Anthology Film Archives - Calendar Events An international center for the preservation, study, and exhibition of film and video with a particular focus on American independent and avant-garde cinema and its precursors found in classic European, Soviet and Japanese film. en-us Tue, 06 Oct 2015 08:21:04 -0400 NEWFILMMAKERS <p>For full program listings, visit&nbsp;<a href="" target="_blank"></a>.</p> Wednesday, October 07 WHITE CUBE / BLACK BOX: DAN GRAHAM’S ‘ROCK MY RELIGION’ <p><strong><em>DAN GRAHAM IN PERSON!</em></strong><br /><br />In this seminal video essay, the artist Dan Graham presents his singular thesis on the parallels between religious experience and rock music in American culture, tracing a selected trajectory of ecstatic revelations by song and dance from Shaker circle dances to punk mosh pits.<br /><br />Through the interplay of on-screen text, concert documentation, and archival footage, Graham articulates his theory on the broader cultural implications of rock music and its evolution out of a uniquely American social and economic climate. Patti Smith becomes a focal point of the work, as Graham interweaves her musings on rock music as religion in his dense collage, which also features performances and audio of Black Flag, Glenn Branca, and Sonic Youth.<br /><br />ROCK MY RELIGION is provocative in its subjective theoretical critique, recalcitrant in its resolute dissection of consumerism&rsquo;s influence on culture, and antagonistic in its implicit jab at the booming 1980s art market. As Graham speculates toward the end of the video, &ldquo;If art is only a business as Warhol suggests, then music expresses a more communal, transcendental emotion which art now denies.&rdquo; The film is remarkable and influential today not only for its bold ideas, but for its punk flouting of dominant cultural and historical narratives.<br /><br />We&rsquo;re thrilled to host Dan Graham for a special introduction to the film.<br /><br />ABOUT &lsquo;WHITE CUBE / BLACK BOX&rsquo;<br />Bridging the gap between the white walls of the gallery and the immersive darkness of a movie theater, Anthology&rsquo;s ongoing series WHITE CUBE / BLACK BOX seeks to create a dialogue between films made by visual artists &ndash; with a focus on historical works that continue to go largely unseen in cinema spaces &ndash; and works by experimental filmmakers.<br /><br />Curated by Ava Tews.</p> Saturday, October 10 BOOK RELEASE PARTY!: ‘BRAKHAGE’S CHILDHOOD’ BY JANE (BRAKHAGE) WODENING <p>BRAKHAGE&rsquo;S CHILDHOOD recounts the story of visionary American filmmaker Stan Brakhage&rsquo;s life up to age 12. In 1983 Stan and Jane Brakhage began a series of interviews wherein Stan described his life and Jane took notes. Each session yielded a chapter and each chapter usually a place. After each interview Jane organized, wrote, and edited the stories. After two years they had 23 chapters in 100,000 words. &ldquo;He had the most amazing memory I had ever encountered,&rdquo; says Jane, who writes: &ldquo;This is a biography of a child, taken from the memory of that child grown up. I can only assume that we stopped the interviews, stopped the book, stopped the marriage, at exactly the right moment. Stan and I worked together a lot in his medium; this time, we worked together in my medium.&rdquo;<br /><br />Please join us for a book release party and reception (free of charge) in the lobby on Tuesday, October 13!<br /><br />Published by Granary Books, BRAKHAGE&rsquo;S CHILDHOOD features an introduction by P. Adams Sitney and an afterword by Tony Pipolo. For more info visit:</p> <p><strong>&nbsp;</strong></p> Tuesday, October 13 FOR THE PLASMA <p>FILMMAKERS IN PERSON!<br /><br />With Anabelle LeMieux and Rosalie Lowe. Special thanks to Jacob Perlin.<br /><br />In a remote house in Maine, two old friends analyze CCTV footage of the surrounding forest to predict shifts in global financial markets. From this cryptic premise grows a lo-fi mind-bender of intimate scale and startling relevance that flirts with sci-fi and horror conventions even as it subverts them. To the strains of an electronic score, FOR THE PLASMA juxtaposes pastoral imagery with surveillance technology, every shade and shadow captured in gorgeous 16mm.<br /><br />&ldquo;You&rsquo;re unlikely to see a more peculiar debut than [the] sneakily cryptic FOR THE PLASMA. Set in a solitary lakeside cabin in Maine and its surrounding forests, this strange, muted science fiction story suggests Jacques Rivette&rsquo;s CELINE AND JULIE GO BOATING by way of David Lynch. [&hellip;] Sort through the pieces or just glide through its dreamlike state: FOR THE PLASMA offers many pleasures, but no single interpretation, and that open-ended state is a liberating alternative to anything else in recent American cinema.&rdquo; &ndash;Eric Kohn, INDIEWIRE<br /><br />&ldquo;FOR THE PLASMA is a modest project of big ideas: about solitude, collaboration, conspiracy, magical thinking.&rdquo; &ndash;Melissa Anderson, ARTFORUM</p> Tuesday, October 13 NEWFILMMAKERS <p>For full program listings, visit&nbsp;<a href="" target="_blank"></a>.</p> Wednesday, October 14 BINGHAMTON BABYLON: PROGRAM 1 <p>Larry Gottheim BLUES (1969, 8.5 min, 16mm, silent)<br />Ernie Gehr SERENE VELOCITY (1970, 23 min, 16mm, silent)<br />Ralph Hocking THE EXPERIMENT (1969, 8 min, video)<br />Helene Kaplan THE VESTAL THEATRE (1971, 11 min, 16mm)<br />Ken Jacobs NISSAN ARIANA WINDOW (1969, 15 min, 16mm, silent)<br />Ken Jacobs BINGHAMTON, MY INDIA (1970, 25 min, 16mm, silent)<br />Ralph Hocking SCRAMBLED LEGS (1977, 3.5 min, video)<br />Ralph Hocking SITTING BY THE WINDOW (1977, 4.5 min, video)<br />Total running time: ca. 100 min.</p> Thursday, October 15 SHOW & TELL: LITTLE STABS AT CRUELTY: FILMS BY SYLVÈRE LOTRINGER <p><strong><em>Sylv&egrave;re Lotringer in person!</em></strong><br /><br />Sylv&egrave;re Lotringer, cultural theorist and founder of the seminal journal and independent press Semiotext(e), is renowned both for his own writings and for having introduced French poststructuralist theory to American readers in the 1980s (and more recently the Italian neo-Marxist Wave in the 2000s). His ties to the cinema are well known&mdash;Semiotext(e) famously connected writers, theorists, and artists from many different disciplines, including many of those who fueled the NYC underground and No Wave film movements of the 1980s (the legendary 1978 &ldquo;Schizo Culture&rdquo; issue of the Semiotext(e) journal featured an interview with Jack Smith, and was designed in part by Kathryn Bigelow). But Lotringer&rsquo;s own films are all but unknown.<br /><br />His early film work, made in collaboration with Chris Kraus, comprised first-hand explorations of sex, crime, and death in New York City, as well as displaying a preoccupation with poet, writer, and playwright Antonin Artaud (Lotringer&rsquo;s most recent book, MAD LIKE ARTAUD, was published by Univocal in 2015). The two films screening tonight, VIOLENT FEMMES and THE MAN WHO DISAPPEARED, which have never been shown to the public, embody these two sides of Lotringer&rsquo;s filmmaking: codified forms of violence in New York City and Artaud&rsquo;s descent into madness.<br /><br />This event is organized by 186f Kepler, a not-for-profit institution without walls founded in 2014 by Jeanne Graff.<br /><br />This presentation is made possible in part with public funds from the New York State Council on the Arts&rsquo; Electronic Media and Film Presentation Funds grant program, administered by The ARTS Council of the Southern Finger Lakes.<br /><br />VIOLENT FEMMES<br />(1998, 28 min, video. In English and French with English subtitles.)<br />When Catherine Robbe-Grillet, the legendary Parisian dominatrix (as well as actress and writer), was invited to visit Lotringer&rsquo;s loft on Front Street, she had no idea she&rsquo;d be meeting Mlle. Victoire, her American counterpart, let alone that their encounter would be videotaped. At first reluctant to face the camera, Robbe-Grillet gradually realizes that although the two don&rsquo;t speak the same language, they share the same desires. A deft ballet of words, blood, and seduction.<br /><br />THE MAN WHO DISAPPEARED<br />(2015, 49 min, video. In English and French with English subtitles.)<br />In 1937, having just returned from Mexico, and a failure on the stage, playwright and theater director Antonin Artaud embarked for Ireland on another mythical journey. Though finally cured of his lifelong drug addiction, he was nevertheless broke, alone, and unable to speak English. Lotringer&rsquo;s film is a gripping docufiction about this period in Artaud&rsquo;s life, focusing in particular on the ten days he spent on the stark Aran Islands before he became delirious and was sent back to France in a straightjacket. THE MAN WHO DISAPPEARED was shot on location on the spectacular Island of Inishmore from 2014-15.</p> Thursday, October 15 BINGHAMTON BABYLON: PROGRAM 2 <p>Larry Gottheim BARN RUSHES (1971, 36 min, 16mm, silent)<br />Morgan Fisher 240x (1974, 16 min, 16mm, b&amp;w)<br />Saul Levine ON THE SPOT (1973, 28.5 min, 8mm)<br />Cheryl Gorman TRAIL OF DREAMS (1974, 17 min, 16mm)<br />Total running time: ca. 100 min.</p> Thursday, October 15 FILM NO. 18 (MAHAGONNY) <p>1970-80, 141 min, 35mm. Preservation work undertaken by Cineric, Inc., with support from The Andy Warhol Foundation for the Visual Arts, the National Endowment for the Arts, New York State Council on the Arts, Sony Entertainment, the National Film Preservation Foundation, The Getty Research Institute, and the Harry Smith Archives. This restoration has been a joint project of Anthology Film Archives and the Harry Smith Archives.<br /><br />Smith worked obsessively on MAHAGONNY for over ten years, shooting it from 1970-72 and editing it from 1972-80. Based on the Kurt Weill and Bertolt Brecht opera RISE AND FALL OF THE CITY OF MAHAGONNY, the film was an epic, four-screen projection which the filmmaker considered to be his magnum opus and described as a mathematical analysis of Marcel Duchamp&rsquo;s &ldquo;Large Glass.&rdquo;<br /><br />MAHAGONNY is an allegory of contemporary life; it explores the needs and desires of man amid the rituals of daily life in NYC. Smith&rsquo;s New York, like Brecht&rsquo;s Mahagonny, is a place where everything is permitted and the only sin is not having enough money. Much of the film takes place within the Chelsea Hotel and contains invaluable portraits of important scenesters such as Allen Ginsberg, Patti Smith, and Jonas Mekas. These appearances are intercut with installation pieces from Robert Mapplethorpe&rsquo;s studio, NYC landmarks of the era, and Smith&rsquo;s unique, visionary animation.<br /><br />This 35mm print represents the efforts of an ambitious preservation project by Anthology Film Archives and the Harry Smith Archives. The film was originally shown six times at Anthology in 1980 on four 16mm projectors, with the filmmaker present at each screening. This recently restored print is a composite of all four original 16mm masters (and the Weill soundtrack), which have been optically printed into a single &ldquo;tiled&rdquo; 35mm film image.</p> Friday, October 16 EC: FILM NO. 12 (HEAVEN AND EARTH MAGIC FEATURE) <p>ESSENTIAL CINEMA &ndash; FREE FOR AFA MEMBERS!<br /><br />Preserved by Anthology Film Archives with support from the National Film Preservation Foundation and Cineric, Inc.<br /><br />A masterpiece of collage animation that, after all these years, continues to boggle the mind.<br /><br />&ldquo;NO. 12 can be seen as one moment &ndash; certainly the most elaborately crafted moment &ndash; of the single alchemical film which is Harry Smith&rsquo;s life work. In its seriousness, its austerity, it is one of the strangest and most fascinating landmarks in the history of cinema. Its elaborately constructed soundtrack in which the sounds of various figures are systematically displaced onto other images reflects Smith&rsquo;s abiding concern with auditory effects.&rdquo; &ndash;P. Adams Sitney</p> Saturday, October 17 KAMO AND SMITH MAGIC (NO. 1-16) <p>This is the culmination of the 20-year love affair between artist Kirt Markle and his dear friend, teacher, muse, and life partner, Rosebud Feliu-Pettet, who was the &ldquo;spiritual wife&rdquo; and companion to Harry Smith. In this dynamic work Harry Smith&rsquo;s seminal FILM NO. 12 (HEAVEN AND EARTH MAGIC FEATURE) is melded into sixteen experimental pieces, refracted through the inventive use of knockouts, cutouts, and superimposition. These conjoined variations inventively incorporate material from the first 24 video pieces created by Markle and Feliu-Pettet into the shifting geometry of Smith&rsquo;s original film. Juxtaposed simultaneously, these fresh interpretations reveal new and often surprising rhythms and visions: a controlled chaos of ever-shifting imagery. Before her untimely death in June following a courageous battle with cancer, Rosebud served as the link between Smith and Markle, and this last collaboration represents the potent apex of their work and lives together.</p> Saturday, October 17 ANTHOLOGY BENEFIT CONCERT!: JOHN ZORN LIVE <p>Anthology&rsquo;s Composer-In-Residence John Zorn first encountered Harry Smith while in his late teens and the experience forever altered his DNA. Zorn has said that he learned &ldquo;alchemical synthesis&rdquo; from Smith, and nowhere is this more apparent than in the startling and spectacular soundtracks that he has created over the years to accompany Smith&rsquo;s films. For this special film and music event, Zorn, who will perform on saxophone, has assembled a dream ensemble of musicians including Bill Laswell, Cyro Baptista, Ches Smith, and Chuck Bettis to interpret his dynamic electronic and percussion scores. While Zorn&rsquo;s music for FILM NO. 16 has become a classic, tonight he will be performing for the first time with a specially selected assortment of new preservations and more obscure titles that are sure to expand eyes and ears alike. The show includes Smith&rsquo;s only 3D work (FILM NO. 6) and what might be his most rarely-screened piece, FILM NO. 19, an extended series of fragments from his incomplete big-budget WIZARD OF OZ animation.<br /><br /><strong>Tickets to this special benefit concert will be $20 general, $17 for AFA members. <br /></strong>A limited number of advance tickets are availabe at: <a href=""><br /></a>Members can reserve tickets by calling Ava at (212) 505-5181 x20, or email: Ava [at] anthologyfilmarchives [dot] org.<a href=""><br /></a><br />Featuring:<br /><br />FILM NO. 6 (ca. 1950, 1.5 min, 16mm, silent, anaglyph 3-D)<br />BRAND NEW 16MM PRINT!<br />Smith&rsquo;s shortest film abstraction is also his only known attempt to work in 3-D.<br /><br />FILM NO. 15 (ca. 1965-66, 10 min, 16mm, silent. Brand new preservation print by Anthology Film Archives.)<br />In this film, Smith animates his extensive collection of Seminole patchwork.<br /><br />FILM NO. 16 (OZ: THE TIN WOODMAN&rsquo;S DREAM) (1967, 15 min, 35mm, silent)<br />This beguiling work features footage from Smith&rsquo;s aborted adaptation of L. Frank Baum&rsquo;s THE WIZARD OF OZ paired with psychedelic imagery shot with a kaleidoscope lens.<br /><br />FILM NO. 23 (1985, 25 min, 16mm. Preserved by Anthology Film Archives with support from the Andy Warhol Foundation for the Visual Arts.)<br />This film is related to Smith&rsquo;s epic 4-screen magnum opus MAHAGONNY, using some of the same footage but for radically different purposes. Here, Smith superimposes string figure games on top of his own sand animations, NYC street footage, and other equally surreal imagery.<br /><br />FILM NO. 19 (1980, 12.5 min, 35mm)<br />Completed over 15 years after the footage was shot and almost never publicly presented, FILM NO.19 contains further outtakes from Smith&rsquo;s abandoned OZ adaptation. Made directly from Smith&rsquo;s workprint, these captivating fragments offer a small taste of the masterpiece that Smith never finished.</p> Saturday, October 17 BINGHAMTON BABYLON: PROGRAM 3 <p>J. Hoberman CUSTOMS &amp; IMMIGRATION (1971, 34 min, 16mm)<br />Hollis Frampton CRITICAL MASS (1971, 25.5 min, 16mm)<br />Phil Solomon NITELITE (1975, 8 min, 16mm, b&amp;w, silent)<br />Bill Brand &amp; Saul Levine BEFORE THE FACT (1974, 6 min, 16mm)<br />Alan Berliner PATENT PENDING (1975, 11 min, 16mm, b&amp;w)<br />Peer Bode BLUE (1976, 5 min, video)<br />Larry Gottheim HARMONICA (1970, 10.5 min, 16mm, silent)<br />Total running time: ca. 105 min.</p> Sunday, October 18 EC: HARRY SMITH PROGRAM <p>ESSENTIAL CINEMA &ndash; FREE FOR AFA MEMBERS!<br /><br />FILM NOS. 1-5, 7, 10 (EARLY ABSTRACTIONS) 1946-57, 23 min, 16mm-to-35mm. Restored by Anthology Film Archives and The Film Foundation with funding provided by the George Lucas Family Foundation.<br />This screening features the world premiere of a brand new 35mm version of Smith&rsquo;s landmark compilation EARLY ABSTRACTIONS. This brilliant new print was made by doing an optical blow-up from Smith&rsquo;s camera original and best surviving elements. You have never seen this classic work with such vivid color and detail.<br /><br />FILM NO. 11 (MIRROR ANIMATIONS) 1957, 4 min, 16mm-to-35mm. Preserved by Anthology Film Archives.<br /><br />FILM NO. 14 (LATE SUPERIMPOSITIONS) 1964, 28 min, 16mm<br /><br />FILM NO. 16 (OZ: THE TIN WOODMAN&rsquo;S DREAM) 1967, 15 min, 35mm, silent<br /><br />&ldquo;My cinematic excreta is of four varieties: &ndash; batiked animations made directly on film between 1939 and 1946; optically printed non-objective studies composed around 1950; semi-realistic animated collages made as part of my alchemical labors of 1957 to 1962; and chronologically super-imposed photographs of actualities formed since the latter year. All these works have been organized in specific patterns derived from the interlocking beats of the respiration, the heart and the EEG Alpha component and should be observed together in order, or not at all, for they are valuable works, works that will forever abide &ndash; they made me gray.&rdquo; &ndash;H.S.<br /><br />Total running time: ca. 75 min.</p> Sunday, October 18 JOHN ZORN’S THE BOOK OF HEADS: 35 ETUDES FOR SOLO GUITAR <p>LIVE PERFORMANCE AND FILM SCREENING!<br /><br />Performed by James Moore.<br /><br />Utilizing an arsenal of balloons, children&rsquo;s toys, and common household items, John Zorn&rsquo;s notorious collection of solo guitar etudes, THE BOOK OF HEADS, is a compendium of bizarre extended techniques, stylistic mash-ups, and wild theatrics. THE HEADS were written for Eugene Chadbourne in 1978 and recorded by Marc Ribot in 1995. In a new audio-visual release on the Tzadik record label, guitarist James Moore has worked closely with Zorn to develop an explosive new interpretation of these demanding pieces. In his film, director Stephen Taylor meticulously captures each of the 35 etudes during the recording process, providing an intimate view into the virtuosity, imagination, and obsession required to perform THE BOOK OF HEADS. Tonight we&rsquo;ll be screening the film, as well as hosting James Moore for a live performance.<strong><em><br /><br />Tickets to this special event will be $12 general and $9 for AFA members.</em></strong></p> Sunday, October 18 FLAHERTY NYC: PROGRAM 2: SMALL STEPS, GIANT LEAPS <p>Sherwin, who started out at the London Film-Makers&rsquo; Co-operative in the 1970s, is widely celebrated as one of the pre-eminent British experimental directors of his age; D.A. Pennebaker is a pioneer of Direct Cinema. Both, in very different ways, illuminate the magic, drama, and poignancy of childhood development. MESSAGES, inspired by Jean Piaget&rsquo;s writings on psychology, explores his young daughter&rsquo;s early adventures in language. ELIZABETH AND MARY, made for medical purposes, is a day in the life of twin girls &ndash; one partially-sighted, the other blind and brain-damaged. Very rarely screened, it&rsquo;s tender, unsentimental and deeply moving, one of Pennebaker&rsquo;s favorites among his own films.<br /><br />Guy Sherwin<br />MESSAGES<br />(1981-84, 34 min, 16mm, b&amp;w)<br />&amp;<br />D.A. Pennebaker<br />ELIZABETH AND MARY<br />(1965, 60 min, 16mm, b&amp;w)<br /><br />Total running time: ca. 95 min.<br /><br /><strong><em>D.A. Pennebaker will be here in person!</em></strong></p> Monday, October 19