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** This week [June 17 - 25, 2017] in avant garde cinema
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Recycled Cinema: Films By Roger Beebe (#anchor4) [June 22, 08006 Barcelona,
Spain]
Contact: Pairs: Jennifer Nightingale / Simon Payne (#anchor1) [June 19, London]
NEW FILM/VIDEO: NON-FEATURE:
"COSMIC POPSICLE" by Dina Yanni
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NEW CALLS FOR ENTRIES:
Coop Microcinema (Nashville, TN; Deadline: August 18, 2017)
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Light Field (San Francisco, CA ; Deadline: August 15, 2017)
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DEADLINES APPROACHING:
Edinburgh Short Film Festival (Musselburgh; Deadline: June 26, 2017)
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Coney Island Film Festival (Brooklyn, NY; Deadline: June 30, 2017)
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Events are sorted alphabetically BY CITY within each DATE.
This week's programs (summary):
* Contact: Pairs: Jennifer Nightingale / Simon Payne (#anchor1) [June 19,
London]
* The Miners' Campaign Tapes (#anchor2) [June 20, Brooklyn, New York 11222]
* Newfilmmakers (#anchor3) [June 21, New York, NY]
* Recycled Cinema: Films By Roger Beebe (#anchor4) [June 22, 08006 Barcelona,
Spain]
* Ec: Conner / Conrad (#anchor5) [June 22, New York, NY]
MONDAY, JUNE 19, 2017
6/19
London: Contact
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7:30, The Depot, 38 Clapton Road
CONTACT: PAIRS: JENNIFER NIGHTINGALE / SIMON PAYNE
Contact: Pairs is a new series of film programmes featuring two artists who
have shared or contrasting approaches to their mediums. Each artist will
present a selection of their recent work alongside other work that has inspired
them. The series is a conversation between diverse film and video practices,
concerning different modes of production, influential precedents and new ideas.
The artists will be present to introduce their work on the night, and the
programme notes for the series include a transcription of each pair's prior
discussions. The first screening in the series is: Jennifer Nightingale / Simon
Payne. See website for details.
TUESDAY, JUNE 20, 2017
6/20
Brooklyn, New York 11222: Light Industry
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7:30, 155 Freeman St
THE MINERS' CAMPAIGN TAPES
The Miners' Campaign Tapes, 1984, video, 92 mins. "The apotheosis of the
populist avant-garde." - David E. James, "For a Working-Class Television" In
1984, coal miners in the north of England began what would become a year-long
nationwide strike and one of the largest mass actions in British labor history.
Prompted by Prime Minister Margaret Thatcher's move to privatize the coal
industry, the strike grew to involve over 140,000 miners, their wives and
families, as well as a coalition of unions and other activist organizations. At
the strike's beginnings, a network of young leftist film and video makers from
across the UK met in London to determine how they could contribute support; the
result was the Miners' Campaign Tape Project, whose members sprang into action
to shoot and edit a series of agitational documentaries that could counter the
anti-strike sentiment then prominent in the press. Produced quickly and
cheaply, The Miners' Campaign Tapes include footage of protests
and clashes with the police, interviews with striking workers and their
comrades, historical analyses, critiques of corporate media bias, and brief
guides to organizing, punctuated by lo-fi graphics and propelled by dub and new
wave pop. The National Union of Mineworkers distributed VHS cassettes of the
Tapes free of charge, putting over 4,000 copies into circulation. These videos,
in turn, were watched in working-class homes as a form of alternative
television, and used for fundraising purposes both locally and abroad. The
strike is described throughout as the last stand against authoritarian
conservatism: if Thatcher is able to break the miners, it is repeatedly
stressed, the loss would signal the downfall of trade unionism and a dramatic
decline in working class political power. That the strike ended with the NUM's
defeat nearly a year later adds a melancholy air to any contemporary viewing of
the Tapes, but seeing them today also provides important lessons for a newly
invigorated global Left. Here is an uncompromising model, recuperated from the
past, for how media workers can act in solidarity with the struggles of the
present.
WEDNESDAY, JUNE 21, 2017
6/21
New York, NY: Anthology Film Archives
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6:00 PM, 32 Second Avenue
NEWFILMMAKERS
For full program listings, visit www.newfilmmakers.com.
THURSDAY, JUNE 22, 2017
6/22
08006 Barcelona, Spain: Crater Lab
8:30 PM, Carrer Sant Guillem 17
RECYCLED CINEMA: FILMS BY ROGER BEEBE
Mayormente conocido quizás por sus performances con múltiples proyectores, el
cineasta/curador/profesor Roger Beebe vendrá a Barcelona para presentar un
programa de sus películas y una selección de vídeos de sus últimos 17 años de
trabajo. Mientras que ésta presentación cuenta con varias de sus más conocidas
performances con el proyector (incluyendo un performance con doble proyector de
su film impreso a láser “TB TX DANCE”), sitúa esos trabajos en un contexto de
extensa práctica de apropiación de lo educativo, industrial, el imaginario de
la masa cultural y la relación de todos esos paisajes “encontrados” –found-
sobre el capitalismo global.Estos trabajos cubren un rango de tópicos de una
visión alternativa sobre la masculinidad vista en un campo de jóvenes in 1950
en Texas (“Tiger Tiger”), y el extenso comercial que se desarrolla en los
suburbios americanos (“The Strip Mall Trilogy”) hasta los suicidios de Las
Vegas (“Money Changes Everything”), y sobre las empresas
que persuaden para estar al inicio de la guía telefónica (“AAAAA Motion
Picture”). TB TX DANCE (2006, 2 x 16mm, 3:00) The Strip Mall Trilogy (2001,
super 8, 9:00) S A V E (2006, 16mm, 5:00) Tiger Tiger (music video) (2016,
16mm, HD video, 4:45) Congratulations (One Step at a Time) (2014, HD video,
4:00) tour/TOWER (2008, 16mm, 5:00) Money Changes Everything (2009/rev. 2011, 3
x 16mm, 5:00) A Metaphor for the End of Just About Everything (2016, HD video,
3:00) AAAAA Motion Picture (2010, 2 x 16mm, 12:00)
6/22
New York, NY: Anthology Film Archives
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7:30 PM, 32 Second Avenue
EC: CONNER / CONRAD
Bruce Conner A MOVIE (1958, 12 min, 16mm) COSMIC RAY (1961, 4 min, 16mm) REPORT
(1965, 13 min, 16mm) "Conner stands as a kind of twentieth century Peter
Breughel. For like the great Flemish master he distorts the visible world in
order to penetrate a reality of being rather than appearances; his vision is
cosmic in breadth; he deals with some of the most provocative issues, both
artistic and otherwise, of his time; and finally, with an evocative ambiguity
and painful irony he touches something which we sometimes call the human
experience." -Carl I. Belz, FILM CULTURE COSMIC RAY and REPORT have been
preserved by Anthology through the National Film Preservation Foundation's
Avant-Garde Masters Grant program funded by The Film Foundation. Tony Conrad
THE FLICKER (1966, 30 min, 16mm. Preserved by Anthology with funding provided
by the National Film Preservation Foundation.) THE FLICKER was Conrad's
instantly notorious and deservedly canonical filmmaking debut. As astounding and
intense an experience today as it was in the mid-1960s, the film is composed of
mathematically arranged alternating white and black frames and a
mechanical-sounding synthesized soundtrack. Total running time: ca. 65 min.
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