Part 1 of 2: This week [October 1 - 9, 2011] in avant garde cinema
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NEW CALLS FOR ENTRIES:
=====================
Cherry Kino, Leeds International Film Festival (Leeds, West Yorkshire, UK; Deadline: September 30, 2011)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1358.ann
3rd Festival du film Merveilleux et Imaginaire (Paris FRANCE; Deadline: April 01, 2012)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1359.ann
International Film Festival Rotterdam (Rotterdam, The Netherlands; Deadline: October 01, 2011)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1360.ann
Need a creative escape?ARTErra rural artistic residency (PT) LAST VACANCIES (Tondela, Portugal; Deadline: September 24, 2011)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1361.ann
The Journal of Short Film Volume 25 (Columbus, Ohio USA; Deadline: October 28, 2011)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1362.ann
Black Maria Film + Video Festival (Jersey City, NJ, USA; Deadline: November 26, 2011)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1363.ann
Fermynwoods Contemporary Art (UK; Deadline: October 24, 2011)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1364.ann
EcoFocus Film Festival (Athens, GA USA; Deadline: October 22, 2011)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1365.ann
DEADLINES APPROACHING:
======================
Midnight Black Festival Of Darkness (Los Angeles CA USA; Deadline: October 08, 2011)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1317.ann
Images Festival (Toronto, Ontario, Canada; Deadline: October 17, 2011)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1336.ann
ARTErra-rural artistic residency (Tondela, Portugal; Deadline: October 31, 2011)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1340.ann
Black Thorns in the Black Box (Chicago. IL USA; Deadline: October 01, 2011)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1346.ann
International Film Festival Rotterdam (Rotterdam, The Netherlands; Deadline: October 01, 2011)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1360.ann
The Journal of Short Film Volume 25 (Columbus, Ohio USA; Deadline: October 28, 2011)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1362.ann
Fermynwoods Contemporary Art (UK; Deadline: October 24, 2011)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1364.ann
EcoFocus Film Festival (Athens, GA USA; Deadline: October 22, 2011)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1365.ann
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THIS WEEK'S PROGRAMS (SUMMARY):
==============================
* At Sea : A Film By Peter Hutton [October 1, Ann Arbor, Michigan]
* Martha Colburn, Super 8 Films, Early and Recent Works [October 1, Brooklyn, New York]
* Jefre Cantu-Ledesma + Paul Clipson [October 1, Essen, Germany]
* Essential Cinema: Blood of A Poet [October 1, New York, New York]
* Essential Cinema: Beauty and the Beast [October 1, New York, New York]
* Essential Cinema: Orpheus [October 1, New York, New York]
* An Intimate Evening With Bruce Baillie [October 1, San Francisco, CA]
* United Nations [October 1, San Francisco, California]
* "Food" By Gordon Matta-Clark, W/ " Charles Simonds: Dwellins" By Rudy
Burckhardt [October 2, Brooklyn, New York]
* The Testament of Orpheus [October 2, New York, New York]
* Orpheus [October 2, New York, New York]
* Beauty and the Beast [October 2, New York, New York]
* The Return of Ben Rivers [October 3, Cambridge, Massachusetts]
* Harun Farocki Program 1 [October 4, New York, New York]
* Eccentricites of A Blonde-Haired Girl [October 4, Reading, Pennsylvania]
* Paul Sharits: An Open Cinema [October 5, Berkeley, California]
* Liminal Spaces In Cinema: Gone To Earth and Union [October 5, New York, New York]
* Harun Farocki Program 2: Between Two Wars [October 5, New York, New York]
* Jaap Pieters Program 1 [October 5, New York, New York]
* Harun Farocki Program 3: Images of the World and the Inscription of War [October 5, New York, New York]
* Memory Ciphered In Celluloid [October 6, Atlanta, Georgia]
* Landscape As Archive [October 6, Chicago, Illinois]
* Harun Farocki Program 4 [October 6, New York, New York]
* Jaap Pieters Program 2 [October 6, New York, New York]
* Harun Farocki Program 5: Before Your Eyes, vietnam [October 6, New York, New York]
* Harun Farocki Program 7 [October 7, New York, New York]
* Views From the Avant Garde: the Soul and the Stem [October 7, New York, New York]
* Views From the Avant Garde: Upending [October 7, New York, New York]
* Views From the Avant Garde: Ben Rivers [October 7, New York, New York]
* Views From the Avant Garde: Seeking the Monkey King [October 7, New York, New York]
* Views From the Avant Garde: Ernie Gehr [October 7, New York, New York]
* Views From the Avant Garde: Bitches Brew [October 7, New York, New York]
* Views From the Avant Garde: George Kuchar [October 7, New York, New York]
* Views From the Avant Garde: Ladders and Tracks [October 7, New York, New York]
* Views From the Avant Garde: Studies For the Decay of the West [October 8, New York, New York]
* Views From the Avant Garde: Cabinet of Curiosities [October 8, New York, New York]
* Harun Farocki Program 3: Images of the World and the Inscription of War [October 8, New York, New York]
* Harun Farocki Program 1 [October 8, New York, New York]
* Harun Farocki Program 6: How To Live In the Federal Republic of Germany [October 8, New York, New York]
* In Comparison [October 8, New York, New York]
* Harun Farocki Program 9 [October 8, New York, New York]
* Views From the Avant Garde: Looking Through A Glass Onion [October 8, New York, New York]
* Views From the Avant Garde: Jean-Marie Straub [October 8, New York, New York]
* Views From the Avant Garde: Voluptuous Sleep [October 8, New York, New York]
* Views From the Avant Garde: Daniel Eisenberg: the Unstable Object [October 8, New York, New York]
* Views From the Avant Garde: Kevin Jerome Everson [October 8, New York, New York]
* Views From the Avant Garde: Jerome Hiler & Nathaniel Dorsky [October 8, New York, New York]
* Views From the Avant Garde: John Zorn: A Film In 15 Scenes [October 8, New York, New York]
* Views From the Avant Garde: George Kuchar [October 8, New York, New York]
* Webmasters/Webslaves [October 8, San Francisco, California]
* Dream States: the Avant-Garde of the 1940s and 1950s [October 9, Los Angeles, California]
* Harun Farocki Program 6: How To Live In the Federal Republic of Germany [October 9, New York, New York]
* Creators of the Shopping Worlds [October 9, New York, New York]
* Harun Farocki Program 11 [October 9, New York, New York]
* Harun Farocki Program 12 [October 9, New York, New York]
* Views From the Avant Garde: the Soul and the Stem [October 9, New York, New York]
* Views From the Avant Garde: virgin Springs [October 9, New York, New York]
* Views From the Avant Garde: Jerome Hiler & Nathaniel Dorsky [October 9, New York, New York]
* Views From the Avant Garde: the Pettifogger [October 9, New York, New York]
* Views From the Avant Garde: Ladders and Tracks [October 9, New York, New York]
* Views From the Avant Garde: John Zorn: A Film In 15 Scenes [October 9, New York, New York]
* Views From the Avant Garde: the Red and the Black [October 9, New York, New York]
Events are sorted by CITY within each DATE.
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SATURDAY, OCTOBER 1, 2011
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10/1
Ann Arbor, Michigan: Studies and Observations Group
http://www.aafilmfest.org/events
8pm, 327 Braun Ct
AT SEA : A FILM BY PETER HUTTON
AT SEA (16mm, 2007) by Peter Hutton. Studies and Observations No.1.
Organized by the Studies and Observations Group. Co-presented by the Ann
Arbor Film Festival. "Hutton's most recent film—a riveting and
revelatory chronicle of the birth, life, and death of a colossal
container ship—is unquestionably one of his most ambitious and profound.
A haunting meditation on human progress, both physical and metaphorical,
At Sea charts a three-year passage from twenty-first-century ship
building in South Korea to primitive and dangerous ship breaking in
Bangladesh, with an epic journey across the North Atlantic in between."-
MoMA.
10/1
Brooklyn, New York: Microscope Gallery
http://www.microscopegallery.com
7PM, 4 Charles Plaxe (at Myrtle Ave btwn Bushwick and Evergreen Aves)
MARTHA COLBURN, SUPER 8 FILMS, EARLY AND RECENT WORKS
Artist in Person! – Admission $6. For the final weekend of the group
exhibition INDEPENDENCE RETURNS, we have invited artist Martha Colburn
to screen a program of her radical animated films. Colburn will bring
her Super-8 projector and a selection or works, including her 'off beat'
early films featuring Jad Fair and Boredoms Music as well as a selection
of newer films. Included in the program will be sound Super 8 films made
live of her friends playing a variety of music. Artists playing include
Tony Conrad, Felix Kubin and Helena Espvall. Colburn also has a collage
work and a video on view in the exhibition.Approximately 45 minutes. -
Martha Colburn is a filmmaker and artsit. She is best known for her
animation films, which are created through puppetry, collage, and paint
on glass techniques. She has made over forty films since 1994. Colburn
has also been fervently involved in playing music. One out of numerous
groups she has been a part of is The Dramatics, a band she formed in
Baltimore with Jason Willett. Recently in her career, Colburn has made
sculptural/video installation work and experimented with integrating her
films with musical performance. Yet music and film have always shared a
deep connection within Colburn's work. She has made films for System of
a Down singer Serj Tankian, Jad Fair of Half Japanese, contributed
animation to the documentary The Devil and Daniel Johnson, and VJs for
the band Deerhoof. She has performed with live projections and bands at
The San Francisco Museum of Modern Art (2009), The Rotterdam Film
Festival (2010), Anthology Film Archives (NYC), and many others. In 2010
her film Triumph of the Wild was included in the collection of the
Philadelphia Museum of Art and the Museum of Modern Art in New York.
More info: www.microscopegallery.com. tel: 347.925.1433. Nearest Subway:
J/M/Z - Broadway/Myrtle Ave. Also, L - Morgan Ave or Jefferson Street.
10/1
Essen, Germany: Denovali Swingfest Experimental Music Festival
http://denovali.com/swingfest/?lineup
8:30pm, WeststadtHalle, Thea-Leymann-Str. 23 45127
JEFRE CANTU-LEDESMA + PAUL CLIPSON
This duo creates unique live performances with music and Super 8mm-
largely improvised in-camera edited works, employing multiple exposures,
dissolves and macro images, that bring to light subconscious
preoccupations and unexpected visual forms.
10/1
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
5:30 pm, 32 2nd Avenue
ESSENTIAL CINEMA: BLOOD OF A POET
by Jean Cocteau In French with English subtitles, 1930, 53 minutes,
35mm, b&w (LE SANG D'UN POÈTE) "Adolescent angels wandering about, black
boxers with perfect bodies taking flight, school-children in capes
killing each other with snowballs, a mirror becomes a swimming pool, and
the hallways of a furnished hotel turn into a labyrinth." –Georges
Sadoul
10/1
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
7:00 pm, 32 2nd Avenue
ESSENTIAL CINEMA: BEAUTY AND THE BEAST
by Jean Cocteau In French with English subtitles, 1946, 93 minutes,
35mm, b&w (LA BELLE ET LA BÊTE) With Jean Marais and Josette Day; score
by Georges Auric. "[P]erhaps the most sensuously elegant of all filmed
fairy tales. As a child escapes from everyday family life to the magic
of a storybook, so, in the film, Beauty's farm, with its Vermeer
simplicity, fades in intensity as we are caught up in the Gustave Dore
extravagance of the Beast's enchanted landscape. …Jean Marais is a
magnificent beast." –Pauline Kael
10/1
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
9:00 pm, 32 2nd Avenue
ESSENTIAL CINEMA: ORPHEUS
by Jean Cocteau In French with English subtitles, 1950, 95 minutes,
35mm, b&w (ORPHÉE) With Jean Marais. Orpheus and Eurydice, with Death
waiting on the corner. Cocteau said, "Orpheus could only exist on the
screen. A drama of the visible and the invisible, ORPHEUS's Death is
like a spy who falls in love with the person being spied upon. The myth
of immortality."
10/1
San Francisco, CA: Canyon Cinema
http://www.canyoncinema.com
7:00pm, 145 Ninth Street
AN INTIMATE EVENING WITH BRUCE BAILLIE
Join us in celebration of Canyon Cinema's 50th anniversary this fall for
a series screenings and events hosted at Ninth Street Cinema with a
generous grant from the Academy of Motion Picture Arts and Sciences.
August - December 2011 Canyon Cinema, one of the world's premier
experimental film distribution centers is in the process of celebrating
its 50th year anniversary. ...Undoubtedly, Canyon Cinema has become
synonymous with Bay Area independent and experimental film. At present,
Canyon Cinema has 320 members worldwide and distributes more than 3,200
films and hundreds of DVDs. As we have actively grown over the past
fifty years, Canyon has chronicled the history of this unique genre.
Join us this fall as we celebrate our anniversary and remember our
shared lineage with the Bay Area experimental film scene through a
series of screenings at the Ninth Street Independent Film Center, 145
Ninth Street San Francisco, CA 7pm and a special program at the San
Francisco Museum of Modern Art, Third Street, San Francisco, CA An
Intimate Evening with Bruce Baillie Please join us for a screening of a
newly preserved work print of the HOLY SCROLLS Reel I as well as rare,
never before seen "oddments from the Archives plus Roslyn Romance"--BB
$7 general; $5 students and seniors
10/1
San Francisco, California: Other Cinema
http://www.othercinema.com/
8:30, ATA, 992 Valencia Street
UNITED NATIONS
SAM GREEN'S UNIVERSAL LANGUAGE + L'INTERNATIONALE + Our good man Sammy
Green returns to Frisco with the world premiere of his half-hr.
cine-essay on Esperanto, a language developed to be spoken by all the
planet's peoples, and whose remaining adherents afford an inspiring face
of utopianism. After Green's in-person intro, we look at two other
internationalist pieces: Peter Miller's L'Internationale, a
fascinating—and moving—history of this famous "people's anthem," and
Philip Stapp's artful animation Picture in Your Mind, an epic allegory
on the human potential for war and peace. NOTE: BOOK POTLATCH! Bring in
your used books to trade with others!!
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SUNDAY, OCTOBER 2, 2011
-----------------------
10/2
Brooklyn, New York: Microscope Gallery
http://www.microscopegallery.com
7PM, 4 Charles Plaxe (at Myrtle Ave btwn Bushwick and Evergreen Aves)
"FOOD" BY GORDON MATTA-CLARK, W/ " CHARLES SIMONDS: DWELLINS" BY RUDY
BURCKHARDT
Admission $6. Approximately 55 minutes. Mary Billyou presents in
connection with the Round Robin Collective Live/Work Space Events a
screening of Gordon Matta-Clark's Food, about the legendary SoHo
restaurant and food cooperative (shot by Robert Frank), along with Rudy
Burckhardt's Charles Simonds: Dwellings, a film which captures the
sculptor and architect and his miniature works among the dilapidated
structures in the Lower East Side. Both were shot in early 70s New York.
"Food", Gordon Matta-Clark 1972, 43 min, b&w, sound, 16 mm film on
video. This film documents the legendary SoHo restaurant and artists'
cooperative Food, which opened in 1971. Owned and operated by Caroline
Goodden, Food was designed and built largely by Matta-Clark, who also
organized art events and performances there. As a social space, meeting
ground and ongoing art project for the emergent downtown artists'
community, Food was a landmark that still resonates in the history and
mythology of SoHo in the 1970s. Camera and Sound: Robert Frank, Suzanne
Harris, Gordon Matta-Clark, Danny Seymour. Editing: Roger Welch.
"Charles Simonds: Dwellings" Rudy Burckhardt, 1974, 12 mins, 16mm copy.
American sculptor and architect Charles Simonds is seen during the
winter of 1974 when he spent his days among the devastated tenements and
vacant lots of Manhattan's Lower East Side, sculpting clusters of
miniature dwellings for an imaginary civilization. These structures
abandoned by an imaginary civilization of "Little People," are nestled
in crevices of deteriorating buildings and crumbling sidewalks. Evokes
themes of survival, dependency, fragility and visionary idealism. more
info: www.microscopegallery.com. tel: 347.925.1433. J/M/Z -
Myrtle/Broadway. L - Morgan Ave or Jefferson Street.
10/2
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
4:30 pm, 32 2nd Avenue
THE TESTAMENT OF ORPHEUS
by Jean Cocteau In French with no subtitles (English synopsis
available), 1959, 83 minutes, 35mm, b&w (LE TESTAMENT D'ORPHÉE) To
Cocteau, "poet" meant the creative artist, and the Orpheus of Greek
mythology – the god of the lyre, song and poetry – was Cocteau's
personal muse. For Cocteau the plight of the poet was an unending search
for truth and immortality, a life of suffering and martyrdom during
which the poet must experience many deaths."
10/2
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
6:30 pm, 32 2nd Avenue
ORPHEUS
See program notes for October 1st.
10/2
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
8:30 pm, 32 2nd Avenue
BEAUTY AND THE BEAST
See program notes for October 1st.
-----------------------
MONDAY, OCTOBER 3, 2011
-----------------------
10/3
Cambridge, Massachusetts: Harvard Film Archive
http://hcl.harvard.edu/hfa
7pm, Harvard Film Archive, 24 Quincy Street
THE RETURN OF BEN RIVERS
The Harvard Film Archive welcomes back British experimental filmmaker
and radical ethnographer Ben Rivers (b. 1972) for a screening of two
recent works, Slow Action and Sack Barrow that extend his fascination
with science fiction, travel and the interweaving of the fantastic and
the quotidian. Slow Action is a four-part microcosmic study of remote
islands united by a certain uncanny logic of place and by the film's
hypnotic documentary-style voiceover written by cult sci-fi author and
art critic Mark von Schlegell. Journeying from the Canary Islands to
Japan to Polynesia and then back to South West England, Rivers gradually
reveals the larger associative constellation created by his overripe
imagination which actively channels Robert Smithson, Hammer films and
the heroic dream of National Geographic expeditions. Filmed in
anamorphic 16mm, Slow Action "stretches" across space and time, reaching
back to the geologic past while also pointing towards an uncertain and
entropic future. Sack Barrow, meanwhile, is a poetic essay on labor and
history that captures the final shuttering of a pre-WWII factory for
injured soldiers, following the routines of the last workers and work
days and lingering afterwards. Rivers' obsession with the "outdated" –
that which is anachronistic and yet somehow suspended out of time –
finds renewed poignancy and enigma in the slow decay of the factory's
Industrial Age machines. This program is presented in conjunction with
the Film Study Center. Director Ben Rivers in person Special Event
Tickets $12 Slow Action Monday October 3 at 7pm Directed by Ben Rivers
UK 2010, 16mm, color & b/w, 45 min Followed by Sack Barrow Directed by
Ben Rivers UK 2011, 16mm, color, 21 min
------------------------
TUESDAY, OCTOBER 4, 2011
------------------------
10/4
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
7:30 pm, 32 2nd Avenue
HARUN FAROCKI PROGRAM 1
INEXTINGUISHABLE FIRE / NICHT LÖSCHBARES FEUER 1969, 25 minutes, 16mm.
One of Farocki's earliest works, this film looks at the impact and
manufacture of napalm, the deadly chemical weapon used frequently during
the Vietnam War, and brings to the surface the hidden relationships
between labor, industry, and destruction. Its point of departure is
Farocki's observation that, "When napalm is burning, it is too late to
extinguish it. You have to fight napalm where it is produced: in the
factories." Doing just that, Farocki defiantly names names: the producer
is Dow Chemical, located in Midland, Michigan. & WAR AT A DISTANCE /
ERKENNEN UND VERFOLGEN 2003, 58 minutes, video. "In 1991, when images of
the Gulf War flooded the international media, it was virtually
impossible to distinguish between real pictures and those generated on
computer. This loss of bearings was to change forever our way of
deciphering what we see. The image is no longer used only as testimony,
but also as an indispensable link in a process of production and
destruction. This is the central premise of WAR AT A DISTANCE, which
continues the deconstruction of claims to visual objectivity Farocki
developed in his earlier work." –Antje Ehmann
10/4
Reading, Pennsylvania: Berks Filmmakers, Inc
http://www.berksfilmmakers.org
7:30 pm, Albright College Center for the Arts
ECCENTRICITES OF A BLONDE-HAIRED GIRL
Portuguese director, MANOEL DE OLIVEIRA - who was 100 years old at the
time of filming – creates this love story as told by a man whose
thwarted romance with a beautiful young blonde-haired girl still haunts
him. "The amused attitude of "Eccentricities of a Blond Hair Girl" is
that of a Shakespeare comedy. Its morality, such as it is, is distilled
in a seemingly throwaway observation: "Commerce shuns a sentimental
accountant."- Stephen Holden, New York Times
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WEDNESDAY, OCTOBER 5, 2011
--------------------------
10/5
Berkeley, California: Pacific Film Archive
http://www.bampfa.berkeley.edu/
7:30, 2575 Bancroft Way
PAUL SHARITS: AN OPEN CINEMA
Wednesday, October 5, 2011 7:30 p.m. Paul Sharits: Early Work Paul
Sharits (U.S., 1966–1971). Introduced by Federico Windhausen. Sharits's
early films make provocative reference to sexuality, violence, and
self-destruction amidst striking formal experimentation. Includes Razor
Blades, Word Movie/Flux Film, and T,O,U,C,H,I,N,G, and Inferential
Current. (50 mins) -- A pioneer of the flicker film, Paul Sharits
(1943–93) trained in painting and graphic design before turning to film.
This background is apparent throughout his work, which juxtaposes
intense pulses of color with repeated words or sound tones, and often
takes the form of multiprojector pieces or installations. A long-time
teacher at SUNY Buffalo, Sharits sought to bring about "entirely new
definitions of the film viewing and making enterprise." His ultimate
goal was to retrain viewers' senses, which he saw as caught up in the
overloading stimuli of the "electric age." Tracing the legacy of this
pedagogical aim, this retrospective series (Oct. 5-13, 2011), featuring
many new preservation prints, surveys Sharits's career as he
continuously evolves what it means to "open up" the cinematic medium. He
envisioned his films—with their equal parts abrasion and elegance—as a
type of perceptual retuning or shock treatment that could reawaken
viewers' dulled capacities for feeling and cognition. In a vivid
endorsement, Stan Brakhage characterized Sharits's cinema as a "healing
fever cycle" that could be felt flooding through the viewer's veins. A
piece from Paul Sharits's Frozen Film Frames (c. 1969), which consists
of serial arrangements of colored filmstrips encased in suspended
plastic, will be on display at BAM/PFA during this series.--Jennifer
Pranolo, Guest Curator
10/5
New York, New York: Flaherty Series / 92YTribeca
http://www.92y.org/Tribeca/Event/Gone-To-Earth-and-Union.aspx
7:30pm, 200 Hudson Street
LIMINAL SPACES IN CINEMA: GONE TO EARTH AND UNION
UNION: In Clipson's unnervingly beautiful Super 8 short, he explores
movement into layers of time, with an ambiguous confluence of lights,
colors and darkness. For the mood and the settings, Clipson was inspired
by the nature scenes in Gone to Earth and Union was an attempt to
address the inexplicable magic of the role of landscape and motion in
the Powell/Pressburger film. Clipson, a San Francisco artist, will be in
attendance (viewing Gone to Earth in a 35mm print for the first time)
and will discuss both films in a post-screening discussion. Director:
Paul Clipson. 15 min. 2010. 16mm.GONE TO EARTH: In this, Michael
Powell's and Emeric Pressburger's rarely screened, enchanted Technicolor
masterpiece, Jennifer Jones is a half gypsy who runs barefoot through
the rolling Welsh countryside with her pet fox (named Foxy) in arm. The
gorgeous Jones as Hazel is pursued by both a kind pastor who wants to
save her and a brutal Baron who wants to savage her. Hazel is torn
between the two, but really belongs to the forest and hills where she
feels most at home. Director: Michael Powell & Emeric Pressburger. 110
min. 1950. 35mm.
10/5
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
7:00 pm, 32 2nd Avenue
HARUN FAROCKI PROGRAM 2: BETWEEN TWO WARS
BETWEEN TWO WARS / ZWISCHEN ZWEI KRIEGEN 1978, 83 minutes, 16mm "An
essay film about the time of the blast furnaces – 1917-1933 – about the
development of an industry, about a perfect machinery which had to run
itself to the point of its own destruction. … The clarity and the
precise ordering of his black-and-white images, which do not illustrate
thoughts but are themselves thoughts, are reminiscent of late Godard.
The poverty of this film – its production took six years – is at the
same time its strength." –Hans C. Blumenberg, DIE ZEIT
10/5
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
7:30 pm, 32 2nd Avenue
JAAP PIETERS PROGRAM 1
OCTOBER: JAAP PIETERS There is something inexplicable and strangely
exquisite about the Super-8mm films of Dutch artist Jaap Pieters. A
longtime icon of small-gauge filmmaking who has shown in cinemas, art
spaces, and festivals throughout Europe, Pieters is often compared to
Warhol because of his preference for single takes and a fixed camera.
The films generally focus on the down-and-out passersby on the street
outside his home in Amsterdam, and many of the movies are actually shot
from his window. Possessed with an empathetic eye and incredible timing,
Pieters captures metaphorical images and private performances that
transcend the everyday moments in which they were framed. We are
thrilled to have Pieters in person to present these two programs
featuring a number of 35mm blow-ups made by the EYE Film Institute
Netherlands. Rounding out the screenings is an illuminating documentary
portrait of Pieters by his colleague Fred Pelon. This program has been
made possible thanks to the generous support of the Mondriaan
Foundation; very special thanks to Coby Reitsma (Mondriaan Foundation),
and to Claartje Opdam, Marta Jurkiewicz & Anna Abrahams (EYE Film
Institute Netherlands), and Travis Bird. Please note: the films are
listed chronologically, but will be screened in a different order.
PROGRAM 1: All films in this program are on Super-8mm. THE TROLLEYMAN /
DE WINKELWAGENMAN (1991, 3.5 minutes, silent) WILLIAM THE FIRST, WILLIAM
THE SECOND, WILLIAM THE THIRD / WILLEM I, WILLEM II, WILLEM III (1991,
17 minutes) THE HOGWEED / DE BEREKLAUW (1992, 3.5 minutes, silent) KIM &
STEVEN (1994, 3.5 minutes, silent) STRINGLESS / SNAARLOOS (1994, 3.5
minutes, silent) SCREAMMAN / SCHREEUWMAN (1994, 3.5 minutes, silent)
TEARS FROM DADDY'S SUIT / TRANEN UIT PAPA'S PAK (1994, 5.5 minutes,
silent) SUDSCRUBBING / SCHUIMSCHROBBEN (1995, 3.5 minutes, silent) THE
FLYER / DE VLIEGENIER (1995, 3.5 minutes, silent) MEATTRANSPORT /
VLEESVERVOER (1995, 3.5 minutes, silent) PASSERS-BY ON A SUNDAY /
PASSANTEN OP ZONDAG (1996, 3.5 minutes, silent) CLEAR VIEWS / SCHONE
UITZICHTEN (1997, 2.5 minutes, silent) THE WEIGHT / HET GEWICHT (A.K.A.
WHO'S AFRAID OF RED, YELLOW & BLUE) (1998, 6.5 minutes, silent) SILVER
GREY WAVES ON THE LAND, OR THE WHITE SEA (WITH THANX TO TGR) / ZILVER
GRIJZE GOLVEN OP HET LAND, OF DE WITTE ZEE (MET DANK AAN TGR) (2000, 3.5
minutes, silent) SWISSSPIDER / SPINSUISSE (2000, 3.5 minutes, silent)
THE FURIOUS WITH BOTTLE & CAN / DE WOEDENDE MET FLES & BLIK (2002, 1.5
minutes, silent) MICHEL'S SHADOWWORKS / MICHELSSCHADUWWERKING (2004, 3.5
minutes, silent) SPACESHIP SUISSE / RAUMSCHIFF SCHWEIZ (1994/2007, 8.5
minutes, silent) Total running time: ca. 90 minutes.
10/5
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
9:00 pm, 32 2nd Avenue
HARUN FAROCKI PROGRAM 3: IMAGES OF THE WORLD AND THE INSCRIPTION OF WAR
IMAGES OF THE WORLD AND THE INSCRIPTION OF WAR / BILDER DER WELT UND
INSCHRIFT DES KRIEGES 1988, 75 minutes, 16mm. "A fascinating film essay
about photography…. Central to the argument of this film are some aerial
photographs of Auschwitz taken by American bombers looking for factories
and power plants and missing the lines of people in front of the gas
chambers – which are contrasted with Nazi photographs and images drawn
by an Auschwitz prisoner, Alfred Kantor. Farocki's provocative
reflections on these and related matters and his highly original
manipulation of music make this an excellent introduction to his work,
which has seldom been visible in this country." –Jonathan Rosenbaum,
CHICAGO READER
-------------------------
THURSDAY, OCTOBER 6, 2011
-------------------------
10/6
Atlanta, Georgia: Contraband Cinema
http://contrabandcinema.com
8pm, Plaza Theater 1049 Ponce De Leon Avenue
MEMORY CIPHERED IN CELLULOID
Film has always been an adversary of time. Whether it functions to
recall, preserve, or condition, each of these films employs memory as
the operational motive. Center stage is the Georgia premiere of The
Florestine Collection. The final film by experimental animator Helen
Hill as completed by her husband, Paul Gailiunas. It capsulizes their
time in New Orleans, leading up to Hurricane Katrina and her untimely
death. It exists as a memory ciphered in flood damaged home movies and
the salvaged sections of Hill's animation; Bill Morrison's The Film of
Her witnesses a dissident desire to preserve film's earliest memories;
and RUDERMEDIA's Film Education, a cluster of 16mm educational films,
demonstrates an attempt to alter collective cognizance. This exhibition
of memory soaked cinema will screen at the Plaza Theatre, currently
enduring its own campaign against the march of time. $6 admission. Come
early to memorialize the occasion with 5 free seconds in the Super-8
Filmbooth.
10/6
Chicago, Illinois: Conversations at the Edge
http://www.saic.edu/cateblog
6pm, Gene Siskel Film Center, 164 N. State Street
LANDSCAPE AS ARCHIVE
Filmmakers Bill Brown and Lee Anne Schmitt in person! In recent years, a
number of artists have turned to the landscape itself--using everything
from iPhone apps to walking tours--to examine the ways in which ideas,
events, and cultures are recorded in the terrain. Curated by filmmaker
and SAIC professor Thomas Comerford (Indian Boundary Line, 2010), this
evening's program investigates the notion of landscape as archive. Bill
Brown's distinctively narrated travelogue, Mountain State (2003), views
historical markers across West Virginia (as well as the ghosts that
haunt them) as indices of US westward expansion in the 18th and 19th
centuries. Lee Lynch's and Lee Anne Schmitt's Bower's Cave (2010)
explores the implications of the geographic proximity of a California
landfill to a cave once containing Native American cultural objects.
Sarah J. Christman's Dear Bill Gates (2006) addresses not only how the
mining industry has reshaped the landscape of Pennsylvania, but also how
mines serve as literal archives for the cultural ephemera collected by
the film's namesake. Multiple directors, 2003-2010, USA, 16mm, ca. 60
min plus discussion.
10/6
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
7:00 pm, 32 2nd Avenue
HARUN FAROCKI PROGRAM 4
JEAN-MARIE STRAUB AND DANIÈLE HUILLET AT WORK ON FRANZ KAFKA'S 'AMERIKA'
/ JEAN-MARIE STRAUB UND DANIÈLE HUILLET BEI DER ARBEIT AN EINEM FILM
1983, 26 minutes, 16mm. At once a self-portrait and an homage to
Jean-Marie Straub, a major influence on Farocki, this film shows
Farocki, under Straub's direction, rehearsing for his role as Delamarche
in the film CLASS RELATIONS (1983). & WORKERS LEAVING THE FACTORY /
ARBEITER VERLASSEN DIE FABRIK 1995, 36 minutes, video. Farocki considers
the implications of an image that has been depicted throughout cinematic
history, starting with the famous Lumière brothers' film. Farocki shows
several variations of this scene from different films in order to
examine its meaning as a historic and filmic trope.
10/6
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
7:30 pm, 32 2nd Avenue
JAAP PIETERS PROGRAM 2
PROGRAM 2: The 35mm blow-ups presented in this program are courtesy of
the EYE Film Institute Netherlands. THE TINCANMAN / DE BLIKJESMAN (1991,
3.5 minutes, Super8-to-35mm, silent) JIMMY'S BALLET (1993, 3 minutes,
Super8-to-35mm, silent) THE CUPSDANCE / DE KOPJESDANS (1994, 2.5
minutes, Super8-to-35mm) ZÜRICH BLISSNESS / ZÜRCHER ZEGNERIN (2000, 3.5
minutes, Super8-to-35mm, silent) OPWAAIINGEN (2010, 3 minutes,
Super8-to-35mm) WINDE'S BLISS / WINDE'S GELUK (2010, 3 minutes,
Super8-to-35mm) With: Fred Pelon JAAP PIETERS PORTRAIT 2006, 45 minutes,
video, b&w. In Dutch with English subtitles. In this video portrait of
Pieters, which premiered at the 2006 Rotterdam Film Festival, 'the Eye
of Amsterdam' is filmed in his home, where his moving struggle with the
plethora of objects he's collected becomes a symbol for his inner life.
Organizing, controlling, and re-collecting the chaos by means of
photography becomes a way of treasure hunting and finding. The filmmaker
joins Pieters in the search for his heater, but ends up becoming part of
the collection. Total running time: ca. 70 minutes.
10/6
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
8:45 pm, 32 2nd Avenue
HARUN FAROCKI PROGRAM 5: BEFORE YOUR EYES, VIETNAM
BEFORE YOUR EYES, VIETNAM / ETWAS WIRD SICHTBAR 1981, 114 minutes, 16mm.
"This film marks a definitive turning point in Farocki's career. Here he
returns to the topic of the Vietnam War, to take stock of the legacy of
the student movement, his own earlier ideal of guerilla film production,
and the dream of a certain form of didactic cinema. The earlier goal…of
a cinema that could 'bring everything together' in a totalizing act of
cognition has given way to a sense that the given and visible world is
too complex and inherently ambiguous for such an aesthetic; guerilla
tactics and techniques are shown to be recuperable within the logic of
capital; and the ultimate fantasy of the student movement, to reshape
the world in the image that it projected, is shown to be an almost
arrogant fantasy." – Christopher Pavsek, ROUGE
-----------------------
FRIDAY, OCTOBER 7, 2011
-----------------------
10/7
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
9:00 pm, 32 2nd Avenue
HARUN FAROCKI PROGRAM 7
AN IMAGE / EIN BILD 1983, 25 minutes, 16mm. "Four days spent in a studio
working on a centerfold photo for Playboy magazine provided the subject
matter for my film. The magazine itself deals with culture, cars, a
certain lifestyle. Maybe all those trappings are only there to cover up
the naked woman. Maybe it's like with a paper-doll. The naked woman in
the middle is a sun around which a system revolves: of culture, of
business, of living! (It's impossible to either look or film into the
sun.) One can well imagine that the people creating such a picture, the
gravity of which is supposed to hold all that, perform their task with
as much care, seriousness, and responsibility as if they were splitting
uranium." –H.F. & A DAY IN THE LIFE OF THE CONSUMER / EIN TAG IM LEBEN
DER ENDVERBRAUCHER 1993, 44 minutes, video. Farocki plunders 40 years of
advertising films, orchestrating them into an ironic 24 hours in the
life of the typical consumer. This collage of 'beautiful images',
gleeful and chaotic, deconstructs not only the domestic reference points
which punctuate our daily life, but also gives full rein to an offbeat
humor.
10/7
New York, New York: New York Film Festival
http://www.filmlinc.com/nyff/nyff.htm
12:30pm, Francesca Beale Theater
VIEWS FROM THE AVANT GARDE: THE SOUL AND THE STEM
Señora con Flores / Woman with Flowers: Chick Strand; Jan Villa: Natasha
Mendonca; The Sole of the Foot: Robert Fenz; Correspondence: Robert Fenz
10/7
New York, New York: New York Film Festival
http://www.filmlinc.com/nyff/nyff.htm
1pm, Walter Reade Theater
VIEWS FROM THE AVANT GARDE: UPENDING
OpenEndedGroup, U.S., 2011, 65m (digital 3-D). Filmmakers in person!
10/7
New York, New York: New York Film Festival
http://www.filmlinc.com/nyff/nyff.htm
3:15pm, Francesca Beale Theater
VIEWS FROM THE AVANT GARDE: BEN RIVERS
Sack Barrow: U.K., 2011, 21m; Slow Action: U.K., 2010, 45m. Filmmaker in
person!
10/7
New York, New York: New York Film Festival
http://www.filmlinc.com/nyff/nyff.htm
3:30pm, Walter Reade Theater
VIEWS FROM THE AVANT GARDE: SEEKING THE MONKEY KING
Ken Jacobs, U.S., 2011, 40m. Filmmaker in person at the October 7
screening!
10/7
New York, New York: New York Film Festival
http://www.filmlinc.com/nyff/nyff.htm
5:30pm, Walter Reade Theater
VIEWS FROM THE AVANT GARDE: ERNIE GEHR
Crystal Palace: U.S., 2002-11, 28m; Thank You For Visiting: U.S., 2010,
12m; Mist: U.S., 2010, 9m; ABRACADABRA: U.S., 2009, 39m. Filmmaker in
person!
10/7
New York, New York: New York Film Festival
http://www.filmlinc.com/nyff/nyff.htm
5:45pm, Francesca Beale Theater
VIEWS FROM THE AVANT GARDE: BITCHES BREW
Posthaste Perennial Pattern: Jodie Mack, U.S., 2010, 3m 38s;
Babobilicons: Daina Krumins, U.S., 1982, 16m (35mm preservation by the
Academy Film Archive); You Are Now Running On Reserve Battery Power:
Jessie Stead, U.S., 2011, 11m; Hull: Tara Merenda Nelson, U.S., 2011, 7m
32s; from Jhana and the Rats of James Olds: The Phone Call : Stephanie
Barber, U.S., 2011, 1m; Billy and the Magician: Stephanie Barber, U.S.,
2011, 3m 18s; Little Kitten: Stephanie Barber, U.S., 2011, 42s; Level of
Zero Buoyancy: Stephanie Barber, U.S., 2011, 4m 53s; Romance Novels:
Stephanie Barber, U.S., 2011, 1m 4s; A Party Record Packed with Sex and
Sadness: Bobby Abate, U.S., 2011, 10m 11s; Praxis 8 – 12 Scenes: Dietmar
Brehm, Austria, 2010, 25m; Taste Test: Andrew Lampert, U.S., 2011, 2m
30s; Bitch-Beauty: MM Serra, U.S., 2011, 7m
10/7
New York, New York: New York Film Festival
http://www.filmlinc.com/nyff/nyff.htm
8:30pm, Walter Reade Theater
VIEWS FROM THE AVANT GARDE: GEORGE KUCHAR
Lingo of the Lost: U.S., 2010, 37m 45s. Empire of Evil: U.S., 2011, 50m
10/7
New York, New York: New York Film Festival
http://www.filmlinc.com/nyff/nyff.htm
8:45pm, Francesca Beale Theater
VIEWS FROM THE AVANT GARDE: LADDERS AND TRACKS
Berlin Tracks 18h00-20h00 Shiloh Cinquemani, U.S./Germany, 2011, 2m 7s
(k)now (t)here Hey–Yeun Jang, U.S., 2011, 8m 50s Subway: Angela
Ferraiolo, U.S., 2011, 7m 40s; Village, silenced: Deborah Stratman,
U.S., 2011, 4m 56s; Snakes and Ladders: Katherin McInnis, U.S., 2011,
3m; Longhorn Tremolo: Scott Stark, U.S., 2010, 16m; Landfill 16:
Jennifer Reeves, U.S., 2011, 8m 52s; Barren: Katherin McInnis, U.S.,
2010, 2m; Back View: Vincent Grenier, U.S., 2011, 17m; The Toy Sun: Ken
Kobland, U.S., 2011, 33m
(continued in next email)
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