This week [January 16 - 23, 2000] in avant garde cinema
Scott Stark
Send your event announcements and subscription requests to Craig Fischer at
fisc...@conrad.appstate.edu.
Events are sorted alphabetically BY CITY within each DATE.
SUNDAY, JANUARY 16, 2000
1/16
Atlanta, Georgia: Image Film and Video Center
http://www.imagefv.org/
QUEER AS FOLK
Join us at these special screenings, a presentation of all eight episodes
of the acclaimed British TV series QUEER AS FOLK, and support Out on Film:
Atlanta's Gay & Lesbian Film Festival. Emerging like a cultural Big Bang,
QUEER AS FOLK marks a watershed in on-screen representations of gay people.
The episodic British television show has broken boundaries with its
elements of nudity and sexual frankness. The program is well ahead of its
time in several respects, including its clear-headed balancing of
characters' dignity and attractiveness, with a complete inventory of their
weaknesses: self-hate, cruelty, substance abuse and manipulativeness. This
event will take place at the AMC Buckhead Backlot, 3340 Peachtree Road,
Atlanta; admission is $6, $5 for Image members. For more information, call
the Image Film and Video Center at (404) 352-4225.
1/16
Austin, Texas: Austin Cinemaker Co-op and the University of Texas
Department of Radio-TV-Film
http://http://cinemaker.austin.tx.us/
DAVID GATTEN: THE ART AND CRAFT OF THE HAND-MADE FILM
12-4pm: As part of its ongoing series of screening salons, the Austin
Cinemaker Co-op will host award-winning experimental filmmaker David Gatten
in a workshop emphasizing the hand-made film. Gatten will discuss the
ideas, theories, and motivations behind their use. Participants receive a
historical overview of the art of the hand-crafted film and are introduced
to a number of specific techniques. Topics will include: making cinema
without film; making cinema without a camera; the joy of print stock; and
coloration and chemical manipulation of motion picture films. Participants
will both view films which demonstrate the use of hand-crafting techniques
as well as receive hands-on instruction in a number of these processes.
DON'T FORGET TO WEAR OLD CLOTHES! Admission is $5, $3 for Cinemaker
members. This event will take place in Studio 4E of Communications Building
B at the University of Texas, 26th and Guadalupe, Austin and is open to the
public. For more information, please contact the Austin Cinemaker Co-op at
(512) 236-8877.
1/16
Berkeley, California: Fine Arts Cinema
AN EVENING WITH WET GATE
7:30pm: Wet Gate returns to the Fine Arts Cinema with an (almost) all-new
performance, and begin this marvelous Berkeley rep house's third year as
part of a two-night series of live cinema performances. Two sets will be
performed with a short break in between, and the performance will be
preceded by Barry Spinello's brilliant 1968 short film SONATA FOR PEN,
BRUSH AND RULER, a dazzling Kodachrome eye-popper comprised of 12,000
individually hand-painted film frames (and hand-drawn soundtrack!). Fine
Arts Cinema is located at 2451 Shattuck Avenue at Haste, Berkeley; for more
information, call (510) 848-1143.
1/16
Boulder, Colorado: University of Colorado-Boulder
SUNDAY EVENING WITH BRAKHAGE
7:30pm: Each Sunday evening Stan Brakhage is host for a gathering of
friends and film buffs to view films and videotapes from his incredible
collection. Often viewers will see a world premiere of the latest Brakhage
film. Most evenings those in attendance stay after the showing to talk
about a wide variety of subjects with Stan. These gatherings are held in
room N141 of the Fine Arts building on the Boulder Campus of the University
of Colorado. All are encouraged to attend and the showings are free.
1/16
Buffalo, New York: Hallwalls
http://www.pce.net/hallwall/
LONG NIGHTS, BRIGHT SCREENS: LOVE CANAL, MY BEST FIEND: KLAUS KINSKI, AND
AGUIRRE: THE WRATH OF GOD
2pm: LOVE CANAL (Ghen Dennis, 1995): Documentation of cervical (love canal)
cancer surgery, choreographed video images of hosts, parasites, diagnostic
x-rays, strap-on transmitters, and mutant cells as tourists. Patsy Cline
sings of longing and travel to exotic places. Paired with MY BEST FIEND:
KLAUS KINSKI (Werner Herzog, 1999) and AGUIRRE: THE WRATH OF GOD (Herzog,
1973), two films that document the unforgettable partnership of actor Klaus
Kinski and director Werner Herzog.
1/16
Cambridge, Massachusetts: Harvard Film Archive
http://www.harvardfilmarchive.org/
THE EDGE (1967)
8pm: In this early political narrative, Robert Kramer explores the plight
of a troubled anti-war activist who plans to assassinate the president of
the United States. His resolve forces others in a fragmented and
disillusioned group of political allies to face the threat of government
counter-intelligence and the temptations of middle-age security, and to
re-examine their commitment to radical action. This screening will take
place at the Archive, the Carpenter Center for the Visual Arts, 24 Quincy
Street, Cambridge. For more information, call the Archive at (617)
495-4700.
1/16
Houston, Texas: Aurora Picture Show
http://web.wt.net/~grover/aurora.htm
SPIKING THE PUNCH: WRESTLING NIGHT AT AURORA
3pm: Programmed by Chas Bowie, FotoFest Exhibitions/Publications
Coordinator. Mr. Bowie will be in attendance! A collage of wrestling images
exploring the violence-meets-vaudeville spectacle of the fight, including
Helen Stickler's ANDRE THE GIANT HAS A POSSE. The Aurora Picture Show is
located at 800 Aurora Street, Houston, Texas 77009. For more information,
contact Andrea Grover at gro...@aurorapictureshow.org or (713) 868-2101.
1/16
New York, New York: Bound & Unbound
JOEL SCHLEMOWITZ: FILMBOXES AND SOUND SCULPTURES
The filmboxes and sound sculptures of Joel Schlemowitz are on display now
until January 29, 2000 at Bound & Unbound, 601 West 26 Street, 12th Floor,
New York City. For more information, call (212) 463-7348.
1/16
New York, New York: Whitney Museum Film and Video Department
http://www.sirius.com/%7Esstark/org/whitney
THE AMERICAN CENTURY FILM AND VIDEO PROGRAM: I AM SITTING IN A ROOM: SOUND
WORKS BY AMERICAN ARTISTS: 1950-2000
Note that these works are sound pieces on audiotape and record. At Noon:
Bob Bielecki and Connie Kieltykya, FIELD RECORDINGS (1987-88) and David
Tudor, RAINFOREST: VERSION 1 (1968). At 1:30pm: Ken Nordine, THE SOUND
MUSEUM (1957), Coyle and Sharpe, MANIACS IN A LIVING HELL (early 1960s),
William S. Burroughs and Brion Gysin, RECALLING ALL ACTIVE AGENTS (1960),
Negativland, I STILL HAVEN'T FOUND WHAT I'M LOOKING FOR "U2," A CAPELLA MIX
AND SPECIAL EDIT RADIO MIX (1991), Gregory Whitehead, DEAD LETTERS: A
BROADCAST COLLOQUIUM, PART 1: THE PHILOGRAPHER (1994), Charles Amirkhanian,
CHURCH CAR, VERSION 2 (1981), Pamela Z, GEEKSPEAK (1995), Edwin Torres,
HOLY KID (KILL ROCK STARS) and Joan La Barbara and Kenneth Goldsmith, 73
POEMS (excerpt, 1994). At 3pm: FLUXTELLUS, a program selection by Barbara
Moore. Produced as Tellus #24 (1990). At 4:30pm: Steve Reich, COME OUT
(1966) and Paul Miller, aka DJ Spooky, PROSTHETICA 2000 (1999). For full
details and program schedule, or further information, contact the Film and
Video Department at the Whitney Museum of American Art at (212) 570-3617 or
(212) 570-7754.
1/16
Portland, Oregon: Portland Art Museum
http://www.nwfilm.org/exhibition_nowplaying.html
REEL MUSIC: MEETING PEOPLE IS EASY
4:30pm: Hazel-Dawn Dumpert, LA WEEKLY: "The first great rock documentary of
the million-channel age, MEETING PEOPLE IS EASY [Grant Gee, 1999] follows
the British band Radiohead through Europe and Japan on its 1997 OK COMPUTER
Tour. The film is (like much good rock) indulgent, pretentious and
grandiose. It's also a piece of technical and conceptual virtuosity that
gets to the very heart of what it means to become an international
commodity in a media saturated world simply by playing one's art...Gee goes
for sensation over explication, manipulating wildly kinetic elements of his
picture with a skill that bespeaks self-knowledge: The band, and by proxy
Gee, is not a victim of this meeting of art and commerce, it's a player, no
matter how reluctant. It's a sinister vision that goes well with
Radiohead's own dark sense of alienation..." This screening will take place
at the Guild Theater of the North West Film Center, SW 9th and Taylor,
Portland. For more information, call (503) 221-1156.
1/16
San Francisco, California: Film Arts Foundation
http://www.filmarts.org/
SEMINAR: EXPLORING NEW PRODUCTION MODELS FOR INDEPENDENT FILM
11am: As the Berlin & Beyond Film Festival celebrates its fifth year of
bringing new films from Germany, Austria and Switzerland to the Bay Area,
Film Arts Foundation, the Goethe-Institut and the International Film
Financing Conference (IFFCON) will team up to take a look at production and
co-production opportunities for independent filmmakers. Participants from
Germany include Dr. Arthur Hofer, the chief executive of Studio Babelsberg
Independents (SBI). Just two years old, SBI has produced five award
winning, edgy feature films from young filmmakers and released funds for
shorts and the TV market. Current plans include a portfolio of ten national
and international feature projects for the year 2000. Chris Newby's TEETH,
co-produced with Zero Film is one of the ten. Martin Hagemann from Zero
Film, Berlin will be on hand to discuss this relationship and other
connections to IFFCON. Hagemann, along with Lynn Hershman-Leeson will
present a case study of their partnering on Hershman-Leeson's latest
project MEMOIRS OF ELISABETH FRANKENSTEIN. Rounding out the panel will be
Gail Silva, executive director of FAF. The panel will be moderated by
Michael Ehrenzweig of Telling Pictures who was the founder and former
co-director of IFFCON. This event will take place at the Goethe-Institut,
530 Bush St., San Francisco. For more information, call Film Arts
Foundation at (415) 552-8760.
1/16
Vancouver, British Columbia: Blinding Light
http://www.blindinglight.com/
CRAIG BALDWIN'S SPECTRES OF THE SPECTRUM
8:30pm: San Francisco's found footage godhead Craig Baldwin's latest film
SPECTRES OF THE SPECTRUM is a no-holds-barred information-age overload
exploring the vast range of elements which have overcrowded the spectrum:
everything from Tesla/Edison electricity battles to the current hype of the
computer/internet explosion and beyond are explored using an insanely
rapid-fire editing montage of sound and image (most from Baldwin's massive
collection of industrial films) all smartly built into a time-travelling
narrative. "Nothing less than an alternative history of our century, in
which evil empires of technological masters are excoriated and ridiculed,
and the technological dream world of the ‘information age' is flipped over
like a damp rock" (VIFF). This screening is at the Blinding Light, 36
Powell Street, Vancouver, BC, Canada, and admission is $5. (There is an
annual $3 membership required, which is available at the door.) For more
information, call (604) 878-3366.
1/16
Vienna, Austria : Künstlerhaus Cinema
http://www.e-flux.com/welcome/weiner
MOVED PICTURES OF LAWRENCE WEINER
8:30pm: The Künstlerhaus Cinema is pleased to present the film series MOVED
PICTURES OF LAWRENCE WEINER. A selection of videos and films by Lawrence
Weiner will be shown in Vienna, Austria. In addition, films by Paul
Sharits, Kenneth Anger, and James Benning will be shown in the late night
program. The Künstlerhaus Cinema is located at Karlsplatz 5, 1010 Vienna,
Austria.
1/16
Williamsburg, Brooklyn, New York: Ocularis
http://www.billburg.com/ocularis/
JEJUNE (NOUVELLE VAGUE) AND WEEKEND
7 and 9:30pm: A screening of Bruce McClure's short film JEJUNE (NOUVELLE
VAGUE) (1999), followed by WEEKEND (1967), Jean-Luc Godard's vision of
bourgeois cataclysm. Ocularis is at Galapagos Art and Performance Space, 70
North 6th Street (between Wythe and Kent Avenues) in Williamsburg,
Brooklyn. For more information, call (718) 388-8713.
MONDAY, JANUARY 17, 2000
1/17
New York, New York: Harvestworks
http://www.harvestworks.org/events.html
THE 100TH TURN
12pm: THE 100th TURN is a program of video art created by Harvestworks
Artists In Residence and curated by director Carol Parkinson. Works
included in the program are: YEAR ZEROZERO (Peter d'Agostino,1999-00); TWO
WRENCHING DEPARTURES (Ken Jacobs, 1989); CHECKERS (Caterina Borelli, 1992);
PAN, ZOOM, DESERT (Tirtza Even, 1998); MOVING WITH NO PATTERN (Joan Jonas,
1999); AMBER CITY (Jem Cohen, 1999); TO SORROW (Kit Fitzgerald, 1992);
BLACK DOG DREAMS (Matthew Schlanger, 1988); EXCERPT (L. Halsey Brown,
1999); SHOOT THE PIANO PLAYER (Annie Gosfield, 1999); and LA BLANCHISSEUSE
(Rohesia Hamilton Metcalfe, 1993). THE 100th TURN is shown on Mondays and
Wednesdays, Noon-2pm, through February 2000, at "Arts Interludes," the
Video Wall Program at 1251 Avenue of the Americas (between 49th and 50th
Street, east Concourse), New York City. Admission is free.
1/17
Williamsburg, Brooklyn, New York: Ocularis
http://www.billburg.com/ocularis/
AVANT-GARDE TORCHED SONGS
8:30pm: A program showcasing works by filmmakers featured in the Whitney
Museum's American Century film and video retrospective. Films by Peggy
Ahwesh, Abigail Child, Henry Hills, Lewis Klahr, Guy Maddin, Keith Sanborn,
Phil Solomon, Scott Stark, and Leslie Thornton. Ocularis is at Galapagos
Art and Performance Space, 70 North 6th Street (between Wythe and Kent
Avenues) in Williamsburg, Brooklyn. For more information, call (718)
388-8713.
TUESDAY, JANUARY 18, 2000
1/18
Berkeley, California: Pacific Film Archive
http://www.uampfa.berkeley.edu/pfa/
NEW CENTURY/NEW CINEMA
7:30pm: Kathy Geritz: "Tonight's program highlights talented new filmmakers
whose complex, haunting films reveal an equal fascination with resonant
images and with ideas about images. Amie Siegel's mesmerizing and beautiful
THE SLEEPERS is comprised of a series of tableaux, lives largely glimpsed
at a distance through the windows of apartment buildings. A man talks on
the phone as his wife reads the paper, another watches TV, a woman stares
out into the darkness. We wait, we watch, expectant, patient, knowing
something will unfold, knowing nothing will be clear. The stories we create
from these building blocks illuminate ourselves, our concerns, and also the
filmmaker's views on cinema. Brian Frye's quirky ANATOMY OF MELANCHOLY to
be a found film, probably a student film, with amateur performers
struggling to convey weighty emotions. Frye's film refuses the question of
moral responsibility enacted in the found film, and instead is accountable
towards the qualities of the film medium itself. K. L. Burdette's
absorbing, dense EVEN LOVERS HAVE STILL LIVES probes a series of troubled
romances, some of which flounder due to an awareness of society's
strictures, others to a lover's sense of self. Using found texts and
footage, from Kathy Acker's ‘Rimbaud' to David Lean's BRIEF ENCOUNTER,
Burdette finds similar subcurrents within the stories she retells, and
explores whether, ironically, narratives limit our imagining of desire."
The Pacific Film Archive is located at 2575 Bancroft Way, Berkeley;
admission is $6. For more information, call (510) 642-5249.
1/18
Cambridge, Massachusetts: Harvard Film Archive
http://www.harvardfilmarchive.org/
THE EDGE (1967)
8:30pm: A screening of Robert Kramer's THE EDGE. For more details, see
January 16.
1/18
New York, New York: The Robert Beck Memorial Cinema
BRUCE MCCLURE, ON HIS OWN...
9pm: McClure: "To the Curators, Bradley Eros and Brian Frye: I would like
to propose an evening's entertainment that would consist of a program to be
selected on the spot. I have included a filmography, incomplete, but
thoroughly so, for your consideration and would hope that you would permit
me to select by a draw one film to be projected at 3 frames per second in
front of the living audience. This process could be repeated as long as a
soul remains or for some maximum duration, the length of which I concede to
your discretion. Be forewarned, however, that I am Pro-clamor and may
choose to take the gathering of the best-smelling crowd in the world as an
occasion for strutting, posturing and unleashing the 3 FRAME MANIFESTO."
Admission is $5. This program will take place at Collective Unconscious 145
Ludlow Street, New York City. For more information, contact Brian Frye at
(718)622-5360.
1/18
New York, New York: Whitney Museum Film and Video Department
http://www.sirius.com/%7Esstark/org/whitney
THE AMERICAN CENTURY FILM AND VIDEO PROGRAM
At 11:30am: Peggy Ahwesh, ODE TO THE NEW PRE-HISTORY (1984-87), Tim Allen,
UNTITLED (1990), Vincent Grenier, FEET (1994), Gail Camhi, AN EVENING AT
HOME (1979), Luther Price, CLOWN (PART ONE) (1992), Peter Kubelka, PAUSE!
(1977) and Donigan Cumming, A PRAYER FOR NETTIE (1995). At 2pm: Voice
Crack. Mindy Faber, DELIRIUM (1993), Ralph Arlyck, SEAN (1969), Peggy
Ahwesh, MARTINA'S PLAYHOUSE (1989), Jennifer Montgomery, HOME AVENUE
(1989), Curt McDowell, RONNIE (1972) and Tom Palazzolo and Jeff Kreines,
RICKY AND ROCKY (1973). At 4pm: Teenage Wasteland. Joel de Mott and Jeff
Kreines, SEVENTEEN (1982). For full details and program schedule, or
further information, contact the Film and Video Department at the Whitney
Museum of American Art at (212) 570-3617 or (212) 570-7754.
1/18
Toronto, Ontario, Canada: Cinematheque Ontario
http://www.bell.ca/filmfest/cinematheque/independents.htm
ARTHUR LIPSETT: FILMMAKER IN FREE FALL
7pm: Chris Gehman: "The biography of Arthur Lipsett (1936-1986) has tended
to overshadow his films. A witness to his mother's suicide at the age of
ten, an Academy award nominee at the age of twenty-five, and a suicide
himself just before his fiftieth birthday, Lipsett enjoyed a decade of
explosive creativity and wide exposure from 1960-70, followed by years of
decline and neglect. Lipsett's films, unsettling combinations of found and
original sounds and images often culled from the ‘outs' of his co-workers'
documentaries, are contemporary with important works by Bruce Conner,
Kenneth Anger, Ken Jacobs and other figures of the avant-garde, but stand
apart from any ‘school' or movement. Lipsett's career with the National
Film Board of Canada began in the animation department, which had a lasting
influence on his filmmaking methods: he generally completed the soundtracks
to his films first, fitting image to sound, a standard practice in
animation. The films' moment-to-moment shifts of style, tone and rhythm
also recall the cartoon scores of Carl Stalling and anticipate a host of
later artists' work, from the game scores and fast-changing pastiches of
composer John Zorn and the tape collages of Negativland and Violence and
the Sacred to the situationist détournements of Guy Debord and the
troubling collage films of Julie Murray [...] This program represents a
singular opportunity to see almost all of Lipsett's completed work (apart
from straight documentary and animation commissions)." Film will include A
TRIP DOWN MEMORY LANE (1965), VERY NICE, VERY NICE (1961), FLUXES (1967),
21-87 (1964), FREE FALL (1954) and N-ZONE (1970). Terence
Macartney-Filgate, a former colleague of Lipsett's, and journalist and
broadcaster Kevin Courrier, will present the screening. All Cinematheque
Ontario screenings are held at Jackman Hall located in the Art Gallery of
Ontario, 317 Dundas Street West, Toronto. For more information, call the
Cinematheque at (416) 968-3456.
1/18
Vancouver, British Columbia: Blinding Light
http://www.blindinglight.com/
CRAIG BALDWIN'S SONIC OUTLAWS
8:30pm: Craig Baldwin's inspired SONIC OUTLAWS explores issues of copyright
infringement, "fair use" and culture jamming, blowing the top off
documentary structure and featuring a broad range of interviews and visits
with the leading edge of artists and musicians working against the imposed
limitations of current copyright laws and "intellectual property".
Featuring more formats than you can shake a stick at including video,
pixelvision and 16mm original and found footage, Baldwin shoots interviews
and samples snippets of works by John "Plunderphonics" Oswald, Emergency
Broadcast System, and even harkens back to the Dadaists and the
Situationists. The film centers around the trials and tribulations of
NEGATIVLAND, the SF-based sound collage group best known for their battle
against U2's record company. A legal battle prompted by the release of
their own album entitled U2 which featured heavily sampled elements of the
Irish group's songs as well as Casey Kasem furiously cursing, Negativland's
case is the perfect cornerstone for a smart and speedy study of the
artistic, political and legal concerns that stem from visual and aural
collage. An essential addition to the Baldwin oeuvre as it taps into the
cultural production so essential and inherent in his own work. This
screening is at the Blinding Light, 36 Powell Street, Vancouver, BC,
Canada, and admission is $5. (There is an annual $3 membership required,
which is available at the door.) For more information, call (604) 878-3366.
WEDNESDAY, JANUARY 19, 2000
1/19
Berkeley, California: Pacific Film Archive
http://www.uampfa.berkeley.edu/pfa/
SIZE MATTERS: WAX, OR THE DISCOVERY OF TELEVISION AMONG THE BEES
7:30pm: Steve Seid: "WAX (David Blair, 1991) is an adventurous electronic
narrative combining pseudohistory, metaphysics, apiary trivia, otherworldly
humor, and remarkable video techniques. This speculative fiction is set in
Alamogordo, New Mexico, where Jacob Maker designs gun sight displays at a
flight-simulation facility. In his spare time, he tends hives filled with
Mesopotamian bees inherited from his grandfather, a beekeeper with a
dubious history. Eventually, the bees communicate the presence of a second
reality occupied by the spirits of the future. A New York-based artist,
David Blair has made extensive use of newer video techniques, producing
graphically fluid transitions between the tape's many ‘realities.'
Fantastical shifts in imagery are subtly fused through electronic
synthesis. This is not a conventional use of special effects, but rather an
attempt to fabricate a completely imaginative realm. In WAX, the
speculative world of the bees has the same seamless veracity as Jacob
Maker's earthbound reality. All planes of existence are equally verified by
the overarching context of electronic space. Perhaps WAX points toward the
waning of the traditional story." The Pacific Film Archive is located at
2575 Bancroft Way, Berkeley; admission is $6. For more information, call
(510) 642-5249.
1/19
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
NEW FILMMAKERS SERIES: RADIATION
7pm: Anthology's New Filmmakers series. After a series of short films, the
feature presentation will be RADIATION (Suki Hawley and Michael Galinksy,
1999): Tod Booth: "Unai has been a concert promoter since he was 15 years
old. Now it's years later, and Unai is still on the road, promoting bands
in and around Madrid, selling speed to make ends meet, snorting speed to
make things worse, and pretty sick of the whole scene. In debt to his
family and his dealer, shamelessly using and abusing his friends, he's
spiraling out of control. He gets a bit of the old magic back when he meets
Mary, an American poetry slammer who he thinks has star potential. But Unai
may be too addicted to his reckless lifestyle for even the dazzling Mary to
turn it around. Fresh from the 1999 Sundance Film Festival, RADIATION is an
evocative, hard-edged look at the grind of small time concert touring (with
appearances by such bands as Come, Stereolab, and Will Oldham), blessed
with terrific performances, a razor-sharp script, and a captivating Spanish
backdrop." Anthology is located at 32 2nd Avenue, New York; for more
information, call (212) 505-5181.
1/19
New York, New York: Harvestworks
http://www.harvestworks.org/events.html
THE 100TH TURN
12pm: THE 100th TURN is a program of video art created by Harvestworks
Artists In Residence and curated by director Carol Parkinson. For more
details, see January 17.
1/19
New York, New York: St. Mark's Church
THE POETRY PROJECT: GARY SULLIVAN AND ELAINE EQUI
8pm: Sullivan writes, "If you come (oh, please come), definitely introduce
yourself to me; I want to hook up with people on this list [Frameworks].
Elaine Equi is a fabulous poet and a great reader, so even if I totally
suck (& I'm going to try my hardest not to!), it'll be worth it. Plus, I'm
going to TRY to have pages from my Jack Smith comic book bio there for
viewing, if anyone's curious about that." Admission is $7, $3 for members.
This reading will take place at St. Mark's Church, 10th Street and 2nd
Avenue, New York City.
1/19
New York, New York: The Pink Pony
FILM AS MATERIAL: THE WORKS OF PAUL SHARITS AND BRUCE MCCLURE
8pm: Screenings of APPARENT MOTION (Paul Sharits, 1975), ENDLONG (Bruce
McClure, 2000; premiere screening!) and AXIOMATIC GRANULARITY (Paul
Sharits, 1973). This screening will take place at the Pink Pony, 176 Ludlow
Street, New York City; for more information, contact Amy Granat at
lul...@hotmail.com.
1/19
New York, New York: Whitney Museum Film and Video Department
http://www.sirius.com/%7Esstark/org/whitney
THE AMERICAN CENTURY FILM AND VIDEO PROGRAM
At Noon: Eric Saks, TOUCH TONE (1995), YOU TALK/I BUY (1990) and CREOSOTE
(1996). At 2pm: Destroy the Flower (Cinema of Regression). Richard Kern and
Nick Zedd, THRUST IN ME (1984), Scott and Beth B., LETTERS TO DAD (1979),
Vivienne Dick, BEAUTY BECOMES THE BEAST (1979) and Tracy MacCullion, GASH
(1998). At 4pm: In Person with Joe Gibbons: PRESENCES (excerpt, 1977-),
CONFIDENTIAL (Part 2) (1980), ONOUROWN (with Tony Oursler, Part Two, 1989)
and SPYING (1978-79). For full details and program schedule, or further
information, contact the Film and Video Department at the Whitney Museum of
American Art at (212) 570-3617 or (212) 570-7754.
1/19
Toronto, Ontario, Canada: Cinematheque Ontario
http://www.bell.ca/filmfest/cinematheque/independents.htm
KEN JACOBS' NERVOUS SYSTEM PERFORMANCE: THE GEORGETOWN LOOP, ONTIC ANTICS
STARRING LAUREL AND HARDY AND BERTH MARKS
7pm: A rare Toronto visit by legendary New York film performance artist Ken
Jacobs, whose Nervous System is a specially-devised method for presenting
found film material by hand, rather than running it through a standard film
projector. Jacobs projects images from coils of film which he manipulates
with small instruments; the resulting image both abstracts the source
material and imbues it with a strange new life. For this evening's
programme, Jacobs bookends his performance of ONTIC ANTICS STARRING LAUREL
AND HARDY (1998) with two standard projection films: THE GEORGETOWN LOOP
(1997), in which images of a train ride are printed as mirror images,
creating an effect of cascading abstraction: and the Laurel and Hardy short
BERTH MARKS (Lewis R. Foster, 1929), which provides the raw material for
ONTIC ANTICS. All Cinematheque Ontario screenings are held at Jackman Hall
located in the Art Gallery of Ontario, 317 Dundas Street West, Toronto. For
more information, call the Cinematheque at (416) 968-3456.
1/19
Vancouver, British Columbia: Blinding Light
http://www.blindinglight.com/
CRAIG BALDWIN'S SONIC OUTLAWS
8:30pm: A screening of Craig Baldwin's SONIC OUTLAWS, an exploration of
issues of copyright infringement, "fair use" and culture jamming. For more
details, see January 18.
1/19
Vienna, Austria: University of Technology Vienna
LIVING INSIDE: SUBJEKTIVE RäUME/PRIVATE DIMENSIONEN
Program 3: im inneren der familie Losing: A Conversation With The Parents
(Martha Rosler) USA 1977, Video, col, 18:39 min; Mary Krismas (Elke
Krystufek) A 1992, Video, col, ca. 20 min (extract); Today (Eija-Liisa
Ahtila) FL 1996-97, 16/35mm auf BETA SP überspielt, col, 10 min; Facing a
Family (VALIE EXPORT) A 1971, Expanded Movie, Video, TV-Aktion, Imaginäre
Leinwand, b&w, 5 min; Knittelfeld - Stadt ohne Geschichte (Gerhard
B.Friedl) D/A 1997, 16mm, col, 35 min Program at 19.30. University of
Technology Vienna, Großer Aktzeichensaal, Karlsplatz 13, Stiege 1/4.Stock,
A-1040 Vienna
THURSDAY, JANUARY 20, 2000
1/20
Cambridge, Massachusetts: Harvard Film Archive
http://www.harvardfilmarchive.org/
THE FALL OF THE HOUSE OF USHER (LA CHUTE DE LA MAISON USHER) (1928)
9pm: The last avant-garde film Jean Epstein made before he broke with the
movement is based on a tale by Edgar Allan Poe. The mysterious house of
Usher is visited by a friend who finds Roderick following the family
tradition: he paints his wife's portrait with such passion that he draws
the very life from her to put into his picture. Refusing to accept her
death, Roderick declines to have her coffin nailed shut. Everything in this
film is subordinated to the creation of atmosphere. Misty, fog-shrouded
scenes, slow-motion filming, low angles, lighting, and camera tricks
contribute to a masterful evocation of the macabre. Silent with French
intertitles and English translation; live performance by Sabana Blanca.
This screening will take place at the Archive, the Carpenter Center for the
Visual Arts, 24 Quincy Street, Cambridge. For more information, call the
Archive at (617) 495-4700.
1/20
Minneapolis, Minnesota: Walker Art Center
http://www.walkerart.org/jsindex.html
GLOBAL CONCEPTUALISM: FILMS BY MARCEL BROODTHAERS
In conjunction with the exhibition GLOBAL CONCEPTUALISM: POINTS OF ORIGIN,
the Walker will present a screening of short films by Marcel Broodthaers.
This screening will take place at the Lecture Room Walker Art Center
Auditorium, at the corner of Vineland Place and Lyndale Avenue South,
Minneapolis, Minnesota. For more information, call (612) 375-7622.
1/20
New York, New York: Museum of Modern Art
http://www.sirius.com/%7Esstark/org/moma/moma.html
BIG AS LIFE: AN AMERICAN HISTORY OF 8MM FILMS
6pm: COSMIC RAY I, II, III (Bruce Conner, 1965), FOUR SCREEN TV FILM (John
Broderick, 1968), NEW YORK CITY POST CARD PAINTING (John Baldessari, 1971),
REPORT (Bruce Conner, 1968), SOME PHASES OF AN EMPIRE (Nina Fonoroff,
1984), SPLITTING YOU SPLITTING ME STILL (Scott Stark, 1988), THE HOLLYWOOD
FILM LOOP (John Baldessari, 1973), TR'CHEOT'MY P'SY (Julie Murray, 1988),
BLACK AND WHITE & GRAIN (Stuart Sherman, 1993) and A COLOR MOVIE (Cecile
Fontaine, 1983). Eight artists' very different personal responses and
reworkings of media images as experienced in domestic settings. From the
rephotographed, looped, collaged, played backwards, and/or
re-contextualized images of popular feature film footage or porn flicks, to
television or postcards suspended in time or space, the artists put their
individual marks on mass media– derived images, transforming and
questioning their meanings. Program screenings are held in The Time Warner
Screening Room, Museum of Modern Art, 11 West 53 Street, New York City.
Seating is limited to fifty; admission is free after 5:30. For more
information, call (212) 708-9400.
1/20
New York, New York: The Kitchen
http://anansi.panix.com:80/kitchen/
DIGITAL H@PPY HOUR
5:30pm: Rhizome.org curates a series of Kitchen-hosted events where
Internet artists show and talk about their online artwork. The setting for
Digital H@ppy Hour is The Kitchen's second floor theater, transformed into
a wired lounge environment with refreshments and libations. Admission is
$8. The Kitchen is located at 512 West 19th Street, New York City. For more
information, call (212) 255-5793.
1/20
New York, New York: Whitney Museum Film and Video Department
http://www.sirius.com/%7Esstark/org/whitney
THE AMERICAN CENTURY FILM AND VIDEO PROGRAM
At 1:15pm: The Unbelievable Truth. Cauleen Smith, CHRONICLES OF A LYING
SPIRIT (BY KELLY GABRON) (1994-95), Matthew Buckingham, THE TRUTH ABOUT
ABRAHAM LINCOLN (1992), Emily Breer and Joe Gibbons, MOBY RICHARD (1995),
Anne McGuire, JOE DI MAGGIO 1, 2, 3 (1993) and Matthew Buckingham, AMOS
FORTUNE ROAD (1996). At 2:30pm: Cinema and its Double. Elizabeth Subrin,
SHULIE (1997) and William Greaves, SYMBIOPSYCHOTAXIPLASM: TAKE ONE (1969).
At 4:45pm: Dots and Loops: Rupture, Rapture, and Rant. John Brattin, FAT
HEART (1990), Keith Sanborn, SOMETHING IS SEEN BUT ONE DOESN'T KNOW WHAT
(1986), tENTATIVELY a cONVENIENCE, DISZEY SPOTS (1993) and Craig Baldwin,
TRIBULATIONS 99: ALIEN ANOMALIES UNDER AMERICA (1990). At 6pm: PEGGY AND
FRED IN HELL by Leslie Thornton: THE PROLOGUE (1984), PEGGY AND FRED IN
KANSAS (1987), PEGGY AND FRED AND PETE (1988), (DUNG SMOKE ENTERS THE
PALACE) (1989), INTRODUCTION TO THE SO-CALLED DUCK FACTORY (1990), WHIRLING
(1996), THE PROBLEM SO FAR (1996) and CHIMP THE NORMAL SHORT (1999). For
full details and program schedule, or further information, contact the Film
and Video Department at the Whitney Museum of American Art at (212)
570-3617 or (212) 570-7754.
1/20
San Jose, California: Cine16
http://www.cine16.com/
BACK TO CHINA: TWO MORE FROM THE HEART OF THE DRAGON
7pm: I have often felt that the twelve-part HEART OF THE DRAGON series was
not only the most complete, dynamic portrayal of a country ever to be shown
in classrooms, it was also probably the most effective serial treatment of
a given theme. HEART OF THE DRAGON is therefore not only a fascinating
glimpse into what was, in 1983, a country relatively unknown in the West,
it is also a visual textbook for the student of documentary filmmaking.
There are a number of reasons DRAGON rose above other BBC-produced
documentary series from that era, and one may have well been that, in
eschewing on-screen hosts such as Alistair Cook, Kenneth Clark, and Jacob
Bronowski in favor of the non-visual narration of erudite Anthony Quayle,
the director was able to more seamlessly integrate visuals with text.
Tonight, your host Barinda Samra will show two of the series we've not yet
seen (last year we showed EATING, MEDIATING, and WORKING). TRADING (Nigel
Houghton, 1984): Opium transport is investigated, as well as other related
and unrelated goods and services. CORRECTING (Peter Montagnon, 1984): The
indictment & trial of Ni Chen-Ying, who robbed her neighbors. Cine 16 is
held at the Agenda Restaurant and Lounge, 399 South First Street, San Jose,
California, and admission is free.
1/20
Toronto, Ontario, Canada: Cinematheque Ontario
http://www.bell.ca/filmfest/cinematheque/independents.htm
KEN JACOBS' NERVOUS SYSTEM PERFORMANCE: DISORIENT EXPRESS, OPENING THE
NINETEENTH CENTURY: 1896 AND BITEMPORAL VISION: THE SEA
7pm: Cinematheque Ontario launches its Abstract Cinema series with a rare
Toronto visit by New York film performance artist Ken Jacobs. For more than
forty years, Jacobs has been a central figure of the American avant-garde.
He studied with abstract expressionist painter Hans Hofmann and worked
closely with filmmaker/performance artist Jack Smith in the Fifties and
Sixties. Jacobs' approach to cinema unites his interest in the formal,
social and physiological aspects of projected images. His performances use
the film projector as an apparatus to explore the realm between two- and
three-dimensional imagery. DISORIENT EXPRESS (1995) and OPENING THE
NINETEENTH CENTURY: 1896 (1989) display Jacobs' fascination with analyzing
and seeing archival films anew. Hallucinogenic, mesmerizing, and highly
self-reflexive, BITEMPORAL VISION: THE SEA (1994) is an epic Nervous System
performance which draws on footage of the Pacific Ocean shot by filmmaker
Phil Solomon. Ken Jacobs' performances challenge and reward viewers with an
unparalleled visual experience. All Cinematheque Ontario screenings are
held at Jackman Hall located in the Art Gallery of Ontario, 317 Dundas
Street West, Toronto. For more information, call the Cinematheque at (416)
968-3456.
1/20
Vancouver, British Columbia: Blinding Light
http://www.blindinglight.com/
BYO8: 3RD DEGREE MEDIA BURN
8:30pm: Deep in the centre of two weeks devoted to media mayhem sits this
edition of BYO8, your opportunity to bring down the best found
footage/TV-snatched/moving image ephemera you can get your hands on! We can
show 16mm, Super 8 and VHS; 10 minutes max please (excerpts accepted). Only
$3 if you're carrying! This screening is at the Blinding Light, 36 Powell
Street, Vancouver, BC, Canada, and admission is $5. (There is an annual $3
membership required, which is available at the door.) For more information,
call (604) 878-3366.
1/20
Vienna, Austria: University of Technology Vienna
LIVING INSIDE: SUBJEKTIVE RäUME/PRIVATE DIMENSIONEN
Program 4: beziehungsräume Remote Control (Vito Acconci) USA 1971, Video,
b&w, ca. 20 min (extract); Szenen (Franziska Koch) CH 1998,
Video/Doppelprojektion, col, 35 min; Menschenfrauen (VALIE EXPORT) A 1979,
16mm, col + b&w, 110 min; Regie: VALIE EXPORT, Buch: Peter Weibel, VALIE
EXPORT (Mitarbeit), Kamera: Wolfgang Dickmann Program at 19.30. University
of Technology Vienna, Großer Aktzeichensaal, Karlsplatz 13, Stiege
1/4.Stock, A-1040 Vienna
FRIDAY, JANUARY 21, 2000
1/21
Berkeley, California: Zellerbach Hall
GARDEN / THE BREATHING SHOW
GARDEN, a film by Abraham Ravett in collaboration with
dancer/choreographer, Bill T. Jones, will be shown as part of Jones' solo
performance THE BREATHING SHOW.
1/21
Buffalo, New York: Hallwalls
http://www.pce.net/hallwall/
DEAR JOAN, MARCELLO MASTROIANNI: I REMEMBER AND 81/2
8pm: DEAR JOAN (Stephanie Gray, 1999) is a Super-8, hand-processed film
letter to the heroine of butch dyke-ness, Joan of Arc. Enraged that
knowledge of Joan of Arc's existence eluded her in childhood, the filmmaker
fantasizes about this female warrior as if she had lived in Buffalo.
Followed by MARCELLO MASTROIANNI: I REMEMBER (Anna Maria Tato, 1999), a
documentary on legendary Italian actor Marcello Mastroianni, and Federico
Fellini's 81/2 (1963).
1/21
Cambridge, Massachusetts: Harvard Film Archive
http://www.harvardfilmarchive.org/
MEXPERIMENTAL CINEMA: 60 YEARS OF AVANT-GARDE MEDIA ARTS FROM MEXICO
(PROGRAM 1: SURVEYING THE TERRAIN)
7pm: Mexperimental Cinema is the first major exhibition to consider the
history of Mexico's alternative film and video practices. Guest curators
Rita González and Jesse Lerner have collected firsthand accounts and combed
Mexican archives to compile this substantial documentation of Mexican
experimental cinema throughout the century. The first program is designed
to provide an overview of the eclecticism of the series as well as to
demonstrate the curators' broad conception of the term "experimental."
Works include: HUMANIDAD (HUMANITY) (Adolfo Best Maugard, 1934); MAGUEYES
(Rubén Gámez, 1962); EL DESPOJO (THE DISPOSSESSION) (Antonio Reynoso,
1958-60); UNTITLED (QUIERO SER UN ACTOR) (I WANT TO BE AN ACTOR) (Fernando
Sampietro, 1970s); DESNUDO DESCIENDE (Sylvia Gruner, 1986); DESNUDO CON
ALCATRACES (Sylvia Gruner, 1986); PECADO ORIGINAL REPRODUCCIÓN (Sylvia
Gruner, 1986); EL FIN (THE END) (Sergio García, 1970); RETRATO DE LA
GENERACION EN CRISIS (PORTRAIT OF THE CRISIS GENERATION) (Roberto López,
1998); and MEDIAS MENTIRAS (HALF LIES) (Ximena Cuevas, 1994). This
screening will take place at the Archive, the Carpenter Center for the
Visual Arts, 24 Quincy Street, Cambridge. For more information, call the
Archive at (617) 495-4700.
1/21
Chicago, Illinois: Chicago Filmmakers
http://www.chicagofilmmakers.org/
SHIFTING POSITIONS: NEW VIDEO PART ONE
7pm: The personal, political, cultural, and emotional concerns of the
artists are explored in this program of new video work. Tonight's program
includes Suzie Silver's THE LOOK OF LOVE: A GOTHIC ROMANCE (1998) "an
experimental video and audio collage in four acts. SMALL LIES, BIG TRUTH
(1999) by Shelly Silver: In turns funny, disturbing and glisteningly
sensual small lies, BIG TRUTH is a tape about love, relationships and the
joys and banality of sex in the late 20th century, with eight people read
fragments from the testimony of William Jefferson Clinton and Monica S.
Lewinsky, as published in the Starr Report. JOHNNY TAKE A DIVE (1999) by
Chicago video artist Jennifer Reeder: "An MTV songstress embodies
temptation and mystery, magnifying the hype of seduction and sexuality"
(New York Video Festival). THE APPARENT TRAP (1999): Julie Zando uses the
Disney film THE PARENT TRAP as a reference point in her new video.
Chicagoan Dara Greenwald's BOUNCING IN THE CORNER #36DDD (1999.) is a
tongue-in-cheek parody of/homage to an early Bruce Nauman videotape. Leah
Gilliam's APESHIT (1999) uses footage from an obscure 8mm film trailer for
BATTLE FOR THE PLANET OF THE APES to highlight the unstable relationship
between the real, historical past and the distant, imaginary future. Kathy
High's SHIFTING POSITIONS (1999) is the artist's semi-autobiographical
/fictional trilogy, exploring becoming queer, her father's dementia and our
mid- and end-of-life crises. This event will be held in the Claudia Cassidy
Theater of the Chicago Cultural Center, 78 East Washington Street, Chicago.
Admission is free. For more information, call Chicago Filmmakers at (773)
293-1447.
1/21
Chicago, Illinois: The Expatriate Cafe
http://www.thexpatcafe.com/sys-tmpl/door/
OPEN SCREENING
7:30pm: A monthly screening featuring short video, film and audio pieces.
If you are an independent video, film or audio maker and would like to
screen your work in Chicago, please contact The Expatriate Cafe or bring
your finished short in person to the screening held at Chicago Access
Corporation, 322 S. Green Street, Chicago. For more information, contact
Basia Mosinski at ba...@thexpatcafe.com or (312) 243-0937.
1/21
Kansas City, Missouri: ELECTROMEDIASCOPE
BIG WIGS
8pm: BIG WIGS is a special collaborative event with newEar, Kansas City's
contemporary chamber ensemble, The program will include the world premiere
of David Cope's MOZART (AN OPERA AFTER MOZART), a work composed by a
computer program utilizing Cope's EXPERIMENTS IN MUSICAL INTELLIGENCE. Cope
will be in person at the performance. Also performed on the 21st will be
Nick Didkosky's SCHUBERTIADE, which uses real-time statistical techniques
to transfigure Schubert's IMPROMPTU IN E FLAT MAJOR into a live manipulated
performance that shifts between faithfully performed passages and radical
distortions. This event will take place at St. Mary's Episcopal Church,
13th and Holmes Street, downtown Kansas City, Missouri. Tickets are $13 and
$7 (student) at the door or $10 in advance from the Central Ticket Office
at 816-235-2700. For more information, contact Electromediascope curators
Gwen Widmer and Patrick Clancy at 2gwe...@gvi.net.
1/21
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
PIP CHODOROV PROGRAM 1: SLOW
8 and 10pm: Chodorov: "The first of two programs of contemporary
experimental film from France and Holland. Each program contains very
recent work, plus one film from the early 1980s that I consider important
to bring to New York today. In the first program, I have chosen two 35mm
films. The recent work is HONG KONG [1999] by Gerard Holthuis, which has
just won first prize (with Matthias Muller's Vacancy) in the Viper Festival
in Luzern, Switzerland. It is the quiet ballet-like portrait of a bustling
city made little by the huge steel birds flying close overhead. The
historical work is Bokanowski's L'ANGE [1977-92] which has not been seen in
New York since 1992, a multi-faceted prismatic composition of live action
and painterly printer effects, describing a series of mysterious scenes
with grotesque characters as we ascend a dark staircase into the light. The
equally haunting music is by the filmmaker's wife Michèle Bokanowski, a
renowned contemporary composer in her own right. This film was selected at
the Cannes Film Festival Critics Week in 1982, and won first prize in the
Grenoble Experimental Film Festival the same year." Anthology is located at
32 2nd Avenue, New York; for more information, call (212) 505-5181.
1/21
New York, New York: Context
FUTURE AND ECSTACY
10:30pm: FUTURE AND ECSTACY, an exciting collection of some of the best
video and digital animation presented at interfilm 15, created by some of
the hottest international filmmakers working today, will be shown at
Context in New York City. From a digital tour through a Canaletto painting
of a medieval cathedral to three episodes of a naughty child, FUTURE AND
ECSTASY is the newest collection of short films exploring images of
happiness and extreme life experience. interfilm director Heinz Hermanns
will be on hand for audience discussion. The Context Theater is located at
28 Avenue A, between 2nd and 3rd Streets, 3rd floor, New York City; for
more information, e-mail Ed Montgomery at e...@contextnyc.com or call (212)
777-3394.
1/21
New York, New York: Context
SEX AND MADNESS II
9pm: SEX AND MADNESS II, an exciting collection of some of the best video
and digital animation presented at interfilm 14 (The Berlin Short Film
Festival, 1998 and 1999), created by some of the hottest international
filmmakers working today, will be shown at Context in New York City. SEX
AND MADNESS II is a collection of short films exploring the relationship
between sexuality and insanity. The films presented on the program span
many differing viewpoints and cultural issues and are made in a variety of
formats, including claymation and video animation. interfilm director Heinz
Hermanns will be on hand for audience discussion. The Context Theater is
located at 28 Avenue A, between 2nd and 3rd Streets, 3rd floor, New York
City; for more information, e-mail Ed Montgomery at e...@contextnyc.com or
call (212) 777-3394.
1/21
New York, New York: Museum of Modern Art
http://www.sirius.com/%7Esstark/org/moma/moma.html
PETER UNGERLEIDER
8pm: Peter Ungerleider (1947–97) screened his first film, UNDER MY THUMB
(1969), at the International Avant-Garde Film Festival in London in 1970
and, as independent curator Debra Bricker Balken writes in a forthcoming
publication, "Ungerleider produced within his twenty-five-year career an
elegant body of work that stretched the language of film, emphasizing
formal invention over narrative content." Ungerleider was a tireless
investigator of how images carry meanings, and moved from simple film and
video projections to handsome, resonant, and increasingly complex slide
installations. Works include AH POOK IS HERE (1994), LOVING KINDNESS
(1995), OF, BY, FOR (1993), SILVER STARS (1974), UNDER MY THUMB (1969) and
WHEN SPEED WAS A VIRTUE (1977). This screening will take place at the Titus
2 Theater, the Museum of Modern Art, 11 West 53 Street, New York City. For
more information, call (212) 708-9400.
1/21
New York, New York: Context
SEX AND MADNESS I
7pm: SEX AND MADNESS I, an exciting collection of some of the best video
and digital animation presented at interfilm 14 (The Berlin Short Film
Festival, 1998 and 1999), created by some of the hottest international
filmmakers working today, will be shown at Context in New York City. SEX
AND MADNESS I is a collection of short films exploring the relationship
between sexuality and insanity. The films presented on the program span
many differing viewpoints and cultural issues and are made in a variety of
formats, including claymation and video animation. interfilm director Heinz
Hermanns will be on hand for audience discussion. General admission is $6.
The Context Theater is located at 28 Avenue A, between 2nd and 3rd Streets,
3rd floor, New York City; for more information, e-mail Ed Montgomery at
e...@contextnyc.com or call (212) 777-3394.
1/21
New York, New York: Down Time
http://www.rrfrankenstein.com
ROCK ‘N' ROLL FRANKENSTEIN
8pm: Grave Rockers and ROCK 'N' ROLL FRANKENSTEIN unite! Being investigated
by the ASPCA for gerbil abuse, banned by the IndependenT Feature Film
Market for political incorrectness, it's ROCK 'N' ROLL FRANKENSTEIN, the
movie FILM THREAT says is "Badass underground filmmaking at its best" and
SHOCK CINEMA calls "a hilarious trash classic." Here's a unique chance to
check out R&R FRANKENSTEIN along with 5 rocking bands. 8pm: Movie
screening. 10pm-3am: Bands, including The Brimstones, The X-Possibles, The
Psychonauts, The Brickbats, The Skabs. Admission is $10, and the first 50
people will receive a free R&R FRANKIE gift. Where? Down Time 251 West 30th
Street (by 8th Avenue, New York City. For more information, contact Brian
O'Hara at (212) 691-4576.
1/21
New York, New York: New York University
http://www.nyu.edu
INVERTED ODYSSEYS PANEL DISCUSSION: MAYA DEREN'S FILMS: INTERSECTIONS OF
THE DIVINE, THE ETHNOGRAPHIC, AND THE AVANT-GARDE
4:30pm: A panel discussion of Deren's films, with the following
participants: Gage Averill, Associate Professor and Ethnomusicology Program
Coordinator, Department of Music; Jonas Mekas, Artistic Director, Anthology
Film Archives; Annette Michelson, Professor of Cinema Studies, Tisch School
of the Arts; and Shelley Rice, Cocurator of Inverted Odysseys. Moderated by
C. Daniel Dawson, Manager of Public Programming, American Museum of Natural
History. Admission is free. This event will take place at NYU, Main
Building, Room 300 (enter at 32 Waverly Place).
1/21
New York, New York: Whitney Museum Film and Video Department
http://www.sirius.com/%7Esstark/org/whitney
THE AMERICAN CENTURY FILM AND VIDEO PROGRAM
At Noon: Phil Solomon, THE SECRET GARDEN (1986) and Stan Brakhage, A
CHILD'S GARDEN AND THE SERIOUS SEA (1991). At 2pm: Vanishing Point. Sallie
Fuchs, IT SCARES ME TO FEEL THIS WAY (1987), Janie Geiser, THE RED BOOK
(1994), Esther Shatavsky BEDTIME STORY (1981), Janie Geiser, HANGMAN
(1985), Joe Gibbons, BARBIE'S AUDITION (1995) and a film by Todd Haynes. At
4pm: Lewis Klahr Super-8mm film Series, 1988-1991. Part One: TALES OF THE
FORGOTTEN FUTURE: THE MORNING FILMS: LOST CAMEL INTENTIONS, FOR THE REST OF
YOUR NATURAL LIFE and IN THE MONTH OF CRICKETS. Part Two: FIVE O'CLOCK
WORLDS: THE ORGAN MINDER'S GRONKEY, HI FI CADETS and VERDANT SONAR. Part
Three: MOOD OPULENCE: CARTOON FAR, YESTERDAY'S GLUE and ELEVATOR MUSIC.
Part Four: RIGHT HAND SHADE: STATION DRAMA, UNTITLED: THE LIFE OF NAOMI
LANG and UNTITLED. For full details and program schedule, or further
information, contact the Film and Video Department at the Whitney Museum of
American Art at (212) 570-3617 or (212) 570-7754.
1/21
Portland, Oregon: Cinema Next Door
THE JON JOST FILM FESTIVAL: ANGEL CITY
8pm: As part of its retrospective of Jost's early work (1972-1988), Cinema
Next Door will show ANGEL CITY (1977). Cinema Next Door is located at 3520
SE Clinton Street, Portland; for more information, call (503) 234-7765.
1/21
Seattle, Washington: 911 Media Arts Center
http://www.911media.org/
AMERIKAN PASSPORT
8pm: AMERIKAN PASSPORT is a 911 Media Arts Center fiscally sponsored
project chronicling Reed Paget's real-life odyssey through five continents
and 12 warzones. Among the adventures Reed shows us are his drinking
escapades with Cambodian Generals, Hitch-hiking with Nicaraguan Contras,
finding romance in Peru, infiltrating the Red Army in Moscow, dodging scud
missiles in Tel Aviv, and being caught up in the student protests in
Tiananmen Square. The most significant scenes of the decade are seen from
the intimate and extraordinary perspective of one low budget traveler.
Astonishing, funny, ironic and touching, AMERIKAN PASSPORT is unlike
anything you've ever seen. Admission is $5, $3 for 911 members. 911 is
located at 117 Yale Ave N., Seattle; for more information, call (206)
682-6552.
1/21
Toronto, Ontario, Canada: Cinematheque Ontario
http://www.bell.ca/filmfest/cinematheque/independents.htm
SICILIA!
6:30pm: Critic Serge Daney called Jean-Marie Straub and Danièle Huillet
"the last great filmmakers of the history of modern cinema, perhaps of
cinema, period," so it is thrilling to have one of their best films to mark
the end of the century. SICILIA! (1999) already has acquired the imprimatur
of Jean-Luc Godard and is destined, as are so many films by Straub/Huillet,
to be admired, even loved, but impossible to see. Based on Elio Vittorini's
1939 novel Conversation in Sicily, which was banned by the Fascists,
SICILIA! is a four-part "road movie" that follows Silvestro, an immigrant
who is returning home to the island after fifteen years in America. All
Cinematheque Ontario screenings are held at Jackman Hall located in the Art
Gallery of Ontario, 317 Dundas Street West, Toronto. For more information,
call the Cinematheque at (416) 968-3456.
1/21
Vancouver, British Columbia: Blinding Light
http://www.blindinglight.com/
HAROLD BOIHEM'S THE AD AND THE EGO AND NEGATIVLAND VIDEOS!
8:30pm: "THE AD AND THE EGO is the first comprehensive documentary on the
cultural impact of advertising in America," says Neil Postman, NYU author
of AMUSING OURSELVES TO DEATH. "It should be required viewing for every
consumer...which means all of us." Harold Boihem's stunning THE AD AND THE
EGO traces advertising's development from its largely descriptive 19th
century origins through today's ads which eschew rational arguments for
symbols and imagery playing directly to our emotions. Artfully intercutting
clips from hundreds of familiar television ads with insights from Stuart
Ewen, Jean Kilbourne, Richard Pollay, Sut Jhally, Bernard McGrane and other
noted critics, the film performs a cultural psychoanalysis of late 20th
century America and its principal inhabitants: Consumer Man and Woman.
Making the critical connections between the rise of consumerism,
environmental degradation and our blind commitment to economic growth at
any cost, THE AD AND THE EGO "brilliantly dismantles one of the ego's most
comforting self-flatteries: that we are immune to advertising. Consider
this your first real inoculation" (Leslie Savan, VILLAGE VOICE Critic and
Author, THE SPONSORED LIFE). Plus: NEGATIVLAND videos including the
posthumous U2 video for the now-illegal U2 single and other brand new tasty
delights. This screening is at the Blinding Light, 36 Powell Street,
Vancouver, BC, Canada, and admission is $5. (There is an annual $3
membership required, which is available at the door.) For more information,
call (604) 878-3366.
1/21
Vienna, Austria: University of Technology Vienna
LIVING INSIDE: SUBJEKTIVE RäUME/PRIVATE DIMENSIONEN
Program 5: innen/außen - mixed relations Short Hills (Dorit Margreiter) A
1999, Video, col, 16 min; Splitting (Gordon Matta-Clark) USA 1974, Super 8,
auf 16mm überspielt, col + b&w, sil, 10:50 min; House (Rachel Whiteread) GB
1993-94, Video, col, ca. 15 min (extract); 65/62 Fenstergucker, Abfall,
etc. (Kurt Kren) A 1962, 16mm, colour, sil, 4:45 min; The Black Tower (John
Smith) GB 1985-87, 16mm, col, 24 min; Prince of Peace (Hans Scheugl) A
1993, 16mm, col, 8 min; Happy End (Peter Tscherkassky) A 1996, 16mm, col,
12 min Program at 19.30. University of Technology Vienna, Großer
Aktzeichensaal, Karlsplatz 13, Stiege 1/4.Stock, A-1040 Vienna
SATURDAY, JANUARY 22, 2000
1/22
Buffalo, New York: Hallwalls
http://www.pce.net/hallwall/
DEAR JOAN, MARCELLO MASTROIANNI: I REMEMBER AND 81/2
8pm: Screenings of DEAR JOAN, MARCELLO MASTROIANNI: I REMEMBER and 81/2.
For more details, see January 21.
1/22
Cambridge, Massachusetts: Harvard Film Archive
http://www.harvardfilmarchive.org/
MEXPERIMENTAL CINEMA: 60 YEARS OF AVANT-GARDE MEDIA ARTS FROM MEXICO
(PROGRAM 2: MEXICANIDAD)
7pm: Mexperimental Cinema is the first major exhibition to consider the
history of Mexico's alternative film and video practices. A significant
aspect of Mexican intellectualism considers the tragic dimensions of
national identity, particularly the configuration of indigenous people as
long-suffering and masochistic. In his book CAGE OF MELANCHOLY (1987),
critic Roger Bartra dissects the discourse on Mexican-ness and suggests
that the characterizations of Indians and the poor as stoic or indifferent
to their own misfortunes may function to normalize and maintain class
disparities. The films and videos in the second program infuse the
traditional signs of Mexicanidad with ironic humor and excess. Works
include: CORAZÓN SANGRANTE (BLEEDING HEART) (Ximena Cuevas, 1995); LA
FORMULA SECRETA (THE SECRET FORMULA) (Rubén Gámez, 1965); and SIMÓN DEL
DESIERTO(SIMON OF THE DESERT) (Luis Buñuel, 1964). This screening will take
place at the Archive, the Carpenter Center for the Visual Arts, 24 Quincy
Street, Cambridge. For more information, call the Archive at (617)
495-4700.
1/22
Chicago, Illinois: The Chicago Underground Film Festival and /bin
http://www.cuff.org
AN EVENING WITH AUDIO-VISUAL EXPERIMENTALISTS PEOPLE LIKE US AND WET GATE
9pm: On Saturday January 22nd, The Chicago Underground Film Festival and
/bin will shake off the winter blahs with an audio-visual blowout featuring
a rare Chicago performance by British plunderphonic artist Vicki Bennett of
People Like Us and the San Francisco "All-Projector Ensemble" Wet Gate.
People Like Us is the fault of England's Vicki Bennett, a prolific
composer/audio-scavenger who has released numerous recordings, the most
recent being the remix album HATE PEOPLE LIKE US. Bennett stitches together
disparate patches of sounds sampled from BBC Radio broadcasts, vintage
recordings, and any pop-culture relic that might be lying about to form
dazzling and cleverly intricate fabrics of sound. People Like Us will be
performing a live audio set with projected video accompaniment. Formed in
1996 by musicians Peter Conheim, Steven Dye, and Owen O'Toole, Wet Gate
turns the cinematic experience on its ear-literally. The three are an
"improv" band; the instruments they play are 16mm projectors. Wet Gate
reinvigorates found footage by scratching, bleaching, and applying
self-adhesive patterns to the film's optical audio track, then using
sampling delays and other devices to collage these manipulated audio tracks
with images, creating a "loop-the-loop of fever dreams" (Taos Talking
Picture Festival) scavenged from society's detritus. The event will be held
at Subterranean, 2011 W. North Avenue, Chicago (773.278.6600). Admission is
$10 and open to those 21 and over. For more information on the event,
contact Amy Beste (a...@hotmail.com) or Mike Javor (ego...@enteract.com) at
(773) 281-9075.
1/22
Ithaca, New York: Cornell Cinema
http://www-cinema.slife.cornell.edu/
BEEFCAKE (1999)
7:30pm: If you like to look at boys, you've got a lot to thank Bob Mizer
for. The photographer started PHYSIQUE PICTORIAL, the ground-breaking 1950s
"athletic" magazine which presented the American male body in all its glory
to an avid underground audience. Mixing history and fantasy, Thom
Fitzgerald's documentary about the magazine and its founder is "a campy
strawberry milkshake of a film saluting the dream world of 50s male
physique photography... a giddy cinematic swirl of vintage photos and film
clips of young men flexing their muscles, interspersed with fictional,
satirically shaded vignettes set in 1950s Los Angeles" (NY TIMES). This
screening will be held at the Willard Straight Theater on Cornell's campus,
Ithaca. For more information, call (607) 255-3522.
1/22
New York, New York: Anthology Film Archives
http://www.anthologyfilmarchives.org/
PIP CHODOROV PROGRAM 2: FAST
8 and 10pm: Chodorov: "This program brings together a number of new works
and new techniques. These films were either made frame by frame or by hand,
manipulating spaces, places, times and volumes. Frédérique Devaux, a
contemporary letterist filmmaker, chisels ENTRECROISÉES (INTERTWININGS,
1999), weaving images together on the optical printer. In BOUQUETS 6-10
(1995), Rose Lowder weaves sets of three intertwined scenes together in the
Bolex, following a predetermined pattern for 1440 frames, or one minute
(and her COQUELICOTS [work in progress, 1999] gives us a fantastic
impressionist view of boats floating through a blooming poppy field). Karel
Doing and Nicolas Rey practice hand-processing; Doing (in MAAS OBSERVATION
[1997]) seeks a crystalline portrait of the port of Rotterdam, whereas Rey
(in TERMINUS FOR YOU [1996]) reticulates his footage of the Paris metro,
rendering its posters and bleak faces into abstract brush strokes.
ABECEDAIRE #1 (1998), ABECEDAIRE #2 LOOP #2 (1999) ABECEDAIRE #2 LOOP #3
(1999): Hugo Verlinde offers us 3-D glimpses into a mathematical landscape,
if we cross our eyes during the screening. And Joost Rekveld's #11 (MAREY
<-> MOIRÉ) (1999) takes us on a cinemastroboscopic journey of light and
sound worthy of the Whitney brothers." Anthology is located at 32 2nd
Avenue, New York; for more information, call (212) 505-5181.
1/22
New York, New York: Whitney Museum Film and Video Department
http://www.sirius.com/%7Esstark/org/whitney
THE AMERICAN CENTURY FILM AND VIDEO PROGRAM
At Noon: Works by Mark LaPore. MEDINA (1983), WORK AND PLAY (1983), THE
SLEEPERS (1989) and A DEPRESSION IN THE BAY OF BENGAL (1996). At 2pm: The
Heart Shaped Crater (Lachrimae). Gunvor Nelson, TIME BEING (1991), Larry
Gottheim, MNEMOSYNE MOTHER OF MUSES (1986), Nina Fonoroff, DEPARTMENT OF
THE INTERIOR (1986), Phil Solomon, THE SNOWMAN (1995) and Erin Sax,
TRILOGY: RECEIVING SALLY (1993), EACH EVENING (1993) and SEVEN OF WORLDS
(1994). At 4pm: Mr. Dead & Mistress Free. Peggy Ahwesh and Keith Sanborn,
THE DEADMAN (1990), Peggy Ahwesh, THE COLOR OF LOVE (1994) and NOCTURNE
(1998). At 8pm: Blood of a Poet. William Klein, BROADWAY BY LIGHT (1958)
and MOHAMMED ALI: THE GREATEST (1974). For full details and program
schedule, or further information, contact the Film and Video Department at
the Whitney Museum of American Art at (212) 570-3617 or (212) 570-7754.
1/22
Portland, Oregon: Cinema Next Door
THE JON JOST FILM FESTIVAL: LAST CHANTS FOR A SLOW DANCE
8pm: As part of their retrospective of Jost's early work (1972-1988),
Cinema Next Door will show LAST CHANTS FOR A SLOW DANCE (1977). Cinema Next
Door is located at 3520 SE Clinton Street, Portland; for more information,
call (503) 234-7765.
1/22
Vancouver, British Columbia: Blinding Light
http://www.blindinglight.com/
HAROLD BOIHEM'S THE AD AND THE EGO AND NEGATIVLAND VIDEOS!
8:30pm: A screening of THE AD AND THE EGO, the first comprehensive
documentary on the cultural impact of advertising in America. For more
details, see January 21.
SUNDAY, JANUARY 23, 2000
1/23
Boulder, Colorado: University of Colorado-Boulder
SUNDAY EVENING WITH BRAKHAGE
7:30pm: Each Sunday evening Stan Brakhage is host for a gathering of
friends and film buffs to view films and videotapes from his incredible
collection. For more information, see January 16.
1/23
Buffalo, New York: Hallwalls
http://www.pce.net/hallwall/
DEAR JOAN, MARCELLO MASTROIANNI: I REMEMBER AND 81/2
2pm: Screenings of DEAR JOAN, MARCELLO MASTROIANNI: I REMEMBER and 81/2.
For more details, see January 21.
1/23
Cambridge, Massachusetts: Harvard Film Archive
http://www.harvardfilmarchive.org/
MEXPERIMENTAL CINEMA: 60 YEARS OF AVANT-GARDE MEDIA ARTS FROM MEXICO
(PROGRAM 3: THE CITY)
6pm: Mexperimental Cinema is the first major exhibition to consider the
history of Mexico's alternative film and video practices. The rural/urban
axis is central to Mexican film, echoing massive internal migrations and
the transformation of a primarily agricultural economy to an industrial
one. The peasant-instigated Revolution had ironically brought about
processes of change that made rural life an anachronism, and millions
relocated to metropolitan centers, particularly to that dystopian
megalopolis of 20 million, Mexico City. Far from the heroic nationalist
fantasy of charros and idyllic landscapes, the Mexico envisioned by the
directors in this program is one of cinder-block constructions and
industrial waste. Works include: SABADO DE MIERDA (SHITTY SATURDAY)
(Gregorio Rocha, 1985-87); UN NAHUAL VERACRU' (Miguel Calderón, 1994); MI
COR-A-ZÓN (MY HEART) (Pola Weiss, 1986); EL VUELO (THE FLIGHT) (Silvia
Gruner, 1989) and VINCENTE ROJO (Juan José Gurrola, 1964). This screening
will take place at the Archive, the Carpenter Center for the Visual Arts,
24 Quincy Street, Cambridge. For more information, call the Archive at
(617) 495-4700.
1/23
Harrisburg, Pennsylvania: Allen Theater
http://www.ericpictures.com
SEES IN SECRET
Local Writer/Director Eric Spaar will be premiering his new 16mm short SEES
IN SECRET at the Allen Theater on Sunday, January 23rd at 12:30 pm for cast
and crew, and at 2:30 pm for the general public. Additional free public
screenings will be held on Saturday, January 29th at 1:00 pm and 2:30 pm
also at the Allen Theater. SEES IN SECRET is a 37 minute drama about an
important historical and spiritual figure from the past who returns on the
eve of the millennium for a social progress audit. Eric used experienced
players from local theater and from other films, and SEES IN SECRET was
shot on location in Harrisburg. The film's subject matter is suitable for
mature audiences, teenager and above.
1/23
New York, New York: Context
FUTURE AND ECSTACY
5pm: FUTURE AND ECSTACY, an exciting collection of some of the best video
and digital animation presented at interfilm 15, created by some of the
hottest international filmmakers working today, will be shown at Context in
New York City. For more details, see January 21.
1/23
New York, New York: Context
SEX AND MADNESS I
7pm: SEX AND MADNESS I, an exciting collection of some of the best video
and digital animation presented at interfilm 14, created by some of the
hottest international filmmakers working today, will be shown at Context in
New York City. For more details, see January 21.
1/23
New York, New York: Context
SEX AND MADNESS II
7pm: SEX AND MADNESS II, an exciting collection of some of the best video
and digital animation presented at interfilm 14, created by some of the
hottest international filmmakers working today, will be shown at Context in
New York City. For more details, see January 21.
1/23
New York, New York: Whitney Museum Film and Video Department
http://www.sirius.com/%7Esstark/org/whitney
THE AMERICAN CENTURY FILM AND VIDEO PROGRAM
At Noon: Abigail Child, IS THIS WHAT YOU WERE BORN FOR? PREFACES (PART 1)
(1981), MUTINY (PART 3) (1982-3), COVERT ACTION (PART 4) (1984), PERILS
(PART 5) (1986), MAYHEM, (PART 6) (1987), BOTH (PART 2) (1988) and MERCY
(PART 7) (1989). At 2pm: Wolf Tones (Songs of a Wayfarer). Daniel
Eisenberg, DISPLACED PERSON (1981), Lewis Klahr, MARIETTA'S LIED (1999),
Gail Camhi, AN EVENING AT HOME (1979), Henry Hills and Sally Silvers, THE
LITTLE LIEUTENANT (1994), Sharon Sandusky, C'MON BABE (DANKE SCHOEN) (1988)
and Scott Stark, I'LL WALK WITH GOD (1994). At 4pm: Ray L. Birdwhistell,
MICROCULTURAL INCIDENTS IN TEN ZOOS (1969), Ken Jacobs, THE DOCTOR'S DREAM
(1978), Saul Levine, THE BIG STICK (1967-73) and Craig Baldwin,
ROCKETKITKONGOKIT (1986). For full details and program schedule, or further
information, contact the Film and Video Department at the Whitney Museum of
American Art at (212) 570-3617 or (212) 570-7754.
1/23
Toronto, Ontario, Canada: Cinematheque Ontario
http://www.bell.ca/filmfest/cinematheque/independents.htm
GRAPHIC CINEMA
3pm: This wonderfully eclectic programme presents a range of abstract
animation made by artists chiefly concerned with form: the illusion of
depth, gestalt principles, and sound-image relationships. These fine works
take up the ideas of the European graphic cinema tradition begun by
Ruttmann, Richter, Eggeling, and Fischinger. Selections include RHYTHM IN
LIGHT (Mary Ellen Bute, 1934), MOOD CONTRASTS (Bute, 1953), COMPOSITION No.
1 (THEMIS) (Dwinell Grant, 1940), COMPOSITION No. 2 (CONTRATHEMIS) (Dwinell
Grant, 1941), ABSTRACT EXPERIMENTS (Grant, 1941-42), COMPOSITION No. 3:
SPELEAN DANCE (Grant, 1942), COLOR SEQUENCE (Grant, 1943), EARLY
ABSTRACTIONS #4 - 7 (Harry Smith, 1939-56), RECREATION (Robert Breer,
1956), A MAN AND HIS DOG OUT FOR AIR (Breer, 1957), LMNO (Breer, 1978),
T.Z. (Breer, 1979), SWISS ARMY KNIFE (Breer, 1980), OP HOP - HOP OP (Pierre
Hébert, 1966) and TWO SPACE (Larry Cuba, 1979). All Cinematheque Ontario
screenings are held at Jackman Hall located in the Art Gallery of Ontario,
317 Dundas Street West, Toronto. For more information, call the
Cinematheque at (416) 968-3456.
1/23
Toronto, Ontario, Canada: Cinematheque Ontario
http://www.bell.ca/filmfest/cinematheque/independents.htm
OSKAR FISCHINGER & CO.
1pm: Abstract cinema was born in the era of Cubism, Futurism and the
Constructivism. In the early Twenties, a number of artists began to use
cinema as a way of exploring film's potential for non-objective expression,
and today's screening offers a selection of films by these artists, with a
specific focus on Oskar Fischinger (1900-67), one of the most influential
abstract filmmakers, whose career was split between his native Germany and
his second home, America. He apprenticed as a draftsman and engineer, and
in 1922, after seeing the premiere of Ruttmann's OPUS I, turned his
energies to making abstract films. With the rise of the Third Reich, and
the restriction of artistic freedom (abstract art was forbidden in Nazi
Germany), Fischinger moved to Hollywood. He pitched Walt Disney on using
one of his sequences for an animated feature-length film about music, a
film which would become FANTASIA, but differing viewpoints prevented him
from working more extensively on the film. During the Forties, Fischinger
received support from the Solomon R. Guggenheim Foundation for his abstract
films RADIO DYNAMICS and MOTION PAINTING NO. 1, a work that took him nine
months to complete and stands as his greatest achievement. Films by Oskar
Fischinger, unless otherwise noted: OPUS II - IV (Walther Ruttmann,
1921-24); STUDY NO. 7 (1931); RHYTHMUS 21 (Hans Richter, 1921); STUDY NO. 8
(1931); RHYTHMUS 23 (Hans Richter, 1923); LOVE GAMES (1931); SYMPHONIE
DIAGONAL (Viking Eggeling, 1924); CIRCLES (1933); LIGHTPLAY:
BLACK-WHITE-GREY (Laszlo Moholy-Nagy, 1930); COMPOSITION IN BLUE (1934-35);
WAX EXPERIMENTS (1923-27); ALLEGRETTO (1936); SPIRALS (1926); AN OPTICAL
POEM (1937); R-1, A FORM-PLAY (1927); AN AMERICAN MARCH (1941); STUDY NO. 6
(1930); RADIO DYNAMICS (1943) and MOTION PAINTING NO. 1 (1947). All
Cinematheque Ontario screenings are held at Jackman Hall located in the Art
Gallery of Ontario, 317 Dundas Street West, Toronto. For more information,
call the Cinematheque at (416) 968-3456.
1/23
Vancouver, British Columbia: Blinding Light
http://www.blindinglight.com/
HAROLD BOIHEM'S THE AD AND THE EGO AND NEGATIVLAND VIDEOS!
8:30pm: A screening of THE AD AND THE EGO, the first comprehensive
documentary on the cultural impact of advertising in America. For more
details, see January 21.
1/23
Williamsburg, Brooklyn, New York: Ocularis
http://www.billburg.com/ocularis/
JUNKY PUNKY GIRLZ AND TWO DAUGHTERS
7 and 9:30pm: A screening of Nisha Ganatra's short film JUNKY PUNKY GIRLZ
(1998), followed by TWO DAUGHTERS (1961), Satyajit Ray's adaption of two
short stories by Indian literary giant Rabindranath Tagore. Ocularis is at
Galapagos Art and Performance Space, 70 North 6th Street (between Wythe and
Kent Avenues) in Williamsburg, Brooklyn. For more information, call (718)
388-8713.
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Send your event announcements and subscription requests to Craig Fischer at
fisc...@conrad.appstate.edu.