This week [September 6 - 14, 2014] in avant garde cinema
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NEW FILM/VIDEO: NON-FEATURE:
===========================
"A wound we won't remember" by Visto desde el zaguán
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NEW CALLS FOR ENTRIES:
=====================
Dallas Medianale (Dallas, Texas, USA; Deadline: October 06, 2014)
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MONO NO AWARE VIII (Brooklyn, NY USA; Deadline: October 31, 2014)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1727.ann
Plug Projects (Kansas City, MO. USA; Deadline: September 19, 2014)
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DEADLINES APPROACHING:
=====================
Slamdance Film Festival (Los Angeles, CA; Deadline: October 09, 2014)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1711.ann
MADATAC (Madrid, SPAIN; Deadline: September 08, 2014)
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the8fest (Toronto, Canada; Deadline: September 30, 2014)
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Big Muddy Film Festival (Carbondale, IL, USA; Deadline: September 15, 2014)
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Newport Beach Film Festival (Newport Beach, CA; Deadline: September 19, 2014)
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Dallas Medianale (Dallas, Texas, USA; Deadline: October 06, 2014)
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Plug Projects (Kansas City, MO. USA; Deadline: September 19, 2014)
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THIS WEEK'S PROGRAMS (SUMMARY):
==============================
* Mann On the Street: videos By andy Mann [September 6, Austin, TX]
* Resistfilm - Piezas De Cine Experimental En Super 8mm Y 16mm, De Pablo
MarÃN [September 7, Buenos Aires, Argentina]
* In Waves: Arp + Ro/Lu + Paul Clipson [September 7, New York, New York]
* In Waves: Arp + Ro/Lu + Paul Clipson [September 7, New York, New York]
* Du Sang, De La Volupté Et De La Morte [September 8, New York, New York]
* The Mysteries [September 9, New York, New York]
* It's Alive! [September 10, Los Angeles, California]
* Gammelion [September 10, New York, New York]
* Early Experiments (German Expressionism: A
Revolutionary Spirit) [September 11, Baltimore, MD]
* Angel City Jazz Presents Interstellar
[September 11, Los Angeles, California]
* What A World [September 12, Boston, Massachusetts]
* Los Angeles Filmforum Presents Life Is An OpinionFilms By Mary Helena
Clark and Karen Yasinsky [September 12, Los Angeles, California]
* Life Is An Opinion: Films By Mary Helena
Clark and Karen Yasinsky [September 12, Los Angeles, California]
* Essential Cinema: Jennings/Kirsanoff/Leger & Murphy/Clair & Picabia
Program [September 12, New York, New York]
* Mission Eye &Amp; Ear #6: New Film+Music Collaborations By
Pascucci/Harada, Watkins/Sotelo,
Mezzacappa/Lipzin [September 12, San Francisco, CA]
* The Absent Stone [September 13, D.C.]
* Cinema Babylon [September 13, Los Angeles, California]
* Epfc Filmmobile Presents Burning Bungalos
[September 13, Los Angeles, California]
* Genius [September 13, New York, New York]
* Essential Cinema: Jordan/Levitt/Maas Program
[September 13, New York, New York]
* Essential Cinema: Rapt [September 13, New York, New York]
* Ata Superstars!: Boyce + Hong +
Schedelbauer/Alumni Masters [September 13, San Francisco, California]
* San Francisco Beat Films of the 50's
[September 13, San Francisco, California]
* Life Is An Opinion: Films By Mary Helena
Clark & Karen Yasinsky [September 13, San Francisco, California]
* Ruins [September 14, D.C.]
* Shapeshifters Cinema Presents Tommy Becker [September 14, Oakland]
Events are sorted by CITY within each DATE.
---------------------------
SATURDAY, SEPTEMBER 6, 2014
---------------------------
9/6
Austin, TX: Experimental Response Cinema
http://ercatx.org
8:00pm, grayDUCK Gallery, 2213 E. Cesar Chavez Street
MANN ON THE STREET: VIDEOS BY ANDY MANN
$5-$10 Sliding Scale - The Street Tapes of Andy Mann are a snapshot of
the the early life of video. Their spontaneity and prodding exploration
of quotidian life reflect the eagerness that early video practitioners
brought to the medium. Mann was among the first groups of video
collectives in the early Seventies, and continued making videotapes
until shortly before his death in 2001. This program will present
several of Mann's most vital contributions to early video and the Street
Tape Genre. Presented by Experimental Response Cinema and grayDUCK
Gallery. Curated and presented by Jarrett Hayman. Special thanks to the
Aurora Picture Show. - "There is no question that Andy Mann was one of
the seminal figures in the early video scene, in particular for his
remarkable "street tapes" which continued and amplified a tradition in
film history marked by such works as Helen Leavitt's In the Street."
â Gene Youngblood - "The late media artist Andy
Mann (1947-2001) was born in Manhattan, grew up in Yonkers, and, as an
alternative to completing a high school term paper on Ayn Rand, joined
the Navy in 1965. During his time in the Navy, he worked on several
submarines as a sonar technician, which introduced him to electronics
and a different way of looking at video. Mann described the images as
being "like watching a kind of abstract television," and credits his
technical training as his introduction to good camerawork. - In 1969
Mann moved to Manhattan and began attending NYU, where he quickly became
associated with several historic video collectives such as Global
Village, Raindance, Perception, Videofreex, and TVTV (Top Value
Television), as well as a contributor to the video art magazine Radical
Software, founded in 1970. Mann also acted as video documentarian for
performances by artists Hannah Wilke and Chris Burden, and interviewed
subjects such as Phil Ochs, Mark Lombardi, and Fennie Shakur. -
Recognized for his groundbreaking camerawork, Mann was one of the
earlier artists in the US to receive grant funds from the National
Endowment for the Arts to produce video art (1975 and 1978). His videos
were included in the 1973 and 1975 Whitney Biennials at The Whitney
Museum of American Art\; the 1973 Sao Paulo Bienal\; the 1977 Documenta
VI, Kassell, Germany\; as well as exhibitions at the Walker Art Center\;
Los Angeles County Museum of Modern Art\; and Leo Castelli Gallery. Mann
moved to Houston in the 1980s and began working in video installation
and public sculpture. He was a producer for Access Houston cable since
its 1987 inception, hosting a hybrid live video art program/talk show.
Mann continued to produce videotapes until a few weeks before his death
in 2001." - via andreagrover.com - Details:
http://www.ercatx.org/sept-6th-mann-on-the-street-videos-by-andy-mann/
-------------------------
SUNDAY, SEPTEMBER 7, 2014
-------------------------
9/7
Buenos Aires, Argentina: Colectivo Arkhé
5:00pm, Pringles 1249
RESISTFILM - PIEZAS DE CINE EXPERIMENTAL EN SUPER 8MM Y 16MM, DE PABLO
MARÃN
RESISTFILM - Cine experimental en Super 8mm y 16mm, de Pablo Marin. - Un
recorrido comentado por el realizador, - presentado por Colectivo Arkhé
- Parte I - Sin tÃtulo (focus) (2008, Super 8, mudo, 4') - Sin tÃtulo
(parte tres) (2009, Super 8, mudo, 4') - 4x4 (2012, Super 8, mudo, 5') -
Diario colorado (2010, Single 8, mudo, 7') - Angelus novus (2014, Super
8, mudo, 2') - Parte II - 1640 (2013, 16mm, mudo, 2') - Denkbilder
(pasado y presente) (2013, 16mm x 2 a 18fps, mudo, 5') - Resistfilm
(2014, 16mm a 18fps, mudo, 14') - - Pablo MarÃn (1982, Buenos Aires,
Argentina) es cineasta, editor, profesor, crÃtico y traductor. Como
curador independiente, presentó programas de cine experimental
argentino en Estados Unidos, Canadá y España. Sus pelÃculas se
proyectaron en los festivales internacionales de Oberhausen, Rotterdam,
Londres, Ann Arbor, además de en el Museo de Cine de Austria, Anthology
Film Archives, San Francisco Cinematheque, Echo Park Film Center,
Pleasure Dome, (S8) Mostra de cinema periférico, Pacific Film Archive,
Antimatter, TIE, Cinecycle, Bafici, Festival de Cine de Mar del Plata y
el Museo de Arte Moderno de Buenos Aires, entre otros. En 2014, fue
artista en residencia de Liasion of Independent Filmmakers of Toronto
(LIFT), Canadá. Vive y trabaja en Buenos Aires.
9/7
New York, New York: Jack Hanley Gallery
http://http://www.jackhanley.com/current.php?site=ny
Opening reception 6-8pm, 327 Broome Street, New York, NY 10002
IN WAVES: ARP + RO/LU + PAUL CLIPSON
In this collective group installation, featuring RO/LU's moveable
sculptures, a sound installation by Arp (aka Alexis Georgopoulos), and
Paul Clipson's 16mm film, WATER FICTIONS, each artist presents work that
refutes the idea of stasis. Georgopoulos, who has collaborated with both
RO/LU (Walker Art Center 2012; Aspen Institute 2013) and Clipson
(Berkeley Art Museum 2011; New York Film Festival 2012), proposed the
three contribute independent works that could work both as singular
pieces and in tandema sum greater than its parts. In Waves runs from
September 7 - October 5, 2014.
9/7
New York, New York: Jack Hanley Gallery
http://http://www.jackhanley.com/current.php?site=ny
Opening reception 6-8pm, 327 Broome Street, New York, NY 10002
IN WAVES: ARP + RO/LU + PAUL CLIPSON
In this collective group installation, featuring RO/LU's moveable
sculptures, a sound installation by Arp (aka Alexis Georgopoulos), and
Paul Clipson's 16mm film, WATER FICTIONS, each artist presents work that
refutes the idea of stasis. Georgopoulos, who has collaborated with both
RO/LU (Walker Art Center 2012; Aspen Institute 2013) and Clipson
(Berkeley Art Museum 2011; New York Film Festival 2012), proposed the
three contribute independent works that could work both as singular
pieces and in tandema sum greater than its parts. In Waves runs from
September 7 - October 5, 2014.
-------------------------
MONDAY, SEPTEMBER 8, 2014
-------------------------
9/8
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
7:30 pm, 32 2nd Ave.
DU SANG, DE LA VOLUPTé ET DE LA MORTE
Made as a USC student in Los Angeles, Markopoulos's first 16mm film
PSYCHE took as its source the unfinished novella of the same name by
Pierre Louÿs. Shown together with LYSIS and CHARMIDES (both made on his
return to Toledo, Ohio, and inspired by Platonic dialogues), it forms
the trilogy titled DU SANG, DE LA VOLUPTÉ ET DE LA MORT (1947-48). By
boldly addressing lesbian and homosexual themes, the trilogy gained
unwelcome notices in FILMS IN REVIEW and VARIETY where, in the
repressive atmosphere of the early 1950s, it was branded "degenerate"
following a screening at NYU. Such a response is unimaginable today for
lyrical works that express sensuality through the symbolic use of color
and composition. Writing about these early films, Markopoulos chose to
quote a statement by philosopher and theologian Mircea Eliade, offering
viewers a clue to his entire body of work: "The whole man is engaged
when he listens to myths and legends; consciously or not, their message
is always deciphered and absorbed in the end." "The first thing which I
did was to delete the novelette of its lush rhetoric and retain only its
symbolic color. In PSYCHE, color plays an important role, similar to the
role which color plays in the paintings of Toulouse Lautrec. Color
reflects the true character of the individual before us, whether it be
on the screen, in a painting, or in the street. Color is Eros." G.M.,
"Psyche's Search for the Herb of Invulnerability" (1955) A CHRISTMAS
CAROL (1940, 5 min, 8mm-to-16mm, b&w, silent) DU SANG, DE LA VOLUPTÉ ET
DE LA MORT: PSYCHE (1947-48, 25 min, 16mm) LYSIS (1947-48, 30 min, 16mm)
CHARMIDES (1947-48, 15 min, 16mm) CHRISTMAS USA (1949, 8 min, 16mm, b&w,
silent) Total running time: ca. 85 min.
--------------------------
TUESDAY, SEPTEMBER 9, 2014
--------------------------
9/9
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
7:30 pm, 32 2nd Ave.
THE MYSTERIES
THE MYSTERIES was made in Munich, Spring 1968, during the same period in
which Markopoulos directed two opera pieces for German television. (Rosa
von Praunheim was his assistant on all three projects.) Writing in
ARTFORUM, Kristin M. Jones described the film as "
a mournful work in
which, as in many of the earlier films, the rhythmic repetition of
imagery evokes poetic speech, and changes in costume emphasize shifts in
time, space, and emotion. Here, a young man's struggles with memories of
love and intimations of death are set alternately to deafening silence
and the music of Wagner." The Swiss chateau built for Wagner by King
Ludwig II is documented in SORROWS, an in-camera film composed through
intricate layers of superimposition. "In my film I suggest that there is
no greater mystery than that of the protagonists. War and Love are
simply equated for what they are; the aftermath is inevitable, and a
normal human condition, for which like the ancients one can only have
pity and understanding. In this lies the mystery. All else is
irrelevant. That there are other sub-currents of equal power in THE
MYSTERIES goes without saying; and, those who are capable of the
numerous visual visitations and annunciations which the film offers them
will realize what is the Ultimate Mystery of my work." G.M., "Disclosed
Knowledge" (1970) SORROWS (1969, 6 min, 16mm) & THE MYSTERIES (1968, 80
min, 16mm)
-----------------------------
WEDNESDAY, SEPTEMBER 10, 2014
-----------------------------
9/10
Los Angeles, California: Echo Park Film Center
http://www.echoparkfilmcenter.org/
8 pm, 1200 N. Alvarado St
IT'S ALIVE!
A screening of new experimental works created by EPFC's Alternative
Animation and Sound class, including Mara Lafontaine, Nick Lowe, Ariel
Teal, Grace Wielebinski, Adam Badlotto, Lexi Lutter, Carlo Cesario, and
Mookyung Sohn. Come see the innovative ways our students used 16mm film
to explore unconventional animation techniques: human-scale stop motion,
rotoscoping, scratch-on-film, rayographs, and much more! All films are
accompanied by live sound performances and hand-drawn optical
soundtracks. Screening followed by a reception for the filmmakers. Free
event!
9/10
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
7:30 pm, 32 2nd Ave.
GAMMELION
"To be loved means to be consumed. To love means to radiate with
inexhaustible light. To be loved is to pass away, to love is to endure."
text by Rainer Maria Rilke, recited on the soundtrack of GAMMELION
GAMMELION, Markopoulos's elegant film of the castle of Roccasinibalda in
Rieti, Italy (then owned by patron, publisher, and activist Caresse
Crosby), employs an intricate system of fades to extend five minutes of
footage to an hour of viewing time. This inventive new film form, in
which brief images appear amongst measures of black and clear frames,
was a crucial step towards Markopoulos's monumental final work, ENIAIOS
(1947-91). This screening of GAMMELION will be preceded by BLISS, a
portrait of the interior of a Byzantine church on the Greek island of
Hydra, edited in-camera in the moment of filming. "Fortunate is the
filmmaker who possesses a daemon, and who passes naturally from season
to season, always with renewed energies, to that crucial point where he
is able to recognize what constitutes the sunken attitudes of his art;
what constitutes the portent, eagle-shaped attitudes. Attitudes which in
a season of plenty soar beyond the frailties and grievances of the
creative personality. Forgotten and released are the self-acknowledged
limitations, the often comical, continuous demands upon friends and
acquaintances in the name of one's art. Finally, the total illusion that
has been inherent from the beginning in one's striving shimmers,
quivers, and sets one aflame." G.M., "Correspondences of Smell and
Visuals" (1967) BLISS (1967, 6 min, 16mm) & GAMMELION (1968, 55 min,
16mm. Archival print courtesy of the Austrian Film Museum.)
----------------------------
THURSDAY, SEPTEMBER 11, 2014
----------------------------
9/11
Baltimore, MD: Sight Unseen
http://sightunseenbaltimore.com/
7pm, MICA Brown Center, Falvey Hall (1301 West Mt. Royal Avenue)
EARLY EXPERIMENTS (GERMAN EXPRESSIONISM: A REVOLUTIONARY SPIRIT)
Sight Unseen is pleased to partner once again with The Baltimore Museum
of Art, in conjunction with the closing of German Expressionism: A
Revolutionary Spirit, to present a rare screening of early experimental
cinema produced during the extremely evocative era of German
Expressionist art. Featuring the first abstract film screened publicly,
Walther Ruttmann's Lichtspiel Opus I, as well as Opus II, Opus III and
Opus IV, followed by the first animated feature, Lotte Reiniger's The
Adventures of Prince Achmed, this special event stands the test of time
as a celebration of the livelihood and longevity of avant-garde cinema.
Oliver Shell, Associate Curator of European Painting and Sculpture, will
introduce the screening and explore the cross-pollination of visual art
and cinema in 1920s and 30s Germany. The program is held in
collaboration with MICA's Department of Film and Video and sponsored in
part by The Goethe-Institut Washington. Lichtspiel Opus I, Opus II, Opus
III & Opus IV, Walther Ruttmann, 1921-25, 35mm to digital, color, sound,
22 min. Music by Max Butting (Opus I), Joachim Bärenz (Opus II), Hanns
Eisler (Opus III) & Helga Pogatschar (Opus IV). Distribution provided by
Filmmuseum München. The Adventures of Prince Achmed, Lotte Reiniger,
1923-26, 35mm to digital, color, sound, 66 min. Music by Wolfgang
Zeller. Distribution provided by The Goethe-Institut. FREE.
9/11
Los Angeles, California: Echo Park Film Center
http://www.echoparkfilmcenter.org/
8 pm, 1200 N. Alvarado St
ANGEL CITY JAZZ PRESENTS INTERSTELLAR
$10 / The Echo Park Film Center and Angel City Jazz are proud to present
the first show in the series INTERSTELLAR, celebrating the space where
the fringes of film and jazz overlap. Tonight we are pleased to present
Shirley Clarke's masterpiece on Ornette Coleman, Ornette: Made In
America, followed by a set by L.A.'s improvised music stalwart Joe Baiza
and his band the Mecolodiacs. Shirley Clarke began making films in the
1950's, a time when few women worked in the field. Her adaptation of
Jack Gelber's play The Connection (1961) won praise for its graphic,
unglamorous depiction of drug use. This was followed by The Cool World,
and Robert Frost: A Lover's Quarrel with the World, which won the Oscar
for Best Documentary. Despite the success of Clarke's fourth feature,
Portrait of Jason (1967), created from a 12-hour-long interview with gay
African American hustler and aspiring nightclub performer Jason
Holliday, Clarke found it increasingly difficult to get financing for
her films. From 1975 to 1985 she taught film and video production at
UCLA. Clarke's fifth and final feature, Ornette: Made in America is a
well-received portrait of the eccentric musical genius and was a
cinematic comeback for Clarke. In it Clarke weaves documentary footage,
video art, music videos and architecture into a vibrant collage that
mirrors Coleman's groundbreaking jazz. Shirley Clarke is acknowledged as
a major influence by many current filmmakers. Milestone Film and Video's
"Project Shirley" is intended to present some of Clarke's best films in
beautifully restored versions. Jazz and punk rock guitarist Joe Baiza's
Mecolodiacs features Baiza on guitar and vocals, Rafa Gorodetsky on
electric bass, and Wayne Griffin on drums. Baiza is a founding member of
the bands Saccharine Trust and Universal Congress Of. He has played with
guitarists Nels Cline and Greg Ginn, among others, and toured with Mike
Watt. In addition to albums with his own bands, he has played on albums
by The Minutemen and the SST all-star jam band October Faction.
Currently he is in the reunited Saccharine Trust, the improvisational
unit Unknown Instructors, and The Mecolodiacs.
--------------------------
FRIDAY, SEPTEMBER 12, 2014
--------------------------
9/12
Boston, Massachusetts: ArtsEmerson
http://ArtsEmerson.org
7:00PM, Bright Family Screening Room 559 Washington St. Boston, MA 02111
WHAT A WORLD
What a World offers a captivating look at DÜNYA (the Turkish, Arabic,
Persian, Greek word for "world"), a Boston-based musicians' collective
which has explored a wide range of music from around the world since its
founding in 2004.The film features the ensemble's concert performance of
20th century Istanbul music with interviews with the musicians,
providing revealing insights on their diverse backgrounds and the
surprising cultural and musical links between Boston and Turkey. This
event will feature a brief discussion before and after the screening.
9/12
Los Angeles, California: Echo Park Film Center
http://www.echoparkfilmcenter.org/
8 pm, 1200 N. Alvarado St
LOS ANGELES FILMFORUM PRESENTS LIFE IS AN OPINIONFILMS BY MARY HELENA
CLARK AND KAREN YASINSKY
I want to make cinema that is both trance-like and transparent: that
operates on dream logic until disrupted by a moment of self-reflexivity,
like tripping on an extension cord. (Mary Helena Clark) An uneasy wind
blows through these films. With aesthetic interests in magic,
illusionism and deception, Mary Helena Clark creates films permeated
with mysterious associations, ineffably assembled according to dream
logics into fragmentary formations of distant or lost lives. After
Writing is a silent song of abandon, a post-linguistic elegy to an
apparently lost world. Orpheus (outtakes)citing Cocteau, referencing
Keatonconjures an "interstitial space where the ghosts of cinema lurk
beyond and within" (Andrea Picard). The Plant, "a spy film," wanders the
streets of Chicago, seeking meaning but finding something more. Clark's
newest film, The Dragon is the Frame is a powerful, fragmented and
questing meditation on loss, in tribute to late artist Mark Aguhar.
Recent films by Karen Yasinsky evidence a similar interest in the
fragment, using puppetry, animation, cinematic quotation and hints of
narrative to trigger emotive positions of discomfort and empathy.
Audition evokes a lonely haze of distance through the persistence of
repetition. The assembled images comprising After Hours contrast
violence with precarious grace and dance delicately between delirious
heights and abject depths of experience. Mariea rotoscoped animation
based on Bresson's
Balthazaris a brief assaultive animation
commemorating its character's fall from grace while Life Is an Opinion,
Fire a Fact, oscillates from despair to serenity while contemplating
suicide as depicted by Bresson and Tarkovsky. Finally, The Lonely Life
of Debby Adams ("the movie I tried to dislike and rip apart but I just
couldn't") is a meditation on panoptic voyeurism, performativity,
privacy and objectification. (Steve Polta) Mary Helena Clark and Karen
Yasinsky In Person! Tickets: $10 general, $6 students/seniors; free for
Filmforum members.
9/12
Los Angeles, California: Los Angeles Filmforum
8:00pm, 1200 N. Alvarado St.
LIFE IS AN OPINION: FILMS BY MARY HELENA CLARK AND KAREN YASINSKY
Los Angeles Filmforum presents Life is an Opinion: Films by Mary Helena
Clark and Karen Yasinsky. Sound Over Water, by Mary Helena Clark (2009,
5 min., 16mm) Blue sky and blue sea meet on emulsion. The Lonely Life of
Debby Adams, by Karen Yasinsky (2013, 12 min., digital video) Images and
sounds appear as suggestions and are revisited; clues dispersed. Debby
waits in a room not really alone. After Hours, by Karen Yasinsky (2013,
10.5 min., digital video) After Hours originated with thoughts on
senseless violence, cultural observation and hypnotism. My meditations
on these involve anxiety and a sense of expectation (running from the
personal and then elsewhere) which helped form the structure. Many of
the images are repurposed, related but unhinged from their original
context. Orpheus (outtakes), by Mary Helena Clark (2013, 6 min., 16mm)
"Using footage from Cocteau's Orphée, Mary Helena Clark optically prints
an interstitial space where the ghosts of cinema lurk beyond and within
the frames." - Andrea Picard The Sound of Running in My Voice, by Mary
Helena Clark (2014, 8 min., digital video) Los Angeles Premiere! We ape
naturalism. Marie, by Karen Yasinsky (2010, 6 min., digital video) Marie
is rotoscoped from a scene in Au Hasard Balthazar by Robert Bresson. I
chose this scene for the melodrama of her dialogue and passivity of her
face. Violence enters the work with the interruption of the image. Marie
the character becomes a graphic fact. At the very end, the scene changes
drastically. It's a quiet, brutal scene of great beauty and underlies
the relationship between art and redemption - the ending point to which
the original scene led. Music by Brahms, sound by Tom Boram and Dan
Breen. Life is an Opinion, Fire a Fact, by Karen Yasinsky (2012, 10
min., digital video) Life is an Opinion, Fire a Fact is structured with
narrative fragments, sequenced without transitions that would place them
together in time or story. The point was to go from acts of despair
towards some suggestion of serenity. What goes on when we watch horrific
events and specifically the horror of suicide that we only watch on tv
or film? The act just shows the result but not the ideas and feelings
that lead to it. The first image shows a woman who just jumped to her
death (from A Gentle Woman by Robert Bresson). The animated scene of
self immolation is shot in reverse so narrative buildup of tension is
denied. The character places himself atop a statue of Marcus Aurelius
from whom the quote, Life is an Opinion, comes. We end in a place,
through sound or image, that suggests diverse definitions of serenity
(an opinion). Audition, by Karen Yasinsky (2012, 4 min., digital video)
The starting point for Audition was the movement of the stripper across
the stage in the red light. I rotoscoped the scene and each frame is
hand drawn pixels. Once I realized that the sound attached to the source
scene was the impetus for the remembered image, the rest of the video
revealed itself. Hand-drawn animation and digital video. Music and
sound, Bo Harwood from Killing of a Chinese Bookie. The Dragon is the
Frame, by Mary Helena Clark (2014, 14 min., 16mm) Los Angeles Premiere!
An experimental detective film made in remembrance: keeping a diary,
footnotes of film history, and the puzzle of depression.
9/12
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
7:30 pm, 32 2nd Ave.
ESSENTIAL CINEMA: JENNINGS/KIRSANOFF/LEGER & MURPHY/CLAIR & PICABIA
PROGRAM
Humphrey Jennings LISTEN TO BRITAIN (1941, 19 min, 35mm, b&w) Jennings's
film is a masterpiece of sound mixing; it creates an audio landscape of
Britain during the war, with images both accompanying and conflicting
with the multitude of sounds. From the film's introduction: "I have been
listening to Britain. I have heard the sound of her life by day and by
night
. In the great sound picture that is here presented, you too will
hear that heart beating. For blended together in one great symphony is
the music of Britain at war." Dimitri Kirsanoff MÉNILMONTANT (1924-25,
38 min, 35mm, b&w, silent) A melodramatic story of an orphan girl whose
seduction is avenged. Early use of hand-held camera, montage, and
superimpositions. Fernand Léger & Dudley Murphy BALLET MÉCANIQUE (1924,
19 min, 35mm, b&w, silent. Preserved by Anthology Film Archives.) A
brief exploration of cubist form, black-and-white tonalities, and
various vectors through its constant, rapidly cut movements and
compositions. Many of the film's forms and compositions are reflected in
or themselves reflect forms and compositions in Léger's famous
cubist paintings from the period. René Clair & Francis Picabia ENTR'ACTE
(1924, 22 min, 35mm, b&w) A masterpiece of Dada, a feat of cinema magic.
Made as an intermission entertainment for the Ballet Suédois from an
impromptu scenario by Francis Picabia. Music by Erik Satie. Total
running time: ca. 105 min.
9/12
San Francisco, CA: Mission Eye & Ear
8:00pm, Artists' Television Access, 992 Valencia
MISSION EYE & EAR #6: NEW FILM+MUSIC COLLABORATIONS BY
PASCUCCI/HARADA, WATKINS/SOTELO, MEZZACAPPA/LIPZIN
New music/sound + film/video collaborations by: Crystal Pascucci +
Isabelle Harada; Zachary James Watkins + Rosario Sotelo; Lisa Mezzacappa
+ Janis Crystal Lipzin. with film scores performed live by the
Eyes'nEars House Band: Marta Raviglia (IT), voice; Steve Adams, winds;
Piero Bittolo Bon (IT), reeds; Crystal Pascucci, cello; Lisa Mezzacappa,
bass; Suki O'Kane, percussion. Mission Eye & Ear is a live cinema series
that brings together Bay Area composers and improvisers with filmmakers
and video artists drawn from ATA's diverse and geographically sprawling
family, to create new works performed live at ATA by a stellar ensemble
of local musicians. Composer-performers Crystal Pascucci, Zachary James
Watkins and Lisa Mezzacappa represent a rich cross-section of the local
creative music scene, influenced by electronic music, acoustic improv,
noise, avant-garde jazz, alt-rock and contemporary classical music.
Filmmaker/media artists Rosario Sotelo, Isabelle Harada and Janis
Crystal Lipzin explore political commentary, documentary storytelling,
dreamlike cinescapes and formal abstraction in a wide range of narrative
and experimental works. This September event, part of ATA's 30th
Anniversary celebration, is the third and final in a series of Mission
Eye & Ear events this year, organized by Bay Area musician and curator
Lisa Mezzacappa with ATA. The first edition of Mission Eye & Ear, in
2011, commissioned nine composer-filmmaker teams to create new works.
The series was remounted in a day-long marathon at Yerba Buena Center
for the Arts in 2012, and has since traveled to cities in Italy and
Germany, where local musicians provide live scores for films
commissioned for the series.
----------------------------
SATURDAY, SEPTEMBER 13, 2014
----------------------------
9/13
D.C.: National Gallery of Art
http://www.nga.gov
2:30, West Building, Lecture Hall, 4th and
Constitution Avenue NW, Washington, DC 20565
THE ABSENT STONE
In 1964, the largest carved stone in the Americas was moved from the
town of San Miguel Coatlinchan in Texcoco to the National Anthropology
Museum in Mexico City a risky and remarkable engineering feat. The
extraction of the monolith (representing the pre-Hispanic water deity
Tlaloc) set off a rebellion in the town that forced the Mexican Army to
intervene. Today this enormous stone is an urban monument, and one of
the principal icons of Mexican national identity. Lerner's recent film
explores the legacy of the stone, as well as the memories and the
longings it still calls to mind. (Sandra Rozental and Jesse Lerner,
2013, Spanish with subtitles, 80 minutes)
9/13
Los Angeles, California: Echo Park Film Center
http://www.echoparkfilmcenter.org/
8 pm, 1200 N. Alvarado St
CINEMA BABYLON
$5 / Cinema Babylon is an East Coast-based traveling screening series
showcasing emerging independent filmmakers who explore both the excesses
of narrative, and the unraveling form of experimental film. This program
features innovative, visually lush live-action and animated works that
deftly mine and subvert popular culture and collective cultural memory.
With films by Rachel Maclean, Stephen Quinlan, Michael Bucuzzo, Lindsay
Denniberg, Cate Giordano, Gina Marie Napolitan, and Christina
Kolozsvary. Filmmakers in person! More information at
http://www.surrealux.com/cinema-babylon/
9/13
Los Angeles, California: Echo Park Film Center
http://www.echoparkfilmcenter.org/
8 pm, Villa Aurora, 520 Paseo Miramar
EPFC FILMMOBILE PRESENTS BURNING BUNGALOS
Burning Bungalows brought new and unseen experimental film from Los
Angeles on the road earlier this year. With a handmade mix of animation
and live action on video, Super 8, 16mm and 35mm slides we're covering
all the bases for an eclectic hour and 20 minutes. The films tend toward
an ethereal conjuring of spirits with a dystopian punk attitude.
Program: Vulgarians 1, 2, 3 and Arietta by Cosmo Segurson, Waxing and
Milking and Them Oracles by Alee Peoples; He Hates to be Second by Kelly
Sears; Berm and Jup by Abby Banks; Artio and Belenus by Nancy Jean
Tucker; The Temptation of St. Anthony by John Cannizzaro; Untitled:
Varanasi by Lisa Marr & Paolo Davanzo. Location: Villa Aurora 520 Paseo
Miramar, Los Angeles, CA 90272. More info:
http://www.villa-aurora.org/en/ Tickets: $30, food and beverages
included.
9/13
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
3:00 pm, 32 2nd Ave.
GENIUS
Inspired by the legend of Faust, GENIUS is a triple-portrait of three
significant art world figures: the British artist David Hockney, the
Argentinian surrealist painter Leonor Fini, and the German-born art
dealer Daniel-Henry Kahnweiler, an important early supporter of the
Cubists. With its measured structure, carefully spacing images between
passages of clear or opaque film, GENIUS forms the central section of
the third cycle of ENIAIOS. This 80-hour long silent film, one of the
most remarkable and ambitious projects in the history of cinema, is
intended to be shown only at the remote site in Greece chosen by
Markopoulos as the ideal setting for his work. "In film, in the
beautiful, stupid past of the commercial film with its total lack of
creative achievement, though stated otherwise by film historians, the
absolute Barbarians of our diminishing cultural age, the film
construction was dependent on the story in the guise of the necessary
message; the necessary message impounded for the benefit, that is the
enlightenment and therefore the deliberate enslavement of the filmgoer.
However, in my finished work, entitled GENIUS, the development is along
absolute philosophical lines. For instance the three unsuspecting
figures who became my characters, represent, in their own milieu, the
crises of our times. I refuse to say more. Perhaps, I do not know more!
Suffice to say, that even as I was filming, I knew: we look at a face,
at the gestures, and we know, if we so wish, the content of the inner
being." G.M., "The Redeeming of the Contrary" (1973) GENIUS (from
ENIAIOS III) (1970, 86 min, 16mm, silent)
9/13
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
6:00 pm, 32 2nd Ave.
ESSENTIAL CINEMA: JORDAN/LEVITT/MAAS PROGRAM
Larry Jordan DUO CONCERTANTES (1962-64, 6 min, 16mm, b&w) HAMFAT ASAR
(1965, 13 min, 16mm, b&w) GYMNOPEDIES (1968, 6 min, 16mm) THE OLD HOUSE,
PASSING (1966, 45 min, 16mm, b&w. Preserved by Anthology Film Archives.)
OUR LADY OF THE SPHERE (1968, 9 min, 35mm) "With a taste for nostalgic
romanticism
Jordan creates a magical universe of work using old steel
engravings and collectable memorabilia. His 50-year pursuit into the
subconscious mind gives him a place in the annals of cinema as a
prolific animator on a voyage into the surreal psychology of the inner
self." Jackie Leger Helen Levitt IN THE STREET (1952, 12 min, 16mm,
b&w. Preserved by Anthology Film Archives.) Levitt's short, lyrical
documentary portrait of life in Spanish Harlem. Stealthily shot by
Levitt, Janice Loeb, and James Agee. Willard Maas GEOGRAPHY OF THE BODY
(1943, 7 min, 16mm, b&w. Preserved by Anthology with support from The
National Film Preservation Foundation.) "The terrors and splendors of
the human body as the undiscovered, mysterious continent." W.M. Total
running time: ca. 105 min.
9/13
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
8:30 pm, 32 2nd Ave.
ESSENTIAL CINEMA: RAPT
by Dimitri Kirsanoff In French with no subtitles; English synopsis
available, 1934, 84 min, 35mm, b&w "RAPT is, paradoxically, both a film
which looks back anachronistically toward the silent era and a work
which belongs to the vanguard of sound cinema. Part of that paradox can
be resolved by an understanding of the film's complex utilization of
music. RAPT employs very little dialogue, and in this respect it is
reminiscent of the part-talkie genre
. It is linked to such abstract and
hybrid avant-garde works as VAMPYR and L'ÂGE D'OR. The radical nature of
RAPT, however, resides in its vision of a cinematic musical score. In
making the film, Kirsanoff worked closely with the composers Honegger
and Hoerce." Lucy Fisher
9/13
San Francisco, California: Other Cinema
http://www.othercinema.com/
8:30 PM, 992 Valencia St.
ATA SUPERSTARS!: BOYCE + HONG + SCHEDELBAUER/ALUMNI MASTERS
The funky/punky media projects at 992 Valencia celebrate our 30th
anniversary in the Mission trenches with a series of events to honor a
DIY culture of radical vision and critical verve. Setting it off is a
dazzling showcase of 3 "family" members who got their starts in our
incubator storefront, then moved on up to international art-stardom. In
person, Bryan Boyce introduces his righteously satiric shorts, including
gems from the 90s as well as new instant-hits like the Reality Factory
and Google Mission. James Hong, Biennial regular now based in Taiwan,
represents with a trove of trenchant geopolitical works: Condor, Behold
the Asian, Suprematist Kapital, and A Portrait of Sino-American
Friendship. Like her fellow Hall-of-Famers in archival/collage approach,
now-Berlin denizen Sylvia Schedelbauer, most recent ATA grad to grab
world headlines, rewards us with Way Fare, False Friends, and her
exquisite Sounding Glass. Free champagne!
9/13
San Francisco, California: Art in Cinema
7pm, 946 A Greenwich Street (Between Taylor and Jones)
SAN FRANCISCO BEAT FILMS OF THE 50'S
Back by popular demand. Films of the San Francisco Beats featureing
David Sherman's To Re-Edit the World, Have you Sold Your Dozen Roses
with Lawrence Ferlinghetti, Odds and Ends by Jane Conger Belson, Mouse
Heaven by Kenneth Anger.
9/13
San Francisco, California: San Francisco Cinematheque
http://www.sfcinematheque.org
7:30, Yerba Buena Center for the Arts, 701 Mission Street
LIFE IS AN OPINION: FILMS BY MARY HELENA CLARK & KAREN YASINSKY
Mary Helena Clark and Karen Yasinsky will be in attendance for a
screening at 7:30pm. Between the Idea and the Reality Falls the Shadow.
An uneasy wind blows through these films. With aesthetic interests in
magic, illusionism and deception, San Francisco filmmaker Mary Helena
Clark creates films permeated with mysterious associations, ineffably
assembled according to dream logics into fragmentary formations of
distant or lost lives. Clark's films resonate at a seemingly quantum
level with recent films by the Baltimore-based Karen Yasinsky whose
works evidence a similar interest in the fragment using puppetry,
animation, cinematic quotation and hints of narrative to trigger emotive
positions of discomfort and empathy. Films to screen include AFTER
WRITING, ORPHEUS (OUTTAKES),THE PLANT, and THE DRAGON IS THE FRAME (by
Clark), and AUDITION, AFTER HOURS, MARIE, LIFE IS AN OPINION, FIRE A
FACT, and THE LONELY LIFE OF DEBBY ADAMS (by Yasinsky). Admission is
$10.
--------------------------
SUNDAY, SEPTEMBER 14, 2014
--------------------------
9/14
D.C.: National Gallery of Art
http://www.nga.gov
4:00, West Building, Lecture Hall, 4th and
Constitution Avenue NW, Washington, DC 20565
RUINS
Surveying important moments from the history of Mesoamerican
antiquarianism (the general collecting or study of antiquities and
material remains), Ruins suggests how diplomacy and Pan- Americanism
framed the recent recontexualization of archeological objects as art
objects. Visiting with Brigido Lara, an artist and one-time master
forger of pre-Columbian antiques, the film even suggests parallels
between documentary film and fake artifacts. (Jesse Lerner, 1999, 78
minutes)
http://www.nga.gov/content/ngaweb/calendar/film-programs/lerner/ruins.ht
ml
9/14
Oakland: Shapeshifters Cinema
http://shapeshifterscinema.com/
8-9PM, 511 48th St. Oakland
SHAPESHIFTERS CINEMA PRESENTS TOMMY BECKER
Tommy Becker is a poet trapped in a camcorder who continues to feed
video poems into his never-ending documentary, Tape Number One. The
video work for TNO blends poetry, songwriting, performance, costuming,
found footage and hand-made props. Each track of the tape is presented
as a song dedication that pays tribute to a particular life experience.
These personal essays have been re-imagined within a video framework
that mixes the sentimentality of the spoken word with classroom rhetoric
and melodic pop sensibility. Becker has been an arts educator in the Bay
Area for the last ten years. This evening's show will feature a grouping
of works that investigate and celebrate the high school landscape. The
death of color, the vitality of lemons, the destruction of ego and the
fleeting moments of teenage rebellion will be examined as PowerPoint
presentations and celebrated in song.
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