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 Tue, 10 Dec 2019 06:24:01 -0500 SHOW & TELL: SEBASTIAN BRAMESHUBER, PGM 2 http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2019#showing-51681 <p>The December installment of &ldquo;Show &amp; Tell&rdquo; represents a comprehensive survey of the films and videos of Sebastian Brameshuber. Born in Austria in 1981, and a graduate of the University of Applied Arts in Vienna and Le Fresnoy &ndash; Studio national des arts contemporains in France, Brameshuber has moved freely between short films and features, and from frankly experimental formal exercises to documentary portraits of under-represented individuals and cultures (muezzin competitions in Turkey, adolescents in provincial Austria, and Nigerian immigrants in the Alps). This dichotomy is blurred, however, especially since the documentaries unmistakably reflect his preoccupation with probing the difficulties of representation in a world dominated by images. Sociopolitical concerns and questions of form are closely intertwined in Brameshuber&rsquo;s work, whether he&rsquo;s creating a structuralist remake of the Lumi&egrave;re brothers&rsquo; WORKERS LEAVING THE FACTORY (IN, OVER &amp; OUT) or charting the transcontinental existence of a Nigerian-born mechanic (MOVEMENTS OF A NEARBY MOUNTAIN).<br /><br />The Sebastian Brameshuber screenings are presented with support from the Austrian Cultural Forum New York; special thanks to Michael Haider, Christian Ebner &amp; Nadja Weidmann.<br /><br />PROGRAM 2:<br />AND THERE WE ARE, IN THE MIDDLE / UND IN DER MITTE, DA SIND WIR<br />(2014, 91 min, digital. In German with English subtitles.)<br />&ldquo;Andi plays the electric guitar and is mad about guns. Michi hopes his Doc Martens show the right political stance. Ramona is looking for an apprenticeship and has her heart set on a lip piercing. These three 15-year-olds live in Ebensee, a village in Austria where in 2009 the annual memorial ceremony at the former concentration camp was disrupted by a group of youths with air rifles. [&hellip;] Combining beautifully shot moments from the teenagers&rsquo; day-to-day lives over the course of a year and statements from them and their parents about the treatment of the Nazi period, the film also outlines what sensitivities the official culture of remembrance is met with. And not just in Ebensee.&rdquo; &ndash;Birgit Kohler, BERLINALE FORUM<br /><br />Preceded by:<br />OF STAINS, SCRAP &amp; TIRES (2014, 19 min, Super-16mm-to-digital. In German with English subtitles.)<br />&ldquo;A calm, documentary miniature that chooses the auto export business of three young Nigerians in the Erzberg region as a point of association and departure for formulating something more fundamental about the first and third worlds, movement and standstill, business, space, and freedom.&rdquo; &ndash;Stefan Grissemann, SIXPACK FILM<br /><br />Total running time: ca. 115 min.</p> Tuesday, December 10 EMPTY METAL http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2019#showing-51825 <p>U.S. THEATRICAL PREMIERE RUN!<br /><br />Distributed by Factory 25.<br /><br />Adam Khalil and Bayley Sweitzer&rsquo;s first feature as co-directors, EMPTY METAL is an uncompromising and ambitious film that serves as a head-on confrontation with our fraught socio-political realities. Taking the form of a surreal political thriller, EMPTY METAL follows three aimless millennials in a go-nowhere band who are recruited as willing pawns by a shadow revolution &ndash; an insurrection led by an unlikely cabal of Buddhist sovereign citizens, telepathic Indigenous militants, and Rastafarian computer hackers. The band&rsquo;s mission: to find and execute [names redacted].<br /><br />Dosed with the nihilistic punk DNA of Lizzie Borden&rsquo;s BORN IN FLAMES (1983) and the urgent, low-budget resourcefulness of Robert Kramer&rsquo;s ICE (1969), EMPTY METAL tosses scraps of our everyday dystopia into its psychic soup, serving up a present that shades into science fiction, studded with details of the daylight world returning with the clarity of a nightmare.<br /><br />&ldquo;EMPTY METAL attacks big questions with a heavy aesthetic arsenal &ndash; but some of its most traditional qualities are its most rewarding. Chief among these are the performances by the naturally gifted non-professional cast, mostly drawn from the filmmakers&rsquo; extended creative and social circles, including &Lambda; &pound; i &euro; &Ntilde; bandmates PVSSYHEAVEN, Sunk Heaven, and Sam Richardson, as well as soup-maker Oba and Brooklyn-based artist Paweł Wojtasik as the gurus. Eventually many of the players find themselves in the machinations of a political thriller, &agrave; la the low-rent No Wave genre exercises of Eric Mitchell, tied together by a brooding electronic score and Sweitzer&rsquo;s cool cinematography. The choice to meet violence with violence may be an unsettling one for some viewers to accept, but this is a willfully agitational work for exasperated times.&rdquo; &ndash;Jon Dieringer, SCREEN SLATE</p> <p><strong><span style="text-decoration: underline;">EMPTY METAL Special events schedule:&nbsp;<br /></span></strong><strong>THURSDAY DEC 5<br /></strong>Co-presented with&nbsp;<a href="https://www.gofundme.com/f/club-a-kitchen-free-community-meals-in-bushwick" target="_blank">Club A </a>community kitchen, featuring free homemade soup from Brooklyn's legendary soupman, Oba!<br />Special guest Jim Fletcher (The Wooster Group), co-directors &amp; cast members following 7:00 screening.<br />9:15pm screening co-directors will provide an introduction.</p> <p>&nbsp;<strong>FRI,&nbsp;DECEMBER 6&nbsp;&nbsp;</strong><br />7pm: Jon Series-Goff (Filmmaker/Executive Director Robert Flaherty Film Seminar) q&amp;a along with co-director Adam Khalil and executive producer Steve Holmgren.<br />9:15pm: Matthew Porterfield (filmmaker) q&amp;a along with co-director Adam Khalil and executive producer Steve Holmgren.<br />&nbsp;<br /><strong>SAT,&nbsp;DECEMBER&nbsp;7</strong><br />7pm: Conversation with Sky Hopinka and co-directors. Co-presented with&nbsp;<a href="https://www.fridmangallery.com/working-photos" target="_blank">Fridman Gallery</a><br />9:15pm screening co-directors will provide an introduction.<br />&nbsp;<br /><strong>SUN,&nbsp;DECEMBER&nbsp;8</strong><br />7pm Conversation with Lizzie Bougatsos (Gang Gang Dance) &amp; members of the Empty Metal soundtrack team following the 7:00 screening<br /><em>THEN&nbsp;</em> <a href="https://www.facebook.com/events/457512298231249/" target="_blank">music show afterparty</a> @ Berlin Under A feat. by Dreamcrusher, Leila Bordreuil, Sunk Heaven &amp; Pvssyheaven, all from&nbsp;the film's cast and soundtrack!<br />Ticket holders from screening get discounted entrance! Music starts 10:00PM.<br />9:15pm screening co-directors will provide an introduction.<br />&nbsp;<br /><strong>MON,&nbsp;DECEMBER&nbsp;9</strong><br />7:30pm screening conversation with artist Martha Rosler and co-directors following the screening.</p> Tuesday, December 10 SHOW & TELL: SEBASTIAN BRAMESHUBER, PGM 3 http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2019#showing-51683 <p>The December installment of &ldquo;Show &amp; Tell&rdquo; represents a comprehensive survey of the films and videos of Sebastian Brameshuber. Born in Austria in 1981, and a graduate of the University of Applied Arts in Vienna and Le Fresnoy &ndash; Studio national des arts contemporains in France, Brameshuber has moved freely between short films and features, and from frankly experimental formal exercises to documentary portraits of under-represented individuals and cultures (muezzin competitions in Turkey, adolescents in provincial Austria, and Nigerian immigrants in the Alps). This dichotomy is blurred, however, especially since the documentaries unmistakably reflect his preoccupation with probing the difficulties of representation in a world dominated by images. Sociopolitical concerns and questions of form are closely intertwined in Brameshuber&rsquo;s work, whether he&rsquo;s creating a structuralist remake of the Lumi&egrave;re brothers&rsquo; WORKERS LEAVING THE FACTORY (IN, OVER &amp; OUT) or charting the transcontinental existence of a Nigerian-born mechanic (MOVEMENTS OF A NEARBY MOUNTAIN).<br /><br />The Sebastian Brameshuber screenings are presented with support from the Austrian Cultural Forum New York; special thanks to Michael Haider, Christian Ebner &amp; Nadja Weidmann.<br /><br />PROGRAM 3:<br />MOVEMENTS OF A NEARBY MOUNTAIN / BEWEGUNGEN EINES NAHEN BERGS<br />(2019, 86 min, digital. In English, Igbo, and German with English subtitles.)<br />In a remote, abandoned industrial site near a centuries-old ore mine in the Austrian Alps, a self-taught mechanic runs a business exporting used cars to his native Nigeria. As he pursues his lonely day-to-day activities with wondrous serenity, past, present, and future begin to overlap, and memories of a lost friendship resurface against the backdrop of a mysterious promise of everlasting resources.<br /><br />&ldquo;Brameshuber has achieved that wonderfully simple thing where all you have to do is look and see and listen to what is happening on screen in order to get closer to another human being, where in the process of watching everything is revealed, and simultaneously kept mysterious.&rdquo; &ndash;David Perrin, MUBI<br /><br />Preceded by:<br />KEYNOTE (2006, 4 min, digital. Made in collaboration with Thomas Draschan.)<br />KEYNOTE is a video on the cult of the digital, promises of salvation through technology, and mass manipulation.<br /><br />PRESERVING CULTURAL TRADITIONS IN A PERIOD OF INSTABILITY (2004, 3 min, digital. Made in collaboration with Thomas Draschan.)<br />&ldquo;In a voiceover Stan Brakhage articulates his resentments about the use of computers for art production and in general. This comment is contrasted by video imagery turning more and more abstract until it bursts into a sea of square pixels. The video is an ironic illustration of Brakhage&rsquo;s views as these &lsquo;defunct&rsquo; images reveal a kind of beauty of their own.&rdquo; &ndash;VIENNALE<br /><br />Total running time: ca. 100 min.</p> Wednesday, December 11 EMPTY METAL http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2019#showing-51826 <p>U.S. THEATRICAL PREMIERE RUN!<br /><br />Distributed by Factory 25.<br /><br />Adam Khalil and Bayley Sweitzer&rsquo;s first feature as co-directors, EMPTY METAL is an uncompromising and ambitious film that serves as a head-on confrontation with our fraught socio-political realities. Taking the form of a surreal political thriller, EMPTY METAL follows three aimless millennials in a go-nowhere band who are recruited as willing pawns by a shadow revolution &ndash; an insurrection led by an unlikely cabal of Buddhist sovereign citizens, telepathic Indigenous militants, and Rastafarian computer hackers. The band&rsquo;s mission: to find and execute [names redacted].<br /><br />Dosed with the nihilistic punk DNA of Lizzie Borden&rsquo;s BORN IN FLAMES (1983) and the urgent, low-budget resourcefulness of Robert Kramer&rsquo;s ICE (1969), EMPTY METAL tosses scraps of our everyday dystopia into its psychic soup, serving up a present that shades into science fiction, studded with details of the daylight world returning with the clarity of a nightmare.<br /><br />&ldquo;EMPTY METAL attacks big questions with a heavy aesthetic arsenal &ndash; but some of its most traditional qualities are its most rewarding. Chief among these are the performances by the naturally gifted non-professional cast, mostly drawn from the filmmakers&rsquo; extended creative and social circles, including &Lambda; &pound; i &euro; &Ntilde; bandmates PVSSYHEAVEN, Sunk Heaven, and Sam Richardson, as well as soup-maker Oba and Brooklyn-based artist Paweł Wojtasik as the gurus. Eventually many of the players find themselves in the machinations of a political thriller, &agrave; la the low-rent No Wave genre exercises of Eric Mitchell, tied together by a brooding electronic score and Sweitzer&rsquo;s cool cinematography. The choice to meet violence with violence may be an unsettling one for some viewers to accept, but this is a willfully agitational work for exasperated times.&rdquo; &ndash;Jon Dieringer, SCREEN SLATE</p> <p><strong><span style="text-decoration: underline;">EMPTY METAL Special events schedule:&nbsp;<br /></span></strong><strong>THURSDAY DEC 5<br /></strong>Co-presented with&nbsp;<a href="https://www.gofundme.com/f/club-a-kitchen-free-community-meals-in-bushwick" target="_blank">Club A </a>community kitchen, featuring free homemade soup from Brooklyn's legendary soupman, Oba!<br />Special guest Jim Fletcher (The Wooster Group), co-directors &amp; cast members following 7:00 screening.<br />9:15pm screening co-directors will provide an introduction.</p> <p>&nbsp;<strong>FRI,&nbsp;DECEMBER 6&nbsp;&nbsp;</strong><br />7pm: Jon Series-Goff (Filmmaker/Executive Director Robert Flaherty Film Seminar) q&amp;a along with co-director Adam Khalil and executive producer Steve Holmgren.<br />9:15pm: Matthew Porterfield (filmmaker) q&amp;a along with co-director Adam Khalil and executive producer Steve Holmgren.<br />&nbsp;<br /><strong>SAT,&nbsp;DECEMBER&nbsp;7</strong><br />7pm: Conversation with Sky Hopinka and co-directors. Co-presented with&nbsp;<a href="https://www.fridmangallery.com/working-photos" target="_blank">Fridman Gallery</a><br />9:15pm screening co-directors will provide an introduction.<br />&nbsp;<br /><strong>SUN,&nbsp;DECEMBER&nbsp;8</strong><br />7pm Conversation with Lizzie Bougatsos (Gang Gang Dance) &amp; members of the Empty Metal soundtrack team following the 7:00 screening<br /><em>THEN&nbsp;</em> <a href="https://www.facebook.com/events/457512298231249/" target="_blank">music show afterparty</a> @ Berlin Under A feat. by Dreamcrusher, Leila Bordreuil, Sunk Heaven &amp; Pvssyheaven, all from&nbsp;the film's cast and soundtrack!<br />Ticket holders from screening get discounted entrance! Music starts 10:00PM.<br />9:15pm screening co-directors will provide an introduction.<br />&nbsp;<br /><strong>MON,&nbsp;DECEMBER&nbsp;9</strong><br />7:30pm screening conversation with artist Martha Rosler and co-directors following the screening.</p> Wednesday, December 11 PARAGUAY WAR http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2019#showing-51671 <p>(GUERRA DO PARAGUAY)<br /><br />U.S. PREMIERE!<br /><br />The final feature film by the late Brazilian director Luiz Rosemberg Filho, a key figure of the Cinema Marginal movement whose work has rarely been seen in the U.S., PARAGUAY WAR is a lyrical allegory about a bloody war, charting the collision between past and present, barbarism and art. Set during the aftermath of the 1864-70 Paraguayan War &ndash; one of the bloodiest episodes in South American history, in which Paraguay fought against the triple alliance of Argentina, Brazil, and Uruguay &ndash; the film follows a soldier returning from the conflict who encounters a contemporary theater troupe. Shot in black and white, it&rsquo;s an astonishing tour de force on the persistence of life in the face of destructive masculinity.</p> Thursday, December 12 WE TELL: FIFTY YEARS OF PARTICIPATORY COMMUNITY MEDIA: BODY PUBLICS, PART 1 http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2019#showing-51800 <p>&ldquo;Body Publics&rdquo; focuses on controversial issues surrounding public health and sexualities. It exposes the ailments from within and the diseases from the outside. These works unpack how access or lack of access to various forms of healthcare affects people of many different ethnicities and identities. Some works also probe concerns of the LGBTQIA community. &ldquo;Body Publics&rdquo; also looks at institutions that either inhibit or advance affordable and accessible health care. From the 1970s to the 1990s, shorts like HSA STRIKE &rsquo;75 from Kartemquin Films, DIABETES: NOTES FROM INDIAN COUNTRY from Beverly Singer, and NATURE&rsquo;S WAY from Appalshop, chronicle continued advocacy by citizens for the control of their own bodies and health. <br /><br />BODY PUBLICS, PART 1:<br />NATURE&rsquo;S WAY (Elizabeth Barrett &amp; John Long, Appalshop 1973, 21 min, video)<br />HSA STRIKE &rsquo;75 (Jerry Blumenthal, Judy Hoffman, and Gordon Quinn, Kartemquin Films 1975, 20 min, video)<br />LA OPERACI&Oacute;N (Ana Maria Garcia, Latin American Film Project 1982, 40 min, video)<br />Total running time: ca. 85 min.</p> Thursday, December 12 WE TELL: FIFTY YEARS OF PARTICIPATORY COMMUNITY MEDIA, BODY PUBLICS, PART 2 http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2019#showing-51802 <p>&ldquo;Body Publics&rdquo; focuses on controversial issues surrounding public health and sexualities. It exposes the ailments from within and the diseases from the outside. These works unpack how access or lack of access to various forms of healthcare affects people of many different ethnicities and identities. Some works also probe concerns of the LGBTQIA community. &ldquo;Body Publics&rdquo; also looks at institutions that either inhibit or advance affordable and accessible health care. From the 1970s to the 1990s, shorts like HSA STRIKE &rsquo;75 from Kartemquin Films, DIABETES: NOTES FROM INDIAN COUNTRY from Beverly Singer, and NATURE&rsquo;S WAY from Appalshop, chronicle continued advocacy by citizens for the control of their own bodies and health. <br /><br />BODY PUBLICS, PART 2:<br />TESTING THE LIMITS (Gregg Bordowitz, Jean Carlomusto, Sandra Elgear, Robyn Hutt, Hilery Joy Kipnis, and David Meieran, Testing the Limits Collective, 1987, 30 min, video)<br />BODYWORKS (Andres Nicolini, Nexus Foundation for Today&rsquo;s Art and Scribe Video Center, 1994, 13.5 min, video)<br />TO THE POINT (Ryan Saunders &amp; Wanda Moore, with Keith Fulton &amp; Cindy Wong, Prevention Point and Scribe Video Center, 1997, 14 min, video)<br />DIABETES: NOTES FROM INDIAN COUNTRY (Beverly Singer, 2000, 23 min, video)<br />Total running time: ca. 85 min.</p> Friday, December 13 FRIDAY THE 13TH QUEER CATS CHRISTMAS SPECIAL http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2019#showing-51795 <p>FRANKIE SYMONDS IN PERSON!<br /><br />&rsquo;Tis the season, and Frankie Symonds is back to help us deal. Wouldn&rsquo;t you rather be sitting in a dark theater than going to that obligatory Christmas party? Take a break from it all to see the world through Frankie&rsquo;s camera. Their newest work continues to experiment with building worlds that reclaim the parameters of video and representation.<br /><br />QUEER CATS EPISODE 1<br />(2019, 27 min, digital. Produced for Somerville Cable Access Television.)<br />The first episode of Frankie&rsquo;s new show designed to celebrate the relationships of queer people and their cats.<br /><br />RALPH; OR&hellip; I&rsquo;LL BE HOME FOR CHRISTMAS IF ONLY IN MY DREAMS<br />(2019, 58 min, digital)<br />An anti-family Christmas movie in the form of a three-act play. Starring: Jeremy Hetherington, Duncan Browne, and Frankie Symonds; with Teena Perry, Lenny Schnier, Robert Siegelman, Tyler Hallett, Nick Gasquoine, and Marissa Alberti. Camera: Cameron Stetz.</p> Friday, December 13 EC: WAY OUT WEST http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2019#showing-51840 <p>With Stan Laurel &amp; Oliver Hardy. 35mm restored print courtesy of UCLA Film &amp; Television Archive. Restoration funding provided by The Film Foundation.<br /><br />&ldquo;With the possible exception of SONS OF THE DESERT&hellip;WAY OUT WEST must rank as the best of all the Laurel &amp; Hardy features. Not only is it pure, unadulterated Laurel &amp; Hardy, with no time wasted on subsidiary plotting or romantic or musical &lsquo;relief,&rsquo; but it is also a first-rate satire of the Western genre. Most such satires have usually consisted of putting a comic &ndash; Jack Benny, Bob Hope, Martin and Lewis, Abbott &amp; Costello &ndash; through their customary paces against a Western backdrop, which is often not exploited at all. The Marx Brothers came closer to genuine satire with their GO WEST, and Laurel &amp; Hardy, though denied the budget the Marx Brothers had and thus limited in their spoofing of spectacular action sequences, succeed perhaps best of all.&rdquo; &ndash;William K. Everson, THE COMPLETE FILMS OF LAUREL &amp; HARDY</p> Saturday, December 14 SO PRETTY http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2019#showing-51793 <p>&ldquo;The film is an adaptation of a 1980s German gay novel that I am transposing and translating to a cast of feminine people of many genders in 2018, NYC. [&hellip;] A kind of &lsquo;trans film&rsquo; that focuses not simply on the hardships of being transgender, but the new aesthetic, narrative, and imaginative possibilities our lives can open up. [&hellip;] If trans films typically fixate on struggles with gender and for acceptance and with aesthetics of melodrama and emotional and visual abundance, SO PRETTY turns that &lsquo;acceptance and struggle&rsquo; narrative away from individual misery and self-acceptance and towards a struggle against the state, downplaying the emotional stakes of its romance narrative while letting beauty and melodrama express themselves through artistic practices of the film&rsquo;s actors and the emotional release of a gorgeous image or sound. I want to give viewers the chance to engage with and follow this emerging queer/trans cinema, while also not reducing us to merely that.&rdquo; &ndash;Jessie Jeffrey Dunn Rovinelli</p> Saturday, December 14 WE TELL: FIFTY YEARS OF PARTICIPATORY COMMUNITY MEDIA: COLLABORATIVE KNOWLEDGES http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2019#showing-51804 <p>&ldquo;Collaborative Knowledges&rdquo; focuses on inter-generational dialogues as a way to reclaim history and knowledge in people rather than in institutions. This program features videos that unearth lost knowledge and histories, elaborate shared experiences, and document traditions and practices of storytelling. It includes shorts from community media centers such as Appalshop in Kentucky; Paper Tiger TV in NYC; and Scribe Video Center in Philadelphia. These groups view participatory community media-making as a tool for self-expression, education, and social and political change.<br /><br />IN THE GOOD OLD FASHIONED WAY (Herb E. Smith, Appalshop, 1973, 29 min, video)<br />CRUISIN J-TOWN (Duane Kubo, Visual Communications, 1974, 24 min, video)<br />HERB SCHILLER READS THE NEW YORK TIMES: 712 PAGES OF WASTE; THE SUNDAY TIMES (DeeDee Halleck, founder, Paper Tiger TV, 1981, 30 min, video)<br />SEEDS OF AWAKENING: THE EARLY NATION OF ISLAM IN PHILADELPHIA (New Africa Center, Islamic Cultural Preservation and Information Council, and Scribe Video Center, 2011, 15 min, video)<br />Total running time: ca. 105 min.</p> Saturday, December 14 REPRESENTATIONS OF LEAVING: QUEER DEATH AND HEAVENS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2019#showing-51797 <p>GUEST CURATED AND PRESENTED BY FINN PAUL<br /><br />These works approach loss and lineages through experimental visual strategies that document rebirths and Queer utopic visions. Calling out a shared invitation to a then and there, leaving behind and moving towards a Queer sublime, these works employ diverse strategies to weave something fuller, vaster, and more beautiful, beyond harm and endings.<br /><br />Barbara Hammer DYKETACTICS (1974, 4 min, 16mm)<br />Ana Galizia UNCONFESSIONS (2018, 22 min, digital)<br />Jordan Wong MOM&rsquo;S CLOTHES (2018, 6 min, digital)<br />Pol Merchan PIRATE BOYS (2017, 13 min, digital)<br />Jodi Darby CULTURE TRAUMA (2017, 12 min, digital)<br />Nguyen Tan Hoang FOREVER BOTTOM! (1999, 4 min, digital)<br />Bill Stamets JOAN JETT BLAKK ANNOUNCES HER CANDIDACY FOR PRESIDENT (1992, 8 min, digital)<br />Andres Baron PRINTED SUNSET (2017, 6 min, digital)<br />Total running time: ca. 80 min.</p> Saturday, December 14 WE TELL: FIFTY YEARS OF PARTICIPATORY COMMUNITY MEDIA: ENVIRONMENTS OF RACE AND PLACE http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2019#showing-51806 <p>&ldquo;Environments of Race and Place&rdquo; zeroes in on issues surrounding immigration, migration, and racial identities unique to specific environments. These works embrace and amplify the micro rather than the macro in scope. They move from the national to the hyperlocal, arguing that understanding conflicts and contradictions can lead to change. Discussions of police brutality in Third World Newsreel&rsquo;s BLACK PANTHER aka OFF THE PIG, or animations about toxic pollution made by the Indigenous youth media collective Outta Your Backpack, expand conceptualizations of the range of participatory community media and the varieties of forms environmental media inhabits.<br /><br />BLACK PANTHER aka OFF THE PIG NEWSREEL #19 (San Francisco Newsreel, Newsreel, 1967, 15 min, video)<br />BUFFALO CREEK FLOOD (Mimi Pickering, Appalshop, 1975, 39 min, video)<br />BLACK WOMEN: SEXUAL POLITICS AND THE REVOLUTION (Not Channel Zero, Not Channel Zero Collective, 1992, 28 min, video)<br />WHO I BECAME (Michael Siv &amp; Aram Siu Wai Collier, Vietnamese Youth Development Center, 2003, 20 min, video)<br />LEGEND OF THE WERESHEEP (Outta Your Backpack Workshop with Indigenous Youth, Outta Your Backpack, 2007, 3 min, video)<br />STORIES OF TRUST: CALLING FOR CLIMATE RECOVERY: TRUST ALASKA (Christi Cooper-Kuhn, Katie Lose Gilbertson, and Kelly Matheson, WITNESS, 2011, 8 min, video)<br />DIGITAL SMOKE SIGNALS: AERIAL FOOTAGE FROM THE NIGHT OF NOVEMBER 20, 2016 AT STANDING ROCK (Myron Dewey, Digital Smoke Signals, 2016, 7 min, video)<br />Total running time: ca. 125 min.</p> Saturday, December 14 A TALE OF LOVE http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2019#showing-51779 <p>Co-directed by Jean-Paul Bourdier. Print courtesy of the Academy Film Archive.<br /><br />Portraying the Vietnamese immigrant experience, A TALE OF LOVE follows the quest of a woman in love with &ldquo;Love.&rdquo; The film is loosely inspired by THE TALE OF KIEU, the Vietnamese national poem of love which Vietnamese people see as a mythical biography of their &ldquo;motherland,&rdquo; marked by internal turbulence and foreign domination. A free-lance writer, Kieu also works as a model for a photographer who idealizes the headless female body and who captures Kieu sheathed by transparent veils. Voyeurism runs through the history of love narratives, and here it is one of the threads that structures the narrative of the film. Exposing the fiction of love in love stories and the process of consumption, A TALE OF LOVE marginalizes traditional narrative conventions and opens up a denaturalized space of acting where performed reality, memory, and dream constantly pass into one another.<br /><br />&ldquo;Nothing else around is even remotely like it. [&hellip;] At times a frankly erotic film that interrogates its own eroticism, it challenges the audience as well with its acting styles.&rdquo; &ndash;Jonathan Rosenbaum, CHICAGO READER</p> Saturday, December 14 EC: WAY OUT WEST http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2019#showing-51841 <p>With Stan Laurel &amp; Oliver Hardy. 35mm restored print courtesy of UCLA Film &amp; Television Archive. Restoration funding provided by The Film Foundation.<br /><br />&ldquo;With the possible exception of SONS OF THE DESERT&hellip;WAY OUT WEST must rank as the best of all the Laurel &amp; Hardy features. Not only is it pure, unadulterated Laurel &amp; Hardy, with no time wasted on subsidiary plotting or romantic or musical &lsquo;relief,&rsquo; but it is also a first-rate satire of the Western genre. Most such satires have usually consisted of putting a comic &ndash; Jack Benny, Bob Hope, Martin and Lewis, Abbott &amp; Costello &ndash; through their customary paces against a Western backdrop, which is often not exploited at all. The Marx Brothers came closer to genuine satire with their GO WEST, and Laurel &amp; Hardy, though denied the budget the Marx Brothers had and thus limited in their spoofing of spectacular action sequences, succeed perhaps best of all.&rdquo; &ndash;William K. Everson, THE COMPLETE FILMS OF LAUREL &amp; HARDY</p> Sunday, December 15 THE FOURTH DIMENSION http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2019#showing-51782 <p>THE FOURTH DIMENSION is an incisive and insightful examination of Japan through its art, culture, and social rituals. As is the case with Trinh&rsquo;s previous films, it is a multi-layered work addressing issues around its central theme: the experience of time, the impossibility of truly &ldquo;seeing,&rdquo; and the impact of video on image-making. In her first foray into digital video, she deconstructs the role of ritual in mediating between the past and the present. With its lush imagery, Trinh&rsquo;s Japan is viewed through mobile frames, with doors and windows sliding shut, revealing new vistas as it blocks out the old light.<br /><br />&ldquo;Trinh&rsquo;s newest essayistic work and her first videotape, cuts an intricate key for unlocking this elusive culture. Her tack finds great visual pleasure in the everyday, composing and decomposing the social landscape, while constructing a poetic grid of temporalities, symbolic meaning, and ritual. Trinh&rsquo;s lyrical narration guides us through &lsquo;Japan&rsquo;s likeness,&rsquo; the perfected framing of the sacramental familiar.&rdquo; &ndash;Steve Seid<br /><br /><em><strong>This screening is also part of The Cinema of Gender Transgression: Trans Film Series; click <a href="../../../film_screenings/series/51787">here</a> for details.</strong></em></p> Sunday, December 15 WE TELL: FIFTY YEARS OF PARTICIPATORY COMMUNITY MEDIA: STATES OF VIOLENCE http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2019#showing-51808 <p>Debates and politics about the American criminal justice system are extremely complex, involving many stories of evidence, interpretation, policies, and laws that can center around just one case. &ldquo;States of Violence&rdquo; approaches this urgent topic from those directly affected by crime, incarceration, police, and war. This program demonstrates how, from the 1970s to the present day, participatory community media has produced scalable documentaries in the name of creating an engaging, participatory discourse for better socio-cultural understandings as well as tangible progressions towards political change.<br /><br />AIN&rsquo;T NOBODY&rsquo;S BUSINESS (New Orleans Video Access Center Workshop, 1978, 22 min, video)<br />INSIDE WOMEN INSIDE (Christine Choy &amp; Cynthia Maurizio, Newsreel, 1978, 21 min, video)<br />JUST SAY NO: GULF CRISIS TV PROJECT (Simone Farkhondeh, DeeDee Halleck, Martin Lucas, and Cathy Scott, Deep Dish Television and Paper Tiger TV, 1990, 30 min, video)<br />BOOKS THROUGH BARS (Cheryl Hess &amp; Anula Shetty, Books Through Bars and Scribe Video Center, 1997, 12 min, video)<br />MILITARY OPTIONS (Al Santana &amp; Alonzo Speight, Third World Newsreel, 2005, 11 min, video)<br />M4BL: CEREMONY (Movement for Black Lives, 2016, 5 min, video)<br />A COP WATCHER&rsquo;S STORY: EL GRITO DE SUNSET PARK ATTEMPTS TO DETER POLICE BRUTALITY (Steve de S&egrave;ve, Brooklyn Information and Culture TV and Copwatch Brooklyn, 2017, 6 min, video)<br />Total running time: ca. 110 min.</p> Sunday, December 15 NIGHT PASSAGE http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2019#showing-51785 <p>Co-directed by Jean-Paul Bourdier.<br /><br />Made in homage to Kenji Miyazawa&rsquo;s children&rsquo;s sci-fi classic MILKY WAY RAILROAD, this provocative tale tells the story of three young friends traveling for a brief moment together on the train between life and death. Their journey into and out of the land of &ldquo;awakened dreams&rdquo; occurs on a long ride on a night train. Ingeniously framed through the train window, Trinh and artist Jean-Paul Bourdier create whimsical and sensual dreamscapes, which are matched by an equally beautiful and other-worldly music score. Once again, Trinh shifts the way she engages with the form and the spirit of the cinema &ndash; to challenge and provoke her audience.<br /><br />&ldquo;The netherworld between life and death is viewed as a place of light, shadow, movement and uncertain ideas in NIGHT PASSAGE.&rdquo; &ndash;VARIETY</p> Sunday, December 15 WE TELL: FIFTY YEARS OF PARTICIPATORY COMMUNITY MEDIA: TURF http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2019#showing-51810 <p>The works in &ldquo;Turf&rdquo; dig out the complexities and politics of gentrification, homelessness, housing, and the significance of urban spaces for democratic participation. The projects span cities such as Braddock, Pennsylvania; Detroit; Houston; New Orleans; NYC; Philadelphia; San Francisco; and Seattle. The videos in &ldquo;Turf&rdquo; reveal that cities have transformed into battlegrounds between communities and those in power who would take land and space to expand economic and political power.<br /><br />SIT: MUST YOU PAY THE RENT? (Jeanne Keller, New Orleans Video Access, 1975, 12 min, video)<br />INVISIBLE CITIES #2 (James Blue, South West Alternative Media Project, 1979, 28 min, video)<br />VOICES FROM A STEELTOWN (Tony Buba, 1983, 28 min, video)<br />OCCUPY PORTLAND EVICTION DEFENSE (Tim and Rio, B Media Collective, 2011, 5.5 min, video)<br />WHY ARCHIVE? (Activist Archivists, 2012, 1.5 min, video)<br />TAKE ME HOME (Orlando Ford, Detroit Narrative Agency, 2018, 12 min, video)<br />Total running time: ca. 95 min.</p> Sunday, December 15 NITRATE KISSES http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2019#showing-51790 <p>New print courtesy of the Academy Film Archive.<br /><br />&ldquo;At the heart of Barbara Hammer&rsquo;s first feature, the now-iconic NITRATE KISSES, is a question articulated as a radical action: How do we discover and define cinematic images of queerness? The resulting film is both a query as to the very nature of a queer cinema as well as a complex and deeply empathic gesture towards the ongoing creation of one. By employing gorgeous black and white cinematography intermixed with historical found footage, Hammer aesthetically disintegrates temporal, geographical, creative, and political boundaries in her effort to unify rather than separate. Embracing and exploring sexuality, intimacy, and identity across wide expanses of time, age, gender, race, and politics, NITRATE KISSES still stands today as a defining call to action and awareness not just for queer cinema, but for our larger global consciousness.&rdquo; &ndash;KJ Relth &amp; Mark Toscano</p> Sunday, December 15 NAKED SPACES – LIVING IS ROUND http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2019#showing-51770 <p>Print courtesy of the Academy Film Archive.<br /><br />Shot with stunning elegance and clarity, NAKED SPACES explores the rhythm and ritual of life in the rural environments of six West African countries (Mauritania, Mali, Burkino Faso, Togo, Benin, and Senegal). The nonlinear structure of NAKED SPACES challenges the traditions of ethnographic filmmaking, while sensuous sights and sounds lead the viewer on a poetic journey to the most inaccessible parts of the African continent: the private interaction of people in their living spaces.<br /><br />&ldquo;Trinh&rsquo;s images are as unpretentious as home movies. [&hellip;] There are times in NAKED SPACES when representation decomposes into isolated details and pure sensation. More than a mosaic of impressions however, the film is nonlinear, de-centered, and deliberately unsettling.&rdquo; &ndash;J. Hoberman, VILLAGE VOICE</p> Monday, December 16 JONAS MEKAS, PROGRAM 7: MY PARIS MOVIE http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2019#showing-51856 <p>MY PARIS MOVIE<br />(2011, 159 min, digital)<br />For some time I had been thinking about doing something with my Paris footage, of which I have many many hours. So [curator Dani&egrave;le Hibon&rsquo;s] suggestion [to make a new work celebrating 20 years of cinema at the Jeu de Paume museum] came just in time. I spent some three months going through my Paris footage and I managed to reduce it to the length you will be seeing, two hours and 39 minutes. It was very very hard to do so. I have so many friends in Paris, so many memories &ndash; and it&rsquo;s all on video. So this is my love letter to Paris. To its streets, to the river Seine, to its cafes, bistros, bars, to the jambon de Paris, and, especially, to all of you, my Paris friends!</p> Monday, December 16 SURNAME VIET GIVEN NAME NAM http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2019#showing-51766 <p>Newly restored by Women Make Movies.<br /><br />Trinh&rsquo;s third film is a meditation on identity, popular memory, and culture. While focusing on aspects of Vietnamese reality as seen through the lives of women and the history of female resistance in (both north and south) Vietnam and in the U.S., it raises questions regarding the politics of interviewing and documenting. A theoretically and formally complex work, SURNAME VIET GIVEN NAME NAM explores the difficulty of translation, and themes of dislocation and exile, critiquing both traditional society and life since the war.<br /><br />&ldquo;A film made with emotional confidence and intellectual nerve, a documentary that questions the nature of documentaries, a history that uses the testimony of poetry, a polemic that appeals to the heart.&rdquo; &ndash;G. Gabrenya, DISPATCH<br /><br /><em><strong>This screening is also part of The Cinema of Gender Transgression: Trans Film Series; click&nbsp;<a href="../../../film_screenings/series/51787">here</a>&nbsp;for details.</strong></em>&nbsp;</p> Tuesday, December 17 WE TELL: FIFTY YEARS OF PARTICIPATORY COMMUNITY MEDIA: WAGES OF WORK http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2019#showing-51812 <p>Citizens and communities approach issues surrounding job opportunities, occupations, wages, unemployment, and underemployment in a myriad of ways. They engage in union-organizing. They reclaim stories about what is unspoken, repressed, or suppressed. They launch political protests. &ldquo;Wages of Work&rdquo; spotlights lives from across the U.S. operating under various restraints on making a living. Focusing on labor and work, this program showcases shorts like Visual Communication&rsquo;s WATARIDORI: BIRDS OF PASSAGE, which explores the legacy of first-generation Japanese Americans, and I&rsquo;M NOT ON THE MENU, a portrait of fast-food workers who staged a walkout in 2018 to protest their employers&rsquo; failure to take action on sexual harassment.<br /><br />THE UNITED MINE WORKERS OF AMERICA: A HOUSE DIVIDED (Dan Mohn &amp; J. Benjamin Zickafoose, Appalshop, 1971,14 min, video)<br />WATARIDORI: BIRDS OF PASSAGE (Robert Nakamura, Visual Communications, 1974, 37 min, video)<br />PLENA IS WORK, PLENA IS SONG (Pedro Rivera &amp; Susan Zeig, 1989, 30 min, video)<br />VOZMOB (MOBILE VOICES/VOCES M&Oacute;VILES) (Instituto de Educaci&oacute;n Popular del Sur de California / Institute for Popular Education of Southern California [IDEPSCA], 2010, 3 min, video)<br />I&rsquo;M NOT ON THE MENU (Gary M. Brooks &amp; Andrew Friend, Labor Beat, 2018, 11.5 min, video)<br />Total running time: ca. 100 min.</p> Tuesday, December 17 NEWFILMMAKERS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2019#showing-51757 <p>For full program listings, visit&nbsp;<a href="http://www.newfilmmakers.com" target="_blank">www.newfilmmakers.com</a>.</p> Wednesday, December 18 SHOOT FOR THE CONTENTS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2019#showing-51777 <p><br />Reflecting on Mao&rsquo;s famous saying, &ldquo;Let a hundred flowers blossom and a hundred schools of thought contend,&rdquo; Trinh&rsquo;s film &ndash; whose title refers in part to a Chinese guessing game &ndash; is a unique excursion into the maze of allegorical naming and storytelling in China. The film ponders questions of power and change, politics and culture, as refracted by the events in Tiananmen Square. It offers at the same time an inquiry into the creative process of filmmaking, intricately layering Chinese popular songs and classical music, the sayings of Mao and Confucius, women&rsquo;s voices, and the words of artists, philosophers, and other cultural workers. Video images emulate the gestures of calligraphy and contrast with film footage of rural China and stylized interviews. Like traditional Chinese opera, Trinh&rsquo;s film unfolds through &ldquo;bold omissions and minute depictions&rdquo; to render &ldquo;the real in the illusory and the illusory in the real.&rdquo;<br /><br />&ldquo;One of the most extraordinary documentaries of recent years and a major creative intervention on the conventions of the genre&hellip;. A beautiful and moving film, as challenging and stimulating formally as it is politically.&rdquo; &ndash;LONDON FILM FESTIVAL<br /><br /><em><strong>This screening is also part of The Cinema of Gender Transgression: Trans Film Series; click&nbsp;<a href="../../../film_screenings/series/51787">here</a>&nbsp;for details.</strong></em></p> Wednesday, December 18 NEWFILMMAKERS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2019#showing-51758 <p>For full program listings, visit&nbsp;<a href="http://www.newfilmmakers.com" target="_blank">www.newfilmmakers.com</a>.</p> Thursday, December 19 REASSEMBLAGE http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2019#showing-51773 <p>Newly restored by Women Make Movies.<br /><br />Women are the focus but not the object of Trinh&rsquo;s influential first film, a complex visual study of the women of rural Senegal. Through a complicity of interaction between film and spectator, REASSEMBLAGE reflects on documentary filmmaking and the ethnographic representation of cultures.<br /><br />&ldquo;Disentangling sound from image, foregoing an authoritative voice-over, and relinquishing the long takes of an observational style for a disjunctive montage aesthetic, Trinh overturns the conventions traditionally employed in anthropological filmmaking. Rather than a work of ethnographic cinema, REASSEMBLAGE is better understood as anti-ethnography &ndash; a film that reflexively dismantles the objectification and exoticization of otherness which mark the ethnographic and colonial projects alike.&rdquo; &ndash;Erika Balsom, FRIEZE<br /><br />&ldquo;[The film] denotes something more than an exceptional spirit of observation; let&rsquo;s say by all means a kind of amorous enthrallment.&rdquo; &ndash;Alberto Moravia, L&rsquo;EXPRESSO&nbsp;</p> Thursday, December 19 A TALE OF LOVE http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2019#showing-51780 <p>Co-directed by Jean-Paul Bourdier. Print courtesy of the Academy Film Archive.<br /><br />Portraying the Vietnamese immigrant experience, A TALE OF LOVE follows the quest of a woman in love with &ldquo;Love.&rdquo; The film is loosely inspired by THE TALE OF KIEU, the Vietnamese national poem of love which Vietnamese people see as a mythical biography of their &ldquo;motherland,&rdquo; marked by internal turbulence and foreign domination. A free-lance writer, Kieu also works as a model for a photographer who idealizes the headless female body and who captures Kieu sheathed by transparent veils. Voyeurism runs through the history of love narratives, and here it is one of the threads that structures the narrative of the film. Exposing the fiction of love in love stories and the process of consumption, A TALE OF LOVE marginalizes traditional narrative conventions and opens up a denaturalized space of acting where performed reality, memory, and dream constantly pass into one another.<br /><br />&ldquo;Nothing else around is even remotely like it. [&hellip;] At times a frankly erotic film that interrogates its own eroticism, it challenges the audience as well with its acting styles.&rdquo; &ndash;Jonathan Rosenbaum, CHICAGO READER</p> Thursday, December 19 EC: LAUREL AND HARDY http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2019#showing-51842 <p>&ldquo;Stan Laurel and Oliver Hardy are the movies&rsquo; greatest comic duo, the quintessential dumb and dumber odd couple. Though critically overshadowed by Chaplin, Keaton, and Lloyd, they were enormously popular, and proved a major influence on Abbott &amp; Costello, Lucille Ball &amp; Vivian Vance, and Jackie Gleason &amp; Art Carney, not to mention Samuel Beckett (they were an inspiration for WAITING FOR GODOT), Roman Polanski (who paid homage to them in his existentialist short films FAT AND LEAN and TWO MEN AND A WARDROBE), and Ken Jacobs (whose ONTIC ANTICS deconstructs one of their films).&rdquo; &ndash;David Mulkins<br /><br />Special thanks to Ken &amp; Flo Jacobs.<br /><br />James W. Horne &amp; James Parrott BE BIG! (1931, 28 min, 16mm)<br />James Parrott THE MUSIC BOX (1932, 29 min, 16mm)<br />George Marshall TOWED IN A HOLE (1932, 21 min, 16mm)<br />Total running time: ca. 85 min.</p> Friday, December 20 FORGETTING VIETNAM http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2019#showing-51762 <p>One of the myths surrounding the creation of Vietnam involves a fight between two dragons whose intertwined bodies fell into the South China Sea and formed Vietnam&rsquo;s curving S-shaped coastline. Trinh&rsquo;s lyrical film essay commemorating the 40th anniversary of the end of the war draws inspiration from ancient legend and from water as a force evoked in every aspect of Vietnamese culture. Trinh&rsquo;s classic SURNAME VIET GIVEN NAME NAM (1989) used no original footage shot in the country; in FORGETTING VIETNAM, images of contemporary life unfold with a dialogue between land and water &ndash; the elements that form the term &ldquo;country.&rdquo; Fragments of text and song evoke the echoes and traces of a trauma of international proportions. The encounter between the ancient as related to the solid earth, and the new as related to the liquid changes in a time of rapid globalization, creates a third space of historical and cultural re-memory &ndash; what local inhabitants, immigrants, and veterans remember of yesterday&rsquo;s stories to comment on today&rsquo;s events.<br /><br />&ldquo;Her latest film crosses the country of her birth from north to south, confronting changing imaging technologies and the ambivalence of modernization along the way. Through landscapes, history, folklore, and popular songs, this [film] commemorates both the passing of Trinh&rsquo;s father and the 40th anniversary of the end of the Vietnam War. The work possesses a lyricism not present in REASSEMBLAGE, but Trinh&rsquo;s words from the earlier film resonate in it even more strongly: &lsquo;Reality is delicate.&rsquo;&rdquo; &ndash;Erika Balsom, FRIEZE<br /><br /><em><strong>This screening is also part of The Cinema of Gender Transgression: Trans Film Series; click&nbsp;<a href="../../../film_screenings/series/51787">here</a>&nbsp;for details.</strong></em>&nbsp;&nbsp;</p> Friday, December 20 EC: LÉGER & MURPHY / PICABIA & CLAIR / MAN RAY & DUCHAMP http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2019#showing-51844 <p>Fernand L&eacute;ger &amp; Dudley Murphy<br />BALLET M&Eacute;CANIQUE (1924, 19 min, 35mm, silent. Preserved by Anthology Film Archives.)<br />&ldquo;The two fundamental works of the graphic cinema from the 1920s made without animation were Fernand L&eacute;ger&rsquo;s BALLET M&Eacute;CANIQUE and Marcel Duchamp&rsquo;s ANEMIC CINEMA. By extending a metaphor from several of his paintings into film, L&eacute;ger compared a universe of human actions and everyday objects to the functions of a machine.&rdquo; &ndash;P. Adams Sitney, VISIONARY FILM<br /><br />Ren&eacute; Clair &amp; Francis Picabia<br />ENTR&rsquo;ACTE (1924, 22 min, 35mm)<br />One of the indisputable masterpieces of Dada cinema, ENTR&rsquo;ACTE was created, as its title suggests, to function as a diversion in between the two acts of Francis Picabia and Erik Satie&rsquo;s avant-garde ballet REL&Acirc;CHE.<br /><br />Man Ray<br />LE RETOUR &Agrave; LA RAISON (1923, 2 min, 16mm, silent)<br />&Eacute;TOILE DE MER (1927, 13 min, 16mm, silent)<br />EMAK BAKIA (1927, 18 min, 35mm, silent)<br />&ldquo;All the films I have made have been improvisations. I did not write scenarios. It was automatic cinema. I worked alone. My intention was to set in motion the compositions I made in photography. As for the camera, I use it to capture something I do not want to paint. But I am not interested in producing &lsquo;beautiful photography&rsquo; for the cinema.&rdquo; &ndash;Man Ray, &ldquo;All the Films I Have Made&rdquo; (1965)<br /><br />Marcel Duchamp &amp; Man Ray<br />ANEMIC CINEMA (1926, 7 min, 35mm, silent)<br />&ldquo;Duchamp alternates head-on views of his illusion-producing roto-reliefs with similarly turned discs of words, elaborate French puns printed spirally, creating a fluctuation of illusory depth within a very narrow spectrum (from the slightly convex or slightly concave illusions) to the flat readings. In this, his only film, Duchamp typically crystallized the significance of the graphic film.&rdquo; &ndash;P. Adams Sitney, VISIONARY FILM<br /><br />Total running time: ca. 85 min.</p> Friday, December 20 EC: CHRISTOPHER MACLAINE http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2019#showing-51845 <p>&ldquo;The few facts that are known about Maclaine are, at best, sketchy. He was a published poet, a sort of down and out San Francisco bohemian who later became one of the psychic casualties of that scene. His last years were spent at Sunnyacres, a state mental hospital in Fairfield, California. These films, along with Ron Rice&rsquo;s, are clearly the most significant work to come out of the beat period.&rdquo; &ndash;J.J. Murphy<br /><br />All films preserved by Anthology Film Archives.<br /><br />THE MAN WHO INVENTED GOLD (1957, 14 min, 16mm)<br />BEAT (1958, 6 min, 16mm)<br />SCOTCH HOP (1959, 5.5 min, 16mm)<br />THE END (1953, 35 min, 16mm)<br />Total running time: ca. 65 min.<br /><br />[<em><strong>THE MAN WHO INVENTED GOLD, BEAT, and SCOTCH HOP are not part of the Essential Cinema collection, but they are included here as a special bonus.</strong></em>]</p> Saturday, December 21 NIGHT PASSAGE http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2019#showing-51786 <p>Co-directed by Jean-Paul Bourdier.<br /><br />Made in homage to Kenji Miyazawa&rsquo;s children&rsquo;s sci-fi classic MILKY WAY RAILROAD, this provocative tale tells the story of three young friends traveling for a brief moment together on the train between life and death. Their journey into and out of the land of &ldquo;awakened dreams&rdquo; occurs on a long ride on a night train. Ingeniously framed through the train window, Trinh and artist Jean-Paul Bourdier create whimsical and sensual dreamscapes, which are matched by an equally beautiful and other-worldly music score. Once again, Trinh shifts the way she engages with the form and the spirit of the cinema &ndash; to challenge and provoke her audience.<br /><br />&ldquo;The netherworld between life and death is viewed as a place of light, shadow, movement and uncertain ideas in NIGHT PASSAGE.&rdquo; &ndash;VARIETY</p> Saturday, December 21 EC: REMINISCENCES OF A JOURNEY TO LITHUANIA http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2019#showing-51846 <p>Preserved by Anthology Film Archives with support from The Film Foundation. Special thanks to Cineric, Inc., and Trackwise.<br /><br />&ldquo;The film consists of four parts. The first part contains some footage from my first years in America, 1949-52. The second part was shot in August 1971 in Lithuania. The third part is in Elmshorn, near Hamburg, where I spent eight months in a forced labor camp. The fourth part is in Vienna (1971) with Peter Kubelka, [Hermann] Nitsch, Annette Michelson, Ken Jacobs, etc. The film deals with home, memory, and culture.&rdquo; &ndash;Jonas Mekas</p> Saturday, December 21 THE FOURTH DIMENSION http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2019#showing-51783 <p>THE FOURTH DIMENSION is an incisive and insightful examination of Japan through its art, culture, and social rituals. As is the case with Trinh&rsquo;s previous films, it is a multi-layered work addressing issues around its central theme: the experience of time, the impossibility of truly &ldquo;seeing,&rdquo; and the impact of video on image-making. In her first foray into digital video, she deconstructs the role of ritual in mediating between the past and the present. With its lush imagery, Trinh&rsquo;s Japan is viewed through mobile frames, with doors and windows sliding shut, revealing new vistas as it blocks out the old light.<br /><br />&ldquo;Trinh&rsquo;s newest essayistic work and her first videotape, cuts an intricate key for unlocking this elusive culture. Her tack finds great visual pleasure in the everyday, composing and decomposing the social landscape, while constructing a poetic grid of temporalities, symbolic meaning, and ritual. Trinh&rsquo;s lyrical narration guides us through &lsquo;Japan&rsquo;s likeness,&rsquo; the perfected framing of the sacramental familiar.&rdquo; &ndash;Steve Seid<br /><br /><em><strong>This screening is also part of The Cinema of Gender Transgression: Trans Film Series; click <a href="../../../film_screenings/series/51787">here</a> for details.</strong></em></p> Saturday, December 21 JONAS MEKAS, PROGRAM 8: MY MARS BAR MOVIE http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2019#showing-51858 <p>REPORT FROM MILLBROOK Filmed (1965/edited 1966, 12 min, 16mm. Preserved by Anthology Film Archives with support from the National Film Preservation Foundation.)<br />REPORT FROM MILLBROOK was filmed in 1965, on a weekend visit to Timothy Leary&rsquo;s place. It was a light summer outing. No LSD. Tim took me for a walk, though, and we talked about LSD. [&hellip;] I told him that the chemicals that motivate and drive artists are more powerful and mysterious than LSD or any drug. On that note we turned back and ended our walk. There was nothing more to say. In 1966, Tim&rsquo;s place was raided by the local sheriff. The East Village Other taped an interview with the sheriff about the raid. I used the interview as the soundtrack for the film.<br /><br />MY MARS BAR MOVIE<br />(2011, 87 min, digital)<br />For some twenty years Mars Bar, on the corner of First Street and Second Avenue, Manhattan, has been my bar. That&rsquo;s where we went for beer and tequila whenever we had to take a break from our work at Anthology Film Archives, and it was also a bar where most of those who came to see movies at Anthology ended up after the shows. We always had a great time at Mars Bar. It was always open, there was always the juke box, and very often there was no electricity, and it was old and messy and it didn&rsquo;t want to be any other way &ndash; it was the last escape place left downtown New York. So this is my love letter to it, to my Mars Bar. Mars Bar as I knew it.&rdquo;</p> Saturday, December 21 REASSEMBLAGE http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2019#showing-51774 <p>Newly restored by Women Make Movies.<br /><br />Women are the focus but not the object of Trinh&rsquo;s influential first film, a complex visual study of the women of rural Senegal. Through a complicity of interaction between film and spectator, REASSEMBLAGE reflects on documentary filmmaking and the ethnographic representation of cultures.<br /><br />&ldquo;Disentangling sound from image, foregoing an authoritative voice-over, and relinquishing the long takes of an observational style for a disjunctive montage aesthetic, Trinh overturns the conventions traditionally employed in anthropological filmmaking. Rather than a work of ethnographic cinema, REASSEMBLAGE is better understood as anti-ethnography &ndash; a film that reflexively dismantles the objectification and exoticization of otherness which mark the ethnographic and colonial projects alike.&rdquo; &ndash;Erika Balsom, FRIEZE<br /><br />&ldquo;[The film] denotes something more than an exceptional spirit of observation; let&rsquo;s say by all means a kind of amorous enthrallment.&rdquo; &ndash;Alberto Moravia, L&rsquo;EXPRESSO&nbsp;</p> Saturday, December 21 SURNAME VIET GIVEN NAME NAM http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2019#showing-51767 <p>Newly restored by Women Make Movies.<br /><br />Trinh&rsquo;s third film is a meditation on identity, popular memory, and culture. While focusing on aspects of Vietnamese reality as seen through the lives of women and the history of female resistance in (both north and south) Vietnam and in the U.S., it raises questions regarding the politics of interviewing and documenting. A theoretically and formally complex work, SURNAME VIET GIVEN NAME NAM explores the difficulty of translation, and themes of dislocation and exile, critiquing both traditional society and life since the war.<br /><br />&ldquo;A film made with emotional confidence and intellectual nerve, a documentary that questions the nature of documentaries, a history that uses the testimony of poetry, a polemic that appeals to the heart.&rdquo; &ndash;G. Gabrenya, DISPATCH<br /><br /><em><strong>This screening is also part of The Cinema of Gender Transgression: Trans Film Series; click&nbsp;<a href="../../../film_screenings/series/51787">here</a>&nbsp;for details.</strong></em>&nbsp;</p> Sunday, December 22 EC: WALDEN (DIARIES, NOTES, AND SKETCHES) http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2019#showing-51848 <p>&ldquo;Since 1950 I have been keeping a film diary. I have been walking around with my Bolex and reacting to the immediate reality: situations, friends, New York, seasons of the year. On some days I shot ten frames, on others ten seconds, still on others ten minutes. Or I shot nothing. When one writes diaries, it&rsquo;s a retrospective process: you sit down, you look back at your day, and you write it all down. To keep a film (camera) diary, is to react (with your camera) immediately, now, this instant: either you get it now, or you don&rsquo;t get it at all.&rdquo; &ndash;Jonas Mekas</p> Sunday, December 22 FORGETTING VIETNAM http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2019#showing-51763 <p>One of the myths surrounding the creation of Vietnam involves a fight between two dragons whose intertwined bodies fell into the South China Sea and formed Vietnam&rsquo;s curving S-shaped coastline. Trinh&rsquo;s lyrical film essay commemorating the 40th anniversary of the end of the war draws inspiration from ancient legend and from water as a force evoked in every aspect of Vietnamese culture. Trinh&rsquo;s classic SURNAME VIET GIVEN NAME NAM (1989) used no original footage shot in the country; in FORGETTING VIETNAM, images of contemporary life unfold with a dialogue between land and water &ndash; the elements that form the term &ldquo;country.&rdquo; Fragments of text and song evoke the echoes and traces of a trauma of international proportions. The encounter between the ancient as related to the solid earth, and the new as related to the liquid changes in a time of rapid globalization, creates a third space of historical and cultural re-memory &ndash; what local inhabitants, immigrants, and veterans remember of yesterday&rsquo;s stories to comment on today&rsquo;s events.<br /><br />&ldquo;Her latest film crosses the country of her birth from north to south, confronting changing imaging technologies and the ambivalence of modernization along the way. Through landscapes, history, folklore, and popular songs, this [film] commemorates both the passing of Trinh&rsquo;s father and the 40th anniversary of the end of the Vietnam War. The work possesses a lyricism not present in REASSEMBLAGE, but Trinh&rsquo;s words from the earlier film resonate in it even more strongly: &lsquo;Reality is delicate.&rsquo;&rdquo; &ndash;Erika Balsom, FRIEZE<br /><br /><em><strong>This screening is also part of The Cinema of Gender Transgression: Trans Film Series; click&nbsp;<a href="../../../film_screenings/series/51787">here</a>&nbsp;for details.</strong></em>&nbsp;&nbsp;</p> Sunday, December 22