Experimental Cinema Group was ushered in by Carla Selby and Gladney Oakley and was later carried forward by Bruce Conner and Stan Brakhage. It is now called First Person Cinema and the curator is Don Yannacito. This program was started in 1955 with the intention of bringing an awareness of the personal cinema to Boulder, and has become a highly respected, international showcase for the makers of personal film. It is the longest existing program in the world that has been continually screening avant guard film and video work.
The Stan Brakhage Film Series will continue to show films by Brakhage on the first Sunday of every month at 7:30pm in ATLAS 100. All shows are free and open to the public.
Unless otherwise noted, screenings are Mondays at 7:00 pm in the Visual Arts Complex auditorium 1B20. Admission is $3.00
Student Award Showcase
Monday, September 10, 2012
Winners of The Grillo Awards
Made possible with funds from the Arts and Cultural Enrichment Fee. Free admission. The Grillo awards are designed to encourage excellence in filmmaking and help defray some of the expenses required to pursue a degree in film production. A total of up to $17,000 of Grillo funds is distributed each year to four tiers of production students. Final recipients and individual award amounts will be determined each semester by in-class student votes and a panel of judges made up of CU Film Studies faculty and outside professionals. A selection of award winning films will be shown one night only. The Grillo Awards are drawn from a University of Colorado Foundation fund set up in the early ’90s by the founder and former chair of the CU Film Studies Program, Virgil Grillo (1938 -1994), whose dedication and vision helped shepherd Film Studies from its modest beginnings in the 1970s to an undergraduate degree program some 600 majors.
Monday, October 1, 2012
The Ann Arbor Film Festival recently concluded its 50th edition; founded in 1963, the AAFF is the longest running festival for independent and experimental film in North America. AAFF Program Director David Dinnell will present recent works selected from the past few years of the festival’s programming. The program will include titles below.
David Dinnell has programmed film for the Ann Arbor Film Festival since 2006, becoming its full-time Program Director in 2010. Dinnell was the Film Programmer for the University of Wisconsin-Milwaukee Union Theatre for five seasons. He has also curated film programs for the Detroit Film Center, the Museum of Contemporary Art Detroit, and was the Program Director of the Media City Film Festival (Windsor, Canada) from 2004 to 2006.
S Korea, 2007, 10 min, 16mm, by Minyong Jang
I Touched Her Legs
USA/Denmark, 2010, 15 min, video, by Eva Marie Rødbro
Netherlands, 2008, 13 min, 35mm, by Telcosystems
India/USA, 2011, 20 min, 16mm on HD video, by Natasha Mendonca
Mali/ France, 2008, 14 min, video, by Neil Beloufa
Germany, 2011, 10 min, video, by Sylvia Schedelbauer
Best Of May 1968
USA, 1973, 3 min, 16mm, by Jay Cassidy
Beavers and Aurand
Monday, October 8, 2012
Born in Brookline, Massachusetts in 1949, Robert Beavers attended public schools then Deerfield Academy before meeting Gregory J. Markopoulos and beginning to make films in 1966. He made his first film in New York, and it was shown at the Fourth International Experimental Film Competition in Knokke-le-Zoute (Belgium) the following year. By that time Beavers had re-located to Europe with Markopoulos and began to make films in Greece, Belgium, Switzerland, Germany, and Italy during the next decades. The one fixed point in these years was the archive in Switzerland that the two filmmakers developed for their work and the relatively stable environment for editing and postproduction. The largest collections of his work are in the Temenos Archive (Uster, Switzerland) and the Austrian Filmmuseum, Vienna. Retrospectives have been organized by the Whitney Museum of American Art, Tate Modern, Pacific Film Archive and Austrian Filmmuseum in recent years. Since 2003, Beavers has divided his time between Zumikon (Switzerland) and Berlin (where he lives with the filmmaker, Ute Aurand ) and Massachusetts.
“Throughout Ute Aurand’s oeuvre, which draws deeply from her daily life, travels and friends, her films find a spontaneous interaction with the here and now. Her filmmaking has a constant, improvisatory engagement with the profilmic events before her camera and pulls its energy from a rapid- fire shooting scheme. Her films are comprised of short phrases of imagery that build up into a larger whole, they carry forth a decidedly joyous present tense—the flooding imagery of the now. (...)” —Chris Kennedy
“The Beavers films are plotless, classically succinct, and patterned as much through private association as by any generalized cultural imperative. They remind one of the intuition you sometimes get while traveling afar that the local landscape has dictated the design sense of the people of the region and perhaps even a unique variety of native character.” —Don Daniels
Early Monthly Segments
Robert Beavers 1967-70/2002 17min 16mm
Robert Beavers 1972/99 22min 35mm
Paulina, Franz, Maria, Susan, Lisbeth
Ute Aurand 2011/12 20min 16mm
Ute Aurand 1998/2006 18min 16mm
Monday, October 22, 2012
Rose Lowder had a long training as an artist in Lima, Peru and in London, United Kingdom. She worked for a decade as an artist and as an editor in the film industry which led to research on perception concerning the cinematographic process. This in its turn led to a doctorate “Theexperimental film as an instrument for visual research” and another decade of teaching film theory, history, aesthetics and practice at the University de Paris I (Sorbonne). Underlying all this activity is a search for finding meaningful ways to work with film in contemporary society.
Total : 88 min
Roulement, Rouerie, Aubage
1978, 15 min
Rue des Teinturiers
1979, 31 min
Les Coquelicots (Poppies)
2000, 2.7 min.
2005-2010, 10.30 min.
1988-2011, 12.17 min, Music : François Alexis Degrenier
Jardin du sel/Salt Garden
2011, 16.11 min, Music : François Alexis Degrenier
Monday, November 5, 2012
Stacey Steers makes labor-intensive films composed of thousands of individual, handmade works on paper. Her animations have screened at the Sundance Film Festival, Telluride Film Festival, New Directors / New Films at MoMA and Lincoln Center, IFFR Rotterdam and the National Gallery of Art in Washington D.C., along with numerous other screenings worldwide, winning national and international awards. Recently she has begun expanding her work to include installations that reflect on and bring focus to the films by placing production elements and/or film loops in a new context. Her work has been installed at the Corcoran Gallery in Washington, D.C., the Denver Art Museum, and the Hamburger Kunsthalle in Hamburg, Germany among others. Steers is a recipient of major grants from Creative Capital and the American Film Institute. Tonight’s program will include:
24:00, 1989 narrated by Stan Brakhage
Monday, December 3, 2012
Note: Bruce Baillie will be unable to come to Boulder for his show on Dec. 5th. However, we will be showing the films advertised in the program along with a small video interview with Bruce Baillie that he has sent along. The show will go on although without Bruce Baillie in person.
From All Movie Guide: Bruce Baillie’s innovative films grab the viewer with eloquent and rich imagery as well as a heartfelt humanism and concern for his subjects expressed through a lyrical sensibility. Educated at the University of Minnesota, the University of California at Berkeley, and the London School of Film Technique, Baillie began making films in 1961 with On Sundays, The Gymnasts, and the three-minute “cinematic haiku” entitled Mr. Hayashi. This work also functioned as an advertisement for the film society collective Canyon Cinema, of which Baillie was the founder. The natural and intimate pictorial handling of Mr. Hayashi is characteristic of all of Baillie’s work, especially Mass for the Dakota Sioux (1963-1964) which, projects an honesty and gripping empathetic sense of the real-life situations of people who live in Baillie’s birth state. Richness of imagery also characterizes Baillie’s other works of the ‘60s, such as Quixote (1964-1965, rev. 1967), Castro Street (1966), and Tung (1966), which frequently mix color with positive and negative black-and-white. By way of conceptual contrast, there are the brief structuralist studies All My Life (1966) and Still Life (1966) which still evince a deep spirituality. There is also a loving kind of humor in many of the films, such as Quick Billy (1967-1970), Roslyn Romance (Is It Really True?) (1971-1984), and others. Some of Baillie’s pieces have been created on video, including The P-38 Pilot (1990) and Commute (1995). ~ “Blue” Gene Tyranny, Rovi Awards: Life Time Achievement award give by Anthology Film Archives, USN tours, MFA San Francisco Art Institute.
Roslyn Romance (Is It Really True?)
1971-84, 18 Min
1990, 16 Min
All My Life
1966, 3 Min
1964-65, Rev. 67, 45Min