May 4
8:30 p.m.
Grahame Weinbren Studio
119 West 22nd Street
3rd floor
New York, NY 10011

Hosted by: Millennium Film Journal

To celebrate the publication of the latest issue of the Millennium Film Journal, there will be a special screening of films discussed in the magazine. The lineup of the screening is below and includes work by Pat O’Neill, Catherine Elwes, Noe Kidder, Jen Proctor and more.

The issue, No. 57, has the theme of “Violence in Artists’ Cinema.” The contents of the issue are below the screening lineup. Issues will be sold at the screening, but, if you can’t attend, you can purchase the magazine at the MFJ website.

Here’s the screening lineup:

There Is a Myth, dir. Catherine Elwes (1984, 8.5 min)
I Am Micro, dir. Shai Heredia & Shumona Goel (2011, 14 min)
Kuíuipo, dir. Noe Kidder (2013, 15 min)
The Mutability of All Things and the Possibility of Changing Some, dir. Anna Marziano (2011, 16 min)
Ojo Calientes, dir. Pat O’Neill (2012, 4 min)
A Movie, dir. Jen Proctor (2010-12, 12 min) (Watch online)
TBA, some of Tony Oursler’s videos from the 1970s

Admission: $14.00 (includes copy of MFJ 57); $8.00 (admission only)

Contents of Millenium Film Journal No. 57:

Introduction by Jessica Ruffin

REVIEWS

Micro/Mutabilite: The Experimental Documentary Short at Wavelengths 2012 by Federico Windhausen
Tony Conrad: WiP by Andrew St. Maurice
Where’s the Baby?: Ian Olds’ Francophrenia by Roberta Friedman

ARTICLES

Cut to the Chase: Brian L. Frye’s A Reasonable Man by Gregg Bierman and Sarah Markgraf
The Aftermath of Prophecies: Peggy Ahwesh’s Ape of Nature by Jennifer Montgomery
Art After the Destruction of Experience: DIAS and Experimental Film by Duncan White
Embedded Agression Implied or Enacted: Video Works by Catherine Elwes and David Critchley by Grahame Weinbren
Until You Get to Know Me: Tony Oursler’s Aetiology of Television by Kenneth White

COLOR ILLUSTRATIONS

Anna Marziano, Tony Contrad, Peggy Ahwesh, Tony Oursler

ARTIST PAGES

Ojo Caliente by Pat O’Neill
Film, The Violent Mirror by Noe Kidder
Remaking a Found-Footage Film in a Digital Age: An Interview With Jennifer Proctor by Scott MacDonald