Mark Wilson Only Has Two Eyes

It's impossible for any pair of eyes to view all of Frisco Bay's worthwhile film screenings. I'm so pleased that a number of local filmgoers have let me post their repertory/revival screening highlights of 2011. An index of participants is found here.

The following list comes from filmmaker Mark Wilson, who has some of his work available at Canyon Cinema.

in 2011, i attended mostly programs of experimental film, at the pacific film archives, san francisco museum of modern art, artists' televison access, san francisco cinematheque, and canyon cinema... seems it was an especially good year for viewing works with those organizations, and in particular, works made in 16mm. i wouldn't have predicted the opportunity to see as many new works in that medium as there were, as well as the return of so many from years past. in keeping with hell on frisco bay's repertory and revival theme for two eyes, this list only includes films made prior to the past year, which were not being presented for the first time. what follows are just some of the many works of "personal cinema" that struck me in one way or another in 2011. the ways in which each of these films moved me are as varied and complex as the works and artists themselves.

Cattle Mutilations (George Kuchar 1983); Daylight Moon (Lewis Klahr 2002): Diary of a Country Priest (Robert Bresson 1951); Flight (Greta Snider 1997); Infernal Cauldron (in 3D! - Georges Melies 1903); Ingenium Nobis Ipsa Puella Fecit (excerpt - Hollis Frampton 1974); Kemia (Silt 1995); Late Spring (Yashiro Ozu 1949); Les Statues Meurent Aussi (Chris Marker, Alain Resnais 1953); Light Years (Gunvor Nelson 1987); Loretta (Jeanne Liotta 2003); Myth Labs (Martha Colburn 2008); Persistence (Daniel Eisenberg 1997); Razor Blades (Paul Sharits 1965-68); The End (Christopher Maclaine 1953); White Rose (Bruce Conner 1967); Yggdrasill Whose Roots Are Stars in the Human Mind (Stan Brakhage 1997)