Part 2 of 2: This week [October 22 - 30, 2011] in avant garde cinema


Cambridge, Massachusetts: Harvard Film Archive
7pm, Harvard Film Archive, 24 Quincy Street

  Directed by Andy Warhol and Paul Morrissey. With Joe Dallesandro, Viva,
  Taylor Mead US 1968, 16mm, color, 109 min By the late 1960s, Warhol was
  using not just sync sound but also color and an increasing emphasis on
  narrative in an attempt to expand the audience for his movies. One of
  the more successful of these ventures, Lonesome Cowboys re-imagines
  Romeo and Juliet as a Western, shot at an Arizona dude ranch often used
  as a Hollywood location. As the Nurse to Viva's Juliet, Mead spends much
  of the film in idle gossip with his charge, as they wonder whether the
  film's reluctant Romeo might prefer the other cowboys. Not content to be
  a bystander, Mead undertakes a flirtation with Joe Dallesandro that
  culminates in a spectacularly salacious dance scene. $9 regular
  admission, $7 students and seniors

London, England: BFI London Film Festival
1:30pm, BFI Southbank, Belvedere Road, SE1 8XT

  TWO YEARS AT SEA (Ben Rivers | UK 2011 | 88 min) Using old 16mm cameras,
  artist Ben Rivers, who has been nominated for the Jarman Prize and has
  won a Tiger Award at Rotterdam, creates work from stories of real
  people, often those who have disconnected from the normal world and
  taken themselves into wilderness territories. His new long-form work
  extends his relationship with Jake, a man first encountered in his short
  film This Is My Land. The title refers to the work Jake did in order to
  finance his chosen state of existence. He lives alone in a ramshackle
  house, in the middle of the forest. It's full of curiosities from a
  bygone age, including a beloved old gramophone. We see his daily life
  across the seasons, as he occupies himself going for walks in all
  weathers, and taking naps in the misty fields and woods. Endlessly
  resourceful, he builds a raft to fish in a loch. Jake has a tremendous
  sense of purpose, however eccentric his behaviour seems to us. The
  presence of the camera is irrelevant to him; he has no desire for human
  contact, and is completely at home in his environment, the nature around
  him and his constructed abode. Rivers' gracefully-constructed film
  creates an intimate connection with an individual who would otherwise be
  a complete outsider to us. 

London, England: BFI London Film Festival
2pm, BFI Southbank, Belvedere Road, SE1 8XT

  Robert Fenz's films explore cultural diversity and the human condition
  with a keen eye reminiscent of his tutors Peter Hutton and James
  Benning. Mixing improvisation with luminous photography, he offers a
  poetic but political worldview. An associate of Robert Gardner's
  Studio7Arts, Fenz has collaborated with musician Wadada Leo Smith and
  worked as cinematographer for Chantal Akerman. THE SOLE OF THE FOOT
  (Robert Fenz / USA 2011 / 34 min) Filmed in France, Israel and Cuba.
  'Borders (and all the politics attending the drawing of borders) exist
  to keep some people in (citizenship) and others out. This film is an
  attempt to capture the presence of people otherwise denied the political
  right to be at home in some place that is their home, where they have
  their roots, where they have their being.' CORRESPONDENCE (Robert Fenz /
  USA 2011 / 30 min) For CORRESPONDENCE, Fenz travelled to places where
  the pioneering ethnographic filmmaker Robert Gardner shot three of his
  best-known films – West Papua (DEAD BIRDS), Ethiopia (RIVERS OF SAND)
  and India (FOREST OF BLISS). While documenting present conditions in
  these locations, Fenz also constructs an elegy for a form of
  image-making that is now in decline. 

London, England: BFI London Film Festival
4:15pm, BFI Southbank, Belvedere Road, SE1 8XT

  2010 | 82 min) FREE RADICALS scratches the surface of the history of
  avant-garde cinema in Europe and the USA, from early post-war pioneers
  through to the founding of New York's Anthology Film Archives, a museum
  whose screen is the exhibition space. Director Pip Chodorov is
  well-placed to chronicle the movement – he established the Re:Voir label
  to distribute tapes and DVDs of artists' films, and counts many key
  exponents amongst his friends. In this personal journey through
  experimental movies, he surveys a generation of artists who pushed the
  boundaries of the medium. Working without compromise, and without
  financial rewards, they were forced to create their own support
  structures in an expression of solidarity. Whilst not claiming to be a
  definitive documentary, FREE RADICALS is a discerning introduction to
  the field, and its informal nature provides a privileged glimpse at the
  personalities involved. Archival footage of Hans Richter, Nam June Paik
  and Stan Vanderbeek (drawn from TV programmes made by the filmmaker's
  father) supplements new interviews with Chodorov's distinguished
  acquaintances (Jonas Mekas, Peter Kubelka, Ken Jacobs, Robert Breer) and
  generous excerpts from the films themselves. 

London, England: BFI London Film Festival
7pm, BFI Southbank, Belvedere Road, SE1 8XT

  2010 | 82 min) FREE RADICALS scratches the surface of the history of
  avant-garde cinema in Europe and the USA, from early post-war pioneers
  through to the founding of New York's Anthology Film Archives, a museum
  whose screen is the exhibition space. Director Pip Chodorov is
  well-placed to chronicle the movement – he established the Re:Voir label
  to distribute tapes and DVDs of artists' films, and counts many key
  exponents amongst his friends. In this personal journey through
  experimental movies, he surveys a generation of artists who pushed the
  boundaries of the medium. Working without compromise, and without
  financial rewards, they were forced to create their own support
  structures in an expression of solidarity. Whilst not claiming to be a
  definitive documentary, FREE RADICALS is a discerning introduction to
  the field, and its informal nature provides a privileged glimpse at the
  personalities involved. Archival footage of Hans Richter, Nam June Paik
  and Stan Vanderbeek (drawn from TV programmes made by the filmmaker's
  father) supplements new interviews with Chodorov's distinguished
  acquaintances (Jonas Mekas, Peter Kubelka, Ken Jacobs, Robert Breer) and
  generous excerpts from the films themselves. 

London, England: Tate Modern
7pm, Bankside, SE1 9TG 

  THE EXQUISITE HOUR (Phil Solomon, 1989/94, 16mm, colour, sound, 14 min)
  "… Partly a lullaby for the dying, partly a lament of the death of
  cinema … [it] is dedicated to the memory of my grandparents, Albert
  Solomon, who was a projectionist for Fox, and Rose Solomon, who took
  tickets at Lowe's Paradise in the Bronx." THE SNOWMAN (Phil Solomon,
  1995, 16mm, colour, sound, 8 min) "A meditation on memory, burial and
  decay – a belated kaddish for my father." CLEPSYDRA (Phil Solomon, 1992,
  16mm, b/w, silent, 15 min) "Solomon has evolved his technique so that in
  his latest work ('Clepsydra' – 'waterclock') the textures are constantly
  changing and are often appropriate to each figure in metaphoric
  interplay with each figure's gestural (symbolic) movement. He has, thus,
  created consonance with thought as destroyer/creator – a Kali-like
  aesthetic 'There is a light at the end of the tunnel' (Romantic); and it
  is a train coming straight at us: … (and, to balance such, perhaps, with
  a touch of Zen) … it is beautiful!" (Stan Brakhage) PSALM III: NIGHT OF
  THE MEEK (Phil Solomon, 2002, 16mm, b/w, sound, 23 min) "It is Berlin,
  November 9, 1938, and, as the night air is shattered throughout the
  city, the Rabbi of Prague is summoned from a dark slumber, called upon
  once again to invoke the magic letters from the Great Book that will
  bring his creature made from earth back to life, in the hour of need. A
  kindertodenliede in black and silver on a night of gods and monsters."
  REHEARSALS FOR RETIREMENT (Phil Solomon, 2007, video, colour, sound, 10
  min) "Had I known the end would end in laughter / I tell my daughter it
  doesn't matter." (Phil Ochs) 

Los Angeles, California: Redcat
8:30pm, 631 West 2nd St.

  Jack H. Skirball Series $10 [students $8, CalArts $5] Presented as part
  of Pacific Standard Time, in conjunction with the Long Beach Museum of
  Afrts. This anthropology-themed program surveys strategies used by video
  artists who disavow "objectivity" in exploring cultural experiences
  different from their own, and instead actively participate with their
  subjects. In The Singing Mute (1978), Juan Downey spends nine months
  with a Yanomami tribe in the Amazon. Other artists critique the outsider
  gaze—Terese Svoboda in Headhunters (1992), Sandra Kogut in What Do You
  Think People Think Brazil Is? (1990). Wendy Clarke's Love Tapes
  (1974–88) invites 800 people to record thoughts about love, while Lowell
  Darling and Ilene Segalove befriend retired
  prizefighters-turned-Hollywood entertainers in The Cauliflower Alley
  Tapes, Part One (1976). In Rahime, Femme Kurde de Turquie (1981), a
  Kurdish villager recounts her trials in Istanbul to Nil Yalter and
  Nicole Croiset, who construct imagery to complement her story. Finally,
  Azian Nurudin's What Does Pop Art, Pop Music, Pornography and Politics
  Have to Do with Real Life? (1990) is a Warhol remake exhorting us to pay
  closer attention to our surroundings. In person: Nancy Buchanan, Kathy
  Rae Huffman, Azian Nurudin, Lowell Darling and Ilene Segalove Curated by
  Nancy Buchanan. Presented in conjunction with the exhibition Exchange
  and Evolution: Worldwide Video Long Beach, 1974–1999 at the Long Beach
  Museum of Art, curated by Kathy Rae Huffman. Presented as part of
  Pacific Standard Time. This unprecedented collaboration, initiated by
  the Getty, brings together more than sixty cultural institutions from
  across Southern California for six months beginning October 2011 to tell
  the story of the birth of the L.A. art scene. Pacific Standard Time is
  an initiative of the Getty. The presenting sponsor is Bank of America.
  "Downey's insertion of himself into Yanomami life... questions the place
  of the observer of another culture." Constance Penley 

New York, New York: Modern Mondays (a program of Cineprobe)
7:00pm, 11 West 53rd Street

  Includes the World Premieres of HORSES WITH BELLS IN ZUGARRAMURDI and
  DEER CENSUS as well as other short films by Bill Basquin.

New York, New York: Anthology Film Archives
7:00 pm, 32 2nd Avenue

  See notes for Oct. 20, 9:15 pm. 

New York, New York: Anthology Film Archives
8:45 pm, 32 2nd Avenue

  See notes for Oct. 20, 7 pm. 

San Francisco, California: SF Doc Fest
7:15pm, Roxie Theater, 3117 16th Street (at Valencia Street) 

  Five films that explore the connection, often missed, between the body
  and the mind and how society and social interactions interfere with it.
  Featuring Crooked Beauty by Ken Paul Rosenthal. Sunday, October 23 at
  2:45pm and Monday, October 24 at 7:15pm. Crooked Beauty Link:


Columbus, Ohio: Wexner Center for the Arts
7:00 PM, 1871 N. High St.

  Dani Leventhal, a Columbus native and one of this year's Wexner Center
  Film/Video Residency Award recipients, presents three astonishing videos
  that reveal troubling and beautiful moments from her travels in Israel.
  Jacqueline Goss, a recent recipient of the prestigious Alpert Award and
  a faculty member at Bard College, introduces her new feature The
  Observers (2010), a contemplative portrait of the harsh but beautiful
  environments of Mt. Washington, New Hampshire (where the strongest winds
  in human history were recorded), and the solitary climatologists who
  work there. After the films, Leventhal and Goss engage each other—and
  the audience—in a discussion about their work. (program app. 120 mins.,

London, England: BFI London Film Festival
1:15pm, BFI Southbank, Belvedere Road, SE1 8XT

  LIBERDADE (Gabriel Abrantes & Benjamin Crotty / Portugal-Angola 2011 /
  16 min) LIBERDADE sketches episodes in the relationship between a
  domineering Chinese immigrant and her Angolan boyfriend with lavishly
  cinematic panache. Travelling through spectacular locations in and
  around Luanda, they navigate the complications of their burgeoning
  identities and the different cultures they represent. PALACIOS DE PENA
  (PALACES OF PITY) (Gabriel Abrantes & Daniel Schmidt / Portugal 2011 /
  56 min) Gabriel Abrantes and his collaborators use the tropes of
  mainstream cinema to make works that are by turns comical,
  thought-provoking and transgressive. In a parable on guilt and
  oppression, which alludes to aspects of Portuguese colonial history, two
  cousins are potential heirs to their grandmother's fortune. A new
  generation may be oblivious to the past, but inherits it nonetheless.
  OLYMPIA I & II (Gabriel Abrantes & Katie Widloski / Portugal-USA 2008 /
  7 min) Mimicking the composition of Manet's notorious painting, the
  artists play out two possible scenarios: between a prostitute and her
  gay brother, and between a wealthy transsexual and his devoted maid. 

London, England: BFI London Film Festival
4pm, BFI Southbank, Belvedere Road, SE1 8XT

  'Should anyone imagine that the art of alchemy died with the Middle
  Ages, Phil Solomon's AMERICAN FALLS testifies to the contrary: both to
  the possibilities of photographic and digital transformation and to the
  magical emanations of their fusion.' (Tony Pipolo, Artforum) AMERICAN
  FALLS (Phil Solomon / USA 2010 / 60 min) In his sublime 16mm films, Phil
  Solomon chemically alters photographic imagery to create a thick
  celluloid impasto that infuses footage with profound emotional
  resonance. For AMERICAN FALLS, Solomon rifles through a collective
  memory fashioned from both fact and fiction, mixing elements from
  newsreels, actualities and narrative films in a monumental retelling of
  American history which draws parallels with and reflects upon the
  current state of the nation. Houdini, Harold Lloyd, Keaton and King Kong
  commingle with presidents, gold-diggers, railroad barons and the civil
  rights movement. 'My project is ultimately one of great hope, stemming
  from a life-long love for this American experiment of ours … but it is
  also necessitated by my deepest concern for its present and future
  directions.' Originally conceived as a 360-degree installation around
  the walls of the Corcoran Gallery of Art's rotunda, the work has been
  reconfigured for the cinema as a panoramic view in triptych, with
  surround sound mix by composer Wrick Wolff. WHAT'S OUT TONIGHT IS LOST
  (Phil Solomon / USA 1983 / 8 min) 'The film began in response to an
  evaporating relationship, but gradually seeped outward to anticipate
  other imminent disappearing acts: youth, family, friends, time … I
  wanted the tonal shifts of the film's surface to act as a barometer of
  the changes in the emotional weather.' Preserved by the Academy Film
  Archive, Los Angeles. 

London, England: BFI London Film Festival
7pm, BFI Southbank, Belvedere Road, SE1 8XT

  THE PETTIFOGGER (Lewis Klahr / USA 2011 / 65 min) The first
  feature-length work by Lewis Klahr takes a unique approach to a familiar
  genre. Ostensibly a thriller that traces events in the life of an
  American gambler and con man circa 1963, THE PETTIFOGGER is described by
  the filmmaker as 'an abstract crime film and, like many other crime
  films involving larceny, a sensorial exploration of the virulence of
  unfettered capitalism.' Characters lifted from comic books move through
  an impressionistic landscape of textures, photographs and drawings,
  populating a story whose narrative is suggested but not strongly
  defined. Employing a range of iconography and appropriated audio to
  expand his signature style of collage animation, Klahr recycles symbols
  of popular culture to address themes of the loss of innocence and the
  irresistible allure of wealth. APRIL SNOW (Lewis Klahr / USA 2010 / 10
  min) A love story about cars and girls, carried away by songs from the
  Shangri-La's and The Boss. 

London, England: BFI London Film Festival
8:45pm, BFI Southbank, Belvedere Road, SE1 8XT

  PASTOURELLE (Nathaniel Dorsky / USA 2010 / 17 min) 'A pastourelle and an
  aubade are two different forms of courtship songs from the troubadour
  tradition. In this case, the film PASTOURELLE, a sister film to AUBADE,
  is in the more tumultuous key of spring.' THE RETURN (Nathaniel Dorsky /
  USA 2011 / 27 min) 'Like a memory already gone, this place of life.'
  Dorsky has created a poetic form of cinema in which the screen becomes a
  site for reverie or transfiguration. In his most recent film, he seems
  to move towards a more abstract representation of light and being. SACK
  BARROW (Ben Rivers / UK 2011 / 21 min) The march of time claims another
  casualty. SACK BARROW documents (and laments) the out-dated, but
  functioning, technology of a family owned electroplating factory in the
  weeks around its closure – its old ways now unsustainable in the modern

Reading, Pennsylvania: Berks Filmmakers, Inc
7:30 pm, Albright College Center for the Arts

  A program of the latest short videos presented by the legendary
  filmmaker (with fans worldwide) now living/working in San Francisco.
  Mike began making 8mm films with his twin brother, George (who passed
  away early this September but whose art will live "so long as men can
  breathe, or eyes can see") as a teenager in the Bronx. Susan Sontag's
  notion of "camp" was an attempt to describe and celebrate the tone of
  such over-the-top productions. The brothers Kuchar have been
  acknowledged as major influences upon such filmmakers as Guy Madden, Tim
  Burton and John Waters and as major practitioners of the Art of cinema. 


New York, New York: Dirty Looks
8pm, 535 West 22nd Street, 3rd Floor

  Fancy Days, Fancy Times The films of Luther Price -Filmmaker in Person-
  One of the most important experimental filmmakers of the past 25 years,
  Luther Price gained notoriety for his late 80s and early 90s Super-8mm
  films, works that pushed the boundaries of good taste with their
  deliberately crude construction (mostly from found footage) and their
  often troubling images (extreme gay porn, surgical footage,
  psychodramatic performances). Culling from new work and old, this
  screening will showcase Price's distinct and tumultuous visions. "Home
  Movies from hell?" "Ascending from one plane into the next?" Price's
  films are startling and extreme states that must be experienced,
  whatever the cost. Fancy Days, Fancy Times is a career spanning program
  that takes Price's preoccupation with explicit, gay imagery as its
  starting point. Whether it be self-performative, as in the excruciating
  Ritual 629, or vintage porn Silk and Ribbon Candy, Price's intervention
  in these sexual acts transcends the original footage into a realm of
  psychological complexity and trauma. Screened alongside Price's
  masterpieces, the near-feature Me Gut No Dog Dog and the infamous Sodom,
  the evening will make a startling impression on all assembled. The event
  will also feature a complimentary publication featuring writings by
  Luther Price, Lia Gangitano, Bradford Nordeen and more.. with original
  artwork. Program: Ritual 629, Super-8mm, 1999, 8min. Silk, 16mm, 2006,
  15min. Ribbon Candy, 16mm, 2003/4, 7min. Me Gut No Dog Dog, 16mm on DVD,
  1995, 45min. Sodom, 16mm, 1989, 15 min.

New York, New York: Anthology Film Archives
7:00 pm, 32 2nd Avenue

  See notes for Oct. 21, 7 pm. 

New York, New York: Anthology Film Archives
9:00 pm, 32 2nd Avenue

  See program notes for Oct. 22nd, 6:30 pm. 

San Francisco, California: Periwinkle Cinema
8:00 pm, Artists' Television Access • 992 Valencia St.

  • Alien Sex Video - Jenn Kolmel & Kate Gilbert • I Know My Soul -
  Crystal Mason • Certain Death - Ben Aqua • Curses, Hexes, & Boots -
  SUPERM (Brian Kenny & Slava Mogutin) • Noble Owl - B.J. Dini / League of
  Burnt Children • Earth: Inferno - Mor Navón & Julián Moguillansky •
  Thunder Perfect Mind - Micaela O'Herlihy • Imp of Satan - Flynn Witmeyer
  • Plus twisted trailers & spooky door prizes! • ADULTS ONLY • $6 •

Toronto, Ontario, Canada: TIFF Bell Lightbox 
6:00pm , 350 King Street West

  FREE EVENT! One of the most prolific and exciting film artists to emerge
  from India in recent times, Amit Dutta has developed a singular
  pictorial language derived from Indian mythology and his own personal
  symbolic system (his "mental scrapbook" of poignant visual memories);
  his style has been compared to that of the great Sergei Parajanov in its
  evocative fever-dream quality, its searing visual elisions and potent
  elementalism. His critically acclaimed second feature, Nainsukh (which
  premiered last year in the Orrizonti section of the Venice International
  Film Festival), evokes the story of the eponymous eighteenth-century
  Indian miniaturist, who left his family's esteemed workshop to become a
  court artist for hedonistic and spendthrift Rajput princes. Influenced
  by Mughal naturalism, Nainsukh documented with great delicacy the
  quotidian festivities at the palace, here rendered through Dutta's
  elegant and painstaking compositions set amid ruins in the actual
  locales. Serene, studied but also pulsating with playful energy, the
  visually stunning Nainsukh, overflowing with eye-popping colours, rich
  textures and a clever use of drawings, demands to be seen on the big
  screen. Co-presented with SAVAC


Atlanta, Georgia: Contraband Cinema
8pm, 750 Kalb St SE

  Experimental horror in 3 parts! This cranial conundrum of the macabre
  co-curated by Blake Myers (in person) will cause you to cringe and
  cogitate. Contraband Cinema and the Buried Alive Film Festival is
  pleased to present a mind melting manifest of movies of merit plucked
  from Blake's experience as a festival juror and programmer. The
  Listening Dead Phil Mucci, US, 14 min, 2006; How to Extract Cranial
  Fluids Blake Myers, US, 8 min, 2000; The Screaming Skull Ashley Thorpe,
  UK, 10 min, 2008; Invocation Of My Demon Brother Kenneth Anger, US 11
  min, 1969, Lot 63, Grave C Sam Green, US, 10 min, 2006; The Devil's
  Orchard Phil Mucci, US, 7 min, 2011; Ballad of Mary Slade Robin Fuller,
  UK, 3 min, 2007; Moving Illustrations of Machines Jeremy Solterbeck, US,
  10 min, 2000

Berlin, Germany: Directors Lounge
21:00, Z-Bar, Bergstr. 2, Berlin-Mitte

  -°*°- Digital video works by Steven Ball 2003 – 2010. -°*°- These works
  travel near and far, across physical and virtual space using material
  collected en route. Travel determines form, subject and object are fluid
  entities, digital experimentation becomes landscape study, hyperlocal
  excursion, and experimental documentary, as they explore and exhaust
  species of spaces and media. -°*°- Steven Ball has worked in film,
  video, sound and installation since the early 1980s. In the late 1980s
  he accidentally migrated to Melbourne, Australia. There he continued his
  practice making a number of film, video and sound and installation
  works, as well as being engaged in various curatorial, administrative,
  teaching and writing activities. Since returning to the UK he has worked
  predominantly with digital video, producing a series of works, which
  among other things, are particularly concerned with digital material
  processes and spatial representation. -°*°- -°*°- Curated by Klaus W.
  Eisenlohr -°*°- -°*°- Artist Links: -°*°- home: -°*°- blog: -°*°- videoblog: -°*°- Public Water: -°*°- -°*°- More infos: -°*°- -°*°- -°*°- -°*°- -°*°-
  Program:  Metalogue (26:37, 2003), Direct Language (10:00, 2005 – 2008),
  The Ground, the Sky, and the Island (7:45, 2008), Aboriginal Myths of
  South London (10:27, 2010), Personal Electronics (26:00, 2010) -°*°-

Chicago, Illinois: Conversations at the Edge
6pm, Gene Siskel Film Center, 164 N. State Street

  Luke Fowler in person!  How one sees the world and how one hears it are
  the indelible questions underlying Luke Fowler's startling, vibrant
  films. The award-winning Glasgow-based artist often collaborates with
  musicians and sound artists, drawing upon the histories of field
  recording, experimental music, and portraiture. Fowler's early films
  shed light on such infamous experimental musicians as Cornelius Cardew
  (of the London-based Scratch Orchestra) and Xentos "Fray Bentos" Jones
  (of the post-punk The Homosexuals). More recently, his collaborations
  with Richard Youngs, Lee Patterson, Eric La Casa, and Toshiya Tsunoda
  have resulted in a series of audio-visual tone poems of domestic
  interiors, urban geography, and rural environments. This evening, Fowler
  presents a collection of these works, including his Tenement Films (3
  Minute Wonders) series (2009), and selections from his three-part 2009 A
  Grammar for Listening cycle, among others. Co-presented with the
  University of Chicago's Film Studies Center, which will present a second
  program of Fowler's films on Friday, October 28. Luke Fowler, 2007-09,
  Scotland, 16mm and video, ca. 75 min + discussion.

London, England: BFI London Film Festival
3:45pm, BFI Southbank, Belvedere Road, SE1 8XT

  TRYPPS #7 (BADLANDS) (Ben Russell / USA 2010 / 10 min) The mirror
  crack'd: As a young woman, high on LSD, looks toward the camera, the
  doors of perception swing open for both viewer and subject. WHILE YOU
  WERE SLEEPING (Mary Helena Clark / USA 2010 / 9 min) 'This is your life.
  It rides like a dream.' SANS TITRE (Neil Beloufa / France 2010 / 15 min)
  In a reconstruction of a villa occupied by terrorists during the
  Algerian War, onlookers speculate on the activities that took place. THE
  PIPS (Emily Wardill / UK 2011 / 4 min) A gymnast performs, and
  everything begins to fall away. … THESE BLAZEING STARRS! (Deborah
  Stratman / USA 2011 / 14 min) Watch the skies! Throughout history,
  comets have heralded events of grave significance and change; today it
  is thought that they can reveal facts about the formation of the
  universe. THESE HAMMERS DON'T HURT US (Michael Robinson / USA 2010 / 13
  min) 'Tired of underworld and overworld alike, Isis escorts her
  favourite son on their final curtain call down the Nile, leaving a neon
  wake of shattered tombs and sparkling sarcophagi.' 

London, England: Tate Modern
7pm, Bankside, SE1 9TG 

  "Although part of a long avant-garde tradition, Solomon makes films that
  look like no others I've seen. The conceit of the filmmaker as auteur
  has rarely been more appropriate or defensible – the liberating effect
  of Solomon's work suggests a rather different realm: Film Meets Vision,
  Rejoice!" (Manohla Dargis, New York Times) WHAT'S OUT TONIGHT IS LOST
  (Phil Solomon, 1983, 16mm, colour, silent, 8 min) "Adopting its title
  from a poem by Edna St. Vincent Millay, What's Out Tonight Is Lost is an
  elegiac film sifting through the unrecoverable. The film is a reflecting
  pool where vision breaks up. The home we recognize is swallowed in the
  brume, the light barely penetrates; and the yellow school bus steals us
  away, delivering us into new clouds, embracing fear. The film has a
  surface of cracked porcelain and intaglio: the allergic childhood skin
  of cracks and bruises. This is a film of transubstantiations, the
  discorporation of human forms into embers. Air looms and blossoms into
  solidity and nearness … I hear it breathing …" (Mark McElhatten) PSALM
  I: THE LATENESS OF THE HOUR (Phil Solomon, 2001, 16mm, colour, sound, 10
  min) "A little Nachtmusik, a deep blue overture to the series. Breathing
  in the cool night airs, breathing out a children's song; then whispering
  a prayer for a night of easeful sleep. My blue attempt at a sequel to
  Rose Hobart." NOCTURNE (Phil Solomon, 1980, 16mm, b/w, silent, 10 min)
  "Its setting is a suburban neighbourhood populated by kids at play and
  indistinct but ominous parental figures. A submerged narrative rehearses
  a type of young boy's night-time game in which a flashlight is wielded
  in a darkened room to produce effects of aerial combat and bombardment.
  A sense of hostility tinged with terror seeps into commonplace movements
  … Fantasy merges with nightmare, a war of dimly suppressed emotions
  rages beneath a veneer of household calm … In Nocturne, found footage is
  worked so subtly into the fabric of threat that its comes as a shock
  ploughed from the unconscious." (Paul Arthur) SEASONS... (Phil Solomon &
  Stan Brakhage, 2002, 16mm, colour, silent, 15 min) "Brakhage's frame by
  frame hand carvings and etchings directly into the film emulsion,
  sometimes combined with paint, are illuminated by Solomon's optical
  printing, then edited by Solomon into a four part seasonal cycle‚. This
  film can be considered to be part of a larger work by Brakhage entitled
  "…". Seasons… is inspired by the colours and textures found in the
  woodcuts of Hokusai and Hiroshige, and the playful sense of forms
  dancing in space from the filmworks of Robert Breer and Len Lye."
  REMAINS TO BE SEEN (Phil Solomon, 1989/94, 16mm, colour, sound, 17 min)
  "In the melancholic Remains to Be Seen, dedicated to the memory of
  Solomon's mother, the scratchy rhythm of a respirator intones menace.
  The film, optically crisscrossed with tiny eggshell cracks, often seems
  on the verge of shattering. The passage from life into death is
  chartered by fugitive images: pans of an operating room, an old home
  movie of a picnic, a bicyclist in vague outline against burnt orange and
  blue … Solomon measures emotions with images that seem stolen from a
  family album of collective memory." (Manohla Dargis) 

Los Angeles, California: Echo Park Film Center
8:00 pm, 1200 N. Alvarado St (at Sunset)

  LA AIR is a new artist-in-residence program that invites Los Angeles
  filmmakers to utilize EPFC resources in creating a new work over a
  four-week period. October's resident, Rick Bahto, has an on-going series
  of films that are made in response to the work of other artists. During
  his residency, he will complete a project For Paul Clipson, dealing with
  aspects of the expansive body of Super 8 work from the filmmaker of that
  name. The screening will present this portion of Bahto's films alongside
  the work of the artists to whom they are dedicated, with films and slide
  documentation of works by Karen Johannesen (Super 8 films including 76
  Station), Pablo Valencia (slides and Super 8 film Films I), and Paul
  Clipson (Super 8 film Chorus). He will also present films, slides, and
  audio documents of performances of the work of Mark So, including
  documentary footage of his performance of So's work parallel to the
  earth (in the angles where the grass writing goes on), which was begun
  in mid-September and will continue on indefinitely. $5

New York, New York: Anthology Film Archives
7:00 pm, 32 2nd Avenue

  by Adolfas Mekas 1963, 82 minutes, 35mm Share + Film Notes Written,
  directed, and edited by Adolfas Mekas. Produced by David C. Stone. With
  Peter H. Beard, Sheila Finn, Martin Greenbaum, Peggy Steffans, Jerome
  Raphael, Blanche Dee, Jerome Hill, Taylor Mead, and Ed Emshwiller.
  Adolfas's first feature film, HALLELUJAH was selected for the first New
  York Film Festival, was the hit of the 'outside-of-competition' section
  at the Cannes Film Festival, and won the Silver Sail at Locarno. "Next
  to the two big shots of the New York School, Clarke and Cassavetes, he
  seemed a poor relative, especially since people got him confused with
  his brother. HALLELUJAH proved clearly that Adolfas is someone to be
  reckoned with. He is a master in the field of pure invention, that is to
  say, in working dangerously – 'without a net.' His film, made according
  to the good old principle – one idea for each shot – has the lovely
  scent of fresh ingenuity and crafty sweetness. Physical efforts and
  intellectual gags are boldly put together. The slightest thing moves you
  and makes you laugh – a badly framed bush, a banana stuck in a pocket, a
  majorette in the snow. He shows life as defined by Ramuz: 'As with a
  dance, such pleasure to begin, a piston, a clarinet, such sorrow to be
  done, the head spins and night has come.'" –Jean-Luc Godard, CAHIERS DU
  CINÉMA "A dizzy time capsule of proto-revolutionary anarchy, like bits
  of youthful, energetic innocence frozen in the snowdrifts of time." –Ed

New York, New York: Anthology Film Archives
7:30 pm, 32 2nd Avenue

  Humphrey Jennings LISTEN TO BRITAIN (1941, 19 minutes, 35mm, b&w)
  Jennings's film is a masterpiece of sound mixing; it creates an audio
  landscape of Britain during the war, with images both accompanying and
  conflicting with the multitude of sounds. From the film's introduction:
  "I have been listening to Britain. I have heard the sound of her life by
  day and by night…. In the great sound picture that is here presented,
  you too will hear that heart beating. For blended together in one great
  symphony is the music of Britain at war." Dimitri Kirsanoff MÉNILMONTANT
  (1924-25, 38 minutes, 35mm, b&w, silent) A melodramatic story of an
  orphan girl whose seduction is avenged. Early use of hand-held camera,
  montage, and superimpositions. Fernand Léger & Dudley Murphy BALLET
  MÉCANIQUE (1924, 19 minutes, 35mm, b&w, silent) Preserved by Anthology
  Film Archives! A brief exploration of cubist form, black-and-white
  tonalities, and various vectors through its constant, rapidly cut
  movements and compositions. Many of the film's forms and compositions
  are reflected in – or themselves reflect – forms and compositions in
  Léger's famous cubist paintings from the period. René Clair & Francis
  Picabia ENTR'ACTE (1924, 22 minutes, 35mm, b&w) A masterpiece of dada, a
  feat of cinema magic. Made as an intermission entertainment for the
  Ballet Suédois from an impromptu scenario by Francis Picabia. Music by
  Erik Satie. 

New York, New York: Anthology Film Archives
9:15 pm, 32 2nd Avenue

  See notes for October 23, 6:30 pm. 


Cambridge, Massachusetts: Harvard Film Archive
7pm, Harvard Film Archive, 24 Quincy Street

  The Harvard Film Archive is honored to be the home for Helen Hill's
  films – and eventually, her papers – and to offer this showcase of her
  remarkable talent, which includes a selection of Hill's evocative New
  Orleans home movie footage damaged by Katrina and recently preserved by
  a dedicated group of archivists led by the Center for Home Movies in
  association with the HFA. Friday October 28 at 7pm Introduced by Becky
  Lewis, mother of Helen Hill All films directed by Helen Hill Mouseholes
  US 1999, 16mm, color, 8 min Vessel US 1992, 16mm, color, 6 min
  Upperground Show US 1990-91, digital video, color, 7 min Scratch and
  Crow US 1995, 16mm, color, 5 min Film For Rosie US 2000, 16mm, color, 3
  min Rain Dance US 1990, 16mm, color, 4 min Your New Pig is Down the Road
  US 1999, b/w & color, 5 min The Florestine Collection US 2011, 16mm,
  color, 31 min Selections from Helen Hill's Home Movies 

New York, New York: Anthology Film Archives
7:15 pm, 32 2nd Avenue

  These six works are among Wieland's earliest films. They were completed
  shortly after her arrival in New York (1962), where she lived with
  Michael Snow until 1972. These films were conceived and completed
  exclusively by Wieland, with the exception of BARBARA'S BLINDNESS, which
  was a collaboration with Betty Ferguson. Wieland's early New York films
  already demonstrate her incredible versatility and imagination as a
  filmmaker, while revealing certain thematic and formal preoccupations
  that she fully developed in her later films. LARRY'S RECENT BEHAVIOUR
  (1963, 16.5 minutes, 16mm) PEGGY'S BLUE SKYLIGHT (1964, 12 minutes,
  16mm, b&w) PATRIOTISM (1964, 4 minutes, 16mm, silent) PATRIOTISM PART II
  (1965, 4 minutes, 16mm) BARBARA'S BLINDNESS (with Betty Ferguson) (1965,
  16 minutes, 16mm) WATER SARK (1965, 13.5 minutes, 16mm) Total running
  time: ca. 70 minutes.

New York, New York: Anthology Film Archives
8:45 pm, 32 2nd Avenue

  Another program of films produced during Wieland's New York period. A
  number of these shorts are among her best-known work, and for good
  reason. Formally rigorous as well as humorous, these films offer the
  viewer a unique insight into Wieland's cinematic and political concerns.
  1933 (1967, 4 minutes, 16mm) CAT FOOD (1967, 13.5 minutes, 16mm)
  SAILBOAT (1967, 3 minutes, 16mm) HANDTINTING (1967-68, 6 minutes, 16mm,
  silent) RAT LIFE AND DIET IN NORTH AMERICA (1968, 16 minutes, 16mm)
  DRIPPING WATER (with Michael Snow) (1969, 10.5 minutes, 16mm, b&w) Total
  running time: ca. 60 minutes.


Los Angeles, California: Echo Park Film Center
8:00 pm, 1200 N. Alvarado St (at Sunset)

  Paul Clipson and Tashi Wada present a performance of their ongoing film
  and music collaboration. Clipson's largely improvised and in-camera
  edited films employ multiple exposures, dissolves and macro imagery,
  that bring to light subconscious preoccupations and unexpected visual
  forms. Wada's recent work focuses on sound perception as a basis for
  direct listening experiences. Also on the program are three of Paul
  Clipson's short films, Sphinx on the Seine, Light from the Mesa, and one
  other tba. $5

New York, New York: Anthology Film Archives
4:15 pm, 32 2nd Avenue

  All films preserved by Anthology Film Archives. VISUAL VARIATIONS ON
  NOGUCHI (1955, 4 minutes, 16mm, b&w) HURRY! HURRY! (1957, 3 minutes,
  16mm) GLIMPSE OF THE GARDEN (1957, 5 minutes, 16mm) DWIGHTIANA (1959, 3
  minutes, 16mm, score by Teiji Ito) BAGATELLE FOR WILLARD MAAS (1961, 5
  minutes, 16mm) NOTEBOOK (1962-63, 10 minutes, 16mm, silent) MOOD
  MONDRIAN (1961, 7 minutes, 16mm, silent) EYE MUSIC IN RED MAJOR (1961, 4
  minutes, 16mm, silent) ANDY WARHOL (1965, 22 minutes, 16mm) Marie Menken
  represents the lyrical sensibility in the American avant-garde film. She
  manages to get the maximum visual intensity from minimally photogenic
  subjects. Her usage of single-frame and her poetic attitude and purity
  had a strong influence on many filmmakers of the sixties. Total running
  time: ca. 70 minutes. 

New York, New York: Anthology Film Archives
4:30 pm, 32 2nd Avenue

  by Jerome Hill 1971, 81 minutes, 35mm Assistant Producers: David C.
  Stone and Barbara Stone. This pioneering work in autobiographical cinema
  masterfully combines actual and staged footage and painting over images.
  Filmmaker, painter, and composer Jerome Hill was born into the famous
  James J. Hill railroad-building family and lived on the same street as
  F. Scott Fitzgerald. Here he re-creates wonderfully – with old family
  footage – the period and milieu of the American upper class at the
  beginning of the 20th century. With: DEATH IN THE FORENOON (1934/66, 2
  minutes, 35mm) CANARIES (1969, 4 minutes, 35mm) [Please note: This is an
  Essential Cinema screening, and is FREE for AFA members!]

New York, New York: Anthology Film Archives
6:00 pm, 32 2nd Avenue

  "REASON OVER PASSION is structured around four distinct sections, with a
  loosely constructed preface that introduces the motifs Wieland employs
  consistently throughout the film: strobing images of the Canadian flag;
  long shots of passing landscapes; and the lyrics to 'O Canada',
  didactically presented as overlayed text. Followed by a silent take of
  the artist's face reflected in a mirror, singing the opening lines to 'O
  Canada', the origins of the title of the film are presented: a quote
  from Trudeau, in which he stated 'About reason over passion, that is the
  theme of all of my writings.'" –Anne Low "Wieland's major film so far.
  With its many eccentricities, it is a glyph of her artistic personality;
  a lyric vision tempered by an aggressive form and a visionary patriotism
  mixed with ironic self parody. It is a film to be seen many times." –P.
  Adams Sitney, FILM CULTURE

New York, New York: Anthology Film Archives
8:00 pm, 32 2nd Avenue

  "Joyce Wieland's four films PIERRE VALLIÈRES, A & B IN ONTARIO,
  SOLIDARITY and BIRDS AT SUNRISE were created when the Canadian Women's
  Movement was at its most visible and vocal. They were made as a direct
  response to hegemony, colonialism, sexism, imperialism and the
  destruction of the environment – issues that feminists across the
  country were writing about, protesting about, lobbying around and, in
  Wieland's case, making films about." –Allyson Mitchell PIERRE VALLIÈRES
  (1972, 32.5 minutes, 16mm) SOLIDARITY (1973, 10.5 minutes, 16mm) A & B
  IN ONTARIO (with Hollis Frampton) (1984, 16 minutes, 16mm, b&w) BIRDS AT
  SUNRISE (1986, 10 minutes, 16mm) Total running time: ca. 75 minutes.

San Francisco, California: Other Cinema
8:00pm, ATA, 992 Valencia Street

  things psychotronic, thee Area expert on '70s exploitation film
  enthralls all with a fanboy-critical take on the eco-dystopian genre,
  that cinematic mutation of the era's budding environmentalism. Divine
  nimbly negotiates his way through a 2-hour clip-show of that decade's
  most toxic shockers, parables that parlayed the pollution of nature into
  an embodied force of evil. Among the jaw-droppers are Them!, Soylent
  Green, Willard, Piranha, Stalker (!), and Godzilla vs. the Smog Monster.
  Come early for Doug Katelus on his Mighty Hammond organ, glimpses of
  Gamera (in 16mm), OCD Terror DVDs for a pittance, and intoxicating
  witches' brew! $6.66. NOTE: DOORS 7:30, SHOWTIME 8PM. 


Los Angeles, California: Filmforum
7:30pm, The Spielberg Theater at the Egyptian, 6712 Hollywood Blvd (at Las 

  In person: Angie Pike Film historian Anthony Slide, while writing an
  appraisal letter for the film collection of late 1960's film distributor
  Creative Film Society, stated that "Any student researching the rise of
  the independent and experimental American film in the 1960s and 1970s
  would find this collection invaluable, and it is unlikely that a
  collection of this scope exists elsewhere. It is in many ways a tribute
  to a filmmaking experience that has disappeared." Films to be screened:
  Gumbasia, by Art Clokey (1955), Furies, by Sara Petty (1977), Carnival,
  by Donald Bevis, Jim May, Herb Bertel (ca.1955), The Further Adventures
  of Uncle Sam, by Dale Case & Robert Mitchell (1970), One Hundred and
  Eight Movements, by Peggy Wolff (1973), The Unicycle Race, by Robert
  Swarthe (1966), Microsecond, by Dan McLaughlin (1970), The Towers, by
  William Hale (1955), Mobile Static, by Helmut Schultz (1969), The
  Critic, by Ernie Pintoff (1963), Waiting, by Flora Mock (1952), and Wu
  Ming, by James Whitney (1977).

New York, New York: Anthology Film Archives
4:15 pm, 32 2nd Avenue

  WRESTLING (1964, 8 minutes, 16mm, b&w, silent) MOONPLAY (1962, 5
  minutes, 16mm, b&w) DRIPS IN STRIPS (1961, 3 minutes, 16mm, silent) GO!
  GO! GO! (1962-64, 12 minutes, 16mm, silent) LIGHTS (1964-66, 7 minutes,
  16mm, b&w, silent) SIDEWALKS (1966, 7 minutes, 16mm, b&w, silent)
  EXCURSION (1968, 5 minutes, 16mm) WATTS WITH EGGS? (1967, 12 minutes,
  16mm, silent) ARABESQUE FOR KENNETH ANGER (1961, 4 minutes, 16mm) Total
  running time: ca. 70 minutes. 

New York, New York: Anthology Film Archives
6:00 pm, 32 2nd Avenue

  THE FAR SHORE 1976, 105 minutes, 35mm. A consummate expression of
  Wieland's artistic sensibility, a gorgeous, painterly film, formal in
  conception, deliberate in its flagrant symbolism (the rigid imposition
  of WASP power on French-Canadian culture) and portrayal of Canadian
  myths (the mystery of Tom Thomson's drowning in Algonquin Park), and
  exuding romantic naturalism. This northern love story, rooted in the
  landscape of the Group of Seven and the realities of the Canadian
  experience, is a tale of passion both carnal and artistic. "A vast and
  epic meditation on all those 'big' themes that constantly abound:
  gender, romance, ethnicity, nationality, French-English relations, and
  the unsavory relationship between art and commerce. … This is a rare
  opportunity to experience a seminal oeuvre in the history of Canadian
  film by one of our country's most diverse, powerful, patriotic, and
  renowned artists. The film is not only an agitational look at some of
  the most omnipresent issues in Canadian popular culture and social life,
  but also a gorgeous painterly visual object that deserves the full
  attention of ears and eyes." –TIFF CINEMATHEQUE

New York, New York: Anthology Film Archives
8:15 pm, 32 2nd Avenue

  See program notes for October 28, 7:15 pm. 

New York, New York: Anthology Film Archives
9:00 pm, 32 2nd Avenue

  See notes for October 20, 9:15 pm. 
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