EXPANDED FRAMES: A five day Symposium presented by Cinema Project

From: Jeremy Rossen (email suppressed)
Date: Fri Sep 05 2008 - 10:56:55 PDT

Hello Frameworkers,

Wanted to let everyone know about our EXPANDED FRAMES symposium, schedule and details below [Our website will be updated soon with all of the information].

Scheduled Participants include: Ina Archer, Thomas Beard, Kevin Jerome Everson, Ed Halter, Todd Haynes, Andrew Lampert, Irina Leimbacher, Jeanne Liotta, Scott MacDonald, Bruce McClure, and Vanessa Renwick.

So please save the dates and we hope you all can come out to Portland after Views from the Avant Garde!

Much Love,

Cinema Project
Jeremy Rossen + Autumn Campbell

Join Cinema Project, the Portland, Ore.-based presenter of innovative film and video art,
October 15th-19th, 2008 for EXPANDED FRAMES: a celebration and examination of
critical cinema past, present, and future.

In conjunction with Cinema Project’s fifth anniversary, this intimate, five-day public
symposium and screening series will create a space for audiences to mix it up with an
eclectic group of moving image archivists, film and video artists, writers, scholars, and
curators who are at the forefront of their respective fields. Our hope is to engage you,
our local community, in the infinite possibilities within the world of critical cinema.
Wednesday Oct. 15th - Expanded Frames Opening Night Event
 Co-presented with the Northwest Film Center (Whitsell Auditorium)
8pm – Todd Haynes As Avant-Garde Filmmaker
A Live Interview with Scott MacDonald interspersed with clips from Haynes’ rarely
screened early films.
Todd Haynes’ remarkable body of films—POISON, SAFE, FAR FROM HEAVEN and
I’M NOT THERE— have earned him unique regard as one of contemporary cinema’s
most eloquent voices. Beginning with his earliest shorts he has been a filmmaker who
defies the boundaries of form, content and social expectations to craft a singularly
personal cinema. Tonight we welcome Haynes and film writer, professor, and curator
Scott MacDonald for this live interview, exploring the evolution of Haynes’ work.
Located @ Whitsell Auditorium 1219 SW Park
Thursday October 16th - Independent Channels: The Legacy of Canyon Cinema
6pm The Spirit of Canyon (Men)
Programmed and introduced by Scott Macdonald
The 1960s saw the emergence of a wide range of approaches to cinema that offered
alternatives to Hollywood commercial filmmaking, including new approaches to
documentary and new forms of experimental and avant-garde filmmaking. Scott
MacDonald will be present to introduce and contextualize two programs of Canyon
films—one by Canyon men, the other, by Canyon women—that will represent the range
and the often revolutionary spirit that characterized the work of the Canyon filmmakers.
Bruce Baillie: Tung [1966, 16mm, b&w/color/si, 5m]
Larry Jordan: Big Sur, the Ladies [1966, 16mm, color/so, 3m]
Bruce Baillie: Castro Street [1966, 16mm, b&w/color/so, 10m]
Will Hindle: FFFTCM [1967, 16mm, color/so, 5m]
Bruce Conner: Cosmic Ray [1961, 16mm, b&w/so, 4m]
Robert Nelson: Oh Dem Watermelons [1965, 16mm, color, so, 11m]
Bruce Conner: Breakaway [1966, 16mm, b&w/so, 5m]
Dominic Angerame: Consume [2003, 16mm black and white/color sound 10m]
8pm “Small Cinemas” Lecture by Ed Halter
A lecture by critic and curator Ed Halter on the history of American
experimental film spaces in the last fifteen years.
9:30pm The Spirit of Canyon (Women)
Programmed and introduced by Scott Macdonald
By the early 1960s, Bruce Baillie and Chick Strand had begun informal screenings at an
anarchist, mobile venue they were calling “Canyon Cinema”; soon, Canyon was
publishing the Cinemanews, which by the end of the decade had become an international
nexus for information about alternative media; and in 1966 Canyon became a distribution
organization. For the past forty years Canyon Cinema has shown itself to be the most
dependable alternative film distribution organization in this country. The filmmakers
who were part of the emergence of Canyon Cinema and who made the organization a
success also created a remarkable body of films that were widely influential and remain a
considerable pleasure to experience and to think about. This program features films by
Chick Strand, Gunvor Nelson, Anne Severson, and Abigail Child.
Chick Strand: Waterfall [1967, 16mm, color/so, 3m]
Gunvor Nelson: Take Off [1972, 16mm, b&w/so, 10m]
Anne Severson: Riverbody [1970, 16mm, b&w/so, 7m]
Gunvor Nelson: Kirsa Nicholina [1969, 16mm, color/so, 16m]
Gunvor Nelson: My Name Is Oona [1969, 16mm, b&w/so, 10m]
Chick Strand: Kristallnacht [1979, 16mm, b&w/so, 7m]
Abigail Child: Pacific Far East Line [1979, 16mm, color/si, 12m]

Friday Oct. 17th Lost and Found: The Films of Ina Archer and Kevin Jerome Everson
Underwritten by Douglas F. Cooley Memorial Art Gallery, Reed College
6pm Past Perfected
Introduction and Q&A with filmmaker Ina Archer
“Reconciling the desire to be included in a medium that seems determined and in fact
built on exclusion; in my film and installation work, I use commercial cinema as material
and appropriation and montage as strategies to negotiate the difficult relationship of
marginalized people to cinema and media representations.” – Ina Archer
1/16th of 100% (1993, Hi8 Video, 22min)
La Tête Sans Corps “The Head Without A Body” (1995, Hi8 Video, 2min)
Richard Harris Music Video (2002, DV, 6min)
Hattie MacDaniel:Or A Credit to the Motion Picture Industry (2004, DV, 6min)
"Bête Noire"(2003, DV, 2.5min)
"RW" (2004, DV, 2.5min)
"Lebensbejahend" (2004, DV, 3min)
Lincoln Film Conspiracy Prologue (2007, DV, 15 min)

7:45pm Archiving a History of Black America through Appropriated Footage
A discussion with Ina Archer and Kevin Everson moderated by Ed Halter
9pm Broad Daylight and Other Times
  Introduction and Q&A with filmmaker Kevin Jerome Everson
“A wildly prolific filmmaker who investigates the African-American past, class identity,
and the practice of art-making with a visual aesthetic so withholding that Charles Burnett
seems florid by comparison, Everson has recently raided obscure archival sources to
mine our cultural past for unexpected revelations.” –Ed Halter
Undefeated [2008, video, b&w, sound, 1.5min]
Key to the Cities [2008,16mm, b&w, sound, 2 min.]
From Pompei to Xenia, [2003, 16mm, color, sound, 5 min.]
Emergency Needs [2007, 16mm, color, sound, 7 min.]
Ninety-Three [2008, video, b&w, silent, 3 min.]
Aquarius [2003, 16mm, color, sound, 1.5 min.]
The Principles [2007, video, color, sound, 3min.]
The Reverend E. Randall T. Osborn, First Cousin [2007, video, b&w, sound, 3 min.]
Ike [2008, video, b&w, sound, 3 min.]
According To…, [2007, video, b&w, sound, 9 min.]
Playing Dead [2008, video, 1:30, color]
Ring [2008, video, 1:30, black and white]
Honorable Mention [2008, video, 2:30, color and black/white]
Second and Lee [2008, video, 3:00, black and white]
Telethon [2008, video, 5:00, color and black/white]
North [2008, HD, 1:30, color]

 10:30pm After Party with music and performances (details on the website)
Saturday Oct 18th Out of the Archives: Preserving Great Moments In Cinema History
 Underwritten by New American Art Union and Stumptown Coffee Roasters
12-2pm Portland Arts Now: What Is To Be Done
As Portland’s growth forces change, what issues would artists and organizations like to
see addressed? How are artists, non-profits, and the City operating and planning for the
future? A discussion panel moderated by Matthew Stadler featuring: Sam Gould/Red 76,
Jonathon Sielaff/Creative Music Guild, Ruth Ann/NAAU, Stephanie Snyder/Cooley
Gallery, Marc Moscato/Organizer, MK Guth/PNCA, Gretchen Hogue/PDX Film Fest,
and more. Brown bag lunch.
2:30pm Archiving and Access to Women's Contributions to Cinema: The Women’s Film
Preservation Fund
Artist and WFPF committee member Ina Archer speaks with curator Irina Leimbacher
about the significance of public access and screenings in promoting the restoration and
preservation of films in which women had a significant role.
3:30pm Afternoon Tea & Social
Join us for an informal gathering with silent era trick and curiosity films and live music
by Wallsmith, Sielaff, Jones, and DuRoche quartet. Bring the whole family.
5pm The Films of Joseph Cornell - Infinite Affinities: Film and Collage
Programmed and introduced by Jeanne Liotta with special thanks to Anthology Film
These film assemblages from the late 1930’s demonstrate the associative continuity of
Cornell’s art practice across mediums. Theme, variation, surprise, hilarity, and deep
Rose Hobart [1936, 16mm, color, sound, 17m]
Cotillion [1940s, 16mm, b&w/color tint/si, 8m]
The Midnight Party [1940s, 16mm, b&w/color tint/si, 3m]
The Children's Party [1940s, 16mm, b&w/color tint/si, 8m]
By Night with Torch and Spear [1940’s. 16mm, color tint/si, 8m]
Bookstalls [1940’s, 16mm, color tint/si, 11m]
7pm Only Time Tells... Preserved and Unpreserved Films From Anthology Film Archives
Programmed and contextualized by archivist Andrew Lampert.
New York City's Anthology Film Archives is dedicated to the preservation, promotion,
and presentation of experimental cinema. Join Lampert for this show-and-tell tour of
some of the collection's most curious preserved and unpreserved reels including Transit
by Greg Sharits, Third Eye Butterfly by Storm De Hirsch, and many more.
9:30pm The Films of Joseph Cornell - New York, The Wonder City
Programmed and introduced by Jeanne Liotta with special thanks to Anthology Film
Fantasies and facts mingle in these lyrical documents from the 1950’s, attempts to capture
fleeting spirits of a particular time and place, made in collaboration with
cinematographers Stan Brakhage and Rudy Burckhardt.
GniR RednoW [1955-196?, 16mm, color/silent, 6 m]
Centuries of June [1955-196?, 16mm, color/si, 11m]
Aviary [1955, 16mm, b&w, silent, 11m]
Boys Games [1957, 16mm, color, si, 5m]
Mulberry Street [1957-65, 16mm, b&w, si, 9m]
Nymphlight [1957, 16mm, color, 7m]
Angel [1957, 16mm, color, 3m]
Sunday Oct 19th Projecting The Future
 Underwritten by Ace Hotel, Clyde Common, and Randy Rapaport
As technology, accessibility, and access continue to evolve and change, what are
some possible future directions moving image will take?
1:30pm Artist Distribution Avenues and Choices: Why, Where, and How
A film presentation and discussion moderated by Irina Leimbacher featuring Jeanne
Liotta, Kevin Everson, Andrew Lampert, and Vanessa Renwick.
3:30pm Victories and Last Days: New Experimental Cinema
Dark, stately, tender moments and intimate portraits explored.
Programmed by Cinema Project.
Sarabande by Nathanial Dorsky [2008, 16mm, 18fps, color, silent, 15 min.]
Film for Invisible Ink, case no. 142. ABBREVIATION FOR DEAD WINTER [diminished by 1,794] by David Gatten [2008, 16mm, b&w, sound, 13 min.]
The Magicians House by Deborah Stratman [2007, 16mm, color, sound, 6 min.]
Victory Over the Sun by Micheal Robinson [2007, 16mm, color, sound, 13 min.]
Last Days in a Lonely Place by Phil Solomon [2007, DV Cam, b&w, sound, 22 min.]

5:30pm Filming (In) War: Recent Lebanese Video
Programmed by Irina Leimbacher with films by Ali Cherry, Ziad Antar, Wael
Noureddine, Maher Abi Samra, and Lamia Joriege Irina Leimbacher will begin the
program with a 20minute talk on the emergence of new national and post-national sites
of experimental media making, focusing on work from Lebanon and the Maghreb.
To The Lebanese People by Ali Cherry [2006, dv, 2m]
Tank You by Ziad Antar [2006, dv, 12m]
July Trip by Waël Noureddine [2006, dv, 30m]
Merely A Smell by Maher Abi Samra [2007, dv, 10m]
Nights And Days by Lamia Joreige [2007, dv, 17m]
slippage by Ali Cherry [2007, dv, 12m]
8:30pm Expanded Cinema Comes Alive
Introduction reading by Thomas Beard from “Live Cinema: A Contemporary,”

followed by projection performances by:

Blank Pages For The Bio, Vol.I by Andrew Lampert
“I’m for a cinema composed not by the coupling of light and sound but from the combination of breakfast and lunch. Wait, isn’t that brunch? It used to be, but now lets pretend it’s something else. Theaters are diners; the griddle is a projector; cooks are projectionists; waiters, the concession crew; our food a moving image - here and gone. Who cares what it is anyways as long as it's filling? To get out the ketchup you've got to hit the bottom of the bottle. Featuring Dave Abramson, percussion." -- A.L.

One Day This May No Longer Exist by Jeanne Liotta
“Lucretius has identified the substratum of everything that is with homogeneous atoms too small to be perceived. These atoms aggregate by chance to produce the visible world, and by chance they will eventually disperse, demolishing the cosmos as we know it. There are no permanent beings beneath, within, or above the heavens. There are no gods, and the universe manifests no final cause.—J.L.

XXX by Bruce McClure.
A mechanical beauty, the movie projector can satisfy by the simultaneous graces of eye and ear. Between these organs the brain, held captive in a watery recess, shapes an inverted presentation. Analogous to our senses the projector is disjointed and for technical reasons its optical axis and its sound lens are separated by 26 film frames and this distance is nearly equal to that which separates the eye from the ear. Conventionally the optical sound line and the discreet film frame are shifted according to the projector's anatomy to bring the picture and sound in sync. Film, the canned despot dictates illusions that shackle the projector and the projectionist as accessories. In 'XXX' triple projection performances, the fetters are broken and the transposition of 26 frames is disregarded. The film sputters inchoately to the projector that then lays out a temporal ordering that the projectionist, together with the audience, is witness to. The patches of film emulsion and supp!
 ortive base become a threshold to a scotopic stage show accompanied by psychotropic soundings. Between the swing of the shutter and the other leap of light onto a cathode, a space emerges trod by slow oxen turning furrowed plains. – B.M.

10:30pm Closing Night Party @ The Cleaners
Live Music by Tara Jane O’Neil and Special Guests!
$10/ FREE with event ticket stubs
Located @ The Cleaners 430 SW 10th ave

Stay up to date on your PC, the Web, and your mobile phone with Windows Live.

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