Part 1 of 2: This week [November 15 - 23, 2008] in avant garde cinema

From: Weekly Listing (email suppressed)
Date: Sat Nov 15 2008 - 08:10:57 PST

Part 1 of 2: This week [November 15 - 23, 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 Philosophers Stone" by Raymond Salvatore Harmon
"Taking Time a real time digital seascape" by Chris Welsby
"Heaven's Breath Digital Media Installation" by Chris Welsby
"Trees in Winter A digital media installation" by Chris Welsby

SUNY Fredonia
Massachusetts College of Art and Design

Royalty Free Music Collection

South by Southwest Film Festival (Austin, TX; Deadline: December 12, 2008)
Fargo Film Festival (Fargo, ND, USA; Deadline: January 01, 2009)
Curtas Vila do Conde (Vila do Conde, Portugal; Deadline: April 06, 2009)
Media Artists (Fort Lauderdale, FL USA; Deadline: December 05, 2008)
The European Independent Film Festival (Paris, France; Deadline: December 15, 2008)
MEDIA CITY (Windsor, Ontario, Canada; Deadline: February 20, 2009)
Main Line Film Festival (Wayne, PA, USA; Deadline: January 31, 2009)
Magmart | video under volcano (Naples, Italy; Deadline: January 15, 2009)
$100 Film Festival (Calgary, AB CANADA; Deadline: December 02, 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)
Cleveland International Film Festival (Cleveland, OH USA; Deadline: November 30, 2008)
Hinterland Film Festival (Montague, MA, USA; Deadline: December 01, 2008)
Post-Postcard 12 at The LAB OPEN INVITATIONAL (San Francisco, CA 94114; Deadline: November 22, 2008)
Wisconsin Film Festival (Madison, WI, USA; Deadline: December 01, 2008)
MadCat Women's International Film Festival (NY, NY USA; Deadline: November 17, 2008)
Kansas City FilmFest (Kansas City, MO USA; Deadline: November 15, 2008)
The 8 Fest (Toronto, Ontario, CANADA; Deadline: November 15, 2008)
47th Ann Arbor Film Festival (Ann Arbor, MI, USA; Deadline: November 15, 2008)
Gallery RFD (Swainsboro, GA; Deadline: November 28, 2008)
Migrating Forms (New York, NY, USA; Deadline: December 15, 2008)
South by Southwest Film Festival (Austin, TX; Deadline: December 12, 2008)
Media Artists (Fort Lauderdale, FL USA; Deadline: December 05, 2008)
The European Independent Film Festival (Paris, France; Deadline: December 15, 2008)
$100 Film Festival (Calgary, AB CANADA; Deadline: December 02, 2008)

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

Also available online at Flicker:

 * Los Angeles As A Character [November 15, Los Angeles, California]
 * Moving Figures: the Animated World of Robert Breer [November 15, Los Angeles, California]
 * Paper Cannot Wrap Up Embers [November 15, New York, New York]
 * Peace With Seals [November 15, New York, New York]
 * Alone In Four Walls [November 15, New York, New York]
 * Umbrella By Du Haibin [November 15, New York, New York]
 * Sinking village, Recycle, the Pests - Short Films [November 15, New York, New York]
 * Alex Rivera's Sleep Dealer + [November 15, San Francisco, California]
 * Moving Figures: the Animated World of Robert Breer – Part 3 [November 16, Los Angeles, California]
 * Gandhi's Children By David Macdougall [November 16, New York, New York]
 * The Lost Colony [November 16, New York, New York]
 * Throw Down Your Heart (Featuring BéLa Fleck) [November 16, New York, New York]
 * An Evening With Robert Todd [November 17, Cambridge, Massachusetts]
 * An Evening With Kenneth Anger: Dangerous Cinema [November 17, Los Angeles, California]
 * Postcards From True North [November 18, Amsterdam]
 * Mike Kuchar In Person [November 18, Reading, Pennsylvania]
 * After School Special [November 18, Vancouver, British Columbia]
 * Teenage Wildlife [November 19, London, England]
 * Launche Event of One Minute (Volume 2) & Teenage Wildlife [November 19, London, England]
 * Experiments In Terror (Expanded Edition) [November 19, Los Angeles, California]
 * Magic Lantern Presentes: the Aftermath Show (11/19, Not 11/11 As
    Originally Posted!!) [November 19, Providence]
 * The Free Screen - the Experimental Cinema of Paolo Gioli [November 19, Toronto, Ontario, Canada]
 * The Presentation theme: New & Old Films By Jim Trainor [November 20, Chicago, Illinois]
 * Paul Mccarthy and Damon Mccarthy: Caribbean Pirates [November 20, Los Angeles, California]
 * Music By the Eyeful : Image To Sound : Sound To Image [November 20, San Francisco, California]
 * Notes On Composing: 5 Collaborations In Film and Music [November 21, Amsterdam]
 * Colour Field Film and video [November 21, London, England]
 * Paul Mccarthy and Damon Mccarthy: Caribbean Pirates [November 21, Los Angeles, California]
 * Radisrose [November 21, Paris, France]
 * Video Works By Wago Kreider [November 21, San Francisco, California]
 * Urban Image Showcase - Open Call [November 22, Cape May, NJ]
 * Open Screening [November 22, Chicago, Illinois]
 * Paul Mccarthy and Damon Mccarthy: Caribbean Pirates [November 22, Los Angeles, California]
 * Underworld Cinema: the Life and Work of J.X. Williams [November 22, Los Angeles, California]
 * Trevor Paglen's the Heavens Above + [November 22, San Francisco, California]
 * Filmforum Presents Coleen Fitzgibbon: Internal Systems [November 23, Los Angeles, California]
 * Scott Macdonald On the Spirit of Canyon Cinema [November 23, San Francisco, California]
 * How We Fight: Program 5: Mercenaries [November 23, San Francisco, California]

Events are sorted by CITY within each DATE.


Los Angeles, California: Echo Park Film Center
8:00 PM, 1200 Alvarado Street

  LOS ANGELES AS A CHARACTER is a one-night only screening that will
  showcase narrative, experimental and documentary short films and videos
  with the city of Los Angeles as a peripheral or central, theme, backdrop
  or character. The following 14 films will be screened: "Dance, Eli,
  Dance" (2005) – Ava Hess; "Dichotomy" (2008) – Van Veng; "Hair Cowboy"
  (2008) – Patrick Robins; "I Remember Venice" (2008) – Will O'Loughlen;
  "Intoxicated Demons"(2005) – Donlee Brussell; "Iris:Los Angeles" –
  (2005) Valentina Martin; "Memories of an Undefined Image" (2007) – Mason
  Chadwick Shefa; "Moose, Indian" (2006) – Nicholas Kokich; "Mr.
  Freeway"(2008) – Kenneth Hughes; "Palm Tree Song Line" (2008) – Dagie
  Brundert; "Roger" (2007) – Jennifer Stefanisko; "Rollingman" (2000) –
  Mike Sakamoto; "Some Los Angeles Apartments and a Dorm" (2003)– Laura
  Daroca; "Westsider" (2007) – Charles Doran More information on the films
  and filmmakers can be found here:

Los Angeles, California: UCLA Film and Television Archive
7:30pm, Billy Wilder Theater / Hammer Museum, 10899 Wilshire Blvd.

  Robert Breer, one of America's foremost independent filmmakers for more
  than 50 years, will pay a rare visit to Los Angeles to attend a
  multi-venue celebration of his work. A close colleague of Rauschenberg,
  Oldenburg and other seminal artists of the 1950s and '60s, Breer has
  brought a comparably imaginative and rigorous appreciation for collage
  and pure form to the art of cinema. Throughout a body of more than 40
  animated--and in many ways anti-animated films--Breer celebrates cinema
  as a unique way of seeing and the act of drawing as a richly expressive
  and unpredictable personal gesture. Tonight's program includes the
  majority of films Breer released between 1974 and 2003, a period of
  remarkable growth and sustained artistic activity. In person: Robert
  Breer. Part of a three-program retrospective organized by Steve Anker.
  Additional screenings will be held at Los Angeles Filmforum and REDCAT.
  FUJI (1974) "A poetic, rhythmic, riveting achievement (in rotoscope and
  abstract animation), in which fragments of landscapes, passengers, and
  train interiors blend into a magical color dream of a voyage. One of the
  most important works by a master who - like Conner, Brakhage, Broughton
  - spans several avant-gardes in his ever more perfect explorations." --
  Amos Vogel 35mm (blow-up from 16mm), 9 min. LMNO (1978) "[A] French
  gendarme weaves a hapless path through the film's strobe attacks,
  disparate drawing styles, and variable scale .... Framed by underwater
  and travel imagery, the central section's faucets and aerosols,
  collapsing tents and outsized croquet games, breakfast foods and sexual
  violence, all suggest domestic frustration." - J. Hoberman, The Village
  Voice 16mm, 10 min. T.Z. (1979) "An elegant home movie, its subject is
  Breer's new apartment which faces the Tappan Zee (T.Z.) bridge. It is
  permeated, as are all his films, with subtle humor, eroticism and a
  sense of imminent chaos and catastrophe."--Amy Taubin, Artforum 16mm, 9
  min. TRIAL BALLOONS (1982) A mix of rephotographed live action and
  animation using hand-cut traveling mattes.--Canyon Cinema Catalogue.
  16mm, 6 min. BANG! (1986) "Bang reveals Breer at his most accomplished
  and most playful. It is also his most autobiographical film - the
  youngster paddling a boat is Breer as a boy and the pencil cartoon
  sequences were drawn by Breer when he was around ten years old. "Robert
  Breer is the godfather of animation art. In Bang he sustains ten dense
  minutes of collagistic mayhem that's as potent as anything he's ever
  done. Television images of a boy paddling a boat and an arena crowd
  cheering, plus film shots of bright pink and red flowers and a toy
  phone, are intercut with frenetic drawings in Breer's trademark heavy
  crayon, principally of baseball games. Breer inserts a photo of himself
  with a question mark scrawled over his head, accompanied by the words
  'Don't be smart.' But he can't help it - he is."--Katherine Dieckmann,
  The Village Voice 16mm, 10 min. A FROG ON THE SWING (1989) This animated
  fable is centered around a backyard pond shown intermittently in
  live-action scenes. A small child appears and disappears in a ballet of
  crows, rabbits, monkey wrenches, and goldfish. When the police arrive
  there are pot-shots at backyard varmits, but the frog on the swing seems
  to survive it all. As usual in Breer films, the soundtrack is often
  conspicuously out of sync with the picture. Or is it vice versa when a
  crow goes "moo?"--Canyon Cinema Catalogue. 16mm, 5 min. TIME FLIES
  (1997) A playful meditation on loved ones and the passing of the years.
  16mm, 5 min. ATOZ (2000) A short film dedicated to his granddaughter Zoë
  that demonstrates all the characteristic traits of Breer's animation:
  his humour, his favourite motifs (the hammer, a frog, graphic shapes,
  aeroplanes). What is the impact of an order such as the alphabet on the
  awakening mind of a child?--International Film Festival Rotterdam. 16mm,
  5 min. WHAT GOES UP (2003) Breer's personal take on the everyday in
  images that zoom past us like a flashback of a thousand perfectly lived
  moments, a four-minute epic. The final scene of a derailed train
  provides a metaphor for the absurdity of the notion that a big,
  beautiful, well-lived life simply runs out. --International Film
  Festival Rotterdam. 16mm, 5 min.

New York, New York: Margaret Mead Film & Video Festival
4:30 pm, American Museum of Natural History 79th and Central Park West

  The Margaret Mead Film & Video Festival presents Paper Cannot Wrap Up
  Embers by Rithy Panh. A master documentary filmmaker Panh never shies
  away from the nuances born of melding documentary and narrative genres.
  Continuing his masterful exploration of contemporary Cambodia and the
  legacy of its recent past through the stories of young women forced into
  prostitution to survive. Living in the wake of the Khmer Rouge and beset
  by the juggernaut of global capitalism, these women eek out an existence
  in a decaying apartment building in Phnom Penh. Away from men and the
  noise of the street, Paper Cannot Wrap Up Embers offers moments that
  range from expressions of quiet despair to the sharing of intimacies and
  mutual comfort. . Please reference Program F11 when ordering tickets. Go
  to for a complete program.

New York, New York: Margaret Mead Film & Video Festival, American Museum of Natural History
12:30 pm, 77th Street between Central Park West and Columbus Avenue

  The Margaret Mead Film & Vifro Festival presents the US Premiere of
  PEACE WITH SEALS by Miloslav Novák (FILMMAKER IN PERSON) Monk seal
  specialist Emanuele Coppola and director Novák are on the hunt for any
  trace of a real, live Mediterranean monk seal. Conversations with marine
  biologists and philosophers as well as the beachgoers on the
  Mediterranean shores who have supplanted the seals lead them to believe
  that the only monk seals left are those preserved in Coppola's extensive
  collection of archival footage. Presented as a wistful documentary
  fable, the film might well stand as a warning sign for more ominous
  things to come. Stunning underwater cinematography adds a stunning layer
  to this lyrical film. Sat., November 15: 12:30pm at the American Museum
  of Natural History.

New York, New York: Margaret Mead Film & Video Festival
8:15 pm, American Museum of Natural History 79th and Central Park West

  Alone in Four Walls by Alexandra Westmeier (85min, Russia/Germany,
  Director and Cinematographer in person) will celebrate its NY Premiere
  at the 32nd Annual Margaret Mead Film & Video Festival. A teenager
  stands up in class and explains why his favorite color is black. Wearing
  black, he says, makes it easier to escape into corners undetected and to
  obscure the dirt on his clothes. This scene is just one of the many in
  Westmeier's documentary about adolescent boys incarcerated at a Russian
  reformatory that break the heart. Her patient camera captures them
  sitting quietly in rows at class, learning to use a gasmask, making
  their beds, washing the hallway floors, in a woodshop cutting wood.
  Intercut are interviews in which the boys describe their home life and
  the offenses that brought them to this place. Some speak of alcoholism,
  beatings, theft, and grisly murders, recounted in seemingly indifferent
  tones. Other boys cry remembering home, a kind but absent stepfather, a
  remiss grandmother who forgets to write. Breathtakingly shot with a
  painter's eye for color and composition, Westmeier's film allows these
  boys a freedom of expression like they have never had nor probably will
  ever get again. Reference Program F9 when ordering tickets.

New York, New York: Margaret Mead Film & Video Festival
1:00 pm, American Museum of Natural History 79th and Central Park West

  The Margaret Mead Film & Video Festival presents the East Coast Premiere
  of Umbrella by Chinese filmmaker Du Haibin. An umbrella that is carried
  across a wheat field in central China or the rainy streets of Shanghai
  is made in a factory in Guangdong and sold wholesale farther up the
  coast in Zhejiang Province. Tracking the life of an umbrella from
  factory to market, Haibin shows how the lives of farmers in rural China
  have changed since the economic reforms instituted by Deng Xiaoping in
  1978. "Socialism with Chinese Characteristics" couched the upturning of
  the ideals of the Cultural Revolution in nationalist terms to soften the
  blow dealt to farmers once glorified by the state. Haibin is part of the
  Sixth Generation of Chinese filmmaking, which has proven unafraid to
  confront China's dictatorial policies in the wake of Tiananmen Square.
  With a pace that belies the speed with which these farmers and their
  families have to adjust to these new changes, he shows us factory
  workers, soldiers, students, merchants, and hold-out farmers as they
  scramble for livelihoods and respect in the rush toward modernization
  and the glorification of wealth over traditional ideals. Screening with
  Under Construction —Shanghai's old districts are demolished in the name
  of regeneration. Displaced by bulldozers and wrecking balls, families
  find themselves in search of a new neighborhood. Every year, more than
  100,000 inhabitants are forced to leave their homes and move to the
  edges of the city. Zhenchen Liu combines digitally re-mastered
  photographs with documentary video footage to investigate those affected
  by the endless demolition, calling into question the choice of vertical
  development over building community. Reference Program F6 when ordering
  tickets. Go to for a complete program.

New York, New York: Margaret Mead Film & Video Festival
7:00 pm, American Museum of Natural History 79th and Central Park West

  The Margaret Mead Film & Video Festival is the longest running showcase
  of documentary film in the United States. Exhibiting a range of
  non-fiction work including: essay films, experimental works, feature
  documentaries, animation, and more. The Festival is a premiere venue
  housed at the American Museum of Natural History. Revealing the
  diversity of programming at the Mead, we present a series of short
  lyrical films that explore the human need for control. In The Pests,
  termites, lice, silverfish, bedbugs, roaches, and wasps invade, experts
  from entomologists to exterminators are called in and weild sprays and
  bombs, electric zappers, and other insecticides, and do their chemical
  best to remove the creatures. In The Pests, neatniks and entomophobes
  obsess about their worst fear, the common everyday bugs that don't
  respect our human limits. Recycle chronicles homeless poet, Miguel Diaz
  as he collects recyclables to earn a living. Shot in striking 35mm, this
  short documentary follows Diaz as he uses all the thrown-away items he's
  collected to make a community garden in the median of his street and
  offers his insights on survival and nature. In The Sinking Village the
  Hungarian village of Medgyesbodzás is slowly sinking, and its
  inhabitants are baffled. Their houses are propped up and riddled with
  cracks and holes. The village receives very little help from national
  authorities, so the middle-aged Jószef turns to the European Union. Ever
  optimistic, he makes a short film in which he and the other villagers
  tell their story. In the meantime, young people are moving away from the
  village while those remaining speculate on who's to blame: oil
  companies, the waterworks, or the soil itself. Reference Program F12
  when ordering tickets.

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

  We are thrilled to host an old friend whose creativity and strength of
  vision have propelled him to the launch of his first international 35mm
  release, Sleep Dealer. Since we don't have 35mm facilities, we'll
  instead be showing substantial clips on digital video, as Alex guides us
  through his process on this provocative political allegory. It's a fable
  for this globalized age, a moral tale focusing on the all-too-true
  phenomenon of virtual workforces delivering their alienated labor from
  across the border. Featuring eye-popping 3-D animation, Alex's highly
  imaginative magical-realist masterpiece elaborates on the themes of
  Latin-American relations, immigration, and digital culture that also
  drive his earlier work. So to open the show, we'll screen his shorts Why
  Cybraceros?, Dia de la Independencia, and maybe even PapaPapa in their
  entirety, properly situating Señor Rivera in his meteoric artistic arc.
  Come early for reception, cerveza, and yes, another of our (in)famous
  piñatas. *$7.


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

  Filmforum presents Moving Figures: The Animated World of Robert Breer –
  part 3, with Breer in person! Robert Breer, one of America's foremost
  filmmakers for more than 50 years, pays a rare visit to Los Angeles to
  attend a multi-venue celebration of his work. Tonight features a
  selection of the artist's early work (1954-1964), including portraits
  and collaborations with Jean Tinguely, Claes Oldenberg and other
  avant-garde figures of the '50s and early '60s, as well as his first
  major animated and pixilated short films. Parts 1 & 2 are at REDCAT on
  November 10 and UCLA Film & Television Archive on November 15. Los
  Angeles Filmforum, at the Egyptian Theatre, 6712 Hollywood Blvd, at Las
  Palmas. Sunday Nov 16, 2008. 7:00 pm. 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: Margaret Mead Film & Video Festival
12:00 pm, American Museum of Natural History 79th and Central Park West

  Gandhi's Children by award-winning documentary filmmaker David
  MacDougall presents its World Premiere at The Margaret Mead Film & Video
  Festival. The Prayas Children's Home for Boys is located in one of the
  poorest quarters of New Delhi. The residents usually orphans, have run
  away from home, or were picked up from the streets. One day, 181 boys
  arrive, having been rescued from a child labor factory. Despite the
  harshness of their lives, many of these children show extraordinary
  strength of character. Often left to their own devices, they institute a
  seemingly arbitrary set of checks and balances to make sense of the
  mayhem around them. Please reference Program F18 when ordering tickets.
  Go to for a complete program.

New York, New York: Margaret Mead Film & Video Festival
6:30 pm, American Museum of Natural History 79th and Central Park West

  The Margaret Mead Film & Video Festival presents The Lost Colony (Astrid
  Bussink, US Premiere, Filmmaker in Person) The Sukhum Primate Center in
  Abkhazia, the oldest primate research laboratory in the world, is
  crumbling. This once prominent facility has been hailed for its strides
  in medical research and space exploration. Founded in the 1920s, the
  institute now strives for relevance amid Abkhazia's struggle for
  independence from Georgia, dwindling funds, and the loss of a large
  portion of its animals to a modern lab in neighboring Russia. On the
  cusp of its 80th anniversary, Bussink visits the lab as it prepares for
  a conference designed to drum up support in the scientific community.
  Meanwhile, one guard searches the surrounding forests for any sign of
  members of the monkey colony thought to have escaped from the lab during
  the 1992 military conflict. Archival footage of the center's glory days
  and present-day activities captured at a detached remove are combined
  with stunning images of the decaying buildings and grounds. Now, with
  recently renewed fighting between Georgia and Russia over Abkhazian and
  South Ossetian independence, Bussink's ironic take on this seemingly
  hopeless situation becomes prescient. Please reference Program F17 when
  ordering tickets. Go to for a complete program.

New York, New York: Margaret Mead Film & Video Festival
7:30 pm, American Museum of Natural History 79th and Central Park West

  Closing Night at The Margaret Mead Film & Video Festival presents Throw
  Down Your Heart (Sascha Paladino, Filmmaker in Person, NY Premiere)
  Multiple Grammy-winner Béla Fleck travels to Uganda, Tanzania, the
  Gambia, and Mali searching for the roots of the banjo, the instrument he
  loves so much. Part road movie, part historical document, this
  fascinating film demonstrates the power of music and musicians to reach
  across cultural boundaries and the limitations of language to create an
  instant and abiding connection. Whether plaintive or pulsating, the
  infectious music in Throw Down Your Heart transports viewers into the
  heart of Fleck's personal journey. This film is co-presented by World
  Music Institute. Please reference Program F21 when ordering tickets. Go
  to for a complete program.


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

  These latest films offer a series of celebratory explorations, and, in
  some cases, transformations, of varied components of my life. To me,
  this set of works is an odd blend of performance and alchemical
  construction, freedom and control, a highly crafted and rather baroque
  diary. By way of a more general statement about the making of films, I
  offer this excerpt from a response to a question in a summer interview
  with Mike Hoolboom: I was speaking with a painter friend about what the
  process is like. She was talking about a series she's making that are
  phases within a transitional state. I told her that this describes my
  making films—they are transitory and transitional: there doesn't seem to
  be a state of completion. While making Qualities of Stone in May 2006 I
  became interested in some things which were shot through the summer and
  fall for There, which in turn led me to shoot along more developed lines
  for Office Suite in the winter. In each instance, I felt that there was
  more to say because when I watched the footage cut together, it was
  nagging at me, not like a problem, but like a solution that I was having
  trouble seeing. Shooting was a way of seeing more. But this only
  captures some of the picture; I do have little fires that crop up, and I
  obsess about pursuing them. The film that I have already made is the
  record of a process of discovery which I'm only casually interested in
  revisiting. The great thing about having a full program of my films is
  having the chance to see several movies flow as a set. This larger view
  is exciting because it blends various mysteries together that make more
  sense than I could ever glean from a single film. – Robert Todd
  Invisible River is a series of five films giving an insider's view of an
  ever-changing environment we call "city." 21 Alleys Part three of
  Invisible River. Peering into the spaces that separate dwellings on a
  short, mixed-zoned street in Boston. Featuring interviews with varied
  members of a varied neighborhood. Directed by Robert Todd. US 2007,
  16mm, color, 8 min. Dig Part four of Invisible River. Your street is my
  street: a constricted frame in agitation – with intermission. Follow the
  bouncing Dig-Safe marks to sing along with the sweet music of
  jackhammers raging throughout this animation of the cryptic code of our
  urban caretakers. Directed by Robert Todd. US 2007, 16mm, color, 2 min.
  Riverbed Part five of Invisible River. A series of dances that follows
  the invisible stream that once powered a multitude of businesses and
  breweries in Boston, in a sesquicentennial celebration of the Stonybrook
  River's culvert's construction. Directed by Robert Todd. US 2008, 16mm,
  color, 18 min. Interplay A dance piece humming along with the various
  places I inhabit: a play in three acts, a dance in three forms, three
  versions of paradise. Directed by Robert Todd. US 2006, 16mm, color, 7
  min. Office Suite If the lens of the camera is roseating, then I will
  take that as adding the red rub of a blush to things, that is to say,
  bringing a certain passion of vision to states/environments. We can
  feel/find rapture or elevation with strangers (seeking out the exotic),
  but how much more challenging (and/or subsequently rewarding) to find
  this within the familiar? Directed by Robert Todd. US 2007, 16mm, color
  & b/w, 15 min. Passing A eulogy (for my father-in-law) in four
  movements: sifting the four Elements, the film searches for the spirit
  through both chance and ritual, repeating a call for a cycle of life to
  be left open. Directed by Robert Todd. US 2008, 16mm, color, 19 min.
  Rose My sustained appreciation for the richness of Light, developed
  initially in drawing media, has gradually met up with my development in
  filmmaking. Following the making of more externally directed films, I
  felt a need to turn inward and undertake a kind of Fantastic Voyage into
  my own lightstream-as-bloodstream. Directed by Robert Todd. US 2008,
  16mm, b/w, 9 min.

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

  One of the towering figures of American avant-garde cinema since the
  mid-1940s, Kenneth Anger has posited himself at the junction between pop
  culture, queer underground, occultism and rock music. Tonight's
  screening presents an array of works in which Anger subjects different
  ideologies and subcultures to his incisive vision and the uncanny
  re(de)constructive power of his editing skills. Ich Will (2007, 35 min.)
  montages newsreels from the Nazi era to Bruckner's music. Mouse Heaven
  (2005, 12 min.) "does for Mickey Mouse what Scorpio Rising did for
  neo-Nazi biker gangs," according to the UCLA Film & Television Archive.
  Elliott's Suicide (2007, 15 min.) is an elegy for the late Elliott
  Smith, while I'll Be Watching You (2007, 4:52 min.) and Foreplay (2008,
  7 min.) explore two different forms of male bonding: sex in an
  underground parking structure and a soccer team's training session. The
  program concludes with the seminal Scorpio Rising (1963, 29 min., 35mm).
   In person: Kenneth Anger. Tickets $9 [students $7] The 35mm print of
  Scorpio Rising has been restored by the UCLA Film & Television Archive;
  preservation funded by the Film Foundation.


Amsterdam: Images Festival
10:30 PM, Muziekgebouw BAM Zaal- Piet Heinkade 1, 1019 BR Amsterdam

  How do you define a country through video art? A preposterous notion if
  there ever was one, particularly Canada, the world's second largest
  country by land mass. This collection of videos provides five short
  encounters with Canada through moving images. The diverse works in this
  program represent a cross-section of places and ideas oft associated
  with this country. Composed of found footage sources, Aleesa Cohene's
  All Right explores xenophobia and multiculturalism in Canadian
  immigration policies. Brother Tongue / Langue Fraternelle tells the
  story of twin brothers in a womb, the stronger of which envelops the
  weaker, a metaphor for the filmmaker's status as an Anglophone in Canada
  and the broader implications of the English language as the "stronger
  brother." As a counterpoint, Nikamowin (Song) focuses on the language in
  Canada which precedes both English and French. In it Kevin Lee Burton
  speaks and remixes the Cree language narration to reflect on the power
  of his lost language. Drawing upon literary figures such as Margaret
  Atwood and Robert Service, Andrea Cooper's Strange Things explores a
  personification of the idea of north. Mike Rollo's Ghosts and Gravel
  Roads shifts the focus to Saskatchewan to create a portrait of the
  emptiness and absence in small forgotten towns of Canada's prairies.
  Curated and introduced by Pablo de Ocampo, Artistic Director, The Images
  Festival Aleesa Cohene- All Right (2003, video, 7 min) Daniel Cockburn-
  Brother Tongue / Langue Fraternelle (2006, video, 16 min) Kevin Lee
  Burton- Nikamowin (Song) (2007, video, 11 min) Andrea Cooper- Strange
  Things (2006, video, 16 min) Mike Rollo- Ghosts and Gravel Roads (2008,
  video, 16 min)

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

  MIKE KUCHAR (San Francisco, CA) will visit to share and discuss his
  recent mini-DV productions. Designated as a Rockefeller Fellow in 2006,
  Mike's early 8mm films (many co-produced by his brother, George) were
  preserved by Anthology Film Archives through funds from the National
  Film Preservation Foundation. "No art form demands as much spontaneous,
  imaginative improvisation as low-budget filmmaking, and no American
  low-budget filmmakers are as imaginative as George Kuchar and his twin
  brother Mike. Major figures in the American Underground film movement of
  the 'sixties, they are the acknowledged pioneers of the camp/pop
  aesthetic that would influence practically all who came after them, from
  Warhol and Waters to Vadim and Lynch. That influence is still being
  felt."—Bright Lights Film Journal. As described by an attentive viewer
  at a recent show and post-screening talk at the Clinton Theater in
  Portland, OR: "He doesn't make the campy sci-fi films of his '60s-era
  youth because he's not that guy any more. At his age, his libido tends
  to take over when he films. (He looked down at his shoes and laughed
  when he said this.)"—Lisa Mc, blog. "I need to make movies…so I guess
  its more than a 'hobby'; it's a 'vocation'; a 'calling', and I can't
  stop it!"—MK ('08). Included on the program will be: A Midsummer's
  Nightmare; Metropolitan Memoir; Heaven Cannot Hold Them; Lily; The
  Craven Sluck; and State of Mind.

Vancouver, British Columbia: Cineworks Independent Filmmakers Society
7:30pm, Pacific Cinematheque [1131 Howe]

  AFTER SCHOOL SPECIAL School, work, school. Alex Bag, Kika Thorne,
  Elisabeth Subrin. Cineworks Independent Filmmakers Society presents
  After School Special, three videos from the late nineties as an attempt
  to flesh out the gap between the WACK! show at the Vancouver Art Gallery
  and contemporary feminist art practice. With music by Peaches, Kika
  Thorne's Work stars real life artist Shary Boyle who plays an artist in
  a documentary that is not a documentary. In Untitled Fall '95, Bag, the
  art student, "plays" Bag the art student. Through a series of deadpan
  performances, interspersed with fragments of pop detritus, Bjork, Hello
  Kitty, Killer Bunnies, Alex Bag successfully maintains television's
  banal, static and endearing ineptitudes. A cinematic doppelganger
  without precedent, shot for shot, Elisabeth Subrin's Shulie reenacts a
  1967 documentary portrait of a young Chicago art student, who a few
  years later would become a notable figure in Second Wave feminism and
  author of the radical 1970 manifesto, The Dialectic of Sex: The Case for
  Feminist Revolution. Not a clone in the end, but a brilliant rethinking
  of history. Subrin makes manifest the eternal return of film. Join us
  post punk feminists at 7:30 on November 18 at the Pacific Cinemateque to
  view the distant past through the lens of the recent past. $8 Cineworks
  Members, $10 Non-members


London, England: Artprojx Space
6.30pm, Artprojx Space, 53 Beauchamp Place, London SW3 1NY

  Following on from the Teenage Wildlife videothequé, curated by Esther
  Johnson and exhibited at Site Gallery, Sheffield from 28 June – 9 August
  2008, a selection of film works from the videothequé, will screen at
  Artprojx Space, London during the Jane Bustin exhibition from 19
  November – 20 December 2008. There will be a Special
  Screening of Teenage Wildlife on the evening of Wednesday 19th November
  from 6.30 – 8.30pm. Teenage Wildlife will screen daily alongside, One
  Minute (volume 2), curated by Kerry Baldry. Gallery opening hours –
  11am-6pm (Mon-Sat) Artprojx Space, 53 Beauchamp Place, London SW3 1NY
  020 7584 0717 email suppressed

London, England: One Minute

  Curated by artist Kerry Baldry & TEENAGE WILDLIFE Curated by
  artist/film-maker Esther Johnson ARTPROJX ARTISTS FILM CLUB presents
  downstairs at ARTPROJX SPACE during the Jane Bustin exhbition 19
  November - 20 December. The two film programmes will be screened
  continuously daily during the gallery opening hours of 11am-6pm
  (Mon-Sat): SPECIAL LAUNCH EVENT/SCREENING: Wednesday 19 November 6-9pm
  TEENAGE WILDLIFE Curated by artist/film-maker Esther Johnson Teenage
  Wildlife surveys the rich source of inspiration that film and video
  artists have found in the subject of youth. The selection comprises
  films from the Teenage Wildlife videothéque curated for the Site
  Gallery, Sheffield . Short films featured range from tales of
  loneliness, confusion, angst, excess, delinquency and empowerment to
  poetic portraits of how teenagers spend their time. Featuring artists:
  Martin Arnold, Hildur Margrétardóttir, Laurence Coriat, Mathias Gokalp,
  Matthew Murdoch, Pierre Daudelin, Andrew Kötting, Provmyza, Sofie
  Thorsen Total running time: 90' & ONE MINUTE (Volume 2) Curated by Kerry
  Baldry One Minute (Volume 2) is the second in the series of artists'
  videos curated by Kerry Baldry. This new 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 include: 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, Deklan Kilfeather. Total running time:
  0717 email suppressed DAVID GRYN DIRECTOR

Los Angeles, California: Engineering Cinematheque
8:00, 1636 Wilcox

  Creeping into the darkest corners of the cinematic imaginary,
  EXPERIMENTS IN TERROR disinters a body of ghoulish works to satisfy our
  most perverse celluloid cravings. Employing a mesmerizing montage of
  terrifying tropes and fiendish footage, our kino-coven conjures more
  than a bewitching hour of visionary cinema. Pounding a stake through the
  heart of genre convention, this shocking program expands the cinematic
  language of fear, breaking the chains of narrative logic and leaving
  only the black void of the infinite unconscious. Program includes work
  by Damon Packard, J.X. Williams, Rodney Ascher, and Jason Bognacki's
  "The Red Door"

Providence: Magic Lantern
9:30 pm, Cable Car Cinema, 204 S. Main Street

  Magic Lantern Cinema presents THE AFTERMATH SHOW Post-Election Politics,
  Economics, and Violence Curated by Paige Sarlin Wednesday November 19,
  2008 9:30 p.m. Cable Car Cinema 204 S. Main St. Providence, RI Admission
  $5 There's going to be quite a reckoning over the next months and even
  years as the fall-out from Neoliberalism, the War on Terror, and
  de-regulation becomes increasingly unavoidable. In anticipation of that
  accounting, this series of films asks a series of questions about some
  of the basic underpinnings of our American system-- the ones that don't
  change no matter who is in office. Circling around the very notion of
  "AFTER," this grouping of films and video considers what happens in the
  wake of an historic event. Starting with two rosy pictures produced by
  educational filmmakers in the 1940s and 50s and ending with some stark
  re-visions of the American dream, this series of works ponders the
  relation between elections, capitalism and violence through the use of
  animation, humor, and music. Lest you forget the state of the economy or
  the fact that we are still at war amidst all the Democratic euphora,
  this screening makes it clear that now that this important "fight" has
  been won, it's time for the real struggles to begin. FEATURING: Bruce
  Conner, "America is Waiting," (1982); Tony Cokes, "Black Celebration"
  (1988); Saul Levine, "Unemployment" (1980); Benj Gerdes, "Happy
  Anniversary, San Francisco, March 20-21, 2003" (2004); Jim Finn,
  "Decision 80" (2003); Hans Richter, "Inflation" (1928); Jem Cohen,
  "Little Flags" (2000); Southerland Productions, "It's Everybody's
  Business" (1954); Rohesia Hamilton Metcalfe, "Everyone Must Tighten
  Their Belts" (1997); Department of War Information, "Tuesday in
  November" (1945) TRT: 89:40 * * * * * * * FILM DESCRIPTIONS: America is
  Waiting, Bruce Conner, 1982, 16MM, b&w, sound, 3 min Set to the music of
  Brian Eno and David Byrne, this commentary on the status of the American
  dream is even more fitting today than it was over 20 years ago. Shown
  with the special permission of the estate of Bruce Conner. Black
  Celebration, Tony Cokes, 1988, video, b&w, sound, 17:11 min Now that the
  voting is over, the question needs to be asked-- what other forms of
  intervention need to happen in order to transform conditions of racial
  and economic inequity? In this video, Tony Cokes asks, "How do people
  make history under conditions pre-established to dissuade them from
  intervening in it?" Combining newsreel footage of the "race" riots in
  the 60's (including images from Watts, Boston and Newark (amongst
  others)) with music from Skinny Puppy and Morrisey and texts from Guy
  Debord and Barabara Kruger, Cokes produces a reading of this historic
  violence as a critique of capitalist modes of consumption and the
  commodity form. Unemployment, Saul Levine, 1980, 16mm, color, 5.25 min
  The police attempted to confiscate this film that Levine shot while he
  was standing in line at the unemployment office in Birmingham Alabama.
  Happy Anniversary, San Francisco, March 20-21, 2003, Benj Gerdes, 2004,
  video, color, sound, 4:30 min This video was shot part of a collective
  effort to videotape anti-war direct action protests in San Francisco
  during the first two days of the war on Iraq. Most of the video shot
  over this two day period was initially used as documentation for legal
  rather than media/documentary purposes. In this edit, every clip is the
  same length. They are shown in the order they were recorded in order to
  challenge more common activist editing techniques that imitate
  mainstream television pacing, and thus ask something different of the
  audience. - B.G. Decision 80, Jim Finn, 2003, video, color, sound, 10
  minutes "Appropriated network-TV footage of Jimmy Carter's "I see risk"
  speech from the 1980 Democratic Convention meets Reagan's gloomy
  inaugural ride through D.C.: "If you succumb to a dream world, you'll
  wake up to a nightmare." - video data bank Little Flags, Jem Cohen,
  2000, 16mm transferred to video, b/w, sound, 6:30 minutes Cohen shot
  Little Flags in black and white on the streets of lower Manhattan during
  an early-'90s military ticker-tape parade and edited the footage years
  later. As the streets empty, a process of disillusion becomes manifest.
  Everyone Must Tighten Their Belts, Rohesia Hamilton Metcalfe, 1997,
  video transferred to DVD, color, sound, 4:30 minutes A whimsical piece
  in which a late-night television interviewer attempts to get an
  unusually wordy guest (a labor relations expert of sorts) to explain the
  relationship between unemployment and inflation. - R.H.M. Tuesday in
  November, Department of War Information, 1945, 16mm transferred to DVD,
  b/w, sound, 16:43 minutes Made as an educational piece to show America's
  ability to hold elections during wartime, this film is a piece of
  instructional propaganda that demonstrates a certain small-town idealism
  that still permeates the rhetoric of US electoral politics. In black and
  white, it may seem absurd, but it's an ideology that is still around.
  Inflation, Hans Richter, 1928, 16mm, 16mm, b/w, sound, 2:40 minutes Made
  by a central figure in German avant-garde cinema, this film counterposes
  "growing zeroes" against "declining people" in an effort to demonstrate
  the phenomenon of inflation during the run-away economy of the 20's when
  Germany printed huge amounts of money in an effort to salvage their
  economy. It's Everybody's Business, Southerland Productions, 1954, 16mm
  transferred to DVD, color, sound, 19:53 minutes Illustrating the
  relation between the free-market and the first amendment, this
  entertaining animation uses the same well-worn arguments used today to
  describe the relation between the American government and the economy.
  An excellent primer on capitalism, the film celebrates the right of
  every American to own a home and to risk his or her savings on Wall
  Street. Something we clearly need to remember these days. This film was
  commended by the Freedom Foundation for its ability "to further better
  understanding of the American way of life" in 1955. * * * * * * Magic
  Lantern is graciously funded by the Malcolm S. Forbes Center for Modern
  Culture and Media of Brown University * * * *
  * *

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

  Curated and presented in person by Patrick Rumble. One of Italy's most
  important experimental filmmakers, Paolo Gioli was born in Sarzano,
  Italy, in 1942. After attending art school at the Academy of Fine Arts
  in Venice, in 1967 he set up a painting studio in New York City where he
  encountered the work of experimental filmmakers associated with the New
  American Cinema. Back in Italy, Gioli's first films were made without a
  camera – Commutations with Mutation combines collages of 8mm and 16mm
  stock footage with sections of hand-painted, punctured and abraded clear
  leader, producing a dynamic and challenging visual experience free from
  what Gioli calls "consumerist" film technology. This suspicion of
  technology – and his stated goal of "making free films freely" – leads
  Gioli either to construct "prepared" 16mm cameras or to build what he
  calls "stenopeic" (pin-hole) cameras out of unusual and very low-cost
  materials, including buttons, bread-loaves, sea-shells, saltines, and
  the human body. The diffused beauty and visual immediacy of Gioli's
  pin-hole techniques are quite evident in Filmstenopeico: Man without a
  Movie Camera. All the films in this programme offer meditations on
  technical innovations of nineteenth- and twentieth-century art,
  photography, and cinema – and on related issues of visual perception –
  with particular attention given to Muybridge, Marey, Méliès, Vertov,
  Eisenstein, Buñuel, Duchamp, and Snow. Given his ethical preoccupation
  with issues of perception and technology, combined with his
  investigation of motion and the materiality of the film medium (the
  sprocket hole, the frame line, the emulsion layer, the shutter device),
  Gioli is surely one of the most significant experimental filmmakers
  Italy has ever produced. – Patrick Rumble.NORTH AMERICAN PREMIERE!
  MOVIE CAMERA (L'UOMO SENSA MACHINA DA PRESA) (Italy, 1973-1981-1989, 13
  (L'OPERATORE PERFORATO) (Italy, 1979, 9 minutes, 16mm, silent). NORTH
  (Italy, 1986, 19 minutes, 16mm, silent). NORTH AMERICAN PREMIERE! FACE
  16mm, silent). CANADIAN PREMIERE! CHILDREN (Italy, 2008, 5 minutes,
  16mm, silent).

(continued in next email)

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