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This week [October 14 - 21, 2018] in avant garde cinema

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This page is updated every Sunday.
  • Sunday, October 14, 2018
  • Monday, October 15, 2018
  • Tuesday, October 16, 2018
  • Wednesday, October 17, 2018
  • Thursday, October 18, 2018
  • Friday, October 19, 2018
  • Saturday, October 20, 2018
  • Sunday, October 21, 2018
  • This week's programs (summary):

    Sunday, October 14, 2018
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    Oakland: Shapeshifters Cinema
    7:30-10PM, Temescal Art Center, 511 48th St. Oakland, CA
    Shapeshifters Cinema presents Lydia Greer
    Animator Lydia Greer will present an interactive lecture on Lotte Reiniger and Charlotte Salomon—two pioneers of time-based art, the graphic novel and animation—with films and images from both artists. Both grew up in Berlin, eventually fleeing the Nazis. They each had different approaches to trauma, with Reiniger using fantasy, euphemism and visual splendor as means of escapism while Salomon chronicled her family’s harrowing experience with a stark, expressionistic style. Following will be a live performance of expanded cinema with animation and moving images by Lydia Greer with special guests, opera singer Shauna Fallihee and performance artist Caryl Kientz. They will showcase a workshop of their newest piece together as well as revisit and expand on previous collaborations. A new short video entitled “Spiritual Gifts” is also screening based on Greer’s exploration into her family’s escape from Charismatic Christianity.

    Portland, Oregon: Northwest Film Center
    7pm, Northwest Film Center's Whitsell Auditorium, 1219 SW Park Ave
    Not Sorry #2: Vessels
    The second installment of the series "Not Sorry: Feminist Experimental Film from the 1970s to Today", which seeks to ask questions like What is feminist experimental film? How is it feminist, and what makes it experimental? inspired by the new text Film Feminisms: A Global Introduction co-written by PSU film professor Dr. Kristin Lené Hole and Dr. Dijana Jelača screenings take place each Sunday evening in October. The goal of Not Sorry is to present a survey of short works spanning from the 1970s to today with an explicit intent on questioning the largely white male canon of experimental film while positioning different modes of experimentation within both international and contemporary terms. //// Post-screening discussion to follow with filmmakers Nazli Dinçel and Hannah Piper Burns in attendance. The day before, on Saturday, October 13th, join Dinçel for the workshop Analog Film and the Body. The $35 tuition will also get you into the screening the next day.

    Monday, October 15, 2018
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    New York, NY: Anthology Film Archives
    7:00 PM, 32 Second Avenue
    FLAHERTY NYC, PROG. 2: AN EVENING WITH TAN PIN PIN
    Co-presented with Colgate University. Tan Pin Pin in person. Equal parts incisive and meditative, the films of Singaporean documentarian Tan Pin Pin offer nuanced and bittersweet accounts of the contradictions that frame life in her home country. In contrasting the mundane with the controversial, the public with the private, Tan's films shed light on the state of affairs in the ultramodern and rapidly changing city-state. The films presented here consider numerous instances of displacement and exile caused by Singapore's increasingly authoritarian government, which has affected both the living and the deceased - and in the case of TO SINGAPORE WITH LOVE, has led to the banning of public screenings in the country. Tan Pin Pin MOVING HOUSE (2001, 22 min, digital) Tan Pin Pin TO SINGAPORE WITH LOVE 2013, 70 min, DCP Total running time: ca. 95 min.

    Tuesday, October 16, 2018
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    Brooklyn, NY United States: Light Industry
    7:30 PM, 155 Freeman St
    Reconstructing the 1938 International Amateur Movie Show
    Introduced by Charles Tepperman The widespread organization of amateur moviemakers in the United States began in the late 1920s, following soon after the introduction of the 16mm film format in 1923. The Amateur Cinema League was formed in 1926 and magazines such as Photoplay, American Cinematographer, and Movie Makers were soon sponsoring amateur movie contests. By the early 1930s, these publications increasingly boasted of the high aesthetic quality and international scope of the films among their award-winners. The original “International Amateur Movie Show” took place at McMillin Theatre, Columbia University in New York on April 6, 1938. It was the last installment of a twenty-screening series devoted to the art of motion pictures, coordinated by Columbia’s Extension program in Film Study. The amateur show was curated by Duncan MacD. Little, a New York insurance broker and amateur filmmaker who had been organizing an annual “Movie Party” since 1929. By the mid-1930s these annual screenings had become a significant event that attracted audiences of several hundred people. Little organized the International Show by putting out a call to amateur movie organizations around the world and inviting them to submit their best films for the screening. The result was a selection of ten films from nine different countries. On view in the lineup are a wide range of subjects and approaches to amateur filmmaking, from travel chronicles to polished fictional works to experimental anti-war films. The films also present different production modes: some are by individual filmmakers, others are collective or club efforts. Three of the original ten were color films. Some of the titles were previous winners in the American Cinematographer amateur movie contests, while others were lauded in Europe or elsewhere. Such films, with their genre variety and global breadth, would have stood in stark contrast to the Hollywood fare presented in commercial movie theaters at the time, and illustrate a fascinating if underappreciated chapter in the history of alternative film culture. This program presents six of the ten films originally shown in 1938; it was first presented in January, 2018 at the Bell Lightbox (Toronto) in collaboration with TIFF Higher Learning. - CT e: seating is limited. First-come, first-served. Box office opens at 7pm.

    San Francisco, California: San Francisco Cinematheque
    8:00 PM, 80 Turk Street San Francisco, CA 94102
    INFRARED program 2 Dislocation of Existence
    About INFRARED: In 2017, the City of San Francisco indicated intention to designate a portion of its Tenderloin neighborhood (a portion which includes CounterPulse and the office of San Francisco Cinematheque Cinematheque) as the “Compton’s Transgender, Lesbian, Gay, and Bisexual District” in reference to a 1966 protest action held at Compton’s Cafeteria, located at the intersection of Turk and Taylor Streets in San Francisco. This pre-Stonewall action is recognized as a significant milestone in queer and transgender political activism. In celebration of this designation—the first legally recognized municipal transgender district in the world—San Francisco Cinematheque is proud to present INFRARED, four nights of experimental films by and about transgender, nonbinary and gender nonconforming artists curated by transgender filmmaker Malic Amalya. Full series details available here. A circular poem. A detective film. A performance of endurance. Hair flips. Hormone injection. Bodies adjoining bodies. Bodies being left behind. Messages from post-apocalyptic times. Dispatches from Standing Rock. The films in this program shift between embodiment and disassociation. They offer ephemeral glimpses into what’s possible and pulverizing flashes of what’s been stolen. Interlacing the physical with the ethereal, affects rapidly alter between despondency and euphoria. (Malic Amalya) SCREENING: Stones and Water Weight by Mykki Blanco A performance of endurance and perception, loss and survival. Commissioned by Visual AIDS for Day With(out) Art 2017. The Butterfly Effect (2012) by Sofia Moreno “I do not create alias to make myself feel better; every name equals a different stage in my life. I’m not playing dress up, I’m playing survival. I’m a risk taker, a Morphsexual Terrorist.” (Sofia Moreno) At Least You Know You Exist (2011) by Zackary Drucker Shot inside an archeology of the Uptown apartment that legendary queen Mother Flawless Sabrina has inhabited since 1967, rich layers of feverish history interface with a new vision of transgender performativity. (Malic Amalya) 3 Films for Untitled: Sun Sets in My Room; Short Time With My Grandmom; Three Moods in a View (1995) by Stom Sogo Things We Both Know (Not Our Real Names) by Finn Paul & Roy Perez Dislocation Blues by Sky Hopinka An incomplete and imperfect portrait of Standing Rock. (Malic Amalya) A Little Bit of Exxxstacy by Mark Aguhar A self-portrait of the artist in her studio. The Dragon is the Frame by Mary Helena Clark An experimental detective film made in remembrance of Mark Aguhar: keeping a diary, footnotes of film history and the puzzle of depression. (Malic Amalya)

    Wednesday, October 17, 2018
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    Brooklyn, NY United States: Light Industry
    7:30 PM, 155 Freeman St
    Anjalika Sagar (The Otolith Group) Presents Mani Kaul's Dhrupad
    Dhrupad, Mani Kaul, 1982, digital projection, 74 mins Introduced by Anjalika Sagar of The Otolith Group "Kaul’s documentary on Dhrupad, the famous North Indian form of classical music. Its foremost living practitioners are members of the Dagar family. The film features the director’s own music teachers, Zia Mohiuddin Dagar on the rudra veena and his younger brother Fariduddin Dagar as vocalist. The film attempts to explore the musical form through the cinematic orchestration of space and light. It includes sequences suggesting Dhrupad’s tribal musical origins and some remarkable scenes in Jaipur’s Jantar Mantar observatory. The bravura ending has a long shot descending from the sky into the urban metropolis, weaving through concrete rooftops as the camera pulls slowly out of focus." - Ashish Rajadhyaksha and Paul Willemen “In Dhrupad, I tried to give a straightforward introduction to the music of the two musicians you see in the film. It is music without notation. In a sense, it is not even possible to notate this music; it is too complex. There are continuously ascending and descending tones, and it is impossible to say that these tones follow this or that note. The tones are always traveling in the dissonant areas between notes. I was especially interested in how the Indian musicians transmit the tradition of their music orally. A student can study this music for years and never write a sentence in a notebook. You can only learn the music by continuously listening and practicing until you begin to elaborate it in your own way. The secret of the survival of the traditions of Indian music is deeply linked with opening the disposition of the disciple, the pupil.” - MK

    Thursday, October 18, 2018
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    Austin, TX United States: The Contemporary Austin-Jones Center
    7:00 PM, 700 Congress Ave
    RAD Film: The Novgorod Spaceship
    THE NOVGOROD SPACESHIP: Erected during the final years of Soviet rule, Dostoevsky’s Drama Theater mocked the ancient heritage of the city and challenged the tastes of its populace. The story of the building’s survival and its demise at the hands of bureaucrats shines light into dark corners of Russian reality. Directed by Andrei Rozen, 2016, 46 min., NR. Watch the trailer: https://vimeo.com/144844380 The 2018 Rooftop Architecture & Design Film Series is presented by Nelsen Partners. Contributing Sponsors: Spectrum Lighting Inc., Austin and Studio Balcones. https://www.thecontemporaryaustin.org/event/rooftop-architecture-design-film-series-the-novgorod-spaceship/

    Friday, October 19, 2018
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    Cambridge: Harvard Film Archive
    7pm, 24 Quincy Street
    TONY CONRAD FILM
    By the mid-1960s I had been drawn to film because of its hopelessly shabby integrity, and also because of its restive and anarchic aspects, which implicitly challenged the progressivism of the art market. At the same time, and perhaps even because of its unruliness and freedom from the market, I felt that film could be used to construct esthetic challenges that the existing market disciplines in art did not, would not, or could not touch. It seemed to me quite rational to look to the border regions of art for its greatest mobility and interest. After all, it had been within music, not painting or sculpture, that the most radical artistic challenges of the early 1960s had appeared. – Tony Conrad Straight and Narrow Directed by Tony and Beverly Conrad US 1970, 16mm, b/w, 10 min 4-X Attack Directed by Tony Conrad US 1973, 16mm, b/w, 2 min Articulation of Boolean Algebra for Film Opticals Directed by Tony Conrad. US 1975, 16mm, b/w, 10 min. excerpt of 75 min. original The Flicker Directed by Tony Conrad. US 1966, 16mm, b/w, 30 min The Eye of Count Flickerstein Directed by Tony Conrad. US 1967-1975, 16mm, b/w, silent, 7 min

    Cambridge: Harvard Film Archive
    9pm, 24 Quincy Street
    Tony Conrad: Completely in the Present
    Tyler Hubby’s affectionate and insightful portrait of Tony Conrad offers an excellent overview of the career and vision of a polymath and multifaceted artist, making wonderfully clear Conrad’s indelible contributions to both experimental music and cinema. Closely following Conrad at work, on the road and in an ongoing conversation about art and creativity, Hubby’s debut feature effectively and poignantly captures the voice and vision of a true pioneer. Directed by Tyler Hubby. US 2016, DCP, color, 102 min

    Los Angeles, California: Filmforum
    8:00 pm, Echo Park Film Center, 1200 N. Alvarado St., Los Angeles
    Karen Yasinsky: Perpetual Motion
    Filmforum is proud to co-host the return of Karen Yasinsky to Los Angeles with a compelling program combining new premieres and a film-in-progress with a memorable assortment of Yasinsky’s work, curated by the artist. For the past fifteen years, Karen Yasinsky has been making animated films like no one else in the world, mining complex emotional and formal territory that resists distillation or resolution. Variously employing drawn animation, stop motion, and manipulated found footage, Yasinsky works somewhere between the subconsciously intuitive and the consciously intellectual, perhaps deciding that her role as an artist (mirroring our roles as humans) isn’t to try to answer complex emotional questions with simple responses, but rather with equally complex uncertainties. Tickets: $10 general; $6 for students/seniors; free for Filmforum members. Available in advance from Brown Paper Tickets at https://yasinsky.bpt.me or at the door.

    New York, NY: Anthology Film Archives
    7:45 PM, 32 Second Avenue
    TAIWAN, PROG. 1: RICHARD YAO-CHI CHEN'S STUDENT FILMS, 1963-66
    Born in Sichuan, China, in 1938, Richard Yao-chi Chen moved to Taiwan in 1945 where he studied architecture before relocating to the U.S. He attended the Chicago Art Institute, received his MA in film studies from UCLA in 1967, and then returned to Taiwan to embark on a successful filmmaking career in the Chinese-speaking world. This program features four films Chen made while studying at UCLA. THE ARCHER is a hand-drawn animation of the Chinese folktale "Houyi Shoots Down the Suns." THROUGH THE YEARS touches on the theme of Westward expansion by combining facts with fiction. A film about three college students, THE MOUNTAIN employs a modernist narrative to reflect young people's longing for freedom in the 1960s. The original copy of this short lay forgotten in a UCLA professor's garage for decades and was digitally restored by the Taiwan Film Institute in 2017. LIU PI-CHIA, a biographical documentary depicting the life of a veteran who joined tens of thousands of others to work on national infrastructure construction projects in the 1960s, is considered Taiwan's first cinéma vérité film. Richard Yao-chi Chen THE ARCHER (1963, 5 min, 16mm-to-digital) Richard Yao-chi Chen THROUGH THE YEARS (1966, 11 min, 16mm-to-digital) Richard Yao-chi Chen THE MOUNTAIN (1966, 19 min, 16mm-to-digital. In Chinese with English subtitles.) Richard Yao-chi Chen LIU PI-CHIA (1967, 27 min, 16mm-to-digital) Total running time: ca. 65 min.

    Santander, Spain: Filmoteca de Cantabria
    5:00 PM, Calle Bonifaz 6
    Cineinfinito #69: Chris Welsby
    Cineinfinito #69: Chris Welsby CINEINFINITO / Cine Club Filmoteca de Cantabria Viernes 19 de Octubre de 2018, 17:00h. Filmoteca de Cantabria Calle Bonifaz, 6 39003 Santander Programa: Estuary (1980) 16mm, color, sound, 50′ (Agradecimiento especial a Chris Welsby y a William Fowler)

    Saturday, October 20, 2018
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    Brooklyn, NY United States: Light Industry
    7:00 PM, 155 Freeman St
    Jean-Claude Rousseau's La Vallee close
    La Vallée close, Jean-Claude Rousseau, 1995, digital projection, 143 mins. “Every shot (frame, image, light) of La Vallée close issues a roll of the dice, and casts into nothingness three-quarters of contemporary film—along with its directors of photography.” - Jean-Marie Straub, “Letter about La Vallée close” “La Vallée close emerged from different elements, and I was watching the elements orient themselves without being able to say where it was leading. These different vectors were converging at a single place and making the film itself this nexus: Petrarch, a geography book, a Giorgione painting, an erotic photo, an abandoned factory, the fountain at Vaucluse, and then inspiring correspondences between all these, as if validating them, the text by Lucretius on the movement of atoms, or more exactly, Bergson’s summary of it that he did in a book for philosophy students. But actually this film originated in the water of the Sorgue. There were a few deep-dive expeditions to find out where the water originates. That mystery is also at the heart of Petrarch’s poetry. And so these elements should hold our attention, produce a tension that’s going to orient everything towards the place of the film, whose subject will not reveal itself as a whole until its end.” - JCR

    New York, NY: Anthology Film Archives
    5:30 PM, 32 Second Avenue
    TAIWAN, PROG. 2: EXPERIMENTAL SHORTS FROM THE 1960s
    This program includes five films by artists who were indirectly involved in the 1960s artistic experiments. Theatre Quarterly not only delivered the latest news regarding the Western art world, but also functioned as a platform for artists to present their new creations. Macao-born, Hong Kong-based film critic Law Kar and Hong Kong's renowned writer Xi Xi both served briefly as editor of Theatre Quarterly in the 1960s, in addition to making experimental films. Tom Davenport, an American independent filmmaker, spent years studying the Chinese language and culture in Taiwan, and was commissioned by National Geographic to film there. This program includes his first documentary, T'AI CHI CH'UAN, in which he filmed the philosopher Nan Huai-chin practicing Tai-chi on Taiwan's northeastern coast. The last two shorts provide an indirect view of the artistic achievements of Huang Hua-cheng, a pivotal figure who co-founded Theatre Quarterly and spearheaded the 1960s experimental movement in theater, film, and visual art. As none of Huang's video works have survived, the video documentation of the 1994 seminar "Theatre Quarterly and I," in which Huang played his 1967 film EXPERIMENT 002 in the original 8mm format, provides a glimpse of his own work, while THE PROPHET is a recent video remake of Huang's first experimental theater piece by artist Su Yu-hsien (born 1982). Law Kar ROUTINE (Hong Kong) (1969, 19 min, 16mm-to-digital) Xi Xi THE MILKY WAY (Hong Kong) (1968, 2 min, 16mm-to-digital) Tom Davenport T'AI CHI CH'UAN (USA) (1969, 10 min, 16mm-to-digital) EXPERIMENT 002 (1994, 39 min, VHS-to-digital) Su Yu-hsien THE PROPHET (2016, 20 min, DCP. In Chinese with English subtitles. This film was originally created as a two-channel video installation, but is presented here as a single-channel video.) Total running time: ca. 95 min.

    New York, NY: Anthology Film Archives
    8:00 PM, 32 Second Avenue
    TAIWAN, PROG. 3: I DIDN'T DARE TO TELL YOU
    Mou Tun-fei I DIDN'T DARE TO TELL YOU 1969, 78 min, 35mm-to-digital. In Chinese with English subtitles. Born in China in 1941, Mou Tun-fei moved to Taiwan in 1949. He declared that cinema would be his lifework while he was still an art school student. I DIDN'T DARE TO TELL YOU and THE END OF THE TRACK, both included in this series, are the only two feature-length films he made in Taiwan and are among the nation's first independent titles. Both films went unreleased, for unknown reasons, though rumor has it that the realistic depiction of a stifling society in I DIDN'T DARE TO TELL YOU and the hint of homosexuality in THE END OF THE TRACK could be to blame. Discouraged, Mou spent the following years traveling in Europe and South America before working in Hong Kong for Shaw Brothers Pictures, where he became known for making gory genre films. In I DIDN'T DARE TO TELL YOU, a primary school student secretly works a night job to pay off his father's gambling debts, and as a result constantly dozes off during his daytime classes. When the teacher investigates, a series of family disputes ensues. Though only a small number of people saw the film at private screenings upon its completion, its realistic style has nevertheless proven influential. One reel of the film remains lost, and the only available copy has an abrupt, inconsistent ending that was most likely imposed by the government for propagandistic purposes. Preceded by: Richard Yao-chi Chen THE MOUNTAIN (1966, 19 min, 16mm-to-digital. In Chinese with English subtitles.)

    San Francisco, California: Other Cinema
    8 PM, 992 Valencia Street
    PSYCHO-GEO3: Greta Snider's 3-D + Lana Caplan + Alex Coppola +
    The second half of our Focus on Locus double-header features two world premieres—exquisite expanded cinema/retinal rivalry pieces by the Mission’s own Greta Snider, plus a timely revival of her epochal 16mm diary Portland, train-hopping with Ivy McClelland and Iggy Scam! Lana Caplan breaks away from her SLO college gig to unspool a NorCal debut, Patches of Snow in July (Hawaii volcano), as well as her earlier Maelstroms (Mexico border). Long-lost ally Alex Coppola flies in from Philly to not only open the show, but close it as well, with his world-class World Music vinyl selections, set to an absolutely sublime sampler of mid-20C personal travelogues—glorious Kodachrome shot in four sites, from East to West, across the Pacific—Hong Kong, Tahiti, the Andes, and the Amazon. As to marginal spaces in the US interior: Brea Weinreb debuts Framing History, a collective S8 remediation of home movies from Japanese internees in the Amache, Colorado camp. PLUS: Matt McCormick’s cautionary America Nutria, on a Southern mammal now munching on Coast rhizomes! *$8

    Sunday, October 21, 2018
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    Brooklyn, New York: MONO NO AWARE
    7 pm , 33 Flatbush Ave
    CONNECTIVITY THROUGH CINEMA presents Field and Frame. w/ Bea Haut & Jenny Baines in person.
    Join Mono No Aware in welcoming artists Bea Haut of Film in Process and Jenny Baines (both in person!) and the work of Laura Hindmarsh for a special Connectivity Through Cinema screening++ Present both before and behind the camera, Baines, Haut and Hindmarsh use film structures and materiality to map out subjectivities, landscapes and consequent interlacing dialogues. Activating places and spaces, this program rebounds with echoes and absorptions, the self and the body, drawing perimeters and crossing them. The Connectivity Through Cinema : Artist-In-Person Screening Series is sponsored, in part, by the Greater New York Arts Development Fund of the New York City New York City Department of Cultural Affairs, administered by Brooklyn Arts Council (BAC). ($7 suggested)

    Minneapolis, MN United States: Cellular Cinema
    7:00 PM, 810 W Lake St
    CC39 - Edward Kihn: Innovation / Degradation
    Edward Kihn’s work ranges across documentary, experimental cinema and moving image installation and focuses, particularly, on the political economy of technology as it manifests in various historical geographical contexts. The theme that connects the work in this short program is the entanglement of today’s techno-science and innovation with human and planetary degradation. He has received grants from organizations such as the New York Foundation for the Arts (NYFA), the Experimental Television Center (ETC) and the CUNY P.S.C., and has been a fellow at the Whitney Independent Study Program and the Art & Law Program. His work has been published in Journals such as Unweave and shown at venues such as Artists Space, the San Diego Museum of Art, Sculpture Center,Marginal Utility, the Artists Institute, Winnipeg Underground Film Festival, Athens International Film and Video Festival and the Copenhagen International Film Festival, (CPH:DOX). He teaches Film Studies at CUNY LaGuardia and CUNY John Jay Colleges in New York.

    New York, NY: Anthology Film Archives
    5:15 PM, 32 Second Avenue
    TAIWAN, PROG. 4: THE END OF THE TRACK
    Mou Tun-fei THE END OF THE TRACK 1970, 91 min, 35mm-to-digital. In Chinese with English subtitles. Tong and Yong-sheng are inseparable playmates, but when Yong-sheng dies in a track training accident with Tong present, Tong feels heartbroken and guilt-ridden. Burdened by solitude after losing his best friend, Tong falls into a dark spiral. At the time, this film was banned due to its homosexual overtones. Some felt that certain segments drew comparison with the short story THE NOODLE STALL by Chen Ying-zhen, a key figure of Taiwan's 1960s literary movement who was imprisoned twice for "subversive activity."

    New York, NY: Anthology Film Archives
    8:00 PM, 32 Second Avenue
    TAIWAN, PROG. 5: EXPERIMENTAL SHORTS FROM THE 1960s
    This program presents films by five key figures, including filmmaker Pai Ching-jui (1931-97), painter Han Hsiang-ning (born 1939), photographers Chuang Ling and Chang Chao-tang, and designer Long Sih-liang (1937-2012). While the movement was short-lived these filmmakers went on to become well-established artists in their own disciplines. Pai, the first person from Taiwan to study film in Italy, built his reputation making classic melodramas and literary adaptations. Han, still active today, is a noted painter, while Chuang and Chang are two highly respected photographers in Taiwan, and Long created many memorable visual designs for films and books. The works in this program were either made as silent films or suffered damage to their soundtracks. This screening will be accompanied by a live musical performance by sound artist C. Spencer Yeh. Pai Ching-jui A MORNING IN TAIPEI (1964, 20 min, 35mm-to-digital) Han Hsiang-ning TODAY (1965, 4 min, 8mm-to digital) Han Hsiang-ning RUN (1966, 5 min, 8mm) Chuang Ling LIFE CONTINUED (1966, 14 min, 16mm-to-digital) Chuang Ling MY NEW BORN BABY (1967, 8 min, 16mm-to-digital) Chang Chao-tang MODERN POETRY EXHIBITION/1966 (1966, 12 min, 8mm-to-digital) Long Sih-liang GETTING READY FOR THE FESTIVAL (1967, 8 min, 8mm-to-digital) Total running time: ca. 75 min.

    Portland, Oregon: Northwest Film Center
    7pm, Northwest Film Center's Whitsell Auditorium, 1219 SW Park Ave
    Not Sorry #3: Home
    Stories of political and social upheaval are often accompanied with typical media images of suffering or violence. But the resulting displacement, whether physical or psychological, can be an experience both individual and collective.  People carry tradition and ritual across borders and time, but also within their own daily realities. How can such traumas, expressions of longing for a place that may not really exist, or even celebratory moments of finding home be represented? This third screening of "Not Sorry: Feminist Experimental Film from the 1970s to Today" pursues the general theme of home and how the female voice may call to it, reject it, or endure it. Included is Basma Alsharif’s "Home Movies Gaza" (2013), a view from a domestic space in one of the most contested territories in modern politics; Barbara McCullough’s "Water Ritual #1," a film ambiguously set in a demolished area of Watts that through performance expresses Black women’s ongoing struggle for spiritual and psychological space; and Yau Ching’s in-camera edited "Video Letters 1-3" (1993) that served as the nomadic Hong Kong video artist’s preferred mode of communication to the people she missed.


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