March Healdsburg Flix Mix 2015
Flix Mix presents an encore screening of the 2014 Mendocino Film Festival Short Films Program. A humorous and poignant look at life in flux.
May Healdsburg Flix Mix 2015
Purvis of Overtown
Purvis Young (1943 – 2010) was an American artist from the Overtown neighborhood of Miami, Florida. After a stint in Raiford State Prison for a breaking and entering charge, Purvis Young seemed destined to fail. Yet while in prison, Purvis taught himself to paint, becoming a highly acclaimed contemporary artist, now recognized nationally as an icon of Black culture and history.
The Quilts of Gee's Bend
The Quilts of Gee's Bend are quilts created by a group of women and their ancestors who live or have lived in the isolated African-American hamlet of Gee's Bend, Alabama.
Plus a skype full-screen conversation with the producer and director of both film Matt Arnett - live from Atlanta, both nights.
Flix Mix presents the films of
"Plastic Man (The Artful Life of Jerry Ross Barrish)"
"Darryl Henriques Is In Show Business" - The Story of an Eccentric Struggling Comic
"Shadow and Light" - The Life and Art of Elaine Badgley Arnoux
"In Between the Notes" - A Portrait of Pandit Pran Nath - Master Indian Musician
- October 2015 -
Healdsburg Flix Mix
is Proud to Present 2 Nights of Films By
Mr. James and Ms. Golden will be joining us both evenings
for a post-screening Q&A
Friday, October 16th at 8 pm
A Portrait of Kinetic Sculptor Jerome Kirk
Produced and Directed by Ashley James / 32 minutes / 2014
“Kirk’s superb sculpture has given us a new concept of the uses of space. No matter how small or large the piece, it alters the environment in which it exists.”
Leonard Randolph, National Endowment for the Arts
“Jerome Kirk reminds us that he is a master of a genre developed by such artists as Alexander Calder and George Rickey. His art lies in the skillful orchestration of forms in motion and in managing technology so well that it seems to disappear.”
Suzanne Muchnic, Los Angeles Times
"Bomba - Dancing the Drum
Directed and Photographed by Ashley James / 57 minutes / 2000
Follows the legendary Cepeda Family, known as the patriarch family of Bomba, Puerto Rico's richest musical expression of its African Heritage. For nearly a century, the Cepeda family has been in the forefront of the struggle to keep the Bomba tradition alive in Puerto Rico. "Bomba - Dancing The Drum" is a portrait of a remarkable family that has chosen to embrace the future with the strength of the past.
Produced and Directed by Kathryn Golden / 30 minutes / 2010
A portrayal of Zenju's embrace of Buddhist teachings while at the same time, dynamically challenging tradition. “When I mentioned to my younger sister that I was exploring being a Zen priest she asked, ‘What’s Buddhism got to do with Black people anyway?’ Becoming a Zen priest and dharma practitioner did not suppress Zenju’s persistent questioning of spiritual practice. The film continues to navigate Zenju’s transformation following her ordination at the San Francisco Zen Center.
Saturday, October 17th at 8 pm
"Kitka and Davka" -
In Concert: New and Old World Jewish Music
Directed by Ashely James / 50 minutes / 2006
Kitka, Oakland's acclaimed female a cappella ensemble and Davka, the sensational instrumental Jewish music quartet.
What is Jewish music? This provocative question is put to viewers at the opening of Kitka & Davka in Concert: Old and New World Jewish Music. What follows is an exploration of the concept of Jewish music stretching from the time-honored traditional to the creatively innovative, showcasing a live performance of two established San Francisco Bay Area ensembles—the female vocal ensemble Kitka and the jazz-inspired instrumental ensemble Davka recorded in one of California’s oldest synagogues, Temple Sinai in Oakland.
"Across Time and Space"
Produced and Directed by Kathryn Golden / 40 minutes / 2002
Chronicles the struggle of the Bondy Family, radical educations who fled Nazi tyranny only to be confronted with segregation and anti-semitism in the U.S. ACROSS TIME AND SPACE gives voice to generations speaking out across national and historic divisions, and sexual and racial lines to answer the question: how do we create schools that teach peace and grow individuals to be fully developed human beings? ACROSS TIME AND SPACE asserts that education can be a transformative tool for peace.
More about Directors Ashley James and Kathryn Golden:
Ashley James holds Bachelor and Master of Fine Arts degrees in Filmmaking and has national television credits. He is the co-founder (with Kathryn Golden) of Searchlight Films. Former newspaper journalist, The Hartford Times, (Gannett News Service) Hartford, CT; instructor of graduate studies in Department of Cinema, San Francisco State University and station manager of KTOP/Channel 10, Oakland, CA. which won 32 national awards for excellence in television programming during his 12 year tenure. Mr. James’ awards include the Prix Bartok Award for the best music film at the Bilan du Film Ethnographique (France); an Isadora Duncan “Izzy” Dance Award for special achievement in film; the American Film Institute Independent Filmmaker award; three CINE Golden Eagles; two Telly statues and three Pegasus awards for excellence in television programming; screenings at the Kennedy Center; six National Endowment for the Arts production grants; grants from the PBS Latino Public Broadcasting Consortium, National Black Programming Consortium, and National Initiative to Preserve American Dance (NIPAD); the Newark Museum, Paul Robeson Award for best feature documentary of the decade, the San Francisco Black Film Festival and Black Filmmakers Hall of Fame.
Kathryn Golden holds a Master of Fine Arts degree in filmmaking from the San Francisco Art Institute and is a founding partner of Searchlight Films. Ms. Golden has written, directed and edited many award-winning films and is the creator of a series of ground-breaking videos featuring the arts in San Francisco. Kathryn Golden's awards include, National Endowment For The Arts production grants, National Black Programming Consortium; the Polaroid Foundation grant; California, Massachusetts, and Pennsylvania State Humanities production grants, the San Francisco Advertising Club's Award of Excellence and the Frances Gay Award for Community Service.
Healdsburg Flix Mix
is Proud to Present 2 Nights of Films by
Healdsburg Filmmaker / Director
organized around the theme
The Imaginative Power of Places
Friday and Saturday
November 20th and 21st at 7:00 PM
at the Paul Mahder Gallery, 222 Healdsburg Avenue, Healdsburg, California
Friday and Saturday Films:
"Oscar & Isabelle" - 25 mins- 2008
Set on the darkly beautiful winter coastline of Northern Ireland and narrated by the consciousness of the house, Oscar & Isabelle details the end of a fifty-year-old love affair between Isabelle, a retired music hall singer, and Oscar, her 150 yr old house. Isabelle finds a dramatic ritual to say goodbye to Oscar and the landscape she adored.
- AND -
"Vineyard Study" - 65 min - 2010
A Film Study of a Vineyard in Northern California Comprising 5 Inter-Related Films.
1) 'Fatto A Mano' - (Made by Hand)
2) 'Staerlinc' - (The Starlings)
3) 'Campo de Trabajo' (Labor Camp)
4) 'Kent' (The Romney Marsh Sheep)
5) 'Songni Della Luna' (Dreaming of the Moon)
Vineyard Study is a film study of a Northern Californian vineyard and is comprised of a series of films entitled Fatto a Mano, Staerlinc, Campo de Trabajo, Kent and Sogni della Luna. The films operate independently of each other and also form a whole. Organized around minimalist narratives, the films aim to conjure the particular atmosphere of the vineyard and related places, and explore each place’s ability to engender an emotional response, both from the individuals who visit and live there, and the viewer experiencing the places on film. The films offer both a rich and subtle experience, as well as an alternative view to an idealized and nostalgic representation of a rural place dominated by the past. Instead, they seek to reveal each place’s present time, less-than-ideal, complex atmosphere. The centerpiece of Vineyard Study Fatto a Manoexplores various qualities of space in this unique vineyard, including influence from present day Italy, California and Mexico. Staerlinc is an old English name for the Starling bird. This film records the experience of observing a flock of starlings in the vineyard during Winter. The starlings were part of an Englishman's dream to introduce all of the birds referred to in Shakespeare’s plays. He released the first 60 starlings in New York’s Central Park and there are now more in the United States than any other country in the world, numbering in the millions in California and 200 million countrywide. A Campo de Trabajo is comprised of sleeping, eating and washing facilities, agricultural camps come alive during harvest season in the wine country of Mendocino County, California. Migrant farm workers fill the camps, nearly all of whom are Mexican. They work in the area’s local harvests before moving on to similar jobs in another counties and states. Many local inhabitants are unaware of the existence of these agricultural labour camps dotted around them.
For over fifty years, a seventy year old Californian woman, has farms a chosen breed of English sheep. The Romney Marsh breed, originally from Kent in England and sometimes referred to as the ‘Kent’, was introduced into America in the early 20th century. As a working artist, the woman breeds sheep exclusively for their wool, which she then works with from the fleece stage, transforming them into various imaginative, two dimensional landscapes. Sogni della Luna is inspired by the unusual combination of skills of an Italian-American farmer and amateur scientist. An unusual architectural structure shining high upon his hillside reveals his life long passion.
Plus the Short Films
Beautiful Malaria finds out why Dr Anne Vardo-Zalik has a passion for lizard hunting. Commissioned by University California Davis.
"Nesting Turkey Vultures"
Nesting Turkey Vultures reveals vultures surprising nesting choice inside Oak tree cavities, and scientist Greg Guisti's related research. Commissioned by University California Davis
More about Dr. Skivington
FLORA SKIVINGTON, PhD
Flora Skivington's films have been shown at film festivals, art galleries and other public venues in the US and Europe, including the Institute of Contemporary Art in London and the Sonic Arts Research Centre in Belfast. More recently some of her films have been made to be shown online and shared through social media. One of her films Oscar & Isabelle was shot and co-edited by long term Matthew Barney collaborators cinematographer Peter Streitmann and editor Chris Seguine. Her films have won awards at film festivals in the categories of best cinematography, scriptwriting and best overall film.
Flora Skivington has an MFA Film from San Francisco Art Institute and a PhD in Fine Art (Film by practice) from University of Oxford's Ruskin School of Art.
The Films of Gustavo Vazquez
Friday / Saturday January 15 and 16th at 7 pm - Screening Different Films Each Eveni
Filmmaker / Director Gustavo Vazquez Will Join Us for a Post-Screening Question and Answer Session
Gustavo Vazquez, originally from Tijuana and currently residing in San Francisco, is an independent filmmaker and teaches in the Film and Digital Media department at the University of California, Santa Cruz. Vazquez has directed over thirty productions, including documentaries, video installations, and experimental narratives.
Friday, January 15 at 7 pm
Cortez The Killer - 7 minutes
A music video based on Neil Young’s original song and performed by Los Cenzontles and David Hidalgo from Los Lobos. Vazquez illustrates this song as a visual poem inspired by the lyrics and their relation to history and cultural memory.
Lunada - 12 minutes
Lunada (Full Moon) is a poetic journey that retells Vazquez experiences growing up in Tijuana, Mexico in the 1950’s, and show how this tradition from the past continues in the present. Shifting in style between personal narrative and documentary the work looks at people in San Francisco who share personal, spiritual, and cultural experiences during gatherings under the full moon.
A Muerte - 3 minutes
A duel between filmmaker and performance, with Guillermo Goméz Peña.
Que Viva La Lucha ( Wrestling in Tijuana) - 54 minutes - 2007.
This award winning documentary features a look at the sport of Lucha Libre or Mexican wrestling, specifically the extreme version in Tijuana. It explores how individuals are drawn to this grueling sport as either the wrestler or as a devoted fan, many of whom come from the poor working class neighborhoods. Universal themes of good vs. evil, the underdog beating the bully, the noble hero outwitting the corrupt nemesis – all play out over and over to generations of fans. The wrestlers fabricate unique characters that their fans can embrace or insult, such as corrupt politicians and cops, crime fighting heroes, mythological figures and villains. Familiar traces of comic book heroes like Superman, Spiderman, action fighting icons like Bruce Lee or a modern day Robin Hood combine to form one of Mexico’s favorite spectator sports. Gustavo Vazquez's affectionate, action-packed documentary exposes the surprising variety of nuances in a seemingly macho culture.
Una mirada al historico ruedo de Lucha Libre en Tijuana que revela como el tema universal del bien contra el mal, el desvalido contra el maton, el noble heroe burlando al corrupto, se despliega a diario a generaciones de admiradores en este popular deporte. Los luchadores fabrican una personalidad original para su publico ya sea para ser aceptados o insultados, incluyendo a politicos corruptos y policias, heroes, figuras mitologicas y villanos. Gustavo Vasquez, cineasta local, combina material de archivo de asombrosas figuras acrobaticas y encontronazos de alto impacto con emotivas entrevistas personales con los luchadores, sus familias y sus admiradores. Este documental es una celebracion de la herencia de la lucha en Mexico y de su floreciente futuro liderado por jovenes como Extreme Tiger. El film, con banda sonora de Carne Cruda, muestra las habilidades, personalidades y aspiraciones de estas celebridades, incluyendo Pancho Cachondo, Diamantina y Angel Negro, Jr.
Saturday, January 16 at 7 pm
Who am I? - 9 minutes
Designed for a walk-in video installation space Vazquez takes us on a journey in search of Mexican American identity, finding an all-encompassing term can often be a challenge. Chicano, American, Mexican, Mexican-American, Latino, and Hispanic, these are just some of the terms that people may or may not choose to identify with. Defining identity is largely dependent on one's own experiences and philosophy.
The Great Mojado Invasion, Part II (The Second U.S. - Mexico War) - 28 minutes - 2001
Independent filmmaker Gustavo Vazquezand performance artist/writer Guillermo Gómez-Peña reunite to re-edit their legendary cult video with brand-new footage and a re-masterized soundtrack by maestro Guillermo Galindo. In this "master piece of border camp and reverse anthropology," the artists attack hard reality with large doses of irony, black humor, and high style, generating a complex commentary on history, society, pop culture, the politics of representation and the repercussions of ethnic dominance. Like a ghost from the future, "El Mad Mex" Gómez-Peña narrates this hybrid-genre video, which envisions a queue of mojados ("wetbacks") whoreconquer lost Mexican territory to establish the new"U.S. of Aztlan." This "mocumentary" presents a fictionalized account of the history of US-Mexico affairs, from pre-Columbian times to the immediate future, when a second U.S- Mexico war takes place. As the film moves through time, the artists reveal amazing found-footage, from rare ethnographic documentaries and underground exploitation movies toMexican B-movies depicting Anglos, and U.S.-made films depicting Latinos. The outcome is a "whirlwind tour of Latino stereotypes in film. Through the juxtaposition of clips from campy Mexican genre films against stereotypes long popular in US media, Vazquez along with his accomplice Gómez-Peña, fabricates "a videographic hall of mirrors." The director states, with tongue planted firmly in cheek - "please be aware that this film is for adults only, rife as it is with profane language, nudity and, most dangerous of all, incisive cultural critiques." The Great Mojado Invasion is a classic Chicano sci-fi cult film that continues to be politically relevant to the global anti-immigrant hysteria.
Jugando Con Fuego (Playing with Fire) - 54 minutes
More compelling than fiction, Playing with Fire (Jugando Con Fuego) explodes onto the screen with its kaleidoscopic portrait of Celendín, a traditional community high in the Peruvian Andes where the population celebrates the annual fiesta of its patron saint, the Vírgen del Carmen, with candlelit parades, brass bands and elaborate fireworks. But gunpowder, ground by hand in ancient stone mills, can be diabolical. Accidents and injuries plague César, Celendín's master pyrotechnician, straining relationships with the authorities and his wife Ermila. César seeks the help of Jesús, the local curandero, who performs a ritual exorcism.
Meanwhile, the flamboyant and sometimes debauched festivities aregathering momentum. The celebration climaxes with a spectacularfireworks display that fulfills the community's expectations and restores César's self-esteem.
For Playing with Fire, documentary filmmaker Gustavo Vazquez (Que Viva La Lucha) teams up with author and photographer Keith Muscutt (Warriors of the Clouds) to document the life and work of rural Peruvian firework-makers. Their alchemical fireworks displays are directly descended from those witnessed in thirteenth-century China by Marco Polo, and serve a similar purpose in driving out evil spirits during religious celebrations. Jugando con Fuego had its origins in Muscutt's intimate relationships with the firework-makers, cultivated over many years. Originally motivated by a straightforward desire to document a fast-disappearing art form, the film surprisingly manifested itself as the subtleties of magical-realism- a narrative revolving around an individual firework-maker's experiences in a rich, complex, and religious synchretic society. Dependent on images rather than dialogue, and minimally subtitled, it is equally accessible to both Spanish and English-speaking audiences.
More About Gustavo Vazquez
His work has shown at film festivals and art exhibitions including the Luton UK, Festival Internacional de Cine de Morelia, Mexico, L’immagine Leggera, Palermo, Italy, Margaret Mead Film and Video Festival Broadcast on National PBS. He is a co-author of Documentary Filmmaking: A Contemporary Field Guide, 2nd edition published by Oxford University Press in October 2013. Gustavo Vazquez’s research interest explores cross-cultural visual studies and video design. Vazquez’s interest in border issues and identity has led to a series of independent and collaborative works. His experience of crossing borders has left an imprint offering a personal perspective and access to contemporary ethnographic projects. In many regards, his work reflects both a rooted foundation in negotiating polarity between cultures. In his work we find a conceptual fusion of the opposite realities in class, culture, and language. by integrating diverse elements to illustrate the marginal and dominant paradigms.
Presents the Films of
Begoña Colomar -
LEAL 2012 - A woman returns to the magical place where she was born.
ATITLAN 2013 - Animation with sounds from Lake Atitlán in Guatamala.
ODA 2010 - Two people, a sheep and a donkey in a meditation on intimacy.
ELSIE 2009 - A collage of childhood memories constructed as an ode to a little girl.
KENTE 2014 - Music video for Rich Bologna's single "Kente."
HABIT 2011 - Follows the theme of "Street Corners."
CONTRA 2015- A portrait of a man confronting the suicide of his young wife.
MENDE 2015 - Music video for Rich Bologna's single "Mende."
DENDRAL2009 - An atmospheric film that captures the visceral power of nature.
KIRO 2014 - Music video for Rich Bologna's single "Kiro."
12 short features over two nights
Directed, Filmed and Edited by Dominic Angerame
Program #1 - Friday Evening
March 18, 2016 - 8PM
A TICKET HOME (1982) - 11 minutes
Going home--from west to east; return. Part of a series of turning points. Recording a journal in color language; shadows of faces. Realities and memories come out frame by frame. The rhythm of a summer vacation. Rituals of light to dark--manifesting form. This is a translation of old friends and old places. A ticket home. This film journal assembles the memory-charged visual fragments of a cross country trip and gives you the distinct impression that someone's handing to you their childhood memories on a silver platter
I'D RATHER BE IN PARIS (1982) - 17 minutes
Depicts the filmmaker's visual concern with his physical environment by autobiographically exploring his alternatives: Chicago, San Francisco, and the editing room itself. These urban explorations tend to concentrate on high-speed assemblages of cityscape abstractions. "Sprawling masses of concrete, plastic and steel seem to have captured the earth. Nature threatens only with the icy cold waves of Lake Michigan and an apocalyptically red sunset. Humans, for the most part hauntingly innocuous, are reduced to soul-less, miniscule organisms. Only the editing room serves as a sanctuary. It is here that some semblance of order and tranquility resides."
HONEYMOON IN RENO (1983) - 6 minutes
I was hoping to strike it rich on our honeymoon in Reno. In a way I did, seeing that the camera was filled with very rich imagery in recording this visual journal of our brief visit. The soundtrack is a creation of Katie Steinorth who translated the Buddhist chant of "Om Ma Ni Pad Me Hum" into the words "Oh, Money Bring Me A Home."
BATTLE STATIONS - A Navel Adventure - 7 minutes
Starring Bruce Conner, a Belly Dancer, a Geiger counter, and a toxic waste dump. Leyna d'Ancona and myself went filming at the Naval Shipyard at Hunter's Point. My original concept for this film was to have my friend Leyna perform a belly dance ritual and I would superimpose images from the "macho" naval station...a perfect blend of yin and yang...ships and a navel ... This film is a diary of that experience.
PIXIESCOPE (2003) - 4 minutes
A film that seems to be partially created by the magic that only pixies can create. I went out shooting with my Bolex with the intention of shooting a series of very short one second movies. When the film was returned to me by the lab I discovered that superimposed over the images I had shot were images that I did not shoot, women flexing their muscles and posing for some unknown camera person besides myself. This film is a result and a sort of homage to pixies wherever they may be.
WAIFEN MAIDEN (2003) - 1 minute
This is a haiku and offers a prelude to CONSUME
CONSUME (2003) - 12 minutes
Inspired by the novel FLICKER by Theodore Roszak, this film was intended to explore the images captured in the flickering light of multiple projector beams. By utilizing superimpositions within the camera, one could experience the pulsating light and explore hidden imagery. The projector beams began to put both myself and my actress into a trance state due to the strobe light it presented ... the resulting film turned into a trance by natural evolution and in essence the film becomes even more... It becomes an exploration into oneself and the sense of seeing and being at the same time...both an inward journey and an outward one..."
ANACONDA TARGETS (2004) - 9 minutes
About 2,000 troops from the US led military coalition were engaged in close in combat on March 4, 2002 with small pockets of suspected al Qaeda and Taliban fighters in the rugged terrain of northeastern Afghanistan as part of an operation called Operation Anaconda. The footage in the piece is filmed and audio taped from a US gunship helicopter that was part of this mission. a documentation tape of aerial bombings by the American military in Afghanistan, depicts the devastating effect of smart bombs. Not often featured in media reports, the soldiers' voices form the soundtrack that accompanies these chilling images.
Program #2 - Saturday Evening,
March 19, 2016 - 8 pm
City Symphony Series - made between 1987 and 1997 shows urban destruction and cinematic construction as two sides of the same coin. To see the city through Angerame’s eyes, writes Silke Tudor, is “to see an organic beast of cement that seems to breathe in rich shades of black and white.”
CONTINUUM(1987) - 15 minutes
Continuum deals in complete immediacy, with the play of light and shadow on cement surfaces, streets, houses, and bridges, but it deals also with the work performed on these sites: steel frames full of busy welders gleam in the blazing sun, house facades are cleaned and sand blasted, streets are tarred and strewn with shimmering gravel. Though this film is only 15 minutes in length, is an experimentalfilmwhich is at the same time a document ofpropagandainthe sensethat, at its conclusion, one finds oneself closer to the science ofthe motion of society in its monumentality, with streets, buildings, the building of them, and the workers and their instruments creating aconstructivist poetry within the eyes.
PREMONITION(1995) - 10 minutes
The San Francisco Embarcadero Freeway comes to life in this elegy for modernity. The Freeway was deemed a triumph of engineering, a monument for human inventiveness. With the 1989 earthquake, however, the freeway was severely damaged and with it all the industrial-technological promises it held. Premonition shows the situation before the crisis, a deceptive moment of industrial harmony. "There’sanexquisite despair and a dooming ambiguity suspendedinthecool morningclarityof Dominic Angerame’s new film, Premonition. ThestaunchFerry Building, the swift ferry and its charms, theblimp, the helicopter. Allof them toys when it cast its cool morning shadow their way. We were heading out toward our favorite cafe, unknowing it would come down, like rain. Premonition is not just about a defunct highway to have done with, it’s thepainful inventory of a desired and questionable relationship gone down."
IN THE COURSE OF HUMAN EVENTS (1997) - 23 minutes
A primitive, yet seductive 'tableau' of twisted metal where bulldozers are prehistoric monsters that tear bits of metal and stone from the vulnerable concrete. Angerame films in a spectacle of extremely precise shots that surgically unveil our obsession with destruction and technological decline. An exquisite black and white surrealist depiction of the Embarcadero Freeway demolition, in which dinosaur-like tractors gnash at an organic tangle of steel reinforcements a film that combines shorts of the tearing down of the Embarcadero Freeway in San Francisco with industrial music.
THE SOUL OF THINGS (2013) - 16 minutes
"Nothing is apparent to ordinary vision until it is painted upon the window of the soul" William Denton 1866. William Denton is one of the early pioneers exploring the art and science of psychometry. Psychometrics believes that every object emits a field of energy. That energy can transit its entire history through touch. That is every brick contains the history of what happened inside its walls and outside its walls and at the same time its own history of creation. If one is sensitive enough this energy field of historical information can be transferred and one can obtain a complete knowledge of its history. In my case the touching is filming. In our urban landscape we are continually destroying our past through destruction of buildings and replacing them with artificial man made materials. Hence removing us from our very history. William Denton performed many successful experiments in the field of psychometry documented in one of his books called The Soul of Things.
More About Dominic Angerame:
I am an independent filmmaker living here in San Francisco creating short personal
works. My films (more than 30) follow in the tradition of the black and white filmmakers
of the 1930s. My works are filmed in high contrast black and white film utilizing the
visual imagery to seem dramatic. I film superimpositions and use montage editing and
telephoto lenses to help create a unique sense of space.
My films work with images from several San Francisco scrap metal yards in the
industrial area near the south bay waterfront as well as with images at the San Francisco
shipyards where workers repair and overhaul them. and ships wait to be overhauled. Also
included in this new work I will film construction workers spraying cement on buildings,
layers of multiple super impositions of welders’ torches combined with the industrial
architecture of this area of the city.
Truly experimental yet far from arbitrary, my film possess an intensely individual
aesthetic developed over my past 40 years of filmmaking that includes a driving poetic
vision. Many of the films are shot on high contrast black and white film that creates a
timelessness in the imagery. I use my 16mm Bolex camera doing many short takes, single
framing, and fades. The editing continues in the montage fashion.
My work is intended for those who enjoy and appreciate the art of cinema. It appeals to
many audiences including Museum Film Exhibitions, Film Festivals, small Art Theatres,
Galleries and Micro Cinemas both here in the States and around the globe and of course a
general public. The impact of my work is that members of the audience are given the
opportunity to view their everyday urban landscape in a very different way.
For example twisted rebar, and chunks of cement can be seen as constantly changing
urban sculptures. Bulldozers and cranes take on a life of their own as prehistoric monsters
or living tools for change. Construction workers, iron workers, welders, and other
workers can be seen as artisans playing a large part in our changing urban environment.
Mopping hot boiling tar becomes a living canvass being painted in black with sun
reflecting sparkles of light. In this way my work makes a contributes to society by
artistically documenting the visual history of modernity. I create images that change the
way we look at the familiar.
My work has received worldwide recognition—I was the subject of a full film
retrospective at the Vienale International Film Festival. I just returned from a tour in
Europe where my films were shown at Theatre Ursulina in Paris; an exhibition in
Rotterdam and Ghent, Belgium. In conjunction with this I exhibited my work in
Albuquerque, Santa Fe and Tucson. I am showing my films this month at the Festival
Internacionale del cine nuevo Latino Americano in Havana. Among the festivals where
my work has received awards are; Ann Arbor Film Festival; Big Muddy Film Festival;
Oberhausen Film Festival; San Francisco International Film Festival and many more .
My films have won numerous awards over the past years.
My films are diverse. Some deal with comedy; eroticism; death; passion; refuse and the
On the Work of Filmmaker Dominic Angerame by Stefan Grissemann
Since the 1960s, the American filmmaker, theorist, and avant-garde activist Dominic
Angerame has been working in a form that is both documentary and poetic, an aesthetic
alliance between realism and fantasy. He employs a variety of techniques, but his films
are invariably and primarily concerned with basic problems of rhythm: the nervousness
of the montage in almost all Angerame films stands in startling contrast to the gentleness
of its effect on the viewer. The double and triple exposures this artist prizes so much
brake, as it were, the quick pulse of his cuts and help them to achieve a peculiarly
Dominic Angerame’s works search for unfamiliar views of seemingly familiar things:
cities, landscapes, faces, and bodies. The filmmaker’s desire to make everyday images
“strange” at the editing table, to learn to see them fresh and to estrange them from our
senses, makes his films seem—in all the different social realities they contain—always
distanced as well, as if they led to another world beyond the concrete, beyond time and
defined space. In Angerame’s films, which pay homage to films from early cinema and
the classic avant garde to American underground films of the 1960s and 70s and nonnarrative
films of the present day, an amazingly comprehensive history of the “visionary”
moving image is always present. It may be that precisely his refusal to adopt a signature
style has diminished the immediate influence of Angerame’s films; however, Angerame’s
decision to work “universally,” not to be swayed by considerations of the art market, and
to experiment with very different styles increases the pedagogical worth of his films. It’s
not surprising to learn that Angerame, born in 1949, teaches at several American schools
in addition to being the executive director of the American avant garde distribution center
Canyon Cinema. His films testify to an encyclopedic knowledge of film—and also his
desire to satisfy, with his own audio-visual offerings, the very different desires of his
The concept “experimental film,” by the way, doesn’t fit Dominic Angerame. It sounds,
he says, like it’s just an attempt, as if he didn't know exactly what he was doing. His
practical work in film is informed by essentially one principle: the renunciation of
“narrative form.” That alone seems enough to isolate a visual talent like his for a long
time. Dominic Angerame is a marginalized filmmaker. The large digital movie databases
don’t even know his name.
His own films are “like city symphonies,” Angerame explains lapidarily, “big-city
landscapes in high-contrast black and white.” This alludes to only one (but nevertheless
important) part of Angerame’s oeuvre: his five-part City Symphony, made between 1987
and 1997, the title of which is derived from the famous 1927 Walter Ruttman film Berlin:
Symphony of a Big City, and which formally stands in the tradition of Dziga Vertov’s
urban-industrial montage. Angerame’s city films show (urban) destruction and
(cinematic) construction as two sides of the same coin: as de-construction even. To see
the city through Angerame’s eyes, writes Silke Tudor, is “to see an organic beast of
cement that seems to breathe in rich shades of black and white.”
The first of the City Symphony films is an Angerame masterpiece. Continuum deals in
complete immediacy, with the play of light and shadow on cement surfaces, streets,
houses, and bridges, but it deals also with the work performed on these sites: steel frames
full of busy welders gleam in the blazing sun, house facades are cleaned and sand blasted,
streets are tarred and strewn with shimmering gravel. There’s wiping, spraying, cooking,
shaking, and painting: Angerame shows us a world at work, in transformation—and, at
the same time, he brings out the hierarchies implicit in that world: proletariat and
industry, above and below. The workers remain anonymous, and the masks they wear
emphasize their lack of identity. Nowhere else is Angerame’s virtuoso editing technique,
celebrated by Stan Brakhage for its “seeming lightness, which is so difficult to achieve,”
more apparent than in Continuum.
If one knew nothing of their history, it would be virtually impossible to date Angerame’s
films. There’s a decidedly timeless quality to the City Symphony’s subject matter and
black and white material (and also to Angerame’s partially manual film techniques).
There’s an urban, utopian mood in Continuum that would fit just as well in the late 1930s
as it does in the late 1980s.
Angerame’s city works untiringly probe the textures that present themselves to his
camera: they show patterns and inscriptions on walls and metal surfaces, focus on
fissures in cement, lose themselves in shadowy passers-by and smoke rising out of
machines. By stylizing the urban everyday, Angerame translates it back into its
emblematic quality in a series of astonishing signs. His film language follows—as in the
fundamental cinematographic dramatization of white (sun) and black (tar) in Continuum,
for example—a strict sensual order.
Friday/Saturday April 22nd/23rd at 8 pm
WOMEN ON THE LAND
Creating Conscious Community
A Film by Laurie York and Carmen Goodyear
Special Guest Gowan Baptist, Founder of Fortunate Farms on the Mendocino Coast and a pioneer of the new farming movement will join us for a post-screening Q and A on Friday and Saturday night
Filmmakers Laurie York and Carmen Goodyear created Mendocino Coast Films in 2004. Their award winning, feature-length documentary, Freedom To Marry, aired nationally on PBS stations, screened in film festivals worldwide and was translated to four languages, Spanish, French, Chinese and Dutch. www.FreedomToMarry.tv. Laurie and Carmen produce promotional films for non-profits on the Mendocino coast. Their latest production, Women On The Land: Creating Conscious Community, was released in June 2012. The film highlights an extraordinary community of women on the Mendocino Coast in Northern California from the late 1960s to 2012. Women On The Land opens with archival footage of women who founded “Country Women,” the extremely successful 1970s feminist publication and how-to magazine for women’s back-to-the-land self-sufficiency. Featuring the work these women have done to protect the land and sea over the last 40 years, the film follows women homesteaders, farmers and goatherds who have created the life of their dreams on the land they call home. These women passionately reveal why the sustainable, organic, local food movement is essential in our current world of dwindling natural resources and economic decline.