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 Thu, 18 Dec 2014 13:16:35 -0500 EC: HARRY SMITH <p>FILM NOS. 1-5, 7, 10 (EARLY ABSTRACTIONS) (1941-57, 23 min, 16mm. Preserved by Anthology Film Archives with support from the National Film Preservation Foundation.)<br />FILM NO. 6 (1948-51, 1.5 min, 16mm, silent, anaglyph 3-D)<br />BRAND NEW 16MM PRINT!<br />&ldquo;FILM NO. 6 was shot in anaglyphic stereo, the red and green colors signifying ending and beginning in alchemical lore (cf. Duchamp&rsquo;s MOUSTIQUES DOMESTIQUE DEMISTOCK), and is similar to FILM NO. 7, which contains very intricate, multi-layered images re-photographed by repeated rear-screen projection to build up elaborate constructs reminiscent of Kandinsky&rsquo;s later geometric paintings, moving in a vibrant, organic, truly symphonic interlacing.&rdquo; &ndash;William Moritz<br />FILM NO. 11 (MIRROR ANIMATIONS) (1957, 4 min, 16mm-to-35mm blow-up. Preserved by Anthology Film Archives.)<br />FILM NO. 14 (LATE SUPERIMPOSITIONS) (1964, 28 min, 16mm)<br />FILM NO. 16 (OZ: THE TIN WOODMAN&rsquo;S DREAM) (1967, 15 min, 35mm, silent)<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. 80 min.</p> Thursday, December 18 EC: Harry Smith's FILM NO. 12 (HEAVEN AND EARTH MAGIC) <p>Preserved by Anthology Film Archives with support from the National Film Preservation Foundation and Cineric, Inc.<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<br /><br />Preceded by:<br />NEW ANTHOLOGY PRESERVATION!<br />FILM NO. 7 (COLOR STUDY) (1952, 5.5 min, 16mm-to-35mm blow-up, silent. Preserved by Anthology Film Archives. Special thanks to Simon Lund.)<br />Originally funded by a grant from the Guggenheim Foundation, this vibrant, multi-layered abstract animation coincided with Smith&rsquo;s relocation from California to New York. Preserved from the rediscovered 16mm Kodachrome camera original by Cineric, Inc. in 2013.<br />&ldquo;Optically printed Pythagoreanism in four movements supported on squares, circles, grillwork and triangles with an interlude concerning an experiment.&rdquo; &ndash;H.S.</p> Friday, December 19 EC: JACK SMITH <p>SCOTCH TAPE (1962, 3 min, 16mm)<br />Junkyard musical.<br />&amp;<br />FLAMING CREATURES<br />(1963, 45 min, 16mm, b&amp;w)<br />&ldquo;[Smith] graced the anarchic liberation of new American cinema with graphic and rhythmic power worthy of the best of formal cinema. He has attained for the first time in motion pictures a high level of art which is absolutely lacking in decorum; and a treatment of sex which makes us aware of the restraint of all previous filmmakers.&rdquo; &ndash;FILM CULTURE</p> Saturday, December 20 EC: WAVELENGTH <p>&ldquo;[It] is without precedent in the purity of its confrontation with the essence of cinema: the relationships between illusion and fact, space and time, subject and object. It is the first post-Warhol, post-Minimal movie; one of the few films to engage those higher conceptual orders which occupy modern painting and sculpture. It has rightly been described as a &lsquo;triumph of contemplative cinema.&rsquo;&rdquo; &ndash;Gene Youngblood, L.A. FREE PRESS</p> Saturday, December 20 EC: < — > (BACK AND FORTH) <div> <p>&ldquo;This neat, finely tuned, hypersensitive film examines the outside and inside of a banal prefab classroom, stares at an asymmetrical space so undistinguished that it&rsquo;s hard to believe the whole movie is confined to it, and has this neckjerking camera gimmick which hits a wooden stop arm at each end of its swing. Basically it&rsquo;s a perpetual motion film which ingeniously builds a sculptural effect by insisting on time-motion to the point where the camera&rsquo;s swinging arcs and white wall field assume the hardness, the dimensions of a concrete beam.&rdquo; &ndash;Manny Farber, ARTFORUM</p> </div> Saturday, December 20 NEWFILMMAKERS <p>For full program listings, visit&nbsp;<a href="" target="_blank"></a>.</p> Sunday, December 21 EC: CARRIAGE TRADE <p>&ldquo;My magnum opus. Travels over four continents in six years.&rdquo; &ndash;W.S.<br /><br />&ldquo;With CARRIAGE TRADE, Sonbert began to challenge the theories espoused by the great Soviet filmmakers of the 1920s; he particularly disliked the &lsquo;knee-jerk&rsquo; reaction produced by Eisensteinian montage. In both lectures and writings about his own style of editing, Sonbert described CARRIAGE TRADE as &lsquo;a jig-saw puzzle of postcards to produce varied displaced effects.&rsquo; This approach, according to Sonbert, ultimately affords the viewer multi-faceted readings of the connections between shots through the spectator&rsquo;s assimilation of &lsquo;the changing relations of the movement of objects, the gestures of figures, familiar worldwide icons, rituals and reactions, rhythm, spacing, and density of images.&rdquo; &ndash;Jon Gartenberg</p> Sunday, December 21 NOTES & SKETCHES, ETC.: PROGRAM 4 <p>Jonas Mekas is widely acknowledged as the father of the &lsquo;diary film&rsquo;, and today he continues to keep his video camera constantly at his side, recording his daily experience with a peerlessly poetic eye. While he continues to produce and release &lsquo;official&rsquo; works from the footage he produces, he also values this material precisely for its informal, unprocessed, unfinished qualities. On each calendar we screen one program of Mekas&rsquo;s ongoing video diaries, an opportunity to see his &lsquo;notes &amp; sketches&rsquo; in their purest state.<br /><br />&ldquo;This program is a continuation of the ongoing video notes and sketches that I make with my video camera as I go through my life. They are casual, and of little importance, with no pretentions to art, cinema art or any art, but I feel an urge to share them with my friends.&rdquo; &ndash;J.M.</p> Sunday, December 21 THE SECRET LIFE OF…ANTHOLOGY FILM ARCHIVES <p>A once-a-calendar opportunity to take a peek at the teeming hive of creativity hiding behind the scenes at Anthology, thanks to the film- and video-making efforts of AFA&rsquo;s staff, friends, fellow-travelers, and devotees.</p> Sunday, December 21