This week [November 15 - 23, 2014] in avant garde cinema
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NEW CALLS FOR ENTRIES:
=====================
Flatpack Film Festival (Birmingham, UK; Deadline: December 22, 2014)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1737.ann
WHAT IF? KC/CT (Kansas City / Hartford / USA; Deadline: December 15, 2014)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1738.ann
ACRE TV (Chicago, IL, USA; Deadline: November 25, 2014)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1739.ann
Duke University (Durham, NC 27708; Deadline: January 16, 2015)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1740.ann
Alchemy Film and Moving Image Festival (Hawick,
Scotland; Deadline: November 30, 2014)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1741.ann
Newport Beach Film Festival 2015 (Newport Beach,
CA ; Deadline: November 21, 2014)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1742.ann
Images Festival (Toronto, Ontario, Canada; Deadline: November 15, 2014)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1743.ann
DEADLINES APPROACHING:
=====================
22nd Chicago Underground Film Festival (Chicago,
IL USA; Deadline: December 15, 2014)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1720.ann
We Have Never Been Modern: An Experimental Film
and Video Exhibition @ Dope Chapel (Norman, OK,
USA; Deadline: November 26, 2014)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1733.ann
Gallery 263 (Cambridge, MA, USA; Deadline: December 07, 2014)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1734.ann
WHAT IF? KC/CT (Kansas City / Hartford / USA; Deadline: December 15, 2014)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1738.ann
ACRE TV (Chicago, IL, USA; Deadline: November 25, 2014)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1739.ann
Alchemy Film and Moving Image Festival (Hawick,
Scotland; Deadline: November 30, 2014)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1741.ann
Newport Beach Film Festival 2015 (Newport Beach,
CA ; Deadline: November 21, 2014)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1742.ann
Images Festival (Toronto, Ontario, Canada; Deadline: November 15, 2014)
http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1743.ann
THIS WEEK'S PROGRAMS (SUMMARY):
==============================
* Nick Felton &Amp; Brian House: Automatic
Data, Personal Documentary [November 15, Brooklyn, New York 11211]
* Eyeworks Festival of Experimental Animation,
Program 3 [November 15, Chicago, Illinois]
* Eyeworks Festival of Experimental Animation,
Program 4 [November 15, Chicago, Illinois]
* Ken Jacobs: Blankets For Indians [November 15, Houston, Texas]
* Mysterious Object At Noon [November 15, New York, New York]
* Mfj 60 Publication Screening No. 2 [November 15, New York, New York]
* The Fourth Annual San Francisco Cinematheque
Art Auction & Benefit [November 15, San Francisco, California]
* Gallagher's Female Filmmaker Herstory +
Klahr + Gal/Poetic Pixilation [November 15, San Francisco, California]
* The Toxic Edge: A Screening and Conversation
With Sarah Kanouse [November 16, Brooklyn, New York 11211]
* Shapeshifters Cinema Presents Jeremy Rourke [November 16, Oakland]
* San Francisco City Symphonies the Films of
Dominic Angerame [November 16, Tucson]
* A Panorama of American Experimental Narratives In the New Millennium, Day
4 [November 17, Athens, Greece]
* A Panorama of American Experimental Narratives In the New Millennium, Day
5 [November 18, Athens, Greece]
* Humphrey Jennings's Listen To Britain +
Peter Watkins's the War Game [November 18, Brooklyn, New York 11222]
* Unexposed #9: Bill Brown [November 18, Durham, NC]
* Collectif Jeune Cinema Program [November 18, New York, New York]
* A Panorama of American Experimental Narratives In the New Millennium, Day
6 [November 19, Athens, Greece]
* Sound/ Image/ Light: Benefit For
Film-Makers' Cooperative. [November 19, New York, New York 10013]
* Off the Screen: the Handcrafted Cinema of
Richard Tuohy [November 19, San Francisco, California]
* Dimitri Kozyrev Presents andrei Tarkovsky's Stalker [November 19, Tucson]
* A Panorama of American Experimental Narratives In the New Millennium, Day
7 [November 20, Athens, Greece]
* Chuck Johnson W/Special Guests Ashley Bellouin (Sound) + Paul Clipson
(Film) [November 20, Oakland]
* Eyeworks Festival of Experimental Animation [November 20, Richmond, Va]
* A Panorama of American Experimental Narratives In the New Millennium, Day
8 [November 21, Athens, Greece]
* Sight Unseen Presents Sound Matters - Works
From Collectif Jeune CinéMa [November 21, Baltimore, MD]
* Sound Matters - Works From Collectif Jeune
CinÉMa [November 21, Baltimore, Maryland 21218]
* Suggestive Gestures: David Finkelstein (And
Jeanne Stern) In Person [November 22, Austin, Texas]
* Eyeworks Festival of Experimental Animation
[November 22, Brooklyn, New York]
* Mark Brecke's Somalia In the Picture +
Framed/A Civil Africa [November 22, San Francisco, California]
* Jesse Mclean: the Message Is the Medium
[November 23, Los Angeles, California]
* Essential Cinema: Marie Menken Program 1 [November 23, New York, New York]
* Essential Cinema: Marie Menken Program 2 [November 23, New York, New York]
* Jon Behrens: Exquisite Celluloid [November 23, Tucson]
Events are sorted by CITY within each DATE.
---------------------------
SATURDAY, NOVEMBER 15, 2014
---------------------------
11/15
Brooklyn, New York 11211: UnionDocs
http://www.uniondocs.org
7:30pm, 322 Union Ave
NICK FELTON & BRIAN HOUSE: AUTOMATIC DATA, PERSONAL DOCUMENTARY
Discussion with Nicholas Felton and Brian House moderated by Cecilia
Aldarondo. The focus of this evening's program is the desire to record
and represent one's everyday experience. This basic impulse has
motivated a rich tradition of personal documentary that often frames
both the mundane and the dramatic in a particular filmmaker's life. The
work of American artists like Ross McElwee, Su Friedrich, Robert A.
Nakamura, Alan Berliner, Camille Billops and James V. Hatch (to name but
a few) have been grouped in this particular cannon.
11/15
Chicago, Illinois: Eyeworks Festival of Experimental Animation
http://www.eyeworksfestival.com
5:00 PM, Nightingale Cinema, 1084 N. Milwaukee Ave.
EYEWORKS FESTIVAL OF EXPERIMENTAL ANIMATION, PROGRAM 3
The Eyeworks Festival of Experimental Animation returns for its fifth
annual festival this November with four screenings of experimental
animation at the MCA Chicago and the Nightingale Cinema. Blending an
appreciation of classical animation with the sensibilities of
avant-garde cinema and the visual culture of alternative comics, the
Eyeworks programs showcase abstract animation, surreal narratives, and
unconventional character animation. $10 admission. PROGRAM: Robert
Breer, 69, 1968; Doris Chase, Circles I, 1971; Larry Cuba, 3/78, 1978
Chris Sullivan, The Beholder, 1983; Nicole Hewitt, In/Dividu, 1998; Neil
Taylor, Copy Copy, 1999; Sandra Desmazieres, Sans Queue Ni Tete, 2001;
Laszlo Csaki, Days That Were Filled With Sense by Fear, 2002-03; Daniel
Barrow, Advanced Search Terms, 2012-13; Sarina Nihei, Trifling Habits,
2013; Karolina Glusiec, Velocity, 2013; Nick Butcher, Sidewalk, 2014;
Allison Schulnik, Eager, 2014.
11/15
Chicago, Illinois: Eyeworks Festival of Experimental Animation
http://www.eyeworksfestival.com
8:00 PM, Nightingale Cinema, 1084 N. Milwaukee Ave.
EYEWORKS FESTIVAL OF EXPERIMENTAL ANIMATION, PROGRAM 4
The Eyeworks Festival of Experimental Animation returns for its fifth
annual festival this November with four screenings of experimental
animation at the MCA Chicago and the Nightingale Cinema. Blending an
appreciation of classical animation with the sensibilities of
avant-garde cinema and the visual culture of alternative comics, the
Eyeworks programs showcase abstract animation, surreal narratives, and
unconventional character animation. $10 admission. *NOTE: Program 4
repeats Program 1, with some lineup changes.* PROGRAM: John Whitney Jr,
Terminal Self, 1971; Florence Miailhe, Hammam, 1992; Georges
Schwizgebel, Jeu, 2006; Hoji Tsuchiya, Black Long Skirt, 2010; Marjorie
Caup, Transhumance, 2012; Leslie Baum and Frederick Wells, Megillat
Breakdown, 2013; Eri Kawaguchi, Flower and Steam, 2013; Joung Yumi, Love
Games, 2013; Yoriko Mizushiri, Snow Hut, 2014; Jake Fried, Headspace,
2014; Joshua Mosley, Jeu de Paume, 2014; Johan Rijpma, Descent, 2014;
Zeitguised, Birds, 2014
11/15
Houston, Texas: Blaffer Onscreen
http://www.blafferartmuseum.org/
1pm, Sundance Cinemas (510 Texas Ave.)
KEN JACOBS: BLANKETS FOR INDIANS
Blaffer On Screen (in conjunction with the Houston Cinema Arts Festival)
is proud to present a rare Texas appearance by New York's Ken Jacobs. A
master of many experimental forms, Jacobs has played a pivotal role in
the history of film, helping to shape poetic, abstract, structural,
political, and 3D cinema in a career spanning nearly six decades. A
perpetual thorn in the side of those who believe cinema's job is to
placate and hypnotize, Jacobs is equally disruptive to the polite,
sterile modernism of the textbooks. His new work, Blankets for Indians,
combines stereoscopic abstraction with material shot during the Occupy
Wall Street protests in Zuccotti Park. Jacobs asks us to forge a
relationship between the aesthetic and the sociopolitical, to knock down
the police barriers in our minds. Also screening: Capitalism: Child
Labor (2006) and Capitalism: Slavery (2006).
11/15
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
3:30 pm, 32 2nd Avenue
MYSTERIOUS OBJECT AT NOON
by Apichatpong Weerasethakul In Thai with English subtitles, 2000, 88
min, 35mm, b&w Share + This screening is part of: THE CLIMATE OF VIENNA
THE AUSTRIAN FILM MUSEUM AT FIFTY Film Notes (DOKFAH NAI MEU MAAN)
Restored by the Austrian Film Museum and the World Cinema Foundation.
"Once upon a time
" is how the fairytale career of Apichatpong
Weerasethakul fittingly begins. His first feature is a mix between road
movie, fly-on-the-wall documentary, and exquisite corpse a popular
game among the French surrealists in the 1920s. Journeying south through
the country from Bangkok, the future Palme d'or-winning filmmaker shares
a story with a group of villagers, who then pass it on, gradually
expanding and mutating it along the way until it becomes a collective
object the "mysterious object" of the title. Produced on a shoestring
budget, the 'low-fi' production circumstances of this docu-fiction
fantasy accelerated the need for its restoration, less than 15 years
after its premiere at the Rotterdam Film Festival. Long unavailable to
rent for theatrical screenings, it returns to Anthology Film Archives
(where it enjoyed its initial theatrical premiere run in 2001) in this
beautiful 35mm print, the result of a digital restoration project by the
Austrian Film Museum and Martin Scorsese's World Cinema Project.
11/15
New York, New York: Millennium Film Journal
http://mfj-online.org
7:30 PM, Grahame Weinbren Studio, 119 West 22nd Street, 3rd floor
MFJ 60 PUBLICATION SCREENING NO. 2
---MFJ 60 Fall 2014 "Fundamentals": Harun Farocki Tribute--- PROGRAM
***with Jill Godmilow in person*** Johanna Vaude: Notre Icare
(8.5? 2012) Super 8 transfer to HD; Harun Farocki:
Inextinguishable Fire (22? 1969) New HD Transfer on BluRay; Jill
Godmilow: What Farocki Taught (32? 1997) 16mm transfer to DVD; -
See more at: http://www.mfj-online.org/2581-2/
11/15
San Francisco, California: San Francisco Cinematheque
http://www.sfcinematheque.org
7:00pm, 55 Taylor Street
THE FOURTH ANNUAL SAN FRANCISCO CINEMATHEQUE ART AUCTION & BENEFIT
Please JOIN US at the Center for New Music for a special reception and
silent art auction from 7pm to 10pmincluding fabulous food, libations
and music from DJ Keith Slogan with many artists and filmmakers in
personin celebration and support of San Francisco Cinematheque, our
artists and our upcoming 54th year of exhibiting cutting-edge
avant-garde film and video art! Over 50 international, national and
regional artists have contributed artworks to this year's stellar
exhibition of drawings, paintings, photography, collage and multi-media
installations. San Francisco Cinematheque would like to thank Romer
Young Gallery and Gallery Paule Anglim for their generous assistance.
Admission: $20 general/ $15 members.
11/15
San Francisco, California: Other Cinema
http://www.othercinema.com/
8 PM, 992 Valencia St.
GALLAGHERS FEMALE FILMMAKER HERSTORY + KLAHR + GAL/POETIC PIXILATION
The US experimental animation scene is spontaneously combusting, and OC
proudly fuels the fire for the leading lights of this intensely
energized frame-by-frame form. That rad wunderkind out of Iowa, Kelly
Gallagher, debuts her 15 min. Herstory of the Female Filmmaker,
alongside mentors Jodie Mack's Lily, Jo Dery's Peeks, Vicki Bennett's We
Are Not Amused, and Helen Hills' foundational Madame Winger. CO-BILLED
is the SF premiere of Lewis Klahr's cut-out Rain Couplets, plus Jim
Trainor's Moschops and Len Lye's 1937 color(!) Rainbow Dance. Opening in
person is Omer Gal's animation-cum-performance The Shitheads, and for
those hungry for a bonus at close: the irresistible featurette Mel
Blanc, the Man of a Thousand Voices. Free toast and nutella. *8PM.
-------------------------
SUNDAY, NOVEMBER 16, 2014
-------------------------
11/16
Brooklyn, New York 11211: UnionDocs
http://www.uniondocs.org
7:30pm, 322 Union Ave
THE TOXIC EDGE: A SCREENING AND CONVERSATION WITH SARAH KANOUSE
NY Premiere: Around Crab Orchard! Toxicity figures in a range of
contemporary political, economic, social, and environmental discourses,
from the toxic waste of the gulf catastrophe or Fukushima and the toxic
assets of financial institutions, to concerns over toxic lifestyles and
the biomonitoring of toxic bodies. In Around Crab Orchard Sarah Kanouse
investigates the deep flows of toxicity in the natural environment and
how these shape their materiality and the politics of their existence.
Crab Orchard calls itself a unique place to experience nature. As the
only wildlife refuge in the United States whose mission includes
industry and agriculture alongside conservation and recreation, Crab
Orchard claims a harmonious balance between past and present, nature and
culture. Assembled from documents, found footage, and conversations with
activists, writers, and local residents, Around Crab Orchard questions
the ideal of natural harmony while meditating on the persistence of
history, the creation of knowledge, the limits of representation, and
the commonplace of environmental hazard. Around Crab Orchard ultimately
argues for forms of storytelling, image-making, and action that respond
to the full complexity of the social and ecological landscape.
11/16
Oakland: Shapeshifters Cinema
http://shapeshifterscinema.com/
8-9PM, Temescal Art Center, 511 48th St.
SHAPESHIFTERS CINEMA PRESENTS JEREMY ROURKE
Fresh from a residency at the San Francisco dump, Shapeshifters alum
Jeremy Rourke will return to present new animated work created from the
detritus of the material and spiritual cultures of San Francisco. Rourke
creates animated films from vintage and new photographs, paint, sticks,
shadows, wood, flowers, tape, pens, paper, pencils, and leaves. He is
bringing a band of some kind to Shapeshifters. He is looking in the
bottom of the chest with them. He is looking for bits and pieces that
haven't been shown in ages. He is on this earth, with the sun shining on
it, floating through space, right along with you.
11/16
Tucson: Exploded View
http://explodedviewgallery.org
7:30, 197 E Toole Ave
SAN FRANCISCO CITY SYMPHONIES THE FILMS OF DOMINIC ANGERAME
Filmmaker Dominic Angerame (S.F.) in person. We welcome one of the
finest cine-documentarians of urban landscape to EV this evening.
Angerame's rendering of urban change is achieved through the exquisite
B&W photographic tones of 16mm celluloid. Angerame travels from the
hotbed of urban gentrification in SF to Tucson's artist paradise to
share his amazing City Symphony series of 16mm films that record the
manual labor and mechanized deconstruction/reconstruction that resulted
from the 1989 Loma Prieta Earthquake. Conner Gallaher provides a live
musical score to Angerame's B&W prescient masterpiece, Continuum.
-------------------------
MONDAY, NOVEMBER 17, 2014
-------------------------
11/17
Athens, Greece: Athens Avant-Garde Film Festival
http://8aagff.tainiothiki.gr/en/category/program/american-experimental-narratives/
10pm, Greek Film Archive
A PANORAMA OF AMERICAN EXPERIMENTAL NARRATIVES IN THE NEW MILLENNIUM, DAY
4
Curated by Jon Gartenberg. This program provides a panorama of American
experimental films made in the 21st century and focuses primarily on
feature length narratives (both fiction and documentary), together with
a complement of shorts. Because these filmmakers lack the funding
provided by Hollywood and "off-Hollywood" producers, they often struggle
for long periods to complete their films. At the same time, the creative
independence that they have been afforded provides the individual
filmmakers with great freedom of expression. This talented group of
artists, toiling mostly in solitude, created inspir- ing works that
challenge, in thematic, structural, technical, and perceptual fashion,
the manner in which we, as spectators, per- ceive the world at large.
Stylistically, the films in this retrospective series encompass found
footage works, diverse hand-crafted ani- mation techniques, live action
movies that experiment with formal structure, as well as hybrid
documentary and fiction forms. The contemporary artists in this program
(while versed in the history of the avant-garde), are more consciously
engaged with narrative cinema traditions, if only to then subvert them
through their di- verse storytelling strategies. They most frequently
represent time and space in a manner that tends to disrupt the illusion
of spa- tial and temporal continuity, and to foreground the experience
of memory. Thematically, the films in this program incorporate reflec-
tions upon individual identity, the family structure, the fabric of the
community, and the larger political culture, that are presented most
often in critical and/or self-critical fashion. They directly ad- dress
significant social issues, including the tragic events of 9/11,
presidential politics and political resistance, the earth's ecology,
human diaspora and race relations, and the myth of the post World War II
nuclear American family. DAY 4 --> NATIVE NEW YORKER (Steve Bilich,
2005, 13', Video) NYC WEIGHTS AND MEASURES (Jem Cohen, 2006, 7', 16mm)
THE TIME WE KILLED (Jennifer Todd Reeves, 2004, 94', 16mm)
--------------------------
TUESDAY, NOVEMBER 18, 2014
--------------------------
11/18
Athens, Greece: Athens Avant-Garde Film Festival
http://8aagff.tainiothiki.gr/en/category/program/american-experimental-narratives/
8pm, Greek Film Archive
A PANORAMA OF AMERICAN EXPERIMENTAL NARRATIVES IN THE NEW MILLENNIUM, DAY
5
Curated by Jon Gartenberg. This program provides a panorama of American
experimental films made in the 21st century and focuses primarily on
feature length narratives (both fiction and documentary), together with
a complement of shorts. Because these filmmakers lack the funding
provided by Hollywood and "off-Hollywood" producers, they often struggle
for long periods to complete their films. At the same time, the creative
independence that they have been afforded provides the individual
filmmakers with great freedom of expression. This talented group of
artists, toiling mostly in solitude, created inspir- ing works that
challenge, in thematic, structural, technical, and perceptual fashion,
the manner in which we, as spectators, per- ceive the world at large.
Stylistically, the films in this retrospective series encompass found
footage works, diverse hand-crafted ani- mation techniques, live action
movies that experiment with formal structure, as well as hybrid
documentary and fiction forms. The contemporary artists in this program
(while versed in the history of the avant-garde), are more consciously
engaged with narrative cinema traditions, if only to then subvert them
through their di- verse storytelling strategies. They most frequently
represent time and space in a manner that tends to disrupt the illusion
of spa- tial and temporal continuity, and to foreground the experience
of memory. Thematically, the films in this program incorporate reflec-
tions upon individual identity, the family structure, the fabric of the
community, and the larger political culture, that are presented most
often in critical and/or self-critical fashion. They directly ad- dress
significant social issues, including the tragic events of 9/11,
presidential politics and political resistance, the earth's ecology,
human diaspora and race relations, and the myth of the post World War II
nuclear American family. DAY 5 --> THIS SIDE OF PARADISE (Jonas Mekas,
1999, 35', 16mm) OUR NIXON (Penny Lane, 2013, 85', Digital)
11/18
Brooklyn, New York 11222: Light Industry
http://www.lightindustry.org/
7:30pm, 155 Freeman St
HUMPHREY JENNINGS'S LISTEN TO BRITAIN + PETER WATKINS'S THE WAR GAME
Listen to Britain, Humphrey Jennings, 1942, 16mm, 19 mins The War Game,
Peter Watkins, 1965, 16mm, 48 mins Produced by the Crown Film Unit of
Britain's Ministry of Information in the midst of WWII, Humphrey
Jennings's Listen to Britain documents everyday life in the UK at a time
when the country was being bombarded and every moment on the homefront
felt defined by the war. The film's masterfully edited soundtrack adds a
level of emotional nuance rarely seen in a government propaganda film;
passages of dance hall orchestras, soldiers' songs, air sirens, the
patter of the BBC, and Myra Hess's legendary piano concerts held at the
National Gallery proceed symphonically through the film. Yet these
sequences do not merely encourage resolve, but acknowledgeand thereby
comforta culture steeped in melancholy and loss. Writing about
Jennings, Lindsay Anderson concluded that "his wartime films stand
alone; and they are sufficient achievement. They will last because they
are true to their time, and because the depth of feeling in them can
never fail to communicate itself. They will speak for us to posterity,
saying: 'This is what it was like. This is what we were like - the best
of us.'"
11/18
Durham, NC: UNEXPOSED
www.durhamunexposed.tumblr.com
7-10pm, 321 W Geer Street
UNEXPOSED #9: BILL BROWN
Cost: FREE ---- UNEXPOSED will host its 12th filmmaker again at The Pit
Authentic BBQ in downtown Durham. Durham-based filmmaker and Duke
professor, Bill Brown, will present two 16mm films plus a few readings
from his Dreamwhip zines for an hour long program. 8pm showtime -
cocktail hour begins at 7pm. Lengthy Q&A will surely follow the films.
Show will be inside this time! ++ FILMMAKER IN ATTENDANCE ++
PROGRAM: Roswell (19') plus Confederation Park (32') plus Dreamwhip zine
readings. Roswell 1994 Color / 16mm / Sound 19:00 Bill Brown's
Roswell
takes a fanciful, humorous look at the supposed crash of a
flying saucer near Roswell, New Mexico, in 1947, an "event" UFO types
cite to this day as evidence of a massive government cover-up. Brown, a
recent Harvard graduate who appears in the film and whose voice is heard
on the sound track, seems to take the event seriously. He wonders what
the craft was doing in Roswell of all places, speculating it was piloted
by a "star boy
joyriding through the cosmos" who "got lost and lost
control." But Brown also sees his subject playfully, as if through a
child's eyesobjects suggest others, nothing has a stable meaning,
flying saucers are fun. The film begins with a Frisbee flying through
the air, a metaphor repeated many times. The fish-eye lens used for some
landscape shots curves the horizon line, making the sky seem
enclosednavigable, traversable. In the film's strongest image Brown
stands facing the camera with a sheaf of papers in his hand, as an
animated drawing of a spaceship scoots across the paper, suggesting a
connection between UFO fantasies and the magical possibilities of
cinema. Fred Camper, Chicago Reader Confederation Park 1999 Color /
16mm / Sound 32:00 In the voice-over to his most recent film,
Confederation Park (1999, 32 min.), Texas filmmaker Bill Brown makes
reference to "the secret languages of exile," and while this reflective,
even somber film presents a pastiche of places across Canada where Brown
has lived, its real subject is the limits of knowledge. Its long takes
are accompanied by verbal meditations on the nation's recent history,
including the separatist bombings in Quebec during the 60s, and the
battle between English and French becomes a metaphor for the filmmaker's
divided mind. Brown applies stickers with city names to a huge outdoor
map of Canada, his voice-over suggesting that "we've found our place in
the universe" as a result of the "Copernican revolution"but then the
stickers are blown away by the wind. Brown implies that images are
insufficient: we need to know their history, their locations, their
meaning. But landscapes can't be fully decoded, nor past events captured
on film: in the final shot a woman sings, "I don't know where he's
headin' for," while a car travels in a circle. Fred Camper, Chicago
Reader Also, here's a link to a review of Bill's zine, Dreamwhip:
http://alarm-magazine.com/2012/zine-scene-bill-browns-dreamwhip/
BIO: Bill Brown is a "nomadic" filmmaker, photographer, and author from
Lubbock, Texas. He has produced films on the United StatesMexico
border, North Dakota missile silos, the Trans-Canada Highway, among
other places. The films have been exhibited at numerous film festivals
and museums, including the Museum of Modern Art in New York. He
describes his films as postcards with a pretty picture but instead of
words on the back, his films are narrated with voiceover. He's also the
author of a zine called Dream Whip which currently has 15 issues.
11/18
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
7:30 pm, 32 2nd Avenue
COLLECTIF JEUNE CINEMA PROGRAM
The body has been a subject of impassioned debate and analysis since the
beginning of cinema. The works in this program, organized by Paris's
invaluable experimental film center, the Collectif Jeune Cinéma, take
the body itself as their subject or center, acquiring the weight of a
sculpture or the lightness of a ghost. The omnipresence of the body
within cinema clarifies that cinema speaks of the past, while the medium
only lives in the present. The Collectif Jeune Cinéma was founded on the
model of the New York Film-Makers' Cooperative soon after Marcel Mazé
met with Jonas Mekas in 1971. To emphasize the historical link between
the Collectif and Anthology, this screening starts in that year with a
filmmaker who is a prominent figure of the performative body within
cinema (Takahiko Iimura) and ends with Basma Alsharif's video from 2014.
The CJC promotes visual experimental practices including distribution of
experimental cinema, regular monthly screenings, and the annual
Different and Experimental Cinema Festival of Paris. For more info about
the Collectif, visit cjcinema.org. Takahiko Iimura COSMIC BUDDHA (1971,
17 min, 16mm) Richard Kerr ACTION:STUDY (2009, 5 min, 16mm) João Vieira
Torres ICI, LÀ-BAS ET LISBOA (2012, 17 min, video) Maia Cybelle
Carpenter SITE VISIT (1999, 10 min, 16mm) Hugo Verlinde GÉMINGA (2003,
10 min, 16mm) Basma Alsharif O PERSECUTED (2014, 14 min, digital) Total
running time: ca. 80 min.
----------------------------
WEDNESDAY, NOVEMBER 19, 2014
----------------------------
11/19
Athens, Greece: Athens Avant-Garde Film Festival
http://8aagff.tainiothiki.gr/en/category/program/american-experimental-narratives/
8pm, Greek Film Archive
A PANORAMA OF AMERICAN EXPERIMENTAL NARRATIVES IN THE NEW MILLENNIUM, DAY
6
Curated by Jon Gartenberg. This program provides a panorama of American
experimental films made in the 21st century and focuses primarily on
feature length narratives (both fiction and documentary), together with
a complement of shorts. Because these filmmakers lack the funding
provided by Hollywood and "off-Hollywood" producers, they often struggle
for long periods to complete their films. At the same time, the creative
independence that they have been afforded provides the individual
filmmakers with great freedom of expression. This talented group of
artists, toiling mostly in solitude, created inspir- ing works that
challenge, in thematic, structural, technical, and perceptual fashion,
the manner in which we, as spectators, per- ceive the world at large.
Stylistically, the films in this retrospective series encompass found
footage works, diverse hand-crafted ani- mation techniques, live action
movies that experiment with formal structure, as well as hybrid
documentary and fiction forms. The contemporary artists in this program
(while versed in the history of the avant-garde), are more consciously
engaged with narrative cinema traditions, if only to then subvert them
through their di- verse storytelling strategies. They most frequently
represent time and space in a manner that tends to disrupt the illusion
of spa- tial and temporal continuity, and to foreground the experience
of memory. Thematically, the films in this program incorporate reflec-
tions upon individual identity, the family structure, the fabric of the
community, and the larger political culture, that are presented most
often in critical and/or self-critical fashion. They directly ad- dress
significant social issues, including the tragic events of 9/11,
presidential politics and political resistance, the earth's ecology,
human diaspora and race relations, and the myth of the post World War II
nuclear American family. DAY 6 --> PROFIT MOTIVE AND THE WHISPERING WIND
(John Gianvito, 2007, 58', Beta)
11/19
New York, New York 10013: Santos Party House
http://www.film-makerscoop.com
7:00pm - 11:30pm, 96 Lafayette St
SOUND/ IMAGE/ LIGHT: BENEFIT FOR FILM-MAKERS' COOPERATIVE.
An evening of artists the fuse and fracture sound/image/light.
Performances Start at 7:30PM $40 Admission Tickets available at:http://
www.brownpapertickets.com/ event/868218 This year, the Coop will feature
a host of outstanding and renowned film-makers, artists, performers
& musicians such as: MV Carbon; Phillip Glass; Bruce McClure; Jonas
Mekas; Bill Morrison; Optipus; Lary Seven; JG Thirlwell; The Uzupisians;
Zero Times Everything; Victoria Keddie / Rose Kallal; MC Jason Martin,
of Power Animal System; DJ Roe E.
11/19
San Francisco, California: San Francisco Cinematheque
http://www.sfcinematheque.org
7:00pm, Kanbar Forum, The Exploratorium, Piers 15/17
OFF THE SCREEN: THE HANDCRAFTED CINEMA OF RICHARD TUOHY
Admission $10 general/$5 members. Richard Tuohy in person. As film
processing labs worldwide shutter their doors and halt their activities,
rumors abound of the end of celluloid filmmaking. Undaunted by
apocalyptic visions of an all-digital media dystopia, Australian
filmmaker Richard Tuohya prominent figure in the burgeoning
international network of DIY-inspired "artist-run film labs"is an
infectiously optimistic master of the hand-made film. Using elaborately
creative experimentation with laboratory processes and film mechanics,
Tuohy's works abound with such techniques as time-lapse photography,
single-frame filmmaking, multiple exposure photography, extensive
printing techniques, alternative chemical processes, direct cameraless
filmmaking and more. This screening presents an exciting and inspiring
array of these dazzling works, including the optical/audible rayogram
work FLYSCREEN; the hand-colorized Korean streetscape SEOUL ELECTRIC;
GINZA STRIP, a positive/negative/color/black-and-white "chromoflex"
film; the flickering, strobing two-projector work DOT MATRIX; the
three-projector piece HORIZONTALS and more. (Steve Polta/Richard Tuohy)
11/19
Tucson: Exploded View
http://explodedviewgallery.org
7:30, 197 E Toole Ave
DIMITRI KOZYREV PRESENTS ANDREI TARKOVSKYS STALKER
In the first portion of the evening, acclaimed painter and expatriate,
Dimitri Kozyrev will present a personal introduction to the great
Russian director, Andrei Tarkovsky. Kozyrev will discuss his experience
growing up in the USSR with the cinema of Tarkovsky, and the director's
continuing influence on his own painting practice. We will follow with a
screening of Tarkovsky's Stalker (1979). The film depicts an expedition
to a mysterious site known as "The Zone", which has the supposed
potential to fulfill a person's innermost desires. Exquisite in form
(comprised of only 142 finely articulated shots), Stalker is a haunting
masterwork that depicts a world of post-apocalyptic misery, a
premonition of Chernobyl and Soviet disintegration. Stalker is arguably
one of cinema's purest articulation of the film as spiritual quest.
---------------------------
THURSDAY, NOVEMBER 20, 2014
---------------------------
11/20
Athens, Greece: Athens Avant-Garde Film Festival
http://8aagff.tainiothiki.gr/en/category/program/american-experimental-narratives/
4pm, 6pm & 9pm, Greek Film Archive
A PANORAMA OF AMERICAN EXPERIMENTAL NARRATIVES IN THE NEW MILLENNIUM, DAY
7
Curated by Jon Gartenberg. This program provides a panorama of American
experimental films made in the 21st century and focuses primarily on
feature length narratives (both fiction and documentary), together with
a complement of shorts. Because these filmmakers lack the funding
provided by Hollywood and "off-Hollywood" producers, they often struggle
for long periods to complete their films. At the same time, the creative
independence that they have been afforded provides the individual
filmmakers with great freedom of expression. This talented group of
artists, toiling mostly in solitude, created inspir- ing works that
challenge, in thematic, structural, technical, and perceptual fashion,
the manner in which we, as spectators, per- ceive the world at large.
Stylistically, the films in this retrospective series encompass found
footage works, diverse hand-crafted ani- mation techniques, live action
movies that experiment with formal structure, as well as hybrid
documentary and fiction forms. The contemporary artists in this program
(while versed in the history of the avant-garde), are more consciously
engaged with narrative cinema traditions, if only to then subvert them
through their di- verse storytelling strategies. They most frequently
represent time and space in a manner that tends to disrupt the illusion
of spa- tial and temporal continuity, and to foreground the experience
of memory. Thematically, the films in this program incorporate reflec-
tions upon individual identity, the family structure, the fabric of the
community, and the larger political culture, that are presented most
often in critical and/or self-critical fashion. They directly ad- dress
significant social issues, including the tragic events of 9/11,
presidential politics and political resistance, the earth's ecology,
human diaspora and race relations, and the myth of the post World War II
nuclear American family. DAY 7 --> 6pm: THROUGH A LENS DARKLY: BLACK
PHOTOGRAPHERS AND THE EMERGENCE OF A PEOPLE (Thomas Allen Harris, 2013,
92', DCP) 9pm: THE SUBURBAN TRILOGY (Abigail Child, 2011, 73', 16mm)
-->Roundtable discussion FILM AND AUDIOVISUAL ARCHIVES: PUBLIC AND
PRIVATE with Jon Gartenberg.
11/20
Oakland: Little Nicky's at STUDIO GRAND
http://www.studiograndoakland.org/calendar/2014/11/20/chuck-johnson-wspecial-guests-ashley-bellouin-sound-paul-clipson-film
9pm (doors 8pm), 3234 Grand Ave, Oakland, CA 94610
CHUCK JOHNSON W/SPECIAL GUESTS ASHLEY BELLOUIN (SOUND) + PAUL CLIPSON
(FILM)
The evening features a music performance by Chuck Johnson and a
sound/16mm performance by Ashley Bellouin and Paul Clipson. Clipson will
screen a new 16mm film collage of footage from Krakow, New York, Los
Angeles, Portland and San Francisco.
11/20
Richmond, Va: Eyeworks Festival of Experimental Animation
http://www.eyeworksfestival.com
6:00 PM, Virginia Commonwealth University, 814 W. Broad St.
EYEWORKS FESTIVAL OF EXPERIMENTAL ANIMATION
The Eyeworks Festival of Experimental Animation returns to Richmond for
the second year on Thursday, November 20. The Chicago-based festival
will screen two programs of classic and contemporary short animation
work at VCU, through the Department of Kinetic Imaging. Blending an
appreciation of classical animation with the sensibilities of
avant-garde cinema and the visual culture of alternative comics, the
Eyeworks programs showcase abstract animation, surreal narratives, and
unconventional character animation. Festival director Alexander Stewart
will introduce the festival in person, with work screened on 16mm and
video. PROGRAM 1: Georges Schwizgebel, Jeu, 2006; Yoriko Mizushiri, Snow
Hut, 2014; Jake Fried, Headspace, 2014; Eri Kawaguchi, Flower and Steam,
2013; Joshua Mosley, Jeu de Paume, 2014; Florence Miailhe, Hammam, 1992;
Joung Yumi, Love Games, 2013; Hoji Tsuchiya, Black Long Skirt, 2010;
Johan Rijpma, Descent, 2014; Zeitguised, Birds, 2014; Leslie Baum and
Frederick Wells, Megillat Breakdown, 2013; Marjorie Caup, Transhumance,
2012; John Whitney Jr, Terminal Self, 1971. PROGRAM 2 Nicole Hewitt,
In/Dividu, 1998; Robert Breer, 69, 1968; Doris Chase, Circles I, 1971;
Sarina Nihei, Trifling Habits, 2013; Karolina Glusiec, Velocity, 2013;
Laszlo Csaki, Days That Were Filled With Sense by Fear, 2002-03; Nick
Butcher, Sidewalk, 2014; Daniel Barrow, Advanced Search Terms, 2012-13;
Sandra Desmazieres, Sans Queue Ni Tete, 2001; Allison Schulnick, Eager,
2014; Larry Cuba, 3/78, 1978; Chris Sullivan, The Beholder, 1983; Neil
Taylor, Copy Copy, 1999.
-------------------------
FRIDAY, NOVEMBER 21, 2014
-------------------------
11/21
Athens, Greece: Athens Avant-Garde Film Festival
http://8aagff.tainiothiki.gr/en/category/program/american-experimental-narratives/
4pm and 10pm, Greek Film Archive
A PANORAMA OF AMERICAN EXPERIMENTAL NARRATIVES IN THE NEW MILLENNIUM, DAY
8
Curated by Jon Gartenberg. This program provides a panorama of American
experimental films made in the 21st century and focuses primarily on
feature length narratives (both fiction and documentary), together with
a complement of shorts. Because these filmmakers lack the funding
provided by Hollywood and "off-Hollywood" producers, they often struggle
for long periods to complete their films. At the same time, the creative
independence that they have been afforded provides the individual
filmmakers with great freedom of expression. This talented group of
artists, toiling mostly in solitude, created inspir- ing works that
challenge, in thematic, structural, technical, and perceptual fashion,
the manner in which we, as spectators, per- ceive the world at large.
Stylistically, the films in this retrospective series encompass found
footage works, diverse hand-crafted ani- mation techniques, live action
movies that experiment with formal structure, as well as hybrid
documentary and fiction forms. The contemporary artists in this program
(while versed in the history of the avant-garde), are more consciously
engaged with narrative cinema traditions, if only to then subvert them
through their di- verse storytelling strategies. They most frequently
represent time and space in a manner that tends to disrupt the illusion
of spa- tial and temporal continuity, and to foreground the experience
of memory. Thematically, the films in this program incorporate reflec-
tions upon individual identity, the family structure, the fabric of the
community, and the larger political culture, that are presented most
often in critical and/or self-critical fashion. They directly ad- dress
significant social issues, including the tragic events of 9/11,
presidential politics and political resistance, the earth's ecology,
human diaspora and race relations, and the myth of the post World War II
nuclear American family. DAY 8 --> 10pm: PRETEND (Julie Talen, 2003,
75', Digibeta) --> 4pm: Roundtable Discussion CONSTRUCTING AMERICAN
EXPERIMENTAL NARRATIVES with filmmakers Abigail Child & Julie Talen,
curator Jon Gartenberg and festival organizers Maria Komninos & Nina
Veligradi.
11/21
Baltimore, MD: Sight Unseen
http://sightunseenbaltimore.com/
9pm, The Red Room (425 E. 31st Street, Baltimore, MD 21218)
SIGHT UNSEEN PRESENTS SOUND MATTERS - WORKS FROM COLLECTIF JEUNE CINéMA
Sight Unseen is honored to have Filipe Afonso, Curator with Collectif
Jeune Cinéma, to present a collection of works from CJC. Founded in
1971, Collectif Jeune Cinéma promotes experimental moving image work
including the distribution of experimental cinema, regular monthly
screenings and the yearly Different and Experimental Cinema Festival of
Paris (FCDEP). CJC's catalogue includes more than 1,300 films from more
than 350 filmmakers. The emotional, physical and aesthetic value of a
sound is linked not only to the causal explanation we attribute to it
but also to its own qualities of timbre and texture, to its own personal
vibration. So just as directors and cinematographers (even those who
will never make abstract films) have everything to gain by refining
their knowledge of visual materials and textures, we can similarly
benefit from disciplined attention to the inherent qualities of sounds.
Michel Chion, The Three Listening Modes, The Sound Studies Reader,
2012. PROGRAM: The Wealth of Nations, Bill Balaskas, 2010, UK, 06:00,
There? Where?, Babette Mangolte, 1979, USA, 08:00, pictures of sound,
Richard Kerr, 1998, Canada, 11:00, Utskor: Either/Or, Laida Lertxundi,
2013, USA, Norway, 08:00, Transit, Sabrina Ratté, 2011, Canada, 05:00,
Remote, Jesse McLean, 2011, USA, 11:05, Immortal, Suspended, Deborah
Stratman, 2013, USA, 05:50, All That is Solid, Louis Henderson, 2014,
France, 15:43, Afterimage Selves, Sabrina Ratté, 2014, Canada, 03:50,
"Libertine" x 6, Yves-Marie Mahé, 2014, France, 03:46. COLLECTIF JEUNE
CINÉMA: http://www.cjcinema.org/. SIGHT UNSEEN:
http://sightunseenbaltimore.com/.
11/21
Baltimore, Maryland 21218: Sight Unseen
9:00pm, 425 E 31st St
SOUND MATTERS - WORKS FROM COLLECTIF JEUNE CINÉMA
Sight Unseen is honored to have Filipe Afonso, Curator with Collectif
Jeune Cinéma, to present a collection of works from CJC. Founded
in 1971, Collectif Jeune Cinéma promotes experimental moving
image work including the distribution of experimental cinema, regular
monthly screenings and the yearly Different and Experimental Cinema
Festival of Paris (FCDEP). CJC's catalogue includes more than 1,300
films from more than 350 filmmakers. "The emotional, physical and
aesthetic value of a sound is linked not only to the causal explanation
we attribute to it but also to its own qualities of timbre and texture,
to its own personal vibration. So just as directors and cinematographers
(even those who will never make abstract films) have everything to gain
by refining their knowledge of visual materials and textures, we can
similarly benefit from disciplined attention to the inherent qualities
of sounds." - Michel Chion, The Three Listening Modes, The Sound
Studies Reader, 2012 PROGRAM The Wealth of Nations Bill Balaskas, 2010,
UK, 06:00 There? Where? Babette Mangolte, 1979, USA, 08:00 pictures of
sound Richard Kerr, 1998, Canada, 11:00 Utskor: Either/Or Laida
Lertxundi, 2013, USA, Norway, 08:00 Transit Sabrina Ratté, 2011,
Canada, 05:00 Remote Jesse McLean, 2011, USA, 11:05 Immortal, Suspended
Deborah Stratman, 2013, USA, 05:50 All That is Solid Louis Henderson,
2014, France, 15:43 Afterimage Selves Sabrina Ratté, 2014,
Canada, 03:50 "Libertine" x 6 Yves-Marie Mahé, 2014,
France, 03:46 Film/Video Synopseshttp:// sightunseenbaltimore.com/
11-21-CJC-presents-SOUND-MA TTERS Collectif Jeune Cinéma
http://www.cjcinema.org/ The Red Room http://www.redroom.org/ UPCOMING
Saturday, December 13th, 2014 SPACE MATERIAL, IMMATERIAL PLACE Films by
Jeremy Moss Terrault Contemporary 1515 Guilford Avenue, Baltimore, MD
21202 http://www.jeremymoss.org/ Sunday, December 14th, 2014 The 52nd
Ann Arbor Film Festival Tour 16mm Program The Crown 1910 North Charles
Street, 2nd Floor, Baltimore, MD 21218 http://www.aafilmfest.org/
---------------------------
SATURDAY, NOVEMBER 22, 2014
---------------------------
11/22
Austin, Texas: The Museum of Human Achievement
http://ercatx.org
7:30pm, MOHA, 3600 Lyons St.
SUGGESTIVE GESTURES: DAVID FINKELSTEIN (AND JEANNE STERN) IN PERSON
"A poet's journey though corridors of liquid geometry where words float
and echoes are visual; where portals open onto morphing gardens with
unlimited horizons." - Mike Kuchar "The interaction between your
visions, the music (fantastical), and the wandering improvisers - a 21st
century Dante and Beatrice adrift in the shifting rising falling
swirling cacophony of the Collective Unconscious - achieve a sly
sophistication of rhythmic cohesion as startling as it is graceful." -
Antero Alli Experimental Response Cinema and the Museum of Human
Achievement is excited to screen SUGGESTIVE GESTURES, with NYC-based
filmmaker David Finkelstein in-person! Suggestive Gestures by David
Finkelstein 75 min / digital / sound / 2013 Traveling along the path of
a labyrinth, the viewer passes through a series of extremely diverse
landscapes, which are created through lush animation, evocative
orchestral music, and rich dialog, in which words are used as much for
rhythm and texture as they are for meaning. A man and woman guide us on
this trip, taking us past gently falling Mondrian paintings, violent car
crashes and bombing raids, and a pair of dancing, multicolored boxes,
among many other settings. Based on an improvised performance,
SUGGESTIVE GESTURES leads us gradually and indirectly towards a
mysterious animal, hiding in the center of the maze. Also featured: "The
Oracle of Ambrosia," a new short video by Austin artist Jeanne Stern.
11/22
Brooklyn, New York: Eyeworks Festival of Experimental Animation
http://www.eyeworksfestival.com
5:00 & 8:00, Pioneer Works, 159 Pioneer St.
EYEWORKS FESTIVAL OF EXPERIMENTAL ANIMATION
The Eyeworks Festival of Experimental Animation returns to Pioneer Works
for the second year on Saturday, November 22. The Chicago-based festival
will screen two programs of classic and contemporary short animation
work, including a live performance using 16mm and modular synthesizer
from Brooklyn filmmaker Rose Kallal. Blending an appreciation of
classical animation with the sensibilities of avant-garde cinema and the
visual culture of alternative comics, the Eyeworks programs showcase
abstract animation, surreal narratives, and unconventional character
animation. Festival directors Lilli Carré and Alexander Stewart will
introduce the festival in person, with work screened on 16mm and video.
PROGRAM 1 Nicole Hewitt, In/Dividu, 1998; Robert Breer, 69, 1968; Sarina
Nihei, Trifling Habits, 2013; Karolina Glusiec, Velocity, 2013; Laszlo
Csaki, Days That Were Filled With Sense by Fear, 2002-03; Nick Butcher,
Sidewalk, 2014; Daniel Barrow, Advanced Search Terms, 2012-13; Sandra
Desmazieres, Sans Queue Ni Tete, 2001; Allison Schulnick, Eager, 2014;
Larry Cuba, 3/78, 1978; Chris Sullivan, The Beholder, 1983; Neil Taylor,
Copy Copy, 1999; Joung Yumi, Love Games, 2013. PROGRAM 2 Georges
Schwizgebel, Jeu, 2006; Yoriko Mizushiri, Snow Hut, 2014; Jake Fried,
Headspace, 2014; Eri Kawaguchi, Flower and Steam, 2013; Joshua Mosley,
Jeu de Paume, 2014; Florence Miailhe, Hammam, 1992; Johan Rijpma,
Descent, 2014; Zeitguised, Birds, 2014; Marjorie Caup, Transhumance,
2012; Hoji Tsuchiya, Black Long Skirt, 2010; John Whitney Jr, Terminal
Self, 1971; Doris Chase, Circles I, 1971; Rose Kallal, performance with
multiple 16mm projection and modular synthesizer, approx. 20 mins.
11/22
San Francisco, California: Other Cinema
http://www.othercinema.com/
8:30 PM, 992 Valencia St.
MARK BRECKES SOMALIA IN THE PICTURE + FRAMED/A CIVIL AFRICA
Photo-essay vet of non-fiction projects in Palestine, Rwanda, and Sudan,
our much-missed colleague Mark Brecke is back after two years in the
Horn of Africa with fascinating material to screen, as both
art-photographic stills and motion-picture rushes. After a tireless
campaign of research and discovery in Kenya and two daring trips to
Mogadishu, Brecke returns unscathed to our balmy salon to live-narrate a
powerful hour of lost regional film culture and his own committed quest
for its recovery and appreciation. ALSO: UCB's Cassandra Herrman and
Kathryn Mathers' W-i-P Framed, an enlightened inquiry into received
ideas about African identity and agency. Filmmakers in person for
mid-production discussion about "victim" stereotypes and the selling of
suffering seen in the West. Come early for long-lost artists' reception.
$7.
-------------------------
SUNDAY, NOVEMBER 23, 2014
-------------------------
11/23
Los Angeles, California: Filmforum
http://www.lafilmforum.org/
7:30 pm, Spielberg Theatre at the Egyptian, 6712 Hollywood Blvd.
JESSE MCLEAN: THE MESSAGE IS THE MEDIUM
Filmforum is thrilled to host Iowa-based filmmaker Jesse McLean for her
first solo screening in Los Angeles. McLean's work explores the
complexities of mediated human behavior and interaction as well as the
confounding, often exaggerated emotions that accompany these
experiences. Employing appropriated home movies, internet videos,
television shows, and archival materials, McLean redefines our
interchange with various forms of media. Through expert use of collage,
each of McLean's videos subtly question viewers' associations with the
information we consume daily while reimagining a world in which everyday
media tropes are hijacked and transformed. Join us for a survey of
McLean's work wrought with emotional twists and turns, querying our
relationships to each other, to ourselves, and to the mediated material
world that defines us. Tickets: $10 general admission; $6 students (with
ID)/seniors; free for Filmforum members. Tickets available in advance
at: http://bpt.me/906810
11/23
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
4:00 pm, 32 2nd Avenue
ESSENTIAL CINEMA: MARIE MENKEN PROGRAM 1
All films preserved by Anthology Film Archives. VISUAL VARIATIONS ON
NOGUCHI (1955, 4 min, 16mm, b&w) HURRY! HURRY! (1957, 3 min, 16mm)
GLIMPSE OF THE GARDEN (1957, 5 min, 16mm) DWIGHTIANA (1959, 3 min, 16mm.
Score by Teiji Ito.) BAGATELLE FOR WILLARD MAAS (1961, 5 min, 16mm)
NOTEBOOK (1962-63, 10 min, 16mm, silent) MOOD MONDRIAN (1961, 7 min,
16mm, silent) EYE MUSIC IN RED MAJOR (1961, 4 min, 16mm, silent) ANDY
WARHOL (1965, 22 min, 16mm) Marie Menken represents the lyrical
sensibility in the American avant-garde film. She manages to get the
maximum visual intensity from minimally photogenic subjects. Her usage
of single-frame and her poetic attitude and purity had a strong
influence on many filmmakers of the sixties. Total running time: ca. 70
min.
11/23
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
5:45 pm, 32 2nd Avenue
ESSENTIAL CINEMA: MARIE MENKEN PROGRAM 2
All films preserved by Anthology Film Archives. WRESTLING (1964, 8 min,
16mm, b&w, silent) MOONPLAY (1962, 5 min, 16mm, b&w) DRIPS IN STRIPS
(1961, 3 min, 16mm, silent) GO! GO! GO! (1962-64, 12 min, 16mm, silent)
LIGHTS (1964-66, 7 min, 16mm, b&w, silent) SIDEWALKS (1966, 7 min, 16mm,
b&w, silent) EXCURSION (1968, 5 min, 16mm) WATTS WITH EGGS (1967, 12
min, 16mm, silent) ARABESQUE FOR KENNETH ANGER (1961, 4 min, 16mm) Marie
Menken represents the lyrical sensibility in the American avant-garde
film. She manages to get the maximum visual intensity from minimally
photogenic subjects. Her usage of single-frame and her poetic attitude
and purity had a strong influence on many filmmakers of the sixties.
Total running time: ca. 70 min.
11/23
Tucson: Exploded View
http://explodedviewgallery.org
7:30, 197 E Toole Ave
JON BEHRENS: EXQUISITE CELLULOID
Filmmaker Jon Behrens in person. For more than 30 years Jon Behrens has
worked as a film artist. Since the age of 16, Behrens has made well over
100 films of various lengths, subject matters and approaches, from
documents of the early Seattle punk rock scene to poetic film
experiments in which the celluloid film stock itself has been
manipulated. Behrens has ceaselessly realized a practice of creating
visually stunning films that combine painterly concerns with acute
photographic observations. Behrens brings a new selection of recent 16mm
films & videos to EV tonight.
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