Part 2 of 2: This week [February 9 - 17, 2013] in avant garde cinema --------------------------- SATURDAY, FEBRUARY 16, 2013 ---------------------------
2/16 Boston, Massachusetts: ArtsEmerson http://ArtsEmerson.org 1:00 PM, Bright Family Screening Room at the Paramount Center, 559 Washington Street TIME BANDITS ArtsEmerson: The World On Stage presents Time Bandits. Monty Python affiliate Terry Gilliam gathers some of his favorite funny people to form this story of a fairy tale come to life. Young Kevin daydreams materialize when a troupe of little men burst through the wall of his wardrobe and sweep him off on a journey through history, planning to steal from some of the great men of times past. In an attempt to stay ahead of The Supreme Being, they dart through time, encountering figures like Napoleon, Robin Hood, Agamemnon and even Evil himself. With a cast including John Cleese, Ian Holm and Sean Connery, Gilliam pulls off his traditionally irreverent and ragingly funny story gone awry. 2/16 Boston, Massachusetts: ArtsEmerson http://ArtsEmerson.org 6:00 PM, Bright Family Screening Room at the Paramount Center, 559 Washington Street THE SHIPMENT ArtsEmerson: The World On Stage presents The Shipment. Playwright and director Young Jean Lee and a talented cast of five African-American performers create an unsettling terrain of well-trodden stereotypes that dare audiences to laugh as they consider their own preconceptions about race and culture. One of the leading and most provocative voices in American contemporary theatre, Lee pushes herself to new artistic heights as she confronts her fear about creating an ethnic identity play through the lens of a "black identity politics show." 2/16 Boston, Massachusetts: ArtsEmerson http://ArtsEmerson.org 9:00 PM, Bright Family Screening Room at the Paramount Center, 559 Washington Street CITY COUNCIL MEETING ArtsEmerson: The World On Stage presents City Council Meeting. City Council Meeting is a participatory theatre event about empathy, democracy and power. Created by Aaron Landsman, Mallory Catlett and Jim Findlay, the project combines local government transcripts, original writing and a surprise ending, revealing the city we make together each night by performing it. Who are you in this place? You live here. What's your problem? City Council Meeting is a New England Foundation for the Arts National Theater Pilot project, and will be presented in four U.S. cities (and counting), with additional funding from New Play Network and MAP. The project is developed with lead support from the HERE Artist-in-Residence Program (HARP). 2/16 Brooklyn, NY: Light Industry http://www.lightindustry.org/ 24:30, 155 Freeman Street JAMES RICHARDS PRESENTS INFERMENTAL 4 Light Industry presents Issue 4 of the pioneering videocassette magazine Infermental. The issue will be shown in its seven-hour entirety and introduced by James Richards, who recently edited the publication A Detour Around Infermental with George Clark and Dan Kidner. - Infermental, the "first international magazine on videocassettes," was initiated in 1980 by Gábor and Vera Bódy, and eleven issues were published between 1980 and 1991. The early installments were realized with boundless energy and a visionary zealGábor Bódy's idea was to build an "Encyclopedia of Recorded Imagery." He produced the first edition while on a DAAD residency in Berlin, and each subsequent issue was put together in a different city. Beginning in Europe, and with a distinct focus on connecting video and other media artists in the East and the West, Infermental became a project with global reach when later editions were produced in North America and Japan. Each issue featured between 30 and 100 artists contributing complete films, excerpts, trailers, interviews, and performance footage, and was assembled by a different editorial team, normally consisting of two former contributors and one supervisor. Though Bódy, the publication's figurehead, died in 1985, Infermental continued for another six years. - Over the course of the project's life, a diverse range of influential figures contributed to the magazine, like Peggy Ahwesh, Tony Conrad, Gary Hill, Joan Jonas, Jon Jost, Marcel Odenbach, Amos Poe, Steina Vasulka, and Lawrence Weiner. But it was the less familiar names, the editorial rationale, the innovative distribution strategy, and the exhibition model that made it such a fascinating and enduring enterprise. Enabled by the newly accessible technology of U-matic cassette tape, Infermental brought together a number of formats, including 8mm, 16mm, and 35mm, as well as video. The editions were sold or rented to institutions with specific instructions for their presentation: the tapes were to be played one after the other for the full duration of the issue. Given the relatively peripheral status of video at this time, and the broad lack of support from galleries and film festivals, Infermental attempted to find a new way to present and circulate work among artists and institutions around the world. - Issue 4 was edited by the French artists' group Frigo in 1985 and marks a shift in the magazine's editorial policy, drawing on the group's multi-disciplinary activities, collective organization, DIY ethos, and experience in pirate radio. Authorship is thrown into disarray as amateur footage, artists' films, ethnographic documents, video performances, and music videos are seamlessly edited together. - "Infermental was of course operating at a time when there was a thriving underground film culture. Now culture is more diffuse and, more generally, there is a massive amount of different types of images in circulation from which to sample. But, for example, the free movement between different forms in the Frigo edition in 1985, the way different types of material overlappedexperimental films, documentary, music videosdoes relate to the way I compose film programs...Also it was the first edition we watched that we felt was something of its own. We had all watched a lot of programs of video from the 1970s and 1980s, and the earlier editions seemed quite conventional, as much as there were interesting pieces perhaps or ones that stood out. It felt familiar as a structure. But then with the Frigo edition we saw the editors experimenting with ways of mixing the material and thereby making it quite different from a regular screening of works at a festival, museum or cinema." - James Richards - - James Richards lives and works in London. Solo exhibitions include a residency at CCA Kitakyushu, Japan (2012)\; Chisenhale Gallery, London (2011)\; Rodeo Gallery, Istanbul (2011)\; Art Now (with Clunie Reid), Tate Britain (2010)\; Tramway, Glasgow (2009) and Swallow Street, London (2009). Recent group exhibitions include Frozen Lakes at Artists Space, New York (2013), Younger than Jesus at the New Museum, New York (2009) and Nought to Sixty at ICA London (2009). Richards has curated film programs and screenings at Serpentine Gallery, London (2010)\; BFI, London (2010), X-Initiative, New York (2009)\; and Whitechapel Gallery, London (2007). He is the recipient of the 2012 Jarman Award. - Tickets - $7, all-you-can-watch, available at door. Stop in for an hour, come and go, or stay all day. - Please note: seating is limited. First-come, first-served. Box office opens at 2pm. 2/16 New York, New York: Anthology Film Archives http://www.anthologyfilmarchives.org/ 6:00 pm, 32 2nd Avenue ESSENTIAL CINEMA: THE FLOWER THIEF SENSELESS 1962, 28 min, 16mm "Consisting of a poetic stream of razor-sharp images, the overt content of SENSELESS portrays ecstatic travelers going to pot over the fantasies and pleasures of a trip to Mexico.... Highly effective cutting subtly interweaves the contrapuntal development of themes of love and hate, peace and violence, beauty and destruction." David Brooks & THE FLOWER THIEF 1960, 59 min, 16mm, b&w. Starring Taylor Mead. Preserved by Anthology Film Archives with support from the National Film Preservation Foundation. "In the old Hollywood movie days movie studios would keep a man on the set who, when all other sources of ideas failed (writers, directors), was called upon to 'cook up' something for filming. He was called The Wild Man. THE FLOWER THIEF has been put together in memory of all dead wild men who died unnoticed in the field of stunt." R.R. Total running time: ca. 90 min. 2/16 New York, New York: Anthology Film Archives http://www.anthologyfilmarchives.org/ 8:00 pm, 32 2nd Avenue ESSENTIAL CINEMA: THE QUEEN OF SHEBA MEETS ATOM MAN by Ron Rice 1963/82, 109 min, 16mm, b&w "The film describes, poetically, a way of living. The film is a protest which is violent, childish, and sincere a protest against an industrial world based on the cycle of production and consumption." Alberto Moravia, L'ESPRESSO 2/16 San Francisco, California: Other Cinema http://www.othercinema.com/ 8:30 PM, 992 Valencia St VALENTINE EROTICA: KYLE HENRYS FOURPLAY + GUY MADDIN OC celebrates the Valentine spirit with an inaugural devoted to erotic love, gay and straight. Director Kyle Henry flies in from Chicago to introduce his acclaimed omnibus feature, Fourplay. We show the last two of Henry's provocative short storiesTampa, and appropriately, San Francisco; here from the cast are Chloe and Christeen. PLUS: Guy Maddin's The Little White Cloud that Cried, Casey McManis' hand-processed Super-8 Folsom Street Fair, Julia Ostertag's Sex Junkie, Oscar Perez' Pacifier, and Naomi Uman's Removed. The irrepressible Cookie Tongue opens, fronting a montage of archival porn. Free red wine, condoms, and a pre-show peek at a Jack Smith/Gerard Malanga tryst. $7. ------------------------- SUNDAY, FEBRUARY 17, 2013 ------------------------- 2/17 Boston, Massachusetts: ArtsEmerson http://ArtsEmerson.org 1:00 PM, Bright Family Screening Room at the Paramount Center, 559 Washington Street AND EVERYTHING IS GOING FINE ArtsEmerson: The World On Stage presents And Everything is Going Fine. Comprised of clips from monologist Spalding Gray's interviews and one-man shows, this hilarious and intimate documentary follows the life and career of one of America's most outstanding theatrical artists. Steven Soderberghacclaimed director and friend of Gray'spieces together the warm, moving, and revealing clips of Gray's work and life to form a sort of posthumous autobiography celebrating the memory of this one-of-a-kind performer. The delicately chosen clips weave together a final monologue of sorts for Gray, remaining at once fascinating and enlightening but retaining an air of mystery. Special appearance by Spalding Gray's wife Kathie Russo (one of the film's producers), son Forrest Gray (composer of the score) and Mike Daisey following the screening. 2/17 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 JEAN ROUCH: BREAKING THE ICE Jean Rouch is simply one of the most significant filmmakers of the 20th century, his approaches influencing innumerable films after him. Filmforum joins with the UCLA Film & Television Archive, REDCAT, and French Film & TV OfficeConsulate General of France in Los Angeles to present this major retrospective of his work, the first in Los Angeles in many years, if ever. But even this ten-evening series leaves out many of the over 100 films he made. Many of the films have been brought from France for the series. Tonight we not only feature on of his late shorts, but we also finally get to hear from Rouch himself, via an hour-long show he did with Robert Gardner in Boston in the 1970s, which includes excerpts from other films. 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/321104 or by cash or check at the door. Screening: Bateau-Givre
 (Ice Ship) (1987, 35 min, 35mm-to-video), Screening Room with Robert Gardner: Jean Rouch (1980, video, 64 minutes) 2/17 New York, New York: Anthology Film Archives http://www.anthologyfilmarchives.org/ 6:00 pm, 32 2nd Avenue ESSENTIAL CINEMA: HARRY SMITH PROGRAM EARLY ABSTRACTIONS (1941-57, 23 min, 16mm) Preserved by Anthology Film Archives with support from the National Film Preservation Foundation. MIRROR ANIMATIONS (extended 1979 version, 11 min, 35mm) NEW PRINT! LATE SUPERIMPOSITIONS (1964, 28 min, 16mm) OZ, THE TIN WOODMAN'S DREAM (1967, 15 min, 35mm) "My cinematic excreta is of four varieties: batiked animations made directly on film between 1939 and 1946; optically printed non-objective studies composed around 1950; semi-realistic animated collages made as part of my alchemical labors of 1957 to 1962; and chronologically super-imposed photographs of actualities formed since the latter year. All these works have been organized in specific patterns derived from the interlocking beats of the respiration, the heart and the EEG Alpha component and should be observed together in order, or not at all, for they are valuable works, works that will forever abide they made me gray." Harry Smith Total running time: ca. 80 min. 2/17 New York, New York: Anthology Film Archives http://www.anthologyfilmarchives.org/ 8:00 pm, 32 2nd Avenue ESSENTIAL CINEMA: HEAVEN AND EARTH MAGIC by Harry Smith 1950-61, 66 min, 16mm, b&w Preserved by Anthology Film Archives with support from the National Film Preservation Foundation and Cineric, Inc. "NO. 12 can be seen as one momentcertainly the most elaborately crafted momentof the single alchemical film which is Harry Smith's life work. In its seriousness, its austerity, it is one of the strangest and most fascinating landmarks in the history of cinema. Its elaborately constructed soundtrack in which the sounds of various figures are systematically displaced onto other images reflects Smith's abiding concern with auditory effects." P. Adams Sitney 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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