[Frameworks] This week [January 28 - February 5, 2012] in avant garde cinema

Weekly Listing weeklylisting at hi-beam.net
Sat Jan 28 20:58:49 CST 2012


This week [January 28 - February 5, 2012] in avant garde cinema

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NEW FILM/VIDEO: NON-FEATURE:
"Public Property Cashed In" by Chetan Boray 
 http://www.hi-beam.net/cgi-bin/ann.pl?type=newwork&readfile=490.ann
"Dénouement" by Ismail Bahri
 http://www.hi-beam.net/cgi-bin/ann.pl?type=newwork&readfile=491.ann

MISCELLANEOUS:
Articles on Experimental cinema
 http://www.hi-beam.net/cgi-bin/ann.pl?type=misc&readfile=121.ann

JOB AVAILABLE:
LAXART
http://www.hi-beam.net/cgi-bin/ann.pl?type=jobs&readfile=11.ann

NEW CALLS FOR ENTRIES:
=====================
Australian International Experimental Film Festival (Melbourne, Australia; Deadline: February 03, 2012)
 http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1390.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
Cologne International Videoart Festival (Cologne, Germany; Deadline: May 01, 2012)
 http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1392.ann
Videoex Festival (Zürich , Switzerland; Deadline: January 30, 2012)
 http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1393.ann
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

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
360 | 365 Film Festival (Rochester, NY USA; Deadline: February 01, 2012)
 http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1376.ann
EFF PORTLAND (Portland; Deadline: February 15, 2012)
 http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1377.ann
Montreal Underground Film Festival (Montreal, Quebec; Deadline: January 31, 2012)
 http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1384.ann
Australian International Experimental Film Festival (Melbourne, Australia; Deadline: February 03, 2012)
 http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1390.ann
Videoex Festival (Zürich , Switzerland; Deadline: January 30, 2012)
 http://www.hi-beam.net/cgi-bin/ann.pl?type=calls&readfile=1393.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

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THIS WEEK'S PROGRAMS (SUMMARY):
==============================
 *  Visions, Memory, and A Machine: Optical Manipulations [January 28, Los Angeles, California]
 *  Essential Cinema: the Eleventh Year [January 28, New York, New York]
 *  Essential Cinema: Three Songs About Lenin [January 28, New York, New York]
 *  Mi_losangeles2012:  "A Curious Sense of Calm" [January 28, Torrance]
 *  Essential Cinema: Enthusiasm [January 29, New York, New York]
 *  Experimental Films By Walter Ungerer-50 Years of Filmmaking [January 29, Portland, Maine]
 *  Croatian Animation [January 29, San Francisco, California]
 *  Yankee Clutter - Recently Skewed Histories [February 2, Los Angeles, California]
 *  Yankee Clutter: Recently Skewed Histories [February 2, Los Angeles, California]
 *  Essential Cinema: Valentin/Vigo Program [February 2, New York, New York]
 *  Essential Cinema: Mother [February 2, New York, New York]
 *  A Diptych By Robert Fenz [February 3, Cambridge, Massachusetts]
 *  Barbara Hammer: the Fearless Frame [February 3, London, England]
 *  In Comparison [February 3, New York, New York]
 *  The Blank Generation [February 3, New York, New York]
 *  Unmade Beds [February 3, New York, New York]
 *  Paul Clipson & Marielle Jakobsons [February 3, San Francisco, California]
 *  Outsiders Observe Los Angeles  [February 4, Los Angeles, California]
 *  Unmade Beds [February 4, New York, New York]
 *  The Foreigner [February 4, New York, New York]
 *  Croatian Animation [February 4, Oakland, California]
 *  The Foreigner [February 5, New York, New York]
 *  Blank Generation [February 5, New York, New York]
 *  Golden Age of Zagreb Animation [February 5, San Rafael, California]


Events are sorted by CITY within each DATE.

--------------------------
SATURDAY, JANUARY 28, 2012
--------------------------

1/28
Los Angeles, California: Filmforum
http://www.lafilmforum.org/
4:00pm, Cinefamily, 611 N Fairfax Avenue

 VISIONS, MEMORY, AND A MACHINE: OPTICAL MANIPULATIONS
  In person: Beth Block, Pat O'Neill The optical printer played a crucial
  role not only in the Hollywood special effects industry, but in certain
  strains of experimental cinema as well. Perhaps because of its
  co-habitation with America's commercial film production center, Los
  Angeles artists, more than those of any other experimental film
  community, produced a substantial body of work that engaged with this
  versatile and powerful rephotography device. Screening will include work
  by Adam Beckett, Fred Worden, David Wilson, Beth Block, Pat O'Neill and
  more.

1/28
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
3:30 pm, 32 2nd Avenue

 ESSENTIAL CINEMA: THE ELEVENTH YEAR
  by Dziga Vertov With Russian intertitles, English synopsis available,
  1928, 60 minutes, 35mm, b&w, silent 

1/28
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
5:00 pm, 32 2nd Avenue

 ESSENTIAL CINEMA: THREE SONGS ABOUT LENIN
  by Dziga Vertov In Russian with no subtitles, English synopsis
  available, 1934, 60 minutes, 35mm, b&w

1/28
Torrance: Torrance Art Museum
http://manipulatedimage.com/LosAngeles2012.html
5pm-7pm, Torrance Art Museum, 3320 Civic Center Drive, Torrance, CA ,90503

 MI_LOSANGELES2012:  "A CURIOUS SENSE OF CALM"
  --------Manipulated Image in cooperation with TAM presents "A Curious
  Sense of Calm" -------- MI's inaugural Los Angeles Screening of video
  art curated by Alysse Stepanian -------- Invited video artists: Gerald
  Guthrie (Illinois, USA), Adnan Hussain (Los Angeles, USA), Kika Nicolela
  (São Paulo, Brazil), and Yuko Takemura (London, UK). Guthrie's digital
  animations are philosophical inquiries into a man-made world of
  artificiality and alienation. Hussain's hope is that his work will
  encourage people to "think for themselves." Kika Nicolela uses the
  natural expressions of body and movement to explore the connection
  between the self and society. Yuko Takemura creates sensuous settings
  that draw the viewer into her mysterious world of perceptions. This is
  the first screening of LA-based artist, Adnan Hussain's work by
  Manipulated Image. Adnan will be present at the event to talk about his
  award-winning animated film, "Gul (flower)." Adnan was born in the US
  and lived in Pakistan for several years. On this very special evening at
  TAM, Adnan will share with the audience the process of creating his film
  and stories from behind the scenes of working with very accomplished
  Pakistani folk musicians. The music was composed for "Gul (flower)" by
  Ustad Amb Jogi, and recorded in Sindh, Pakistan. --------  FREE and open
  to the public 

------------------------
SUNDAY, JANUARY 29, 2012
------------------------

1/29
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
4:45 pm, 32 2nd Avenue

 ESSENTIAL CINEMA: ENTHUSIASM
  by Dziga Vertov In Russian with no subtitles, English synopsis
  available, 1931, 67 minutes, 35mm, b&w 

1/29
Portland, Maine: St. Lawrence Arts Center 
http://www.stlawrencearts.org/  
7:00 pm, 76 Congress Street

 EXPERIMENTAL FILMS BY WALTER UNGERER-50 YEARS OF FILMMAKING
  On Sunday, January 29, 2012, St. Lawrence Arts will present a program of
  recent short films by renowned filmmaker Walter Ungerer. In the 1950s –
  60s he was a fixture in The Village art community and underground film
  scene in New York City, which included such names as Ed Emshwiller, Bob
  Lowe, Jonas Mekas, Tony Montanaro, and Stan Vanderbeek. His work spans
  fifty years of filmmaking, from his cinema verité documentaries (THE
  TASMANIAN DEVIL, KEEPING THINGS WHOLE), to narrative films (THE ANIMAL,
  THE WINTER THERE WAS VERY LITTLE SNOW), to more recent DSLR computer
  generated works (KINGSBURY BEACH, BLUE PARROT, MONARDA). Ungerer learned
  his basic filmmaking skills working on various productions: THE COOL
  WORLD, a theatrical film directed by Shirley Clarke; and FREEDOM FOR THY
  PEOPLE, a United Church of Christ documentary shot in Nigeria. He
  produced his own experimental films MEET ME, JESUS and A LION'S TALE
  soon after. Then came the OOBIELAND films, which gave him wide
  recognition. The Museum of Modern Art included UBI EST TERRAM OOBIAE?,
  Part Two of OOBIELAND, in a program that toured the world for one year,
  representing experimental filmmaking in the United States. In the next
  few years the OOBIELAND films (there are five parts), received awards at
  such experimental film festivals as Ann Arbor, Foothill, Bellevue, and
  Baltimore. In 1969 Ungerer left New York for Vermont and a job teaching
  filmmaking at Goddard College. He tapped into resources at the college,
  namely personnel for cast and crew (including BREAD AND PUPPET THEATRE)
  for the longer narrative films he was beginning to produce. For
  thirty-three years he lived in Vermont creating feature length
  experimental narrative films: THE ANIMAL, THE HOUSE WITHOUT STEPS, THE
  WINTER THERE WAS VERY LITTLE SNOW and LEAVING THE HARBOR; always using
  the talents of local actors. In the late twentieth century several
  factors changed Ungerer's way of working. He was no longer able to find
  funding for his projects, though he was the recipient of national and
  regional awards: American Film Institute filmmaker grant, National
  Endowment on the Arts grant, National Endowment of the Humanities grant,
  and several Vermont Council on the Arts grants. The world was beginning
  to accept video as an alternative to film. Lack of funding and a
  curiosity about the creative potential for video and the computer, was
  the incentive for Ungerer to shift from film to video, and from the
  Moviola or Steenbeck film editing machines to the Amiga computer and
  non-linear editing. What occurred with this shift was a change in the
  look and duration of the projects that Ungerer began to create. They
  became much shorter in length from the 75 to 90 minute narrative films,
  to the 5 to 15 minute computer generated works. It was a move from the
  long form to the short form, much like the difference between prose and
  poetry in literature. The projects were also more frequently produced.
  Ungerer moved to Maine in 2003. His methods are now different, methods
  he began to accept at the end of the twentieth century, working on
  computer editing systems and shooting with digital cameras. Nonetheless
  he still relies on an intuitive approach to decision making with a
  predilection for the themes of nature, earth, the unknown and
  unknowable. Please note: Q&A with Walter Ungerer at the end of the
  showing. Contact: Whitney McDorr, Theater Manager; St. Lawrence Arts
  Center, 76 Congress Street, Portland, ME (207) 347-3075.

1/29
San Francisco, California: Artists Television Access
http://www.atasite.org/
8pm, 992 Valencia Street  

 CROATIAN ANIMATION
  The Croatian Animation Cultural Exchange presents an evening of
  historical animations from Croatia (1957-1978) with works by Nikola
  Kostelac, Vatroslav Mimica, Z l a t k o G r g ic and more. The program
  is presented by Vanja Hraste who is a visiting program director of the
  film-club association of Croatia.

--------------------------
THURSDAY, FEBRUARY 2, 2012
--------------------------

2/2
Los Angeles, California: Echo Park Film Center
http://www.echoparkfilmcenter.org/
8:00pm, 1200 North Alvarado Street  

 YANKEE CLUTTER - RECENTLY SKEWED HISTORIES
  Featuring: Echoes of Bats and Men by Jo Dery (2005, 16mm, 7:15) Hull by
  Tara Merenda Nelson (2011, 16mm, 7:30) 0106 by Xander Marro and Mat
  Brinkman (2006, 16mm, 12:15) The Root That Ate Roger Williams by Alee
  Peoples (2011, 16mm/video, 18:00) Passage Upon The Plume by Fern Silva
  (2011, 16mm, 6:45) Brand New Film by Leif Goldberg (2012, 16mm/Video,
  10:00) Curated by Mike Stoltz

2/2
Los Angeles, California: Echo Park Film Center
http://www.echoparkfilmcenter.org/
8 pm, 1200 N Alvarado St (at Sunset)

 YANKEE CLUTTER: RECENTLY SKEWED HISTORIES
  A night of recent 16mm films originating from New England. These shorts
  evoke the true spirit of small frosty towns filled with secret
  restaurants, raw warehouse spaces turned into mad science laboratories,
  low-budget light shows, and piles of ephemera all working against
  centuries of puritanical tradition. Featuring: Echoes of Bats and Men by
  Jo Dery (2005, 16mm, 7:15) The night shift begins with a musical history
  lesson sung by a chubby skunk. Learn about Rhode Island's industrial
  evolution through the midnight flight of a little bat and her many
  friends. Hull by Tara Merenda Nelson (2011, 16mm, 7:30) A journey
  between layers of corporal consciousness, Hull explores the physical
  memory of trauma, and the psychological repercussions of a surgical
  disaster. 0106 by Xander Marro and Mat Brinkman (2006, 16mm, 12:15) A
  single-frame barrage of DIY living quarters, puppeteer frontiers, too
  many cats, silkscreen explosions, portable cooking stoves, zine
  libraries, drum kits, and more - all to the discordant squall of Marro
  and Brinkman's manic sonar hearts. The Root That Ate Roger Williams by
  Alee Peoples (2011, 16mm/video, 18:00) A half truthful documentary of
  what happened to the remains of Providence's founder and champion of
  'free religion'. The other half is perhaps a fabrication of a club based
  on the actual folklore of the root. Shot in 16mm, the film strikes a
  playful balance of truthful story telling and sly farce of related ideas
  and places. Passage Upon The Plume by Fern Silva (2011, 16mm, 6:45)
  "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) Brand New Film by Leif Goldberg (2012, 16mm, 10:00)
  Sure to be a dazzler by the head honcho of National Waste. Curated by
  Mike Stoltz. $5

2/2
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
7:15 pm, 32 2nd Avenue

 ESSENTIAL CINEMA: VALENTIN/VIGO PROGRAM
  Karl Valentin CONFIRMATION DAY / DER FIRMLING 1934, 23 minutes, 35mm,
  b&w. In German with no subtitles; English synopsis available. A father
  and son, celebrating the son's confirmation, go to a fancy restaurant
  and drink all day. They want to order Emmentaler cheese, but can only
  find Affentaler wine on the menu. How did the Affentaler, which they
  think is cheese, get into the bottle? They keep on drinking away,
  attracting attention and causing more and more confusion. "Valentin
  plays a drunken father treating his giggly young son to lunch, and the
  inspired muddle he creates out of a table, two chairs, an umbrella, and
  a watch chain rivals some of Laurel and Hardy's best moments." –J.R.
  Jones, CHICAGO READER & Jean Vigo ZÉRO DE CONDUITE 1935, 44 minutes,
  35mm, b&w. In French with no subtitles; English synopsis available. ZÉRO
  DE CONDUITE, an eloquent parable of freedom versus authority, is set at
  a boys' boarding school and undoubtedly echoes Vigo's own unhappy
  experiences as a child. Under the pressure of various civic groups the
  film was removed from screens several months after its release in 1933.
  It was branded "anti-French" by censors and was not shown again in Paris
  until 1945. Total running time: ca. 70 minutes.

2/2
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
8:45 pm, 32 2nd Avenue

 ESSENTIAL CINEMA: MOTHER
  by Vsevolod I. Pudovkin In Russian with no subtitles, English synopsis
  available, 1926, 104 minutes, 35mm With the simple theme of a
  working-class mother growing in political consciousness through
  participation in revolutionary activity, this film established Pudovkin
  as one of the major figures of the Soviet cinema. A student of Kuleshov
  and an admirer of Griffith's films, he was writing his first book of
  film theory at the same time he was making MOTHER. His expert cutting on
  movement and his associated editing of unrelated scenes to form what he
  called a "plastic synthesis" are amply demonstrated here. Although in
  direct opposition to Eisenstein's shock montage, Pudovkin used a linkage
  method advanced far beyond Kuleshov's theories.

------------------------
FRIDAY, FEBRUARY 3, 2012
------------------------

2/3
Cambridge, Massachusetts: Harvard Film Archive
http://hcl.harvard.edu/hfa
7pm, Harvard Film Archive, 24 Quincy Street

 A DIPTYCH BY ROBERT FENZ
  Filmmaker Robert Fenz in Person Special Event Tickets $12 Correspondence
  Correspondence is my tribute Robert Gardner's body of work. Retracing
  his steps, I filmed in the same locations in which he filmed. Dead Birds
  (1964) was filmed in West Papua, Rivers of Sand (1974) was filmed in
  Ethiopia, and Forest of Bliss (1986) was filmed in Benares, India. My
  goal was to craft a film in dialogue with his body of work. I found my
  images – one might say – to the left-and-right of his frames. I shot the
  majority of the film in lush black-and-white and did not record sound. I
  intended in this way to echo the poetic element in Gardner's film
  documents. Correspondence is as much about Gardner's documentary style
  as it is about filmmaking with silver gelatin material – about how we
  think and remember with film. So, Correspondence is my tribute to
  Gardner, but it is also my homage to a kind of filmmaking in which he is
  a master. – Robert Fenz Directed by Robert Fenz US/Germany 2011, 16mm,
  color, 30 min The Sole of the Foot A series of improvised variations on
  the concept of "place," The Sole of the Foot explores ideas of
  belonging, isolation, and displacement. I filmed in France, Israel, and
  Cuba, among populations whose claim to belonging and identity are
  contested by others who assert a superior right to belong. I chose these
  locations because of questions I have about my own sense of belonging
  and of place. The sound in the film moves in-and-out of sync; the film
  itself is in color. Color, like sync sound, creates an illusion of
  presence. By using location sound, and moving it in or out of sync, I
  try alternately to enhance or mute a sense of alienation and
  disorientation--touched by improvisation—creating a space wherein
  viewers may contemplate their own train of thought as equal participants
  in an act of imaginative co-creation. – RF Directed by Robert Fenz
  US/Germany 2011, 16mm, color, 34 min Berlin Tracks 18h00-20h00 A
  composition of elusive moments and variations of colliding perspectives,
  Berlin Tracks 18h00-20h00 documents the railway tracks stretching out
  from under the Modersohnbrücke (Modersohn Bridge) towards Warshauer Str.
  S-Bahn Station in Berlin, Germany. The abstracted landscape visualizes
  alternative conceptions of time, experience and the ordinary. Directed
  by Shiloh Cinquemani Germany 2010, 16mm, color, 2 min 

2/3
London, England: Tate Modern
http://www.tate.org.uk/modern/programmes/film
7pm, Tate Modern, Bankside, London SE1 9TG

 BARBARA HAMMER: THE FEARLESS FRAME
  3 - 27 February 2012. This major survey of Barbara Hammer's work will be
  launched with the premiere of her new short film, Maya Deren's Sink
  2011, a tribute to Deren's longstanding influence on the artist. The
  month-long series also includes screenings of early, rarely seen Super-8
  films, an evening of expanded cinema performances in the Turbine Hall,
  an event in response to Hammer's work by artist Emily Roysdon, and
  several events featuring artists and speakers drawn from across Europe
  and North America, who testify to the powerful creative community Hammer
  has inspired. The programme will be punctuated with films by friends,
  colleagues, and filmmakers whom Hammer considers crucial influences. In
  addition to Deren, artists include Chick Strand, Stan Brakhage, Shirley
  Clarke, Gunvor Nelson, Chris Welsby, Gina Carducci, Cecilia Dougherty,
  John Greyson, William E. Jones, Liz Rosenfeld, Emily Mode, Scott Berry,
  Kjerstin Rossi and more. Hammer says: 'As an experimental filmmaker and
  lesbian feminist, I have advocated that radical content deserves radical
  form.' She has fearlessly pursued innovation from her earliest
  experiments with sexuality and feminist identity in the 1960s and 70s to
  her stunning perceptual and optical printing experiments during the 80s
  and the documentaries she continues to make that unearth secret
  histories and give voice to those traditionally without one. Her films
  have transformed the screen into an active and experimental field that
  powerfully brings together images and the bodies they represent. Curated
  by Stuart Comer and Barbara Hammer

2/3
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
7:00 pm, 32 2nd Avenue

 IN COMPARISON
  by Harun Farocki In German with English subtitles, 2009, 61 minutes,
  16mm Share + This screening is part of: DEUTSCHE DOCS: THE CONTEMPORARY
  GERMAN DOCUMENTARY Film Notes (ZUM VERGLEICH) For his most recent film,
  Farocki observes the process of manufacturing bricks, in various
  cultures, and across different modes and scales of production. "I wanted
  to make a film about concomitance, and about contemporary production on
  a range of different technical levels. So I looked for an object that
  had not changed too much in the past few thousand years. This could have
  been a shoe or a knife, but a brick becomes part of a building and
  therefore part of our environment. So the brick appears as something of
  a poetic object. I follow its mode of creation and use in Africa, India,
  and Europe." –H.F.

2/3
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
7:15 pm, 32 2nd Avenue

 THE BLANK GENERATION
  NIGHT LUNCH 1975, 32 minutes, 16mm. & BLANK GENERATION 1976, 55 minutes,
  16mm. Poe's first two works, both made in collaboration with Ivan Král,
  are lo-fi concert films that are invaluable documents of the 1970s NYC
  downtown music scene. Featuring performances by the Ramones, Blondie,
  Patti Smith, the Talking Heads, Television, David Bowie, the New York
  Dolls, Wayne County, Freddie Mercury, Johnny Thunders, and others, they
  are unforgettable testaments to a period of unparalleled vitality and
  creativity.

2/3
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
9:30 pm, 32 2nd Avenue

 UNMADE BEDS
  by Amos Poe 1976, 77 minutes, 16mm With Eric Mitchell, Patti Astor, and
  Deborah Harry. "[A] reinvention of the nouvelle vague in the context of
  New York. I wanted to start where Godard started, to go back to basics:
  innocence, romanticism, bohemianism, all the things that made up NYC for
  me at that time. It is the story of an artist: a medium, an ego, and a
  changed society. He thinks his camera is a gun, he thinks he is
  Belmondo, and he thinks NY is Paris. His fate is therefore doomed. So
  when Godard and his pals at the Cinémathèque saw Sirk, Hawks, etc, they
  tried to make films like that – but they failed. Instead they created
  the New Wave. My attempt created a kind of New Wave in New York." –A.P.

2/3
San Francisco, California: Will Brown Gallery
http://wearewillbrown.com/index.php?/project/paul-clipson--marielle-jakobsons/
9pm, 3041 24th Street

 PAUL CLIPSON & MARIELLE JAKOBSONS
  Audio/Visual Performance Paul Clipson is an experimental film artist
  based in San Francisco, California. Marielle V. Jakobsons is a sound
  artist and musician based in Oakland, California. His largely
  improvised, in-camera-edited super-8mm film work generally involves
  projected installation and live collaborative performances utilizing
  sound. A classically-trained pianist and violinist, she collaborates
  extensively in new music/media, improvisation, and experimental pop. By
  employing various dissolve techniques, multiple exposures, and
  macro-imagery, he brings to light subconscious preoccupations and
  unexpected visual forms in our minds and the world around us. Together
  with Gregg Kowalsky, her band Date Palms creates a sound of psychedelic
  minimalism and has released LP's on both Mexican Summer and Root Strata.
  His films have screened around the world and throughout the U.S.,
  including at the Cinémathèque Française, the Rotterdam Film Festival and
  the NYFF Views From The Avant Garde. Her second solo album "Glass
  Canyon" is due out on Students of Decay in Spring, 2012. 

--------------------------
SATURDAY, FEBRUARY 4, 2012
--------------------------

2/4
Los Angeles, California: Filmforum
http://www.lafilmforum.org/
8:00pm, The Echo Park Film Center, 1200 N Alvarado St. (@ Sunset Blvd.) Los Angeles, CA 90026

 OUTSIDERS OBSERVE LOS ANGELES 
  Films looking at Los Angeles by artists who weren't here for the long
  haul -- visitors to our balmy climes. What truths about the city are
  these non-Angeleños able to see, and how do they express them? Films to
  be screened: The Desert People by David Lamelas (1974), Me & Bruce & Art
  by Ben Van Meter (1968), Suite California Stops & Passes Part 1: Tijuana
  to Hollywood Via Death Valley by Robert Nelson (1972-76/2004), and
  Special Warning, by Robert Nelson (1999). This screening is dedicated to
  Robert Nelson, who we lost this January.

2/4
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
7:30 pm, 32 2nd Avenue

 UNMADE BEDS
  See notes for Feb. 3, 9:30 pm. 

2/4
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
9:30 pm, 32 2nd Avenue

 THE FOREIGNER
  by Amos Poe 1978, 95 minutes, 16mm With Eric Mitchell, Patti Astor, and
  Deborah Harry. "A year later I made THE FOREIGNER, a film about a
  European coming to NY. In this case Max Menace (Eric Mitchell), a German
  terrorist who is trying to find a place to hide. But you can't hide in
  jungleland! He is terrorized, and ripped to bits. This is the story of
  the other side of the American dream; the foreigner who doesn't make it.
  A nightmare film in an existential philosophical context, a world where
  less is more." –A.P.

2/4
Oakland, California: Studio Quercus
www.studioquercus.com
8pm, 385 26th Street

 CROATIAN ANIMATION
  The Croatian Animation Cultural Exchange presents an evening of
  historical animations from Croatia (1957-1978) with works by Nikola
  Kostelac, Vatroslav Mimica, Z l a t k o G r g ic and more. The program
  is presented by Vanja Hraste who is a visiting program director of the
  film-club association of Croatia.

------------------------
SUNDAY, FEBRUARY 5, 2012
------------------------

2/5
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
7:00 pm, 32 2nd Avenue

 THE FOREIGNER
  See notes for Feb. 4, 9:30 pm. 

2/5
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
9:00 pm, 32 2nd Avenue

 BLANK GENERATION
  See notes for Feb. 3, 7: 15 pm. 

2/5
San Rafael, California: Christopher B. Smith Rafael Theater
www.cafilm.org
4:15pm, 385 26th Street

 GOLDEN AGE OF ZAGREB ANIMATION
  Beginning in the 1950s, animators from the Zagreb Film Studios in
  Croatia (then Yugoslavia) developed a strong style that was soon known
  around the world at the "Zagreb School" of animation. Vanja Hraste will
  present a special program of Zagreb's best and speak about its colorful
  history. 


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