This week [January 9 - 17, 2010] in avant garde cinema

From: Weekly Listing (email suppressed)
Date: Sat Jan 09 2010 - 09:15:43 PST

This week [January 9 - 17, 2010] in avant garde cinema

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"Meaninglessness Act:two" by Anders Weberg
"De Luce 1: Vegetare" by Janis Crystal Lipzin
Media City Film Festival

Directors Lounge (Berlin, Berlin, Germany; Deadline: January 10, 2010)
Urban Research at Directors Lounge (Berlin, Berlin, Germany; Deadline: January 10, 2010)
abstracta (roma, Italia; Deadline: June 30, 2010)
The 2010 Delta International Film and Video Festival (Cleveland, MS USA; Deadline: February 01, 2010)
Go Short International film festival (Nijmegen, the Netherlands; Deadline: February 01, 2010)
Migrating Forms (Brooklyn, NY, USA; Deadline: March 15, 2010)
Newport Beach Film Festival (Newport Beach, CA, USA; Deadline: January 25, 2010)
IC Docs (Iowa City, IA, USA; Deadline: March 06, 2010)
DotFest - International Online Short Film Festival (Switzerland; Deadline: March 01, 2010)

Map Open Space at FLEFF 2010 (Ithaca (New York), USA; Deadline: January 15, 2010)
Magmart | video under volcano (Naples, Italy; Deadline: January 31, 2010)
The Journal of Short Film Vol. 19 (Columbus, OH, United States; Deadline: February 01, 2010)
Crossroads (San Francisco, CA USA; Deadline: February 10, 2010)
Directors Lounge (Berlin, Berlin, Germany; Deadline: January 10, 2010)
Urban Research at Directors Lounge (Berlin, Berlin, Germany; Deadline: January 10, 2010)
The 2010 Delta International Film and Video Festival (Cleveland, MS USA; Deadline: February 01, 2010)
Go Short International film festival (Nijmegen, the Netherlands; Deadline: February 01, 2010)
Newport Beach Film Festival (Newport Beach, CA, USA; Deadline: January 25, 2010)
ARTErra (Location: Tondela,Portugal; No entry deadline)
TRANSFERA TV & MADATAC FESTIVAL CALL (Location: Madrid - Spain; No entry deadline)

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Also available online at Flicker:

 * The Experiment: the Politics of the Image [January 9, New York, New York]
 * Essential Cinema: Zvenigora [January 9, New York, New York]
 * Essential Cinema: Arsenal [January 9, New York, New York]
 * Luminous Triptych: Angelina Krahn, Karen Johannesen, Rick Bahto [January 9, Phoenix, Arizona]
 * 2009/2010 Biennial Faculty Exhibition [January 10, Boca Raton, FL]
 * Screen Media: Student Work In Film, video and Animation [January 10, Fort Lauderdale, FL]
 * Essential Cinema: Earth [January 10, New York, New York]
 * Paul Sharits Program [January 10, New York, New York]
 * James Benning: Ruhr [January 11, Los Angeles, California]
 * Carey Schonegevel Program [January 11, New York, New York]
 * Riddles of the Sphinx [January 12, Brooklyn, New York]
 * 35mm [January 15, Houston, Texas]
 * Essential Cinema: the Parson's Widow [January 15, New York, New York]
 * Essential Cinema: the Passion of Joan of Arc [January 16, New York, New York]
 * Essential Cinema: Vampyr [January 16, New York, New York]
 * Los Angeles Filmforum Presents Journeys From Berlin/1971 With Yvonne
    Rainer In Person [January 17, Los Angeles, California]
 * Essential Cinema: Day of Wrath [January 17, New York, New York]
 * Essential Cinema: Ordet [January 17, New York, New York]
 * Early Cartoons [January 17, San Francisco, California]

Events are sorted by CITY within each DATE.


New York, New York: Maysles Cinema
7:30, 343 Lenox Avenue @ 127th Street

  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!

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

  ZVENIGORA by Alexandr Dovzhenko 1928, 96 minutes, 35mm, b&w, silent. No
  English intertitles; English synopsis available. Dovzhenko's second
  film, attacked by Soviet critics for being so beautifully rendered as to
  actually lessen its political impact, remains today a "cinematic poem"
  as the director named it. Dovzhenko wrote: "I did not so much make the
  picture as sing it out like a songbird." Episodic, folkloric, and
  allegorical, it is a mythic search for hidden treasure by two brothers.

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

  by Alexandr Dovzhenko 1928-29, 87 minutes, 35mm, b&w, silent. No English
  intertitles; English synopsis available. One of Dovzhenko's few
  completely independent films, from script to screen. ARSENAL is a civil
  war epic envisioned in unusual, painterly images: a fallen soldier –
  drunk on the enemy's laughing gas – his frozen body still baring its
  teeth long after the battle and his life are over.

Phoenix, Arizona: No Festival Required
8 PM, Deus Ex Machina, 1023 NW Grand Avenue Phoenix AZ 85007

  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


Boca Raton, FL: Florida Atlantic University Galleries
Tuesday - Friday: 1:00 – 4:00 p.m. Saturday: 1:00 – 5:00 p.m., 777 Glades Road

  Biennial Faculty Exhibition Schmidt Center Gallery November 14, 2009 -
  January 23, 2010 Every other year the University Galleries present new
  work by the Department of Visual Arts and Art History studio art
  faculty. Faculty from the School of Communications and Media Studies who
  are actively producing video artists are also invited to participate.
  The exhibition affords art students the opportunities to see finished
  works by their professors and enables community members to become more
  familiar with the wide variety of works produced by this group of
  teaching artists. Works in the exhibition range from traditional drawing
  and painting to video and installation art.

Fort Lauderdale, FL: Florida Atlantic University Galleries
Monday-Friday, Noon - 5 PM, 111 East Las Olas Blvd. Askew Tower Second Avenue Studio

  Dec 10/09 thru Jan 15/10 Screen Media Student Work in Film, Video &
  Animation 111 East Las Olas Blvd. Downtown Fort Lauderdale Campus Second
  Avenue Studio Show is free and open to public.

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

  by Alexandr Dovzhenko 1929-30, 82 minutes, 35mm, b&w, silent. No English
  intertitles; English synopsis available. A poetic expression of love for
  both nature and Ukrainian culture by the man who was alternatively
  branded a deserter by Ukrainians and a Ukrainian nationalist by Russian
  Soviets. Dovzhenko champions the progression of life, class struggle,
  and new attitudes for a town changed by a tractor and a fallen hero.

New York, New York: Anthology Film Archives
7:30 pm, 32 2nd Avenue

  Filmmaker/artist Paul Sharits (1943-1993) has recently been celebrated
  in the art gallery and museum worlds for his pioneering film
  installations and equally complex, incredibly beautiful drawings.
  Anthology's restoration of his 4-projector 'locational' film work
  SHUTTER INTERFACE was seen at the Greene Naftali Gallery in early 2009
  alongside a generous selection of works on paper, and will be on exhibit
  at the Hirshhorn Museum in Washington, D.C., this spring. Tonight's
  special screening marks the occasion of Sharits's inclusion in the
  exhibition LOOKING BACK: THE WHITE COLUMNS ANNUAL, curated by Miriam
  Katzeff and James Hoff of 'Primary Information', a publishing project
  whose recent releases include Dan Graham's ROCK/MUSIC WRITINGS. The
  LOOKING BACK exhibit hopes to reveal some of the complexities involved
  in trying to negotiate – and engage with – New York's constantly
  evolving cultural landscape. LOOKING BACK: THE WHITE COLUMNS ANNUAL is
  on view from November 18, 2009 to January 9, 2010. For more info on
  'Primary Information' please visit: SHUTTER
  INTERFACE (1975, 32 minutes, double-16mm, color, sound) This 2-projector
  version of a 4-projector 'locational' film installation reorganizes the
  four reels into an equally engaging work meant for theatrical screening.
  APPARENT MOTION (1975, 30 minutes, 16mm, color, silent) One of Sharits's
  most sublime pieces, APPARENT MOTION focuses on film grain particles,
  color, and the illusion of motion. RAPTURE (1987, 20 minutes, video) "A
  pseudo 'rock video' which will never be shown on MTV…. 'Rapture' is
  defined as a state of being ecstatically carried away. There is a thin
  line which I attempt to portray in these tableaux, the border line
  between the sublime and the repulsive. I wish to have the viewer respond
  to the tape in an intense but very ambiguous way." –Paul Sharits Total
  running time: ca. 85 minutes.


Los Angeles, California: Redcat
8:30pm, 631 W. 2nd St., Los Angeles, CA 90012

  North American premiere 2009, 121 min., HD James Benning, one of the
  most fascinating figures in American independent cinema, makes his
  eagerly awaited entrance into the digital realm with absolutely stunning
  effect. Ruhr—which is also the first film Benning has shot entirely
  outside the United States—is a meditation on the notion of terra
  incognita. Faced with the unfamiliar landscape of Germany's Ruhr Valley,
  the cradle of heavy industry in that country, and a new medium, he turns
  the film into a process of slow discovery. As Benning uses HD to
  continue his exploration of duration in seven masterfully composed
  shots, minute events and nuances of changing light suggest a complex
  balance between permanence and mutation in the Ruhr's industrial
  landscapes, marked, not least, with the ubiquitous presence of immigrant
  labor. In person: James Benning

New York, New York: Anthology Film Archives
7:30 pm, 32 2nd Avenue

  ORIGINAL CHILD BOMB USA, 2004, 57 minutes, video. The temperature at the
  epicenter of an atomic blast is as hot as the surface of the sun –
  everything in the immediate vicinity is instantly vaporized. So too, it
  seems, are the psyches of those further from the epicenter, including
  U.S. Airman Matthew McGunigle who photographed the bombing of Hiroshima
  – after the war, he entered a monastery and took a vow of silence.
  Inspired by the Thomas Merton poem of the same name, this is a beautiful
  and chilling documentary that uses declassified government films,
  photos, drawings, and animation (by Emily Hubley) to replay the 1945
  bombings of Hiroshima and Nagasaki from the victims' and the bombers'
  perspectives. Co-producer Ayana Osada will be here in person for a
  post-screening discussion. Preceded by: HIROSHIMA, NAGASAKI, AUGUST 1945
  USA, 1970, 16 minutes, video. Produced by Erik Barnouw & Columbia
  University. Based on long-suppressed footage shot by a Japanese
  documentary unit who were at work in the ruins of both Hiroshima and
  Nagasaki before the U.S. occupation forces arrived, this film stands as
  a graphic reminder of the horrors of nuclear war


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

  Laura Mulvey and Peter Wollen, 16mm, 1977, 90 mins. Introduced by Emma
  Hedditch. Laura Mulvey and Peter Wollen's film addresses the position of
  women in patriarchy through the prism of psychoanalysis. Riddles of the
  Sphinx draws on the critical writings and investigations by both
  filmmakers into the codes of narrative cinema, and offers an alternative
  formal structure through which to consider the images and meanings of
  female representation in film. The film is constructed in three sections
  and 13 chapters, combining Mulvey's own to-camera readings around the
  myth of Oedipus's encounter with the Sphinx with a series of very slow
  360 degree panning shots encompassing different environments, from the
  domestic to the professional. Louise, the narrative's female
  protagonist, is represented through a fragmented use of imagery and
  dialogue, in an attempt to break down the conventional narrative
  structures of framing and filming used to objectify and fetishise women
  in mainstream cinema. This could be seen as a formal development of the
  Lacanian analyses that Mulvey had applied to the female image in film in
  essays such as 1975's 'Visual Pleasure and Narrative Cinema' (in
  Screen). Riddles of the Sphinx attempts to construct a new relationship
  between the viewer and the female subject, presenting her through
  multiple female voices and viewpoints. The dialogue, constructed from
  the different voices of Louise, her friends and fellow workers, brings a
  shifting and ambiguous range of meanings to the film, in contrast to the
  explanatory authority associated with a conventional voice-over. Other
  voices and images from outside the film's narrative world also question
  and disrupt pre-supposed meanings and symbols of the woman within and
  without the screen; from the mythical enigma of the Sphinx to the
  appearances of artist Mary Kelly and Mulvey herself. As Mulvey herself
  subsequently put it, "What recurs overall is a constant return to woman,
  not indeed as a visual image, but as a subject of inquiry, a content
  which cannot be considered within the aesthetic lines laid down by
  traditional cinematic practice." - Lucy Reynolds


Houston, Texas: FlickerLounge at DiverseWorks. Co-presented by Aurora Picture Show
Opening, January 15, 2010, 6-8pm, 1117 E. Freeway Houston, TX 77002 -1108

  35mm is a collection of five works which use celluloid as the major
  structural component. This series of shorts reflects digital
  technologies assimilation of the motion picture in non-traditional
  filmmaking. 35mm presents itself as a body of work exploring celluloid's
  place in the future of avant-garde cinema. The hybrid may represent the
  best of both mediums, the acquisition of the image on film and the
  advantage of digital post-production and distribution. At the very least
  it may be the final supernova before the analog world of gears and
  sprockets goes silent and
  ............................ 35mm runs through January 15 - February 20,
  2010.............................. More info at:

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

  by Carl Th. Dreyer 1921, 78 minutes, 35mm, b&w, silent. No English
  intertitles; English synopsis available A lyrical, early Dreyer comedy.
  A young parson wins a plum parish in 17th-century Norway, but is obliged
  to marry the widow of his deceased predecessor and pretend his
  attractive young fiancée is his sister. The master's touch is evident in
  the close-ups of the pastor's would-be rivals and parishioners, and in a
  slow pan presaging the 360-degree views of VAMPYR.


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

  by Carl Th. DreyerCarl Th. Dreyer 1927-28, 98 minutes, 35mm, b&w,
  silent. No English intertitles; English synopsis available. A work that
  exemplifies Dreyer's philosophy: simplicity is the most complex idea of
  all. Although renowned for its spare acts, lack of embellishment, and
  use of simple shots, Dreyer's masterpiece reveals the natural complexity
  of an un-retouched face (often existing alone, filling up the frame) and
  a landscape of history as individual as the lines on that face. Made in
  1927-28, it continues to haunt the cinema, looking more and more
  avant-garde as the years go by.

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

  by Carl Th. Dreyer 1931-32, 70 minutes, 35mm, b&w. In Danish with no
  subtitles; English synopsis available. "Imagine that we are sitting in a
  very ordinary room. Suddenly we are told that there is a corpse behind
  the door. Instantly, the room we are sitting in has taken on another
  look. The light, the atmosphere have changed, though they are physically
  the same. This is because we have changed and the objects are as we
  conceive them. This is the effect I wanted to produce in VAMPYR." –Carl


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

  Part 4 (of 8) of Bodies, Objects, Films: An Yvonne Rainer Retrospective
  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. Each
  appearance by Rainer will feature a Q&A led by a different moderator, to
  discuss with her varying aspects of her approaches to her art and life.
  We'll start with her earliest and latest works, all connected to various
  performances. Tonight's Q&A will be led by Simon Leung, artist and
  professor at UC Irvine. Admission $10 general, $6 students/seniors, free
  for Filmforum members Advance ticket purchase available through Brown
  Paper Tickets: To explore
  the ramifications of terrorism, Rainer employs an extended therapy
  session--in which an American woman speaks to a series of
  psychiatrists--to evoke the daily experiences of power and repression.

New York, New York: Anthology Film Archives
4:45 pm, 32 2nd Avenue

  by Carl Th. Dreyer 1943, 100 minutes, 35mm, b&w. In Danish with no
  subtitles; English synopsis available. "Carl Dreyer's art begins to
  unfold at the point where most other directors give up. Witchcraft and
  martyrdom are his themes – but his witches don't ride broomsticks, they
  ride the erotic fears of their persecutors. It is a world that suggests
  a dreadful fusion of Hawthorne and Kafka." –Pauline Kael

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

  by Carl Th. Dreyer 1955, 132 minutes, 35mm, b&w. In Danish with no
  subtitles; English synopsis available. An existential morality essay by
  the master of the long take, in which a man who believes he is Jesus
  Christ soon begins to convince those around him. Based on the play by
  Kaj Munk, ORDET is a meditation on faith and fanaticism.

San Francisco, California: San Francisco Museum of Modern Art
11:30am, 12:30, 1:30 and 2:30 pm, Phyllis Wattis Theater, SFMOMA, 151 Third Street (between Mission and Howard)

  This program features animated classics from Winsor McCay's Gertie the
  Dinosaur , perhaps the first cartoon ever, to Walt Disney's Steamboat
  Willie , one of the first appearances of MIckey Mouse. Free for Family

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