[Frameworks] This week [April 9 - 17, 2011] in avant garde cinema

From: Weekly Listing <weeklylisting_at_hi-beam.net>
Date: Sat, 9 Apr 2011 12:12:49 -0700 (PDT)

This week [April 9 - 17, 2011] in avant garde cinema

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


Punto y Raya Festival (Barcelona, Spain; Deadline: July 04, 2011)

CologneOFF 2011 (Cologne, Germany; Deadline: May 01, 2011)
Festival International Film Merveilleux (Paris FRANCE; Deadline: May 09, 2011)
LIFT (Toronto, Ontario, Canada; Deadline: April 11, 2011)
Onion City Experimental Film and Video Festival (Chicago, IL, USA; Deadline: April 15, 2011)
Silver Salt Animation Festival (Mumbai, Maharashtra, India; Deadline: April 30, 2011)
The Indie Fest (La Jolla, Ca USA; Deadline: April 29, 2011)
EYE AM: Women Behind The Lens (Troy; Deadline: May 01, 2011)
Wimbledon SHORTS (UK; Deadline: April 19, 2011)
13th ANNUAL ARTSFEST FILM FESTIVAL (harrisburg, PA, USA; Deadline: April 30, 2011)
Synthetic Zero Event / {S0NiK}Fest (Bronx, NY, USA; Deadline: April 15, 2011)
The Short Film Project (London, UK; Deadline: April 09, 2011)
Museum of Pocket Art and Grand Detour Present: How Micro Can You Go? (Portland, OR; Deadline: April 21, 2011)
Museum of Pocket Art Spring Video Show (Portland, OR, USA; Deadline: April 21, 2011)

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 * Morgan Fisher Presents, Pt. 2 [April 9, Cambridge, Massachusetts]
 * Hao Jie: Single Man (Guangyun) [April 9, Los Angeles, California]
 * Huang Weikai: Disorder (Xian Zai Shi Guo Qu De Wei Lai) [April 9, Los Angeles, California]
 * Jia Zhangke: I Wish I Knew (Hai Shang Chuan Qi) [April 9, Los Angeles, California]
 * Essential Cinema: Flowers of St. Francis [April 9, New York]
 * Underground Usa [April 9, New York]
 * Kidnapped [April 9, New York]
 * Sat. 4/9: All 16mm, All Retro Music-On-Film Party! [April 9, San Francisco, California]
 * Morgan Fisher Presents 'under Capricorn' [April 10, Cambridge, Massachusetts]
 * Treating (Zhi Liao) [April 10, Los Angeles, California]
 * Essential Cinema: Flowers of St. Francis [April 10, New York]
 * Kidnapped [April 10, New York]
 * Underground Usa [April 10, New York]
 * The Weightless Body: Films By Lynne Sachs (April 12 & 13) [April 12, Brooklyn, New York]
 * Tuesday Borrowed Light : the Films of Steve Cossman (& Friends) In
    Person [April 12, Reading, Pennsylvania]
 * The Double vision Show [April 13, Providence, RI]
 * Jenny Graf Sheppard Screening and Artist's Talk [April 14, Amherst, MA]
 * Aberration of Light: Dark Chamber Disclosure [April 14, Chicago, Illinois]
 * Bette Gordon Program 1 [April 14, New York]
 * Bette Gordon Program 2 [April 14, New York]
 * Radical Light: That Little Red Dot [April 14, San Francisco, California]
 * Time Based Corrections : Moving Image Work From David Kidman. [April 14, Seoul, Korea]
 * The Delicate Landscape of Crises - Christina Mcphee - Directors Lounge
    Screening [April 15, Berlin, Germany]
 * Nam June Paik and the Conservation of video Sculpture-Symposium and
    Exhibition [April 15, Cincinnati, Ohio]
 * Variety [April 15, New York]
 * Bette Gordon Program 1 [April 15, New York]
 * Warhol On Film: Hedy and the Velvet Underground In Boston [April 16, Boston, Massachusetts]
 * Essential Cinema: Kino-Eye [April 16, New York]
 * Bette Gordon Program 2 [April 16, New York]
 * Luminous Motion [April 16, New York]
 * Bette Gordon Program 1 [April 16, New York]
 * Sat. 4/16: Jesse & Glenda Drew: Big Country + [April 16, San Francisco, California]
 * The Intensity of the World: An Evening With Tomonari Nishikawa [April 17, Los Angeles, California]
 * Essential Cinema: Forward, Soviet! [April 17, New York]
 * Handsome Harry [April 17, New York]

Events are sorted by CITY within each DATE.


Cambridge, Massachusetts: Harvard Film Archive
7pm, 24 Quincy St.

  Director Morgan Fisher in Person Special Event Tickets $12 April 9 at
  7pm Projection Instructions USA 1976, 16mm, b/w, 4 min. Picture and
  Sound Rushes USA 1973, 16mm, b/w, 11 min. Production Footage USA 1971,
  16mm, color, 10 min. The Wilkinson Household Fire Alarm USA 1973, 16mm,
  color, 1.5min. Turning Over USA 1975, video, b/w, 15 min. Protective
  Coloration USA 1979, video, color, 13 min. Standard Guage USA 1984,
  16mm, color, 35 min. Detour - The final shot only. Directed by Edgar
  Ulmer. USA 1945, 35mm, color TRT: 92 min.

Los Angeles, California: Redcat
3:00 pm, 631 W. 2nd St., Los Angeles, CA 90012

  U.S. premiere | 2010, 95 min., HDCAM "This is a strange and delightful
  thing from China: a sex comedy, bawdy and a little raunchy, about four
  elderly farmers… all non-professional actors playing fictionalized
  versions of themselves. New director Hao Jie, with a bit of Boccaccio
  and a dollop of Rabelais, reveals a side of rural China you've probably
  never seen before… Chinese indie cinema at its most wryly entertaining."
  –Vancouver International Film Festival. As part of the screening series
  Disorder and Unexpected Pleasures: Tales from the New Chinese Cinema
  running April 6th-9th.Jack H. Skirball Series $9 [students $7, CalArts

Los Angeles, California: Redcat
7:00 pm, 631 W. 2nd St., Los Angeles, CA 90012

  Los Angeles premiere | 2009, 58 min., DVCAM A splendid, original
  experiment on how to translate urban texture on the screen. Huang Weikai
  collected more than 1,000 hours of footage shot by amateurs and
  journalists in the streets of Guangzhou. He then selected 20-odd
  incidents, reworked the images into quasi-surreal grainy black-and-white
  and montaged them to create a kaleidoscopic view of the great southern
  metropolis, in all her vibrant, loud and mean chaos. As part of the
  screening series Disorder and Unexpected Pleasures: Tales from the New
  Chinese Cinema running April 6th-9th.Jack H. Skirball Series $9
  [students $7, CalArts $5]

Los Angeles, California: Redcat
9:30 pm, 631 W. 2nd St., Los Angeles, CA 90012

  Los Angeles premiere | 2010, 138 min., HDCAM China's most significant
  filmmaker of the decade has done it again, with another alluring hybrid
  of documentary and fiction. Here Jia weaves a dense texture between
  amorously shot footage of contemporary Shanghai and the films the city
  created or inspired. Peeking through the gaps of an architecture menaced
  by permanent urban renewal, he finds the traces of a romantic or brutal
  past, and echoes the voices of survivors or those who went into exile.
  As part of the screening series Disorder and Unexpected Pleasures: Tales
  from the New Chinese Cinema running April 6th-9th.Jack H. Skirball
  Series $9 [students $7, CalArts $5]

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

  by Roberto Rossellini In Italian with English subtitles, 1949, 85
  minutes, 35mm Share + Film Notes Francesco (St. Francis of Assisi) comes
  back to Santa Maria degli Angeli from Rome, journeying with his friars
  through the rain. When they are driven out of a hut, he begs the
  brothers' forgiveness for abusing their obedience. While the monks are
  finishing the chapel, Brother Ginepro arrives naked again and confesses
  that the previous night he was tempted by the Devil. Later, he cuts the
  foot off a pig to feed a sick brother. That evening, Francesco meets a
  leper and kisses him. Brother Ginepro receives Francesco's permission to
  preach and arrives at the camp of Nicolaio, the tyrant of Viterbo, whose
  cruelty he overcomes with his perfect humility. Francesco teaches
  Brother Leone that bearing injuries and blows is an example of perfect
  joy. Francesco sends his brothers out to preach far and wide.

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

  by Eric Mitchell 1980, 85 minutes, 16mm-to-video FILMMAKER IN PERSON! In
  conjunction with the forthcoming release of Céline Danhier's BLANK CITY,
  a feature-length documentary on the No Wave movement that defined
  underground culture in NYC in the 70s & 80s, sweeping through the worlds
  of filmmaking, music, art, and writing, we devote a weekend to two of
  the seminal works of No Wave cinema: Eric Mitchell's UNDERGROUND U.S.A.
  and its even more uncompromising and provocative predecessor, KIDNAPPED.
  Special thanks to Eric Mitchell. "A satire of contemporary New York
  'scenemaking' in the form of an update of SUNSET BLVD., UNDERGROUND
  U.S.A. is both a personal triumph for its creator, actor-director Eric
  Mitchell, and a further indication of the importance of New York's New
  Wave film movement. … "As played by Patti Astor, Vicky is clearly meant
  to represent Edie Sedgwick, the superstar of Warhol's legendary
  cinematic psychodramas. Like Norma Desmond, she lives with her butler
  (Rene Ricard as an effete Erich von Stroheim) in high style, half-mad
  and lost in drug-induced dreams of a comeback. But instead of William
  Holden's disillusioned writer-turned-gigolo, a completely spent and
  soulless Joe Dallesandro-styled hustler, played by Mitchell himself, is
  offered. … "There's a rich, multi-layered texture at work here.
  Characters exist less for themselves than as iconographical anchoring
  devices – points of reference in a hall of mirrors crossing space and
  time. The time is now, but it is also the then of the '60s and the '50s
  and (remembered) '20s of the Billy Wilder melodrama. As these spent
  sophisticates move through Mitchell's carefully designed decor trapped
  in their narcissistic fantasies, going through the motions of rituals
  that have lost all meaning for them, we may giggle but at the same time
  be touched by their lives of noisy desperation." –David Ehrenstein, BOMB

New York: Anthology Film Archives
9:15 pm, 32 2nd Avenue

  by Eric Mitchell 1978, 60 minutes, Super-8mm-to-video FILMMAKER IN
  PERSON! In conjunction with the forthcoming release of Céline Danhier's
  BLANK CITY, a feature-length documentary on the No Wave movement that
  defined underground culture in NYC in the 70s & 80s, sweeping through
  the worlds of filmmaking, music, art, and writing, we devote a weekend
  to two of the seminal works of No Wave cinema: Eric Mitchell's
  UNDERGROUND U.S.A. and its even more uncompromising and provocative
  predecessor, KIDNAPPED. Special thanks to Eric Mitchell. "KIDNAPPED – 15
  raw rolls of Super-8 spliced together for video projection – showcases
  the 'no wave' upper-crust. … [A] number of KIDNAPPED's principles seem
  wrested from the [Amos Poe film THE FOREIGNER], including Patti Astor, a
  buxom blonde in crewcut and cocktail dress, and Anya Phillips, a
  wise-cracking Eurasian with a starlet's radar for keeping in frame. Her
  intuition is truly impressive in KIDNAPPED: for most of its 60 minutes
  the camera pans around a barren Avenue B tub-in-kit[chen] remorselessly
  chopping off torsos at the neck. … "KIDNAPPED seems almost an homage to
  VINYL – one of the few vintage Warhols that's screened these days – but
  Mitchell's random compositions, on-screen direction, and impoverished
  location shake the mothballs off the Factory aesthetic. It's actually
  witty when he stages a violently autistic dance number to Devo's
  'Satisfaction'…." –J. Hoberman, VILLAGE VOICE Preceded by: MASS HOMICIDE
  (1977, 7 minutes, video)

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

  Gleefully gleaned from an extremely generous bequest from archivist
  extraordinaire Rick Prelinger, this eye-popping program of 16mm musical
  anomalies mostly features "Soundies," performances on film produced for
  visual jukeboxes of the '40s and '50s. More than just kitsch, these oft
  transcendent artifacts reveal a post-war pop-cultural world of naive
  charm and irrepressible surrealist imagination. Among this jazz/R&B/pop
  bonanza are: Steve Lawrence's Mine and Mine Alone; Vanita Symthe's Low,
  Shorty, and Squatty; Buddy Clark's Moonlight Cocktail; Mousie Powell's
  Crazy Things; Ving Merlin's Enchanted Violins; a ten-year-old Michael
  Jackson (with the other four); and a man-killing Judo femme fatale! Oh,
  and did we mention free beer at the bar?

SUNDAY, APRIL 10, 2011

Cambridge, Massachusetts: Harvard Film Archive
3pm, 24 Quincy St.

  Under Capricorn April 10 at 3pm It is well known that some of
  Hitchcock's films take place all but entirely in a single confined
  space: Rope, Rear Window, Lifeboat. By working within this self-imposed
  limit Hitchcock showed that shifts from one space to another, all too
  easy in film and on which almost all narrative films depend, are hardly
  a necessity. Another limit in film is a material one, the length of a
  roll of film. There can be no shot longer than eleven minutes. It is
  clear that the staging of many of the scenes in Under Capricorn was
  conceived of in relation to this limit, in fact working backwards from
  it. The action in these scenes—the dialogue and how it is delivered, the
  movements of the actors, the rhythms they all create—was composed to
  accord with a length of time close to the maximum that a roll of film
  allowed. This procedure inverts the way scenes in almost all films are
  shot, where they are built up piece by piece from the elements of
  classical decoupage—the establishing shot, two-shot, close-ups—to move
  the story forward without regard for how long each shots lasts. In a
  scene shot in a continuous take, everything necessary has to happen but
  nothing beyond. And the execution of the scene is as exacting as its
  composition. Everything must happen perfectly: how the actors deliver
  their lines, their expressions, their gestures, how and where they move,
  how the camera moves. One mistake in the least detail, and there is no
  alternative but to start over again. You can't cut around mistakes, you
  can't get rid of lines you don't need or add lines that you do, you
  can't go back and shoot pick-ups. The longer the take and the more
  complicated the movements of the actors and the movements of the camera,
  the more opportunities for things to go wrong. Not only does everything
  has to happen perfectly, it has to happen without apparent effort, when
  in fact the shot is the result of a large number of people making
  extraordinary efforts, the work of each exactly coordinated with the
  work of everyone else. For me the sustained perfection of the long takes
  in Under Capricorn inspires awe. - Morgan Fisher Directed by Alfred
  Hitchcock. With Ingrid Bergman, Joseph Cotton, Michael Wilding. USA
  1949, 35mm, color, 117 min.

Los Angeles, California: Filmforum
7:30pm, The Spielberg Theater at the Egyptian, 6712 Hollywood Blvd (at Las Palmas)

  US premiere! "The film was triggered by my desire to explore the deep
  emotions caused by my mother's death in 2007. The focus shifted as was I
  was sorting through the 12 years of footage I had collected, seeing
  subtleties I had previously overlooked, or reliving past experiences…
  Then I realized this film is not just about remembering my mother—it's
  also an experiment to bring her back to life." - Wu Wenguang (2010, 80
  min. DVD, in Mandarin with English subtitles). Preceded by: Sun Xun:
  Beyond-ism (Zhuyi zhiwai) (Animation, 2010, 8.8 min., DVD).

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

  See notes for April 9, 5 pm.

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

  See notes for April 9, 9:15 pm.

New York: Anthology Film Archives
8:45 pm, 32 2nd Avenue

  See notes for April 9, 7 pm.


Brooklyn, New York: ReRun Gastropub Theater
7 pm, 147 Front Street, DUMBO

  Two Evenings Only, FREE Admission! Praised by the New York Times as "one
  of the leading New York independent filmmakers," Brooklyn-based artist
  Lynne Sachs has—in a career spanning over twenty years—woven together
  poetry, collage, painting, politics, layered sound design, and a myriad
  of cinematic formats to explore the intricate relationship between her
  personal observations and broader historical experiences. From
  installations and web projects to essay films that have taken her to the
  far reaches of the globe, Sachs' work is strongly committed to a
  progressive dialogue between film theory, the past and her subjective
  self. reRun Gastropub Theater is proud to present two evenings with
  Lynne Sachs in person to discuss an eclectic, thought-provoking taste of
  her work to date. "THE WEIGHTLESS BODY: Films by Lynne Sachs" runs April
  12 (7pm) and April 13 (10pm). "The films of Lynne Sachs travel to exotic
  places, but find themselves concerned primarily with the universal
  qualities of the everyday. They revisit war zones but refuse to
  foreground the idea of War as humanity's most fascinating pursuit. They
  are experimental in nature yet can offer straightforward and earnest
  approaches to literal problems. They defy expectations for radical art."

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

  A collection of time based work by STEVE COSSMAN (Brooklyn) & friends -
  "The world, on both the micro and macro level, is constantly moving
  within a framework of units this irrepressible flux of time is the nexus
  of human experience and perception. Investigating the quantification of
  this motion through a reordering of various elements, I employ
  universally recognizable imagery within a patterned visual language.
  Often using time as a structure, the 'natural' rhythm of life is altered
  to create a resonating interval. This visual discord allows the viewer
  to reconsider established perceptual relationships." -S.C. As part of
  this evenings program Cossman will screen his work on film,
  TUSSLEMUSCLE, a piece made over the course of 3 years by hand-splicing
  over seven thousand view-master reel cells of flowers together into a
  linear film strip (presently part of and the touring program of Ann
  Arbor Film Festival ). Cossman had his start as a Sculptor & Painter in
  Reading (at Albright College) when he was first introduced to
  experimental film through Berks. Eager to explore the medium he went on
  to study cinema at FAMU in the Czech Republic then came back to set up a
  base in New York. There he is founder/director of an annually occurring
  expanded cinema exhibition entitled MONO NO AWARE, a curator of
  local/touring film programs including the recent OPTICAL BOUNDARIES
  (with Ross Nugent & Fern Silva), teaches filmmaking at UNIONDOCS and
  continues to make/show work both nationally and internationally
  (Angelika Film Center Dallas, LA Film Forum, VideoEx-Zurich, ICA
  Boston). Cossman's work can be found in the collections of the
  University of Seattle, WA, University of Hartford Art School, and The
  Len Lye Foundation, New Zealand. The screening will include a variety of
  Cossman's work alongside a small selection of films/video by Eirik
  Svensson, Fern Silva, Jennifer Sullivan, Matthais Muller, and Sean


Providence, RI: Magic Lantern
9:30PM, Cable Car Cinema and Cafe, 204 S. Main St.

  Magic Lantern Cinema Presents: THE DOUBLE VISION SHOW - Wednesday,
  April 13th _at_ 9:30 PM - Cable Car Cinema & Cafe, 204 S. Main St.,
  Providence, RI - Admission $5 /////////// Split screens! Double
  exposure! Repetition! Superimposition! Witness the diplopia-inducing
  splendor of these forays into cinematic double vision! From
  spectacularly fused landscapes to fractured relations, repeat
  projections to experiments in closed-eye vision, and diptychular
  juxtapositions to avant-garde revisions, this show is really two shows
  running side-by-side, back-to-back, one atop the other. Join us for a
  night of reflections, revelations, disjunctions, and duplications. Twins
  admitted for the price of one! \\\\\\\\\\\ FEATURING: Ken Jacobs,
  "Georgetown Loop" (1997), Matthias Müller and Christoph Girardet,
  "Mirror" (2003), Peter Tscherkassky, "Instructions for a Light and Sound
  Machine" (2005), Michael Snow, "Sshtoorrty" (2005), Leslie Thronton,
  Excerpts from the "Binocular" Series (2011), Nicole Koschmann, "Fishing
  for Brad" (1998), Peter Kubelka, "Schwechater" (1958), Peter Kubelka,
  "Arnulf Rainer" (1960) ---- TRT: 91 MIN.


Amherst, MA: The Hampshire College Film Society/ "NecroCinema"
7pm, Hampshire College Film and Photo Building

  ********************** Video artist and musician Jenny Graf Sheppard
  presents her film, "Proud Flesh". The film, an experimental Western,
  challenges notions of gender and narrative. A wounded aging outlaw seeks
  redemption, but is transformed through a series of encounters and events
  that question agency and individuality as represented through the
  Western film form. Original soundscore by Jenny Graf and Chiara

Chicago, Illinois: Conversations at the Edge
6:00 pm, Gene Siskel Film Center (164 N. State / 312-846-2600)

  Live performance! Sandra Gibson, Luis Recoder, and Olivia Block in
  person! "Sandra Gibson and Luis Recoder are creating some of the most
  innovative and engaging light works of the present time." – Mark Webber,
  London Film Festival. Since 2001, New York-based artists Sandra Gibson
  and Luis Recoder have collaborated on a series of performances and
  installations that transform the mundane mechanics of film projection
  into sublime experiences of light and space. The duo uses a system of
  film loops, crystals, and hand gestures to bend, reflect, and refract
  the projector's beam, recasting the theatrical space of the cinema into
  a unique medium for sculpting light. This evening, in their first-ever
  Chicago appearance together, Gibson and Recoder present their latest
  projector performance, developed with noted Chicago-based composer and
  sound artist, Olivia Block. Block, who mixes field recordings and live
  instrumentation, has been likened to "a good cinematographer who happens
  to use sounds instead of images" (Peter Margasak, Chicago Reader). This
  is the second piece the three have created together; the first, Untitled
  (2008) premiered at the Sundance Film Festival and screened at the Tate
  Modern, London, and Redcat, Los Angeles. 2010-11, Sandra Gibson/Luis
  Recoder/Olivia Block, USA, multiple formats, ca. 60 mins plus

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

  Bette Gordon & James Benning MICHIGAN AVENUE (1973, 7 minutes, 16mm)
  Preserved with support from The Andy Warhol Foundation for the Visual
  Arts and The Women's Film Preservation Fund. A narrative film concerning
  an investigation of two women in time and space, to the point where the
  investigation becomes the narrative. Bette Gordon & James Benning i-94
  (1974, 3 minutes, 16mm) Preserved with support from The Andy Warhol
  Foundation for the Visual Arts and The Women's Film Preservation Fund.
  Intercourse between two people who never appear on the screen at the
  same time. An exploration of sex and male/female identities. Bette
  Gordon & James Benning THE UNITED STATES OF AMERICA (1975, 27 minutes,
  16mm) Preserved with support from The National Film Preservation
  Foundation. A true masterpiece of 70s cinema, more remarkable today then
  ever before. A conceptual bicentennial film dealing with spatial and
  temporal relationships between two travelers, their car, and the
  geographic, political, and social changes from New York to Los Angeles.
  The space within each frame is at the same time continuous and
  elliptical. Bette Gordon STILL LIFE (1972, 3 minutes, 16mm) Preserved
  with support from The Andy Warhol Foundation for the Visual Arts and The
  Women's Film Preservation Fund. A meditation on the American rustic
  where various objects within the composition are re-presented in
  unnatural colors and unusual spatial arrangements, emphasizing the
  illusion of movement while exploring film grain and its graphic nature.
  Bette Gordon AN EROTIC FILM (1975, 3 minutes, 16mm) Preserved with
  support from The Andy Warhol Foundation for the Visual Arts and The
  Women's Film Preservation Fund. The moment before and the moment after…
  Bette Gordon AN ALGORITHM (1977, 10 minutes, 16mm) Preserved with
  support from The Andy Warhol Foundation for the Visual Arts and The
  Women's Film Preservation Fund. A visually stunning kinetic rhythm
  produced by looped footage (mathematical curves) in and out of phase
  with each other. Total running time: ca. 55 minutes.

New York: Anthology Film Archives
8:45 pm, 32 2nd Avenue

  Bette Gordon EMPTY SUITCASES 1981, 55 minutes, 16mm-to-video. A
  narrative derived from film's own material and an exploration of issues
  relating to representation and identification in cinema. The film
  presents fragments of a woman's life – her work (as a photographer), her
  friendships and relationships – in short, her economic, sexual, and
  artistic struggles. By deconstructing the fragments of text, speech,
  music, and picture, the film problematizes the way in which cinematic
  language structures point of view. Preceded by: NOYES (1976, 3 minutes,
  16mm) "A single action seen from alternative left and right
  perspectives, accentuating reversals, repetitions, and persistence of
  vision." –Karyn Kay, CAMERA OBSCURA & EXCHANGES (1979, 18 minutes,
  16mm-to-video) "The elliptical printing-editing style confronts the
  problem of the imaging of the body, by posing a kind of striptease of
  cinema. … The film's construction attempts to re-position the erotic
  elements: the technology employed becomes more seductive than the actual
  image of the stripping, displacing the striptease rather than serving it
  invisibly, thus establishing a tension between the image of the woman
  and the sensuality of the filmic process." –Karyn Kay, CAMERA OBSCURA
  Total running time: ca. 80 minutes.

San Francisco, California: San Francisco Cinematheque
7:30PM, Artists' Television Access (992 Valencia St., at 21st st.)

  During its 30+ years of existence, the San Francisco Art Institute's New
  Genres (formerly Performance/Video) department has produced innumerable
  high-caliber artists and has influenced performance and conceptual art
  on a global scale. Simultaneously, the department's commitment to
  maintaining state-of-the-art production facilities has contributed to an
  equally impressive output from myriad film- and video makers. Tonight's
  program presents a survey of this important work. While as aggressive
  and sophisticated as their performance counterpart, the work of these
  artists displays an equally ingenious and ground-breaking visual
  language and deals with such varied issues as formalism, feminism,
  abstract narrative, transgressive sexuality, personal biography and body
  politics. And, drawn from three decades of activity, the program
  comprises an historical microcosm of video technology, beginning with
  industrial and broadcast cameras and behemoth Portapaks through the Hi-8
  video revolution, "cuts-only" editing, the Amiga Toaster and Avid
  systems, up to DV's utopian technological plateau. Join us for an
  evening of the early works and rarities of some of the field's major
  artists, including Jordan Biren, Nao Bustamante, Monet Clark, Torsten
  Zenas Burns, Cecilia Dougherty, Didi Dunphy, Dale Hoyt, Andrew Huestis,
  Tony Labat, Jennifer Locke, Anne McGuire, Guy Overfelt and Emjay Wilson.

Seoul, Korea: Work in Progress
4p.m. on, Media+Space, Screenings in the Auditorium, Graduate School of Communication and Art, Yonsei University, Seoul, South Korea

  Time Based Corrections : Moving image work from David Kidman.
  Media+Space April 14-20, screenings in the auditorium until the 27 April
  Graduate School of Communication and Art, Yonsei University, Seoul,
  South Korea
  ******* Time Based Corrections in which the pieces visible to the
  visiting public change regularily and in which there are several events
  that can be programmed so that the public can come and watch something
  which takes the form of a performative rendez-vous. These rendez-vous
  last between twenty and forty minutes, according to the event, and are a
  means of drawing attention to a new configuration of the pieces in the
  ****** Stochastics Hamiltonian, Installation, screening box. As a child,
  you learn how to walk. You don't necessarily analyse your movements at
  the time, even though it is a painful learning curve. For a lot of boys,
  as well as a small minority of girls in this world, there will be a
  second period of apprenticeship as a professional walker; military
  service, when you must forget to walk and learn to march. This is partly
  about the way in which I learn to walk, the way in which cinema learned
  to walk and partly how to aim at the right targets. The sequences are in
  phase such that the walker in the film leaves the screen from which he
  starts and walks completely around the cube before disappearing. There
  being no off screen space, the hors champ is only above and below the
  screen, spaces that are usually elided in our conception of filmic
  ******* Dumbphone, 16mm/video projection This is a projected film that
  tends to self-destruct, which is what I would expect of it in the end.
  Dumbphone is interactive. To be able to see the real film, you have to
  aim at the (badly drawn) datamatrix code that appears in an accelerating
  and decelerating loop on the screen. If your Internet connection is fast
  enough, if you are fast enough and if the autofocus and autocapture on
  your smartphone is quick enough, you will see a looped film of a
  skateboarder. Other films are available in this series, all sports that
  Muybridge, Marey, Edison and the Lumière brothers curiously forgot to
  document back in the day.
  ****** Original unflipbooks These are flipbooks made from 16mm film
  cycles, each one produces a genuine cycle, the same one that is visible
  in the Dumbphone skateboarder film, you can see as much when looking at
  the images individually with a back light. It is the right length and
  handy enough to hold and flip with your thumb, it is, however,
  impossible to really see it as an animation, as the transparency of the
  stock is attenuated with each successive layer and the movement
  disappears before we have time to perceive it. It is, of course,
  possible to break it down into its component parts, scan them then watch
  them. Be aware before doing this, that the warranty is void if the seal
  is broken on these
  ************** Like a record, baby This is a film that people can make
  themselves, by going for a walk around Yonsei University Campus. There
  are twelve 2D Datamatrix codes made using Post-its stuck up around the
  campus. Each one will get the curious visitor an image from my website.
  Once all twelve have been collected, they can be put in sequence to form
  a primitive film. For the lazy, the film will be revealed at
  www.davidkidman.com/ephemera.html from the 21 April
  *********** Screenings SUNDAY 17 AT 6P.M. Fully Flipped Screen This is a
  performed projection, which takes a little while, for which I use three
  16mm or video projectors facing the audience, three tables, under which
  the projectors are placed, some flour, some caster sugar, some milk and
  eggs. I also need a square pancake pan and a hob to heat it. I place the
  flour, then the sugar and the milk etc. on the tables and slowly push
  the fine powders then the milk over the edge of the table. As the powder
  falls, the image of the projection is visible on the falling powder or
  milk. I then use these same ingredients to make a pancake mix (along
  with some patter) and make a large rectangular pancake (very thin),
  which I drape over the edge of the middle table and render visible the
  projection of a third looped film, which changes from event to
  *********** TUESDAY 19 AT 6P.M. Train/Frame This piece is a performed
  screening. The original piece was shot on video showing a runner,
  myself, running in and out of the screen in an interlace which follows
  the lines of the television screen on which it was conceived to be
  shown. I eventually manage to cover the totality of the lines of the
  television image with this movement, aided by the movement of the
  camera. The screening consists of an attempt to show the film version at
  the same time as the video version so that the two come together in two
  moments of synchrony, at the beginning and the end of the projections.
  Throughout the rest of the projection, the two are out of synch. With
  one appearing to run across into the other screen before being pulled
  back by the edit. I made the film version as part of an ongoing idea of
  never leaving old pieces to die, but reactivating them as the
  referential framework is displaced (this is also a key to the idea of
  this show).
  ******* SUNDAY 24 AT 6P.M. Hot Society Hot Society revisits the history
  of the United States in both an oral and visual form, crossing the
  country from coast to coast on the 36th parallel. Driving at the maximum
  permitted speed (55 mph) we take in one degree of longitude per hour and
  therefore 1 minute per minute. It turns out that at this latitude we
  manage to find a shortened, perhaps selective but certainly
  representative history, starting from the first (lost) English colony
  and ending up at Hearst Castle, model for Xanadu in Citizen Kane. This
  essay tries to find a form for the organisation and disorganisation of
  societies through the generic visual codes which these places produced
  or reflect in popular media. The degree of longitude determines (more or
  less) the hour at which we live our lives and its distance depends on
  its latitude, a degree of latitude is always of the same distance. This
  flexibility allows a certain amount of play to come into calculations of
  time distance and speed, without involving quantum physics, and this
  play seemed to be an appropriate manner in which to construct the film,
  insofar as it concerns travel and the relativity of the definition of
  reality which is at the heart of the meaning of images and of the
  representation of reality. A great number of aspects of American history
  are linked to movement and to routes, such as Route 66, and trails such
  as the Santa Fe trail, corridors of movement which, for he most part,
  are striking due to their lack of permanence. The other aspect of the
  film concerns the constraints and the manipulation of generic codes in
  the cinema, which play an essential role in the fabrication of the
  mythology that so heavily contributes to the American psyche and our
  image of the United States. Those who speak in the film give an idea of
  the flexibility of the historical, and therefore political, truth of
  which the are the
  **************** WEDNESDAY 27 AT 6P.M. Studio Work Studio Work, HD 2010
  Studio Work is an examination of space, using the traditional tools of
  the artist, an overgenerous studio space, a giant easel, smaller ones,
  plinths and cameras, "natural" light and some extra dimensions. It
  becomes a slapstick, structural comedy which occasionally lapses into 3D
  (without glasses due to the Pulrich effect at the start and the end of
  each movement). The spectator is invited to consider the space, the
  almost Sisyphean efforts made to describe it and the means by which it
  can only come together as a three dimensional space in the most fleeting
  manner, almost out of the corner of the eye.

FRIDAY, APRIL 15, 2011

Berlin, Germany: Directors Lounge
21:00, Freies Museum, Remise, Potsdamer Str. 91, 10785 Berlin-Schöneberg

  A premier survey of California-based McPhee's experimental films from
  2002-2011 will screen at 21:00 , 15 April , 2011 at  Freies Museum,
  Potsdamer Strasse 91 Berlin --°*°-- Curated by Klaus W. Eisenlohr of
  Director's Lounge, Berlin. --°*°-- --°*°-- "Delicate structures arise in
  the transport of trauma":  Christina McPhee traces landscapes of crisis,
  performing video montage like drawings in a data-field. From earthquake
  landscapes in the California desert, to Ground Zero in New York, to the
  oil spill in the Gulf of Mexico, McPhee tracks the intimate topographies
  of environmental crisis in America.  McPhee (b. 1954 Los Angeles) is a
  visual and media artist whose films have shown most recently at Art
  Cologne OpenSpace with Vernissage.tv; Director's Lounge, Berlin;
  Cinéphèmère at the Tuileries for FIAC, Paris; San Francisco
  Cinematheque, and ISEA, Belfast. Christina McPhee is represented by
  Silverman Gallery, San Francisco. --°*°-- "Ch. McPhee … imbues
  documentary realism with subjective evocation to such an extent that the
  project effectively displaces the importance of the documentary imag°òs
  indexicality… Still photographs, composited images and video clips of
  the landscape, environment and vernacular shrines allow the viewer to
  piece together the relationship between geological instability and
  psychological trauma…. " Sharon LIn Tay, film critic, London (Studies in
  Documentary Film 2008) --°*°-- --°*°-- http://www.directorslounge.net
  --°*°-- http://www.freies-museum.com/ --°*°--
  http://www.richfilm.de/currentUpload/index.html --°*°-- --°*°-- with
  support from Walden http://www.galerie-walden.de/ and Galerie Suomesta

Cincinnati, Ohio: School of Art, University of Cincinnati
9:00 am, 5401 Aronoff Center, College of Design, Architecture, Art and Planning, University of Cincinnati

  This two-day symposium entitled Nam June Paik and the Conservation of
  Video Sculpture is hosted by the School of Art in the College of Design,
  Architecture, Art, and Planning at the University of Cincinnati, and is
  funded by a grant from the Getty Foundation, Los Angeles. The main goal
  of this symposium is to support research into the restoration and
  reconstruction of a Paik video wall, titled Cinci-Mix, that the
  University of Cincinnati acquired in1996. Because vital components of
  the equipment making up the video sculpture have broken down over time,
  this impressive work of Paik's has fallen into disrepair and cannot
  presently be exhibited. In order to establish the best method for
  restoration of this work, the symposium aims to initiate an
  interdisciplinary research inquiry into the issues surrounding
  preservation of Paik's video art. Using this artwork as a starting
  point, the symposium will address broader issues in the conservation and
  restoration of time-based media in contemporary art collections. The
  symposium will bring together the diverse perspectives and experiences
  of twelve experts, curators, conservators, and artists to reflect on
  current trends in media conservation. The panel discussions will center
  on the question of how to best maintain artworks that are tied to
  technologies guaranteed to change, and how to quantify the relationship
  between the visual content of video art and the method of its display.
  For example, what are the responsibilities of curators and conservators
  in determining new technology as old machines break down? What are the
  equipment options facing an institution at the time of their acquisition
  of an artwork? What do registrars and conservators believe is the ideal
  type of conditioning protocol for time-based media that are likely to
  migrate across different display platforms and media players? We are
  particularly interested in locating this investigation within the field
  of existing symposia and research institute findings. We expect the
  results of the symposium to add to knowledge of best practice options
  for video art conservation and restoration and to have wide applications
  across different research disciplines, including New Media Studies,
  Museum and Curatorial Studies, Art History, and Fine Art practice. The
  symposium is open to art professionals, faculty, students, and the
  public. In addition, there will be an extensive video sculpture
  exhibition in the university's Reed Gallery and a one-person exhibition
  by New York based video artist Tommy Hartung in the Meyers Gallery, also
  on campus, to coincide with the conference. Moderators and Panel
  Speakers: Moderators: Bruce Jenkins, Professor, School of the Art
  Institution, Chicago Paola Morsiani, Curator of Contemporary Art,
  Cleveland Art Museum Raphaela Platow, Director and Head Curator,
  Contemporary Art Center, Cincinnati Panel speakers: Laura Barreca,
  External Curator, MAXXI-Museo Nazionale delle Arti del XXI secolo, Rome
  Tobias Berger, Curator, M+ Museum for Visual Culture, Hong Kong Glenn
  Wharton, Conservator, MoMA, and Professor of Museum Studies, New York
  University Chrissie Iles, Anne and Joel Ehrankranz Curator, Whitney
  Museum of American Art Joanna Phillips, Associate Conservator of
  Contemporary Art, Guggenheim Museum Lisa Dorin, Assistant Curator, Dept
  of Contemporary Art, Chicago Art Institute Jay Chatterjee, Dean
  Emeritus, DAAP Anton Harfmann, Associate Dean for Facilities, DAAP
  Patrick Mills, SOA alumnus, DAAP installer of Cinci-Mix Mark Patsfall,
  Artist, Gallery Director, Fabricator of Nam June Paik sculpture Mary
  Lucier, Artist, New York, NY Alan Rath, Artist, Oakland, CA Julia Scher,
  Artist, New York, NY Carl Solway, Director of Carl Solway Gallery
  Registration fee $30
  Location and Contact Kaplan Auditorium, Room 5401 Aronoff College of
  Design, Architecture, Art and Planning University of Cincinnati Clifton
  Avenue and Martin Luther King Drive East Cincinnati, OH 45221 Contact:
  Mark Harris mark.harris_at_uc.edu Charles Woodman charles.woodman_at_uc.edu
  Url: http://www.daap.uc.edu/art/eart/paik/index.html

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

  VARIETY 1984, 100 minutes, 35mm. Written by Kathy Acker; with Sandy
  McLeod, Will Patton, Nan Goldin, and Cookie Mueller. A desperately
  unemployed Manhattan woman lands a job as a cashier in an X-rated cinema
  where she finds herself drawn towards events on-screen and compelled by
  the mysterious activities of a shady businessman. Gordon's striking and
  gritty pseudo-thriller was filmed on NYC locations years before the
  Times Square clean-up, and remains a haunting study of sexual identity
  and the silent, invisible walls existing between men and women. Preceded
  by: ANYBODY'S WOMAN (1981, 25 minutes, Super-8mm-to-video) "I asked my
  friend Nancy Reilly to talk about her porn fantasies in front of the
  [Variety Theater]. And I asked my friend Spalding Gray to do the same. …
  I wanted to hear women talk dirty and to see what kind of power that
  might yield. I wanted women to look back instead of being looked at. I
  turned this Super-8 film into the treatment for my film VARIETY." –B.G.
  Total running time: ca. 130 minutes.

New York: Anthology Film Archives
9:30 pm, 32 2nd Avenue

  See notes for April 14, 7 pm.


Boston, Massachusetts: ArtsEmerson
8pm, Paramount Center: Bright Family Screening Room 559 Washington St

  This program features the recently unearthed and restored The Velvet
  Underground in Boston, a rare cinematic portrait—not seen in forty
  years—of the VU performing live at the Boston Tea Party, the film's
  single-framing and sudden zooms described by Callie Angell as mirroring
  "the kinesthetic experience of the Exploding Plastic Inevitable… with
  its liberal use of amphetamines, and overpowering sound." Followed by
  Hedy, Warhol's Superstar-studded melodrama wherein legendary drag queen
  Mario Montez receives a face lift, is arrested for shoplifting and goes
  on trial to face the accusations of her five former husbands (who
  include Gerard Melanga and scenarist Ronald Tavel).

New York: Anthology Film Archives
4:00 pm, 32 2nd Avenue

  by Dziga Vertov 1925, 70 minutes, 16mm, b&w, silent.

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

  See notes for April 14, 8:45 pm.

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

  LUMINOUS MOTION 1998, 94 minutes, 35mm. With Eric Lloyd, Deborah Kara
  Unger, Terry Kinney, and Jamey Sheridan. Based on the genre-bending
  novel THE HISTORY OF LUMINOUS MOTION, Gordon's hypnotic and disturbing
  road movie centers around the darkly comic adventures of Phillip Davis,
  a ten-year-old boy living on the California highways with his carefree
  and highly seductive mother (Unger). Phillip's love for his mother,
  however, is strained by her frequent forays into larceny, promiscuity,
  and drunkenness.

New York: Anthology Film Archives
8:15 pm, 32 2nd Avenue

  See notes for April 14, 7 pm.

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

  We welcome back the Drews to their old Mission stomping grounds; they
  bring more than a few surprises after years of music-doc research. This
  work-in-progress glimpse makes for a marvelous opportunity to apprehend
  the roiling controversies around the legacy of Country music. We've
  witnessed the gradual co-optation of folk music's grass-roots
  authenticity by increasingly corporatized commercial interests, with the
  politics perversely rightward-leaning. Jesse and Glenda demo and discuss
  the hijacking of this proletarian tradition. Highlights include rare
  hell-raisin' performances and clips from interviews with Pete Seeger,
  Billy Bragg, Utah Phillips, Hazel Dickens and many more! Come early for
  live pickin', strummin', and croonin'; 16mm recordings of Johnny Cash,
  Wanda Jackson, Deuce Spruggins, Tex Ritter; and free moonshine in Mason

SUNDAY, APRIL 17, 2011

Los Angeles, California: Filmforum
7:30pm, The Spielberg Theater at the Egyptian, 6712 Hollywood Blvd (at Las Palmas)

  Tomonari Nishikawa in person! Every film tonight except Market Street is
  a Los Angeles premiere! Tomonari Nishikawa is one of the leading
  practitioners of hand-crafted films (usually with celluloid, but
  sometimes with digital means). The precision of his craft, combined with
  his consistently roving eye and masterful use of light, tone, and
  movement leads to works that never cease to marvel with their beauty and
  intensity. A short show in duration, but these films may overwhelm you
  with their creativity. Films to be screened include: Apollo (2003),
  Shake 'n Bake - work in progress (2006), Sketch Film #1 (2005), Sketch
  Film #2 (2005), Market Street (2005), Sketch Film #3 (2006), Sketch Film
  #4 (2007), Sketch Film #5 (2007), Lumphini 2552 (2009), 16 – 18 – 4
  (2008), Clear Blue Sky (2006), Building 945 (2007), Tokyo – Ebisu
  (2010), and Shibuya – Tokyo (2010).

New York: Anthology Film Archives
4:00 pm, 32 2nd Avenue

  by Dziga Vertov With Russian intertitles, English synopsis available;,
  1925-26, 73 minutes, 35mm, b&w, silent

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

  by Bette Gordon 2009, 94 minutes, video With Jamey Sheridan, Steve
  Buscemi, Aidan Quinn, and John Savage. "Harry, a well-liked,
  long-divorced middle-ager…takes off suddenly for Philadelphia to visit
  Tom (Buscemi), a dying Navy buddy. 'We became men together', Tom
  reminisces in his hospital bed – rites of passage that torment Harry,
  who continues to seek out friends from the service to assuage his guilt
  over a heinous act of betrayal and cruelty. Each visit serves as a set
  piece for the pathologies of white midlife manhood: entitlement,
  repression, rage, self-pity. Gordon films every encounter…with a
  hesitant empathy, maintaining just the right tone before Harry's lushly
  romantic final reunion." –Melissa Anderson, VILLAGE VOICE

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