From: Weekly Listing (email suppressed)
Date: Sat Jan 02 2010 - 16:20:39 PST
This week [January 2 - 10, 2010] in avant garde cinema
To subscribe/unsubscribe to the weekly listing, go to
http://www.hi-beam.net/cgi-bin/mailto.pl?mailto=subscribe
or send an email to (address suppressed)-beam.net.
Enter your announcements (calls for entries, new work, screenings,
jobs, items for sale, etc.) at:
http://www.hi-beam.net/cgi-bin/ann.pl
NEW FILM/VIDEO: NON-FEATURE:
============================
"De Luce 1: Vegetare" by Janis Crystal Lipzin
http://www.hi-beam.net/cgi-bin/ann.pl?type=newwork&readfile=407.ann
NEW CALLS FOR ENTRIES:
=====================
Australian International Experimental Film Festival (Melbourne, Vic, Australia; Deadline: February 15, 2010)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1110.ann
Courtisane festival (Ghent, Belgium; Deadline: December 31, 2009)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1111.ann
Crossroads (San Francisco, CA USA; Deadline: February 10, 2010)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1112.ann
7th film sharing Low & No Budget Filmfestival Tour 2010 (Stuttgart and tour in Germany; Deadline: April 01, 2010)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1113.ann
Directors Lounge (Berlin, Berlin, Germany; Deadline: January 10, 2010)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1114.ann
Urban Research at Directors Lounge (Berlin, Berlin, Germany; Deadline: January 10, 2010)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1115.ann
ARTErra (Location: Tondela,Portugal; No entry deadline)
http://www.hi-beam.net/cgi-bin/ann.pl?type=callsnd&readfile=148.ann
DEADLINES APPROACHING:
======================
Map Open Space at FLEFF 2010 (Ithaca (New York), USA; Deadline: January 15, 2010)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1092.ann
Magmart | video under volcano (Naples, Italy; Deadline: January 31, 2010)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1093.ann
The Journal of Short Film Vol. 19 (Columbus, OH, United States; Deadline: February 01, 2010)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1106.ann
Directors Lounge (Berlin, Berlin, Germany; Deadline: January 10, 2010)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1114.ann
Urban Research at Directors Lounge (Berlin, Berlin, Germany; Deadline: January 10, 2010)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1115.ann
Enter your event announcements by going to the Flicker Weekly Listing Form
at http://www.hi-beam.net/cgi-bin/thisweek.pl
Also available online at Flicker: http://www.hi-beam.net
THIS WEEK'S PROGRAMS (SUMMARY):
==============================
* Process In Time: Shorts By Richard Serra [January 2, Washington, DC]
* Five Films By Joyce Wieland, "Presented In Collaboration With
X-Initiative" [January 6, Brooklyn, New York]
* The Experiment: the Politics of the Image [January 9, New York, New York]
* Luminous Triptych: Angelina Krahn, Karen Johannesen, Rick Bahto [January 9, Phoenix, Arizona]
Events are sorted by CITY within each DATE.
-------------------------
SATURDAY, JANUARY 2, 2010
-------------------------
1/2
Washington, DC: National Gallery of Art
http://www.nga.gov
2pm, 4th & Constitution Avenue NW
PROCESS IN TIME: SHORTS BY RICHARD SERRA
A collection of silent shorts by Serra, including his first work in
film, Hand Catching Lead (1968), points out the artist's interest in
steel as a medium and in 16 mm film as a means of expressive analysis.
Hands Scraping (1968), Frame (1969), Railroad Turnbridge (1976), and
Steelmill/Stahlwerke (1979) are also on the program. (Total running time
40 minutes
--------------------------
WEDNESDAY, JANUARY 6, 2010
--------------------------
1/6
Brooklyn, New York: Light Industry
http://www.lightindustry.org/
7:30pm, 220 36th Street, 5th Floo
FIVE FILMS BY JOYCE WIELAND, "PRESENTED IN COLLABORATION WITH
X-INITIATIVE"
Introduced by Emily Roysdon When she came to the US from Toronto in the
early 1960s, Joyce Wieland was already known in Canada as a painter who
explored themes of female existence in ways that were often
controversially explicit, but once in New York she also began working in
Super-8 and 16mm. Along with Hollis Frampton, Paul Sharits, and her
husband Michael Snow, Wieland became one of the circle of artists who
defined the first generation of structural film (she held the
distinction of being the only woman mentioned in P. Adams Sitney's
seminal essay that described that movement). Though as equally attuned
as her peers to an advanced, expanded notion of how space and time might
function in cinema, Wieland's work also evinces a sharp wit and
inventive narrative sense that foreshadows the small-gauge cinema of the
1980s and 90s. Handtinting, 16mm, 1967, 6 mins Handtinting is the apt
title of a film made from outtakes from a Job Corps documentary which
features hand-tinted sections. The film is full of small movements and
actions, gestures begun and never completed. Repeated images, sometimes
in colour, sometimes not. A beautifully realized type of chamber-music
film whose sum-total feeling is ritualistic. - Bob Cowan Rat Life and
Diet in North America, 16mm, 1968, 16 mins I can tell you that Wieland's
film holds. It may be about the best (or richest) political movie
around. It's all about rebels (enacted by real rats) and police (enacted
by real cats). After long suffering under the cats, the rats break out
of prison and escape to Canada. There they take up organic gardening,
with no DDT in the grass. It is a parable, a satire, an adventure movie,
or you can call it pop art or any art you want - I find it one of the
most original films made recently. - Jonas Mekas The film is witty,
articulate, and a far cry from all the other cute animal humanism the
cinema has sickened us with in the past. Nevertheless it is a vital
extension of the aspect of her films that runs counter to the structural
principle: ironic symbolism. - P. Adams Sitney Pierre Vallieres, 16mm,
1972, 30 mins He delivered three essays, without stopping, except for
reel change and camera breakdown: 1) Mont Laurier; 2) Quebec history and
race; 3) women's liberation. Everything which happened is recorded on
film. It was a one-shot affair, I either got him on film or I missed.
What we see on film is the mouth of a revolutionary, extremely close,
his lips, his teeth, his spittle, his tongue which rolls so beautifully
through his French, and finally the reflections in his teeth of the
window behind me. - JW Solidarity, 16mm, 1973, 10 mins A film on the
Dare strike of the early 1970s. Hundreds of feet and legs, milling,
marching and picketing with the word "solidarity" superimposed on the
screen. The soundtrack is an organizer's speech on the labour situation.
Like her films Rat Life and Diet in North America, Pierre Vallieres and
Reason Over Passion, Solidarity combines a political awareness, an
aesthetic viewpoint and a sense of humour unique in Wieland's work. -
CFMDC A & B in Ontario, made with Hollis Frampton, 16mm, 1984, 16 mins
Hollis and I came back to Toronto on holiday in the summer of '67. We
were staying at a friend's house. We worked our way through the city and
eventually made it to the island. We followed each other around. We
enjoyed ourselves. We said we were going to make a film about each other
- and we did. - JW
-------------------------
SATURDAY, JANUARY 9, 2010
-------------------------
1/9
New York, New York: Maysles Cinema
http://www.mayslesinstitute.org/cinema.html
7:30, 343 Lenox Avenue @ 127th Street
THE EXPERIMENT: THE POLITICS OF THE IMAGE
Please join us once again at Maysles Cinema for the first of our
quarterly screenings! Energized by the success of our New York(er)
Shorts exhibitions, we have worked with the folks at Maysles Cinema to
develop a four part series which explores the relationship between the
documentary and the experimental film. Each screening will focus on a
traditional genre of documentary cinema and exhibit examples of
experimental films which relate to those genres. This first evening will
feature some of our favorite shorts which we find to have political
significance or messaging. We look forward to seeing familiar faces at
the premiere event of our new screening series! This screening embraces
the totality of interrelationships in particular locales of privacy and
publicity involving power, authority, or influence, and capable of
manipulation. The works presented contemplate false securities and
fragile liberties through confrontation with popular, habitual, and
cultural trends, often detrimental and of national concern. The
suspension of resolution within the surveillance of aftermaths resolves,
through non-traditional documentation and assemblage, contrasting states
of mind, tranquility and unease, lived by both the inhabitants and the
viewers. Restless yet lyrical, the processions of mood, rhythm, and
performance envelop each realm of existence, appropriated and affected,
as the artists orchestrate alternative, revitalizing determinations of
propaganda, of misinformation established by the spectacles of
authoritarian conviction. Contrasting impacts of intimacy and infection
evoke ulterior reactions to the facades of complacency exposed as these
social criticisms ultimately broadcast displaced forewarning, vestiges,
and actualities of historical abuse, imminent threat, and the attempt to
apprehend criminal activities. Films: Deborah Stratman, In Order Not To
Be Here, 2002, 16mm, 33m Jem Cohen, Little Flags, 2000, video, 6.5m Jem
Cohen, NYC Weights and Measures, 2005, video, 5.5m Leslie Thornton,
Peggy and Fred in Hell: The Prologue, 1985, video, 20m Leslie Thornton,
Peggy and Fred in Kansas, 1987, video, 11m TRT: 76m, with drinks and
informal discussion to follow! http://www.pythagorasfilm.com
http://jemcohenfilms.com http://vdb.org/
1/9
Phoenix, Arizona: No Festival Required
http://nofestivalrequired.wordpress.com/
8 PM, Deus Ex Machina, 1023 NW Grand Avenue Phoenix AZ 85007
LUMINOUS TRIPTYCH: ANGELINA KRAHN, KAREN JOHANNESEN, RICK BAHTO
Working from different aesthetic and conceptual backgrounds, the films
of these three artists share an ethos of handmade, personal cinema.
Angelina Krahn utilizes a wide palette of alternative techniques in her
films, perhaps most poignantly in Stigmata Sampler, in which she sewed
into the surface of the film to cover up and obscure images of her own
body. Karen Johannesen's masterful editing and single-framing techniques
serve to embody studies into quantum mechanics, bringing to vision in
delicate landscapes a world "teeming with billions of unrealized
possibilities". Rick Bahto's in-camera edited works use the people and
places of his everyday life as the basis of studies in movement, rhythm
and duration, creating a tension between pre-determined structures and a
freedom of improvisation. Presented by No Festival Required, this is the
first time any of these films have been seen in Phoenix. The screening
will be followed by a Q&A with filmmaker and curator Rick Bahto. $6
general / $5 students + NFR Support Card Members. LIMITED SEATING, doors
open at 7:45
Enter your event announcements by going to the Flicker Weekly Listing Form
at http://www.hi-beam.net/cgi-bin/thisweek.pl
The weekly listing is also available online at Flicker:
http://www.hi-beam.net
__________________________________________________________________
For info on FrameWorks, contact Pip Chodorov at <email suppressed>.