Tibbes der Schneemann (German Edition)

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Secrets of a Soul, from its very first shots, provides the spectator with an admonition not to be deluded by initial impressions, not to be fooled by spurious connections. The opening image shows a strip of material being used to sharpen a blade, suggesting a strip of celluloid and the hand and tool that cuts it.

The introductory passage makes it clear just how convincingly editing can manipulate and distort. A number of shots lead us to believe the husband and wife are in the same room; eyeline matches and directionals deceive, though, for the two inhabit separate spaces and are hardly as intimate as it would seem: a wall stands between them, in fact. The editing creates a false image that we come to recognize as such after we regain our bearings. In the same way, the psychoanalyst edits a story derived from his patient's mental images, a "final cut" that seems to edify.

If the psychoanalyst entered the man's life by returning a key, it is significant that the object both opens and closes, just as the ultimate explanation privileges certain moments and memories while blocking out others. The epilogue, which otherwise would be superfluous, provides a further perspective beyond the initial closure, one both ironic and unsettling.

Once again, certain footing gives way to precarious ground Pabst, Eric Rentschler, Editor. For a discussion of the second film screened tonight see E. Program, structured similarly, will now include: "Trailer for Reg. Ocean Beach. We'll be giving away even more films. To the first 25 patrons, this time. Along with cassettes and cd's, so you can experiment also.

Like last time, if you bring a film to show, you get in free Often defying the boundaries of genre, she employs installation, performance, photography, video and film. Internationally recognized, Eleanor Antin has performed and exhibited around the world, including one-woman shows at the Museum of Modem Art and the Whitney Museum, major installations at the Hirschhom Museum and the Jewish Museum in New York, and a performance at the Venice Biennale. The King of Solana Beach, and The Adventures of a Nurse are frequently referred to as classics of postmodern, feminist art.

Autobiography, in a fundamental sense, is Self getting a grip on oneself Usual aids to self definition - sex, age, talent, time and space - are mere tyrannical limitations upon my freedom of choice. Her "selves" the King, the Ballerina, the Nurse , explored through her broad range of artistic expression, have challenged both issues of "Self as well as "Historicity". Her published joumal.

Through all of her personas, she manages to explore her own identity and it's infinite possibilities: There is no point at which she suddenly stops being Eleanor Antin. What she becomes is already part of her, and she never ceases to be what she is to begin with. There are no borders, no precise contours, no center.

Yet many years before this, Eleanor Antin was one of the earliest pioneers of video art. Beginning in the early seventies, her earliest works were performative pieces in real time, yet always with what she terms a "proto-narrative", many of which coincide with her exploration of identity. Bom in , Tarr is a product of Hungary's prestigious Bela Balazas Studio, the country's premier film academy.

To date, he has completed six features, four of which - are included in tihie series. Sdtdntango ; minutes An exquisitely paced psycho-social portrait of post-communist malaise, Satantango is a tale of petty schemes and profound emotions as seen in a handful of seedy rural characters whose hopes and lives are drenched in interminable rain. Set on a dilapidated collective farm somewhere in rural no-man's land, Satantango describes, from a variety of viewpoints and by skipping back and forth over an unspecified period of time, the final days of "cooperative living" among a group of drunken cheats, crippled adulterers, and luckless cretins.

Eager for profit, the members of the collective connive and conspire among and against one another, only to find themselves eventually atomized and abandoned by the charismatic con man Irimias - who just may be the demiurge of the film's title, and of whom one character tellingly observes, "He could build a castle out of cow shit. A lonesome depiction of a grizzled anti-hero's ill-fated obsession with a wrecked chanteuse. The Pre-fab People A gritty cinema verite style portrait of a frustrated working class couple.

Cassavetes-esque, tight close-up portraits of explosive bickering. Almanac of Fall A stunningly choreographed examination of the tensions among five people forced to share an apartment. Death and Peanuts ; by Donna A. Tsufura, USA, 16mm, 4 minutes Donna Tsufura captures the quiet rituals of a woman and a mound of dirt.

Dariche ; by Massoud Abolfathi, Iran, 16mm, 14 minutes Dariche is a Persian word for window and shows a lone man at a window, pulling up the blinds. It is an illusive film of love in exile, the memory of a woman - her smile, her eyes - of trying to catch the time of memory when the memory stays perpetually in the realm of the untouchable.

Xich-lo ; by M. Trinh Nguyen, USA, 16mm, 20 minutes Xich captures a young Vietnamese American woman in preparation for a significant and emotional reunion with her relatives who have remained in Vietnam after her own move as a child to the U. World premiere. Stranger Baby ; by Lana Lin, USA, 16nmi, 14 minutes Disembodied voices, flying saucers, strange messages on an answering machine are just your generic supermarket tabloid brand of "alien" sightings in Stranger Baby: aliens considered a threat because they speak a language you don't understand; aliens always being asked, "What are you?

Perhaps all aliens don't come from outer space. It shuns dates and family histories. Instead, it's infused with the rich seductiveness of Urdu poetry and luminous black and white images reminiscent of the great Indian classics of the fifties. Reflection ; by Yuriko Gamo, USA, 16mm, 5 minutes Yuriko Gamo presents the conflicts between cultures and expectations of cultures through the simple ritual of dressing.

She has just swum from Tokyo the night before. In the course of the film we find other women like her, displaced, yet yearning for physical attributes to ground oneself in one's culture or perhaps to be freed from it. Shakers ; by Midori Ikematsu, Japan, video, 2 minutes La Vida ; by Lawan Jirasuradej, Thailand, 16mm, 20 minutes An experimental film with lush colors and vibrant stagings. What narrative? If only it were a narrative! But it is precisely not a narrative, it is time, burning time, beating from hour to hour, it is time beating in life's breast.

She makes films that set in place many complex networks, films that touch, that move, working to change perceptions, to reorder a world. Let go of everything! Lose everything! Take to the air. Take to the open sea. Take to letters. Listen: nothing is found. Nothing is lost, everything remains to be sought. Her films are this seeking, this journey, with its rhythms and hesitations, its assurances and its doubts.

Eschewing conventionalized narrative or any fixed ontology of the world or of the self, Sternberg embraces and explores the flux, the contradictions, the spaces and pauses between things, between reflection and silence, between present and past, between self and community. Barbara Sternberg holds a unique place in the contemporary Canadian avant-garde, and the San Francisco Cinematheque is honored to welcome her for her first visit ever to the Bay Area.

Based in Toronto, Sternberg has produced ten films in the past seventeen years, each laboriously crafted and each exploring various interstices of work, desire, time, identity and how one speaks and films the world and the self into being.


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Her films have screened widely across Canada and internationally and are included in the collection of the Art Gallery of Ontario and the National Gallery. It depicts the disquieting sensations of being between - between falling asleep and being awake, between here and there, between being and non-being. These metaphysical themes are evoked by the central image of a woman in white over which layers of images and sound voices are superimposed. BS Beating ; 16mm, color, sound, 64 minutes "Doubt is both the power and propulsion of Beating.

Jewish and a feminist, Sternberg has erased love letters to make naked the empty between her legs, a mirror of history's negation. Each filmic gesture soothes the guiding insult, filling the space with her version of love. But how can otherness make room for another? With the eye of a fetishist she searches the body's topography for clues of oppression. And finds it here. With Beating, Barbara Sternberg challenges our understanding of the relationship between memory and cinema by challenging us to see and hear a highly controlled flow of images and sounds that collide, fragment, and flicker, to create a landscape of impressions that are both mystifying and provocative.

At the same time she deals with issues that are by no means easy to grapple with. Images of Nazis, sexual organs, lynched Jews, and a couple that appear to be involved in a dance that evokes a sexual struggle are just a few of the powerful images that stay with one long after the film is over. Sternberg's film has a 25 part structure that at times hardly seems to exist because of the fluidity and purpose with which each shot meets the next.

The depth of the filmic text which itself borrows from the texts of Virginia Woolf, Sylvia Plath, Helene Cixous, and Hannah Arendt is matched by the intricate depth of the projected images many of which have gone through generations of optical printing and sounds. The intellectualizing here never veers into pure abstraction; it is always grounded in the world, whether through the evocation of memory or through the images from nature. These moments of natural beauty and repose both contrast with and provide a reprieve from the density of the text itself; this repose, however, is one of continuous movement, and while that may seem paradoxical, one must recognize that although the film is never far from the beauty and color of its sensuous imagery, it is adso never far from its scratches; its black and white and negative photography; and finally the specter of Nazism and the danger of forgetting the Patriarchal seeds which bred it.

Ultimately we are forced, through the strength of the images and the intensity of Sternberg's vision, to remember what we have seen, what we have heard, and what we have lived through in time. Eliot Drift ; by Chris Welsby, 16min, color, sound, 17 minutes The idea for this film comes from the experience of three winters living in the Kitsilano district of Vancouver. Walking out along the ocean front is a rewarding experience at any time of year, but in winter the fog moves in and the landscape assumes its quintessential Pacific Northwest appearance.

It is at this time more than any other when, lacking a clearer point of reference, one's attention is drawn to the large cargo ships which anchor in the bay On some days they assume a monumental, sculptural presence, testimony to the technological domination of the environment On a different day they look like children's toys or partially drawn pictograms The picture plane is in continuous motion like the ocean which on the surface at least, is the subject of Drift Hoberman, Village Voice "Study of a River As in his Eastern European films, Hutton has mined the past in his pursuit of evocative cinematic landscapes.

He has delved into the ecological history of the Hudson and has paid particular attention to the great tradition of the nineteenth-century Hudson River school of American painting. He isn't just an artist of awesome formal invention, but also a philosopher of the medium.

Or, as in the best of his work, both nothing and something. In his extensive body of Super-8 work, including two multi-film series entitled Picture Books For Adults and Tales of the Forgotten Future he initiated the articulation of and developed a signature style which draws on the oneiric, atemporal work of Larry Jordan, Harry Smith and especially Joseph Cornell as well as the pop sensibilities of Kenneth Anger. Rich with an odd, unfixable nostalgia reinforced by seductively layered and yet ultimately irreconcilable images-made-strange, Klahr's films play with distance, the soulless stares and inscrutable blankness of his figures frozen-in-motion reflecting a longing for a past which is necessarily - irretrievably lost.

AUair ; 16mm, color, sound, 8 minutes Green 62 ; 6 minutes Whirligigs in the Late Afternoon ; 16mm, color, sound The Pharaoh's Belt ; 16mm, color, sound, 43 minutes In The Pharaoh's Belt, Klahr engages in a sort of fantastic history of childhood, using the attribution of incoherent significance and the perverse joy of irrational association characteristic of games of make-believe to fashion an allegorical narrative of adolescence. A dizzying melange of resonant images and shocking - yet always coyly astute - juxtapositions of objects, actions and effects, this film uses the familiar and banal to tear open the Pandora's Box of suburban childhood, and revels in the terrors it releases.

A narrative of incommensurate events, chronicle of a dream always on the verge of waking into adulthood, it explores an uncharted terrain of linoleum floors and the hving room couch, wondering at the mysterious wonders implicit in the birthday cake and the vast unknown expanse of an outer space which equals in wonder any uncharted wild or misty ruin. And as we float through this lost space, breathing only the forgotten ether, these images assume their own sort of truth, naming a story which need not be told, but remembered, and their sense becomes clearer as it becomes less so.

It is the main filmic model for [The Pharaoh's Belt ] with its epic length, use of sound effects, and sublime transcendence of transcendence and horror. A short-hand way to communicate the differences between Smith's masterpiece and my film is in the use of the dripping liquids. For Smith the liquids are usually urine and semen, for me mucus and tears.

They are so respectful that it is enough for a work to be called a work of art for it to be accorded the deference normally reserved for a respectable cadaver. Experimental films are frequently, either by intention or accomplishment, works of art. Thus, they are often dead before they are screened. The Potted Psalm, a collaboration with James Broughton, in the summer of This film galvanized the art community of San Francisco, prompting a walkout and generating substantial controversy and renewed interest in filmmaking as a fine art.

Der Schneeman 1943 German WWII cartoon

Between and , he conceived of and directed several films in the context of this class, employing a style influenced by surrealism and steeped in a profoundly idiosyncratic love of literature and philosophy which refused them the pious reverence that produces only corpses, instead recognizing the explosive potential hidden in all hopeless knowledge. An intellectual in the broadest, rarest sense, Sidney Peterson created deceptively simple films which betray the weight of the shoes they wear thirty-four pounds, to be exact only when the joke is recognized as ttie bitterest sort of wisdom.

The visual unification is achieved simply and elegantly by the nearly absolute use of anamorphic photography and either fluid camera movements responding to the movements of the actors or almost choreographic movements of the actors within the static frame. Slow motion, especially at the beginning of the film, contributes to its gracefulness. There is almost no fast motion, superimposition, or wild movement of the camera. Peterson operated the camera himself. Adams Sitney, Visionary Film 25 San Francisco Cinematheque "Anamorphosis, as Jurgis Baltrusaitis points out in his fundamental study, Anamorphoses, is 'an evasion that imphes a return; stifled in a torrent or whirlwind of confusion, the image emerges resembling itself when looked at sideways or reflected in a mirror Try as you will - and just exactly as in the gambling casino - you cannot win - cannot wring a coherent set of meanings from the film.

Sidney has masterfully stacked the deck! The means, or themes, of The Lead Shoes are deliberately edited at cross-purposes. No simple warp and woof here, but rather one of the most masterful frays of meaning ever created - thus, one of the greatest celebrations of Mystery I've ever experienced. If this was reification treating abstractions as 'real' things , it went with alienation - the two being generally regarded as the twin diseases of the then generation, involving, among other things, a loss of the soul.

I don't know that we went quite that far. Serra and Aline Mare explore boundaries of sexuality in terms of ritual, performance and media. Aline Mare's mixed media pieces ' Wanglung 26 Program Notes Booklet Turner ; 16mm, color, sound, 3 minutes "Mysterious, elliptical, extremely delicate in its making - yet bursting with energy - Turner seems to elaborate a particularly feminine aesthetic of sensuality and pleasure.

The results are compelling, this film lingers, never once shpping into hype or deadly cool. A proud film that celebrates sexual desire where the energy never drops and the camera never stops Absolutely uncompromised. It seems the Evil One was not the only one having a lot of fun. Music by Zeena Parkins. Neither are available on home video. Wattstax ; by Mel Stuart; 16mm, color, sound, minutes Black is beautiful in this high-energy monster jam featuring foul-mouthed emcee Richard Pryor, and unforgettable live performances from the Bar-Kays in spandex and multicolored fright wigs , silky smooth Carla Thomas, Isaac "Shaft " Hayes, Rufus "Do the Funky Chicken" Thomas, the Staple Singers eating ribs in a limousine , funk balladeer Luther Ingram, and many more.

Inspirational words from an Afro'd Reverend Jesse Jackson round out the bill, a benefit concert for the people of Watts a. South Central held at the LA Coliseum in Then All Together. Wednesday, April 3, — New Langton Arts The three artists tonight will first perform 15 to 20 minute solo pieces then combine to perform a new composition written by Custer, Hutchinson and Sonami especially for SoundCulture Brenda Hutchinson's work as a sound artist has included installations, performance and compositions for dance, opera, film, video and radio.

Special thanks to Pat Roberts and Convivial Design. For this composition, "I resorted to FM sounds which provide the fluidity and instability lost in sampled sounds. These sounds are formed and clustered as habitual patterns and abstract attachments, little sound-beings appearing because they keep coming back for more, wandering in the undefined territory where organisms and mechanisms blend with each other.

The piece is dedicated to Jerry Hunt. Since , he has made microphones from different materials such as brass screens, copper tape, nylon cord, stainless steel, money, and credit cards by attaching piezo electric devices to these materials. The piezo effect transforms the surfaces of these materials into functional microphones that reveal small sounds within the environment they are placed in. Richard Lerman began his Transducer Series Films in , which use his microphones as both camera subject and audio input. Concerning the series, "I chose Super 8 for its ability to record directly onto the mag stripe during filming.

As an improvising performer, I was also drawn to in- 28 Program Notes Booklet camera editing I made more than 50 of these films, the last one in Changing States 3 ; performance for metal microphones and butane torch "I first used the technique of heating amplified metal with flame in a performance piece from Early versions of Changing States were more improvisatory. The title refers to the change in the metal as the chromium atoms recrystallize after being heated.

The score uses labanotation-like symbols to tell the performer how to move the flame over the metal to release the sound. What you hear is the adhesive on the copper tape burning, heating the metal and causing sound. Sound was gathered from an installation of amplified brass sheets, metal strips in the water, baited fish-hooks and windharps. The locations include St. John's Harbor and Port Kirwan. South Point is the southernmost point in the United States. I have been recording cactus thorns, rocks, etc. More recently he has written and directed Motorist , and produced video installations - Picture Windows , with Mickey McGowan , and Fashion Zone In , with his former Ant Farm partners, he designed and supervised construction of a public sculpture for the Hard Rock Cafe in Houston, Texas.

Friendship Commission in Lord weaves historical footage of General Douglas MacArthur with stories told by collectors or practitioners of Americanization. Each person interviewed connects their concept of America to the post-war occupational period, a time when images and ideas about America were powerfully influential in Japan. Lord uses voice-over to relate his own feelings of "otherness" and cultural displacement in 's Tokyo, connecting these ideas visually to the historical moment when MacArthur and U.

Shot with a Hi-8 camcorder, the tape uses innovate visual metaphor and personal insight to come to terms with reciprocal cultural influence in the U. They have not experienced anything like the fifties but this is how they would like America to be. From a novel by Jose Andre Lacour. An adventurer, Chark, arrives in a small Amazonian village just at the time the government has nationalized the diamond mines.

A riot breaks out. Accused of theft, Chark is arrested. He runs away and flees on a boat with Castin, an old prospector, his mute daughter Maria, a French prostitute Gin, and a missionary Father Lissardi. Chark makes himself the leader of the group and forces them to land and go deep into the Amazonian forest Set in the backwaters and jungles of an unidentified South American dictatorship, Death in the Garden is a large-scale narrative that takes on the state, church, the military, society and the individual in such a way that you feel the director must have intended this primeval locale to be a kind of psychological mirror-image of the Franco Spain from which he exiled himself Bufiuel with his usual mastery creates a tragedy between three men and two women one a symbol of purity, the other a symbol of vice.

He dissects the behavior of people who, isolated from their social and moral structures, show their own nature. Shot in the Mexican jungle, the drama is tinted with surrealism. Ants eat up a snake. The long hair of the deaf and mute are caught in the lianas and Simone Signoret wearing an evening gown and diamonds appears in the jungle as a painting by Rousseau. Simon Stylite's attempts to preach the word of God despite the Devil's efforts to tempt him. Photographed by Gabriel Figueroa. Clarke was facilitator rather than director, supplying her subjects with the opportunity and requisite tools to accomplish the task.

Participants entered small boothlike structures, usually set up in public places, containing a chair, video camera and monitor. After choosing a backdrop and musical accompaniment, they activated the camera, 31 San Francisco Cinematheque viewing themselves while taping. If they wished, the piece then became part of the installation, instantly available for public viewing and the larger project.

One on One is another interactive project, a series of remarkable dialogues between inmates at the California Institution for Men in Chino and Southern Califomians on the 'outside'. Clarke was an artist-in-residence at the Institution for Men for four years, during which time she led workshops in poetry writing, painting, photography, and videomaking.

Late in , she proposed a new idea to her video workshop: a series of video letters between the class members and people outside the prison, the latter ultimately being drawn either from a progressive church in Santa Monica or from a group of successful African American business people in the Crenshaw district of Los Angeles. Like The Love Tapes, these video letters are intimate and self -regulated but, unlike them, they are exclusively addressed to an individual who responds in kind. Fifteen tapes were produced in this way.

Media critic, writer and professor Michael Renov on One on One: [It] attests to a power latent in the video medium, a power that has seldom been explored. It is a power that is political, psychological, and spiritual: a power to facilitate the reversal of repression at the level of confessional speech and of experience and in so doing forge bonds that are wholly media specific. Contrary to expectation, these media-specific relationships appear to engender effects the visible signs of bolstered spirits, as well as audible testimony that are bi- directional, experienced by both video partners.

It is my contention that this new kind of relationship is a fundamentally tiierapeutic one rooted in confession freely and mutually exchanged. In One on One, the inmates' confessions - the uncoerced expressions of unspoken pain or pleasure - elude authority rather than wholly submit to it, as Foucault would have it. These unsanctioned utterances serve no institutional master. While indeed judgment, consolation, even reconciliation may be sought from the interlocutor "outside", the dynamic of dominance and submission is everywhere reversible.

If the ear of the other indeed contributes to the re construction of the speaking self, it is only on condition that the positions of self and other, confessor and confessant, remain fluid and reciprocal. As in my other works The Love Tapes, Interactive Video , I envision my role as an artist in terms of planning, facilitating, directing, and synthesizing interactive situations. I provide both a base structure and a taping format from which the art experience is created through subject-medium interaction.

This tape was made by having each inmate, one by one, sit in front of the camera and introduce himself by saying his name, talking about who he is, why he is in prison and what his interests are. I then took these tapes and showed them to people on the outside and asked them, one by one, to make a video tape directed to one of the inmates. I took these tapes back to the prison and showed them to the inmates, and again asked each of them to make a response to the person who had made the tape for them on the outside.

I went back and forth between the prison and the outside communities making and showing these tapes Each person was to be in contact through video and never in person or by letter. I did this because I wanted the relationships to be a pure video experience, one that was bound to the essence of the medium. The number of times that the participants dialogued depended on several factors: it was over when the inmate was paroled, a time limit had been set from the start, or the participants did not want to continue.

One on One ; video, color, sound, a series of 15 tapes of varying lengths This evening the Cinematheque will present one of the One on One dialogues in its entirety, preceded by excerpts from two others. Adams Sitney has been a theorist, critic and historian and advocate of avant-garde film since the young age of sixteen.

His contributions to Film Culture magazine, his work as editor of several of its publications among them The Essential Cinema, The Avant-Garde Film and Film Culture Reader , his role in the formation of Anthology Film Archives, and his own books Visionary Film and Modernist Montage testify to his early and continuing support of experimental filmmakers and their medium. Visionary Film remains one of the seminal historical and critical investigations of experimental film and functions as a point of reference for all the work which followed it.

The terms and categories Sitney established persist as the best known, most universal means for identifying modes of practice, and his arguments still carry substantial force. This evening he will lecture from a book-in-progress on intimacy and epic in American avant-garde, raising ghosts of film history and theory through the following three films. Apparatus Sum ; by Hollis Frampton, 16mm, color, silent, 2. Thanks to Sally Dixon and Dr. Nikolajs Cauna. Frampton juxtaposes nineteenth-century concerns with contemporary forms through the interfacing of a work of early cinema with a videographic display of textual material.

These two formal components the film and the texts in turn relate to a nineteenth-century figure, Frampton's maternal grandmother, and to a twentieth-century one, her grandson filmmaker Frampton himself. In attempting to recapture their relationship, Gloria! I can no longer believe that the inhabitants abandoned this solid habitation because of drought, lack of water, somesuch. These explanations do not, anyway, account for the fact that all memory of The Place, i.

Midst the rhythms, then, of editing, I was compelled to introduce images which corroborate what the rocks said, and what the film strips seemed to say: the abandonment of Mesa Verde was an eventuality rather than an event , was for All Time thus, and had been intrinsic from the first human building. Wednesday, April 24, — AMC Kabuki The six experimental films in this program resonate between the familiar and the mysterious, between the recognizable and the obscured.

They share a delight in images, taking pleasure in appearances as well as in the implications that lurk beneath. In Elise Hurwitz's strain, restrain, 34 Program Notes Booklet traces of the physical emerge from a sea of black, recalling the fragility of memory while David Sherman's haunting Tuning the Sleeping Machine delves into the seduction of our collective movie-going past. Peter Mutton's Study of a River subtly connects the flow of the Hudson River to the flow of human and film time.

Altair is Lewis Klahr's cutout animation, using images from '40s Cosmopolitans to create a sinister world, and Ariana Gerstein's Losing Touch disrupts the image itself through cutting, layering and fracturing. As grand finale, Bruce Conner's Crossroads, in a stunning new 35mm print, creates an extended meditation on the paradox between the sublime pleasure of the unfolding images and their horrific implications.

A family photograph, the only historical piece of information, lends itself to a fleshing out of a link between an ancestor and a descendent. Brief images do not last, but reappear, like memories of an event that was never well understood. The film creates visually the struggle for knowledge surrounding family secrets, and the piecing together of disparate information to understand the past. EH Tuning the Sleeping Machine ; by David Sherman; 16mm, color, sound, 13 minutes Here, the process of filmic perception relies on equal parts optics, mechanics, and chemistry; the experience of converging stories comes only with the specific channeling of these conditions.

Tuning the Sleeping Machine suggests a psycho-physical cinema, an emulsive journey of hypnotic illusion that pulls at narrative expectation. Circulating forces of control suffuse our collective cinematic experience; this is a beautiful and daunting history. Preface: in Sigmund Freud abandons hypnosis as a viable therapeutic practice in favor of psychoanalysis. The same year the Lumiere brothers present the first flickers of recreated life through motion pictures. DS Study of a River ; by Peter Hutton, 16mm, color, silent, 19 minutes "Study of a River is a portrait of the Hudson through the four seasons of the year Hutton has mined the past in his pursuit of evocative cinematic landscapes.

He has delved into the ecological history of the Hudson and has paid particular attention to the great tradition of the nineteenth- century Hudson River school of American painting. The images were culled from six late '40s issues of Cosmopolitan magazine and set to an almost four-minute section of Stravinsky's "Firebird" looped twice to create a sinister, perfumed world. The viewer is encouraged to speculate on the nature and details of the woman's battle with large, malevolent societal forces and her descent into an alcoholic swoon.

However, what interested me in making this film was very little of what is described above but instead a fascination with the color blue and some intangible association it has for me with the late s. LK Losing Touch ; by Ariana Gerstein, 16mm, color, sound, 7 minutes Scraps and chunks of rhymed thought, almost remembered, almost understood.

Carried by light and filtered through film that is solarized, scratched, cut, painted - some frames embedded with insects ants and roaches. Crossroads is Conner's 'Gone With the Wind. The colossal, gravid image of that mushroom cloud was raised as a 35 San Francisco Cinematheque scepter of American might for all the world to see..

This was a dragon-slayer of a project. To strike at the heartlessness of the beast; the specter of atomic war itself. The first section of Crossroads is twelve minutes of successive views of the detonation, with a reverberating score by Patrick Gleeson performed on the Moog synthesizer. It begins with silence and a bird's call before the holocaust of sound descends.

The last 24 minutes with Terry Riley's numbing, translucent missa solemnis evokes a funereal majesty in slow motion until the very grain of the motion picture film executes a glowing totentanz as it flickers in lethal incandescence. Their exhibition program offers a wide variety of world cinema from its earliest days through the present, highlighted by prints of exceptional quality, with different public screenings almost every night of the year.

They have one of the finest archival programs devoted to the preservation of experimental film; a new print of Bruce Conner's Crossroads was made from a restored negative as part of one of their major preservation projects.


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  7. For more information or to become a member, call This allows the freedom to not be swayed by fetishes of fickle art fashion. Totally avoiding the thematic programming that ghettoizes experimental film, X- Film is truly able to show the best of the genre. In March the group began its first national tour. Big Screen Research, the best of two seasons culled from 98 films by 61 artists from 12 countries. Tonight's program is made up of work by younger or unknown artists, mostly new to the Bay Area.

    Based on ideas from Baroque painting, O refers to a center point in the frame around which weightless circus performers swirl and vapid car race attendees run. In the words of the artist; "Low class stuff has always attracted me Its accessibility. Anywhere you can pop in with a camera and not intimidate people. A film comparable to religious parables, in that it expresses complex and crucial ideas in a simple manner.

    Home ; by Ulrike Reichhold, 16mm, color, sound, 11 minutes "Reichhold brings a personal dimension to form Glenn W. In the viewer's mind, anything put on the screen is associated with what is said by the voice-over. In this manner, anyone or anything can be motivated to become Mr. Titles are from the Roman Catholic Mass of the Dead. Perhaps the best example of Ariana's style of hand manipulated black and white images interwoven by rhythmic crosscutting. The title refers to the short repetitive sequences of film she varies throughout the work.

    The makers knowledge of cinema technology and history are evident throughout the film. He uses this information to acquire for the viewer an experience that references the classic tools of film communication, while maintaining a hand made craftsmanship. Trip East For Color ; by Francis Schmidt, 16mm, color, sound, 10 minutes Beginning with a witty and acerbic reference to trends in film theory "this film has lots of signs in it - but only to you and me". Trip East manages to be both humorous and profound. It is a kind of all in one travelogue, diary, structural film and home-movie that seems to be both insolent to and respectful of all of these forms within and without itself.

    In poetic and conceptual ways, the filmmakers provide a working model for the integration of challenging formal and aesthetic issues with socially engaging content. It shies away from any preconceived rhetoric, and history specifically Jewish history - in Berlin is not represented as an abstract term but in its reflection on the present and the personal. Among the Berliners the film follows are architect Myra Warhaftig, who searches Berlin for buildings that were designed by Jewish architects; Mario Offenberg, who fights for the rights of the Adass Jisroel community, the recreation of its synagogue and the care of its cemetery; the German American writer and here also chef and scribe Jeannette Lander; and the sound artist Rolf Langebartels.

    Jutta Sartory comments, "The Berlin residents are shown during the period between summer and December in their personal relationships to their professional activities and to their art. The persons' actions are not invented, but evolve during the moments of shooting. Thus the film is composed of the subject's reality and at the same time constitutes the framework for their appearance. Performer and acting individual are identical.

    It is not a document or an essay, but an expression. And what it expresses is precisely the need to become whole once again. Not only personally, but for the city, the nation, and the society as well. When Sartory, Kratisch, and their friends repair the gravestones in the cemetery of Adass Yisroel, it is not only the Jewish community that is being repaired, but Berlin and Germany as well. Beyond acknowledging absence and loss, But this interest is also a reflection, because it comes not out of a desire to teach but to learn. There is no narrative voice in Das Gleiche In its expression of Jutta's and Ingo's experience of these particular people, places, and events it, too, is whole, generous.

    The film shares an experience that most haven't the courage or ability to undertake. As viewers are initiated into a set of symbols and personalities, they are invited, tacitly, to join the searchers who scour Berlin and its environs for the refuse and remnants of former times. Step Across the Border Fred Frith' s music makes your jaw drop, your feet dance, and your neighbors move. Frith so redefines the possible uses of the guitar arui makes traditional discourse irrelevant.

    What better opportunity to see their previous film of life in motion and portrait of avant-garde musician Fred Frith, Step Across the Border - a film as improvised, inspirational, open-ended and full of a sense of wonder as Frith's own compositions. We are thrilled to have them and their film - which may also make your jaw drop and your feet move - at the Cinematheque tonight. Each attended the Munich Film School, but at different times. They met in the early 80s by chance well, one was asking the other where to find some pot and began participating in each other's projects. Werner had already made several films focusing on music including Vagabunden Karawane which follows a group of musicians from Germany overland to India via Iran and Afghanistan, and Nicolas was beginning film school where he would make a feature and Wolfsgrub, a documentary about his mother's survival in Nazi Germany and her father the Jewish author Max Mohr.

    Friends and collaborators, they decided to make a film together, as co-equal partners, while at a stopover in Madrid on their way to visit Fernando Birri's new film school in Cuba. Both had used the music of Fred Frith in previous films, and they loved his spirit and his work. The choice of their subject was perhaps somehow obvious Werner and Nicolas work together as a team, collaborating in all aspects of the film production and post-production though one does camera and the other sound - see if you can figure that one out from the credits!

    Along with avant-gardists such as John Zom, Brian Eno and Christian Marclay, British-bom Frith has expanded the bounds of musicality, adding serendipity, recombinant styles, and a panoply of worldly sounds to the acceptable spectmm. His compositions, generally built around prepared guitar, jitter with freshness. Step Across the Border travels to several continents tracking Frith's conspicuous creativity. Unencumbered by celebrity, this whimsical musician confesses a desire to change the listener.

    The efficacy of his music is conveyed through mesmerizing performances - some spontaneous recitals, others in formal concert.

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    Undaunted by Frith's feints and fancies, the directors of this extraordinary piece of portraiture, Nicolas Humbert and Wemer Penzel, have extended his field of play. They've constmcted a symphony of the post-industrial city, hellish lyricism, and all, locating the source of Frith's music in a nocturnal brilliance. Step Across the Border pushes Frith's sonic experiments into the rich province of visual soundings. In both forms it is the moment that counts, the intuitive sense for what is happening in a space. Music and film come into existence out of an intense perception of the moment, not from the transformation of a pre-ordained plan.

    In improvisation the plan is revealed only at the end. One finds it. Much as musicians communicate via the music, our work, too, was realized within a very small and flexible team of equals. What mattered was exchange. And movement. Sometimes we started filming in the middle of the night, responding to a new idea that had arisen only minutes before.

    We had a fundamental feeling for what we wanted to do, for what kind of film this should be. And we followed that feeling. It was all very instinctive The wish associated with every kind of artistic endeavor, the wish to change the world, is fulfilled in this film in a literally phenomenal way. People are very happy to receive all the time, but there are some things you can do in cultural terms that will make people react in a different way - more finding something in themselves they didn't know about Filmforum for making the filmmakers' visit to California possible!

    That was the question the German television station ZDF put to seven women filmmakers along with a guarantee to produce their varied versions of sin on celluloid. This omnibus film provides an 41 San Francisco Cinematheque exciting, stylistically and geographically diverse overview of work by some of the most respected and formally adventurous women working in the field today. At the time this film was made, the subject of the seven deadly sins had already been explored twice in compilation films. The first was in at the hands of seven Italian and French directors, among whom were Roberto Rosellini who did the segment on Envy , Georges Lacombe, and others.

    One of the ideas behind the second version was that the values of art and society had changed so dramatically in 10 years that the notion of sin and its translation into cinema were worthy of a new and different work. It took twenty-six more years until seven women were offered the opportunity to reinterpret and cinematically reformulate those same old seven sins! As most compilation work. Seven Women — Seven Sins is extremely varied in tone, style and pace. Gluttony FiUtern! With Gabriela Herz and Michael Dick.

    Much of Helke Sander's work stems from her close involvement with the women's movement which she helped launch with a pivotal speech at the Socialist Students' Association in and deals with its development and sexual politics in the context of patriarchal capitalism. Founder and editor of Frauen und Film, the first European feminist film journal, she is probably best known for her feature.

    One of her most recent films was a documentary on the rape of German women by the Allied Forces at the end of World Warn. The bathroom attendant is sure she'll win the lottery until the rich bitch destroys it and the call girl helps to dispose of the body. Set in a timeless "twilight zone", where objects bear a menacing aura and seemingly harmless conversation carries a threatening subject. Pay To Play is about greed, avarice and its victimization of women in a consumer society. Bette Gordon's earliest films were experimental non-narratives made in collaboration with her then-husband, James Benning.

    Combining feminist theory with the exploration of narrative form, her subsequent work includes Empty Suitcases and the feature Variety written by Kathy Acker. After close to a hundred calls, she interviewed, amongst others, a four time murderer who had never been caught, a Wall Street sadist, a cop framed by the police department, a hermaphrodite angry at herself for choosing to become a woman, and a couple stuck in their anger at one another. The director, Chantal, tries to get out of bed in order to shoot this film about sloth.

    Like a kid who doesn't want to go to school, she leisurely goes through the ordeal of preparing oneself for the day, for work, with contempt. Hoberman , Chantal Akerman began making films while a teenager and finished as well as starred in her first feature Je Tu, II, Elle at the age of Probably best known for Jeanne Dielman, 23 Quai du Commerce, Bruxelles , now a classic of feminist cinema, she has made numerous films which consistently subvert conventional cinematic forms and genres and redefine women's place and voice in them.

    In one satiric scene a bodybuilder, who uses his body like a billboard to sell products, tries to advise a woman to do the same. A performance artist, installation artist, photographer, and instigator of 'film happenings' as well as an experimental and feature filmmaker, Valie Export does work which often deals with the liberation of the female body and the extemalization of psychic states. She is perhaps best known for her first feature, Invisible Adversaries , a science fiction film about female identity and representation, and her more recent feature.

    The Practice of Love Export briefly taught and lived in the Bay Area in the mid-eighties. A man, who is the nephew of the theater director in a small town in France, envies the work of the conductor, one of his uncle's employees. He imitates his idol's life-style dining on oysters and drinking champagne and the way he conducts the opera - "The Barber of Seville". One day this frustrated little man has the courage to kill his uncle, and takes over the conductor's job.

    The trouble is he can't conduct anything but "Seville" and put to the test goes insane. With Evelyne Didi. Laurence Gavron is a filmmaker and journalist who began her filmmaking career by working on projects by Cassavettes, Rappaport and Wenders. Fin de Soiree Pride Superbia by Ulrike Ottinger, Germany An allegorical triumphant procession in operatic style is intercut with modem military parades of every bizarre form and style. Another of Germany's most well-known and formally innovative women directors, Ulrike Ottinger's work has been hailed as a landmark in the development of a highly stylized, erotic women's cinema.

    Her first feature Madame X — Eine absolute Herrscherin explored the lesbian matriarchy of pirate queen Madame X, and her more recent Johanna d'Arc of Mongolia explored the relations between four women traveling on the Trans-Siberian Railway and the Mongolian women they encountered on their joumey. She is currently working on a documentary, partially shot in San Francisco, about Jews who emigrated to China. Well, the same happens to films too. Seventeen is an in-your-face independent example. Originally intended for airing on PBS and funded by Xerox, the two banded together to send a message "from Sponsorville" that was not to be ignored.

    It seems that Xerox and PBS were quite cozy, with the corporate giant taking the broadcaster's word that the finished product was offensive, based on little more than a sneak peak at an under three minute trailer. WTiat followed was something of a breech birth, complicated by the strong feelings of pre- viewers in the community represented, even with the support of carefully screened audiences. Perhaps you should congratulate yourself that you're here watching this showing tonight.

    It almost didn't happen. American Film ended up publishing a harshly cut piece, to provide a positive spin for money roller Xerox. The list of some very self- interested hit pieces stretches from the very beginning to tonight's screening. The more one delves into the history of the piece, the more it sounds like Hearst's somewhat more deserving hatchet-job on Welles' Citizen Kane. Since this film portrays teenager headbangers stumbling through the flatness that is Muncie, Indiana you can lay even money that there's attitude a-plenty.

    Turns out that there's also lots of pot smoking, boozing, dozing, dumb loud music, talking back, flipping the bird to teachers backs, cussing, dissing, pissing off, flirting, kissing, racist posturing, random destruction, balling, teenage pregnancy - in short, the kind of deviant but also typical hormone driven behavior that we've all got fond memories of but do not want to view on any screen, small or large, where we could be recognized by friends, family.

    Or, worse yet, documented as those bad examples by strangers throughout the global village. Good thing seventeen-year-olds aren't like that in our town. Kids these days, huh? Unless one actually grew up in the happy days of video-land or on Jupiter , the behavior documented is something we all share, to some degree.

    Given the reaction to this film, this shared experience is also something we wish to shed in, literally, the worst way possible. What appears to be exploitative cynicism on the part of the filmmakers is, actually, a mirror of our common life-paths, growing up and trying out attitudes, choices that do not come equipped with an easy-to-follow flow chart or owner's manual.

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