http://www.sfcinematheque.org/wordpress/wp-content/uploads/2016/02/Red-Capriccio_1-wpcf_320x240.jpg

Sunday, April 3, 2016 — 5:30 pm

@ VICTORIA THEATRE

2961 16th Street

San Francisco, CA 94103 - MAP

(415) 863-7576


CROSSROADS 2016 Program 8

upon maelstroms of unbearable reality (and throughout dimensional spectrums)

In Person: Craig Baldwin, Stephen Broomer, Lana Z Caplan and Karissa Hahn

presented in association with Canyon Cinema Foundation, Center for New Music, Oddball Film + Video and Shapeshifters Cinema
sponsored by LUNA, MUBI, Ninkasi Brewing and Vimeo
technical sponsor San Francisco Film Society

Full Festival Pass: [$70 general/$40 Cinematheque members] available here
Admission: [$10 general/$5 Cinematheque members]. Advance tickets available here.
Join our Facebook event.

Testing limits and crossing borders, these films exhilarate and alarm with visualizations of the militarized police state, landscapes of war-vision, the inner ideologies of gun-nut culture and image archival/found- footage overflow. (Steve Polta)

SCREENING:
Red Capriccio (2014) by Blake Williams; digital video, color, sound, 7 minutes, from the maker  bay area premiere
An anaglyph 3D found-footage film about machines and landscape that interlaces motion with stasis, crescendos with glissandos and reds with blues. Its three movements depict a parked Chevy Caprice police vehicle, Montréal’s Turcot Interchange and an empty rave room. (Blake Williams)

Their (2015) by Julie Murray; digital video, color, sound, 6 minutes, from the maker  bay area premiere
Microfilm model airplanes and their people. (Julie Murray)

Actual T.V. Picture (2013) by William E. Jones; digital video, color, sound, 7 minutes, from the maker  bay area premiere
Actual T.V. Picture juxtaposes footage of a jungle in Vietnam being bombed by an American warplane with a late-’60s television commercial showing recent advancements in the miniature transistors. This technology made possible improvements in consumer goods like television sets, but its origin was in military weaponry, as the advertisement shows. The color of the original films has not been altered. Images of the former material are predominantly green; the latter, in an advanced state of decay, faded almost completely to red, as virtually all Eastmancolor film stock manufactured in the 1960s and ’70s has or will. The soundtrack comes from shortwave radio broadcasts that the government of Vietnam interrupted with harsh, discordant frequencies. They have been carefully edited in an elaborate mix that approximates the sound of techno music. The film was finished on the 40th anniversary of the Paris Peace Accords, the treaty that officially ended the United States’ direct military involvement in the Vietnam War. (William E. Jones)

Wild Currents (2015) by Stephen Broomer; 16mm, color, sound, 7 minutes, from the maker  bay area premiere
A tragic mistake jolts Teddy and Joanne into limbo. Their spirits bear witness to their past usage of household appliances, as if by electric charge they might uncoil their spectral presences from home and garden. A myth and a ghost story for Christine Lucy Latimer, on her birthday, 2015. (Stephen Broomer)

Whirred, Whirled (2015) by Jesse Malmed & ONO; digital video, color, sound, 7 minutes, from the maker  bay area premiere
Made in collaboration with ONO. Commissioned by and using footage from The Chicago Film Archives. (Jesse Malmed)

In the Vicinity (2016) by Kelly Sears; digital video, b&w and color, sound, 10 minutes, from the maker  bay area premiere
This film incorporates the spectrum of official, covert, occult and limitless reconnaissance protocols in an instructional guide.

As aerial and photographic tactics evolve into extra sensory and predictive methods of observation, the search for more prescient intelligence leads to the absolute. The progression in this film mirrors current reconnaissance initiatives actively in development. (Kelly Sears)

Maelstroms (2015) by Lana Z Caplan; digital video, b&w, sound, 8 minutes, from the maker  bay area premiere
Using animation, heat-sensitive camera footage from U.S. border patrol screens, military bombing drone monitors and other collected footage, Maelstroms is a reflection on the dehumanizing use of image technology in modern practices. Music video for the band Steerage: Upon Maelstroms of Unbearable Reality. (Lana Z Caplan)

Coy with Conviction (2015) by Karissa Hahn; digital video, b&w, sound, 1 minute, from the maker
effloresce in grain, in shot
dreamt lemons as props,
the villains -
- coy with conviction. (Karissa Hahn)

Bulletin (2016) by Craig Baldwin; digital video, b&w, sound, 6 minutes, from the maker  world premiere
An exploded view of a ballistic issue: Bulletin is a 6-minute mish-mash-up of a mid-’60s media-archeological marvel. (Craig Baldwin)
“Strong medicine for sensitive people” (Alan Smithee)

Dark Logic (2015) by Margaret Rorison; 16mm, b&w, sound, 5 minutes, from the maker
An ode to the restricted space and surveillance in the skies. Sound derived from a live performance by Mario de Vega. Supported by The Echo Park Film Center Summer Artist-in-Residence Program. Filmed in Los Angeles and The Noah Purifoy Outdoor Museum in Joshua Tree CA. (Margaret Rorison)

Centre of the Cyclone (2015) by Heather Trawick; 16mm, color, sound, 18 minutes, from the maker  bay area premiere
In the province of the mind there are no limits. However, in the province of the body there are definite limits not to be transcended. (Heather Trawick)

Above still taken from Red Capriccio by Blake Williams


CROSSROADS 2016 receives generous support from: Grants for the Arts/San Francisco Hotel Tax Fund, The Andy Warhol Foundation for the Visual Arts, Zellerbach Family Foundation, The Owsley Brown III Philanthropic Foundation and The Willow Foundation.