<https://gallery.mailchimp.com/e4e99825c1d97f8de6eaffad3/images/c6a4b757-b14c-4ec9-b8c6-9553961a080e.gif> This week [July 13-22, 2019] in avant garde cinema Enter your event announcements by going to the <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=d015899fb6&e=f36020cad0> Flicker Weekly Listing Form. To receive the weekly listing via email: <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=a7a38cbea2&e=f36020cad0> Subscribe. <https://scontent-sjc3-1.xx.fbcdn.net/v/t1.0-9/66667650_2578413268856714_6304684155674296320_n.jpg?_nc_cat=109&_nc_oc=AQnLnXCsEPbR2FCXFhH1aTOQLHGcKgDvoZhVp7VcgemmV2Ff4mBmaMTQCUqan5K-ZxY&_nc_ht=scontent-sjc3-1.xx&oh=dc44e8a981d4586b6d8e192efc10360d&oe=5DA97425> Community Curated By Lili White NEW CALLS FOR ENTRIES: THEN, WHAT IF? (Torrington, CT; Deadline: August 01, 2019) <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=cafa95f354&e=f36020cad0> http://hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=2036.ann PRISME #2 (France ; Deadline: September 01, 2019) <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=25d5df913f&e=f36020cad0> http://hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=2037.ann DOBRA - Festival Int'l de Cinema Experimental (Rio de Janeiro, Brazil ; Deadline: August 10, 2019) <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=5b9d8e51a1&e=f36020cad0> http://hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=2038.ann Analogica (Bolzano, Italy; Deadline: July 31, 2019) <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=19203acbf6&e=f36020cad0> http://hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=2039.ann DEADLINES APPROACHING: Save the Archives Film Festival (Milwaukee, WI, 53211; Deadline: August 05, 2019) <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=f53d6641c4&e=f36020cad0> http://hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=2031.ann THEN, WHAT IF? (Torrington, CT; Deadline: August 01, 2019) <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=0d4cf6bd90&e=f36020cad0> http://hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=2036.ann DOBRA - Festival Int'l de Cinema Experimental (Rio de Janeiro, Brazil ; Deadline: August 10, 2019) <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=5977587074&e=f36020cad0> http://hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=2038.ann Analogica (Bolzano, Italy; Deadline: July 31, 2019) <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=bcb6f35805&e=f36020cad0> http://hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=2039.ann Events are sorted alphabetically BY CITY within each DATE. This week's programs (summary): * Show and Tell: and Magics: Films By Josh B Mabe [July 13, New York, NY] * Ec: James Broughton, Pgm 1 [July 13, New York, NY] * Gariné Torossian: More Than Strictly visible Things [July 14, Los Angeles, California] * Ec: James Broughton, Pgm 2 [July 14, New York, NY] * Ec: James Broughton, Pgm 3 [July 14, New York, NY] * Shapeshifters Cinema Presents Kerry Laitala and the Atchleys [July 14, Oakland] * In Memoriam: Carolee Schneemann [July 15, New York, NY] * The Skin Flick'S theory of the Prop [July 16, Brooklyn, NY United States] * Jonas Mekas Tribute Screenings Part 2: Program 1 [July 16, New York, NY] * Ec: James Broughton, Pgm 4 [July 17, New York, NY] * Community Curated By Lili White [July 17, New York, New York] * Dallas Medianale Closing Ceremonies [July 18, Dallas, TX United States] * Cineinfinito #97: JosÉ Antonio Sistiaga [July 18, Santander, Spain] * Analogica Selection 8 [July 19, San Francisco, California] SATURDAY, JULY 13, 2019 7/13 New York, NY: Anthology Film Archives <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=5929dc13ec&e=f36020cad0> http://www.anthologyfilmarchives.org/ 7:30 PM, 32 Second Avenue SHOW AND TELL: AND MAGICS: FILMS BY JOSH B MABE Chicago-based librarian, filmmaker, and programmer Josh B Mabe will present a selection of the films and videos he's created over the past decade, as well as some new works in progress. A fixture of the Chicago independent film scene - he was formerly the Program Director of Chicago Filmmakers and Programmer for the Onion City Experimental Film and Video Festival, and has presented programs at numerous Chicago venues including Gallery 400 Links Hall, the University of Chicago, and more - Mabe has screened his own work at the New York Film Festival, Images Film Festival, Ann Arbor Film Festival, and the Jihlava International Documentary Film Festival. His primarily 16mm and often refreshingly micro-scale films (many of them no more than one minute long) tend to comprise lyrical, poetic glimpses of places, or evocations of fleeting sensations or moods, while surprising incursions of music, found footage, or even animation suddenly complicate one's sense of his influences and sensibility. "But to the end of time certain places of the world remain defined for him as the place where those sensations were; and his only possible answer to the question where anything is will be to say 'there,' and to name some sensation or other like those first ones, which shall identify the spot. Space means but the aggregate of all our possible sensations." -William James TO ANOTHER (2010, 1 min, 16mm) A tiny film. Richlands, VA & Rock Hill, SC. MEASURES KINDLING (2012, 1min, 16mm) A fire. A figure. A flash. Rock Hill, SC. PASTORAL (2008, 2 min, 16mm) Altering landscape. Cheeky. Chicago, IL. TO QUIT, TO QUIET & TO MARK THE SHAPE (2011, 7 min, 16mm) Two Christmastime films. Two sides of the mountain. Richlands, VA. ADDY CHOO (2013, 2 min, 16mm) Flipcam, cross-processed Kodachrome, old animations. Big Creek, VA. SMART CHICKENS, RICKETY WORLD (2014, 8 min, 16mm) Junkyard cows and animators hands. Title lifted from Charles Simic. Chicago, IL & Chicago Heights, IL. AND MAGICS (2016, 5 min, digital) Library Art. Chicago Heights, IL. THE DEVIL AND THEMSELVES (2008, 37 min, 16mm) + more 7/13 New York, NY: Anthology Film Archives <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=3167ea849b&e=f36020cad0> http://www.anthologyfilmarchives.org/ 5:30 PM, 32 Second Avenue EC: JAMES BROUGHTON, PGM 1 THE POTTED PSALM (1946, 18.5 min, 16mm. Co-directed by Sidney Peterson.) MOTHER'S DAY (1948, 22 min, 16mm) FOUR IN THE AFTERNOON (1951, 15 min, 16mm) LOONY TOM, THE HAPPY LOVER (1951, 10 min, 16mm) Four films by an American avant-garde film pioneer. His films are celebrations of the joy of living. If there is such a thing as American Zen, Broughton is the master of it. "For Broughton, making films did not make him less of a poet; it made him more of a poet. Like Jean Cocteau, Broughton insisted that poetry was not limited to 'verse,' and that it was the most precise word to describe his activities. […] His 'filmic passion' led him not to commercial cinema…but to a 'life of vision' in which he might experience 'a poetry that would reveal on a large screen what my feelings looked like.'" -Jack Foley, FULL, FRONTAL MYSTERY: THE FILMS OF JAMES BROUGHTON Total running time: ca. 70 min. SUNDAY, JULY 14, 2019 7/14 Los Angeles, California: Filmforum <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=935a25e4b6&e=f36020cad0> http://www.lafilmforum.org/ 7:30 pm, Spielberg Theatre at the Egyptian, 6712 Hollywood Blvd. GARINé TOROSSIAN: MORE THAN STRICTLY VISIBLE THINGS Gariné Torossian in person! 16mm films screening on film! Filmforum welcomes Armenian-Canadian filmmaker Gariné Torossian for her first Los Angeles screening with her beautiful animation and experimental films. Torossian has a varied and extensive filmography stretching over 25 years. Working originally in rich hand-manipulated 16mm to explore Armenian identity and tradition, she has added other film approaches and explorations to investigate personal identity, memory, the subconscious, and the legacy of past imagery. One film, Shadowy Encounters, specifically pays tribute to the Brothers Quay, while her most recent work, An Inventory of Some Strictly Visible Things, utilizes live-action photography and a series of staged moments. Her feature documentary Stone, Time, Touch (which we won’t have time to screen) won best documentary at the Warsaw International Film Festival in 2007. Tickets: $10 general; $6 students (with ID)/seniors; free for Filmforum Members. Available in advance from Brown Paper Tickets at https://torossian.bpt.me or at the door. 7/14 New York, NY: Anthology Film Archives <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=f268963f7c&e=f36020cad0> http://www.anthologyfilmarchives.org/ 5:30 PM, 32 Second Avenue EC: JAMES BROUGHTON, PGM 2 THE PLEASURE GARDEN (1953, 38 min, 35mm, b&w) THE BED (1968, 19 min, 16mm) NUPTIAE (1969, 14 min, 16mm) "Broughton was and is a poet, sometimes a dramatist. Yet whatever the mode, his style is remarkably consistent: urbane and witty with the persona of the naïve, or the simpleton, or the child. Like the poems, the films record the basic rites of passage, the search for love, the primal relationships, with ironic insight: there are parents who are children, a rube who's really the artist, a loony wise man." -P. Adams Sitne Total running time: ca. 75 min. 7/14 New York, NY: Anthology Film Archives <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=4e17a2d07e&e=f36020cad0> http://www.anthologyfilmarchives.org/ 7:30 PM, 32 Second Avenue EC: JAMES BROUGHTON, PGM 3 THE GOLDEN POSITIONS (1970, 32 min, 16mm) "A lovely, poetic, humorous, and crystal investigation of mankind standing, sitting, and lying down." -John Wasserman, SAN FRANCISCO CHRONICLE THIS IS IT (1971, 10 min, 16mm) "Broughton's creation myth, THIS IS IT, places a 2-year-old Adam and a bright apple-red balloon in a backyard garden of Eden, and works a small miracle of the ordinary. And since that miracle is what the film is about, he achieves a kind of casual perfection in matching means and ends." -Roger Greenspun, NEW YORK TIMES TESTAMENT (1974, 20 min, 16mm) "TESTAMENT is James Broughton's exquisite self-portrait. […] A plethora of rich personal symbols is woven throughout the film, tied together by verbal games, Zen poems, anecdotes, songs, a child's prayer, dreams and visions." -Karen Cooper Total running time: ca. 65 min. 7/14 Oakland: Shapeshifters Cinema <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=8afc77959a&e=f36020cad0> http://shapeshifterscinema.com/ 7:30-10PM, Temescal Art Center, 511 48th St. SHAPESHIFTERS CINEMA PRESENTS KERRY LAITALA AND THE ATCHLEYS "Fame is a vapor, popularity an accident; the only earthly certainty is oblivion.” -- quote popularized by Mark Twain. Creation and destruction. Grandiosity and hubris. Glory and the Abyss. These are some of the themes explored in recent collaborations in moving image and sound by Kerry Laitala and The Atchleys. Media archaeologist and 16mm projector performance spellbinder Laitala will present new and resuscitated imagery, with composer / improviser / experimental musicians The Atchleys providing live audio accompaniment. The light and sound display will be sequenced to cycle through elemental orbs, leaving viewers draped in a colorful cloak of decay, rebirth and contemplation. Pieces will include "Figments in Film #1" and "Ghost Town". MONDAY, JULY 15, 2019 7/15 New York, NY: Anthology Film Archives <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=b4c83eeb5c&e=f36020cad0> http://www.anthologyfilmarchives.org/ 7:30 PM, 32 Second Avenue IN MEMORIAM: CAROLEE SCHNEEMANN 2019 has brought more than its fair share of tragic news within the avant-garde film community, and prominent among the great filmmakers and spirits we've lost this year was the extraordinary filmmaker, artist, performer, and writer Carolee Schneemann, whose work freely and fearlessly crossed boundaries of every kind. We hosted Carolee at Anthology many times over the years, and preserved several of her films, including the magnificent KITCH'S LAST MEAL. Above all, we counted her as a friend and an irreplaceable member of our community. To honor her memory, we will be presenting a rare screening of KITCH'S LAST MEAL, in its original dual-projection format, alongside another feline-themed work, INFINITY KISSES - THE MOVIE, taken from the collection of co-presenter Electronic Arts Intermix. Carolee's boundless creative energy, sharp sense of humor, and piercing intelligence will be greatly missed, though of course these qualities live on in KITCH'S and in the entirety of her work. Co-presented by Electronic Arts Intermix (www.eai.org <http://www.eai.org> ). Special thanks to the Carolee Schneemann Foundation, and to Rebecca Cleman, Karl McCool & Jon Dieringer (EAI). Carolee Schneemann KITCH'S LAST MEAL (1973-78, 54 min, double-16mm projection, sound on CD. Preserved with support from the Andy Warhol Foundation for the Visual Arts.) The third part of her autobiographical trilogy (including FUSES and PLUMB LINE), KITCH'S LAST MEAL documents, among other things, the demise of Schneemann's cat comrade, Kitch. Presented in varying configurations and lengths over the years, KITCH'S was shot on Super-8mm and shown simultaneously on two projectors with one image arranged above another. This configuration is duplicated in Anthology's preservation, and the sound is played from CD in an attempt to keep the 'live' nature of the film intact. If you have not seen it before, KITCH's undoubtedly stands as one of Schneemann's most emotionally gripping and cathartic works. "Domestic imagery filmed weekly for three years in a country house where my partner and myself are observed by our 19-year-old cat in the normal routine of domestic intimacy and our work as artists. […] The ordinariness of the activities of the couple in association with the disjunctive sound builds towards a disconcerting invisibility - beyond what is here manifest." -Carolee Schneemann Carolee Schneemann INFINITY KISSES - THE MOVIE (2008, 9.5 min, digital) INFINITY KISSES - THE MOVIE completes Schneemann's exploration of human and feline sensual communication. It incorporates extracts of the original 124 self-shot 35mm color slide photo sequence, INFINITY KISSES, in which the expressive self-determination of the ardent cat was recorded over an eight-year period. INFINITY KISSES - THE MOVIE recomposes these images into a video, in which each dissolving frame is split between its full image and a hugely enlarged detail. TUESDAY, JULY 16, 2019 7/16 Brooklyn, NY United States: Light Industry <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=581f3f4a40&e=f36020cad0> http://www.lightindustry.org/ 7:00 PM, 155 Freeman St THE SKIN FLICK'S THEORY OF THE PROP A lecture by Elena Gorfinkel. Bodies are without question the profilmic material that provides 1960s sex cinema with its currency, mode of address, and primary spectacle. Yet as scholars Gertrud Koch and Eric Schaefer have noted, the historical and conceptual value of adult cinemas resides equally in their documentation of long lost places, spaces, and quotidian details. Sex films can give us a picture of not only sexualized bodies, their gaits and gestures, but also a life as lived in the domestic interiors that frequently provide the backdrops for sexual action. Sexploitation’s low-budget forms of production often meant that directors filmed in shabby, ad-hoc locations, like their own lower-middle-class apartments, or those of their friends and collaborators, as was the case with Doris Wishman, and the objects that furnish the skin flick frame have been examined by contemporary filmmakers and artists, retrospectively gazing on the idiom’s artifacts and conventions (Anna Biller’s Viva [2007], Scott Stark’s Noema [1998]). Although we scarcely think of the mise-en-scène tradition in relation to the sex film, reserving it for the likes of Ophuls or Mizoguchi, sexploitation filmmakers such as Radley Metzger and Joe Sarno could be productively framed within it. Setting aside attributions of authorial style, what would it mean to take seriously all the bits and pieces of private life that get utilized, seen, picked up, fondled, or that merely exist as mute decor in 1960s sexploitation cinema? Ashtrays, caftans, lamps, shag rugs, cocktail glasses: all are seemingly mere adjuncts to corporeal seduction and display. What logics of labor and looking are made manifest through their materiality? Considering films such as Nymphs Anonymous (Manuel Conde, 1968), Smoke and Flesh (Joseph Mangine, 1968), Chained Girls (Joseph Mawra, 1965), My Brother’s Wife (Doris Wishman, 1966), Confessions of a Bad Girl (Barry Mahon, 1965) and The Layout (Joe Sarno, 1969), this talk unravels the relationship between eroticized bodies, the work they perform for the camera, and the prop as sensory trace of domestic temporalities. This lecture contends that sexploitation’s household props reveal another way of apprising the aesthetic vagaries of the adult film, and asks what the sex film might be able to tell us about the nature of the cinematic prop. 7/16 New York, NY: Anthology Film Archives <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=2d191e8a5f&e=f36020cad0> http://www.anthologyfilmarchives.org/ 7:30 PM, 32 Second Avenue JONAS MEKAS TRIBUTE SCREENINGS PART 2: PROGRAM 1 by Gideon Bachmann + Jonas MekasShare +Twitter. Gideon Bachmann JONAS (1967, 30 min, 16mm-to-digital) This portrait of Jonas was created by Gideon Bachmann, filmmaker, journalist, radio commentator, and founding editor of "Cinemages" magazine, who would go on to produce a fascinating documentary for German television the following year, UNDERGROUND NEW YORK (1968). Jonas Mekas NOTES FOR JEROME (Filmed 1966/67/74/edited 1978, 45 min, 16mm) "During the summer of 1966 I spent two months in Cassis, as a guest of Jerome Hill. I visited him briefly again in 1967, with P. Adams Sitney. The footage of this film comes from those two visits. Later, after Jerome died, I visited his Cassis home in 1974. Footage of that visit constitutes the epilogue of the film. […] Those were happy but lonely summers for me, I thought a lot about home. That's why this film, this elegy for Jerome is dedicated 'to the wind of Lithuania.' Sometimes, though, I had a feeling that Jerome was as much of an exile as was I." -Jonas Mekas Jonas Mekas ROBERT HALLER'S WEDDING (1980, 2.5 min, 16mm) "Made as a wedding present to Robert Haller and Amy Greenfield. Anthology Film Archives workers are having a good time in this spoof." -Jonas Mekas Total running time: ca. 80 min. WEDNESDAY, JULY 17, 2019 7/17 New York, NY: Anthology Film Archives <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=350713e0c9&e=f36020cad0> http://www.anthologyfilmarchives.org/ 7:30 PM, 32 Second Avenue EC: JAMES BROUGHTON, PGM 4 DREAMWOOD (1972, 45 min, 16mm) "A modern day spiritual odyssey in which a man is mysteriously compelled to leave his home and embark on a voyage to a strange, magical island. On the island he faces the most improbable and intense experiences of his life, ranging from total humiliation to a deep sense of oneness with the force of life. Heroic in concept, subtle in execution, DREAMWOOD is a beautiful film by a true master of the medium." -David Bienstock HIGH KUKUS (1974, 3 min, 16mm) "A High Kuku is, of course, a cuckoo haiku. In inventing this form Broughton has concocted zany verses which are 'high' in the sense that they are often metaphysical and are keenly aware of the metacomedy of things." -Alan Watts Total running time: ca. 55 min. 7/17 New York, New York: Another Experiment by Women Film Festival <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=4db097bb59&e=f36020cad0> http://anotherexperimentbywomenfilmfestival.com/ 6 PM, Anthology FIlm Archives 32 2nd AVE COMMUNITY CURATED BY LILI WHITE AUTOPOIESIS; Lana Z Caplin; USA; 7.18; FROM THE LIFE OF MY OLD WOMAN FRIEND; Evelin Stermitz; AUSTRIA; 6.24; Us FLOWERS; Giselle Chien; USA; 3.05; FORTRESS; Meredith Moore; 3.11; PLATES; Sarah Harbridge; UK; 10.09; TRAHERE; Caryn Cline & Linda Fenstermaker; USA; 3.11; FESTAL FLUTTER; Morrison Gong; USA; 3.20; FORECLOSED HOME MOVIE; Lisa Danker; USA; 8.20; PLEASE STEP OUT OF THE FRAME; Karissa Hahn; USA; 4.00; OULIPO'S CAVE; Maureen Zent; USA; 4.45; full program notes at http://axwonline.com THURSDAY, JULY 18, 2019 7/18 Dallas, TX United States: Dallas Biennale 7:00 PM, 2600 Live Oak St DALLAS MEDIANALE CLOSING CEREMONIES The Dallas Medianale closing ceremonies will be held on Thursday July 18th, starting at 7pm at the Latino Cultural Center. Featuring the work of Scott Stark, Dean Terry, Böhm, Michael Morris, The DAMN Ensemble. Be there for this amazing closing event and witness some of the most beautiful music and film curated by Dallas Medianale. 7/18 Santander, Spain: Filmoteca de Cantabria 10:00 PM, Calle Bonifaz 6 CINEINFINITO #97: JOS&EACUTE; ANTONIO SISTIAGA Cineinfinito #97: José Antonio Sistiaga CINEINFINITO / Filmoteca de Cantabria Domingo 18 de Julio de 2019, 22:00. Filmoteca de Cantabria Calle Bonifaz, 6 39003 Santander Programa: · ...ere erera baleibu izik subua aruaren... (1968-70), 35mm, color, silente, 75 min · Impresiones en la alta atmósfera (1988-89), 70mm 15-perf, color, sonido, 7 min Formato de proyección: 35mm (copias cortesía de Filmoteca Vasca) Agradecimiento especial a José Antonio Sistiaga, Filmoteca Vasca y Filmoteca de Cantabria https://www.cineinfinito.org/cineinfinito-97-jose-antonio-sistiaga/ FRIDAY, JULY 19, 2019 7/19 San Francisco, California: Analogica.org <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=3ed450fb1a&e=f36020cad0> http://analogica.org 8PM, 992 Valencia Street 94110 ANALOGICA SELECTION 8 The Equatorial Calms by Derek Taylor // 3' 37'' / 16mm, found footage / experimental / 2018 / USA New Woman 新女性 by Rita Tse // 26' 16’’ / 16mm / Experimental / B&W and Color / Canada / 2017 Please step out of the frame by Karissa Hahn // 4'10'' / super8 / experimental / 2018 / USA China not China by Richard Tuohy and Dianna Barrie // 14' / 16mm / experimental / 2018 / Australia Arrábida by Tinne Zenner // 16' / 16mm / experimental, documentary, animation / 2017 / Portugal, Denmark -+=Oo. By Lívia Sá // 04' 33'' / 16mm / experimental / 2014 / USA _____ Let us know about your alternative film/video event! Enter your event announcements by going to the <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=ab45fa0396&e=f36020cad0> Flicker Weekly Listing Form. To receive the weekly listing via email, send a message to <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=e3026edf68&e=f36020cad0> Subscribe. <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=9e221e07b0&e=f36020cad0> Copyright © 2019 Flicker, All rights reserved. Longtime recipient of This Week in Avant Garde Cinema <https://hi-beam.us9.list-manage.com/track/open.php?u=e4e99825c1d97f8de6eaffad3&id=e23ec9a7f0&e=f36020cad0> j
_______________________________________________ FrameWorks mailing list [email protected] https://mailman-mail5.webfaction.com/listinfo/frameworks
