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** This week [September 10 - 18, 2016] in avant garde cinema
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Perpetual Motion, Program One: Dust To Dust (#anchor10) [September 16, San
Francisco, California]
Events are sorted alphabetically BY CITY within each DATE.
This week's programs (summary):
* Shaped By Landscape: Jason Halprin In Person! (#anchor1) [September 10,
Denver, CO]
* Show & Tell: David Daniels (#anchor2) [September 10, New York, New York]
* Punk Vaudeville: Yard Dogs Road Show + Circus Delirium (#anchor3) [September
10, San Francisco, California]
* Chantal Akerman: Early Works: Jeanne Dielman, 23, Quai Du Commerce, 1080
Bruxelles (#anchor4) [September 11, Austin, Texas 78752]
* Shapeshifters Cinema Presents Thad Povey and Mark Taylor With Henry Plotnick
(#anchor5) [September 11, Oakland]
* In the Bathtub of the World, 2001 (#anchor6) [September 12, Columbus, OH]
* Leftist Revolutions!!: Chris Marker's Grin Without A Cat (#anchor7)
[September 14, Tucson]
* Cinema Soiree: Ends and Odds: Early and Rare Films By Paul Clipson (#anchor8)
[September 15, San Francisco, California]
* Chantal Akerman: Early Works: News From Home (#anchor9) [September 16,
Austin, Texas 78752]
* Perpetual Motion, Program One: Dust To Dust (#anchor10) [September 16, San
Francisco, California]
* The Camera: Je, La Camera: Babette Mangolte In Person! (#anchor11) [September
17, Austin, Texas 78752]
* Germaine Dulac Program (#anchor12) [September 17, New York, New York]
* Vazquez & Galindo's G! + Molero's Videofilia (#anchor13) [September 17,
San Francisco, California]
* Perpetual Motion, Program Two: Ghosts In the Machines (#anchor14) [September
17, San Francisco, California]
* Chantal Akerman: Early Works: News From Home (#anchor15) [September 18,
Austin, Texas 78752]
SATURDAY, SEPTEMBER 10, 2016
9/10
Denver, CO: GLOB
7:30, 3551 Brighton Blvd
SHAPED BY LANDSCAPE: JASON HALPRIN IN PERSON!
Join us for a very special night as we welcome the celebrated Pueblo--raised
and Oakland--based JASON HALPRIN to Denver, with live musical accompaniment by
PROJECT SALT!! Working in SMALL--GAUGE FILM and ARCHIVAL VIDEO and employing
techniques from OPTICAL PRINTING to TIME--LAPSE and HAND--PROCESSING, Halprin’s
preoccupations range from amusement parks and nostalgia to tourism and
histoirical revisionism to musings on 9/11. In Halprin’s own words: “My work
explores the way humans are affected by their immediate surroundings, and how
the shape of a location can impact social interaction and culture... Cities and
wilderness both open cereberal pathways that might otherwise not be taken... as
for me, I am haunted by landscape.”
9/10
New York, New York: Anthology Film Archives
http://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3=c6d082b0d4=4e65756555
7:30 pm, 32 2nd Ave.
SHOW & TELL: DAVID DANIELS
During the golden era of MTV, David Daniels directed everything from sparkling
animation highlights for Peter Gabriel’s groundbreaking music video BIG TIME
(1986) to now-classic station bumpers. Working many seasons as a cameraman and
animator on PEE WEE’S PLAYHOUSE, his distinctive Strata Cut work would also
shine in show openings for MTV’s THE IDIOT BOX (1990-91), the title sequence
for the feature length film FREAKED (1993), an insane 40-number countdown for
SESAME STREET, and reverse-animated stop motion clips for Michael Jackson’s
MOONWALKER (1988). While in art school at CalArts (MFA, 1983), Daniels
re-invented conventionally understood clay animation into something completely
fresh and brain-boggling. Using clay as spatially pre-programmed motion
sculpture blocks, he mastered a process by which he invisibly peeled back
colorful thin deli meat slices to reveal a highly textured interior cauldron of
‘psychomorphic’ kinetic (ins)animation. This method, which he’s
continued to work with, is powerfully ‘woven’ in geometric time/space to be
both visually seductive and actively frantic when cut apart, a frame at a time.
He forces narrative clarity out of rolling sheets of rainbow hailstorms and
flowing surfaces of confetti confusion. His graduate thesis film BUZZ BOX
(1985), which took four years to complete, was conceived as a total visual
assault that mimics the blast of images projected daily by the media extended
over a week of strata-cut animated bursts. The effect is at once
