First Person Cinema (formerly The Avant-Garde Cinema Program), was started in 1953 by Bruce Conner and Stan Brakhage, seminal figures in the independent/personal/experimental film movement. Their intention was to bring an awareness of the personal cinema to Boulder. This program, curated by Don Yannacito since the 1960s, 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-garde film and video work.
The Stan Brakhage Film Series will continue to show films by Brakhage on the first Sunday of every month at 8:00pm in ATLAS 100. All shows are free and open to the public.
Student Award Showcase
Monday, February 4
Winners of the Grillo and Goldfarb Awards.
Made possible with funds from the Arts and Cultural Enrichment Fee
The Grillo/Goldfarb Kage Credit grants are designed to encourage excellence in filmmaking and help defray some of the expenses required to pursue a degree in film production. Grants will be distributed each year to four tiers of production students. Final recipients and individual grant amounts will be determined each semester by a combination of in-class student votes and a panel of judges made up of CU Film Studies faculty. A selection of films from the advanced classes will be screened in this evenings show. The Grillo grants are given as Kage credit in honor of the founder and former director 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 boasting some 600 majors.
Goldfarb grants are given by the Goldfarb Foundation and Peter Goldfarb, President. (Screening made possible by ACE fees.)
Various shorts presented in digital format, full awards show is estimated to last no longer than 80 minutes.
Anna Oxygen & Miwa
Monday, February 11
Anna Oxygen's work deals with interactivity, movement and semiotics presented through narrative, video, performance and installation. She has toured extensively and released several albums of electronic music, most recently “This is an Exercise” on Kill Rock Stars. Her solo work has been presented at The Seattle Art Museum, The Buddy Gallery (Chicago), NYU, the Armory Center for the Arts (Pasadena), Portland Institute for Contemporary Art, and the Rohsska Museet in Gothenburg, Sweden. Miwa Matreyek creates animated short films and performance works that integrate animation and live performance. Her shorts have been presented at LA Freewaves, San Francisco International Asian American Film Festival, and the Philadelphia Film Festival. Her solo video-performance, Dreaming of Lucid Living, won the Princess Grace Award for Film, as well as two awards at the Platform International Animation Festival: Student Grand Prix and Audience Choice Award for Best Installation. Together with director Chi-Wang Yang, Anna and Miwa are part of media performance collective CLOUD EYE CONTROL. They have performed collaboratively at the TBA Festival, Platform International Animation Festival (Portland, OR), and at Edinburgh Fringe Festival (Scotland) They have also been invited to perform at Images Festival (Toronto) and New Frontiers at Sundance.
Anna and Miwa will be screening a selection of their solo and collaborative work.
Monday, February 18
Zoe Beloff works with a variety of cinematic imagery: film, stereoscopic projection performance, interactive media and installation. Her projects are philosophical toys, objects to think with. More and more, she finds herself fascinated by phantoms, by images that “are not there”. She would like to think of herself as an heir to the 19th century mediums whose materialization sŽances conjured up unconscious desires, in the most theatrical fashion. Though lacking psychic abilities, she confesses to relying on cinematic illusionism or one could say the cinematic “medium”. She will present two “hypnotic” projects, one from the 19th century and one from the 20th century.
Stereoscopic, 16mm, B/W, Film, Sound, 40 minutes.
16mm, Film/3D Slide/Sync, Sound, Performance, 50 minutes. 2002
Monday, February 25
Off Campus Free Show
Since 1981, the annual Black Maria Film and Video Festival, an international juried competition and award tour, has been fulfilling its mission to advocate, exhibit and reward cutting edge works from independent film and video makers. With previous Oscar nominated and international award-winning shorts, the festival is widely known for its national public exhibition program, which remains loyal to featuring a variety of bold contemporary works drawn from the annual collection of 50 award winning films and videos. Now in its 26th year, the Black Maria Festival awards more than $10,000 in cash to independent filmmakers, distinguishing itself as a cornerstone for artists to express the inventive, insightful, and uncommon spirit. Festival Director John Columbus will present a program of the 2008 winning shorts, ranging from a variety of narrative, animation, documentary, and experimental.
The black maria screening will take place in the performing arts center at naropa university at 7:30pm and is free to the public.
Monday, March 3
Alix Pearlstein's performance-based videos feature ensemble groups of actors. They function as abstract dramas, which operate in a realm between the theatrical and the cinematic - juxt aposing psychological content within a minimalist framework. Her work has been widely exhibited internationally. A solo exhibition at The Kitchen NYC curated by Debra Singer is forthcoming in 2008. Distance, a two-channel installation produced by Voom HD Lab was seen in EV+A: Annual Exhibition of Visual Art, Limerick, Ireland in 2007. The King, the Mice and the Cheese, a one-person exhibition curated by Bill Arning at the MIT List Visual Arts Center in Cambridge MA featured three works and was accompanied by a brochure in 2006. Alix resides in NYC.
2:20. Color. Sound. 2000
(Single-Channel Version for Screening from Two-Channel Installation) 10:00. Color. Sound. 2002
10:45. Color. Sound. 2003
7:50. Color. Sound. 2004
All Day and a Night
12:00. Color. Sound. 2005
Rehearsal Behavior 1 (Mostly Lynn From Arena)
4:00. Color. Sound. 2004-2007
(Split-Screen Version for Screening from Two-Channel Installation.) 09:14. HD. Color. Sound. 2006-2007
Two Women #2.
(Split-Screen Version for Screening from Two-Channel Installation.) 4:05. Excerpt. Color. Sound. 2007
Monday, March 10
Emmy award winning producer Elliot Caplan served as filmmaker in residence at the Cunningham Dance Foundation from 1983 until January 1998, collaborating with Merce Cunningham and John Cage in the production of films and videos. From 1996-2000, Caplan served as segment producer for PBS’s national series on art in America, “EGG,” and received an Emmy Award and Cine Golden Eagle for “Outstanding Cultural Programming.” Caplan’s other work includes theater design and direction. In collaboration with Tony award winning performer Bill Irwin, Caplan designed an evening of theater and video, which was presented at The Roundabout Theatre in New York, June 1999. In 1998, Elliot Caplan founded Picture Start Films to produce artistic and commercial media projects and bring artists together to express their ideas in an open forum.
Monday, April 7
“My work arises from that confluence of visionary and structural ambition called Experimental Film. Influences would include Brakhage ,Snow, Frampton, Gehr, Kovacs, Steina, Viola, Caesar, and my father, an accomplished inventor/photographer in the tradition of Melies and Edgerton. Since 1968, I've made over thirty short films, videos, performances and installations. Early work drew upon my background in mathematics and explored the boundaries of time, space, and perception. I then became interested in language as a subject and generated a substantial body of work that played with the feel and form of sense, concrete texts, political satire, and a kind of intellectual comedy. Recent videos have explored the liminalies of vision - the optical space that presents itself before (re)cognition kicks in, the borders between light and darkness. I understand this all as furthering one mission of art, which is not to illustrate what we know but to illuminate what we do not.”
The Man Who Could Not See Far Enough
Pressures of the Text
The Geosophist's Tears
Odysseus In Ithaca
Studies In Transfalumination
Monday, April 21
“Saul Levine is the foremost dissenting filmmaker in America. With about 35 years of consistent production behind him, and no signs of fatigue, he can show us the shape of a life passionately and uncompromisingly devoted to filmmaking. His works are high-energy messages of friendship, records of sexual love and political activism, radiated by humor, prophetic anger, loneliness and even though rarely, representing repose. His incessant, chaotic outpouring of political energy seems less geared to a naïve notion of bettering the world than to a perpetual pressure to keep it from getting worse.” — P. Adams Sitney.
Saul Levine is a onetime welfare rights activist and one of the key teachers of avant-garde filmmaking in the country. Working at the margins of an already marginal culture, Levine makes movies that are unpredictable, visceral, immediate, and mind-expanding.
Dreams and Apparitions of Mark Lapore
2006/2007 , DVD, NTSC, 77 min