This week [November 19 - 27, 2011] in avant garde cinema To subscribe/unsubscribe to the weekly listing, go to http://www.hi-beam.net/cgi-bin/mailto.pl?mailto=subscribe or send an email to weeklylist...@hi-beam.net.
Enter your announcements (calls for entries, new work, screenings, jobs, items for sale, etc.) at: http://www.hi-beam.net/cgi-bin/ann.pl NEW CALLS FOR ENTRIES: ===================== Images Festival (Toronto; Deadline: November 14, 2011) http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1378.ann DEADLINES APPROACHING: ====================== Go Short - International Film Festival Nijmegen (Nijmegen, the Netherlands; Deadline: November 30, 2011) http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1319.ann Strange Beauty Film Festival 2012 (Durham, North Carolina USA; Deadline: December 15, 2011) http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1329.ann $100 Film Festival (Calgary, AB CANADA; Deadline: December 01, 2011) http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1339.ann Experiments in Cinema v7.9 (Albuquerque, New Mexico USA; Deadline: December 01, 2011) http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1343.ann The Big Muddy Film Festival (Carbondale, IL; Deadline: December 09, 2011) http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1352.ann RiverRun International Film Festival (Winston-Salem, NC, USA; Deadline: December 16, 2011) http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1353.ann Black Maria Film + Video Festival (Jersey City, NJ, USA; Deadline: November 26, 2011) http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1363.ann Best Shorts Competition (La Jolla, Ca USA; Deadline: December 16, 2011) http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1367.ann Periwinkle Cinema @ ATA (San Francisco, CA, USA; Deadline: December 15, 2011) http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1371.ann Enter your event announcements by going to the Flicker Weekly Listing Form at http://www.hi-beam.net/cgi-bin/thisweek.pl Also available online at Flicker: http://www.hi-beam.net THIS WEEK'S PROGRAMS (SUMMARY): ============================== * Avant To Live [November 19, Atlanta, Georgia] * Joshua Churchill/ Paul Clipson, John Davis / Kerry Laitala, En / John Davis [November 19, Oakland, California] * Psycho-Geography [November 19, San Francisco, California] * Radical Light: Procession of the Image Processors [November 20, Houston, Texas] * Radical Light: Landscape As Expression [November 20, Houston, Texas] * Alarms From the 60s: Experiments In Political Expression [November 20, Los Angeles, California] * Collapse Into Image [November 21, Los Angeles, California] * Early Monthly Segments #33 = Chambers + Holt + Smithson [November 21, Toronto, Ontario, Canada] * Essential Cinema: Grant, Jacobs & Fleischner Program [November 26, New York, New York] * Essential Cinema: Tom, Tom, the Piper's Son [November 26, New York, New York] * Essential Cinema: Genet/Frank & Leslie Program [November 26, New York, New York] * Sex Trafficing [November 26, San Francisco, California] * Essential Cinema: Melies Program 1 [November 27, New York, New York] * Essential Cinema: Melies Program 2 [November 27, New York, New York] * Essential Cinema: Melies Program 3 [November 27, New York, New York] Events are sorted by CITY within each DATE. --------------------------- SATURDAY, NOVEMBER 19, 2011 --------------------------- 11/19 Atlanta, Georgia: Contraband Cinema http://contrabandcinema.com 8pm, 696 Charles Allen Drive AVANT TO LIVE An evening of Avant-Garde Cinema! Camera-less works, glitch animation, 16mm film lit by fireflies, static datamoshing, archival collage, excel animation, and hand-painted films made by leading fine-art filmmakers working within the region and the globe. Four filmmakers in person! "Sounding Glass" Sylvia Schedelbauer, 10 min, 2011; "Memory Lapse" Anna Spence, 2 min, 2011; "Excel Animation" Takuro Masuda, 2 min, 2011; "One" Michael Betancourt, 2 min, 2011' "Untitled SP #1" Christopher Childs, 6 min, 2008; "Fall Creek Road Study #6" Robbie Land, 6 min, 2011; "Matters of Bioluminescence" Robbie Land, 8 min, 2011 11/19 Oakland, California: Liminal Space http://www.noiseforlight.com/projects.html Saturday, November 19 at 8:00pm, 950 54th St. JOSHUA CHURCHILL/ PAUL CLIPSON, JOHN DAVIS / KERRY LAITALA, EN / JOHN DAVIS On Saturday November 19th we have the extraordinary pleasure of presenting live sound and film projection collaborations by local artists: Joshua Churchill + Paul Clipson http://www.joshuachurchill.com/0.htmlhttp://www.withinmirrors.org/John Davis + Kerry Laitala http://www.noiseforlight.com/projects.html http://kerrylaitala.net/En + John Davis http://biezumd.com/http://www.noiseforlight.com/projects.html*Plus, we will begin our evening of manipulated time & space with a special opening meditation by Michael Elrod!* Contribution: $5 - 10 sliding scale 11/19 San Francisco, California: Other Cinema http://www.othercinema.com/ 8:30, ATA, 992 Valencia Street PSYCHO-GEOGRAPHY : REGINATO + BERGER + KASHMERE + MCAFFERY A compass of compelling pieces pivoting on place and the sensibility it in-forms, tonight takes a South/North tack through the three neighboring nations of North America. The show's starting section looks at Mexico through Angela Reginato's (in person) W-I-P Luna Conejo, a half-hr. coming-of-age in Mexico City. AND Greg Berger flies up from Cuernavaca to debut his Narcomania, a wickedly comic critique of the drug cartels through the Pop-Cult lens of Beatlemania! After intermission, we play with the problematics of Canadian identity in Brett Kashmere's insightful essay on their national pastime of hockey, Valery's Ankle. Completing the continental circuit is Brigid McCaffrey's 16mm meditation on SoCal topography, Castaic Lake. ------------------------- SUNDAY, NOVEMBER 20, 2011 ------------------------- 11/20 Houston, Texas: Museum of Fine Arts, Houston http://mfah.org 2pm, 1001 Bissonne RADICAL LIGHT: PROCESSION OF THE IMAGE PROCESSORS Introduced by Steve Seid and Michael Sicinski. A reception and book signing in the museum galleries follows this program. As computer and video technology evolved in the second half of the twentieth century, media artists found dynamic new possibilities by adapting their filmmaking practices to another medium's uncanny capabilities. Film chains bollixed, optical printers nudged, and chemistry and electronics merged. Hy Hirsh, an early practitioner, combined buoyant optical printing with sensuous oscilloscope waveforms in his Divertissement Rococo (1951). Scott Bartlett took a bounty of film loops and ran them through video colorizers and keyers to achieve the legendary Offon (1968), a spiritual journey centered on the body. Philip Greene's Golden Gate (1968) de-centered film-based images for a painterly portrait with a decidedly anti-war theme. With Illuminated Music #1 (1972), Stephen Beck shows off the well-modulated movements possible with a synthesizer. Composer Warner Jepson's Self-Portrait (1975) is excerpted in the program. 11/20 Houston, Texas: Museum of Fine Arts, Houston http://mfah.org 5pm, 1001 Bissonne RADICAL LIGHT: LANDSCAPE AS EXPRESSION Introduced by Steve Seid, Scott Stark, and Michael Sicinski. San Francisco and the surrounding Bay Area offer an astonishing landscape that combines shifting and surprising natural visual qualities with a teeming urban culture. The area is a magnet for wanderers and those seeking something new and unexpected. Filmmakers, fascinated by the phenomena and energy of the place, have been drawn here almost since the inception of the medium. Tonight's program reflects the wonder of this urban landscape with eight films made throughout the twentieth century. The program opens with the silent classic A Trip Down Market Street (1906), followed by gems from Bruce Baillie and Abigail Child, two shorts from guest filmmaker Scott Starkï¿½Degrees of Limitation (1982) and Slow (2001)ï¿½and Ernie Gehr's epic Side/Walk/Shuttle (1991). 11/20 Los Angeles, California: Filmforum http://www.lafilmforum.org/ 7:30pm, The Spielberg Theater at the Egyptian, 6712 Hollywood Blvd (at Las Palmas) ALARMS FROM THE 60S: EXPERIMENTS IN POLITICAL EXPRESSION In person: Stanton Kaye, Bill Norton, Penelope Spheeris (Schedules permitting). Films to be screened: Coming Soon (Bill Norton, 1966, 5min.), The National Rehabilitation Center (Penelope Spheeris, 1969, 12min.), unc. (Bruce Lane, 1966, 3min.), And On The Sixth Day (Christina Hornisher, 1966, 6min.), Georg (Stanton Kaye, 1964, 50min.). ------------------------- MONDAY, NOVEMBER 21, 2011 ------------------------- 11/21 Los Angeles, California: Redcat http://www.redcat.org/ 8:30pm, 631 West 2nd St. COLLAPSE INTO IMAGE Jack H. Skirball Series $10 [students $8, CalArts $5] Drawn from some of the most distinctive media installations of the last few years, this program showcases projects by artists who translate their extended, multifaceted creative processes onto the picture plane of the moving image and, through this transposition, invite new thinking about time, space, actions and materials. The selection includes recent works by Erika Vogt, known for her rich and rigorous practice of abstracting images and layering media. Also featured are Alex Hubbard's often humorous, always thought-provoking videos, wherein painterly surfaces exist only to be dismantled, as in his most spatially complex piece to date, The Border, The Ship (2011). William E. Jones, meanwhile, salvages, alters, manipulates, or recontextualizes archival footage and photography, challenging the opposition between flatness and depth while deconstructing the relationship between power and imagemakingï¿½vividly shown in Spatial Disorientation (2011), which is receiving its theatrical premiere. In person: William E. Jones, Erika Vogt, Alex Hubbard (pending) Curated by Madison Brookshire. "Erika Vogt is among the most skilled of these artists who have been undoing the conventional limits of digital image-making with equal urgency and efficacy. Her work demonstrates a sophisticated understanding of photographic media and its ambiguous plasticity." ï¿½ Catherine Taft, Art Review "Hubbard uses flowers, balloons, plastic letters, and other mundane things in bizarre, at times aggressive ways, calling attention to their purpose and altering them through a series of vaudevillian maneuvers." ï¿½ Lauren O'Neil Butler, Artforum "Jones' repetitions feel luxurious, seductive, like the hook of a slow jam that breaks the moment when the needle skips ï¿½ and, yes, poetic... Its horizontal language is rearranged, revealing new possibilities for vertical meanings, compressed energies, interstitial and even illicit desires." ï¿½ Michael Sicinski, CinemaScope 11/21 Toronto, Ontario, Canada: Early Monthly Segments http://earlymonthlysegments.org/ 730 PM, Gladstone Hotel, 1214 Queen Street West EARLY MONTHLY SEGMENTS #33 = CHAMBERS + HOLT + SMITHSON This evening features three films on time and perception by three visual artists who also left their imprints on film. Robert Smithson actively and articulately imagined and wrote about the possibilities of cinema, so it is our pleasure to rescue his film from its usual expository position on a monitor in a museum's dark corner. Nancy Holt's Swamp finds her lost in the reeds of a New Jersey swamp, trying to follow the voice of Smithson as he stays just ahead of her, out of sight. We are confined by her view of the surroundings as she stumbles through the rushes, completely unable to get our bearings in the swirling imagery. In contrast, Jack Chambers' Circle stays in one place, the relative placidity of Chambers' backyard in London, Ontario. The central section of the film consists of a small patch of that yard, filmed every morning for a year. The result vividly marks the changing of the seasons and extrapolates beautifully on the passage of time as an accumulation of mundane moments, each weighted with personal experience. Finally, Robert Smithson's Spiral Jetty is more than a documentary about the making of the eponymous landscape sculpture. Within the film, Smithson is predominantly interested in the scale of time, mapping the elements of the jettyï¿½the mud, salt crystals, rocks, waterï¿½back to their Jurassic beginnings. The film is a necessary companion to the sculpture itself, utilizing cinema to articulate how the jetty elongates time's passage. The majestic final helicopter shot almost asks the question: might the spiral be built from the bones of the dinosaurs? Programme: Swamp, Nancy Holt, 1971, 16mm, USA, 6 minutes, sound Circle, Jack Chambers, 1969, 16mm, Canada, 28 minutes, sound Spiral Jetty, Robert Smithson, 1970, 16mm, USA, 35 minutes, sound email: earlymonthlysegments @ gmail.com for email list! --------------------------- SATURDAY, NOVEMBER 26, 2011 --------------------------- 11/26 New York, New York: Anthology Film Archives http://www.anthologyfilmarchives.org/ 4:30 pm, 32 2nd Avenue ESSENTIAL CINEMA: GRANT, JACOBS & FLEISCHNER PROGRAM Dwinell Grant COMPOSITION #2 CONTRATHEMIS 1941, 5 minutes, 16mm, color, silent. "An attempt to develop visual abstract themes and to counterpoint them in a planned, formal composition." ï¿½D.G. "Austere and chaste combinations, with subtle manipulation of structure, density and rhythm."ï¿½William Moritz STOP MOTION TESTS 1942, 3 minutes, 16mm, color, silent. A self-portrait. COLOR SEQUENCE 1943, 3 minutes, 16mm, color, silent. "Pure solid-color frames which fade, mutate and flicker. A research into color rhythms and perceptual phenomena." ï¿½William Moritz Ken Jacobs LITTLE STABS AT HAPPINESS 1959-63, 18 minutes, 16mm, color. Featuring Jack Smith. "Material was cut in as it came out of the camera, embarrassing moments intact. 100' rolls timed well with music on old 78s. I was interested in immediacy, a sense of ease, and an art where suffering was acknowledged but not trivialized with dramatics. Whimsy was our achievement as well as breaking out of step." ï¿½K.J. Ken Jacobs & Bob Fleischner BLONDE COBRA 1959-63, 35 minutes, 16-to-35mm blow-up, b&w/color. Featuring Jack Smith. Preserved by Anthology, with the generous support of The Film Foundation, The National Film Preservation Foundation, Simon Lund and Cineric, Inc. "BLONDE COBRA is an erratic narrative ï¿½ no, not really a narrative, it's only stretched out in time for convenience of delivery. It's a look in on an exploding life, on a man of imagination suffering pre-fashionable Lower East Side deprivation and consumed with American 1950s, 40s, 30s disgust. Silly, self-pitying, guilt-strictured and yet triumphing ï¿½ on one level ï¿½ over the situation with styleï¿½ enticing us into an absurd moral posture the better to dismiss us with a regal 'screw off.'" ï¿½K.J. Total running time: ca. 70 minutes. 11/26 New York, New York: Anthology Film Archives http://www.anthologyfilmarchives.org/ 6:00 pm, 32 2nd Avenue ESSENTIAL CINEMA: TOM, TOM, THE PIPER'S SON by Ken Jacobs 1969, 115 minutes, 16mm An absolute masterpiece from one of the most inspiring innovators of modern cinema. "Original 1905 film shot and probably directed by G.W. 'Billy' Bitzer, rescued via a paper print filed for copyright purposes with the Library of Congress. It is most reverently examined here, absolutely loved, with a new movie, almost as a side effect, coming into being." ï¿½K.J. 11/26 New York, New York: Anthology Film Archives http://www.anthologyfilmarchives.org/ 8:30 pm, 32 2nd Avenue ESSENTIAL CINEMA: GENET/FRANK & LESLIE PROGRAM Jean Genet UN CHANT D'AMOUR 1950, 26 minutes, 16mm, b&w, silent. Jean Genet's poetic expression of male eroticism pitted against the confines of prison cells and a homophobic stateï¿½ a powerfully resonant work that explores individual freedom and the laws of desire. Robert Frank & Alfred Leslie PULL MY DAISY 1959, 28 minutes, 35mm, b&w. A largely spontaneous experiment, arranged in 1959 by Robert Frank along with Alfred Leslie. They enlisted the participation of Jack Kerouac, who offered in place of an original screenplay a stage play he'd never finished writing, "The Beat Generation." The plot is based on an incident in the life of Neal Cassady and his wife Carolyn. They're raising a family and trying to fit in with their suburban neighbors, and one night they invite a respectable neighborhood bishop over for dinner. But Neal's Beat friends crash the party, and that Marx Brothers-like scenario is the closest thing the film has to a storyline. Total running time: ca. 60 minutes. 11/26 San Francisco, California: Other Cinema http://www.othercinema.com/ 8:30, ATA, 992 Valencia Street SEX TRAFFICING MIMI CHAKAROVA'S THE PRICE OF SEX Introduced by photo-essayist Mark Brecke, UCB luminary Mimi Chakarova is here in person to present this unprecedented and compelling inquiry into a dark side of immigration. Feature-length, The Price of Sex sheds light on the underground criminal network trafficking Eastern European women, forced into prostitution abroad. Traveling from her home country through Greece, Turkey, to Dubai, Bulgarian-born photo-journalist Chakarova caps years of painstaking on-the-ground reportingï¿½even posing as a prostitute to gather her materialï¿½filming undercover with extraordinary access. ------------------------- SUNDAY, NOVEMBER 27, 2011 ------------------------- 11/27 New York, New York: Anthology Film Archives http://www.anthologyfilmarchives.org/ 5:00 pm, 32 2nd Avenue ESSENTIAL CINEMA: MELIES PROGRAM 1 All films in this program are b&w and silent. THE CONJUROR / L'ILLUSIONISTE FIN DE SIï¿½CLE (1899, 1 minute, 35mm) TRIP TO THE MOON / VOYAGE DANS LA LUNE (1902, 12 minutes, 35mm) THE PALACE OF THE ARABIAN NIGHTS / LE PALAIS DES MILLE ET UNE NUITS (1905, 21 minutes, 35mm) DELIRIUM IN A STUDIO / ALI BARBOUYOU ALI BOUF ï¿½ L'HUILE (1907, 5 minutes, 35mm) MERRY FROLICS OF SATAN / LES QUATRES CENT FARCES DU DIABLE (1906, 18 minutes, 35mm) Magician, master of special effects, Mï¿½liï¿½s broke with the realistic (Lumiï¿½re) mode of cinema and celebrated unlimited fantasy and artificiality (in its best sense). Total running time: ca. 60 minutes. 11/27 New York, New York: Anthology Film Archives http://www.anthologyfilmarchives.org/ 6:30 pm, 32 2nd Avenue ESSENTIAL CINEMA: MELIES PROGRAM 2 The films on this program are hand-tinted and silent. THE CASCADE OF FIRE / LA CASCADE DE FEU (1904, 3 minutes, 35mm) A DIABOLICAL TENANT / UN LOCATAIRE DIABOLIQUE (1909, 8 minutes, 35mm) THE HUNCHBACK FAIRY / LA Fï¿½E CARABOSSE (1906, 13 minutes, 35mm) VOYAGE ACROSS THE IMPOSSIBLE / LE VOYAGE ï¿½ TRAVERS L'IMPOSSIBLE (1904, 20 minutes, 35mm) Total running time: ca. 50 minutes. 11/27 New York, New York: Anthology Film Archives http://www.anthologyfilmarchives.org/ 8:00 pm, 32 2nd Avenue ESSENTIAL CINEMA: MELIES PROGRAM 3 All films in this program are b&w and silent. EXTRAORDINARY ILLUSIONS / ILLUSIONS FUNAMBULESQUES (1903, 3 minutes, 16mm) THE ENCHANTED WELL / LE PUITS FANTASTIQUE (1903, 3 minutes, 16mm) THE APPARITION / LE REVENANT (1903, 3 minutes, 16mm) TUNNEL UNDER THE CHANNEL / LE TUNNEL SOUS LA MANCHE (1907, 25 minutes, 16mm) SIGHTSEEING THROUGH WHISKY / PAUVRE JEAN OU LES MESAVENTURES D'UN BUVEUR (1909, 5 minutes, 16mm) THE DOCTOR'S SECRET / HYDROTHï¿½RAPIE FANTASTIQUE (1909, 11 minutes, 16mm) Total running time: ca. 55 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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