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San Francisco Cinematheque Sonic Outlaws (1995) by Craig Baldwin; 16mm, color, sound, 87 minutes My film, through and through, is sarcastic, confrontatonal , provocative. It's not what you'd call a boutique type film or some sit-back-and-enjoy European art film. It's rough, it's raw...(CB) Far from Slovenia, other aesthetic impulses and artistic spaces are opening up, and giving rise to a new activist, folk art that appropriates and recontextualizes mass cultural offerings to demystify and call attention to the corporate and capitalist domination of American consumer consumption. As filmmaker Craig Baldwin states it: "I think the power relations with the media are such that there has to be some kind of payback. So I'm the avenger, I'm Robin Hood." Donning cape and camera, Baldwin goes underground to unearth those artists that are challenging the typical modes of artistic creation and bending laws to do so. Starting with the motto: "Copyright infringement is your best entertainment value," Sonic Outlaws shows us Negativland, a group of musicians whose use of samples landed them in a vat of hot water with U2's lawyers while Bono was still free to spout hot air. Mixing eight formats, including pixelvision and priceless found footage (U2 stand-in Beau Bridges as a loincloth wearing giant!), the film appropriates as it disseminates, introducing us to other merry outlaws like the Barbie Liberation Organization, the Situationists, John Oswald, the Tape-Beatles, and other righteous jammers of the culture. Baldwin's fast paced film flies at you like a cultural karate-kick, sending us hurling forward into a world where artistic possibility is as close as your tape recorder and phone. Craig Baldwin is a San Francisco based filmmaker whose groundbreaking work molding found footage into paranoid revisionist narratives that challenge the way we look at history, culture, and film itself. His films include Wild Gunman (1978), RocketKitKongoKit (1986), Tribulation 99: Alien Anomalies Under America (1991), and O No Coronado! (1992). He is also programmer of the ATA's Other Cinema. Program notes written and compiled by Jeff Lambert VOICES OF THE VISIONARIES RARE INTERVIEWS WITH NEGLECTED FEMALE GENIUSES OF THE MID-TWENTIETH CENTURY Curated and Presented Aline Mare Thursday, December 4, 1997 — Center For the Arts In the first of a continuing series local artist and scholar, Aline Mare, will discuss and show films dealing with three influential but still little known women artists from the 30s through the 60s. Colette (1977) by Edouard Bruce; 16mm, color, sound 13 minutes Colette, writer/chanteuse, weaver of tempestuous tapestries, yet another artist working way ahead of her time, in her fearless investigations into the intelligence of sensuality from a female perspective. (AM) Kay Sage (1977) by Marilyn Rivchin & Kells Elmquist; 16mm, color, sound, 20 minutes Kay Sage, a modern master/mistress of the internal architecture of the dream, remembered by her circle of peers who included Tanguy and Miro, speaks out from her notebook of despair. (AM) When I'm tight I write. To paint I must be sober. There must be something in this that I should think over. —Kay Sage, from "Occupations" 74