This week [May 1 - 9, 2010] in avant garde cinema

From: Weekly Listing (email suppressed)
Date: Sat May 01 2010 - 15:45:21 PDT


This week [May 1 - 9, 2010] in avant garde cinema

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Enter your announcements (calls for entries, new work, screenings,
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NEW FILM/VIDEO: NON-FEATURE:
============================
"Transitland: Video Art from Central and Eastern Europe 1989-2009 " by Kristine Kotecki
 http://www.hi-beam.net/cgi-bin/ann.pl?type=newwork&readfile=419.ann

MISCELLANEOUS:
==============
Wanted: 16mm stock
 http://www.hi-beam.net/cgi-bin/ann.pl?type=misc&readfile=113.ann

ITEM FOR SALE:
==============
Experiments in Cinema DVD collections
http://www.hi-beam.net/cgi-bin/ann.pl?type=sale&readfile=22.ann

NEW CALLS FOR ENTRIES:
=====================
The Booking Collective Coming Out Show (San Francisco, CA, USA; Deadline: April 23, 2010)
 http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1166.ann
Shorts & Beats Vol VI (San Francisco, CA, USA; Deadline: May 05, 2010)
 http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1167.ann
36th New Jersey Young Film & Videomakers Festival (Jersey City, NJ; Deadline: May 14, 2010)
 http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1168.ann
19th Hot Springs Documentary Film Festival (Hot Springs National Park, Ark; Deadline: May 24, 2010)
 http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1169.ann
Another Hole in the Head: Horror/Grindhouse Cinema (san francisco; Deadline: May 26, 2010)
 http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1170.ann
San Francisco Documentary Festival (San Francisco, CA; Deadline: July 02, 2010)
 http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1171.ann
Black Rock City Film Festival (Black Rock City - Burning Man; Deadline: July 15, 2010)
 http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1172.ann
13th San Francisco Independent Film Festival (San Francisco, CA; Deadline: October 09, 2010)
 http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1173.ann
Accolade Competition (La Jolla, CA, USA; Deadline: May 28, 2010)
 http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1174.ann
The Indie Fest (La Jolla, CA, USA; Deadline: April 30, 2010)
 http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1175.ann

DEADLINES APPROACHING:
======================
25 FPS International Experimental Film and Video Festival (Zagreb, Croatia; Deadline: June 01, 2010)
 http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1139.ann
Antimatter Film Festival (Victoria, BC, Canada; Deadline: June 04, 2010)
 http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1148.ann
Festival of (In)appropriation (Los Angeles, CA, USA; Deadline: May 15, 2010)
 http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1152.ann
Contemporary Arts Center (Las Vegas, NV; Deadline: May 10, 2010)
 http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1154.ann
Rencontres Internationales Sciences et Cinémas (RISC) (Marseille (France); Deadline: May 15, 2010)
 http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1158.ann
Shorts & Beats Vol VI (San Francisco, CA, USA; Deadline: May 05, 2010)
 http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1167.ann
36th New Jersey Young Film & Videomakers Festival (Jersey City, NJ; Deadline: May 14, 2010)
 http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1168.ann
19th Hot Springs Documentary Film Festival (Hot Springs National Park, Ark; Deadline: May 24, 2010)
 http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1169.ann
Another Hole in the Head: Horror/Grindhouse Cinema (san francisco; Deadline: May 26, 2010)
 http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1170.ann
Accolade Competition (La Jolla, CA, USA; Deadline: May 28, 2010)
 http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1174.ann

Enter your event announcements by going to the Flicker Weekly Listing Form
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Also available online at Flicker: http://www.hi-beam.net

THIS WEEK'S PROGRAMS (SUMMARY):
==============================
 * Prolix Satori: An Evening With Lewis Klahr [May 1, Columbus, Ohio]
 * Experimental Collisions [Short Film Program] [May 1, New York, New York]
 * <B>Visionaries</B> [May 1, New York, New York]
 * Experimental Collisions [Short Film Program] [May 2, New York, New York]
 * Gregorio Rocha: the Lost Reels of Pancho villa With Edmundo and Felix
    Padilla: the Vengeance of Pancho villa [May 3, Los Angeles, California]
 * Masterclass With Lewis Klahr - Free [May 4, Columbus, Ohio]
 * California Classics, Albert Kilchesty In Person [May 4, Reading, Pennsylvania]
 * The Emergence of the Film/Video Loop [May 5, Columbus, Ohio]
 * Screening of Films By Nathaniel Dorsky [May 5, Paris, France]
 * Engram Sepals + the Shanghai Gesture [May 6, Columbus, Ohio]
 * Calarts Film/Video Showcase [May 6, Los Angeles, California]
 * De Luce [May 6, Los Angeles, California]
 * Essential Cinema: George Landow Program [May 6, New York]
 * Meat Two videos By Luther Price [May 7, Brooklyn, New York]
 * Calarts Film/Video Showcase [May 7, Los Angeles, California]
 * Personal Cinema Series: Special Features [May 7, New York, New York]
 * Ddr/Ddr [May 7, New York]
 * Essential Cinema: Christopher Maclaine Program [May 7, New York]
 * Essential Cinema: Christopher Maclaine Program [May 7, New York]
 * Ddr/Ddr [May 7, New York]
 * Calarts Film/Video Showcase [May 8, Los Angeles, California]
 * Essential Cinema: Laurel & Hardy Program [May 8, New York]
 * Ddr/Ddr [May 8, New York]
 * Essential Cinema: Classics of the Twenties [May 8, New York]
 * Ddr/Ddr [May 8, New York]
 * Noel Lawrence/J.X. Williams Program [May 8, New York]
 * Ddr/Ddr [May 8, New York]
 * Lunchfilm [May 8, Providence, RI]
 * Sat. 5/8: Ant Farm + Megan Prelinger's Atomic-Age Artifactuality [May 8, San Francisco, California]
 * Walden [May 9, New York]
 * Ddr/Ddr [May 9, New York]
 * Ddr/Ddr [May 9, New York]
 * Walden [May 9, New York]
 * Ddr/Ddr [May 9, New York]

Events are sorted by CITY within each DATE.

---------------------
SATURDAY, MAY 1, 2010
---------------------

5/1
Columbus, Ohio: Wexner Center for the Arts
http://www.wexarts.org
7 pm, 1871 N. High St.

 PROLIX SATORI: AN EVENING WITH LEWIS KLAHR
  Any materials are fair game for use in the remarkable collage animations
  of Lewis Klahr, our 2009–10 Wexner Center Residency Award recipient in
  media arts. Images from mid-twentieth-century advertisements, comic
  books, and other ephemeral talismans of American commerce and popular
  culture are "re-animated" by Klahr to produce submerged narratives about
  the emotional and dream lives of his memory-haunted characters. Klahr
  often groups his short films into larger series, and his residency award
  invigorated him to create a flurry of videos that inaugurate a major new
  open-ended series, Prolix Satori, which Klahr foresees working on for
  the rest of his career. At tonight's screening Klahr will be on hand to
  unveil (at least) six new Prolix Satori animations. Wednesday Morning
  Two A.M. (2009), the winner of a Tiger Award for short film at the 2010
  Rotterdam Film Festival, is a twice-told tale of lost love set to songs
  by 1960s' girl-group The Shangri-Las. Lethe (2009) presents an affecting
  22-minute melodrama scored to a plangent symphony by Gustav Mahler.
  False Aging, (2008), also part of this series, was voted one of the best
  films of the decade by several participants in a recent Film Comment
  poll. In addition to the Prolix Satori videos, the program features
  samples of Klahr's exquisite 16mm film work, including his masterful
  Daylight Moon (2002), which offers a child's view of film noir. (app.
  100 mins., video and 16mm)

5/1
New York, New York: TRIBECA FILM FESTIVAL
http://www.tribecafilm.com/filmguide/shorts_experimental_collisions-film31278.html
9:45 PM, Village East Cinema, 181 Second Avenue @ 12th Street

 EXPERIMENTAL COLLISIONS [SHORT FILM PROGRAM]
  The 10 experimental films in this program portray locales found in both
  natural and urban landscapes across three continents. A few of these
  artist-filmmakers literally embed the earth (soil and mud) into the
  fabric of the celluloid. Moreover, they portray these environments with
  a riveting array of avant-garde techniques that range from mirror images
  to extended tracking shots leading directly into the mind's eye. They
  further infuse these found footage, animation, and live action
  experimental films with dynamic editing rhythms that radically reshape
  the viewer's perception of reality, leading to Rorschach-like
  impressions. In experimental cinema, everything culminates in abstract
  patterns ingrained in the landscape of the film frame. --Jon Gartenberg.
  Films include: • Grandmother's Eye (2010, Sweden, Jonathan Lewald), 5
  min. North American Premiere. • Release (2010, US, Bill Morrison), 12
  min. World Premiere. • Walkway (2009, US, Ken Jacobs), 9 min. North
  American Premiere. • Lachen Verlernt (2009, Great Britain, Tal Rosner),
  10 min. World Premiere. • This disk is the same as the other one (2009,
  France, Jean-Jacques Palix), 9 min. North American Premiere. • Collision
  of Parts (2010, US, Mark Street), 15 min. World Premiere • Berlin (2010,
  Canada, Martin Laporte), 8 min. World Premiere. • The Delicate Art of
  the Bludgeon (2009, France, Jean-Gabriel Periot), 4 min. North American
  Premiere. • Black White Black White (2009, US, John Thompson), 15 min.
  World Premiere • The Visible and Invisible of a Body Under Tension
  (2009, France, Emmanuel Lefrant), 7 min. North American Premiere.

5/1
New York, New York: TRIBECA FILM FESTIVAL
http://www.tribecafilm.com/filmguide/visionaries-film30282.html
11:30 AM, Village East Cinema, 181 Second Avenue @ 12th Street

 VISIONARIES
  (2010, Chuck Workman), 88 min. World Premiere. In Precious Images, his
  1986 Academy Award®-winning short, director Chuck Workman assembled a
  breathtaking eight-minute collage of singular images from classic
  Hollywood movies. In Visionaries, Workman brings alive, in counterpoint
  to the commercial film industry, the vibrant history of the American
  avant-garde cinema. In engaging interviews with renowned underground
  filmmakers and critics including Ken Jacobs, Robert Downey, Su
  Friedrich, P. Adams Sitney, and Amy Taubin, Workman reveals how this
  artistic movement highlights subjective vision, sensory experience, and
  dreams over plot and storyline. The director skillfully intersperses
  these intimate conversations with a stylistically diverse array of
  extracts from experimental films of all stripes. Dating from the 1920s
  to the present, avant-garde films by such pioneering artists as Man Ray,
  Maya Deren, Stan Brakhage, Andy Warhol, and Sadie Benning vividly
  illustrate for the general audience a qualitatively different kind of
  moviegoing experience distinct from that promulgated by the commercial
  cinema. Workman's documentary pays special tribute to filmmaker,
  curator, and critic Jonas Mekas and Anthology Film Archives, the
  organization that he founded. It is the premier American institution
  dedicated to the preservation and promotion of avant-garde film culture,
  assuring a long-term home for this alternative cinema right alongside
  the Hollywood classics. --Jon Gartenberg

-------------------
SUNDAY, MAY 2, 2010
-------------------

5/2
New York, New York: TRIBECA FILM FESTIVAL
http://www.tribecafilm.com/filmguide/shorts_experimental_collisions-film31278.html
1:00 PM, Tribeca Cinemas, 54 Varick Street @ Laight Street

 EXPERIMENTAL COLLISIONS [SHORT FILM PROGRAM]
  The 10 experimental films in this program portray locales found in both
  natural and urban landscapes across three continents. A few of these
  artist-filmmakers literally embed the earth (soil and mud) into the
  fabric of the celluloid. Moreover, they portray these environments with
  a riveting array of avant-garde techniques that range from mirror images
  to extended tracking shots leading directly into the mind's eye. They
  further infuse these found footage, animation, and live action
  experimental films with dynamic editing rhythms that radically reshape
  the viewer's perception of reality, leading to Rorschach-like
  impressions. In experimental cinema, everything culminates in abstract
  patterns ingrained in the landscape of the film frame. --Jon Gartenberg.
  Films include: • Grandmother's Eye (2010, Sweden, Jonathan Lewald), 5
  min. North American Premiere. • Release (2010, US, Bill Morrison), 12
  min. World Premiere. • Walkway (2009, US, Ken Jacobs), 9 min. North
  American Premiere. • Lachen Verlernt (2009, Great Britain, Tal Rosner),
  10 min. World Premiere. • This disk is the same as the other one (2009,
  France, Jean-Jacques Palix), 9 min. North American Premiere. • Collision
  of Parts (2010, US, Mark Street), 15 min. World Premiere • Berlin (2010,
  Canada, Martin Laporte), 8 min. World Premiere. • The Delicate Art of
  the Bludgeon (2009, France, Jean-Gabriel Periot), 4 min. North American
  Premiere. • Black White Black White (2009, US, John Thompson), 15 min.
  World Premiere • The Visible and Invisible of a Body Under Tension
  (2009, France, Emmanuel Lefrant), 7 min. North American Premiere.

-------------------
MONDAY, MAY 3, 2010
-------------------

5/3
Los Angeles, California: Redcat
http://www.redcat.org/
8:30pm, 631 W. 2nd St., Los Angeles, CA 90012

 GREGORIO ROCHA: THE LOST REELS OF PANCHO VILLA WITH EDMUNDO AND FELIX
 PADILLA: THE VENGEANCE OF PANCHO VILLA
  Mexico/Canada/USA, 2003, 49 min., b/w and color The award-winning
  documentary Los rollos perdidos de Pancho Villa, by Mexico City-based
  filmmaker and media archivist Gregorio Rocha, recounts his painstaking
  intercontinental search for one of film history's most intriguing lost
  works: Raoul Walsh's The Life of General Villa, a quasi-factual 1914
  biography commissioned by the Mexican revolutionary strongman (in which
  Villa allowed cameramen to follow him into actual combat). While
  sleuthing in countless archives, vaults and institutional back rooms,
  Rocha uncovers a wider, decidedly conflicted legacy of how the general
  was depicted in the newsreels and movies of the silent film era—and
  locates in the process the heretofore little-known origins of border
  cinema. Los rollos perdidos screens with a newly restored 35mm print of
  Rocha's most remarkable discovery, Edmundo and Felix Padilla's La
  venganza de Pancho Villa (Mexico/USA, 1930–34, 50 min., b/w). Mixing
  found footage of the real Villa and his army with re-enactments, this
  anarchic collage by the father-and-son duo freely crosses the borders
  separating north from south and fiction from documentary. Jack H.
  Skirball Series. In person: Gregorio Rocha

--------------------
TUESDAY, MAY 4, 2010
--------------------

5/4
Columbus, Ohio: Wexner Center for the Arts
http://www.wexarts.org
4 pm, 1871 N. High St.

 MASTERCLASS WITH LEWIS KLAHR - FREE
  In this "masterclass" in conjunction with our monthlong retrospective of
  his work, filmmaker Lewis Klahr leads a shot-by-shot tour through one of
  his best-known animations, Pony Glass (1997, 14 mins.). Through Klahr's
  signature method of collage animation, the film chronicles the
  anxiety-filled sexual awakening of Superman's pal Jimmy Olsen. You'll
  get a deep level of insight into the film's themes and imagery, as well
  as the techniques and materials used by this remarkable artist. Klahr's
  work has been featured in three Whitney Biennials, among many other
  exhibitions and received numerous honors. Pony Glass is part of the
  Museum of Modern Art's permanent collection.

5/4
Reading, Pennsylvania: Berks Filmmakers,Inc
http://berksfilmmakers.org
7:30 pm, Albright College Center for the Arts

 CALIFORNIA CLASSICS, ALBERT KILCHESTY IN PERSON
  CALIFORNIA CLASSICS, ALBERT KILCHESTY in person ALBERT KILCHESTY
  (Portland, Oregon) Albert Kilchesty will present a program of selected
  20th century avant-garde films made in California. Program will include
  short works by Chick Strand, Bruce Baillie, Jordan Belson, Bruce Conner,
  Oskar Fischinger, James Broughton, Chris MacLaine and others. Kilchesty,
  a super-8 filmmaker and writer about film, was Director of LA. Filmforum
  (1986-1990) where he programmed, screened and wrote about the works of
  numerous experimental films and filmmakers. In addition to his work in
  L.A., Kilchesty taught film at the San Francisco Art Institute. In 1998
  he edited (and authored an essay in) the catalog, "Big As Life: An
  American History of 8mm Films," a major historical survey of small-gauge
  film and video, that took place at the Museum of Modern Art (NYC) in a
  series of 50 programs. Kilchesty was a very active member of Berks
  Filmmakers during the early years of its history. He presently is
  Archivist/Historian for the Baseball Reliquary, (Monrovia, CA.)

----------------------
WEDNESDAY, MAY 5, 2010
----------------------

5/5
Columbus, Ohio: Wexner Center for the Arts
http://www.wexarts.org
4 pm, 1871 N. High St.

 THE EMERGENCE OF THE FILM/VIDEO LOOP
  Ohio State's Film Studies Program, founded in 2005, draws together the
  teaching and research expertise of recognized scholars from almost a
  dozen university departments, offering students the opportunity to think
  historically and critically about the entire culture of global cinema.
  Presenting the annual Film Studies Lecture this year is Ron Green,
  professor in the department of History of Art and member of the Film
  Studies faculty. His topic is the history and significance of the
  repeating form of the film loop, using Fernand Léger's Ballet Mécanique
  (1924), Hollis Frampton's Magellan cycle (1970s), Ann Hamilton's
  spinning video (2004), and other more recent installations as examples.

5/5
Paris, France: Centre Pompidou
http://www.centrepompidou.fr
7:00 PM (1900), Pompidou Center

 SCREENING OF FILMS BY NATHANIEL DORSKY
  Song and Solitude (2006, 21 min.) Threnody (2004, 25 min.) The
  Visitation (2002, 18 min.)

---------------------
THURSDAY, MAY 6, 2010
---------------------

5/6
Columbus, Ohio: Wexner Center for the Arts
http://www.wexarts.org
7 pm, 1871 N. High St.

 ENGRAM SEPALS + THE SHANGHAI GESTURE
  Introduced by Lewis Klahr! Engram Sepals is a feature-length series of
  seven moving and exhilarating short films that, as Klahr says, "trace a
  trajectory of American intoxication—both sexually and
  substance-wise—from the Second World War into the 1970s." Going back to
  the original meaning of "melodrama" (music + drama), this music-filled
  program features several of Klahr's most acclaimed films. (81 mins.,
  16mm). Accompanying Engram Sepals is a rarely screened cult classic
  directed by Josef von Sternberg, who created some of the most sumptuous
  melodramas ever made. The Shanghai Gesture (1941), one of the most
  decadent films to come out of classic Hollywood, follows Gene Tierney
  into a Shanghai gambling den. There she becomes entranced by the
  hedonistic goings-on and obsessed with the house hunk, Victor Mature.
  Time Out Film Guide calls the film "subversive cinema at its most
  sublime." (106 mins., 35mm)

5/6
Los Angeles, California: Redcat
http://www.redcat.org/
8pm, 631 W. 2nd St., Los Angeles, CA 90012

 CALARTS FILM/VIDEO SHOWCASE
  The School of Film/Video presents a juried selection of new live-action
  works by filmmakers in the Program in Film and Video and the Film
  Directing Program. Animation showcases are held at the Academy of
  Television Arts and Sciences. This showcase includes 8pm screenings each
  evening from Thursday, May 6th through Saturday, May 8th. Free |
  Reservations: 213 237-2800

5/6
Los Angeles, California: Echo Park Film Center
http://www.echoparkfilmcenter.org/
8 pm, 1200 N Alvarado St (at Sunset)

 DE LUCE
  The San Francisco Art Institute has had a long tradition of fostering
  the development of artists working with film and video in uniquely
  personal ways, and who have gone on to become successful artists,
  educators and curators. For many who have gone through the program,
  Janis Crystal Lipzin has been a strong mentor and role model. As an
  interdisciplinary artist committed to filmmaking she has created a body
  of work that utilizes alternative photochemical processes, installation
  and performance to explore personal, political and environmental issues.
  This program features her newest work, a handmade Super-8/digital hybrid
  entitled De Luce 1: Vegetare, alongside a decade's worth of work by
  alumni including Alexis Bravos, Brian Traylor, Chris Kennedy, Christina
  Battle, Elizabeth DiGiovanni, Jeremy Menzies, John Palmer, Kai-Ting
  Chuang, Karen Johannesen, Rick Bahto, Tsen-Chu Hsu, and Vanessa O'Neill.
  Proceeds from tonight's program will be donated to the SFAI Faculty
  Union's legal fund as they continue their struggle against the unjust
  layoffs of nine tenured faculty members, including Janis Crystal Lipzin.
  Arbitration begins on April 30, 2010 and the union needs to raise
  $10,000 to help defray the expected $50,000 legal bill. If you can't
  make it to the screening but would like to lend support to the Faculty
  Union in their struggle, donations of any size are much appreciated, and
  can be made directly to the Union at www.fusfai.com For more
  information, including advance program notes, please visit
  rickbahto.wordpress.com.

5/6
New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
7:30 pm, 32 2nd Avenue

 ESSENTIAL CINEMA: GEORGE LANDOW PROGRAM
  His remarkable faculty is as maker of images.... [T]he images he
  photographs are among the most radical, super-real and haunting images
  the cinema has ever given us." –P. Adams Sitney, VISIONARY FILM "Film is
  a complex medium, combining elements of many other media. The ideal film
  artist would be a great poet, great painter, great playwright, great
  composer, great inventor – and maybe even a great business man or woman
  (most probably a woman – all the artists of the future may be women, men
  having long given up that profession to become soldiers or mystics).
  Such a composite genius has yet to appear." –interview with George
  Landow, IMAGE FORUM EARLY FILMS BY GEORGE LANDOW ca. 1961-62, ca. 15
  minutes, 8mm-to-16mm blow-up. Preserved with support from Cineric, Inc.
  These films are not part of the Essential Cinema. According to Jonas
  Mekas, Landow used to show these films along with FLEMING FALOON at
  early screenings before he pulled them from his repertoire. They seem to
  be studies for FLEMING FALOON, more raw, less concise, messy
  split-screens and footage re-filmed off the screen. Talking heads
  (including Mike Wallace and film historian Richard Kraft) blur, stretch,
  fade; what Jonas says is a festering arm wound that Landow had at the
  time is shot at various blurry exposures. FLEMING FALOON 1963, 6
  minutes, 16mm. The film that inspired Warhol and particularly his screen
  tests: "Warhol watched the films at the old Gramercy, and he became very
  excited." (What was Warhol like when he was excited?) "He said a
  sentence. It was not just one word, but like, maybe three!" –Jonas Mekas
  FILM IN WHICH THERE APPEAR SPROCKET HOLES, EDGE LETTERING, DIRT
  PARTICLES, ETC. 1965/66, 5 minutes, 16mm, silent. "FILM… makes the
  literal material of the physical film the subject of its art. We see the
  sprocket holes which normally are out of sight, the dust which is
  normally incidental recurs here in patterns, and the image itself, the
  static face of a girl, becomes incidental to the movement of the film."
  –P. Adams Sitney DIPLOTERATOLOGY: BARDO FOLLIES 1967, 7 minutes, 16mm,
  b&w, silent. "A stock image of a fairground scene is burned, blurred,
  and dissolved into an odyssey of abstract enfolding of two-dimensional
  forms." –P. Adams Sitney "Oddly hypnotic and disconcerting…it is a
  collage of weird blobs and shapes, resembling insect wings under a
  microscope or mold cultures in time-lapse photography. Other times it's
  like a liquid-light show fragmented into small circles. An extremely
  surrealistic film which concludes with a weird scene of beauty queens
  floating down a river in rowboats." –Gene Youngblood, LA FREE PRESS THE
  FILM THAT RISES TO THE SURFACE OF CLARIFIED BUTTER 1968, 9 minutes,
  16mm, b&w. "The concept of animation and the conflicting illusions of
  the flat movie screen showing an image in depth, and then showing a
  two-dimensional image..." –P. Adams Sitney "As profoundly strange as its
  title." –James Stroller, VILLAGE VOICE INSTITUTIONAL QUALITY 1969, 5
  minutes, 16mm. A school marmish voice, instructing the viewer in
  didactic exercises reminiscent of childhood psychological perception
  tests and the television series WINKY DINK AND YOU, a didactic
  children's program which 'taught' drawing by having the child viewer
  cover his television with a 'Winky Dink screen' and follow the hand of
  an artist who traced a simple figure before the camera. REMEDIAL READING
  COMPREHENSION 1970, 5 minutes, 16mm. "[Land's] film does not try to
  build up an illusion of reality, to combine the images together with the
  kind of spatial or rhythmic continuity that would suggest that one is
  watching 'real' people or objects. It works rather toward the opposite
  end, to make one aware of the unreality, the created and mechanical
  nature, of film." –Fred Camper, FILM CULTURE WHAT'S WRONG WITH THIS
  PICTURE? 1972, 13 minutes, 16mm. "The first portion of this film is an
  old instructional film about being a 'good citizen,' presented intact;
  the second section is a color reconstruction of this black-and-white
  film by Land. The original film abounds in absurdities in both image and
  sound; [Land's] 'copy' is even more bizarre. Both are also extremely
  funny, and the humor is not totally without meaning: it comes out of the
  way that each line of dialog, each direction given, implies a situation
  or character so absurdly plodding as to be almost inconceivable. In
  [Land's] version he creates an additional paradox – one of depth – by
  matting out certain parts of the frame." –Fred Camper THANK YOU JESUS
  FOR THE ETERNAL PRESENT 1973, 6 minutes, 16mm. A rapturous audio-visual
  mix that combines the face of a woman in ecstatic, contemplative prayer
  with shots of an animal rights activist and a scantily clad model
  advertising Russian cars at the International Auto Show, New York. Total
  running time: ca. 80 minutes. Screening as part of the series ESSENTIAL
  CINEMA

-------------------
FRIDAY, MAY 7, 2010
-------------------

5/7
Brooklyn, New York: Louis V E.S.P.
louisvesp.com
9pm, 140 Jackson St, #4D

 MEAT TWO VIDEOS BY LUTHER PRICE
  In MEAT (1990, 1991), Boston&#8208;based filmmaker Luther Price restages
  a surgical nightmare he endured in the 1986 political uprising in
  Nicaragua. Shot at close range, his scarred body is a product of that
  singular traumatic event, repetitive medical routines, and a total
  revision of consciousness. The installation is comprised of a video
  projection, performance documents, and slide projections. The
  single&#8208;channel film collects found surgical footage, gay
  pornography, psychodramatic performances and collage interventions.
  Luther Price's work hosts a psychology all its own, a state that the
  viewer enters into, totally affected by this heart (and gut) wrenching
  body horror. The installation, organized by Bradford Nordeen, will be
  accompanied by a publication of images, illustrations, and essay and
  artist writing.

5/7
Los Angeles, California: Redcat
http://www.redcat.org/
8pm, 631 W. 2nd St., Los Angeles, CA 90012

 CALARTS FILM/VIDEO SHOWCASE
  The School of Film/Video presents a juried selection of new live-action
  works by filmmakers in the Program in Film and Video and the Film
  Directing Program. Animation showcases are held at the Academy of
  Television Arts and Sciences. This showcase includes 8pm screenings each
  evening from Thursday, May 6th through Saturday, May 8th. Free |
  Reservations: 213 237-2800

5/7
New York, New York: Millennium Film Workshop
http://www.millenniumfilm.org/
8pm, 66 East 4th Street

 PERSONAL CINEMA SERIES: SPECIAL FEATURES
  Millennium presents SPECIAL FEATURES, a program organized by Sebastien
  Sanz De Santamaria, the Director of RESIDENCY UNLIMITED. Featuring new
  work by ADAM & EVE, FRANÇOIS BOUÉ, FRANCISCA CAPORALI, BRADLEY EROS,
  JULIANA FRANCIS-KELLY, BRIAN FRYE AND PENNY LANE, CAMILLE DE GALBERT,
  PETER HRISTOFF, ANDREW LAMPERT, MARIE LOSIER, JACKIE RAYNAL, JOEL
  SCHLEMOWITZ----Conceived as a short term residency project, Special
  Features was realized at the Kumukumu Gallery, 42 Rivington Street (NYC)
  between January 9 and February 12, 2010. It involved the participation
  of 14 local artists and filmmakers and the creation of 12 films and
  videos. Each participant realized a 1 day residency within a narrow,
  storefront gallery, and was instructed to follow a simple yet precise
  set of constraints designed to maximize the time. For one month,
  Residency Unlimited converted the gallery into a low cost film studio,
  containing all the necessary ingredients for filming a movie: camera,
  lighting, costumes, props, backgrounds, staging, etc. A select group of
  artists, filmmakers, musician­s, and performers were invited to use the
  space and equipment to each make a film over the course of one workday
  (eight hours)–an exercise in resourcefulness. For more info on
  participating artists and the program, visit:
  http://www.residencyunlimited.org/projects/2010/01/special-features/

5/7
New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
6:30 pm, 32 2nd Avenue

 DDR/DDR
  by Amie Siegel 2008, 135 minutes, video. NEW YORK THEATRICAL PREMIERE
  RUN! FILMMAKER IN PERSON OPENING NIGHT! "The films of artist Amie Siegel
  deftly transform heady philosophical musings – about history,
  psychoanalysis, voyeurism, modernist design, cinematic narrative – into
  elegantly playful and provocative mosaics of carefully loaded images and
  pointed associations. … The restrained self-reflexivity and deadpan
  humor that unite Siegel's films lend them a rich meta-cinematic
  dimension that actively questions the limits of traditional nonfiction
  cinema." –HARVARD FILM ARCHIVE DDR/DDR, the latest feature by Amie
  Siegel, is a multi-layered and disarmingly beautiful essay on the German
  Democratic Republic and its dissolution, which left many of its former
  citizens adrift in their newfound freedom. Featured at the 2008 Whitney
  Biennial, the film weaves together mundane Stasi surveillance footage,
  interviews with psychoanalysts, East German "Indian hobbyists", and
  lolling shots of derelict state radio stations into an extended and
  self-conscious assemblage to meditate on history, memory, and the shared
  technologies of state control and art. "Siegel's 'ciné-constellation'
  DDR/DDR combines vérité interviews with staged dialogue to excavate East
  German traumas associated with both the Socialist state and
  reunification. Siegel's lens finds filmic lessons, too, in her analysis
  of Stasi information operations and her inquiries into the suppression
  of psychoanalysis in the DDR. Lying on a daybed in what was formerly a
  Stasi director's office, Siegel intones a series of equivalencies into
  the camera: 'Psychoanalyst as Stasi; Stasi as psychoanalyst; filmmaker
  as psychoanalyst; filmmaker as Stasi; Stasi as filmmaker.'" –Michael
  Wang, ARTFORUM "[Siegel's] polymathic style recalls COUNTDOWN (1990),
  Ulrike Ottinger's account of the two Germanys uniting their currencies.
  DDR/DDR also evokes Godard's SYMPATHY FOR THE DEVIL (1968), a
  provocative essay mixing a Rolling Stones session, Black Panther
  rhetoric, and Native Americans…. DDR/DDR is an alluring and allusive
  dossier." –Bill Stamets, CHICAGO SUN-TIMES

5/7
New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
7:00 pm, 32 2nd Avenue

 ESSENTIAL CINEMA: CHRISTOPHER MACLAINE PROGRAM
  "The few facts that are known about Maclaine are, at best, sketchy. He
  was a published poet, a sort of down and out San Francisco bohemian who
  later became one of the psychic casualties of that scene. His last years
  were spent at Sunnyacres, a state mental hospital in Fairfield,
  California. These films, along with Ron Rice's, are clearly the most
  significant work to come out of the beat period." –J.J. Murphy All films
  preserved by Anthology Film Archives. THE MAN WHO INVENTED GOLD (1957,
  14 minutes, 16mm) BEAT (1958, 6 minutes, 16mm) SCOTCH HOP (1959, 5.5
  minutes, 16mm) THE END (1953, 35 minutes, 16mm) "Six stories of people
  on the last day of their lives. Most are about to commit suicide, or
  some metaphorical equivalent, but the mushroom cloud with which the film
  begins and ends reminds us that, as Maclaine's voice intones on the
  sound track, we await 'the grand suicide of the human race' – his
  conceit is that his characters have reached the end of their personal
  ropes the day before a nuclear holocaust. Throughout the film he
  compares the dehumanizing effects of mass culture to the dehumanizing
  effects of personal despair, weaving these two threads together until
  the mannequins he films in store windows, the anonymous people he films
  on the street, and his characters all seem variations on the same
  half-living, half-dead persona." –Fred Camper Total running time: ca. 65
  minutes.

5/7
New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
8:30 pm, 32 2nd Avenue

 ESSENTIAL CINEMA: CHRISTOPHER MACLAINE PROGRAM
  See program notes for May 7th, 7:00 pm.

5/7
New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
9:15 pm, 32 2nd Avenue

 DDR/DDR
  See program notes for May 7th, 6:30 pm.

---------------------
SATURDAY, MAY 8, 2010
---------------------

5/8
Los Angeles, California: Redcat
http://www.redcat.org/
8pm, 631 W. 2nd St., Los Angeles, CA 90012

 CALARTS FILM/VIDEO SHOWCASE
  The School of Film/Video presents a juried selection of new live-action
  works by filmmakers in the Program in Film and Video and the Film
  Directing Program. Animation showcases are held at the Academy of
  Television Arts and Sciences. This showcase includes 8pm screenings each
  evening from Thursday, May 6th through Saturday, May 8th. Free |
  Reservations: 213 237-2800

5/8
New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
3:00 pm, 32 2nd Avenue

 ESSENTIAL CINEMA: LAUREL & HARDY PROGRAM
  "Stan Laurel and Oliver Hardy are the movies' greatest comic duo, the
  quintessential dumb and dumber odd-couple. Though critically
  overshadowed by Chaplin, Keaton, and Lloyd, they were enormously
  popular, and proved a major influence on Abbott & Costello, Lucille Ball
  & Vivian Vance, and Jackie Gleason & Art Carney, not to mention Samuel
  Beckett (they were an inspiration for WAITING FOR GODOT), Roman Polanski
  (who paid homage to them in his existentialist short films FAT AND LEAN
  and TWO MEN AND A WARDROBE), and Ken Jacobs (whose ONTIC ANTICS
  deconstructs one of their films)." –David Mulkins COUNTY HOSPITAL (1932,
  20 minutes, 16mm, b&w) Directed by James Parrott. THE MUSIC BOX (1932,
  30 minutes, 16mm, b&w) Directed by James Parrott. THEM THAR HILLS (1934,
  20 minutes, 16mm, b&w) Directed by Charley Rogers. TIT FOR TAT (1935, 20
  minutes, 16mm, b&w) Directed by Charley Rogers. Total running time: ca.
  95 minutes. Screening as part of the series ESSENTIAL CINEMA

5/8
New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
3:45 pm, 32 2nd Avenue

 DDR/DDR
  See program notes for May 7th, 6:30 pm.

5/8
New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
5:00 pm, 32 2nd Avenue

 ESSENTIAL CINEMA: CLASSICS OF THE TWENTIES
  Fernand L?ger with Dudley Murphy BALLET M?CANIQUE? (1924, 19 minutes,
  35mm, b&w. Preserved by Anthology Film Archives.) Francis Picabia with
  Ren? Clair ENTR'ACTE (1924, 22 minutes, 35mm, b&w) Man Ray LE RETOUR ?
  LA RAISON (1923, 2 minutes, 16mm, b&w, silent) ?TOILE DE MER (1927, 13
  minutes, 16mm, b&w, silent) EMAK BAKIA (1927, 18 minutes, 35mm, b&w,
  silent) Marcel Duchamp with Man Ray ANEMIC CINEMA (1926, 7 minutes,
  35mm, b&w, silent) Total running time: ca. 85 minutes.

5/8
New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
6:30 pm, 32 2nd Avenue

 DDR/DDR
  See program notes for May 7th, 6:30 pm.

5/8
New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
7:30 pm, 32 2nd Avenue

 NOEL LAWRENCE/J.X. WILLIAMS PROGRAM
  Curated by Noel Lawrence In this film program and presentation, the J.X.
  Williams Archive opens its vault to screen a collection of cinematic
  'fragments' from its holdings. FRAGMENT OF AN UNIDENTIFIED WORK BY J.X.
  WILLIAMS, ARTICLE #306 (1970s, 2 minutes, 16mm) This fragment is of
  unknown origin but may have come from BLACK MESSIAH, a U.S.-Italian
  co-production that J.X. Williams directed in 1975. FRAGMENT OF AN
  UNIDENTIFIED WORK BY J.X. WILLIAMS, ARTICLE #427 (1970s, 4 minutes,
  16mm) This climactic sequence probably came from the lost Williams film
  AIRPORT '73 (distributed under the title AIRPORT HOLOCAUST in Europe).
  It presents a series of apocalyptic tableaux that eerily presage the
  destructive force of 9/11. SEX CRIMES OF THE 21ST CENTURY (1973, 10
  minutes, 16mm) With John Holmes and Marilyn Chambers; music by Bruce
  Haack; produced and directed by J.X. Williams. "I had fled the U.S.
  because of an obscenity rap (again) and was doing a porn shoot up North
  in Toronto. I actually had a respectable budget for once and we flew in
  some top talent like John Holmes and Marilyn Chambers. We even had
  enough money to commission a bizarro-electronic soundtrack by some local
  goof named Bruce Haack who recorded (get this) children's records for a
  living. The production was unremarkable besides the presence of an
  uncredited producer who later cast Marilyn in a horror film he directed.
  He also stole footage from me to use in his film but that's showbiz.
  Unlike yours truly, he became real famous so I won't mention his name.
  Anyway, I only have the first ten minutes of the film. I don't know what
  happened to the rest of it but the film wasn't very good anyhow." –J.X.
  Williams, from the forthcoming documentary THE BIG FOOTNOTE FRAGMENT OF
  AN UNIDENTIFIED WORK BY J.X. WILLIAMS, ARTICLE #308 (1970s, 4 minutes,
  16mm) The last four minutes of a European co-production that Williams
  later disavowed. (The director is listed as "Rex Williams" in the
  credits). THE 400 BLOW JOBS (1960, 3 minutes, 8mm) While banished to the
  Hollywood blacklist, Williams wrote and directed over 200 stag films
  over a period of fifteen years. Decades before PULP FRICTION and FORREST
  HUMP, Williams perfected the art of the porn parody with films such as A
  STREETWALKER NAMED DESIRE and HIGH POON. This wickedly funny take-off of
  Truffaut's 400 COUPS is one of the few remaining artifacts from this
  period in Williams's filmography. J.X. WILLIAMS' L.A. (2009, 39 minutes,
  video) Directed by Noel Lawrence & Chris Manz. In mid-century L.A., no
  other figure came to define the ambition and the excesses of Hollywood
  more than J.X. Car bombs, police raids, exploitation films, and an
  escaped gorilla all played a role. Accompanied by cultural critic and
  documentarian Chris Manz, Williams 'expert' Noel Lawrence takes the
  viewer on a tour of Los Angeles and discusses the various places,
  people, and events that made up the colorful life of Mr. Williams.

5/8
New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
9:15 pm, 32 2nd Avenue

 DDR/DDR
  See program notes for May 7th, 6:30 pm.

5/8
Providence, RI: AS220
http://as220.org
9:30 pm, AS220 115 Empire Street

 LUNCHFILM
  "Truly independent films are made from the gut. Mike Plante's Lunchfilm
  concept is basic: a filmmaker is taken out to lunch and in exchange, the
  filmmaker agrees to make a short film. The budget-- the same cost as the
  lunch. A contract is drawn up on a napkin and includes both rules and
  ideas for inspiration. At times poetically real or languidly artistic,
  the resulting Lunch films offer a variety of stunning taste" Featuring
  videos and film by:Tom Barndt Bobcat Goldthwait James Graham Brent Green
  Sam Green Aza Jacobs Braden King Jake Mahaffy Sarah Soquel Morhaim Ben
  Russell Elizabeth Skadden Naomi Uman and Lee Lynch Randy Walker and
  Jennifer Shainin http://lunchfilm.blogspot.com

5/8
San Francisco, California: Other Cinema
http://www.othercinema.com/
8:30 PM, 992 Valencia St.

 SAT. 5/8: ANT FARM + MEGAN PRELINGER’S ATOMIC-AGE ARTIFACTUALITY
  The West Coast debut of Laura Harrison and Beth Federici's feature doc
  What If, Why Not? Underground Adventures with Ant Farm delves into the
  work of that renegade '70s architecture collective, best known for its
  iconic land-art installation-piece in Amarillo, TX—Cadillac Ranch.
  Radical architects, video pioneers (Media Burn, Eternal Frame), and
  mordantly funny cultural commentators, the Ant Farmers (Chip Lord and
  Curtis Schreier here in person, Doug Michels deceased) built a body of
  subversive work that questions the status quo by posing a set of
  creative and comedic alternatives, mashing up Bucky Fuller and NASA with
  a love of trashy backyard Americana. Preceded by: Ms. Megan Prelinger,
  everyone's favorite librarian, with an amazing array of archival media
  artifacts from one of her marvelous Cabinets of Curiosity. Her nuanced
  readings offer personal guidance on this half-hr. tour of Space Race
  oddities, including the Birth of the Orbis Electronic Computer, All
  About Polymorphics, and home movies from the China Lake Weapons Center.
  TV dinners, Pop Rocks & Coke, and other explosive drink specials!

-------------------
SUNDAY, MAY 9, 2010
-------------------

5/9
New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
3:30 pm, 32 2nd Avenue

 WALDEN
  DIARIES, NOTES & SKETCHES (WALDEN) by Jonas Mekas 1969, 180 minutes,
  16mm, color, sound. New print by Cinema Arts Inc. Special thanks to
  Michael Kolvek, Fran Bowen (Trackwise), and Pip Laurenson (Tate Museum).
  Filmed 1964-68; edited 1968-69. "Since 1950 I have been keeping a film
  diary. I have been walking around with my Bolex and reacting to the
  immediate reality: situations, friends, New York, seasons of the year.
  On some days I shot ten frames, on others ten seconds, still on others
  ten minutes. Or I shot nothing. When one writes diaries, it's a
  retrospective process: you sit down, you look back at your day, and you
  write it all down. To keep a film (camera) diary, is to react (with your
  camera) immediately, now, this instant: either you get it now, or you
  don't get it at all." –J.M. "I make home movies – therefore I live. I
  live – therefore I make home movies." –from the soundtrack.

5/9
New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
3:45 pm, 32 2nd Avenue

 DDR/DDR
  See program notes for May 7th, 6:30 pm.

5/9
New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
6:30 pm, 32 2nd Avenue

 DDR/DDR
  See program notes for May 7th, 6:30 pm.

5/9
New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
7:00 pm, 32 2nd Avenue

 WALDEN
  See program notes for May 9th, 3:30 pm.

5/9
New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
9:15 pm, 32 2nd Avenue

 DDR/DDR
  See program notes for May 7th, 6:30 pm.

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