Monday, March 07, 2005

Interesting offerings

I am back in town,
and there are some things going on this week and next that upbaggers might be into...

There is some film below, some city and some film on the city (& some cities on film.)

1. The New Directions in Cinema series presents:

Steve Sanduedolce's DEAD TIME

World Premiere

Wednesday March 9th, 2005
at 7pm and 9pm
Innis Town Hall, 2 Sussex Avenue
Tickets: $5.00 at the door
Information: 416-588-6444

(I'm not sure if I'm going to the 7 or the 9 yet)

2. Bowling nite thursday, Danforth Bowl...Just a warmup for the fundraiser.

3. Olia Mischenko has a show opening at paul petro on Friday.

4. If anyone else hasn't seen Darren's play yet, would anyone like to join me on Monday night the 14th?

5. Coming next week @ Goethe Institute:


Wed, Mar 16, 7 pm
City of Ruttmann / City of Vertov, discussion by Professor Seth Feldman, York University
7.30 pm: Berlin, Symphony of a Great City (Berlin: Die Symphonie der Großstadt)
, 1927, 70 min, large screen projection, by Walter Ruttmann; followed by The Man with the Movie Camera, 1929, 65 min, large screen projection, by Dziga Vertov
Walter Ruttmann's "Berlin: Symphony of a Great City" is the signature documentary of Weimar cinema. Ruttmann records a day in the life of the city from the perspective of an Expressionist flaneur, looking for the images that create a Berlin of the mind.
Dziga Vertov's "The Man with the Movie Camera" is a day in the life of a city of cinema. Composed of shots taken from several cities, the film is being made by its crew as we are watching it. "The Man With the Movie Camera" also serves as Vertovs manifesto, proclaiming what Soviet Constructivist Cinema could be.

Thu, Mar 17, 7 pm
Absolute Film, Berlin, 1925, discussion by Filmmaker/Professor Bruce Elder, Ryerson University
These films focus on a famous event, mounted by the radical Novembergruppe, that took place in Berlin, May 3 and 10, 1925. The event is known as the Filmmatinee "Der absolute Film"; this is an historic occasion because it was the first event drawing together a number of "absolute" (abstract) films. It also marked the end of the Absolute Film as a cohesive, oppositional film practice. This program considers the reasons why, after this signal event, many German filmmakers abandoned the quest for the purity of abstraction and adopted the aesthetics associated with "Das neue Sehen".
7.30: Screening of short films (90 min)
Rhythm 21 (Rhythmus 21)
, 1923/24, 2,5 min, by Hans Richter
Diagonal- Symphony (Symphonie Diagonale), 1924, 7 min, by Viking Eggeling
Lightplay: Black, White, Gray (Zeigt ein Lichtspiel: Schwarz, Weiß, Gra), 1930, 6 min, by Laszlo Moholy-Nagy
Un Ballet Méchanique (Ballet Mécanique), 1924, 14 min, by Fernand Léger, with Dudley Murphy
Ghosts Before Breakfast (Vormittagsspuk), 1927, 6,5 min, by Hans Richter
Berlin: Symphony of a Big City (Berlin: die Symphonie der Großstadt), 1927, (Excerpt, first 10 min), by Walter Ruttmann
Marseille, old port (Impressionen vom Marseiller Hafen), 1929, 6 min, by Laslo Moholy-Nagy
Berlin Still Life (Zeigt Berliner Stilleben), 1926, 8 min, by Laslo Moholy-Nagy
Constructions of the Soul (Seelische Konstruktionen), 1927, 10 min, by Oskar Fischinger
Study No. 6 (Studie Nr. 6), 1930, 2 min, by Oskar Fischinger
Study No. 7, (Studie Nr. 7) 1931, 2,5 min, by Oskar Fischinger
Study No. 8 (Studie Nr. 8), 1931, 5 min, by Oskar Fischinger
Study No. 11 (Studie Nr. 11), 1932, 4 min, by Oskar Fischinger
Squares (Quadrate), 1934, 5 min, by Oskar Fischinger

Goethe-Institut Toronto, Kinowelt Hall

163 King St. West
St. Andrew Subway
Tel.: 416-593-5257

okay definetly into the steve sanguadulce film. i wanted to see it anyways.
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