Part 1 of 2: This week [October 25 - November 2, 2008] in avant garde cinema

From: Weekly Listing (email suppressed)
Date: Sat Oct 25 2008 - 08:56:44 PDT

Part 1 of 2: This week [October 25 - November 2, 2008] in avant garde cinema

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

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)
Images Festival (Toronto, Ontario, CANADA; Deadline: November 14, 2008)
2nd Annual Studio 60093 Children's Video Fest (Winnetka, IL USA; Deadline: November 11, 2008)
28th Black Maria Film + Video Festival (Jersey City, NJ, USA; Deadline: November 24, 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)
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)

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Also available online at Flicker:

 * 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]
 * The Camera [October 25, New York, New York]
 * The Film Strip [October 25, New York, New York]
 * The Photograph [October 25, New York, New York]
 * The Frame [October 25, New York, New York]
 * The Frame [October 25, New York, New York]
 * Bill Berkson and Guests Jerome Hiler and Owsley Brown [October 25, San Francisco, California]
 * Schneider's 1, 2, 3 Whiteout + Archimedia + [October 25, San Francisco, California]
 * A Lower World: Excesses and Extremes In Film and video [October 25, Toronto, Ontario, Canada]
 * The Resounding Image [October 26, Brooklyn, New York]
 * 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]
 * Surveying Surveillance [October 26, London, UK]
 * Lynne Sachs and Mark Street Present "Xy Chromosome Project #3" [October 26, Los Angeles, California]
 * Object-Ified Time and Light [October 26, New York, New York]
 * Object-Ified Time and Light [October 26, New York, New York]
 * Object-Ified Time and Light [October 26, New York, New York]
 * Time and Place [October 26, New York, New York]
 * Room Film [October 26, New York, New York]
 * Leslie Thornton: Tuned Always To A Shifting Ground [October 26, San Francisco, California]
 * The Free Screen - Cinema and Disjunction [October 27, Toronto, Ontario, Canada]
 * Far From vietnam [October 28, Brooklyn, New York]
 * All About Eve [October 28, Reading, Pennsylvania]
 * Avant Cinema 2.1: Experimental Films From Romania [October 29, Austin, TX]
 * Detroit Docs International Film Festival 2008 [October 29, Detroit, Michigan]
 * Essential visual Music: Rare Classics From Cvm Archive [October 29, Ithaca, New York]
 * When It Was Blue, Double Projection Film By Jennifer Reeves (2008) [October 29, New York, New York]
 * Semiconductor [October 30, Chicago, Illinois]
 * Detroit Docs International Film Festival 2008 [October 30, Detroit, Michigan]
 * Time and Place : the Films of Ernie Gehr [October 30, Montreal]
 * When It Was Blue, Double Projection Film By Jennifer Reeves (2008) [October 30, New York, New York]
 * Open Screening [October 30, Reading, Pennsylvania]
 * How We Fight: Program 3: Terrorists [October 30, San Francisco, California]
 * Detroit Docs International Film Festival 2008 [October 31, Detroit, Michigan]
 * Art Docs Series - One Bad Cat: the Reverend Albert Wagner Story [November 1, Chicago, Illinois]
 * Detroit Docs International Film Festival 2008 [November 1, Detroit, Michigan]
 * Like A Shipwreck We Die Going Into Ourselves [November 1, New York, New York]
 * Erik Davis On Crowley and Zepplin [November 1, San Francisco, California]
 * Detroit Docs International Film Festival 2008 [November 2, Detroit, Michigan]
 * Star Spangled To Death [November 2, London, England]
 * Our Most Holy Performance [November 2, London, England]
 * Dimensional Bodies [November 2, San Francisco, California]

Events are sorted by CITY within each DATE.


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

  Curated and Introduced by Patrick Friel. Light and water have long been
  two favorite subjects of experimental filmmakers. Tonight's program
  features an outstanding international selection of new work riffing
  directly and indirectly on these themes. Bill Morrison (Decasia)
  continues his investigations of early archival footage in Who by Water
  (2007, 18 min., USA), here exploring the faces of ship passengers; In
  Studies in Transfalumination (2008, 5 min., US) Peter Rose uses
  "modified flashlights and stripped down video projectors to explore the
  visual complexities of the ordinary world." (PR); Christian Lebrat's V1
  (Vortex) (2007, 11 min., France) moves the tradition of filming light
  reflections on water into the digital age; this is not an anchor, this
  boat is not an anchor (2007, 11 mins, Canada), by Marianna Milhorat, "is
  the internal journey through a magical and mysterious landscape, where
  romanticism is continually disrupted" (MM); Takashi Ishida's Film of the
  Sea (2007, 12 min., Japan) playfully moves the sea into the gallery
  space; In Kerry Laitala's Orbit (2006, 9 min., 16mm, USA) carnival
  lights swirl and merge into a colorful illuminated dance; Sanctuary
  (2008, 8 mins., 16mm, USA) by Vanessa O'Neill: "Breath in response to
  the colors of air, an emergence to the moving light within" (VO). Total
  running time: 73 mins. All video except where noted.

Greenbelt Maryland: Utopia film festival
12 noon, Greenbelt Community Center room 114 (near the Greenbelt Library across the parking lot from Greenbelt’s Roosevelt Center); 15 Crescent Road

  August-Vanessa O'Neill-(4min 30)-Impressions and presences evocated
  through a hand-working of glimpses, of lighted moments. Polar-Scott
  Nyerges-(1min 35)Apocalyptic inner visions of the polar ice caps plight.
  All that Remains-Ryan Marino(8:25)A study in Light, textures and ghosts
  that make up the abandoned. Nanjing Sunday-Chris Lynn(5:00min)-Nanjing,
  China is explored through fragments of sound and light. Glimpses of the
  everyday are revealed Tower-Roger Beebe-(5min)A world of wonders lies
  just a glance away from the famous tower. Bus Stop-Chen
  Sheinberg-(2.5min)-A fascinating bus ride through Tel Aviv edited in the
  camera while shooting. Deconstruction Sight-Dominic
  Angerame-(14min)Angerame begins an investigation into the excavations
  that are supposed to help the city into the twenty-first century. The
  'time lapse' images radiate a pre-cinematographic purity that sharply
  contrasts with the industrial hell evoked by the excavators. Ghosts and
  Gravel Roads-Mike Rollo-15.45-An inventory of lost memories and places,
  the sun bleached landscape of Saskatchewan serves as a metaphor for
  displacement, a framing of emptiness and absence.

London, England: BFI London Film Festival
12pm to 7pm, BFI Southbank, Belvedere Road, South Bank, SE1

  PNEUMA MONOXYD (Thomas Köner, Germany-Serbia, 2007, 10m) Merging
  surveillance images of a German shopping street and a Balkan
  marketplace, Köner's darkly abstract work, with its spatially evocative
  soundtrack, generates a muted sense of spectral dystopia. Continuous
  Projection. Free Admission.

London, England: BFI London Film Festival
2pm, BFI Southbank, Belvedere Road, South Bank, SE1

  FOUR TORONTO FILMS (Nicky Hamlyn, UK, 2007, 18m) During a residency in
  the Canadian city, Hamlyn made this suite of films that explore a direct
  relationship between subject matter and camera apparatus. Three
  scrutinise aspects of the urban locale, the other an accelerated view of
  Koshlong Lake. 21 ALLEYS (Robert Todd, USA, 2007, 9min) A residential
  street, seen through the passageways that separate its dwellings, is the
  focus of this understated study of gentrification in a Boston
  neighbourhood. LAST DAYS IN A LONELY PLACE (Phil Solomon, USA, 2007,
  22m) Solomon has created a sombre elegy for a departed friend from
  fragments of movie soundtracks and anomalous images liberated from Grand
  Theft Auto. A soul drifts through unpopulated (virtual) spaces and we
  see absence. LOSSLESS #2 (Rebecca Baron, Douglas Goodwin, USA, 2008, 3m)
  Witness the dematerialization of an avant-garde standard as incomplete
  digital files, downloaded from file sharing networks, induce trouble in
  the image. TRILOGY: KETTLE'S YARD (Jayne Parker, UK, 2008, 25m) Linear
  Construction, Woman with Arms Crossed and Arc refer back to a quartet of
  films made with musician Anton Lukoszevieze almost a decade ago. This
  new anthology for solo cello was shot at Kettles Yard and incorporates
  items from the museum's collection which open up metaphorical space and
  meaning. THE MIRACLE OF DON CRISTOBAL (Lawrence Jordan, USA, 2008, 12m)
  An alchemical melodrama composed of engravings from 19th century
  adventure stories. The illustrations are conjured into motion as
  improbable sounds collide with a Puccini aria.

London, England: BFI London Film Festival
4pm, BFI Southbank, Belvedere Road, South Bank, SE1

  'The cinema, too, has to be destroyed.' (Guy Debord) An extremely rare
  opportunity to see new 35mm prints of films by French writer and
  theorist Guy Debord, best known for The Society of the Spectacle. Debord
  was a central figure of the Situationist International (SI), a
  nihilistic band of agitators whose harsh critiques of capitalist
  society, inspired by Marxism and Dada, were conveyed through
  publications, visual art and collective actions. Articulated primarily
  in the French language, Situationism was relatively ineffective in
  Britain and America in its time, and though numerous translations are
  now available, Debord's radical films remain unseen. Far ahead of its
  time, his technique of 'détournement' assimilates still and moving
  image-scraps from features, newsreels, printed matter, advertisements
  and other detritus to satisfy the viewer's 'pathetic need' for cinematic
  illusion. Propelled by a spoken, monotonous discourse, the images do not
  so much illustrate the text as underpin it, often maintaining a
  metaphorical relationship that may not at first be apparent. The two
  films showing here effectively bookend Debord's involvement with the
  Situationists, whose politically subversive practice aspired to provoke
  a revolution of everyday life. SUR LE PASSAGE DE QUELQUES PERSONNES Ŕ
  TRAVERS UNE ASSEZ COURTE UNITÉ DE TEMPS (Guy Debord, France, 1959, 18m)
  In the dingy bars of St-Germain-des-Prés, Debord and his associates
  formed a bohemian underground for whom 'oblivion was their ruling
  passion.' This anti-documentary captures the SI close to its moment of
  inception, following their separation from the Lettristes two years
  prior. IN GIRUM IMUS NOCTE ET CONSUMIMUR IGNI (Guy Debord, France, 1978,
  105m) 'I will make no concessions to the public in this film. I believe
  there are several good reasons for this decision, and I am going to
  state them.' And state them he does. Debord's final film is a
  denunciation of cinema and society at large, an unremitting diatribe
  against consumption. The SI is equated to a military operation (charge
  of the light brigade, no less) as its members are presented alongside
  images of the D-Day landings, Andreas Baader, Zorro, a comic strip
  Prince Valliant and quotes from Shakespeare, Ecclesiastes and Omar
  Khayyám. Debord takes no prisoners in this testament to his anarchistic

London, England: BFI London Film Festival
7pm, BFI Southbank, Belvedere Road, South Bank, SE1

  Alina Rudnitskaya's humanistic approach to documentary filmmaking often
  brings out the humour in her chosen subjects. As an introduction to her
  work, this programme depicts three diverse groups of contemporary
  Russian women. AMAZONS (Alina Rudnitskaya, Russia 2003, 20m) A sensitive
  portrait of an unusual urban phenomenon: a troupe of independent and
  strong-minded girls who keep horses in the heart of St Petersburg.
  Amazons follows a new volunteer as she tries to find her place within
  the group dynamic. BESAME MUCHO (Alina Rudnitskaya, Russia 2006, 27m)
  With music providing an escape from their duties as veterinarians,
  nurses and cleaners, the amateur chorus of a provincial town rehearse
  songs from Verdi's 'Aida'. Close bonds are formed, but in true diva
  style, relationships within the choir are frequently inharmonious. BITCH
  ACADEMY (Alina Rudnitskaya, Russia, 2008, 29m) An improbable symbol of
  modern Russia is displayed in this tragicomic verité on the aspirations
  of young women. In a progressive twist on assertiveness training, a
  middle-aged, paunchy Casanova (who surely loves his job) gives classes
  on how to seduce the male using role play, styling critiques and sexy
  dancing. The ultimate goal is to hitch a millionaire, and though there's
  much humour in the situation, occasional tears and telling looks remind
  us that the insecurities of real lives are being laid bare.

London, England: BFI London Film Festival
9pm, BFI Southbank, Belvedere Road, South Bank, SE1

  IN THE KINGDOM OF SHADOWS (Francisca Duran, Canada, 2006, 6m) Set in
  metal type, a passage from Maxim Gorky's review of the Lumičres melts
  into a pool of molten lead. HOW TO CONDUCT A LOVE AFFAIR (David Gatten,
  USA, 2007, 8min) 'An unexpected letter leads to an unanticipated
  encounter and an extravagant gift. Some windows open easily; other
  shadows remain locked rooms.'(DG) THE PARABLE OF THE TULIP PAINTER AND
  THE FLY (Charlotte Pryce, USA, 2008, 4min) A saturated cine-miniature
  inspired by Dutch 17th Century painting. DEEP SIX (Sami van Ingen,
  Finland, 2007, 7m) The film image of a loaded truck, careening free of
  its position in the frame, speeds along a mountain road towards an
  inevitable fate. DE TIJD (Bart Vegter, Netherlands, 2008, 9m) Computer
  animated abstraction in three dimensions. Slowly evolving geometric
  forms suggest sculptural figures and waning shadows. HORIZONTAL
  BOUNDARIES (Pat O'Neill, USA, 2008, 23m) O'Neill's dizzying deployment
  of the 35mm frame-line is intensified by Carl Stone's electronic score.
  A hard and rhythmic work, thick with superimposition, contrary motion
  and volatile contrasts, reminiscent of his pioneering abstract work of
  prior decades. EASTER MORNING (Bruce Conner, USA, 2008, 10m) Conner's
  freewheeling camera chases morning light in a hypnotic blur of colour
  and multiple exposures. This final work by the artist and filmmaker
  rejuvinates his rarely seen 8mm film Easter Morning Raga (1966). With
  music by Terry Riley.

Los Angeles, California: Echo Park Film Center
7 PM, 1200 N. Alvarado Street (@ Sunset Blvd)

  Investigation of a Flame: a documentary portrait of the Catonsville 9 by
  Lynne Sachs 7:00 - 8:00 PM On May 17, 1968, three Catholic priests, a
  nurse, an artist and four others walked into a Catonsville, Maryland
  draft board office, grabbed hundreds of selective service records and
  burned them with homemade napalm. Their poetic act of civil disobedience
  helped galvanize an increasingly disillusioned American public against
  the Vietnam War. Investigation of a Flame is an intimate look at this
  Sixties protest within our current times, when foes of Middle East
  peace, abortion, and technology resort to violence to access the public
  imagination. Filmmaker Lynne Sachs combines volatile, long-unseen,
  archival footage with interviews with Daniel and Philip Berrigan and
  other members of the Catonsville Nine, encouraging viewers to ponder the
  relevance of civil disobedience and the implications of personal
  sacrifice today. HIDDEN IN PLAIN SIGHT by Mark Street - 8:30 - 10 PM In
  Hidden In Plain Sight, Mark Street and his camera travel to five major
  cities in different nations-- the United States (New York City), Vietnam
  (Hanoi), France (Marseilles), Senegal (Dakar) and Chile (Santiago). At
  each stop, Street observes the people, the traffic patterns and the
  scenery while looking for evidence of revolutionary political thought as
  the principles of Ho Chi Minh and Salvador Allende pop up in unexpected
  places. Featuring a score by noted cellist Jane Scarpantoni, Hidden In
  Plain Sight was an official selection at the 2008 Tribeca Film Festival,
  was it was screened as part of the "Progressive Landscapes" series. ~
  Mark Deming, All Movie Guide FREE! FILMMAKERS IN ATTENDANCE!

New York, New York: Whitney Museum of American Art
12:30PM, 945 Madison Avenue

  Babette Mangolte, ‚Le Camera: Je', 1977, 88 min.

New York, New York: Whitney Museum of American Art
5pm, 945 Madison Avenue

  Bill Brand, 'Rate of Change: Acts of Light Part 1', 1972-74, 17 min.
  Paul Sharits, 'Episodic Generation' (1977-78), 30 min.

New York, New York: Whitney Museum of American Art
11:30am, 945 Madison Avenue

  films, the photograph becomes the subject; the frame is revealed as a
  central element in defining the boundary between stillness and movement.
  And the composition of the film strip, a series of still images printed
  onto celluloid, is made explicit through re-photography. Michael Snow,
  'Slides Seat Painting Slides Sound Film' (1970), 20 min. Morgan Fisher,
  'Production Stills', 1970, 11 min. Michael Snow, 'One Second in
  Montreal' (1969) 26 min.

New York, New York: Whitney Museum of American Art
2pm, 945 Madison Avenue

  2pm – 3.30pm Peter Gidal, 'Heads', 1969, 34 min. Hollis Frampton,
  'Nostalgia', 36 min. Nancy Graves, Isy Boukir, 1971, 16 min.

New York, New York: Whitney Museum of American Art
4pm, 945 Madison Avenue

  Barry Gerson, 'Inversion' (1973), 16 min. Bill Brand, 'Moment', 1972, 23
  1/2 min. Paul Sharits, 'Brancusi's Sculpture Ensemble at Tirgu Jiu'
  (1977-84), 21 min.

San Francisco, California: New Langton Arts
7pm, 1246 Folsom Street

  Bill will be reading from his recent book of poetry, "Goods and
  Services" as well as from his forthcoming "Portrait and Dream: New &
  Selected Poems" (Coffee House Press, spring 2009). This will be followed
  by short film screenings from his invited guests - filmmakers Owsley
  Brown and Jerome Hiler. Poet, art critic, former professor of Liberal
  Arts at the San Francisco Art Institute, Berkson has been a resident of
  the Bay Area since 1970. During the 1970's he edited and published a
  series of little magazines and books under the Big Sky imprint. He is
  the author of nearly 20 pamphlets and books of poetry, as well as
  numerous essays on art and literature. He is a corresponding editor for
  Art in America. His criticism has been collected in "The Sweet Singer of
  Modernism: Selected Art Writings 1984-2004"; "Sudden Address: Selected
  Lectures"; and the forthcoming "For the Ordinary Artist: Writings and
  Interviews on Art & Poetry" (2009). Hiler and Brown will screen footage
  from their as-yet unfinished "Untitled (The Louisville Orchestra
  Project)" centered on the development of the fabled muscial organization
  founded in 1937 by visionary conductor Robert Whitney and the then Mayor
  of Louisville, Kentucky, Charles Farnsley. Beginning in 1948, Whitney,
  sometimes described as a "wide-eyed visionary," commissioned new works
  from contemporary composers such as William Schumann and others, and
  hosted such major figures as Igor Stravinsky and Dimitri Shostakovich.

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

  Longtime OC ally James June Schneider has managed a prolific rate of
  output even after moving to Paris for an advanced degree. He's bringing
  back a 16mm print of his exquisitely stylized sci-fi feature 1, 2, 3,
  Whiteout, an allegorical, speculative, late New Wave take on human
  trajectories through the City of Light. Extrapolating on the
  architectural, David Cox and Molly Hankwitz of Archimedia present Guy
  Debord's Paris -obsessed short On the Passage of a Few Persons Through a
  Rather Brief Period of Time, towards an understanding of both the
  Situationists and the Schneider. ALSO: Caspar Stracke's Rong Xiang, on
  the (de)construction of the Chinese copy of Le Corbusier's iconic Notre
  Dame du Haut.

Toronto, Ontario, Canada: Pleasure Dome
11am 8 pm, Pixel Gallery, 156 Augusta Ave

  Media Art Gallery Exhibition featuring seven video works: Monster Movie,
  Takeshi Murata, 2005, 3:55 min., single-channel video on monitor, looped
  playback with headphones Up and Away, Michael Bell-Smith, 2006, 6:40
  min., single-channel video projected, loop playback with sound The
  American Desert (for Chuck Jones), Mungo Thomson, 2002, 33:45 min.,
  single-channel video projected, looped playback with sound Untitled
  (Working Title Kids & Dogs), Nathalie Djurberg, 2007, 33 min.,
  two-channel video on LCD monitors, looped playback with headphones
  Journey to the Lower World, Marcus Coates, 2004, 30 min., single-channel
  video on monitor, looped playback with headphones Killing Friends,
  Julian Hoeber, 2001, 31 min. single-channel video on LCD monitor, looped
  playback with headphones accompanied with a set of photographs Beg for
  Your Life, Laurel Nakadate, 2006, 13 min. single-channel video on LCD
  monitor, looped playback with headphones Where You'll Find Me, Laurel
  Nakadate, 2005, 3:32 min. single-channel video on LCD monitor, looped
  playback with headphones


Brooklyn, New York:
8pm, 882 Third Avenue

   The Resounding Image The seven artists gathered for this show come from
  a range of different artistic practices. Music and sound art, film and
  photography, performance and installation are some of the elements of
  their respective work. As sound composers and performers, they are
  interested in the cinematic and evocative qualities of sound. As
  photographers and film makers, they look for inherent musical qualities
  of images and their display. All of them look to unfold by some degree
  narrative structures (whether broad or minimal, open-ended or finite)
  within the time frame of the live show. Resounding Image brings these
  artists together because of their shared interest in intermedia
  cross-pollination. As a one-night event, it defines a space and a time
  for sound and image to meet and interact. Artists: Aki Onda and
  mpld,Bruce McClure,Fabienne Gautier,Combes & Renaud,Sylvain Flanagan
  Resounding Image is an original idea of Gill Arno, Fabienne Gautier and
  Sylvain Flanagan. Show Starts at 8pm One night only Admission$10
  Diapason Gallery for Sound and Intermedia 882 Third Avenue (between 32nd
  and 33rd Street), 10th Ąoor Brooklyn NY 11232 Subways: D, N, R to 36th

London, England: BFI London Film Festival
12pm to 7pm, BFI Southbank, Belvedere Road, South Bank, SE1

  Continuous Projection. Free Admission. KEMPINSKI (Neil Beloufa,
  Mali-France, 2007, 14m) Whilst challenging our stereotypical view of
  Africa, Kempinksi also blurs the lines between documentary, ethnography
  and science fiction. Asked to imagine the future but to speak in the
  present tense, the protagonists describe extraordinary and unexpected

London, England: BFI London Film Festival
2pm, BFI Southbank, Belvedere Road, South Bank, SE1

  In his search for a 'polyvalent' mode of filmmaking, Nathaniel Dorsky
  has developed a filmic language which is intrinsic and unique to the
  medium, and expressive of human emotion. Seeking wonder not only in
  nature but in the everyday interaction between people in the
  metropolitan environment, Dorsky observes the world around him. Free of
  narrative or theme, his films transcend daily reality and open a space
  for introspective thought. 'Delicately shifting the weight and solidity
  of the images', a deeper sense of being is manifest in the interplay
  between film grain and natural light. Dorsky returns to London to
  introduce two brand new films and Triste, the work that first intimated
  his sublime and distinctive 'devotional cinema'. These lyric films are
  humble offerings which unassumingly blossom on the screen, illuminating
  a path for vision. WINTER (Nathaniel Dorsky, USA, 2007, 19m) 'San
  Francisco's winter is a season unto itself. Fleeting, rain-soaked,
  verdant, a brief period of shadows and renewal.'(ND) SARABANDE
  (Nathaniel Dorsky, USA, 2008, 15m) 'Dark and stately is the warm,
  graceful tenderness of the sarabande.'(ND) TRISTE (Nathaniel Dorsky, USA
  1978-96, 19m) 'The sadness referred to in the title is more the struggle
  of the film itself to become a film as such, rather than some pervasive

London, England: BFI London Film Festival
3:45pm, BFI Southbank, Belvedere Road, South Bank, SE1

  THE FEATURE (Michel Auder, Andrew Neel, USA, 2008, 177m) In Michel
  Auder's case, the truth is certainly stranger than fiction. One of the
  first to compulsively exploit the diaristic potential of the Sony
  Portapak, he was right there at the heart of the Warhol Factory and the
  Soho art explosion. This fictionalised biography draws on his vast
  archive of videotapes, connecting them by means of a distanced narration
  and new footage, shot by co-director Andrew Neel, in which Auder
  portrays his doppelganger, an arrogantly successful artist who may or
  may not have a life-threatening condition. Resisting nostalgia through
  wilful ambiguity, The Feature remains raw and brutally honest as Auder
  displays the best and worst of himself. Taking in his marriages to both
  Viva and Cindy Sherman, and affiliations with Larry Rivers, the Zanzibar
  group and the downtown art scene, this is necessarily a tale of epic
  proportions, chronicling an amazing journey through art and life whilst
  providing access to a wealth of fascinating personal footage.

London, England: BFI London Film Festival
7pm, BFI Southbank, Belvedere Road, South Bank, SE1

  SMALL MIRACLES (Julia Hechtman, USA, 2006, 5m) Sci-fi hallucinations
  seem commonplace as Hechtman invokes mysterious natural phenomena: an
  extreme case of mind over matter. KEMPINSKI (Neil Beloufa, Mali-France,
  2007, 14m) Speaking in the present tense, interviewees describe their
  idiosyncratic notions of the future. To the western viewer, the unlikely
  subjects, stylized settings and atmospheric lighting impart a strange
  disconnect between science fiction and anthropology. TJÚBA TÉN (THE WET
  SEASON) (Brigid McCaffrey, Ben Russell, USA-Suriname, 2008, 47m) 'An
  experimental ethnography composed of community-generated performances,
  re-enactments and extemporaneous recordings, this film functions doubly
  as an examination of a rapidly changing material culture in the present
  and as a historical document for the future. Whether the record is
  directed towards its subjects, its temporary residents (filmmakers), or
  its Western viewers is a question proposed via the combination of long
  takes, materialist approaches, selective subtitling, and a focus on
  various forms of cultural labour.'(BR) REMOTE INTIMACY (Sylvia
  Schedelbauer, Germany, 2008, 15m) Cast adrift in the collective
  unconscious, Remote Imtimacy constructs an allegorical collage from
  found footage and biographical fragments, exploring cultural dislocation
  using the rhetoric of dreams.

London, England: BFI London Film Festival
9pm, BFI Southbank, Belvedere Road, South Bank, SE1

  An intrepid explorer, Ben Rivers toys with ethnographic tropes whilst
  roaming free from documentary truth. Encountering those who choose to
  live apart from society, his nonjudgmental approach presents 'real life,
  or something close to it.' The Edge of the World features several recent
  works with other films of his choice. AH LIBERTY! (Ben Rivers, UK, 2008,
  19m) In the wilderness of a highland farm, a bunch of tearaways joyride,
  smash up, tinker and terrorize the way that only children can.
  Assimilating landscape and livestock, this poetic study contrasts the
  languid setting with the youngster's restless energy. RECORDANDO EL AYER
  (Alexandra Cuesta, USA, 2007, 9m) In the shadow of an elevated subway
  line in Queens, New York, the residents, streets and stores of a Latino
  community evoke a sense of transience and displacement. ASTIKA (Ben
  Rivers, UK-Denmark, 2007, 8m) Danish recluse Astika has allowed nature
  to run wild, overgrowing his own habitat to the point that he has no
  option but to move away. The film is a hazy arrangement in green and
  gold, all rich textures and lush foliage. SINGING BISCUITS (Luther
  Price, USA, 2007, 4m) A gospel cry rings out across the decades,
  disrupted in space and time, fading but resilient. NEW SURPRISE FILM
  (Ben Rivers, UK, 2008, c.7m) A little anticipation never did anyone any
  harm; you'll have to be there to find out what it is. ORIGIN OF THE
  SPECIES (Ben Rivers, UK, 2008, 17) 'A 70-year old man living in a remote
  part of Scotland has been obsessed with 'trying to really understand'
  Darwin's book for many years. Alongside this passion, he's been
  constantly working on small inventions for making his life easier. The
  film investigates someone profoundly interested in human beings, but who
  has decided to live separately from the majority of them.'(BR)

London, UK: atmos
11am, Vortex, 3 Bradbury Street, Dalston, London N16 8JN

  SURVEYING SURVEILLANCE: What and whom is surveillance for? Sunday 26th
  October, The Vortex, 3 Bradbury Street, Dalston, London N16 8JN 11.00
  "SeeCTV – Watching the Watchers" – local street activism & documentation
  workshop. 14.00 "Surveying Surveillance" Symposium. 16.00 Workshop
  conclusion. 1 This Sunday October 26th at 2pm, Alex Haw (atmos) will be
  chairing a major multidisciplinary discussion between various
  surveillance experts interrogating the purpose and spatial significance
  of surveillance technologies. 2 The Symposium will be preceded by a
  workshop at 11am exploring and documenting Dalston's neighbourhood
  surveillance. 3 The overall Festival launch is this Thursday, 7pm; all
  welcome. 1 SYMPOSIUM: Forms of surveillance are all around us, radically
  transforming our experiences of cities and spaces. Our attitudes to them
  are ambiguous and conflicted: we decry privacy intrusions but demand yet
  more CCTV cameras; our daily news is riddled with stories of disastrous
  data losses, yet dataveillance and surveillance are rapidly growing
  industries, increasingly explored by writers and artists, increasingly
  ubiquitous as forms of televisual entertainment. Our needs mingle with
  both our fears and our desires. This symposium, convened by Alex Haw
  (atmos) as part of the TINAG annual conference, gathers a number of
  experts from the various corners of the surveillance debate to confront
  and discuss issues concerning the purpose, ethics, effectiveness,
  spatiality, and finally the fantasies and dystopias of surveillance.
  Juvenal's oft quoted surveillance adage 'Quis Custodes Ipsos Custodiet'
  will prompt another Latin question: Cui Bono? Our main question is
  simply ­ what is surveillance for? Does it promote peace and justice, or
  encourage fear and anxiety? Does it benefit a private or privileged
  elite, or serve a much wider humanity? Is it there to be obeyed, or
  subverted? Which is its main constituency ­ the people, the politician,
  the policeman, the artist, the street performer, the service provider or
  CCTV operative? Each speaker will give a brief presentation of their
  work and research in the field before a wider panel discussion.

Los Angeles, California: Film Forum
7:00 PM, The Egyptian Theatre, 6712 Hollywood Blvd

  Garden of Verses: An Evening of Cinematic Seeds and Mordant Vines From
  archival snips of an educational film on the weather to cine poems in
  full blossom, New York film "avant-gardeners" Mark Street and Lynne
  Sachs create their 3rd XY CHROMOSOME PROJECT. This program of 10 short
  films on both single and double screen gleans audio-visual crops from
  the dust of the filmmakers' fertile and fallow imaginations. In this
  avalanche of visual ruminations on nature's topsy-turvy shakeup of our
  lives, Street and Sachs ponder a city child's tentative excavation of
  the urban forest, winter wheat, and the great American deluge of the
  21st Century (so far).

New York, New York: Whitney Museum of American Art
1:30pm, 945 Madison Avenue

  Peter Gidal, '4th Wall', 1978, 38 1/4 min. Larry Gottheim, 'Barn
  Rushes', 1971, 34 min. Larry Gottheim, 'Fog Line', 1970, 11 min.

New York, New York: Whitney Museum of American Art
11:30am, 945 Madison Avenue

  Sandra Gibson, 'NYC Flower Film', 2003, 5 min. Super-8 film. Ernie Gehr,
  'Untitled', 1977, 5 min. Larry Gottheim, 'Blues', 1970, 8 1 /2 min.
  Ernie Gehr, Table' (1977), 14 min. Power Boothe, 'Match', 1974, 4 min.
  Babette Mangolte, '(Now) or Maintenant Entre Parentheses', 1976, 10 1/4
  min. Ernie Gehr, 'Wait', 1968, 7 min.

New York, New York: Whitney Museum of American Art
12:30pm, 945 Madison Avenue

  Hollis Frampton, 'Lemon (for Robert Huot)', 1969, 7 min.

New York, New York: Whitney Museum of American Art
3:30pm, 945 Madison Avenue

  The camera explores the city - Times Square, the meatpacking district
  and Mulberry Street in the Lower East Side; in one film, the cracks in
  the sidewalk become the primary subject. A fixed camera records a silent
  street in Lodz in Poland; a flea market in East Berlin is captured just
  after the fall of the Berlin Wall. Rudy Buckhardt, What Mozart Saw on
  Mulberry Street', 1956, 6 min. Rudy Buckhardt, 'Square Times', 1967, 6
  1/2 min. Marie Menken, 'Sidewalks', 1966, 6 1/2 min. Christine Noll
  Brinckman, The West Village Meat Market, 1979, 11 1/2 min. Peter Hutton,
  'Lodz Symphony', 1991-93, 20 min. Ernie Gehr, 'This Side of Paradise',
  1991, 14 min.

New York, New York: Whitney Museum of American Art
4:30pm, 945 Madison Avenue

  "Gidal poses the problem of the dialectic of representation, through
  representation." (Malcolm LeGrice) Peter Gidal, 'Room Film', 1973, 54

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

  Program Three: Peggy and Fred in Hell: The Expiration Peggy and Fred in
  Hell (1984–2008), Leslie Thornton's major work, is a serial epic akin to
  the works of Craig Baldwin and Alan Curtis in its ravenous appropriation
  of disparate archival footage, radical use of diverse genre forms and
  embodiment of media history. Variously documenting and dramatizing the
  lives of two children adrift in a post-apocalyptic, yet media saturated,
  wasteland, Peggy and Fred… is equal parts ethnography, science fiction
  and horror film. Issued episodically and long considered to be
  perpetually "incomplete," The Expiration marks the approach of its
  unexpected conclusion: "I would say it has been a quest which began to
  close down after 9/11, when the pretense of the work's 'future tense'
  (its undefined apocalypse) dissolved into a more disturbing present and
  then even a past. Peggy and Fred… was set in the detritus of the Cold
  War. In the last few episodes, the serial project finds its narrative
  arc, ending on a note strangely optimistic, though post-human." Thornton
  will end the event with a reading of text from The Eradication, the
  final episode in progress of Peggy and Fred in Hell.


Toronto, Ontario, Canada: Cinematheque Ontario
7:00 p.m., Jackman Hall - 317 Dundas St. West

  The Liaison of Independent Filmmakers of Toronto (LIFT) and Cinematheque
  Ontario are pleased to present Adrian Blackwell's Night Equals Day and
  Daniel Young and Christian Giroux's Every Building, Or Site, That a
  Building Permit Has Been Issued for a New Building in Toronto in 2006.
  These two new 35mm architectural films form the initial parts of LIFT's
  "Cinema and Disjunction" commissioning and production support project
  for critical architectural film works. Drawing inspiration from art
  historical precedents and contemporary critiques of the urban form, the
  initial projects presented under this framework defamiliarize and
  interrupt our city's visual narratives with new questions and
  alternative possibilities. To express our intent in Bernard Tschumi's
  terms, these films "reinscribe the movement of bodies in space, together
  with the actions and events that take place within the social and
  political realm(s) of architecture." Blackwell's Night Equals Day
  employs complex camera control to record a day at a single point of
  Regent Park's Sackville and Oak streets intersection (now the site of
  significant condominium development), compressing a twelve-hour equinox
  day to thirty minutes of film time, one frame per second, and one
  three-hundred-and-sixty degree camera rotation per hour. In Young and
  Giroux's Every Building, one has the impression of an accelerated
  Toronto represented by one hundred and thirty odd buildings or building
  sites captured in eight second shots. These highly aestheticized images,
  shot all over Toronto's boundaries, develop a time-based response to
  photo-conceptualism's language of architectural photography, reframing
  Ruscha within contemporary conceptualism. – Ben Donoghue, Executive
  Director: Adrian Blackwell (Canada, 2008, 30 minutes, 35mm, silent).
  ISSUED FOR A NEW BUILDING IN TORONTO IN 2006. Directors: Daniel Young &
  Christian Giroux (Canada, 2008, 21 minutes, 35mm, silent).


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

  Far From Vietnam, Jean-Luc Godard, Joris Ivens, William Klein, Claude
  Lelouch, Chris Marker, Alain Resnais, Agnes Varda, 16mm, 1967, 120
  minutes "One of the most powerful documentary statements about the
  opposition to the U.S. involvement in Vietnam. In fact, I would cite
  Emile de Antonio's 1968 In the Year of the Pig and the collectively made
  1972 Winter Soldier as its only real competitors." - Jonathan Rosenbaum,
  Moving Image Source Organized under the aegis of SLON (Société pour le
  Lancement des Oeuvres Nouvelles) and overseen by Chris Marker as a
  protest of the US involvement in Vietnam, this legendary portmanteau,
  which features contributions by seven iconic artists, stands as
  watershed moment for political cinema as well as collective filmmaking.
  A melange of fictional and documentary elements shot across the US,
  France, Cuba, and Vietnam, it was a source of some controversy in its
  time, and remains a provocative and resonant essay on global conflict
  and life during wartime. "Far from Vietnam is a film of question marks,
  of questions we ask ourselves as often perhaps as you. It's for that
  reason that we put them on the screen: after all, it is as natural for
  filmmakers to speak on a white canvas as in a cafe." - Alain Resnais "On
  the corner of 42nd Street and 8th Avenue in New York, a guy is reciting
  a poem consisting of the syllables na-palm. And no one knows what napalm
  is. It showed me how blind people become to something they hear referred
  to all day long. So, we decided to do something a little like Picasso
  confronted by the bombing of Guernica." - William Klein Tickets - $6,
  available at door.

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

  All About Eve (1950, 138 min.) by JOSEPH L. MANKIEWICZ. "…boundless
  tribute to Mr. Mankiewicz and his cast for ranging a gallery of people
  that dazzle, horrify and fascinate. Although the title character—the
  self-seeking, ruthless Eve, who would make a black-widow spider look
  like a lady bug—is the motivating figure in the story and is played by
  Anne Baxter with icy calm, the focal figure and most intriguing
  character is the actress whom Bette Davis plays. This lady, an aging,
  acid creature with a cankerous ego and a stinging tongue, is the end-all
  of Broadway disenchantment, and Miss Davis plays her to a
  fare-thee-well. Indeed, the superb illumination of the spirit and pathos
  of this dame which is a brilliant screen actress gives her merits an
  Academy award. -Bosley Crowther, New York Times

(continued in next email)

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