This week [January 19 - 27, 2013] in avant garde cinema

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MISCELLANEOUS:
==============
Petition for Lawrence Brose
 http://www.hi-beam.net/cgi-bin/ann.pl?type=misc&readfile=126.ann

NEW CALLS FOR ENTRIES:
=====================
CTF - Collective Trauma Film Collections (Cologne, Germany; Deadline: July 01, 
2013)
 http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1528.ann
Flatpack Festival (Birmingham, UK; Deadline: January 18, 2013)
 http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1529.ann
Newport Beach Film Festival (Newport Beach, CA; Deadline: January 18, 2013)
 http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1530.ann
Australian International Experimental Film Festival (Australia; Deadline: 
February 18, 2013)
 http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1531.ann
ANOTHER EXPERIMENT BY WOMEN FILM FESTIVAL (NY NY USA; Deadline: March 01, 2013)
 http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1532.ann
filmarmalade (london, united kingdom; Deadline: April 01, 2013)
 http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1533.ann
Cinethesia Feminist Film Festival (Carbondale, IL, USA; Deadline: February 01, 
2013)
 http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1534.ann
twin rivers media festival (Asheville, NC USA; Deadline: May 06, 2013)
 http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1535.ann

DEADLINES APPROACHING:
======================
Newport Beach Film Festival (Newport Beach, CA; Deadline: January 27, 2013)
 http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1475.ann
ARTErra - Rural Artistic Residencies (Tondela, Portugal; Deadline: February 15, 
2013)
 http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1482.ann
Indie Fest (La Jolla, CA, USA; Deadline: February 08, 2013)
 http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1500.ann
Visions Film Festival and Conference (Wilmington, NC, USA; Deadline: February 
15, 2013)
 http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1514.ann
ARTErra - Rural Artistic Residencies Portugal (Tondela, Portugal; Deadline: 
February 15, 2013)
 http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1515.ann
What the Festival (Alfred, NY, United States; Deadline: February 01, 2013)
 http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1519.ann
Montreal Underground Film Festival (Montreal, QC, Canada; Deadline: February 
15, 2013)
 http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1524.ann
Australian International Experimental Film Festival (Australia; Deadline: 
February 18, 2013)
 http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1531.ann
Cinethesia Feminist Film Festival (Carbondale, IL, USA; Deadline: February 01, 
2013)
 http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1534.ann

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Also available online at Flicker: http://www.hi-beam.net

THIS WEEK'S PROGRAMS (SUMMARY):
==============================
 *  Artsemerson: the World On Stage Presents: Can We Talk [January 19, Boston, 
Massachusetts]
 *  Do the Right Thing [January 19, Boston, Massachusetts]
 *  Nick Zedd Presents the Cinema of Transgression Festival [January 19, 
Brooklyn]
 *  Mother [January 19, New York, New York]
 *  Stuart Sherman 16mm Films [January 19, New York, New York]
 *  Stuart Sherman videos [January 19, New York, New York]
 *  Medicine For Melancholy [January 20, Boston, Massachusetts]
 *  The Art of vision: Two Nights Honoring Stan Brakhage Night One
    (Co-Presented By Redcat, L.A. Filmforum, and the Academy of Motion
    Pictures Arts and Sciences) [January 20, Los Angeles, California]
 *  The Art of vision: Honoring Stan Brakhage [January 20, Los Angeles, 
California]
 *  Rice/Richter/Sharits Program [January 20, New York, New York]
 *  Stuart Sherman Solo Spectacles [January 20, New York, New York]
 *  Stuart Sherman Group Spectacles [January 20, New York, New York]
 *  The Art of vision: Two Nights Honoring Stan Brakhage Night Two
    (Co-Presented By Redcat, L.A. Filmforum, and the Academy of Motion
    Pictures Arts and Sciences) [January 21, Los Angeles, California]
 *  Early Monthly Segments #47 = Jonas Mekas + Lorne Marin [January 21, 
Toronto, Ontario, Canada]
 *  A Third Cinema Vol. I [January 23, Boston, MA]
 *  George Griffin: Show & Tell [January 24, New York, New York]
 *  Boys Don't Cry [January 25, Boston, Massachusetts]
 *  Paris Is Burning  [January 25, Boston, Massachusetts]
 *  Tomboy [January 26, Boston, Massachusetts]
 *  Xxy [January 26, Boston, Massachusetts]
 *  Transamerica [January 26, Boston, Massachusetts]
 *  Fred Halsted's L.A. Plays Itself [January 26, Chicago, Illinois]
 *  Fred Halsted's L.A. Plays Itself [January 27, Chicago, Illinois]
 *  L.A. Filmforum Presents Horendi (Part of Farther Than Far: the Cinema of
    Jean Rouch) [January 27, Los Angeles, California]


Events are sorted by CITY within each DATE.

--------------------------
SATURDAY, JANUARY 19, 2013
--------------------------

1/19
Boston, Massachusetts: ArtsEmerson
http://ArtsEmerson.org
5pm, Bright Family Screening Room at the Paramount Center 

 ARTSEMERSON: THE WORLD ON STAGE PRESENTS: CAN WE TALK
  This impressive documentary offers powerful stories from the 1970s
  busing/desegregation crisis that changed Boston forever. Personal and
  intimate testimonials infuse Can We Talk with their candor and raw
  emotion: a bus driver who delivered children to schools and
  neighborhoods that didn't want them; a resident of the projects whose
  admittedly racist family refused to let her be bused to a school with
  children of color; a parent who got involved in politics by accident
  because of the forces of systemic racism that denied quality of
  education and simple respect. This program features a discussion with
  the Boston Busing Desegregation Project following the screening.

1/19
Boston, Massachusetts: ArtsEmerson
http://ArtsEmerson.org
9pm, Bright Family Screening Room at the Paramount Center 

 DO THE RIGHT THING
  ArtsEmerson: The World On Stage presents: On the hottest day of the
  summer in the Bedford-Stuyvesant area of Brooklyn, a series of small
  misunderstandings in the colorful community eventually explodes into a
  riot ignited by racial politics, prejudice and misinformation. With a
  Korean grocery store, an Italian pizza parlor and a strong
  African-American community as the background, the multi-faceted
  characters perform sometimes startling actions that calls into question
  what exactly the "right thing" is. Considered a masterpiece for director
  Spike Lee, Do the Right Thing is bolstered by the acting talents of Ruby
  Dee, Ossie Davis and Samuel L. Jackson, among others.

1/19
Brooklyn: GlassHouse
http://dotan-perry.com/our-glasshouse-home
9 PM, 246 Union Ave, Brooklyn, NY 11211

 NICK ZEDD PRESENTS THE CINEMA OF TRANSGRESSION FESTIVAL
  Leading figure in the avant-garde cinema and NYC underground scene of
  the 1980's and 1990's, iconic filmmaker, writer, and painter, Nick Zedd
  returns to New York City for a festival dedicated to his work, providing
  New Yorkers with the rare opportunity to meet and experience this body
  of work. In addition to coining the term "Cinema of Transgression" and
  critically framing the work of his contemporaries (as creator of
  Underground Film Bulletin from 1984–90 and writer of the Cinema of
  Transgression manifesto), Zedd is known for his low-budget films,
  paintings, and mid-2000's public television series with Reverend Jen,
  Electric Elf. Among works to be screened: Electra Elf: Hellbound
  Heiresses Electra Elf: Of Lice & Men Electra Elf: Vile Buddies Electra
  Elf: No Plague Like Home Electra Elf: Hollow Be Thy Name NYC/MEXICO The
  Birth of Zerak Paintings: 2009-11 Cockfight

1/19
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
4:00 pm, 32 2nd Avenue

 MOTHER
  by Vsevolod I. Pudovkin In Russian with no subtitles; English synopsis
  available, 1926, 104 min, 35mm, b&w, silent Based on the novel by Maxim
  Gorky. With the simple theme of a working-class mother growing in
  political consciousness through participation in revolutionary activity,
  this film established Pudovkin as one of the major figures of the Soviet
  cinema. A student of Kuleshov and an admirer of Griffith's films, he was
  writing his first book of film theory at the same time he was making
  MOTHER. His expert cutting on movement and his associated editing of
  unrelated scenes to form what he called a "plastic synthesis" are amply
  demonstrated here. Although in direct opposition to Eisenstein's shock
  montage, Pudovkin used a linkage method advanced far beyond Kuleshov's
  theories.

1/19
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
6:30 pm, 32 2nd Avenue

 STUART SHERMAN 16MM FILMS
  See notes for Jan. 18, 7:30 pm. 

1/19
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
8:45 pm, 32 2nd Avenue

 STUART SHERMAN VIDEOS
  PROGRAM 2: VIDEOS This program features all the videos that Sherman
  produced from 1986 onwards. To round out the show we'll be presenting
  special selections from the Stuart Sherman collection at the Fales
  Library & Special Collections, NYU. BERLIN (WEST)/ANDERE RICHTUNGEN
  1986, 6 min GRAY MATTER 1987, 1 min VIDEO WALK 1987, 1 min DON'T HANG UP
  I'M FREEZING 1993, 4 min A GLASS OF FISH 1993, 2 min CHEERS! 1993, 2 min
  BLACK AND WHITE & GRAIN 1993, 1 min THE LEAP 1993, 3 min SON OF SCOTTY
  AND STUART 1993, 5 min BILL RICE'S BEER GARDEN 1994, 5 min ME AND JOE
  1994, 4 min 8 EGGS 1994, 5 min NEWSBREAK 1994, 4 min HOLY BIBLE 1994,
  3.5 min AH CHOO! 1994, 39 sec Total running time: ca. 85 min.

------------------------
SUNDAY, JANUARY 20, 2013
------------------------

1/20
Boston, Massachusetts: ArtsEmerson
http://ArtsEmerson.org
1pm, Bright Family Screening Room at the Paramount Center 

 MEDICINE FOR MELANCHOLY
  ArtsEmerson: The World On Stage presents: Medicine for Melancholy. In
  this internationally acclaimed and award-winning debut feature film by
  director Barry Jenkins, 24 hours in the life of two African-American
  twenty-somethings are shown with distinct humanity, vibrancy and heart.
  What begins as a one-night stand neither truly remember bleeds into a
  day neither of them will forget. Set against the monotone background of
  San Francisco, the couple deals with the racism, gentrification and
  prejudice the city can frequently offer, while experiencing the thrill
  of new love in this modern urban romance. With as much heart as it has
  substance, this independent film was a hit during the 2008 festival
  circuit and became one of the most successful indie-flicks of the year.

1/20
Los Angeles, California: Filmforum
http://www.lafilmforum.org/
5:00 p.m., REDCAT, 631 West 2nd Street

 THE ART OF VISION: TWO NIGHTS HONORING STAN BRAKHAGE NIGHT ONE
 (CO-PRESENTED BY REDCAT, L.A. FILMFORUM, AND THE ACADEMY OF MOTION
 PICTURES ARTS AND SCIENCES)
  Stan Brakhage's (1933-2003) passionate and lifelong devotion to
  filmmaking as a radical, resolutely personal practice still pushes the
  boundaries of cinema as art ten years after his death. In more than 350
  films completed during fifty-one years of uninterrupted activity,
  Brakhage explored cinematic vision as a means of poetic expression and
  used film to create revelations of the physical world. Defying
  traditional film language, Brakhage's distinctive techniques—hand-held
  camera movement, rapid editing, intricate superimpositions, photographic
  abstractions, and painting directly on the film surface—contributed to a
  singular, humanizing sensibility. In celebration of Brakhage's eightieth
  birthday (January 14), the Academy of Motion Picture Arts and Sciences,
  Los Angeles Filmforum, and REDCAT co-present two evenings of major early
  works: The Art of Vision (1961-65, 255 min.), a rare screening with a
  new print of Brakhage's monumental and deeply meditative
  'deconstruction' of Dog Star Man (Jan 20); Early Short Masterworks (Jan
  21), eight films newly restored by the Academy Film Archive, ranging
  from the seminal psychodrama, Reflections on Black (1955) to his
  landmark ode to subjective seeing, Anticipation of the Night (1958).
  Tickets: $10 [members/students $8, CalArts $5] For tickets and more
  information, visit http://www.redcat.org/event/stan-brakhage Screening
  Night One: The Art of Vision, 1961-65, 16mm, color, silent, 255min. (new
  print from the Academy Film Archive; preservation by MoMA) 

1/20
Los Angeles, California: Redcat
http://www.redcat.org/
5:00pm, 631 West 2nd St., Los Angeles, CA 90012

 THE ART OF VISION: HONORING STAN BRAKHAGE
  With a lifelong devotion to filmmaking as a radical and resolutely
  personal practice, Stan Brakhage (1933–2003) completed more than 350
  films that explored cinematic vision as a means of poetic expression and
  pushed the boundaries of cinema as art. Defying traditional film
  language, his distinctive techniques—expressive camera movement,
  intricate editing, subtle superimpositions, photographic abstractions
  and painting directly on the film surface—contributed to a singular,
  humanizing sensibility. Ten years after his death, Brakhage is
  celebrated on the occasion of his 80th birthday with two programs of
  major early works: a rare screening of The Art of Vision (1961–65, 255
  mins.), his monumental and deeply meditative deconstruction of Dog Star
  Man, and a second evening devoted to eight short masterworks newly
  restored by the Academy Film Archive, from the seminal psychodrama
  Reflections on Black (1955), to his landmark ode to subjective seeing,
  Anticipation of the Night (1958).

1/20
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
4:00 pm, 32 2nd Avenue

 RICE/RICHTER/SHARITS PROGRAM
  Ron Rice CHUMLUM (1964, 23 min, 16mm) With Jack Smith, Mario Montez,
  Gerard Malanga. "One of the underground's best and most influential
  films." –Peter Gidal Hans Richter RHYTHMUS 21 (1921, 3 min, 16mm, b&w,
  silent) "Its content is essentially rhythm, the formal vocabulary is
  elemental geometry, and the structural principle is counterpoint of
  contrasting opposites." –Standish Lawder EVERYTHING REVOLVES, EVERYTHING
  TURNS / ALLES DREHT SICH, ALLES BEWEGT SICH (1929, 9 min, 16mm, b&w,
  silent) Paul Sharits N:O:T:H:I:N:G (1968, 36 min, 16mm) Preserved by
  Anthology Film Archives with support from the National Film Preservation
  Foundation. "Based in part on the Tibetan Mandala of the Five Dhyani
  Buddhas/a journey toward the center of pure consciousness (Dharma-Dhatu
  Wisdom)/space and motion generated rather than illustrated/time-color
  energy create virtual shape/in negative time, growth is inverse decay."
  –P.S. "In essence there are only three flicker films of importance,
  ARNULF RAINER, THE FLICKER, and N:O:T:H:I:N:G… In terms of the subject
  we have discussed here, it is Sharits' N:O:T:H:I:N:G that opens the
  field for the structural film with a flicker base." –P. Adams Sitney
  T,O,U,C,H,I,N,G (1969, 12 min, 16mm) Newly preserved print! Starring
  poet David Franks whose voice appears on the soundtrack/an uncutting and
  unscratching mandala. "Merges violence with purity." –P. Adams Sitney
  "Surrealist tour de force." –Parker Tyler Total running time: ca. 90
  min. 

1/20
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
6:00 pm, 32 2nd Avenue

 STUART SHERMAN SOLO SPECTACLES
  Sherman may best be known for his solo SPECTACLE performances, which
  usually took the form of quick-paced interactions with everyday objects
  over a tabletop. He created and performed eighteen SPECTACLES in total,
  twelve of which he performed solo, and six with groups of collaborators.
  A prominent theme of the SPECTACLES was Sherman's playful use of scale,
  either in the amplification of small gestures and details, or the
  miniaturization of theatrical spectacle. All works in this program will
  be projected on video. TENTH SPECTACLE 1978, 30 min Sherman draws from
  his supply of mass-produced objects and site-gags to enact portraits of
  places ranging from Coconut Grove, Florida to Cairo, Egypt. TWELFTH
  SPECTACLE (LANGUAGE) 1980, 32 min Plays with the syntax of common
  objects, using familiar items such as telephones, balloons, and magnets
  to stage rhetorical questions. SELECTIONS FROM THE ELEVENTH SPECTACLE
  (THE EROTIC) AND EIGHTH SPECTACLE (PEOPLE'S FACES) ca.1979, 20 min Total
  running time: ca. 85 min.

1/20
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
8:15 pm, 32 2nd Avenue

 STUART SHERMAN GROUP SPECTACLES
  All works in this program will be projected on video. SECOND SPECTACLE
  1976, 45 min Sherman performs with Stefan Brecht, Richard Foreman, and
  Kate Manheim in a series of choreographed skits. In NAME, each of the
  performers takes turns wearing a top hat and spelling out famous names;
  in PARTY, Manheim sets a table with four plates and noisemakers, then
  methodically blows the noisemakers and trims off their tips with
  scissors before ordering Brecht, Foreman, and Sherman to collect the
  remnants. SEVENTH SPECTACLE 1976, 31 min In this group SPECTACLE, thirty
  performers take turns drawing from a pile of props and creating absurd
  vignettes with their chosen objects. Total running time: ca. 80 min.

------------------------
MONDAY, JANUARY 21, 2013
------------------------

1/21
Los Angeles, California: Filmforum
http://www.lafilmforum.org/
8:30 p.m., REDCAT, 631 West 2nd Street

 THE ART OF VISION: TWO NIGHTS HONORING STAN BRAKHAGE NIGHT TWO
 (CO-PRESENTED BY REDCAT, L.A. FILMFORUM, AND THE ACADEMY OF MOTION
 PICTURES ARTS AND SCIENCES)
  Stan Brakhage's (1933-2003) passionate and lifelong devotion to
  filmmaking as a radical, resolutely personal practice still pushes the
  boundaries of cinema as art ten years after his death. In more than 350
  films completed during fifty-one years of uninterrupted activity,
  Brakhage explored cinematic vision as a means of poetic expression and
  used film to create revelations of the physical world. Defying
  traditional film language, Brakhage's distinctive techniques—hand-held
  camera movement, rapid editing, intricate superimpositions, photographic
  abstractions, and painting directly on the film surface—contributed to a
  singular, humanizing sensibility. In celebration of Brakhage's eightieth
  birthday (January 14), the Academy of Motion Picture Arts and Sciences,
  Los Angeles Filmforum, and REDCAT co-present two evenings of major early
  works: The Art of Vision (1961-65, 255 min.), a rare screening with a
  new print of Brakhage's monumental and deeply meditative
  'deconstruction' of Dog Star Man (Jan 20); Early Short Masterworks (Jan
  21), eight films newly restored by the Academy Film Archive, ranging
  from the seminal psychodrama, Reflections on Black (1955) to his
  landmark ode to subjective seeing, Anticipation of the Night (1958). In
  Person: Curators Steve Anker and Mark Toscano Tickets: $10
  [members/students $8, CalArts $5] For tickets and more information,
  visit http://www.redcat.org/event/stan-brakhage Screening Night Two:
  Reflections on Black (1955, 16mm, b/w, sound, 11min.), The Wonder Ring
  (1955, 16mm, color, sound, 5.5min.), Zone Moment (1956, 16mm, color,
  silent, 3.5min.), Daybreak and White Eye (1957, 16mm, b/w, sound,
  9.5min.), Loving (1957, 16mm, color, silent, 4min.), Sirius Remembered
  (1959, 16mm, color, silent, 10.5min.), The Dead (1960, 16mm, color &
  b/w, silent, 10.5min.), Anticipation of the Night (1958, 16mm, color,
  silent, 40min.) 

1/21
Toronto, Ontario, Canada: Early Monthly Segments
http://earlymonthlysegments.org/
8:00 PM, Gladstone Hotel, 1214 Queen Street West

 EARLY MONTHLY SEGMENTS #47 = JONAS MEKAS + LORNE MARIN
  We toast a new year with a celebration of Jonas Mekas's 90th birthday
  last month and showing a film that documents his early years in New
  York. These "Diaries, Notes and Sketches" open in November, 1949 with
  the Mekas's arrival in Brooklyn. He and his brother Adolfas borrow money
  to buy a Bolex camera and Jonas starts shooting their daily lives. These
  first two reels we're presenting (from a six-reel, 3-hour film titled
  "Lost Lost Lost") frame their first five years after landing, living
  with fellow post-war Lithuanian immigrants and other "displaced persons"
  and their attempts at melding into their new surroundings while holding
  onto hopes for Lithuanian independence. Political meetings and rallies,
  meals, weddings, readings and visits to Long Island are captured and
  narrated with a blunt reflection on Mekas's loneliness and longing to
  both fit in to New York while simultaneously not losing touch with his
  past. "The period I am dealing with in these reels was a period of
  desperation, of attempts to desperately grow roots into the new ground,
  to create new memories…These reels carry the title Lost Lost Lost, the
  title of a film myself and my brother wanted to make in 1949, and it
  indicates the mood we were in, in those years. It describes the mood of
  a Displaced Person who hasn't yet forgotten the native country but
  hasn't gained a new one." -Jonas Mekas We open with a short film from
  1972 by Toronto's Lorne Marin: "When I first conceived "Rhapsody", I saw
  it as a purely formal investigation of the visual effect(s) of creating
  a constant rhythmic series of lap dissolves. My original expectation was
  that by dissolving together overlapping static-camera shots, an illusion
  of movement might occur. After viewing the initial film footage, I
  realized that, apart from the intended formal/structural context, there
  existed in the imagery a rich, detailed portrait of my street and its
  inhabitants." -Lorne Marin Programme: Rhapsody on a Theme From A House
  Movie, Lorne Marin, 1972, 16mm, Canada, 7 min. Diaries, Notes and
  Sketches (Lost Lost Lost, reels 1-2), Jonas Mekas, 1975, 16mm, USA, 60
  min. @ Gladstone Hotel, Art Bar 1214 Queen St West Monday January 21,
  2013 8:00 pm screening $5 suggested donation
  www.earlymonthlysegments.org

---------------------------
WEDNESDAY, JANUARY 23, 2013
---------------------------

1/23
Boston, MA: MassART FILM SOCIETY
http://massartfilmsociety.blogspot.com/
8pm, 621 Huntington Avenue

 A THIRD CINEMA VOL. I
  MASSART FILM SOCIETY presents, A Third Cinema Vol. I - Program: 1976
  – LUGAR SAGRADO (1976 – Sacred Place, directed by
  Carlosmagno Rodrigues & Alonso Pafyeze, Brazil, 2009, 6 min.) -
  Three living beings are kept in the bottom of a pool. Video of physical
  and emotional immersion, where there's no metaphysics, no feelings of
  spirituality, no mysticism- just the torpor of the condition of being
  alive and reluctant. - DROP IN THE DARKNESS. Directed by Carlosmagno
  Rodrigues & Cris Ventura, Brazil, 2011, 7 min.) - A movie about the
  Christian conversion based on the Letters to the Seven Churches, Chapter
  2, Verse 19 of the biblical Book of Revelation, which talks about the
  speeches used for people's conversion. The movie is filmed with vertical
  tracking shots that refer to the Hell archetype. - Permanencias (Ricardo
  Alves Jr, Brazil, 2011, 34min) - From the inside the air is heavier. -
  AHENDU NDE SAPUKAI (I Hear Your Scream, directed by Pablo Lamar,
  Paraguay/Argentina, 2008, 11 min.) - At dawn, a man watches the horizon
  as he stands near his wooden house that dominates the landscape. After a
  few moments, he returns to his simple dwelling and a short while later a
  small funeral procession emerges. The man does not take part in it and
  remains alone, staring into the emptiness before him. - NOCHE ADENTRO (
  Pablo Lamar, 2009, Paraguay/Argentina, 18 min) - The newlyweds have
  already left the party where the guests are still dancing. The bride has
  bled to death and the groom carries the body. He drags her down the
  stairs and along a long corridor until they fall down. At the shore the
  groom gives her away to the river, floating in a boat. - MARTES DE
  CH'ALLA (Tuesday Ch'alla, directed by Carlos Piñeiro,
  Bolivia, 2009, 12 min.) Images and situations linked to a kept belief
  among construction workers who know a way to invoke some kind of
  blessing through a secret ancient ritual. - curated by Juan Daniel F.
  Molero, http://jdmolero.com/ - - MASSART FILM SOCIETY,
  http://massartfilmsociety.blogspot.com/ - Programmed by Saul Levine,
  FILM SOCIETY 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. - Enter to MASSART through the South
  Building, Admissions on Huntington Ave. FILM SOCIETY shows are held in
  Screening Rm 1 in East Hall in the FILM Department. Suggested donation
  is $4 at the door and free to MassArt community with their ID. Donations
  are used to give visiting artist something for their expenses of coming
  to show their work.

--------------------------
THURSDAY, JANUARY 24, 2013
--------------------------

1/24
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
7:30 pm, 32 2nd Avenue

 GEORGE GRIFFIN: SHOW & TELL
  For more than 40 years, George Griffin has explored the capabilities and
  potentialities of animation as an art form, through his own film work,
  his abundant writings for journals such as Cartoons and EnterText, and
  through his teaching at Harvard, Pratt, Parsons, and elsewhere. Starting
  out as an apprentice in commercial animation studios, Griffin has
  remained active in that realm, contributing to television programs
  including the Great Performances adaptation of Stravinsky's L'HISTOIRE
  DU SOLDAT and producing commissioned animation and public service spots
  at his studio, Metropolis Graphics. Griffin was drawn to animation,
  though, through his devotion to independent filmmakers such as Robert
  Breer, Stan Vanderbeek, and John Hubley, and in the tradition of their
  work he has produced over 30 personal films that are irreverent,
  playful, and vibrant, yet also self-reflexive, both personally and
  cinematically. Using imagery familiar from commercial animation, Griffin
  invests it with a formal sophistication and a depth of feeling rarely
  found in such films. This program will feature a selection of works from
  throughout Griffin's career – delightful, affecting, and astonishingly
  inventive, these are all-too-rarely-seen gems! HEAD (1975, 10.5 min,
  16mm) VIEWMASTER (1976, 3.5 min, 16mm) FLYING FUR (1981, 7 min, 16mm)
  KO-KO (1988, 3 min, video) NEW FANGLED (1990, 2 min, video) A LITTLE
  ROUTINE (1994, 7 min, video) IT PAINS ME TO SAY THIS (2006, 10 min,
  video) MACDOWELL: A USER'S MANUAL (2007, 14 min, video) THE BATHER
  (2008, 3 min, video) YOU'RE OUTA HERE (2009, 3 min, video) FLYING FUR
  FRAGMENTS (2012, 6.5 min, video) Total running time: ca. 80 min.

------------------------
FRIDAY, JANUARY 25, 2013
------------------------

1/25
Boston, Massachusetts: ArtsEmerson
http://ArtsEmerson.org
6pm, Bright Family Screening Room at the Paramount Center 

 BOYS DON'T CRY
  ArtsEmerson: The World On Stage presents: Boys DOn't Cry. Based on
  actual events, Boys Don't Cry looks at the life of a young man named
  Brandon Teena. He is popular with the guys and easily charms the girls.
  But Brandon's popularity is shattered when it is discovered that he was
  actually born female and preferred living life as a male—a realization
  that brings about tragic results for Brandon and his community. With
  this sweeping, controversial film, Hilary Swank delivers the Academy
  Award-winning performance that made her career and challenged the nation
  to examine its views on gender roles and sexuality.

1/25
Boston, Massachusetts: ArtsEmerson
http://ArtsEmerson.org
9pm, Bright Family Screening Room at the Paramount Center 

 PARIS IS BURNING 
  ArtsEmerson: The World On Stage presents: Paris is Burning. In this
  unflinching documentary, the fashion-obsessed originators of New York
  City's famous "drag balls" are interviewed and intimately examined to
  paint a portrait of the niche phenomenon. The history of these
  outlandish evenings of gaudiness, cross-dressing and overall pride
  proves to be a fascinating one—as the community learns to harness the
  bawdy celebration with terms of personal expression and identity
  exploration. The allure of high fashion, status and wealth tempts and
  entices members of this eccentric grouping, challenging their
  expressions not only of themselves, but also of their love.

--------------------------
SATURDAY, JANUARY 26, 2013
--------------------------

1/26
Boston, Massachusetts: ArtsEmerson
http://ArtsEmerson.org
1pm, Bright Family Screening Room at the Paramount Center 

 TOMBOY
  ArtsEmerson: The World On Stage presents: Tomboy. A family moves into a
  new neighborhood on the outskirts of Paris. One of the daughters,
  10-year-old Laure, goes to play with the other kids and is immediately
  mistaken for a boy. Rather than correcting them, she decides to present
  herself as the male Mikael. With her short hair and plain exterior, the
  community immediately accepts that Laure is a boy, even prompting one of
  the young girls to fall in love with "him," and soon she cannot turn
  back from the identity she has presented. Director Céline Sciamma, in
  her second feature film, presents a fascinating look at gender
  performance in those too young to comprehend it.

1/26
Boston, Massachusetts: ArtsEmerson
http://ArtsEmerson.org
6pm, Bright Family Screening Room at the Paramount Center 

 XXY
  ArtsEmerson: The World On Stage presents: XXY. Things get complicated
  for 15 year-old Alex, who was born as an inter-sexed child—something her
  parents never really dealt with. When a friend of the family comes to
  visit with a doctor and his son, it is revealed that Alex's father
  intended for the doctor to operate on her. Instead, Alex begins to fall
  in love with the doctor's son…but what will happen when he discovers she
  is a hermaphrodite? Acclaimed Argentinean director Lucia Puenzo makes a
  brilliant feature film debut in this multi-layered, raw, and tender
  coming-of-age tale, complicated by gender confusion. Winner of the Grand
  Prix at the 2008 Cannes Film Festival and nominated for an Academy Award
  for Best Foreign Language Film.

1/26
Boston, Massachusetts: ArtsEmerson
http://ArtsEmerson.org
9pm, Bright Family Screening Room at the Paramount Center 

 TRANSAMERICA
  ArtsEmerson: The World On Stage presents: Transamerica. Felicity Huffman
  delivers a Golden Globe-winning performance as Bree Osbourne, a
  conservative transsexual woman who has been scheduled for the official
  male-to-female surgery. Before she can get there, however, she receives
  a call from Toby, a 17-year-old boy looking for his father. Bree
  disguises herself as a Christian social worker and goes to bail Toby out
  of jail in New York and take him back to Los Angeles. Along the way,
  however, Bree must decide what information to divulge to her son, and
  what situation would be the best for both of them. This twist on the
  traditional family drama looks at the expectations we place on each
  other and the bonds that extend beyond gender.

1/26
Chicago, Illinois: White Light Cinema
http://www.whitelightcinema.com
8:00pm, The Nightingale (1084 N. Milwaukee Ave.)

 FRED HALSTED’S L.A. PLAYS ITSELF
  1970's Gay Experimental-Porn Classic in an Ultra-Rare Version ***** New
  High Definition Transfer of the Complete Uncut Film! ***** Two
  Screenings! (January 26 and 27) ***** Saturday, January 26 – 8:00pm, At
  The Nightingale (1084 N. Milwaukee Ave.), Co-Presented by The
  Nightingale ***** L.A. PLAYS ITSELF (1972, 51 min, New High Definition
  Transfer of 16mm) by Fred Halsted ***** "Fred Halsted clearly is the Ken
  Russell of S&M homoerotica." (Variety) ***** "This film breaks all the
  stereotypes! I recommend it for all audiences." (William S. Burroughs)
  ***** "New information for me…" (Salvador Dali) ***** White Light Cinema
  is pleased to begin its fifth year with a very rare presentation of a
  new high definition transfer of the complete and uncut version of Fred
  Halsted's famed and infamous 1972 gay porn film L.A. PLAYS ITSELF.
  Although a part of the permanent film collection at the Museum of Modern
  Art in New York, this rare version has never been released on home video
  and has been screened publicly less than half a dozen times in the past
  30 years. The film was released at a rarified time in the history of
  x-rated cinema. Pornographic films had only been legal to screen
  publicly for a couple of years and both gay and straight variants had
  been looking to "legitimize" themselves through consciousness artistic
  flourishes. Wakefield Poole's Boys in the Sand (1971) and Bijou (1972)
  led the way for gay adult films and Gerard Damiano's Deep Throat (1972)
  exemplified the short-lived "porno chic" era in heterosexual porn that
  L.A. Plays Itself attempted to capitalize on, though Halsted's film was
  conceived of and in production well before any of them. Halsted hired a
  publicist for the film, held VIP advance screenings, and had remarkable
  success for a low-budget, gritty, and very graphic gay porn film. It was
  even screened at the Museum of Modern Art in 1974. Part of the success
  of the film, and part of its controversy, is Halsted's unflinching
  portrait of the leather and S&M scene in Los Angeles in the second half
  of the film. But, like the Poole films and the straight porno chic
  straight films of the time, the film also had artistic ambitions. The
  first half is a lyrical ode to lesser-seen sections of Halsted's beloved
  Los Angeles and the surrounding "countryside," which was rapidly
  disappearing to development. The film can be viewed almost as a
  city-symphony of sorts, a film of landscape and cityscape, a film
  heralding some changes and lamenting others. Throughout, it is also a
  film that plays with form—experimenting with structure, editing, and
  sound in particular. While Halsted was not a trained filmmaker and the
  film has a definite roughness, it is a roughness that amplifies its
  themes and content, that functions like a queer art brut rather than
  simply as poor craftsmanship. Hasted was too smart for that. He knew his
  limitations and worked with them. ***** "In 1972 Fred Halsted
  released--perhaps unleashed is more apt--his hardcore gay S&M porn film
  L.A. Plays Itself, a pioneering work of the genre and one that
  surprisingly crossed over to achieve some mainstream attention and
  acclaim for its aesthetic vision (it even screened at the Museum of
  Modern Art). … While L.A. is still known and discussed among scholars
  and cinephiles, it is virtually impossible to see, apart from bootlegs
  of an out-of-print and incomplete VHS release. For most people, it
  resides in distant memory or speculative imagination." (Patrick Friel,
  Afterimage) ***** "One of the only gay porn films acquired by the Museum
  of Modern Art's permanent collection, Fred Halsted's L.A. PLAYS ITSELF
  marked a special moment in early gay liberation, arriving before the
  commercial porn industry eliminated traces of the avant-garde from its
  films. But make no mistake - the film is hardcore - featuring hot and
  heavy graphic S&M sex scenes. Halsted stars as a rough loner in a fast
  car, driving through Los Angeles stopping along the way to hook up with
  hot hustlers, rough trade and sexy studs. At one New York screening,
  Salvador Dali left the theater muttering 'new information for me.'"
  (Outfest) ***** "Born in Long Beach in 1941 and raised all over the
  state of California, Fred Halsted rarely left his adopted city of Los
  Angeles. Capturing the city as few other films could, L.A. Plays Itself
  (1972), Halsted's first film, has come to be regarded as a classic
  within the genre of gay porn. Its images of beautiful young men in
  sylvan Malibu Canyon and boy hustlers on the mean streets of Hollywood
  gained for Halsted the kind of celebrity than simply isn't possible
  today. Fred Halsted never held a regular job; he didn't teach; he had no
  gallery representation; he had no agent; he didn't shoot commercials or
  advertising campaigns; he didn't even have a social security number. He
  made films and performed in them, published a magazine (Package), ran a
  sex club (Halsted's), and became a legendary sex radical and
  provocateur." (Light Industry) ***** 2K transfer created by Joe Rubin of
  www.processblue.tv. ***** Admission: $7-10 sliding scale 

------------------------
SUNDAY, JANUARY 27, 2013
------------------------

1/27
Chicago, Illinois: White Light Cinema
http://www.whitelightcinema.com
7:00pm, Chicago Filmmakers (5243 N. Clark St.)

 FRED HALSTED’S L.A. PLAYS ITSELF
  1970's Gay Experimental-Porn Classic in an Ultra-Rare Version ***** New
  High Definition Transfer of the Complete Uncut Film! ***** Two
  Screenings! (January 26 and 27) ***** Sunday, January 27 – 7:00pm, At
  Chicago Filmmakers (5243 N. Clark St.) ***** L.A. PLAYS ITSELF (1972, 51
  min, New High Definition Transfer of 16mm) by Fred Halsted ***** "Fred
  Halsted clearly is the Ken Russell of S&M homoerotica." (Variety) *****
  "This film breaks all the stereotypes! I recommend it for all
  audiences." (William S. Burroughs) ***** "New information for me…"
  (Salvador Dali) ***** White Light Cinema is pleased to begin its fifth
  year with a very rare presentation of a new high definition transfer of
  the complete and uncut version of Fred Halsted's famed and infamous 1972
  gay porn film L.A. PLAYS ITSELF. Although a part of the permanent film
  collection at the Museum of Modern Art in New York, this rare version
  has never been released on home video and has been screened publicly
  less than half a dozen times in the past 30 years. The film was released
  at a rarified time in the history of x-rated cinema. Pornographic films
  had only been legal to screen publicly for a couple of years and both
  gay and straight variants had been looking to "legitimize" themselves
  through consciousness artistic flourishes. Wakefield Poole's Boys in the
  Sand (1971) and Bijou (1972) led the way for gay adult films and Gerard
  Damiano's Deep Throat (1972) exemplified the short-lived "porno chic"
  era in heterosexual porn that L.A. Plays Itself attempted to capitalize
  on, though Halsted's film was conceived of and in production well before
  any of them. Halsted hired a publicist for the film, held VIP advance
  screenings, and had remarkable success for a low-budget, gritty, and
  very graphic gay porn film. It was even screened at the Museum of Modern
  Art in 1974. Part of the success of the film, and part of its
  controversy, is Halsted's unflinching portrait of the leather and S&M
  scene in Los Angeles in the second half of the film. But, like the Poole
  films and the straight porno chic straight films of the time, the film
  also had artistic ambitions. The first half is a lyrical ode to
  lesser-seen sections of Halsted's beloved Los Angeles and the
  surrounding "countryside," which was rapidly disappearing to
  development. The film can be viewed almost as a city-symphony of sorts,
  a film of landscape and cityscape, a film heralding some changes and
  lamenting others. Throughout, it is also a film that plays with
  form—experimenting with structure, editing, and sound in particular.
  While Halsted was not a trained filmmaker and the film has a definite
  roughness, it is a roughness that amplifies its themes and content, that
  functions like a queer art brut rather than simply as poor
  craftsmanship. Hasted was too smart for that. He knew his limitations
  and worked with them. ***** "In 1972 Fred Halsted released--perhaps
  unleashed is more apt--his hardcore gay S&M porn film L.A. Plays Itself,
  a pioneering work of the genre and one that surprisingly crossed over to
  achieve some mainstream attention and acclaim for its aesthetic vision
  (it even screened at the Museum of Modern Art). … While L.A. is still
  known and discussed among scholars and cinephiles, it is virtually
  impossible to see, apart from bootlegs of an out-of-print and incomplete
  VHS release. For most people, it resides in distant memory or
  speculative imagination." (Patrick Friel, Afterimage) ***** "One of the
  only gay porn films acquired by the Museum of Modern Art's permanent
  collection, Fred Halsted's L.A. PLAYS ITSELF marked a special moment in
  early gay liberation, arriving before the commercial porn industry
  eliminated traces of the avant-garde from its films. But make no mistake
  - the film is hardcore - featuring hot and heavy graphic S&M sex scenes.
  Halsted stars as a rough loner in a fast car, driving through Los
  Angeles stopping along the way to hook up with hot hustlers, rough trade
  and sexy studs. At one New York screening, Salvador Dali left the
  theater muttering 'new information for me.'" (Outfest) ***** "Born in
  Long Beach in 1941 and raised all over the state of California, Fred
  Halsted rarely left his adopted city of Los Angeles. Capturing the city
  as few other films could, L.A. Plays Itself (1972), Halsted's first
  film, has come to be regarded as a classic within the genre of gay porn.
  Its images of beautiful young men in sylvan Malibu Canyon and boy
  hustlers on the mean streets of Hollywood gained for Halsted the kind of
  celebrity than simply isn't possible today. Fred Halsted never held a
  regular job; he didn't teach; he had no gallery representation; he had
  no agent; he didn't shoot commercials or advertising campaigns; he
  didn't even have a social security number. He made films and performed
  in them, published a magazine (Package), ran a sex club (Halsted's), and
  became a legendary sex radical and provocateur." (Light Industry) *****
  2K transfer created by Joe Rubin of www.processblue.tv. ***** Admission:
  $7-10 sliding scale

1/27
Los Angeles, California: Filmforum
http://www.lafilmforum.org/
7:30pm (box office opens 6:30, doors open 7), Spielberg Theatre at the 
Egyptian, 6712 Hollywood Blvd.

 L.A. FILMFORUM PRESENTS HORENDI (PART OF FARTHER THAN FAR: THE CINEMA OF
 JEAN ROUCH)
  With Nancy Lutkehas, Michael Renov, and Olivia Wyatt in person! A
  seminal figure of both film art and social science, Jean Rouch
  (1917-2004) represents a fountainhead of many aspects. A filmmaker who
  came to cinema gradually, Rouch had been a civil engineer in colonial
  Niger, where his observation of possession rituals formed the basis of
  his interest in anthropology. Formally trained to gather visual
  evidence, he evolved radically new approaches to documentary practice in
  Africa over many decades. Among these, one finds the assumption of
  scientific neutrality replaced by the possibility of fruitful and
  revealing stimulations in the acknowledgement of the camera, and the
  possibility of cinema as participating in and subject to trance states.
  Such affronts to received Western notions opened still-ongoing debates
  within anthropological circles. Rouch's interest in the ontology of
  cinema led to experiments that proved hugely influential in his native
  France and worldwide, as in his most famous work Chronique d'un Été
  (1961), co-directed with Edgar Morin, now regarded as a foundation
  document of cinema verité and a cornerstone of the French New Wave.
  Rouch's continuing work in post-colonial Africa evolved collaborative
  filmmaking approaches with colleagues including Damouré Zika and Oumarou
  Ganda, creating proto-fictional modes only partly distinct from
  documentary practice, and opening up the distinction of "ethno-fiction."
  This series samples but a fraction of Rouch's vast cinematic output, and
  celebrates his unique contributions to human understanding. – Shannon
  Kelley Tickets: $10 general, $6 students/seniors; free for Filmforum
  members. Available by credit card in advance from Brown Paper Tickets at
  or by cash or check at the door. Additional programs in this series will
  take place at the UCLA Film & Television Archive and REDCAT, beginning
  January 25th at UCLA. Visit
  http://www.cinema.ucla.edu/events/2013-01-25/farther-far-cinema-jean-rou
  ch and www.redcat.org respectively, for information on these programs.
  Horendi by Jean Rouch and Gilbert Rouget (1972, 16mm, 68 min) Horendi
  treats the relationship between music, ceremony, and dance. HORENDI
  focuses on what ethnographer Luc de Heusch has called an "endorcism", a
  ceremony in which Songhai women learn not how to cast off spirits, but
  how to host them through ritualized dance.


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