Part 1 of 2: This week [February 16 - 24, 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 FILM/VIDEO: NON-FEATURE: ============================ "We Are All Dead or Soon Will Be" by BO LEE http://www.hi-beam.net/cgi-bin/ann.pl?type=newwork&readfile=507.ann "Videre: A Series" by Huntington Library http://www.hi-beam.net/cgi-bin/ann.pl?type=newwork&readfile=508.ann NEW CALLS FOR ENTRIES: ===================== 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 INSTA (Knoxville; Deadline: March 08, 2013) http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1549.ann Accolade Competition (San Diego, CA, USA; Deadline: March 01, 2013) http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1550.ann Journal of Short Film Volume 30 (Columbus, Ohio, USA; Deadline: March 01, 2013) http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1551.ann INSTA: International Show/Tell Annual Media Festival (Knoxville, Tennessee USA; Deadline: March 08, 2013) http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1552.ann DEADLINES APPROACHING: ====================== 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 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 INSTA (Knoxville; Deadline: March 08, 2013) http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1549.ann Accolade Competition (San Diego, CA, USA; Deadline: March 01, 2013) http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1550.ann Journal of Short Film Volume 30 (Columbus, Ohio, USA; Deadline: March 01, 2013) http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1551.ann INSTA: International Show/Tell Annual Media Festival (Knoxville, Tennessee USA; Deadline: March 08, 2013) http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1552.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): ============================== * 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] * The Poetic Semiotics of Peter Rose [February 18, Cambridge, Massachusetts] * Early Monthly Segments #48 = andy Warhol's Kitchen [February 18, Toronto, Ontario, Canada] * Geeta Dayal On the Electronic Film Scores of Louis and Bebe Barron [February 19, Br] * Breakwater [February 19, Cambridge, Massachusetts] * God Bless the Usa [February 20, Austin, TX] * Queer Cinema As Counter Cinema In the 21st Century: Lecture By Nick Davis [February 20, Chicago, Illinois] * Art(Core) and the Celluloid Body [February 20, New York, NY] * Dutch Wife In the Desert [February 20, New York, New York] * Prehistory of the Partisans [February 20, New York, New York] * Mono No Aware Filmmakers Presented By New Filmmakers Ny [February 20, New York, New York] * Millennium Film Workshop Personal Cinema Series At the New School [February 20, New York, New York] * <B>Fire Is A Fact: An Evening With Karen Yasinsky</B> [February 21, Chicago, Illinois] * Minamata [February 21, New York, New York] * Show & Tell: Leif Goldberg [February 21, New York, New York] * The Friendship State: Scott Stark, Caroline Koebel, Kelly Sears, Jennifer Lane, Lyndsay Bloom [February 22, Austin, TX] * Sight Unseen Presents Bruce Mcclure [February 22, Baltimore] * Your Brother. Remember? [February 22, Boston, Massachusetts] * Transition [February 22, Boston, Massachusetts] * Goodbye [February 22, New York, New York] * The Shipment [February 23, Boston, Massachusetts] * El Pasado Es Un Animal Grotesco [February 23, Boston, Massachusetts] * Jud Yalkut: "Seminal Films" and "Music and Media" With Symposium. [February 23, Dayton, Ohio] * New Works Salon [February 23, Los Angeles, California] * Essential Cinema: Triumph of the Will [February 23, New York, New York] * Sanrizuka [February 23, New York, New York] * The White Hare of Inababa [February 23, New York, New York] * Afro-Futurism: Sun Ra + Soda_jerk's Astro Black + [February 23, San Francisco, California] * Avant Erotica: Love Meditations [February 24, Austin, TX] * Passing Strange [February 24, Boston, Massachusetts] * Frame 2 Looking, Caring [February 24, Cambridge, UK] * My Mars Bar Movie [February 24, New York, New York] * Portrait of Mr. O [February 24, New York, New York] * Michio Okabe Program [February 24, New York, New York] * Your Day Is My Night Premiere At Moma's Documentary Fortnight [February 24, New York, New York] Events are sorted by CITY within each DATE. --------------------------- SATURDAY, FEBRUARY 16, 2013 --------------------------- 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 ------------------------- MONDAY, FEBRUARY 18, 2013 ------------------------- 2/18 Cambridge, Massachusetts: Harvard Film Archive http://hcl.harvard.edu/hfa 7pm, Harvard Film Archive, 24 Quincy Street THE POETIC SEMIOTICS OF PETER ROSE $12 Special Event Tickets Peter Rose in Person Monday February 18 at 7pm Incantation US 1970, 8mm transferred to 16mm, color, 8 min The Man Who Could Not See Far Enough US 1981,16mm, color, 33 min Studies in Transfalumination US 2008, digital video, color, 5.5 min Pneumenon US 2003, digital video, color 5 min Secondary Currents US 1982, 16mm, b/w, 16 min The Pressures of the Text US 1983, digital video, color, 17 min TRT= 84 min. 2/18 Toronto, Ontario, Canada: Early Monthly Segments http://earlymonthlysegments.org/ 8pm, Gladstone Hotel, Ballroom, 1214 Queen Street West EARLY MONTHLY SEGMENTS #48 = ANDY WARHOL'S KITCHEN Accompanying Oakville Galleries' exhibition Where I Lived, and What I Lived For and its themes of psychic and domestic interiority, we present Andy Warhol's Kitchen (1965). Instructed by Warhol to write a vehicle for Edie Sedgwick in a "completely white" setting, scenarist Ronald Tavel created one of Warhol's most iconic films. Here a group of performers of all stripes the sink and litter basket receive equal billing to the human actors are forced into Warhol and Tavel's cruelly comical theatre of the absurd. Inside this cramped domestic space, boredom, confusion and a sense of existential dread hang heavy in the air. Warhol and Tavel transform the modern 1960s kitchen replete with the latest gadgets and conveniences into a chaotic laboratory for self-creation and interpersonal conflict. -------------------------- TUESDAY, FEBRUARY 19, 2013 -------------------------- 2/19 Br: Light Industry http://www.lightindustry.org/ 7:30, 155 GEETA DAYAL ON THE ELECTRONIC FILM SCORES OF LOUIS AND BEBE BARRON Electronic Tonalities: The Film Scores of Louis and Bebe Barron - A lecture by Geeta Dayal - Before the advent of synthesizers, a generation of maverick inventors built their own circuits, designed their own instruments, and pushed the limits of tape machines. While the traditional history of electronic music points to Europe, and especially to the birth of musique concrète in France in 1948, an equally important history was taking root around the same time in New York City. - Louis and Bebe Barron, a husband and wife team living in Manhattan in the early 1950s, built a DIY electronic music studio in their Greenwich Village apartment. Inspired by cybernetics, they thought of their circuits as living organisms, with a life and death of their own. The Barrons would become most famous for creating the pioneering electronic music score for the science fiction classic Forbidden Planet (1956), but their work extended beyond Hollywood. They actively collaborated within the New York avant-garde, spending two years building up the samples for John Cage's seminal tape piece Williams Mix and assisting Maya Deren with the soundtrack for her 1959 film The Very Eye of Night. Their work tells a story not only of early electronic music, but of bohemian downtown New York in the same periodMarlon Brando, Aldous Huxley, and Anaïs Nin were among the other notable figures that spent time at the Barrons' studio. - The Barrons also created electronic compositions for three experimental films in the 1950s by Ian Hugo, Nin's then-husband. Two of those filmsBells of Atlantis (1952) and Jazz of Lights (1956)will be screened tonight, along with Shirley Clarke's Barron-scored Bridges-Go-Round (1958) and excerpts from Forbidden Planet. An illustrated lecture on the life and work of the Barrons by Geeta Dayal will accompany the screening. - - Geeta Dayal is the author of Another Green World (Continuum, 2009), a book on Brian Eno, and is currently at work on a new book on the history of electronic music. Her writing about music, technology, and culture has appeared in Bookforum, frieze, the New York Times, The Wire, and many other publications. - Tickets - $7, available at door. - Please note: seating is limited. First-come, first-served. Box office opens at 7pm. 2/19 Cambridge, Massachusetts: Balagan Films http://www.balaganfilms.com 8:00pm, Brattle Theatre, 40 Brattle Street BREAKWATER From camera motion inspired by the fluidity of bubbling streams -- to the productive potential of organisms residing within -- to the symbolic significance of a teacup's or a storm's destructive powers -- water has given rise to some incredible cinematic images. With this small-gauge film program of works old and new, the first of 2013, we explore the form's aesthetic and figurative possibilities. PROGRAM (16mm unless noted) /// Leighton Pierce / Glass / 1998 / 7 minutes /// Sarah Pucill / Backcomb / 1995 / 6 minutes /// Matthew McWilliams / Produce / 2013 / 3 minutes / silent /// Michael Robinson / Chiquitita and the Soft Escape / 2003 / 10 minutes /// Matthias Müller / Alpsee / 1994 / 15 minutes /// Gary Beydler / Venice Pier / 1976 / 16 minutes /// Robert Todd / Movements / 2012 / 4 minutes / super8 presented on video /// TOTAL RUNNING TIME: one hour ---------------------------- WEDNESDAY, FEBRUARY 20, 2013 ---------------------------- 2/20 Austin, TX: Mad Stork Cinema 8:30, ROOM: STUDIO 4D, Building CMD, UT GOD BLESS THE USA [Description] The Mad Stork is back for our first screening of 2013. Join us for three very different short films that will all fit together quite nicely. Perfect Film - Ken Jacobs. 1985. 16mm. Sound. 22 minutes. "I wish more stuff was available in its raw state, as primary source material for anyone to consider, and to leave for others in just that way, the evidence uncontaminated by compulsive proprietary misapplied artistry, "editing", the purposeful "pointing things out" that cuts a road straight and narrow through the cine-jungle; we barrel through thinking we're going somewhere and miss it all. Better to just be pointed to the territory, to put in time exploring, roughing it, on our own. For the straight scoop we need the whole scoop, or no less than the clues entire and without rearrangement. O, for a Museum of Found Footage, or cable channel, library, a shit-museum of telling discards accessible to all talented viewers/auditors. A wilderness haven salvaged from Entertainment." - Ken Jacobs What's On- Martha Colburn. 1997. 16mm. Sound. 2 minutes. "This film is set to the chaos-poetry of New York poet "99 Hooker". It is a hyper-speed rant on the evils and absurdities of American television. An over-the-top tumble in a TV mindscape in which there are attacking baboons, a mutating Michael Jackson, gameshows based on body parts and more. "What's On?" is a flat puppet-collage-paint and hand colored-animated film." - Martha Colburn 8 1/2 x 11 - James Benning. 1974. 16mm. Sound. 32 minutes. "Benning's landscape works, with their meticulous, reverential compositions, have been located in the history of American realist painting and photography, and also belong to the tradition of American nature writing...The formal elegance of the compositions somehow becomes surreal over time, as we look into, instead of at, the place. This tendency locates Benning in the history of experimental filmmakers concerned with interrogating visual perception." - Danni Zuvela FREE!!! 2/20 Chicago, Illinois: Film Studies Center http://filmstudiescenter.uchicago.edu/events/2013/queer-cinema-counter-cinema-21st-century-lecture-nick-davis 5pm, Film Studies Center, Cobb 307, 5811 S. Ellis QUEER CINEMA AS COUNTER CINEMA IN THE 21ST CENTURY: LECTURE BY NICK DAVIS Nick Davis, Assistant Professor of English at Northwestern University, explores recent practices in global queer filmmaking from artistic, ideological, and theoretical vantages, assessing how they function as "counter cinema" and how they expand or depart from prior, collective impetus within LGBT filmmaking. Compared to the much-heralded New Queer Cinema of the early 1990sinfluenced strongly by postmodernist aesthetics, AIDS activism, and queer theory's critiques of identity politicsmore recent queer cinema is often arraigned as diffuse in both its cinematic and its counterpublic orientations. This talk confronts two seemingly opposed projects that have been ascribed to recent queer cinema on a global scale: a reclaiming of realism, in both narrative and photographic senses, and a heightening of abstraction, often within enigmatic national allegories that make queer or crypto-queer subjects central to both image and story. Both of these trends within queer cinema have been frequently indicted as insufficiently "political." However, when considered via Gilles Deleuze's notions of crystalline cinema and of minor aesthetics and politics, each reveals abundant potentials to resist standard ideologies of how images are organized and of how queerness is conceived. Counter Cinema/Counter Media Series: What is the visual language of opposition? Does the form of resistance matter today? The Center for the Study of Gender and Sexuality's Counter Cinema/Counter Media Project focuses on film and media practices that use form to resist and "counter" dominant film and media outlets, platforms, and traditions. In 2013, the Project will mount a series of talks and screenings curated by project director Jennifer Wild (Assistant Professor, CMS), and international film programmers, makers, collectives, and critics. All events take place in COBB 307 at 5 pm. 2/20 New York, NY: Filmmakers Co-op 7pm, Swiss Institute, 18 Wooster St ART(CORE) AND THE CELLULOID BODY WEDS, FEBRUARY 20 2013, 7PM - - Swiss Institute / CONTEMPORARY ART, 18 Wooster Street, New York NY 10013, Tel 212.925.2035 - MM Serra presents an avant-garde film program that examines gender and sexuality within the poetics of cinema. Sourcing films made between 1963 and 2012 from the Film-Makers' Cooperative collection, Serra's selection specifically discusses male / female representation in underground experimental alternative media. - Christmas on Earth (1963) by Barbara Rubin, Scotch Tape (1959-62) by Jack Smith, 6/64 Mama und Papa (An Otto Muhl Happening) (1964) by Kurt Kren, Kusama's Self-Obliteration (1967) by Jud Yalkut, T,O,U,C,H,I,N,G (1968) by Paul Sharits, Plumb Line (1972) by Carolee Schneemann, Turner (1987) by MM Serra, Two Marches (1991) by Jim Hubbard, The Color of Love (1994) by Peggy Ahwesh, Spiders in Love: An Arachnogasmic Musical (1999) by Martha Colburn, Blushes (2012) by Kyle Beechey - - Please join us at the Swiss Institute for a very special evening of cinema! - Contact [email protected] or call 212-267-5665 for more information. - http://www.film-makerscoop.com/ - http://www.swissinstitute.net/ - Funding in part from the New York State Council on the Arts and the New York Department of Cultural Affairs. - Image from Plumb Line (1972) by Carolee Schneemann 2/20 New York, New York: Anthology Film Archives http://www.anthologyfilmarchives.org/ 6:45 pm, 32 2nd Avenue DUTCH WIFE IN THE DESERT by Atsushi Yamatoya 1967, 85 min, 35mm, b&w This screening is part of: RITUALS IN THE AVANT-GARDE: FILM EXPERIMENTS IN 1960-70s JAPAN (KÔYA NO DACCHI WAIFU) Presented by Go Hirasawa and Julian Ross, co-curators of the program. The second directorial effort by the screenwriter for BRANDED TO KILL (Seijun Suzuki, 1967) and CHRONICLE OF AN AFFAIR (Koji Wakamatsu, 1965), Atsushi Yamatoya's surreal pink film navigates a multi-layered and surreal plot with exquisite visual finesse. For a time an assistant director at Nikkatsu studios, Yamatoya took part in Seijun Suzuki's screenwriting group Guryu Hachiro and wrote under the pen-name Yoshiaki Otani (with Chusei Sone) for Wakamatsu Productions. 2/20 New York, New York: Anthology Film Archives http://www.anthologyfilmarchives.org/ 9:00 pm, 32 2nd Avenue PREHISTORY OF THE PARTISANS by Noriaki Tsuchimoto 1969, 120 min, 16mm, b&w This screening is part of: RITUALS IN THE AVANT-GARDE: FILM EXPERIMENTS IN 1960-70s JAPAN Film Notes (PARUCHIZAN ZENSHI) Presented by Go Hirasawa and Julian Ross, co-curators of the program. At the peak of student activism in the follow-up to the renewal of the controversial Anpo: US-Japan Security Treaty, Tsuchimoto's socially-engaged documentary traces the struggles of the students of Kyoto University from their discussions to preparations for armed action. Produced by Ogawa Productions, the film follows new-left radical Osamu Takita and his debates with students, which are captured with exceptional intimacy. 2/20 New York, New York: Mono No Aware http://mononoawarefilm.com/special-engagements/new-filmmakers-2013/ 8:15 pm, Anthology Film Archives 32 Second Avenue, New York, NY MONO NO AWARE FILMMAKERS PRESENTED BY NEW FILMMAKERS NY A selection of 16mm and Super-8mm films created in MONO NO AWARE workshops here in New York and presented by NEW FILMMAKERS. All films screened on film. Participating artists include >> Chloe Zimmerman, Jenny Volodarsky, Laura Blüer, Laura Trager, Lucio Castro, Pete Vale, Edward Dias III, N. Mauricio Salgado, Aaron Vinton, Daniel McKernan, Juliana Cerqueira Leite, Jesse Clagett, Kristina Donello, Mohammad Shawky Hassan, and Jon Carter. 2/20 New York, New York: Millennium Film Workshop http://www.millenniumfilm.org/ 7:00pm, Wollman Hall, 65 West 11th Street, 5th floor (enter at 66 West 12th Street) MILLENNIUM FILM WORKSHOP PERSONAL CINEMA SERIES AT THE NEW SCHOOL The first in a three-part series presenting personal visions of cinema's potential as an artistic medium, "New from Old" features three internationally exhibited filmmakers who have made appropriation central to their creative process. Each artist will present a selection of films and videos that exemplify the practice of making new from the old, turning ubiquitous media images to critical and expressive ends. Screening followed by a discussion. Admission: Free Featuring: Bradley Eros, Colleen Fitzgibbon and Martha Colburn --------------------------- THURSDAY, FEBRUARY 21, 2013 --------------------------- 2/21 Chicago, Illinois: Conversations at the Edge http://www.saic.edu/cateblog 6:00pm, Gene Siskel Film Center / 164 N. State St. FIRE IS A FACT: AN EVENING WITH KAREN YASINSKY Telescoping themes of anxiety and desire, Baltimore-based Karen Yasinsky crafts seductive half-narratives through hand-made clay puppets and the painstaking process of hand-drawn rotoscoping. For this program, she presents a survey of animated films from across her career, including the U.S. premiere of her latest, Life is an Opinion, Fire a Fact (2012). Karen Yasinsky's (b. 1965) animations, installations, and drawings have been exhibited in numerous international venues. She is the recipient of a Guggenheim Fellowship, a Baker Award, and is a fellow of the American Academy in Berlin and the American Academy in Rome. She teaches at Johns Hopkins University. 1998-2012, USA, multiple formats, ca 75 min + discussion 2/21 New York, New York: Anthology Film Archives http://www.anthologyfilmarchives.org/ 7:00 pm, 32 2nd Avenue MINAMATA by Noriaki Tsuchimoto 1971, 120 min, 16mm, b&w This screening is part of: RITUALS IN THE AVANT-GARDE: FILM EXPERIMENTS IN 1960-70s JAPAN (MINAMATA: KANJA-SAN TO SONO SEKAI) When fertilizer company Chisso began depositing wastewater with traces of mercury into the nearby sea, residents of Minimata town in Kyushu began to show symptoms of what came to be recognized as a dangerous disease. The first in a series that lasted until his recent death, Tsuchimoto's socially committed documentary traces the townspeoples' struggle to receive a formal apology from Chisso. The film still enrages audiences and provides crucial warnings against the perils of industrial pollution. 2/21 New York, New York: Anthology Film Archives http://www.anthologyfilmarchives.org/ 7:30 pm, 32 2nd Avenue SHOW & TELL: LEIF GOLDBERG Leif Goldberg's mystifying films present viewers with an ecstatic obstacle course of mutating images and delightfully warped sounds. Densely packed yet ethereally exquisite, often frantic but always focused, Goldberg's lustrous films present new formal and visual possibilities for animation and collage techniques. In addition to filmmaking, Goldberg is an independent visual artist whose work ranges from drawings and objects to screen prints. He co-published the seminal underground comics tabloid PAPER RODEO and produced the subsequent anthology FREE RADICALS (Pictureboxinc 2005). His drawings and prints have been published in numerous anthologies including KRAMER'S ERGOT and LE DERNIER CRI, while his film work has been exhibited as part of collaborative projects in the 2002 Whitney Biennial and the RISD Museum. A member of the Forcefield collective who was associated with the now legendary Forth Thunder scene in Providence, RI, Goldberg currently resides in Vermont where he teaches 16mm film at a small college and directs a community TV station. HORSE HOLOGRAPH 1997, 4 min, 16mm A horse experiences his surrounding life through a sequence of daydreams and quasi-reality. A multimedia animation made on film. Q-2 IN THE HOUSE OF INFINITE COLORS 1999, 3 min, 16mm A thousand strobing images set the stage for a future man transported back to an archaic world of colorful junk. FAKE MAKEBELIEVE 2000, 14 min, video VHS to VHS Sesame Street rehash with psychedelic overtones. Childhood fever dream. THIRD ANNUAL ROGGABOGGA MOTION PICTURE 2002, 6 min, 16mm. Made with Forcefield. 16mm stop-motion animated film that was projected for the three-month duration of the Third Annual Roggabogga Installation at the Whitney. BLOOD ORANGE 2012, 6 min, 16mm Floating/streaming pumpkin heads caught on film. IMAGINARY FRIEND 2005, 7.5 min, digital video Toulouse and friends are in an internal crisis mode. Do they know that they are just puppets living in some shut off reality? LAWS FOR THE INTERMINABLE 2006, 3.5 min, 16mm This is an initiation program for one Utrillo Valens, who has been cryogenically preserved until a time deep into the disintegrated future. Now his crumpled, deteriorated body is being awoken to a new world and these are the things he must know. LIFE UNDER THE THREE SUNS 2007, 3 min, 16mm "You know the three suns in the sky. They'll come together soon and it's called the great great something or other. It's a prophecy. And he told me I must find the shard and everything must be done before the three suns join in one and that's all and then he died." MOON PULLS 2012 (work in progress), ca. 8 min, 16mm "As our ship approached touchdown on the floating ground, my eyes were glued shut. The tides were there, pulling us " WEE WEE ATTRACTORS 2012 (work in progress), ca. 4 min, digital video/16mm) Travel inside the unraveling scribble universe. Total running time: ca. 65 min. ------------------------- FRIDAY, FEBRUARY 22, 2013 ------------------------- 2/22 Austin, TX: Austin Film Society http://www.austinfilm.org/ 7PM, AFS Screening Room (1901 E 51st St) THE FRIENDSHIP STATE: SCOTT STARK, CAROLINE KOEBEL, KELLY SEARS, JENNIFER LANE, LYNDSAY BLOOM The program was originally conceived for presentation in New York City (where I used to live) as a testament to the vitality of cinema art in Texas (where I live now). Befuddling all the alienating preconceptions about my new state is the direct encounter of Texas from the inside; depth of familiarity takes presence. While I'm still dismayed - horrified - by the reality of the state's dominant politics, now I know from firsthand experience that there's also a whole lot of good in circulation. The motto of Texas is "friendship." In my time here, I have been sustained and inspired by the presence of a plethora of film and video artists. THE FRIENDSHIP STATE embraces the dialog between makers and comprises five directors, including me, from diverse points of Texaseach engaging select tactics to reveal, negate and ultimately transcend moving image boundaries. All filmmakers but KS in attendance!--Caroline Koebel, guest curator 2/22 Baltimore: Sight Unseen http://www.sightunseenbaltimore.com/ 9:00pm, Metro Gallery, 1700 N. Charles St. SIGHT UNSEEN PRESENTS BRUCE MCCLURE Sight Unseen presents "The Walls are Glitter Gates of Elfinbone," a new projection performance by Bruce McClure. "Bruce McClure's projection performances recognize the 16mm film projector as a chimerical beauty consisting of a mechanical monster and mental fabrication. Leaning into the arc of an audience the projector is rescued from a scrap heap of technological obscurity and enters a formal suite of reception. Threaded with loops, film becomes the server, a material substrate, a sprocketed analogue attending to the projector's engagement with the neural images that hang between the gaps of the synod. His projection performances transfix film in the headlights, flatten it and leave it behind as road kill. McClure abandons the camera on the other side of the picture plane valorizing the latent hush of a theater of cooperation darkened with expectancy creating a vantage point for aimless observation and drift of internal gyroscopes." -BMC. $5 General Admission. 2/22 Boston, Massachusetts: ArtsEmerson http://ArtsEmerson.org 6:00 PM, Bright Family Screening Room at the Paramount Center, 559 Washington Street YOUR BROTHER. REMEMBER? ArtsEmerson: The World On Stage presents Your Brother. Remember? An elaborate experiment with the concept of Before-and-After photographs, Your Brother. Remember? splices and dices home videos, Hollywood film footage, and live performance. As kids in rural America, Zachary and his older brother Gator loved making parodies of their favorite films, most notably Jean-Claude Van Damme's karate opus Kickboxer, and the notorious cult film Faces of Death. Then 20 years passed. Estranged from his family, Zack returned to his childhood home to re-create these films, shot for shot, as precisely as possible but now seen through a 20-year lens of emotional and physical wear and tear. One brother became an actor, and one self-destructed. Which is which? How different are these lives? Could this story have turned out the other way around? Maybe. And what are these peculiar parralels in Mr. Van Damme's life, as it unfolded over the same 20 years? Born in Belgium or America, the simple childhood desire for love gets confused with fame, drugs and ambition. The liars believe their own lies, and "real-life" clashes with the "art of manipulation." But with Mr. Van Damme and renowned pathologist Dr. Francis Gross in their corner, Zack and Gator step into the ring one last time for a title shot at redemption. 2/22 Boston, Massachusetts: ArtsEmerson http://ArtsEmerson.org 9:00 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. 2/22 New York, New York: Anthology Film Archives http://www.anthologyfilmarchives.org/ 9:15 pm, 32 2nd Avenue GOODBYE by Katsu Kanai 1970, 52 min, video, b&w This screening is part of: RITUALS IN THE AVANT-GARDE: FILM EXPERIMENTS IN 1960-70s JAPAN The first postwar Japanese film to be shot in South Korea, independent filmmaker Katsu Kanai's second film, which forms the loosely configured 'Smiling Milky Way Trilogy', is an absurdly comic but nevertheless poignant exploration of Japanese-Korean relations and the roots of the Japanese bloodline. "The film uses surrealism and oneiric imagery as well as the disruptive effects of the performance as happening both to fantasize and to subject to ethnographic scrutiny Japan's fraught relation to Korea." Ryan Cook, Yale University (continued in next email)
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