<http://www.hi-beam.net/now.gif> <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=265ae94539&e=f36020cad0> <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=e3e4610b5b&e=f36020cad0> This week [October 27 - November 4, 2018] in avant garde cinema Enter your event announcements by going to the Flicker Weekly Listing Form <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=d19ecc2e20&e=f36020cad0> . To receive the weekly listing via email: Subscribe <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=e8ffe2567d&e=f36020cad0> . <https://library.harvard.edu/film/images/films/2018sepnov/tuohy_cyclone.jpg> Alchemy and Apparatus - the Films of Richard Tuohy and Dianna Barrie <> [November 2, Cambridge] NEW CALLS FOR ENTRIES: Spectral Film Festival (Stevens Point, WI, USA; Deadline: January 06, 2019) http://hi-beam.net/cgi-bin/ann.pl?type=calls <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=8f0add28dc&e=f36020cad0> &readfile=2001.ann The Florida Experimental Film/Video Festival (Tampa, Florida, USA; Deadline: November 20, 2018) http://hi-beam.net/cgi-bin/ann.pl?type=calls <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=a6c7e26e58&e=f36020cad0> &readfile=2002.ann Magmart Festival XI edition (Naples, Italy; Deadline: April 07, 2019) http://hi-beam.net/cgi-bin/ann.pl?type=calls <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=ac0ccbb7e2&e=f36020cad0> &readfile=2003.ann Onion City Experimental Film and Video Festival (Chicago; Deadline: January 04, 2019) http://hi-beam.net/cgi-bin/ann.pl?type=calls <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=6503d0e140&e=f36020cad0> &readfile=2004.ann Single Frame (Durham, NC, USA; Deadline: January 01, 2019) http://hi-beam.net/cgi-bin/ann.pl?type=calls <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=264d4d413b&e=f36020cad0> &readfile=2005.ann Laterale Film Festival (Cosenza, Southern Italy; Deadline: March 31, 2019) http://hi-beam.net/cgi-bin/ann.pl?type=calls <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=f59cd19122&e=f36020cad0> &readfile=2006.ann DEADLINES APPROACHING: Artifact Small Format Film Festival (Calgary; Deadline: November 01, 2018) http://hi-beam.net/cgi-bin/ann.pl?type=calls <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=dbc05c71b4&e=f36020cad0> &readfile=1983.ann Experiments in Cinema v14.2 (Albuquerque New Mexico, USA; Deadline: November 01, 2018) http://hi-beam.net/cgi-bin/ann.pl?type=calls <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=99f7a42b9d&e=f36020cad0> &readfile=1988.ann Alchemy Film & Moving Image Festival (Hawick, Sotland; Deadline: November 30, 2018) http://hi-beam.net/cgi-bin/ann.pl?type=calls <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=fdb0ad4de4&e=f36020cad0> &readfile=1989.ann Cosmic Rays Film Festival (Chapel Hill, NC USA; Deadline: December 01, 2018) http://hi-beam.net/cgi-bin/ann.pl?type=calls <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=a484639bf4&e=f36020cad0> &readfile=1994.ann MONO NO AWARE XI (Brooklyn, NY, USA ; Deadline: October 31, 2018) http://hi-beam.net/cgi-bin/ann.pl?type=calls <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=5006cb350e&e=f36020cad0> &readfile=1996.ann Experimental & Expanded Animation: Current Perspectives & New Directions (Farnham, Surrey, UK; Deadline: November 15, 2018) http://hi-beam.net/cgi-bin/ann.pl?type=calls <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=2932cbdf90&e=f36020cad0> &readfile=1999.ann The Florida Experimental Film/Video Festival (Tampa, Florida, USA; Deadline: November 20, 2018) http://hi-beam.net/cgi-bin/ann.pl?type=calls <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=a3e3917103&e=f36020cad0> &readfile=2002.ann Events are sorted alphabetically BY CITY within each DATE. This week's programs (summary): * Ec: Larry Jordan <> [October 27, New York, NY] * Ec: Jennings / Kirsanoff <> [October 27, New York, NY] * Women's Work: Sachs/Olesker's <> "Washing" + Barbara Hammer's "Deren" + [October 27, San Francisco, California] * In and Around A House: Films By Ute Aurand and Margaret Tait, Part 2 <> [October 28, Los Angeles, California] * Not Sorry #4: Consumer <> [October 28, Portland, Oregon] * Inner Journey In Photochemicals Lands: Films From L’Abominable 2000-2018 <> [October 29, Brooklyn, New York] * Inner Journey In Photochemicals Lands Films From L’Abominable 2000-2018 <> [October 29, Brooklyn] * A Portrait of Margaret Tait: Filmmaker and Poet. Rhythm and Poetry the Films of Margaret Tait. Oct/Nov. A Retrospective. <> [October 29, London, England] * Jonas Mekas <> &Amp; John Leland In Conversation [October 29, New York, NY] * Spiraling Stories <> [October 29, New York, New York] * Susan Murray On the History of Color Television <> [October 30, Brooklyn, NY United States] * Infrared Program 3 Slow/Sheltering/Shattering <> [October 30, San Francisco, California] * Cineinfinito 72/73#: Gunvor Nelson <> [October 30, Santander, Spain] * Disasters of Peace Vol.5 <> [November 1, Buenos Aires, Argentina] * With the Wind <> [November 1, New York, NY] * The Washing Society <> [November 1, New York, NY] * Saul Levine: Breaking Time, Organized By Lumia Lightsmith <> [November 2, Brooklyn] * Alchemy and Apparatus - the Films of Richard Tuohy and Dianna Barrie <> [November 2, Cambridge] * Develop Yourself - Analogfilmwerke Goes B-Movie <> [November 2, Hamburg, Germany] * Show <> & Tell: Helga Fanderl [November 3, New York, NY] * Scritti Politti1: Adam Khalil/Bayley Sweitzer's <> "Empty Metal" [November 3, San Francisco, California] * Sight Unseen Presents Canyon Cinema 50 Tour <> [November 4, Baltimore, MD United States] SATURDAY, OCTOBER 27, 2018 10/27 New York, NY: Anthology Film Archives http://www.anthologyfilmarchives.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=e93e837083&e=f36020cad0> 5:00 PM, 32 Second Avenue EC: LARRY JORDAN DUO CONCERTANTES (1962-64, 6 min, 16mm, b&w) HAMFAT ASAR (1965, 13 min, 16mm, b&w) GYMNOPEDIES (1968, 6 min, 16mm) THE OLD HOUSE, PASSING (1966, 45 min, 16mm, b&w. Preserved by Anthology Film Archives.) OUR LADY OF THE SPHERE (1968, 9 min, 35mm) "With a taste for nostalgic romanticism…Jordan creates a magical universe of work using old steel engravings and collectable memorabilia. His 50-year pursuit into the subconscious mind gives him a place in the annals of cinema as a prolific animator on a voyage into the surreal psychology of the inner self." -Jackie Leger Total running time: ca. 85 min. 10/27 New York, NY: Anthology Film Archives http://www.anthologyfilmarchives.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=4a53cda33d&e=f36020cad0> 7:15 PM, 32 Second Avenue EC: JENNINGS / KIRSANOFF Humphrey Jennings LISTEN TO BRITAIN (1941, 19 min, 35mm, b&w) Jennings's film is a masterpiece of sound mixing; it creates an audio landscape of Britain during the war, with images both accompanying and conflicting with the multitude of sounds. Dimitri Kirsanoff MÉNILMONTANT (1924-25, 38 min, 35mm, b&w, silent) "[T]o a remarkable degree, MÉNILMONTANT seems an autonomous creation, as sophisticated and demanding as any narrative film of the silent period, without obvious imitators. Although Richard Abel has astutely called attention to aspects the film shares with Abel Gance's LA ROUE (1923) and Leon Moussinac's LE BRASIER ARDENT (1923)…and with Jean Epstein's COEUR FIDELE (1923)…any comparison of the film as a whole with those admirable works would have to underline the intensity, uniqueness, and exceptional rigor of Kirsanoff's achievement." -P. Adams Sitney, THE CINEMA OF POETRY Total running time: ca. 60 min. 10/27 San Francisco, California: Other Cinema http://www.othercinema.com/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=40d8a2047e&e=f36020cad0> 8 PM, 992 Valencia Street WOMEN'S WORK: SACHS/OLESKER'S "WASHING" + BARBARA HAMMER'S "DEREN" + We’re tickled pink to welcome back prodigal daughter Lynne Sachs, here with Lizzie Olesker to anchor a program on women’s labor, both manual and intellectual. Sachs unspools her Carolee, Barbara, and Gunvor, about the ongoing cinema legacies of Ms. Schneemann, Hammer, and Nelson. That inspiring opener in fact leads us directly into a half-hour piece by the prolific Hammer, who HERSELF has honored another woman cultural worker of an earlier generation in Maya Deren’s Sink. With a soundtrack from Meredith Monk, Barbara’s cine-poem re-captures Maya’s concepts of light, space, and time via projections on her original bathroom sink(!) and the walls of her LA and NY homes. Then, Lynne and Lizzie’s The Washing Society shifts the focus to the physical labor in the neighborhood laundromat, a site rife with the history of service, and of immigration, in a disappearing public space. SUNDAY, OCTOBER 28, 2018 10/28 Los Angeles, California: Filmforum http://www.lafilmforum.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=1e10484a3a&e=f36020cad0> 7:30 pm, Echo Park Film Center, 1200 N. Alvarado St., Los Angeles IN AND AROUND A HOUSE: FILMS BY UTE AURAND AND MARGARET TAIT, PART 2 For this second screening, two longer works by Margaret Tait and Ute Aurand are paired. In their breadth and structure, these films give a sense of how these filmmakers cultivate a working practice that prizes the immediate details felt around them. These screenings include the work of Scottish film poet Margaret Tait (1918–1999), an influential filmmaker for Aurand. Together these works draw upon the wanderings of daily life and the search for fleeting moments of presence, dropping a myopic intensification of experience in favor of an exuberant engagement with the world. A Place of Work, by Margaret Tait (1976, 16mm, color, sound, 30 min.) and Terzen, by Ute Aurand (1998, color, sound, 50 min.) Tickets: $10 general; $6 for students/seniors; free for Filmforum members. Available in advance from Brown Paper Tickets at https://uteaurand2.bpt.me or at the door. 10/28 Portland, Oregon: Northwest Film Center http://www.nwfilm.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=97ab973302&e=f36020cad0> 7pm, Northwest Film Center's Whitsell Auditorium, 1219 SW Park Ave NOT SORRY #4: CONSUMER Our fourth and final installment in the series "Not Sorry: Feminist Experimental Film from the 1970s to Today." Critiquing popular culture by re-appropriating found footage source materials or by restaging stereotypes are common strategies in the experimental film genre. Since popular media has both constructed and echoed stereotypes of women, what better way to reclaim, talk back to, examine, and of course make fun of these manufactured and unrealistic identities? Exploring the general theme of consumerism (as consumers of media, ideas, and products) is another set of international filmmakers who engage directly with media or their false representations of women and their desires. Included is Gunvor Nelson’s "Take Off" (1972), that starts as a typical strip-tease film but with a surprise ending; Akosua Adoma Owusu’s "Intermittent Delight" (2007), which combines textiles and the Ghanaian men and women who make them with clips of 1960s Westinghouse commercials on the how-tos of refrigerator decoration; and work from two local filmmakers, Vanessa Renwick’s "Toxic Shock" (1983), which combines intimate taboos of needles, blood, and tampons, and Ariella Tai’s "She’s Not Gonna Get More Dead" (2018), that with its crunchy, juicy soundtrack and sourced images of black women vampires meditates on death, desire, and what makes someone more than dead. //// Filmmakers Ariella Tai, Vanessa Renwick, and Jennifer Chan will be in attendance for a post-screening discussion. MONDAY, OCTOBER 29, 2018 10/29 Brooklyn, New York: Microscope Gallery http://www.microscopegallery.com <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=6fb8fa5d09&e=f36020cad0> 7:30, 1329 Willoughby Avenue, 2B INNER JOURNEY IN PHOTOCHEMICALS LANDS: FILMS FROM L’ABOMINABLE 2000-2018 Microscope Gallery is extremely pleased to welcome filmmaker Stefano Canapa to the gallery on one of his rare trips to New York to present Inner Journey in Photochemicals Lands, a screening of films by David Dudouit, Emmanuel Lefrant, Guillaume Mazloum, Nicolas Rey, Elisa Ribes, and Yoana Urruzola made under the auspices of Paris’ independent lab L’Abominable. The 16mm and 35mm works selected by Canapa, whose films are also in the program, were physically made by each of the filmmakers at artist-run film laboratory L’Abominable, a venue that has contributed to keep celluloid film alive since 1996 and has been a formidable resource for artists or for aspiring ones by providing tools to develop, optically print, blow up, edit, and print films. The evening’s program of films — spanning 18 years — is only a minimal portion culled from a catalogue of more than 300 titles assembled from 1995 until today. In 2014, L’abominable’s co-founder and filmmaker Nicolas Rey writes about the films made at the lab in the years 2007-2012: “What is very impressive in this list is how the filmmakers shared a common setup and practices, exchanged information and were mutually supportive, while developing very different aesthetics. Naturally, working closely together was not without consequences and it would be hard indeed to label these works as fiction, documentary or experimental.” Stefano Canapa in attendance and available for Q&A following the screening. 10/29 Brooklyn: Microscope Gallery http://www.microscopegallery.com <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=a23c09fbf9&e=f36020cad0> 7:30pm, 1329 Willoughby Ave 2B INNER JOURNEY IN PHOTOCHEMICALS LANDS FILMS FROM L’ABOMINABLE 2000-2018 Organized by Stefano Canapa who will be in person! Microscope welcomes filmmaker Stefano Canapa to the gallery on one of his rare trips to New York to a screening of films by David Dudouit, Emmanuel Lefrant, Guillaume Mazloum, Nicolas Rey, Elisa Ribes, and Yoana Urruzola made under the auspices of Paris’ independent lab L’Abominable. The 16mm and 35mm works selected by Canapa, whose films are also in the program, were physically made by each of the filmmakers at artist-run film laboratory L’Abominable, a venue that has contributed to keep celluloid film alive since 1996 and has been a formidable resource for artists or for aspiring ones by providing tools to develop, optically print, blow up, edit, and print films.The evening’s program of films — spanning 18 years — is only a minimal portion culled from a catalogue of more than 300 titles assembled from 1995 until today. In 2014, L’abominable’s co-founder and filmmaker Nicolas Rey writes about the films made at the lab in the years 2007-2012: “What is very impressive in this list is how the filmmakers shared a common setup and practices, exchanged information and were mutually supportive, while developing very different aesthetics. Naturally, working closely together was not without consequences and it would be hard indeed to label these works as fiction, documentary or experimental.” Full program and other info: www.microscopegallery.com <http://www.microscopegallery.com> . Tel: 347.925.1433, i...@microscopegallery.com <mailto:i...@microscopegallery.com> . Nearest Subway: Jefferson Street L (exit Starr Street), left on Willoughby, enter mid-block. 10/29 London, England: BFI Southbank http://www.bfi.org.uk/whatson/southbank/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=5f0ecf58cf&e=f36020cad0> 2.00pm., BFI Southbank, London, SE1 8XT A PORTRAIT OF MARGARET TAIT: FILMMAKER AND POET. RHYTHM AND POETRY THE FILMS OF MARGARET TAIT. OCT/NOV. A RETROSPECTIVE. “A unique and underrated filmmaker, nobody like her” Ali Smith, Luxonline Born on Armistice Day 1918 on Orkney, Margaret Tait went to school (and university) in Edinburgh, but always returned to the family home in Kirkwall. After service as a doctor in World War Two, she studied film at the Centro Sperimentale di Cinematografia in Rome. Returning to Scotland in the early 1950s she made over 30 distinctive films, most self-funded and shot on 16mm. In her 70s she made her only feature, Blue Black Permanent (produced by the BFI), the first by a woman in Scotland. She often quoted García Lorca’s phrase ‘stalking the image’ to define her philosophy and method – the idea that if you look at an object close enough it will speak its nature. On her centenary, we offer you the chance to discover and enjoy Tait’s unique mix of image, sound, rhythm and poetry. Peter Todd. A Portrait of Margaret Tait: Filmmaker and Poet presented by season curator Peter Todd. The first programme in our retrospective looks at Margaret Tait's early work and study in Rome and her move in to making film poems. 10/29 New York, NY: Anthology Film Archives http://www.anthologyfilmarchives.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=7ea89b4dbc&e=f36020cad0> 6:00 PM, 32 Second Avenue JONAS MEKAS & JOHN LELAND IN CONVERSATION As part of the Reimagine End of Life initiative - a week of citywide cultural events exploring big questions about life and death, with a particular focus on aging and end-of-life issues - Anthology hosts a special talk between filmmaker (and AFA founder) Jonas Mekas and writer John Leland. Leland spent a year visiting Mekas for a series of New York Times articles about the elderly in New York City that ultimately resulted in his bestselling book, "Happiness Is a Choice You Make: Lessons From a Year Among the Oldest Old," an experience that changed Leland's life. Tonight he and Jonas will convene once again to discuss growing old and staying young. "I once asked Jonas how, after all he had been through, he could call himself 'a happy man.' His answer was pure Jonas: 'It's normal,' he said. 'It's not normal not to sing, not to dance, not to like poetry, not to be interested in matters of spirit! I am a very very normal case. And I am happy. Happiness is a normal state.' We'll talk about some of his secrets, and his messages for the other five characters in 'Happiness Is a Choice You Make.' And he'll explain why he's really only 27. If you get it fully, please explain it to me." -John Leland Designed as a grassroots, community-driven public outreach and educational effort for New York and surrounding communities, Reimagine End of Life aims to increase end-of-life care awareness, disseminate educational information and assistance regarding advanced care planning, and break down taboos around death and dying. For more info visit: letsreimagine.org Special thanks to Stacy Abramson & Andrew Ingall (Reimagine), and John Leland. Anthology will host additional Reimagine End of Life programming from October 29-November 1: a series of films that delve deeply and unflinchingly into the experience of death and dying, including works by Frederick Wiseman, Allan King, Maurice Pialat, and Adam Sekuler. Click here for more details. 10/29 New York, New York: Medicine Show Theatre https://www.medicineshowtheatre.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=1ceee4b917&e=f36020cad0> 8 pm, 549 West 52 St. (between 10th and 11th Avenues) SPIRALING STORIES New visionary video work by David Finkelstein and Katya Yakubov. Marvelous Discourse (2010, 21 minutes, David Finkelstein), The Watering Room (2017, 35 minutes, Katya Yakubov), Spiral Garage (2018, 14 minutes, David Finkelstein, world premiere), An absolute delight of flamboyant beauty. David’s work glitters with a fabulous radiance.-- Mike Kuchar, filmmaker. Yakubov has an extremely precise way of layering evocative images and sounds with poetic text. -- Filmthreat.com. David Finkelstein's video work has been featured in numerous film festivals around the world and has won awards at 17 of them. Katya Yakubov is a Uzbekistan-born filmmaker living in New York. Her short films have screened at film festivals around the world. TUESDAY, OCTOBER 30, 2018 10/30 Brooklyn, NY United States: Light Industry http://www.lightindustry.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=d088b87546&e=f36020cad0> 7:30 PM, 155 Freeman St SUSAN MURRAY ON THE HISTORY OF COLOR TELEVISION Bright Signals, a lecture by Susan Murray. Color television was an incredibly complex technology of visual culture that disrupted and reframed the very idea of television in the post-war era, while also revealing deep tensions and aspirations about the technology’s relationship to and perspective on the “natural” world and, relatedly, our potential to extend human sight and experience. It was considered by those in the industry as both an assumed next step in the technological extension and replication of human sight as well as a radical departure from the norms, procedures, and priorities set by the black-and-white standard. It was imagined and sold as a new way of seeing—distinct from both monochrome television and other forms of color media—connected to its presumed emotional and spatial dimensionality and intensity. "Bright Signals" will present an overview of this history and then delve into the form and functions of the color cultural documentary programs—art, nature, and travel—of the 1960s. These programs were crafted and marketed to highlight the full advantages of electronic color, as they brought together spectacle and vibrancy with a sense of cultural uplift and transportation. The promotion of many of the cultural documentaries reveals claims regarding electronic color’s ability to intensify the pleasure already offered by monochrome television, expand the visual and experiential horizons of viewers through explorations of the natural world, and extend and refine television’s technological vision, thereby bringing hereto under- or unexplored subjects and knowledge into clear relief. Susan Murray is Associate Professor of Media, Culture, and Communication at New York University and the author of Bright Signals: A History of Color Television (Duke University Press, 2018). 10/30 San Francisco, California: San Francisco Cinematheque http://www.sfcinematheque.org <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=7654389c6f&e=f36020cad0> 8:00 PM, 80 Turk Street San Francisco, CA 94102 INFRARED PROGRAM 3 SLOW/SHELTERING/SHATTERING About INFRARED: In 2017, the City of San Francisco indicated intention to designate a portion of its Tenderloin neighborhood (a portion which includes CounterPulse and the office of San Francisco Cinematheque Cinematheque) as the “Compton’s Transgender, Lesbian, Gay, and Bisexual District” in reference to a 1966 protest action held at Compton’s Cafeteria, located at the intersection of Turk and Taylor Streets in San Francisco. This pre-Stonewall action is recognized as a significant milestone in queer and transgender political activism. In celebration of this designation—the first legally recognized municipal transgender district in the world—San Francisco Cinematheque is proud to present INFRARED, four nights of experimental films by and about transgender, nonbinary and gender nonconforming artists curated by transgender filmmaker Malic Amalya. Full series details available here. SCREENING: Full of Pride (2010) by The Wreck Family; digital video, color, sound, 5 minutes Full of Pride is a short film collage and music mash-up that incorporates elements of queerness, gender expression and campy/dark humor. It is a sexually charged piece that uses low-technology to create a rainbow-scape of queerness and an explosion of mythological gay creatures. (The Wreck Family) Joan Jett Blakk Announces Her Candidacy for President by Bill Stamets, 8 minutes Researcher Carmel Curtis uncovered Bill Stamets’ Hi8 document of Joan Jett Blakk, an African-American drag queen, announcing her candidacy for President in 1992. Her slogan: Lick Bush! Footage provided by the Media Burn Independent Video Archive. MyMy by Anna Helme Yellow Sequence (1963–1965) by Jack Smith All That Sheltering Emptiness by Joey Carducci & Mattilda Bernstein Sycamore A meditation on elevators, hotel lobbies, hundred dollar bills, the bathroom, a cab, chandeliers, cocktails, the receptionist, arousal and other routines in the life of a New York City callboy. (Malic Amalya) Love Under Will of the Hags of Long Tooth (2015) by Mica O’Herlihy A rotoscope revelation of the inner beast and their most carnal cravings in a post-gender, post-apocalyptic cave-dwelling commune. White Fur by Nikki Silver & Neve Be What does the beastmaster look like? How untamed is the wild grrrl and their wild dogs? (Malic Amalya) The Personal Things by Tourmaline Gossett “You have to find your own way to strike back.” (Miss Major Griffin-Gracy) Happy Birthday, Marsha (2017) by Tourmaline Gossett & Sasha Wortzel A historic reenactment of the hours before Marsha (“Pay it No Mind”) Johnson ignited the 1969 Stonewall Riots in New York City. (Malic Amalya) Quick Change #203 Escape #5 by Syniva Whitney Beige Slow Change by Syniva Whitney, 3 minutes The queer body knows it is under scrutiny at all times, even when the body is never quite revealed. (Malic Amalya) 10/30 Santander, Spain: Cineinfinito https://www.cineinfinito.org/cineinfinito-72-gunvor-nelson/ https://www.cineinfinito.org/cineinfinito-73-gunvor-nelson <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=f2b5f6d0e3&e=f36020cad0> 6:00 PM, Centro Cultural Doctor Madrazo, Casimiro Sainz, S/N CINEINFINITO 72/73#: GUNVOR NELSON Cineinfinito 72/73#: Gunvor Nelson CINEINFINITO / Centro Cultural Doctor Madrazo Martes 30 de Octubre de 2018, 18:00h. Centro Cultural Doctor Madrazo Calle Casimiro Sainz, s/n 39004 Santander *Sesión presentado por Miguel Fernández Labayen. Formato de proyección: HD (Agradecimiento especial a Gunvor Nelson y a Filmform) https://www.cineinfinito.org/cineinfinito-72-gunvor-nelson/ https://www.cineinfinito.org/cineinfinito-73-gunvor-nelson/ THURSDAY, NOVEMBER 1, 2018 11/1 Buenos Aires, Argentina: Disasters of Peace http://www.disastersofpeace.com/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=f253f9e193&e=f36020cad0> 1-11 November, Buenos Aires, Argentina DISASTERS OF PEACE VOL.5 A distinguishing feature of our age is the seismic shifts that have arisen from the after-burn of the 20th century: the end of the Cold War, the failed colonial projects giving rise to civil war and mass migration, the unfettered consumption that is slowly destroying the planet, the shifts towards political extremes, and the defiance of the rule of law through mass surveillance. In Western Democracies, we consider ourselves to be in the longest period of peace, but we increasingly fear the other. Paranoia and anxiety infuse our media. We are beset by dis-ease and forebodings of disaster, yet major disasters have already happened: the genocides of indigenous populations, Chernobyl and Fukushima, the Syrian refugee crises, Hurricane Harvey (Texas), Hurricane Maria (Puerto Rico), to name but a few. How then can we represent these caustic aftermaths to expose the slow violence they continue to enact? What languages can transform the legacy of recent histories into a constructive future view? This touring programme draws together artist filmmakers who in a myriad of ways, challenge the prevalent representations of disaster, beyond the apparatus of spectacle. Featured here are films that in varying ways respond to the ideas of transformation and re-imagining, works that are positioned in a place where we are as likely to look back as we are to imagine a future. Featuring the work of Cecelia Condit (USA), Zbigniew Czapla (Poland), Sam Jury (UK), Jazra Khaleed (Greece), Kamila Kuc (Poland/UK), Marianna Milhorat (Canada), Reed O'Beirne (USA), Shubhangi Singh (India). 11/1 New York, NY: Anthology Film Archives http://www.anthologyfilmarchives.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=27f82cd158&e=f36020cad0> 7:00 PM, 32 Second Avenue WITH THE WIND (AVEC LE VENT…) SPECIAL SCREENING - FILMMAKER IN PERSON! In the summer of 2016, the Belgian artist Nico Dockx initiated and curated an experimental group project that embarked from Le Vieux-Port in Marseille by means of eight boats with specially-designed sails by artists A Dog Republic, Liam Gillick, Cari Gonzalez-Casanova, Karl Holmqvist, Ann Veronica Janssens, Koo Jeong-A, Zak Kyes & Hans Ulrich Obrist, Pat McCarthy, Jonas Mekas, Philip Metten, Ouragan, Anri Sala, Rirkrit Tiravanija, Luc Tuymans, Luca Vitone, and Carl Michael von Hausswolff & Leif Elggren - a kind of floating art exhibition presented in the public space of the Mediterranean Sea. Aside from this live event, the project has resulted in a book edition as well as a video work. The moving image component will make its world premiere as part of this special program, alongside other similarly themed avant-garde films, including Marcel Broodthaers's A VOYAGE ON THE NORTH SEA (the inspiration for the project) and films by J. Hoberman, Peter Hutton, Jonas Mekas, and Joyce Wieland. Nico Dockx, Cari Gonzalez-Casanova & Vijai Patchineelam WITH THE WIND… / AVEC LE VENT… (2016-18, ca. 20 min, digital) Jonas Mekas CASSIS (1966, 4.5 min, 16mm) Joyce Wieland SAILBOAT (1967, 3 min, 16mm) J. Hoberman CARGO OF LURE (1974, 14.5 min, 16mm, silent) Marcel Broodthaers A VOYAGE ON THE NORTH SEA (1974-76, 5 min, 16mm-to-digital, silent) Peter Hutton TIME AND TIDE (2000, 35 min, 16mm, silent) Total running time: ca. 85 min. 11/1 New York, NY: Anthology Film Archives http://www.anthologyfilmarchives.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=40b10a6404&e=f36020cad0> 7:30 PM, 32 Second Avenue THE WASHING SOCIETY by Lizzie Olesker & Lynne Sachs. SPECIAL SCREENINGS: ARTISTS & SPECIAL GUESTS IN PERSON! Featuring laundry workers Wing Ho, Lula Holloway, and Margarita Lopez, and actors Ching Valdes-Aran, Jasmine Holloway, and Veraalba Santa. THE WASHING SOCIETY brings us into New York City laundromats and reveals the experiences of the people working there. Filmmaker Lynne Sachs and playwright Lizzie Olesker collaborate to observe and investigate the disappearing public space of the neighborhood laundromat, and the continual labor that happens there. The intersection of history, immigration, and underpaid work is woven into the film's observational moments and interviews, along with the uniquely public/private exchange of dirt, lint, stains, and money. The juxtaposition of narrative and documentary elements creates a dream-like, yet hyper-real portrayal of a day in the life of a laundry worker, both past and present. Screening with: Lizzie Olesker & Lynne Sachs DESPERTAR: NYC LAUNDRY WORKERS RISE UP (2018, 5 min, digital) SPECIAL GUESTS: Thurs, Nov 1: Historian Tera Hunter, whose book TO 'JOY MY FREEDOM depicts the 1881 organization of African-American laundresses in Atlanta, and Mahoma Lopez and Rosanna Rodriguez (Co-Directors, Laundry Workers Center), will join us to discuss justice in the workplace. Fri, Nov 2: 'Loads of Prose,' a reading series staged in laundromats, presents authors Emily Rubin (STALINA, 2011), Sung J Woo (EVERYTHING ASIAN, 2009), and Christine Lewis (Organizer, Domestic Workers United), who will read their stories of hidden labor and the challenges of our changing neighborhoods, where infrastructures are crumbling due to the visceral and economic demands of gentrification. FRIDAY, NOVEMBER 2, 2018 11/2 Brooklyn: Microscope Gallery http://www.microscopegallery.com <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=327613ea25&e=f36020cad0> 7:30pm, 1329 Willoughby Ave 2B SAUL LEVINE: BREAKING TIME, ORGANIZED BY LUMIA LIGHTSMITH Levine & Lightsmith in Attendance! Boston-based filmmaker Saul Levine visits Microscope for an evening of 8mm and super 8mm films organized by Lumia Lightsmith. “Seldom seen in the decades since its making, BREAKING TIME is perhaps Saul Levine’s Regular 8mm magnum opus. Culminating in almost two decades of work and study in the medium before shifting his focus and effort to exploring Super 8 and its sonic possibilities, this film is the final entry in his ‘Portrayal’ series, a group of Regular 8 films made throughout the 1970’s in which a portrait is also a betrayal, and one of the last films he made in the gauge. This program presents the increasingly rare opportunity to see the film in its original 8mm format and bookending the screening is NOTE ONE and LIGHT LICK: AMEN, two films that also explore the familiar sights of New Haven and his parents, seen in their domestic space engaged in their daily and Judaic rituals. Reference points to be returned to, examined with different perspectives and formal concerns in mind, in new light in time.” --LL. Additional info: www.microscopegallery.com <http://www.microscopegallery.com> , tel: 347.925.1433, i...@microscopegallery.com <mailto:i...@microscopegallery.com> . Nearest subway: Jefferson L (exit Starr Street), left on Willoughby Ave, enter mid-block. 11/2 Cambridge: Harvard Film Archive http://hcl.harvard.edu/hfa <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=77cb090a8c&e=f36020cad0> 7pm, 24 Quincy Street ALCHEMY AND APPARATUS - THE FILMS OF RICHARD TUOHY AND DIANNA BARRIE The Harvard Film Archive is thrilled to welcome Richard Tuohy and Dianna Barrie for one evening of their essential experimental cinema, including an expanded dual-projection performed live in our cinematheque! Reflecting their current worldwide travel schedule, their recent works are exquisite manifestations of their profound curiosity and engagement with the world through the endless mechanisms and marvels of film. Blending and Blinding Directed by Richard Tuohy Australia 2018, 16mm, color, 11 min Screens and partitions; windows and shutters; grids, curves and arches. Three peoples, one country: Malaysia. Pancoran Directed by Richard Tuohy and Dianna Barrie Australia 2017, 16mm, b/w, 9 min Jakarta traffic moves with the harmonious chaos of complex self-organising entities everywhere. Through contact printer matteing techniques, this mass transport becomes denser and denser until only the fluid futility of motion/motionlessness remains. Jakarta traffic stands as proof of the paradox of motion. Crossing Directed by Richard Tuohy Australia 2016, 16mm, color, 11 min Across the sea. Across the street. Cross-processed and grain-enlarged images of fraught neighbours Korea and Japan in a pointillist sea of grain. Last Train Directed by Richard Tuohy and Dianna Barrie Australia/Indonesia 2016, 16mm, color, 12 min Found in the (now possibly lost) film archive at Lab Laba Laba, footage from a trailer for the 1981 Indonesian propaganda film Kereta Api Terakhir (The Last Train) melts into a soup of “chemigrammed” perforations. A film about the silence that follows the unspeakable; about blurred visions, untold histories and inaccessible archives. China not China Directed by Richard Tuohy and Dianna Barrie Australia 2018, 16mm, color, 14 min Hong Kong marked twenty years since its hand over; halfway through the planned forty-year “one country, two systems” transition. Taiwan, once imperial China, once Formosa, now ROC on the edge of the PRC. Multiple exposures of street scenes distort space and place creating a fluid sense of impermanence and transition, of two states somewhere between China and not China. Blue Line Chicago Directed by Richard Tuohy Australia 2014, 16mm, b/w, 10 min Architectural distortions of the second city. Cyclone Tracery Directed by Richard Tuohy and Dianna Barrie Australia 2018, 16mm/performance, b/w, 15 min On Christmas eve in 1974, the city of Darwin in tropical northern Australia was devastated by Cyclone Tracy. In this expanded cinema piece, a single film print, featuring only concentric circles, is bi-packed against itself in two 16mm projectors simultaneously. Through this approach, the quadrupled image of circles is transformed into troubled patterns of pulsating and swirling interference and wailing sounds of tropical violence. 11/2 Hamburg, Germany: Analogfilmwerke e.V. http://www.shootfilm.de <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=afaee462b5&e=f36020cad0> 20:00, B-Movie Brigittenstraße 5 20359 Hamburg, Germany DEVELOP YOURSELF - ANALOGFILMWERKE GOES B-MOVIE The premiere event of our new artist-run film lab Analogfilmwerke in Hamburg, Germany! In recent years a group of dedicated filmmakers, artists and film enthusiasts have rescued an Arri Bloc processing machine and built a new organization to support the production and screening of films on film. This screening will showcase works originating on film by organization members and films that have been processed with the Arri Bloc. Featured filmmakers include: Ruben van den Belt, Roland Cremerius, Oliver Eckert, Marian Freistühler, Christopher Gorski, Olga Kosanovic, Arne Körner, Pia Lamster, Christopher Mondt, Roxana Reiss, Seda Seifert, Kuno Seltmann, Anna Steinert, Aspa Siokou, Laura Trager & Lukas Treudler. The program will be screened in two 60-minute sections with a celebration to follow. SATURDAY, NOVEMBER 3, 2018 11/3 New York, NY: Anthology Film Archives http://www.anthologyfilmarchives.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=0357e3c2d5&e=f36020cad0> 7:30 PM, 32 Second Avenue SHOW & TELL: HELGA FANDERL CORRESPONDENCES: THE SILENT FILMS OF HELGA FANDERL German filmmaker Helga Fanderl makes her first visit to Anthology in many years to present this specially-selected program drawn from her astoundingly vast body of silent Super-8mm films and 16mm blow-ups (she has made around 1,000 short films since 1986). A onetime student of both Peter Kubelka and Robert Breer, Fanderl makes her work impressionistically and intuitively, in response to the rhythms, forms, textures, and colors she encounters, and always limits herself to in-camera editing, so that each film becomes a reflection of the process of its own creation. Her practice is distinguished as well by her commitment to a particular way of presenting her work in public: generally projecting the films herself from within the screening space, Fanderl conceives of each screening program as a unique 'montage' of individual works that together comprise a kind of ephemeral, never-to-be-repeated 'film' in their own right (an approach made possible by the sheer multitude of pieces she's created over the years). The interplay of the varied films with their different motifs and rhythms evokes ever-changing and infinitely diverse correspondences and contrasts, and transforms each screening into a unique performance, more than a fixed presentation. "My films record encounters with events and images in the real world that attract me. There is no postproduction in my work. Every single film preserves and reflects the traces of its creation, the sensations and emotions I felt in the moment of filming." -Helga Fanderl SUPER-8MM: FOUNTAIN / BRUNNEN 2000, 3.5 min, Super-8mm GIRLS / MÄDCHEN 1995, 2 min, Super-8mm BULRUSHES / BINSEN 2003, 2.5 min, Super-8mm CAROUSEL / KARUSSELL 2006, 3 min, Super-8mm WATER PLANTS / WASSERPFLANZEN 2017, 2.5 min, Super-8mm LEAVES ON A GLASS ROOF / BLÄTTER AUF DEM GLASDACH 2017, 3.5 min, Super-8mm CLOUDS OVER THE PALAIS ROYAL / WOLKEN ÃœBER DEM PALAIS ROYAL 2018, 3.5 min, Super-8mm CIRCULATION TANK / UMLAUFTANK 2017, 3.5 min, Super-8mm MIRRORED / GESPIEGELT 2018, 3.5 min, Super-8mm FLOWERING TREE / BLÃœTENBAUM 2018, 1.5 min, Super-8mm SCHOOL OF BEEKEEPERS / IMKERSCHULE 2018, 30 sec, Super-8mm PLEIN-AIR PHOTOS / PLEINAIR FOTOS 2018, 1 min, Super-8mm MIMOSAS IN THE WIND / MIMOSEN IM WIND 2018, 3.5 min, Super-8mm 16MM: NIGHT ON A CANAL / NACHT AM KANAL 2002, 1 min, Super-8mm-to-16mm SNOWFALL / SCHNEEFALL 2010, 1.5 min, Super-8mm-to-16mm WHITE FLOWERS / WEIßE BLUMEN 2016, 1.5 min, Super-8mm-to-16mm WILD GEESE / WILDGÄNSE 2016, 3.5 min, Super-8mm-to-16mm LEOPARD 2012, 3 min, Super-8mm-to-16mm LEAVES / LAUB 2010, 1.5 min, Super-8mm-to-16mm RUST / ROST 2010, 3 min, Super-8mm-to-16mm CONTAINER 2011, 1 min, Super-8mm-to-16mm GLASSES / GLÄSER 2011, 2 min, Super-8mm-to-16mm YELLOW LEAVES / GELBE BLÄTTER 2010, 1 min, Super-8mm-to-16mm STREAM / STROM 2010, 3 min, Super-8mm-to-16mm Total running time: ca. 65 min. 11/3 San Francisco, California: Other Cinema http://www.othercinema.com/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=4c1e2f63fe&e=f36020cad0> 8 PM, 992 Valencia Street SCRITTI POLITTI1: ADAM KHALIL/BAYLEY SWEITZER'S "EMPTY METAL" In our co-presentation with PFA, both sides of the Bay are mobilized by the excitement around this feature debut from a pair of young radicals out of Brooklyn’s fabled Union Docs incubator. With mass surveillance and pervasive policing as context, both outside and in the fiction, Adam Khalil and Bayley Sweitzer, here in the flesh, have managed to conjure a revolutionary spirit at world’s end. Set in the near future, their speculative drama, just a few degrees off our current climate of national collapse, opens up a space for imaginative story-telling...but is still close enough to a possible present to pop up in Doc Fests! In their taut thriller, a punk band is coerced into an assassination plot by militant Native Americans, with support from hackers and hermits. The lives of these several people, at extreme poles of the nation’s social consciousness, weave together into a collective against our American Apocalypse. The evening opens with a selection of trailers and clips from the subversive cinema that inspired our guests: Ice, Born in Flames, Southland Tales, et al. SUNDAY, NOVEMBER 4, 2018 11/4 Baltimore, MD United States: Sight Unseen http://sightunseenbaltimore.com <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=974b206dcf&e=f36020cad0> 4:30 PM, 5 West North Avenue SIGHT UNSEEN PRESENTS CANYON CINEMA 50 TOUR SIGHT UNSEEN presents Canyon Cinema 50 Film Tour Presented by David Dinnell Q&A with curator, David Dinnell and filmmaker, Stephanie Barber immediately following the screening. PROGRAM DESCRIPTION ASSOCIATIONS is titled after John Smith’s 1975 film, a joyfully dense rebus-like image-word construction. Smith’s film is preceded by Sara Kathryn Arledge’s rarely seen 1958 work What is A Man, a film years ahead of its time, and Mark Toscano’s 2012 piece Releasing Human Energies, which utilizes film laboratory test footage of a “China Girl” set to a found text read by Morgan Fisher. The program also features Abigail Child’s classic 1989 film Mercy, from her celebrated “Is This What You Were Born For?” series; canonical works by Phil Solomon, Barbara Hammer, Robert Breer, and Robert Nelson; and two recent restorations: the humorously poignant Confessions by Curt McDowell and Akbar, Richard Myers’ extraordinary 1970 portrait of young black filmmaker and student, Akbar Ahmed. Total running time: 90 minutes Releasing Human Energies Mark Toscano, 2012, 5.5 minutes, color, sound What is a Man? Sara Kathryn Arledge, 1958, 10 minutes, color, sound Associations John Smith, 1975, 7 minutes, color, sound Hot Leatherette Robert Nelson, 1967, 5 minutes, B&W, sound Dyketactics Barbara Hammer, 1974, 4 minutes, color, sound Flower, the Boy, the Librarian Stephanie Barber, 1997, 5 minutes, color, sound The Snowman Phil Solomon, 1995, 8 minutes, color, sound Swiss Army Knife with Rats & Pigeons Robert Breer, 1981, 6 minutes, color, sound Confessions Curt McDowell, 1971, 11 minutes, B&W, sound Thine Inward-Looking Eyes Thad Povey, 1993, 2 minutes, color, sound Mercy Abigail Child, 1989, 10 minutes, color, sound Akbar Richard Myers, 1970, 16 minutes, color, sound _____ Let us know about your alternative film/video event! Enter your event announcements by going to the Flicker Weekly Listing Form <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=3335eb9eb6&e=f36020cad0> . 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