This week [August 29 - September 6, 2009] in avant garde cinema

From: Weekly Listing (email suppressed)
Date: Sat Aug 29 2009 - 08:49:07 PDT

This week [August 29 - September 6, 2009] in avant garde cinema

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2 festivals in SE Asia (Phnom Penh / Bangkok; Deadline: September 25, 2009)
Faux Film Festival (Portland OR, USA; Deadline: December 31, 2009)
Ava Gardner Independent Film Festival (Smithfield, NC, USA; Deadline: October 12, 2009)
International film competition - "Intervideo Talent Award" (Mainz, Germany; Deadline: November 30, 2009)
Rencontres Internationales Paris/Berlin/Madrid (Paris, France; Deadline: September 05, 2009)

SEE THE VOICE: Visible Verse 09 (Vancouver; Deadline: September 01, 2009)
5th Renderyard Short Film Festival (England & Spain; Deadline: September 07, 2009)
HEART OF GOLD INTERNATIONAL FILM FESTIVAL (Gympie, Queensland, Austalia; Deadline: September 25, 2009)
CologneOFF (Cologne, Germany; Deadline: September 01, 2009)
Accessibility 2009: Cross Currents (Sumter, SC USA; Deadline: October 01, 2009)
Magazine BLU BLUfilm Shortfest (Pleasanton, CA, USA; Deadline: September 01, 2009)
Los Angeles as a Character (Los Angeles, CA USA; Deadline: October 01, 2009)
Boulder International Film Festival (Boulder, CO USA; Deadline: September 01, 2009)
MUSEEK (Saint-Petersburg, Russia; Deadline: September 01, 2009)
the 8 fest (Toronto, Ontario, Canada; Deadline: September 30, 2009)
Hot Sauce & Magnolias (Southern Region, USA; Deadline: September 30, 2009)
Boston Underground Film Festival (Boston, MA, USA; Deadline: September 25, 2009)
2 festivals in SE Asia (Phnom Penh / Bangkok; Deadline: September 25, 2009)
KINOFILM, Manchester International Short Film Festival (Manchester, England; Deadline: September 10, 2009)
The Flickering Light Film Screening Series (Philadelphia, PA USA; Deadline: September 07, 2009)
Rencontres Internationales Paris/Berlin/Madrid (Paris, France; Deadline: September 05, 2009)
CAMBOFEST: Film, Video & Animation Festival of Cambodia (Phnom Penh, Cambodia; Deadline: September 01, 2009)

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

Also available online at Flicker:

 * Sacrificial offerings [August 29, Brooklyn, New York]
 * Sixth of the World [August 29, New York, New York]
 * Forward, Soviet! [August 29, New York, New York]
 * Experiments On Film #104 [August 29, Pittsburgh, Pennsylvania]
 * Richard Avedon Film Series: Program 8 [August 29, San Francisco, California]
 * Sacrificial offerings [August 30, Brooklyn, New York]
 * Kino-Eye [August 30, New York, New York]
 * Three Songs About Lenin [August 30, New York, New York]
 * Hollis Frampton's Hapax Legomena (Sections 4 Through 7) [August 30, Washington, DC]
 * Essential visual Music: Rare Classics From Cvm Archives [September 1, Berkeley, California]
 * Bijou [September 1, Brooklyn, New York]
 * Paul Clipson Presents: Subversive Documentaries [September 1, San Francisco, California]
 * Experimental Narrative Cinema By Meredith Drum and Alison Ward [September 2, Brooklyn, New York]
 * Meredith Drum [September 2, Brooklyn, New York]

Events are sorted by CITY within each DATE.


Brooklyn, New York: Lake Ivan Performance Group
2pm, The Brick 575 Metropolitan Avenue,

  see August 28th for details

New York, New York: Anthology Film Archives
4:15 pm, 32 2nd Avenue

  by DZIGA VERTOV 1926, 74 minutes, 35mm, silent. With Russian
  intertitles; English synopsis available.

New York, New York: Anthology Film Archives
6:00pm, 32 2nd Avenue

  DZIGA VERTOV 1925-26, 73 minutes, 35mm, silent. With Russian
  intertitles; English synopsis available

Pittsburgh, Pennsylvania: Jefferson Presents...
9:00pm, Garfield Artworks, 4931 Penn Ave.

  Sat. 08/29/09, 9:00pm, Garfield Artworks, 4931 Penn Ave., $5, $4
  Students. ----------------Alan Berliner: Color Wheel. 1977, 16mm, color,
  silent, 19.75 min Filmed throughout the changing light of the full year,
  a child's hand pushes merry-go-round spins roulette-wheel-like color
  energy: red snow, blue rain, green paint. ---------------Karel Doing:
  Whirlwind. 1998, 16mm, color, silent, 9 min Performances utilising
  light, lenses, projections and bodily interventions were the source for
  this film. By means of stop-motion, long shutter speeds and opticals
  these performances are manipulated and intensified; resulting in a
  labyrinth of spaces, reassembling levels of consciousness. The essence
  of cinema, writing with light, is represented in a hallucinatory way.
  ----------------Nancy Graves: Isy Boukir 1971, 16mm, DVD_NTSC, color,
  sound, 16 min ISY BOUKIR contains footage filmed in the Sahara during
  eighteen days. I wanted to extend sequences in GOULIMINE, 1970 and to a
  greater degree permit the animal motions to determine structure. An
  arriflex was often positioned five to ten feet from the animals. In New
  York, partite animal forms were seperated into two segments: as walking
  and as graduated motion. Through the edited sequential duration, camel
  morphology vies with the viewer's inherent anthropomorphism... This film
  is the most successful in that the impression of these animals as
  primordial beings existing in barren yet awesomely beautiful
  surroundings far outweighs a consciousness of complicated editing and
  sound relationships.--N. G. "ISY BOUKIR is not exactly a study of
  camels--though unavoidably it is full of the material for such a
  study--but rather a study of the way in a flock of camels, individual
  camels, and parts of a camels, occupy the space available to the camera
  frame. This may sound preteniously abstract, but Ms. Graves's film is
  precise and wonderfully particular, and as appreciativee of its camels
  as of the controlled rhythms of their surges across the screen, the
  slight shifting of their legs, the curves of their extended necks. It is
  altogethter beautiful, rich, assured, tactful and intensive
  filmmaking."--Roger Greenspun, New York Times ----------------George
  Griffin: Block Print 1977, 16mm, color, silent, 16 min 1. Walk around a
  city block aiming a movie camera at the seam between sidewalk and
  buildings. @24fps, this event lasts 5 minutes. 2. Repeat 1. holding
  camera on its side, shooting @12 fps. This shot is then duplicated on
  negative material; then both original and print are sandwiched one frame
  out of phase and optically printed on reversal material. 3. Negative
  print (see 2.) is fed into Xerox microfilm printer which produces a
  continuous paper enlargement. This roll is then chopped up with a paper
  cutter while simultaneously being reconstituted by single frame
  photography. (Mount page/frames on a mutoscope reel.) 4. Walk around
  block (see 1.) aiming single frame camera at mutoscope pages of xeroxed
  frames in foreground and actual seam of sidewalk and buildings in
  background. Alternate version: Take roll of uncut Xeroxed frames back to
  street and wrap block. Shoot this with single frame camera recording
  duplicate of print in foreground and actuality in background.-- G. G.
  ----------------Mike Henderson: Dufus 1970, 16mm, black and white,
  sound, 8 min "Henderson movies are the first movies in the world to
  bring the authentic 'talkin blues' tradition into film, THE LAST SUPPER
  and DUFUS are illustrated funky blues. His films are the best that I've
  seen anywhere in a long time." --Robert Nelson ----------------Week of
  the Angry Arts: For Life, Against The War (Selections) 1967, 16mm, color
  & b/w, sound, 38 min This film is composed of seventeen short films,
  made in response to an invitation from the Week of the Angry Arts. More
  than sixty film-makers responded to that invitation, with films from one
  to three minutes in length. The first compilation ran for three hours.
  The present film is composed of selections from the original version.
  Featuring Storm de Hirsch, John Hawkins, Stan Vanderbeek, Robert Breer,
  Dick Preston, Lee Savage, Nina Feinberg, Ron Finne, Hannah Weiner,
  Manfred Kirschheimer & Peter Eliscu, Robert Fiore, Fred Wellington,
  Lionel Martinez, Larry Jordan, Lloyd Williams, Leo Hurwitz & Peggy
  Lawson & Tom Hurwitz, Hilary Harris.

San Francisco, California: San Francisco Museum of Modern Art
3:00 pm, SFMOMA: Phyllis Wattis Theater

  In conjunction with Richard Avedon: Photographs 1946-2004, we take up
  the celebrated photographer's 1964 collaboration with writer (and high
  school classmate) James Baldwin, entitled Nothing Personal. Published a
  year after John F. Kennedy's assassination, the resulting book
  highlights the civil rights movement, protest politics of both the Left
  and the Right, and American identity in that era. Avedon juxtaposes an
  American Nazi Party salute with a naked Allen Ginsberg, placing between
  these poles figures such as segregationist George Wallace,
  scientist-turned-antinuclear-activist Linus Pauling, members of
  Daughters of the American Revolution, and William Cansby, a man born
  into slavery. This film series presents perspectives on these themes —
  circa 1964. (Many titles were suggested by Andy Ditzler's Civil Rights
  on Film series at Emory University, part of his ongoing Film Love
  series.) PROGRAM 8: A project of San Francisco State University, the San
  Francisco Bay Area Television Archive collects moving images chronicling
  the social and cultural history of the region. Included in its holdings
  are news reports from the early days of KQED. This program features two
  segments produced by KQED veteran, Richard Moore. Take This Hammer shows
  James Baldwin with a mobile TV crew visiting community leaders in San
  Francisco's predominately African American neighborhoods. Losing Just
  the Same focuses on the day-to-day lives of youth growing up in an
  Oakland ghetto. Director/Producer Moore will introduce the program on
  Thursday, August 27, and do a post-screening Q&A. FILMS: Take This
  Hammer, KQED, 1964, 45 min., video; Losing Just the Same, KQED, 1966, 58
  min., video


Brooklyn, New York: Lake Ivan Performance Group
8 pm, The Brick 575 Metropolitan Avenue,

  Please come to a fascinating experiment in improvisation in video and
  performance, which will be presented several times throughout the month
  of August. David Finkelstein and Ian W. Hill collaborated on a series of
  improvised verbal duets, which they videotaped. David used the footage
  to generate a video work; Ian used the transcribed text from the same
  footage to generate a theater piece. Both will be presented together in
  the program. Agnes de Garron also added her improvisational skills to
  the film, in a star turn as the Oracular Priestess. How will Ian's play
  and David's video of the same words be similar to each other or
  radically different? Please come find out!

New York, New York: Anthology Film Archives
5:00pm, 32 2nd Avenue

  by DZIGA VERTOV 1925, 70 minutes, 16mm, silent.

New York, New York: Anthology Film Archives
6:30 pm, 32 2nd Avenue

  DZIGA VERTOV 1934, 60 minutes, 35mm. In Russian with no subtitles;
  English synopsis available.

Washington, DC: National Gallery of Art
4:30pm, Sixth Street and Constitution Avenue NW

  One of the towering figures of the American avant-garde movement of the
  1960s, Hollis Frampton (1936–1984)—theoretician, photographer,
  raconteur, and friend of many visual artists—completed his seven-part
  meditation Hapax Legomena ("words or things appearing once") in 1972. It
  was restored this year under the supervision of New York University
  professor Bill Brand, through the cooperation of the National Film
  Preservation Foundation, Museum of Modern Art, Anthology Film Archives,
  and New York University Moving Image Archiving and Preservation Program.


Berkeley, California: Pacific Film Archive
7:30 pm, 2575 Bancroft Way

  This evening features a range of work, from 1920s German film
  experiments to light-show psychedelia, highlighting the evolving
  technology and artistic sophistication of visual music and experimental
  animation. The program includes films from the tradition of "color
  organ" experimentation, as well as films designed to be used in
  performance contexts and other forms of expanded cinema, often with
  independent musical accompaniment. Accordingly, one of the themes that
  emerges from this program is a dialogue between structure and
  spontaneity in visual music. Many of the prints represent recent
  preservation work by the Center for Visual Music. Introduced by Cindy
  Keefer of CVM. Program: • R-1 ein Formspiel (Oskar Fischinger, Germany,
  c. 1926–33 (1993 re-creation by William Moritz/Fischinger Archive), 7
  mins, Sound on CD, B&W/Tinted/Color, Cinemascope, 35mm). Komposition in
  Blau (Composition in Blue) (Oskar Fischinger, Germany, 1935, 4 mins,
  35mm). Dockum Mobilcolor Performance at the Guggenheim Museum (Charles
  Dockum, U.S., 1952, 7 mins, Silent). Demonstration of Mobilcolor
  Projector (Charles Dockum, U.S., 1966, 4 mins). Mobilcolor Performance
  Film (Charles Dockum, U.S., 1966, 3 mins, Silent). Muntz TV Commercial
  (Oskar Fischinger, 1952, 1 min, B&W, Originally 35mm). Mood Contrasts
  (Mary Ellen Bute, U.S., 1953, 7 mins, Originally 35mm). Cibernetik 5.3
  (John Stehura, U.S., 1960–65, 8 mins, Digital video transferred from
  16mm). Turn, Turn, Turn (Jud Yalkut, U.S., 1966, 10 mins, Sound by
  USCO). Single Wing Turquoise Bird Light Show Film (U.S., 1971, 5 mins).
  Tanka (David Lebrun, U.S., 1976, 9 mins). Celebration (Jules Engel,
  U.S., 1978, 4 mins). 3 Arctic Flowers (Jules Engel, U.S., 1978, 3 mins).
  Mobiles (Jules Engel, U.S., 1978, 3 mins). • Total running time: 75
  mins, Color, 16mm unless otherwise indicated. Komposition in Blau was
  preserved by Academy Film Archive. From the Center for Visual Music,

Brooklyn, New York: Light Industry
7:30, 220 36th Street, 5th Floor

  Bijou: Wakefield Poole, 16mm, 1972, 77 mins. Introduced by Eileen Myles.
  I love this movie both because I do love gay male porn, and movies (duh)
  and also love the 70s and remember it, but Bijou simply smashes the mold
  to bits in terms of genre. It swerves from a near-documentary, realist
  mode suddenly into a kind of Russian constructivist passage, to an
  action car chase, a little grainy Warhol and falling we find ourselves
  in a Frank Wedekind play. Poole's consciousness is massively absorbent.
  It's hard to watch Bijou and not think that David Lynch is a Wakefield
  Poole fan, especially in Mulholland Drive. Sex is a such a rabbit hole
  in this film and we get treated to such a phantasmagoria of groping and
  grouping and kaleidoscopic rendering of sex. Plus there's just footage
  of a New York that even those who were there have long forgotten. You'll
  never want to wear underwear again once you've seen Bijou. I know this
  to be true. I watched it this week with a bunch of unconvinced art
  colonists of a wide variety of sexualities and art practices and
  everyone was transformed and no we actually didn't have an orgy but
  underwear sales in this particular demographic have been totally altered
  and changed forever. Wakefield Poole is a genius and a sensualist and an
  artist of surprising complexity and passion. And levity. Come see this
  screening. You'll feel so good. - EM Eileen Myles, named by BUST
  magazine "the rock star of modern poetry," is the author of more than
  twenty books of poetry and prose, including Chelsea Girls, Cool for You,
  Sorry, Tree, and Not Me (Semiotext(e), 1991), and is the coeditor of The
  New Fuck You (Semiotext(e), 1995). Myles was head of the writing program
  at University of California, San Diego, from 2002 to 2007, and she has
  written extensively on art and writing and the cultural scene. Most
  recently, she received a fellowship from the Andy Warhol/Creative
  Capital Foundation. Tickets - $7, available at door.

San Francisco, California: San Francisco Museum of Modern Art
12pm, 151 Third Street

  In this program of film shorts, experimental filmmaker (and SFMOMA's own
  head projectionist) Clipson screens high-art takes on low subjects.
  Among others, Luis Buñuel cast a surreal eye on rural poverty in Spain,
  and Alain Resnais documents the lyricism of plastic. Also: Las Hurdes
  (aka The Land Without Bread), Luis Buñuel, 1933, 30 min., 16mm, b/w.
  Hotel des Invalides, Georges Franju, 1952, 22 min., 35mm, b/w. Le chant
  du Styrène, Alain Resnais, 1958, 19 min., 35mm, color, cinemascope.
  "Luis Buñuel casts a surreal eye on rural poverty in Spain, Alain
  Resnais documents the lyricism of plastic, and Georges Franju upends
  nationalism and military glory. The museum would like to thank the
  Consulate General of France in San Francisco for its assistance and
  support of this program. Museum and program admission are free."


Brooklyn, New York: ISSUE Project Room
8:00 P.M., At the Old American Can Factory, 232 3rd Street, 3rd Floor

  Meredith Drum presents three low-ball sci-fi video works that form a
  loose trilogy, "The Tower", "The Formula" and "The Double". The
  narratives combine elements from old stories of conflict between
  feminine and masculine and interior and exterior loss and fulfillment.
  All three were filmed in the same feral park and graced by actress
  Juliana Francis Kelly. Alison Ward explores the ideas and motivations
  behind her piece the Beastly Beauty in the form of a performance as
  slide lecture. She will re-envision her spectacular performance, an
  on-going farcical battle that most recently occurred on Coney Island's
  beach and boardwalk in late August. The Punch and Judy battle between
  two characters embodying different elements of beauty and the grotesque
  features elaborate Baroque style costumes, one set adorned with pink
  ribbons and lace, the other with garbage bags and filth. Each are backed
  by six cheerleaders in armor, who taunt each other with chants that
  merge cheerleading rallies with traditional battle cries and King
  Kong-style beating of the chest. The battle is comical with each side
  flirting and fighting, hitting and kissing, much like two lovers in a
  fierce fight. The choreography combines wrestling moves with traditional
  dance and burlesque to create a spectacle that is simultaneously
  violent, sexual, and humorous. The idea behind The Beastly Beauty, is an
  effort to comment through use of physical humor and public performance,
  on the nature of violence, and to upend notions of traditional roles of
  the masculine and feminine.

Brooklyn, New York: ISSUE Project Room
8pm, 232 3rd street, 3rd floor

  Meredith Drum's trilogy of narrative cinema, The Double, The Formula and
  The Tower, will screen this coming wednesday night, September 2nd, at
  ISSUE Project Room in Brooklyn. The screening will be followed by a
  slide lecture as performance by Alison Ward regarding her most recent
  spectacle / Punch and Judy battle on Coney Island, Beastly Beauty.

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