Part 2 of 2: This week [December 4 - 13, 2009] in avant garde cinema

From: Weekly Listing (email suppressed)
Date: Sat Dec 05 2009 - 07:01:06 PST

Part 2 of 2: This week [December 4 - 13, 2009] in avant garde cinema


Fort Lauderdale: 1:1 Super 8 Film Festival
7 PM, 810 NE 4th Avenue

  The 2nd 1:1 Super 8 Film Festival December 11, 2009 @ The BUBBLE - 810
  NE 4th Avenue | Fort Lauderdale, FL Doors 7 PM + Show 7:30 PM $5
  Suggested Donation | Filmmakers in Attendance | Special Guest Speaker
  Alex Rogalski For the 2nd time in South Florida, and after 9 successful
  years, the original One Take Super 8 Event presents the 2nd 1:1 Super 8
  Film Festival. 25 independent filmmakers from South Florida and beyond
  will load their cameras to take part in this year's spectacle. These
  3-minute "masterpieces" will truly display the diversity and creativity
  of independent filmmakers of South Florida. The 1:1 Super 8 Film
  Festival and it's sister events are distinct film spectacles, in that
  none of the films are viewed before the screening. The filmmakers are
  not allowed to edit or preview their films prior to the screening. What
  they shoot in camera is what is shown. There is no physical cuts or
  splices allowed. There is no opportunity to make changes. Sound tracks
  are prerecorded or performed live. One take! One night! This concept
  leads to some exciting and refreshing films, and a rare opportunity for
  public viewing. The 1:1 Super 8 Film Festival is happening December
  11th, 2009 at The Bubble, 810 NE 4th Ave., in Fort Lauderdale. Doors
  will open at 7 PM and the screening will begin at 7:30 PM. A $5
  suggested donation will be accepted upon entry. After party to follow at
  the Briny Riverfront located at 3045 South Andrews Ave., Fort
  Lauderdale. Filmmakers will be in attendance at the screening, however
  the program is subject to change. Special guest, Alex Rogalski will also
  be in attendance and will be holding a short lecture before the
  screening on the history of the One take Super 8 Event and the aesthetic
  characteristics associated with super 8 filmmaking and exhibition.

London, England:
7pm, Tate Modern, Bankside, London SE1 9TG

  Screening to include UK premieres of several new productions in a
  programme that examines the wealth of strategies employed by
  contemporary artists working with the moving image. During 2009 has had the pleasure of exhibiting the work of eighteen
  artists in a series of eighteen online solo shows. To celebrate the
  range and quality of work shown have invited nine of the artists
  included in 2009's programme to screen a previously unseen work in the
  Starr Auditorium at Tate Modern. The resulting programme will premiere
  several new productions from emerging and world renowned artists working
  with the moving image today, including: Alice Anderson, John Bock,
  Sebastian Buerkner, Thomas Hirschhorn, Jean-Charles Hue, Lisa Oppenheim,
  Steve Reinke, Michael Robinson and Mark Aerial Waller. 2009's Solo Show
  Programme on was an attempt to survey the range of strategies
  and styles that have and are being used by artists working with the
  moving image. All eighteen solo exhibitions are available to view via
  the online collection at Programme duration 70mins
  // Tickets £5 (£4 concessions), available through the Tate box

London, England:
7pm, Tate Modern, Bankside, London SE1 9TG

  To celebrate the range and quality of work shown throughout in
  2009 have invited nine of the artists included in this year's
  programme to screen a previously unseen work in the Starr Auditorium at
  Tate Modern. The resulting programme will premiere several new
  productions from emerging and world renowned artists working with the
  moving image today, including: Alice Anderson, John Bock, Sebastian
  Buerkner, Thomas Hirschhorn, Jean-Charles Hue, Lisa Oppenheim, Steve
  Reinke, Michael Robinson and Mark Aerial Waller. Programme duration
  approx 70 mins // Tickets £5 (£4 concessions) available through the Tate
  box office.

New York: Anthology Film Archives
7:00 pm, 32 2nd Avenue

  by Andy Warhol 1966, 67 minutes, 16mm. HEDY presents the adventures of
  Hedy Lamarr, as she receives a face-lift, is arrested for shoplifting,
  and goes on trial to face the accusations of her five former husbands.
  Mario Montez gives one of his most outstanding performances in the title
  role, and the film features appearances by Mary Woronov, Ingrid
  Superstar, Gerard Malanga, and Jack Smith. Filmed with the usual amount
  of Warholian chaos in a loft full of used furniture, HEDY also includes
  live music by the Velvet Underground.

New York: Anthology Film Archives
9:00 pm, 32 2nd Avenue

  by Andy Warhol 1965, 66 minutes, 16mm. An adaptation of Anthony
  Burgess's novel, A CLOCKWORK ORANGE, which is about as far from
  Kubrick's version as possible. The misbehavior and reconditioning of the
  young hoodlum Victor (Gerard Malanga) takes place in a claustrophobic
  setting crammed with cast members and S&M practitioners. Though she had
  a walk-on part in HORSE, VINYL marks the first significant appearance in
  a Warhol film of Superstar Edie Sedgwick, who, though sitting silently
  in the foreground throughout, somehow manages to steal the movie from
  its ostensible stars.

Philadelphia, Pennsylvania: Film @ International House Philadelphia
7pm, 3701 Chestnut Street

  Friday, December 11 at 8pm An Evening with Christina Battle Co-presented
  by PIFVA - Philadelphia Independent Film and Video Association Christina
  Battle has established herself as a significant artist and arts educator
  in the Toronto film community since moving there from Edmonton in 2002.
  She rigorously combines celluloid hand-processing techniques with a
  variety of other imaging methods. Battle's tactile, DIY approach to film
  production finds a powerful accompaniment in the themes she explores -
  history and counter-memory, ideology and political mythology, gender,
  and environmental catastrophe. Effectively, the combination of Battle's
  processes and subject matter is a hand-to-hand artistic engagement with
  some of our most pressing historical and contemporary issues. - Scott
  Birdwise, Programmer, The Canadian Film Institute (2008). oil wells:
  sturgeon road & 97th street dir. Christina Battle, Canada, 2002, 16mm, 3
  mins, color Highlighting the repetitive nature of oil wells in northern
  Alberta, this hand processed film documents a sighting common to the
  Canadian prairies, simultaneously managing to recall Cecile Fontaine's
  delicacy of emulsion-layering technique while paying homage to Pat
  O'Neill's 7362 (1967), and evoking with marvelous understatement the
  grand prize at the heart of the imperialist resource wars. paradise
  falls, new mexico dir. Christina Battle, Canada, 2004, 16mm, 5 mins,
  color The desert wind from America's Southwestern ghost towns blows
  through the film's emulsion, stripping away the myth behind the imagery
  of shoot-outs, outlaws and the lone gunmen from Hollywood Westerns.
  buffalo lifts dir. Christina Battle, Canada, 2004, 16mm, 3 mins, color,
  silent A herd of buffalo desperately try to hold on as they cross the
  film frame. In a process called "emulsion lifting", the image of the
  buffalos was produced by boiling the original pictures and resettling
  them onto a new length of film. hysteria dir. Christina Battle, Canada,
  2006, 35mm, 4 mins, b/w In hysteria, Battle refers more obliquely to the
  contemporary political climate using schoolbook illustrations of the
  Salem witch trials. She works the surface of the film in distinctive
  ways, lifting the emulsion to add new wrinkles to the image one frame at
  a time. - Chris Gehman & Andrea Picard, Toronto International Film
  Festival three hours, fifteen minutes before the hurricane struck dir.
  Christina Battle, Canada, 2006, 35mm, 5 mins, b/w, silent Inspired by
  the diorama-like boxes of Joseph Cornell, and with text taken from
  victims of hurricane Katrina, three hours, fifteen minutes before the
  hurricane struck imagines moments just before a violent weather storm.
  Behind the Shadows dir. Christina Battle, Canada, 2009, 16mm, 17 mins,
  color Outside the window a storm like no other is taking shape. Behind
  the Shadows documents the imagined moment when the delicate balance
  between natural and developed worlds began to shift. As if caught in a
  void between dream and reality, characters struggle to reconcile threats
  from the outside environment. Inspired by natural disaster horror
  movies, Behind the Shadows examines how popular media has shaped our
  understandings of fear. wandering through secret storms dir. Christina
  Battle, Canada, 2009, 16mm, 7 mins, color In the not-so-distant future,
  an old government archive is discovered. As workers sift through the
  files in an attempt to put them into context, a storm locked up since
  the past is unleashed. suddenly everything changed dir. Christina
  Battle, Canada, 2009, 16mm, color Looking back, the clues were clear.
  But by the time the emergency crews took flight it was too late. Things
  will never be the same.

San Francisco, California: Artists Television Access
7:30 pm free, 992 Valencia St, at 21st

  To celebrate our staff and their work as artists and volunteers, ATA is
  hosting a very special screening that includes work by founders, staff
  and associates from early 80s to the present. Also, we will crack open a
  mysterious Time Capsule buried under ATA over twenty years ago! ATA
  Founders John Martin, Marshall Weber, Lise Swenson ATA Past Volunteers
  Craig Baldwin, Carl Diehl, Kota Ezawa, John Fanning, Luke hones, Phil
  Patero, Rigo 23, Konrad Steiner, Andrew Wilson ATA Present Volunteers
  Karla Claudio Betancourt, Isabel Fondevila, Shae Green, Gilbert
  Guerrero, Kent Howie, Ivan Jaigirdar, Dayv Jones, Ali Kashani, Lukas
  Lukasic, Sam Manera, Mike Missiaen, Jon Olson, Kathleen Quillian, Linda
  Scobie, Jon Shade


Chicago, Illinois: Chicago Filmmakers
8pm, 5243 N. Clark

  BIRTH OF MAGELLAN Hollis Frampton's unfinished Magellan Cycle was to be
  the crowning achievement of the structuralist filmmaker's career, but,
  in 1984, he died before he could complete it. Planned to run 36 hours in
  length and to be viewed over the course of 371 days, the cycle loosely
  follows Ferdinand Magellan's five-year journey around the world. Instead
  of providing a linear narrative, Frampton breaks down the voyage into a
  rediscovery of the tools of perception and social integration. This
  screening is part of the citywide series CRITICAL MASS: RE-VIEWING
  HOLLIS FRAMPTON. Other participants include Block Cinema, Doc Films,
  Conversations at the Edge, White Light Cinema, and the University of
  Chicago Film Studies Center. "By the time we have got out of school, we
  have learned to punch in by 8:15 in the morning, we have learned to read
  'no right turn,' we have also on our own looked at 15,000 hours of
  unregulated, ungoverned, undecoded images that constitute our real
  education. I grew up like that - everyone grows up like that, Magellan
  is a film that, like all things (since I have not had the luxury of
  perfect alienation, but only the partial luxury of imperfect alienation)
  comes out of an imperfect understanding of my culture. It is probably
  easiest to imagine it as a project if it is understood not as a project
  in drama, or in literature, nor as a project in sculpture, but as one
  that subsists as a work of sculpture in time rather than space." - HF
  Program to include: MATRIX (1977, 28 min., 16mm), MINDFALL I & VII
  (1977-80, 36 min., 16mm), CADENZAS I & XIV (1980, 11 min., 16mm).

New York: Anthology Film Archives
4:00 pm, 32 2nd Avenue

  by Andy Warhol 1965, 66 minutes, 16mm. Tavel's heterosexual satire was
  filmed in a real kitchen, with Edie Sedgwick and Roger Trudeau playing
  an unhappy couple, Jo and Mikie. The action is interrupted by various
  chaotic activities: the running of a blender which drowns out the
  dialogue, the continual sneezing of Sedgwick and her co-stars, a
  bustling houseboy played by Rene Ricard, and photographer David McCabe,
  who repeatedly strides onto the set to take photos of the actors. Note:
  The hair which appears in the frame is part of the film.

New York: Anthology Film Archives
4:30 pm, 32 2nd Avenue

  JOSEPH CORNELL, PROGRAM 1 Unless otherwise noted, all films are silent.
  ROSE HOBART (1939, 20 minutes, 16mm, sound) COTILLION (1940s-1969, 8
  minutes, 16mm) THE MIDNIGHT PARTY (1940s-1968, 3.5 minutes, 16mm) THE
  CHILDREN'S PARTY (1940s-1968, 8 minutes, 16mm) CENTURIES OF JUNE (1955,
  10 minutes, 16mm) AVIARY (1955, 11 minutes, 16mm) GNIR REDNOW (1955, 5
  minutes, 16mm, photographed by Stan Brakhage) NYMPHLIGHT (1957, 8
  minutes, 16mm) A LEGEND FOR FOUNTAINS (1957/65, 17 minutes, 16mm) ANGEL
  (1957, 3 minutes, 16mm) The poet of magic realities. Pioneer of recycled
  (found) images. ROSE HOBART and the Trilogy (COTILLION, MIDNIGHT PARTY &
  CHILDREN'S PARTY) are some of the earliest collage films created. The
  others were directed by Cornell (and photographed by Stan Brakhage and
  Rudy Burckhardt among others) at some of his favorite locations. Total
  running time: ca. 100 minutes.

New York: Anthology Film Archives
5:30 pm, 32 2nd Avenue

  by Andy Warhol 1965, 66 minutes, 16mm. An article written by Castro's
  sister in 1964 inspired Tavel's script for this film, a subversive
  avant-garde satire on Latin American politics in which Fidel Castro is
  played by a woman, while Marie Menken stars as Juanita. The entire cast,
  representing Castro's family, sits in rows of chairs grouped for a
  family portrait. They all follow directions from Tavel, who sits in the
  last row feeding the actors their lines, which they repeat in a mixture
  of Spanish and English.

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

  All films are silent. BOYS' GAMES (1957, 5 minutes, 16mm) BOOKSTALLS
  (ca. late-1930s, 11 minutes, 16mm) BY NIGHT WITH TORCH AND SPEAR (ca.
  1940s, 9 minutes, 16mm) NEW YORK–ROME–BARCELONA–BRUSSELS (ca. 1940s, 10
  minutes, 16mm) VAUDEVILLE DE-LUXE (ca. 1940s, 12 minutes, 16mm) MULBERRY
  STREET (ca. 1957, 9 minutes, 16mm, with Rudy Burckhardt) JOANNE, UNION
  SQUARE (1955, 8 minutes, 16mm, with Rudy Burckhardt) CLOCHES À TRAVERS
  LES FEUILLES (ca. 1957, 4 minutes, 16mm) CHILDREN (ca. 1957, 8 minutes,
  16mm) Rare Cornell; more magic cinema from the master collagist.
  Variations of films made by Cornell, plus collage films discovered by
  archivists after his death. Total running time: ca. 80 minutes.

New York: Anthology Film Archives
7:00 pm, 32 2nd Avenue

  by Andy Warhol 1965, 105 minutes, 16mm. Staged at the Factory with a
  rented horse, this is a homoerotic parody of the Western genre. The
  enacting of Tavel's script (followed with difficulty from cue cards held
  up off-screen) takes place on a set crowded with evidence of the film's
  production: mounted lights, a boom mic, assorted onlookers, and the
  Factory doors and telephone all visible in the frame. The film may be
  shown with either two or three reels. The 'action' occurs in Reels 1 &
  3; Reel 2, a 33-minute 'documentary' shot of the horse standing in front
  of the Factory doors, may be shown either in the middle or at the end of
  the film. Any votes?

New York: Anthology Film Archives
8:15 pm, 32 2nd Avenue

  by Jean Cocteau 1946, 93 minutes, 35mm. In French with English
  subtitles. With Jean Marais and Josette Day; score by Georges Auric.
  "Jean Cocteau's first full-length movie is perhaps the most sensuously
  elegant of all filmed fairy tales. As a child escapes from everyday
  family life to the magic of a storybook, so, in the film, Beauty's farm,
  with its Vermeer simplicity, fades in intensity as we are caught up in
  the Gustave Doré extravagance of the Beast's enchanted landscape. In
  Christian Bérard's makeup, Jean Marais is a magnificent Beast." –Pauline

New York: Anthology Film Archives
9:15 pm, 32 2nd Avenue

  by Andy Warhol 1964, 67 minutes, 16mm. Warhol's first synch-sound
  feature is an underground version of the Jean Harlow story with Mario
  Montez in drag as the platinum-haired Hollywood sex symbol of the 1930s.
  Staged as a kind of tableau vivant on a couch at the Factory, with
  Montez occupying the center of a carefully composed group of Superstars,
  along with a large white cat, HARLOT was the first film Tavel worked on
  with Warhol, though it was not based on one of his scripts. Instead he,
  Billy Name, and Harry Fainlight improvised the off-screen conversation
  that dominates the soundtrack, while on-screen the film culminates with
  Montez consuming copious quantities of bananas in highly suggestive

Philadelphia, Pennsylvania: Film @ International House Philadelphia
2pm, 3701 Chestnut Street

  Saturday, December 12 at 2pm Working with the Loop – Workshop/Master
  Class with Christina Battle Presented by PIFVA - Philadelphia
  Independent Film and Video Association Continually turning back upon
  itself and endlessly repeating, the loop creates a unique relationship
  with viewers and allows artists not only to draw attention to, but also
  to sculpt time in unique ways. With a DIY approach and working within
  the confines of the loop, we will consider how working at the level of
  the (16mm film) frame can allow artists to manipulate time using
  handmade and manipulation techniques (painting, scratching, collage).
  Price TBA

Philadelphia, Pennsylvania: Film @ International House Philadelphia
5pm, 3701 Chestnut Street

  Saturday, December 12 at 5pm Yervant Gianikian and Angela Ricci Lucchi –
  Fragments and Assemblages Milan-based filmmakers Yervant Gianikian and
  Angela Ricci Lucchi are renowned for their accomplished work with
  archival footage derived principally from the 1910s and 1920s.
  Thoughtfully juxtaposing images, Gianikian and Ricci Lucchi also
  re-photograph their material, adjusting the film's speed, adding tinted
  color and spare soundtracks, and reframing the image to focus on key
  details. Such meticulous manipulation encourages viewers to read the
  footage instead of simply watching it, so as to consider not only what
  the images mean, but how. The spare and intense films of Gianikian and
  Ricci Lucchi wring both irony and a strange, mournful in the images they
  select, bearing witness to the ravages of time and the destructive power
  of the European nations and their armies. Karagoez: Catalogue 9.5 dir.
  Angela Ricci Lucchi & Yervant Gianikian, Italy, 1981, 16mm, 56 mins,
  color and b/w In 1977, Yervant Gianikian came upon a whole store of
  9.5mm films dating from the beginnings of motion pictures to 1928 -
  silent movies reproduced from 35mm copies (the originals of which have
  been lost). There were Enrico Guazzoni's minor works, Il canto
  dell'amore trionfante and Messaline of 1923, Arnold Fanck's 1926 Der
  heilige Berg starring Leni Riefensthal, and a score of other,
  unidentifiable fiction and documentary films. In wanting to show all of
  human behavior, Karagoez: Catalogue 9.5 manages only to disclose our
  most mysterious poses. Inventario Balcanico (Balkan Inventory) dir.
  Angela Ricci Lucchi & Yervant Gianikian, Italy, 2000,16mm, 62 mins, b/w
  The accumulation of images of human and ecological disasters from the
  former Yugoslavia prompted us to look for evidence of pre-existing
  essential values, which could not possibly not exist. Records of life as
  it was. Material for a film which celebrates life over conflict and
  division. A work of analysis, based on formats no longer used, no longer
  even projectable, to make indestructible the memories preserved in the
  images we have found: films shot by amateurs, by travelers, by Nazi
  soldiers in the Balkans. - Yervant Gianikian & Angela Ricci Lucchi.

Philadelphia, Pennsylvania: Film @ International House Philadelphia
7:30pm, 3701 Chestnut Street

  Saturday, December 12 at 7:30pm Jim Finn - Fabrications & Recycling
  Director Jim Finn in person Jim Finn is a critically acclaimed filmmaker
  who uses humor and historical fiction to examine ideology, capitalism
  and revolutionary art practices. Interkosmos, the first of his trilogy
  of feature-length films looking at Marxist ideology, was called "a retro
  gust of communist utopianism" by the Village Voice and "charming and
  fantastic, so full of rare atmospheres" by Canadian filmmaker Guy
  Maddin. His second feature, La Trinchera Luminosa del Presidente Gonzalo
  was listed by the Village Voice as one of 2007's top ten experimental
  films. The Juche Idea dir. Jim Finn, US, 2008, video, 62 mins, color
  Ready for a Marxist-Leninist-musical documentary? Jim Finn, the Busby
  Berkeley of propaganda, follows a South Korean video artist in North
  Korea who hopes to revitalize Juche cinema. This is no kitsch
  mockumentary, just a careful analysis of the love of cinema that is as
  surreally funny as it is true. Isn't art revolutionary? - Cinevegas Film
  Festival Free admission members above Internationalist level; $5
  Internationalists; $6 students + seniors; $8 general admission. In
  advance at TICKETWEB or 1/2 hour before showtime at The Ibrahim Theater
  Box Office.

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

  Just in time for the holidays! Michael Gitlin's The Earth Is Young is
  based on a series of interviews with Young Earth Creationists, who find
  evidence of a 6-day, 6,000-year-old Creation in their reading of the
  geological record. These encounters are framed with depictions of the
  slow work of dedicated paleontologists, pointing towards a world far
  older and more complex, if no less fantastic. At times bordering on
  science fiction, the hour-long piece elaborates an essay on the nature
  of Science, and the physical and ideological tools with which one builds
  a model of the world. ALSO: Ben Rivers' Origin of the Species engages
  with a 70-year-old Scottish hermit, obsessed with "trying to really
  understand" Darwin's book for many years, whilst working on small
  inventions for making his life easier. PLUS implausible religious clips
  from the Moody Institute, Left Behind series, Scientology, A.A. Allen,
  and other kook cults. Free blood-red wine and pale-white crackers.


Brooklyn, New York: DocTruck
6:00pm, 600 Vanderbilt Ave

  A terrible evening in somewhat cold (not cold enough?) December.
  DocTruck, a new, occasional, experimental, traveling documentary series
  with more presents the stark, gloomy, spacious, kid-friendly, The Three
  Rooms of Melancholia at Unnameable Books' awfully cluttered and
  low-ceilinged basement, at six o'clock on a Sunday. Gin and no other
  refreshment will be served. Warm gin. And snacks, but... There will
  probably be chairs provided. The Three Rooms of Melancholia reveals how
  the Chechen War has psychologically affected children in Russia and in
  Chechnya. Divided into three episodes or 'rooms,' the film is
  characterized by an elegantly paced, observational style, which uses
  little dialog, minimal voice-over commentary and a spare but evocative
  musical score. Room No. 1, "Longing," set in a military academy in
  Kronstadt, near St. Petersburg, portrays the highly regimented lives of
  the young cadets, most of them from broken or dysfunctional families,
  who are being trained for future roles in the Russian army. While
  showing their military drills, classroom sessions, church ceremonies,
  and recess period, the film briefly profiles several of the boys, whose
  stories reflect the political turmoil of contemporary Russia. Room No.
  2, "Breathing," filmed in Grozny, the capital of Chechnya, the former
  Soviet republic fighting for its independence, shows the widespread
  destruction wrought by the Russian shelling and bombardment, a city
  where families struggle to survive in barely habitable buildings, packs
  of stray dogs roam the streets, Russian military vehicles clog the
  roads, soldiers monitor roadblocks, and a courageous woman attempts to
  rescue orphaned or semi-orphaned children from the violence. Room No. 3,
  "Remembering," filmed in the neighboring Islamic republic of Ingushetia,
  focuses on children in refugee camps and in a makeshift orphanage,
  including a young boy found living in a cardboard box, a 19-year-old
  girl traumatized by her rape at the age of 12 by Russian soldiers, and a
  roomful of children transfixed by televised images of the deadly
  aftermath of the crisis in which a Moscow theater audience was held
  hostage by Chechen terrorists. Unnameable Books is at 600 Vanderbilt
  Avenue in Prospect Heights, Brooklyn The event is in the basement, next
  to the broiler. Sunday, December 13 at 6pm

Los Angeles, California: Filmforum
7:30 pm, Egyptian Theatre, 6712 Hollywood Blvd. at Las Palmas

  Los Angeles Filmforum presents The Festival of (In)appropriation:
  Contemporary Found Footage Filmmaking, Part 2. Whether you call it
  collage, compilation, found footage, detournement, or recycled cinema,
  the incorporation of previously shot materials into new artworks is a
  practice that has generated novel juxtapositions of elements which have
  produced new meanings and ideas that may not have been intended by the
  original makers, that are, in other words "inappropriate." In this
  program, we bring together a selection of recent films from around the
  world that appropriate footage from diverse sources in vastly different
  ways, including The Ship by Brandon Downing, The Animated Heavy-Metal
  Parking Lot by Leslie Supnet, The Legend of Pwdre Ser by Dave Griffiths,
  Friend Film by Colin Barton, Alone by Gerard Freixes Ribera, The Acrobat
  by Chris Kennedy, Emergence by Marcin Blajecki, Outlaw by Ann
  Steuernagel, That's Right by Matthew Causey, Anemic Cinema with Z
  Coordinate by Jorge Sa, The Motions of Bodies by Ann Steuernagel, Asleep
  at the Wheel by Mike Maryniuk, Isolating Landscapes by Heidi Phillips,
  The Last Interview in Exile by McLean Fahnestock, Profanations by Oriol
  Sanchez. Los Angeles Filmforum, at the Egyptian Theatre, 6712 Hollywood
  Blvd, at Las Palmas, Los Angeles CA 90028. General admission $10,
  students/seniors $6, free for Filmforum members. The Egyptian Theatre
  has a validation stamp for the Hollywood & Highland complex. Park 4
  hours for $2 with validation.

New York: Anthology Film Archives
4:00 pm, 32 2nd Avenue

  See program notes for Dec. 11th.

New York: Anthology Film Archives
4:30 pm, 32 2nd Avenue

  by Jean Cocteau 1930, 53 minutes, 35mm. In French with English
  subtitles. "Adolescent angels wandering about, black boxers with perfect
  bodies taking flight, school-children in capes killing each other with
  snowballs, a mirror becomes a swimming pool, and the hallways of a
  furnished hotel turn into a labyrinth." –Georges Sadoul

New York: Anthology Film Archives
5:30 pm, 32 2nd Avenue

  See program notes for Dec. 10th.

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

  by Jean Cocteau 1950, 95 minutes, 35mm. In French with English
  subtitles. With Jean Marais. Orpheus and Eurydice, with Death waiting on
  the corner. Cocteau said, "Orpheus could only exist on the screen. A
  drama of the visible and the invisible, ORPHEUS's Death is like a spy
  who falls in love with the person being spied upon. The myth of

New York: Anthology Film Archives
7:00 pm, 32 2nd Avenue

  See program notes for Dec. 10th.

New York: Anthology Film Archives
8:00 pm, 32 2nd Avenue

  by Jean Cocteau 1959, 83 minutes, 35mm. In French with no subtitles;
  English synopsis available. To Cocteau, "poet" meant the creative
  artist, and the Orpheus of Greek mythology – the god of the lyre, song
  and poetry – was Cocteau's personal muse. For Cocteau the plight of the
  poet was an unending search for truth and immortality, a life of
  suffering and martyrdom during which the poet must experience many

New York: Anthology Film Archives
8:30 pm, 32 2nd Avenue

  by Andy Warhol 1965, 66 minutes, 16mm. SPACE is based on a Tavel
  scenario, in which various characters are supposed to recite lines from
  eight unconnected scripts while Warhol's roving camera moves among them.
  However, the large assembled cast – which includes Edie Sedgwick, as
  well as folk singer Eric Andersen and Dorothy Dean – seems completely
  uninterested in following the script, and SPACE transforms itself from a
  Tavel film into an Edie Sedgwick film before our eyes.

San Francisco, California: Artists Television Access
11am-10pm $10 all day access, 992 Valencia St, at 21st

  Artists' Television Access was founded in 1984 by a group of young,
  radical artists and activists committed to using video, performance, art
  and education to progressing culture and community. Today, ATA continues
  to provide a community venue for independent and alternative artists in
  its Mission District storefront gallery. Over the past 25 years, ATA has
  presented thousands of film and video screenings, performances, gallery
  exhibitions and workshops. Help us get ready for another 25 years and
  join us as we celebrate ATA's 25th anniversary with a day full of live
  music, performances, installations, bbq, and a raffle wih great prizes!
  The Lambs; Jeremy Dalmas and Friends; Young Prisms; Bare Wires; Ash
  Reiter; Kacey Johansing; Jefre Cantu-Ledesma & Paul Clipson (Electronic
  & Ambient / Super 8 film); Eats Tapes; Psychic Reality; Rank/Xerox
  Raffle Prizes include ATA DVD compilations and goodies from: Good
  Vibrations, Landmark Theatres, Red Vic Movie House, Back to the Picture,
  Therapy, Lost Weekend Video and SFMOMA.

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