Events

  • 19th Annual $100 Film Festival

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    The 19th Annual $100 Film FestivalCall for Submissions: 19th Annual $100 Film Festival
    March 3-5, 2011 - Calgary, Alberta - Canada
    Deadline for Entries: December 1, 2010.

    • 16mm or Super 8 Film under 22min
    • MUST provide a 16mm or Super 8 film print for screening.
    • Official Release date after December 1, 2008.

    Dates: 

    Wednesday, December 1, 2010 (All day)
  • VideoSur III: Experimental Shorts from Argentina, Chile, and Brazil

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    VideoSur IIIVideoSur III: Experimental Shorts from Argentina, Chile, and Brazil
    Friday December 10, 2010, 20h
    Museum of Fine Arts Boston, Remis Auditorium 161
    465 Huntington Avenue, Boston, Massachussets 02120

    Inspired by the spirit of exchange in the Americas, DiscordiaFilms’ VideoSur programs present Latin American video art to US audiences. VideoSur III explores how South American artists use digital media to communicate their experience of urban environments. Whether working in their cities of origin, travel destinations or temporary places residence, these artists comment on the transitory and connective realities of Latin American communities. Fully immersed in a globalized, visual culture, the videos highlight artists’ unique perspectives and creative approaches, often made necessary by a lack of resources. Featuring work in animation, stop-motion and video-performance, VideoSur III depicts vast cityscapes, micro-perspectives of city life, and the rapid exchanges that result from migration. Presented by DiscordiaFilms and the Ruth and Carl J. Shapiro Film Program at the Museum of Fine Arts, Boston, in partnership with Villa Victoria Center for the Arts. VideoSur III is curated by Liz Munsell of DiscordiaFilms and Mauricio Román of Espacio G.

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  • You Are Here, A film by John Di Stefano

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    You are Here by John Di StefanoYou Are Here, A film by John Di Stefano
    Wednesday December 1, 2010, 18h
    Anthology Film Archives
    32 Second Avenue, New York, NY 10003 USA

    YOU ARE HERE is an essayistic film that examines the search for home in an era of transnational displacement. As the son of immigrants, the filmmaker reflects on the shifting notions of home and belonging within the context of his ethnic origins, but also extends this into the realm of national and sexual identities and affiliations. The film chronicles his trajectory from his ancestral home in Italy, to his native Canada and beyond, and weaves a compelling and contemporary portrait shaped by memories of the past and the realities of the present.

    Screenings:
    - Festival International du Documentaire FIDM (Marseille) - official competition
    - Documentary Edge Film Festival (New Zealand) - official competition
    - New Zealand Film Archive (Wellington)
    - Human Rights Film Festival (Sarajevo)

    John Di Stefano is a visual artist, filmmaker, writer and curator, and postgraduate coordinator at the National Art School (Sydney). His artistic practice is situated at the intersection between the moving image, photography and installation. His video work has won several awards, including the New Vision Award at the San Francisco International Film Festival for his video (TELL ME WHY) THE EPISTEMOLOGY OF DISCO, which has also been broadcast on American public television (PBS). His video HUB was cited as one of the 'best of the year' by Artforum (New York) in its yearly international survey. He writes for international art and film publications and is presently the New Zealand editor for Art Asia Pacific (New York).

    YOU ARE HERE is distributed by VIDEO DATA BANK (Chicago)

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  • Film-makers’ Cooperative Benefit Screening

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    Film-makers’ Cooperative Benefit ScreeningFilm-makers’ Cooperative Benefit Screening
    Saturday December 4th, 20h $10 entry food & drinks
    Millennium Film Workshop
    66 East 4th St (between 2nd and 3rd Ave), New York

    Join the Film-makers’ Cooperative for a benefit screening at the Millennium Film Workshop.

    Films by: Jonas Mekas, Jackie Raynal Mike Kuchar, Jennifer Reeves, Louise Bourque, Sabrina Gschwandtner, Patrick McElnea, Dominic Angerame and many more.

    Curated by Smith & Lowles

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  • Optical sound / direct film workshop

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    This workshop is for artists interested in working the boundary between sound and image.

    Bring up to 2:30min of audio; you’ll be recording this audio onto 16mm film using an optical recording process, and you'll then learn how to hand-process your film using a LOMO tank.

    Once your film is processed you’ll be working on it directly by drawing, painting, collaging or scratching to produce animation timed directly to your sound.

    This workshop is useful for artists working with sound, animation, audiovisual installation or performance and takes place over 2 full days:

    Dates: Sat 11 and Sun 12 Dec 2010
    Location: Irene
    5 Pitt St, Brunswick, Melbourne Australia
    Start: 10am each day

    Cost for the 2 days is AUD$45 total, which includes up to 100ft of 16mm film, processing chemistry and all the materials and tools you need.

    Places are limited. Register by Paypal here

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  • Directors Lounge: Discreet Structures

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    Directors Lounge: Discreet StructuresDirectors Lounge: Discreet Structures
    Films by Toby Cornish und Johannes Braun / Jutojo Berlin
    Thursday November 25th, 21h
    Z-Bar, Bergstraße 2, 10115 Berlin-Mitte

    Discreet Structures, the title of the program with Toby Cornish and Johannes Braun, refers to the compositional qualities of their films. It also applies to the linking to local architecture or urban places, and to the ways the artists work with musical scores. Both artists’ work mainly originates in Super-8 or 16mm footage, which they shoot and then process digitally. And most films are product of collaborations with musicians.

    Two visits to Sarajevo in 2003 and 2004 gave Toby the opportunity to make a structural film in this historically and politically charged place: Sarajevo Vertical. The bridge, where arch-duke Franz Ferdinand was murdered, which gave way to the declaration of war in 1914, the name Tito on a bridge, and the white graves of killed Muslims from the most recent war, all appear in the film but only as a backdrop, or as the ground on which the visitor stands. If “Sarajevo Vertical” has or needs a symbolical/political reading is up to the viewer. First of all it is the rule of composition of filmmaker Cornish to align every image to a vertical line while shooting and then edit the film on principles of repetition, rhythm, acceleration and size of the vertical line.

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