<http://www.hi-beam.net/now.gif> <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=e426f5628e&e=f36020cad0> <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=a71e8f5486&e=f36020cad0> This week [February 17 - 26, 2018] in avant garde cinema Enter your event announcements by going to the Flicker Weekly Listing Form <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=abcb0eca66&e=f36020cad0> . To receive the weekly listing via email: Subscribe <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=89754172bc&e=f36020cad0> . To unsubscribe see the link at the bottom of this email. <https://scontent-dft4-1.xx.fbcdn.net/v/t31.0-8/25790881_1772958302766390_817052388926992289_o.jpg?oh=a51c1bfaf7d38d8a52330eb544008e55&oe=5B1DF788> The Smoker: A Brief History of the Stag Film <> [February 20, Brooklyn, New York 11222] <http://www.sfcinematheque.org/wordpress/wp-content/uploads/2018/02/hongkong-still1-wpcf_320x180.jpg> After Hours: Films By Karen Yasinsky, Program One [February 23, San Francisco, California 94132] <http://www.microscopegallery.com/wp-content/uploads/2018/02/Eclipse_Nick-Zedd.jpg> Nick Zedd: Tear Down the Wall [February 24, Brooklyn, New York] NEW CALLS FOR ENTRIES: Coney Island Film Festival (Brooklyn, NY, USA; Deadline: June 22, 2018) http://hi-beam.net/cgi-bin/ann.pl?type=calls <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=e5b7492f45&e=f36020cad0> &readfile=1970.ann 25 FPS Festival (Zagreb, Croatia; Deadline: May 31, 2018) http://hi-beam.net/cgi-bin/ann.pl?type=calls <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=86b36c929a&e=f36020cad0> &readfile=1971.ann NOFLASH Video Show (New Brunswick, NJ, USA; Deadline: March 11, 2018) http://hi-beam.net/cgi-bin/ann.pl?type=calls <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=d631054f81&e=f36020cad0> &readfile=1972.ann DEADLINES APPROACHING: Oscillation Transia Film Festival (USA; Deadline: February 21, 2018) http://hi-beam.net/cgi-bin/ann.pl?type=calls <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=deca9e5046&e=f36020cad0> &readfile=1964.ann The 2018 West Virginia Mountaineer Short Film Festival (Morgantown, West Virginia, USA; Deadline: March 19, 2018) http://hi-beam.net/cgi-bin/ann.pl?type=calls <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=7244d80701&e=f36020cad0> &readfile=1967.ann Milwaukee Underground Film Festival (Milwaukee, WI; Deadline: February 19, 2018) http://hi-beam.net/cgi-bin/ann.pl?type=calls <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=599fefaca9&e=f36020cad0> &readfile=1968.ann NOFLASH Video Show (New Brunswick, NJ, USA; Deadline: March 11, 2018) http://hi-beam.net/cgi-bin/ann.pl?type=calls <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=b214ca783a&e=f36020cad0> &readfile=1972.ann Events are sorted alphabetically BY CITY within each DATE. This week's programs (summary): * Jeanne Liotta: Celestial Bodies, Screening <> & Artist Talk [February 17, Brooklyn, New York] * Black Maria Film Festival 37th Annual Festival Tour <> [February 17, Madison] * Show and Tell: Stephanie Barber <> [February 17, New York, NY] * Bill Morrison's Dawson City: Frozen Time <> [February 17, San Francisco, California] * Lynne Sachs: Tip of My Tongue <> [February 18, Los Angeles, California] * Cc31 - Josh Weissbach: Domestic Emulsion <> [February 18, Minneapolis, Minnesota 55408] * Show and Tell: Stephanie Barber <> [February 18, New York, NY] * Rat Film - theo Anthony In Person <> [February 19, Cambridge, Massachusetts] * The Smoker: A Brief History of the Stag Film <> [February 20, Brooklyn, New York 11222] * New York Eye and Ear Control <> &Amp; Blood of Jesus [February 21, Boston, Massachusetts 02115] * Directors Lounge Screening - Txema Novelo - Double Feature <> [February 22, Berlin, Germany] * Walking Films: A Salon With Baba Hillman <> [February 22, San Francisco, California] * After Hours: Films By Karen Yasinsky, Program One <> [February 23, San Francisco, California 94132] * Nick Zedd: Tear Down the Wall <> [February 24, Brooklyn, New York] * Black Maria Film Festival 37th Annual Festival Tour <> [February 24, Newton] * After Hours: Films By Karen Yasinsky, Program Two <> [February 24, San Francisco, California 94103] * Mehrdad Oskouei: Short Film Program <> [February 25, New York, NY] * Hardcore Home Movies At the Stud Presented By Dirty Looks + Canyon Cinema <> [February 25, San Francisco, California] * Afs: Experimental Shorts of Bette Gordon, W/ Gordon In Person <> [February 26, Austin, Texas 78752] * Black Maria Film Festival 37th Annual Festival Tour <> [February 26, Princeton] SATURDAY, FEBRUARY 17, 2018 2/17 Brooklyn, New York: Microscope Gallery http://www.microscopegallery.com <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=418b124f72&e=f36020cad0> 7:30pm, 1329 Willoughby Ave 2B JEANNE LIOTTA: CELESTIAL BODIES, SCREENING & ARTIST TALK Jeanne Liotta returns to the gallery for a screening of her films and videos taking place in connection with her current solo exhibition at the gallery “Break The Sky”, which has been extended through March 4th. The works in the program, spanning a period of two decades – from Liotta’s first film “Blue Moon” (1988), an “erratic, erotic, arrhythmic lunar trauma”, to her 2009 “Sutro”, an animated glitch portrait of the 997 ft. Sutro TV and radio tower in San Francisco – are centered around the artist’s long-term interest in the observation of the sky, celestial events, and the technologies used to broaden our knowledge of the universe. Among the other six works on the program are the 16mm films “Eclipse” (2005), which documents “by eye and hand” the 2003 lunar eclipse and appeared in the Whitney Biennial 2006, and “Observando el Cielo” (2007), her multi-award winning film featuring time lapses of the night sky from footage she shot over a period of seven years from remote areas as well as observatories. Full program notes and artist bio at www.microscopegallery.com <http://www.microscopegallery.com> . An artist talk and discussion. immediately follow the screening. Admission $8, Students & Members 6. Jefferson L (exit Starr St). 2/17 Madison: Black Maria Film Festival http://blackmaria.org <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=76c551162c&e=f36020cad0> 8:00PM, Madison Public Library, 39 Keep Street , Madison, NJ BLACK MARIA FILM FESTIVAL 37TH ANNUAL FESTIVAL TOUR The Black Maria Film Festival presents "Not a One-Way Street," the Jury's Stellar Global Insights Award by filmmaker Eva Colmers. The program is sponsored by the Madison Arts and Cultural Society in the Chase Room at the Madison Public Library in Madison, NJ. Tickets are $10 at the door. http://www.madisonartsnj.org (973) 377-0722. The films including animation, documentary and narrative will be presented in-person by Festival director Jane Steuerwald. Celebrating its 37th consecutive year in 2018, the Black Maria Film Festival is dedicated to creativity and innovation in the moving-image arts. It was named for Thomas Edison's West Orange film studio dubbed the "Black Maria" due to its resemblance to the type of black-box police paddy wagon known as a "black maria." The Festival is an annual juried competition traveling to audiences across the US and abroad, featuring new short works in all genres, and supporting the work of international independent filmmakers. 2/17 New York, NY: Anthology Film Archives http://www.anthologyfilmarchives.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=999fda245e&e=f36020cad0> 7:30 PM, 32 Second Avenue SHOW AND TELL: STEPHANIE BARBER IN THE JUNGLE (2017, 63 min, digital. With Cricket Arrison (of Wham City) and M.C. Schmidt (of Matmos).) Stephanie Barber has achieved the rare feat of carving out a cinematic (or more properly speaking, media-spanning) realm entirely her own. Equally attuned to the nuances of the moving image and of language, her short and occasional feature-length film and video works meld together elements of photography, poetry, music, and live performance, and display a sensibility that's at once comical, lyrical, and melancholy. Her latest piece, IN THE JUNGLE playfully and sorrowfully tells the tale of an unreliable narrator in a self-imposed exile. Given a grant to study the equivalent of animal cries and whines in jungle flora, our heroine has lived for 1,612 days deep in an unnamed jungle. This jungle serves as an extended metaphor for excessive and continual growth and death and fear and sustenance, a metaphorical space of chaos in which the scientist finds solace and which stands in contrast to the human jungle of 'civilization.' Is IN THE JUNGLE - which grew out of a live performance - a filmed document of a theater piece, a musical, a poetic lecture, or some combination of all of the above? In Barber's hands, as in so much of her work, the distinctions don't matter, especially when the result is as transporting, thought-provoking, and magical as IN THE JUNGLE. "Like much of Barber's creative labor, IN THE JUNGLE exists in the tension of both recognizing the profound beauty of the natural world that we inhabit while coming to grips with the inadequacies of our knowledge systems, including language, to describe and understand it." -Bret McCabe "Barber approaches cinema as a philosophical toy, intimately small, in which the play itself generates both pleasure and insight." -Ed Halter, AFTERALL ONLINE 2/17 San Francisco, California: Other Cinema http://www.othercinema.com/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=0f2d7618c1&e=f36020cad0> 8pm, 992 Valencia BILL MORRISON’S DAWSON CITY: FROZEN TIME Bill (Decasia) Morrison appears in person to introduce this meditation on cinema’s past, piecing together the bizarre but true story of a long-lost collection of 533 nitrate film prints from the early 1900s! Located just south of the Arctic Circle, Dawson City became the center of the Canadian Gold Rush that brought in 100,000 prospectors. It was also the final stop for a distribution chain that sent prints to the Yukon. The films were seldom, if ever, returned. This collection was uncovered in 1978 when a bulldozer working its way through a parking lot dug up a cache of film cans. Morrison draws on these permafrost-protected dramas and newsreels, pairing them with interviews, historical photographs, and an enigmatic score by Sigur Rós collaborator and composer Alex Somers. Free Canadian beer to celebrate the launch of OtherZine#33! $8 SUNDAY, FEBRUARY 18, 2018 2/18 Los Angeles, California: Filmforum http://www.lafilmforum.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=50508fc97a&e=f36020cad0> 7:30 pm, Spielberg Theatre at the Egyptian, 6712 Hollywood Blvd. LYNNE SACHS: TIP OF MY TONGUE Filmmaker Lynne Sachs in person! LA premiere! Filmforum welcomes back Lynne Sachs with her latest films. In Tip of My Tongue, twelve New Yorkers born in the early 1960s across several continents “visit” every year of their lives in a brash, self-reflexive experiment about what it’s meant to live in America over the last half century. Director and participant Lynne Sachs, who wrote her own series of 50 poems for every year of her life, guides her collaborators across the landscape of their memories. She gives each person the same historical timeline as a catalyst for an exploration of the relationship between their personal lives and the times in which they have lived. Initially strangers with nothing in common but their age, the group works together writing, performing and filming. Using the backdrop of the horizon as it meets the water in each of NYC’s five boroughs as well as abstracted archival material, Sachs’ project becomes an activator in the resurrection of complex, sometimes paradoxical reflections. In the dreamscape of the movie, each participant embraces shards of the past, knowing that his or her connection to a historical moment may be tenuous but allowing for that ambiguity and mystery. In this way, traditional timelines are replaced by a multi-layered, cinematic architecture that both speaks to and visualizes the nature of historical expression. Preceded by a sneak preview of "Carolee, Barbara & Gunvor" (2018) 2/18 Minneapolis, Minnesota 55408: Bryant Lake Bowl & Theater 7pm, 810 W Lake St CC31 - JOSH WEISSBACH: DOMESTIC EMULSION Tickets: https://www.brownpapertickets.com/event/3231653 Josh Weissbach's artistic practice is materially committed to analog film, a choice driven by his attraction to the breadth, limitations, and tangible manipulations of the 16mm frame. Employing experimental and non-fiction filmmaking techniques, the entirety of Weissbach's cinematic project has been informed by topoanalysis, which is defined by Gaston Bacherlard as the "study of the sites of our intimate lives." This has mostly manifested itself within The Addresses, which is an ongoing series of films that primarily focuses on the process of domestic spaces being unbuilt by familial trauma. 2/18 New York, NY: Anthology Film Archives http://www.anthologyfilmarchives.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=6d5f3dbf5e&e=f36020cad0> 7:30 PM, 32 Second Avenue SHOW AND TELL: STEPHANIE BARBER IN THE JUNGLE (2017, 63 min, digital. With Cricket Arrison (of Wham City) and M.C. Schmidt (of Matmos).) Stephanie Barber has achieved the rare feat of carving out a cinematic (or more properly speaking, media-spanning) realm entirely her own. Equally attuned to the nuances of the moving image and of language, her short and occasional feature-length film and video works meld together elements of photography, poetry, music, and live performance, and display a sensibility that's at once comical, lyrical, and melancholy. Her latest piece, IN THE JUNGLE playfully and sorrowfully tells the tale of an unreliable narrator in a self-imposed exile. Given a grant to study the equivalent of animal cries and whines in jungle flora, our heroine has lived for 1,612 days deep in an unnamed jungle. This jungle serves as an extended metaphor for excessive and continual growth and death and fear and sustenance, a metaphorical space of chaos in which the scientist finds solace and which stands in contrast to the human jungle of 'civilization.' Is IN THE JUNGLE - which grew out of a live performance - a filmed document of a theater piece, a musical, a poetic lecture, or some combination of all of the above? In Barber's hands, as in so much of her work, the distinctions don't matter, especially when the result is as transporting, thought-provoking, and magical as IN THE JUNGLE. "Like much of Barber's creative labor, IN THE JUNGLE exists in the tension of both recognizing the profound beauty of the natural world that we inhabit while coming to grips with the inadequacies of our knowledge systems, including language, to describe and understand it." -Bret McCabe "Barber approaches cinema as a philosophical toy, intimately small, in which the play itself generates both pleasure and insight." -Ed Halter, AFTERALL ONLINE MONDAY, FEBRUARY 19, 2018 2/19 Cambridge, Massachusetts: Harvard Film Archive http://hcl.harvard.edu/hfa <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=326bc5fe62&e=f36020cad0> 7pm, 24 Quincy Street RAT FILM - THEO ANTHONY IN PERSON “It ain’t never been a rat problem in Baltimore,” notes the philosophic Baltimore exterminator Harold Edmond. “Always been a people problem.” This exhilarating, circuitous documentary creatively excavates the layered, sometimes shocking and often bizarre depths of that reasoning. Born and raised just outside of the city and currently a resident, director Theo Anthony adopts Baltimore’s number one pest as his gateway to an infinite labyrinth of sociological, political, racial and behavioral theories and investigations. In the midst of an eccentric, entertaining assortment of hunters, owners and charmers of the rat, Anthony turns to key social science experiments—in which these ubiquitous lab animals star as human proxies—with disturbing implications for city populations. Meanwhile, the history and potential future of Baltimore is overlayed via urban planning maps, disorienting Google Earth views and an impenetrably cool voiceover. As the rat’s path strangely crisscrosses with the segregation and racism inherent in Baltimore’s design, the film itself deviates from any authoritative, unified point of view. Bent on subverting and destabilizing itself at every turn, Rat Film expands its circles to incorporate vaster and trickier questions, answering them by asking them. TUESDAY, FEBRUARY 20, 2018 2/20 Brooklyn, New York 11222: Light Industry http://www.lightindustry.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=e35cc87a26&e=f36020cad0> 7:30pm, 155 Freeman St THE SMOKER: A BRIEF HISTORY OF THE STAG FILM Presented with Inpatient Press Buried Treasure, 1929, 16mm, 7 mins Unidentified Stag Fragments, 1910s-40s?, 16mm, 15 mins The Modern Magician, 1930s, 16mm, 7 mins Half a Man Is Better than None, 1940s?, 16mm, 9 mins The Hypnotist, 1930s, 16mm, 10 mins Inside Story of Virginia Dare, 1940s?, 16mm, 5 mins New York Honeymoon, late 1940s, 16mm, 10 mins The Apple Knockers and Coke, late 1940s, 16mm, 8 mins The Masked Bandit, ca. 1960, 16mm, 8 mins WEDNESDAY, FEBRUARY 21, 2018 2/21 Boston, Massachusetts 02115: MassArt Film Society http://massartfilmsociety.blogspot.com/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=df01dc53d2&e=f36020cad0> 8 PM EST, 621 Huntington Ave NEW YORK EYE AND EAR CONTROL & BLOOD OF JESUS Program: NEW YORK EYE AND EAR CONTROL (1964, dir. Michael Snow, 34 min.) The waves and the sand on a beach are covering a cutout of a woman's silhouette while a free jazz background music is heard. The same jazz musicians will pose later for the camera in a studio or in the streets of New York. BLOOD OF JESUS (1941, dir. Spencer Williams, 57 min.) American race film written by, directed by, and starring Spencer Williams. It was also released under the alternate title of The Glory Road. The Blood of Jesus was the second film directed by Spencer Williams, who was one of the few African American directors of the 1940s. The Blood of Jesus was produced in Texas on a budget of US$5,000. To present the afterlife, Williams used scenes from a 1911 Italian film called L'Inferno that depicted souls entering Heaven. In addition to Williams, the cast was made up of amateur actors and members of Reverend R.L. Robinson's Heavenly Choir, who sang the film's gospel music score. The Blood of Jesus was screened in cinemas and in black churches. The film's commercial success enabled Williams to direct and write additional feature films for Sack Amusement Enterprises, including two films with religious themes: Brother Martin: Servant of Jesus (1942) and Go Down Death (1944). For years, The Blood of Jesus was considered a lost film until prints were discovered in the mid-1980s in a warehouse in Tyler, Texas. Filmmaker Julie Dash cited the baptismal sequence in The Blood of Jesus as the inspiration for a similar scene from her 1991 feature film Daughters of the Dust. In 1991, The Blood of Jesus became the first race film to be added to the U.S. National Film Registry. Total Run Time: 100 Minutes MASSART FILM SOCIETY THURSDAY, FEBRUARY 22, 2018 2/22 Berlin, Germany: Directors Lounge http://www.directorslounge.net <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=fb6034f5ad&e=f36020cad0> 21:00, Z-Bar, Bergstraße 2, 10115 Berlin-Mitte, Germany DIRECTORS LOUNGE SCREENING - TXEMA NOVELO - DOUBLE FEATURE Two film programs -*°*- *Déjalo Ser* + *Tercer Ojo, Tercer Mente, Tercer Mundo* -*°*- -*°*- Txema Novelo from Mexico City is joining us for a Berlinale special to present a double feature of his new film “Déjalo Ser” together with compilation of music videos that he created for alternative rock musicians in Mexico. Since Novelo started creating super-8 films for a punk music label he has managed in Mexico City, he expanded his creative production in an exponential curve; with making his own films, and with exhibitions of drawings and installations. Novelo's production at the same time stays faithful to his own spirit, and you could truthfully say, spiritual search for life, art, music and an alternative way to look at the world, which at the same time is mixed with irony and a good portion of humor. -*°*- "Déjalo Ser" (Let it be!) is the story of a Rock Mexican band, who's lead singer is suffering from a lack of inspiration. After a mysterious meeting with a foreign singer, the band embarks with her on a journey to Oaxaca in search of a mysterious psychoactive medicine. A trip inspired by Antonin Artaud exile into Mexico, a search for a primitive, deeper and purer reality. -*°*- Shot on Super 8mm with sync dialogues, this guerrilla style road movie, plays homage to George Kuchar's films and transgression cinema in a unique Mexican way. Produced by LE FRESNOY under the tutelage of invited artist and film legend Bela Tarr, 'Let it be' has accomplished in the first six months of its completion a special mention at the Morelia International Film Festival, and a selection for international competition at Clermont Ferrand 2018 in France. -*°*- "Tercer Ojo, Tercer Mente, Tercer Mundo" (Spanish for: Third Eye, Third Mind, Third World) is a selection of recent videos for musician, Novelo has supported for many years. They are shot in different formats of super-8, 16mm, 35mm film and digital video. The films, and the music, are inspired by a desire for life and identity in a world of media domination, capital and crime, without ever taking things too seriously. They are full of iconographical quotes to rock and pop of the era that rock music still had a promise, and if it was the three minute fame promoted by Velvet Underground (or Andy Warhol), or when music was “my religion”. On the other hand, to the German audience and between the lines, they also show, a great deal of Mexican life and urban culture from the perspective of contemporary youth. Their relation to nature and Mexican popular culture, and the reality of urban live become the backdraft for audiovisual imaginations. -*°*- Txema Novelo will be present and will be available for Q&A after the show. -*°*- -*°*- Artist Link: http://www.txemanovelo.com/ -*°*- https://issuu.com/txemanovelo -*°*- -*°*- Links: Directors Lounge http://www.directorslounge.net -*°*- Richfilm http://www.richfilm.de/currentUpload/ -*°*- Z-Bar http://www.z-bar.de 2/22 San Francisco, California: Canyon Cinema http://www.canyoncinema.com <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=b5a31b3950&e=f36020cad0> 7pm, 16 Sherman Street WALKING FILMS: A SALON WITH BABA HILLMAN Please join Canyon Cinema on the evening of Thursday, February 22, 2018, for the next installment of our Salon series. This month, we’re pleased to welcome Amherst, Massachusetts based filmmaker Baba Hillman presenting “Walking Films,” a series of performance-based films centered on landscape and the body, memory, place and disappearance. JACUMBA SONG, Baba Hillman (2014, 3 min, 16mm, US) DECROUX'S GARDEN, Baba Hillman (2012, 4 min, 16mm, France) FREDERIC, Baba Hillman (17 min, S8 transferred to HD, France) MAWAQI AL NUJUM, Baba Hillman (15 min, S8 transferred to HD, Spain/France/Scotland) REDSHIFT, Emily Richardson (2001, 4 min, digital, color) ELEMENTS, Julie Murray (2008, 7 min, 16mm) VOILIERS ET COQUELICOTS, Rose Lowder (2001, 2.6 min, 16mm, color) EAUX D'ARTIFICE, Kenneth Anger (1953, 13 min, 16mm, color) FRIDAY, FEBRUARY 23, 2018 2/23 San Francisco, California 94132: San Francisco Cinematheque http://www.sfcinematheque.org <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=39644e4899&e=f36020cad0> 7 PM PST, August Coppola Theatre, San Francisco State University, 1600 Holloway Avenue AFTER HOURS: FILMS BY KAREN YASINSKY, PROGRAM ONE An uneasy wind blows through Karen Yasinsky's […] films. It rustles clothing indoors and makes green grass wiggle in unnatural ways. It sends tumbleweed rolling east and west. A sense of dislocation and a disturbing tranquility share a stage where everything is in constant motion or very, very still. Her characters are awkward and anatomically incorrect, and sometimes you can see up their skirts. Their arms and legs twitch restlessly, and then suddenly they stand up and twirl like jewelry-box ballerinas. There is no storyboard, no dialogue. Silence and sound alternate, forming a conversation of their own, while the music is most often a chorus of otherworldly voices and instruments-a fitting accompaniment for the ragtag band of magical homemade figures that form Yasinsky's cast. (Laurie Simmons: Essay. Hammer Museum.)https://hammer.ucla.edu/exhibitions/2002/hammer-projects-karen-yasinsky/ Using hand-made puppets, quirky rotoscoped animation and re-purposed footage (citing the likes of Cassavetes, Bresson and Tarkovsky among others), the films of Karen Yasinsky address deep themes of empathy, violence, spiritual grace and redemption as they veer between the cloyingly cute and the viscerally confrontational. As part of a short San Francisco residency, Yasinsky appears in person to present a two-part survey of works. SCREENING (Friday only!): NO PLACE LIKE HOME #1 (1999); STILL LIFE W/ COWS (2002); BOYS (2002); LA NUIT (2007); LE MATIN (2007); ENOUGH TO DRIVE YOU MAD (2009); THIS IS ROOM IS WHITE (2011); PATHETIC MAGIC (2011); LIFE IS AN OPINION, FIRE A FACT (2012) and THE MAN FROM HONG KONG (2015). Presented in association with the Cinema Department at San Francisco State University.http://www.cinema.sfsu.edu/ Admission for this screening (Feb. 23 only) is FREE. pictured above: THE MAN FROM HONG KONG (2015) by Karen Yasinsky SATURDAY, FEBRUARY 24, 2018 2/24 Brooklyn, New York: Microscope Gallery http://www.microscopegallery.com <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=d68a2ec06b&e=f36020cad0> 7:30pm, 1329 Willoughby Ave 2B NICK ZEDD: TEAR DOWN THE WALL Nick Zedd returns to Microscope a 60-minute screening program of 17 new and recent video works, most of which are world premieres. The legendary former Lower East Side underground artist is visiting from Mexico City where he has lived for the past seven years. Among the works making their debut are more than a handful of music videos, a new form for the artist who is best known for his loose narratives often involving amateur actors, transgressive subject matter and complex dialogues. These include “Deathless” (2017), which features Frambuesa and Tim Gehren from The Greys (NYC) and incorporates footage shot inside and outside by a drone camera of the Hotel Virreyes, where Nick Zedd and his family recently became the last holdouts in a showdown with their billionaire landlord, who evicted the residents in order to transform the building into a luxury hotel. Musicians featured in other works are Vente al Diablo, Natalia Ibanez Laria, and #laBAE. With the exception of “The Death of Muffinhead” (2016) - starring New York artist Muffinhead and Anais Djin in all the roles and shot and edited in Brooklyn, NY - all the works were filmed in various locations in Mexico including Mexico City, Sir Francis James’ surrealist gardens in Xochitla, and the remote village of Icatepec in Guerrero. Zedd’s early films were screened earlier this year in "New York Film and Video: No Wave-Transgressive” at MoMA in conjunction with the museum's current exhibition “Club 57: Film, Performance, and Art in East Village 1978-1983". Full program notes and bio info www.microscopegallery.com <http://www.microscopegallery.com> . Admission $8, Students and Members $6. Nearest subway: Jefferson Street L (exit Starr Street), left on Willoughby, enter mid-block. 2/24 Newton: Black Maria Film Festival http://blackmaria.org <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=38cc80aecc&e=f36020cad0> 7:00PM, Performing Arts Center at Sussex County Community College, 1 College Hill Road, Newton, NJ. BLACK MARIA FILM FESTIVAL 37TH ANNUAL FESTIVAL TOUR The Black Maria Film Festival returns to the Performing Arts Center at Sussex County Community College, on Saturday February 24th, at 7:00PM, 1 College Hill Road, Newton, NJ. Tickets are $5 in advance or at the door. Students with ID are free. http://www.sussex.edu. For ticket inquiries, call (973) 300-2106. For event info, call (973) 300-2180. The films including animation, documentary and narrative will be presented in-person by Festival director Jane Steuerwald. Celebrating its 37th consecutive year in 2018, the Black Maria Film Festival is dedicated to creativity and innovation in the moving-image arts. It was named for Thomas Edison's West Orange film studio dubbed the "Black Maria" due to its resemblance to the type of black-box police paddy wagon known as a "black maria." The Festival is an annual juried competition traveling to audiences across the US and abroad, featuring new short works in all genres, and supporting the work of international independent filmmakers. 2/24 San Francisco, California 94103: San Francisco Cinematheque http://www.sfcinematheque.org <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=fc725453c9&e=f36020cad0> 7:30 PM PST, 701 Mission St AFTER HOURS: FILMS BY KAREN YASINSKY, PROGRAM TWO An uneasy wind blows through Karen Yasinsky's […] films. It rustles clothing indoors and makes green grass wiggle in unnatural ways. It sends tumbleweed rolling east and west. A sense of dislocation and a disturbing tranquility share a stage where everything is in constant motion or very, very still. Her characters are awkward and anatomically incorrect, and sometimes you can see up their skirts. Their arms and legs twitch restlessly, and then suddenly they stand up and twirl like jewelry-box ballerinas. There is no storyboard, no dialogue. Silence and sound alternate, forming a conversation of their own, while the music is most often a chorus of otherworldly voices and instruments-a fitting accompaniment for the ragtag band of magical homemade figures that form Yasinsky's cast. (Laurie Simmons: Essay. Hammer Museum.)https://hammer.ucla.edu/exhibitions/2002/hammer-projects-karen-yasinsky/ Using hand-made puppets, quirky rotoscoped animation and re-purposed footage (citing the likes of Cassavetes, Bresson and Tarkovsky among others), the films of Karen Yasinsky address deep themes of empathy, violence, spiritual grace and redemption as they veer between the cloyingly cute and the viscerally confrontational. As part of a short San Francisco residency, Yasinsky appears in person to present a two-part survey of works. SCREENING (Saturday only!): RICE (2018, by Stephanie Barber and Karen Yasinsky); WHO'S YOUR TRUE LOVE? (2003); AFTER HOURS (2013-14); I CHOOSE DARKNESS (2009); MARIE (2010); LIFE IS AN OPINION, FIRE A FACT (2012); AUDITION (2012); THE PERPETUAL MOTION OF MY LOVE FOR YOU (2015); GREEN, GREEN (2018, work-in progress premiere). Presented in association with the Cinema Department at San Francisco State University.http://www.cinema.sfsu.edu/ Admission: $10 general/$6 Cinematheque Membershttp://www.sfcinematheque.org/support/membership/ pictured above: AFTER HOURS (2013) by Karen Yasinsky SUNDAY, FEBRUARY 25, 2018 2/25 New York, NY: Anthology Film Archives http://www.anthologyfilmarchives.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=b57bc77941&e=f36020cad0> 6:30 PM, 32 Second Avenue MEHRDAD OSKOUEI: SHORT FILM PROGRAM THE ECLIPSE / ROZHGIRAN (2001, 14 min, video. Co-directed by Ebrahim Saeedi.) THE WIDOWER / BIVEH MARD (2002, 19 min, digital) I CAN'T REMEMBER ANYTHING ABOUT AFGHANISTAN! / ROO BE JAEI DOOR (2002, 18 min, digital) Total running time: ca. 55 min. 2/25 San Francisco, California: Dirty Looks dirtylooksLA.org 8PM, 339 9th Street HARDCORE HOME MOVIES AT THE STUD PRESENTED BY DIRTY LOOKS + CANYON CINEMA Dirty Looks (LA//NYC) assembles a screening of explicit, Homocore shorts from luminaries of the scene, like G.B. Jones, Bruce La Bruce, Scott Treleaven and Vaginal Davis, as well as artists like Jill Reiter, Jonesy (of the queercore band Fagbash) and Greta Snider. Jonesy, Fiend, Super 8 on HD, 3min., 1992 Greta Snider, Hard-Core Home Movie, 16mm, 5min., 1989 Jill Reiter, The Birthday Party, 8mm on video, 9min., 1993 G.B. Jones, The Troublemakers, super 8 on DV, 20min., 1990 Scott Treleaven, The Salivation Army, super 8 and video, 22min., 2001 Rick Castro, “3. Dr. Chris Teen Sex Surrogate” (from Three Faces of Women: a feminine trilogy), VHS, 25min., 1994 Greta Snider, Our Gay Brothers, 16mm, 9min., 1993 Screening presented in partnership with Canyon Cinema MONDAY, FEBRUARY 26, 2018 2/26 Austin, Texas 78752: Austin Film Society http://www.austinfilm.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=75738c5bb3&e=f36020cad0> 7pm, 6406 N IH-35 Suite 3100 AFS: EXPERIMENTAL SHORTS OF BETTE GORDON, W/ GORDON IN PERSON Bette Gordon began her film work in New York the 1970s. Some of her very first released work were collaborations with visual artist and avant garde filmmaker James Benning. These films were Gordon's early investigations of the possibilities of film structure and narrative as well as female representation. Her featurette EMPTY SUITCASES was an early solo work that explored the themes and visual concepts that would continue to surface in her oeuvre, and led directly into the making of VARIETY. Films in this program include: MICHIGAN AVENUE (Gordon/Benning, 1973), I-94 (Gordon/Benning, 1974), THE UNITED STATES OF AMERICA (Gordon/Benning, 1975), EMPTY SUITCASES (Gordon, 1980). Directed by Bette Gordon USA,1hr 27min, Various years, Digital. 2/26 Princeton: Black Maria Film Festival http://blackmaria.org <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=09932c2f4d&e=f36020cad0> 4:30PM, Princeton University's James M. Stewart '32 Theater, 185 Nassau Street, Room 110, Princeton, NJ BLACK MARIA FILM FESTIVAL 37TH ANNUAL FESTIVAL TOUR The Black Maria Film Festival presents a program of award-winning films from the 2018 collection. The program is sponsored by Princeton University. Admission is free and open to the public. The films including animation, documentary and narrative will be presented in-person by Festival director Jane Steuerwald. Celebrating its 37th consecutive year in 2018, the Black Maria Film Festival is dedicated to creativity and innovation in the moving-image arts. It was named for Thomas Edison's West Orange film studio dubbed the "Black Maria" due to its resemblance to the type of black-box police paddy wagon known as a "black maria." The Festival is an annual juried competition traveling to audiences across the US and abroad, featuring new short works in all genres, and supporting the work of international independent filmmakers. For further information, contact Jane Steuerwald, Black Maria Film Festival Executive Director, j...@blackmariafilmfestival.org <mailto:j...@blackmariafilmfestival.org> , 201-200-2043, www.blackmariafilmfestival.org <http://www.blackmariafilmfestival.org> . _____ Let us know about your alternative film/video event! 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