Archive for April 2009 | Monthly archive page

Apr 15

Tonight’s program offers an overview of the fertile contribution women artists were making to independent, avant-garde filmmaking by the Seventies, ranging from wickedly funny psychodramas to thoughtful explorations of cinematic form. Films: Barbara Linkevitch’s Chinamoon, Gunvor Nelson’s Take Off, Anne Severson’s Near The Big Chakra, Dore O’s Kaskara, Sandra Davis’ Maternal Filigree, Martha Haslanger’s Lived

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Apr 15

Dutch filmmaker Barbara Meter returns to the Bay Area with recent films that use different European settings and past cultures to explore universal themes such as war, memory, and dislocation. Even though Meter has been making films since the 1970s, her most recent films achieve a new level of poetic expression. Films will include Appearances,

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Apr 15

Jon Jost made five appearances at Cinematheque between 1971-81. Jost’s first feature-length film, Speaking Directly: Some American Notes (1973), is a wry personal essay made a few years after his 27-month stint in prison for draft dodging. Made in Montana on a miniscule budget, this critique of America in the early 70s is brilliantly idiosyncratic

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Apr 15

The seventies was Chick Strand’s most prolific period, featuring some of her most accomplished and endearing work. Tonight’s selection exhibits a wide variety of cinematic concerns: Cosas de Mi Vida, Elasticity, Cartoon Le Mousse and Guacamole. (Program and note by Carmen Vigil)

Apr 15

Bay Area Films & Videos The series begins with a program of films and videos highlighting some of the younger Bay Area experimental moving-image artists frequently represented at the Cinematheque. Installations: Michael Rudnick’s Animated Glasses, Lynn Marie Kirby’s Photons in Paris: Image Encoding. Film and Video Screening: Steve Polta’s Estuary #1 (Constant Passage), silt’s Pieces

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Apr 15

Reflecting Cinematheque’s shift from a primarily local exhibitor to one equally incorporating artists working nationally and internationally, this program focuses on the concentrated and stylistically formal approach to films which increasingly dominated Cinematheque programs during these years: Night Movie #1 (Self Portrait) by Diana Barrie, The Bladderwort Document by Janis Crystal Lipzin, Flight of Shadows

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Apr 15

This program features work by pioneering Bay Area artists whose art and presence had an impact on early activities of Canyon Cinematheque (as it was then known), as well as two by prominent non-locals filmmakers: Here I Am by Bruce Baillie, Angel Blue Sweet Wings by Chick Strand, FFFTCM by Will Hindle, Schmeerguntz by Gunvor

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Apr 15

This decade saw the emergence of a generation of filmmakers who turned their attentions away from strictly formal artistic explorations to personal and political concerns, including re-examination of narrative traditions. The decade also saw the emergence of film performance installation and the first instance of Cinematheque’s exhibition of video: Covert Action by Abigail Child, Peggy

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Apr 15

The films on this program are deeply reflective works on particularities of cinematic space, and the majority are makers who emerged during these last ten years: Gunvor Nelson’s Time Being, Phil Solomon’s Figure/Ground (The Snowman), Janie Geiser’s The Fourth Watch, David Sherman’s Tuning the Sleeping Machine, Luis Recoder’s Magenta 1, Martin Arnold’s Passage à l’acte,

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Apr 15

Since the 1970s, when he helped create the artist collective Ant Farm and other groups exploring experimental approaches to video and television, Chip Lord has produced a large body of videotapes that explore social customs in different societies and their relationships to technology. El Zócalo, premiering tonight, is an observational portrait of Mexico City’s central

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Apr 15

Brakhage’s first sustained foray into complete abstraction, The Text of Light is an epic adventure in perception, a meditation on the variancies of vision and a discovery of entirely new worlds within everyday objects. Also: Two Super-8 films: Desert and Sketches. (Steve Polta)

Apr 15

The Arabic Numeral Series, a series of twenty films ranging from five to thirty-two minutes in length, “inspired and governed by strata of the mind’s moving-visual-thinking,” abstract films using pure color and light suggesting internal worlds of non-linguistic experience, thoughts on the verge of appearance. (Steve Polta)

Apr 15

French-Canadian Filmmaker (and early Cinematheque programmer) Vincent Grenier has, since the 1970s, produced a body of films that explore subtle relationships between light and color, combining unique approaches to portraiture and landscape with formal cinematic concerns of dimensionality and abstraction. Grenier has recently begun concentrating on digital video, producing an array of works which explore

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Apr 15

Supported by the San Francisco Film Commission Former Program Director Vincent Grenier established a strong curatorial direction and voice for Cinematheque screenings that later Program Directors Charles Wright and Carmen Vigil (later Vigil alone) sustained throughout the decade. Join Grenier, Wright, Vigil, late-seventies Administrative Manager Jon Livingston, filmmaker and curator Janis Crystal Lipzin and moderator

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Apr 15

The seventies was a period of ferment for British filmmaking. During this time filmmakers visited the U.S. and challenged narrative form by using the forces of nature and landscape in entirely new ways. Program includes: After Lumière: L’Arroseur arrosé and Time and Motion Study by Malcolm Legrice, Condition of Illusion by Peter Gidal, Sheppard’s Bush

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Apr 15

The films of Fred Worden are inspired by and continue a lineage of filmmaking activity suggested by the work of Len Lye and Hans Richter, a tradition of graphic filmmaking “where not just representation but naturalism itself has been happily jettisoned. Energy and deep abstraction are the primordial elements of this stripped-bare world.” The five

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Apr 15

What’s Wrong With This Picture, Parts 1 and 2 by Owen Land, Breath by Andrej Zdravic, Chuck Hudina’s Bicycle, Michael Mideke’s Goats, Cargo of Lure by Jim Hoberman, Gulls & Buoys by Robert Breer, Barn Rushes by Larry Gottheim and Picture and Sound Rushes by Morgan Fisher.

Apr 15

Divided Loyalties by Warren Sonbert, Visible Inventory Nine: Pattern of Events by Janis Crystal Lipzin, Rainbird by Michael Mideke, An Evening at Home by Gail Camhi, Porter Springs 3 by Henry Hills, Cants from Natural History Works by Gary Adkins and Pat O’Neill’s Foregrounds.

Apr 15

Cinematheque’s seasonal program showcasing work recently received by Canyon Cinema, local distributor of alternative and experimental cinema, kicks off this Winter season. Saul Levine’s Light Lick (Az Sent): Only Sunshine consists of rhythmically pulsing abstract frames. Michael Rosas-Walsh’s Lake Orion builds glistening black and white dreams from multiple exposed vacation footage. Shiho Kano’s Rocking Chair

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Apr 15

In the 1970s, underground Superstar Ondine visited the Bay Area several times screening films from Andy Warhol’s “film factory” in which he was featured. The memories of these visits will hopefully be evoked with this special screening of Warhol’s 1966 classic The Chelsea Girls at San Francisco’s own Castro Theatre. A sprawling parody of the

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Apr 15

This is an assortment of lesser-known pieces, eclectic beyond the scope of any unified theory. If you nod off during one of them, the next one may wake you up. In other words, it resembles many of the evenings at the Canyon Cinematheque in the early seventies. Then, as now, audiences were reminded that film

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Apr 15

Co-Presented by Pacific Film Archive and the 45th San Francisco International Film Festival In this program, memories and recollections of times past flicker and dance, set in motion by fleeting images and soundtracks. Brett Simon’s Counterfeit Film reproduces some of cinema’­s earliest images into a particularly modern flipbook. Ernie Gehr’­s Cotton Candy brings to life

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Apr 15

Due to projection problems last February, we have rescheduled this program of our Gianikian and Ricci Lucchi series, co-presented with Pacific Film Archive. Using footage shot in the Alps between enemy countries Italy and Austria-Hungary during World War I, On The Heights All Is Peace hauntingly conveys the slow waiting, work and despair of war.

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Apr 15

For the past thirty years English filmmaker Guy Sherwin has been exploring visual perception through a body of films that subtly focus on such subjects as natural landscapes, the visualization of verbal language and observations of animate and inanimate objects as fields for contemplation. Sherwin’s films are rigorously conceived and realized, while also being sensually

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Apr 15

Daniel Reeves has been a major force in sculpture, film, video, and installation since 1970. His videos focus on personal, political, and spiritual themes, from socially condoned violence to the divine nature of existence. Since 1982 Reeves has concentrated on developing a video poetics bent on exploring personal transformation and individual responsibility. For Reeves’ experience

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Apr 15

Made in 1926 as a tribute to Soviet resources and to its people, One Sixth of the World contains footage shot by Vertov’­s cameramen from the Arctic Circle to the Chinese border, from the Black Sea to the Sea of Okhotsk. 1930’­s Enthusiasm, Symphony of the Don Basin, “the most significant contribution to the Soviet

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Apr 15

Colorado filmmaker James Otis is one of the country’s most accomplished yet little-known personal/experimental filmmakers. Otis was an early pioneer of computer-generated animation, and his several films in that genre remain classics of the form. His pseudo-hyper-stereoscopic landscape studies bring the Western land to uniquely cinematic life. Of late, Otis has been applying his precise

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Apr 08

Canyon Cinema has been distributing 35mm films ever since a print of The Residents’ Hello Skinny was accidentally deposited in the early ’80s. Since then, Canyon has accumulated dozens more, but the recent addition of Patrick Bokanowski’s rarely screened feature L’Ange (The Angel), made a 35mm program seem particularly opportune. In a rare U.S. screening,

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Apr 08

Dana Plays will present a selection of films that she has made over the past fourteen years, including her recent award-winning Nuclear Family, which uses found footage to create a dark portrait of the violence and turbulences underlying seemingly ordinary family life. Dana will also present Love Stories My Grandmother Tells, a densely metaphorical portrait

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Apr 08

Thomas Allen Harris has explored his cultural heritage and personal history as an African-American gay man through numerous widely shown and celebrated films, videos and museum installations that he’s made during the past fifteen years. Thomas’ earlier Vintage is a complex essay portraying African-American family life as experienced by gay and lesbian siblings. His newest

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Apr 08

New York film and video maker Ken Jacobs last visited the Bay Area in 1999 when he presented several inspiring performance pieces from his ongoing Nervous System series. For tonight’s program he has sent Circling Zero: Our daughter Nisi and son Aza happened to both be staying at our loft on Chambers Street when fundamentalist

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Apr 08

For our final program of the season Cinematheque will present an evening of short films and videos celebrating Berkeley’s bastion of independent film exhibition, the Fine Arts Cinema. Although the Fine Arts is one of the Bay Area’s oldest functioning movie theaters, their current form of imaginative programming – creatively pairing and juxtaposing narrative, documentaries

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Apr 08

A special summer screening co-presented with SF’s MadCat Women’s International Film Festival Also screening on September 26th at the PFA The Odds of Recovery is the story of Friedrich’s battle with a multitude of often unexplained illnesses, the series of operations she endures and her struggle to understand the web of Western medicine. Both poignant

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Apr 08

For eight years local filmmaker and teacher Anita Chang has been making intimate documentaries exploring the political and emotional aspects of place and belonging. Investigating her familial relationships and, in turns, a wide community of Bay Area immigrants and transplants and an eclectic group of Nepalese women, Chang’s films combine experimental techniques with a deep

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Apr 08

I make films to explore the unfamiliar, to go beyond borders, myths, clichés, or other assumptions about how we see the world. Past, present, future, circle in a construct of on-going present-ness, or presence. In the end I seek to ignite a heightened sense of being alive. Kalama Sutta is a meditation on the political

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Apr 08

In this era of electronic/ digital media making, the films of Cade Bursell and Maïa Cybelle Carpenter delight in the tactility and sheer physicality of the essential elements of cinema. Their screens unite light, surface and gesture into textural fields of color and rhythm, within which appear fleeting and ephemeral suggestions of images. Manipulated by

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Apr 08

The cinema of Jeanne Liotta is fraught with mistakes and missteps in the flimsy world of representation; these handmade films are meditating on the ephemerality of life itself-all the while celebrating the subtle pleasures of the lived experience. Sensual, elegant and ragged, the philosophical inquiry is a fragile one: these images may disappear before your

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Apr 08

An ex-police officer turned head of security for a chemical corporation takes his job a little too seriously. After an explosion in the factory, Ferdinand steps up security measures, and when the Director orders him to stop, he treats the director himself as a risk, ultimately arresting him. An example of security-run-amok, the film is

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Apr 08

With its German title literally translated as ‘The Assault of the Present on the Rest of Time,’ Kluge’s film, made in 1985, is an episodic and fractured essay on time, history and the way in which the present tyrannizes both past and future. Depicting people who ‘plan their lives in an ad hoc fashion,’ the

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Apr 08

Robert and Mary Beth had the privilege of studying with Stan Brakhage and Phil Solomon in Boulder, Colorado. They developed ways of filmmaking in which the surface is as important as what is depicted, in which depiction itself becomes a question rather than a given. Both embrace hand processing and optical printing, and both share

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Apr 08

An 18th Film Arts Festival of Independent Cinema and San Francisco Cinematheque co-presentation Traversing the trials and tribulations of experimental film is never easy but whoever said it should be. IN THE FLICKERFLASH is a program of experimental shorts that challenges narrative convention and satisfies the thirst for formal innovation. Each film seeks to find

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Apr 08

These works explore different aspects of working site-dependently and look at one’s relation to ‘place’ through history, memory and conversations with another discipline or another artist’s work. Films and videos include Across the Street; July 4th; La Entre, Passage et Salon: 61 rue de Mauberge; Photons in Paris: image encoding series; In Search of the

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Apr 08

These works are duets in relation to questions to the self and other-another person, an object or a political event. Films and videos include Sharon and the Birds On The Way To The Wedding, Sincerely, Paris and Athens, Turkish Bath, and a performance about Linden Trees with poet Etel Adnan. (Lynn Marie Kirby)

Apr 08

These works are both about the family one comes from and the family one builds for oneself in adult life. Films and videos include Three Domestic Interiors; Love, Lynn; Choreography for camera remote; The Residue of Life Series and the installation Off the Tracks. A reception for the artist will follow this screening. (Lynn Marie

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Apr 08

For over thirty years Jon Jost has produced a large and varied body of film work. From early pioneering essay films, such as Speaking Directly, to later masterful independently-produced features, such as The Bed You Sleep In, Jost’s films have always linked formal innovation with radical content and firmly dramatized the conflation of the personal

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Apr 08

“Our eyes fuse with sound and our muscles remember” (Nisi Jacobs). For her first West Coast screening, New York-based video maker Nisi Jacobs presents three digital video works which combine DV’s capacity for fleeting image capture with its incredible capacity for elaborate sound work. Jacobs surveys contemporary sound installation in an excerpt from New York,

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Apr 06

Robert Fulton, filmmaker, pilot and cameraman was born in 1939 in Greenwich, Connecticut. He died at the age of sixty-two on May 30, 2002, when his private airplane crashed near Scranton, Pennsylvania. Besides making his own films, Fulton worked as a cinematographer for many of Robert Gardner’s films and was in the process of filming

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Apr 06

Whether re-presenting virtually intact found footage film or manually ‘playing’ raw projector light, the cinema of (sometimes) Bay Area filmmaker Luis Recoder is the cinema of material, of light and of performance. Recoder’s films-variously performed ‘live’ or projected traditionally-always work to keep the viewer strangely in a present tense of direct experience. Even while reflecting

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Apr 06

Co-Presented with Bay Area Now at Yerba Buena Center for the Arts Using discarded and forgotten films from commercial and home movies as a quarry, San Francisco filmmaker Thad Povey has been mining for the surprising glimpse into the workings of the human animal. In addition to premiering new work by Povey, the program will

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Apr 06

tENT’s second screening showcases recent media manipulations and perceptual conundrums including In Perplexing Pursuit of the Prodigy Paleontologist (a mobius mystery), Foiled Again! (foil hats as symbols of resistance to mind control), Shuffle Mode (the philosophical side of permutation), Space Ballet (condensed) (a surveillance dance), Where We’re Trailer #2 (why bother to check out the

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