<http://www.hi-beam.net/now.gif> <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=c5a32506d1&e=f36020cad0> <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=4ea710cbdc&e=f36020cad0> This week [April 8 - 15, 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=1664a45bfd&e=f36020cad0> . To receive the weekly listing via email: Subscribe <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=979c557d79&e=f36020cad0> . <http://shapeshifterscinema.com/img/becker-flowershop_165x245.jpg> Shapeshifters Cinema Presents Tommy Becker <> [April 8, Oakland, CA] <https://i1.wp.com/www.ercatx.org/wp-content/uploads/2018/03/RideLikeLightningStill3.jpeg> Lightning and Thunder: 16mm Films By Fern Silva <> [April 15, Austin, TX] DEADLINES APPROACHING: Festival of (In)appropriation (Los Angeles, CA, USA; Deadline: May 01, 2018) http://hi-beam.net/cgi-bin/ann.pl?type=calls <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=d95945a30e&e=f36020cad0> &readfile=1969.ann 5th Annual Flamingo Film Festival (Fort Lauderdale, FL USA; Deadline: April 15, 2018) http://hi-beam.net/cgi-bin/ann.pl?type=calls <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=8fbc99df70&e=f36020cad0> &readfile=1974.ann Events are sorted alphabetically BY CITY within each DATE. This week's programs (summary): * Rat Film <> [April 8, Los Angeles, California] * Harun Farocki: Program 1 <> [April 8, New York, NY] * Shapeshifters Cinema Presents Tommy Becker <> [April 8, Oakland, CA] * History, Memory, Texture: Daniel Eisenberg's Persistence <> [April 9, Oberlin, OH] * From the Collection of J. Hoberman: the Complete Works <> [April 10, Brooklyn, NY] * History, Memory, Texture: A Luther Price Battle Royale Eulogy <> [April 10, Oberlin, OH] * The Films of Larry Gottheim: Program 1 <> [April 12, New York, NY] * Metaphors On vision: Films By Stan Brakhage <> [April 13, Los Angeles, California] * The Films of Larry Gottheim: Program 2 <> [April 13, New York, NY] * Metaphors On vision: Films By Stan Brakhage – Selected Songs <> [April 14, Los Angeles, California] * Ec: Dog Star Man <> [April 14, New York, NY] * The Films of Larry Gottheim: Program 3 <> [April 14, New York, NY] * The Films of Larry Gottheim: Program 4 <> [April 14, New York, NY] * Optronica2: Toons’N’Tunes With Goat Family + Rourke + 99 Hooker + <> [April 14, San Francisco, California] * Lightning and Thunder: 16mm Films By Fern Silva <> [April 15, Austin, TX] * Stan Brakhage: Life, Death, and the Elements <> [April 15, Los Angeles, California] * Harun Farocki: Program 2 <> [April 15, New York, NY] * The Films of Larry Gottheim: Program 5 <> [April 15, New York, NY] * The Films of Larry Gottheim: Program 6 <> [April 15, New York, NY] SUNDAY, APRIL 8, 2018 4/8 Los Angeles, California: Filmforum http://www.lafilmforum.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=30a247f8e3&e=f36020cad0> 7:30 pm, Spielberg Theatre at the Egyptian, 6712 Hollywood Blvd. RAT FILM Creative Producers Riel Roch-Decter and Sebastian Pardo in person! Across walls, fences, and alleys, rats not only expose our boundaries of separation but make homes in them. "Rat Film" is a feature-length documentary that uses the rat—as well as the humans that love them, live with them, and kill them-to explore the history of Baltimore. "There's never been a rat problem in Baltimore, it's always been a people problem.” “It's one of the most extraordinary, visionary inspirations in the recent cinema.” — Richard Brody, The New Yorker “bracing, hallucinatory & daring ... mixes formal experimentation with trenchant social commentary” — Katie Walsh, Los Angeles Times Trailer: http://www.memory.is/rat-film/trailer Tickets: $10 general; $6 students/seniors; free for Filmforum members. Available in advance at https://bpt.me/3374385 or at the door. 4/8 New York, NY: Anthology Film Archives http://www.anthologyfilmarchives.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=a5f27ff3ff&e=f36020cad0> 2:00 PM, 32 Second Avenue HARUN FAROCKI: PROGRAM 1 Harun Farocki & Andrei Ujica VIDEOGRAMS OF A REVOLUTION / VIDEOGRAMME EINER REVOLUTION (1992, 106 min, digital. In English and Romanian with English subtitles.) "In Europe in the fall of 1989, history took place before our very eyes. Farocki and Ujica's VIDEOGRAMS shows the Romanian revolution of December 1989 in Bucharest in a new media-based form of historiography. Demonstrators occupied the television station [in Bucharest] and broadcast continuously for 120 hours, thereby establishing the television studio as a new historical site. Between December 21, 1989 (the day of Ceaucescu's last speech) and December 26, 1989 (the first televised summary of his trial), the cameras recorded events at the most important locations in Bucharest, almost without exception." -Dietrich Leder 4/8 Oakland, CA: Shapeshifters Cinema http://shapeshifterscinema.com/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=b5785e90b4&e=f36020cad0> 8pm, TAC: Temescal Art Center, 511 48th St SHAPESHIFTERS CINEMA PRESENTS TOMMY BECKER Tommy Becker returns to Shapeshifters to present new works from his never-ending saga, "Tape Number One". TNO is a mix video tape that embraces the deconstruction of song structure to create an expanded, conceptual story-telling that blends the artist's poetics, songwriting, performance and costuming with found footage and computer design. Live vocals and instrumentation lead melodic soundtracks that articulate a visual swirling of tragic comedy. Short works balance meaning with emotion and documentation with design. For this show Becker will be premiering a new work, "Stars White in a Blue Field", a work that contemplates patriotic values in our current political quagmire along with his recent trilogy, "FLOWER SHOP (protection, fear & escape)" and more.http://shapeshifterscinema.com/ MONDAY, APRIL 9, 2018 4/9 Oberlin, OH: Oberlin College 7:00 PM, 91 N. Main St., Art Building, Classroom 1 HISTORY, MEMORY, TEXTURE: DANIEL EISENBERG'S PERSISTENCE Daniel Eisenberg, Persistence, 1997, 86 minutes, 16mm. “Eisenberg, the child of Holocaust survivors, returns to Germany and Poland to make sense of a history (at once personal and public) and its manifestation in both the present and the past. His return to Europe, and especially the sites of his ancestry and their aniihilation is by no means unique. However, Eisenberg does it three times: 1981, 1987, 1997. The resulting films thus produce their own historical trajectory and their own contribution to history. For part of Eisenberg’s filmic strategy in Persistence was to create of establish filmic documents of the present day which might by used by someone in the future. In other words, just as Eisenberg himself has relied heavily on found footage, there is a self-conscious awareness on his part of producing found objects/footage for future use.” –Nora Alter TUESDAY, APRIL 10, 2018 4/10 Brooklyn, NY: Light Industry http://www.lightindustry.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=329f5fb079&e=f36020cad0> 7:30, 155 Freeman Street FROM THE COLLECTION OF J. HOBERMAN: THE COMPLETE WORKS Calling All Girls, Jean Negulesco (uncredited), 1942, 16mm, 20 mins Red Nightmare, George Waggner, 1962, 16mm, 29 mins The Girl from Chicago, Oscar Micheaux, 1932, 16mm, 70 mins I'm more an accumulator than a collector, having amassed a sizable amount of books and DVDs thanks to my various gigs. How I wound up with these three films-pretty much the extent of my "collection"-is something of a mystery, even to me. Back in the early 1970s, I used to buy old telefilms and TV commercials cheap at Peerless Willoughby for use in my own work. Calling All Girls-a fake documentary that is also a compilation of Busby Berkeley's greatest hits-is something that I got *as a work*, having seen it both in Ken Jacobs's class and as a short subject with Putney Swope. My guess is that I saw it in a catalog and couldn't resist the ridiculously low price, probably $20. It was an inspiration for my own greatest hit, Mission to Mongo, and paid for itself many times over because I used it regularly in my Cooper Union classes, always on a bill with MoMA's shortened Triumph of the Will. I don't remember how I discovered the anti-Communist propaganda film Red Nightmare, which I programmed for the Collective for Living Cinema in the late '70s. I do recall that I was given the print by Joe Angier, a Binghamton classmate then working in TV documentaries, after I helped him out with some project or other. I used to show it in class also, mainly at NYU. Writing this I realized for the first time that both it and Calling All Girls were made by Warner Bros., my favorite studio. Perhaps there are other connections as well. The Girl from Chicago was my only serious purchase-possibly costing $100, most likely in the early 1980s. I guess I saw it in a catalogue (A new and unknown Oscar Micheaux film!) but I must have sealed the deal over the phone because I recall the seller asking with some surprise if I was white. This one I screened for friends. I remember schlepping it over to show Greg Ford and Ronnie Scheib, local film collectors, from whom I used to borrow a print of The Next Voice You Hear for my NYU classes. Greg really got it: "It's Andy Warhol," he said incredulously. And then there's the one that got away. In the early '90s I received a message from a guy who had just inherited a little building on E 4th Street across from Millennium that had evidently been the office for the Ukrainian section of the Communist Party. There were dozens of old movies. I poked around and amid the cans, mainly Soviet Ukrainian features, I found something close to a lost film, namely a 16mm print of Edgar G. Ulmer's Natalka Poltavka. I had it in my hands, I could have walked out and I should have, instead of acting responsibly to contact the neighborhood film archives and informing them of this trove of Ukrainian films. So far as I know, nothing ever came of it. I regret it to this day and especially today, thinking that I could have presented a legendary double-bill of Oscar Micheaux and Edgar G. Ulmer. - JH 4/10 Oberlin, OH: Oberlin College 7:00 PM, 91 N. Main St., Art Building, Classroom 1 HISTORY, MEMORY, TEXTURE: A LUTHER PRICE BATTLE ROYALE EULOGY This evening offers a rare opportunity to witness six handmade 16mm films by artist Luther Price. For the last several decades, Price has been making original 16mm prints, meaning that he works directly on the film stock, prints no negatives, and lets the ephemeral nature of the film take its course. Each film print is a one-of-a-kind, unique object in and of itself. Pushed to the brink of collapse by burying films in his garden (in the Garden Films) or smothering their found footage in stunning layers of paint (in his Inkblots), Price’s films levitate between projected film and material object. This screening will feature a world-premiere double-projection of Burgen and Tonic, his quasi-remake of Who’s Afraid of Virigina Woolf, as well as examples of his Garden Films and Inkblots. Many prints have not been screened since Price showed at the 2012 Whitney Biennial, and he has indicated the prints need to go into retirement after this screening. Come say hello and goodbye. THURSDAY, APRIL 12, 2018 4/12 New York, NY: Anthology Film Archives http://www.anthologyfilmarchives.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=6a7fe73e1e&e=f36020cad0> 8:00 PM, 32 Second Avenue THE FILMS OF LARRY GOTTHEIM: PROGRAM 1 These films, made 41 years apart, are radically different in conception. Presented together, they reveal the links that proceed through the development of what is a single project. CORN (1970, 11 min, 16mm) CORN came out of a rejection of expressive camera work, sound, language, and editing. This is a space of ceremony, of an offering, the transformation of ears of corn into sustenance. It takes place within a space/time theater of slow changes of light and shadow. The sinuous dance of steam is a counterpart to the fog of FOG LINE. CHANTS AND DANCES FOR HAND (1991-2017, 40 min, digital) This work comprises material shot in Haiti. There are scenes of Vodou ceremonies, a violent uprising, of movie theaters, and images from my personal life that include my Haitian son Hand. The soundtrack is simply what accompanied the images. This is far from a "documentary" about Vodou. The ceremony of possession extends into politics, war, cooking, the movies, and the electronic nature of video. This is also a meditation on death. The most important dance takes place in the viewer's mind. FRIDAY, APRIL 13, 2018 4/13 Los Angeles, California: Filmforum http://www.lafilmforum.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=93e2368c2b&e=f36020cad0> 7:30 pm, UCLA Film & Television Archive, Billy Wilder Theatre, Hammer Museum, 10899 Wilshire Blvd., METAPHORS ON VISION: FILMS BY STAN BRAKHAGE UCLA Film & Television Archive, Los Angeles Filmforum and Acropolis Cinema present Metaphors on Vision: Films by Stan Brakhage Friday, April 13, 2018, 7:30 pm At the UCLA Film & Television Archive, Billy Wilder Theatre, Hammer Museum, 10899 Wilshire Blvd., Los Angeles CA 90024 Thomas Beard & Steve Anker in person. "Imagine an eye unruled by man-made laws of perspective, an eye unprejudiced by compositional logic, an eye which does not respond to the name of everything but which must know each object encountered in life through an adventure of perception." So begins Stan Brakhage’s classic Metaphors on Vision. First published in 1963 as a special issue of Film Culture, it stands as the major theoretical statement by one of avant-garde cinema’s most influential figures, a treatise on mythopoeia and the nature of visual experience written in a style as idiosyncratic as his art. By turns lyrical, technical and philosophical, this is a collection to be shelved alongside the commentaries of Robert Bresson, Maya Deren, Sergei Eisenstein and Nagisa Oshima. After being out of print for decades, the volume is now available again in a new edition from Anthology Film Archives and Light Industry, overseen by its original editor P. Adams Sitney. To celebrate its republication, the UCLA Film & Television Archive presents a two-night program of key Brakhage films. Tonight's program presents key early films that Stan Brakhage made while he was writing Metaphors on Vision, works that inaugurated a radically new form of first-person cinema. The film program will be preceded by a talk by Thomas Beard. INFO: https://www.cinema.ucla.edu/events/2018/stan-brakhage Tickets: $10 general advance purchase, $9 general at door; $8 non-UCLA students/seniors/UCLA alumni; free for UCLA Students and Filmforum members. Available in advance at http://emarket.cinema.ucla.edu/ShoppingCenter/Details.aspx?ref=968 or at the door. 4/13 New York, NY: Anthology Film Archives http://www.anthologyfilmarchives.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=17e945f9d2&e=f36020cad0> 7:30 PM, 32 Second Avenue THE FILMS OF LARRY GOTTHEIM: PROGRAM 2 THOUGHT (1970, 7.5 min, 16mm) The last of my continuous-shot silent films. Now I was becoming aware of the implications of these works, and so I gave it this title. HORIZONS (ELECTIVE AFFINITIES, PART 1) (1971-73, 75 min, 16mm) HORIZONS is the result of a year spent filming landscape horizons. Motifs such as animals, windows, fences, clotheslines, even some film friends and family are included. The structure is based on rhyme schemes. I found relationships between one shot and another that could be thought of as "rhymes." Lines and borders play crucial roles. They call attention to the structure of the film, which echoes the structures of the landscapes. The film offers a field of relationships that extend out to the whole film, even if only a few can be retained in the mind. The nature of these affinities led to the series of films - the "Elective Affinities" - to which HORIZONS is the "Overture." SATURDAY, APRIL 14, 2018 4/14 Los Angeles, California: Filmforum http://www.lafilmforum.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=9c36c0abae&e=f36020cad0> 7:30 pm, UCLA Film & Television Archive, Billy Wilder Theatre, Hammer Museum, 10899 Wilshire Blvd., METAPHORS ON VISION: FILMS BY STAN BRAKHAGE – SELECTED SONGS “The Songs… are inspired by the aesthetics of lyric poetry on the one hand, and the tactics of ‘home movies’ on the other….” —Stan Brakhage In 1964, Stan Brakhage, turning away from the epic 16mm forms of Dog Star Man (1961-64), embraced the non-professional, home-movie regular 8mm format to create the Songs (1964-67), a series of 31 remarkable films. Unparalleled for their intimacy, poetic expression and depictions of daily life, these small-gauge gems are Brakhage’s most celebrated and influential works. Tonight’s program includes rarely screened 16mm versions of Songs 1-7 and the monumental anti-war lament, Song 23: 23rd Psalm Branch, considered by many to be one of Brakhage’s greatest films. Made in response to the Vietnam War, 23rd Psalm Branch reverberates with as much urgency today as when it was first shown more than a half century ago. Series curated by Steve Anker and Thomas Beard. INFO: https://www.cinema.ucla.edu/events/2018/stan-brakhage Tickets: $10 general advance purchase, $9 general at door; $8 non-UCLA students/seniors/UCLA alumni; free for UCLA Students and Filmforum members. Available in advance at http://emarket.cinema.ucla.edu/ShoppingCenter/Details.aspx?ref=969 or at the door. 4/14 New York, NY: Anthology Film Archives http://www.anthologyfilmarchives.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=3122dc015a&e=f36020cad0> 3:00 PM, 32 Second Avenue EC: DOG STAR MAN by Stan Brakhage. A masterwork in which all of Brakhage's techniques achieve a complex synthesis to produce one of cinema's supreme epic poems. "The film breathes and is an organic and surging thing… it is a colossal lyrical adventure-dance of image in every variation of color." -Michael McClure, ARTFORUM 4/14 New York, NY: Anthology Film Archives http://www.anthologyfilmarchives.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=21749927af&e=f36020cad0> 5:00 PM, 32 Second Avenue THE FILMS OF LARRY GOTTHEIM: PROGRAM 3 HARMONICA (1971, 10.5 min, 16mm) The final continuous-shot film, now with sound, which is produced by the car and the people inside. The car window acts as a screen that separates the inner world from the outside. Some of the sound is created when the performer breaks through that plane. He is the first of many avatars, doubles of me that appear in many of my films and led to my later attraction to ceremonial possession. MOUCHES VOLANTES (ELECTIVE AFFINITIES, PART 2) (1976, 69 min, 16mm) The beautiful, evocative musical tale Angelina Johnson narrates about her relationship with the blues singer Blind Willie Johnson is matched, frame-by-frame, with films of my family. Echoing the title - which translates to "Flying Gnats" and was taken from Helmholtz - I attended to snow, the surf, the sand, tiny specks flying in front of the subject, leading the subject to follow them. They always escaped. They were in the eye itself. As the retina turned to catch them, they seemed to fly away. This embodied the paradox of inside and outside that was already a presence in my work and was to reemerge in other forms. Like HORIZONS, this film creates a dance between the flow of images that pass by and the memory of other related images, nearby or distant. Rhymes and relationships led me to the notion of affinities, which in turn suggested the title, "Elective Affinities," a reference to Goethe. The notion of affinities also applies to personal connections of myself with Angelina and Blind Willie Johnson, blindness, blackness, and other motifs. 4/14 New York, NY: Anthology Film Archives http://www.anthologyfilmarchives.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=31e0dd8519&e=f36020cad0> 7:30 PM, 32 Second Avenue THE FILMS OF LARRY GOTTHEIM: PROGRAM 4 FOUR SHADOWS (ELECTIVE AFFINITIES, PART 3) (1978, 64 min, 16mm) Comprising four image sections and four sound sections linked in all their combinations, FOUR SHADOWS establishes affinities between and across the various visual and aural elements. As the film progresses, the viewer can imaginatively "re-play" material from other sections that have affinities with what is on the screen and soundtrack at any given moment. The Wordsworth passage is read each time by four readers for whom English is not their native language, including Jonas Mekas, Peter Kubelka, Klaus Wyborny, Heinz Emigholz, and Taka Iimura. MNEMOSYNE MOTHER OF MUSES (1986, 18 min, 16mm) There is a double retrograde motion. A flow of images goes forward, linked to a sound track that goes backwards. Then the directions are reversed. I was influenced by a passage in Heidegger in which he calls attention to the Ancient Greeks conceiving of the goddess of memory as the mother of the muses. There is a sense of loss and recovery - the need to go back and its impossibility except in art. 4/14 San Francisco, California: Other Cinema http://www.othercinema.com/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=9f18baf675&e=f36020cad0> 8 PM, 992 Valencia Street OPTRONICA2: TOONS’N’TUNES WITH GOAT FAMILY + ROURKE + 99 HOOKER + Our LIVE A/V series returns with a trio of electrifying performances that fuse spoken/sung-word with (mostly animated) movies. Jeremy Rourke makes good on his “i’ll be around” promise with a loop back through our venue, yodeling amidst an ensemble of energized stop-motion works and fork-plucked harp melodies. The Goat Family do-si-dos beneath a dynamic screen, these much-loved local folks humming and strumming in experimental Jug Band style. Flying all the way in from New York, the veteran synth-player/poet 99 Hooker closes the show with a repertoire of his most obsessive pixilations, his Reanimatrix avatar dream come true, re-mixing and re-animating critters. $9 SUNDAY, APRIL 15, 2018 4/15 Austin, TX: Experimental Response Cinema http://ercatx.org <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=a2d87d3c81&e=f36020cad0> 8pm, grayDUCK Gallery, 2213 E Cesar Chavez St LIGHTNING AND THUNDER: 16MM FILMS BY FERN SILVA FILMMAKER IN PERSON! Experimental Response Cinema is proud to welcome Fern Silva for an in-person screening of a selection of his 16mm works. With his distinct sonic and cinematographic language, Silva's films describe the hybrid mythologies of globalism. His films consider methods of narrative, ethnographic, and documentary filmmaking as the starting point for structural experimentation. Ride Like Lightning, Crash Like Thunder-2017-8.5mins: Framed within the vision of the Hudson River School and the legend of Rip Van Winkle, Ride Like Lightning, Crash Like Thunder unfolds as a storm approaches on the horizon. An uncertain future is in store as the creeping hand of history disrupts nature and civility in the Hudson River regions of Upstate New York. The Watchmen-2017-10mins.: In The Watchmen, pulsating orbs, panopticons, roadside rest stops, and subterranean labyrinths confront the scope of human consequences and the entanglement of our seeking bodies. Wayward Fronds -2015-13.5mins: Mermaids flip a tale of twin detriments, domiciles cradle morph invaders, crocodile trails swallow two-legged twigs in a fecund mash of nature's outlaws… down in the Everglades. Tender Feet-2013-10.5: Tender Feet was shot on the road in the southwest leading up to the not quite so cataclysmic and transformative events anticipated to take place around Dec. 21st 2012. As digits flipped on the odometer, so did the days in the Mayan calendar shedding light and darkness on charred forests, arid landscapes, falling stars, destructive vortexes, fortune telling traffic signs, and ticking time bombs… Concrete Parlay-2012-18mins.: Carried by the frenetic energy of a magic carpet, Concrete Parlay is a metaphysical flight that weaves among visual kernels of the anthropic and biological worlds. From prehistoric horseshoe crabs strewn among modern refuse, stoic pyramids foregrounded by golf course maintenance, mystic rituals evoking avian gestures, to contemporary political upheaval equalized by natural phenomena-the poetic equivalence among images transcends particular umwelten, as the disorienting whirl of the compass connotes the kinetic nature of existence. -Aily Nash Passage Upon the Plume-2011-6.5mins.: "Those who go thither, they return not again." Plumes dust the arid land, east to west, shapeshifting as they lift in ascension. Something lowers. An ark ran aground where revolution took root: ropes raise stones in baskets. Hearts heavier and lighter than the feather, permitted passage. Tethered or freed, resting from life or dawning anew. -Charity Coleman 4/15 Los Angeles, California: Filmforum http://www.lafilmforum.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=9ebc1436da&e=f36020cad0> 7:30 pm, Echo Park Film Center, 1200 N. Alvarado St. STAN BRAKHAGE: LIFE, DEATH, AND THE ELEMENTS Los Angeles Filmforum and Acropolis Cinema present Stan Brakhage: Life, Death, And The Elements New Restorations From The Academy Film Archive Sunday, April 15, 2018, 7:30 pm At the Echo Park Film Center, 1200 N. Alvarado St., Los Angeles CA 90026 All 16mm prints of restored films! With Mark Toscano and others in person. Touching on some of Stan Brakhage’s (1933-2003) most recurring and fundamental themes, this selection of five films pairs an early, celebrated masterpiece (Scenes From Under Childhood) and a truly monumental but neglected work made the year before his death (Panels for the Walls of Heaven). Three other short films - all distinctly visually striking and reflecting a palpable viscerality - balance out this program of new restorations from the Academy Film Archive, the majority appearing here in their first public screenings in the Academy’s new 16mm prints. INFO: www.lafilmforum.org <http://www.lafilmforum.org> , 323-377-7238 Tickets: $10 general; $6 students/seniors; free for Filmforum members. Available in advance at https://brakhagelife.bpt.me or at the door. 4/15 New York, NY: Anthology Film Archives http://www.anthologyfilmarchives.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=8bd5994821&e=f36020cad0> 2:00 PM, 32 Second Avenue HARUN FAROCKI: PROGRAM 2 BEDTIME STORIES: SHIPS / EINSCHLAFGESCHICHTEN (1977, 3 min, 16mm-to-digital. In German with English subtitles.) AS YOU SEE / WIE MAN SIEHT (1986, 72 min, 16mm-to-digital. In German with English subtitles.) "[This] is an action-filled feature film. It reflects upon girls in porn magazines to whom names are ascribed and about the nameless dead in mass graves, upon machines that are so ugly that coverings have to be used to protect the workers' eyes, upon engines that are too beautiful to be hidden under the hoods of cars, upon labor techniques that either cling to the notion of the hand and the brain working together or want to do away with it. My film AS YOU SEE is an essay film. The contemporary opinion industry is like a huge mouth, or maybe a paper shredder. I compose a new text out of these scraps and thus stage a paper-chase. My film is made up of many details and creates a lot of image-image and word-image and word-word relationships among them. So there's a lot to chew on. I searched for and found a form in which one can make a little money go a long way." -Harun Farocki 4/15 New York, NY: Anthology Film Archives http://www.anthologyfilmarchives.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=15fc2e7bce&e=f36020cad0> 5:00 PM, 32 Second Avenue THE FILMS OF LARRY GOTTHEIM: PROGRAM 5 FOG LINE (1970, 10.5 min, 16mm, b&w) The fog lifts on a scene. The trees stand there, manifesting their being. They have a soft shape without outline. The power lines relate to drawing rather than painting, the controlling mind rather than the imagination. The viewer is invited to explore the screen, looking here and there, each person following a different path. DOORWAY (1970, 7.5 min, 16mm, b&w) Finally I moved the camera, in a slow pan from one side of the wide door of my wife's pottery studio to the other. The doorway separates inside from outside. There is a pulse of vision that emanates out from the camera, making a moving cow stand frozen behind another. NATURAL SELECTION (1983, 35 min, 16mm) Alfons Schilling uses his sculptural viewing devices to experience landscapes. My students film him. Translation issues lead us to think about glossolalia, speaking in tongues. We are invited to the laboratory of André Roch Lecours, who studies the relationship between glossolalia and the brain. I edited the film adding my own material. Alfons and Roch become avatars of my self. SORRY/HEAR US (1984, 8 min, 16mm) We deconstruct a poem's language by playing it backwards until some words emerge from the backward text. The students create images that illustrate this new text. Total running time: ca. 65 min. 4/15 New York, NY: Anthology Film Archives http://www.anthologyfilmarchives.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=c19c684e4d&e=f36020cad0> 7:30 PM, 32 Second Avenue THE FILMS OF LARRY GOTTHEIM: PROGRAM 6 THE RED THREAD (1987, 17 min, 16mm) My actual image appears as an ironic avatar of my real filmmaker self. It is challenged by a weaver with whom I fell into a relationship. The real me, the filmmaker me, is there, for example in the piano passages and above all with the children in the schoolyard, a ceremonial dance. TREE OF KNOWLEDGE (ELECTIVE AFFINITIES, PART 4) (1980, 60 min, 16mm) A documentary film about paranoid conditions is matched to a flow of images of an apple tree in my back yard filmed wildly and without forethought. The radical breaking of the previous passivity of the camera had deep psychological dimensions. Stockyard sounds are inserted, as are images of children from a film about the seasons. They are the ones who are learning and also part of the didactic mechanics of the film. So are the paranoid patients. _____ 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=10820da8d3&e=f36020cad0> . To receive the weekly listing via email, send a message to Subscribe <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=45f4ce32ec&e=f36020cad0> . To unsubscribe see the link at the bottom of this email. <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=acf17fb79e&e=f36020cad0>
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