[Frameworks] This week (July 25 - August 2, 2015) in Avant Garde Cinema
links http://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3id=3dc6310f3be=4e65756555 http://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3id=e6ac9c6450e=4e65756555 ** This week [July 25 - August 2, 2015] in avant garde cinema Enter your event announcements by going to the Flicker Weekly Listing Form (http://hi-beam.us9.list-manage1.com/track/click?u=e4e99825c1d97f8de6eaffad3id=79f4dc8548e=4e65756555) . To receive the weekly listing via email: Subscribe (http://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3id=d78371ef03e=4e65756555) . To unsubscribe, see the link at the bottom of this email. NEW CALLS FOR ENTRIES: 23rd Chicago Underground Film Festival (Chicago, IL USA; Deadline: January 05, 2016) http://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3id=60745625e8e=4e65756555 The 8 Fest Small-Gauge Film Festival (Toronto, Ontario, Canada; Deadline: September 30, 2015) http://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3id=3f9dd9d36ae=4e65756555 DEADLINES APPROACHING: Art in the Dark @ Isadore Gallery (Lancaster, PA, USA; Deadline: August 01, 2015) http://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3id=0c9803ae2ce=4e65756555 CineSpace (Houston, TX, USA; Deadline: July 31, 2015) http://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3id=f5e7ccc9d0e=4e65756555 INTE CINEMA FESTIVAL (Rome, Italy; Deadline: August 10, 2015) http://hi-beam.us9.list-manage1.com/track/click?u=e4e99825c1d97f8de6eaffad3id=830c0f306de=4e65756555 2015 Transient Visions: Festival of the Moving Image (Johnson City, NY USA; Deadline: August 08, 2015) http://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3id=80239124b7e=4e65756555 Maumee Film Festival (Maumee, Ohio USA; Deadline: July 26, 2015) http://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3id=f51c3444eee=4e65756555 ACRE TV (Chicago; Deadline: July 25, 2015) http://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3id=cb80247bd1e=4e65756555 Events are sorted alphabetically BY CITY within each DATE. This week's programs (summary): * Black Maria Film Festival At the National Gallery of Art, Washington, Dc (#anchor1) [July 25, Washington, DC] * Reclamation Works: New and Recent Films By William E. Jones and Thom andersen (#anchor2) [July 26, Los Angeles, California] * Essential Cinema: Hollis Frampton Program (#anchor3) [July 26, New York, New York] * John Sex - the True Story (#anchor4) [July 26, New York, New York] * Film + Music: Malcolm Le Grice + Matana Roberts/Coin Coin For Media City Film Festival Opening Night (#anchor5) [July 28, Detroit, Michigan 48201] * Bad Asians 3.0 (#anchor6) [July 28, New York, New York] * New Works From Portland: the Clearing (#anchor7) [July 28, Seattle, Washington] * The Grasshopper (#anchor8) [July 29, Brooklyn, New York] * Unexposed #16: Alex Maness (#anchor9) [July 30, Durham, NC] * Re-Visions: Tessa Hughes-Freeland Program (#anchor10) [July 30, New York, New York] * Clit Club Reactivated (#anchor11) [July 30, New York, New York] * Ben Barton's Camera Obscura (#anchor12) [July 31, Brighton, England (UK)] * Something Must Break (#anchor13) [July 31, Brooklyn, New York] * Essential Cinema: Une Simple Histoire (#anchor14) [July 31, New York, New York] * Hypnosis Display (Australian Premiere) Part of the Open Frame Program From Room40 (#anchor15) [July 31, Sidney] * Grouper Paul Clipson Present Hypnosis Display- A 75 Minute Sound/16mm Film Performance + Ross Manning (#anchor16) [August 2, Brisbane ] * The Royal Road, By Jenni Olson (#anchor17) [August 2, Los Angeles, California] SATURDAY, JULY 25, 2015 7/25 Washington, DC: Black Maria Film Festival www.blackmaria.org 12:30 and 3:00PM, National Gallery of Art - West Building Lecture Hall, 6th Constitution Ave NW BLACK MARIA FILM FESTIVAL AT THE NATIONAL GALLERY OF ART, WASHINGTON, DC The Black Maria Film Festival returns again this year with two programs on Saturday afternoon, July 25th, at 12:30 until 2:00PM, and again at 3:00 until 4:30PM, to the National Gallery of Art in Washington, DC, 6th Constitution Ave NW, Washington, DC 20565. Entrances to the West Building Lecture Hall are on the Mall, on 7th Street, on Constitution Avenue at 6th Street, and on 4th Street NW. Both programs hosted by Curator of Film, Peggy Parsons, will be presented in-person by festival director Jane Steuerwald, and will feature a collection of stellar works touring in this yearís 34th Annual Black Maria Film Festival. Filmmakers James Hollenbaugh, featured in Program 1, and Christopher Upham, featured in Program 2, will be present to discuss their work. Filmmakers including Lynn Tomlinson, Livia Ungur and Sherng-Lee Huang will also be joining the discussion. Selections include animation, narrative, experimental, and
[Frameworks] Los Angeles Filmforum presents Reclamation Works: New and recent films by William E. Jones and Thom Andersen on Sunday July 26
Behind in postings, so sending this to the list, for those of you in Southern California tomorrow: Sunday July 26, 2015, 7:30 pm Los Angeles Filmforum presents Reclamation Works: New and recent films by William E. Jones and Thom Andersen At the Spielberg Theatre at the Egyptian, 6712 Hollywood Blvd., Los Angeles CA 90028 William E. Jones and Thom Andersen in person! One U.S and five Los Angeles premieres! William E. Jones and Thom Andersen each return to Filmforum to present recent works that look deep into past films to find and revitalize their meanings. Whether social investigation, political commentary, or a now-forgotten filmmaker¹s documentation of an era largely forgotten, these two artists again show why they are two of the finest cinema makers of today. Five works by William E. Jones include one U.S. and four Los Angeles premieres, and Thom Andersen¹s Juke is its local premiere. For more event information: www.lafilmforum.org http://www.lafilmforum.org , or 323-377-7238 Tickets: $10 general, $6 students/seniors; free for Filmforum members. Available by credit card in advance from Brown Paper Tickets at http://bpt.me/2005522 or at the door. Screening: Midcentury (William E. Jones, 2012, video, color, sound, 30:00) *U.S. premiere Midcentury is a compilation originally commissioned for the 53rd Venice Biennale (2009), reworked once for the 57th Oberhausen Film Festival (2011), then again for an exhibition at White Cube in London (2012). Its form mimics that of a network¹s broadcast day, condensed to a half hour. Although Midcentury contains no first person narration, it can be considered an autobiography of sortsthe work of a hyperactive child who grew up in an industrial wasteland during the Cold War and watched far too much television. Juke: Passages from the Films of Spencer Williams (Thom Andersen, 2015, 29 min.) *Los Angeles premiere! ³During the 1940s, Spencer Williams directed nine race films for Sack Entertainment in central Texas, and he acted in eight of these films. Six of these films exist today. ³In Juke, I attempt to reclaim his work, to demonstrate its originality and beauty as well as its documentary value. Williams returns always to the same theme: the struggle between the sacred and the profane, the church and the juke joint, gospel and blues. He portrays both with equal conviction. The church always prevails, but he gives the devil his due. That¹s what makes The Blood of Jesus a masterpiece: it takes a miracle to bring her back from the allure of the city and its night clubs. ³The drama in his other films is more banal, but I began to notice a remarkable documentary record of black life in the 1940s in these films. There are the nightclub scenes, of course, but there is also a precious recording of residential spaces, from the shack in The Blood of Jesus to the comfortable middle class home in Juke Joint. ³I bring out these documentary qualities by looping shots of empty interiors and showing actions freed from the plot. I am not trying to make some new meaning from these films; I am striving to bring out the meanings that are there but obscured by the plot lines: the dignity of black life and the creation of a dynamic culture in the segregated society of 1940s Texas. I regard my movie as a kin to Walker Evans¹ photographs of sharecroppers¹ homes in the 1930s and George Orwell¹s essays on English working class interiors. ³Juke was commissioned by the Museum of Modern Art to open its film series ³A Road Three Hundred Years Long: Cinema and the Great Migration,² running in conjunction with a show on Jacob Lawrence¹s ³Great Migration² paintings.² --Thom Andersen Shoot Don¹t Shoot (William E. Jones, 2012, video, color, sound, 4:30) *Los Angeles premiere Shoot Don¹t Shoot adapts a 1970s law enforcement instructional film that trains officers to decide by instinct whether or not to fire their guns. The suspect in this sequence fits the following description: ³a black man wearing a pinkish shirt and yellow pants.² Bay of Pigs (William E. Jones, 2012, video, black and white, sound, 3:55) *Los Angeles premiere Bay of Pigs makes use of a ³captured² film from the CIA Film Library, Girón, a production of El Instituto Cubano del Arte e Industria Cinematographicos documenting the aerial bombardment of la Batalla de la Playa Girón, or as it is known in the United States, the Bay of Pigs Invasion. The soundtrack comes from a numbers station called ³Atención² after the first word announcing the shortwave radio broadcast. All governments have denied the existence of numbers stations, as well as their purpose, espionage. An FBI arrest in 1998 of suspects involved in broadcasting coded messages from Florida to Cuba led to the only public acknowledgment of this phenomenon. Actual TV Picture (William E. Jones, 2013, video, color, sound, 7:09) *Los Angeles premiere
[Frameworks] 8 fest call for submissions
Dear Frameworkers, On behalf of the 8 fest, Toronto’s small-gauge film festival, I’m pleased to announce the call for submissions for our 2016 festival, pasted below. Please send completed submission forms (available at http://the8fest.com) along with film or preview to: the8fest Small-Gauge Film Festival 408 Queen Street West, #7 Toronto, OntarioM5V 2A7 Canada The deadline for submissions is September 30. Please note that we do not exhibit projects on video or digital. If you have any questions, please contact the8f...@gmail.com. Stephen Broomer CALL FOR SUBMISSIONS: the8fest 2016 INTRODUCTION the8fest seeks your 8mm, Super-8, 9.5mm or other small gauge film projects (such as loops and installations) for our 2016 installment next January 29th to 31st. Films can be: - Experimental, animated, personal, handmade - Diary and essay films, documentaries - Live performance and music mixed with film - Films from everyday culture - historical footage, home movies the8fest exhibits all work on film which means celluloid. Works selected for the festival, therefore, must be finished on small-gauge film (8mm, Super-8, 9.5 mm., Ultra Pan 8). We do not exhibit projects on video or digital. the8fest uses professional small-gauge projection equipment including Elmo GS-1200 and ST-1200 models. Our technicians and programmers have many years experience specializing in small-gauge film formats and technology. The greatest care will be taken in handling, previewing, and projecting films. Submission forms online at http://the8fest.com DEADLINE: September 30, 2015 GUIDELINES: No Submission Fee! - First-time filmmakers, youth, under-serviced communities welcome! - Submissions can be sent either on film or on a preview copy on DVD, mini-DV or VHS formats or by link to online preview video (sorry we can't accept video files by email or file transfer at this time PLEASE NOTE: Exhibition is on film only.) - Our New Works program is limited to films from the past 5 years, but we’re always curious to include older projects in other programs. Please feel free to get in touch if you have older work you think we would be interested in previewing. - Please include film/project description, artist biography, and filmography. - Artist fees (screening fees) paid to all selected films/projects. - Application requires the film/project be available for exhibition in Toronto from January 29 to 31, 2016 - Sound on film, separate sound CD/cassette and live performance/narration can all be accomodated. For separate or “wild” sound, please record the soundtrack so that it cues at first image, or provide clear instructions as to when to start the sound. - Please note that the8fest will screen what is sent to us. The leader with the film will be removed, unless the leader is itself part of the film. the8fest’s projectionist assembles the accepted films into sequenced programmes, so applicants should make it clear where the projectionist can or should cut. - MP3, AIFF, WAV, or other compressed audio (sound) files can be sent by email. - Cueing instructions should be included and clearly stated. -. Filmmakers with separate sound should not expect exact audio synchronisation with their picture. - For installations or performances: Please include detailed technical requirements and any equipment needs. We have limited resources for non-projection equipment (e.g. lights, multiple mics, etc.) - the more information the better! SEND YOUR COMPLETED SUBMISSION FORM + FILM OR PREVIEW + OTHER INFORMATION TO: the8fest Small-Gauge Film Festival 408 Queen Street West, #7 Toronto, Ontario M5V 2A7 Canada **Please send all original films/previews by a postal service with electronic package tracking. U.S. and international submissions please attach an accurate customs declaration, such as” Preview material for film festival. No financial transaction.” Please do not send submissions from the U.S. via UPS (United Parcel Service). CONTACT AND QUESTIONS: (E) the8f...@gmail.com mailto:the8f...@gmail.com (T) 001 + 416 - 703 - 2236 (W).the8fest.com http://www.the8fest.com/ the8fest is made possible through the generous support of The Canada Council for the Arts, The Ontario Arts Council, and the Toronto arts Council as well as our sponsors, community partners, and our audience. ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] Los Angeles Filmforum presents Reclamation Works: New and recent films by William E. Jones and Thom Andersen on Sunday July 26
http://decinema-decuir.tumblr.com/post/123115134176/avant-noir-volume-2-program-notes https://www.ica.org.uk/whats-on/artists-film-club-avant-noir-volume-2-curated-greg-de-cuir-jr Dear Adam: How are you? Hope you enjoyed Oberhausen. Too bad we didn't get a chance to have coffee and catch up. A question for you. I'm really interested to see Andersen's Juke. Do you know if he has an online preview available, and if so, how I could come to it? Not sure if I told you but I've been curating the multi-part series Avant-Noir for ICA London. Links with details are above. Hope to be in touch. Have a great summer. Best, Greg Sent from Yahoo Mail on Android From:Adam Hyman a...@lafilmforum.org Date:Sat, Jul 25, 2015 at 17:58 Subject:[Frameworks] Los Angeles Filmforum presents Reclamation Works: New and recent films by William E. Jones and Thom Andersen on Sunday July 26 Behind in postings, so sending this to the list, for those of you in Southern California tomorrow: Sunday July 26, 2015, 7:30 pm Los Angeles Filmforum presents Reclamation Works: New and recent films by William E. Jones and Thom Andersen At the Spielberg Theatre at the Egyptian, 6712 Hollywood Blvd., Los Angeles CA 90028 William E. Jones and Thom Andersen in person! One U.S and five Los Angeles premieres! William E. Jones and Thom Andersen each return to Filmforum to present recent works that look deep into past films to find and revitalize their meanings. Whether social investigation, political commentary, or a now-forgotten filmmaker’s documentation of an era largely forgotten, these two artists again show why they are two of the finest cinema makers of today. Five works by William E. Jones include one U.S. and four Los Angeles premieres, and Thom Andersen’s Juke is its local premiere. For more event information: www.lafilmforum.org http://www.lafilmforum.org , or 323-377-7238 Tickets: $10 general, $6 students/seniors; free for Filmforum members. Available by credit card in advance from Brown Paper Tickets at http://bpt.me/2005522 or at the door. Screening: Midcentury (William E. Jones, 2012, video, color, sound, 30:00) *U.S. premiere Midcentury is a compilation originally commissioned for the 53rd Venice Biennale (2009), reworked once for the 57th Oberhausen Film Festival (2011), then again for an exhibition at White Cube in London (2012). Its form mimics that of a network’s broadcast day, condensed to a half hour. Although Midcentury contains no first person narration, it can be considered an autobiography of sorts—the work of a hyperactive child who grew up in an industrial wasteland during the Cold War and watched far too much television. Juke: Passages from the Films of Spencer Williams (Thom Andersen, 2015, 29 min.) *Los Angeles premiere! “During the 1940s, Spencer Williams directed nine race films for Sack Entertainment in central Texas, and he acted in eight of these films. Six of these films exist today. “In Juke, I attempt to reclaim his work, to demonstrate its originality and beauty as well as its documentary value. Williams returns always to the same theme: the struggle between the sacred and the profane, the church and the juke joint, gospel and blues. He portrays both with equal conviction. The church always prevails, but he gives the devil his due. That’s what makes The Blood of Jesus a masterpiece: it takes a miracle to bring her back from the allure of the city and its night clubs. “The drama in his other films is more banal, but I began to notice a remarkable documentary record of black life in the 1940s in these films. There are the nightclub scenes, of course, but there is also a precious recording of residential spaces, from the shack in The Blood of Jesus to the comfortable middle class home in Juke Joint. “I bring out these documentary qualities by looping shots of empty interiors and showing actions freed from the plot. I am not trying to make some new meaning from these films; I am striving to bring out the meanings that are there but obscured by the plot lines: the dignity of black life and the creation of a dynamic culture in the segregated society of 1940s Texas. I regard my movie as a kin to Walker Evans’ photographs of sharecroppers’ homes in the 1930s and George Orwell’s essays on English working class interiors. “Juke was commissioned by the Museum of Modern Art to open its film series “A Road Three Hundred Years Long: Cinema and the Great Migration,” running in conjunction with a show on Jacob Lawrence’s “Great Migration” paintings.” --Thom Andersen Shoot Don’t Shoot (William E. Jones, 2012, video, color, sound, 4:30) *Los Angeles premiere Shoot Don’t Shoot adapts a 1970s law enforcement instructional film that trains officers to decide by instinct whether or not to fire their guns. The suspect in this sequence fits the following
