Part 1 of 2: This week [October 18 - 26, 2008] in avant garde cinema

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

The Evergreen State College

Portland Documentary & eXperimental Film Festival (PDX FEST) (Portland, OR, USA; Deadline: January 23, 2009)
MadCat Women's International Film Festival (NY, NY USA; Deadline: November 17, 2008)
V International Festival of Audio-visual arts VIDOLOGIA 2008 (Russia ; Deadline: November 01, 2008)
Kansas City FilmFest (Kansas City, MO USA; Deadline: November 15, 2008)
The 8 Fest (Toronto, Ontario, CANADA; Deadline: November 15, 2008)

Takoma Park Film Festival (Takoma Park, MD, USA; Deadline: November 01, 2008)
MONO NO AWARE II (Brooklyn, NY. USA; Deadline: November 07, 2008)
Videologia (Russia; Deadline: October 20, 2008)
Images Festival (Toronto, Ontario, CANADA; Deadline: November 14, 2008)
2nd Annual Studio 60093 Children's Video Fest (Winnetka, IL USA; Deadline: November 11, 2008)
MAGA / Macon Georgia Film Festival (Macon, Georgia USA; Deadline: November 15, 2008)
San Francisco Ocean Film Festival (San Francisco, CA, USA; Deadline: October 31, 2008)
Gallery RFD (Swainsboro, GA; Deadline: October 31, 2008)
Post-Postcard 12 at The LAB OPEN INVITATIONAL (San Francisco, CA 94114; Deadline: November 22, 2008)
The LAB (San Francisco, CA, USA; Deadline: October 22, 2008)
MUSEEK (Saint-Petersburg, Russia; Deadline: November 01, 2008)
MadCat Women's International Film Festival (NY, NY USA; Deadline: November 17, 2008)
V International Festival of Audio-visual arts VIDOLOGIA 2008 (Russia ; Deadline: November 01, 2008)
Kansas City FilmFest (Kansas City, MO USA; Deadline: November 15, 2008)
The 8 Fest (Toronto, Ontario, CANADA; Deadline: November 15, 2008)

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

Also available online at Flicker:

 * 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.


Cambridge, Massachusetts: Harvard Film Archive
7pm, 24 Quincy Street

  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.

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

  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.

Hull, United Kingdom: One Minute

  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.

London, England:
2pm - 5pm, Camden Arts Centre, Arkwright Road, London NW3 6DG, UK

  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

New York, New York: Anthology Film Archives
12:00- 6:00 PM , 32 Second Avenue

  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.

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

  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.

Toronto, Ontario, Canada: Cinematheque Ontario
12:00 p.m., Jackman Hall - 317 Dundas St. West

  "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

vilnius, lithuania: solus film collective
7pm, Jonas Mekas Visual Arts Centre Konstitucijos pr. 3, 906 kab., LT-09601 Vilnius

  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


London, England:
3pm - 9pm,, 316–318 Bethnal Green Road, London, E2 OAG, UK

  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.

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

  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

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

  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.

San Francisco, California: San Francisco Cinematheque
7:30 pm, Yerba Buena Center for the Arts

  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


Cambridge, Massachusetts: Harvard Film Archive
7PM, 24 Quincy St. Cambridge, MA 02138

  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
  Miloševi&#263;. 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.

New York, New York: Images Festival
7:30 PM, Anthology Film Archives, 32 Second Avenue

  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
  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

Toronto, Ontario, Canada: Images Festival
2000, Workman Theatre, 1001 Queen Street West @ Ossington

  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.


Brooklyn, New York: Light Industry
8 pm, 55 33rd Street, 3rd Floor

  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.

Los Angeles, California: Redcat
8:30 pm, 631 W 2nd St.

  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

Prague, Czeck Republic: One Minute
19.30, Roxy/NoD, Dlouha 33, Praha 1

  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

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

  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.

San Francisco, California: San Francisco Cinematheque
7:30 pm, Yerba Buena Center for the Arts

  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)


Brooklyn, New York: Migrating Films/BAM
7:00 pm, Brooklyn Academy of Music, Peter Jay Sharp Building, 30 Lafayette Avenue

  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:
  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:

Providence, RI: Magic Lantern
9:30 pm, Cable Car Cinema, 204 South Main Street

  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

San Francisco, California: Canyon Cinema
7:00pm, Artist's Television Access, 992 Valencia St.

  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.|||||||||||||||||


Chicago, Illinois: Conversations at the Edge
6pm, 164 N. State St.

  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)

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