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53rd Ann Arbor Film Festival Program

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Ann Arbor Film Festival
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EXTRAORDINARY FILMS DISCOVERED.
Ocinetopia
INTERNATIONAL FILM FESTIVAL
JUNE 5-14, 2015
DETROIT • ANN ARBOR
Featuring the best films from the best festivals in the world,
including Sundance, Cannes, Venice, Toronto and Berlin.

Stay tuned to cinetopiafestival.org for details.

The 53rd Ann Arbor Film Festival is dedicated to the memory of George Manupelli (1931-2014)

OVERVIEW 2 Calendar of Events 4 Letter from the Executive Director 5 Award Jurors 6 Filmmaker Awards 8 Award Donors & Members 10 Staff, Volunteers & Acknowledgements 12 Beyond the Fest: Tour 13 Beyond the Fest: DVD Collections 14 Silent Auction 15 Partners & Sponsors

WRITINGS ABOUT GEORGE 17 Betty Johnson 18 Ann Borkin
19 Bill Finneran 20 John Caldwell 21 Harold J. Borkin
22 Allan Schreiber 24 Pat Oleszko 25 Andrew Lampert
25 Jay Cassidy 26 Adrianne Finelli 26 George Manupelli

INSTALLATIONS 27 Space 2435 Satellite Exhibition 29 Jane Cassidy 29 Jesse McLean 30 MI Theater Installations

WORKSHOPS & DISCUSSIONS 31 Expanding Frames

PROGRAMS 32 Tuesday 37 Wednesday 49 Thursday 59 Friday 71 Saturday 91 Sunday 99 Awarded Film Programs

RESOURCES 100 From our Sponsors 126 Title Index 127 Filmmaker Index 128 Map

Front Cover image adapted from the 7th Ann Arbor Film Festival printed materials, by George Manupelli, circa 1969.

TUE 03/24
2pm–5pm | FREE Expanding Frames: Workshops & Discussions Space 2435, North Quad, State Street
6pm–8pm Opening Night Reception Michigan Theater Grand Foyer
8:15pm Opening Night Screening Films in Competition Michigan Theater Main Auditorium
Afterparty Sava’s 10pm–2am | FREE
WED 03/25
10am | FREE Expanding Frames: Workshops & Discussions Space 2435, North Quad, State Street
12:15pm | FREE Jesse McLean Juror Presentation Michigan Theater Screening Room
2:30pm | $6 Music Videos in Competition Michigan Theater Main Auditorium
3pm–5pm Satellite Exhibition: Reception Space 2435, North Quad, State Street
4:30pm Computer Age: Early Computer Movies, 1953–1969 Michigan Theater Screening Room
Overview
CALENDAR OF EVENTS
7pm Computer Age: Early Computer Movies, 1971–1987 Michigan Theater Screening Room
7:15pm Films in Competition 1 Michigan Theater Main Auditorium
9:15pm Tacita Dean: Program One Artist in Attendance Michigan Theater Screening Room
9:30pm Häxan w/ live score by Demdike Stare Michigan Theater Main Auditorium
Afterparty The Ravens Club 11pm–2am | FREE Enjoy independent and experimental mixology in a 1920s speakeasy setting.
THU 03/26
10am | FREE Expanding Frames: Workshops & Discussions Space 2435, North Quad, State Street
12:15pm | FREE Joanna Raczynska: Experimental Cinema In Eastern Europe Juror Presentation Michigan Theater Screening Room
3pm | FREE Harun Farocki: Images Of The World And The Inscription Of War Michigan Theater Screening Room
5:10pm | FREE Penny W. Stamps Presents Tacita Dean Michigan Theater Main Auditorium
7pm Episode Of The Sea Michigan Theater Screening Room
2
7:15pm Films in Competition 2 Michigan Theater Main Auditorium
9:15pm Tacita Dean: Program Two Artist in Attendance Michigan Theater Screening Room
9:30pm Out Night Films in Competition Michigan Theater Main Auditorium
11:30pm–1am | $5 Cinema and Music Performance Ojoboca / Wojciech Bąkowski Performance Network Theater 120 E. Huron Street
Afterparty \Aut\Bar 11pm–2am | FREE Out Night continues at \aut\BAR with complimentary appetizers and fire pits in the courtyard!
FRI 03/27
10am | FREE Expanding Frames: Workshops & Discussions Space 2435, North Quad, State Street
12:15pm | FREE Julie Murray Juror Presentation Michigan Theater Screening Room
3pm | FREE What Farocki Taught: Jill Godmilow Screening and Discussion Filmmaker in Attendance Michigan Theater Screening Room
5pm–6:30pm Jane Cassidy Gallery Talk & Reception Work Gallery | 306 S. State Street
Overview
CALENDAR OF EVENTS
7pm Wojciech Bąkowski: Retrospective Michigan Theater Screening Room
7:15pm Films in Competition 3 Michigan Theater Main Auditorium
9:15pm Transatlantique Feature in Competition Michigan Theater Screening Room
9:30pm Animated Films in Competition Michigan Theater Main Auditorium
11:30pm-1am | $5 Cinema and Music Performance Buke & Gase w/ Ted Kennedy & Technicolor N.G. 310 E. Washington Street
Afterparty The Bar at 327 Braun Court 11pm–2am | FREE Celebrate the festival with a drink at our neighborhood bar!
SAT 03/28
11am | $6 Films in Competition 4 (Ages 6+) Michigan Theater Main Auditorium
11:15am Films in Competition 5 Michigan Theater Screening Room
1pm Films in Competition 6 Michigan Theater Main Auditorium
1:15pm Films in Competition 7 Michigan Theater Screening Room
2:30pm Artist Talk: Reynold Reynolds Michigan Theater Grand Foyer
3 3pm Le Révélateur and Karl Lemieux / Roger Tellier-Craig Live Cinema Performances Michigan Theater Main Auditorium
3:15pm Films in Competition 8 Michigan Theater Screening Room
5pm Iron Ministry Feature in Competition Michigan Theater Main Auditorium
5:15pm Greetings to the Ancestors with Depositions / Occidente Michigan Theater Screening Room
7pm The Creation of Meaning Feature in Competition Michigan Theater Screening Room
7:15pm Films in Competition 9 Michigan Theater Main Auditorium
9:15pm Speculation Nation Feature in Competition Michigan Theater Screening Room
9:30pm Films in Competition 10 Michigan Theater Main Auditorium
11:30pm–2am | $5 Cinema & Music Performance: Jane Cassidy w/ Justin Walter & Erik Hall Alvarez & Dye Performance Network Theater | 120 E. Huron Street
12am | $8 Tickets Midnight Movie: Tron State Theatre
Afterparty The Heidelberg 11pm–2am | $8 (Free with an AAFF pass) Dance the night away with a special DJ set from Shigeto!
SUN 03/29
10am Expanding Frames: Workshops & Discussions Space 2435 North Quad, State Street
11am Regional Films in Competition Michigan Theater Main Auditorium
11:15am Forest Of Bliss: Robert Gardner Michigan Theater Screening Room
1pm Films in Competition 11 Michigan Theater Main Auditorium
1:15pm The Royal Road Feature In Competition Michigan Theater Screening Room
2:45pm | FREE Tribute To George Speakers, Film & Performance Michigan Theater Main Auditorium
3pm Maïdan: Sergei Loznitsa Michigan Theater Screening Room
6pm Award Program 1 Michigan Theater Main Auditorium
8:15pm Award Program 2 Michigan Theater Main Auditorium
Afterparty Alley Bar 10pm–2am | FREE Wrap up the 53rd AAFF with delicious handcrafted cocktails!
LETTER FROM THE EXECUTIVE DIRECTOR
Welcome— we are overjoyed to bring you the 53rd Ann Arbor Film Festival! Your presence here signifies both the coming of spring as well as an amazing week of moving image art.
Thank you x 10,000 to the artists for your creativity and passion. We appreciate your ability to make new and personal visions of the world. We are inspired and invigorated by you.
We are deeply grateful to our many volunteers, members, donors, sponsors and partners who power our engine. Your support makes a place for us to come together in appreciation and wonder over avant grade film.
And a huge thank you goes to the Ann Arbor Film Festival Board of Directors for your energy, support, and mentorship. This is the first Festival to come after the passing of our founder George Manupelli, the artist, filmmaker, teacher and activist. While we lose a guiding light, a visionary's work is never complete, and the Festival is proud and grateful to carry that forward, in his honor.
In the 1960s, “people power” was a democratic force for good which impacted positive change in the world. The socio-cultural fabric also gave rise to “Happenings.” These performances, events and situations made the viewer part of the artwork. Experiencing the world actively with others was a kind of social glue. The Ann Arbor Film Festival arose from these tendencies, a “people power” happening of film and performance.
In 2015, we may not exactly have “Happenings” anymore, but we do have flash mobs, crowd sourcing and other expressions of the many. Technology intersects with the human need for communal experience, shared processes and co-creating. A diversity of voices is embraced. Looking both backwards & forwards simultaneously we can find the past in the present, and a relationship between the social sculpture of the ‘Sixties and the social media of today.
That founding spirit of participation and direct connections between the makers and the audience is as strong if not stronger and more vital than ever.
We happily bestow upon you a week full of the moving image and all of the visions, experiences, discussions, and opportunities this entails.
Participate in the discussion. Contribute to the What We Saw project (p. 30) by leaving your observations in the box in the lobby. They will end up in the slideshow on the boxoffice monitor and beyond. Add to the Manupelli timeline. Talk to each other.
And above all, enjoy the films!
—Leslie Raymond, Executive Director
Overview
4
AWARD JURORS
JESSE McLEAN
Jesse McLean is a media artist moti- vated by a deep curiosity about human behavior and relationships. Her work is concerned with both the power and the failure of the mediated experience to bring people together. Recent videos put pressure not only on the relationships that develop between viewer and subject, but also on the ways emotions are lived in an age of mediated experience. She has presented her work at museums, galleries, and film festivals worldwide, including the Mumok Cinema in Vienna, International Film Festival Rotterdam, Views from the Avant Garde at the New York Film Festival, CPH:DOX, Kassel Dokfest, Impakt, and the Contemporary Art Museum, St. Louis. She was the recipient of an International Critics Prize, (FIPRESCI Prize) at the Internationale Kurzfilmtage Oberhausen in 2014 and a Jury Prize in the International Competition at the 2013 Videoex Festival. She was a featured artist at the 2014 Flaherty Seminar and is an Assistant Professor in the Department of Cinematic Arts at University of Iowa.
JULIE MURRAY
Drawing on her background in fine art, filmmaker Julie Murray has made more than twenty-five film and digital works which have been exhibited at numerous national and international venues including the New York Film Festival, the Hong Kong International Film Festival, the International Film Festival Rotterdam, Centre George Pompidou (Paris), the London Film Festival and the Flaherty Film Seminar. Her work was featured in the 2004 edition of the Whitney Biennial and her films are part of the permanent collections of the Museum of Modern Art and the Whitney Museum of American Art. Murray has presented her work at venues including REDCAT (Los Angeles), Anthology Film Archives, Media City Film Festival, Pacific Film Archive, Los Angeles Filmforum, the San Francisco Cinematheque and Cinematheque
Overview
Free Presentation Wednesday 12:15pm See page 38 for details
Ontario (Toronto). Her early Super 8mm films were selected for a National Film Preservation Foundation Award in 2014. Originally from Dublin, Ireland, Murray has been residing in the US since the 1980s.
Free Presentation Friday 12:15pm See page 60 for details
Free Presentation Thursday 12:15pm See page 50 for details
5
JOANNA RACZYNSKA
Joanna Raczynska is assistant curator in the film department at the National Gal- lery of Art, Washington DC. In the past, she’s worked for a variety of non-profit organizations including Hallwalls Contem- porary Arts Center (media arts director,
2002-2006), the Hirshhorn Museum and Sculpture Garden, the Mid Atlantic Arts Foundation, and the Baltimore Museum of Art, among others. She’s served as a juror for the Images Festival in Toronto and the Cleveland International Film Festival; volunteered as a screener for Silverdocs at the AFI Silver Theatre; and participated as a panelist for a variety of funding agencies including the New York State Council on the Arts’ Individual Artists Program. She holds a master’s degree in documentary by practice from Royal Holloway College, University of London, and a bachelor’s degree from University of Maryland Baltimore County where she first started making non-fiction films and videos. Her work has screened at the Centre for Contemporary Art Ujazdowski Castle, Warsaw, Poland; ZKM, Karlsruhe, Germany; Sheffield Doc/Fest, U.K.; Squeaky Wheel, Buffalo, NY and other venues.
Overview
FILMMAKER AWARDS
The Ann Arbor Film Festival is committed to providing direct support to filmmakers. Our 2015 awards competition presents over $21,000 to filmmakers through cash and film stock / processing. Winning an award at the AAFF means not only prestige and financial support, but can also qualify filmmakers for Oscar®-nomination by the Academy of Motion Picture Arts and Sciences in the short film category (qualifying awards: Best of Festival, Best Experimental Film, Best Animation, Best Narrative).
Ken Burns Award for Best of the Festival $3,000 Presented to the film of any genre or length that best represents the artistic standards of excellence for the Festival. This award is generously provided by influential documentary filmmaker Ken Burns, a graduate of Ann Arbor’s Pioneer High School.
Tom Berman Award for Most Promising Filmmaker $2,000 Supports an emerging filmmaker expected, by the jury, to make a significant contribution to the art of film. Contributed by the Berman family in honor of the memory of Tom Berman, who was a student of AAFF founder George Manupelli at the University of Michigan. Tom was an early Festival supporter and close friend to many within the Festival community.
6 Michael Moore Award
Chris Frayne Award
The Barbara Aronofsky for Best Documentary Film
for Best Animated Film
Latham Award for Emerging $1,000
$1,000
Experimental Video Artist The best non-fiction film of the
In recognition of the animated
$1,000 Festival will receive this award
film that delivers the best
This award provides support from documentary filmmaker
style, creativity, and content.
to the most promising video Michael Moore, who received
This award is given in
artist at the inception of her/ inspiration from hundreds of
honor of the spirit of Chris
his career. Distributed by films he viewed over the years
Frayne, a key participant in
the Video Data Bank, the at the Ann Arbor Film Festival.
the Festival’s early years,
award was conceived by the Proceeds from his film,
whose approach to life was
Aronofsky family to honor Roger and Me, fund this
reminiscent of his colorful
the late Barbara Aronofsky annual award.
cartoon characters. Special
Latham, a Chicago-based thanks to Ann Arbor’s colorful
experimental video artist who Lawrence Kasdan Award
Quack!Media for lead support
passed away in 1984. for Best Narrative Film
of this award. $1,000
Gil Omenn The narrative film that best
Gus Van Sant Award
Art & Science Award makes use of film’s unique
for Best Experimental Film
$1000 ability to convey striking and
$1,000
This award honors the original stories will receive
Celebrates the film that most
filmmaker whose work this award distinction. A
successfully showcases the
best uses the art form of film notable Hollywood filmmaker,
use of experimental
and video to explore scientific Lawrence Kasdan got his start
processes, forms, and topics.
concepts, research natural in Ann Arbor at the University
phenomena or embrace of Michigan and continues his
Stan Brakhage
real world experimentation. connection through support of
Film at Wit’s End Award
Provided by Gil Omenn who this Festival award.
$1,000
seeks to encourage a positive For a filmmaker who
exchange between the arts demonstrates the utmost
and sciences. dedication to their individual, creative art practice. A deep and personal necessity drives this artist to make revealing and thought-provoking work in moving image art that embodies both formal innovation and integrity.
Prix DeVarti for Funniest Film $1,000 Awarded to the film likely to create the most laughs in the Festival. This prize recognizes the 53-year friendship between Dominick’s pub and the Ann Arbor Film Festival, and honors the memory of Dominick and Alice DeVarti. Supported by the D. Devarti Family Trust.
Colorlab/Niagara/ ORWO Award for Best Cinematography $1350 processing, $500 B/W film stock For the film that demonstrates the highest excellence and creativity in cinematography. The recipient of this award will receive film processing from Colorlab ($750), a full-service motion picture film laboratory and telecine house; and Niagara Custom Lab ($600) the only full-service lab in Canada running the new super 8 negative stocks; as well as film stock from ORWO North America ($500).
Kinetta Handcrafted Film Award $1000 Given for the film that best incorporates footage that was shot on film. The recipient will receive $1000 of in-kind scanning services provided by Kinetta using their proprietary scanners designed to safely scan fragile original film.
AWARDS ANNOUNCEMENT Sunday, March 30 at 6pm
Overview
7
AWARDS SCREENINGS Sunday, March 30 at 6pm and 8:15pm Michigan Theater Main Auditorium
Audience PROCAM Best Regional
Leon Speakers Award
Award Filmmaker Award
for Best Sound Design
$500 $750
$500
Awarded to the highest-rated This award supports our
Given for excellence and
audience selected film in top talent in the region. The
originality in sound design.
competition at this year’s winner will receive $750 of
This award is provided by
Festival. store credit from PROCAM,
Leon Speakers, custom a family owned and operated
building high-fidelity home
\aut\ FILM Award company based in the Metro
theater speakers in Ann Arbor
for Best LGBTQ Film Detroit Area.
since 1995.
$300 This award honors the film The Eileen Maitland Award
George Manupelli
that best addresses and $600
Founder’s Spirit Award
gives voice to Lesbian, This award is given to the
$500
Gay, Bisexual, Transgender film that best addresses
Provided to the filmmaker
or Queer (LGBTQ) issues. women’s issues and gives
that best captures the bold
The \aut\BAR of Ann Arbor voice to female voices. It was
and iconoclastic spirt of the
contributes this award to created to honor the spirit and
founder of the Ann Arbor Film
promote a diversity of voices memory of Eileen Maitland
Festival, George Manupelli,
that achieve excellence in who was a dear friend and
whose vision for the Festival
filmmaking. long-time supporter of the
continues to this day. Festival, as well as a patron
Supported by the D. DeVarti
Overture / Wazoo Award and practitioner of the arts.
Family Trust.
for Best Music Video $300 The No Violence Award
Tios Award
Provided to recognize $512
for Best International Film
excellence in the art form of Provided to reward the
$500
music video, which serves film that best exemplifies
Granted to the film produced
as a unique collaborative themes and images of peace,
outside of the United States
relationship between musician whether addressing the topic
which most strongly wins over
and film/video maker. directly or simply turning the
our Award Jury. This award
This award is supported by mind toward gentleness. No
is provided by Tios Mexican
Ann Arbor’s beloved and depictions of weaponry or
Cafe, serving Ann Arbor since
independently owned Wazoo fighting, human or animal
1986.
Records and Overture Audio. suffering, or destructive activities. Provided by Ann
Peter Wilde Award for Most
Jury Awards Arbor residents Matthew Graff
Technically Innovative Film
$1,500 and Leslie Lawther.
$500
Remaining prize monies The film which displays the
that are distributed at the most pioneering, cutting-edge
awards jurors’ discretion as technical innovations will
special recognition for films receive this award. Peter Wilde
of distinction and artistic was a long-time projectionist
accomplishment. for the Festival and master of special effects. This award honors his creativity and pursuit of new techniques.
Overview
AWARD DONORS
$3000 Ken Burns
$1,000–$2,000 Anonymous Lawrence & Meg Kasdan Martha Darling & Gil Omenn Michael Moore Rick Berman Video Data Bank & The Aronofsky Family D. DeVarti Family Trust
8 $500–$999 George Fisher & Kari Magill Jim & Susan Warner The LaBour Foundation for
Non-Institutional Living Leon Speakers Matthew Graff & Leslie Lawther Quack!Media Tios Mexican Restaurant
$250–$499 \aut\ Bar Dan Gunning & Vicki Engel Dennis Hayes & Mary Ellen Rounsifer Myrna Jean Rugg & Rick Cronn Piotr Michalowski & Deanna Relyea
$100–$249 Deborah Gaydos & John Nelson John Caldwell & Susan Kalinowski Overture Audio Wazoo Records
In-Kind Colorlab Kinetta Niagara Custom Lab ORWO North America PROCAM
Overview
MEMBERS AND DONORS
$10,000–$20,000
Brian Weisman Anonymous
Cecelia Ponce de Leon David DeVarti & $5,000–$9,999
Ellen Rabinowitz Cynthia Nicely
Debbie & Bob Merion Jeri Hollister & Tom Bray
Howard White & Ken Burns
Barbara Brown Lesa & Michael Huget
John & Jackie Farah Peter & Rita Heydon
Mark Evans & Ruth Bradstreet Wendy Lawson
Robin & Ron Sober Sue Dise $2,500–$4,999 630 Club
$250–$499 D. DeVarti Family Trust
Andrea Tanner Deborah Greer
Anonymous Genie Wolfson & Bruce Baker
Barry Miller & Annette PantaII The LaBour Foundation for
Cory Snavely Non-Institutional Living
Deanna Morse John Dryden & Diana Raimi $1,000–$2,499
John & Jennifer Baird Deb Polich & Russ Collins
Marilene de Ritis & Jim Dwyer Greg Merriman &
Terri Marra Jill McDonough Jim Roll & Ruth Bardenstein
$150–$249 Justin Bonfiglio &
Alec & Judy Allen Morgan McCormick
Brian Tomsic Lawrence & Meg Kasdan
Christian Evan Silbereis Leslie Lawther &
Clark Charnetski Matthew Graff
Deborah Koons-Garcia Martha Darling & Gill Omenn
Deborah Gaydos & Michael & Susan Landauer
John Nelson Michael Flynn & Heidi Kumao
Forest Juziuk Pat and Beverly O'Neill
Frank & Gail Beaver Fred Worden $500–$999
Heinz & Martha Schmidt Anne Cutsinger &
Hubert & Ellen Cohen David Gilbertson
Jasper Capwell Anonymous
Jay & Susan Sandweiss Barbara Kessler & Dick Soble
Jerry Duba Barbara Murphy &
John Kerr Gavin Eadie
John & Patricia Carver
9
John & Sharon Kalbfleisch Lori Miley Monica Laing Peter & Carolyn Mertz Philip Hughes Rick Cronn & Myrna Rugg Thomas & Lisa McKarns Tom & Jean Bartlett Vicki Honeyman Wade Kergan Windy Weber
$149 and below Abraham Ravett Amanda Schott Anna Sampson & Daniel Herbert Barbara Hammer Barbara Twist Bernard & Raquel Agranoff Bethany Osborne Brian Gardiner Brian Hunter Carter Tomassi Charles Lyman Chris Reilly Chris Tabaczka Christine Spiegoski Christopher McNamara Christopher Erickson Dennis Carter Donald Harrison Drew Pompa Eileen Spring Ellen Spiller Gary & Shelley Bruder Genia Service &
Tom McMurtrie Harvey & Marie Woo Levine Holly Parker Ingrid & Clifford Sheldon
Janet Roth & Greg Spaly Jeff Meyers Jennifer Proctor Joan Lowenstein Joan Binkow Judith Calhoun Judy Schwartz Kat Hagedorn Kathleen Kosobud &
Jim McKinley Kathy & Steve Bergman Ken Kobland Kostas & Mi-Jo Pappas Kristin Bowden & Jeff Sabatini Krysta Stone Mae Velazquez Mark Einfeldt Martha Berry Martin Fischhoff Mike Spencer Monique Deschaine Nancy Brucken Nancy & Michael McKay Nicholas Roumel Patti Smith Robert LaJeunesse Robert Einfeldt Robert Goodrich Roger & Sarah Kerson Saied Rouhani Shel & Rita Stark Susan Wineberg & Lars Bjorn Ted Lyman Mr. & Mrs. Thomas Brush Tony Buba Twila Tardif Vanessa & Martin Thoburn Walter Wacacz
MEMBERSHIP / SUPPORT
Experience all the Ann Arbor Film Festival has to offer by becoming an AAFF member! For more information, visit aafilmfest.org
Overview Overview
STAFF, VOLUNTEERS & ACKNOWLEDGEMENTS
Executive Director Leslie Raymond
Program Director David Dinnell
Operations Director Ellie White
Technical Director R. Thomas Bray
Guest Services Coordinator Niki Hogan
Volunteer Coordinator Lizzie Olenzek
Festival Assistant Hilary Young
Juror Liaison Almudena Escobar Lopez
Opening Night Reception Food Coordinator Paquetta A. Palmer
Graphic Design Letterform
Silent Auction Coordinators Justin Bonfiglio Morgan McCormick Terri Marra
Festival Photographer Abby Rose Photo
Festival Videographer Jonathan Tyman
53rd AAFF Trailers Christopher Naglik Gary Schwartz Heidi Kumao, Frank Pahl &
Collin McRae-Leix Micah Vanderhoof & Dustin Krcatovich Rob Ziebell Sabine Gruffat
Lobby Decorations Jason Jay Stevens Mary Thiefels
10 Manupelli Tribute Julianne Walkiewicz Mary Hourani Melanie Lowrie Miranda Dershimer Robert Luzynski Sara Head Tom Bartlett
Regional Program Jen Proctor David Dinnell
Music Video Program Lori Felker David Dinnell
Opening Night Entertainment Jeremy Wheeler
Afterparty Entertainment Dustin Krcatovich
Board of Directors Michael Huget (President) Constance Crump (Vice President) Cynthia Nicely (Treasurer) Matthew Graff (Secretary) Bruce Baker Justin Bonfiglio Monica Laing Morgan McCormick Susan Landauer Russ Collins (Ex Officio) Ted Kennedy Victor Strecher Wendy Lawson
Advisory Board Barbara Hammer Becca Keating Bryan Konefsky Carl Bogner Chris McNamara Deanna Morse George Manupelli Ken Burns Lawrence Kasdan Leighton Pierce Mark Toscano Mike Hoolboom Michael Moore Suzan Pitt
Education Committee Chris McNamara James Snazell Jen Proctor Roger Beebe Scott Northrup Ted Hardin
Education Program Coordinator James Snazell
Membership Committee David DeVarti (Chair) David Wolber Sasha Feirstein Terri Marra
Marketing Committee Al McWilliams Constance Crump Iris Petersen Jonathan Skidmore Jonathan Tyman Mary Hourani Raeanna Jacobsen Susan Dise Tyler Thompson Zach Damon
Screening Committee Bruce Baker David Gilbertson Elizabeth Wodzinski Jack Cronin Jen Proctor Jim Dwyer Kat Hagedorn Leslie Raymond Patrick Wodzinski Vanessa Sly Thoburn
Screeners Alexa Borromeo Barbara Twist Brandon Wally Christy LeMaster David Gazdowicz David Gilbertson Deborah Greer Ellie White Esther Kirshenbaum Fred Beldin Hilary Young Jack Cronin
Jim Dwyer Jon Moodie Joy Hyatt Kat Hagedorn Katie Barkel Kaylan Mitchell Lloyd Goldsmith Lou Glorie Mark Hardin Martin Thoburn Monica Ross Natalie Condon Omari Rush Patrick Wodzinski Patti Schwartz Phoebe Adams Rob Ziebell Robin Sober Ron Sober Sue Dise Vanessa Sly Thoburn
Interns Adam Renuart Alexa Borromeo Daria Newell Harriet Hirshman Jay Armstrong Jonathan Skidmore Joo Hyun Yu Julianne Walkiewicz Linda Hoglund Mary Hourani Melanie Lowrie Philip Donnelly Raeanna Jacobsen Sara Head Stephanie Kulmaczsewski Tyler Thompson
Michigan Theater Projection & Stage Staff Dan Bruell Dan Morey Frank Uhle J Scott Clarke Jim Pyke Rick Berthelot Scott McWhinney Walter Bishop
Technical Assistants Mark Murrell Scotty Slade
Overview
11 Projection and
Cherry Republic
Art Installation
In-Kind Partners Performance Assistants
eat catering & chef services
Christine Minderovic
Adams Street Publishing/ Isaac Sherman
The Earle Restaurant
Lou Glorie
Current Magazine Jacob Barreras
Jefferson Market
Middy Potter
Abby Rose Photo Nazli Dincel
Jerusalem Garden Patrick Wodzinski
The Lunch Room
Food Monahan’s
Al Dente Pasta Company Morgan & York
Bill Husted Old Town Tavern
Bona Sera Café Paquetta A. Palmer
Cottage Inn Pizza People’s Food Co-Op
Ken Bawcom Plum Market
Lisa Gottlieb Sava’s
People's Food Co op Silvio’s Organic Pizza
Ron Sober Tantre Farm
T aste Kitchen Tracklements Smokery
Zingerman's Bakehouse Zingerman’s Bakehouse
Donors Fundraiser Dinner Catering
Alice Brunner & Tom Morson The Ravens Club
Beverley Dronen D eborah Greer Opening Night Drinks
Leslie Pincus Arbor Brewing Company
Patti Schwartz Mighty Good Coffee
Robin & Ron Sober The Ravens Club Sazerac Company
Sneak Preview Caterers Clayhouse Wine, Henry A.
Frita Batidos Fox Sales
TeaHaus TeaHaus
Special Event Refreshments The Green Room Committee
Arbor Brewing Company Deborah Greer
Jerusalem Garden Lou Glorie
Katherine's Catering Robin Sober Leslie Raymond
Filmmaker Dinner Casa Dominick’s
Arbor Brewing Company Clayhouse Wine Enterprise Rent-A-Car Screening Room 16mm Projection System James Bond, Full Aperture Systems
Flutter and Wow
Museum Projects Henry A. Fox Sales Company Goodrich Quality 16 Jerusalem Garden
Granting Agencies and Organizations The Andy Warhol Foundation
for the Visual Arts
Letterform Media Lingua M Library Maple Theater Metro Times The Michigan Council for Arts
Michigan Theater and Cultural Affairs
Mighty Good Coffee The National Endowment
Performance Network Theater or the Arts
Residence Inn by
Marriott Ann Arbor After Party Venues
RingSide Creative \aut\BAR
Sava's Alley Bar The Bar at 327 Braun Court The Heidelberg The Ravens Club Sava’s
Sazerac Company TeaHaus The Crofoot The Ravens Club TreeTown Murals U of M Stamps Speaker
Opening Night Catering Afternoon Delight \aut\BAR Big City Bakery Busch’s The Brinery
Series & Witt Residency VGKids Weber's Inn WQKL Ann Arbor's 101.7 WTVS Detroit Public Television WUOM Michigan Radio 91.7 Yelp Café Zola
Zingerman's
Additional Thanks To: Myrna Jean Rugg & Rick Cronn, Ruth Bardenstein, Jason Jay Stevens, Lalena Stevens, Marie Woo & Harvey Levine, Barbara Brown & Howard White, Annie White, Julie Murray, Becca Keating, Deborah Greer, David DeVarti, Donald Harrison, Ron and Robin Sober, Jen Proctor, Trenton Corp., Jonathan Tyman, Lars Bjorn & Susan Wineberg, Caryl Flynn, Daniel Herbert, Mary Lou Chialpa(UM Screen Arts & Cultures); Gunalan Nadarajan, David Chung, Heidi Kumao, (Penny W. Stamps School of Art & Design); Chrisstina Hamilton (Penny Stamps Speaker Series and Witt Visiting Artist Program); Mark Nielsen (UM Work Gallery); Rich DeVarti (Casa Dominick’s); Bentley Historical Library at UM; Amanda Krugliak, Sidonie Smith (UM Institute for the Humanities); Gregory Tom Susan Badger Booth (Eastern Michigan University); Russ Collins and the entire staff and management at the Michigan Theater; IATSE Local 395; Eric Farrell (The Bar at 327 Braun Court); Keith Orr, Martin Contreras (\aut\BAR); Amy Cantú, Anne Drodz (Ann Arbor District Li- brary), Jason Morgan (Jim Toy Community Center), Karl Seibert (WCBN), Kelly Luck, Deb Polich (Arts Alliance), Barbara Twist (Art House Convergence), John Manfredi, Sara Dean (Performance Network Theater); Alvin Hill, Emilia White (Space 2435), David Rosenboom, Jay Cassidy, John Caldwell, Pat Oleszko, Chrisstina Hamilton, Leighton Pierce, Owen Evans, Luciano Zubillaga; Mark Toscano (Academy Film Archive); Greg Baise (Museum of Contemporary Art Detroit); Forest Juziuk; Andres Denegri, Gabriela Golder and Ariel Nahon (Bienal de la Imagen en Movimiento, Buenos Aires); Andréa Picard (Wavelengths, TIFF); Jeremy Rigsby, Oona Mosna (Media City); Anita Rehr and Sarie Horowitz (Flaherty Film Seminar); Ralph McKay (Sixpack Film Americas); Aily Nash, Gavin Smith and Dennis Lim (Projections, NYFF); Hilke Doering (Internationale Kurzfilmtage Oberhausen); Mary Scherer and Abina Manning (Video Data Bank); Aimée Mitchell and Lauren Howes (Canadian Filmmakers Distribution Center); Mads Mikkelsen (CPH:DOX); Ben Cook and Adam Jones (LUX); Karin Oehlenschläger (Goethe-Institut Boston); and Mark Johnson (Harvard Film Archive).
Overview
BEYOND THE FEST TOUR
The 52nd Ann Arbor Film Festival Traveling Tour visited more than 20 cities in the United States and abroad with award-winning and select short films from the 2014 Festival. All filmmakers participating in the tour receive income for each screening of their work, providing direct support to independent artists. To learn more about the AAFF Traveling Tour please visit: aafilmfest.org/tour.
Los Angeles, CA Los Angeles Filmforum June 8, 2014 & Jan 11, 2015
Frankfort, MI Garden Theater August 7, 2014
Ann Arbor, MI Arbor Brewing Company Aug 21, 2014
Pittsburgh, PA Pittsburgh Filmmakers Oct 3 & Oct 4, 2014
Chicago, IL Nightingale Cinema Oct 25, 2014
Milwaukee, WI UWM Union Theatre Oct 28th, 2014 & Feb 3, 2015
Brooklyn, NY Union Docs Nov 2, 2014
Farmington Hills, MI Oakland Community College Nov 3, 2014
Providence, RI Rhode Island School of Design Nov 15, 2014
12 Detroit, MI
Lancashire, UK Museum of Contemporary Art
Edge Hill University Detroit
Feb 4, 2015 Dec 11, 2014
Bloomfield Hills, MI Baltimore, MD
Cranbrook Academy of Art Sight Unseen
Feb 22, 2015 & Mar 1, 2015 Dec 14, 2014
Durham, NC Frankfurt, Germany
Duke University Pupille- Kino an der Uni
Feb 23, 2015 Jan 21, 2015
Northfield, MN Darmstadt, Germany
St. Olaf College Filmkreis in Darmstadt
Feb 24 & 25, 2015 Jan 27, 2015
Amherst, MA Hamilton, NY
Hampshire College Colgate University
March 3, 2015 Jan 27, 2015
Grosse Pointe, MI Philadelphia, PA
Grosse Pointe Public Library University of the Arts
Mar 12, 2015 Jan 28, 2015
Claremont, CA Pitzer College Jan 30, 2015
Montreal, Quebec, Canada Cinémathèque Québécoise Jan 30-31, 2015
Ithaca, NY Cornell Cinema Feb 3, 2015
Overview
BEYOND THE FEST DVD COLLECTIONS
Volumes 1–7 are on sale at the merchandise table in the Michigan Theater lobby through the duration of the festival and available on our website: aafilmfest.org/store
COMING SOON: Volume 8! A compilation of award-winning and select short films from this year’s 53rd Festival.
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Volumes 4–7 Feature beautiful screen-printed cases from our friends at VGKids.
Overview
SILENT AUCTION
The Silent Auction will take place upstairs at the Michigan Theater, on March 24th and March 28th–29th. A limited selection of items will be auctioned on Opening Night, for one night only. The second part of the auction will take place on the final two days of the festival - Saturday and Sunday.
The AAFF Silent Auction will offer a fantastic range of items from filmmakers, artists and local businesses. All winning bids support the Ann Arbor Film Festival, a mission-driven non-profit organization.
WE WOULD LIKE TO THANK OUR GENEROUS DONORS FOR THIS YEAR'S AUCTION.
THE 53rd AAFF
David Rosenboom SILENT AUCTION DONORS INCLUDE
Deb Axelrood LLC Deb Cocoros Deb Saravolatz Debbie Thompson Detroit Film Theatre Ace Barnes Hardware
Detroit Symphony Orchestra Adrienne Kaplan
Detroit Tours by Michael Al Dente Pasta
Boettcher Alvey Jones
Doug Worthington Ann Arbor Potter's Guild
Downtown Home & Garden Ann Arbor Seed Company
eat / catering and carry-out Ann Mulhern
Fictilous / Great Lakes Shirts ANTIETAM Restaurant
Fleming Artists The Ark
Format Framing ARTSearch
FOUND Gallery Barbara Brown
Friedelle Winans Betty Johnson
Francesc Burgos Bobbi Carey
Gail Piepenburg Bona Sera Cafe
George Manupelli Brigitte Lang
Green Dot Stables Buster Simpson
Heavenly Metal Cafe Zola
Inge Meylin Central Provisions
The Inn on Ferry Street Clancy's Fancy Hot Sauce
Jan Richardson The Common Grill
Jason Polan Constance Crump
Jeanne Chesky Cranbrook Academy of Art
Jeff Scher Danielle Stewart
Jeri Hollister
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Joan Harris John Baughman John Ellington JT Abernathy Juicy Kitchen Julia Kjelgaard Karin Wagner-Coron Leighton Pierce Lisa Marra Margo West Marie Woo Marty Betts YogaFLEX Melissa Dettloff Michael Hodges Photography Michael Susanne Salon Michael Whiting Michael Wolfe Michigan Opera Theatre Michigan Theater Mike Mosher Monica Wilson Motawi Tileworks Nancy Wolfe Nicola's Books Pat Oleszko Pewabic Pottery Pure Detroit Purple Rose Theatre Radius Garden
RelaxStation Richard Hackel Photography Robert Piepenburg Robin Sober Ruth Taubman Inc. Satchel's BBQ Schakolad Chocolate Factory Sherri Green Sic Transit Cycles Slows BBQ Stephen McCauley Steve Coron Susanne Stephenson Sweet Heather Anne Takashi Takahara Ted Matz University Musical Society (UMS) Valerie Mann Vault of Midnight Wheelhouse Detroit Wildly Fit WSG Gallery Yasmine Ashakih Yiu-Keung Lee Zingerman's
Please visit the auction and bid on items to help support the AAFF.
PARTNERS & FOUNDATIONAL SUPPORT
KEY
ABBY ROSE
CONTRIBUTING
SPONSORS
Overview
CORE
R
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Exhibitions
SAFE WOR(L)D (2015) By Flatsitter Dimensions variable Virtual reality experiences Sign up for times on Wed/Thu/Fri, reserve tickets in advance via tickets.flatsitter.com
Immerse yourself in a series of ethereal worlds and electronic meditations during this shared virtual reality experience and live performance by audio-visual collaborative Flatsitter. The project draws a parallel between virtual reality and television signals as a medium that invokes power, terror, and sublimation. Par- ticipants will receive a one-on-one experience using the Oculus Rift headset, which allows for a 360-degree field of vision that responds to head movements. Due to the nature of the perfor- mance, only a limited number of tickets are available for SAFE WOR(L)D and must be made in advance at tickets.flatsitter.com
Flatsitter is a Buffalo, NY-based artist collaborative (core members Jax Deluca, Kyle Marler, Frank Napolski) that uses old and new technology to create strange and surreal experiences. Their works exist in an array of formats, such as ephemeral web collections, expanded cinema performance, site-specific installations, and live virtual reality experiences with the Oculus Rift headset.
SPACE 2435 SATELLITE EXHIBITION
Five multimedia and interactive screen-based artworks are on display during Festival week. Also showing are student films and videos from Edge Hill University (Lancashire, UK), California Institute of the Arts (Valencia, CA), University of the Incarnate Word (San Antonio, TX), Michigan State University (Lansing, MI), College for Creative Studies (Detroit, MI), University of Michigan (Ann Arbor, MI), and Washtenaw Community College (Ypsilanti, MI).
Please join us for a reception of this work Wednesday, March 25 at 3pm–5pm
i see you (2013) By Alvin Hill 45” x 44” x 16” Max MSP & Jitter, computer, video camera, LCD Monitor with custom cabinet What would your television do if it were watching you, as you were watching it? This installation is a television capable of capturing images and remixing them on its own. Images are altered, affected and combined. The permutations are con- trolled and triggered by the movements of the person standing in front of it.
Inspired by the work of Nam June Paik, this piece was con- ceived as an experiment in Live Interactive Cinema on a small screen, originally commissioned by the Smithsonian as part of their Nam June Paik exhibit.
Alvin Hill is a technology-based artist living in Ann Arbor. His work takes the form of performances and installations and often combines sound, still image, video, projection, light, physical computing, and DJ arts.
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Exhibitions
Alien Objects (2015) By Franny Mendes Levitin and featuring local artworks Dimensions variable Oil on canvas, digital representations of art, website application, live performance You are invited to view paintings and interact with a website which features local artworks.
The internet claims to offer open and networked information, yet some popular website applications organize requested infor- mation in ways that do not allow the user to see their content in relation to the whole picture. For example, on Facebook, your friends can’t search for what events you are going to. Why aren’t these web applications facilitating collaboration and commu- nication in real space? Alien Objects responds to this regular phenomenon by inviting and facilitating collaboration.
Franny Mendes Levitin is a recent graduate of the University of Michigan Stamps School of Art and Design. Through her work, she creates dialogue between the digital and the physical, between the fictional and the factual, and between the subject and the object.
SPACE 2435 SATELLITE EXHIBITION
How Are We Going to Talk After This? (2013) By Chris Reilly 12’ x 12’ x 7’ with 6 minute video loop HDTV, aluminum, fabric, video cameras, video A video portrait of conversations and performances between the artist and his long-distance partner. The couple performed several portraiture/conversation sessions during in-person meet- ings over the course of five weeks, talking mostly about their relationship and the documentation process. A body-mounted camera was created to capture simultaneous full-body video images of each partner during the performance. The camera straps onto – and is supported by – both bodies, physically constraining both to face each other in close proximity (reaching distance). The performance was prompted by frustrations in the relationship that were magnified by communications media, specifically video chat software; the title is a direct quote from one of the recorded conversations.
Singing to the sky (2014) By Wenhua Shi Dimensions variable Processing, microphone, two-channels mixer, re-projection Singing to the sky focuses on the phonetic aspect of voice and speech through recognizing three universal vowels (ee, oh, aa) in the human voice. The piece invites the audience to construct their own sound poems and phonetic experiences.
Wenhua Shi is a new media artist and experimental filmmaker. Currently, Wenhua is a member of the Art and Art History faculty at Colgate University.
Chris Reilly is a Detroit-area artist, hacker and teacher. Chris holds a MFA from UCLA’s School of the Arts and Architecture. Working individually and collaboratively, his artwork explores telepresence, relationships, physical subjectivity and community building with media including games, performances, relational COMMUNITY PARTNER
objects, robots, and open-source hardware/software projects. ANN ARBOR ART CENTER
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Exhibitions
JANE CASSIDY: FITS OF EASY REFLEXION
MARCH 14–APRIL 4 | WORK GALLERY | 306 S. STATE ST.
An exhibition of three visual music installations by Jane Cassidy.
Square Ball and Purple Tinged Pearl But- toned Bangled-Billy are works for stereo sound, video projector, and fog machine; They Upped Their Game After The Oranges employs stereo sound and projection mapping onto a corner.
Originally from from Galway, Ireland, Jane Cassidy studied music composition and animation, earning her Masters in Music and Media Technologies from Trinity College Dublin in 2008 and an MFA in Digital Art from Tulane University. Her work explores visual music, live visuals, electro-acoustic composition and multi-channel video.
JANE CASSIDY WILL GIVE A TALK ABOUT HER WORK ON FRIDAY, MARCH 27TH AT 5pm (SEE P.62) AND WILL BE PERFORMING ON SATURDAY (SEE P.90)
JESSE McLEAN: ME AND MAX MARTIN
MARCH 24–29 | 327 BRAUN CT
An interactive video installation where participants sing kara- oke-style to pop songs crafted by producer Max Martin, a prolific music producer who has written and produced numerous top- ten hits for the last decade. Me and Max Martin invites partic- ipants to sing along to pop hits, while video provides not only lyric assistance but also imagery of the American roads and highways, allowing participants to imagine they are cruising while crooning along with the radio. Participants’ voices are auto-tuned along with the music and this filtering eases
performance anxiety and provides novelty to the experience. Over the course of the 2-3 minute songs, however, the auto-tune is faded out and the performer is left to sing along with the pop star with their own voice, unadorned.
HOURS TUE–FRI (4pm–2am) SAT (7pm–2am) SUN (6pm–12am)
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PURPLE TINGED PEARL BUTTONED BANGLED-BILLY
Exhibitions
MICHIGAN THEATER INSTALLATIONS
FOR THE DURATION OF THE FESTIVAL THESE WORKS WILL BE ON DISPLAY IN THE MICHIGAN THEATER.
Art is easy, love is hard An exhibition of art by George Manupelli A wide-ranging assortment of 2D and 3D artworks borrowed from local collectors is on display in the Michigan Theater screening room lobby and adjacent hallway that leads to the Grand Foyer. The exhibit includes a participatory timeline, so add your stories, add your tears, and add your love to the timeline. Pencils and paper are available, and you are also invited to use your own materials.
George Manupelli, filmmaker, painter, sculptor, poet, songwrit- er, political and environmental activist, raconteur, father, and founder of the Ann Arbor Film Festival passed away Sunday, September 14, 2014. He was 82.
SPECIAL THANKS TO THE COLLECTORS: DAVID DEVARTI, BOB AND LAURICE LAZEBNIK AND THE MATRIX COLLECTION.
2 Part 7 (2015) By Reynold Reynolds Looped installation with floor, one television, and one projection HD transferred from 16mm film w/ Amy Chavasse, Sophia Deery and Hannah Flam 2 Part 7 has at its center two fast fading 20th century media;
What We Saw (2015)
black and white television, and long play records. Both came to prominence in the late 1950s and early 1960s adding to the By Everybody Social Sculpture Cards are provided for
popular vocabulary "Stereo", "High Fidelity", and "The Medium is the Message.”
Reynold Reynolds is a recipient of the John Simon Guggen- you to write what you saw. Leave them in a box in the lobby to be pho-
heim Memorial Foundation Fellowship. His work has been shown in numerous biennales including the 4th Berlin Biennale and the 3rd Moscow Biennale and is included in collections such tographed and uploaded into a rotating slide
as the MoMA, New York and n.b.k. Berlin.
presentation called What
REYNOLD REYNOLDS WILL GIVE A TALK ABOUT HIS WORK ON We Saw, an experimental remix documentary by Everybody, with daily updates to the slideshow on the Michigan Theater box
SATURDAY MARCH 28 AT 2:30PM IN THE MICHIGAN THEATRE LOBBY.
office monitor and beyond.
REYNOLDS MADE 2 PART 7 AS PART OF THE2014/2015 Everybody is the assembled spectators or listeners at a public event, such as a play, movie, concert, or meeting, and in this case is invited to actively participate.
ROMAN J. WITT ARTIST RESIDENCY AT THE STAMPS SCHOOL OF ART & DESIGN, UNIVERSITY OF MICHIGAN.
THE DREAM OF THE ILLINOIS TROTTING MARE
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Workshops & Discussions
EXPANDING FRAMES: AAFF WORKSHOPS & DISCUSSIONS
TUE 03/24
2pm–3pm It's not Your Father's Video: Exploring Generations of Mediums Student roundtable moderated by Joseph Lopez
This roundtable explores and questions what "medium" means to new video makers. Through experimentation and exploration of both their own methods and practices and the cultural influenc- es of their generation, new artists will show their process and engage the audi- ence in a discussion of what medium means in the 21st century.
Joseph Lopez is a professor at the University of the Incarnate Word where he runs a convergent media program. His work spans many fields, he is always looking for the next adventure.
3pm–5pm Making Movie Music Workshop with Jared Van Eck
Ever wonder what goes into creating a film score? Participants in this hands-on workshop will work with local musician/ electronica artist Jared Van Eck to explore the musical elements and cues that go into composing a film score. We will be making multitrack recordings using AADL’s music tools. No experience with music and recording necessary, but it could help. By the end, you will have co-produced a short score! This event is co-sponsored by the Ann Arbor District Library and is intended for adults and teens grade 6 and up.
Jared Van Eck has been making music since childhood, focusing mostly on electronic music for the last 15 years. He was recognized by Current readers in 2014 as the local DJ/Electronica Artist of the year.
SPACE 2435 | NORTH QUAD | 105 SOUTH STATE ST., ANN ARBOR
WED 03/25
10am–11am Your Homemade DCP Workshop with Tom Bray
Almost every movie you see today is the playback of a digital file, and most of those are wrapped in a file format called a DCP, or Digital Cinema Package. As an independent filmmaker, being able to create and deliver your work as a DCP has many advantages - mostly the assur- ance that it will be played back exactly as you created it. In this session you will learn the basics of creating your own DCP using the free software “DCP-O-Matic."
R. Thomas Bray, the Technical Director of the Ann Arbor Film Festival, works at the University of Michigan where he is an Adjunct Professor in the Stamps School of Art & Design and a Converging Technologies Consultant at the Digital Media Commons.
11am–12pm What's Your Day Job? Panel moderated by Ted Hardin
Join us for a discussion, show and tell, and debate about the merits of living in the multiple worlds of art film, commer- cial work, and education. How does an organic interplay between innovation, creativity, and compelling ideas exist regardless of an artistic or commercial framework? Panelists will discuss making artwork on the fringe while holding day jobs and artists who left an individual practice to apply their creative talents to the industry.
Ted Hardin is an Associate Professor at Columbia College Chicago. Ted worked at art centers, but also shot films for German television. Commercially he created con- tent for companies as a strategy to gain access to equipment and circumstances for his own experimental work.
THU 03/26
10am–11am Creative Crowdsourcing Presentation and Workshop w/ André Silva
We have, as a society, transitioned from a binary relationship to media, in which there is a clear information provider and information receiver, to a much more complex relationship in which crowdsourcing plays an important role. This workshop explores the possibility of developing creative crowdsourcing into an enduring mode of media production offering limitless creative potential.
André Silva is an Assistant Professor of Film Studies at the University of North Carolina Wilmington. His filmmaking interests include experimental animation and creative crowdsourcing.
11am–12pm Dr. Chicago as the AAFF Discussion with Gerry Fialka
Join a conversation about the resonant inter- sections of George Manupelli's Dr. Chicago films and the Ann Arbor Film Festival. The amalgamation of innovators and sources that inhabit Dr. Chicago films is a metaphor for the roots of the Festival. Evolution is adapting to the exploration of personal film- making with breakdowns as breakthroughs (Alvin Lucier's stutter), performance art (Pat Oleszko), poetry (Edgar Allan Poe), avant garde music (Robert Ashley, Pauline Oliveros, Blue Gene Tyranny), political activism (Black Panthers), contemporary dance (Steve Paxton), painting, comedy, and post-post modern collage sensibility.
Gerry Fialka probes the hidden psyche effects of what we invent and lectures on experimental film, avant-garde art and sub- versive social media. Fialka has been praised by the Los Angeles Times as "the multi-media Renaissance man." The LA Weekly proclaimed him "a cultural revolutionary."
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Workshops & Discussions
Participate in this forum for talking, learning and doing. We aim to nurture both community and critical thinking while fostering a deeper understanding of the work showing at the Festival.
FRI 03/27
10am–11am Never the Same Show Twice: The Practice of Hand-made and Cameraless Filmmaking Lecture and Demonstration by Alfonso Alvarez and Steven Dye
This demonstration of live projection techniques and audio manipulation will illustrate how every element related to projecting 16mm film, including the pro- jectors themselves, can be reworked to literally reshape older materials to cre- ate new and engaging cinematic forms. The tools, materials, chemicals and processes they use will be discussed, in- cluding the practice of creating content. Learn about how Alfonso Alvarez and Steven Dye create their work and what influences their creative decisions to shape their aesthetic.
Steven Dye is a sound artist and filmmaker who explores light, sound and perception in installation, collaborative musical composition, animation and expanded cinema performance. He has performed at venues including the Taos International Film Festival, Montreal Film Pop, Rotterdam International Film Fes- tival, Revelation Film Festival in Perth, and the Melbourne Liquid Architecture Sound Festival.
Alfonso Alvarez is a filmmaker who collaborates with musicians and filmmakers to create multi-projector per- formances with live musical accompa- niment. His films have screened at film festivals including the SF International, Ann Arbor, Videoex, Chicago Under- ground, as well as Tokyo, Cuba and Mexico City International Film Festivals.
11am–12pm Splices and Bits Discussion with Evan Meaney and Jennifer Proctor
SAT 03/28
This presentation will help to connect
No sessions are scheduled for today. some of the loose social, historical, and aesthetic threads currently hanging between cinema and gaming. Does the kinesthetic joy of Buster Keaton trans- late to Angry Birds? Can we see some element of Martin Arnold’s micro-rep-
SUN 03/29 etition in the constant tribulations of Mario and Luigi? What is gained, and
10am–11:30am lost, when games look to movies as their
What the Hell Was That? representational role models?
Panel moderated by Jonathan Marlow Evan Meaney is an assistant professor of new media and gaming at the Univer-
This panel has been an Ann Arbor Film sity of South Carolina.
Festival favorite for over a decade, and Jennifer Proctor is an assistant profes-
began when a filmmaker overheard an sor of film and interactive media at the
audience member declare "What the University of Michigan-Dearborn.
hell was that?" about his own film. An enlightening discussion ensued and the 3pm–5pm
idea for the panel was born. Join us for What Farocki Taught
an opportunity to watch and discuss Film by Jill Godmilow
three short experimental films from this With a conversation between the film-
year's Festival selected by visiting AAFF maker and Mike Hoolboom to follow.
filmmakers and other special guests.
Jonathan Marlow, co-founder of This program takes place in the
Fandor, the online, subscription-based Michigan Theater Screening Room,
movie streaming service, is an accom- see program notes on page 62.
plished curator, composer and occa- sional cinematographer. He is known to host occasional screenings throughout the world showcasing remarkable films that are generally unavailable elsewhere.
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Tuesday • 8:15pm • Michigan Theater Main Auditorium
OPENING NIGHT SCREENING
FILMS IN COMPETITION
The 53rd Festival opens with a reception featuring an open bar with Clayhouse wines, signature Sazerac cocktails mixed by the Ravens Club, and Arbor Brewing Company beer. There will also be appetizers from local favorites Jerusalem Garden, Sava’s, The Lunch Room, Café Zola and more. Music by DJ Jeremy Wheeler.
Twelve Tales Told Johann Lurf Vienna, Austria | 2014 | 4 min | 35mm “Johann Lurf’s maximalist, 35mm barrage of Hollywood studio
logos, transforms the iconic corporate prelude to the big production-to-come into a sustained, stuttering spectacle in which fractured and fantastical worlds collide into a bombastic anti-climax. Like a riff on Jack Goldstein’s looping Metro-Goldwyn-Mayer (1975), Twelve Tales Told has an aggressive musicality that resonates with our sonic memory, and rather ingeniously creates desire for the dominion that is Hollywood.” – Andréa Picard
1000 Plateaus Steven Woloshen Montreal, Canada | 2014 | 3 min | 35mm on Digital Made entirely in the front seat of a car with simple art tools, this short hand-made film celebrates the joy of road maps, travel and jazz music. – SW
MeTube: August sings Carmen ‘Habanera’ Daniel Moshel Vienna, Austria | 2013 | 4 min | Digital MeTube is an homage to thousands of ambitious YouTube users and video bloggers, gifted and less gifted self-promotors on the internet. George Bizet’s “Habanera” from Carmen has been reinterpreted for MeTube and enhanced with electronic sounds by Daniel Moshel with opera and oratorio tenor August Schram. “MeTube is more than a music video: It’s an homage, critique and pointed love letter to the Web and its users in a whirl of exhibition(ism). ‘I create a world the way I like it. Ephemeral but still for eternity’.” – Sebastian Höglinger
Symphony No. 42 Réka Bucsi Budapest, Hungary | 2014 | 10 min | Digital A subjective world through 47 scenes. Small events, interlaced by associations, express the irrational coherence of our sur- roundings. The surreal situations are based on the interactions of humans and nature. – RB
Ziegler Terri Sarris & Frank Pahl Ann Arbor, MI | 2015 | 5 min | Digital
WORLD PREMIERE
Babash Lisa Truttmann & Behrouz Rae USA / Austria / Iran | 2014 | 9 min | Digital Babash is a parrot. He lives in Los Angeles. Kept by an Iranian family, he speaks mostly Farsi. Sometimes Babash mixes English and Azeri into his conversations. Behrouz Rae has made friends with Babash over the years. Babash is an asso- ciative portrait about a special relationship and the domestic surroundings in which it grew. Observing Babash and Behrouz, intervening upon them with color panels, inventing a common language, a focus emerges of a shared misplacement within this genuine friendship. – LT
Of the Iron Range Steve Wetzel Milwaukee, WI | 2014 | 20 min | Digital Of the Iron Range documents a cultural event in a small Mid- western town (Cuyuna, Minnesota) that once held the nation’s supply of iron ore. Every year, people from across the region gather for a dynamic, convivial social performance where hundreds of wood ticks are gathered and raced. – SW
Many Thousands Gone Ephraim Asili Hudson, NY | 2015 | 8 min | 16mm on Digital WORLD PREMIERE Filmed on location in Salvador, Brazil (the last city in the Western Hemisphere to outlaw slavery) and Harlem, New York (an international stronghold of the African Diaspora), Many Thousands Gone draws parallels between a summer afternoon on the streets of the two cities. A silent version of the film was given to jazz multi-instrumentalist Joe McPhee to use as an interpretive score. The final film is the combination of the images and a modified version of McPhee’s real time “sight reading” of the score. – EA
Necrology Standish Lawder (1936–2014) 1969 | 12 min | 16mm
THIS FILM NOT IN COMPETITON
“In one continuous shot, Lawder films the faces of a 5:00pm crowd descending via the Pan Am building escalators. In old-fashioned black and white, these faces stare into the empty space, in the 5:00pm tiredness and mechanical impersonality, like faces from the grave. It’s hard to believe that these faces belong to people today. The film is one of the stron- “Amazing such undignified creatures allowed
gest and grimmest comments upon the contemporary society that to run free!” Based on the story, “A Man by the Name of
cinema has produced.” – Jonas Mekas, The Village Voice Ziegler,” by Hermann Hesse, 1908. – TS & FP
Restored print courtesy of the Academy Film Archive.
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BABASH
ZIEGLER
OF THE IRON RANGE
AFTERPARTY SAVA’S | 10pm–2am | FREE
CONTINUE THE OPENING NIGHT CELEBRATION WITH DRINK SPECIALS AND MUSIC AT SAVA’S!
53rd Ann Arbor Film Festival • March 24–29 2015
TWELVE TALES TOLD
METUBE: AUGUST SINGS CARMEN ́HABANERA ́
SYMPHONY NO. 42
1000 PLATEAUS
35
MANY THOUSANDS GONE
NECROLOGY
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Wednesday • 12:15pm • Michigan Theater Screening Room • FREE JESSE MC LEAN
JUROR PRESENTATION
“In the impressive body of videos Jesse McLean has assembled over the last five years, she sizes up the dimensions of a world shaped by digital media and networked communication.... McLean works primarily with footage culled from the mass media of previous decades, using the tools of new media to cannibalize the old ones and find out how their once stable significations fare in the face of an audience that can talk back.... The trajectory of McLean’s body of work mirrors the arc of pop cultural attitudes toward the Internet and the digitized life it has created.” – Colin Beckett, The L Magazine, October, 2013
The Eternal Quarter Inch 2008 | 9 min Rising fundamentalism and a government that cites faith to defend war actions have helped grow a desperate society. Dipping between ecstasy and despair, transcendence and ab- surdity, this movie journeys to a hidden space where you can lose your way, lose yourself in the moment, lose your faith in a belief system. An exhausted and expectant crowd waits on this narrow span. It is not a wide stretch, but it can last forever.
Remote 2011 | 11 min In the collage video Remote, dream logic invokes a presence that drifts through physical and temporal barriers.
There is a presence lingering in the dark woods, just under the surface of a placid lake and at the end of dreary base- ment corridor. It’s not easy to locate because it’s outside but also inside. It doesn’t just crawl in on your wires because it’s not a thing. It’s a shocking eruption of electrical energy.
Somewhere only we know 2009 | 5 min What can a face reveal? Balanced between composure and collapse, individuals anxiously await their fate.
Just Like Us 2013 | 15 min A familiar landscape comprised of box stores and parking lots proves a rich site for longing, intimacy, and radical change. Celebrities are observed in this environment and are reduced to ordinary beings in the process. An enigmatic protagonist reveals little moments of subjectivity that escape into the piece like a contaminant, rupturing the view and evidencing the paradox of connection and belonging within systems that simultaneously contain us and comprise us.
JESSE MCLEAN’S INTERACTIVE INSTALLATION, ME AND MAX MARTIN IS ON VIEW DURING THE 53RD AAFF, SEE PG.29 FOR MORE INFORMATION.
The Invisible World 2012 | 20 min A deceased hoarder, reconstituted through technology, recounts a difficult childhood as inhabitants of a virtual world struggle to reconcile materialistic tendencies. A scientist leads an effort to understand the passage of time, but the data is unreliable. The question remains, what happens to our things after we are gone?
In this video, materialism, emotional presence and the adaptive nature of human beings are broadly considered through the lens of time. A variety of time-based materials are collected (including home movies, internet videos, Sci-fi seventies films, and a photographed archive of objects) and collaged, revealing the filmmaker’s own hoarding tendencies. YouTube genres are parsed, including “haul” videos (where contributors display the results of a shopping spree) and unboxing videos (where a new purchase is unwrapped), and the results suggest not only how materialist tendencies have found a way to continue in the cresting virtual age but also how the need to own is often paired with the need to relate.
The present world is packed with objects that evidence human productivity, yet the desire to possess things remains somewhat mysterious. Lifeless objects become imbued with emotional significance, and possessions linked with personal identities, even as these objects bear a cool and distant witness to human struggles. The rapidly arriving future portends an intangible new world of virtual experience. How will we relate our materialist tendencies in this new world of immateriality?
I’m in Pittsburgh and It’s Raining 2015 | 14.5 min An experimental portrait of a lighting stand-in and body double for a famous Hollywood actress, and a glimpse at the behind-the-scenes of cinema production.
ALL WORKS PRESENTED DIGITALLY, ALL DESCRIPTIONS COURTESY JESSE MCLEAN.
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53rd Ann Arbor Film Festival • March 24–29 2015
THE INVISIBLE WORLD
REMOTE
THE INVISIBLE WORLD
I’M IN PITTSBURGH AND IT’S RAINING JUST LIKE US
SOMEWHERE ONLY WE KNOW THE ETERNAL QUARTER INCH
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Wednesday • 2:30pm • Michigan Theater Screening Room
MUSIC VIDEOS IN COMPETITION
Light Motif by Steve Reich Frédéric Bonpapa France | 2014 | 4 min
Halo Getters by Hiss Tracts Karl Lemieux Montreal, Canada | 2014 | 6 min
“The Ooli Moves by Nicole Mitchell’s
Black Earth Ensemble” Adebukola Bodunrin Chicago, IL | 2014| 8 min
Forgiven / Forgotten by Angel Olsen Zia Anger Hudson, NY | 2013 | 2 min
Autumn by Bear in Heaven Peter Burr & John Lee New York | 2014 | 3 min
Envy by The Able Sea Daniel Stuyck Austin, TX | 2015 | 5 min
Cirrus by Bonobo Cyriak Brighton, UK | 2013 | 3 min
Coupe by Future Christopher Carboni New York, NY | 2014 | 4 min
WYIE by SICH MANG Theodore Darst Hudson, NY | 2014 | 2 min
Bromp Treb Spring Tickles Tour “pro- momercial” by Neil Young / Bromp Treb Neil Young / Bromp Treb Turners Fall, MA | 2014 | 1 min
Pathetic Magic by Thank You Karen Yasinsky Baltimore, MD| 2012 | 5 min
Tubal Freaks-Sneak a Peak by Black Vatican Andy Roche Chicago, IL | 2014 | 3 min
Choreography for Justin Bieber Craig Webster Brooklyn, NY | 2015 | 4 min
IWI by Acteurs Alexander Stewart Chicago, IL | 2014 | 4 min
Beautiful Things by The Wet Darlings Mike Olenick Columbus, OH | 2015 | 5 min
Heavy Flow by A. E. Paterra Tony Balko Providence, RI | 2013 | 2 min
Never Catch Me by Flying Lotus ft. Kendrick Lamar Hiro Murai Los Angeles, CA | 2014 | 5 min
Tribeca by A Certain Ratio Michael Shamberg (1952 - 2014) 1980 | 10 min
THIS FILM NOT IN COMPETITION
PRESENTED BY LORI FELKER, CO-PROGRAMMER OF MUSIC VIDEOS IN COMPETITION.
SPECIAL THANKS TO OUR MUSIC VIDEO AWARDS JURY: GREG BAISE, CHRISTO- PHER MCNAMARA AND ANNIE WHITE.
SPONSORED BY WQKL ANN ARBOR’S 101.7
COMMUNITY PARTNER NEUTRAL ZONE
PATHETIC MAGIC
FORGIVEN/FORGOTTEN
BROMP TREB SPRING TICKLES TOUR IWI
ENVY
THE OOLI MOVES
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HEAVY FLOW
TUBAL FREAKS-SNEAK A PEAK
Wednesday • 4:30pm • Michigan Theater Screening Room COMPUTER AGE: EARLY COMPUTER MOVIES, 1953–1987
CURATED BY GREGORY ZINMAN AND LEO GOLDSMITH
Before the apes rose, before Buzz Lightyear went to infin- ity and beyond, and before the Age of Empires, Extinction, and Ultron, avant-garde film and video pioneers were expanding the bounds of the moving image by harness- ing computer technology to create radical new ways of seeing. Computer Age explores the genesis of our current media landscape by looking back to a set of artists who, from the 1950s to the 1980s, provoked fresh perspec- tives on art, technology, and the emergence of comput- er-generated imagery. Using a wide variety of media and a radical set of new tools and forms—from oscilloscope experiments to computer-assisted psychedelia; formative digital advertising to innovative music videos—these artists worked hand-in-hand with programmers and engi- neers, forming crucial collaborations at the crossroads of art and technology, cybernetics and New Age utopianism.
While the computer-based imagery of today’s com- mercial cinema emphasizes registers of verisimilitude, even with regard to the creation of imaginary land- scapes and cities, the origins of computer films are far stranger, combining experimental cinema and science, wild abstractions and intricate technologies, to explore correspondences between machine logic and subjective experience. Our present, commercial, digital moment has been shaped by an often-overlooked age of radical experimentation and artistic endeavor with roots in the graphic avant-garde films of the 1920s and 1930s, the artisanal cinema of filmmakers such as Harry Smith and Jordan Belson, and a long history of visual music, from Oskar Fischinger to Len Lye to Norman McLaren.
Working in the 1950s, Mary Ellen Bute, a paint- er-turned-animator, investigated the idea of drawing with electronics through her use of the oscilloscope. Her Abstronics opens up the cultural space for computer-as- sisted, and eventually, computer-generated film. Similarly, the pioneering films of brothers John and James Whitney evince the arrival of the Computer Age film as an art form. Using his father’s “Cam Machine,” an analog computer, John Whitney, Jr., created the hypnotic, three-screen Side Phase Drift (1965), presented here in a new digital restoration.
In the 1960s, artists and animators increasingly turned the computer into an experimental tool as they worked to alter perception and expand consciousness. John Stehura’s Cibernetik 5.3 (1960-65) offers a mind-bend- ing array of computer graphics, photography, and optical printing, while Lillian Schwartz’s Collage (1975) extends the artist’s exploration of color and pixelated abstrac-
tion. There is also a long history of computer animation produced under the aegis of the National Film Board of Canada where, following the early oscilloscope films of Norman McLaren, filmmakers such as Pierre Hébert and Peter Foldès used computers for both abstract and narrative filmmaking.
Computer-generated imagery secured its place in the media firmament in the 1970s and 1980s as artists began to develop groundbreaking single-channel works and music videos. The rainbow spacescapes of Ron Hays’s video for Earth, Wind, & Fire’s “Let’s Groove” were generated with the use of video synthesizers and Image West, Ltd.’s analog computer system Scanimate. Elec- trical engineer Dean Winkler, collaborating with John San- born and Kit Fitzgerald, designed and built new computer hardware and software to realize the robo-psychedelia of Adrian Belew’s “Big Electric Cat.” The facial morphologies of Lynn Goldsmith and Joshua White’s satiric “Adven- tures in Success” video were created using a version of the texture-mapping software that was introduced in the early 1970s by Ed Catmull, later president of Pixar. Artists not only embraced the technology, they fell in love with it—as evinced by the hilariously erotic technophilia of Barbara Hammer’s No No Nooky TV.
Computer Age is the story of how the digital’s new normal emerged from our media’s strange past, a rare moment in which artists and engineers collaborated to imagine new worlds and new ways of seeing. – GZ & LG
GREGORY ZINMAN
IS AN ASSISTANT PROFESSOR IN THE SCHOOL OF LITERATURE, MEDIA, AND COMMUNICATION AT THE GEORGIA INSTITUTE OF TECHNOLOGY. HIS WRITING ON FILM AND MEDIA HAS APPEARED IN THE NEW YORKER, FILM HISTORY, AND MILLENNIUM FILM JOURNAL, AMONG OTHER PUBLICATIONS. HE IS COMPLETING A BOOK, HANDMADE: THE MOVING IMAGE IN THE ARTISANAL MODE, AND IS CO-EDITING, WITH JOHN HANHARDT, NAM JUNE PAIK: SELECTED WRITINGS (FORTHCOMING FROM THE MIT PRESS).
LEO GOLDSMITH
IS A WRITER AND CURATOR FROM BROOKLYN, NY. HE IS A PHD CANDIDATE IN THE DEPARTMENT OF CINEMA STUDIES AT NEW YORK UNIVERSITY, WHERE HE IS WRITING A DISSERTATION ON FOUND FOOTAGE. WITH RACHAEL RAKES, HE CO-EDITS THE FILM SECTION OF THE BROOKLYN RAIL, A MONTHLY ART AND POLITICS NEWSPAPER. HIS WRITING HAS APPEARED IN ARTFORUM, CINEMA SCOPE, REVERSE SHOT, AND THE LOS ANGELES REVIEW OF BOOKS. HE HAS CURATED EXHIBITIONS AND FILM PROGRAMS AT ANTHOLOGY FILM ARCHIVES, MUSEUM OF THE MOVING IMAGE, HELIOPOLIS PROJECT SPACE, AND UNIONDOCS.
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Mood Contrasts Mary Ellen Bute 1953 | 7 min | 16mm Courtesy Center for Visual Music
Side Phase Drift John Whitney, Jr. 1965 | 8 min | Digital
Cibernetik 5.3 John Stehura 1960–65 | 8 min | Digibeta Courtesy Center for Visual Music
Wednesday • 4:30pm • Michigan Theater Screening Room COMPUTER AGE: EARLY COMPUTER MOVIES, 1953–1969
Lapis James Whitney 1966 | 9 min | 16mm Courtesy of the Estate of John and James Whitney and the Academy FIlm Archive.
Poemfield No. 2 Stan VanDerBeek, Kenneth Knowlton 1966 | 6 min | 16mm
Permutations John Whitney 1968 | 6 mins | 16mm Courtesy Estate of John and James Whitney and the Academy FIlm Archive
Newly restored print from the Academy Film Archvie
POEMFIELD NO. 2
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Digital Experiments At Bell Labs Nam June Paik 1966 | 4 min | Digital Courtesy Paik Studios and Electronic Arts Intermix
Around Perception Pierre Hébert 1968 | 16 min | 35mm Courtesy of National Film Board of Canada
Computer Movie No. 2 CTG 1969 | 8 min | digital Courtesy of CTG and Electronic Arts Intermix
SPONSORED BY COLLEGE FOR CREATIVE STUDIES
WITH SUPPORT FROM THE ANDY WARHOL FOUNDATION FOR THE VISUAL ARTS
Wednesday • 7pm • Michigan Theater Screening Room COMPUTER AGE: EARLY COMPUTER MOVIES, 1971–1987
Terminal Self John Whitney, Jr. 1971 | 8 min | 16mm Courtesy of John Whitney Jr. and the Academy FIlm Archive.
Robert Abel And Associates Demo Reel Robert Abel 1974 | 9 min | Digibeta Courtesy UCLA Film & Television Archive
Arabesque John Whitney 1975 | 7 min | 16mm Courtesy of the Estate of John and James Whitney and the Academy FIlm Archive
AROUND PERCEPTION
Symmetricks Stan Van Der Beek, Wade Shaw 1972 | 6 min | 16mm
La Faim (Hunger) Peter Foldès 1974 | 11 min | 35mm Loan courtesy of producer, National Film Board of Canada.
Collage Lillian Schwartz 1975 | 6 min 16mm on digital Courtesy of the artist
Sunstone Ed Emshwiller 1979 | 4 min | 16mm
Let’s Groove Ron Hays 1981 | 4 min | Digital Music video by the band Earth, Wind & Fire.
Human Vectors Dov Jacobson 1982 | 2 min | Digital Courtesy of the artist
Big Electric Cat John Sanborn, Kit Fitzgerald, Dean Winkler 1982 | 5 min | Digital
Adventures In Success Lynn Goldsmith, Joshua White 1983 | 3 min | Digital
Calculated Movements Larry Cuba 1985 | 6 min | Digital Courtesy of iotaCenter
No No Nooky TV Barbara Hammer 1987 | 3 min | 16mm
SPONSORED BY COLLEGE FOR CREATIVE STUDIES
WITH SUPPORT FROM THE ANDY WARHOL FOUNDATION FOR THE VISUAL ARTS
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Wednesday • 7:15pm • Michigan Theater Main Auditorium
FILMS IN COMPETITION 1
Sound of a Million Insects, Light of a Thousand Stars Tomonari Nishikawa Japan | 2014 | 2 min | 35mm I buried a 100-foot (about 30 meters) 35mm negative film under fallen leaves alongside a country road, which was about 25 km away from the Fukushima Daiichi Nuclear Power Station, for about 6 hours, from the sunset of June 24, 2014, to the sunrise of the following day. The night was beautiful with a starry sky, and numerous summer insects were singing loud. The area was once an evacuation zone, but now people live there after the removal of the contaminated soil. This film was exposed to the possible remaining radioactive materials. – TN
Night Noon Shambhavi Kaul USA / Mexico | 2014 | 12 min | Digital Unmoving rock collapsed to ocean—geology’s “thrust and fold”—becomes the unlikely habitat for two actors’ shadowy encounters with sand, waves, night, desert, dread, calm, trepidation and escape.
“Shambhavi Kaul’s Night Noon sets up dialectical dread in Death Valley with a series of uncanny shots of eroded, geolog- ical formations and dunes that seemingly fold into night skies and shimmering waters. Beginning in Zabriskie Point, the film surreptitiously crosses over into Mexico, its creative geography never far from our cinematic memory.” – Andréa Picard
Time Being V-VI Barbara Sternberg Toronto, Canada | 2014 | 4 min | 16mm From Barbara Sternberg’s ongoing series she describes as “brief moments of being, fleeting bits of the surrounding chaos.”
The Figure Carved Into the Knife by the Sap of the Banana Tree Joana Pimenta USA / Portugal | 2014 | 16 min | Digital The rapid turning of a light draws a circle. In the space bound by its line unravels an archive of postcards sent between the island of Madeira and the former Portuguese colony of Mo- zambique. The Figures Carved into the Knife by the Sap of the Banana Trees circulates between a fictional colonial memory and science fiction. – JP
Wayward Fronds Fern Silva Chicago, IL | 2014 | 13 min | 16mm Mermaids flip a tale of twin detriments, domiciles cradle morph invaders, crocodile trails swallow two-legged twigs in a fecund mash of nature’s outlaws... down in the Everglades.
Wayward Fronds references a series of historical events that helped shape the Florida Everglades today, while fictionalizing its geological future and its effects on both native and exotic inhabitants. Guided by recent talks amongst legislature to finally disperse billions of dollars in restoration funds, events in this film unfold by giving way to a future eco-flourished Everglades. Nature begins to take over, engulfs and tames civilization after centuries of attack, and even guides it into its mysterious aqueous depths, forcing humans to adapt and evolve to its surroundings. – FS
War Prayer Richard Wiebe USA / Cyprus | 2015 | 17 min | Digital NORTH AMERICAN PREMIERE There are icons in Cyprus that are centuries old. They bloom like flowers in houses, churches, monasteries, and markets. Last summer marked the 40th anniversary of Cyprus’s invasion and partition. Today the island remains divided with abandoned spaces on both sides of the Green Line. For decades every US administration has exploited this partition, using military bases on the island to conduct surveillance in the Middle East. An icon is a prayer, a window to heaven, to a listening ear. – RW
Substanz Sebastian Mez Germany | 2014 | 14.5 min | Digital
US PREMIERE
Using video footage he captured in the aftermath of the 2011 earthquake and tsunami in Japan, Mez creates a somber and disorienting portrait through rich electronic image-processing, depicting a multi-planar spatial environment populated by the frail shadows of toppled buildings, figures moving about, and a frantic population in the throes of regaining their balance amid the chaos of these extraordinary circumstances.
SPONSORED BY MAPLE THEATER
COMMUNITY PARTNER MICHIGAN PSYCHOANALYTIC SOCIETY
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THE FIGURE CARVED INTO THE KNIFE BY THE SAP OF THE BANANA TREE
53rd Ann Arbor Film Festival • March 24–29 2015
SUBSTANZ
SUBSTANZ
WAYWARD FRONDS
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WAR PRAYER
NIGHT NOON
SOUND OF A MILLION INSECTS, LIGHT OF A THOUSAND STARS
Ann Arbor Film Festival • March 24–29 2015 TACITA DEAN
ESSAY BY MARK TOSCANO
A common (and frankly trite) dismissal often levied against artists who work in the medium of celluloid film is “you could’ve just done that (easier) in digital.” For some reason, this mentality operates under the misapprehension that the same work would result if the moving image medium were switched. On the contrary, not only would you not get the same result, but the work in question would have never been conceived to begin with. Like digital itself, film is an utterly distinct medium that suggests its own application, approach, problems, and solutions. When working in a specific artistic medium, one works deeply with that medium, to a large degree on its terms.
When Tacita Dean created her monumental 35mm film installation FILM for the Tate Modern Turbine Hall in 2011, the artistic notion being proposed was not a mere fetishism of a medium many saw as obsolete and near death. Rather, the work was a large-scale, deeply engaging, and quite impassioned declaration of the medium’s relevance and singularity: not only did the piece emerge utterly from Dean’s engagement with film on its very specific terms, but it made a radically convincing argument for the film medium as one which is crucial, powerful, and contemporary. FILM argued for film’s relevance, for its necessity as a mode of artistic practice.
This rich engagement with the medium perme- ates Dean’s film work, which is almost exclusively 16mm. In the larger sense of her overall artistic practice, Dean mines the alchemical and evidentia- ry duality of film, powerfully activating both aspects of the medium in her explorations of the ineffable and the ephemeral. At the heart of much of her work is the implicit suggestion that a complexity of meaning and experience are to be found not in the recording of people and events, but in the filmic mediation of them, as explored via Dean’s own hyper-conscious attention. And although this some- times resonates with a certain medium reflexivity (as in Kodak or Disappearance at Sea), Dean’s work is not at all about an obsession or fascination with film, but rather her use of film to arrive at a
heightened and dimensionalized experience and understanding of her subjects. Film, in its materi- ality and presence, is intrinsically about observing, capturing, and transforming. It is about exposing.
Although many of her films could very success- fully survive translation to the theatrical experi- ence, Dean’s films are generally conceived for looping gallery presentation, with all its attendant site-specificity, altered temporality, and differences of scale, perspective, and engagement. However, I would argue that the heightened sensitivity and attention of the cinematic theater experience allow us the possibility to connect with her work in a very distinct way. An attenuated awareness of striving to see, know, and understand, as particularly embod- ied in films like Edwin Parker and The Green Ray, is given a transformed prominence for a theatrical audience that is not inconsistent with Dean’s considerations.
I would be remiss to not say something about Dean’s tireless advocacy on behalf of the survival of film. Again, the easy and incorrect criticism here from digital lobbyists has been that her pro-film rhetoric is either anachronistic or anti-technological, both negative readings that have nothing to do with what Dean is after, which is a basic freedom of expression. She, and countless other artists of all ages and backgrounds, have chosen film as a medium in which they need to work, to express what they want to express. So while the rampant, unchecked ascendancy of digital media as a replacement for film has been fraught with mistruths, economic concerns, and market-driven paranoia, the commitment to film by Dean and many others has been purely about expression that can’t be realized in any other medium.
MARK TOSCANO IS A FILMMAKER, CURATOR, AND FILM PRESERVATIONIST BASED IN LOS ANGELES.
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Wednesday • 9:15pm • Michigan Theater Screening Room
TACITA DEAN: PROGRAM ONE
ARTIST IN ATTENDANCE
The Green Ray 2001 | 3 min | 16mm The Green Ray is a single continuous roll of 16mm film of a sunset in Madagascar, where Dean attempts to capture and document the rare optical phenomenon know as a “green ray” or “green flash” - which is the last ray of the setting sun to refract and bend beneath the horizon.
Kodak 2006 | 44 min | 16mm Kodak was shot in a Kodak factory in eastern France—the last one in Europe to produce 16mm film stock. A few weeks after Tacita Dean visited, the factory closed for good. “Kodak is characteristically exquisite. Inside the factory, the lights are low, presumably to protect its sensitive product, and Dean’s camera wanders through the gloaming, taking in the miles of ducts, gears, drums, and vats involved in transform- ing vast sheets of pale-pink plastic into the stuff of cinema. Light bounces off the intricate geometries of stainless steel, at one moment evoking Ellsworth Kelly’s angular composi- tions, at another László Moholy-Nagy’s kinetic sculptures. In the final sequence, the camera takes in the floor of a room strewn with debris. Amid clumps of dust and sprocket-hole chads are twisted bits of discarded film, like so many man- gled corpses.” – Emily Eakin, New Yorker
JG 2014 | 26 min | 35mm “JG is inspired by Dean’s correspondence with British author
J.G. Ballard (1930-2009) regarding connections between his short story “The Voices of Time” (1960) and Robert Smithson’s iconic earthwork and film Spiral Jetty (both works, 1970). JG is shot on location in the saline landscapes of Utah and Cal- ifornia using Dean’s recently developed and patented system of aperture gate masking. JG sets out to respond directly to Ballard’s challenge—posed to her in a letter shortly before he died—that she should seek to solve the mysteries of Smith- son’s Spiral Jetty with her film.” – Frith Street Gallery
“While Smithson’s jetty spiralled downward in the artist’s imagination through layers of sedimentation and prehistory, in ancient repetition of a mythical whirlpool, coiling beneath the surface of the lake to the origins of time in the core of the earth below, the mandala in “The Voices of Time” is its virtual mirror, kaleidoscoping upwards into cosmic integration and the tail end of time.” – Tacita Dean
FILM STILLS (CLOCKWISE TOP) JG / KODAK / THE GREEN RAY FILM STILLS & PRINTS COURTESY OF THE MARIAN GOODMAN GALLERY WITH SUPPORT FROM THE ANDY WARHOL FOUNDATION FOR THE VISUAL ARTS AND THE UNIVERSITY OF MICHIGAN PENNY W. STAMPS SCHOOL OF ART & DESIGN
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Wednesday • 9:30pm • Michigan Theater Main Auditorium HÄXAN W/ LIVE SCORE BY DEMDIKE STARE
Häxan Benjamin Christensen Denmark / Sweden | 1922 | 90 min w/ an original live score by Demdike Stare “Grave robbing, torture, possessed nuns, and a satanic
Sabbath: Benjamin Christensen’s legendary film Häxan uses a series of dramatic vignettes to explore the scientific hypothesis that the witches of the Middle Ages suffered the same hysteria as turn-of-the-century psychiatric patients. But the film itself is far from serious—instead it’s a witches’ brew of the scary, gross, and darkly humorous.” – Criterion
Demdike Stare were founded in 2009 in Manchester, England by Miles Whittaker and Sean Canty.
“Miles Whittaker has spent years making grainy and often abrasive techno as MLZ and one half of Pendle Coven, and more recently has been responsible for a series of hybrid dancefloor tracks that unite dubstep’s sprawling sense of the urbane with dub-tech- no’s rickety intensity; Sean Canty works for the Finders Keepers label, unearthing ancient and lost recordings and giving them a new lease of life. So while one half of the duo appears defiantly futurist, tapping into a lineage that began with Detroit techno’s obsession with dystopian future worlds, the other’s work is con- cerned with tunneling backwards into the past.”
Demdike Stare practice a particularly potent form of modern witchcraft. As obsessive record collectors, they use acquisition of musical knowledge like weaponry, writing music by assembling it, layer upon layer, from samples and the rickety creak of hardware. This process of unearthing old recordings and reanimating them in new shapes carries with it an intrinsically arcane power; by passing the phantoms trapped in these records through a modern lens, Whittaker and Canty resurrect and re-contextualise the ghosts of the past. – Rory Gibb, The Quietus
AFTERPARTY THE RAVENS CLUB | 11pm–2am | FREE
NEW SCORE COMMISSIONED BY THE BRITISH FILM INSTITUTE
SPONSORED BY THE CROFOOT
COMMUNITY PARTNER MUSEUM OF CONTEMPORARY ART DETROIT
WITH SUPPORT FROM THE ANDY WARHOL FOUNDATION FOR THE VISUAL ARTS
DONORS
WADE KERGAN / HELLO RECORDS F. CHRISTIAN JUZIUK JOHN KERR / WAZOO CHRISTIAN EVAN SILBEREIS B. THOMAS HUNTER WINDY WEBER / STORMY RECORDS DREW POMPA WALTER WACACZ CHRIS MCNAMARA
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ENJOY INDEPENDENT AND EXPERIMENTAL MIXOLOGY IN A 1920s SPEAKEASY SETTING.
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Thursday • 12:15pm • Michigan Theater Screening Room • FREE JOANNA RACZYNSKA
JUROR PRESENTATION
This program features nine titles selected from “Artists, Amateurs, Alternative Spaces: Experimental Cinema in Eastern Europe, 1960–1990”; a series composed of eleven programs presented at the National Gallery of Art, Washington DC, in Spring 2014. The series was curated by Joanna Raczynska, Assistant Curator in the Film Department at the NGA, and Ksenya Gurshtein, lecturer in the McIntire Department of Art, University of Virginia.
An important step toward illuminating the com- plicated cinematic past of former Eastern Europe and embedding it in its social history, this series mapped many of the currently accessible works while exploring the similarities and differences be- tween makers and their methods and motivations. The selected titles shed light on the important work of the archives lending their materials and focused on the importance of preservation, restoration, and circulation of experimental film. – KG and JR
White People (Beli Ljudje) Naško Križnar and OHO Slovenia | 1970 | 11 min 35 mm to Beta SP Produced by the Neoplanta Studio in the Serbian town of Novi Sad, White People is the most ambitious of the many short films created by the mem- bers of the Slovene OHO movement and group between 1965 and 1971.
Black Film (Crni film) Želmir Žilnik Serbia | 1971 | 14 min 16mm to Beta SP “One night, Žilnik picks up a group of homeless men from the streets of Novi Sad and takes them home. While they enjoy themselves in his home, the film- maker tries to ‘solve the problem of the homeless’ carrying along a film camera as a witness. He speaks to social work- ers, ordinary people. He even addresses policemen. They all close their eyes to the ‘problem.’” – Želmir Žilnik
Oskar Hansen - Groping One’s Way (Oskar Hansen -Po omacku) Piotr Andrejew Poland | 1975 | 11 min 35mm to digital file Documentation of seminal artist Oskar Hansen’s Open Form theory and teach- ing methods, with students from the Warsaw Academy of Fine Arts.
1,2,3...Operator’s exercise (1,2,3... Ćwiczenie operatorskie) Paweł Kwiek Poland | 1972 | 8 min 35mm to digital file A study of the relations between the individual and socialist ideology as carried out in a loose, open-ended form. Kwiek also collaborated extensively with his brother, Przemysław Kwiek and fellow students at the Faculty of Sculpture of the Warsaw Academy of Fine Arts, led by the artist-architect Oskar Hansen.
Centre (Centrum) Kazimierz Bendkowski Poland | 1973 | 5 min 35mm to digital file Bendkowski’s characteristically abstract work explores the limits of sound and image montage. Filmed at night in the heart of Warsaw, the film cuts up a panorama of lights and neon signs with sounds from the street, creating rhyth- mic panoply of noises and textures.
New Year’s Eve (Szilveszter) Elemér Ragályi Hungary | 1974 | 15 min 35mm to digiBeta Ragályi keenly observes the chaotic go- ings-on of a wide range of people during New Year’s Eve festivities in Budapest.
Self Fashion Show (Öndivatbemutató) Tibor Hajas Hungary | 1976 | 15 min 35mm to digiBeta This short film made by Hajas at the Balázs Béla Studio, takes as its subject a busy Budapest street and especially the passersby on it.
Transformation (Transformacja) Grzegorz G. Zgraja Poland | 1978 | 4 min VHS to digital file An audiovisual interpretation of a graph- ic score, beginning with one point on a raster-built “reproduction” of a facial image. Music by Krzysztof P. Zgraja, the artist’s brother, flutist, and composer.
Video Manual Dalibor Martinis Croatia | 1978 |2 min Open reel video to digital file The artist balances a video camera on a tripod that is poised in the palm of his hand. The lens of the camera is directed downward, so that, in Martinis’ words, “it acts the part of witness and hostage of the action at the same time.”
DESCRIPTIONS COURTESY JOANNA RACZYNSKA AND KSENYA GURSHTEIN.
FILMS AND STILL IMAGES WHITE PEOPLE COURTESY OF SLOVENE CINEMATHEQUE; OSKAR HANSEN - GROPING ONE’S WAY AND CENTRE COURTESY FILMOTEKA MUZEUM, WARSAW; 1,2,3...OPERATOR’S EXERCISE COURTESY FILMOTEKA MUZEUM AND ARTON FOUNDATION, WARSAW; NEW YEAR’S EVE AND SELF FASHION SHOW COURTESY MANDA - HUNGARIAN NATIONAL DIGITAL ARCHIVE AND FILM INSTITUTE; TRANSFORMATION; VIDEO MANUAL; AND BLACK FILM COURTESY THE ARTISTS.
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OSKAR HANSEN - GROPING ONE’S WAY
TRANSFORMATION SELF FASHION SHOW
53rd Ann Arbor Film Festival • March 24–29 2015
BLACK FILM CENTRE
VIDEO MANUAL
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1,2,3...OPERATOR’S EXERCISE
WHITE PEOPLE
Thursday • 3pm • Michigan Theater Screening Room • FREE
HARUN FAROCKI IMAGES OF THE WORLD AND THE INSCRIPTION OF WAR
Bilder der Welt und Inschrift des Krieges (Images of the World and the Inscription of War) Harun Farocki (1944–2014) 1988 | 75 min | 16mm The vanishing point in Harun Farocki’s critically important 1988 film is the conceptual image of the ‘blind spot’ shared by evaluators of aerial footage taken in Germany during the war who identified the bombed IG Farben industrial plant but failed to see Auschwitz concentration camp next to the factory. The history of those pictures forms a central motif in Farocki’s elliptical cinematic essay on the nature of photographic reality and the role of the observer. Images of the World and the Inscription of War is considered one of the greatest works by Farocki, who created over 100 films before he passed away in July, 2014.
THE FILMS OF HARUN FAROCKI
PARALLEL I-IV (2012-2014), WILL BE DISCUSSED ON FRIDAY
ONE OF FAROCKI’S LAST AT 3PM AS PART OF THE
WORKS, WILL BE SCREENED SCREENING WHAT FAROCKI
ON SATURDAY AT 11am. TAUGHT BY JILL GODMILOW.
Thursday • 5:10pm • Michigan Theater Main Auditorium • FREE TACITA DEAN
PENNY W. STAMPS PRESENTS
A visual artist who has worked in a variety of media including drawing, photography and sound, Tacita Dean is best known for her work in 16mm film. She will present “Process and the Non-Deliberate Act”, a lecture about her work. Dean’s solo exhibitions include Tate Britain, London; Schaulager, Basel; the Guggenheim Museum, New York; Nicola Trussardi Foundation, Milan; and MUMOK, Vienna. She was awarded the Hugo Boss Prize in 2006 and the Kurt Schwitters Prize in 2009. In 2011, she made FILM as part of the Unilever series of commissions in Tate Modern’s Turbine Hall, which marked the beginning of her campaign to protect the medium of photochemical film. Other recent exhibitions include dOCUMENTA, Venice Biennale, Berlin Biennale and Biennale of Sydney.
TWO PROGRAMS OF FILMS BY TACITA DEAN WILL BE SCREENED, WITH THE ARTIST PRESENT, ON WEDNESDAY AT 9:15pm AND THURSDAY AT 9:15pm IN THE MICHIGAN THEATER SCREENING ROOM.
EDUCATION PARTNER UNIVERSITY OF MICHIGAN DEPARTMENT OF EUROPEAN STUDIES, GERMANIC LANGUAGES & LITERATURES PROGRAM
16MM PRINT COURTESY OF THE GOETHE-INSTITUT.
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PHOTO: JIM RAKETE
Thursday • 7pm • Michigan Theater Screening Room EPISODE OF THE SEA
FEATURE IN COMPETITION
Episode of the Sea Lonnie van Brummelen and Siebren de Haan, and the inhabitants of Urk The Netherlands | 2014 | 63 min | 35mm on digital Episode of the Sea is the outcome of a two-year collaboration with the fishing community of Urk, a former island in the Nether- lands. In the previous century, the Dutch closed off and drained their inland sea to reclaim new arable land. The island of Urk, situated in mid sea, suddenly found itself embraced by land. Its inhabitants were expected to switch from fishing to farming, but the fishermen managed to continue their trade. They found new fishing grounds, far out in the North Sea. Despite being part of the mainland for decades, the fishing village is still notoriously insular and its inhabitants continue to speak their own tongue. With a residency and numerous visits to Urk we gradually gained the Urkers’ trust. From 2011 to 2013, we documented the sites and work of fishing and filmed a dozen of staged scenes, performed by members of the fishing community themselves in their local di- alect. Meanwhile we kept a log of our encounters and experiences in situ. Episode of the Sea brings these diverse materials together. The film documents the material world of contemporary North Sea fishery and the fishermen’s struggle with a changed public perception, fluctuating regulations, and excessive global com- petition, while parallels are drawn between fishing and filming. Rendered in black-and-white to recite neo-realist drama and early documentary styles, the scenes evoke a way of life that has been passed on by ancestors, yet on the verge of obsolescence. – Lonnie van Brummelen and Siebren de Haan
PRECEDED BY
Chapri Katarzyna Płazińska Iowa City, IA | 2015 | 6 min | Digital Light, shadow, and sound imprint themselves onto ephemeral making. – KP
Peacock Andrew Kim Los Angeles, CA | 2015 | 12 min | 16mm
WORLD PREMIERE
A meditation on our fantastic condition of mortality and impermanence... “The peacock painted on the window will never dance or speak. It is only the peacock that lived in the forest which used to speak, dance, and walk in a sweet manner.” – AK
SPONSORED BY UNIVERSITY OF MICHIGAN INSTITUTE FOR THE HUMANITIES
LOAN OF THE DCP FOR EXHIBITION COURTESY OF THE DOMMERING COLLECTION, THE NETHERLANDS.
EPISODE OF THE SEA EPISODE OF THE SEA
CHAPRI PEACOCK
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Thursday • 7:15pm • Michigan Theater Main Auditorium
FILMS IN COMPETITION 2
Masanao Abe - Cloudgraphy Helmut Völter Leipzig, Germany | 2015 | 5 min | 35mm on Digital WORLD PREMIERE In 1927, the Japanese physicist Masanao Abe built an observatory with a view of Mount Fuji. From it, over the course of over fifteen years, he recorded the clouds that surrounded the mountain. Abe was interested in the scientific question of how the air currents around Fuji could be visualized by means of film and photography.
Masanao Abe - Cloudgraphy is a selection of film sequences by Abe from 1929 to 1938. They show his attempts to scientifi- cally grasp the ephemeral forms and movements of the clouds, but they are at the same time beautiful documents in a long iconographic tradition: the mountain and the clouds. – HV
Blue Loop, July Mike Gibisser Iowa City, IA | 2014 | 5 min | 16mm Chicago’s summertime blazes, unanchored. Skywriting out of time.
Part of a series of nighttime long exposures, Blue Loop, July creates an odd document of a long-standing celebratory tradition in one of Chicago’s lower west side neighborhoods. By leaving the camera’s shutter open for seconds at a time, the film transforms a summertime spectacle into a light-trace animation that unseats reliability of spatial and temporal direction. – MG
Sightings: Habitat Sabrina Ratté Montreal, Canada | 2014 | 6 min | Digital Sightings: Habitat explores the visual and sonic relationship between modular synthesis and simulated space. Ratté uses her signature modulator technique to intricately layer a series of moirés and checkerboards that bring depth to the otherwise flat surface of the screen. Ratté bends the signal of the video itself to carve out corridors of an undetermined distance. The simplicity and exactness of the vertical lines that dance across the screen suggest a kind of transcendental arrival at a near-perfect modular frequency where the input and output harmonize. With an elegant score by long-time collaborator Roger Tellier-Craig. – Nicholas O’Brien
SPONSORED BY UNIVERSITY OF MICHIGAN M LIBRARY
Kingdom Come: Rituals Vika Kirchenbauer & Martin Sulzer Berlin, Germany | 2014 | 7 min | Digital Kingdom Come: Rituals is composed of aerial footage shot by pigeons equipped with lightweight Digital cameras flying over a political protest in Berlin. Kirchenbauer and Sulzer’s rediscov- ery of pigeon photography references a method used mainly for military purposes during World War I in the field of what would nowadays be called ‘unmanned reconnaissance’, a precursor of modern drone warfare.
In Waking Hours Sarah Vanagt Brussels, Belgium | 2015 | 18 min | Digital
NORTH AMERICAN PREMIERE
With the publication of the Oph- thalmographia in 1632, the Amsterdam physician Vopiscus Fortunatus Plempius sheds new light on the age-old question of how seeing works. His answer is an invitation to experiment: Enter with me into a darkened room and prepare the eye of a freshly slaughtered cow. He emphasizes that anyone may carry out this experiment, at home, “demanding little effort and expense.” “And you, standing in the darkened room, behind the eye, shall see a painting that perfectly represents all objects from the outside world,” promises Plempius. In the film we see historian Katrien Vanagt - who studied the Latin writings of this Plempius - cloaked in the skin of a 21st-century disciple of Plempius. Her cousin, filmmaker Sarah Vanagt, is there and captures how this modern “Plempia” meticulously follows her teacher’s instructions. Thus, in a dark kitchen in Brussels, they become witnesses at the birth of images upon the eye.
Detour de Force Rebecca Baron USA / Austria | 2014 | 29 min | Digital Detour de Force presents the world of thoughtographer Ted Serios, a charismatic Chicago bell hop who, in the mid-1960s, produced hundreds of Polaroid images from his mind. Constructed from 16mm documentation of Serios’s sessions and audio recordings of Serios speaking with Dr. Jule Eisen- bud, the Denver psychiatrist who championed his abilities. The film is more ethnography than biography, portraying the social and scientific environments in which Serios thrived.
COMMUNITY PARTNER CHELSEA RIVER GALLERY
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BLUE LOOP, JULY
IN WAKING HOURS
MASANAO ABE - CLOUDGRAPHY
KINGDOM COME: RITUALS
DETOUR DE FORCE
53rd Ann Arbor Film Festival • March 24–29 2015
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SIGHTINGS: HABITAT
DETOUR DE FORCE
BLUE LOOP, JULY
Thursday • 9:15pm • Michigan Theater Screening Room
TACITA DEAN: PROGRAM TWO
ARTIST IN ATTENDANCE
Disappearance at Sea 1996 | 14 min | 16mm anamorphic
Bubble House 1999 | 9 min | 16mm
Teignmouth Electron 2000 | 7 min | 16mm
Disappearance at Sea, Bubble House, and Teignmouth Electron are from a series of works Tacita Dean made inspired by remarkable stories of personal encounters with the sea. A key figure in these works is Donald Crowhurst, a competitor in the 1968 Sunday Times Golden Globe Single-Handed Round-the- World Yacht Race. Within a few weeks of departing, Crowhurst realized that his boat, the Teignmouth Electron, was not up to sailing around the world. Rather than returning home, he began to issue false reports of his progress and position until he could bear the deceit no longer and retreated into an internal world, developing an obsession with time and his faulty chronometer. Two weeks before Crowhurst was due home to a hero’s welcome, Teignmouth Electron was found adrift and empty. Tacita Dean has created a number of works that respond to this story.
Disappearance at Sea, shot in the anamorphic (wide-angle) format, was created almost entirely on location at St Abb’s lighthouse and focuses on the turning mirrors, prisms and fila- ments of the lighthouse optic. It is filmed at the moment when day becomes night, exploring the quality and movement of both artificial and natural light as the lamp lights and the sun sets. For the films Teignmouth Electron and Bubble House, Dean travelled to Cayman Brac, a small island in the Caribbean where Crowhurst’s trimaran, the Teignmouth Electron, lies beached. It has been abandoned there for over 20 years after having been refitted as a tourist boat. On the same visit, Dean shot the material for the film Bubble House. Dean wrote in 2001, “While documenting the decayed hull of the Teignmouth Electron, my companion and I drove up the other road on the hurricane coast of the small island and came across the Bubble House. Deserted and half-complete, it was built by a Frenchman who, according to the people of the island, embezzled money from the American government and was now doing 35 years in a Tampa prison for fraud.”
EXCERPTED FROM THE EXHIBITION NOTES FOR “TACITA DEAN: DISAPPEARANCE AT SEA”, NATIONAL MARITIME MUSEUM, LONDON, 1999; AND “TACITA DEAN: RECENT FILMS AND OTHER WORKS”, TATE BRITAIN, 2001.
WITH SUPPORT FROM THE ANDY WARHOL FOUNDATION FOR THE VISUAL ARTS AND THE UNIVERSITY OF MICHIGAN PENNY W. STAMPS SCHOOL OF ART & DESIGN
Merce Cunningham performs STILLNESS (I) 2007 | 4 min | 16mm
Edwin Parker 2011 | 29 min | 16mm
Merce Cunningham performs STILLNESS (I) is one of six films Dean made with the legendary dancer and choreographer in April 2007. Dean asked Cunningham , who was 88 at the time of filming and confined to a wheelchair, to choreograph John Cage’s 4’33, a composition consisting of a 4-minute, 33-sec- ond period of silence performed in three movements.
Edwin Parker is a portrait of the artist Cy Twombly (Edwin Parker is his given name). Describing what happens in the film, New Yorker writer Emily Deakin states: “nothing much. (Twombly) pads around his studio in Lexington, Virginia, in a herringbone tweed jacket and high-waisted linen trousers. He picks up a plaster object and sets it down. He opens an aero- gramme and skims an article in the Financial Times. He goes to lunch at a local diner. Occasionally, he says a few words to an assistant, which we can’t quite make out. But mostly he sits, near his studio’s front window, behind drawn blinds in the fading light, impeccable and aloof, like one of his white-plaster sculptures.
Dean is a mystic, and her recent films are best understood in this light, as awed testaments to the ineffable process by which obsession, solitude, boredom, and repetition are transfigured in the studio. Twombly doesn’t make any art in Edwin Parker, but near the end of the film Dean’s camera takes in a wall, on which spatters of dried paint mark the spot where a canvas once hung. In its place are narrow bands of gray—shadows cast by the window blind across the room. Together, the spatters and the shadows suggest a phantasm, the painting in the artist’s mind.”
FILM STILL BUBBLE HOUSE
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Thursday • 9:30pm • Michigan Theater Main Auditorium OUT NIGHT
FILMS IN COMPETITION
The Little Deputy Trevor Anderson Edmonton, Canada | 2015 9 min | Digital Trevor tries to have his photo taken with his father.
Like Rats Leaving a Sinking Ship Vika Kirchenbauer Berlin, Germany | 2012 24.5 min | Super 8mm on digital “Rats are glorious deserters and we must admire them. Rats don’t want to be captains trying to keep the cause afloat. But swim on open water.” – VK
Personal narrative and clinical objec- tivity combine in a multilayered narrative about the psychiatric assessments im- posed on transgendered people and the nature of personal memory. The narrator shifts voices and stories in an attempt to placate to a rotting system and, at the same time, desert it for something better. – Frameline Film Festival
BLOOD BELOW THE SKIN
THE LITTLE DEPUTY
LIKE RATS LEAVING A SINKING SHIP CONFESSIONS
Confessions Curt McDowell (1945–1987) 1971 | 11 min | 16mm THIS FILM NOT IN COMPETITION “How much joy and lust and friendship can be crammed into one 11-minute movie? ‘To put it into words is just not that easy to do.’ After a tearful confession, Curt casts one true love as a leading man and lets the images do most of the talking, so what you know about him is felt. The difference between a messy guy in bloom and a perfect lifeless doll. The beauty of women’s faces and men’s cocks in close-up, and dirty bare feet, stepping forward. A live-wire radio built by editing that switches from folk to blues in a heartbeat. Fanfare, a cum shot, and a burst of applause as the director walks away from the camera, into San Francisco daylight. There’s no happier ending in cinema.” – Johhny Ray Huston, excerpted from The Single and the LP, published 2014
RESTORED PRINT COURTESY OF THE ACADEMY FILM ARCHIVE
Blood Below the Skin Jennifer Reeder Chicago, IL | 2015 | 32 min | Digital NORTH AMERICAN PREMIERE This short narrative chronicles a week in the lives of three teenage girls. They are high school classmates from different social circles, who form a bond in the wake of an unanticipated incident. Two of the girls are falling in love with each other against all expectations and the third girl is forced to mother her own mother after her father gets sent to prison. Each girl seeks comfort within the walls of her bedroom where the music blasting from the turntable provides a magical synchronicity between them all. The title is a metaphor for a bruise and refers to the secrets that girls and women keep just below the skin. - JR
COMMUNITY PARTNERS JIM TOY COMMUNITY CENTER UNIVERSITY OF MICHIGAN SPECTRUM CENTER
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AFTERPARTY \AUT\ BAR | 11pm–2am | FREE
Performance Network Theater • 120 East Huron St. • 11:30pm–1am • $5 OJOBOCA / WOJCIECH BĄKOWSKI
CINEMA AND MUSIC PERFORMANCE
Ojoboca are Berlin-based artists Anja Dornieden and Juan David González. A Home Inside (2013, 20 min) is a live audiovisual presentation for three 16mm projectors, and is “concerned with images of ‘good domestic design’, while a soundtrack that is spoken by a virtual voice lingers on a reflection of a related defect or infec- tion that must be overcome.” (Klaus w. Eisenlohr)
Wojciech Bąkowski is a founding mem- ber of the band KOT and the electronic duo Niwea (with Dawid Szczęsny). Bąkowski, a featured artist at the 53rd AAFF (see Friday at 7pm; p.63) creates animation, video, drawings, collage, sculpture, and sound art and music. He performs “Telegaz”, his most recent album.
WITH SUPPORT FROM THE ANDY WARHOL FOUNDATION FOR THE VISUAL ARTS
ADDITIONAL SUPPORT FROM POLISH CULTURAL FUND - ANN ARBOR
EDUCATION PARTNER UNIVERSITY OF MICHIGAN COPERNICUS PROGRAM IN POLISH STUDIES
COMMUNITY PARTNER WCBN
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OUT NIGHT CONTINUES AT \AUT\ BAR WITH COMPLIMENTARY APPETIZERS AND FIRE PITS IN THE COURTYARD!
A HOME INSIDE
WOJCIECH BĄKOWSKI, 2014 PHOTO: CONTEMPORARY LYNX
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Friday • 12:15pm • Michigan Theater Screening Room • FREE JULIE MURRAY
JUROR PRESENTATION
“Using combinations of found and original footage, Julie Murray makes subtle and eloquent films that imbue banal images and everyday sounds with an other-worldly charge, a sense of mystery and menace.” - Chris Gehman
End Reel 2014 | 7 min | Digital End Reel convolves certain aberrations in two image-making technologies; film and video, to produce a complex and largely abstract image without detaching entirely from the narrative contained in the reel. The final minutes of a 35mm Hong Kong action film examined over a light-box on an editing bench with hand-crank rewinds and recorded with a lo-res pocket camera shows fuzzed out fight scenes in an epic triumph of good over evil but lingers just as often on the scars and water damage blooms in the film emulsion itself. Sounds move between sync (creaky rewinds + scraping reels) and added recordings. The decay on the film surface, blur of its movement and arbitrary stop and starts on image frames, create unpredictable associations. The pulsing of the pocket camera’s AWB (automatic white-balance) and the native 60Hz pulsing pattern between the video and the light-box’s florescent bulb add to this, too. These spontaneous textures of unfolding process, like human imprints in sand, form the heart of this moving image work. – JM
I Began to Wish 2003 | 5 min | 16mm | Silent The sea sucks the seed back into the ocean, the flowers fold like umbrellas, shoots recoil into hiding, in seeds that shrink. The plants accelerate their tremble and wobble and glass unbreaks all around them. Strawberries blanch and tomatoes grow pale. In an odd concentrated ritual the father and son carefully tip over all the flower pots, laying the plants to rest and it is in this end, around the time he figures the flowers are talking to him, that the son wishes his father had killed him. – JM
If You Stand With Your Back To The Slowing Of The Speed Of Light In Water 1997 | 18 min | 16mm Images from an aerial tram leaving Manhattan are followed by images of a nearly static bird, of bugs fighting, and of light bending as it passes through glass. Near the film’s end the tram lands in Manhattan, as if it had reversed direction; as in all of Murray’s films, the images and the editing can pull several ways at once. There are no absolutes, and even the light by which we see is altered by the material it passes through. – Fred Camper
“The film aims to illuminate a vital sense innate to percep- tion where inversion is counterbalance and focal myopia the articulation of space”. – JM
Julie Murray presents a program of six 16mm films and one digital work. Originally from Dublin, Ireland, Murray has been based in the US since the 1980s where she has made more than twenty-five films and digital artworks which have been exhibited internationally.
Orchard 2003 | 10 min | 16mm Among the trees and a 19th century ruin of a walled orchard in southwest Ireland. The crumbling brick and mortar of the broken walls becomes an anchor for the roots of slender trees, so uninhibited for all this time that they reach twenty feet in height and have thick roots that follow like slow trickles of water, and in other places branch and wind over the brickwork in an arterial way reminiscent of the human body. The film arranges the images into a continuous wandering attended by environmental whispering sounds until toward the end a voice calls out in dream-bound recognition to a figure from the far far past. – JM
Line of Apsides 2014 | 9 min | 16mm | Silent Hand processed film material and other chromatic micro examinations combine to give expression to a refined idyll of work/play where objects, animate and inert, were interrogated under a microscope and goats were interviewed daily. Made at the Film Farm in Ontario, Canada. – JM
Untitled (light) 2002 | 5 min | 16mm “The film’s haunting images are accompanied by the continu-
ous sound of a helicopter circling overhead, which at the close gives way to the distant sound of police sirens. The beams of light, which seem to emanate from above, could be confused with helicopter searchlights, a reading whose symbolic significance evokes both security and baleful scrutiny. These sounds, however, are not only immediately associated with the events of September 11; they have also become a ubiquitous presence in the urban sonic landscape. Murray reveals the subtle disconnect of sound and image only gradually, allowing conscious recognition to develop slowly in viewing the film.” – Whitney Biennial 2004 catalog
Distance 2012 |12 min | 16mm Time spent at two shores, one thinly populated, the other a wasteland, joined by the interluency of various paths taken, each bit real enough, though exact measures being obscurely indicated. Notions of home and its ache are, to borrow a phrase, “not capable of being told unless by far-off hints and adumbrations.” – JM
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END REEL
I BEGAN TO WISH
LINE OF APSIDES
ORCHARD
53rd Ann Arbor Film Festival • March 24–29 2015
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IF YOU STAND WITH YOUR BACK TO THE SLOWING OF THE SPEED OF LIGHT IN WATER
UNTITLED (LIGHT)
DISTANCE
Friday • 3pm • Michigan Theater Screening Room • FREE
WHAT FAROCKI TAUGHT: JILL GODMILOW
SCREENING AND DISCUSSION
Jill Godmilow’s 1998 film What Farocki Taught will be presented as a part of the 53rd AAFF’s focus on the work of Harun Farocki (1944-2014). Godmilow will be joined in conversation by Toron- to-based filmmaker Mike Hoolboom.
What Farocki Taught Jill Godmilow 1998 | 30 min | 16mm What Farocki Taught is literally and stubbornly a remake—that is, a perfect replica in color and in English, of Harun Farocki’s black and white, 1969 German language film, Inextinguishable Fire. Taking as its subject the political and formal strategies of Farocki’s film about the development of Napalm B by Dow Chemical during the Vietnam War, Godmilow’s unabashedly perfect copy reopens Walter Benjamin’s discussion of art in the age of mechanical reproduction. What Farocki Taught thus becomes an agit-prop challenge to the cinema verité doc- umentary’s representation of information, history, politics, and “real” human experience. In an epilogue to her remake, Godmilow prods contemporary filmmakers towards the original film’s political stance and strategies, emphasizing its direct audience address and refusal to produce the “compassionate voyeurism” of the classic documentary cinema.
Friday • 5pm–6:30pm • Work Gallery • 306 S. State St. JANE CASSIDY
GALLERY TALK & RECEPTION
A reception for “Fits of Easy Reflexion”, an exhibition of three visual music installations by Jane Cassidy, who will be present to talk about her work.
Jane Cassidy is a New Orleans based multi media artist from Galway, Ireland. Primarily trained in music composition and animation, she earned a Masters in Music and Media Technol- ogies from Trinity College Dublin in 2008 and recently received her MFA in Digital Art from Tulane University. Her main interests lie in visual music, live visuals, electro-acoustic composition and multi channel work. Experimentation is central to her work and she is constantly attempting to forge new techniques to build new ephemeral environments and architectures. Within recent years Jane has concentrated on developing her compo- sitions through a varied manner of experimental approaches to projection, large scale installations, sculptural work and surround sound. Past performances include European Media Art Festival, Germany, Punto Y Raya Festival, Spain, Kilkenny Arts Festival and Cork Midsummer Festival in Ireland and
FILMMAKER IN ATTENDANCE
SEE p.52 FOR THURSDAY’S SCREENING OF FAROCKI’S IMAGES OF THE WORLD AND THE INSCRIPTION OF WAR AND p.74 FOR FAROCKI’S 2014 WORK PARALLEL I-IV.
EDUCATION PARTNER UNIVERSITY OF MICHIGAN DEPARTMENT OF EUROPEAN STUDIES, GERMANIC LANGUAGES & LITERATURES PROGRAM
group shows in Dublin, Galway, New Orleans, Atlanta and Philadelphia. In Summer 2013 Jane had a solo show in Parse Gallery, New Orleans and a solo thesis show at Tulane University in 2014.
WITH SUPPORT FROM THE ANDY WARHOL FOUNDATION FOR THE VISUAL ARTS AND THE UNIVERSITY OF MICHIGAN ROMAN J. WITT RESIDENCY PROGRAM
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WHAT FAROCKI TAUGHT
THEY UPPED THEIR GAME AFTER THE ORANGES
Friday • 7pm • Michigan Theater Screening Room
WOJCIECH BĄKOWSKI: MAKING NEW WORLDS INSTEAD OF FORGETTING ABOUT IT
ARTIST IN ATTENDANCE
For over a decade, Wojciech Bąkowski has been active as a visual artist, musician, poet, performer and creator of sound installations, films and vid- eos. This program presents an introduction to Bą- kowski’s films and videos, which are characterized by expressive images and commentary delivered in a low, trance-like voice. “For Bąkowski, language seems to struggle out from an isolated and ab- stract subjective space under constant siege. His numerous monologues are a kind of thorny lifeline potentially connecting our nightmare infested interior worlds with those of others- or perhaps asking if this is even possible” (Dominic Eichler).
Glos mojej duszy (Sound of My Soul) 2014 | 13 min “Animated Film. Poetic Impression.” – Wojciech Bąkowski
Budowa dnia (Construction of the Day) 2013 | 9 min At the same time, both a soothing and dangerous journey into the subconscious. Suggestive visions disrupt the logical order and allow dormant instincts to have their say. Somewhere in the background resonates a reflection on the ongoing virtual- ization of reality. Instead of being a warning against progress, Bąkowski’s film – in a similar fashion to Making New Worlds – has a surprising whiff of nostalgia. – Piotr Czerkawski
Prezegląd Widok (Prospects’ Overview) 2013 | 9 min By extending an incomplete vision, the artist shifts focus to the very limitations that exist in the perception of the world- always accessible merely through its incompleteness. – Łukasz Mojsak
Pogorszenie widzenia (Worsening of Eyesight) 2013 | 6 min The artist focuses here on manifesting the constraints of perception, which disable control over shaping one’s own personality and prevent us from fully contacting the world. Worsening of Eyesight is an uncanny poetic last will, whose author strives to forge his own image in the collective memory. – Łukasz Mojsak
Miłość (Love) 2009 | 5 min Animated with ballpoint pen on paper, Bąkowski’s original lo-fi synth score accompanies looping images with a text that is evocative yet terse, and depicts a fragmentation of the narrator’s consciousness.
Film curator Łukasz Mojsak writes “Bąkowski’s goal is to convey an existential condition, and towards this end he’ll play on the notes that ring within us with an unexplained sense of repulsion, shame or fascination that reaches well beyond rationality. In this world, people and their actions, including the narrator, grow mundane to the point where it hurts. Bąkowski concentrates on the “reality of the lowest rank” – a term he adopted from the legendary Polish artist Tadeusz Kantor – as a point of departure. Hand-picked, amplified and filtered, its elements serve to communicate existential experience in the most acute way.”
Suchy pion (Dry Standpipe) 2012 | 12 min The space described by Proust as the part of life proper, the core of the human soul is composed of impression or association-based connections stemming from the experienc- es gathered during a long time in many places. For the artist, these are monuments or altars built in the depth of one’s soul. – Łukasz Mojsak
Robienie nowych światów zamiast dać spokój (Making New Worlds Instead of Forgetting About It) 2010 | 5 min A coquettish creative manifesto without any uplifting slogans or fiery declarations. Instead, we get an irony-filled recording of struggles with reality. The raw, punk form is ideal for the rough content. The Making of New Worlds looks rebelliously to the past and can be seen as a love letter to the golden era of VHS. – Piotr Czerkawski
Film mówiony 5 (Spoken Film No. 5) 2010 | 6 min A monologue that is poetic in its grousing along with provoc- atively minimalistic animation. Throughout this tale, which is told to the rhythm of the music, the narrator combines collo- quial Polish, technical jargon, and philosophical ideas. Amid thoughts about the Big Bang and broken clocks, a tragicome- dy of everyday life plays out in front of our eyes. Białoszewski would have been proud. – Piotr Czerkawski
Strach (Fear) 2005 | 4 min Bąkowski’s earliest moving image works are direct animations; Fear was created with saliva and black marker applied directly onto 35mm film.
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Friday • 7pm • Michigan Theater Screening Room
WOJCIECH BĄKOWSKI: MAKING NEW WORLDS INSTEAD OF FORGETTING ABOUT IT
PROGRAM PRESENTED BY ŁUKASZ MOJSAK, FILM CURATOR AT THE FILMOTEKA OF THE MUSEUM OF MODERN ART IN WARSAW. EDUCATION PARTNER UNIVERSITY OF MICHIGAN COPERNICUS PROGRAM IN POLISH STUDIES WITH SUPPORT FROM POLISH CULTURAL FUND - ANN ARBOR AND NATIONAL GALLERY OF ART, WASHINGTON DC.
Wojciech Bąkowski (b.1979, Poznań, Poland) is a graduate of the Academy of Fine Arts in Poznań and currently resides in Warsaw. Bąkowski is a member of music bands KOT and NIWEA and he co-founded the artistic group PENERSTWO in 2007.
His work has been exhibited interna- tionally including The Museum of Modern Art, Warsaw; the New Museum, New York; Kunstsammlung Nordrhein-Westfalen, Dusseldorf; Galerie Martin Van Zomeren, Amsterdam; Wroclaw Contemporary Museum, Poland; Casino Luxembourg, Luxembourg; Bureau, New York City; and BOZAR, Brussels; with solo exhibitions at Galeria Stereo, Poznań; LISTE 17, Basel Switzerland; PGS Sopot, Poland; and Audio Visual Arts, NYC. SPOKEN FILM NO. 5 FEAR
WITH SUPPORT FROM THE THE ANDY WARHOL FOUNDATION FOR THE VISUAL ARTS. ADDITIONAL THANKS TO JOANNA RACZYNSKA, ŁUKASZ MOJSAK, MÓNICA SAVIRÓN, ANTHOLOGY FILM ARCHIVES, AND MUSEUM OF MOVING IMAGE, NYC.
WORSENING OF EYESIGHT
SOUND OF MY SOUL
LOVE
CONSTRUCTION OF THE DAY
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MAKING NEW WORLDS INSTEAD OF FORGETTING ABOUT IT
PROSPECTS’ OVERVIEW
Friday • 7:15pm • Michigan Theater Main Auditorium
FILMS IN COMPETITION 3
Your Silent Face (fucking finland series) Seamus Harahan N. Ireland | 2015 | 6 min | Digital NORTH AMERICAN PREMIERE Part of the ongoing work, ‘Fucking Finland’, exploring unintended cultural chinks and links in the old Iron Curtain, Your Silent Face follows the dockers of Rostock at rest, as a Baltic ferry leaves port for Hanko in Finland.
“The Fucking Finland series, and with it, Your Silent Face makes direct reference to the time when Finland kept a relative neutral policy between the capitalist and communist blocks, trying to keep an amiable relationship with the Soviet Union. These efforts were labeled negatively by western media, which considered the Finnish policy as a way of pacifying the Soviets. That ferry that unites Germany and Finland becomes, in Seamus Harahan’s work, a sort of melancholic pop metaphor of the old Iron Curtain era, creating audacious, maybe even insolent links between these two blocks that were different and opposite worlds not that long ago.” – Lucía Ros Serra, Nisi Masa, January 2015
Regal Unlimited Kevin Jerome Everson Charlottesville, VA | 2015 | 3 min | 16mm on digital WORLD PREMIERE Regal Unlimited depicts three Pontiacs and a Buick Regal becoming something entirely different.
Black Anouk De Clercq Brussels, Belgium | 2014 | 5 min | 35mm NORTH AMERICAN PREMIERE Black refers to black as the core component of the visual and is an ode to darkness. When the lights go out, the auditorium and the screen become one in a boundless space. The screen, the auditorium and the audience share a sudden invisibility. An experience at once personal and collective.
Clinker Eric Gaucher Montreal, Canada | 2014 | 6 min | Digital NORTH AMERICAN PREMIERE Clinker joins two notions. The first embraces one of the few definitions of the word “clinker”, which is to play a wrong musical note. Consequently, the audio com- position is intentionally fractured and generated with mistakes. Secondly, the video loosely borrows visual inspiration from the Italian poet Lucretius’ poem “The Nature of Things”. More specifically, book two entitled The Dance of Atoms. As a result, the joined notions explore a relationship through a lyrical yet abstract synthesis. – EG
YOUR SILENT FACE (FUCKING FINLAND SERIES) BLACK
REGAL UNLIMITED
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CLINKER
Scrapbook Mike Hoolboom Toronto, Canada | 2015 | 19 min | 16mm on digital WORLD PREMIERE Lensed in Ohio’s Broadview Developmental Center in 1967 by secret camera genius and audio visual healer Jeffrey Paull, Scrapbook tells the story of audacious autistic Donna Washington in her own words, as she encounters pictures of one of her former selves fifty years later. – MH
7285 Sarah J Christman Brooklyn, NY | 2015 | 6 min | 16mm WORLD PREMIERE Coda for a film stock. A cresting wave, a pregnancy in the third trimester, a tennis match in the fourth set, the cicadas’ song - a stream of precarious moments of falling action, caught before their end. – SC
SPONSORED BY WASHTENAW COMMUNITY COLLEGE DEPARTMENT OF DIGITAL MEDIA ARTS
SCRAPBOOK
HERD
Friday • 7:15pm • Michigan Theater Main Auditorium
FILMS IN COMPETITION 3
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Herd Ashley Sabin & David Redmon Canada / USA | 2014 | 12 min | Digital US PREMIERE There is mystery to the sound and image. The fo- cus is on an animal, but what animal? The image contains sub- tle movement. Gates slam as percussion to the quiet nighttime sounds. The delicate movement of the animals fur and flesh is contrasted against its sound, almost musical in pitch and tone. The beast creates a symphony of sounds. – AS & DR
San Siro Yuri Ancarani Milan, Italy | 2014 | 26 min | Digital The anatomy of a stadium. Electricians, laborers, police, stewards, groundskeepers, TV technicians and fans people the backstage of soccer’s unremitting ritual, enacting a hypnotic tableau vivant against a nocturnal backdrop of rain and mist, as we ride the team bus to its destination.
COMMUNITY PARTNER UNIVERSITY OF MICHIGAN FILM VIDEO STUDENT ASSOCIATION
7285
SAN SIRO
Friday • 9:15pm • Michigan Theater Screening Room TRANSATLANTIQUE
FEATURE IN COMPETITION
Transatlantique Félix Dufour-Laperrière Montreal, Canada | 2014 | 72 min | Digital US PREMIERE A stunning, sober and mythic rendering of a trans- atlantic voyage, shot over thirty days in a bruising hulk of a ship universe, floating across a black dream of water. Using a deeply sensitive sound score, with a careful deployment of excellent field recordings, this trek conjures the loneliness that arrives out of the enclosures that reshape the body to its own dimensions. Eschewing the devices of voice-over or explanatory texts, Félix Dufour-Laperrière focuses on luminous details, allowing the viewer time to absorb the repetitions of work, the endless hours in between, the sudden and startling calls to action. And what to do with our new muscles of attention? Study the interface with the great machines of travel, and how they act as a staging device where masculinity can be performed.
SPONSORED BY WUOM MICHIGAN RADIO 91.7
PRECEDED BY: vindmøller Margaret Rorison Baltimore, MD | 2015 | 3 min | 16mm WORLD PREMIERE A study of the monolithic wind turbines along the shores of Amager, Copenhagen, Denmark. Triple exposed on one roll of color film, then finding four generations of grain. The soundtrack is a recorded live-improvisation by artist Mario de Vega using unstable media and acoustic resonators. - MR
Steel Mill Rolling Ross Nugent Pittsburgh, PA | 2014 | 12 min | 16mm Equal parts landscape, industrial and portrait film, Steel Mill Rolling is a document of a functioning steel mill in Western Pennsylvania where the filmmaker’s family has worked for nearly 100 years. The steel slabs transformed at this mill in Farrell, PA come primarily from Russia, where the government subsidizes their production. This film is a contemporary portrait of the steel industry, considering the economic, political, and environmental realities of multinational steel manufacturing.
TRANSATLANTIQUE
VINDMØLLER STEEL MILL ROLLING
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TRANSATLANTIQUE
Optimist, Pessimist, Solipsist Will Bryan Richmond, VA | 2014 | 8 min | Digital A frustrated receptionist fantasizes about her own funeral. A pyromaniac opens a pizza restaurant after having a conversa- tion with his dead mother. A concert pianist saves the universe from annihilation. The inner lives of these three characters are explored in this animated film.
Chorus Benjamin Edelberg Toronto, Canada | 2014 | 2 min | Digital Chorus studies the ambiguity of face and gender when taken out of context. I am particularly interested in how the expres- sions are reinterpreted by the viewer; a moment of horror is gratification, a moment of joy, one of rage. With this removal of context, the individual expressions are free to respond to one another, which creates a visual dialogue or call and response. Featuring music by Zachary Gray.
One Night in Florida Tess Martin South Holland, Netherlands | 2013 | 1 min | Digital This is a rollicking one minute journey through President Obama’s July 2013 speech, in which he addressed the outrage caused by the trial of George Zimmerman. Zimmerman shot and killed an unarmed black teenager in February 2012 and in July 2013 he was acquitted of all charges.
Friday • 9:30pm • Michigan Theater Main Auditorium
ANIMATED FILMS IN COMPETITION
OPTIMIST, PESSIMIST, SOLIPSIST
GOOGLE MISSION
ONE NIGHT IN FLORIDA JIRO VISITS THE DENTIST
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Jiro Visits the Dentist Gina Kamentsky Somerville, MA | 2014 | 2 min | Digital Jiro has a dream about the artist formerly known as Prince and visits the dentist with his friend the lighthouse=phone man. There is sushi along the way. Hand drawn on 1997 frames of 35mm film.
Pen Up the Pigs Kelly Gallagher Iowa City, IA | 2014| 12 min | Digital Through cut-out animation, a historical look at the connections between the violence of slavery and modern day racist policing and mass incarceration are explored. In moments of struggle, as people fight back against racism and their oppression, the nat- ural world responds as animated cut-out flowers grow frantically, pollinated by the militant resistance
Google Mission Bryan Boyce San Francisco, CA | 2014 | 45 sec | Digital “The Google Mission in San Francisco” - BB
IOA Gabriel Möhring Basel, Switzerland | 2013 | 3 min | Digital A vowel reciting speaking machine describes in a soliloquy its miserable existence as a tool of a despotic singing-teacher.
CHORUS
SIMGYEONG (MIRROR IN MIND)
The Bigger Picture Daisy Jacobs London, UK | 2014 | 8 min | Digital ‘You want to put her in a home; you tell her; tell her now!’ hisses one brother to the other. But Mother won’t go, and their own lives unravel as she clings on. Innovative life-size animated characters tell the stark and darkly humorous tale of caring for an elderly parent.
SimGyeong (Mirror in Mind) SeungHee Kim Seoul, South Korea | 2014 | 2 min | Digital A woman looks into her mind, chasing her ideals on a tightrope. Every imperfect piece of her mind completes herself.
Inkjet 3065 Karissa Hahn Los Angeles, CA | 2014 | 6 min | 16mm A cinegel swatchbook is scanned onto clear leader using an HP-Deskjet household printer. A rhythmic exploration of pure color traveling through a Digital space. Color information is translated into beams of Red, Green, and Blue.
DESCENT INKJET 3065
DESCENT Johan Rijpma Utrecht, Netherlands | 2014 | 1.5 min | Digital A cylinder shaped cup falls and breaks into pieces. Every frame of this recorded movement is then manually translated into a ceramic layer that is made of the original remains of the cup. All the layers are then arranged vertically and glued together, form- ing a new object that visualizes the destructive moment. As this new form emerges gravity starts to shift pulling the new object into destruction as well. This cycle repeatedly keeps breaking the old to create the new, by translating destructive moments into higher dimensional forms. – JR
Swallowed Whole Heidi Kumao Ann Arbor, MI | 2014 | 4 min | Digital A somber film about surviving extreme isolation and physical limitations as a result of traumatic injury; this abbreviated, jar- ring journey explores the physical and psychological landscapes of hospitalization and recovery. Emphasizing the physical impact of dropping, crashing, and slamming, the film repeats vertical frame-rolls from analog TV to metaphorically replay the impact that literally broke the filmmaker’s back.
SWALLOWED WHOLE
Friday • 9:30pm • Michigan Theater Main Auditorium
ANIMATED FILMS IN COMPETITION
THE BIGGER PICTURE
PEN UP THE PIGS IOA
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Friday • 9:30pm • Michigan Theater Main Auditorium
ANIMATED FILMS IN COMPETITION
Padre Santiago ‘Bou’ Grasso Argentina | 2014| 12 min | Digital Day by day, the daughter of an elder military commander takes care of her bedridden father. The dictatorship has come to an end in Argentina, but not in this woman’s life.
World of Tomorrow Don Hertzfeldt Austin, TX | 2015 | 17 min | Digital A little girl is taken on a mind-bending tour of her distant future.
SPONSORED BY RHODE ISLAND SCHOOL OF DESIGN
COMMUNITY PARTNER UNIVERSITY OF MICHIGAN ANIMATION CLUB
Friday • 11:30pm • B-Side at the Neutral Zone • $5 BUKE & GASE WITH TED KENNEDY AND TECHNICOLOR N.G.
CINEMA AND MUSIC PERFORMANCE
Brooklyn-based Buke & Gase are Arone Dyer on the “buke” (a self-modified six-string former baritone ukulele) and Aron Sanchez on the “gase” (a guitar-bass hybrid of his own creation). Buke & Gase perform with Ted Kennedy who presents dual video projections synthesizing digital and analog material with real-time microscopic video.
Walter Forsberg and John Klacsmann present and perform a live score to Technicolor N.G. (2014, 20 min, 16mm), a Technicolor dye transfer printing error of a mis-registered 1967 B-western revealing cyan ghosts and cinema’s psychedelic underpinnings.
WITH SUPPORT FROM THE ANDY WARHOL FOUNDATION FOR THE VISUAL ARTS COMMUNITY PARTNER WCBN
AFTERPARTY THE BAR AT 327 | 11pm–2am | FREE
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CELEBRATE THE FESTIVAL WITH A DRINK AT OUR NEIGHBORHOOD UPSCALE DIVE BAR!
WORLD OF TOMORROW
PADRE
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Saturday • 11am • Michigan Theater Main Auditorium • $6
FILMS IN COMPETITION 4 (AGES 6+)
Road Funner Jason Sudak Hamtramck, MI | 2014 | 3 min | 16mm Partially erased 16mm Road Runner cartoon goes meep! meep! vrrrRRR, screech, ping! CRUNCH – JS
Eclipse Jacky De Groen Ghent, Belgium | 2014 | 6 min | Digital US PREMIERE A lunar eclipse is a night within a night. After sun- down comes moondown. After dark comes the darkness, where bodies lose their boundaries.
Clarabel Ben Bruhmuller Ontario, Canada | 2014 | 12 min | Digital US PREMIERE Adrift in a subconscious landscape with the ghost of Clarabel, this short, mixed-media film imagines the layers of a deathbed dream.
We Are Not Amused Vicki Bennett UK | 2013 | 3 min | Digital Who knows where ideas come from? You or me? Or THEM? The Muses are angry and they want their ideas back! This is a story of thieving and reappropriation, staged on a mythological platform. – VB
the point. Andrea Maurer & Thomas Brandstätter Vienna, Austria | 2013 | 4 min | Digital A joyful excursion in the history of animated film, a journey through an era when newspaper images were still rasterized and composed of picture points rather than pixels.
Graminoids Demelza Kooij & Lars Koens Edinburgh, Scotland | 2014 | 7 min | Digital
US PREMIERE
Refreshment Johan Rijpma Utrecht, The Netherlands | 2014 | 3 min | Digital US PREMIERE Water is spilled on a stone pavement leaving a small stain. As time passes the stain dries up, shrinks and changes shape. Just before the water is completely evaporated the process is put on hold. The new shape of the stain is then being enlarged and recreated with new water. This process repeats and with these interventions the ‘life’ of the stain is ar- tificially refreshed and extended to an unnatural length. Which allows new shapes to evolve that otherwise could never have existed.
Utö David Buob Berlin / Dresden, Germany | 2014 | 8 min | Digital On Utö, the southernmost inhabited island in Finland, an unusual love triangle is taking shape. What’s the difference between dance moves sparked by joy and wild movements driven by rage? – DB
33 Yo-Yo Tricks Panther White 1976 | 8 min | 16mm THIS FILM NOT IN COMPETITION A conceptual film featuring 33 yo yo tricks, with a wonderful electronic musical score by composer Robert Sheff (“Blue” Gene Tyranny). Newly restored print courtesy of Harvard Film Archive
// LADYBUG Flatsitter (Jax Deluca & Kyle Marling) Buffalo, NY | 2015 | 10 min | Digital
WORLD PREMIERE
A young introvert tunes into the world around her using DIY audio surveillance devices surreptitiously planted inside of plush owls. A sonically-driven narrative follows her search for vicarious connectivity.
A lilting paean to the manifold strains of native
SPONSORED BY grass that cultivate upon Arthur’s Seat, Edinburgh. Frenetic
STATE STREET AREA ASSOCIATION movement and textures dominate the frame, and the synergy between sound, locomotion, and image creates a hypnotic
COMMUNITY PARTNERS sensory panorama.
ANN ARBOR DISTRICT LIBRARY ANN ARBOR SUMMER FESTIVAL LIVING FOSSIL Sean Hanley Brooklyn, NY | 2014 | 3 min | Digital Springtime along the Mid-Atlantic coastline, thousands of horse- shoe crabs spawn on beaches under the glow of the full moons. LIVING FOSSIL is just a brief glimpse into this 450-million-year- old ritual.
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53rd Ann Arbor Film Festival • March 24–29 2015
ECLIPSE WE ARE NOT AMUSED 33 YO-YO 2
TRICKS
REFRESHMENT LIVING FOSSIL
// LADYBUG
GRAMINOIDS
THE POINT
CLARABEL
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ROAD FUNNER
UTÖ
Saturday • 11:15am • Michigan Theater Screening Room
FILMS IN COMPETITION 5
Immortality, Home & Elsewhere Sasha Litvintseva London, UK | 2014 | 12 min | Digital NORTH AMERICAN PREMIERE Speculative theories on immortal- ity and the end of the Universe combine with personal brushes with global nuclear disasters, 90s Apocalyptic films invade domestic spaces, and tourism competes with google street view; in this meditation on the speed of information, individual and collective memory, and individual and collective fear of individu- al and collective death. – SL
Not and Or Simon Payne London, UK | 2014 | 18 min | Digital Not and Or involves black and white quadrilaterals spinning in virtual space that alternate with the same static shapes re-filmed from a screen in real space. The second half of the piece is the same as the first, but flipped, reversed and re-filmed again, through successive generations - adding while taking away.
The Kiss Luis Macías Barcelona, Spain | 2014 | 9 min | 35mm NORTH AMERICAN PREMIERE Based on the film The Kiss (T. Edison, 1896) in its original 35mm format, this video-film project is based on a structural re-shooting and re-recording of the original film in all the existing formats: analog, electronic and Digital, in an evolutive form. The film is a reiteration of the act of kissing. The emphasis on the kiss, repeated and multi- plied, while deteriorated in its own progress.
Parallel I-IV Harun Farocki (1944–2014) 2012–2014 | 44 min | Digital NOT IN COMPETITION The four part cycle Parallel deals with the image genre of computer animation. The series focuses on the construction, visual landscape and inherent rules of comput- er-animated worlds.
“Computer animations are currently becoming a general model, surpassing film. In films, there is the wind that blows and the wind that is produced by a wind machine. Computer images do not have two kinds of wind.” – Harun Farocki
“This series continues the late filmmaker’s long-standing investigation into the rise of calculable, actionable images possessing a relationship to reality very different than that of the cinema before them. Tracing the evolution of video game graphics from the two-dimensional schematics of the early 1980s to the photorealistic environments of today, Farocki foregoes the obsession with novelty that too often characterizes discussions of so-called “new” media, instead situating games within a longer history of representation. The Parallel series is a major achievement that exemplifies a key attribute of a singular practice cut far too short: Farocki joins poetic speculation with analytical strength to call upon the viewer not simply to look and listen carefully, but also to think along with him.” – Erika Balsom, Artforum, November 2014
EDUCATION PARTNER UNIVERSITY OF MICHIGAN DEPARTMENT OF EUROPEAN STUDIES, GERMANIC LANGUAGES & LITERATURES PROGRAM
COMMUNITY PARTNER A2 GEEKS
IMMORTALITY, HOME & ELSEWHERE
NOT AND OR
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PARALLEL I-IV
THE KISS
Seven Signs that Mean Silence Sara Magenheimer Brooklyn, NY | 2014 | 11 min | Digital Two disembodied voices, Paul and Veena, wonder what things mean and what means things. Seven Signs that Mean Si- lence is a story about the human search for meaning in a dark void, and a story of love and friendship; between symbols and letters, words and voices, sound and image, objects and their names, poetry and speech. – SM
Saturday • 1pm • Michigan Theater Main Auditorium
FILMS IN COMPETITION 6
SEVEN SIGNS THAT MEAN SILENCE
RELIEF
THINGS
Things Ben Rivers London, UK | 2014 | 21 min | 16mm This film was a challenge set by a friend, to make something in my home over the course of the year. Coming from a coun- try where the seasons are very evident, I am interested in how they effect people’s sense of the world, moods, and our understanding and relationship to our en- vironment. These mood changes feed into the film - in the Winter section the film is very internal and reflective, looking at the details around the house, and back to the things I’ve collected. In Spring, the atmosphere brightens, there are humans, hands holding a book or drawing, an eye reading. Summer is a mix of both the joy of these things, countered with a sense of unease. Autumn then becomes a further remove of representation of the space I live in, and in an uncertain state- -are the walls crumbling around me? Is this the future, partly foretold in Fable, the book read in Spring? – BR
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Relief Calum Walter Chicago, IL | 2014 | 5 min | Digital US PREMIERE Relief revisits footage gathered at the scene of a car accident. Using the moving image in various states of transformation, the piece looks at the ambience of a violent event, and imagines itself as its sole artifact. Images are presented as rogue data, perhaps unreliable, with both human and mechanical origins.
The process involves printing (often many generations in) and rephotographing stills from digital video, as well as manipulations with light during the photocopying process. The piece is part of a series of films that explore a hybrid of digital and analog moving images. – CW
Saturday • 1pm • Michigan Theater Main Auditorium
FILMS IN COMPETITION 6
Port Noir Laura Kraning Altadena, CA | 2014 | 11 min | Digital WORLD PREMIERE Within the machine landscape of Terminal Island, the textural strata of a 100 year old boat shop pro- vides a glimpse into Los Angeles Harbor’s disappearing past. Often recast as a backdrop for fictional crime dramas, the scenic details of the last boatyard evoke imaginary departures and a hidden world at sea. – LK
PORT NOIR
THE MANY COLORS OF THE SKY RADIATE FORGETFULNESS
ECHO CHAMBER
SPONSORED BY EDGE HILL UNIVERSITY
The Many Colors of the Sky Radiate Forgetfulness Basim Magdy Egypt / Switzerland | 2014 11 min | Digital The Many Colors of the Sky Radiate Forgetfulness explores a tactile decay, as it relates to memory or active forgetting, and its consequences. Phrases such as, ‘Only stone, bronze and sky shall outlive all the rest’ suggest the consequences of a coming apocalypse as images seam- lessly alternate between a decaying mon- ument, natural ecological scenes and uncanny taxidermied animals. Though we are unaware of precise time and place (the monument is from WWI but the artist chooses to leave details ambiguous) the film reflects on the timeless, yet repeated fatal errors of forgetfulness by the human race and its continuously blind misin- terpretation of the natural environment. – Regine Basha
Echo Chamber Guillermo Moncayo Columbia / France | 2014 19 min | Digital NORTH AMERICAN PREMIERE This film is based on a very concrete reality, the gradual abandonment of Colombia’s rail network in the second half of the 20th century, reflecting the country’s complex relation to the notion of modernity over the decades.
This is seen as a kind of intimate pro- cess of deconstruction of the territory’s imaginary cartography, like a reflection of the correlation between a physical landscape and its mental representation.
A veritable “forward travelling shot” on the dilapidated rails of a collective memory, it tries to transversally examine the conditions in which the contemporary individual constructs the framework of his or her inner experience. – GM
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Saturday • 1:15pm • Michigan Theater Screening Room
FILMS IN COMPETITION 7
Old Jewish Cemetery Sergei Loznitsa Latvia / Germany | 2015 | 20 min | Digital The first Jewish cemetery in Riga was opened in 1725 and buri- als continued there until the late 1930s. After German forces occupied Riga in 1941, the cemetery became a mass burial site for over 1000 Jews killed in the streets and houses of Riga Ghetto. Following WWII many of the cemetery’s tombstones were removed and used as building material. In the 1960s the site was razed and renamed “The Park of the Communist Brigades”. In 1992 the park was renamed “The Old Jewish Cemetery”. Nowadays, the park, located in one of the poorest districts of the city, nicknamed Maskachka (Maskava is the Latvian name for Moscow), is a popular spot for idle drunkards, local kids and American tourists.
OLD JEWISH CEMETERY
EYRIE
Blue Line Chicago Richard Tuohy & Dianna Barrie Victoria, Australia | 2014 | 10 min | 16mm Architectural abstractions of the second city. – RT & DB
Eyrie Stephen Connolly London, UK | 2015 | 10 min | Digital NORTH AMERICAN PREMIERE Eyrie documents a visit to com- memorative building built by the communist party in Bulgaria. The small action performed by the artist at the center of the work suggests it could be explored as a space for play and speculation, displacing the insistent materiality of the site and the reverence of the ruin. - SC
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BLUE LINE CHICAGO
Saturday • 1:15pm • Michigan Theater Screening Room
FILMS IN COMPETITION 7
VIDEE
A Kind of Quiet
Videe
Reduit An Aging Process
Diane Kitchen
John Skoog A Certain Worry
Mequon, WI | 2014 | 9 min | 16mm
Skåne, Sweden | 2014 | 14 min | Digital Jonathan Schwartz
Consulting the text of the natural world.
NORTH AMERICAN PREMIERE In the Brattleboro, VT | 2014 | 9 min | 16mm
– DK
early 1940s the farm-worker Karl-Göran From a set of miniatures:
Persson started to fortify his small house a kind of quiet situated amid the in
Yonder
in the flat farmlands of southern Sweden. between of ascending and descending.
Jessica Bardsley
He wanted to build a place where he it seems hard to land and when this hap-
Cambridge, MA | 2015 | 8 min | Digital
and the people in the village could find pens something else might disappear.
WORLD PREMIERE Being in that place
refuge in the event of a Soviet invasion. an aging process located in the peo-
or over there; being that or those over
He took any metal he could get cheap or nies blooming and in the early summer
there; that road yonder is the one to take
for free from the neighboring farmers and river and in the light that falls across
and this is where it leads you: a swampy,
used it as reinforcement for the cement playful bodies.
damp place, a place where women labor,
casting of the house’s new exterior walls. a certain worry enveloped in the cov-
bees swarm, and spider webs channel a
Karl-Göran lived alone in the house and ering of the ground, illuminated around a
song from another era. – JB
continued his re-construction until his face, light on something ferocious, touch
death in 1975. upon something gentle.
SPONSORED BY THE RAVENS CLUB
A CERTAIN WORRY YONDER
78
REDUIT
Saturday • 3pm • Michigan Theater Main Auditorium
LE RÉVÉLATEUR AND KARL LEMIEUX / ROGER TELLIER-CRAIG
LIVE CINEMA PERFORMANCES
Live cinema performances by Le Révélateur and Karl Lemieux with Roger Tellier-Craig, preceded by an early work by George Manupelli.
Le Révélateur live audio-visual performance 2015 | 25 min | analog and digital video and audio Le Révélateur presents a 25 minute audio-visual perform- ance using an array of digital and analogue technologies. Le Révélateur is Montreal-based musician and composer Roger Tellier-Craig and video artist Sabrina Ratté.
Roger Tellier-Craig has performed in Godspeed You! Black Emperor and is a founding member of the groups Fly Pan Am, Set Fire to Flames and Et Sans and his music has been published by Root Strata and Constellation Records among other labels.
Sabrina Ratté is a Montreal based visual artist, mainly working in the field of video. Her work proposes different visits inside architectural environments and landscapes generated by electronic signals and is inspired by the relationship between electronic music and the video image. She often collaborates with musicians for single-channel pieces as well as in live settings. Her work has been shown internationally in various forms and contexts, including live performances, installations, screenings as well as various online exhibitions.
Karl Lemieux unzip violence 2014-2015 | 35 min | five 16mm projectors with live score Karl Lemieux performs unzip violence for five 16mm projectors, with an original live score performed on electronics by Roger Tellier-Craig.
Karl Lemieux is a filmmaker based in Montreal. He has created several short films and has worked on several per- formance-based live projections; since 2010, Lemieux has performed with Godspeed You! Black Emperor.
Lemieux is a co- founder of Double Negative, a film collective based in Montreal focused on the production and screening of experimental film.
PRECEDED BY
Five Short Films George Manupelli (1931- 2014) 1963 | 10 min | 16mm on digital An early work by George Manupelli, in five parts, featuring black and white 16mm abstraction with sound by Manupelli, Robert Ashley and Gordon Mumma.
Digital transfer courtesy of Anthology Film Archives
SPONSORED BY VG KIDS
EDUCATION PARTNER THE UNIVERSITY OF MICHIGAN SCHOOL OF MUSIC, THEATRE & DANCE, DEPARTMENT OF PERFORMING ARTS TECHNOLOGY
COMMUNITY PARTNER PERFORMANCE NETWORK THEATER
WITH SUPPORT FROM THE ANDY WARHOL FOUNDATION FOR THE VISUAL ARTS AND THE UNIVERSITY OF MICHIGAN ROMAN J. WITT RESIDENCY PROGRAM
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Saturday • 3:15pm • Michigan Theater Screening Room
FILMS IN COMPETITION 8
A Symptom Ben Balcom Milwaukee, WI | 2014 | 7 min | 16mm A mirrored discourse. The object we see is that which craves articulation, but is never said quite right. We are looking at speech from both sides of the mirror, listening to that wretch who elaborates upon the grid of desire. – BB
Project Gasbuggy Carl Elsaesser Chicago, IL | 2014 | 7 min | Digital
WORLD PREMIERE
William in White Shirt Antoine Bourges Toronto, Canada | 2014 | 12 min | Digital A young man contends with life in the Vancouver Downtown Eastside. As he agrees to visit his young son, the film observes his struggle with this new reality.
Three Quarters Kevin Jerome Everson Charlottesville, VA | 2014 | 3 min | Digital NORTH AMERICAN PREMIERE Two magicians in Philadelphia “The feeling of recognizing that you’ve forgot-
practice their slight of hand tricks. ten something you’ve never known.” -Evan Strauss I reconcile the violent act. – CE
All That Is Solid Louis Henderson Volatilidad
Paris, France | 2014 | 15 min | Digital Bruno Varela
NORTH AMERICAN PREMIERE “All that is solid melts into air, all Oaxaca, Mexico | 2015 | 2 min | Digital
that is holy is profaned, and man is at last compelled to face WORLD PREMIERE Volatility: image, memory, disappearance.
with sober senses his real conditions of life, and his relations Indirect audiovisual action. Phantoms, gaps of light, indexes,
with his kind.”— Karl Marx and Friedrich Engels, The Communist shadows. Wiping of the image through chlorine applied directly
Manifesto, 1848 on film surface until the last traces are unrecognizable and stop
A technographic study of e-recycling and neo-colonial harboring any presence. Sudden interruption on the everyday
mining filmed in the Agbogbloshie electronic waste ground in flow, of life. Enforced disappearances constitute a systematic
Accra and illegal gold mines of Ghana. The video constructs practice of terrorism by the State, it is an operation of induced
a mise-en-abyme as critique in order to dispel the capitalist invisibility. The attorney general, from the theater of operations,
myth of the immateriality of new technology—thus revealing embodies the script of a tragic act of prestidigitation. Dark
the mineral weight with which the Cloud is grounded to its magic, evil dream. Notebook 2015. - BV
earthly origins. – LH
There are Pictures, because there are Walls – A Prologue
O, Persecuted Sasha Pirker
Basma Alsharif Vienna, Austria | 2013 | 12 min | Digital
Palestinian Territory / UK | 2014 | 12 min | Digital Eye and camera sweep a trailer home that is being disassem-
O, Persecuted turns the act of restoring Kassem Hawal’s 1974 bled piece by piece, thus making it ever more permeable. While
Palestinian Militant film, Our Small Houses, into a performance the eye and camera move along surfaces, objects, and views, we
possible only through film. One that involves speed, bodies, and hear a voice (that of Sasha Pirker), speaking about bed, doors,
the movement of the past into a future that collides ideology walls, a room, that is “entirely superfluous,” movement, and
with escapism. standstill. Basically, various types of spaces are described—from a bed(room) as the only inalienable individual space, through to functionless space that “is good for nothing,” and which “does not have to refer to anything.” – Barbara Steiner
SPONSORED BY WEBER’S INN Clear and No Screws Brett Story
COMMUNITY PARTNER Toronto, Canada | 2014 | 6 min | Digital
PRISON CREATIVE ARTS PROJECT Clear and No Screws profiles SendAPackage, a wholesale warehouse founded by ex-prisoner Chris Barrett where all of the items sold meet the 36-page list of rules regulating packages allowed into the New York prison system. From pattern-less boxer shorts to hip hop cassette tapes specially produced for New York State’s 54,000 prisoners, Clear and No Screws offers a tender glimpse into life in prison through the circulation of regulated goods.
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THERE ARE PICTURES, BECAUSE THERE ARE WALLS – A PROLOGUE
A SYMPTOM
WILLIAM IN WHITE SHIRT
PROJECT GASBUGGY
O, PERSECUTED
53rd Ann Arbor Film Festival • March 24–29 2015
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CLEAR AND NO SCREWS
ALL THAT IS SOLID
THREE QUARTERS
VOLATILIDAD
铁道 The Iron Ministry J.P. Sniadecki China | 2014 | 83 min | Digital Filmed over three years on China’s railways, The Iron Ministry traces the vast interiors of a country on the move: flesh and metal, clangs and squeals, light and dark, language and gesture. Scores of rail journeys come together into one, capturing the thrills and anxieties of social and technological transformation. The Iron Ministry immerses audiences in fleeting relationships and uneasy encounters between humans and machines on what will soon be the world’s largest railway network.
Born in Michigan, J.P. Sniadecki is a filmmaker and anthro- pologist whose films have screened at festivals such as the Berlinale, the Locarno International Film Festival, the New York Film Festival, the Viennale, BAFICI, the Beijing Independent Film Festival, and at museums and galleries such as the Guggenheim and the MoMA in New York, the MAC in Vienna, the UCCA in
Saturday • 5pm • Michigan Theater Main Auditorium 铁道 THE IRON MINISTRY
FEATURE IN COMPETITION
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Beijing and the 2014 Whitney Biennale. He is also a professor of filmmaking in the Performing and Media Arts Department at Cornell University. Foreign Parts, his 2010 film co-directed with Véréna Paravel, screened at the 49th AAFF; and People’s Park (2012), co-directed with Libbie D. Cohn, screened at the 51st AAFF where it received an award for Best Cinematography.
SPONSORED BY UNIVERSITY OF MICHIGAN CENTER FOR CHINESE STUDIES
EDUCATION PARTNER UNIVERSITY OF MICHIGAN CONFUCIUS INSTITUTE
Depositions Luke Fowler Glasgow, Scotland | 2014 | 25 min | Digital With the quietly insistent and critical Depositions, Fowler attempts to restore some dignity to images of the communities of the Scottish highlands taken from patronizing BBC docu- mentaries and news features from the 1970s and ’80s. Depo- sitions repurposes footage from the archives of the BBC and sound from the School of Scottish Studies, and is a film about difference and dichotomies: science and superstition, near and far, community and the individual. – Dan Kidner, Frieze
Occidente Ana Vaz Paris, France | 2014 | 15 min | Digital NORTH AMERICAN PREMIERE A film-poem of an ecology of signs that speaks of colonial history repeating itself. Subalterns become masters, antiques become reproducible dinner sets, exotic birds become luxury currency, exploration becomes ex- treme-sport-tourism, monuments become geodata. A spherical voyage eastwards and westwards marking cycles of expansion in a struggle to find one’s place, one’s sitting around a table. - AV
Saturday • 5:15pm • Michigan Theater Screening Room • Films in Competition GREETINGS TO THE ANCESTORS
W/ DEPOSITIONS AND OCCIDENTE
DEPOSITIONS OCCIDENTE
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Greetings to the Ancestors Ben Russell South Africa / Swaziland / UK / US | 2015 | 29 min 16mm on Digital NORTH AMERICAN PREMIERE Set in a region still struggling with the divisions produced by an apartheid South African govern- ment, Greetings to the Ancestors documents the dream lives of the territory’s inhabitants as borders of consciousness dissolve and expand. Equal parts documentary, ethnography and dream cinema, here is a world whose perceptual boundaries are continuously shifting and dematerializing. Taken as a whole, Greetings to the Ancestors draws from subjects already deeply invested in the divine power of dreams to produce a work that is at once embodied, political, and deeply hypnagogic.
COMMUNITY PARTNER MOTHLIGHT MICROCINEMA
La creazione di significato (The Creation of Meaning) Simone Rapisarda Casanova Italy / Canada | 2014 | 90 min | Digital La creazione di significato (The Creation of Meaning) is set in the Tuscan Alps, where German occupying forces massacred hundreds of civilians during WWII, and follows the daily life of Pacifico, a shepherd born in the wake of the war among those same breathtaking landscapes. The film blurs fiction, docu- mentary and anthropology to explore the transient nature of meaning in capturing what Borges calls an Aleph, an allegorical singularity in space and time where past, present and future overlap and intertwine.
Born in rural Sicily, Simone Rapisarda Casanova has been based for many years in Montreal, Canada and currently teaches filmmaking in Jacmel, Haiti. He is a former computer scientist and holds a Master of Fine Arts in film from York University in Toronto.
Saturday • 7pm • Michigan Theater Screening Room THE CREATION OF MEANING
FEATURE IN COMPETITION
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La creazione di significato (The Creation of Meaning) is Sim- one’s second feature. His debut feature, El árbol de las fresas (The Strawberry Tree), was shot in Cuba and was screened at the 50th Ann Arbor Film Festival where Simone Rapisarda Casanova was awarded “Most Promising Filmmaker”.
Simone’s short films include: In the Room of Forgotten Words (2013), Ephemeral City (2008), Open Sea (2005), Days of Shrub (2004) and Ti Con Zero (2002).
SPONSORED BY YELP
EDUCATION PARTNER UNIVERSITY OF MICHIGAN DEPARTMENT OF ROMANCE LANGUAGES & LITERATURES, ITALIAN STUDIES PROGRAM
MARS GARDEN
Corda Pablo Lobato Belo Horizonte, Brazil | 2014 | 7 min | Digital NORTH AMERICAN PREMIERE Círio de Nazaré, held in Belém (Brazil) since 1793, is one of the biggest Catholic processions in the world. Each year millions of pilgrims accompany the saint’s statue competing for the privilege of holding the long sisal rope that leads the carriage throughout the city streets. In disarray with the rules of the celebration, and in order to assure their relics, some promisors cut the rope in the middle of the ritual. The video brings two different fluxes closer: one linear, guided by the entirety of the rope, the other chaotic, responding to the cut. – PL
Federsee John Skoog Germany / Sweden | 2013 | 8 min | Digital NORTH AMERICAN PREMIERE A film that looks at the traditional folklore surrounding the celebration of Fasnet (carnival) in the small Schwabian town of Bad Buchau.
Falling Robert Todd Boston, MA | 2015 | 7 min | 16mm WORLD PREMIERE Moving through fall’s end and beginning, falling. – RT
Mars Garden Lewis Klahr Los Angeles, CA | 2014 | 5min | Digital Muscular, patriarchal images of comic book superheroes from yesteryear are illuminated on a light box and juxtaposed with tactile skill.
BROUILLARD #15
FEDERSEE
CORDA
Saturday • 7:15pm • Michigan Theater Main Auditorium
FILMS IN COMPETITION 9
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FEDERSEE
FALLING
BUFFALO JUGGALOS
Brouillard #15 Alexandre Larose Montreal, Canada | 2014 | 10 min | 35mm
US PREMIERE
Buffalo Juggalos Scott Cummings Brooklyn, NY | 2014 | 30 min | Digital The result of in-camera temporal layers shot on the
An experimental exploration and celebration of the Juggalo path that extends from the filmmaker’s family cottage to a lake.
subculture in Buffalo, New York. Long and static takes show Juggalos engaged in their favorite activities, first and foremost of layover
which - causing mayhem. Among these seemingly random acts Vanessa Renwick
of the everyday, preening, sexual gratification, explosions and Portland, OR | 2014 | 7 min | Digital
destruction, a tentative narrative begins to emerge. – SC Swirling in enchanting flight, the Vaux’s Swifts layover for three weeks in Portland, Oregon each fall on their migration to South America.
SPONSORED BY HONIGMAN Two Ways Down Laura Heit
COMMUNITY PARTNER Portland, OR | 2015 | 3 min | Digital
WSG GALLERY WORLD PREMIERE Fall into the underworld, walk, slither, wriggle, fly, burn, and return to dirt. – LH
LAYOVER
Saturday • 7:15pm • Michigan Theater Main Auditorium
FILMS IN COMPETITION 9
TWO WAYS DOWN
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Speculation Nation Bill Brown & Sabine Gruffat Spain | 2014 | 75min | Digital NORTH AMERICAN PREMIERE Speculation Nation explores the global financial crisis that began in 2007 battered Spain. Over a quarter of the population lost their jobs, and hundreds of thou- sands of people lost their homes. The constitutional guarantee for housing that has been a cornerstone of Spain following the death of Francisco Franco has been shaken by a combination of greedy real estate speculators, predatory banks, corrupt public officials, and a global financial catastrophe.
Bill Brown and Sabine Gruffat travel across Spain to docu- ment the consequences of the housing crisis. What they find are Spanish citizens, inspired by the politics of The 15M Movement and Occupy Wall Street, who are mobilizing, collectivizing, and fighting for their right for a decent place to live.
Along the way, the filmmakers visit young mothers and their families squatting in failed condo developments; intentional communities of mountain cave dwellers; protest campsites that have sprung up in front of bank branches; and empty apartment buildings transformed into experiments in Utopian living.
Speculation Nation examines the ideologies that separate housing from home, and real estate speculation from specula- tions about a better way to live.
Saturday • 9:15pm • Michigan Theater Screening Room SPECULATION NATION
FEATURE IN COMPETITION
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PRECEDED BY:
Atlantis Ben Russell Malta | 2014 | 24 min | S16mm on digital “We Utopians are happy / This will last forever”.
Loosely framed by Plato’s invocation of the lost continent of At- lantis in 360 BC and its re-re-resurrection via a 1970s science fiction pulp novel, Atlantis is a documentary portrait of Utopia - an island that has never / forever existed beneath our too-mor- tal feet. Herein is folk song and pagan rite, religious march and reflected temple, the sea that surrounds us all. Even as we are slowly sinking, we are all happy and content. – Ben Russell “Atlantis interrogates this space of fabulation without ever leaving the real island behind, finding itself caught between a portrait of place and the conjuring of a drowned paradise.” –Erika Balsom, Artforum
Atlantis is the second film in a trilogy which also includes Let Us Persevere In What We Have Resolved Before We Forget (2013), which screened at the 52nd AAFF and Greetings to the Ances- tors (2015) screening Saturday at 5:15pm.
SPONSORED BY ZINGERMAN’S
ATLANTIS
Saturday • 9:30pm • Michigan Theater Main Auditorium
FILMS IN COMPETITION 10
Become an Artist William Farley & George Manupelli 1981 | 1 min | 16mm THIS FILM NOT IN COMPETITION A satire on television pitches, and how society sees the self-importance of artists. Featuring Father Guido Sarducci (Don Novello), from Saturday Night Live.
Rabbit Season, Duck Season Michael Bell-Smith New York, NY | 2014 | 5 min | Digital Rabbit Season, Duck Season is a theoretical inquiry in Internet-friendly form. The rigor of an essay film is mated with the easy WTF-ness of an animated GIF. Bell-Smith montages hyperreal but unnatural 3D renders, Shutterstock images, and close-ups of fabrics, while subtitles ruminate on questions like, “This / that? Norm / alt? Cool / uncool? Visible / invisible?” The
question “rabbit season or duck season?” might be best inter- preted as, Do you side with Adorno or Benjamin? Do we swing high or low? Do we locate ourselves outside, in reasoned critical distance, or inside the contradictions of lived experience? – Kurt Ralske, artcritical
The Song Remains The Same Mark Toscano Los Angeles, CA | 2014 | 5 min | 16mm When feelings are reduced to keywords, it’s a lot easier to find just the right soundtrack. And when an emotional response can be so readily activated via musical triggers, it’s a lot easier to make a moving film. – MT
Accent Grave on Ananas Tamara Henderson Vancouver, Canada | 2013 | 3 min | 16mm “Henderson’s work emerges from dreams and the movement of
their images and experiences into her waking life. In processing these subconscious traces the narratives slip through memories and clichés, desires and trauma. She persistently establishes quotidian objects as near characters before altering them in abrupt or impossible ways: a play of expectation and surprise. The film’s succession of events is carefully planned so it can be edited in camera, captured in single shots as if experiencing the dream. In this Surrealist tradition, everyday objects are manipulated by unseen hands and the sequenced juxtaposition of these moments creates a narrative that is at once absurd and highly familiar. These sequences allude to chain reactions, operations carried out with focused concentration to meditate on the banal and uncanny with equal attention, troubling out their esoteric truths.” – Mouse Magazine
Grand Finale Kevin Jerome Everson Charlottesville, VA | 2015 | 5 min | Digital WORLD PREMIERE Grand Finale is the end of an evening, shot during the July 4th weekend in Detroit.
Lessons of War Peggy Ahwesh Brooklyn, NY| 2014| 5 min | Digital Five little narratives, ‘newsworthy’ stories from the most recent war in Gaza--retold to not forget the details, to reenact the trauma and to honor the dead. The footage is lifted from a You- tube channel that renders the news in animation, fantastic and imaginative and several protective layers away from reality. The footage is re-purposed here to critique that safe distance from the violence, the antiseptic nature of the virtual narrative. – PA
Quiet Zone Karl Lemieux and David Bryant Montreal, Canada | 2015| 14 min | 35mm
US PREMIERE
Quiet Zone explores the phenomena of hypersen- sitivity to electro magnetic waves experienced by some individu- als and conveys something of their anxiety in the textured hand processed film material carrying the image.
Second Sighted Deborah Stratman Chicago, IL | 2014 | 5 min | Digital Obscure signs portend a looming, indecipherable slump. An oracular decoding of the landscape. Made in collaboration with composer Olivia Block and by invitation of the Chicago Film Archives, utilizing solely films from their collection.
Color Neutral Jennifer Reeves New York, NY | 2014 | 3 min | 16mm Anything but gray, a color explosion sparkles, bubbles, and frac- tures in this hand-crafted 16mm film. Reeves utilized an array of mediums and direct-on-film techniques to create this exuberant, psychedelic morsel of cinema as material. But it speaks of the end of one era or another, a time for letting go and celebration.
Wolkenschatten Anja Dornieden and Juan David González Monroy Berlin, Germany | 2014 | 17 min | 16mm A narrated slide work presenting a curious archive of objects, including lenses onto which images are etched directly, recent- ly discovered in a remote cave following the disappearance of an entire town’s population soon after a mysterious cloud had enveloped it in 1984.
OM Rider Takeshi Murata New York, NY | 2014 | 11 min | Digital In a vast desert bathed in neon hues, a misfit lycanthrope blasts syncopated techno rhythms into the night. Meanwhile, an old man sits at a large, round table in a void-like space, rigidly sip- ping coffee and rolling snake-eyed dice as the faint sound of the werewolf’s pulsating, phantasmic synth grows louder. Hopping on his motorcycle and ripping a bowl, the werewolf tears full speed ahead over forbidding terrain while his hoary counterpart becomes increasingly anxious... – EAI
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BECOME AN ARTIST
THE QUIET ZONE RABBIT SEASON, DUCK SEASON
ACCENT GRAVE ON ANANAS COLOR NEUTRAL
LESSON OF WAR
GRAND FINALE
53rd Ann Arbor Film Festival • March 24–29 2015
SECOND SIGHTED THE SONG REMAINS THE SAME
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WOLKENSCHATTEN
OM RIDER
2
2
Saturday • 11:30pm • Performance Network Theater • $5 JANE CASSIDY AND JUSTIN WALTER / ALVAREZ AND DYE
CINEMA AND MUSIC PERFORMANCE
Justin Walter, Ann Arbor-based musician and Kranky recording artist, performs electronics and the Electronic Valve Instrument, a rare wind controlled analog synthesizer. He is accompanied by Chicago-based musician Erik Hall on drums and Jane Cassidy, a featured artist at the 53rd AAFF, who projects through various prisms, lenses and other devices.
San Francisco Bay Area filmmakers Alfonso Alvarez and Steven Dye present a work in three movements, the first two parts featuring their respective film work, and a collaborative
Saturday • 12am • State Theatre • $8
MIDNIGHT MOVIE: TRON
TRON Steven Lisberger USA | 1982 | 96 min | 35mm on LaserDisc This groundbreaking feature follows rebel computer programmer Kevin Flynn as he is scanned and transported into an autocratic universe of zipping vectors and shiny surfaces, somewhere inside of the mainframe of an arcade game. An expensive and risky venture for Disney at the time, TRON is notable for its sophisticated sets and elaborate costumes designed by re- nowned French comic-book artist Moebius, but perhaps its true innovation lies in its extensive use of 3D CGI and bold amalgam of traditional and computer-generated images.
A PART OF THE COMPUTER AGE SERIES (SEE p.41), PROGRAMMED BY LEO GOLDSMITH AND GREGORY ZINMAN.
third movement for four 16mm projectors, audio, and FM transmission. In This Tunnel presents hand-processed, contact printed found-footage “illustrating the spectacle and majesty, at times brutal and at times beautiful, of human sport and athletic competition” (AA & SD).
WITH SUPPORT FROM THE ANDY WARHOL FOUNDATION FOR THE VISUAL ARTS COMMUNITY PARTNER WCBN
PHOTO COURTESY OF DISNEY SPONSORED BY ENCORE RECORDS
AFTERPARTY THE HEIDELBERG | 11pm–2am | $8 (FREE W/ AAFF PASS)
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DANCE THE NIGHT AWAY WITH A SPECIAL DJ SET FROM SHIGETO!
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Sunday • 11am • Michigan Theater Main Auditorium
REGIONAL FILMS IN COMPETITION
VV Elizabeth Wodzinski Ann Arbor, MI | 2014 | 12 min | 16mm A document of daily activity on a Wisconsin dairy farm. Nature presents itself; mother and calf lay together in quiet waiting. Man enters and industrial practice dictates their fate. Two species interact across frames in mirrored gestures of cleaning and nurturing.
Feral Shannon Lee Detroit, MI | 2013 | 4 min | Digital WORLD PREMIERE Inspired by the wild dogs outside my win- dow, this film is an abstract representation of transgression in society. Created with decorative and graphic tape, permanent marker, and a razor blade on 16mm clear leader.
A Park for the City Nicole Macdonald Detroit, MI | 2014 | 34 min | Digital In the 1890s, landscape architect Frederick Law Olmsted (co-designer of New York City’s Central Park) designed a park on Belle Isle in the Detroit River. BBC footage and surveil- lance tapes from motion sensor cameras capture the flora and fauna that are reclaiming the island’s abandoned zoo. Macdonald’s commenatry on the city includes her visual field guide identifying plants and cataloging the wildlife caught on tape.
Time I Change Oren Goldenberg Detroit, MI | 2012 | 5 min | Digital Time I Change features Haleem Rasul (aka Stringz), award winning Jit Dancer and founder of Hardcore Detroit. Initially released as a segment of The Future is Changing : Rituals for Spatial Transformation, this specific experiment explores the relationship of video to time, space and movement in depicting change. The video represents through a single hu- man form the ongoing transformation of Detroit, MI: from the migration to cities in the early 20th Century; the way the city changed throughout that century; and the current migration of Detroit’s residents. The sound was created through decon- structing an old Motown classic - mixed by Sterling Toles.
The Dum Dum Capitol of the World Holly Hey Toledo, OH | 2014 | 21 min | Digital An experimental documentary that contemplates landscape, home, memory, queerness, and time. The project illuminates social constructs about sexuality, self, and human instinct. Visible and latent hostilities directed towards queerness surface through first-person examinations of same sex desire, queer parenting, internalized homophobia, and familial loss.
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A PARK FOR THE CITY
TIME I CHANGE
THE DUM DUM CAPITOL OF THE WORLD
VV
FERAL
NOISE // VOID
I SEE FACES IN ALL PLACES
Sunday • 11:15am • Michigan Theater Screening Room
FOREST OF BLISS: ROBERT GARDNER
Forest of Bliss Robert Gardner (1925-2014) 1986 | 90 min | 35mm Poet Seamus Heaney wrote of the ‘deep and literate gaze’ Robert Gardner transmits ‘with an intensity that passes from the docu- mentary into the visionary’ in his film Forest of Bliss, a landmark work of non-fiction filmmaking and controversial within visual an- thropology. An unsparing look at the chaos of daily life in Benares (Varanasi), India, one of the world’s most holy cities, Forest of Bliss unfolds from one sunrise to the next with no voiceover commen- tary, dialogue or subtitles, forcing the viewer to focus on the larger issues of life and death that gradually and inevitably take hold.
PRINT COURTESY OF HARVARD FILM ARCHIVE SPONSORED BY TEAHAUS
ARTS WORK
53rd Ann Arbor Film Festival • March 24–29 2015
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Arts Work Christine Hucal Detroit, MI | 2014 | 2 min | Digital WORLD PREMIERE An old man gives advice on how to be considered successful.
Noise // Void Simon Alexander-Williams Ann Arbor, MI | 2013 | 4 min | Digital Noise // Void is an experimental music video exploring glitch aesthetics and audiovisual relationships. The process of creating the sonic material involved converting computer system files into audio files—a method that generates a myriad of beeps, clicks, static and other digital artifacts. The resulting glitched audio was then used as the compositional fabric for the music. The visuals were created through a combination of methods including computer generated animation, video feedback, scans of old magazines from the 1950s and hacking Atari 2600 ROMs.
I See Faces In All Places Donald Harrison Ann Arbor, MI | 2014 | 4 min | Digital Inspired by the imaginative spirit of The Heidelberg Project in Detroit, Harrison recorded over a hundred interactive video portraits for this piece. These were captured via The Heidelberg Project Mobile Photo Video Booth, which Harrison created in collaboration with artist Tyree Guyton and maker Robert Marshall. The booth captured people’s spontaneous reactions to images of their own faces altered with playful Digital effects and mixed into landscapes of The Heidelberg Project.
SPONSORED BY MICHIGAN FILM OFFICE ANN ARBOR AREA CONVENTION & VISITORS BUREAU COMMUNITY PARTNER THINK LOCAL FIRST PRESENTED BY JEN PROCTOR, CO-PROGRAMMER OF THE REGIONAL PROGRAM
Sunday • 1pm • Michigan Theater Main Auditorium
FILMS IN COMPETITION 11
Akbar Richard Myers 1970 | 12 min | 16mm NOT IN COMPETITION A conversation with Ahmad Akbar, a black filmmaker, friend, and former film student at Kent State University. Akbar (not his real name), expresses an unusual view of himself, blacks in America, and such varied subjects as “This moon race shit!” – RM
Awarded at the 9th Ann Arbor Film Festival, 1971. New preservation print courtesy of Academy Film Archive
From A to B Julia Dogra-Brazell London, United Kingdom | 2014 | 1 min | Digital NORTH AMERICAN PREMIERE The title is an oblique reference to Warhol’s The Philosophy of Andy Warhol (From A to B and Back Again) where Warhol famously spoke of his understanding of death. He didn’t believe in it, he said. His work, perhaps as a result, is a constant celebration of presence. This piece, using a methodology diametrically opposed to Warhol’s own, revisits stray elements (a seagull, reflections of the filmmaker in the win- dow, a blinking light and so on) that pass incidentally through that moment of monumental presence we experience in Empire.
Under the Heat Lamp an Opening Zachary Epcar USA / Spain | 2014 | 10 min | Digital An expanded view of the crowd at an open-air restaurant, from a bird’s-eye of the exterior to the depths of the interior.
Sister City Dani Leventhal Columbus, OH | 2013 | 5 min | Digital Sister City channels moments of paradoxical experience—of being a superhero or being for sale—into reverberant conduits, articulating a nature divided by panes of glass or suspended in watery solitudes. Each shift begets a kind of origin story: one encounter traces the specific azure of a James Turrell installation to a pet shop jellyfish, in another, a modern-day putto purifies a horrific tale by blowing bubbles in a tub. Sister City, like water, seeks its own level; cresting and displacing continuous bursts of life, spiritualized, succulent, and ultimate- ly alone. – Deirtra Thompson
Poetry for Sale Friedl vom Gröller Vienna, Austria | 2014 | 3 min | 16mm In Poetry for Sale, Friedl vom Gröller impressively contrasts the intimacy of the act of writing and the publicity of its presen- tation. The difficulty of the undertaking, selling poems in the subway, shows the difficulty of material survival for poets. The double breaking of the rules on which the film is based—both selling and filming are forbidden in the subway—exposes both poetry and filming as criminal acts, thus revealing the true status of poets and filmmakers. – Nicole Streitler
Dan Mark Eva Marie Rødbro Copenhagen, Denmark | 2014 | 25 min | Digital NORTH AMERICAN PREMIERE The Danish photographer and direc- tor Eva Marie Rødbro has documented the wild youth of teen- agers in Greenland (Fuck You Kiss Me, 2008) and the United States (I Touched Her Legs, 2010) in a series of sensitive works. In Dan Mark, she has directed the camera towards a young boy who lives in the same house as herself in Copenhagen’s Vesterbro district. His name is Dan Mark - nothing less! - and his life is a state of constant action, which in no small bit is due to his diagnosed ADHD, but which can’t reduce him to a social case study. On the contrary, Rødbro is at a highly energetic eye level with the young man, whose parents and friends pour good advice down on him about the life that he is about to become adult in.
Special Features James N. Kienitz Wilkins Brooklyn, NY | 2014 | 12 min | Digital
US PREMIERE
Special Features is an apparent interview with three highlights. Presented as if a fragment from an unnamed video production, an interviewee interacts with an interviewer, recounting a special experience at once unique and shared.
SPONSORED BY METROTIMES
COMMUNITY PARTNER YPSI 24-HOUR FILM SHOOTOUT
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53rd Ann Arbor Film Festival • March 24–29 2015
AKBAR
DAN MARK
FROM A TO B
UNDER THE HEAT LAMP AN OPENING
SISTER CITY
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SPECIAL FEATURES
POETRY FOR SALE
The Royal Road Jenni Olson San Francisco, CA | 2015 | 65 min | 16mm on digital A cinematic essay in defense of remembering, The Royal Road offers up a primer on the Spanish colonization of California and the Mexican American War alongside intimate reflections on nostalgia, butch identity, the quest for unattainable women, and Alfred Hitchcock’s Vertigo — all against a contemplative backdrop of 16mm urban California landscapes, and featuring a voiceover cameo by Tony Kushner.
SPONSORED BY UNIVERSITY OF MICHIGAN SCREEN ARTS & CULTURES COMMUNITY PARTNER FILM FATALES DETROIT CHAPTER
Sunday • 1:15pm • Michigan Theater Main Auditorium THE ROYAL ROAD
FEATURE IN COMPETITION
THE DRAGON IS THE FRAME
ORIZZONTI ORIZZONTI! THE ROYAL ROAD
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PRECEDED BY
The Dragon is the Frame Mary Helena Clark Berkeley, CA | 2014 | 14 min | 16mm An experimental detective film made in remembrance: keeping a diary, footnotes of film history, and the puzzle of depression. – MHC
Orizzonti Orizzonti! Anna Marziano Italy / France | 2014 | 11 min | Digital US PREMIERE Apulia, June 2013.
PRESENTER BIOS
David Rosenboom George Manupelli was a close friend, colleague and collaborator with David Rosenboom on many performance art works, films, songs and interdisciplinary projects. Along with others, they helped develop the Toronto-based Maple Sugar performance art collective beginning in 1973. Both were also faculty and admin- istrative colleagues at York University in Toronto during the 1970s and at the San Francisco Art Institute in the early 1980s. Rosenboom currently holds the Richard Seaver Distinguished Chair in Music at the California Institute of the Arts, where he is Dean of the Herb Alpert School of Music.
Ann Borkin Ann Borkin met George Manupelli in 1962, about a year before she dropped out of art school. She has the distinction of being George’s most lastingly loyal mail correspondent, having sent him a postcard or two almost every week in the last years of his life.
Harold J. Borkin Harold J. Borkin was a collaborator along with George on Milton Cohen’s Space Theater as a recent architecture graduate from the University of Michigan. Borkin now is a Professor Emeritus of Architec- ture at the same institution.
2:45pm • Michigan Theater Main Auditorium • FREE
TRIBUTE TO GEORGE
SPEAKERS, FILM & PERFORMANCE
John Caldwell John Caldwell co-managed the AAFF in the 1970s, and produced George’s film Almost Crying. Caldwell has worked as a film and television producer and writer in Los Angeles since 1978.
Chrisstina Hamilton Chrisstina Hamilton is the Director of the Penny Stamps Distinguished Speaker Series and the Witt Visiting Artist Program at the University of Michigan. Previous to this she was the Executive Director of the AAFF where she initiated the festival’s foray into new media and acceptance of all screening formats while expanding the festival week program beyond the theater.
Betty Johnson Betty Johnson’s first husband was George Manupelli. Beginning with their time together at the Massachusetts School of Art, the two remained close friends up until George’s passing.
Bob & Laurice LaZebnik George Manupelli filmed Bob LaZebnik driving his BMW B-Sedan in the Trans Am racing circuit from 1971 to 1975 at Road America in Elk Lake, Wisconsin, Briar in New Hampshire, Mid Ohio in Mansfield, Ohio, and Watkins Glen in New York.
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George Manupelli was a filmmaker, painter, sculp- tor, poet, songwriter, teacher, political and environ- mental activist, raconteur, and the founder of the Ann Arbor Film Festival. Prolific as an artist until his passing in September 2014, Manupelli touched numerous people during his lifetime, several of whom will speak at the tribute.
The presentation includes a rare screening of Portraits, Self Portraits and Still Lives 1972-73 with Special Reference to the Assassination of President John F. Kennedy, or This is Not Auf- wiedersehen This is Goodbye. Manupelli’s 45 minute silent film will be accompanied by an original score performed live by Los Angeles-based composer David Rosenboom. A collaborator of Manupelli’s in the 1970s, Rosenboom is a celebrated performer and composer and one of the pioneering figures of American experimental music. The film originally closed the 12th AAFF on March 16, 1974.
Pat Oleszko Pat Oleszko is a visual and performance artist whose work rages from the street to stage to silver screen thru humor by way of absurdity with a nod to exorcism and a bow to the fool. She has played at the Vatican and slept in jail. There have been many awards and ample justification all based on a very large, and highly costumed body of work.
Allan Schreiber Born and raised in Ann Arbor, Allan Schreiber shared close family and mutual friends with George Manupelli. The two worked together at the San Francisco Art Institute, and Allan considered George a good friend and comrade for the 50 years that they knew each other.
Joseph Wehrer Joseph Wehrer is a retired Professor Emeritus of Architecture from the Univer- sity of Michigan and founding member of the ONCE Group with Robert and Mary Ashley, George Manupelli, Gordon Mumma, Harold Borkin, and his wife at the time, Anne Wehrer.
16MM PRINT OF PORTRAITS, SELF-PORTRAITS AND STILL LIVES COURTESY OF JOHN CALDWELL.
SPECIAL THANKS TO THE LABOUR INSTITUTE FOR NONTRADITIONAL LIVING
Sunday • 3pm • Michigan Theater Screening Room
MAÏDAN: SERGEI LOZNITSA
Maïdan Sergei Loznitsa Ukraine / Germany | 2014 | 131 min | Digital Maïdan is Sergei Loznitsa’s monumental documentary portrait of a revolution in the making; capturing the events in Kiev’s eponymous public square over the course of ninety crucial days: from late 2013, when citizens gathered to demonstrate against Ukrainian President Ianoukovitch’s regime, to March 2014, when the protest became an outright insurrection. Eschewing interviews and talking-head commentary, Loznitsa also refutes the jittery, hand-held camerawork of so many formless “Occupy” films or direct-reportage docs. Comprised almost entirely of static master shots, Maïdan exhibits a consciously rigorous style that is directly linked to the idea of the masses. In a bold and controversial move, Loznitsa rises above political complexities to observe the nature of the civil uprising as a social, cultural, and philosophical phenomenon, chronicling the sheer mechanics and vigor of human movement and expression as they are activated by political action. Capturing quotidian preparations, impassioned speeches, songs and prayers, and the terrifying heat of battle, Loznitsa’s long takes ultimately reveal the might of the masses to come together and rally for freedom and
independence. Epic in scale, breathtakingly cinematic, and criti- cally urgent, Maïdan is a major work of our time. It is a film to be experienced and discussed, and one we will undoubtedly return to for years to come — not only as a document of a historic turning point for Ukraine, but as a moving testament to human solidarity and conviction and a formidable feat of filmmaking. - Andréa Picard
SPONSORED BY WTVS DETROIT PUBLIC TELEVISION
EDUCATION PARTNER THE UNIVERSITY OF MICHIGAN CENTER FOR RUSSIAN, EAST EUROPEAN, AND EURASIAN STUDIES
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Sunday • Michigan Theater Main Auditorium
The 53rd Ann Arbor Film Festival closing event provides two screenings with selections of award-winning films as chosen by our Award Jury. Awarded Film Program line-ups will be posted late afternoon on Sunday, March 29th at the Michigan Theater and at aafilmfest.org.
Award Screening 1 6pm | Michigan Theater Main Auditorium Onstage announcement of the 53rd jury awards, followed by a select screening of awarded films. The program will be preceded at 5:30pm by a screening of work from the “clear leader” station, a new film created by you—the audience—throughout the festival week. Soundtrack by Ed Special. This hands-on filmmaking activity was a popular part of the AAFF for many years and we are excited to continue the tradition on 35mm at the 53rd Festival.
AWARDED FILM PROGRAMS
Award Screening 2 8:15pm | Michigan Theater Main Auditorium A second select screening of awarded short films from the 53rd Festival.
AFTERPARTY ALLEY BAR | 10pm–2am | FREE
WRAP UP THE 53RD AAFF WITH DJS AND DELICIOUS HANDCRAFTED COCKTAILS!
ACADEMY AWARD® QUALIFYING
The Ann Arbor Film Festival is recognized as a qualifying film festival for the short film category of the Academy of Motion Picture Arts & Sciences. A short film that wins one of the following awards at the AAFF is eligible: Best of Festival, Best Experimental, Best Narrative, Best Animation.
There are currently two dozen qualifying festivals in the U.S. For Academy Awards consideration, a short film that is not more than 40 minutes in running time (including all credits) and which falls into the animated (cel animation, computer anima- tion, stop-motion, clay animation, puppets, pixilation, cutouts, pins, camera multiple pass imagery, kaleidoscopic effects and drawing on the film frame itself for example) or live-action film categories, can qualify in one of two ways:
1. The film must have been publicly exhibited for paid admis- sion in a commercial motion picture theater in Los Angeles County for a run of at least three consecutive days with at least two screenings a day prior to public exhibition or distribution by any nontheatrical means or
2. The film must have won a qualifying award at a competitive film festival, as specified in the Short Film Qualifying Festival List, regardless of any prior public exhibition or distribution by nontheatrical means.
All eligible motion pictures must be publicly exhibited using 35mm or 70mm film, or in a 24- or 48- frame progressive scan Digital Cinema format in English or English subtitles. Television or internet exhibition anywhere does not disqualify a film, provid- ed such exhibition occurs after its Los Angeles theatrical release, or after receiving its festival award. Documentaries, previews, trailers or advertising films are excluded.
Please see oscars.org for a complete outline of rules and eligibility.
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Craft Cocktails, American Whiskey & Small Plates
THE RAVENS CLUB 207 S. MAIN STREET, ANN ARBOR | WWW.THERAVENSCLUB.COM
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“GIVEN THE CHOICE OF HOLLYWOOD OR POKING STEEL PINS IN MY EYES, I'D PREFER STEEL PINS.”
MIKE LEIGH
Edge Hill University is proud to be working in partnership with AAFF to show Festival films in the UK.
The UK University of the Year, Edge Hill is based in the north west of England.
We teach, research and make films, amongst many other things.
edgehill.ac.uk
A hub for innovative, collaborative research in the humanities and arts.
Now Shani Contemporary Self in on Peters' America
view The in Construction the Crown:
gallery:
of
www.ls@UMichHumanities a.umich.edu/humanities
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SUPPORTING OUR COMMUNITY
Congratulations to the Ann Arbor Film Festival for inspiring cinephiles for more than half a century. Honigman is proud to support North America’s longest- running independent and experimental film festival.
For more information, please contact J. Michael Huget at 734.418.4254 or MHuget@honigman.com.
WWW.HONIGMAN.COM
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RISD SUPPORTS AAFF
Rhode Island School of Design supports the investigation of the technical, aesthetic and conceptual questions central to the art of the moving image.
risd.edu/academics/fav
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What happens when CAMERA meets ACTION.
The Michigan Film Office is proud to support the Ann Arbor Film Festival.
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Two Thumbs Up. LIVE LOBSTER • PRIME RIB Fresh seaFood
WEBER’S RESTAURANT
3050 Jackson Road, Ann Arbor MI I-94 at exit 172 (734) 665-3636 webersinn.com
Welcome The
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“Enjoy the Festival”
STATE STREET AREA ASSOCIATION
MORE HOOLBOOM EVENTS AT MSU MARCH 2–20 FILMSTUDIES.CAL.MSU.EDU/HOOLBOOM
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Buffalo Death Mask, 2013
MSU ARTIST-IN-RESIDENCE MIKE HOOLBOOM EXPANDING FRAMES
3/27 | 3PM MICHIGAN THEATER SCREENING ROOM
DISCUSSING WHAT FAROCKI TAUGHT BY JILL GODMILOW
College of Arts & Letters College of Communication Arts & Sciences
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Digital Digital Washtenaw Washtenaw Video Video Community Community Production Production College College
at at
WCC offers hands-on experience with state-of-the-art cameras and labs taught by instructors who are experts in the field. From movies and commercials, to graphics and animation, WCC can help you get the career of your dreams.
For more information, visit departments.wccnet.edu/dma
From Here to Career
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is a proud sponsor of the Ann Arbor Film Festival
For more information about us, check out Zingerman’s online at www.zingermans.com
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SCHOOL OF FILM/VIDEO filmvideo.calarts.edu
film directing program (mfa) program in film and video (bfa & mfa) experimental animation (bfa & mfa) character animation (bfa)
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It’s not a room. It’s a Residence. At Residence Inn Ann Arbor, you will find all the space you need to thrive no matter how long you stay. -­‐114 suites featuring separate living, dining, and sleeping areas, plus full kitchens -­‐Our suites are 50% larger than most hotel rooms. -­‐Full Hot Breakfast Buffet daily -­‐Pet friendly -­‐Renovated Rooms
Residence Inn by Marriott Ann Arbor 800 Victors Way. Ann Arbor, MI 48108 734.996.5666 To reserve you room, call 734.996.5666 or visit residenceinnannarbor.com
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Get ready for your close up.
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Like The Dude loves bowling.
We love to help.
How can we help you? boaa.com
Member FDIC
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734.449.9733
75 Aprill Dr., Ann Arbor
Bring this in for $20 off your class
(Class must be at least $299 in value)
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ART WITH AUDIO. DESIGN WITH TECHNOLOGY.
As local manufacturers of custom audio products, Leon Speakers is proud to sponsor this year’s Sound Design Award to help honor the important role of audio in film today.
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NIAGARA CUSTOM LAB
Custom picture in and colour white
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Rates
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Lieberthal-Rogel Center for Chinese Studies
Lieberthal-Rogel Center for Chinese Studies University of Michigan 1080 South University Ann Arbor, MI 48109-1106
734-764-6308 chinese.studies@umich.edu www.ii.umich.edu/lrccs
LRCCS is a proud supporter of the 2015 Ann Arbor Film Festival
The Chinese Film Series of the U-M Lieberthal-Rogel Center for Chinese Studies continues to present cutting edge contemporary documentary as well as dramatic films from China, Hong Kong and Taiwan. All films are free and open to the public.
Information on the China Center’s films, lectures, conferences, newsletter, resources and academic programs can be found at: www.ii.umich.edu/lrccs. To receive notices of all China Center public events, sign up at: www.ii.umich.edu/lrccs/aboutus.contactus.
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THURSDAYS / 5:10PM / MICHIGAN THEATER / FREE
603 E. Liberty, Ann Arbor, MI
Upcoming Events:
MARCH / 26 TACITA DEAN
Moving Image Artist
Awarded the Hugo Boss
Painter, filmmaker and Prize and the Kurt Schwitters
performer Kent Monkman Prize, Tacita Dean’s film
explores themes of portraits express something
colonization, sexuality, that neither painting nor
loss, and resilience—the photography can capture. Her
complexities of historic art is the essence of film itself.
and contemporary Native In conjunction with the Ann
American experience. Arbor Film Festival.
Co-presented by UMMA.
stamps.umich.edu/stamps
APRIL / 2 KENT MONKMAN
Painter/ Installation/ Performance Artist
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Series Presenting Partners:
APRIL / 9 LOUIS BENECH
Landscape Designer
Renowned landscape designer Louis Benech has completed over 300 park and garden projects around the world including at the Tuileries, the Elysée Gardens and Pavlovsk’s Rose Pavilion in St Petersburg.
7285 ........................................66 1,2,3...Operator’s exercise (1,2,3... Ćwiczenie operatorskie) ...50 1000 Plateaus .........................34 33 Yo-Yo Tricks .........................72 A Park for the City ....................92 A Set of Miniatures ..................78 A Symptom ..............................80 Accent Grave on Ananas .........88 Adventures In Success ............43 Akbar .......................................94 All That Is Solid ........................80 Arabesque ...............................43 Around Perception ...................42 Arts Work .................................93 Atlantis .................................... 87 Autumn ...................................40 Babash ....................................34 Beautiful Things ......................40 Become an Artist .....................88 Big Electric Cat ........................43 Black ........................................65 Black Film (Crni film) ...............50 Blood Below the Skin ..............57 Blue Line Chicago ....................77 Blue Loop, July .........................54 Bromp Treb Spring Tickles Tour “promomercial” ..........................40 Brouillard-Passage #15...........86 Bubble House ..........................56 Buffalo Juggalos ......................86 Calculated Movements ............43 Centre (Centrum) .....................50 Chapri ......................................53 Choreography for Justin Bieber ...............................40 Chorus .....................................68 Cibernetik 5.3 ..........................42 Cirrus ......................................40 Clarabel ...................................72 Clear and No Screws ...............80 Clinker ......................................65 Collage ....................................43 Color Neutral ...........................88 Computer Movie No. 2 .............42 Confessions .............................57 Construction of the Daya (Budowa dni) ..........................63 Corda .......................................85 Coupe .....................................40 Dan Mark .................................94 Depositions .............................83 Descent ...................................69 Detour de Force .......................54 Digital Experiments At Bell Labs ....42 Disappearance at Sea .............56 Distance ..................................60 Dry Standpipe (Suchy pion) ...63 Echo Chamber ......................... 76 Eclipse .....................................72 Edwin Parker ............................56 End Reel ..................................60
Envy ........................................40 Episode of the Sea ..................53 Eyrie .........................................77 Falling ......................................85 Fear (Strach) ............................63 Federsee ..................................85 Feral .........................................92 Forest of Bliss ..........................93 Forgiven/Forgotten .................40 From A to B ..............................94 Google Mission ........................68 Sound of My Soul (Glos mojej duszy) ...................63 Graminoids ..............................72 Grand Finale ............................88 Greetings to the Ancestors ......83 Halo Getters ...........................40 Häxan.......................................48 Heavy Flow ..............................40 Herd .........................................66 Human Vectors ........................43 I Began to Wish........................60 I See Faces In All Places..........93 If You Stand With Your Back... ........60 Images of the World.................52 I’m in Pittsburgh and it’s Raining ....38 Immortality, Home & Elsewhere ..... 74 In Waking Hours .......................54 Inkjet 3065 ..............................69 IOA ...........................................69 IWI ...........................................40 JG .............................................47 Jiro Visits the Dentist ...............68 Just Like Us ..............................38 Kingdome Come: Rituals .........54 Kodak.......................................47 La Faim (Hunger) .....................43 Ladybug ...................................72 Lapis ........................................42 Layover ....................................86 Lessons of War ........................88 Let’s Groove .............................43 Light Motif................................40 Like Rats Leaving a Sinking Ship ....57 Line of Apsides ........................60 Living Fossil .............................72 Love (Miłość) ...........................63 Maïdan .....................................98 Making New Worlds (Robienie nowych światów) .....63 Manupelli’s Five Short Films ....79 Many Thousands Gone ............34 Mars Garden ............................85 Masanao Abe - Cloudgraphy .....54 Merce Cunningham..................56 MeTube: August sings Carmen ‘Habanera’ ..................34 Mood Contrasts .......................42 Necrology.................................34 Never Catch Me ......................40 New Year’s Eve (Szilveszter) ....50 Night Noon ...............................44
Resources TITLE INDEX
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No No Nooky TV .......................43 Noise // Void ...........................93 Not and Or ............................... 74 O, Persecuted ..........................80 Occidente ................................83 Of the Iron Range .....................34 Old Jewish Cemetery ...............77 OM Rider ..................................88 One Night in Florida .................68 Optimist, Pessimist, Solipsist ....68 Orchard ....................................60 Orizzonti Orizzonti! ..................96 Oskar Hansen - Groping One’s Way (Oskar Hansen -Po omacku) ..........50 Padre .......................................70 Parallel I-IV .............................. 74 Pathetic Magic ........................40 Pen Up the Pigs .......................68 Permutations ...........................42 Poemfield No. 2 .......................42 Poetry for Sale .........................94 Port Noir................................... 76 Portraits, Self Portraits and Still Lives .......................... 97 Project Gasbuggy ....................80 Prospects’ Overview (Prezegląd Widok) ...................63 Quiet Zone ...............................88 Rabbit Season, Duck Season .....88 Reduit ......................................78 Refreshment ............................72 Regal Unlimited .......................65 Relief ........................................75 Remote ....................................38 Road Funner ............................72 Robert Abel and Associates Demo Reel .............43 San Siro ...................................66 Scrapbook ...............................66 Second Sighted .......................88 Self Fashion Show (Öndivatbemutató) ..................50 Seven Signs that Mean Silence ......75 Side Phase Drift .......................42 Sightings: Habitat ....................54 SimGyeong (Mirror in Mind) ....69 Sister City ................................94 Somewhere Only We Know ......38 Sound of a Million Insects, Light of a Thousand Stars ........44 Sound of My Soul (Glos mojej duszy) ...................63 Special Features ......................94 Speculation Nation ..................87 Spoken Film No. 5 (Film mówiony 5) .....................63 Steel Mill Rolling ......................67 Substanz ..................................44 Sunstone .................................43 Swallowed Whole .....................69 Symmetricks ............................43 Symphony No. 42 ....................34
Technicolor NG .........................70 Teignmouth Electron ................56 Terminal Self ............................43 The Bigger Picture ....................69 The Creation of Meaning ..........84 The Dragon is the Frame ..........96 The Dum Dum Capitol of the World .92 The Eternal Quarter Inch ..........38 The Figure Carved Into the Knife by the Sap of the Banana Tree .......44 The Green Ray .......................... 47 The Iron Ministry ......................82 The Invisible World .................38 The Kiss ................................... 74 The Little Deputy .....................57 The Many Colors of the Sky Radiate Forgetfulness .............76 The Ooli Moves .......................40 The Peacock ............................53 The Point ..................................72 The Royal Road ........................96 The Song Remains The Same .......... 88 There are Pictures, because there are Walls – A Prologue ..........80 Things ...................................... 75 Three Quarters .........................80 Time Being V-VI ........................44 Time I Change ..........................92 Transatlantique ........................67 Transformation (Transformacja) .....50 Tribeca ....................................40 Tron ..........................................90 Tubal Freaks-Sneak a Peak .....40 Twelve Tales Told ......................34 Two Ways Down .......................86 Under the Heat Lamp an Opening ...94 Untitled (light) .........................60 Unzip Violence .........................79 Utö ...........................................72 Videe ........................................78 Video Manual ...........................50 vindmøller ................................67 Volatilidad................................80 VV ............................................92 War Prayer ...............................44 Wayward Fronds ......................44 We Are Not Amused .................72 What Farocki Taught ................62 White People (Beli Ljudje) .......50 William in White Shirt ..............80 Wolkenschatten .......................88 World of Tomorrow ...................70 Worsening of Eyesight (Pogorszenie widzenia) ............63 WYIE.........................................40 Yonder ......................................78 Your Silent Face (fucking finland series) ............65 Ziegler ......................................34
Resources FILMMAKER INDEX
Abel, Robert ............................43 Ahwesh, Peggy .......................88 Alexander-Williams, Simon .... 93 Alsharif, Basma .......................80 Ancarani, Yuri ..........................66 Anderson, Trevor .................... 57 Andrejew, Piotr .......................50 Anger, Zia ................................40 Asili, Ephraim ..........................34 Bąkowski,, Wojciech .. 58, 63, 64 Balcom, Ben ...........................80 Balko, Tony .............................40 Bardsley, Jessica ...................78 Baron, Rebecca ......................54 Barrie, Dianna .........................77 Bell-Smith, Michael ...............88 Bendkowski, Kazimierz ...........50 Bennett, Vicki .........................72 Bodunrin, Adebukola ..............40 Bonpapa, Frédéric ..................40 Bourges, Antoine ...................80 Boyce, Bryan ...........................68 Brandstätter, Thomas .............72 Brown, Bill ...............................87 Bruhmuller, Ben ......................72 Bryan, Will .............................68 Bryant, David ................... 79, 88 Bucsi, Réka ............................34 Buob, David ............................72 Burr, Peter ...............................40 Bute, Mary Ellen .....................42 Carboni, Christopher ..............40 Casanova, Simone Rapisarda 84 Christensen, Benjamin ...........48 Christman, Sarah J. .................66 Clark, Mary Helena .................96 Connolly, Stephen ..................77 CTG .........................................42 Cuba, Larry .............................43 Cummings, Scott ....................86 Cyriak .......................................40 Darst, Theodore ......................40 De Clercq, Anouk ....................65 De Groen, Jacky ......................72 De Haan, Siebren ...................53 Dean, Tacita .........46, 47, 52, 56 Dogra-Brazell, Julia ................94 Dornieden, Anja .............. 58, 88 Dufour-Laperrière, Félix ..........67 Elsaesser, Carl ........................80 Emshwiller, Ed ........................43 Epcar, Zachary ........................94 Everson, Kevin Jerome .....65, 80, 88 Farley, William .........................88 Farocki, Harun ........... 52, 62, 74
Fitzgerald, Kit .........................43 Flatsitter ............................27, 72 Foldès, Peter ...........................43 Forsberg, Walter ......................70 Fowler, Luke ............................83 Gallagher, Kelly .......................68 Gardner, Robert ......................93 Gaucher, Eric ..........................65 Gibisser, Mike .........................54 Godmilow, Jill ..........................62 Goldberg, Oren .......................92 Goldsmith, Lynn ......................43 Grasso, Santiago ‘Bou’ ............70 Gruffat, Sabine .......................87 Hahn, Karissa .........................69 Hajas, Tibor .............................50 Hammer, Barbara ...................43 Hanley, Sean ...........................72 Harahan, Seamus ...................65 Harrison, Donald ....................93 Hays, Ron ...............................43 Hébert, Pierre .........................42 Heit, Laura ..............................86 Henderson, Louis ....................80 Henderson, Tamara ................88 Hertzfeldt, Don .......................70 Hey, Holly ................................92 Hoolboom, Mike .............. 62, 66 Hucal, Christine ......................93 Jacobs, Daisy ..........................69 Jacobson, Dov ........................43 Kamentsky. Gina ....................68 Kaul, Shambhavi ....................44 Kennedy, Ted ...........................70 Kienitz Wilkins, James N. ........94 Kim, Andrew ...........................53 Kim, SeungHee .......................69 Kirchenbauer, Vika ...........54, 57 Kitchen, Diane ........................78 Klacsmann, John .....................70 Klahr, Lewis ............................85 Knowlton, Kenneth .................42 Koens, Lars .............................72 Kooijm, Demelza .....................72 Kraning, Laura ........................76 Križnar, Naško .........................50 Kumao, Heidi ..........................69 Kwiek, Paweł ...........................50 Larose, Alexandre ...................86 Lawder, Standish ....................34 Le Révélateur ..........................79 Lee, John ...............................40 Lee, Shannon .........................92 Lemieux, Karl ............40, 79, 88 Leventhal, Dani .......................94
Lisberger, Steven ....................90 Litvintseva, Sasha ..................74 Lobato, Pablo .........................85 Loznitsa, Sergei ................77, 98 Lurf, Johann ............................34 Macdonald, Nicole .................92 Macías, Luis ............................ 74 Magdy, Basim .........................76 Magenheimer, Sara ................75 Manupelli, George ..... 16–26, 30 .......................................... 88, 97 Martin, Tess ............................68 Martinis, Dalibor .....................50 Marziano, Anna .......................96 Maurer Andrea .......................72 McDowell, Curt .......................57 McLean, Jesse ............. 5, 29, 38 Mez, Sebastian .......................44 Möhring, Gabriel ....................69 Moncayo, Guillermo ...............76 Monroy, Juan David González .88 Moshel, Daniel ........................34 Murai, Hiro ..............................40 Murata, Takeshi ......................88 Murray, Julie ........................5, 60 Myers, Richard ........................94 Nishikawa, Tomonari ...............44 Nugent, Ross ..........................67 OHO .........................................50 Olenick, Mike ..........................40 Olson, Jenni ............................96 Pahl, Frank ..............................34 Paik, Nam June .......................42 Payne, Simon .......................... 74 Pimenta, Joana .......................44 Pirker, Sasha ..........................80 Plazinska, Katarzyna ..............53 Raczynska, Joanna .............5, 50 Rae, Behrouz ..........................34 Ragályi, Elemér .......................50 Ratté, Sabrina ........................54 Redmon, David .......................66 Reeder, Jennifer ......................57 Reeves, Jennifer ......................88 Renwick, Vanessa ..................86 Rijpma, Johan ...................69, 72 Rivers, Ben .............................75 Roche, Andy ............................40 Rødbro, Eva Marie .................94 Rorison, Margaret ...................67 Russell, Ben ..................... 83, 87 Sabin, Ashley .........................66 Sanborn, John .......................43 Sarris, Terri .............................34 Schwartz, Jonathan ...............78
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Schwartz, Lillian .....................43 Shamberg, Michael..................40 Shaw, Wade ............................43 Silva, Fern ...............................44 Skoog, John ..................... 78, 85 Sniadecki, JP ..........................82 Stare, Demdike ........................48 Stehura, John .........................42 Sternberg, Barbara ................44 Stewart, Alexander ................40 Story, Brett .............................80 Stratman, Deborah ................88 Stuyck, Daniel ........................40 Sudak, Jason ..........................72 Sulzer, Martin .........................54 Tellier-Craig, Roger .......... 54, 79 Todd, Robert ...........................85 Toscano, Mark ........................88 Treb, Bromp ............................40 Truttmann , Lisa ......................34 Tuohy, Richard ........................77 Van Brummelen, Lonnie ........53 Vanagt, Sarah .........................54 VanDerBeek, Stan .......... 42, 43 Varela, Bruno ..........................80 Vaz, Ana ..................................83 Völter, Helmut .........................54 vom Gröller, Friedl .................94 Walter, Calum .........................75 Webster, Craig ........................40 Wetzel, Steve ..........................34 White, Joshua .........................43 White, Panther .........................72 Whitney, James .......................42 Whitney, John .................. 42, 43 Whitney, Jr., John ............ 42, 43 Wiebe, Richard .......................44 Winkler, Dean .........................43 Wodzinski, Elizabeth ...............92 Woloshen, Steven ..................34 Yasinsky, Karen .......................40 Young, Neil ..............................40 Zgraja, Grzegorz G. ................50 Žilnik, Želmir ...........................50
Resources MAP
Screening Venues A Michigan Theater | 603 E. Liberty Street B State Theater | 233 S. State Street
Afterparties C Sava’s | 216 S. State Street D The Ravens Club | 207 S. Main Street E \aut\ BAR | 315 Braun Court F The Heidelberg | 215 N. Main Street G The Bar | 327 Braun Court H Alley Bar | 112 W. Liberty Street
TN
CATHERINE ST
E. ANN ST
E. HURON ST
E. WASHINGTON ST N
Expanding Frames I Space 2435, North Quad | 105 S. State Street
Installations J Work Gallery | 306 S. State Street
Performances K Performance Network Theatre | 120 E. Huron Street L B-Side at the Neutral Zone | 310 E. Washington Street
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AH SLEYSTTS.MAINSTENV.A MINSBRAUN CTEN
E. WILLIAMS ST.
4TA
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TNS.
5HTV A
E. LIBERTY ST
DETROITS.
DIVISION STESTAN.
TESTAT.
STS
Proud to partner with the AAFF in showcasing the work of Witt Artist in Residence Reynold Reynolds.
The Stamps School— shaping a new generation of multi-disciplinary collaborators, global citizens, and creative innovators.
Image from the current project by Stamps
School Witt Artist in Residence Reynold
Reynolds. This project is on view in AAFF lobby.
FOR MORE INFO:
stamps.umich.edu/witt
ExTRAO
FILMS DISCO

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