The Nightingale opened its doors on April 4th, 2008 with its first screening, AH LIBERTY! by Ben Rivers. Nightingale Cinema presented 30 screenings in its first year, featuring works by 157 artists
AH LIBERTY!
Films by Ben Rivers
With UK Filmmaker Ben Rivers In Person!
Presented by WHITE LIGHT CINEMA
Friday, April 4, 2008
Rivers’ films tend to fall into two categories: minimal, moody riffs on horror film traditions and tropes – particularly those of 1930’s Hollywood; and lyrical, poignant experimental documentary portraits of people and places in the British Isles.
PROGRAM DETAILS:
Old Dark House – 2003, 4 min, 16mm, b/w
House – 2005, 5 min, 16mm, b/w
The Bomb with a Man in his Shoe – 2005, 15 min, 16mm, b/w
The Coming Race – 2006, 5 min, 16mm, b/w
This Is My Land – 2006, 14 min, 16mm, b/w
Dove Coup/Greenhouse – 2007, 2 min each, 16mm, b/w +
Ah, Liberty! – 2008, 20 min, anamorphic 16mm, b/w
Very Special Thanks to Patrick Friel, Ben Russell, and Jennifer Fieber for their invaluable assistance in making this program possible.
BEARDED CHILD FILM FEST
“Central States Tour” with Dan Anderson
Sunday, April 6, 2008
Opening Exhibit:
Sustained by Visions by Jeremiah Barber
This looping video installation explores the affinity that people often feel towards one specific animal. A friend volunteers to act out their own interpretations of an animal that they greatly identify with, which is recorded on video. Through a combination of voice, costume and performance, this work travels the nebulous boundary between the human and the animal.
About Bearded Child: Northern Minnesota’s Bearded Child Film Festival will be taking Midwestern America by storm this April with a collection of experimental, bizarre, and obscure short films. Based out of rural Grand Rapids, Minnesota (pop. 8000), the festival has been scouring the globe for far-out flicks since 2001.
YEAR OF THE RAT
New Films/Videos From the
UIC BFA Program
Sunday, April 27, 2008
“First in the cycle of 12 animal signs, YEAR OF THE RAT is an auspicious occasion for (media viewing) of every sort. It is a (screening) associated with aggression, wealth, charm, and order as well as with death, war, the occult, pestilence, and atrocities. In the Chinese Zodiac, the YEAR OF THE RAT is associated with (the apex of training in the media arts, courtesy of the BFA program at the UIC School of Art and Design).” – Wikipedia, Rat (Zodiac)
From Mr.Polar Bear to glittering gum, Yayoi Kusama to TV reporters with tear-off faces, and hand-drawn tree songs to an abstract treatise on nationalism, the 16 short works in this program are yours, compliments of a new cross-generational generation of media artists. Working across a variety of platforms and techniques, the 8 artists represented here offer nothing less than a long hard look into the face of media-making today. This is YEAR OF THE RAT, and it is Auspicious, indeed.
PROGRAM DETAILS:
Sky Piece for Yayoi Kusama No. 1 by Orson Panetti (4:00, DV, 2005)
bubble gum by Rafael Barontini (2:00, video, 2008)
Caprice Rainbow by Joseph Baldwin (4:00, video, 2007)
Port Manteux by Chris Perkowitz-Colvard (5:00, video, 2008)
Limping Twins by Chris Perkowitz-Colvard (5:00, video, 2008)
Fade by Jerry Leu (8:45, video, 2008)
What time is it? by Joseph Baldwin (:19, video, 2008)
Jingo by Mir H. Nourahmadi (4:15, video, 2008)
Means and Ends by Nicholas Sgarioto (6:00, video, 2008)
Through Doors by Rafael Barontini (3:30, video, 2008)
Days End Tree Chant by Christopher Perkowitz-Colvard (3:00, 16mm, 2007)
Mysterioso by Christine Sorich (5:00, video, 2008)
Growth by Nicholas Sgarioto (5:00, video, 2008)
Beverly by Chris Perkowitz-Colvard (4:00, video, 2007)
Sojourn in a Foreign Land by Joseph Baldwin (4:00, video, 2008)
Sky Piece for Yayoi Kusama No. 2 by Orson Panetti (9:00, 16mm, 2007)
Very Special Thanks to Ben Russell for inviting his students to share their work.
CAMPAIGN TRAIL
DOCUMENTS
By Bill Stamets
Programmed by Roots and Culture Gallery
Friday, May 9, 2008
As the 2008 presidential campaign plods on, perhaps it’s time for a flashback to the dark days of late-20th-century campaigning.
Chicago documentarian, Bill Stamets brings out three campaign-trail treasures: primary, caucus, convention, and inauguration footage shot in ’88, ’92 and ’96. With a light touch reminiscent of Frederick Wiseman, these documents provide a look back at recently-forgotten political landscapes. In the first few minutes of these films, we get a distinct impression that the players rotate, but the political game stays the same. But after a half-hour of watching Stamets’s films, and recognizing politician after politician, it becomes clear that the faces of our political landscape really haven’t changed in twenty years: Al Gore, Bob Dole, Jesse Jackson, Ralph Nader, Hillary Clinton, Pat Buchannan. What really changes in this quadrennial game?
Armed with a Super-8 and later a Hi-8 camera, Stamets embeds with the press-corps using these amateur cameras to notice moments at the margins of the “real” reportage. In this day of incessant, round-the-clock audio and video coverage of all candidates, Stamets’s films have a strange sense of prescience to them. On one hand, they anticipate the intense coverage of unscripted moments with cell phones and miniature digital camcorders that cam make or break a candidate who slips even the tiniest bit. But more interestingly, they are situated in a historical moment when that type of equipment was available for those purposes, but before it became so common that politicians learned to fully protect themselves or manipulate it. The masterful charisma of Bill Clinton is striking in these films, as is a fleeting moment of what looks like boredom mixed with dread that crosses Jesse Jackson’s face in the midst of an Iowa meet’ n’ greet.
Bill Stamets is a Chicago-based writer, reviewer, photographer and filmmaker. He has pointed lenses at the presidential candidates, Mayor Harold Washington, the Comsky-Dahl anti-disco riot, and local neo-Nazis. He reviews films for the Chicago Sun-Times and New City, and teaches at the School of the Art Institute of Chicago and Columbia College Chicago.
PROGRAM DETAILS:
Iowa and its Presidents (Super 8, sound, 1988)
Presidential Appearances (Super 8, silent, 1988-1992)
Primary Visibility (DV, 1996)
Very Special Thanks to programmer, Alexander Stewart.
FUTURE SCHLOCK
2 DVD Release Party
Friday, May 15, 2008
Future Schlock is a locally made video compilation of cracked out tv clips. The party celebrates the DVD release of Future Schlock Volume 2 and will include a screening of FUTURE SCHLOCK 1.
TEAROOM
With Los Angeles Filmmaker
William E. Jones in Person
Presented by WHITE LIGHT CINEMA
Sunday, May 16, 2008
Tearoom (1962/2007, 56 mins., video), which was selected for the 2008 Whitney Biennial, is a provocative act of appropriation. Jones presents original 1962 police surveillance footage of a men’s bathroom with only very minor intervention. The images are raw and powerful and the film invites exploration from a number of perspectives: portraiture, queer history, anthropology, sociology, documentary, voyeurism, structural film, and ever kinesthetics. It is a rich work, both fascinating and disturbing.
Jones writes: “Tearoom consists of footage shot by the police in the course of a crackdown on public sex in the American Midwest. In the summer of 1962, the Mansfield, Ohio, Police Department photographed men in a restroom under the main square of the city. The cameramen hid in a closet and watched the clandestine activities through a two-way mirror. The film they shot was used in court as evidence against the defendants, all of whom were found guilty of sodomy, which at that time carried a mandatory minimum sentence of one year in the state penitentiary. The original surveillance footage shot by the police came into the possession of director William E. Jones while he was researching this case for a documentary project. The unedited scenes of ordinary men of various races and classes meeting to have sex were so powerful that the director decided to present the footage with a minimum of intervention. Tearoom is a radical example of film presented ‘as found’ for the purpose of circulating historical images that have otherwise been suppressed.”
Jones has published a companion book Tearoom (2nd Cannons Publications), which contains many historical texts relating to the Mansfield cases, as well as over 100 frame enlargements from the video. Limited copies of the book will be available for sale at the screenings.
Showing with Tearoom is a short experimental video Jones made from the original footage: Mansfield 1962 (2006, 9 mins., video).
William E. Jones has been making work for nearly twenty years. His films Massillon (1991) and Finished (1997) were both highly acclaimed documentary-essay works and his recent video v.o. (2006) has had great success on the film festival circuit and at film venues around the world. His films and videos were the subject of a retrospective at the Tate Modern in London in 2005. He works in the adult video industry under the name Hudson Wilcox and teaches film history at Art Center College of Design under his own name.
THE NEW NEWNESS
A Video Exhibition of Work by Emerging Chicago Media Makers
Friday, May 30, 2008
PROGRAM DETAILS:
Thought Crime by Sean Stearns (5:30)
Keep Your Eyes Opened by Laureen Haag (4:26)
The Dead Sea by Eddie Saleem (24:00).
Meditations on Shadows of Ghost City Fallujah by Christopher Wiersema (7:14)
Bedtime Story by Laureen Haag (5:41)
Suffocating Life by Erica Lopez (2:46)
Transgenre by Jules Rosskam (20:00)
Answers by Hadassah B. (3:33)
Purge by Josh Golden (1:00)
Truth Through a Camera by Dan Hahn (7:30)
Three Cheers of Alienation by Mookie Ninjak (7:00)
Fatso by Robert Lindsey (5:20)
Spiral by Matt Palenske (1:00)
Television Now by Eamonn Sexton (4:17)
ETHNOGRAPHIC ASIDES
Films by Ben Russell
Chicago Filmmakers presents:
The 20th Onion City Experimental Film and Video Festival
Ben Russell in Person!
Co-presented by THE NIGHTINGALE
Friday, June 20, 2008
For nearly a decade, film and video maker Ben Russell has been pushing the boundaries and definitions of ethnographic film, peeking in the corners and skirting along the margins to explore subjects and cross-genre approaches to illuminate and raise questions about this field and the idea of representation more generally. Working primarily in an experimental mode, his films have a rigor in their approach, a formal beauty uncommon to ethnography, and frequently display a sly humor at odds with an area of investigation traditionally rooted in the sciences.
PROGRAM DETAILS:
Black and White Trypps Number Four (2008, 11 min, 16mm, US)
Trypps #5 (Dubai) (2008, 3 min, 16mm, US)
Workers Leaving the Factory (Dubai) (2008, 8 min, 16mm, US)
The Wet Season (Tjuba Ten) (Co-directed by Ben Russell and Brigid McCaffrey, 2007, 47 min, 16mm, US/Suriname)
CYNTHIA’S MOMENT
Screening and Live Performance by Shana Moulton
Co-presented by CHICAGO CINEMA FORUM and The NIGHTINGALE
Friday, June 20, 2008
The work of Brooklyn-based videomaker and artist Shana Moulton might be considered post-post-modern: while she uses odd detritus of pop culture – Angela Lansbury work out videos, Crystal Light drink mix, dimestore tchotchkes, Donald Duck educational cartoons, and more – her videos and performances are infused with an unexpected sincerity and hint at new and strange feminist aesthetic. Her alter-ego Cynthia is searching for some kind of meaning in her life and, despite her eccentricities and attraction to self-help and new age remedies, Moulton treats her with respect and a sympathetic understanding of her desires. Moulton seemingly lives through her character in some ways and invites the audience to question their own wants and desires by welcoming them to share in Cynthia’s Moment.
PROGRAM DETAILS:
Electric Blanket Temple Altar (2005, 6 mins., video)
Whispering Pines #8 (2006, 8 mins., video)
Whispering Pines #4 (2007, 12 mins., video)
Body + Mind + 7 = Spirit (15 mins., live performance with video)
Feeling Free w/ 3D Magic Eye Remix (9 min, live performance / video)
SUPER 8 DIARY
Super-8mm films by Jason Halprin
Saturday, July 12, 2008
Jason Halprin is one of a handful of filmmakers who remain committed to the small gauge format of Super-8 while the surrounding world becomes increasingly digital. Traditionally a format of home-movies and avant-garde filmmakers, Halprin’s work takes advantage of the intimacy and flexibility that Super-8 offers. His experimental diary films focus on small details, unobserved moments, and subtle variations of color, texture, and movement that often escape filmmakers working in other formats. From the seemingly mundane activity of repotting houseplants to the impressionistic views of the Nebraska landscape to the hand gestures of politicians giving stump speeches, Halprin provides a lens into a world where the little things are seen to have as great an import as the grandiose.
PROGRAM DETAILS:
Madison Farmer’s Market -July 2005, 4 min 45 sec
Skyview I -November 2002, 1 min 45 sec
Winter Weather and My Soul: Part I -December 2003, 2 min
Winter Weather and My Soul: Part II -December 2003, 2 min 45
Small Gauge Politics -October 2004, 2 min 45 sec
Brooklyn Prospect -October 2007, 3 min 20 sec
Wisconsin Desert Beach -July 2003, 2 min, 45 sec
Harlem to Valhalla -October 2007, 3 min 20 sec
Apostate Unveiling -October 2007, 3 min 20 sec
The Dead in Amber -August 2007, 3 min 30 sec
Old Soul Markers -November 2007, 2 min
NYC Imagine -January 2004, 45 sec
Pop Bridge -July 2007, 3 min 15 sec
Great Nebraska Highway -October 2005, 2 min 45 sec
Potted Plants II -July 2003, 2 min
Peak to Peak: Autumn -September 2005, 3 min 50 sec
Skyview II (fire on the water) -December 2007, 3 min
Boulder Falls Falling -May 2007, 3 min 20 sec
RARE AVANT-GARDE
MASTERPIECES ON THE SUBJECT OF PAINTING
Sunday, July 27, 2008
[Special Field Trip Screening to Cinema Borealis because of flooding]
In his time, Jack Chambers was considered among the greatest of Canadian painters. His brilliant films (Hart Of London, for example) have recently received their belated reputation as some of the greatest film work of the 20th century. Guy Fihman is a filmmaker of great acclaim in France, who co-founded the filmmaking group Melba and its self-named journal.
PROGRAM DETAILS:
R-34 (1967, 26 min, 16mm) by Jack Chambers, is a two-fold work – on the one hand, it is a document of the Canadian artist Greg Curnoe at work; on the other, it is an appropriation of the images of Curnoe’s paintings and collages and the action of the artist in motion by Chambers to make a wholly separate work of film art. Filmmaking legend Stan Brakhage says, “R-34 is the greatest film on the creative process I’ve yet seen.”
Ultrarouge-Infraviolet (1974, 31 min, 16mm) by Guy Fihman is a film that reworks the colors of Pissarro’s Les toits rouges. Working from a photo reproduction of the painting, Fihman animates over 20,000 variations of the colors using Xerox pigment. The film uses the materiality of the Impressionist’s pigments to explore the immateriality of film’s light. It’s a classic of French experimental work and of “Structural Film.”
Very Special Thanks to James Bond for hosting the screening.
TWO BY WARHOL
EATING TOO FAST and MARIO BANANA (No.1) by Andy Warhol
Sunday, August 24, 2008
Presented by WHITE LIGHT CINEMA
Warhol, one of the key visual artists of the 20th Century, was also a prolific and equally talented filmmaker. It is only fairly recently, as his work has started to become available again (or available for the first time), that the larger body of his films (beyond the well-known titles such as Sleep, Empire, Blow Job, and My Hustler) are finally being recognized in their own right as major works of the American avant-garde. Warhol is being discovered as an important cinema stylist, whose seeming “bad” technical elements really are in the service of a profound understanding of cinema form.
Over the past decade, myths and chronically perpetuated bad information about Warhol’s films have been dissolving, thanks to the careful and detailed research of Callie Angell of the Andy Warhol Film Project. Angell has not only been correcting and disproving inaccuracies about Warhol and his films (such as that he had very little involvement in their production leaving the work to assistants – not true!) but has also been uncovering many previously unknown or unseen films made by Warhol, including Eating Too Fast.
White Light Cinema and The Nightingale are pleased to be presenting one of the very few public screenings of Eating Too Fast, the little-known “sequel” to his infamous classic Blow Job. This is a rare opportunity to see Warhol re-interpreting one of his own classic films.
PROGRAM DETAILS:
EATING TOO FAST (1966, 66 min, 16mm, sound, black and white) by Andy Warhol
“EATING TOO FAST, also called BLOW JOB NO. 2, is an ironic remake, with sound, of Warhol’s 1964 minimalist classic; it is also a stunningly beautiful portrait film. Art critic and writer Gregory Battcock faces the camera in close-up, determined, it seems, to show little response to the sex act taking place below the frame. For most of the first reel, there is no camera movement, no dialogue, and little perceptible action, until a phone call prompts a humorous downward pan. Battcock’s animation during this phone conversation is in stark contrast to the resignation with which he returns to the tedium of sex. The unclimactic second reel contains many pans and other camera movements, suggesting that this film may have been intended for double-screen projection.” (Callie Angell)
MARIO BANANA (NO. 1) (1964, 4 min, 16mm, silent, color) by Andy Warhol
“Mario Montez, the well-known drag performer who also appeared in many Jack Smith films, suggestively eats a banana in close-up. MARIO BANANA, which won an award at the 1965 Los Angeles Film Festival, is an important precursor to HARLOT, in which Montez elaborates on this performance.” (Callie Angell)
THOMAS COMERFORD
FILMS, 1997-2005
With Thomas Comerford in person!
Presented by ROOTS and CULTURE GALLERY
Friday, September 12, 2008
Chicago’s own Thomas Comerford will present a retrospective of his work since 1997. Largely an exploration of landscape, Comerford’s early work pares down the technology of filmmaking to examine media’s role in the construction of place and history. By using a pinhole camera and home made noise machines, in his CINEMA OBSCURA series, Comerford creates otherworldly landscapes out of ordinary locations. His more recent work leaves behind the len-less camera in favor of the standard 16 mm lens, turned toward some of Chicago’s pre-urban stories in order to “explore the evidence, revision and erasure of histories in the landscape.”
PROGRAM DETAILS:
Sisyphus’s Cinema (1997), 16mm sound, b&w, 4 min
ILLA CAMERA OBSCVRA (2001), 16mm sound, b&w, 12 min
Depart (2000), 16mm sound, color, 6 min
Figures in the Landscape (2002), 16mm sound, color, 12 min
Land Marked/Marquette (2005), 16mm sound, b&w/color, 23 min
Chicago-Detroit Split (2005), unsplit 8mm, silent, 10 mins (w/Bill Brown)
Very Special Thanks to programmer Alexander Stewart.
And Thanks to printmaker Colin Palombi for creating posters.
CARTER-GRIMM-RUSSELL
Expanded Cinema Performance by Lauren Carter, Joe Grimm, and Ben Russell
Saturday, September 13, 2008
In the grand tradition of the Pyramids at Giza (home of “The Sound and Light Show”), the London Filmmakers Co-Operative, Tony Conrad and Bruce McClure and _____, your friends at the Nightingale Theatre are bringing a triple-header EXPANDED CINEMA show to your own Midwestern backyard. In what promises to be a loud, flickering, and thoroughly LIVE event, Itinerant Chicagoan Ben Russell joins forces with New Chicagoans Joe Grimm and Lauren Carter (welcome!) for a 4-part performance involving Multiple Projectors, Thumb-Piano Drones, Resonant Frequencies, Stroboscopic Action, A Rubber Mask, Red Underwear and A Massive Gong! Burn some ear candles, visit your eye doctor, and prepare to have your senses be overwhelmed!
PROGRAM DETAILS:
NATURE ILLUSION by Lauren Carter (6:00, 16mm, live sound, 2007)
Diseased Oak leaves from the floodplains of New Orleans are transformed into a cameraless 16mm string of geometrical forms, pushed through the night air by live drones and hypnotic tones.
EPIPHENOMENAL BOOGIE: LIGHT-SOUND SINGULARITIES IN PATTERNED TIME by Joe Grimm (25:00, live triple-projector performance, 2008)
Using three 16mm projectors, black-and-white loops are projected through primary-colored gels to produce various mixed color phenomena at the screen. Noisy audio is produced by a circuit matrix that uses screen-mounted light sensors to modulate the feedback within projectors’ built-in audio circuits. Sound is played back through a massive, resonant gong. A psychedelic, stroboscopic exploration of the physical qualities of light, electricity, shaking metal, and vibrating air.
THE RED AND BLUE GODS by Ben Russell w/Joe Grimm (8:00, 16mm, live sound, 2005)
An ethnographic field report in which the Anthropologist describes the mythic creation of an unnamed ‘sun-scraping structure’ through the ritualized actions of the Red and the Blue Gods. Featuring live narration by Ben Russell and sound by Joe Grimm.
THE BLACK AND WHITE GODS by Ben Russell (25:00, live double-projector performance, 2008)
Using a short segment of Russell’s early ethnographic film DAUMA as its foundation, this double-projection performance employs a variety of 16mm film loops, hand-built electronics, prismatic lenses, and analog components to create an audiovisual feedback loop that edges steadily towards the phenomenological. With echoes of Tony Conrad’s The Flicker and William Basinski’s Disintegration Loops, THE BLACK AND THE WHITE GODS seeks to interrogate the possibility of representation via the abstracted field of bodily experience.
Very Special Thanks to programmer Ben Russell.
NO DISTANCE
Moving Image Work by Asian-American Women of SAIC
Saturday, September 20, 2008
“No Distance” is a screening of short films and animations by young female Asian filmmakers who are alumni and students of the School of the Art Institute of Chicago. Rather than attempting to blanketly represent Asian women, the pieces explore the filmmakers’ common tonalities of solitude and uneasiness through different mediums and content. Through diverse works and characters, the artists are inviting the audiences into their inner minds presented in moving image. Curated by Angela Kim, Emily Wang, Yating Hsu, Jaling Hsu, Yoonah Nam, and Seungwon Lee.
PROGRAM DETAILS:
ID by Yoonah Nam (4:10, Experimental Stop-Motion Animation)
THE DOUBLE HAPPINESS by Emily Tzuhan Wang (5:45, Experimental Narrative)
THE BOOK by Doyeon Angela Kim (8:30, Experimental Narrative)
IN THE FOREST by Yoonah Nam (3:00, Experimental Stop-Motion Animation)
BEST WISHES by Ko Kaleng (10:30, Experimental Narrative)
TEAR BRICK by Seungwon Lee (6:00, Experimental Stop-Motion Animation)
NOWHERE ISLAND by Yating Hsu (25:00, Short Narrative)
Sunday, September 21, 2008
Daughter Rite is one of the key films from the 1970s alternative film scene- a time when feminism, theory, progressive politics, queer issues, and a general sense of questioning of experimental, documentary, and narrative norms were all being felt. Daughter Rite combines many of these concerns to create a fascinating and influential hybrid, a genre-bending film that remains a vibrant and timely exploration of reality and fiction 30 years after it was made.
“Daughter Rite is a classic, the missing link between the ‘direct cinema’ documentaries and the later hybrids that acknowledged truth couldn’t always be found in front of a camera lens. Scandalous in its day for bending the rules of representation to enlighten its audience about filmmaking, Daughter Rite has a lot to teach folks hooked on reality TV, too. Citron’s documentary inquiries into feminism, women in the trades, and feminist approaches to media representation are time capsules that merit re-opening.” (B. Ruby Rich, author of Chick Flicks: Theories and Memories of the Feminist Film Movement)
Michelle Citron is an award-winning media artist whose work includes Daughter Rite and What You Take For Granted? (films), and As American As Apple Pie, Cocktails & Appetizers, and Mixed Greens (CD-ROMs). She is the author of the prize-winning book, Home Movies and Other Necessary Fictions, and she’s received grants from the NEA, NEH, and Illinois Arts Council. She is Chair of the Department of Interdisciplinary Arts, Columbia College, Chicago.
PROGRAM DETAILS:
DAUGHTER RITE by Michelle Citron (1978, 53 min, 16mm)
CARTUNE XPREZ
2008 AMRCAN FALL TOUR
A roadshow of animated videos and multi-media 3-D performances
Wednesday, September 24, 2008
From September to November of 2008, the Portland-based multimedia dance duo Hooliganship (Peter Burr and Christopher Doulgeris) toured the country presenting the freshest incarnation of “Cartune Xprez“, a 70-minute program of short animated videos that celebrates the wilderness of imagination through motion pictures. Featured artists include Bruce Bickford, Eric Dyer, Shana Moulton, Takeshi Murata, Paper Rad and more. Alongside this cartoon theater they will be performing their most recent piece entitled “Realer” in which audiences strap on a pair of 3D glasses to bear witness to a televised parade gone awry.
The touring program, which roughly mirrors the 2008 Cartune Xprez DVD publication, will provide a rare opportunity to see videos by emerging artists as well as internationally known artists. Collectively, their resume includes collaborations with Frank Zappa and major exhibitions at the Whitney Biennial, the MOMA in New York, the Sundance Film Festival, and many other institutions throughout the world.
PROGRAM DETAILS:
UNTITLED (PINK DOT) by Takeshi Murata
SHAME FELLOW by Adrian Freeman
MUTO by Blu
THE COMIC THAT FRENCHES YOUR MIND by Bruce Bickford
BOOTY by Paper Rad
SINGSONG by Jeff Kricshun
THE MOUNTAIN WHERE EVERYTHING IS UPSIDE DOWN by Shana Moulton
ASPHALT WATCHES by Shayne Ehman + Seth Scriver
and
TRASH & REALER
Performances by Hooliganship
THE GITS
Presented by DECIBELLE Music and Culture Festival
Friday, September 26, 2008
Rumored to have been descended from Mexican revolutionary Emiliano Zapata, the incredibly magnetic frontwoman of The Gits, Mia Zapata, had a powerful, soulful voice that belied her inherent shyness and distinguished The Gits from other punk bands of her day.
This riveting documentary is part musical history and part murder mystery, brimming with rare performance footage dating from their Antioch College days through their subsequent move to Seattle just before the world’s ears suddenly tuned into the emerging Northwest music scene. The Gits would become an integral and influential part of the milieu if largely unsung in comparison to fellow Seattle bands like Nirvana and Soundgarden. Just as they were about to make it big, the band was dealt a mighty blow with the sudden, violent loss of their friend and band member whose lyrics eerily foreshadowed events to come.
Mia’s murder became a rallying point for Seattle’s music scene. As the investigation ripped through the community with devastating results, many female musicians turned the disempowerment and insecurity they felt into an aggressive rock movement that would resonate with women the world over. The movie is a vibrant celebration of Mia’s life as well as a testament to the band’s greatness as a whole. The interviews of those who knew her reflect the enormous respect and love Mia’s peers had for her and also the sadness over her absence that still haunts them today.
POWERS OF THREE
The Films of Robert Schaller
With Robert Schaller in person!
Saturday, September 27, 2008
This screening promises to be a luminal adventure in handmade emulsions, homemade pinhole cameras, dance, and rhythm. The work of Robert Schaller is an exploration of the possibilities inherent in the nature of light, lenses, and emulsion that make film work along with a new relationship between filmmaker and instrument. His unique approach produces films that pulsate and crackle with a living surface that reflects the essence of the world. Featuring a trio of triple-projection pieces, along with several other works, this program gives us a glimpse into a practice that denies any division exists between art and science, experiment and pastime, or invention and chance.
Originally from Seattle, WA, Schaller worked at a bio-chemistry laboratory in Germany before pursing an MFA in Fine Arts from the University of Colorado-Boulder. He has taught courses at CU-Boulder, the San Francisco Art Institute, the Toussaint L’Ouverture School of Arts and Social Justice in South Florida, and in 2003 he founded the Handmade Film Institute in order to extend and explore the possibilities of film as an artistic medium. The Institute hosts a weeklong Film Camp every summer at its home base outside of Ward, CO, and in 2008 initiated the Wilderness Filmmaking Expedition, spending a week in the Mt. Zirkel Wilderness area near Steamboat Springs, CO. In addition to his experimental work, Schaller makes documentary film, composes music, and collaborates with other artists such as dancers and kite makers.
PROGRAM DETAILS:
Triangle (16mm x 3, B+W silent, 3 min, 2008)
If Not One and One (16mm x 3, color, sound, 15 min, 1999)
Triptych (16mm x 3, B+W, silent, 3 min, 1996)
Walk (16mm x 2, color, silent, 5 min, 2003)
To The Beach (16mm, color, sound, 10 min, 1998)
Phrase (16mm, B+W, silent, 8 min, 2007)
My Life As A Bee (16 mm color silent, 6 min, 2002)
Mountain Home (16mm color silent, 10 min, 2007)
Very Special Thanks to programmer Jason Halprin.
CUFF at 15!
15 YEARS OF THE CHICAGO UNDERGROUND FILM FESTIVAL
Festival Director Bryan Wendorf in person!
Friday, October 3, 2008
Roger Ebert once said of the Chicago Underground Film Festival, “What you get for your money is not just admission to the films, but admission to a subculture.” For 15 years, CUFF has exhibited the vibrant media emerging from Chicago’s schools, production houses, music and performance scenes, and occasionally, from out of the blue. Both programs, co-curated by CUFF co-founder and Artistic Director Bryan Wendorf and Amy Beste, curator of the Conversations At The Edge Series, charts the festival’s history through the city’s own.
PROGRAM DETAILS:
1999 – THE BATS by Jim Trainor
1999 – MEAT FUCKER by Shawn Durr
2000 – THE LESTER FILM by Heather McAdams
1999 – DANCE HABIBI DANCE by Usama Alshaibi
2003 – TEAM by Dean Rank
2006 – HOW SHE SLEPT AT NIGHT by Lilli Carré
2007 – IT WILL DIE OUT IN THE MIND by Deborah Stratman
2007 – ALLA TE ALCANZO (I’LL SEE YOU THERE) by Luis Sanchez Ramirez
Very Special Thanks to programmers Bryan Wendorf and Amy Beste.
CHICAGO PRIMER,
OCTOBER SCREAMER
Presented as part of Chicago Artists Month
Sunday, October 5, 2008
Chicago is proud to boast an active community of diverse animation artists working in both traditional and experimental modes. This program highlights a broad section of the city’s animators, all whose individual styles create starkly imaginative and visual other worlds. In order to gear up for Halloween, we have chosen some of the quirkiest, quietest, and creepiest short work to stimulate your amygdala region.
PROGRAM DETAILS:
ERRATA by Alexander Stewart (2005, 6:30, 16 mm)
LILLY by Jodie Mack (16 mm, 6:00, 16 mm)
LEAFY LEAFY JUNGLE by Jim Trainor (2006, 3:00, 16mm, silent,)
IN THE FOREST by Yoonah Nam (2008, 2:51, mini-dv)
BIRDCATCHER by Chris Hefner (2006, 7:30, mini-dv)
AND THE BIRDS FLEW FROM THE TREES by Sean Buckelew (2008, 2:00, mini-dv)
TEAR BRICK by Seungwon Lee (2006, 6:00, mini-dv)
ED GOES HOME by Jason Halprin (2003, 3:00, mini-dv)
TREPAN HOLE by Andy Cahill (2008, 6:00, mini-dv)
FLUTE BABIES by Gretta Johnson (2008, 4:25, mini-dv)
THE UGLY TURKEY by David Essman (2008, 4:00, mini-dv)
Very Special Thanks to programmer Joe Baldwin.
SEASONS WITH STAN:
An Evening with Phil Solomon
With Phil Solomon in person!
Presented by WHITE LIGHT CINEMA
Saturday, October 11, 2008
Colorado-based filmmaker Phil Solomon, presents a very special program about his collaborations and friendship with Stan Brakhage. In addition to films Solomon and Brakhage made together and a few solo Brakhage films, Solomon will also be sharing some tantalizing rarities.
Since the late 1970s, Solomon has been crafting visually stunning works, first in 16mm and now in digital video. His early films were mesmerizing tactile landscapes of crackled emulsion, which complimented the complicated nostalgic tone of his imagery. A sense of longing and inevitable decay gave his work a distinct and unique voice in avant-garde cinema. More recently, Solomon has been mining the rich and evocative images found in the Grand Theft Auto video game series, bypassing the violence of the originals to create mournful eulogies for an end time. Solomon teaches at the University of Colorado-Boulder, where he worked alongside the master experimental filmmaker Stan Brakhage. The two developed a deep friendship and influenced each other’s work; they also collaborated on several films.
Solomon’s program tonight is presented in the spirit of Brakhage’s legendary salon screenings, where a small group would gather in an intimate space to share in a love for film and in honor of the city where Brakhage spent a large part of his life teaching: the School of the Art Institute of Chicago.
The program will include (with other unannounced items):
SEASONS… by Phil Solomon and Stan Brakhage (1998, 16 min, 16mm)
CONCRESCENCE by Phil Solomon and Stan Brakhage (1996, 3 min, 16mm)
ROCKET BOY vs BRAKHAGE by Phil Solomon (1973-88, 30 min, 16mm on digital video)
CHARTRES SERIES by Stan Brakhage (1994, 9 min, 16mm)
STELLAR by Stan Brakhage (1993, 3 min, 16mm)
Plus rare footage of Brakhage at work:
Painting downtown (mini dv)
Editing Elementary Phrases with clips (mini dv)
And even rarer footage and audio of Brakhage:
Audio of Stan singing as boy soprano (disc)
Audio of Brakhage at Binghamton, circa 1973 (mini dv) Video clip compilation from the Sunday salons (mini dv) Home video excerpts (mini dv)
A NIGHT OF HOPE & FEAR
Election Night Watch Party
November 4, 2008
We will throw the breaking coverage up on the big screen, participate in loads of patriotically themed parlor games and (technology permitting) provide on-the-ground audio updates from the rally itself reported by Nightingale housemate Christy. And you won’t want to miss the obligatory balloon drop!
JULIE MURRAY
With Julie Murray in person!
Saturday, November 8, 2008
Using combinations of found and original footage, Irish-born New Yorker 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, Cinematheque Ontario
Born in Dublin, Ireland, Murray received a Bachelors Degree in Fine Art from the National College of Art and Design, Dublin. While creating and exhibiting paintings and photographs in San Francisco she extended her investigations into the area of experimental filmmaking. In 1993 Murray moved to New York and since that time her work has screened at the New York Film Fesitval, the Rotterdam International Film Festival, the Ann Arbor Film Festival, the Whitney Museum of American Art, the Museum of Modern Art, NY, the San Francisco Cinematheque, Centre George Pompidou, Paris, and the London Filmmakers Co-op. The Museum of Modern Art Archives has acquired Murray’s films for their archives. She is currently living and working in Milwaukee.
PROGRAM DETAILS:
Fl Oz (16mm, silent, 7 min, 2003)
I Began to Wish . . . (16mm, silent, 5 min, 2003)
Micromoth (16mm, color, sound, 6 min, 2000)
YSBRYD (spirit) (DV, sound, 8 min, 2008)
Detroit Park (DV, sound, 8 min, 2005)
Deliquium (16mm, color, sound, 15 min (but represents 8oo years), 2003)
ORCHARD (16mm, color,sound, 8 min, 2004)
. . .plus other original rolls (serendip + SF horses)
NEW NEW VIDEOS
Presented as part of SELECT MEDIA 7: Infoporn
Thursday, November 20, 2008
The cholos at The Co-Prosperity Sphere move the SELECT MEDIA party north on Thursday. New new videos by Yoshi Sodeoka, Ben Jones, Devin Flynn, Eric Wareheim and Tim Heidecker, Eric Fensler, Ara Peterson, Billy Grant and Takeshi Murata.
PROGRAM DETAILS:
ESCAPE SPIRIT VIDEOSLIME by Takeshi Murata, Sound by Robert Beatty (6:30 min, 2007)
Stop motion animation from HALLOWEEN SABBATH COMPILATION by Melissa Brown and Siebren Versteeg (:30 sec, 2006)
Y’ALL SO STUPID #10 (3:30 min, 2008) and LADY PANTS (2:20 min, 2008)by Devin Flynn
UNTITLED (Work in Progress) by Ara Peterson and Dave Fischer (Silent, 4:00 min, 2008)
TWO MEN IN JAIL by Eric Wareheim and Tim Heidecker (4:30 min, 2008)
PSYCHDELIC DEATH VOMIT by Yoshi Sodeoka (4:50 min, 2008)
TIMEWARP EXPERIMENT, 3’s COMPANY by Takeshi Murata (2:40 min, 2007)
FACEMAKER by Ben Jones (1:30 min, 2007)
SUNSET FEELINGS by Eric Fensler (1:30 min, 2006)
UNTITLED (Work in Progress) by Billy Grant (1:30 min, 2008)
CHANNELING
An Invocation of Spectral Bodies and Queer Spirits
Curated by Latham Zearfoss and Ethan A. White
November 21, 2008
CHANNELING is an entryway into the spirit realm and the queer body politic: a program of experimental moving image work that calls up the ghosts of the past and the specters of the future. The intent of the program is to re-imagine film and video as occult technologies that allow us to connect with the bodies, experiences, and emotions that are often invisible, ghostly even, in everyday life. In this sense, both the camera and the ghost stories it captures can serve as powerful instruments in the act of queer worldmaking. The works in the program take a personal approach in dealing with the political and historical problems that haunt the queer experience: the AIDS pandemic (Renwick, DiStefano), the body in transition (Montague), the idealized nuclear family (Pena, Robinson, Rosenfeld), and the narrow cultural standards of desirability (EMR, Moulton).
CHANNELING presents emerging and established artists critically engaging with these concerns on their own campy, poetic, sexual, humorous, and even utopian terms, using a variety of aesthetic approaches such as digital video, homemade effects, saturated 8mm, home movies, animation, green screen, and more.
PROGRAM DETAILS:
9 IS A SECRET by Vanessa Renwick (2002, 6:00, video)
WELL DRESSED by Elliot Montague (2006, 10:00, Super 8mm on video)
WHISPERING PINES #7 by Shana Moulton (2006, 5:00, video)
CAROL ANNE IS DEAD by Michael Robinson (2008, 7:30, video)
don’t do as i do : do as i say by Liz Rosenfeld (2008, 15:00, video)
SOMETHINGS GONNA SOON by EMR (Math Bass & Dylan Mira) (2008, 4:00, video)
SOME GHOSTS by Aay Preston Myint (2007, 2:00, video)
COMPROMISE by Jillian Pera (2005, 10:00, video)
(tell me why): The Epistemology of Disco by John Di Stefano (1990, 24:00, video)
Total Running Time: 83 min.
FRIENDSGIVING
A Seasonal Potluck and 2009 Nightingale Trailer Shoot
Sunday, November 23, 2008
We cordially invited you to FRIENDSGIVING, a seasonal potluck gathering. The kitchen was crazy. Turkey and tofurkey, hot cider, cashew gravy, drunken pears. It was truly a feast. Special thanks to Chloe Connelly for helping to prepare that glorious bird.
And before, during and after we ate, we shot the first ever Nightingale trailer- a stop motion animation hamhock on 16 mm. Thanks for lending your faces to the piece and a special shout-out to our first rate crew, Jodie Mack, Chloe Connelly, Tim Weidelman, and Scott Foley led by the fearless and beautiful Lori Felker. Thanks also to Jason Halprin for lab help. Be on the lookout at The Nightingale in early 2009 to see what we made. We’re looking at you Jason (whether we want to or not.)
Postscript: here is the trailer.
EPIC JOURNEY
New Curator’s Fest (PART ONE)
Saturday, December 6, 2008
Fading out / Fading in: Identities in Transit
Curated by Casey Gibbs & John Lou
This program explores aesthetics in contemporary Asian-American video: considerations of identity, family, relationships, transition, adaptation, and mutation.
Program Details:
ANOTHER CLAPPING by Chi Jang Yin (2000, 25:00, mini-DV)
PICTURING ORIENTAL GIRLS: A (RE) EDUCATIONAL VIDEOTAPE
by Valerie Soe (1992, 12:00, mini-DV)
RGB by Kerry Yang (2007, 4:00, mini-DV)
FOR THE UNSEEN by Chi Jang Yin (2007, 12:00, mini-DV, originally DV)
COUPLE by Hanspeter Ammann (1998, 11:00, mini-DV)
Youthful Perspectives: Obsessions, Obstacles, and Growing Up Pop
Curated by Sasha Samochina & Danielle Kramer
This collection of work explores the experience of growing up engulfed in television and music culture. The imprint is sometimes subliminal, blurring the boundaries of reality in our memories and stories. We identify, communicate, and express with bits of digested media. Advertisements that our young minds have absorbed float in and out as we daydream. Many consciously collect in an attempt to recreate these memories, feeding the longing of nostalgia established by years of media culture exposure. We chose these pieces for their exploration into these media memories, examining how they shape our ideas and identities, helping us discover who we are, and sometimes who we are not.
Program Details:
IDENTITY CRISIS by Mindy Faber (1990, 3:00, mini-DV)
BALLET SUIT by Sasha Samochina (2006, 3:11, mini-DV)
9 MINUTES OF KAUNAUS by Dani Levanthal (6:30, mini-DV)
TRANSITIONAL OBJECTS by Jennifer Montgomery (2000, 18:00, mini-DV)
TARGET by Animal Charm (1999, 8:30, mini-DV)
LULLABY by Jennifer Reeder (2007,18:00, mini-DV)
A LOVE STORY PART 1 & 2 by Kali Heitholt (2007, 3:20, mini-DV)
LIGHT IS WAITING by Michael Robinson (2007, 11:00, mini-DV)
In Passing, In Permanence
Curated by Mirek Choma & Tommy Heffron
By force, by convention, by choice, we isolate the physical, emotional and political variables that sum up our private and social identities. Identities that can be as fleeting as they are immutable. With equal immediacy, the mixture of the recent and the not-so-recent works in this program explore that intangible and often unnerving isolation.
Program Details:
TANGO by Zbigniew Rybczynski (1981, 8:10, 35mm to video)
LAUGHING NO MORE by Mirek Choma (2007, 2:05, video)
SPRINGTIME by Tommy Heffron / Galit Seifan (2008, 2:00, video)
BETWEEN THE SHEETS by Warren Cockerham (2007, 6:30, video)
A REPRESENTATION by George Monteleone (2008, 4:10, Super8 to video)
OJ, NIE MOGE SIE ZATRZYMAC (OH, I CAN’T STOP!)
by Zbigniew Rybczynski (1976, 10:07, 35mm to video)
PASSION FOR ABOLITION by Snorre Sjonost Henriksen (2008, 8:31, video)
i03-04 by Heidi Neubauer-Winterburn (2008, 10:22, video)
MEDIA by Zbigniew Rybczynski (1980, 1:35, 35mm to video)
EPIC JOURNEY
New Curator’s Fest (PART TWO)
Sunday, December 7, 2008
The Web of Cokaygne; Candle and Bell
Curated by Dain Oh
THE WEB OF COKAYGNE; CANDLE AND BELL is a screening of various web-based moving images curated by Dain Oh. This program investigates the production, distribution and cultural stigma that is held uniquely by different web-based medium including open source data bases, cliparts and animated GIFs. By placing them in relation to the history of the moving image as a new form of expression, they are brought to the table as their own distinctive language tools as well as borrowing some from previous mediums of revolution such as photo, film, video etc.
Program Details:
][]P3||.|=r@//3.//()r|<][ (aka 0P3NFR4M3W0RK aka open frame work) initiated by Jon Satrom (2006)
787 CLIPARTS by Oliver Laric (2006)
GIF ANIATION SCREENING, a curatorial experiment by Dain Oh (2008) Including the works of artists: Petra Cortright, Olia Lialina, Guthrie Lonergan, Tom Moody, Jon Satrom and Paul Slocum.
Stuffed: An exploration of food and sexuality
Curated by Holly Foster & Michael Cone
Program Details:
HEY! BABY CHICKEY by Nina Sobell (1978, 7:15, mini-DV)
HARD FAT by Frederic Moffet (2002, 23:00, min-DV)
MEASUREMENTS by Ivy (2004, 3:55, mini-DV)
MEASURING TAPE by Ivy (2008, 2:54, mini-DV)
FEEDERISM FACTS by Ivy (2006, 9:21, mini-DV)
BUTTER BALLS by George Kuchar (2003, 25:00, mini-DV)
Beginner’s Luck
Curated by KEVIN RONN
They say knowledge is power, but they also say power corrupts. This show will consist of young artists spreading their wings for the first time in film, animation, and other things that at the time were alien to them. These films are not the most polished from the artists’ career, but they show the uncorrupted vision they once had.
Including work by Vicky Yen, Emily Wang, Marko Jevtic, & Petrina Chiu.
PARADISE
(WORK IN PROGRESS)
Director, Michael Almereyda in person!
Co-presented by CHICAGO CINEMA FORUM
December 11, 2008
The filmmaker considers the episodes in this movie to be like pages torn from a sketchbook, a visual diary kept over many years. Each episode runs about the length of a pop song. Friends and strangers, kids and adults, are featured in roughly equal proportions, in settings split between familiar American cities – New York, Los Angeles, New Orleans – and unlikely, far-flung places: Tehran, Krakow, Seoul. The film’s fragmentary nature is held in check by thematic contrasts and links – between innocence and experience; art and commerce; searching and finding. There’s also the overarching idea that life is made up of brief paradisiacal moments – moments that are often taken for granted, and always slipping away, but which can, on occasion, be captured and shared.
Michael Almereyda is best-known for his version of HAMLET (2000) set in contemporary New York City and starring Ethan Hawke. He is also the director of ANOTHER GIRL ANOTHER PLANET (1992), shot entirely in Pixelvision, NADJA (1994), a lyrical vampire film produced by David Lynch, THIS SO-CALLED DISASTER (2003), filmed around the rehearsals of Sam Shepard’s The Late Henry Moss, and WILLIAM EGGLESTON IN THE REAL WORLD (2005), a cine-essay and conversation with the photographer of the title.
December 14, 2008
The Internet’s unwanted or digital detritus is constantly being scraped off the web’s cluttered floor and being broken apart and frankensteined into the new. Definitions over ownership and authorship are being elasticized and altered by this constant meddling and re-arranging, and in the process, the line between viral video, Art Art, and just plain unwanted is being happily smudged.
So how do we culture-makers address our new medium, venue, and potential audiences? How do we incorporate and process this superstructure of meaning, whether we are dilettantes, starry-eyed devotees or television-loyalists? And how can you find that good, weird shit out there when there is so much to look at?
Internalizing media’s place in our everyday lives is already assured, but thankfully these videos go above and beyond to perform the inevitable. By extricating the banal and taking it to its logical end, these artists create bizarro worlds of displacement and repetition.
As those who stare at computers all day, we feel guilty about this misspent time wandering the internet. By creating a perpetual side project of cataloging, archiving and presenting the best the internet has to offer, we are slowly turning procrastination into productivity. While We Were Working is exemplary for using our time wisely so you don’t have to.
Featuring:
Martin Arnold
Trisha Baga
Blue Noses
John Michael Boling
John Cage
Nicholas Cage
DustoMcNeato
Daniel Eatock
Andrew Filippone Jr.
Martijn Hendriks
John Kilduff
Oliver Laric
Kalup Linzy
Guthrie Lonnergan
Pablo Picasso
David Leye Roth
Fernando Sanchez
Nicholas Wylie
YeayloBoy127
TRT 57 min
Special thanks to INCUBATE for their support of this program.
EARLY FILMS
by Animator Lewis Klahr
PICTURE BOOKS FOR ADULTS & THE PHARAOH’S BELT
Introduced by University of Chicago Professor Tom Gunning
Presented by WHITE LIGHT CINEMA
December 17, 2008
PICTURE BOOKS FOR ADULTS (1983-85), an eight film series, is Lewis Klahr‘s earliest work available for screening. In a very rare presentation, it will be shown it its original Super-8mm format-the first time anywhere in almost a decade.
Still one of Klahr’s major works, THE PHARAOH’S BELT (1994) was a breakthrough film, both in its length (43 minutes) and in establishing Klahr’s signature cutout animation style.
Over the past thirty years, Los Angeles-based filmmaker has created a stunning body of work that easily places him at the forefront of avant-garde artists. Moving from the intimacy of his early Super-8 films to his current digital works (with a long sojourn in 16mm), Klahr has always taken advantage of the particular characteristics of his various media. This appreciation of the textures and looks of each format is not surprising, though-Klahr’s meticulously constructed films (his early found footage collage works and his more well known cut-out animation films) all benefit from his careful attention to small details. From the constant lookout for source material (old magazines, comic books, diverse other printed matter, photographs, and even occasional three-dimensional objects), the selection of those materials for a particular project, and the combinations and juxtapositions of those materials within a film, Klahr exhibits an unerring eye for the telling, resonant, and evocative.
Klahr’s films are works of mystery and wonder. More than any other filmmaker working today they are psychic excavations of our shared mid and late-twentieth century cultural memory.
Program Details:
PICTURE BOOKS FOR ADULTS (1983-85, 37 min, Super 8mm)
Including:
Deep Fishtank Birding (1983, 3 min, b/w, sound)
Enchantment (1983, 2.5 min, color, sound)
Pulls (1985, 5 min, color, sound)
What’s Going on Here, Joe? (1985, 5 min, color, sound)
The River Sieve (1984, 5 min, color, sound)
Candy’s 16! (1984, 2.5 min, color, sound)
Deep Fishtank Too (1985, 5.5 min, b/w, sound)
1966 (1984, 8 min, color, sound)
THE PHARAOH’S BELT (1993, 43 min, 16mm)
We will also show uncut footage from our recent Friendsgiving trailer shoot immediately before the program.
Extra Special Thanks to James Bond for the new wall damper.
THANK YOU
2008 saw the first 9 months of The Nightingale’s existence and it has only been possible because of the help of so many people. We would like to heartily thank all of the following folks for their participation, expertise and support:
Josh Mabe . . . Reece Thornbery . . . Tim Weidelman . . . Jennfier Fieber . . . Jason Halprin . . Patrick Friel and WHITE LIGHT CINEMA . . . ONION CITY . . . Bryan Wendorf and Chloe Connelly and CUFF . . . Darnell Witt and CINE-FILE . . . James Bond and CINEMA BOREALIS . . . Ben Russell . . . JESS IS DEAD . . . Amy Beste and CATE . . . Todd Lillethun and CHICAGO FILMMAKERS . . . Gabe Klinger and CHICAGO CINEMA FORUM . . . Alexander Stewart and ROOTS AND CULTURE . . . Ed Mar and SELECT MEDIA . . . Dave Dobie, Clara Alcott and HEAVEN GALLERY . . . UIC FILM and VIDEO BFA Program . . . Video Data Bank . . . SAIC Dept. of Film Video and New Media . . . Celeste Neuhaus . . .Lori Felker . . . Jodie Mack . . . Scott Foley . . . Jim Trainor . . . Mary Robnett . . . Marshal Greenhouse and Shannon Smiley . . . Colin Palombi . . . Thomas Comerford . . . Bill Stamets . . . Michelle Citron . . . Robert Snowden . . . Eric Fleischauer . . . Latham Zearfoss . . . Ethan White . . . Lauren Carter . . . Joe Grimm