This week [March 8 - 16, 2008] in avant garde cinema

From: Weekly Listing (email suppressed)
Date: Sat Mar 08 2008 - 08:32:53 PST

This week [March 8 - 16, 2008] in avant garde cinema

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28mm film

Binghamton University

Museum of Contemporary Cinema Foundation (Deadline: May 15, 2008)

Liaison of Independent Filmmakers of Toronto (Toronto, Ontario, Canada; Deadline: April 15, 2008)
Transhift08 (Knoxville, Tennessee USA; Deadline: April 01, 2008)

film sharing Low & No Budget Videofilmfestival (Mainz, RLP, Germany; Deadline: April 01, 2008)
MFACM, City University of Hong Kong (Hong Kong; Deadline: March 31, 2008)
MAMC, City University of Hong Kong (Hong Kong; Deadline: March 31, 2008)
Video Art Festival Miden (Kalamata, Greece; Deadline: March 31, 2008)
The 20th Onion City Experimental Film and Video Festival (Chicago, IL, USA; Deadline: April 11, 2008)
Portland Film + Video Artists Collective 007: Acts and Actions (Portland, Maine, USA; Deadline: March 15, 2008)
BROOKLYN INTERNATIONAL FILM FESTIVAL (Brooklyn, NY; Deadline: March 15, 2008)
FILMER LA MUSIQUE (Paris, France; Deadline: March 15, 2008)
Kino05 Screening (Ontario; Deadline: March 11, 2008)
European Sound Delta (Europe; Deadline: March 15, 2008)
Transhift08 (Knoxville, Tennessee USA; Deadline: April 01, 2008)

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Also available online at Flicker:

 * Dyke Delicious Series 5: Kansas City Bomber [March 8, Chicago, Illinois]
 * Tearoom [March 8, Columbus, Ohio]
 * Gregory J. Markopoulos: the Illiac Passion [March 8, London, England]
 * Santiago Alvarez + Travis Wilkerson [March 8, San Francisco, California]
 * Gregg Araki, the Living End [March 10, Los Angeles, California]
 * Lisa and the Devil [March 11, Reading, Pennsylvania]
 * The Emotional Realism Show [March 12, Providence, RI]
 * R. Bruce Elder's the Book of All the Dead: Part Three Continued At
    Cinematheque Ontario [March 12, Toronto, Ontario, Canada]
 * Films By Gordon Matta-Clark With Jane Crawford In Person! [March 13, Chicago, Illinois]
 * The Invisible Forest [March 14, San Francisco, California]
 * Art Docs Series: Instrument [March 15, Chicago, Illinois]
 * Light Work, Program One: Jennifer Reeves' Live Cinema Works [March 15, San Francisco, California]
 * Jennifer Reeves' Live Cinema Works + [March 15, San Francisco, California]
 * Filmforum Presents Shoot Shoot Shoot: Works of the London Film-Makers’
    Co-Operative, Part 2 [March 16, Los Angeles, California]
 * Light Work, Program Two: Jennifer Reeves: Argument For the Immediate
    Sensuous [March 16, San Francisco, California]

Events are sorted by CITY within each DATE.


Chicago, Illinois: Chicago Filmmakers
7:00 pm Social Hour, 8:00 pm Screening, Chicago Filmmakers, 5243 N. Clark St.

  Dyke Delicious: Kansas City Bomber Co-presented by Black Cat Productions
  Admission: $10/$8 Reeling members (includes social hour and screening)
  Renewed popular interest in roller derby lesbians has inspired us to
  dust off that old Raquel Welch favorite Kansas City Bomber, directed by
  Jerrold Freedman (USA, 1992, 99 minutes). Starring Welch, with Jodie
  Foster as her young daughter, the film includes some exceptional skating
  in bit parts by the pro skaters of that time. "Raquel Welch plays K.C.,
  a basically nice girl, in the business less for blood than for money.
  She has two problems: the blandishments of wily roller games promoter
  Burt Henry and the resentment of aging roller games star Jackie
  Burdette, whose fading light K.C. is expected to replace. There are
  other problems as well, such as will K.C. ever be accepted as just part
  of the team, the Portland (Ore.) Loggers, despite her unpopular eminence
  and her superior décolletage. But the first two are the important ones,
  and they suggest the quite stunning simpleness of what "Kansas City
  Bomber" is all about.… the film's one incredible performance comes from
  Helena Kailianiotes, as Jackie Burdette. Slouching sullenly in doorways,
  staring moodily into space, cadging booze from a bottle hidden in a
  skating boot..." (New York Times Review, Roger Greenspun, August 3,
  1972). Also screening High Heels on Wheels (directed by Donna Cassyd,
  2007, 15 min.). Come early for the social hour, when we will have a Best
  Decorated Helmet Contest with Prizes!

Columbus, Ohio: Wexner Center for the Arts
10am-8pm, 1871 N. High St.

  William E. Jones in person for a 6pm booksigning. A highlight of the
  current Whitney Biennial exhibition, Tearoom is a revelatory visual
  document of pre-Stonewall gay images. Its footage was captured by a
  police camera hidden in a public men's room in Mansfield, Ohio, in 1962,
  an elaborate entrapment scheme devised to catch men of various races and
  classes meeting to have sex with other men. Through extensive research,
  filmmaker William E. Jones located the unedited original footage, which
  he presents with virtually no intervention on his part—a radical example
  of film presented "as found" for the purpose of circulating a kind of
  imagery that has otherwise been suppressed. The Mansfield tearoom bust
  was a considerable scandal in its day, with the lives of dozens of men
  effectively ruined through the entrapment. Jones's replay, shown here
  continously throughout the day in the Box, our video screening room, is
  an act of notable restoration. (silent, 56 mins., video) A native of
  Massillon, Ohio, and now living in Los Angeles, Jones received
  post-production support for Tearoom from the Wexner Center's Art &
  Technology residency program. His book-length background study to the
  film is available in the Wexner Center Store and featured during the

London, England: Tate Modern
7pm, Bankside, SE1 9TG

  Throughout his life, Markopoulos remained closely connected to his
  heritage and ultimately saw the Greek landscape as the ideal setting for
  viewing his films. THE ILLIAC PASSION, one of his most highly acclaimed
  films, is a visionary interpretation of 'Prometheus Bound' starring
  mythical beings from the 1960s underground, including Andy Warhol (as
  Poseidon), Jack Smith (as Orpheus) and Taylor Mead (as the Tree Sprite).
  The soundtrack of this contemporary re-imagining of the classical realm
  features a reading of Thoreau's translation of the Aeschylus text and
  excerpts from Bartok. The preceding film, SORROWS, is a lyrical portrait
  of the Swiss house built for Wagner by King Ludwig II. SORROWS (Gregory
  J. Markopoulos, 1969, 6 min). THE ILLIAC PASSION (Gregory J.
  Markopoulos, 1967, 92 min). This screening anticipates the outdoor
  premieres of ENIAIOS III-IV in Greece, 27-29 June 2008. See for further information.

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

  We are honored to offer the collected works of Mr. Alvarez to the
  world-a very rare opportunity owing to the damn Yankee blockade of the
  Cuban social experiment. We have managed to obtain the very best-ever
  transfers of his 16mm cine-poems, and so are using this occasion to
  launch his portfolio on DVD! Boldly graphic, irresistibly rhythmic, and
  ultimately soul-stirring, we're showing about half of the 8 titles in
  the collection, including Now, Cerro Pelado, and 79 Springtimes of Ho
  Chi Minh. Both this screening and the disc itself are complemented by
  curator/artist Travis (An Injury to One) Wilkerson's Accelerated
  Under-Development, a savvy appreciation of the master from the next
  generation of political makers. Cuba Libres for a buck, OCD discs at a

MONDAY, MARCH 10, 2008

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

  Los Angeles premiere 1992, remastered 2008, 85 min., HD A film landmark
  of the 1990s becomes one of the cinematic highlights of 2008 with the
  release of this gorgeously remastered version of The Living End. Shot
  for a paltry $20,000, the racy, disturbing and unexpectedly romantic
  tale of the serendipitous meeting between two HIV+ gay men significantly
  changed the landscape of American independent cinema and put Gregg Araki
  on the map as one of the most original directors of his generation. Sex
  partners by chance, accomplices in crime by choice, Jon and Luke engage
  in a desperate flight across the American wasteland in the quest of an
  impossible amour fou—a journey strewn with a surrealist laundry list of
  murder, boredom, casual sex, mini-marts, parking lots, sinister
  freeways, post-punk apparel, garish colors, dark humor and freak
  encounters… as death awaits on the horizon. In person: Gregg Araki


Reading, Pennsylvania: Berks Filmmakers.Inc
7:30, Abright College

  Lisa and the Devil (1973, 116 min.) by MARIO BAVA. A horror film by
  Italy's most brilliant practitioner of the genre (starring Telly
  Savalas; Elke Sommer and Alida Valli): "…the heroine, a German tourist
  in Toledo, Spain, momentarily strays from her tour group and – with the
  simple act of turning a street corner – discovers another world, a
  parallel world, in which she also seems to belong, to have always
  already belonged…. Lisa and the Devil was Bava's most daring film, an
  oneiric narrative with tender volleys of absurdist humor. As Lucas
  writes, it is 'an extraordinary combination of horror film, art film and
  personal testament. Based on Bava's memories of growing up among his
  father's sculptures, dialogue borrowed from Dostoevski's I Diavoli, and
  an unrealized project about real-life necrophile Viktor Ardisson, Lise e
  il diavolo unfolds like a waking dream.'"- Sam Ishii-Gonzales


Providence, RI: Magic Lantern
9:30pm, 204 S. Main St

  Magic Lantern Cinema presents THE EMOTIONAL REALISM SHOW Wednesday,
  March 12th at 9:30 pm Cable Car Cinema, 204 S. Main St. Providence, RI
  $5 Guest curators Emily Vey Duke and Cooper Battersby in person! Our use
  of realism (arguably, of the real in general) has undergone some pretty
  major shifts over the course of the last 40-odd years. There's been an
  explosion of documentation of the self dating back to the invention of
  the snapshot and still climbing steadily through portapacks, hand-held
  video cameras, camera phones, blogs, vlogs, you-tube and so forth. The
  idea is that these media allow access to a relatively "true" or
  "unmediated" self. This preoccupation with the real is evident in mass
  media as well. Never have documentaries garnered so much attention and
  never has what the British call "factual" programming (everything from
  Anderson Cooper 360 to The Surreal Life) composed such a huge part of
  what's on TV. Why have we become so fascinated with the real that we
  have nearly abandoned the practice (if not the strategies and formulae)
  of fiction? What does the real provide that the mimetic does not? With
  Emotional Realism we propose that the truth claim made by works of this
  nature allows the viewer to identify with the author/subjects more
  profoundly, to engage with greater mercy. The second observation we've
  made while compiling this program is that, while the truth claim is an
  absolutely essential component in making the pieces work, it's equally
  important that the works be self-consciously mediated. A truth-claim is
  not the same as a claim of unadulterated truthfulness. In fact,
  undisguised mediation adds another layer of sincerity (or realism) to
  the works. By making no attempt to conceal their own artifice—by in fact
  making that artifice explicit—the artists make works with a greater,
  more tender authenticity. There's a principle from quantum physics (and
  anthropology) that relates: when a process is observed, it changes. This
  principle holds at the level of the photon as well as for human
  behavior. The artists in Emotional Realism acknowledge this rather than
  trying to conceal it, which allows the viewer to trust in the integrity
  of the works. Take, by contrast, the multitude of "confessional" video
  works generated by earnest young artists, in which the maker speaks
  directly to the camera about her or his alienation, rage, despair, etc.
  Somehow these works never succeed at eliciting the empathy the kid so
  desperately desires. Instead, the viewer has a sense that the artist is
  being not candid, disingenuous. Phony. Or take the example of
  contemporary reality television, where the subjects work hard to
  maintain the illusion that they are simply living their lives as they
  normally would. Again, the overwhelming sense is that the participants
  are not sincere, not open (no matter how much rank laundry they air);
  that in fact they are a bunch of awful fakers. It's the strategies of
  mediation that mark the works in Emotional Realism out as
  exceptional--Miriam Backstrom's nearly sadistic coldness in Rebecca and
  Kira Carpelan, two works about art, artifice and female power; De Cola
  and Wandner's choice to strategically break the fourth wall in 5 More
  Minutes, a piece about the sense of loss or lack that invariably attends
  the mother/child relationship; Eija-Liisa Ahtila's use of professional
  actors to reenact experiences of madness recounted to Ahtila by the
  women who had lived them in her work Love is a Treasure; Amanda Baggs'
  use of the MacIntosh computer voice Fred in her work In My Language, a
  compelling description of her experience of autism; and LaToya Frazier's
  carefully constructed narrative arc in her work A Mother to Hold. Far
  from impeding identification with the subjects and makers of these
  works, the strategies employed facilitate it, allowing the pieces to
  function at the top of the range available to artists: the works
  stimulate our ability to feel empathy. -Emily Vey Duke and Cooper
  Battersby LIST OF WORKS: Miriam Backstrom: Rebecka (40 mins) LaToya Ruby
  Frazier: A Mother to Hold: (22 mins) Dena DeCola and Karin Wandner: 5
  More Minutes (17 mins) Amanda Baggs: In My Language (8:35) Magic Lantern
  Cinema is graciously funded by RISCA and the Forbes Center for Modern
  Culture and Media at Brown University

Toronto, Ontario, Canada: Cinematheque Ontario
7:30 p.m., Art Gallery of Ontario’s Jackman Hall (317 Dundas Street West)

  ET RESURRECTUS EST (1994, 135 minutes). The Eternal Feminine clashes
  with TV's porn parodies of "the Love that moves the Sun and the other
  stars" (Dante), putting on digital flesh as the cycle ends where it was
  first conceived: in the City of Lights, amidst the wash of colours of
  Monet's garden.


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

  Renowned "anarchitect" Gordon Matta-Clark (1943–1978) sliced through
  abandoned buildings, staged socially engaged street performances, and
  documented much of it in radical photographic collages, films, and
  videos. Documentary filmmaker and Matta-Clark's widow Jane Crawford will
  present a selection of the artist's films, including Clockshower (1973);
  City Slivers (1976); and Office Baroque (1977). Presented in conjunction
  with the Betty Rymer Gallery's series, "Meta Matta-Clark" and the Museum
  of Contemporary Art's Exhibition, "Gordon Matta-Clark: You Are the
  Measure" through May 4. (1973–77, Belgium/USA, 16mm, ca 90 min.)

FRIDAY, MARCH 14, 2008

San Francisco, California: Artists Television Access
8pm, 992 valencia st

  Friday, March 14, 2008. 8PM $6 THE INVISIBLE FOREST A film by Antero
  Alli (in Person) A theatre troupe camps out in a forest to perform their
  director's vision of Antonin Artaud's magic theatre of ghosts, gods and
  spirits. During their forest experiment Alex, the director, is haunted
  by disturbing dreams where Artaud appears and mocks his theatrical
  ambitions. When these strange nightmares persist, Alex stops sleeping in
  an attempt to regain control over his mind. Sleep-deprived and with his
  sanity pushed to its limits, he seeks help from a Psychotherapist who
  suggests hypnosis as a means to discover the source of his problems.
  What follows is a hypnagogic journey through the internal landscape of
  Alex's subconscious memories and dreams, a sojourn that leads us to a
  place beyond belief, beyond words, and beyond the mind itself. (2008;
  111 min. USA; Antero Alli . Super-8 film, HDV & mini-dv) trailer filmography


Chicago, Illinois: Chicago Filmmakers
8:00 pm, Chicago Filmmakers, 5243 N. Clark St.

  Art Docs Series: Instrument A collaboration between filmmaker Jem Cohen
  and Washington DC band Fugazi, Instrument (USA, 1999, 115 min.) covers
  the ten-year period following the band's inception in 1987. Far from a
  traditional documentary, the project is a musical document: a portrait
  of musicians at work. "With no desire on my part or the band's to create
  a factual career survey or any kind of promotional vehicle, the project
  presented an opportunity to cut things loose. Mixing sync-sound 16mm,
  Super-8, video, and a wide range of archival formats, the piece includes
  concert footage, studio sessions, practice, touring, interviews, and
  portraits of audience members from around the country. Piecing it
  together over the course of 5 years, I thought of bringing 'dub' to
  documentary—of a project where unadultered real-time performances,
  abstract, rough-hewn Super-8 collages and archival artifacts would
  collide and conjoin in a way that honestly represented musical
  experience. The project was edited with band members and extensively
  uses soundtrack elements provided by Fugazi specifically for the film."
  -- Jem Cohen

San Francisco, California: San Francisco Cinematheque
8:30 pm, 992 Valencia St/ATA

  Immersive Cinema, Spring 2008. Presented in association with ATA's Other
  Cinema. Jennifer Reeves In Person. Kicking off the Light Works
  retrospective, Jennifer Reeves' tonight presents some of her most recent
  projects—elaborate film experiences presented in richly colored and
  extensively hand-manipulated 16mm celluloid. Even as filmmakers'
  attentions turn towards the digital, the multi-screened and performative
  works on tonight's program—Light Work Mood Disorder and He Walked
  Away—eschew single strand/single screen presentation and expand on the
  artists' already accomplished work with abstract visuals and direct-film
  techniques, providing, in the words of Timothy Zwettler, "a big reminder
  of the fragile, forgotten materiality of film for a new generation of
  artists." Also screening: 1999's Darling International (co-directed by
  M.M. Serra), excerpts from in-progress multi-screen works and other
  surprises exclusive to the San Francisco engagement.

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

  In collaboration with SF Cinematheque, OC proudly hosts NYC-based
  Jennifer Reeves, with a selection of her recent projects-elaborate film
  experiences rendered on richly colored, hand-manipulated 16mm celluloid.
  Even as filmmakers' attentions turn towards the digital, the
  multi-screen and performative works on tonight's program-Light Work Mood
  Disorder and He Walked Away-expand on Reeves' already accomplished work
  with abstract visuals and direct-film techniques, providing "a big
  reminder of the fragile, forgotten materiality of film for a new
  generation of artists." ALSO screening: Darling International
  (co-directed by M.M. Serra), excerpts from works-in-progress, and other

SUNDAY, MARCH 16, 2008

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

  Experimental film highlights from this artists'-led organization from
  the 1960s and 70s. Tonight featuring Annabel Nicolson, Slides (1970);
  Guy Sherwin, At the Academy (1974); Mike Leggett, Shepherd's Bush
  (1971); David Crosswaite, Film No.1 (1971); Lis Rhodes, Dresden Dynamo
  (1971); Chris Garratt, Versailles I & II (1976); Mike Dunford, Silver
  Surfer (1972); Marilyn Halford, Footsteps (1974). General admission $9,
  students/seniors $6, free for Filmforum members, cash and check only

San Francisco, California: San Francisco Cinematheque
7:30 pm, 701 Mission St/YBCA

  Immersive Cinema, Spring 2008. Presented in association with the MadCat
  Women's International Film Festival. Jennifer Reeves In Person. Light
  Work's second installment features Jennifer Reeves presenting a diverse
  selection of her short film and video works. We Are Going Home, shot and
  hand-processed at Philip Hoffman's legendary Independent Imaging
  Retreat, is equal parts northern landscape film and somnambulist
  psychodrama. Light Work I, the hyper-focus clarity of hi-definition
  video collides with the translucent viscosity of hand-painted emulsion.
  Chronic tells the tale of a dysfunctional Ohio teenager headed for
  disaster; as an exploration of sanity and survival, Chronic is precursor
  of sorts to Reeves' later The Time We Killed. Finally, daring to face
  down the anxiety of influence, this program will include Stan Brakhage's
  Stately Mansions Did Decree back to back with Reeves' scrappy 2001
  homage/rebuttal Fear of Blushing, a hand-painted film of irrepressible
  colors and corroded emulsion and The Girl's Nervy. $10, general; $6,
  members, students, disabled, seniors.

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