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** This week [September 9 - 17, 2017] in avant garde cinema
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Caryn Cline: Organic Films 2008-2017 (#anchor7) [September 12, Seattle,
Washington]
A Straighter Kind of Hip (#anchor9) [September 13, Brooklyn, New York 11222]
NEW CALLS FOR ENTRIES:
Black Maria Film Festival (Jersey CIty, NJ, USA; Deadline: October 15, 2017)
http://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=518cca7631&e=4e65756555
DEADLINES APPROACHING:
56th Ann Arbor Film Festival (Ann Arbor, MI, 48103; Deadline: September 30,
2017)
http://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=94d2fdaf35&e=4e65756555
25th Chicago Underground Film Festival (Chicago, IL USA; Deadline: October 02,
2017)
http://hi-beam.us9.list-manage1.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=ae36866aaf&e=4e65756555
Events are sorted alphabetically BY CITY within each DATE.
This week's programs (summary):
* Directors Lounge Screening-Crooked Beauty-Ken Paul Rosenthal (#anchor1)
[September 9, Berlin, Germany]
* Matt Mccormick's Buzz One Four + (#anchor2) [September 9, San Francisco,
California]
* Experimental Response Cinema's 2017 Local Filmmaker Showcase (#anchor3)
[September 10, Austin, Texas 78752]
* Restored Resituated Recalcitrant Regurgitated Regenerated Remnants (#anchor4)
[September 10, Brooklyn, New York]
* Shapeshifters Cinema Presents Oracle Plus (#anchor5) [September 10, Oakland]
* Synaesthetic Cinema: Koyaanisqatsi & Evidence (#anchor6) [September 11,
Cambridge]
* Caryn Cline: Organic Films 2008-2017 (#anchor7) [September 12, Seattle,
Washington]
* Zoot Suit &Amp; Mutiny (#anchor8) [September 13, Boston, Massachusetts 02115]
* A Straighter Kind of Hip (#anchor9) [September 13, Brooklyn, New York 11222]
* Newfilmmakers (#anchor10) [September 13, New York, NY]
* Visions : 14+15.09.17 : Mary Helena Clark (#anchor11) [September 14, Montréal]
* Re-Visions: American Experimental Film 1975-90 (#anchor12) [September 14, New
York, NY]
* Omniwave Refresher New York Premiere (#anchor13) [September 15, New York, New
York]
* Ec: Hollis Frampton (#anchor14) [September 17, New York, NY]
* Short Films By Steven Arnold (#anchor15) [September 17, New York, NY]
SATURDAY, SEPTEMBER 9, 2017
9/9
Berlin, Germany: Directors Lounge
http://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=63e4505bc1&e=4e65756555
7 pm, Lichtblick-Kino, Kastanienallee 77, 10435 Berlin-Prenzlauer Berg
DIRECTORS LOUNGE SCREENING-CROOKED BEAUTY-KEN PAUL ROSENTHAL
Directors Lounge Screening: Crooked Beauty *°-°* Films by Ken Paul Rausenthal
*°-°* *°-°* Ken Paul Rosenthal, filmmaker from San Francisco will present his
films at Lichtblick, Berlin *°-°* *°-°* Crooked Beauty (2010, 30 minutes) *°-°*
This internationally acclaimed poetic documentary chronicles artist-activist
Jacks McNamara’s transformative journey from psych ward inpatient to pioneering
mental health advocacy. It is an intimate portrait of her intense personal
quest to live with courage and dignity, and a powerful critique of standard
psychiatric treatments. Poignant testimonials connect the fissures and fault
lines of human nature to the unstable topography and mercurial weather patterns
of the San Francisco Bay Area. *°-°* *°-°* In Light, In! (2013, 12 minutes)
*°-°* A haunting, visual essay about the awkward and angry junctures where our
culture struggles to manage its emotional distress. Images recycled from
1950’s-era educational films are accompanied by original
compositions by world-renowned cellist, Zoe Keating. *°-°* *°-°* Director Bio
*°-°* Ken Paul Rosenthal is a cinema artist and mental health advocate whose
current work explores the geography of madness through the regenerative power
of nature, urban landscapes, home movies, and archival footage from social
hygiene films. His films are visually sensual, emotionally intelligent works of
art that also function as tools for personal and societal transformation. His
films, Crooked Beauty and In Light, In! have collectively won eighteen awards,
screened in sixty film festivals, and been presented in person at dozens of
peer support networks, universities, mental health symposium and community
events worldwide. *°-°* Links:
http://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=1641e140cd&e=4e65756555
*°-°*
http://hi-beam.us9.list-manage2.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=e242f1fa66&e=4e65756555
*°-°*
http://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=76b8c3b795&e=4e65756555
9/9
San Francisco, California: Other Cinema
http://hi-beam.us9.list-manage2.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=cd2b97720d&e=4e65756555
8:30, 992 Valencia
MATT MCCORMICK'S BUZZ ONE FOUR +
OC inaugurates its 32nd year with the Cali premiere of McCormick’s highly
anticipated magnum opus—a meticulously crafted hour account of an A-Bomb-laden
B-52 that crashed outside of Washington DC!! This still-classified chronicle is
finally coming to our screens because...the pilot was Matt’s grandfather! Matt
himself flies in from Oregon to introduce this astonishing tale—a personal
essay-cum-morality play about the criminal negligence of the Air Force and the
utterly stoopid waste of lives and resources that was the Cold War. Veritable
pillar of Portland’s Peripheral Produce community, the much-missed McCormick
also shares some of his sublime shorts—Future So Bright and The Motion Makes Me
Last—after an opening-reception montage of military follies.
SUNDAY, SEPTEMBER 10, 2017
9/10
Austin, Texas 78752: Experimental Response Cinema
http://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=c341c2ef77&e=4e65756555
7:30pm, AFS Cinema, 6406 N IH-35 Suite 3100
EXPERIMENTAL RESPONSE CINEMA'S 2017 LOCAL FILMMAKER SHOWCASE
Join us as Experimental Response Cinema kicks off its fall season with new
avant-garde film and video works by local moving image artists. It's a
community of innovation, transgression and creative anomaly that has helped put
Austin on the world map of avant garde media. It promises to be a fun,
inventive and well-attended local event. MANY FILMMAKERS IN ATTENDANCE! Lineup
includes works by Rachel Stuckey, Liz Rodda, jHannah Dubbe, Sean Ripple, Julia
Zipporah & Samuel Radue, Jennifer Lane, Brian Allen and others. Come celebrate
the kind of program that shows off the breadth of experimental media artistry
in Austin for filmmakers working under the radar of mainstream cinema.
9/10
Brooklyn, New York: Microscope Gallery
http://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=6736ae0a66&e=4e65756555
7:30pm, 1329 Willoughby Ave2B
RESTORED RESITUATED RECALCITRANT REGURGITATED REGENERATED REMNANTS
?> I>live expanded cinema performance by Peter Cramer & Jack Waters Taking form
and inspiration from a series of actions and happenings by Cramer and Waters as
well as other artists and collaborators in New York in the 1980s, the work was
first presented under the title “Remnants” at Cinema Village 20 years ago as
part of MIX Festival 10. The “modular, evolving, morphing site specific” piece
features multiple overlapping projections of Super 8mm and 16mm films, 35mm
slides, and video onto walls and a large hanging canvas sheet along with
improvised live interventions by the artists. Utilizing at its core “leftover”
stock and original footage culled from the artists’ visual archives as well as
erotic outtakes from their films and digital additions from the present time,
the performance encompasses among its main themes the attacks on the legendary
center for art and activism ABC No Rio by New York’s Housing Preservation and
Development Department (HPD), the realization of
AIDS-defining illnesses in their community and the burgeoning of AIDS and Queer
activism, and the fun at their LES home and at Le Petit Versailles – a
community garden and non-profit art space the two have been running since 1996
– with Kembra Pfahler, Carl George and other friends. Additional footage
includes Gay Pride and ACT UP marches; Allen Ginsberg’s memorial service at St.
Mark’s Church; fountains, churches, and museums of Rome, Munich and Heidelberg;
and documentation of previous performances of the work. The cacophonous
soundtrack is a live mix of classical music, disco, funk, industrial, rock,
excerpts from Jesse Jackson’s 1992 election speech, and messages from their
home and ABC NoRio answering machines – with unintentional voice cameos by
Sarah Ferguson, Jacqueline Kennedy Onassis’ secretary, and others.General
admission $10, Members & Students $8. More info: www.microscopegallery.com.
Tel: 347.925.1433, i...@microscopegallery.com. Jefferson St. L (exit Starr
St).
9/10
Oakland: Shapeshifters Cinema
http://hi-beam.us9.list-manage2.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=1490171249&e=4e65756555
7:30-10PM, Temescal Art Center, 511 48th St.
SHAPESHIFTERS CINEMA PRESENTS ORACLE PLUS
Oracle Plus penetrates the psyche with synchronized pseudo-science performance
using video and sound installation. Collaborators (and sisters) Miel and Steph
Lister experiment with moving and touchable images, drawing dreams behind your
eyelids. For Shapeshifters they will be expanding their 2016 performance “Space
Funeral,” a meditative collective funeral procession which seeks to bridge
worlds, hold space for mourning and bring to life the shadows of death. Working
with both physical and metaphorical layers, they seek to add and take away
these layers to unmask the myriad of dimensions that are shimmering
simultaneously. Under the mask there is only another mask.
MONDAY, SEPTEMBER 11, 2017
9/11
Cambridge: Harvard Film Archive
http://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=127a8774c6&e=4e65756555
7pm, 24 Quincy Street
SYNAESTHETIC CINEMA: KOYAANISQATSI & EVIDENCE
Godfrey Reggio spent his teenage years and much of his twenties in a monastery
in Louisiana. When he made Koyaanisqatsi,not only had he never made a film, he
had seen very few films. He sought out Philip Glass to score the film despite
Glass only having done film music for an obscure documentary in the seventies.
From this meeting a long partnership was born. While the music in Koyaanisqatsi
is more varied than that in the previous programs, the repetition and drive of
Riley, and the drone of Young, can both be heard at various points in the film.
The combination of sped-up footage of assembly lines and city crowds with the
propulsive Glass music reaches again toward the hypnotic. In Koyaanisqatsi,
Reggio is acutely concerned with technology and its effect on human relations
to the natural world. Technology, in fact the dissemination of moving images
themselves, is the subject of the short film Evidence, which captures children
watching television in a hypnotized state, as
the film’s audience is similarly hypnotized by Glass’ score.
TUESDAY, SEPTEMBER 12, 2017
9/12
Seattle, Washington: EXcinema
http://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=bc1e3ce1bc&e=4e65756555
7 PM, Grand Illusion Theatre 1403 NE 50th Street
CARYN CLINE: ORGANIC FILMS 2008-2017
Caryn Cline’s films alter quotidian images and experiences using botanicollage,
direct animation, found and sourced film footage, manipulated in-camera and in
an optical printer. Films in this program: In the Conservatory: 2010;
Perchance: 2008; All Flesh is Grass: 2017; Ektacy: 2015; Left Side, Riverside:
2011; Lucy’s Terrace: 2009; Hand-made: 2016; Lost Winds: 2017; Equinox: 2011;
We Will Not Be Silent: 2017; Notes from the Farm: 2014; Compost Confidential:
2012; Seattle Solstice: 2008; Tri-Alogue #1: 2016; and a sneak preview of a new
film.
WEDNESDAY, SEPTEMBER 13, 2017
9/13
Boston, Massachusetts 02115: MassArt Film Society
http://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=21e305e28d&e=4e65756555
8pm, 621 Huntington Ave
ZOOT SUIT & MUTINY
MASSART FILM SOCIETY presents, ZOOT SUIT by Luis Valdez & MUTINY by Abigail
Child Mutiny by Abigail Child 1983, 10mins, b/w and color, sound. Part 2 of Is
This What You Were Born For? "
9/13
Brooklyn, New York 11222: Light Industry
http://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=2f5df34cda&e=4e65756555
7:30, 155 Freeman St
A STRAIGHTER KIND OF HIP
A lecture by Felicity D. Scott Project One, Optic Nerve, 1972, digital
projection, 60 mins As a video collective, Optic Nerve are most often recalled
for Fifty Wonderful Years, their hilarious tape of the Miss California pageant,
and Psychological Bullrider, a documentary on rodeo cowboys, both of 1973, as
well as for collaborating with Ant Farm and T. R. Uthco on Media Burn (1975)
and The Eternal Frame (1976). Founded initially as a documentary photo group,
Optic Nerve turned to video soon after joining an urban commune, Project One,
an experiment in collective living and working launched within an obsolescent
industrial building in San Francisco's South of Market district in the summer
of 1970. An urban counterpart to contemporaneous back-to-the-land experiments,
Project One was similarly haunted by the ongoing US-led war in Indochina as
well as by communication technologies born of war and the Space Race, although
it would look quite distinct. With their studio located in
the basement, Optic Nerve were early members of the commune, which also
included filmmakers, architects, artists, musicians, craftspeople, computer
programmers, and much more. Called upon to make a documentary of the community,
Optic Nerve's 1972 video, Project One, stands as one of very few testaments to
the complex social, political, and media-technical ecology of this "pioneering"
initiative, channeling both the intense work of learning to negotiate, manage,
and script communal ways of life, and the information networks that entered
into the picture, notably through Resource One, a group of programmers who
acquired an SDS940 computer and developed a computer resource center. In
Videocity, a special issue of Radical Software, Optic Nerve noted of Project
One, "One prerequisite for the survival of any community is realization and
control of those factors operating on it: in this case information." In
addition to screening Project One, I will present aspects of my research on
the commune, for which the video serves not just as an important archive but as
an artistic precedent for critically interpreting this history, an
interpretation that stands at odds with the appearance of Resource One within
Stewart Brand's landmark essay in Rolling Stone, "Spacewar: Fanatic Life and
Symbolic Death Among the Computer Bums," also of 1972. Under the title "A
Straighter Kind of Hip," I will speak to Project One and its refunctioning of
urban industrial spaces at a moment when communications technologies, a
knowledge economy, and postindustrial labor were increasingly coming to
reconfigure social, economic, and urban relations in America, including
collapsing living and work spaces and forging new topologies born of remote
access.
9/13
New York, NY: Anthology Film Archives
http://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=06b19d42c1&e=4e65756555
6:00 PM, 32 Second Avenue
NEWFILMMAKERS
For full program listings, visit www.newfilmmakers.com.
THURSDAY, SEPTEMBER 14, 2017
9/14
Montréal: VISIONS
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19H00, la lumière collective [7080, rue Alexandra, #506,]
VISIONS : 14+15.09.17 : MARY HELENA CLARK
In collaboration with la lumière collective, VISIONS presents : MARY HELENA
CLARK [Filmmaker present | 16mm Projection] | 7$ /// 14.09.17 | EVERYTHING THIS
MIGHT BE [A Selection of Works by Mary Helena Clark] /// 15.09.17 | DIALOGUES
: LETTER FORMS [Programme by Mary Helena Clark]
9/14
New York, NY: Anthology Film Archives
http://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=77e7cc33f1&e=4e65756555
8:00 PM, 32 Second Avenue
RE-VISIONS: AMERICAN EXPERIMENTAL FILM 1975-90
With the ongoing series RE-VISIONS: AMERICAN EXPERIMENTAL FILM 1975-90,
Anthology spotlights the generation(s) of experimental film artists who emerged
after the final formation in 1975 of our Essential Cinema repertory screening
cycle. As hotly debated as it was widely celebrated, the EC had a seismic
effect (for better or worse) on both cinema studies scholarship and
international film curatorial practice. Even though the EC was intended as a
direct response to the exclusion of the avant-garde from official Film History,
by so concisely outlining a canon it effectively shifted critical and public
interest away from the still-developing experimental film movement and focused
attention squarely on certain artists and works considered to be historically
important. Subsequent generations of cinema artists have never received the
same level of intellectual/institutional recognition or encouragement. We
believe that it is high time for a re-evaluation. With the support of a
significant grant from the Andy Warhol Foundation for the Visual Arts,
Anthology has been engaged in a multi-year project to preserve significant
works by a wide range of cinema artists who largely became active or reached
their prime after 1975. Rather than attempt to amend the EC, RE-VISIONS uses it
as a starting point from which to explore the continuities, fractures,
corollaries, and connections between cinema artists of the last 40 years and
the previous avant-garde film movements. Much like their predecessors, these
artists continued to tirelessly push at the parameters of cinematic form.
RE-VISIONS features single-artist screenings of our new preservations alongside
other exemplary and enticing titles spanning each artist's career, as well as
group shows bringing together multiple artists. When possible, artists will
appear in person to discuss their work and answer questions. Special thanks to
the Andy Warhol Foundation for the Visual Arts, Audio Mechanics, BB Optics,
Cinema Arts, Cineric, Colorlab, The Film Foundation, FotoKem, the Mike Kelly
Foundation for the Arts, The National Endowment for the Arts, the National Film
Preservation Foundation, Sony Pictures Entertainment, Trackwise, Video and Film
Solutions, Women's Film Preservation Fund of New York Women in Film &
Television, and all the artists who were involved in this project. SEPTEMBER:
M. HENRY JONES FILMMAKER IN PERSON! Underground animation wizard M. Henry
Jones's boundary-pushing experiments in perception encompass stroboscopic music
videos, candy-colored creature features, and retina-dazzling 3D technologies.
His films, which he has been creating out of his studio in New York City's East
Village since the 1970s, are meticulously handcrafted feats of D.I.Y.
ingenuity. Born in Texas and raised outside of Buffalo, New York in the town of
Wilson, Jones began making short animated films at the age of twelve. These
early experiments with cut-outs, stop motion, and claymation won
him a Kodak Teenage Movie Award and a full scholarship to the School of Visual
Arts in Manhattan. There he befriended fellow classmate Peter Zaremba of the
garage punk band The Fleshtones, whose shows inspired Jones to create the
proto-music video SOUL CITY (1977-79), in which over 2,000 photo cut-outs of
the group performing the title track are hand-colored and stroboscopically
animated to produce an optic-overload of syncopated sound and image.
Painstakingly constructed frame-by-frame over a year and a half, SOUL CITY made
a splash on the underground film circuit, screening at rock clubs and art
galleries alike. Though the film anticipates the rise of the MTV era, its aims
have been described as "more perceptual than promotional" (Bruce Bennett, WALL
STREET JOURNAL). Three more years of work yielded another short music film,
GO-GO GIRL (1978-81), a black-and-white op-art animation set to a jittery New
Wave song by Nervus Rex. In recent years, Jones has been exploring 3D and
web animation, frequently featuring his cartoon characters Molly/Alien,
Snakemonkey, and Slatherpuss. Aside from filmmaking, Jones, a close friend of
the late experimental filmmaker Harry Smith, has toured an elaborate,
expanded-cinema re-creation of Smith's 1962 feature HEAVEN AND EARTH MAGIC, and
has developed a three-dimensional photographic process using a technology he
calls "fly's eye 3D." Jones's work will also be included in the upcoming
exhibition at MoMA, "Club 57: Film, Performance, and Art in the East Village,
1978-1983," running October 31 to April 1, 2018. We are pleased to host M.
Henry Jones for an "expanded" presentation and premiere of our new,
years-in-the-making restoration of SOUL CITY. Featuring test reels,
documentation of the shoot, and an additional Fleshtones video, among other
supplemental treasures, this is unquestionably the definitive,
once-in-a-lifetime presentation of Jones's masterpiece, a film that proves the
adage that great things often
come in small packages! Special thanks to Ivy Donnell (Video & Film Solutions),
and Tommy Aschenbach, Chris Hughes & Laura Major (Colorlab). NEW GLASSES, PALM
TREES, TEENAGE SPACE KITTENS & WALKING MAN (1975-76, 5 min, 16mm-to-digital)
Manuel DeLanda SALIVA DILDO (1976, 2 min, 16mm-to-digital. Starring M. Henry
Jones.) SOUL CITY (1977-79, 2 min, 16mm-to-35mm. Preserved by Anthology Film
Archives with support from The Andy Warhol Foundation for the Visual Arts.)
SOUL CITY: TEST REEL 7 (1978, 2 min, 16mm-to-digital) SOUL CITY: TEST REEL 11
(1978, 2 min, 16mm-to-digital) SOUL CITY SHOOT (1977, 30 min, video) GO-GO GIRL
(1978-81, 3.5 min, 16mm, b&w. Preserved by Anthology Film Archives with support
from The Andy Warhol Foundation for the Visual Arts.) BEAUTIFUL LIGHT (1993, 4
min, video. Featuring The Fleshtones.) Total running time: ca. 60 min.
FRIDAY, SEPTEMBER 15, 2017
9/15
New York, New York: Spectacle Theater
http://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=7af81b8be9&e=4e65756555
10:PM, 124 S 3rd St Brooklyn btwn Bedford Av & Berry St
OMNIWAVE REFRESHER NEW YORK PREMIERE
Omniwave Refresher is in three acts. The first is done as a kind of
documentary. The second act is a puppet show, and the third act is a live
action reenactment of the puppet show. Omniwave Refresher is about a scientist
who, after a failed experiment of some incomprehensible nature, heads off on a
journey to find her meaning of life. Not your typical experimental film,
Omniwave Refresher questions the format of meaning rather than the meaning of
format.
SUNDAY, SEPTEMBER 17, 2017
9/17
New York, NY: Anthology Film Archives
http://hi-beam.us9.list-manage1.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=273cc4b554&e=4e65756555
5:00 PM, 32 Second Avenue
EC: HOLLIS FRAMPTON
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.
9/17
New York, NY: Anthology Film Archives
http://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=ab8563d954&e=4e65756555
5:15 PM, 32 Second Avenue
SHORT FILMS BY STEVEN ARNOLD
THE LIBERATION OF THE MANNIQUE MECHANIQUE (1967, 15 min, 16mm, b&w) "Each
gesture, movement, position, as well as all of the costuming, make-up and props
work in a harmony for this under-dream-world of Eastern magicians. Arnold has
made a beautiful and powerful film poem that is saturated with style." -Robert
Nelson MESSAGES, MESSAGES (1968, 24 min, 16mm, b&w. Co-directed by Michael
Wiese.) A journey of the psyche into the world of the unconscious. Made when
Arnold and Wiese were students at the San Francisco Art Institute, this
surrealistic film is influenced by DalÃ, Buñuel, and the German
expressionists. THE ELEMENTS (1968, 8 min, 16mm, b&w) "THE ELEMENTS depicts
personifications of Earth, Air, Fire and Water, in metaphor. The bodies of each
blending in movement." -Lenny Lipton, BERKELEY BARB VARIOUS INCANTATIONS OF A
TIBETAN SEAMSTRESS (1969, 10 min, 16mm) "Originally, it was to be a serious
look at Westerners influenced by Eastern trends. As it developed, however it
became much more humorous with characters in yoga positions with high heels and
smoking cigarettes at the same time." -Stephanie Farago Total running time: ca.
60 min. Played alongside the screening of Steven Arnold's LUMINOUS PROCURESS.
Click here for more details.
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