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This week [January 18 - 26, 2020] in avant garde cinema

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Cineinfinito #122: Jayne Parker [January 23, Madrid, Spain]


Interludes: New and Recent Films By Nathaniel Dorsky [January 23, San Francisco, CA United States]

NEW CALLS FOR ENTRIES:
Edinburgh Short Film Festival 2020 (Musselburgh; Deadline: June 22, 2020)
 http://hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=2066.ann
Berwick Film & Media Arts Festival (United Kingdom; Deadline: April 06, 2020)
 http://hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=2067.ann

DEADLINES APPROACHING:
Spectral Film Festival (Stevens Point, WI, USA; Deadline: January 19, 2020)
 http://hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=2053.ann
Flatpackfestival (Birmingham, UK; Deadline: January 26, 2020)
 http://hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=2062.ann
Another eXperiment by Women Film Festival (NY NY; Deadline: February 15, 2020)
 http://hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=2064.ann

Events are sorted alphabetically BY CITY within each DATE.

This week's programs (summary):

SATURDAY, JANUARY 18, 2020

1/18
Jers‌ey City, NJ 07‌306: MANA Contemporary
https://www.manacontemporary.com/
3:00PM, 888 Newar‌k Ave‌nue
THE COMPUTATIONAL SUBLIME: DIGITAL WIZARDRY OF GREGG BIERMANN
Saturday January 18th 3:00PM Mana Contemporary, Jersey City and The Film-makers' Cooperative are excited to host New Jersey experimental filmmaker and video artist Gregg Biermann, who will present a survey of work he completed over the last decade. Often working with footage from Hollywood classics like The Wizard of Oz (1939), Rear Window (1954), North by Northwest (1959), and others, Biermann's work takes advantage of the possibilities of digital cinema to advance rigorous compositional strategies. From the Artist: �My work comes out of the avant-garde tradition of film as visual art. Avant-garde cinema is an important and relatively young artistic project. While it maintains its scrappy integrity, and while many significant works have been created in subsequent decades, current practitioners have not fully moved out of the shadow of the prodigious 1960s and '70s. The development of new tools has often determined aesthetic innovations. Consequently, I've looked to new technologies to discover vast unspoiled frontiers no longer available to small gauge filmmakers interested in exploring cinematic form. Most of these works could not have been achieved in earlier periods and are deeply rooted in digital technology. The meaning of digital technology lies in its ability to copy, alter, mask, fragment, super-impose, mutate, reflect, transmit and reframe.�

1/18
Queens, NY: Museum of the Moving Image
3:30, Redstone Theater
DOCUMENTARY AND AVANT-GARDE
Introduction by curator David Schwartz Total Running Time: Approx. 75 mins. Universe Dirs. Colin Low, Roman Kroitor. 1961, 26 mins. 16mm. This National Film Board of Canada black-and-white short visualizes a journey through space with stunning animation. Kubrick studied the film closely, and for 2001, hired its effects artist Wally Gentleman to build models and its narrator, Douglas Rain, to provide the voice of HAL. Very Nice Very Nice Dir. Arthur Lipsett. 1961, 7 mins. 16mm. Kubrick wrote to Canadian avant-gardist Arthur Lipsett that his collage film is �one of the most imaginative and brilliant uses of the movie screen and soundtrack that I have ever seen.� Catalog Dir. John Whitney Sr. 1961, 7 mins. 16mm. Made with a pioneering combination of analog and digital techniques, Catalog is a mesmerizing study in color and fluid abstract geometric shapes. Kubrick and Douglas Trumbull were both inspired by Whitney�s films as they created the Star Gate sequence in 2001. Allures Jordan Belson. 1961, 8 mins. 16mm. Belson, whose geometric and abstract films have long been seen as an inspiration for 2001�s Star Gate sequence, described his film Allures as �probably the space-iest film that had been done until then. It creates a feeling of moving into the void.� Momentum Jordan Belson. 1968, 6 mins. 16mm. "Momentum is Belson's most serene and gentle film since Allures. This treatment of the sun as an almost dreamlike hallucinatory experience is both surprising and curiously realistic." (Gene Youngblood) Excerpt from To the Moon and Beyond Con Pederson (Douglas Trumbull). 1964, [excerpt, approx 6 mins.]. Digital projection. Made for the 1964 World�s Fair, the panoramic and immersive short film To the Moon and Beyond led directly to Kubrick�s hiring of two of its key creators: Con Pederson and Douglas Trumbull, who left the Los Angeles company Graphic Films to work with Kubrick in England. OffOn Scott Bartlett. 1968, 9 mins. 16mm. Psychedelic imagery made from a pioneering mix of film and video technology, closeups of an eye, and a soundtrack mixing organic and electronic sounds, are all seen in Scott Bartlett�s avant-garde short, a film with eerie similarities to the Star Gate sequence in 2001.

SUNDAY, JANUARY 19, 2020

1/19
Barcelona, Spain: Xc�ntric Cinema
http://xcentric.cccb.org/en/programas/fitxa/su-friedrich-political-and-sexual-bodies/232524
18:30 h, CCCB (Centre de Cultura Contempor�nia de Barcelona)
SU FRIEDRICH. POLITICAL AND SEXUAL BODIES
The films of Su Friedrich explore self-representation in a historical, political and social process, in a search for identity and the events that have informed it. With film, screenplay, editing and sound, all the product of her artisan work, her cinema is a medium for sharing doubts, questions and emotional states. The Ties That Bind is a dialogue with her mother, who lived through the rise of Nazism, the war years and the allied occupation, during which she met her husband, a US soldier, in an astonishing archive montage. An intimate yet collective story that reflects on the impregnations of racism and totalitarianism, where questions of the past raise their head in the present. The Odds of Recovery is one of her most radically autobiographical films. After undergoing six operations in her lifetime, Su Friedrich dwells on the last to explore therapeutically her doubts and anxieties, and to investigate the functioning of medical institutions that are incapable of treating certain illnesses, in contrast with the bodily affectations and transformations they activate in the patient. The Ties That Bind, 1984, 16 mm, 55 min. The Odds of Recovery, 2002, 16 mm transferred to digital, 65 min. Copies courtesy of Light Cone. Catalan subtitles.

1/19
Los Angeles, California: Filmforum
http://www.lafilmforum.org/
7:30 pm, Spielberg Theatre at the Egyptian, 6712 Hollywood Blvd.
HIGHLIGHTS FROM THE OBERHAUSEN FILM FESTIVAL � INTERNATIONAL COMPETITION, 2019
Filmforum hosts some of the most interesting works from the 2019 International Competition of the Oberhausen Film Festival, one of the world�s leading short and experimental film festivals. Tickets: $12 general; $8 students (with ID)/seniors; $8 for American Cinematheque members; free for Filmforum Members. Paid tickets available in advance through the American Cinematheque from Fandango at https://www.fandango.com/egyptian-theatre-hollywood-aaofx/theater-page?date=2020-01-19 or at the door. Filmforum member tickets available through Brown Paper Tickets at https://oberhausentour.bpt.me or at the door. For more information: www.lafilmforum.org or 323-377-7238.

THURSDAY, JANUARY 23, 2020

1/23
Barcelona, Spain: Xc�ntric Cinema
http://xcentric.cccb.org/en/programas/fitxa/storm-de-hirsch-poems-and-songs/232525
19:30, CCCB (Centre de Cultura Contempor�nia de Barcelona)
STORM DE HIRSCH: POEMS AND SONGS
Storm de Hirsch�poet, painter, a woman pioneer among pioneers of the cinema�invented some of the basic forms of Super 8. However, few of her films have been screened since her death. This session combines her songs and sonnets in Super 8 with her Hudson River diaries, filmed in 16 mm. Storm de Hirsch addresses the chronoatmospheric conditions and possibilities of light. Flowers, trees, cabins, blocks of ice, coves, lakes, tree trunks, stones, balconies, rivers, statues and snow make up one great imaginary garden, a tapestry run through by the seasons. Cine-Songs: The Reticule of Love, 1963, 3 min; The Recurring Dream, 1965, 3 min; Aristotle, 1965, 3 min; Malevich at the Guggenheim, 1965, 5 min; Silently, Bearing Totem of a Bird, 1962, 6 min; Ives House: Woodstock, 1965, 11 min, silent, Super 8; Cayuga Run, 1967, 16 mm, 18 min; Wintergarden � Hudson River Diary: Book III, 1973, 16 mm, 5 min; River-Ghost � Hudson River Diary: Book IV, 1973, 16 mm, 9 min; Lace of Summer, 1973, silent, Super 8, 4 min; September Express, 1973, silent, 16 mm, 6 min. 16 mm screening. Copies courtesy of The Film-Makers� Cooperative.

1/23
Madrid, Spain: Círculo de Bellas Artes
7:30 PM, Alcalá 42
CINEINFINITO #122: JAYNE PARKER
Cineinfinito #122: Jayne Parker CINEINFINITO / Cine Estudio Jueves 23 de Enero de 2020, 19:30h. Círculo de Bellas Artes Programa: Almost Out (1984), U-matic video, color, sonido, 105 min Formato de proyección: SD (copias supervisada por la autora, cortesía de LUX) Agradecimiento especial a Jayne Parker https://www.cineinfinito.org/cineinfinito-122-jayne-parker/

1/23
San Francisco, CA United States: San Francisco Cinematheque
http://www.sfcinematheque.org
7:30 PM, 701 Mission St
INTERLUDES: NEW AND RECENT FILMS BY NATHANIEL DORSKY
SOLD OUT!!! An active filmmaker since childhood, Nathaniel Dorsky is one of the world’s most celebrated creators of personal cinema, continuously articulating an aesthetic which, in his words, strives toward “all the qualities of being human: tenderness, observation, fear, relaxation, the sense of stepping into the world and pulling back, expansion, contraction, changing, softening, tenderness of heart.” In this rich body of work, Dorsky evokes silent, luminous spiritualities abiding in the world’s objects and surfaces and suggests divinity in the everyday. Cinematheque commences its 2020 exhibition season with a screening of new and recent works by the master filmmaker, including THE DREAMER (2016), CALYX (2018), COLOPHON (for the Arboretum Cycle) (2018), APRICITY (2019) and the *world premiere* of INTERLUDE (2019). Co-presented with Canyon Cinema Foundation SCREENING: THE DREAMER (2016); 16mm, color, silent, 19 min. CALYX (2018); 16mm, color, silent, 13 min. COLOPHON (for the Arboretum Cycle) (2018); 16mm, color, silent, 13.5 min. APRICITY (2019); 16mm, color, silent, 16 min. INTERLUDE (2019); 16mm, color, silent, 11 min. Full program details: bit.ly/2DkK3yw

FRIDAY, JANUARY 24, 2020

1/24
New York, NY United States: Filmmakers Coop
http://www.film-makerscoop.com
7:00 PM, 475 Park Ave S, Fl 6th
NEW YEAR NEW WORKS 2020
Announcing our 7th annual New Year New Work Program! These two screenings showcase the wide-ranging work of both new and long-term FMC members.

SUNDAY, JANUARY 26, 2020

1/26
Barcelona, Spain: Xc�ntric Cinema
http://xcentric.cccb.org/en/programas/fitxa/black-feminism/232530
18:30, CCCB (Centre de Cultura Contempor�nia de Barcelona)
BLACK FEMINISM
One of the most overlooked and little known stories of cinema is the documentary and experimental production of pioneering Afro-American filmmakers in the seventies and early eighties. With limited means, in the face of contempt and hostility, these portraits manifest and value their stories, bodies and images. Starting with a Nina Simone song, in Four Women Julie Dash presents Lina Martina Young in a dance film where the form and treatment of light and colour turn figurative stereotypes to oblique, critical angles. Water Ritual is a pioneering film in experimental black feminist cinema. Conceived as a ritual in an abandoned area of Watts, it dialogues with the African Diaspora cosmology and attempts to expel the putrefaction absorbed from the physical environment and to cleanse it. In her portrayal of invisible women, with Killing Time Fronza Woods presents the dilemma of a woman preparing to commit suicide and, with Fannie�s Film, a 65 year old cleaning woman talks about her life, hopes and feelings. �What inspires me are people who don't sit on life�s rump but have the courage, energy, and audacity not only to grab it by the horns, but to steer it as well.� (Fronza Woods). Finally, Suzanne, Suzanne is a raw documentary by Camille Billops about her niece�s fight to comprehend the legacy of her violent, abusive father, her mother�s complicity, and drug addiction as an escape; in the film, after years of silence, she shares these experiences with her mother. Four Women, Julie Dash, 1975, 16 mm, 8 min; Water Ritual #1: An Urban Rite of Purification, Barbara McCullough, 1979, 16 mm, 5 min; Killing Time, Fronza Woods, 1979, 16 mm, 10 min; Fannie�s Film, F. Woods, 1979, 16 mm, 15 min; Suzanne, Suzanne, Camille Billops and James Hatch, 1982, 16 mm, 30 min. Video screening. Spanish subtitles. Copies of Fronza Woods courtesy of Women Make Movies. Copies of Julie Dash, Barbara McCullough, and Camille Bishop and James Hatch courtesy of Third World Newsreel.


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