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** This week [April 22 - 30, 2017] in avant garde cinema
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from The Sound of His Face (Scott Stark) Ultra-Seeing Film Series: Synesthie
(#anchor26) [April 30, Dallas, TX]
NEW CALLS FOR ENTRIES:
Rencontres Internationales Sciences & Cinémas (RISC) (Marseille; Deadline: June
01, 2017)
http://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=b76282d540&e=4e65756555
DEADLINES APPROACHING:
Peripheral ARTeries, Biennial Edition 2017 (London, United Kingdom; Deadline:
May 25, 2017)
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Events are sorted alphabetically BY CITY within each DATE.
This week's programs (summary):
* Down Hear: the Films of Mike Henderson - Filmmaker In Person (#anchor1)
[April 22, Cambridge]
* Ec: Bruce Baillie Program (#anchor2) [April 22, New York, NY]
* Godothers (#anchor3) [April 22, New York, NY]
* Escape From Rented Island: the Lost Paradise of Jack Smith (#anchor4) [April
22, New York, NY]
* April22: Inaate/Se&Mdash;It Shines A Certain Way + Gomez-Pena (#anchor5)
[April 22, San Francisco, California]
* Peripheries: Groundbreaking Border video Works (#anchor6) [April 22, Tucson,
AZ]
* Benjamin Smoke (#anchor7) [April 23, Cambridge]
* Suite California Stops & Passes (#anchor8) [April 23, Cambridge]
* Ec: Quick Billy (#anchor9) [April 23, New York, NY]
* Ec: Baillie / Belson / Crockwell Pgm (#anchor10) [April 23, New York, NY]
* Escape From Rented Island: the Lost Paradise of Jack Smith (#anchor11) [April
23, New York, NY]
* Fragments, Group Screening (#anchor12) [April 24, Brooklyn, New York]
* Phantoms of Light and Darkness: New Digital Films By Ernie Gehr (#anchor13)
[April 24, Los Angeles, California]
* Newfilmmakers (#anchor14) [April 24, New York, NY]
* Su Friedrich's Sink Or Swim + Michelle Citron's Daughter Rite (#anchor15)
[April 25, Brooklyn, New York 11222]
* Romance, Apocalypse and Moon Landings: Kate Mccabe + Gabriela Molina
(#anchor16) [April 26, Tucson, AZ]
* Directors Lounge Screening - Thanos Chrysakis - Amber Gaze (#anchor17) [April
27, Berlin, Germany]
* Ec: Stan Brakhage Program 1 (#anchor18) [April 27, New York, NY]
* Spectral Ascension: Super 8 and 16mm Films By Paul Clipson (#anchor19) [April
28, Los Angeles, California]
* Ordinary Scenes and Recurring Dreams: Recent Japanese 8mm Films (#anchor20)
[April 29, Los Angeles, California]
* Ec: Songs 1-14 (#anchor21) [April 29, New York, NY]
* April29: Wilkerson&Rsquo;S Machine Gun Or Typewriter? + Flunk Trump!
(#anchor22) [April 29, San Francisco, California]
* I’Ll Be Your Mirror: andy Warhol's 8 Hour Empire Projected In 16mm!!!
Exploded view Fundraiser, Happening & Feast!!! (#anchor23) [April 29, Tucson,
AZ]
* A Roll For Peter (#anchor24) [April 29, Vancouver, British Columbia]
* Instrument (#anchor25) [April 30, Cambridge]
* Ultra-Seeing Film Series: Synesthie (#anchor26) [April 30, Dallas, TX]
* Ec: Songs 15-22 (#anchor27) [April 30, New York, NY]
* Ec: Stan Brakhage Program 2 (#anchor28) [April 30, New York, NY]
SATURDAY, APRIL 22, 2017
4/22
Cambridge: Harvard Film Archive
http://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=47975c8515&e=4e65756555
7pm, 24 Quincy Street
DOWN HEAR: THE FILMS OF MIKE HENDERSON - FILMMAKER IN PERSON
Due to a slate of recent preservations by Mark Toscano of the Academy Film
Archive, the films of Mike Henderson (b. 1944) have finally come to light.
Formally trained as a painter and blues guitarist, Henderson expanded his
creative expression in the 1960s to filmmaking. Radical, innovative, political
and often comical, Henderson’s 16mm short works are an eccentric outgrowth of
his music and painting backgrounds. Initially manifesting from a desire to
animate the figures in his paintings—which he thought would give his artwork
greater depth—Henderson’s powerful, candid work ranges from audiovisual
compositional experiments, to musings on creativity, to John Lee Hooker-style
spoken blues performances about the Black experience and Black identity. As the
late filmmaker Robert Nelson has noted, "Henderson’s movies are the first
movies in the world to bring the authentic 'talkin blues' tradition into film.”
Henderson’s films typically address a variety of political and social
issues, many times with wry humor, along with performative and introspective
elements. The Harvard Film Archive is honored to welcome Mike Henderson in
person to present his films. He will also introduce a program of his close
friend Robert Nelson’s work the following evening. Highlights include
Henderson’s first film, The Last Supper, in which a blasphemous romp and orgy
break out, while Dufus is a comedic and radical look at black stereotypes acted
out by Mike Henderson in a variety of amazing performances. Concluding the
program is the masterful Down Hear, a powerful meditation on slavery and
oppression set in a kitchen and featuring a slave- trading reenactment by Mike
Henderson in white face, along with his brother Raymond, all paced by a slow
and haunting blues track played by Mike.
4/22
New York, NY: Anthology Film Archives
http://hi-beam.us9.list-manage1.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=04b397bf02&e=4e65756555
3:45 PM, 32 Second Avenue
EC: BRUCE BAILLIE PROGRAM
MASS FOR THE DAKOTA SIOUX (1963-64, 20 minutes, 16mm, b&w) QUIXOTE (1964-65, 45
minutes, 16mm) "In MASS and QUIXOTE [Baillie] subtly blends glimpses of the
heroic personae with despairing reflections on violence and ecological
disaster. […] Despite his sophistication, Baillie remains an innocent; the
whole of his cinema exhibits an alternation between two irreconcilable themes:
the sheer beauty of the phenomenal world (few films are as graceful to the eye
as his, few are as sure of their colors) and the utter despair of forgotten
men. It is in QUIXOTE alone that these two themes emerge into a dialectical
form, an antithesis of grace and disgrace." -P. Adams Sitney, VISIONARY FILM
Total running time: ca. 70 min.
4/22
New York, NY: Anthology Film Archives
http://hi-beam.us9.list-manage1.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=fee9b1eb8f&e=4e65756555
7:30 PM, 32 Second Avenue
GODOTHERS
GUEST CURATED BY SARAH MENDELSOHN "Godothers" presents five works reflecting on
fluidity in gender, language, and political life: where being trans or fluid is
not necessarily the primary content, but where genderqueer or trans experiences
contribute to a politics of rewriting and relating deeply. With SILENCE, Sarah
Mendelsohn projects into the American writer Susan Sontag's 1993 "gender-blind"
production of WAITING FOR GODOT in Sarajevo. Rami George writes into a
stranger's romantic history: scenes of American protests, friendships, and hazy
interiors circa 1960s-90s - UNTITLED (STANLEY, MY SECOND LOVER) holds memories
of tenderness and radical ambition alternately close and very distant. Geo
Wyeth and Mariah Garnett cast themselves as family members, rewriting their
genders, adapting their speech. Geo becomes HW CLOBBA: "the artist's dead
godmother, a native New Yorker, reluctant real estate appraiser, and
communist." In OTHER & FATHER, Mariah queers her father, reenacting
scenes from an earlier life, in 1970s Belfast. Rindon Johnson projects
variously, rewriting their family, name, and body. Their poetry traces the ways
our families reside within our names and bodies, our environments, our
politics. We're often looking for new ones. Sarah Mendelsohn SILENCE (2017, 15
min, reading) Rami George UNTITLED (STANLEY, MY SECOND LOVER) (2012, 8 min,
digital) HW Clobba (Geo Wyeth with Alan Danielson) AUTOMATIC TELLER MACHINE
(2014, 11.5 min, digital) Mariah Garnett OTHER & FATHER (CHANNEL 2) (2016, 11
min, digital) Rindon Johnson UNTITLED (2017, 15 min, reading with video) Total
running time: ca. 65 min.
4/22
New York, NY: Anthology Film Archives
http://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=a86c544d2c&e=4e65756555
8:00 PM, 32 Second Avenue
ESCAPE FROM RENTED ISLAND: THE LOST PARADISE OF JACK SMITH
by Jerry Tartaglia. WORLD PREMIERE! FILMMAKER IN PERSON! "I call it a 'Film
Essay,' but it's really a non-documentary film document that gives Jack Smith
the chance to be heard without the intervention of talking heads, critics, and
had-been friends." -Jerry Tartaglia For more than 20 years, Jerry Tartaglia
worked on restoring, preserving, and exhibiting the moving-image legacy of
underground film and performance legend Jack Smith. Tartaglia's work as
restorer, achieved with the support of Jack's friends at The Plaster
Foundation, and The Gladstone Gallery, has been critical in ensuring that
Smith's films are available for future generations. Now, having completed that
work, Tartaglia has created a Film Essay that consists of 21 short
illustrations of Smith's Aesthetic and Political principles including
Capitalism, Glitter, Performance, Chance, Boredom, Thievery, Injustice, and
Maria Montez. A remarkable fusion of image and sound that is both an invaluable
work of archival
archaeology and a splendid filmic experience in its own right, ESCAPE FROM
RENTED ISLAND is a must-see for Jack Smith devotees and neophytes alike. "Jack
Smith left behind a cache of audio recordings that he made in the 1970s, 80s,
and earlier, in which he reveals much about his ideas of artmaking, cinema,
politics, and life. Some of the recordings are solo readings of his published
writings while others are documentations of his 'Live Film' performances. Some
are recordings that document rehearsals for his films and others are impromptu
recitations on a theme. These recordings have been made available to me by the
owner of the Jack Smith Archive, The Gladstone Gallery, New York and Brussels,
for use in my film. I've culled the most daring and engaging of these
recordings with images from his films and photography that exemplify or
illustrate his ideas. The unique feature of the film is that there are no
'talking head' interviews with anyone. The only spokesperson for Jack
Smith is Jack himself!" -Jerry Tartaglia
4/22
San Francisco, California: Other Cinema
http://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=b596896296&e=4e65756555
8:30 PM, 992 Valencia St.
APRIL22: INAATE/SE—IT SHINES A CERTAIN WAY + GOMEZ-PENA
In their break-out first feature, Ojibway filmmakers Adam (in person) and Zack
Khalil fearlessly reclaim the Native narrative from the museums that would
confine it to the past, instead weaving a formally and intellectually complex
essay on contemporary Indian identity. The kaleidoscopic experience mixes doc,
narrative, and experimental modes, transcending linear colonized history to
explore how tribal prophecy resonates through the generations in their Great
Lakes region. Using personal interviews, animated drawings, performance, and
provocative inter-cutting, the Khalil brothers’ debut makes a bold case for
indigenous people to be their own storytellers. Opening is a half-hour of
Anti-Ethnographies, including righteous satires by Guillermo Gomez-Pena &
Gustavo Vazquez; come early for Jota Leaños’ animated Frontera: Revolt on the
Rio Grande!
4/22
Tucson, AZ: Exploded View Microcinema
http://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=448e496164&e=4e65756555
7:30, 197 E Toole Ave
PERIPHERIES: GROUNDBREAKING BORDER VIDEO WORKS
(Artists Jennifer Hijazi, Wesley Creigh and Conor Eliot Fitzgerald in person)
Tonight’s program highlights local artists employing varying viewing formats to
represent international boundaries near and far. Featuring 360° videos of
international borders from around the world by University of Arizona Journalism
master’s student Jennifer Hijazi. Her virtual reality stations will give your
eyeballs a front row seat to the people and landscapes of borderlands
worldwide. Wesley Creigh will debut her animation project “Of Rocks and
Bullets: An Animated Discourse” in an interactive viewing-booth installation
that contemplates the occurrence of Border Patrol violence on and across the
US-Mexico border. Conor Elliott Fitzgerald brings us his video piece of two
economically disparate but geographically near communities of Green Valley,
Arizona and Nogales, Sonora. His work is the product of years of interacting
with both locales as a photographer. An exciting night of boundary pushing
video and new media works, that examines traditional themes using
non-traditional methods, compelling the viewers towards new frontiers of
thought and reaction.
SUNDAY, APRIL 23, 2017
4/23
Cambridge: Harvard Film Archive
http://hi-beam.us9.list-manage1.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=29d41c56df&e=4e65756555
4:30pm, 24 Quincy Street
BENJAMIN SMOKE
Jem Cohen and co-director Peter Sillen, both visually involved in Athens’
independent music scene, were introduced to Benjamin—née Robert
Dickerson—through Michael Stipe, a longtime fan. Over a decade, Cohen and
Stillen craft a compassionate portrait of Benjamin, whose
marginality—unclassifiable musician, openly gay, HIV-positive, addict, drag
queen —is as spectacular as his unedited authenticity, passionate vitality and
sensitive vulnerability. In Atlanta’s eccentric—and gradually gentrifying—area
known as Cabbagetown, the filmmakers document Benjamin’s public and private
performances, wild musings, Southern left-field surroundings, and his band’s
opening for Patti Smith, another fan. A unique soul whose bright flame is
sometimes difficult to watch directly, Benjamin seems equally powered by both a
passion for life and a self-destructive fatalism. Amid the rough grains of film
and notes of Benjamin’s bewitching music , Cohen and Sillen capture the essence
of this secret,
decadent Southern star. Directed by Jem Cohen and Peter Sillen. US 2000, 16mm,
color and b/w, 73 min Preceded by Peter Hutton US 2016, digital video (orig.
16mm), b/w, 2 min Anne Truitt, Working US 2009, digital video (orig. 16mm), b/w
& color, 13 min Lucky Three: An Elliot Smith Portrait US 1997, digital video
(orig. 16mm), color, 11 min
4/23
Cambridge: Harvard Film Archive
http://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=5e227b582b&e=4e65756555
7pm, 24 Quincy Street
SUITE CALIFORNIA STOPS & PASSES
Suite California is a work of deep feeling, insight, humor and intelligence
that finds Nelson working at the height of his formal innovation and, at the
same time, at his most personally revealing and emotionally generous. The Suite
California films were originally intended as a much longer, multipart
travelogue traversing the wide cultural and geographical diversity of all of
California. Nelson completed two parts—covering Southern California and the Bay
Area—and the results trace the vast and unpredictable area between a rich
personal reading of a place and the place itself. Although both works feature
Nelson's characteristic brilliant humor throughout, they are also deeply
reflective and filled with unexpected, revelatory insight about the subjective
experience of his home state, and his own place in it. – Mark Toscano All films
in this program—except for Bleu Shut—preserved by the Academy Film Archive.
King David Directed by Mike Henderson and Robert Nelson US 1970/2003,
16mm, color, sound, 7.5 min Suite California Stops & Passes Part 1: Tijuana to
Hollywood via Death Valley US 1978, 16mm, color & b/w, 47 min Suite California
Stops & Passes Part 2: San Francisco to the Sierra Nevadas & Back Again US
1978, 16mm, color & b/w, 47 min
4/23
New York, NY: Anthology Film Archives
http://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=8a0720661b&e=4e65756555
4:00 PM, 32 Second Avenue
EC: QUICK BILLY
by Bruce Baillie. Bruce Baillie's journey through "the dark wood encountered in
the middle of life's journey" (Dante), with references to Bardo Thodol. A major
work from one of the great poets of cinema. Plus: QUICK BILLY: SIX ROLLS;
14/41/43/46/47/52 (1968-69, 16 min, 16mm) Six uncut camera rolls to be shown
with QUICK BILLY. The 'rolls' took the form of a correspondence, or theater,
between their author and Stan Brakhage, in the winter of 1968-69.
4/23
New York, NY: Anthology Film Archives
http://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=a206c7a623&e=4e65756555
6:00 PM, 32 Second Avenue
EC: BAILLIE / BELSON / CROCKWELL PGM
Bruce Baillie CASTRO STREET (1966, 10 min, 16mm) ALL MY LIFE (1966, 3 min,
16mm) VALENTIN DE LAS SIERRAS (1968, 10 min, 16mm. Preserved by Anthology Film
Archives.) "In [Baillie's late 1960s films], the eye of the film-maker quiets
his mind with images of reconciliation; the dialectics of cinematic thought
become calm in the filming of the privileged moment of reconciliation." -P.
Adams Sitney, VISIONARY FILM Jordan Belson ALLURES (1961, 9 min, 16mm) RE-ENTRY
(1964, 6 min, 16mm) SAMADHI (1967, 6 min, 16mm) WORLD (1970, 6 min, 16mm) LIGHT
(1973, 6 min, 16mm) [This film is not technically part of the Essential Cinema,
but is included here as a special bonus.] "Our greatest abstract film poet: he
has found how to combine the vision of the outer and the inner eye." -Gene
Youngblood Douglass Crockwell THE LONG BODIES (1949, 6 min, 16mm) GLENS FALLS
SEQUENCE (1964, 8 min, 16mm) Both films preserved by Anthology Film Archives.
"The basic idea was to paint continuing pictures on
various layers with plastic paint, adding at times and removing at times, and
to a certain extent these early attempts were successful." -Douglass Crockwell
Total running time: ca. 75 min.
4/23
New York, NY: Anthology Film Archives
http://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=0e95346d16&e=4e65756555
8:00 PM, 32 Second Avenue
ESCAPE FROM RENTED ISLAND: THE LOST PARADISE OF JACK SMITH
by Jerry Tartaglia. WORLD PREMIERE! FILMMAKER IN PERSON! "I call it a 'Film
Essay,' but it's really a non-documentary film document that gives Jack Smith
the chance to be heard without the intervention of talking heads, critics, and
had-been friends." -Jerry Tartaglia For more than 20 years, Jerry Tartaglia
worked on restoring, preserving, and exhibiting the moving-image legacy of
underground film and performance legend Jack Smith. Tartaglia's work as
restorer, achieved with the support of Jack's friends at The Plaster
Foundation, and The Gladstone Gallery, has been critical in ensuring that
Smith's films are available for future generations. Now, having completed that
work, Tartaglia has created a Film Essay that consists of 21 short
illustrations of Smith's Aesthetic and Political principles including
Capitalism, Glitter, Performance, Chance, Boredom, Thievery, Injustice, and
Maria Montez. A remarkable fusion of image and sound that is both an invaluable
work of archival
archaeology and a splendid filmic experience in its own right, ESCAPE FROM
RENTED ISLAND is a must-see for Jack Smith devotees and neophytes alike. "Jack
Smith left behind a cache of audio recordings that he made in the 1970s, 80s,
and earlier, in which he reveals much about his ideas of artmaking, cinema,
politics, and life. Some of the recordings are solo readings of his published
writings while others are documentations of his 'Live Film' performances. Some
are recordings that document rehearsals for his films and others are impromptu
recitations on a theme. These recordings have been made available to me by the
owner of the Jack Smith Archive, The Gladstone Gallery, New York and Brussels,
for use in my film. I've culled the most daring and engaging of these
recordings with images from his films and photography that exemplify or
illustrate his ideas. The unique feature of the film is that there are no
'talking head' interviews with anyone. The only spokesperson for Jack
Smith is Jack himself!" -Jerry Tartaglia
MONDAY, APRIL 24, 2017
4/24
Brooklyn, New York: Microscope Gallery
http://hi-beam.us9.list-manage1.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=3f3187749a&e=4e65756555
7:30pm, 1329 Willoughby Ave 2B
FRAGMENTS, GROUP SCREENING
works by Leah Beeferman, Gregg Biermann, Danielle Ezzo & Anton Marini, Lisa
Gwilliam & Ray Sweeten, Jeremiah Jones, Michelle Leftheris, Rollin Leonard,
Zach Nader, Andrew Neumann, Danielle Roney, Anita Thacher, Yuge Zhou Sreening
of new and recent short moving image works involving the fragmentation of the
digital frame/image. In these videos and online works ranging from 15 seconds
to 15 minutes the rectangular screen is broken or segmented, often in time and
space, offering the viewer alternative ways to perceive the reality of the
underlying imagery including television programming and Hollywood films as well
as real life and virtual subject matters such as migration and displacement,
the union of lovers, the concept of “manifest destiny”, AI in use on the web,
and the anthropomorphic qualities of machines at work on the streets of New
York City. Full program and additional info: www.microscopegallery.com.
i...@microscopegallery.com tel: 347.925.1433. Jefferson L train
(exit Starr St)
4/24
Los Angeles, California: Redcat
http://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=09284a9ab8&e=4e65756555
8:30pm, 631 W. 2ND Street
PHANTOMS OF LIGHT AND DARKNESS: NEW DIGITAL FILMS BY ERNIE GEHR
Ernie Gehr continues to delight and confound as a stream of new work moves ever
more masterfully into a world of digital imagery. Gehr, the avant-garde
innovator behind 16mm milestones such as Serene Velocity (1970) and
Side/Walk/Shuttle (1991), is a great observer of urban life, an artist who
transforms human activities into rich fields of cinematic discovery. Gehr’s
recent digital films return to favorite themes— city life, travel phenomena,
early cinema, visual revelation—with expanded depth and sensory acuity. The
program consists of Sensations of Light, 7, 10 and 11 (2016), Creatures of the
Night (2016), Transport (2015) and A Commuter’s Life (What a Life!) (2014). In
person: Ernie Gehr
4/24
New York, NY: Anthology Film Archives
http://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=3569e47f43&e=4e65756555
6:00 PM, 32 Second Avenue
NEWFILMMAKERS
For full program listings, visit www.newfilmmakers.com.
TUESDAY, APRIL 25, 2017
4/25
Brooklyn, New York 11222: Light Industry
http://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=771c20822f&e=4e65756555
7:30 PM EDT, 155 Freeman St
SU FRIEDRICH'S SINK OR SWIM + MICHELLE CITRON'S DAUGHTER RITE
Sink or Swim, Su Friedrich, 1990, 16mm, 48 mins Daughter Rite, Michelle Citron,
1978, 16mm, 55 mins A pivotal work of feminist cinema, Michelle Citron's
Daughter Rite speculates on the political and personal complexities of
mother-daughter relationships through an investigation of her family's 8mm home
movies. Followed by a conversation with Friedrich.
WEDNESDAY, APRIL 26, 2017
4/26
Tucson, AZ: Exploded View Microcinema
http://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=47f872ff67&e=4e65756555
7:30, 197 E Toole Ave
ROMANCE, APOCALYPSE AND MOON LANDINGS: KATE MCCABE + GABRIELA MOLINA
(filmmakers in person) Kate McCabe will be showcasing a decade's worth of her
moving image work combining humor in experimental film and premiering her
latest 16mm work, You and I Remain. A film inspired by the Anthropocene, You
and I Remain is an apocalyptic lullaby, a landscape film mediating on the end
of the world. Shot in Big Sur, the Salton Sea and in McCabe’s own neighborhood
of Joshua Tree, the film shows us a portrait of the world askew with subtle and
moving sound design by Jason Payne of Nitzer Ebb. Local fave, Gabriela Molina
begins the evening with a selection of her recent fantastical cut-out
animations and light experiments!
THURSDAY, APRIL 27, 2017
4/27
Berlin, Germany: Directors Lounge
http://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=9766b348a0&e=4e65756555
21:00, Z-Bar, Bergstraße 2, 10115 Berlin-Mitte, Germany
DIRECTORS LOUNGE SCREENING - THANOS CHRYSAKIS - AMBER GAZE
The artist, musician and composer Thanos Chrysakis was born in Athens. He lived
for sixteen years in London until he moved to Belarus in 2015. He is a trained
musician who performs his music internationally in festivals, in concert halls
and alternative places. He always had a strong connection with images and thus
has created his own videos, or has found people for sound/image collaborations.
Since 2007 he operates the record-label 'Aural Terrains' focusing in
electroacoustics, composed and improvised music. -°*°- The program thus
presents the composer/musician - Thanos Chrysakis - working with his own
visuals and with the audio-visual collaborations of film director Félix
Brassier. In our perception of video, or film, of audio-visual material, sound
guides the reception of images, sound creates the continuity of space and time
or its disruption more than any visual effect, even though the sound editing
rarely comes to the surface of our perception. Chrysakis with his sounds
on the other hand loves to work with the thresholds of our perception, with the
fragility and ambiguity of sounds, and the edges of discernibility. The images
of his films, and of those of Brassier, thus play on a similar congenial level
of ambiguity on the picture layer, as Chrysakis' sounds. The visuals may even
take up some of the functions, “music for film” traditionally has: a marker for
the continuity of space and time. However, the stream of ambiguous
consciousness between industrial urban spaces and dreamy imaginations the films
provoke, are a product of a fine tuned balance of sound and image creation.
-°*°- -°*°- Artist Link:
http://hi-beam.us9.list-manage2.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=0ca5e30096&e=4e65756555
-°*°-
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-°*°- -°*°- Links: Directors Lounge
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-°*°- Richfilm
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-°*°- Z-Bar
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4/27
New York, NY: Anthology Film Archives
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7:30 PM, 32 Second Avenue
EC: STAN BRAKHAGE PROGRAM 1
Unless otherwise noted, all films are silent. DESISTFILM (1954, 7 min, 16mm,
b&w, sound) REFLECTIONS ON BLACK (1955, 12 min, 16mm, b&w, sound. Preserved by
Anthology Film Archives.) THE WONDER RING (1955, 4 min, 16mm) FLESH OF MORNING
(1956, 25 min, 16mm, b&w) DAYBREAK AND WHITEYE (1957, 8 min, 16mm) WINDOW WATER
BABY MOVING (1959, 12 min, 16mm. Preserved by Anthology Film Archives.) Films
made during the early, "psychodramatic" period of one of modern cinema's
greatest innovators, including two of his early experiments with sound. Total
running time: ca. 75 minutes.
FRIDAY, APRIL 28, 2017
4/28
Los Angeles, California: Echo Park Film Center
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8 pm, 1200 N Alvarado St
SPECTRAL ASCENSION: SUPER 8 AND 16MM FILMS BY PAUL CLIPSON
$5 suggested donation. This retrospective surveys Paul Clipson’s works on
reversal Super 8mm and 16mm negative, covering films made between 2007 and
2017. Each of these films, with their approach to studying light, texture,
color, focus, in-camera editing and superimposition, also chart a distinct
journey in collaboration and interactions with a universe of sound artists and
musicians, including Jefre Cantu-Ledesma, Grouper, Gregg Kowalsky, Sarah
Davachi, Lawrence English and many others. The evening’s program will include
OTHER STATES (2013), BRIGHT MIRROR (2013), LIGHTHOUSE (2015),and MADE OF AIR
(2014), and will feature a premiere on 16mm of SPECTRAL ASCENSION (2017) with a
soundtrack by Byron Westbrook. The filmmaker will be present to project the
films and participate in a Q&A after the screening. Films will be screened in
their original formats. Paul Clipson is a San Francisco-based filmmaker who
often collaborates with sound artists and musicians on films, live
performances, and installations. His Super 8 and 16mm films aim to bring to
light visual preoccupations that reveal themselves while working in a stream of
consciousness manner, combining densely layered, in-camera edited studies of
figurative and abstract environments, in a process that encourages
unplanned-for results, responding to and conversing with the temporal qualities
of musical composition and live performance. His work has screened around the
world in festivals and at sound and film events such as the International Film
Festival Rotterdam, The New York Film Festival, and the Cinémathèque Française.
In March and April he will be touring Europe with Jeremy Young and Shinya
Sugimoto for sound/film performances in London, Manchester, Paris, Brussels,
Amsterdam, Copenhagen and other cities.
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FILMMAKER IN ATTENDANCE! This screening is made possible thanks to a grant
from the Andy Warhol Foundation for the Visual Arts.
SATURDAY, APRIL 29, 2017
4/29
Los Angeles, California: Echo Park Film Center
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8 pm, 1200 N Alvarado St
ORDINARY SCENES AND RECURRING DREAMS: RECENT JAPANESE 8MM FILMS
The program features a diverse range of contemporary 8mm films by Japanese
artists. Although it has been several years since Fuji Film ended the
production of Single 8, which was a preferred format among filmmakers in Japan
but not for the rest of the world, some filmmakers in Japan are still working
with this format – they purchased many cartridges when available and stored
them for the future. The program begins with Wriggle, an abstract animation
with layers of paints on a 2-dimensional surface by Haruka Mitani, followed by
Naoaki Miyamoto’s Tide, which expresses nostalgia through a journey or the flow
of a river. Ryo Ishikawa’s On the Shore is made of dream-like sequences with
visual effects that address the materiality of the medium, and A Dream of Smoke
displays Madoka Kobata’s delicate camerawork with the images of a quiet village
and others indoor. Kayako Oki’s Spinning Light conveys further the materiality
of the format with a feeling of girlish childhood memories,
and Water-soluble Doze by Masaharu Oki depicts the beauty and formality in
autumn leaves and others found on the ground. Akio Hikage’s Tanning the film
focuses on a repetitive process that seems eternal, and Ryo Ishikawa’s found
footage film, Drift, also uses an idea of repetition to build the film
structure. Vanitas by Yuriko Sato expresses a sense of being confined to a
space or one’s mind, and Sayaka Hayami’s In These Days illustrates everyday
scenes at night in her neighborhood. Fire Balls by Shintaro Kiyonari exhibits
views from a train, looking toward the sun, along with shots of a baby
crawling, while Junhou Arai’s For Life: Plum, Bamboo, and Pine shows physical
characteristics of the elderly in a very formal way. New York-based curator and
artist Tomonari Nishikawa will be present to introduce the program, and
participating filmmakers Ryo Ishikawa and Sayaka Hayami will be here from Japan
to talk about his films as well. Don’t miss this incredibly rare screening to
see recent work in small gauge film from Japan projected from its original 8mm
format. This program is made possible thanks to a grant from the Andy Warhol
Foundation for the Visual Arts.
4/29
New York, NY: Anthology Film Archives
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7:30 PM, 32 Second Avenue
EC: SONGS 1-14
by Stan Brakhage. "SONG 1: Portrait of a lady. SONGS 2 & 3: Fire and a mind's
movement in remembering. SONG 4: Three girls playing with a ball. Hand painted.
SONG 5: A childbirth song. SONG 6: The painted veil via moth-death. SONG 7: San
Francisco. SONG 8: Sea creatures. SONG 9: Wedding source and substance. SONG
10: Sitting around. SONG 11: Fires, windows, an insect, a lyre of rain
scratches. SONG 12: Verticals and shadows caught in glass traps. SONG 13: A
travel song of scenes and horizontals. SONG 14: Molds, paints and crystals."
-S.B.
4/29
San Francisco, California: Other Cinema
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8:30 PM, 992 Valencia St.
APRIL29: WILKERSON’S MACHINE GUN OR TYPEWRITER? + FLUNK TRUMP!
Celebrating our MayDay legacy, here’s the NorCal premiere of this genre romp by
the film firebrand renown for his righteous retrieval of political histories,
especially Western. An inspired hybrid of landscape essay, private-dick
thriller, and agit-prop, Travis’ 70-min. neo-noir parlays a map of LA detective
sites into a mode of historiography, twisting real class struggles into a sam
spade lost-lover case. Kicking off this evening of outrage and protest: After
99 days of this bad dream of a Insane Klown Presidency, a raucous
screen-riot/roast of The Donald, climaxing in our gleeful smashing of his
pea-brained pinata head in front of a 13-min. rave-up of Trump Fails. PLUS
Georg Koszulinski’s Tribulation 2017, Andre Perkowski’s The President Effect,
and a raft of artist-made smart-bombs (Colburn, Boyce, Nerburn, Sachs, Pussy
Riot, et al).
4/29
Tucson, AZ: Exploded View Microcinema
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7:00, 197 E Toole Ave
I’LL BE YOUR MIRROR: ANDY WARHOL’S 8 HOUR EMPIRE PROJECTED IN 16MM!!! EXPLODED
VIEW FUNDRAISER, HAPPENING & FEAST!!!
Co-presented by Olivier Mosset ($20, $15 students) 7pm- 3am "The best, most
temporal way of making a building that I ever heard of is by making it with
light. The Fascists did a lot of this "light architecture." If you build
buildings with lights outside, you can make them indefinite, and then when
you're through using them you shut the lights off and they disappear." -Andy
Warhol (1975) A feast for all senses, EV invites you to our polyphonic living
installation of film, music and multiple multi-channeled mayhem. The Exploded
View gallery will be transformed into giant mirrored chamber within which will
be projected Andy Warhol’s 1964 silent 8 hour/10 reel film masterpiece EMPIRE.
The back of the Tooleshed warehouse will be transformed into a Warholian
scenemaker lounge FACTORY with couches, carpets, silk-screening, lots of food,
libations and trippy visuals accompanied by DJ sets and live music from Caleb
Gutierrez (DesertDeer), Nika Kaiser, Clif Taylor, Oliver Ray, Carl
Hanni & more. This come-and-go event is a first time fundraiser for Exploded
View, as we enter our 5th year, to stay strong in our mission of cultivating
film, music and provocation!
4/29
Vancouver, British Columbia: Iris Film Collective
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8pm, Pandora Park, 2325 Franklin Street
A ROLL FOR PETER
Iris Film Collective, in collaboration with Dance Troupe Practice is pleased to
present “A Roll For Peter”, the touring program of films made in tribute to the
late great filmmaker Peter Hutton. Hutton, an American artist and educator,
developed a unique perspective on both urban and remote landscapes through his
images from the early 1970’s until his death in 2016. Mark Street and Jennifer
Reeves, former students of Hutton, put out a call for films to honour Hutton,
each to be drawn from a single silent 100 foot roll of 16mm film. The call
resulted in 35 16mm films that will screen out doors beneath the stars with
Hutton's own Boston Fire.
SUNDAY, APRIL 30, 2017
4/30
Cambridge: Harvard Film Archive
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4:30pm, 24 Quincy Street
INSTRUMENT
This collaborative project with Fugazi documents the seminal “post-hardcore”
band from 1987 to 1996 as they explode in popularity without breaking with
their strict codes of ethics and independence. Featuring punk icon Ian
MacKaye—who is credited with coining the term “straight-edge,” a movement that
rejected drugs and alcohol, among other excesses of Western Civilization—Fugazi
live their songs’ lyrics, playing and producing music cheaply. No merchandise,
no corporate label, not even set lists, prevent them from being an instrument
of any greater force than that of their own creation. Cohen’s patchwork of
Super 8, 16mm and video footage fits the rebellious function in this
mesmerizing diary that drifts on and off stage, in and out of sync, from
electric performances to the mundane reality of being a band—all of whose
members seem sweeter, funnier and less dramatic than their onstage presences
would suggest. Directed by Jem Cohen and Fugazi. France 1999, digital video
(orig.
16mm, Super 8, video), color & b/w, 115 min
4/30
Dallas, TX: Nasher Sculpture Center
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2pm, 2001 Flora Street
ULTRA-SEEING FILM SERIES: SYNESTHIE
Ultra-seeing is an exploration of experimental cinema from the perspective of
synesthesia, visual music, and visualization of music. FILM EXERCISE No. 2-3 by
James & John Whitney, 1944/4 min.; ARNULF RAINER by Peter Kubelka,
1958-60/6'30".; CHROMOPHONIE by Alexandra Vitkine, 1967/7 min.; MATRIX III by
John Whitney, 1972/11 mins.; ALL OVER by Emmanuel Lefrant, 2001/7 mins. THE
SOUND OF HIS FACE by Scott Stark, 1988/5 mins.
4/30
New York, NY: Anthology Film Archives
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5:30 PM, 32 Second Avenue
EC: SONGS 15-22
by Stan Brakhage. "SONG 15: FIFTEEN SONG TRAITS: A series of individual
portraits of friends and family - Robert Creeley, Michael McClure, Ed Dorn,
Jonas Mekas, others. SONG 16: A flowering of sex as in the mind's eye, a joy.
SONGS 17 & 18: The movie house cathedral and a singular room. SONGS 19 & 20:
Women dancing and a light. SONGS 21 & 22: Two views of closed-eye vision."
-Stan Brakhage
4/30
New York, NY: Anthology Film Archives
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7:30 PM, 32 Second Avenue
EC: STAN BRAKHAGE PROGRAM 2
SONGS 24-26 (1967/85, 15 min, 16mm) MY MOUNTAIN: SONG 27 (1968, 25 min, 16mm)
MY MOUNTAIN: SONG 27: PART 2: RIVERS (1969, 33 min, 16mm) SONGS 28-29 (1966/86,
21 min, 16mm) "SONGS 24 &25: A naked boy and flute song; a being about nature.
SONG 26: a 'conversation piece' - a vis-Ã -visual, inspired by the (e)motional
properties of talk: drone, bird-like twitterings, statement terror & bombast.
SONG 28: Scenes as texture. SONG 29: A portrait of the artist's mother." -Stan
Brakhage Total running time: ca. 100 min.
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