<http://www.hi-beam.net/now.gif> <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=c5e974f63e&e=f36020cad0> <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=558d47be2f&e=f36020cad0> This week [November 10 - 18, 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=4b9e626ba3&e=f36020cad0> . To receive the weekly listing via email: Subscribe <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=d49913a5f2&e=f36020cad0> . <https://www.lafilmforum.org/assets/Uploads/Screenings/_resampled/FitWyIyMzQiLCIxNjUiXQ/hammer-stress-1-300dpi-smaller.jpg> Barbara Hammer, Superdyke: Prismatic Autobiography <> [November 10, Los Angeles, California] <https://www.cinemahtx.org/wp-content/uploads/2018/10/BearCave-1920x1080-web.jpg> Live Music and Film With Vanessa Renwick, Brent Green, Marisa anderson, and Walt Mcclements <> [November 12, Houston, Texas] NEW CALLS FOR ENTRIES: Call for Entry: Figurative Works II (St. Charles; Deadline: December 31, 2018) http://hi-beam.net/cgi-bin/ann.pl?type=calls <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=8cee312dd8&e=f36020cad0> &readfile=2007.ann Wake America! (Austin; Deadline: December 15, 2018) http://hi-beam.net/cgi-bin/ann.pl?type=calls <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=7b08664d0c&e=f36020cad0> &readfile=2008.ann DEADLINES APPROACHING: Alchemy Film & Moving Image Festival (Hawick, Sotland; Deadline: November 30, 2018) http://hi-beam.net/cgi-bin/ann.pl?type=calls <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=fcdd43bcff&e=f36020cad0> &readfile=1989.ann Cosmic Rays Film Festival (Chapel Hill, NC USA; Deadline: December 01, 2018) http://hi-beam.net/cgi-bin/ann.pl?type=calls <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=4b3af065e5&e=f36020cad0> &readfile=1994.ann On Screen/In Person (Baltimore, MD, USA; Deadline: December 07, 2018) http://hi-beam.net/cgi-bin/ann.pl?type=calls <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=2ae333a9fd&e=f36020cad0> &readfile=1995.ann Experimental & Expanded Animation: Current Perspectives & New Directions (Farnham, Surrey, UK; Deadline: November 15, 2018) http://hi-beam.net/cgi-bin/ann.pl?type=calls <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=2323634a28&e=f36020cad0> &readfile=1999.ann 26th Chicago Underground Film Festival (Chicago, Il, USA; Deadline: December 03, 2018) http://hi-beam.net/cgi-bin/ann.pl?type=calls <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=04120cbe68&e=f36020cad0> &readfile=2000.ann The Florida Experimental Film/Video Festival (Tampa, Florida, USA; Deadline: November 20, 2018) http://hi-beam.net/cgi-bin/ann.pl?type=calls <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=97cac4fac1&e=f36020cad0> &readfile=2002.ann Wake America! (Austin; Deadline: December 15, 2018) http://hi-beam.net/cgi-bin/ann.pl?type=calls <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=d8b0026638&e=f36020cad0> &readfile=2008.ann Events are sorted alphabetically BY CITY within each DATE. This week's programs (summary): * Love and the Epiphanists: A Scott Stark Performance <> [November 10, Houston, Texas] * Barbara Hammer, Superdyke: Prismatic Autobiography <> [November 10, Los Angeles, California] * Ufos, Prog. 3: Yann Gonzalez, Bertrand Mandico, Joana Preiss <> [November 10, New York, NY] * F.J. Ossang: Short Film Program <> [November 10, New York, NY] * Desire and Resistance - Unearthing Trans Legacies <> [November 10, New York, NY] * Girl's Choice: Christian Divine's <> "The Blue Age of video Games" [November 10, San Francisco, California] * Engauge Experimental Film Festival Program 4: the Open Window <> [November 10, Seattle, Washington] * Engauge Experimental Film Festival Program 5--Crackpot Crafters: <> "Localoops" [November 10, Seattle, Washington] * 50s West German Avant Garde Films <> [November 11, Cambridge] * Compressed Air: the Best Experimental Films of 2018 With Michael Sicinski <> [November 11, Houston, Texas] * London Restoration Premiere: Margaret Tait's: Blue Black Permanent + Intro By Writer So Mayer <> [November 11, London, England] * Rose Lowder: Bouquets 11-20 <> [November 11, New York, NY] * From Anger To Utah <> [November 11, New York, NY] * Live Music and Film With Vanessa Renwick, Brent Green, Marisa anderson, and Walt Mcclements <> [November 12, Houston, Texas] * Margaret Tait: Land Makar + Intro By Season Curator Peter Todd. <> [November 13, London, England] * Millennium Film Journal No. 68 <> [November 14, New York, NY] * Millennium Film Journal 68 Launch Screening <> [November 14, New York, New York] * Camera Obscura | Fourth Annual Report <> [November 15, Petaluma, CA] * Tony Conrad video Pt. 1 <> [November 16, Cambridge] * Barbara Hammer, Superdyke: Declarations of Identity <> [November 17, Los Angeles, California] * Optronica2: Dark Synth Hans Grusel/Brutallo + Tommy Becker + Haunted Buchla <> [November 17, San Francisco, California] * The Festival of (In)Appropriation #10 <> [November 18, Los Angeles, California] 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=bad687866a&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 Los Angeles, California: Filmforum http://www.lafilmforum.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=e8ef5a1389&e=f36020cad0> 7:30 pm, UCLA Film & Television Archive, Billy Wilder Theatre, Hammer Museum, 10899 Wilshire Blvd., BARBARA HAMMER, SUPERDYKE: PRISMATIC AUTOBIOGRAPHY New restorations, with Barbara Hammer in person on Nov 9 & 10! Barbara Hammer will sign books beginning at 6:30 p.m. Prismatic Autobiography: Lustrous not only in their shimmering hues but in their ecstatic, deeply emotional, and highly personal narratives, these three works evoke an artist’s active attempts to define herself and self-compose a herstory leaving indelible marks on lesbian feminist cinema in the process. Tickets: Advance sale Price: $10.00 at http://emarket.cinema.ucla.edu/ShoppingCenter/Details.aspx?ref=1052 Tickets for Archive events may also be purchased at the box office: General admission: $9.00; Seniors: $8.00; UCLA Alumni Association Members: $8.00 Non-UCLA students: $8.00; Filmforum members, UCLA students: Free (see policy) 11/10 New York, NY: Anthology Film Archives http://www.anthologyfilmarchives.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=786c092d6f&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=7854c9d90f&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=5eff613fae&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=55851da3ea&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=01062ab9c2&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=78ca72de4a&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=2409e2b371&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=04fa5dc875&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=f55d2b681e&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 <http://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 <http://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=d60112677f&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. MONDAY, NOVEMBER 12, 2018 11/12 Houston, Texas: Houston Cinema Arts Festival 7:30, Aurora Picture Show LIVE MUSIC AND FILM WITH VANESSA RENWICK, BRENT GREEN, MARISA ANDERSON, AND WALT MCCLEMENTS The Houston Cinema Arts Festival is bringing back two experimental film artists who presented memorable shows during HCAF’s first decade. Self-taught visual and filmmaker Brent Green will serve as narrator and musician and multi-instrumentalist Walt McClements (Dark Dark Dark, Lonesome Leash, Hooray for the Riff Raff) will accompany. The program features Green’s distinctive animation works, including A Brief Spark Bookended by Darkness, Carlin, and Strange Fates. The emotionally charged films enchant audiences through lyrical narrations and somber underlying themes with flickering stop-motion Southern Gothic flair. Vanessa Renwick presents two works focusing on changing landscapes and bodies, House of Sound (2009) and Next Level Fucked Up (2016) and premieres a new work in which she spins out the wild visual histories of hand-picked, dumpster-dived 16mm elementary school films about nature, accompanied by an enigmatic live score by guitarist Marisa Anderson. TUESDAY, NOVEMBER 13, 2018 11/13 London, England: BFI Southbank http://www.bfi.org.uk/whatson/southbank/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=bb91b3e3bc&e=f36020cad0> 20.30, BFI Southbank, London, SE1 8XT MARGARET TAIT: LAND MAKAR + INTRO BY SEASON CURATOR PETER TODD. These film poems explore Highland and Island landscapes and their inhabitants. Includes, Land Makar (1981) a portrait of Tait’s farming neighbour Mary Graham Sinclair – a poet (‘makar’) of the land – as we follow her through the seasons. Alongside this, we screen The Drift Back (1956), tracing a family’s return to the Orkney island of Wyre, and Caora Mor: The Big Sheep (1966), which echoes the Highland Clearances of the area, and how ‘handed-down memories still affect people.’ WEDNESDAY, NOVEMBER 14, 2018 11/14 New York, NY: Anthology Film Archives http://www.anthologyfilmarchives.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=20fb68dad2&e=f36020cad0> 7:30 PM, 32 Second Avenue MILLENNIUM FILM JOURNAL NO. 68 This screening showcases nine short films from eight different countries, the majority New York premieres, and all featured in the current issue of the Millennium Film Journal. The program comprises a heterogeneous collection of works: from a 1972 systems-based but lyrical film by Croatian filmmaker Ivan Ladislav Galeta, to Aglaia Konrad's study of an Italian village ravaged by an earthquake and subsequently covered in cement by artist Alberto Burri. If there is anything common to the works in the program, it is that each draws its power from a central mystery. Secrets, but not lies. In some works, particularly Maarit Suomi-Väänänen's MINISPECTACLES AS NICE AS PIES, an excess of information both obscures and illuminates, while others like Marko Ubovic's VALLEY OF THE SHADOW OF DEATH, withhold crucial data, encouraging viewers to rely on their own fantasies, memories, and associations. Selected and presented by Millennium Film Journal editor Grahame Weinbren. For more info about Millennium, visit: mfj-online.org Maarit Suomi-Väänänen MINISPECTACLES AS NICE AS PIES (Finland, 2017, 5 min, digital) Diane Nerwen SIGHT UNSEEN (U.S., 2016, 7 min, digital) Aglaia Konrad IL CRETTO (Belgium, 2018, 11 min, digital) Dustin Grella PRAYERS FOR PEACE (U.S., 2009, 8 min, digital) Marko Ubovic VALLEY OF THE SHADOW OF DEATH (Serbia, 2017, 7 min, digital) Ivan Ladislav Galeta PiRâMidas (Croatia, 1972-84, 12.5 min, 16mm-to-digital) Tessa Garland HERE EAST (UK, 2017, 6 min, digital) Julia Kater PITCH BLACK (Brazil, 2016, 4 min, digital) Vladimir Morozov A VERY LONG PLAY VINYL (Russia, 2015, 10 min, digital) Total running time: ca. 75 min. 11/14 New York, New York: Millennium Film Journal http://www.anthologyfilmarchives.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=911d2f4ebd&e=f36020cad0> 7:30, ANTHOLOGY FILM ARCHIVES, 32 Second Avenue MILLENNIUM FILM JOURNAL 68 LAUNCH SCREENING There is always more to a cinematic image than can be described. The filmmakers in this program work at the boundaries between the affective qualities of the image and the descriptive qualities of the word. In several of the films, an excess of information obscures, rather than illuminates. The boundaries are redrawn. The program includes short films from Finland, Belgium, Serbia, Croatia, UK, Russia, Brazil, and the USA. The full listing is at: http://www.mfj-online.org/mfj-68-screening-afa-nov-14-2018/ THURSDAY, NOVEMBER 15, 2018 11/15 Petaluma, CA: Camera Obscura Film Society http://www.cameraobscurafilmsociety.com <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=542015849e&e=f36020cad0> [multiple times], Hotel Petaluma | 205 Kentucky Street CAMERA OBSCURA | FOURTH ANNUAL REPORT Fourth Annual Report of Camera Obscura [CO-IV-AR] runs 15- to 18-November. More-than-a-dozen programs! Nearly forty films (and as many filmmakers; a modest assortment of guests in-attendance)! Complete schedule to be announced a handful of days prior to Opening Night. FRIDAY, NOVEMBER 16, 2018 11/16 Cambridge: Harvard Film Archive http://hcl.harvard.edu/hfa <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=e47eac0f9f&e=f36020cad0> 7pm, 24 Quincy Street TONY CONRAD VIDEO PT. 1 In 1976, Conrad was invited by Woody Vasulka, head of the Center for Media Study at the University at Buffalo, to join the faculty as a professor of video. Although before taking the job Conrad had actually never made a video, he quickly immersed himself in the medium and by the early 1990s had created around two dozen video works. The sharing of videos on the internet would not become common for another two decades, so in order to show his works more widely, Conrad organized a six-hour compilation of his videos that could be easily shipped and screened. Entitled Authorized to Surrender, the compilation reveals the stylistic range of Conrad’s video projects, including simple single-take videos, videos with special effects, and footage of performances. As indicated by the compilation’s title, many of these works deal with questions of authority and power, often with a focus on the triangular relationship between Conrad, his work, and its audience. Produced in Buffalo with the support of Squeaky Wheel Film and Media Art Center, which Conrad helped cofound, and Hallwalls Contemporary Arts Center, where Conrad had his first retrospective in 1977, Authorized to Surrender notably was shown in New York City as early as February and March 1991, when it was screened daily in its entirety at The Kitchen, an experimental media space where Conrad presented his work on several occasions beginning in 1972. – from Introducing Tony Conrad: A Retrospective, Albright-Knox Art Gallery SATURDAY, NOVEMBER 17, 2018 11/17 Los Angeles, California: Filmforum http://www.lafilmforum.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=93cc02e780&e=f36020cad0> 7:30 pm, UCLA Film & Television Archive, Billy Wilder Theatre, Hammer Museum, 10899 Wilshire Blvd., BARBARA HAMMER, SUPERDYKE: DECLARATIONS OF IDENTITY Declarations of Identity A mix of pseudo-documentary, role-play, and traditional documentation of Hammer’s international audiences combine to create an engaged intervention of queer and feminist testimony in the socially- and politically-charged climate of the 1970s and ‘80s. I WAS / I AM (1973); SISTERS! (1973); MENSES (1974); SUPERDYKE (1975); MULTIPLE ORGASM (1977); AUDIENCE TRT: 75 min. Tickets: Advance sale Price: $10.00 at http://emarket.cinema.ucla.edu/ShoppingCenter/Details.aspx?ref=1038 Tickets for Archive events may also be purchased at the box office: General admission: $9.00; Seniors: $8.00; UCLA Alumni Association Members: $8.00 Non-UCLA students: $8.00; Filmforum members, UCLA students: Free (see policy). 11/17 San Francisco, California: Other Cinema http://www.othercinema.com/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=581ab14d3e&e=f36020cad0> 8 PM, 992 Valencia Street OPTRONICA2: DARK SYNTH HANS GRUSEL/BRUTALLO + TOMMY BECKER + HAUNTED BUCHLA Back by popular demand, Hans Grusel's Krankenkabinet now attempts an even darker theme than the Aztec mummies, with their appreciation/appropriation of cult auteurs Doris Wishman (Bad Girls Go to Hell, A Night to Dismember) and Jack Hill (Spider Baby, Mondo Keyhole)...as artfully re-mixed by Brutallo, and as part of this season’s Trash thread. Local electronic ace Thomas Dimuzio graces out gallery (maybe for the first time ever!) to boast to the world of the wonders of the Buchla synthesizer—conceived and produced right here in Berkeley by Don Buchla, another Bay Area arts visionary recently passed. Thomas is teaming up with Oakland optical whiz Lori Varga in their 20-min. A Sudden, Haunting Pulse Beneath the Concrete. Lori’s four projectors mock up a motion picture miasma of urban decay and beautiful desolation. Opening, Tommy Becker continues to pioneer new modes of live-music-video performance, trotting out Stars White in a Blue Field, plus 3 more of his repertoire. Lillian Schwartz’ analog videos serve as stereoscopic interstices between the acts; come early for 35mm filmstrips and Pocket Monsters. *$9.99 SUNDAY, NOVEMBER 18, 2018 11/18 Los Angeles, California: Filmforum http://www.lafilmforum.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=101552fb5d&e=f36020cad0> 7:30 pm, Spielberg Theatre at the Egyptian, 6712 Hollywood Blvd. THE FESTIVAL OF (IN)APPROPRIATION #10 Curators Jaimie Baron, Greg Cohen, and Lauren Berliner and Filmmaker Brice Bowman in person! Collage or compilation. Found footage film or recycled cinema. Remix or détournement. Whatever one might call it, the practice of incorporating preexistent media into new artworks engenders novel juxtapositions, new ideas, and latent connotations… often entirely unrelated to the intentions of the original makers. In that regard, such works are truly “inappropriate.” Indeed, the act of (in)appropriation can reveal unimagined relationships between past and present, here and there, intention and subversion, artist and critic, and perhaps even compel us to reexamine what it means to be the "producer" or "consumer" of visual culture itself. Tickets: $10 general admission; $6 students (with ID)/seniors; free for Filmforum members. Tickets available at https://inappropriation10.bpt.me or at the door For more event information: www.lafilmforum.org <http://www.lafilmforum.org> , or 323-377-7238 Visit the Festival of (In)appropriation at https://festivalofinappropriation.com/ _____ 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=49ea7940e4&e=f36020cad0> . 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