A rare screening of Stan Brakhage’s legendary experimental feature film, Dog Star Man (1961-1964, 75 min.), in its original silent 16mm format, as the filmmaker intended.  A new print will be shown.

Screens with Legendary Epics Yarns and Fables, Part 2: Stan Brakhage (Stephen E. Gebhardt and Robert Fries, 1969, 9 min.), an interview film with no interlocutor.

“I wanted it to be as real from the very beginning as life happening.” — Stan Brakhage

Four years in the making, this influential and much-revered abstract work is widely regarded as the masterpiece of legendary filmmaker Stan Brakhage, who made more than 350 films over 50 years. A psychedelic freakout, mytho-poetic dissertation and aesthetic shot-across-the-bow all in one, Dog Star Man is an unforgettable work of high artistry, as challenging as it is rewarding.

Unlike Brakhage’s later and better-known painted films, Dog Star Man draws mainly on filmed actualities. Its components are all contained in the stunning Prelude. Over the next four parts these elements are fragmented, manipulated and recombined in a mosaic of increasing complexity.

On one level the film depicts an intensely mythic spiritual quest, a deeply personal farago informed by Brakhage’s lifelong study of poetry and symbolism. On another level it is a purely visual tour de force of editing and composition that can be experienced solely on its own (or your own) terms.

Dog Star Man was a landmark that proclaimed the vibrancy of the experimental cinema, both by its length and for its radical departure from (most) prior experimental film aesthetics.  It influenced (and often divided) the discussion, creation, and very conception of experimental cinema for decades to come. For Brakhage, Dog Star Man represented an aesthetic rebirth, moving past the psychodramas of his youth, which he was already respected for, into the visually tactile poetry of his mature years.

Time Magazine, 1967:
“Stan Brakhage, 37, a husky hypochondriac who lives with his wife and five children in a log cabin in Colorado, has radically rewritten movie grammar. By fragmenting his films into frames, Brakhage has established the frame in cinema as equivalent to the note in music; whereupon he proceeds to make films with frames the way a composer makes music with notes.”

Fred Camper:
“More than any other filmmaker, he defined the cinema as a visual being, liberating it from non-visual considerations, and as visually useful for expressing a totality of thought.”

Jake Euker, PopMatters.com:
“Dog Star Man [is] a 74-minute epic on what Brakhage calls ‘the big daddy’ theme, or man in his natural state as father, husband, lover, and provider, pitted against nature, and seen from the atomic to the astral levels. …Its very conception — a portrait of a man in all of life’s roles — recalls in part James Joyce’s depiction of Leopold Bloom in Ulysses. Dog Star Man is a work of realism into which abstraction intrudes. It was in this film that he first scratched and painted designs directly onto film, and his use of such devices as under- or over-exposing film or experimenting with focus, not only render much of Dog Star Man truly abstract, but signal the full acceptance by the filmmaker of those methods which bloom so magnificently in his later work.”

P. Adams Sitney, Visionary Film: The American Avant-Garde 1943-1978:
“Dog Star Man develops in mythic and nearly systematic terms the universal vision inherent in lyric films. More than the entire body of the American avant-garde cinema, this work is situated in the rhetoric of romanticism, in its description of the emergence of conscience, the cycle of the seasons, the battle of man against nature and the sexual ambivalence in the visual evocation of an earthly titan bearing the comic name, Dog Star Man.”

August 4, 2010
Dog Star Man (1961-1964)
Northwest Film Forum (advance tickets available now)

Stan Brakhage’s landmark experimental feature film, shown in its original 16mm format and silently, as intended by the filmmaker.  Screens with Legendary Epics Yarns and Fables. Part 2: Stan Brakhage (1969), a short interview film by Stephen Gebhardt and Robert Fries.

September 23, 2010
First Words: The Birth of Sound Cinema, 1895-1929
Northwest Film Forum

A program of rare short films tracing the evolution of sound from its earliest experiments through its transformation of the entire industry.  Plus, period 78rpm records played on a real Victrola by collectors Robert Millis and Jeffrey Taylor of the bands Climax Golden Twins and AFCGT.

November 11, 2010
Breakaway: Films by Bruce Conner
Northwest Film Forum

A rare opportunity to see a selection of Conner’s outstanding film works in their original format, celebrating what would have been his 77th birthday.

Also: we’re hoping to have another Halloween Spook Show Spectacular — stayed tuned for updates!

Part of the year-long 69 series.

Northwest Film Forum
Wednesday, September 23, 2009
8:00 PM

16mm (original format) / 71 min.

A selection of landmarks in avant film from 1969, featuring classic short works by many of the year’s greatest pioneering artists. Featuring classic “analog” films and examples of the birth of digital cinema, with early video art and even some of the first digital computer animation ever made.

Watch streaming video and more info about the artists and films

Invocation of My Demon Brother
Kenneth Anger, with synthesizer soundtrack by Mick Jagger
His last film for 21 years.

Our Lady of the Sphere
Larry Jordan
Surreal cut-out animation by a master

Moon 1969
Scott Bartlett
Mesmerizing video/film art

Le Labyrinthe
Piotr Kamler, with electronic score by Bernard Parmegiani
created for Pierre Schaeffer’s ORTF in Paris

Binary Bit Patterns
Michael Whitney
Pioneering digital computer animation

Beatles Electronique
Electronic Moon no. 2
Jud Yalkut and Nam June Paik
Visionary video art

Hermann Nitsch: An Introduction to the O.M. Theatre
Stephen Gebhardt
A shocking documentary of the ground-breaking Aktionist performance artist and composer

Part of the year-long 69 Series.

Northwest Film Forum
Wednesday, October 14, 2009
8:00 PM

16mm (original format) / 88 min.

A schizoid sampling of the incredibly diverse underground documentary and newsreel film scenes in 1969. The Black Panthers meet Pentecostal Christians amidst the psychedelic ruins of Chicago’s Democratic Convention Riots. Plus, a rarely-shown early interview with the legendary Kuchar Brothers.

Just added: Fallout Shelter Analysis by Computer Graphics, a Dept. of Defense instructional film for what was then a cutting-edge computer interface using a “light pen” stylus.

Testimony
Brian Patrick
A group of Pentecostal Christians in Athens, Ohio

Mayday!
California Newsreel
A “Free Huey” rally held by the Black Panthers in San Francisco, on the May 1 international labor holiday. Crypto-commie perennial Bob Avakian makes an appearance at the microphone as well.

Legendary Epic Yarns and Fables, Part 4: The Kuchar Brothers
Stephen Gebhardt
A no-holds-barred interview with the legendary underground exploitation filmmakers

Leo Beuerman
Gene Boomer
An Oscar-nominated look at the life of a severely handicapped man in Lawrence, Kansas

Campaign
Tom Palazollo
The 1968 Democratic Convention and its aftermath as seen through a local experimental lens

Just added!
Fallout Shelter Analysis by Computer Graphics
University of Utah Computer Center, for ARPA (Advanced Research Projects Agency), US Dept. of Defense

Grand Illusion Cinema
Friday, October 30, 2009

Carnivorous Cartoons, Shocking Shorts, Asphyxiating Animation, Terrifying Trailers, Putrescent Previews…and Real Live Mayhem!

Do you dare to witness the ultimate onslaught of MONSTER MAYHEM as the Grand Illusion Cinema is overrun with creeps, spooks, ghouls, and fiends? Join us on our journey into the strange, dark world of the SUPERNATURAL as we try to make contact with the other side and invite the diabolical denizens of the spectral realms into our theater. You will see a GHOST! But you may not SURVIVE! Be there on October 30th and behold as the phantoms take over the screen for a night of the most unbelievably SHOCKING, THRILLING, and AMAZING fright films ever to scream their way into your rapidly melting mind. Can you survive the GRAND ILLUSION SPOOK-SHOW SPECTACULAR? See if you have what it takes!!

Among the pieces Lerman will be performing is Sections for Screen, Performers and Audience (1974), the score for which is on 16mm film projected so that both audience and performers can see it.  Joining Lerman in performing the composition are members of the Seattle-based ensemble Eye Music, which specializes in playing graphical scores.

The concert is being produced by Nonsequitur, a longtime supporter of avant garde and creative music.  The Sprocket Society will be helping out by projecting the 16mm film score.  We’re honored and excited to be participating in the program.

Other pieces being performed include:

• Sonic Journeys 2 — excerpts from Lerman’s Transducer Series: multi-channel field recordings made with self-made microphones played over dual video projections of footage from more than fifty Super 8 films made between 1982-1988
• Entrance Music — for home-made microphones and Walkman cassette tape delay
• Changing States 8 — for metal microphones, butane torches and computer
• Music for Plinky, Bicycle & Straw — for home-made instruments, bicycle, drinking straws, and Walkman cassette delay

Beginning the evening’s concert will be “a sonic celebration” for esteemed Seattle musician, sound collector, and instrument builder Susie Kozawa in honor of her 60th birthday. Everyone is encouraged to “Bring an object that makes a sound.”

Richard Lerman bio:

As a sound artist, performer and composer, Richard Lerman traverses worlds of sound and music.

For over forty years, he has been gathering, scanning, seeking sounds and creating works that weave through nature and draw upon living communities and memories in notable landscapes.

Lerman’s performances and recordings rely on everyday objects and traditional instruments as well as basic, self-invented equipment and state-of-the-art technologies, as they were available since the 1960s.  His scores and instructions are deceptively simple, yet produce extraordinary results.

As a filmmaker, sound documentarian, installation artist, and collaborator with other artists, he demonstrates that his conception of sonic reality and musical experience is interdependent with visuality, motion, actual sites and moments, theatricality, live audiences, and politics.

His art takes him from studios and concert halls to cities and the outdoors, worldwide.

Poster for 'Zorro's Fighting Legion', 12 chapter movie serial

It’s official — The Sprocket Society will be curating Secret Sunday Matinee II at the Northwest Film Forum this spring, March 1 – May 24, 2009!

Now at a later time — 3 PM (by popular demand).  Each show will be a full two hours of classic and rare movie entertainment.  Series passes will be available.

Our movie serial this time will be Zorro’s Fighting Legion (1939), one of the all-time classics from the legendary Republic Studios, packed with literally non-stop action and featuring legendary stunt work.

The Secret Features — dating from the 1920s through the 1950s or so — will lean toward westerns, adventure, and swashbucklers, but we’ve got some curveballs in mind to keep you on your toes.  There will be two all-silent film programs (except for the serial, of course), and the return of the 13th Episode Show, a series-finale cavalcade of extra-special surprises.

The shows will remain family-friendly (suggested for ages 10 and up), but we’ll be aiming for a slightly older audience this time — sort of a kiddie matinee for grown-ups.

No self-respecting weekend matinee would be caught in public without its shorts, and there are even more surprising and rare treasures in store this time around — silents and sound, cartoons, comedies, music, trick films, experimental animation, and the just plain odd.

Watch this site for more info soon…

First up is this Monday, Jan. 5 with Lon Chaney in The Hunchback of Notre Dame (1923) at the aptly spectacular Paramount Theater, where Dennis James will be accompanying on the Mighty Wurlitzer organ.  It kicks off the new Silent Film Mondays series, featuring horror films.

Scene from 'The Godfather, Part II'

New 35mm prints of the beautifully restored Coppola films The Godfather (1972) and The Godfather: Part II (1974) are now showing at the SIFF Cinema, closing on New Year’s Day.

Full schedule and advance ticket sales for all shows can be found at the SIFF web site.  There are some marathon days, but most are one film a night.

The restorations, recently released to home video, were supervised by Coppola with the close involvement of the original cinematographer, Gordon Willis.  The result is spectacular, bringing new richness to the film, including the justly famous low-light sequences.

Needless to say, attendance is mandatory.

Here’s a recent article about the restoration:

“Post Focus: Paramount Restores The Godfather” by Stephanie Argy
American Cinematographer, May 2008

August 31 – November 23, 2008
Northwest Film Forum
1515 12th Ave., Seattle (on Capitol Hill, between Pike and Pine)
Sundays at noon, except Sun. Nov. 2 @ 4:00 PM

The Sprocket Society and the Northwest Film Forum proudly present The Secret Sunday Matinee, a 3-month series that recreates the weekend matinees of yesteryear.

For three generations or more, a weekend matinee meant you got to see cartoons, all kinds of short subjects, and — most importantly — the next thrilling episode of a movie serial. And of course, a thrilling feature.

This fall, The Sprocket Society recreates that lost tradition with the Secret Sunday Matinee.

• Series Details
• Press Coverage
• Poster Gallery
• Weekly Show Guide
• 16mm Projection
• Images
• Tickets

Ticket Information for The Secret Sunday Matinee (archival)

SORRY, THIS SERIES IS OVER. NO TICKETS ARE AVAILABLE. The information below is archival only. To learn about upcoming events sponsored by The Sprocket Society, subscribe to our email list.

Join the Secret Matinee Club now! The Club Meets at: Northwest Film Forum, 1515 12th Ave. (206-267-5380) – on Capitol Hill, between Pike & Pine

Meetings are Held: every Sunday at 12 noon, through Nov. 23, 2008 (13 weeks)
Special time 4:00 PM on Sun. Oct. 26 only.

One-day and Series Memberships:

Membership in the Club** grants you admission to movie screenings at the Secret Matinee Theatre! Series memberships are were available online at BrownPaperTickets.com, and at the NWFF Box Office.

One-Day Membership:

Buy advance tickets online, or at showtime at the NWFF Box Office.

• $8.50 General Public
• $6.00 Children under 12 and seniors over 60
• $5.00 NWFF Members

Series – 13 weeks:

Buy a series pass online or at the NWFF Box Office.

• $65 General Public
• $25 NWFF Members New members welcome
• $130 Family Membership (admit 4)

SORRY, THIS EVENT IS OVER. NO TICKETS ARE AVAILABLE.

Thurs. May 15, 2008 / 8:00 PM — one show only!
Northwest Film Forum – 1515 12th Ave.(on Capital Hill between Pike and Pine)
Tickets: 8.50 / $5.00 for NWFF members / $6.00 for children under 12 and seniors
Advance tickets available online at BrownPaperTickets.com

Event Details | Program Notes | Related Links | Press Release | Photographs | Event Poster | Further Reading

Spectacular sci-fi and fantasy epics made between 1901–1912 by the father of special effects, accompanied by unusual musical selections including early electronic music, avant garde jazz, and the Master Musicians of Jajouka. One film will be shown with a rare live performance of its original 1904 narration, accompanied by Victrola DJing by Climax Golden Twins.

Long before Star Wars, King Kong, or even Birth of a Nation there was the greatest and most influential film illusionist of all time: a puckish French magician named Georges Méliès. One hundred years later, the whimsical “trick films” made by Monsieur Méliès include some of the most iconic images in movie history and continue to amaze and delight with their jaw-dropping creativity and vision.

On May 15, 2008 at 8:00 PM, the Northwest Film Forum and The Sprocket Society join to celebrate the magic of Georges Méliès with a program of his greatest sci-fi, fantasy, and adventure mini-epics made between 1901 and 1912. All films will be shown from hard-to-find 16mm prints. Included are well-known favorites like A Trip to the Moon and Conquest of the Pole, as well as rarely-shown delights such as The Merry Frolics of Satan, Palace of the Arabian Nights, and others.

As a special treat, 1904’s The Impossible Voyage will be presented with a rare live performance (in English) of the original narration penned by Méliès himself. The musical accompaniment will be provided by the experimental group Climax Golden Twins, who will create an audio collage using 78 RPM records from their vast collection of rarities, played live on real Victrolas right there in the theater.

The remaining program includes two tinted and hand-colored prints, a rare extended version of A Trip to the Moon, and an equally rare “complete” print of The Kingdom of the Fairies. The musical selections chosen for these are as adventurous as the imagery they accompany, and include:

• A special remix of Eskimo by The Residents, prepared by Seattle producer Scott Colburn
• The Master Musicians of Jajouka
• Free jazz by Chicago’s legendary Hal Russell NRG Ensemble
• Dada scat jazz by Fred Lane
• …and more.

A brief introductory talk about Georges Méliès and his work will precede the films.

Please note that this program is not affiliated with Flicker Alley, although we do encourage you to check out their wonderful new Méliès DVD box set. All films shown tonight are 16mm prints; no video will be used.

Special thanks to David Shepard of Film Preservation Associates for permission to use his translation of Méliès’ original narration for “The Impossible Voyage.”

Program Notes

• Georges Méliès: Impossible Voyager – Special Effects Epics, 1901-1912 — 15pp. illus. (PDF, 1.9 mb)

Related Links

• Georges Méliès bio – from Who’s Who of Victorian Cinema by Stephen Herbert and Luke McKernan
• Georges Méliès: An in-depth look at the cinema’s first creative genius by Michael Brooke (@ FilmJournal.net) – a growing blog devoted to documenting Méliès’ hundreds of films.

Event Poster

Web version. Original poster design by Brian Alter.



Further Reading

• John Frazer, Artificially Arranged Scenes (Boston: G.K. Hall & Co., 1979). Invaluable. Hands-down the best English-language book about Méliès and his films. Sadly, it’s also rare as hens’ teeth. Includes extensive biographical information, a history of Star Films, and an exhaustive filmography with detailed descriptions and production notes about all Méliès films known to survive at the time of publication. Illustrated throughout.
• David Robinson, Georges Méliès: Father of Film Fantasy (London: BFI/Museum of the Moving Image, 1993). An extremely thin but well written and researched book published as a companion to a Méliès retrospective by the British Film Institute. Probably the best introduction, but somewhat hard to find.
• Paul Hammond, Marvelous Méliès (New York: St. Martin’s Press, 1975). Thin but very worthwhile, albeit organized in rather scattershot fashion. Profusely illustrated throughout, with solid research for the time. Includes a non-annotated filmography with survival status (circa 1975). A fine if dated book.
• Maurice Bessy and Lo Duca, Georges Méliès, Mage (Paris: Jean-Jacques Pauvert, 1961; orig. Prisma Editions, 1945 in an edition of 2,000) Alas, only ever published en Français and also fairly rare, but the first extensive biography and a true treasure trove of rare illustrations, including original production sketches. Also includes extensive excerpts of Mes Memoires by Méliès.
• Stan Brakhage, The Brakhage Lectures: Georges Méliès, David Wark Griffith, Carl Theodore Dreyer, Sergei Eisenstein (Chicago: The Good Lion/School of the Art Institute, 1972) Transcripts of lectures given as part of a credit course at the School of the Art Institute of Chicago during the fall and early winter of 1970-71. Available for free (legal) download.
• Elizabeth Ezra, Georges Méliès: The Birth of the Auteur (Manchester: Manchester University Press, 2000). A slim book emphasizing analysis and geared toward the film school and theorist crowd. Still, it has a lot of useful information.
• Frank Thompson, The Star Film Ranch: Texas’ First Picture Show (Plano, TX: Republic of Texas Press/Wordware Publishing, 1996). The only book devoted to the film work of Georges’ brother, Gaston Méliès, who ran the US office of Star Films. Relocating to Hot Wells, TX in 1910, Gaston began producing his own films, primarily westerns, very few of which survive today. Includes an extensive filmography, with lengthy quotes from the trade press of the day. Illustrated.
]]> http://sprocketsociety.org/2008/05/15/georges-melies-impossible-voyager/feed/ 0 http://sprocketsociety.org/2008/04/13/keep-warm-burn-britain/ http://sprocketsociety.org/2008/04/13/keep-warm-burn-britain/#comments Mon, 14 Apr 2008 06:34:34 +0000 Spencer Sundell http://sprocketsociety.org/journal/?p=414 Films, Performance, and Music with Ross Lipman, Ruby Thicket, and The Philistine Liberation Orchestra

Sunday, April 13, 2008
The JewelBox Theater at The Rendezvous
2322 2nd Avenue, Seattle (in Belltown)
7:00 PM — $5.00 suggested donation

Event Details | Press Releases | Photographs | Related Web Sites

The Sprocket Society is proud to present the Seattle debut of Los Angeles filmmaker Ross Lipman with a program featuring an excerpt from his latest original work-in-progress – performed live as a Magic Lantern / slide show – plus a selection of his earlier experimental short films and documentaries. There will also be live music by Seattle’s own Ruby Thicket, plus The Philistine Liberation Orchestra.

Ross Lipman’s Keep Warm, Burn Britain! is a personal memoir of the squatters movement in East London during the 1980s. It chronicles the lives of the anarchists, outcasts, and punks who lived in a small enclave of abandoned buildings south of the Thames, known as “Squatter’s Paradise.” Tonight Lipman performs an excerpt of this work-in-progress as a Magic Lantern / slide show; ultimately it will be a feature-length 35mm film. It features music by Thoth, the legendary NY street performer who is the subject of an Academy Award-winning documentary short.

Also showing tonight are these short films by Lipman:

10-17-88 (1989, 16mm)
A film of optically printed collage of found and archival footage, with audio collage by John Shaw on themes from Debussy and Ellington. An investigation of one’s self within the sociological theater of our cultural history, breaking out to speak to archetypal memory.

Afternoon in Bottle Village (2007, DV)
A requiem for Grandma Prisbrey’s cathedral of light, built entirely of glass bottles, pencils, and industrial detritus. With a score improvised on a broken piano by Jodie Baltazar (aka Monotrona).

The Gift: Michael Barrish Screen Test (1997, Super-8)
A screen test for a film that was never made, a feature-length narrative about the unbridgeable gap and connection between a father and son.

“Lipman’s films chronicle the lives of men and women on the periphery of our vision; who slip through the cracks in the system, who walk invisibly by us each day. His medium ranges from photographs to Super-8, 16mm and 35mm film, and each work orchestrates light, language, and silence to create cinematic portraits that fall on a spectrum between document and story.”
— Konrad Steiner, filmmaker, curator, San Francisco Cinematheque/Kino 21

ROSS LIPMAN is internationally known for his film/video and performance work, as well his writings and restorations of independent cinema. His 16mm and 35mm experimental films have screened throughout the world at venues such as London International Film Festival, Anthology Film Archives (NYC), the Los Angeles Film Forum, the San Francisco Cinematheque, Sixpackfilm/Top-Kino (Vienna), Chinese Taipei Film Archive (Taiwan), and many others. Lipman’s works have been collected by institutions and museums including the Sammlung Goetz in Munich.

Lipman is also one of the world’s leading figures in the restoration of independent cinema, working at the UCLA Film and Television Archive. Among the films he has restored are works by John Cassavetes, Kenneth Anger, John Sayles, Emile de Antonio, Sid Laverents, and Orson Welles. In 2007, the National Society of Film Critics gave Lipman their Film Heritage Award “for the restoration of Charles Burnett’s Killer of Sheep and other independent films.”

Lipman’s writings on film and its preservation have been published and anthologized in the Journal of Film Preservation, Mining the Home Movie: Excavations in Histories and Memories (Univ. of California Press, 2007), Big as Life: An American History of 8mm Films (New York Museum of Modern Art/San Francisco Cinematheque, 1998), and elsewhere. Lipman has presented on film preservation topics at Association of Moving Image Archivists (AMIA) conferences, the Academy of Motion Picture Arts and Sciences (AMPAS), the Orphan Film Symposium (New York University), and elsewhere.

On April 11, 2008 at the Pop Conference at EMP, Lipman will present his lecture “Mingus, Cassavetes, and the Politics of Improv”, using film clips, texts, and still photographs to examine the complex and explosive collaboration of John Cassavetes and Charles Mingus for the film Shadows (1959) at a pivotal moment in the history of independent cinema, jazz, and race relations.

RUBY THICKET are an acoustic band from Seattle fronted by singer-songwriter John Shaw (vocals, guitar, bass, harmonica) and featuring Bob Barraza (vocals, drums, shakuhachi flute, ukulele), Jillian Graham (vocals, guitar), Robert Hinrix (vocals, mandolin, bass) and Mac McClure (vocals, bowed saw). They have self-released a CD, You Never Know What You’ll See, sample MP3s of which can be downloaded from their web site.

Press Releases

• Event press release – Sprocket Society, issued Mar. 24, 2008 (PDF, 46 kb)
• Ross Lipman press kit & CV (PDF, 74 kb)

Photographs

Credit: Ross Lipman

• Still from Afternoon in Bottle Village (Ross Lipman, 2007)
  • Web-ready Jpeg
    (350 x 263 pixels, 72 dpi, 27 kb)
  • Hi-Res Jpeg
    (2816 x 2112 pixels, 180 dpi, 1.8 mb)
• Stills from Keep Warm, Burn Britain! (Ross Lipman, work-in-progress)
  • Still 1 of 2: Train Exterior
    • Web-ready Jpeg
      (400 x 179 pixels, 72 dpi, 23 kb)
    • Hi-Res Jpeg
      (2816 x 2112 pixels, 288 dpi, 2 mb)
  • Still 2 of 2: Train Interior
    • Web-ready Jpeg
      (300 x 450 pixels, 72 dpi, 23 kb)
    • Hi-Res Jpeg
      (2048 x 3072 pixels, 288 dpi, 2.4 mb)

Related Web Sites

• Ruby Thicket (band) — Performing tonight.
• 2008 Pop Conference at EMP — Shake, Rattle: Music, Conflict, and Change — On Fri. April 11 at 2:00 PM, Ross Lipman will deliver his lecture “Mingus, Cassavetes, and the Politics of Improv”.
• About Thoth (2002, Mark Sanders Productions) — Information about the Academy Award winning short documentary. The legendary street performer provided the music for Ross Lipman’s Keep Warm, Burn Britain!, presented tonight.
• Canyon Cinema: The Films of Ross Lipman — Catalog information about films by Ross Lipman distributed by Canyon Cinema.
• Grandma Prisbrey’s Bottle Village — The subject of Afternoon in Bottle Village (2007). History, photographs, general background info.
• Oblivio: Stories and such by Michael Barrish — Blog of Michael Barrish, subject of The Gift: Michael Barrish Screen Test (1997).
• National Society of Film Critics Awards 2007 (unofficial link): FILM HERITAGE AWARD “to Ross Lipman of the UCLA Film and Television Archive for the restoration of Charles Burnett’s Killer of Sheep and other independent films.”
]]> http://sprocketsociety.org/2008/04/13/keep-warm-burn-britain/feed/ 0