This week [January 28 - February 5, 2012] 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 FILM/VIDEO: NON-FEATURE: "Public Property Cashed In" by Chetan Boray http://www.hi-beam.net/cgi-bin/ann.pl?type=newwork&readfile=490.ann "Dénouement" by Ismail Bahri http://www.hi-beam.net/cgi-bin/ann.pl?type=newwork&readfile=491.ann MISCELLANEOUS: Articles on Experimental cinema http://www.hi-beam.net/cgi-bin/ann.pl?type=misc&readfile=121.ann JOB AVAILABLE: LAXART http://www.hi-beam.net/cgi-bin/ann.pl?type=jobs&readfile=11.ann NEW CALLS FOR ENTRIES: ===================== Australian International Experimental Film Festival (Melbourne, Australia; Deadline: February 03, 2012) http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1390.ann ARTErra rural artistic residency (Tondela,Portugal; Deadline: March 09, 2012) http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1391.ann Cologne International Videoart Festival (Cologne, Germany; Deadline: May 01, 2012) http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1392.ann Videoex Festival (Zürich , Switzerland; Deadline: January 30, 2012) http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1393.ann The Journal of Short Film Volume 27 (Columbus, Ohio USA; Deadline: April 27, 2012) http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1394.ann Milwaukee Underground Film Festival (Milwaukee, WI USA; Deadline: March 30, 2012) http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1395.ann WAMMFest (Women And Minorities in Media Festival) (Baltimore, MD, USA; Deadline: March 09, 2012) http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1396.ann What The Festival (Alfred, NY, USA; Deadline: February 29, 2012) http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1397.ann DEADLINES APPROACHING: ====================== Magmart | international videoart festival - VII edition (Naples, Irìtaly; Deadline: February 29, 2012) http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1366.ann Media City (Windsor, Ontario, Canada; Deadline: February 24, 2012) http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1370.ann 19th Chicago Underground Film Festival (Chicago, IL USA; Deadline: March 01, 2012) http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1374.ann 360 | 365 Film Festival (Rochester, NY USA; Deadline: February 01, 2012) http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1376.ann EFF PORTLAND (Portland; Deadline: February 15, 2012) http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1377.ann Montreal Underground Film Festival (Montreal, Quebec; Deadline: January 31, 2012) http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1384.ann Australian International Experimental Film Festival (Melbourne, Australia; Deadline: February 03, 2012) http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1390.ann Videoex Festival (Zürich , Switzerland; Deadline: January 30, 2012) http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1393.ann What The Festival (Alfred, NY, USA; Deadline: February 29, 2012) http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1397.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): ============================== * Visions, Memory, and A Machine: Optical Manipulations [January 28, Los Angeles, California] * Essential Cinema: the Eleventh Year [January 28, New York, New York] * Essential Cinema: Three Songs About Lenin [January 28, New York, New York] * Mi_losangeles2012: "A Curious Sense of Calm" [January 28, Torrance] * Essential Cinema: Enthusiasm [January 29, New York, New York] * Experimental Films By Walter Ungerer-50 Years of Filmmaking [January 29, Portland, Maine] * Croatian Animation [January 29, San Francisco, California] * Yankee Clutter - Recently Skewed Histories [February 2, Los Angeles, California] * Yankee Clutter: Recently Skewed Histories [February 2, Los Angeles, California] * Essential Cinema: Valentin/Vigo Program [February 2, New York, New York] * Essential Cinema: Mother [February 2, New York, New York] * A Diptych By Robert Fenz [February 3, Cambridge, Massachusetts] * Barbara Hammer: the Fearless Frame [February 3, London, England] * In Comparison [February 3, New York, New York] * The Blank Generation [February 3, New York, New York] * Unmade Beds [February 3, New York, New York] * Paul Clipson & Marielle Jakobsons [February 3, San Francisco, California] * Outsiders Observe Los Angeles [February 4, Los Angeles, California] * Unmade Beds [February 4, New York, New York] * The Foreigner [February 4, New York, New York] * Croatian Animation [February 4, Oakland, California] * The Foreigner [February 5, New York, New York] * Blank Generation [February 5, New York, New York] * Golden Age of Zagreb Animation [February 5, San Rafael, California] Events are sorted by CITY within each DATE. -------------------------- SATURDAY, JANUARY 28, 2012 -------------------------- 1/28 Los Angeles, California: Filmforum http://www.lafilmforum.org/ 4:00pm, Cinefamily, 611 N Fairfax Avenue VISIONS, MEMORY, AND A MACHINE: OPTICAL MANIPULATIONS In person: Beth Block, Pat O'Neill The optical printer played a crucial role not only in the Hollywood special effects industry, but in certain strains of experimental cinema as well. Perhaps because of its co-habitation with America's commercial film production center, Los Angeles artists, more than those of any other experimental film community, produced a substantial body of work that engaged with this versatile and powerful rephotography device. Screening will include work by Adam Beckett, Fred Worden, David Wilson, Beth Block, Pat O'Neill and more. 1/28 New York, New York: Anthology Film Archives http://www.anthologyfilmarchives.org/ 3:30 pm, 32 2nd Avenue ESSENTIAL CINEMA: THE ELEVENTH YEAR by Dziga Vertov With Russian intertitles, English synopsis available, 1928, 60 minutes, 35mm, b&w, silent 1/28 New York, New York: Anthology Film Archives http://www.anthologyfilmarchives.org/ 5:00 pm, 32 2nd Avenue ESSENTIAL CINEMA: THREE SONGS ABOUT LENIN by Dziga Vertov In Russian with no subtitles, English synopsis available, 1934, 60 minutes, 35mm, b&w 1/28 Torrance: Torrance Art Museum http://manipulatedimage.com/LosAngeles2012.html 5pm-7pm, Torrance Art Museum, 3320 Civic Center Drive, Torrance, CA ,90503 MI_LOSANGELES2012: "A CURIOUS SENSE OF CALM" --------Manipulated Image in cooperation with TAM presents "A Curious Sense of Calm" -------- MI's inaugural Los Angeles Screening of video art curated by Alysse Stepanian -------- Invited video artists: Gerald Guthrie (Illinois, USA), Adnan Hussain (Los Angeles, USA), Kika Nicolela (São Paulo, Brazil), and Yuko Takemura (London, UK). Guthrie's digital animations are philosophical inquiries into a man-made world of artificiality and alienation. Hussain's hope is that his work will encourage people to "think for themselves." Kika Nicolela uses the natural expressions of body and movement to explore the connection between the self and society. Yuko Takemura creates sensuous settings that draw the viewer into her mysterious world of perceptions. This is the first screening of LA-based artist, Adnan Hussain's work by Manipulated Image. Adnan will be present at the event to talk about his award-winning animated film, "Gul (flower)." Adnan was born in the US and lived in Pakistan for several years. On this very special evening at TAM, Adnan will share with the audience the process of creating his film and stories from behind the scenes of working with very accomplished Pakistani folk musicians. The music was composed for "Gul (flower)" by Ustad Amb Jogi, and recorded in Sindh, Pakistan. -------- FREE and open to the public ------------------------ SUNDAY, JANUARY 29, 2012 ------------------------ 1/29 New York, New York: Anthology Film Archives http://www.anthologyfilmarchives.org/ 4:45 pm, 32 2nd Avenue ESSENTIAL CINEMA: ENTHUSIASM by Dziga Vertov In Russian with no subtitles, English synopsis available, 1931, 67 minutes, 35mm, b&w 1/29 Portland, Maine: St. Lawrence Arts Center http://www.stlawrencearts.org/ 7:00 pm, 76 Congress Street EXPERIMENTAL FILMS BY WALTER UNGERER-50 YEARS OF FILMMAKING On Sunday, January 29, 2012, St. Lawrence Arts will present a program of recent short films by renowned filmmaker Walter Ungerer. In the 1950s 60s he was a fixture in The Village art community and underground film scene in New York City, which included such names as Ed Emshwiller, Bob Lowe, Jonas Mekas, Tony Montanaro, and Stan Vanderbeek. His work spans fifty years of filmmaking, from his cinema verité documentaries (THE TASMANIAN DEVIL, KEEPING THINGS WHOLE), to narrative films (THE ANIMAL, THE WINTER THERE WAS VERY LITTLE SNOW), to more recent DSLR computer generated works (KINGSBURY BEACH, BLUE PARROT, MONARDA). Ungerer learned his basic filmmaking skills working on various productions: THE COOL WORLD, a theatrical film directed by Shirley Clarke; and FREEDOM FOR THY PEOPLE, a United Church of Christ documentary shot in Nigeria. He produced his own experimental films MEET ME, JESUS and A LION'S TALE soon after. Then came the OOBIELAND films, which gave him wide recognition. The Museum of Modern Art included UBI EST TERRAM OOBIAE?, Part Two of OOBIELAND, in a program that toured the world for one year, representing experimental filmmaking in the United States. In the next few years the OOBIELAND films (there are five parts), received awards at such experimental film festivals as Ann Arbor, Foothill, Bellevue, and Baltimore. In 1969 Ungerer left New York for Vermont and a job teaching filmmaking at Goddard College. He tapped into resources at the college, namely personnel for cast and crew (including BREAD AND PUPPET THEATRE) for the longer narrative films he was beginning to produce. For thirty-three years he lived in Vermont creating feature length experimental narrative films: THE ANIMAL, THE HOUSE WITHOUT STEPS, THE WINTER THERE WAS VERY LITTLE SNOW and LEAVING THE HARBOR; always using the talents of local actors. In the late twentieth century several factors changed Ungerer's way of working. He was no longer able to find funding for his projects, though he was the recipient of national and regional awards: American Film Institute filmmaker grant, National Endowment on the Arts grant, National Endowment of the Humanities grant, and several Vermont Council on the Arts grants. The world was beginning to accept video as an alternative to film. Lack of funding and a curiosity about the creative potential for video and the computer, was the incentive for Ungerer to shift from film to video, and from the Moviola or Steenbeck film editing machines to the Amiga computer and non-linear editing. What occurred with this shift was a change in the look and duration of the projects that Ungerer began to create. They became much shorter in length from the 75 to 90 minute narrative films, to the 5 to 15 minute computer generated works. It was a move from the long form to the short form, much like the difference between prose and poetry in literature. The projects were also more frequently produced. Ungerer moved to Maine in 2003. His methods are now different, methods he began to accept at the end of the twentieth century, working on computer editing systems and shooting with digital cameras. Nonetheless he still relies on an intuitive approach to decision making with a predilection for the themes of nature, earth, the unknown and unknowable. Please note: Q&A with Walter Ungerer at the end of the showing. Contact: Whitney McDorr, Theater Manager; St. Lawrence Arts Center, 76 Congress Street, Portland, ME (207) 347-3075. 1/29 San Francisco, California: Artists Television Access http://www.atasite.org/ 8pm, 992 Valencia Street CROATIAN ANIMATION The Croatian Animation Cultural Exchange presents an evening of historical animations from Croatia (1957-1978) with works by Nikola Kostelac, Vatroslav Mimica, Z l a t k o G r g ic and more. The program is presented by Vanja Hraste who is a visiting program director of the film-club association of Croatia. -------------------------- THURSDAY, FEBRUARY 2, 2012 -------------------------- 2/2 Los Angeles, California: Echo Park Film Center http://www.echoparkfilmcenter.org/ 8:00pm, 1200 North Alvarado Street YANKEE CLUTTER - RECENTLY SKEWED HISTORIES Featuring: Echoes of Bats and Men by Jo Dery (2005, 16mm, 7:15) Hull by Tara Merenda Nelson (2011, 16mm, 7:30) 0106 by Xander Marro and Mat Brinkman (2006, 16mm, 12:15) The Root That Ate Roger Williams by Alee Peoples (2011, 16mm/video, 18:00) Passage Upon The Plume by Fern Silva (2011, 16mm, 6:45) Brand New Film by Leif Goldberg (2012, 16mm/Video, 10:00) Curated by Mike Stoltz 2/2 Los Angeles, California: Echo Park Film Center http://www.echoparkfilmcenter.org/ 8 pm, 1200 N Alvarado St (at Sunset) YANKEE CLUTTER: RECENTLY SKEWED HISTORIES A night of recent 16mm films originating from New England. These shorts evoke the true spirit of small frosty towns filled with secret restaurants, raw warehouse spaces turned into mad science laboratories, low-budget light shows, and piles of ephemera all working against centuries of puritanical tradition. Featuring: Echoes of Bats and Men by Jo Dery (2005, 16mm, 7:15) The night shift begins with a musical history lesson sung by a chubby skunk. Learn about Rhode Island's industrial evolution through the midnight flight of a little bat and her many friends. Hull by Tara Merenda Nelson (2011, 16mm, 7:30) A journey between layers of corporal consciousness, Hull explores the physical memory of trauma, and the psychological repercussions of a surgical disaster. 0106 by Xander Marro and Mat Brinkman (2006, 16mm, 12:15) A single-frame barrage of DIY living quarters, puppeteer frontiers, too many cats, silkscreen explosions, portable cooking stoves, zine libraries, drum kits, and more - all to the discordant squall of Marro and Brinkman's manic sonar hearts. The Root That Ate Roger Williams by Alee Peoples (2011, 16mm/video, 18:00) A half truthful documentary of what happened to the remains of Providence's founder and champion of 'free religion'. The other half is perhaps a fabrication of a club based on the actual folklore of the root. Shot in 16mm, the film strikes a playful balance of truthful story telling and sly farce of related ideas and places. Passage Upon The Plume by Fern Silva (2011, 16mm, 6:45) "Those who go thither, they return not again." Plumes dust the arid land, east to west, shapeshifting as they lift in ascension. Something lowers. An ark ran aground where revolution took root: ropes raise stones in baskets. Hearts heavier and lighter than the feather, permitted passage. Tethered or freed, resting from life or dawning anew. (Charity Coleman) Brand New Film by Leif Goldberg (2012, 16mm, 10:00) Sure to be a dazzler by the head honcho of National Waste. Curated by Mike Stoltz. $5 2/2 New York, New York: Anthology Film Archives http://www.anthologyfilmarchives.org/ 7:15 pm, 32 2nd Avenue ESSENTIAL CINEMA: VALENTIN/VIGO PROGRAM Karl Valentin CONFIRMATION DAY / DER FIRMLING 1934, 23 minutes, 35mm, b&w. In German with no subtitles; English synopsis available. A father and son, celebrating the son's confirmation, go to a fancy restaurant and drink all day. They want to order Emmentaler cheese, but can only find Affentaler wine on the menu. How did the Affentaler, which they think is cheese, get into the bottle? They keep on drinking away, attracting attention and causing more and more confusion. "Valentin plays a drunken father treating his giggly young son to lunch, and the inspired muddle he creates out of a table, two chairs, an umbrella, and a watch chain rivals some of Laurel and Hardy's best moments." J.R. Jones, CHICAGO READER & Jean Vigo ZÉRO DE CONDUITE 1935, 44 minutes, 35mm, b&w. In French with no subtitles; English synopsis available. ZÉRO DE CONDUITE, an eloquent parable of freedom versus authority, is set at a boys' boarding school and undoubtedly echoes Vigo's own unhappy experiences as a child. Under the pressure of various civic groups the film was removed from screens several months after its release in 1933. It was branded "anti-French" by censors and was not shown again in Paris until 1945. Total running time: ca. 70 minutes. 2/2 New York, New York: Anthology Film Archives http://www.anthologyfilmarchives.org/ 8:45 pm, 32 2nd Avenue ESSENTIAL CINEMA: MOTHER by Vsevolod I. Pudovkin In Russian with no subtitles, English synopsis available, 1926, 104 minutes, 35mm With the simple theme of a working-class mother growing in political consciousness through participation in revolutionary activity, this film established Pudovkin as one of the major figures of the Soviet cinema. A student of Kuleshov and an admirer of Griffith's films, he was writing his first book of film theory at the same time he was making MOTHER. His expert cutting on movement and his associated editing of unrelated scenes to form what he called a "plastic synthesis" are amply demonstrated here. Although in direct opposition to Eisenstein's shock montage, Pudovkin used a linkage method advanced far beyond Kuleshov's theories. ------------------------ FRIDAY, FEBRUARY 3, 2012 ------------------------ 2/3 Cambridge, Massachusetts: Harvard Film Archive http://hcl.harvard.edu/hfa 7pm, Harvard Film Archive, 24 Quincy Street A DIPTYCH BY ROBERT FENZ Filmmaker Robert Fenz in Person Special Event Tickets $12 Correspondence Correspondence is my tribute Robert Gardner's body of work. Retracing his steps, I filmed in the same locations in which he filmed. Dead Birds (1964) was filmed in West Papua, Rivers of Sand (1974) was filmed in Ethiopia, and Forest of Bliss (1986) was filmed in Benares, India. My goal was to craft a film in dialogue with his body of work. I found my images one might say to the left-and-right of his frames. I shot the majority of the film in lush black-and-white and did not record sound. I intended in this way to echo the poetic element in Gardner's film documents. Correspondence is as much about Gardner's documentary style as it is about filmmaking with silver gelatin material about how we think and remember with film. So, Correspondence is my tribute to Gardner, but it is also my homage to a kind of filmmaking in which he is a master. Robert Fenz Directed by Robert Fenz US/Germany 2011, 16mm, color, 30 min The Sole of the Foot A series of improvised variations on the concept of "place," The Sole of the Foot explores ideas of belonging, isolation, and displacement. I filmed in France, Israel, and Cuba, among populations whose claim to belonging and identity are contested by others who assert a superior right to belong. I chose these locations because of questions I have about my own sense of belonging and of place. The sound in the film moves in-and-out of sync; the film itself is in color. Color, like sync sound, creates an illusion of presence. By using location sound, and moving it in or out of sync, I try alternately to enhance or mute a sense of alienation and disorientation--touched by improvisationcreating a space wherein viewers may contemplate their own train of thought as equal participants in an act of imaginative co-creation. RF Directed by Robert Fenz US/Germany 2011, 16mm, color, 34 min Berlin Tracks 18h00-20h00 A composition of elusive moments and variations of colliding perspectives, Berlin Tracks 18h00-20h00 documents the railway tracks stretching out from under the Modersohnbrücke (Modersohn Bridge) towards Warshauer Str. S-Bahn Station in Berlin, Germany. The abstracted landscape visualizes alternative conceptions of time, experience and the ordinary. Directed by Shiloh Cinquemani Germany 2010, 16mm, color, 2 min 2/3 London, England: Tate Modern http://www.tate.org.uk/modern/programmes/film 7pm, Tate Modern, Bankside, London SE1 9TG BARBARA HAMMER: THE FEARLESS FRAME 3 - 27 February 2012. This major survey of Barbara Hammer's work will be launched with the premiere of her new short film, Maya Deren's Sink 2011, a tribute to Deren's longstanding influence on the artist. The month-long series also includes screenings of early, rarely seen Super-8 films, an evening of expanded cinema performances in the Turbine Hall, an event in response to Hammer's work by artist Emily Roysdon, and several events featuring artists and speakers drawn from across Europe and North America, who testify to the powerful creative community Hammer has inspired. The programme will be punctuated with films by friends, colleagues, and filmmakers whom Hammer considers crucial influences. In addition to Deren, artists include Chick Strand, Stan Brakhage, Shirley Clarke, Gunvor Nelson, Chris Welsby, Gina Carducci, Cecilia Dougherty, John Greyson, William E. Jones, Liz Rosenfeld, Emily Mode, Scott Berry, Kjerstin Rossi and more. Hammer says: 'As an experimental filmmaker and lesbian feminist, I have advocated that radical content deserves radical form.' She has fearlessly pursued innovation from her earliest experiments with sexuality and feminist identity in the 1960s and 70s to her stunning perceptual and optical printing experiments during the 80s and the documentaries she continues to make that unearth secret histories and give voice to those traditionally without one. Her films have transformed the screen into an active and experimental field that powerfully brings together images and the bodies they represent. Curated by Stuart Comer and Barbara Hammer 2/3 New York, New York: Anthology Film Archives http://www.anthologyfilmarchives.org/ 7:00 pm, 32 2nd Avenue IN COMPARISON by Harun Farocki In German with English subtitles, 2009, 61 minutes, 16mm Share + This screening is part of: DEUTSCHE DOCS: THE CONTEMPORARY GERMAN DOCUMENTARY Film Notes (ZUM VERGLEICH) For his most recent film, Farocki observes the process of manufacturing bricks, in various cultures, and across different modes and scales of production. "I wanted to make a film about concomitance, and about contemporary production on a range of different technical levels. So I looked for an object that had not changed too much in the past few thousand years. This could have been a shoe or a knife, but a brick becomes part of a building and therefore part of our environment. So the brick appears as something of a poetic object. I follow its mode of creation and use in Africa, India, and Europe." H.F. 2/3 New York, New York: Anthology Film Archives http://www.anthologyfilmarchives.org/ 7:15 pm, 32 2nd Avenue THE BLANK GENERATION NIGHT LUNCH 1975, 32 minutes, 16mm. & BLANK GENERATION 1976, 55 minutes, 16mm. Poe's first two works, both made in collaboration with Ivan Král, are lo-fi concert films that are invaluable documents of the 1970s NYC downtown music scene. Featuring performances by the Ramones, Blondie, Patti Smith, the Talking Heads, Television, David Bowie, the New York Dolls, Wayne County, Freddie Mercury, Johnny Thunders, and others, they are unforgettable testaments to a period of unparalleled vitality and creativity. 2/3 New York, New York: Anthology Film Archives http://www.anthologyfilmarchives.org/ 9:30 pm, 32 2nd Avenue UNMADE BEDS by Amos Poe 1976, 77 minutes, 16mm With Eric Mitchell, Patti Astor, and Deborah Harry. "[A] reinvention of the nouvelle vague in the context of New York. I wanted to start where Godard started, to go back to basics: innocence, romanticism, bohemianism, all the things that made up NYC for me at that time. It is the story of an artist: a medium, an ego, and a changed society. He thinks his camera is a gun, he thinks he is Belmondo, and he thinks NY is Paris. His fate is therefore doomed. So when Godard and his pals at the Cinémathèque saw Sirk, Hawks, etc, they tried to make films like that but they failed. Instead they created the New Wave. My attempt created a kind of New Wave in New York." A.P. 2/3 San Francisco, California: Will Brown Gallery http://wearewillbrown.com/index.php?/project/paul-clipson--marielle-jakobsons/ 9pm, 3041 24th Street PAUL CLIPSON & MARIELLE JAKOBSONS Audio/Visual Performance Paul Clipson is an experimental film artist based in San Francisco, California. Marielle V. Jakobsons is a sound artist and musician based in Oakland, California. His largely improvised, in-camera-edited super-8mm film work generally involves projected installation and live collaborative performances utilizing sound. A classically-trained pianist and violinist, she collaborates extensively in new music/media, improvisation, and experimental pop. By employing various dissolve techniques, multiple exposures, and macro-imagery, he brings to light subconscious preoccupations and unexpected visual forms in our minds and the world around us. Together with Gregg Kowalsky, her band Date Palms creates a sound of psychedelic minimalism and has released LP's on both Mexican Summer and Root Strata. His films have screened around the world and throughout the U.S., including at the Cinémathèque Française, the Rotterdam Film Festival and the NYFF Views From The Avant Garde. Her second solo album "Glass Canyon" is due out on Students of Decay in Spring, 2012. -------------------------- SATURDAY, FEBRUARY 4, 2012 -------------------------- 2/4 Los Angeles, California: Filmforum http://www.lafilmforum.org/ 8:00pm, The Echo Park Film Center, 1200 N Alvarado St. (@ Sunset Blvd.) Los Angeles, CA 90026 OUTSIDERS OBSERVE LOS ANGELES Films looking at Los Angeles by artists who weren't here for the long haul -- visitors to our balmy climes. What truths about the city are these non-Angeleños able to see, and how do they express them? Films to be screened: The Desert People by David Lamelas (1974), Me & Bruce & Art by Ben Van Meter (1968), Suite California Stops & Passes Part 1: Tijuana to Hollywood Via Death Valley by Robert Nelson (1972-76/2004), and Special Warning, by Robert Nelson (1999). This screening is dedicated to Robert Nelson, who we lost this January. 2/4 New York, New York: Anthology Film Archives http://www.anthologyfilmarchives.org/ 7:30 pm, 32 2nd Avenue UNMADE BEDS See notes for Feb. 3, 9:30 pm. 2/4 New York, New York: Anthology Film Archives http://www.anthologyfilmarchives.org/ 9:30 pm, 32 2nd Avenue THE FOREIGNER by Amos Poe 1978, 95 minutes, 16mm With Eric Mitchell, Patti Astor, and Deborah Harry. "A year later I made THE FOREIGNER, a film about a European coming to NY. In this case Max Menace (Eric Mitchell), a German terrorist who is trying to find a place to hide. But you can't hide in jungleland! He is terrorized, and ripped to bits. This is the story of the other side of the American dream; the foreigner who doesn't make it. A nightmare film in an existential philosophical context, a world where less is more." A.P. 2/4 Oakland, California: Studio Quercus www.studioquercus.com 8pm, 385 26th Street CROATIAN ANIMATION The Croatian Animation Cultural Exchange presents an evening of historical animations from Croatia (1957-1978) with works by Nikola Kostelac, Vatroslav Mimica, Z l a t k o G r g ic and more. The program is presented by Vanja Hraste who is a visiting program director of the film-club association of Croatia. ------------------------ SUNDAY, FEBRUARY 5, 2012 ------------------------ 2/5 New York, New York: Anthology Film Archives http://www.anthologyfilmarchives.org/ 7:00 pm, 32 2nd Avenue THE FOREIGNER See notes for Feb. 4, 9:30 pm. 2/5 New York, New York: Anthology Film Archives http://www.anthologyfilmarchives.org/ 9:00 pm, 32 2nd Avenue BLANK GENERATION See notes for Feb. 3, 7: 15 pm. 2/5 San Rafael, California: Christopher B. Smith Rafael Theater www.cafilm.org 4:15pm, 385 26th Street GOLDEN AGE OF ZAGREB ANIMATION Beginning in the 1950s, animators from the Zagreb Film Studios in Croatia (then Yugoslavia) developed a strong style that was soon known around the world at the "Zagreb School" of animation. Vanja Hraste will present a special program of Zagreb's best and speak about its colorful history. 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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