[Frameworks] Part 1 of 2: This week [February 11 - 19, 2012] in avant garde cinema

Weekly Listing weeklylisting at hi-beam.net
Sat Feb 11 10:39:33 CST 2012


Part 1 of 2: This week [February 11 - 19, 2012] in avant garde cinema

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NEW FILM/VIDEO: NON-FEATURE:
"Black Biscuit" by Fabrizio Federico
 http://www.hi-beam.net/cgi-bin/ann.pl?type=newworkf&readfile=127.ann

NEW CALLS FOR ENTRIES:
=====================
The Journal of Short Film Volume 27 (Columbus, Ohio USA; Deadline: April 27, 2012)
 http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1394.ann
Milwaukee Underground Film Festival (Milwaukee, WI USA; Deadline: March 30, 2012)
 http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1395.ann
WAMMFest (Women And Minorities in Media Festival) (Baltimore, MD, USA; Deadline: March 09, 2012)
 http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1396.ann
What The Festival (Alfred, NY, USA; Deadline: February 29, 2012)
 http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1397.ann
The Festival of (In)appropriation (Los Angeles, CA, USA; Deadline: May 15, 2012)
 http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1398.ann
deadCENTER Film Festival (Oklahoma City, OK, USA; Deadline: February 14, 2012)
 http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1399.ann
Videoex International Experimentalfilm & Video Festival (Zürich, Switzerland; Deadline: February 15, 2012)
 http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1400.ann
Indie Memphis Film Festival (Memphis, TN, USA; Deadline: June 20, 2012)
 http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1401.ann

DEADLINES APPROACHING:
======================
Magmart | international videoart festival - VII edition (Naples, Irìtaly; Deadline: February 29, 2012)
 http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1366.ann
Media City (Windsor, Ontario, Canada; Deadline: February 24, 2012)
 http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1370.ann
19th Chicago Underground Film Festival (Chicago, IL USA; Deadline: March 01, 2012)
 http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1374.ann
EFF PORTLAND (Portland; Deadline: February 15, 2012)
 http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1377.ann
call for artists 2012 (Tondela, Portugal; Deadline: March 09, 2012)
 http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1380.ann
ASsociety New Media Residency (Roxbury, NY, USA; Deadline: March 06, 2012)
 http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1388.ann
ARTErra rural artistic residency (Tondela,Portugal; Deadline: March 09, 2012)
 http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1391.ann
WAMMFest (Women And Minorities in Media Festival) (Baltimore, MD, USA; Deadline: March 09, 2012)
 http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1396.ann
What The Festival (Alfred, NY, USA; Deadline: February 29, 2012)
 http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1397.ann
deadCENTER Film Festival (Oklahoma City, OK, USA; Deadline: February 14, 2012)
 http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1399.ann
Videoex International Experimentalfilm & Video Festival (Zürich, Switzerland; Deadline: February 15, 2012)
 http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1400.ann

Enter your event announcements by going to the Flicker Weekly Listing Form
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Also available online at Flicker: http://www.hi-beam.net

THIS WEEK'S PROGRAMS (SUMMARY):
==============================
 *  <B>The 8th Berlin International Directors Lounge [Dl8],  Feb, 9 - 19 </B> [February 11, Berlin, Germany]
 *  Beats Being Dead [February 11, Boston, Massachusetts]
 *  Dreileben: Don't Follow Me Around [February 11, Boston, Massachusetts]
 *  One Minute of Darkness [February 11, Boston, Massachusetts]
 *  Jack Smith, Rare Short 16mm Films. [February 11, Brooklyn, New York]
 *  Four Films Toward Part V of Secret History of the Dividing Line, A True
    Account In Nine Parts [February 11, Cambridge, Massachusetts]
 *  We Are Cinema 50 Years of the Film-Makers' Co-Op [February 11, New York, New York]
 *  Essential Cinema: Robert Nelson Program [February 11, New York, New York]
 *  George Kuchar Program 3 [February 11, New York, New York]
 *  <B>The 8th Berlin International Directors Lounge [Dl8],  Feb, 9 - 19 </B> [February 12, Berlin, Germany]
 *  Silent Mountains, Singing Oceans, and Slivers of Time [February 12, Cambridge, Massachusetts]
 *  Oliver Laxe's You Are All Captains [February 12, Chicago, Illinois]
 *  Sex Roles & Rules: Gender, Liberation, and Sexuality [February 12, Los Angeles, California]
 *  George Kuchar Program 5 [February 12, New York, New York]
 *  Essential Cinema: Carriage Trade [February 12, New York, New York]
 *  Essential Cinema: My Hustler [February 12, New York, New York]
 *  Essential Cinema: Warhol/Whitney Program [February 12, New York, New York]
 *  George Kuchar Program 6 [February 12, New York, New York]
 *  Dirty Looks: Female Trouble [February 12, San Francisco, California]
 *  Stepping Between Projections; James Diamond In Person! [February 12, Toronto, Ontario, Canada]
 *  <B>The 8th Berlin International Directors Lounge [Dl8],  Feb, 9 - 19 </B> [February 13, Berlin, Germany]
 *  Disassociative Collective First Screening [February 13, Brooklyn, New York]
 *  Lee Anne Schmitt- the Last Buffalo Hunt [February 13, Los Angeles, California]
 *  <B>The 8th Berlin International Directors Lounge [Dl8],  Feb, 9 - 19 </B> [February 14, Berlin, Germany]
 *  Avant Erotica [February 15, Austin, TX]
 *  <B>The 8th Berlin International Directors Lounge [Dl8],  Feb, 9 - 19 </B> [February 15, Berlin, Germany]
 *  Rock & Roll Experiments [February 15, Los Angeles, California]
 *  <B>The 8th Berlin International Directors Lounge [Dl8],  Feb, 9 - 19 </B> [February 16, Berlin, Germany]
 *  Radical Light: Alternative Film and video In the San Francisco Bay Area  [February 16, Chicago, Illinois]
 *  Concordia, vivier De Cineastes Experimentaux [February 16, Paris, France]
 *  A Selection of Rose Lowder Films [February 17, Austin, TX]
 *  <B>The 8th Berlin International Directors Lounge [Dl8],  Feb, 9 - 19 </B> [February 17, Berlin, Germany]
 *  Emerson Presents - Filmmaker Rob Todd In Person [February 17, Boston, Massachusetts]
 *  Electromediascope [February 17, Kansas City, Missouri]
 *  Wooster Group Program 1  [February 17, New York, New York]
 *  Wooster Group Program 2 [February 17, New York, New York]
 *  <B>The 8th Berlin International Directors Lounge [Dl8],  Feb, 9 - 19 </B> [February 18, Berlin, Germany]
 *  Flexfest 2012, Night 1:  Su Friedrich [February 18, Gainesville, FL]
 *  Flexfest 2012, Night 1:  Su Friedrich [February 18, Gainesville, FL]
 *  Wooster Group Program 5 [February 18, New York, New York]
 *  Wooster Group Program 3 [February 18, New York, New York]
 *  Wooster Group Program 4 [February 18, New York, New York]
 *  Pleasure Dome & Art Gallery of Ontario Present the World Premiere of In
    the Nature of Things By Barbara Sternberg In Person!  With Early Works
    By the 2011 Governor General's Award Recipients Barbara Sternberg and
    David Rimmer [February 18, Toronto, Ontario, Canada]
 *  <B>The 8th Berlin International Directors Lounge [Dl8],  Feb, 9 - 19 </B> [February 19, Berlin, Germany]
 *  Flexfest 2012, Night 2:  Steve Reinke [February 19, Gainesville, FL]
 *  Flexfest 2012, Night 2:  Steve Reinke [February 19, Gainesville, FL]
 *  Tricky Poses and Taxing Conditions: Performance and Media [February 19, Los Angeles, California]
 *  Wooster Group Program 6 [February 19, New York, New York]
 *  Wooster Group Program 7 [February 19, New York, New York]
 *  Wooster Group Program 8 [February 19, New York, New York]


Events are sorted by CITY within each DATE.

---------------------------
SATURDAY, FEBRUARY 11, 2012
---------------------------

2/11
Berlin, Germany: Directors Lounge
http://www.directorslounge.net
6pm, Naherholung Sternchen, Berolinastraße 7, behind the Kino International/ Rathaus Mitte U  Schillingstraße, 10178 Berlin

 THE 8TH BERLIN INTERNATIONAL DIRECTORS LOUNGE [DL8],  FEB, 9 - 19 
  [DL8], the 8th Berlin International Directors Lounge, the festival for
  contemporary media and film, 2012, is hitting Berlin in a new vein and
  venue, this year making the up-and-comer insider tip Naherholung
  Sternchen its stomping ground. The reason for the move will be clear to
  all once they hit the doors, literally a stone's throw from the iconic
  Kino International near Alexanderplatz Berlin: the location, a one-time
  thespians' hangout already steeped in its own history, has clearly been
  waiting for this moment. And it's here: 1001 nights at the cinema, all
  in eleven days. A romping, cinedalic party, the place to see films, rub
  shoulders with filmmakers and spectators, meet a global set around the
  bar... and see more films. What's up and coming, with performances and
  music thrown in for good measure. This year topped off with a
  celebration with all the Berlin Film Festivals: You Say Festival, We Say
  Party, The Official Festiwelt Party Wed., Feb. 15 – the night to party
  with all the movers and shakers of the Berlin (and beyond) film
  universe. Enough festivals to kill a rhino! With special presentations
  by Nick Zedd, Simon Ellis, Yony Leyser, Andreas Müller-Pohle, Miron
  Zownir, Birol Ünel, Telemach Wiesinger and many others... The 8th Berlin
  International Directors Lounge [DL8] 09.–19.02.2012 Naherholung
  Sternchen, Berolinastraße 7, 10178 Berlin behind the Kino International/
  Rathaus Mitte U Schillingstraße Daily from 6pm | Free admission till 10
  pm The Official Festiwelt Party Wed., Feb. 15 

2/11
Boston, Massachusetts: ArtsEmerson
http://ArtsEmerson.org
5:00pm, Paramount Theater

 BEATS BEING DEAD
  This "cool, Hitchcockian romantic thriller," set in Germany's Thuringian
  Forest (a region alive with legends and myth), plays the police search
  for an escaped killer against a story of star-crossed lovers. Part one
  of the celebrated DREILEBEN trilogy.

2/11
Boston, Massachusetts: ArtsEmerson
http://ArtsEmerson.org
6:45pm, Paramount Theater

 DREILEBEN: DON'T FOLLOW ME AROUND
  A novelistic criminal investigation which deftly juxtaposes personal
  drama against the search for a killer, underlining the DREILEBEN
  trilogy's recurring themes of false appearances and deeply hidden
  truths. Part two of the celebrated trilogy.

2/11
Boston, Massachusetts: ArtsEmerson
http://ArtsEmerson.org
8:45pm, Paramount Theater

 ONE MINUTE OF DARKNESS
  A dark, memorably strange fairy tale in which a police inspector tries
  to put himself inside the mind of a criminal while the isolated escapee
  flees deeper into a possibly enchanted forest. Part three of the
  celebrated DREILEBEN trilogy.

2/11
Brooklyn, New York: Microscope Gallery
http://www.microscopegallery.com
5 PM, 4 Charles Place (at Myrtle btwn Bushwick & Evergreen Aves)

 JACK SMITH, RARE SHORT 16MM FILMS.
  New to distribution at the Film-Makers' Co-op. Admission $10. In
  connection with the "We Are Cinema: 50 Years of the Film-Makers' Co-op"
  exhibit at Microscope Gallery, we are screening new prints of 7 rare
  short films by legendary Filmmaker/artist Jack Smith. PROGRAM features:
  "Scotch Tape" (1962) 16mm, color, 3 min.; "Overstimulated" (1960) 16mm,
  black and white, 3 min; "No President" (1968) 16mm, black and white, 50
  min; "Respectable Creatures" (1967) 16mm, color, sound, 25 min; "Hot Air
  Specialists" (1970's) 16mm, color, 4 min; "Song for Rent" (1970's) 16mm,
  color, 4 min; and "Yellow Sequence (1963–65), 16mm, 15 min. The opening
  for the exhibition immediately follows the screening and runs until 9PM.
  Artists on exhibit: Katherine Bauer, Bill Brand, Robert Breer, Rudy
  Burckhardt, Donna Cameron, Abigail Child, Martha Colburn, Peter Cramer,
  Bradley Eros, Su Friedrich, Ken Jacobs, Sabrina Gschwandtner, Anne
  Hanavan, Takahiko Iimura, Jeanne Liotta, Jonas Mekas, Julie Murray,
  Jennifer Reeves, Barbara Rubin, Lynne Sachs, Carolee Schneemann, Joel
  Schlemowitz, MM Serra, Jack Smith, Smith and Lowles, Mark Street, Jack
  Waters, and others. Please rsvp for screening at
  rsvp at microscopegallery.com. More info at www.microscopegallery.com.
  J/M/Z Myrtle/Broadway; L - Morgan Ave or Jefferson Street. tel:
  347.925.1433.

2/11
Cambridge, Massachusetts: Harvard Film Archive
http://hcl.harvard.edu/hfa
7pm, Harvard Film Archive, 24 Quincy Street

 FOUR FILMS TOWARD PART V OF SECRET HISTORY OF THE DIVIDING LINE, A TRUE
 ACCOUNT IN NINE PARTS
  Filmmaker David Gatten in conversation with film curator Mark McElhatten
  Special Event Tickets $12 The Matter Propounded, Of Its Possibility or
  Impossibility, Treated in Four Parts 2011, 16mm, b/w, 13 min How to
  Conduct a Love Affair 2007, 16mm, color, 8 min So Sure of Nowhere Buying
  Times to Come 2010, 16mm, color, 9 min Film for Invisible Ink, Case No.
  323: Once Upon a Time in the West 2010, 16mm, b/w, 20 min 

2/11
New York, New York: Filmmakers Co-op
5pm, MICROSCOPE Gallery, 4 Charles Place

 WE ARE CINEMA 50 YEARS OF THE FILM-MAKERS' CO-OP
  Opening reception Saturday 2/11, 7-9PM, preceded by special 5PM
  screening of rare short films by Jack Smith - We Are Cinema is a
  month-long exhibit and screening series celebrating 50 years of the
  Film-Makers' Co-op in NYC. It was in January of 1962 that filmmaker
  Jonas Mekas called an urgent meeting of about 20 avant-garde/independent
  filmmakers including Stan Vanderbeek, Rudy Burckhardt, Jack Smith, Ken
  Jacobs, and Gregory Markopoulos to discuss taking the means of
  exhibition and distribution into their own hands. Within months the
  Film-Makers' Artists in the exhibition include: Katherine Bauer, Bill
  Brand, Robert Breer, Rudy Burckhardt, Donna Cameron, Abigail Child,
  Martha Colburn, Bradley Eros, Su Friedrich, Ken Jacobs, Sabrina
  Gschwandtner, Anne Hanavan, Takahiko Iimura, Jeanne Liotta, Jonas Mekas,
  Julie Murray, Jennifer Reeves, Barbara Rubin, Carolee Schneemann, Joel
  Schlemowitz, MM Serra, Jack Smith, Smith and Lowles, Mark Street, Jack
  Waters & Peter Cramer, and others. - The Film-Makers' Co-op
  continues to operate as a vibrant archive and distributor, housing more
  than 5,000 films and videos by over 900 artists.EXHIBIT: We Are Cinema:
  50 years of the Film-Makers' Co-op - Drawings, paintings, photographic
  prints, video, sound, historical documents, & more - DATES: SAT 2/11
  to MON 3/5 - RELATED EVENTS - SAT 2/11: - 5PM: Screening
  "Fresh-from-the-Lab" new prints of rare short films by Jack Smith new to
  distribution from the Co-op, introduced by MM Serra and Jonas Mekas.
  Admission $10, RSVP to rsvp at microscopegallery.com. With gratitude to the
  Barbara Gladstone Gallery and Jerry Tartaglia for the preservation and
  restoration of Jack Smith's films. - 7-9PM We Are Cinema opening
  reception, open to the public - SAT 2/18: 7PM Ken Jacobs in person, 16mm
  prints from the Co-op of Blonde Cobra (1959-1963) and The Whirled (1956
  to 1963)\; four shorts of Jack Smith performing\; and America At War,
  The Home Front: Film Opening - 3D (2011). Admission $6 - SAT 2/25, 7PM
  Jonas Mekas in person to present his 1997 Birth of a Nation, which has
  screened previously only once. Admission $6 - SUN 3/4, 7PM, New works to
  the Co-op's distribution curated by Microscope, introduced by MM Serra.
  Admission $6 - - More info at www.microscopegallery.com and
  www.film-makerscoop.com 

2/11
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
4:45 pm, 32 2nd Avenue

 ESSENTIAL CINEMA: ROBERT NELSON PROGRAM
  THE GREAT BLONDINO 1967, 42 minutes, 16mm. Newly preserved print! "The
  original Blondino was a 19th-century tightrope artist who among other
  feats crossed Niagara Falls trundling a wheelbarrow. In this film,
  Nelson sees Blondino as a metaphor for those who still try. Too subtle
  to be allegorical, the picture is in the shape of a quixotic search in
  which the goal is the journey and the means is the end." –Museum of
  Modern Art "It is…difficult to get at the rich visual texture that is
  the film's most striking attribute. Long stretches are concerned with
  Blondino's visions, dreams, and dreams within dreams. The film unfolds
  in brief recurring patterns of imagery. Even the more straightforward
  sections are dense with interpolated newsreel and TV commercial footage,
  visual gags, and homemade special effects. The net effect is funny,
  seamless, and elusive." –J. Hoberman, "A Filmmakers Filming Monograph"
  BLEU SHUT 1970, 33 minutes, 16mm. Newly preserved print! "Boat-name
  quizzes, dogs, cuts from Dreyer's JOAN OF ARC in montage with a sultry
  whore, a car running up a ramp and crashing, pornography, a passionate
  embrace by a thirties hero and heroine; all somehow implicating Dreyer
  and Joan in the perverse synthesis of sex and technology. What's
  happening here? Basically Nelson is leaving things unsaid." –Leo Regan
  Total running time: ca. 80 minutes.

2/11
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
6:45 pm, 32 2nd Avenue

 GEORGE KUCHAR PROGRAM 3
  PROGRAM 3: FROM THE SHELVES OF EAI "In the mid-1980s, George Kuchar
  acquired an 8mm camcorder and began producing an extraordinary series of
  video diaries, chronicling a singular, ongoing personal history.
  Exhibiting the rawness of video vérité and the theatricality of fiction,
  his self-narrated tapes record close-up observations of the personal
  routines and social interactions of Kuchar's daily life. These
  remarkable video journals often resonate with an unexpected poetry.
  "During this time, George would often come to EAI to personally deliver
  the masters of his video works. He would then sit down and, on the spot,
  hand-write on note-paper wonderful descriptions of his pieces, three of
  which are reprinted here." –Lori Zippay, Executive Director, Electronic
  Arts Intermix (EAI) CULT OF THE CUBICLES 1987, 46 minutes, video. It's
  New York in the summer and I set out to track down some high school
  friends who have burrowed deep into the 'big apple.' The viewer gets to
  see how far they've eaten their way to the core in this 45-minute study
  of urban denizens in the grip of Newtonian damnation. RAINY SEASON
  (1987, 28.5 minutes, video) The rains come and a chill sets in as I
  explore the dark and dank pockets of things best left in the closet. A
  parade of faces pass or drop by to bring sunshine, but the glow only
  makes the shadows appear darker in this study of things that hump and
  bump in the night. THE CREEPING CRIMSON (1987, 13 minutes, video) It is
  fall and Halloween and mom is in the hospital. The leaves are red and
  the mood is blue but life drips on, pizza is devoured and the mall must
  be frequented. A stroll among the foliage reveals bitter fruit yet
  sweetness lies just around the corner where the Bronx meets Westchester
  and whiteness constipates. Total running time: ca. 95 minutes. 

-------------------------
SUNDAY, FEBRUARY 12, 2012
-------------------------

2/12
Berlin, Germany: Directors Lounge
http://www.directorslounge.net
6pm, Naherholung Sternchen, Berolinastraße 7, behind the Kino International/ Rathaus Mitte U  Schillingstraße, 10178 Berlin

 THE 8TH BERLIN INTERNATIONAL DIRECTORS LOUNGE [DL8],  FEB, 9 - 19 
  See Feb. 11.

2/12
Cambridge, Massachusetts: Harvard Film Archive
http://hcl.harvard.edu/hfa
4:30pm, Harvard Film Archive, 24 Quincy Street

 SILENT MOUNTAINS, SINGING OCEANS, AND SLIVERS OF TIME
  Filmmaker David Gatten in Person - Special Event Tickets $12 Film for
  Invisible Ink, Case No. 71: Base-Plus-Fog 2006, 16mm, b/w, 10 min What
  the Water Said, Nos. 1-3 1998, 16mm, color, 16 min Journal and Remarks
  2009, 16mm, color, 15 min Shrimp Boat Log 2006/2010, 16mm, color, 6 min
  What the Water Said, Nos. 4-6 2007, 16mm, color, 17 min Film for
  Invisible Ink, Case No. 142: Abbreviation for Dead Winter [Diminished by
  1,794] 2008, 16mm, b/w, 13 min 

2/12
Chicago, Illinois: White Light Cinema
http://www.whitelightcinema.com
7pm, Cinema Borealis, 1550 N. MilwaukeeAve., 4th Floor, Chicago, Illinois

 OLIVER LAXE'S YOU ARE ALL CAPTAINS
  White Light Cinema Presents: Oliver Laxe's YOU ARE ALL CAPTAINS, Sunday,
  February 12 – 7:00pm, At Cinema Borealis (1550 N. Milwaukee Ave.,
  4th Floor) - - Only Chicago Screening on a National Tour! - Cannes prize
  winner! - You Are All Captains (Todos vós sodes capitáns)
  (2010, 35mm, 79 mins., Spain/Morocco) - Directed by Oliver Laxe -
  Compared with the films of Abbas Kiarostami and Francois Truffaut,
  Spanish-French director Oliver Laxe's YOU ARE ALL CAPTAINS follows a
  self-described "neo-colonialist" filmmaker, playfully portrayed by Laxe,
  who goes to Tangier ostensibly to hold a series of workshops for
  disadvantaged street children. It quickly becomes clear, however, that
  Laxe's intentions are far to turn these children into pawns in his own
  feature. The film asks direct questions about cinema's role in cultural
  exchange by deftly blurring the line between fiction and documentary,
  You Are All Captains unveils though its magnificent black-and-white
  images full of daily life, the problems of filmmaking in a global
  economic reality. A mysterious, whimsical and unique creation that won
  the FIPRESCI prize at Cannes. - "Remarkable...one of the rare
  movies in which action is imbued with thought, and in which the very
  process of thought seems to come to life. The movie's scale is small,
  its subjects are intimate, its artistic reach is immense." (Richard
  Brody, New Yorker) - "[A] brilliantly constructed deconstruction of
  "truth" versus "fiction." (Village Voice) -
  "Poignant and dryly, philosophically ironic." (New Yorker) - -
  Admission: $8-10 sliding scale

2/12
Los Angeles, California: Filmforum
http://www.lafilmforum.org/
7:30pm, The Spielberg Theater at the Egyptian, 6712 Hollywood Blvd (at Las Palmas)

 SEX ROLES & RULES: GENDER, LIBERATION, AND SEXUALITY
  Films and videos exploring the definitions, meanings, representations,
  and interactions of women and men. Storytelling about past experiences;
  performances; documentary ahead of its time, social conflicts. Yes,
  plenty of nudity and adult behavior as well. Films to be screened
  include: Now Show Yours (Richard Newton, 1977), Bondage Boy (Chris
  Langdon, 1973), Bondage Girl (Chris Langdon, 1973), Water Ritual #1: An
  Urban Rite of Purification (Barbara McCullough, 1979), Hats Off to
  Hollywood (Penelope Spheeris, 1972), Female Sensibility (Linda Benglis,
  1973), and Soft Fiction (Chick Strand, 1979).

2/12
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
6:30 pm, 32 2nd Avenue

 GEORGE KUCHAR PROGRAM 5
  PROGRAM 5: OUT OF THE ARCHIVES: ANTHOLOGY FILM ARCHIVES AND HARVARD FILM
  ARCHIVE Programs 5 and 6 of our tribute series bring together works from
  the Kuchar collections of Anthology, Harvard Film Archive, and Pacific
  Film Archive. We all possess substantial holdings of George's many films
  and videos, and tonight screen some personal favorites, as well as
  brand-new preservations. From Anthology Film Archives: THE ONEERS (1982,
  17 minutes, 16mm) LEISURE (1966, 9.5 minutes, 16mm) ANITA NEEDS ME
  (1963, 16 minutes, 8mm-to-16mm blow-up) Preserved by Anthology Film
  Archives with support from the Avant-Garde Masters Program of The Film
  Foundation, administered by the National Film Preservation Foundation.
  From Harvard Film Archive: CLUB VATICAN (1984, 13.5 minutes, 16mm) THE
  CARNAL BIPEDS (1973, 22 minutes, 16mm) Total running time: ca. 85
  minutes. 

2/12
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
4:45 pm, 32 2nd Avenue

 ESSENTIAL CINEMA: CARRIAGE TRADE
  by Warren Sonbert 1973 version, 61 minutes, 16mm "My magnum opus.
  Travels over four continents in six years." –W.S. "With CARRIAGE TRADE,
  Sonbert began to challenge the theories espoused by the great Soviet
  filmmakers of the 1920s; he particularly disliked the 'knee-jerk'
  reaction produced by Eisensteinian montage. In both lectures and
  writings about his own style of editing, Sonbert described CARRIAGE
  TRADE as 'a jig-saw puzzle of postcards to produce varied displaced
  effects.' This approach, according to Sonbert, ultimately affords the
  viewer multi-faceted readings of the connections between shots through
  the spectator's assimilation of 'the changing relations of the movement
  of objects, the gestures of figures, familiar worldwide icons, rituals
  and reactions, rhythm, spacing, and density of images." –Jon Gartenberg

2/12
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
6:15 pm, 32 2nd Avenue

 ESSENTIAL CINEMA: MY HUSTLER
  by Andy Warhol 1965, 67 minutes, 16mm, b&w MY HUSTLER is one of the
  classics of gay cinema. It is the story of a sexual triangle in which Ed
  Hood competes with his Fire Island neighbors, Joe Campbell and Genevieve
  Charbin, for the attentions of Paul America, whom he has rented for the
  weekend from "Dial-a-Hustler". The realism of the scenario is due
  largely to the absence of a script and performances by actors
  essentially playing themselves.

2/12
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
8:00 pm, 32 2nd Avenue

 ESSENTIAL CINEMA: WARHOL/WHITNEY PROGRAM
  Andy Warhol EAT (1963, 35 minutes, 35mm, b&w, silent) John and James
  Whitney FILM EXERCISES 1-5 (1943-45, 18 minutes, 16mm) James Whitney
  LAPIS (1963-66, 10 minutes, 16mm, silent) Total running time: ca. 65
  minutes.

2/12
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
8:30 pm, 32 2nd Avenue

 GEORGE KUCHAR PROGRAM 6
  THE DEVIL'S CLEAVAGE 1973, 108 minutes, 16mm. Preserved by Pacific Film
  Archive with support from the National Film Preservation Foundation.
  "Toward the end of this paralytically funny film, a Kucharian buck
  blurts out, 'If there's no food for the peasants, give them cheesecake,
  give them beefcake.' Fortunately, there's plenty of both: cheesecake in
  the form of luscious, high-cholesterol drama, and beefcake in the form
  of firmly faceted physiques swathed in the attire of shame. Kuchar's
  heady brew froths around a pent-up nurse named Ginger whose marriage is
  on the rocks when she would prefer it to be straight up. Leaving behind
  the heaving hills of San Francisco, she heads for new misadventures in
  the rollicking town of Blessed Prairie, Oklahoma. Kuchar's rousing cast,
  including the ever-pouty Ainslie Pryor and the provocatively prim Curt
  McDowell, pass through a jungle of moodily-lit interiors whose effect is
  dime-store von Sternberg, a creeping claustrophobia of dark shadows and
  cheap trinkets. Lifting lavishly from Sirk and the circus, Kuchar, that
  great impresario of the inappropriate, has immortalized 'a biped in
  heat.'" –Steve Seid, PACIFIC FILM ARCHIVE

2/12
San Francisco, California: Yerba Buena Center for the Arts
http://www.ybca.org/bros-hos
2PM, 701 Mission St 

 DIRTY LOOKS: FEMALE TROUBLE
  Part of the series Bros Before Hos. Presented by Bradford Nordeen. This
  afternoon, we investigate the flipside of masculinity, with a program of
  short experimental film and video that explores and explodes normative
  roles of femininity and gender. With work that spans five decades, these
  artists queer female subject space via drag tactics, narrative
  juxtaposition and overt performativity, with styles ranging from
  masquerade to mythic, performance document to exposé video zine. Based
  in Brooklyn, Bradford Nordeen is a writer and curator who presents
  "Dirty Looks," a roaming monthly platform for queer experimental film
  and video. Program includes: Mario Montez Screen Test by Conrad Ventur
  (2010)&#8232; Stepping by Patti Podesta (1980)&#8232; Messages, Messages
  by Steven Arnold (1968) Every Woman by Narcissister (2010)&#8232; Home
  Stories by Matthias Müller (1991) Fish by Zackary Drucker (2008) &#8232;
  Barbi Twins (excerpt) by Vaginal Davis (1993) Plus a surprise
  premiere&#8232; 

2/12
Toronto, Ontario, Canada: Pleasure Dome
http://www.pdome.org/
4pm, PWYC, Buddies in Bad Times Theatre, 12 Alexander St.

 STEPPING BETWEEN PROJECTIONS; JAMES DIAMOND IN PERSON!
  Pleasure Dome and the Rhubarb Festival, Canada's premiere experimental
  performance festival, are pleased to co-present the video works of
  award-winning director, producer and writer James Diamond. Diamond will
  speak with artist, activist and curator Ananya Ohri following the
  screening. The concrete, material object of the body, his own body,
  plays a central role in Diamond's work. Since 1999 Diamond has been
  producing work motivated by the corporeal experiences of
  pregnancy,post-partum depression, sexual disorientation, as well as
  moments of rage and reflection, colonization and patriarchy.
  Self-described as being of Indigenous (Cree/Métis) and Jewish descent, a
  trans person and a self-expressionist, Diamond does not single out any
  one way to be identified. He offers himself as a whole: "mixed blood,
  mixed gender...mixed sex." Letting us in at moments of personal
  reflection, Diamond's work provides a glimpse into the changes he
  experiences as the triumvirate of a person, an artist and a political
  being. James Diamond is a director, producer, writer and mentor in the
  fields of communications and multimedia. He has directed numerous
  award-winning films, including Mars Womb-Man which won the Best
  Experimental Work at imagineNATIVE Film + Media Arts Festival in 2006.
  James is currently working as an editor, counting among his clients
  renowned institutes such as the Smithsonian Institution National Museum
  of the American Indian. The programme will include his body of work
  produced over the past decade including: The Man From Venus (1999),
  First Things First(2001), Brain Plus World (2002), X (2004), Mars
  Womb-Man (2006), Private Property (2007) and I am the art scene starring
  Woman Polanski (2010). Ananya Ohri is an artist, curator and activist
  who recently graduated with a Master of Arts from the Cinema and Media
  Studies program at York University. Her work explores the relationship
  between media and community. She currently works for the Regent Park
  Film Festival in Toronto. Ohri's essay on the work of James Diamond,
  Stepping Between Projections, was produced during her Vtape Fellowship
  in 2010–¬11, a program that ran concurrently with the Curatorial
  Incubator v.8. The fellowship provided three emerging curator/writers
  support for their research and professional editing for their essay on
  the artist of their choice. The completed essays are published online at
  www.vtape.org. 

-------------------------
MONDAY, FEBRUARY 13, 2012
-------------------------

2/13
Berlin, Germany: Directors Lounge
http://www.directorslounge.net
6pm, Naherholung Sternchen, Berolinastraße 7, behind the Kino International/ Rathaus Mitte U  Schillingstraße, 10178 Berlin

 THE 8TH BERLIN INTERNATIONAL DIRECTORS LOUNGE [DL8],  FEB, 9 - 19 
  See Feb. 11.

2/13
Brooklyn, New York: Manhattan Inn
http://vimeo.com/channels/disamedia
10:00 PM, 632 Manhattan Avenue

 DISASSOCIATIVE COLLECTIVE FIRST SCREENING
  The Disassociative Collective is an avant-garde group based in NYC,
  Chicago, and LA. Over the past four years we've been working on 4
  feature films and 40 shorts, all of which are completed or in
  post-production. In anticipation of the release of our features, we
  wanted to inform you of a screening we're having at the Manhattan Inn,
  in Greenpoint, Brooklyn on February, 13th. The screening starts at
  10:00, and we'll be showing three pieces all linked by the theme of a
  void in consciousness - by Michelle Chu, Simon Liu, and M. Woods. All of
  our work is very different, but relates to a depicting and exploring the
  void in consciousness within and without the medium. 3 of our video art
  loops will also be on display for the following month.

2/13
Los Angeles, California: Redcat
http://www.redcat.org/
8:30pm, 631 West 2nd St., Los Angeles, CA 90012

 LEE ANNE SCHMITT- THE LAST BUFFALO HUNT
  Los Angeles premiere | 76 min., HDCAM, 2010 For five years, filmmaker
  Lee Anne Schmitt and her collaborators followed Terry Albrecht, a
  guide-for-hire for hunters who want to kill buffalo. Yet Albrecht is
  tired; his livelihood is threatened by the rising cost of gasoline, and
  the mystique of the West has become a commodity for nouveaux riches—like
  the couple posing in Santa costumes in front of their trophy, or the
  woman who switches pleasures from shopping sprees to insulting a buffalo
  that wouldn't die fast enough. The film ends on a melancholy sequence,
  in a hokey wax museum, where cowboys and buffalo alike become ghosts. In
  the West, it is the legend that is printed, not the history—because
  history is repeated twice—once as slaughter, the second time as
  pageantry. In person: Lee Anne Schmitt Jack H. Skirball Screening
  Series. Tickets $10 [students $8, CalArts $5] 

--------------------------
TUESDAY, FEBRUARY 14, 2012
--------------------------

2/14
Berlin, Germany: Directors Lounge
http://www.directorslounge.net
6pm, Naherholung Sternchen, Berolinastraße 7, behind the Kino International/ Rathaus Mitte U  Schillingstraße, 10178 Berlin

 THE 8TH BERLIN INTERNATIONAL DIRECTORS LOUNGE [DL8],  FEB, 9 - 19 
  See Feb. 11.

----------------------------
WEDNESDAY, FEBRUARY 15, 2012
----------------------------

2/15
Austin, TX: Experimental Response Cinema
http://www.hi-beam.net/erc
7:30pm, 29th Street Ballroom, 2906 Fruth Street

 AVANT EROTICA
  Experimental Response Cinema presents Avant Erotica, a post-Valentine's
  Day program of avant garde films and videos exploring notions of
  genderbending, desire, sensuality, love, lust and eroticism. Some are
  gritty and explicit (using found smut films or home-shot footage)...
  while others are more suggestive, elusive and idiosyncratic. The works
  visually critique, subvert or glorify the original content, or in many
  cases, do all three. "These artists are peeling back a layer of cultural
  facade to reveal the raw pleasures and troubling paradoxes of that most
  basic of human impulses," said curator Scott Stark. The program features
  films and videos by artists from the U.S. and Europe, and includes works
  by Texas artists Lyndsay Bloom (XOXO), Scott Stark (Noema), Jason
  Cortland and Julia Halperin (Oma/Opa). Also featured are works by Lewis
  Klahr (Downs are Feminine), Peggy Ahwesh (The Color of Love), Bryan
  Konefsky (Miss Yummy Yummy), Naomi Uman (Removed), Matthias Müller (Home
  Stories), Dinorah de Jesús Rodriguez (XXX), Jeanne Liotta (Hephaestus in
  the Airshaft) and Clint Enns (Debbie Does ASCII).

2/15
Berlin, Germany: Directors Lounge
http://www.directorslounge.net
6pm, Naherholung Sternchen, Berolinastraße 7, behind the Kino International/ Rathaus Mitte U  Schillingstraße, 10178 Berlin

 THE 8TH BERLIN INTERNATIONAL DIRECTORS LOUNGE [DL8],  FEB, 9 - 19 
  See Feb. 11.

2/15
Los Angeles, California: Filmforum
http://www.lafilmforum.org/
8:00pm, Cinefamily, 611 N Fairfax Avenue

 ROCK & ROLL EXPERIMENTS
  Rock 'n roll and experimental film were on parallel groundbreaking paths
  from the late '60s to the early '70s, fueled by all of the ecstasy and
  anger of a vibrant and explosive California counterculture never to be
  replicated. The instances at which these aural and visual courses
  intersected is the departure point for tonight's program, which we hope
  proves once and for all that in that era, cinema's influence on music
  (and vice-versa) was on par with the holy pairing of sex and drugs. This
  show's line-up — a reverent glimpse at the early stages of the symbiotic
  melding of two mediums — places loopy Zappa fare alongside Christina
  Hornisher's structuralist speculations, and George Lucas' prescient
  early work beside Chris Langdon's pared-down homage to '60s
  singer-songwriter Lou Christie. Come witness the synesthetically
  powerful results of a compact cultural Big Bang.

---------------------------
THURSDAY, FEBRUARY 16, 2012
---------------------------

2/16
Berlin, Germany: Directors Lounge
http://www.directorslounge.net
6pm, Naherholung Sternchen, Berolinastraße 7, behind the Kino International/ Rathaus Mitte U  Schillingstraße, 10178 Berlin

 THE 8TH BERLIN INTERNATIONAL DIRECTORS LOUNGE [DL8],  FEB, 9 - 19 
  See Feb. 11.

2/16
Chicago, Illinois: Conversations at the Edge
http://www.saic.edu/cateblog
6pm, 164 N. State

 RADICAL LIGHT: ALTERNATIVE FILM AND VIDEO IN THE SAN FRANCISCO BAY AREA 
  New Prints/New Preservation. Introduced by Steve Anker, curator and Dean
  of the School of Film/Video at CalArts. Since the 1940s, San Francisco
  has been both a haven and inspiration for an influential constellation
  of moving imagists. "Radical Light" grows out of a decade-long research
  project into the history of experimental film and video in the Bay Area
  helmed by curators at the Pacific Film Archive and CalArts. Showcasing a
  number of recently preserved prints, tonight's program explores the
  faces, places, and iconoclastic spirit of the region through films by
  the Miles Brothers, Jane Belson Conger Shiman, Alice Anne Parker
  Severson, Dion Vigne, Bruce Bailie, Robert Nelson, Mike Henderson, Scott
  Stark, and Leslie Thornton. Followed by a book signing for Radical
  Light: Alternative Film and Video in the San Francisco Bay Area,
  1945–2000. Thanks to PFA Collection Curator, Mona Nagai. This program is
  made possible in part by the National Endowment for the Arts, The Andy
  Warhol Foundation for the Visual Arts, and the William H. Donner
  Foundation. Additional Radical Light programs are being presented at
  Block Cinema (2/2) and Chicago Filmmakers (2/24). 1906–84, multiple
  directors, USA, 16mm, ca. 82 minutes + discussion

2/16
Paris, France: Collectif Jeune Cinema
http://www.cjcinema.org/
8:00, Cinema La Clef, 34, rue Daubenton,75005, Paris, France

 CONCORDIA, VIVIER DE CINEASTES EXPERIMENTAUX
  5/4€ This screening is conceived by Gabrielle Reiner and Marianne
  Ploska. It will be followed by an aperitif with ice cider and maple
  syrups sweets. - The Collectif Jeune Cinema's catalogue contains a
  number of titles by filmmakers based in Montreal. Some of them have made
  theirs films at Concordia University within The Mel Hoppenheim School of
  Cinema. A few of them have crossed the Atlantic to present their last
  creation at the Paris Festival of Different Cinema and testify of the
  pregnant activity of their school. Their appraisal even convinced some
  French filmmakers at Collectif Jeune Cinema to go study in that
  internationally renowned school. While CJC was celebrating it s 40th
  anniversary last year, the MHSoC was celebrating its 35th birthday.
  These anniversaries are the occasion to put their activity under
  scrutiny by being the focus of this screening in Paris. - Many of the
  university filmmakers works with digital technologies, yet most of the
  films that will be screened in this program works with silver emulsion.
  Concordia makes a point of defending film aside the economical
  domination of digital images. During their first year, students are
  asked to make a 16mm film with a Bolex and edit it on a Steenbeck. In
  second year, they can choose between the experimental, documentary or
  fiction sections. In their last year, students in the documentary and
  experimental sections are gathered within one same group called "non
  fiction". Experimental and documentary conspire to break through the
  borders of fiction and its realist rules. - The school also has the
  peculiarity to have an optical printer. The school owns two of those
  complex instrument that enable to print film copies. It also allows to
  work frame by frame on the alteration of that mimetic logic to celebrate
  its accidents and transgress its limits. - How to free yourself from
  narrative norms that are more and more fixated? The answer is provided
  here through 17 films mixing students works altogether with their tutors
  works, all filmmakers working within the same research community. - Some
  of the students are currently setting up a coop for printing Super8,
  16mm and 35mm films in order to carry on and open up their hands on and
  collective practices fostered at Concordia. - PROGRAM - Guillaume
  Vallée, Untitled, 16mm > digital file, 2009, 1'23, Guillaume Vallée,
  Maldoror 1,16mm > digital file, 2009, 0'50, Maplo, L E A V E N, 16mm et
  Super8 > digital file, 2012, 7' - Richard Kerr, De Mouvement, 35mm,
  2009, 7' - Roy Cross, Dream of the Woman in Blue, 35mm, 2008, 6'49,
  Emilie Carreiro, A Esperar Morreu um Burro, 16mm > digital file, 2009,
  4'46, Dan Oniszeczko, End of the reel, 16mm > digital file, 2012, 7' -
  Richard Kerr, Universe of Broken Part, MiniDV, 2007, 10' - Maplo, My
  trip to Klonowa, 35mm > digital file, 2012, 3' - Marc Pelletier,
  Pilgrimage, 16mm > digital file, 2009, 8'50, Isiah Medina, Semi auto
  colors, 16mm > digital file, 2010, 6'10, Alexandre Larose, Brouillard,
  32 passages, Super8, 2009, 3,5' - Sylvain Chaussée, Impala Fall, 35 mm,
  2010, 7' - Emilie Serri, So Certain I was, I was a Horse, 16mm > digital
  file, 2011, 11'30, Alexandre Larose, 930,16mm, 2002, 10'30,
  Fran&ccedilois Miron, What Ignites Me, Extinguishes Me, 16mm, 1990, 9' -
  Brian Virostek, Early Figure, 35mm, 2012, 9'45

-------------------------
FRIDAY, FEBRUARY 17, 2012
-------------------------

2/17
Austin, TX: Austin Cinematheque
8pm, CMB 4.122 otherwise known as 4D, Guadalupe and Dean Keaton

 A SELECTION OF ROSE LOWDER FILMS
  These films will be screened, Rue Des Teinturiers, Boquets 11-20, Les
  Tournesols

2/17
Berlin, Germany: Directors Lounge
http://www.directorslounge.net
6pm , Naherholung Sternchen, Berolinastraße 7, behind the Kino International/ Rathaus Mitte U  Schillingstraße, 10178 Berlin

 THE 8TH BERLIN INTERNATIONAL DIRECTORS LOUNGE [DL8],  FEB, 9 - 19 
  See Feb. 11.

2/17
Boston, Massachusetts: ArtsEmerson
http://ArtsEmerson.org
6:00pm, Paramount Theater

 EMERSON PRESENTS - FILMMAKER ROB TODD IN PERSON
  An evening with Robert Todd, whose films beautifully "draw together
  documentary and experimental elements … [to] explore the
  difficult-to-define emotions engendered by the stresses of civilization"
  (Cinémathèque Ontario). FILMMAKER IN PERSON!

2/17
Kansas City, Missouri: Nelson-Atkins Museum of Art
http://www.nelson-atkins.org
7:00 p.m., Atkins Auditorium, NAMA, 4525 Oak Street

 ELECTROMEDIASCOPE
  "Alien Contact and Cultural Imagination." Gilles Deleuze elucidates an
  understanding of modern cinema as a conceptual practice contiguous with
  contemporary art in his book Cinema 2: The Time-Image. In the process he
  discusses modern political cinema and imagined communities and suggests
  that when considering the new basis on which they are founded in the
  third world and for minorities, art, and especially cinematographic art,
  must take part in a task that is "not that of addressing a people, which
  is presupposed already there, but of contributing to the invention of a
  people." Alien Contact and Cultural Imagination exemplifies this process
  through diverse examples of aesthetic, sociocultural and political works
  that address aspects of imaginable worlds. They tell strange and
  beautiful stories through visual and audible means that are
  reverberating with geopolitical realities while bringing to life a
  missing past. Cinema plays an important role in contemporary art where
  its unique development of images of thought cause us to rethink notions
  of the experimental within the context of the emerging global cinema's
  emphasis on visual and media literacy, a tactile - sensory form of
  editing and imagistic use of sound. This work shares more with the
  connotative syntax of oral histories, poetry, performances and ritual
  traditions than with many established forms of western cinema that are
  more often grounded in textual literacy and a denotative narrative flow.
  The works in Alien Contact and Cultural Imagination take us out of our
  world of habitual experience as John Cage suggested and establish
  alternative ways of experiencing the past and imagining the future.
  These works extend media literacy to emphasize a greater intensity of
  visual and audible world sensations that are already known in the
  performance, song and storytelling of other cultures. They not only
  share and re-imagine older culturally specific myths of origin, sense of
  place and transformative identity, but invent new stories and parables
  that address current geophysical realities for a global world that is
  reconnecting through virtual contact. Myth and storytelling of third
  world cultures meet the science fiction, technology and cinematic
  subcultures of the developed world. This emerging cultural imaginary is
  not a utopia. The storytelling, myths and fables re-imagine an expanding
  present with past and future folds. We can see, feel and empathize with
  these inhabitants of other worlds and perhaps understand them in the
  context of our present culture with its disasters, suspicions of the
  alien other and the guarded stasis of citizens who have lost alien
  sensibilities and sensitivities. Artists are reawakening historical
  moments of alien contact by rethinking the past, subverting the present
  and subjectifying the future. Their new visual mythmaking and
  storytelling are contributing to the invention of a future where memes
  leak out and pollinate broader shared aspects of culture, and in the
  process enable global cultural exchange. --Patrick Clancy. "Baltimore,"
  Isaac Julien (UK), 2003, 11:00 min., single screen version, 16mm film,
  DVD transfer. "The Changing Same," Cauleen Smith (US), 2001, 9:30 min.,
  35mm film shown on DVD. "Dark Matter 1," Cauleen Smith (US), 2006, 7:40
  min., digital video shown on DVD. "The Green Dress," Cauleen Smith (US),
  2005, 14 min., 35mm film shown on DVD. "The Fullness of Time," Cauleen
  Smith (US), 2008, 50 min., digital video shown on DVD. The program began
  on Feb. 10 and continues on Feb. 24. 

2/17
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
7:00 pm, 32 2nd Avenue

 WOOSTER GROUP PROGRAM 1 
  PROGRAM 1: THREE PLACES IN RHODE ISLAND An evening of clips from the
  seminal 1970s trilogy, comprised of SAKONNET POINT, RUMSTICK ROAD, and
  NAYATT SCHOOL, as well as POINT JUDITH (an epilog). These pieces draw
  partly from the autobiographical impulses of Spalding Gray, and also
  incorporate material from sources as diverse as Mary Baker Eddy, T.S.
  Eliot, James Strahs, Arch Oboler, and Eugene O'Neill. "When the trilogy
  was performed together for a two-month run in the winter of 1978-79…its
  imaginative use of film, dance, music, child actors, and non-linear
  texts confirmed its stature as one of the most impressive and innovative
  theater events of the '70s." –VILLAGE VOICE

2/17
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
9:00 pm, 32 2nd Avenue

 WOOSTER GROUP PROGRAM 2
  PROGRAM 2: THE ROAD TO IMMORTALITY A program of clips from ROUTE 1 & 9,
  L.S.D. (…JUST THE HIGH POINTS…), and FRANK DELL'S THE TEMPTATION OF
  SAINT ANTONY. The 1980s trilogy features fierce juxtapositions and
  syntheses of theater, video, music, dance, raucous vaudeville, stilted
  TV soap opera, naked talk shows, and meditations on lust and death,
  religious ecstasy, and social repression. This fusion of high and low
  art incorporates materials from Thornton Wilder, "Pigmeat" Markham,
  Arthur Miller, Michael Kirby, Timothy Leary, Gustave Flaubert, Ingmar
  Bergman, and Lenny Bruce. In 1990 the VILLAGE VOICE called the trilogy,
  "The most significant body of theater work created in this country in
  the past decade." "TWG's theatrical collages present the violent
  inexplicable collision of cultures and artistic materials without
  prettification or overt moralizing, although the work resonates with a
  post-countercultural despair. […] TWG represents the darker vision of
  New York's theatrical avant-garde." –NEW YORK TIMES


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