This week [May 17 - 25, 2014] in avant garde cinema
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NEW CALLS FOR ENTRIES:
=====================
Festival of (In)appropriation (Los Angeles, CA; Deadline: August 01, 2014)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1703.ann
Lone Star Film Festival (Fort Worth, Tx, USA; Deadline: August 16, 2014)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1704.ann
L'Alternativa, Barcelona Independent Film
Festival (Barcelona; Deadline: July 01, 2014)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1705.ann
Columbus International Film + Video Festival
(Columbus; Deadline: July 01, 2014)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1706.ann
DEADLINES APPROACHING:
=====================
3rd Intervideo Talent Award (Mainz,
RheinlandPfalz, Germany; Deadline: June 15, 2014)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1663.ann
VIDEOHOLICA International Video Art Festival
(Varna, Bulgaria; Deadline: June 01, 2014)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1665.ann
25 FPS Festival (Zagreb, Croatia; Deadline: May 31, 2014)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1666.ann
WNDX Festival of Moving Image (Winnipeg,
Manitoba, Canada; Deadline: May 31, 2014)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1682.ann
Ottawa Internaitonal Animation Festival (Ottawa,
ON, Canada; Deadline: May 18, 2014)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1685.ann
landlocked film festival (iowa city; Deadline: May 31, 2014)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1687.ann
FCDEP - Festival des Cinemas Differents et
Experimentaux de Paris (Paris, France; Deadline: May 31, 2014)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1689.ann
Festival du nouveau cinéma (Montréal, Québec, Canada; Deadline: June 15, 2014)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1696.ann
Inte. Independent Film Festival (Rome, Italy; Deadline: June 01, 2014)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1697.ann
VIDEOHOLICA International Video Art Festival
(Varna, Bulgaria; Deadline: June 01, 2014)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1698.ann
RENCONTRES INTERNATIONALES SCIENCES ET CINÉMAS
(RISC) INTERNATIONAL SCIENCE & FILM FESTIVAL
(Marseille, France; Deadline: May 31, 2014)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1699.ann
Aesthetica Short Film Festival (York, North
Yorkshire, UK; Deadline: May 31, 2014)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1701.ann
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THIS WEEK'S PROGRAMS (SUMMARY):
==============================
* The Evidence of Film: New Works By Brian L.
Frye [May 17, Brooklyn, New York]
* Headboggle + Tommy Becker + vision Nocturna
[May 17, San Francisco, California]
* Still Lives and Gradual Speed [May 18, Los Angeles, California]
* Pxl This 23 [May 20, Los Angeles, California]
* Japanese Experimental Films - the 1970s [May 20, New York, New York]
* James Fotopoulos's Dignity (Nyc Premiere) [May 22, Brooklyn, New York]
* Ericka Beckman [May 22, Los Angeles, California]
* Essential Cinema: L'age D'or [May 22, New York, New York]
* Essential Cinema: Blood of A Poet [May 23, New York, New York]
* Essential Cinema: Orpheus [May 24, New York, New York]
* Essential Cinema: Blood of A Poet [May 24, New York, New York]
* Michael Gendreau's "Discrepant Parataxis" +
Walter Funk's 3-D + [May 24, San Francisco, California]
* Ericka Beckman: Out of Hand [May 25, Los Angeles, California]
* Essential Cinema: Orpheus [May 25, New York, New York]
* Len Lye Program [May 25, New York, New York]
Events are sorted by CITY within each DATE.
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SATURDAY, MAY 17, 2014
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5/17
Brooklyn, New York: Microscope Gallery
http://www.microscopegallery.com
7pm (d, 4 Charles Place (at Myrtle btw Bushwick & Evergreen)
THE EVIDENCE OF FILM: NEW WORKS BY BRIAN L. FRYE
Admission $6, artist in person. Microscope welcomes Brian L. Frye back
to the gallery for "The Evidence of the Film", a rare solo screening of
new works. In this program, Frye presents three new films, each using
archival evidentiary footage from separate court cases. In two of the
works, the material had been previously used as a kind of 'objective'
source of information to support specific claims during court
proceedings. They are offered as a truth, an omnipresent judge. But what
can be the true value of film in these cases? What does it tell us and
what is left out? Is it, indeed, objective, or does there enter an
element of performance, a point of view? And if so, whose and in what
context? In the third work, Frye uses images from the 1961 trial of Nazi
SS Lieutenant-Colonel Adolf Eichmann in Jerusalem. Here, Frye has
manipulated the footage through multiple rephotographing. Brian L. Frye
is a filmmaker, writer, and professor of law. His films explore
relationships between history, society, and cinema through archival and
amateur images. Fyre's films have been shown by The Whitney Museum, New
York Film Festival, Pacific Film Archive, New York Underground Film
Festival, San Francisco Museum of Modern Art, The Warhol Museum, Media
City and Images Festival. His films are in the permanent collection of
The Whitney Museum. His writing on film has appeared in October, The New
Republic, Film Comment and the Village Voice. A Professor of Law at the
University of Kentucky, his legal scholarship concerns interactions
between the law and the arts, focusing on issues relating to nonprofit
organizations and intellectual property. Brian is a Creative Capital
grantee and was named one of Filmmaker Magazine's "25 New Faces of
Independent Film" in 2012. Full program and additional info:
www.microscopegallery.com. tel: 347.925.1433,
[email protected]. Nearest Subway: J/M/Z Myrtle/Broadway.
5/17
San Francisco, California: Other Cinema
http://www.othercinema.com/
8:30pm, 992 Valencia Street
HEADBOGGLE + TOMMY BECKER + VISION NOCTURNA
Celebrating the resonances between contemporary video and sound art,
this program proffers a party platter of creative projects that work the
edge between disciplines. Headlining: the histrionic antics of Derek G,
AKA Head-boggle. Derek's analog synth compositions follow those of Tommy
Becker, back by popular demand with two new pieces: Song for the Pain
Body and Song for the Discarded. Initiating tonight's electronic
synesthesia are the moody soundscapes of Everrett Thompson and Nico
Cevallos of Vision Nocturna. Bridging the live acts are choice
selections from the brand-new I Dream of Wires, detailing the
present-day revival of the modular synthesizer. PLUS Delia Derbyshire,
Bruce Haack, Auroratone, and Painleve's Sex Life of an Octopus. $7.
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SUNDAY, MAY 18, 2014
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5/18
Los Angeles, California: Filmforum
http://www.lafilmforum.org/
7:30 pm, Spielberg Theatre at the Egyptian, 6712 Hollywood Blvd.
STILL LIVES AND GRADUAL SPEED
Filmmaker Julie Murray (last hosted at Filmforum in 2010) was invited by
us to curate a show for Filmforum, and here it is! Featuring the Los
Angeles premiere of Els van Riel's remarkable Gradual Speed, combined
with classic but rarely seen works by Chris Marker and Bruce Baillie!
For more event information: www.lafilmforum.org, or 323-377-7238
Screening: Chat écoutant la musique (Cat Listening to Music), By Chris
Marker, from Beastiary (1994, digital, 3 min) Little Girl, By Bruce
Baillie (1966 16mm, color & b&w, sound, 9 min) Still Life, By Bruce
Baillie (1966, 16mm, color, sound, 2 min); Gradual Speed, By Els van
Riel (2013, 16mm, b&w, 52 min.) Los Angeles Premiere!
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TUESDAY, MAY 20, 2014
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5/20
Los Angeles, California: Echo Park Film Center
http://www.echoparkfilmcenter.org/
8 pm, 1200 N. Alvarado St.
PXL THIS 23
$5 / PXL THIS celebrates its 23rd year of creative filmmaking by
everyone from kids to professionals, and the 50th anniversary of the
audio cassette. One of the most unique film festivals ever, PXL THIS has
been attended by Oliver Stone, Daryl Hannah, Kim Fowley among many more.
Pixelvision has even made it onto the big screen via Richard Linklater
(Slacker), Michael Almereyda (Nadja, produced by David Lynch) and Craig
Baldwin (Sonic Outlaws). The irresistible irony of the PXL 2000 is that
the camera's ease-of-use and affordability, which entirely democratizes
movie-making, has inspired the creation of some of the most visionary,
avant and luminous film of our time. This edition of the festival
features work by Ruby Qi Tondelli, Andy Bustin, L. M. Sabo, Clint Enns,
Chester Burnett, Kalynn Campbell, Will Erokan, Marc Bascougnano, Rey
Wolf, Joe Nucci, Marvin Choi, The Here & Now (Paolo Davanzo & Lisa
Marr), Clifford Novey, Gerry Fialka, Bruce Atchison, Paul Orso, Shirley
Vernales, Jonathan Menchin, Ralph Loynachan, Wrasslin' Poodles, Joseph
Weidinger, Denny Moynahan, Phil Marion, Doug Ing, Rex Butters & Paulie
Dee, Tad Dery, Sunny War, Nick Newlin, Julien Mangogna, Chris Westhoff,
Geoff Seelinger, and tENTATIVELY a cONVENIENCE. PXL THIS curator Gerry
Fialka in person! "PXL THIS never fails to stimulate its audience into a
churning state of passionate intellectual arousal, and while it's gained
an international flair, at its core the festival is genuine California
culture at its marvelous best." Jonny Whiteside, LA Weekly.
5/20
New York, New York: Filmmakers Coop
7:30pm, 475 Park Ave South, 6th floor
JAPANESE EXPERIMENTAL FILMS - THE 1970S
Assembled and introduced by Takahiko Iimura Distributed from Filmmakers
Cooperative. KIRI Sakumi Hagiwara, (1972), 8 min. A fixed camera
photographs a fog-shrouded landscape. At first the screen appears almost
totally white, but gradually the features begin to reveal
themselves$B!D(B The film bears a conscious resemblance to sumie
paintings. ORANDA-JIN NO SHASHIN (Photograph of the Dutch) Isao Koda,
(1976), 7 min. Beginning with photographs of his own feet wading in a
stream. Koda first establishes a labyrinthian 'photo within a photo'
theme... SYNC SOUND Takahiko Iimura, (1975), 9 min. Following the order
of the academy's synchronization leader which is used for picture and
sound to synch, the film adopts the system for its own order (or may be
fallen out of order)$B!D(B The film repeats until all the numbers are
replaced by the sounds. LUMIERE Tsuneo Nakai, (1971), 3 min. A single
shot of the sea, played with an synchronized soundtrack and made to
change in color. FEEDBACK Nobuhiro Kawanaka, (1973), 8 min. Photographs
of a nude, arranged into stop-motion sequences on the left half of the
screen, are juxtaposed with a close-up of the film itself passing in
front of a viewer, gradually revealed on the right half of the
screen$B!D(B 10 SEC. Ryoichi Enomoto, (1973), 8 min. A single
ten-second sequence by a dancer has been photographed at several speeds,
which are then replayed at different speeds with freezes and multiple
exposures added... OBSERVATION Hiroshi Yamazaki, (1975), 10 min. The
film is composed of two sequences: 1) A simple scene of a street corner
taken from a window is given the appearance of dawn$B!D(B 2) Shots of
the position of the midday sun on 27 consecutive days, taken through a
dense day-for-night filter.. ATMAN Toshio Masumoto, (1975), 11 min The
title is a Hindu term meaning the World Soul from which all souls
derive, or more simply, a principle of life. Matsumoto tried to 'create'
a microcosm (with a devil figure at the center), by dividing a field
into 10 equidistant concentric circles... "T he proclamation of
sensibility was the pronounced feature unifying the disparate films [in
this program]: this sensibility is one dedicated to an acceptance of
irony as an aesthetic integer. Seeming to duplicate the formal devices
of 'the structural film', these films develop along a distinct principle
of gratification." - Daryl Chin
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THURSDAY, MAY 22, 2014
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5/22
Brooklyn, New York: Spectacle
http://www.spectacletheater.com/
7:30 and 10:00 pm, 124 South Third Street, Brooklyn, NY 11211
JAMES FOTOPOULOS'S DIGNITY (NYC PREMIERE)
DIGNITY // Dir. James Fotopoulos, 2013 // USA // 82 min. ||||| NEW YORK
CITY PREMIERE! ONE NIGHT ONLY! ||||| James Fotopoulos in attendance
||||| Starring David and Nathan Zellner (filmmakers, KUMIKO THE TREASURE
HUNTER, KID-THING) and featuring music by Thurston Moore (Sonic Youth)
||||| Spectacle is pleased to host the New York City premiere of
DIGNITY, the latest lo-fi sci-fi digital whatsit by prolific artist
James Fotopoulos, who will be in attendance at both shows. ||||| Agents
Mr. Rainbow and Mr. Lamb (the Zellners) are sent to an alien planet
fighting a civil war. Their mission to destroy a perpetual motion
machine is interrupted by their capture. While their interrogations
proceed the two men struggle to come to terms with their suffering and
pending death. ||||| DIGNITY uses the minimal structure of a sci-fi
B-film, the high artifice of painted backdrops, prosthetic horror
effects, psychedelic noise soundtrack and early digital techniques to
flesh out the philosophical ideas ranging from the stoic writings Marcus
Aurelius to the fantasy prison drawings of Giovanni Battista Piranesi.
||||| "There is a strong case to be made that James Fotopoulos is the
greatest experimental filmmaker of his generation. DIGNITY is a perfect
example of his recent style. No body of work is more single-mindedly
relentless in its programme of defamiliarising the familiar than James
Fotopoulos'. This is what makes him such an essential artist."
-Maximilian Le Cain, Experimental Conversations
5/22
Los Angeles, California: Filmforum
http://www.lafilmforum.org/
7:00 pm, MOCA Grand Avenue, Ahmanson Auditorium,
250 South Grand Avenue, Los Angeles 90012
ERICKA BECKMAN
Coinciding with the exhibition Mike Kelley, Ericka Beckman will present
three of her works, The Broken Rule (1979) and Cinderella (1986), in
which Mike Kelley stars; and Switch Center (2003). Bennett Simpson, MOCA
curator, will introduce the program. The Broken Rule (1979, Super-8 to
16mm; color, sound; 23 min.)Produced, directed, shot and edited by
Ericka Beckman; Starring: Mike Kelley; Cinderella (1986, 16mm; color,
sound; 30 min.); Switch Center (2002, 16mm; color, sound; 12 min.)
5/22
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
7:00 pm , 32 2nd Ave.
ESSENTIAL CINEMA: L'AGE D'OR
by Luis Buñuel and Salvador Dalí In French with English subtitles, 1930,
73 min, 35mm, b&w Conventional attempts at plot synopsis wither in the
face of L'ÂGE D'OR. In Buñuel's words, "The story is a sequence of moral
and surrealist aesthetics. The sexual instinct and the sense of death
form the substance of the film. It is a romantic film performed in full
surrealistic frenzy."
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FRIDAY, MAY 23, 2014
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5/23
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
7:15 pm, 32 2nd Ave.
ESSENTIAL CINEMA: BLOOD OF A POET
by Jean Cocteau In French with English subtitles, 1930, 53 minutes,
35mm, b&w (LE SANG D'UN POÈTE) "Adolescent angels wandering about, black
boxers with perfect bodies taking flight, school-children in capes
killing each other with snowballs, a mirror becomes a swimming pool, and
the hallways of a furnished hotel turn into a labyrinth." Georges
Sadoul
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SATURDAY, MAY 24, 2014
----------------------
5/24
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
7:15 pm, 32 2nd Ave.
ESSENTIAL CINEMA: ORPHEUS
by Jean Cocteau In French with English subtitles, 1950, 95 minutes,
35mm, b&w (ORPHÉE) With Jean Marais. Orpheus and Eurydice, with Death
waiting on the corner. Cocteau said, "Orpheus could only exist on the
screen. A drama of the visible and the invisible, ORPHEUS's Death is
like a spy who falls in love with the person being spied upon. The myth
of immortality."
5/24
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
9:15 pm, 32 2nd Ave.
ESSENTIAL CINEMA: BLOOD OF A POET
See notes for May 23, 7:15 pm.
5/24
San Francisco, California: Other Cinema
http://www.othercinema.com/
8:30pm, 992 Valencia Street
MICHAEL GENDREAU'S "DISCREPANT PARATAXIS" + WALTER FUNK'S 3-D +
Our second set of Live A/V action is anchored by Renaissance man Michael
Gendreau, a true pillar of the international experimental music scene.
With collaborator Lisa Seitz, he orchestrates an amazing assemblage of
antique transcription discs, phonographic cylinders, and mid-century
audio letters, wringing out the long-lost timbres and tonalities-not to
mention the linguistic content--of these "obsolete" media-archeological
artifacts. Popping open this Memory Palace is Walter Funk's Hologlyphic
Overscan, a volumetric display of floating 3-D visuals that reflect the
same spirit of resourcefulness, ingenuity, and the Marvelous. PLUS: Dan
Gunning's hand-cranked 78rpm discography, Thomas Edison's tin-foil
trickery, Warner Bros.' optical sound-tracking, and Craig Baldwin's
ChromaDepth-abetted Nth Dimension.
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SUNDAY, MAY 25, 2014
--------------------
5/25
Los Angeles, California: Filmforum
http://www.lafilmforum.org/
7:30 pm, Spielberg Theatre at the Egyptian, 6712 Hollywood Blvd.
ERICKA BECKMAN: OUT OF HAND
Los Angeles Filmforum is proud to present two screenings with the
genre-defying, highly original filmmaker Ericka Beckman. Described as a
key figure of the Pictures Generation, Beckman often uses games as
structuring devices in films and videos that combine minimalist and punk
aesthetics. As Amy Taubin writes: "Milking the Surrealist roots of Pop,
Beckman creates brightly colored, psychologically threatening, sexually
charged worlds in which her avatars are hurled to and fro, trapped
inside a game plan whose rules they desperately try to discern."
Tonight, Beckman's second Los Angeles screening presents a further
selection of films and a new digital video from her important and highly
original oeuvre, including Out of Hand (1980); You the Better (1983),
which nearly caused a riot at its premiere at The New York Film
Festival; as well her more recent work Hiatus (1999); and Tension
Building, a work in progress. Ericka Beckman in person!
5/25
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
6:00 pm, 32 2nd Ave.
ESSENTIAL CINEMA: ORPHEUS
See notes for May 24, 7:15 pm.
5/25
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
8:15 pm, 32 2nd Ave.
LEN LYE PROGRAM
A giant of experimental animation, Len Lye was born in New Zealand in
1901. He moved to England in the 1920s and subsequently to New York in
1944, where he spent the last 40 years of his life. A pioneer of
'scratch' or 'direct' filmmaking, Lye used various tools to mark
patterns, shapes, and images directly onto the film's surface. In works
such as FREE RADICALS, Lye explored the dynamic energy of abstract
images propelled into life by lively jazz scores or Pacific-inspired
rhythms. Several of Lye's films were made for clients including the
British Government Post Office and the Chrysler Corporation. Despite
their commercial nature, Lye tackled these projects with a playful sense
of experiment, retaining his trademark study of dynamic motion. This
program is presented to celebrate both Anthology's recent acquisition of
several Len Lye films (including three that are part of the Essential
Cinema collection), and the forthcoming exhibition, LEN LYE: MOTION
SKETCH, at The Drawing Center in Soho. On view from April 17-June 8,
MOTION SKETCH is the first survey of Lye's practice to be exhibited in
New York, and features an extensive selection of drawings, paintings,
photographic works, and films, revealing how the artist's concept of
'doodling' underpinned much of Lye's practice. For more info, visit
www.drawingcenter.org TUSALAVA (1929, 10 min, 16mm, b&w, silent) A
COLOUR BOX (1935, 3 min, 16mm) KALEIDOSCOPE (1935, 4 min, 16mm) TRADE
TATTOO (1937, 5 min, 16mm) COLOUR FLIGHT (1938, 4 min, 16mm) MUSICAL
POSTER NO. 1 (1940, 3 min, 16mm) COLOR CRY (1952, 3 min, 16mm) RHYTHM
(1957, 1 min, 16mm, b&w) FREE RADICALS (1958/79, 4 min, 16mm, b&w)
PARTICLES IN SPACE (1979, 4 min, 16mm, b&w) TAL FARLOW (1980, 1.5 min,
16mm, b&w) Total running time: ca. 50 min.
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