Sky Hopinka at FilmScene, Wednesday, Dec 07 at 7:30pm – FREE!!

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Join us for the final Headroom event of the season, with filmmaker Sky Hopinka in attendance!

Sky Hopinka is a Ho-Chunk Nation national and descendent of the Pechanga Band of Luiseño Indians.  He was born and raised in Ferndale, Washington and spent a number of years in Palm Springs and Riverside, California, and Portland, Oregon and is currently based out of Milwaukee, Wisconsin.  In Portland he studied and taught chinuk wawa, a language indigenous to the Lower Columbia River Basin. His work centers around personal positions of homeland and landscape, designs of language and the facets of culture contained within.  He received his BA from Portland State University in Liberal Arts and his MFA in Film, Video, Animation, and New Genres from the University of Wisconsin-Milwaukee.

His work has played at various festivals including ImagineNATIVE Media + Arts Festival, Images Festival, Courtisane Festival, Ann Arbor Film Festival, American Indian Film Festival, Sundance Film Festival, Antimatter Film Festival, Chicago Underground Film Festival, FLEXfest, and the LA Film Festival.  He was awarded jury prizes at the Milwaukee Underground Film Festival, the More with Less Award at the 2016 Images Festival, the Tom Berman Award for Most Promising Filmmaker at the 54th Ann Arbor Film Festival, and 3rd Prize at the 2015 Media City Film Festival.

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PROGRAM

Visions of an Island
2016, 15 min, digital video, sound
An Unangam Tunuu elder describes cliffs and summits, drifting birds, and deserted shores.  A group of students and teachers play and invent games revitalizing their language.  A visitor wanders in a quixotic chronicling of earthly and supernal terrain.  These visions offer glimpses of an island in the center of the Bering Sea.

wawa
2014, 6 min, digital video, sound
Featuring speakers of Chinuk Wawa, a Native American language from the Pacific Northwest, Wawa begins slowly, patterning various forms of documentary and ethnography. Quickly, the patterns tangle and become confused and commingled, while translating and transmuting ideas of cultural identity, language, and history.

Kunikaga Remembers Red Banks, Kunikaga Remembers the Welcome Song
2014, 10 min, digital video, sound
The video traverses the history and the memory of a place shared by both the Hočąk and the settler. Red Banks, a pre-contact Hočąk village site near present day Green Bay, WI was also the site of Jean Nicolet’s landing, who in 1634 was the first European in present day Wisconsin. Images and text are used to explore this space alongside my grandmother’s recollections. Each serve as representations of personal and shared memory, as well as representations of practices and processes of rememberance, from the Hočąk creation story to Jean Nicolet’s landing, to the present.

Venite et Loquamur (Come All and Let Us Speak)
2015, 12 min, digital video, sound
Vidit homines inter se loquentes linguā, quam alii mortuam esse dicunt. Sed adhuc secum loquuntur. Eos secuti sum et mecum locuti sunt. Omnes de cubiculo tecti alti deciderunt, fortasse videre ad caelum res reponet.

Jaaji Approx
2015, 8 min, digital video, sound
Logging and approximating a relationship between audio recordings of my father and videos gathered of the landscapes we have both separately traversed. The initial distance between the logger and the recordings, of recollections and of songs, new and traditional, narrows while the images become an expanding semblance of filial affect. Jáaji is a near translation for directly addressing a father in the Hočak language.

Anti-Objects
2016, 11 min, digital video, sound

I’ll Remember You as You Were, Not as What You’ll Become
2016, 13 min, digital video, sound
An elegy to Diane Burns on the shapes of mortality, and being, and the forms the transcendent spirit takes while descending upon landscapes of life and death. A place for new mythologies to syncopate with deterritorialized movement and song, reifying old routes of reincarnation. Where resignation gives hope for another opportunity, another form, for a return to the vicissitudes of the living and all their refractions.

“I’m from Oklahoma I ain’t got no one to call my own.
If you will be my honey, I will be your sugar pie way hi ya
way ya hi ya way ya hi yo”
– Diane Burns (1957-2006)

Jaaji Approx 2

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

 

Ruth Hodgins at FilmScene, Wednesday, Oct 19 at 7:30pm – FREE!

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Ruth Hodgins, archivist and Programmer at the Walker Art Center in Minneapolis, will be in town to present a collection of avant-garde films from the historic Ruben/Bentson Moving Image Collection!

Living In the Stacks: A selection of titles from the Ruben/Bentson Moving Image Collection
A presentation by the Walker Art Center’s Bentson Archivist/ Programmer, Ruth Hodgins.

The following program attempts to reflect coalesce between the content in a collection and its “keeper”. Categorized into three parts, the program examines different moments in a career in parallel to different themes in the Ruben/Bentson Moving Image Collection. Titles include early soviet animation, narrative shorts, appropriated image, and European and American experimental moving image.

 

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BIO

Ruth Hodgins is currently an Archivist and Programmer working at the Walker Art Center in Minneapolis, where she oversees the care, use, and scholarship of the historic Ruben/Bentson Moving Image Collection.  Previously, Ruth was the Distribution Manager at the Video Data Bank at the Art Institute of Chicago. Ruth received an MFA from The San Francisco Art Institute, and a BA From the Glasgow School of Art. She has contributed to the contemporary arts in various forms throughout her career including working as an artist assistant at the European Ceramic Work Center in the Netherlands, writer for The Daily Serving, and guest lecturer for various organizations including Loop Gallery in Seoul, The Glasgow School of Art, and University of Illinois Chicago.

 

This Headroom event is sponsored by the Departments of Cinematic Arts, Art & Art History, and English, 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

 

 

Christopher Harris at FilmScene, Friday, Sept 30 at 8:30pm – FREE!

Reckless_Eyeballing_film_still (2)Visiting from the University of Central Florida, filmmaker Christopher Harris will be in town to share a program of new and recent work!

Christopher Harris’ award-winning experimental films include a long take look at a post-industrial urban landscape, an optically printed and hand-processed film about black outlaws, a pinhole film about the cosmic consequences of the sun’s collapse, a macro lens close up of a child’s nightlight and a double projection film about a theme park performance of Christ’s Passion. Harris recently completed two multi-screen HD video installations that reenact and reimagine the slave daguerreotypes commissioned by Louis Agassiz in 1850. He was awarded a 2015 Creative Capital grant in support of his upcoming film Speaking in Tongues. His work has screened at festivals, museums and cinematheques throughout North America and Europe including the 2014 Artists’ Film Biennial at the Institute of Contemporary Arts in London, the International Film Festival Rotterdam (2005, 2008, 2010), the VIENNALE-Vienna International Film Festival, the Edinburgh International Film Festival, the Leeds International Film Festival (2007, 2009), the San Francisco Cinematheque and Rencontres Internationales Paris among many others. Cosmologies of Black Cultural Production: A Conversation with Afrosurrealist Filmmaker Christopher Harris was published in the summer 2016 issue of Film Quarterly.

A Conversation with Afrosurrealist Filmmaker, Christopher Harris, in Film Quarterly
Christopher Harris in CinemaScope


PROGRAM:

Distant Shores
2016, 3 minutes, 16mm-to-HD, color, sound
A sunny afternoon on a tour boat in Chicago is haunted by the specter of other voyages.

Halimuhfack
2016, 4 minutes, 16mm-to-HD, color, sound
A performer lip-synchs to archival audio featuring the voice of author and anthropologist Zora Neale Hurston as she describes her method of documenting African American folk songs in Florida. By design, nothing in this film is authentic except the source audio. The flickering images were produced with a hand-cranked Bolex so that the lip-synch is deliberately erratic and the rear projected, grainy, looped images of Masai tribesmen and women recycled from an educational film become increasingly abstract as the audio transforms into an incantation.

A Willing Suspension of Disbelief + Photography and Fetish, 2014, 17 minutes, three-screen 16mm-to-HD installation + split screen 16mm to HD installation)
“A three-channel video installation and a split-screen video installation in response to an 1850 daguerreotype of a young American-born enslaved woman named Delia, who was photographed stripped bare as visual evidence in support of an ethnographic study by the Swiss-born naturalist professor Louis Agassiz, who held that racial characteristics are a result of differing human origins.” (Orlando Museum of Art)

28.IV.81 (Descending Figures)
2011, 3 minutes, 16mm double projection, color, silent
“Footage Harris shot at a performance of Christ’s Passion, staged as an attraction at a Florida amusement park. Harris’ use of the pure filmic light continually disrupts these faux-holy scenarios from coming into being. This flimsy display of devotion is shown up by something genuinely overpowering, or at least recognizably real.” (Michael Sicinski, CinemaScope)

28.IV.81 (Bedouin Spark)
2009, 3 minutes, 16mm, color, silent
“A lovely miniature edited in-camera, in which Harris manipulates light around a child’s mobile so that a hanging nightlight with plastic silver stars becomes a glinting ersatz sky.” (Michael Sicinski, CinemaScope)

Sunshine State (Extended Forecast)
2007, 8 minutes, 16mm, color, sound (pinhole film)
“Somewhere in a quiet outer suburb of the Milky Way galaxy, we live our lives in the pleasant warmth of our middle-of-the-road star, the Sun. Slowly but surely we will reach the point when there will be one last perfect sunny day. The sun will swell up, scorch the earth and finally consume it.” (International Film Festival Rotterdam)

Reckless Eyeballing
2004, 14 minutes, 16mm, black and white, sound
“Eyeballing’s dominant motif is the image of Pam Grier from her Blaxploitation apex, with an unusual exchange of gazes—hers out at us, and the men in surrounding footage back at her. Harris is quite explicitly exploring the racial dimensions that Laura Mulvey left implicit (to put it kindly) within the Male Gaze question, sending Foxy Brown into the cinematic apparatus as a kind of test case.” (Michael Sicinski, CinemaScope)

Halimuhfack still C


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

Deborah Stratman’s THE ILLINOIS PARABLES at FilmScene, April 22 at 7pm – FREE!

We are over the moon to host a screening of THE ILLINOIS PARABLES, which premiered at this year’s Sundance Film Festival, and has gone on to sold out screenings at Berlinale, Ann Arbor, True/False, and Chicago’s Conversations at the Edge screening series.

Headroom Screening Series is a roving microcinema that collaborates with local venues to curate screenings and other media-related events and performances. It is always FREE and OPEN TO THE PUBLIC.

With filmmaker, Deborah Stratman, in attendance!

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The Illinois Parables
A suite of Midwestern parables that question the historical role belief has played in ideology and national identity.
2016, 60 min, DCP

Synopsis
An experimental documentary comprised of regional vignettes about faith, force, technology and exodus. Eleven parables relay histories of settlement, removal, technological breakthrough, violence, messianism and resistance, all occurring somewhere in the state of Illinois. The state is a convenient structural ruse, allowing its histories to become allegories that explore how we’re shaped by conviction and ideology.

The film suggests links between technological and religious abstraction, placing them in conversation with governance. Locations are those where the boundaries between the rational and supernatural are tenuous. They are “thin places” where the distance between heaven and earth has collapsed, or more secularly, any place that bears a heavy past, where desire and displacement have lead us into or erased us from the land. What began as a consideration of religious freedom eventually led to sites where belief or invention triggered expulsion. The film utilizes reenactment, archival footage, observational shooting, inter-titles and voiceover to tell its stories and is an extension of previous works in which the director questioned foundational American tenants.

The Parables consider what might constitute a liturgical form. Not a sermon, but a form that questions what morality catalyzes, and what belief might teach us about nationhood. In our desire to explain the unknown, who or what do we end up blaming or endorsing?

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Deborah Stratman is a Chicago-based artist and filmmaker interested in landscapes and systems. Much of her work points to the relationships between physical environments and human struggles for power and control that play out on the land. Recent projects have addressed freedom, expansionism, surveillance, sonic warfare, public speech, ghosts, sinkholes, levitation, propagation, orthoptera, raptors, comets and faith. She has exhibited internationally at venues including MoMA NY, Centre Pompidou, Hammer Museum, Mercer Union, Witte de With, the Whitney Biennial and festivals including Sundance, Viennale, CPH/DOX, Oberhausen, Ann Arbor, Full Frame and Rotterdam. Stratman is the recipient of Fulbright and Guggenheim fellowships, a Creative Capital grant and an Alpert Award. She teaches at the University of Illinois at Chicago.

THANK YOU TO ALL OF OUR SPONSORS: the Department of Cinematic Arts, the Public Digital Arts Cluster, the Digital Scholarship & Publishing Studio, and Little Village Magazine.

This visit made possible by the Perry A. and Helen J. Bond Fund for Interdisciplinary Interaction.

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

Mary Helena Clark at FilmScene, Thursday, March 31 at 6pm – FREE!

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Visiting from Colgate University, filmmaker Mary Helena Clark will be in town to present a program of her engrossing and enigmatic short works. Parts narrative, puzzle, avant-thriller, and nimble material play—Clark’s films present a deft sensitivity to the poetics of process, each an engrossing investigation of the illusionistic space of the cinematic screen.

Headroom Screening Series is a roving microcinema that collaborates with local venues to curate screenings and other media-related events and performances. It is always FREE and OPEN TO THE PUBLIC.

With filmmaker, Mary Helena Clark, in attendance!

BIO

Mary Helena Clark lives and works in central New York. Her work has been exhibited and screened nationally and internationally, including presentations at the Swedish Film Institute (Stockholm), The Gene Siskel Film Center, the Museum of Contemporary Photography, Document Space (Chicago), the Wexner Center for the Arts (Columbus, OH), Anthology Film Archives (New York), the Yerba Buena Center (San Francisco), the National Gallery of Art (Washington) and at the New York, London and Toronto International Film Festivals. She has curated film programs for Altman Siegel Gallery, San Francisco, and The Nightingale, Chicago, among other venues.

PROGRAM

 
SOUND OVER WATER
2009, 6 minutes (16mm)
Blue sky and blue sea meet on emulsion.

BY FOOT-CANDLE LIGHT
2011, 9 minutes (multiple digital formats)
A walk through the proscenium wings. You close your eyes and suddenly it is dark.

“In the dream we call cinema there is no either, no or. We move from cave to forest to theater and back again, certain only that we are elsewhere, at least until the reel runs out. Here is objective truth, or “hypnosis” by another name.” – Ben Russell

AND THE SUN FLOWERS
2008, 5 minutes (digital)
“Henry James had his figure in the carpet, Da Vinci found faces on the wall. Within this Baltimore wallpaper: a floral forest of hidden depth and concealment, the hues and fragrance of another era. Surface decoration holds permeable planes, inner passages. There emerges a hypnotic empyrean flower, a solar fossil a speaking anemone, of paper, of human muscle, of unknown origin, delivering an unreasonable message of rare tranquility.” – Mark McElhatten

THE MEISNER TECHNIQUE
2015, 5 minutes (16mm > digital)
Students of the Sanford Meisner school of acting play extremes of human feeling.

ORPHEUS (OUTTAKES)
2012, 6 minutes (16mm)
“Using footage from Cocteau’s Orphée, Clark optically prints an interstitial space where the ghosts of cinema lurk beyond and within the frames.” – Andrea Picard

THE PLANT
2012, 8 minutes (16mm > digital)
A spy film, built on the bad geometry of point-of-view shots.

PALMS
2015, 9 minutes (16mm > digital)
Palms is constructed in four parts, each moving further away from a human subjectivity. Alluding to a state of disembodiment, the film’s images arrive like thoughts, encountering them as both agents of and extractions from the real world. Here our vision is monocular.

THE DRAGON IS THE FRAME
2014, 14 minutes (16mm)
An experimental detective film made in remembrance: keeping a diary, footnotes of film history, and the puzzle of depression.

What are you thinking?
I am thinking of how many times this poem
Will be repeated. How many summers
Will torture California
Until the damned maps burn
Until the mad cartographer
Falls to the ground and possesses
The sweet thick earth from which he has been hiding.
What are you thinking now?
– Jack Spicer, Psychoanalysis: An Elegy

TRT: 62 minutes
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THANK YOU TO ALL OF OUR SPONSORS: the Department of Cinematic Arts, the Public Digital Arts Cluster, the Digital Scholarship & Publishing Studio, 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

 

Julie Perini at Public Space One, Friday, Feb 26 at 7pm – FREE!

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Visiting from Portland, Oregon, filmmaker Julie Perini will be in attendance to screen and discuss her recent experimental and documentary work! Big, big thanks to guest curator, Anna Swanson, for making this event happen with the support of the Office of Outreach & Engagement.

 BIO

Originally from Poughkeepie, NY, Julie has been exploring her immediate surroundings with cameras since age 15 when she discovered a VHS camcorder in her parent’s suburban home. Her work often explores the areas between fact and fiction, staged and improvised, personal and political. Julie’s work has exhibited and screened internationally at such venues as the Centre Pompidou-Metz (France), Artists’ Television Access (San Francisco), Visible Evidence XX (Stockholm), The Horse Hospital (London), Cornell Cinema (Ithaca, NY), Microscope Gallery (New York City), among others. She has been awarded artist residencies at Yaddo, Signal Fire, Kimmel Harding Nelson Center, and Djerassi Resident Artists Program. She has received grants and fellowships in support of her work from the New York Foundation for the Arts, the New York State Council on the Arts, The Regional Arts and Culture Council, the Oregon Arts Commission, and The Precipice Fund.

Her writing has been published by A.K. Press, Incite! The Journal of Experimental Media and Afterimage: The Journal of Media Arts & Culture. She is a backcountry guide for Signal Fire, an organization that facilitates opportunities for artists to engage with the natural world. She holds an MFA from the University at Buffalo’s Department of Media Study and a BS from Cornell University. Perini is an Assistant Professor of Art at Portland State University.

 

PROGRAM

Impressions of Portland

(2014, SD video + 16mm, 3min 19sec)
“Best Sleight of Hand in Making the Invisible Visible: This dense film operates on many levels. It is at once an essay about forgetting the past, a conceptual tour-de-force, a performance, a survey of Portland’s streets, and a vivid use of celluloid and digital imagery. But most of all it is an anguished critique of social amnesia and how blinkered perspectives can cover an ongoing injustice.” —Steve Anker, judge for the 2015 Northwest Filmmaker’s Festival at the Northwest Film Center at the Portland Art Museum, gave this film a Judge’s Award

White Lady Diaries
(2013, SD video, 5min)
WHITE LADY DIARIES brings together my research into racial identity and white privilege with my daily practice of making Minute Movies about my own life. — JP

Nebraska Diary
(2013, SD video, 3 min)
A diary film, made while in residence at the Kimmel Harding Nelson Center for the Arts in Nebraska City, Nebraska. — JP

Arresting Power: Resisting Police Violence in Portland, Oregon
Co-directed with Jodie Darby and Erin Yanke
(2015, mixed-format video, 84min)

ARRESTING POWER documents the history of conflict between the Portland police and community members throughout the past fifty years. The film features personal stories of resistance told by victims of police misconduct, the families of people who were killed by police, and members of Portland’s reform and abolition movements. Utilizing meditative footage taken at sites of police violence, experimental filmmaking techniques, and archival newsreel, Arresting Power creates a space for understanding the impacts of police violence and imagining a world without police.
This film provides a historical and political analysis of the role of the police in contemporary society and the history of policing in the United States. It provides a framework for understanding the systems of social control in Portland with its history of exclusion laws, racial profiling, gentrification practices and policing along lines of race and class. It serves to uncover Portland’s unique history of police relations and community response.

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julieperini.org
arrestingpower.com

53rd Ann Arbor Film Festival 16mm Tour – Friday, Feb 05, 7pm – FREE!

A symptom

The Ann Arbor Film Festival is the longest-running independent and experimental film festival in North America, founded by George Manupelli in 1963. Internationally recognized as a premiere forum for independent filmmakers and artists, each year’s festival engages audiences with remarkable cinematic experiences.

The 16mm Tour presents 13 new films from Austria, the UK, Canada, and the United States including Things, the most recent work by Ben Rivers which received the 53rd AAFF Stan Brakhage Film At Wits End Award; The Peacock by Andrew Kim (53rd AAFF Jury Award); Mark Toscano’s The Song Remains the Same (Prix Devarti for Funniest Film); Accent Grave on Ananas (53rd AAFF Sound Design Award) by Vancouver artist Tamara Henderson (with sound by Dan Riley) and three works receiving the 53rd AAFF Best Cinematography Award – vindmøller by Margaret Rorison, A Symptom by Ben Balcom, and Blue Loop, July by Mike Gibisser. Other works include new films by Friedl vom Gröller, Mary Helena Clark, Robert Todd, Jennifer Reeves, Jonathan Schwartz, and Sarah Christman.

The screening will be held in E105, the Franklin Miller Screening Room, in the Adler Journalism Building on the University of Iowa campus.

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program:

A Symptom
Ben Balcom
Milwaukee, WI | 2014 | 7 min | 16mm
The Colorlab / Niagara / ORWO Award for Best Cinematography
A mirrored discourse. The object we see is that which craves articulation, but is never said quite right. We are looking at speech from both sides of the mirror, listening to that wretch who elaborates upon the grid of desire. – BB

The Song Remains The Same
Mark Toscano
Los Angeles, CA | 2014 | 5 min | 16mm
Prix DeVarti for Funniest Film
When feelings are reduced to keywords, it’s a lot easier to find just the right soundtrack. And when an emotional response can be so readily activated via musical triggers, it’s a lot easier to make a moving film. – MT

The Dragon is the Frame
Mary Helena Clark
Berkeley, CA | 2014 | 14 min | 16mm
An experimental detective film made in remembrance: keeping a diary, footnotes of film history, and the puzzle of depression. – MHC

Poetry for Sale
Friedl vom Gröller
Vienna, Austria | 2014 | 3 min | 16mm
In Poetry for Sale, Friedl vom Gröller impressively contrasts the intimacy of the act of writing and the publicity of its presentation. The difficulty of the undertaking, selling poems in the subway, shows the difficulty of material survival for poets. The double breaking of the rules on which the film is based—both selling and filming are forbidden in the subway—exposes both poetry and filming as criminal acts, thus revealing the true status of poets and filmmakers. – Nicole Streitler

Peacock
Andrew Kim
Los Angeles, CA | 2015 | 12 min | 16mm
53rd AAFF Juror Award
A meditation on our fantastic condition of mortality and impermanence… “The peacock painted on the window will never dance or speak. It is only the peacock that lived in the forest which used to speak, dance, and walk in a sweet manner.” – AK

vindmøller
Margaret Rorison
Baltimore, MD | 2015 | 3 min | 16mm
The Colorlab / Niagara / ORWO Award for Best Cinematography
A study of the monolithic wind turbines along the shores of Amager, Copenhagen, Denmark. 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. – MR

Things
Ben Rivers
London, UK | 2014 | 21 min | 16mm
The Stan Brakhage Film at Wit’s End Award
This film was a challenge set by a friend, to make something in my home over the course of the year. Coming from a country where the seasons are very evident, I am interested in how they effect people’s sense of the world, moods, and our understanding and relationship to our environment. These mood changes feed into the film – in the Winter section the film is very internal and reflective, looking at the details around the house, and back to the things I’ve collected. In Spring, the atmosphere brightens, there are humans, hands holding a book or drawing, an eye reading. Summer is a mix of both the joy of these things, countered with a sense of unease. Autumn then becomes a further remove of representation of the space I live in, and in an uncertain state–are the walls crumbling around me? Is this the future, partly foretold in Fable, the book read in Spring? – BR

Blue Loop, July
Mike Gibisser
Iowa City, IA | 2014 | 5 min | 16mm
The Colorlab / Niagara / ORWO Award for Best Cinematography
Chicago’s summertime blazes, unanchored. Skywriting out of time. Part of a series of nighttime long exposures, Blue Loop, July creates an odd document of a long-standing celebratory tradition in one of Chicago’s lower west side neighborhoods. By leaving the camera’s shutter open for seconds at a time, the film transforms a summertime spectacle into a light-trace animation that unseats reliability of spatial and temporal direction. – MG

Falling
Robert Todd
Boston, MA | 2015 | 7 min | 16mm
Moving through fall’s end and beginning, falling. – RT

Color Neutral
Jennifer Reeves
New York, NY | 2014 | 3 min | 16mm
Anything but gray, a color explosion sparkles, bubbles, and fractures in this hand-crafted 16mm film. Reeves utilized an array of mediums and direct-on-film techniques to create this exuberant, psychedelic morsel of cinema as material. But it speaks of the end of one era or another, a time for letting go and celebration.

a certain worry
Jonathan Schwartz
Brattleboro, VT | 2014 | 3 min | 16mm
a certain worry enveloped in the covering of the ground, illuminated around a face, light on something ferocious, touch upon something gentle. -JS

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Sarah J Christman
Brooklyn, NY | 2015 | 6 min | 16mm
Coda for a film stock. A cresting wave, a pregnancy in the third trimester, a tennis match in the fourth set, the cicadas’ song – a stream of precarious moments of falling action, caught before their end. – SC

Accent Grave on Ananas
Tamara Henderson (with sound by Dan Riley)
Vancouver, Canada | 2013 | 3 min | 16mm
Leon Speakers Award for Best Sound Design
“Henderson’s work emerges from dreams and the movement of their images and experiences into her waking life. In processing these subconscious traces the narratives slip through memories and clichés, desires and trauma. She persistently establishes quotidian objects as near characters before altering them in abrupt or impossible ways: a play of expectation and surprise.
The film’s succession of events is carefully planned so it can be edited in camera, captured in single shots as if experiencing the dream. In this Surrealist tradition, everyday objects are manipulated by unseen hands and the sequenced juxtaposition of these moments creates a narrative that is at once absurd and highly familiar. These sequences allude to chain reactions, operations carried out with focused concentration to meditate on the banal and uncanny with equal attention, troubling out their esoteric truths.” – Mouse Magazine

oh my gee – HEADROOM this Spring!!

We’re beside ourselves to announce (most of) the Spring lineup for HEADROOM! Check back for one possible additional show, as well as the details on each of the three exciting programs listed below!

Hope to see you at the movies real soon!

 

Friday, Feb 5, 53rd Ann Arbor Film Festival 16mm Tour
at The Franklin Miller Screening Room, 105 Adler Journalism Building 

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7285 – Sarah J Christman

Ann Arbor Film Festival director, David Dinnell, will be in attendance to introduce 13 new films from Austria, the UK, Canada, and the United States including Things, the most recent work by Ben Rivers which received the 53rd AAFF Stan Brakhage Film At Wits End Award; The Peacock by Andrew Kim (53rd AAFF Jury Award); Mark Toscano’s The Song Remains the Same (Prix Devarti for Funniest Film); Accent Grave on Ananas (53rd AAFF Sound Design Award) by Vancouver artist Tamara Henderson (with sound by Dan Riley) and three works receiving the 53rd AAFF Best Cinematography Award – vindmøller by Margaret Rorison, A Symptom by Ben Balcom, and Blue Loop, July by Mike Gibisser. Other works include new films by Friedl vom Gröller, Mary Helena Clark, Robert Todd, Jennifer Reeves, Jonathan Schwartz, and Sarah Christman.

 

Friday, Feb 26, Julie Perini
at Public Space One

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Arresting Power – Julie Perini

Portland-based Julie Perini is an experimental and documentary filmmaker. Her work takes everyday experience as its starting point, adding critical lenses of race and gender. She will screen three short experimental works made with a Flip video camera and 16mm scratch film, and her feature-length, community-based documentary, Arresting Power: Resisting Police Violence in Portland, Oregon (2015), made in collaboration with Jodi Darby and Erin Yanke. Arresting Power documents the history of conflict between Portland police and community members throughout the past fifty years. Julie’s work has exhibited and screened at such venues as the Centre Pompidou-Metz (France), Artists’ Television Access (San Francisco), Visible Evidence XXII (Toronto), The Horse Hospital (London), Cornell Cinema (Ithaca, NY), Microscope Gallery (New York City), the Harlem International Film Festival (New York City), among others.

 

Thursday, March 31, Mary Helena Clark
at FilmScene

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The Dragon is the Frame – Mary Helena Clark

 

Mary Helena Clark will be in attendance to present a program of her work that explores narrative, figures of speech, the materiality of film, and the painting technique trompe l’oeil. She aims to make trancelike and transparent films. Amongst many other venues, Clark’s work has been screened at the International Film Festival Rotterdam, New York Film Festival, the Toronto International Film Festival, the Wexner Art Center, and the National Gallery of Art in Washington DC.

 

Michael A. Morris at PS1, Sunday, Nov 15 at 7pm – FREE!

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Don’t miss the final show of the Fall 2015 program: an expanded cinematic/synaesthetic spectacle of sound and light by visiting filmmaker, Michael A. Morris!

Hybrid Cinema: Films, Videos, and Performances by Michael A. Morris

BIO

Michael A. Morris is an artist and educator based in Dallas, Texas. He works primarily with film, video, and expanded cinematic forms. Much of his recent work responds to the rapid changes in how moving images are created and experienced in the 21st century. He has performed and screened his films and videos at museums, galleries, microcinemas, and film festivals internationally, including recent events at Boulder Museum of Contemporary Art, The Museum of Vancouver, Oak Cliff Film Festival, Chicago Underground Film Festival, San Francisco Cinematheque, and the Texas Biennial. He teaches at several institutions throughout the Dallas/Fort Worth area and curates film / video / new media programs around the region regularly, most recently as part of the first Dallas Medianale.

PROGRAM

This program of works gathers together performances and single channel works in a variety of media created over the last several years. Each work, in its own way, taps into an anxiety around the dichotomy of archival and ephemeral forms of moving images. Blue Movie and I Can’t Wait To Meet You There are concerned with the mortality of the image and extend this concern to those people represented. Fires deals with the anxiety of personal stories being lost as the people and physical locations connected to them disappear. Several works combine imaging technologies to create hybrid systems. In the case of the expanded cinema works that make up The Hermeneutics series, encounters between different technologies are staged in such a way that one medium “interprets” another to produce a hybrid result in image and meaning. 16mm film, analog video, digital audio synthesis, and interactive software are each considered for their own qualities and for how they can be combined to create new instruments that are more than the sum of their parts.

Second Hermeneutic – 2x16mm projection, analog video signal as audio; 2013 – 8m

Blue Movie – 16mm, 2015 – 7m

I Can’t Wait to Meet You There – digital video, 2012 – 12m

Fires – 35mm on HD, 2013 – 14m

Third Hermeneutic – 2x16mm projection, video projection, custom software; 2014 – 11m

Fires1

Vanessa Renwick at FilmScene, Saturday, October 03 at 7pm – FREE!

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“Vanessa Renwick is pretty much as punk rock as they come. She’s been self-producing films and videos in her own inimitable style since the early 1980s, and now boasts a wildly eclectic DIY filmography. She can be fast and aggressive, or slow and contemplative. Sometimes she uses archival footage, but not always. The work is sometimes beautiful and sometimes ugly. Without fail, however, the work is intense, hard to pin down, and even harder to forget.” – Penny Lane, Brooklyn Rail

Headroom Screening Series is thrilled to be the very first stop on Renwick’s 2015 NSEW tour!!

 

BIO

Founder and janitor of the Oregon Department of Kick Ass

Daughter of the American Revolution

Born 1961 in Chicago, Illinois. Film / Video / Installation artist. Lives in Portland, Oregon

An artist by nature, not by stress of research. She puts scholars to rout by embracing Nature’s teaching problems that have fretted trained minds. Working in experimental and poetic documentary forms, her iconoclastic work embodies her interest in landscape and transformation, and relationships between bodies and landscapes, and all sorts of borders. She is a naturalist, born, not made : a true barefoot, cinematic rabblerouser, of grand physique, calm pulse and a magnetism that demands the most profound attention.

 

a glimpse into the PROGRAM

Britton, South Dakota
(2003, 16mm to video, 9min)

Ivan Besse was the Strand movie theater manager in Britton, S. Dakota during the Depression. He had a 16mm camera and went about town shooting people at their various activities during the day. He would show the footage before features and newsreels as a way to lure the people into the theatre.

Most of the 2 1/2 hours of footage that he shot is of people walking down the street, there are also scenes of a barn being moved, a corn husking contest and kids running out of school.
The footage that really stood out to me was these 8 minutes of portraits of children. They had no idea of what a movie camera was.

The lack of narrative invites dressing these cinematic dolls with futures, now histories. The melancholic drone of the accompanying organ music tends to lead them into sad tragic finery. – VR

 

Portrait #2: Trojan
(2006, 35mm to video, 5min)

“The astonishing five-minute color film was shot in 35MM and transferred to video, sporting a perfectly synched musical score by Quasi’s Sam Coomes. No narrative, just a picturesque haunting reminder of our lives under the totem of a nuclear state. Long defunct, the monumental tower was imploded earlier this year and Renwick (of Oregon Department of Kick Ass) decided to capture the haunting silhouette that has simply stood there menacingly for years. She calmly documents its demise, which is very much an anti-climax. The short film adores its subject, the towering cement structure. Over a varying course of time, with lapse and stills we view a building painted in pastel light, stark at night, at dawn and dusk. Its inevitable course in its history would be told through a moment in time when it was no more. In essence, the very moment of implosion infers the ultimate destructive potential of its former chilling power. The film, shot by veteran cameraman Eric Alan Edwards (To Die ForCoplandThe Break-Up), is stunning to watch, and perfectly blunt.” – TJ Norris

 

Toxic Shock
(1983, 16mm to video, 3min)

Penetration up the wazoo, blood, fire, gas, needles, tampons, liquid power and cocktails of the burning sort. My experimental response to sweating out near death with Toxic Shock Syndrome. – VR

 

9 is a secret
(2002, 16mm film & video, 6min)

“Renwick recounts a sad time in her life, when a friend was dying and she suddenly became aware of the presence of crows. The dark birds in turn point her to the practice of counting crows, which is both a children’s rhyming game and a form of divination in which the number of crows suggests events in the future. Eight crows auger death: nine crows reference a secret. Renwick combines these fragments with glimpses of imagery- a bed, the crows captures as silhouettes, a man’s twisted body – to craft a lyrical and moving essay that works its magic through poetic accretion rather than narrative logic.” ­– Holly Willis, L.A. Weekly

 

layover
(2014, HD video, 6min)

A swan song for the factory age. A vortex of swirling Vaux’s Swifts which layover for three weeks in Portland, Oregon each fall on their migration to South America. Birds swoop over our demise, their relentless choreography signaling a new start. – VR

 

Portrait #3: House of Sound
(2009, 35mm to video, 11min)

“Circling the empty corner where a historic Portland record store once stood among a strip of black jazz clubs, Portrait #3: House of Sound is a testimonial to a community and cultural space recently demolished. The beautiful black and white 35mm footage, subtly tinged with loneliness, both juxtaposes and compliments the rich, vibrant voices sampled from a radio broadcast tribute to the record shop. The film moves between laughter, fond memories, melancholy and finally, conviction that despite physical destruction, the House of Sound will never die.” – MIXFEST

 

NSEW flier