This week [January 26 - February 3, 2013] 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 CALLS FOR ENTRIES: ===================== 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 West Virginia Mountaineer Short Film Festival (Morgantown, WV, USA; Deadline: February 25, 2013) http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1536.ann ArtUP! | Exhibition PARABOLE (Bulgaria; Deadline: March 15, 2013) http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1537.ann Philadelphia Short Film Night (Philadelphia, PA, USA; Deadline: February 10, 2013) http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1538.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 Accolade Competition (La Jolla, CA, USA; Deadline: March 01, 2013) http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1501.ann Magmart | video under volcano (Naples, Italy; Deadline: February 28, 2013) http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1506.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 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 West Virginia Mountaineer Short Film Festival (morgantown, WV, USA; Deadline: February 25, 2013) http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1525.ann ANIMATOR - International Festival of Animated Film (Poland; Deadline: March 01, 2013) http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1527.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 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 West Virginia Mountaineer Short Film Festival (Morgantown, WV, USA; Deadline: February 25, 2013) http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1536.ann Philadelphia Short Film Night (Philadelphia, PA, USA; Deadline: February 10, 2013) http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1538.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): ============================== * 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] * Frame 1 City, Country, Dwelling, Travelling [January 27, Cambridge, UK] * 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] * Richard Kern's the Bitches + Abram Room's Bed and Sofa [January 29, Brooklyn, NY] * Sight Unseen Presents: Ten Ways of Doing Time [January 30, Baltimore] * 3 Shorts By Chris Kraus [January 30, New York, NY] * Reception and Artist Talk: Jud Yalkut "Visions & Sur-Realities" [January 31, Dayton, Ohio] * Hanoi Rocks [January 31, Los Angeles, California] * Peggy Ahwesh & Joe Gibbons [January 31, New York, New York] * Los Olvidados [February 1, Boston, Massachusetts] * The Music Room [February 1, Boston, Massachusetts] * This Orientation - An Exhibition By Riccardo Iacono - 2.-17. February 2013 [February 1, London, England] * Collin Mckelvey / Paul Clipson [February 1, Los Angeles, California] * Fanny and Alexander [February 2, Boston, Massachusetts] * In the Mood For Love [February 2, Boston, Massachusetts] * Blue Velvet [February 2, Boston, Massachusetts] * Landscape Dissolves: Films By Paul Clipson [February 2, Los Angeles, California] * Landscape Dissolves: Films of Paul Clipson [February 2, Los Angeles, California] * Syndromes and A Century [February 3, Boston, Massachusetts] * L.A. Filmforum Presents the 50th Ann Arbor Film Festival Traveling Tour New 16mm Films! [February 3, Los Angeles, California] Events are sorted by CITY within each DATE. -------------------------- 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 childsomething 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 HALSTEDS 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 formexperimenting 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 Cambridge, UK: Frame 3pm, Keynes Hall, King's College, Cambridge FRAME 1 CITY, COUNTRY, DWELLING, TRAVELLING Frame. An informal series of artist and independent film events curated by Becca Voelcker. Two afternoons of film screenings, talks and discussions. Keynes Hall, King's College, University of Cambridge, CB2 1ST. Events are free and there is no need to book. Event 1: 3-4pm Sunday 27th January. City, Country, Dwelling, Travelling. films: London (Patrick Keiller) 1994 extracts. Portrait of Ga (Margaret Tait) 1955 7 min. Jaunt (Andrew Kotting) 1995 6 min. Bogman Palmjaguar (Luke Fowler) 2007 30 min. Event 2: 3-4/4.30pm Sunday 24th February. Looking, Caring. speakers: JENNY CHAMARETTE, Queen Mary, University of London. GARETH EVANS, Whitechapel Gallery, London. films: Block (Emily Richardson) 2005 12 min. We Saw (Peter Todd) 2009 4 min. Aerial (Margaret Tait) 1974 4 min. Sleep Furiously (Gideon Koppel) 2008 extracts. George (Luke Fowler) 2008 4 min. 1/27 Chicago, Illinois: White Light Cinema http://www.whitelightcinema.com 7:00pm, Chicago Filmmakers (5243 N. Clark St.) FRED HALSTEDS 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 formexperimenting 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. ------------------------- TUESDAY, JANUARY 29, 2013 ------------------------- 1/29 Brooklyn, NY: Light Industry http://www.lightindustry.org/ 6:30, 155 Freeman Street, Brooklyn RICHARD KERN'S THE BITCHES + ABRAM ROOM'S BED AND SOFA The Bitches, Richard Kern, Super-8 on BluRay, 1992, 9 mins - Bed and Sofa, Abram Room, 16mm, 1926, 80 mins - Abram Room, a young Soviet director who had previously worked under Vsevolod Meyerhold, published a brief manifesto in 1925 arguing against the straightforward importation of theatrical aesthetics into the new art of cinema. "Cinema is pre-eminently realism, life, the everyday, objectivity, properly motivated behavior, rational gesture," Room wrote. "If we had to characterize theater and cinema in simple terms we should have to say: theater is âseeming' whereas cinema is âbeing.'" Room soon produced a cluster of films that sought to bring a deeper psychological veracity to cinema. The most remarkable of these is Bed and Sofa, a tale of a menage à trois between a woman and two men, co-written with Viktor Shklovsky. - "This almost legendary âlost' masterpiece of the Soviet cinema, hampered by its subject matter, has suffered from even more restricted circulation than other Russian films," Amos Vogel observed in Film as a Subversive Art. "A masterpiece of psychological realism, its sexual triangle (caused by the post-revolutionary housing shortage) involved husband and lover changing places on bed and sofa, until the pregnant woman, tired of male chauvinism, decides to leave them both. The film is unique in its emphasis on the individual rather than class and its portrayal of unconventional sexual mores in early Soviet Russia\; it reflects, in its anti-puritanical humanism, the atmosphere of the early revolutionary days far more accurately than some of the large-scale propagandist works of the period." - Bed and Sofa is shown with Richard Kern's The Bitches, which likewise concerns an erotic triangulation, this time between two women and a man. Whereas Room's Bed and Sofa marks a time when cinema was first ascendant as the primary visual medium through which modern sexuality would be conceived, Kern's Super-8 work can be seen as one of the endpoints of film's hold on the erotic imagination, just prior to its displacement onto the internet. The Bitches, shot non-sync, channels the somatic vocabulary of silent cinema, almost atavistically. But unlike Bed and Sofa, which is centrally concerned with internalized psychology, The Bitches presents sex as a fantasy of externalities, a multi-act play that unfolds through the choreographed revelation of costumes and props. - Tickets - $7, available at door. - Please note: seating is limited. First-come, first-served. Box office opens at 7pm. --------------------------- WEDNESDAY, JANUARY 30, 2013 --------------------------- 1/30 Baltimore: Sight Unseen http://www.sightunseenbaltimore.com/ 7:00pm, Maryland Institute College of Art Graduate Studio Center Auditorium, 131 W. North Ave, Room 115A SIGHT UNSEEN PRESENTS: TEN WAYS OF DOING TIME Doors @6:30pm | Screening @7pm | $5 | Laura Parnes & James Fotopolous will be in attendance for a Q&A following the film. In James Fotopoulos and Laura Parnes' "Ten Ways of Doing Time" (2012 premiere at NY MoMA PS1), prison drama and science fiction motifs are fused to create an experimental narrative where scientists research on prisoners attempting to create psychotic warriors for the army. This sprawling chapter-based project, both irreverent and outrageous, begins with a formally based structure and then explodes into controlled states of anarchy. Prison life unfolds through a series of vignettes where the prisoners are forced to submit to the rules of life in captivity. Often these rules are immediately contradicted. Central characters such as the prisoner, guard, female scientist and witness are performed by actors playing multiple roles. This device is used in both Fotopoulos and Parnes' past work and is employed to emphasize the iconic nature of the characters while exploring issues of gender and authorship. The highly stylized dialogue shifts back and forth from prison genre-influenced slang to that of a psychotic romance novel. Deploying visual and verbal quotations ranging from The Stanford Prison Experiment (1971), Titicut Follies (1967), Rousseau, Ghostbusters (1984) and soft-core porn - Ten Ways of Doing Time presents a highly charged world of psychosexual drama and sublimated violence. For more information on the film, artists, and film series, visit http://www.sightunseenbaltimore.com/ 1/30 New York, NY: Filmmakers Co-op 7:30, 475 Park Avenue South, 6th Floor 3 SHORTS BY CHRIS KRAUS WEDNESDAY January 30th, 2013, 7:30PM at the Film-Makers' Cooperative - $10 Suggested, Pizza and refreshments provided! (Thanks to Two Boots Pizza!) - PLEASE SHOW UP EARLY TO GET A SEAT!!! - 3 Short Films by Chris Kraus - THE GOLDEN BOWL OR REPRESSION (1984-88) 12 min. - Inspired partly by the Henry James' novel. Empty rooms, well kept gardens. Noted by photographer Nan Goldin for its dissection of "romance, mystification and the inability to connect." - HOW TO SHOOT A CRIME (1987) 28 min. "How to Shoot a Crime was about gentrification, urban rootlessness, and the possibility that the only way of memorializing the anonymous thread of a city is through crime scene investigation." -CK - FOOLPROOF ILLUSION (1988) 18 min. - Musings on Antonin Artaud from a feminist point of view. Poet David Rattray reads from his translations of Artaud. Chris Kraus in disguise tells a disturbing story while building something in the snow. Also stars Suzan Cooper as an Artaud clone. ⦠- "My personal narrative interests me very little\; I would rather the films be perceived as powerful objects in their own right. For example, How to Shoot a Crime was a very aggressive, polemical, and passionate movie, and I would hope that it's viewed in the spirit that it was made. A film is meant to be something provocative, something hurled into the culture. And I feel that the films get defanged when they're subsumed into the personal narrative of the artist. I hate that." -CK - Chris Kraus is a Los Angeles based writer and professor of writing at the European Graduate School and UC San Diego. Raised in New Zealand, Kraus moved to New York in 1978 and became active in the downtown scene as a filmmaker, video artist, actress and performance artist. She continued to make films into the â90s. She published her first book, I Love Dick, in 1997 and has become best known for her publications which also include Aliens & Anorexia (2000), Video Green: Los Angeles Art and the Triumph of Nothingness (2004), Torpor (2006), David Wojnarowicz: A Definitive History of Five or Six Years on the Lower East Side (2006), Where Art Belongs (2011) and her recently published novel Summer of Hate (2012). She was co-editor of Hatred of Capitalism: A Semiotext(e) Reader (2001). She has worked with American independent publisher Semiotext(e) since the 1980s, and created their Native Agents series, publishing the works of Kathy Acker, Eileen Myles, Lynne Tillman, David Rattray, Barbara Barg, Cookie Mueller, Michelle Tea, Ann Rower and more recently Penny Arcade and Gary Indiana. - Curated by Katie Bradshaw, Special thanks to Chris Kraus! - Funding in part from the New York State Council on the Arts and the New York Department of Cultural Affairs. -------------------------- THURSDAY, JANUARY 31, 2013 -------------------------- 1/31 Dayton, Ohio: The University of Dayton, Ohio http://www.udayton.edu/news 5-7 PM, Gallery 249, University of Dayton Art Department RECEPTION AND ARTIST TALK: JUD YALKUT "VISIONS & SUR-REALITIES" Opening of a retrospective exhibition of media and graphic works by film/video artist Jud Yalkut, with the video projection installation "Vision Cantos", "Light Display: Color", and collages from the "Video Dada" series, all at the Gallery 249. A second component, "Movie Machines and Holograms" appears in Studio D at ArtStreet on Kefauver Street; followed by the February 4th opening of collages by Jud Yalkut in the Roesch Library on campus. Exhibition continues through March 7th. 1/31 Los Angeles, California: Echo Park Film Center http://www.echoparkfilmcenter.org/ 8 pm, 1200 N. Alvarado St HANOI ROCKS $5 / Join EPFC Staff members Lisa Marr and Paolo Davanzo for their triumphant and joyous return from 6 weeks in Vietnam teaching, making work, and sharing the cinematic revolution with their brothers and sisters in Hanoi. On this special night they will screen new work made overseas including the 3rd and newest installment of the SOUND WE SEE series - A HANOI CITY SYMPHONY on SUPER 8! They will also screen a series of Vietnamese documentaries created by our sister organization in Vietnam HANOI DOCLAB. If that is not enough they will sing you a song or two and share photos of their adventure overseas. They may be jet-lagged and punch drunk but they will be ready to deliver the goods. 1/31 New York, New York: Anthology Film Archives http://www.anthologyfilmarchives.org/ 7:30 pm, 32 2nd Avenue PEGGY AHWESH & JOE GIBBONS The most recent edition of the Views from the Avant-Garde section of the New York Film Festival featured the premiere of newly preserved works by two of contemporary experimental cinema's most revered artists, Peggy Ahwesh and Joe Gibbons. Pioneers of small-gauge filmmaking since the 1970s, Ahwesh and Gibbons are both superior storytellers who don't necessarily rely on actors or scripts to tell their inquisitive tales. The filmmakers are longtime friends, and their works have a certain sympathetic resonance. Blown-up to 16mm from Super 8, these crucial pieces have never looked or sounded better. Seen today, the films are as surprising, thoughtful, and darkly funny as they were back in the day. All films in this program were preserved by Bard College with support from the National Film Preservation Foundation. Preservation undertaken by BB Optics. Thanks to Peggy Ahwesh, Joe Gibbons, and Vanessa Haroutunian. Peggy Ahwesh MARTINA'S PLAYHOUSE 1989, 20 min, Super 8mm-to-16mm blow-up. "In MARTINA'S PLAYHOUSE everything is up for grabs. The little girl of the title oscillates from narrator to reader to performer and from the role of baby to that of mother. While the roles she adopts may be learned, they are not set, and she moves easily between them. Similarly, in Ahwesh's playhouse of encounters with friends, objects aren't merely objects but shift between layers of meaning. Men are conspicuously absent, a 'lack' reversing the Lacanian/Freudian constructions of women as Ahwesh plays with other possibilities." Kathy Geritz Peggy Ahwesh FROM ROMANCE TO RITUAL 1985, 20 min, Super 8mm-to-16mm blow-up. "FROM ROMANCE TO RITUAL invokes and inverts the title of the 1920 book by Jessie L. Weston as it, like the book, draws connections between pagan history and ritual and mythology. In one scene, a very animated woman digs and scratches at the earth to give us a show-and-tell history of the megalithic site at Avebury. A bit tongue in cheek like playing around in the backyard (Prehistoric Sandbox 101) but not far from the truth in its reading of the erasure of matriarchal tendencies from traditional histories." P.A. Joe Gibbons CONFIDENTIAL PART 2 1980, 26 min, Super 8mm-to-16mm blow-up. "Overtly a portrait of the filmmaker confessing his remorse at the scandalous manner in which he gathered material for his near-classic SPYING, here an eerie interpersonal relationship is developed between the filmmaker and his camera which culminates in violence. The 'sin' as act of the imagination and its degenerative effect on the personality." Henry Hills Joe Gibbons SPYING 1977-78, 31.5 min, Super 8mm-to-16mm blow-up. "Too controversial to describe in detail, this film reveals the underlying voyeuristic nature of the cinema-phile." Joe Gibbons "An exercise in applied voyeurism a hilariously perverse MAN WITH A MOVIE CAMERA in which the filmmaker secretly observes his neighbors (and their pets) sunbathing, gardening, or gazing out of the window." J. Hoberman, VILLAGE VOICE ------------------------ FRIDAY, FEBRUARY 1, 2013 ------------------------ 2/1 Boston, Massachusetts: ArtsEmerson http://ArtsEmerson.org 6:00 PM, Bright Family Screening Room at the Paramount Center, 559 Washington Street LOS OLVIDADOS ArtsEmerson: The World On Stage presents Los Olvidados. In what became his first international box-office success, Luis Buñuel tells the story of a gang of juvenile delinquents trapped by circumstances of poverty in the slums of Mexico City. The youngest member of this gang of loyal street kids, Pedro is taken down a dark path by El Jaibo, who commits a series of terrible crimes of theft and even murder. Pedro tries to get his act together and appease his mother, but El Jaibo and the street life inevitably cause a relapse into the old way of life. As a giant skyscraper rises on the city's skyline, those in the slums cannot help but wonder at the injustice of this world. Filled with vivid dream sequences and fantastical imagery, Los Olvidados won Buñuel the honor of Best Director at the Cannes Film Festival and marks the beginning of his most creative period. 2/1 Boston, Massachusetts: ArtsEmerson http://ArtsEmerson.org 9:00 PM, Bright Family Screening Room at the Paramount Center, 559 Washington Street THE MUSIC ROOM ArtsEmerson: The World On Stage presents The Music Room. Acclaimed Bengali film-maker Satyajit Ray tells the moody story of a prosperous man whose wealth crumbles as he attempts to cling to the old way of life. His music room used to be his pride and joyfilled on a regular basis with the country's most prized musicians providing private concerts for invited guests. Although funds are too tight to keep the music room open, the man decides to spend his last rupees hosting one last glorious concert in the hall if nothing else, out of spite for his competitive neighbor. With delicate storytelling and evocative imagery, Ray gives the audience an intimate portrait of loss, tradition and perseverance. 2/1 London, England: Summit Gallery 6-9pm, Unit 9, Floor 5, Queens Yard, White Post Lane, Hackney Wick, E9 5EN THIS ORIENTATION - AN EXHIBITION BY RICCARDO IACONO - 2.-17. FEBRUARY 2013 Artist Riccardo Iacono will be resident at Summit Gallery during the two weeks preceding the exhibition to create a site-specific installation. Iacono will be combining video, photography and collage formed and arranged in direct response to the gallery space and its unique location high above the streets of Hackney Wick. Known largely for his frenetic abstract films, Iacono's recent works include absurd and disorientating performance tapes made by throwing peas, garbage and colourful pieces of wet cloth. The artist states, "My work is process-based and formed through improvisation and play. My concerns are with the situation of seeing and how we negotiate optical, physical and psychological space." Iacono works in outside spaces, using the environment as a playground for event, intervention, feedback and documentation. For this exhibition he will use Summit Gallery to bridge the gap between these external locations and the traditional white cube gallery space. The gallery will be transformed into an observatory extending the work into surrounding sites. http://www.riccardoiacono.co.uk/ www.summitgallery.co.uk 2/1 Los Angeles, California: ZINE WORLD THEATRE at Printed Matter's LA Art Book Fair 4pm, The Geffen Contemporary at MOCA, 152 North Central Avenue (performance in Theater Z) COLLIN MCKELVEY / PAUL CLIPSON Bay Area experimental sound maker Collin McKelvey performs a four channel surround sound composition with Super 8mm film projections by Paul Clipson. Part of a four day series of performances presented by LAND AND SEA. -------------------------- SATURDAY, FEBRUARY 2, 2013 -------------------------- 2/2 Boston, Massachusetts: ArtsEmerson http://ArtsEmerson.org 1:00 PM, Bright Family Screening Room at the Paramount Center, 559 Washington Street FANNY AND ALEXANDER ArtsEmerson: The World On Stage presents Fanny and Alexander. The joys and sorrows of a bourgeois Swedish family around the turn-of-the-century are told through the eyes of ten-year-old Alexander. The children must live through the death of their father and their mother's re-marriage to a cold-hearted clergyman in what is considered legendary director Ingmar Bergman's warmest and most autobiographical film. Winner of four Academy Awards, including Best Foreign Film, this thematically simple and visually stunning film was set to be Bergman's last projectbringing all the emotional intensity to light in what is one of his culminating works. 2/2 Boston, Massachusetts: ArtsEmerson http://ArtsEmerson.org 6:00 PM, Bright Family Screening Room at the Paramount Center, 559 Washington Street IN THE MOOD FOR LOVE ArtsEmerson: The World On Stage presents In the Mood for Love. Two couples move into neighboring apartments on the same day. Over time, Mr. Chow and Mrs. Chen come to realize that their frequently absent spouses are having an affair. Although the two experience a similar attraction to each other, especially with their new knowledge, they each understand that the other plans to remain faithful no matter what. Still, they cannot deny their newly formed bond and embark on a journey exploring the parameters of love. Hong Kong-based director Wong Kar Wai litters the film with stunning cinematography, moody music, and structured improvisations that lend a relatable, endearing tone to the work. 2/2 Boston, Massachusetts: ArtsEmerson http://ArtsEmerson.org 9:00 PM, Bright Family Screening Room at the Paramount Center, 559 Washington Street BLUE VELVET ArtsEmerson: The World On Stage presents Blue Velvet. College boy Kyle MacLachlan is forced to return home after the ominous death of his father. When he arrives, however, he stumbles upon a severed ear in an empty field. Together with the detective's daughter, MacLachlan sets out to uncover the mystery behind the dismembered body part, which draws him into a nightmarish world of voyeurism and sex completely unexpectedly. Face-to-face with evil incarnate (played by a maniacal Dennis Hopper), Kyle is forced to re-evaluate his perception of the world. From the dark mind of David Lynch, Blue Velvet serves as a deconstruction of white picket fence America under which true evil and darkness lie. 2/2 Los Angeles, California: Echo Park Film Center http://www.echoparkfilmcenter.org/ 8pm, 1200 N. Alvarado St. (at Sunset Blvd) LANDSCAPE DISSOLVES: FILMS BY PAUL CLIPSON San Francisco based artist Paul Clipson's heavily in-camera edited Super 8mm films utilize multiple exposures, densely layering images into unexpected collages that to bring to light subconscious optical obsessions. For this program he will show a suite of eight short films, each with music by a different artist, as well as a live performance with music by filmmaker/sound artist John Davis. Davis's sound performance is an arrangement utilizing an eight-channel tape loop system incorporating field recordings and processed electronic music. John Davis is an Oakland-based artist and musician working primarily with moving images and sound, whose work builds on the transcendental nature of film in direct response to sound and music. Clipson works with sound artists and musicians, often collaborating on films, live performances and installations. Program: The Crystal Text (2012) with music by young Moon, Chorus (2009) with music by Gregg Kowalsky, Landscape Dissolves (2012) music by Alex Cobb, Light from the Mesa (2010) music by Barn Owl, Absteigend (2012) music by Evan Caminiti, Origin (2012) music by Che Chen, Speaking Corpse (2012) music by Jefre Cantu-Ledesma, live tape loop performance by John Davis. All works shown on Super 8. 2/2 Los Angeles, California: Echo Park Film Center http://www.echoparkfilmcenter.org/ 8 pm, 1200 N. Alvarado St LANDSCAPE DISSOLVES: FILMS OF PAUL CLIPSON San Francisco based artist Paul Clipson's heavily in-camera edited Super 8mm films utilize multiple exposures, densely layering images into unexpected collages that to bring to light subconscious optical obsessions. For this program he will show a suite of 8 short films, each with music by a different artist, as well as a live performance with music by filmmaker/sound artist John Davis. John's sound performance is an arrangement that utilizes an eight-channel tape loop system incorporating field recordings and processed electronic music. John Davis is an Oakland-based artist and musician working primarily with moving images and sound, whose work builds on the transcendental nature of film in direct response to sound and music. http://www.noiseforlight.com. Paul Clipson has shown his films internationally in various galleries, festivals and performance venues in Europe and the U.S., with films recently screening at the Centre Pompidou in Paris, and in Havana, Cuba. He works primarily in film, video and on paper, often collaborating on films, live performances and installations with sound artists and musicians. Clipson and musician Jefre Cantu-Ledesma have recently been awarded a Headlands Artist Residency for spring of 2013. http://www.withinmirrors.org/Program: The Crystal Text (2012) with music by young Moon, Chorus (2009) with music by Gregg Kowalsky, Landscape Dissolves (2012) music by Alex Cobb, Light from the Mesa (2010) music by Barn Owl, Absteigend (2012) music by Evan Caminiti, Origin (2012) music by Che Chen, Speaking Corpse (2012) music by Jefre Cantu-Ledesma, live performance for Super 8mm film and eight-channel tape loop system. All works shown on Super 8. ------------------------ SUNDAY, FEBRUARY 3, 2013 ------------------------ 2/3 Boston, Massachusetts: ArtsEmerson http://ArtsEmerson.org 1:00 PM, Bright Family Screening Room at the Paramount Center, 559 Washington Street SYNDROMES AND A CENTURY ArtsEmerson: The World On Stage presents Syndromes and a Century. In this charming "memory film," Thai director Weerasethakul portrays an imagined representation of his parents' romance in two parts. The first is told from his mother's point of view several decades ago when his parents would have actually met, and the second from his father's viewpoint in a more present-day environment. The result is a stimulating look at the nature of love, how it affects others, and how it endures over time. 2/3 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 THE 50TH ANN ARBOR FILM FESTIVAL TRAVELING TOUR NEW 16MM FILMS! Los Angeles Filmforum brings the 16mm show of the Ann Arbor Film Festival Tour to Los Angeles, a great program of short films including recent experimental, narrative, documentary and animated films from across the US all in 16mm. Featuring two films from LA as well, and multiple premieres in Los Angeles! The highlights are constant. Several makers intensely deal with materials, sometimes of film, sometimes of other sources (yarn or garbage or old film clips) to find their beauty. Explorations of natural and intensely human-built spaces; abstractions; fun and games; books and classic tales; pinhole lenses and the electric currents on which our society runs all come into play. Come see what can be done in film real living celluloid today! Charlotte Pryce in person! Tickets: $10 general, $6 students/seniors; free for Filmforum members. Available by credit card in advance from Brown Paper Tickets at http://www.brownpapertickets.com/event/319073 or by cash or check at the door Screening: Passage Upon The Plume by Fern Silva (2011, Brooklyn, NY, 7 min., silent - L.A. premiere), Tokyo-Ebisu Tomonari Nishikawa (2010, Binghamton, NY, 5 min), Point de Gaze Jodie Mack (2012, Lebanon, NH, 5 min., silent), A Preface to Red Jonathan Schwartz (2011, Brattleboro, VT, 6 min - L.A. premiere), Under the Shadow of Marcus Mountain Robert Schaller (2011, Ward, CO, 6 min., silent - L.A. premiere), Curious Light Charlotte Pryce (2011, Los Angeles, CA, 4 min., silent - L.A. premiere), The Electrical Embrace Norbert Sheih (2011, Los Angeles, CA, 2 min., silent), Craig's Cutting Room Floor Linda Scobie (2011, San Francisco, CA, 2 min., silent - L.A. premiere), Undergrowth Robert Todd (2011, Boston, MA, 12 min. - L.A. premiere), Landfill 16 Jennifer Reeves (2011, New York, NY, 9 min. - L.A. premiere) Enter your event announcements by going to the Flicker Weekly Listing Form at http://www.hi-beam.net/cgi-bin/thisweek.pl The weekly listing is also available online at Flicker: http://www.hi-beam.net
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