From: Weekly Listing (email suppressed)
Date: Sat Oct 18 2008 - 08:01:59 PDT
Part 1 of 2: This week [October 18 - 26, 2008] in avant garde cinema
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The Evergreen State College
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NEW CALLS FOR ENTRIES:
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Portland Documentary & eXperimental Film Festival (PDX FEST) (Portland, OR, USA; Deadline: January 23, 2009)
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MadCat Women's International Film Festival (NY, NY USA; Deadline: November 17, 2008)
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V International Festival of Audio-visual arts VIDOLOGIA 2008 (Russia ; Deadline: November 01, 2008)
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Kansas City FilmFest (Kansas City, MO USA; Deadline: November 15, 2008)
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The 8 Fest (Toronto, Ontario, CANADA; Deadline: November 15, 2008)
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DEADLINES APPROACHING:
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Takoma Park Film Festival (Takoma Park, MD, USA; Deadline: November 01, 2008)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=883.ann
MONO NO AWARE II (Brooklyn, NY. USA; Deadline: November 07, 2008)
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Videologia (Russia; Deadline: October 20, 2008)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=908.ann
Images Festival (Toronto, Ontario, CANADA; Deadline: November 14, 2008)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=912.ann
2nd Annual Studio 60093 Children's Video Fest (Winnetka, IL USA; Deadline: November 11, 2008)
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MAGA / Macon Georgia Film Festival (Macon, Georgia USA; Deadline: November 15, 2008)
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San Francisco Ocean Film Festival (San Francisco, CA, USA; Deadline: October 31, 2008)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=929.ann
Gallery RFD (Swainsboro, GA; Deadline: October 31, 2008)
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Post-Postcard 12 at The LAB OPEN INVITATIONAL (San Francisco, CA 94114; Deadline: November 22, 2008)
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The LAB (San Francisco, CA, USA; Deadline: October 22, 2008)
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MUSEEK (Saint-Petersburg, Russia; Deadline: November 01, 2008)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=942.ann
MadCat Women's International Film Festival (NY, NY USA; Deadline: November 17, 2008)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=945.ann
V International Festival of Audio-visual arts VIDOLOGIA 2008 (Russia ; Deadline: November 01, 2008)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=946.ann
Kansas City FilmFest (Kansas City, MO USA; Deadline: November 15, 2008)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=947.ann
The 8 Fest (Toronto, Ontario, CANADA; Deadline: November 15, 2008)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=948.ann
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THIS WEEK'S PROGRAMS (SUMMARY):
==============================
* Bruce Conner, the Last Magician of the 20th Century [October 18, Cambridge, Massachusetts]
* Paper Tiger Reads Paper Tiger Tv + Smokin' Out the Evil-Doers [October 18, Chicago, Illinois]
* One Minute (Volume 2) [October 18, Hull, United Kingdom]
* Reverberations # 2: Bradley Eros [October 18, London, England]
* Home Movie Day [October 18, New York, New York]
* Melinda Stone + Natalie Jeremijenko + [October 18, San Francisco, California]
* Home Movie Day At Cinematheque Ontario [October 18, Toronto, Ontario, Canada]
* Moira Tierney & the Solus Collective In Estonia & Lithuania [October 18, vilnius, lithuania]
* Workshop: Cinema Povera & Collage Composition With Bradley Eros [October 19, London, England]
* Filmforum Presents the Familial Avant-Garde – An Evening With Ted Lyman &
John Cannizzaro. [October 19, Los Angeles, California]
* Mass For the Dakota Sioux [October 19, New York, New York]
* Leslie Thornton: Tuned Always To A Shifting Ground [October 19, San Francisco, California]
* Jeff Daniel Silva's Balkan Rhapsodies [October 20, Cambridge, Massachusetts]
* Fractured Frames: Selections From the 21st Edition of the Images Festival [October 20, New York, New York]
* Daniel Barrow's Winnipeg Babysitter [October 20, Toronto, Ontario, Canada]
* Genre Trouble [October 21, Brooklyn, New York]
* Antoni Muntadas and Marshall Reese Political Advertisement vii
(1952–2008) [October 21, Los Angeles, California]
* One Minute (Volume 2) [October 21, Prague, Czeck Republic]
* Oldboy [October 21, Reading, Pennsylvania]
* Leslie Thornton: Tuned Always To A Shifting Ground [October 21, San Francisco, California]
* Deliver Premiere [October 22, Brooklyn, New York]
* Magic Lantern Cinema Presents: the Channeling Show [October 22, Providence, RI]
* Musical Performances By <B>Ascended Master</B> and <B>Common Eider, King
Eider</B> Followed By the <B>Animations of Lawrence Jordan</B> [October 22, San Francisco, California]
* Omer Fast: Recent Works [October 23, Chicago, Illinois]
* Resonancias, PráCticas De Desmontaje [October 24, Barcelona]
* Zidane, A 21st Century Portrait [October 24, New York, New York]
* Political Advertisement vii (1952-2008) [October 24, San Francisco, California]
* Who By Water, Who By Fire: New Experimental Cinema [October 25, Chicago, Illinois]
* Urban/Rural Landscapes (Experimental) [October 25, Greenbelt Maryland]
* Studio: Pneuma Monoxyd [October 25, London, England]
* A Sense of Place [October 25, London, England]
* Guy Debord [October 25, London, England]
* Alina Rudnitskaya [October 25, London, England]
* When Latitudes Become Form [October 25, London, England]
* Mark Street & Lynne Sachs At the 8th Annual Human Rights Film Festival [October 25, Los Angeles, California]
* Schneider's 1, 2, 3 Whiteout + Archimedia + [October 25, San Francisco, California]
* Studio: Kempinski [October 26, London, England]
* Nathaniel Dorsky In Person [October 26, London, England]
* The Feature [October 26, London, England]
* The Word For World Is Forest [October 26, London, England]
* Ben Rivers At the Edge of the World [October 26, London, England]
* Lynne Sachs and Mark Street Present "Xy Chromosome Project #3" [October 26, Los Angeles, California]
* Leslie Thornton: Tuned Always To A Shifting Ground [October 26, San Francisco, California]
Events are sorted by CITY within each DATE.
--------------------------
SATURDAY, OCTOBER 18, 2008
--------------------------
10/18
Cambridge, Massachusetts: Harvard Film Archive
http://hcl.harvard.edu/hfa
7pm, 24 Quincy Street
BRUCE CONNER, THE LAST MAGICIAN OF THE 20TH CENTURY
October 18 – 19 Program One Saturday October 18 at 7pm COSMIC RAY
Channeling the "black magic" of Ray Charles' music, Conner used occult
symbols and mysterious images to create this nocturnal and raucous
masterpiece. US 1961, 16mm, b/w, 4 min. MEA CULPA In his first
collaboration with David Byrne and Brian Eno, Conner used footage from
educational films to create a rhythmically austere image-track for music
from their pioneering "sampling" album My Life in the Bush of Ghosts
(1981). US 1981, 16mm, b/w, 5 min. A MOVIE The ultimate found footage
film, A MOVIE summarizes—and critiques— the history of modern cinema in
just 12 minutes. US 1958, 16mm, b/w, 12 min. MARILYN TIMES FIVE Conner's
response to structural cinema is at turns hilarious and sad,
appropriating the strained performance of Marilyn Monroe imitator Arline
Hunter. US 1968-73, 16mm, b/w, 14 min. VIVIAN An ecstatic portrait of
actress Vivian Kurtz that features footage of a 1964 Conner exhibition
and couches a humorous critique of the art market. US 1964, 16mm, b/w, 4
min. TEN SECOND FILM Conner created a ten second scandal with this very
short film, commissioned by the New York Film Festival as a "trailer"
and promptly rejected for being simply "too fast." US 1965, 16mm, b/w,
silent, 10 sec. TAKE THE 5:10 TO DREAMLAND An oneiric, autobiographic
chapter in Conner's cinema with a mysterious, evocative soundtrack by
Patrick Gleeson. US 1977, 16mm, color, 5 min. VALSE TRISTE A lyrical
companion piece to 5:10, this poetic found-footage memoir counts as one
of Conner's most intimate films. US 1979, 16mm, color, 5 min. LOOKING
FOR MUSHROOMS Conner returned to his first color footage of travels in
Mexico and his early years in San Francisco, radically slowing down the
original material—by adding five frames per shot—to craft a spellbinding
and hypnotic superimposition of two worlds. US 1996, 16mm, b/w, 15 min.
Program Two Sunday October 19 at 3pm REPORT Haunted by JFK's
assassination Conner obsessively filmed television coverage of the
killing, funeral and miscellaneous contemporary programming, repurposing
the footage into both a sorrowful portrait of a lost hero—NB: Conner's
use of blank "leader"—and a blistering critique of postwar consumerism.
US 1967, 16mm, b/w, 13 min. CROSSROADS Conner followed his fascination
with the atomic bomb to an absolutely brilliant furthest extreme,
"expanding" 27 different shots of the 1946 Bikini Atoll a-bomb test
footage into a mesmerizing two-part epic that juxtaposes the enhanced
"realism" of Patrick Gleeson's sound track in the first half against the
hallucinatory trance music of Terry Riley that closes the film. US 1976,
35mm, b/w, 36 min. TELEVISION ASSASSINATION Originally part of a
sculpture in which the footage was projected onto a decrepit television
set, Conner's film offers a frightening meditation on the televisual
spectacle of JFK's assassination. US 1963-95, 16mm, b/w, 14 min. Program
Three Sunday October 19 at 7pm COSMIC RAY Channeling the "black magic"
of Ray Charles' music, Conner used occult symbols and mysterious images
to create this nocturnal and raucous masterpiece. US 1961, 16mm, b/w, 4
min. THE WHITE ROSE An elegiac musical documentary capturing the slow
removal of Jay de Fayo's iconic "painting" The White Rose from the San
Francisco loft from which she had been evicted. US 1967, 16mm, b/w, 7
min. BREAKAWAY Shot at multiple speeds (and forwards and backwards),
Conner's dance film uses incredible rapid-fire montage to deliver a
beautifully frenzied response to Maya Deren's motion studies. US 1966,
16mm, b/w, 5 min. PERMIAN STRATA US 1969, 16mm, b/w, 4 min. Conner's
mordant gem discovers wonderfully strange and subversive subtexts at
work within an obscure 1940s Biblical film. MONGOLOID A hilarious
"educational" film that features a pulsing DEVO soundtrack. US 1978,
16mm, b/w, 4 min. AMERICA IS WAITING Working again with Byrne and Eno,
Conner's early music video offers a satire of patriotism and national
security. US 1981, 16mm, b/w, 4 min. MEA CULPA In his first
collaboration with David Byrne and Brian Eno, Conner used footage from
educational films to create a rhythmically austere image-track for music
from their pioneering "sampling" album My Life in the Bush of Ghosts
(1981). US 1981, 16mm, b/w, 5 min. LUKE For his first video work Conner
slowed down 8mm footage shot in 1967 on the set of Cool Hand Luke into a
meditation on the cinema and landscape that uses a beautiful Patrick
Gleeson soundtrack. US 2004, video, color, 22 min. HIS EYE IS ON THE
SPARROW Conner distilled footage from his unfinished documentary on the
gospel group The Soul Stirrers into a collage accompaniment to the
group's version of the classic spiritual His Eye Is On the Sparrow. US
2006, video, b/w and color, 4 min. EASTER MORNING US 2008, video, color,
10 min. Conner's exquisite final work is a step-printed reinterpretation
of footage from his 1966 unreleased film, EASTER MORNING RAGA that
further reveals his abiding interest in the psychedelic as an alternate
way of seeing.
10/18
Chicago, Illinois: Chicago Filmmakers
http://www.chicagofilmmakers.org/
8:00pm, Chicago Filmmakers (5243 N. Clark St.)
PAPER TIGER READS PAPER TIGER TV + SMOKIN' OUT THE EVIL-DOERS
An early innovator in video art and public access television of the
early 80's, Paper Tiger TV developed a unique, handmade, irreverent
aesthetic that experimented with the television medium combining art,
academics, politics, performance and live television. PTTV, founded on
the ideal that freedom of speech through access to the means of
communication is essential in a democratic society, regularly exposed
the hidden agenda of the mainstream media and questioned the powerful
grip of corporate influence on media content to become the first
nationally disseminated public access television program. Over the
years, thousands have enjoyed the intelligent, irreverent,
ultra-low-budget antics of PTTV. PTTV produced Paper Tiger Reads Paper
Tiger Television (47 min., 2007) not only out of love and respect for
its history of creating radical critiques of mass culture and politics,
but from a desire to continue supporting and providing innovative
leadership for documentary filmmakers, artists, media literacy educators
and social justice media movements around the world. The jubilant mosaic
of archival footage, hand-crafted animations, video shorts and
interviews with media critics, historians and current and past Tigers,
including Dee Dee Halleck, George Stoney and Dierdre Boyle is designed
to be a catalyst for conversations on new directions in creative use of
the media. Also screening this evening will be a 56-minute, 2004 episode
of PPTV titled Smokin' Out the Evil-Doers: Unconventional TV Exposes the
RNC. As the GOP staked an opportunistic claim for the symbolic prize of
New York City, hundreds of thousands took to the streets to say NO! From
the Bushville poor to the defenders of proletariat-hero Johnny Cash and
from the rock concert thunder of an uber-immigrant action hero to
harlequin high jinks with down-home delegates, Smoking Out the
Evil-Doers documents a dynamic week of civil action, police repression
and creative resistance. A collectively-produced and non-corporate
account by the NoRNC Video Collective, with representatives from Deep
Dish TV, Manhattan Neighborhood Network, New York City Grassroots Media,
NYC IMC Video, Paper Tiger TV, The Video Activist Network, and hundreds
of other activists and independent media makers.
10/18
Hull, United Kingdom: One Minute
7pm, RED GALLERY
19 OSBORNE STREET
KINGSTON UPON HULL
HU1 2NL
19 OSBORNE STREET
KINGSTON UPON HULL
HU1 2NL
ONE MINUTE (VOLUME 2)
Hull Film will be presenting One Minute (Volume 2) at The Red Gallery,
Hull, East Yorkshire. One Minute Volume 2 is a programme of artists
video and film curated by Kerry Baldry. he programme is an eclectic
range of moving image and includes formats such as 16mm film, Super 8,
video, stopframe animation, superimposition, all constrained by a time
limit of one minute Artists included: Gordon Dawson, Laure Prouvost,
Martin Pickles, Marty St.James,Eva Rudlinger, Steven Ball, Guy Sherwin,
Louisa Minkin,Steve Hawley, Gary Peploe, Lynn Loo, Riccardo Iacono,
Hilary Jack, Nicolas Herbert, Claire Morales, Catherine Elwes,Tina
Keane, Kate Meynell, Kerry Baldry, Phillip Warnell, Nick Jordan, Margie
Schnibbe, Stuart Pound, Esther Johnson, Mark Wigan,Andy Fear, Philip
Sanderson, Erica Scourti, Unconscious Films and Deklan Kilfeather.
10/18
London, England: no.w.here
http://www.no-w-here.org.uk/
2pm - 5pm, Camden Arts Centre, Arkwright Road, London NW3 6DG, UK
REVERBERATIONS # 2: BRADLEY EROS
The second event in the series will centre around the work of American
artist Bradley Eros. Simultaneously making, researching, programming,
writing, and performing, Bradley Eros has been an enigmatic catalyst in
the New York experimental film scene for over two decades. His oracular
and multi-faceted practice challenges what can be done with and known
about film through artisanal investigations of its material and
apparatus. Taking its cue from Camden Arts Centre's Wallace Berman
exhibition, Eros will locate his work within a set of interconnecting
references that centre around the philosophy of arte povera – a process
of open-ended experimentation using existing and found materials. Over
the course of the afternoon Eros will unfold and examine the use of
found and discarded materials in his work, as it relates to ideas of
quotation, detournement, parody, deconstruction, homage, and artists'
such as Berman and Joseph Cornell. The format of the event itself will
take on these ideas though a cumulative and fluid interaction of
performed works, dialogue, screenings and audio-visual reference points.
Alongside Eros' expanded performances, films by Cornell and Berman will
also be shown. Bradley Eros' work has taken the form of printed matter,
films, para-cinema performances and radical curatorial projects which
revolve around ideas of alchemy, illusion, mysticism, the ephemeral and
unfixed nature of film, cinema povera, and technology as an extension of
the mind. From 1998 to 2004 he co-curated the Robert Beck Memorial
Cinema, a weekly programme that took a broad and experimental
perspective on the moving image. His films and performances have been
shown at the Whitney Biennial (2004), The American Century (at the
Whitney Museum, NY), The New York Film Festival, The London Film
Festival, MoMA (NY), Pacific Film Archives (San Francisco), Anthology
Film Archives (NY), Školská 28 (Prague), Arsenal Cinema (Berlin) and
Lightcone (Paris). Alongside Jeanne Liotta he has recently conducted
some of the first in-depth research into the film work of Joseph
Cornell.
10/18
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
12:00- 6:00 PM , 32 Second Avenue
HOME MOVIE DAY
The 6th Annual Home Movie Day returns for another celebration of films
by you, your parents, your grandparents, your neighbors, genuine
strangers and total weirdos. HMD 2007 was an overwhelming success with
events in over 40 cities throughout the US, Canada, Mexico, Europe and
Japan. This year promises to be bigger and better because YOU will be
bringing YOUR 8mm, Super-8mm or 16mm films to Anthology where they will
be inspected and projected for all to observe. Motion picture archivists
will be on hand to discuss film preservation and to give tips on how to
save your precious movies before it is too late. Sorry, but only films
will be screened at this event, which means NO HOME VIDEOS (however
video-makers should definitely come and see what they are missing).
Screenings will be first come, first served and we will not be able to
screen more than one or two reels per person.
10/18
San Francisco, California: Other Cinema
http://www.othercinema.com/
8:30pm, 992 Valencia Street
MELINDA STONE + NATALIE JEREMIJENKO +
USF force-of-nature Melinda Stone and her How-to-Homestead posse
disseminate rich folk wisdom and new-fangled experiments on contemporary
urban homesteading by way of video, sing-a-longs, and dandelion wine.
The centerpiece is Maya Donelson's Graze the Roof, demonstrating her
local, sustainable, Do-It-Ourselves approach to food sovereignty, via
her rooftop gardening project on top of the Tenderloin's Glide Memorial
Church. In the show's second half, NYU luminary Natalie Jeremijenko
presents pieces from her Environmental Health Clinic (such as her Urban
Space Station), a living critique of dominant medical and environmental
models. Please join guest-curator Andrew Wilson in collectively
re-imagining our relationship to natural systems in an urban context.
10/18
Toronto, Ontario, Canada: Cinematheque Ontario
http://www.bell.ca/cinematheque
12:00 p.m., Jackman Hall - 317 Dundas St. West
HOME MOVIE DAY AT CINEMATHEQUE ONTARIO
"Saving our film heritage should not be limited only to commercially
produced films. Home movies do not just capture the important private
moments of our family's lives, but they are historical and cultural
documents as well. Consider Abraham Zapruder's 8mm film that recorded
the assassination of President Kennedy or Nickolas Muray's famously
vibrant color footage of Frida Kahlo and Diego Rivera shot with his 16mm
camera. Imagine how different our view of history would be without these
precious films. Home Movie Day is a celebration of these films and the
people who shot them. I urge anyone with an interest in learning more
about how to care for and preserve their own personal memories to join
in the festivities being offered in their community." - Martin Scorsese.
Now in its 6th year, Home Movie Day is an annual, worldwide celebration
of amateur films and filmmaking. Curated by the Film Reference Library,
this programme offers an intriguing selection of local home movies and
the opportunity to meet with archivists and learn about film
preservation. Home movie submissions are being accepted until October
3rd. Call 416-967-1517 for details about this free event and programme
updates, or go to filmreferencelibrary.ca.
10/18
vilnius, lithuania: solus film collective
http://www.soluscollective.org
7pm, Jonas Mekas Visual Arts Centre Konstitucijos pr. 3, 906 kab., LT-09601 Vilnius
MOIRA TIERNEY & THE SOLUS COLLECTIVE IN ESTONIA & LITHUANIA
Moira Tierney presents a programme of her own work as well as a
programme of films and videos by the SOLUS collective: expect a mixture
of the above along with some of her shorts from the last ten years or
so! phone (85) 2112377 / fax (85) 2112502 / email: email suppressed
www.mekas.lt
------------------------
SUNDAY, OCTOBER 19, 2008
------------------------
10/19
London, England: no.w.here
http://www.no-w-here.org.uk/
3pm - 9pm, no.w.here, 316–318 Bethnal Green Road, London, E2 OAG, UK
WORKSHOP: CINEMA POVERA & COLLAGE COMPOSITION WITH BRADLEY EROS
The Workshop will reveal a theory & practice of cinema povera by
creating hybrid forms using found and discarded materials; and will
emphasize methods and techniques as well as a philosophy of collage
composition as they relate to found-footage film, photomontage,
assemblage, appropriation and cut-ups. This will include elements of
quotation, homage, critique, parody, deconstruction and detournment,
with inspirations as they relate to Wallace Berman and Joseph Cornell
and other collage artists of the 20th century. A practical knowledge of
filmmaking is not expected or required. Places are extremely limited, so
book early to avoid disappointment.
10/19
Los Angeles, California: Filmforum
http://www.lafilmforum.org/
7:00 pm, Egyptian Theatre, 6712 Hollywood Blvd. at Las Palmas
FILMFORUM PRESENTS THE FAMILIAL AVANT-GARDE – AN EVENING WITH TED LYMAN &
JOHN CANNIZZARO.
Vermont-based avant-garde filmmaker Lyman comes to Los Angeles with
award-winning works old and new, along with his former pupil, LA-based
filmmaker Cannizzaro, with his latest. Including "Testament of the
Rabbit" (Lyman, 1989), "Fla.Me." (Lyman, 1982), "Land of the Dead"
(Cannizzaro, 2008) and more. General admission $10, students/seniors $6,
free for Filmforum members. The Egyptian Theatre has a validation stamp
for the Hollywood & Highland complex. Park 4 hours for $2 with
validation.
10/19
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
8:00 PM , 32 Second Avenue
MASS FOR THE DAKOTA SIOUX
by Bruce Baillie (1963-64, 21 min, 16mm) Also: QUIXOTE (1964-65, 45 min,
16mm) Meditations on America by a filmmaker whom Willard van Dyke once
called the most American of all contemporary filmmakers. Annette
Michelson has referred to Bruce Baillie as one of the few American
political filmmakers.
10/19
San Francisco, California: San Francisco Cinematheque
http://www.sfcinematheque.org
7:30 pm, Yerba Buena Center for the Arts
LESLIE THORNTON: TUNED ALWAYS TO A SHIFTING GROUND
Program One: The Orientalist Examinations of orientalism are a central
theme in Thornton's work. An early memory: "When I was a child, I was
enchanted by the image of digging through the earth and finding the
Chinese on the other side, only upside-down to us… China was as opposite
as one could get, since it was as inverted as possible." Tonight's
program groups her 1988 major work, There Was An Unseen Cloud Moving,
with two newer works on this theme. Unseen Cloud…, a collage/biography
of Isabelle Eberhardt, a Russian author/adventurer who lived as a Muslim
man in 19 Century North Africa, closely compares to Chris Marker's work
as a free form, impressionistic style of storytelling. Sahara Mojave
(2007) miss-aligns, with unsettling affect, the backlot of today's
Hollywood with the forefront of 19th Century orientalist eroticism.
Novel City (2008)—which includes a reprise of Thornton's 1983 film
Adynata—came out of a recent trip to Shanghai and embodies the
estrangement that arose in processing capitalism's ferocious grasp on
China.
------------------------
MONDAY, OCTOBER 20, 2008
------------------------
10/20
Cambridge, Massachusetts: Harvard Film Archive
http://hcl.harvard.edu/hfa
7PM, 24 Quincy St. Cambridge, MA 02138
JEFF DANIEL SILVA'S BALKAN RHAPSODIES
Directed by Jeff Daniel Silva, Appearing in Person With Noam Chomsky,
Howard Zinn US 2008, video, color, 55 min. Balkan Rhapsodies uses the 78
days of NATO bombings of the former Yugoslavia (March 24 – June 10,
1999) as a structuring device by breaking footage from Silva's travels
into a string of numbered fragments, held together by the filmmaker's
abundantly evident engagement, anger, humor, affection and curiosity.
Webster's Dictionary defines "rhapsody" as, variously, "a musical
composition irregular in form and suggestive of improvisation," "an epic
poem," and "an unusually intense, emotional…work." Inspired by rhapsodic
form—as well as a penchant for Serbia's potent national drink—Silva's
documentary lives up to all three definitions at once, as it
incorporates video material shot over eight years (in the Balkans and
during informal interactions with American political luminaries Noam
Chomsky and Howard Zinn) with archival footage, re-enactments and
cultural appropriations. Balkan Rhapsodies deftly navigates an
alternately serious and humorous landscape that captures the essence of
a post-traumatic historical moment in the Balkans, and the precarious
situation of a young generation of Serbs and Albanians ensnared in a
country governed by a vicious ruler. In July 1999, filmmaker Jeff Daniel
Silva was the first US citizen to visit the former Yugoslavia just weeks
after NATO's bombing campaign, aimed at the government of Slobodan
Milošević. Silva's encounters with ordinary citizens in the wake of
the violence—particularly those caught between a government they
detested and NATO warplanes that didn't distinguish between civilian and
military life—sparked the making of Balkan Rhapsodies. Silva returned to
the region two more times over the next five years, weaving footage he
shot there into a challenging, moving and funny documentary. Silva is an
emerging filmmaker who over the last ten years has developed a diverse
body of work based in experimental and non-fiction film, from
multi-channel installations to short films and documentaries that have
screened internationally. Based in Boston, he teaches at Harvard and
Emerson. Besides discussing Balkan Rhapsodies, Silva will also present
footage from a work-in-process.
10/20
New York, New York: Images Festival
http://www.imagesfestival.com/
7:30 PM, Anthology Film Archives, 32 Second Avenue
FRACTURED FRAMES: SELECTIONS FROM THE 21ST EDITION OF THE IMAGES FESTIVAL
Based in Toronto, the Images Festival is Canada's largest annual event
devoted exclusively to experimental media art – encompassing film and
video in cinemas, as well as gallery installation, live performance and
new media forms. This April's edition of the festival exhibited work by
175 artists from around the globe. Deadlines for submitting projects to
the 2009 edition (April 2-11) are this November. This program brings
together eight artists from Canada and abroad whose work demonstrates
the range of films and videos exhibited at this year's festival – from
sumptuous Super-8mm images to hand-drawn pencil animations. For more
information, browse through our 20-year ARCHIVE on this website. Karl
Lemieux WESTERN SUNBURN Canada, 2007, 10 minutes, video. Re-imagines and
reframes iconographic figures from an old western with painting,
scratching, cutting and burning. Naoyuki Tsuji CHILDREN OF SHADOWS
Japan, 2006, 18 minutes, 16mm. B&W drawings with lingering shadows of
children set the stage for this dark and mysterious animation. John
Price THE BOY WHO DIED Canada, 2007, 7 minutes, 35mm, silent. An
impressionistic study of wintry landscapes in northern Saskatchewan shot
during down time from a documentary about aboriginal youth. Marianna
Milhorat THIS IS NOT AN ANCHOR, THIS BOAT IS NOT AN ANCHOR Canada, 2007,
11 minutes, video. Through a dense mist we emerge into a foggy
marshland. Slowly and achingly a mysterious landscape is revealed. Inger
Lise Hansen PROXIMITY Norway, 2006, 4 minutes, 35mm. This disorienting
landscape film flips vistas upside down, creating a push-pull between
the shifting weather of the sky below and the textured ground above.
Paul Clipson ECHO PARK USA, 2007, 9 minutes, Super-8mm. This beautifully
crafted film captures the delicacy and elegance of leaves pooled with
dew. Jonathan Schwartz IN A YEAR WITH 13 DEATHS USA, 2008, 3 minutes,
16mm. Light shimmering in water, rippling darkness descending, passing
vistas and fluttering intervals. Barbara Sternberg ONCE Canada, 2007, 5
minutes, 16mm. An audio excerpt from Rilke's NINTH ELEGY gives way to a
silent film filled with glimpses of shimmering light evoking the beauty
and brevity of life. Total running time: ca. 70 minutes.
------------------------------------ Anthology Film Archives is located
at 32 Second Ave. at Second Street and can be reached by the Second
Avenue F and V train or the #6, Bleecker Street stop. ANTHOLOGY FILM
ARCHIVES 32 Second Ave (at 2nd St) 212-505-5181
anthologyfilmarchives.org
10/20
Toronto, Ontario, Canada: Images Festival
http://www.imagesfestival.com/
2000, Workman Theatre, 1001 Queen Street West @ Ossington
DANIEL BARROW'S WINNIPEG BABYSITTER
An archival, curatorial and performance project, Daniel Barrow's
Winnipeg Babysitter reveals the hidden history of independently produced
television and subversive cable access from Manitoba's capital. Barrow
presents a magic-lantern commentary, tracing the history of public
access television in Manitoba, and describing the various and outrageous
biographies of its performers and producers and in doing so, he provides
a window (lit by the glow of an overhead projector) onto the history of
a medium revealed as an important platform whose influence continues to
resonate in the practices of Winnipeg artists. In the late 1970s and
throughout the 1980s, Winnipeg experienced a "golden age" of public
access television, when anyone with a creative dream, concept or politic
would be endowed with airtime and professional production services. When
Shaw cable purchased Winnipeg's local cable station VPW, a rumour began
that Shaw had destroyed the public access archives and were
systematically dismantling their public access services. Shortly
thereafter, Daniel Barrow began researching, compiling and archiving a
history of independently produced television that manifested itself in
Winnipeg Babysitter. Featuring Guy Maddin's earliest recorded
performances alongside Greg Klymkiw in Survival (1982-1987) as well as
Fearless Pig and Terrible Dog in Metal Inquisition (1986), Myles and
Drue Langlois of the Royal Art Lodge in Delirious Photoplay (1999) and
The Pollock & Pollock Gossip Show (1986-1989), Winnipeg Babysitter is
but just the tip of Manitoba's public access excess. Winnipeg-based
artist Daniel Barrow uses obsolete technologies to present written,
pictorial and cinematic narratives centering on the practices of drawing
and collecting. Specifically, he creates and adapts comic book
narratives to "manual" forms of animation by projecting, layering or
manipulating drawings on overhead projectors or, more recently,
antiquated digital paint programs. Since 1993, Barrow has used an
overhead projector to relay ideas and short narratives. He variously
refers to this practice as "graphic performance or manual animation."
Barrow has exhibited widely in Canada and abroad. He has performed at
The Museum of Contemporary Art (Los Angeles), New Langton Arts (San
Francisco), The Contemporary Art Gallery (Vancouver), and the Gene
Siskel Film Center (Chicago). Barrow is the 2007 winner of the Canada
Council's Victor Martyn Lynch-Staunton award and the 2008 winner of the
Images Festival's Images Prize. Barrow is currently a finalist, in
competition for the 2008 Sobey Art Award. He is represented in Toronto
by Jessica Bradley Art + Projects.
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TUESDAY, OCTOBER 21, 2008
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10/21
Brooklyn, New York: Light Industry
http://www.lightindustry.org/
8 pm, 55 33rd Street, 3rd Floor
GENRE TROUBLE
Curated by Su Friedrich I'm not a genre freak; I like films done in many
ways for many reasons. So, in the spirit of enjoying a film noir as much
as I enjoy an ethnographic film or a costume drama, I will screen a
number of films that represent what I see as various genres within the
avant-garde. (Yes, Hollywood thinks they can and should have everything
that's identifiable and nameable while we're just constantly
"experimenting", but I say we avant-garders and avant-gardettes have
also laid claim to genres—albeit sometimes unwittingly, but that's where
our love of experimenting comes in!) The program isn't totally set, but
it will cover the following genres (and more): the single-shot film, the
film that combines strict formalism with direct political content (n.b.:
someone will win a prize at the screening for coining a name for that
one), the documentary, the purely visual, the primarily text-based, the
animated, the sexy, the found footage, the led-by-narration, and maybe
even the silly. I recognize that "silly" might not (yet) be a genre. We
can discuss that. - SF The program will include work by Peggy Ahwesh,
Diane Bonder, David Ellsworth, Sonali Gulati, Kyle Kibbe, Mara
Mattuschka, J.J. Murphy, Ursula Puerrer, Alex Rivera, John Smith, among
others. Tickets - $6, available at door.
10/21
Los Angeles, California: Redcat
http://www.redcat.org/
8:30 pm, 631 W 2nd St.
ANTONI MUNTADAS AND MARSHALL REESE POLITICAL ADVERTISEMENT VII
(1952–2008)
Los Angeles premiere 2008 With each presidential election since 1984,
Antoni Muntadas and Marshall Reese have compiled a new edition of
Political Advertisement, a historical survey of television campaign
spots from 1952 to the present. This compelling anthology, updated to
include advertisements from this year's presidential campaign, charts
the selling of the American presidency in the media age. Muntadas and
Reese weave a revelatory social and media history that shows the ways in
which campaign advertising has become political strategy and
manipulative marketing technique. Muntadas's works, extending from video
to publishing to multimedia installations, have been internationally
recognized for their biting examinations of the media as an instrument
of socialization and normalization. Reese is a video artist and poet
who, in addition to his collaborations with Muntadas, teams up with
artist Nora Ligorano as the duo Ligorano/Reese. In person: Antoni
Muntadas, Marshall Reese
10/21
Prague, Czeck Republic: One Minute
19.30, Roxy/NoD, Dlouha 33, Praha 1
ONE MINUTE (VOLUME 2)
Screening of One Minute Volume 2 curated by Kerry Baldry One Minute
volume 2 is an eclectic range of moving image with formats such as 16mm
film, Super 8, video, stopframe animation, superimposition, all
constrained by a time limit of one minute. Artists included are: Gordon
Dawson, Laure Prouvost, Martin Pickles, Marty St.James,Eva Rudlinger,
Steven Ball, Guy Sherwin, Louisa Minkin, Steve Hawley, Gary Peploe, Lynn
Loo, Riccardo Iacono,Hilary Jack, Nicolas Herbert, Claire Morales,
Catherine Elwes,Tina Keane, Kate Meynell, Kerry Baldry, Phillip Warnell,
Nick Jordan,Margie Schnibbe, Stuart Pound, Esther Johnson, Mark Wigan,
Andy Fear, Philip Sanderson, Erica Scourti, Unconscious Films and Deklan
Kilfeather.
10/21
Reading, Pennsylvania: Berks Filmmakers
http://www.berksfilmmakers.org
7:30, Albright College
OLDBOY
Oldboy (2003, 120 min.) by CHAN-WOOK PARK. "Vengeance dominates the
modern action cinema, but to be a work of art, a revenge film needs to
give you something more than your sadistic jollies…. The important
vengeance sagas of our drama—The Oresteia, Hamlet, such Jacobean
revenger tragedies as, well, The Revenger's Tragedy—portray revenge as
both natural and cataclysmic, whereas in modern movies it's just action
business as usual. I have found my great vengeance director now in Park
Chan-Wook, a galvanic, 41-year-old South Korean filmmaker whose
Oldboy…won the Grand Jury Prize at the 2004 Cannes Film Festival. Park
understands the Western obsession with an eye for an eye (or an eye and
a nose and many teeth for an eye), but he also imbues his Punch and Judy
bloodbath with a morbid eastern detachment" David Edlestein,Slate. In
Korean with subtitles.
10/21
San Francisco, California: San Francisco Cinematheque
http://www.sfcinematheque.org
7:30 pm, Yerba Buena Center for the Arts
LESLIE THORNTON: TUNED ALWAYS TO A SHIFTING GROUND
Program Two: The Arts of Melancholy "Sensing, facing, absorbing the dark
side—it runs through all of my work. Melancholy—it produces a kind of
poetic realism that I think is ultimately about beauty and knowledge. It
touches at times on the political, but never through direct address. The
tone is there, starting with my first film, X-TRACTS (1975), in the
sound of a voice. It is present in the more recent serial Let Me Count
the Ways, as it examines personal, cultural, and historical fallout
surrounding the bombing of Hiroshima. She Had Her So He Do He To Her
(1987) looks at censorship through science fictional and tired eyes.
Another Worldy (1999) is both celebratory of dance, and at the same time
telling of the erasures each culture produces to maintain its own
coherence. It is in the interstices of language; that is where all of my
work resides—in the betweens. Also screening: …or lost (1997), part of
the in-progress The Great Invisible, and The Last Time I Saw Ron (1994),
a portrait of actor and close friend Ron Vawter." (Leslie Thornton)
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WEDNESDAY, OCTOBER 22, 2008
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10/22
Brooklyn, New York: Migrating Films/BAM
http://info@migratingforms.org
7:00 pm, Brooklyn Academy of Music, Peter Jay Sharp Building, 30 Lafayette Avenue
DELIVER PREMIERE
World Premiere of Jennifer Montgomery's DELIVER Wednesday, October 22nd
at 7pm BAMcinématek – 30 Lafayette Street, Brooklyn Tickets online
here—buy in advance, will sell out: http://www.bam.org/view.aspx?pid=634
A discussion with the filmmaker and cast moderated by Patricia White
will follow the screening. Migrating Forms presents the World Premiere
of DELIVER (2008), Jennifer Montgomery's all-female, video remake of
DELIVERANCE. Shooting in the Catskills rather than Appalachian Georgia,
a cast of experimental filmmakers/academics (Peggy Ahwesh, Jacqueline
Goss, Meredith Root, Su Friedrich and Montgomery) play mirages of
themselves—urban artists looking to unplug in the unspoiled wilderness.
Montgomery follows John Boorman's original movie and James Dickey's
original book closely, as the gender inversion complicates hegemonic
notions of nature, power, and sexual violence, all on a stretch of river
called, yes, The Beaverkill. About Jennifer Montgomery Film and video
artist Jennifer Montgomery has been making independent, often highly
personal work for the last two decades. Her work has been featured in
festivals, galleries, and biennials around the world and also has
received wider theatrical release. Widely respected in both the art
world and the world of experimental cinema, Montgomery's works vary in
theme and format, from formal explorations of Super-8 to experimental
features in HD. Her first 16mm feature-length work, ART FOR TEACHERS AND
CHILDREN (1995), played widely in the United States and abroad. A
fictionalized autobiographical film, it explores an affair between a
female prep school student and the male school counselor who takes nude
photographs of her. Montgomery's work includes short super-8 films such
as HOME AVENUE (1989), AGE 12: LOVE WITH A LITTLE L (1990) and I, A LAMB
(1992), as well as the video POET IN THE RING (1992). Other works
include TROIKA (1998), TRANSITIONAL OBJECTS (2000), and THREADS OF
BELONGING (2003). Highlighted at 2008's Whitney Biennial, her recent
work NOTES ON THE DEATH OF KODACHROME (1990– 2006) reflects on the
discontinuation of Kodachrome film (announced in 2005) and with it the
further endangerment of Super 8 film. In the work Montgomery describes
the connection to her Super 8 camera as being "like an extension of my
body." About Migrating Forms Migrating Forms grew out of the New York
Underground Film Festival (1993–2008), a grassroots endeavor that
evolved into a landmark international venue for documentary,
experimental and avant-garde narrative film and video. Over the past
fifteen years, notions of "underground" have changed and NYUFF has
transformed. Migrating Forms continues in the tradition of supporting
and exhibiting underground film and video, focusing on filmmakers
working to reinvent and recontextualize established practices to foster
new forms of media art. For more information contact
email suppressed Advance tickets:
http://www.bam.org/view.aspx?pid=634
10/22
Providence, RI: Magic Lantern
http://magiclanterncinema.com/
9:30 pm, Cable Car Cinema, 204 South Main Street
MAGIC LANTERN CINEMA PRESENTS: THE CHANNELING SHOW
Channeling, an invocation of spectral bodies and queer spirits Guest
curated by Ethan White and Latham Zearfoss GUEST CURATORS IN PERSON!!!!
CHANNELING is an entryway into the spirit realm and the queer body
politic: a loose catalogue of experimental moving image work that calls
up the ghosts of the past and the specters of the future. The intent of
the program is to re-imagine film and video as occult technologies that
allow us to connect with the bodies, experiences, and emotions that are
often invisible--ghostly, even--in everyday life. The works in the
program take a personal approach in dealing with the political and
historical problems that haunt the queer experience: the AIDS pandemic
(Renwick, DiStefano), the body in transition (Montague), the idealized
nuclear family (Pena, Robinson, Rosenfeld), and the narrow cultural
standards of desirability (EMR, Moulton). CHANNELING presents emerging
and established artists critically engaging with these concerns on their
own campy, poetic, sexual, humorous, and even utopian terms, using a
variety of aesthetic approaches such as digital video, homemade effects,
saturated 8mm, home movies, animation, green screen, and more.
Featuring: Vanessa Renwick, 9 is a Secret (2002, 6:00, video); Elliot
Montague, Well Dressed (2006, 10:00, Super 8mm on video); Shana Moulton,
Whispering Pines #7 (2006, 5:00, video); Michael Robinson, Carol Anne is
Dead (2008, 7:30, video); Liz Rosenfeld, don't do as i do : do as i say
(2008, 15:00, video); EMR (Math Bass & Dylan Mira), Somethings Gonna
Soon (2008, 4:00, video); Aay Preston-Myint, Some Ghosts (2007, 2:00,
video); Jillian Pena, Compromise (2005, 10:00, video); John Di Stefano,
(tell me why): The Epistemology of Disco (1990, 24:00, video) TOTAL
RUNNING TIME: 90 minutes
10/22
San Francisco, California: Canyon Cinema
http://www.canyoncinema.com
7:00pm, Artist's Television Access, 992 Valencia St.
MUSICAL PERFORMANCES BY ASCENDED MASTER AND COMMON EIDER, KING EIDER
FOLLOWED BY THE ANIMATIONS OF LAWRENCE JORDAN
Club Sandwich and Canyon Cinema present ... Musical performances by
Ascended Master and Common Eider, King Eider followed by the animations
of LAWRENCE JORDAN Wednesday, October 22nd, 2008, Artist's Television
Access 992 Valencia Street, San Francisco, CA. Doors at 7pm, $8-10
sliding. Program curated by Brianna Toth & Lauren Sorensen. Club
Sandwich and Canyon Cinema present an evening of musical performances by
Ascended Master and Common Eider, King Eider followed by the animations
of Lawrence Jordan. The elements of ritual and mythology, which
influence the aesthetics of both of these musical projects, also emerge
in Jordan's films. Combining 19th century ephemera with futuristic
spacemen through rhythmic motion, Jordan's animated cut-outs use free
association to build landscapes out of dream imagery and the uncanny.
Our Lady of the Sphere, 16mm, 10mins "A colour collage of rococo imagery
juxtaposed with symbols and imagery from antiquity to the space age.
Drawing from the Tibetan Book of the Dead, the film leads us deep into a
wondrous world conjured from an array of fantastic imagery, on an
adventure into the unknown." – ICO Essentials Rime of the Ancient
Mariner, 16mm, 42mins The Rime of the Ancient Mariner is based on the
poem by Samuel Taylor Coleridge, which utilizes the classical engravings
of Gustav Doré as backdrops and voice of Orson Welles as the narrator.
In the story told by Coleridge, the old Mariner wantonly kills the
albatross and suffers the wrath of the gods. Jordan transforms this tale
into a surreal opium dream. In this film the poem's verse, animated
collage and spontaneous soundtrack, deliver a hypnotic and surreal
rhythm that serves as the dominant structure of the film, rather than a
traditional plot. *** Larry Jordan is an independent filmmaker who has
been working in the Bay Area in California since 1955, and making films
since 1952. He has produced some 40 experimental and animation films,
and three feature-length dramatic films. Jordan is also one of the
founding directors of Canyon Cinema Cooperative. *** Club Sandwich is an
all-ages show collective that puts on events for under-the-radar
musicians, mixing the best touring and local music. In a locale where an
active all-ages venue does not exist, Club Sandwich events serve to
incubate the next generation of artists, providing an alternative to the
mass produced arena concert or church-sponsored all-ages shows that
become the default entertainment for the underage. *** Canyon Cinema
distributes independent film made in Super 8mm, 16mm and 35mm film, an
organization of filmmakers that initially operated as a showcase for
local work in Bruce Baillie's Canyon, California backyard in 1961.
Having grown from a catalog of 12 filmmakers to the present day
collection that contains personal prints from over 320 filmmakers,
Canyon Cinema is one of just two filmmaker cooperatives in the United
States that provides affordable and ready access to a collection of
films, which trace the long and storied history of underground and
experimental cinema.|||| www.clubsandwichbayarea.com|||||
www.canyoncinema.com||||| www.myspace.com/ascendedmaster|||
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THURSDAY, OCTOBER 23, 2008
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10/23
Chicago, Illinois: Conversations at the Edge
http://myspace.com/conversationsattheedge
6pm, 164 N. State St.
OMER FAST: RECENT WORKS
Omer Fast in person! The provocative, whip-smart work of Berlin-based
artist Omer Fast is garnering international acclaim, and with good
reason. Showcasing an incisive eye, sharp technique and keen wit, Fast's
videos and installations of funeral directors, Colonial Williamsburg
re-enactors, Schindler's List extras, and Iraq war veterans stitch
history, personal experience, and mass media conventions into
intellectually dissonant, emotionally resonant narratives. In
conjunction with his debut Chicago exhibition at SAIC's Rymer Gallery,
Fast will present his latest video, TAKE A DEEP BREATH (2008), as well
as LOOKING PRETTY FOR GOD (AFTER GW) (co-commissioned by SAIC and the
Manifesta Foundation, 2008), a single-channel version of THE CASTING
(2007), and excerpts from earlier works. Co-presented by SAIC's Visiting
Artists Program and the Department of Exhibitions and Events. 2003—2008,
Omer Fast, various countries, multiple formats, ca 90 min.
(continued in next email)
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For info on FrameWorks, contact Pip Chodorov at <email suppressed>.