This week [October 24 - November 1, 2009] in avant garde cinema

From: Weekly Listing (email suppressed)
Date: Sat Oct 24 2009 - 07:15:56 PDT

This week [October 24 - November 1, 2009] in avant garde cinema

To subscribe/unsubscribe to the weekly listing, go to
or send an email to (address suppressed)

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

"The Stolen Wings" by Gerard Lough
"Sweet Dreams" by Jeanne Liotta
CINE 60 items
Camera repair

Ann Arbor Film Festival (Ann Arbor, MI USA; Deadline: November 02, 2009)

Strange Beauty Film Festival (Durham, North Carolina USA; Deadline: November 15, 2009)
MONO NO AWARE FILM EVENT / @ LUMENHOUSE (Brooklyn, NY, United States; Deadline: November 09, 2009)
Images Festival (Toronto CANADA; Deadline: October 30, 2009)
29th Black Maria Film + Video Festival (Jersey City, NJ, USA; Deadline: November 27, 2009)
Beaufort International Film Festival (Beaufort, SC. USA; Deadline: November 15, 2009)
Tregor Film Fest (Lannion, Tregor, France; Deadline: November 20, 2009)
FRESH: ABSTRACTIONS (Bangkok, Thailand; Deadline: November 07, 2009)
The LAB (San Francisco, CA, USA; Deadline: November 21, 2009)
Ann Arbor Film Festival (Ann Arbor, MI USA; Deadline: November 02, 2009)

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

Also available online at Flicker:

 * Studio: Monolog [October 24, London, England]
 * Hollis Frampton: Hapax Legomena [October 24, London, England]
 * Human Nature [October 24, London, England]
 * Experiments In Documentary Screening and Journal Release [October 24, New York, New York]
 * Other Cinema: Prelingers + Parr + Baldwin + Stark + Katz + [October 24, San Francisco, California]
 * Tribute To Chick Strand [October 24, San Francisco, California]
 * Studio: My Absolution [October 25, London, England]
 * The Exception and the Rule [October 25, London, England]
 * Film Ist. A Girl & A Gun [October 25, London, England]
 * Whirl of Confusion [October 25, London, England]
 * Robert Beavers In Person [October 25, Los Angeles, California]
 * Christine Panushka and Alberto Araiza: Mosca and the Meaning of Life [October 26, Los Angeles, California]
 * Sun Xun: the Dark Magician of New Chinese Animation [October 27, Berkeley, California]
 * Premium & Miracle - Films By Ed Ruscha [October 27, Chicago, Illinois]
 * Brigitte Maria Mayer: Anatomie Titus: Fall of Rome [October 27, Los Angeles, California]
 * Silent Light [October 27, Reading, Pennsylvania]
 * Free Form Film Festival; Subjective Sanity [October 28, San Francisco, California]
 * The Way South [October 29, Chicago, Illinois]
 * Life As We Show It: Writing On Film [October 29, Los Angeles, California]
 * Ata Open Screening [October 29, San Francisco, California]
 * Hollis Frampton: Zorns Lemma & A Lecture [October 29, San Francisco, California]
 * Paul Wegener and Henrik Galeen's the Golem (1920) With A Live Score By
    Brian Lebarton [October 30, Los Angeles, California]
 * Poe's 200th Birthday Celebration [October 30, San Francisco, California]
 * Paul Wegener and Henrik Galeen's the Golem (1920) With A Live Score By
    Brian Lebarton [October 31, Los Angeles, California]
 * Other Cinema: Macias' History of Japanese Horror + Dj Onanist [October 31, San Francisco, California]

Events are sorted by CITY within each DATE.


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

  MONOLOG (Laure Prouvost, UK-France 2009, 12 min) A new work made for the
  Festival turns its attention to the viewer and the room itself. 'Come
  inside, I'm going to explain a few things. Just about you and the space
  we're in. It's quite warm in here, you should take off your jacket ...'
  Continuous Projection. Free Admission.

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

  Hollis Frampton, a key figure of the American avant-garde, was an artist
  and theoretician whose practice closely resonates with contemporary
  discourse. The series of seven films known as HAPAX LEGOMENA is,
  alongside ZORNS LEMMA, one of his most distinguished achievements, and
  will be presented in its entirety on new preservation prints. Predating
  MAGELLAN, the ambitious 'metahistory' of film left unfinished by his
  early death in 1984, HAPAX LEGOMENA traces Frampton's own creative
  progression from photographer to filmmaker. It dissects sound/image
  relationships, incorporates early explorations of video and television,
  and looks forward to digital media and electronic processes. Though
  notoriously rigorous, Frampton's films are infused with poetic
  tendencies and erudite wit, sustaining a dialogue with the materials of
  their making, and the viewer's active participation in their reception.
  'Hapax legomena are, literally, 'things said once' … The title brackets
  a cycle of seven films, which make up a single work composed of
  detachable parts … The work is an oblique autobiography, seen in
  stereoscopic focus with the phylogeny of film art as I have had to
  recapitulate it during my own fitful development as a filmmaker.'
  (Hollis Frampton)(NOSTALGIA) (Hollis Frampton, USA, 1971, 36 min) As a
  sequence of photographs is presented and slowly burned, a narrator
  recounts displaced anecdotes related to their production, shifting the
  relationship between words and images. POETIC JUSTICE (Hollis Frampton,
  USA, 1972, 31 min) A 'film for the mind' in which the script is
  displayed page by page for the viewer to read and imagine. CRITICAL MASS
  (Hollis Frampton, USA, 1971, 16 min) Frampton's radical editing
  technique disrupts and amplifies the already impassioned argument of a
  quarrelling couple. TRAVELLING MATTE (Hollis Frampton, USA, 1971, 34
  min) 'The pivot upon which the whole of Hapax Legomena turns' uses early
  video technology to interrogate the image. ORDINARY MATTER (Hollis
  Frampton, USA, 1972, 36 min) This 'headlong dive' from the Brooklyn
  Bridge to Stonehenge is a burst of exhilarated consciousness. REMOTE
  CONTROL (Hollis Frampton, USA, 1972, 29 min) 'A 'baroque' summary of
  film's historic internal conflicts, chiefly those between narrative and
  metric/plastic montage; and between illusionist and graphic space.'
  SPECIAL EFFECTS (Hollis Frampton, USA, 1972, 11 min) Stripping away
  content leaves only the frame. 'People this given space, if you will,
  with images of your own devising.' HAPAX LEGOMENA has been preserved
  through a major cooperative effort funded by the National Film
  Preservation Foundation and undertaken by Anthology Film Archives, MoMA,
  the New York University Moving Image Archiving and Preservation Program,
  and project conservator Bill Brand.

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

  PASSAGE BRIARE (Friedl vom Gröller, Austria, 2009, 3 min) A meeting of
  friends in a Paris backstreet, and an unexpected revelation. HOTEL
  ROCCALBA (Josef Dabernig, Austria, 2009, 10 min) In a subtle
  choreography, the occupants of a small Alpine hotel pass a lazy
  afternoon. Not much happens, but all may not be as it appears. GREGOR
  ALEXIS (Jana Debus, Germany, 2008, 20 min) The filmmaker's schizophrenic
  brother recounts personal experiences, slipping between first and third
  person. The locations chosen for this portrait – a desolate apartment
  and a wasteland littered with abandoned machinery – are indicative of
  the condition of someone potentially as vulnerable as the insects that
  collect on his windowsill. THE DISCOVERY (Ken Jacobs, USA, 2008, 4 min)
  Tom's dextrous parlour game attracts unwanted attention. A stolen
  moment, frozen in time, now re-animated for all to see. THE PRESENTATION
  THEME (Jim Trainor, USA, 2008, 14 min) As primitive Magic Marker
  drawings illustrate the myths and rituals of the ancient Moche
  civilisation, a disparaging narrator describes the tormented trials of a
  hapless creature amongst goblets of blood, fanged men and a sacrificial
  priestess. BURNING PALACE (Mara Mattuska, Chris Haring, Austria, 2009,
  32 min) This new collaboration between Mattuschka and Vienna's Liquid
  Loft takes us behind the velvet curtains of the Burning Palace, whose
  peculiar inhabitants have an itch they just can't scratch.

New York, New York: Millennium Film Workshop
8 PM, 66 East 4th St

  In celebration of the publication of Millennium Film Journal #51
  "Experiments in Documentary", co-edited by Lucas Hilderbrand and Lynne
  Sachs, this program will feature the works of a selection of the
  filmmakers who wrote essays for this special thematic issue. These media
  artists challenge the way we see (and hear) documentary. While visually
  and aurally innovative, they are also socially engaged, offering
  cultural critiques that cannot be reduced to a singular agenda. Through
  their engagement with images and institutions, they open up new ways of
  examining how we understand our world and our history. The program
  charts the boundaries of experimental documentary: from an allegorical
  retelling of political struggle in Chicago 1968 to a collage memoir on
  body manipulation to an empathic witnessing of the Gulf Coast six months
  after Katrina. Tonight's program brings together artists both showing
  and discussing their films. Please join us for a post-screening party
  and book signing. "Fountain" (22 min., video, excerpt) by Donigan
  Cumming (present) "Clockwork: Birthday" (video documentation of
  installation) by Jeanne Finley & John Muse "Vital Signs" (9 minutes,
  16mm, 1991) Barbara Hammer (present) "15 Experiments on Peripheral
  Vision" (10 min., 16mm, 2008) by Adele Horne "South of Ten" ( 10 min.,
  35mm on tape, 2006) by Liza Johnson (present) "Jean Genet in Chicago"
  (15 min, 16mm, 2006 excerpt) Frederic Moffet "Chop Off" (8 min., video,
  2009) by MM Serra (present) "Hidden in Plain Sight" (10 min., video)by
  Mark Street (present)

San Francisco, California: Other Cinema
8:30, 992 Valencia St.

  Canny curator of the cultural memory, Rick Prelinger emerges from the
  vaults with a precious cache of newly unearthed amateur films: Southern
  sharecroppers, KKK parades, Japanese internees, and May Day demos. Megan
  Prelinger interprets a cabinet of curiosities from their SoMA library.
  Stephen Parr shares a 16mm selection from the SF Media Archive,
  including an amateur monster movie and treasures disinterred from the SF
  Dump. Craig Baldwin introduces an eye-popping Kodachrome travelog of a
  late-colonial cross-Africa excursion. Scott Stark's 20-min. celluloid
  set unveils the discovered mid-century diaries of San Francisco
  families. The program is consummated with Joel Katz' compelling
  cine-essay, Dear Carrie, unpacking the 20C Kodachrome chronologies of a
  courageous globe-trotting matron. PLUS: Free found slides, gratis wine,
  and Doug Katelus on Optigan. $7.77.

San Francisco, California: Canyon Cinema
7:30, 145 Ninth St #260

  A Cinematic Tribute to Chick Strand Curated by Dominic Angerame
  Presented by Canyon Cinema and San Francisco Cinematheque in association
  with the Ninth Street Independent Film Center October 24, 2009, 7:30
  p.m. Ninth Street Independent Film Center, 145 Ninth Street in San
  Francisco 7:30 PM, Admission $10 A reception will be held following the
  screening Films presented: Angel Blue Sweet Wings (1966) Fever Dream
  (1979) Guacamole (1976) Kristallnacht (1979) Soft Fiction (1979)
  Waterfall (1967) and more.. Born Mildred in northern California and
  nicknamed Chick by her father, CHICK STRAND (1931-2009) studied
  anthropology at Berkeley in the 1960s, joined the free speech movement,
  and experimented with photographic collage. She joined the filmmaker
  Bruce Baillie and editor Ernest Callenbach to found Canyon Cinema, a
  screening collective that evolved into the San Francisco Cinematheque
  and the independent distributor Canyon Cinema. She enrolled on the
  ethnography program at UCLA, and after graduating in 1971 taught for 24
  years at Occidental College. She made nineteen films, many shot in
  Mexico, while traveling with her life and creative partner, the
  pop-surrealist artist Neon Park (Martin Muller, 1940-93). Her work is
  held in the collection of the Academy of Motion Picture Arts and
  Sciences and continues to be distributed by Canyon Cinema. (Wikipedia)
  "Chick Strand was one of the more renowned pioneers in the Bay Area
  experimental filmmaking community. Canyon Cinema and the Cinematheque
  were founded in 1961 when Strand and Bruce Baillie began to show films
  in their backyard on a sheet tied between two trees. These weekly
  screenings were the seeds that began to sprout when Canyon Cinema became
  an official State Corporation. Out of Canyon Cinema came the Canyon
  Cinema News, and the Canyon Cinematheque. The Canyon Cinematheque
  branched off from Canyon Cinema around 1977 and became its own non
  profit exhibition center known as the Cinematheque. Both organizations,
  however, share a common thread in that the promotion of experimental
  cinema is the main focus. "Chick Strand, through her example, always
  championed the rights of filmmakers. She constantly insisted that
  filmmakers be paid for showing their work and that they be treated
  properly. The spirit of Canyon Cinema comes from her energies and she
  also believed that filmmakers should organize and operate their own
  exhibitions and distribution of films. Not only was she an inspiration
  to those of us involved in Canyon Cinema, she was also a dedicated
  teacher for more than 35 years." - Dominic Angerame, Filmmaker and
  Executive Director, Canyon Cinema


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

  MY ABSOLUTION (Victor Alimpiev, Russia-Netherlands, 2008, 8 min)
  Alimpiev's work imbues the simplest gestures with mystery and
  consequence. An actress performs a sequence of enigmatic actions towards
  the nape of a second woman's neck in a performance that creates an
  almost sculptural tension which is never quite released. Continuous
  Projection. Free Admission.

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

  ME BRONI BA (MY WHITE BABY) (Akosua Adoma Owusu, USA-Ghana, 2008, 22
  min) Driven by the pulsing sounds of Afrobeat and American soul, this
  spirited study of Ghanaian hair salons questions representations of
  beauty and ethnicity. While teams of women weave elaborate styles,
  children practice braiding on the blonde hair of white baby dolls,
  surplus stock exported from the West. MY TEARS ARE DRY (Laida Lertxundi,
  USA-Spain, 2009, 4 min) A song of heartache, an afternoon's repose and
  the eternal promise of the blue California sky. THE EXCEPTION AND THE
  RULE (Karen Mirza, Brad Butler, UK-Pakistan-India, 2009, 39 min) Shot
  primarily in Karachi, The Exception and the Rule employs a variety of
  strategies in negotiating consciously political themes. Avoiding
  traditional documentary modes, the film frames everyday activities
  within a period of civil unrest, incorporating performances to camera,
  public interventions and observation. This complex work supplements
  Mirza/Butler's Artangel project 'The Museum of Non Participation'.

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

  FILM IST. A GIRL & A GUN (Gustav Deutsch, Austria, 2009, 97 min) Taking
  its cue from DW Griffith via J-L Godard, the latest instalment of the
  FILM IST series is a five-act drama in which reclaimed footage is
  interwoven with aphorisms from ancient Greek philosophy. Beginning with
  the birth of the universe, it develops into a meditation on the timeless
  themes of sex and death, exploring creation, desire and destruction by
  appropriating scenes from narrative features, war reportage, nature
  studies and pornography. The Earth takes shape from molten lava, and man
  and woman embark upon their erotic quest. For this mesmerising epic,
  Deutsch applies techniques of montage, sound and colour to resources
  drawn from both conventional film archives and specialist collections
  such as the Kinsey Institute and Imperial War Museum. Excavating cinema
  history to tease new meanings from diverse and forgotten film material,
  he proposes new perspectives on the cycle of humanity. The film's
  integral score by long-term collaborators Christian Fennesz, Burkhardt
  Stangl and Martin Siewert incorporates music by David Grubbs, Soap&Skin
  and others.

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

  AND THE SUN FLOWERS (Mary Helena Clark, USA, 2008, 5 min) 'Notes from
  the distant future and forgotten past. An ethereal flower and
  disembodied voice guide you through the spaces in between.' SHOT FILM
  (Greg Pope, UK-Norway, 2009, 4 min) Taking the expression 'to shoot a
  film' at face value, this 35mm reel has been blasted with a shotgun.
  CONTRE-JOUR (Matthias Müller, Christoph Giradet, Germany, 2009, 11 min)
  My Eyes! My Eyes! Flickering out from the screen and direct to your
  retina, Contre-jour is not for the optic neurotic. Take a deep breath
  and try to relax as Müller and Girardet conduct their examination. FILM
  BY 1,794) (David Gatten, USA, 2008, 13 min) 'A single piece of paper, a
  second stab at suture, a story three times over, a frame for every mile.
  Words by Charles Darwin.' WOLF'S FROTH / AMONGST OTHER THINGS (Paul
  Abbott, UK, 2009, 15 min) By chance or circumstance, wolf's froth's
  covert syntax refuses to be unpicked. Entangling anxious domesticity
  with the spectre of aggression, it conjures a mood of underlying
  discomfort and intrigue. FALSE AGING (Lewis Klahr, USA, 2008, 15 min)
  Klahr's surreal collage journeys through lost horizons of comic book
  Americana and is brought back down to earth by Drella's dream. And
  nobody called, and nobody came. MOUNT SHASTA (Oliver Husain, Canada,
  2008, 8 min) What is ostensibly a proposal for a film script is acted
  out, without artifice, in a bare loft space as Mantler plays a plaintive
  lament. A puppet show like none other that will leave you bemused,
  befuddled and bewildered.

Los Angeles, California: Filmforum
7:00 pm, UCLA Film & Television Archive at the Billy Wilder Theater, in the Hammer Museum, 10899 Wilshire Blvd., Los Angeles

  UCLA Film & Television Archive, Los Angeles Filmforum, the Getty
  Research Institute, CalArts Film/Video, and REDCAT present Robert
  Beavers in Person First time in Los Angeles! At the UCLA Film &
  Television Archive This presentation of work by avant-garde filmmaker
  Robert Beavers represents the filmmaker's Los Angeles debut, after a
  career spanning from the mid-1960s to the present day, and is organized
  in conjunction with the Pacific Film Archive in Berkeley. Including AMOR
  (1980, 15 min. 35mm, color, Italy/Austria); THE STOAS (1991-97, 22 min.,
  35mm, color, Greece); THE GROUND (1993-2001, 20 min., 35mm, color,
  Greece); and PITCHER OF COLORED LIGHT (2007, 24 min., 16mm, United
  States/Switzerland). Note change in time & location! Los Angeles
  Filmforum, at UCLA Film & Television Archive, Billy Wilder Theater, in
  the Hammer Museum, 10899 Wilshire Blvd., Los Angeles. For advance
  tickets and directions, please visit


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

  World premiere. Mosca and the Meaning of Life is a groundbreaking
  multimedia piece in which animated characters leap off the screen and
  join up with a live performance crafted by award winning filmmaker and
  animator Christine Panushka and theater and spoken word artist Beto
  Araiza. Mosca and the Meaning of Life questions our belief systems,
  customs, and social values, the truths and lies with which we live out
  our lives, motivated as much by misinformation and desperation as by
  hope. The program also includes The Sum of Them, Singing Sticks and
  other films by Panushka, as well as an excerpt of Biting the Pillow, a
  performance by Araiza. In person: Christine Panushka and Alberto Araizia
   Curated by Steve Anker.


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

  Sun Xun in Person "When we sleep deeply, everything becomes
  history."—Sun Xun In this rare U.S. presentation of his animation œuvre,
  Chinese artist and filmmaker Sun Xun will present a variety of short
  films that range from a witty experiment in body art to an evocation of
  China's checkered voyage toward technological and political modernity.
  Critic Mathieu Borysevicz wrote, "Sun's world lies suspended in
  anonymous twentieth-century eternity, a past riddled with legacies of
  modernity at its most extreme, a film noir testimony to absolutism. His
  flickering images crystallize into a gritty, dystopic urban overture to
  revolution. . . . His aim is to scratch the surface of political
  history, a history continuously conflated into myth, in order to expose
  the past as being in a state of constant becoming." Sun's films combine
  hand-drawn renderings and traditional materials with new media. Each
  animation is made from hundreds of individual drawings that have also
  been exhibited in galleries and museums in China, the U.S., and Europe.
  An exhibition of Sun's work will open at Max Protetch Gallery in New
  York on November 7. —Bérénice Reynaud. • Utopia in the Day (2004, 4:41
  mins). Chinese words. war (2005, 2:12 mins). Lie of magician (2005, 4:14
  mins). Shock of time (2006, 5:29 mins). Lie (2006, 7:20 mins). Mythos
  (2006, 5:15 mins). Requiem (2007, 7:21 mins). Heroes no longer (2008,
  9:04 mins). Coal Spell (2008, 7:56 mins). The New China (2008, 5:19

Chicago, Illinois: White Light Cinema
8:00pm, The Nightingale (1084 N. Milwaukee Ave.)

  White Light Cinema is pleased to present this extremely rare screening
  of Ed Ruscha's two films, PREMIUM and MIRACLE. ***** PREMIUM (1971, 24
  mins., 16mm) ***** Featuring artist Larry Bell, model Léon Bing,
  designer Rudi Gernreich, and musician/comedian Tommy Smothers. Based on
  the Mason Williams short story "How to Derive the Maximum Enjoyment from
  Crackers" ***** "The immediate source of PREMIUM was a photo-novel,
  CRACKERS, that Ruscha made in 1969, itself deriving from a story, 'How
  to Derive the Maximum Enjoyment from Crackers,' written by Mason
  Williams… ***** A man played by the artist Larry Bell buys a shopping
  cart full of tomatoes, lettuce, and other salad foods and five
  one-gallon cans of dressing. Driving to a skid row flophouse, he rents a
  $2 room from the desk clerk, played by the designer Rudi Gernreich. In
  the rat-infested room, he pulls back the covers of the bed and on it
  very carefully prepares a huge salad, a sculptural composition of greens
  that flower out symmetrically from its center and then replaces the bed
  cover." (David E. James, The Most Typical Avant-Garde). We won't spoil
  the rest. ***** MIRACLE (1975, 28 mins., 16mm) "Features artist Jim
  Ganzer and actress Michelle Phillips in a tale about a strange day in
  the life of an auto mechanic." (Harvard Film Archive) ***** These films
  are Copyright Ed Ruscha, Courtesy Gagosian Gallery.

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

  U.S. premiere with a discussion with Peter Sellars. The Berlin-based
  artist traces a via dolorosa through the modern world in a timely new
  video based on Heiner Müller's excoriating 1984 adaptation of Titus
  Andronicus, Shakespeare's blood-soaked revenge drama. Presented as a
  triptych that is as lyrical as it is terrifying, Mayer's piece extends
  Müller's parable to a global narrative of contemporary empire in which
  footage shot on locations across Africa and Asia is contrasted against
  highly stylized in-studio passages featuring cinema icon Jeanne Moreau
  (appearing as Goth queen Tamora). Müller, the most provocative
  playwright of the erstwhile East Germany, used his commentary to address
  imperial violence and the fateful cycle of brutality it begets; Mayer's
  Anatomie Titus reminds us that those concerns remain just as relevant
  today, 20 years after the fall of the Berlin Wall. The screening is
  followed by a discussion with the artist, renowned director Peter
  Sellars and Semiotext(e) founder Sylvère Lotringer. Co-presented with
  Villa Aurora and the Goethe-Institut Los Angeles.

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

  Silent Light (2007,145min.) by CARLOS REYGADAS "The admirably
  unpredictable Reygadas [has made] the world's first talking picture in
  the medieval German plautdietsch dialect…. Silent Light is a behavioral
  experiment—set in Northern Mexico's Mennonite community and cast almost
  entirely with Mennonite non-actors. Everything is monumentally
  deliberate, from the human interactions to the stolidly bucolic
  representation of Mennonite domesticity to the extraordinary,
  wide-screen landscape shots that bracket the action. Oscillating between
  the sacred and profane, this elemental tale of love and betrayal is part
  ethnographic documentary and part 16th-century psycho- drama with an
  obvious debt to Carl Theodore Dreyer. " J. Hoberman, (Top 10 pick for


San Francisco, California: Artists Television Access
8PM $6, 992 Valencia St at 21st

  (Program Co-Curated by the The Lost media Archive) OPENING ACT: Live
  Performance by Steve Shearer A mix of ephemeral media and experimental
  film that probes the depths (or grazes the surfaces) of human psyche and
  surroundings. FEATURED WORKS BY: Charles Chadwick, Elizabeth Henry,
  Daniel Small, Christina Corfield, Kate Gorman, Adam Paradis, and Steve


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

  Prolific Dutch documentarian, author, and photographer Johan van der
  Keuken (1938–2001) produced 55 films and nine books over the course of
  his career. Influenced by Dutch realist photographers, existential and
  Eastern philosophies, and abstract painting and jazz, van der Keuken's
  memorable style combined political and avant-garde filmmaking traditions
  with subjective expression and objective explanation. In The Way South
  (1981), part of a triptych of political films examining the disparities
  between the northern and southern hemispheres, van der Keuken's camera
  travels from Amsterdam through Paris, the Alps, and Rome to Egypt and
  documents the plights of immigrant communities—Dutch squatters, Moroccan
  migrant workers, and generations of African emigrés—along the way.
  Introduced by SAIC professor Daniel Eisenberg. In Dutch with English
  subtitles. 1981, Netherlands, 16mm, 143 min.

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

  with Rebecca Brown, Myriam Gurba, Abdellah Taïa and Masha Tupitsyn.This
  can't-miss reading celebrates the publication of an important new
  anthology of writing on film: Life As We Show It, edited by Masha
  Tupitsyn and Brian Pera. The dynamic cross-genre collection of short
  stories, essays and poetry navigates the increasingly fine line between
  lived experience and representation in contemporary American culture. It
  poses this question: If movie watching has become a primary way of
  assimilating the world, what kinds of movies are our lives imitating?
  Four of Life's contributors are on hand to read from their inspired
  work. Rebecca Brown is the author of a dozen books, including a recent
  collection of "gonzo essays," American Romances. She is joined by Myriam
  Gurba, author of Dahlia Season, which earned the Edmund White Award for
  debut fiction; Abdellah Taïa, a Paris-based Moroccan writer whose
  coming-of-age novella Salvation Army was published earlier this year;
  and Life co-editor Masha Tupitsyn, cultural critic and author of a book
  of film-based stories, Beauty Talk & Monsters. Organized by Maggie
  Nelson of the CalArts MFA Writing Program and Masha Tupitsyn.

San Francisco, California: Artists Television Access
7pm Door, 8PM $5, 992 Valencia St at 21st

  ATA's open screening is the only monthly open submissions screening in
  the Bay Area. Get your work out there! Get feedback! Or just come and
  take it all in! One hour of shorts are accepted monthly on an open
  revolving basis, anything goes with the screened work, and the
  refreshments are pretty good too. $5, FREE admission for contributing
  artists. Door:7:30pm Projector: 8pm Not a filmmaker? Come and hang out
  with us anywayEnjoy the atmosphere, the art, the movies, the people, the
  refreshments Submissions: Label all tapes w/ name, contact, title and
  length. Mail to: Openscreening, 992 Valencia, SF, 94110 1-2 week advance
  submissions strongly recommended. If not. . . it is all good. Max
  length: 15 min. Formats: DVD, miniDV/DVcam, VHS, beta, 8mm and 16mm All
  genres. More Info: contact Katy at email suppressed

San Francisco, California: San Francisco Cinematheque
7:30 pm, McBean Theatre at the Exploratorium -- 3601 Lyon St. (near Marina)

  Introduced by Michael Zryd. Presented in association with Cabinetic and
  the Exploratorium's Cinema Arts Series -- [members: $5 / non-members:
  $10] ----- In his drive to explore and catalog the possibilities and
  parameters of cinematic representation, Hollis Frampton delighted in
  paradox, frequently creating complex conceptual structures that pitted
  the precision of language against the abstraction and excess of
  photographic representation. Visiting Frampton scholar Michael Zryd of
  York University, Toronto, presents two of Frampton's most significant
  cinematic propositions. Taking the projected white rectangle as a
  maximalist basis of all cinema, "A Lecture" evokes a profound
  consideration of cinematic "aboutness" and stands as one of the cinema's
  most significant challenges to a reconceptualization of the art form,
  while his 1970 masterpiece, "Zorns Lemma" -- described by Peter Gidal as
  "the attempt to break down the authority of language" -- leads viewers
  away from logical and linguistic order into an exhilarating world of
  imagery, color and light. ----- The original audio recording of A
  Lecture has been preserved and made available for this event by kind
  permission of the Harvard Film Archive.


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

  Celebrate Halloween with one of the earliest and surely creepiest horror
  films in cinema history, accompanied with live music by tricked-out
  ghouls under the direction of Brian LeBarton, best known as Beck's
  prodigious music director. The 1920 touchstone of Expressionism tells
  the Eastern European Jewish legend of the Golem—an oversize clay statue
  brought to life by a Prague rabbi to do muscle work and help protect the
  city's Jews. It doesn't take long, though, before the plan goes horribly
  wrong... With director Paul Wegener as the Golem, cinematography by Karl
  Freund (Metropolis) and amazing sets by architect Hans Poelzig.
  LeBarton's costumed band, meanwhile, features analog keyboards,
  electronic treatments, cello, and special guest Joey Waronker on drums
  and percussion. Fri Oct 30–Sat Oct 31 | $20 [students $16, CalArts $10]

San Francisco, California: kino21
8pm, 2698 FOLSOM

  San Francisco bassist, bandleader and curator Lisa Mezzacappa hosts an
  eclectic pre-Halloween festival of words, image and music in celebration
  of Edgar Allan Poe's 200th birthday. Mezzacappa leads her versatile
  ensemble of improvisers, Bait & Switch, and is joined by a lineup of
  storytellers, songwriters, filmmakers, performers and musicians for a
  cabaret of creepy improvised music, horror songs, projections, and
  Poe-inspired films with live musical accompaniment. Bait & Switch is:
  Lisa Mezzacappa, acoustic bass Aaron Bennett, tenor saxophone John
  Finkbeiner, guitar Vijay Anderson, drums plus: Eureka/Malstrom, a
  text/image performance mashup by Brent Cunningham and Konrad Steiner.
  New Poe songs by Katy Stephan (voice, piano). Live film score by Marié
  Abe, accordion & Dina Maccabee, violin (Guts and Buttons Duo). Audio
  performance by James Bewley (formerly of Killing My Lobster, and New
  Langton Arts).


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

  Celebrate Halloween with one of the earliest and surely creepiest horror
  films in cinema history, accompanied with live music by tricked-out
  ghouls under the direction of Brian LeBarton, best known as Beck's
  prodigious music director. The 1920 touchstone of Expressionism tells
  the Eastern European Jewish legend of the Golem—an oversize clay statue
  brought to life by a Prague rabbi to do muscle work and help protect the
  city's Jews. It doesn't take long, though, before the plan goes horribly
  wrong... With director Paul Wegener as the Golem, cinematography by Karl
  Freund (Metropolis) and amazing sets by architect Hans Poelzig.
  LeBarton's costumed band, meanwhile, features analog keyboards,
  electronic treatments, cello, and special guest Joey Waronker on drums
  and percussion. Fri Oct 30–Sat Oct 31 | $20 [students $16, CalArts $10]

San Francisco, California: Other Cinema
8:00, 992 Valencia St.

  The national editor of top J-Pop mag Otaku USA, Patrick Macias flies in
  from Tokyo for this Halloween event, terrorizing us with tales of the
  roots and branches of the now super-hot J-Horror phenomenon. Macias
  grounds his explication in the work of Nobuo Nakagawa, considered the
  grandfather of the genre. His Jigoku (Hell, 1960) is acknowledged as one
  of the first gore films that broke through to popular consciousness, and
  woke the world of cinema to this phantastic thematic and stylistic
  vocabulary. The surreal supernatural feature draws upon the Buddhist
  idea of retribution that all earthly sins must be atoned for after
  death. Patrick threads his appreciation of Nakagawa through excerpts
  from three of his other works, The Ceiling at Utsunomiya (1956), The
  Ghost of Yotsuya (1958), and The Mansion of the Ghost Cat (1959). Come
  early, in cosplay, for free hot sake, flying turtles, and the haunted
  sounds of DJ Onanist. NOTE: Doors 7:30, show at 8. $6.66.
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>.