Electrons meet the orgone in this overflowing smorgasbord of live sound, hybrid analog/digital video jamming, feedback loop freak outs and robotic puppet show spectacle run amuck—promising to fill Cinematheque’s Center for New Music project space with performers, projectors and gadgets galore.
Analogue Recurring is a screening event seeking to illuminate the sculptural qualities of working with analogue film, and the mechanical processes and materiality inherent. It is contemporary, experimental and embraces a DIY ethos. Bringing together artists who insist on working with the material of celluloid film, the event is a platform to discuss and enjoy the visceral pleasures of analogue films and their projectors. This is contemporary analogue film in the digital age.
The screening will be analogue only. We will project 16mm and if possible some super-8. We are also interested in expanded cinema or multi-screen works, although we may have some limitations due to size of space, and projector logistics. But all proposals considered, and welcomed.
(Near) extinct technologies make sound visible in this program of shorts that delve into ideas of knowledge, memory, and communication. On a Chladni Plate, a device that marked the birth of acoustics, grains of sand, moving like Busby Berkeley dancers, form intricate patterns in response to changing sound frequencies, their shapes recalling the utopian quest for a “pure,” onomatopoeic alphabet. Wax cylinder recordings combine with modern scientific instruments to animate a text by Rainer Maria Rilke on the possibility of hearing the dead by playing their skulls with a gramophone needle. A histrionic voice-over, translated into a wave of small flames on a Ruben’s Tube, provokes unexpected associations, from the biblical burning bush to various acts of ventriloquism in pop culture...
Born in 1949 in New York, Dominic Angerame teaches, lives and works in San Francisco. Since 1969, he has directed over thirty-five films screened and awarded in many festivals around the world. He teaches directing, cinematography and criticism at the University of Berkeley in California, San Francisco Art Institute and also acted as professor and associate artist in many institutions. He led for more than 30 years of Canyon Cinema distribution cooperative. His work is greatly influenced by the avant-garde cinema, particularly the 1920s and 1930s, and explores the cycle of destruction and construction imposed by man on his urban environment, constantly changing.
Fool’s Gold: California Roadtrip in an Election Year references the theme of greed and envy told through popular legends and stories of the livelihood and moral fiber of a once wealthy, small, and rural American mining community of Trona California; after a corporate layoff and its ensuing exodus; as told thru interviews with the remaining elderly population. Historic facts spanning the Gold Rush and the 1980’s of Reagan’s presidential years, comments about “consciousness” and visuals of Cain & Abel, Zombies as “insatiable consumers” found in Michael Jackson’s Thriller dance sequence, and desert landscape of the Pinnacles National Monument and Death Valley, display an American mindset that effects war and its economic circles, the housing crisis and global financial change, and the love for consumer products and celebrity
The program title Kaleidoscopic Visions was inspired by P. Adams Sitney’s description of Saul Levine’s unique style of shooting and cutting as "...fused with the kaleidoscopic fury of memory...”. The program selects films by Saul Levine from 1973 to 2011. The films represent roughly three of Saul’s major formal approaches to the small gauge formats of Regular 8mm (presented as a digital transfers and a 16mm blow up) and Super 8mm (presented in Super 8mm and 16mm blow ups).
Filmmaker Saul Levine will be in Chicago for the Screening! Q & A following the Program!