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DOC FILMS ANNOUNCES Autumn 2012 CALENDAR CELEBRATES 80 YEARS

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1212 East 59th Street Media Contact Chicago, IL 60637 Evan Harold 773 702 8574 615 829 2422 docfilms.org [email protected] For immediate release DOC FILMS ANNOUNCES Autumn 2012 CALENDAR CELEBRATES 80 YEARS HYDE PARK, CHICAGO, IL. (September 18, 2012) – Doc Films, the historic student-run film society at the University of Chicago, announced its Autumn 2012 calendar today. Starting on October 1st, each night features a film series with a unifying theme, be it a director, actor, time, place, studio, genre, or idea. Saturdays showcase a sampling of recent hits you might have missed—or perhaps you’re craving another viewing—and murmurs under the hype radar. In addition to the many special events hosted by Doc Films at the Max Palevsky Cinema, the programmers have designed these Eight Series to provide the community and world with nightly oases of cinematic reverence: MONDAYS from October 1st to December 3rd navigate smoky back rooms, battling machismo, classy suits, clean shaves, and briefcases of money as Doc darts through les films policiers (crime flicks!) of the 1950s French masters. On the eve of la nouvelle vague, French filmmakers depicted the criminal underworld en noir et blanc, playing with shadows, slips of light, and the moral greyscale of Good and Evil, right and wrong, and cops and robbers in the underbelly of Paris. From Robert Bresson’s irreproducible transcendentalist style in PICKPOCKET (10/1) to Clouzot and Truffaut’s masterful films that converse with the Hitchcockian mode. From Claude Sautet’s influential CLASSE TOUS RISQUES (10/22) to Jean-Pierre Melville’s astounding BOB LE FLAMBEUR (11/5). From Jacques Becker’s crisp aesthetic to Godard’s flashiness. Come see how the new wave interacts with the old: their dialogues, references, and differences. TUESDAYS from October 2nd to December 4th feature a kinship in chaos with the films of Joe Dante and John Waters. Films like GREMLINS (10/9) or EXPLORERS (10/23) stand as some of the most subversive and strange films that ever came out of Hollywood, be it by making a Christmas film with a man dying in a chimney, or a kid’s action film about war propaganda. But where Dante uses an Acme anvil, Waters deploys an army of pearl-handled pistols and radios. His work brings about a sense of genuinely deranged pride, and a love of misfits unrivaled by any filmmaker working today. From his shockingly funny and vile early work (PINK FLAMINGOS 10/2), to his more subtle (but equally enthusiastic) later films (SERIAL MOM 11/13), Waters paints with huge strokes, offering a truly personal and wonderful depiction of his society. WEDNESDAYS from October 3rd to December 5th are home to the best films of John Carpenter. His trademark is lean productions of confrontational, comic book yarns and his legacy boasts some of the most important genre movies ever made. From zero-budget sci-fi to ambitious Hollywood romps, it’s a body of work as mercurial as the man himself. Carpenter has felt both the adulation and the cold shoulder of Hollywood without seeming particularly fazed by either. But he was never cozy with the mainstream—this is the man who pitted THE THING (11/7) against E.T. at the box office, after all. Films like HALLOWEEN (10/31) and ESCAPE FROM NEW YORK (10/24) reflect a can-do man, a self-made dreamer. Doc shuns the remakes and the misfires to present the cream of Carpenter, films that came to define the decades and genres they come from: shocking, hilarious, unsettling movies that still burn bright. THURSDAYS from October 4th to December 6th THURSDAYS part two from October 4th to shock and awe with the otherworldly gems of December 6th showcase a collection of Wuxia the ‘50s Sci-Fi genre. This is no mere exercise in films from Shaw Brothers Studios. Far more nostalgia! Though they offer cheap thrills and than just China’s response to the resurgence in what now passes for low-budget special effects Westerns (Spaghetti and Revisionist), the classic (Theremin lovers welcome!), the films of the age of martial arts film developed an paranoid '50s offer us some insight into our independent voice, style, and drama with deep nature beyond that of cinephiles. They offer roots. Wuxia fiction tells stories of martial arts beautifully crafted alien landscapes (BEYOND heroes: maverick individualists who do not serve THE TIME BARRIER 11/29) and perhaps a lord, wield political or military power, or painfully humorous monster costumes belong to the aristocratic class. Of course, they (CREATURE FROM THE BLACK LAGOON pound the crap out of the bad guys. Whether 10/25). They offer stolid square-jawed heroes it’s with a stick (as in EIGHT-DIAGRAM POLE and stunning space-babes in often wildly FIGHTER 10/25), or with one arm (THE ONE- inappropriate space-wear (FORBIDDEN PLANET ARMED SWORDSMAN 10/18) or with as much 11/15) and villains shrouded in mystery and philosophy and quantum physics as combat confusion. mastery (ENTER THE DRAGON 10/4), these films bring the pain. FRIDAYS from October 5th to December 7th Doc hosts a series called Castles in the Sky: Miyazaki, Takahata, and the Masters of Studio Ghibli. The work of Hayao Miyazaki has become cherished by Western audiences relatively recently, with the success of dubbed versions of SPIRITED AWAY (12/7) and PRINCESS MONONOKE (10/12). But this series reaches to the lesser-know early gems, like NAUSICAÄ OF THE VALLEY OF THE WIND (11/2) and PORCO ROSSO (10/5). Also included are the other Ghibli directors who are less familiar to Western audiences, including the late Yoshifumi Kondō’s majestic WHISPER OF THE HEART (11/30) and Isao Takahata’s critter-fest POM POKO (10/26). Several of these films have never screened before in the original Japanese, and it will be a long time before they make it back to U.S. theaters. Whether you are an old hat, or uninitiated, you’ll find something to love. SATURDAYS from October 6th to December 8th offer all kinds of chances for cinephiles and casual moviegoers. Whether it’s second runs of MOONRISE KINGDOM (10/6), TO ROME WITH LOVE (11/10), THE DARK KNIGHT RISES (12/8), or exposure to restorations and films not fortunate enough to saturate the world with marketing, such as BEASTS OF THE SOUTHERN WILD (10/13), BERNIE (10/20), or THIS IS NOT A FILM (10/27), the weekend collection is a cherished opportunity to enjoy pop culture’s latest flings for unbeatable prices. SUNDAYS from October 7th to December 2nd Doc presents a collection of Found Footage pieces. Not to be confused with the horror subgenre, Found Footage is when a filmmaker appropriates preexisting footage from another source—whether carefully selected or literally “found” by accident—and alters it through editing, montage, optical printing, or chemical manipulation. Organized into nine roughly hour-long programs, this series features many key figures of American avant-garde cinema, including Bruce Conner and Ken Jacobs, as well as the Austrian filmmakers Peter Tscherkassky and Martin Arnold and the German Matthias Müller. Several of the films are quite rare and have not screened in Chicago for over a decade. SPECIAL EVENTS: 10/14 – 8:30pm SUNDOWNING 10/15 – 9:30pm THE CALLING 10/21 – 7:30pm FOOTNOTE 10/28 – 8:30pm CUT! Slicing through the Myths of Circumcision 10/31 – 9:00pm John Carpenter’s HALLOWEEN and RESURRECTION OF BROCHO BILLY 11/03 – 11:30pm LIVE FilmDrunk Frotcast & screening of THE RUNNING MAN 11/04 – 9:30pm LIVE FilmDrunk Frotcast & screening of THE RUNNING MAN 11/12 – 7:00pm THE BATTLE OF ALGIERS WHERE: WHEN: Max Palevsky Cinema in Ida Noyes Hall Every evening – see complete schedule below 1212 East 59th Street for specific times. Chicago, IL 60637 Street parking is available. PRICE OF ADMISSION: Ticket $5 Autumn Quarter Membership $30 Autumn Quarter Renewal $28 MEDIA CONTACT: Evan Harold • 615.829.2422 • [email protected] Doc Films Online: docfilms.org • (facebook)(twitter)/docfilmschicago Doc Films Office: 773.702.8574 COMPLETE Autumn 2012 CALENDAR: Sunday matinees: Friday’s film at 1pm. Saturday’s film immediately after. All Ghibli films will screen in Japanese with English subtitles unless otherwise noted. Week I M 10/01 Pickpocket (Robert Bresson, 1959) 7pm 35mm T 10/02 Pink Flamingos (John Waters, 1972) 7pm 35mm W 10/03 Dark Star (John Carpenter, 1974) 7&9pm 35mm Th1 10/04 The Day the Earth Stood Still (Robert Wise, 1951) 7pm 35mm Th2 10/04 Enter the Dragon (Robert Clouse, 1973) 9pm 35mm F 10/05 Porco Rosso (Hayao Miyazaki, 1992) 7, 9, 11pm 35mm Sat 10/06 Moonrise Kingdom (Wes Anderson, 2012) 7&9pm 35mm Sun 10/07 Tom, Tom, The Piper’s Son (Ken Jacobs, 1969) 7pm 35mm Week II M 10/08 Pierrot le fou (Jean-Luc Godard, 1965) 7pm 35mm T 10/09 Gremlins (Joe Dante, 1984) 7pm Archival 35mm W 10/10 Assault on Precinct 13 (John Carpenter, 1976) 7&9pm 35mm Th1 10/11 The Thing from Another World (Christian Nyby & Howard Hawks, 7pm 1951) Archival 35mm Th2 10/11 Come Drink With Me (King Hu, 1966) 9pm 35mm F 10/12 Princess Mononoke (Hayao Miyazaki, 1997) 7&930pm 35mm Sat 10/13 Beasts of the Southern Wild (Behn Zeitlin, 2012) 7&9pm 35mm Sun 10/14 Abigail Child Program (Abigail Child, 1984-2000) 7pm Covert Action; Mayhem; Mercy; Surface Noise 16mm Week III M 10/15 The Bride Wore Black (François Truffaut, 1968) 7pm 35mm T 10/16 Female Trouble (John Waters, 1974) 7pm 35mm W 10/17 The Fog (John Carpenter, 1980) 7&9pm 35mm Th1 10/18 War of the Worlds (Byron Haskin, 1953) 7pm 35mm Th2 10/18 The One-Armed Swordsman (Chang Cheh, 1971) 9pm 35mm F 10/19 Castle in the Sky (Hayao Miyazaki, 1986) 7, 930, 11:45pm 35mm Sat 10/20 Bernie (Richard Linklater, 2011)
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