** This week [September 9 - 17, 2017] in avant garde cinema

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Caryn Cline: Organic Films 2008-2017 (#anchor7) [September 12, Seattle, 

A Straighter Kind of Hip (#anchor9) [September 13, Brooklyn, New York 11222]

Black Maria Film Festival (Jersey CIty, NJ, USA; Deadline: October 15, 2017)

56th Ann Arbor Film Festival (Ann Arbor, MI, 48103; Deadline: September 30, 
25th Chicago Underground Film Festival (Chicago, IL USA; Deadline: October 02, 

Events are sorted alphabetically BY CITY within each DATE.

This week's programs (summary):
* Directors Lounge Screening-Crooked Beauty-Ken Paul Rosenthal (#anchor1) 
[September 9, Berlin, Germany]
* Matt Mccormick's Buzz One Four + (#anchor2) [September 9, San Francisco, 
* Experimental Response Cinema's 2017 Local Filmmaker Showcase (#anchor3) 
[September 10, Austin, Texas 78752]
* Restored Resituated Recalcitrant Regurgitated Regenerated Remnants (#anchor4) 
[September 10, Brooklyn, New York]
* Shapeshifters Cinema Presents Oracle Plus (#anchor5) [September 10, Oakland]
* Synaesthetic Cinema: Koyaanisqatsi & Evidence (#anchor6) [September 11, 
* Caryn Cline: Organic Films 2008-2017 (#anchor7) [September 12, Seattle, 
* Zoot Suit &Amp; Mutiny (#anchor8) [September 13, Boston, Massachusetts 02115]
* A Straighter Kind of Hip (#anchor9) [September 13, Brooklyn, New York 11222]
* Newfilmmakers (#anchor10) [September 13, New York, NY]
* Visions : 14+15.09.17 : Mary Helena Clark (#anchor11) [September 14, Montréal]
* Re-Visions: American Experimental Film 1975-90 (#anchor12) [September 14, New 
York, NY]
* Omniwave Refresher New York Premiere (#anchor13) [September 15, New York, New 
* Ec: Hollis Frampton (#anchor14) [September 17, New York, NY]
* Short Films By Steven Arnold (#anchor15) [September 17, New York, NY]


Berlin, Germany: Directors Lounge
7 pm, Lichtblick-Kino, Kastanienallee 77, 10435 Berlin-Prenzlauer Berg
Directors Lounge Screening: Crooked Beauty *°-°* Films by Ken Paul Rausenthal 
*°-°* *°-°* Ken Paul Rosenthal, filmmaker from San Francisco will present his 
films at Lichtblick, Berlin *°-°* *°-°* Crooked Beauty (2010, 30 minutes) *°-°* 
This internationally acclaimed poetic documentary chronicles artist-activist 
Jacks McNamara’s transformative journey from psych ward inpatient to pioneering 
mental health advocacy. It is an intimate portrait of her intense personal 
quest to live with courage and dignity, and a powerful critique of standard 
psychiatric treatments. Poignant testimonials connect the fissures and fault 
lines of human nature to the unstable topography and mercurial weather patterns 
of the San Francisco Bay Area. *°-°* *°-°* In Light, In! (2013, 12 minutes) 
*°-°* A haunting, visual essay about the awkward and angry junctures where our 
culture struggles to manage its emotional distress. Images recycled from 
1950’s-era educational films are accompanied by original
compositions by world-renowned cellist, Zoe Keating. *°-°* *°-°* Director Bio 
*°-°* Ken Paul Rosenthal is a cinema artist and mental health advocate whose 
current work explores the geography of madness through the regenerative power 
of nature, urban landscapes, home movies, and archival footage from social 
hygiene films. His films are visually sensual, emotionally intelligent works of 
art that also function as tools for personal and societal transformation. His 
films, Crooked Beauty and In Light, In! have collectively won eighteen awards, 
screened in sixty film festivals, and been presented in person at dozens of 
peer support networks, universities, mental health symposium and community 
events worldwide. *°-°* Links:

San Francisco, California: Other Cinema
8:30, 992 Valencia
OC inaugurates its 32nd year with the Cali premiere of McCormick’s highly 
anticipated magnum opus—a meticulously crafted hour account of an A-Bomb-laden 
B-52 that crashed outside of Washington DC!! This still-classified chronicle is 
finally coming to our screens because...the pilot was Matt’s grandfather! Matt 
himself flies in from Oregon to introduce this astonishing tale—a personal 
essay-cum-morality play about the criminal negligence of the Air Force and the 
utterly stoopid waste of lives and resources that was the Cold War. Veritable 
pillar of Portland’s Peripheral Produce community, the much-missed McCormick 
also shares some of his sublime shorts—Future So Bright and The Motion Makes Me 
Last—after an opening-reception montage of military follies.


Austin, Texas 78752: Experimental Response Cinema
7:30pm, AFS Cinema, 6406 N IH-35 Suite 3100
Join us as Experimental Response Cinema kicks off its fall season with new 
avant-garde film and video works by local moving image artists. It's a 
community of innovation, transgression and creative anomaly that has helped put 
Austin on the world map of avant garde media. It promises to be a fun, 
inventive and well-attended local event. MANY FILMMAKERS IN ATTENDANCE! Lineup 
includes works by Rachel Stuckey, Liz Rodda, jHannah Dubbe, Sean Ripple, Julia 
Zipporah & Samuel Radue, Jennifer Lane, Brian Allen and others. Come celebrate 
the kind of program that shows off the breadth of experimental media artistry 
in Austin for filmmakers working under the radar of mainstream cinema.

Brooklyn, New York: Microscope Gallery
7:30pm, 1329 Willoughby Ave2B
?> I>live expanded cinema performance by Peter Cramer & Jack Waters Taking form 
and inspiration from a series of actions and happenings by Cramer and Waters as 
well as other artists and collaborators in New York in the 1980s, the work was 
first presented under the title “Remnants” at Cinema Village 20 years ago as 
part of MIX Festival 10. The “modular, evolving, morphing site specific” piece 
features multiple overlapping projections of Super 8mm and 16mm films, 35mm 
slides, and video onto walls and a large hanging canvas sheet along with 
improvised live interventions by the artists. Utilizing at its core “leftover” 
stock and original footage culled from the artists’ visual archives as well as 
erotic outtakes from their films and digital additions from the present time, 
the performance encompasses among its main themes the attacks on the legendary 
center for art and activism ABC No Rio by New York’s Housing Preservation and 
Development Department (HPD), the realization of
AIDS-defining illnesses in their community and the burgeoning of AIDS and Queer 
activism, and the fun at their LES home and at Le Petit Versailles – a 
community garden and non-profit art space the two have been running since 1996 
– with Kembra Pfahler, Carl George and other friends. Additional footage 
includes Gay Pride and ACT UP marches; Allen Ginsberg’s memorial service at St. 
Mark’s Church; fountains, churches, and museums of Rome, Munich and Heidelberg; 
and documentation of previous performances of the work. The cacophonous 
soundtrack is a live mix of classical music, disco, funk, industrial, rock, 
excerpts from Jesse Jackson’s 1992 election speech, and messages from their 
home and ABC NoRio answering machines – with unintentional voice cameos by 
Sarah Ferguson, Jacqueline Kennedy Onassis’ secretary, and others.General 
admission $10, Members & Students $8. More info: 
Tel: 347.925.1433, Jefferson St. L (exit Starr

Oakland: Shapeshifters Cinema
7:30-10PM, Temescal Art Center, 511 48th St.
Oracle Plus penetrates the psyche with synchronized pseudo-science performance 
using video and sound installation. Collaborators (and sisters) Miel and Steph 
Lister experiment with moving and touchable images, drawing dreams behind your 
eyelids. For Shapeshifters they will be expanding their 2016 performance “Space 
Funeral,” a meditative collective funeral procession which seeks to bridge 
worlds, hold space for mourning and bring to life the shadows of death. Working 
with both physical and metaphorical layers, they seek to add and take away 
these layers to unmask the myriad of dimensions that are shimmering 
simultaneously. Under the mask there is only another mask.


Cambridge: Harvard Film Archive
7pm, 24 Quincy Street
Godfrey Reggio spent his teenage years and much of his twenties in a monastery 
in Louisiana. When he made Koyaanisqatsi,not only had he never made a film, he 
had seen very few films. He sought out Philip Glass to score the film despite 
Glass only having done film music for an obscure documentary in the seventies. 
From this meeting a long partnership was born. While the music in Koyaanisqatsi 
is more varied than that in the previous programs, the repetition and drive of 
Riley, and the drone of Young, can both be heard at various points in the film. 
The combination of sped-up footage of assembly lines and city crowds with the 
propulsive Glass music reaches again toward the hypnotic. In Koyaanisqatsi, 
Reggio is acutely concerned with technology and its effect on human relations 
to the natural world. Technology, in fact the dissemination of moving images 
themselves, is the subject of the short film Evidence, which captures children 
watching television in a hypnotized state, as
the film’s audience is similarly hypnotized by Glass’ score.


Seattle, Washington: EXcinema
7 PM, Grand Illusion Theatre 1403 NE 50th Street
Caryn Cline’s films alter quotidian images and experiences using botanicollage, 
direct animation, found and sourced film footage, manipulated in-camera and in 
an optical printer. Films in this program: In the Conservatory: 2010; 
Perchance: 2008; All Flesh is Grass: 2017; Ektacy: 2015; Left Side, Riverside: 
2011; Lucy’s Terrace: 2009; Hand-made: 2016; Lost Winds: 2017; Equinox: 2011; 
We Will Not Be Silent: 2017; Notes from the Farm: 2014; Compost Confidential: 
2012; Seattle Solstice: 2008; Tri-Alogue #1: 2016; and a sneak preview of a new 


Boston, Massachusetts 02115: MassArt Film Society
8pm, 621 Huntington Ave
MASSART FILM SOCIETY presents, ZOOT SUIT by Luis Valdez & MUTINY by Abigail 
Child Mutiny by Abigail Child 1983, 10mins, b/w and color, sound. Part 2 of Is 
This What You Were Born For? "

Brooklyn, New York 11222: Light Industry
7:30, 155 Freeman St
A lecture by Felicity D. Scott Project One, Optic Nerve, 1972, digital 
projection, 60 mins As a video collective, Optic Nerve are most often recalled 
for Fifty Wonderful Years, their hilarious tape of the Miss California pageant, 
and Psychological Bullrider, a documentary on rodeo cowboys, both of 1973, as 
well as for collaborating with Ant Farm and T. R. Uthco on Media Burn (1975) 
and The Eternal Frame (1976). Founded initially as a documentary photo group, 
Optic Nerve turned to video soon after joining an urban commune, Project One, 
an experiment in collective living and working launched within an obsolescent 
industrial building in San Francisco's South of Market district in the summer 
of 1970. An urban counterpart to contemporaneous back-to-the-land experiments, 
Project One was similarly haunted by the ongoing US-led war in Indochina as 
well as by communication technologies born of war and the Space Race, although 
it would look quite distinct. With their studio located in
the basement, Optic Nerve were early members of the commune, which also 
included filmmakers, architects, artists, musicians, craftspeople, computer 
programmers, and much more. Called upon to make a documentary of the community, 
Optic Nerve's 1972 video, Project One, stands as one of very few testaments to 
the complex social, political, and media-technical ecology of this "pioneering" 
initiative, channeling both the intense work of learning to negotiate, manage, 
and script communal ways of life, and the information networks that entered 
into the picture, notably through Resource One, a group of programmers who 
acquired an SDS940 computer and developed a computer resource center. In 
Videocity, a special issue of Radical Software, Optic Nerve noted of Project 
One, "One prerequisite for the survival of any community is realization and 
control of those factors operating on it: in this case information." In 
addition to screening Project One, I will present aspects of my research on
the commune, for which the video serves not just as an important archive but as 
an artistic precedent for critically interpreting this history, an 
interpretation that stands at odds with the appearance of Resource One within 
Stewart Brand's landmark essay in Rolling Stone, "Spacewar: Fanatic Life and 
Symbolic Death Among the Computer Bums," also of 1972. Under the title "A 
Straighter Kind of Hip," I will speak to Project One and its refunctioning of 
urban industrial spaces at a moment when communications technologies, a 
knowledge economy, and postindustrial labor were increasingly coming to 
reconfigure social, economic, and urban relations in America, including 
collapsing living and work spaces and forging new topologies born of remote 

New York, NY: Anthology Film Archives
6:00 PM, 32 Second Avenue
For full program listings, visit


Montréal: VISIONS
19H00, la lumière collective [7080, rue Alexandra, #506,]
In collaboration with la lumière collective, VISIONS presents : MARY HELENA 
CLARK [Filmmaker present | 16mm Projection] | 7$ /// 14.09.17 | EVERYTHING THIS 
MIGHT BE [A Selection of Works by Mary Helena Clark] /// 15.09.17 | ​DIALOGUES 
: LETTER FORMS [Programme by Mary Helena Clark]

New York, NY: Anthology Film Archives
8:00 PM, 32 Second Avenue
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. SEPTEMBER: 
M. HENRY JONES FILMMAKER IN PERSON! Underground animation wizard M. Henry 
Jones's boundary-pushing experiments in perception encompass stroboscopic music 
videos, candy-colored creature features, and retina-dazzling 3D technologies. 
His films, which he has been creating out of his studio in New York City's East 
Village since the 1970s, are meticulously handcrafted feats of D.I.Y. 
ingenuity. Born in Texas and raised outside of Buffalo, New York in the town of 
Wilson, Jones began making short animated films at the age of twelve. These 
early experiments with cut-outs, stop motion, and claymation won
him a Kodak Teenage Movie Award and a full scholarship to the School of Visual 
Arts in Manhattan. There he befriended fellow classmate Peter Zaremba of the 
garage punk band The Fleshtones, whose shows inspired Jones to create the 
proto-music video SOUL CITY (1977-79), in which over 2,000 photo cut-outs of 
the group performing the title track are hand-colored and stroboscopically 
animated to produce an optic-overload of syncopated sound and image. 
Painstakingly constructed frame-by-frame over a year and a half, SOUL CITY made 
a splash on the underground film circuit, screening at rock clubs and art 
galleries alike. Though the film anticipates the rise of the MTV era, its aims 
have been described as "more perceptual than promotional" (Bruce Bennett, WALL 
STREET JOURNAL). Three more years of work yielded another short music film, 
GO-GO GIRL (1978-81), a black-and-white op-art animation set to a jittery New 
Wave song by Nervus Rex. In recent years, Jones has been exploring 3D and
web animation, frequently featuring his cartoon characters Molly/Alien, 
Snakemonkey, and Slatherpuss. Aside from filmmaking, Jones, a close friend of 
the late experimental filmmaker Harry Smith, has toured an elaborate, 
expanded-cinema re-creation of Smith's 1962 feature HEAVEN AND EARTH MAGIC, and 
has developed a three-dimensional photographic process using a technology he 
calls "fly's eye 3D." Jones's work will also be included in the upcoming 
exhibition at MoMA, "Club 57: Film, Performance, and Art in the East Village, 
1978-1983," running October 31 to April 1, 2018. We are pleased to host M. 
Henry Jones for an "expanded" presentation and premiere of our new, 
years-in-the-making restoration of SOUL CITY. Featuring test reels, 
documentation of the shoot, and an additional Fleshtones video, among other 
supplemental treasures, this is unquestionably the definitive, 
once-in-a-lifetime presentation of Jones's masterpiece, a film that proves the 
adage that great things often
come in small packages! Special thanks to Ivy Donnell (Video & Film Solutions), 
and Tommy Aschenbach, Chris Hughes & Laura Major (Colorlab). NEW GLASSES, PALM 
TREES, TEENAGE SPACE KITTENS & WALKING MAN (1975-76, 5 min, 16mm-to-digital) 
Manuel DeLanda SALIVA DILDO (1976, 2 min, 16mm-to-digital. Starring M. Henry 
Jones.) SOUL CITY (1977-79, 2 min, 16mm-to-35mm. Preserved by Anthology Film 
Archives with support from The Andy Warhol Foundation for the Visual Arts.) 
SOUL CITY: TEST REEL 7 (1978, 2 min, 16mm-to-digital) SOUL CITY: TEST REEL 11 
(1978, 2 min, 16mm-to-digital) SOUL CITY SHOOT (1977, 30 min, video) GO-GO GIRL 
(1978-81, 3.5 min, 16mm, b&w. Preserved by Anthology Film Archives with support 
from The Andy Warhol Foundation for the Visual Arts.) BEAUTIFUL LIGHT (1993, 4 
min, video. Featuring The Fleshtones.) Total running time: ca. 60 min.


New York, New York: Spectacle Theater
10:PM, 124 S 3rd St Brooklyn btwn Bedford Av & Berry St
Omniwave Refresher is in three acts. The first is done as a kind of 
documentary. The second act is a puppet show, and the third act is a live 
action reenactment of the puppet show. Omniwave Refresher is about a scientist 
who, after a failed experiment of some incomprehensible nature, heads off on a 
journey to find her meaning of life. Not your typical experimental film, 
Omniwave Refresher questions the format of meaning rather than the meaning of 


New York, NY: Anthology Film Archives
5:00 PM, 32 Second Avenue
ZORNS LEMMA (1970, 60 min, 16mm. Preserved by Anthology Film Archives.) "A 
major poetic work. Created and put together by a very clear eye-head, this 
original and complex abstract work moves beyond the letters of the alphabet, 
beyond words and beyond Freud. If you don't understand it the first time you 
see it, don't despair, see it again! When you finally 'get it,' a small light, 
possibly a candle, will light itself inside your forehead." -Ernie Gehr & HAPAX 
LEGOMENA I: (nostalgia) (1971, 36 min, 16mm, b&w. Preserved by Anthology Film 
Archives.) "In (nostalgia) the time it takes for a photograph to burn (and thus 
confirm its two-dimensionality) becomes the clock within the film, while 
Frampton plays the critic, asynchronously glossing, explicating, narrating, 
mythologizing his earlier art, and his earlier life, as he commits them both to 
the fire of a labyrinthine structure; for Borges too was one of his earlier 
masters, and he grins behind the facades of logic, mathematics,
and physical demonstrations which are the formal metaphors for most of 
Frampton's films." -P. Adams Sitney Total running time: ca. 100 min.

New York, NY: Anthology Film Archives
5:15 PM, 32 Second Avenue
THE LIBERATION OF THE MANNIQUE MECHANIQUE (1967, 15 min, 16mm, b&w) "Each 
gesture, movement, position, as well as all of the costuming, make-up and props 
work in a harmony for this under-dream-world of Eastern magicians. Arnold has 
made a beautiful and powerful film poem that is saturated with style." -Robert 
Nelson MESSAGES, MESSAGES (1968, 24 min, 16mm, b&w. Co-directed by Michael 
Wiese.) A journey of the psyche into the world of the unconscious. Made when 
Arnold and Wiese were students at the San Francisco Art Institute, this 
surrealistic film is influenced by DalÃ, Buñuel, and the German 
expressionists. THE ELEMENTS (1968, 8 min, 16mm, b&w) "THE ELEMENTS depicts 
personifications of Earth, Air, Fire and Water, in metaphor. The bodies of each 
blending in movement." -Lenny Lipton, BERKELEY BARB VARIOUS INCANTATIONS OF A 
TIBETAN SEAMSTRESS (1969, 10 min, 16mm) "Originally, it was to be a serious 
look at Westerners influenced by Eastern trends. As it developed, however it
became much more humorous with characters in yoga positions with high heels and 
smoking cigarettes at the same time." -Stephanie Farago Total running time: ca. 
60 min. Played alongside the screening of Steven Arnold's LUMINOUS PROCURESS. 
Click here for more details.

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