm, 9:00pm, 32 2nd Avenue

  See November 12th, 7:00pm - My Name is Albert Ayler

New York, New York: Anthology Film Archives
7:30pm, 32 2nd Avenue

  Although few films were actually shown at the Judson Church, several
  Judson artists went on to make films after the final Judson Dance
  Theater evening in 1964. This program of shorts includes film and video
  by Judson pioneers, as well as work by contemporary artists such as
  Bruce Nauman, who share the same interest in "dance problems without
  being a dancer," as Nauman put it in a 1971 interview. Bruce Nauman
  10-minute loop running prior to screening) Nauman methodically paces the
  sides of a square created with masking tape on the floor of his studio,
  accompanied by the sounds of an unsynchronized metronome. Trisha Brown
  MAN WALKING DOWN THE SIDE OF A BUILDING (1970, 2 minutes) Brown's
  gravity-defying signature work, shot at 68 Wooster Street. Yvonne Rainer
  HAND MOVIE (1966, 5 minutes) A single hand isolated against a gray
  background enacts a sensuous dance. Elaine Summers JUDSON FRAGMENTS
  (1964, 20 minutes) A vibrant montage featuring excerpts of performances
  by Carolee Schneeman, Deborah Hay, and Steve Paxton, James Waring
  teaching ballet class, Fred Herko raising flowers from a garbage can,
  and animated films by Carol Summers, with music by Philip Corner. Bruce
  Nauman PINCHNECK (1968, 2 minutes) A close-up of the artist distorting
  his neck, reducing the body to an isolated part to reveal its abstract
  and expressive possibilities. Robert Rauschenberg LINOLEUM (1967,
  7-minute excerpt) Documentation of a performance drawing inspiration
  from Happenings, shown through layers of film superimpositions. Robert
  Morris & Stan Vanderbeek SITE (1964, 5 minutes) Morris plays the workman
  manipulating spatial planes around Carolee Schneeman's Olympia-style
  pose in this documentation of a performance at the Judson Church.
  Deborah Hay GROUP I and GROUP II (1968, 8 minutes) Never-before-seen
  footage of two landmark minimalist performances. Meredith Monk 16MM
  EARRINGS (1980, 25 minutes) A film interpretation of a work originally
  performed in 1966 at the Judson Church. Rebecca Horn UNICORN (1970, 12
  minutes) A woman walks through forest and fields wearing one of Horn's
  "body modifications" – a suit with a large white horn projecting
  vertically from the top of her head. Markus Schinwald TEN IN LOVE (2006,
  4 minutes) Austrian artist Schinwald fills a stark white environment
  with unexpected gadgetry and mysterious characters interacting with each
  other through movement. Philippe Decouflé LE P'TIT BAL (1994, 4 minutes)
  French choreographer Decouflé drops a whimsical duet into the middle of
  the French countryside, complete with cow and accordion. Total running
  time: ca. 100 minutes.

Paris, France: Images Festival
2000, Les Voutes, 19, rue les frigos

  DOUBLE VISION : Montreal / Paris (shorts program) Programs presented by
  THE IMAGES FESTIVAL (Toronto) and Canadian Filmmakers Distribution
  Centre This program is a collection of five film and video pieces by
  francophone Canadian artists, both recent works and gems from the past.
  The artists in this program explore the natural/constructed landscape
  and the formal properties of the medium itself. Joanna Empain's
  Mouvances wanders over a landscape as the scenery alternates and
  metamorphoses. Imprint by Louise Bourque is a study of home and memory
  drawn from old home movie footage. Shot in a tunnel in Quebec City,
  Alexandre Larose's 930 juxtaposes views of both ends of the tunnel to
  present a passage from light to dark and vice versa. Vertige by Isabelle
  Hayeur is a study of the deserted landscape of an abandoned asbestos
  quarry. Closing the program is Marie-France Giraudon's Pharos, an homage
  to light houses and the terrain they inhabit. MOUVANCES, Joanna Empain
  2005, video, color, sound, 4 min IMPRINT, Louise Bourque 1997, 16mm,
  color, sound, 14 min 930, Alexandre Larose 2006, 16mm, b&w, sound, 10
  min VERTIGE, Isabelle Hayeur 2000, video, color, sound, 12 min PHAROS,
  Marie-France Giraudon 1991, video, color, sound, 20 min This program is
  part of the Double Vision tour (October 2007-January 2008). Double
  Vision is organized by The Images Festival (Toronto) and the Canadian
  Filmmakers Distribution Centre (CFMDC). These programs are a part of a
  touring project that is taking place in three pairs of partner cities in
  Canada and Europe. Double Vision made possible thanks to the generous
  support of the Canada Council for the Arts. Special thanks to the
  Lightcone (Paris), Alain Thibault, Matthew Biederman and the Canada
  Council for the Arts. Venue: Les Voutes 19, rue des Frigos 75013 Paris 4
  euro for screening, 6 euro for both screening + performance
  email suppressed

Paris, France: Images Festival
2200, Les Voutes, 19, rue les frigos

  DOUBLE VISION : Montreal / Paris (shorts program) Programs presented by
  THE IMAGES FESTIVAL (Toronto) and Canadian Filmmakers Distribution
  Centre "Pulse" by Ray_XXXX (Alain Thibault + Matthew Biederman,
  Montreal) Digital Audio, High Definition Generative Video Synthesis
  Performance Duration : 40 minutes Stereo
  "Pulse" is an audio-video performance based around the framework of an
  electronic pulsation iterated through time. In contemporary culture, the
  pulsation has become an essential element, namely in music. The idea of
  pulsation is closely related to techno culture, where analog and digital
  audio technologies have recently allowed the advent of a stable
  pulsation, without the variations that a human player might introduce.
  "Pulse" thus takes the language of techno culture by stressing the
  specific live experience where the experiment takes priority over
  emotion, where physical stimuli are paramount. The objective sought in
  "Pulse" will not be to present a composed work, with a pre-established
  scenario, via a traditional arc, but to produce a series of
  psychological states through which the witness will be able to build his
  own narrative. This program is part of the Double Vision tour (October
  2007-January 2008). Double Vision is organized by The Images Festival
  (Toronto) and the Canadian Filmmakers Distribution Centre (CFMDC). These
  programs are a part of a touring project that is taking place in three
  pairs of partner cities in Canada and Europe. Double Vision made
  possible thanks to the generous support of the Canada Council for the
  Arts. Special thanks to the Lightcone (Paris), Alain Thibault, Matthew
  Biederman and the Canada Council for the Arts. Venue: Les Voutes 19, rue
  des Frigos 75013 Paris 4 euro for screening, 6 euro for both screening +
  performance email suppressed

Reading, Pennsylvania: Berks Filmmakers, Inc
7:30 pm, Albright College

  Persona (1966, 85 min.) by INGMAR BERGMAN. As many have noted on
  Bergman's recent passing, for some reason his films have seemed
  out-of-sync with current times and tastes. All the more
  reason—especially considering the malaise of these times—to revisit a
  key work by this modernist master. "Persona may be Ingmar Bergman's most
  consciously crafted film; it may also be one of his most enigmatic. The
  plot is a tour-de-force distillation of an agon between two women, Alma
  (Bibi Andersson), a young nurse, and Elisabeth Vogler (Liv Ullman) her
  patient, a successful actress who has withdrawn into silence…. In many
  ways Persona is "about" the nature and conventions of the feature
  film—most obviously because Bergman begins the film by showing the
  ignition of an arc projector and the threading of a film, and ends it
  with the same projector being turned off. The greatest visual shock in
  all of Bergman's often startling oeuvre must be the moment near the
  middle of Persona when the film rips (or seems to rip), burns, and
  introduces strange material, apparently foreign to the story of the two
  women."—P. Adams Sitney

San Francisco, California: SFAI Film Salon
7:30pm, SFAI, Studio 8, 800 Chestnut Street

  Three rifts on the "documentary portrait" that look obliquely at
  different fathers of history. Phil Hoffman's ?O,Zoo! The Making of a
  Fiction Film tangentially documents the filming of Peter Greenaway's A
  Zed and Two Noughts. Lonely Planet is Robert Fenz's first part of his
  fascinating Meditations on Revolution series--a beautiful black & white
  portrait of Havana. And Jud Yulkut's intimate portrait of a different
  foundational figure, John Cage, finds him whimsically foraging for
  mushrooms on Stony Point.

(continued in next email)

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