[Frameworks] This week [April 2 - 10, 2011] in avant garde cinema

From: Weekly Listing <weeklylisting_at_hi-beam.net>
Date: Sat, 2 Apr 2011 08:12:02 -0700 (PDT)

This week [April 2 - 10, 2011] in avant garde cinema

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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)

CologneOFF 2011 (Cologne, Germany; Deadline: May 01, 2011)
Cut and Run (California, USA; Deadline: April 07, 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)

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 * Artist In Focus : Sylvain George [April 2, Ghent, Belgium]
 * Artist In Focus : Robert Fenz [April 2, Ghent, Belgium]
 * Japan! [April 2, New York, New York]
 * Essential Cinema: Rice/Richter/Sharits Program [April 2, New York]
 * Erika Beckman: the Piaget Trilogy [April 2, New York]
 * Erika Beckman: the 16mm Films [April 2, New York]
 * Sat. 4/2: Clandestine + Banksy + Pranks + [April 2, San Francisco, California]
 * Artist In Focus : Robert Beavers [April 3, Ghent, Belgium]
 * Gaining Consciousness: An Evening With Gary Kibbins [April 3, Los Angeles, California]
 * Essential Cinema: Ss:Tream:S:S:Ection:S:Ection:S:S:Ectioned [April 3, New York]
 * Essential Cinema: the Flower Thief [April 3, New York]
 * The Queen of Sheba Meets the Atom Man [April 3, New York]
 * 21 Projects: Sparse Gardens By Rick Bahto [April 3, Oakland, CA]
 * Betzy Bromberg's Voluptuous Sleep Series [April 4, Los Angeles, California]
 * Matt Newman Long Screening and Artist's Talk [April 5, Amherst, MA]
 * Mulholland Drive [April 5, Reading, Pennsylvania]
 * Sfmoma Presents Events In the Environment [April 5, San Francisco, California]
 * Zhu Wen: Thomas Mao (Xiao Dongxi) [April 6, Los Angeles, California]
 * Emerging Filmmakers Series: Caleb Wood and Lana Z Caplan [April 7, Boston, Massachusetts]
 * Botborg! [April 7, Chicago, Illinois]
 * Li Hongqi: Winter Vacation (Hanjia) [April 7, Los Angeles, California]
 * Wall of Memories [April 7, New York]
 * Activating the Medium [April 7, San Francisco, California]
 * The Free Screen: Radical Light: Stories Untold [April 7, Toronto, Ontario, Canada]
 * Smoke and Mirrors! Feat. <I>Line Describing A Cone</I> By Anthony Mccall
    and Work By Caroline Koebel and Scott Stark [April 8, Austin, TX]
 * Morgan Fisher Presents [April 8, Cambridge, Massachusetts]
 * Liu Jiayin: Oxhide ii (Niupi ii) [April 8, Los Angeles, California]
 * 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]

Events are sorted by CITY within each DATE.


Ghent, Belgium: COURTisane
13:00, FILM PLATEAU, Paddenhoek 3

  Sylvain George (1968, Vaulx-en-Velin, France) studied philosophy and
  worked as a social worker until he turned to filmmaking in 2004. His
  work, influenced greatly by the thinking of Walter Benjamin, combines
  militant commitment with formal experiment. "The idea", he says, "is to
  make films that take a stand and assert a political position, and at the
  same time not to separate content from form; to be formally demanding
  and to manage to define an own view and grammar as a filmmaker." Far
  away from any form of didacticism or dogmatism, his films – from short
  "contrefeux" filmed with a mobile phone to elaborate feature-length
  documentaries – depict and allegorise the struggles of the "nouveaux
  damnés", trapped between the rule and the exception: the stateless, the
  clandestine, the precarious. His most recent work, the impressive Qu'ils
  reposent en révolte (des figures de guerre), gives an account of the
  living conditions of migrants in Calais over a period of three years
  (2007-2010). "Politically speaking, it is about standing up, contesting
  these grey zones, these spaces or cracks like Calais standing somewhere
  between the exception and the rule, beyond the scope of law, where law
  is suspended, where individuals are deprived, stripped off their most
  fundamental rights. And that while creating, through some dialectic
  reversal, the 'true' exceptional states. Space-time continuums where
  beings and things are fully restored to what they were, are, will be,
  could be or could have been". Rebellion and emancipation are at the
  heart of George's films, which find true politics in the gestures, cries
  and bodies of those who are within the dominant socio-economical order
  considered as "surplus": Included, but not belonging. 13:00 SHORT FILMS
  BY SYLVAIN GEORGE N'entre pas sans violence FR, 2007, video, b/w, French
  spoken, English subs, 20' No Border FR, 2007, Super 8 to video, b/w,
  French spoken, English subs, 23' Ils nous tueront tous… FR, 2009, video,
  b/w, French spoken, English subs, 11' 14:30 LES JOURS DE COLERE compiled
  by Sylvain George Afrique 50 René Vautier, FR, 1950, 16mm to video, b/w,
  French spoken, English subs, 17' A caça Manoel de Oliveira, PT, 1964,
  16mm, colour, Portugese spoken, French subs, 21' Prigionieri della
  guerra Angela Ricci-Lucchi & Yervant Gianikian, IT, 2004, colour & b/w,
  sound, 71' 16:45 L'IMPOSSIBLE L'Impossible - Pages arrachées FR, 2009,
  Super 8, DV, 17mm to video, b/w & colour, sound, French spoken, English
  subs, 135'

Ghent, Belgium: COURTisane
20:30, FILM PLATEAU, Paddenhoek 3

  Robert Fenz (1969, Ann Arbor, Michigan) is one of the most singular and
  committed filmmakers breathing new life to avant-garde film traditions
  today. Fenz's films, mostly shot in black and white 16mm, have a rare
  energy and restless beauty that recalls both the jazz-inspired imagery
  of New York School photographers such as Roy DeCarava, but also the
  landscape films of one of Fenz's former teachers, Peter Hutton, and the
  documentary work of Johan van der Keuken and Chantal Akerman, some of
  whose recent film works have actually been shot by Fenz himself. His
  films are personal and poetic portraits of people and places he
  encountered during his many travels in countries such as in Cuba,
  Mexico, Brazil and India. "Though they can be viewed as non-fiction
  works, objectivity is not one of their pretences. Images not words are
  central and the primary means by which their ideas are articulated. In
  each case, meaning is determined by three factors, 'intention,
  circumstance and chance' ingredients filmmaker Robert Gardner describes
  as central to the making of a non-fiction film." Fenz's attitude towards
  filmmaking has also been greatly influenced by jazz improvisation,
  especially by the work of trumpeter Wadada Leo Smith, under whom he
  studied. "Studying music with Leo reinforced my belief that I needed to
  go into the world with an idea – do research on a subject and arrive at
  a place where I would be prepared to adapt and change the film
  completely, in the moment". The most celebrated result of this approach
  is Meditations on Revolution, a series of five films made over seven
  years (1997-2003), exploring the basic theme of revolution in its purest
  qualities: the revolution inscribed in rural and urban spaces, steeped
  in hollowed and smiling faces, dancing on the rhythms of a world in
  constant transition. Robert Fenz has just completed one new film which
  will have its European premiere at the festival: The Sole of the Foot.
  20:30 ROBERT FENZ SELECTION PART 1 Meditations on Revolution, Part V:
  Foreign City Robert Fenz, US, 2003, 16mm, b/w, sound, 32' Perfect Film
  Ken Jacobs, US, 1986, 16mm, b/w, English spoken, 22' Vakantie van de
  Filmer (Filmmakers Holiday) Johan Van der Keuken, NL, 1974, 16mm,
  colour, Dutch spoken, English subs, 38' 22:30 ROBERT FENZ SELECTION PART
  2 Trop tôt, trop tard (Too Early, Too Late) Jean-Marie Straub & Danièle
  Huillet, FR, 1981, 16mm, colour, French spoken, English subs, 105'
  ++++++EXTRA++++++Robert Fenz & Wadada Leo Smith, Fri 01.04.2011, VOORUIT
  /// Robert Fenz and Sylvain George will give a masterclass together on
  Friday 01.04.2011, 10:00 at KASK Cinema.

New York, New York: Microscope Gallery
7pm, 4 Charles Place - Bushwick - Brooklyn NY 11221

  Featuring works by: Peter Buntaine, Takahiko Iimura, Yasue Maetake,
  Jonas Mekas, Jeremy Slater, Stom Sogo, & Leslie Thornton. / / / / / / /
  Admission $8 – Half will be donated to the American Red Cross and
  earmarked for relief efforts in Japan........................... With
  Japan on everyone's mind, we present an evening of short videos dealing
  with the beauty and horror of what is modern Japan. The diverse program
  features experimental works by Japanese artists Stom Sogo, Yasue
  Maetake, & Takahiko Iimura; works of love shot in Japan by New York
  artists Jonas Mekas, Jeremy Slater, and Peter Buntaine who have spent
  time there, and Leslie Thorton's exploration of the aftermath of
  man-made destructions and terror, including
  Hiroshima..............................For more info, call 347.925.1433
  or email info[at]microscopegallery[dot]com

New York: Anthology Film Archives
3:30 pm, 32 2nd Avenue

  Ron Rice CHUMLUM (1964, 23 minutes, 16mm) With Jack Smith, Mario Montez,
  Gerard Malanga. "One of the underground's best and most influential
  films." –Peter Gidal Hans Richter RHYTHMUS 21 (1921, 3 minutes, 16mm,
  b&w, silent) "Its content is essentially rhythm, the formal vocabulary
  is elemental geometry, and the structural principle is counterpoint of
  contrasting opposites." –Standish Lawder EVERYTHING REVOLVES, EVERYTHING
  TURNS / ALLES DREHT SICH, ALLES BEWEGT SICH (1929, 9 minutes, 16mm, b&w,
  silent) Paul Sharits N:O:T:H:I:N:G (1968, 36 minutes, 16mm) Preserved by
  Anthology Film Archives with support from the National Film Preservation
  Foundation. "Based in part on the Tibetan Mandala of the Five Dhyani
  Buddhas/a journey toward the center of pure consciousness (Dharma-Dhatu
  Wisdom)/space and motion generated rather than illustrated/time-color
  energy create virtual shape/in negative time, growth is inverse decay."
  –P.S. "In essence there are only three flicker films of importance,
  ARNULF RAINER, THE FLICKER, and N:O:T:H:I:N:G… In terms of the subject
  we have discussed here, it is Sharits' N:O:T:H:I:N:G that opens the
  field for the structural film with a flicker base." –P. Adams Sitney
  T,O,U,C,H,I,N,G (1969, 12 minutes, 16mm) Newly preserved print! Starring
  poet David Franks whose voice appears on the soundtrack/an uncutting and
  unscratching mandala. "Merges violence with purity." –P. Adams Sitney
  "Surrealist tour de force." –Parker Tyler Total running time: ca. 90
  minutes. Screening as part of the series ESSENTIAL CINEMA

New York: Anthology Film Archives
5:45 pm, 32 2nd Avenue

  See notes for April 1, 7:30 pm.

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

  YOU THE BETTER (1983, 35 minutes, 16mm) "[A] film based on games of
  chance, and as games such as roulette, or craps go, this one is closed –
  meaning that the player cannot really affect the outcome. A team of
  uniformed players, led by the artist Ashley Bickerton, performs the
  mechanics of a game servicing an off-camera betting entity, the 'House'.
  Although the game keeps changing and players are swapped out, one thing
  remains the same, the 'House' is hidden and controls the bets, the
  'chance' of winning is nil. The game, in fact, is not between the
  players, but rather between the 'House', and the 'Bettor'." –E.B.
  CINDERELLA (1986, 30 minutes, 16mm) "[O]wes as much to pinball as to
  Perrault. Although no less fraught with psychosexual tension than Walt
  Disney's version, Beckman drops the fairytale's sibling rivalry and
  Oedipal underpinnings, reworking the heroine's situation as an allegory
  of female socialization. Vintage Beckman, CINDERELLA exhibits the
  filmmaker's characteristic use of ambiguous interior space, stutter-stop
  development, incantatory songs, and dreamlike condensation." –J.
  Hoberman, VILLAGE VOICE HIATUS (1999, 20 minutes, 16mm-to-video) "An
  experimental narrative film about a young woman who plays HIATUS, an
  on-line interactive 'identity' game. Propelled through action by her
  Go-Go cowgirl construct Wanda, and powered by a computer corset that
  stores her programs in a garden interface, Maid meets Wang, a powerful
  take-over artist. She must learn how to use the power of her 'organic
  memory' to block his expansion and preserve her freedom." –E.B. SWITCH
  CENTER (2003, 12 minutes, 16mm) "I chose an abandoned water purification
  plant on the outskirts of Budapest as the setting for Switch Center. In
  conceiving of this film, I was inspired by Léger's early avant-garde
  picture BALLET MÉCANIQUE. In my film, the structure itself comes to life
  through the manipulations of the employees who work inside it. I wanted
  to make a tribute to the kind of futuristic pragmatism expressed by
  these buildings that are now being razed to allow space for shopping
  malls and corporate offices." –E.B. Total running time: ca. 100 minutes.

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

  The joke is that it's actually the day after, but we're carrying the
  prankster spirit of April Fool's to our gallery tonight. But seriously,
  we're celebrating two book launches: David Cox' Sign Wars and Brett
  Kashmere's Incite, both on counter-archival practices. Headlining is
  Gideon C. Kennedy and Marcus Rosentrater's Clandestine, a wholly
  appropriated concoction that narrates the fascinating tale of the Conet
  shortwave-radio broadcasts. These "Numbers Stations" anachronistically
  use human voices to encrypt classified intelligence in haunting,
  repeated cadences of simple numerals. ALSO Banksy in B-Movie, David
  (Wax) Blair's Telepathic Cinema of Manchuria, and Mark Amerika's
  Spectacle Remix. Come early to browse the books at our
  Negativland-enriched reception with toast and jam, Yes Men clips, and
  free TV Sheriff DVDs!


Ghent, Belgium: COURTisane
15:00, FILM PLATEAU, Paddenhoek 3

  Robert Beavers (1949, Brookline, Massachusetts) is one of the most
  influential avant-garde filmmakers of the second half of the 20th
  century. Although born and raised in the United States, he has been
  living and making films in Europe since 1967. His 16mm films, at the
  same time lyrical and rigorous, sensuous and complex, are inhabited by
  the landscapes, the architecture and the cultural traditions of the
  Mediterranean and Alpine cities and countryside where they are filmed,
  and yet reveal deeper personal and aesthetic themes. As he acknowledges
  himself, he strives "for the projected film image to have the same force
  of awakening sight as any other great image." He regards filming as part
  of a complex procedure, which begins in the eyes of the filmmaker and is
  shaped by his gestures in relation to the camera. Beavers's attention to
  the physicality of the film medium is evident also in the editing, a
  fully manual process that leads to a unique form of phrasing. Harry
  Tomicek calls it a form of "cinematic breathing": "an exchange of speech
  and silence, emergence and concealment. Robert Beavers might be the only
  filmmaker in the world whose works announce the mystery of this
  process." Until the late 1990s his films were very rarely shown, but
  recent retrospectives at the Tate Modern London, the Whitney Museum in
  New York, Berkeley Art Museum & Pacific Film Archive in Berkeley and the
  Austrian Film Museum in Vienna have finally brought to his work the
  attention it deserves. Courtisane and Cinematek will join forces to
  present his oeuvre in Ghent and Brussels, a city Beavers has a strong
  attachment to but where his work hasn't been screened in several
  decades. Brussels was not only the first European city where he settled
  together with his partner filmmaker Gregory Markopoulos (1928-1992)
  after leaving the United States but also where his film culture and
  cinephilia developed, thanks to Jacques Ledoux, the then curator of the
  Royal Belgian Film Archive. Ledoux also encouraged Beavers to continue
  making films, and is one of the protagonists of Plan of Brussels (1968).
  From his Early Monthly Segments to his most recent work The Suppliant
  (2010), this selective retrospective in Brussels and Ghent covers more
  than 40 years of work and represents for Beavers an occasion to return
  to the scene of his beginnings as a filmmaker, the Brussels
  Cinémathèque. On the last day of the festival, April 3, Robert Beavers
  will present a selection of films of his own as well as by other
  filmmakers in Ghent. The following week, four more screening programmes
  will follow in Cinematek, the film theatre of the Belgian Royal Film
  Archive. 15:00 ROBERT BEAVERS FILMS PART 1 Ruskin 1975/1997, 35mm, b/w &
  colour, sound, 45' Filmed in Italy (Venice), Switzerland (the Grisons)
  and England (London) The Suppliant 2010, 16mm, colour, sound, 5' Filmed
  in USA (New York) Pitcher of Colored Light 2007, 16mm, colour, sound,
  23' Filmed in USA (Falmouth, Massachusetts) 16:45 CARTE BLANCHE TO
  ROBERT BEAVERS Bagatelle for Willard Maas Marie Menken, US, 1958/1961,
  16mm, colour, silent, 5'30" India Ute Aurand, DE, 2005, 16mm, colour,
  sound, 57' ++++++PROGRAMMES 2,3,4 and 5 at the Brussels CINEMATEK
  between April 5th and April 9th++++++

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

  Los Angeles premieres! Gary Kibbins in person! Expanding his ongoing
  work with new and found footage and his remarkable, dry, and witty
  texts, Kibbins's new films raise profound questions about the languages
  used to construct the world, while at the same time having that rare
  quality of being uniquely, laugh-out-loud funny. Films to be screened
  include: The Unlucky Sailor (9 Unread Chapters of Finnegans Wake)
  (2010), 7 Questions About Bicycles (2009), and How to Lose Consciousness

New York: Anthology Film Archives
4:15 pm, 32 2nd Avenue

  by Paul Sharits 1968-70, 41 minutes, 16mm Preserved by Anthology Film
  Archives with support from the National Film Preservation Foundation. "A
  conceptual lap dissolve from 'water currents' to 'film strip
  currents'/Dedicated to my son Christopher." –P.S. "Yes, S:S:S:S:S:S is
  beautiful. The successive scratchings of the stream-image film is very
  powerful vandalism. The film is a very complete organism with all the
  possible levels really recognized." –Michael Snow

New York: Anthology Film Archives
5:30 pm, 32 2nd Avenue

  SENSELESS 1962, 28 minutes, 16mm. "Consisting of a poetic stream of
  razor-sharp images, the overt content of SENSELESS portrays ecstatic
  travelers going to pot over the fantasies and pleasures of a trip to
  Mexico.... Highly effective cutting subtly interweaves the contrapuntal
  development of themes of love and hate, peace and violence, beauty and
  destruction." –David Brooks THE FLOWER THIEF 1960, 59 minutes, 16mm,
  b&w. Starring Taylor Mead. Preserved by Anthology Film Archives with
  support from the National Film Preservation Foundation. "In the old
  Hollywood movie days movie studios would keep a man on the set who, when
  all other sources of ideas failed (writers, directors), was called upon
  to 'cook up' something for filming. He was called The Wild Man. THE
  FLOWER THIEF has been put together in memory of all dead wild men who
  died unnoticed in the field of stunt." –R.R.

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

  by Ron Rice 1963/82, 109 minutes, 16mm "The film describes, poetically,
  a way of living. The film is a protest which is violent, childish, and
  sincere – a protest against an industrial world based on the cycle of
  production and consumption." –Alberto Moravia, L'ESPRESSO

Oakland, CA: Royal NoneSuch Gallery
8:30 pm – 9:30 pm, 4231 Telegraph Ave

  Sparse Gardens by Rick Bahto consists of a set of field recordings on
  tape lasting approximately 57 minutes. During the hour 36 Kodachrome
  slides, made in the same locations as the field recordings, will be
  projected. Two types of gardened spaces common in Phoenix, Arizona will
  be visually and sonically compared: the fussily landscaped strips and
  islands of parking lots and driveways, as well as vacant lots, bulldozed
  clear of buildings or natural desert, that have been re-inhabited by
  weeds or rogue/remnant landscaping plants. 21 Projects x 21 days x 21
  Hours is a community based social experiment. Drawing on the talents,
  interests, and knowledge of the community, 21 Projects was created with
  the intention of providing a platform for people to exchange resources,
  ideas, experiences, and fun in a dynamic, approachable gallery


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

  Betzy Bromberg returns to REDCAT with Voluptuous Sleep Series (2011),
  her first film in five years and a mesmerizing two-part 16mm meditation
  on the nuances of light, sound and feeling evoked through the poetic
  artifices of cinema. Bromberg's close-up lens becomes a tool of infinite
  discovery that reveals as much about our bodily sensations as it does
  the natural world. Paired with two intricately composed soundtracks
  created in collaboration with Dane A. Davis, Zack Settel, Jean-Pierre
  Bedoyan, Pam Aronoff, James Rees and Robert Allaire, Voluptuous Sleep is
  an emotional tour de force that serves as a rapturous antidote to the
  fragmentation of modern life and a new experience of cinematic time and
  memory. An active filmmaker since 1976, Bromberg has presented work at
  the Museum of Modern Art, Harvard Film Archives, Anthology Film
  Archives, London's National FilmTheatre and the Centre Pompidou, as well
  as numerous international film festivals. In person: Betzy Bromberg


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

  **************** Film/Video Artist Mathew Newman Long presents two of
  his films, "Wayne" and "What We Move is Dead".

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

  Mulholland Drive (2001, 147 min) by DAVID LYNCH "I,m still trying to
  decide if this piece of hocus-pocus … is David Lynch's best feature
  between Eraserhead and Inland Empire. In any case, it's immensely more
  likable than his other stabs at neonoir…, perhaps because it likes its
  characters and avoids sentimentalizing or sneering at them…. Originally
  conceived and rejected as a TV pilot, then expanded after some French
  producers stepped in, it has the benefit of Lynch's own observations
  about Hollywood, which were fresher at this point than his puritanical
  notations on small towns in the American heartland. The best-known
  actors (Ann Miller, Robert Forster, Dan Hedaya) wound up relatively
  marginalized, while the [then]lesser-known talents (in particular the
  remarkable Naomi Watts and the glamorous Laura Elena Harring) were
  invited to take over the movie (and have a field day doing so). The plot
  slides along agreeably as a tantalizing mystery before becoming almost
  completely inexplicable, though no less thrilling, in the closing
  stretches—but that's what Lynch is famous for."- Jonathan Rosenbaum -
  Chicago Reader

San Francisco, California: San Francisco Museum of Modern Art
noon, 151 Third Street

  Free Tuesday program introuced by Tanya Zimbardo, assistant curator of
  media arts, SFMOMA. Zimbardo introduces a range of video works and
  recorded performances primarily from the 1970s that engage in various
  ways with the natural or urban environment. The conceptual experiments
  in the first part of the program reflect on perception and
  disorientation; in the second part, artists move against the backdrop of
  New York's Lower East Side or intervene in public locations in San
  Francisco. Artists include Lawrence Weiner, Joan Jonas, Anthony McCall,
  and Jill Scott, among others. Visit sfmoma.org for program details.


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

  Los Angeles premiere | 2010, 80 min., DigiBeta One of the most original
  voices of post-socialist China, novelist/filmmaker Zhu Wen has crafted,
  for his third feature, a droll, surreal and ironic tale in which East
  meets West… or does it? Thomas is a painter trekking through the
  grasslands of Inner Mongolia, and Mao the scruffy "innkeeper" who lodges
  him. Gradually, what appears to be "reality" shifts. Who is the
  butterfly, who is the philosopher? Preceded by a new animated short by
  Sun Xun: 21G (2010, 27 min., DVD). As part of the screening series
  Disorder and Unexpected Pleasures: Tales from the New Chinese Cinema
  running from April 6th- April 9th. Jack H. Skirball Series $9 [students
  $7, CalArts $5]


Boston, Massachusetts: Boston Center for the Arts
7:00pm, Calderwood Pavilion, 527 Tremont Street, South End

  CALEB WOOD - 7pm / Caleb Davis Wood will screen a series of magical,
  playful shorts that address deeper issues and concerns of mankind,
  including Little Nothing and Little Wild. Wood is currently finishing
  his last semester at Rhode Island School of Design. See Little Nothing
  here: http://vimeo.com/21276122 / Facebook event:
  http://www.facebook.com/event.php?eid=116926811718656 ////////////////
  LANA Z CAPLAN - 8:30pm / Lana Z Caplan's diverse works capture the
  imagination with her poetic camera techniques. Her experimental
  documentary Sospira focuses on nine courageous international women, who,
  on a journey of self-discovery, find love along the Amalfi Coast of
  Italy. Caplan is film/videomaker, photographer and installation artist
  who splits her time between Brooklyn, Boston and the Amalfi Coast of
  Italy. / See the Sospira trailer here:
  http://lanazcaplan.com/sospira.html / Facebook event:

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

  Live performance! Joe Musgrove and Scott Sinclair in person! As Botborg,
  Berlin/Brisbane-based artists and musicians Scott Sinclair and Joe
  Musgrove fuse and rewire raw electronic signals to create intensely
  visceral experiences of sound-color synaesthesia. Using a complex array
  of custom electronics, audio and video mixers, cameras and screens, the
  duo blends sound and vision into a self-perpetuating web of
  interdependent color and rhythm, generated (in real time) entirely by
  device feedback. In their first US duo performance, Musgrove and
  Sinclair will present a new, improvisatory performance, incorporating
  the unique characteristics of the Film Center's theater into their
  system. Botborg's work has screened around the globe and they have
  performed throughout Europe and Australia, including at Ars Electronica
  in Linz, Austria and the Spectropia Festival in Riga, Latvia.
  Co-presented by the experimental music series Lampo. www.lampo.org.
  2011, Joe Musgrove/Scott Sinclair, Australia/Germany, multiple formats,
  ca. 60 mins plus discussion.

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

  Los Angeles premiere | 2010, 91 min., HDCAM Slackers in Inner Mongolia
  meet the poetry of the absurd. In a dreary little northern town, kids
  have nothing to do… while the adults are wily or apathetic. For his
  third feature, poet/filmmaker Li Hongqi effortlessly leads the viewer
  through a series of breathtaking tableaux in which tension accumulates
  and then releases in unexpected, and often wickedly funny, ways. 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
7:30 pm, 32 2nd Avenue

  by Vlada Petric 2011, 150 minutes, video SPECIAL SCREENING! Made in
  collaboration with Anthony Flackett. As a professor of film history and
  theory at Harvard University for more than 25 years (1972-1997) and the
  founding curator of the Harvard Film Archive, Vlada Petric is a
  crucially important figure in American film culture. During his years at
  Harvard, he amassed a veritable museum's worth of photographs,
  reproductions, frame enlargements, photograms, clippings, and miniature
  souvenirs, all of which he 'exhibited' on the wall above his desk. Prior
  to his retirement, Prof. Petric's assistants shot the entire wall with a
  digital camera. And so began the creation of his expansive,
  years-in-the-making, perpetual work-in-progress THE WALL OF MEMORIES.
  Conceived on the collage principle, the piece utilizes this digital
  footage as a kind of 'archival material'. From over 800 items Petric
  selected about 50, concocting sequences dedicated to his favorite film
  directors, as well as to his favorite painters, photographers, and
  designers, and to his own past (a visit to his birth place in Bosnia,
  his return to Harvard's Carpenter Center, and his recollection of his
  studies in Moscow). THE WALL OF MEMORIES is at once a reflection on
  Petric's theory of film aesthetics and a nostalgic examination of a life
  devoted to film.

San Francisco, California: San Francisco Cinematheque
7PM, SFMOMA (151 Third Street, between Mission St. & Howard St.)

  Since 1998, 23five Incorporated has produced the annual Activating The
  Medium festival-an internationally recognized showcase for the most
  innovative and visionary practitioners of sound art. This year's
  festival explored the use of radio through composition and new media
  presentation, with one night held at the San Francisco Museum of Modern
  Art. This evening will feature performances by Richard Garet and Jim
  Haynes & Allison Holt.

Toronto, Ontario, Canada: TIFF Bell Lightbox
7:00pm , 350 King Street West

  Radical Light: Alternative Film and Video in the San Francisco Bay Area,
  1945–2000 In conjunction with the publication of the Pacific Film
  Archive's first book, Radical Light: Alternative Film and Video in the
  San Francisco Bay Area, 1945–2000, BAM/PFA is presenting a touring
  series exploring the themes, movements and rich historical chronology of
  alternative film and video in the Bay Area. Following last season's
  "Landscape as Expression" programme, The Free Screen and the Images
  Festival pair up for a second night of Radical Light. Stories Untold The
  satiric, sensual and striking stories in this programme represent some
  of the ways in which the tale can commingle with the telling to produce
  oddly original offspring. James Broughton's allegorical romp features
  the eponymous enchanted "Bed" as a staging area for life's cycles. Curt
  McDowell is not so enchanted with his return home in A Visit to Indiana.
  Home movies from the heartland play off his droll disappointment. Ever
  pent-up, George Kuchar's prodigiously purple A Reason to Live pits
  meteorological excess against the swelling desires of a man in heat and
  his numerous love objects. The pressure to perform is at the base of Max
  Almy's Deadline, a concise yet effects-laden lamentation. Easy Living
  never is in Chip Lord's horrifically serene look at suburbia, using
  miniature toys to create a landscape of false tranquility. Scott Stark's
  wryly postured I'll Walk with God deploys airline emergency information
  cards to show how stewardesses have unwittingly ascended to a higher
  spiritual plane. Anne McGuire has the last word with All Smiles and
  Sadness, an unfolding soap opera in which its black-and-white characters
  jabber on in airy cliche until George Kuchar arrives to superheat the
  atmosphere. —Steve Seid Steve Seid is co-curator of Radical Light:
  Alternative Film and Video in the San Francisco Bay Area. The Bed dir.
  James Broughton | USA 1968 | 19 min. | 16mm A Visit to Indiana dir. Curt
  McDowell | USA 1970 | 10 min. | 16mm A Reason to Live dir. George Kuchar
  | USA 1976 | 26 min. | 16mm Deadline dir. Max Almy | USA 1981 | 5 min. |
  video Easy Living dirs. Chip Lord & Mickey McGowan | USA 1984 | 19 min.
  | mini-DV I'll Walk with God dir. Scott Stark | USA 1994 | 8 min. | 16mm
  All Smiles and Sadness dir. Anne McGuire | USA 1999 | 8 min. | mini-DV
  Co-presented with Images Festival www.imagesfestival.com Radical Light:
  Alternative Film and Video in the San Francisco Bay Area Book, Film, and
  Video Tour was curated by Kathy Geritz and Steve Seid, Film and Video
  Curators at the University of California, Berkeley Art Museum and
  Pacific Film Archive, and Steve Anker, Dean of the School of Film/Video
  at California Institute of the Arts. The tour is made possible in part
  by the National Endowment for the Arts, The Andy Warhol Foundation for
  the Visual Arts and the William H. Donner Foundation.


Austin, TX: Austin School of Film
8 pm, 1634 E. Cesar Chavez Street

  Join us for an evening of flowing layers and reflected rays! We will be
  rocking out our fog machine to screen Anthony McCall's seminal Line
  Describing a Cone , described as "the most brilliant case of an
  observation on the essentially sculptural quality of every cinematic
  situation." (P. Adams Sitney.) Our smoky program will also feature work
  by Caroline Koebel (the instructor of our upcoming avant-garde film
  class) and Scott Stark!

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

  Director Morgan Fisher in Person Special Event Tickets $12 April 8 at
  7pm The Director and his Actor Look at Footage Showing Preparations of
  an Unmade Film (2) USA 1968, 16mm, b/w, 15 min. Documentary Footage USA
  1968, 16mm, color, 11 min. Phi Phenomenon USA 1968, 16mm, color, 11 min.
  Production Stills USA 1970, 16mm, color, 11 min. Cue Rolls USA 1974,
  16mm, color, 5.5 min. ( ) USA 2003, 16mm, color, 21 min. TRT: 74 min.

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

  Los Angeles premiere | 2009, 133 min., DigiBeta In 2004, at 23, Liu
  Jiayin stunned the world by shooting Oxhide in Cinemascope in her
  parents' 50-square-meter apartment. She is back at REDCAT with an even
  bolder "sequel." More tightly constructed—nine shots that go around a
  kitchen/workshop/dining table in 45-degree increments, performing a
  complete 180-degree match—Oxhide II is also dryly humorous, intelligent
  and insightful, deconstructing the dynamics of a family in crisis. 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]


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.

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Received on Sat Apr 02 2011 - 08:12:20 CDT