Part 2 of 2: This week [October 8 - 16, 2011] in avant garde cinema ------------------------ FRIDAY, OCTOBER 14, 2011 ------------------------
10/14 Boston, Massachusetts: ArtsEmerson http://ArtsEmerson.org 6p, Paramount Center: Bright Family Screening Room 559 Washington Street YANQUI WALKER AND THE OPTICAL REVOLUTION Emerson PresentsDirector Kathryn Ramey in Person Filmmaker and anthropologist Kathryn Ramey's award winning films operate at the intersection of experimental film and socio-cultural research. We are pleased to welcome Ramey to the Paramount to present a program of her work, including her recent video Yanqui WALKER and the OPTICAL REVOLUTION, an exploration of the obscure American expansionist and military dictator William Walker, who through force and coercion became president of Nicaragua in 1856. 10/14 Los Angeles, California: Redcat http://www.redcat.org/ 8:30pm, 631 West 2nd St. WERNER SCHROETER/ELFI MIKESCH: A VOICE THAT LINGERS Jack H. Skirball Series $10 [students $8, CalArts $5] U.S. premiere Werner Schroeter (19452010) created one of the most significant oeuvres of the New German Cinema, a legacy of more than 20 visually and aurally stunning features, among them Willow Springs (1973), Palermo oder Wolfsburg (1980), Malina (1991), and Deux (2002). His intimate collaborations with divas such as Magdalena Montezuma, Candy Darling, Ingrid Caven, Maria Callas, and Isabelle Huppert go beyond mere camp: Schroeter's protagonists exhaust themselves in music, melodrama, or visual excess to express consuming passions. When love is gone and death has come, he once said, "the expression remains, like a quake, a shivering sensation." Schroeter had shot most of his earlier films, but, beginning with Der Rosenkönig (1986), experimental filmmaker Elfi Mikesch became his regular DP, and she went on to accumulate extensive footage on his work and, in particular, the last four years of his life. This two-night program includes the U.S. debut of Mikesch's insightful, affectionate documentary Mondo Lux Die Bilderwelten Des Werner Schroeter (2011, "Mondo Lux The Visual Worlds of Werner Schroeter") and a selection of Schroeter's work, notably the cult film Der Tod der Maria Malibran (1972, "The Death of Maria Malibran"), one of Michel Foucault's favorites. In person: Elfi Mikesch (pending) Curated by Steve Anker and Bérénice Reynaud Funded in part with generous support from the Goethe-Institut Los Angeles. "Schroeter's flair for lush visuals and heightened emotions introduced an operatic sensibility to the New German Cinema movement." Dave Kehr, The New York Times 10/14 Montreal, Quebec, Canada: Festival Du Nouveau Cinema, Montreal http://www.beyond2000.co.uk/umbrella/ 1pm, J. A. De Sèves Theatre, Concordia University, Montreal RINSE, REPEAT, RESTORE - CONFERENCES OF MARK TOSCANO AND GUSTAV DEUTCH ON FILM ARCHIVE Ces conférences ont lieu à l'Université Concordia le 14 octobre, dans le cadre du cycle Rinse, Repeat,Restore. Pénétrez sous les voûtes des archives filmiques telles que les connaissent l'archiviste et restaurateur Mark Toscano et le cinéaste Gustav Deutsch. -------------------------- SATURDAY, OCTOBER 15, 2011 -------------------------- 10/15 Boston, Massachusetts: TIE http://www.experimentalcinema.com/index.htm 7:30PM, Aviary Gallery, 48 South Street, Jamaica Plain NEW AND UNSEEN SUPER-8 FILMS BY BOSTON FILMMAKERS Special(?) guest curator: Frankie Symonds Featuring films by Luther Price, Saul Levine, Shawn Cotter, Adam Paradis, Gordon Nelson, Tara Merenda Nelson, Lana Z. Kaplan, L.J. Frezza and more! Also, a special reading from acclaimed poet Ted Richer! 10/15 Los Angeles, California: Redcat http://www.redcat.org/ 6:00pm, 631 West 2nd St. WERNER SCHROETER/ELFI MIKESCH: A VOICE THAT LINGERS Jack H. Skirball Series $10 [students $8, CalArts $5] U.S. premiere Werner Schroeter (19452010) created one of the most significant oeuvres of the New German Cinema, a legacy of more than 20 visually and aurally stunning features, among them Willow Springs (1973), Palermo oder Wolfsburg (1980), Malina (1991), and Deux (2002). His intimate collaborations with divas such as Magdalena Montezuma, Candy Darling, Ingrid Caven, Maria Callas, and Isabelle Huppert go beyond mere camp: Schroeter's protagonists exhaust themselves in music, melodrama, or visual excess to express consuming passions. When love is gone and death has come, he once said, "the expression remains, like a quake, a shivering sensation." Schroeter had shot most of his earlier films, but, beginning with Der Rosenkönig (1986), experimental filmmaker Elfi Mikesch became his regular DP, and she went on to accumulate extensive footage on his work and, in particular, the last four years of his life. This two-night program includes the U.S. debut of Mikesch's insightful, affectionate documentary Mondo Lux Die Bilderwelten Des Werner Schroeter (2011, "Mondo Lux The Visual Worlds of Werner Schroeter") and a selection of Schroeter's work, notably the cult film Der Tod der Maria Malibran (1972, "The Death of Maria Malibran"), one of Michel Foucault's favorites. In person: Elfi Mikesch (pending) Curated by Steve Anker and Bérénice Reynaud Funded in part with generous support from the Goethe-Institut Los Angeles. "Schroeter's flair for lush visuals and heightened emotions introduced an operatic sensibility to the New German Cinema movement." Dave Kehr, The New York Times 10/15 New York, New York: Anthology Film Archives http://www.anthologyfilmarchives.org/ 4:30 pm, 32 2nd Avenue ESSENTIAL CINEMA: JORDAN/LEVITT/MAAS PROGRAM Larry Jordan DUO CONCERTANTES (1962-64, 6 minutes, 16mm, b&w) HAMFAT ASAR (1965, 13 minutes, 16mm, b&w) GYMNOPEDIES (1968, 6 minutes, 16mm) THE OLD HOUSE PASSING (1966, 45 minutes, 16mm, b&w. Preserved by Anthology Film Archives.) OUR LADY OF THE SPHERE (1968, 9 minutes. New 35mm print!) "Fantastic landscapes of the mind is what make the unique work of San Francisco animator Larry Jordan so compelling. With a taste for nostalgic romanticism for intricate turn-of-the-century illustrations, Jordan creates a magical universe of work using old steel engravings and collectable memorabilia. His 50-year pursuit into the subconscious mind gives him a place in the annals of cinema as a prolific animator on a voyage into the surreal psychology of the inner self." - Jackie Leger Helen Levitt IN THE STREET (1952, 12 minutes, 16mm, b&w. Preserved by Anthology Film Archives.) Helen Levitt's short, lyrical documentary portrait of life in Spanish Harlem. Stealthily shot by Levitt, Janice Loeb, and James Agee. Willard Maas GEOGRAPHY OF THE BODY (1943, 7 minutes, 16mm, b&w. Preserved by Anthology Film Archives.) "The terrors and splendors of the human body as the undiscovered, mysterious continent." - W.M. Total running time: ca. 105 minutes. 10/15 San Francisco, California: Other Cinema http://www.othercinema.com/ 8:30, ATA, 992 Valencia Street LO-TECH HI-JINX GERRY FIALKA'S PXL THIS 20 FEST! Honoring media-theorist Marshall McLuhan as part of a worldwide centenary, we welcome back one of his fiercest and funniest proponents with a program of videos made on audio-cassette! This current iteration of Fialka's long-running fest embodies McLuhan's bold ideas about democratic communication tools. Among the movies made with the Fisher-Price PXL 2000 toy camcorder are: Jesse Drew's Dolby, Mariko Drew's It's a Lemonhead, tENTATIVELY a cONVENIENCE's Philosopher's Union, and other pieces by Gerry himself, Paolo Davanzo, and a sneak preview of Michael Koshkin's feature-doc on this cult format. Come early for 2-bit beer, free vinyl records, and David Cox on the Optigan (another media-archaeological oddity)! 10/15 Toronto, Ontario, Canada: Pleasure Dome http://www.pdome.org/ 7pm, Trash Palace, 89-B Niagara St. PATRICK KEILLER'S ROBINSON IN RUINS Robinson in Ruins (2010), the final film in Patrick Keiller's Robinson Trilogy, takes its conceit from the "found" notebooks and film canisters of the titular character Robinson as he crosses the English countryside expounding upon a myriad of millennial anxieties and premonitions of late capitalist collapse. Released from prison at the start of the 2008 recession, Robinson is enlisted to help a network of non-human intelligences in preserving the possibility of survival on the planet by searching for "the molecular basis of historical events." The wandering cinematographer Robinson is a flâneur of the pre-apocalyptic era, vividly recording the rural and agrarian landscape and explicating the history of financial markets, civil uprising and the ruins of the 21st century. Narrated by Robinson's ex-lover and co-researcher (Vanessa Redgrave) the elegiac journey of a great philosopher, poet and prophet of demise receives its timely Toronto premiere following widespread rioting across the UK and amidst paradigm-shifting unrest and uncertainty in the face of global austerity and economic crisis. Keiller's insights (which Redgrave breathes into life with savoury) are accompanied by mesmeric images that pursue a landscape of the past for its tidings of the future. ------------------------ SUNDAY, OCTOBER 16, 2011 ------------------------ 10/16 Boston, Massachusetts: TIE http://www.experimentalcinema.com/index.htm 7:30PM, SCATV 90 Union Square, Somerville, MA MY FAVORITE COLOR IS BLUE "My Favorite Color Is Blue": A cinematic meditation on youth, regression, trouble-making, and transcendence. Featuring TIE programmer Chris May in person. With films by Frank Biesendorfer, Stan Brakhage, Jesse Kennedy and more! All films projected in Super-8mm or Standard 8mm $5 10/16 Montreal, Quebec, Canada: Festival Du Nouveau Cinema, Montreal http://www.beyond2000.co.uk/umbrella/ 8pm, the Agora du Coeur des Sciences de l'UQÀM. (174 ave. President Kennedy, Montreal). All performances are FREE POR LA NOCHE VOLVIó DELIRANDO "TODO ES AGUA Using multiple 16-mm projectors, suspended screens and quadraphonic sounds, Malena Szlam and Radwan Ghazi Moumneh conspire to create a dreamlike world in permanent flux. 10/16 New York, New York: Anthology Film Archives http://www.anthologyfilmarchives.org/ 4:45 pm, 32 2nd Avenue ESSENTIAL CINEMA: HOLLIS FRAMPTON PROGRAM ZORNS LEMMA 1970, 60 minutes, 16mm, color. "A major poetic work. Created and put together by a very clear eye-head, this original and complex abstract work moves beyond the letters of the alphabet, beyond words and beyond Freud. If you don't understand it the first time you see it, don't despair, see it again! When you finally 'get it,' a small light, possibly a candle, will light itself inside your forehead." Ernie Gehr & HAPAX LEGOMENA I: (nostalgia) 1971, 36 minutes, 16mm, b&w. "Nostalgia, beginning as an ironic look upon a personal past, creates its own filmic time, a past and future generated by the expectations elicited by its basic disjunctive strategy." Annette Michelson "In nostalgia the time it takes for a photograph to burn (and thus confirm its two-dimensionality) becomes the clock within the film, while Frampton plays the critic, asynchronously glossing, explicating, narrating, mythologizing his earlier art, and his earlier life, as he commits them both to the fire of a labyrinthine structure; for Borges too was one of his earlier masters, and he grins behind the facades of logic, mathematics, and physical demonstrations which are the formal metaphors for most of Frampton's films." P. Adams Sitney 10/16 San Francisco, California: MisALT Screening Series http://www.othervixen.com/misalt.html 8pm, Artist Television Access 992 Valencia St MISALT SCREENING SERIES PRESENTS: GLITCH VS SCRATCH MisALT Screening Series Presents: Glitch vs Scratch. Sunday, October 16th, 2011. 8pm , $6.00 Artist Television Access 992 Valencia St. San Francisco, CA The MisALT Screening Series is excited to present its October screening: "Glitch vs. Scratch." This screening seeks to create a dialog between artists working in Scratch Cinema (film based practices that make interventions on the celluloid level) and Glitch based video and media practices (which manipulate images by exploiting vulnerabilities on the molecular and electron level of video tape and code), to bridge the gap between work that focuses on the material underpinnings of cinema and work that brings attention to the often invisible foundation that lies beneath digital media. The bubbling, flickering, abstractions of decaying, damaged, and melting celluloid meet the frantic and ghostly distortions of mangled signals and scripts. Featuring: Jodie Mack, "Unsubscribe #3: Glitch Envy" Tsen-Chu Hsu (Taiwan), "Cotton Sugar" Florian Cramper (Netherlands), "How to picturize two Kafka short stories within one hour in a hotel room" Charlotte Taylor, "Secrets" Péter Lichter (Hungary), "Light Sleep" Alberto Cabrera Bernal (Spain), "12 Erased Trailers" Christine Lucy Latimer (Canada), "MOSAIC" Anna Geyer, "Good Bye Pig" Nick Briz, "Binary Quotes" Adam R. Levine, "Koh" Michael Betancourt w/ FsLux, "One" Steven Ball(UK) "The War on Television" Lili White, "Got 'Cha" Drone Dungeon "Phantom Wegman I-III" Channel TWO "In a []" Ted Davis "What makes up a Surprising Image" Lennon Batchelor "Focus on the Family" Curated by Tessa Siddle 10/16 Washington, DC: National Gallery of Art http://www.nga.gov 4:00, National Mall between 3rd and 9th Streets at Constitution Avenue NW. AMERICAN ORIGINALS NOW: LYNNE SACHS October 16, 23 East Building Concourse, Auditorium The ongoing film series American Originals Now offers an opportunity for discussion with internationally recognized American filmmakers and a chance to share in their artistic practice through special screenings and conversations about their works in progress. Since the mid-1980s, Lynne Sachs has developed an impressive catalogue of essay films that draw on her interests in sound design, collage, and personal recollection. She investigates war-torn regions such as Israel, Bosnia, and Vietnam, always striving to work in the space between a community's collective memory and her own subjective perceptions. Sachs teaches experimental film and video at New York University and her films have screened at the Museum of Modern Art and the Buenos Aires, New York, and Sundance Film Festivals. Her work was recently the subject of a major retrospective at the San Francisco Cinemathèque. Lynne Sachs: Recent Short Films October 16 at 4:00 East Building Concourse, Auditorium Lynne Sachs in person Three short films exemplify Sachs' unique approach to nonfiction filmmaking and to the empathetic process of imagining other people's motivations. Photograph of Wind (2001, 16 mm, 4 minutes) is a portrait of the artist's daughter as witnessed by the eye of the storm; The Last Happy Day (2009, 37 minutes) uses personal letters, abstracted images of war, home movies, and a performance by children to understand the complex story of Sachs' distant cousin, Sandor Lenard, a Hungarian medical doctor who fled the Nazis and reconstructed the bones of American dead; and Wind in Our Hair (2010, 42 minutes) is a bilingual narrative inspired by the stories of Argentine writer Julio Cortázar. (Total running time approximately 83 minutes) Enter your event announcements by going to the Flicker Weekly Listing Form at http://www.hi-beam.net/cgi-bin/thisweek.pl The weekly listing is also available online at Flicker: http://www.hi-beam.net
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