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** This week [August 20 - 28, 2016] in avant garde cinema
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Jesse Lerner's Ruins (#anchor6) [August 23, Brooklyn, New York 11222]
NEW FILM/VIDEO:
"The Oneiric Bicycle" by Sam Klickner
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"The Visiting Lament" by Sam Klickner
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NEW CALLS FOR ENTRIES:
8th Cairo Video Festival (Cairo, Egypt; Deadline: September 30, 2016)
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Light Field (San Francisco, CA USA; Deadline: September 01, 2016)
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Ann Arbor Film Festival (Ann Arbor, MI; Deadline: September 01, 2016)
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The Alternative Art School Fair (New York, US; Deadline: September 10, 2016)
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DEADLINES APPROACHING:
INTE CINEMA FESTIVAL (Rome, Italy; Deadline: August 20, 2016)
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P.O.V. International Shortfilm Festival (Berlin, Germany; Deadline: August 31,
2016)
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P.O.V. International Shortfilm Festival (Berlin, Germany; Deadline: August 31,
2016)
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MONO NO AWARE X (Brooklyn, NY, USA; Deadline: September 16, 2016)
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ACRE TV (Chicago; Deadline: September 01, 2016)
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Light Field (San Francisco, CA USA; Deadline: September 01, 2016)
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Ann Arbor Film Festival (Ann Arbor, MI; Deadline: September 01, 2016)
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The Alternative Art School Fair (New York, US; Deadline: September 10, 2016)
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Events are sorted alphabetically BY CITY within each DATE.
This week's programs (summary):
* Stratman/Calle/Farocki Program (#anchor1) [August 20, New York, New York]
* Essential Cinema: Hollis Frampton Program (#anchor2) [August 20, New York,
New York]
* Essential Cinema: Genet/Frank & Leslie Program (#anchor3) [August 21, New
York, New York]
* Stratman/Calle/Farocki Program (#anchor4) [August 22, New York, New York]
* Erc Atx 2016 - Local Filmmakers Showcase (#anchor5) [August 23, Austin, Texas
78752]
* Jesse Lerner's Ruins (#anchor6) [August 23, Brooklyn, New York 11222]
* Essential Cinema: Crockwell/Grant/Jacobs & Fleischner Program (#anchor7)
[August 25, New York, New York]
* Ambient Church (#anchor8) [August 26, Brooklyn, New York]
* Risco Cinema - Brasil / Experimental / ContemporâNeo (#anchor9) [August 27,
Rio de Janeiro, Brazil ]
* Essential Cinema: Jerome Hill Program (#anchor10) [August 28, New York, New
York]
* Essential Cinema: Hugo/Jordan/Levitt/Maas Program (#anchor11) [August 28, New
York, New York]
* Long Shadows: Wong / Fox / Beydler (#anchor12) [August 28, San Francisco,
California]
SATURDAY, AUGUST 20, 2016
8/20
New York, New York: Anthology Film Archives
http://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=b1caf0c9b6&e=4e65756555
4:45 pm, 32 2nd Ave.
STRATMAN/CALLE/FAROCKI PROGRAM
Film Notes A program of shorts that take surveillance tapes as found footage to
ends that both illuminate and unnerve. Deborah Stratman’s IN ORDER NOT TO BE
HERE is a brilliant exploration of privacy and surveillance, and the
manipulation of fear in the fabric of suburban communities. Stratman describes
the film as “a new genre of horror movie, attempting suburban locations as
states of mind.” Sophie Calle’s UNFINISHED takes ATM surveillance footage as
its source and inspiration for a fifteen-year-long investigation into security,
money, and the allure of the anonymous faces on these tapes. Harun Farocki’s I
THOUGHT I WAS SEEING CONVICTS is a single-channel edit of a two-channel video
installation. We see two frames of surveillance footage from a maximum-security
prison in California, slightly overlayed to create a dual screen within the
frame. The silent footage is a sobering look at the isolation and violence
within this prison, and ultimately about the much larger issue of
mass incarceration in America. Deborah Stratman IN ORDER NOT TO BE HERE (2002,
33 min, 16mm) Sophie Calle UNFINISHED (2005, 30 min, digital. In English and
French with English subtitles. Made in collaboration with Fabio Balducci.)
Harun Farocki I THOUGHT I WAS SEEING CONVICTS (2000, 25 min, digital) Total
running time: ca. 90 min.
8/20
New York, New York: Anthology Film Archives
http://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=2df0970ede&e=4e65756555
5:00 pm, 32 2nd Ave.
ESSENTIAL CINEMA: HOLLIS FRAMPTON PROGRAM
ZORNS LEMMA (1970, 60 min, 16mm. Preserved by Anthology Film Archives.) “A
major poetic work. Created and put together by a very clear eye-head, this
original and complex abstract work moves beyond the letters of the alphabet,
beyond words and beyond Freud. If you don’t understand it the first time you
see it, don’t despair, see it again! When you finally ‘get it,’ a small light,
possibly a candle, will light itself inside your forehead.” –Ernie Gehr & HAPAX
LEGOMENA I: (nostalgia) (1971, 36 min, 16mm, b&w. Preserved by Anthology Film
Archives.) “In (nostalgia) the time it takes for a photograph to burn (and thus
confirm its two-dimensionality) becomes the clock within the film, while
Frampton plays the critic, asynchronously glossing, explicating, narrating,
mythologizing his earlier art, and his earlier life, as he commits them both to
the fire of a labyrinthine structure; for Borges too was one of his earlier
masters, and he grins behind the facades of logic, mathematics,
and physical demonstrations which are the formal metaphors for most of
Frampton’s films.” –P. Adams Sitney Total running time: ca. 100 min.
SUNDAY, AUGUST 21, 2016
8/21
New York, New York: Anthology Film Archives
http://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=a85a540241&e=4e65756555
6:00 pm, 32 2nd Ave.
ESSENTIAL CINEMA: GENET/FRANK & LESLIE PROGRAM
Jean Genet UN CHANT D’AMOUR (1950, 26 minutes, 35mm, b&w, silent.) Jean Genet’s
poetic expression of male eroticism pitted against the confines of prison cells
and a homophobic state… a powerfully resonant work that explores individual
freedom and the laws of desire. Robert Frank & Alfred Leslie PULL MY DAISY
(1959, 28 minutes, 35mm, b&w.) A largely spontaneous experiment, arranged in
1959 by Robert Frank along with Alfred Leslie. They enlisted the participation
of Jack Kerouac, who offered in place of an original screenplay a stage play
he’d never finished writing, “The Beat Generation.” The plot is based on an
incident in the life of Neal Cassady and his wife Carolyn. They’re raising a
family and trying to fit in with their suburban neighbors, and one night they
invite a respectable neighborhood bishop over for dinner. But Neal’s Beat
friends crash the party, and that Marx Brothers-like scenario is the closest
thing the film has to a storyline. Total running time: ca. 60
minutes.
MONDAY, AUGUST 22, 2016
8/22
New York, New York: Anthology Film Archives
http://hi-beam.us9.list-manage1.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=49e5e029e7&e=4e65756555
7:00 pm, 32 2nd Ave.
STRATMAN/CALLE/FAROCKI PROGRAM
See notes for Aug. 20, 4:45 pm.
TUESDAY, AUGUST 23, 2016
8/23
Austin, Texas 78752: Experimental Response Cinema
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7:30 PM - 9:30 PM , AFS Theater, 6226 Middle Fiskville Rd
ERC ATX 2016 - LOCAL FILMMAKERS SHOWCASE
Join us as Experimental Response Cinema kicks off its fall season with new
works by local moving image artists. MANY FILMMAKERS IN ATTENDANCE! Entierro,
Jay Roff-Garcia, digital, 5:50, 2016; Staten Island Dreaming, Julie Conquest &
Camille Gregoire, digital, 4:15, 2016#Bills, Andrew Infante, digital, 1:35,
2016; Estrin Tide's Metaphysical Hacking Tutorial, Rachel Stuckey, digital,
8:00, 2016; Slow Dazzle, Liz Rodda, digital, 3:56, 2016; Typologies of
Whiteness: White men cover Robert Johnson's 'Hellhound on my Trail', Heath
Schultz, digital, 8:00, 2015; Bride of Frankenstein, Robert Carey, digital,
7:10, 2016; Seeing Audio, Anne Heller & TJ Wade, digital, 4:51, 2016; Last
Night, Kent Juliff & Shannon Cloud, digital, 10:00, 2016; Super Bowl Parking
Lot, Ivete Lucas & Ike Otis, digital, 9:00, 2011; Traces/Legacy, Scott Stark,
35mm film, 9:00, 2016.
8/23
Brooklyn, New York 11222: Light Industry
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7:30 PM - 9 PM, 155 Freeman St
JESSE LERNER'S RUINS
Ruins, Jesse Lerner, 1999, 16mm, in Spanish and English with English and
Spanish subtitles, 78 mins Integrating archival sources with pseudo-documentary
fabrications, Jesse Lerner's Ruins delves into the tangled legacies of
Mesoamerican antiquarianism, revealing how archaeologists, art historians, and
museum curators have, for centuries, fashioned various theories about
pre-Columbian civilizations from the stuff of colonialist fantasies and
ingenious forgeries. Structured around five key vignettes in this history,
Lerner's film combines travelogues, newsreels, and educational films to examine
the claims of various experts like early-20th century "dean of the Mayanists"
Sylvanus G. Morley and archaeologist Michael Coe, longtime curator of Yale's
Peabody Museum of Natural History.
THURSDAY, AUGUST 25, 2016
8/25
New York, New York: Anthology Film Archives
http://hi-beam.us9.list-manage1.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=03d7af89d3&e=4e65756555
7:30 pm, 32 2nd Ave.
ESSENTIAL CINEMA: CROCKWELL/GRANT/JACOBS & FLEISCHNER PROGRAM
Douglass Crockwell THE LONG BODIES (1949, 6 min, 16mm) GLEN FALLS SEQUENCE
(1964, 8 min, 16mm) “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.” –D.C. Dwinell Grant
COMPOSITION #2 CONTRATHEMIS (1941, 5 min, 16mm, silent) “An attempt to develop
visual abstract themes and to counterpoint them in a planned, formal
composition.” –D.G. STOP MOTION TESTS (1942, 3 min, 16mm, silent) A
self-portrait. COLOR SEQUENCE (1943, 3 min, 16mm, silent) “Pure solid-color
frames which fade, mutate and flicker. A research into color rhythms and
perceptual phenomena.” –William Moritz Ken Jacobs LITTLE STABS AT HAPPINESS
(1959-63, 18 min, 16mm. With Jack Smith.) “Material was cut in as it came out
of the camera, embarrassing moments intact. 100’ rolls timed well with music on
old 78s. I was interested in immediacy, a sense of ease, and an art where
suffering was
acknowledged but not trivialized with dramatics. Whimsy was our achievement, as
well as breaking out of step.” –K.J. Ken Jacobs & Bob Fleischner BLONDE COBRA
1959-63, 35 min, 16-to-35mm blow-up, b&w/color. With Jack Smith. Preserved by
Anthology, with the generous support of The Film Foundation.“BLONDE COBRA is an
erratic narrative – no, not really a narrative, it’s only stretched out in time
for convenience of delivery. It’s a look in on an exploding life, on a man of
imagination suffering pre-fashionable Lower East Side deprivation and consumed
with American 1950s, 40s, 30s disgust. Silly, self-pitying, guilt-strictured
and yet triumphing – on one level – over the situation with style… enticing us
into an absurd moral posture the better to dismiss us with a regal ‘screw
off.’” –K.J. Total running time: ca. 85 min.
FRIDAY, AUGUST 26, 2016
8/26
Brooklyn, New York: Ambient Church
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8:00pm, Park Church Co-Op
AMBIENT CHURCH
You are invited to the first gathering of Ambient Church on August 26th, 2016
at the Park Church Co-Op across from Greenpoint's creepiest park, McGorlick
Park. For this session, we welcome San Francisco-based experimental filmmakers
Paul Clipson and John Davis, projecting work on 16mm by Clipson and Lawrence
Jordan, as well as live sound/film collaborations by Leyna Marika Papach, Davis
and Clipson. FIlms by Paul Clipson: UNTITLED (2016) NYC premiere. 10-12
minutes, silent, color/B&W. TRAJECTIONS (2014) with music by Tashi Wada,
performed by Charles Curtis and Judith Hamann. LIGHTHOUSE (2015) with music by
King Midas Sound and FENNESZ. LIVE PERFORMANCES: John Davis (live PA) with film
by Lawrences Jordan. Leyna Marika Papach (violin & electronics) with film by
Paul Clipson.
SATURDAY, AUGUST 27, 2016
8/27
Rio de Janeiro, Brazil : Risco Cinema
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17h, Cinemateca of Museum of Modern Art, Rio de Janeiro
RISCO CINEMA - BRASIL / EXPERIMENTAL / CONTEMPORâNEO
Program with experimental cinema made by brazilian artists and filmmakers in
the last years: Deadpixel (2016, Caio Sales, 4’); Occidente (2014, Ana Vaz,
19’36”); Action painting n1/n2 (2014, Krefer & Turca, 6’45”);
Especulativo-imóvel (2012, James Zortéa, 6'); Mãos Mortas (2012, Arthur Tuoto,
5’40”); Nenhum lugar (2011, Dellani Lima, 13'21"); Liberta Morón - Onira vira
rio (2012, Taís Lobo, 7'21"); Estou aqui (2016, Louise Botkay, 7'); Ashes of
the Afternoon (2016, Márcia Bellotti & Luiza Porto, 8’44"); We Are Dreamers!
(2015, Gabraz Sanna & Sara não tem nome 5'19"); Entretempos (2015, Fred
Benevides e Yuri Firmeza, 7'51"), CHILD WORLD (2015, Duo Strangloscope, 8’);
1716 (2009, Marcellvs, 7’)
SUNDAY, AUGUST 28, 2016
8/28
New York, New York: Anthology Film Archives
http://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=c2f18ca546&e=4e65756555
5:30 pm, 32 2nd Ave.
ESSENTIAL CINEMA: JEROME HILL PROGRAM
hese 35mm prints are the result of a preservation project undertaken by the
Museum of Modern Art. DEATH IN THE FORENOON (1934/66, 2 min, 35mm) CANARIES
(1969, 4 min, 35mm) & FILM PORTRAIT (1971, 81 min, 35mm) A pioneering work in
autobiographical cinema, FILM PORTRAIT masterfully combines actual and staged
footage and painting over images. Filmmaker, painter, and composer Jerome Hill
was born into the famous James J. Hill railroad-building family and lived on
the same street as F. Scott Fitzgerald. Here he re-creates wonderfully – with
old family footage – the period and milieu of the American upper class at the
beginning of the 20th century. Total running time: ca. 90 min.
8/28
New York, New York: Anthology Film Archives
http://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=4fc9b807e6&e=4e65756555
7:30 pm, 32 2nd Ave.
ESSENTIAL CINEMA: HUGO/JORDAN/LEVITT/MAAS PROGRAM
an Hugo BELLS OF ATLANTIS (1952, 10 min, 16mm. Preserved by the Library of
Congress through the Avant-Garde Masters program funded by The Film Foundation
and administered by the National Film Preservation Foundation.) Film poem,
based on Anaïs Nin’s HOUSE OF INCEST, spoken by Nin, who also appears. Larry
Jordan DUO CONCERTANTES (1962-64, 6 min, 16mm, b&w) HAMFAT ASAR (1965, 13 min,
16mm, b&w) GYMNOPEDIES (1968, 6 min, 16mm) THE OLD HOUSE, PASSING (1966, 45
min, 16mm, b&w. Preserved by Anthology Film Archives.) OUR LADY OF THE SPHERE
(1968, 9 min, 35mm) “With a taste for nostalgic romanticism…Jordan creates a
magical universe of work using old steel engravings and collectable
memorabilia. His 50-year pursuit into the subconscious mind gives him a place
in the annals of cinema as a prolific animator on a voyage into the surreal
psychology of the inner self.” –Jackie Leger Helen Levitt IN THE STREET (1952,
12 min, 16mm, b&w. Preserved by Anthology Film Archives.) Levitt’s short,
lyrical documentary portrait of life in Spanish Harlem. Stealthily shot by
Levitt, Janice Loeb, and James Agee. Willard Maas GEOGRAPHY OF THE BODY (1943,
7 min, 16mm, b&w. Preserved by Anthology with support from The National Film
Preservation Foundation.) “The terrors and splendors of the human body as the
undiscovered, mysterious continent.” –W.M. Total running time: ca. 105 min.
8:45 PM
8/28
San Francisco, California: Artists Television Access
http://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=6c481f8d63&e=4e65756555
5:00 pm,
http://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=a52a4a24dc&e=4e65756555
LONG SHADOWS: WONG / FOX / BEYDLER
Introduced by Al Wong, filmmaker, and Tanya Zimbardo, curator. Al Wong, Same
Difference, 1975, 16mm transferred to video, color, sound, 17.5 min.,
soundtrack: Terry Fox, courtesy the artist. Terry Fox, Lunedi, 1975, video,
b&w, sound, 21:23 min., camera: Bill Viola, courtesy NIMK / LIMA. Gary Beydler,
Venice Pier, 1976, 16mm, color, sound, 16 min., courtesy of Canyon Cinema
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