Hola Frameworks Friends! If you live in the Bay Area--be sure not to miss this lovely, rare treat of 16mm films straight from the Canyon Cinema archive. Show details below. Hope to see you there <3 -Linda Scobie
A special VALENTINES DAY screening @ ARTIST TELEVISION ACCESS in PARTNERSHIP WITH CANYON CINEMA. FEB 14th, VALENTINE'S DAY 7PM, $6-$10 sliding scale, 992 Valencia Street. *Celebrating Canyon Cinema 50* FILMS TO BE SCREENED: *CAROLEE SCHNEEMANN – PLUMB LINE, 1968-71, COLOR, 15M* Plumb Line: Plump line full rounded plumbs drop or descent abounding in, plume abrupt plunge, testing vertically/perpendicularity of wall, sounding (downright), level, true, ecactly, (U.S. slang) utterly crazy, measure, depth, make vertical. Pendulum (Carpentry), Plumber, lead ball, join, joint.) Plumb Line is made from scrap. Footage shot in 8mm and 16mm ’68-69, a film diary of daily movements-the couple. Sounds of my cat singing, repeated cries of ‘no’, sirens screaming, my voice describing food from the maze of a breakdown, his voice ‘tell me a story…I’ve got a truck you know’. Moving footage into freeze frames, stills animated, 8mm mirror printed as 16mm, images in 16mm reshot in 8. A portrait of a man and the dissolution of a relationship and of the film itself. The accumulation patterns of imagery are finally set on fire. Sound and images edited during ’70-72. – C.S. *Plumb Line was beautiful, it seemed to be laying everything open, even more than Fuses – a very private film, and as clear as crystal.’ – David Curtis.* *The dissolution of a relationship unravels through visual and aural equivalences. Schneemann splits and recomposes actions of the lovers in a streaming montage of disruptive permutations: 8 mm is printed as 16 mm, moving images freeze, frames recur and dissolve until the film bursts into flames, consuming its own substance. -EAI* *SU FRIEDRICH – RULES OF THE ROAD, 1993, COLOR, 31M* *Rules of the Road* tells the story of a love affair and its demise through one of the objects shared by the couple: an old beige station wagon with fake wood paneling. A typical American family car for an atypical American family, it provides the women at first with all the familiar comforts. But when their relationship ends, the car becomes the property of one and the bane of the other’s existence. Even long after their separation, this tangible reminder of their life together—and thousands of its imitators—continues to prowl the streets of the city, haunting the woman who no longer holds the keys either to the car or the other woman’s heart. Through spoken text, popular music and images from the streets of New York, *Rules of the Road* takes a somewhat whimsical, somewhat caustic look at how our dreams of freedom, pleasure, security, and family are so often symbolized by the automobile. “… the light, almost whimsical tone of the film should not blind us to the part of it that is irreducibly personal. Station wagons are everywhere; everybody’s got a sad love story. But only one filmmaker, to my knowledge, has Su Friedrich’s eye….With *Rules of the Road*, she creates a film like a perfect short story.” —Stuart Klawans, *THE NATION* *CHICK STRAND – FEVER DREAM, 1979, B/W, 7M* A wet hot dream about sensuality. ***** Canyon Cinema is thankful for the long term support of the George Lucas Family Foundation. Dedicated project funding for Canyon Cinema 50 has been generously provided by the Andy Warhol Foundation for the Visual Arts, National Endowment for the Arts, Owsley Brown III Foundation, Phyllis C. Wattis Foundation and The Fleishhacker Foundation.
_______________________________________________ FrameWorks mailing list [email protected] https://mailman-mail5.webfaction.com/listinfo/frameworks
