For the Mending: The Films of Jonathan Schwartz – 105 AJB, Friday, March 29 at 7pm – FREE!

It’s with a great range of emotions that Headroom Screening Series presents FOR THE MENDING: The Films of JONATHAN SCHWARTZ. Beloved filmmaker, Jonathan Schwartz, was just 45 when he died last October, leaving the experimental film community and the world in a shadow of his absence. He bent time with his love of light, poetry, and sound; and we’re fortunate to begin to mend and pay tribute with a program of his beautiful films.

Jonathan Schwartz (1973-2018) was a filmmaker, teacher, and source of inspiration for all his friends and students. Jonathan incorporated found and collected materials in many of his films, and simultaneously developed his unique 16mm vision through intimate exchanges with his subjects, handheld gestures, in-camera superimpositions, and a profound attention to the transient qualities of the world around us. Whether in his short collage films or works shot in his home, on his many walks, or during cinematic journeys to Israel, India, Turkey, or Iceland, his work simultaneously embodies a devotion to the ephemerality of external worlds and a gestural responsiveness to evanescent internal states. Often incorporating aurally textured poetic readings, and other times eschewing all words, Jonathan’s films both lacerate and console as we confront his unique cinematic expression of sorrow, disquiet, and exultation.

Jonathan received his MFA at Massachusetts College of Art where he studied under professors Mark Lapore, Erika Beckman, and Saul Levine. Over the years he taught courses at the School of Museum of Fine Arts and Massachusetts College of Art and Design in Boston and at Bennington College in Vermont. From 2008 to 2018 he was Associate Professor at Keene State College in New Hampshire. He lived in Bratteboro, Vermont.

Jonathan’s films have screened nationally and internationally at venues such as New York Film Festival’s ‘Views from the Avant-Garde’ and ‘Projections’ programs and Toronto International Film Festival’s ‘Wavelengths’ program. Other festival screenings include International Film Festival Rotterdam, Ann Arbor Film Festival, Images Film Festival, Media City Film Festival, Rencontres Internationales Paris/Berlin, Exis (Seoul, Korea), and TIE. His films were also presented in solo shows at the Austrian Film Museum, UnionDocs, Cinema Project, and San Francisco Cinematheque as well as alongside the work of Mark Lapore at the 13th Brakhage Center Symposium. In 2010, he was included in The Film Society of Lincoln Center’s Avant-Garde Poll in Film Comment as one of 25 Filmmakers for the 21st century.

Biography courtesy of Irina Leimbacher.

PROGRAM:

Animals Moving to the Sound of Drums
2013 | 8 minutes | COLOR | SOUND
That fall it was not intentional to have a Galway Kinnell book on the table near where the caterpillar in the doorway, feeding on our offerings, became the butterfly, feeding on honey water, staying in our house until we let it go. Or it was not known about the deer in Putney or that the baby birds in the raspberry bushes would cry to us in summer. A beloved, old friend once visited Vermont to do some work for Galway Kinnell and she described a stone table in the field where they ate meals in the afternoon — it sounded like a song and so I looked at the book and from Little Sleep’s-Head Sprouting Hair in the Moonlight here is that line: “The still undanced cadence of vanishing.” – JS

For a Winter
2007 | 16mm | 3 minutes | COLOR | SOUND
“for a winter without much snow, we can all see the evidence in the exhales.
or I was wondering if shadows pass faster and faster then, collectively, we might all see you by our sides.” – JS

If the War Continues
2012 | 16mm | 5 minutes | COLOR | SOUND
“and before I could be noticed again and taken to task, I spoke to the tiny blessed star within me, shut off my heartbeat, made my body disappear into the shadow of a bush, and continued my previous voyage without thinking about returning home ever again.” -H.Hesse

90 Years
2008 | 16mm | 3 minutes | COLOR | SOUND
…refers to Schwartz’s grandfather-in-law’s age during the making of the film–an anniversary celebrated with the gift of piloting a U.S. army light aircraft, the kind he used to maneuver in the Second World War. While he rises and falls, watched by the impassive but attentive look of a woman who could be his wife, he is the protagonist of a flight into the past. Again, there is tension emphasized by an impending sound in crescendo, this time the one of the jet engine. This jump into the void is a recurrent creative preoccupation that might refer to distance, wounds, and risks. – Monica Saviron

A Mystery Inside of a Fact
2016 | 16 mm | 17 minutes | COLOR | SOUND

It arrives, in a fog, with songs, through dance or majestic animals or faces (gliding on the street), and in shapes of light, maybe on a large bird of prey in flight–gesture skyward. Some origins can be difficult to pinpoint, others blink back–infinitely. – JS

In a Year with Thirteen Deaths
2008 | 16mm | 3 minutes | COLOR | SOUND
a film structured by the directly recorded cyclic sound of a needle on the silent track of a vinyl album. The picture from the title, and the subsequent mirror images, lightly shake and abruptly jump in a tractile movement that resembles the pulse of the heart, sizing memories into the present. Light painting and nature imagery are captured in 13 shots of different points of luminescence, on the 13th anniversary of Schwartz’s mother’s passing, and as a homage to Rainer Werner Fassbinder’s personal In a Year with Thirteen Moons (1978). In this film, Fassbinder reacts to his lover Armin Meier’s suicide by telling the story of Elvira, who visits some of the important places and people of her life before ending it all. As the circular sound repeats itself, Schwartz’s film also remains unended–he seems to know that these motifs are not resolved, they are not behind, but below consciousness, and he will not sign off with his name and year, as he does with the rest of his work. – Monica Saviron

New Year Sun
2010 | 16mm | 13 minutes | COLOR | SOUND
…in which Schwartz approaches light traveling through water in all its forms. His macro lens strives to get closer to the essence, to the transparency of things, and yet, the tenebrous and doomed cry of a church’s bell, and the ascending, unstoppable pitch that accompany the images end up close to the sound of a derailed train–and the unfocused, unclear vision that comes with it. – Monica Saviron

A Set of Miniatures: A Certain Worry; (an aging process); A Kind of Quiet
2014 | 16mm | 9 minutes | COLOR | SOUND
a kind of quiet situated amid the in between of ascending and descending. it seems hard to land and when this happens something else might disappear. an aging process located in the peonies blooming and in the early summer river and in the light that falls across playful bodies. a certain worry enveloped in the covering of the ground, illuminated around a face, light on something ferocious, touch upon something gentle. – JS

For Them Ending
2005 | 16mm | 3 minutes | COLOR | SOUND
“swallowed up in the sky, the sound sustained by echo, always fading.
the nature of a season, moving forward with growth or death or growth.
or I was wondering how to make New England fall colors linger so if you couldn’t visit soon the yellow oranges and reds would still be waiting for you” – JS

A Leaf is the Sea is a Theater
2017 | 16mm | 17 minutes | COLOR | SOUND
‘Facts are perceptions of surfaces.’
– Susan Howe

‘You cannot describe a house on fire until the actual event takes place. Perhaps there will be no fire. Either you’ll have to deny the description as a fiction, or burn the house in accordance with the script.’
– Dziga Vertov

You cannot put a fire out;
A thing that can ignite
Can go, itself, without a fan
Upon the slowest night.
– Emily Dickinson

HEADROOM is sponsored by the Department of Cinematic Arts, the Public Digital Arts Cluster, and Little Village Magazine.

Individuals with disabilities are encouraged to attend all UI-sponsored events. If you are a person with a disability who requires an accommodation in order to participate in this program, please contact Cinematic Arts at 335-0330 or cinematicarts@uiowa.edu

Jodie Mack – 105 AJB, Saturday, February 9 at 7pm – FREE!

Join us for an incredibly exciting spring kickoff event: the inimitable force of avant-garde animation, Jodie Mack, will present her first feature, The Grand Bizarre, which premiered at the 2018 Locarno Film Festival and has gone on to screen around the world to rapturous acclaim.

With jaunty rhythms and an exuberant palette, the film weaves together 5 years of footage collected across several countries in dazzling lines of flight. By the end of the film’s sixty vertiginous minutes, we arrive at a surprising and surprisingly affecting conclusion that’s touched upon issues of globalization, ethnography, labor, capital, joy and spectacle.

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. 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. The works unleash the kinetic energy of overlooked and wasted objects and question the role of decoration in daily life.

Mack’s 16mm films have screened at a variety of venues including the Ann Arbor Film Festival, Edinburgh International Film Festival, Images Festival, Projections at the New York Film Festival, and the Viennale. She has presented solo programs at the 25FPS Festival, Anthology Film Archives, BFI London Film Festival, Harvard Film Archive, National Gallery of Art, REDCAT, International Film Festival Rotterdam, Shenzhen Independent Animation Biennale, and Wexner Center for the Arts among others. Her work has been featured in publications including Artforum, Cinema Scope, The New York Times, and Senses of Cinema. She is an Associate Professor of Animation at Dartmouth College and a 2018/19 Film Study Center Fellow at Harvard University.


PROGRAM:

The Grand Bizarre
(2018, 60m30s, 16mm, color, sound)


A postcard from an imploded society. Bringing mundane objects to life to interpret place through materials, The Grand Bizarre transcribes an experience of pattern, labor, and alien[-]nation[s]. A pattern parade in pop music pairs figure and landscape to trip through the topologies of codification. Following components, systems, and samples in a collage of textiles, tourism, language, and music, the film investigates recurring motifs and how their metamorphoses function within a global economy.

http://www.jodiemack.com/
https://www.facebook.com/HeadroomIC

HEADROOM is sponsored by the Department of Cinematic Arts, the Public Digital Arts Cluster, and Little Village Magazine.

Individuals with disabilities are encouraged to attend all UI-sponsored events. If you are a person with a disability who requires an accommodation in order to participate in this program, please contact Cinematic Arts at 335-0330 or cinematicarts@uiowa.edu

Announcing the Spring 2019 Lineup

Excited/saddened/thankful/humbled/amazed and astounded to announce the Spring 2019 lineup for Headroom. Stay tuned for more info about each…

Saturday, Feb 09 at 7pm
JODIE MACK
at the the Franklin Miller Screening Room, 105 Adler Journalism Building 

“One of contemporary avant-garde cinema’s greatest proponents of fellowship and happiness in the cinema space,” Jodie Mack will present her first feature-length film, The Grand Bizarre: “Made up of tens of thousands of individually shot frames filmed in a dozen countries, it extends some of Mack’s recent shorts—animations of vibrant geometric textiles, busted electronics, and marbled endpapers—into a dizzyingly abstract, fiercely analog worldwide symphony of ragged geometrics.” – Leo Goldsmith, Artforum

Mack’s 16mm films have screened at a variety of venues including the Ann Arbor Film Festival, Edinburgh International Film Festival, Images Festival, Projections at the New York Film Festival, and the Viennale. She has presented solo programs at the 25FPS Festival, Anthology Film Archives, BFI London Film Festival, Harvard Film Archive, National Gallery of Art, REDCAT, International Film Festival Rotterdam, Shenzhen Independent Animation Biennale, and Wexner Center for the Arts among others. Her work has been featured in publications including Artforum, Cinema Scope, The New York Times, and Senses of Cinema. She is an Associate Professor of Animation at Dartmouth College and a 2018/19 Film Study Center Fellow at Harvard University.
http://www.jodiemack.com/

 

Friday, March 29, at 7pm
FOR THE MENDING: The Films of JONATHAN SCHWARTZ
at the Franklin Miller Screening Room, 105 Adler Journalism Building

Beloved filmmaker, Jonathan Schwartz, was just 45 when he died last October, leaving the experimental film community and the world in a shadow of his absence. He bent time with his love of light, poetry, and sound; and we’re fortunate to begin to mend and pay tribute with a program of his beautiful films.

Schwartz’s solo screenings include UnionDocs (Brooklyn), Cinema Project (Portland), and San Francisco Cinematheque. His films have regularly exhibited in many film festivals including New York Film Festival “Views from the Avant-Garde”, the Toronto International Film Festival “Wavelengths”, IFF Rotterdam, Ann Arbor Film Festival, Images, Media City, Recontres Internationales, Exis, and others. In 2010, he was included in The Film Society of Lincoln Center’s Avant-Garde Poll in Film Comment as one of 25 Filmmakers for the 21st century.  Schwartz was an Associate Professor at Keene State College.

 

Friday, April 26, at 7pm
MELIKA BASS
Location TBD

Rescheduled from last season, we’re thrilled Melika Bass can visit to share a suite of her slow-burning films that reside at the boundaries of experimental dance and abstracted narrative.

Named one of Filmmaker Magazine’s “25 New Faces of Independent Film 2018,”  Bass is the recipient of an Artadia Award (NYC), 2 Media Arts Fellowships from the Illinois Arts Council, the Kodak/Filmcraft Imaging Award from the Ann Arbor Film Festival, an Experimental Film Prize from the Athens International Film Festival, and a Special Mention Prize from the International Jury of the 2018 International Short Film Festival Oberhausen.

Screenings and exhibitions include the BAMcinemaFest, Brooklyn;  Museum of Contemporary Art Chicago (solo exhibition); Torino Film Festival, Italy; Film Society of Lincoln Center, New York; Kino der Kunst, Munich; Ann Arbor Film Festival;  Museum of Contemporary Art Detroit; Anthology Film Archives, New York;  BFI London Film Festival; Athens International Film Festival; Segal Center for the Performing Arts, Montreal; International Short Film Festival Oberhausen, Germany; and the Split Festival of New Film, Croatia. Her work has been profiled and reviewed in Filmmaker Magazine, Time Out Chicago, Bad at Sports, Art Daily, Rolling Stone Italy, Chicago Tribune, Chicago Reader, Pitchfork, and Criterion.
http://www.tenderarchive.com/

 

Catching Z’s at the End of Language – 105 AJB, Friday, December 07 at 7pm – FREE!

Join us for Catching Z’s at The End of Language, a program of films curated by Jason Livingston.

Amos Vogel, legendary short film programmer and founder of the influential Cinema 16, has written “What we know of the world comes to us primarily through vision. Our eyes, however, are sensitive only to that segment of the spectrum located between red and violet; the remaining 95 percent of all existing light (cosmic, infrared, ultraviolet, gammas, and x-rays) we cannot see. This means that we only perceive 5 percent of the “real” world.”

This program of shorts asks us to see, if we dare, beyond the 5% of our habitual viewing habits to a political landscape over and beyond the frames that so dominate our vision.

Catching Z’s at The End of Language traverses geography and history, interior states and external realities, perception and politics, and the expressive possibilities of language despite the power structures that manifest themselves through oppressive grammar.


PROGRAM:

SUPREMATIST KAPITAL
Yin-Ju Chen and James T. Hong
video, 5:21, 2006

A Symbolic History of Kapital. Inspired by Kasimir Malevich’s minimalist artworks and the struggles for resources in the age of peak oil, Suprematist Kapital was born of the want to create a visual artwork that could be displayed on many different-sized mediums regardless of resolution, e.g., theater screens, mobile devices, ipod’s, etc.
Where once technology as progress was an end in itself, it became the handmaiden of capitalist accumulation and war, and is now a form of capital itself in the age of peak oil.

7.24.14
Jason Livingston
16mm/video, 4:15, silent, 2014

Demonstration in support of Gaza and against Operation Protective Edge on July 24, 2014 in Ithaca, NY. A child of the protestors, a white newborn, ghosts into the film flare, and the second half of the film focuses on the young Palestinians killed during the Operation.

Limited Speech Holds Endless Misunderstandings
Orr Menirom
video, 10:00, 2013

A news interview with Noam Chomsky on the Israeli television turns into a surreal dream, revealing the subconscious of both Chomsky and the interviewer.

In 2010, Noam Chomsky was invited to give a talk in Birzeit University near Ramallah. Identified with the radical left, he was denied entry to Israel and sent back to Jordan. Shortly after the incident, Dana Weiss from the Israeli Channel 2 met with him at a hotel lobby in Amman for a 40 minute interview. During the interview, deep ideological tensions between Chomsky and Weiss surfaced. In the video, the interview language is cut apart into individual words, and then recomposed into a new monolog told by an invisible, third character. The character’s speech reference’s Chomsky’s linguistic theory.

According to Chomsky’s theory of Universal Grammar, language enables the pronunciation of endless expressions with a limited amount of words— a vocabulary. Similar to verbal language, the video’s image is a system with an inner grammar, portraying the deserted landscape through a complex of digital fragments. In this landscape, the relations between a limited amount of fragments create endless variations of the image. At the end of the video, the fragment arrangement mimics the shape of the hotel lobby in which the news interview took place.

TATUM’S GHOST
Stephanie Barber
video, 3:07, 2011

A super condensed re-edit of an Unsolved Mysteries episode where cut-aways become the stars and real and imagined Youtube comments mingle together and compete with the original content. The comments on Youtube are my favorite part of that video viewing experience. I love the way they flop so gracefully between cruel and shallow, deep and kind. Strange and wandering they construct dialogs and narratives along an incredibly modular path and expand the viewing of any video making the medium necessarily interactive.

IFO
Kevin Jerome Everson
16mm/video, 10:00, 2017
IFO is about three famous UFO sightings over Mansfield, Ohio.

Farther than the eye can see
Basma Alsharif
video, 12:56, 2012

A woman recounts her story of the mass exodus of Palestinians from Jerusalem. Beginning with the arrival and ending with the departure, the tale moves backwards in time and through various landscapes. The events are neither undone nor is the story untold; instead, Farther than the eye can see traces a decaying experience to a place that no longer exists.

Bethlehem
Peggy Ahwesh
video, 8:28, 2012

Working through my archive of accumulated video footage, I pretended it was found footage from anonymous sources. What began as a tribute to Bruce Conner of the period of Valse Triste and Take the 5:10 to Dreamland, with their deliberate pace and bittersweet memory of home, ended as a dedication to my father as I wound my way through miscellany with distance and another aim.

By foot-candle light
Mary Helena Clark
video, 9:00, 2011

A walk through the proscenium wings. You close your eyes and suddenly it is dark.

Oona’s Veil
Brian Frye
16mm, 8:00, 2000

Whispering Hope, or Grace and How to Get It. I know of only one film-record of Oona Chaplin (nee O’Neill), this screen-test made for a film in which she was cast and never appeared, having met and married Charlie Chaplin before shooting commenced.

ONEIROMANCER
Beatriz Santiago Muñoz
video, 26, 2017

Oneiromancer is the first of a series of works on the sensorial unconscious of the Puerto Rican anti-colonial movement. It centers on the figures, places, and leftover materials of the members of the Fuerzas Armadas de Liberación Nacional, a clandestine group, who were arrested and sentenced to near-lifetime prison terms for seditious conspiracy, a political crime.

 

To keep up to date, follow us on Facebook
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HEADROOM is sponsored by the Department of Cinematic Arts, the Public Digital Arts Cluster, and Little Village Magazine.

Individuals with disabilities are encouraged to attend all UI-sponsored events. If you are a person with a disability who requires an accommodation in order to participate in this program, please contact Cinematic Arts at 335-0330 or cinematicarts@uiowa.edu

Margaret Rorison – 105 AJB, Tuesday, October 09 at 7pm – FREE!

Join us for the season’s kickoff Headroom event with Baltimore-based filmmaker and curator, Margaret Rorison, in town to present a program of short films on 16mm and video!

Rorison’s works often develop from explorations through rural and urban landscapes, combining language, sound and imagery to create installations, films and live 16mm projections. Her recent films explore the visceral nature of memory and its dialogue between space and experience. She is interested in the potentials of storytelling through the use of 16mm projection and sound, often collaborating with sound artists, exploring ways in which the image and machine can converse.

Rorison won a 2018 Baker Artist Award for Film, she is a recipient of a 2016 Rubys Artist Project Grants, a recipient of The Maryland State Arts Council 2016 Individual Artist Awards and 2015 Sondheim Semi-finalist. She was awarded a 2015 Grit Fund Grant in addition to a 2012 and 2014 Launch Artists in Baltimore Grant to start a new experimental film series, Sight Unseen which has been running since 2012.

Her work has been exhibited at Anthology Film Archives, Ann Arbor Film Festival, Edinburgh International Film Festival, Images Festival, Miami PULSE Art Fair, Mono No Aware VI & VII, Microscope Gallery, The Moscow Museum of Modern Art and The National Gallery of Art in Washington D.C.

PROGRAM
Clicks Inside My Dreams
Short Films by Margaret Rorison

PULL/DRIFT
2013 | 16mm to video | 9m | sound
This film documents a unique choreographed performance that took place one late summer afternoon in Patapsco State Park in Baltimore, Maryland. Choreographed by Clarissa Stowell Gregory and performed by The Effervescent Collective. Soundtrack composed by Josh Millrod.

Dark Logic
2015 | 16mm to video | 5m | sound
An ode to the restricted space and surveillance in the skies. Sound derived from a live performance by Mario de Vega Shot in Los Angeles, Summer 2015

Funes el memorioso
2015 | 8mm to 16mm to video | 2m | sound
The final footage of a painter, slowed down to lengthen the memory. Sound by Audrey Chen (voice and cello) & Flandrew Fleisenberg (percussion)

Chorus
2017 | 16mm to video | 2m | silent
a cadence of history between one long pause

Gedanken aus der Luft
2017 | 16mm to video | 6m| sound
Studies of Lichtenberg and The Klingenberg Power Plant, in what is formerly known as East Berlin. Soundtrack by Joke Lanz

The Birds of Chernobyl
2012 | 16mm | 7m | sound
This piece was originally made as a performance with a live collage soundtrack. This is an ode to my grandfather, Harry Bennett and our shared interest in solitude and landscape.

vindmøller
2014 | 16mm | 3 min | sound
This short film is a study of the wind turbines along the shores of Amager, Copenhagen. Triple exposed on one roll of color film, then finding four generations of grain. The soundtrack is a recorded live improvisation by artist Mario de Vega using unstable media and acoustic resonators.

SCANSION
2012 | 16mm to video | 8m | sound
SCANSION is a short 16mm film composed of extensive walks through various Baltimore landscapes. The film has been hand edited like a poem, where cuts function like line breaks, working to establish inherent rhythm and meter.

DER SPAZIERGANG
2013 | 16mm to video | 3m | sound
This film documents long walks throughout Berlin, Germany during the cold days of April 2013. The film is edited in camera and composed of single frame snapshots along with longer moments of glance, captured on one 100’ roll of film. The title comes from a story by Robert Walser.

One Document for Hope
2015 | 16mm | 8m | sound
The sterile and procedural narrative of the Baltimore City Police Scanner on Monday April 27 against precious moments of gathering, celebration and protest in Baltimore from April 28 – May 3, 2015.

Memory of August
2016 | 16mm | 5m | sound
A series of moments captured in room 139. Intimate spaces of time spent with my grandmother, Margaret during a month long recovery in a rehabilitation center in Baltimore, Maryland.

Departure
2018| 16mm | 6m | sound
A double loop projection incorporating handmade cyanotypes and sound.

TRT: 63 minutes

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HEADROOM is sponsored by the Department of Cinematic Arts, the Public Digital Arts Cluster, and Little Village Magazine.

Individuals with disabilities are encouraged to attend all UI-sponsored events. If you are a person with a disability who requires an accommodation in order to participate in this program, please contact Cinematic Arts at 335-0330 or cinematicarts@uiowa.edu

Erin Espelie – 105 AJB, Wednesday, May 09 at 8pm – FREE

Part poetry, part chemistry lesson, part landscape film, part cinematic exploration, part history and geography lesson, part environmental revelation, part magic. The Lanthanide Series is something new under the sun.
–Scott MacDonald

A gorgeous, informative feature-length tone poem about the rare earth elements. Equal parts Farocki and Chambers.
–Michael Sicinski

Join us for the season’s final event, with visiting filmmaker Erin Espelie in person to present a recent feature and short!

ERIN ESPELIE is a writer, editor, and filmmaker, with degrees in molecular and cellular biology from Cornell University and the experimental and documentary arts from Duke University. Her poetic, nonfiction films have shown around the world at the New York Film Festival, the British Film Institute’s London Film Festival, the Whitechapel Gallery, the International Film Festival Rotterdam, the Copenhagen International Documentary Film Festival, the Full Frame Documentary Film Festival, Imagine Science Film Festival, and more.

Her feature-length documentary, The Lanthanide Series, won the grand prize at the Seoul International New Media Festival in 2015; it has shown in Denmark, Portugal, the U.K. and had its New York City premiere at Anthology Film Archives in June 2016.

Espelie currently holds an assistant professorship in Film Studies and Critical Media Practices at the University of Colorado Boulder; she serves as an Associate Director of the Center for Environmental Journalism and is Editor in Chief of Natural History magazine, a centenarian publication for which she has worked since 2001.

PROGRAM:

The Sea Seeks Its Own Level
2013, 5 minutes, Color, Sound, Super 8 film mastered to HD digital videoA distillation of references to the sea in James Joyce’s Ulysses, and a tangible look at the material effects of an aging Super8-mm camera.

They are coming, waves, white-maned seahorses, wind brindled.
Drowning they say is the pleasantest. Salt green death, spiked and winding cold seahorn, music everywhere. No, that’s noise . . . The earth convulses in all its glory.

 

The Lanthanide Series
2014, 70 minutes, Color, Sound, HD digital video & 16mm film mastered to DCPFrom the portals of personal computing devices to ancient obsidian mirrors, optical instruments control how people see, foresee, frame, record, and remember their lives. The Lanthanide Series meditates on how we understand the world through such material means, with a reliance on history, the Periodic Table, and the people we love.

https://www.erinespelie.com
https://www.facebook.com/HeadroomIC

NOW! Journal of Urgent Praxis, 105 AJB, Friday, April 13 at 7pm – FREE

Headroom is thrilled to host a presentation of NOW!, originally curated by Kelly Sears and screened at Collective Misnomer in Denver, CO

Residing at a crossroads between film journal and radical newsreel, Now! A Journal of Urgent Praxis foregrounds films and writings made in rapid yet eloquent engagement with the here and now of political and cultural life. In the age of YouTube, the radical newsreel awaits a spectacular, transformative re-birth. Now! is digital flint and steel.  It is important to note that urgency has nothing to do with “newness.” There are urgent documents that have existed for hundreds of years or more. Urgency is defined by Now! in the simplest possible manner. Now! foregrounds work, new or old, that has an urgent value for the present moment. Work that needs to be seen, read, and confronted Now!

Work presented at this screening at Headroom, made in the past three years, urgently responds to the murders of Michael Brown, Freddie Gray, Alton Sterling, Philando Castile, “Grab them by the Pussy”, election discourse, the Standing Rock Sioux resistance, the white supremacist march on the University of Virginia campus, and peaceful protest of the anthem through taking the knee.  This screening also functions a series of radical GIFS made in response to social and political actions, exploring a new form of rapid response and circulation.

http://www.now-journal.com/
https://www.facebook.com/HeadroomIC/

PROGRAM:

For Michael Brown, Travis Wilkerson, 4:30, 2014

Out of respect for his parents’ request, four and one half minutes of silence for Michael Brown Jr. One minute for each hour his body lay in the streets of Ferguson, MO after he was shot to death by Officer Darren Wilson. Please watch in darkness. Please watch in silence.

Now! Again!, Alex Johnston, 4:37, 2014

NOW! AGAIN! is a reenactment of a classic radical film, “Now” by Santiago Alvarez, staged this summer in Ferguson, Missouri by the cops themselves. Playing themselves, the cops reenact their own vicious history as if they were checking their performance in a mirror shattered by gunfire. NOW! AGAIN! blows up at the intersection of an avant-garde film act and an urgent manifesto for militant action, demanding an end to police violence NOW!”

One Document for Hope, Margaret Rorison, 7:15, 2015

Margaret Rorison’s One Document for Hope, pits the sterile and procedural narratives of a Baltimore City Police Scanner against images from the collective moments of gathering, celebration, mourning and protest in response to the 2015 death by police of 25 year-old Freddie Gray. The juxtaposition of these elements, institutional dispassion versus community action, makes legible the power of the latter to confront and resist the former.

Baton Rouge to Jackson ’63, Dan Albright, 1:41, 2016

A historical juxtaposition of police terror in the aftermath of Alton Sterling’s murder in Baton Rouge July 10th, 2016 and during the Civil Rights Movement in Jackson, MS June 13, 1963.Baton Rouge to Jackson ’63 is an exceptional illustration of a growing sub-genre of urgent political cinema: the radical re-enactment of historical violence, echoing one another with a jarringly precise confluence.

Repeat: Justice for Alton Sterling, Kelly Sears, 1:24, 2016

The murder of Alton Sterling was followed by another devastating press conference, where Quinyetta McMillon, the mother of Alton Sterling’s oldest son, speaks about the trauma of having their children learn about their father’s death through repeated video replays, news sound bites, and social media circulation of the killing of Alton Sterling. This quote featured in this short work comes from this press conference.

July 8th, 2016, Jason Halprin, 3:30 2016

Alton Sterling. Philando Castile. 5 police officers in Dallas. The Civil Rights Movement isn’t a part of history. It is a fight that is happening now. EQUAL OPPORTUNITY & HUMAN DIGNITY. Which side are you on?

Forty Years, Irene Lusztig, 12:15, 2016

For the past two years, Irene Lusztig has been filming people (mostly women and mostly strangers) reading letters sent to the editor of Ms. Magazine––the first mainstream feminist magazine in the US–in the 1970s, in the cities where the letters were originally written. In this short film, four women read letters about sexual violence that were sent to Ms. Magazine between 1974-76.   This is happening now, but it has also been happening forever. This project was edited and released right after the presidential debate, where Hilary Clinton was interrupted and stalked on stage, which occurred right after the pussy grabbing offense and millions of women sharing their experiences of sexual assault on Twitter.

Quiet Time, Ryan Harper Gray, 2:32, 2016

Quiet Time intervenes in the reactionary rhetoric from the Presidential debates.  Employing the strategy of erasure, the militarist, imperialist, and misogynist discourse is rejected, removed, and thrown out. The silence that remains still carries the trace of the eliminated declarations.  The absence of speech is a false respite as the focus is shifted toward the formation of the next distorted refusal and rebuttal.

Land of the Free, Vanessa Renwick, 3:01, 2016

Up above the land, in the clouds, borderless, a meditation on the legacies of colonialism and borders. Made in support of the Standing Rock Sioux resistance.

The Forcing (No. 7), Lydia Moyer, 2:21, 2017

A powerful tribute to the students who stood their ground against the “many sides” of white supremacy in Charlottesville.  One in a series of works responding to current political and social events in the US.

The Forcing (No. 8), Lydia Moyer, 4:53, 2017

Meditations on modes of resistance through taking the knee and peaceful protest. One in a series of works responding to current political and social events in the US.

Nazlı Dinçel at 105 AJB, Friday, March 30 at 7pm – FREE

Don’t miss visiting filmmaker Nazlı Dinçel, who will be in attendance to present a program of her new and recent work!

Nazlı Dinçel’s hand-made work reflects on experiences of disruption. She records the body in context with arousal, immigration, dislocation and desire with the film object: its texture, color and the tractable emulsion of the 16mm material. Her use of text as image, language and sound imitates the failure of memory and her own displacement within a western society.

Born in Ankara, Turkey, Dinçel immigrated to the United Sates at the age of 17. Dinçel resides in Milwaukee, WI where she is currently building an artist run film laboratory. She obtained her MFA in filmmaking from UW-Milwaukee. Her works have been exhibited in numerous venues around the world including Tiger Shorts competition at IFFR, New York Film Festival, Edinburgh International Film Festival and Dallas Contemporary.
She recently won the Marian McMahon Akimbo award at the 2017 Images Festival with Untitled (2016) and was also awarded Best Experimental Film at the 2015 Chicago Underground Film Festival with Her Silent Seaming (2014).

http://www.nazlidincel.com/
https://www.facebook.com/HeadroomIC/

PROGRAM:
NOTE TO SELF: FILMS OF NAZLI DİNÇEL
An evening of visceral and provocative handmade films that explore bodies, acts of the solitary, text, language, visual information and personal exposure. Nazlı Dinçel’s work reflects on experiences of disruption. She records the body in context with arousal, immigration, dislocation and desire in juxtaposition with the medium’s material: texture, color and the passing of emulsion. Her use of text as image, language and sound attempts the failure of memory and her own displacement within a western society.
Total Run time: 62min

Leafless
16mm, 8min, Color, Silent, 24fps, 2011
Leafless is an expansion of collections, a hand processed love poem of textures about becoming familiar with a significant other’s body in reservation with its landscape.

Her Silent Seaming
16mm, 10min, Color, Super 16 Image-Sound, 24fps, 2014
A transcription of what I have been told during intimate experiences while separating from my husband. Sections consist of destroyed originals from Leafless (2011) and motifs of the “feminine”. These decorative objects are re-valued through a controlled act of cutting, with an allusion to synchronization. Direct sound of cuts and hand processing are composed of 26 frame shots. Un-synced, it reveals a hearing of past images, as an act of translation.

Sharing Orgasm: Communicating Your Sexual Responses (Educational Found Film)
16mm, 12 min, Color, optical sound, 24fps, 1977

Solitary Acts #4
16mm, 8min, Color, Optical Sound, 24fps, 2015 Exacto Knife, Typewriter
The filmmaker films herself masturbate the object of debate. She hears others claim her body, her habits: those in her conservative surroundings as a child. She learns how to read.

Solitary Acts #5
16mm, 5min, Color, Sound, 24fps, 2015 Exacto Knife, Fishing Line, Sewing Machine
The filmmaker films herself practice kissing with a mirror. She recalls teenage memories of overconsumption, confusing oral fixations that are both sexual (kissing) and bodily (eating). She ends up eating the carrot she is masturbating with, and feels a sense of cannibalism.

Solitary Acts #6
16mm, 11min, Color, Optical Sound, 24fps, 2015 Exacto Knife, 1.5mm Letter Punches, Hammer, Leather Puncher
The filmmaker films her subject in a private act, complicating what could be considered a solitary act. This is a feminist critique of the Oedipal complex, narrating from the perspective of the female. The filmmaker recounts an abortion she had in 2009. The aborted child takes the place of her lover.

VOID (4.INABILITY)
16mm, 4min, Color, Silent, 18fps, 2016
This is a re-destroyed film that I was unable to finish in 2013. Filmed both in ruins: at the Sutro Baths in San Francisco and in final domestic spaces occupied with a former partner. Film was destroyed in ocean water.

Shape of a Surface
16mm, 9min, Color, Optical Sound, 24fps,Turkey, 2017
The ground holds accounts of once pagan, then christian and now muslim ruins of the city built for Aphrodite. As she takes revenge on Narcissus, mirrors reveal what is seen and surfaces, limbs dismantle and marble turns flesh.

Between Relating and Use
16mm, color, 9min, sound, 24fps (Argentina/USA) 2018 Laser engraver, Ektachrome
Borrowing words from Laura Mark’s “Transnational Object” and DW Winnicott’s “Transitional Object”, this film is an attempt to ethically make work in a foreign land. Transitioning from assuming the position of an ethnographer, we turn and explore inwards-
on how we use our lovers.

Betzy Bromberg at 105 AJB, Thursday, March 8 at 7pm – FREE

“Images that, once seen, will stay with you forever.”
— Holly Willis, LA Weekly

Join us for the season’s second event, with legendary filmmaker, Betzy Bromberg in attendance to present her new feature, Glide of Transparency, on 16mm!

Betzy Bromberg, Director of the Program in Film and Video at California Institute of the Arts, has been making experimental films since 1976. Her most recent film, Glide of Transparency (2016/17), premiered at the Redcat Theater in Los Angeles. Glide of Transparency is the third film in her 16mm abstract trilogy.  It was listed as one of the year’s best films in both Senses of Cinema (Jordan Cronk) http://sensesofcinema.com/2017/world-poll/world-poll-2016-part-2/ and Fandor (Michael Sicinski and Jordan Cronk) https://www.fandor.com/posts/interesting-times-year-avant-garde-film.  Her previous film, Voluptuous Sleep (2011), also had its first screening at Redcat and had its festival premiere at the New York Film Festival: Views From The Avant-Garde.  Voluptuous Sleep was listed as one of the Best Films for 2011 in both the New York Times (Manohla Dargis) and Indiewire (Andrea Picard).  Scott MacDonald included it in his Highlights 2012 in Lumiere Magazine (www.elumiere.net) and has published an interview with Ms. Bromberg in his recent book, Avant-Doc: Intersections of Documentary and Avant-Garde Cinema.

PROGRAM:

Glide of Transparency
Betzy Bromberg, (2016/17, 16mm, color, sound, 89 min)

Following A Darkness Swallowed (2005) and Voluptuous Sleep (2011), Betzy Bromberg’s third experimental feature, Glide of Transparency, goes further into translucent abstraction while conveying the intimate feeling of being transported to a sublimated inner garden. Glide of Transparency unfolds in three movements, each layered with its own intricate sound design (field recordings from the avian and insect world, ambient audio, vocals, and a composition for acoustic instruments). The non-narrative progression traverses luscious curves, vibrant colors, luminous contours and the scintillating trajectory of light over matter, over filmic texture.

“I am interested in making films that explore intimate places of the interior.  For me, the combination of visual and aural abstraction is sublime, a means of forging pathways without a path, journeys devoid of compass bearings, invoking mysterious and unearthly transports.  I am interested in making work that has no points of reference, where scale replaces structure and time is experienced rather than counted.

Glide of Transparency is a film in three movements, an exploration of color and light.  Ultimately, it is a film about love and transcendence.”

 

 

 

 

 

 

Headroom Spring 2018 lineup w/ Shana Moulton, Betzy Bromberg, and Nazli Dinçel

We’re thrilled to announce the Spring 2018 lineup for Headroom with three incredible visitors and an exciting collaboration with our friends at Vertical Cinema! Stay tuned for more info about each…

Friday, Feb 09 at 7pm, co-presented with Vertical Cinema:
SHANA MOULTON, screening and performance
at the Drewelowe Gallery, 1st floor of the Visual Arts Building, 

Shana Moulton creates evocatively oblique narratives in her video and performance works. Combining an unsettling, wry humor with a low-tech, Pop sensibility, Moulton plays a character whose interactions with the everyday world are both mundane and surreal, in a domestic sphere just slightly askew. As her protagonist navigates the enigmatic and possibly magical properties of her home decor, Moulton initiates relationships with objects and consumer products that are at once banal and uncanny. Her video work has been screened and exhibited internationally, including at Art in General, New York; Migros Museum, Zurich; Contemporary Museum of Art, Uppsala; Rencontres internationales, Paris; Aurora, Edinburgh; Internationale Kurzfilmtage, Oberhausen; and Gimpel Fils, London. She has recently performed An Evening with Shana Moulton at MoMA in NYC, the Hammer Museum in LA, and Kunsthaus Glarus in Switzerland. She is the recipient of a Creative Capital Grant and has been featured in Art 21, Artforum, Frieze Magazine, Art in America, and many others.
http://www.shanamoulton.info/

 

Thursday, March 08, at 7pm
BETZY BROMBERG
at the Franklin Miller Screening Room, 105 Adler Journalism Building

Following A Darkness Swallowed (2005) and Voluptuous Sleep (2011), Betzy Bromberg’s third experimental feature, Glide of Transparency, goes further into translucent abstraction while conveying the intimate feeling of being transported to a sublimated inner garden. Glide of Transparency unfolds in three movements, each layered with its own artful sound design (field recordings of birds and insects, ambient audio, vocals, and a composition for acoustic instruments). The non-narrative progression, Bromberg says, is “a journey devoid of compass bearings, forging pathways without a path.” Luscious curves, vibrant colors, and the scintillating trajectory of light over matter, over filmic texture, echo fragmented memories of paintings we have loved, and, embracing love, bring us to transcendence.

 

Friday, March 30 at 7pm
NAZLI DINÇEL
at the Franklin Miller Screening Room, 105 Adler Journalism Building

Nazlı Dinçel’s hand-made work reflects on experiences of disruption. She records the body in context with arousal, immigration, dislocation and desire with the film object: its texture, color and the tractable emulsion of the 16mm material. Her use of text as image, language and sound imitates the failure of memory and her own displacement within a western society.

Born in Ankara, Turkey, Dinçel immigrated to the United Sates at the age of 17. Dinçel resides in Milwaukee, WI where she is currently building an artist run film laboratory. She obtained her MFA in filmmaking from UW-Milwaukee. Her works have been exhibited in numerous venues around the world including Tiger Shorts competition at IFFR, New York Film Festival, Edinburgh International Film Festival and Dallas Contemporary.
She recently won the Marian McMahon Akimbo award at the 2017 Images Festival with Untitled (2016) and was also awarded Best Experimental Film at the 2015 Chicago Underground Film Festival with Her Silent Seaming (2014).
http://www.nazlidincel.com/