This week [August 31 - September 8, 2013] in avant garde cinema To subscribe/unsubscribe to the weekly listing, go to http://www.hi-beam.net/cgi-bin/mailto.pl?mailto=subscribe or send an email to weeklylist...@hi-beam.net.
Enter your announcements (calls for entries, new work, screenings, jobs, items for sale, etc.) at: http://www.hi-beam.net/cgi-bin/ann.pl MISCELLANEOUS: Magmart search videoart curators http://www.hi-beam.net/cgi-bin/ann.pl?type=misc&readfile=131.ann FUNDING: 100x100=900 Project (Deadline: December 31, 2013) http://www.hi-beam.net/cgi-bin/ann.pl?type=funding&readfile=22.ann NEW FILM/VIDEO: NON-FEATURE: "SEDUX" by David Wilde http://www.hi-beam.net/cgi-bin/ann.pl?type=newwork&readfile=518.ann "As It Is" by David Wilde http://www.hi-beam.net/cgi-bin/ann.pl?type=newwork&readfile=519.ann "WHAT" by David Wilde http://www.hi-beam.net/cgi-bin/ann.pl?type=newwork&readfile=520.ann "fashion" by David Wilde http://www.hi-beam.net/cgi-bin/ann.pl?type=newwork&readfile=521.ann "A-Z" by David Wilde http://www.hi-beam.net/cgi-bin/ann.pl?type=newwork&readfile=522.ann "TRANS" by David Wilde http://www.hi-beam.net/cgi-bin/ann.pl?type=newwork&readfile=523.ann "essences" by David Wilde http://www.hi-beam.net/cgi-bin/ann.pl?type=newwork&readfile=524.ann NEW CALLS FOR ENTRIES: ===================== RICHMOND RADICALS (Richmond, VA usa; Deadline: October 18, 2013) http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1622.ann Plug Projects (Kansas City, MO. 64108; Deadline: October 01, 2013) http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1623.ann Black Maria Film and Video Festival (Jersey City, NJ, USA; Deadline: November 19, 2013) http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1624.ann Newport Beach Film Festival (Newport Beach, CA, USA; Deadline: January 24, 2014) http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1625.ann DEADLINES APPROACHING: ====================== PCPC Arts Festival (Dallas, Texas, USA; Deadline: September 30, 2013) http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1576.ann danubeVIDEOARTfestival (Austria; Deadline: August 31, 2013) http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1599.ann Innsbruck Nature Film Festival (Innsbruck, Austria; Deadline: August 31, 2013) http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1600.ann The 8 Fest Small-Gauge Film Festival (Toronto, Ontario, Canada; Deadline: September 01, 2013) http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1601.ann Chicago 8 Small Gauge Film Festival (Chicago, IL, USA; Deadline: September 15, 2013) http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1602.ann ARTErra - Rural Artistic Residencies Portugal (Tondela, Portugal; Deadline: September 15, 2013) http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1607.ann Last 2013 Call for Artists (multidisciplinary) (Tondela, Portugal; Deadline: September 15, 2013) http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1609.ann Plug Projects (Kansas City, MO. 64108; Deadline: October 01, 2013) http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1623.ann Enter your event announcements by going to the Flicker Weekly Listing Form at http://www.hi-beam.net/cgi-bin/thisweek.pl Also available online at Flicker: http://www.hi-beam.net THIS WEEK'S PROGRAMS (SUMMARY): ============================== * Highlights From the Venice Beach Biennial [August 31, Los Angeles, California] * Lacey/Keen Program 2 [August 31, New York, New York] * Lacey/Keen Program 1 [August 31, New York, New York] * Manipulated Image Sunday Night videos & Performances @ Coagula Curatorial [September 1, Los Angeles, California] * An Evening With Suzan Pitt [September 2, Cambridge, Massachusetts] * Open Screen [September 5, Los Angeles, California] * Show & Tell: Felix Bernstein Program [September 5, New York, New York] * Http://Oddballfilms.Blogspot.Com/2013/08/Sex-Censorship-And-Betty-Boop-La dies-Of.Html [September 5, San Francisco, California] * Lawrence Jordan Program 1 [September 6, New York, New York] * Lawrence Jordan Program 2 [September 6, New York, New York] * Aligning the Trance Particles [September 6, San Francisco, California] * Wavelengths 1: Variations On... [September 6, Toronto, Ontario, Canada] * Tesla Coils! Camera Rolls! Tokyo! and A Gramophone! Joel Schlemowitz In Person [September 7, Austin, TX] * Aaron Flint Jamison Presents Three videos By George Kuchar [September 7, Brooklyn, NY] * Lawrence Jordan Program 3 [September 7, New York, New York] * Lawrence Jordan Program 4 [September 7, New York, New York] * Wavelengths 2: Now &Then [September 7, Toronto, Ontario, Canada] * Onion City - the Realist &Amp; Empire [September 8, Chicago, IL] * Circus Savage [September 8, New York, New York] * Shapeshifters Cinema Presents Dyemark [September 8, Oakland] * Wavelengths 3: Farther Than the Eye Can See [September 8, Toronto, Ontario, Canada] * Three Landscapes and Song and Spring [September 8, Toronto, Ontario, Canada] Events are sorted by CITY within each DATE. ------------------------- SATURDAY, AUGUST 31, 2013 ------------------------- 8/31 Los Angeles, California: Echo Park Film Center http://www.echoparkfilmcenter.org/ 8 pm, 1200 N. Alvarado St HIGHLIGHTS FROM THE VENICE BEACH BIENNIAL $5 / Celebrate the end of summer with a program of highlights from the Venice Beach Biennial. Including the films of AnitRa Menning, Isabell Spengler, Haruko Tanaka and others. Full program to be announced, curated by Kate Brown and Monique van Genderen. 8/31 New York, New York: Anthology Film Archives http://www.anthologyfilmarchives.org/ 6:15 pm, 32 2nd Avenue LACEY/KEEN PROGRAM 2 See notes for Aug. 30, 9:15 pm. 8/31 New York, New York: Anthology Film Archives http://www.anthologyfilmarchives.org/ 8:45 pm, 32 2nd Avenue LACEY/KEEN PROGRAM 1 See notes for Aug. 30, 7:15 pm. ------------------------- SUNDAY, SEPTEMBER 1, 2013 ------------------------- 9/1 Los Angeles, California: Coagula Curatorial http://manipulatedimage.com/MI23_Coagula_artscreen.html 7:00pm - 9:00pm, 977 Chung King Road, Los Angeles CA 90012 MANIPULATED IMAGE SUNDAY NIGHT VIDEOS & PERFORMANCES @ COAGULA CURATORIAL Manipulated Image in partnership with Coagula Curatorial presents "Don't Eat the Yellow Snow" videoart curated by Alysse Stepanian, and "Trial & Error" curated by MI's Swedish partners, Eva Olsson and Jonas Nilsson of art:screen - 1 hour of videos by 20 artists from 7 countries. Los Angeles-based artists, Gelare Khoshgozaran and Christy Roberts will also be presenting new performances created for this event. Join us for a night of video screenings, performances, socialization and free beer - a LABOR DAY WEEKEND SPECIAL! ------------------------- MONDAY, SEPTEMBER 2, 2013 ------------------------- 9/2 Cambridge, Massachusetts: Harvard Film Archive http://hcl.harvard.edu/hfa 7pm, Harvard Film Archive, 24 Quincy Street AN EVENING WITH SUZAN PITT $12 Special Event Tickets Suzan Pitt in person Since the early 1970s Suzan Pitt (b. 1943) has defined a unique mode of dream-like and intensely handcrafted animation that has forged a vital link between American experimental and underground cinema. Pitt first found fame when her now classic animated film Asparagus was selected to accompany David Lynch's Eraserhead on its extended, ultimately almost two-year, run of midnight screenings. Nocturnal and elliptical, Asparagus introduced audiences to the strange, surrealist-inflected and psycho-sexually charged oneiricism that would remain a constant throughout her work, while showcasing Pitt's consummate artistry and skill with variegated animation techniques from multi-layered cell painting to claymation, a bold technical experimentation that also distinguishes later films such as Joy Street and El Doctor. The lush and texturally rich imagery at the heart of Asparagus also points back to Pitt's background as a painter while anticipating her steadfast dedication to the gestural qualities and movement unique to the work of the human hand, even as today's moving image is increasingly computer-born. A long-time and beloved member of the legendary CalArts faculty, Pitt is renowned as a teacher and mentor. Before moving to California Pitt also taught within Harvard's Visual and Environmental Studies Department. It was, in fact, in the Carpenter Center for the Visual Arts that she realized one of her most ambitious films, Joy Street, working with then Harvard student Helen Hill as one of her assistants. The Harvard Film Archive is thrilled to welcome back Suzan Pitt for this program which spans from Pitt's very first animation work to her latest and celebrated shorts Pinball and The Visitation. --------------------------- THURSDAY, SEPTEMBER 5, 2013 --------------------------- 9/5 Los Angeles, California: Echo Park Film Center http://www.echoparkfilmcenter.org/ 8 pm, 1200 N. Alvarado St (at Sunset) OPEN SCREEN $5 / Our cinematic free-for-all dares you to share your film with the feisty EPFC audience. Any genre! Any style! New, old, work-in-progress! First come, first screened; one film per filmmaker; 10-minute maximum. DVD, VHS, mini-DV, DV-CAM, Super 8, standard 8mm, 16mm. 9/5 New York, New York: Anthology Film Archives http://www.anthologyfilmarchives.org/ 7:30 pm, 32 2nd Avenue SHOW & TELL: FELIX BERNSTEIN PROGRAM FELIX BERNSTEIN All of 21 years old, the preternaturally talented filmmaker and writer Felix Bernstein made his first movie at age 15 with a satirical "coming out video" that he uploaded to YouTube. Since then he has gone on to play Lady Gaga, Minnie Mouse, Lamb Chop, Amy Winehouse, and Partridge Poppins in a series of 8 short works that are as knee-slappingly funny as they are strangely illuminating. Bernstein's eye-popping, loosely-hinged videos are based in performance, but equally concerned with formal framing and editing structures, not to mention bouncy musical numbers. Overflowing with an energy and braininess that is way too smart for online viewing, Bernstein's work addresses gay themes and the media landscape in a way that combines big laughs with real sentiments and deep resonances. Bernstein is currently writing a critical overview of contemporary Queer culture and putting finishing touches on a trio of new videos that we will premiere this evening. HABBO HOTEL POEMS (2013, 10 min, video) Poems are written on the spot then delivered by Felix's avatar to other, often disinterested, avatars in the online virtual chat room Habbo Hotel. BOYS IN THE BAND (2013, 10 min, video) An unredeeming new edit of the groundbreaking classic of gay cinema. UNCHAINED MELODY (2013, 45 min, video) Starring Felix Bernstein, Shelley Hirsch, Charles Bernstein, Susan Bee, Tom Regan, Tony Torn, Gabe Rubin, and Cole Heinowitz. Felix, a closet-case, goes to a vampish German psychoanalyst for relief from migraines and anxiety. She leads Felix into a hypnosis that uncovers a musical melodrama starring his inner transvestite, Etta Pickles, the placeholder of his gay fantasies and abject fears. A mini-epic to say the least, Bernstein's longest work to date features performances from renowned actor Tony Torn, avant-garde chanteuse Shelly Hirsch, and the filmmaker's parents, among many other indispensable players. Total running time: ca. 70 min. 9/5 San Francisco, California: Oddball Films http://www.oddballfilm.com 8 PM, 275 Capp St. HTTP://ODDBALLFILMS.BLOGSPOT.COM/2013/08/SEX-CENSORSHIP-AND-BETTY-BOOP-LA DIES-OF.HTML Oddball Films and guest Curator Taylor Morales bring you, Sex, Censorship and Betty Boop: The Ladies of Pre-Code Hollywood, a collection of films exploring Hollywood's fascination with female sexuality in the years before 1934, when the industry adopted the Motion Picture Production Code, a set of moral censorship standards that governed the US motion pictures industry between 1934 and 1968. The Code, which banned all forms of overt sexuality and "immorality", forced Betty Boop to lengthen her skirt and cover her garter. This collection of films and cartoon shorts captures the good, the bad and the offensive of this remarkable pre-code period. Looking back at the era with a critical eye we see examples of sex as an avenue to power for females as well as a means of exploitation. Our evening will begin with a dance lesson from the queen of sex appeal, Ms. Betty Boop, in the Fleischer brothers' short The Dancing Fool (1932). In this cartoon Betty Boop teaches her animal friends how to shake their stuff, and shakes her building to pieces in the process. Our next film, the Janus Films documentary, The Love Goddesses Pt. 1 (1965), explores the rise of female sex symbols from the silent film era through the 1930s. Greta Garbo, Mae West, Jean Harlow and other love goddesses grace the screen in classic scenes that taught the world how to love. We then turn from glam to ham with Red Noses (1932), a live-action comedy short about two female office workers sent to the Turkish baths by their boss when they are too sick to go to work. This thin plot is more of an excuse to enact a series of comedy bits involving scantily clad women on treadmills and mechanical horses. It does not disappoint. Next, we'll move from the hilarious to the egregious with Polly Tix Goes to Washington (1934), a "baby burlesk" starring 3-year-old Shirley Temple, in one of her first films, as Polly Tix, a high-class call girl sent to Washington to seduce a congressman into voting on a Castor Oil bill. This film displays the darker side of pre-code sexuality, landing on the wrong side of the precarious line between satirical and sinister. We will come full circle with our last film, another Betty Boop cartoon, Minnie the Moocher (1932), featuring the first known filmed footage of jazz band leader Cab Calloway. When Betty runs away from home she finds herself in the company of a cast of scary creatures. Will she make it back home? Date: Thursday, September 5th, 2013 at 8:00pm Venue: Oddball Films, 275 Capp Street San Francisco Admission: $10.00 Limited Seating RSVP to programm...@oddballfilm.com or (415) 558-8117 ------------------------- FRIDAY, SEPTEMBER 6, 2013 ------------------------- 9/6 New York, New York: Anthology Film Archives http://www.anthologyfilmarchives.org/ 7:00 pm, 32 2nd Avenue LAWRENCE JORDAN PROGRAM 1 JORDAN IN PERSON! ORB (1973, 5 min) MOONLIGHT SONATA (1979, 5 min) WATERLIGHT (1957, 8 min) THE VISIBLE COMPENDIUM (1991, 17 min) CHATEAU/POYET (2004, 6 min) SOLAR SIGHT (2011, 15 min) SOLAR SIGHT II (2012, 10 min) Total running time: ca. 70 min 9/6 New York, New York: Anthology Film Archives http://www.anthologyfilmarchives.org/ 9:00 pm, 32 2nd Avenue LAWRENCE JORDAN PROGRAM 2 SOLAR SIGHT III (2013, 16 min) ENID'S IDYLL (2004, 17 min) VISIONS OF A CITY (1957-78, 10 min) PINK SWINE (1964, 3 min) RIME OF THE ANCIENT MARINER (1977, 45 min) Total running time: ca. 95 min 9/6 San Francisco, California: Oddball Films http://www.oddballfilm.com 8 PM, 275 Capp St. ALIGNING THE TRANCE PARTICLES Oddball Films and guest curator Scotty Slade brings you: Aligning the Trance Particles, a program of physical and metaphysical forms of trance exploration that examines ancient traditions alongside experimental film practices. In tandem with the ongoing Ritual and Trance film series, this program begins under the microscope, so that we might start to imagine the molecular alignment of our own inner beings, in Crystallization (1975). Once aligned on a molecular scale, it will be time to climb up the particulate ladder with Norman McLaren's A Phantasy (1952), a space-borne surrealist film of dance and ritual glow. From there, we'll bounce into Maya Deren's A Ritual in Transfigured Time (1946), and once our minds have become fully lubricated, the incredible film Pomo Shaman (1964) will be there to move us into the next realm. In that deep space of next level consciousness, let us be further blown away by Pat O'Neill's color ceremony in 7362 (1952). We'll then jump back through time, from special effects land to the Kalahari, where everyone will be encouraged to get up and move around with the !Kung Bushmen in N/um tchai: The Ceremonial Dance of the !Kung Bushmen (1973). The evening will end with Takashi Ito's mind bending gymnasium camera ritual symbolic mental portal exploration Spacy (1980). Everyone is encouraged to melt. Date: Friday, September 6, 2013 at 8:00pm Venue: Oddball Films, 275 Capp Street San Francisco Admission: $10.00 Limited Seating RSVP to programm...@oddballfilm.com or (415) 558-8117 Featuring: Crystallization (Color, 1975) Directed by award-wining filmmaker Carroll Ballard (The Black Stallion) this film explores the formation of crystals in liquids through the electron microscope under polarized light. With innovative electronic soundscore. Shown at the SF International Film Festival and winner of the Golden Gate Award in 1975. 7362 (Color, 1965-67) A mind-blowing visual and sound experience by famed experimental filmmaker (and sometime Star Wars special effects wiz) Pat O'Neill with sound by cult musician/early synthesizer artist Joseph Byrd (The United States of America). Described as "a bilaterally symmetrical (west to east) fusion of human, biomorphic and mechanical shapes in motion. Has to do with the spontaneous generation of electrical energy. A fairly rare (ten years ago) demonstration of the Sabattier Effect (re-exposing partially developed film to light during the processing) in motion. Title refers to the film stock of the same name. Spacy (Color, 1980-81) Hypnotic avant-garde rarity by Takashi Ito. This experimental stop-motion film takes place in a gymnasium: we approach a picture on a frame, which turns out to be a picture of the gymnasium. We enter the picture and approach another frame, which turns out to be a picture of and so on. A mesmerizing electronic soundtrack completes this trance-inducing meditation on time and space. A Phantasy (Color, 1952) Cut-out animation by Norman McLaren, and music for saxophones and synthetic sound by Maurice Blackburn. In a dream-like, meditative and surreal landscape drawn in pastel, inanimate objects come to life to disport themselves in grave dances and playful ritual. A Ritual in Transfigured Time (B+W, 1946) Maya Deren was one of the most influential female avant-garde filmmakers of the 20th century. She was dancer, choreographer, poet, writer and photographer. In the cinema she was a director, writer, cinematographer, editor, performer, entrepreneur and pioneer in experimental filmmaking in the United States. She collaborated with Marcel Duchamp and her social circle included the likes of Andre Breton, John Cage and Anais Nin. This enigmatic film is a social event choreographed in the manner of a dance, illuminated by concepts drawn from Greek legend. This is a sensual and metaphorically elusive study of the female psyche often considered one of filmmaker's most intriguing works. Pomo Shaman (B+W, 1964) An extremely rare and fascinating chance to see a Pomo healing ceremony, led by Essie Parrish, a Pomo sucking doctor and a leader of the Kashaya Pomo community near Stewarts Point, California. Shot through holes in the walls of a ceremonial roundhouse (so as not to interfere), the ceremony features Parrish entering a trance and with the aid of a spiritual instrument, she attempts to cure her patient with traditional sucking techniques. The Kashaya agreed to the filming in order to preserve their traditions for future generations, and continue to watch it before healing ceremonies, believing the film is impued with Parrish's healing spirit. N/um tchai: The Ceremonial Dance of the !Kung Bushmen (B+W, 1973) Tchai is the word used by Ju/'hoansi to describe getting together to dance and sing; n/um can be translated as medicine, or supernatural potency. In the 1950's, when this film was shot, Ju/'hoansi gathered for "medicine dances" often, usually at night, and sometimes such dances lasted until dawn. In this film, women sit on the ground, clapping and singing and occasionally dancing a round or two, while men circle around them, singing and stamping rhythms with their feet. The songs are wordless but named: "rain," "sun," "honey," "giraffe," and other "strong things." The strength of the songs is their n/um, or medicine, thought to be a gift from the great god. N/um is also in the fire, and even more so in the "owners of medicine," or healers. Most Ju/'hoan men would practice as healers at some point in their lives, and in this film we see several men in various stages of trance. A light trance gradually deepens, as the medicine grows "hot," and eventually some men will shriek and run about, falling on hot coals, entering the state Ju/'hoansi call "half-death." The film opens with a brief introduction to the role of n/um tchai in healing and in warding off evil, followed by scenes from one all-night dance. The dance begins with a social gathering and becomes increasingly intense as the night wears on, finally concluding at dawn. 9/6 Toronto, Ontario, Canada: Toronto International Film Festival 6:30pm, Jackman Hall WAVELENGTHS 1: VARIATIONS ON... We are honoured to launch Wavelengths '13 with the world premiere of the Academy Film Archive's new restoration of Variations on a Cellophane Wrapper, David Rimmer's 1970 classic of the Canadian avant-garde. Opening with a fragment of a female factory worker as she unravels a sheet of cellophane that then morphs into a mesmerizing wave of spectral apparitions and alchemical and sonic permutations, Variations perfectly sets the tone for this program of cinematic deviations. With Pop Takes, Luther Price transforms a terrific thrift-store find into a reflexive Warholian catwalk upon which twirling women and jaunty men sashay with decadent, late-seventies zeal, the film's coarse optical sound and images in negative creating a strange dissonance with the poppy polka-dotted scene. Kenneth Anger's Airship series consists of three short films that exhume newsreel footage of mighty dirigibles hovering ominously in the sky, the filmmaker's characteristic fusion of magick, symbolism, mystery, and myth as well as the opulent use of colour and, in the first film, anaglyph 3D imbuing the already incredible footage with an eerie, supernatural quality. In El Adios Largos, artist-archivist Andrew Lampert undertakes a speculative, restoration of Robert Altman's The Long Goodbye based on the premise that the film's negative has been lost and the sole surviving print is incorrect in every way: 16mm rather than 35mm, black and white instead of Technicolor, and dubbed into Spanish. (N.B. proper prints and a negative do exist, just not in Lampert's possession!) With dubious methods used to achieve authenticity, El Adios Largos is at once an uncanny aesthetic experience and a playful exploration of the philosophical conundrums involved for those working to preserve film history for generations to come. Finally, Scott Stark leads us through a dizzying array of consumerist goods in his stereoscopic mannequin melodrama The Realist. Composed of flickering still images, this entrancing romp conjures retail worlds both familiar and strange, in which chiselled mannequins may in fact be communing with each other amid the overwhelming array of apparel. Whether viewed as consumerist critique or spellbinding, operatic fantasy, The Realist employs a deft binary structure that skews toward the metaphysical. --------------------------- SATURDAY, SEPTEMBER 7, 2013 --------------------------- 9/7 Austin, TX: Experimental Response Cinema http://ercatx.org 8:30pm, Farewell Books, 913 E Cesar Chavez TESLA COILS! CAMERA ROLLS! TOKYO! AND A GRAMOPHONE! JOEL SCHLEMOWITZ IN PERSON Experimental Response Cinema and Farewell Books are happy to host NY filmmaker Joel Schlemowitz! Joel Schlemowitz is an experimental filmmaker based in Brooklyn, NY. - Program - Scenes from a visit to Japan, 14min / super-8 to digital / sound / 2011, A short travelogue, shot in super-8, divided in three sections. Eschewing narration, a poetic documentary, conveying impressions and invoking a short moment of elegy to the recent suffering in Japan through the aesthetic concept of yugen (evocation by what is left unsaid). - In Springtime, 3min / 16mm / silent / 2012, A 16mm camera roll. The change of seasons, in Prospect Park, Brooklyn. - Teslamania, 6min / 16mm / sound /2007, Two camera rolls shot at the Collective Unconscious during a performance of "Teslamania" featuring Gecko Saccomanno and Tesla Coil Engineer Jamie Mereness. Music by Dorit Chrysler. Best Experimental Short, Dallas Video Festival, 2008 - Chimera, 6min / 16mm / live sound / 2012, Illusions made manifest through light and shadow. - Dame Darcy a film portrait, 5min / 16mm / live sound / 2007, A short 16mm portrait of comic book artist and performer Dame Darcy. On the soundtrack, a turn-of-the-last-century recording from a 78rpm record. - Loudmouth Collective / Ugly Duckling Presse, 20min / 16mm / sound / 2003, A film-portrait of the Loudmouth Collective and Ugly Duckling Presse. These poet-provocateurs are the creators of the infamous "Anti-Reading" series, a carnival-like alternative to the traditional poetry reading. Best Documentary Short, Chicago Underground Film Festival, 2004 - Victrola Cinema, 3min / 16mm / live sound / 2010, A tableaux vivant. The sound of the victrola employed "live" for screenings, utilizing the Vitaphone sound system. Created as part of Residency Unlimited: Special Features. 9/7 Brooklyn, NY: Light Industry http://www.lightindustry.org/ 7:30pm, 155 Freeman Street AARON FLINT JAMISON PRESENTS THREE VIDEOS BY GEORGE KUCHAR Rainy Season, George Kuchar, video, 1987, 29 mins, Creeping Crimson, George Kuchar, video, 1987, 13 mins, Evangelust, George Kuchar, video, 1987, 35 mins - The films that I've chosen here were recorded in the fall of 1987, a perhaps undercelebrated period of George's work when he and his brother Mike were spending time with their mother who was sick and in the hospital. - George Kuchar makes incredible self-portraits. It's complicated business, certainly, as these three films reveal. The way George interfaces with the camera is self-deprecating, human, hilarious, heartbreaking, and intimate. This is the most honest self-portraiture that I know, and here in the 1987 works Rainy Season and Creeping Crimson, we see a very frank version of it. Evangelust, one of the films he made with SFAI students, is a departure from the diary pieces but displays similar mannerisms. - My friend Mary Pacios, who edited Cinematic Cesspool, recently told me in her thick Boston accent that the way George chose his "picture stars" was that he cast people who were, "down and out emotionally, in the gutter." He had a sniffer for finding individuals who were not doing well in their everyday lives. He would put them in front of the camera, and suddenly they were stars. - My ideas of who George was are so closely tied to the hundreds of self-portraits littered through the body of work that I can't separate the performance from the person. I was one of the thousands of students he taught. I feel incredibly lucky. Sometimes he would stick his camera in front of my face, and I would run away. This response is one of the very few things that I regret in my life. - - Aaron Flint Jamison - Tickets - $7, available at door. - Please note: seating is limited. First-come, first-served. Box office opens at 7pm. 9/7 New York, New York: Anthology Film Archives http://www.anthologyfilmarchives.org/ 6:00 pm, 32 2nd Avenue LAWRENCE JORDAN PROGRAM 3 THE ONE ROMANTIC VENTURE OF EDWARD (1956, 8 min) TRUMPIT (1956, 8 min) SPECTRE MYSTAGOGIC (1957, 8 min) UNDERTOW (1956, 7 min) THE SOCCER GAME (1959, 5 min) PORTRAIT OF SHARON (1960, 7 min) THE 40 AND 1 NIGHTS (1962, 6 min) BIG SUR: THE LADIES (1964, 3 min) THE DREAM MERCHANT (1964, 3 min) EIN TRAUM DER LIEBENDEN (1964, 6 min) RODIA-ESTUDIANTINA (1964, 4 min) JEWEL FACE (1964, 6 min) TRIPTYCH IN FOUR PARTS (1958, 12 min) Total running time: ca. 90 min 9/7 New York, New York: Anthology Film Archives http://www.anthologyfilmarchives.org/ 8:15 pm, 32 2nd Avenue LAWRENCE JORDAN PROGRAM 4 ONCE UPON A TIME (1974, 12 min) SACRED ART OF TIBET (1972, 28 min) CORNELL, 1965 (1965-79, 8 min) CARABOSSE (1982, 3 min) POET'S DREAM (2005, 5 min) THE MIRACLE OF DON CRISTOBAL (2009, 11 min) Total running time: ca. 75 min 9/7 Toronto, Ontario, Canada: Toronto International Film Festival 8:30pm, Jackman Hall WAVELENGTHS 2: NOW &THEN Proposing simplicity as a radical antidote to today's fervent desire for intricacy, these films and videos draw upon either a collaborative process or an intimate subjective encounter to explore the correspondence between images and their perception. Exquisitely shot on 16mm in the French countryside near Avignon, Hannes Schüpbach's Instants explores the nature of spontaneous time as related to the thinking of French writer Joël-Claude Meffre, transcending portraiture as it not only records the poet working, but also develops a memory of its own. Pepper's Ghost, by Torontonian Stephen Broomer, transforms an office formerly used for observation studies into a tunnel of performative, transfixing illusionism, creating surprising images using filters, fabric and a combination of sunlight and fluorescents. Recalling Slidelength (1969-71), Michael Snow's slideshow of plastic gels and hand gestures, Pepper's Ghost is a prolonged expression of demystified mystification, whose startling results are bolstered by a bold soundtrack. A contemporary version of Muybridgean motion studies meets Duchamp's Nude Descending a Staircase in Ruben Glauser, Max Idje and Christophe M. Saber's Homme en movement, 2012. Constructed from the delays in real-time video feedback and recorded onto black-and-white 16mm, the film forms a multiple space via the shifting angles of view in the mysterious passages of a video eye. Naoko Tasaka's sphinx-like Flower unfolds like a children's story before it plumbs the depths of both a physical and metaphorical surface, as straightforward narration gives way to sublimated abstraction. Employing a number of multi-format techniques, Flower displays a compelling, duelling impulse that hovers between a grid and a waterfall. Constellations, a recent grouping of 16mm colour silent blow-ups by Super 8 artist Helga Fanderl, returns us to the natural world, whose beauty has been observed and rendered with a profound curiosity, a patient gaze and an extraordinary ability to capture visual patterns and textures. Whether following at close range the semi-circular motion of a handsome, pacing leopard, its spots evoking rhythmic patterns through Fanderl's intuitive shooting process, or closely studying a tray of glassware on a ship as the sea reflects and refracts through the crystalline shapes, the artist fully gives herself over to the present moment and allows us to bask in it. ------------------------- SUNDAY, SEPTEMBER 8, 2013 ------------------------- 9/8 Chicago, IL: Onion City Experimental Film and Video Festival 2:00pm, Music Box Theatre, 3733 N. Southport Ave ONION CITY - THE REALIST & EMPIRE The 25th Onion City Experimental Film and Video Festival, The Realist & Empire - Sunday, September 8 - 2pm, Music Box Theatre - The Realist (2013, US, 36 min, Digital) Scott Stark - "The Realist is an experimental and highly abstracted melodrama, a "doomed love story" storyboarded with flickering still photographs, peopled with department store mannequins, and located in the visually heightened universe of clothing displays, fashion islands and storefront windows. [â¦] The Realist is a soaring visual romp peppered with turgid melodramatic moments, flickering visual rhythms that border on abstraction, and seductive images of commercial products with their dubious promises of physical nourishment and fashionable allure. In the process, It examines our own relationship to consumerist culture: we see in these commercial displays idealized, pre-packaged renderings of our own needs, desires and identities. Perhaps on some level we, too, communicate and define ourselves in the same way that the mannequins do\; we are what we buy." (Scott Stark) - Empire (2012, US, 48 min, Digital) Phil Solomon - "A re-make of Andy Warhol's Empire from high atop the Manhattan Island of Grand Theft Auto IV ("Liberty City"), far from the madding crowd of thieves, cops, prostitutes and murderers down below. I hijacked a copter, leaped onto the rooftop of an adjacent building, spawned a scooter out of the thin air and then gingerly drove it to the very edge of the precipice in order to roughly approximate that familiar view from July 25-26, 1964. And then I put the controller aside and did exactly nothing for 24 hours (48 minutes in our world). A day of rest and bordered inaction. And lo and behold, the Overseers appear to have accounted for someone, somewhere doing exactly this, resisting the game's narrative intention toward movement and action. Again and again, for 40 days and 40 nights, I was privy to a very different apperception of time and light, but one that was already embedded into the game's code, if for no other existential purpose than to act as a gradually shifting rear screen projection for the street level mayhem. A thunderstorm threatens, then clears. High winds blow errant pieces of limned debris. Golden waters sparkle and dance as the west-turned sun sets in the rosy-fingered dusk. Night comes in. Mechanical fireflies and custodial lights dot the void. The moon (twice) comes out to play. The night canopy is gradually withdrawn, as the morning light of weekday commuting burnishes in from the east. As we approach full circle, the blue afternoon gradually reveals the Building in its final iconic silhouette state, as a single plane appears and flies across the horizon line, doomed to repeat its fated flight path in eternal recurrence." (Phil Solomon) (84 min total) 9/8 New York, New York: Anthology Film Archives http://www.anthologyfilmarchives.org/ 11:00 am , 32 2nd Avenue CIRCUS SAVAGE PROGRAM 5: CIRCUS SAVAGE 2009, 720 min, 16mm-to-video INTRODUCED BY LAWRENCE JORDAN! EAST COAST PREMIERE! This remarkable, 12-hour-long work, here receiving its NYC premiere, is a truly career-spanning creation, spinning a lifetime of cinematic production into an epic, all-encompassing, immersive experience. Whether you spend the whole day and night in Jordan's world, or choose to sample particular (or multiple) passages, this is an event that's not to be missed! "I have woven together a vast river of image and sound from all the unused film material piled up in my studio since 1952. In essence this is my visual autobiography. There are clips from strange and unusual films, all the outtakes from all my films, as well as all the uncompleted projects. The sound makes no attempt to comment on the picture, but goes its own way: See a rose, hear a bomb. To me there is a wonderful counterpoint, continually bristling with surreal innuendo." L.J. 9/8 Oakland: Shapeshifters Cinema http://shapeshifterscinema.com/ 8-9PM, Temescal Art Center, 511 48th St, Oakland, CA SHAPESHIFTERS CINEMA PRESENTS DYEMARK dyemark is Steven Dye, a multi-disciplinary artist working with sound, projection, and live performance. Much of his work is collaborative, incorporating musical and theatrical performance, live accompaniment for film, instrument building, field recordings, found footage, camera-less film making and expanded cinema techniques, and includes site specific sound and light installations. His work can be described as a direct engagement with the materials and apparatus of sound and projection. Developing dynamic compositions by manipulating sound and light to explore the relationships between what we hear and what we see. Steve Dye is a member of the performing arts groups Wet Gate, and Epic[Abridged], and is a frequent contributor to the Illuminated Corridor project. 9/8 Toronto, Ontario, Canada: Toronto International Film Festival 7pm, Jackman Hall WAVELENGTHS 3: FARTHER THAN THE EYE CAN SEE A sense of geographic, spatial and historical freefall attends this programme of works that takes its title from Basma Alsharif's video. Visually gripping and intelligently constructed, Farther Than the Eye Can See continues Alsharif's essayistic explorations of statelessness through a tale of a mass exodus of Palestinians from Jerusalem recounted over a dense, stroboscopic cityscape. A different stroboscopic effect is achieved in Philipp Fleischmann's Main Hall, which uses nineteen specially designed cameras to record the space inside the main exhibition hall of the Vienna Secession. While this bastion of modernity has been crucial to the development of Minimalism and Conceptual Art, film has eluded its mandate; Main Hall adds a purely cinematographic gesture (à la Gordon Matta-Clark) to the space's history by having it look at its own architecture. Overlapping light and space continue in Tomonari Nishikawa's 45 7 Broadway, which captures the paralyzing pace and conflicting rhythms of Times Square. Shot on black-and-white 16mm through red, green and blue filters, then optically printed onto colour film through these same filters, 45 7 Broadway is less jazzy than Mondrian's Broadway Boogie Woogie but equally eyepopping in its colour and illusionistic effect. With a focus on a decidedly less populated though uncanny urbanscape, in Bann Nina Könnemann clandestinelyobserves the increasingly ostracized smokers in London's financial district, her keen eye and mischievous editing creating a portrait of alienation, self-consciousness, and perhaps even shame. A raw, personal, confessional narration undercuts the abstract images in Polish artist, musician and poet Wojciech Bakowski's interlaced video collage Suchy Pion. Condensing home videos into blocks of abstraction, Bakowski creates a startling account of depression, numbness and paradoxical lucidity. Sarah J. Christman continues her 16mm ecological studies with Gowanus Canal, in which contamination and compression of refuse intimate a stultifying state for one of the most polluted bodies of water in the United States. In Carlos Motta's award-winning Nefandus, a pristine flowing river in the Colombian Caribbean suppresses a tainted history of "wild" beauty and colonialist religious and sexual subjugation. An evocative essay on pre-conquest homoeroticism, Nefandus searches for traces of untold stories and stigmatized historical accounts. 9/8 Toronto, Ontario, Canada: Toronto International Film Festival 1pm, TIFF Bell Lightbox 4 THREE LANDSCAPES AND SONG AND SPRING As an antidote to the frenzied Festival pace, Wavelengths offers this all-silent programme a diptych by Nathaniel Dorsky paired with the much-anticipated new film by Peter Hutton to renew the senses and recalibrate the pulse. Films in Three Landscapes and Song and Spring. Three Landscapes: Peter Hutton Shot on 16mm, this wondrous silent film study from avant-garde master Peter Hutton (At Sea) observes human movement across three distinct landscapes: Detroit, along the Hudson River Valley and in the Dallol Depression in Ethiopia. Song: Nathaniel Dorsky Shot in San Francisco from autumn of last year through the winter solstice, Nathaniel Dorsky's Song evinces a cool, mysterious tone as it captures the pulse (supernal at 18fps) of the city. Spring: Nathaniel Dorsky Nathaniel Dorsky's Spring conjures an abundant return of light and a retreat into nature so dense and rich that the film itself becomes a sort of wondrous garden-verdant, incandescent, with startling bursts of colour. Enter your event announcements by going to the Flicker Weekly Listing Form at http://www.hi-beam.net/cgi-bin/thisweek.pl The weekly listing is also available online at Flicker: http://www.hi-beam.net
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