This week [April 7 - 15, 2012] in avant garde cinema

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NEW FILM/VIDEO: FEATURE:
===========================
"Black Biscuit" by Fabrizio Federico
 http://www.hi-beam.net/cgi-bin/ann.pl?type=newworkf&readfile=130.ann

NEW CALLS FOR ENTRIES:
=====================
animateCOLOGNE - Cologne Art & Animation Festival (Cologne, Germany; Deadline: 
July 01, 2012)
 http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1426.ann
Manipulated Image @ art:screen fest 2012 in Sweden (Los Angeles, CA, USA; 
Deadline: April 24, 2012)
 http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1427.ann
New Jersey Young Film & Videomakers Festival (Jersey City, NJ, USA; Deadline: 
May 30, 2012)
 http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1428.ann
Abstracta (Roma, Italy; Deadline: June 30, 2012)
 http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1429.ann
THE BAMAKO SYMPOSIUM: MEDIA ARTS IN FOCUS (MALI) (Ghana; Deadline: May 02, 2012)
 http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1430.ann
INTERNATIONAL MEDIA ARTS COLLABORATORY (Ghana; Deadline: October 02, 2012)
 http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1431.ann

DEADLINES APPROACHING:
======================
Cologne International Videoart Festival (Cologne, Germany; Deadline: May 01, 
2012)
 http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1392.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
Siciliambiente Documentary Film Festival (San Vito lo Capo, Tp, Italy; 
Deadline: April 30, 2012)
 http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1406.ann
MisALT Screening Series Presents: Vulgar Politics (San Francisco, CA, USA; 
Deadline: May 01, 2012)
 http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1408.ann
Regent Park Film Festival (Toronto; Deadline: May 04, 2012)
 http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1413.ann
International Video Art Festival “NOW&AFTER’12” (Moscow, Russia; Deadline: 
April 25, 2012)
 http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1420.ann
Flamingo Film Festival (Fort Lauderdale, FL USA; Deadline: April 13, 2012)
 http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1421.ann
Radon Lake (Boston, MA, USA; Deadline: May 01, 2012)
 http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1424.ann
Manipulated Image @ art:screen fest 2012 in Sweden (Los Angeles, CA, USA; 
Deadline: April 24, 2012)
 http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1427.ann
THE BAMAKO SYMPOSIUM: MEDIA ARTS IN FOCUS (MALI) (Ghana; Deadline: May 02, 2012)
 http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1430.ann

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THIS WEEK'S PROGRAMS (SUMMARY):
==============================
 *  Steve Dwoskin's Behindert [April 7, Los Angeles, California]
 *  Kenneth Anger Program [April 7, New York, New York]
 *  Quick Billy [April 7, New York, New York]
 *  John Smalley On Cage and Dada + John Roy On Partch + [April 7, San 
Francisco, California]
 *  Sharon Lockhart- Double Tide [April 9, Los Angeles, California]
 *  Projection Performance By Bruce Mcclure [April 10, Cambridge, Massachusetts]
 *  The Music Lovers (1970, 123 Min.) By Ken Russell [April 10, Reading, 
Pennsylvania]
 *  The Observers By  Jacqueline Goss  [April 11, Boston, MA]
 *  Sara GóMez's De Cierta Manera [April 11, Brooklyn, New York]
 *  Optics O:O At Filmmakers Coop [April 11, New York, NY]
 *  The Free Screen: the Pettifogger  [April 11, Toronto, Ontario, Canada]
 *  Living Cinema With Craig Baldwin [April 12, Atlanta, Georgia]
 *  Yvonne Rainier: Lives of Performers [April 12, Chicago, Illinois]
 *  Crosstown Rivals: Films From Ucla and Usc In the 1960s [April 12, Los 
Angeles, California]
 *  Fragments of Everyday Life: Films By Janis Crystal Lipzin and Francesco
    Gagliardi [April 12, Los Angeles, California]
 *  Quick Billy [April 12, New York, New York]
 *  Baillie/Crockwell Program [April 12, New York, New York]
 *  Mfj 55 Launch Screening and Celebration [April 12, New York, New York]
 *  Mfj 55 Screening and Celelbration [April 12, New York]
 *  Mena Experimental: An Evening of Experimental Film and New Media From the
    Middle East, North Africa, and Diasporas [April 12, San Francisco, 
California]
 *  My Mars Bar Movie [April 13, New York, New York]
 *  Stan Brakhage Program 1 [April 14, New York, New York]
 *  Dog Star Man [April 14, New York, New York]
 *  My Mars Bar Movie [April 14, New York, New York]
 *  John Davis On Thunderbolt Pagoda + Lori Varga's Toy Synths + Cox' Korgs + 
[April 14, San Francisco, California]
 *  The Pittsburgh Trilogy [April 15, New York, New York]
 *  Songs 1-14 [April 15, New York, New York]
 *  My Mars Bar Movie [April 15, New York, New York]


Events are sorted by CITY within each DATE.

-----------------------
SATURDAY, APRIL 7, 2012
-----------------------

4/7
Los Angeles, California: Echo Park Film Center
http://www.echoparkfilmcenter.org/
8 pm, 1200 N. Alvarado St (at Sunset)

 STEVE DWOSKIN'S BEHINDERT
  "The main intention of BEHINDERT is to express some of the subjective
  perspectives within the social/personal confinements of a personal
  relationship, as seen from the point of view of the physically disabled
  person. This position was taken for two principal reasons: to eliminate
  or reduce the "objectivity and sympathy" views normally given to the
  subject; and to try to deal with the personal and emotional
  entanglements that the (or a) disabled person encounters in the
  so-called "normal social/personal" areas of life. The mere mention of a
  film concerned with the subject of physical disability conjures up
  preconceived notions and images as to the type of film it is. It is put
  aside as a medical/social document of little importance, particularly by
  film people who think of films as "political," "narrative,"
  "entertainment," "poetic," or "structural." This film is about the
  physically normal and disabled in confrontation, but not literal
  relations. It is a documentary without being one. The content lies
  beneath the film. The material is treated subjectively, and crosses
  fiction with realistic documents, without a clear distinction." (Steve
  Dwoskin) 1974, 96 minutes, projected from 16mm. 

4/7
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
4:45 pm, 32 2nd Avenue

 KENNETH ANGER PROGRAM
  FIREWORKS (1947, 20 minutes, 35mm, b&w) RABBIT'S MOON (1950-70, 15
  minutes, 35mm) EAUX D'ARTIFICE (1953, 13 minutes, 16mm) SCORPIO RISING
  (1963, 30 minutes, 35mm) KUSTOM KAR KOMMANDOS (1965, 3 minutes, 16mm)
  Poetry, psychodrama, and the occult meet in these timeless works by one
  of the pioneers of the American avant-garde film. Total running time:
  ca. 80 minutes.

4/7
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
7:15 pm, 32 2nd Avenue

 QUICK BILLY
  by Bruce Baillie 1971, 73 minutes, 16mm Bruce Baillie's journey through
  "the dark wood encountered in the middle of life's journey" (Dante),
  with references to Bardo Thodol. A major work from one of the great
  poets of cinema.

4/7
San Francisco, California: Other Cinema
http://www.othercinema.com/
8:30pm, 992 Valencia Street

 JOHN SMALLEY ON CAGE AND DADA + JOHN ROY ON PARTCH +
  John Smalley's enlightening lecture-demo John Cage and the Spirit of
  Dada examines Cage in relation to collage and experimental techniques
  pioneered by the Dadaists and Constructivists. Embedding copious Cage
  musical clips and documentary excerpts, John also explores the complex
  exchanges with other avant-gardists such as Duchamp, Satie, Ono, La
  Monte Young, and the Fluxus circle. ALSO: John Roy flies in from Atlanta
  to introduce his in-progress Bitter Music, on another beloved
  "hobohemian," Harry Partch. Doc sequences and a historic newsreel from
  Mills College flesh out Roy's tribute. $7.

---------------------
MONDAY, APRIL 9, 2012
---------------------

4/9
Los Angeles, California: Redcat
http://www.redcat.org/
8:30pm, 631 West 2nd St., Los Angeles, CA 90012

 SHARON LOCKHART- DOUBLE TIDE
  16mm transferred to HD, color, sound, 93 min., 2009 In the wake of her
  cinematic meditations on the relationship between laboring bodies and
  their environment—NO (2003) and Lunch Break (2008), both shown at
  REDCAT—artist/filmmaker Sharon Lockhart positioned her camera in the
  wild coastal landscape of Seal Cove, Maine, a historic site for
  commercial clamming. Following the backbreaking efforts of clam digger
  Jen Casad, the film unfolds in two uninterrupted takes to capture the
  rare phenomenon of "double tide"—when low tide occurs twice during
  daylight hours, once at dawn and once at dusk. The splendid imagery is
  matched by a seductive sound track, bird chirpings mixed with the sound
  of wind, water and an invisible foghorn, interrupted just once by the
  digger's lone, moving cry. In person: Sharon Lockhart. Jack H. Skirball
  Screening Series/ Tickets $10 [students $8, CalArts $5] 

-----------------------
TUESDAY, APRIL 10, 2012
-----------------------

4/10
Cambridge, Massachusetts: Balagan
http://www.balaganfilms.com
8:00pm, Brattle Theatre, 40 Brattle Street

 PROJECTION PERFORMANCE BY BRUCE MCCLURE
  HIS SCAFFOLD IS THERE SET UP AS IF TO EDIFY / $10 regular / $8 student
  and senior. / Bruce McClure, an architect turned filmmaker with an
  inclination toward rock-stardom, utilizes multiple 16mm projectors and
  short film loops to create rhythmic strobes and drones, all filtered
  through an array of guitar effects pedals and turned up to 11. The
  sound-image relationship slowly evolves as the loops drift to different
  phases of syncopation. The physicality of the flashing light and
  penetrative audio results in a visceral, transcendent experience. /
  "Drawing out great aims, I'll close my eyes and you like a pothook for
  the family gibbet, will hold pardonable confusion. Doole-doo the gallows
  bird calls to unnecessary attention the errors, omissions, repetitions
  and misalignments . . . seated with such flop right down determination.
  My working premise embraces methodological blunders and contingency in
  an argument whose conclusion, while undefined, is wholly concerned with
  the operational structure of organizations that transfer information,
  energy and material. In an assembly of shaded spaces spectacle is
  accessorized, anthologized and archived by a richness of technological
  means. So too my motley agents of provocation are normalized as
  performances commissioned to the public with mostly tangential benefits.
  Change ringing and ringing societies - the carillonneur will ring his
  glockenspiel, Rng rng! Rng rng!" - B.M., April 1, 2012

4/10
Reading, Pennsylvania: Berks Filmmakers, Inc
http://berksfilmmakers.org
7:30 p.m., Albright College Center for the Arts

 THE MUSIC LOVERS (1970, 123 MIN.) BY KEN RUSSELL
  "The Music Lovers, an extended 1970 fever dream on Tchaikovsky's sexual
  torment that opens in medias res with a wordless scene of lushly scored
  winter revelry. In a favored Russell technique, single events—like a
  public recital wracked with excitement and insecurity—are elongated by
  long fantasy sequences, and whole stretches of images seem pushed and
  pulled along before our eyes by projected desires and anxieties. Cutting
  himself off from a secret relationship with a count, Tchaikovsky
  convinces himself to accept the fanaticism of an admirer
  ([Glenda]Jackson, a Russell axiom), and weds to pursue a new fantasy. As
  the composer-conductor, Richard Chamberlain looks like he might shiver
  into pieces." – Nicolas Rapold, The Village Voice 

-------------------------
WEDNESDAY, APRIL 11, 2012
-------------------------

4/11
Boston, MA: MassART FILM SOCIETY
http://massartfilmsociety.blogspot.com/
7:00, Massachusetts College of Art and Design

 THE OBSERVERS BY  JACQUELINE GOSS 
  MassART FILM SOCIETY presents Jacqueline Goss - THE OBSERVERS (2011) -
  Shot on 16mm film with a small crew, 'The Observers' is based on the
  actual work of the crew of the Mount Washington Weather Observatory --
  one of the oldest weather stations in the world where staff members have
  taken hourly readings of the wind speed and temperature since 1932. In
  1934, the staff recorded a wind speed of 231 mph --the highest wind
  speed ever recorded by a human being. - The land and sky of Mt.
  Washington, New Hampshire form a frame for two climatologists as they go
  about the, solitary and steadfast work of measuring and recording the
  weather. Based in part on the Nathaniel Hawthorne story - "The
  Great Carbuncle," this film features the extreme and varying beauty
  of the windiest mountain in the world. - http://www.observatoryfilm.com/
  - "I like stories about people who set out to objectively measure
  or chart something and then fail in interesting ways when they get
  tangled up in the natural color and noise of the world."
  -Jacqueline Goss - Jacqueline Goss makes movies and web-based works that
  explore how political, cultural, and scientific systems change the ways
  we think about ourselves. For the last few years she has used 2D digital
  animation techniques to work within the genre of the animated
  documentary. - Her most recent videos are "How To Fix The World" --a
  look at Soviet-sponsored literacy programs in 1930's Central Asia and
  "Stranger Comes To Town" –an animated documentary about the
  identity-tracking of immigrants and travelers coming into the United
  States. - A native of New Hampshire, she attended Brown University and
  Rensselaer Polytechnic Institute. She teaches in the Film and Electronic
  Arts Department at Bard College in the Hudson Valley of New York. She is
  a 2008 Tribeca Film Institute Media Arts Fellow and the 2007 recipient
  of the Herb Alpert Award in film and Video. - Her current project is
  "The Observers" -- a portrait of the summit of Mount
  Washington, NH: home to the highest human-recorded wind speed and one of
  the oldest weather observatories in the western hemisphere. -
  http://www.jacquelinegoss.com/ - MASSART FILM SOCIETY, Programmed by
  Saul Levine, is a screening class for MassArt film students open to
  those who are interested. We hope to provide access to films and videos
  not often shown at other venues. -
  http://massartfilmsociety.blogspot.com/ - Directions: Held @
  Massachusetts College of Art Film Department in screening room 1. 621
  Huntington Ave. Boston MA 02115. On the T take the green line E train to
  Longwood stop or 39 Bus. - Entrance through MassART after 7pm is through
  Public Safety on Evans Way/Tetlow St

4/11
Brooklyn, New York: Light Industry
http://www.lightindustry.org/
7:30, Light Industry, 155 Freeman Street

 SARA GóMEZ'S DE CIERTA MANERA
  De cierta manera (One Way or Another) - Sara Gómez, 16mm, 1977, 78
  mins - A pioneering figure of Cuban cinema, Sara Gómez was one of
  the first women to work within the auspices of the ICAIC, Cuba's
  post-Revolutionary film ministry. De cierta manera, her only feature
  film, was the first by a woman in Cuba, the first shot on 16mm in Cuba,
  and one of the few made by an Afro-Cuban director. Yet she did not live
  to see its ultimate realization. Gómez died during production, at
  age 31, and De cierta manera would be finished by Tomás
  Gutiérrez Alea and other colleagues several years after
  Gómez completed cinematography. - While many of these historical
  markers would make De cierta manera worthy of attention, the film stands
  on its own as a dramatic rethinking of cinematic form and purpose,
  radical even by contemporaneous Cuban standards. To achieve her complex
  portrait of still-marginalized communities—former slum-dwellers,
  now working under the Revolution, who cling to regressive aspects of
  machismo and mysticism—Gómez shifts between a variety of
  narrative modes, attacking the ongoing problems of the revolutionary
  project through historical analysis, street-level documentary, and a
  fictionalized love story. As Gómez says in the film's opening
  credits, it is "a film about real people, and some fictitious ones."
  Hers is a critique of the ongoing Revolution from within, sussing out
  its internal contradictions, showing how entrenched attitudes around
  race, social class and gender in Cuban culture pose threats to the
  greater goal of constructing a society based around true equality. The
  film begins in media res and ends, pointedly, without resolution. -
  Tickets - $7, available at door. - Please note: seating is limited.
  First-come, first-served. Box office opens at 7pm.

4/11
New York, NY: Filmmakers Co-op
8pm, Charles S. Cohen Screening Room at the Film-Makers' COOP, 475 Park Avenue 
South  #603

 OPTICS O:O AT FILMMAKERS COOP
  Entry: $10, No RSVP Necessary (but to secure a seat, email:
  filmmakersc...@gmail.com) - Limited seating. - Booze and bites served. -
  - PURE FEEDBACK: Revisited, slightly, Back by popular demand! - Scott
  Bartlett and Tom DeWitt Ditto, Curated by Victoria Keddie from the
  vaults of Film-Makers COOP - - Programme: - "The Leap" (1968)
  16mm\; 7min, color by Tom DeWitt Ditto - "The Fall" (1971)
  16mm\; 19min, color by Tom DeWitt Ditto - "OFFON" (1967)
  16mm\; 9min, color by Scott Bartlett - "Moon 1969" (1969)
  16mm\; 15min, color by Scott Bartlett - (encore) "Lovemaking"
  (1970) 16mm\; 13min, color by Scott Bartlett - TRT: 80 min (approx) - -
  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). -
  http://film-makerscoop.com/

4/11
Toronto, Ontario, Canada: TIFF Bell Lightbox
http://www.tiff.net
7:00pm, 350 King Street West

 THE FREE SCREEN: THE PETTIFOGGER 
  American collage artist Lewis Klahr has been making films for over
  thirty years, re-animating found objects into rich reveries of pop
  culture dream-narratives. His filmmaking is one of paper ephemera,
  comic-book cutouts and marked playing cards. The textures of his found
  material become even more alive with Klahr's recent turn towards HD
  photography: the coloured half-tone dots of mid-century printing
  processes and the surface quality of aging paper become vividly
  foregrounded, a mixture of Lichtenstein and Frankenstein. Klahr's
  longest piece to date is an elliptical narrative of a year in the life
  of an American gambler and con man (the "petty fugger" of the title),
  circa 1963. A narcotic mixture of noir-driven intrigue and brooding,
  contemplative passages driven by strong mood music and found dialogue
  from radio potboilers, The Pettifogger is "an abstract crime film and,
  like many other crime films involving larceny, a sensorial exploration
  of the virulence of unfettered capitalism. An impressionistic collage
  film, culled from a wide variety of image and sound sources that fully
  exploits the hieroglyphic essence of cutouts to ponder what
  appropriation and stealing have in common" (Klahr). Director Lewis Klahr
  will be in attendance.

------------------------
THURSDAY, APRIL 12, 2012
------------------------

4/12
Atlanta, Georgia: Contraband Cinema
http://contrabandcinema.com/100/living-cinema-with-craig-baldwin-in-atlanta-april-12-2012.html
8pm, 489 Edgewood Ave SE Atlanta, GA 30312

 LIVING CINEMA WITH CRAIG BALDWIN
  On April 12th 2012 three film communities join forces to bring west
  coast underground film legend Craig Baldwin to Atlanta. One of Senses Of
  Cinema's "great directors", Craig Baldwin is a recombinatory filmmaker
  who exists at the edge of contemporary cinema both through his films and
  his weekly film series, Other Cinema. The spread of his films in the
  last two decades, particularly Tribulation 99, Sonic Outlaws and
  Spectres of the Spectrum, introduced archival retrieval and culture jam
  to a wider audience of cineastes who embrace, implement and teach these
  practices. In 2003 Baldwin created the Other Cinema Digital label which
  highlights and distributes films from his 25+ years of microcinema
  programming. Under Baldwin's leadership Other Cinema remains the
  long-standing bastion of alternative film, video and performance in San
  Francisco's Mission District. Atlanta's own film series Film Love, GSU's
  Peripheral Visions, and Contraband Cinema fuse to recreate the Other
  Cinema experience at Atlanta's 489 Edgewood space where Craig Baldwin
  will host a screening and performance of living cinema. Entry is $7.
  Thursday, April 12th 8pm at 489 Edgewood.

4/12
Chicago, Illinois: Conversations at the Edge
http://www.saic.edu/cateblog
6pm, 164 N. State

 YVONNE RAINIER: LIVES OF PERFORMERS
  Yvonne Rainer in person. For the last half-century, Yvonne Rainer has
  played a central role in the American avant-garde with her influential
  works in dance, film, and print. This evening, she presents her
  acclaimed first feature, Lives of Performers (1972). Embodying Rainer's
  aesthetic rigor and wit, the film combines fiction and documentary,
  script readings, dance snippets, still photos, and tableaux vivants to
  explore issues of power and gender that influence the emotional lives of
  her performers. Presented in collaboration with the Society for
  Contemporary Art at the Art Institute of Chicago, which features a
  lecture by Yvonne Rainier on April 11, 6:00 p.m., The Art Institute of
  Chicago, Fullerton Hall, 111 S. Michigan Ave. 1972, USA, 16mm, 90
  minutes + discussion

4/12
Los Angeles, California: Filmforum
http://www.lafilmforum.org/
7:30pm (box office opens 6:30), James Bridges Theater, Melnitz Hall 1409, 235 
Charles E. Young Drive (East)

 CROSSTOWN RIVALS: FILMS FROM UCLA AND USC IN THE 1960S
  Enthused by the possibilities of "underground" film, energetic students
  at Los Angeles' leading universities made a healthy amount of work using
  alternative approaches in the 1960s. This work gained notoriety in the
  mass media, with an article in Time Magazine, among others. The most
  well-known filmmaker to come out of this period is George Lucas, but
  we'll also be looking at remarkable students works by Penelope Spheeris,
  David Lebrun, Paul Golding, Robert Abel, John Milius, Burton Gershfield,
  Bruce Green, and Rob Thompson. Politically and socially activated works,
  experimenting in animation, collage, documentary, and narrative, topped
  by two unusual science fiction films from Spheeris and Lucas. The
  program will screen again, but in a different order, at USC on April 19
  so each university has a chance to be the home team. In person: David
  Lebrun, others to be announced (schedules permitting) Info:
  http://bit.ly/GBHJjJ Tickets are free and are available on a first-come,
  first-served basis (one ticket per person) at the James Bridges Theater
  box office, starting one hour before showtime.

4/12
Los Angeles, California: Echo Park Film Center
http://www.echoparkfilmcenter.org/
8 pm, 1200 N. Alvarado St (at Sunset)

 FRAGMENTS OF EVERYDAY LIFE: FILMS BY JANIS CRYSTAL LIPZIN AND FRANCESCO
 GAGLIARDI
  $5 / The films on tonight's program all draw upon small moments from
  every day life to create complex mosaics with multiple layers of
  meaning. San Francisco Bay Area-based Janis Crystal Lipzin is an
  interdisciplinary artist who has created over two dozen films and
  videos, and whose work has been featured in numerous museum shows
  including the Whitney Museum, the Museum of Modern Art, the New Museum
  of Contemporary Art (NY), the Institute of Contemporary Art in London,
  the Centre Pompidou in Paris, and numerous galleries and festivals. Her
  works shown tonight—Trepanations (Super 8 on video), Visible Inventory
  Six: Motel Dissolve and Visible Inventory 9: Pattern of Events (both
  16mm)—simultaneously present different sources of information, drawn
  from personal correspondence, newspapers, and texts by Gertrude Stein,
  among others, that complicate and reflect upon the potentials of meaning
  through differing modes of communication between people as well as
  between places. Francesco Gagliardi is a performance artist and
  occasional filmmaker based in Toronto. His film Short Sentences (Super 8
  on video) was made over the course of twelve years, filming friends,
  family, and acquaintances on Super 8 film and recording their voices on
  a handheld cassette recorder as a performance of Gertrude Stein's play
  of the same name. FILMMAKERS JANIS CRYSTAL LIPZIN AND FRANCESCO
  GAGLIARDI IN ATTENDANCE!

4/12
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
7:15 pm, 32 2nd Avenue

 QUICK BILLY
  by Bruce Baillie 1971, 73 minutes, 16mm Bruce Baillie's journey through
  "the dark wood encountered in the middle of life's journey" (Dante),
  with references to Bardo Thodol. A major work from one of the great
  poets of cinema.

4/12
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
8:45 pm, 32 2nd Avenue

 BAILLIE/CROCKWELL PROGRAM
  Bruce Baillie MASS FOR THE DAKOTA SIOUX (1963-64, 20 minutes, 16mm, b&w)
  QUIXOTE (1964-65, 45 minutes, 16mm) CASTRO STREET (1966, 10 minutes,
  16mm) ALL MY LIFE (1966, 3 minutes, 16mm) VALENTIN DE LAS SIERRAS (1968,
  10 minutes, 16mm) Meditations on America by a filmmaker whom Willard van
  Dyke once called the most American of all contemporary filmmakers.
  Annette Michelson has referred to Bruce Baillie as one of the few
  American political filmmakers. Douglass Crockwell GLENS FALLS SEQUENCE
  (1964, 8 minutes, 16mm) "The basic idea was to paint continuing pictures
  on various layers with plastic paint, adding at times and removing at
  times, and to a certain extent these early attempts were successful."
  –D.C. Total running time: ca. 100 minutes.

4/12
New York, New York: Millennium Film Workshop
http://www.millenniumfilm.org/
8pm, 66 East 4th Street

 MFJ 55 LAUNCH SCREENING AND CELEBRATION
  Screening to celebrate the publication of Millennium Film Journal No.
  55: "Structures & Spaces: Cine-Installation." ...... Works screened by
  artists Including Christoph Girardet, Alfred Guzzetti, Marie Losier and
  Steina, ........... as well as a 16mm print of the late Robert Nelson's
  classic Oh Dem Watermelons with the Steve Reich soundtrack (courtesy
  Mark Toscano) ............ Copies of the journal will be available.

4/12
New York: Millennium Film Workshop
http://www.millenniumfilm.org/
7:00, 66 East 4th Stree

 MFJ 55 SCREENING AND CELELBRATION
  Screening to celebrate the publication of Millennium FIlm Journal No. 55
  "Structures and Spaces: Cine Installation" including works by
  CHRISTOPH GIRARDET, ALFRED GUZZETTI, MARIE LOSIER, ROBERT NELSON, and
  STEINA

4/12
San Francisco, California: Artists Television Access
http://www.atasite.org/
7:30, Artists' Television Access 992 valencia street

 MENA EXPERIMENTAL: AN EVENING OF EXPERIMENTAL FILM AND NEW MEDIA FROM THE
 MIDDLE EAST, NORTH AFRICA, AND DIASPORAS
  The Arts at CIIS, in collaboration with ATA, presents MENA Experimental,
  an ongoing occasional series featuring experimental film and new media
  from the Middle East, North Africa, and their diasporas. This first
  evening includes recent short films and videos from emerging and
  established international artists, live music during intermission with
  Nadia Shihab, and a reception. Curated by Targol Mesbah and Deirdre
  Visser. Part 1. Intimate Distance: The program's first half explores
  forms of intimate relationships in both social and private spaces; in
  moments barely palpable, and at other times relating to state and
  colonial power. Each film navigates gender norms differently, with
  complexity and depth. Works by Danielle Arbid, Alexandra Handal, Filipe
  Rodrigues Afonso, and EdwardSalem. (45 mins) Part 2. Witness, Amiss: The
  films in the second half explore the ethics of looking at images of
  suffering and war. The role of the artist in mediating, appropriating,
  and reframing images of violence emerges as a focus across the various
  works. These films navigate the ethics and complicities of viewership
  within new media technologies of representation andwarfare. Works by Ali
  Dadgar, Peter Freund, Beate Hecher, Markus Keim, Jacopo Natoli, Edward
  Salem, and Azin Seraj. (43 mins) $6 

----------------------
FRIDAY, APRIL 13, 2012
----------------------

4/13
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
8:00 pm, 32 2nd Avenue

 MY MARS BAR MOVIE
  by Jonas Mekas 2011, 87 minutes, video Share + Film Notes SPECIAL
  SCREENINGS! Anthology is overjoyed to present this new film by Jonas
  Mekas, a tribute to the dear, departed Mars Bar. Our neighbor ever since
  we moved to the Second Avenue Courthouse building in 1988, the Mars Bar
  represented an undiluted blast of the old East Village, keeping alive
  the punk sensibility and anarchic attitude that's increasingly a thing
  of the past in this part of the city. Destined to be replaced by yet
  another glass condo building, and taking a piece of our heart with it to
  the grave, the Mars Bar nevertheless lives on through Mekas's lens! "For
  some twenty years, Mars Bar, at the corner of First Street and Second
  Avenue, Manhattan, has been my bar. That's where we went for beer and
  tequila whenever we had to take a break from our work at Anthology Film
  Archives, and it was also a bar where most of those who came to see
  movies at Anthology ended up after the shows. We always had a great time
  at Mars Bar. It was always open, there was always the jukebox, and very
  often there was no electricity, and it was old and messy and it didn't
  want to be any other way – it was the last escape place left in downtown
  New York. So this is my love letter to it, to my Mars Bar. Mars Bar as I
  knew it." –J.M.

------------------------
SATURDAY, APRIL 14, 2012
------------------------

4/14
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
4:00 pm, 32 2nd Avenue

 STAN BRAKHAGE PROGRAM 1
  DESISTFILM (1954, 7 min, 16mm, sound) REFLECTIONS ON BLACK (1955, 12
  min, 16mm, sound) THE WONDER RING (1955, 4 min, 16mm) FLESH OF MORNING
  (1956, 25 min, 16mm) DAYBREAK AND WHITEYE (1957, 8 min, 16mm) WINDOW
  WATER BABY MOVING (1959, 12 min, 16mm) Films made during the early,
  "psychodramatic" period of one of modern cinema's greatest innovators,
  including two of his early experiments with sound. Total running time:
  ca. 75 minutes.

4/14
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
5:45 pm, 32 2nd Avenue

 DOG STAR MAN
  by Stan Brakhage 1961-64, 74 minutes, 16mm A masterwork in which all of
  Brakhage's techniques achieve a complex synthesis to produce one of
  cinema's supreme epic poems. "The film breathes and is an organic and
  surging thing… it is a colossal lyrical adventure-dance of image in
  every variation of color." –Michael McClure, ARTFORUM

4/14
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
7:30 pm, 32 2nd Avenue

 MY MARS BAR MOVIE
  See notes for April 13, 8 pm. 

4/14
San Francisco, California: Other Cinema
http://www.othercinema.com/
8:30pm, 992 Valencia Street

 JOHN DAVIS ON THUNDERBOLT PAGODA + LORI VARGA’S TOY SYNTHS + COX' KORGS +
  The first in our Psychedelia series, tonight's show resonates with the
  switched-on groove of the analog synthesizer subculture. Headlining is
  John Davis' live-track to Ira Cohen's legendary Invasion of the
  Thunderbolt Pagoda. PLUS: We welcome back to the Bay Area Ms. Lori
  Varga, who cleverly demonstrates 9 "modified" oddities from her
  mini-synth collection, inviting audience into hands-on experience! David
  Cox shows off both the impossibly funky Optigan and also its iteration
  as an iPhone app! Concluding the evening is Matthew Bate's What the
  Future Sounded Like, a half-hr. BBC doc on the early synth scene in '60s
  England, with clips of Roxy Music-era Brian Eno, Hawkwind, and Dr. Who.
  Come early for Bob Moog clips, early Soviet Theremin, Raymond Scott
  initiatives, Negativland Boopers, and bio-feedback bliss! $6.66. 

----------------------
SUNDAY, APRIL 15, 2012
----------------------

4/15
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
3:45 pm, 32 2nd Avenue

 THE PITTSBURGH TRILOGY
  by Stan Brakhage Share + Film Notes EYES 1970, 36 minutes, 16mm, silent.
  "After wishing for years to be given-the-opportunity of filming some of
  the more 'mystical' occupations of our Times – some of the more obscure
  Public Figures which the average imagination turns into 'bogeymen'...
  viz.: Policemen, Doctors, Soldiers, Politicians, etc.: – I was at last
  permitted to ride in a Pittsburgh police car, camera in hand, the final
  several days of September 1970." –S.B. & DEUS EX 1971, 34 minutes, 16mm,
  silent. "I have been many times very ill in hospitals; and I drew on all
  that experience while making DEUS EX in West Penn. Hospital of
  Pittsburgh; but I was especially inspired by the memory of one incident
  in an emergency room of San Francisco's Mission District: while waiting
  for medical help, I had held myself together by reading an April-May
  1965 issue of 'Poetry Magazine': and the following lines from Charles
  Olson's 'Cole's Island' had especially centered the experience,
  'touchstone' of DEUS EX, for me: Charles begins the poem with the
  statement 'I met Death –' And then: 'He didn't bother me, or say
  anything. Which is / not surprising, a person might not, in the
  circumstances; / or at most a nod or something. Or they would. But they
  wouldn't, / or you wouldn't think to either, / it was Death. And / He
  certainly was, the moment I saw him.'" –S.B. & THE ACT OF SEEING WITH
  ONE'S OWN EYES 1971, 32 minutes, 16mm, silent. "…Brakhage, entering,
  with his camera, one of the forbidden, terrific locations of our
  culture, the autopsy room. It is a place wherein, inversely, life is
  cherished, for it exists to affirm that no one of us may die without our
  knowing exactly why. All of us, in the person of the coroner, must see
  that, for ourselves, with our own eyes. It is a room full of appalling
  particular intimacies, the last ditch of individuation. Here our vague
  nightmare of mortality acquires the names and faces of others." –Hollis
  Frampton Total running time: ca. 105 minutes.

4/15
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
6:00 pm, 32 2nd Avenue

 SONGS 1-14
  "SONG 1: Portrait of a lady. SONGS 2 & 3: Fire and a mind's movement in
  remembering. SONG 4: Three girls playing with a ball. Hand painted. SONG
  5: A childbirth song. SONG 6: The painted veil via moth-death. SONG 7:
  San Francisco. SONG 8: Sea creatures. SONG 9: Wedding source and
  substance. SONG 10: Sitting around. SONG 11: Fires, windows, an insect,
  a lyre of rain scratches. SONG 12: Verticals and shadows caught in glass
  traps. SONG 13: A travel song of scenes and horizontals. SONG 14: Molds,
  paints and crystals." –S.B.

4/15
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
7:30 pm, 32 2nd Avenue

 MY MARS BAR MOVIE
  See notes for April 13, 7:30 pm. 


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