EXPERIM ENTS IN CINEMA A BASEMENT FILMS PRESENTATION v 9.72 APRIL 14–21 2014

GOING COMMANDO SINCE 2005

NEW MEXICO ARTS TRUST FOR MUTUAL UNDERSTANDING ABQ COMMUNITY FOUNDATION McCUNE CHARITABLE FOUNDATION

PDF compression, OCR, web optimization using a watermarked evaluation copy of CVISION PDFCompressor LETTER FROM THE DIRECTOR EXPER- In 2009, St. Andrews Film Studies Publishing House began producing a series of texts about lm festivals. Titles include Film Festivals and Imagined Communities, Archival Film Festivals and, my favorite of the series, Film Festival Yearbook 4: Film Festivals and Activism. In this particular edition, Amalia Cordova contributed the essay “Towards an Indigenous Film Festival Circuit.” Cordova quotes Juan Francisco Salazar from his doctoral thesis titled IMENTS “Imperfect Media: e Poetics of Indigenous Media in Chile.” Salazar’s idea of the “poetics of an imperfect media” is one of those phrases that I just can’t shake. From William S. Burroughs (language is a virus) to Michael Haneke (Hollywood spends too much of its time crossing t’s and dotting i’s), to Noam Chomsky (the vacuous entrails of IN CINEMA the English language in popular media), I wonder if our hyper-familiarity with the language of all-things-cinematic has eviscerated the relevance of this powerful cultural barometer. en, like a super hero, Juan Francisco Salazar swoops in to save the day. e “poetics of an imperfect media;” the poetry of uncrossed t’s and undotted i’s, the poetry APRIL 14–21 of uncharted ideas—ideas that are a little uncomfortable, a bit unfamiliar and always chal- lenging. I’d like to think that this is what we celebrate each year at Experiments in Cin- ema—the poetry of imperfection and discomfort as expressed through the eyes and ears of un-dependent media artists from around the world. 2014 is year, in addition to uncomfortable, unfamiliar, and always challenging screenings that v 9.72 represent 26 dierent countries, we are particularly proud to host presentations by our brand new media pals Greg DeCuir Jr. and Miodrag Milošević from the Alternative Film/ Video Festival in Belgrade (thanks Trust for Mutual Understanding), Stephen Kent Jusick the director of e MIX NY Queer Experimental Film Festival (thanks Roberto Appic- ciafoco and the Southwest Gay and Lesbian Film Festival), and lmmaker, curator, and all around swell guy, Antoni Pinent from Spain (thanks Instituto Cervantes). Buckle up, hold on to your hats, and get ready for a bumpy ride! Experiments in Cinema v9.72—going commando since 2005! Bryan Konefsky, Director, Experiments In Cinema TABLE OF CONTENTS WORKSHOPS ...... 1 ASSISTANT DIRECTOR THOUGHTS APRIL 14 Today, for fun, I had a tarot card reading. As luck would have it, the one card hand picked by my subconscious was Death. Where I come from, the word Death always generates EXPERIMENT 1 ...... 2 negative connotations. In Tarot, although the Death Card refers to an ending it also sug- EXPERIMENT 2 ...... 2 gests a new beginning. EXPERIMENT 3 ...... 2 When Bryan Konefsky asked me to write a letter for our festival program, I was confronted with the reality that my four year tenure of serving as the Assistant Director of Experiments APRIL 15 in Cinema was quickly coming to an end. ese four years working with EIC have been EXPERIMENT 4 ...... 3 precious. It is easy to ignore the signs of such endings when one is absorbed in the hard EXPERIMENT 5 ...... 3 work of producing a lm festival. I was rst introduced to Experiments In Cinema as a sophomore at Amy Biehl High EXPERIMENT 6 ...... 3 School. A member of Basement Films made an announcement to the school about a new APRIL 16 lm festival that was only in it’s second year organized by college students. I instantly asked EXPERIMENT 7 ...... 4 how I could be useful. A few brave Amy Biehl kids, including myself, accepted an invitation from the Department of Cinematic Arts at UNM to learn more about EIC. At that meeting, REGIONAL YOUTH PROGRAM. . 4 amongst other things, we found ourselves watching Jim Trainor’s movie !e Bats. If you are EXPERIMENT 8 ...... 4 not familiar with Trainor’s lm it is lled with stories about bat defecation and intercourse, EXPERIMENT 9 ...... 4 but what has stuck with me most about this lm is it’s matter-of-fact approach to death in terms of repeated cycles of endings and rebirth. EXPERIMENT 10...... 5 As I put the Death Card back into the Tarot deck, I realize my time with E.I.C as Assistant APRIL 17 Director is coming to an end. I look forward to seeing what the next few years hold for Ex- EXPERIMENT 11...... 5 periments In Cinema and the wonderful people who make this festival possible. I invite all of you participating in the festival—as artists, teachers, curators and audience members—to APRIL 18 recognize the opportunity to invent new beginnings, new friendships, and new creative EXPERIMENT 12...... 6 partnerships while you are here in New Mexico. EXPERIMENT 13...... 6 Michelle Mellor, Assistant Director, Experiments In Cinema Board member, Basement Films EXPERIMENT 14...... 6 APRIL 19 EXPERIMENT 15...... 7 EXPERIMENT 16...... 7 EXPERIMENT 17...... 8 On the Cover: Laverie Vallee (1875–1949), better known as “Charmion”, was a Sacra- EXPERIMENT 18...... 8 mento born trapeze artist who possessed the WORKSHOPS ARE FREE strength and physique most men would envy. APRIL 20 However, she was most well known for her RECEPTIONS ARE AFTER THE EXPERIMENT 19...... 9 risqué striptease performances. Charmion’s act was quite impressive and LAST SHOW OF THE DAYÑsee EXPERIMENT 20...... 9 provocative for the time. e controversy cre- ated by her performances did not, however, inside for days and locations. APRIL 21 prevent the formation of a dedicated—and Everyone is welcome! mostly male—fan base. POST FESTIVAL WIND DOWN. . . 9 One of her greatest fans was omas Edison.

EXPERIMENTS IN CINEMA V.9.72 VENUES AND ADMISSION INFORMATION

GUILD CINEMA NATIONAL HISPANIC SOUTHWEST FILM CENTER admission is $8.00 per day, CULTURAL CENTER admission $5.00 per day unless otherwise noted admission is free University of New Mexico 3405 Central Avenue, NE Bank of America eater Downstairs in the Student Union Building www.guildcinema.com 1701 4th Street SW www.unm.edu/~swfc/ (505)-255-1848 www.nhccnm.org

PDF compression, OCR, web optimization using a watermarked evaluation copy of CVISION PDFCompressor TUES & WED, APRIL 15 & 16 INSTITUTO CERVANTES, NATIONAL HISPANIC CULTURAL CENTER SCULPTING THE LIGHTÑA CAMERALESS WORKSHOP KS 10:00AMÐ2:30PM BOTH DAYS Screening of workshop lms will be on April 17 in the Wells Fargo eater at the National Hispanic Cultural Center Spanish lmmaker and curator Antoni Pinent presents Sculpting the Light: A Cameraless Workshop. In this two-day workshop, participants will explore the rich possibilities in moving image art. Mr. Pinent will instruct on various methods of physical intervention and meaningful alteration of found footage lm. is workshop gives participants the opportunity to dive deep into the fascinating art form of cameraless lmmaking. e nal lm results from the workshop will be screened on ursday evening as part of the program at the National Hispanic Cultural Center. For more information about Antoni Pinent’s creative work please see http://lightcone.org/en/lmmaker-1439-antoni-pinent. HOPS THURSDAY, APRIL 17 WOR CERIA BUILDING, 3RD FLOOR STUDENT LOUNGE, UNM CAMPUS CINEMATOGRAPHYÑTHE SERBIAN WAY! 2:00Ð4:00PM Miodrag Milošević has worked as a professional cinematographer for more than 30 years with some of the greatest lmmakers in the history of Yugoslav-Serbian cinema including Dušan Makavejev, Želimir Žilnik, and Jovan Jovanović. In this workshop he will show clips from some of the lms he has shot while discussing the directors’ and his own methods in realizing their vi- sion. Points of emphasis will include visual expression, digital versus analogue, on-set problem solving, and low-budget produc- tion techniques. is workshop will be aimed at professional cameramen and students of cinematography and lmmaking. FRIDAY, APRIL 18 ART 252, UNM CAMPUS BOTANICOLLAGE: HANDMADE 16MM FILMS 10:00AMÐ3:00PM Uetggpkpi"qh"yqtmujqr"Þno"yknn"dg"qp"Crtkn"42"cv"vjg"Iwknf"Ekpgoc Filmmaker Caryn Cline returns to EIC to teach a workshop using the “botanicollage” technique made famous by Stan Brakhage and his lm Mothlight. Participants will create handmade lm frames using local botanicals, art materials, and lm supplies to produce a short, collaborative lm. No previous lmmaking experience is required. Botanicals and lmmaking materials will be supplied, but participants are invited to bring their own. Caryn Cline is a lmmaker and educator living in New York City. Examples of Caryn’s lms—many of which use the botanicollage technique—are available at http://vimeo.com/carynyc is workshop is free but space is limited. To register email [email protected] by April 14.

Caryn Cline works with attendees at the Botanicollage workshop in 2013 Experiments in Cinema v. 9.72 thanks these granting organizations for their support:

MCCUNE CHARITABLE FOUNDATION For the past 9 years Basement Films has produced Experiments in Cinema with the blood, sweat and tears of our passionate and committed army of volunteers. We are also endlessly thankful for the support of so many local businesses (see the back page of this program) and the generosity of e McCune Charitable Foundation, New Mexico Arts, e New Mexico Humanities Council, e National Endowment for the Humanities, e Trust for Mutual Understanding, e FUNd/Albuquerque Community Foundation, e Moon & Stars Project for the American Turkish Society, e Albuquerque Film Oce, Instituto Cervantes and the National Hispanic Cultural Center. As we begin to imagine our 10th anniversary (2015), we are brainstorming how to best celebrate this Experiments in Cinema milestone. In addition to nurturing our region- al Youth Program, developing our new artist-in-residence program, hosting more visiting artists (from around the world), and thinking about long term sustainability, we are also looking to publish a 10th anniversary book that will feature essays by experimental/un-dependent programmers, curators and festival organizers. To help us realize these ideas and dreams, we are inviting the local and global community of people interested in cinema-dierent to support our eorts as much as pos- sible. To this end please know that Basement Films is a 501 (c) 3 federal non-prot and all donations are 100% tax deductable! Please make your checks payable to Basement Films and send them to:Experiments in Cinema, c/o Basement Film, PO Box 9229, Albuquerque, New Mexico USA 87119. ank you! 1 PDF compression, OCR, web optimization using a watermarked evaluation copy of CVISION PDFCompressor MONDAY, APRIL 14 GUILD CINEMA 1 5:30-6:30PM POSTCARDS F-LINE

ERI by Ana Husman, Croatia, 23.5 minutes, 2013, USA premiere, by Silvia Turchin, USA, 8 minutes, 2013, New Mexico pre- [email protected] miere, [email protected] A variety of educational methods used in a Croatian language F-Line is a sensory-based poetic documentary that explores the instructional guide are employed as starting points for devel- ethereal past of San Francisco’s historic streetcars. F-Line embod- oping improvised and performative situations with amateurs ies a textural way of perceiving these relics and examines the and professional actors. Additionally, musical numbers have traces of time’s mystery that uctuate beneath the surface.

NT been added using animal costumes derived from the Croatian national insignia. REALITY 2.0 ME by Victor Orozco Ramirez, Germany/Mexico, 11 minutes, LITTLE BLOCK OF CEMENT WITH 2012, New Mexico premiere, [email protected]

EXP DISHEVELED HAIR CONTAINING It was autumn when I arrived in Germany. I thought that in THE SEA this exotic country I could distance myself a little bit from Mexico, but I was wrong. A short, animated documentary by Jorge Lopez Navarrete, Spain, 15.5 minutes, 2013, New about the drug-related violence in Mexico. Mexico premiere, [email protected] A dog and a mare embark upon a voyage together.

7:00Ð8:00PM I DONÕT TOUCH THE GOLD by Paulina Pisarek, Senegal, 51 minutes, 2013, World premiere, [email protected] Mama Sissoko is responsible for cleaning in the gold village. Mama Sissoko is not interested in nding gold or that kind of life... 2 She is alone, one soul against all. ERI NT ME EXP

I Don’t Touch The Gold will show April 14 at 7:00PM at Guild Cinema

8:30-9:30PM CAMERAWORK CAMERAPLAY FFF1 by Kristen Lauth Shaeer, USA, 1.75 minutes, 2013, New by Marcin Gizycki, Poland, 4 minutes, 2013, USA premiere, 3 Mexico premiere [email protected] kristenlauthshae[email protected] A free-form abstract lm created with free tools found on the For Christmas, I bought my daughter her rst camcorder. To Internet. me, the camera represented a shared experience. I can’t say ex- actly what it meant to her at nine months old, but she certainly ENCUENTRO/WATER WASHING PER enjoyed chewing on it. THROUGH BONES by Laura Marie Wayne, Cuba/Canada, 11.5 minutes, 2013, LANDSCAPE WITH TWO WOMEN USA premiere, [email protected] by Brenda Miller, UK, 5 minutes, 2013, USA premiere, Encuentro is a series of hushed, contemplative moments that [email protected] reect the life of Eduardo Zamora (78), one of the last remain- EX is investigation into the relationship between domestic and ing inhabitants of a dying mountain town in Cuba.

IM professional creative practices is based on a contemporary ENT interpretation of a painting by William Dyce titled Welsh Land- I AM NEW YORK scape With Two Women Knitting. by Zane Rader, USA, 10.5 minutes, 2013, World premiere BRUCEÕS BORDERS treeo [email protected] I wished to portray the city of New York, its people, and their by Scott Fitzpatrick, Canada, 7.5 minutes (16mm), 2013, USA day-to-day activities in a way that didn’t seem as though we premiere were intently watching them, but rather just passing through ess [email protected] for a moment. Ink is lied directly from the page in a physical adaptation of Victorian Frames, Borders, and Cuts—a study in embellishment MIMESIS from the 1882 type catalog of George Bruce’s Son and Co. by Andrea Nevi, Consuelo Calitri, Caterina Chimenti, Italy, 4 REVISITED minutes, 2012, New Mexico premiere, [email protected] Two mysterious men meet for a duel on a bridge. by Tina Wasserman, USA, 10 minutes, 2013, USA premiere, [email protected] Revisited explores memory and temporality by using a strange narrative written in 1901 by two English school teachers. It details a shared experience of supposed “time-travel” while touring the grounds of Versailles. 2 PDF compression, OCR, web optimization using a watermarked evaluation copy of CVISION PDFCompressor TUESDAY, APRIL 15 GUILD CINEMA 4 5:30Ð6:30PM WEDNESDAY HAENYEO

by Mohammad Reza Alimorad, Iran, 14.5 minutes, 2013, World by Ellie Kyungran Heo, South Korea, 11 minutes, 2013, USA ERI premiere, [email protected] premiere, [email protected]. ere are women divers, Wednesday, or maybe Tuesday... called “Haenyeo”, who live in the island of Jeju in South Korea. NT e lm focuses on one such woman and the thousands of UNFETTERED hours her husband has spent waiting on shore for his wife to by Sandra Eber, Canada, 3.5 minutes, 2013, Silent, USA premiere, return from the sea. [email protected]. e images were patiently acquired one frame at a time entirely without a computer or lens, using a 16mm MINISPECTACLES TOUCHƒ, lm camera adapted for pinhole and double-slit techniques. DOUCHE, SOUCHE EXP by Maarit Suomi-Väänänen Bosnia-Herzegovina, Finland 3.5 OUT OF ORDER minutes, 2010, New Mexico premiere by Kimberly Davis, USA, 10.5 minutes, 2013, World premiere, [email protected]. Minispectacles is a series of ME [email protected]. is animated documentary takes one-minute cinematic haikus. a personal look at a reproductive disorder known as Polycystic Ovarian Syndrome. SYMPHONIE DIAGONALE by Ted Sonnenschein, Germany, 2.5 minutes, 2013, World pre- APRIL 15 RECEPTION: RESPICE ALBUS/RESPICE NIGER miere, [email protected]. is lm is from my work by Patricia Bandeira, Portugal, 6 minutes, 2013, New Mexico atop the upper deck of a local bus. It is hard for me to use the TRACTOR BREWERY premiere, [email protected]. e senses are guides, name of such a classic lm for one of my own, but I see nothing 118 TULANE SE navigation tools between coordinates that indicate several levels else but its remake in the results. of sensorial blindness. WWW.GETPLOWED.COM THE TURTLE (505) 433-5654 CHLOE AT THE GATES OF HELL by Matt Gibson, USA, 3 minutes, 2013, New Mexico premiere, by Taylor Lane, USA, 2.5 minutes, 2013, World premiere, [email protected]. !e Turtle is a journey of the body and [email protected]. An attempt at illustrating the the mind, in dialog with nature, art, fashion, and music. !e foreboding feeling that sometimes rises inside us when we are Turtle seeks to capture that element most fundamental to the forced to confront the reality of our mortality. human soul.

7:00Ð8:00PM ENTROPY A WOMAN ON THE TRAPEZE NT by Isabelle Harada, USA, 3 minutes, 2012, New Mexico pre- by Ivan Marino, Spain, 7 minutes, 2012, USA premiere, miere, [email protected]. Entropy builds its narrative [email protected]. A video document of a dance-installation. from an equation.e amount of information measured by drawing parallels between a failing relationship reaching its end BURN OUT THE DAY and chaos returning to equilibrium. by Sasha Waters Freyer, USA, 3.5 minutes (16mm), 2014, New Mexico premiere, [email protected]. e passing of a decrepit EXTERIOR SIGNALS totality; wounds and traces le by re and light as an Iowa IME 5 by Peter Wareing, New Zealand, 13 minutes, 2012, USA home burns to the ground. e pleasures and terrors of rural premiere, [email protected]. In Godard ‘s lm Pierrot le domestic comfort. Fou, Belmondo reads from a book about the Spanish painter Velazquez, describing his late paintings, the political environ- THE POOL ment at the time, and out of touch leaders. is seems to read by Raissa Contreras, USA, 1 minute, 2010, New Mexico pre- like our present leadership in the US. miere, [email protected]. e Pool is a black & white lm that captures a minute of summer. SEKIZ HAZIRAN PER by Burak Cevik, Turkey, 8 minutes, 2013, USA premiere, THOSE RESTIVE EYES [email protected]. Images: On the 8th of June 2013, bar- by Divina Hasselmann, USA, 7.5 minutes, 2012, World pre- EX ricades which were built on the entrances to Taksim. Sound: On miere, [email protected]. Inspired by the short story Ihr glueck- the 28th of May 2013, sound recording which belongs to the lichen Augen by Austrian Group 47 author Ingeborg Bachmann, interference with pepper sprays against e Woman in Red who this essay lm circulates around the notions of an unuttered later on will become the symbol of Gezi Park resistance. love, the uidity of our sexual orientation, and the subjective perception of our environment. BELLHAVEN by Marika Borgeson, USA, 11.25 minutes, 2013, World pre- miere, [email protected]. e Belhaven Memorial Mu- seum opened to the public on April 1st, 1965.

8:30Ð9:30PM STAGING ACTORS STAGING BELIEFS WENDY by Renata Poljak, Croatia, 12 minutes, 2011, USA premiere, by Rachel Lane, USA, 3.5 minutes, 2013, World premiere, [email protected]. As a child, Ivan Kojundžić became [email protected]. Wendy explores the process of observing a widely popular actor; he embodied the historic persona of and imaging through a character’s psychological lens. 6 Boshko Buha in a homonymous Yugoslav feature lm (1979). NT Ivan Kujundžić today is 48 years old. One interview, two reali- SIGNS OF THE NEVADA SUN ties … by Peter Lisignoli, USA, 5 minutes, 2012, New Mexico premiere, [email protected]. On a springtime walk through the suburbs SUNHOUSE ELEVATION/SUNHOUSE of Las Vegas, Nevada, I found myself underneath a relentless by Azimuth Eleanor Suess, UK, 10 minutes (silent), 2013, World sun, nearby a howling freeway. is is a lyrical depiction of the premiere, [email protected]. Two structural lms con- ambience of a neighborhood largely devoid of residents. stitute a single, dual-screen work dealing with the progress of the sun through a South London Victorian terraced house. 3 FRAMES by James Snazell, UK, 12.5 minutes, 2013, USA premiere, EXP

NEITHER HERE NOR THERE [email protected]. 3 Frames consists of 3 frames taken ME by Paul Caster, USA, 1 minute, 2013, World premiere, from a 16mm lm leader that have been looped and then devel- [email protected]. Neither Here Nor ere contrasts the pleas- oped into this optical work. ant, peaceful other worldly experience in front of a church with the dark screeching environment that describes my psyche. MARITZA TOMMASO OKARVAVENA ERI by Krasimir Dobrev, Bulgaria, 2 minutes, 2012, USA premiere, DEER CENSUS [email protected]. Filippo Tommaso Marinetti and I by Bill Basquin, 9 minutes, USA, 2009, New Mexico premiere, are inseparable friends. But Marinetti died a long time before I [email protected]. Deer Census is comprised entirely of was born. Maritza is not a river, but our sister who appears in digital still images that were given to me by Nathan Bridgeman, our dreams. I call my ability and knowledge ‘quasilocatia’ and whose voice you hear in this piece. Marinetti and the old Bulgarian anthem can’t be blamed. 3 PDF compression, OCR, web optimization using a watermarked evaluation copy of CVISION PDFCompressor WEDNESDAY, APRIL 16 GUILD CINEMA 7 v "Gxgp EXP 4:00Ð5:00PM Htgg Tgikqpcn"[qwvj"Rtqitco roughout the year Basement Films brings festival programs to schools around New Mexico. Our dream is to inspire a new generation of home-grown lmmakers to recognize the value of their media voices and to participate in shap- ing future trends in cultural representation. e fruits of these outreach eorts will be presented at e Guild Cinema tonight! A special introduction will be given by Stephanie Becker, who teaches at Amy Biehl High School. is program

ER was curated by Asha Hopkins and Britney King. Participating schools include:

ENT e Albuquerque Academy New Mexico Media Literacy Project e Public Academy for Performing Arts Manzano High School IM Media Arts Collaborative Charter High School Del Norte High School YDI Mi Voz Program Atrisco Heritage Academy High School Amy Biehl High School Young Women United

EXP 5:30Ð6:30PM ME RADISH E215 by Diego Ramirez Mexico, 4.5 minutes, 2013, World premiere, by Scott Willis, Scotland, 3 minutes, 2012, New Mexico pre- [email protected] miere, [email protected] 8 Radish is a creature without name, gender, or citizenship, a E215 is a meditative study of my grandmother as she re ects on meaningless blob. her old age. e lm highlights a form of beauty obtained from NT objects once seen as unt for society. THE KODAK MOMENT by Michael Betancourt, USA, 2 minutes, 2013, New Mexico KORONA ERI premiere, [email protected] by Lena Ditte Nissen, Germany, 10.5 minutes, 2013, New Mae Murray presents an archetypal image of feminine beauty Mexico premiere, [email protected] from the start of the twentieth century, a form that was already e whispered narration, the use of minimal black and white old when the source lm was shot in 1922, here glitched and images leads the viewer further and further into a mythical state fragmented. of being that is neither an end, nor a solution. 457 BROADWAY LA COURSE by Tomonari Nishikawa, USA, 5 minutes (16mm), 2013, New by Jean-Michel Rolland, France, 3.75 minutes, 2013, USA pre- Mexico premiere, [email protected] miere, [email protected] A portrait of Times Square, shot on black and white lm is video, a tribute to Eadweard Muybridge, communicates the through color lters, then optically printed onto color lm. e frenzy felt during the break-neck speed of this painful sport. layered images agitate the scenes, and the advertisements on the digital billboards try to pull ahead of others. DER SPAZIERGANG by Margaret Rorison, USA, 3 minutes, 2013, New Mexico pre- GIRL AND SMOKE SERIES: JENNIFER miere, [email protected] EDITION A documentation of long walks in Berlin, Germany. e title by Daniela Zahlner, Austria, 5.75 minutes, 2013, USA premiere, comes from a short story by Robert Walser. [email protected] A comedic response to increasingly popular fashion photos that THEY LOOK RIGHT THROUGH YOU have come to be known as “girl plus smoke bomb” pictures. by Tess Martin, USA, 9 minutes, 2013, New Mexico premiere, [email protected] THE PARTING DANCE is marker-on-glass animated short uses interviews to explore by Gerard Freixes Ribera, Spain, 3 minutes, 2013, New Mexico the depth and limitations of human-pet relationships, and how premiere, [email protected] we communicate, feel for, and understand each other. Even if the couple looks happy on the outside, inside each mem- ber is trying to nullify the other. THE SWIMMER is work gives a visual representation of a couple’s divided by Salise Hughes, USA, 4 minutes, 2010, New Mexico premiere, private life in contrast with their public live. [email protected] is lm uses footage from e Swimmer (1968), where a man notices the swimming pools doting the landscape to create a river, which he decides to navigate and swim home.

7:00Ð8:00PM PIRAPORA BRIGHT MIRROR 9 by Charles Bicalho, Brazil, 4.25 minutes, 2012, USA premiere, by Paul Clipson, USA, 9 minutes (16mm), 2013, World pre- [email protected] miere, [email protected] In Pirapora city in Minas Gerais, Brazil, the São Francisco River Filmed as part of a residency at the Headlands Center for the facilitates the comings and goings of waters and lives. Arts in Marin, California, this Super 8/16mm lm seeks to investigate the relationships of gure, camera, and movement in YOUR HANDS AND MY TEETH a spellbinding dance of multiple exposures. ERI by Laura Bouza, USA, 6 minutes, 2013, New Mexico premiere, [email protected] ON THE ROAD BY JACK KEROUAC Visual fragments informed by place, light, sound, and time ar- by Jorge Lorenzo, Mexico/Colombia, 14 minutes, 2013, USA NT ticulate a feminine lm language, expressing history and desire premiere, [email protected] through a tactile sense of vision. If Jack Kerouac wrote his legendary novel On the Road on a long paper scroll, why not do it on a long 35mm lm roll? By LAAL PARI/THE RED FAIRY re-typing the complete book—using 35mm black leader on a by Sadia Halima, India, 20 minutes, 2013, New Mexico pre- typewriter—this project attempts to question language at its miere, [email protected] most elemental levels. Laal Pari, an illiterate woman in Bihar, India, is elected into village council and works on the cause closest to her heart—the GULF EXP safety and equal rights of women in her village. reatened by by Jodi Darby, USA, 5.5 minutes, 2011, New Mexico premiere, ME pervasive misogyny and stunted by patriarchal bureaucracy, [email protected] nding a voice for herself and for her villagers turns into a Gulf combines re-edited news coverage of the 1986 Space daunting task. Shuttle Challenger explosion and found 8mm footage of 1950’s home movies to capture the split second intersection of hubris, pride, joy, and grief. Original score by Marisa Anderson. 4 PDF compression, OCR, web optimization using a watermarked evaluation copy of CVISION PDFCompressor WEDNESDAY, APRIL 16 (CONTIN UED FROM PREVIOUS PAGE) 10

8:30Ð9:30PM ME VENICE UNDERWATER CHICK STRAND DOCUMENT by Chip Lord, Italy/USA, 24 minutes, 2013, New Mexico pre- by Caroline Koebel, USA, 2 minutes, 2013, New Mexico pre- miere, [email protected] miere, [email protected] is observational documentary presents Venice as a city In a box of old papers, I came across this “bio” Chick Strand had PERI inundated with tourists and periodic bouts of high water. Tour- written for me in 1994. Upon re-reading it, I was dumbfounded ists take pictures and endure the ooded areas of Piazza San by what a signicant artifact it was and immediately started Marcos. working with it. FORWARD BIASED CONDITION LEFT SIDE, RIVERSIDE by John Woods, Canada, 3.5 minutes (16mm), 2013, USA pre- by Caryn Cline, USA, 8 minutes, 2011, World premiere, EX miere, [email protected] [email protected] NT Always in motion, never resting. is is a lm about the for- Le Side, Riverside documents the lmmaker’s experience of ward biased conditions of light and time. Riverside Park, on the le side of Manhattan. e lm combines “live action” footage and in-camera double exposures, further SEAWALL layered by superimposing and bi-packing the camera footage by Robert Todd, USA, 5 minutes (16mm), 2013, USA premiere, with handmade and hand-painted lm frames created from [email protected] plants gleaned in the park. Barriers… HOW TO SHOOT POOL WITH A ROPE APRIL 16 RECEPTION: SOLARISTICS by Je Hudson, USA, 1.5 minutes, 2013, World premiere, TRACTOR BREWERY by Peter Rose, USA, 10.75 minutes, 2013, New Mexico pre- je [email protected] 118 TULANE SE miere, [email protected] I was always curious to see if you could shoot pool with a rope. On the phenomenology of the black sun; an anthology of sight- I video taped myself at a friend’s pool table, edited it, and put it WWW.GETPLOWED.COM ings; on ways of seeing; an ecoparable. to some music I conjured up. (505) 433-5654

Laal Pari/ The Red Fairy is part of Experiment 9 Solaristics is part of Experiment 11 and will show April 16

THURSDAY, APRIL 17 NATIONAL HISPANIC CULTURAL CENTER 7:00Ð8:30PM pv 11 gg"Gxg CAMERALESS FILMS. MADE IN SPAIN. Ht CURATED BY ANTONI PINENT This program traces a chronological journey through a diverse selection of works made in Spain. The common bond ERI is a Òcameraless cinemaÓ technique applied from many different areas. Some of the works study the relationship hkz}kkt"znk"yu{tj"gtj"xn’zns"ul"znk"osgmk"{tjkx"znk"otä{ktzogr"ÕSiRgxkt"yz’rk4Ö"Yk¦kxgr"ul"znk"su¦oky"hkmot"}ozn"g" ãrsoi"hgyk2"h{z"gxk"ãtoynkj"}ozn"jomozgr"zkinturum’2"gtj"ikxzgot"ykrkizouty"}kxk"otä{ktikj"h’"znk"ãrsy"ul"Puy‡"Gtzu- nio Sistiaga and his ÔpictocinematographyÕ technique. NT EXPERIMENT N¼ 1 LA REINA DE LA NOCHE by Joaquim Puigvert, 1.5 minutes, 1958 by VV.AA., 4.75 minutes, 2007 EXPERIMENT N¼ II CIRCUIT TOR‚AT. CAMERALESS ME by Joaquim Puigvert, 1.5 minutes, 1959 WORKSHOP EXP LLUVIA by VV.AA., 4.5 minutes (silent), 2011 by Eugenio Granell, 2 minutes (silent), 1961 FLICKER FOR VIDELA GET BACK by Maximiliano Viale, 4.75 minutes, 2012 by Iván Zulueta, 2.5 minutes, 1968 I WAS RIGHT HOLES by Ana Pfa & Ariadna Ribas (Dostopos), 2.75 minutes, 2012 by Benet Rossell, 2 minutes (silent), 1969 14X14 APRIL 17 RECEPTION: by Albert Alcoz and Alberto Cabrera Bernal, 3 minutes, 2012 HOMENAJE A TARZçN MARBLE BREWERY by Rafael Ruiz Balerdi, 6 minutes, 1971 THE GAS THUS CUTS IN BITS 111 MARBLE AVENUE NW by Esperanza Collado, 7 minutes, 2012-2013 RITMES CROMËTICS WWW.MARBLEBREWERY.COM by Jordi Artigas, 5 minutes, 1978 SADAM (505) 243-2739 GIOCONDA / FILM by Maximiliano Viale, 2.5 minutes (silent), 2013-2014 by Antoni Pinent, 1 minute, 1999 CAMERALESS WORKSHOP MòSICA VISUAL EN VERTICAL (Experiments in Cinema), 15 minutes by Antoni Pinent, 1 minute (silent), 1999-2000 ESTUDIO EN ROJO by Oriol Sánchez, 2.5 minutes, 2002 5 PDF compression, OCR, web optimization using a watermarked evaluation copy of CVISION PDFCompressor FRIDAY, APRIL 18 12 SOUTHWEST FILM CENTER (UNM CAMPUS) 5:30Ð6:30PM PE THE REALIST by Scott Stark, USA, 36 minutes, 2013, New Mexico premiere, [email protected] e Realist is an experimental and highly abstracted melodrama, a “doomed love story” storyboarded with ickering still photographs, peopled with department store mannequins, and located in the visually heightened universe of clothing dis- plays, fashion islands, and storefront windows.

EX THE RESIDENCY ENT

RIM by Ioannis Savvidis, Greece, 25 minutes, 2013, USA premiere, [email protected] is lm talks about the freedom of art versus the freedom of the artist… An artist’s residency somewhere in the plateau of Portugal invites a lonely artist. He doesn’t have a clue as to what kind of project to pursue during his residence. at’s all he thinks about, but neither the picturesque landscape, nor the silent nature can provide any sort of inspiration or help.

7:00Ð8:00PM YOU CAN HAVE IT (SM)ALL CURATED AND PRESENTED BY STEPHEN KENT JUSICK 13 Lu{tjkj"ot"7?>=2"SO^"T_I2"vxkyktzkx"ul"znk"Tk}"_uxq"W{kkx"K̃vkxosktzgr"Lors"Lkyzo¦gr2"oy"znk"utr’"lkyzo¦gr" ul"ozy"qotj4"Znoy"ynu}2"iutjktykj"lxus"rutmkx"Uvktotm"Tomnzy"gz"xkiktz"SO^"Lkyzo¦gry2"vxkyktzy"g"xgtmk"ul" }uxq2"lxus"znk"jkroxou{yr’"oty{xxkizoutgx’"gtosgzout"ul"Ykkqotm"Zu"Jkyzxu’"Lgsoroky"gtj"Lgozn".gtj"znk"yosvr’" NT xk¦ur{zoutgx’"Vu{vkk"Xklxgizgoxk/"zu"znk"w{okzkx"xoz{gry"ul"Gynrgx","Vktzgirk2"gtj"znk"yvki{rgzouty"ul"Znotmy" gxk"Jollkxktz"Tu}"gtj"Ktiu{tzkxy4444 SEEKING TO DESTROY FAMILIES AND FAITH by Katie Bush, USA, 5 minutes ERI THINGS ARE DIFFERENT NOWÉ by Ryan Conrad, Canada, 4 minutes

ME ENCOUNTERS I MAY OR MAY NOT HAVE HAD WITH PETER BERLIN by Mariah Garnett, USA, 15 minutes EXP ASHLAR AND PENTACLE by Micki Pellerano, USA, 6 minutes I TOLD HER I WAS HOME by Irit Reinheimer, USA, 6 minutes POUPƒE RƒFRACTAIRE (RESISTANT DOLL) by Yannick Gallepie, France, 3 minutes

8:30Ð9:30PM

Cecfgoke"Ekpfi/enwd"Dgnitcfg."3;82/3;:2 CURATED AND PRESENTED BY GREG DECUIR, JR. Gigjksoi"Iot‡3ir{h"}gy"lu{tjkj"ot"7?;>"ot"Hkrmxgjk".Ykxhog2"znkt"_{muyrg¦og/"gy"gt"grzkxtgzo¦k"zu"g"znxo¦otm2" 14 vuyz}gx2"otyzoz{zoutgr"iot‡3gsgzk{x"i{rz{xk"zngz"}gy"w{oiqr’"hkiusotm"gt"osvktkzxghrk"nokxgxin’4"¥kx’"w{oiqr’" g"t{shkx"ul"k̃iozotm"’u{tm"vkxyutgrozokyÔsgt’"ul"}nus"}u{rj"rgzkx"hk"iu{tzkj"gsutm"znk"mxkgzkyz"ul"

ERI ãrssgqkxy"ot"znk"noyzux’"ul"_{muyrg¦ogt"iotksg"Ó"äuiqkj"zu"znk"ir{h"gtj"hkmgt"vxuj{iotm"ottu¦gzo¦k"}uxq2" otir{jotm"k̃gsvrky"ul"vxuzu3yzx{iz{xgroys2"vukzoi"jui{sktzgxoky2"gtj"r’xoigr"k¦uigzouty"ul"xkgroz’"gtj"y{xxkgr- oz’4"Znoy"vxumxgs"vxkyktzy"yusk"ul"znk"mxu{tjhxkgqotm"ãrsy"lxus"znk"noyzux’"ul"znk"ir{h".rgzkx"xk3tgskj"Gig- jksoi"Lors"Iktzkx/2"s{in"ul"}noin"ngy"tuz"hkkt"yixkktkj"ot"otzkxtgzoutgr"ykzzotmy"ot"g"t{shkx"ul"jkigjky4" TRIPTYCH ON MATTER AND DEATH (TRIPTIH O MATERIJI I SMRTI) NT by Živojin Pavlović, Yugoslavia, 1960, 9 minutes VOWELS (SAMOGLASNICI)

EXP by Nikola Djurić, Yugoslavia, 1973, 8 minutes FROM ME TO YOU (OD MENE DO TEBE) by Miodrag Tarana & Mirko Avramović, Yugoslavia, 1972, 3 minutes TELEVISION IS A MOVIE THEATER I GO TO SITTING IN THE BACKYARD APRIL 18 RECEPTION: .ZKRK¥O`UX"PK"HOUYQUV"["QUPO"UJRG`OS"YKJK┛O"["J¥UXO0Z[/ by Bojan Jovanović, Yugoslavia, 1974, 5 minutes CARRAROÕS PIZZA & JOEÕS PLACE JOURNEY (PUTOVANJE) by Bojana Vujanović, Yugoslavia, 1972, 2 minutes 108 VASSAR DRIVE SE (505) 268-2300 NUSK".Q[┛G/ by Radoslav Vladić, Yugoslavia, 1977, 8 minutes UXMGTUT"ZNK_"GYQKJ"SKÌ".UXMGTUT"ZXG2ORO"Y["UJ"SKTKÌ/ by Zoran Saveski, Yugoslavia, 1980, 9 minutes SMOKE AND WATER (DIM I VODA) by Dragoslav Lazić, Yugoslavia, 1962, 9 minutes HR[K"XOJKX".VRG¥O"PGNG┬/ by Tomislav Gotovac, Yugoslavia, 1964, 14 minutes

6 PDF compression, OCR, web optimization using a watermarked evaluation copy of CVISION PDFCompressor SATURDAY, APRIL 19 GUILD CINEMA 4:30Ð5:30PM 15 ALTERNATIVE FILM/VIDEO BELGRADE, 1982

I[XGZKJ"GTJ"VXKYKTZKJ"H_"LKYZO¥GR"LU[TJKX"GTJ"JOXKIZUX"SOUJXGM"SORU0K¥O┛4 ERI Grzkxtgzo¦k"Lors5¥ojku"Hkrmxgjk"}gy"lu{tjkj"h’"lkyzo¦gr"joxkizux"Soujxgm"Soru3k¦o├"ot"7?>84"Znk"lkyzo¦gr"oy"ruigzkj" gz"Gigjksoi"Lors"Iktzkx"ot"Hkrmxgjk"}noin"}gy"kyzghroynkj"ot"7?;>"gy"g"iot‡3ir{h"}nkxk"joxkizuxy"iu{rj"vxgizoik" tut3iusskxiogr"gtj"grzkxtgzo¦k"ãrssgqotm4"Grzkxtgzo¦k"Lors5¥ojku"Hkrmxgjk"oy"znk"urjkyz"lkyzo¦gr"ul"g¦gtz3mgxjk"ãrs" gtj"¦ojku"ot"K{xuvk4"Znk"p{x’"ul"znk"otg{m{xgr"lkyzo¦gr"kjozout"otir{jkj"znk"lurru}otm"skshkxy@"Pu¦gt"Pu¦gtu¦o├2" joxkizux"ul"znk"_{muyrg¦"Hrgiq"]g¦k"ãrs"_u{tm"gtj"Nkgrzn’"gy"g"Xuyk".7?=7/A"¥rgjg"Vkzxo├2"vxulkyyux"ul"ãrs"yz{j- oky"gz"Ngx¦gxj"[to¦kxyoz’"gtj"lu{tjotm"joxkizux"ul"znk"Ngx¦gxj"Lors"Gxino¦kA"Yg¦g"Zxolqu¦o├2"ãrssgqkx"gtj"skshkx"

ul"Gigjksoi"Lors"Iktzkx5Iot‡3ir{hA"gtj"Hu5ojgx"`kいk¦o├2"ãrs"ixozoi"gtj"znkuxoyz4"Znoy"vxumxgs"vxkyktzy"yusk"ul"znk" ME ãrsy"gtj"¦ojkuy"znk"p{x’"ykrkizkj"lux"znk"lkyzo¦grÙy"ãxyz"royz"ul"osvuxzgtz"}uxqy@ NT

BIG TOWN / VELO MISTO EXP Branko Karabatić, 12 minutes, 1982 THE PASSION OF JOAN OF ARC / STRADANJE JOVANKE ORLEANKE Miroslav Bata Petrović, 17 minutes, 1982 KRAS 88 Franci Slak, Hanna Preuss, Radovan Čok, Bojan Kastelic and Andrej Morovič, 8 minutes, 1979-82 AURA IN AUROVISION Slobodan Valentinčič, 8 minutes, 1978 EXILE / IZGNANSTVO Ivan Martinac, 12 minutes, 1979-81 PRESSION Ljubomir Šimunić, 16 minutes, 1970-75

A Short History of Abandoned Sets will show April 17 as part of Experiment 16 at Guild Cinema

6:00Ð7:00PM I WOULD LIKE IT VERY MUCH EL FIN DE LA EXISTENCIA DE LAS by Deron Williams, USA, 3.5 minutes, 2012, New Mexico pre- COSAS miere, [email protected] by Dalia Huerta, Mexico, 5.5 minutes, 2013, USA premiere, I Would Like It Very Much is a gently minimal plea for connec- 16 [email protected] tion between artist and audience, despite the distance between e story takes the point of view of a boy who faces his bro- the two. ken heart and embarks on a voyage that will take him through memories and the things that are le of that intense relation- A SHORT HISTORY OF ABANDONED ship, towards a liberating destination. SETS (PETITE HISTOIRE DU PLA- TEAUX ABBANDONNé) VIEW FROM A BOAT WITH EXOTIC by Ra di Martino, Italy/Morocco, 8 minutes, 2012, New Mexico WOMAN AND FIREWORKS premiere, [email protected] by Jonathan Franco, Portugal, 1.5 minutes, 2013, USA premiere, PER NT Abandoned movie sets are used; the actors are two local kids, born [email protected] EX not far from the lm studios, now almost abandoned, near Ouarza- A man with a hat dreams of an exotic woman while looking at zate. e two kids re-enact a few lines from movies that have been the seascape. shot there, an American horror movie and Lawrence of Arabia. TRIP THE LIGHT FANTASTIC PROPERTY An expanded cinema performance by Kerry Laitala, 12 minutes, by Jeanne Liotta, 3 minutes (35mm), USA, 2013, New Mexico 2013, New Mexico premiere, [email protected] IME premiere, [email protected] In Trip the Light Fantastic, circular-patterned motions estab- An anti-landscape lm and a one-two punch. I was prodded lish a visual dance upon the screen. A Victorian-era tightrope by a proximity to the western landscape. It was where I found walker draws attention to the precarious nature of loop-based myself; I made no claims to it, no promises, no sympathies. I live performance. Sparks thrown from a grinding wheel recall studied the lingo and took my measure. Made in Colorado. the ancient aliation of friction and illumination. WAVELAND by Cade Bursell, USA, 21 minutes, 2014, World premiere, [email protected] Inspired by the poem Rime of the Ancient Mariner, this elegiac vi- sual and aural tone poem re-imagines the relationship expressed in the poem as a broken bond between humans and the oceans. 7 PDF compression, OCR, web optimization using a watermarked evaluation copy of CVISION PDFCompressor SATURDAY, APRIL 19 17 GUILD CINEMA EXP (CONTIN UED FROM PREVIOUS PAGE) 7:30Ð8:30PM OWNERBUILT by Lawrence Andrews, USA, 49 minutes, 2013, New Mexico premiere, [email protected] Hurricane Katrina destroyed Noel’s community and home. As he rebuilds, he evokes the past through his personal archives. His memories are complicated by the tragic events of Danziger Bridge where police gunned down innocent IM ER people in search of safety. ENT

Ownerbuilt will show April 19 as part of Experiment 17 at Guild Cinema EXP

9:00Ð10:00PM HORRORISM FOR BEGINNERS, BEGINNERS FOR HORRORISM 18ME A PRESENTATION BY ARTISTS IN RESIDENCE, ANJA DORNIEDEN & JUAN DAVID GONZALEZ How to begin. is is the device that does not release pressure. is NT is the device that does not soothe, that does not relieve pain. is is the device that does not apply gentle massage. is is the device that

ERI does not ameliorate noise. is is the device that does not remember. is is the device that does not learn. is is is the device that is always beginning, that does not know how to end. is device is like a sentient cavern whose behavior is beyond understanding.

Gtpg"Juxtokjkt"gtj"P{gt"Jg¦oj"Mut\«rk\"Sutxu’"gxk"ãrssgqkxy"ro¦otm"gtj"}uxqotm"ot"Hkxrot4"Zumkznkx2" znk’"gxk"znk"lu{tjkxy"ul"Nuxxuxoys2"g"yos{rgzkj"skznuj"lux"ottkx"gtj"u{zkx"zxgtyluxsgzout4"Znkox"}uxq" ktiusvgyyky"ãrsy2"vkxluxsgtiky2"otyzgrrgzouty2"gtj"}uxqynuvy4"Yotik"86762"znk’"gxk"skshkxy"ul"znk" gxzoyz3x{t"ãrs"rgh"RghuxHkxrot4

APRIL 19 RECEPTION: OÕNIELLÕS IRISH PUB 4310 CENTRAL AVENUE SE www.oniells.com (505) 255-6782

Uyuni is part of Experiment 20 and will show April 20 at Guild Cinema

8 PDF compression, OCR, web optimization using a watermarked evaluation copy of CVISION PDFCompressor SUNDAY, APRIL 20 GUILD CINEMA 19 NOONÐ1:00PM TRIP THE LIGHT FANTASTIC BUFFALO DEATH MASK .XKVKGZ"VKXLUXSGTIK'/ by Mike Hoolboom, Canada, 23 minutes, 2013, New EXP An expanded cinema performance by Kerry Laitala, 12 min- Mexico premiere, [email protected] utes, 2013, New Mexico premiere, [email protected] A conversation with Canadian artist Stephen Andrews returns Trip the Light Fantastic us to a pre-cocktail moment, when being HIV+ aorded us the In , circular-patterned motions ER establish a visual dance upon the screen. A Victorian-era consolation of certainty. tightrope walker draws attention to the precarious nature UYUNI of loop-based live performance. Sparks thrown from a by Andres Denegri, Argentina/Bolivia, 10 minutes, 2008, IM ENT grinding wheel recall the ancient a liation of friction New Mexico premiere, [email protected] and illumination. e performance ultimately seeks to work with the rhythms of Neal Johnson’s musical accom- She wants to leave. He feels safe there. e barren land- paniment to sculpt light in real time at the caprice of the scape of the Bolivian town of Uyuni is cut by a trans- projectionist. mission of Peruvian radio. e tense situation of Latin America is in the violence of the wind. BOTANICOLLAGE FILMMAKING WORKSHOP FILM SCREENING IMMORTAL, SUSPENDED by Deborah Stratman, USA, 6 minutes, 2013, New Taught by Caryn Cline,15 minutes Mexico premiere, delta@pythagoraslm.com Screening of the lms produces in the Botanicollage e idea of suspension is evoked on shiing registers—as workshop on April 18. levitation, cessation, preservation, and suspense—and EXP located in sites whose identities slip as we track through a space within a space.

1:30Ð2:30PM PUNCTURED THE DEATH OF GRANDMA GLADYS 20 by Michelle Mellor, 3.5 minutes, USA, 2014, World pre- by Kate Lain, USA, 5 minutes, 2008, New Mexico pre- miere, mellorsighting@gmail miere, kate@katemakes lms.com ME NT

Using materials that were in the process of being thrown A romp through family photos, poststructuralism, and ERI away, Punctured contemplates spaces of loss and acquisi- the New Christy Minstrels. tion in aging. THAT WHICH MOVES THE SUN AND WHITE LADY DIARIES STARS by Julie Perini, USA, 4.75 minutes, 2013, New Mexico by Takahiro Suzuki, USA, 8.5 minutes, 2013, New premiere, [email protected] Mexico premiere, [email protected] White Lady Diaries explores white racial identity in the is lm is a brief examination into the idea of fate and present-day United States through close observation of its existence. Using excerpts from Dante Alighieri’s !e the everyday life activities of the artist. Racial privileges Diving Comedy, the piece follows the process of realiza- that are typically dicult to see come to the surface in tion when one’s perception of what they thought was fate this gentle, but critical, examination of one particular is broken. white life. TOMÕS GIFT COLLECTIBLE HOLOGRAPHIC(S) by Charles Lum & Todd Verow, USA, 7 minutes, 2012 New APRIL 20 RECEPTION: by Stephanie Gray, USA, 11 minutes (8mm), 2013, New Mexico premiere, [email protected] KELLYÕS BREW PUB Mexico premiere, [email protected] Reminisces of cruising areas vanished. Voice-over nar- 3222 CENTRAL AVENUE SE Inspired by Alan Gilbert’s poetry book Late in the An- ration describes Tom’s Gi", a sex shop in rural America tenna Fields. Aer “story boarding shot-by-shot,” it was closed by municipal ordinance. WWW.KELLYSBREWPUB.COM shot in one day, edited in camera, in one park, aer nd- (505) 262-2739 ing images I collected from the book. MONDAY, APRIL 21 THE GUILD CINEMA Admission $7 per show or $10 for the entire evening! POST FESTIVAL WIND DOWN! 6:00Ð7:30PM HOT DOCS AS SUBVERSIVE ART Filmmaker Gerry Fialka probes the hottest new documentarians with rare lm clips and discussion on how we per- ceive the world. What is the story, and then, what is the “real” story? How and why are new documentaries generating and reinforcing mistrust in mainstream media? Do they more activate or pacify the audience? Analyze y-on-the- wall and y-in-the-soup approaches. 8:00Ð9:30PM PORTRAIT OF THE POET AS EXPERIMENTAL FILMMAKER Historian/Lit Critter Gerry Fialka is joined by Dudeist Priest DON McIVER & local poets (including Bill Nevins, Damien Flores) for an interactive workshop that examines the connections between lm and poetry. ey do so with rare clips and LIVE poetry readings, accompanied by lm projections that stir up new metaphors via self-reexive synthesis.

9 PDF compression, OCR, web optimization using a watermarked evaluation copy of CVISION PDFCompressor Experiments in Cinema v. 9.72 Thanks our 2014 Sponsors! tiefa meDia tiefamedia.com/graphic-design

SPECIAL THANKS TO OUR AMAZING AUDIENCE AND ALL THE FILMMAKERS FOR BELIEVING IN OUR SOMEWHAT ESOTERIC MISSION. Also thanks to: Jeanne and Vic Konefsky, Patrice Beers, Michelle Mellor (Assistant Director), Jeremy Foote (Web Designer), CS Tiefa (Tiefamedia Graphic Design), Beth Hansen (Workshop Coordinator), Sahra Saedi (Hospitality Coordinator), Nicole Hoch (Print Trac Controller), James Drummond (Technical Guru), Asha Hopkins & Britney King (Youth Program Coordinators); additional members of Basement Films: Peter Lisignoli, Senaida Garcia, Marilou Ugalde, David Camarena, River Quane, David Bass, Jenette Isaacson, Sean Williams and Ryan Sciarrotta; Ann Lerner (ABQ Film Oce), Keif Henley (co-owner, e Guild Cinema), Susan Dever (chair, UNM Department of Cinematic Arts), James Roy (Tech Advisor, UNM Department of Cinematic Arts), Lindsay Michelle Rogash (Accountant, UNM Department of Cinematic Arts), Milly Casteneda (Instituto Cervantes), Su Hudson (P.A.P.A. Film), Louis Schalk (ABQ Academy), Stephanie Becker (Amy Biehl High School), Adrew Barrow (MACCS), Mary Tsiongas (chair, UNM Department of Art/ Art History), Roberto Appicciafoco (Director, SW Gay and Lesbian Film Festival), Ramsey Loon (UNM Arts Management), Adina Pantea (Hiway House Motel), Travis Parkin (Guerrilla Graphix), and all the great students enrolled in MA 409 (Advanced Moving Image Art) who helped to make our festival possible! FULL REPORT TO FOLLOW. PDF compression, OCR, web optimization using a watermarked evaluation copy of CVISION PDFCompressor