[Frameworks] This week [September 18 - 26, 2010] in avant garde cinema

From: Weekly Listing (email suppressed)
Date: Sat Sep 18 2010 - 15:53:25 PDT


This week [September 18 - 26, 2010] in avant garde cinema

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Enter your announcements (calls for entries, new work, screenings,
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NEW CALLS FOR ENTRIES:
=====================
TV Dinner Theater (Location: Cambridge, MA, USA; No entry deadline)
 http://www.hi-beam.net/cgi-bin/ann.pl?type=callsnd&readfile=154.ann
Experiments In Cinema v6.3 (Albuquerque, New Mexico USA; Deadline: December 01, 2010)
 http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1210.ann
London Iranian Film Festival (London; Deadline: September 17, 2010)
 http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1211.ann
Temple Works/ Light Night 2010 (Leeds, West Yorkshire, UK; Deadline: October 01, 2010)
 http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1212.ann
Rogue & AMC Big Break Movie Contest (Los Angeles, CA, USA; Deadline: October 15, 2010)
 http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1213.ann
danubeVIDEOARTfestival #1 (Grein, Austria; Deadline: December 01, 2010)
 http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1214.ann
Cambridge Super 8 Film Festival (Cambridge, UK; Deadline: November 27, 2010)
 http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1215.ann
$100 Film Festival (Calgary, AB CANADA; Deadline: December 01, 2010)
 http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1216.ann
Punto de Vista Film Festival (Pamplona, Navarra, Spain; Deadline: September 30, 2010)
 http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1217.ann
Residency (Tondela; Deadline: February 01, 2010)
 http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1218.ann

DEADLINES APPROACHING:
======================
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
FLEX Fest (Gainesville, FL, USA; Deadline: October 01, 2010)
 http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1186.ann
Flicker Spokane Film Festival (Spokane, WA USA; Deadline: September 18, 2010)
 http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1204.ann
Screening @ High Concept Laboratories (Chicago, IL, USA; Deadline: October 23, 2010)
 http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1206.ann
International Film Festival Rotterdam (Rotterdam, Netherlands; Deadline: October 01, 2010)
 http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1208.ann
Temple Works/ Light Night 2010 (Leeds, West Yorkshire, UK; Deadline: October 01, 2010)
 http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1212.ann
Rogue & AMC Big Break Movie Contest (Los Angeles, CA, USA; Deadline: October 15, 2010)
 http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1213.ann
Punto de Vista Film Festival (Pamplona, Navarra, Spain; Deadline: September 30, 2010)
 http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1217.ann

Enter your event announcements by going to the Flicker Weekly Listing Form
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THIS WEEK'S PROGRAMS (SUMMARY):
==============================
 * Blissful Discretion: Curated By Solomon Nagler [September 18, Middle Sackville, New Brunswick, Canada]
 * Independence [September 18, New York, New York]
 * Blows Against Bp! Prelinger's Lives of Energy + Yes Men + [September 18, San Francisco, California]
 * The Broken Shape: Jennet Thomas In Person! [September 18, Toronto, Ontario, Canada]
 * Radical Light: Alternative Film and video In the San Francisco Bay Area [September 19, Berkeley, California]
 * Los Angeles Filmforum Presents the 2010 Festival of (In)Appropriation -
    Contemporary Found Footage Filmmaking [September 19, Los Angeles, California]
 * Nina Menkes: Hitparkut (Dissolution) [September 20, Los Angeles, California]
 * Nancy Holt: Sightlines Exhibition and Upcoming Events [September 21, New York, New York]
 * Early Monthly Segments #20 = Lawrence Brose's De Profundis [September 21, Toronto, Ontario, Canada]
 * The Destructive Power of Happiness - Riccardo Iacono [September 23, Berlin, Germany]
 * Have To Believe We Are Magic: videos By Kent Lambert and Jesse Mclean [September 23, Chicago, Illinois]
 * 23rd Annual videofest [September 23, Dallas, Texas]
 * Nancy andrews Program [September 23, New York]
 * What Is Life Without the Living? [September 23, San Francisco, California]
 * Radical Light: Return To Canyon - Program I [September 23, San Francisco, California]
 * Return To Canyon - Program ii [September 24, Canyon, CA]
 * Three Films By Lynne Sachs Sept. 24 and 25 [September 24, New York, New York]
 * Lynne Sachs Program [September 24, New York]
 * Electronic Cinema [September 24, San Francisco, California]
 * Paul Clipson, Paul Labrecque & Ignatz [September 25, Brussels, Belgium]
 * Screening-Performance: Paul Clipson, Ignatz & Paul Labrecque [September 25, Brussels]
 * Lynne Sachs Program [September 25, New York]
 * The Land of the Rising Fastball + the Lsd No-No + [September 25, San Francisco, California]
 * The Film Registry Show Returns! Selections From Recent Picks By the
    Library of Congress [September 26, Los Angeles, California]

Events are sorted by CITY within each DATE.

----------------------------
SATURDAY, SEPTEMBER 18, 2010
----------------------------

9/18
Middle Sackville, New Brunswick, Canada: Faucet Media Arts Centre & Struts Gallery
http://www.strutsgallery.ca
7:30pm, Campbell Carriage Factory Museum: 19 Church St.

 BLISSFUL DISCRETION: CURATED BY SOLOMON NAGLER
  7:00pm Rides leave from Struts Gallery, 7 Lorne St. 7:30pm Reception
  8:00pm Presentation by Solomon Nagler 8:30pm Screening of experimental
  short 35mm films -----------------------------------------------------
  Sites for Seeing: Out of the Cineplex and Into the Marshland
  ----------------------------------------------------- Faucet Media Arts
  Centre & Struts Gallery are pleased to present the final installment of
  Sites for Seeing: Out of the Cineplex and Into the Marshland -- the last
  two in a series of four outdoor experimental film screenings in the
  Tantramar marshes. These screenings provide an exciting opportunity to
  see unique experimental film and video work outside of the institutional
  walls of the gallery. This opens the project up to wider New Brunswick
  audiences who might not normally cross the threshold of artist run
  centres. It also removes the work from the realm of normal expectations
  and places it into an environment where anything is possible. These
  screenings also mark the launch of Sift; a new cultural broadsheet
  devoted to critical writing, interviews, and images about contemporary
  art. Each curator has been asked to write an essay about the films they
  are presenting. The essays, along with interviews are printed in the
  inaugural issues of Sift as well as published on our website. A major
  component of the Sites for Seeing project is bringing these artists to
  Sackville to engage with the local community. During their visit, they
  will meet with local artists and residents at a reception before the
  screening, as well as through individual studio visits the day after the
  screening. Solomon Nagler's films, installations, and curated shows have
  played across Canada, in the U.S., Europe and Asia. Retrospectives of
  his work have screened at Winnipeg Cinematheque, Excentris Cinema in
  Montreal and Festival De Le Cinéma Different in Paris. Nagler is
  currently a professor at NSCAD University in Halifax.
  ---------------------------------------------------------- Films
  screening as a part of Blissful Discretion include: Long Shadows (Joshua
  Bonetta) C:won Eyed Jail (Kelly Egan) Refraction Series (Chris Gehman)
  Mamori (Karl Lemieux) Ville Marie (Alexandre Larose) Trees of Syntax,
  Leaves of Axis (Diachi Saito) Fore-and-Aft (Sara MacLean) sea series #6
  - Landfall at Métis-sur-Mer (John Price) and sea series #5 - Georgian
  Bay : a survey of littoral recreation (John Price)
  ---------------------------------------------------------- Sites for
  Seeing is made possible through the support of a dissemination grant
  from the Canada Council for the Arts. For more information on this
  project, contact email suppressed or phone 506-536-1211.

9/18
New York, New York: MICROSCOPE GALLERY
http://www.microscopegallery.com
6-9pm, 4 Charles Place - Bushwick - Brooklyn NY 11221

 INDEPENDENCE
  MICROSCOPE GALLERY INAUGURAL EXHIBITION / SEPTEMBER 18TH – OCTOBER 18TH
  / Opening Reception: Sept 18th 6-9pm / Live performances at 6pm /
  Featuring works by: Peggy Ahwesh, Michel Auder, Agnes Bolt, Martha
  Colburn, Bradley Eros, Raul Vincent Enriquez, Glen Fogel, Takahiko
  Iimura, Tom Jarmusch, Jonas Mekas, Anton Perich. MICROSCOPE Gallery
  opens its doors in an old carburetor shop near Freedom Triangle in
  Bushwick on September 18th. One of the few galleries in the world
  dedicated to film, video, sound and other time-based art the MICROSCOPE
  presents as its inaugural exhibition Indepedence, a group show of
  emerging and established artists including several pioneers and heroes
  of the New York underground. / Independent from theory, accepted
  technique, prevailing politics, economic considerations, or even
  equipment; working with film, video, or sound; and based in New York,
  this describes the 11 very different artists in the show. It is the
  spirit of innovation and uncompromising vision that we celebrate. The
  artists, some of whom have been working for 2 and 3 generations, just do
  what they do, year-after-year without concern for current trends or
  schools of thought, and in spite of the inevitable obstacles that arise.
  It is not surprising that each artist also works in other mediums
  including sculpture, collage, print and performance. Independence offers
  the rare chance to see the range of these artists works on display
  side-by-side. / for further info: email suppressed /
  www.microscopegallery.com

9/18
San Francisco, California: Other Cinema
http://www.othercinema.com/
8:00pm, Artists' Television Access, 992 Valencia Street, San Francisco, CA 94110

  BLOWS AGAINST BP! PRELINGER’S LIVES OF ENERGY + YES MEN +
  Culled from his world-renowned archive, here's the US premiere of Rick
  Prelinger's feature-length montage of promotional clips from the energy
  industry, creating a striking commentary on our over-dependence on oil.
  Rick's shtick is preceded by a bevy of pungent shorts on environmental
  issues, including Bahrani/Herzog's Plastic Bag, Jorge Furtado's Isle of
  Flowers, Kathleen Quillian's Wasteland, and Rob Ray's Canary in a Coal
  Mine. PLUS an Edward James Olmos inquiry, an Edward "Monkey Wrenching"
  Albee excerpt, and a Paper Tiger TV segment. AND, at 10:30: The return
  of The Yes Men Fix the World, in which our intrepid pranksters intervene
  in the money-grubbing activities of the oil and chemical moguls. *8pm
  showtime; $6.66, to benefit the Int'l Bird Rescue Research Center
  (spokesperson present).

9/18
Toronto, Ontario, Canada: Pleasure Dome
http://www.pdome.org/
8pm, 129 Spadina Ave. (down the lane) CineCycle

 THE BROKEN SHAPE: JENNET THOMAS IN PERSON!
  Jennet Thomas's work emerged from the anarchistic, experimental culture
  of London's underground film and live art club scene in the 1990s, where
  she was a co-founder of the Exploding Cinema Collective. It now screens
  extensively in international film festivals and galleries. Her work
  began as hybrid spoken word performance and projections for a live
  audience, it now combines a variety of filmic languages, ranging from
  soap opera to experimental and underground filmmaking, from sci-fi to
  musicals. "I like to explore unexpected processes of sense-making. My
  narratives are often fractured, absurdist – generated via dream-logic
  and increasingly experimental methodologies, inspired by odd corners of
  British culture, driven by the urge to tell." Program : Important Toy
  (1997), 4 Ways He Tried to Tell You (1999), SHARONY! (2000), Because of
  the War (2005), The Man Who Went Outside (2008), Return of the Black
  Tower (2008) + Miranda July's Getting Stronger Every Day (2001).
  "[Jennet] Thomas suggests the near-feasibility of the absurd by
  expressing messages from alternative dimensions, bizarre social codes
  and accounts of recent cultural history through everyday means… The
  bizarre, Thomas seems to suggest, is a close relative of the ordinary."
  – Sally O'Reilly

--------------------------
SUNDAY, SEPTEMBER 19, 2010
--------------------------

9/19
Berkeley, California: Pacific Film Archive
http://www.bampfa.berkeley.edu/
6:30pm, 2575 Bancroft Way

 RADICAL LIGHT: ALTERNATIVE FILM AND VIDEO IN THE SAN FRANCISCO BAY AREA
  Program 1: Landscape as Expression. Ernie Gehr and Lawrence Jordan in
  Person. In conjunction with the publication of PFA's first book, Radical
  Light: Alternative Film and Video in the San Francisco Bay Area,
  1945–2000, edited by Steve Anker, Kathy Geritz, and Steve Seid, the
  Pacific Film Archive is presenting a film and video series that explores
  the themes and movements, and traces the historic chronology of
  alternative film and video in the Bay Area. San Francisco and the
  surrounding Bay Area offer an astonishing landscape that combines
  shifting and surprising natural visual qualities with a teeming urban
  culture. Crystalline light, undulating hills, mesmerizing fog, and a
  rugged shoreline captivate and become expressive parts of life. The area
  is a magnet for wanderers and those seeking something new and
  unexpected. Filmmakers, fascinated by the phenomena and energy of the
  place, have been drawn here almost since the inception of the medium.
  Tonight's program explores and reflects the wonder of this urban
  landscape, and includes A Trip Down Market Street, a time capsule that
  also presents a different consciousness than experienced on movie
  screens today; Dion Vigne's ebullient North Beach, which revels in the
  colors and rhythms of Beat-era North Beach; and Chris Marker's Junkopia,
  a contemplation of renegade sculptures erected off shore between cities.
  Michael Glawogger's Street Noise tours Oakland's San Pablo Avenue while
  Ernie Gehr's Side/Walk/Shuttle provides a startling experience of San
  Francisco's unpredictable skyline. Films by Lawrence Jordan, Bruce
  Baillie, Scott Stark, and Lynn Marie Kirby further explore the Bay
  Area's cinematic character. —Steve Anker • A Trip Down Market Street
  1905 (Miles Brothers, 1906, 12 mins, Silent, B&W, 35mm, From Rick
  Prelinger). North Beach (Dion Vigne, 1958, 5 mins, Color, PFA
  Preservation Print). Visions of a City (Lawrence Jordan, 1957¬-78, 8
  mins, B&W, From Canyon Cinema). All My Life (Bruce Baillie, 1966, 3
  mins, Color, PFA Collection). Golden Gate Bridge Exposure: Poised for
  Parabolas (Lynn Marie Kirby, 2004, 5 mins, Silent, Color, Digital Video,
  From the artist). Junkopia (Chris Marker, 1981, 6 mins, Color, 35mm, PFA
  Collection). Street Noise (Michael Glawogger, 1981, 9 mins, Color, From
  the artist). Degrees of Limitation (Scott Stark, 1982, 3 mins, Silent,
  Color, From the artist). Side/Walk/Shuttle (Ernie Gehr, 1991, 41 mins,
  Color, PFA Collection)

9/19
Los Angeles, California: Filmforum
http://www.lafilmforum.org/
7:30 pm, Egyptian Theatre, 6712 Hollywood Blvd. at Las Palmas

 LOS ANGELES FILMFORUM PRESENTS THE 2010 FESTIVAL OF (IN)APPROPRIATION -
 CONTEMPORARY FOUND FOOTAGE FILMMAKING
  At the Egyptian Theatre, 6712 Hollywood Blvd. at Las Palmas, Los Angeles
  Admission for Filmforum screenings: $10 general, $6 students/seniors,
  free for Filmforum members Advance ticket purchase available through
  Brown Paper Tickets at http://www.brownpapertickets.com/event/125278
  Whether you call it collage, compilation, found footage, detournement,
  or recycled cinema, the incorporation of previously shot materials into
  new artworks is a practice that has generated novel juxtapositions of
  elements which have produced new meanings and ideas that may not have
  been intended by the original makers, that are, in other words
  "inappropriate."

--------------------------
MONDAY, SEPTEMBER 20, 2010
--------------------------

9/20
Los Angeles, California: Redcat
http://www.redcat.org/
8:30pm, 631 W. 2nd St., Los Angeles, CA 90012

 NINA MENKES: HITPARKUT (DISSOLUTION)
  Jack H. Skirball Series North American premiere Israel/USA, 2010, 88
  min., HDCAM Inspired by Fyodor Dostoevsky's Crime and Punishment, Nina
  Menkes returns to Israel, the site of some of her earlier work, and
  continues her exploration of sumptuous, digital black-and-white as a
  metaphor for the dark corners of the human psyche. She also takes a
  giant step by focusing on a male character (nonprofessional actor Didi
  Fire) who is both the subject of his own tale and an object of desire
  for the camera, subverting the tropes of cinematic discourse. Shot in
  Yafo, the predominantly Arab area of Tel Aviv, the movie follows the
  moral collapse and first glimmer of redemption of a morose young Israeli
  Jew who murders a female Arab pawnbroker. Menkes weaves realistic views
  with surreal images to suggest a dialectic of violence: one man's
  alienation and spiritual journey versus the war mentality that permeates
  contemporary Israeli society and the devaluation of the feminine within
  a context of intra-ethnic hostility. Hitparkut won the Anat Pirchi Award
  for Best Drama at the 2010 Jerusalem International Film Festival. In
  person: Nina Menkes

---------------------------
TUESDAY, SEPTEMBER 21, 2010
---------------------------

9/21
New York, New York: Miriam and Ira D. Wallach Art Gallery
http://www.columbia.edu/cu/wallach/
5:30, Columbia University at 116th Street, Schermerhorn Hall 8th Floor

 NANCY HOLT: SIGHTLINES EXHIBITION AND UPCOMING EVENTS
  Columbia University's Miriam and Ira D. Wallach Art Gallery opens its
  exhibition season with Nancy Holt: Sightlines. This traveling exhibition
  showcases Nancy Holt's transformation of the perception of the landscape
  through the use of different observational modes in her early films,
  videos, and related works from 1966 to 1980. The pioneering work of
  important American artist falls at the intersection of art,
  architecture, and time-based media and this rare presentation offers an
  in-depth look at her early projects. Since the late 1960s, Nancy Holt
  has created a far-reaching body of work, including Land Art, films,
  videos, artist's books, concrete poetry, site-specific installations,
  and major sculpture commissions. Opening Reception, Tuesday, September
  21, 5:30 to 7:30 PM. Regular gallery hours are September 22 thru
  December 11, Wednesday through Saturday, 1:00 p.m. to 5:00 PM.

9/21
Toronto, Ontario, Canada: Early Monthly Segments
http://earlymonthlysegments.org/
8:00 PM, Gladstone Hotel, 2nd Floor, 1214 Queen Street West

 EARLY MONTHLY SEGMENTS #20 = LAWRENCE BROSE'S DE PROFUNDIS
  A FUNDRAISER FOR THE LAWRENCE BROSE LEGAL DEFENSE FUND Buffalo-based
  filmmaker, curator and arts advocate Lawrence Brose's landmark De
  Profundis is a 65-minute meditation on queer desire based on Oscar
  Wilde's infamous prison letter presented via lush hand-processed
  imagery. The film utilizes vintage erotica, home movies, radical faerie
  gatherings, pagan rituals and drag shows alongside a piano score by
  Frederic Rzewski which incorporates Wilde's text as a means of exploring
  assimilation and sexuality through hand painted frames and manipulation.
  The result is an exploding utopia of colour and a layered but equally
  privileged soundscape. A simply haunting work of terrifying beauty.
  Recently the film has come under scrutiny by the US Department of
  Homeland Security and the US Justice Department as Brose now faces
  serious charges for allegedly possessing illicit digital images. One
  hundred of the listed images in the charges are film frames from De
  Profundis. The fact that he is under indictment for using images made by
  others to examine the taboos that such laws are meant to prevent is as
  overreaching as it is disturbing. This prosecution should be viewed as a
  challenge to artistic freedom, brought by a U.S. Attorney's office that
  previously unsuccessfully prosecuted Critical Art Ensemble founder Steve
  Kurtz. This screening is a fundraiser for Brose's legal defense fund. If
  travel restrictions are lifted we look forward to welcoming him in
  person at the screening. For more information and to donate please visit
  lawrencebroselegaldefensefund.com Programme: De Profundis, Lawrence
  Brose, 1997, 16mm, 65 minutes, USA Music: Frederic Rzewski, with
  additional compositions by Lawrence Brose and Douglas Cohen. 5-10$
  suggested donation For more info please visit earlymonthlysegments.org

----------------------------
THURSDAY, SEPTEMBER 23, 2010
----------------------------

9/23
Berlin, Germany: Directors Lounge
http://www.richfilm.de/currentUpload/
9 pm, Z-Bar, Bergstr. 2, Berlin-Mitte

 THE DESTRUCTIVE POWER OF HAPPINESS - RICCARDO IACONO
  Directors Lounge presents: The Destructive Power of Happiness -°*°-
  Video and Film Works by Riccardo Iacono -°*°- Thursday, 23 September
  2010 -°*°- at 21:00 -°*°- Z-Bar, Bergstraße 2, 10115 Berlin-Mitte,
  Germany -°*°- Riccardo Iacono -°*°- The Destructive Power of Happiness
  -°*°- Riccardo Iacono, London-based artist and filmmaker, presents a
  selection of films and video from three different bodies of work:
  abstract videos, hand-painted films and performance tapes (produced
  between 1993-2007). -°*°- "I like the destructive power of fire", a
  friend stated to Riccardo. It became the source for the title of the
  show in Berlin. Riccardo's fire might be his anarchistic disposition to
  destroy static concepts. However, he does not avoid the pains, the
  exhaustive efforts it takes to make art from "happiness". -°*°- In his
  process of working with film, the painted film became the silent musical
  score for the making, the re-photographing of the film. By means of an
  optical printer, he developed a way to have light reflected from the
  3-dimensional surface of the paint, while at the same time still
  illuminating it from the backside. Although such animation techniques
  usually are tedious work, Riccardo already tried to achieve some
  immediacy while printing film to film. This urge for directness, and a
  need for improvisation and contact with people have possibly let to his
  more recent body of work: "Shooqui". The whole series of videos, which
  involves throwing peas or clothes, is the opposite of camera-less film.
  The artist holds the camera, aiming and tracking the prospective
  trajectory of the object being thrown by his other hand. The body
  connection between holding and throwing leads to a compulsive and
  circular movement of the camera when throwing larger objects. "It is
  almost like the recoil action of a gun upon firing." -°*°- (Curated by
  Klaus W. Eisenlohr) -°*°- -°*°- Artist-Links: -°*°-
  http://www.riccardoiacono.co.uk -°*°-
  http://www.axisweb.org/openfrequency/riccardoiacono -°*°- Press Links:
  -°*°- http://www.directorslounge.net -°*°- more infos and images:
  http://www.richfilm.de/filmUpload/1-framesRiccIacono.html -°*°-
  http://www.z-bar.de

9/23
Chicago, Illinois: Conversations at the Edge
http://www.saic.edu/cateblog
6pm, Gene Siskel Film Center, 164 N. State St

 HAVE TO BELIEVE WE ARE MAGIC: VIDEOS BY KENT LAMBERT AND JESSE MCLEAN
  By turns haunting and hilarious, the works of Chicago artists Kent
  Lambert and Jesse McLean remix the banal debris of television culture
  into striking meditations on our highly mediated public sphere. In
  Security Anthem (2003), Hymn of Reckoning (2006), and Sunset Coda
  (2006), Lambert culls footage from Lost, his own home movies, and the
  vocal stylings of former U.S. Attorney General John Ashcroft to explore
  the vagaries of national security in this current age of international
  terror. In her Bearing Witness trilogy, comprised of The Eternal Quarter
  Inch (2008), The Burning Blue (2009), and Somewhere Only We Know (2009),
  McLean considers the possibility for genuine human connection within a
  blur of televised emotion. This evening also features a brand-new
  collaboration between the two, as well as the North American premiere of
  McLean's Magic for Beginners (2010), among others. Kent Lambert and
  Jesse McLean, 2003-10, USA, multiple formats, ca. 80 min (plus
  discussion).   KENT LAMBERT (1976, Colorado Springs, CO) lives and
  works in Chicago. His videos have been screened at festivals around the
  world and at such venues as Other Cinema in San Francisco and the
  Institute of Contemporary Arts in London. His pop band Roommate will
  release its third album, titled Guilty Rainbow, in early 2011.  
  JESSE MCLEAN (1975, Philadelphia, PA) grew up in Pennsylvania, studied
  art at Oberlin College, and received her MFA in Moving Image from the
  University of Illinois at Chicago. She was the winner of the Barbara
  Aronofsky Latham Award for Emerging Experimental Video Artist at the
  2010 Ann Arbor Film Festival. Besides Ann Arbor, she has shown her work
  at the Venice Film Festival, Dallas VideoFest, San Francisco
  International Film Festival, Onion City Film and Video Festival, Chicago
  Underground Film Festival, Yerba Buena Center for the Arts, Migrating
  Forms at Anthology Film Archives, Art Chicago, PDX Festival, FLEX, and
  the Director's Lounge in Berlin. She lives and works in Chicago, where
  she teaches part-time at the University of Illinois at Chicago.

9/23
Dallas, Texas: Video Association of Dallas
www.videofest.org
7:00 p.m., 5321 E. Mockingbird Lane

 23RD ANNUAL VIDEOFEST
  23rd Annual VideoFest– Sept. 23-26, 2010 Dallas, TX – The 23rd Annual
  VideoFest will be at the Angelika Film Center Sept. 23-26,2010. The
  oldest and largest video and film festival in the nation, VideoFest
  shows a diverse range of works by regional, national and international
  video and film artists that are hard to find at the local video store,
  the movie theater or on Netflix. Because VideoFest is different than a
  traditional film festival or just going to a movie, expect something
  different! For the third year in a row, the VideoFest will be presented
  thru I-Tunes. VideoFest is presented by Video Association of Dallas.
  Patrons may purchase day passes ($25 or $35 depending on day) or
  All-Festival passes ($75) for over 150 programs making this Festival the
  best deal in town. Buy tickets online in advance or at the door day of
  show. Visit www.videofest.org for more information or call 214-428-8700.
  Sponsors include HBO, Kodak, Texas Film Commission, Dallas Film
  Commission, Dallas Film Society, City of Dallas Office of Cultural
  Affairs, and Texas Commission on the Arts. ABOUT VIDEOFEST VideoFest is
  now the oldest and largest video festival in the United States, and
  continues to garner critical and popular acclaim. Since 1986, VideoFest
  has specialized in independent, alternative, and non-commercial media,
  presenting hard-to-find works rarely seen on television, in movie
  theaters, or elsewhere, despite their artistic excellence and cultural
  and social relevance. Even in a Web 2.0 environment where everything is
  seemingly available on the Internet, the VideoFest provides curatorial
  guidance, a critical voice in the wilderness navigating the vast and
  diverse landscape of media, helping to interpret its cultural and
  artistic significance. The event still provides a communal environment
  for real-time, face-to-face dialogue between makers and audiences. ABOUT
  VIDEO ASSOCIATION OF DALLAS The mission of the Video Association is to
  promote an understanding of video as a creative medium and cultural
  force in our society, and to support and advance the work of Texas
  artists working in video and the electronic arts. The Video Association
  of Dallas (VAD) is a 501(c)(3) organization incorporated on April 25,
  1989. # # # # TWENTY-THIRD ANNUAL VIDEO FEST WHAT: Twenty-Third Annual
  Video Fest Presented by the Video Association of Dallas WHERE: At the
  Angelika Film Center, 5321 E. Mockingbird Lane WHEN: Thursday, Sept. 23
  7-11:30 p.m. Friday, Sept. 24 7-11:30 p.m. Saturday, Sept. 25 noon-11:30
  p.m. Sunday, Sept. 26 10:30 a.m.-10 p.m. TICKETS: All-festival pass: $75
  All-Evening passes: Thursday or Friday $25 All-Day and Evening passes:
  Saturday or Sunday $35 Seniors (60 or older): $10 off Some selected
  programs will be $6 per program available at event only Tickets will be
  available at the door or online at videofest.org INFO: Video Association
  of Dallas T: (214) 428-8700 E: email suppressed
  http://www.videofest.org Press: Lisa Taylor, 214-914-1099,
  email suppressed Sign up for the Video Association Newsletter and
  Videomaker's Resource List:
  http://visitor.constantcontact.com/manage/optin/ea?v=001PATbu7Y33LGmUMka
  rkySZQ%3D%3D Join the Video Association of Dallas' Facebook Group:
  http://www.facebook.com/group.php?gid=6575722334 Become a Fan of the 24
  Hour Video Race:
  http://www.facebook.com/pages/24-Hour-Video-Race-of-Dallas/103277330637
  Become a Fan of the Dallas VideoFest:
  http://www.facebook.com/pages/Dallas-VideoFest/192194875617 Become our
  Friend on Myspace: http://www.myspace.com/dallasvideofestival Follow us
  on Twitter: https://twitter.com/videofest

9/23
New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
7:30 pm, 32 2nd Avenue

 NANCY ANDREWS PROGRAM
  Total running time: ca. 70 minutes. Film Notes We are eager to invite
  you to the New York City premiere of two far-out, fantastic new short
  films by the uniquely gifted artist Nancy Andrews. Active as an animator
  since the early 90s, Andrews's wildly inventive works often focus on
  fantastic transformations and are constructed from an inspired mix of
  live action, animation, archival imagery, and faked found footage, among
  other elements. Humorous and engaging, visually arresting and very
  moving, Andrews is a filmmaker with a unique touch, a distinctive style,
  and something real to say. Screening alongside Andrews's films is a
  certified classic from one of her main inspirations, the inimitable
  Fleischer Brothers. ON A PHANTOM LIMB (2009, 35 minutes, video) This
  film examines the journey of a human-made hybrid, a surgical creation –
  part woman, part bird – passing through death, purgatory, and returning
  to life. The boundaries of reality, fantasy, documentary, and fiction
  are blurred in this reprise of classic themes, dilemmas, and
  consequences of reanimation. "The monster did not choose this for her
  self, to be an amalgam for alchemy." Dave Fleischer SNOW-WHITE (1933, 7
  minutes, 16mm) Betty Boop stars as you-know-who in this whacked-out
  reworking of a classic fable. And doesn't that clown sound a lot like
  Cab Calloway? All hail the Fleischer Brothers! THE EARS ARE BEHIND THE
  EYES (2010, 25 minutes, video) This mix of 16mm, animation, found
  footage, and live-action footage follows the research of Dr. Sheri Myes
  and her revolutionary attempts to expand our perceptions and
  consciousness. The filmmaker began the project by writing a song cycle,
  and then imagery was developed through a series of drawings. The film is
  influenced by classic 'mad scientist' horror films like DR. JEKYLL AND
  MR. HYDE, and by research into the physiology of insects. Total running
  time: ca. 70 minutes.

9/23
San Francisco, California: Artists Television Access
http://www.atasite.org/
8pm, 992 Valencia Street

 WHAT IS LIFE WITHOUT THE LIVING?
  Program:David Scheid, 'Margot Kidder' 2005, videoLuther Price, 'A' 1995,
  Super8 (screened on DVD) Two experimental queer works address queer
  narrativity in the popular realm of the Hollywood dream-machine. The
  program title misremembers the opening lyric to the theme to Imitation
  of Life. The tune hauntingly floods Luther Price's 'A.' Alongside David
  Scheid's video, 'Margot Kidder,' these works reconstruct Hollywood from
  a space of queer fantasy, creating private narratives from popular
  fiction. The event is curated by moving-image scholar Bradford Nordeen
  and co-hosted by local author and critic Kevin Killian.Named one of the
  top-20 living avant-garde filmmakers in Film Comment's recent poling,
  Boston-based super-8 filmmaker Luther Price has been frequently likened
  to Jack Smith, Karen Finley and Matthew Barney for his raw, visceral
  cinema. In 'A,' Price concocted the most narrative tale of his 25-year
  career: a cyclical feature in which a faded starlet (Edie) courts suitor
  after suitor and fades into an alcoholic Lassie-laden haze. Price
  portrays the heroine as she spirals deeper into destructive delusions,
  turning on her lovers like an amped-up Jeanne Dielman. Edie is also a
  ghostly, childhood memory, based on Price's mother and her obsessive
  viewing of woman's pictures. David Scheid is a video artist whose work
  addresses pathology and obsessive compulsive disorder. 'Margot Kidder'
  meticulously reconstructs 3 films from the actress' golden period to
  illuminate Kidder's peculiar personal narrative. Scheid infers that
  Kidder's infamous downfall was present all along in these fragile
  performances. 'Margot Kidder' throws these clues into plain view,
  presenting a dismaying decoding of these otherwise commercial films.
  Like Price's work, the film also serves as an intimate portrait of a
  male fan's obsession with a female star. The 13-minute found-footage
  film is an alarming depiction of the filmmaker's arousal, disdain,
  compassion and compulsion towards the eponymous subject. This event will
  be accompanied by a free publication of images, illustrations, an essay,
  and artist writings designed by Deric Carner.

9/23
San Francisco, California: San Francisco Cinematheque
http://www.sfcinematheque.org
7:00 pm, SFMOMA, 151 Third St. (between Mission St. and Howard St.)

 RADICAL LIGHT: RETURN TO CANYON - PROGRAM I
  presented in collaboration with SFMOMA and in association with Canyon
  Cinema, Exploratorium's Cinema Arts Program, Pacific Film Archive and
  USF Film Studies Program; Bruce Baillie, Lawrence Jordan and Robert
  Nelson in person [members: $7 / non-members: $10] ---- On a summer day
  in 1961, in the East Bay community of Canyon, California, filmmaker
  Bruce Baillie shone a light on a bed sheet screen and Canyon Cinema was
  born. Over the years, Baillie's brainchild evolved into the independent
  distributor Canyon Cinema and the venerable exhibitor San Francisco
  Cinematheque. In commencement of Cinematheque's golden anniversary,
  Cinematheque celebrates with a gathering of founding figures and
  luminaries from the early days of the org, featuring brand new works and
  newly preserved masterpieces from Bruce Baillie, Lawrence Jordan, Robert
  Nelson and Chick Strand. (Steve Polta)

--------------------------
FRIDAY, SEPTEMBER 24, 2010
--------------------------

9/24
Canyon, CA: San Francisco Cinematheque
http://www.sfcinematheque.org
7:00 pm, The Canyon School, 187 Pinehurst Road

 RETURN TO CANYON - PROGRAM II
  presented in collaboration with Canyon Cinema, Exploratorium's Cinema
  Arts Program and the USF Film Studies Program; Curated by Liz Keim and
  Melinda Stone; Bruce Baillie in person [Free] ---- Come join us for a
  night of celebration under the stars and grand redwoods of Canyon
  California, the birthplace of San Francisco Cinematheque and Canyon
  Cinema. This anniversary screening harkens back to the early days of
  Cinematheque (then one and the same with Canyon Cinema) featuring some
  of the first films screened in the little hamlet, along with vintage
  serials, cartoons and the signature Canyon Cinema News. The coveted
  Frankie Avalon Suit Award will be given to the most flamboyantly dressed
  audience member so don't be shy. In the tradition of the founders, the
  screening will precede with a potluck–bring your favorite dish,
  something to drink, and your own table service. Free popcorn will be
  served during the show. Some of the films to be screened include: All My
  Life by Bruce Baillie, Angel Blue Sweet Wings by Chick Strand and My
  Name is Oona by Gunvor Nelson. New work will also be featured, including
  Reflect by Tsen-Chu Bamboo Hsu and a contemporary Canyon Newsreel made
  by the students at Canyon Elementary with the assistance of films
  students from USF. Special thanks to the teachers and students at Canyon
  Elementary School and to the community of Canyon for support with the
  screening. (Liz Keim & Melinda Stone)

9/24
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
7:30 pm, 32 Second Ave. (@2nd St.)

 THREE FILMS BY LYNNE SACHS SEPT. 24 AND 25
  WIND IN OUR HAIR / CON VIENTO EN EL PELO 2010, 41 min.. NYC PREMIERE!
  Music by Argentine singer Juana Molina. "Inspired by the writings of
  Julio Cortázar, [this] is an experimental narrative that explores the
  interior and exterior worlds of four early-teenage girls in Buenos
  Aires, and how through play they come to discover themselves and their
  world. 'Freedom takes us by the hand – it seizes the whole of our
  bodies', a young narrator describes as they head towards the tracks.
  This is their kingdom, a place where the girls pose as statues and
  perform for each other and for passengers speeding by. Collaborating
  with Argentine filmmakers Leandro Listorti and Pablo Marin, Sachs offers
  us a series of magical realist vignettes using a collage of 16mm, 8mm,
  and video. Sachs and co-editor Sofia Gallisá construct a bilingual work
  that places equal value on the intimacy of the girls' lives and their
  growing awareness of those social forces encroaching on their kingdom."
  -Carolyn Tennant, Media Curator, Hallwalls Contemporary Art Center "The
  film moves from childhood's earthbound, cloistered spaces into the
  skittering beyond of adolescence, exploding with anticipation and
  possibility." -Todd Lillethun, Program Director, Chicago Filmmakers
  "While (the girls') lives are blissful and full of play, the political
  and social unrest of contemporary Argentina begins to invade their
  idyllic existence. Sachs' brilliant mixture of film formats complements
  the shifts in mood from innocent amusement to protest." –Dean Otto, Film
  and Video Curator, Walker Art Center THE LAST HAPPY DAY 2009, 38 min..
  An experimental documentary portrait of Sandor (Alexander) Lenard, a
  Hungarian medical doctor and a distant cousin of Sachs. In 1938 Lenard,
  a writer with a Jewish background, fled the Nazis to a safe haven in
  Rome. Shortly thereafter, the U.S. Army Graves Registration Service
  hired Lenard to reconstruct the bones of dead American soldiers.
  Eventually he found himself in remotest Brazil where he embarked on a
  translation of WINNIE THE POOH into Latin, an eccentric task that
  catapulted him to brief worldwide fame. Sachs's essay film uses personal
  letters, abstracted war imagery, home movies, interviews, and a
  children's performance to create an intimate meditation on the
  destructive power of war. (Premiere, New York Film Fest, 2009) "A
  stunningly beautiful essay film in which (Sachs) uses the remarkable
  story of her distant cousin ... as a lens for her meditations on trauma,
  survival, history, and healing." -David Finkelstein, Filmthreat.com THE
  TASK OF THE TRANSLATOR 2010, 10 min. Sachs pays homage to Walter
  Benjamin's essay "The Task of the Translator" through three studies of
  the human body.

9/24
New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
7:30 pm, 32 2nd Avenue

 LYNNE SACHS PROGRAM
  THREE FILMS BY LYNNE SACHS Film Notes FILMMAKER IN PERSON! Anthology
  presents three new works by filmmaker Lynne Sachs, who will be present
  each evening for discussions following the screenings. "Working since
  the mid-1980s, variously on lyrical formal shorts and long-form
  experimental documentary, Lynne Sachs's body of film and video work has
  explored the relationships between individual memory and experience in
  the context of large historical forces. Foregrounding personal history
  and autobiography, Sachs exalts the intimate gesture as perhaps the most
  heroic of poetic and political acts. With a keen grasp on cultural
  theory and media history, Sachs's films celebrate life and mindful
  political engagement, presenting complex pictures of the world with
  lyrical grace and even joy." –Steve Polta, SAN FRANCISCO CINEMATHEQUE
  WIND IN OUR HAIR / CON VIENTO EN EL PELO 2010, 41 minutes, video. Music
  by Argentine singer Juana Molina. NYC PREMIERE! "Inspired by the
  writings of Julio Cortázar, [this] is an experimental narrative that
  explores the interior and exterior worlds of four early-teenage girls in
  Buenos Aires, and how through play they come to discover themselves and
  their world. 'Freedom takes us by the hand – it seizes the whole of our
  bodies', a young narrator describes as they head towards the tracks.
  This is their kingdom, a place where…the girls pose as statues and
  perform for each other and for passengers speeding by. Collaborating
  with Argentine filmmakers Leandro Listorti and Pablo Marin, Sachs offers
  us a series of magical realist vignettes…a collage of 16mm, 8mm, and
  video. Sachs and co-editor Sofia Gallisá have constructed a bilingual
  work that places equal value on the intimacy of the girls' lives and
  their growing awareness of those social forces encroaching on their
  kingdom." –Carolyn Tennant, HALLWALLS CONTEMPORARY ARTS CENTER THE LAST
  HAPPY DAY 2009, 38 minutes video. "An experimental documentary portrait
  of Sandor (Alexander) Lenard, a Hungarian medical doctor and a distant
  cousin of Sachs's. In 1938 Lenard, a writer with a Jewish background,
  fled the Nazis to a safe haven in Rome. Shortly thereafter, the U.S.
  Army Graves Registration Service hired Lenard to reconstruct the bones
  of dead American soldiers. Eventually he found himself in remotest
  Brazil where he embarked on a translation of WINNIE THE POOH into Latin,
  an eccentric task that catapulted him to brief worldwide fame. Sachs's
  essay film uses personal letters, abstracted war imagery, home movies,
  interviews, and a children's performance to create an intimate
  meditation on the destructive power of war." –L.S. THE TASK OF THE
  TRANSLATOR (2010, 10 minutes, video) Sachs pays homage to Walter
  Benjamin's essay "The Task of the Translator" through three studies of
  the human body. Total running time: ca. 95 minutes.

9/24
San Francisco, California: Artists Television Access
http://www.atasite.org/
8 pm. $6- $10, 992 Valencia at 21st

 ELECTRONIC CINEMA
  Sound artists perform live scores for films by experimental filmmakers
  Tana Sprague (Lissom) will perform a score for a film by Vanessa Woods.
  Elise Baldwin will perform scores for three videos by Anthony Discenza
  http://www.atasite.org/2010/09/electronic-cinema/

----------------------------
SATURDAY, SEPTEMBER 25, 2010
----------------------------

9/25
Brussels, Belgium: Bozar Cinema & Courtisane
http://www.bozar.be/home.php?bozar=cinema&
8 PM, Bozar, 23 Rue Ravenstein

 PAUL CLIPSON, PAUL LABRECQUE & IGNATZ
  The elegantly ravishing super 8 films of Paul Clipson (USA) are lyrical
  explorations of light and movement. His images, mostly edited in-camera,
  reveal the rhythms, energy and sensuality of the everyday that we often
  fail to see. The influence of experimental filmmakers such as Stan
  Brakhage, Marie Menken, Bruce Conner and Bruce Baillie is palpable in
  his multi-layered studies, as well as that of the many sound artists and
  musicians with whom he has collaborated over the years, such as Jefre
  Cantu-Ledesma, Gregg Kowalsky and William Fowler Collins. For this
  occasion, a selection of his recent film work will be accompanied live
  for the first time by Bram Devens (alias Ignatz, BE) and Paul Labrecque
  (alias Head of Wantastiquet, Sunburned Hand of the Man, US). Both
  musicians draw their exorcising sound explorations from the tradition of
  "American Primitivism", where the dreaded, uncompromising ghost of John
  Fahey dwells. Paul Clipson: http://www.withinmirrors.org/ Paul Labrecque
  (Head of Wantastiquet): http://www.myspace.com/headofwantastiquet Bram
  Devens (Ignatz: http://www.myspace.com/ignazt

9/25
Brussels: COURTisane
http://www.courtisane.be/
20:00, Bozar Rue Ravenstein 23

 SCREENING-PERFORMANCE: PAUL CLIPSON, IGNATZ & PAUL LABRECQUE
  Paul Clipson Films + Live soundtrack by Ignatz & Paul Labrecque 25
  September 2010, 20:00. Palais des Beaux-Arts / Paleis voor Schone
  Kunsten, Brussels. Organized by Courtisane & Bozar Cinema. The elegantly
  ravishing super 8 films of Paul Clipson (US) are lyrical explorations of
  light and movement. His images, mostly edited in-camera, reveal the
  rhythms, energy and sensuality of the everyday that we often fail to
  see. The influence... of experimental filmmakers such as Stan Brakhage,
  Marie Menken, Bruce Conner and Bruce Baillie is palpable in his
  multi-layered studies, as well as that of the many sound artists and
  musicians with whom he has collaborated over the years, such as Jefre
  Cantu-Ledesma, Gregg Kowalsky and William Fowler Collins. For this
  occasion, a selection of his recent film work will be accompanied live
  for the first time by Bram Devens (alias Ignatz, BE) and Paul Labrecque
  (alias Head of Wantastiquet, Sunburned Hand of the Man, US). Both
  musicians draw their exorcising sound explorations from the tradition of
  "American Primitivism", where the dreaded, uncompromising ghost of John
  Fahey dwells. www.courtisane.be www.bozar.be

9/25
New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
7:30 pm, 32 2nd Avenue

 LYNNE SACHS PROGRAM
  See notes for September 24, 7:30 pm.

9/25
San Francisco, California: Other Cinema
http://www.othercinema.com/
8:30pm, Artists' Television Access, 992 Valencia Street, San Francisco, CA 94110

 THE LAND OF THE RISING FASTBALL + THE LSD NO-NO +
  Dedicated to recently-deceased editor Andrew Koenig, and with its
  director Lance Miccio and writer Matthew Turner in attendance, the world
  premiere of this cross-cultural report explores Japan's National
  Pastime—baseball!—and the sociological role it has played through that
  nation's growth, from its 1872 introduction, through Babe Ruth's '30s
  tours, the World War, and beyond. Narrated by Buck Ford, Miccio blends
  interviews with Hall of Fame players, visits to Japanese "Castles of
  Baseball," and a compelling score by Charlie McAllister to give the
  viewer a deep historical sense of yakyu, or Japanese baseball culture.
  PLUS James Blagden's The LSD No-No—an animation in which Major-League
  pitcher Dock Ellis relates his acid story—and a locker of 16mm archival
  clips on both post-war Japan and the hallowed sport itself. Hot sake and
  cold Sapporo!

--------------------------
SUNDAY, SEPTEMBER 26, 2010
--------------------------

9/26
Los Angeles, California: Filmforum
http://www.lafilmforum.org/
7:30 pm, Egyptian Theatre, 6712 Hollywood Blvd. at Las Palmas

 THE FILM REGISTRY SHOW RETURNS! SELECTIONS FROM RECENT PICKS BY THE
 LIBRARY OF CONGRESS
  Every year the Library of Congress selects 25 films to be added to its
  film registry. Some are well-known; some obscure. Last season Filmforum
  held the first show of short films selected for the Library of Congress
  Film Registry. Due to technical difficulties, the sound 16mm films
  weren't able to be screened, so we've brought them back, along with
  several other films selected for the Registry, including a couple of
  home movie classics and several marvelous experimental films. Filmmaker
  Janie Geiser, a Filmforum member, will be at the show for questions!
  Including: The Sex Life of the Polyp (Thomas Chalmers, Robert Benchley,
  1928, 11 min., selected in 2007); Quasi at the Quackadero (Sally
  Cruikshank, 1975, 10 min., color, selected in 2009); Disneyland Dream
  (Robbins Barstow, 1956, 34 min., selected in 2008); he Lead Shoes
  (Sydney Peterson, 1949, 18 minutes, 16mm, b&w, selected in 2009); The
  Red Book (Janie Geiser, 1994, 11 minutes, 16mm, color, selected in
  2009); and more!

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