tag:blogger.com,1999:blog-84693151265759844522024-03-14T01:24:57.204-07:00EXcinema EXcinema is a group of Seattle filmmakers whose works fall between the cracks of traditional cinema, from direct animation on film, to experiments in digital media. EXcinema is also a monthly film program at the Grand Illusion Cinema, 1403 NE 50th St., Seattle, WA 98105, that is a meeting place for filmmakers and audiences who want to experience and discuss the best of the outer limits of cinema.Salise Hugheshttp://www.blogger.com/profile/07034232714294065669noreply@blogger.comBlogger39125tag:blogger.com,1999:blog-8469315126575984452.post-40755825398968911592018-11-05T17:02:00.001-08:002018-11-05T17:02:40.789-08:00HANNAH PIPPER BURNS: HIJACKED MASTERY, METAPHYSICAL MUNDANITY <div class="separator" style="clear: both; text-align: center;">
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<span style="background-color: transparent; color: black; font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Hannah Piper Burns' video work stakes claim to and adopts the imagery of text, pop music, and dislodged scenes from classic cinematic musicals. Among her “mash ups” are If I Were a Man (2008), juxtaposing the swagger and grace of the Jets and Sharks with the question “if I were a man, what kind of man would I be?”; Over the Anvil (2009), which pits Gene Kelly dancing against one wondering “Do I have it in me, enough for us both?”; Mermaid Blues(2009), which combines the aquatic dancing of Esther Williams with an ongoing inner dialogue about “the lifecycle of an identity”; and Outer Darkness and Skincare Tips (2016), which utilize commercials and mass media television to explore connections between content, viewer, and personal subjectivities. </span></div>
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<span style="background-color: transparent; color: black; font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Hannah Piper Burns makes and curates experimental media that is shown all over the US and Canada, including at the Walker Art Center and HAIR + NAILS in Minneapolis, the Nightingale and Tritriangle in Chicago, the University of Wisconsin and Microlights in Milwaukie, the Winnipeg Film Group and the Winnipeg Underground Film Festival in Manitoba, the Echo Park Film Center in Los Angeles, and online at ACRETV.org. Raised in Maryland and forged in San Francisco, Portland has been her home since 2009 and there, she has recently exhibited at the Northwest Filmmakers Festival, the Portland ‘Pataphysical Society, A/V Party at Open Signal, and the Say When mini-festival. Right now, she radically re-edits reality television, gives live multimedia snail facials, co-hosts a semi-annual experimental video game showcase called ALTcade, and over the past five years has co-founded and co-directed both a local film festival (EFFPortland) and a live/work project space (Compliance Division). Her solo show “Venus Retrograde” will be on view at the Portland Art Museum from February - August 2018 as part of the APEX series curated by Grace Kook-Anderson. She writes for Fandor.com, practices casualdivination, and enjoys Jazzercise. </span></div>
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Salise Hugheshttp://www.blogger.com/profile/07034232714294065669noreply@blogger.com0tag:blogger.com,1999:blog-8469315126575984452.post-37520391016088109342018-09-29T13:19:00.001-07:002018-09-29T13:19:25.345-07:00Group Show<div class="separator" style="clear: both; text-align: center;">
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<span>Our annual Group Show this year will have a global theme. We will
feature filmmakers from our international EXquisite corpse projects,
films that mark the 50 yr anniversary of the global political unrest of
1968, and the 100 yr anniversary of the end of WWI. Films include Elena
Pardo’s De la Naturaleza del Hueso, 2018, based on student protests in
Mexico City that took place before the 1968 Summer Olympics, Salise
Hughes’ Yugoslavian Home Movies, 2014, which includes 1968 footage of
Belgrade students protesting Communist elitism under Tito, Aaron Valdez’s The Life
and Times of Robert F. Kennedy Starring Gary Cooper, 2006, Salise
Hughes’ War to End War: Joie de Guerre, 2018, Insa Langhorst’s Sulamit,
2017, Rafael Balboa’s Intermezzo, 2006, Kate Lane’s Fifty Feet Over
Wendover (For Nancy Holt), 2018, Brian Short’s Recursive, 2018, Charles
Chadwick’s Gibber Eidolon, 2018, and Kathleen Quillian’s The Conjure,
2018.</span><br />
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<span>October 16th, 2018</span><br />
<span>Grand Illusion Cinema</span><br />
<span>7:00 pm </span>Salise Hugheshttp://www.blogger.com/profile/07034232714294065669noreply@blogger.com0tag:blogger.com,1999:blog-8469315126575984452.post-78951483844294253042018-08-10T11:20:00.001-07:002018-08-10T11:20:51.433-07:00An Invisible College: Experimental Shorts, 1936 - 1978<div class="separator" style="clear: both; text-align: center;">
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<span>Co-presented by EXcinema and The Sprocket Society<br />Various / 80min / 16mm<br /><br />A
selection of outstanding 20th century experimental shorts, culled from
the secret vaults of The Sprocket Society. Rare 16mm film prints of
pioneering animation, abstraction, visual music and collage by such
masters as Oskar Fischinger, Len Lye, Alexandre Alexeieff and Claire
Parker, Norman McLaren and Evelyn Lambart, Jim Davis, Douglass
Crockwell, Arthur Lipsett and others.<br /><br />In the 1600s, a network of
proto-scientists and "natural philosophers" (and a few occultists) came
together as The Invisible College -- an "institution without walls" with
no fixed home or declared identity, dedicated simply to furthering
knowledge through experimental investigation. Together, they helped lay
the groundwork for modern science.<br /><br />In the 20th century, another
"Invisible College" coalesced: a very loose web of artists and creative
scientists (and a few occultists), working alone yet inevitably
influenced by each other, who dedicated themselves to advancing movies
through experimental investigation. Together, they discovered entirely
new forms of visual expression, and laid the groundwork for modern
cinema.<br /><br />This program pays tribute to some of these latter-day
alchemists, with a non-denominational selection of rare 16mm film prints
curated by Spencer Sundell, offering a snapshot of breakthroughs that
transformed movies, and thus how we see the world.</span><br />
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<span>September 11th, 2018</span><br />
<span>Grand Illusion Cinema</span><br />
<span>7:00 pm </span>Salise Hugheshttp://www.blogger.com/profile/07034232714294065669noreply@blogger.com0tag:blogger.com,1999:blog-8469315126575984452.post-19429729139450953322018-05-19T15:07:00.000-07:002018-05-19T15:07:31.824-07:00ARCHEOPSYCHIC TIME ZONES: New Films & Videos by Georg Koszulinski<div class="separator" style="clear: both; text-align: center;">
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This collection of short experimental works attempts to engage the
history of colonization in the Americas, primarily through intersecting
and overlapping time zones that span from thousands of years into the
past, to 6.5 million years into the future, when humankind has found a
way to travel to the edge of the known universe. Works in this
collections may employ science-fiction tro<span class="text_exposed_show">pes
and other fictive story structures in order to make truth claims about
the historical world. Works in this collection may employ flicker film
experiments to psychologically challenge the viewer's conception of
social and historical reality. Works in this collection may be
surrealist experiments in observational documentary, or personal essay
films on highly impersonal topics. This program includes a live
soundscape performance.</span><br />
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<span class="text_exposed_show">June 5th, 2018</span><br />
<span class="text_exposed_show">Grand Illusion Cinema</span><br />
<span class="text_exposed_show">7:00 pm </span>Salise Hugheshttp://www.blogger.com/profile/07034232714294065669noreply@blogger.com0tag:blogger.com,1999:blog-8469315126575984452.post-46101212580388808712018-03-29T13:49:00.001-07:002018-03-29T13:49:40.444-07:00EMULSION MANIPULATIONS II<div class="separator" style="clear: both; text-align: center;">
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<br /> Guest curator Jon Behrens brings a
collection of films by friends including: Caryn Cline, Ryan K. Adams,
Steve Demas, Ruth Hayes, Linda Fenstermaker, Merie Menken, Jim Davis,
and others.<br /> April 24th, 2018<br /> Grand Illusion Cinema<span class="text_exposed_show"><br /> 7:00 pm</span><br />Salise Hugheshttp://www.blogger.com/profile/07034232714294065669noreply@blogger.com0tag:blogger.com,1999:blog-8469315126575984452.post-25993273477380750552018-03-01T16:49:00.000-08:002018-03-03T17:38:50.615-08:00THE SPACES BETWEEN COUNTRIES: MEXICO & USA<div class="separator" style="clear: both; text-align: center;">
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EXcinema presents our 4th annual Exquisite Corpse Cinema, The Spaces Between Countries: Mexico & USA. For this edition we asked twenty filmmakers, half from Mexico, half from the US and a few who live, or lived in both to make short films that will connect exquisite corpse style into one feature length film. Each filmmaker addresses life in their surroundings and many include events of the past year. For instance there’s crowds on both US coasts under the path of the eclipse, independent vendors making tortillas and thread from scratch, a beach full of pelicans, the aftermath of earthquakes in Mexico, and hurricanes and forest fires in the US. There’s police in the streets, resistance marches, real estate scammers, and there’s the housing crisis affecting most of us. This and much more. For more information on how the corpse is made check out the <a href="https://excinemaseattle.blogspot.com/p/exquisite-corpse-cinema.html">Exquisite Corpse Cinema link</a> on our blog.<br />
Made with the support of 4Culture.<br />
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Filmmakers are: Brenda Avila, Ivan Avila, Rafael Balboa, Anthony Buchanan, Brenda Contreras, Sasha Water Freyer, Ivonne Fuentes, Elijah Hasan, Dalia Huerta, Salise Hughes, Pedro Jimenez, Roberto Lopez, Pam Minty, Artemio Narro, Eric Ostrowski, Elena Pardo, Chloe Reyes, Luke Seiczek, Bruno Varela, Dustin Zemel<br />
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<a href="https://vimeo.com/258351128">Watch Trailer </a><br />
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March 27th, 2018<br />
Grand Illusion Cinema<br />
7:00 pm<br />
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Salise Hugheshttp://www.blogger.com/profile/07034232714294065669noreply@blogger.com0tag:blogger.com,1999:blog-8469315126575984452.post-31132137641967276322018-03-01T16:31:00.000-08:002018-03-01T16:31:52.431-08:00UNTITLED (JUST KIDDING)- JESSE MALMED<b id="m_5171126137211116869gmail-docs-internal-guid-22430831-e416-35f0-3cad-278f294a092d" style="font-weight: normal;"></b><br />
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<b id="m_5171126137211116869gmail-docs-internal-guid-22430831-e416-35f0-3cad-278f294a092d" style="font-weight: normal;"><span style="font-family: monospace, monospace;"><span style="background-color: transparent; color: black; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Untitled (Just Kidding) is an ever-evolving suite of films and performative interjections made over the last half decade.</span><span style="background-color: transparent; color: black; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><br class="m_5171126137211116869gmail-kix-line-break" /></span><span style="background-color: transparent; color: black; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><br class="m_5171126137211116869gmail-kix-line-break" /></span><span style="background-color: transparent; color: black; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">The works play in creative reading, studied density, the one-(hundred)-liner, choirs, screen texts, the bootleg, the cover, jokes, speculative etymologies, accents, loops, the cinemagical, body swaps, poetry, citation and human voice. Conceptually engaged, language-intensive and visually mesmerizing, the suite scrambles somewhere in the intersects of conceptual comedy, dizzying illogics, the poetic plu-future and sustainable sourcing. Through deliberate mistranslation and strategic denaturing of languages and codes, Malmed revels in and reveals their extra-communicative potential as sound, as image, as object, and shift audiences’ concepts of the show, of the cinema.</span><span style="background-color: transparent; color: black; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><br class="m_5171126137211116869gmail-kix-line-break" /></span><span style="background-color: transparent; color: black; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><br class="m_5171126137211116869gmail-kix-line-break" /></span><span style="background-color: transparent; color: black; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Screening to include collisions and confoundments between textual forms—written, spoken, sung and otherwise enunciated; variations on versioning; shifting registers of spectatorial engagement; jokes that are poems that turn out to be videos. Unexpect the expected. </span></span></b></div>
<b id="m_5171126137211116869gmail-docs-internal-guid-22430831-e416-35f0-3cad-278f294a092d" style="font-weight: normal;"><span style="font-family: monospace, monospace;"><br /></span><div dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;">
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<span style="font-family: monospace, monospace;"><a data-saferedirecturl="https://www.google.com/url?hl=en&q=https://soundcloud.com/wdcbnews/the-arts-section-chicago-24&source=gmail&ust=1520036679707000&usg=AFQjCNEKmfIb384dPT9bGC6FmLYq6Xdmcg" href="https://soundcloud.com/wdcbnews/the-arts-section-chicago-24" style="text-decoration: none;" target="_blank"><span style="background-color: white; color: #1155cc; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: underline; vertical-align: baseline; white-space: pre-wrap;">WDCB's The Art Section</span></a><span style="background-color: white; color: black; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">, </span><a data-saferedirecturl="https://www.google.com/url?hl=en&q=https://www.chicagoreader.com/Bleader/archives/2017/04/10/with-untitled-just-kidding-local-artist-jesse-malmed-lets-you-in-on-the-joke-of-language&source=gmail&ust=1520036679707000&usg=AFQjCNH1fmSDCj65YHWANoEfT_ZHRqSOnw" href="https://www.chicagoreader.com/Bleader/archives/2017/04/10/with-untitled-just-kidding-local-artist-jesse-malmed-lets-you-in-on-the-joke-of-language" style="text-decoration: none;" target="_blank"><span style="background-color: white; color: #1155cc; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: underline; vertical-align: baseline; white-space: pre-wrap;">Chicago Reader</span></a><span style="background-color: white; color: black; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">, </span><a data-saferedirecturl="https://www.google.com/url?hl=en&q=http://www.incite-online.net/malmed.html&source=gmail&ust=1520036679707000&usg=AFQjCNHuoH9m2nWhzgH_b6IWeuwDx-7u-Q" href="http://www.incite-online.net/malmed.html" style="text-decoration: none;" target="_blank"><span style="background-color: white; color: #1155cc; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: underline; vertical-align: baseline; white-space: pre-wrap;">Incite</span></a><span style="background-color: white; color: black; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">, </span><a data-saferedirecturl="https://www.google.com/url?hl=en&q=http://southsideweekly.com/yes-to-humor-no-to-laughs/&source=gmail&ust=1520036679707000&usg=AFQjCNFckfxjAylbBE_GHpjZ2S8Gg3Ixiw" href="http://southsideweekly.com/yes-to-humor-no-to-laughs/" style="text-decoration: none;" target="_blank"><span style="background-color: white; color: #1155cc; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: underline; vertical-align: baseline; white-space: pre-wrap;">South Side Weekly</span></a><span style="background-color: white; color: black; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">, </span><a data-saferedirecturl="https://www.google.com/url?hl=en&q=http://gapersblock.com/ac/2015/01/25/jesse-malmed-the-film-studies-center/&source=gmail&ust=1520036679707000&usg=AFQjCNFOG1dwJqItP-7HaAePmTucl-YjmQ" href="http://gapersblock.com/ac/2015/01/25/jesse-malmed-the-film-studies-center/" style="text-decoration: none;" target="_blank"><span style="background-color: white; color: #1155cc; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: underline; vertical-align: baseline; white-space: pre-wrap;">Gapers Block</span></a></span></div>
<span style="font-family: monospace, monospace;"><br /></span><div dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;">
<span style="font-family: monospace, monospace;"><span style="background-color: white; color: #222222; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Jesse Malmed is an artist and curator living and working in Chicago. His work in moving images, performance, text and occasional objects has exhibited widely in museums, cinemas, galleries, bars and barns, including recent and upcoming solo presentations at the Museum of Contemporary Art Chicago, San Francisco Cinematheque, Microlights, Echo Park Film Center, and the University of Chicago Film Studies Center. His platformist and curatorial projects include the Live to Tape Artist Television Festival, programming at the Nightingale Cinema, instigating Western Pole, the mobile exhibition space and artist bumper sticker project Trunk Show (with Raven Falquez Munsell), programming through ACRE TV and organizing exhibitions, screenings and performance events both independently and institutionally. Originally from Santa Fe, he earned his BA from Bard College and his MFA from the University of Illinois at Chicago, where he currently teaches. </span><a data-saferedirecturl="https://www.google.com/url?hl=en&q=http://www.jessemalmed.net&source=gmail&ust=1520036679707000&usg=AFQjCNFoLfefDeTj8oiujJYs24JbwmmVfA" href="http://www.jessemalmed.net/" style="text-decoration: none;" target="_blank"><span style="background-color: white; color: #1155cc; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: underline; vertical-align: baseline; white-space: pre-wrap;">www.jessemalmed.net</span></a></span></div>
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<span style="background-color: transparent; color: black; font-family: Arial; font-size: 11pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap; white-space: pre;">Grand Illusion Cinema</span></div>
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Salise Hugheshttp://www.blogger.com/profile/07034232714294065669noreply@blogger.com0tag:blogger.com,1999:blog-8469315126575984452.post-89934769484098015452018-01-03T12:35:00.001-08:002018-01-03T19:48:16.639-08:00ERASED ETCHINGS: FILMS BY LINDA FENSTERMAKER <div class="separator" style="clear: both; text-align: center;">
<a href="https://3.bp.blogspot.com/-KMoyNY8bzr4/Wk09GXf9nQI/AAAAAAAAC04/WdzykbGQDFIAL0BezVhTtu5DjpTFkE71gCLcBGAs/s1600/Erased%2BEtchings.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1443" height="298" src="https://3.bp.blogspot.com/-KMoyNY8bzr4/Wk09GXf9nQI/AAAAAAAAC04/WdzykbGQDFIAL0BezVhTtu5DjpTFkE71gCLcBGAs/s400/Erased%2BEtchings.jpeg" width="400" /></a></div>
Working primarily in 16mm and Super 8mm film, experimental Seattle
filmmaker Linda Fenstermaker explores the interactions and relationships
between body and landscape while discovering new avenues for female
perspectives. Linda will be on hand to present a selection of her work,
including Abandoned Generations (2015, 10 mins.), which, told through
the perspective of a 1940s female farmer, juxtaposes daily life against
modern society’s distance from the Earth from which it came; Erased
Etchings(2017, 9 mins.), in which the essence of four Seattle homes
slated to be demolished are captured on celluloid, providing a record of
that which no longer exists. Linda currently lives in Bellingham and
splits here time making films with owning and running First Cut Farm.<br />
<br />
February 13th, 2018<br />
Grand Illusion Cinema<br />
7:00 pmSalise Hugheshttp://www.blogger.com/profile/07034232714294065669noreply@blogger.com0tag:blogger.com,1999:blog-8469315126575984452.post-35497380713925333482017-12-14T13:28:00.000-08:002017-12-14T13:28:53.846-08:00PAM MINTY<div class="separator" style="clear: both; text-align: center;">
<a href="https://1.bp.blogspot.com/-9aVZlp19ETk/WjLqwk4VmcI/AAAAAAAAC0M/KbYhYg1yvqYoH5ybxMMqze0UVtcCk0InQCLcBGAs/s1600/Minty%2BCamellia%2BPortraits%2B1-5.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1195" data-original-width="1600" height="298" src="https://1.bp.blogspot.com/-9aVZlp19ETk/WjLqwk4VmcI/AAAAAAAAC0M/KbYhYg1yvqYoH5ybxMMqze0UVtcCk0InQCLcBGAs/s400/Minty%2BCamellia%2BPortraits%2B1-5.jpg" width="400" /></a></div>
On January 2nd, 2018, Portland's <a href="http://pamminty.com/films/">Pam Minty</a> will join us with a program of her films.<br />
<br /> Pam
Minty’s work navigates sense of place, home and community through still
photography and motion pictures. Her work has been exhibited at
Anthology Film Archives, Center for Documentary Studies, Co-Prosperity
Sphere, Film Studies Center at University of Chicago, Hallwalls
Contemporary Art Center, International House Philadelphia, Los Angeles
Filmforum, Place Gallery, Portland International Film Festival,
Northwest Filmmakers' Festival, San Francisco Cinematheque, UnionDocs,
Experiments in Cinema Festival, Vancouver International Film Centre, as
well as other venues throughout North America.<br />
<br />
January 2nd, 2018<br />
Grand Illusion Cinema<br />
7:00 pm Salise Hugheshttp://www.blogger.com/profile/07034232714294065669noreply@blogger.com0tag:blogger.com,1999:blog-8469315126575984452.post-21301621202148859202017-11-15T20:32:00.000-08:002017-11-15T20:35:49.785-08:00STEPHEN BROOMER, POTAMKIN<div class="separator" style="clear: both; text-align: center;">
<a href="https://4.bp.blogspot.com/-SfurZ7fvet8/Wg0TuafyjaI/AAAAAAAACwY/cQqNY_Felq070N6l8IrpmmfASeq0IE30QCLcBGAs/s1600/Potamkin4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="540" data-original-width="720" height="240" src="https://4.bp.blogspot.com/-SfurZ7fvet8/Wg0TuafyjaI/AAAAAAAACwY/cQqNY_Felq070N6l8IrpmmfASeq0IE30QCLcBGAs/s320/Potamkin4.jpg" width="320" /></a></div>
<div class="_5pbx userContent _22jv _3576" data-ft="{"tn":"K"}" id="js_1t">
On December 12th we present a special 16mm screening of Potamkin by Toronto filmmaker Stephen Broomer.<br />
<br />
Artist Synopsis:<br />
<br />
In 1933, at age 33, Harry Alan Potamkin died of complications related
to starvation, at a time when he was one of the world's most respected
film critics. In his writings, he advocated for a cinema that would
simultaneously embrace the fractures and polyphony of modern life and
the equitable social vision of left radical politics. This
film-biography is assembled out of distorted fragments of films on which
he had written, an impression of erupting consciousness.<br />
At the
Odessa steps, trampling gives breath to the child. The bullet
miraculously reforms the face. The Cossacks march backwards, retreating
unseen into their nothing, the unfired rounds of their rifles restored
to their menacing potential. Feet tread backward up the steps as the
steps themselves collapse in splintering emulsion. The carriage is set
upright.<br />
<br />
Review from desistfilm: online film journal:<br />
<br />
By Ivonne Sheen<br />
Experimental cinema inquires about the spirit of cinema itself. Its
research spreads out through the experimentation with the medium and the
language. The common sense that cinema art has built of itself, losses
sustainability and it dilutes before its poetic force. Avant-garde
cinema form emerges as an anti-establishment reply to hegemony, in the
Film Industry field and in the social sphere. From the foundation of
surrealism, to the New York underground cinema, experimental filmmaking
context has always been a platform for new radical ideas which challenge
spectators and artists.<br />
This way of creation with the
cinematographic image, relates to a personal creative process of an
author-artist who works with the film medium material. Nowadays,
experimental filmmaking has developed organically, with the sprout of an
immense diversity of filmmakers who mostly unfold their work as
individual legacies that dialogue in between them. They appeal the
kinesthetic experience of cinema from its poetic essence.<br />
Among
young artists of experimental filmmaking, Stephen Broomer (1984) stands
out. He was born and grew up in Canada, where he was influenced by the
avant-garde cinema since early age. He studied Film, and he works as a
filmmaker and film preservationist. His concerned about film archive is
reflected in his work, in which is shown a thorough work with the
images, that also dialogues with its historical value.<br />
Potamkin
is introduced as a biographical film of the deceased film critic, Harry
Alan Potamkin, who believed in the force of the film structure analogue
to the marxist dialectical ideology. Potamkin’s writings were conceived
as essays about cinema language evolution as a semantic structure, but
also about the poetry within it. The intense passion of Potamkin’s
beliefs about cinema and communism, are condensed in its poetry.<br />
Broomer gets inspired by Potamkin’s passion to reinterpret fragments of
films that the russian critic valued as examples of the becoming of film
as an engaged art form. Along Potamkin (Canadá, 2017), we are faced to
the disintegration and superposition of distressed scenes of The
Battleship Potemkin (Sergei Eisenstein, 1927), Jeanne of Arc (Theodor
Dreyer, 1928), and Metropolis (Fritz Lang, 1927). In an interview,
Stephen Broomer tells that he worked with a found-footage, that he got
by reshooting VHS copies in 16 mm. This method let him focus in
particular scenes that he considered that evoke the suffering and
sacrifice of Potamkin’s life. But also, let him start with the format he
used to watch and re-watch those films when he was younger. A way of
working with found footage that begins in the personal memory that one
has of those images.<br />
The quest of a spectral spirit that
destroyed spaces and dead people leave in this world, is a motive in
some of Broomer’s work. In films like Christ Church – Saint James
(Canadá, 2011), and Brébeuf (Canadá, 2012), the author reinterprets the
history of those places and approaches to pass through them with the
cinematic image. We can see superpositions, also used in Potamkin, that
evoke an inner life in those places, a interstice between the present
and the past, an intermediate space that is multiplied and fragmented.
Broomer goes further than the tacit cinema capacity of apprehending a
temporality in a new one. He interprets the past from the trace it has
left in the present. In Potamkin’s case, his trace can be reached in his
poetry and texts of film criticism. Nevertheless, Broomer -with
tremendous sensitivity- achieves to build a new audiovisual poem that
takes us closer to Potamkin’s spirit, from cinema. Also, lets us think
about a social engaged film culture, that sets the film critic as an
intermediary between the films and the public. A kind of film criticism
that reaches a dialogue with cinema itself, in a way that it is
transformed and affected by the ideas it evokes to other, at the same
time that the critic gets affected too, in an essential level.<br />
The physical interpretation of Potamkin’s spirit is visualized by a
disintegrated, contrasted, and superimposed filmic material. The scenes
repeated along the film, are near-death climax scenes. Scenes of an
essential suffering caused by the unavoidable death. A metaphor of
Potamkin itself, from the mutable and organic vitality of the filmic
medium. Broomer amalgamates different scenes, with the superimposition
method, to give more intensity and condensation to the sentiment that
Potamkin embraced about those films. His spirit pass through them and
unified them. The film starts with one of his verses: “Sooner or later
all delicate things. Are butterflies with severed wings”. A poetic image
that portrays him and his world view, with a tragic destiny, such as
the characters resurrected by Broomer, but with the persistence of their
unavoidable death. All of them, including Potamkin, were victims of a
mechanism that oppresses all kind of social transformation and social
justice.<br />
In Potamkin, a mass of spectators react and turn their
heads from side to side. They appear as a reminder of the past of those
images we are watching and of their purpose. Thinking of film as a
device of social change, set questions about the rol of the spectators,
the filmmakers and the film critics. Film is an art form that erased the
boundaries to its access, thats why its ideological potential made of
it a dangerous weapon of domination. Nevertheless, during the years of
Harry Potamkin’s life, cinema got involved with the revolutionary causes
lived in Russia before World War II. He took part of it with his
writings, that worked as intermediary between spectators and the movies,
based in his marxists beliefs. But the value of Potamkin’s legacy -even
though his life was short- lives in his poetic approach to cinema and
social change. He was a person who lived intensely, praising every
sentimentalism with the conviction of a better world. In that way,
Broomer achieve a portrait of the deceased critic, free of the sense of
an exclusively historical archive, to become into the new intermediary
-closer to a medium- between us and Harry Alan Potamkin’s spirit, in a
cinematic rite of invocation.<br />
<br />
December 12th, 2017<br />
Grand Illusion Cinema<br />
7:00 pm<br />
<br />
View trailer </div>
<div class="_5pbx userContent _22jv _3576" data-ft="{"tn":"K"}" id="js_1t">
<a href="https://vimeo.com/205609042">https://vimeo.com/205609042</a> </div>
Salise Hugheshttp://www.blogger.com/profile/07034232714294065669noreply@blogger.com0tag:blogger.com,1999:blog-8469315126575984452.post-60889951413080556472017-10-25T12:00:00.000-07:002017-10-25T12:00:38.116-07:00JON BEHRENS: ALTERNATIVE VIEWS<div class="separator" style="clear: both; text-align: center;">
<a href="https://4.bp.blogspot.com/-TwbsdsT4qSk/WfDdy4BJTPI/AAAAAAAACus/ApONKeyXzgsHeGgYD74Q_QNtA99-bnGKwCLcBGAs/s1600/Jon.11.14.17.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="1600" height="225" src="https://4.bp.blogspot.com/-TwbsdsT4qSk/WfDdy4BJTPI/AAAAAAAACus/ApONKeyXzgsHeGgYD74Q_QNtA99-bnGKwCLcBGAs/s400/Jon.11.14.17.jpg" width="400" /></a></div>
<span class="_4n-j _3cht fsl" data-testid="event-permalink-details">This
is a film I made in the spring of 2014. at the time I decided not to
try and release the film and it ended up in the vault. It was'nt untill ,
2016 that I was convienced to try and have at least one public
screening.I felt that the 76min running time to was far to long to try
and get it in to festivals and things, so the film just ended not ever
being seen . <br /> <br /> The good people at EXcinema have invited me to screen this odity of my film career for you.<br /> <br /> This could be the only public screening of this work</span><br />
<br />
<span class="_4n-j _3cht fsl" data-testid="event-permalink-details">-Jon Behrens </span><br />
<span class="_4n-j _3cht fsl" data-testid="event-permalink-details"></span><br />
<span class="_4n-j _3cht fsl" data-testid="event-permalink-details"></span><br />
<span class="_4n-j _3cht fsl" data-testid="event-permalink-details"><br /> ALERNATIVE VIEWS:<br />
This film is made from one single 10 min piece of film shot from the 32
floor of the Russle Investment Building in Seattle Washington. I cut
the section of film together 8 times with each<span class="text_exposed_show">
section being given a different treatment. Each section of film
represents a different view. This film can also be viewed as an
installation<br /> <br /> Jon Behrens :<br /> is a Seattle based
filmmaker/composer. His films have been screened at film festivals,
colleges and museums through out the world since the early 1980’s
including screenings at Antimatter Film Festival Canada, Seattle
International Film Festival, TIE Film Festival Colorado, London
Underground Film Festival, Crossroads Film Festival San Francisco,<br />
Festival International des Cinemas Differents et Experimentaux in Paris,
Alternative Film and Video festival in Novi Beograd Serbia, Sydney
Underground Film Festival, Festival des Cinémas Différents de Paris and
many many others. His work ranges from personal film diary’s to abstract
hand painted optically printed works. In addition to filmmaking Jon
Behrens is also a composer and has created sound designs for most of his
own films starting about 10 years ago, as well as non film related
compositions. <br /> <a data-lynx-mode="async" href="https://l.facebook.com/l.php?u=http%3A%2F%2Fcanyoncinema.com%2F&h=ATO9hWhmcc41b41P53k1x4CRPOZMu0Nk7rEc_Lp7uFjSOc40tjbbvh9DfujJvED5yGr8H2Nd6vnYKkQZBiJrv5Pm7y14QacTsDnqwSEKMwJ_cFDYoqpQF_USMcWpn_tHAng0hwUBs71-Jn9bNix4ZjYieFCnNcwGKy7kM8G8n7OGFz40fLhD" rel="nofollow" target="_blank">canyoncinema.com</a></span></span><br />
<br />
<span class="_4n-j _3cht fsl" data-testid="event-permalink-details"><span class="text_exposed_show">November 14th, 2017</span></span><br />
<span class="_4n-j _3cht fsl" data-testid="event-permalink-details"><span class="text_exposed_show">Grand Illusion Cinema</span></span><br />
<span class="_4n-j _3cht fsl" data-testid="event-permalink-details"><span class="text_exposed_show">7:00 pm </span></span>Salise Hugheshttp://www.blogger.com/profile/07034232714294065669noreply@blogger.com0tag:blogger.com,1999:blog-8469315126575984452.post-33621626218624350992017-09-21T12:37:00.000-07:002017-10-17T09:54:38.497-07:00GROUP SHOW<div class="separator" style="clear: both; text-align: center;">
<a href="https://4.bp.blogspot.com/-m0KBfhEhHH8/WcQTYhmAw4I/AAAAAAAACtA/snJGaXaQ5VMbmPADhZ56VfrdPxqYxAAMQCLcBGAs/s1600/BrianShort.folding.mp4.Still001.tif" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="1600" height="225" src="https://4.bp.blogspot.com/-m0KBfhEhHH8/WcQTYhmAw4I/AAAAAAAACtA/snJGaXaQ5VMbmPADhZ56VfrdPxqYxAAMQCLcBGAs/s400/BrianShort.folding.mp4.Still001.tif" width="400" /></a></div>
Our annual group show of local filmmakers featuring new and encore works.
Jon Behrens' An Afternoon at Oyster Bay, Caryn Cline's All Flesh is
Grass, Steve Demas' Duwamish Song, Linda Fenstermaker's Hear I Breath,
Ruth Hayes' Copper Perforation Loop Triptych, Georg Koszulinski's Time Zones, Salise Hughes' Antarctica,
Eric Ostrowski's Spaceships and Timemachines, and Brian Short's
Folding.<br />
<br />
October 17, 2017<br />
Grand Illusion Cinema<br />
7:00 pm<br />
<br />Salise Hugheshttp://www.blogger.com/profile/07034232714294065669noreply@blogger.com0tag:blogger.com,1999:blog-8469315126575984452.post-39489231993314968572017-07-22T20:54:00.000-07:002017-07-22T20:54:20.296-07:00CARYN CLINE: ORGANIC FILMS<div class="separator" style="clear: both; text-align: center;">
<a href="https://3.bp.blogspot.com/-ltlUmTCKMCc/WXQci8IXWKI/AAAAAAAACoQ/KvOfPxBkJCYIs5STMPllsrTWGrMGwy32wCLcBGAs/s1600/DE%2Bhp%2Bgreen%2BBC-150dpi.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="750" data-original-width="1333" height="180" src="https://3.bp.blogspot.com/-ltlUmTCKMCc/WXQci8IXWKI/AAAAAAAACoQ/KvOfPxBkJCYIs5STMPllsrTWGrMGwy32wCLcBGAs/s320/DE%2Bhp%2Bgreen%2BBC-150dpi.jpg" width="320" /></a></div>
<span class="_4n-j _3cht fsl" data-testid="event-permalink-details">Caryn
Cline’s films alter quotidian images and experiences using
botanicollage, direct animation, found and sourced film footage,
manipulated in-camera and in an optical printer.</span><br />
<br />
<span class="_4n-j _3cht fsl" data-testid="event-permalink-details">September 12th, 2017</span><br />
<span class="_4n-j _3cht fsl" data-testid="event-permalink-details">Grand Illusion Cinema </span><br />
<span class="_4n-j _3cht fsl" data-testid="event-permalink-details">7:00 pm</span><br />
<span class="_4n-j _3cht fsl" data-testid="event-permalink-details"> </span><br />
<br />Salise Hugheshttp://www.blogger.com/profile/07034232714294065669noreply@blogger.com0tag:blogger.com,1999:blog-8469315126575984452.post-21553846954993404822017-05-22T11:47:00.000-07:002017-05-22T11:47:19.366-07:00RESIST, REBEL, SURVIVE<div class="separator" style="clear: both; text-align: center;">
<a href="https://4.bp.blogspot.com/-_Gky0_W8G7Q/WSMv9njXvWI/AAAAAAAACcQ/eJrOhQAuJvIxs3_wayGVKqyPJOtvlOVIgCEw/s1600/MEOW%25231.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="225" src="https://4.bp.blogspot.com/-_Gky0_W8G7Q/WSMv9njXvWI/AAAAAAAACcQ/eJrOhQAuJvIxs3_wayGVKqyPJOtvlOVIgCEw/s400/MEOW%25231.jpg" width="400" /></a></div>
A collection of short films around the theme of resist, rebel, survive.
Includes Georg Koszulinski’s Inauguration Day shot on the streets of
Washington DC, Caryn Cline and Luke Sieczek’s Womxm’s March films, Reed
O’Beirne’s No Time for Shopping, Kelly Sears’s Pattern for Survival,
Salise Hughes’ MEOW, and a special screening of a 1960s Yugoslavian
educational film on bomb shelter etiquette.<br />
<br />
June 13th, 2017<br />
Grand Illusion Cinema<br />
7:00 pm <br />Salise Hugheshttp://www.blogger.com/profile/07034232714294065669noreply@blogger.com0tag:blogger.com,1999:blog-8469315126575984452.post-36671221765782614102017-05-02T18:39:00.001-07:002017-05-02T18:41:29.540-07:00JUXTAPOSED AESTHETIX: FILMS OF BEN POPP<div class="separator" style="clear: both; text-align: center;">
<a href="https://3.bp.blogspot.com/-4DGEt-eMtSw/V8iDcZMTcGI/AAAAAAAABlQ/pM4LWqHVp5Ek2qdl2UQ_UPKKtTZkU2N5wCPcB/s1600/triangle%2Bstill%2B3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="https://3.bp.blogspot.com/-4DGEt-eMtSw/V8iDcZMTcGI/AAAAAAAABlQ/pM4LWqHVp5Ek2qdl2UQ_UPKKtTZkU2N5wCPcB/s320/triangle%2Bstill%2B3.jpg" width="320" /></a></div>
<span class="_4n-j _fbReactionComponent__eventDetailsContentTags fsl" data-testid="event-permalink-details">Beginning
with the basics of the frame and the photographic principles allowing
for multiple images to exist upon a singular plane, Portland filmmaker
Ben Popp has set a course of exploration through the many realms of
cinematic possibilities. The films presented will race between the
different forms of construction by which Ben has chosen to tell a
particular tale and sometimes that tale is one of the medium itself. <br /> <br />
Ben was was a member of the Portland experimental group Grand Detour,
co-founder of the experimental film festival EFF Portland, and currently
Filmmaker Services Manager for Northwest Film Center. His films have
travel the world including a retrospective at 2014 MUMIA International
Festival of Underground Animation in Brazil. The films will span the
last ten years.</span><br />
<br />
<span class="_4n-j _fbReactionComponent__eventDetailsContentTags fsl" data-testid="event-permalink-details">May 16, 2017</span><br />
<span class="_4n-j _fbReactionComponent__eventDetailsContentTags fsl" data-testid="event-permalink-details">Grand Illusion Cinema </span><br />
<span class="_4n-j _fbReactionComponent__eventDetailsContentTags fsl" data-testid="event-permalink-details"><span class="_4n-j _fbReactionComponent__eventDetailsContentTags fsl" data-testid="event-permalink-details">7:00 pm</span> </span>Salise Hugheshttp://www.blogger.com/profile/07034232714294065669noreply@blogger.com0tag:blogger.com,1999:blog-8469315126575984452.post-89329375243313324902017-03-29T12:38:00.002-07:002017-03-29T12:38:53.753-07:00EMULSION MANIPULATIONS, Curated by Jon Behrens<div class="separator" style="clear: both; text-align: center;">
<a href="https://3.bp.blogspot.com/-hEZ5fMg34Y4/WNwM0hqJIMI/AAAAAAAACRk/33BlPNf3WLkGkli4QhFST-q5FzPwMvN0QCLcB/s1600/Emblazoned.tiff" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="214" src="https://3.bp.blogspot.com/-hEZ5fMg34Y4/WNwM0hqJIMI/AAAAAAAACRk/33BlPNf3WLkGkli4QhFST-q5FzPwMvN0QCLcB/s320/Emblazoned.tiff" width="320" /></a></div>
Guest curator Jon Behrens brings a collection of films by friends including: Phil Solomon, Caryn Cline, Joel Schlemowitz, Pam Minty, Eric Ostrowski, Brian Wilson, Louise Burque, Steve Demas. and a collabaration between Stan Brakhage and Phil Solomon. "Should be a wonderful evening of beautiful cinema.” Co-hosted by Interbay Cinema Society.Salise Hugheshttp://www.blogger.com/profile/07034232714294065669noreply@blogger.com0tag:blogger.com,1999:blog-8469315126575984452.post-21881970244694225262017-02-28T11:40:00.000-08:002017-03-06T11:27:43.595-08:00A TALE OF TWO CITIES: PORTLAND & SEATTLE<div class="separator" style="clear: both; text-align: center;">
<a href="https://3.bp.blogspot.com/-j48LBklxmU4/WLXRakvAFbI/AAAAAAAACKk/f0iyZ6p1pSEqwO5Np4bf4oepSSWwQJuTwCLcB/s1600/PRstill%25232.tif" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="225" src="https://3.bp.blogspot.com/-j48LBklxmU4/WLXRakvAFbI/AAAAAAAACKk/f0iyZ6p1pSEqwO5Np4bf4oepSSWwQJuTwCLcB/s400/PRstill%25232.tif" width="400" /></a></div>
EXcinema presents it’s latest Exquisite Corpse Cinema event, a collaborative project featuring twenty films by experimental filmmakers from Portland and Seattle. A Tale of Two Cities is a duel city symphony for two Northwest cities undergoing rapid change. It was the best of times, and it was the worst of times….<br />
<br />
Filmmakers: Jon Behrens, Hannah Piper Burns, Claire Buss, Caryn Cline, Jodi Darby, Carl Diehl, Linda Fenstermaker, Ron Mason Gassaway, Elijah Hasan, Ruth Hayes, Stephanie Hough, Salise Hughes, Matt McCormick, Reed O’Beirne, Eric Ostrowski, Julie Perini, Brian Short, Luke Sieczek, Andy Spletzer, Miles Sprietsma, Sean and Christof Whiteman, Robert Zverina<br />
<br />
<i>This project was supported, in part, by an award from 4Culture</i>.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
</div>
<br />
March 21st, 2017<br />
Grand Illusion Cinema<br />
7:00 pm<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://3.bp.blogspot.com/-Ifps0PnBYU4/WL23SB1AHlI/AAAAAAAACOs/6GHPONZHkowuTYxZwEihxsoQ4ML0ULiTgCEw/s1600/4culture_color.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://3.bp.blogspot.com/-Ifps0PnBYU4/WL23SB1AHlI/AAAAAAAACOs/6GHPONZHkowuTYxZwEihxsoQ4ML0ULiTgCEw/s1600/4culture_color.jpeg" /></a></div>
Salise Hugheshttp://www.blogger.com/profile/07034232714294065669noreply@blogger.com0tag:blogger.com,1999:blog-8469315126575984452.post-21332767942891856992017-02-16T11:47:00.000-08:002017-02-16T11:47:42.224-08:00Alex MacKenzie's Apparitions<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://1.bp.blogspot.com/-7NTAoMT8Rp4/WKYBgFy27gI/AAAAAAAACFc/00DAQMVBusQ-v2jRwn7zhuLv3oIxUFL_QCLcB/s1600/damaged_film_apparitions_still.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="290" src="https://1.bp.blogspot.com/-7NTAoMT8Rp4/WKYBgFy27gI/AAAAAAAACFc/00DAQMVBusQ-v2jRwn7zhuLv3oIxUFL_QCLcB/s400/damaged_film_apparitions_still.jpg" width="400" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
Inspired by early stereo imaging and the clash and collusion of
socioeconomic forces, this work seeks to dismantle cinematic codes while
foregrounding projector and light as sculpture: a conscious corruption
of and interference with the apparatus to evoke the unexpected,
reshaping representation into the realm of material and space. Using
colour gels, masking, lens interference and projector movement in tandem
with an
exploration of binocular disparity, perspective, patterning and the film
surface itself, APPARITIONS explores the transitional space between
image and abstraction, nature and culture.<br />
"MacKenzie is a key player in the revival of expanded cinema
forms...his projects stretch the possibilities of the analogue form,
manipulating images to beyond our received expectations." Chris Kennedy,
Early Monthly Film Segments.<br />
<br />
Grand Illusion Cinema<br />
February 28th, 2017<br />
7:00pm <br />
<br />Salise Hugheshttp://www.blogger.com/profile/07034232714294065669noreply@blogger.com0tag:blogger.com,1999:blog-8469315126575984452.post-44985696536121496692016-12-31T11:10:00.000-08:002016-12-31T11:10:07.821-08:00LOA<div class="separator" style="clear: both; text-align: center;">
<a href="https://1.bp.blogspot.com/-rj30mkRWWA4/WGgBshPw0XI/AAAAAAAACCs/IRPt2urHa0Mgo0Li1f7LveRMII7pWMLQQCLcB/s1600/Loa%2BStill.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="180" src="https://1.bp.blogspot.com/-rj30mkRWWA4/WGgBshPw0XI/AAAAAAAACCs/IRPt2urHa0Mgo0Li1f7LveRMII7pWMLQQCLcB/s320/Loa%2BStill.jpg" width="320" /></a></div>
<span class="_4n-j _3cht fsl"> EXcinema co-sponsoring with Northwest Film Forum presents Loa.</span><br />
<br />
<span class="_4n-j _3cht fsl">From documentary filmmaker Georg
Koszulinski comes a visual chronicle of the Vodou religion as practiced
in the rural mountains of Haiti. Loa presents an expressive account of
rural Vodou via a portrait of the houngan Extanta Aoleé, who has served
the Loa, or sacred spirits of Haiti, for over a half century.
Koszulinski’s film employs affective elements of documentary
practice—Loa features an original ambient-drone soundscape and
meditative editing techniques to offer an ethnographic experience more
representative of the work of Nathaniel Dorsky than Robert Gardner.</span><br />
<br />
<span class="_4n-j _3cht fsl">January 25th, 2017</span><br />
<span class="_4n-j _3cht fsl">Northwest Film Forum</span><br />
<span class="_4n-j _3cht fsl">7:30 pm </span>Salise Hugheshttp://www.blogger.com/profile/07034232714294065669noreply@blogger.com0tag:blogger.com,1999:blog-8469315126575984452.post-63010399777400990472016-11-18T16:39:00.000-08:002016-11-18T16:45:18.385-08:00GROUP SHOW<div class="separator" style="clear: both; text-align: center;">
<a href="https://4.bp.blogspot.com/-EkYvyqRC2OQ/WC-eNKJsMuI/AAAAAAAAB-Y/gcxgRIJkcUgsU5taro0FH-AbOCwB1qq-gCLcB/s1600/Linda_Parital%2BFinal%2BH264-HD.mp4.Still003.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://4.bp.blogspot.com/-EkYvyqRC2OQ/WC-eNKJsMuI/AAAAAAAAB-Y/gcxgRIJkcUgsU5taro0FH-AbOCwB1qq-gCLcB/s320/Linda_Parital%2BFinal%2BH264-HD.mp4.Still003.jpg" width="320" /></a></div>
New and almost new works from Seattle, Olympia, Coupeville, and Colliguay, Chile. Includes 16 mm and video investigations of nature, indigenous cultures, hand painted films, found footage manipulations, a live projector performance by Devon Damonte, and more. Jon Behrens, Caryn Cline, Linda Fenstermaker, Pablo Molina Guerrero, Georg Koszulinski, Salise Hughes, Reed O'Beirne, Eric Ostrowski, Brian Short, Omar Willey.<br />
Still from Linda Fenstermaker's Partical <br />
<br />
December 6th, 2016<br />
Grand Illusion Cinema<br />
7:00 pm<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />Salise Hugheshttp://www.blogger.com/profile/07034232714294065669noreply@blogger.com0tag:blogger.com,1999:blog-8469315126575984452.post-31792144940671409642016-09-01T12:41:00.000-07:002016-10-06T13:45:07.157-07:00FALL 2016This fall we will continue our series of solo screenings featuring the work of local northwest filmmakers.<br />
<br />
All programs are at Grand Illusion Cinema and begin at <span class="aBn" data-term="goog_1031368268" tabindex="0"><span class="aQJ">7:00 pm</span></span>.<br />
$5.00 Grand Illusion Members/ $9.00 General Admission/ $6.00 Students (with valid ID) Seniors (65+)<br />
<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://4.bp.blogspot.com/-L5eM_4EyKN4/V8iDBSXvnXI/AAAAAAAABlA/lZnA7HYjBMYkBITJB5qK5UHrTDv7VtEbQCLcB/s1600/NPotFEtrailerHD%2B%25280.00.16.05%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="225" src="https://4.bp.blogspot.com/-L5eM_4EyKN4/V8iDBSXvnXI/AAAAAAAABlA/lZnA7HYjBMYkBITJB5qK5UHrTDv7VtEbQCLcB/s400/NPotFEtrailerHD%2B%25280.00.16.05%2529.jpg" width="400" /></a></div>
<span class="aBn" data-term="goog_1031368269" tabindex="0"><span class="aQJ">September 27th</span></span><br />
<br />
<b>solid objects: Films by Brian Short</b><br />
Local filmmaker Brian Short will screen a collection of his experimental
films, a study in time distortion and visual diffractions from
locations ranging from Iceland, Berlin, Utah, and his home on Whidbey
Island. His films have screened at New York Film Festival's Views from
the Avant-Garde, and his feature All My Love won best film at NWFF's
Local Sightings 2007. He will screen the center section from All My Love
titled Hermaphrodesiac, as well as a series of shorter works.<br />
<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://2.bp.blogspot.com/-4DGEt-eMtSw/V8iDcZMTcGI/AAAAAAAABlE/FW29tGkwlV450AwKeHc9yVEpiPZSUyQLgCLcB/s1600/triangle%2Bstill%2B3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="266" src="https://2.bp.blogspot.com/-4DGEt-eMtSw/V8iDcZMTcGI/AAAAAAAABlE/FW29tGkwlV450AwKeHc9yVEpiPZSUyQLgCLcB/s400/triangle%2Bstill%2B3.jpg" width="400" /></a></div>
<span class="aBn" data-term="goog_1031368270" tabindex="0"><span class="aQJ"> October 11th</span></span><br />
<br />
<span class="aBn" data-term="goog_1031368270" tabindex="0"><span class="aQJ"><span style="color: red;">SCREENING CANCELED</span> </span></span><br />
<br />
<b>Juxtaposed Aesthetix: Films by Ben Popp</b> <br />
Beginning with the basics of the frame and the photographic principles
allowing for multiple images to exist upon a singular plane, Portland
filmmaker Ben Popp has set a course of exploration through the many
realms of cinematic possibilities. Working mostly with 16mm film, the
films presented will race between the different forms of construction by
which Ben has chosen to tell a particular tale and sometimes that tale
is one of the medium itself. Ben was was a member of the Portland
experimental group Grand Detour, co-founder of the experimental film
festival EFF Portland, and currently Filmmaker Services Manager for
Northwest Film Center. His films have travel the world including a
retrospective at 2014 MUMIA International Festival of Underground
Animation in Brazil. The films will span the last ten years.<br />
<br />
<br />
<a href="https://4.bp.blogspot.com/-IxrQYsg0djM/V8iDuvSOcUI/AAAAAAAABlI/VlanFqR4W5sQT90b51c8etg4trZcmEQxACLcB/s1600/Charade2.2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="225" src="https://4.bp.blogspot.com/-IxrQYsg0djM/V8iDuvSOcUI/AAAAAAAABlI/VlanFqR4W5sQT90b51c8etg4trZcmEQxACLcB/s400/Charade2.2.jpg" width="400" /></a><br />
<span class="aBn" data-term="goog_1031368271" tabindex="0"><span class="aQJ">November 15th</span></span><br />
<br />
<b>Erasures and Spaces: The Revisionist Films of Salise Hughes</b><br />
Seattle filmmaker and EXcinema founder Salise Hughes will screen a
collection of her digitally erased revisionist short films based on
hollywood genres and other found and repurposed footage from popular
culture. Her films have screened continually at SIFF’s Alt-Shorts
program, International Film Festival Rotterdam, and won awards at Ann
Arbor Film Festival, and Documentary and Short Film Festival Belgrade.<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />Salise Hugheshttp://www.blogger.com/profile/07034232714294065669noreply@blogger.com1tag:blogger.com,1999:blog-8469315126575984452.post-216583812103858622016-06-02T11:00:00.000-07:002016-06-02T11:00:58.392-07:00EXPERIMENTAL SUMMER<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-gWGvIWuVQsc/V1BycFR7UWI/AAAAAAAABfw/Ee3307_FyawG_9QAIV_F6HyI0UW9y-Z-ACLcB/s1600/08%2BHologram%2BAnalogies%2B%2528Screengrab%2529.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="179" src="https://1.bp.blogspot.com/-gWGvIWuVQsc/V1BycFR7UWI/AAAAAAAABfw/Ee3307_FyawG_9QAIV_F6HyI0UW9y-Z-ACLcB/s320/08%2BHologram%2BAnalogies%2B%2528Screengrab%2529.png" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><br /></td></tr>
</tbody></table>
<span class="fbPhotosPhotoCaption" data-ft="{"tn":"K"}" id="fbPhotoSnowliftCaption" tabindex="0"><span class="hasCaption"></span></span><b><span class="fbPhotosPhotoCaption" data-ft="{"tn":"K"}" id="fbPhotoSnowliftCaption" tabindex="0"><span class="hasCaption">Convergence and Cacophony: experimental
documents from Dustin Zemel</span></span></b><br />
<span class="fbPhotosPhotoCaption" data-ft="{"tn":"K"}" id="fbPhotoSnowliftCaption" tabindex="0"><span class="hasCaption">On
June 28th we will present Convergence and Cacophony: experimental
documents from Dustin Zemel. Dustin Zemel is an award-winning video
artist and scholar. His works and curated programs have screened at
Experiments in Cinema (Albuquerque), Horse Hospital (London), PDX Film
Fest (Portland), ACRE TV (Chicago) and more. He is the founder and
former director of Grand Detour, a microcinema, curatorial group, and
educational hub for experimental filmmakers and new media artists in
Portland, OR. Currently, he is pursuing a PhD at Louisiana State
University as an EDA scholar studying experimental and documentary
media.</span></span><br />
<br />
<span class="fbPhotosPhotoCaption" data-ft="{"tn":"K"}" id="fbPhotoSnowliftCaption" tabindex="0"><span class="hasCaption">June 28th</span></span><br />
<span class="fbPhotosPhotoCaption" data-ft="{"tn":"K"}" id="fbPhotoSnowliftCaption" tabindex="0"><span class="hasCaption">Grand Illusion Cinema</span></span><br />
<span class="fbPhotosPhotoCaption" data-ft="{"tn":"K"}" id="fbPhotoSnowliftCaption" tabindex="0"><span class="hasCaption">7:00pm</span></span><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://2.bp.blogspot.com/-tJnsSPt609E/V1Bzl53uKrI/AAAAAAAABf8/XXdgtuL21ywAa3r7WavRDjVZZxp_BF9CwCLcB/s1600/spaceshipsandtimemachines-still.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="180" src="https://2.bp.blogspot.com/-tJnsSPt609E/V1Bzl53uKrI/AAAAAAAABf8/XXdgtuL21ywAa3r7WavRDjVZZxp_BF9CwCLcB/s320/spaceshipsandtimemachines-still.png" width="320" /></a></div>
<span class="fbPhotosPhotoCaption" data-ft="{"tn":"K"}" id="fbPhotoSnowliftCaption" tabindex="0"><span class="hasCaption"><b>Eric Ostrowski</b><br />
Seattle's Eric Ostrowski presents a multi-projector performance
comprised of 16 mm film loops, video feedback, violin and manipulation
of optical soundtracks! Ostrowski will also screen his hallucinatory
Avenue of the Dead, a hand-painted barrage offering “subconscious
meltdown” amidst “the ruins of Teotihuacán.” Several new films will also
be on the program.</span></span><br />
<br />
<span class="fbPhotosPhotoCaption" data-ft="{"tn":"K"}" id="fbPhotoSnowliftCaption" tabindex="0"><span class="hasCaption"><span class="fbPhotosPhotoCaption" data-ft="{"tn":"K"}" id="fbPhotoSnowliftCaption" tabindex="0"><span class="hasCaption">July 19th</span></span></span></span><br />
<span class="fbPhotosPhotoCaption" data-ft="{"tn":"K"}" id="fbPhotoSnowliftCaption" tabindex="0"><span class="hasCaption"><span class="fbPhotosPhotoCaption" data-ft="{"tn":"K"}" id="fbPhotoSnowliftCaption" tabindex="0"><span class="hasCaption">Grand Illusion Cinema</span></span></span></span><br />
<span class="fbPhotosPhotoCaption" data-ft="{"tn":"K"}" id="fbPhotoSnowliftCaption" tabindex="0"><span class="hasCaption"><span class="fbPhotosPhotoCaption" data-ft="{"tn":"K"}" id="fbPhotoSnowliftCaption" tabindex="0"><span class="hasCaption">7:00pm </span></span> </span></span><span class="fbPhotoTagList" id="fbPhotoSnowliftTagList"><span class="fcg"> </span></span><br />
<br />
<br />
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<span class="fbPhotosPhotoCaption" data-ft="{"tn":"K"}" id="fbPhotoSnowliftCaption" tabindex="0"><span class="hasCaption"> </span></span>Salise Hugheshttp://www.blogger.com/profile/07034232714294065669noreply@blogger.com0tag:blogger.com,1999:blog-8469315126575984452.post-73824971760715670572016-02-12T15:39:00.002-08:002016-02-12T15:44:36.840-08:00GROUP SHOW<div class="separator" style="clear: both; text-align: center;">
<a href="https://1.bp.blogspot.com/-i-a9QwgI8-Y/Vr5s8clF-FI/AAAAAAAABbI/6uH3pNPosvs/s1600/EXfeb2016still.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="177" src="https://1.bp.blogspot.com/-i-a9QwgI8-Y/Vr5s8clF-FI/AAAAAAAABbI/6uH3pNPosvs/s320/EXfeb2016still.jpg" width="320" /></a></div>
Our annual survey of Seattle based experimental cinema. This program includes Caryn Cline: The More You Do It, Linda Fenstermaker: Abandoned Generations, Georg Koszulinski: Frontier Journals 02: In the Land of Ancient Light Machines, and Frontier Journals 03: Aztec Baldwin Collage, Eric Ostrowski: Spaceships and Timemachines, Jon Behrens: Desert Abstractions, Salise Hughes: The Tourist, Rob Zverina: excerpts from RobZtv, and more….<br />
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7:00pm, February 23rd at Grand Illusion Cinema<br />
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<span class="fsl">Still from Georg Koszulinski's Frontier Journals 02: In the Land of Ancient Light Machines</span> Salise Hugheshttp://www.blogger.com/profile/07034232714294065669noreply@blogger.com0tag:blogger.com,1999:blog-8469315126575984452.post-59452266491212733182015-12-01T19:45:00.000-08:002016-12-01T07:55:39.351-08:00The Spaces Between Cities<div class="separator" style="clear: both; text-align: center;">
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<span class="fsl">A world premiere presentation. EXcinema commissioned
twenty films by international experimental filmmakers spread across four
continents to create one feature length road film. The Spaces Between
Cities is a collaboration made in the form of an exquisite corpse. Each
film connects randomly to the next by way of a series of prompts
creating a continuous road trip, or journey that will connect these
different parts of the world.<span class="text_exposed_show"><br /> <br /> Filmmakers: Amy
Bassin, Mark Blickley, Stephen Broomer , Charles Chadwick, Pip Chodorov,
Konstantinos-Antonios Goutos, Pablo Molina Guerrero, Salise Hughes,
Douglas Katelus, Anna Kipervaser, Kate Lain, Insa Langhorst, Jesse
Malmed, Milan Milosavlijevic, Reed O'Beirne, Arto Polus, Ben Popp,
Blanca Rego, Margaret Rorison, Dustin Zemel, Robert Zverina</span></span><br />
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<span class="fsl"><span class="text_exposed_show">December 8th, 7:00pm</span></span><br />
<span class="fsl"><span class="text_exposed_show">Grand Illusion Cinema </span></span><br />
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<span class="fsl"><span class="text_exposed_show">Dustin Zemel, Shooting Locations: Baton Rouge, Louisiana; Bellingham,
Dash Point, & Olympic National Park, Washington; Seaside, Oregon;
Montreal, Quebec; Boulder, Colorado; Washington DC; Durham, North
Carolina, Charleston, South Carolina and the spaces between. </span></span><br />
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Amy Bassin and Mark Blickley, Shooting Location: New York<br />
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Arto Polus, Shooting Location: (defunct) Star and Shadow Cinema, Newcastle upon Tyne, UK.<br />
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Anna Kipervaser, Shooting Locations: Colombia; Colorado; New York; North Carolina<br />
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Blanca Rego, Shooting Location: Barcelona, Spain<br />
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Douglas Katelus, Shooting Locations: San Francisco & Port Costa, California<br />
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Insa Langhorst, Shooting Locations: Brandenburg and Berlin, Germany<br />
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Jesse Malmed, Shooting Location: Chicago<br />
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Kate Lain, Shooting Locations: the nine cities that Huntington Drive
passes through over the course of its 16-mile length (there are no
spaces between these cities)—Los Angeles, Alhambra, South Pasadena, San
Marino, San Gabriel, Arcadia, Monrovia, Duarte, Irwindale<br />
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Konstantinos-Antonios Goutos, Shooting Location: Marburg, Germany<br />
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Milan Milosavlijevic, Shooting Location: Ruma, Serbia<br />
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Margaret Rorison, Baltimore County, Maryland<br />
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Pablo Molina Guerrero, Shooting Location: Colliguary, Chile<br />
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Pip Chodorov, Shooting Location: Seoul, Korea<br />
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Ben Popp, Shooting Location: Portland, Oregon<br />
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Reed O'Beirne, Shooting Locations: Washington State, Oaxaca Mexico, Red Rock Canyon, Nevada.<br />
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Robert Zverina, Shooting Location: Seattle<br />
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Salise Hughes, Shooting Location: Cascade Mountains, Washington State<br />
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Charles Chadwick, Shootlng Locations: Porta Costa- San Jose- Colma, New Almaden, California<br />
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Stephen Broomer, Shooting Location: Toronto, Canada<br />
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<br />Salise Hugheshttp://www.blogger.com/profile/07034232714294065669noreply@blogger.comtag:blogger.com,1999:blog-8469315126575984452.post-53900630390489790522015-10-31T15:00:00.000-07:002015-10-31T17:01:20.573-07:00The Aboriginal Archive: Representations of Native Americans in film 1965-1985.<div class="separator" style="clear: both; text-align: center;">
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A program of documentary, animation, and educational films spanning three decades
that portray the past, present, and future of Aboriginal Peoples around the
world. These films, all produced by U.S. production companies primarily
for the educational market, begin to reflect the shifting attitudes
among Americans regarding the history of colonization in the Americas.
As the Vietnam War was raging in Southeast Asia, many Americans were
beginning to question their own past as colonizers, and these films
reflect a shifting attitude towards indigenous peoples not only in the
United States, but around the world. And while these films represent a
shift in the dominant portrayals of Native Americans in
film, in some ways they're also unable to shake their own colonizing
methodologies. Collectively, these films reflect as much about American
ideologies as they do Aboriginal Peoples, making them curious cultural
artifacts of their time. Curated by Seattle University Assistant
Professor of Film Studies Georg Kozulinski who will present the program.<br />
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November 17th, 7:00 pm at Piggot Auditorium, Seattle University, *Free*<br />
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<br />Salise Hugheshttp://www.blogger.com/profile/07034232714294065669noreply@blogger.com0