Eventos

  • MassArt Film Society: Maya Deren & Stan Brakhage

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    Meditation on violence (Maya Deren, 1948)MassArt Film Society: Maya Deren & Stan Brakhage
    Wednesday April 20th 2011, 20h
    Massachusetts College of Art, Film Department
    Screening room 1. 621 Huntington Ave. Boston, Massachusetts 02115, USA

    Meditation on violence by Maya Deren & Song 23 The 23rd Psalm Branch by Stan Brackhage

    Meditation on violence (Maya Deren, 1948)
    With Chao Li Chi and music by Teiji Ito
    As the movements of Chinese boxing is "forward" some metaphysical concepts of physical, MEDITATION ON VIOLENCE film is, in cinematic terms, a discussion of these concepts using physical movement as a visual means among others. The film begins and ends in the middle of a movement to make it as a visual slice of life, whereas it was and will be at infinity. Respiratory rate, alternating negative / positive, is maintained during approaches and withdrawals from the boxer facing the camera

    23rd Psalm Branch (Stan Brakhage, 1966-78)
    One of experimental great Stan Brakhage's best known but least seen films, 23rd Psalm Branch is a feature-length entry in his Songs series. It is both a beautiful, lyrical work and perhaps his most political film.
    Brakhage combines his own images of Colorado, found footage of war, and some of his earliest hand-painting on film to create a work that is rich with meaning and a key artistic milestone for him. Shot in 8mm and later blown up to 16mm, Song 23 is an extended meditation on war in society, made in response to the war in Vietnam. It is a haunting work, still relevant in it theme and one of Brakhages masterworks. Author P. Adams Sitney wrote that "it is an apocalypse of imagination".

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  • Christina McPhee: The Delicate Landscape of Crisis

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    Christina McPhee: The Delicate Landscape of CrisisChristina McPhee: The Delicate Landscape of Crisis
    Friday, April 15th, 21h
    Remise, Freies Museum Berlin
    Potsdamer Strasse 91, 10785 Berlin-Schöneberg

    A premier survey of California-based McPhee's experimental films from 2002-2011 will screen Friday at Freies Museum, Berlin

    Christina McPhee's video work is made of combined textures, colors and details of the landscapes she is exploring. The flow and beauty of her kind of compositing lies in its immersive qualities, which may even become hypnotic. The colorful layered textures the artist is creating with video are not unlike her paintings, composed by layers of expressive drawing lines. The artist is specifically exploring landscapes of destruction and landscapes that are shaped by large technological installations for energy production. San Ardo Oil Fields in Monterey County is a place for one of her videos, it is the biggest area of oil explorations in California. The film is a composition in red. Landscape, nature, moving oil pumps and spills of water, are combined with footage of Carolee Schneeman’s famous 1964 performance ‘Meat Joy.' Oil spills (of paint) on canvas, on bodies and on natural soil become one of a kind for the viewer. (“Meat Oil Joy Paint: A Tribute to Carolee Schneemann “ (2010).

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  • Playback: ATA Film & Video Festival 2006 - 2010

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    Playback: ATA Film & Video Festival 2006-2010Playback: ATA Film & Video Festival 2006-2010
    April 19, 2011, 19:30h, 10$
    The Roxie Theater, 3117 16th Street, San Francisco, USA

    Join us for a special presentation of short films from the first five years of the ATA Film & Video Festival. The selections include works by Tommy Becker, Ariel Diaz, Paul Clipson, Zachary Epcar, Sam Barnett, Jibz Cameron & Hedia Maron, John Palmer, Rachel Manera, Carl Diehl, Martha Colburn, Guy Maddin, Clare Samuel & Candice Purwin, Olga Chernysheva, and Federico Campanale.

    ATA proudly presents these local & international works, celebrating unconventional films and a singular film festival that entertains and provokes audiences worldwide. Don’t miss your chance to experience what BadLit describes as “a real powerhouse of experimental media exhibition.”

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  • Plenty: Plastic Haircut

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    Plastic Haircut (Robert Nelson, 1965)Plenty: Plastic Haircut
    Tuesday 12 April 2011, 19h-21h
    Event Gallery
    96 Teesdale Street, Bethnal Green, London, E2 9PU

    - Plastic Haircut (Robert Nelson, USA, 1965, 16mm, b/w, sound, 15 minutes)

    Two actors perform absurd actions in sets composed of geometric shapes. Two experts try to explain what it all means. Goofing off in positive/negative space, Robert Nelson and collaborators William T. Wiley, Ron Hudson, R.G. Davis and Steve Reich construct a spirited work that invokes Alfred Jarry, Dada and improvised theatre.

    “None of us knew anything about making movies, but we all knew about art (namely that it had something to do with having a good time).” (Robert Nelson)

    Robert Nelson (born 1930) was a key figure of the post-war independent film scene and one of the founders of Canyon Cinema. His belief that filmmaking should be primarily a fun activity created some of the most entertaining and infectious works of the American underground.

    Plenty is a free monthly screening series selected by Mark Webber. It forms part of the “Brief Habits” programme curated by Shama Khanna, supported by Arts Council England.

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  • Ken Jacobs in 3 Dimensions!

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    Return to the scene of the crime (Ken Jacobs, 2008)

    Ken Jacobs in 3 Dimensions!
    May 13-19. Book launch May 14th
    Anthology Film Archives, 32 Second Avenue New York, NY 10003

    As the 3-D craze continues to sweep through our nation’s multiplexes, we here at Anthology have seen fit to focus attention on an artist – one of the giants of avant-garde cinema – who has been exploring the possibilities of three-dimensional filmmaking since long before Hollywood dusted the process off and rebooted it for the purposes of high-powered distraction. Ken Jacobs’s experiments with the possibilities of illusionary depth stretch all the way back to the late 1960s, and in the last decade he has devoted himself to exploring the phenomenon, creating dozens of moving-image works, both shorts and features, that utilize various methods of producing three-dimensional effects. Standing in stark contrast to Hollywood’s efforts to squeeze some (any) kind of response out of jaded moviegoers benumbed by decades of big-budget spectacles, Jacobs’s profound fascination with the idea of filmic depth speaks to a commitment to expand our senses and our conception of the movie-watching experience – a conviction that the cinema can foster expanded perception, not just sensation.

    This series offers a very rare chance to experience an exhilarating variety of Ken Jacobs’s utterly original 3-D work. Featuring three nights of live Nervous Magic Lantern performances, a revival of a 35mm slide-based piece from the mid-1980s, and a host of short and feature-length 3-D pieces from throughout his career, these shows will survey a body of work which forms a conception of 3-D filmmaking undreamed of in the multiplexes!

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