Part 1 of 2: This week [February 11 - 19, 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: "Black Biscuit" by Fabrizio Federico http://www.hi-beam.net/cgi-bin/ann.pl?type=newworkf&readfile=127.ann NEW CALLS FOR ENTRIES: ===================== 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 The Festival of (In)appropriation (Los Angeles, CA, USA; Deadline: May 15, 2012) http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1398.ann deadCENTER Film Festival (Oklahoma City, OK, USA; Deadline: February 14, 2012) http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1399.ann Videoex International Experimentalfilm & Video Festival (Zürich, Switzerland; Deadline: February 15, 2012) http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1400.ann Indie Memphis Film Festival (Memphis, TN, USA; Deadline: June 20, 2012) http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1401.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 EFF PORTLAND (Portland; Deadline: February 15, 2012) http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1377.ann call for artists 2012 (Tondela, Portugal; Deadline: March 09, 2012) http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1380.ann ASsociety New Media Residency (Roxbury, NY, USA; Deadline: March 06, 2012) http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1388.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 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 deadCENTER Film Festival (Oklahoma City, OK, USA; Deadline: February 14, 2012) http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1399.ann Videoex International Experimentalfilm & Video Festival (Zürich, Switzerland; Deadline: February 15, 2012) http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1400.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): ============================== * <B>The 8th Berlin International Directors Lounge [Dl8], Feb, 9 - 19 </B> [February 11, Berlin, Germany] * Beats Being Dead [February 11, Boston, Massachusetts] * Dreileben: Don't Follow Me Around [February 11, Boston, Massachusetts] * One Minute of Darkness [February 11, Boston, Massachusetts] * Jack Smith, Rare Short 16mm Films. [February 11, Brooklyn, New York] * Four Films Toward Part V of Secret History of the Dividing Line, A True Account In Nine Parts [February 11, Cambridge, Massachusetts] * We Are Cinema 50 Years of the Film-Makers' Co-Op [February 11, New York, New York] * Essential Cinema: Robert Nelson Program [February 11, New York, New York] * George Kuchar Program 3 [February 11, New York, New York] * <B>The 8th Berlin International Directors Lounge [Dl8], Feb, 9 - 19 </B> [February 12, Berlin, Germany] * Silent Mountains, Singing Oceans, and Slivers of Time [February 12, Cambridge, Massachusetts] * Oliver Laxe's You Are All Captains [February 12, Chicago, Illinois] * Sex Roles & Rules: Gender, Liberation, and Sexuality [February 12, Los Angeles, California] * George Kuchar Program 5 [February 12, New York, New York] * Essential Cinema: Carriage Trade [February 12, New York, New York] * Essential Cinema: My Hustler [February 12, New York, New York] * Essential Cinema: Warhol/Whitney Program [February 12, New York, New York] * George Kuchar Program 6 [February 12, New York, New York] * Dirty Looks: Female Trouble [February 12, San Francisco, California] * Stepping Between Projections; James Diamond In Person! [February 12, Toronto, Ontario, Canada] * <B>The 8th Berlin International Directors Lounge [Dl8], Feb, 9 - 19 </B> [February 13, Berlin, Germany] * Disassociative Collective First Screening [February 13, Brooklyn, New York] * Lee Anne Schmitt- the Last Buffalo Hunt [February 13, Los Angeles, California] * <B>The 8th Berlin International Directors Lounge [Dl8], Feb, 9 - 19 </B> [February 14, Berlin, Germany] * Avant Erotica [February 15, Austin, TX] * <B>The 8th Berlin International Directors Lounge [Dl8], Feb, 9 - 19 </B> [February 15, Berlin, Germany] * Rock & Roll Experiments [February 15, Los Angeles, California] * <B>The 8th Berlin International Directors Lounge [Dl8], Feb, 9 - 19 </B> [February 16, Berlin, Germany] * Radical Light: Alternative Film and video In the San Francisco Bay Area [February 16, Chicago, Illinois] * Concordia, vivier De Cineastes Experimentaux [February 16, Paris, France] * A Selection of Rose Lowder Films [February 17, Austin, TX] * <B>The 8th Berlin International Directors Lounge [Dl8], Feb, 9 - 19 </B> [February 17, Berlin, Germany] * Emerson Presents - Filmmaker Rob Todd In Person [February 17, Boston, Massachusetts] * Electromediascope [February 17, Kansas City, Missouri] * Wooster Group Program 1 [February 17, New York, New York] * Wooster Group Program 2 [February 17, New York, New York] * <B>The 8th Berlin International Directors Lounge [Dl8], Feb, 9 - 19 </B> [February 18, Berlin, Germany] * Flexfest 2012, Night 1: Su Friedrich [February 18, Gainesville, FL] * Flexfest 2012, Night 1: Su Friedrich [February 18, Gainesville, FL] * Wooster Group Program 5 [February 18, New York, New York] * Wooster Group Program 3 [February 18, New York, New York] * Wooster Group Program 4 [February 18, New York, New York] * Pleasure Dome & Art Gallery of Ontario Present the World Premiere of In the Nature of Things By Barbara Sternberg In Person! With Early Works By the 2011 Governor General's Award Recipients Barbara Sternberg and David Rimmer [February 18, Toronto, Ontario, Canada] * <B>The 8th Berlin International Directors Lounge [Dl8], Feb, 9 - 19 </B> [February 19, Berlin, Germany] * Flexfest 2012, Night 2: Steve Reinke [February 19, Gainesville, FL] * Flexfest 2012, Night 2: Steve Reinke [February 19, Gainesville, FL] * Tricky Poses and Taxing Conditions: Performance and Media [February 19, Los Angeles, California] * Wooster Group Program 6 [February 19, New York, New York] * Wooster Group Program 7 [February 19, New York, New York] * Wooster Group Program 8 [February 19, New York, New York] Events are sorted by CITY within each DATE. --------------------------- SATURDAY, FEBRUARY 11, 2012 --------------------------- 2/11 Berlin, Germany: Directors Lounge http://www.directorslounge.net 6pm, Naherholung Sternchen, Berolinastraße 7, behind the Kino International/ Rathaus Mitte U Schillingstraße, 10178 Berlin THE 8TH BERLIN INTERNATIONAL DIRECTORS LOUNGE [DL8], FEB, 9 - 19 [DL8], the 8th Berlin International Directors Lounge, the festival for contemporary media and film, 2012, is hitting Berlin in a new vein and venue, this year making the up-and-comer insider tip Naherholung Sternchen its stomping ground. The reason for the move will be clear to all once they hit the doors, literally a stone's throw from the iconic Kino International near Alexanderplatz Berlin: the location, a one-time thespians' hangout already steeped in its own history, has clearly been waiting for this moment. And it's here: 1001 nights at the cinema, all in eleven days. A romping, cinedalic party, the place to see films, rub shoulders with filmmakers and spectators, meet a global set around the bar... and see more films. What's up and coming, with performances and music thrown in for good measure. This year topped off with a celebration with all the Berlin Film Festivals: You Say Festival, We Say Party, The Official Festiwelt Party Wed., Feb. 15 the night to party with all the movers and shakers of the Berlin (and beyond) film universe. Enough festivals to kill a rhino! With special presentations by Nick Zedd, Simon Ellis, Yony Leyser, Andreas Müller-Pohle, Miron Zownir, Birol Ünel, Telemach Wiesinger and many others... The 8th Berlin International Directors Lounge [DL8] 09.19.02.2012 Naherholung Sternchen, Berolinastraße 7, 10178 Berlin behind the Kino International/ Rathaus Mitte U Schillingstraße Daily from 6pm | Free admission till 10 pm The Official Festiwelt Party Wed., Feb. 15 2/11 Boston, Massachusetts: ArtsEmerson http://ArtsEmerson.org 5:00pm, Paramount Theater BEATS BEING DEAD This "cool, Hitchcockian romantic thriller," set in Germany's Thuringian Forest (a region alive with legends and myth), plays the police search for an escaped killer against a story of star-crossed lovers. Part one of the celebrated DREILEBEN trilogy. 2/11 Boston, Massachusetts: ArtsEmerson http://ArtsEmerson.org 6:45pm, Paramount Theater DREILEBEN: DON'T FOLLOW ME AROUND A novelistic criminal investigation which deftly juxtaposes personal drama against the search for a killer, underlining the DREILEBEN trilogy's recurring themes of false appearances and deeply hidden truths. Part two of the celebrated trilogy. 2/11 Boston, Massachusetts: ArtsEmerson http://ArtsEmerson.org 8:45pm, Paramount Theater ONE MINUTE OF DARKNESS A dark, memorably strange fairy tale in which a police inspector tries to put himself inside the mind of a criminal while the isolated escapee flees deeper into a possibly enchanted forest. Part three of the celebrated DREILEBEN trilogy. 2/11 Brooklyn, New York: Microscope Gallery http://www.microscopegallery.com 5 PM, 4 Charles Place (at Myrtle btwn Bushwick & Evergreen Aves) JACK SMITH, RARE SHORT 16MM FILMS. New to distribution at the Film-Makers' Co-op. Admission $10. In connection with the "We Are Cinema: 50 Years of the Film-Makers' Co-op" exhibit at Microscope Gallery, we are screening new prints of 7 rare short films by legendary Filmmaker/artist Jack Smith. PROGRAM features: "Scotch Tape" (1962) 16mm, color, 3 min.; "Overstimulated" (1960) 16mm, black and white, 3 min; "No President" (1968) 16mm, black and white, 50 min; "Respectable Creatures" (1967) 16mm, color, sound, 25 min; "Hot Air Specialists" (1970's) 16mm, color, 4 min; "Song for Rent" (1970's) 16mm, color, 4 min; and "Yellow Sequence (196365), 16mm, 15 min. The opening for the exhibition immediately follows the screening and runs until 9PM. Artists on exhibit: Katherine Bauer, Bill Brand, Robert Breer, Rudy Burckhardt, Donna Cameron, Abigail Child, Martha Colburn, Peter Cramer, Bradley Eros, Su Friedrich, Ken Jacobs, Sabrina Gschwandtner, Anne Hanavan, Takahiko Iimura, Jeanne Liotta, Jonas Mekas, Julie Murray, Jennifer Reeves, Barbara Rubin, Lynne Sachs, Carolee Schneemann, Joel Schlemowitz, MM Serra, Jack Smith, Smith and Lowles, Mark Street, Jack Waters, and others. Please rsvp for screening at r...@microscopegallery.com. More info at www.microscopegallery.com. J/M/Z Myrtle/Broadway; L - Morgan Ave or Jefferson Street. tel: 347.925.1433. 2/11 Cambridge, Massachusetts: Harvard Film Archive http://hcl.harvard.edu/hfa 7pm, Harvard Film Archive, 24 Quincy Street FOUR FILMS TOWARD PART V OF SECRET HISTORY OF THE DIVIDING LINE, A TRUE ACCOUNT IN NINE PARTS Filmmaker David Gatten in conversation with film curator Mark McElhatten Special Event Tickets $12 The Matter Propounded, Of Its Possibility or Impossibility, Treated in Four Parts 2011, 16mm, b/w, 13 min How to Conduct a Love Affair 2007, 16mm, color, 8 min So Sure of Nowhere Buying Times to Come 2010, 16mm, color, 9 min Film for Invisible Ink, Case No. 323: Once Upon a Time in the West 2010, 16mm, b/w, 20 min 2/11 New York, New York: Filmmakers Co-op 5pm, MICROSCOPE Gallery, 4 Charles Place WE ARE CINEMA 50 YEARS OF THE FILM-MAKERS' CO-OP Opening reception Saturday 2/11, 7-9PM, preceded by special 5PM screening of rare short films by Jack Smith - We Are Cinema is a month-long exhibit and screening series celebrating 50 years of the Film-Makers' Co-op in NYC. It was in January of 1962 that filmmaker Jonas Mekas called an urgent meeting of about 20 avant-garde/independent filmmakers including Stan Vanderbeek, Rudy Burckhardt, Jack Smith, Ken Jacobs, and Gregory Markopoulos to discuss taking the means of exhibition and distribution into their own hands. Within months the Film-Makers' Artists in the exhibition include: Katherine Bauer, Bill Brand, Robert Breer, Rudy Burckhardt, Donna Cameron, Abigail Child, Martha Colburn, Bradley Eros, Su Friedrich, Ken Jacobs, Sabrina Gschwandtner, Anne Hanavan, Takahiko Iimura, Jeanne Liotta, Jonas Mekas, Julie Murray, Jennifer Reeves, Barbara Rubin, Carolee Schneemann, Joel Schlemowitz, MM Serra, Jack Smith, Smith and Lowles, Mark Street, Jack Waters & Peter Cramer, and others. - The Film-Makers' Co-op continues to operate as a vibrant archive and distributor, housing more than 5,000 films and videos by over 900 artists.EXHIBIT: We Are Cinema: 50 years of the Film-Makers' Co-op - Drawings, paintings, photographic prints, video, sound, historical documents, & more - DATES: SAT 2/11 to MON 3/5 - RELATED EVENTS - SAT 2/11: - 5PM: Screening "Fresh-from-the-Lab" new prints of rare short films by Jack Smith new to distribution from the Co-op, introduced by MM Serra and Jonas Mekas. Admission $10, RSVP to r...@microscopegallery.com. With gratitude to the Barbara Gladstone Gallery and Jerry Tartaglia for the preservation and restoration of Jack Smith's films. - 7-9PM We Are Cinema opening reception, open to the public - SAT 2/18: 7PM Ken Jacobs in person, 16mm prints from the Co-op of Blonde Cobra (1959-1963) and The Whirled (1956 to 1963)\; four shorts of Jack Smith performing\; and America At War, The Home Front: Film Opening - 3D (2011). Admission $6 - SAT 2/25, 7PM Jonas Mekas in person to present his 1997 Birth of a Nation, which has screened previously only once. Admission $6 - SUN 3/4, 7PM, New works to the Co-op's distribution curated by Microscope, introduced by MM Serra. Admission $6 - - More info at www.microscopegallery.com and www.film-makerscoop.com 2/11 New York, New York: Anthology Film Archives http://www.anthologyfilmarchives.org/ 4:45 pm, 32 2nd Avenue ESSENTIAL CINEMA: ROBERT NELSON PROGRAM THE GREAT BLONDINO 1967, 42 minutes, 16mm. Newly preserved print! "The original Blondino was a 19th-century tightrope artist who among other feats crossed Niagara Falls trundling a wheelbarrow. In this film, Nelson sees Blondino as a metaphor for those who still try. Too subtle to be allegorical, the picture is in the shape of a quixotic search in which the goal is the journey and the means is the end." Museum of Modern Art "It is difficult to get at the rich visual texture that is the film's most striking attribute. Long stretches are concerned with Blondino's visions, dreams, and dreams within dreams. The film unfolds in brief recurring patterns of imagery. Even the more straightforward sections are dense with interpolated newsreel and TV commercial footage, visual gags, and homemade special effects. The net effect is funny, seamless, and elusive." J. Hoberman, "A Filmmakers Filming Monograph" BLEU SHUT 1970, 33 minutes, 16mm. Newly preserved print! "Boat-name quizzes, dogs, cuts from Dreyer's JOAN OF ARC in montage with a sultry whore, a car running up a ramp and crashing, pornography, a passionate embrace by a thirties hero and heroine; all somehow implicating Dreyer and Joan in the perverse synthesis of sex and technology. What's happening here? Basically Nelson is leaving things unsaid." Leo Regan Total running time: ca. 80 minutes. 2/11 New York, New York: Anthology Film Archives http://www.anthologyfilmarchives.org/ 6:45 pm, 32 2nd Avenue GEORGE KUCHAR PROGRAM 3 PROGRAM 3: FROM THE SHELVES OF EAI "In the mid-1980s, George Kuchar acquired an 8mm camcorder and began producing an extraordinary series of video diaries, chronicling a singular, ongoing personal history. Exhibiting the rawness of video vérité and the theatricality of fiction, his self-narrated tapes record close-up observations of the personal routines and social interactions of Kuchar's daily life. These remarkable video journals often resonate with an unexpected poetry. "During this time, George would often come to EAI to personally deliver the masters of his video works. He would then sit down and, on the spot, hand-write on note-paper wonderful descriptions of his pieces, three of which are reprinted here." Lori Zippay, Executive Director, Electronic Arts Intermix (EAI) CULT OF THE CUBICLES 1987, 46 minutes, video. It's New York in the summer and I set out to track down some high school friends who have burrowed deep into the 'big apple.' The viewer gets to see how far they've eaten their way to the core in this 45-minute study of urban denizens in the grip of Newtonian damnation. RAINY SEASON (1987, 28.5 minutes, video) The rains come and a chill sets in as I explore the dark and dank pockets of things best left in the closet. A parade of faces pass or drop by to bring sunshine, but the glow only makes the shadows appear darker in this study of things that hump and bump in the night. THE CREEPING CRIMSON (1987, 13 minutes, video) It is fall and Halloween and mom is in the hospital. The leaves are red and the mood is blue but life drips on, pizza is devoured and the mall must be frequented. A stroll among the foliage reveals bitter fruit yet sweetness lies just around the corner where the Bronx meets Westchester and whiteness constipates. Total running time: ca. 95 minutes. ------------------------- SUNDAY, FEBRUARY 12, 2012 ------------------------- 2/12 Berlin, Germany: Directors Lounge http://www.directorslounge.net 6pm, Naherholung Sternchen, Berolinastraße 7, behind the Kino International/ Rathaus Mitte U Schillingstraße, 10178 Berlin THE 8TH BERLIN INTERNATIONAL DIRECTORS LOUNGE [DL8], FEB, 9 - 19 See Feb. 11. 2/12 Cambridge, Massachusetts: Harvard Film Archive http://hcl.harvard.edu/hfa 4:30pm, Harvard Film Archive, 24 Quincy Street SILENT MOUNTAINS, SINGING OCEANS, AND SLIVERS OF TIME Filmmaker David Gatten in Person - Special Event Tickets $12 Film for Invisible Ink, Case No. 71: Base-Plus-Fog 2006, 16mm, b/w, 10 min What the Water Said, Nos. 1-3 1998, 16mm, color, 16 min Journal and Remarks 2009, 16mm, color, 15 min Shrimp Boat Log 2006/2010, 16mm, color, 6 min What the Water Said, Nos. 4-6 2007, 16mm, color, 17 min Film for Invisible Ink, Case No. 142: Abbreviation for Dead Winter [Diminished by 1,794] 2008, 16mm, b/w, 13 min 2/12 Chicago, Illinois: White Light Cinema http://www.whitelightcinema.com 7pm, Cinema Borealis, 1550 N. MilwaukeeAve., 4th Floor, Chicago, Illinois OLIVER LAXE'S YOU ARE ALL CAPTAINS White Light Cinema Presents: Oliver Laxe's YOU ARE ALL CAPTAINS, Sunday, February 12 7:00pm, At Cinema Borealis (1550 N. Milwaukee Ave., 4th Floor) - - Only Chicago Screening on a National Tour! - Cannes prize winner! - You Are All Captains (Todos vós sodes capitáns) (2010, 35mm, 79 mins., Spain/Morocco) - Directed by Oliver Laxe - Compared with the films of Abbas Kiarostami and Francois Truffaut, Spanish-French director Oliver Laxe's YOU ARE ALL CAPTAINS follows a self-described "neo-colonialist" filmmaker, playfully portrayed by Laxe, who goes to Tangier ostensibly to hold a series of workshops for disadvantaged street children. It quickly becomes clear, however, that Laxe's intentions are far to turn these children into pawns in his own feature. The film asks direct questions about cinema's role in cultural exchange by deftly blurring the line between fiction and documentary, You Are All Captains unveils though its magnificent black-and-white images full of daily life, the problems of filmmaking in a global economic reality. A mysterious, whimsical and unique creation that won the FIPRESCI prize at Cannes. - "Remarkable...one of the rare movies in which action is imbued with thought, and in which the very process of thought seems to come to life. The movie's scale is small, its subjects are intimate, its artistic reach is immense." (Richard Brody, New Yorker) - "[A] brilliantly constructed deconstruction of "truth" versus "fiction." (Village Voice) - "Poignant and dryly, philosophically ironic." (New Yorker) - - Admission: $8-10 sliding scale 2/12 Los Angeles, California: Filmforum http://www.lafilmforum.org/ 7:30pm, The Spielberg Theater at the Egyptian, 6712 Hollywood Blvd (at Las Palmas) SEX ROLES & RULES: GENDER, LIBERATION, AND SEXUALITY Films and videos exploring the definitions, meanings, representations, and interactions of women and men. Storytelling about past experiences; performances; documentary ahead of its time, social conflicts. Yes, plenty of nudity and adult behavior as well. Films to be screened include: Now Show Yours (Richard Newton, 1977), Bondage Boy (Chris Langdon, 1973), Bondage Girl (Chris Langdon, 1973), Water Ritual #1: An Urban Rite of Purification (Barbara McCullough, 1979), Hats Off to Hollywood (Penelope Spheeris, 1972), Female Sensibility (Linda Benglis, 1973), and Soft Fiction (Chick Strand, 1979). 2/12 New York, New York: Anthology Film Archives http://www.anthologyfilmarchives.org/ 6:30 pm, 32 2nd Avenue GEORGE KUCHAR PROGRAM 5 PROGRAM 5: OUT OF THE ARCHIVES: ANTHOLOGY FILM ARCHIVES AND HARVARD FILM ARCHIVE Programs 5 and 6 of our tribute series bring together works from the Kuchar collections of Anthology, Harvard Film Archive, and Pacific Film Archive. We all possess substantial holdings of George's many films and videos, and tonight screen some personal favorites, as well as brand-new preservations. From Anthology Film Archives: THE ONEERS (1982, 17 minutes, 16mm) LEISURE (1966, 9.5 minutes, 16mm) ANITA NEEDS ME (1963, 16 minutes, 8mm-to-16mm blow-up) Preserved by Anthology Film Archives with support from the Avant-Garde Masters Program of The Film Foundation, administered by the National Film Preservation Foundation. From Harvard Film Archive: CLUB VATICAN (1984, 13.5 minutes, 16mm) THE CARNAL BIPEDS (1973, 22 minutes, 16mm) Total running time: ca. 85 minutes. 2/12 New York, New York: Anthology Film Archives http://www.anthologyfilmarchives.org/ 4:45 pm, 32 2nd Avenue ESSENTIAL CINEMA: CARRIAGE TRADE by Warren Sonbert 1973 version, 61 minutes, 16mm "My magnum opus. Travels over four continents in six years." W.S. "With CARRIAGE TRADE, Sonbert began to challenge the theories espoused by the great Soviet filmmakers of the 1920s; he particularly disliked the 'knee-jerk' reaction produced by Eisensteinian montage. In both lectures and writings about his own style of editing, Sonbert described CARRIAGE TRADE as 'a jig-saw puzzle of postcards to produce varied displaced effects.' This approach, according to Sonbert, ultimately affords the viewer multi-faceted readings of the connections between shots through the spectator's assimilation of 'the changing relations of the movement of objects, the gestures of figures, familiar worldwide icons, rituals and reactions, rhythm, spacing, and density of images." Jon Gartenberg 2/12 New York, New York: Anthology Film Archives http://www.anthologyfilmarchives.org/ 6:15 pm, 32 2nd Avenue ESSENTIAL CINEMA: MY HUSTLER by Andy Warhol 1965, 67 minutes, 16mm, b&w MY HUSTLER is one of the classics of gay cinema. It is the story of a sexual triangle in which Ed Hood competes with his Fire Island neighbors, Joe Campbell and Genevieve Charbin, for the attentions of Paul America, whom he has rented for the weekend from "Dial-a-Hustler". The realism of the scenario is due largely to the absence of a script and performances by actors essentially playing themselves. 2/12 New York, New York: Anthology Film Archives http://www.anthologyfilmarchives.org/ 8:00 pm, 32 2nd Avenue ESSENTIAL CINEMA: WARHOL/WHITNEY PROGRAM Andy Warhol EAT (1963, 35 minutes, 35mm, b&w, silent) John and James Whitney FILM EXERCISES 1-5 (1943-45, 18 minutes, 16mm) James Whitney LAPIS (1963-66, 10 minutes, 16mm, silent) Total running time: ca. 65 minutes. 2/12 New York, New York: Anthology Film Archives http://www.anthologyfilmarchives.org/ 8:30 pm, 32 2nd Avenue GEORGE KUCHAR PROGRAM 6 THE DEVIL'S CLEAVAGE 1973, 108 minutes, 16mm. Preserved by Pacific Film Archive with support from the National Film Preservation Foundation. "Toward the end of this paralytically funny film, a Kucharian buck blurts out, 'If there's no food for the peasants, give them cheesecake, give them beefcake.' Fortunately, there's plenty of both: cheesecake in the form of luscious, high-cholesterol drama, and beefcake in the form of firmly faceted physiques swathed in the attire of shame. Kuchar's heady brew froths around a pent-up nurse named Ginger whose marriage is on the rocks when she would prefer it to be straight up. Leaving behind the heaving hills of San Francisco, she heads for new misadventures in the rollicking town of Blessed Prairie, Oklahoma. Kuchar's rousing cast, including the ever-pouty Ainslie Pryor and the provocatively prim Curt McDowell, pass through a jungle of moodily-lit interiors whose effect is dime-store von Sternberg, a creeping claustrophobia of dark shadows and cheap trinkets. Lifting lavishly from Sirk and the circus, Kuchar, that great impresario of the inappropriate, has immortalized 'a biped in heat.'" Steve Seid, PACIFIC FILM ARCHIVE 2/12 San Francisco, California: Yerba Buena Center for the Arts http://www.ybca.org/bros-hos 2PM, 701 Mission St DIRTY LOOKS: FEMALE TROUBLE Part of the series Bros Before Hos. Presented by Bradford Nordeen. This afternoon, we investigate the flipside of masculinity, with a program of short experimental film and video that explores and explodes normative roles of femininity and gender. With work that spans five decades, these artists queer female subject space via drag tactics, narrative juxtaposition and overt performativity, with styles ranging from masquerade to mythic, performance document to exposé video zine. Based in Brooklyn, Bradford Nordeen is a writer and curator who presents "Dirty Looks," a roaming monthly platform for queer experimental film and video. Program includes: Mario Montez Screen Test by Conrad Ventur (2010)
 Stepping by Patti Podesta (1980)
 Messages, Messages by Steven Arnold (1968) Every Woman by Narcissister (2010)
 Home Stories by Matthias Müller (1991) Fish by Zackary Drucker (2008) 
 Barbi Twins (excerpt) by Vaginal Davis (1993) Plus a surprise premiere
 2/12 Toronto, Ontario, Canada: Pleasure Dome http://www.pdome.org/ 4pm, PWYC, Buddies in Bad Times Theatre, 12 Alexander St. STEPPING BETWEEN PROJECTIONS; JAMES DIAMOND IN PERSON! Pleasure Dome and the Rhubarb Festival, Canada's premiere experimental performance festival, are pleased to co-present the video works of award-winning director, producer and writer James Diamond. Diamond will speak with artist, activist and curator Ananya Ohri following the screening. The concrete, material object of the body, his own body, plays a central role in Diamond's work. Since 1999 Diamond has been producing work motivated by the corporeal experiences of pregnancy,post-partum depression, sexual disorientation, as well as moments of rage and reflection, colonization and patriarchy. Self-described as being of Indigenous (Cree/Métis) and Jewish descent, a trans person and a self-expressionist, Diamond does not single out any one way to be identified. He offers himself as a whole: "mixed blood, mixed gender...mixed sex." Letting us in at moments of personal reflection, Diamond's work provides a glimpse into the changes he experiences as the triumvirate of a person, an artist and a political being. James Diamond is a director, producer, writer and mentor in the fields of communications and multimedia. He has directed numerous award-winning films, including Mars Womb-Man which won the Best Experimental Work at imagineNATIVE Film + Media Arts Festival in 2006. James is currently working as an editor, counting among his clients renowned institutes such as the Smithsonian Institution National Museum of the American Indian. The programme will include his body of work produced over the past decade including: The Man From Venus (1999), First Things First(2001), Brain Plus World (2002), X (2004), Mars Womb-Man (2006), Private Property (2007) and I am the art scene starring Woman Polanski (2010). Ananya Ohri is an artist, curator and activist who recently graduated with a Master of Arts from the Cinema and Media Studies program at York University. Her work explores the relationship between media and community. She currently works for the Regent Park Film Festival in Toronto. Ohri's essay on the work of James Diamond, Stepping Between Projections, was produced during her Vtape Fellowship in 2010¬11, a program that ran concurrently with the Curatorial Incubator v.8. The fellowship provided three emerging curator/writers support for their research and professional editing for their essay on the artist of their choice. The completed essays are published online at www.vtape.org. ------------------------- MONDAY, FEBRUARY 13, 2012 ------------------------- 2/13 Berlin, Germany: Directors Lounge http://www.directorslounge.net 6pm, Naherholung Sternchen, Berolinastraße 7, behind the Kino International/ Rathaus Mitte U Schillingstraße, 10178 Berlin THE 8TH BERLIN INTERNATIONAL DIRECTORS LOUNGE [DL8], FEB, 9 - 19 See Feb. 11. 2/13 Brooklyn, New York: Manhattan Inn http://vimeo.com/channels/disamedia 10:00 PM, 632 Manhattan Avenue DISASSOCIATIVE COLLECTIVE FIRST SCREENING The Disassociative Collective is an avant-garde group based in NYC, Chicago, and LA. Over the past four years we've been working on 4 feature films and 40 shorts, all of which are completed or in post-production. In anticipation of the release of our features, we wanted to inform you of a screening we're having at the Manhattan Inn, in Greenpoint, Brooklyn on February, 13th. The screening starts at 10:00, and we'll be showing three pieces all linked by the theme of a void in consciousness - by Michelle Chu, Simon Liu, and M. Woods. All of our work is very different, but relates to a depicting and exploring the void in consciousness within and without the medium. 3 of our video art loops will also be on display for the following month. 2/13 Los Angeles, California: Redcat http://www.redcat.org/ 8:30pm, 631 West 2nd St., Los Angeles, CA 90012 LEE ANNE SCHMITT- THE LAST BUFFALO HUNT Los Angeles premiere | 76 min., HDCAM, 2010 For five years, filmmaker Lee Anne Schmitt and her collaborators followed Terry Albrecht, a guide-for-hire for hunters who want to kill buffalo. Yet Albrecht is tired; his livelihood is threatened by the rising cost of gasoline, and the mystique of the West has become a commodity for nouveaux richeslike the couple posing in Santa costumes in front of their trophy, or the woman who switches pleasures from shopping sprees to insulting a buffalo that wouldn't die fast enough. The film ends on a melancholy sequence, in a hokey wax museum, where cowboys and buffalo alike become ghosts. In the West, it is the legend that is printed, not the historybecause history is repeated twiceonce as slaughter, the second time as pageantry. In person: Lee Anne Schmitt Jack H. Skirball Screening Series. Tickets $10 [students $8, CalArts $5] -------------------------- TUESDAY, FEBRUARY 14, 2012 -------------------------- 2/14 Berlin, Germany: Directors Lounge http://www.directorslounge.net 6pm, Naherholung Sternchen, Berolinastraße 7, behind the Kino International/ Rathaus Mitte U Schillingstraße, 10178 Berlin THE 8TH BERLIN INTERNATIONAL DIRECTORS LOUNGE [DL8], FEB, 9 - 19 See Feb. 11. ---------------------------- WEDNESDAY, FEBRUARY 15, 2012 ---------------------------- 2/15 Austin, TX: Experimental Response Cinema http://www.hi-beam.net/erc 7:30pm, 29th Street Ballroom, 2906 Fruth Street AVANT EROTICA Experimental Response Cinema presents Avant Erotica, a post-Valentine's Day program of avant garde films and videos exploring notions of genderbending, desire, sensuality, love, lust and eroticism. Some are gritty and explicit (using found smut films or home-shot footage)... while others are more suggestive, elusive and idiosyncratic. The works visually critique, subvert or glorify the original content, or in many cases, do all three. "These artists are peeling back a layer of cultural facade to reveal the raw pleasures and troubling paradoxes of that most basic of human impulses," said curator Scott Stark. The program features films and videos by artists from the U.S. and Europe, and includes works by Texas artists Lyndsay Bloom (XOXO), Scott Stark (Noema), Jason Cortland and Julia Halperin (Oma/Opa). Also featured are works by Lewis Klahr (Downs are Feminine), Peggy Ahwesh (The Color of Love), Bryan Konefsky (Miss Yummy Yummy), Naomi Uman (Removed), Matthias Müller (Home Stories), Dinorah de Jesús Rodriguez (XXX), Jeanne Liotta (Hephaestus in the Airshaft) and Clint Enns (Debbie Does ASCII). 2/15 Berlin, Germany: Directors Lounge http://www.directorslounge.net 6pm, Naherholung Sternchen, Berolinastraße 7, behind the Kino International/ Rathaus Mitte U Schillingstraße, 10178 Berlin THE 8TH BERLIN INTERNATIONAL DIRECTORS LOUNGE [DL8], FEB, 9 - 19 See Feb. 11. 2/15 Los Angeles, California: Filmforum http://www.lafilmforum.org/ 8:00pm, Cinefamily, 611 N Fairfax Avenue ROCK & ROLL EXPERIMENTS Rock 'n roll and experimental film were on parallel groundbreaking paths from the late '60s to the early '70s, fueled by all of the ecstasy and anger of a vibrant and explosive California counterculture never to be replicated. The instances at which these aural and visual courses intersected is the departure point for tonight's program, which we hope proves once and for all that in that era, cinema's influence on music (and vice-versa) was on par with the holy pairing of sex and drugs. This show's line-up a reverent glimpse at the early stages of the symbiotic melding of two mediums places loopy Zappa fare alongside Christina Hornisher's structuralist speculations, and George Lucas' prescient early work beside Chris Langdon's pared-down homage to '60s singer-songwriter Lou Christie. Come witness the synesthetically powerful results of a compact cultural Big Bang. --------------------------- THURSDAY, FEBRUARY 16, 2012 --------------------------- 2/16 Berlin, Germany: Directors Lounge http://www.directorslounge.net 6pm, Naherholung Sternchen, Berolinastraße 7, behind the Kino International/ Rathaus Mitte U Schillingstraße, 10178 Berlin THE 8TH BERLIN INTERNATIONAL DIRECTORS LOUNGE [DL8], FEB, 9 - 19 See Feb. 11. 2/16 Chicago, Illinois: Conversations at the Edge http://www.saic.edu/cateblog 6pm, 164 N. State RADICAL LIGHT: ALTERNATIVE FILM AND VIDEO IN THE SAN FRANCISCO BAY AREA New Prints/New Preservation. Introduced by Steve Anker, curator and Dean of the School of Film/Video at CalArts. Since the 1940s, San Francisco has been both a haven and inspiration for an influential constellation of moving imagists. "Radical Light" grows out of a decade-long research project into the history of experimental film and video in the Bay Area helmed by curators at the Pacific Film Archive and CalArts. Showcasing a number of recently preserved prints, tonight's program explores the faces, places, and iconoclastic spirit of the region through films by the Miles Brothers, Jane Belson Conger Shiman, Alice Anne Parker Severson, Dion Vigne, Bruce Bailie, Robert Nelson, Mike Henderson, Scott Stark, and Leslie Thornton. Followed by a book signing for Radical Light: Alternative Film and Video in the San Francisco Bay Area, 19452000. Thanks to PFA Collection Curator, Mona Nagai. This program is made possible in part by the National Endowment for the Arts, The Andy Warhol Foundation for the Visual Arts, and the William H. Donner Foundation. Additional Radical Light programs are being presented at Block Cinema (2/2) and Chicago Filmmakers (2/24). 190684, multiple directors, USA, 16mm, ca. 82 minutes + discussion 2/16 Paris, France: Collectif Jeune Cinema http://www.cjcinema.org/ 8:00, Cinema La Clef, 34, rue Daubenton,75005, Paris, France CONCORDIA, VIVIER DE CINEASTES EXPERIMENTAUX 5/4 This screening is conceived by Gabrielle Reiner and Marianne Ploska. It will be followed by an aperitif with ice cider and maple syrups sweets. - The Collectif Jeune Cinema's catalogue contains a number of titles by filmmakers based in Montreal. Some of them have made theirs films at Concordia University within The Mel Hoppenheim School of Cinema. A few of them have crossed the Atlantic to present their last creation at the Paris Festival of Different Cinema and testify of the pregnant activity of their school. Their appraisal even convinced some French filmmakers at Collectif Jeune Cinema to go study in that internationally renowned school. While CJC was celebrating it s 40th anniversary last year, the MHSoC was celebrating its 35th birthday. These anniversaries are the occasion to put their activity under scrutiny by being the focus of this screening in Paris. - Many of the university filmmakers works with digital technologies, yet most of the films that will be screened in this program works with silver emulsion. Concordia makes a point of defending film aside the economical domination of digital images. During their first year, students are asked to make a 16mm film with a Bolex and edit it on a Steenbeck. In second year, they can choose between the experimental, documentary or fiction sections. In their last year, students in the documentary and experimental sections are gathered within one same group called "non fiction". Experimental and documentary conspire to break through the borders of fiction and its realist rules. - The school also has the peculiarity to have an optical printer. The school owns two of those complex instrument that enable to print film copies. It also allows to work frame by frame on the alteration of that mimetic logic to celebrate its accidents and transgress its limits. - How to free yourself from narrative norms that are more and more fixated? The answer is provided here through 17 films mixing students works altogether with their tutors works, all filmmakers working within the same research community. - Some of the students are currently setting up a coop for printing Super8, 16mm and 35mm films in order to carry on and open up their hands on and collective practices fostered at Concordia. - PROGRAM - Guillaume Vallée, Untitled, 16mm > digital file, 2009, 1'23, Guillaume Vallée, Maldoror 1,16mm > digital file, 2009, 0'50, Maplo, L E A V E N, 16mm et Super8 > digital file, 2012, 7' - Richard Kerr, De Mouvement, 35mm, 2009, 7' - Roy Cross, Dream of the Woman in Blue, 35mm, 2008, 6'49, Emilie Carreiro, A Esperar Morreu um Burro, 16mm > digital file, 2009, 4'46, Dan Oniszeczko, End of the reel, 16mm > digital file, 2012, 7' - Richard Kerr, Universe of Broken Part, MiniDV, 2007, 10' - Maplo, My trip to Klonowa, 35mm > digital file, 2012, 3' - Marc Pelletier, Pilgrimage, 16mm > digital file, 2009, 8'50, Isiah Medina, Semi auto colors, 16mm > digital file, 2010, 6'10, Alexandre Larose, Brouillard, 32 passages, Super8, 2009, 3,5' - Sylvain Chaussée, Impala Fall, 35 mm, 2010, 7' - Emilie Serri, So Certain I was, I was a Horse, 16mm > digital file, 2011, 11'30, Alexandre Larose, 930,16mm, 2002, 10'30, François Miron, What Ignites Me, Extinguishes Me, 16mm, 1990, 9' - Brian Virostek, Early Figure, 35mm, 2012, 9'45 ------------------------- FRIDAY, FEBRUARY 17, 2012 ------------------------- 2/17 Austin, TX: Austin Cinematheque 8pm, CMB 4.122 otherwise known as 4D, Guadalupe and Dean Keaton A SELECTION OF ROSE LOWDER FILMS These films will be screened, Rue Des Teinturiers, Boquets 11-20, Les Tournesols 2/17 Berlin, Germany: Directors Lounge http://www.directorslounge.net 6pm , Naherholung Sternchen, Berolinastraße 7, behind the Kino International/ Rathaus Mitte U Schillingstraße, 10178 Berlin THE 8TH BERLIN INTERNATIONAL DIRECTORS LOUNGE [DL8], FEB, 9 - 19 See Feb. 11. 2/17 Boston, Massachusetts: ArtsEmerson http://ArtsEmerson.org 6:00pm, Paramount Theater EMERSON PRESENTS - FILMMAKER ROB TODD IN PERSON An evening with Robert Todd, whose films beautifully "draw together documentary and experimental elements [to] explore the difficult-to-define emotions engendered by the stresses of civilization" (Cinémathèque Ontario). FILMMAKER IN PERSON! 2/17 Kansas City, Missouri: Nelson-Atkins Museum of Art http://www.nelson-atkins.org 7:00 p.m., Atkins Auditorium, NAMA, 4525 Oak Street ELECTROMEDIASCOPE "Alien Contact and Cultural Imagination." Gilles Deleuze elucidates an understanding of modern cinema as a conceptual practice contiguous with contemporary art in his book Cinema 2: The Time-Image. In the process he discusses modern political cinema and imagined communities and suggests that when considering the new basis on which they are founded in the third world and for minorities, art, and especially cinematographic art, must take part in a task that is "not that of addressing a people, which is presupposed already there, but of contributing to the invention of a people." Alien Contact and Cultural Imagination exemplifies this process through diverse examples of aesthetic, sociocultural and political works that address aspects of imaginable worlds. They tell strange and beautiful stories through visual and audible means that are reverberating with geopolitical realities while bringing to life a missing past. Cinema plays an important role in contemporary art where its unique development of images of thought cause us to rethink notions of the experimental within the context of the emerging global cinema's emphasis on visual and media literacy, a tactile - sensory form of editing and imagistic use of sound. This work shares more with the connotative syntax of oral histories, poetry, performances and ritual traditions than with many established forms of western cinema that are more often grounded in textual literacy and a denotative narrative flow. The works in Alien Contact and Cultural Imagination take us out of our world of habitual experience as John Cage suggested and establish alternative ways of experiencing the past and imagining the future. These works extend media literacy to emphasize a greater intensity of visual and audible world sensations that are already known in the performance, song and storytelling of other cultures. They not only share and re-imagine older culturally specific myths of origin, sense of place and transformative identity, but invent new stories and parables that address current geophysical realities for a global world that is reconnecting through virtual contact. Myth and storytelling of third world cultures meet the science fiction, technology and cinematic subcultures of the developed world. This emerging cultural imaginary is not a utopia. The storytelling, myths and fables re-imagine an expanding present with past and future folds. We can see, feel and empathize with these inhabitants of other worlds and perhaps understand them in the context of our present culture with its disasters, suspicions of the alien other and the guarded stasis of citizens who have lost alien sensibilities and sensitivities. Artists are reawakening historical moments of alien contact by rethinking the past, subverting the present and subjectifying the future. Their new visual mythmaking and storytelling are contributing to the invention of a future where memes leak out and pollinate broader shared aspects of culture, and in the process enable global cultural exchange. --Patrick Clancy. "Baltimore," Isaac Julien (UK), 2003, 11:00 min., single screen version, 16mm film, DVD transfer. "The Changing Same," Cauleen Smith (US), 2001, 9:30 min., 35mm film shown on DVD. "Dark Matter 1," Cauleen Smith (US), 2006, 7:40 min., digital video shown on DVD. "The Green Dress," Cauleen Smith (US), 2005, 14 min., 35mm film shown on DVD. "The Fullness of Time," Cauleen Smith (US), 2008, 50 min., digital video shown on DVD. The program began on Feb. 10 and continues on Feb. 24. 2/17 New York, New York: Anthology Film Archives http://www.anthologyfilmarchives.org/ 7:00 pm, 32 2nd Avenue WOOSTER GROUP PROGRAM 1 PROGRAM 1: THREE PLACES IN RHODE ISLAND An evening of clips from the seminal 1970s trilogy, comprised of SAKONNET POINT, RUMSTICK ROAD, and NAYATT SCHOOL, as well as POINT JUDITH (an epilog). These pieces draw partly from the autobiographical impulses of Spalding Gray, and also incorporate material from sources as diverse as Mary Baker Eddy, T.S. Eliot, James Strahs, Arch Oboler, and Eugene O'Neill. "When the trilogy was performed together for a two-month run in the winter of 1978-79 its imaginative use of film, dance, music, child actors, and non-linear texts confirmed its stature as one of the most impressive and innovative theater events of the '70s." VILLAGE VOICE 2/17 New York, New York: Anthology Film Archives http://www.anthologyfilmarchives.org/ 9:00 pm, 32 2nd Avenue WOOSTER GROUP PROGRAM 2 PROGRAM 2: THE ROAD TO IMMORTALITY A program of clips from ROUTE 1 & 9, L.S.D. ( JUST THE HIGH POINTS ), and FRANK DELL'S THE TEMPTATION OF SAINT ANTONY. The 1980s trilogy features fierce juxtapositions and syntheses of theater, video, music, dance, raucous vaudeville, stilted TV soap opera, naked talk shows, and meditations on lust and death, religious ecstasy, and social repression. This fusion of high and low art incorporates materials from Thornton Wilder, "Pigmeat" Markham, Arthur Miller, Michael Kirby, Timothy Leary, Gustave Flaubert, Ingmar Bergman, and Lenny Bruce. In 1990 the VILLAGE VOICE called the trilogy, "The most significant body of theater work created in this country in the past decade." "TWG's theatrical collages present the violent inexplicable collision of cultures and artistic materials without prettification or overt moralizing, although the work resonates with a post-countercultural despair. [ ] TWG represents the darker vision of New York's theatrical avant-garde." NEW YORK TIMES (continued in next email)
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