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** This week [September 23 - October 1, 2017] in avant garde cinema
------------------------------------------------------------
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Sin CáMara / Cameraless (#anchor3) [September 23, Los Angeles, California]
Synaesthetic Cinema: Bruce Conner & Terry Riley (#anchor25) [September 30,
Cambridge]
NEW CALLS FOR ENTRIES:
Another Experiment by Women Film Festival (NY NY USA; Deadline: December 15,
2017)
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DEADLINES APPROACHING:
56th Ann Arbor Film Festival (Ann Arbor, MI, 48103; Deadline: September 30,
2017)
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25th Chicago Underground Film Festival (Chicago, IL USA; Deadline: October 02,
2017)
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Black Maria Film Festival (Jersey CIty, NJ, USA; Deadline: October 15, 2017)
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Events are sorted alphabetically BY CITY within each DATE.
This week's programs (summary):
* Paul Clipson 16mm Films (#anchor1) [September 23, Kingston, New York]
* Ism Ism Ism: Crossing Paths: Panel: Latin American Experimental Film
(#anchor2) [September 23, Los Angeles, California]
* Ism Ism Ism: Sin CáMara / Cameraless (#anchor3) [September 23, Los Angeles,
California]
* Ism Ism Ism: A Cinema of Passion: Films and videos By Willie Varela
(#anchor4) [September 23, Los Angeles, California]
* The Black Maria Film Festival: Program 1: Free Rein (#anchor5) [September 23,
New York, NY]
* Queering Immigration (#anchor6) [September 23, New York, NY]
* The Black Maria Film Festival: Program 2: Synaesthesia (#anchor7) [September
23, New York, NY]
* Homotopia + Criminal Queers (#anchor8) [September 23, New York, NY]
* Psycho Geo2: Chip Lord + Alex Coppola + Ed & Pauline + (#anchor9) [September
23, San Francisco, California]
* Events In Shadow (#anchor10) [September 24, ]
* Ism, Ism, Ism: Countercultures and Undergrounds (#anchor11) [September 24,
Los Angeles, California]
* Ism, Ism, Ism: Dialogues With Che: Appropriations of A Revolutionary Figure
(#anchor12) [September 24, Los Angeles, California]
* #anchor13#anchor14Ec: Ernie Gehr (#anchor15) [September 24, New York, NY]
* Ec: Still (#anchor16) [September 24, New York, NY]
* Synaesthetic Cinema: Electro-Pythagoras Preview & Glyphs (#anchor17)
[September 25, Cambridge]
* Filmmaker As Film theorist: Brakhage, Deren, Frampton (#anchor18) [September
26, Brooklyn, New York 11222]
* Film Screening: Portraits and Protests (#anchor19) [September 27, Berkeley,
California 94704]
* Newfilmmakers (#anchor20) [September 27, New York, NY]
* Ism, Ism, Ism: RaúL Ruiz: Anthropology's Trembling Images (#anchor21)
[September 28, Los Angeles, California]
* Ec: Crockwell / Grant / Jacobs &Amp; Fleischner (#anchor22) [September 28,
New York, NY]
* Ec: Jerome Hill (#anchor23) [September 29, New York, NY]
* Ec: Larry Jordan (#anchor24) [September 29, New York, NY]
* Synaesthetic Cinema: Bruce Conner & Terry Riley (#anchor25) [September 30,
Cambridge]
* Catalogue (The Series): Films By Dana Berman Duff (#anchor26) [September 30,
Los Angeles, California]
* Catalogue (The Series): Films By Dana Berman Duff (#anchor27) [September 30,
Los Angeles, California]
* Ec: Hugo / Jacobs / Levitt / Maas (#anchor28) [September 30, New York, NY]
* Ec: Tom, Tom, the Piper'S Son (#anchor29) [September 30, New York, NY]
* Five Films By Gx Jupitter-Larsen (#anchor30) [September 30, New York, New
York]
* Media Archeology1 (#anchor31) [September 30, San Francisco, California]
SATURDAY, SEPTEMBER 23, 2017
9/23
Kingston, New York: PSYCHIC TROUBLES TAPES PRESENTS
8:00pm, The Beverly, 224 Foxhall, Kingston, NY 12401
PAUL CLIPSON 16MM FILMS
This evening of experimental 16mm works, projected by the filmmaker on film
will include: SPHINX ON THE SEINE (2009), UNION (2010), ANOTHER VOID (2012),
LIGHT YEAR (2013), THE LIQUID CASKET/WILDERNESS OF MIRRORS (2014), DISPORTING
WITH A SHADOW (2015), MADE OF AIR (2015), LIGHTHOUSE (2015) and FEELER (2016)
Program running time: 80 minutes
9/23
Los Angeles, California: Redcat
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3pm, 631 W 2nd St
ISM ISM ISM: CROSSING PATHS: PANEL: LATIN AMERICAN EXPERIMENTAL FILM
Colombian scholar Marta Lucía Vélez, Cuban film scholar and curator Luisa
Marisy, researcher and filmmaker Antoni Pinent, Jesse Lerner, Luciano Piazza
and others will discuss the research which led to the Ismo, Ismo, Ismo
publication (University of California Press).
9/23
Los Angeles, California: Redcat
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7pm, 631 W 2nd St
ISM ISM ISM: SIN CáMARA / CAMERALESS
In Person: Curator Antoni Pinent Surveying an extraordinary body of works
produced since the 1950s, this program maps South American “Camera-Less” or
“Direct” filmmaking. In "Direct animation or 'camera-less' filmmaking, figures
are painted, scratched, or inked directly onto film leader. Highly tactile,
textured and abstract, these films dramatize the essential properties of the
medium of film itself. It's also a technique favored by many key figures of the
avant-garde, from the Scottish-Canadian Norman McLaren to New Zealand's Len Lye
and the legendary New Yorker Harry Smith. Less well known is the extensive
filmography of the numerous Latin American practitioners. Based on extensive
interviews, travels, and archival research by curator Antoni Pinent, this
program introduces a handful of these shorts, from Argentine, Uruguayan,
Brazilian, Peruvian, Colombian, Venezuelan, Mexican, and Chicana filmmakers who
have chosen this most rudimentary (yet powerful) of film techniques.
The program will comprise 22 short films, including Abecedario / B by Colectivo
Los Ingrávidos (2013. México. 4’55”), Prueba by Rosario Sotelo (2014. México.
1’), Breathe by Leonardo Zito (2014. Argentina. 7’), Begin by Sameer Makarius
(1953. Argentina. 1’), O Átomo Brincalhão by Roberto Miller (1981. Brasil. 4’),
Cocktail de Rayas by Eduardo Darino (1964. Uruguay. 1’41”), TM by Pablo Marín
(2008. Argentina. 2’10”), Abismo by Sebastian Wiedemann (2012. Argentina /
Colombia. 3’35”), Ideítas by Víctor Iturralde Rúa (1952. Argentina. 1’05”),
Kimono by José Castillo (1992. Venezuela. 3’56”), Al trance by Guillermo
Zabaleta (2013. Uruguay. 1’30”), Tourist Hitchcock by Marco Pando (2003. Países
Bajos / Perú. 4’39”), On the Road by Jack Kerouac by Jorge Lorenzo (2013.
México / Colombia. 14’), and more.
9/23
Los Angeles, California: Redcat
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9pm, 631 W 2nd St
ISM ISM ISM: A CINEMA OF PASSION: FILMS AND VIDEOS BY WILLIE VARELA
In Person: Willie Varela Having completed over 100 films and videos made since
the early 1970s, El Paso-based, Chicano media artist Willie Varela is one of
independent cinema’s most passionate and unbridled social critics. A
still-to-be-discovered gem of Chicano cinema, Varela’s visceral, layered work,
produced in semi-isolation in the Texas border town, constitutes personal
responses to events in his domestic life, local rituals, political issues and
the ongoing flow of popular culture. This long-overdue overview ranges from
Varela’s early Super 8 visual pieces to a more recent, more pungently political
body of work. Included are: Becky's Eye (1977, 3:21’), March 1979 (1979,
3:30’), The Last Look (1981,1:53’), Recuerdos De Flores Muertas (1982, 6:58’),
In Progress (1985, 12:30’), His Hidden Presence (1998, 10:10’), The
Extraordinary Day (2003, 16:21’) and This Burning World (two-screen
projection)(2002, 31:57’).
9/23
New York, NY: Anthology Film Archives
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5:30 PM, 32 Second Avenue
THE BLACK MARIA FILM FESTIVAL: PROGRAM 1: FREE REIN
FIERCELY INDEPENDENT SHORT FILMS FROM THE 36TH ANNUAL FESTIVAL TOUR - 2017 The
history of the short film is diverse and rich, and the Black Maria Film
Festival has celebrated its legacy for the past 36 years. The festival was
named after the American birthplace of the motion picture, Thomas Edison's West
Orange, NJ, laboratory - a revolving photographic studio dubbed the "Black
Maria" because it resembled a police paddy wagon. For decades this alternative
festival has embraced the diversity and passion found in the cinematic short
form. It provides many directors with their earliest exhibition opportunities
and often discovers personal, eccentric, and unconventional talents. Black
Maria travels each year to dozens of host sites and reaches audiences in the
farthest corners of the U.S. and abroad through its annual tour. The festival
champions films that live in the margins of popular culture and in the center
of filmmakers' imaginations. Curated by Jane Steuerwald, Executive
Director, Black Maria Film Festival. PROGRAM 1: FREE REIN Conventions be damned
- these films dive into slapstick, surrealism, B-movie horror, performance art,
and a visceral approach to story-telling. The personal vision of the artist and
an exploration of the process of filmmaking rules the day. These films push
boundaries through non-linear approaches to storytelling, bizarre imagery, and
a blatant disregard for the cinematic status quo. Soetkin Verstegen MR. SAND
(Leuven, Belgium, 2016, 8 min, digital) Joseph Houlberg A (Quito, Ecuador,
2016, 14 min, digital) Marcin Gizycki MONUMENT (Warsaw, Poland, 2015, 3 min,
digital) Dianne Bellino THE ITCHING (Astoria, NY, 2016, 15 min, digital) Dawn
George WE R THE WORLD/MOLD (Halifax, Canada, 2016, 7 min, digital) Akiko
Maruyama & Philippe Roy KOROPOKKURU (Jersey City, NJ, 2015, 4 min, digital)
Katrine Holmgren THE MUSE OF SAN FRANCISCO (London, UK, 2016, 22 min, digital)
Morgan Miller THERE'S TOO MANY OF THESE CROWS (Brooklyn, NY,
2016, 4 min, digital) Total running time: ca. 80 min.
9/23
New York, NY: Anthology Film Archives
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6:30 PM, 32 Second Avenue
QUEERING IMMIGRATION
Isabel Castro, Luan Joy Sherman, Katrina Sorrentino, and members of Queer
Detainee Empowerment Project in person!This program is presented in conjunction
with the Queer Detainee Empowerment Project's Queering Immigration Conference
at The New School, taking place September 22-24; for more info visit:
www.qdep.org/queering-immigration-conference. This will be a bilingual program;
CROSSING OVER is in Spanish with English subtitles, while the other films and
the discussion will be translated into Spanish. The streets of Asheville are
illuminated and claimed as safe public space for members of North Carolina's
trans community in ARTS ACTION AGAINST HB2: SAFE PUBLIC SPACE, made in support
of advocacy organizations Southerners On New Ground (SONG) and Tranzmission. A
panorama of personal stories in QUEERING IMMIGRATION (produced by SONG)
acknowledge the undocumented struggle as a collective demand for true immigrant
justice. CROSSING OVER: STORIES OF IMMIGRATION AND IDENTITY
interweaves the stories of three transgender Latina immigrants who came to the
U.S. from Mexico in search of a better life. Luan Joy Sherman, Stephen Zacks,
and Adam Rush ARTS ACTION AGAINST HB2: SAFE PUBLIC SPACE (2016, 3 min, digital)
Sowjanya Kudva QUEERING IMMIGRATION (2013, 6 min, digital. In English with
Spanish subtitles.) Isabel Castro and Katrina Sorrentino CROSSING OVER: STORIES
OF IMMIGRATION AND IDENTITY (2014, 45 min, digital. In Spanish with English
subtitles.) Total running time: ca. 60 min. Followed by a reception.
9/23
New York, NY: Anthology Film Archives
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8:00 PM, 32 Second Avenue
THE BLACK MARIA FILM FESTIVAL: PROGRAM 2: SYNAESTHESIA
FIERCELY INDEPENDENT SHORT FILMS FROM THE 36TH ANNUAL FESTIVAL TOUR - 2017 The
history of the short film is diverse and rich, and the Black Maria Film
Festival has celebrated its legacy for the past 36 years. The festival was
named after the American birthplace of the motion picture, Thomas Edison's West
Orange, NJ, laboratory - a revolving photographic studio dubbed the "Black
Maria" because it resembled a police paddy wagon. For decades this alternative
festival has embraced the diversity and passion found in the cinematic short
form. It provides many directors with their earliest exhibition opportunities
and often discovers personal, eccentric, and unconventional talents. Black
Maria travels each year to dozens of host sites and reaches audiences in the
farthest corners of the U.S. and abroad through its annual tour. The festival
champions films that live in the margins of popular culture and in the center
of filmmakers' imaginations. Curated by Jane Steuerwald, Executive
Director, Black Maria Film Festival. PROGRAM 2: SYNAESTHESIA Synaesthesia is a
process whereby one perceives the world with all of one's senses, at times
individually, but more often simultaneously. What one sees, one can also hear
and feel and unconsciously empathize with on the basis of past experiences.
Sights are often perceived as sounds, feelings, and smells; while sounds can be
perceived as visions, motions, and tastes; and smells perceived as tastes,
sounds, and visceral experiences. Synaesthesia is an interaction of conscious
and unconscious sensual experience resulting in impressions perceived
symbiotically. Seoungho Cho SCRUMPED (Elmhurst, NY, 2016, 18 min, digital)
Yagmur Altan RABBIT BLOOD (Astoria, NY, 2016, 5 min, digital) Ying-Fang Shen IN
THE WAVES (Richmond, VA, 2015, 5 min, digital) Magdalena Bermudez MEMA'S LIFE
STORY (Baltimore, MD, 2016, 2 min, 16mm-to-digital) Kate Balsey MICROSPECTRUM
(Johns Creek, GA, 2016, 2 min, digital) Fernando Priego Ruiz
RADIANCE (RESPLANDOR) (Buenos Aires, Argentina, 2016, 50 min, digital) Total
running time: ca. 85 min.
9/23
New York, NY: Anthology Film Archives
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8:30 PM, 32 Second Avenue
HOMOTOPIA + CRIMINAL QUEERS
Chris E. Vargas & Eric Stanley HOMOTOPIA (2006, 26 min, digital) Set sometime
in the future-present, HOMOTOPIA chronicles a group of radical queers dedicated
to exposing the trouble with gay marriage, dismantling the State, and undoing
Empire, while looking totally fierce. Woven into the story of Yoshi's
adventures in love, resistance, and sex, is a critique of the crushing violence
of homonormativity and its deadly perpetuation of U.S. patriotism, conservative
kinship structures, and affective accumulation. Chris E. Vargas & Eric Stanley
CRIMINAL QUEERS (2015, 63 min, digital) CRIMINAL QUEERS visualizes a radical
trans/queer struggle against the prison industrial complex and toward a world
without walls. Remembering that prison breaks are both a theoretical and
material practice of freedom, this film imagines what spaces might be opened up
if crowbars, wigs, and metal files become tools for transformation. Following
Yoshi, Joy, Susan, and Lucy as they fiercely read
everything from the Human Rights Campaign and hate crimes legislation to the
non-profitization of social movements, CRIMINAL QUEERS increases our collective
liberation by working to abolish the multiple ways our hearts, genders, and
desires are confined.
9/23
San Francisco, California: Other Cinema
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8:30, 992 Valencia
PSYCHO GEO2: CHIP LORD + ALEX COPPOLA + ED & PAULINE +
This second iteration of our Focus-on-Locus is trained on sites outside of SF,
starting with two in-person offerings from Chip (Ant Farm) Lord: Greetings from
Amarillo ushers us into the colorful life of the Texas Panhandle, while the
world premiere of his Dark Seagrams enacts an exacting architectural analysis
of the celebrated Seagrams Bldg. in NYC, with music by Leonard Cohen (and free
Seagrams toasts!). Christian Bruno/ Natalija Vekic’s long-awaited Ed & Pauline
casts its gaze onto the first art-cinema in Berkeley, run by Ed Landberg and
Pauline Kael!! Kirsten Johnson (Cameraperson) affords As Above, a blimp’s-eye
view of Kabul, Diana Vidrascu’s camera explores Brittany’s dramatic topography,
and Pablo Fiasco takes us on a tour of London via its graffiti. ALSO: Ellie
Vanderlip delivers her desert diary Ocotillo! and Alex Coppola live-cues world
musics to a triptych of silent amateur travelogs from Asia, Africa, and South
America in Glimpses of the Global South.
SUNDAY, SEPTEMBER 24, 2017
9/24
: COMMEND
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(
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6:00-8:00pm, COMMEND, 172 Forsyth Street, New York 10002
EVENTS IN SHADOW
An evening of films by Paul Clipson followed by a conversation between the
filmmaker and sound artist/musician Jefre Cantu-Ledesma. Screening will include
UNION (2010), ANOTHER VOID (2012), LIGHT YEAR (2013), THE LIQUID
CASKET/WILDERNESS OF MIRRORS (2014), MADE OF AIR (2015), LIGHTHOUSE (2015),
FEELER (2016), Program running time: 68 minutes
9/24
Los Angeles, California: Filmforum
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6:00 pm, REDCAT, 631 West 2nd Street, Los Angeles, CA 90012
ISM, ISM, ISM: COUNTERCULTURES AND UNDERGROUNDS
In Person: Curator Luisa Marisy, director and performance artist Rolando Peña
Experimental film is often intimately connected with a variety of
countercultural movements, some global in reach, others very specifically
local. Some of these filmmakers explicitly embrace these movements’ radical
political goals, and at other times their ideological concerns are simply
implicit, but all of these films are unified by their allegiance to a range of
underground, youth or countercultural phenomena. Several of these films
document performances, ephemeral actions, or interventions into public space.
Marabunta, for example, a 1967 film and performance directed by Narcisa Hirsch,
with the collaboration of Marie Louise Alemann, and Walther Mejía, involves the
interaction of an audience--coming out of a theater where they had seen the
Buenos Aires premiere of Antonioni's Blow Up-- with fruit, live pigeons, and a
giant plaster skeleton, documented in 16mm by radical filmmaker Raymundo
Gleyzer. Enrique Pineda Barnet’s extraordinary Juventud rebeldía revolución
offers documentation of a performance by an international collective lead by
Cuba’s Grupo de Teatro Experimental. In the spirit of Situationist détournement
and punk pranks, Manuel Delanda’s Ismism captures the filmmaker’s own
interventions on Manhattan billboards, rendered across the city with an X-Acto
knife. In Esplendor do Martírio, Sérgio Péo rehearses his theory of Super 8 as
a vehicle of language - which would later be materialized in his poem/manifesto
"Super 8 as an Instrument of Language." Esplendor do Martírio visualizes a
group of intellectuals occupying and disrupting the urban space, later to be
removed by the Brazilian military. Rolando Peña, iconic figure of Venezuela’s
avant-garde, produces an impossible dialogue that takes place within the noisy
scene of a construction site of the Caracas Metro, echoing the complex
relationship between intellectual debates and the noise of
"progress."Alfredo Gurrola’s super-8 trip, based on a poem by exiled Spanish
writer Tomás Segovia, points to some of the preoccupations of a
counterhegemonic radical alternative culture.
9/24
Los Angeles, California: Filmforum
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8:30 pm, REDCAT, 631 West 2nd Street, Los Angeles, CA 90012
ISM, ISM, ISM: DIALOGUES WITH CHE: APPROPRIATIONS OF A REVOLUTIONARY FIGURE
In Person: Venezuelan Actor Rolando Peña Images of Ernesto "Che" Guevara are
the most contested and reproduced in Latin America, and this program explores
ways this iconic figure has been represented. Diálogo con el Che (Dialogue with
Che, 1968, newly restored, 53’) is a legendary film by queer Nuyorican artist
José Rodriguez Soltero that parodies Hollywood portrayals of the revolutionary
hero. Una foto recorre el mundo (A Photograph Travels the World, 1981, 13’) by
Pedro Chaskel (also known at the editor of The Battle of Chile, 1975) analyzes
the iconic photograph of el Che taken by Alberto Korda at a political rally in
1960, and the unending international (and commercial) appropriations of this
image. Leandro Katz’ El día que me quieras (1997, 30’) retraces the story
behind the last photographs Freddy Alborta took of Che Guevara as he lay dead,
surrounded by his captors, in 1967.
9/24
New York, NY: Anthology Film Archives
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6:00 PM, 32 Second Avenue
EC: ERNIE GEHR
"Ernie Gehr [makes] cinematic magic, often from the least likely materials.
Indeed, Gehr's most famous film, SERENE VELOCITY (1970), in which the filmmaker
transforms an institutional hallway in the basement of a classroom building at
the State University of New York at Binghamton into a nexus of visual and
conceptual energy, merely by adjusting his stationary camera's zoom lens every
four frames for twenty-three minutes, can be read as Gehr's manifesto. For Gehr
the most everyday spaces and the most mundane actions offer the imaginative
filmmaker the most interesting potential. No other filmmaker, with the
exception of Michael Snow, has so relentlessly and so productively explored the
capacity of filmmaking to develop the visual (and auditory) opportunities
afforded by the cinematic apparatus itself." -Scott MacDonald, A CRITICAL
CINEMA 5 MORNING (1968, 5 min, 16mm, silent) WAIT (1968, 7 min, 16mm, silent)
REVERBERATION (1969, 23 min, 16mm, b&w) TRANSPARENCY (1969, 11 min,
16mm, silent) FIELD (1970, 19 min, 16mm, b&w, silent) SERENE VELOCITY (1970, 23
min, 16mm, silent) Total running time: ca. 70 min.
9/24
New York, NY: Anthology Film Archives
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8:00 PM, 32 Second Avenue
EC: STILL
by Ernie Gehr. "STILL is for me the first truly Proustian film in which I see
mood and atmosphere seem to become slowly crystallized on particular objects -
as if the whole framed scene and its mood slowly coagulates into - for instance
- the mysterious recesses of the lush foliage of the tree across the street
which the breeze lowly stirs… The moving and remarkable thing is that in this
fifty-odd feet of New York city street front that we view for sixty minutes,
nature and dreams of the forest and sky and wind and wilderness end up being
more forcibly present than in any film about nature and forest and sky, etc."
-Richard Foreman, FILM CULTURE #63-6
MONDAY, SEPTEMBER 25, 2017
9/25
Cambridge: Harvard Film Archive
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7pm, 24 Quincy Street
SYNAESTHETIC CINEMA: ELECTRO-PYTHAGORAS PREVIEW & GLYPHS
Electro-Pythagoras is a meditation on Martin Bartlett, a lesser-known composer
who studied with both Terry Riley and Pandit Pran Nath. Using footage and
papers from Bartlett’s archive—Bartlett died of AIDS in 1993—Luke Fowler’s film
plays with sound and image to create a dreamlike portrait of Bartlett’s final
years. This special preview screening will be followed by a live performance of
sound artist Ernst Karel performing Glyphs,a piece based on tapes from
Bartlett’s archive.
TUESDAY, SEPTEMBER 26, 2017
9/26
Brooklyn, New York 11222: Light Industry
http://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=cde7d1e604&e=4e65756555
7:30, 155 Freeman St
FILMMAKER AS FILM THEORIST: BRAKHAGE, DEREN, FRAMPTON
A lecture by P. Adams Sitney Out of print for over 40 years, Stan Brakhage's
landmark Metaphors on Vision is being republished by Anthology Film Archives
and Light Industry. To celebrate its release, P. Adams Sitney will give a
lecture about the book in an attempt to situate it within a lineage of
theoretical polemics by American avant-garde filmmakers.www.lightindustry.org/
publications He believes that the essential precursor to Metaphors on Vision
(1963) was Maya Deren's Anagram of Ideas on Art, Form and Film (1946), just as
Metaphors on Vision was the crucial antecedent to Hollis Frampton's Circles of
Confusion: Film, Photography, Video: Texts 1968-1980 (1983). Each of these
volumes was carefully and elaborately constructed to seduce readers by mildly
baffling them while also impressing them with the depth and breadth of the
author's aesthetic expertise. Sitney contends that all books in this tradition
respond with some ferocity to earlier writings by filmmakers in an
effort to redefine cinema, implicitly or explicitly locating the author's own
films at the very center of film history. Such arguments are not merely
reflexes of artistic egomania, for their principles often emerge from intuitive
discoveries the filmmakers stumbled upon in the act of composing a film.
Consequently, Sitney will illustrate his talk with several works by Deren,
Brakhage, and Frampton. At Land, Maya Deren, 1944, 16mm, 15 mins Thigh Line
Lyre Triangular, Stan Brakhage, 1961, 16mm, 9 mins Films by Stan Brakhage: An
Avant-Garde Home Movie, Stan Brakhage, 1961, 16mm, 4 mins Blue Moses, Stan
Brakhage, 1962, 16mm, 11 mins Apparatus Sum, Hollis Frampton, 1972, 16mm, 3
mins Gloria!, Hollis Frampton, 1979, 16mm, 10 mins P. Adams Sitney, Professor
Emeritus from Princeton University, is a preeminent historian of avant-garde
cinema. He is the author of Visionary Film, Modernist Montage, Vital Crises in
Italian Cinema, Eyes Upside Down, and The Cinema of Poetry. Tickets - $8,
available at door. Please note: seating is limited. First-come, first-served.
Box office opens at 7pm.
WEDNESDAY, SEPTEMBER 27, 2017
9/27
Berkeley, California 94704: Pacific Film Archive
http://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=6160ccd43c&e=4e65756555
7pm, 2155 Center St
FILM SCREENING: PORTRAITS AND PROTESTS
Abigail Child worked as a shipper at Canyon Cinema in 1977 and 1978. For her,
"It was a time to look closely at films on the rewinds, or stay late and get a
preview of incoming films. After that, I became coeditor with Henry Hills of
Cinemanews magazine, and ultimately an editor of [at least] one edition." This
program features works made by Canyon members between 1970 and 1981-a diary
film, a self-portrait, and a portrait-along with Child's most recent film, a
dazzling collage portrait of Emma Goldman that links her twentieth-century
activism to modern-day protests. FILMS IN THIS SCREENING Wild Night in El Reno
George Kuchar, United States, 1977 Dufus! Mike Henderson, United States, 1970
Kino Da! Henry Hills, United States, 1981 Acts & Intermissions Abigail Child,
United States, 2016 For more info visit:http://bampfa.org/event/
portraits-and-protests
9/27
New York, NY: Anthology Film Archives
http://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=a07e774924&e=4e65756555
6:00 PM, 32 Second Avenue
NEWFILMMAKERS
For full program listings, visit www.newfilmmakers.com.
THURSDAY, SEPTEMBER 28, 2017
9/28
Los Angeles, California: Filmforum
http://hi-beam.us9.list-manage1.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=7f74378ae8&e=4e65756555
7:00 pm, MOCA Grand Avenue, 250 South Grand Avenue
ISM, ISM, ISM: RAúL RUIZ: ANTHROPOLOGY’S TREMBLING IMAGES
In Person: Curator and scholar Tarek Elhaik. From the 1920s on one can locate a
fascinating, global convergence of avant-garde anthropology and experimental
cinemas. In Latin America, this has often resulted in the manufacturing of
social utopias that challenge the limits between nationalist and cosmopolitan
fantasies. The work of Chilean exile film artist and theorist Raúl Ruiz
belongs, uneasily, to this intersection of anthropology and filmmaking. The
program examines this tension by screening some of Ruiz' little known short and
small gauge films alongside the anthropological meditations of two of his
contemporaries from Brazil, the artist Anna Maria Maiolino and filmmaker Arthur
Omar. The viewer is thus invited to experience and experiment with what Ruiz
calls "trembling images."
9/28
New York, NY: Anthology Film Archives
http://hi-beam.us9.list-manage1.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=97905a78e6&e=4e65756555
7:00 PM, 32 Second Avenue
EC: CROCKWELL / GRANT / JACOBS & FLEISCHNER
Douglass Crockwell THE LONG BODIES (1949, 6 min, 16mm) GLEN FALLS SEQUENCE
(1964, 8 min, 16mm) "The basic idea was to paint continuing pictures on various
layers with plastic paint, adding at times and removing at times, and to a
certain extent these early attempts were successful." -D.C. Dwinell Grant
COMPOSITION #2 CONTRATHEMIS (1941, 5 min, 16mm, silent) "An attempt to develop
visual abstract themes and to counterpoint them in a planned, formal
composition." -D.G. STOP MOTION TESTS (1942, 3 min, 16mm, silent) A
self-portrait. COLOR SEQUENCE (1943, 3 min, 16mm, silent) "Pure solid-color
frames which fade, mutate and flicker. A research into color rhythms and
perceptual phenomena." -William Moritz Ken Jacobs LITTLE STABS AT HAPPINESS
(1959-63, 18 min, 16mm. With Jack Smith.) "Material was cut in as it came out
of the camera, embarrassing moments intact. 100' rolls timed well with music on
old 78s. I was interested in immediacy, a sense of ease, and an art where
suffering was
acknowledged but not trivialized with dramatics. Whimsy was our achievement, as
well as breaking out of step." -K.J. Ken Jacobs & Bob Fleischner BLONDE COBRA
1959-63, 35 min, 16-to-35mm blow-up, b&w/color. With Jack Smith. Preserved by
Anthology, with the generous support of The Film Foundation."BLONDE COBRA is an
erratic narrative - no, not really a narrative, it's only stretched out in time
for convenience of delivery. It's a look in on an exploding life, on a man of
imagination suffering pre-fashionable Lower East Side deprivation and consumed
with American 1950s, 40s, 30s disgust. Silly, self-pitying, guilt-strictured
and yet triumphing - on one level - over the situation with style… enticing
us into an absurd moral posture the better to dismiss us with a regal 'screw
off.'" -K.J. Total running time: ca. 85 min.
FRIDAY, SEPTEMBER 29, 2017
9/29
New York, NY: Anthology Film Archives
http://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=9ff55d8f57&e=4e65756555
7:00 PM, 32 Second Avenue
EC: JEROME HILL
These 35mm prints are the result of a preservation project undertaken by the
Museum of Modern Art. DEATH IN THE FORENOON (1934/66, 2 min, 35mm) CANARIES
(1969, 4 min, 35mm) & FILM PORTRAIT (1971, 81 min, 35mm) A pioneering work in
autobiographical cinema, FILM PORTRAIT masterfully combines actual and staged
footage and painting over images. Filmmaker, painter, and composer Jerome Hill
was born into the famous James J. Hill railroad-building family and lived on
the same street as F. Scott Fitzgerald. Here he re-creates wonderfully - with
old family footage - the period and milieu of the American upper class at the
beginning of the 20th century. Total running time: ca. 90 min.
9/29
New York, NY: Anthology Film Archives
http://hi-beam.us9.list-manage1.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=39bcf94875&e=4e65756555
9:00 PM, 32 Second Avenue
EC: LARRY JORDAN
DUO CONCERTANTES (1962-64, 6 min, 16mm, b&w) HAMFAT ASAR (1965, 13 min, 16mm,
b&w) GYMNOPEDIES (1968, 6 min, 16mm) THE OLD HOUSE, PASSING (1966, 45 min,
16mm, b&w. Preserved by Anthology Film Archives.) OUR LADY OF THE SPHERE (1968,
9 min, 35mm) "With a taste for nostalgic romanticism…Jordan creates a magical
universe of work using old steel engravings and collectable memorabilia. His
50-year pursuit into the subconscious mind gives him a place in the annals of
cinema as a prolific animator on a voyage into the surreal psychology of the
inner self." -Jackie Leger Total running time: ca. 85 min.
SATURDAY, SEPTEMBER 30, 2017
9/30
Cambridge: Harvard Film Archive
http://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=f41b59870c&e=4e65756555
7pm, 24 Quincy Street
SYNAESTHETIC CINEMA: BRUCE CONNER & TERRY RILEY
While both La Monte Young and Terry Riley were originally from the American
west, Young’s move to New York and work with the Theatre of Eternal Music found
him in contact with some of the darker strains of the Sixties counterculture.
Riley’s music, while only marginally less rigorous than Young’s (no one is more
rigorous than La Monte Young), maintained a lightness that can be seen in all
the works here. Bruce Conner was a Californian and spent most of his life in
the Golden State. One of his sojourns outside of it was to Mexico, where, in
1963, he searched the countryside with Timothy Leary for psychedelic mushrooms.
This experience in captured in Looking for Mushrooms, with the soundtrack
Riley’s “Poppy Nogood and the Phantom Band” (an earlier version used The
Beatles’ “Tomorrow Never Knows”). Easter Morning is accompanied by the epic “In
C”, often errantly described as the first minimalist composition. “In C” is a
circular score that can be played by any number of
performers on any number of instruments; in this case, the music is played on
traditional Chinese instruments. We end with one of Gene Youngblood’s
favorites, Music with Balls, a “fabulously rich mantra of color, sound and
motion…. The composition builds from placid serenity to chaotic cacophony to
bubbly melodiousness with a mad yet purposive grace.”
9/30
Los Angeles, California: Echo Park Film Center
http://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=d22586e621&e=4e65756555
8pm, 1200 N. Alvarado St.
CATALOGUE (THE SERIES): FILMS BY DANA BERMAN DUFF
“Catalogue” is a series of 16mm films and videos that take as their subject the
gigantic 2014 Restoration Hardware furniture catalogue in 11 volumes, one film
for each. Each film considers a different aspect of representation, looking,
and desire.
9/30
Los Angeles, California: Echo Park Film Center
http://hi-beam.us9.list-manage1.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=366535b789&e=4e65756555
8pm, 1200 N. Alvarado St.
CATALOGUE (THE SERIES): FILMS BY DANA BERMAN DUFF
“Catalogue (The Series)” is a series of 16mm films and videos that take as
their subject a well-known mainstream furniture catalogue in 13 volumes, one
film for each. Each film considers a different aspect of representation,
looking, and desire.
9/30
New York, NY: Anthology Film Archives
http://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=0522d84fec&e=4e65756555
6:00 PM, 32 Second Avenue
EC: HUGO / JACOBS / LEVITT / MAAS
Ian Hugo BELLS OF ATLANTIS (1952, 10 min, 16mm. Preserved by the Library of
Congress through the Avant-Garde Masters program funded by The Film Foundation
and administered by the National Film Preservation Foundation.) A film poem,
based on Anaïs Nin's HOUSE OF INCEST, spoken by Nin, who also appears. Ken
Jacobs LITTLE STABS AT HAPPINESS (1959-63, 18 min, 16mm. With Jack Smith.)
"Material was cut in as it came out of the camera, embarrassing moments intact.
100' rolls timed well with music on old 78s. I was interested in immediacy, a
sense of ease, and an art where suffering was acknowledged but not trivialized
with dramatics. Whimsy was our achievement, as well as breaking out of step."
-Ken Jacobs Helen Levitt, Janice Loeb, and James Agee IN THE STREET (1952, 12
min, 16mm, b&w. Preserved by Anthology Film Archives.) Levitt's short, lyrical
documentary portrait of life in Spanish Harlem. Stealthily shot by Levitt,
Janice Loeb, and James Agee. Willard Maas GEOGRAPHY OF THE
BODY (1943, 7 min, 16mm, b&w. Preserved by Anthology with support from The
National Film Preservation Foundation.) "The terrors and splendors of the human
body as the undiscovered, mysterious continent." -Willard Maas Total running
time: ca. 55 min.
9/30
New York, NY: Anthology Film Archives
http://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=a075e16836&e=4e65756555
7:30 PM, 32 Second Avenue
EC: TOM, TOM, THE PIPER'S SON
by Ken Jacobs. "Original 1905 film shot and probably directed by G.W. 'Billy'
Bitzer, rescued via a paper print filed for copyright purposes with the Library
of Congress. It is most reverently examined here, absolutely loved, with a new
movie, almost as a side effect, coming into being." -Ken Jacobs
9/30
New York, New York: Spectacle Theater
http://hi-beam.us9.list-manage1.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=60ed601bb7&e=4e65756555
5:PM, Spectacle Theater
FIVE FILMS BY GX JUPITTER-LARSEN
A series of films by Hollywood, California-based artist, writer, musician and
filmmaker GX Jupitter-Larsen. Best known for over 30 years as a founder of the
prolific and confrontational noise band The Haters, Jupitter-Larsen has since
built a body of work across many disciplines—including mail art, novel writing
and radio experimentation—founded on an aesthetic of abrasion and agitation as
well as the development of a new, non-linear standard of measurement. After
producing a body of shorts throughout the 90s and 00s, Jupitter-Larsen moved
into feature filmmaking in 2013 with “A Noisy Delivery” and in 2017 with
“Omniwave Refresher,” both included in this program.
9/30
San Francisco, California: Other Cinema
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8:30PM, ATA Gallery 992 Valencia St.
MEDIA ARCHEOLOGY1
A stalwart figure on the New York A-G film scene, Joel visits the Coast for the
first time to debut his knowing homage to the format that put pop music into
the hands of the masses. His 16mm—occasionally hand-processed—feature is an
inspired and inspiring love-letter to the gramophone and its discs, from their
early days in the Teens/Twenties to the renewed fandom of contemporary
enthusiasts. Interviews with cultural historians, collectors, and DJs are
interwoven with generous samplings of vintage shellac sounds, from red-hot jazz
to hillbilly ballads. Joel personally wind ups his own steampunk phonograph,
inviting others to try, while complimentary 78s float freely through our
time-warp.
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