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 Sat, 21 Jan 2017 01:23:34 -0500 ICE http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2017#showing-46840 <p>This pioneering work is the first of Kramer&rsquo;s films to blur the boundaries between fiction and documentary, an approach Kramer would pursue throughout his subsequent career. An underground revolutionary group struggles against internal strife and stages guerilla attacks against a fictional fascist regime in the U.S. Kramer intercuts rhetorical sequences that explain the group&rsquo;s philosophy of radical action and serve to restrain the melodrama inherent in the thriller genre. Shot in the gray landscape of NYC in a gritty cin&eacute;ma-v&eacute;rit&eacute; style, ICE is reminiscent of Godard&rsquo;s ALPHAVILLE. Jonas Mekas wrote that ICE was &ldquo;the most original and significant American narrative film of the late sixties.&rdquo;<br /><br /><strong>Paul McIsaac, who appears in ICE and played the character of "Doc" in Robert Kramer's masterpieces DOC'S KINGDOM and ROUTE ONE USA, will be here in person for the screening on Sun, Jan 22, for an intro and Q&amp;A!</strong></p> Saturday, January 21 EC: BERLIN, SYMPHONY OF A CITY http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2017#showing-46792 <p>(BERLIN, DIE SYMPHONIE DER GROSSTADT)<br /><br />Ruttmann and company&rsquo;s seminal, groundbreaking film is a valentine to the &lsquo;new&rsquo; Berlin of the late 1920s. Beginning at dawn and ending after midnight, it shows Berliners hard at work by day and possessed by the city&rsquo;s thriving nightlife. Essentially a feature-length montage, the film was heavily influenced by Soviet documentary experiments like Dziga Vertov's KINO-PRAVDA and was itself very influential in fostering the &lsquo;city symphony&rsquo; genre and other documentary hybrid styles to come.</p> Saturday, January 21 FOR LIFE, AGAINST THE WAR http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2017#showing-46843 <p>RESTORED PRINT!<br /><br />Preserved by Anthology Film Archives with support from Sony Pictures.<br /><br />In 1967, a group of artists put out a call for &ldquo;a personal declaration by American filmmakers for life and against the War.&rdquo; The films were compiled and screened as part of The Week of the Angry Arts, a music and arts festival that mobilized the protest movement. This remarkable compilation includes contributions from: Manfred Kirchheimer, Peter Ellison, Ron Finne, Lee Savage, Lionel Martinez, Lloyd M. Williams, USCO, Peter Gessner, Hilary Harris, Leo Hurwitz, Peggy Lawson, Tommy Hurwitz, Lewis Jacobs, Stan VanDerBeek, Robert Fiore, Larry Jordan, Don Duga, Barbara Fultz, Stan Brakhage, Rudy Burckhardt, Nina Feinberg, Wendy Clarke, Shirley Clarke, Betty Ferguson, Maurice Amar, Richard Preston, Robert Breer, Max Phillips, Jerry Wakefield, Tom Bissenger, Ken Jacobs, Mark Sadan, Norman V. Berg, Fred Wellington, Allen Siegel, Allen Schaff, John Willemeyer, Henry J. Korn, Jonas Mekas, Abbott Meader, George Breidenbach, Abbe Borov, Ben Van Meter, Michael Snow, Joyce Wieland, A.M. Jimenez, Stephen Sellinger, Victor Grauer, Charles Levine, Bob Kinney, Dave Lambert, Mat Hoffman, Karl Bissenger, and M-Movie Subscription Group.</p> Saturday, January 21 EC: PAUL SHARITS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2017#showing-46793 <p>S:TREAM:S:S:ECTION:S:ECTION:S:S:ECTIONED<br />1968-70, 41 min, 16mm. Preserved by Anthology Film Archives with support from the National Film Preservation Foundation.<br />&ldquo;A conceptual lap dissolve from &lsquo;water currents&rsquo; to &lsquo;film strip currents&rsquo;/Dedicated to my son Christopher.&rdquo; &ndash;P.S.<br />&ldquo;Yes, S:S:S:S:S:S is beautiful. The successive scratchings of the stream-image film is very powerful vandalism. The film is a very complete organism with all the possible levels really recognized.&rdquo; &ndash;Michael Snow<br /><br />COLOR SOUND FRAMES<br />1974, 26 min, 16mm. Preserved by Anthology Film Archives.<br />&ldquo;A film in which Sharits sums up his researches in the area of film strip (in opposition to the individual frames). The film strips move horizontally and vertically; two strips move simultaneously in opposite directions; variations in color; action of sprocket-holes. Very methodically and scientifically he covers the area [&hellip;] COLOR SOUND FRAMES advances one area of cinema or one area of researches in cinema (call it art if you wish) to a new climax, to a new peak: his exploration is so total, so perfect.&rdquo; &ndash;Jonas Mekas, VILLAGE VOICE<br /><br />Total running time: ca. 70 min.</p> Saturday, January 21 A FACE IN THE CROWD http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2017#showing-46835 <p>With Andy Griffith, Patricia Neal, Anthony Franciosa, Walter Matthau, and Lee Remick.<br /><br />Elia Kazan&rsquo;s ferocious film, which uncompromisingly portrays an unscrupulous, power-hungry demagogue who uses his media-fueled celebrity (he first rises to stardom as a folk singer) as a launch-pad into political office, has never been more alarmingly relevant. Featuring a shockingly committed and disturbing performance by Andy Griffith, A FACE IN THE CROWD is a dark vision of American politics whose warnings can never be heeded carefully enough.</p> Sunday, January 22 EC: FILM NO. 12 (HEAVEN AND EARTH MAGIC FEATURE) http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2017#showing-46794 <p>Preserved by Anthology Film Archives with support from the National Film Preservation Foundation and Cineric, Inc.<br /><br />A masterpiece of collage animation that, after all these years, continues to boggle the mind.<br /><br />&ldquo;NO. 12 can be seen as one moment &ndash; certainly the most elaborately crafted moment &ndash; of the single alchemical film which is Harry Smith&rsquo;s life work. In its seriousness, its austerity, it is one of the strangest and most fascinating landmarks in the history of cinema. Its elaborately constructed soundtrack in which the sounds of various figures are systematically displaced onto other images reflects Smith&rsquo;s abiding concern with auditory effects.&rdquo; &ndash;P. Adams Sitney</p> Sunday, January 22 PUNISHMENT PARK http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2017#showing-46845 <p>A film whose relevance, sadly, is largely undimmed today, Peter Watkins&rsquo;s controversial, uncompromising PUNISHMENT PARK was made in a period marked by great political and social unease, with an increasingly emboldened radical youth movement in conflict with an establishment fully committed to the debacle in Vietnam. Inspired largely by the existence of the McCarran Act, which granted summary-judgment powers to the president in times of potential insurrection, the central conceit of the film is a nightmarish scenario only one step removed from reality: young radicals, arrested for their political activities, are given a choice between incarceration and participation in a potentially deadly &lsquo;game&rsquo; which finds them racing across a punishing desert landscape with armed law enforcement officers in pursuit. As if this scenario wasn&rsquo;t provocative enough, Watkins cast non-professionals whose views paralleled those of their characters &ndash; while the situations may be fictional, the conflicts that emerge are uncomfortably real. PUNISHMENT PARK is in part a dystopian nightmare or cautionary tale, and in part a prism through which the profound tensions and frustrations fracturing American society in the late 1960s are made manifest.<br /><br />&ldquo;An act of howling political righteousness, a dystopian critique intended for the peace-movement years but possibly even more relevant today. &hellip; [It] might be the most radioactive portrait of American divisiveness and oppression ever made.&rdquo; &ndash;Michael Atkinson, VILLAGE VOICE</p> Sunday, January 22 EC: HARRY SMITH http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2017#showing-46795 <p>FILM NOS. 1-5, 7, 10 (EARLY ABSTRACTIONS) 1946-57, 23 min, 16mm-to-35mm. Restored by Anthology Film Archives and The Film Foundation with funding provided by the George Lucas Family Foundation.<br />This screening features the world premiere of a brand new 35mm version of Smith&rsquo;s landmark compilation EARLY ABSTRACTIONS. This brilliant new print was made by doing an optical blow-up from Smith&rsquo;s camera original and best surviving elements. You have never seen this classic work with such vivid color and detail.<br /><br />FILM NO. 11 (MIRROR ANIMATIONS) 1957, 4 min, 16mm-to-35mm. Preserved by Anthology Film Archives.<br /><br />FILM NO. 14 (LATE SUPERIMPOSITIONS) 1964, 28 min, 16mm<br /><br />FILM NO. 16 (OZ: THE TIN WOODMAN&rsquo;S DREAM) 1967, 15 min, 35mm, silent<br /><br />&ldquo;My cinematic excreta is of four varieties: &ndash; batiked animations made directly on film between 1939 and 1946; optically printed non-objective studies composed around 1950; semi-realistic animated collages made as part of my alchemical labors of 1957 to 1962; and chronologically super-imposed photographs of actualities formed since the latter year. All these works have been organized in specific patterns derived from the interlocking beats of the respiration, the heart and the EEG Alpha component and should be observed together in order, or not at all, for they are valuable works, works that will forever abide &ndash; they made me gray.&rdquo; &ndash;H.S.<br /><br />Total running time: ca. 75 min.</p> Sunday, January 22 ICE http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2017#showing-46841 <p>This pioneering work is the first of Kramer&rsquo;s films to blur the boundaries between fiction and documentary, an approach Kramer would pursue throughout his subsequent career. An underground revolutionary group struggles against internal strife and stages guerilla attacks against a fictional fascist regime in the U.S. Kramer intercuts rhetorical sequences that explain the group&rsquo;s philosophy of radical action and serve to restrain the melodrama inherent in the thriller genre. Shot in the gray landscape of NYC in a gritty cin&eacute;ma-v&eacute;rit&eacute; style, ICE is reminiscent of Godard&rsquo;s ALPHAVILLE. Jonas Mekas wrote that ICE was &ldquo;the most original and significant American narrative film of the late sixties.&rdquo;<br /><br /><strong>Paul McIsaac, who appears in ICE and played the character of "Doc" in Robert Kramer's masterpieces DOC'S KINGDOM and ROUTE ONE USA, will be here in person for the screening on Sun, Jan 22, for an intro and Q&amp;A!</strong></p> Sunday, January 22 THE GOVERNOR http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2017#showing-46848 <p>&ldquo;On July 4, 1976, I and my camera toured the state of Colorado with Governor Richard D. Lamm, as he traveled in parades with his children, appeared at dinners, lectured, etc. On July 20, I spent the morning in his office in the state capitol and the afternoon with him and his wife in a television studio, then with Mrs. Lamm greeting guests to the governor&rdquo;s mansion and finally with Governor Lamm in his office again. These two days of photography took me exactly one year to edit into a film which wove itself thru multiple superimpositions into a study of light and power.&rdquo; &ndash;S.B.</p> Monday, January 23 IT HAPPENED HERE http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2017#showing-46838 <p>In Brownlow and Mollo&rsquo;s brilliant re-write of history, Germany has won World War II and Nazi troops occupy England. Pauline Murray, an apolitical Irish nurse, is transferred to London, where she slowly realizes the horrifying reality behind the occupation. The film is a terrifying intimation of what might have happened if the Allied effort had failed. Brownlow was only 18 and his co-director Mollo was 16, when they started this monumental documentary style drama in 1956.</p> Monday, January 23 SONG 23: 23RD PSALM BRANCH http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2017#showing-46850 <p>SONG 23: 23RD PSALM BRANCH, PART 1<br />(1978, 44 min, 16mm)<br />&amp;<br />SONG 23: 23RD PSALM BRANCH, PART 2<br />(1978, 41 min, 16mm)<br />&ldquo;The phenomenal and painstaking craftsmanship of this film reflects the intensity of the obsession with which its theme grasped [Brakhage&rsquo;s] mind. [&hellip;] In making 23RD PSALM BRANCH Brakhage was responding to the anxiety around him about the Vietnam war. In the terms which I have been using to discuss his vision, the force with which that war entered his thoughts challenged the metaphysical priority of the inner man. The finished film confirms the autonomy of the imagination and incorporates war through strategies of generalization, the dialectic of ideas and sights, contrasting subjective experiences of a single place, the oblique reference to the author of CIVILIZATION AND ITS DISCONTENTS, and finally closed-eye vision.&rdquo; &ndash;P. Adams Sitney, VISIONARY FILM</p> Tuesday, January 24 NEW YORK WOMEN IN FILM & TELEVISION, PROGRAM 1 http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2017#showing-46811 <p>Nina Pratt<br />CASTING<br />2016, 17 min, digital<br />The real, and we mean real, story of the world of a beloved/abhorred casting director trying to make EVERYONE happy.<br /><br />Bethany Jacobson<br />HOTEL BLEU<br />2016, 26 min, digital. NYWIFT Members: Bethany Jacobson (Director/Writer/Producer), Valentina Caniglia (Director of Photography), and Flavia Fontes (Editor).<br />A down-and-out standup comedienne finds refuge at Hotel Bleu, where she meets a charismatic trumpet player half her age and gets her mojo back.<br /><br />Teddy Robinson<br />HOME INVASION FOR THE HOLIDAYS<br />2015, 8 min, digital. NYWIFT Member: Katrina Medoff (Actor).<br />A newly divorced mom and her college-aged daughter&rsquo;s worst fears come true when a burglar breaks in during the night. But the mother-daughter team might just be able to outsmart him with prescription drugs and excellent listening skills.<br /><br />Paige Morrow Kimball<br />EXILED OUT EAST<br />2016, 20 min, digital. NYWIFT Members: Victoria Herbert (Creator), Paige Morrow Kimball (Director), and Heidi C. Bordogna (Writer/Producer).<br />When famed New York party planner Vicki Darrow commits a very public faux pas, she&rsquo;s exiled to her Southampton home and given one last shot to climb back up the social ladder, by planning a party for the Halitosis Prevention Foundation.<br /><br />Total running time: ca. 75 min.</p> Tuesday, January 24 PUNISHMENT PARK http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2017#showing-46846 <p>A film whose relevance, sadly, is largely undimmed today, Peter Watkins&rsquo;s controversial, uncompromising PUNISHMENT PARK was made in a period marked by great political and social unease, with an increasingly emboldened radical youth movement in conflict with an establishment fully committed to the debacle in Vietnam. Inspired largely by the existence of the McCarran Act, which granted summary-judgment powers to the president in times of potential insurrection, the central conceit of the film is a nightmarish scenario only one step removed from reality: young radicals, arrested for their political activities, are given a choice between incarceration and participation in a potentially deadly &lsquo;game&rsquo; which finds them racing across a punishing desert landscape with armed law enforcement officers in pursuit. As if this scenario wasn&rsquo;t provocative enough, Watkins cast non-professionals whose views paralleled those of their characters &ndash; while the situations may be fictional, the conflicts that emerge are uncomfortably real. PUNISHMENT PARK is in part a dystopian nightmare or cautionary tale, and in part a prism through which the profound tensions and frustrations fracturing American society in the late 1960s are made manifest.<br /><br />&ldquo;An act of howling political righteousness, a dystopian critique intended for the peace-movement years but possibly even more relevant today. &hellip; [It] might be the most radioactive portrait of American divisiveness and oppression ever made.&rdquo; &ndash;Michael Atkinson, VILLAGE VOICE</p> Tuesday, January 24 NEWFILMMAKERS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2017#showing-47124 <p>For full program listings, visit&nbsp;<a href="http://www.newfilmmakers.com" target="_blank">www.newfilmmakers.com</a>.</p> Wednesday, January 25 IMAGE MACHINES: CELEBRATING MILLENNIUM FILM JOURNAL NO 64 http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2017#showing-46808 <p>The title of the Fall 2016 issue of Millennium Film Journal &ndash; IMAGE MACHINES &ndash; invites readers to consider artists&rsquo; moving image as an interplay between the activities and intentions of filmmakers and the variety of machines and methods employed in the creation of their works. Through disarming voice-overs, archival excavations, and personal interventions, these digital and photo-chemical works chart the leaky tensions between interior and exterior landscapes. Displaying a technical and poetic eclecticism, and marked by an attention to the charged relationship between content, technology, and form, these films enact a broad imagination of the &ldquo;image machine&rdquo; and its discontents.<br /><br />Curated by Anita Spooner and Grahame Weinbren. All works are featured in the new issue of the Millennium Film Journal (www.mfj-online.org).<br /><br />Christoph Girardet SYNTHESIS (Germany, 2015, 8 min, digital)<br />Peter Bennett reads the opening of the St. James Genesis as if it were a Shakespearean text, extracting both personal significance and a description of the origin of the world that sounds simultaneously fictional and scientific. The reading informs a series of exquisite images, pulled from advertising, educational, and corporate films, in two adjacent windows on screen, the two images ambiguously resonating with the spoken text.<br /><br />Nina Yuen NARCISSUS (U.S., 2016, 10 min, digital)<br />Yuen plays Narcissus, but in a re-reading of the mythical figure, her love of her own image is tainted. The film describes five different relationships with the self: the never-changing watcher of the watcher; the intertwined, codependent relationship; the self-critical internal bully; the obsessive self-lover; and the self without awareness of itself. Through these changes, the film suggests a more fundamental and playful relationship between herself and her image. Narcissus drowns when he tries to embrace his reflection, but for Nina the lake is not where the danger lies.<br /><br />Richard Dinter SNOW / SN&Ouml; (Sweden, 2016, 10 min, digital)<br />SN&Ouml; documents a car journey through a country road in a snowstorm. Abstract fields of shimmering grey and white suggest a deep, unrooted melancholy in the specificity of the images and in the calm, simply told recollection of the journey. Through the moribund landscape, a sense of the inevitable is slowly revealed in the barely stated yet irrevocable fact of the circumstances the narrator and his mother are navigating.<br /><br />Bill Morrison THE DOCKWORKER&rsquo;S DREAM (U.S./Portugal, 2016, 18 min, digital. Score by Lambchop.)<br />&ldquo;This film developed from the idea that the Archive is a port of call, a place where goods are loaded and unloaded and held until a &ldquo;dockworker&rdquo; (or a &ldquo;doc-worker&rdquo;!) carries them off. In some ways the imagery is a metaphor for our process. As a film researcher and editor, I find myself seeking out hidden or elusive film material. In the film, there is the voyage, the expedition &ndash; and the hunt: we hunt these rare films in order to bring them back alive, so that they can live, for awhile longer, on the screen.&rdquo; &ndash;Bill Morrison<br /><br />Clemens von Wedemeyer THE HORSES OF A CAVALRY CAPTAIN / DIE PFERDE DES RITTMEISTERS (Germany, 2015, 10 min, digital. In German with English subtitles.)<br />A montage of extraordinary images taken from a cache of footage the filmmaker found in the attic of his grandfather. An army officer who was in charge of the horses used by Hitler&rsquo;s army during the early war years, he was also a highly skilled amateur movie cameraman. Withholding horrific imagery, the filmmaker&rsquo;s commentary forges a disturbing and brutal commentary on the ideology of images of WWII.<br /><br />Stephanie Wuertz SERPENTINE (U.S., 2014, 27 min, 16mm)<br />An intensely worked optical printing extravaganza inspired by modern dance pioneer Loie Fuller and her Serpentine dances, which were recorded by the studios of both Edison and the Lumi&egrave;res.<br />&ldquo;In SERPENTINE we see an interest in the operations of projected light on emulsion, but this is now combined with an explicit emphasis on the female body, and an implicit concern with that body&rsquo;s treatment within avant-garde film history. The clash that results&hellip;makes SERPENTINE an important contribution to the history of self-reflexive avant-garde film practices.&rdquo; &ndash;Vera Dika, MFJ<br /><br />Total running time: ca. 90 min.</p> Wednesday, January 25 YALKUT (+ PAIK): PROGRAM 1: VIDEOFILMS (WITH NAM JUNE PAIK) http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2017#showing-46798 <p>A wholly unique figure from the heyday of the NY underground, Jud Yalkut (1938-2013) was a multi-media pioneer whose radical films and videos remain as trippy and innovative today as they were back then. Born and raised in NYC, Yalkut studied literature before turning to experimental cinema in the early 1960s. A member of the groundbreaking intermedia collective USCO and an early creative partner of Nam June Paik (1932-2006), Yalkut documented a veritable who&rsquo;s-who of important artists while also making his own distinguished films and videos. He left for Dayton in 1973 to spearhead the film and video department at Wright State University and continued to be a major figure in the Ohio arts scene for the rest of his life. Yalkut&rsquo;s expansive body of work deserves serious reinvestigation, and these two programs highlight 16 newly preserved titles along with a complete retrospective of Yalkut&rsquo;s video/film hybrids, or &ldquo;Videofilms,&rdquo; made in collaboration with Nam June Paik.<br /><br />Special thanks to Peg Rice, and to Chris Hughes &amp; Laura Major (Colorlab).<br /><br />An additional Yalkut film, KUSAMA&rsquo;S SELF-OBLITERATION, will be screening on January 14 as part of &ldquo;<a href="../../../film_screenings/series/46823">Inventing Downtown</a>.&rdquo;<br /><br />PROGRAM 1: VIDEOFILMS (WITH NAM JUNE PAIK):<br />&ldquo;In addition to Paik&rsquo;s own slightly demonic sense of humor, the films are imbued with Yalkut&rsquo;s subtle kinaesthetic sensibility, an ultrasensitive manipulation of formal elements in space and time. Paik&rsquo;s electromadness combined with Yalkut&rsquo;s delicate kinetic consciousness result in a filmic experience balanced between video and cinema in a Third World reality.&rdquo; &ndash;Gene Youngblood, EXPANDED CINEMA<br /><br />BEATLES ELECTRONIQUES preserved by Anthology Film Archives. All other titles in this program, except for P+A-I(K) and WAITING FOR COMMERICALS, preserved by Anthology Film Archives with support from the National Film Preservation Foundation.<br /><br />ELECTRONIC YOGA (1966, 8 min, 16mm, b&amp;w, silent)<br /><br />VIDEOTAPE STUDY NO. 3 (1967-69, 4 min, 16mm, b&amp;w. Sound by David Behrman and Kenneth Werner.)<br /><br />BEATLES ELECTRONIQUES (1966-69, 3 min, 16mm. Soundtrack by Kenneth Werner.)<br />&ldquo;An eerie portrait of the Beatles not as pop stars but rather as entities that exist solely in the world of electronic media.&rdquo; &ndash;Gene Youngblood<br /><br />ELECTRONIC MOON NO. 2 (1969, 4.5 min, 16mm. Music by Debussy.)<br /><br />P+A-I(K) (1966, 10 min, 16mm)<br /><br />CINEMA METAPHYSIQUE NO. 1-5 (1966-67/72, 16 min, 16mm, b&amp;w/color)<br />&ldquo;A non-television film in which the screen is divided in various ways: the image appears on a thin band on the left side, or along the bottom edge, or split-screen.&rdquo; &ndash;Gene Youngblood<br /><br />ELECTRONIC FABLES (1971, 10 min, 16mm)<br />&ldquo;The visual portions are selected from the color video imagery of Nam June Paik during the period 1965-71. The sound track voices are: Marcel Duchamp, Marshall McLuhan, John Cage, Allen Ginsberg, Buckminister Fuller, Timothy Leary, Brion Gysin, Moondog, and Ken Kesey.&rdquo; &ndash;Jud Yalkut<br /><br />WAITING FOR COMMERCIALS (1972, 7 min, 16mm)<br />&ldquo;Samuel Beckett wrote WAITING FOR GODOT twenty years ago, but instead of Godot, TV commercial after TV commercial arrived.&rdquo; &ndash;Russell Connor<br /><br />Plus:<br />Stan VanDerBeek PAIK TV AND PAIK IN STUDIO (ca. 1964, 7 min, 16mm, b&amp;w, silent)<br /><br />Total running time: ca. 75 min.</p> Thursday, January 26 YALKUT (+ PAIK): PROGRAM 2: THE PARTICIPATING CAMERA: FILM JOURNALS AND DIARIES http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2017#showing-46800 <p>A wholly unique figure from the heyday of the NY underground, Jud Yalkut (1938-2013) was a multi-media pioneer whose radical films and videos remain as trippy and innovative today as they were back then. Born and raised in NYC, Yalkut studied literature before turning to experimental cinema in the early 1960s. A member of the groundbreaking intermedia collective USCO and an early creative partner of Nam June Paik (1932-2006), Yalkut documented a veritable who&rsquo;s-who of important artists while also making his own distinguished films and videos. He left for Dayton in 1973 to spearhead the film and video department at Wright State University and continued to be a major figure in the Ohio arts scene for the rest of his life. Yalkut&rsquo;s expansive body of work deserves serious reinvestigation, and these two programs highlight 16 newly preserved titles along with a complete retrospective of Yalkut&rsquo;s video/film hybrids, or &ldquo;Videofilms,&rdquo; made in collaboration with Nam June Paik.<br /><br />Special thanks to Peg Rice, and to Chris Hughes &amp; Laura Major (Colorlab).<br /><br />An additional Yalkut film, KUSAMA&rsquo;S SELF-OBLITERATION, will be screening on January 14 as part of &ldquo;<a href="../../../film_screenings/series/46823">Inventing Downtown</a>.&rdquo;<br /><br />PROGRAM 2: THE PARTICIPATING CAMERA: FILM JOURNALS AND DIARIES:<br /><br />All titles preserved by Anthology Film Archives with support from the National Film Preservation Foundation.<br /><br />CLARENCE (1965-68, 10 min, 16mm. Sound by Mel Lyman, Jim Kweskin, and the Lyman family; with the voice of Clarence Schmidt.)<br />&ldquo;Poetic montage of the &lsquo;sculpture garden house&rsquo; of 67 year old hermit-builder Clarence Schmidt of Woodstock, New York.&rdquo; &ndash;Jud Yalkut<br /><br />D.M.T. (1966, 3 min, 16mm)<br />&ldquo;Filmic translation of the first multi-media presentation of Jackie Cassen and Rudi Stern.&rdquo; &ndash;Jud Yalkut<br /><br />KENYON FILM (1969-72, 10 min, 16mm, silent)<br />&ldquo;A psychic portrait of the forces that converge on a small college town when its annual film festival, one of the finest in the country, erupts in alternating meditativeness and activity; with portraits of the filmmaker George Landow and the late poet Paul Blackburn, and the doves and stained glass of Kenyon College.&rdquo; &ndash;Jud Yalkut<br /><br />JOHN CAGE MUSHROOM HUNTING IN STONY POINT (1972-73, 8 min, 16mm, silent)<br />&ldquo;Filmic impressions of composer John Cage, mushroom hunting on his home ground of Stony Point, New York; visiting his home for the last time; radiating love towards his friends; and buying fruits and vegetables at the farm market before returning to New York City.&rdquo; &ndash;Jud Yalkut<br /><br />METAMEDIA: A FILM JOURNAL OF INTERMEDIA AND THE AVANT-GARDE 1966-1970<br />(1972, 50 min, 16mm, silent)<br />A film Journal of Intermedia and the Avant-Garde, 1966-70, including: Timothy Leary&rsquo;s Celebration &ldquo;The Resurrection of Christ&rdquo; (1966); Ken Dewey&rsquo;s &ldquo;Red, White, and Blue Car Collision&rdquo; (1967); EXPO &rsquo;67, Montreal, Canada; Yayoi Kusama at the Cooper Square Playhouse (1968); Hermann Nitsch&rsquo;s &ldquo;Orgy-Mystery Theater&rdquo; (1968); Carolee Schneemann&rsquo;s &ldquo;Illinois Central Transposed&rdquo; (1968); the 7th Annual New York Avant Garde Festival on Ward&rsquo;s Island (1969); and the &ldquo;Television as a Creative Medium&rdquo; exhibition at Howard Wise Gallery (1969) with a performance by Charlotte Moorman.<br /><br />Total running time: ca. 85 min.&nbsp;</p> Friday, January 27 JOHN COHEN: PROGRAM 1 http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2017#showing-46858 <p>DYLAN (1962, 3 min, 16mm-to-video)<br />On the roof of his apartment building at 32 3rd Avenue, Cohen captures the first film footage of a young Bob Dylan in New York City.<br /><br />THE HIGH LONESOME SOUND (1963, 30 min, 16mm, b&amp;w)<br />This classic film evocatively illustrates how music and religion help Appalachians maintain their dignity and traditions in the face of change and hardship.<br /><br />THE END OF AN OLD SONG (1972, 27 min, 16mm, b&amp;w)<br />Filmed in the mountains of North Carolina, this documentary revisits the region where English folklorist Cecil Sharp collected British ballads in the early 1900s. It contrasts the nature of the ballad singers with the presence of the juke box: although the lyrical tradition has changed, the singing style continues.<br /><br />Total running time: ca. 65 min.</p> Saturday, January 28 JOHN COHEN: PROGRAM 2 http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2017#showing-46860 <p>MUSICAL HOLDOUTS (1976, 47 min, 16mm)<br />From front porch banjo pickers in Appalachia and the Bluegrass Festival circuit to black children on the Carolina sea islands, cowboys, and Cheyenne and Comanche Indians, the musicians depicted here have all retained their cultural identities despite pressures from the mass media and popular culture.<br /><br />With:<br />SARA AND MAYBELLE (1981, 10 min, 16mm, b&amp;w)<br />A rare filmed performance of two members of the original Carter family, whose recordings helped found the country music industry.<br /><br />Total running time: ca. 60 min.</p> Saturday, January 28 JOHN COHEN: PROGRAM 3 http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2017#showing-46862 <p>MOUNTAIN MUSIC OF PERU (1984, 60 min, 16mm)<br />This classic documentary portrait of the centuries-old music of the Andes demonstrates its importance in preserving the cultural identity of the impoverished native peoples. The musical thread that runs through the Andes extends back past the ancient culture of the Incas, and is strong enough to have successfully resisted both the Spanish conquest and the forces of modern Western culture.<br /><br />CARNIVAL IN Q&rsquo;EROS (1991, 32 min, 16mm)<br />This groundbreaking documentary shows the remarkable Carnival celebrations &ndash; never before seen by outsiders &ndash; of a remote community of Indians high in the Peruvian Andes. Their culture offers important clues into the Inca past and the roots of Andean cultures. The Q&rsquo;eros play flutes and sing to their alpacas in a ritual to promote the animals&rsquo; fertility. The film shows how the music evolves from individual, to family, to ayllu (the traditional indigenous government model in the Andes), to community, a structure of spiritual activity distinct from the structure of kinship. The film also focuses on the protracted negotiations by which the Indians were compensated for their participation in the project.<br /><br />Total running time: ca. 95 min.</p> Sunday, January 29 JOHN COHEN: PROGRAM 4 http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2017#showing-46864 <p>ROSCOE HOLCOMB FROM DAISY KENTUCKY (2009, 29 min, digital)<br />This film explores the life and music of the Eastern Kentucky banjo/guitar player and coal miner who became one of the iconic figures in American traditional music. Cohen&rsquo;s earlier film, THE HIGH LONESOME SOUND (1963), helped propel Holcomb away from manual labor and, for a time, into a performing career. Reuniting with him following an on-the-job injury that has forced him into early retirement, Cohen has created a remarkable and visually beautiful portrait of a man who, despite economic hardship and changing times, has maintained a powerful and authentic musical identity and personal philosophy.<br /><br />VISIONS OF MARY FRANK (2014, 55 min, digital)<br />Cohen&rsquo;s most recent film is an intimate and affectionate portrait of the artist Mary Frank. Married young (originally to Robert Frank and, since 1997, to musicologist Leo Treitler), and pregnant at 17, she&rsquo;s brutally honest about often having put her art before all else, about the early influence of dance upon her brushstrokes, and about being (in Cohen&rsquo;s words) &ldquo;hot in a cool world.&rdquo; Her paintings, her political activism, and her past (the film includes wonderful footage of her with Allen Ginsberg and Jack Kerouac) tell the story of a deeply-felt, well-lived life.<br /><br />Total running time: ca. 90 min.</p> Sunday, January 29 FLAHERTY NYC PRESENTS: BROKEN SENSES: PROGRAM 2: SYNESTHETIC MEMORY http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2017#showing-46816 <p><strong><em>Roddy Bogawa, Ivana Larrosa, Guido Hendrikx, and Nazli Dincel in person.<br /><br /></em></strong>This program invites the audience to experience these short films through synesthetic sensations (hear colors, feel sounds, taste shapes) while mobilizing emotions and memories.<br /><br />Roddy Bogawa TALKING SHIT ABOUT MYSELF (2003, 2 min, digital)<br />Steve Reinke THE HUNDRED VIDEOS: INSTRUCTIONS FOR RECOVERING FORGOTTEN CHILDHOOD MEMORIES (1997, 2 min, digital)<br />Roddy Bogawa A SMALL ROOM IN THE BIG HOUSE (1987, 14 min, 16mm)<br />Steve Reinke HUMAN EVENTS: ATHEISTS NEED THEOLOGY TOO (2016, 11 min, digital)<br />Clint Enns LET ME ASMR YOU (2014, 2 min, digital)<br />Chris Marker CAT LISTENING TO MUSIC / CHAT &Eacute;COUTANT LA MUSIQUE (1990, 3 min, digital)<br />Ivana Larrosa LUNCH WITH DUCKS (2015, 7 min, digital)<br />Nazlı Din&ccedil;el SOLITARY ACTS #5 (2015, 6 min, 16mm)<br />Nazlı Din&ccedil;el SOLITARY ACTS #6 (2015, 11 min, 16mm)<br />Guido Hendrikx AMONG US (2014, 25 min, digital)<br /><br />Total running time: ca. 90 min.</p> Tuesday, January 31 EC: RON RICE / JACK SMITH http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2017#showing-46796 <p>Jack Smith<br />SCOTCH TAPE (1962, 3 min, 16mm)<br />A junkyard musical.<br /><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<br /><br />Ron Rice<br />CHUMLUM (1964, 23 min, 16mm. With Jack Smith, Mario Montez, Beverly Grant, and Barbara Rubin. Music by Angus Maclise)<br />&ldquo;One of the underground&rsquo;s best and most influential films.&rdquo; &ndash;Peter Gidal<br /><br />Total running time: ca. 75 min.</p> Tuesday, January 31 NEWFILMMAKERS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2017#showing-47125 <p>For full program listings, visit&nbsp;<a href="http://www.newfilmmakers.com" target="_blank">www.newfilmmakers.com</a>.</p> Wednesday, February 01 EC: WAVELENGTH http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2017#showing-46865 <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> Friday, February 03 EC: CARRIAGE TRADE http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2017#showing-46866 <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> Friday, February 03