Part 1 of 2: This week [October 13 - 21, 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 [email protected].
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: ============================ "Gradients" by Nick Coccellato http://www.hi-beam.net/cgi-bin/ann.pl?type=newwork&readfile=503.ann JOB AVAILABLE: ============== STATE UNIVERSITY OF NEW YORK COLLEGE OF TECHNOLOGY AT ALFRED http://www.hi-beam.net/cgi-bin/ann.pl?type=jobs&readfile=15.ann Binghamton University http://www.hi-beam.net/cgi-bin/ann.pl?type=jobs&readfile=14.ann NEW CALLS FOR ENTRIES: ===================== Images Festival (Toronto, Ontario, Canada; Deadline: November 01, 2012) http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1491.ann OpenLens Festival (Eugene, OR, USA; Deadline: December 07, 2012) http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1492.ann Home Movie Day - Oakland (Oakland, California; Deadline: October 20, 2012) http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1493.ann Journal of Short Film Volume 29 (Columbus, Ohio, USA; Deadline: October 29, 2012) http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1494.ann Alternative Film/Video Festival (Belgrade, Serbia; Deadline: October 20, 2012) http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1495.ann Newport Beach Film Festival (Newport Beach, CA, USA; Deadline: October 26, 2012) http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1496.ann DEADLINES APPROACHING: ====================== MONO NO AWARE VI (Brooklyn, NY USA; Deadline: October 31, 2012) http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1456.ann Beloit International Film Festival (Beloit, WI, US; Deadline: October 31, 2012) http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1458.ann Strange Beauty Film Festival (Durham, NC, USA; Deadline: November 15, 2012) http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1461.ann Go Short (Nijmegen, the Netherlands; Deadline: November 01, 2012) http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1462.ann FLEX Fest (Gainesville, FL, USA; Deadline: October 15, 2012) http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1469.ann Big Muddy Film Festival (Carbondale, IL, United States; Deadline: October 15, 2012) http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1473.ann Aural Fixation - The Strange Beauty Film Festival (Durham, NC, USA; Deadline: November 15, 2012) http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1476.ann Images Festival (Toronto, Ontario, Canada; Deadline: November 01, 2012) http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1491.ann Home Movie Day - Oakland (Oakland, California; Deadline: October 20, 2012) http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1493.ann Journal of Short Film Volume 29 (Columbus, Ohio, USA; Deadline: October 29, 2012) http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1494.ann Alternative Film/Video Festival (Belgrade, Serbia; Deadline: October 20, 2012) http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1495.ann Newport Beach Film Festival (Newport Beach, CA, USA; Deadline: October 26, 2012) http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1496.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): ============================== * Projexorcism: Spaceglue Continuum [October 13, Baltimore] * Needle Through Thumb [October 13, Brooklyn, New York] * Fragments of Kubelka [October 13, London, England] * Two Years At Sea [October 13, New York] * Stop & Go 3-D [October 13, Oakland, CA] * Michael Koshkin's Pixel visions + Fialka's Pxl This 21 Fest [October 13, San Francisco, California] * Jordan Belson: Films Sacred and Profane [October 14, Cambridge, Massachusetts] * Home Movies and the Avant-Garde: Program 2 [October 14, Chicago, Illinois] * Two Years At Sea [October 14, New York] * Two Years At Sea [October 14, New York] * Couleurs MéCaniques: Films of Rose Lowder [October 14, San Francisco, California] * George & Mike Kuchar, New York: 1960-1970 [October 14, Seattle, Washington] * Two Years At Sea [October 15, New York] * #44 = Monday October 15, 2012 = Helga Fanderl In Person! [October 15, Toronto, Ontario, Canada] * Julie Ault Presents James Benning's 11 X 14 [October 16, Brooklyn, New York] * Two Years At Sea [October 16, New York] * Two Years At Sea [October 17, New York] * Abendland [October 17, Philadelphia, Pennsylvania] * Sex Ed. Films On 16mm Film! Not To Be Missed (Learn and Laugh!) 8pm, Oct. 18th. [October 18, Harrisburg, PA] * Florian Cramer Presents Work From Worm.Filmwerkplaats [October 18, Los Angeles, California] * Annual Benefit For Film-Makers' Coop October 18th! [October 18, New York, NY] * Two Years At Sea [October 18, New York] * Two Years At Sea [October 18, New York] * Sf Cinematheque Screening: "The Lighted Field: Beings and Relations" [October 18, San Francisco, California] * The Lighted Field: Beings and Relations [October 18, San Francisco, California] * Electromediascope [October 19, Kansas City, Missouri] * TraitÉ De Bave Et DÉTernitÉ [October 19, London, England] * Breaking the Frame [October 19, London, England] * Home Movie Day! [October 20, Austin, TX] * Two Years At Sea By Ben Rivers - Ben Rivers In Person [October 20, Cambridge, Massachusetts] * Margaret Tait's Caora Mor: the Big Sheep & Symposium [October 20, Helmsdale] * Nathaniel Dorsky & Jerome Hiler [October 20, London, England] * Two Architecture Studies [October 20, London, England] * Mati Diop [October 20, London, England] * Rites of Passage [October 20, London, England] * Movies & Tv By Mark Toscano and Lori Felker [October 20, Los Angeles, California] * Prelinger + Orphans In Space + First On the Moon + [October 20, San Francisco, California] * Urban/Rural Landscpes [October 21, Greenbelt, Md] * Peter Kubelka Presents Monument Film [October 21, London, England] * The Poor Stockinger, the Luddite Cropper and the Deluded Followers of Joanna Southcott [October 21, London, England] * Where the Magic Happens [October 21, London, England] * Fly Into the Mystery [October 21, London, England] * L.A. Filmforum Presents Mirrored Curtains: the Films and videos of Lori Felker [October 21, Los Angeles, California] Events are sorted by CITY within each DATE. -------------------------- SATURDAY, OCTOBER 13, 2012 -------------------------- 10/13 Baltimore: Sight Unseen http://www.sightunseenbaltimore.com/ 8:30pm, Pent House Gallery | Copy Cat B501 | 1511 Guilford Ave. PROJEXORCISM: SPACEGLUE CONTINUUM Doors @8:30pm | Performance @9:00pm | $5 | Sight Unseen and Projexorcism present: Spaceglue Continuum, a live cinema performance inspired by "duct tape and its history of utility in space and on screen." The eight films used in this performance are not spliced - they are manipulated with independent lighting controllers, disrupting the linear flow of plot and dialogue as other films are blended in and out in a dizzying stroboscopic maelstrom of light and optical sound - real time editing a new narrative out of old found films. Using eight 16mm projectors, bicycle chains, CD-Rs as image splitters, light controllers, VJ/DJ mixers, camcorder images scrambled digitally and re-projected through two butterflied video projectors, and optical audio, projectionist Ed Cooper weaves an absurd new sensory overload from found footage. 10/13 Brooklyn, New York: The Intercourse http://theintercourse.org/events/ 7 PM, 159 Pioneer St., Red Hook NEEDLE THROUGH THUMB Named after a classic sleight-of-hand trick, Needle Through Thumb is a program of trick-films, humorous structural films, cinematic puns, and films that use mis-direction and distraction of the viewer. Presented in conjunction with "Seeker An' The Trick," a show of paintings by Joey Frank. Screening Lineup: John Smith Gargantuan, 1:00, 1981. Mark Toscano Rating Dogs on a Scale of 1 to 10, 2:30, 2011. Robert Nelson Oh Dem Watermelons, 10:45, 1965. James Otis On Your Own, 2:00, 1981. Gary Beydler Glass Face, 3:00, 1975. Leighton Pierce Glass, 7:00, 1998. Dana Hodgdon Reflexfilm/Familyfilm, 22:00, 1978. Owen Land New Improved Institutional Quality, 10:00, 1976. Tom Palazzolo Love it / Leave it, 15:00, 1973. Scott Stark Hotel Cartograph, 12:00, 1983. Curated by Alexander Stewart. All works screened on 16mm. trt: 85 mins 10/13 London, England: BFI London Film Festival www.experimentaweekend.org.uk 1pm, ICA, The Mall, SW1Y 5AH FRAGMENTS OF KUBELKA FRAGMENTS OF KUBELKA (Martina Kudláček | Austria 2012 | 232 min plus brief interval) In this extended portrait, Peter Kubelka speaks at length about his life, work and interests, drawing on a vast range of knowledge and experience. Active as a filmmaker since the 1950s, Kubelka's acclaimed cinematic works are only one aspect of his dynamic personality. In his legendary public lectures, he holds forth on a variety of disciplines including film, music, archaeology and cooking. He has also played an important institutional role in establishing the Austrian Film Museum, and as co-founder of Anthology Film Archives, for whom he designed an ideal viewing theatre known as the Invisible Cinema. Martina Kudláček (known for previous documentaries on Maya Deren and Marie Menken) immersed herself in Kubelka's world for several years, researching historical footage, recording lectures, and perhaps most importantly, filming him at home surrounded by his eclectic collection of anthropological objects. In these precious sequences, Fragments of Kubelka provides extraordinary insight in conveying his philosophy on life and art. (Mark Webber) 10/13 New York: Anthology Film Archives http://www.anthologyfilmarchives.org/ 5, 7 and 9:00 pm, 32 2nd Avenue TWO YEARS AT SEA See notes for Oct. 12, 7 pm. 10/13 Oakland, CA: Studio Quercus http://www.studioquercus.com 7:00 pm, 85 26th Street, Oakland, CA STOP & GO 3-D A new series of stop-motion animations from around the world (www.stopandgoshow.com) The program dramatically plays with our visual senses through the artist's use of strobing effects, afterimages, anaglyphic experiments, optical elements and three-dimensional spoofs. Four of the animations in the program require the audience to wear red/cyan-colored glasses to fully engage with the work. This is the third installment of the Stop & Go program which was developed in 2008 to showcase animations that use stop-motion techniques. Animations in the Stop & Go 3-D screening are by Santiago Caicedo de Roux, David Daniels, Iemke van Dijk, Joey Fauerso, José Heerkens, Gilbert Hsiao, Kalle Johansson & Bendik Kaltenborn, Sarah Klein & David Kwan, Abbey Luck & Sean Donnelly, Jodie Mack, Brian McClave, Claudia Molitor & Gavin Peacock, Kate Nartker, Mel Prest & Andrew Kleindolph, Johan Rijpma, Albert Roskam, Tal Rosner, Jennifer Schmidt, Molly Schwartz, Wade Shotter & Yukfoo Animation, Jeanne Stern and Mark de Weijer. Tickets:http://www.brownpapertickets.com/event/271634 10/13 San Francisco, California: Other Cinema http://www.othercinema.com/ 8:30pm, 992 Valencia MICHAEL KOSHKINS PIXEL VISIONS + FIALKAS PXL THIS 21 FEST In this hr-plus sneak preview, Pixel Visions examines the early life and growing subculture of Fisher Price PXL 2000 enthusiastshow the first kids' video camera, using a simple audiocassette, turned the film world on, and found its way to Hollywood! Through interviews and rare footage, Koshkin demonstrates how this cheap plastic camera gave access to emerging artists attracted to its abstract b/w imagery. With Rick Linklater, Cecilia Doughtery, Lee Renaldo (Sonic Youth), Peggy Ahwesh, and others. PLUS peripatetic media whiz Gerry Fialka, in the flesh with the finest from his famous fest: Clint Enns, Wago Kreider, Will Erokan, tENTATIVELY a convenience, and more! ------------------------ SUNDAY, OCTOBER 14, 2012 ------------------------ 10/14 Cambridge, Massachusetts: Harvard Film Archive http://hcl.harvard.edu/hfa 7pm, Harvard Film Archive, 24 Quincy Street JORDAN BELSON: FILMS SACRED AND PROFANE Presented in association with the Center for Visual Music. The mesmerizing and otherworldly films of Jordan Belson (1926-2011) mark one of the unsurpassed high points in the history of post-WWII American experimental cinema. Defining a mode of rigorously and sublimely pure cinema, Belsons films invent spellbinding abstract forms in order to engage and expand perceptual experience, exploring a realm beyond habitual vision and somewhere deeper within human consciousness. Belsons long fascination with space travel and Eastern religions guided his exploration of light as a sculptural element, imbued with celestial, ethereal and mystical properties. In now iconic works such as Allures, Re-entry, Samadhi and the aptly named Light, Belson radically transformed the abstract film as defined earlier by Oskar Fischinger and Norman McLaren into an immersive and meditative experience, opening swirling, glittering depths in the screen for the minds eye to travel. Rarely acknowledged are the ways Belsons films were in dialogue with the most progressive art of its time, both the op-art of Bridget Riley and the Light and Space movement of the 1960s of Robert Irwin, Peter Alexander, et al., the West Coast school of minimalism that discovered a kind of vernacular sacred within the intense Southern California sunlight. Belsons work remained largely unseen for many years until the Center for Visual Music undertook an ambitious preservation initiative focused on Belson and the work of other abstract filmmakers. Presented in association with the CVM, the program includes a number of key titles recently preserved by the Center as well as Belsons marvelous final film, Epilogue which was commissioned by the Hirshhorn Museum for their vitally important Visual Music exhibition. The Harvard Film Archive is pleased to welcome Center for Visual Music curator and archivist Cindy Keefer to present an exciting showcase of Belsons cinema that includes both new preserved titles and rare archival prints. Introduction by Cindy Keefer Sunday October 14 at 7pm Caravan US 1952, 16mm, color, 4 min Séance US 1959, 16mm, color, 3.5 min Allures US 1961, 16mm, color, 8 min Re-entry US 1964, 16mm transferred to digital video, color, 6 min Momentum US 1968, 16mm, color, 6 min Chakra US 1972, 16mm, color, 6 min Light US 1973, 16mm, color, 6 min Cycles Directed by Jordan Belson and Stephen Beck US 1974, 16mm, color, 10 min Music of the Spheres US 1977/2002, digital video, color, 7 min Epilogue US 2005, digial video, color, 12 min Quartet US c. 1982, 16mm, color, silent, 10 min (unfinished) 10/14 Chicago, Illinois: Northwest Chicago Film Society http://www.northwestchicagofilmsociety.org 7:00 PM, Cinema Borealis, 1550 N Milwaukee Ave, 4th Floor HOME MOVIES AND THE AVANT-GARDE: PROGRAM 2 Presented in collaboration with the Chicago Film Archives as part of Home Movie Day The Program: [1] The Persistence of Memory (Ricardo Block, 1984, 16.5 min, 16mm from Filmmaker's Coop) [2] A Trip to the Land of Knowledge (Zoe Beloff, 1995, 65 min, 16mm from Filmmaker's Coop) [3] Reflexfilm/Familyfilm (Dana Hodgdon, 1978, 22 min, 16mm from Chicago Filmmakers) For decades, home movies and avant-garde films were jointly denigrated as 'amateur' in the least appealing sense: precious, obscure, endless, and immeasurably handicapped by a lack of professional polish. They were judged as failed attempts at Hollywood-style filmmaking, though their aspirations and implications often could not be more removed. In the 1960s, avant-garde filmmakers like Jonas Mekas and Stan Vanderbeek began reclaiming the epithet of 'home moviemakers,' producing work that challenged the borders of amateur cinema and domesticity itself. In honor of the tenth anniversary of Home Movie Day, we present two programs of avant-garde films that exalt, appropriate, and reshuffle home movies. 10/14 New York: Anthology Film Archives http://www.anthologyfilmarchives.org/ 5, 7 and 9 pm, 32 2nd Avenue TWO YEARS AT SEA See notes for Oct. 12, 7 pm. 10/14 New York: Anthology Film Archives http://www.anthologyfilmarchives.org/ 9:00 pm, 32 2nd Avenue TWO YEARS AT SEA See notes for Oct. 12, 7 pm. 10/14 San Francisco, California: San Francisco Cinematheque http://www.sfcinematheque.org 4 pm, Yerba Buena Center for the Arts, 701 Mission Street (at Third) COULEURS MéCANIQUES: FILMS OF ROSE LOWDER "The most memorable of Lowder's films are experiments in creating distinct visual experiences that, in their reduction of day-long phenomena into brief, precise, intense cinematic moments, sing the potential of an ecological film aesthetic." (Scott MacDonald) Hailing from the south of France, filmmaker, curator and archivist Rose Lowder has created, since 1978, a remarkable body of 16mm films which explore visual perception and the mechanics of the cinematic apparatus while absolutely exploding with ecstatic color and vibrant kineticism. Inspired largely by the rhythms of nature and rural life, Lowder's films joyously celebrate the textures of the natural world with an impassioned, impressionistic eye. This two-part series, presented on the occasion of her first visit to the Bay Area since 1987, represents a brief overview of Lowder's extraordinary body of work, 19782011. Second program to include: Roulement, rouerie, aubage, a study of paddle wheels on the River Sorgue; Rue des Teinturiers a longitudinal exploration of an urban landscape via intricate focus-pulling; Les Coquelicots (Poppies), a fusion of fishing boats and a field of red poppies; Jardin du sel/Salt Garden, a series of six poetic pictures, based on the sun, the wind and the sea, a strangely dark documentation of a sea-salt harvest; Bouquets 11-20, ten tightly structured, intricately woven, single-frame floral flicker films; and Beijing 1988, in which the ancient traditional philosophies and social practices of Chinese culture confront the ideological ambitions of the State. (Steve Polta) 10/14 Seattle, Washington: Seattle Lesbian and Gay Film Festival www.malicamalya.com 4:00, Northwest Film Forum GEORGE & MIKE KUCHAR, NEW YORK: 1960-1970 "CONFESSIONS OF A TEENAGE RUMPOT: The Midnight Movies of George & Mike Kuchar; New York, 1960-1970 curated by Malic Amalya, with Mike Kuchar in attendance This program celebrates the life and work of the Kuchar brothers, their filmmaking legacy, their dazzling low-fi aesthetics, and the decade that launched them from their mother's apartment in the Bronx into the underworld of avant-garde cinema. With 16mm prints preserved by Anthology Film Archives, with support from the Film Foundation and the National Film Preservation Foundation. I WAS A TEENAGE RUMPOT (The Kuchar Brothers, 1960); PUSSY ON A HOT TIN ROOF (The Kuchar Brothers, 1961); SINS OF THE FLESHAPOIDS (Mike Kuchar, 1965); HOLD ME WHILE I'M NAKED (George Kuchar, 1966); ECLIPSE OF THE SUN VIRGIN (George Kuchar, 1967); KNOCTURN (George Kuchar, 1968); with a special screening of Mike Kuchar's SWAN SONG (2009) ------------------------ MONDAY, OCTOBER 15, 2012 ------------------------ 10/15 New York: Anthology Film Archives http://www.anthologyfilmarchives.org/ 7:00 pm, 32 2nd Avenue TWO YEARS AT SEA See notes for Oct. 12, 7 pm. 10/15 Toronto, Ontario, Canada: Early Monthly Segments http://earlymonthlysegments.org/ 8:00pm, Gladstone Hotel, Art Bar | 1214 Queen St West #44 = MONDAY OCTOBER 15, 2012 = HELGA FANDERL IN PERSON! Communing with Joseph Cornell's The Aviary We're pleased to present an evening of films by and with Helga Fanderl inspired by Joseph Cornell's 1955 film The Aviary. Fanderl is an incredibly prolific film artist whose mostly in camera-edited works are beautifully poetic ruminiations on the quotidian; she is currently in Toronto as artist-in-residence at LIFT. "It was a challenge and a new experience to build a programme around Joseph Cornell's and Rudy Burckhardt's film The Aviary, a work that I have loved for a long time. With a selection of my films both Super 8 and 16mm blow-ups on the one hand I want to echo in a freely associative way specific qualities and motives of this fine work, making the beholder feel a mental and poetic affinity, on the other hand to give an insight into my way of filmmaking which is also different. To and fro as it were." - Helga Fanderl German-born filmmaker Helga Fanderl has been making Super-8 films since the mid 1980s. Silent, short, and edited in-camera, her films reflect the lightness and spontaneity of the small-gauge medium and camera. "With the Super-8 camera I can react very quickly: the eye against the viewfinder, the camera close to the body, perceiving and filming simultaneously." Working in both black-and-white and color, the intensive poetic works (none is over three minutes) reveal a surprising and sensitive view of the environment: patterns of flight above tall trees or gray skyscrapers, shimmying leaves and falling green apples, flying baskets full of silver sardines shown in rapid succession. http://helgafanderl.com Helga is also offering a workshop at LIFT during her residency! ------------------------- TUESDAY, OCTOBER 16, 2012 ------------------------- 10/16 Brooklyn, New York: Light Industry http://www.lightindustry.org/ 7:30, 155 Freeman Street JULIE AULT PRESENTS JAMES BENNING'S 11 X 14 11 x 14, James Benning, 16mm, 1976, 83 mins, Introduced by Julie Ault - "When I made 11 x 14, finally I thought I had something to say: I think that's when I really became a filmmaker." - James Benning - One of James Benning's major early works, 11 x 14 grew out of his earlier 8 1/2 x 11 (1974). Exactly a third of the latter film's shots are re-used in 11 x 14, expanding the original set of central characters from three to four, and increasing the interwoven, elliptical storylines from two to three: a young lesbian couple travelling across the Midwest, a married man who may be having an affair, and another man who's hitchhiking while looking for work. Benning's goal, as he puts it, was "to construct a narrative that would destroy a narrative that already existed." The film moves forward through a series of precisely composed single-shot sequences, mostly static and yet sensually rich, interspersed with punctuations of black leader. Each sequence refigures fundamentals of cinematic form, whether playing with sound-image relations, displacing action into offscreen space, or introducing apparent doppelgangers into the cast. - "I wanted to develop, out of their juxtaposition in a particular way, a non-linear reading of the film as a whole, or what I call âspherical space.' I try to introduce various visual or audial motifs which recur in shots widely separated in the film," Benning has said. "By the time the film is finished, it will have been possible to relate shots in a number of different ways. This sort of cross-referencing is what I mean by âspherical space.'" Or, as Benning has offered elsewhere: "Hopefully, the film teaches you how to watch the film." - Tickets - $7, available at door. - Please note: seating is limited. First-come, first-served. Box office opens at 7pm. 10/16 New York: Anthology Film Archives http://www.anthologyfilmarchives.org/ 7 and 9 pm, 32 2nd Avenue TWO YEARS AT SEA See notes for Oct. 12, 7 pm. --------------------------- WEDNESDAY, OCTOBER 17, 2012 --------------------------- 10/17 New York: Anthology Film Archives http://www.anthologyfilmarchives.org/ 7 and 9 pm, 32 2nd Avenue TWO YEARS AT SEA See notes for Oct. 12, 7 pm. 10/17 Philadelphia, Pennsylvania: International House Philadelphia http://ihousephilly.org/events/abendland/ 7:00PM, 3701 Chestnut Street ABENDLAND dir. Nikolaus Geyrhalter, Austria, 2011, 35mm, 90mins, color, German w/ English subtitles ///// Some things can be seen more clearly at night: Abendland, Nikolaus Geyrhalter's new feature film, undertakes a long, associative journey, surveying Europe by night in terms of its many different facets. Pulsating society of service providers and prosperity, bulwark of security and exclusion, urban civilization, hedonistic temple of earthly delights, inspired and weighed down at the same time by its history, traditions and highly developed culture. Night work, obliviousness to the surrounding world, noise and silence, a Babel of languages and translation problems, one's first steps in life, disease, death and desperate attempts to cross borders: All this is revealed by Geyrhalter's camerawork and in Wolfgang Widerhofer's careful editing, which produce an essay film with powerful images about a continent and the principle of the Western world, Abendland. At times, it seems to be on the verge of breathing its last breath. Once in Europa is the title of a 1987 tale by novelist and essayist John Berger which examines the unjustness of being born into certain conditions. A similar motivation may have driven Nikolaus Geyrhalter and the resolute gaze he directs at present-day life in this unjust Europe: a love of humanity that grows stronger through distance. Some things can be seen more clearly at night. -------------------------- THURSDAY, OCTOBER 18, 2012 -------------------------- 10/18 Harrisburg, PA: Moviate Harrisburg 8:00, The Other Room Theatre SEX ED. FILMS ON 16MM FILM! NOT TO BE MISSED (LEARN AND LAUGH!) 8PM, OCT. 18TH. SEX EDUCATION FILMS on 16mm film! (LEARN AND LAUGH!) - EVERYONE NEEDS TO SEE SOME: SEX ED. FILMS! - 16mm film prints too (not a video projection) - "SEX, CHOICES, and YOU" 1988, 17 min. Color, Sound. STARRING ALEXANDRA PAUL (of BAYWATCH fame) - "VENERIAL DISEASE: HIDDEN EPIDEMIC" 1972, color, sound. - "THEN ONE YEAR" 19 min. color, sound. from the study guide: "Can a girl get pregnant if she's not married?" "Do you become pregnant if you pet?" "Are necking and petting bad for the health?" - "RED LIGHT GREEN LIGHT" - "BECAUSE HE MADE ME FEEL IMPORTANT" - "NO MORE SECRETS" - 8pm at The Other Room Theatre, Pine Street, Lancaster - $ donation - always a good time! - Venue/Location: - THE OTHER ROOM THEATRE at F&M, Lancaster 10/18 Los Angeles, California: Echo Park Film Center http://www.echoparkfilmcenter.org/ 8 pm, 1200 N. Alvarado St. (at Sunset) FLORIAN CRAMER PRESENTS WORK FROM WORM.FILMWERKPLAATS $5 / In more than a decade, the film work space at WORM, Rotterdam, The Netherlands, has become one of Europe's leading DIY film labs and production space for non-narrative (and sometimes also narrative) film. It is a vital part of a large international network of DIY labs and micro cinemas. Florian Cramer from Rotterdam has brought along a selection of 8 and 16mm films from WORM.filmwerkplaats and will introduce them to the audience. These films were made with intricate analog laboratory processes and printing techniques. Many of them are lyrical, many of them oscillate between nature and cityscapes, abstract and concrete imagery. In stark contrast, the 45 min. film Ctrl-Alt-Esc from Rotterdam is an adults-only exploitation movie featuring Joep van Lieshout as maniac artist/serial killer Bokito and, most importantly, the building of WORM. 10/18 New York, NY: Filmmakers Co-op 6pm, 253 East Houston St. ANNUAL BENEFIT FOR FILM-MAKERS' COOP OCTOBER 18TH! Displaying Artists Angela McCluskey, Paul Cantelon, Victoria Keddie, Matt Wellins, Hollis Frampton, Barbara Rubin, Standish Lawder, Zach Layton. 10/18 New York: Anthology Film Archives http://www.anthologyfilmarchives.org/ 7:00 pm, 32 2nd Avenue TWO YEARS AT SEA See notes for Oct. 12, 7 pm. 10/18 New York: Anthology Film Archives http://www.anthologyfilmarchives.org/ 9:00 pm, 32 2nd Avenue TWO YEARS AT SEA See notes for Oct. 12, 7 pm. 10/18 San Francisco, California: San Francisco Museum of Modern Art http://www.sfmoma.org 7pm, Phyllis Wattis Theater, SFMOMA SF CINEMATHEQUE SCREENING: "THE LIGHTED FIELD: BEINGS AND RELATIONS" Like the works in the exhibition Field Conditions, the films and videos in this program imagine the cinematic frame as a locus of diffuse and vibrant energy, a ground from which figures may (or may not) emerge. Featuring Len Lye's Free Radicals and Particles in Space; Jodie Mack's Unsubscribe #1: Special Offer Inside and Untitled (for R.); Nathaniel Dorsky's Pneuma; Andrew Noren's Imaginary Light; Semiconductor's 20Hz; and Karl Lemieux's Mamori. $10 general; $7 SFMOMA and San Francisco Cinematheque members, students, and seniors. 10/18 San Francisco, California: San Francisco Cinematheque http://www.sfcinematheque.org 7 PM, San Francisco Museum of Modern Art 151 Third Street (between Mission & Howard Streets) THE LIGHTED FIELD: BEINGS AND RELATIONS SFMOMA's Field Conditions (on view September 1January 6) presents graphic works which, in the words of the exhibition's curator Joseph Becker, "redefine the relationships between figure and ground, [ ] place and non-place, finite and infinite." Similarly, the film/video works in this program imagine the cinematic frame as a locus of diffuse and vibrant energy, as a ground from which figures may (or may not) emerge. Len Lye's Free Radicals and Particles in Space use the simplest of graphic film techniques to enter the third-dimension. Jodie Mack's Unsubscribe #1: Special Offer Inside, flickering and flocking, goes postal on the picture plane while her Untitled (for R.) finds foreground and background playfully (and profoundly) confounded. Nathaniel Dorsky's 1983 film Pneumaa glorious arrangement of color film stocks, unexposed and imagelesscelebrates the cinematic understructure, the material and spiritual essence of the cinematic ground. Finally, Andrew Noren's Imaginary Light, described as "intuitive conjuring and orchestration of retinal phantoms, refined by abstraction into music for light and mind," is an exhilarating and vertiginous plunge into the dematerialized dramas of light and shadow revealed in everyday views. Also screening: 20Hz by Semiconductor, a sculptural visualization of a high atmosphere geo-magnetic storm; and Mamori by Karl Lemieux, a kinetic study of the Amazon rain forest, created in collaboration with composer Francisco López. (Steve Polta) ------------------------ FRIDAY, OCTOBER 19, 2012 ------------------------ 10/19 Kansas City, Missouri: Nelson-Atkins Museum of Art http://www.nelson-atkins.org 7:00 p.m., 4525 Oak Street ELECTROMEDIASCOPE Possible Worlds: Community, Identity and Culture. "El Velador / The Night Watchman," Natalia Almada (Mexico / USA), 2011, 72 min, HD video transferred to DVD, Spanish with English subtitles. This film explores the violence that is pointlessly destroying Mexico, and rescues a sense of humanity from the heart of that violence. "The history of the world has been shaped by climate, war, famine, disease, Diasporas, revolutions, invention, energy and commerce. These influences all continue to contribute to the socio-political and cultural dynamics of change. Several new technological and intellectual developments are affecting the ways that people think about the communities that they are born into as well as those that they choose. The very notion of communities itself is complex with different scales and qualities, including the community of those who do not belong to a community, open permeable communities and closed or static societies where power is achieved through violence, ethnic cleansing and dictatorial or fascist control that maintains the status quo in the face of global change. At a time when the dysfunctional and often horrific dissolution and destruction of communities is becoming more prevalent artists and filmmakers are producing works that document and raise critical questions regarding what, how and if the limits of community that are emerging are relevant in the context of today's global political, economic and social crises." -- Patrick Clancy. This series began on October 12 and will continue on October 26. 10/19 London, England: BFI London Film Festival www.experimentaweekend.org.uk 6:30pm, BFI Southbank, Belvedere Road, SE1 8XT TRAITÉ DE BAVE ET DÉTERNITÉ ON VENOM AND ETERNITY (TRAITÉ DE BAVE ET D'ÉTERNITÉ) (Isidore Isou | France 1951 | 120 min | new print) The first and only film by the founder of the French Lettrist movement begins with a warning: 'Dear spectators, you are about to see a discrepant film. No refunds will be given.' Advocating for the rupture of language and photography, Isou expects the spectator to 'leave the cinema blind, his ears crushed, both torn asunder by the disjunction of word and image'. At the 1951 Cannes Festival, where Traité received its first pubic screening, it won the admiration of Guy Debord and Jean Cocteau, who wondered if it would take 50 years before its radical aesthetics could be understood. The Lettrists believed the development of cinema had been stalled by the domination of the studio system. In order for a new cinema to emerge, it had first to be destroyed symbolically and physically by bleaching and scratching the images, and by replacing soundtracks with abrasive concrete poetry and enraged tirades. (Mark Webber) 10/19 London, England: BFI London Film Festival www.experimentaweekend.org.uk 9pm, BFI Southbank, Belvedere Road, SE1 8XT BREAKING THE FRAME BREAKING THE FRAME (Marielle Nitoslawska | Canada 2012 | 100 min) Breaking the Frame is the first feature-length documentary on Carolee Schneemann, an artist whose pioneering work has transformed discourses on the body, sexuality and gender. In cinema history, she is primarily known for Fuses, an honestly explicit film of lovemaking from a feminine viewpoint shot between 1964-67. For decades, Schneemann has similarly challenged taboos in other media, making paintings, performances, video, collage and installations in which personal experiences are absolutely entwined with formal considerations: 'Form is emotion. I work towards metaphors of sensation, a dramatization of loss and recovery.' Her kinetic performance style, developed while a key member of the Judson Dance Theater, produced pieces such as Meat Joy, Up To And Including Her Limits and Interior Scroll, now regarded as seminal works of live art. In this mesmerising film, which forgoes chronological biography, the artist generously shares her memories and extraordinary personal archive. (Mark Webber) (continued in next email)
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