<http://www.hi-beam.net/now.gif> <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=67ae07645d&e=f36020cad0> <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=2fc40ae19c&e=f36020cad0> This week [November 24 - December 2, 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=65898320ad&e=f36020cad0> . To receive the weekly listing via email: Subscribe <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=b237f42748&e=f36020cad0> . <https://d3e1o4bcbhmj8g.cloudfront.net/photos/767714/huge/072a3d4167a4a2bf7c343ef3c44100b973d54093.jpg> Please Mama ... Dont Make Me Eat It?: Super-8mm Films By Luther Price <> [November 27, Oberlin, OH] <https://i0.wp.com/microscopegallery.com/wp-content/uploads/2018/11/Shelly-Silver-A-New-Strange-Beauty.jpeg?w=1440&quality=95&ssl=1> Shelly Silver: A Strange New Beauty <> [November 30, Brooklyn, New York] NEW CALLS FOR ENTRIES: Wake America! (Austin; Deadline: December 20, 2018) http://hi-beam.net/cgi-bin/ann.pl?type=calls <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=4985edd5c4&e=f36020cad0> &readfile=2008.ann Another Experiment by Women Film Festival (NY NY; Deadline: February 15, 2019) http://hi-beam.net/cgi-bin/ann.pl?type=calls <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=505585d31c&e=f36020cad0> &readfile=2009.ann Bethesda Film Fest (Bethesda, MD, USA; Deadline: January 11, 2019) http://hi-beam.net/cgi-bin/ann.pl?type=calls <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=17c86e6c53&e=f36020cad0> &readfile=2010.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=976c84dad7&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=970fda4618&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=b445383155&e=f36020cad0> &readfile=1995.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=6d2c6b683d&e=f36020cad0> &readfile=2000.ann Wake America! (Austin; Deadline: December 20, 2018) http://hi-beam.net/cgi-bin/ann.pl?type=calls <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=55d562f8fc&e=f36020cad0> &readfile=2008.ann Events are sorted alphabetically BY CITY within each DATE. This week's programs (summary): * Ec: Kubelka / Lye <> [November 24, New York, NY] * Ec: George <> & Mike Kuchar [November 24, New York, NY] * Archive Fever1: Cult Micro Archives/Anomalies + Joe Dante's <> "Movie Orgy" [November 24, San Francisco, California] * Ec: George Landow, Aka Owen Land <> [November 25, New York, NY] * Julio Garcia Espinosa's Third World, Third World War <> [November 27, Brooklyn, NY United States] * Please Mama ... Dont Make Me Eat It?: Super-8mm Films By Luther Price <> [November 27, Oberlin, OH] * Directors Lounge Screening - Gabriele Stellbaum - My House Is On Fire <> [November 29, Berlin, Germany] * Disasters of Peace Vol.6 <> [November 29, London, England] * Ism, Ism, Ism: Experimental Cinema In Latin America, Pgm 1: Dreams of Suitcases and A Blue Lobster <> [November 29, New York, NY] * Ism, Ism, Ism: Experimental Cinema In Latin America, Pgm 2: Cine Reciclado / Recycled Cinema <> [November 29, New York, NY] * Shelly Silver: A Strange New Beauty <> [November 30, Brooklyn, New York] * Tony Conrad video Pt. 2 <> [November 30, Cambridge] * Margaret Tait: Places of Work + Intro By Season Curator Peter Todd. <> [November 30, London, England] * Ism, Ism, Ism: Experimental Cinema In Latin America, Pgm 3: Meta: Cinema Critiques Cinema <> [November 30, New York, NY] * Ism, Ism, Ism: Experimental Cinema In Latin America, Pgm 4: Estrellas Del Ayer: Latin Camp <> [November 30, New York, NY] * Archive Fever2: Scritti Politti2 1968+50 Paris Situs + Mexico City + Chicago Dnc <> [December 1, San Francisco, California] * Cineinfinito #78: Jean Epstein <> [December 1, Santander, Spain] SATURDAY, NOVEMBER 24, 2018 11/24 New York, NY: Anthology Film Archives http://www.anthologyfilmarchives.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=bc59c15457&e=f36020cad0> 5:00 PM, 32 Second Avenue EC: KUBELKA / LYE Peter Kubelka MOSAIC IN CONFIDENCE / MOSAIK IM VERTRAUEN (1955, 16 min, 35mm, Made in collaboration with Ferry Radax.) ADEBAR (1957, 1 min, 35mm) SCHWECHATER (1958, 1 min, 35mm) ARNULF RAINER (1960, 7 min, 35mm) OUR TRIP TO AFRICA / UNSERE AFRIKAREISE (1966, 12 min, 16mm) "Peter Kubelka is the perfectionist of the film medium; and, as I honor that quality above all others at this time finding such a lack of it now elsewhere, I would simply like to say: Peter Kubelka is the world's greatest filmmaker - which is to say, simply: see his films!…by all means/above all else…etcetera." -Stan Brakhage Len Lye TUSALAVA (1929, 10 min, 16mm, silent) TRADE TATTOO (1937, 5 min, 16mm) RHYTHM (1957, 1 min, 16mm) FREE RADICALS (1958/79, 4 min, 16mm) A giant of experimental animation, Len Lye was born in New Zealand in 1901. He moved to England in the 1920s and subsequently to New York in 1944, where he spent the last 40 years of his life. A pioneer of 'scratch' or 'direct' filmmaking, Lye used various tools to mark patterns, shapes, and images directly onto the film's surface, and often explored the dynamic energy of abstract images propelled into life by lively jazz scores or Pacific-inspired rhythms. Total running time: ca. 60 min. 11/24 New York, NY: Anthology Film Archives http://www.anthologyfilmarchives.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=5c93ba8bf0&e=f36020cad0> 7:00 PM, 32 Second Avenue EC: GEORGE & MIKE KUCHAR All films in this program have been preserved by Anthology Film Archives with support from the National Film Preservation Foundation. PUSSY ON A HOT TIN ROOF (1961, 14 min, 8mm-to-16mm) "It glows with the embers of desire! It smokes with the revelation of men and women longing for robust temptations that will make them sizzle into maturity with a furnace-blast of unrestrained animalism. A film for young and old to enjoy." -George Kuchar MOUNTAIN VACATIONS (1962, 15 min, 8mm-to-16mm blow-up, silent) Also known as CATSKILL COOL CATS, this mysterious reel has never appeared in any Kuchar filmography, including the list in their joint memoir, REFLECTIONS ON A CINEMATIC CESSPOOL. George recalls that this vacation destination was the easiest place to reach by bus from the Bronx. TOOTSIES IN AUTUMN (1963, 15 min, 8mm-to-16mm) A cautionary tale about past-their-prime thespians caught up in a typically Kucharian vortex of madness. LOVERS OF ETERNITY (1964, 36 min, 8mm-to-16mm blow-up, sound on CD. Featuring Mary Flanagan, Dov Lederberg and Jack Smith.) The last 8mm Kuchar production is an all-too-tragic tale in which we find underground icon Jack Smith, experimental filmmaker Dov Lederberg, and one giant cockroach intermingling in the squalor of the Lower East Side. Total running time: ca. 85 min. [MOUNTAIN VACATIONS and LOVERS OF ETERNITY are not part of the Essential Cinema collection, but are included here as a special bonus.] 11/24 San Francisco, California: Other Cinema http://www.othercinema.com/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=b725a56565&e=f36020cad0> 8 PM, 992 Valencia Street ARCHIVE FEVER1: CULT MICRO ARCHIVES/ANOMALIES + JOE DANTE'S "MOVIE ORGY" With Civil Defense crackers on offer, this Atomic Age retro-romp sets off a feisty trifecta on the high stakes and high art of Motion Picture Archiving, with tonight’s celebration of Collectors and Collections oscillating between behind-the-scenes and in-front-of-screens. Our favorite four human-scale “folk archives” share both their anomalous sources and their masterful re-mixes, including several on 16mm! Adam Dziesinski remembers Oddball Films (Stephen Parr RIP) with his 275 Capp Street; Albuquerque’s Basement Films brag about their post-War industrials buttressing a CD fallout shelter (!); North Carolina’s Skip the AV Geek Elsheimer fills halls with sublimely ridiculous “orphans”; and Alessia Cecchet (in person) unveils her own WWW {the whale who wasn't} collage coming out of the Internet Archive, based in our own Richmond district! ALL FOLLOWED by the most famous 16mm compendium in film history, Joe Dante’s Movie Orgy!! Tho the reels were once rumored to top 7 hours, it’s a much later cut screened here (and off video), but we promise to show more than half of this irresistible Olympian assembly of monsters, sci-fi, and Trash that Dante spliced together as a late-60s grad student. SUNDAY, NOVEMBER 25, 2018 11/25 New York, NY: Anthology Film Archives http://www.anthologyfilmarchives.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=5dec11e3b2&e=f36020cad0> 3:30 PM, 32 Second Avenue EC: GEORGE LANDOW, AKA OWEN LAND "The unique contribution of Land's work lies in the fusion of intellectual reason and, significantly, the humor that distances it from the supposedly 'boring' world of avant-garde film. Having explored the basic properties of the celluloid strip itself in early works such as FILM IN WHICH THERE APPEAR…, his attention turned to the spectator in a series of 'literal' films that question the illusionary nature of cinema through the use of word play and visual ambiguity. His work often parodies experimental film itself by mimicking his contemporaries and mocking the solemn approach of film theorists and scholars." -Mark Webber, TWO FILMS BY OWEN LAND FLEMING FALOON (1963, 6 min, 16mm) FILM IN WHICH THERE APPEAR SPROCKET HOLES, EDGE LETTERING, DIRT PARTICLES, ETC. (1965/66, 5 min, 16mm, silent) DIPLOTERATOLOGY (1967/78, 7 min, 16mm, silent) THE FILM THAT RISES TO THE SURFACE OF CLARIFIED BUTTER (1968, 9 min, 16mm, b&w) INSTITUTIONAL QUALITY (1969, 5 min, 16mm) REMEDIAL READING COMPREHENSION (1970, 5 min, 16mm) WHAT'S WRONG WITH THIS PICTURE? (1972, 13 min, 16mm) THANK YOU JESUS FOR THE ETERNAL PRESENT (1973, 6 min, 16mm) A FILM OF THEIR 1973 SPRING TOUR COMMISSIONED BY CHRISTIAN WORLD LIBERATION FRONT OF BERKELEY, CALIFORNIA (1974, 11.5 min, 16mm) FILM IN WHICH…, INSTITUTIONAL QUALITY, and FILM OF THEIR 1973 SPRING TOUR have been preserved by Anthology Film Archives through the National Film Preservation Foundation's Avant-Garde Masters Grant program and The Film Foundation. Funding provided by the George Lucas Family Foundation. Total running time: ca. 70 min. TUESDAY, NOVEMBER 27, 2018 11/27 Brooklyn, NY United States: Light Industry http://www.lightindustry.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=a78e0e15a7&e=f36020cad0> 7:30 PM, 155 Freeman St JULIO GARCIA ESPINOSA'S THIRD WORLD, THIRD WORLD WAR Third World, Third World War, Julio García Espinosa, 1970, digital projection, 90 mins Tercer mundo, tercera guerra mundial (Third World, Third World War) exemplifies the remark of its director, Julio García Espinosa, that it is "impossible to question a given reality without questioning the particular genre you select or inherit to depict that reality." Shot in North Vietnam during the period following the cease-fire of March 1968, the film sets out to analyze the policies and strategies of the US in the conduct of the war, contrasting the inhumanity of the imperialist war machine with the simple humanity and ingenuity of the Vietnamese peasants forced to take up armed struggle in order to survive. Beginning in an orthodox expository mode—commentary over borrowed footage interspersed with textual captions and maps to narrate the history of American intervention in Vietnam—it doesn't take long before the genre conventions begin to slip away and the pace slows down for testimonies from ordinary people, at first narrated over mute images sans music (to avoid manipulating the viewer’s emotions). Then, after the historical narrative catches up with the present, and the film joins the film crew on a tour of North Vietnam, it turns into a travelogue, with synchronous sound and live interviews. But it's not like, say, visiting notable places of revolutionary achievement in the Soviet Union (which several Cuban filmmakers, Julio included, would do in the 1970s). This is an itinerary of physical destruction and human resilience. The film crew almost comes under attack, yet the reality they seek to document remains elusive, and when they meet a coastal anti-aircraft battery crewed by young women, the film discards documentary convention entirely, as the director asks one of them to set up the scene for the cameraman to show how they prepare for battle. 11/27 Oberlin, OH: Oberlin College https://calendar.oberlin.edu/event/art_and_aids_on_8mm_film_screening_early_films_by_luther_price <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=3dbeb8c56a&e=f36020cad0> 6:00 PM, Clarence Ward '37 Art Building, Classroom 103 PLEASE MAMA ... DONT MAKE ME EAT IT?: SUPER-8MM FILMS BY LUTHER PRICE A panoply of super-8mm films by influential queer artist Luther Price. This program showcases Price’s interest in bodily decay, obsolescence, melodrama, abstracted narrative forms, and gay pornography. These beautifully crafted works (often meticulously assembled from found footage) highlight Price’s caring and careful working methods, cutting and pasting the tiniest fragments of the intimate Super-8 film frame into dazzling arrays of color and texture, assembling new narratives from discarded materials. These materialist films will overwhelm, shock, and inspire you! Warning: Much of his work from this period is composed of found footage from gay pornography. As such, this program features strong sexual content. Full program includes: HOUSE (3 min) RED ROOSTER (5 min) ERRUPTION ERRECTION (10 minutes?) SLAM/THESE THOSE (11 min) "We've Only Just Begun" Interlude MEAT BLUE 03 (21 min) YELLOW GOODBYE (11 min) SODOM (15 min) GIFT GIVERS (8 min) programmed by James Hansen THURSDAY, NOVEMBER 29, 2018 11/29 Berlin, Germany: Directors Lounge http://www.directorslounge.net <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=bb318b9b2a&e=f36020cad0> 21:00, Z-Bar, Bergstraße 2, 10115 Berlin-Mitte, Germany DIRECTORS LOUNGE SCREENING - GABRIELE STELLBAUM - MY HOUSE IS ON FIRE Gabriele Stellbaum creates art films that are performance and story-based at the same time. It is the second time, the artist presents her work at Directors Lounge. She was born in Berlin, spent her childhood on Sylt and went to New York after graduating with Prof. Rückriem in Hamburg. Coming from sculpture, she turned to light projections and time-based multi-channel slide projects in New York City, where she intended to stay for good. When, after ten years, she turned back to Germany and settled in Berlin, things changed again, Berlin has inspired her in a very different way than roaring NY, and literature became more important for her, now working with single channel video. The program presents a number of very new and more recent works that she created in Berlin. -*°*- She calls her work “poetic film art” and one could add: “...with a twist”. Stellbaum often works with a single, or only a few characters on simple settings, mostly in locations in Berlin or in her studio. However, what starts like a story of a narrative short film, does not progress the usual way. The poetry of the scenes and the dialogues (sometimes a monologue) is rough, sometimes disturbing, and reminds of Beckett and Brecht. The dramatic conflict of the pieces, at the same time, remains unresolved, and the missing culmination point creates a rather flat open-ended dramaturgy. The artist tells me about a breathing technique, which Beckett required from the actors in some of his plays: They were asked to articulate his rather long sentences in one breath, bringing the actors almost to exhaustion or fading. Stellbaum characters often seem to suffer from a similar breathlessness caused by circumstances beyond their control, circumstances as groundless as the accusations of Kafka's judges at the castle. -*°*- Stellbaum's films are sometimes funny in a wicked way, and sometimes subversively unsettling. She mostly leaves it open to the viewer to find direct references to society or politics. It will be an intense night to view and to discuss the films. As usually the artist will be present for Q&A. -*°*- -*°*- Artist Link: https://stellbaum.net/ -*°*- Links: Directors Lounge http://www.directorslounge.net -*°*- Richfilm http://www.richfilm.de/currentUpload/ -*°*- Z-Bar http://www.z-bar.de 11/29 London, England: Kamila Kuc Disasters of Peace 19.00, Whitechapel Gallery DISASTERS OF PEACE VOL.6 Major disasters seem to characterise our age: refugee crises, genocides of indigenous populations, Chernobyl and Fukushima, catastrophic hurricanes of increased intensity and the inexorable destruction of our habitable ecosystem. How can we represent these disasters to expose the slow violence their aftermaths continue to enact? What languages can convey and transform the legacy of recent histories into an alternate view? This international touring programme curated by Sam Jury and Kamila Kuc draws together artist filmmakers who challenge the prevalent representations of disaster, beyond the apparatus of spectacle. Featuring the work of Reed O’Beirne, Cecelia Condit and Richard Ashrowan, among others. The works presented respond to ideas of transformation and re- imagining of past and present and in so doing, raise questions about the shape of our future. www.disastersofpeace.com <http://www.disastersofpeace.com> All attendees will receive a free copy of the last printed edition of independent, internationalist moving image magazine Vertigo, which comes with a DVD copy of Ken McMullen‘s acclaimed feature 1871. 11/29 New York, NY: Anthology Film Archives http://www.anthologyfilmarchives.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=51a3732ff8&e=f36020cad0> 7:00 PM, 32 Second Avenue ISM, ISM, ISM: EXPERIMENTAL CINEMA IN LATIN AMERICA, PGM 1: DREAMS OF SUITCASES AND A BLUE LOBSTER Latin America has given rise to several auteurs whose films are characterized by disturbing, dream-like imagery, absurdist juxtapositions, and other devices characteristic of Surrealism (including Alejandro Jodorowsky and Rafael Corkidi), while many European Surrealists fled to Latin America to escape from fascism (most famously, Luis Buñuel). This program highlights some less familiar short films that share surrealist preoccupations, including the Colombian treasure THE BLUE LOBSTER, Argentine photographer Horacio Coppola's TRAUM (SUEÃO) (made while he was studying at the Bauhaus), and THE SUITCASE by renowned Chilean director Raúl Ruiz. The late Luis Ernesto Arocha contributes a study of Bernando Salcedo's assemblage sculptures, while Mariana Botey's EL DEDAL DE ROSAS represents more contemporary practices. Ãlvaro Cepeda Samudio & Gabriel GarcÃa Márquez THE BLUE LOBSTER / LA LANGOSTA AZUL (olombia, 1954, 29 min, 16mm) Raúl Ruiz THE SUITCASE / LA MALETA (Chile, 1963-2008, 20 min, 16mm-to-digital) Horacio Coppola TRAUM (SUEÃO) (Argentina, 1933, 2 min, 16mm-to-digital, silent) LuÃs Ernesto Arocha LAS VENTANAS DE SALCEDO (Colombia, 1966, 6 min, 16mm) Mariana Botey EL DEDAL DE ROSAS (Mexico, 1998, 13 min, Super-8mm-to-digital) Total running time: ca. 75 min. 11/29 New York, NY: Anthology Film Archives http://www.anthologyfilmarchives.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=bc51d5fbf6&e=f36020cad0> 9:15 PM, 32 Second Avenue ISM, ISM, ISM: EXPERIMENTAL CINEMA IN LATIN AMERICA, PGM 2: CINE RECICLADO / RECYCLED CINEMA In the spirit of Oswald de Andrade's landmark 1928 provocation, the Manifesto Antropófago, this program features works that engage in found footage filmmaking, a subaltern practice of decolonization and critique through the collage of appropriated images and audio. This practice, sometimes called "recycled cinema," "détournement," or "cinema of appropriation," has particular resonance in the region, where outsiders' misrepresentations often dominate the local cinematic productions on screens. For 'COWBOY' AND 'INDIAN' FILM (1958), Nuyorican artist Raphael Montañez Ortiz took a print of Anthony Mann's WINCHESTER '73 and hacked the reels to pieces with a tomahawk "to release their evil." Placing the film fragments in a medicine bag, he performed a ritual exorcism inspired by his Yaqui grandfather before splicing together the random fragments, some upside down and others right side up. A Cuban newsreel from 1960 shows the triumphant supporters of the Revolution taking over the former offices of major Hollywood studios, and repurposes the reels found within. The progeny of these forerunners are diverse in their strategies and aims, ranging from Ricardo Nicolayevsky's mile-a-minute cinematic sprint to Artemio's mash-up of Walt Disney's adaptations of WINNIE THE POOH and Francis Ford Coppola's APOCALYPSE NOW. Alfredo Salomón NO D.R. (Mexico, 2002, 1 min, digital) Instituto Cubano del Arte e Industria Cinematográficos NEWSREEL 49 (Cuba, 1960, 1 min, 35mm-to-digital) Rafael Montañez Ortiz 'COWBOY' AND 'INDIAN' FILM (USA, 1958, 2 min, 35mm-to-digital) Nicolás Guillén Landrián DESDE LA HAVANA ¡1969! RECORDAR (Cuba, 1969, 17 min, 35mm-to-digital) Ricardo Nicolayevsky THE BIG WACK (Mexico, 2002, 2.5 min, digital) Marisol Trujillo, Miriam Talavera, and PepÃn Rodriguez ORACIÃN POR MARILYN MONROE (Cuba, 1983, 8 min, 35mm-to-digital) Artemio APOOHCALYPSE NOW (Mexico, 2002, 8 min, digital) Eduardo Menz LAS MUJERES DE PINOCHET (Canada/Chile, 2004, 12 min, digital) Nicolas Testoni LAS RUINAS DE BAHÃA BLANCA (Argentina, 2012, 5.5 min, digital) Taller Independiente de Cine Experimental POBRE DEL CANTOR (Mexico, 1978, 2 min, Super-8mm-to-digital) Total running time: ca. 65 min. FRIDAY, NOVEMBER 30, 2018 11/30 Brooklyn, New York: Microscope Gallery http://www.microscopegallery.com <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=6bba3a5753&e=f36020cad0> 7:30pm, 1329 Willoughby Avenue, 2B Brooklyn, NY 11237 SHELLY SILVER: A STRANGE NEW BEAUTY Artist in person! A Strange New Beauty, the latest video by Shelly Silver. The fifty-minute work, which premiered last year at Cinéma du Réel in Paris and is showing in New York for the first time, reflects upon the idea of beauty, a notion that varies through different cultures and time, with the artist asking “what is our current definition of beauty and where is this definition leading us”. The work — shot entirely in the bedroom communities of Silicon Valley and composed of hundreds of static, impeccably framed views of suburban houses and mansions, as well as their interiors and private contents — reflects upon the aesthetics of the unseen inhabitants of one of the wealthiest locations in the world. Throughout the work, unsettling sounds and superimposed text, of various sizes and fonts, interfere with and re-contextualize the imagery within current political, economical, and environmental circumstances. And, Silver’s use of fragmentation and multiple screens further serves to disturb the sense of stability and perfection.A Strange New Beauty asks us to consider the costs of our aspirations to beauty; whether beauty is fair; or if the experience of beauty could lead us to justice as proposed by Elaine Scarry, who along with her book "The Body in Pain" is counted among the artist’s influences. Silver has described the work as “a difficult film for these difficult times”.Shelly Silver will be in attendance and available for Q&A following the screening. Admission $8, Members & Students $6. Additional information: www.microscopegallery.com <http://www.microscopegallery.com> ; tel: 347.925.1433; [email protected] <mailto:[email protected]> . Nearest subway Jefferson Street L (exit Starr Street). 11/30 Cambridge: Harvard Film Archive http://hcl.harvard.edu/hfa <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=e412d63ab6&e=f36020cad0> 7pm, 24 Quincy Street TONY CONRAD VIDEO PT. 2 Cycles of 3s and 7s Conrad’s first video work, Cycles of 3s and 7s, resembles much video art of the 1970s: recorded in a single take, the grainy footage documents the artist performing a repetitive action for the camera in his studio. Conrad was a math major in college and former computer programmer, and here he punches calculations into a handheld calculator, assuming the demeanor of a friendly math teacher (a role he would reprise in the cable program Homework Helpline (1994–95), also on view in this exhibition). However, the video is as much about music as it is about math, building on Conrad’s lifelong rejection of traditional methods of composition. By repeating the numbers three and seven, he creates ratios associated with non-Western music, and as Conrad himself noted, the sound of his voice narrating the calculation of these ratios takes on a rhythmic quality, creating a kind of computer-generated song. In addition to being a video about music, Cycles of 3s and 7s is also a video about computers. As Conrad later explained, although the digital hand-held calculator was a fairly new consumer product, it was nonetheless an accessible machine, something even a child could operate. By deliberately using a familiar technology, Conrad hoped to question the “fetishization” of computers by some media artists: “I was at such a point of skepticism [about the uses of computers in art] that I felt that it would be interesting to do computer art using a computer much simpler than the kinds of computers that were being fetishized at the time, because the tendency at that point in terms of techno-culture was for the artist to access the most lavishly endowed computer possible … It was an almost erotically driven fantasy of control and sophistication, which I wanted to debunk.” Directed by Tony Conrad US 1977, video transferred to digital, b/w, 12 min. excerpt of 23 min. original Loose Connection To make Loose Connection, Conrad built a camera that moved in two directions simultaneously: it could be rolled backward and forward on a waist-high rig made with baby carriage wheels, and it automatically rotated 360 degrees. Conrad recorded the sound continuously, but he set up the camera to only shoot several frames at regularly spaced intervals as it turned. This innovative apparatus was put to use only once, in a continuous shoot that followed Conrad and his family from their home in midtown Manhattan to the local A&P. Largely because Conrad did not have the money to finish the project, the collection of exposed rolls of 8mm film remained in storage for thirty-eight years. When he finally developed the film and transferred it to digital video in 2011, he was able to realize the project as planned: a jittery, flickering version of gritty, even intense everyday reality in New York City where the illusion of motion that film normally creates is shattered and sound and image remain only loosely connected. Directed by Tony Conrad US 1972-2011, film/video transferred to digital, 54 min, 54 sec 11/30 London, England: BFI Southbank http://www.bfi.org.uk/whatson/southbank/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=3b43771321&e=f36020cad0> 18.10., BFI Southbank, London, SE1 8XT MARGARET TAIT: PLACES OF WORK + INTRO BY SEASON CURATOR PETER TODD. Dynamic and meditative film portraits of the infinite possibilities of our living spaces. On the Mountain (1974) offers visions of Rose Street in Edinburgh, where Tait lived, recording and preserving the changes (between 1956 and 1974) with a transformation from black-and-white to colour film. Garden Pieces (1998) is a triptych garden portrait with both live action and hand-drawn images. Finally, Place of Work (1976) and Tailpiece (1976) give lyrical mediations on Tait’s Orkney family home on the occasion of vacating the house. 11/30 New York, NY: Anthology Film Archives http://www.anthologyfilmarchives.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=bdff0782bc&e=f36020cad0> 6:45 PM, 32 Second Avenue ISM, ISM, ISM: EXPERIMENTAL CINEMA IN LATIN AMERICA, PGM 3: META: CINEMA CRITIQUES CINEMA Working in a reflexive mode, the filmmakers in this program contemplate their chosen medium, its history, defining characteristics, and iconic movements. If there exists any specifically Latin American mode of meta-cinema, THE VAMPIRES OF POVERTY (1977), by Luis Ospiña and Carlos Mayolo, is one of the starting points of that tradition, a reflection on the representation of poverty in Latin America. Ospiña and Mayolo accompanied the 1978 Parisian premiere with a manifesto entitled "What is Poverty Porn?", which marked a new level of self-awareness and critique surrounding the foreign perception of Latin American film. CINEPOLIS, THE FILM CAPITAL (2003) presents an insider's unsettling perspective on the everyday world of image-making and image consumption. The cinematic apparatus is foregrounded in Enrique Colina Barnet's CHAPUCERÃAS (1987), a Cuban critique of flawed and careless production, while the Brazilian short DUEL (1973), by Daniel Santiago, is a conceptual game that represents the tensions between Super 8 and 16mm filmmakers. Luis Ospiña & Carlos Mayolo THE VAMPIRES OF POVERTY / AGARRANDO PUEBLO (Colombia, 1977, 29 min, 16mm-to-digital) Daniel Santiago DUEL / DUELO (Brazil, 1979, 3 min, Super-8mm/16mm-to-digital) Ximena Cuevas CINEPOLIS, THE FILM CAPITAL / CINEPOLIS, LA CAPITAL DEL CINE (Mexico, 2003, 22 min, digital) Teo Hernandez SOUVENIR DE CANNES (Mexico/France, 1982, 12 min, Super-8mm-to-digital) Enrique Colina CHAPUCERÃAS (Cuba, 1987, 11 min, 35mm-to-digital) Total running time: ca. 80 min. 11/30 New York, NY: Anthology Film Archives http://www.anthologyfilmarchives.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=b2bd8ff181&e=f36020cad0> 9:00 PM, 32 Second Avenue ISM, ISM, ISM: EXPERIMENTAL CINEMA IN LATIN AMERICA, PGM 4: ESTRELLAS DEL AYER: LATIN CAMP If nostalgia signals the impossibility of a return to origins, queer nostalgia is the salvaging of a symbolic past. The filmmakers featured here borrow an alternative origin from Hollywood stars; these figures are also a site for mining, appropriation, and excess, forming private and collective mythologies that work against linear conceptions of time or history. This program proposes a new constellation of Latin/o-American fascination with Hollywood glamour, starlets, and performative extravagance: Ecuadorian artist Eduardo Solá Franco's recreation of Hollywood's Herculean heroes and mythological fantasies; José RodrÃguez Soltero's classic LUPE; Teo Hernandez's homage to Greta Garbo, Joan Crawford, Lupe Vélez, and Marlene Dietrich, replete with campy nods to the star system; and a raunchy and provocative interpretation of Olga Guillot, "the Queen of the Bolero," in Horacio Vallereggio's A OLGA. Teo Hernandez ESTRELLAS DEL AYER (Mexico/France, 1969, 9 min, Super-8mm-to-digital) Eduardo Solá Franco ENCUENTROS IMPOSIBLES (Ecuador/Spain, 1959, 7.5 min, 8mm-to-digital, silent) Horacio Vallereggio A OLGA (Argentina, 1975, 7 min, Super-8mm-to-digital) José RodrÃguez Soltero LUPE (USA, 1966, 49 min, 16mm) Total running time: ca. 80 min. SATURDAY, DECEMBER 1, 2018 12/1 San Francisco, California: Other Cinema http://www.othercinema.com/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=826b0dee17&e=f36020cad0> 8 PM, 992 Valencia Street ARCHIVE FEVER2: SCRITTI POLITTI2 1968+50 PARIS SITUS + MEXICO CITY + CHICAGO DNC David Cox and Molly Hankwitz, as Bivoulab, retrieve the absolutely essential 20th Century moment that is Paris, May 68 in their In Memorium Futuri, an hour séance/screening on Situationst cinema and its echoes off the Parisian cobblestones. Guy Debord, Michelle Bernstein, Maurice Lemaitre, and their many angry comrades were the catalysts for massive change in the West, largely through their literary and cinematic critiques of the Capitalist “Spectacle” and its destruction of everyday life. A multiplicity of excerpts are deployed in Bivoulab’s provocative talk, that bears on found-footage filmmaking, the urban “drift”, and even the present-day steamrolling of our own beloved City. ALSO: Elena Pardo’s El Otro Grito (The Other Scream), a 15-min. remembrance of the student massacre at the ’68 Mexico City Olympics. Ralph Diamant’s 16mm The Streets Belong to the People brings the global “Golden Jubilee” back home to the States, with his contemporaneous montage of Chicago street verité, barricade interviews, and a prescient Moog synth track. PLUS a march with William Burroughs, Allen Ginsburg, and Jean Genet at the Chicago DNC (from Frédéric Moffet), Roger Flint’s Spangled Banner (music by the Grass Roots!), free bread and wine, and red roses. 12/1 Santander, Spain: Filmoteca de Cantabria 4:30 PM, Calle Bonifaz 6 CINEINFINITO #78: JEAN EPSTEIN Protegido: Cineinfinito #78: Jean Epstein. Programa: Finis Terrae (1929) 35mm, blanco y negro, silente, 80′ Formato de proyección: DCP (Copia cortesía de Gaumont Pathé Archives, a partir del negativo en 35mm original restaurado) (Agradecimiento especial a Gaumont Pathé Archives) _____ 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=138d2f109a&e=f36020cad0> . 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