This week [September 7 - 15, 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 NEW CALLS FOR ENTRIES: ===================== 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 Strange Beauty Film Festival (Durham, NC USA; Deadline: March 01, 2014) http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1626.ann Open City Cinema (Winnipeg, Manitoba, Canada; Deadline: October 15, 2013) http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1627.ann Exuberant Politics (Iowa City, IA, USA; Deadline: December 15, 2013) http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1628.ann 21st Chicago Underground Film Festival (Chicago, Illinois, USA; Deadline: December 15, 2013) http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1629.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 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 LITTLE SCUZZY FILM FEST (Carbondale, IL, USA; Deadline: October 10, 2013) http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1611.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): ============================== * 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 and 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] * Lawrence Jordan Program 6 [September 9, New York, New York] * Films By Dominic Angerame Part I [September 9, San Francisco, California] * Wavelengths 4: Elysium [September 9, Toronto, Ontario, Canada] * Lawrence Jordan Program 7 [September 10, New York, New York] * Bang [September 11, Boston, MA] * Stop & Go 3-D [September 13, Houston, Texas] * Amy Halpern's Assorted Morsels [September 13, Los Angeles, California] * Stan Brakhage's the Art of vision [September 14, Austin, TX] * Amy Halpern's Falling Lessons [September 14, Los Angeles, California] * Google and the World Brain + Manning + Archimedia + [September 14, San Francisco, California] * Heaven and Earth Magic [September 15, New York, New York] Events are sorted by CITY within each DATE. --------------------------- 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 AND 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. ------------------------- MONDAY, SEPTEMBER 9, 2013 ------------------------- 9/9 New York, New York: Anthology Film Archives http://www.anthologyfilmarchives.org/ 7:30 pm, 32 2nd Avenue LAWRENCE JORDAN PROGRAM 6 BEYOND ENCHANTMENT (2010, 9 min) BLUE SKIES BEYOND THE LOOKING GLASS (2006, 17 min) MASQUERADE (1981, 5 min) ADAGIO (1981, 8 min) WINTER LIGHT (1983, 9 min) COSMIC ALCHEMY (2010, 23 min) Total running time: ca. 75 min 9/9 San Francisco, California: Emerald Tablet Gallery www.emtab.org 7pm, 80 Fresno Alley (off Grant in North Beach) FILMS BY DOMINIC ANGERAME PART I The Emerald Tablet presents the films of Dominic Angerame Part I. This is a benefit screening and a donation of $5 or more is requested (de riguer). Funds collected are to help with the travel expenses to Cuab where Dominic will present several screenings in December of experimental/avant garde films at the Internacional del Nuevo Cine Latinamericano. Film titles in the program are short works made between 1980-2000. For exact titles contact domi...@cinemod.net 9/9 Toronto, Ontario, Canada: Toronto International Film Festival 7:30pm, Jackman Hall WAVELENGTHS 4: ELYSIUM Beginning with the ruins of a Greek Byzantine church and ending with trance rituals in Burma, this programme sketches a trajectory of shifting perspectives and iconographic references, from the cloistered and intimate to the expansive and unrestrained. Nick Collins' Trissákia 3 documents the eponymous c. thirteenth century Greek church, its cracked though surprisingly intact frescoes, its crumbling stones and the dubious scaffolding that encases it, his camera revelling in the supernal beauty created by the light and shadow play resulting from its damaged openings. Delineated views similarly make up Chris Kennedy's Brimstone Line, in which three freestanding grids placed along the Credit River in rural Ontario (reminiscent of the Dürer Grid used by Renaissance draughtsmen in order to achieve accurate proportions) become devices through which the stationary camera frames the landscape and motivates a series of zooms. Ostensibly a portrait of a place where the artist had resided until recently, the new film by Robert Beavers conjures not only the memory but also the physical presence of those who have previously stayed there. Adhering to a solitary intimacy while simultaneously acting as an ode to human endeavour and shared impulses toward fulfillment through art, Listening to the Space in my room is a moving testament to existence (whose traces are found in literature, music, filmmaking, gardening) and our endless search for meaning and authenticity. The film's precise yet enigmatic sound-image construction carries a rare emotional weight. A strange yet familiar sense of place dominates Shambhavi Kaul's deceptively disorienting and visually entrancing Mount Song. As a wild, foreboding gust courses through the night, a subdued elegance is brought forth from past cinema spectacles, whose generic albeit highly suggestive set constructions remain lodged in our imaginary. In Natpwe, the feast of the spirits, co-directors Tiane Doan na Champassak and Jean Dubrel have produced an immersive, seemingly timeless document of an annual Burmese trance ritual that dates back to the eleventh century. Shot in Super 8 and 16mm in sooty black and white, the film conveys the astonishing sense of liberation of tens of thousands of bodies and minds a mass expression of faith, but also a rapturous respite from societal intolerance. --------------------------- TUESDAY, SEPTEMBER 10, 2013 --------------------------- 9/10 New York, New York: Anthology Film Archives http://www.anthologyfilmarchives.org/ 7:30 pm, 32 2nd Avenue LAWRENCE JORDAN PROGRAM 7 ANCESTORS (1978, 5 min) POSTCARD FROM SAN MIGUEL (1996, 8 min) THE APPARITION (1976, 50 min) Total running time: ca. 70 min ----------------------------- WEDNESDAY, SEPTEMBER 11, 2013 ----------------------------- 9/11 Boston, MA: MassART FILM SOCIETY 8pm, Massachusetts College of Art and Design, 621 Huntington Avenue BANG MASSART FILM SOCIETY FALL 2013, presents BANG - Program: - REPORT by Bruce Conner 1963-1967 11 min - CROSSROADS by Bruce Conner 1976 36 min - THE END by Christopher Maclaine 1953 35 min - COSMIC RAY by Bruce Conner 1962 4.5 min - MEDITATION ON VIOLENCE by Maya Deren 1948 11 min - THE MAN WHO INVENTED GOLD by Christopher Maclaine 1957 14 min - MASSART FILM SOCIETY, Programmed by Saul Levine, FILM SOCIETY is a screening class for MassArt film students open to those who are interested. We hope to provide access to films and videos not often shown at other venues. - Massachusetts College of Art & Design, Film Department Screening RM 1 | 621 Huntington Ave. Boston MA 02115, Enter MASSART through the South Building, Admissions, on Huntington Ave. Suggested donation is $4 at the door and free to the MassArt community with their ID. Donations are used to give visiting artist something for their expenses of coming to show their work. - http://massartfilmsociety.blogspot.com/ -------------------------- FRIDAY, SEPTEMBER 13, 2013 -------------------------- 9/13 Houston, Texas: Aurora Picture Show http://www.aurorapictureshow.org 7:30 p.m., 2442 Bartlett Street, Houston TX STOP & GO 3-D Stop & Go 3-D features a new series of stop-motion animations by 27 contemporary visual artists and filmmakers from around the world. The program dramatically plays with our visual senses through the artist's use of strobing effects, afterimages, anaglyphic experiments, optical elements and three-dimensional spoofs. The animations in this program were chosen from a world-wide open call for submissions and by invitation. Four of the animations in the program require the audience to wear red/cyan-colored glasses to fully engage with the work. Filmmakers include Jeanne Stern, Sarah Klein, Santiago Caicedo de Roux, among others. Special thanks to Saint Arnold Brewery for their support of this program. www.stopandgoshow.com 9/13 Los Angeles, California: Echo Park Film Center http://www.echoparkfilmcenter.org/ 8 pm, 1200 N. Alvarado St (at Sunset) AMY HALPERN'S ASSORTED MORSELS $5 / Assorted Morsels (2012). A suite of short 16mm films, including Injury on a Theme, Elixir, and Three Minute Hells. ---------------------------- SATURDAY, SEPTEMBER 14, 2013 ---------------------------- 9/14 Austin, TX: Experimental Response Cinema http://ercatx.org 1:00pm, Alamo Drafthouse Ritz, 320 E. 6th St. STAN BRAKHAGE'S THE ART OF VISION Experimental Response Cinema and the Alamo Drafthouse Ritz are excited to present a very special screening of Stan Brakhage's The Art of Vision! Rarely screened, The Art of Vision is Brakhage's longest work, in an oeuvre that spans over 300 films. Titled after Bach's The Art of the Fugue, The Art of Vision is a "full extension of the singularly visible themes" of Brakhage's own Dog Star Man. Newly restored by the Academy of Motion Picture Arts and Sciences, come see the film which the poet Robert Kelly said was "â¦a new continent of the eye's sway. Mind at the mercy of the eye at last." - The Art of Vision, 270 min / 16mm / silent / 1961-1965 - "The Art of Vision includes the complete Dog Star Man and is a full extension of the singularly visible themes of it. Inspired by that period of music in which the word symphonia was created and by the thought that the term, as then, was created to name the overlap and enmeshing of suites, this film presents the visual symphony that Dog Star Man can be seen as and also all the suites of which it is composed. But as it is a film, not work of music, the above suggests only one of the possible approaches to it. For instance, as "cinematographer," at source, means "writer of movement" certain poetic analogies might serve as well. The form is conditioned by the works of arts which have inspired Dog Star Man, its growth of form by the physiology and experiences (including experiences of art) of the man who made it. Finally it must be seen for what it is." Stan Brakhage 9/14 Los Angeles, California: Echo Park Film Center http://www.echoparkfilmcenter.org/ 8 pm, 1200 N. Alvarado St (at Sunset) AMY HALPERN'S FALLING LESSONS Falling Lessons (1992). All the eye contact you can stand. "A healing film . All the people in the film seem naked." Ornette Coleman. 9/14 San Francisco, California: Other Cinema http://www.othercinema.com/ 8:30, 993 Valencia St. GOOGLE AND THE WORLD BRAIN + MANNING + ARCHIMEDIA + Simultaneously amazed and daunted by the Orwellian effects of a wired matrix that's expanding at the speed of light, The World Brain exposes Google's master plan to scan every book in the world and the people trying to stop it. In person, Archimedia (David Cox & Molly Hankwitz) demonstrate the history of Google Glass, from Steve Mann's sousveillance to an Augmented Reality that is becoming an integral part of today's urban experience. Linking these networks of knowledge to the military arena, Wikileaks:The Forgotten Man explores the netcentric politics of Bradley/Chelsea Manning's whistle-blowing. PLUS former San Franciscan Laura Poitras and ex-OC aide Jenny Perlin's leaked video of Manning's Fort Meade testimony. information wars -------------------------- SUNDAY, SEPTEMBER 15, 2013 -------------------------- 9/15 New York, New York: Anthology Film Archives http://www.anthologyfilmarchives.org/ 6:45 pm, 32 2nd Avenue HEAVEN AND EARTH MAGIC by Harry Smith 1950-61, 66 min, 16mm, b&w This screening is part of: JOHN ZORN SELECTS Preserved by Anthology Film Archives with support from the National Film Preservation Foundation and Cineric, Inc. The sound design on NO. 12 is hypnotic, brilliant, curious, fantastic, and this is one of my very favorite films of all time. After dozens of viewings, it's hard to decide which is more musical the soundtrack of sound effects or the images themselves. Magic indeed! & Chuck Jones THERE THEY GO-GO-GO! (1956, 7 min, 35mm) Carl Stalling worked on cartoon music for Warner Brothers for decades, creating some of the most original and experimental music of the mid-20th century. It is also the music of the American subconscious. Although he wrote brilliant scores for Bugs Bunny, Elmer Fudd, and Daffy Duck cartoons, his scores for the Road Runner series are particularly powerful because they feature his work undisturbed by talking of any kind. I used to tape these off TV back in the 70s and transcribe them. A master of "Mickey Mousing" (following and illustrating the visual action), his scores take on a whole new level of meaning when separated from the images and have been a huge influence on my technique of jump-cutting with block forms, collaging different genres into a single composition, and using musical time in a new and revolutionary way where more traditional musical 'sense' takes a back seat to telling a story. Hilarious program music that changed my life. & Stephen Pouliot THE DREAMER THAT REMAINS (1974, 27 min, 35mm) Harry Partch was a major influence and a pioneer of the DIY aesthetic, creating his own tuning theories, his own instruments, and his own unique notational systems, as well as releasing his own music on his own label, Gate 5. Also a great cook who made rose petal jam, Partch is a hero who rightfully belongs in this series, and the music he composed for this mini documentary is gorgeous some of his very best! 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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