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Portland filmmaker Bill Daniel screens WHO IS BOZO TEXINO?

Thu. August 25th 2005 9pm
Portland filmmaker and photographer Bill Daniel brings his completed Hobo Film, first screened in a different and memorable incarnation (a campfire instllation) two summer's back as part of the Lucky Bum Film Tour. also featuring works by Vanessa Renwick and Saul Rouda.

“Daniel and Renwick make some of the liveliest work on the microcinema circuit, wherein film, video art, and music collide with edgy, confrontational, unpredictable and often exuberant intensity”--- Ann Hornaday, The Washington Post

The Program:

Headlining is Daniel’s just-completed 56min documentary on the secret history of hobo and railworker graffiti, called WHO IS BOZO TEXINO? Shooting over a period of 16 years, Daniel rode freights across the west gathering interviews and clues to the identities of many of the most legendary boxcar artists while discovering a vast underground folkloric practice that has existed for over a century.WALDO POINT, by Saul Rouda, 1970, a 20 min stoned and song-filled documentary shot in Sausalito’s hippie houseboat community. An utterly unique and authentic snapshot of 60’s idealism set in a floating utopia of hand-made houseboats.Vanessa Renwick (the Oregon Dept. of Kick Ass; Lucky Bum Film Tour) presents two shorts: BRITTON, SOUTH DAKOTA, a series of haunting images of depression-era children, and CASCADIQA TERMINAL, a mezmorizing portrait of Vancouver’s towering industrial facility.

Q&A to follow screening.

more on Who Is Bozo Texino? at: http://www.billdaniel.net

"We very, very rarely list a simple film screening. But we recently saw this recently completed documentary in San Francisco and loved it. We wanted to promote it here because it's highly unlikely that you'll get many chances to see it; it's too raw to get picked up at your local art house. Who is Bozo Texino is a homemade black and white documentary about riding freight trains across the country, and it touches on hobo culture from the old days to the punk resurgence without ever appearing clueless or exploitative. The only thing it's missing? Something about the dead language of icons used to communicate among fellow train riders. But we love it anyway."
Jeff Starkfull