LA: Alternative film & video events of note - early/mid November

From: Adam Hyman (email suppressed)
Date: Tue Nov 03 2009 - 12:31:07 PST

-- Lichtspiel: Contemporary Abstract Animation and Visual Music,
at REDCAT, Tues Nov 3, 2009, 8:30 pm

-- Koji Wakamatsu's United Red Army at Cinefamily, Wed Nov 4, 8:00 pm

-- Lewis Klahr at USC Cinematheque 108, Thursday Nov 5, 7:00 pm

-- From 45 to 33: Lewis' Klahr's Films about Childhood
With a Special Conversation between Film Scholar Tom Gunning and Filmmaker
Lewis Klahr, at the Velaslavasy Panorama, Sat Nov 7, 8:00 pm

-- Los Angeles Filmforum presents Bodies, Objects, Films: An Yvonne Rainer
Retrospective (part 2 of 8) – Film About a Woman Who... (1974), at the
Egyptian Theater, Sun Nov 8, 2009, 7:30 pm

-- Light Matters: Joost Rekveld in person, at the UCLA Film & Television
Archive, Sunday Nov 8, 7:00 pm

-- Ventana Al Sur: Argentine Experimental Films, at Documental,
Mon, Nov 9 at 8:30

-- The Making and Unmaking of Flaming Creatures: A screening and talk with
J. Hoberman, at REDCAT, Monday Nov 9, 2009, 8:30 pm

-- Steven Severin's Music To Silents, at The Cinefamily, Wednesday Nov 11 @

-- Spontaneous Fantasia: The Omnicentric Universe, at Glendale Community
College Planetarium, Fri Nov 13 at 8 pm, Sat Nov 14 at 6:30 pm

-- Tom Gunning presents D.W. Griffith in California, at Filmforum at the
Echo Park Film Center, Sunday Nov 15, 7:30 pm

-- Steven Severin's Music To Silents: Blood of a Poet, at Cinefamily,
Nov 18 @ 8pm

-- The Best of Loop: Remote Viewing. Taking the Pulse of the Next Generation
of Video Art from Europe, the Middle East and Asia, at the The Pacific
Design Center, galleries B230 & B487,
Part one (open now) through February 4, 2010. Part Two: Nov. 19, 2009 ­
February 5, 2010

-- Filmforum presents the Ann Arbor Film Festival Tour, program 2, Sunday
Nov 22, 7:30 pm, at the Egyptian Theater

-- A Century Ago: the Films of 1909, at the Linwood Dunn Theater (AMPAS),
Monday Nov 30, 7:30

-- Joey Arias and Basil Twist: Arias with a Twist, at REDCAT, November 18,
2009 - December 13, 2009

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Lichtspiel: Contemporary Abstract Animation and Visual Music
Los Angeles premieres
November 3, 2009, 8:30 pm
Co-presented with Center for Visual Music

"Joost Rekveld has provided an undeniable masterpiece with #37."
International Film Festival Rotterdam

This ravishing "play of light" explores rhythmic abstractions in the
cinematic tradition of Oskar Fischinger and visual music animation. The
centerpiece of the program is the Los Angeles debut of Joost Rekveld's #37
(Netherlands, 2009, 31 min., 35mm CinemaScope) , a stunningly beautiful
study of the propagation and diffraction of light through crystalline
structures. Sure to bend more than a few minds, the lineup also offers
award-winning animated shorts from around the world, most of which are
screening in L.A. for the first time. Featured artists include Scott Draves,
Robert Seidel, Steven Woloshen, Bärbel Neubauer, Thorsten Fleisch, Bret
Battey, Michael Scroggins, Samantha Krukowski, Mondi, Devon Damonte, Scott
Nyerges, Vivek Patel and Yusuke Nakajima. Plus the final film by the late
CGI wizard Richard "Doc" Baily.

In person: Joost Rekveld

Curated by Center for Visual Music with Steve Anker.

REDCAT is located in the heart of downtown Los Angeles on the northeast
corner of the intersection W. 2nd and Hope Streets. Housed in the Walt
Disney Concert Hall complex, REDCAT has its own street entrance on 2nd

Please plan on arriving at least 30 minutes before curtain time. Seating at
REDCAT is unreserved, and late seating is not guaranteed.

Parking is available in the Walt Disney Concert Hall parking garage. Enter
from 2nd St. and proceed to level P3 for direct access to REDCAT. The
evening event rate is $9 after 5pm, and $5 after 8pm.
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Wednesday, November 4, 2009 | 8:00pm
The Cinefamily
611 N Fairfax Avenue, Los Angeles, 90036 / 323-655-2510

"Consensus is boring." -- Koji Wakamatsu
For 35 years, director Koji Wakamatsu has been mulling over what happened to
the idealism and moral imperative of the far left Japanese student movement
that left a rash of dead bodies and unanswered questions, and his latest
film is as close to his heart as Schindler's List was for Spielberg. In the
unflinchingly violent United Red Army, Wakamatsu dramatizes the
self-immolation of the fiercest of Japan's underground paramilitary groups,
who, in the early '70s, after internal strife led to the murders of fourteen
of its own twenty-nine members, fled to a remote mountain location and
instigated a police standoff which lives in infamy to this day. No stranger
to radical politics, Wakamatsu not only drew from interviews with surviving
URA members, but also from his own street-level experiences with the URA and
other subversive organizations at the time -- affiliations which landed him
on the U.S. State Department's no-visa blacklist, where he remains to this
day. Backed by a searing psych rock score by former Sonic Youth member Jim
O'Rourke, United Red Army is a film that doesn't pretend to have the
answers, but is instead an epic dissection of ideology can trump reason.
Dir. Koji Wakamatsu, 2008, 35mm, 190 min.

Tickets - $12 (admission to this Special Event is free for members)
USC Cinematheque 108 presents
The Films of Lewis Klahr
Thursday November 5, 7:00 pm

Cinematheque108 invites you to a special screening and presentation
featuring filmmaker Lewis Klahr in person

SCA 108, George Lucas Building, School of Cinematic Arts Complex
900 W. 34th Street, Los Angeles, CA 90007


About the Films

Engram Sepals, a feature length series of 7 collage films, traces a
trajectory of American intoxication - both romantically and substance wise -
from the second world war into the 1970's. Using the original definition of
`melodrama' (music + drama) as my starting point, these films continue my
longstanding romance with the ecstatic mysteries of elliptical narrative and
across-film montage.----Lewis Klahr
All films are 16mm, optical sound & color with the exception of Engram
Sepals which is B&W. Series running time: 1hr 20:30 minutes
Also screening with Engram Sepals—

The Aperture of Ghostings 12.5 min. 2001 sound
In the mid 1990's I unearthed three photographic contact sheets of 3
different women in a thrift store in the East Village. Only one was named
and dated-- Elsa Kirk, Feb 22 `63, but all looked like they were from the
same photographer and time period. There were 12 images per sheet of these
Models/Actresses and I found myself intriqued by the strong sense of fiction
and document in these photos. At first, I was unable to translate these
images into collage animation. So I reversed my usual process and began
making xerox enlargements of the sheets which became backgrounds for a
series of flat collages. Gradually, these became storyboards for the films
and led to the hieroglyphic montage style of the completed trilogy---an
approach that I had intuited when first attracted to the potential of
cutouts two decades before, but had never been able to capture on film----
Lewis Klahr


The USC School of Cinematic Arts is located at 900 W. 34th St., Los Angeles,
CA 90007. Parking passes may be purchased for $8.00 at USC Entrance Gate #5,
located at the intersection of W. Jefferson Blvd. & McClintock Avenue. We
recommend parking in outdoor Lot M or V, or Parking Structure D, at the far
end of 34th Street. Please note that Parking Structure D cannot accommodate
tall vehicles such as SUVs. Metered parking is also available along
Jefferson Blvd.
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Automata and the Velaslavasay Panorama presents
From 45 to 33:
Lewis' Klahr's Films about Childhood
With a Special Conversation between
 Film Scholar Tom Gunning and Filmmaker Lewis Klahr
Saturday November 7 at 8pm at the Panorama
all info at this link:

Tickets $10 {$8 VPES members, Students, Seniors}
Seating is limited ~ advance tickets are recommended and are available here

Automata and The Velaslavasay Panorama welcome acclaimed experimental
filmmaker Lewis Klahr, who will present a rare Los Angeles screening of his
early films, including the series PICTURE BOOKS FOR ADULTS {1983-85, 45
minutes}, and his epic cutout masterpiece THE PHARAOH'S BELT {1994, 43
minutes}. In addition to the screening, we also welcome renowned film
scholar Tom Gunning, who will join Lewis Klahr in discussing his films and
artistic process.

Called the "reigning proponent of cut and paste" by critic J. Hoberman of
the Village Voice, master collagist Lewis Klahr has been making films since
1977. A Guggenhein Fellow whose work has screened at several Whitney
Biennials, he is known for his uniquely idiosyncratic experimental films and
cutout animations, which have been screened extensively at museums and
festivals throughout the United States and Europe.

Tom Gunning is the Edwin A. and Betty L. Bergman Distinguished Service
Professor in the Department on Cinema and Media at the University of
Chicago. He is the author of D.W. Griffith and the Origins of American
Narrative Film and The Films of Fritz Lang: Allegories of Vision and
Modernity, along with numerous articles on early film, avant garde film, and
cinema and modernity. He is currently a visiting Scholar in Residence at the
Getty Research Institute.

For further information, please contact email suppressed
<> .

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Sunday November 8, 2009, 7:30 pm

Los Angeles Filmforum presents
Bodies, Objects, Films: An Yvonne Rainer Retrospective (part 2 of 8) –
Film About a Woman Who… (1974)
At the Egyptian Theatre, 6712 Hollywood Blvd. at Las Palmas, Los Angeles

Over the course of our 2009-2010 seasons, Filmforum is proud to present a
full retrospective of the media works of Yvonne Rainer. One of the most
significant artists in dance and film of the last fifty years, this is the
first full retrospective of her films in Los Angeles.

Please note that Yvonne Rainer will not be present at this screening. We
were going to screen Trio A and Lives of Performers tonight, but we will
screen those on a night in 2010 when Rainer can be present. We apologize for
any inconvenience.

Film About A Woman Who… (1974, 105 mins, b&w, 16mm)
Rainer's landmark film is a meditation on ambivalence that plays with cliché
and the conventions of soap opera while telling the story of a woman whose
sexual dissatisfaction masks an enormous anger.
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Sunday Nov 8, 7:00 pm
at the UCLA Film & Television Archive
at the Billy Wilder Theater, Hammer Museum

The Archive is pleased to present, in association with Center for Visual
Music, the first West Coast retrospective of films by celebrated Dutch
filmmaker and installation artist Joost Rekveld. Rekveld, who will appear in
person, started making abstract films in 1991 after he invited Bill Moritz
and Elfriede Fischinger to come to the Netherlands to present a day-long
survey of abstract cinema. Almost 20 years later, Rekveld pursues his
fascination with human perception and the history of optics and perspective
with the aim of creating a "music for the eyes." An important part of his
filmmaking is to develop his own tools, often inspired by the less
frequented by-ways in the history of science and technology.

This screening follows the Los Angeles premiere of Rekveld's latest film,
#37, at REDCAT on Tuesday, November 3. For more information about the REDCAT
screening, please visit

All films directed by Joost Rekveld, who also wrote the film notes.

#3 (1994, 16mm, silent, color, 4 min., Netherlands)

#23.2, BOOK OF MIRRORS (2002, 35mm, color, 12 min., Netherlands)

#7 (1996, 16mm, silent, color, 32 min., Netherlands) Directed by Joost

#11, MAREY <-> MOIRÉ (1999, 35mm, 21 min., Netherlands)

In Person: Joost Rekveld
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(1976-2008, 65minutes) at 8:30
DOCUMENTAL shows films at the Unurban Coffeehouse, 3301 Pico Blvd, Santa
Monica, CA, 90 404, 3 10-315-0056, free admission from 6-10pm. Info:

Curated by Mark Street and Lynne Sachs. This rollicking evening of
challenging, expressive and oppositional Argentine cinema offers a window
onto artists shredding formal niceties, relishing in risk and daring to
access the sublime. From an achingly beautiful evocation of a field of
flowers to a darkly humorous evisceration of the tenets of the stock market,
this program will take us to the land where summer is winter and winter is
summer and render our souls topsy-turvy for a bit as well. Street & Sachs
immersed themselves in the Buenos Aires film community through a variety of
collaborative cinematic endeavors, meeting and watching the works of local
moving-image makers – some young bucks as well as some veterans who have
been expanding the parameters of the medium since the=2 0early-1960s.
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The Making and Unmaking of Flaming Creatures
A screening and talk with J. Hoberman
Los Angeles revival
November 9, 2009, 8:30 pm

1963, 45 min., 16mm, b/w

Recognized as an unprecedented visionary masterpiece, Flaming Creatures was
also reviled, rioted over, banned as porn, and pondered by the Supreme
Court. "Jack Smith described Flaming Creatures as `a comedy set in a haunted
movie studio.' It is that, as well as the single most important and
influential underground movie ever released in America," according to J.
Hoberman, film critic of The Village Voice for more than 30 years and an
authority on the Smith performance and film oeuvre. "Smith's movie was a
source of inspiration for artists as disparate as Andy Warhol, Federico
Fellini and John Waters but he never completed another." Find out why.
Hoberman's books include The Dream Life: Movies, Media and the Mythology of
the Sixties and Bridge of Light: Yiddish Cinema Between Two Worlds.

In person: J. Hoberman

Curated by Steve Anker.

REDCAT is located in the heart of downtown Los Angeles on the northeast
corner of the intersection W. 2nd and Hope Streets. Housed in the Walt
Disney Concert Hall complex, REDCAT has its own street entrance on 2nd

Please plan on arriving at least 30 minutes before curtain time. Seating at
REDCAT is unreserved, and late seating is not guaranteed.

Parking is available in the Walt Disney Concert Hall parking garage. Enter
from 2nd St. and proceed to level P3 for direct access to REDCAT. The
evening event rate is $9 after 5pm, and $5 after 8pm.
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Reginald Robinson: Ragtime and Rubber Hose Limbs
at the UCLA Hammer Museum
Tuesday November 10, 7:00 pm

Step into the Billy Wilder Theater for a rare evening of 1920s
entertainment. Reginald Robinson will bang out the syncopated rhythms of
ragtime on the grand piano as rarely seen snippets of animation by cartoon
pioneers Otto Messmer, Earl Hurd, and Walter Lantz are screened. Robinson,
who is primarily self-taught and received a 2004 MacArthur Foundation
"genius grant," will play original compositions and improvisational riffs on
Ragtime classics to the antics of Felix the Cat, Dinky Doodle, and Woody
Woodpecker, among others.

In conjunction with the exhibition The Bible Illuminated: R. Crumb's Book of

ALL HAMMER PUBLIC PROGRAMS ARE FREE. Tickets are required, and are available
at the Billy Wilder Theater Box Office one hour prior to start time. Limit
one ticket per person on a first come, first served basis. Hammer members
receive priority seating, subject to availability. Reservations not
accepted, RSVPs not required.

Parking is available under the museum for $3 after 6:00p.m.
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Steven Severin's Music To Silents
Nov 11 @ 8pm
The Cinefamily
611 N Fairfax Avenue, Los Angeles, 90036 / 323-655-2510

"From the symmetry of forms as two women play against mirrors in 'In Loop,'
to the sexual and violent tones of 'The Bad Dropper' and 'Third Bride' –-
what really caught my eye was 'Mercury Gash.' Accompanied by flanger-style
effects, the imagery was nothing short of Dionysian. A frenzied, orgiastic
experience, as images of surreal sexual positions shuttled by, the music
losing itself in passion." -- Slowdive Music

In his Los Angeles live solo debut, Steven Severin (founding member and
longtime bassist for Siouxsie And The Banshees) comes to the Cinefamily for
two successive Wednesdays of intense, compelling, moody and sensuous live
scores to rare silent and experimental films! This first evening is based
upon trance-inducing tracks from his 2009 solo album "Music For Silents".
The centerpiece of the evening is his new score for Germaine Dulac's The
Seashell and The Clergyman (1928), considered to be one of the very first
surrealist films. A collaboration between Dulac and the infamous French
playwright Antonin Artaud (who was reportedly infuriated by the final
product), the film tells of an amorous priest, and the object of his desire
whom he never can grasp. Severin's sparkling piano lines, played backwards
and forwards, collide headfirst with subtle synthwork to shattering effect.
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8-Bit Alchemy [rewind]

Thurs Nov 12 @ 8pm / SERIES: 8-bit alchemy

The Cinefamily
611 N Fairfax Avenue, Los Angeles, 90036 / 323-655-2510

Come see yesterday's tomorrows -- today! Tonight, we'll sift through the
last 40 years of big scary machines and all the mysterious things they did.
Machines that were, at the time, cutting edge but are now antiquated and
often down right quaint. And, compared to today's microchip-fueled,
byte-bloated world, this palette for yesteryear's electronic artists was
relatively primitive. The solutions they found to work around these
limitations is often fascinating. We'll be screening short films by pioneers
like Stan Vandeerbek, Eric Siegel among others and some documentaries from
that time dealing with everything from synthesizers to computer hacking, a
1969 industrial film's idea of life in 1999 (and see how much they got right
and wrong) and various pop cultural detritus showing how we ate it all up
(Bubblicious Pac Man TV commercials, news stories on video game trends,
etc.) After the show, stick around for a show-and-tell demo of some curious
analog contraptions.
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Spontaneous Fantasia: The Omnicentric Universe
an entirely new experience of cosmic exploration performed live in
state-of-the- art immersive digital fulldome!

The Glendale Community College Planetarium presents
in their state-of-the- art
immersive digital fulldome theater
Tickets & full info:

Friday, November 13, 8:00pm
Saturday, November 14, 6:30pm
Friday, November 27, 8:00pm
Saturday, November 28, 6:30pm
Friday, December 4, 8:00pm
Saturday, December 5, 6:30pm
Friday, December 11, 8:00pm
Saturday, December 12, 6:30pm

Glendale Community College Planetarium
Cimmarusti Science Center
1500 North Verdugo Road
Glendale, California 91208

Free on-campus parking after 5pm.
Click here for GCC maps and parking info

Part of the proceeds supports GCC's free K-12 science outreach program.

Buy discounted tickets online
or pay cash at the door.
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Sunday November 15, 2009, 7:30 pm

Los Angeles Filmforum presents
D.W. Griffith in California, with talk by Tom Gunning

At the Echo Park Film Center
1200 N. Alvarado Street (@ Sunset Blvd)
Los Angeles, CA 90026
For reservations, email email suppressed
Note change in location!

For fans of early film, and of Southern California history! We're delighted
to host the internationally- renowned film scholar Tom Gunning, who will
talk about Griffith's time in California, and these selected, rarely
screened films made in So Cal in the years before World War I. All in 16mm
with live musical accompaniment by Cliff Retallick.

In 1910, retreating from the harsh East Coast winter which confined them
inside the narrow limits of their NYC studio in a 14th st. brownstone, D.W.
Griffith transported the Biograph film company to southern California. For
the next four winters the company made over a hundred one reel (15 minutes)
films in the area around Los Angeles, covering every genre in a range of
locations: westerns in the deserts and hills; a caveman film in Griffith
Park; tales of lost lovers by the seaside; Mexican dramas among the cacti.
These brief films laid the foundation for cinema as a narrative art, but,
even more, the displayed a beauty of landscape and detail that year later
Griffith claimed Hollywood had completely forgotten. – Tom Gunning
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Steven Severin's Music To Silents: Blood of a Poet
Nov 18 @ 8pm
The Cinefamily
611 N Fairfax Avenue, Los Angeles, 90036 / 323-655-2510

Blood of a Poet
(world premiere of new live score by Steven Severin!)
"It is often said that Blood Of A Poet is a surrealist film. However,
surrealism did not exist when I first thought of it." -- Jean Cocteau

For the first time ever, Severin will perform live his brand-new score for
French master Jean Cocteau's debut 1930 film. As scandalous as Bunuel's
L'Age D'Or upon its original release in the same year, Cocteau's heady mix
of startling-for- its-time camera technique, voyeuristic lust and
mindbending imagery straight from the subconsciousness serves as a kind of
Rosetta stone both for the European avant garde and for the controlling
images of Cocteau's cinema in general. The film's tableaux revolve around a
young poet whose drawings instigate bizarre incidents: a statue comes to
life, a mirror leads through to a corridor (later explored in Cocteau's
Orpheus), a ritualistic suicide results in reincarnation. Cocteau provides
no clear answers, and the film's pure enjoyment derives from trying to sort
through the maze of fragmented pieces.
Dir. Jean Cocteau, 1930, digital presentation, 55 min.
Nov 19, 2009 - Jan 20, 2010
The Best of Loop: Remote Viewing. Taking the Pulse of the Next Generation of
Video Art from Europe, the Middle East and Asia
Part one (open now) through February 4, 2010. Part Two: Nov. 19, 2009 ­
February 5, 2010
Where: The Pacific Design Center, galleries B230 & B487 (Blue Bldg) 8687
Melrose Ave (at San Vicente Blvd), West Hollywood, CA 90069-5730
Hours: 11 am ­ 5 pm daily. By appointment on Saturdays
For Appointments and tours, contact: Paul Young 323.377.1102

InFocus, Loop Barcelona and Institut Ramon Llull sponsor ³Remote Viewing,²
an International Exhibition of Acclaimed Video Art
Taking the pulse of the next generation of video art‹an expressive medium
and exciting new aesthetic element for the home
 The Pacific Design Center, the premier venue for designer showrooms
announces the debut of ³Remote Viewing: The Best of Loop,² an expansive
exhibition featuring some of the most cutting edge video art coming out of
Europe, the Middle East, Latin America and Asia. Co-sponsored by Loop
Barcelona, Institut Ramon Llull, Spain, and InFocus® Corp., the show opens
Nov. 19, 2009 (continues through Jan 20, 2010) and travels to the Centre
d¹Art Santa Monica in Barcelona in May 2010.

Curated by Paul Young, the author of ³Art Cinema,² (Taschen, November 2009),
the show explores the current state of video art practices worldwide,
whether born out of contemporary studio practices or filmmaking
methodologies. Nearly 40 single-channel projected works are included as well
as nearly 30 monitor pieces. Most were selected from five-years worth of
presentations at the annual Loop video festival in Spain, and each is
represented by a different contemporary art gallery such as MK galerie
(Rotterdam), DNA (Berlin), Vera Cortes (Portugal), Senda Gallery (Spain),
Angels Gallery (Spain), Peter Kilchmann (Switzerland), Galerie Michel Rein
(France), Chelouche Gallery (Israel), Galleria Continua (Italy), and Mizuma
Art Gallery (Japan).

Architect Matthew Gilio-Tenan designed seven black box spaces for two 4,000
sq ft spaces (one on the second floor and one of the fourth). Each presents
approximately 8 videos/films in rotation throughout the day. The main room
for example, uses a Cinemascope-sized screen to present a number of short
films about cinema itself‹its conventions, characters and formal properties.
The program includes works by Nicolas Provost (the Netherlands), Maria Canas
(Spain), J Tobias Anderson (Sweden), Shoja Azario (Iran) and more.

Another common theme explored in an adjacent gallery is the body and
landscape traditions (including works by Markus Schinwald [Austria], Marc
Aschenbrenner [Germany], Yang Fudong [China]). Beyond that is a gallery
devoted to relational aesthetics, the temporal and play (with projects by
Aggtelek [Spain], Kiran Subbaiah [India], John Wood & Paul Harrison [UK]).

Political and social themes are tackled in another space (with videos by
Regina Jose Galindo [Spain], Roth Stauffenberg (Germany), Jaime Pitarch
[Spain]), while additional programs touch on formal and conceptual practices
(Arturo Fuentes [Spain], Jin Kurashige [Japan] and Romeo Grunfelder
[Germany]). Finally a number of artists explore humor and dada traditions
with an appropriate amount of irreverence (David Shrigley [UK], Susi Jirkuff
[Austria], Nira Pereg [Israel], Guillaume Pinard [France]).

Some of that interest is in bringing video into the home or public space,
where it can be enjoyed for years to come. Many of the monitor works, which
have been added to compliment some of the thematic programs, as well as the
projected wall works (by the likes of Thorsten Brinkmann [Germany], Jacco
Olivier [Netherlands], Takehito Koganezawa [Japan] and Maider Fortune
[France]) operate more like paintings, where a single image energizes an
architectural space.
Sunday November 22, 2009, 7:30 pm

Los Angeles Filmforum presents
The Ann Arbor Film Festival Tour - Program 2
At the Egyptian Theatre, 6712 Hollywood Blvd. at Las Palmas, Los Angeles

This exciting show mixes new experimental, animation, and documentary work –
a great way to catch up on what is happening in film & video art! Tonight's
touring program highlights several new animated works and three short
experimental documentaries. This program explores themes of a changing
globalized world through personal, existential journeys and includes films
from Paris, London, Winnipeg, New Zealand, and the U.S.

For reservations, email us at email suppressed
<> .
$10 general, $6 students (with ID) and seniors.

Parking is now easiest at the Hollywood & Highland complex. Bring your
ticket for validation. Parking is $2 for 4 hours with validation. Enter that
complex on Highland or Hollywood. The theater is 1.5 blocks east.

The Ann Arbor Film Festival is the original and longest running independent
film festival in the United States, recognized as a premiere showcase for
risk-taking, pioneering and art driven cinema. The AAFF pioneered the
touring film festival concept in 1964 and each year brings a selection of
favorite and award-winning short films to more than 25 galleries,
universities, art house theaters and cinematheques throughout the world.

The festival:
Show screened from DV Cam except the last film, which will be 35mm

"Cattle Call"
Mike Maryniuk & Matthew Rankin | Winnipeg, Canada | 4 min

"Utopia, Part 3: The World's Largest Shopping Mall"
Sam Green & Carrie Lozano | San Francisco, CA | 12 min

"Quiero Ver"
Adele Horne | Los Angeles, CA | 6 min

Jeremy Clapin | Paris, France | 14 min
Audience Award 47th AAFF

Georges Schwizgebel | Canada | 5 min
Best Animated Film 47th AAFF

"Más Se Perdió"
Stephen Connolly | London, England | 15 min
Best Sound Design Award 47th AAFF

Alla Kovgan & David Hinton | Somerville, MA | 35 min
Eileen Maitland Award 47th AAFF

"Blue Tide, Black Water"
Eve Gordon & Sam Hamilton | Auckland, New Zealand | 10 min

A Century Ago: The Films of 1909 – The Stars are Born

Presented on a 1909 hand-cranked Power's Model 6 Cameragraph motion picture
machine restored and cranked by Joe Rinaudo.

Monday, November 30, at 7:30 p.m.
Doors open at 6:30 p.m.
Linwood Dunn Theater
1313 Vine Street
Hollywood, CA 90028
All seating is unreserved.
Contact Info (310) 247-3600

Featuring live musical accompaniment by Michael Mortilla.

General Admission – $5
Academy members and students with a valid ID – $3

The Academy celebrates the year 1909 and its developmental contributions to
motion pictures with a program of selected films in "A Century Ago: The
Films of 1909." The program will spotlight the public's earliest recognition
and preference for screen actors, which would force film distributors to
identify them, quickly evolving into the "star system" of motion picture
advertising (click here to see an evening of 1909 Mary Pickford films
presented the following night).

"A Century Ago: The Films of 1909" will include D.W. Griffith's landmark
social film "A Corner in Wheat" which illustrates his continued development
of parallel cutting, Vitagraph's trick film "Princess Nicotine" containing
state-of-the-art visual effects of the time, Essanay's "A Case of Seltzer"
featuring comic actor Ben Turpin, Pathé's comedic "Love's Surprise" starring
Max Linder, Essanay's "The Ranchman's Rival" starring "Broncho Billy"
Anderson, and the newly formed IMP Company's "Hiawatha" among others. Most
prints will be in 35mm and are drawn from the collections of the Academy
Film Archive, the Library of Congress, George Eastman House, and the UCLA
Film & Television Archive.

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