Part 2 of 2: This week [October 22 - 30, 2011] in avant garde cinema ------------------------ MONDAY, OCTOBER 24, 2011 ------------------------
10/24 Cambridge, Massachusetts: Harvard Film Archive http://hcl.harvard.edu/hfa 7pm, Harvard Film Archive, 24 Quincy Street LONESOME COWBOYS Directed by Andy Warhol and Paul Morrissey. With Joe Dallesandro, Viva, Taylor Mead US 1968, 16mm, color, 109 min By the late 1960s, Warhol was using not just sync sound but also color and an increasing emphasis on narrative in an attempt to expand the audience for his movies. One of the more successful of these ventures, Lonesome Cowboys re-imagines Romeo and Juliet as a Western, shot at an Arizona dude ranch often used as a Hollywood location. As the Nurse to Viva's Juliet, Mead spends much of the film in idle gossip with his charge, as they wonder whether the film's reluctant Romeo might prefer the other cowboys. Not content to be a bystander, Mead undertakes a flirtation with Joe Dallesandro that culminates in a spectacularly salacious dance scene. $9 regular admission, $7 students and seniors http://hcl.harvard.edu/hfa/films/2011octdec/mead.html#tarzan 10/24 London, England: BFI London Film Festival http://www.bfi.org.uk/lff 1:30pm, BFI Southbank, Belvedere Road, SE1 8XT TWO YEARS AT SEA TWO YEARS AT SEA (Ben Rivers | UK 2011 | 88 min) Using old 16mm cameras, artist Ben Rivers, who has been nominated for the Jarman Prize and has won a Tiger Award at Rotterdam, creates work from stories of real people, often those who have disconnected from the normal world and taken themselves into wilderness territories. His new long-form work extends his relationship with Jake, a man first encountered in his short film This Is My Land. The title refers to the work Jake did in order to finance his chosen state of existence. He lives alone in a ramshackle house, in the middle of the forest. It's full of curiosities from a bygone age, including a beloved old gramophone. We see his daily life across the seasons, as he occupies himself going for walks in all weathers, and taking naps in the misty fields and woods. Endlessly resourceful, he builds a raft to fish in a loch. Jake has a tremendous sense of purpose, however eccentric his behaviour seems to us. The presence of the camera is irrelevant to him; he has no desire for human contact, and is completely at home in his environment, the nature around him and his constructed abode. Rivers' gracefully-constructed film creates an intimate connection with an individual who would otherwise be a complete outsider to us. www.experimentaweekend.org 10/24 London, England: BFI London Film Festival http://www.bfi.org.uk/lff 2pm, BFI Southbank, Belvedere Road, SE1 8XT ON THE ROAD WITH ROBERT FENZ Robert Fenz's films explore cultural diversity and the human condition with a keen eye reminiscent of his tutors Peter Hutton and James Benning. Mixing improvisation with luminous photography, he offers a poetic but political worldview. An associate of Robert Gardner's Studio7Arts, Fenz has collaborated with musician Wadada Leo Smith and worked as cinematographer for Chantal Akerman. THE SOLE OF THE FOOT (Robert Fenz / USA 2011 / 34 min) Filmed in France, Israel and Cuba. 'Borders (and all the politics attending the drawing of borders) exist to keep some people in (citizenship) and others out. This film is an attempt to capture the presence of people otherwise denied the political right to be at home in some place that is their home, where they have their roots, where they have their being.' CORRESPONDENCE (Robert Fenz / USA 2011 / 30 min) For CORRESPONDENCE, Fenz travelled to places where the pioneering ethnographic filmmaker Robert Gardner shot three of his best-known films West Papua (DEAD BIRDS), Ethiopia (RIVERS OF SAND) and India (FOREST OF BLISS). While documenting present conditions in these locations, Fenz also constructs an elegy for a form of image-making that is now in decline. www.experimentaweekend.org 10/24 London, England: BFI London Film Festival http://www.bfi.org.uk/lff 4:15pm, BFI Southbank, Belvedere Road, SE1 8XT FREE RADICALS: A HISTORY OF EXPERIMENTAL CINEMA FREE RADICALS: A HISTORY OF EXPERIMENTAL CINEMA (Pip Chodorov | France 2010 | 82 min) FREE RADICALS scratches the surface of the history of avant-garde cinema in Europe and the USA, from early post-war pioneers through to the founding of New York's Anthology Film Archives, a museum whose screen is the exhibition space. Director Pip Chodorov is well-placed to chronicle the movement he established the Re:Voir label to distribute tapes and DVDs of artists' films, and counts many key exponents amongst his friends. In this personal journey through experimental movies, he surveys a generation of artists who pushed the boundaries of the medium. Working without compromise, and without financial rewards, they were forced to create their own support structures in an expression of solidarity. Whilst not claiming to be a definitive documentary, FREE RADICALS is a discerning introduction to the field, and its informal nature provides a privileged glimpse at the personalities involved. Archival footage of Hans Richter, Nam June Paik and Stan Vanderbeek (drawn from TV programmes made by the filmmaker's father) supplements new interviews with Chodorov's distinguished acquaintances (Jonas Mekas, Peter Kubelka, Ken Jacobs, Robert Breer) and generous excerpts from the films themselves. www.experimentaweekend.org 10/24 London, England: BFI London Film Festival http://www.bfi.org.uk/lff 7pm, BFI Southbank, Belvedere Road, SE1 8XT FREE RADICALS: A HISTORY OF EXPERIMENTAL CINEMA FREE RADICALS: A HISTORY OF EXPERIMENTAL CINEMA (Pip Chodorov | France 2010 | 82 min) FREE RADICALS scratches the surface of the history of avant-garde cinema in Europe and the USA, from early post-war pioneers through to the founding of New York's Anthology Film Archives, a museum whose screen is the exhibition space. Director Pip Chodorov is well-placed to chronicle the movement he established the Re:Voir label to distribute tapes and DVDs of artists' films, and counts many key exponents amongst his friends. In this personal journey through experimental movies, he surveys a generation of artists who pushed the boundaries of the medium. Working without compromise, and without financial rewards, they were forced to create their own support structures in an expression of solidarity. Whilst not claiming to be a definitive documentary, FREE RADICALS is a discerning introduction to the field, and its informal nature provides a privileged glimpse at the personalities involved. Archival footage of Hans Richter, Nam June Paik and Stan Vanderbeek (drawn from TV programmes made by the filmmaker's father) supplements new interviews with Chodorov's distinguished acquaintances (Jonas Mekas, Peter Kubelka, Ken Jacobs, Robert Breer) and generous excerpts from the films themselves. www.experimentaweekend.org 10/24 London, England: Tate Modern http://www.tate.org.uk/modern/programmes/film 7pm, Bankside, SE1 9TG FEEL FLOWS: THE FILMS OF PHIL SOLOMON: PROGRAMME ONE THE EXQUISITE HOUR (Phil Solomon, 1989/94, 16mm, colour, sound, 14 min) " Partly a lullaby for the dying, partly a lament of the death of cinema [it] is dedicated to the memory of my grandparents, Albert Solomon, who was a projectionist for Fox, and Rose Solomon, who took tickets at Lowe's Paradise in the Bronx." THE SNOWMAN (Phil Solomon, 1995, 16mm, colour, sound, 8 min) "A meditation on memory, burial and decay a belated kaddish for my father." CLEPSYDRA (Phil Solomon, 1992, 16mm, b/w, silent, 15 min) "Solomon has evolved his technique so that in his latest work ('Clepsydra' 'waterclock') the textures are constantly changing and are often appropriate to each figure in metaphoric interplay with each figure's gestural (symbolic) movement. He has, thus, created consonance with thought as destroyer/creator a Kali-like aesthetic 'There is a light at the end of the tunnel' (Romantic); and it is a train coming straight at us: (and, to balance such, perhaps, with a touch of Zen) it is beautiful!" (Stan Brakhage) PSALM III: NIGHT OF THE MEEK (Phil Solomon, 2002, 16mm, b/w, sound, 23 min) "It is Berlin, November 9, 1938, and, as the night air is shattered throughout the city, the Rabbi of Prague is summoned from a dark slumber, called upon once again to invoke the magic letters from the Great Book that will bring his creature made from earth back to life, in the hour of need. A kindertodenliede in black and silver on a night of gods and monsters." REHEARSALS FOR RETIREMENT (Phil Solomon, 2007, video, colour, sound, 10 min) "Had I known the end would end in laughter / I tell my daughter it doesn't matter." (Phil Ochs) www.experimentaweekend.org 10/24 Los Angeles, California: Redcat http://www.redcat.org/ 8:30pm, 631 West 2nd St. PROTO-ETHNOGRAPHIC WORKS Jack H. Skirball Series $10 [students $8, CalArts $5] Presented as part of Pacific Standard Time, in conjunction with the Long Beach Museum of Afrts. This anthropology-themed program surveys strategies used by video artists who disavow "objectivity" in exploring cultural experiences different from their own, and instead actively participate with their subjects. In The Singing Mute (1978), Juan Downey spends nine months with a Yanomami tribe in the Amazon. Other artists critique the outsider gazeTerese Svoboda in Headhunters (1992), Sandra Kogut in What Do You Think People Think Brazil Is? (1990). Wendy Clarke's Love Tapes (197488) invites 800 people to record thoughts about love, while Lowell Darling and Ilene Segalove befriend retired prizefighters-turned-Hollywood entertainers in The Cauliflower Alley Tapes, Part One (1976). In Rahime, Femme Kurde de Turquie (1981), a Kurdish villager recounts her trials in Istanbul to Nil Yalter and Nicole Croiset, who construct imagery to complement her story. Finally, Azian Nurudin's What Does Pop Art, Pop Music, Pornography and Politics Have to Do with Real Life? (1990) is a Warhol remake exhorting us to pay closer attention to our surroundings. In person: Nancy Buchanan, Kathy Rae Huffman, Azian Nurudin, Lowell Darling and Ilene Segalove Curated by Nancy Buchanan. Presented in conjunction with the exhibition Exchange and Evolution: Worldwide Video Long Beach, 19741999 at the Long Beach Museum of Art, curated by Kathy Rae Huffman. Presented as part of Pacific Standard Time. This unprecedented collaboration, initiated by the Getty, brings together more than sixty cultural institutions from across Southern California for six months beginning October 2011 to tell the story of the birth of the L.A. art scene. Pacific Standard Time is an initiative of the Getty. The presenting sponsor is Bank of America. "Downey's insertion of himself into Yanomami life... questions the place of the observer of another culture." Constance Penley 10/24 New York, New York: Modern Mondays (a program of Cineprobe) http://www.moma.org/visit/calendar/film_screenings/13606 7:00pm, 11 West 53rd Street MODERN MONDAYS: AN EVENING WITH BILL BASQUIN Includes the World Premieres of HORSES WITH BELLS IN ZUGARRAMURDI and DEER CENSUS as well as other short films by Bill Basquin. www.BillBasquin.com 10/24 New York, New York: Anthology Film Archives http://www.anthologyfilmarchives.org/ 7:00 pm, 32 2nd Avenue THE BRIG See notes for Oct. 20, 9:15 pm. 10/24 New York, New York: Anthology Film Archives http://www.anthologyfilmarchives.org/ 8:45 pm, 32 2nd Avenue WINDFLOWERS See notes for Oct. 20, 7 pm. 10/24 San Francisco, California: SF Doc Fest http://sfdocfest.festivalgenius.com/2011/films/amatterofbodyandmind_variousdirectors_sfdocfest2011 7:15pm, Roxie Theater, 3117 16th Street (at Valencia Street) A MATTER OF BODY AND MINDS Five films that explore the connection, often missed, between the body and the mind and how society and social interactions interfere with it. Featuring Crooked Beauty by Ken Paul Rosenthal. Sunday, October 23 at 2:45pm and Monday, October 24 at 7:15pm. Crooked Beauty Link: http://sfdocfest.festivalgenius.com/2011/films/crookedbeauty_kenpaulrose nthal_sfdocfest2011 ------------------------- TUESDAY, OCTOBER 25, 2011 ------------------------- 10/25 Columbus, Ohio: Wexner Center for the Arts http://www.wexarts.org 7:00 PM, 1871 N. High St. DANI LEVENTHAL + JACQUELINE GOSS: ARTISTS IN CONVERSATION Dani Leventhal, a Columbus native and one of this year's Wexner Center Film/Video Residency Award recipients, presents three astonishing videos that reveal troubling and beautiful moments from her travels in Israel. Jacqueline Goss, a recent recipient of the prestigious Alpert Award and a faculty member at Bard College, introduces her new feature The Observers (2010), a contemplative portrait of the harsh but beautiful environments of Mt. Washington, New Hampshire (where the strongest winds in human history were recorded), and the solitary climatologists who work there. After the films, Leventhal and Goss engage each otherand the audiencein a discussion about their work. (program app. 120 mins., video) 10/25 London, England: BFI London Film Festival http://www.bfi.org.uk/lff 1:15pm, BFI Southbank, Belvedere Road, SE1 8XT GABRIEL ABRANTES LIBERDADE (Gabriel Abrantes & Benjamin Crotty / Portugal-Angola 2011 / 16 min) LIBERDADE sketches episodes in the relationship between a domineering Chinese immigrant and her Angolan boyfriend with lavishly cinematic panache. Travelling through spectacular locations in and around Luanda, they navigate the complications of their burgeoning identities and the different cultures they represent. PALACIOS DE PENA (PALACES OF PITY) (Gabriel Abrantes & Daniel Schmidt / Portugal 2011 / 56 min) Gabriel Abrantes and his collaborators use the tropes of mainstream cinema to make works that are by turns comical, thought-provoking and transgressive. In a parable on guilt and oppression, which alludes to aspects of Portuguese colonial history, two cousins are potential heirs to their grandmother's fortune. A new generation may be oblivious to the past, but inherits it nonetheless. OLYMPIA I & II (Gabriel Abrantes & Katie Widloski / Portugal-USA 2008 / 7 min) Mimicking the composition of Manet's notorious painting, the artists play out two possible scenarios: between a prostitute and her gay brother, and between a wealthy transsexual and his devoted maid. www.experimentaweekend.org 10/25 London, England: BFI London Film Festival http://www.bfi.org.uk/lff 4pm, BFI Southbank, Belvedere Road, SE1 8XT PHIL SOLOMONS AMERICAN FALLS 'Should anyone imagine that the art of alchemy died with the Middle Ages, Phil Solomon's AMERICAN FALLS testifies to the contrary: both to the possibilities of photographic and digital transformation and to the magical emanations of their fusion.' (Tony Pipolo, Artforum) AMERICAN FALLS (Phil Solomon / USA 2010 / 60 min) In his sublime 16mm films, Phil Solomon chemically alters photographic imagery to create a thick celluloid impasto that infuses footage with profound emotional resonance. For AMERICAN FALLS, Solomon rifles through a collective memory fashioned from both fact and fiction, mixing elements from newsreels, actualities and narrative films in a monumental retelling of American history which draws parallels with and reflects upon the current state of the nation. Houdini, Harold Lloyd, Keaton and King Kong commingle with presidents, gold-diggers, railroad barons and the civil rights movement. 'My project is ultimately one of great hope, stemming from a life-long love for this American experiment of ours but it is also necessitated by my deepest concern for its present and future directions.' Originally conceived as a 360-degree installation around the walls of the Corcoran Gallery of Art's rotunda, the work has been reconfigured for the cinema as a panoramic view in triptych, with surround sound mix by composer Wrick Wolff. WHAT'S OUT TONIGHT IS LOST (Phil Solomon / USA 1983 / 8 min) 'The film began in response to an evaporating relationship, but gradually seeped outward to anticipate other imminent disappearing acts: youth, family, friends, time I wanted the tonal shifts of the film's surface to act as a barometer of the changes in the emotional weather.' Preserved by the Academy Film Archive, Los Angeles. www.experimentaweekend.org 10/25 London, England: BFI London Film Festival http://www.bfi.org.uk/lff 7pm, BFI Southbank, Belvedere Road, SE1 8XT THE PETTIFOGGER THE PETTIFOGGER (Lewis Klahr / USA 2011 / 65 min) The first feature-length work by Lewis Klahr takes a unique approach to a familiar genre. Ostensibly a thriller that traces events in the life of an American gambler and con man circa 1963, THE PETTIFOGGER is described by the filmmaker as 'an abstract crime film and, like many other crime films involving larceny, a sensorial exploration of the virulence of unfettered capitalism.' Characters lifted from comic books move through an impressionistic landscape of textures, photographs and drawings, populating a story whose narrative is suggested but not strongly defined. Employing a range of iconography and appropriated audio to expand his signature style of collage animation, Klahr recycles symbols of popular culture to address themes of the loss of innocence and the irresistible allure of wealth. APRIL SNOW (Lewis Klahr / USA 2010 / 10 min) A love story about cars and girls, carried away by songs from the Shangri-La's and The Boss. www.experimentaweekend.org 10/25 London, England: BFI London Film Festival http://www.bfi.org.uk/lff 8:45pm, BFI Southbank, Belvedere Road, SE1 8XT NATHANIEL DORSKY / BEN RIVERS PASTOURELLE (Nathaniel Dorsky / USA 2010 / 17 min) 'A pastourelle and an aubade are two different forms of courtship songs from the troubadour tradition. In this case, the film PASTOURELLE, a sister film to AUBADE, is in the more tumultuous key of spring.' THE RETURN (Nathaniel Dorsky / USA 2011 / 27 min) 'Like a memory already gone, this place of life.' Dorsky has created a poetic form of cinema in which the screen becomes a site for reverie or transfiguration. In his most recent film, he seems to move towards a more abstract representation of light and being. SACK BARROW (Ben Rivers / UK 2011 / 21 min) The march of time claims another casualty. SACK BARROW documents (and laments) the out-dated, but functioning, technology of a family owned electroplating factory in the weeks around its closure its old ways now unsustainable in the modern world. www.experimentaweekend.org 10/25 Reading, Pennsylvania: Berks Filmmakers, Inc http://www.berksfilmmakers.org 7:30 pm, Albright College Center for the Arts MIKE KUCHAR (IN-PERSON) A program of the latest short videos presented by the legendary filmmaker (with fans worldwide) now living/working in San Francisco. Mike began making 8mm films with his twin brother, George (who passed away early this September but whose art will live "so long as men can breathe, or eyes can see") as a teenager in the Bronx. Susan Sontag's notion of "camp" was an attempt to describe and celebrate the tone of such over-the-top productions. The brothers Kuchar have been acknowledged as major influences upon such filmmakers as Guy Madden, Tim Burton and John Waters and as major practitioners of the Art of cinema. --------------------------- WEDNESDAY, OCTOBER 26, 2011 --------------------------- 10/26 New York, New York: Dirty Looks http://dirtylooksnyc.org 8pm, 535 West 22nd Street, 3rd Floor FANCY DAYS, FANCY TIMES, FILMS BY LUTHER PRICE Fancy Days, Fancy Times The films of Luther Price -Filmmaker in Person- One of the most important experimental filmmakers of the past 25 years, Luther Price gained notoriety for his late 80s and early 90s Super-8mm films, works that pushed the boundaries of good taste with their deliberately crude construction (mostly from found footage) and their often troubling images (extreme gay porn, surgical footage, psychodramatic performances). Culling from new work and old, this screening will showcase Price's distinct and tumultuous visions. "Home Movies from hell?" "Ascending from one plane into the next?" Price's films are startling and extreme states that must be experienced, whatever the cost. Fancy Days, Fancy Times is a career spanning program that takes Price's preoccupation with explicit, gay imagery as its starting point. Whether it be self-performative, as in the excruciating Ritual 629, or vintage porn Silk and Ribbon Candy, Price's intervention in these sexual acts transcends the original footage into a realm of psychological complexity and trauma. Screened alongside Price's masterpieces, the near-feature Me Gut No Dog Dog and the infamous Sodom, the evening will make a startling impression on all assembled. The event will also feature a complimentary publication featuring writings by Luther Price, Lia Gangitano, Bradford Nordeen and more.. with original artwork. Program: Ritual 629, Super-8mm, 1999, 8min. Silk, 16mm, 2006, 15min. Ribbon Candy, 16mm, 2003/4, 7min. Me Gut No Dog Dog, 16mm on DVD, 1995, 45min. Sodom, 16mm, 1989, 15 min. 10/26 New York, New York: Anthology Film Archives http://www.anthologyfilmarchives.org/ 7:00 pm, 32 2nd Avenue GOING HOME See notes for Oct. 21, 7 pm. 10/26 New York, New York: Anthology Film Archives http://www.anthologyfilmarchives.org/ 9:00 pm, 32 2nd Avenue DOUBLE-BARRELLED DETECTIVE STORY See program notes for Oct. 22nd, 6:30 pm. 10/26 San Francisco, California: Periwinkle Cinema http://periwinklecinema.com 8:00 pm, Artists' Television Access 992 Valencia St. SEX MAGICK & ALTER EGOS • Alien Sex Video - Jenn Kolmel & Kate Gilbert I Know My Soul - Crystal Mason Certain Death - Ben Aqua Curses, Hexes, & Boots - SUPERM (Brian Kenny & Slava Mogutin) Noble Owl - B.J. Dini / League of Burnt Children Earth: Inferno - Mor Navón & Julián Moguillansky Thunder Perfect Mind - Micaela O'Herlihy Imp of Satan - Flynn Witmeyer Plus twisted trailers & spooky door prizes! ADULTS ONLY $6 10/26 Toronto, Ontario, Canada: TIFF Bell Lightbox tiff.net 6:00pm , 350 King Street West THE FREE SCREEN: NAINSUKH FREE EVENT! One of the most prolific and exciting film artists to emerge from India in recent times, Amit Dutta has developed a singular pictorial language derived from Indian mythology and his own personal symbolic system (his "mental scrapbook" of poignant visual memories); his style has been compared to that of the great Sergei Parajanov in its evocative fever-dream quality, its searing visual elisions and potent elementalism. His critically acclaimed second feature, Nainsukh (which premiered last year in the Orrizonti section of the Venice International Film Festival), evokes the story of the eponymous eighteenth-century Indian miniaturist, who left his family's esteemed workshop to become a court artist for hedonistic and spendthrift Rajput princes. Influenced by Mughal naturalism, Nainsukh documented with great delicacy the quotidian festivities at the palace, here rendered through Dutta's elegant and painstaking compositions set amid ruins in the actual locales. Serene, studied but also pulsating with playful energy, the visually stunning Nainsukh, overflowing with eye-popping colours, rich textures and a clever use of drawings, demands to be seen on the big screen. Co-presented with SAVAC -------------------------- THURSDAY, OCTOBER 27, 2011 -------------------------- 10/27 Atlanta, Georgia: Contraband Cinema contrabandcinema.com 8pm, 750 Kalb St SE EXPERIMENTS IN TERROR Experimental horror in 3 parts! This cranial conundrum of the macabre co-curated by Blake Myers (in person) will cause you to cringe and cogitate. Contraband Cinema and the Buried Alive Film Festival is pleased to present a mind melting manifest of movies of merit plucked from Blake's experience as a festival juror and programmer. The Listening Dead Phil Mucci, US, 14 min, 2006; How to Extract Cranial Fluids Blake Myers, US, 8 min, 2000; The Screaming Skull Ashley Thorpe, UK, 10 min, 2008; Invocation Of My Demon Brother Kenneth Anger, US 11 min, 1969, Lot 63, Grave C Sam Green, US, 10 min, 2006; The Devil's Orchard Phil Mucci, US, 7 min, 2011; Ballad of Mary Slade Robin Fuller, UK, 3 min, 2007; Moving Illustrations of Machines Jeremy Solterbeck, US, 10 min, 2000 10/27 Berlin, Germany: Directors Lounge http://www.richfilm.de/currentUpload/ 21:00, Z-Bar, Bergstr. 2, Berlin-Mitte STEVEN BALL - TRAVELLING PRACTICE - DIRECTORS LOUNGE SCREENING -°*°- Digital video works by Steven Ball 2003 2010. -°*°- These works travel near and far, across physical and virtual space using material collected en route. Travel determines form, subject and object are fluid entities, digital experimentation becomes landscape study, hyperlocal excursion, and experimental documentary, as they explore and exhaust species of spaces and media. -°*°- Steven Ball has worked in film, video, sound and installation since the early 1980s. In the late 1980s he accidentally migrated to Melbourne, Australia. There he continued his practice making a number of film, video and sound and installation works, as well as being engaged in various curatorial, administrative, teaching and writing activities. Since returning to the UK he has worked predominantly with digital video, producing a series of works, which among other things, are particularly concerned with digital material processes and spatial representation. -°*°- -°*°- Curated by Klaus W. Eisenlohr -°*°- -°*°- Artist Links: -°*°- home: http://www.steven-ball.net -°*°- blog: http://directobjective.blogspot.com -°*°- videoblog: http://directlanguage2010.blogspot.com -°*°- Public Water: http://www.publicwater.net -°*°- -°*°- More infos: -°*°- http://www.directorslounge.net -°*°- http://www.richfilm.de/currentUpload/ -°*°- http://www.z-bar.de/Inhaltsseiten/kulturprogramm.html -°*°- -°*°- Program: Metalogue (26:37, 2003), Direct Language (10:00, 2005 2008), The Ground, the Sky, and the Island (7:45, 2008), Aboriginal Myths of South London (10:27, 2010), Personal Electronics (26:00, 2010) -°*°- -°*°- 10/27 Chicago, Illinois: Conversations at the Edge http://www.saic.edu/cateblog 6pm, Gene Siskel Film Center, 164 N. State Street LUKE FOWLER: A GRAMMAR FOR LISTENING Luke Fowler in person! How one sees the world and how one hears it are the indelible questions underlying Luke Fowler's startling, vibrant films. The award-winning Glasgow-based artist often collaborates with musicians and sound artists, drawing upon the histories of field recording, experimental music, and portraiture. Fowler's early films shed light on such infamous experimental musicians as Cornelius Cardew (of the London-based Scratch Orchestra) and Xentos "Fray Bentos" Jones (of the post-punk The Homosexuals). More recently, his collaborations with Richard Youngs, Lee Patterson, Eric La Casa, and Toshiya Tsunoda have resulted in a series of audio-visual tone poems of domestic interiors, urban geography, and rural environments. This evening, Fowler presents a collection of these works, including his Tenement Films (3 Minute Wonders) series (2009), and selections from his three-part 2009 A Grammar for Listening cycle, among others. Co-presented with the University of Chicago's Film Studies Center, which will present a second program of Fowler's films on Friday, October 28. Luke Fowler, 2007-09, Scotland, 16mm and video, ca. 75 min + discussion. 10/27 London, England: BFI London Film Festival http://www.bfi.org.uk/lff 3:45pm, BFI Southbank, Belvedere Road, SE1 8XT ALTERED STATES TRYPPS #7 (BADLANDS) (Ben Russell / USA 2010 / 10 min) The mirror crack'd: As a young woman, high on LSD, looks toward the camera, the doors of perception swing open for both viewer and subject. WHILE YOU WERE SLEEPING (Mary Helena Clark / USA 2010 / 9 min) 'This is your life. It rides like a dream.' SANS TITRE (Neil Beloufa / France 2010 / 15 min) In a reconstruction of a villa occupied by terrorists during the Algerian War, onlookers speculate on the activities that took place. THE PIPS (Emily Wardill / UK 2011 / 4 min) A gymnast performs, and everything begins to fall away. THESE BLAZEING STARRS! (Deborah Stratman / USA 2011 / 14 min) Watch the skies! Throughout history, comets have heralded events of grave significance and change; today it is thought that they can reveal facts about the formation of the universe. THESE HAMMERS DON'T HURT US (Michael Robinson / USA 2010 / 13 min) 'Tired of underworld and overworld alike, Isis escorts her favourite son on their final curtain call down the Nile, leaving a neon wake of shattered tombs and sparkling sarcophagi.' www.experimentaweekend.org 10/27 London, England: Tate Modern http://www.tate.org.uk/modern/programmes/film 7pm, Bankside, SE1 9TG FEEL FLOWS: THE FILMS OF PHIL SOLOMON: PROGRAMME TWO "Although part of a long avant-garde tradition, Solomon makes films that look like no others I've seen. The conceit of the filmmaker as auteur has rarely been more appropriate or defensible the liberating effect of Solomon's work suggests a rather different realm: Film Meets Vision, Rejoice!" (Manohla Dargis, New York Times) WHAT'S OUT TONIGHT IS LOST (Phil Solomon, 1983, 16mm, colour, silent, 8 min) "Adopting its title from a poem by Edna St. Vincent Millay, What's Out Tonight Is Lost is an elegiac film sifting through the unrecoverable. The film is a reflecting pool where vision breaks up. The home we recognize is swallowed in the brume, the light barely penetrates; and the yellow school bus steals us away, delivering us into new clouds, embracing fear. The film has a surface of cracked porcelain and intaglio: the allergic childhood skin of cracks and bruises. This is a film of transubstantiations, the discorporation of human forms into embers. Air looms and blossoms into solidity and nearness I hear it breathing " (Mark McElhatten) PSALM I: THE LATENESS OF THE HOUR (Phil Solomon, 2001, 16mm, colour, sound, 10 min) "A little Nachtmusik, a deep blue overture to the series. Breathing in the cool night airs, breathing out a children's song; then whispering a prayer for a night of easeful sleep. My blue attempt at a sequel to Rose Hobart." NOCTURNE (Phil Solomon, 1980, 16mm, b/w, silent, 10 min) "Its setting is a suburban neighbourhood populated by kids at play and indistinct but ominous parental figures. A submerged narrative rehearses a type of young boy's night-time game in which a flashlight is wielded in a darkened room to produce effects of aerial combat and bombardment. A sense of hostility tinged with terror seeps into commonplace movements Fantasy merges with nightmare, a war of dimly suppressed emotions rages beneath a veneer of household calm In Nocturne, found footage is worked so subtly into the fabric of threat that its comes as a shock ploughed from the unconscious." (Paul Arthur) SEASONS... (Phil Solomon & Stan Brakhage, 2002, 16mm, colour, silent, 15 min) "Brakhage's frame by frame hand carvings and etchings directly into the film emulsion, sometimes combined with paint, are illuminated by Solomon's optical printing, then edited by Solomon into a four part seasonal cycle. This film can be considered to be part of a larger work by Brakhage entitled " ". Seasons is inspired by the colours and textures found in the woodcuts of Hokusai and Hiroshige, and the playful sense of forms dancing in space from the filmworks of Robert Breer and Len Lye." REMAINS TO BE SEEN (Phil Solomon, 1989/94, 16mm, colour, sound, 17 min) "In the melancholic Remains to Be Seen, dedicated to the memory of Solomon's mother, the scratchy rhythm of a respirator intones menace. The film, optically crisscrossed with tiny eggshell cracks, often seems on the verge of shattering. The passage from life into death is chartered by fugitive images: pans of an operating room, an old home movie of a picnic, a bicyclist in vague outline against burnt orange and blue Solomon measures emotions with images that seem stolen from a family album of collective memory." (Manohla Dargis) www.experimentaweekend.org 10/27 Los Angeles, California: Echo Park Film Center http://www.echoparkfilmcenter.org/ 8:00 pm, 1200 N. Alvarado St (at Sunset) LA AIR 2: RICK BAHTO LA AIR is a new artist-in-residence program that invites Los Angeles filmmakers to utilize EPFC resources in creating a new work over a four-week period. October's resident, Rick Bahto, has an on-going series of films that are made in response to the work of other artists. During his residency, he will complete a project For Paul Clipson, dealing with aspects of the expansive body of Super 8 work from the filmmaker of that name. The screening will present this portion of Bahto's films alongside the work of the artists to whom they are dedicated, with films and slide documentation of works by Karen Johannesen (Super 8 films including 76 Station), Pablo Valencia (slides and Super 8 film Films I), and Paul Clipson (Super 8 film Chorus). He will also present films, slides, and audio documents of performances of the work of Mark So, including documentary footage of his performance of So's work parallel to the earth (in the angles where the grass writing goes on), which was begun in mid-September and will continue on indefinitely. $5 10/27 New York, New York: Anthology Film Archives http://www.anthologyfilmarchives.org/ 7:00 pm, 32 2nd Avenue HALLELUJAH THE HILLS by Adolfas Mekas 1963, 82 minutes, 35mm Share + Film Notes Written, directed, and edited by Adolfas Mekas. Produced by David C. Stone. With Peter H. Beard, Sheila Finn, Martin Greenbaum, Peggy Steffans, Jerome Raphael, Blanche Dee, Jerome Hill, Taylor Mead, and Ed Emshwiller. Adolfas's first feature film, HALLELUJAH was selected for the first New York Film Festival, was the hit of the 'outside-of-competition' section at the Cannes Film Festival, and won the Silver Sail at Locarno. "Next to the two big shots of the New York School, Clarke and Cassavetes, he seemed a poor relative, especially since people got him confused with his brother. HALLELUJAH proved clearly that Adolfas is someone to be reckoned with. He is a master in the field of pure invention, that is to say, in working dangerously 'without a net.' His film, made according to the good old principle one idea for each shot has the lovely scent of fresh ingenuity and crafty sweetness. Physical efforts and intellectual gags are boldly put together. The slightest thing moves you and makes you laugh a badly framed bush, a banana stuck in a pocket, a majorette in the snow. He shows life as defined by Ramuz: 'As with a dance, such pleasure to begin, a piston, a clarinet, such sorrow to be done, the head spins and night has come.'" Jean-Luc Godard, CAHIERS DU CINÉMA "A dizzy time capsule of proto-revolutionary anarchy, like bits of youthful, energetic innocence frozen in the snowdrifts of time." Ed Halter, VILLAGE VOICE 10/27 New York, New York: Anthology Film Archives http://www.anthologyfilmarchives.org/ 7:30 pm, 32 2nd Avenue ESSENTIAL CINEMA:JENNINGS/KIRSANOFF/LEGER & MURPHY/CLAIR & PICABIA PROGRAM Humphrey Jennings LISTEN TO BRITAIN (1941, 19 minutes, 35mm, b&w) Jennings's film is a masterpiece of sound mixing; it creates an audio landscape of Britain during the war, with images both accompanying and conflicting with the multitude of sounds. From the film's introduction: "I have been listening to Britain. I have heard the sound of her life by day and by night . In the great sound picture that is here presented, you too will hear that heart beating. For blended together in one great symphony is the music of Britain at war." Dimitri Kirsanoff MÉNILMONTANT (1924-25, 38 minutes, 35mm, b&w, silent) A melodramatic story of an orphan girl whose seduction is avenged. Early use of hand-held camera, montage, and superimpositions. Fernand Léger & Dudley Murphy BALLET MÉCANIQUE (1924, 19 minutes, 35mm, b&w, silent) Preserved by Anthology Film Archives! A brief exploration of cubist form, black-and-white tonalities, and various vectors through its constant, rapidly cut movements and compositions. Many of the film's forms and compositions are reflected in or themselves reflect forms and compositions in Léger's famous cubist paintings from the period. René Clair & Francis Picabia ENTR'ACTE (1924, 22 minutes, 35mm, b&w) A masterpiece of dada, a feat of cinema magic. Made as an intermission entertainment for the Ballet Suédois from an impromptu scenario by Francis Picabia. Music by Erik Satie. 10/27 New York, New York: Anthology Film Archives http://www.anthologyfilmarchives.org/ 9:15 pm, 32 2nd Avenue COMPANERAS AND COMPANEROS See notes for October 23, 6:30 pm. ------------------------ FRIDAY, OCTOBER 28, 2011 ------------------------ 10/28 Cambridge, Massachusetts: Harvard Film Archive http://hcl.harvard.edu/hfa 7pm, Harvard Film Archive, 24 Quincy Street A CELEBRATION OF HELEN HILL The Harvard Film Archive is honored to be the home for Helen Hill's films and eventually, her papers and to offer this showcase of her remarkable talent, which includes a selection of Hill's evocative New Orleans home movie footage damaged by Katrina and recently preserved by a dedicated group of archivists led by the Center for Home Movies in association with the HFA. Friday October 28 at 7pm Introduced by Becky Lewis, mother of Helen Hill All films directed by Helen Hill Mouseholes US 1999, 16mm, color, 8 min Vessel US 1992, 16mm, color, 6 min Upperground Show US 1990-91, digital video, color, 7 min Scratch and Crow US 1995, 16mm, color, 5 min Film For Rosie US 2000, 16mm, color, 3 min Rain Dance US 1990, 16mm, color, 4 min Your New Pig is Down the Road US 1999, b/w & color, 5 min The Florestine Collection US 2011, 16mm, color, 31 min Selections from Helen Hill's Home Movies 10/28 New York, New York: Anthology Film Archives http://www.anthologyfilmarchives.org/ 7:15 pm, 32 2nd Avenue JOYCE WIELAND PROGRAM 1 These six works are among Wieland's earliest films. They were completed shortly after her arrival in New York (1962), where she lived with Michael Snow until 1972. These films were conceived and completed exclusively by Wieland, with the exception of BARBARA'S BLINDNESS, which was a collaboration with Betty Ferguson. Wieland's early New York films already demonstrate her incredible versatility and imagination as a filmmaker, while revealing certain thematic and formal preoccupations that she fully developed in her later films. LARRY'S RECENT BEHAVIOUR (1963, 16.5 minutes, 16mm) PEGGY'S BLUE SKYLIGHT (1964, 12 minutes, 16mm, b&w) PATRIOTISM (1964, 4 minutes, 16mm, silent) PATRIOTISM PART II (1965, 4 minutes, 16mm) BARBARA'S BLINDNESS (with Betty Ferguson) (1965, 16 minutes, 16mm) WATER SARK (1965, 13.5 minutes, 16mm) Total running time: ca. 70 minutes. 10/28 New York, New York: Anthology Film Archives http://www.anthologyfilmarchives.org/ 8:45 pm, 32 2nd Avenue JOYCE WIELAND PROGRAM 2 Another program of films produced during Wieland's New York period. A number of these shorts are among her best-known work, and for good reason. Formally rigorous as well as humorous, these films offer the viewer a unique insight into Wieland's cinematic and political concerns. 1933 (1967, 4 minutes, 16mm) CAT FOOD (1967, 13.5 minutes, 16mm) SAILBOAT (1967, 3 minutes, 16mm) HANDTINTING (1967-68, 6 minutes, 16mm, silent) RAT LIFE AND DIET IN NORTH AMERICA (1968, 16 minutes, 16mm) DRIPPING WATER (with Michael Snow) (1969, 10.5 minutes, 16mm, b&w) Total running time: ca. 60 minutes. -------------------------- SATURDAY, OCTOBER 29, 2011 -------------------------- 10/29 Los Angeles, California: Echo Park Film Center http://www.echoparkfilmcenter.org/ 8:00 pm, 1200 N. Alvarado St (at Sunset) PAUL CLIPSON / TASHI WADA Paul Clipson and Tashi Wada present a performance of their ongoing film and music collaboration. Clipson's largely improvised and in-camera edited films employ multiple exposures, dissolves and macro imagery, that bring to light subconscious preoccupations and unexpected visual forms. Wada's recent work focuses on sound perception as a basis for direct listening experiences. Also on the program are three of Paul Clipson's short films, Sphinx on the Seine, Light from the Mesa, and one other tba. $5 10/29 New York, New York: Anthology Film Archives http://www.anthologyfilmarchives.org/ 4:15 pm, 32 2nd Avenue ESSENTIAL CINEMA: MARIE MENKEN PROGRAM 1 All films preserved by Anthology Film Archives. VISUAL VARIATIONS ON NOGUCHI (1955, 4 minutes, 16mm, b&w) HURRY! HURRY! (1957, 3 minutes, 16mm) GLIMPSE OF THE GARDEN (1957, 5 minutes, 16mm) DWIGHTIANA (1959, 3 minutes, 16mm, score by Teiji Ito) BAGATELLE FOR WILLARD MAAS (1961, 5 minutes, 16mm) NOTEBOOK (1962-63, 10 minutes, 16mm, silent) MOOD MONDRIAN (1961, 7 minutes, 16mm, silent) EYE MUSIC IN RED MAJOR (1961, 4 minutes, 16mm, silent) ANDY WARHOL (1965, 22 minutes, 16mm) Marie Menken represents the lyrical sensibility in the American avant-garde film. She manages to get the maximum visual intensity from minimally photogenic subjects. Her usage of single-frame and her poetic attitude and purity had a strong influence on many filmmakers of the sixties. Total running time: ca. 70 minutes. 10/29 New York, New York: Anthology Film Archives http://www.anthologyfilmarchives.org/ 4:30 pm, 32 2nd Avenue ESSENTIAL CINEMA: FILM PORTRAIT by Jerome Hill 1971, 81 minutes, 35mm Assistant Producers: David C. Stone and Barbara Stone. This pioneering work in autobiographical cinema 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. With: DEATH IN THE FORENOON (1934/66, 2 minutes, 35mm) CANARIES (1969, 4 minutes, 35mm) [Please note: This is an Essential Cinema screening, and is FREE for AFA members!] 10/29 New York, New York: Anthology Film Archives http://www.anthologyfilmarchives.org/ 6:00 pm, 32 2nd Avenue REASON OVER PASSION A RAISON AVANT LA PASSION / REASON OVER PASSION 1969, 84 minutes, 16mm. "REASON OVER PASSION is structured around four distinct sections, with a loosely constructed preface that introduces the motifs Wieland employs consistently throughout the film: strobing images of the Canadian flag; long shots of passing landscapes; and the lyrics to 'O Canada', didactically presented as overlayed text. Followed by a silent take of the artist's face reflected in a mirror, singing the opening lines to 'O Canada', the origins of the title of the film are presented: a quote from Trudeau, in which he stated 'About reason over passion, that is the theme of all of my writings.'" Anne Low "Wieland's major film so far. With its many eccentricities, it is a glyph of her artistic personality; a lyric vision tempered by an aggressive form and a visionary patriotism mixed with ironic self parody. It is a film to be seen many times." P. Adams Sitney, FILM CULTURE 10/29 New York, New York: Anthology Film Archives http://www.anthologyfilmarchives.org/ 8:00 pm, 32 2nd Avenue JOYCE WIELAND PROGRAM 4 "Joyce Wieland's four films PIERRE VALLIÈRES, A & B IN ONTARIO, SOLIDARITY and BIRDS AT SUNRISE were created when the Canadian Women's Movement was at its most visible and vocal. They were made as a direct response to hegemony, colonialism, sexism, imperialism and the destruction of the environment issues that feminists across the country were writing about, protesting about, lobbying around and, in Wieland's case, making films about." Allyson Mitchell PIERRE VALLIÈRES (1972, 32.5 minutes, 16mm) SOLIDARITY (1973, 10.5 minutes, 16mm) A & B IN ONTARIO (with Hollis Frampton) (1984, 16 minutes, 16mm, b&w) BIRDS AT SUNRISE (1986, 10 minutes, 16mm) Total running time: ca. 75 minutes. 10/29 San Francisco, California: Other Cinema http://www.othercinema.com/ 8:00pm, ATA, 992 Valencia Street SLIMEY GREEN HALLOWEEN CHRISTIAN DIVINE'S ECO-HORROR SPOOKTACULAR + Apropos of OC's love of all things psychotronic, thee Area expert on '70s exploitation film enthralls all with a fanboy-critical take on the eco-dystopian genre, that cinematic mutation of the era's budding environmentalism. Divine nimbly negotiates his way through a 2-hour clip-show of that decade's most toxic shockers, parables that parlayed the pollution of nature into an embodied force of evil. Among the jaw-droppers are Them!, Soylent Green, Willard, Piranha, Stalker (!), and Godzilla vs. the Smog Monster. Come early for Doug Katelus on his Mighty Hammond organ, glimpses of Gamera (in 16mm), OCD Terror DVDs for a pittance, and intoxicating witches' brew! $6.66. NOTE: DOORS 7:30, SHOWTIME 8PM. ------------------------ SUNDAY, OCTOBER 30, 2011 ------------------------ 10/30 Los Angeles, California: Filmforum http://www.lafilmforum.org/ 7:30pm, The Spielberg Theater at the Egyptian, 6712 Hollywood Blvd (at Las Palmas) DISTRIBUTING THE AVANT-GARDE: THE CREATIVE FILM SOCIETY In person: Angie Pike Film historian Anthony Slide, while writing an appraisal letter for the film collection of late 1960's film distributor Creative Film Society, stated that "Any student researching the rise of the independent and experimental American film in the 1960s and 1970s would find this collection invaluable, and it is unlikely that a collection of this scope exists elsewhere. It is in many ways a tribute to a filmmaking experience that has disappeared." Films to be screened: Gumbasia, by Art Clokey (1955), Furies, by Sara Petty (1977), Carnival, by Donald Bevis, Jim May, Herb Bertel (ca.1955), The Further Adventures of Uncle Sam, by Dale Case & Robert Mitchell (1970), One Hundred and Eight Movements, by Peggy Wolff (1973), The Unicycle Race, by Robert Swarthe (1966), Microsecond, by Dan McLaughlin (1970), The Towers, by William Hale (1955), Mobile Static, by Helmut Schultz (1969), The Critic, by Ernie Pintoff (1963), Waiting, by Flora Mock (1952), and Wu Ming, by James Whitney (1977). 10/30 New York, New York: Anthology Film Archives http://www.anthologyfilmarchives.org/ 4:15 pm, 32 2nd Avenue ESSENTIAL CINEMA: MARIE MENKEN PROGRAM 2 WRESTLING (1964, 8 minutes, 16mm, b&w, silent) MOONPLAY (1962, 5 minutes, 16mm, b&w) DRIPS IN STRIPS (1961, 3 minutes, 16mm, silent) GO! GO! GO! (1962-64, 12 minutes, 16mm, silent) LIGHTS (1964-66, 7 minutes, 16mm, b&w, silent) SIDEWALKS (1966, 7 minutes, 16mm, b&w, silent) EXCURSION (1968, 5 minutes, 16mm) WATTS WITH EGGS? (1967, 12 minutes, 16mm, silent) ARABESQUE FOR KENNETH ANGER (1961, 4 minutes, 16mm) Total running time: ca. 70 minutes. 10/30 New York, New York: Anthology Film Archives http://www.anthologyfilmarchives.org/ 6:00 pm, 32 2nd Avenue THE FAR SHORE THE FAR SHORE 1976, 105 minutes, 35mm. A consummate expression of Wieland's artistic sensibility, a gorgeous, painterly film, formal in conception, deliberate in its flagrant symbolism (the rigid imposition of WASP power on French-Canadian culture) and portrayal of Canadian myths (the mystery of Tom Thomson's drowning in Algonquin Park), and exuding romantic naturalism. This northern love story, rooted in the landscape of the Group of Seven and the realities of the Canadian experience, is a tale of passion both carnal and artistic. "A vast and epic meditation on all those 'big' themes that constantly abound: gender, romance, ethnicity, nationality, French-English relations, and the unsavory relationship between art and commerce. This is a rare opportunity to experience a seminal oeuvre in the history of Canadian film by one of our country's most diverse, powerful, patriotic, and renowned artists. The film is not only an agitational look at some of the most omnipresent issues in Canadian popular culture and social life, but also a gorgeous painterly visual object that deserves the full attention of ears and eyes." TIFF CINEMATHEQUE 10/30 New York, New York: Anthology Film Archives http://www.anthologyfilmarchives.org/ 8:15 pm, 32 2nd Avenue JOYCE WIELAND PROGRAM 1 See program notes for October 28, 7:15 pm. 10/30 New York, New York: Anthology Film Archives http://www.anthologyfilmarchives.org/ 9:00 pm, 32 2nd Avenue THE BRIG See notes for October 20, 9:15 pm. 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