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This week [December 7 - 15, 2019] in avant garde cinema

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The Festival of (In)Appropriation #11 [December 8, Los Angeles, California]

NEW CALLS FOR ENTRIES:
Braziers International Film Festival (Oxfordshire, UK; Deadline: April 05, 2020)
 http://hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=2063.ann

DEADLINES APPROACHING:
ARTerra (Tondela, Portugal; Deadline: December 31, 2019)
 http://hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=2020.ann
27th Chicago Underground Film Festival (IL; Deadline: January 03, 2020)
 http://hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=2044.ann
NOFLASH Video Show (New Brunswick, NJ, USA; Deadline: December 15, 2019)
 http://hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=2047.ann
Light Field (San Francisco, CA; Deadline: December 15, 2019)
 http://hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=2049.ann
FLEFF (Ithaca, NY, USA; Deadline: January 01, 2020)
 http://hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=2055.ann
Bethesda Film Fest (Bethesda, MD USA; Deadline: January 06, 2020)
 http://hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=2056.ann
Experimental Response Cinema (Austin, TX; Deadline: December 30, 2019)
 http://hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=2061.ann

Events are sorted alphabetically BY CITY within each DATE.

This week's programs (summary):

SATURDAY, DECEMBER 7, 2019

12/7
New York, NY: Anthology Film Archives
http://www.anthologyfilmarchives.org/
4:30 PM, 32 Second Avenue
SURNAME VIET GIVEN NAME NAM
by Trinh T. Minh-ha. Newly restored by Women Make Movies. Trinh's third film is a meditation on identity, popular memory, and culture. While focusing on aspects of Vietnamese reality as seen through the lives of women and the history of female resistance in (both north and south) Vietnam and in the U.S., it raises questions regarding the politics of interviewing and documenting. A theoretically and formally complex work, SURNAME VIET GIVEN NAME NAM explores the difficulty of translation, and themes of dislocation and exile, critiquing both traditional society and life since the war. "A film made with emotional confidence and intellectual nerve, a documentary that questions the nature of documentaries, a history that uses the testimony of poetry, a polemic that appeals to the heart." -G. Gabrenya, DISPATCHThis screening is also part of The Cinema of Gender Transgression: Trans Film Series; click here for details.

12/7
New York, NY: Anthology Film Archives
http://www.anthologyfilmarchives.org/
4:45 PM, 32 Second Avenue
EC: GEORGE & MIKE KUCHAR
All films in this program have been preserved by Anthology Film Archives with support from the National Film Preservation Foundation. THE THIEF & THE STRIPPER (1959, 25 min, 8mm-to-16mm) Dares to lay bare the naked carcass of a generation gone mad with moral decay. A REEL OF HOME MOVIES (1959-61, 25 min, 8mm-to-16mm, silent) An eclectic compilation of home movies and early cinematic experiments. "From the age of 12 onward until 17 (the restless years) the Kuchar brothers lived life to the fullest and tasted the spices of the lower class, the sugar of the bourgeoisie and the kasha of the jet set. At this time their films were seldom longer than four minutes." -George Kuchar PUSSY ON A HOT TIN ROOF (1961, 14 min, 8mm-to-16mm) "It glows with the embers of desire! It smokes with the revelation of men and women longing for robust temptations that will make them sizzle into maturity with a furnace-blast of unrestrained animalism. A film for young and old to enjoy." -George Kuchar TOOTSIES IN AUTUMN (1963, 15 min, 8mm-to-16mm) A cautionary tale about past-their-prime thespians caught up in a typically Kucharian vortex of madness. Total running time: ca. 85 min. [THE THIEF & THE STRIPPER and A REEL OF HOME MOVIES are not part of the Essential Cinema collection, but are included here as a special bonus.]

12/7
New York, NY: Anthology Film Archives
http://www.anthologyfilmarchives.org/
7:30 PM, 32 Second Avenue
NAKED SPACES - LIVING IS ROUND
by Trinh T. Minh-ha. Print courtesy of the Academy Film Archive. Shot with stunning elegance and clarity, NAKED SPACES explores the rhythm and ritual of life in the rural environments of six West African countries (Mauritania, Mali, Burkino Faso, Togo, Benin, and Senegal). The nonlinear structure of NAKED SPACES challenges the traditions of ethnographic filmmaking, while sensuous sights and sounds lead the viewer on a poetic journey to the most inaccessible parts of the African continent: the private interaction of people in their living spaces. "Trinh's images are as unpretentious as home movies. […] There are times in NAKED SPACES when representation decomposes into isolated details and pure sensation. More than a mosaic of impressions however, the film is nonlinear, de-centered, and deliberately unsettling." -J. Hoberman, VILLAGE VOICE

12/7
San Francisco: Other Cinema
http://www.othercinema.com/
8:30, 992 Valencia Street
ARCHIVE FEVER
DEC.7: RICK PRELINGER + JAY ROSENBLATT + SKIP ELSHEIMER + MICHAEL MORRIS’ ARK + Here’s the New Model Army of archivists who recognize that access and use rank with preservation! The Internet Archive’s Rick Prelinger presents Wildcards of the Ether, on QSL Cards from the Citizens’ Band radio era--an amazing panoply of working-class creativity focused on “friending” 70s style—and a pre-figuration of social media tinged with workerist resistance of the times. Anthology Film Archivist John Klacsmann holds forth on his restoration/premiere revival of Anger/Nin protégé Renate Druks’ rarely seen Space Boy (1973), sequel to Harrington’s Queen of Blood, with music by Louis and Bebe Barron (and drums by Frank Zappa?). Walter Forsberg, too, jets in (from Mexico City) with a trove of fabled Auroratones–the late-40s visual-therapy abstractions for WWII PTSD victims. Walter also lays out a party-platter of Mexican TV Commercials from the early 80’s (made by father of cineasta Elena Pardo). Good neighbor Jay Rosenblatt shares family memories in his Kodachrome Elegies, and Diana Sanchez introduces her sublime STREAM, from a found photo album. Michael Morris sets sail his exquisite ARK, a marvelous montage of mid-century archival films, and Scott Calonico sends in his Sudden Birth, a hilariously disturbing doc on that peculiar sex-ed genre...narrated by Skip Elsheimer, the AV Geek! *$9

SUNDAY, DECEMBER 8, 2019

12/8
Berkeley, California: BAMPFA
https://bampfa.org/event/subjects-further-research-collections-based-micro-residency
5:00pm, 2155 Center Street
SUBJECTS FOR FURTHER RESEARCH: A COLLECTIONS-BASED MICRO-RESIDENCY
Research-as-artistic-process. Work-as-experiment. Cinema-as-archaeology. In the spirit of open-ended curiosity, Oakland filmmaker and curator Alix Blevins will lead participants through her research in the BAMPFA collections of experimental films and ephemera. Blevins applies the lens of an artist-filmmaker to explore how filmmakers have used visual scores as a conceptual armature for their works. Uncovering fragmentary notes by artists like Paul Sharits for films that may or may not have ever existed, Blevins will use 16mm film loops to sift through her own visual notes for a speculative film structure--a structure that may or may not correspond to real works. Participants will be invited to walk through an installation of Blevins’s research as an embodiment of her engagement with visual scores.

12/8
Los Angeles, California: Filmforum
http://www.lafilmforum.org/
7:30 pm, Spielberg Theatre at the Egyptian, 6712 Hollywood Blvd.
THE FESTIVAL OF (IN)APPROPRIATION #11
In person: Filmmakers Kristy Guevara-Flanagan and Kate Lain, curators Jaimie Baron, Greg Cohen, and Lauren Berliner! Collage or compilation. Found footage film or recycled cinema. Remix or détournement. Whatever one might call it, the practice of incorporating preexistent media into new artworks engenders novel juxtapositions, new ideas, and latent connotations… often entirely unrelated to the intentions of the original makers. In that regard, such works are truly “inappropriate.” Founded in 2009 and curated by Jaimie Baron, Greg Cohen, and Lauren Berliner, the Festival of (In)appropriation is a yearly showcase of contemporary, short-form, audiovisual works that appropriate existing film, video, or other media and redeploy them in “inappropriate” and inventive ways. The Festival’s 11th edition gathers a self-reflexive experimental biopic, a surreal Frankenstein collage animation, a YouTube-sourced musical supercut, a queer reframing of Mexican and Hollywood films, an acousmatic exploration of online beauty standards, a canine-based critique of capitalism, a playful quantum animation of old 16mm film, an interrogation of the dismantling of the major opposition newspaper in Hungary, a deconstruction of our popular culture obsession with female corpses, and a performative rejection of the gender politics of a cult film. 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=2019-12-08 or at the door. Filmforum member tickets available through Brown Paper Tickets at https://festivalofinappropriation.bpt.me or at the door.

12/8
New York, NY: Anthology Film Archives
http://www.anthologyfilmarchives.org/
5:00 PM, 32 Second Avenue
EC: GEORGE LANDOW, AKA OWEN LAND
"The unique contribution of Land's work lies in the fusion of intellectual reason and, significantly, the humor that distances it from the supposedly 'boring' world of avant-garde film. Having explored the basic properties of the celluloid strip itself in early works such as FILM IN WHICH THERE APPEAR…, his attention turned to the spectator in a series of 'literal' films that question the illusionary nature of cinema through the use of word play and visual ambiguity. His work often parodies experimental film itself by mimicking his contemporaries and mocking the solemn approach of film theorists and scholars." -Mark Webber, TWO FILMS BY OWEN LAND FLEMING FALOON (1963, 6 min, 16mm) FILM IN WHICH THERE APPEAR SPROCKET HOLES, EDGE LETTERING, DIRT PARTICLES, ETC. (1965/66, 5 min, 16mm, silent) DIPLOTERATOLOGY (1967/78, 7 min, 16mm, silent) THE FILM THAT RISES TO THE SURFACE OF CLARIFIED BUTTER (1968, 9 min, 16mm, b&w) INSTITUTIONAL QUALITY (1969, 5 min, 16mm) REMEDIAL READING COMPREHENSION (1970, 5 min, 16mm) WHAT'S WRONG WITH THIS PICTURE? (1972, 13 min, 16mm) THANK YOU JESUS FOR THE ETERNAL PRESENT (1973, 6 min, 16mm) A FILM OF THEIR 1973 SPRING TOUR COMMISSIONED BY CHRISTIAN WORLD LIBERATION FRONT OF BERKELEY, CALIFORNIA (1974, 11.5 min, 16mm) FILM IN WHICH…, INSTITUTIONAL QUALITY, and FILM OF THEIR 1973 SPRING TOUR have been preserved by Anthology Film Archives through the National Film Preservation Foundation's Avant-Garde Masters Grant program and The Film Foundation. Funding provided by the George Lucas Family Foundation. Total running time: ca. 70 min.

12/8
New York, NY: Anthology Film Archives
http://www.anthologyfilmarchives.org/
6:30 PM, 32 Second Avenue
REASSEMBLAGE
by Trinh T. Minh-ha. Newly restored by Women Make Movies. Women are the focus but not the object of Trinh's influential first film, a complex visual study of the women of rural Senegal. Through a complicity of interaction between film and spectator, REASSEMBLAGE reflects on documentary filmmaking and the ethnographic representation of cultures. "Disentangling sound from image, foregoing an authoritative voice-over, and relinquishing the long takes of an observational style for a disjunctive montage aesthetic, Trinh overturns the conventions traditionally employed in anthropological filmmaking. Rather than a work of ethnographic cinema, REASSEMBLAGE is better understood as anti-ethnography - a film that reflexively dismantles the objectification and exoticization of otherness which mark the ethnographic and colonial projects alike." -Erika Balsom, FRIEZE "[The film] denotes something more than an exceptional spirit of observation; let's say by all means a kind of amorous enthrallment." -Alberto Moravia, L'EXPRESSO

12/8
New York, NY: Anthology Film Archives
http://www.anthologyfilmarchives.org/
8:00 PM, 32 Second Avenue
SHOOT FOR THE CONTENTS
by Trinh T. Minh-ha. Reflecting on Mao's famous saying, "Let a hundred flowers blossom and a hundred schools of thought contend," Trinh's film - whose title refers in part to a Chinese guessing game - is a unique excursion into the maze of allegorical naming and storytelling in China. The film ponders questions of power and change, politics and culture, as refracted by the events in Tiananmen Square. It offers at the same time an inquiry into the creative process of filmmaking, intricately layering Chinese popular songs and classical music, the sayings of Mao and Confucius, women's voices, and the words of artists, philosophers, and other cultural workers. Video images emulate the gestures of calligraphy and contrast with film footage of rural China and stylized interviews. Like traditional Chinese opera, Trinh's film unfolds through "bold omissions and minute depictions" to render "the real in the illusory and the illusory in the real." "One of the most extraordinary documentaries of recent years and a major creative intervention on the conventions of the genre…. A beautiful and moving film, as challenging and stimulating formally as it is politically." -LONDON FILM FESTIVALThis screening is also part of The Cinema of Gender Transgression: Trans Film Series; click here for details.

12/8
San Francisco, CA United States: Yerba Buena Center for the Arts
5:00 PM, 701 Mission St
CELEBRATING JONAS MEKAS 2: WALDEN
"I make home movies—therefore I live. I live—therefore I make home movies." —Jonas Mekas FULL PROGRAM DETAILS: http://www.sfcinematheque.org/screenings/celebrating-jonas-mekas-2/ JONAS MEKAS (b. Born in Semeniskiai, Lithuania 1922; d. New York City 2019) was without a doubt the world’s foremost advocate for personal/poetic/underground/avant-garde cinema. In his weekly Village Voice column “Movie Journal” (1959–1971), he chronicled the rise of the New American Cinema. As a courageous exhibitor he championed the (at the time) controversial works of Maya Deren, Gregory Markopoulos, Barbara Rubin, Jack Smith and Andy Warhol. To this day, New York’s Anthology Film Archives (founded by Mekas in 1970) continues his vision with an astounding 900+ screenings annually in its Lower East Side edifice. Widely recognized for this advocacy and infrastructural vision, Mekas was also a prolific filmmaker whose personal, diary-style films are noted for their in-the-moment spontaneity and their joyous (if world-weary) introspection and attention to small moments of life. As a year-end echo to Cinematheque’s February 13 screening of Mekas’ BIRTH OF A NATION (bit.ly/2DFX4nt)—which focused on relationships within the international filmmaking community—Cinematheque closes its 2019 exhibition year with a rare screening of Mekas’ legendary WALDEN (1964–69). Ever the drifting romantic (even if living as a self-proclaimed “raving maniac of the cinema”), Mekas’ 180-minute WALDEN is an epic tour-de-force of diaristic filmmaking, intimately embodying cinematic reaction to events of daily life—“situations, friends, seasons of the year”—in mid-to-late ‘60s New York City. Screening in 16mm, tonight’s program represents the first Bay Area screening of this major film in over twenty-five years.

MONDAY, DECEMBER 9, 2019

12/9
New York, NY: Anthology Film Archives
http://www.anthologyfilmarchives.org/
7:00 PM, 32 Second Avenue
SHOW & TELL: SEBASTIAN BRAMESHUBER, PGM 1
The December installment of "Show & Tell" represents a comprehensive survey of the films and videos of Sebastian Brameshuber. Born in Austria in 1981, and a graduate of the University of Applied Arts in Vienna and Le Fresnoy - Studio national des arts contemporains in France, Brameshuber has moved freely between short films and features, and from frankly experimental formal exercises to documentary portraits of under-represented individuals and cultures (muezzin competitions in Turkey, adolescents in provincial Austria, and Nigerian immigrants in the Alps). This dichotomy is blurred, however, especially since the documentaries unmistakably reflect his preoccupation with probing the difficulties of representation in a world dominated by images. Sociopolitical concerns and questions of form are closely intertwined in Brameshuber's work, whether he's creating a structuralist remake of the Lumière brothers' WORKERS LEAVING THE FACTORY (IN, OVER & OUT) or charting the transcontinental existence of a Nigerian-born mechanic (MOVEMENTS OF A NEARBY MOUNTAIN). The Sebastian Brameshuber screenings are presented with support from the Austrian Cultural Forum New York; special thanks to Michael Haider, Christian Ebner & Nadja Weidmann. PROGRAM 1: MUEZZIN (2009, 85 min, digital. In Turkish with English subtitles.) From 2,944 mosques Istanbul's muezzins call the people to prayer five times a day. Once a year, the best among them is determined in a nationwide contest. MUEZZIN follows the course of the competition alongside a handful of participants. We hear innumerable variations and interpretations of the chant, a reminder of the duty of prayer. A tradition becomes visible in which religious and competitive spirit, and the search for a voice, are worked through performatively year after year as a vanity fair in an exclusively male universe. Preceded by: IN, OVER & OUT (2015, 10 min, multiple-formats-to-digital) A film experiment in the tradition of structural cinema, IN, OVER & OUT is made up of a limited number of carefully-planned motifs, each of them shot simultaneously with twelve cameras from different technical periods. An homage to the Lumière brothers' WORKERS LEAVING THE FACTORY, this film constitutes a journey in time through the history of the moving image. Total running time: ca. 100 min.

TUESDAY, DECEMBER 10, 2019

12/10
Brooklyn, NY United States: Light Industry
http://www.lightindustry.org/
7:00 PM, 155 Freeman St
FANNY HOWE, SUSAN HOWE, AND HELEN HOWE ON MARY MANNING
Presented with the Women Film Pioneers Project Introduced by Fanny Howe, Helen Howe, and Susan Howe This evening, Mary Manning’s daughters—Fanny Howe, Helen Howe, and Susan Howe—will introduce a rare screening of three films Manning helped realize. Two were made under the banner of Irish Amateur Films: Screening in the Rain, a brief portrait of several members of the Gate Theatre, taken at the company’s annual garden party, and a surviving fragment of By Accident, a narrative shot around Dublin that showcases IAF’s focus on advanced montage techniques and innovative cinematography. Also featured is the now-classic Guests of the Nation. Adapted by Manning from a story by Frank O’Connor, and set during the Irish War of Independence in 1921, it concerns two IRA soldiers who develop an unlikely friendship with British prisoners under their watch. Hers, in short, was a catalytic presence—behind the camera, on the page, in the movie house—an indefatigable force that helped generate a film culture where before one had barely existed. Screening in the Rain. Cam.: J. N. G. (Norris) Davidson, misc. crew: Mary Manning (Irish Amateur Films IE 1930) cas.: Mary O’Moore, Grace McLoughlin, Judge Johnston, Lord Longford, Hilton Edwards, Micheál MacLiamóir, si, b&w (tinted), 16mm (digital projection, 5 mins). By Accident. Dir.: J. N. G. (Norris) Davidson, asst. dir./casting: Mary Manning, sc.: Norris Davidson (Irish Amateur Films IE 1930) cas.: C. Clarke-Clifford, Olive Purcell, Mary Manning, Paul Farrell, si, b&w, 16mm (digital projection, 8 mins). Guests of the Nation. Dir.: Denis Johnston, adp./props: Mary Manning (Denis Johnston Productions IE 1935) cas.: Barry Fitzgerald, Frank Toolin, Cyril Jackson, Charles Maher, Georgina Roper, Fred Johnson, Shelah Richards, Cyril Cusack, Hilton Edwards, si, b&w, 35mm (digital projection, 49 mins). All films courtesy of the IFI Irish Film Archive. Tickets - $8, available at door. Please note: seating is limited. First-come, first-served. Box office opens at 6:30pm.

12/10
New York, NY: Anthology Film Archives
http://www.anthologyfilmarchives.org/
7:00 PM, 32 Second Avenue
SHOW & TELL: SEBASTIAN BRAMESHUBER, PGM 2
The December installment of "Show & Tell" represents a comprehensive survey of the films and videos of Sebastian Brameshuber. Born in Austria in 1981, and a graduate of the University of Applied Arts in Vienna and Le Fresnoy - Studio national des arts contemporains in France, Brameshuber has moved freely between short films and features, and from frankly experimental formal exercises to documentary portraits of under-represented individuals and cultures (muezzin competitions in Turkey, adolescents in provincial Austria, and Nigerian immigrants in the Alps). This dichotomy is blurred, however, especially since the documentaries unmistakably reflect his preoccupation with probing the difficulties of representation in a world dominated by images. Sociopolitical concerns and questions of form are closely intertwined in Brameshuber's work, whether he's creating a structuralist remake of the Lumière brothers' WORKERS LEAVING THE FACTORY (IN, OVER & OUT) or charting the transcontinental existence of a Nigerian-born mechanic (MOVEMENTS OF A NEARBY MOUNTAIN). The Sebastian Brameshuber screenings are presented with support from the Austrian Cultural Forum New York; special thanks to Michael Haider, Christian Ebner & Nadja Weidmann. PROGRAM 2: AND THERE WE ARE, IN THE MIDDLE / UND IN DER MITTE, DA SIND WIR (2014, 91 min, digital. In German with English subtitles.) "Andi plays the electric guitar and is mad about guns. Michi hopes his Doc Martens show the right political stance. Ramona is looking for an apprenticeship and has her heart set on a lip piercing. These three 15-year-olds live in Ebensee, a village in Austria where in 2009 the annual memorial ceremony at the former concentration camp was disrupted by a group of youths with air rifles. […] Combining beautifully shot moments from the teenagers' day-to-day lives over the course of a year and statements from them and their parents about the treatment of the Nazi period, the film also outlines what sensitivities the official culture of remembrance is met with. And not just in Ebensee." -Birgit Kohler, BERLINALE FORUM Preceded by: OF STAINS, SCRAP & TIRES (2014, 19 min, Super-16mm-to-digital. In German with English subtitles.) "A calm, documentary miniature that chooses the auto export business of three young Nigerians in the Erzberg region as a point of association and departure for formulating something more fundamental about the first and third worlds, movement and standstill, business, space, and freedom." -Stefan Grissemann, SIXPACK FILM Total running time: ca. 115 min.

12/10
Santander, Spain: Centro Cultural Doctor Madrazo
6:00 PM, Casimiro Sainz, S/N
CINEINFINITO #111: LÁSZLÓ MOHOLY-NAGY
Cineinfinito #111: László Moholy-Nagy CINEINFINITO / Centro Cultural Doctor Madrazo Martes 10 de Diciembre de 2019, 18:00h. Centro Cultural Doctor Madrazo Calle Casimiro Sainz, s/n 39004 Santander Programa: · Impressionen vom alten Marseiller Hafen (1929), 9 min. · Lichtspiel Schwarz-Weiss-Grau (1930), 8 min. · Berliner Stilleben (1931), 12 min. · Großstadt Zigeuner – Gypsies (1932),18 min. · Outtakes from the Film “Things to Come” (1936),2 min. · The New Architecture and the London Zoo (1936), 15 min. Formato de proyección: HD (Nuevas copias cortesía del Light Cone) *Este programa se realiza gracias al apoyo del Goethe Institut (Madrid) https://www.cineinfinito.org/cineinfinito-111-laszlo-moholy-nagy/

12/10
Santander, Spain: Centro Cultural Doctor Madrazo
7:30 PM, Casimiro Sainz, S/N
CINEINFINITO #112: DAVID HAXTON
Cineinfinito #112: David Haxton CINEINFINITO / Centro Cultural Doctor Madrazo Martes 10 de Diciembre de 2019, 19:30h. Centro Cultural Doctor Madrazo Calle Casimiro Sainz, s/n 39004 Santander Programa: Bringing Lights Forward (1970), 16mm, b&w, silent, 4 min. Painting in Object (1975-6), 16mm, b&w, silent, 7 min. Cube and Room Drawings (1976-77), 16mm, color, silent, 15 min. Cubes (1977), 16mm, b&w, silent, 12 min. Painting Room Lights (1981), 16mm, color, silent, 9 min. Formato de proyección: HD (copias cortesía del autor) Agradecimiento especial a David Haxton https://www.cineinfinito.org/cineinfinito-112-david-haxton/

WEDNESDAY, DECEMBER 11, 2019

12/11
Berkeley, CA United States: Berkeley Art Museum & Pacific Film Archive
7:00 PM, 2155 Center St
AFTERIMAGE: J. HOBERMAN ON MOVIE CULTURE IN THE AGE OF REAGAN
Afterimage: J. Hoberman on Movie Culture in the Age of Reagan December 11–12 To celebrate the publication of his new book Make My Day: Movie Culture in the Age of Reagan, we’ve invited film critic and historian J. Hoberman to present two films and offer his insights on the synergy between American politics and popular culture during Ronald Reagan’s presidency. The concluding work in Hoberman’s ambitious Found Illusions trilogy, which also includes An Army of Phantoms and The Dream Life, the book “charts how Reagan’s ideology both reflected and refracted what was playing at a theater near you during his extended ‘morning in America’ tenure. . . . [It] has a way of connecting various dots between real figures/events and their reel-life counterparts that feels singular, stylish and slightly intoxicating in its scope” (David Fear, Rolling Stone).

12/11
New York, NY: Anthology Film Archives
http://www.anthologyfilmarchives.org/
7:00 PM, 32 Second Avenue
SHOW & TELL: SEBASTIAN BRAMESHUBER, PGM 3
The December installment of "Show & Tell" represents a comprehensive survey of the films and videos of Sebastian Brameshuber. Born in Austria in 1981, and a graduate of the University of Applied Arts in Vienna and Le Fresnoy - Studio national des arts contemporains in France, Brameshuber has moved freely between short films and features, and from frankly experimental formal exercises to documentary portraits of under-represented individuals and cultures (muezzin competitions in Turkey, adolescents in provincial Austria, and Nigerian immigrants in the Alps). This dichotomy is blurred, however, especially since the documentaries unmistakably reflect his preoccupation with probing the difficulties of representation in a world dominated by images. Sociopolitical concerns and questions of form are closely intertwined in Brameshuber's work, whether he's creating a structuralist remake of the Lumière brothers' WORKERS LEAVING THE FACTORY (IN, OVER & OUT) or charting the transcontinental existence of a Nigerian-born mechanic (MOVEMENTS OF A NEARBY MOUNTAIN). The Sebastian Brameshuber screenings are presented with support from the Austrian Cultural Forum New York; special thanks to Michael Haider, Christian Ebner & Nadja Weidmann. PROGRAM 3: MOVEMENTS OF A NEARBY MOUNTAIN / BEWEGUNGEN EINES NAHEN BERGS (2019, 86 min, digital. In English, Igbo, and German with English subtitles.) In a remote, abandoned industrial site near a centuries-old ore mine in the Austrian Alps, a self-taught mechanic runs a business exporting used cars to his native Nigeria. As he pursues his lonely day-to-day activities with wondrous serenity, past, present, and future begin to overlap, and memories of a lost friendship resurface against the backdrop of a mysterious promise of everlasting resources. "Brameshuber has achieved that wonderfully simple thing where all you have to do is look and see and listen to what is happening on screen in order to get closer to another human being, where in the process of watching everything is revealed, and simultaneously kept mysterious." -David Perrin, MUBI Preceded by: KEYNOTE (2006, 4 min, digital. Made in collaboration with Thomas Draschan.) KEYNOTE is a video on the cult of the digital, promises of salvation through technology, and mass manipulation. PRESERVING CULTURAL TRADITIONS IN A PERIOD OF INSTABILITY (2004, 3 min, digital. Made in collaboration with Thomas Draschan.) "In a voiceover Stan Brakhage articulates his resentments about the use of computers for art production and in general. This comment is contrasted by video imagery turning more and more abstract until it bursts into a sea of square pixels. The video is an ironic illustration of Brakhage's views as these 'defunct' images reveal a kind of beauty of their own." -VIENNALE Total running time: ca. 100 min.

SATURDAY, DECEMBER 14, 2019

12/14
Elmhurst, Queens, New York City: Seven Local Film
http://sevenlocalfilm.com
7:00 pm, TERRAZA 7 40-19 Gleane Street,
SMALL KITCHENS • ARTDOC SCREENING/PREVIEW
SMALL KITCHENS is a short (approx. 25 mins) artdoc that evocatively explores restaurant work in two confined spaces beneath the 7 train, between Jackson Heights and Elmhurst in Queens, near where we will screen it at TERRAZA 7. This is SMALL KITCHENS' preview, and Seth Fein will be present to discuss his film, between projections. More info about the project, including teasers are available at sevenlocalfilm.com

12/14
New York, NY: Anthology Film Archives
http://www.anthologyfilmarchives.org/
9:15 PM, 32 Second Avenue
A TALE OF LOVE
by Trinh T. Minh-ha. Co-directed by Jean-Paul Bourdier. Print courtesy of the Academy Film Archive. Portraying the Vietnamese immigrant experience, A TALE OF LOVE follows the quest of a woman in love with "Love." The film is loosely inspired by THE TALE OF KIEU, the Vietnamese national poem of love which Vietnamese people see as a mythical biography of their "motherland," marked by internal turbulence and foreign domination. A free-lance writer, Kieu also works as a model for a photographer who idealizes the headless female body and who captures Kieu sheathed by transparent veils. Voyeurism runs through the history of love narratives, and here it is one of the threads that structures the narrative of the film. Exposing the fiction of love in love stories and the process of consumption, A TALE OF LOVE marginalizes traditional narrative conventions and opens up a denaturalized space of acting where performed reality, memory, and dream constantly pass into one another. "Nothing else around is even remotely like it. […] At times a frankly erotic film that interrogates its own eroticism, it challenges the audience as well with its acting styles." -Jonathan Rosenbaum, CHICAGO READER

12/14
San Francisco: Other Cinema
http://www.othercinema.com/
8:30, 992 Valencia Street
META CINEMA
DEC.14: KEVIN B. LEE on HARUN FAROCKI + KONRAD STEINER on GUY DEBORD Keeping with our commitment to critical cinema, here’s a program that extols not only the modern “film essay”, but also the emerging genres of “video essay” and “desktop documentary”. Made possible by the holiday return of Kevin B. Lee—creator of 360 video essays (most famously Transformers:The Pre-Make) and first-ever Goethe Artist-in-Residence at Berlin’s new Farocki Inst.--to his SF family home, we gladly exploit the opportunity to devour the rare Harun Farocki material Kevin brings, as well as his own delightfully performative ”light-typing” commentary on it. Kevin’s digital mastery re-invents the keyboard/interface as a new creative palette for art-criticism, that opens up media in a “real-time graphic” way. CO-BILLED is local kultur hero Konrad Steiner, who generously took on the task of producing thee best English-dub of cine-essayist Guy Debord’s infamous In Girum... (the entire title’s a French palindrome for We Spin Around the Night Consumed by the Fire), with Dore Bowen (also in person) reading from Ken Knabb’s translation. Not seen in SF for over 12 years, this was the Situationist firebrand’s last and arguably best before suiciding, crystallizing his critique of the Commodity/Spectacle.

SUNDAY, DECEMBER 15, 2019

12/15
Brooklyn, NY United States: UnionDocs
http://www.uniondocs.org
7:30 PM, 322 Union Ave
BODY MEMORY
Presented with Millennium Film Journal. Screening to be followed by a discussion with Faith Holland, Seth Barry Watter, and Rachel Stevens Among the common tropes of the New Age healing narrative is that the self must be dismembered before it can be made whole. Visualization and channeling, aromatherapy and crystals are aids to that labor of self-excavation. Moulton’s deft use of the video medium has often gone far to portray such experience—to make graphically manifest the metaphysics of feeling-good. […] The riddle posed by Whispering Pines as a whole is: what’s wrong? Each episode attempts in some way to solve it. Moulton offers one clue in Whispering Pines 7 (2006) when she sings in the form of a cubistic sphinx: “Now that I’m a woman, everything is strange.” —Faith Holland & Seth Watter From Picture Plane to Astral Plane: Shana Moulton’s Whispering Pines We are excited to host a festive evening dedicated to the latest volume of Millennium Film Journal, BODY MEMORY. In celebration, we have invited featured writers from this volume, Faith Holland and Seth Barry Watter, to unpack and walk us through their essay “Picture Plane to Astral Plane” that examines Video Artist Shana Moulton’s video performance series Whispering Pines. We will share a program of Moulton’s videos alongside Jennifer Reeder’s film A Million Miles Away, also featured in this volume of the journal to open up a conversation around contemporary feminist filmmaking perspectives and practice. Millennium Film Journal’s Editor Grahame Weinbren will be in attendance with Rachel Stevens to introduce this volume and the program. Following a presentation from Seth Watter and Faith Holland, Stevens will lead a conversation with them on the films and their work. https://uniondocs.org/event/2019-12-15-body-memory/

12/15
New York, NY: Anthology Film Archives
http://www.anthologyfilmarchives.org/
4:15 PM, 32 Second Avenue
THE FOURTH DIMENSION
by Trinh T. Minh-Ha. THE FOURTH DIMENSION is an incisive and insightful examination of Japan through its art, culture, and social rituals. As is the case with Trinh's previous films, it is a multi-layered work addressing issues around its central theme: the experience of time, the impossibility of truly "seeing," and the impact of video on image-making. In her first foray into digital video, she deconstructs the role of ritual in mediating between the past and the present. With its lush imagery, Trinh's Japan is viewed through mobile frames, with doors and windows sliding shut, revealing new vistas as it blocks out the old light. "Trinh's newest essayistic work and her first videotape, cuts an intricate key for unlocking this elusive culture. Her tack finds great visual pleasure in the everyday, composing and decomposing the social landscape, while constructing a poetic grid of temporalities, symbolic meaning, and ritual. Trinh's lyrical narration guides us through 'Japan's likeness,' the perfected framing of the sacramental familiar." -Steve SeidThis screening is also part of The Cinema of Gender Transgression: Trans Film Series; click here for details.

12/15
New York, NY: Anthology Film Archives
http://www.anthologyfilmarchives.org/
6:15 PM, 32 Second Avenue
NIGHT PASSAGE
by Trinh T. Minh-ha. Co-directed by Jean-Paul Bourdier. Made in homage to Kenji Miyazawa's children's sci-fi classic MILKY WAY RAILROAD, this provocative tale tells the story of three young friends traveling for a brief moment together on the train between life and death. Their journey into and out of the land of "awakened dreams" occurs on a long ride on a night train. Ingeniously framed through the train window, Trinh and artist Jean-Paul Bourdier create whimsical and sensual dreamscapes, which are matched by an equally beautiful and other-worldly music score. Once again, Trinh shifts the way she engages with the form and the spirit of the cinema - to challenge and provoke her audience. "The netherworld between life and death is viewed as a place of light, shadow, movement and uncertain ideas in NIGHT PASSAGE." -VARIETY

12/15
New York, NY: Anthology Film Archives
http://www.anthologyfilmarchives.org/
8:30 PM, 32 Second Avenue
NITRATE KISSES
by Barbara Hammer. New print courtesy of the Academy Film Archive. "At the heart of Barbara Hammer's first feature, the now-iconic NITRATE KISSES, is a question articulated as a radical action: How do we discover and define cinematic images of queerness? The resulting film is both a query as to the very nature of a queer cinema as well as a complex and deeply empathic gesture towards the ongoing creation of one. By employing gorgeous black and white cinematography intermixed with historical found footage, Hammer aesthetically disintegrates temporal, geographical, creative, and political boundaries in her effort to unify rather than separate. Embracing and exploring sexuality, intimacy, and identity across wide expanses of time, age, gender, race, and politics, NITRATE KISSES still stands today as a defining call to action and awareness not just for queer cinema, but for our larger global consciousness." -KJ Relth & Mark Toscano


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