Part 1 of 2: This week [February 9 - 17, 2013] in avant garde cinema NEW CALLS FOR ENTRIES: ===================== Haverhill Experimental Film Festival (Haverhill, MA, USA; Deadline: April 15, 2013) http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1539.ann Termite TV (Baltimore, MD USA; Deadline: March 29, 2013) http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1540.ann Pleasure Dome (Toronto, ON, Canada; Deadline: February 22, 2013) http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1541.ann Termite TV (Philadelphia, PA USA; Deadline: March 29, 2013) http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1542.ann Holland Animation Film Festival (Utrecht, the Netherlands; Deadline: March 08, 2013) http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1543.ann MudasFest (Portugal; Deadline: April 05, 2013) http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1544.ann Familius Family International Fim Festival (Provo, UT, USA; Deadline: March 31, 2013) http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1545.ann Liaison of Independent Filmmakers of Toronto (Toronto, Ontario, Canada; Deadline: April 01, 2013) http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1546.ann Propeller Centre for the Visual Arts (Toronto, Canada; Deadline: May 10, 2013) http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1547.ann The White House Studio Project (Toronto, ON, Canada; Deadline: March 25, 2013) http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1548.ann
DEADLINES APPROACHING: ====================== ARTErra - Rural Artistic Residencies (Tondela, Portugal; Deadline: February 15, 2013) http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1482.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 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 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 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 Pleasure Dome (Toronto, ON, Canada; Deadline: February 22, 2013) http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1541.ann Holland Animation Film Festival (Utrecht, the Netherlands; Deadline: March 08, 2013) http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1543.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): ============================== * Far From Heaven [February 9, Boston, Massachusetts] * Swimming To Cambodia [February 9, Boston, Massachusetts] * The Bride of Frankenstein [February 9, Boston, Massachusetts] * P. Adams Sitney Presents Stan Brakhage's the Art of vision [February 9, Brooklyn, NY] * Ricard Sylvarnes videos [February 9, Brooklyn, New York] * Once Every Day [February 9, New York, New York] * Cast Shadows: An Evening of Sound/Film Performances To Benefit Ata [February 9, San Francisco, California] * Monty Python and the Holy Grail [February 10, Boston, Massachusetts] * Tv, the Yankees, and Holiday Cheer, Michel Auder & andrew Neel [February 10, Brooklyn, New York] * L.A. Filmforum and Dirty Looks Present Yesterday Once More [February 10, Los Angeles, California] * Once Every Day [February 10, New York, New York] * Shapeshifters Cinema Presents [Inter] Media Divinations By Jen Cohen & Guillermo Gal*In_dog [February 10, Oakland] * Bryan Boyce Screening + Meet the Filmmaker [February 11, Carbondale, IL] * Nancy Buchanan: Lines of Enquiry [February 11, Los Angeles, California] * Once Every Day [February 11, New York, New York] * Once Every Day [February 11, New York, New York] * Once Every Day [February 12, New York, New York] * Once Every Day [February 12, New York, New York] * Focus Group: the Screening Room With Ed Emshwiller [February 13, Austin, TX] * Once Every Day [February 13, New York, New York] * Once Every Day [February 13, New York, New York] * Concrete Parlay: An Evening With Fern Silva [February 14, Chicago, Illinois] * Free Screening of the Nocturnal Emissions Bleeding Images + The Foetal Grave of Progress [February 14, Leeds, United Kingdom] * Once Every Day [February 14, New York, New York] * Once Every Day [February 14, New York, New York] * Love Meditations // SÉAnce RÉGuliÈRe Du Cjc [February 14, Paris, France] * Transition [February 15, Boston, Massachusetts] * Swimming To Cambodia [February 15, Boston, Massachusetts] * Moving Picture Alphabet Series: the Time We Killed [February 15, Chicago, Illinois] * Time Bandits [February 16, Boston, Massachusetts] * The Shipment [February 16, Boston, Massachusetts] * City Council Meeting [February 16, Boston, Massachusetts] * James Richards Presents Infermental 4 [February 16, Brooklyn, NY] * Essential Cinema: the Flower Thief [February 16, New York, New York] * Essential Cinema: the Queen of Sheba Meets Atom Man [February 16, New York, New York] * Valentine Erotica: Kyle Henry's Fourplay + Guy Maddin [February 16, San Francisco, California] * And Everything Is Going Fine [February 17, Boston, Massachusetts] * L.A. Filmforum Presents Jean Rouch: Breaking the Ice [February 17, Los Angeles, California] * Essential Cinema: Harry Smith Program [February 17, New York, New York] * Essential Cinema: Heaven and Earth Magic [February 17, New York, New York] Events are sorted by CITY within each DATE. -------------------------- SATURDAY, FEBRUARY 9, 2013 -------------------------- 2/9 Boston, Massachusetts: ArtsEmerson http://ArtsEmerson.org 1:00 PM, Bright Family Screening Room at the Paramount Center, 559 Washington Street FAR FROM HEAVEN ArtsEmerson: The World On Stage presents Far From Heaven. In a tribute to the "women's films" of the 1950s, writer/director Todd Haynes produces a visually tantalizing and emotionally involved look at the life of one '50s housewife in abnormal circumstances. When she finds out her husband (Dennis Quaid) is having a homosexual affair, Cathy Whitaker (Julianne Moore) realizes that, although she has the perfect veneer of a happy life, she wants more. She seeks solace in the company of a black gardener (Dennis Haysburt), and soon rumors about the two of them begin spreading like wildfire. Providing a personal look at the racial and sexual prejudices of the era, this modern reinterpretation of Douglas Sirk's classic film All That Heaven Allows stands out with tight writing and manicured visuals. Add in the acting talents of Viola Davis and Patricia Clarkson, and Far From Heaven becomes an irresistible, tenderly wrought tale of suppressed love and desire. 2/9 Boston, Massachusetts: ArtsEmerson http://ArtsEmerson.org 6:00 PM, Bright Family Screening Room at the Paramount Center, 559 Washington Street SWIMMING TO CAMBODIA ArtsEmerson: The World On Stage presents Swimming to Cambodia. Actor and raconteur Spalding Gray delivers his acclaimed monologue Swimming to Cambodia for the camera. Slipping in history and socio-political context of the political turmoil Cambodia was experiencing at the time, Gray recounts his experience as an extra on the Sam Waterston film The Killing Fields filmed on location. A modern master of language and story, Gray's riveting tale speaks to the power of storytelling and importance of using the artstheatre in particularto bring about social awareness. 2/9 Boston, Massachusetts: ArtsEmerson http://ArtsEmerson.org 9:00 PM, Bright Family Screening Room at the Paramount Center, 559 Washington Street THE BRIDE OF FRANKENSTEIN ArtsEmerson: The World On Stage presents The Bride of Frankenstein. This classic horror film directed James Whale returns to the Frankenstein story with cast members from the original movie, including the legendary actor Boris Karloff. Dr. Frankenstein and his monster are not, in fact, dead as was implied by the end of the first film. They're back, and this time the monster wants a companion. With the persuasion of Dr. Pretorius, Frankenstein is convinced to create a bride for his monster. The results are, of course, nearly disastrous. Featuring a haunting score and cutting edge technology for the time, The Bride of Frankenstein serves as a prime example of the classic horror film from eras passed. 2/9 Brooklyn, NY: Light Industry http://www.lightindustry.org/ 5pm, 155 Freeman Street P. ADAMS SITNEY PRESENTS STAN BRAKHAGE'S THE ART OF VISION The Art of Vision, Stan Brakhage, 16mm, 1961-1965, 250 mins, Introduced by P. Adams Sitney - Light Industry hosts a rare screening of Stan Brakhage's The Art of Vision, shown in a new print. This monumental work, regarded as one of Brakhage's greatest films, contains within it the same materials he used to construct the better-known Dog Star Man. It depicts the filmmaker as woodsman, scaling a snow-covered mountain, along with associative images of his wife and child\; here the stuff of home movies attains a cosmological status by way of its experimental approach. The Art of Vision employs nearly all the poetic techniques Brakhage had mastered by this pointincluding saccadic camera movement, radically variable focus, lens distortion, image inversion, painting on film, emulsion scratching, and moreyielding an anthology of perception's myriad forms. - "The Art of Vision is the higher coefficient of what seemed, in the early 1960s, to be Stan Brakhage's extraordinarily ambitious film project, Dog Star Man. Between 1961 and 1965, he furiously produced his first serial work, an epic film in five sections: Prelude (1961), Part One (1962), Part Two (1963), Part Three (1964), and Part Four (1964). All but Part One were articulated with layers of densely edited superimpositions. During the same years he wrote his groundbreaking, polemical book of film theory, Metaphors on Vision. As he was completing the book, the idea struck him that he should also exhibit a version of Dog Star Man in which all the layers of superimposition would be shown separately, and all the possible permutations of layering for each of the parts as well. In homage to J.S. Bach's Art of the Fugue, he called the expanded version The Art of Vision." - P. Adams Sitney - "Imagine an eye unruled by man-made laws of perspective, an eye unprejudiced by compositional logic, an eye which does not respond to the name of everything but which must know each object encountered in life through an adventure of perception. How many colors are there in a field of grass to the crawling baby unaware of 'Green'? How many rainbows can light create for the untutored eye? How aware of variations in heat waves can that eye be? Imagine a world alive with incomprehensible objects and shimmering with an endless variety of movement and innumerable gradations of color. Imagine a world before the 'beginning was the word.' - To see is to retainto behold. Elimination of all fear is in sightwhich must be aimed for. Once vision may have been giventhat which seems inherent in the infant's eye, an eye which reflects the loss of innocence more eloquently than any other human feature, an eye which soon learns to classify sights, an eye which mirrors the movement of the individual toward death by its increasing inability to see. - But one can never go back, not even in imagination. After the loss of innocence, only the ultimate of knowledge can balance the wobbling pivot. Yet I suggest that there is a pursuit of knowledge foreign to language and founded upon visual communication, demanding a development of the optical mind, and dependent upon perception in the original and deepest sense of the word." - Stan Brakhage, from Metaphors on Vision - - P. Adams Sitney is a historian of film art, a co-founding member of Anthology Film Archives, and Professor of Visual Arts at Princeton University. He is the author of the book Visionary Film, originally published in 1974, which was the first major study on the post-war American avant-garde cinema, and is today considered a classic. Among his other publications are Modernist Montage: The Obscurity of Vision in Cinema and Literature from 1992 and most recently Eyes Upside Down: Visionary Filmmakers and the Heritage of Emerson. His articles regularly appear in Artforum and other journals. - Print courtesy of the Academy Film Archive. - Tickets - $7, available at door. - Please note: seating is limited. First-come, first-served. Box office opens at 4:30pm. 2/9 Brooklyn, New York: Microscope Gallery http://www.microscopegallery.com 7PM, 4 Charles Place (at Myrtle btwn Bushwick & Evergreen Aves) RICARD SYLVARNES VIDEOS with live soundtrack by Zero Times Everything (ZXE).(Pietro Russino, Tony Geballe, & Richard Sylvarnes) Admission $6. Microscope Gallery is pleased to present an evening of video works by Brooklyn-based artist Richard Sylvarnes including the world premiere of The Last Words of Dutch Schultz, a 65-minute feature based on the delirious, death-bed ramblings of the gangster, who died following a shooting in Newark, NJ in 1935. The video incorporates found footage including travelogues, FBI training films, silent-era films, newsreels, commercials, and more and features the actor, filmmaker and playwright DJ Mendel and NY Mets broadcaster Alex Anthony. Two recent short videos by Sylvarnes will precede the feature. The night also marks the debut of Zero Times Everything (Pietro Russino, electric guitar & loops; Tony Geballe, guitar; and Richard Sylvarnes, loops, synthesizer, and sometimes electric guitar). The group will provide live soundtracks to all three video works. PROGRAM (approximately 80 minutes) "Disney's Dream Debased", Digital Video, Color, 6 minutes, 2010. a "As The Sun Slowly Burns Away", Digital Video, Color, 8 Minutes, 2012. "The Last Words of Dutch Schultz", Digital Video, Color and B&W, 65 Minutes, 2013. RICHARD SYLVARNES is a filmmaker, photographer, and musician. His work screens nationally and internationally including at The Tribeca Film Festival, Anthology Film Archives, The Kitchen, Chelsea Art Museum, Thessalonica Film Festival, Jeonju International Film Festival, Dances Camera West, Museek International Music Video Festival in St. Petersburg, Russia, Galerie Du Jour , Paris, Galerie Tristesse, Berlin, among many others. He has been a guest Lecturer at Harvard University and currently serves on the Board of Directors for The Filmmakers Cooperative. more info www.microscopegallery.com. Tel: 347.925.1433. Nearest Subway: J/M/Z Myrtle/Broadway. 2/9 New York, New York: Anthology Film Archives http://www.anthologyfilmarchives.org/ 5:30, 7:15 & 9, 32 2nd Avenue ONCE EVERY DAY See notes for Feb. 8, 7:15 pm. 2/9 San Francisco, California: Artists Television Access http://www.atasite.org/ 8 pm, ATA, 992 Valencia Street CAST SHADOWS: AN EVENING OF SOUND/FILM PERFORMANCES TO BENEFIT ATA Support ATA at this special benefit show featuring a roster of evocative inter-media artists working in sound/film performance. All proceeds from the show support Artists' Television Access, the San Francisco-based, artist-run, non-profit organization that cultivates and promotes culturally-aware, underground media and experimental art. Featuring three film-music ensembles: Barn Owl and Paul Clipson Marielle Jakobsons and John Davis John Davis, Jefre Cantu-Ledesma and Paul Clipson BARN OWL San Francisco-based drone duo Barn Owl (guitarists Jon Porras and Evan Caminiti) follow in the footsteps of provocative avant-gardists Alice Coltrane and Keiji Haino, while building on the doom metal foundation planted by Black Sabbath. JEFRE CANTU-LEDESMA San Francisco-based multi-instrumentalist (Tarentel, the Alps) and founder of Root Strata label, Jefre's guitar beams directly down from Souvlaki Space Station and arrives gorgeously mangled via modular synthesizer. Romantically haloed chorus guitar floats widescreen across relentless static drum machines until the sky splits open in the final movement, spilling burning guitar fragments over everything. PAUL CLIPSON Paul Clipson works primarily in film, video and on paper, often collaborating on films, live performances and installations with sound artists and musicians, projecting largely improvised in-camera edited experimental films employing multiple exposures, dissolves and macro imagery that bring to light subconscious preoccupations and unexpected visual forms. JOHN DAVIS John Davis is an Oakland-based artist working with moving images and sound, expanding their relationships through experimentation, chance, collaboration and improvisation. Current performance work investigates various sound and image delivery systems, their material bi-products, and the range of sensory possibilities that exists between them. MARIELLE JAKOBSONS The work of Oakland-based sound artist and violinist Marielle Jakobsons focuses on experiences which are at once "natural" and technologically-altered. She performs regularly across the country in various musical acts: her solo project darwinsbitch, and in her bands myrmyr and TrioMetrik, as well as many side projects and ad hoc ensembles with friends and collaborators. Artists' Television Access is a San Francisco-based, artist-run, non-profit organization that since 1984 cultivates and promotes culturally-aware, underground media and experimental art. ATA provides an accessible screening venue and gallery for the presentation of programmed and guest-curated screenings, exhibitions, performances, workshops and events. ATA believes in fostering a supportive community for the exhibition of innovative art and the exchange of non-conformist ideas. ATA is located at 992 Valencia St., near 21st Street. Screening starts at 8:00. Tickets are $15 Gen | $25 Supporter | $50 Sponsor. ------------------------- SUNDAY, FEBRUARY 10, 2013 ------------------------- 2/10 Boston, Massachusetts: ArtsEmerson http://ArtsEmerson.org 1:00 PM, Bright Family Screening Room at the Paramount Center, 559 Washington Street MONTY PYTHON AND THE HOLY GRAIL ArtsEmerson: The World On Stage presents Monty Python and the Holy Grail. The Monty Python gang returns with a vengeance in their second full-length (and arguably most beloved) feature film. King Arthur, king of the Britons, assembles a motley crew of knights for his roundtable and together they set off in search of the mythical Holy Grail. Together, this horseless band of brave (and not-so-brave) knights wander the English countryside, assured of their abilities to find the goblet from which Christ drankif that is the Holy Grail, at all. In this quintessential mash-up of comedy, farce and history lesson, Monty Python is at their most memorable, creating a classic that will last even longer than the journey for the Grail itself. 2/10 Brooklyn, New York: Microscope Gallery http://www.microscopegallery.com 7PM, 4 Charles Place (at Myrtle btwn Bushwick & Evergreen Aves) TV, THE YANKEES, AND HOLIDAY CHEER, MICHEL AUDER & ANDREW NEEL Sunday February 10, 7pm.TV, THE YANKEES, AND HOLIDAY CHEER Short video works by Michel Auder and Andrew Neel. suggested donation.We bring the current exhibition by Michel Auder and Andrew Neel to its close with a screening program of video works by both artists, TV, the Yankees & Holiday Cheer. The short works in the program expand the exhibition for the evening, placing each artist's work in a broader context, both in relationship to each other and to their own body of work. In TV, the Yankees & Holiday Cheer the attention shifts from the fanaticism, ritual, fame, faith and the business of religion addressed in the exhibit to the sacred traditions of modern American culture. In the 1984 TV America, Auder expands upon the carefully edited, video collage format of his earlier "Jesus" (currently on exhibit), this time shooting entirely from the small screen. Incorporating a constant stream of images, laundry detergent & skin care commercials, motorcross and NASCAR races, Ronald Reagan, the Academy Awards ceremony, and war lords, the focus broadens from religious to cultural indoctrination. And, Neel's Yankees Triumphus, documenting the 2009 Yankees World Series Victory parade, continues the artist's investigation into public revelry and fandom and how it is fueled in the 24/7 media age. In this work, made the year after his "15 Minutes of Jesus" (on exhibit) Neel records the mass jubilation, which often becomes exaggerated before Neel's camera as parade goers continuously mistake it for those of the major news outlets. PROGRAM: "Yankees Triumphus", Andrew Neel, video color, sound, 12 minutes, 2009. "Faces on Christmas Day", Andrew Neel, video, color, sound, 5 minutes, 2011. "TV America," Michel Auder, VHS, color, sound, 22 minutes, 1984. MICHEL AUDER was born in Soissons, France and has lived in New York since the late 1960s. Since then video has been his primary artistic medium. Auder's work has been exhibited and screened widely in North America and Europe at institutions including at MoMA, The Whitney Musuem; Centre Pompidou, Paris; Kunsthalle Wien, Austria; Center for Contemporary Art, Malmoe, Sweden; Philadelphia Museum of Art; The Renaissance Society at the University of Chicago; Anthology Film Archives; and many others. He has been a professor in the sculpture department at Yale University and was appointed critic at the Yale School of Art in 2009. ANDREW NEEL has been working with film and video in various forms for more than a decade. His works have previously exhibited or screened at galleries and festivals including Freight & Volume gallery, Berlin International Film Festival, South by Southwest Film Festival, Newport Film Festival among many others. He has directed 4 feature length documentaries (Darkon, Alice Neel, The Feature (w/ Auder), New World Order). King Kelly, his latest film and first fictional feature opened in New York in December. His films have been distributed by IFC and ArtHouse Films, aired on Cablevision and the Sundance Channel, and won several awards including the New Visions Award at the Copenhagen International Documentary Festival. Neel received a BA in Film Studies from Columbia Collage. He was born in Vermont and like Auder, currently lives and works in Brooklyn, NY. 2/10 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 AND DIRTY LOOKS PRESENT YESTERDAY ONCE MORE Filmmakers Zackary Drucker, Mariah Garnett and Chris E. Vargas in person! Los Angeles Filmforum is thrilled to team with Dirty Looks NYC to present Yesterday Once More, a program of queer moving image portraits from the last two years. Documenting four figures who helped to shape and define a public image of queer life (Peter Berlin, Joe Brainard, Liberace and Flawless Sabrina), each filmmaker in Yesterday Once More approaches their subject with the weight of their historical distance and a panache for contemporary performativity. 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/319818 or by cash or check at the door. Program: I Remember: A film about Joe Brainard (Matt Wolf, 2012, video, 23 min), At Least You Know You Exist (Zackary Drucker, 2011, 16mm on DV, 15 min), Encounters I May or May Not Have Had With Peter Berlin (Mariah Garnett, 2012, 16mm, 15 min), Liberaceón (Chris E. Vargas, 2011, video, 16 min) 2/10 New York, New York: Anthology Film Archives http://www.anthologyfilmarchives.org/ 5:30, 7:15 & 9, 32 2nd Avenue ONCE EVERY DAY See notes for Feb. 8, 7:15 pm. 2/10 Oakland: Shapeshifters Cinema http://shapeshifterscinema.com/ 8-9PM, Temescal Art Center, 511 48th St, Oakland, CA SHAPESHIFTERS CINEMA PRESENTS [INTER] MEDIA DIVINATIONS BY JEN COHEN & GUILLERMO GAL*IN_DOG [inter] MEDIA Divinations is a new work created by video/performance artist Jen Cohen and composer/sound artist guillermo gal*in_dog. Using hacked electronic toys to create sounds and live video processing of random objects, Jen Cohen and guillermo gal*in_dog will merge an unrepeatable melange of discreet moments in a unique and carefully randomized jam session. ------------------------- MONDAY, FEBRUARY 11, 2013 ------------------------- 2/11 Carbondale, IL: SIUC 7:00, Communications Building Room 1065 BRYAN BOYCE SCREENING + MEET THE FILMMAKER San Francisco experimental filmmaker, animator and photographer Bryan Boyce is infamous for creating perverse manipulations of found footage that critique American politics and popular culture. In such classics as "State of the Union," "30 Seconds Hate/Suckers!," and "Election Collectibles" he has ridiculed military defense policies, Halliburton, Henry Kissinger, presidential elections, and the Fox News Network. His lethal sense of humor has transformed Martin Scorsese's classic film starring Robert DeNiro into a kiddie movie nightmare in Walt Disney's "Taxi Driver." Join us for an evening of mash-up madness as Bryan Boyce screens and discusses his work. 2/11 Los Angeles, California: Redcat http://www.redcat.org/ 8:30pm, 631 West 2nd St., Los Angeles, CA 90012 NANCY BUCHANAN: LINES OF ENQUIRY Since the early 1970s, Nancy Buchanan's work in video has been marked by her consistent exploration of the spaces between political essay, poetry and performance. This screening presents an overview of her remarkable career, starting with early videos that disrupt representational stereotypes through feminist critique, such as Primary and Secondary Spectres (1989), to her polemics of the 1980s and 1990s, that address such issues as real estate speculation and U.S. interventionism in Latin America, including Sightlines (1989) and American Dream #7 (1991). Other pieces combine political awareness with dry humor (Pursed, 20034, Horses, 2009), as well as insightful explorations of cultures at times of momentous changes, such as her collaboration with Sandra Agalidi, Windows and Mirrors (1995), shot in Romania. | Jack H. Skirball Screening Series | $10 [students $8, CalArts $5] 2/11 New York, New York: Anthology Film Archives http://www.anthologyfilmarchives.org/ 7:15 pm, 32 2nd Avenue ONCE EVERY DAY See notes for Feb. 8, 7:15 pm. 2/11 New York, New York: Anthology Film Archives http://www.anthologyfilmarchives.org/ 9:00 pm, 32 2nd Avenue ONCE EVERY DAY See notes for Feb. 8, 7:15 pm. -------------------------- TUESDAY, FEBRUARY 12, 2013 -------------------------- 2/12 New York, New York: Anthology Film Archives http://www.anthologyfilmarchives.org/ 7:15 pm, 32 2nd Avenue ONCE EVERY DAY See notes for Feb. 8, 7:15 pm. 2/12 New York, New York: Anthology Film Archives http://www.anthologyfilmarchives.org/ 9:00 pm, 32 2nd Avenue ONCE EVERY DAY See notes for Feb. 8, 7:15 pm. ---------------------------- WEDNESDAY, FEBRUARY 13, 2013 ---------------------------- 2/13 Austin, TX: Experimental Response Cinema http://ercatx.org 7pm, Visual Arts Center, 2300 Trinity St. FOCUS GROUP: THE SCREENING ROOM WITH ED EMSHWILLER This Spring, the Visual Arts Center will present four screenings featuring Robert Gardner's The Screening Room under their Focus Group program. We are honored to be collaborating with them with guest speakers and selected prints of the featured filmmakers! For this first one, Paul Gansky will do a presentation on Ed Emshwiller and screen 3 of his films. Sunstone (1979) 16mm / 3min / sound A film version of computer animation done using a digital paint program at New York Institute of Technology. Originally released as a videotape. E.E. Thermogenesis (1972) 16mm / 12min / sound A film version of a videotape. In it my drawings are animated and colorized by using computers. Walter Wright and Richard Froman were on the computers. John Godfrey helped with the video editing. I did the sound score. The original tape was done on 2″ high-band color videotape, two computers, a Paik-Abe video-synthesizer, with studio chroma-keying and multi-generation video editing. E.E. This early tape is a version of Computer Graphics #1, one of Emshwiller's very first video works. Black-and-white drawings by Emshwiller were animated and colorized with the assistance of Walter Wright and Richard Froman at Dolphin Computer Image Corporation. The sound score was made on Moog Audio Synthesizers by Emshwiller in collaboration with Robert Moog and Jeff Slotnick. (via Electronic Arts Intermix for the tape version.) Transformation (1959): 16mm / 5min / sound. The pointillist score accompanies changing line, form, and color to create an animated film painting, achieved through the exploration of spontaneous abstractions. Utilizes evolving changes style, technique and rhythm. E.E. 2/13 New York, New York: Anthology Film Archives http://www.anthologyfilmarchives.org/ 7:15 pm, 32 2nd Avenue ONCE EVERY DAY See notes for Feb. 8, 7:15 pm. 2/13 New York, New York: Anthology Film Archives http://www.anthologyfilmarchives.org/ 9:00 pm, 32 2nd Avenue ONCE EVERY DAY See notes for Feb. 8, 7:15 pm. --------------------------- THURSDAY, FEBRUARY 14, 2013 --------------------------- 2/14 Chicago, Illinois: Conversations at the Edge http://www.saic.edu/cateblog 6:00 pm, Gene Siskel Film Center / 164 N. State St. CONCRETE PARLAY: AN EVENING WITH FERN SILVA Fern Silva's invigorating, geographically-sweeping films bring together sounds and images of nature, ritual, and pop culture from Europe, South America, the Middle East and the United States to explore ideas of travel and cross-cultural movement. "The disorienting whirl of the compass," suggests curator Aily Nash "connotes the kinetic nature of existence." For this program Silva presents five films made since 2010, including Passage Upon the Plume (2011), In the Absence of Light, Darkness Prevails (2010) and the Chicago premiere of his latest, Concrete Parlay (2012). Fern Silva, (b. 1982, Hartford, CT) was named as one of the "Top 25 avant-garde filmmakers for the 21st century" in Film Comment magazine. His work has been exhibited at numerous festivals, galleries, and museums around the globe. He currently teaches at the University of Illinois-Chicago. 2010-12, multiple countries, multiple formats, ca 60 min + discussion 2/14 Leeds, United Kingdom: Limerent Objects http://limerentobjects.tumblr.com/ 19:30, Wharf Chambers FREE SCREENING OF THE NOCTURNAL EMISSIONS BLEEDING IMAGES + THE FOETAL GRAVE OF PROGRESS Limerent Objects is proud to present a Sterile Records double bill screening of Bleeding Images (1982, 46 minutes) & The Foetal Grave Of Progress (1984, 34 minutes). ************************************************************************ *************** The quintessential audiovisual statements of the post-industrial music scene. Provocative in content, prescient in style, these medium-length videos captured the subversive interests and activities of the pioneering sound art project The Nocturnal Emissions against a contextual backdrop of the UK between 1981 and 1984; a time rife with mass unemployment, civil unrest, media hysteria, political indifference, terrorism and war overseas. Burroughsian cut-ups reveal subliminal imagery hidden in exploitative mainstream broadcasting; shocking images of real-life violence against living beings are critically employed to expose our complacency in everyday cruelty; the thunderous soundscapes and ritual performances of The Nocturnal Emissions awaken the viewer's senses to our undermining culture controlled by fear and repression ************************************************************************ *************** Rarely viewed since their initial home video releases and screenings at the Tate and ICA in the UK as a result of the imposing 1984 Video Recordings Act, both works remains impressive today as early influential examples of the extended music video and key moments of the British independent video art movement. Countless artists and broadcasters have emulated or outright stolen the ambitions, aesthetics and techniques used in the videos of The Nocturnal Emissions, either directly or through watered-down copies few however can match the tremendous power of the original works which are long overdue public and critical reassessment in these increasingly pertinent times. ************************************************************************ *************** Free entry with small donations welcomed. Doors open at 19:30. A short talk and introduction by the organiser will precede the first video at 20:00 the second video will be shown after 21:00. Please be aware that these videos contains flashing images and some footage that may disturb those of a sensitive disposition. ************************************************************************ *************** Special thanks to Nigel Ayers/Earthly Delights and Piitu Lintunen for making this event possible. ************************************************************************ *************** *Wharf Chambers Co-operative Club is a members' club, and you need to be a member, or a guest of a member, in order to attend. To join, please visit wharfchambers.org. Membership costs £1 and requires a minimum of 48 hours to take effect.* 2/14 New York, New York: Anthology Film Archives http://www.anthologyfilmarchives.org/ 7:15 pm, 32 2nd Avenue ONCE EVERY DAY See notes for Feb. 8, 7:15 pm. 2/14 New York, New York: Anthology Film Archives http://www.anthologyfilmarchives.org/ 9:00 pm, 32 2nd Avenue ONCE EVERY DAY See notes for Feb. 8, 7:15 pm. 2/14 Paris, France: Collectif Jeune Cinéma 8pm, 34 rue Daubenton LOVE MEDITATIONS // SÉANCE RÉGULIÈRE DU CJC (informations supplémentaires à venir) - - durée de la séance : environ 1h20 - - Sexual Meditation : Faun's Room, Stan Brakhage, Etats-Unis, 1972, 2' (projeté en 16mm) - L'inspiration pour cette série de films dont "Faun's Room" fait partie venait d'une considération des processus de pensée impliqués dans l'évocation d'images et d'idées qui sont visées au moment de l'excitation sexuelle. Les films prétendent documenter ces processus mentaux et présenter les méditations du réalisateur autour de ceux-ci. - - Apple, Emilie Jouvet, France, 2008, 6' - Eve se réveille au Paradis, trouve une pomme... et commet un délicieux pêché. Cette petite vidéo recrée l'atmosphère des films de pin-ups, mais la "Betty Page" n'est pas seulement une blonde, elle réinvente aussi la mythologie. "The Apple" crée un style qui mélange le genre du porno, du féminisme, du burlesque et du fétichisme. - Imaginary Friend, Pip Chodorov, France, 1998, 4' (projeté en 16mm) - Sous le choc d'une rupture amoureuse, je construis un film avec des éléments captés six mois auparavant : un jour de nostalgie à la campagne, la cueillette des mûres, le repas, le bon temps avec des amis, au bord de l'étang, au couché du soleil... Le souvenir d'un moment où tout allait bien. (Musique originale de Pip Chodorov) - - Ai (love), Takahiko Iimuran, Japon, 1962, 10' (projeté en 16mm) "J'ai vu un grand nombre de films d'avant-garde japonais. Parmi tous ces films âAI (LOVE)' ressort par sa beauté et son originalité, un ciné-poème, sans l'habituelle imagerie pseudo surréaliste. La comparaison la plus proche serait "Loving" de Brakhage ou "Flaming Creatures" de Jack Smith. Une exploration poétique et sensuelle du corps⦠fluide, directe, belle⦠(Jonas Mekas) - - Foam, David Kidman, Grande-Bretagne, 2002, 12' (projeté en 16mm) - La question du film est : Comment chérir ? Une dérive en découle. La forme visuelle du film est une joute entre des images cadrées, figées et des images en fuite. Tous mes films commencent comme des comédies⦠- - Les Aimants, Cerise Lopez, France, 2011, 11'30" - «Les abeilles aiment les fleurs. - Les mouches aiment la merde. - Et toi, tu m'aimes, ma grosse mouche à miel ? » - Quand l'amour déboussole, c'est la porte ouverte aux faux-semblants et aux trompe-l'Åil. S'en remettre à la marguerite n'est-il pas un peu risqué ? - - XSZ, Jacques Perconte, France, 2002, 4' - Les corps se mélangent. Les mains rythment, les baisers glissent. Le temps file au rouge. La vue est à réinventer. L'histoire de cette rencontre est une musique. La vidéo est sa peau. La projection son lit. - - Une Passion, Thomas Jenkoe, France, 2011, 7' - Un moment noir de la vie, exorcisé à vif, au téléphone portable. - Sexual Meditation Hotel, Stan Brakhage, Etats-Unis, 1970, 6' (projeté en 16mm) - L'inspiration pour cette série de films dont Hotel fait partie venait d'une considération des processus de pensée impliqués dans l'évocation d'images et d'idées qui sont visées au moment de l'excitation sexuelle. Les films prétendent documenter ces processus mentaux et présenter les méditations du réalisateur autour de ceux-ci. - - Siège, Yves-Marie Mahé, France, 1999, 3' - Lève-toi de ta chaise qu'on voit tes fesses. - - Once Upon a Sidewalk, Gheith Al-Amine, Liban, 2009, 20'42" - Cette vidéo présente plusieurs variations d'un même cliché pris neuf ans auparavant. Pour chaque image, il s'agit de transmettre un sens inédit tout en recréant des couleurs et des sentiments que l'artiste avait vus et ressentis à l'époque, un samedi soir sur Monot Street à Beyrouth. "Once Upon a Sidewalk" expore aussi la représentation des femmes assimilées à des objets de désir et questionne le médium de la vidéo en manipulant indéfiniment ses paramètres. ------------------------- FRIDAY, FEBRUARY 15, 2013 ------------------------- 2/15 Boston, Massachusetts: ArtsEmerson http://ArtsEmerson.org 6:00 PM, Bright Family Screening Room at the Paramount Center, 559 Washington Street TRANSITION ArtsEmerson: The World On Stage presents Transition. Transition is an absurd yet addictive mix of stereophonic effects, live video, geometric movement and improvisation created by comedic musician Reggie Watts and playwright/director Tommy Smith. Watts' many talentsstandup comedian, former front man of rock band Maktub, R&B soul singer and experimental performerhave made him an audience favorite at venues and festivals around the world. In recent years his collaborations with Smith, including performances at The Public Theater's Under the Radar Festival (NYC) and the 2009 Sydney Festival, have received rave reviews from critics and audiences. 2/15 Boston, Massachusetts: ArtsEmerson http://ArtsEmerson.org 9:00 PM, Bright Family Screening Room at the Paramount Center, 559 Washington Street SWIMMING TO CAMBODIA ArtsEmerson: The World On Stage presents Swimming to Cambodia. Actor and raconteur Spalding Gray delivers his acclaimed monologue Swimming to Cambodia for the camera. Slipping in history and socio-political context of the political turmoil Cambodia was experiencing at the time, Gray recounts his experience as an extra on the Sam Waterston film The Killing Fields filmed on location. A modern master of language and story, Gray's riveting tale speaks to the power of storytelling and importance of using the artstheatre in particularto bring about social awareness. 2/15 Chicago, Illinois: Film Studies Center http://filmstudiescenter.uchicago.edu/events/2013/collaborations-time-we-killed 7pm, Logan Center for the Arts, 915 E. 60th St. MOVING PICTURE ALPHABET SERIES: THE TIME WE KILLED *Introduction and Q&A by poet Lisa Jarnot and filmmaker Jennifer Reeves* The Time We Killed is described by its director as a work of "true fiction." Shot in 16mm, the film tells the story of an agoraphobic writer trapped in her Brooklyn apartment, ranging through memory, fantasy, and dark ruminations on contemporary geopolitics in a hybrid blending of documentary material, scripted scenes, and improvisation. The protagonist is played by the poet Lisa Jarnot; her poetry, written in the voice of her character, is interspersed throughout the narrative. (Jennifer Reeves, 2004, 16mm, 94 min) Lisa Jarnot studied at the State University of New York at Buffalo and Brown University. She has edited two small magazines and is the author of four full-length collections of poetry: Some Other Kind of Mission, Ring of Fire, Black Dog Songs, and Night Scenes. Her biography of the San Francisco poet Robert Duncan was published by the University of California Press in 2012 and a Selected Poems will be published by City Lights in 2013. She works as a teacher, writer, and freelance gardener and is a founding member of the Central Park Forest Nursery Preschool Cooperative. Jennifer Reeves is a New York-based filmmaker working primarily on 16mm film since 1990. She does her own writing, cinematography, editing, painting and sound design on subjective and personal films that incorporate optical-printing and direct-on-film techniques. Reeves explores themes of memory, mental health and recovery, feminism and sexuality, landscape, wildlife and politics. Moving Picture Alphabet Series Poets have long been drawn to the formal qualities of cinemaits motion, its scale, its imagery, its temporality. The poet Vachel Lindsay found in film the purest expression of "the human soul in action"; Frank O'Hara famously pleaded, "Mothers of America / let your kids go to the movies!" What's far less discussed is the influence of poetry on filmmaking. This series attempts to redress this imbalance with films that encompass a wide variety of interactions between filmmakers and poets. Over the course of four Friday evenings, the contours of the "poetic film"an overused and underexamined term in critical discoursewill resolve into a fuller historical specificity. Receptions will follow the screenings. (continued in next email)
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