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** This week [June 3 - 11, 2017] in avant garde cinema
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Cinema Arts: Cityscapes With Dominic Angerame (#anchor9) [June 8, San
Francisco, California]
NEW CALLS FOR ENTRIES:
Sign on / Sign off (Stuttgart, Germany; Deadline: June 15, 2017)
http://hi-beam.us9.list-manage1.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=2212f91f62&e=4e65756555
Black Maria Film Festival (Jersey CIty, NJ, USA; Deadline: October 15, 2017)
http://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=9b584d43b2&e=4e65756555
Coney Island Film Festival (Brooklyn, NY; Deadline: June 30, 2017)
http://hi-beam.us9.list-manage2.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=6025c03e53&e=4e65756555
DEADLINES APPROACHING:
Edinburgh Short Film Festival (Musselburgh; Deadline: June 26, 2017)
http://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=c67e972f41&e=4e65756555
Arts + Literature Laboratory (Madison; Deadline: June 15, 2017)
http://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=212442845d&e=4e65756555
Off the Wall (Madison, Wisconsin, USA; Deadline: June 15, 2017)
http://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=e4da392b3a&e=4e65756555
Projections at the New York Film Festival (New York, NY, USA; Deadline: June
16, 2017)
http://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=1fedb00015&e=4e65756555
Sign on / Sign off (Stuttgart, Germany; Deadline: June 15, 2017)
http://hi-beam.us9.list-manage2.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=5b96271adb&e=4e65756555
Coney Island Film Festival (Brooklyn, NY; Deadline: June 30, 2017)
http://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=eaa878ee90&e=4e65756555
Events are sorted alphabetically BY CITY within each DATE.
This week's programs (summary):
* Not A Paper Tiger: Deedee Halleck: Program 1: Working With Children
(#anchor1) [June 3, New York, NY]
* Ec: James Broughton Pgm (#anchor2) [June 4, New York, NY]
* Artist Talk/Screening With Marni Kotak (#anchor3) [June 5, Brooklyn, New York]
* Ec: Joseph Cornell, Pgm 1 (#anchor4) [June 6, New York, NY]
* Studio Is Sudden #4 With Invited Guest Peter Todd (#anchor5) [June 6,
Newcastle Upon Tyne]
* Crossroads Festival / Steve Polta (#anchor6) [June 7, 08006 Barcelona, Spain]
* Newfilmmakers (#anchor7) [June 7, New York, NY]
* Ec: Joseph Cornell, Pgm 2 (#anchor8) [June 7, New York, NY]
* Cinema Arts: Cityscapes With Dominic Angerame (#anchor9) [June 8, San
Francisco, California]
* Winnipeg Handshake (#anchor10) [June 9, Brooklyn, New York]
* Re-Visions: American Experimental Film 1975-90: Jeff Preiss Pgm 1 (#anchor11)
[June 9, New York, NY]
* Re-Visions: American Experimental Film 1975-90: Jeff Preiss Pgm 2 (#anchor12)
[June 10, New York, NY]
* Re-Visions: American Experimental Film 1975-90: Jeff Preiss Pgm 1 (#anchor13)
[June 10, New York, NY]
* Empathetic Waves: An Evening of Spontaneous Collisions Showcasing
Experimental Film, Animation, and Improvisational Audio/Visual Performances
(#anchor14) [June 10, San Francisco, California]
* Show &Amp; Tell: andrew Busti (#anchor15) [June 11, New York, NY]
SATURDAY, JUNE 3, 2017
6/3
New York, NY: Anthology Film Archives
http://hi-beam.us9.list-manage1.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=a587bd02fb&e=4e65756555
7:30 PM, 32 Second Avenue
NOT A PAPER TIGER: DEEDEE HALLECK: PROGRAM 1: WORKING WITH CHILDREN
The first part of Halleck's career is distinguished in large part by her
devotion to working with children - under the auspices of several different
organizations she utilized film as a tool for engaging with underprivileged
kids and encouraging them to express themselves. This uniquely pedagogical
approach to the medium produced numerous films that are little seen today but
remain vibrant, vital, and charming. The first film in this program, CHILDREN
MAKE MOVIES, was made at the Lower East Side's Lillian Wald Recreation Rooms.
Most of the other works screening here were the result of Halleck's most
sustained venture into working with children: from 1968-72, she taught
filmmaking at the Otisville School for Boys, a reformatory run by the NY State
Division for Youth. Her efforts there, which encompassed both showing movies to
her students and helping them to make their own films, gave rise to numerous
16mm shorts, a selection from which we'll be presenting here (along with a
related film, HEY THERE LONELY GIRL, made at the Martin Luther King Jr. Center
of the A.M.E. Zion Church in Middletown, NY, with a group of girls who were
friends of Halleck's Otisville students). DeeDee Halleck CHILDREN MAKE MOVIES
(1961, 13 min, 16mm, b&w) OTISVILLE SCHOOL FOR BOYS FILMS: Jose Rodriguez GET
ON THE GOOD FOOT (1972, 17.5 min, 16mm) Vanio & Spann THE BLOODY CRIME CRUSHER
(1971, 12 min, 16mm) Milton Lefty Diaz THE BEGINNING OF MY END (1969, 8 min,
16mm) Abraham Cardona HAIR (1972, 5 min, 16mm) Charles Smith & Kenneth Brown A
MADMAN'S WORLD (1971, 6 min, 16mm) Flora Hunter & Cindy D HEY THERE LONELY GIRL
(1970, 8.5 min, 16mm) Total running time: ca. 75 min.
SUNDAY, JUNE 4, 2017
6/4
New York, NY: Anthology Film Archives
http://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=e978d5a79f&e=4e65756555
5:15 PM, 32 Second Avenue
EC: JAMES BROUGHTON PGM
THE PLEASURE GARDEN (1953, 38 min, 35mm, b&w) THE BED (1968, 19 min, 16mm) THE
GOLDEN POSITIONS (1970, 32 min, 16mm) HIGH KUKUS (1974, 3 min, 16mm)
Broughton's films are celebrations of the joy of living. If there is such a
thing as American Zen, Broughton is the master of it. "Broughton was and is a
poet, sometimes a dramatist. Yet whatever the mode, his style is remarkably
consistent: urbane and witty with the persona of the naïve, or the simpleton,
or the child. Like the poems, the films record the basic rites of passage, the
search for love, the primal relationships, with ironic insight: there are
parents who are children, a rube who's really the artist, a loony wise man."
-P. Adams Sitney Total running time: ca. 95 min.
MONDAY, JUNE 5, 2017
6/5
Brooklyn, New York: Microscope Gallery
http://hi-beam.us9.list-manage2.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=15109dc1a0&e=4e65756555
7pm, 1329 Willoughby Ave, #2B
ARTIST TALK/SCREENING WITH MARNI KOTAK
Multi-media and performance artist Marni Kotak joins us after hours on Monday
June 5th to discuss her current exhibit at the gallery Treehouse, which
includes the premiere of her nearly 6 hour film “Raising Baby X: Five Years”,
recorded from the viewpoint of her son, whom she has outfitted with a GoPro
camera since the age of three months. Long excerpts from the work will be
screened. As in her previous exhibitions – among others “The Birth of Baby X”
in which the artist gave birth to her son Ajax as a performance and “Mad Meds”
where she slowly attempted to withdraw from psychiatric medications prescribed
for postpartum depression – Kotak continues to use her own life experiences as
they are happening – most recently a major fire in the artist’s home – as her
work. Free Admission. Additional information at i...@microscopegallery.com. tel
347.925.1433. Jefferson L (Starr St).
TUESDAY, JUNE 6, 2017
6/6
New York, NY: Anthology Film Archives
http://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=4d55b71a52&e=4e65756555
7:30 PM, 32 Second Avenue
EC: JOSEPH CORNELL, PGM 1
Unless otherwise noted, all the films in this program are silent. With the
exception of GNIR REDNOW, all films have been preserved by Anthology Film
Archives. ROSE HOBART (ca. 1936, 20 min, 16mm, sound) COTILLION (ca.
1940s-1968, 8 min, 16mm, b&w. Completed by Larry Jordan.) THE MIDNIGHT PARTY
(ca. 1940s-1968, 3.5 min, 16mm, b&w. Completed by Larry Jordan.) THE CHILDREN'S
PARTY (ca. 1940s-1968, 8 min, 16mm. Completed by Larry Jordan.) CENTURIES OF
JUNE (1955, 10 min, 16mm. Photographed by Stan Brakhage.) THE AVIARY (1954, 11
min, 16mm, b&w. Photographed by Rudy Burckhardt.) GNIR REDNOW (1955, 5 min,
16mm. Photographed by Stan Brakhage.) NYMPHLIGHT (1957, 8 min, 16mm.
Photographed by Rudy Burckhardt.) A LEGEND FOR FOUNTAINS (1957/65, 17 min,
16mm, b&w. Photographed by Rudy Burckhardt; completed by Larry Jordan.) ANGEL
(1957, 3 min, 16mm. Photographed by Rudy Burckhardt.) The poet of magic
realities. Pioneer of recycled (found) images. ROSE HOBART and the Trilogy
(COTILLION,
MIDNIGHT PARTY & CHILDREN'S PARTY) are some of the earliest collage films
created. The others were directed by Cornell (and photographed by Stan Brakhage
and Rudy Burckhardt) at some of his favorite locations. Total running time: ca.
105 min.
6/6
Newcastle Upon Tyne: CIRCA Projects
http://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=0271b0711e&e=4e65756555
7.00pm, c/o The Northern Charter, Commercial Union House, 39 Pilgrim Street
STUDIO IS SUDDEN #4 WITH INVITED GUEST PETER TODD
Join us for short performances, screenings, and informal conversation with
artist and curator Peter Todd – who will share his experiences of artist run
space Ayton Basement in Newcastle in the late 1970s. During the evening Peter
will lead a restaging of 'Idiophonics' a sound work by artist, teacher and
activist Stuart Marshall performed at Ayton Basement during this period when
Marshall was teaching at Newcastle Upon Tyne Polytechnic. Giles Bailey will
present new material from a performance work in progress. There will also be a
screening of Peter Todd’s 'Three Pieces Performed at the Robert Self Gallery
Newcastle 1976', a film made entirely from black and white photographic
documentation. Studio is Sudden occurs every Tuesday in Giles Bailey & CIRCA
Projects’ shared studio at The Northern Charter, Newcastle, where we will test
out works in progress, examine processes and share thoughts with invited guests.
WEDNESDAY, JUNE 7, 2017
6/7
08006 Barcelona, Spain: Crater Lab
8 PM, Carrer Sant Guillem 17
CROSSROADS FESTIVAL / STEVE POLTA
CRATER-LAB presenta un doble programa que nos visita desde San Francisco,
curado por Steve Polta: una selección del Festival CROSSROADS y las pelÃculas
del propio cineasta en su formato original súper 8. PROGRAMA 1: MAR A MAR
RADIANTE (ESTAMOS ENCASILLADOS EN ESTA ROCA) v.3 es la contundente selección
del Festival CROSSROADS que nos trae Steve Polta, director del festival y de la
SAN FRANCISCO CINEMATEQUE. Una selección de films curados por el propio Steve y
que ofrecen una visión de la filosofÃa underground y avant-garde del festival y
de la Cinemateque de San Francisco fundada en 1961 por Bruce Baillie. Prima
Materia, Azin Seraj, 2015, vÃdeo digital, color, sonora, 9 min. H-E-L-L-O,
Cauleen Smith, 2014, vÃdeo digital, color, sonido, 11 min. The Two Sights,
Katherin McInnis, 2015, vÃdeo digital, B/N, sonora, 4 min. Playing Possum,
Jamilah Sabur, 2013, vÃdeo digital, B/N, sonora, 12 min. Distant Shores,
Christopher Harris, 2016, vÃdeo digital, color, sonora, 3 min. Cyclical
Refractions, M. MartÃnez, 2016, vÃdeo digital, color, sonora, 3min. Colour My
World, Mike Hoolboom, 2017, vÃdeo digital, color, sonora, 3 min. Restless,
Robert Todd, 16mm, color, sonora, 8 min. Sine at the Canyon Sine at the Sea by
Kelly Gabron, Cauleen Smith, 2016, vÃdeo digital, color, sonora, 7 min.
PROGRAMA 2: WE LIVE IN CITIES/LIFE WITHOUT BUILDINGS es el inquietante programa
de los propios films de Steve Polta, un corpus de pelÃculas difÃciles de ver,
ya que solo se proyectan en su formato analógico original. Red Sketch (1997c)
(1997) de Steve Polta; Super-8mm, color, sonora, 6 minutos @ 18fps interval
Oakland 99 (2000) de Steve Polta; Super-8mm, color, muda, 3 minutos @ 18fps
Departure (1997c) (1997) de Steve Polta; Super-8mm, color, sonora, 7 minutos @
18fps Picture Window (1996a) (1996) de Steve Polta; Super-8mm, color, sonora,
10 minutos @ 18fps Minnesota Landscape (1997) de Steve Polta; 16mm; color,
muda, 10 minutos @ 18fps Estuary #1 (1998) de Steve Polta;
Super-8mm, color, sounora, 10 minutos @ 18fps The Berries (2000) de Steve
Polta; Super-8mm, color, muda, 3 minutos @ 24fps Summer Rain for LMC, side A
(2007/2011) de Steve Polta; Super-8mm, color, muda, 3 minutos @ 18fps Summer
Rain for LMC, side B (2007/2011) de Steve Polta; Super-8mm, color, muda, 3
minutos @ 18fps A House Full of Dust (2007) de Steve Polta; Super-8mm, color,
muda, 10 minutos @ 18fps -\-\-\-\- Duración: 70+75 min. aprox. Formato: VÃdeo
digital, super-8 mm y 16 mm.
6/7
New York, NY: Anthology Film Archives
http://hi-beam.us9.list-manage1.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=7728b9d408&e=4e65756555
6:00 PM, 32 Second Avenue
NEWFILMMAKERS
For full program listings, visit www.newfilmmakers.com.
6/7
New York, NY: Anthology Film Archives
http://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=1e986a895c&e=4e65756555
7:30 PM, 32 Second Avenue
EC: JOSEPH CORNELL, PGM 2
The films in this program - all of which have been preserved by Anthology Film
Archives - are not part of the Essential Cinema cycle, but are being screened
as a special supplement to Program 1.All films in this program are silent.
BOYS' GAMES (1957, 5 min, 16mm) BOOKSTALLS (ca. late-1930s, 11 min, 16mm) BY
NIGHT WITH TORCH AND SPEAR (ca. 1940s, 9 min, 16mm) NEW
YORK-ROME-BARCELONA-BRUSSELS (ca. 1940s, 10 min, 16mm) VAUDEVILLE DE-LUXE (ca.
1940s, 12 min, 16mm) MULBERRY STREET (ca. 1957, 9 min, 16mm, b&w. Photographed
by Rudy Burckhardt.) JOANNE, UNION SQUARE (ca. 1954, 8 min, 16mm. Photographed
by Rudy Burckhardt.) CLOCHES À TRAVERS LES FEUILLES (1957, 4 min, 16mm.
Photographed by Rudy Burckhardt.) CHILDREN (ca. 1957/65, 8 min, 16mm.
Photographed by Rudy Burckhardt.) Rare Cornell; more magic cinema from the
master collagist. Variations of films made by Cornell, plus collage films
discovered by archivists after his death. Total running time: ca. 85 min.
THURSDAY, JUNE 8, 2017
6/8
San Francisco, California: Exploratorium
7:30pm, Kanbar Forum @ The Exploratorium | Pier 15
CINEMA ARTS: CITYSCAPES WITH DOMINIC ANGERAME
In this screening of poetic documentaries that meditate on urban environments,
familiar cityscapes are reframed through the camera’s lens. An innovator of
observant cinema and a key member of the Bay Area experimental film community,
Dominic Angerame presents a screening pairing his films with works of
inspiration from other artists. As the former long-time director of Canyon
Cinema and an educator, Angerame has a deep and wide-ranging knowledge of
cinema, evident in his films and masterful curations. In this screening, select
Angerame films considering the local cityscapes of the Bay Area are paired with
other works in this genre that have influenced him throughout his career.
Featuring Man in a Bubble by Sidney Peterson (1981, 15 min.), Bridges Go Round
by Shirley Clarke (1958, 8 min.), GoGoGo by Marie Menken, (1962, 11 min.),
Deconstruction Sight by Dominic Angerame (1990, 12 min.), Sausalito by Frank
Stauffacher (1948, 9 min.). Presented in conjunction with Canyon Cinema
50, this event is part of a yearlong series of programming in celebration of
the 50th anniversary of Canyon Cinema’s incorporation.
FRIDAY, JUNE 9, 2017
6/9
Brooklyn, New York: Microscope Gallery
http://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=10cc9b88c5&e=4e65756555
7:30pm, 1329 Willoughby Ave, #2B
WINNIPEG HANDSHAKE
Short films, video, and performance from Winnipeg. Canadian artist and curator
Aaron Zeghers curates "Winnipeg Handshake", an evening of works in film, video
and live performance that although spanning time and mediums, come from the
city of Winnipeg, Manitoba. Many are making their New York premieres. "This
collection of short films presents an overview of contemporary experimental
filmmaking in Winnipeg, as well as a brief history of experimental cinema in
this isolated Canadian city. The work - while varied - is indoctrinated with
the sentiments of the city itself, often referred to by it's practitioners as
fun formalism.”-- A.Z. Works by Ed Ackerman & Gregory Zbitnew, Karen Asmundson,
Alyssa Bornn, Michael Buttersworth & Cameron Cummings, Clint Enns, Scott
Fitzpatrick, Walter Forsberg, Guy Maddin, Mike Maryniuk, Milos Mitrovic, Jaz
Papadopolous, Heidi Phillips, Matthew Rankin, Colby Richardson, Leslie Supnet,
Aaron Zeghers. More info and full program:
www.microscopegallery.com. Admission $8, Students & Members $6.
i...@microscopegallery.com, tel: 347.925.1433. Jefferson L (exit Starr St).
6/9
New York, NY: Anthology Film Archives
http://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=43997e63fb&e=4e65756555
8:00 PM, 32 Second Avenue
RE-VISIONS: AMERICAN EXPERIMENTAL FILM 1975-90: JEFF PREISS PGM 1
With the ongoing series RE-VISIONS: AMERICAN EXPERIMENTAL FILM 1975-90,
Anthology spotlights the generation(s) of experimental film artists who emerged
after the final formation in 1975 of our Essential Cinema repertory screening
cycle. As hotly debated as it was widely celebrated, the EC had a seismic
effect (for better or worse) on both cinema studies scholarship and
international film curatorial practice. Even though the EC was intended as a
direct response to the exclusion of the avant-garde from official Film History,
by so concisely outlining a canon it effectively shifted critical and public
interest away from the still developing experimental film movement and focused
attention squarely on certain artists and works considered to be historically
important. Subsequent generations of cinema artists have never received the
same level of intellectual/institutional recognition or encouragement. We
believe that it is high time for a re-evaluation. With the support of a
significant grant from the Andy Warhol Foundation for the Visual Arts,
Anthology has been engaged in a multi-year project to preserve significant
works by a wide range of cinema artists who largely became active or reached
their prime after 1975. Rather than attempt to amend the EC, RE-VISIONS uses it
as a starting point from which to explore the continuities, fractures,
corollaries, and connections between cinema artists of the last 40 years and
the previous avant-garde film movements. Much like their predecessors, these
artists continued to tirelessly push at the parameters of cinematic form.
RE-VISIONS features single-artist screenings of our new preservations alongside
other exemplary and enticing titles spanning each artist's career, as well as
group shows bringing together multiple artists. When possible, artists will
appear in person to discuss their work and answer questions. Special thanks to
the Andy Warhol Foundation for the Visual Arts, Audio Mechanics, BB Optics,
Cinema Arts, Cineric, Colorlab, The Film Foundation, FotoKem, the Mike Kelly
Foundation for the Arts, The National Endowment for the Arts, the National Film
Preservation Foundation, Sony Pictures Entertainment, Trackwise, Video and Film
Solutions, Women's Film Preservation Fund of New York Women in Film &
Television, and all the artists who were involved in this project. JEFF PREISS
FILMMAKER IN PERSON! Jeff Preiss has achieved the rare and delicate balancing
act of working both in high-profile mainstream contexts and in the realm of
uncompromisingly independent, small-gauge, experimental cinema. Inspired by the
diary films of Jonas Mekas and Warren Sonbert, he began in the early 1980s
making silent, semi-narrative works born out of his practice of shooting with
his Regular 8mm Bolex on a daily basis. He's called these works "lyric home
newsreels" that aim to "balance 'home movie' sentimentality with concerns of
formal (and literal) interpretation." When the photographer
Bruce Weber saw Preiss's work he enlisted him as cinematographer on a string of
collaborations including the feature documentaries BROKEN NOSES (1987) and
LET'S GET LOST (1988), an acclaimed portrait of jazz legend Chet Baker. That
film's success led Preiss to work directing commercials and music videos
(including videos for Iggy Pop, Malcolm McLaren, REM, and the B-52s, and
advertisements for Nike, Coca-Cola, Sony, American Express, etc.). In 2014, his
first narrative feature, LOW DOWN, based on the life of jazz pianist Joe
Albany, and starring John Hawkes, Elle Fanning, and Glenn Close, won best
cinematography at the Sundance Film Festival and best actress at the Karlovy
Vary International Film Festival. Even as he has developed these mainstream
projects, Preiss has continued to work in the avant-garde realm. In 2005, he
co-founded the NYC experimental gallery, Orchard. And in 2012, he completed
STOP, an epic home movie compiled from 2,500 rolls of 16mm film. For these
RE-VISIONS screenings, we will be debuting our own brand-new preservations of
some of Preiss's earliest Regular 8mm Kodachrome films, in gorgeous 2K
transfers, as well as presenting a screening of his magnum opus, STOP. All the
films in this program have been restored by Anthology Film Archives with
support from the Andy Warhol Foundation for the Visual Arts. LUDLOW ST.
NEWSREEL PT. 1 (1981, 8.5 min, Regular 8mm-to-2K digital, silent) LUDLOW ST.
NEWSREEL PT. 2 (1981, 12.5 min, Regular 8mm-to-2K digital, silent) FRED IN HELL
TRAILER (1982, 9 min, Regular 8mm-to-2K digital, silent) STARING SHARON (1984,
8.5 min, Regular 8mm-to-2K digital, silent) WILD KINGDOM, PT 2: BOY TOWN (1984,
14 min, Regular 8mm-to-2K digital, silent) WINTER BUSES - CAR WASH - 14TH
STREET TREES (ca. 1985, 3 min, Regular 8mm-to-2K digital, silent) BROKEN NOSES
NEWSREEL (1987, 19 min, Regular 8mm-to-2K digital, silent. Made with Bruce
Weber.) Total running time: ca. 80 min.
SATURDAY, JUNE 10, 2017
6/10
New York, NY: Anthology Film Archives
http://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=66fa8fffc3&e=4e65756555
5:00 PM, 32 Second Avenue
RE-VISIONS: AMERICAN EXPERIMENTAL FILM 1975-90: JEFF PREISS PGM 2
1995-2012, 120 min, 16mm-to-digitalShare +Twitter. With the ongoing series
RE-VISIONS: AMERICAN EXPERIMENTAL FILM 1975-90, Anthology spotlights the
generation(s) of experimental film artists who emerged after the final
formation in 1975 of our Essential Cinema repertory screening cycle. As hotly
debated as it was widely celebrated, the EC had a seismic effect (for better or
worse) on both cinema studies scholarship and international film curatorial
practice. Even though the EC was intended as a direct response to the exclusion
of the avant-garde from official Film History, by so concisely outlining a
canon it effectively shifted critical and public interest away from the still
developing experimental film movement and focused attention squarely on certain
artists and works considered to be historically important. Subsequent
generations of cinema artists have never received the same level of
intellectual/institutional recognition or encouragement. We believe that it is
high
time for a re-evaluation. With the support of a significant grant from the Andy
Warhol Foundation for the Visual Arts, Anthology has been engaged in a
multi-year project to preserve significant works by a wide range of cinema
artists who largely became active or reached their prime after 1975. Rather
than attempt to amend the EC, RE-VISIONS uses it as a starting point from which
to explore the continuities, fractures, corollaries, and connections between
cinema artists of the last 40 years and the previous avant-garde film
movements. Much like their predecessors, these artists continued to tirelessly
push at the parameters of cinematic form. RE-VISIONS features single-artist
screenings of our new preservations alongside other exemplary and enticing
titles spanning each artist's career, as well as group shows bringing together
multiple artists. When possible, artists will appear in person to discuss their
work and answer questions. Special thanks to the Andy Warhol Foundation
for the Visual Arts, Audio Mechanics, BB Optics, Cinema Arts, Cineric,
Colorlab, The Film Foundation, FotoKem, the Mike Kelly Foundation for the Arts,
The National Endowment for the Arts, the National Film Preservation Foundation,
Sony Pictures Entertainment, Trackwise, Video and Film Solutions, Women's Film
Preservation Fund of New York Women in Film & Television, and all the artists
who were involved in this project. STOP (1995-2012, 120 min, 16mm-to-digital)
"STOP is a feature-length chronicle distilled from 2,500 100-ft rolls of 16mm
film shot between 1995 and 2011 - organized sequentially by numbered lab rolls
of camera negative into four half-hour parts. It operates around the
conventions of home movies: the images are of my own life and in classic
home-movie tradition the alternating subjects of family, friends, and travel
are set by the filmstrip with absolute chronological certainty. Subjects repeat
in cycles while others form internal episodes. But as home-movie
impulses dictate, the central subject is my child. Among the stops referred to
in the title, one was the act of assigning an end within the accumulating mass
of my personal archive - so that a film could be possibly shaped. Many
converging threads of ends and transformations were candidates, but most
evident was the quintessential end of nearly all home-movie cycles: the awkward
end of my child's prepubescence - in this case hinging on a heroically decisive
transformation of gender expression." -Jeff Preiss Preceded by: WARREN SONBERT
(1988, 3 min, Regular 8mm-to-2K digital, silent. Restored by Anthology Film
Archives with support from the Andy Warhol Foundation for the Visual Arts.)
6/10
New York, NY: Anthology Film Archives
http://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=4c669b3814&e=4e65756555
8:00 PM, 32 Second Avenue
RE-VISIONS: AMERICAN EXPERIMENTAL FILM 1975-90: JEFF PREISS PGM 1
See 6/9.
6/10
San Francisco, California: Artists Television Access
http://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=61379d02de&e=4e65756555
8:00pm, 992 Valencia Street
EMPATHETIC WAVES: AN EVENING OF SPONTANEOUS COLLISIONS SHOWCASING EXPERIMENTAL
FILM, ANIMATION, AND IMPROVISATIONAL AUDIO/VISUAL PERFORMANCES
This program features collaborative sound and 16mm and video performances by
Jeffrey Alexander and Stephanie Sherriff, Faith Arazi and CaptJRab, Paul
Clipson and Gabriel Dunne and Tooth.
SUNDAY, JUNE 11, 2017
6/11
New York, NY: Anthology Film Archives
http://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=46ebd8c2ea&e=4e65756555
7:30 PM, 32 Second Avenue
SHOW & TELL: ANDREW BUSTI
Andrew Busti has been making handmade films in various forms since 1999. His
work revolves around the idea of the subjective and the languages that evolve
through experience and perception. He is the technical director for the Film
Studies Program at University of Colorado in Boulder and teaches classes in
Alternative Process and Alchemical Cinema. He works with artists, museums, and
archives through the name Analogue Industries Ltd., facilitating new works,
helping to preserve any work that may be of value, and always striving to
support analog cinema in all its ongoing forms. He is a founding member of
Process Reversal, a nonprofit artist-run analog film initiative that currently
educates, informs, supports, and outfits artist-run film labs and communities
around the globe. He is an integral part of the new media preservation program
for Film Studies at the University of Colorado in Boulder. When not working
long hours and helping others make films or trying to actually
make his own, he might be found cooking in his very small kitchen, incessantly
smoking cigarettes, drinking scotch, and ruminating on all the lost hours that
slip through his fingers…. He currently obsesses about the reclaiming and
refining of silver from the photographic process .999 percent of his time. For
his Show & Tell program, Busti will present three films from his in-progress
project, 26 PULSE WROUGHT (film for rewinds), which will ultimately comprise
nine parts, as well as selected earlier works, and at least one live
performance! As if that's not enough, he has also curated a group program
devoted primarily to films that have been created with the support of Process
Reversal (as well as by filmmakers associated with the group). 26 PULSE WROUGHT
(film for rewinds) A series of 9 films investigating subjective languages,
languages of subjectivity, and interpretive modes through coded polyphonic
articulate signals. A cinema of illumination and reflection. Screening
tonight: 26 PULSE WROUGHT - (FILM FOR REWINDS) VOL. I: WINDOWS FOR RECURSIVE
TRIANGULATION (2014, 3 min, 16mm) 26 PULSE WROUGHT - (FILM FOR REWINDS) VOL.
III: PARALLEL BEAMS OR THE INEFFABLE INEFFCIENCY OF WORDS (2015, 3 min, 16mm,
b&w) 26 PULSE WROUGHT - (FILM FOR REWINDS) VOL. II: EXCEPTIONAL VIOLENTS (2017,
4 min, 16mm, b&w) Additional films and performances to be announced! Total
running time: ca. 70 min.
------------------------------------------------------------
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