This week (6-2-96) in avant garde cinema

[Scott Stark]

This week's screenings, near and far, in avant garde cinema

Sunday, June 2

* San Francisco: SF Cinematheque: Early Evening Experimental -
Free Films: Song 27, My Mountain (1968), Song 27 (Part II)
Rivers (1969) by Stan Brakhage, both shown in in original 8mm
format.

* San Francisco: SF Cinematheque: Orgone Cinema Orgy:
Pittsburgh's only Orgone Cinema and Archive (Alisa Dix,
Michael Johnsen and Greg Pierce) will present a program
reflecting their homemade approach to showing film. Operating
since 1993, Orgone has hosted a flurry of events from
improvised projection performances to visiting filmmakers
(Kurt Kren, Anne Robertson, tentatively a convenience and
others). They reflect a no-bullshit, non-academic approach.
A deadly serious joke wrapped in stickers and posters cooked
up in their shop-garage with theme snacks, raffles, door
prizes and sober lectures. Pushing a pro- love, pro-film
agenda, the orgone kids will do their liveliest, sincere best
to get you to agree with them. Films include How (Much) Male
Organ Functions During Sex Act, The Boris Spassky High
Frequency Comb and others. Also: a four-projector, onscreen
loop performance, Ex-Lax and a double analytic projector
performance with their "Irritable Bowel Syndrome".

* Vienna, Austria: Der Blick der Moderne at Stadtkino Wien:
Traumafabrik: Robert Florey, Life and Death of 9413: A
Hollywood Extra USA 1928; Kenneth Anger, Fireworks USA 1947;
Su Friedrich, Gently Down the Stream USA 1981; Jonas Mekas,
Quartet Number One USA 1992; Matthius Muller, Aus der Ferne
- The Memo Book 1989; Phil Solomon, The Exquisite Hour USA
1989. West Side Stories: Christopher MacLaine, The End USA
1953 34 Mins.; Bruce Conner, A Movie USA 1958 / 12 mins.;
Robert Nelson, The Great Blondino USA 1950 / 42 Mins.; Bruce
Baillie, Castro Street USA 1966 / 10 Mins.; Pat O'Neill, Easy
out USA 1971 9 Mins. Rear Windows: David Rimmer, Real Italian
Pizza USA / 13 Mins. 11ins.; David Rimmer, Canadian Pacific
Kanada 1974 9 Mins.; Ernie Gehr, Shift USA 1972-74, 9 Mins.;
Ernie Gehr, Untitled USA 1977 , 5 Mins.; Kurt Kren, 15/67 TV
A 1997 5 Mins.; Wojciech Bruszewski, Pudelko zapalek
(Streichholzschachtel) Polen ins. 1975 5 Mins.; Ladislav
Galeta, Two Times In One Space, Yu 1976-84 12 Mins.; Paul
Winkler, Window Australien 1979 / 3 Mins.; Christoph Janetzko,
Fenster BRD 1979 15 Mins.; Zbigniew Rybczynski, Mein Fenster
A 1979 / 3 Min.; John Smith, Om GB 1986 / 4 Mins.

* New York: Anthology Film Archives: "Films by Georges Melies,
I," A Trip to the Moon (1902) and others, 60 min

* New York: Anthology Film Archives: "Films by Marie Menken, I,"
Visual Variations on Noguchi (1955) and others, 45 min.

* New York: Anthology Film Archives: New Films from Lithuania:
Two Sisters (1996) by Vytas Landsbergis; From Unfinished Tales
of Jerusalem (1996) by Arunas Matelis, 60 min. Film-makers
will be present.

* New York: the Knitting Factory: Loud Music/Silent Film:
"Battleship Potemkin", Music by Paradox Trio: With his
Balkan-rhythm driven Paradox Trio (and a new CD on Knitting
Factory Works), composer/reedman Matt Darriau accompanies a
trilogy of surrealist and avante-garde silent films:
Eisensteing's "Battleship Potemkin", Bunel and Dali's "Un
Chien Andalou" and Duchamp's "Anemic Cinema".

* Vancouver, British Columbia: : Edison Electric: MOTHER'S MEAT
& FREUD'S FLESH: Mother's milk makes strong children, but a
child who is a reluctant weaner may develop a
mother-addiction. Montreal Filmmaker Demetri Demetrios'
lo-tech cult classic MOTHER'S MEAT & FREUD'S FLESH ironically
explores the resulting triangle of mother, psychiatrist and
mother's boy. Demira is a porn star, and the despondent son
of a mother who smothered him with love. To get over his
obsession of calling her up after every sexual encounter he
has, Demira goes to a psychiatrist. Given his homosexual
tendencies, the inevitable sexual encounter with the doctor
occurs and Demira's mother Esther decides to come to town for
a visit. While she has high hopes of Hollywood for her son,
she also fails to recognize his depression and remains
preoccupied with her own love interests. After attempting to
attract her attention through a variety of antics, he
recognizes the futility of it all and focusses on his Big
Break and finally cutting the umbilical cord... (100 mins)

Monday, June 3

* Moscow, Russia: Cine Fantom: FILMS WITHOUT CAMERA !!! PROGRAM
By Pip Chodorov & Light Cone (Paris): The Aleinikov brothers
with the support of the French Cultural Center of Moscow
present two screenings of experimental film at the Kino Musei
in Moscow on June 3 and 4, 1996. The screenings are programmed
and presented by Pip Chodorov of Light Cone, Paris. The June
3 show, "Films sans camera" brings together 13 hand-made
films, including painted films (Stan Brakhage), films treated
with non-standard chemistry (Phil Solomon), scratch films (Len
Lye, Cathy Joritz), found footage films (Martin Arnold,
Matthias Muller), films attacked by bacteria and weathering
(Schmelzdahin), etc. The June 4 show, "Paysages contemporains"
concentrates on recent French films; landscapes or waterscapes
filmed pictorially (Rose Lowder, Martine Rousset, Vivian
Ostrovsky), impressionist (Marcelle Thirache, Patrick
Bokanowski), materialist (Miles McKane, Jean-Michel Bouhours),
or as film diary, site as the place of memory (Scott Hammen,
Pip Chodorov, Yann Beauvais).

* Vienna, Austria: Der Blick der Moderne at Stadtkino Wien:
Collagen & Montagen: Der Found Footage Film: Gustav Deutsch,
Feininger in Moskau A 1996 / 8 mins.; Bill Morrison,
Footprints USA 1992; Henri Storck, Sur les bordes de la
camera, B 1932; Bruce Conner, Take the 5:10 to Dreamland,
1976; Lewis Klahr, Her Fragrant Emulsion, 1987; Cecile
Fontaine, Overeating, 1984; Morgan Fisher, Standard Gauge,
1984. Space Odyssey: Tomislav Gotovac, Prike Podne Jednog
Fauna, Yu 1963; Ernie Gehr, Serene Velocity, USA 1970; Michael
Snow, Wavelength, USA 1966-67; Paul Winkler Backyard,
Australian 1976.

Tuesday, June 4

* Berkeley, CA: Pacific Film Archive: The Road Less Traveled:
Presented on Tuesdays in June, this series of "road movies"
in our ongoing program, Alternative Visions, is curated by
Lissa Gibbs and Kathy Geritz. Roam Sweet Home, Ellen Spiro
(U.S. 1996): Bay Area Premiere! Vivian Kleirnan in Person,
In Greetings from Out Here, videomaker Ellen Spiro traveled
throughout the South with her beloved dog Sam. Now in Roam
Sweet Home she ventures out West in an Airstream trailer to
take ailing Sam his heart bursting with life's experiences
on one last great adventure. As is only fair, this trip he
tells his tale, sharing his thoughts on America's smells, the
foibles of humans, and his view of death as yet another
journey: "elsewhere is better." Whimsical and philosophical,
his comes-with-age wisdom is matched by that of the elderly
humans he and Spiro encounter who have pulled out of society
and in turn by-the-side-of-the-road trailer communities...
inevitably peopled by dogs. Inventing freedom as they roam,
these senior dropouts pull mobile homes behind them, but
little of society's baggage. Instead they sing, paint, and
talk their way down the road to a better "elsewhere." You'll
long to join them there. (Kathy Geritz) Preceded by shorts:
Harmonica (Larry Gottheim, U.S., 1970-71): A tune played to
the rush of the American landscape as it goes past a car. With
Shelley Berde. (10.5 mins, 16mm, From Film-makers'
Cooperative) Roswell (Bill Brown, U.S., 1994). In June 1947
an alien space craft crashed outside of Roswell, New Mexico.
Almost fifty years later, Brown, a musing filmmaker with a
quirky sensibility, makes a pilgrimage to this sire, home of
the UFO Enigma Museum, to ponder the nature of travel.

* Paris, France: Scratch Projections: Carte Blanche a Scott
HAMMEN: Paul STRAND & Charles SHEELER: MANHATTA 1921nb sil 9';
Oskar FISCHINGER: MUNCHEN BERLIN WANDERUNG 1927 nb sil 5';
Rudy BURCKHARDT: MONTGOMERY ALABAMA ; 1941 coul sil 4'; Stan
BRAKHAGE: WONDER RING 1955 coul sil 4'; Bruce BAILLIE: CASTRO
STREET 1966 coul son 10'; Robert BREER: FUJI 1973 coul son 8';
Rose LOWDER: LES TOURNESOLS 1983 coul sil 6'; Scott HAMMEN:
LOG ABSTRACT 89 1989 coul sil 15'; FIELD STUDIES 1996 coul sil
10'. Cette slection de film a ete faite par le cineaste pour
accompagner son nouveau film. Variation sur le paysage urbain
et champetre, comme echo aux themes qui hantent son cinema.

* Vienna, Austria: Der Blick der Moderne at Stadtkino Wien:
Modern Times: Die beschleunighte Welt, die beschleunigte Zeit:
Len Lye, Trade Tatoo, GB 1937; Joris Ivens, Der Regen, NL
1929; Helen Levitt, In the Street, USA 1952; Marie Menken,
Go Go Go, USA 1962-64; Paul Winkler, Cars, Australian 1980;
Yann Veauvais, Enjeux, F 1984; Thomas Feldmann, Start, BRD
1982; Nino Pezzella, Mia Zia, I 1987; Robert Breer,
Recreation, F 1956; Man Ray, Le Retour a la raison, F 1923;
Dwinnel Grant, Color Sequence, USA 1943; Rose Lowder,
Parcelle, F 1979; Takashi Ito, Spacy, Japan 1981. Mobiles:
Animationen der Avantgarde: Len Lye, Free Radicals, USA 1958;
Walther Ruttmann, Opus IV, D 1924; Winsor McKay, Gertie the
Dinosaur, USA 1914; Robert Breer, A Man and His Dog Out for
Air, F 1957; Kurt Kren 26/71 Balzac & das Auge Gottes, A 1971;
Gary Beydier, Pasadena Freeway Stills, USA 1974; Harry Smith,
Early Abstractions No. 10, USA 1956; Lewis Klahr, The
PharoahŐs Belt, USA 1993. Psycho - Irrsinn im Kino der
Fruhzeit: Germaine Dulac, La Souriante Madame Beudet, F 1923;
Teinosuke Kinugasa, Kurutta Ippeiji, Japan 1926.

* Moscow, Russia: Cine Fantom: FILMS WITHOUT CAMERA !!! See June
3.

Wednesday, June 5

* Berkeley, CA: Pacific Film Archive: Funny, You Don't Look Sick
and Breathing Lessons: Artists in Person Preceded by short:
Power of the Wheelchair (Marek Pacholec, U.S., 1996). Larry
Eigner, nationally recognized poet, longtime Berkeley
resident, and disabled person, died just months ago.
Pacholec's tribute reminds us of a man sustained by the spirit
of words. PFA dedicates this evening's program to his memory.
(8 min, Color, 3/4" video). The able-bodied tend to lump
disability into one convenient class, however, disabilities
the manner in which they are manifested, the ways in which
individuals deal with them are as diverse as the people we
term "disabled." Two works, vastly different in style and
intent, show us something of the heroics of the everyday. In
Jessica Yu's handsomely rendered Breathing Lessons (35 min.,
16mm), Berkeleyan Mark O'Brien reports on his life and work
from the confines of an iron lung. An accomplished journalist
and poet, O'Brien has a candor about his circumstance that
is quite wrenching. particularly alongside excerpts from his
poetry. When discussing the big question about body and soul,
he says wryly, "If I'm only a body, I'm in big trouble." Susan
Abod reports with humor and grace on a disability that is all
but invisible. In her diaristic Funny, You Don't Look Sick,
Abod intimately leads us through the daily tribulations of
life with Environmental Illness and Chronic Fatigue Syndrome
illnesses that are often denied diagnosis. Maintaining a
"safe" home insulated from the effects of environmental
exposure seems a promethean effort. Specialized appliances,
chemical airing rooms, breathing apparatuses, precise diets,
all make visible an illness we cannot see. (Steve Seid)

* Vienna, Austria: Der Blick der Moderne at Stadtkino Wien: Les
Regles du jeu: Variationen des strukturellen Films: Ryszard
Wasko 30 Ton-Situationen Polen 1975 / 10 mins.; A & C Cantrill
Printer Light Play Australian 1978 6 mins.; George Landow
Remedial Reading comprehension USA 1971 / 7 min.; George
LandowNew Improved Institutional Ouality: In the Environment
of Liquids and Nasals a Parasitic Vowel Sometimes Develops USA
1976 / 5 mins.; Robert Nelson Bleu Shut USA 1970 / 33 mins.;
Klaus Telscher Entwicklungsstucke BRD 1979-80 / 17 mins.

Thursday, June 6

* San Francisco: SF Cinematheque: OPEN SCREENING: The
Cinematheque resumes our traditional Open Screenings, going
back 20 years, in which film and video makers are invited to
bring recently completed work to share with our audience. Work
must be 15 minutes or less, and can be 8mm, super-8mm, 16mm,
1/2" or 3/4" video. Our Open Screening last year at Center for
the Arts was our best attended in years, so come early to get
a good place on the program! Free if you bring something to
show; $3.00 for all others.

* Vienna, Austria: Der Blick der Moderne at Stadtkino Wien:
Visionary Ghosts: The Return of the Dead in Modernism: Luis
Bunuel, Un chien andalou 1929 / 17 mins.; Stan Brakhage, Thigh
Line Lyre Triangular USA 1981 / 9 mins.; Stan Brakhage, Riddle
of Lumen WA 1972 / 13.5 mins.; Stan Brakhage, Murder Psalm USA
1981 / 17 mins.; Stan Brakhage, Visions in Meditation: Mesa
Verde usa 1888/ 18 mins.; Hollis Frampton Apparatus Sum USA
1972; Hollis Frampton, Gloria! USA 1978 / 85 mins.

Friday, June 7

* San Francisco: Total Mobile Home/MicroCinema: JEROME CAROLFI:
Jerome Carolfi is a San Francisco based filmmaker whose work
is charged with sensitivity, depression and intricate sound
play. Featuring: Sanguine Memories: 1985,16mm, 6.5 mins; Two
Motels (and a few other things): 1986,16mm, 8.5 mins.; Four
For Four: 1987,16mm, 12 1/2 mins.; Lunacy: 1988,16mm, 12 1/2
mins.; Town of Day: 1989,16mm,16mm, 13 1/2 mins.; Loci
Lacunae: 1993, 6 1/2 mins.; As Far Away As Here: 1996, 16mm,
25 mins. (in progress): Made in the context of a gay man
reopening his childhood wounds of shame and abandonment, As
Far Away As Here takes its title from the distance from which
I had once felt an earthquake. The film is a psychic journey
into the geography of the mind, a kind of "soul-quake" if you
will. The premise of the film is ostensibly the embarking on
a road trip across the American West to attend a wedding, but
shifts in its course to elucidate an emotional process: coming
to grieve the loss of love. Home movies shot on the road trip
are interwoven with a variety of other elements to create the
mythical quest to reunite with the lost love that can never
be found.

* San Francisco: Artists' Television Access: Surrealistic
Journey: Surrealism by Karl Krogstad documents the history
of the surrealist movement. Scott Beale's Alonso G. Smith: A
Half Century of Surrealism chronicles the life of and works
of the 78 year-old San Francisco Bay Area painter.

* New York City: Millennium: New Works by Emerging Artists:
WASSERMAN, SIESEL, PETION, KORBONSKI, LIPPITT, AHLUWALIA,
LOPEZ-HUICI & EGAL: An eclectic program of new films and
videos produced by emerging New York-based artists. SAVAGE
CROPS (10 min.-1995) by DEBORAH WASSERMAN, ROSE (9 min.-1995)
by ELLEN KORBONSKI, TOAK (16 1/2 min.-1995) Film & Dance by
ARIANE LOPEZ-HUICI, Camera by CHRYSTEL EGAL, A SHORT SEASON
(28 min.-1995) by ASHIM AHLUWALIA, FRAGMENT 1(8 min.-1 995)
by KARL PETION, TIMES SQUARE (6 min.-1996) by NANCY SIESEL,
(NAVIGATING) THE PHYSI- OLOGY OF MEMORY (8 1/2 min.-1 995)
by MICHELLE LlPPETT. In TOAK, Ariane Lopez-Huici becomes the
model of an archaic dance which explores the life and secret
of her dialogue with the art of sculpture. On SAVAGE CROPS-
`A depiction of a relationship between a mother and a
daughter. Surreal imagery and dream-like scenes reveal their
inner worlds, conflicts, and personal struggles." -Deborah
Wasserman.

* New York: Anthology Film Archives: Diaries, Notes and Sketches
by Jonas Mekas, 3 hours.

* Chicago: Chicago Filmmakers: TALK SHOW WITH JOHNNY WHITE:
PerforMedia Event

* Chicago: Chicago Filmmakers: MEDITATIVE VENGEANCE: New
Performances by Andrew Fearnside, Marianne Kim, and Sara
Kraft: PerforMedia Event! Chicago Filmmakers presents two new
multi-media works by three rising Chicago performance artists,
Marianne Kim, Sara Kraft and Andrew Fearnside. Invoking German
Expressionism and lyrical surrealism, as well as the absurdity
of everyday life, Kim and Kraft present DIALLEL (swinging by
the big bang). This dance theater piece incorporates original
film footage and features a pair of porcelain-powdered twins
on a journey through a landscape of urban demolition, marathon
races and apocalyptic cocktail parties. The Chicago Reader has
described Kim's work as "wacky . . . mesmerizing. . . . mixing
the comic with the sublime without cheapening either."
BLUEBEARD by Fearnside, conjures up the multi-layered phantom
of the legendary pirate and historical Satanic murderer.
Balancing the bare power of Japanese Butoh-influenced
movement, Fearnside and Chicago performers Douglas Stapleton
and Ania Grenier stage conjurations, dreams, a treasure hunt,
hangings, and miracles to investigate the slippery
relationship between fantasy and reality in a mind saturated
by violence.

* Vienna, Austria: Der Blick der Moderne at Stadtkino Wien:
Sally Potter, Thriller GB 1979; Alex Cox, Death and the
Compass GB 1992. Modernist Narrative The Function of Ellipsis:
Marcel Fabre, Amor Pedestre 1914; Dimitri Kirsanoff,
Menilmontant F 1925; Maya Deter, At Land USA 1944; Sidney
Peterson, Mr. Frenhofer and the Minotaur USA 1949; Stan
Brakbage, Blue Moses USA 1962.

* Los Angeles: Filmforum: Sonic Outlaws: Baldwin's Back! It's
the Biggest Baldwin Film Ever! Join secret agent Craig Baldwin
on his kinetic tour through the world of "found sound" queries
the issues of copyright infringement, fair use, and the
ownership of public airwaves. After profiling the San
Francisco noise band, Negativland, and the Island Records
lawsuit which claimed that the band had infringed on the
rights of mega stars U2, Baldwin's doc careens through other
forms of cultural jamming, talking with members of the
Emergency Broadcast Network, the Barbie Liberation
Organization, and the Tape-beatles, among others.

* Vancouver, British Columbia: : Edison Electric: MOTHER'S MEAT
& FREUD'S FLESH: See June 2.

Saturday, June 8

* San Francisco: Artists' Television Access: Radical Video
Festival presented by Food Not Bombs: Food Not Bombs hosts the
first annual Radical Video festival. Check out a variety of
underground political videos, Radicalize your mind and educate
yourself about San Franciscos political scene. Topics include
Police Repression, Public Housing Scandal, Squatting,
Homelessness, Radical Environmentalism, Chiapas, Mumia
Abu-Jamal, Anti-Militarism, Vegetarianism and more. Look for
a complete schedule coming out soon.12:00pm-10pm

* New York City: Millennium: ROBERT FENZ: Robert Fenz is
currently at work as cinematographer on a film by Jennette
Montalvo, BODY OF A MAN, featuring Judith Malina and the
Living Theatre. He has begun work on a new personal film this
Spring during a trip to Bolivia. VERTICAL AIR (28
min.-1994-96), PASSAGE (23 min.-1993-94), DUET FOR TRUMPET AND
CAMERA (10 min.-1992) and a work-in-progress. "In the style
of Dziga Vertov ( Man With A Movie Camera), VERTICAL AIR is
an electric look at American life marked by some of its
icons-Uncle Sam, Malcolm X Monument Valley-it is a whirlwind
event, a celluloid experience that comes alive as though it
were three-dimensional jumping right off the screen. Images
attack from every possible angle from the perspective of a
bird in flight or a scurrying insect. Is anything what it
seems? Can America ever finish discovering itself? Isn't
Revolution in nature? Is the surface the last, the only
reality? What happens when music and image become brothers,
side by side, individual and equal? VERTICAL AIR creates a
sensorial testimony of American democracy, a forgotten ideal
of our legacy. And if a piece of music and a film can traverse
the delicate boundary, why can't we?" -R.F.

* New York City: The New Festival: The Public Theater: TENDER
FICTIONS: Pioneer lesbian-feminist experimental filmmaker,
Barbara Hammer, constructs an autobiography before someone
does it for her in this posjt-post-modern sequel to her 1992
award-winning documentary, NITRATE KISSES. Childhood stories
of the artist as a young lesbian and intimate tales of the
lesbian as a young artist underscore the filmmaker's life of
performances. With a Swiss Army Knife she robs an American
Express Bank in Morocco, accosts a shepherd in a field on
International Women's Day, and tap dances on Shirley Temple's
star on Hollywood Boulevard. This child movie star was kthe
ideal by which Hammer's ambitious mother measured her own
Barbie. Grandma, already a cook for Lillian Gish in Hollywood,
introduced the cute, loquacious child and her mother to D.W.
Griffith. Lesbian autobiography is a slender genre, so Hammer
draws from general culture studies for critiques and to
provide an ironic edge to the synthesized "voices of
authority:. Using personal archival footage of the AFL/CIO
faculty strike at San Francisco State College supported by the
Black Panther Party (1968), the first San Diego Women's Music
Festival (1975), and the 'Take Back the Night March' in San
Francisco (1979), Hammer challenges a younger generation to
visualize a world before they existed. The stories tug at your
heart, the theory teases your intellect, and the fragile line
between truth and fiction provoke you in this dense and
hyptotic montage.

* Vienna, Austria: Der Blick der Moderne at Stadtkino Wien:
Symposion: Lucy Fischer: Modernity, Mortality, Marlene:
Documentary Desire and the Aging Film Actress; Tom Gunning
[USA]: The Forgotten Future Early Cinema, the Films of Lewis
Klahr and the Amnesia of Modernity; Peter Kubelka: Meine
Begegnung mit der Moderne im Wien der 50er Jahre.

* New York: Anthology Film Archives: Films by Georges Melies II:
Voyage Across the Impossible (1904) and others.

* New York: Anthology Film Archives: 130 Films by Louis and
August Lumiere, 1896-1905, 90 mins.

* Chicago: Chicago Filmmakers: MEDITATIVE VENGEANCE: See June 7.

* Vancouver, British Columbia: : Edison Electric: MOTHER'S MEAT
& FREUD'S FLESH: See June 2.

* Los Angeles: Filmforum: Sonic Outlaws: See June 7.

Sunday, June 9

* Vienna, Austria: Der Blick der Moderne at Stadtkino Wien:
Linda Christanell, Moving Picture, A 1995; Lynn Hershman,
First Person Plural - The Electronic Diaries of Lynn Hershman
Leeson, USA 1984-96. Rhythmus & Struktur: Die Suche nach der
gerformten Zeit: Viking Eggeling, Symphonie Diagonale, D 1923;
Peter Kubelka, Arnulf Rainer, A 1960; Peter Kubelka, Adebar,
A 1957; Peter Kubelka, Schwechater, A 1958; Fernand Leger,
Ballet mecanique, F 1924; Werner Nekes/Dore O., Jum-Jum BRD
1967; Paul Sharits, T,O,U,C,H,I,N,G, USA 1968; Martin Arnold,
passage a l'acte, A 1993; Zbigniew, Rybczynxki, Tango, Polen
1981.

* Oakland, California: Climax Movie House: Illusions by Julie
Dash/Thriller by Sally Potter: In Dash's Illusions, a black
woman who appears to be white and a black woman who sings the
voice-over for a white Hollywood star grapple with these
contradictions in a wartime Hollywood movie studio. Potter's
Thriller is a girl's version of Puccini's "La Boheme," a model
for the deconstruction of the Hollywood film.

* Vancouver, British Columbia: : Edison Electric: MOTHER'S MEAT
& FREUD'S FLESH: See June 2.

* Los Angeles: Filmforum: Sonic Outlaws: See June 7.

===

Let us know about your screening of avant garde film and video!

--
Scott Stark
sst...@sirius.com
Flicker: http://www.sirius.com/~sstark/