[Frameworks] Part 1 of 2: This week [October 16 - 24, 2010] in avant garde cinema

Weekly Listing weeklylisting at hi-beam.net
Sat Oct 16 13:57:36 CDT 2010

Part 1 of 2: This week [October 16 - 24, 2010] in avant garde cinema

To subscribe/unsubscribe to the weekly listing, go to
or send an email to weeklylisting at hi-beam.net.

Enter your announcements (calls for entries, new work, screenings, 
jobs, items for sale, etc.) at:


"Tone Rose: Simultaneous Opposites #52" by Robert Edgar
"Wasteland Utopias" by David Sherman
"Free Radicals: A History of Experimental Film" by Pip Chodorov

Hand Processing Resources

RiverRun International Film Festival (Winston-Salem, NC, USA; Deadline: December 17, 2010)
CROSSROADS: A Festival of new & Rediscovered Films (San Francisco, CA, USA; Deadline: February 10, 2011)
Courtisane Festival (Ghent, Belgium; Deadline: December 31, 2010)
The LAB (San Francisco, CA, USA; Deadline: December 02, 2010)
Fermynwoods Online Open (Thrapston, England; Deadline: November 08, 2010)
Magmart | international videoart festival (Italy; Deadline: February 28, 2011)

MONO NO AWARE IV (Brooklyn, NY. USA; Deadline: November 05, 2010)
The Indie Fest (La Jolla, California, USA; Deadline: October 29, 2010)
30th Black Maria Film + Video Festival (Jersey City, New Jersey, USA; Deadline: November 19, 2010)
Screening @ High Concept Laboratories (Chicago, IL, USA; Deadline: October 23, 2010)
Images Festival (Toronto, Ontario, Canada; Deadline: October 29, 2010)
The Accolade Competition (La Jolla, CA, USA; Deadline: November 19, 2010)
The Journal of Short Film (Columbus, OH, USA; Deadline: November 05, 2010)
Fermynwoods Online Open (Thrapston, England; Deadline: November 08, 2010)

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

 *  Radical Light: Stories Untold [October 16, Berkeley, California]
 *  Radical Light: the Erotic Exotic [October 16, Berkeley, California]
 *  New Nothing Cinema [October 16, New York, New York]
 *  Chip Lord + Ant Farm + Archimedia +		     [October 16, San Francisco, California]
 *  Stop & Go Rides Again [October 16, San Francisco, California]
 *  Dividing Roadmaps By Time Zones: the Films of Amanda Dawn Christie [October 16, Winnepeg, Ontario, Canada]
 *  Radical Light: Procession of the Image Processors [October 17, Berkeley, California]
 *  Optical Boundaries Tour: 16mm Films By Steve Cossman, Ross Nugent, & Fern
    Silva [October 17, Chicago, Illinois]
 *  Peter Mays: Tantras and Sutras [October 17, Los Angeles, California]
 *  Rooftop Film Show [October 17, Williamsburg, Brooklyn, New York]
 *  World Premiere - Pip Chodorov Feature Documentary "Free Radicals" [October 19, Montreal, CA]
 *  Fnc Lab | Hybridation ii / Audiovisual Performance [October 19, Montreal, Canada]
 *  #21 = Tuesday 10/19/10 = Paul Sharits + Peter Gidal [October 19, Toronto, Ontario, Canada]
 *  Radical Light: 1969–79 [October 20, Berkeley, California]
 *  Asian Hot Shots Berlin - Festival For Film and video Art [October 20, Berlin, Germany]
 *  Cut and Run: A Traveling Film Festival of Experimental Shorts [October 21, Baltimore]
 *  Luis Gispert: Hyperreal [October 21, Chicago, Illinois]
 *  A Map of the New Lands [October 21, Columbus, Ohio]
 *  People Going Nowhere [October 21, London, England]
 *  Lewis Klahr Presents Prolix Satori [October 21, London, England]
 *  What Is Life Without the Living? [October 21, New York, New York]
 *  Beth Custer Ensemble [October 21, San Francisco, California]
 *  Ata 5th Annual Film and video Festival: Human Nature [October 21, San Francisco, California]
 *  Private Lives: Beth Custer Ensemble & the Films of Alexander Hammid [October 21, San Francisco, California]
 *  Electromediascope [October 22, Kansas City, Missouri]
 *  Sublime Passages [October 22, London, England]
 *  Sometimes City [October 22, New York]
 *  Ata 5th Annual Film and video Festival: Lo-Fi Future [October 22, San Francisco, California]
 *  Studio: the Futurist [October 23, London, England]
 *  Reading Between the Lines [October 23, London, England]
 *  Sublime Passages [October 23, London, England]
 *  Every Time I See Your Picture I Cry [October 23, London, England]
 *  Hit the Road [October 23, London, England]
 *  Between Displacement and Nostalgia: Conflicted Memories of Cuba [October 23, Los Angeles, California]
 *  Cut and Run: "Evolution and Life" Co-Presented With Uniondocs [October 23, New York, New York]
 *  Essential Cinema: Zvenigora [October 23, New York]
 *  Tom Jarmusch Program [October 23, New York]
 *  Sometimes City [October 23, New York]
 *  Gerry Fialka's Pxl This 19 +	 [October 23, San Francisco, California]
 *  Avant-Garde Showcase: Stan Brakhage  [October 24, Boston, Massachusetts]
 *  Studio: Shadow Cuts [October 24, London, England]
 *  Three Films By Nathaniel Dorsky [October 24, London, England]
 *  Lewis Klahr Presents Prolix Satori [October 24, London, England]
 *  Break On Through [October 24, London, England]
 *  People Going Nowhere [October 24, London, England]
 *  Here: A Survey of Films and videos By vincent Grenier [October 24, Los Angeles, California]

Events are sorted by CITY within each DATE.


Berkeley, California: Pacific Film Archive
6pm, 2575 Bancroft Way

  George Kuchar, Chip Lord, Scott Stark and Anne McGuire in person. The
  satiric, sensual, and striking stories in this program represent some of
  the ways in which the tale can commingle with the telling to produce
  oddly original offspring. James Broughton's allegorical romp features
  the eponymous enchanted "Bed" as a staging area for life's cycles. Curt
  McDowell is not so enchanted with his return home in A Visit to Indiana.
  Home movies from the heartland play off his droll disappointment. Ever
  pent-up, George Kuchar's prodigiously purple A Reason to Live pits
  meteorological excess against the swelling desires of a man in heat and
  his numerous love objects. The pressure to perform is at the base of Max
  Almy's Deadline, a concise yet effects-laden lamentation. Easy Living
  never is in Chip Lord's horrifically serene look at suburbia, using
  miniature toys to create a landscape of false tranquility. Scott Stark's
  wryly postured I'll Walk with God deploys airline emergency information
  cards to show how stewardesses have unwittingly ascended to a higher
  spiritual plane. Anne McGuire has the last word with All Smiles and
  Sadness, an unfolding soap opera in which its black-and-white characters
  jabber on in airy cliché until George Kuchar arrives to superheat the
  atmosphere. —Steve Seid • The Bed (James Broughton, 1968, 19 mins,
  Color, 16mm, PFA Preservation Print). A Visit to Indiana (Curt McDowell,
  1970, 10 mins, Color, 16mm, From Canyon Cinema). A Reason to Live
  (George Kuchar, 1976, 25:30 mins, Color, 16mm, From Canyon Cinema).
  Deadline (Max Almy, 4:25 mins, 1981, Color, ¾" video, PFA Collection).
  Easy Living (Chip Lord and Mickey McGowan, 1984, 19 mins, Color,
  mini-DV, From Video Data Bank). I'll Walk with God (Scott Stark, 1994, 8
  mins, Color, 16mm, From Canyon Cinema). All Smiles and Sadness (Anne
  McGuire, 1999, 8 mins, B&W, mini-DV, From artist). 

Berkeley, California: Pacific Film Archive
8:30pm, 2575 Bancroft Way

  Introduction by Eric Schaefer. Alice Anne Parker in Person. Please note:
  Tonight's program is intended for Adults Only because of graphic sexual
  content. Expect some smutty surprise additions to the program! Eric
  Schaefer is an associate professor in the visual and media arts
  department at Emerson College in Boston. His groundbreaking book, Bold!
  Daring! Shocking! True: A History of Exploitation Films, 1919-1959,
  helped establish the burgeoning study of adult and exploitation films.
  Tonight he will discuss the edgy relationship between San Francisco's
  erotic film community and the sexploitation industry. The summer of
  love, 1967, liberated more than just a generation: it liberated a
  generation's filmmakers as well. As a result, the body as erotic object
  became the core fascination of many experimental films in the decade
  that followed. These body-centered films set out not to shock, but to
  release sexuality from the taboos of depiction. Alice Anne Parker
  Severson stripped the body of its culturally produced titillations in
  her erogenous epic Near the Big Chakra, with 37 vaginas held in studied
  contemplation, and in the gender-effacing Riverbody, in which 87 nudes
  morph—one to the next. In Constance Beeson's The Now, elliptical
  encounters between racially diverse couples naturalize the body and its
  many colorations. A poetic observation, Scott Bartlett's Lovemaking
  captures an ecstatic moment of sexual embrace, close-up but never
  clinical. This careens against Jerry Abrams's Eyetoon, a symbolic orgy
  of stroboscopic images voluptuously enveloping couples in congress.
  Finally, James Broughton returns us to the primal with Erogeny, his
  sensual mapping of the body poetic. Here, bodies, the hillocks and
  meadows of thigh and breast, undulate like a San Francisco landscape.
  —Steve Seid • Orange (Karen Johnson, 1971, 3 mins, Color, PFA
  Collection). Eyetoon (Jerry Abrams, 1968, 8 mins, Color, From Canyon
  Cinema). Near the Big Chakra (Alice Anne Parker Severson, 1972, 17 mins,
  Color, From Canyon Cinema). The Now (Constance Beeson, 1971, 15 mins,
  Color, PFA Collection). Lovemaking (Scott Bartlett, 1970, 13 mins,
  Color, PFA Collection). Riverbody (Alice Anne Parker Severson, 1970, 7
  mins, B&W, PFA Preservation Print). Erogeny (James Broughton, 1976, 5
  mins, Color, From Canyon Cinema). 

New York, New York: Millennium Film Workshop
8pm, 66 East 4th Street

  San Francisco's New Nothing Cinema uproots and sets its feet down in New
  York City's very own underground with a group program of experimental
  film and video curated by Douglas Katelus. ----- Tonight's program
  contains a cross section of New Nothing - then and now - including work
  by key founding member, the late Dean Snider; whose films contain the
  feisty anarchistic sense of energy that No Nothing
  represented—sarcastic, funny, beautiful, sometimes fast—always engaging.
  As well as a selection of work by Bay Area artists who are actively
  making films every year: Sam Green, Kerry Laitala, Paul Clipson,
  Tomonari Nishikawa, Michael Rudnick, Irwin Swirnoff, and others.------
  "A long time ago, or so it seems, people made films just for the fun of
  it. Then someone got the idea that film had to hurt. No pain, no gain.
  Somehow film showcases decided they were right. Today people still make
  films just for the fun of it. And we show them at the No Nothing
  Cinema." (Dean Snider) 

San Francisco, California: Other Cinema
8:30pm, Artists' Television Access, 992 Valencia Street, San Francisco, CA 94110

  Beth Federici and Laura Harrison's Space, Land, and Time: Underground
  Adventures with Ant Farm delves into the work of that renegade '70s
  collective. Radical architects, video pioneers (Media Burn, Eternal
  Frame), and mordantly funny cultural commentators, the Ant Farmers (Chip
  Lord in person) built a body of subversive work that questions the
  status quo, mashing up Bucky Fuller and NASA with trashy backyard
  Americana. Chip kicks in with his own piece in this book-launch of UC
  Press' Radical Light: Alternative Film and Video in the SF Bay Area,
  which includes Marita Sturken's article on the group. Opening the
  program is Archimedia's (David Cox and Molly Hankwitz) half-hr.
  lecture-demo Playfields, Mindmaps and Screen Culture, on the
  increasingly aggressive use of screen displays and data-mining to
  depict, and control, the idea of self and the city. SPECIAL TREATS: Come
  early for Carl Diehl's Polterzeitgeist, and during intermission, David
  Sherman—in from Arizona for the anthology's release—debuts his video
  installation An Outdoor Cinema in West Texas. 

San Francisco, California: Exploratorium
2pm, Palace of Fine Arts - 3601 Lyon Street

  Screening stop-motion work by visual artists and filmmakers. Animations
  by Reed Anderson & Daniel Davidson, Kathy Aoki, Alessandra Ausenda,
  Lizzie Black & Anna Maria Murphy, Paz de la Calzada & Michael Rauner,
  Deborah Davidovits, Almut Determeyer, Owen Gatley & Luke Jinks, Sarah
  Klein, Evelien Lohbeck, Miwa Matreyek, Tucker Nichols, David O'Kane, Ara
  Peterson, Mel Prest, Jen Stark, Melinda Stone & Sam Sharkey, Sjors
  Vervoort, Andy Vogt, Scott Wolniak.

Winnepeg, Ontario, Canada: Winnepeg Film Group Cinematheque
7pm, Artspace Building at 100 Arthur Street at Bannatyne

  * FREE ADMISSION "I am at once in love with the tragic beauty of the
  photographic moment…but I also mourn the loss of the fleeting physical
  experience of human connection." - Amanda Dawn Christie Amanda Dawn
  Christie began her journey into independent filmmaking through the
  vocation of photography. After moving to Halifax in the late 1990's, she
  learned much from the filmmaking workshops at the Atlantic Filmmaker's
  Co-operative – especially the hand processing workshops of animator
  Helen Hill. A further move to Vancouver in 2004 led to an MFA and an
  explosion of creativity where in her own words she completed, "seven
  16mm films, two super 8 films, eight ultra-short 35mm films, and a great
  deal of photography, contemporary dance, and electro acoustic sound
  compositions." In 2007, she traveled to Amsterdam, where she lived for a
  year and participated in an artist residency at the Rotterdam
  International Film Festival. Finally, her journey then led her back home
  to her roots on the east coast in New Brunswick, where she continues to
  make films with a more improvisational and performative approach. This
  program of work reflects Amanda Dawn Christie's restless growth as an
  artist. Moving from hand processing to hand scratching and optical
  printing, she layers memories and images in an effort to explore her
  past. Train trips, relationships, and her efforts to plumb the depths of
  the image all contribute to an ever changing evolution of her work.
  Working in both B&W and colour, she moves between 16mm and super 8,
  always relying on an inner intelligence and a love of the image to guide
  her way through the technology. • Here – super 8, 3 min, 2000 - silent •
  Turning – 16 mm, 9 min, 2004 – silent • Forever Hold Your Peace – 16 mm,
  1 min, 2004 – hand-scratched optical sound • 16mm Postcard – 16 mm, 2
  min, 2005 • Knowledge of Good and Evil – 16 mm, silent, 2 min, 2005 –
  silent • Mechanical Memory – 16 mm, 6 min, 2005 • 3part Harmony:
  Composition in RGB #1 – 16 mm, 6 min, 2006 • Mechanical/Animal Memory –
  film on video, 6 min, 2006 • This Unnamable Dream: Or a Traced Sketch of
  Two Brothers – super 8, 3 min, 2006 – silent • A Maternal Record Not
  Fully Recorded - super 8, 3 min, 2006 – live sound • Fallen Flags – 16
  mm, 8 min, 2007 • v=d/t – 16 mm, 8 min, 2008 • A -->B – super 8, 3 min,
  2009 – double system sound • Transmissions – 16 mm / kaoss pad, 20 mins,
  2010 – live film performance


Berkeley, California: Pacific Film Archive
6:30pm, 2575 Bancroft Way

  Artists in Person Live Video Synthesis Performances by Skip Sweeney
  (Feedback), and Warner Jepson and Robert Pacelli (Templeton Mixer)
  Advances in the media arts occur when the challenge of realizing an
  image requires another medium's uncanny capabilities: film chains
  bollixed, optical printers nudged, the merger of chemistry and
  electronics. Hy Hirsh, an early adopter, wedded buoyant optical printing
  with sensuous oscilloscope waveforms; the shimmering result was
  Divertissement Rococo. Loren Sears, a remarkable tinkerer, has an equal
  interest in 24 frames and 60 hertz. Loops is an unrelenting barrage of
  pulsing color, transferred from 16mm and reconstituted as video. Scott
  Bartlett (with an able assist from Tom DeWitt) took a bounty of film
  loops and ran them through video colorizers and keyers to achieve the
  legendary Offon, a spiritual journey centered on the body. Philip
  Greene's Golden Gate (1968) takes a similar tack, decentering film-based
  images through a film chain, for a painterly portrait with a decidedly
  anti-war theme. With Illuminated Music #1, Stephen Beck shows off the
  well-modulated movements possible with a synthesizer that needs no
  external image source. Later, Beck would collaborate with Jordan Belson
  on the "videofilm" Cycles, using his Direct Video Synthesizer. This
  alchemical allegory follows particles as they rise up through cyclical
  transformations, suggesting the sustaining elements, earth, air, fire,
  water. To bracket the evening, we'll have two performances, the first by
  Skip Sweeney, feedback fanatic from the pioneering Video Free America.
  Sweeney will show excerpts from early seventies feedback tapes such as
  Koto Feedback and Moog Vidium, then demonstrate a brand of feedback
  coaxed from digital tools. To close the evening, composer/imagemaker
  Warner Jepson will perform with syntho-sorcerer Robert Pacelli on the
  Templeton Mixer, an early image manipulator that will bathe you in
  showers of sinuous shape-shifting. —Steve Seid • Koto Feedback and Moog
  Vidium (Skip Sweeney, 1972, excerpts, 15 mins, From the Artist and PFA
  Preservation Video). Divertissement Rococo (Hy Hirsh, 1951, 11 mins,
  16mm, PFA Collection). Loops (Loren Sears, 1968, 6 mins, BetaSP, PFA
  Preservation Video). Offon (Scott Bartlett, 1968, 9 mins, 16mm, PFA
  Preservation Print). Golden Gate (Philip Greene, 1968, 8 mins, ¾" Video,
  PFA Collection). Illuminated Music #1 (Stephen Beck, 1972, 7 mins,
  BetaSP, PFA Preservation Video). Cycles (Stephen Beck & Jordan Belson,
  1975, 11 mins, 16mm, PFA Collection).

Chicago, Illinois: The Nightingale 
8pm, 1084 N. Milwaukee Ave.

  This program features three filmmakers whose respective works explore a
  variety of environments as well as the formal properties of the film
  medium. Though working independently, their films culminate in an
  examination of the film material as a true document of past and present.
  Each artist calls attention to the process of separation and
  recombination through the use of discarded View-Master cells,
  appropriated 16mm nature footage, and a kaleidoscopic amalgam of the new
  and old world. Steve Cossman & Ross Nugent in attendance, approx. 60
  mins, $5 admission. http://opticalboundaries.wordpress.com/

Los Angeles, California: Filmforum
7:30 pm, Egyptian Theatre, 6712 Hollywood Blvd. at Las Palmas

  On November 12-14, Filmforum and USC Visions & Voices will present the
  symposium Alternative Projections: Experimental Film in Los Angeles
  1945-1980 at USC. In the weeks leading up to it, Filmforum will host
  evenings with long-time Los Angeles-based filmmakers in evenings of old
  and new works. Peter Mays has been actively making films and paintings
  in Los Angeles since the 1960s, a key person of the experimental film
  scene. We're delighted to host him with some of his early works and
  several new ones. 

Williamsburg, Brooklyn, New York: Rooftop film show
8pm, 84 N. 9th street, btw Berry and Wythe

  free show BYOB, with films by Bryan Boyce, Shalo P./Friendship Friends
  Forever, Eric Landmark, Doug Katelus, plus a rare screening of Craig
  Baldwin's cult classic "Wild Gunman" and more!!!! 


Montreal, CA: Festival Nouveau Cinema
5:30pm, National Film Board of Canada

  The Montreal Festival du Nouveau Cinéma experimental section FNC LAB is
  hosting the world premiere of "Free Radicals: A (Hi)story of
  Experimental Film" by Pip Chodorov. "Much more than a history of
  avant-garde film, Free Radicals is a tribute to experimental filmmaking
  and a plea for freedom of expression in the 21st century. The stars of
  this landmark work — which is shrewdly aimed at both connoisseurs and
  (enlightened) amateurs — are Len Lye, Stan Brakhage, Maya Deren, Maurice
  Lemaître, Robert Breer, Ken Jacobs, Stan Vanderbeek and, especially,
  Jonas Mekas and Peter Kubelka, our unofficial guides. Pip Chodorov, who
  orchestrated this history of the avant-garde in the latter half of the
  20th century, was born right in its midst—rubbing shoulders with the
  greats at his childhood home and, later on, in his work as a
  distributor, editor and filmmaker himself. As we witness the end of a
  generation (Stan Brakhage passed away in 2003 at the age of 70), it is
  both fascinating and timely to ponder the role of the avant-garde
  movement, forever on the margins of contemporary art and commercial
  cinema." Preceded by Ken Jacob's "Jonas Mekas in Kodachrome Days," a
  stroboscopic home movies of one famous filmmaker by another. (TIFF 2010)

Montreal, Canada: Festival du Nouveau Cinéma
22:00, Agora du Coeur des sciences / UQAM / 175, avenue du Président-Kennedy 

  :::::::::::::::::: Spaces In Between + Point & Transform 
  :::::::::::::::::: FREE :::::::::::::::::: The needle of a sewing
  machine perforates the black leader of a film strip while it is
  projected. Through a camera, the perforations are transformed into
  auditory signals using a computer in a digital echo of the film process.
  Point + Transform  explores sound in relation to the patterns generated
  by the two artists' manipulations, both digital and old-school.
  :::::::::::::::::: Spaces In Between Jean Derome (saxophone, etc.) +
  Pierre Tanguay (batterie / drums, etc.) + Jean-Philippe Collard-Neven
  (piano) accompagnés par Navid Navab + Jérôme Delapierre (manipulations
  sonores et visuelles / sound and visual manipulations) /// Despite or
  perhaps because of their divergent experiences, the three musicians find
  a crossroads, a common playing field where, with no obvious, agreed-upon
  rules, they come together and transcend their differences, joined by a
  tacit agreement to listen and a way of ornamenting silence and
  exultantly shattering it. For the occasion, the trio is accompanied by
  two young media arts creators to form an "interactive quintet" from
  which emerges a live cinema, a dialogue among instrumentalists, a
  reactive auditory/visual process and a video flow in real time. A
  musical presence is constantly reappropriated, extended and reformulated
  to give rise to an original narrative flow within a web of
  never-before-heard perceptions, like a powerful dialogue between digital
  and analogue. :::::::::::::::::: / 

Toronto, Ontario, Canada: Early Monthly Segments
7:30pm, Gladstone Hotel, Art Bar, 1214 Queen St West

  Paul Sharits and Peter Gidal are the most iconoclastic of filmmakers,
  reducing the image to pure swathes of color, motion or grain. However
  their work still resonates with powerful statements on the possibilities
  and problems of the moving picture. Sharits' dynamic and monomaniacal
  S:TREAM:S:S:ECTION:S:ECTION:S:S:ECTIONED, made after the color field
  flicker films that he's most famous for, moves from the atomistic
  patterns of those films to a vivid conceptualization of visual flow. In
  S:S:S:S:S:S, the dissolving images of a bubbling river are slowly
  obliterated by random horizontal tape splices (dams) and vertical
  emulsion scratches that run along the whole film. The film frame that we
  hold as a static reference point for vision gives way to the primacy of
  the constant motion of the filmstrip through the projector. "A
  conceptual lap dissolve from "water currents" to "film strip current" /
  Dedicated to my son, Christopher." – Paul Sharits Peter Gidal's Volcano
  is a late period reassertion of the focus of much of his filmic
  concerns: the problem of representation, recognition and identification.
  Gidal uses a trip to Hawaii to further deconstruct what it means for a
  viewer to view. Using the natural tendency towards abstraction that the
  shifting of rock and lava create, Gidal asks us how we can construct
  coherence from the limited picture his camera provides of the scene. By
  reducing the visual context, he forces us to ask ourselves how we
  construct a sense of place out of cinematic cues. Programme: Volcano,
  Peter Gidal, 2002, 16mm, UK, 25 min.
  S:TREAM:S:S:ECTION:S:ECTION:S:S:ECTIONED, Paul Sharits, 1968-1970, 16mm,
  USA, 42 min.


Berkeley, California: Pacific Film Archive
7:30pm, 2575 Bancroft Way

  During the 1970s, a strong personal tradition emerged in Bay Area
  filmmaking. It took the form of disclosures, jive, and harangues in Curt
  McDowell's Confessions, Mike Henderson's Dufus!, and Joe Gibbons's
  Weltschmertz. Whether relating the sins of the flesh and the details of
  unhappiness, or exploring possible identities, their films also used
  comic effect. Women filmmakers increasingly turned their camera on their
  daily lives, as seen in Freude's joyous love poem, Promise Her Anything
  But Give Her the Kitchen Sink, and Barbara Hammer's frank sexual
  exploration, Dyketactics. Both Dorothy Wiley's Miss Jesus Fries on Grill
  and Barbara Linkevitch's Chinamoon are powerful, impressionistic
  examinations of the often dark side of women's lives. As the decade
  progressed, poetic, vibrant formal explorations paralleled and
  overlapped with the personal tradition as seen in George Kuchar's Wild
  Night in El Reno, Bruce Conner's Take the 5:10 to Dreamland, and Abigail
  Child's Ornamentals. —Kathy Geritz • Dufus! (Mike Henderson, 1970, 8
  mins, B&W, From Academy Film Archive). Promise Her Anything But Give Her
  the Kitchen Sink (Freude, 1969, Color, 3 mins, PFA Collection).
  Confesssions (Curt McDowell, 1971, B&W, 16 mins, From Canyon Cinema).
  Dyketactics (Barbara Hammer, 1974, Color, 4 mins, From Canyon Cinema).
  Chinamoon (Barbara Linkevitch, 1976, Color, 15 mins, From Canyon
  Cinema). Miss Jesus Fries on Grill (Dorothy Wiley, 1972, Color, 12 mins,
  PFA Preservation Print). Wild Night in El Reno (George Kuchar, 1977, 6
  mins, Color, From Canyon Cinema). Take the 5:10 to Dreamland (Bruce
  Conner, 1977, 5.5 mins, PFA Collection). Ornamentals (Abigail Child,
  1979, 12 mins, Color, Silent, From Canyon Cinema). Weltschmertz (Joe
  Gibbons, 1979, 15 mins, Super 8 transferred to Digital Video, From

Berlin, Germany: Asian Hot Shots Berlin
19:00, Kottbusser Damm 22

  For its third edition ASIAN HOT SHOTS BERLIN brings contemporary cinema
  from the city-state of Singapore into the spotlight. Following its
  rebirth in the early to mid-90s, pioneered by the likes of Eric Khoo and
  Jack Neo, established filmmakers by now, cinema in the small but
  resourceful nation has seen a gradual emergence into a film scene that
  has an astonishingly wide range of talents on offer. Young directors are
  looking for adequate means of expression and film narratives that are in
  line with local as well as regional cinema traditions and respond to
  international filmic conventions. In a crosscutting programme, AHSB
  shows a selection of the finest films, short and feature length, that in
  following or in defying genre demands, in being experimental or probing,
  display this quest for a newly to be defined centre. On the periphery of
  a film industry in the making we can already distinguish some excellent
  works of authenticity: whether in the shape of theatrical grand air or
  the intimate, personal portrait of youth, there is original talent at
  work. It's a report on interim findings - valid, for now.


Baltimore: Cut and Run 
7:00 pm, 815 W. 36th St

  With Short films by: Alberto Cabrera Bernal (Spain) Jo Dery (USA)
  Richard Wiebe (Cyprus/USA) Frederic Cousseau (France) Ray Rea (USA)
  Sylvia Schedelbauer (Germany) Jodie Mack (USA) Brenda Contreras (USA)
  About the Festival: Cut and Run is a traveling film festival
  specializing in the exhibition of short avant-garde and experimental
  video and film programs. Cut and Run kicked off its first screening in
  April of 2009 at the Artists' Television Access in San Francisco.
  Following the show, it was decided that the Cut and Run would live on
  and produce various types of film screenings including a tour of
  microcinemas and other venues along the US West Coast, a guerilla
  screening on the SF MUNI rail system, and now a national tour of
  experimental shorts. About the Curators: Brenda Contreras, a Southern
  California native, moved up to San Francisco for fresher air and safer
  bike rides. Working with an assortment of experimental film forms, her
  interests lie in exploring and bringing light to human rights, feminist
  issues, and the marginalized– all served with a side of surrealism. In
  addition to C+R, Brenda also served as the festival director for the
  Mission Underground Film Festival in 2009 and currently volunteers with
  the programming committee at Artists' Television Access. You can reach
  Brenda at bren_contreras at yahoo.com. Mallary Abel, filmmaker, curator,
  poet. Born February 21, 1986 in Indiana. Relocated to California in
  1997. BA in Cinema from San Francisco State University, honors. Interest
  in cinematheque, experimental film, semiology and semantics began here.
  In 2008 she volunteered with Sylvia Schedelbauer and Craig Baldwin at
  Other Cinema, then later moved to New York and joined UnionDocs as an
  associate programmer under Steve Holmgren. She temporarily relocated
  back to the West Coast to pursue the 2010 Cut and Run Tour. She can
  always be reached at mallaryabel at gmail.com. 5 dollar suggested

Chicago, Illinois: Conversations at the Edge
6pm, Gene Siskel Film Center, 164 N. State St

  In his dramatic photographic tableaux, sculptures, video vignettes, and
  short films, Miami-New York-based artist and SAIC alumnus Luis Gispert
  (BFA '96) mashes up consumerist pop culture and narco-nouveau riche '80s
  aesthetics with Freudian nightmares and socio-economic provocation.
  Gispert, writes Edwin Stirman in Art in America, "aims for a new kind of
  baroque drama and satire by contrasting beauty and grotesquerie." This
  evening, Gispert will provide an overview of this work in all mediums,
  including his 2008 film, Smother, and the multi-channel portrait, Réne
  (2008). Set in 1980s Miami, Smother follows the adolescent Waylon,
  boombox in tow, on a kaleidoscopic and macabre journey out of his
  overbearing mother's clutches into a magical-realist nightmare world of
  his own making. Réne is an intimate, inventive study of family friend
  and Cuban émigré Réne as he goes about his daily routine in Miami
  Florida. Co-presented by Parlor Room, a visiting artist and lecture
  series created, run, budgeted and curated by graduate students in SAIC's
  Photography Department. Luis Gispert, 2001-08, USA, multiple formats,
  ca. 75 min (plus discussion).   LUIS GISPERT (1972, Jersey City)
  creates art through a wide range of media, including photographs, film,
  sounds, and sculptures, touching upon hip-hop and youth culture, as well
  as Cuban-American history. His work has been exhibited internationally,
  including in the 2002 Whitney Biennial, New York; the Brooklyn Museum of
  Art; the Studio Museum in Harlem; Art Pace, San Antonio, TX; the Museum
  of Contemporary Art, North Miami; the Contemporary Art Museum Houston;
  Palazzo Brocherasio in Turin; the Royal Academy in London; National
  Museum of Poznan, Poland; and Schirn Kunsthalle in Frankfurt, Germany.
  His works are in the collections of the New Museum of Contemporary Art,
  San Francisco Museum of Modern Art, Solomon R. Guggenheim Museum , and
  the Whitney Museum of American Art. He received an MFA at Yale
  University in 2001 and a BFA from the School of the Art Institute of
  Chicago in 1996. From 1990-92, he attended Miami Dade College. He is
  represented by Mary Boone Gallery in New York, Rhona Hoffman Gallery in
  Chicago, and Frederic Snitzer Gallery in Miami. 

Columbus, Ohio: Wexner Center for the Arts
7 pm, 1871 N. High St.

  Program contents in alphabetical, not screening, order: Ah, Liberty!
  (Ben Rivers, 2008) 19 mins., anamorphic 16mm; The Coming Race (Ben
  Rivers, 2006) 5 mins., 16mm; dwarfs the sea (Stephanie Barber, 2007) 5
  mins., miniDV; Ghost Algebra (Janie Geiser, 2009) 8 mins. DigiBeta;
  horizon line (Katherin McInnis, 2009) 1 min., video; Hotel Cartograph
  (Scott Stark, 1983) 11 mins., 16mm; Interior, New York Subway, 14th St.
  to 42nd St. (G. W. Bitzer, 1905) 5 mins., 16mm; Junkopia (Chris Marker,
  1981) 6 mins., 35mm; There There Square (Jacqueline Goss, 2002) 14
  mins., DigiBeta; The Third Body (Peggy Ahwesh, 2007) 9 minutes, BetaSP;
  Trains Are For Dreaming (Jennifer Reeves, 1999-2009) 7 mins., 16mm;
  Walkway (Ken Jacobs, 2009) 8 mins., miniDV; ^v^v^vVv^^v^^v^v^v^v^vV^^
  (Stacie Sells, 2008) 2 mins., DVD

London, England: BFI London Film Festival
2pm, BFI Southbank, Belvedere Road, South Bank, SE1 8XT

  DE MOUVEMENT (Richard Kerr / Canada 2009 / 7 min) Kerr's mind-bending
  trip through the wipes and dissolves of old feature films is an
  exhilarating demonstration of the power of cinema. MAY TOMORROW SHINE
  & Paul Harnden / UK 2009 / 13 min) Female Japanese cadets patrol the
  woods and countryside where old men channel Futurist poets. Adjacent
  yes, but simultaneous? BRUNE RENAULT (Neil Beloufa / France 2009 / 17
  min) An abandoned car park is no substitute for the open road. Four
  characters find themselves in a looped fiction, replete with cliches,
  acting out cycles of heightened emotions. Like all teenagers, they think
  the world revolves around them – and in this film it almost does. VOT
  (Victor Alimpiev / Russia 2010 / 5 min) As if suspended in limbo, or
  perhaps deep in rehearsal, five performers exchange glances, gestures
  and utter strange sounds. KINDLESS VILLAIN (Janie Geiser / USA 2010 / 4
  min) Two boys seem trapped inside their own imaginations, dreaming of
  naval battles and Egyptian exotica. COMING ATTRACTIONS (Peter
  Tscherkassky / Austria 2010 / 24 min) With humour and materialist
  dynamics, Tscherkassky explores the direct relationship between actor,
  camera and audience. A meditation on the 'cinema of attractions';
  exploiting leftovers from the commercial industry to collide the
  intersecting forms of early film and the avant-garde. 

London, England: BFI London Film Festival
4:15pm, BFI Southbank, Belvedere Road, South Bank, SE1 8XT

  Collage artist Lewis Klahr introduces PROLIX SATORI, an ongoing series
  which appropriates images from comics, magazines and catalogues. A
  filmmaker since the 1980s, his signature style is saturated in
  mid-century Americana but addresses universal experience and is
  resolutely contemporary. Retaining distinctive handcrafted qualities
  across a recent shift to digital, Klahr choreographs comic book
  characters in fractured landscapes of patterns, textures and
  architectural details. Going beyond abstraction and nostalgic cliché, he
  builds high melodrama from modest means, conjuring elliptical narratives
  that evoke complex moods and emotions. Within PROLIX SATORI, a new
  project of 'couplets' elicits different atmospheres through repetitions
  of soundtracks or imagery. An emotive mix of classical, easy listening
  and iconic pop music carries viewers through tales of lost love and
  wistful reverie. This screening is a chance to be immersed in the
  idiosyncratic world of a widely acclaimed artist making his first UK
  appearance. FALSE AGING (Lewis Klahr / USA 2008 / 15 min) NIMBUS SMILE
  (Lewis Klahr / USA 2009 / 8 min) NIMBUS SEEDS (Lewis Klahr / USA 2009 /
  8 min) CUMULONIMBUS (Lewis Klahr / USA 2010 / 10 min) SUGAR SLIM SAYS
  (Lewis Klahr / USA 2010 / 7 min) WEDNESDAY MORNING TWO A.M. (Lewis Klahr
  / USA 2009 / 7 min) LETHE (Lewis Klahr / USA 2009 / 23 min) 

New York, New York: NP Contemporary Art Center
8 p.m., 131 Chrystie Street

  David Scheid, Margot Kidder 2005, 13 min, video / Luther Price, A 1995,
  60 min, B&W and Color Super8mm (screened on DVD). Bradford Nordeen
  presents two experimental queer works that tear open Hollywood
  narratives to address these startling queer perspectives. La Rubia (Zan
  Amparan) will DJ after the screeening with a set of girl group hits. The
  program title misremembers the opening lyric of the theme to Imitation
  of Life. The tune hauntingly floods Luther Price's A. Alongside David
  Scheid's video, Margot Kidder, these pieces use drag and collage editing
  tactics to reconstruct Hollywood from a space of queer fantasy, creating
  private narratives from popular fiction. David Scheid will be in
  attendance for the screening, which will feature a special introductory
  message by author and critic Kevin Killian. Named one of the top-20
  living avant-garde filmmakers in Film Comment's recent poling,
  Boston-based super-8 filmmaker Luther Price has been frequently likened
  to Jack Smith, Karen Finley and Matthew Barney for his raw, visceral
  cinema. In A Price concocted the most narrative tale of his 25-year
  career: a cyclical feature in which a faded starlet (Edie) courts suitor
  after suitor and fades into an alcoholic Lassie-laden haze. Price
  portrays the heroine as she spirals deeper into destructive delusions,
  turning on her lovers like an amped-up Jeanne Dielman. Edie is also a
  ghostly, childhood memory, based on Price's mother and her obsessive
  viewing of woman's pictures. David Scheid is a video artist whose work
  addresses pathology and obsessive compulsive disorder. Margot Kidder
  meticulously reconstructs 3 films from the actress' golden period to
  illuminate Kidder's peculiar personal narrative. Scheid infers that
  Kidder's infamous downfall was present all along in these fragile
  performances. Margot Kidder throws these clues into plain view,
  presenting a dismaying decoding of these otherwise commercial films.
  Like Price's work, the film also serves as an intimate portrait of a
  male fan's obsession with a female star. The 13-minute found-footage
  film is an alarming depiction of the filmmaker's arousal, disdain,
  compassion and compulsion towards the eponymous subject. The touring
  program, What Is Life Without The Living? will celebrate the grand
  opening of the Media Room for the 'WE' project at NPCAC. The event will
  be accompanied by a free publication of images, illustrations, an essay,
  and artist writings designed by Deric Carner.

San Francisco, California: San Francisco Museum of Modern Art
6:00 p.m., 151 Third Street

  7:00 p.m. Films by Alexander Hammid with music by Beth Custer Ensemble
  9:00 p.m. My Grandmother with music by Beth Custer Ensemble While the
  galleries await the installation of our fall exhibitions, roam the
  museum's open spaces recharged by artists. In the Phyllis Wattis
  Theater, San Francisco Cinematheque presents films by Alexander Hammid,
  a significant if underappreciated figure in 20th-century cinema who
  collaborated with Maya Deren on perhaps the avant-garde's most
  influential work, Meshes of the Afternoon. The Beth Custer Ensemble
  premieres new scores for some of Hammid's earliest films, then performs
  an original score to a long-banned Soviet silent film My Grandmother in
  the Haas Atrium. San Francisco's Muistardeaux Collective presents a
  site-specific work in the galleries, and Meatpaper magazine is back with
  food on the roof. Part of SFMOMA: Now Playing. Free with museum
  admission. Please note that seating in the Phyllis Wattis Theater is
  limited and on a first come first serve basis. 

San Francisco, California: Artists Television Access
8pm (doors 7.30), 992 Valencia Street

  The 5th Annual Artists' Television Access Film & Video Festival
  celebrates original, independent and underground film & video with
  screenings, installations and workshops, October 19th - 23rd. On
  Thursday, October 21, ATA will screen the first of two shorts programs.
  Titled "Human Nature," the program explores the relationship between our
  natural environment and consciousness. The screening includes films and
  videos by Paul Clipson, Sam Barnett, Bill Brown, Patricia McInroy, Gina
  Carducci & Mattilda Bernstein Sycamore, Vera Brunner-Sung, Karl Lind,
  John Palmer, and Maite Abella. The shorts will be followed by the
  ceremonial smashing of a piñata. $7-$10 sliding scale Doors at 7.30,
  screening at 8

San Francisco, California: San Francisco Cinematheque
7:00pm, 9:00pm, SFMOMA, 151 Third St. (between Mission St. and Howard St.)

  presented in collaboration with SFMOMA as part of the NOW PLAYING
  series, supported by the San Francisco Foundation [Free with admission]
  ---- Alexander Hammid (born in 1907 as Alexandr Hackenschmied) was a
  significant if underappreciated figure of twentieth century cinema,
  creating variously poetic personal "city symphony" films in the 1930s,
  anti-Nazi documentaries in the '40s and pioneering IMAX spectacles in
  the '70s. The spouse of Maya Deren from 1942–47, Hammid was a
  collaborator on perhaps the avant-garde's most influential work, Meshes
  of the Afternoon. In celebration of this vastly underappreciated artist,
  the Beth Custer Ensemble (consisting of Custer, Jan Jackson, David James
  and Lisa Mezzacappa) will perform original scores by Custer to his
  earliest films, Bezucelná procházka (Aimless Walk) and Na Prazském hrade
  (At Prague Castle)—both extremely rare loans from the Czech National
  Film Archive in Prague—and his lesser-known collaboration with Deren,
  Private Life of a Cat. Complimenting the performance will be a screening
  of Martina Kudlácek's loving 1996 documentary portrait, Aimless Walk:
  Alexander Hammid and the seminal Meshes…. (Steve Polta) ---- 9:00PM Beth
  Custer Ensemble: My Grandmother: The Beth Custer Ensemble will perform
  an original program with an expanded ensemble in SFMOMA's Haas Atrium
  following the 7:00PM program. 

(continued in next email)

More information about the FrameWorks mailing list