Monday, December 11, 2017

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This collection of films investigates the formal principles of abstract cinema while maturing an interest in found materials, evolving modes of production, forms of labor, and the role of decoration in daily life. Prodding at hierarchies of aesthetic value and the tension between high and low, these works question the role of abstract animation in a post-psychedelic climate. Merch tables meet museum gift stores. The sublime meets Sublime the band. Rippling head shop tie dyes and dollar store gift bags form ebullient spectacles from resurrected dead capital and banal everyday objects. These stroboscopic eulogies – celebrating the spectrum of abstraction from transcendent visual experiences to science kit optical fascinations – force a proscenium collision of the arena rock show, the planetarium light performance, and the cinema.

New Fancy Foils
12.5 min, 16mm, color, silent
Paper sample books discarded and dumpstered by long-gone businesses undergo a series of sequential experiments in pattern, rhythm, color, and text(ure). A call and response of flickering and lingering, this catalog of catalogs remembers a tactile economy.

Undertone Overture
10.5 min, 16mm, color, sound
A study of tie dye swims out to the cosmos and back again.

Dusty Stacks of Mom: the Poster Project
41 min, 16mm, color, sound- LIVE PERFORMANCE
Interweaving the forms of personal filmmaking, abstract animation, and the rock opera, this animated musical documentary examines the rise and fall of a nearly-defunct poster and postcard wholesale business; the changing role of physical objects and virtual data in commerce; and the division (or lack of) between abstraction in fine art and psychedelic kitsch. Using alternate lyrics as voice over narration, the piece adopts the form of a popular rock album reinterpreted as a cine-performance.

Glistening Thrills
8 min, 16mm, color, sound
A shiny otherworld of holographic reverie pairs dollar store gift bags and haunting resound, unfolding an effervescent melancholy in three parts. Featuring compositions for bowed vibraphone by Elliot Cole.

Let Your Light Shine
3 min, 16mm, color and b/w, sound- REQUIRES GLASSES
The ultimate photo-kinetic stroboscopic spectacle for spectacles. (Requires prismatic glasses.)

About JM:
Jodie Mack (born 1983; London, UK)
Jodie Mack is an experimental animator who received her MFA in film, video, and new media from The School of the Art Institute of Chicago in 2007 and currently teaches animation at Dartmouth College. Combining the formal techniques and structures of abstract/absolute animation with those of cinematic genres, her handmade films use collage to explore the relationship between graphic cinema and storytelling, the tension between form and meaning. Musical documentary or stroboscopic archive: her films study domestic and recycled materials to illuminate the elements shared between fine-art abstraction and mass-produced graphic design. Questioning the role of decoration in daily life, the works unleash the kinetic energy of overlooked and wasted objects.
Mack's 16mm films have screened at a variety of venues including the Images Festival, Ann Arbor Film Festival, Rotterdam Film Festival, Edinburgh International Film Festival, and Views From the Avant Garde at the New York Film Festival. She has presented solo programs of her work at venues such as the Anthology Film Archives, Los Angeles Filmforum, REDCAT, and the BFI London Film Festival. She has also worked as a curator and administrator with Dartmouth's EYEWASH: Experimental Films and Videos, Florida Experimental Film and Video Festival, Portland Documentary and Experimental Film Festival, Eye and Ear Clinic, Chicago Underground Film Festival, and The Nightingale. She was a featured artist at the 2011 Flaherty Seminar, and she’s the 2013 recipient of the Marion McMahan Award at the Images Festival.

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Tuesday, December 5, 2017


A new experimental documentary feature utilizing the life of Emma Goldman to explore the resurgence of protest in the 21st century. The work is hybrid and prismatic, including contemporary footage, archive and re-enactment to expose the continuing conflicts between labor and property, revolutionary purity and personal freedom.
The film performs a time travel, intercutting moments from Emma’s life with her prescient speeches, weaving industrial era factory labor with computer data centers with Emma’s intimate diaries—to explore human vulnerabilities, compromises and choices. Known as the “most dangerous woman alive,” Emma was also passionate and sexual; beauty/art/humor part of the freedoms for which she was fighting. The film creates a dialogue on individual liberties and anarchism: how we risk and how we are compromised? Questions that have become only more relevant in our current political climate.
Director's Statement:
"The film is the second in my Trilogy of Women and Ideology. Each part asks: How Ideologies fail women? What do we give up in our struggle to be more than 'merely female? The first in the trilogy, UNBOUND, retells the story of Mary Shelley, examining 19th century Romanticism through “imaginary home movies” shot in Rome. This second film explores Emma Goldman and Anarchism, shot in New York City, in a series of non-hierarchical fragmented ‘memory’ chapters. The work’s structure is influenced by films as diverse as 32 Short Films About Glenn Gould and Hollis Frampton’s Surface Tension. The third part of the Trilogy will explore Science in the 21st century, focusing on virtual women and androids." -Abigail Child, January 2017

Wednesday, November 29, 2017

Fall 2017 Schedule

                           HARLAN COUNTY Barbara Kopple

                             ZOOT SUIT Luis Valdez

SEPTEMBER 20 Paul Clipson in person



MERCY Abigail Child



OCTOBER 25 Alison Folland

(please note we will start exactly an 800pm)

November 8 AFTER THE FIRE IS GONE Cate Giordano

NOVEMBER 15 Maya Deren from our collection

NOVEMBER 27 Julie Murray

DECEMBER 6 Abigail Child (Emma Goldman feature)

DECEMBER 13 Jody Mack

Tuesday, November 28, 2017

11/27/17 Julie Murray

FF (Fuckface)
(1986) Super 8 to digital sound, 10 mins
FF is put together in such a way as to generate miniature, almost instantaneous fictions, confined and numerous, where meaning can occur between the frames as much as it might in the frame. While the movements and the pace of the film suggest relentlessness and insistent control, the assembly of images serve to illustrate a nervous breakdown of the characters represented as their actions, forced into repetitions, lose their original expression. The original condition of the found footage (damaged, scratched, etc.) and the method and process of rephotographing it are intended to be as much a vital part of the film as is the content re-represented. (FF is originally known as Fuck Face).


(2004) 16mm, sound, 15 mins
(a description is in the form of a question posed)
“Deliquium feels like a very personal work, though it deploys not untypical collage collisions, marrying moments of the natural world (speared fish, floating seahorses, fallen trees and blue butterflies) with human designs (artificial snow, divers, boats, but most often: men at work in factories). The natural world is fallen and speared and fragile, while manufactured landscapes turn humans into factory products. Into this mix there are photographs which struggle to be seen, negatives and home movies which blink in and out of darkness, delivering a sense that you are recalling a family here, that the factory workers have familiar names, that you are describing a generational struggle. Are you telling your story by showing us the work of others?“
-Mike Holboom

Frequency Objects
(2014) Digital, sound, 5 mins
Frequency Objects combines negatives of old family photographs, found fragments of movie film, and photograms of objects’ shadows, all strung together on a reel and observed with a video camera in a stop/start procedure. This “bench winding” technique (a routine method in filmmaking for locating shots) allows a chance element to play in the catching sight of image fragments; souls half in and half out of the frame, things out of focus, carefully staged shots, faces known and unknown, suddenly happened upon, all in a run-on train of exposition in re-animation. The weave pattern is silk fabric 'photogrammed" producing a to-scale shadow of itself.

Untitled (earth)
(2015) Digital, sound, 10 mins
Untitled (earth)is a rhythmical-graphical treatment of 35mm film material that destabilizes the narrative form. Comprehensive film images fuzzed out to a haze, melting slowly in soft pink abstracts, but still recognizable. The film image (a tangible container made on light sensitized substrate) is unraveled and reassembled through electronic frame capture. Figures in landscapes rolled past the video lens, the nuance of their gesture still readable. Any parts that are ambiguous the imagination simply fills in.
(2010) 16mm, sound, 12 mins
DISTANCE, the film, shows time spent at two shores, one thinly populated, the other a wasteland, joined by the interluency of various paths taken, each bit real enough, though exact measures being obscurely indicated. Notions of home and its ache are, to borrow a phrase, “not capable of being told unless by far-off hints and adumbrations.”

Line of Apsides
(2015) 16mm, silent, 10 mins
16mm silent edit of footage shot at Film Farm Ontario and night skies in Wisconsin among other scenes.

Julie Murray was born in Dublin, Ireland. In 1985 she moved to the US where she began making experimental films. Continuing to work in and draw relationships from painting and photography she has completed many short films and has collaborated on numerous film installation/performance events with artists, musicians and filmmakers.
Her work has been included in the New York Film Festival, Images Festival in Toronto, the Rotterdam International Film Festival, and was exhibited at the Whitney Biennial in 2004. Along with screenings at the Museum of Modern Art, NY , the San Francisco Cinematheque and the Pacific Film Archive in California, Murray has been invited to present her films at the Art Gallery of Ontario Cinematheque in Toronto, at Anthology Film Archives, New York., Hallwalls, NY, Los Angeles Filmforum, SF Cinematheque, Pacific Film Archives, and has been a guest artist at various universities. Outside of the United States her films have been screened in programs at Centre George Pompidou, Paris, the Museum of Strasburg, the Dublin Film Festival and the London Film Festival.
She has curated programs of films including a selection for the Experimental Film night at the New York Women's Film Festival, the New York Filmmaker's Co-op 35th Anniversary series and for a 2005 Canyon Cinema/San Francisco Cinematheque collaboration. She was artist-in-residence at LIFT (Liaison of Independent Filmmakers of Toronto) 2013 and at Mobile Frames in Windsor, CA in 2014 and most recently at MacDowell Colony.
Film prints of Julie’s films are at The Museum of Modern Arts Film Archives as well as the Whitney Museum of American Art and are in the NewYork Public Library's Special Collections, NYC. Murray's early super-8 films were selected for a National Film Preservation Foundation Award in 2014.

Monday, November 13, 2017

11/15/17 the works of MAYA DEREN

Meshes of the Afternoon
1943, 14 min
Considered a staple of avant-garde American film, this collaboration with Alexander Hammid stars Deren as a woman  inside of a labyrinthine nightmare, inhabited by her double as well as a mysterious cloaked figure with the face of a mirror.

At Land
1944, 15 min
A 15-minute silent experimental film written, directed by and starring Maya Deren. It has a dream-like narrative in which a woman, played by Deren, is washed up on a beach and goes on a strange journey encountering other people and other versions of herself. Deren once said that the film is about the struggle to maintain ones personal identity. The composer John Cage and the poet and film critic Parker Tyler were involved in making the film, and appear in the film, which was shot at Amagansett, Long Island.

Ritual In Transfigured Time
1946, 15 min
In Maya Deren's Ritual in Transfigured Time we have gestures that invite us to move into step with them, abandoning the comfort of the known and giving ourselves over to so many strange partners. This silent short begins in a domestic environment, moves to a party scene, and ends with modern dance performed in an outdoor setting. The film's continuity is established by an emphasis on gesture and/or dance throughout.

A Study in Choreography For Camera
1946, 4 min
Using a unique editing style, manipulating of time, and utilizing the motions of dancer Talley Beatty, Deren has said this film was "an effort to isolate and celebrate the principle of the power of movement."

Meditation On Violence
1948, 13 min

The Very Eye of Night
1963, 15 min

Monday, November 6, 2017

11/8/17 Cate Giordano


Peg Bordelon Series
HD video, 2013, 10 minutes
A southern transplant winds up in NYC hell bent on making a film. Posing as a “Women’s Studies” major at a non-existent college, Peg can be found skulking through the streets, camera in hand, looking for talent everywhere she goes.

Hunter in the Woods

Hi8 transfer to digital video, 2007, 8 minutes
Hunter Dodge escapes to the woods and builds his ideal life for himself out of scrap wood. His happiness is disrupted by his estranged wife, Joy, who drags him kicking and screaming back into reality.

MiniDV and 16mm film transfer to digital video, 2008, 14 minutes
Trapped in the belly of a Trojan Lion, Jonah and Dot are falling out of love. Jonah, a writer, fights to remain true to his artistic visions, despite mounting pressure from Dot to earn money.

Super 8mm transfer to video, 2017, 5 minutes

After the fire is gone
VHS and miniDV transfer to digital video, 2017, 33 minutes
Dolly is discontent with her life in New York City, waiting tables at a greasy spoon while her husband Anton sells life insurance out of a shoebox office in Queens. When Clayton, the love of her life, happens into the diner, Dolly is overcome with nostalgia for her past life with Clayton, the South, and everything she was before she married Anton.
Total Program Runtime: 70 Minutes

Bio: Cate Giordano works in sculpture, performance, and moving image. Cate's work has been exhibited at Microscope Gallery, Spring/Break Art Show, New York; James Farley Post Office, New York; Old School in collaboration with the New Museum, New York; and Parlour Bushwick, Brooklyn, NY, Film Society at Massachusetts College of Art and Design, Boston, MA, Spectacle Theater, Brooklyn, NY, Flaherty Seminar at Anthology Film Archives, New York and Millennium Film Workshop, Brooklyn, NY among others. Cate received a BFA from Massachusetts College of Art in 2008 and was a Smack Mellon’s Artist Studio Program recipient in 2016-17. Originally from Pensacola, FL, Cate Giordano lives and works in Brooklyn, NY.

Wednesday, November 1, 2017

11/1/17 Ulrike Ottinger

Please Note: Class, This film will start promptly at 8pm and...
NO DONATIONS for members of the community dropping in to this class
Johanna D'Arc D'Mongolia  

Ulrike Ottinger's epic adventure traces a fantastic encounter between two different worlds. Seven western women travelers meet aboard the sumptuous, meticulously reconstructed Trans-Siberian Express, a rolling museum of European culture. Lady Windemere, an elegant ethnographer played by the incomparable Delphine Seyrig in her last screen role, regales a young companion with Mongol myths and lore while other passengers-a prim tourist (Irm Hermann), a brash Broadway chanteuse and an all-girl klezmer trio-revel in campy dining car cabaret. Suddenly ambushed by a band of Mongol horsewomen, the company is abducted to the plains of Inner Mongolia and embark on a fantastic camel ride across the magnificent countryside. Breathtaking vistas, the lavish costumes of Princess Ulun Iga and her retinue, and the rituals of Mongol life are stunningly rendered by Ottinger's cinematography.WMM

Ulrike Ottinger's bio and website

Thursday, October 19, 2017

10/25/17 Allison Folland

Evangelia's Theme (work in progress, 16 mm transfer. app. 10 min)
A woman reflects on the influence of movies on her imagination and
lived reality. A fever dream of textiles and landscape, framed by the
text of Madame Bovary.

House (2015, HD. 16 min)
A grieving family tries to start over in a new, empty house. A
territorial dispute arises: Older Sister must share a bedroom with
Younger Sister. Father can not broker a peace, and when drifter Uncle
shows up, the situation goes from bad to intolerable. "Spiti" is a
Brechtian take on the American sitcom Full House, set in a modern day
Greek ruin.

Attitudes Passionelles
(2015, HD. 13 min)
A hybrid video essay exploring topics of romantic ballet, madness, and
the relationship between physical gesture and inner state.
Alison Folland (1978, Massachusetts) is an
actress and filmmaker based in Cambridge,
MA. As a performer, she has appeared in
over a dozen feature films, working with
directors such as Gus Van Sant, Barbet
Schroeder, Todd Haynes, and Alison McLean.
Folland studied film production at Tisch
School of the Arts and film and video art at
Massachusetts College of Art and Design,
where she earned an MFA in 2015. Her film
“Spiti” premiered at the Athens International
Film Festival in 2016.

Wednesday, October 11, 2017



by Abigail Child
1989, 16mm, 10min, color, sound
Child masterfully composes a rhythmic collage of symmetries and asymmetries in a fluid essay that forefronts the treatment of the body as a mechanized instrumentÑplacing the body in relation to the man-made landscape of factories, amusement parks and urban office complexes. Vocals performed by Shelley Hirsch.
dir. Patricio Guzmán
2010, Digital, 90min
Nostalgia for the Light is a documentary released in 2010 by Patricio Guzmán to address the lasting impacts of Augusto Pinochet’s dictatorship. Guzmán focuses on the similarities between astronomers researching humanity’s past, in an astronomical sense, and the struggle of many Chilean women who still search, after decades, for the remnants of their relatives executed during the dictatorship. Patricio Guzmán narrates the documentary himself and the documentary includes interviews and commentary from those affected and from astronomers and archeologists.

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Thursday, September 28, 2017

10/4/17 Cool World

CONNECTION, 1961 by Shirley Clarke
The Connection is a 1961 feature film by the noted American experimental filmmaker Shirley Clarke. The film was Clarke's first feature; she had made several short films over the previous decade. The film was the subject of significant court cases regarding censorship.
COVERT ACTION, 1984 by Abagail Child
Covert Action is a stunning melange of rapid-fire retro imagery accomplishing Child’s proclaimed goal to “disarm my movies.” “I wanted to examine the erotic behind the social, and remake those gestures into a dance that would confront their conditioning and, as well, relay the multiple fictions the footage suggests (the ‘facts’ forever obscured in the fragments left us). The result is a narrative developed by its periphery, a story like rumor: impossible to trace, disturbing, explosive.”

Wednesday, September 27, 2017

9/27/17 Hope Tucker

31 Years After Chernobyl: In Conversation with The
Obituary Project
Artist will be present.

American artist Hope Tucker transforms what we know as a daily form of narrative through THE OBITUARY PROJECT, a compendium of moving image that gives new life to the antiquated documentary practice of salvage ethnography. She has animated cyanotypes of downwinders and instructions for making fishing nets by hand; assembled archives of correspondence that document the impact of industry; photographed shuttered bread factories, fallen witness trees, and decaying civil rights era landmarks; recorded mobile phone footage of the last public phone booths of Finland; written the text of a video out of paper clips, a Norwegian symbol of nonviolent resistance; and, most recently, traced the path of protest that closed the only nuclear power plant in Austria.
Short Bio: American artist Hope Tucker transforms what we know as a
daily form of narrative through THE OBITUARY PROJECT, a compendium of
moving image that gives new life to the antiquated documentary practice
of salvage ethnography.

Monday, September 18, 2017

9/20/17 EVENTS IN SHADOW: Films by Paul Clipson

Filmmaker present !

This evening of experimental 16mm works, projected by the filmmaker on film, showcases a variety of dynamic sound and celluloid image collaborations with musician/artists such as Grouper, Jefre Cantu-Ledesma, Sarah Davachi, Lawrence English and King Midas Sound / Fennesz.

Program includes:

UNION (2010)

Super 8mm (16mm), color/B&W, 14.5 minutes, music by Jefre Cantu-Ledesma

An exploration of movement, woven into layers of time, and photographed in natural and nocturnal urban spaces, ambig1uous within a confluence of lights, colors and darkness. Filmed in the parks of San Francisco.
VOID (2012)

Super 8mm (16mm), color, 11 minutes, music by Jefre Cantu-Ledesma

Filmed at night in San Francisco, this study of the eye in vertiginous color and darkness, broadens and intensifies an exploration into in-camera processes of handheld, small gauge filmmaking, and the rhythmic and graphic relationships of multilayered imagery to music-making and dreams.


16mm, color/B&W, 9.5 minutes, music by Lawrence English
A restless, traveling consciousness flies across lands vast and small, taking note of possible futures that hint at humankind’s folly of expansion and alienation. Filmed in London, Leeds, Glasgow and Scotland

MADE OF AIR (2015)

16mm, color/B&W,11.5 minutes, music by Grouper

A sad and fearful lament for a drowned world. Filmed in London, Zurich, San Francisco, Berkeley and Napa.


16mm, color/B&W, 5 minutes, music by King Midas Sound & Fennesz
A study of surfaces, figurative and metaphysical, with various levels and planes of a city combined and superimposed to become visual echoes, suggesting an animated city of grids, graphs, geometries and lines: layers of subterranean streets and shadows evoking multiple levels of consciousness. Filmed in New York, San Francisco and Hong Kong. An unintentional homage to Saul Bass.

FEELER (2016)

16mm, color/B&W, 7 minutes, music by Sarah Davachi
An imagining of sounds, music and images, of dreams within dreams, conceived within an evolving series of environments, exploring the world: seeing, hearing and experiencing light, space, movement and sound in emotional juxtapositions, felt first, with an impact of presence, of gesture, of echo and explosion. Being experiential, multi-layered, fragmenting and fusing together, a place where there's no screen, no theatre, no darkness, only moments. Filmed in New York, Los Angeles, Hong Kong, Brisbane, Krakow, Sidney, Napa, Oakland and San Francisco.

Program running time: 58 minutes
(Conversation/Q&A to follow film program)
*All works screened on 16mm prints by the filmmaker

Paul Clipson is a San Francisco-based filmmaker who often collaborates with sound artists and musicians on films, live performances, and installations. His Super 8 and 16mm films aim to bring to light subconscious visual preoccupations that reveal themselves while working in a stream of consciousness manner, combining densely layered, in-camera edited studies of figurative and abstract environments, in a process that encourages unplanned-for results, responding to and conversing with the temporal qualities of musical composition and live performance. His work has screened around the world in festivals and at sound & film events such as the International Film Festival Rotterdam,The NewYork Film Festival and the Cinémathèque Française.

Tuesday, September 5, 2017

Next Week: 9/13/17

Luis Valdez ZOOT SUIT
Abigail Child MUTINY

Friday, September 1, 2017

Tomorrow Night: 9/6/17

Abigail Child  PREFACES
Barbara Kopple.  HARLAN  COUNTY