This week [March 3 - 12, 2012] in avant garde cinema

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Enter your announcements (calls for entries, new work, screenings, 
jobs, items for sale, etc.) at:

Somerville Open Cinema (Somerville, MA, USA; Deadline: April 05, 2012)
BASEMENT MEDIA FEST (Brooklyn, NY, USA; Deadline: July 29, 2012)
Surplus/Lack (San Francisco Bay Area, USA; Deadline: May 15, 2012)
Regent Park Film Festival (Toronto; Deadline: May 04, 2012)
YoungCuts Film Festival (Montreal, Quebec, CANADA; Deadline: June 15, 2012)
MADATAC 04 (Madrid_Spain; Deadline: August 31, 2012)
EXiS (Seoul, South Korea; Deadline: June 01, 2012)
Videoholica (Varna, Bulgaria; Deadline: June 30, 2012)
Oblò Film Festival 2012 (Lausanne, Switzerland; Deadline: June 15, 2012)

3rd Festival du film Merveilleux et Imaginaire (Paris FRANCE; Deadline: April 
01, 2012)
call for artists 2012 (Tondela, Portugal; Deadline: March 09, 2012)
Wimbledon SHORTS (Wimbledon; Deadline: March 31, 2012)
ASsociety New Media Residency (Roxbury, NY, USA; Deadline: March 06, 2012)
ARTErra rural artistic residency (Tondela,Portugal; Deadline: March 09, 2012)
Milwaukee Underground Film Festival (Milwaukee, WI USA; Deadline: March 30, 
WAMMFest (Women And Minorities in Media Festival) (Baltimore, MD, USA; 
Deadline: March 09, 2012)
5th International Animated Film Festival ANIMATOR (Poznan, Poland; Deadline: 
March 15, 2012)
Video Art Festival Miden (Greece; Deadline: March 15, 2012)
MisALT Screening Series Presents: Experiments with Science (San Francisco, CA, 
USA; Deadline: March 15, 2012)
Somerville Open Cinema (Somerville, MA, USA; Deadline: April 05, 2012)

Enter your event announcements by going to the Flicker Weekly Listing Form

Also available online at Flicker:

 *  Dear Diary [March 3, Los Angeles, California]
 *  Softserve + Goldwave + Soda_jerk + Ascher + [March 3, San Francisco, 
 *  We Are Cinema: Here and Now Open Screening of New Works By Co-Op Members 
[March 4, Brooklyn, New York]
 *  Material Concerns (Alternative Projections: Experimental Film In L.A.,
    Screening 20) [March 4, Los Angeles, California]
 *  The Filmic Photograph [March 4, Washington, DC]
 *  Tomonari Nishikawa & Small-Gauge Japan [March 6, Chicago, Illinois]
 *  Lisa & the Devil (1974, 92 Min.) By Mario Bava  [March 6, Reading, 
 *  The Filming of Modern Life: Cinema, Modernity, and the Avant-Garde—A
    Lecture By Malcolm Turvey [March 6, San Francisco, California]
 *  Helicopter String Quartet [March 7, Ann Arbor, Michigan]
 *  The Film-Makers' Coop Presents: Optics O:O Curated By victoria Keddie 
[March 7, New York, New York]
 *  Art Attack! By Rabbit Movers [March 7, New York, New York]
 *  Preview & Live Performance of "Your Day Is My Night" By Lynne Sachs  [March 
8, Brooklyn, New York]
 *  Kamerapferd [March 8, Los Angeles, California]
 *  Luke Fowler Films [March 9, New York, New York]
 *  Jaap Blonk: Soundtracks, Scores, Interactive Animations [March 9, San 
Francisco, California]
 *  Barn Owl, Date Palms, Ensemble Economique, Films By Paul Clipson [March 9, 
San Francisco]
 *  Journey Into Darkness: Films By Kerry Laitala [March 10, Brooklyn, New York]
 *  Mystery Show Featuring Liisa Lounila, Erkka Nissinen, Pilvi Takala, Timo
    Vaittinen [March 10, New York, New York]
 *  Barn Owl, Date Palms, Ensemble Economique, W/Films By Paul Clipson [March 
10, Oakland, California]
 *  Adam Curtis' All Watched Over By Machines of Loving Grace + [March 10, San 
Francisco, California]
 *  L.A. Filmforum Presents the L.A. Rebellion: Boundary-Breaking Shorts [March 
11, Los Angeles, California]
 *  René Vautier Program  [March 11, New York, New York]
 *  Strange Attractors [March 11, New York, New York]

Events are sorted by CITY within each DATE.


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

  Students from EPFC's 2012 winter youth intensive course Dear Diary will
  present and discuss projects created on standard 8mm film during the
  month of February. This advanced, four-week intensive class immersed
  students in the history and practice of personal and diary filmmaking.
  Through screenings and discussions students explored diverse forms that
  personal filmmaking has taken, from amateur home movies to the
  avant-garde. The students were encouraged to incorporate the cameras
  into a daily filming practice, drawing on their everyday lives.
  Filmmakers include Richard Bar, Andrew Becerra, Danielle Dickerson,
  Marilyn Hernandez, Chloé Macary-Carney, James Noel, Chloe Reyes, and
  Penelope Uribe-Abee. FREE!

San Francisco, California: Other Cinema
8:30pm, 992 Valencia Street

  OC takes the offensive, opening its Spring season with a session devoted
  to the Right to Remix! We're proud to premiere what could very well be
  the anthem of the anti-SOPA subculture, Soda_Jerk's Hollywood Burn, a
  45-min. battle-cry that has cult classic written all over it. Elvis the
  Rebel takes on Moses the Lawmaker and a horde of other pop-cult
  antagonists in a righteously hilarious collage-narrative argument
  against copyright. ALSO, initiating our 4-show OptrOnica thread, Erik
  Wilson—aka Softserve—evokes a sonic space wherein live samples rhyme
  with energized audio gestures, in sync with Goldwave's visual
  abstractions. PLUS Rodney Ascher's The S from Hell, Everything Is a
  Remix, Hitler Reacts to SOPA, and an Animal Charm party platter! Come
  early for free TV Sheriff DVDs, People Like Us pastiches, and our
  legendary Hi-Art Bar, with $2 homebrews from Lone Mountain! 


Brooklyn, New York: Filmmakers Coop
7:00, Microscope Gallery, 4 Charles Place (at Myrtle btwn Bushwick & Evergreen)

  WE ARE CINEMA: HERE & NOW, New Works by Film-Makers' Coop Members,
  SUNDAY MARCH 4, 7PM - Admission $6 - Free to Coop Members with a NEW
  work to screen, rsvp recommended at -
  "Here and Now" is the concluding event of the 4 part screening
  series in connection with the "We Are Cinema: 50 Years of the
  Film-makers' Cooperative" exhibit. For the evening, we celebrate
  the current members of the Co-op and invite any and all members to bring
  a NEW short film or video to screen. We will show your work whether or
  not it has already been entered into distribution at the Co-op. If you
  plan to bring a film or video, we prefer that you let us know in
  advance. - We will screen the following formats: Video: DVD or a
  Quicktime file on a flash drive, Film: 16 mm or Super 8 - -, - - We Are Cinema: 50
  Years of the Film-makers' Cooperative is on view during regular gallery
  hours through March 5. - Please Note: the exhibition will remain on view
  by appointment only Thurs March 8 to Sunday March 11, and on Saturday
  March 10 6-10PM in connection with Bushwick Beat Nite - - J/M/Z -
  Myrtle/Broadway, walk straight down the subway stairs, cross Broadway
  with Mr. Kiwi's on your right. Continue along Myrtle Ave, cross
  Bushwick. Charles Place is next left. It is a dead-end street and we are
  behind Little Skips Cafe. - This is the closest station - L - Morgan Ave
  or Jefferson Street

Los Angeles, California: Filmforum
7:30pm, Spielberg Theatre at the Egyptian, 6712 Hollywood Blvd.

  One of the key concerns of experimental film, in the tradition of all
  modern art, is the stuff of film itself: how it is made, what is it made
  of, what are the basic elements of the camera, the celluloid, and the
  projector. In experimental film, focusing on the materials and procures
  of film-making has come to be known as structuralist film-making, with a
  hey-day from the late 1960s through the mid-1970s, but continuing in
  much work today. These are several classic examples made in Los Angeles,
  with precise control over the instruments of filmmaking, the depth of
  good art, and (more often than not) a fair dose of wit. Tickets: $10
  general, $6 students/seniors, free for Filmforum members Tickets
  available at Brown Paper Tickets 

Washington, DC: National Gallery of Art
4:30, East Building Concourse, Auditorium

  This program focuses on the image, the process of finding and conceiving
  it, the act of shooting, and then describing it. Film requires the
  linear sequencing of photographs, which these filmmakers use to develop
  an analytical discourse. Including films by Hollis Frampton
  ([nostalgia], 1971), Silke Grossmann (The Feelings of the Eyes, 1987),
  Shelly Silver (What I'm Looking For, 2004), Esaias Baitel (The Zone,
  2003) and Sean Snyder (Casio, Seiko . . . , 2005). (90 minutes)


Chicago, Illinois: Conversations at the Edge
6pm, 164 N. State

  Tomonari Nishikawa in person. Working in formats ranging from Super 8 to
  35mm still photographic film, Tomonari Nishikawa constructs his films
  through precise single-frame shooting, elaborate masking,
  superimposition, and in-camera editing. He transforms the elements of
  urban life into multilayered abstractions of light, movement, and space.
  This evening Nishikawa will present a selection of his own works
  alongside a survey of films by other contemporary Japanese filmmakers
  working in small-gauge formats. 2005–11, multiple directors,
  Japan/USA/Thailand, various formats, ca. 80 minutes + discussion

Reading, Pennsylvania: Berks Filmmakers, Inc
7:30 p.m., Albright College Center for the Arts

  "Mario Bava directed (or co-directed) twenty-four features during an
  eighteen year period, 1960 to 1978. His œuvre consists entirely of the
  formula films (filone) which made Italy the most successful production
  centre in Western Europe in the '60s. These less-than-reputable genre
  films were shot with minuscule budgets and production schedules – a
  typical filone had a budget under $80,000 and a shooting schedule of
  three or four weeks …. If Bava manages, more often than not, to
  transcend the limitations of his material it is because of the strength
  of his imagery, as well as the evident pleasure he derives from
  exploring the expressive potential of the medium itself: the ability of
  film to generate a variety of emotions – most of all, wonder and fear.
  Lisa and the Devil was Bava's… most daring film, an oneiric narrative
  with tender volleys of absurdist humour."- Sm Ishii-Gonzalis, senses of
  cinema. As [Tim]Lucas writes, it is "an extraordinary combination of
  horror film, art film and personal testament. Based on Bava's memories
  of growing up among his father's asculptures, dialogue borrowed from
  Dostoevski's I Diavoli, and an unrealized project about real-life
  necrophile Viktor Ardisson, Lise e il diavolo unfolds like a waking
  dream"…. Lisa and the Devil is clearly a labour of love, a beautifully
  crafted puzzle box replete with secret compartments." – Sam
  Ishii-Gonzalis, senses of cinema. With Telly Savalas, Elke Sommer, Alida
  Valli (in Italian with subtitles)

San Francisco, California: San Francisco Cinematheque
7PM, 1111 Eighth Street (near Sixteenth)

  Malcolm Turvey In Person presented in association with the California
  College of the Arts' Visual Studies Program. [members & Students: $5 /
  non-members: $10 / free to CCA students, faculty and staff] In the
  1920s, the European avant-garde embraced the cinema, experimenting with
  the medium in radical ways. Painters including Hans Richter and Fernand
  Léger as well as filmmakers belonging to such avant-garde movements as
  Dada and surrealism made some of the most enduring and fascinating films
  in the history of cinema. Malcolm Turvey is a Professor of Film History
  at Sarah Lawrence College. In his recent book, The Filming of Modern
  Life (published by MIT Press, 2011), he analyzes five films from the
  avant-garde canon: Rhythmus 21 (1921) by Hans Richter, Ballet mécanique
  (1924) by Dudley Murphy and Fernand Léger, Entr'acte(1924) by Francis
  Picabia and René Clair, Un chien analou (1929) by Salvador Dalí and Luis
  Buñuel, Man with a Movie Camera (1929) by Dziga Vertov. All exemplify
  major trends within European avant-garde cinema of the time, from
  abstract animation to "cinema pur." Turvey closely examines their formal
  and stylistic innovations. He also argues that these films share a
  concern with modernization and the rapid, dislocating changes it was
  bringing about while he challenging the standard view of the avant-garde
  as implacably opposed to modern life. In fact, Turvey shows, all five
  films embrace and resist different aspects of modernity. Tonight's
  lecture will include screenings of and/or clips from these five classic
  works. (Malcolm Turvey) 


Ann Arbor, Michigan: Ann Arbor Film Festival
7 pm, Michigan Theater

  HELICOPTER STRING QUARTET (35mm, 1995, 81 min). A film by Frank
  Scheffer, with music by Karlheinz Stockhausen, performed by the Arditti
  String Quartet. In one of the most certifiably eccentric musical events
  of the late 20th century, German composer Karlheinz Stockhausen designed
  and executed the concept of having four members of a string quartet
  playing an original piece by Stockhausen in four separate helicopters,
  all flying through the air simultaneously. The sound was then routed to
  a central location and mixed together; the work premiered, in turn, at
  the 1995 Holland Festival. Frank Scheffer's film Helicopter String
  Quartet depicts the behind-the-scenes preparations for this event;
  Scheffer also conducts and films an extended conversation with
  Stockhausen in which the creator discusses the conception and execution
  of his composition and then breaks it down analytically. This screening
  is co-presented with the University Musical Society in partnership with
  the Michigan Theater, in collaboration with the U-M Museum of Art.

New York, New York: Filmmakers Co-op
7:00, Charles S. Cohen Screening Room at the Film-Makers' COOP, 475 Park Avenue 
South  #603

  PURE FEEDBACK: Scott Bartlett and Tom DeWitt Ditto, curated by Victoria
  Keddie from the vaults of Film-Makers COOP - $10 entry - Programme -
  "Metanomen" (1966) 16mm\; 8min, b/w by Scott Bartlett -
  "OFFON" (1967) 16mm\; 9min, color by Scott Bartlett - **Live
  Performance by David First** - "The Leap" (1968) 16mm\; 7min,
  color by Tom DeWitt Ditto - "The Fall" (1971) 16mm\; 19min,
  color by Tom DeWitt Ditto - "Lovemaking" (1970) 16mm\; 13min,
  color by Scott Bartlett - TRT: 80 min (approx) - RSVP:, Limited seating. Booze and bites served. - -
  Scott Bartlett (1943 – 1990 in San Francisco, CA) was one of the
  premiere abstract experimental filmmakers of the late 1960s and the
  1970s. He worked with developing technologies to manipulate images on
  16mm film. Such techniques are now part of the definitive language of
  analogue video mixing. From his earliest work in 1966, we see a breaking
  of the image as whole into kaleidoscopic renderings. His later work
  articulates this idea further into a psychedelic dance of image, color,
  and sound. - Tom DeWitt Ditto (San Francisco, CA), one of the founders
  of Canyon Cinema, has had notable achievements in both the arts and
  sciences. A Fellow of the Guggenheim Foundation as an artist, a three
  time Fellow of the National Endowment of the Arts and a Fellow of the
  American Film Institute\; he has also been named four times as a
  Principal Investigator for the National Science Foundation and served as
  a Fellow of the NASA Institute for Advanced Concepts where he designed a
  novel telescope.After an apprenticeship in film under Stan Vanderbeek in
  1965, Tom DeWitt met Scott Bartlett and the two put together a unique
  light show based on film loops that eventuated in OffOn (1967). - David
  First (Philadelphia, PA), as a composer, has created everything from
  finely crafted pop songs to long, severely minimalist drone-works. His
  performances often find him sitting trance-like without seeming to move
  a muscle, unless he is playing with his recently re-formed psychedelic
  punk band, Notekillers, at which time he is a whirling blur of
  hyperactive energy. First has been called "a fascinating artist
  with a singular technique" in the New York Times, and "a
  bizarre cross between Hendrix and La Monte Young" in the Village
  Voice. -

New York, New York: Rabbit Hole Projects
8:00 PM, Various Location throughout NYC

  'Art Attack!' is an ongoing, mobile arts and performance exhibition
  program presented by Rabbit Movers - a Brooklyn based moving company
  which only hires those in the creative fields in order to support the
  arts community. For 'Art Attack!', Rabbit Movers transforms its moving
  trucks into versatile white wall galleries capable of showing a range of
  visual art shows as well as performance pieces. 'Art Attack!' trucks
  appear all over the city and at designated events. Locations are
  announced real time via Twitter (@RabbitArtAttack) and Facebook


Brooklyn, New York: Round Robin Artist Collective
7 p.m., 2 Kingsland Avenue, Garden Level (the garden floor of an old hospital) 

  The Round Robin Artist Collective has invited the cast and crew of my
  film "Your Day is My Night" to perform a live theater improvisation and
  interactive conversation at their Arts@Renaissance space. We'll also be
  screening a sneak preview excerpt of the film. In Your Day is My Night,
  a collective of Chinese and Puerto Rican performers living in New York
  City explores the history and meaning of "shiftbeds" through verité
  conversations, character-driven fictions and integrated movement pieces.
  A shift-bed is shared by people who are neither in the same family nor
  in a relationship. From sleeping to making love, such a bed is a locus
  for evocative personal and social interactions. With male and female
  non-professional actors, director Lynne Sachs creates a film which looks
  at issues of privacy, intimacy, privilege and ownership in relationship
  to this familiar item of furniture. A bed is an extension of the earth —
  embracing the shape of our bodies like a fossil where we leave our mark
  for posterity. But for transients, people who use hotels, and the
  homeless a bed is no more than a borrowed place to sleep. Inspired by
  theater visionaries Augusto Boal and the Wooster Group, Sachs has
  conducted numerous performance workshops centered around the bed –
  experienced, remembered and imagined from profoundly different
  viewpoints. "Your Day is My Night: Performance and Video" directed by
  Lynne Sachs; performances by Yi Chun Cao, Yueh (Linda) Hwa Chan, Che
  Chang-Qing, Yun Xiu Huang, Ellen Ho, Sheut Hing Lee.

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

  Kamerapferd is the synonym of the two directors, Stephan Müller and Erik
  Schmitt, since 2010. Under that name they have produced a range of
  highly visual and often unconventional short films, as well as the
  feature length documentary (The Solartaxi, 2010). Their latest short
  film, Now Follows (Nun Sehen Sie Folgendes, 2010), winner of the German
  Short Film Award, was presented at Cannes by the FFA and German Films,
  and is representing German short films all around the world on the
  Soirée Allemande and the Next Generation Short Tiger roll. Erik Schmitt
  was initially born in 1980 in Mainz. He quickly started to study the
  many forms of communication in Geneva, Munich and Melbourne but was
  successfully lured into the capital. He completed his studies of
  communication sciences at the FU Berlin. At some point he learned to use
  the camera not only as walking stick, and started KAMERAPFERD together
  with Stephan Müller. Stephan Müller was born on the 22nd of May 1981.
  The same day he saw the light of day. Discovering photography and short
  films, he traveled around the world and quickly became addicted to
  creating things. Cardboards, a jig saw, a hammer and some wood are
  always around him. Under the name of KAMERAPFERD he's been working
  together with his symbiotic film friend Erik Schmitt since 2010. In
  2012, Stephan and Erik are staying at the Villa Aurora, a German artist
  residency in Los Angeles. During their stay, they will work on several
  projects, including two short films, and different film scripts.


New York, New York: Artprojx Cinema
8.30pm, SVA Theatre, 333 W.23rd Street

  The Modern Institute and Artprojx Cinema presents - A Grammar for
  Listening (Parts 1 - 3) & All Divided Selves by Luke Fowler. Friday
  March 9 at 8.30pm and 9.30pm. At SVA Theatre, 333 West 23rd Street
  (between 8th and 9th Avenues), New York, NY 10011. ENTRY IS FREE. RSVP to confirm which screening or both. MORE
  DETAILS: A Grammar for Listening (Parts 1 – 3) 8.30pm. Silence dominated
  the experimental film of the 1960s. Sound or musical accompaniment was
  often dismissed as illustrative, manipulative or redundant. Instead, a
  return to experiments of early cinema concentrated on rhythm, structure
  and material and thereby considered film's potential as a unique art
  form with its own grammar. Prior to this tendency in film, composer John
  Cage had foregrounded silence within his 1953 composition '4'33'.
  Purging concerts of conventional musical content, he allowed the sounds
  from outside to come inside and become the focus of the audience's
  attention. These foundational ideas have led to a burgeoning music scene
  focused on environmental sound and field recording. Outlining some of
  the complexities between film and sound, Luke Fowler's film cycle 'A
  Grammar for Listening (parts 1-3)' attempts to confront these
  contradictions through the possibilities afforded by 16mm film and
  digital sound recording devices. These three films, created in
  collaboration with sound artists Lee Patterson and Toshiya Tsunoda and
  composer Éric La Casa respectively, provide a series of collaborations
  and meditations on the issues raised, and propose a number of tentative
  navigations through. - All Divided Selves 9.30pm The social and cultural
  revolutions of the 1960s were spearheaded by the charismatic, guru-like
  figure of Glasgow born psychiatrist R.D. Laing. In his now classic text
  'The Politics of Experience' (1967), Laing argued that normality
  entailed adjusting ourselves to the mystification of an alienating and
  depersonalizing world. Thus, those society labels as 'mentally ill' are
  in fact 'hyper-sane' travelers, conducting an inner voyage through
  aeonic time. The film concentrates on archival representations of Laing
  and his colleagues as they struggled to acknowledge the importance of
  considering social environment and disturbed interaction in institutions
  as significant factors in the aetiology of human distress and suffering.
  All Divided Selves reprises the vacillating responses to these radical
  views and the less forgiving responses to Laing's latter career shift
  from well-recognized psychiatrist to celebrity poet. A dense, engaging
  and lyrical collage — Fowler weaves archival material with his own
  filmic observations — marrying a dynamic soundtrack of field recordings
  with recorded music by Éric La Casa, Jean-Luc Guionnet and Alasdair
  Roberts. The Modern Institute: Luke Fowler Solo Presentation 3rd Floor,
  Independent, 548 West 22nd St, New York, NY 10011. March 8-11, 2012.
  MODERN INSTITUTE - INDEPENDENT Artprojx promotes and screens
  artist's film and video programs in the context of the cinema, working
  in collaboration with galleries, artists, art museums and art fairs. 

San Francisco, California: San Francisco Cinematheque
7:30pm, Yerba Buena Center for the Arts, 701 Mission Street 

  Jaap Blonk In Person presented in association with sfSoundSeries
  [members: $6 / non-members: $10] Dutch artist Jaap Blonk is a
  self-taught composer, performer and poet who has worked since the early
  1980s almost exclusively in the realm of improvised vocal performance
  and Dada inspired concrete poetry. Known for his powerful stage presence
  and exuberant approach to improvisation, Blonk has, over the years,
  created a rich body of original work while consistently elaborating the
  repertoire of seminal avant-garde poets and performers, including
  Antonin Artaud, Hugo Ball, Tristan Tzara, with his various masterful
  interpretations of Kurt Schwitters' epic Ursonate being perhaps the best
  known. Recently, a renewed interest in mathematics has led the artist to
  explore the possibilities of algorhythmic composition in the creation of
  works which fuse music, visual animation and poetry. Appearing
  throughout the Bay Area in early March on an extended U.S. tour, Blonk
  tonight presents a very rare performance/projection program including
  live presentations of original graphic scores (possibly to include
  Rhotic, Proxim and Homage to Antonin Artaud); live tracks to silent
  films Forest Views (1999, by Bart Vegter) and Emak-Bakia (Man Ray,
  1926); an interpretation of Man Ray's composition Lautgedicht (1924) and
  examples of Blonk's solo videos and "interactive animations," including
  Song for the Cubists, flababble 1, Traces of Speech and Viceregal
  Impressions. (Steve Polta) Note: Jaap Blonk will appear throughout the
  Bay Area March 4–9. For events listings see 

San Francisco: The Lab
8pm, 2948 16th Street

  Barn Owl is a psychedelic drone band from San Francisco, California,
  USA, formed by Evan Caminiti and Jon Porras in 2006. "Barn Owl makes
  densely layered guitar music that is equal parts heavy and beautiful."
  Based in Oakland, California, Gregg Kowalsky and Marielle Jakobsons
  (Date Palms) share internationally-spanning solo careers as creative
  practitioners with a solid foundation in drone music composition and
  performance. However, it is a mutual love for analogue electric sound
  sources and tape multitracking that has resulted in their psychedelic,
  trance-inducing collaboration as Date Palms. "Brian Pyle, aka Ensemble
  Economique, is something of a chameleon... but, like the films of David
  Lynch to which sonically this feels akin, underneath a perfect facade is
  a black-hearted personality." Paul Clipson's projected Super 8 films
  will accompany each set. Clipson "tak[es] great advantage of the
  small-gauge camera's pencil-like responsiveness to movement, [and] works
  from a keen appreciation for the interrelation between fine-grained
  detail and expansive volumes."


Brooklyn, New York: Round Robin Collective
7:00, former Greenpoint Hospital, now Arts@Renaissance, 2 Kingsland Ave. 
@Maspeth Av.

  IN-PERSON screening by Kerry Laitala! Kerry's hand-made alchemical films
  have won awards at the International Film Festival Rotterdam, Black
  Maria Film Festival, San Francisco Int'l Film Festival, Big Muddy, and

New York, New York: Artprojx Cinema
7pm, SVA Theatre, 333 W.23rd Street

  Artprojx Cinema & AV-arkki, The Distribution Centre For Finnish Media
  Art presents "Mystery Show". Four Finnish Artists: Liisa Lounila, Erkka
  Nissinen, Pilvi Takala, Timo Vaittinen on Saturday 10 March 2012 at 7pm
  and 8pm - followed by a reception with the artists. Program: Liisa
  Lounila: PLAY>> (2003). Timo Vaittinen: In Da Club (2006). Erkka
  Nissinen: Rigid Regime (2011). Timo Vaittinen: Central Park (2012).
  Pilvi Takala: Broad Sense (2012). Liisa Lounila: GIG (2007). Pilvi
  Takala: Players (2010). Timo Vaittinen: Mystery Show (2007). at SVA
  Theatre, 333 West 23rd Street (between 8th and 9th Avenues), New York,
  NY 10011. ENTRY IS FREE. RSVP to reserve your
  seat and confirm which screening you prefer. >>>>AV-arkki is the
  Distribution Centre for Finnish Media Art. AV-arkki's main purpose is to
  distribute and promote Finnish media art to festivals, events, museums
  and galleries worldwide. AV-arkki has been a pioneering distributor for
  over 23 years and has opened up opportunities for artists to get their
  works recognized internationally. The activities of AV-arkki have
  contributed to the success that Finnish media art enjoys today. These
  activities are unique in both Finland and the other Nordic countries. ... >>>> Artprojx is a leading brand that
  promotes and screens artist's film and video programs generally in the
  context of the cinema. Working in collaboration with galleries, artists,
  art museums and art fairs. Artprojx has worked with Art Basel Miami
  Beach, Frieze, ICA, Tate, Whitney Museum, Sadie Coles HQ, Gavin Brown
  enterprise, Gagosian, White Cube, Hauser & Wirth, Victoria Miro Gallery
  and many more leading international contemporary art galleries, art
  fairs and artists. .... This screening event is supported by
  the Consulate General of Finland in New York, The Finnish Cultural
  Institute in New York and The Finnish Cultural Foundation. 

Oakland, California: Liminal Space
8pm, 950 54th Street

  Vibration of sound and light simultaneously trace and pass through our
  corporeal lines. Every micro-component that forms their mass picks a
  string of our being to weave a cocoon of encompassing space and time.
  With seemingly effortless fluidity, each of these artists have honed the
  ability to masterfully craft and set these cocoons adrift towards the
  vast terrains of the void that stands at the peak of heightened

San Francisco, California: Other Cinema
8:30pm, 992 Valencia Street

  Frequently invoked but all too rarely screened, UK wunderkind Adam
  Curtis' obsessive collage-essays usher in a fascinating new fold in the
  documentary tradition. Though criticized by orthodox fact-finders,
  Curtis' works indisputably introduce a speculative platform that
  encourages the most audacious sort of associative thinking—some would
  say conspiratorial—that's a true pleasure to behold. Never before
  projected in SF, tonight we unveil the entire 2011 triptych All Watched
  Over By Machines of Loving Grace. The first of three hour-long episodes,
  Love and Power features a riveting Mike Wallace interview with Ayn Rand,
  whose libertarian philosophy serves as the foil for Curtis' argument.
  Balance of Nature and Monkey in the Machine follow, with short
  interstitial breathers. Free coffee, plain or spiked! 

SUNDAY, MARCH 11, 2012

Los Angeles, California: Filmforum
7:30pm (doors open 7, box office opens 6:30), Spielberg Theatre at the 
Egyptian, 6712 Hollywood Blvd.

  The early 1970s was a very important time for people of color
  artist/filmmakers at UCLA. After the arrival of future MacArthur Grant
  winner Charles Burnett in 1967 and Ethiopian filmmaker Haile Gerima the
  following year, there emerged a significant black independent movement.
  The students develop a fecund, cosmopolitan and politically engaged
  movement that came to be unofficially known, as essayist Ntongela
  Masilela dubbed, the Los Angeles School of Black Filmmakers or "LA
  REBELLION". The first wave of these filmmakers also included Larry
  Clark, John Reir, Ben Caldwell, Pamela Jones, Carol Blue, Abdosh
  Abdulhafiz Tommy Wright, Barbara-O, Charles David Brooks III, Jamaa
  Fanaka. The second continued the remarkable cinematic work with Julie
  Dash, Sharon Larkin, Barbara McCullough, Bernard Nicolas, Billy
  Woodberry, Jacqueline Frazier, Adisa Anderson, and Zeinabu irene Davis.
  The program includes the short films by these makers pursuing less
  conventional modes of storytelling. In person: Ben Caldwell, more to be
  announced Curated by Ben Caldwell and Adam Hyman Info:
  ndary-breaking-shorts/ Tickets: General $10, Students/seniors $6; free
  for Filmforum members Advance ticket purchase available through Brown
  Paper Tickets. Special
  thanks to the UCLA Film & Television Archive, Chris Horak, Shannon
  Kelley, Allyson Nadia Field, and Jacqueline Stewart for their L.A.
  Rebellion retrospective, restorations, and notes. Screening (Subject to
  Change): Hour Glass (Haile Gerima, 1971, Digital video, b/w & color, 14
  min.), A Day in the Life of Willie Faust, or Death on the Installment
  Plan (Jamaa Fanaka [as Walt Gordon], 1972, Digital video, transferred
  from 16mm blow-up from 8mm, color, 20 min.), Medea (by Ben Caldwell,
  1973, Digital video, transferred from 16mm, color, 7 min.), Four Women
  (Julie Dash, 1975, 16mm, color, 7 min.), Water Ritual #1: An Urban Rite
  of Purification (by Barbara McCullough, 1979, 35mm, color, 6 min.),
  Daydream Therapy (Bernard Nicolas, 1977, Digital video, transferred from
  16mm, b/w & color, 8 min.), I&I: An African Allegory (Ben Caldwell,
  1979, Digital video, transferred from 16mm, color, 32 min.), The Horse
  (Charles Burnett, 1973, 16mm, 14 min)

New York, New York: Anthology Film Archives
6:15 pm, 32 2nd Avenue

  100 minutes Share + This screening is part of: INTERNATIONALIST CINEMA
  FOR TODAY Film Notes "Born in 1928 and still at work, René Vautier is
  the dean of French committed cinema. Author of a hundred films, all his
  life he has fought on the side of the oppressed against capitalism,
  colonialism, and imperialism. In the course of his lifelong
  investigation into the necessity and relativity of images, Vautier has
  explored a vast array of different possible articulations between visual
  document and visual argument. Taken as a whole, then, Vautier's work of
  the last fifty years constitutes the backbone of cinema understood in
  terms of its ethical and political responsibility. In the process, it
  has expanded more than any other single work the range of cinematic
  forms of critical investigation, from poetry to raw document, from
  pedagogical essay to experimental fiction." –Nicole Brenez AFRIQUE 50
  (1950, 17 minutes, video. In French with English subtitles.) The first
  French anti-colonial film. LE GLAS (1964, 5 minutes, video. In French
  with English subtitles.) A visual poem against Apartheid, narrated by
  filmmaker Djibril Diop Mambety, with music by the Black Panthers. & René
  Vautier, Brigitte Criton, Buana Kabue and Olivier Tambo FRONTLINE 1976,
  75 minutes, video. In French with English subtitles. An analysis of the
  causes and effects of the Apartheid regime in South Africa. All the
  films in this program were subtitled by students/interns of Virginia
  Commonwealth University, The University of Richmond, and the VCU & RU
  French Film Festival. Thanks to the students/interns, and to Peter S.

New York, New York: Anthology Film Archives
8:30 pm, 32 2nd Avenue

  SEXUALITIES "My own suspicion is that the universe is not only queerer
  than we suppose, but queerer than we can suppose." –J. B. S. Haldane,
  Evolutionary Biologist A screening/reading featuring highlights from
  STRANGE ATTRACTORS, a book and DVD containing art, writing, and film
  that envisions the sexualities of beings that may some day be
  encountered – if not in outer space than at least in our dreams! Here we
  present an extraordinary range of expressions that expand our conception
  of the possibilities of alien life forms and the nature of sexual
  desire. What kinds of sentient beings, what types of sexualities, how
  many erogenous zones and types of erotic pleasure exist out there in the
  cosmos? STRANGE ATTRACTORS is a collaboration between Encyclopedia
  Destructica (Christopher Kardambikis and Jasdeep Khaira) and The
  Institute of Extraterrestrial Sexuality (Suzie Silver). The program will
  include works by: Peggy Ahwesh, Scott Andrew, Jacob Ciocci, Hilary
  Harp/Suzie Silver, Hooliganship, Jen Inman/Tom McConnell, Amy Johnson,
  Michael Mallis/Mikey McParlane, Darrin Martin/Torsten Zenas Burns, Shana
  Moulton, Larry Shea, Joshua Thorson/Mike Harringer. With live readings
  from: Anselm Berrigan & Christine Kelly. Total running time: ca. 100

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