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*** TWIAGC is looking to pass the torch to a new facilitator *** Please contact *[email protected] <[email protected]>* for details *This Week [November 16 - 24, 2024] in Avant Garde Cinema* To receive the weekly listing directly via email rather than through Frameworks, just hit Subscribe <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=091193278b&e=857b71a9cb> . *DEADLINES APPROACHING* **** Enter upcoming calls for entry here <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=39d7e84acc&e=857b71a9cb> **** ___________________________________________________________________________________ *sorted by submission deadline* 11.30.2024 Interbay Cinema Society Lightpress Grant <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=acce7a427d&e=857b71a9cb> 11.30.2024 dresdner schmalfilmtage <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=6e62594900&e=857b71a9cb> 11.30.2024 Laterale Film Festival <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=f4b3f01215&e=857b71a9cb> (Second Deadline) 11.30.2024 Wide Open Experimental Film Festival <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=bb59087af5&e=857b71a9cb> (Final Deadline) 12.01.2024 Single Frame <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=41ca924167&e=857b71a9cb> (Late Deadline) 12.06.2024 Margaret Mead Film Festival <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=457bd2fb73&e=857b71a9cb> 12.13.2024 Portland Panorama <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=e466688096&e=857b71a9cb> (Late Deadline) 12.15.2024 Strangloscope Experimental International Festival <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=9993be7ea9&e=857b71a9cb> (Extended Deadline) 12.18.2024 Chicago Underground Film Festival <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=95a623d4e5&e=857b71a9cb> (Early Deadline) 01.10.2025 Coney Island Film Festival <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=5b94ca1986&e=857b71a9cb> (Late Deadline) 01.15.2025 Light Field <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=83a583f197&e=857b71a9cb> 01.24.2025 Fugue State <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=5165002905&e=857b71a9cb> (Early Deadline) 01.26.2025 International Short Film Festival Oberhausen <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=e8419ba54d&e=857b71a9cb> (Regular Deadline) 03.15.2025 ARTErra Residency <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=2f4aaa988d&e=857b71a9cb> 03.31.2025 FRACTO Experimental Film Encounter <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=0f651b2e14&e=857b71a9cb> 03.31.2025 Magmart Festival <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=129242c426&e=857b71a9cb> *EVENTS* **** Enter your event announcements here <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=d881caef98&e=857b71a9cb> **** ___________________________________________________________________________________ *complicated sorting but a true attempt, enjoy!* This week's programs (summary): - We Are Here: Scenes From The Streets <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=eda7cc33e9&e=857b71a9cb> [November 1-December 22, New York, NY] - Eno House Movie Nights: Nicotine Cinema <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=35cd0f3d4d&e=857b71a9cb> [November 16, Hillsborough, NC] - The Short Films of Abigail Smith & Justin Rhody <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=957439859d&e=857b71a9cb> [November 16, Santa Fe, NM] - Paradjanov's The Legend of Suram Fortress <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=eccce5e1c7&e=857b71a9cb> [November 17, Berkeley, CA] - Afro Promo <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=c587e8c0a3&e=857b71a9cb> [November 17, Cambridge, MA] - The Joy of Life & 575 Castro St. - Jenni Olson In Person <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=468e1eab43&e=857b71a9cb> [November 17, Cambridge, MA] - The Royal Road & Blue Diary - Jenni Olson In Person <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=77ee656274&e=857b71a9cb> [November 18, Cambridge, MA] - Scott Stark In Person <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=1a32939f8b&e=857b71a9cb> [November 20, Berkeley, CA] - Rare 16mm Projection: Stan Brakhage "Dog Star Man" And "Prelude" <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=824d023e37&e=857b71a9cb> [November 20, San Francisco, CA] - Luminous Alchemy Revisited <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=61bb4f96bc&e=857b71a9cb> [November 21, Oakland, CA] - Bergman's Non-Verbals & Light Play: A Tribute To Maholy-Nagy <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=fe2b8202af&e=857b71a9cb> [November 22, Cambridge, MA] - Intercepting The Flow: Experiments In Appropriation, Found Footage, And Homag <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=ca90cfa037&e=857b71a9cb> [Nov 22, Cambridge, MA] - Gravitational Lensing: Feminist Film Dialogues, PGM 5: Process & Transformation <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=180f766ac4&e=857b71a9cb> [Nov 22, Oakland, CA] - Paradjanov's Ashik Kerib <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=3975c5a339&e=857b71a9cb> [November 22, Berkeley, CA] - Camera Obscura : Tenth Annual Report <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=aac7692696&e=857b71a9cb> [November 22-24, Petaluma, CA] - Drawn To Bits: The Zagreb School of Animation <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=fc8153fdd6&e=857b71a9cb> [November 24, Cambridge, MA] - The Long Conversation <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=dbba5b23f3&e=857b71a9cb> [ongoing, online] - 6x6 Project: Artists' Moving Image Works <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=a681ccee88&e=857b71a9cb> [ongoing, online] *STARTING BEFORE SATURDAY, NOVEMBER 16, 2024* *November 1 - December 22* Venue type: *Live, physical event* Anthology Film Archives <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=aa666953be&e=857b71a9cb> times vary, see below, 32 Second Avenue, New York, NY *WE ARE HERE: SCENES FROM THE STREETS* This fall, the International Center of Photography (ICP) presents a major exhibition entitled “We Are Here: Scenes from the Streets”. Spotlighting contemporary street photography from over 30 international iconic street photographers, the exhibition highlights the diverse perspectives and techniques that define modern street photographers and emphasizes the role of the streets as a canvas for illustrating change. The work of these intergenerational and geographically disparate artists encourages an expansive re-viewing of “street photography.” It opens up important discussions on how “the street” and public space are places of community, joy, self-expression, advocacy, changing landscapes, and social dynamics as seen through the street photographer’s lens. In conjunction with the exhibition, Anthology hosts a wide-ranging film series, throughout November and December, that explores the intersections of street photography and cinema. The series includes documentaries by and about notable street photographers, but also showcases films that qualify, in their own right, as works of moving-image street photography (such as the work of Khalik Allah, Charlie Ahearn, Mira Nair, John Wilson, Heddy Honigmann, Jem Cohen, and others), or that expand the notion of what qualifies as street photography (John Smith’s *THE GIRL CHEWING GUM*, William H. Whyte’s *THE SOCIAL LIFE OF SMALL URBAN SPACES*, or Tom Jarmusch’s *SOMETIMES CITY*). “We Are Here: Scenes from the Streets” is on view at the ICP (84 Ludlow Street) from September 26, 2024-January 6, 2025. The exhibition is curated by Guest Curator Isolde Brielmaier, with Noa Wynn, Independent Curatorial Assistant. Special thanks to all the filmmakers; to Jacque Donaldson Bailey, Izzy Dow, Sara Ickow, Haley Kane, and Marley Trigg Stewart (ICP); and to Neal Block (Magnolia Pictures); Bob Hunter (Icarus Films); Marian Luntz (Museum of Fine Arts Houston); and Brian Meacham (Yale Film Archive). *SCREENINGS* Charlie Ahearn WILD STYLE <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=d9c114e9fc&e=857b71a9cb> November 1 at 7:30PM ET November 23 at 9:00PM ET December 21 at 9:00PM ET Cheryl Dunn EVERYBODY STREET <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=d665697889&e=857b71a9cb> November 2 at 4:30PM ET December 20 at 6:30PM ET KHALIK ALLAH PGM <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=e367cd7109&e=857b71a9cb> November 2 at 7:00PM ET November 29 at 9:15PM ET Dayong Zhao STREET LIFE / NANJING LU <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=41f55d36ff&e=857b71a9cb> November 2 at 9:15PM ET December 20 at 9:00PM ET WRONG SIDE OF THE LENS <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=7d99692162&e=857b71a9cb> November 3 at 4:00PM ET AHEARN / ROBAKOWSKI / HELLER PGM <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=ce4248c67b&e=857b71a9cb> November 3 at 6:15PM ET December 1 at 8:30PM ET Charlie Ahearn JAMEL SHABAZZ STREET PHOTOGRAPHER (filmmaker in person!) <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=6b7bc163b1&e=857b71a9cb> November 3 at 8:30PM ET December 1 at 6:00PM ET Heddy Honigmann METAL AND MELANCHOLY <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=c732fd660b&e=857b71a9cb> November 4 at 8:45PM ET December 21 at 4:15PM ET Raoul Peck ERNEST COLE: LOST AND FOUND <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=b41d8cad19&e=857b71a9cb> November 19 at 8:00PM ET JEM COHEN PROGRAM (filmmaker in person!) <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=1416b558ef&e=857b71a9cb> November 22 at 7:00PM ET ONE HOUR + A WALK <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=71b31e63eb&e=857b71a9cb> November 22 at 9:15PM ET November 24 at 5:15PM ET December 21 at 6:15PM ET 2 X NICHOLAS DOOB <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=1e77d40080&e=857b71a9cb> November 23 at 4:30PM ET November 30 at 6:00PM ET William H. Whyte THE SOCIAL LIFE OF SMALL URBAN SPACES <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=56286cb304&e=857b71a9cb> November 23 at 6:45PM ET November 29 at 7:00PM ET Tom Jarmusch SOMETIMES CITY (filmmaker in person!) <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=1d93d83be8&e=857b71a9cb> November 24 at 8:00PM ET Djamil Beloucif LE COIN DES VAURIENS <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=6ba3c5025b&e=857b71a9cb> December 22 at 5:00PM ET *SATURDAY, NOVEMBER 16, 2024* Venue type: *Live, physical event* Durham Cinematheque @ Eno House <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=a1a062413a&e=857b71a9cb> 7pm ET, Eno House, 903 Eno Street, Hillsborough, NC 27278 *Eno House Movie Nights: NICOTINE CINEMA* Durham Cinematheque announces a new film series in Hillsborough: Eno House Movie Nights. First show is NICOTINE CINEMA. I - Tom Whiteside dba Durham Cinematheque since 1991 - have been doing NICOTINE CINEMA shows for 30 years, all kinds of films about tobacco. Every show is a bit different. This one will feature two different versions of *Tobaccoland USA* (March of Time, 1939) filmed on the Buren Elis farm near Bahama and the Liggett & Myers factories and warehouses in Durham. Also on the program are *Princess Nicotine; or, The Smoke Fairy* (J. Stuart Blackton, 1909) and *Cigarette Blues* (Les Blank and Alan Govenar, 1985) plus television commercials for cigarettes and other dangerous things. Tickets are $10. Age 18 and under is $5; age 10 and under is free with an adult. Doors open at 7pm, come early, bring your friends, and hang out. BYOB. *** The next show will be December 7, THREE ARTISTS: Wanda Landowska, Chick Strand, and Georgia O'Keeffe *** If this works out I'll be doing one show a month. Hope to see you there. Eno House looks like a church because that is what it used to be. Now it is an event space, a nice little spot for screenings. NICOTINE CINEMA is a 16mm film show, runs about 80 minutes. *___________________________________________________________________* Venue type: *Live, physical event* No Name Cinema <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=11f24e38af&e=857b71a9cb> 6:30pm MST, No Name Cinema, 2013 Pinon Street, Santa Fe, NM *the short films of ABIGAIL SMITH & JUSTIN RHODY* To begin NNC's fourth year of programming, founders/operators (i.e., the popcorn maker and the janitor) present a program of their own works for moving image created both collaboratively and respectively. Production formats include 35mm, 16mm and Super-8mm film, as well as MiniDV video. Subject matter ranges from seizure-inducing deconstructions, cosmic-time period pieces, meditative abstractions, classical horror narratives, and experimental sonic affinities. filmmakers in attendance (working)! free pizza and cookies! *SUNDAY, NOVEMBER 17, 2024* Venue type: *Live, physical event* Pacific Film Archive <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=fe368d1178&e=857b71a9cb> 2pm PT, BAMPFA, 2155 Center Street Berkeley, CA *Paradjanov's The Legend of Suram Fortress* Codirected by Dodo Abashidze and Sergei Parajanov, this film is based on a Caucasus Mountains legend that tells of the repeated efforts of the Georgian people to construct a fortress against invaders. The fortress continues to collapse until a fortune teller recalls a fateful prophecy. The story, at once simple and marvelous (in the literal sense), unfolds in a circular rather than linear manner, and its mythic possibilities are realized wondrously in the film’s visuals. It is exquisite in the manner of a painted miniature, with the jewel-like colors and decor of a medieval illuminated manuscript. *The Legend of Suram Fortress (Legenda o Suramskoy Kreposki)*, Sergei Parajanov, Dodo Abashidze, USSR, 1985, in Georgian with English subtitles, Color, 35mm, 82 mins, Source BAMPFA *___________________________________________________________________* Venue type: *Live, physical event* Harvard Film Archive <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=748505b2c0&e=857b71a9cb> 3pm EST, 24 Quincy St, Cambridge, MA *Afro Promo* Co-curated by Jenni Olson and the late Black gay activist Karl Knapper, this entertaining showcase of vintage movie trailers traces the evolution of African American cinema through its most crucial period, 1952-1976. Filled with insights on race and social dynamics, this fascinating compendium of coming attractions explores an extensive range of stylistic approaches—Blaxploitation, Comedy, Music Bio, Plantation Drama and more—offering an outrageous joyride through motion picture history. Beyond mere camp, these marvelously condensed gems crystallize a range of African American identities and personalities, tracking the meteoric careers of Sidney Poitier, James Earl Jones, Billy Dee Williams, Richard Pryor, Pam Grier and others through their bold performances in movies both hugely popular and practically forgotten. Hailed by The Boston Globe as "hilarious and provocative," *Afro Promo* provides a compact glimpse at the representation of African Americans through twenty-five dynamic years of American cinema history. Please note: The condition of these original 35mm archival prints varies — enjoy the wear and tear! Directed by many filmmakers. Curated by Karl Knapper and Jenni Olson, US, 1997, 35mm, color and b&w, 75 min, Print source: HFA *___________________________________________________________________* Venue type: *Live, physical event* Harvard Film Archive <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=9f40374a40&e=857b71a9cb> 7pm EST, 24 Quincy St, Cambridge, MA *The Joy of Life & 575 Castro St. - Jenni Olson in Person* Multitalented artist and writer Harry Dodge (*By Hook or By Crook*, *Cecil B. Demented*) brings to life Olson's innovative story of a butch dyke in San Francisco searching for love and self-discovery. Against a backdrop of stunning 16mm landscape cinematography, this bold, lyrical voiceover film evolves from a lesbian lust story to an inventive documentary delving into explicit reflections on sexual encounters and offering up a quick look at Frank Capra’s 1941 melodrama *Meet John Doe* before embarking on the fascinating and previously untold history of the Golden Gate Bridge as a suicide landmark. A true San Francisco experience, *The Joy of Life* also includes poet Lawrence Ferlinghetti intoning his ode to the City by the Bay, “The Changing Light,” and features music from legendary poet-painter (and probable Golden Gate suicide) Weldon Kees. Preceded by *575 Castro St*: Olson's short reveals the play of light and shadow upon the walls of the Castro Camera Store set for Gus Van Sant's Oscar-winning feature film *Milk*. The soundtrack is an edited-down version of the thirteen-minute audio cassette that Harvey Milk recorded after his election to the San Francisco Board of Supervisors, to be played "in the event of my death by assassination.” *575 Castro St*, Directed by Jenni Olson. US, 2009, DCP, color, 8 min. DCP source: HFA / Frameline Distribution *The Joy of Life*, Directed by Jenni Olson. US, 2005, DCP, color, 65 min. DCP source: Frameline Distribution *MONDAY, NOVEMBER 18, 2024* Venue type: *Live, physical event* Harvard Film Archive <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=47fbc5269b&e=857b71a9cb> 7pm EST, 24 Quincy St, Cambridge, MA *The Royal Road & Blue Diary - Jenni Olson in Person* A cinematic essay in defense of remembering, *The Royal Road* offers up a primer on Junipero Serra’s Spanish colonization of California and the Mexican American War alongside intimate reflections on nostalgia, the pursuit of unavailable women, butch identity and Alfred Hitchcock’s *Vertigo*—all against a contemplative backdrop of 16mm urban California landscapes and featuring a voiceover cameo by Tony Kushner. Olson’s bold, innovative film combines rigorous historical research with lyrically written personal monologue and relates these seemingly disparate stories from an intimate, colloquial perspective to tell a one-of-a-kind California tale. *The Royal Road*, Directed by Jenni Olson. US, 2015, DCP, color, 65 min. DCP source: HFA Preceded by: *Blue Diary*, Directed by Jenni Olson. US, 1997, 16mm, color, 6 min. Print source: HFA The melancholy story of a butch dyke pining over a one-night stand with a straight girl. *WEDNESDAY, NOVEMBER 20, 2024* Venue type: *Live, physical event* Pacific Film Archive <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=d4a6d5e722&e=857b71a9cb> 7pm PT, BAMPFA, 2155 Center Street Berkeley, CA *Scott Stark in Person* >From an improbably epic single-shot journey across the varied designs of a hotel’s carpets; through the shadows and surfaces of an abandoned trainyard, a contemporary bowling alley, and family photos; to mid-twentieth-century Kodachrome parades, Scott Stark traces, tracks, and transforms everyday surfaces with a variety of cinematic tools. “I see each film/video project as a ‘first film’ with its own cinematic language, one that the viewer learns and engages with as the piece unfolds. This language is shaped by the particular mechanics of each medium, in the same way verbal language is shaped by the mechanics of the human mouth. Thus each film charts the possibility of a pre-cinema experience, one that might have evolved had not narrative and commerce been cinema’s prevailing motivational forces” (Scott Stark). *Hotel Cartograph*, Scott Stark, United States, 1983, Color, 16mm, 12 mins, source, Canyon Cinema *All About the Illusion*, Scott Stark, United States, 2006, Color, Digital, 10 mins, source Scott Stark *Underlying Persistent Volumes*, Scott Stark, United States, 2022, Color, Digital, 11 mins, source Scott Stark *Underlying Persistent Volumes, Part 2*, Scott Stark, United States, 2022, Color, Digital, 6 mins, source Scott Stark, With live vocal accompaniment *Tenpin Arpeggio*, Scott Stark, United States, 2023, Color, Digital, 12 mins, source Scott Stark *Traces/Legacy*, Scott Stark, United States, 2015, Color, 35mm, 9 mins, source Canyon Cinema *Music in the Air*, Scott Stark, United States, 2023, Color, 2 x 16mm projectors with rotating shutter, 15 mins, source Scott Stark *___________________________________________________________________* Venue type: *Live, physical event* Renegade Cinema <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=8ad6ddded0&e=857b71a9cb> 6PM PT, Beat Museum, 540 Broadway, San Francisco, CA *RARE 16mm Projection: Stan Brakhage "Dog Star Man" and "Prelude"* I believe that this may be the only screening of this historic series of films by Stan Brakhage in more than 25 years. A RARE event. *THURSDAY, NOVEMBER 21, 2024* Venue type: *Live, physical event* Shapeshifters Cinema <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=2efd65b5e7&e=857b71a9cb> 7:00pm PT, 567 5th St, Oakland, CA *LUMINOUS ALCHEMY REVISITED* Two programs in a single evening! Single admission for both! ----- *LUMINOUS ALCHEMY REVISITED I* *HAND-HELD DAY* (1975) Gary Beydler [6min.] *AUBADE* (2010) Nathaniel Dorsky [11.5min.] *AUTUMN* (2016) Nathaniel Dorsky [26min.] *ROMAN NUMERAL V* (1980) Stan Brakhage [3min.] *WINTER* (2007) Nathaniel Dorsky [21.5min.] —intermission— *LUMINOUS ALCHEMY REVISITED II* *PAVANE* (2023) Nathaniel Dorsky [11.5min.] *SUMMER* (2013) Nathaniel Dorsky [22.5min] *THE MAGICIAN'S HOUSE* (2007) Deborah Stratman [6min.] *RULING STAR* (2019) Jerome Hiler [22min.] ----- Over the past six decades, Nathaniel Dorsky and Jerome Hiler have created extraordinary works of entrancement and immense fascination. Shortly after they met—at a mid-1960s New York screening of Dorsky's *INGREEN*—their lives became inexorably intwined. They relocated together from the opposite coast to the Bay Area in the early-1970s (where they have lived and primarily worked ever-after). Their distinctive filmmaking practices developed independently, yet in parallel, with intermittent screenings of their own shorts and others within their respective homes for themselves and, occasionally, a handful of assorted friends. LUMINOUS ALCHEMY REVISITED, in essence and intention, is inspired by those intimate occasions. For the uninitiated, the films of Hiler and Dorsky are temporary gateways into an illusory realm. Exhibited in the absence of a soundtrack and at a speed slightly decelerated to eighteen frames-per-second, their films construct a collage of intumescent imagery that transcends the limitations of the perceivable world. The five programs of the inaugural LUMINOUS ALCHEMY were presented at Northwest Film Forum in June; …REVISITED redirects that illustrious series into new territories with films absent from the earlier screenings. This season-specific quasi-retrospective, from *AUTUMN* sequentially to *SUMMER *and, with *RULING STAR*, from summer back to winter, intermingles the works of Dorsky and Hiler into two concise programs, each with interrelated films by Gary Beydler, Deborah Stratman and Stan Brakhage. Nearly ten films in all, each exhibited on the format of their creation: 16mm! [presented as a semi-related parallel prologue of the Tenth Annual Report of Camera Obscura and with absolute appreciation to the associated filmmakers (potentially attending in-person, if possible) as well as the illustrious Canyon Cinema Foundation and the wonderful folks at Shapeshifters Cinema] *FRIDAY, NOVEMBER 22, 2024* Venue type: *Live, physical event* Harvard Film Archive <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=3385facdde&e=857b71a9cb> 7pm EST, 24 Quincy St, Cambridge, MA *Bergman’s Non-Verbals *& *Light Play: A Tribute to Maholy-Nagy* *Bergman’s Non-Verbals*, Directed by Dušan Makavejev. US, 1978, 16mm, black & white, 30 min. Print source: HFA *Light-Play: A Tribute to Moholy-Nagy*, Directed by Vlada Petrić. US, 1988, 16mm, black & white, 28 min. Print source: HFA “A film is nothing else but the collection of your horrors,” asserted Dusan Makavejev, irreverent doyen of film in Yugoslavia and a 1977-1978 visiting lecturer in Visual and Environmental Studies at Harvard. During his stay on campus, Makavejev taught a course alluringly named “Compressed Cinema,” consisting mostly of “viewing a ninety-minute feature film in thirty minutes by projecting each of its three reels side-by-side simultaneously.” He also devised an analytic-pedagogic avant-garde film. The “Ingmar Bergman Dream Film Experiment” (referred to by Mak and his assistant Matthew Duda as “Bergman’s Non-Verbal Sequences”) was spawned to complement the international “Bergman and Dreams” symposium, convened in the Carpenter Center auditorium in January 1978. The work’s serial anatomy is simple enough, as the artist-teacher-archivist-compiler recounts: “I collected non-verbal sequences from Bergman’s films: *Persona*, *Wild Strawberries*, all kinds of films. I had something like seventeen clips [nineteen to be exact] and I tried to organize them into a one-hour Bergman film that Bergman never made. It was clips from his films, but it was all him. I didn’t do anything. I just found some order. We made a three-screen presentation, with black-and-white dreams in the middle and then two screens in color after half an hour, but without words. There was a world appearing when you collected the clips and put them in order. Suddenly there was something going from sequence to sequence … I think I managed to get something that would look like a dream you can’t explain. The response was very interesting: there was a big silence. People would not dare to discuss it. It was a fantastic response.” In the audience at the experiment’s sole performance was Stanley Cavell, who later reflected on the oneiric collective experience (as well as on the three-minute silence that followed) in a vivacious article. Thirty-five years later, researcher Katarina Mihailovic sharply unpacked the project’s historico-conceptual layers, while film scholar Tanja Vrvilo recreated it digitally at a workshop in Sarajevo. The half-hour copy exhibited here is what remains of Makavejev’s surrealist power-blending of Bergman in the Harvard Film Archive vault. The aphasic hypnagogic collage is followed by another video essay *avant la lettre*—this one also envisioned locally. Vlada Petric, the Yugoslav-born Henry Luce Chair of Cinema and HFA co-founder (alongside Cavell and documentarian Robert Gardner), was also a productive, multifarious filmmaker. Among his strongest yet least-discussed pieces is *Light-Play: A Tribute to Moholy-Nagy*. In the dearth of secondary accounts, our best decoder of the film is Petric himself. “This experimental film is a Constructivist realization in the literal sense of the term: it represents a montage deconstruction/reconstruction of the original short film constructed by Laszlo Moholy-Nagy in Germany, and based on his kinetic sculpture *Light Modulator* [preserved at the Harvard Art Museums and to this day still operational], which he made with the intention of using as the subject of the film *Ein Lichtspiel: Schwarz, Weiss, Grau* (1930), an extraordinary cinematic exemplification of his concept of ‘building an art-object of different pieces through a preconceived mathematical pattern.’ The original film consists of only forty-nine shots (many of them with multiple exposure), mostly close-ups of the rotating modulator which, under strong light and continuous motion, produces intricate optical effects on the screen. Fascinated by such visual dynamism, I undertook research to find more data related to Moholy-Nagy’s ideas about photography and cinema, and was surprised to learn that his concepts evoke Dziga Vertov’s ‘theory of Intervals,’ as well as his revolutionary idea of kinesthetic resolution (i.e., the cinema’s unique capacity to stimulate in the viewer motor-sensory responses through various kinds of movements occurring on the screen). With this in mind, I began to devise a strategy for re-editing Moholy-Nagy’s film by applying to it Vertov’s montage principles in an aggressive manner, while at the same time following Moholy-Nagy’s ‘pattern of three’ carried out in the modulator’s construction.” … To catalyze our unpacking of these works, the screening will be followed by a conversation with Pavle Levi, Department Chair and Osgood Hooker Professor of Fine Arts at Stanford University. *___________________________________________________________________* Venue type: *Live, physical event* Harvard Film Archive <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=8977791f2c&e=857b71a9cb> 9pm ET, 24 Quincy St, Cambridge, MA *Intercepting the Flow: Experiments in Appropriation, Found Footage, and Homag* *Erna*, Directed by Erna Banovac. Yugoslavia, 1963, digital video, black & white, 3 min. Copy source: Alternative Film Archive *Reindeer, Dear Reindeer (Sobovi, dragi sobovi)*, Directed by Ljubiša Grlić. Yugoslavia, 1963, DCP, color, 3 min. BCMS with English subtitles. DCP source: Kinoklub Zagreb *Straight Line (Stevens-Duke) (Pravac (Stevens-Duke))*, Directed by Tomislav Gotovac. Yugoslavia, 1964, 16mm, black & white, 7 min. Print source: Croatian Film Association *Nocturne (Nokturno)*, Directed by Vasko Pregelj. Yugoslavia, 1965, digital video, black & white, 14 min. Copy source: Slovenian Cinematheque *Woman (Žemsko)*, Directed by Tatjana “Dunja” Ivanišević. Yugoslavia, 1968, digital video, color, 6 min. Copy source: Kino klub Split *Gerdy, the Wicked Witch (Gerdy, zločesta vještica)*, Directed by Ljubomir Šimunić. Yugoslavia, 1976, digital video, color, 10 min. Copy source: Alternative Film Archive of Academic Film Center SCCC, Belgrade *Last Tango in Paris (Poslednji tango u Parizu)*, Directed by Miodrag Miša Milošević. Yugoslavia, 1983, digital video, black & white, 6 min. Copy source: Alternative Film Archive of Academic Film Center SCCC, Belgrade *Fear in the City (1181 Days Later or Smell of Rats) (Paura in città (1181 dni pozneje ali vonj po podganah))*, Directed by Davorin Marc. Yugoslavia, 1984, 35mm, color, 21 min. Print source: Slovenian Cinematheque “The potential of film history in its cut-up form remains an open possibility,” writes Catherine Russell in her recent *Archiveology*, a monograph on reuse, recycling and borrowing in avant-garde and documentary film. “Images and sounds are recordings that engage the senses, documents that are mysterious and secretive until their energies are released in flashes of recognition. Moving image artists are those who create these sparks, which only occur in the presence of the viewer.” Rarely has a cinema hijacked, pirated, embezzled and diverted already-existing cinematic and televisual streams as spiritedly as alternative, amateur and non-normative filmmaking in Yugoslavia. Rarely has a cinema ignited as many sparks—or what Pavle Levi via Makavejev calls jolts—as in the abundant state-endowed “kino klubs” that developed under Tito in the late 1950s and 60s. Not all of the eight chosen works originate from that influential institutional context: Ljubomir Simunic (an “outsider’s outsider”) embroidered his 8mm multiple-exposure extravaganzas independently, without the aid of formal organizations, while Davorin Marc’s sublime meta-punk firecracker* Fear in the City* was made in 1984 (at the age of twenty) as ciné clubs and indeed the SFRY itself were on the decline. Marc’s film has recently been restored and digitized by the Slovenian Cinematheque. Yet all the shorts are united in their risky but never reckless—spectacular yet always smart and thoughtful—use of (foreign) iconographies, citations and aesthetico-historic references in ways that constitute neither uncomplicated political critique nor myopic consumerist adoration. In radical (and radically different) formal modes, they tune into, quote, lift, absorb and détourn international(ist) trajectories of film not just to “carry the principle of montage into history,” as Walter Benjamin put it in the *Arcades Project*, but “to grasp the construction of history as such.” “The only way to subvert or challenge the world of images that we inhabit is from within that world,” continues Russell. “The apparatus conceals ‘productive forces’ that can be redirected and restaged … Insofar as we live in the society of the spectacle with no way out, we need to reuse the remnants of past image cultures in order to better conceptualize the future.” Yugoslav cineastes took Russell’s suggestion to heart, from Erna Banovac’s eco-apocalyptic found-footage premonition (the author’s sole surviving film, made under the hugely patriarchal auspices of Kino Klub Beograd when she was eighteen) to Ljubisa Grlic’s *Reindeer, Dear Reindeer*, a hypnotic quasi-readymade of which the filmmaker-scientist left no account. Grlic’s opaque objet provocateur, as experimental cinema expert Petra Belc describes it, is in all likelihood a structural piece of re-photography (appropriating Norman McLaren) with a voiceover pulled from a television nature show; the copy playing at Harvard is a brand-new digital restoration. With *Straight Line*—the opener of film-multimedia performer-extraordinaire Tomislav Gotovac’s “Belgrade trilogy”—we ride on board a street train as it tracks down Revolution Boulevard in the direction of homage. The film is an avowed, direct tribute both to the titular George Stevens and Duke Ellington, as well as to the implicit yet nonetheless vividly felt legacy of early train-affixed and technomobility-fixated cinema. (If the Lumières had the audacity and tech to mount their Cinématographe in the locomotive’s front instead of on a platform tripod, *Straight Line* would have been the result.) The program’s subdued first half wraps up with *Nocturne*, Vasko Pregelj’s arcanely powerful assemblage of newspaper excerpts, superimposition and death. The mood about-faces suddenly with Tatjana Dunja Ivanisevic, whose zappy *Woman* (Yugoslavia’s earliest example of feminist cinema according to most accounts) shares Pregelj’s enchantment with song, photography, and the printed word, yet retains none of his somber haute metaphysics. Ivanisevic luxuriates in John Lennon’s cover of “Stand By Me” and the proto-funk anthem “Funky Broadway,” playing them from vinyl LPs while lounging in bed. Attention then shifts to *Gerdy*; its unwieldy, entrancing combustion of innumerable micro-samples—recorded over the course of years and edited in-camera—needs to be experienced to be (dis)believed. Film critic Neil Young, a Simunic superfan, notices Ken Russell’s *Mahler* (1974), *Fantastic Voyage* (Richard Fleischer, 1966), and a Tina Turner variety broadcast among Simunic’s sources, while the narcotic audioscape by Aphrodite’s Child is unmistakable. *Last Tango in Paris* sustains the cinephilic line by filming and double-filming cathected moments from Bertolucci’s erotic classic, replacing Marlon Brando’s singular mumble with that of Jim Morrison. Approaching (and in the same gesture exceeding) the aesthetic conventions of video art, *Fear in the City* completes our media-historic diagram. From newspapers, magazines, and other print media to photography, cinema, television and ultimately video, Yugoslav film’s engagements with international sights and sounds are rich. Let this chronological trip into and out of the flow work as a potion—a psychoactive cruise of Benjaminian “shocks” and Makavejevan “jolts,” “no matter what the outcome.” *___________________________________________________________________* Venue type: *Live, physical event* Shapeshifters Cinema <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=e1360db530&e=857b71a9cb> 7pm PST, 723 46th St. Oakland, CA *Gravitational Lensing: Feminist Film Dialogues, Program 5: Process & Transformation* Gravitational Lensing: Feminist Film Dialogues is a film series dedicated to exploring the visions, voices, concerns and lineage of women, non-binary, genderqueer and trans filmmakers through public film screenings, workshops, conversations and presentations. Presented at Shapeshifters Cinema (Oakland) over the course of 18 months, each program in the series is organized around a specific theme, pairing films selected from an open call with work by other feminist filmmakers that engages with similar subjects, ideas or techniques. *Element *(1973, 16mm) by Amy Greenfield, *Makeover Movie *(2022, DV) by Sue Ding, *Three Peonies *(2017, 16mm shown on DV) by Stephanie Barber, *Moon Cycle* (2023, 16mm shown on DV) by Justine Tamiko Lai, *To the Earthen Red* (2022, DV) by Nika Pecarina, *Well Dressed* (2006, Super-8 shown on DV) by Elliot Montague, *Siboney* (2014, DV) by Joiri Minaya. *___________________________________________________________________* Venue type: *Live, physical event* Pacific Film Archive <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=3ff6b4523a&e=857b71a9cb> 7pm PT, BAMPFA, 2155 Center Street Berkeley, CA *Paradjanov's Ashik Kerib* This is a true trans-Caucasus venture, produced by a Georgian studio and directed by an ethnic Armenian who selected Azerbaijani as the language of his film—simply because he loved the sound of it. As if to combine *The Color of Pomegranates* and *Shadows of Our Forgotten Ancestors*, here is a film about art and the all-conquering power of love. *Ashik Keri*b, a poor singer and saz (Turkish guitar) player, when denied the hand of the woman he loves, sets out on a ten-year journey. The film recounts the adventures of the wandering minstrel. *Ashik Kerib*, Dodo Abashidze, Sergei Parajanov, USSR, 1988, based on a story by Mikhail Lermontov. in Azerbaijani with English subtitles. Color, 35mm, 78 mins, Source BAMPFA *___________________________________________________________________* *November 22 - 24* Venue type: *Both physical and online* CAMERA OBSCURA <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=7685fdd039&e=857b71a9cb> [multiple events / assorted times, see below], HOTEL PETALUMA | 205 Kentucky Street, Petaluma, CA Event URL: https://www.facebook.com/cameraobscurafilmsociety <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=359d071a2b&e=857b71a9cb> *CAMERA OBSCURA : TENTH ANNUAL REPORT* The reconvened CAMERA OBSCURA FILM SOCIETY, presenting "unusual, antique and experimental films" under the coordinated co-direction of Amanda Salazar (VIDIOTS <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=a3f8063a95&e=857b71a9cb> Director of Programming) and Jonathan Marlow (Executive Director of PARACME <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=0a5d63f070&e=857b71a9cb>), will return for its Tenth Annual Report over a trio of days from 22 to 24-November (the weekend prior to Thanksgiving) in Petaluma, California, fifty kilometers (or roughly thirty miles) north of the Golden Gate Bridge! Over the course of this exceptional weekend, an assortment of wonderful and remarkable films will screen at a temporary cinema constructed inside the grand ballroom of the historic Hotel Petaluma. Programs of longer-works-paired-with-shorter-works will be presented along with filmmaker Q&As and related activities within walking-distance of the hotel. The original Camera Obscura Film Society was founded in 1957 by Lawrence Jordan and Bruce Conner (along with a handful of other likeminded individuals) in the years following the conclusion of Frank Stauffacher's legendary SFMOMA "Art in Cinema" series. COFS' eclectic programs continued at occasional intervals until the screenings ceased a handful of years later. The reconstituted Camera Obscura has attempted to recreate the spirit of these programs and, for the past decade, it has done exactly that! As in prior Reports, the complete program of screenings and events will only be announced in the days prior to opening night. This particular edition seems destined to be the most extraordinary of them all! *SUNDAY, NOVEMBER 24, 2024* Venue type: *Live, physical event* Harvard Film Archive <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=a9f0365053&e=857b71a9cb> 3pm EST, 24 Quincy St, Cambridge, MA *Drawn to Bits: The Zagreb School of Animation* *Ersatz, AKA The Substitute (Surogat)*, Directed by Dušan Vukotić. Yugoslavia, 1961, 35mm, color, 10 min. Print source: HFA *The Play (Igra)*, Directed by Dušan Vukotić. Yugoslavia, 1962, 35mm, color, 12 min. Print source: HFA *Everyday Chronicle, AKA A Little Story (Mala kronika)*, Directed by Vatroslav Mimica. Yugoslavia, 1962, 35mm, color, 11 min. Print source: HFA *Tamer of Wild Horses (Krotitelj divljih konja)*, Directed by Nedeljko Dragić. Yugoslavia, 1966, 16mm, color, 8 min. Print source: HFA *The Fly (Muha)*, Directed by Aleksandar Marks and Vladimir Jutriša. Yugoslavia, 1966, 35mm, color, 8 min. Print source: HFA *Of Holes and Corks (O rupama i čepovima)*, Directed by Ante Zaninović. Yugoslavia, 1967, 35mm, color, 9 min. Print source: HFA *Passing Days (Idu dani)*, Directed by Nedeljko Dragić. Yugoslavia, 1969, 35mm, color, 9 min. Print source: HFA *Dialogue (Dijalog)*, Directed by Dragutin Vunak. Yugoslavia, 1969, 16mm, color, 1 min. Print source: HFA *The Masque of the Red Death (Maska crvene smrti)*, Directed by Pavao Štalter and Branko Ranitović. Yugoslavia, 1969, 35mm, color, 9 min. Print source: HFA *Ars Gratia Artis*, Directed by Dušan Vukotić. Yugoslavia, 1970, 16mm, color, 9 min. Print source: HFA The “Zagreb School,” as André Martin and Georges Sadoul labeled it at the 1958 Cannes festival, denotes one of Yugoslav filmmaking’s strongest, drollest and most internationally prominent episodes. Its zenith took place from approximately 1957 (when newspaper cartoonists, illustrators, sound designers, puppeteers and hand-drawn image virtuosos of various sorts united under the aegis of the then-newly-initiated Zagreb Film) all the way to 1980 and the economic calamities inhibiting the country that decade. The group’s enormous success and popularity with transatlantic audiences is evidenced not only by abundant contemporaneous screenings, series and awards—New York’s Museum of Modern Art alone organized two extensive retrospectives by the end of the 70s—but also by the existence of Zagreb film prints in archives across North America, including at this institution. Of the (at least) seventeen gorgeously saturated copies held at the Harvard Film Archive, we have opted to project ten. The influences, art-historical forerunners and philosophic currents from which Zagreb-associated craftspeople drew have been documented thoroughly: Walt Disney, Jiri Trnka, United Productions of America, German expressionist painting, Dziga Vertov, New Objectivity, Dada and George Grosz. Alongside them, to be sure, flourished a potent dose of Suprematism, Surrealism and the abstract hyperlinear geometrics of Mondrian. For all their conspicuous graphic indebtedness to modernist trends and ideas however, the films also tread their own unique course. Paul Morton appraises it precisely: “While the best-known Czech and Soviet animation indulges national-folk stylizations and contemporary domestic issues, the Zagreb School’s major themes are universal—industrialization, militarism, environmentalism, nuclear annihilation, and urban alienation, as well as the conforming pressures of commercialization and mass culture.” Especially invested in narratives of the hapless “small man” (mali covjek), ten-or-so-minute titles prolifically emerging from the modestly-resourced Zagreb Film conveyor line took up motifs of existential, transhistoric magnitude with the use of fiercely au courant and anti-illusionist techniques. The assortment on display here underlines some of the essential preoccupations and expressive variety of artist-auteurs laboring within the studio in the 60s: from Dusan Vukotic’s constructivism and the anti-machinic, paranoid dread of Vatroslav Mimica (an animator and soon-to-be eminent fiction director who himself could not draw) to anxiety-infused capers of men (and indeed exclusively men) agonizing under techno-modern duress and distress. There is even a lusciously baroque Edgar Allan Poe adaptation courtesy of Pavao Stalter and Branko Ranitovic, escorted by equal parts endearing and disquieting meta-gems on animation as imaginative escape; the (im)possibility of interpersonal communication; and humankind’s smallness in the face of flora, fauna and insecthood. Transnational junctures abound, with intertitles often rendered in a buffet of major languages (English, German, French, Italian and Russian, but at times also Greek or Hebrew) and westward-oriented distribution agreements, such as with America’s Janus Films. Eastmancolor, appropriately for the period, is the color process of choice, with some of this screening’s prints looking as superb as if never spooled through a projector. *ONGOING* Venue type: *Virtual, online event* Riverwest Radio <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=122e3411ac&e=857b71a9cb> streaming 24/7 *THE LONG CONVERSATION* THE LONG CONVERSATION with Xav Leplae and Stephanie Barber is on indefinite hold. But... all episodes from the last year and a half are streaming!!! *___________________________________________________________________* Venue type: *Virtual, online event* 6x6 Project <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=39ad962bce&e=857b71a9cb> streaming 24/7 *Artists' Moving Image Works* 6x6 project is an online artists' community that serves as a platform for disseminating artists' moving image works, and to create an ever-growing network among peers. There are now more than four hundred artists’ film and moving image works available to view on the website. ------------------------------ *Let us know about your alternative film/video event!* Enter your event announcements by going to the Flicker Weekly Listing Form <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=a58ee09397&e=857b71a9cb> . To receive the weekly listing directly via email rather than through Frameworks, just hit Subscribe <https://list-manage.us1.list-manage.com/track/click?u=4b83d0e66f4638a082b103d27&id=091193278b&e=857b71a9cb> . **** TWIAGC is looking to pass the torch to a new facilitator **** Please contact [email protected] *for details* *Copyright © 2020 Flicker, All rights reserved.* Longtime recipient of This Week in Avant Garde Cinema This Week in Avant Garde Cinema · everywhere · Cincinnati, OH 45201 · USA
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