This week [May 11 - 19, 2013] in avant garde cinema

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"Hermeneutics" by Alexei Dmitriev
"Stuck in the 90's" by MWoods

SiciliAmbiente Documentary Film Festival (San Vito Lo Capo (TP), Italy; 
Deadline: May 10, 2013)
ARTErra - Rural Artistic Residencies Portugal (Tondela, Portugal; Deadline: 
June 15, 2013)
Beloit International Film Festival (Beloit, WI, USA; Deadline: October 23, 2013)
VIDEOHOLICA 2013 [OUT OF FOCUS!] OPEN CALL (Varna, Bulgaria; Deadline: June 15, 

twin rivers media festival (Asheville, NC USA; Deadline: May 06, 2013)
Propeller Centre for the Visual Arts (Toronto, Canada; Deadline: May 10, 2013)
25 FPS Festival (Zagreb, Croatia; Deadline: May 15, 2013)
SiciliAmbiente Documentary Film Festival (San Vito Lo Capo (TP), Italy; 
Deadline: May 10, 2013)
International Kontinent Photography Awards (TR; Deadline: June 01, 2013)
WNDX Festival of Moving Image (Winnipeg, Manitoba, Canada; Deadline: May 31, 
animateCOLOGNE - Cologne Art & Animation Festival (Cologne/Germany; Deadline: 
June 01, 2013)
Ottawa International Animation Festival (Ottawa, Ontario, Canada; Deadline: May 
17, 2013)
Regent Park Film Festival (Toronto, Ontario, Canada; Deadline: May 10, 2013)
The Winnipeg U. F. F.'s 90 Second Quickie (Winnipeg, Manitoba, Canada; 
Deadline: June 01, 2013)
Blind Date [Vox Populi & Goldilocks Gallery, Philadelphia] (Philadelphia, PA, 
USA; Deadline: May 15, 2013)
Festival of (In)appropriation (Los Angeles, CA; Deadline: May 15, 2013)
Team Vector + videofag : Queer Arcade Call for Submissions Now Open! (Toronto, 
Ontario, Canda; Deadline: June 01, 2013)

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Also available online at Flicker:

 *  The Decade You Spent A Decade Trying To Forget: Movies and Readings By
    Bill Brown [May 11, Los Angeles, California]
 *  Super 8 Live and In Person With Katrina Del Mar & Stephanie Gray Short
    Filmic Portraits of People & Places" [May 11, New York, New York]
 *  Christian Divine's Saturday Nite Drive-In Spectacular!   [May 11, San 
Francisco, California]
 *  Los Angeles Filmforum Presents China Girls [May 12, Los Angeles, California]
 *  Berlin - Symphony of A City (Live Score) [May 12, New York, New York]
 *  Shapeshifters Cinema Presents Jim Haynes [May 12, Oakland]
 *  Mirror Stage [May 13, Cambridge, Massachusetts]
 *  C. Spencer Yeh Presents Japanese Noise Vhs Double Bill [May 14, Brooklyn, 
 *  An Evening With Jackie Raynal [May 15, New York, NY]
 *  Center For visual Music Presents: An Evening With Barry Spinello [May 16, 
Los Angeles, California]
 *  Violence // Seance Raguliare Du Collectif Jeune Cinema [May 16, Paris, 
 *  Delicate Textures: Films By Steve Polta [May 17, Los Angeles, California]
 *  Show & Tell: Shelly Silver Program 1 [May 17, New York, New York]
 *  KüçüK Sinemalar! Experimental Cinema From Turkey [May 18, Austin, TX]
 *  Axwff Salutes Mm Serra &Amp; the Ny Filmmakers Co-Op [May 18, Filmmakers 
 *  The Dream Machine:  A Living Room Screening With Phil Solomon! [May 18, Los 
Angeles, California]
 *  Up To the Border—A Personal view About the Berlin Wall [May 18, Los 
Angeles, California]
 *  Experimental Films of Coleman Miller [May 18, Minneapolis, MN]
 *  Essential Cinema: Stan Brakhage Program [May 18, New York, New York]
 *  Show & Tell: Shelly Silver Program 2 [May 18, New York, New York]
 *  Show & Tell: Shelly Silver Program 3 [May 18, New York, New York]
 *  Bill Brown's Book Launch and Retrospective  [May 18, San Francisco, 
 *  Michael Klier's Der Riese [The Giant] [May 19, Chicago, IL]
 *  Simply Because You're Near Me: Films By Phil Solomon [May 19, Los Angeles, 
 *  Essential Cinema: Stan Brakhage Program 2 [May 19, New York, New York]
 *  Essential Cinema: Dog Star Man [May 19, New York, New York]
 *  Essential Cinema: Songs 1-14 [May 19, New York, New York]

Events are sorted by CITY within each DATE.

SATURDAY, MAY 11, 2013

Los Angeles, California: Echo Park Film Center
8 pm, 1200 N. Alvarado St.

  Lonesome drifter of underground cinema Bill Brown will present the West
  Coast Premiere of his latest movie, Memorial Land, a documentary
  portrait of six people across the United States who built their own DIY
  9/11 memorials. He will also screen a selection of recent work on 16mm,
  including Document and The Other Side, "a personal essay...imbued with
  magical landscapes and searing observations softly spoken during the
  director's cinematic trek along the United States-Mexican border"
  (-Lincoln Center Film Society). In addition to the films, Bill will be
  reading from the soon-to-be-released 15th issue of Dream Whip, his
  ongoing collection of stories about road trips, all-night bike rides,
  and bad coffee. Program: Memorial Land (2012) 28 minutes, 16mm & DV;
  Document (2011) 2 minutes, 16mm on DV; The Other Side (2006) 42 minutes,
  16mm. Filmmaker Bill Brown in person!

New York, New York: Millennium Film Workshop
8 p.m., 66 E. 4th, Basement

  Millennium presents an evening of super 8 works, screened on film by
  long-time film artists Katrina del Mar and Stephanie Gray. Whether
  through an iconography of the city, queerness, or grrl culture, both
  show an attention to photographic detail of a unique type that can only
  be captured with the intimacy of super 8 film, whether in black & white,
  color, handprocessed or edited in camera. Expect images of lesbian icons
  (both real and fictional), 90s grrl culture, mysterious portraits of the
  city and urban folk, and an overall eye for the hidden beauty of people
  and places that can often go unseen. All films will be projected on
  film. Gray will screen first, then a break, then del Mar. Katrina del
  Mar Program: Super 8 Portraits + Raw Reels del Mar will show a selection
  of a recent super 8 "portraits" series including an urban surfer, a dyke
  motorcycle racer, iconic lesbian writer Eileen Myles, and raw reels,
  some rarely seen on film, of her classic cult fave grrl gang movies of
  the late 90s. del Mar, both filmmaker and photographer, is perhaps best
  known for her decades-long work in video and photography, chronicling
  the reality and illusion of her Lower East Side friends and lovers as
  punk heroines; or within her girl gang movie world of strictly female
  population. Creating a family tree indebted equally to B-movies and
  diaristic photography, del Mar's defiantly queer photographs and videos
  are iconic alternatives to the cultural status quo, offering an
  exuberant, hyper-stylized sexuality, an unapologetic feminist voice, and
  often guerilla-style production tactics. To be screened: "Simon:
  Portrait of an Urban Surfer" (6 min, b&w, sound) Simon plays upright
  bass and surfs at Rockaway Beach. "Kara: Portrait of a Motorcycle Racer"
  (3 min, b&w, sound) Kara races a vintage triumph motorcycle on a flat
  track in upstate New York. "Eileen: Portrait of a Writer" (3 min, b&w,
  sound) Poet-novelist Eileen Myles writes and reads from a tiny notebook
  one late summer day in Wellfleet, Mass. Raw Reels (approx 25 min,
  b&w/color, no sound) When shooting Gang Girls 2000 in 1999, del Mar shot
  a roughly ten-to-one ratio of what wound up in the 25 minute final film.
  A reel or two will be chosen at random from the other 3.5 hours worth of
  pure late-90's eye candy: the hottest girls of the Lower East Side and
  Brooklyn, pretending to be in our own version of Faster Pussycat Kill!
  Kill! Stephanie Gray: Queer Pop Culturing + City Portraits Filmmaker –
  poet Gray will show a selection of urban portraits that show the
  puzzling unknown of the city in addition to a selection of her queer
  portraits (some subjective) of lesser (or more, if you know them) pop
  culture icons such as Kristy McNichol, Joan of Arc and Laverne &
  Shirley. Some films will be accompanied by live reading or experimental
  soundtracks. To be screened: "Magic Couldn't Save Magic Shoes" (7 min,
  color/b&w, 2011) Magic closed in '08 after being in biz since '79. No
  one did handwritten labels like them. When I finally had extra money to
  buy more Converse, which is mostly all I wear, thinking they'd still be
  around, even after I filmed it, it was gone. I shot this in Magic's last
  week. "Satanic Bible on Interlibrary Loan" (9 min, b/w, 2011) The title
  is a true situation that occurred when I was 15. I was an ardent metal
  head as a teen. A little while back, I was asked to write a poem for a
  poetry mag issue with the theme of the occult. The words and then the
  images, came together, and it all makes sense. "Kristy" (7 min,
  handprocessed b/w, sound, 2003) Digging deep to find Kristy, the only
  working class girl at a girls' summer camp in cult classic Little
  Darlings A faint recognizable 80s hit song is played with skips at the
  slowest speed. (She's out now, you know, right?) "Dear Joan" (3 min
  handprocessed b/w, live narration, 1999) A film letter to this heroine
  as the filmmaker laments the lack of public knowledge of Joan's real
  identity, ending in a hissyfit at the library. "Never Heard the Word
  Impossible" (7 min, sound, b/w, 2007) This work uses images from Laverne
  & Shirley remixed through video layers. What did the L really stand for?
  All sound is distorted from the theme song. "I Can't Stop Thinking About
  Eileen Myles' School of Fish Poem" (3 min, color, live narration, 2002)
  The filmmaker keeps hearing lines from the poem. The images are inspired
  visual thoughts of Eileen's poem. + one surprise super recent 3 min
  film! At Millennium 66 E 4th St (bet Bowery & 2nd Ave), Basement;
  Admission: $8/$5 Members By Contribution

San Francisco, California: Other Cinema
8:30 PM, 992 Valencia St

  Cult-film expert Christian Divine trucks in with a cavalcade of clips
  about the uniquely American phenomenon of the Drive-In Movie. The final
  frontier of guerrilla showmanship, drive-ins exploited a lurid
  repertoire of Hollywood actioners and independent grindhouse fare. The
  activity was ritualized around the automobile, and the romance of
  expansive viewing under the stars was counterpointed by violence and
  copious sex on the super-wide screen (and in the back seats).
  Representative titles like Billy Jack, Smokey and the Bandit, Wild
  Angels, Blood Feast, Night Call Nurses, and Destroy All Monsters are
  organized into a prototypical Saturday-night al fresco experience,
  compressing years of film- and car-culture into Christian's wildly
  entertaining—and obsessively researched—lecture-demo.

SUNDAY, MAY 12, 2013

Los Angeles, California: Filmforum
7:30pm (box office opens 6:30, doors open 7), Spielberg Theatre at the 
Egyptian, 6712 Hollywood Blvd.

  As a follow-up to the marvelous Orphan Film Symposium, taking place May
  10 & 11 at the Academy Film Archive, Filmforum hosts a show on the China
  girl, curated by our former associate programmer Genevieve Yue! The
  various faces of the "China girl", sometimes called a "China doll" or
  "girl head", have appeared in more films than any actress, though she is
  almost never seen, save for the fleeting glimpses an audience might
  catch at the end of a film reel. Screening: Film in Which There Appear
  Sprocket Holes, Edge Lettering, Dirt Particles, Etc. by Owen Land
  (formerly known as George Landow), Standard Gauge by Morgan Fisher,
  China Girls by Michelle Silva, To the Happy Few by Thomas Draschan and
  Stella Friedrichs, MM by Timoleon Wilkins, Releasing Human Energies by
  Mark Toscano - TRT: 60 min. Tickets: $10 general, $6 students/seniors;
  free for Filmforum members. Available by credit card in advance from
  Brown Paper Tickets at or
  at the door.

New York, New York: Anthology Film Archives
8:00 pm, 32 2nd Avenue

  Carl Mayer & Walter Ruttmann BERLIN, SYMPHONY OF A CITY / BERLIN, DIE
  SYMPHONIE DER GROSSTADT 1927, 65 min, 16mm. Special thanks to Kitty
  Cleary (MoMA). Tonight Anthology gives Edmund Meisel (the original
  composer of BATTLESHIP POTEMKIN as well as BERLIN) the night off.
  Instead the visionary 'city symphony' Meisel co-created with Carl Mayer,
  Karl Freund, and Walter Ruttmann unspools alongside a live score
  commissioned by the Springville, NY Center for the Arts, and composed
  and performed by bass player, vocalist, and percussionist Sue Garner,
  drummer and percussionist Rick Brown, and guitar player and
  percussionist Bruce Bennett. Collectively the trio boasts recordings and
  performances with The Shams, Run On, The A-Bones, V-Effect, Angel Dean,
  Timber, Rattle, Fish And Roses, John Zorn, Guigou Chenevier, Andre
  Williams, and Hasil Adkins, for labels including Matador, Norton, Thrill
  Jockey, and Egon. The group hopes that the Manhattan debut performance
  of their score will musically tease out the similarities between the
  film's bygone Weimar Berlin and the lost Lower East Side of the
  performers' vanished youth. Ruttmann and company's seminal,
  groundbreaking film is a valentine to the 'new' Berlin of the late
  1920s. Beginning at dawn and ending after midnight, it shows Berliners
  hard at work by day and possessed by the city's thriving nightlife.
  Essentially a feature-length montage, the film was heavily influenced by
  Soviet documentary experiments like Dziga Vertov's KINO-PRAVDA and was
  itself very influential in fostering the 'city symphony' genre and other
  documentary hybrid styles to come. This rare screening is not to be

Oakland: Shapeshifters Cinema
8PM, Temescal Art Center, 511 48th St, Oakland, CA

  18 Films About Ted Serios is an ongoing expanded cinema project for the
  intermedia artist Jim Haynes (23five, Aquarius Records), with the
  presentation for Shapeshifters Cinema being its fifth public iteration.
  The live video projection captures the in situ movement of manipulated
  glass, sand, motors, and pieces of metal through a surveillance camera,
  augmented by various means of illumination and a small monitor capable
  of video playback. Haynes also accumulates the acoustic and the
  electro-magnetic detritus into billowing tonal constructions and
  fractured minimalism.

MONDAY, MAY 13, 2013

Cambridge, Massachusetts: Balagan Films
7:30pm, Brattle Theatre, 40 Brattle Street

  Much has been said about what is regarded as the quintessential
  cinematic experience: the darkened, softened, uterine surroundings, the
  hypnotic flicker ahead, the lulling whirr from the projection booth. It
  is a comfortable hiding place from which to observe others' nightmares
  and desires. As much as we at Balagan embrace this fancy, we like to
  break the spell on occasion by channeling an earlier form of cinema,
  when projected images elicited bewilderment instead of reverie. This
  time, we aim to shatter cinematic illusions by shifting our attention
  180° away from the spectacle. As we ponder the screen, the stage and the
  curtains; as we gaze into the spectators' faces and observe their body
  language -- entranced or impatient -- we see a reflection of ourselves.
  So we enter Lacan's "mirror stage": the anxious moment of catching sight
  of oneself for the first time and beginning to grasp the reality of
  one's existence. PROGRAM: Peter Miller, Projector Obscura, 2005, 35mm,
  10 minutes /// Herz Frank, 10 Minutes Older, 1978, 35mm shown on video,
  10 minutes /// Ben Russell, Black and White Trypps #3, 2007, 16mm, 12
  minutes /// Tony Conrad, Film Feedback, 1974, 16mm, 14:25 /// Standish
  Lawder, Necrology, 1970, 16mm, 11:25 /// Possible additions TBA.

TUESDAY, MAY 14, 2013

Brooklyn, NY: Light Industry
7:30, 155 Freeman Street

  Augen: Super Ball and Ziggy Atem, Presented by C. Spencer Yeh - Light
  Industry hosts a double bill of VHS tapes from legendary Japanese noise
  label Augen. Tickets - $7, available at door. - Please note: seating is
  limited. First-come, first-served. Box office opens at 7pm.


New York, NY: Filmmakers Co-op
7pm, 475 Park Avenue South, 6th Floor

  The Film-Makers' Cooperative Presents: A rare screening of Jackie
  Raynal's Deux Fois (1968) followed by a conversation with the film-maker 

THURSDAY, MAY 16, 2013

Los Angeles, California: Echo Park Film Center
8 pm, 1200 N. Alvarado St.

  Barry Spinello's visual music films are inspired by influences including
  Klee and cubist painting, where musical notation is extended onto the
  canvas. His background in music, painting and poetry led to a desire to
  merge the three. From 1967-71 Spinello made films without a camera or
  tape recorder, by hand drawing both sound and picture directly onto
  clear 16mm leader. For several decades Spinello also made documentaries,
  before returning to visual music film. In 1998 Spinello started
  translating his ideas of filmpainting into a computer environment.
  Towards is the result. "The idea was to work with sound and picture at
  the same time, in the same way. My dream was to squeeze sound and
  picture out of the same tube - to weave a cloth with warp as sound, woof
  as picture, and meaning the fabric itself." – Barry Spinello. Program:
  Opus One (1967) 2 minutes, 16mm. Sonata for Pen, Brush, and Ruler (1968)
  12 minutes, 16mm: 14,000 frames carefully painted, with sound painted on
  the edge. Budget - $9.00 (four bottles ink, a brush, a pen, 400 feet
  used leader) and 8 months of concentration on the nib of a pen.
  Soundtrack (1969) 12 minutes, 16mm: We see two parallel lines of dots.
  One line moves off the screen and we hear the sound - that line is
  MAKING that sound. What we hear is what we see. Six Loop Paintings
  (1970) 10 minutes, 16mm: Sticky-back mylar sheets (ZIPOTONE) are cut to
  size and stuck on the clear film. Different patterns make different
  sounds. We see tones, harmonies, glissandos, rhythms. Towards
  (2000–2013) 18 minutes, digital: The last 10 minutes feature the voices
  of Gertrude Stein and TS Eliot arguing while trapped inside a Jackson
  Pollack painting. Screening will be followed by a Q&A with Barry
  Spinello and a reception.

Paris, France: Collectif Jeune Cinéma
8:30, Cinema La Clef, 34 rue Daubenton

  En présence d'Antoine Barraud, Claire Doyon, Philippe Cote et - sous
  réserve - Emilie Jouvet. ----------------------- - TEXTE -
  ----------------------- - PROGRAMME (durée : 1h30) : - *Marguerite
  DURAS, "Les Mains négatives", 1979, France, 35mm, 13'30" (projeté en
  16mm) *Theofanis DE LEZIOSO, "XXXIII", 2012, Grèce, 16mm, 8' (projeté en
  16mm) *Matti HARJU, "Afrikka", 2011, Angleterre, 35mm, 9' *Émilie
  JOUVET, "Mademoiselle", 2003, France, vidéo, 4'30" *Philippe COTE,
  "Images de l'eau", 2012, France, super 8mm, 11' *Antoine BARRAUD &
  Claire DOYON, "Son of a Gun", 2011, France, Super 8mm, 12' *Daphné
  HÉRÉTAKIS, "Ici, rien", 2011, Grèce, 16mm, Super 8mm et vidéo, 30' -
  ----------------------- - TARIFS : 5 EUROS (PLEIN) 4 EUROS (RÉDUIT :
  CHÃ"MEURS, ÉTUDIANTS, SENIORS, CINEASTES CJC) ----------------------- -
  Marguerite DURAS, Les Mains négatives, 1979, FRANCE, 35mm, 13'30"
  (projeté en 16mm) - Juste avant le petit jour, le film, uniquement
  composé de travellings, est une lente avancée à travers Paris de la
  République aux Champs Elysées. La plainte déchirante de la partition au
  violon d 'Amy Flammer se mêle au cri d'amour dit par Marguerite Duras
  sur la bande son. Destiné à la fois aux premiers hommes préhistoriques
  qui ont apposés et peints leurs mains sur les parois rocheuses, cet
  appel s'adresse également à la population obscure des déclassés, des
  exclus, des émigrés. - Theofanis DE LEZIOSO, XXXIII - 2012, GRÈCE,
  16mm, 8' (projeté en 16mm) - Le personnage principal du film est un chat
  blanc sur une motocyclette. Il doit garder ses organes au meilleur de
  leur forme afin que sa famille puisse maximiser les profits au moment de
  les vendre. Quiconque se trouverait dans la même situation mériterait de
  recevoir quelques conseils. - Matti HARJU, Afrikka - 2011, ANGLETERRE,
  35mm, 9' - Un bref échange de conversations autour de Glenn, à peine
  sorti de dépression. - Émilie JOUVET, Mademoiselle, 2003, FRANCE,
  vidéo, 4'30" "Mademoiselle" - Un film sur les violences verbales et
  physiques envers les femmes dans l'espace public. - Performance :
  Estelle Germain, Texte : Entendu maintes fois dans la rue - Philippe
  COTE, Images de l'eau, 2012, FRANCE, super 8mm, 11' - Le film décline
  différentes formes et manifestations prises par l'eau. L'expérience du
  corps immergé du cinéaste, englouti, en contact avec l'élément liquide,
  sert de fil conducteur à cet essai poétique sur l'imaginaire de la
  matière. - Antoine BARRAUD & Claire DOYON, Son of a gun, 2011, FRANCE,
  Super 8mm, 12' - Sur un trottoir à New York, une jeune fille
  ensanglantée, inerte, le corps offert à la rue. Ailleurs, près des
  quais, un homme assassiné sur le bitume. En réalité, ils sont plusieurs.
  Un groupe jouant à mourir, mettant en scène des crimes imaginaires. -
  Daphné HÉRÉTAKIS, Ici, rien, 2011, GRÈCE, 16mm, Super 8mm et vidéo,
  30' - Un tournage commencé en septembre 2008, à Exarhia, haut-lieu de la
  contestation athénienne. Pendant mes aller-retour Paris-Athènes jusqu'en
  avril 2011, la situation politique de la Grèce n'a cessé d'évoluer. Le
  film est devenu la toile sur laquelle les témoignages se sont finalement
  posés, composant ainsi le paysage morcelé d'un pays en crise. - - -

FRIDAY, MAY 17, 2013

Los Angeles, California: Echo Park Film Center
8 pm, 1200 N. Alvarado St.

  Bay Area artist Steve Polta has been producing a body of films, mostly
  on Super 8, over the past two decades that are as exquisitely nuanced as
  they are rarely seen. Each film presents a narrow window onto the
  ordinary world, prodded by subtle observation until it yields images of
  ethereal beauty. "In 1997A Arrival and 1997B Departure the elements of a
  profoundly defocused lens distort a transit tunnel into a portal between
  worlds, traversed by color-spiked forms. And in Picture Window the
  picture verges on pure black, the barest hint of an image causing the
  screen to reverberate between a window and a surface plane. It's the
  texture of the image that constitutes the film, the essence of a film,
  which one can reveal only by opening the window hidden in every screen."
  –Brian L. Frye, The New Science of the Cinema in Radical Light:
  Alternative Film in the San Francisco Bay Area 1945–2000. For this rare
  Los Angeles appearance, Polta will bring a program to include 1997B
  Departure (1997) Minnesota Landscape (1997) Estuary #1 (1998) Interval
  Oakland 99 (2000) A House Full of Dust (2007) Summer Rain for LMC, side
  A (2007/2011) Summer Rain for LMC, side B (2007/2011), and others tbd,
  all projected from Super 8 or 16mm. Steve Polta in person!

New York, New York: Anthology Film Archives
7:30 pm, 32 2nd Avenue

  PROGRAM 1 getting in. 1989, 3 min, digital video Starting with the
  deceptively soothing pastel hues of a sunny afternoon in San Francisco,
  'getting in.' stages a collision between two rarely questioned
  phenomena, heterosexual sex and real estate. We 1990, 4 min, digital
  video "Even as the text instructs us otherwise, it is impossible not to
  read 'We''s two images – that is, to respond to their symbolic quality,
  their suggestiveness. In a stream of associations, the rhythmic flow of
  people on the left becomes an ejaculation while the rhythmic hand on the
  right marks detachment, self-centeredness. Simultaneously, we may say to
  ourselves, 'Yes, it is only a crowd of anonymous people. It is only a
  penis.' "But even as we attempt to discipline our interpretative urges,
  the hermeneutic created by this simple juxtaposition is driving us crazy
  with questions: Who is he? Why is he alone? Does he have a lover…? Does
  everyone in this crowd masturbate? Do they seek isolation from the mass?
  Are they aware of one another? Are they relational in less-populated
  situations? Why was this private image made public? Why is this image
  private…?" –Chris Straayer, DEVIANT EYES, DEVIANT BODIES, SEXUAL
  ORIENTATION IN FILM AND VIDEO small lies, Big Truth 1999, 18 min,
  digital video. With Bill Raymond, Joan Jonas, Kathy High, Ken Kobland,
  and others. "Based on the 1998 Grand Jury testimony of President Clinton
  and Monica Lewinsky, 'small Lies, Big Truth' unravels the web of meaning
  created by this media event. Multiple voices read lines from the court
  proceedings. The varied voices and configurations of gendered pronouns
  render the familiar words ambiguous and strangely intimate." –ELECTRONIC
  ARTS INTERMIX Things I Forget to Tell Myself 1989, 2 min, digital video
  "A fragmented textual statement is interspersed with imagery culled from
  NYC, much of it cropped by the camera operator's outstretched hand.
  Buildings, windows, signs, pedestrians, cops and doors constitute a
  continuum of access and obstruction. The sometimes alternating,
  sometimes simultaneous patterns of disclosure and withholding,
  recognition and inobservance, are scrutinized to reveal the imprints of
  psychological processes and cultural codes, while testing boundaries
  between seeing and reading." –Michael Nash, Curator, THE LONG BEACH
  MUSEUM OF ART 5 lessons & 9 questions about Chinatown 2009, 10 min,
  digital video 10 square blocks, past, present, future, time, light,
  movement, immigration, exclusion, gentrification, racism, history,
  China, America, 3 languages, 13 voices, 152 years, 17,820 frames, 9
  minutes, 54 seconds, 9 questions, 5 lessons, Chinatown. 1 2001, 3 min,
  digital video A short tape about longing, threat, power, and seduction,
  with the camera functioning in turn, as aggressor, mediator, and
  confessor. What I'm Looking For 2004, 15 min, digital video On an
  Internet dating site a woman writes: "I'm looking for people who would
  like to be photographed in public revealing something of themselves…".
  Documenting the results, this video is a rumination on the nature of
  photography and the persistence of vision and desire. The Houses that
  are Left (trailer) 1989, 8 min, digital video "In this compelling
  'trailer', Silver constructs an evocative and elusive montage of
  disjunctive narrative threads – glimpsed images, dramatic snippets of
  sound and provocative fragments of text – in a pastiche of stylized
  black-and-white film and color video verite. Documentary? Fiction?
  Silver builds a mesmerizing, staccato rhythm of light and dark, sound
  and silence, text and image: brief bursts of cinematic orchestration and
  sound effects; gestures and dialogue of 'characters' from a fictional
  melodrama, abbreviated answers to 'people-in-the-street' interview
  questions. Questions of race, age and marital status converge with
  self-descriptions in an enigmatic inquiry into contemporary identity,
  constructed from the roles and narrative conventions of cinema and
  television." –Electronic Arts Intermix And a few surprises… Total
  running time: ca. 70 min.

SATURDAY, MAY 18, 2013

Austin, TX: Experimental Response Cinema
7pm, AMOA-Arthouse, 701 Congress Ave.

  Experimental Response Cinema and AMOA-ArtHouse are proud to present this
  screening featuring a number of vital and contemporary works from
  Turkey! Hot off the heels from a showing at Albuquerque's Experiments in
  Cinema, this program is programmed by ERC's Ekrem Serdar, who will
  present the screening. Republic Day by Can Eskinazi 4.25min / digital /
  sound / 2010 A Preface to Red by Jonathan Schwartz 6min / 16mm / sound /
  2010 A single recording, recorded in a tunnel that one passes through
  after exiting a boat taking you from one continent to another, where
  people are selling bright colored toys and bright white sneakers. for
  the brief variations in the movement on the periphery—Jonathan Schwartz
  océanéant by Yoel Meranda 2.25min / digital / silent / 2009 "Yoel
  Meranda indulges a fascination with color in his extraordinary
  abstraction océanéant : fields of translucent reds gather upon
  themselves until they seem to congeal into something with mass, weight,
  and texture." – Fred Camper Peeling by Eytan İpeker 6min / digital
  / silent / 2011 Neyse Halin… by Mustafa Uzuner 5.43min / digital / sound
  / 2007 diagonal by Yoel Meranda 0.56min / digital / silent / 2009 Moscow
  Diaries, Part 2 – Statues by Can Eskinazi 2.46min / digital / sound /
  2011 A mystery thriller featuring a rather unusual Russian cabdriver.
  Oğlun Burada (Your Son is Here) by Deniz Tortum 3.26min / digital /
  sound / 2012 My parents' wedding anniversary in Istanbul seen through my
  room in Brooklyn. Material Ghost by Mustafa Uzuner 2.31min / digital /
  silent / 2010 Shot on an old SONY HDV camera usıng a macro lens
  converter. Highway Screening by Yoel Meranda 2.07min / digital / silent
  / 2010 Silent video shot in İzmir while travelling from Urla to
  downtown (and back, at night) by car. Thanks goes to Can and the
  Eskinazi family for the wonderful hospitality. Do not watch this if you
  have photosensitive epilepsy. Siamese by Eytan İpeker 4.37min /
  digital / silent / 2011 A video that winks back at its audience – Eytan
  Ipeker Bu Sahilde (On this Coast) by Zeynep Dadak & Merve Kayan 21.47min
  / 16mm / sound / 2010 Bu Sahilde (On the Coast) is a short essay film on
  the ephemeral feeling of summer, observed in Erikli, a small coastal
  town on the Aegean Sea in Turkey. The film reflects on the nature of
  vacation, as it is a transformed version of reality, the fantastical
  counterpart to winter. 

Filmmakers Co-op: Filmmakers Co-op
7pm, 475 Park Avenue South, 6th Floo

  Filmmakers Co-OP, Curated by Lili White - Screenings at the Film-Makers'
  Cooperative's, Charles S. Cohen Educational Screening Room - Wednesday
  May 1st, 2013 at 7:00pm - Admission $10 - Film-Makers' Cooperative, 475
  Park Ave South, 6th Floor, New York, NY 10016, Ph. 212-267-5665 - -
  PROGRAM NOTES - TRT: 78 minutes - MESHES OF THE AFTERNOON\; Maya Deren -
  - The HOUSE of the GENTLE (excerpt)\; Lili White - - MILK AND GLASS\;
  Sarah Pucill - - BITCH BEAUTY\; MM Serra - - MISSING GREEN\; Joey
  Huertas aka Jane Public - #1\; Rie Sakaguchi-Nakaoka - - TIDES\; Amy
  Greenfield\; Camera: Hilary Harris - - FIREFLY\; Dariya Yalova\;
  Featuring Olga Alimanovic - -,

Los Angeles, California: Filmforum
8:00 pm, Velaslavasay Panorama, 1122 West 24th Street (at Hoover), Los Angeles 
CA 90007

  Phil Solomon relocates his dream machine to the marvelous Velaslavasay
  Panorama for the sort of informal living room screening that we all
  dream of. It's a night for rare super8mm films, even two that were never
  released, and a few joyful larks. Plus the Panorama's garden welcomes
  everyone for the post-show conviviality. Including Nocturne 3 (The Dream
  Machine) (1976, super-8, silent, 8 minutes), Nocturne 4 (1980, color,
  super-8, 10 minutes), The Passage of the Bride (1978, 16mm silent, 6
  min.), As If We (1980, color, silent, 16mm, 15 minutes) Los Angeles
  Premiere!, Remains to be Seen (1989, Super-8mm, 17 min), The Exquisite
  Hour (1989, Super 8mm, 14 min.), and more! 

Los Angeles, California: Echo Park Film Center
8 pm, 1200 N. Alvarado St.

  Sunday, August 13th 1961, the government of the German Democratic
  Republic lays the foundation stone for the "ugliest monument in the
  world". A whole city is in a state of shock. At first the "atrocious
  century-construction" is watched in disbelief. Then people start pulling
  their 8mm-cameras out of their cupboards to capture the images of the
  events. On the basis of these extraordinary, widely unknown recordings
  and found footage, Claus Oppermann und Gerald Grote's first feature film
  tells many impressive but forgotten stories about the rise of the Berlin
  Wall in 1961 to its fall in 1989, about the division of Germany and a
  bloody borderline through the middle of Europe. Claus Oppermann works as
  a camera operator, author, director and editor for cinema, TV, and
  advertising productions. Gerald Grote is primarily active as a graphic
  designer. He worked as a talk show host before becoming the
  editor-in-chief of a regional magazine, and is also active as an author
  and filmmaker. Bis an DIE GRENZE—der private Blick auf die Mauer, dir.
  Claus Oppermann and Gerald Grote, 95 minutes, Blu-ray, 2012. Presented
  by Villa Aurora. 

Minneapolis, MN: Casket Cinema
7pm, 681 17th Ave. NE

  Dear Friends of Casket Cinema, - Casket Cinema wraps up its 5th season
  with an Art-A-Whirl showcase of the Experimental Films of Coleman Miller
  on Saturday May 18th at 7pm. Miller is a film and video artist who works
  in the experimental genre. His work dynamically celebrates the
  self-referential by displaying sprocket holes, frame lines and aesthetic
  debris. His characters break down the 4th wall and recognizing they are,
  indeed, in a film. Miller worked for many years as a film printer at San
  Francisco's Monaco Lab where he conjured and refined numerous and
  resourceful printing techniques on the various continuous contact
  printers there. His work has shown at Rotterdam, Sundance, Ann Arbor,
  Edinburgh, Mill Valley, OtherCinema and many other venues. He has been
  awarded the Jerome, McKnight and Film Arts Foundation grants. - We will
  be playing: - Fixated Whereabouts 1983 16mm ~6 min, Kirk We Hardly Knew
  Ya 1996 16mm ~ 14 min, Step Off a Ten Foot Platform With Your Clothes On
  1990 16mm ~6 min, Sideways 1993 16mm ~ 3 min - Heaven 2006 digital ~4
  min, New York Minute 2011 digital 4 min, Frank & Paula 2010 digital
  ~4 min, Take the L 2009 digital ~ 3 min, Uso Justo 2005 digital 22 min -
  Running time is around 1 hour. - This is a special Saturday evening
  show. The director will be present. Films will be playing on video and
  16mm. Donation is $10. - Special guests will be the filmmaker, Coleman
  Miller and will be joined with Casket Cinema co-founder/host Mark

New York, New York: Anthology Film Archives
3:45 pm, 32 2nd Avenue

  DESISTFILM (1954, 7 min, 16mm, sound) REFLECTIONS ON BLACK (1955, 12
  min, 16mm, sound) THE WONDER RING (1955, 4 min, 16mm) FLESH OF MORNING
  (1956, 25 min, 16mm) DAYBREAK AND WHITEYE (1957, 8 min, 16mm) WINDOW
  WATER BABY MOVING (1959, 12 min, 16mm) Films made during the early,
  "psychodramatic" period of one of modern cinema's greatest innovators,
  including two of his early experiments with sound. Total running time:
  ca. 75 minutes.

New York, New York: Anthology Film Archives
6:00 pm, 32 2nd Avenue

  The Houses that are Left 1991, 52 min, digital video A story of
  mortality, friendship, revenge, murder, and the supernatural, as two
  friends come together to try to figure out how to live, while being
  besieged by malignant messages from the dead. Truth and fiction are
  blurred as the dead communicate with the living and real people are
  interviewed by fictional characters. "Structured as a sort of
  post-modern mystery story (that encompasses everything from murder to
  market research, from sexuality to the supernatural), 'The Houses that
  are Left' constructs a shifting narrative framework in which not only
  its characters but also the viewer is constantly having to sift out what
  is fiction from what is truth…to finally arrive at its powerful and
  perceptive dissection of modern America: anxious, narcissistic, consumed
  by media images." –Steven Bode, LONDON FILM FESTIVAL Meet the People
  1986, 15 min, digital video "The fictions of the self overtly concern
  Silver in her tour-de-force 'Meet The People'. In video verite style,
  she swiftly intercuts what appear to be her interviews of 14 individuals
  representing contemporary New York types: a cabby, a waitress, a
  housewife, a stripper, an Italian construction worker, a black army
  officer. At the end the credits reveal that all 14 are actors and all
  were apparently reading Silver's script…. Silver wittily questions the
  very idea of the authentic – ultimately she implies, 'personal truth' is
  a momentary and collaborative invention, a triborough bridge between
  actor, author-director, and audience – on TV and on the street." –Anne

New York, New York: Anthology Film Archives
8:00 pm, 32 2nd Avenue

  PROGRAM 3 FORMER EAST/FORMER WEST 1994, 62 min, digital video Made up of
  hundreds of street interviews done in Berlin two years after the
  Reunification, this is a vital, surprisingly open, and at times
  disturbing documentary about what it meant to be German at that
  particular moment in history. For forty-five years, residents of this
  divided city lived radically different lives, both in terms of ideology
  and everyday experience. Silver questions the very notion of a shared
  language, focusing on changing definitions of words for political and
  economic systems – democracy, freedom, capitalism, socialism – as well
  as words used to describe nations and identity – nationality, Germany,
  history, foreigners, home.

San Francisco, California: Other Cinema
8:30 PM, 992 Valencia St

  Mr. Brown delights us with his personal appearance, in from North
  Carolina with a charming "how-to" volume, Action!. The artist-author
  reads from this self-illustrated guide to film- and video-making, and
  also from the latest issue of his beloved travel 'zine, Dream Whip. Bill
  then introduces an inspiring mid-career overview of his personal
  documentaries, headlined by the West Coast premiere of Memorial Land, a
  careful consideration of architectural sites honoring the 9/11 dead.
  ALSO: Chicago Corner, Confederation Park, Mountain State, and Bill's
  recent Document, a laser-printer-to-16mm rendering of a redacted CIA
  text. Q&A, toast and jam, and books available!

SUNDAY, MAY 19, 2013

Chicago, IL: White Light Cinema
7:30, The Nightingale, 1084 N. Milwaukee

  White Light Cinema and The Nightingale Present - Michael Klier's DER
  RIESE [THE GIANT] - A Prescient 1983 German Film Essay on Surveillance -
  Sunday, May 19 – 7:30pm, At the Nightingale (1084 N. Milwaukee
  Ave.) - - Der Riese [The Giant] - Michael Klier (1983, 82 min, Video on
  DVD, West Germany) - "Comprised entirely of material generated by
  surveillance cameras, Der Riese is a rhapsodic but ominous work
  depicting the world with a cold mechanical spirit. That nothing can
  escape the chill stare of surveillance is only the starting point of
  Klier's tape. People come and go in public places-parks, department
  stores, banks, airports-like lifeless ciphers, unaware of the
  authoritarian stare of the camera. The flattened field of vision,
  black-and-white imagery, and sterile quality of the technology make the
  inhabitants of Der Riese emptied shadows. They are the signs of life\;
  truly signs, not the flesh rendered in two dimensions. Lyrically
  constructed sequences unfold to the strains of Mahler and Wagner, adding
  an almost heroic mood to much of this dark work. But this is where Der
  Riese excels-footage seemingly impervious to meaning here acquires the
  energy of high drama. Even the unblinking eye of the surveillance camera
  can be foiled." (Steve Seid, Pacific Film Archive)

Los Angeles, California: Filmforum
7:30 pm, Spielberg Theatre at the Egyptian, 6712 Hollywood Blvd., Los Angeles 
CA 90028

  In our second night with Phil Solomon in person, Solomon brings an array
  of 16mm classics from throughout his career, and presents the world
  premiere of a new work! Nocturne (1980/89, 16mm, 10 min.), The Secret
  Garden (1988, 16mm, 23 min.), Seasons... by Phil Solomon and Stan
  Brakhage (2002, 16mm, 15 minutes), The Snowman (1995, 16mm, 8 min.),
  Psalm II: "Walking Distance" (1999, 23 min.), and Simply Because You're
  Near Me (2013, color, sound, HD video, 12 minutes) World Premiere!
  Tickets: $10 general, $6 students/seniors; free for Filmforum members.
  Available by credit card in advance from Brown Paper Tickets at or at the door. 

New York, New York: Anthology Film Archives
4:15 pm, 32 2nd Avenue

  Unless otherwise noted, all films are silent. ANTICIPATION OF THE NIGHT
  (1958, 40 min, 16mm) CAT'S CRADLE (1959, 6 min, 16mm) SIRIUS REMEMBERED
  (1959, 12 min, 16mm) THE DEAD (1960, 11 min, 16mm) MOTHLIGHT (1963, 4
  min, 16mm) BLUE MOSES (1963, 11 min, 16mm, b&w, sound) With ANTICIPATION
  OF THE NIGHT, Brakhage leaves psychodrama and enters the "closed-eye
  vision" period. This program also contains a unique example of a film
  made without a camera, MOTHLIGHT, and one of Brakhage's few sound (and
  'acted') films, BLUE MOSES. Total running time: ca. 90 min.

New York, New York: Anthology Film Archives
6:15 pm, 32 2nd Avenue

  by Stan Brakhage 1961-64, 74 min, 16mm A masterwork in which all of
  Brakhage's techniques achieve a complex synthesis to produce one of
  cinema's supreme epic poems. "The film breathes and is an organic and
  surging thing… it is a colossal lyrical adventure-dance of image in
  every variation of color." –Michael McClure, ARTFORUM

New York, New York: Anthology Film Archives
8:00 pm, 32 2nd Avenue

  by Stan Brakhage 1964-65, ca. 53 min, 16mm "SONG 1: Portrait of a lady.
  SONGS 2 & 3: Fire and a mind's movement in remembering. SONG 4: Three
  girls playing with a ball. Hand painted. SONG 5: A childbirth song. SONG
  6: The painted veil via moth-death. SONG 7: San Francisco. SONG 8: Sea
  creatures. SONG 9: Wedding source and substance. SONG 10: Sitting
  around. SONG 11: Fires, windows, an insect, a lyre of rain scratches.
  SONG 12: Verticals and shadows caught in glass traps. SONG 13: A travel
  song of scenes and horizontals. SONG 14: Molds, paints and crystals."

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