This week [April 3 - 11, 2010] in avant garde cinema

From: Weekly Listing (email suppressed)
Date: Sat Apr 03 2010 - 07:33:10 PDT

This week [April 3 - 11, 2010] in avant garde cinema

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

"Everybody dies in Lonely Town" by Andrew T. Cutler
"Drive" by Mike Celona

Basement Media Festival (Cambridge, Massachusetts, USA; Deadline: July 24, 2010)
Illuminated Corridor Department of Public Works (oakland, ca, usa; Deadline: April 16, 2010)
18th Curtas Vila do Conde / International Film Festival (Vila do Conde, Portugal; Deadline: April 05, 2010)
Rencontres Internationales Sciences et Cinémas (RISC) (Marseille (France); Deadline: May 15, 2010)

Artists for Studio Tour Program (Chicago, IL; Deadline: April 05, 2010)
CologneOFF VI - Let's Celebrate! (Cologne, Germany; Deadline: April 05, 2010)
Fargo-Moorhead LGBT FIlm Festival (Fargo, ND, USA; Deadline: April 21, 2010)
Wimbledon Shorts 2010 (London, Wimbledon; Deadline: April 14, 2010)
Onion City Experimental Film and Video Festival (Chicago, IL, USA; Deadline: April 30, 2010)
Festival Miden (Kalamata, Greece; Deadline: April 15, 2010)
Real Light ((touring this fall); Deadline: April 24, 2010)
Liaison of Independent Filmmakers of Toronto (LIFT) (Toronto, Ontario, Canada; Deadline: April 19, 2010)
Illuminated Corridor Department of Public Works (oakland, ca, usa; Deadline: April 16, 2010)
18th Curtas Vila do Conde / International Film Festival (Vila do Conde, Portugal; Deadline: April 05, 2010)

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

Also available online at Flicker:

 * The Experiment 2: Portraiture [April 3, New York, New York]
 * Other Cinema, 4/3: Ecc / Murnau 's Nosferatu + Copyright Criminals + [April 3, San Francisco, California]
 * Two Together Two: Jim Mcbride & Stanton Kaye [April 3, San Francisco, California]
 * From Ecstasy To Rapture: A Journey Through Spanish Experimental Film [April 3, Washington, DC]
 * <B>Catalunya: Poetry of Place</B> Film Series Begins [April 4, Washington, DC]
 * Light Echoes Dark: the Films of Julie Murray [April 5, Los Angeles, California]
 * Witness To Love: Film and video By Jayce Salloum and Abraham Ravett [April 5, Norman, Oklahoma]
 * Unessential Cinema: That's Undertainment! [April 6, New York]
 * Manufactured Landscapes [April 6, Reading, Pennsylvania]
 * Performance: 21st Century Psychedelic By Potter-Belmar Labs [April 6, San Antonio, TX]
 * Everything I Tell You Now Is True: the Short Films of Emily Wardill [April 8, Chicago, Illinois]
 * Streets of San Francisco: Filmic Journeys [April 8, San Francisco, California]
 * Nonobjective Films, 1920s–1960s [April 9, New York, New York]
 * It Came From Kuchar [April 9, New York]
 * Taka iimura Program [April 9, New York]
 * Films By Lukas Lukasik [April 9, San Francisco, California]
 * Optical Poetry: Oskar Fischinger Retrospective [April 9, Seattle, Washington]
 * Visual Music [April 9, Seattle, Washington]
 * It Came From Kuchar [April 10, New York]
 * Kuchar Brothers Program 1 [April 10, New York]
 * Kuchar Brothers Program 2 [April 10, New York]
 * It Came From Kuchar [April 10, New York]
 * Other Cinema, 4/10: Sachs' With Wind In Our Hair + House of Science + [April 10, San Francisco, California]
 * Seeing Sound: Mary Ellen Bute Retrospective [April 10, Seattle, Washington]
 * Los Angeles Filmforum Presents Julie Murray: Slight Movements [April 11, Los Angeles, California]
 * It Came From Kuchar [April 11, New York]
 * Kuchar Brothers Program 3 [April 11, New York]
 * Kuchar Brothers Program 4 [April 11, New York]
 * Unessential Cinema: Depraved Youth [April 11, New York]
 * Dreamy Daytime Brunch [April 11, San Francisco, California]
 * Jordan Belson: Films Sacred and Profane [April 11, Seattle, Washington]

Events are sorted by CITY within each DATE.


New York, New York: Maysles Cinema
7pm-10pm, 343 Lenox Avenue, New York, NY, 10027

  'The Experiment' is a quarterly screening event dedicated to the
  relationship between experimental and documentary modes of cinema. Our
  last screening explored politics of the image with works from Jem Cohen,
  Deborah Stratman, and Leslie Thornton. This time around, we have
  assembled a diverse collection of films and videos, from both
  established and emerging artists, exploring the concept of portraiture
  in film. This two-floor event will showcase works both in a traditional
  theater setting as well as through gallery-style film and video
  installations. A suggested donation bar will be open the entire evening.
  Come for the main screening, and then check out the installations
  downstairs, or vice-versa! Screenings in Cinema at 7pm and 9pm.
  Installation-based film and video screens downstairs in Gallery
  continuously 7pm to 10pm. Presenting Artists are Ben Rivers - Origin Of
  The Species, Paolo Gioli - Filmarilyn, Albert Maysles - Orson Welles In
  Spain, Stan Brakhage - I...Dreaming, Robert Todd - Stable, Kelly Spivey
  - Make Them Jump, Marie Losier - Snowbeard, Seth Fragomen - Seance,
  David Baker - Ab Ovo, Naren Wilks - Bridge Study, Jay Hudson - S21,
  Lorenzo Gattorna - Nessun Dorma, Peter Buntaine - Bushwick, Sean Berman
  - Green-Screen Self-Portrait, Greg Vanderveer - Albert Maysles.

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

  Performed only once before, Evolution Control Committee's radically
  eclectic soundscape for FW Murnau's horror classic Nosferatu is a
  meticulous mix of soundtracks from other movies (how "Other Cinema" can
  you get?)! Iconic/ironic snippets from the classic tracks of The Sound
  of Music, Jaws, Dr. No, Star Wars, and dozens of others are DJ'd live
  from turntable, transmuted through Trademark G's magical sleight-of-hand
  into an uncannily appropriate unified soundtrack! PLUS: Copyright
  Criminals, a new doc by Kembrew McLeod and Ben Franzen, examines the
  creative and commercial value of musical sampling, including the ongoing
  debates about artistic expression and copyright law. Showcased are many
  of Hip Hop's legendary figures, like Public Enemy, De La Soul, George
  Clinton, Digital Underground, DJ Spooky, Eclectic Method, and Mark
  Hosler (of Negativland). PLUS an assemblage of Negativland's own
  audio-visual citations. NOTE: Early doors at 7:45, CC at 8, ECC at 9.

San Francisco, California: San Francisco Cinematheque
7:00pm, Yerba Buena Center for the Arts, 701 Mission St. (at 3rd St.), San Francisco, CA 94103

  Presented in association with Tosca Cafe & Cabinetic: Stanton Kaye and
  Jim McBride in-person! Cinematheque's cinematic pairings from these two
  preeminent filmmakers continues with My Girlfriend's Wedding, Jim
  McBride's vérité interview with his girlfriend about her pending
  marriage to someone else. Together with its short companion piece, the
  similarly themed My Son's Wedding to My Sister-in-Law, McBride takes the
  "diary film" genre and turns it inside-out. Then he inverts it again.
  Thereafter, Stanton Kaye's stunning Brandy in the Wilderness tills a
  similar soil for an entirely different crop, cultivating a work that
  deliberately distorts the tenuous intersection between fiction and
  reality. For viewers that prefer their evening's entertainment to fit
  nicely within predefined definitions, beware: Brandy strays well beyond
  the conventional borders of narrative or documentary filmmaking.
  (JONATHAN MARLOW) Jim McBride: My Girlfriend's Wedding (1969), 60 min. »
  : My Son's Wedding to My Sister-in-Law (2008), 9 min. Stanton Kaye:
  Brandy in the Wilderness (1971), 87 min. TICKETS: members: $6 /
  non-members: $10

Washington, DC: National Gallery of Art
2:00 p.m., National Gallery of Art, East Building Auditorium

  An unprecedented retrospective of Spanish avant-garde cinema of the last
  50 years, From Ecstasy to Rapture consists of six programs arranged by
  theme and technique, in archival prints and preservation video
  transfers. Presented as part of the Preview Spain: Arts & Culture '10
  program and through the cooperation of the Embassy of Spain, Spain–USA
  Foundation, Filmoteca de Catalunya, and Centre de Cultura Contemporania
  de Barcelona. Documents/Itineraries April 3 at 2:00 p.m. A program of
  shorts and réalités including the work of visionary filmmakers José Val
  del Omar and José Luis Guerín, architect Gabriel Blanco, and artists
  Benet Rossell, Antoni Miralda, and Virginia García del Pino. (Total
  running time 85 minutes). Appropriations/Grand Super-8 April 3 at 4:00
  p.m. An eclectic mix of Super-8 mm shorts and 16 mm found-footage films
  (transferred to video) contrasts the work of film artists from divergent
  generations: the 1970s avant-garde and younger filmmakers active during
  the last decade. Included are works by Toni Serra, Jesús Pérez-Miranda,
  Eugeni Bonet, Marcel Pey, Luis Cerveró, Juan Bufill, Lope Serrano Sol,
  Maximiliano Viale, Oriol Sánchez, Manuel Huerga, and others. (Total
  running time 70 minutes)


Washington, DC: National Gallery of Art
4:00 p.m., National Gallery of Art, East Building Auditorium

  La plaça del diamant preceded by Barcelona, Perla del Mediterraneo and
  Barcelona Park Adapting a celebrated 1962 novel by Catalan writer and
  midcentury intellectual Mercè Rodoreda, La plaça del diamant portrays
  the prolonged transformation of a working-class urban woman (Sílvia
  Munt) as she endures the tragedy of the Civil War. (Francesc Betriu,
  1982, 35 mm, Catalan with subtitles, 111 minutes) The first known
  travelogue of the city, Barcelona, Perla del Mediterraneo features
  scenes of the port, Catalonia Square, Gràcia Avenue, Gaudí's Park Güell,
  and the Tibidabo. (1912–1913, 35 mm, silent, 9 minutes) An early réalité
  by the legendary Segundo de Chomón, whose later optical effects were to
  influence Dalí and Buñuel, Barcelona Park captures the charm of
  Ciutadella Park. (1911, 35 mm, silent, 3 minutes) This series continues
  through June 13


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

  Los Angeles premieres Irish-born, New York-based filmmaker Julie Murray
  combines found and original footage to conjure strange and paradoxical
  universes resonant with ambiguous meanings. Mystery and menace lurk
  equally amid the eloquence of her visual rhymes and word
  associations—whether in repeated images of mouth-to-mouth resuscitation
  and the Heimlich maneuver (Conscious, 1993, 10 min.), shots of trees
  growing among crumbled brick ruins (Orchard, 2004, 9 min.), views from
  an aerial tram leaving Manhattan (If You Stand With Your Back to the
  Slowing of the Speed of Light in Water, 1997, 18 min.), or captioned
  excerpts from an instructional movie for the deaf (I Began to Wish,
  2003, 5 min.). Comprising all 16mm films, this program features Murray's
  latest work, ELEMENTs (2008, 7 min.) In person: Julie Murray

Norman, Oklahoma: Meacham Auditorium in the Student Union
5-7pm, University of Oklahoma

  Side by side, these two works of experimental non-fiction, one in video
  and one in film, bring together two of the most accomplished artists
  working today in experimental media. Salloum and Ravett will each
  present work in person during the same event Monday evening.


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

  Lampert, Stephen Parr, and Greg Pierce What makes an image moving? We
  tend to watch and re-watch those films that speak to us, which contain a
  captivating story or an outright beauty that is enhanced by repeated
  viewing. Rarely do we return to mundane movies brimming with insipid
  imagery or sleep-inducing scenarios. That is, until now. In true
  Unessential Cinema fashion, film collectors/archivists/fanatics Skip
  Elsheimer, Andrew Lampert, Stephen Parr, and Greg Pierce have each
  sifted through their vast reservoir of reels to cull favorite footage
  that others might term tedious, difficult, dreary, lackluster, lifeless,
  or even uninteresting. But it just ain't so. Tonight only, our
  bleary-eyed presenters shall unleash their findings in a 4-projector
  expanded cinema foray into the very heart of dullness. Anthology's large
  Courthouse Theater screen will be divided into quadrants for each of our
  presenters to project their chosen films simultaneously. The only
  predetermined rule is that all the selected footage must be truly,
  deeply cherished. Prepare yourself for: ADDITION AND MULTIPLICATION
  UNTITLED & more A show this big and boring only happens once in a
  lifetime. You'll be underwhelmed!

Reading, Pennsylvania: Berks Filmmakers,Inc
7:30 pm, Albright College Center for the Arts

  Manufactured Landscapes (2006, 80 min.) by Jennifer Baichwal. The famous
  Canadian photographer, Andrew Burtynsky "and an indefinite number of
  helpers trot across China taking glossy, large-format, generally
  long-view color photographs of factories, welding sites and recycling
  centers, with an abbreviated side trip to the Bangladesh coast where
  young men disassemble oil tankers, at times ankle-deep in sludge….
  Sensitively shot in 16-millimeter film by Peter Mettler, "Manufactured
  Landscapes" (which is also the name of a 2003 book of Mr. Burtynsky's
  photographs) is partly a Great Man documentary, a record of an artist
  immortalized at the moment of creation: point, shoot, viola! Rather more
  interestingly, at times, it also appears to be a rather tentative,
  perhaps even unconscious, critique of that same artist and his vision."-
  Manohla Dargis, New York Times

San Antonio, TX: Potter-Belmar Labs
7 PM, Auditorium, San Antonio Museum of Art, 200 West Jones Avenue

  Potter-Belmar Labs brings the psychedelic light shows of the 60s to the
  Post-Modern age with this live performance of moving image and sound,
  utilizing laptops and other electronics. Collaborating since 1999,
  artists Leslie Raymond and Jason Jay Stevens have performed live cinema
  across North America, in addition to exhibiting interactive installation
  art and single-channel experimental video. In keeping with the flavor of
  the San Antonio Museum of Art's Psychedelic exhibition, PBL will perform
  their handcrafted audiovisual hallucinations, offering colorful optical
  fantasies and sound spaces. Free event!


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

  Emily Wardill in person! The films of British artist Emily Wardill are
  brilliant cinematic labyrinths. Visually striking and playfully
  rigorous, they draw upon an array of sources--underground theater,
  psychoanalytic case studies, the writings of Friedrich Nietzsche and
  Jacques Rancière, and even the game logic of Nintendo Wii--to pose
  fundamental questions about vision, representation, and media and their
  roles in the ways we come to know ourselves. Wardill has been the
  recipient of much recent critical acclaim--Tate Modern film curator
  Stuart Comer rated her film The Diamond (Descartes' Daughter) (2008) as
  one of his top ten picks of 2008 and the Guardian newspaper deemed her
  its "artist of the week." In this special program, Wardill presents five
  of her short films, all of which are Chicago premieres: Born Winged
  Animals and Honey Gatherers of the Soul (2005), Basking in What Feels
  Like 'An Ocean of Grace' I Soon Realise That I'm Not Looking at It, But
  Rather I Am It, Recognising Myself (2006), Ben (2007), Sick Serena and
  Dregs and Wreck and Wreck (2007), and The Diamond (Descartes' Daughter).
  Co-presented by CATE and Refracted Lens. Emily Wardill, 2005-08, UK,
  16mm, ca. 60 min (plus discussion).

San Francisco, California: San Francisco Museum of Modern Art
7:00 pm, 151 Third Street

  Visions of a City, Lawrence Jordan, 1957/78, 8 min., 16mm; North Beach,
  Henry Hills, 1978, 12 min., 16mm; Motel L, Dean Snider, 1981, 2.5 min.,
  16mm; Secrets from the Street: No Disclosure, Martha Rosler, 1980, 12.2
  min., DVD; Following an Orange, Felipe Dulzaides, 1999, 1.4 min., DVD;
  Woodward's Gardens, Katherin McInnis, 2007, 10 min., mini-DV; Otherwise
  Unexplained Fires, Hollis Frampton, 1976, 13.5 min., 16mm; Untitled No.
  4, Greg Sharits, n.d., 9.5 min., R8mm. Throughout the 75th anniversary
  exhibitions, artists take up San Francisco's cityscapes as subject and
  muse. This program of experimental films and videos from the late 1950s
  to the present offers evocative records of individual experiences of
  street life. These psychogeographic tours look at North Beach's Broadway
  strip and the window reflections of a beat poet protagonist. We examine
  the Mission's storefronts for evidence of larger neighborhood shifts,
  from gentrification in the 1980s to the current neighborhood use of the
  former site of a 19th-century amusement park. $5 general; free for
  SFMOMA members or with museum admission (requires a free ticket, which
  can be picked up in the Haas Atrium).


New York, New York: Guggenheim Museum
11 am, 1071 Fifth Avenue, Sackler Center, New Media Theatre

  Nonobjective Films, 1920s–1960s, A program of artists supported by Hilla
  Rebay. Organized by the Center for Visual Music. An ongoing series,
  selected Fridays through May 21. In the 1940s, curator and founding
  director Hilla Rebay planned to establish a film center at the Museum of
  Non-Objective Painting, which later became the Solomon R. Guggenheim
  Museum, to collect and promote nonobjective films. She awarded grants to
  artists and presented programs of short experimental films. With the
  help of Oskar Fischinger, an elaborate film center was planned to
  include studios and planetarium-style projection capability. Although
  unrealized, Rebay's support enabled many filmmakers to continue their
  work in abstract film. This program presents short films by filmmakers
  whose work was screened and/or supported by Rebay, including Mary Ellen
  Bute, Charles Dockum, Oskar Fischinger, Dwinell Grant, Norman McLaren,
  and Hans Richter. 35mm and 16mm prints. Free with museum admission. Full
  title list at:

New York: Anthology Film Archives
7:00 and 9:00 pm, 32 2nd Avenue

  IT CAME FROM KUCHAR by Jennifer M. Kroot 2009, 86 minutes, video.
  Distributed by IndiePix; special thanks to Jennifer Kroot, Krysanne
  Katsoolis (Cactus 3), and Michael Tuckman (mTuckman media). NEW YORK
  THEATRICAL PREMIERE RUN! There's no shortage of definitive documentaries
  about the key figures of commercial cinema: filmmakers from Orson Welles
  and John Ford to Val Lewton and Howard Hawks have all been treated to
  in-depth studies of their lives and careers. In a perfect world, we'd
  also have docs devoted to filmmakers like Ron Rice, Curtis Harrington,
  Owen Land, and the Kuchar brothers. But wait, the world just got a
  little more perfect (and not a moment too soon) thanks to Jennifer M.
  Kroot and her lavish, hilarious, and luminary-filled feature IT CAME
  FROM KUCHAR. Precocious twin brothers George and Mike Kuchar were raised
  in the Bronx, where they began making ultra-low-budget, feverishly
  inventive movies as kids in the mid-50s. Whether working in film or
  video, together or alone, the world-renowned Kuchars are rightfully
  revered for their ribald humor, over-the-top ingenuity, incredible
  camera work, and prolific output. IT CAME FROM KUCHAR is bursting with
  hysterical and touching footage of the Kuchars at work and play,
  overflowing with eye-popping excerpts from countless films, and
  abounding with commentary from Kuchar devotees including John Waters,
  Buck Henry, Guy Maddin, and Anthology's own Andrew Lampert. In short, IT
  CAME FROM KUCHAR is the Kuchar documentary we've all been dreaming of.
  Now it's time for Hollywood to come through with a big-budget bio-pic…
  "Gleefully piles on everything anyone could want in a documentary on the
  fabulous Kuchar brothers, whose deliriously campy zero-budget melodramas
  enlivened many otherwise somber evenings of 60s underground cinema.
  Critics and aficionados seek to distill the essence of the twins' work,
  while clips from the films in question unspool in a fever dream of
  compelling non sequiturs. Meanwhile, George and Mike Kuchar themselves
  hold forth unstoppably. A must-see for filmmakers of all persuasions."
  –Ronnie Scheib, VARIETY

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

  minutes, 8mm-to-DVD, b&w) With Tatsumi Hijikata and Kazuo Ohno; music by
  Tomomi Adachi. Featuring a performance by the creator of Butoh dance,
  Tatsumi Hijikata, in the 1960s, this film was conceived not only as a
  dance document but also as a 'Cine-Dance', as coined by Iimura to denote
  a choreography with camera. "The objective of ANMA is less to record the
  event as it happened, than to embody it; for the shots in the film are
  mimetic traces of the filmmaker and his movements." –Aaron Michael
  Kerner, San Francisco State University PERFORMANCE / MYSELF (or VIDEO
  IDENTITY) (1972-95, 29 minutes, DVD, b&w/color) With Takahiko Iimura and
  Akiko Iimura. Consists of 7 pieces: SELF IDENTITY (1972, 1-minute
  excerpt), DOUBLE IDENTITY (1979, 1.5-minute excerpt), DOUBLE PORTRAIT
  (1973-87, 5 minutes), I LOVE YOU (1973-87, 4.5 minutes), THIS IS A
  (1990-95, 7 minutes), and I AM A VIEWER, YOU ARE A VIEWER (1981, 4
  minutes). "This DVD is produced with myself as the sole object as well
  as the material of the performance, with the exception of two videos
  with Akiko Iimura. The video is not just a document of the performance
  but a work of video-art made specifically for video, utilizing the video
  system, including camera and monitor, as a part of the performance."
  minutes, 2 films on DVD, b&w/color) "In this collection of videos,
  STRUCTURE OF SEEING AND HEARING), Iimura presents a series of
  mind-twisting videos, meditating on the experience of watching
  film/video, and of seeing and being seen. …Iimura also draws some
  tantalizing parallels between some of these Western philosophical
  inquiries with Asian concepts of representation." –Aaron Michael Kerner,
  San Francisco State University

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

  Luka Luka aka. Lukas Lukasik is an experimental filmmaker, performer,
  festivals curator, fashion designer, installation artists, playwright,
  poet and co-founder of "Mov3m3nt". His films has been screened in
  Island, Poland, Russia, Spain, France, Great Britain and all over US.
  Plays of his has been performed mostly in California and New Mexico.
  Experiments with hand processing film, unconventional characters,
  shocking Installations, wild variety of performances and global events
  brought him grooviness and harmony in Bay Aria where he has been living
  for 4 years. The Show Statistics: 3 of showing films were shot at ATA.
  In 6 films Camilla Stenmark (ata volunteer) is a SuperStar. Logistics:
  FILMS, VIDEO, SHADOW Performance, LIGHT SHOW by Lukas Lukasik. +
  Filmmakers Douglas Katelus and Sam Manera will present a piece each.

Seattle, Washington: at Northwest Film Forum
8 pm, at Northwest Film Forum, 1515 12th Ave

  Presented at Northwest Film Forum's Visual Music: Sensory Cinema
  1920s-70s special series, in association with Center for Visual Music
  and The Sprocket Society. "Decades before computer graphics, before
  music videos, even before "Fantasia" (the 1940 version), there were the
  abstract animated films of Oskar Fischinger (1900-1967), master of
  "absolute" or nonobjective filmmaking. He was cinema's Kandinsky, an
  animator who, beginning in the 1920's in Germany, created exquisite
  "visual music" using geometric patterns and shapes choreographed tightly
  to classical music and jazz." (John Canemaker, New York Times). CVM's
  Fischinger Retrospective includes 35mm prints of his classic abstract
  animated films, including Spirals, Spiritual Constructions, Walking from
  Munich to Berlin, Kreise (Circles) (1933), Composition in Blue (1935),
  Studies nr. 5, 6 and 7; Allegretto (1936-1943), Radio Dynamics (1942),
  Motion Painting No. 1 (1947), and others. This special presentation will
  also feature William Moritz's Cinemascope Recreation version of R-1, A
  Form-Play, Fischinger's 1920s multiple-projection performance. Program
  includes prints preserved by Center for Visual Music, Academy Film
  Archive and Fischinger Archive, with the support of Film Foundation,
  Sony, Cinémathèque québécoise and Deutsches Filmmuseum. Ticketing
  through NWFF. Series website is at

Seattle, Washington: Northwest Film Forum
See website, 1515 12th Ave (at Pike)

  Visual Music Sensory Cinema 1920s-70 APRIL 9-14, 2010 Northwest Film
  Forum and The Sprocket Society are proud to present this special series
  celebrating the history of Visual Music. Over the past century, there
  have been a number of prescient artists who've approached cinema as a
  tool for merging visual art and music in order to create a new
  synaesthetic art form and explore uncharted areas of experience. Through
  a vibrant history of cinematic experiments, these pioneers have been
  inventing the concepts, aesthetics, techniques and technologies on which
  our modern image-and-sound culture is based. Visual Music is a rare
  opportunity to see restored film prints of work by such master animators
  as Oskar Fischinger, Mary Ellen Bute, Jordan Belson and Robert Breer on
  the big screen. In addition, we'll host a panel discussion on Seattle's
  own history of visual music in the 1960s and early 70s. Series website: Curated by Peter Lucas
  Special thanks to the Center For Visual Music, Cindy Keefer, Cecile
  Starr, Spencer Sundell and Alex Bush. This program is made possible by a
  grant from the National Endowment For The Arts.


New York: Anthology Film Archives
3, 5 and 7 pm, 32 2nd Avenue

  See description for April 9th, 7:00 pm.

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

  KUCHAR 8MM PROGRAM 1 All films preserved with support from the National
  Film Preservation Foundation. TOOTSIES IN AUTUMN (1963, 15 minutes,
  8mm-to-16mm, sound on CD) Mike's cautionary tale about past-their-prime
  thespians caught up in a typically Kucharian vortex of madness. MOUNTAIN
  VACATIONS (1962, 15 minutes, 8mm-to-16mm, silent) Also known as CATSKILL
  COOL CATS, this mysterious reel has never appeared in any Kuchar
  filmography. George recalls that this vacation destination was the
  easiest place to reach by bus from the Bronx. THE NAKED AND THE NUDE
  (1957, 36 minutes, 8mm-to-16mm, sound on CD) The oldest surviving Kuchar
  mini-epic. "Big…Rousing…Memorable! The incredible war saga of our own
  boys in a Jap-infested jungle in the Botanical Gardens. Hear Lloyd
  Thorner sing the title song. You'll come out whistling from both ends."
  –G.K. A REEL OF HOME MOVIES (1959-1961, 25 minutes, 8mm-to-16mm, silent)
  An eclectic compilation of home movies and early cinematic experiments.
  "From the age of 12 onward until 17 (the restless years) the Kuchar
  brothers lived life to the fullest and tasted the spices of the lower
  class, the sugar of the bourgeoisie and the kasha of the jet set. At
  this time their films were seldom longer than four minutes." –G.K. Total
  running time: ca.

New York: Anthology Film Archives
6:45 pm, 32 2nd Avenue

  KUCHAR 8MM PROGRAM 2 All films preserved with support from the National
  Film Preservation Foundation. PUSSY ON A HOT TIN ROOF (1961, 14 minutes,
  8mm-to-16mm, sound on CD) The salacious short that caused the Kuchars'
  banishment from meetings of the New York Eight Millimeter Motion Picture
  Club. "It glows with the embers of desire! It smokes with the revelation
  of men and women longing for robust temptations that will make them
  sizzle into maturity with a furnace-blast of unrestrained animalism. A
  film for young and old to enjoy." –G.K. LUST FOR ECSTASY: A DRAMA OF
  8mm-to-16mm, sound on CD) My most ambitious attempt since my last film….
  I wrote many of the pungent scenes on the D train, and when I arrived on
  the set I ripped them up and let my emotional whims make chopped meat
  out of the performances and the story…. Yes, LUST FOR ECSTASY is my
  subconscious, my own naked lusts that sweep across the screen in 8mm and
  color with full fidelity sound." –G.K. LOVERS OF ETERNITY (1964, 36
  minutes, 8mm-to-16mm, sound on CD) The last 8mm Kuchar production is an
  all-too-tragic tale in which we find underground icon Jack Smith,
  experimental filmmaker Dov Lederberg, and one giant cockroach
  intermingling in the squalor of the Lower East Side. Total running time:
  ca. 105 minutes.

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

  See description for April 9th, 7:00 pm.

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

  Inspired by the stories of Argentine writer Julio Cortazar, yet blended
  with the realities of contemporary Latin America, here's the world debut
  of With the Wind in Our Hair, Lynne Sachs' (in person) experimental
  narrative about four girls discovering themselves through a fascination
  with the trains that pass by their house. A magic-realist tale of
  early-teen anticipation and disappointment, the 42-min. lyric is
  circumscribed by a period of profound Argentine sociopolitical unrest.
  Shot with 16mm, Super 8mm, and Regular 8mm film and video, the rites of
  passage proceed from train tracks to sidewalks, into costume stores,
  kitchens, and into backyards in the heart of today's Buenos Aires. PLUS:
  In her House of Science: A Museum of False Facts (1991), Sachs suggests
  that the mind/body split so characteristic of Western thought is
  particularly troubling for women, who may feel themselves moving between
  the territories of the film's title—private, public, and idealized
  space—without wholly inhabiting any of them. Conceptions of Woman are
  explored through home movies, personal reminiscences, staged scenes,
  found-footage and voice-over. ALSO Lynne's Atalanta: 32 Years Later;
  Noa, Noa; and Photograph of Wind.

Seattle, Washington: at Northwest Film Forum
8 pm, at Northwest Film Forum, 1515 12th Ave

  Presented at Northwest Film Forum and The Sprocket Society's Visual
  Music: Sensory Cinema 1920s-70s special series, in association with
  Center for Visual Music and Cecile Starr. 16mm prints. Program
  introduced by Cindy Keefer, Director of the Center For Visual Music.
  This retrospective program features Bute's pioneering abstract
  animations, from Rhythm in Light (1934) to later works such as Mood
  Contrasts (1956), an early use of oscilloscope patterns. The program
  will be preceded by a short, work-in-progress documentary on Bute, made
  by Cecile Starr with Kit Basquin and Larry Mollot (on video). American
  filmmaker Mary Ellen Bute (1906-1983) is an important and often
  overlooked pioneer of visual music and electronic art. Beginning in the
  1930s, Bute produced short films which translated music — often
  classical music by the likes of Bach and Shostakovich — into
  choreographed shapes, ever-changing lights and shadows, brilliant
  colorful forms, and elegant design. Critic and curator Ed Halter has
  called her films "a marriage of high modernism and Merrie Melodies."
  Although little-known today, many of her films reached wide audiences at
  the time through screenings before feature films at Radio City Music
  Hall and movie theaters around the country. Series website is at

SUNDAY, APRIL 11, 2010

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

  One of the highlights of 2004 for us was our evening with Julie Murray,
  thrilling us with the delicate experiments and natural wonders of her
  films and videos, astonishing at every turn. They sustain with a
  meticulous interweaving of found and original footage and dynamic
  cinematic manipulations. And then she charms the hell out of us with her
  expertise and Irish brogue. Filmforum is delighted to host again one of
  the finest filmmakers of today with works new and old, including DETROIT
  PARK (2004, digital video, 6 mins), ELEMENTS (2008, 16mm, sound, 7
  mins), YSBRYD (2008, digital video, 8 mins), MICROMOTH. (2000, 16mm,
  sound, 6 mins), CONSCIOUS (1993, 16mm, silent, 9 mins), DELIQUIUM (2004,
  16mm, sound, 15 mins (but represents 8oo years)), and more.

New York: Anthology Film Archives
3, 5, 7 and 9 pm, 32 2nd Avenue

  See description for April 9th, 7:00 pm.

New York: Anthology Film Archives
3:15 pm, 32 2nd Avenue

  All films preserved by Anthology Film Archives through the Avant-Garde
  Masters program funded by the Film Foundation and administered by the
  National Film Preservation Foundation. Special thanks to Cineric, Inc.
  THE THIEF & THE STRIPPER (1959, 25 minutes, 8mm-to-16mm, sound) Dares to
  lay bare the naked carcass of a generation gone mad with moral decay.
  BORN OF THE WIND (1962, 24 minutes, 8mm-to-16mm, sound) "A tender and
  realistic story of a scientist who falls in love with a mummy he has
  restored to life… 2,000 years as a mummy couldn't quench her thirst for
  love!" –G.K. A TOWN CALLED TEMPEST (1963, 33 minutes, 8mm-to-16mm,
  sound) Rarely has the cinema equaled such a spectacle! Seldom have
  movies probed so deeply into the rotten core of hypocrisy and weakness!
  SYLVIA'S PROMISE (ca. 1962, 9 minutes, 8mm-to-16mm, sound) Love comes in
  all sizes, but in this case love needs to diet! Sylvia makes a promise,
  but can she keep it? Total running time: ca. 95 minutes.

New York: Anthology Film Archives
5:15 pm, 32 2nd Avenue

  All films preserved by Anthology Film Archives through the Avant-Garde
  Masters program funded by the Film Foundation and administered by the
  National Film Preservation Foundation. Special thanks to Cineric, Inc. A
  WOMAN DISTRESSED (1962, 12 minutes, 8mm-to-16mm, sound) Pre-dating SHOCK
  CORRIDOR, the Kuchars bring us this tantalizing tale of the inner
  workings of a very, very insane asylum. NIGHT OF THE BOMB (1962, 18
  minutes, 8mm-to-16mm, sound) Teenage lust and deranged delinquence
  combine to create a cautionary tale for the ages. The Chernobyl of
  Comedy! THE CONFESSIONS OF BABETTE (1963, 15 minutes, 8mm-to-16mm,
  sound) An early masterpiece by Mike Kuchar in which Babette tells all,
  leaving no turgid stone unturned. ANITA NEEDS ME (1963, 16 minutes,
  8mm-to-16mm, sound) "All the horrors and guilt of the human mind
  exposed! It reaches deep into the workings of a woman's cravings. Your
  emotions will be squeezed." –G.K. I WAS A TEENAGE RUMPOT (1960, 10
  minutes, 8mm-to-16mm, sound) George and Mike here stumbled upon
  something big: their names were Arline, Edie, and Harry. A documentary
  about people like you and me, people with a zest for life. THE SLASHER
  (1958, 21 minutes, 8mm-to-16mm, sound) An insane, deformed killer stalks
  the grounds of a resort house, bringing sudden violence to those of easy
  virtue and godlessness. Total running time: ca. 95 min

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

  Albert Steg, a film collector from Cambridge, MA, left his first career
  teaching writing and English literature to not-so-troubled teens for the
  greener pastures of film preservation and archiving. Today, he is on the
  Board of Directors of the Center for Home Movies and freelances
  developing FileMaker Pro management solutions for people who like to
  organize things. And this evening he will be at Anthology to host a
  special edition of his wonderfully raucous 'Zampano's Playhouse' series.
  Albert's shows always include the very best of his ever-growing
  collection of educational, industrial, ephemeral, and 'blue' movies.
  DEPRAVED YOUTH 1953-1974 is a roughly chronological program featuring
  short films originally intended for school audiences. Bedeviled
  educators have long enlisted frugal filmmakers to help them tame the
  unruly spirit of adolescence, in the process leaving behind a remarkably
  rich, often cruel, occasionally hysterical visual record of fears and
  strategies for confronting them. Tonight's screening readily
  demonstrates the philosophical transition from a 1950s "straighten up
  and fly right" ethos to a groovier, more sympathetic late-60s approach
  that attempted to reveal the inner life of the perennially "troubled
  teen." Poor teenagers…will they ever be understood? And if the
  assortment of tantalizing titles listed below isn't enough, the program
  will be further enlivened with period advertisements and quirky shorts!
  VANDALISM (1953, 10 minutes, 16mm) Sid Davis lays bare the threat of
  anti-social youths. POSTURE HABITS (1963, 10 minutes, 16mm) If only they
  stood up straight, that would be a start. A CHILD WHO CHEATS (ca. 1968,
  9 minutes, 16mm) The apple never falls far from the tree. VERBAL AND
  NON-VERBAL RESPONSES (1968, 7 minutes, 16mm) Teachers learn how to
  modulate their tone for greater effectiveness. CAUGHT IN A RIP-OFF
  (1974, 16 minutes, 16mm) A first-person narrative of wounded cynicism
  and shame. LOPSIDELAND (1971, 5 minutes, 16mm) In California, not even
  the camera stands up straight. THE DAY THAT SANG AND CRIED (1969, 27
  minutes, 16mm) Find out why, in this cheesy but surprisingly evocative
  "coming-of-age" film. Total running time: 90 minutes.

San Francisco, California: Artists Television Access
11AM-6PM $6, 992 Valencia St. at 21st

  A.T.A. Gallery presents a dreamy daytime event in cooperation with Om
  Shan Tea House and S.P.A.Z. With live electronics and various 4D
  phantasmagoria, the program will include performances by: Nommo Ogo,
  Craig Baldwin, Harro versus Laskfar Vortok, and weiRdos. Awesome organic
  vegan cuisine and various fine teas provided by Om Shan Tea House. With
  DJ sets by: Fluorescent Grey, Oshan, Anesthetist, and Muerto Zoke.

Seattle, Washington: at Northwest Film Forum
8 pm, at Northwest Film Forum, 1515 12th Ave

  Part of Northwest Film Forum/Sprocket Society's Visual Music: Sensory
  Cinema 1920s-1970s special series. Presented in association with Center
  for Visual Music. Introduced by Cindy Keefer, Director of the Center For
  Visual Music A very special program featuring rarely-seen works,
  including Allures (1961), Samadhi (1967), a newly-preserved print of
  Chakra (1972), Light (1973), Music of the Spheres (1977/2002), Epilogue
  (2005), and a very rare, little-seen 1952 film. 16mm/video. Filmmaker
  and artist Jordan Belson has created some of the most moving, ethereal
  works of visual music. After seeing the films of Oskar Fischinger,
  Norman McLaren and Hans Richter at the Art in Cinema series, he was
  inspired to make what have been called "cinematic paintings." From
  1957-59, Belson collaborated with composer Henry Jacobs on the historic
  Vortex Concerts, which combined the latest electronic music with moving
  visual abstractions projected on the dome of Morrison Planetarium in San
  Francisco. Belson then began making what would become an astonishing
  body of over 30 abstract films that are, as curator Cindy Keefer has
  described, "richly woven with cosmological imagery, exploring
  consciousness, transcendence, and the nature of light itself." He also
  produced special effects for the film The Right Stuff (1983), and
  continues making fine art and films today. Series website for Visual
  Music special series at NWFF is at For more
  about Belson visit CVM's research pages at

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