Anthology Film Archives - Calendar Events http://anthologyfilmarchives.org 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 Fri, 28 Nov 2014 00:30:19 -0500 STORY OF MY DEATH http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2014#showing-43490 <p>(HIST&Ograve;RIA DE LA MEVA MORT)<br /><br />NEW YORK THEATRICAL PREMIERE RUN!<br /><br />Special thanks to Adam Sekuler (m&rsquo;aidez films).<br /><br /><strong>We will be screening the film in DCP (Cinemascope! Dolby 5.1!)</strong><br /><br />Anthology previously hosted the theatrical premiere engagements of the incomparable Catalan filmmaker Albert Serra&rsquo;s HONOR DE CAVELLERIA (2006) and BIRDSONG (2008), and we&rsquo;re thrilled to present his latest and most ambitious feature, STORY OF MY DEATH. HONOR DE CAVALLERIA comprised a radically minimalist, near-plotless riff on DON QUIXOTE, while BIRDSONG applied a similar approach to the New Testament tale of the Three Kings. The new film continues in this vein of literary/historical appropriation, but this time engineers a meeting between two figures (one historical, one mythical): 18th-century author, adventurer, and womanizer Giacomo Casanova and the immortal (in more ways than one) Dracula. If this inspired, high-concept pairing suggests that Serra has abandoned his trademark absurdist minimalism, never fear: both Casanova and Dracula serve as a means for Serra to imagine and inhabit the world of the 18th century, which he depicts with the serene patience, wry wit, philosophical curiosity that made his previous films so singular and astonishing.<br /><br />&ldquo;Working for the first time with scripted dialogue, and combining it with his usual method of free improvisation with nonprofessional actors, Serra has concocted a truly esoteric and unique work, something contemporary, yet totally free of the constraints of time and space. The trappings might be historical and mythical, but his playground is cinematic language; the editing, acting and photography, all of which are sui generis, contribute to a grand work of art that, as in an alchemic concoction, begins by appearing like waste, but eventually dazzles like solid gold. Bringing to mind filmmakers such as Pasolini, Garrel, and Straub, THE STORY OF MY DEATH is a constantly surprising film of great beauty, mixing the sacred and the profane, where not a single shot or cut is out of place.&rdquo; &ndash;ROTTERDAM INTERNATIONAL FILM FESTIVAL&nbsp;</p> Friday, November 28 EC: SUNRISE http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2014#showing-43441 <p>Script by Carl Meyer based on the story &ldquo;A Trip to Tilsit&rdquo; by Herman Sudermann. Photographed by Charles Rosher and Karl Strauss. With George O&rsquo;Brien and Janet Gaynor.<br /><br />Murnau&rsquo;s first American film is an allegory set in no particular time or place, about a man who is temporarily overruled by his passions, inflamed by the power of evil as personified by the city woman, and who finally returns to his senses and the orderly family life of the country. It is a virtuoso exercise representing the expressiveness of the silent film as it neared its end.</p> Friday, November 28 STORY OF MY DEATH http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2014#showing-43491 <p>(HIST&Ograve;RIA DE LA MEVA MORT)<br /><br />NEW YORK THEATRICAL PREMIERE RUN!<br /><br />Special thanks to Adam Sekuler (m&rsquo;aidez films).<br /><br /><strong>We will be screening the film in DCP (Cinemascope! Dolby 5.1!)</strong><br /><br />Anthology previously hosted the theatrical premiere engagements of the incomparable Catalan filmmaker Albert Serra&rsquo;s HONOR DE CAVELLERIA (2006) and BIRDSONG (2008), and we&rsquo;re thrilled to present his latest and most ambitious feature, STORY OF MY DEATH. HONOR DE CAVALLERIA comprised a radically minimalist, near-plotless riff on DON QUIXOTE, while BIRDSONG applied a similar approach to the New Testament tale of the Three Kings. The new film continues in this vein of literary/historical appropriation, but this time engineers a meeting between two figures (one historical, one mythical): 18th-century author, adventurer, and womanizer Giacomo Casanova and the immortal (in more ways than one) Dracula. If this inspired, high-concept pairing suggests that Serra has abandoned his trademark absurdist minimalism, never fear: both Casanova and Dracula serve as a means for Serra to imagine and inhabit the world of the 18th century, which he depicts with the serene patience, wry wit, philosophical curiosity that made his previous films so singular and astonishing.<br /><br />&ldquo;Working for the first time with scripted dialogue, and combining it with his usual method of free improvisation with nonprofessional actors, Serra has concocted a truly esoteric and unique work, something contemporary, yet totally free of the constraints of time and space. The trappings might be historical and mythical, but his playground is cinematic language; the editing, acting and photography, all of which are sui generis, contribute to a grand work of art that, as in an alchemic concoction, begins by appearing like waste, but eventually dazzles like solid gold. Bringing to mind filmmakers such as Pasolini, Garrel, and Straub, THE STORY OF MY DEATH is a constantly surprising film of great beauty, mixing the sacred and the profane, where not a single shot or cut is out of place.&rdquo; &ndash;ROTTERDAM INTERNATIONAL FILM FESTIVAL&nbsp;</p> Friday, November 28 EC: SUNRISE http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2014#showing-43443 <p>Script by Carl Meyer based on the story &ldquo;A Trip to Tilsit&rdquo; by Herman Sudermann. Photographed by Charles Rosher and Karl Strauss. With George O&rsquo;Brien and Janet Gaynor.<br /><br />Murnau&rsquo;s first American film is an allegory set in no particular time or place, about a man who is temporarily overruled by his passions, inflamed by the power of evil as personified by the city woman, and who finally returns to his senses and the orderly family life of the country. It is a virtuoso exercise representing the expressiveness of the silent film as it neared its end.</p> Friday, November 28 STORY OF MY DEATH http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2014#showing-43492 <p>(HIST&Ograve;RIA DE LA MEVA MORT)<br /><br />NEW YORK THEATRICAL PREMIERE RUN!<br /><br />Special thanks to Adam Sekuler (m&rsquo;aidez films).<br /><br /><strong>We will be screening the film in DCP (Cinemascope! Dolby 5.1!)</strong><br /><br />Anthology previously hosted the theatrical premiere engagements of the incomparable Catalan filmmaker Albert Serra&rsquo;s HONOR DE CAVELLERIA (2006) and BIRDSONG (2008), and we&rsquo;re thrilled to present his latest and most ambitious feature, STORY OF MY DEATH. HONOR DE CAVALLERIA comprised a radically minimalist, near-plotless riff on DON QUIXOTE, while BIRDSONG applied a similar approach to the New Testament tale of the Three Kings. The new film continues in this vein of literary/historical appropriation, but this time engineers a meeting between two figures (one historical, one mythical): 18th-century author, adventurer, and womanizer Giacomo Casanova and the immortal (in more ways than one) Dracula. If this inspired, high-concept pairing suggests that Serra has abandoned his trademark absurdist minimalism, never fear: both Casanova and Dracula serve as a means for Serra to imagine and inhabit the world of the 18th century, which he depicts with the serene patience, wry wit, philosophical curiosity that made his previous films so singular and astonishing.<br /><br />&ldquo;Working for the first time with scripted dialogue, and combining it with his usual method of free improvisation with nonprofessional actors, Serra has concocted a truly esoteric and unique work, something contemporary, yet totally free of the constraints of time and space. The trappings might be historical and mythical, but his playground is cinematic language; the editing, acting and photography, all of which are sui generis, contribute to a grand work of art that, as in an alchemic concoction, begins by appearing like waste, but eventually dazzles like solid gold. Bringing to mind filmmakers such as Pasolini, Garrel, and Straub, THE STORY OF MY DEATH is a constantly surprising film of great beauty, mixing the sacred and the profane, where not a single shot or cut is out of place.&rdquo; &ndash;ROTTERDAM INTERNATIONAL FILM FESTIVAL&nbsp;</p> Saturday, November 29 EC: ROBERT NELSON PROGRAM http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2014#showing-43445 <p>THE GREAT BLONDINO<br />(1967, 42 min, 16mm. Newly preserved print; thanks to the Academy Film Archive!)<br /><br />&ldquo;The original Blondino was a 19th-century tightrope artist who among other feats crossed Niagara Falls trundling a wheelbarrow. In this film, Nelson sees Blondino as a metaphor for those who still try. Too subtle to be allegorical, the picture is in the shape of a quixotic search in which the goal is the journey and the means is the end.&rdquo; &ndash;MUSEUM OF MODERN ART<br /><br />&ldquo;It is&hellip;difficult to get at the rich visual texture that is the film&rsquo;s most striking attribute. Long stretches are concerned with Blondino&rsquo;s visions, dreams, and dreams within dreams. The film unfolds in brief recurring patterns of imagery. Even the more straightforward sections are dense with interpolated newsreel and TV commercial footage, visual gags, and homemade special effects. The net effect is funny, seamless, and elusive.&rdquo; &ndash;J. Hoberman, &ldquo;A Filmmakers Filming Monograph&rdquo;<br /><br />&amp;<br /><br />BLEU SHUT<br />(1970, 33 min, 16mm. Newly preserved print; thanks to the Academy Film Archive!)<br /><br />&ldquo;Boat-name quizzes, dogs, cuts from Dreyer&rsquo;s JOAN OF ARC in montage with a sultry whore, a car running up a ramp and crashing, pornography, a passionate embrace by a thirties hero and heroine; all somehow implicating Dreyer and Joan in the perverse synthesis of sex and technology. What&rsquo;s happening here? Basically Nelson is leaving things unsaid.&rdquo; &ndash;Leo Regan<br /><br />Total running time: ca. 80 min.</p> <p>&nbsp;</p> Saturday, November 29 EC: SUNRISE http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2014#showing-43442 <p>Script by Carl Meyer based on the story &ldquo;A Trip to Tilsit&rdquo; by Herman Sudermann. Photographed by Charles Rosher and Karl Strauss. With George O&rsquo;Brien and Janet Gaynor.<br /><br />Murnau&rsquo;s first American film is an allegory set in no particular time or place, about a man who is temporarily overruled by his passions, inflamed by the power of evil as personified by the city woman, and who finally returns to his senses and the orderly family life of the country. It is a virtuoso exercise representing the expressiveness of the silent film as it neared its end.</p> Saturday, November 29 STORY OF MY DEATH http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2014#showing-43493 <p>(HIST&Ograve;RIA DE LA MEVA MORT)<br /><br />NEW YORK THEATRICAL PREMIERE RUN!<br /><br />Special thanks to Adam Sekuler (m&rsquo;aidez films).<br /><br /><strong>We will be screening the film in DCP (Cinemascope! Dolby 5.1!)</strong><br /><br />Anthology previously hosted the theatrical premiere engagements of the incomparable Catalan filmmaker Albert Serra&rsquo;s HONOR DE CAVELLERIA (2006) and BIRDSONG (2008), and we&rsquo;re thrilled to present his latest and most ambitious feature, STORY OF MY DEATH. HONOR DE CAVALLERIA comprised a radically minimalist, near-plotless riff on DON QUIXOTE, while BIRDSONG applied a similar approach to the New Testament tale of the Three Kings. The new film continues in this vein of literary/historical appropriation, but this time engineers a meeting between two figures (one historical, one mythical): 18th-century author, adventurer, and womanizer Giacomo Casanova and the immortal (in more ways than one) Dracula. If this inspired, high-concept pairing suggests that Serra has abandoned his trademark absurdist minimalism, never fear: both Casanova and Dracula serve as a means for Serra to imagine and inhabit the world of the 18th century, which he depicts with the serene patience, wry wit, philosophical curiosity that made his previous films so singular and astonishing.<br /><br />&ldquo;Working for the first time with scripted dialogue, and combining it with his usual method of free improvisation with nonprofessional actors, Serra has concocted a truly esoteric and unique work, something contemporary, yet totally free of the constraints of time and space. The trappings might be historical and mythical, but his playground is cinematic language; the editing, acting and photography, all of which are sui generis, contribute to a grand work of art that, as in an alchemic concoction, begins by appearing like waste, but eventually dazzles like solid gold. Bringing to mind filmmakers such as Pasolini, Garrel, and Straub, THE STORY OF MY DEATH is a constantly surprising film of great beauty, mixing the sacred and the profane, where not a single shot or cut is out of place.&rdquo; &ndash;ROTTERDAM INTERNATIONAL FILM FESTIVAL&nbsp;</p> Saturday, November 29 STORY OF MY DEATH http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2014#showing-43494 <p>(HIST&Ograve;RIA DE LA MEVA MORT)<br /><br />NEW YORK THEATRICAL PREMIERE RUN!<br /><br />Special thanks to Adam Sekuler (m&rsquo;aidez films).<br /><br /><strong>We will be screening the film in DCP (Cinemascope! Dolby 5.1!)</strong><br /><br />Anthology previously hosted the theatrical premiere engagements of the incomparable Catalan filmmaker Albert Serra&rsquo;s HONOR DE CAVELLERIA (2006) and BIRDSONG (2008), and we&rsquo;re thrilled to present his latest and most ambitious feature, STORY OF MY DEATH. HONOR DE CAVALLERIA comprised a radically minimalist, near-plotless riff on DON QUIXOTE, while BIRDSONG applied a similar approach to the New Testament tale of the Three Kings. The new film continues in this vein of literary/historical appropriation, but this time engineers a meeting between two figures (one historical, one mythical): 18th-century author, adventurer, and womanizer Giacomo Casanova and the immortal (in more ways than one) Dracula. If this inspired, high-concept pairing suggests that Serra has abandoned his trademark absurdist minimalism, never fear: both Casanova and Dracula serve as a means for Serra to imagine and inhabit the world of the 18th century, which he depicts with the serene patience, wry wit, philosophical curiosity that made his previous films so singular and astonishing.<br /><br />&ldquo;Working for the first time with scripted dialogue, and combining it with his usual method of free improvisation with nonprofessional actors, Serra has concocted a truly esoteric and unique work, something contemporary, yet totally free of the constraints of time and space. The trappings might be historical and mythical, but his playground is cinematic language; the editing, acting and photography, all of which are sui generis, contribute to a grand work of art that, as in an alchemic concoction, begins by appearing like waste, but eventually dazzles like solid gold. Bringing to mind filmmakers such as Pasolini, Garrel, and Straub, THE STORY OF MY DEATH is a constantly surprising film of great beauty, mixing the sacred and the profane, where not a single shot or cut is out of place.&rdquo; &ndash;ROTTERDAM INTERNATIONAL FILM FESTIVAL&nbsp;</p> Saturday, November 29 STORY OF MY DEATH http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2014#showing-43495 <p>(HIST&Ograve;RIA DE LA MEVA MORT)<br /><br />NEW YORK THEATRICAL PREMIERE RUN!<br /><br />Special thanks to Adam Sekuler (m&rsquo;aidez films).<br /><br /><strong>We will be screening the film in DCP (Cinemascope! Dolby 5.1!)</strong><br /><br />Anthology previously hosted the theatrical premiere engagements of the incomparable Catalan filmmaker Albert Serra&rsquo;s HONOR DE CAVELLERIA (2006) and BIRDSONG (2008), and we&rsquo;re thrilled to present his latest and most ambitious feature, STORY OF MY DEATH. HONOR DE CAVALLERIA comprised a radically minimalist, near-plotless riff on DON QUIXOTE, while BIRDSONG applied a similar approach to the New Testament tale of the Three Kings. The new film continues in this vein of literary/historical appropriation, but this time engineers a meeting between two figures (one historical, one mythical): 18th-century author, adventurer, and womanizer Giacomo Casanova and the immortal (in more ways than one) Dracula. If this inspired, high-concept pairing suggests that Serra has abandoned his trademark absurdist minimalism, never fear: both Casanova and Dracula serve as a means for Serra to imagine and inhabit the world of the 18th century, which he depicts with the serene patience, wry wit, philosophical curiosity that made his previous films so singular and astonishing.<br /><br />&ldquo;Working for the first time with scripted dialogue, and combining it with his usual method of free improvisation with nonprofessional actors, Serra has concocted a truly esoteric and unique work, something contemporary, yet totally free of the constraints of time and space. The trappings might be historical and mythical, but his playground is cinematic language; the editing, acting and photography, all of which are sui generis, contribute to a grand work of art that, as in an alchemic concoction, begins by appearing like waste, but eventually dazzles like solid gold. Bringing to mind filmmakers such as Pasolini, Garrel, and Straub, THE STORY OF MY DEATH is a constantly surprising film of great beauty, mixing the sacred and the profane, where not a single shot or cut is out of place.&rdquo; &ndash;ROTTERDAM INTERNATIONAL FILM FESTIVAL&nbsp;</p> Sunday, November 30 EC: MOTHER http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2014#showing-43447 <p>(MAT)<br /><br />Based on the novel by Maxim Gorky.<br /><br />With the simple theme of a working-class mother growing in political consciousness through participation in revolutionary activity, this film established Pudovkin as one of the major figures of the Soviet cinema. A student of Kuleshov and an admirer of Griffith&rsquo;s films, he was writing his first book of film theory at the same time he was making MOTHER. His expert cutting on movement and his associated editing of unrelated scenes to form what he called a &ldquo;plastic synthesis&rdquo; are amply demonstrated here. Although in direct opposition to Eisenstein&rsquo;s shock montage, Pudovkin used a linkage method advanced far beyond Kuleshov&rsquo;s theories.</p> Sunday, November 30 STORY OF MY DEATH http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2014#showing-43496 <p>(HIST&Ograve;RIA DE LA MEVA MORT)<br /><br />NEW YORK THEATRICAL PREMIERE RUN!<br /><br />Special thanks to Adam Sekuler (m&rsquo;aidez films).<br /><br /><strong>We will be screening the film in DCP (Cinemascope! Dolby 5.1!)</strong><br /><br />Anthology previously hosted the theatrical premiere engagements of the incomparable Catalan filmmaker Albert Serra&rsquo;s HONOR DE CAVELLERIA (2006) and BIRDSONG (2008), and we&rsquo;re thrilled to present his latest and most ambitious feature, STORY OF MY DEATH. HONOR DE CAVALLERIA comprised a radically minimalist, near-plotless riff on DON QUIXOTE, while BIRDSONG applied a similar approach to the New Testament tale of the Three Kings. The new film continues in this vein of literary/historical appropriation, but this time engineers a meeting between two figures (one historical, one mythical): 18th-century author, adventurer, and womanizer Giacomo Casanova and the immortal (in more ways than one) Dracula. If this inspired, high-concept pairing suggests that Serra has abandoned his trademark absurdist minimalism, never fear: both Casanova and Dracula serve as a means for Serra to imagine and inhabit the world of the 18th century, which he depicts with the serene patience, wry wit, philosophical curiosity that made his previous films so singular and astonishing.<br /><br />&ldquo;Working for the first time with scripted dialogue, and combining it with his usual method of free improvisation with nonprofessional actors, Serra has concocted a truly esoteric and unique work, something contemporary, yet totally free of the constraints of time and space. The trappings might be historical and mythical, but his playground is cinematic language; the editing, acting and photography, all of which are sui generis, contribute to a grand work of art that, as in an alchemic concoction, begins by appearing like waste, but eventually dazzles like solid gold. Bringing to mind filmmakers such as Pasolini, Garrel, and Straub, THE STORY OF MY DEATH is a constantly surprising film of great beauty, mixing the sacred and the profane, where not a single shot or cut is out of place.&rdquo; &ndash;ROTTERDAM INTERNATIONAL FILM FESTIVAL&nbsp;</p> Sunday, November 30 EC: SIDNEY PETERSON PROGRAM http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2014#showing-43449 <p>THE POTTED PSALM and THE PETRIFIED DOG have been preserved by Anthology Film Archives through the Avant-Garde Masters program funded by The Film Foundation and administered by the National Film Preservation Foundation. MR. FRENHOFFER AND THE MINOTAUR and THE LEAD SHOES have been preserved by Anthology with support from the National Film Preservation Foundation.<br /><br />THE POTTED PSALM (1946, 19 min, 16mm)<br />THE PETRIFIED DOG (1948, 19 min, 16mm)<br />MR. FRENHOFFER AND THE MINOTAUR (1949, 21 min, 16mm)<br />THE LEAD SHOES (1949, 17 min, 16mm)<br /><br />&ldquo;These images are meant to play not on our rational senses, but on the infinite universe of ambiguity within us.&rdquo; &ndash;Sidney Peterson<br /><br />Total running time: ca. 80 min.</p> Sunday, November 30 STORY OF MY DEATH http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2014#showing-43497 <p>(HIST&Ograve;RIA DE LA MEVA MORT)<br /><br />NEW YORK THEATRICAL PREMIERE RUN!<br /><br />Special thanks to Adam Sekuler (m&rsquo;aidez films).<br /><br /><strong>We will be screening the film in DCP (Cinemascope! Dolby 5.1!)</strong><br /><br />Anthology previously hosted the theatrical premiere engagements of the incomparable Catalan filmmaker Albert Serra&rsquo;s HONOR DE CAVELLERIA (2006) and BIRDSONG (2008), and we&rsquo;re thrilled to present his latest and most ambitious feature, STORY OF MY DEATH. HONOR DE CAVALLERIA comprised a radically minimalist, near-plotless riff on DON QUIXOTE, while BIRDSONG applied a similar approach to the New Testament tale of the Three Kings. The new film continues in this vein of literary/historical appropriation, but this time engineers a meeting between two figures (one historical, one mythical): 18th-century author, adventurer, and womanizer Giacomo Casanova and the immortal (in more ways than one) Dracula. If this inspired, high-concept pairing suggests that Serra has abandoned his trademark absurdist minimalism, never fear: both Casanova and Dracula serve as a means for Serra to imagine and inhabit the world of the 18th century, which he depicts with the serene patience, wry wit, philosophical curiosity that made his previous films so singular and astonishing.<br /><br />&ldquo;Working for the first time with scripted dialogue, and combining it with his usual method of free improvisation with nonprofessional actors, Serra has concocted a truly esoteric and unique work, something contemporary, yet totally free of the constraints of time and space. The trappings might be historical and mythical, but his playground is cinematic language; the editing, acting and photography, all of which are sui generis, contribute to a grand work of art that, as in an alchemic concoction, begins by appearing like waste, but eventually dazzles like solid gold. Bringing to mind filmmakers such as Pasolini, Garrel, and Straub, THE STORY OF MY DEATH is a constantly surprising film of great beauty, mixing the sacred and the profane, where not a single shot or cut is out of place.&rdquo; &ndash;ROTTERDAM INTERNATIONAL FILM FESTIVAL&nbsp;</p> Sunday, November 30 FLAHERTY NYC: HOPE TUCKER: THE OBITUARY PROJECT http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2014#showing-43365 <p>Hope Tucker will present works from the OBITUARY PROJECT (2000-14), her ongoing series of works of experimental salvage ethnography, which &ldquo;transform a quotidian form of narrative&rdquo; and &ldquo;reframe the passing of sites, people, communities, rituals, cultural markers, and ways of being.&rdquo; Other works in the program include HIROSHIMA NAGASAKI AUGUST, 1945, by Erik Barnouw and Paul Ronder, who assembled footage of the atomic bomb devastation that was shot by Akira Iwasaki in September 1945 but confiscated and suppressed until 1967; and IT&rsquo;S NOT MY MEMORY OF IT by the Speculative Archive (Julia Meltzer and David Thorne) which addresses &ldquo;the logic of the bureaucracy of secrecy in the current climate of heightened security.&rdquo;<br /><br />Hope Tucker Works from THE OBITUARY PROJECT 2000-14, various running times and formats:<br />Erik Barnouw HIROSHIMA NAGASAKI AUGUST, (1945 USA/Japan, 1970, 16 min, 16mm)<br />Julia Meltzer &amp; David Thorne IT&rsquo;S NOT MY MEMORY OF IT: THREE RECOLLECTED DOCUMENTS (USA, 2003, 25 min, video)<br /><br />SPEAKER: Hope Tucker</p> Monday, December 01 AFA MEMBERS-ONLY: ROBIN WILLIAMS AND DANNY DEVITO’S ‘DEATH TO SMOOCHY’ http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2014#showing-43609 <p>AFA MEMBERS-ONLY &ndash; FREE SCREENING!<br /><br />Once every calendar we offer a special, AFA Members-Only screening, featuring sneak-previews of upcoming features, programs of rare materials from Anthology&rsquo;s collections, in-person filmmaker presentations, and more! The benefits of an Anthology membership have always been plentiful: free admission to over 100 Essential Cinema programs, reduced admission to all other shows, discounted AFA publications. But with these screenings &ndash; free and open only to members &ndash; we sweeten the pot even further.<br /><br />With Robin Williams , Edward Norton, Catherine Keener, Danny DeVito, and Jon Stewart.<br /><br />Robin Williams&rsquo;s recent death triggered an outpouring of tributes and remembrances for a comedian and actor who was widely beloved, despite having left behind a filmography that was checkered at best. These celebrations gravitated around his meteoric, MORK AND MINDY-fueled rise to fame and his performances in a string of popular but ultimately lackluster movies like GOOD MORNING, VIETNAM, DEAD POETS SOCIETY, and GOOD WILL HUNTING. His most memorable film &ndash; the one that most decisively broke the middlebrow mold to approach the truly demented &ndash; has barely been mentioned: Danny DeVito&rsquo;s DEATH TO SMOOCHY. A nasty satire that reveals the greed, egomania, and amorality lurking behind the veil of children&rsquo;s entertainment, SMOOCHY stars Williams as an unscrupulous children&rsquo;s talk show host. Bent on revenge against the disgustingly sincere and selfless Edward Norton, whose character Smoochy the Rhino has supplanted him, Williams declares war. A black comedy in the tradition of DeVito&rsquo;s directorial debut THE WAR OF THE ROSES and the perennial BAD SANTA, SMOOCHY is a showcase for a meaner, darker, and even more than usually memorable Robin Williams, and we offer it here as a twisted tribute to his immense talent.<br /><br /><strong>Beer and pizza reception at 7:00!</strong></p> Tuesday, December 02 NEWFILMMAKERS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2014#showing-43419 <p>For full program listings, visit&nbsp;<a href="http://www.newfilmmakers.com" target="_blank">www.newfilmmakers.com</a>.</p> Wednesday, December 03 HOLLIS FRAMPTON: PUZZLE-PICTURES http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2014#showing-43538 <p>NEW AFA PRESERVATIONS!<br /><br />&ldquo;All of Frampton&rsquo;s films are &lsquo;puzzle-pictures&rsquo; but the puzzle is often the riddle of the universe and the heart of the riddle is often a paradox. The paradoxes are logical&hellip;but they are not always apparent.&rdquo; &ndash; Donald Richie<br /><br />Anthology has been actively preserving the works of Hollis Frampton for the last number of years. We began with his epic and influential HAPAX LEGOMENA cycle and lately have been tackling some of his best- as well as least-known titles. This program brings together a selection of brand new and recent restorations from Frampton&rsquo;s complex back catalog. While these films are not all part of a single series &agrave; la HAPAX, they do demonstrate the breadth of his formal investigations. As a special addition we also offer a newly-digitized transfer of the long-unseen television show HOLLIS FRAMPTON: STRUCTURALIST FILMMAKER, which aired on WNET in the early 1980s.<br /><br />These screenings are dedicated to the memory of Marion Faller.<br /><br />All the Frampton films in this program have been preserved by Anthology Film Archives with support from the Estate of Hollis Frampton. Special thanks to Will Faller, Bill Brand (BB Optics), Katie Trainor (MoMA), and Chris Hughes &amp; Laura Major (Colorlab).<br /><br />STATES (1967; revised 1970, 17 min, 16mm, b&amp;w, silent)<br />SURFACE TENSION (1968, 10 min, 16mm)<br />PALINDROME (1969, 22 min, 16mm, silent)<br />APPARATUS SUM (Studies for Magellan: #1) (1972, 2.5 min, 16mm, silent)<br />YELLOW SPRINGS (Magellan: Vanishing Point: #1) (1972, 5 min, 16mm, silent)<br />Plus:<br />HOLLIS FRAMPTON: STRUCTURALIST FILMMAKER (1981, 30 min, video)<br />Produced by The Television Laboratory at WNET/Thirteen.<br /><br />Total running time: ca. 95 min.</p> <p><strong><br /></strong></p> Wednesday, December 03 HE RAN ALL THE WAY http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2014#showing-43566 <p>Written by Dalton Trumbo and Hugo Butler (both originally as &ldquo;Guy Endore&rdquo;); based on the novel by Sam Ross. With John Garfield, Shelley Winters, Wallace Ford, and Norman Lloyd.<br /><br />&ldquo;Known primarily for featuring John Garfield&rsquo;s final performance, many of the personnel associated with this film were either blacklisted or lived in the shadow of the blacklist. As John Berry confessed in an interview, an aura of doom hangs over this well-crafted noir. Credited to front Guy Endore and Hugo Butler, most of the script was in fact written by Dalton Trumbo who, by the time of the movie&rsquo;s release, had served time in a federal penitentiary in Kentucky for contempt of Congress. A home invasion noir in a working-class milieu that anticipates William Wyler&rsquo;s more famous DESPERATE HOURS, it stars Garfield as Nick Robey, the putative villain, who shares his captives&rsquo; mistrust of the police &ndash; several critics have pointed to the sense of &lsquo;proletarian solidarity&rsquo; that unites Robey and his victims. Garfield&rsquo;s fate proved as tragic as the protagonist he plays &ndash; hauled before HUAC in 1951, where he refused to name names or confirm Trumbo&rsquo;s participation on HE RAN ALL THE WAY, the star was dead of a heart attack by 1952.&rdquo; &ndash;Richard Porton</p> Thursday, December 04 HOLLIS FRAMPTON: PUZZLE-PICTURES http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2014#showing-43539 <p>NEW AFA PRESERVATIONS!<br /><br />&ldquo;All of Frampton&rsquo;s films are &lsquo;puzzle-pictures&rsquo; but the puzzle is often the riddle of the universe and the heart of the riddle is often a paradox. The paradoxes are logical&hellip;but they are not always apparent.&rdquo; &ndash; Donald Richie<br /><br />Anthology has been actively preserving the works of Hollis Frampton for the last number of years. We began with his epic and influential HAPAX LEGOMENA cycle and lately have been tackling some of his best- as well as least-known titles. This program brings together a selection of brand new and recent restorations from Frampton&rsquo;s complex back catalog. While these films are not all part of a single series &agrave; la HAPAX, they do demonstrate the breadth of his formal investigations. As a special addition we also offer a newly-digitized transfer of the long-unseen television show HOLLIS FRAMPTON: STRUCTURALIST FILMMAKER, which aired on WNET in the early 1980s.<br /><br />These screenings are dedicated to the memory of Marion Faller.<br /><br />All the Frampton films in this program have been preserved by Anthology Film Archives with support from the Estate of Hollis Frampton. Special thanks to Will Faller, Bill Brand (BB Optics), Katie Trainor (MoMA), and Chris Hughes &amp; Laura Major (Colorlab).<br /><br />STATES (1967; revised 1970, 17 min, 16mm, b&amp;w, silent)<br />SURFACE TENSION (1968, 10 min, 16mm)<br />PALINDROME (1969, 22 min, 16mm, silent)<br />APPARATUS SUM (Studies for Magellan: #1) (1972, 2.5 min, 16mm, silent)<br />YELLOW SPRINGS (Magellan: Vanishing Point: #1) (1972, 5 min, 16mm, silent)<br />Plus:<br />HOLLIS FRAMPTON: STRUCTURALIST FILMMAKER (1981, 30 min, video)<br />Produced by The Television Laboratory at WNET/Thirteen.<br /><br />Total running time: ca. 95 min.</p> <p><strong><br /></strong></p> Thursday, December 04 CRY THE BELOVED COUNTRY http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2014#showing-43570 <p>Screenplay by John Howard Lawson (originally uncredited), with South African Alan Paton &lsquo;fronting&rsquo; for Lawson; based on Paton&rsquo;s seminal 1948 novel. With Canada Lee, Sidney Poitier, and Charles Carson. Archival print courtesy of the Black Film Center/Indiana University.<br /><br />&ldquo;Extraordinary and moving, this early anti-apartheid film boasts a standout performance by blacklisted actor Canada Lee, as the Anglican minister who comes to Johannesburg in search of his son and becomes entangled with the racist system. (Lee&rsquo;s premature death one year later was hastened by HUAC pressures.) Lawson wore so many hats &ndash; New Theater playwright, author of the seminal THEORY AND TECHNIQUE OF PLAYWRITING and other key works about stage and screen, first President of the Screen Writers Guild, leader of the Hollywood branch of the Communist Party, first on HUAC&rsquo;s list of &lsquo;unfriendlies&rsquo; &ndash; one might forget that he was a tough-minded scenarist who repeatedly tackled difficult subjects and themes. Written before Lawson and the other Hollywood Ten went to prison, ruining Lawson&rsquo;s future in film, CRY THE BELOVED COUNTRY is his penultimate script before THE CARELESS YEARS, in 1957. CRY is &lsquo;perhaps his most powerful film,&rsquo; wrote Gerald Horne in THE FINAL VICTIM OF THE BLACKLIST.&rdquo; &ndash;Patrick McGilligan</p> Thursday, December 04 THE ADVENTURES OF ROBINSON CRUSOE http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2014#showing-43574 <p>Written by Hugo Butler (originally as &ldquo;Philip Ansell Roll&rdquo;) and Bu&ntilde;uel; based on the novel by Daniel Defoe. With Dan O&rsquo;Herlihy and Jaime Fern&aacute;ndez.<br /><br />The first of two English-language features directed by Bu&ntilde;uel during his career, both of them written by blacklisted screenwriter Hugo Butler and filmed in Mexico, ROBINSON CRUSOE stars Dan O&rsquo;Herlihy as the shipwrecked protagonist of Defoe&rsquo;s famous novel. Hewing surprisingly closely to the source material, Butler and Bu&ntilde;uel&rsquo;s version admirably meets the challenge of making a narrative film with very little dialogue and, until late in the film, only a single, solitary character. Perhaps the most significant departure from the novel, and certainly a reflection of Butler and Bu&ntilde;uel&rsquo;s own sentiments, is the treatment of faith. Where in the novel the Bible represents a source of strength for Crusoe, the film treats religion far more ambivalently, especially when Crusoe&rsquo;s attempts to promote Christianity to his newfound companion, the uncivilized native Friday, are undermined by Friday&rsquo;s common sense questions.</p> Friday, December 05 SHOW & TELL: ROBERTA FRIEDMAN & GRAHAME WEINBREN: PROGRAM 1 http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2014#showing-43621 <p>Roberta Friedman&rsquo;s and Grahame Weinbren&rsquo;s moving image works range across many formats, from film, through analogue video and digital moving image, to hybrid forms. At base, their artistic practice is inspired by an enthusiasm for the very fact of cinema &ndash; the mystery and magic of capturing and displaying space, sound, motion, and time. Their works challenge accepted boundaries and combine established forms, and include collaborations with actors and non-actors, musicians, designers, and artists of all types. If there is a unifying factor, it is in the search for temporal architectures within which the moving image can communicate what lies beyond the limits of language.<br />&ldquo;What cannot be said can only be shown.&rdquo; &ndash;Wittgenstein<br /><br />PROGRAM 1:<br />Interactivity as a mode of cinema was a major interest for 15 or 20 years. This program consists of Weinbren&rsquo;s LETTERS, an &lsquo;interactive&rsquo; work (in the most basic sense of the term) consisting of 70 or so movies, each one minute long, their sequence determined by the audience, which unfolds into a kind of autobiographical territory as the elements gradually fit together. Each performance of the piece is always different and includes new work, so it is a constantly updating premiere.<br /><br /><strong>Premiere of current version!<br /></strong>Grahame Weinbren<br />70 LETTERS<br />(1997-2014 and continuing, 75 min, 4:4:4 uncompressed LimoHD, video player designed by Isaac Dimitrovsky.)</p> Friday, December 05 SALT OF THE EARTH http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2014#showing-43578 <p>Written by Michael Wilson. With Rosaura Revueltas, Juan Chacon, Will Geer, and Henrietta Williams.<br /><br />&ldquo;Despite Pauline Kael&rsquo;s dismissal of SALT OF THE EARTH as &lsquo;Communist propaganda,&rsquo; this landmark film is now celebrated as a progenitor of an American strain of neorealism. One of the most militant pro-union films ever released in the United States, as well as a proto-feminist paean to the power of female solidarity, SALT was in effect blacklisted itself. Smeared by the right-wing press, the leadership of the technicians&rsquo; union (IATSE), pressured its lab workers to refuse to produce prints and its projectionists to resist showing the film. Michael Wilson&rsquo;s script is a powerful evocation of a heroic strike by Mexican-American zinc miners in New Mexico and the women (the film is enlivened by Rosaura Revueltas&rsquo;s powerful performance as Esperanza) who take their place on their picket line as management tries to suppress the strike with an injunction made possible by the Taft-Hartley &lsquo;right to work&rsquo; law. Wilson, who has been posthumously recognized for uncredited contributions to THE BRIDGE ON THE RIVER KWAI and LAWRENCE OF ARABIA, among other films, took the Fifth Amendment when called before HUAC and proclaimed that the committee was &lsquo;committing subversion against the Bill of Rights.&rsquo;&rdquo; &ndash;Richard Porton</p> Friday, December 05 INTIMATE STRANGER (aka FINGER OF GUILT) http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2014#showing-43581 <p>Written by Howard Koch (originally as &ldquo;Peter Howard&rdquo;). With Richard Basehart, Mary Murphy, Constance Cummings, and Roger Livesey. Archival print courtesy of the Harvard Film Archive.<br /><br />&ldquo;Of all the blacklisted exiles&rsquo; European films, THE INTIMATE STRANGER provides the most direct allegory of their experience. Richard Basehart plays Reggie Wilson, a Hollywood director now working in England on account of an undisclosed scandal. Howard Koch&rsquo;s (as Peter Howard) screenplay abounds in noir tropes that resonate with the insecurities caused by blacklist and exile: Reggie is haunted by his past, is threatened by an informer, and blackmailed by a femme fatale. Losey&rsquo;s noir visuals add to the sense of entrapment.&rdquo; &ndash;Rebecca Prime</p> Saturday, December 06 EC: STAUFFACHER/RICE http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2014#showing-43541 <p>Frank &amp; Barbara Stauffacher<br />SAUSALITO (1948, 10 min, 16mm, b&amp;w)<br />This film is part &lsquo;city symphony&rsquo; and part &lsquo;outtakes for an experimental film.&rsquo; Sausalito is the picturesque waterfront town across the Golden Gate Bridge from San Francisco &ndash; the Stauffachers&rsquo; portrait experiments with slow motion, split screens, and superimposition.<br /><br />Ron Rice<br />CHUMLUM (1964, 23 min, 16mm. With Jack Smith, Mario Montez, and Gerard Malanga.)<br />&ldquo;One of the underground&rsquo;s best and most influential films.&rdquo; &ndash;Peter Gidal<br />&amp;<br />Ron Rice<br />THE FLOWER THIEF<br />(1960, 59 min, 16mm, b&amp;w. Starring Taylor Mead. Preserved by Anthology Film Archives with support from the National Film Preservation Foundation.)<br />[<strong>THE FLOWER THIEF is not technically part of the Essential Cinema selection, but we&rsquo;ll be screening it alongside CHUMLUM as a special bonus!</strong>]<br />&ldquo;In the old Hollywood movie days movie studios would keep a man on the set who, when all other sources of ideas failed (writers, directors), was called upon to &lsquo;cook up&rsquo; something for filming. He was called The Wild Man. THE FLOWER THIEF has been put together in memory of all dead wild men who died unnoticed in the field of stunt.&rdquo; &ndash;R.R.<br /><br />Total running time: ca. 100 min.</p> Saturday, December 06 JE SUIS UN SENTIMENTAL http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2014#showing-43584 <p>Written by Lee Gold and Tamara Hovey. Archival print courtesy of the Cin&eacute;math&egrave;que Fran&ccedil;aise.<br /><br />&ldquo;JE SUIS UN SENTIMENTAL marked director John Berry&rsquo;s second film noir spoof starring Eddie Constantine, the American actor whose popular screen persona &ndash; as the hard-boiled detective Lemmy Caution &ndash; would later appear in Jean-Luc Godard&rsquo;s ALPHAVILLE. In a variation on this role, Constantine plays a callous journalist who discovers his conscience, while Berry slips in some class commentary between the wisecracks and action sequences.&rdquo; &ndash;Rebecca Prime</p> Saturday, December 06 SHOW & TELL: ROBERTA FRIEDMAN & GRAHAME WEINBREN: PROGRAM 2 http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2014#showing-43623 <p>Roberta Friedman&rsquo;s and Grahame Weinbren&rsquo;s moving image works range across many formats, from film, through analogue video and digital moving image, to hybrid forms. At base, their artistic practice is inspired by an enthusiasm for the very fact of cinema &ndash; the mystery and magic of capturing and displaying space, sound, motion, and time. Their works challenge accepted boundaries and combine established forms, and include collaborations with actors and non-actors, musicians, designers, and artists of all types. If there is a unifying factor, it is in the search for temporal architectures within which the moving image can communicate what lies beyond the limits of language.<br />&ldquo;What cannot be said can only be shown.&rdquo; &ndash;Wittgenstein<br /><br />PROGRAM 2:<br />Friedman&rsquo;s and Weinbren&rsquo;s works evolve over years or even decades. This program includes the first screening of STRAIGHT FROM BERTHA, partly inspired by Gertrude Stein&rsquo;s THE MAKING OF AMERICANS, produced with three generations of a matriarchal family: BERTHA&rsquo;S CHILDREN filmed in 1976, BERTHA&rsquo;S GRANDCHILDREN 30 years later, and BERTHA&rsquo;S GREATS WITH NORMA, the most recent installment shot in 2013 with multiple cameras in the ruins of the former Millennium Film Workshop on East 4th Street in the East Village. Much of Friedman and Weinbren&rsquo;s work involves music &ndash; either as inspiration or in collaboration. Composer James Fulkerson worked with the filmmakers on the rarely screened TERMS OF ANALYSIS, and in this program, live musicians accompany a hybrid version of FUTURE PERFECT, originally in 16mm with ink marks, then transferred to digital video with virtual marks.<br /><br />Roberta Friedman &amp; Dan Loewenthal<br />COSMOPOLITAN: 49 WALTZES FOR THE WORLD (short version) (2013, 15 min, HD Video)<br /><br />Roberta Friedman &amp; Grahame Weinbren<br />FROM &ldquo;THE ERL KING&rdquo; (1983-2005, 4 min, 16mm-to-laser disc)<br /><br />Roberta Friedman &amp; Grahame Weinbren<br />STRAIGHT FROM BERTHA (1976/2010/2014, 40 min, 16mm/video/digital. <strong>Premiere!</strong>)<strong><br /><br /></strong>Roberta Friedman &amp; Grahame Weinbren<br />TERMS OF ANALYSIS (1982, 15 min, 16mm. Made in collaboration with Jim Fulkerson, composer, trombonist)<br /><br />Roberta Friedman &amp; Grahame Weinbren<br />POST FUTURE PAST PERFECT (1978, ca. 11 min, 16mm, with bass &amp; saxophone.)<br />Musicians: Harry D&rsquo;Agostino (bass) and Jeremy Dylan (alto saxophone).<br /><br />Total running time: ca. 90 min.</p> Saturday, December 06 THE CASE AGAINST BROOKLYN http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2014#showing-43587 <p>Screenplay by Bernard Gordon (originally as &ldquo;Stanley T. Marcus&rdquo;), Julian Zimet (originally uncredited), and Daniel B. Ullman; based on the novel by Ed Reid. With Darren McGavin, Margaret Hayes, and Warren Stevens.<br /><br />&ldquo;Rarely revived, this &lsquo;B&rsquo; expos&eacute; of corrupt cops involved in a bookmaking operation was based on a series of articles by Brooklyn Eagle reporter Ed Reid. Producer Charles Schneer turned a blind eye to the blacklist, several times hiring Bernard Gordon under his pseudonym. Gordon brought in Zimet, his close friend since City College days; both were Communists and leaders of the Screen Readers Guild, whose membership was wiped out in the blacklist. Alone or together, the Gordon-Zimet oeuvre is dotted with subversive intelligence. BROOKLYN was sent out at the bottom of double bills, inevitably overshadowing the main attraction. &lsquo;The script turned out fine,&rsquo; wrote the overly modest Gordon in HOLLYWOOD EXILE. Blacklisting forced Zimet (aka Julian Halevy) abroad, and at this writing, in his mid-90s, he still lives in Rome.&rdquo; &ndash;Patrick McGilligan</p> Saturday, December 06 MIGRATING FORMS: TUBE TIME! http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2014#showing-43654 <p>Tube Time! is back for its 9th edition, with teams captained by internet aficionados Caroline Golum, Lucy Ives, Zachary Kaplan, Shinhwa'ak Krebs Khalil, Nick Pinkerton and Lexi Welch. Hosted by Ben Coonley and Angie Waller, Tube Time! is a bracket style contest with teams presenting found internet videos to an audience whose applause determines the winner.<br /><br />Tube Time is presented by Migrating Forms, and is presented in anticipation of the 6th edition, taking place December 10-18 at BAMcin&eacute;matek. For more information, visit: <a href="http://www.bam.org/migratingforms">http://www.bam.org/migratingforms</a></p> <p>&nbsp;</p> <p>&nbsp;</p> Saturday, December 06 TERROR IN A TEXAS TOWN http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2014#showing-43591 <p>Written by Dalton Trumbo (credited to Ben Perry). With Sterling Hayden and Sebastian Cabot.<br /><br />This is one of many films Dalton Trumbo wrote under cover of fronts during the blacklist (his work here is credited to Ben Perry), and one doesn&rsquo;t need to dig deep to uncover progressive themes. The story finds Swedish seaman George Hansen (Hayden) taking on wealthy oilman McNeil (Cabot) and his gang of hired guns, who have been resorting to intimidation, violence, and worse to force immigrant farmers off their land. Directed by the great B-filmmaker Joseph H. Lewis, best known for his resourceful cult film GUN CRAZY (also written by Trumbo), TERROR is equally deserving of cult status. This is largely thanks to the always indelible presence of Sterling Hayden, here adopting a bizarre quasi-Swedish accent and wielding a harpoon(!) as his weapon of choice (Hayden was a friendly witness who, to his credit, spent the rest of his life publicly recanting his testimony). Just two years after the release of TERROR, Trumbo would be at the front lines of the war on McCarthyism, when Otto Preminger defied the blacklist by publicly crediting him for his work on EXODUS.</p> <p>&nbsp;</p> Sunday, December 07 EC: O’NEILL / RICHTER / SHARITS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2014#showing-43545 <p>Pat O&rsquo;Neill<br />SAUGUS SERIES (1974, 19 min, 16mm)<br />Actually, seven short films, one-and-a-half to six minutes long, united by a common soundtrack. Each is an evolving &ldquo;still life,&rdquo; made up of meticulously assembled but spatially contradictory elements. For example, in one part the sun can be seen, by its shadows, to be traveling in one direction in the upper half of the screen, and in the opposite in the lower half.<br /><br />Hans Richter<br />RHYTHMUS 21 (1921, 3 min, 35mm, b&amp;w, silent)<br />&ldquo;Its content is essentially rhythm, the formal vocabulary is elemental geometry, and the structural principle is counterpoint of contrasting opposites.&rdquo; &ndash;Standish Lawder<br /><br />EVERYTHING REVOLVES, EVERYTHING TURNS / ALLES DREHT SICH, ALLES BEWEGT SICH (1929, 9 min, 16mm, b&amp;w, silent)<br /><br />Paul Sharits<br />N:O:T:H:I:N:G<br />(1968, 36 min, 16mm. Preserved by Anthology Film Archives with support from the National Film Preservation Foundation.)<br />&ldquo;Based in part on the Tibetan Mandala of the Five Dhyani Buddhas/a journey toward the center of pure consciousness (Dharma-Dhatu Wisdom)/space and motion generated rather than illustrated/time-color energy create virtual shape/in negative time, growth is inverse decay.&rdquo; &ndash;P.S.<br />&ldquo;In essence there are only three flicker films of importance, ARNULF RAINER, THE FLICKER, and N:O:T:H:I:N:G&hellip;. [I]t is Sharits&rsquo;s N:O:T:H:I:N:G that opens the field for the structural film with a flicker base.&rdquo; &ndash;P. Adams Sitney<br /><br />T,O,U,C,H,I,N,G (1969, 12 min, 16mm. Preserved by Anthology!)<br />Starring poet David Franks whose voice appears on the soundtrack/an uncutting and unscratching mandala.<br />&ldquo;Merges violence with purity.&rdquo;&nbsp; &ndash;P. Adams Sitney<br />&ldquo;Surrealist tour de force.&rdquo; &ndash;Parker Tyler<br /><br />Total running time: ca. 85 min.</p> Sunday, December 07 TIME WITHOUT PITY http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2014#showing-43595 <p>Written by Ben Barzman; based on a play by Emlyn Williams. With Michael Redgrave, Ann Todd, and Leo McKern. Archival print courtesy of the British Film Institute.<br /><br />&ldquo;TIME WITHOUT PITY marked a turning point in Joseph Losey&rsquo;s post-blacklist career. For the first time since beginning his European exile, he had the opportunity to address a serious social issue, with a sizable budget and a top-drawer cast as icing on the cake. Working with his frequent collaborator and fellow blacklisted exile, screenwriter Ben Barzman, Losey fashioned a taut thriller that is at once an indictment of capital punishment &ndash; at the time still legal in the United Kingdom &ndash; and the British class system. While the film&rsquo;s deadline structure and baroque touches give it a hysterical edge that did not appeal to British critics, its visual flair helped establish Losey&rsquo;s reputation in France as a &lsquo;metteur en sc&egrave;ne cosmique.&rsquo;&rdquo; &ndash;Rebecca Prime</p> Sunday, December 07 WHITE CUBE / BLACK BOX: Walter De Maria’s HARDCORE http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2014#showing-43611 <p>With work at the vanguard of conceptual art, Minimalism, installation, and land art, Walter De Maria (1935-2013) was one of the preeminent artists of the second half of the 20th century. After relocating to New York from California in 1960 he opened a gallery with Robert Whitman and began creating minimalist sculptures out of wood, and later metal. Among his most well-known works are his site-specific installations <em>The Lightning Field </em>(New Mexico, 1977), <em>The New York Earth Room</em> (New York, 1977), and <em>The Vertical Earth Kilometer </em>(Kassel, 1977). Though De Maria&rsquo;s output extended over five decades, HARDCORE is one of only two films completed by the artist.<br /><br />As minimal and sublime as De Maria&rsquo;s sculptures, HARDCORE is a beautifully-shot Western distilled to the purest elements: a wide open landscape and gunfight show-down. De Maria composed the sound for the film and stars in it alongside fellow artist Michael Heizer. He said of the almost structuralist work, &ldquo;making a very controlled film was very much in the spirit of my sculpture and I felt it was really part of my work.&rdquo;<br /><br />The film was commissioned by James Newman of the Dilexi Foundation of San Francisco as part of a project to bring artists&rsquo; works to broadcast television. The film aired on KQED TV, San Francisco, in 1969 with other work in the series by Terry Riley, Yvonne Rainer, Robert Nelson, William Wiley, Frank Zappa, Andy Warhol, Robert Frank, and others.<br /><br />De Maria&rsquo;s film is paired here with Walter Forsberg and John Klacsmann&rsquo;s TECHNICOLOR N.G., a film that distills the Western down to very different elements. In this film, &ldquo;a Technicolor dye transfer printing error mis-registers a 1967 B-Western, revealing cyan ghosts and cinema&rsquo;s psychedelic underpinnings.&rdquo; That this mis-registered print still exists is an anomaly, as Technicolor was known for strict quality control. With a live score by Forsberg and Klacsmann, the film is a mesmerizing investigation into the unseen foundations of the cinematic image of the West.<br /><br />ABOUT WHITE CUBE / BLACK BOX:<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 and works by experimental filmmakers. Curated by Ava Tews.<br /><br />Walter Forsberg &amp; John Klacsmann TECHNICOLOR N.G. (2014, 20 min, 16mm, live sound)<br />Walter De Maria HARDCORE (1969, 28 min, 16mm. Courtesy of the Whitney Museum of American Art, New York. Gift of Virginia Dwan.)</p> Sunday, December 07 THE KEY http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2014#showing-43598 <p>Written by Carl Foreman; based on the novel by Jan de Hartog. With William Holden, Sophia Loren, Trevor Howard, and Oskar Homolka.<br /><br />Called before HUAC during the production of his most famous film, HIGH NOON, Carl Foreman refused to name names and was swiftly blacklisted. In order to keep working, he relocated to the UK, where he would live for the next three decades (like Cy Endfield, he did ultimately make an accommodation with HUAC after a decade of blacklisting, albeit one that involved naming no names). A rarely-screened gem from that period, THE KEY was both written and produced by Foreman, with the directing duties taken on by the great British noir filmmaker Carol Reed (THE THIRD MAN). A strange blend of WWII adventure, romance, and a hint of the supernatural, it stars William Holden as the captain of a tugboat charged with hauling war-damaged ships back to safety. A fellow officer entrusts him with a key to the apartment of the beautiful Stella (Sophia Loren), drawing him into a love affair but perhaps also ensnaring him in a fatal curse.</p> Sunday, December 07 INTIMATE STRANGER (aka FINGER OF GUILT) http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2014#showing-43582 <p>Written by Howard Koch (originally as &ldquo;Peter Howard&rdquo;). With Richard Basehart, Mary Murphy, Constance Cummings, and Roger Livesey. Archival print courtesy of the Harvard Film Archive.<br /><br />&ldquo;Of all the blacklisted exiles&rsquo; European films, THE INTIMATE STRANGER provides the most direct allegory of their experience. Richard Basehart plays Reggie Wilson, a Hollywood director now working in England on account of an undisclosed scandal. Howard Koch&rsquo;s (as Peter Howard) screenplay abounds in noir tropes that resonate with the insecurities caused by blacklist and exile: Reggie is haunted by his past, is threatened by an informer, and blackmailed by a femme fatale. Losey&rsquo;s noir visuals add to the sense of entrapment.&rdquo; &ndash;Rebecca Prime</p> Monday, December 08 CRY THE BELOVED COUNTRY http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2014#showing-43571 <p>Screenplay by John Howard Lawson (originally uncredited), with South African Alan Paton &lsquo;fronting&rsquo; for Lawson; based on Paton&rsquo;s seminal 1948 novel. With Canada Lee, Sidney Poitier, and Charles Carson. Archival print courtesy of the Black Film Center/Indiana University.<br /><br />&ldquo;Extraordinary and moving, this early anti-apartheid film boasts a standout performance by blacklisted actor Canada Lee, as the Anglican minister who comes to Johannesburg in search of his son and becomes entangled with the racist system. (Lee&rsquo;s premature death one year later was hastened by HUAC pressures.) Lawson wore so many hats &ndash; New Theater playwright, author of the seminal THEORY AND TECHNIQUE OF PLAYWRITING and other key works about stage and screen, first President of the Screen Writers Guild, leader of the Hollywood branch of the Communist Party, first on HUAC&rsquo;s list of &lsquo;unfriendlies&rsquo; &ndash; one might forget that he was a tough-minded scenarist who repeatedly tackled difficult subjects and themes. Written before Lawson and the other Hollywood Ten went to prison, ruining Lawson&rsquo;s future in film, CRY THE BELOVED COUNTRY is his penultimate script before THE CARELESS YEARS, in 1957. CRY is &lsquo;perhaps his most powerful film,&rsquo; wrote Gerald Horne in THE FINAL VICTIM OF THE BLACKLIST.&rdquo; &ndash;Patrick McGilligan</p> Monday, December 08 JE SUIS UN SENTIMENTAL http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2014#showing-43585 <p>Written by Lee Gold and Tamara Hovey. Archival print courtesy of the Cin&eacute;math&egrave;que Fran&ccedil;aise.<br /><br />&ldquo;JE SUIS UN SENTIMENTAL marked director John Berry&rsquo;s second film noir spoof starring Eddie Constantine, the American actor whose popular screen persona &ndash; as the hard-boiled detective Lemmy Caution &ndash; would later appear in Jean-Luc Godard&rsquo;s ALPHAVILLE. In a variation on this role, Constantine plays a callous journalist who discovers his conscience, while Berry slips in some class commentary between the wisecracks and action sequences.&rdquo; &ndash;Rebecca Prime</p> Tuesday, December 09 THE ADVENTURES OF ROBINSON CRUSOE http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2014#showing-43575 <p>Written by Hugo Butler (originally as &ldquo;Philip Ansell Roll&rdquo;) and Bu&ntilde;uel; based on the novel by Daniel Defoe. With Dan O&rsquo;Herlihy and Jaime Fern&aacute;ndez.<br /><br />The first of two English-language features directed by Bu&ntilde;uel during his career, both of them written by blacklisted screenwriter Hugo Butler and filmed in Mexico, ROBINSON CRUSOE stars Dan O&rsquo;Herlihy as the shipwrecked protagonist of Defoe&rsquo;s famous novel. Hewing surprisingly closely to the source material, Butler and Bu&ntilde;uel&rsquo;s version admirably meets the challenge of making a narrative film with very little dialogue and, until late in the film, only a single, solitary character. Perhaps the most significant departure from the novel, and certainly a reflection of Butler and Bu&ntilde;uel&rsquo;s own sentiments, is the treatment of faith. Where in the novel the Bible represents a source of strength for Crusoe, the film treats religion far more ambivalently, especially when Crusoe&rsquo;s attempts to promote Christianity to his newfound companion, the uncivilized native Friday, are undermined by Friday&rsquo;s common sense questions.</p> Tuesday, December 09 NEWFILMMAKERS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2014#showing-43420 <p>For full program listings, visit&nbsp;<a href="http://www.newfilmmakers.com" target="_blank">www.newfilmmakers.com</a>.</p> Wednesday, December 10 THE CASE AGAINST BROOKLYN http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2014#showing-43588 <p>Screenplay by Bernard Gordon (originally as &ldquo;Stanley T. Marcus&rdquo;), Julian Zimet (originally uncredited), and Daniel B. Ullman; based on the novel by Ed Reid. With Darren McGavin, Margaret Hayes, and Warren Stevens.<br /><br />&ldquo;Rarely revived, this &lsquo;B&rsquo; expos&eacute; of corrupt cops involved in a bookmaking operation was based on a series of articles by Brooklyn Eagle reporter Ed Reid. Producer Charles Schneer turned a blind eye to the blacklist, several times hiring Bernard Gordon under his pseudonym. Gordon brought in Zimet, his close friend since City College days; both were Communists and leaders of the Screen Readers Guild, whose membership was wiped out in the blacklist. Alone or together, the Gordon-Zimet oeuvre is dotted with subversive intelligence. BROOKLYN was sent out at the bottom of double bills, inevitably overshadowing the main attraction. &lsquo;The script turned out fine,&rsquo; wrote the overly modest Gordon in HOLLYWOOD EXILE. Blacklisting forced Zimet (aka Julian Halevy) abroad, and at this writing, in his mid-90s, he still lives in Rome.&rdquo; &ndash;Patrick McGilligan</p> Wednesday, December 10 HE RAN ALL THE WAY http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2014#showing-43567 <p>Written by Dalton Trumbo and Hugo Butler (both originally as &ldquo;Guy Endore&rdquo;); based on the novel by Sam Ross. With John Garfield, Shelley Winters, Wallace Ford, and Norman Lloyd.<br /><br />&ldquo;Known primarily for featuring John Garfield&rsquo;s final performance, many of the personnel associated with this film were either blacklisted or lived in the shadow of the blacklist. As John Berry confessed in an interview, an aura of doom hangs over this well-crafted noir. Credited to front Guy Endore and Hugo Butler, most of the script was in fact written by Dalton Trumbo who, by the time of the movie&rsquo;s release, had served time in a federal penitentiary in Kentucky for contempt of Congress. A home invasion noir in a working-class milieu that anticipates William Wyler&rsquo;s more famous DESPERATE HOURS, it stars Garfield as Nick Robey, the putative villain, who shares his captives&rsquo; mistrust of the police &ndash; several critics have pointed to the sense of &lsquo;proletarian solidarity&rsquo; that unites Robey and his victims. Garfield&rsquo;s fate proved as tragic as the protagonist he plays &ndash; hauled before HUAC in 1951, where he refused to name names or confirm Trumbo&rsquo;s participation on HE RAN ALL THE WAY, the star was dead of a heart attack by 1952.&rdquo; &ndash;Richard Porton</p> Wednesday, December 10 SALT OF THE EARTH http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2014#showing-43579 <p>Written by Michael Wilson. With Rosaura Revueltas, Juan Chacon, Will Geer, and Henrietta Williams.<br /><br />&ldquo;Despite Pauline Kael&rsquo;s dismissal of SALT OF THE EARTH as &lsquo;Communist propaganda,&rsquo; this landmark film is now celebrated as a progenitor of an American strain of neorealism. One of the most militant pro-union films ever released in the United States, as well as a proto-feminist paean to the power of female solidarity, SALT was in effect blacklisted itself. Smeared by the right-wing press, the leadership of the technicians&rsquo; union (IATSE), pressured its lab workers to refuse to produce prints and its projectionists to resist showing the film. Michael Wilson&rsquo;s script is a powerful evocation of a heroic strike by Mexican-American zinc miners in New Mexico and the women (the film is enlivened by Rosaura Revueltas&rsquo;s powerful performance as Esperanza) who take their place on their picket line as management tries to suppress the strike with an injunction made possible by the Taft-Hartley &lsquo;right to work&rsquo; law. Wilson, who has been posthumously recognized for uncredited contributions to THE BRIDGE ON THE RIVER KWAI and LAWRENCE OF ARABIA, among other films, took the Fifth Amendment when called before HUAC and proclaimed that the committee was &lsquo;committing subversion against the Bill of Rights.&rsquo;&rdquo; &ndash;Richard Porton</p> Thursday, December 11 UNESSENTIAL CINEMA PRESENTS: MORE OR LESS THAN 23FPS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2014#showing-43613 <p>A celluloid film print contains thousands of sequential single images that, when projected, look like they are moving. The goal is to make them move at a standard speed so that the motion appears realistic. For sound films, this means playing a print at the calibrated industry standard of 24 frames per second. While this is an oversimplified explanation of how film projection works, it is enough for you to understand that this edition of Unessential Cinema will attempt to find out what happens if you play a movie at the wrong frame rate. Exploiting the possibilities of our brand new projectors, we will be projecting a feature film in its entirety at a variety of different speeds, drastically and perhaps dramatically affecting not only the running time but your entertainment value. What film will we show? Let&rsquo;s just say that we can&rsquo;t say because if we did that would ruin the surprise and possibly create legal trouble. Okay, one hint: it stars an Academy Award winner.<br /><br />FREE FOR AFA MEMBERS!</p> Thursday, December 11 THE CASE AGAINST BROOKLYN http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2014#showing-43589 <p>Screenplay by Bernard Gordon (originally as &ldquo;Stanley T. Marcus&rdquo;), Julian Zimet (originally uncredited), and Daniel B. Ullman; based on the novel by Ed Reid. With Darren McGavin, Margaret Hayes, and Warren Stevens.<br /><br />&ldquo;Rarely revived, this &lsquo;B&rsquo; expos&eacute; of corrupt cops involved in a bookmaking operation was based on a series of articles by Brooklyn Eagle reporter Ed Reid. Producer Charles Schneer turned a blind eye to the blacklist, several times hiring Bernard Gordon under his pseudonym. Gordon brought in Zimet, his close friend since City College days; both were Communists and leaders of the Screen Readers Guild, whose membership was wiped out in the blacklist. Alone or together, the Gordon-Zimet oeuvre is dotted with subversive intelligence. BROOKLYN was sent out at the bottom of double bills, inevitably overshadowing the main attraction. &lsquo;The script turned out fine,&rsquo; wrote the overly modest Gordon in HOLLYWOOD EXILE. Blacklisting forced Zimet (aka Julian Halevy) abroad, and at this writing, in his mid-90s, he still lives in Rome.&rdquo; &ndash;Patrick McGilligan</p> Thursday, December 11