I forgot to add a program I put together to the weekly list that just went around. I wanted to send it along in case anyone on the list is in northern Ohio tomorrow... 16mm screening of rarely screened 80s/90s work by [women] filmmakers in Canyons collection. Films by Arledge, Fonoroff, Geiser, Kirby, Smith, and Strand. Feel free to spread the word to anyone/everyone in Ohio!
https://calendar.oberlin.edu/event/cinema_artists_cinema_16mm_film_series_women_in_minor_cinema best, james On Sun, Nov 4, 2018, 2:06 PM <[email protected] wrote: > Send FrameWorks mailing list submissions to > [email protected] > > To subscribe or unsubscribe via the World Wide Web, visit > https://mailman-mail5.webfaction.com/listinfo/frameworks > or, via email, send a message with subject or body 'help' to > [email protected] > > You can reach the person managing the list at > [email protected] > > When replying, please edit your Subject line so it is more specific > than "Re: Contents of FrameWorks digest..." > Today's Topics: > > 1. This week [November 3 - 11, 2018] in avant garde cinema > ([email protected]) > > > > ---------- Forwarded message ---------- > From: <[email protected]> > To: "'Experimental Film Discussion List'" <[email protected]> > Cc: > Bcc: > Date: Sat, 3 Nov 2018 17:02:52 -0500 > Subject: [Frameworks] This week [November 3 - 11, 2018] in avant garde > cinema > > > > > > [image: links] > > [image: flickerlogo.gif] > <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=73b14c9728&e=f36020cad0> > > [image: home.gif] > <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=e202bac34a&e=f36020cad0> > This week [November 3 - 11, 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=978bbede1b&e=f36020cad0> > . > > To receive the weekly listing via email: Subscribe > <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=40478992f5&e=f36020cad0>. > > > [image: > Modern%20Mondays%20-%20An%20Evening%20with%20Marie%20Losier.jpg?sha=d6bf75b665659681] > *An Evening With Marie Losier <#m_-7989394390559747557_anchor6> [November > 5, New York, NY United States] * > > [image: cropped---Preiss1-1600x900-c-default-wpcf_320x213.png] > *Infrared Program 4 - Jeff Preiss' Stop <#m_-7989394390559747557_anchor7> > [November 6, San Francisco, California] * > > [image: > 45011726_1878504102266998_3547895474738429952_o.jpg?_nc_cat=101&_nc_ht=scontent-dfw5-1.xx&oh=5d70ec5ce3494706165a51b57d21a8c7&oe=5C7863EC] > *Cineinfinito #74/75: Gordon Ball <#m_-7989394390559747557_anchor11> > [November 8, Santander, Spain] * > > [image: Epiphanists-01-1920x1080.jpg] > *Love and the Epiphanists: A Scott Stark Performance > <#m_-7989394390559747557_anchor17> * > > [image: 003_Faber.jpg] > *Engauge Experimental Film Festival Program 4: the Open Window > <#m_-7989394390559747557_anchor22> * > > *NEW CALLS FOR ENTRIES:* > Magmart Festival XI edition (Naples, Italy; Deadline: April 07, 2019) > http://hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=2003.ann > <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=e5c4e142d1&e=f36020cad0> > Onion City Experimental Film and Video Festival (Chicago; Deadline: > January 04, 2019) > http://hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=2004.ann > <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=b0055e7ef5&e=f36020cad0> > Single Frame (Durham, NC, USA; Deadline: January 01, 2019) > http://hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=2005.ann > <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=2d1b95d61e&e=f36020cad0> > Laterale Film Festival (Cosenza, Southern Italy; Deadline: March 31, 2019) > http://hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=2006.ann > <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=baca65b3b4&e=f36020cad0> > > *DEADLINES APPROACHING:* > Alchemy Film & Moving Image Festival (Hawick, Sotland; Deadline: November > 30, 2018) > http://hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1989.ann > <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=26a9531e26&e=f36020cad0> > Cosmic Rays Film Festival (Chapel Hill, NC USA; Deadline: December 01, > 2018) > http://hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1994.ann > <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=6dc69e1aa5&e=f36020cad0> > On Screen/In Person (Baltimore, MD, USA; Deadline: December 07, 2018) > http://hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1995.ann > <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=50955c8622&e=f36020cad0> > Experimental & Expanded Animation: Current Perspectives & New Directions > (Farnham, Surrey, UK; Deadline: November 15, 2018) > http://hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1999.ann > <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=61a0e1e018&e=f36020cad0> > 26th Chicago Underground Film Festival (Chicago, Il, USA; Deadline: > December 03, 2018) > http://hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=2000.ann > <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=ff79530c27&e=f36020cad0> > The Florida Experimental Film/Video Festival (Tampa, Florida, USA; > Deadline: November 20, 2018) > http://hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=2002.ann > <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=e2e8f2653c&e=f36020cad0> > > Events are sorted alphabetically *BY CITY* within each *DATE*. > > This week's programs (summary): > > · Show & Tell: Helga Fanderl <#m_-7989394390559747557_anchor1> > [November 3, New York, NY] > > · Scritti Politti1: Adam Khalil/Bayley Sweitzer's "Empty Metal" > <#m_-7989394390559747557_anchor2> [November 3, San Francisco, California] > > · Sight Unseen Presents Canyon Cinema 50 Tour > <#m_-7989394390559747557_anchor3> [November 4, Baltimore, MD United > States] > > · Experimenta Presents.Cross-Generation Dialogue: the Margaret > Tait Award + Q+A With Directors Kate Davis, Sarah Forrest, Duncan Marquiss. > <#m_-7989394390559747557_anchor4> [November 5, London, England] > > · Margarer Tait Film Poems + Discussion With Writer Anna Coatman, > Writer So Mayer, Academic Lucy Reynolds and Season Curator Peter Todd > <#m_-7989394390559747557_anchor5> [November 5, London, England] > > · An Evening With Marie Losier <#m_-7989394390559747557_anchor6> > [November 5, New York, NY United States] > > · Infrared Program 4 - Jeff Preiss' Stop > <#m_-7989394390559747557_anchor7> [November 6, San Francisco, California] > > · The Black Maria Film Festival's Hudson County Movie Tour At the > Hoboken Historical Museum Presents the Award-Winning Film, “The Washing > Society” By Lizzie Olesker and Lynne Sachs. > <#m_-7989394390559747557_anchor8> [November 7, Hoboken, NJ] > > · When I Look At You <#m_-7989394390559747557_anchor9> [November > 7, San Francisco, California] > > · One Plus One, By Jean-Luc Godard, official La Premiere! > <#m_-7989394390559747557_anchor10> [November 8, Los Angeles, California] > > · Cineinfinito #74/75: Gordon Ball > <#m_-7989394390559747557_anchor11> [November 8, Santander, Spain] > > · Engauge Experimental Film Festival Program 1: the Aura of > Uncertainty <#m_-7989394390559747557_anchor12> [November 8, Seattle, > Washington] > > · Imaging Actors With Stacey Steers and Lynn Hershman Leeson > <#m_-7989394390559747557_anchor13> [November 9, Houston, Texas] > > · Trans Film: On the Record <#m_-7989394390559747557_anchor14> > [November 9, New York, NY] > > · Engauge Experimental Film Festival Program 3: "Astro Trilogy and > Other Works" By Kerry Laitala <#m_-7989394390559747557_anchor15> > [November 9, Seattle, Washington] > > · Engauge Experimental Film Festival Program 2: Films To Break > Projectors <#m_-7989394390559747557_anchor16> [November 9, Seattle, > Washington] > > · Love and the Epiphanists: A Scott Stark Performance > <#m_-7989394390559747557_anchor17> [November 10, Houston, Texas] > > · Ufos, Prog. 3: Yann Gonzalez, Bertrand Mandico, Joana Preiss > <#m_-7989394390559747557_anchor18> [November 10, New York, NY] > > · F.J. Ossang: Short Film Program > <#m_-7989394390559747557_anchor19> [November 10, New York, NY] > > · Desire and Resistance - Unearthing Trans Legacies > <#m_-7989394390559747557_anchor20> [November 10, New York, NY] > > · Girl's Choice: Christian Divine's "The Blue Age of video Games" > <#m_-7989394390559747557_anchor21> [November 10, San Francisco, > California] > > · Engauge Experimental Film Festival Program 4: the Open Window > <#m_-7989394390559747557_anchor22> [November 10, Seattle, Washington] > > · Engauge Experimental Film Festival Program 5--Crackpot Crafters: > "Localoops" <#m_-7989394390559747557_anchor23> [November 10, Seattle, > Washington] > > · 50s West German Avant Garde Films > <#m_-7989394390559747557_anchor24> [November 11, Cambridge] > > · Compressed Air: the Best Experimental Films of 2018 With Michael > Sicinski <#m_-7989394390559747557_anchor25> [November 11, Houston, Texas] > > · London Restoration Premiere: Margaret Tait's: Blue Black > Permanent + Intro By Writer So Mayer <#m_-7989394390559747557_anchor26> > [November 11, London, England] > > · Rose Lowder: Bouquets 11-20 <#m_-7989394390559747557_anchor27> > [November 11, New York, NY] > > · From Anger To Utah <#m_-7989394390559747557_anchor28> [November > 11, New York, NY] > > *SATURDAY, NOVEMBER 3, 2018* > > 11/3 > New York, NY: *Anthology Film Archives* > http://www.anthologyfilmarchives.org/ > <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=80c8117c1e&e=f36020cad0> > 7:30 PM, 32 Second Avenue > *SHOW & TELL: HELGA FANDERL* > CORRESPONDENCES: THE SILENT FILMS OF HELGA FANDERL German filmmaker Helga > Fanderl makes her first visit to Anthology in many years to present this > specially-selected program drawn from her astoundingly vast body of silent > Super-8mm films and 16mm blow-ups (she has made around 1,000 short films > since 1986). A onetime student of both Peter Kubelka and Robert Breer, > Fanderl makes her work impressionistically and intuitively, in response to > the rhythms, forms, textures, and colors she encounters, and always limits > herself to in-camera editing, so that each film becomes a reflection of the > process of its own creation. Her practice is distinguished as well by her > commitment to a particular way of presenting her work in public: generally > projecting the films herself from within the screening space, Fanderl > conceives of each screening program as a unique 'montage' of individual > works that together comprise a kind of ephemeral, never-to-be-repeated > 'film' in their own right (an approach made possible by the sheer multitude > of pieces she's created over the years). The interplay of the varied films > with their different motifs and rhythms evokes ever-changing and infinitely > diverse correspondences and contrasts, and transforms each screening into a > unique performance, more than a fixed presentation. "My films record > encounters with events and images in the real world that attract me. There > is no postproduction in my work. Every single film preserves and reflects > the traces of its creation, the sensations and emotions I felt in the > moment of filming." -Helga Fanderl SUPER-8MM: FOUNTAIN / BRUNNEN 2000, 3.5 > min, Super-8mm GIRLS / MÄDCHEN 1995, 2 min, Super-8mm BULRUSHES / BINSEN > 2003, 2.5 min, Super-8mm CAROUSEL / KARUSSELL 2006, 3 min, Super-8mm WATER > PLANTS / WASSERPFLANZEN 2017, 2.5 min, Super-8mm LEAVES ON A GLASS ROOF / > BLÄTTER AUF DEM GLASDACH 2017, 3.5 min, Super-8mm CLOUDS OVER THE PALAIS > ROYAL / WOLKEN ÃœBER DEM PALAIS ROYAL 2018, 3.5 min, Super-8mm CIRCULATION > TANK / UMLAUFTANK 2017, 3.5 min, Super-8mm MIRRORED / GESPIEGELT 2018, 3.5 > min, Super-8mm FLOWERING TREE / BLÃœTENBAUM 2018, 1.5 min, Super-8mm SCHOOL > OF BEEKEEPERS / IMKERSCHULE 2018, 30 sec, Super-8mm PLEIN-AIR PHOTOS / > PLEINAIR FOTOS 2018, 1 min, Super-8mm MIMOSAS IN THE WIND / MIMOSEN IM WIND > 2018, 3.5 min, Super-8mm 16MM: NIGHT ON A CANAL / NACHT AM KANAL 2002, 1 > min, Super-8mm-to-16mm SNOWFALL / SCHNEEFALL 2010, 1.5 min, > Super-8mm-to-16mm WHITE FLOWERS / WEIßE BLUMEN 2016, 1.5 min, > Super-8mm-to-16mm WILD GEESE / WILDGÄNSE 2016, 3.5 min, Super-8mm-to-16mm > LEOPARD 2012, 3 min, Super-8mm-to-16mm LEAVES / LAUB 2010, 1.5 min, > Super-8mm-to-16mm RUST / ROST 2010, 3 min, Super-8mm-to-16mm CONTAINER > 2011, 1 min, Super-8mm-to-16mm GLASSES / GLÄSER 2011, 2 min, > Super-8mm-to-16mm YELLOW LEAVES / GELBE BLÄTTER 2010, 1 min, > Super-8mm-to-16mm STREAM / STROM 2010, 3 min, Super-8mm-to-16mm Total > running time: ca. 65 min. > > 11/3 > San Francisco, California: *Other Cinema* > http://www.othercinema.com/ > <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=be89362cd5&e=f36020cad0> > 8 PM, 992 Valencia Street > *SCRITTI POLITTI1: ADAM KHALIL/BAYLEY SWEITZER'S "EMPTY METAL"* > In our co-presentation with PFA, both sides of the Bay are mobilized by > the excitement around this feature debut from a pair of young radicals out > of Brooklyn’s fabled Union Docs incubator. With mass surveillance and > pervasive policing as context, both outside and in the fiction, Adam Khalil > and Bayley Sweitzer, here in the flesh, have managed to conjure a > revolutionary spirit at world’s end. Set in the near future, their > speculative drama, just a few degrees off our current climate of national > collapse, opens up a space for imaginative story-telling...but is still > close enough to a possible present to pop up in Doc Fests! In their taut > thriller, a punk band is coerced into an assassination plot by militant > Native Americans, with support from hackers and hermits. The lives of these > several people, at extreme poles of the nation’s social consciousness, > weave together into a collective against our American Apocalypse. The > evening opens with a selection of trailers and clips from the subversive > cinema that inspired our guests: Ice, Born in Flames, Southland Tales, et > al. > > *SUNDAY, NOVEMBER 4, 2018* > > 11/4 > Baltimore, MD United States: *Sight Unseen* > http://sightunseenbaltimore.com > <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=a70d1c518a&e=f36020cad0> > 4:30 PM, 5 West North Avenue > *SIGHT UNSEEN PRESENTS CANYON CINEMA 50 TOUR* > SIGHT UNSEEN presents Canyon Cinema 50 Film Tour Presented by David > Dinnell Q&A with curator, David Dinnell and filmmaker, Stephanie Barber > immediately following the screening. PROGRAM DESCRIPTION ASSOCIATIONS is > titled after John Smith’s 1975 film, a joyfully dense rebus-like image-word > construction. Smith’s film is preceded by Sara Kathryn Arledge’s rarely > seen 1958 work What is A Man, a film years ahead of its time, and Mark > Toscano’s 2012 piece Releasing Human Energies, which utilizes film > laboratory test footage of a “China Girl” set to a found text read by > Morgan Fisher. The program also features Abigail Child’s classic 1989 film > Mercy, from her celebrated “Is This What You Were Born For?” series; > canonical works by Phil Solomon, Barbara Hammer, Robert Breer, and Robert > Nelson; and two recent restorations: the humorously poignant Confessions by > Curt McDowell and Akbar, Richard Myers’ extraordinary 1970 portrait of > young black filmmaker and student, Akbar Ahmed. Total running time: 90 > minutes Releasing Human Energies Mark Toscano, 2012, 5.5 minutes, color, > sound What is a Man? Sara Kathryn Arledge, 1958, 10 minutes, color, sound > Associations John Smith, 1975, 7 minutes, color, sound Hot Leatherette > Robert Nelson, 1967, 5 minutes, B&W, sound Dyketactics Barbara Hammer, > 1974, 4 minutes, color, sound Flower, the Boy, the Librarian Stephanie > Barber, 1997, 5 minutes, color, sound The Snowman Phil Solomon, 1995, 8 > minutes, color, sound Swiss Army Knife with Rats & Pigeons Robert Breer, > 1981, 6 minutes, color, sound Confessions Curt McDowell, 1971, 11 minutes, > B&W, sound Thine Inward-Looking Eyes Thad Povey, 1993, 2 minutes, color, > sound Mercy Abigail Child, 1989, 10 minutes, color, sound Akbar Richard > Myers, 1970, 16 minutes, color, sound > > *MONDAY, NOVEMBER 5, 2018* > > 11/5 > London, England: *BFI Southbank* > http://www.bfi.org.uk/whatson/southbank/ > <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=0d0d2bab1a&e=f36020cad0> > 20.45, BFI Southbank, London, SE1 8XT > *EXPERIMENTA PRESENTS.CROSS-GENERATION DIALOGUE: THE MARGARET TAIT AWARD + > Q+A WITH DIRECTORS KATE DAVIS, SARAH FORREST, DUNCAN MARQUISS.* > Supported by Glasgow Film Festival, LUX Scotland and Creative Scotland, > the Margaret Tait Award was founded in 2010 to support experimental and > innovative artists working with film and the moving image. In this > programme, we present the eclectic and fascinating works produced by > previous winners (2015-2017) Duncan Marquiss, Kate Davis and Sarah Forrest > – each reflecting Tait’s personal, individual approach, and the strength > and dynamism of artist filmmaking in Scotland right now. Presented by BFI > Curator William Fowler. > > 11/5 > London, England: *BFI Southbank* > http://www.bfi.org.uk/whatson/southbank/ > <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=38fc36e934&e=f36020cad0> > 18.10., BFI Southbank, London, SE1 8XT > *MARGARER TAIT FILM POEMS + DISCUSSION WITH WRITER ANNA COATMAN, WRITER SO > MAYER, ACADEMIC LUCY REYNOLDS AND SEASON CURATOR PETER TODD* > This programme in our season celebrating the remarkable, visionary artist. > includes Three Portrait Sketches (1951), The Leaden Echo and the Golden > Echo (1955) – Tait’s reading of Gerard Manley Hopkins’ poem set to her > images, and Hugh MacDiarmid – A Portrait (1964). We also screen A Portrait > of Ga (1952), a stunning film about Tait’s mother, and Colour Poems (1974), > a poem started in words and finished in images. Plus Where I Am Is Here > (1964), which shows the winter streets of Edinburgh – a beautiful contrast > with Tait’s elemental masterpiece Aerial (1974). Followed by discussion. > > 11/5 > New York, NY United States: *MoMA The Museum of Modern Art* > 7:00 PM, 11 W 53rd St > *AN EVENING WITH MARIE LOSIER* > In this intimate evening complementing the artist’s midcareer > retrospective, Marie Losier presents a specially assembled program of > unseen works, ranging from early personal films to footage from her many > years documenting New York’s avant-garde film community and a preview of > ongoing projects. > > *TUESDAY, NOVEMBER 6, 2018* > > 11/6 > San Francisco, California: *San Francisco Cinematheque* > http://www.sfcinematheque.org > <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=289bf34188&e=f36020cad0> > 8:00 PM, 80 Turk Street San Francisco, CA 94102 > *INFRARED PROGRAM 4 - JEFF PREISS' STOP* > About INFRARED: In 2017, the City of San Francisco indicated intention to > designate a portion of its Tenderloin neighborhood (a portion which > includes CounterPulse and the office of San Francisco Cinematheque > Cinematheque) as the “Compton’s Transgender, Lesbian, Gay, and Bisexual > District” in reference to a 1966 protest action held at Compton’s > Cafeteria, located at the intersection of Turk and Taylor Streets in San > Francisco. This pre-Stonewall action is recognized as a significant > milestone in queer and transgender political activism. In celebration of > this designation—the first legally recognized municipal transgender > district in the world—San Francisco Cinematheque is proud to present > INFRARED, four nights of experimental films by and about transgender, > nonbinary and gender nonconforming artists curated by transgender filmmaker > Malic Amalya. Full series details available here. STOP (1995–2012) by Jeff > Preiss; 16mm to digital video, color, sound, 120 minutes, exhibition file > from the maker In the tradition of home movies, Jeff Preiss’ experimental > documentary STOP begins in his child’s early years and concludes in his > child’s teenage years. In brief, rhythmic flashes, subjects repeat in > cycles while others form isolated episodes. The formation of an art gallery > entangles with family celebrations. Quotidian violence—including a white > man in a Native American costume—intertwines with transportation and > television programs. London and New York City are captured as they mourn > the loss of Princess Diana and react in shock to the September 11th > attacks. Silence and atmospheric ambiance alter, while light leaks and jump > cuts pulse throughout the film. Over the course of sixteen years, Priess’ > child is the only reliable marker of time. The film not only chronicles > advancing age. It also maps the advancing self-awareness that > differentiates from parental expectations. Preiss’ camera does not > distance, judge or sensationalize but provides a platform for his child to > proclaim his gender identity. (Malic Amalya) “Airplanes, holidays, tigers, > funerals, friends, dogs, car crashes, dead birds, the Twin Towers, 14th > Street, clouds, windshield wipers, rain, buildings, terraces, babies, kids, > old people, Stan Brakhage, art, movies, Planet of the Apes, a monkey > reading a newspaper, New York, Seoul, Paris, Berlin, Boston, apartments, > fireworks, flags, houses, terraces, beaches, trains, cars, driftwood, > billboards, Los Angeles, September 11, Ground Zero, George W. Bush, the > Iraq War, chicken nuggets, French fries, pizza, döner kebab, airports, > haircuts, dentists, doctors, laptops, cell phones, 23rd Street, subways, > Chet Baker, SlutWalk, coffee, bagels, dresses, advertisements, skirts, > ties, bathing suits, Orchard Street, traffic. This is a sampling of what > enters the world of Jeff Preiss’s STOP, a film of beautiful observations > and revelations, chronicling magnificent transformations and recent history > with a feverish urgency.” (Giampaolo Bianconi: “In Retrospect: Jeff Preiss’ > STOP. The Brooklyn Rail) “Among the stops referred to in the title, one was > the act of assigning an end within the accumulating mass of my personal > archive—so that a film could be possibly shaped. Many converging threads of > ends and transformations were candidates: the nearing end of celluloid film > and the end of the 4 x 3 video standard—or the end of an archival set as I > approached camera roll #2500. But most evident was the quintessential end > of nearly all home-movie cycles: the awkward end of my child’s > prepubescence—in this case hinging on a heroically decisive transformation > of gender expression. :It was not until this particular end was in sight > that I began to consider the possibility of illusionary synchronized sound. > Maybe the spring-driven Bolex I used exclusively had made too convincing a > case as the sole-silent technology—but now moved by the > connection-disconnection of the two media channels somehow mirroring the > fit/non-fit of the body, I started assigning alternating sections to be > post-synchronized—and having on no occasion recorded sound along with the > film, this required a process diametrically opposed to shooting’s > immediacy, one that was entirely fictional. In all sixteen years, on only > one occasion did I have access to simultaneously recorded sound. It was > just by chance that a friend was shooting video alongside me and sometime > later realized it would be useful. Only a few seconds of my kid speaking > directly to camera declaring the right of gender self-determination.” (Jeff > Preiss) > > *WEDNESDAY, NOVEMBER 7, 2018* > > 11/7 > Hoboken, NJ: *Black Maria Film Festival* > http://www.blackmaria.org > <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=f4d58f9b4c&e=f36020cad0> > 7:00PM, Hoboken Historical Museum, 1301 Hudson St. > *THE BLACK MARIA FILM FESTIVAL’S HUDSON COUNTY MOVIE TOUR AT THE HOBOKEN > HISTORICAL MUSEUM PRESENTS THE AWARD-WINNING FILM, “THE WASHING SOCIETY” BY > LIZZIE OLESKER AND LYNNE SACHS.* > In collaboration with the Hoboken Historical Museum, the Black Maria Film > Festival continues its series of documentary and theme-based film programs > from the Festival collection on Wednesday evenings this fall. Black Maria > Executive Director Jane Steuerwald will present the custom-curated programs > and lead a discussion with the audience. Program 3 features the Black Maria > Stellar Award-Winning documentary, “The Washing Society” by Lizzie Olesker > and Lynne Sachs. The program will also include an epilogue by Olesker and > Sachs called, ¡Despertar! - New York City Laundry Workers Rise Up. The > filmmakers will be present to discuss the film, it’s impact and subsequent > outreach with the audience. Special guest, author and producer Emily Rubin, > will join in with a reading inspired in part by the themes of changing > neighborhoods addressed in “The Washing Society.” Launched in 2005, Rubin’s > project Dirty Laundry: Loads of Prose is a “ground-breaking, > suds-producing” reading series held in local laundromats in and around the > Lower East Side and in between washers and dryers in California, Colorado > and Massachusetts. This special program will be held on Wednesday evening, > November 7th, 2018. Doors open at 6:30PM, and the films screen at 7:00PM. A > suggested $5 donation at the door includes light refreshments. Now in its > 37th consecutive year, the Black Maria Film Festival focuses on diverse > short films – narrative, experimental, animation, and documentary - > including those, which address issues and struggles within contemporary > society such as the environment, public health, race and class, family, > sustainability, and more. The Black Maria Film Festival’s Hudson County > Movie Tour is made possible through the generous support of The Hudson > County Hudson County Office of Cultural & Heritage Affairs & Tourism, Gina > Hulings, Director/Administrator. For further information, consult the > Hoboken Historical Museum at 201-656-2240, www.hobokenmuseum.org; or > contact Black Maria Festival Director Jane Steuerwald, > [email protected]. Program information is posted on the > Black Maria Film Festival website under the Tour Schedule link: > www.blackmariafilmfestival.org. > > 11/7 > San Francisco, California: *Peephole Cinema* > http://peepholecinema.com > <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=80245a6aa1&e=f36020cad0> > 24hrs a day 7 days a week, 280 Orange Alley, San Francisco (Off 26th > Street near Valencia Street) > *WHEN I LOOK AT YOU* > The Peephole Cinema in San Francisco is pleased to present When I Look At > You a collection of three videos where artists observe our natural > surroundings and find wonder within them. Work by Amy Hibbs, Wioleta > Kaminska and Juila Oldham. Curated by Sarah Klein. On view November 7, 2018 > – January 5, 2019. The Peephole Cinema is a free, public cinema showing > media-based works, 24 hours a day and seven days a week, through a > dime-sized peephole in the Mission District of San Francisco. > > *THURSDAY, NOVEMBER 8, 2018* > > 11/8 > Los Angeles, California: *Filmforum* > http://www.lafilmforum.org/ > <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=cfebf22ec2&e=f36020cad0> > 7:00 pm, MOCA Grand Avenue, Ahmanson Theater, 250 S. Grand Ave., > *ONE PLUS ONE, BY JEAN-LUC GODARD, OFFICIAL LA PREMIERE!* > Official Los Angeles Premiere of Godard’s original cut, not seen at a > proper public screening in Los Angeles since the 1970s, if ever! A new 4K > Restoration! Introduction by Tony Richmond, Cinematographer ! More commonly > known as Sympathy for the Devil after re-editing by its producer, One Plus > One, filmed in 1968, is one of the most complex and feisty films of that > year. The producer altered the ending, changing Godard’s intended meaning, > provoking Godard to punch the producer after the revised cut was first > revealed at the London Film Festival in November 1968. Godard’s original > edit, One Plus One, had some screenings in the first year (we found record > of one in San Francisco in a 1970 Rolling Stone review), but was never > regularly distributed in the US after that. Now ABKCO, the owners of US > rights of both versions, have restored both in 4K, releasing them in > October 2018. Filmforum is proud to present the Los Angeles (and possibly > the US) premiere of the new restoration of One Plus One, Godard’s original > cut. Featuring the Rolling Stones working out their landmark song “Sympathy > for the Devil” in a recording studio in June 1968, intercut with several > scenarios devised by Godard to convey his vision of the inhumane flaws of > capitalism, and his views of the actions of that year, One Plus One has > been a controversial film from its original appearance, highly praised and > damned. You won’t want to miss this critical cinematic expression of 1968 > from one of the world’s most intellectual and complex filmmakers. Tickets: > $15 general; $10 for seniors; $8 for students with ID; free for Filmforum > and MOCA members. Available in advance from Brown Paper Tickets at > https://www.brownpapertickets.com/event/3620859 or at the door. > > 11/8 > Santander, Spain: *Filmoteca de Cantabria* > 10:00 PM, Calle Bonifaz 6 > *CINEINFINITO #74/75: GORDON BALL* > Cineinfinito #74/75: Gordon Ball CINEINFINITO / Cine Club Filmoteca de > Cantabria Jueves 8 de Noviembre de 2018, 22:00h. Filmoteca de Cantabria > Calle Bonifaz, 6 39003 Santander -- #74: Farm Diary I (1975) 8mm, color, > silente, 61 min https://www.cineinfinito.org/cineinfinito-gordon-ball/ > #75: Father Movie (1975) Super 8, color, silente, 10 min Prothalamion > (1978) Super 8, color, silente, 4 min Clouds of Glory (1975) 16 mm, color, > silente, 12 min https://www.cineinfinito.org/cineinfinito-75-gordon-ball/ > > 11/8 > Seattle, Washington: *Interbay Cinema Society* > http://http://interbaycinemasociety.org/film-festival/ > <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=21408f5630&e=f36020cad0> > 7 pm, Northwest Film Forum, 1515 12th Avenue > *ENGAUGE EXPERIMENTAL FILM FESTIVAL PROGRAM 1: THE AURA OF UNCERTAINTY* > A sprocket – driven shorts program, showing works finished on 35mm and > 16mm film from Devon Damonte ("Welcome En Gauge"), Ryan Marino (whose film > "The Aura of Uncertainty" supplies the title of our program), Josh > Weissbach ("theoria"), A. Moon ("I Am Learning To Abandon the World"), Rhys > Morgan ("Contact"), Paul Turano ("My Earth's Eye"), Sofia Canales > ("Mujer"), Sasha Waters Freyer ("Our Summer Made Her Light Escape"), Vera > Brunner-Sung ("Minong, I Slept"), Cherlyn Hsing-Hsin Liu ("A Study of > Fly"), and Sabine Gruffat ("Framelines"). The Engauge Experimental Film > Festival is co-sponsored by Northwest Film Forum, with support from > EXcinema and The Sprocket Society. Please join us for an opening reception > at 5:30 pm in the Northwest Film Forum lobby. > > *FRIDAY, NOVEMBER 9, 2018* > > 11/9 > Houston, Texas: *Houston Cinema Arts Festival* > 7:30, Brasil Houston > *IMAGING ACTORS WITH STACEY STEERS AND LYNN HERSHMAN LEESON* > Two media artists who presented memorable programs during HCAF’s first > decade return to Houston with a selection of works that play with the > images of notable Hollywood actresses. Artist Lynn Hershman will screen her > latest film, Vertighost (2017, 12 min), which offers a feminist riff on > Alfred Hitchcock’s Vertigo and the characters of Carlotta and Madeline > played by Kim Novak. Stacey Steers will project her two latest handmade > collage films, Night Hunter (2011, 16 min) , and Edge of Alchemy (2017, 19 > min), part of her trilogy of films examining women’s inner worlds. Steers > cuts out movie frames of silent film stars Lillian Gish, Mary Pickford, and > Janet Gaynor, and sets them in surreal, environments, built by hand from > fragments of 19th century engravings and illustrations. > > 11/9 > New York, NY: *Anthology Film Archives* > http://www.anthologyfilmarchives.org/ > <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=6ef691c250&e=f36020cad0> > 7:15 PM, 32 Second Avenue > *TRANS FILM: ON THE RECORD* > GUEST CURATED AND PRESENTED BY DORIAN FRASER In this selection of short > films featuring indigenous and Canadian trans, two-spirit, and gender > nonconforming filmmakers, personal narratives are pulled from albums, > journals, and film stills to subvert the 'clinical' cinematic gaze of > traditional documentary. GENDERTROUBLEMAKERS is what you get when two > broke, pissed-off trans dykes respond to cis narratives around trans > experiences in the early 1990s in metropolitan Toronto. PUTTING THE "I" IN > TRANS is a satirical look at the authority of the printed record, and > 'tracks' daily oppressions faced by the community. THE LONGFORM LESBIAN > CENSUS is a sweet and short meditation on the census information-gathering > practice and the politics of being left out. TRANSFORMING FAMILY surveys > contemporary experiences of kinship and family-making in trans roles, and > outside normative narratives while HOLY MOTHER, MY MOTHER pulls from the > tape library of family vacations to connect filmmaker Vivek Shraya's > experience to her maternal lineage and link to the divine mother. FEELING > RESERVED is an animated story of racism and 'twilight tours' by > Saskatchewan's police force, while other official structures that > transcribe, support, and engender systemic injustices are questioned in > STEALTH. THE MISADVENTURES OF PUSSY BOY: FIRST LOVE is the first part of an > animated diary-style narrative trilogy about growing up indigenous and > intersex, and discovering clique divides and teen love on the reservation > in the 1970s. Finally, TSANIZID (WAKE UP!) is an exploration of dissolving, > interconnected forms in a saturated homage to two-spirit and trans > becoming. Mirha-Soleil Ross GENDERTROUBLEMAKERS (1993, 20 min, video) Steen > Starr PUTTING THE "I" IN TRANS (2012, 5 min, digital) Thirza Cuthand & Riki > Yandt THE LONGFORM LESBIAN CENSUS (2017, 4 min, digital) Rémy Huberdeau > TRANSFORMING FAMILY (2012, 11 min, digital) Vivek Shraya HOLY MOTHER, MY > MOTHER (2013, 7 min, digital) Jess MacCormack FEELING RESERVED (2012, 6 > min, digital) Chase Joynt & Alexis Mitchell STEALTH (2012, 17 min, digital) > Alec Butler THE MISADVENTURES OF PUSSY BOY: FIRST LOVE (2003, 4 min, > digital) Beric Manywounds TSANIZID (WAKE UP!) (2017, 6 min, digital) Total > running time: ca. 85 min. > > 11/9 > Seattle, Washington: *Interbay Cinema Society* > http://interbaycinemasociety.org/film-festival/ > <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=11ca94702a&e=f36020cad0> > 9 pm, Northwest Film Forum, 1515 12th Avenue > *ENGAUGE EXPERIMENTAL FILM FESTIVAL PROGRAM 3: "ASTRO TRILOGY AND OTHER > WORKS" BY KERRY LAITALA* > We’ll experience a mind-boggling expanded cinema performance from > San-Francisco based filmmaker Kerry Laitala with live sound by Wobbly. > "Kerry Laitala looks to the heavens for inspiration for her latest > trichotomous tri-projector triumph, the Astro Trilogy. She unveils the > cosmic patterns we've envisaged our mythologies into, simulates the > spectacles with which we've dared to decorate Uranus's cloak, and summons > the goddess of endless night to bring us into ecstatic realms with > pulsations of luteal lubriciousness." "Astro Trilogy" will be preceded by > several of Laitala's single channel works, "Hallowed," "Retrospectroscope," > "Out of the Ether," "Orbit," "Conjurer's Box,"and "City Blight." > > 11/9 > Seattle, Washington: *Interbay Cinema Society* > http://http://interbaycinemasociety.org/film-festival/ > <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=cfd58faca3&e=f36020cad0> > 7 pm, Northwest Film Forum, 1515 12th Avenue > *ENGAUGE EXPERIMENTAL FILM FESTIVAL PROGRAM 2: FILMS TO BREAK PROJECTORS* > Short films from the region, the country and the world with an emphasis on > editing, featuring works by Nicole Baker ("Lost in the Forest, All Alone"), > Bill Brown ("XCTRY"), Monica Saviron ("Broken Tongue"), Tim Grabham (whose > "Films To Break Projectors" supplies the title for our program), Nicholas > Kovats ("Gitpu"), P. Sam Kessie ("bodyshutter"), Grayson Cooke ("Frack"), > Luz Olivia ("Splintering"), Aylon Ben-Ami ("Fire Escape on 34th Street"), > Rita Mahfouz ("On Familiar Waters"), Miles Sprietsma ("Spatial"), Gwendolyn > Audrey Foster ("No Personal Checks"), Kate Lain ("Fifty Feet From > Wendover"), Luisa Sequeira ("Memory, Female Noun"), Charlotte Pryce ("Pwdre > Ser . the rot of stars"). > > *SATURDAY, NOVEMBER 10, 2018* > > 11/10 > Houston, Texas: *Houston Cinema Arts Festival* > https://www.cinemahtx.org/event/love-and-the-epiphanists/ > <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=aa9b4303b5&e=f36020cad0> > 12:45pm, Rice Media Center > *LOVE AND THE EPIPHANISTS: A SCOTT STARK PERFORMANCE* > Building in elements of humor and incongruity, media artist Scott Stark > interweaves non-traditional uses of film and video with an assortment of > art disciplines. Stark’s presentation will culminate with Love and the > Epiphanists, the first part of a 35mm film, 35mm slides, digital video, > audio recordings and live spoken text. The films used are largely sourced > from Stark’s collection of 35mm Hollywood movie trailers from the past 20+ > years. Traces/Legacy, 2015, 35mm film, color/sound, 9 minutes] Is It True > What They Say, 2015, HD Video, color/sound, 9 minutes] Right, 2008, > mini-dv, color/sound, 13 minutes] Splitting You Splitting Me Still, 1988, > 8mm transferred to digital video, 7 minutes] Love and the Epiphanists (Part > 1), 2018, 35mm film, 35mm slides, digital projections, music, live > voice-over, 30 minutes. > > 11/10 > New York, NY: *Anthology Film Archives* > http://www.anthologyfilmarchives.org/ > <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=0fe8e4d0bd&e=f36020cad0> > 1:30 PM, 32 Second Avenue > *UFOS, PROG. 3: YANN GONZALEZ, BERTRAND MANDICO, JOANA PREISS* > Yann Gonzalez ISLANDS / LES ÃŽLES 2017, 23 min, digital. In French with > English subtitles. "With the soberly lyrical and infinitely gracious > ISLANDS, Yann Gonzalez gives his personal version of LA RONDE by Max > Ophüls." -Charles Tesson, LA SEMAINE DE LA CRITIQUE, CANNES Bertrand > Mandico ULTRA PULPE 2018, 37 min, DCP. In French with English subtitles. > Made immediately after his extraordinary feature film, THE WILD BOYS, and > with much of the same cast and crew, Mandico's typically stylized and > inspired ULTRA PULPE centers on a female director of pulp cinema. Joana > Preiss LANDS CLOSE TO PATERSON 2013, 35 min, digital In New York to present > her film SIBERIA, Joana Preiss documents the city as she encounters it > through her meetings and encounters, and as filtered through her > imagination. Total running time: ca. 100 min. > > 11/10 > New York, NY: *Anthology Film Archives* > http://www.anthologyfilmarchives.org/ > <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=f3fc0a7763&e=f36020cad0> > 4:15 PM, 32 Second Avenue > *F.J. OSSANG: SHORT FILM PROGRAM* > THE LAST ENIGMA / LA DERNIÈRE ENIGME (1982, 13 min, 16mm-to-DCP. In > French with English subtitles.) "In between essay and fiction, THE LAST > ENIGMA established Ossang's formal territory: a contemporary mythology. > Inspired by the book 'On Terrorism and the State' by Gianfranco > Sanguinetti, it evokes visual echoes of political events, where a > generation forfeits all revolutionary aspirations due to state terrorism." > -Nicole Brenez ZONA INQUINATA (1983, 22 min, 16mm-to-DCP. In French with > English subtitles.) "La Zone: the poor, dangerous quarters of Paris (George > Lacombe, 1928); the administrative zone where Orpheus looks for his lost > Eurydice (Jean Cocteau, 1950); Interzone - the working title for William > Burroughs's NAKED LUNCH (1959). In 1983, Ossang created a synthesis of all > these territories of unrest under a banner of dead colors." -Nicole Brenez > TRIPTYQUE DU PAYSAGE: SILENCE / SILENCIO (2006, 21 min, 35mm. Music by > Throbbing Gristle. In French with English subtitles.) "[In] the era of > Throbbing Gristle, poetry must measure itself against industrial disasters, > invisible nuclear apocalypses, a travel report, an optical meditation, an > overwhelming array of black and white tones, a love song, a progression of > dim phantoms in the terrifying caverns of hope…strike!" -Nicole Brenez > SKY'S BLACK OUT / CIEL ÉTIENT! (2008, 23 min, 35mm. In French with English > subtitles.) "With the mythological everydayness of the young, destitute > lovers Philémon and Baucis live in their cottage (made of reed in Ovid, > made of wood in Ossang). At the end of the credits, we find the most > beautiful visual declaration of love ever."-Nicole Brenez VLADIVOSTOK > (2008, 5 min, 35mm. In French with English subtitles.) "'Between word and > worlds, teeming with mysteries', wrote the psychedelic poet Claude Pélieu > about Ossang. The fragmentary VLADIVOSTOK cultivates the wealth of such > in-between places."-Nicole Brenez Total running time: ca. 90 min. > > 11/10 > New York, NY: *Anthology Film Archives* > http://www.anthologyfilmarchives.org/ > <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=35595b516a&e=f36020cad0> > 7:00 PM, 32 Second Avenue > *DESIRE AND RESISTANCE - UNEARTHING TRANS LEGACIES* > GUEST CURATED AND PRESENTED BY FINN PAUL Anonymous sexual encounters, > flirtations with the camera, appropriations, and the Christopher Street > Pier: this program proposes alternative modes of retrieving and > disseminating a trans past through an erotic gaze. Addressing an erasure of > trans legacies, these works place trans sexual expression and resistances > in conversation with a non-linear idea of history that is both real and > fabricated, defiantly looking toward a future of pleasure, play, and > beauty. Jason Elvis Barker ST. PELAGIUS THE PENITENT (1998, 13 min, > Super-8mm) Zackary Drucker YOU WILL NEVER BE A WOMAN (2014, 9 min, digital) > Malic Amalya FLYHOLE (2018, 6 min, 35mm slides) Pol Merchan FAMILIAR > MEMORIES (2016, 4 min, Super-8mm) Finn Paul BESIDE THE WATER, 1999-2004 > (2018, 11 min, digital) Ho Tam POCAHONTAS - TRANSWORLD REMIX (1998, 4 min, > digital) Andre Keichian DESPERADO (2010, 2 min, digital) Vicente Ugartechea > MIGHTY REAL (2018, 3 min, digital) Vika Kirchenbauer SHE WHOSE BLOOD IS > CLOTTING IN MY UNDERWEAR (2016, 4 min, digital) Tourmaline ATLANTIC IS A > SEA OF BONES (2018, 8 min, digital) Total running time: ca. 70 min. > > 11/10 > San Francisco, California: *Other Cinema* > http://www.othercinema.com/ > <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=713ad0e05e&e=f36020cad0> > 8 PM, 992 Valencia Street > *GIRL'S CHOICE: CHRISTIAN DIVINE'S "THE BLUE AGE OF VIDEO GAMES"* > He’s back! Our homeboy who hit it big with the world’s first chart-topping > video game played through a female protagonist! From Pong to Doom and > beyond, the cultural expansion and global reach of games has ushered in a > new era of diversity, story-telling and representation, along with > cautionaries over their social impact. Games from around the world now > explore issues of war, abuse, poverty, racism, sexism, even colonialism. > Generations raised with computer games as an organic part of a media diet > now accept and embrace them as a valid aesthetic force and all that > implies. Christian Divine, writer for Life is Strange, the first video game > to win a Peabody Award (along with a BAFTA), explores this strange new > world with behind-the-scenes insights and interactive audience gameplay! > Come early for a 25-min. opening set of choice clips from “classic” > computer-geek teen flicks from the 80s. *$9 > > 11/10 > Seattle, Washington: *Interbay Cinema Society* > http://http://interbaycinemasociety.org/film-festival/ > <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=277425b67d&e=f36020cad0> > 4 pm, Northwest Film Forum, 1515 12th Avenue > *ENGAUGE EXPERIMENTAL FILM FESTIVAL PROGRAM 4: THE OPEN WINDOW* > Our third and final shorts program features several films with direct > animation, hand-colored frames, hand- and eco-processing, scratching, found > footage and other analog strategies. Films by Michael Lyons ("Film Loop 31: > Shisendo"), Louise Bourque ("Self-Portrait, Post Partum"), Peter Lichter > ("Nutrition Fugue"), Dawn George ("See Weeds"), Kevin Obsatz ("Big Agnes > Ascent"), Parker Thiessen ("End of an Era"), Linda Fenstermaker ("Erased > Etchings"), Kiera Faber ("T is for Turnip"), Michelle Trujillo ("Cuentos > Para Los Niños #1"), Matthew Pell ("Pulse"), Ingrid Stobbe ("The Four Five > Bleed"), Nathaniel Cummings-Lambert ("Principle Meridian"), Bori Mate ("The > Headless Appearance"), Dinorah de Jesus Rodriquez ("Sonámbula"), Lorenzo > Gattona ("Even in paradise it is not good to be alone"), Lynne Siefert > (whose film "The Open Window" inspired our title for this program), and > Matt Soar ("Love Leaders"). > > 11/10 > Seattle, Washington: *Interbay Cinema Society* > http://http://interbaycinemasociety.org/film-festival/ > <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=c6d7c12709&e=f36020cad0> > 8 pm, LoveCityLove, 1406 East Pike Street > *ENGAUGE EXPERIMENTAL FILM FESTIVAL PROGRAM 5--CRACKPOT CRAFTERS: > "LOCALOOPS"* > *Note the change in venue for this event!* On Saturday night, we’ll > interact with the LocaLoops craziness from the Olympia, WA-based > film-making collective Crackpot Crafters. "Emerging from the ground > unpredictably like mushrooms from mycelium, LocaLoops is an immersive > manifestation of Crackpot Crafters direct animation gang, a weird, > wonderful subversive, DIY, technologically dumpster-diving genre of > cavemanic filmmaking presented via multiple projectors, screens adapted > from many materials and live sound accompaniment. Join us for this > eye-popping event." > > *SUNDAY, NOVEMBER 11, 2018* > > 11/11 > Cambridge: *Harvard Film Archive* > http://hcl.harvard.edu/hfa > <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=317af6b92f&e=f36020cad0> > 7pm, 24 Quincy Street > *50S WEST GERMAN AVANT GARDE FILMS* > Avant-garde is a word rarely used in discussions of 50s West German > cinema, which at first seems absurd considering that so much of the young > nation’s most interesting works of art would qualify as experimental and > pioneering. That said, save for the painter-sculptor-inventor-“occasional > chemist” Franz Schömbs (who actually built his own optical bench—called the > Integrator—for Opuscula!), there were no other filmmakers who devoted their > time and energies to the creation of works formally challenging and nothing > but. This doesn’t mean directors weren’t experimenting like mad, just not > as l’art pour l’art but, rather, in the context of other genres. For > instance, Neue Kunst – Neues Sehen is a documentary about modern art that > lends its formal strategies from the works and artist presented; Der > Wundertisch starts as a popular educational documentary on editing that > ends in a hand-painted abstract film (made for the main part in 1943!); the > animated commercial Alles für alle perplexes and enchants through its jazzy > mix of styles and tones, while Die Purpurlinie delights with its cheekily > surreal imagination; Das magische Band, finally, made in praise of > BASF-manufactured magnetic tape, is a playfully essayistic piece of > meta-cinema on time and memory. *Introduction by Jennifer Lynde Barker* *New > Art – New Vision (Neue Kunst – neues Sehen)* Directed by Ottomar Domnick. > West Germany 1950, 35mm, b/w, 10 min. German with English subtitles > *Opuscula* Directed by Franz Schömbs. West Germany 1946-52, 16mm, color, > 5 min *The Miracle Table (Der Wundertisch)* Directed by Herbert Seggelke. > West Germany 1954, 35mm, color, 10 min. German with English subtitles > *Everything > for Everybody (Alles für alle)* Directed by Hans Fischerkösen. West > Germany 1955, DCP, color, 4 min *The Magic Tape (Das magische Band)* > Directed by Ferdinand Khittl. West Germany 1959, DCP, color, 21 min *The > Purple Line (Die Purpurlinie)* Directed by Florenz von Nordhoff. West > Germany 1959, DCP, color, 14 min > > 11/11 > Houston, Texas: *Houston Cinema Arts Festival* > 12:30, Rice Media Center > *COMPRESSED AIR: THE BEST EXPERIMENTAL FILMS OF 2018 WITH MICHAEL SICINSKI* > From myth to Motown; Berlin to Paris, and beyond; the experimental films > in this program explore a gamut of cinematic styles and visual substance. > Creativity and imagination abound in this spectacular selection of shorts > from around the globe. Thoughtfully chosen by film critic and University of > Houston lecturer Michael Sicinski, this surprising compilation of > contemporary short films features several US, North American and World > premieres. All films projected in their original formats. > > 11/11 > London, England: *BFI Southbank* > http://www.bfi.org.uk/whatson/southbank/ > <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=10f187999e&e=f36020cad0> > 15.00., BFI Southbank, London, SE1 8XT > *LONDON RESTORATION PREMIERE: MARGARET TAIT'S: BLUE BLACK PERMANENT + > INTRO BY WRITER SO MAYER* > UK 1992.Dir Margaret Tait. With Celia Imrie, Gerda Stevenson, Jack > Shepherd, James Fleet. 86min. Digital Certificate PG. This haunting and > magical film moves between Edinburgh and Orkney as it tells of a woman’s > attempts to come to terms with her mother’s death through her childhood > memories. Filled with flashbacks and dream sequences, it’s also a film > about islanders’ relationship with the ever-present sea. Tait’s only > feature-length film, from her own screenplay, has been newly remastered in > 2K by the BFI. + Calypso UK 1955. Dir Margaret Tait. 4min Tait’s earliest > hand-painted work. > > 11/11 > New York, NY: *Anthology Film Archives* > http://www.anthologyfilmarchives.org/ > <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=54be5c8cfe&e=f36020cad0> > 4:00 PM, 32 Second Avenue > *ROSE LOWDER: BOUQUETS 11-20* > FILMMAKER IN PERSON! On the occasion of the Visual Studies Workshop's new > publication, NOTEBOOKS OF ROSE LOWDER: BOUQUETS 11-20, Anthology welcomes > back filmmaker Rose Lowder for a program of her exquisite and formally > precise short films, including BOUQUETS 11-20 as well as a selection of > works made since her last visit to Anthology in 2011. Lowder has composed > more than fifty films since the late 1970s, mostly in and around her home > in the Avignon region of France. Lowder's breathtaking and carefully > composed films explore landscape and cityscape, often using superimposition > and a unique single-frame structure. In addition to her work as a > filmmaker, she has been active as a curator and as the co-founder of both > the Experimental Film Archive of Avignon and the experimental film > distribution organization, Light Cone. Designed by Joan Lyons, founder of > VSW Press, and edited by Tara Merenda Nelson, Curator of Moving Image > Collections at the Visual Studies Workshop, NOTEBOOKS OF ROSE LOWDER: > BOUQUETS 11-20 includes 88 pages of images and texts from the voluminous > notebooks Lowder creates in parallel with her films. Copies of the book > will be available for sale after the screening. This program is > co-presented by Mono No Aware and the Visual Studies Workshop; for more > info about Mono No Aware visit: mononoawarefilm.com; for more info about > VSW visit: www.vsw.org In addition to Anthology's film screening, a book > release party will take place on Saturday, November 10 at Printed Matter > (231 11th Avenue); for more info visit: www.printedmatter.orgBOUQUETS > 11-20 (2005-10, 14 min, 16mm, silent) FORYANNFROMROSE WITHOUT A HAIR (2014, > 1 min, 16mm, silent) TURBULENCE (2015, 7.5 min, 16mm, silent) TARTARUGHE > D'ACQUA (2016, 24.5 min, 16mm, silent) Total running time: ca. 55 min. > > 11/11 > New York, NY: *Anthology Film Archives* > http://www.anthologyfilmarchives.org/ > <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=4e2d9d373e&e=f36020cad0> > 6:45 PM, 32 Second Avenue > *FROM ANGER TO UTAH* > DEVIN UTAH IN PERSON! In this experimental trifecta, queer intimacy and > instinct are portrayed by cinematic visionaries, past and present. Films > made thirty years apart seem to speak to us, and to each other, in a > similar visual language. Beginning in the fountains of Tivoli, Italy, > Kenneth Anger's EAUX D'ARTIFICE sexualizes piss as queer fluid. Devin Utah > dives into this experimental inspiration, framing found and original > footage with a trans lens: SOAK uncovers a fever-dream of identity and > desire, and explores questions of intuition and safety. Finally, in > ritualistic celebration, Luther Price's SODOM consecrates a visceral > fragmentation of the human form through penetration and collage. Kenneth > Anger EAUX D'ARTIFICE (1953, 13 min, 16mm) Devin Utah SOAK (2018, 12 min, > digital) Luther Price SODOM (1989, 21 min, Super-8mm-to-16mm. Print made > with support from the Andy Warhol Foundation for the Visual Arts.) Total > running time: ca. 50 min. > ------------------------------ > > *Let us know about your alternative film/video event!* > > Enter your event announcements by going to the Flicker Weekly Listing Form > <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=475c97d751&e=f36020cad0> > . > > To receive the weekly listing via email, send a message to Subscribe > <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=ec60a52bf3&e=f36020cad0>. > > > [image: home.gif] > <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=f4e1238e65&e=f36020cad0> > > > > > > _______________________________________________ > FrameWorks mailing list > [email protected] > https://mailman-mail5.webfaction.com/listinfo/frameworks >
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