Anthology Film Archives - Calendar Events http://anthologyfilmarchives.org An international center for the preservation, study, and exhibition of film and video with a particular focus on American independent and avant-garde cinema and its precursors found in classic European, Soviet and Japanese film. en-us Fri, 20 Sep 2019 10:56:10 -0400 THE NET http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2019#showing-51424 <p>(DAS NETZ &ndash; UNABOMBER, LSD &amp; INTERNET)<br /><br />In 1995, the FBI captured American domestic terrorist and former mathematics professor and anarchist author Ted Kaczynski, AKA the Unabomber, who understood himself to be battling the increasing technologization of the world. In the mid-20th century, a host of intellectual developments &ndash; including cybernetics and systems theory, multimedia art, new concepts of psychology and military research &ndash; came to the fore and became relevant in influencing and controlling communications and mass behaviors. In THE NET, Dammbeck attempts to uncover how and to what extent the Unabomber was influenced by the work of 20th-century thinkers including, among others, philosopher Marshall McLuhan, psychologist Timothy Leary, novelist Ken Kesey, and artist Nam June Paik. With the development of the internet in the 1980s, the question arose: What does the unlimited development of information technology mean for human society? This compelling and provocative documentary explores how modern technology influences social relationships, affects people&rsquo;s minds, and potentially replaces reality with virtual realities. The Unabomber&rsquo;s story is presented as an extreme case of how individual identity can disappear in a global virtual world.</p> Friday, September 20 CHRISTINE IN THE CUTTING ROOM http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2019#showing-51481 <p>SUSAN STRYKER IN PERSON!<br /><br />&ldquo;An ongoing multimedia project that uses the story of mid-20th-century transgender celebrity Christine Jorgensen to explore the relationship between embodiment and image-making. Jorgensen, who had formal training in photography and worked at one point as a film editor in RKO&rsquo;s newsreels unit, intuitively grasped that transsexuality was a technology of appearance-making that operated according to a cinematic logic; it was a practice that shifted her from one side of the camera to the other &ndash; from image-maker to spectacular image &ndash; and allowed her unseen subjectivity to become visually perceptible. CHRISTINE IN THE CUTTING ROOM uses found-footage filmmaking techniques and flash-cut editing to call attention to the materiality of the filmic medium, while telling Jorgensen&rsquo;s story about the implosion of embodiment and representation, the refiguration of subject/object, and the mutual enmeshment of audience and image in a cinematic apparatus.&rdquo; &ndash;Susan Stryker</p> Friday, September 20 LUTZ DAMMBECK: ANIMATED SHORT FILMS, PROGRAM 2 http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2019#showing-51412 <p>THE FLOOD / DIE FLUT (1986, 10 min, 35mm-to-DCP)<br />Two men sit on an island watching the sunset. When a storm gathers, they decide to build a boat. While one man is mindful of the coming danger and urges speed, the other wastes his time on decorative details. Dammbeck&rsquo;s last film made in the GDR before he left for West Germany is based on a Chinese fable, with music by internationally known jazz musician G&uuml;nter &ldquo;Baby&rdquo; Sommer.<br /><br />DUKE ERNEST / HERZOG ERNST<br />(1984-93, 45 min, 35mm-to-DCP. In German with English subtitles.)<br />Young Duke Ernest wants to become a good knight, but circumstances are not in his favor. The Emperor &ndash; who wants to claim the Duke&rsquo;s castle and marry his mother &ndash; arranges to have Ernest wrongfully accused of murder and jailed. The only way to escape death is to enlist and go in search of the legendary Carbuncle Stone. Along the way, Ernest encounters carnivorous rocks, magnetic mountains, the giant bird Roc, and many fantastical adventures. Dammbeck worked on this children&rsquo;s animation film &ndash; based on a medieval legend first written down in 1284 &ndash; for almost ten years. Critics called the film a masterpiece and highlighted the fanciful characters, the beautiful color scheme, and the film&rsquo;s poetry.</p> Friday, September 20 THE PAINTER CAME FROM A FOREIGN LAND + DÜRER’S HEIRS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2019#showing-51418 <p>U.S. PREMIERE!<br /><br />THE PAINTER CAME FROM A FOREIGN LAND / DER MALER KAM AUS FREMDEM LAND<br />(1988, 43 min, 16mm-to-DCP. In German with English subtitles.)<br />In this film, Dammbeck explores his own decision to relocate to Hamburg, West Germany, and tries to sort out his past as an artist. In the process, he interviews artists Cornelia Schleime, Hans-Hendrik Grimmling, and Hans Scheib, who had been core members of the alternative art scene in East Germany. They had all worked together in the 8mm scene and organized or planned multimedia and crossover exhibitions, including Tangents I in 1976-77 and the First Leipzig Autumn Salon in 1984. Each left for West Germany in the mid-1980s. What has become of their former artistic strategies and positions? How do they deal with their past? What is the force behind their art now? And how do they cope with the western art market?<br />&amp;<br />D&Uuml;RER&rsquo;S HEIRS / D&Uuml;RERS ERBEN<br />(1996, 59 min, 16mm-to-DCP. In German with English subtitles.)<br />Dammbeck, himself an alumnus of the Leipzig Academy for Graphic and Book Design, presents the origins of the new German realism developed by the so-called Leipzig School, which took place in the context of socialist-realist dogma in the GDR before the Wall was built in 1961. After the Wall came down in 1989, what happened to the major Leipzig School painters Werner T&uuml;bke and Bernhard Heisig, who had been called &ldquo;D&uuml;rer&rsquo;s red heirs&rdquo; by West German journalists in the 1970s? In the film, T&uuml;bke, Heisig, and former GDR officials who were involved with the cultural scene in Leipzig at the time talk about modernism, conformism, political pressure, party discipline, personal claims, and fading memory. The documentary paints an insightful, often critical picture of early East German art history.<br /><br />Total running time: ca. 110 min.</p> Saturday, September 21 PATERNAL RITES http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2019#showing-51483 <p>JULES ROSSKAM IN PERSON! <br /><br />GUEST CURATED BY MATTILDA BERNSTEIN SYCAMORE<br /><br />Rosskam deftly crafts an intimate collage of archival and contemporary Super-8, hand-painted film, animation, sweeping panoramic portraits, and present-day audio interviews in his long-awaited personal essay film. PATERNAL RITES examines the secret underbelly of a contemporary Jewish-American family as the filmmaker grapples with the after-effects of childhood physical and sexual abuse in his present-day life and in the lives of his family members. Interrogating the nature of emotional upheaval and memory itself, the film reflects on the ways in which trauma encrypts in uncanny ways, the function of speech and narrative in the process of decryption, and the role of film and filmmaking in the practice of healing.</p> Saturday, September 21 TIME OF THE GODS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2019#showing-51495 <p>(ZEIT DER G&Ouml;TTER. DER BILDHAUER ARNO BREKER)<br /><br />U.S. PREMIERE!<br /><br />While working on his HERCULES CONCEPT, Dammbeck began to study the life and work of the German sculptor Arno Breker (1900-91). How could a highly talented sculptor who had met French avant-garde artists in Paris in the 1920s, and whose works were first labeled as &ldquo;degenerate art,&rdquo; become one of Adolf Hitler&rsquo;s and Albert Speer&rsquo;s preferred sculptors and prot&eacute;g&eacute;s? In trying to find an answer, Dammbeck met with contemporaries and friends of Breker, including writers Roger Peyrefitte and Ernst J&uuml;nger, the West German art collector Peter Ludwig, and the former decathlete Gustav St&uuml;hrk, who posed as Breker&rsquo;s model for a Nazi-commissioned sculpture in 1936. The film considers what transformations in power and politics do to art, how fascist symbols can regain their aesthetic innocence, and how much opportunism can be found in &ldquo;pure&rdquo; art. It also explores questions of ethics and aesthetics, and makes a valuable contribution to discussions of art and power.</p> Saturday, September 21 TRANNY FAG http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2019#showing-51485 <p>(BIXA TRAVESTY)<br /><br />&ldquo;TRANNY FAG dazzlingly showcases the life and political artistry of Linn da Quebrada, an electrifying performer from the outskirts of S&atilde;o Paulo, whose daring and powerful performance style matches her social message of resistance and inclusion. A Black trans woman (who refers to herself as a &lsquo;bixa travesty&rsquo; &ndash; &lsquo;tranny fag&rsquo; &ndash; by way of reclaiming those words), da Quebrada uses singing, rap, dance, spoken word, and other media to give a voice to queer people of color from Brazil&rsquo;s favelas. Accompanied by her childhood friend and performance collaborator, singer Jup do Bairro, who is also trans, she creates provocative, high-energy performance pieces that celebrate and explore gender and sexuality while confronting the oppressive machismo of the country&rsquo;s music scene.&rdquo; &ndash;Charles Purdy, FRAMELINE</p> Saturday, September 21 THE MASTER GAME http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2019#showing-51429 <p>(DAS MEISTERSPIEL)<br /><br />At the Vienna Art Academy in 1994, an unidentified person painted over 27 works by Austrian painter Arnulf Rainer. Rainer had become world-famous for his abstract art and, in particular, for his over-layering of photographs and overpainting of his own and other artists&rsquo; works. But who painted over the &ldquo;overpainter&rdquo;? Speculation rages: Did he attack his works himself? A year later, an unsigned letter surfaces claiming responsibility for the act directed against Rainer &ndash; and modern art in general &ndash; and accusing the artist of being complicit with &ldquo;destructive modernism.&rdquo; At the same time, Austria is shaken by a series of mail bombs by the Bajuwarian Liberation Army, in response to the supposed threat to Austria&rsquo;s &ldquo;German identity.&rdquo; Are there connections between the overpainting event and the mail bombs? Or is this all just a game? A dream? Or perhaps a hallucination?</p> Saturday, September 21 REALFilm http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2019#showing-51432 <p>U.S. PREMIERE!<br /><br />This multimedia collage &ndash; which includes performances by dancer Fine Kwiatkowski, Dammbeck himself, and musician Robert Linke &ndash; is a reflection on the medium of film and its elements: sound, light, and movement. Dammbeck attempts to cleanse these elements of ideology and commerce and then compose a new film out of them. The process is played out in the space in real time. Recorded in Leipzig on May 14, 1986, this collage was hailed as a unique and extraordinary sensual experience in the GDR art scene.<br /><br />We will be screening REALFilm alongside two short pieces &ndash; HERCULES VIDEO (1984) and HERCULES MEDIA COLLAGE (1985) &ndash; made with Fine Kwiatkowski, one of Dammbeck&rsquo;s media collage collaborators.<br /><br />Total running time: ca. 65 min.</p> Sunday, September 22 LUTZ DAMMBECK: ANIMATED SHORT FILMS, PROGRAM 1 http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2019#showing-51409 <p>THE MOON / DER MOND (1975, 6 min, 35mm-to-DCP)<br />The moon swirls happily around, watching strange animals enjoying themselves and dancing to gramophone music in its light. Then, suddenly, the moon falls out of the sky, and a greedy dragon drags it into his cave and forces it to give him light while he eats all the cakes. When the nights stay dark, the animals come up with a plan.&nbsp;Otto Sacher, East Germany&rsquo;s legendary animation director and co-founder of the DEFA Studio for Animation Film, was the artistic advisor for this film, the first of Dammbeck&rsquo;s animated works.<br /><br />LIVE! / LEBE! (1978, 11 min, 35mm-to-DCP)<br />This short film traces the story of a man from birth to old age. The magical dreams of his youth appear from time to time, but daily routine quickly takes over. His striving for material wealth &ndash; including a Trabant car, a shelving unit, a boat &ndash; leads him to betray his youthful ideals, and he ultimately becomes a slave to his possessions.&nbsp;In the final frames of the film, &ldquo;LIVE&rdquo; &ndash; written in large white letters &ndash; ironically reminds viewers not to forget to follow their dreams.<br /><br />THE TAILOR OF ULM / DER SCHNEIDER VON ULM (1979, 15 min, 35mm-to-DCP. In German with English subtitles.)<br />The little town of Ulm is governed and oppressed by its bishop. Nobody speaks up against him except the tailor, who is also an artist. He rebels against the bishop&rsquo;s power and believes the impossible is possible. He believes in his dream &ndash; that he can fly! This animated film is based on the eponymous poem written by Bertolt Brecht. In the film, Dammbeck also hid a reference to Panamarenko (written on the tailor&rsquo;s hat), the Belgian artist, who became known in the mid-1960s and 70s for his mixed-media sculptures of flying objects.<br />Dammbeck made this film &ndash; a reference to the myth of Icarus and a metaphor for failure, hope, and human exploration &ndash; at the invitation of the legendary animator Kurt Weiler. It&rsquo;s the first example of Dammbeck&rsquo;s experimental, grotesque, surrealistic style of animation. The idea of flying, which Dammbeck uses here for the first time, will reappear continuously in his next films. THE TAILOR OF ULM established Dammbeck&rsquo;s reputation among East German animation directors.<br /><br />EINMART (1981, 15 min, 35mm-to-DCP. In German with English subtitles.)<br />Mutants live on a hermetically sealed, devastated planet. The film&rsquo;s protagonist, a head with hands but no body, drags himself through a dreary, lightless landscape of isolated, random organs and cell clusters. He wants to get to the simulation machine that will allow him to experience the illusion of free flight.<br />The dominator of the planet is a tall black birdman, who seems to celebrate free flight. The protagonist and other creatures want to leave their earthbound existence and try to imitate him. The protagonist&rsquo;s flight ends in disillusion, however. His range is restricted by a cupola-shaped net, which only allows him to see outside, where free and weightless flight seems possible. He could risk jumping, but he might end up dead.<br />With its rich visual world, supported by musique concr&egrave;te and masterly paraphrases of Bu&ntilde;uel and Tarkovsky, EINMART was controversial among officials and set unprecedented standards in East German animation. The film was beloved among arthouse cinephiles and intellectuals, who saw it as a parable of the East German surveillance state.<br /><br />THE DISCOVERY / DIE ENTDECKUNG (1982, 18 min, 35mm-to-DCP. In German with English subtitles.)<br />A little bumblebee is tired of her daily routine and the other boring bumblebees. She flies to the place of her dreams and meets a frog who is also seeking something new. Despite their differences, the two animals become friends and start their adventure together. This children&rsquo;s animation film was a success in East German cinemas. Older viewers, however, saw it as a metaphor for their longing to escape &ndash; daily life, or even their walled-in country.<br /><br />Total running time: ca. 65 min.</p> Sunday, September 22 SWARM SEASON http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2019#showing-51488 <p>SARAH CHRISTMAN IN PERSON!<br /><br />On a remote volcanic island, 10-year-old Manu and her mother catch swarms of wild honeybees in order to breed disease-resistant colonies. Her father is taking part in a native Hawaiian movement to protect the sacred Mauna Kea mountain from the construction of a massive telescope. On the nearby slopes of Mauna Loa, six NASA scientists are participating in a yearlong mission designed to prepare for life on Mars. Meanwhile, the Kilauea volcano is stirring. When bees swarm, the colony reproduces like a cell, by splitting in two. Half of the hive flies off in search of a new home, while the other half stays behind. The intricate workings of the honeybee hive offer a prismatic view of a precarious reality for Hawaii and beyond. If honeybees &ndash; one of the most resilient and cooperative species on the planet &ndash; are being pushed to the point of extinction, what kind of future do humans have on earth? Following its U.S. premiere at the Film Society of Lincoln Center&rsquo;s &ldquo;Art of the Real&rdquo; festival, we are pleased to host SWARM SEASON&rsquo;s return to the big screen in New York.</p> Sunday, September 22 OVERGAMES http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2019#showing-51427 <p>U.S. PREMIERE!<br /><br />While channel surfing in 2004, Lutz Dammbeck saw West German TV game show host Joachim Fuchsberger explain that he had based his successful early-1960s game show, &ldquo;Nur nicht nerv&ouml;s warden&rdquo; (&ldquo;Just Don&rsquo;t Get Nervous&rdquo;), on an American show called &ldquo;Beat the Clock,&rdquo; which made use of games developed for use in psychiatric therapy. When asked how many patients had watched his show, Fuchsberger answered: &ldquo;A nation! A crazy&hellip;mentally disturbed nation.&rdquo; In questioning how (West) Germans could have been considered mentally disturbed, Dammbeck discovered the mid-20th century psychiatric theories that, in combination with the work of other U.S. scholars, underpinned the American post-Nazi &ldquo;re-education&rdquo; program. In this painstakingly researched film essay, he picks up some of the threads he began pursuing in THE NET (2003), attempting to determine if Fuchsberger&rsquo;s claims are true &ndash; and thereby exploring the concept of a permanent revolution. For this film, which took almost 10 years to complete, Dammbeck conducted a wide range of interviews, including with American game-show producers Syd Vinnedge and Bob Boden, and Maggy von Ostrand, secretary to Mark Goodson, the legendary producer of the American TV game show &ldquo;Beat the Clock.&rdquo;</p> Sunday, September 22 BRUNO & BETTINA http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2019#showing-51421 <p>NYC PREMIERE!<br /><br />Legendary author and filmmaker Masao Adachi was a member of the Japanese New Left who shifted roles from political filmmaker to guerilla fighter. After the Cannes Film Festival in 1971, he and his friend and fellow filmmaker Koji Wakamatsu drove from France to Lebanon, where they worked on a documentary about the Popular Front for the Liberation of Palestine, RED ARMY / PFLP: DECLARATION OF WORLD WAR. Three years later, Adachi joined the Japanese Red Army, founded by Fusako Shigenobu, in the Bekaa Valley in Lebanon. Adachi went underground with a new identity and a fake passport and, for the next 23 years, lived at the center of an international network of radical, leftwing revolutionary groups. In 1997, he was arrested and tried for passport violation. Sentenced to four years in a Lebanese prison, he was released after 18 months. He was then deported to Japan, where he was arrested on other passport violations. After another 18 months, he was tried, convicted, and sentenced to time served. Following his release, he resumed working on films after a 30-year hiatus.<br /><br />Dammbeck met Adachi in Tokyo in 2018, and the two engaged in a wide-ranging discussion that encompassed topics including art, revolution, the influence of western avant-garde culture and of the American underground, the Japanese Red Army, collaboration with secret services, the role of the Left after 1968, and the reasons for the failure of leftist ideas and strategies. Dammbeck filmed their conversation, and the result is this new documentary, which represents an extraordinary meeting of minds.</p> Monday, September 23 TRANNY FAG http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2019#showing-51486 <p>(BIXA TRAVESTY)<br /><br />&ldquo;TRANNY FAG dazzlingly showcases the life and political artistry of Linn da Quebrada, an electrifying performer from the outskirts of S&atilde;o Paulo, whose daring and powerful performance style matches her social message of resistance and inclusion. A Black trans woman (who refers to herself as a &lsquo;bixa travesty&rsquo; &ndash; &lsquo;tranny fag&rsquo; &ndash; by way of reclaiming those words), da Quebrada uses singing, rap, dance, spoken word, and other media to give a voice to queer people of color from Brazil&rsquo;s favelas. Accompanied by her childhood friend and performance collaborator, singer Jup do Bairro, who is also trans, she creates provocative, high-energy performance pieces that celebrate and explore gender and sexuality while confronting the oppressive machismo of the country&rsquo;s music scene.&rdquo; &ndash;Charles Purdy, FRAMELINE</p> Monday, September 23 TIME OF THE GODS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2019#showing-51496 <p>(ZEIT DER G&Ouml;TTER. DER BILDHAUER ARNO BREKER)<br /><br />U.S. PREMIERE!<br /><br />While working on his HERCULES CONCEPT, Dammbeck began to study the life and work of the German sculptor Arno Breker (1900-91). How could a highly talented sculptor who had met French avant-garde artists in Paris in the 1920s, and whose works were first labeled as &ldquo;degenerate art,&rdquo; become one of Adolf Hitler&rsquo;s and Albert Speer&rsquo;s preferred sculptors and prot&eacute;g&eacute;s? In trying to find an answer, Dammbeck met with contemporaries and friends of Breker, including writers Roger Peyrefitte and Ernst J&uuml;nger, the West German art collector Peter Ludwig, and the former decathlete Gustav St&uuml;hrk, who posed as Breker&rsquo;s model for a Nazi-commissioned sculpture in 1936. The film considers what transformations in power and politics do to art, how fascist symbols can regain their aesthetic innocence, and how much opportunism can be found in &ldquo;pure&rdquo; art. It also explores questions of ethics and aesthetics, and makes a valuable contribution to discussions of art and power.</p> Monday, September 23 THE MASTER GAME http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2019#showing-51430 <p>(DAS MEISTERSPIEL)<br /><br />At the Vienna Art Academy in 1994, an unidentified person painted over 27 works by Austrian painter Arnulf Rainer. Rainer had become world-famous for his abstract art and, in particular, for his over-layering of photographs and overpainting of his own and other artists&rsquo; works. But who painted over the &ldquo;overpainter&rdquo;? Speculation rages: Did he attack his works himself? A year later, an unsigned letter surfaces claiming responsibility for the act directed against Rainer &ndash; and modern art in general &ndash; and accusing the artist of being complicit with &ldquo;destructive modernism.&rdquo; At the same time, Austria is shaken by a series of mail bombs by the Bajuwarian Liberation Army, in response to the supposed threat to Austria&rsquo;s &ldquo;German identity.&rdquo; Are there connections between the overpainting event and the mail bombs? Or is this all just a game? A dream? Or perhaps a hallucination?</p> Tuesday, September 24 I REMEMBER THE CROWS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2019#showing-51490 <p>(LEMBRO MAIS DOS CORVOS)<br /><br />Filmed in a single all-night session, I REMEMBER THE CROWS is an extended interview with the filmmaker&rsquo;s friend and collaborator Julia Katharine, a Japanese-Brazilian trans actress and filmmaker whose insomnia keeps her awake long enough to candidly spill stories of her childhood, family, romances, desires, self-destructive impulses, and &ndash; above all &ndash; love of cinema. As a quiet but attentive insider, Vinagre invests himself in his friend Julia&rsquo;s tales while she speaks at length of her insecurities, her desire to divulge honestly and still engage her audience, and the various films that have shaped her identity, from TERMS OF ENDEARMENT to THE BIRDS to QUERELLE. A deeply personal and immediate confessional, I REMEMBER THE CROWS calls to mind Shirley Clarke&rsquo;s PORTRAIT OF JASON and Jean Eustache&rsquo;s NUM&Eacute;RO Z&Eacute;RO, but unlike the subjects of those films Julia turns the lens back on the director &ndash; and on her audience.</p> Tuesday, September 24 LUTZ DAMMBECK: EXPERIMENTAL FILM PROGRAM http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2019#showing-51415 <p>METAMORPHOSES I / METAMORPHOSEN I (1978, 7 min, 35mm-to-DCP)<br />For the 1977 intermedia exhibition Tangents I, Dammbeck and artist Frieder Heinze had planned a film that would combine non-camera animation with 35mm footage of a train ride through Dresden. When Tangents I was banned Dammbeck continued working on the film by himself. METAMORPHOSES I &ndash; the first experimental film to be shown publicly in the GDR &ndash; marks the filmic beginning of Dammbeck&rsquo;s long-term art project the HERAKLES-KONZEPT (HERCULES CONCEPT).<br /><br />HOMAGE TO LA SARRAZ / HOMMAGE &Agrave; LA SARRAZ (1981, 12 min, 35mm-to-DCP. In German with English subtitles.)<br />Experimenting with over-painting and non-camera animation, Dammbeck relocates his Leipzig-based artists circle to La Sarraz Castle in Switzerland, the site of a legendary 1929 congress held by European avant-garde filmmakers, including Sergei Eisenstein, B&eacute;la Bal&aacute;zs, Ivor Montagu, Hans Richter, and Walter Ruttmann.<br /><br />FIRST LEIPZIG AUTUMN SALON / 1. LEIPZIGER HERBSTSALON (1984-2008, 22 min, 16mm-to-DCP, silent)<br />In 1984, Dammbeck and five young Leipzig artists secretly organized this renegade exhibition in protest of the official East German art market. This short film consists of original footage, shot by cinematographer Thomas Plenert, of the artists preparing the exhibition the day before its opening.<br /><br />THE CAVE OF HERCULES<strong>/</strong>HERAKLES H&Ouml;HLE<br />(1983-90, 45 min, 16mm-to-DCP. In German with English subtitles.)<br />Despite seeing his film project HERCULES rejected by DEFA Studios in 1983-84, Dammbeck remained fascinated by the Hercules story. He started experimenting with different media combinations, using overpainting, photography, film clips, collage, painting, and movement. These experiments resulted in groundbreaking multimedia collaborations, as well as the film THE CAVE OF HERCULES, in which Dammbeck explores a series of questions inspired by this classical figure. Who was the legendary hero Hercules? Is there a new Hercules today? How are heroes created in a totalitarian society? What are the virtues of heroes?&nbsp;This multi-layered experimental film combines projections of collected film clips, quotations from &ldquo;The Willful Child&rdquo; by the Brothers Grimm, and &ldquo;Hercules 2 or the Hydra&rdquo; by Heiner M&uuml;ller, as well as dance scenes with Eva Schmale that were performed &ndash; at Kampnagel in Hamburg &ndash; specifically for the film.<strong><br /><br /></strong>Total running time: ca. 100 min.</p> Tuesday, September 24 NEWFILMMAKERS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2019#showing-51260 <p>For full program listings, visit&nbsp;<a href="http://www.newfilmmakers.com" target="_blank">www.newfilmmakers.com</a>.</p> Wednesday, September 25 EC: THE FALL OF THE HOUSE OF USHER http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2019#showing-51504 <p>(LA CHUTE DE LA MAISON USHER)<br /><br />Epstein deploys slow-motion, intricate lighting, and stylized sets to create an atmosphere of doom in this famous avant-garde expressionist Poe adaptation (combining both the eponymous tale and another Poe story, &ldquo;The Oval Portrait&rdquo;). Starring Marguerite Gance, wife of French director Abel Gance, it was also made with the participation of a young Luis Bu&ntilde;uel, who served as Epstein&rsquo;s second assistant.<br /><br />&ldquo;Since the French Impressionist school has always considered the cinema to be like a visual symphony, we might call this film by Epstein the cinematic equivalent of Debussy&rsquo;s works.&rdquo; &ndash;Henri Langlois<br /><br />Followed by:<br />Jean Epstein<br />THE THREE-SIDED MIRROR / LA GLACE &Agrave; TROIS FACES<br />(1927, 38 min, 35mm, silent. French intertitles with English voiceover.)<br />&ldquo;[Epstein&rsquo;s] dependence on the close-up, his obsession with the totemic power of the object, his freewheeling mastery of cutting, variation of camera speed, and trust in the interpretive abilities of the audience, all come to a head with THE THREE-SIDED MIRROR. The fractured narrative follows the relations of three separate women&hellip;with a handsome, stylish, affluent young man. In the course of the film, he breaks an engagement with each of them in turn, tooling off in a sports car to his eventual demise.&rdquo; &ndash;Brad Weismann, SENSES OF CINEMA</p> Wednesday, September 25 THE KILLING OF SISTER GEORGE http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2019#showing-51492 <p>GUEST CURATED AND PRESENTED IN PERSON BY JACK HALBERSTAM ON THURS, SEPT 26!<br /><br />&ldquo;The association made in this film between acting and being queer is common enough, as is the connection between homosexuality and the unreal, but the power of THE KILLING OF SISTER GEORGE lies in the way it insists on the absolute confusion between theater and life. Sister George is both an acting role and a real role, just as George&rsquo;s butch persona is both a role and an identity. In the course of the film, George accosts a clutch of nuns in a taxicab, visits a prostitute, and goes to a dyke bar costume party with her lover as Laurel and Hardy: everything and nothing is an act. George&rsquo;s brushes with various sisterhoods (the nuns, the whores, the dykes) truly identify her with female homo sociality and lend the weight of the real to her stage name Sister George.&rdquo; &ndash;Jack Halberstam, FEMALE MASCULINITY</p> Thursday, September 26 SHOW & TELL: IAN HELLIWELL: PROGRAM 1 http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2019#showing-51476 <p>A self-taught multimedia artist living in Brighton since 1985, Ian Helliwell has amassed a large body of self-funded film work through a synthesis of analogue and digital equipment, using various hands-on techniques to realize his ideas. He has made over 120 short experimental films &ndash; one of the largest bodies of film and video in the world to feature electronic music soundtracks by one artist. And yet he has never presented his work in the U.S., a situation we&rsquo;re delighted to remedy with this two-program overview of his career. These screenings will reveal his dedicated experiments with abstraction, found footage, direct animation, and electronic music through 35 of his films.<br /><br />Years of experimentation with building and modifying 9v circuitry employing his creative soldering method has led to the construction of his unique series of Hellisizer synths and Hellitron tone generators, used to make the soundtracks to most of his films. His intuitive approach embraces both antiquated and contemporary technology, and incorporates music, film, animation, analogue electronics, instrument building, collage, installations, light show projection, live performance, writing, and film programming.<br /><br />Helliwell has a longstanding interest in abstract animation, world&rsquo;s fairs, and electronic music, and in 2011 he completed his first feature-length documentary film, PRACTICAL ELECTRONICA, about radio and electronic music pioneer FC Judd and early British tape recording. Helliwell&rsquo;s book &ldquo;Tape Leaders,&rdquo; an A-Z compendium of early British electronic music composers, was published in 2016, and his ongoing audio series the Tone Generation, has reached its 27th edition.<br /><br />Special thanks to David Mason and Sarah Halpern.<br /><br />PROGRAM 1:<br />RECTANGULAR MOTION (2000, 4 min, digital)<br />SPECTRUM ANALYSIS (2015, 4 min, digital)<br />A STORM IS BREWING (2014, 4 min, digital)<br />DUAL LEADER (2017, 2.5 min, digital)<br />ART FLIES FREE (2000, 3 min, digital)<br />CRYSTALLIZATION (1994-97, 4 min, digital)<br />COLOURED LIGHT DISTRICT (2002, 2 min, digital)<br />ESCAPE THE LIGHT (2014/19, 4 min, digital)<br />CRASH TESTING (2012, 4 min, digital)<br />[intermission]<br />DEFLECTION CURRENTS (2005, 3 min, digital)<br />KING SIZE FRAME (2014, 2.5 min, digital)<br />SPACE TIME FEEDBACK (2016, 6.5 min, digital)<br />DARK PARALLEL (2018, 3 min, digital)<br />HEADACHE (2002, 1 min, digital)<br />ORBITING THE ATOM (2002, 5 min, digital)<br />INTERPENETRATION (2004, 3.5 min, digital)<br />LETRASTEPS (2017, 3 min, digital)<br />GET SET (2005, 3.5 min, digital)<br />Total running time: ca. 70 min.</p> Thursday, September 26 THE KILLING OF SISTER GEORGE http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2019#showing-51493 <p>GUEST CURATED AND PRESENTED IN PERSON BY JACK HALBERSTAM ON THURS, SEPT 26!<br /><br />&ldquo;The association made in this film between acting and being queer is common enough, as is the connection between homosexuality and the unreal, but the power of THE KILLING OF SISTER GEORGE lies in the way it insists on the absolute confusion between theater and life. Sister George is both an acting role and a real role, just as George&rsquo;s butch persona is both a role and an identity. In the course of the film, George accosts a clutch of nuns in a taxicab, visits a prostitute, and goes to a dyke bar costume party with her lover as Laurel and Hardy: everything and nothing is an act. George&rsquo;s brushes with various sisterhoods (the nuns, the whores, the dykes) truly identify her with female homo sociality and lend the weight of the real to her stage name Sister George.&rdquo; &ndash;Jack Halberstam, FEMALE MASCULINITY</p> Friday, September 27 SHOW & TELL: IAN HELLIWELL: PROGRAM 2 http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2019#showing-51478 <p>A self-taught multimedia artist living in Brighton since 1985, Ian Helliwell has amassed a large body of self-funded film work through a synthesis of analogue and digital equipment, using various hands-on techniques to realize his ideas. He has made over 120 short experimental films &ndash; one of the largest bodies of film and video in the world to feature electronic music soundtracks by one artist. And yet he has never presented his work in the U.S., a situation we&rsquo;re delighted to remedy with this two-program overview of his career. These screenings will reveal his dedicated experiments with abstraction, found footage, direct animation, and electronic music through 35 of his films.<br /><br />Years of experimentation with building and modifying 9v circuitry employing his creative soldering method has led to the construction of his unique series of Hellisizer synths and Hellitron tone generators, used to make the soundtracks to most of his films. His intuitive approach embraces both antiquated and contemporary technology, and incorporates music, film, animation, analogue electronics, instrument building, collage, installations, light show projection, live performance, writing, and film programming.<br /><br />Helliwell has a longstanding interest in abstract animation, world&rsquo;s fairs, and electronic music, and in 2011 he completed his first feature-length documentary film, PRACTICAL ELECTRONICA, about radio and electronic music pioneer FC Judd and early British tape recording. Helliwell&rsquo;s book &ldquo;Tape Leaders,&rdquo; an A-Z compendium of early British electronic music composers, was published in 2016, and his ongoing audio series the Tone Generation, has reached its 27th edition.<br /><br />Special thanks to David Mason and Sarah Halpern.<br /><br />PROGRAM 2:<br />SIGNAL TRACING (2007, 3.5 min, digital)<br />THAT WHICH GLITTERS (2016, 1.5 min, digital)<br />PROTEAN FEEDBACK (2016, 5.5 min, digital)<br />DASH DOT (2006, 1 min, digital)<br />DANCING IN THE LOUNGE LIGHT (2018, 4 min, digital)<br />BEYOND THE LIGHT (2003, 3.5 min, digital)<br />STRIATIONS (2005, 4 min, digital)<br />ORIGAMI (2003, 1 min, digital)<br />HOLES (1993-present, 13 min, digital)<br />[intermission]<br />SUN TOWER 70 (2006, 3 min, digital)<br />EMS 8 (2008, 3 min, digital)<br />DISC BREAK 1998, 3.5 min, digital<br />WATCHERS AND WATCHED (2019, 4 min, digital)<br />LINES AND PULSES (2008, 4 min, digital)<br />FAST FORWARD FRAMES (2018, 3 min, digital)<br />SPINNING ACROSS SPACE (2019, 5 min, digital)<br />OUR HONEYMOON (1997, 1 min, digital)<br />Total running time: ca. 70 min.</p> Friday, September 27 EC: NANOOK OF THE NORTH http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2019#showing-51505 <p>Flaherty&rsquo;s pioneering ethnographic film depicts the struggle for survival of Inuit hunter Nanook and his family. Though rife with staged scenes, anachronisms, and an indulgence in the myth of the &ldquo;noble savage&rdquo; (Nanook was in fact an Inuit man named Allakariallak, who hunted not with harpoons and spears but with a rifle), NANOOK OF THE NORTH is a work of great lyricism, simplicity of design, and genuine affection for its protagonists, and its force is undiminished almost 100 years after it was made.</p> Saturday, September 28 EC: MAN OF ARAN http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2019#showing-51506 <p>Flaherty&rsquo;s third major film portrays the lives of a family of fisher folk on the Aran Islands off the coast of Galway, Ireland. Flaherty selected the location and subjects because of their isolation as the westernmost outpost of European civilization. In addition, the daily struggle between the islanders and the sea perfectly suited his interests and concerns. The scenes at sea are breathtaking.<br /><br />&ldquo;His passionate devotion to the portrayal of human gesture and of a man&rsquo;s fight for his family makes the film an incomparable account of human dignity. Better than anyone, Flaherty knew how to show the true face of Man.&rdquo; &ndash;Georges Sadoul</p> Saturday, September 28 SCENES FROM THE LIFE OF RAIMUND ABRAHAM http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2019#showing-51440 <p><strong><em>INTRODUCED BY ARCHITECT KEVIN BONE!<br /><br /> </em></strong>&ldquo;Raimund Abraham was a visionary architect and a great teacher. Some of those aspects of Raimund you&rsquo;ll glimpse in this video. But most of the footage is personal, it comes from forty years of our friendship. You&rsquo;ll see in this video portrait a lot of Raimund. Raimund celebrating, Raimund arguing, Raimund lecturing, Raimund serving his legendary roasts. His dinners were legendary both for food and high drama. And always friends &ndash; friends from the old Vienna days, friends from the Cooper Union days, friends, friends. Raimund believed in friendships, he relied on them, and he tested his friendships the hard way. He was a tough friend, but a good friend, always reliable. He was always there for me, when I felt low and needed a late night drink, no matter what hour, he was always there. He was a good friend.&rdquo; &ndash;J.M.<br /><br /><strong>(presented with one 30-min intermission)</strong></p> Sunday, September 29 EC: HOLLIS FRAMPTON http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2019#showing-51507 <p>ZORNS LEMMA<br />(1970, 60 min, 16mm. Preserved by Anthology Film Archives.)<br />&ldquo;A major poetic work. Created and put together by a very clear eye-head, this original and complex abstract work moves beyond the letters of the alphabet, beyond words and beyond Freud. If you don&rsquo;t understand it the first time you see it, don&rsquo;t despair, see it again! When you finally &lsquo;get it,&rsquo; a small light, possibly a candle, will light itself inside your forehead.&rdquo; &ndash;Ernie Gehr<br />&amp;<br />HAPAX LEGOMENA I: (nostalgia)<br />(1971, 36 min, 16mm. Preserved by Anthology Film Archives.)<br />&ldquo;In (nostalgia) the time it takes for a photograph to burn (and thus confirm its two-dimensionality) becomes the clock within the film, while Frampton plays the critic, asynchronously glossing, explicating, narrating, mythologizing his earlier art, and his earlier life, as he commits them both to the fire of a labyrinthine structure; for Borges too was one of his earlier masters, and he grins behind the facades of logic, mathematics, and physical demonstrations which are the formal metaphors for most of Frampton&rsquo;s films.&rdquo; &ndash;P. Adams Sitney<br /><br />Total running time: ca. 100 min.</p> Sunday, September 29 NEWFILMMAKERS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2019#showing-51601 <p>For full program listings, visit&nbsp;<a href="http://www.newfilmmakers.com" target="_blank">www.newfilmmakers.com</a>.</p> Wednesday, October 02 NEWFILMMAKERS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2019#showing-51602 <p>For full program listings, visit&nbsp;<a href="http://www.newfilmmakers.com" target="_blank">www.newfilmmakers.com</a>.</p> Thursday, October 03