This week [June 20 - 28, 2009] in avant garde cinema

From: Weekly Listing (email suppressed)
Date: Sat Jun 20 2009 - 07:01:38 PDT

This week [June 20 - 28, 2009] in avant garde cinema

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

Bolzano ShortFilmFestival (Bolzano, ITALY; Deadline: June 30, 2009)
Los Angeles as a Character (Los Angeles, CA USA; Deadline: October 01, 2009)
Go Short (Nijmegen, The Netherlands; Deadline: December 01, 2009)
Make the Trailer of Unfaithful (new york; Deadline: August 01, 2009)
Canadian Filmmaker Distribution Centre (CFMDC) (Toronto; Deadline: July 10, 2009)
Warren County Library Film Festival (Blairstown, NJ, USA; Deadline: August 01, 2009)
Strange Beauty Film Festival (Durham, North Carolina USA; Deadline: November 15, 2009)
Boulder International Film Festival (Boulder, CO USA; Deadline: September 01, 2009)
Gallery RFD (Location: Swainsboro, GA; No entry deadline)

Ellensburg Film Festival (Ellensburg, WA, USA; Deadline: July 03, 2009)
Betting on Shorts (London; Deadline: July 01, 2009)
L'Alternativa, Barcelona Independent Film Festival (Barcelona, Spain; Deadline: July 01, 2009)
OFF: Oblò Film Festival, a true-school indie film festival (Lausanne, Switzerland; Deadline: July 01, 2009)
London Film Festival (London, UK; Deadline: June 26, 2009)
7th International Short Film Festival "Wie wir Leben!/The Way We Live!" - Filmmmuseum Munich (Munich, Bavaria, Germany; Deadline: July 10, 2009)
Gallery RFD (Swainsboro, GA; Deadline: June 25, 2009)
The Calgary Society of Independent Filmmakers (Calgary, AB CANADA; Deadline: June 30, 2009)
Images Festival (Toronto CANADA; Deadline: July 15, 2009)
Bolzano ShortFilmFestival (Bolzano, ITALY; Deadline: June 30, 2009)
Canadian Filmmaker Distribution Centre (CFMDC) (Toronto; Deadline: July 10, 2009)
abstracta (roma; Deadline: June 30, 2009)
Coney Island Film Festival (Brooklyn, NY, USA; Deadline: July 10, 2009)

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

Also available online at Flicker:

 * Onion City Experimental Film and video Festival - Group Show Five: the
    Loneliness of the Long Distance Filmmaker [June 20, Chicago, Illinois]
 * Onion City Experimental Film and video Festival - Group Show Six: the
    Familiar Re-Made [June 20, Chicago, Illinois]
 * Onion City Experimental Film and video Festival - Group Show Seven:
    Culture Clash [June 20, Chicago, Illinois]
 * Robert Frank Retrospective: Program 6 [June 20, San Francisco, California]
 * Portraits of Robert Frank [June 21, Los Angeles, California]
 * Sarah Pucill: Taken By the Frame [June 21, Los Angeles, California]
 * George and Mike Kuchar Program: Essential Cinema [June 21, New York, New York]
 * Sidney Peterson Program: Essential Cinema [June 21, New York, New York]
 * Essential Cinema- Pudovkin: Mother [June 24, New York, New York]
 * Barbara Rosenthal — 33 Existential videos [June 25, Berlin, Germany]
 * Essential Cinema- Jonas Mekas: Walden [June 25, New York, New York]
 * Essential Cinema- Fw Murnau: Sunrise [June 25, New York, New York]
 * Robert Frank Retrospective: Program 7 [June 25, San Francisco, California]
 * Essential Cinema- Rice/Richter/Sharits Program [June 26, New York, New York]
 * Sarah Pucill: Program 1 [June 26, New York, New York]
 * Robert Frank Retrospective: Program 7 [June 27, San Francisco, California]

Events are sorted by CITY within each DATE.


Chicago, Illinois: Chicago Filmmakers
5:00pm, Chicago Filmmakers (5243 N. Clark St.)

  TRYPPS #6 (MALOBI) (2009, 12 mins., 16mm, US) by Ben Russell. "From the
  Maroon village of Malobi in Suriname, this single take film offers a
  strikingly contemporary take on a Jean Rouch classic. It's Halloween at
  the equator, Lightning Bolt for the jungle set." (BR) *** nothing is
  over nothing (2008, 17 mins., 16mm, US) by Jonathan Schwartz. "There
  were other places where the lord fell, and others where he rested; but
  one of the most curious landmarks…we found…was a certain stone built
  into a house…so seemed and scarred that it bore a sort of grotesque
  resemblance to the human face. One of the pilgrims said, 'But there is
  no evidence that the stones did cry out.' The guide was perfectly
  serene. He said calmly, 'This is one of the stones that would have cried
  out.'" (Mark Twain, The Innocents Abroad) *** Unnamed Film (2008, 55
  mins., 16mm, Ukraine) by Naomi Uman. Uman is currently living in the
  Ukraine, in the small rural village from which her ancestors come.
  Unnamed Film is a quiet, delicate, and absorbing portrait of this
  community, which unfolds with little dialogue—the images speaking for
  themselves. It is part of a larger cycle of films, The Ukrainian Time
  Machine Project. "In village society it is the babushky (grandmothers,
  old women) who hold the key to surviving in the absence of economic
  wellbeing. It is their practical thinking and preservation of what might
  be considered trash that enables them to survive on pensions of less
  than eighty dollars a month. In immersing myself in this culture, I have
  needed to create a life in a foreign place without the luxury of regular
  access to stores, a car, or the ability to communicate easily with my
  neighbors. I have learned from watching the babushky how to live simply
  and practically, wasting absolutely nothing. This economy will be
  manifest in my films. Each frame, each shot, each fragment of sound is
  considered. This age-old creativity of making something out of nothing,
  or strictly out of what one has at-hand, can be applied to the creation
  of media. Scarcity requires a different kind of resourcefulness. The
  films in this cycle are small and intimate, repeating age-old stories in
  as few words as possible." (NU)

Chicago, Illinois: Chicago Filmmakers
7:30pm, Chicago Filmmakers (5243 N. Clark St.)

  SEQUENCES + INTERRUPTIONS (2009, 16 mins., 16mm, UK, World Premiere) by
  Nicky Hamlyn. A study in texture and rhythm. *** THE SKY TAPED TOGETHER
  (2009, 7 mins., video, US, World Premiere) by Michael Sirianni. A work
  of suturing: the sky from a VHS copy of the Cinerama film How the West
  Was Won is digitally copied and reassembled. *** LAKE (2009, 4 mins.,
  video, US, World Premiere) by Jake Barningham. Waves of digital pixels
  and abstraction. *** THE PARABLE OF THE TULIP PAINTER AND THE FLY (2008,
  4 mins., 16mm, US) by Charlotte Pryce. "An intoxicating flower; a
  metaphorical insect; a longing reach across the centuries. The film is a
  philosophical search drenched in luminous colors and sparkling light."
  (CP) *** YSBRYD (2008, 8 mins., video, US) by Julie Murray. The erotic
  tangle of unexpected protagonists. *** BUOY (2008, 6 mins., video, US)
  by Seoungho Cho. The strata and sea level marks in the Death Valley
  desert become a disorienting "motion painting" as they are recorded from
  a moving car. *** POSTCARD #3: NIAGARA RISES (2009, 3 mins., video, US,
  World Premiere) by Carolyn Faber. What comes down must go up. *** LES
  CHAISES (2008, 9 mins., video, US) by Vincent Grenier. "Two weather worn
  red vinyl chairs on an outdoor promontory oriented toward a 'view,'
  stand as witnesses." (VG) *** QUIVER (2008, 10 mins., 16mm, US) by
  Robert Todd. "Quiver. Barely touching. Movement further in and along,
  through the surface of a light." (RT) *** THREE/3: IN THE OCEAN, ON LAND
  (2009, 6 mins., video, US) by Peter Bo Rappmund. A diptych of sequences:
  one all chaos, the other all serenity.

Chicago, Illinois: Chicago Filmmakers
9:15pm, Chicago Filmmakers (5243 N. Clark St.)

  ALTERNITY (2008, 7 mins., video, US) by Van McElwee. "The vanishing
  point of linear perspective is expanded to a plane. This allows all of
  the potential events within that vanishing point to mingle freely on the
  surface of the screen." (VM) *** PARIS TIMES THREE (2009, 8 mins.,
  video, US) by Carina Johnson. A "remake" of Bruce Conner's 1973 film
  Marilyn Times Five which keeps the structure and soundtrack of the
  original but replaces the actress. Instead of the pretend "Marilyn" of
  Conner's film (no, it's not really Monroe) we see the contemporary
  blonde Paris Hilton, in footage taken from her notorious amateur sex
  tape One Night in Paris. The result is a smart and telling riff on
  celebrity, sexuality, and the representation of women in high and low
  art. *** WHEN WORLDS COLLUDE (2008, 13 mins., video, US) by Fred Worden.
  A kinetic oscillation between different images, Worden creates a War of
  the Worlds in which everything is in collision (or is it collusion?).
  *** COLLIDE-A-SCOPE (2009, 3 mins., 16mm, Australia, US Premiere) by
  Gregory Godhard. A fanciful animated supposition of what the results of
  supercollider experiments would look like. *** SUTRO (2009, 2 mins.,
  video, US) by Jeanne Liotta. "Animated portrait of the eponymous
  television tower on the hill, guardian of fog and electronic signals in
  that earthshaking city by the Bay..." (JL) *** THE ETERNAL QUARTER INCH
  (2008, 9 mins., video, US) by Jesse McLean. "Rising fundamentalism and a
  government that cites faith to defend war action have helped to grow a
  desperate society. Dipping between ecstasy and despair, transcendence
  and absurdity, this movie journeys to a hidden space where you can lose
  your way, lose yourself in the moment, lose your faith in a belief
  system." (JM) *** POOR MAN'S PUCE MOMENT (2008, 4 mins., video, US) by
  Jessie Stead. "A low-res tribute to Puce Moment (1949) by Kenneth Anger
  using the soundtrack by Jonathan Halper, evidently added to the film
  during the 1960s." (JS) *** SAND SAGA (2008, 11 mins., video, US) by
  Shana Moulton. "Moulton's alter ego Cynthia again gains access to a
  parallel universe via the transformative powers of New Age body
  treatments and domestic objects. After applying a facial beauty mask,
  she moves through an environment energized with Southwestern motifs and
  rituals, from sculpted heads and Georgia O'Keefe-like forms to sand
  painting and hot stone massage. Ultimately Cynthia is transported to a
  fantastical world and emerges transformed." (Electronic Arts Intermix)
  *** THE PRESENTATION THEME (2008, 14 mins., 16mm, US) by Jim Trainor.
  Animator Jim Trainor continues his exploration of the dark and the
  strange in this elliptical tale of a Peruvian prisoner, a blood-hungry
  priestess, and totemic creatures.

San Francisco, California: San Francisco Museum of Modern Art
3pm, 151 3rd Street - Phyllis Wattis Theater

  See June 18th for description

SUNDAY, JUNE 21, 2009

Los Angeles, California: Museum of Contemporary Art
3:00 pm, 250 South Grand Avenue, Los Angeles, CA 90012

  In conjunction with the exhibition From the Permanent Collection: Robert
  Frank's "The Americans", MOCA presents Portraits of Robert Frank, an
  afternoon of films examining the life and career of the renowned
  photographer, co-presented by Los Angeles Filmforum. In An American
  Journey (2009, color, 58 min.), French director Philippe Séclier
  retraces the path followed by legendary photographer Robert Frank when
  he created his seminal photographic portfolio, The Americans. In an
  effort to examine the impact of Frank's images, Séclier travels 15,000
  miles through the various communities of America, moving between past
  and present. Conversations in Vermont (1969, b/w, 26 min.), directed by
  Frank and photographed by Ralph Gibson, is Frank's first overtly
  autobiographical film. In it, he interviews his two children, Pablo and
  Andrea, about their experiences growing up with artists as parents. In
  the process, Frank questions his own world. Originally planned as a
  study of indigenous American music, About Me: A Musical (1971, b/w, 35
  min.) evolved instead into a film about its author. The actress Lynn
  Reyner plays Robert Frank as he examines his life and questions his
  contributions as a photographer. Museum open 11am–6pm. INFO 213/621-1745
  or (address suppressed) Films FREE with museum admission. Museum General
  Admission: $10; Students with I.D.: $5.

Los Angeles, California: Filmforum
7:30 pm, Echo Park Film Center, 1200 Alvarado Street (at Sunset)

  The Echo Park Film Center and Los Angeles Filmforum host British artist,
  photographer and filmmaker Sarah Pucill, whose films and photographs
  play with boundaries of self and other, frequently involving mirrors or
  mirroring and strong performances. Sometimes rigorously formal, other
  times humorously enamored with the possibilities of light, surfaces, and
  bodies, while exploring the range of possibilities vested in the camera.
  Los Angeles premieres of all works from this award-winning experimental
  filmmaker. Tonight we'll be screening: You Be Mother (1990, 7 min.,
  16mm); Milk and Glass (1993, 10 min., 16mm); Stages of Mourning (2004,
  17 min., 16mm); Taking My Skin (2006, 35 min., 16mm); Fall In Frame
  (2009, 18 min., 16mm) Los Angeles Filmforum & the Echo Park Film Center,
  at the Echo Park Film Center, 1200 N. Alvarado Street (@ Sunset Blvd),
  Los Angeles, CA 90026. 213-484-8846. Sunday June 21, 2009. 7:30 pm.
  General admission $5. and

New York, New York: Anthology Film Archives
5:30pm, 32 second Avenue

  All films preserved with support from the National Film Preservation
  Foundation. THE NAKED AND THE NUDE (1957, 36 minutes, 8mm-to-16mm
  blow-up, sound on CD) The oldest surviving Kuchar mini-epic, this
  patriotic WWII period piece (made by high schoolers) chronicles the
  desires and destinies of carnal appetites on the front line.
  "Big…Rousing…Memorable! The incredible war saga of our own boys in a
  Jap-infested jungle in the Botanical Gardens. Hear Lloyd Thorner sing
  the title song. You'll come out whistling from both ends." –G.K. PUSSY
  ON A HOT TIN ROOF (1961, 14 minutes, 8mm-to-16mm blow-up, sound on CD)
  "It glows with the embers of desire! It smokes with the revelation of
  men and women longing for robust temptations that will make them sizzle
  into maturity with a furnace-blast of unrestrained animalism. A film for
  young and old to enjoy." –G.K. BORN OF THE WIND (1962, 24 minutes,
  8mm-to-16mm, sound) Preserved by Anthology through the Avant-Garde
  Masters program funded by the Film Foundation and administered by the
  National Film Preservation Foundation. Special thanks to Cineric, Inc.
  "A tender and realistic story of a scientist who falls in love with a
  mummy he has restored to life… 2,000 years as a mummy couldn't quench
  her thirst for love!" –G.K. TOOTSIES IN AUTUMN (1963, 15 minutes,
  8mm-to-16mm blow-up, sound on CD) Mike's cautionary tale about
  past-their-prime thespians caught up in a typically Kucharian vortex of
  madness. Total running time: ca. 95 minutes.

New York, New York: Anthology Film Archives
7:30pm, 32 second Avenue

  4 Films: THE POTTED PSALM (1946, 19 minutes, 16mm) THE PETRIFIED DOG
  (1948, 19 minutes, 16mm) MR. FRENHOFFER AND THE MINOTAUR (1949, 21
  minutes, 16mm) THE LEAD SHOES (1949, 17 minutes, 16mm) "The Lead Shoes
  proposes a comic vision that is not at all funny. Extravagant,
  exhausting, open to the fortuitous and the unintended, its picaresque
  narrative transforms the dark region of unconscious impulse into an
  intellectual burlesque. The "story" disintegrates into a warped tissue
  of allusions and visual puns riddled by ellipses and audio-visual
  shifts."-Stuart Leibman "These images are meant to play not on our
  rational senses, but on the infinite universe of ambiguity within us."
  –Sidney Peterson Total running time: ca. 80 minutes.


New York, New York: Anthology Film Archives
7:30pm, 32 second Avenue

  1926, 104 minutes, 35mm, silent. Based on the novel by Maxim Gorky. In
  Russian with no subtitles; English synopsis available With the simple
  theme of a working-class mother growing in political consciousness
  through participation in revolutionary activity, this film established
  Pudovkin as one of the major figures of the Soviet cinema. A student of
  Kuleshov and an admirer of Griffith's films, he was writing his first
  book of film theory at the same time he was making MOTHER. His expert
  cutting on movement and his associated editing of unrelated scenes to
  form what he called a "plastic synthesis" are amply demonstrated here.
  Although in direct opposition to Eisenstein's shock montage, Pudovkin
  used a linkage method advanced far beyond Kuleshov's theories.


Berlin, Germany: Directors Lounge
21:00, Z-Bar, Bergstraße 2, 10115 Berlin-Mitte

  Barbara Rosenthal *--* humorous conceptual poetry-and.performance shorts
  *--* Including World Premiere of "Dead Heat" *--* *--* Barbara
  Rosenthal's work, on one hand many-fold and widespread over media such
  as performance, artists' books, photography, installations and video, on
  the other hand shows continued commitment in her field and consistency
  over several decades. If you need proof that art can be genuinely
  political, even if the artist does not calling themself a "political
  activist", or possibly even moreso because they do not, then look at
  Rosenthal's work. The collection of her video work over 30 years, a part
  of which will be presented at Directors Lounge, may possibly be best
  compared with a witty book of aphorisms. It's altogether irresistible,
  it's thoughtful, and it's funny, absurd, and at the same time, serious,
  absolutely. And that's what she wants to be taken for. *--* You may find
  Dada, Surrealism or Fluxus in her work, all of which has been overdone
  with and overused by contemporary artists. However, if you tried to
  interpret her that way, you would still not come to terms with Barbara's
  work. And if we have a closer look, there may be one strategy (of many)
  we can recognize: Very often, the artist finds ideas, or encounters
  situations, and takes them just too literally. By these and other
  techniques, daily life and its absurdities as mirrored in her work
  become an arena for thoughts revealing truth (yes!), and the negative
  consequences of abstractedness in live and politics. Barbara Rosenthal
  demands close attention and precise reception from her audience, those
  who like to follow her track of thoughts and perceptions. Her humour
  never transmits sarcasm; rather, it is as gentle as the jokes we know
  from those Zen Masters quizzing their favourite pupil. For example, in
  "How Much Does The Monkey Count?" that is all they do, Barbara and the
  monkey she ventriloquizes compete by counting numbers. Or like, when the
  absurdity of reading the listings of societies from the New York City
  phonebook turns into a critical statement without her adding anything to
  it. Or, in another example, when the artist is whispering "forbidden"
  secrets about a sexual attraction, which reveal less of herself but of
  the repressing side of political (and sexual) correctness. *--* The
  screening will almost be a retrospective as it shows a range of the
  artist's earliest (nicely digitally re-mastered) and most recent work.
  Having said all that, we are happy that Barbara Rosenthal is coming to
  Berlin exclusively for this screening. And she will be available to the
  audience, for questions and answers, or at least more thought-nourishing
  quizzes. *--* (Klaus W. Eisenlohr) *--* Artist's Links: *--* *--* *--* *--*

New York, New York: Anthology Film Archives
7:00pm, 32 Second Avenue

  DIARIES, NOTES & SKETCHES (WALDEN) by Jonas Mekas 1969, 180 minutes,
  16mm, color, sound. New print by Cinema Arts Inc. Special thanks to
  Michael Kolvek, Fran Bowen (Trackwise) and Pip Laurenson, Tate Museum.
  Filmed in 1964-68. Edited in 1968-69. "Since 1950 I have been keeping a
  film diary. I have been walking around with my Bolex and reacting to the
  immediate reality: situations, friends, New York, seasons of the year.
  On some days I shot ten frames, on others ten seconds, still on others
  ten minutes. Or I shot nothing. When one writes diaries, it's a
  retrospective process: you sit down, you look back at your day, and you
  write it all down. To keep a film (camera) diary, is to react (with your
  camera) immediately, now, this instant: either you get it now, or you
  don't get it at all." –J.M. –Thursday, June 25 at 7:00.

New York, New York: Anthology Film Archives
7:30pm, 32 Second Avenue

  Sunrise by F.W. Murnau 1927, 95 minutes, 35mm. Murnau's first American
  film is an allegory set in no particular time or place, about a man who
  is temporarily overruled by his passions, inflamed by the power of evil
  as personified by the city woman, and who finally returns to his senses
  and the orderly family life of the country. It is a virtuoso exercise
  representing the expressiveness of the silent film as it neared its end.
  Do not miss your chance to see one of the most stunning, and human,
  artistic statements ever to come out of the cinema. Upcoming Showings: *
  Sunday Jun 28 8:00 PM * Sunday Jun 28 6:00 PM

San Francisco, California: San Francisco Museum of Modern Art
7pm, 151 3rd Street - Phyllis Wattis Theater

  Run—New Order, 1989, 4 min., video Summer Cannibals—Patti Smith, 1996, 4
  min., video Fernando, 2008, 12 min., video Tunnel, 2005, 5 min., video
  True Story, 2004, 26 min., color and black-and-white, video Total
  running time: 51 min. Frank made Fernando in honor of a Swiss artist
  friend of his who passed away. Tunnel was created to premiere under the
  Swiss Alps at an event held during final blasting through the midpoint
  of the twenty-one-mile Lotschberg Tunnel in 2005. The film was censored,
  along with several others slated to screen that night. Advisory:
  Contains scenes of explicit animal violence (slaughter). Frank's most
  recent film, True Story, premiered in October 2004 at the exhibition
  Robert Frank Story Lines at the Tate Modern. Speaking in voiceover, the
  artist narrates scenes shot in his homes in New York and Nova Scotia.
  His rambling commentary returns to familiar themes of memory, and the
  loss of friends and family members. Brief excerpts from earlier films
  are shown, along with Frank's photographs, the art of his wife, June
  Leaf, and extraordinarily detailed letters written by his son, Pablo
  (1951-94). Alternately poignant, reflective, self-mocking, and angry,
  this candid autobiography reveals Frank's late-career preoccupations. $5
  general; free for SFMOMA members or with museum admission. Double
  features: films offered on the same date are included in one ticket.
  Also screened June 27th at 3pm.

FRIDAY, JUNE 26, 2009

New York, New York: Anthology Film Archives
5:30pm, 32 Second Avenue

  Ron Rice CHUMLUM 1964, 23 minutes, 16mm. With Jack Smith, Mario Montez,
  Gerard Malanga. "One of the underground's best and most influential
  films." –Peter Gidal Hans Richter RHYTHMUS 21 1921, 3 minutes, 16mm.
  "Its content is essentially rhythm, the formal vocabulary is elemental
  geometry, and the structural principle is counterpoint of contrasting
  opposites." –Standish Lawder TWO PENNY MAGIC / ZWEIGROSCHENZAUBER (1929,
  SICH, ALLES BEWEGT SICH (1929, 9 minutes, 16mm) Paul Sharits
  N:O:T:H:I:N:G 1968, 36 minutes, 16mm. Recently preserved print!
  Preservation supported by the National Film Preservation Foundation.
  "Based in part on the Tibetan Mandala of the Five Dhyani Buddhas/a
  journey toward the center of pure consciousness (Dharma-Dhatu
  Wisdom)/space and motion generated rather than illustrated/ time-color
  energy create virtual shape/in negative time, growth is inverse decay."
  –P.S. "In essence there are only three flicker films of importance,
  ARNULF RAINER, THE FLICKER, and N:O:T:H:I:N:G…. In terms of the subject
  we have discussed here, it is Sharits's N:O:T:H:I:N:G that opens the
  field for the structural film with a flicker base." –P. Adams Sitney
  Total running time: ca. 75 minutes.

New York, New York: Anthology Film Archives
7:30pm, 32 Second Avenue

  FILMS BY SARAH PUCIL: PROGRAM 1 Filmmaker in person! Sarah Pucill's
  films and photographs explore a sense of self that is transformative and
  fluid. Her work is concerned with the idea that as subjects we are not
  separate. Drawing together notions of inside and outside, the animate
  and inanimate, her films probe a journey between mirror and surface. Her
  latest production, FALL IN FRAME, explores the materiality of the
  filmmaking process, blurring the distinction between the physical and
  consciousness. Her previous work, BLIND LIGHT, brings the filmmaking
  process as performance and image into the fold of a fragmented spoken
  narrative; while TAKING MY SKIN continues her experiments with the
  collapsing of space, in front of and behind the camera. Pucill lives and
  works in London, and has been a senior lecturer at the University of
  Westminster since 2000. Anthology gratefully acknowledges support for
  this program from the Experimental Television Center's Presentation
  Funds Program, which is supported by public funds from the Electronic
  Media and Film Program of the New York State Council on the Arts. YOU BE
  MOTHER (1990, 7 minutes, 16mm, color) STAGES OF MOURNING (2004, 17
  minutes, 16mm, color) BACKCOMB (1995, 7 minutes, 16mm, color) SWOLLEN
  STIGMA (1997, 20 minutes, 16mm, color) FALL IN FRAME (2009, 18 minutes,
  16mm, color) Total running time: ca. 75 minutes.


San Francisco, California: San Francisco Museum of Modern Art
3pm, 151 3rd Street - Phyllis Wattis Theater

  See June 25th for description

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

The weekly listing is also available online at Flicker:

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