MEDIA STUDY/BUFFALO Januarywmay, 1984

Home , Alain Tanner, Gallery Publishing Group, Lance Loud, Pat Hingle, Richard Serra, Soldier Girls

MEDIA STUDY/BUFFALO JanuarywMay, 1984

Supported by the New York State Council on the Arts and the National Endowment for the Arts

Schedule Staff BUSINESS MANAGER - Timothy J. McCann DATE TIME/PM PLACE Timothy McCann is a graduate of Niagara County Com- munity College and is continuing his education at the University of Buffalo School of Management. He is also JANVARY a member of the American Management Association. 27 (Friday) 8:30 MSIB YOSHIKO CHUMA - Independent Filmmakers FILM PROGRAMMER - Bruce Jenklns FEBRUARY Bruce Jenkins received a doctorate in Film from 2 (Thursday) 8:00 MS/B FESTIVAL PROGRAM 1 - Journey Across Three Continents Northwestern University where he served as an 3 (Friday) 8:00 MS/B FESTIVAL PROGRAM II -Journey Across Three Contents editor of Film Reader. He is project director of The 4 (Saturday) 8:00 HS PEARL BOWSER Presents Body and Soul - "Lost Films" American New Wave (1958-67) touring film series of the 1983 Robert Flaherty 8 (Wednesday) 8:00 MS/B BARBARA BUCKNER Video/Electronic Arts and was co-programmer 10 (Friday) 8:00 MSIB LIZZIE BORDEN - Independent Filmmakers Film Seminar. 11 (Saturday) 10:00 AM- VIDEO/ELECTRONIC ARTS CURATOR ~ AND MUSIC 5:00 PM THE ELECTRONIC NARRATIVE - A Daylong "Exploration" PROGRAMMER - John Minkowsky - VideolElectronic Arts - MS/B John Minkowsky did his graduate work at the Center for 11 (Saturday) 8:00 MS/B `BLUE' GENE TYRANNY - New Music Media Study at the State University of New York at Buf- 11 (Saturday) 8:00 HS UNKNOWN CHAPLIN - "Lost Films" falo and is currently editing a collection of essays, 15 (Wednesday) 8:00 MSIB SUSAN and ALAN RAYMOND - Video/Electronic Arts Design/Electronic Arts. 17 (Friday) 8:30 AKAG PAUL SHARITS LecturelScreening I - Evenings for New Film 18 (Saturday) 8:00 HS Sayat Nova - "Lost Films" ASSISTANT VIDEO/ELECTRONIC ARTS CURATOR AND MUSIC PROGRAMMER 22 (Wednesday) 8:00 MS/B TONY BILLONI - Video/Electronic Arts - Nancy Stalnaker Norwood 24 (Friday) 8:30 AKAG PAUL SHARITS Lecture/Screening II - Evenings for New Film Nancy Stalnaker Norwood received her Masters of Fine 25 (Saturday) 8:00 MS/B MALCOLM GOLDSTEIN - New Music Arts degree from the Visual Studies Workshop, 25 (Saturday) 8:00 HS WILLIAM K. EVERSON Presents The King ofJazz - "Lost Films" Rochester, New York where she was Media Program Coordinator and Video Instructor from 1980-83. She is MARCH currently Assistant Producer for The Frontier series (Pro- 2 (Friday) 8:00 MS/B TOM JOHNSON and LANCE BIRD ducer, Lynn Corcoran) administered through Media - Independent Filmmakers Study/Buffalo. "Lost Films" 3 (Saturday) 8:00 HS Napoleon - WORKSHOP AND ACCESS COORDINATOR 7 (Wednesday) 8:00 MS/B AMY GREENFIELD - Video/Electronic Arts - Ken Rowe AKAG PAUL SHARITS Lecture/Screening III - Evenings for New Film 9 (Friday) 8:30 Ken Rowe did his graduate work at the Center for 10 (Saturday) 8:00 HS Bob le Flambeur - "Lost Films" Media Study, SUNY at Buffalo. He has been a 14 (Wednesday) 8:00 MS/B NIAGARA FRONTIER/FINGER LAKES EXCHANGE - cinematographer for television commercials and in- Video/Electronic Arts dustrial films and has taught photography at the School 15 (Thursday) 8:30 AKAG PAUL SHARITS Lecture/Screening IV - Evenings for New Film of Film/Media conducted by Media Study/Buffalo ;,-, 16 (Friday) 8:00 MSIB RICHARD LEACOCK Presents Louisiana Story - Independent Filmmakers 17 (Saturday) 8:00 HS CHARLES MUSSER Presents Before the Nickelodeon - "Lost Films" Media Study 23 (Friday) 8:00 MSIB BRUCE POSNER - Independent Filmmakers 24~ (Saturday) 8:00 MS/B TIM MILLER - Video/Electronic Arts 24 (Saturday) 8:00 HS Queen Kelly - "Lost Films" Media/BuffaloStudy/Buffalo..is-a unique Western-New York 28 (Wednesday) 8:00 MS/B GRAHAME WEINBREN - Video/Electronic Arts regional center established to .encourage , the .creation 29 (Thursday) 8:00 MS/B SELECTIONS PROGRAM I - Ten Years of Living Cinema and understanding of media - especially photography, 30 (Friday) 8:00 MS.'B SELECTIONS PROGRAM II - Ten Years of Living Cinema film, video and sound composition - by people of a!I ages in the area. It is also exploring the electronic and 31 (Saturday) 8:00 HS Diary of a Lost Girl - "Lost Films" computer-generated arts, visual and aural, and is researching broadcast, cablecast, microwave and other APRIL concepts. 4 (Wednesday) 8:00 MS/B THE 40TH WESTERN NEW YORK EXHIBITION: VIDEO AND FILM PRESENTATION Media Study/Buffalo is a not-for-profit public service foundation established under grants from the New York 5 (Thursday) 8:00 MS/B JOHN MAGGIOTTO - Video/Electronic Arts State Council on the Arts and the National Endowment 6 (Friday) 8:00 MS/B The Bill Douglas Trilogy - The AFI Presents the BFI for the Arts which supports: 7 (Saturday) 8:00 HS Cabiria - "Lost Films" 11 (Wednesday) 8:00 MS/B PAUL RYAN - Video/Electronic Art I ACCESS to production equipment for all citizens, es- and youth. 12 (Thursday) 8:00 MS/B Before Hindsight, At the Fountainhead pecially serious artists, emerging makers - The AFI presents the BFI II WORKSHOPS in image/sound experimentation and Gazing production, in circuit-building and the design of elec- 13 (Friday) 8:00 MS/B Angel in the House, Crystal media. - The AFI Presents the BFI tronic art tools, and in teaching creative screenjng, viewing, display, installa- 14 (Saturday) 8:00 MS/B RALPH JONES - New Music 111 EXHIBITION - tion, presentation, performance and discussion of all 14 (Saturday) 8:00 HS Baby Doll - "Lost Films" formats of creative image and sound. 16 (Monday) 8:00 MS/B CHIZ SCHULTZ - Video/Electronic Arts IV INFORMATION AND PROJECTS resources, con- 18 (Wednesday) 8:00 MS/B RAUL MARROQUIN - Video/Electronic Arts ferences, residencies and media programming 19 (Thursday) 8:00 MS/B Down the Corner, So That You Can Live relating to creative image and sound and their psy- - The AFI Presents the BFI chocultural and environmental interactions. 20 (Friday) 8:00 MS/B Animation for Live Action, Maeve - The AFI Presents the BFI V PRODttCT10N PROJECTS by independent image 21 (Saturday) 8:00 HS Jeanne Dielman - "Lost Films" and sound artists, local and national, and involve- 25 (Wednesday) 8:00 MSIB LYNN CORCORAN - Video/Electronic Arts ment in the legal and distribution problems 26 (Thursday) 8:00 MSIB FREE CINEMA AND BEYOND - The AFI Presents the BFI associated with them. above facilities, the facilities 27 (Friday) :00 MS/B The Falls (with Peter Greenaway) - The AFI Presents the BFI VI MANAGEMENT of the 8 housing them, and relations with individuals and 28 (Saturday) 8:00 HS PETER GREENAWAY Presents The Draughtsman's Contract agencies supporting them. -Independent Filmmakers

MAY 1 (Tuesday) 8:00 MS/B ARTISTS CALL: SUPER-8 FILMS AGAINST U.S. ContentsAccess ...... 3 INTERVENTION - Independent Filmmakers 1984 Spring Workshops ...... 4 2 (Wednesday) 8:00 MS/B DEPARTMENT OF PUBLIC DANCE WORKS - New Music Video/Electronic Arts ...... 6 New Music ...... 13 4 (Friday) 8:00 MS/B KIDLAT TAHIMIK - Independent Filmmakers The American Film Institute Presents the British 9 (Wednesday) 8:00 MS/B CHRISTOPHER LAIRD - Video/Electronic Arts Film Institute : Independent Films 1951-1982 ...... 15 Independent Filmmakers ...... 18 Lost Films ...... 22 27 AKAG Albright-Knox Art Gallery MSIB Media StudylBuffalo Journey Across Three Continents ...... Ten Years of Living Cinema - Selections ...... 28 HS Historical Society Evenings for New Film ...... 30

Cover: Poster design by Claes Oldenburg for ARTISTS CALL AGAINST U.S. INTERVENTION IN CENTRAL AMERICA. Adapted from the ARTISTS CALL General Statement poster, January 1984 .

ACCESS

EQUIPMENT POLICY VIDEO ACCESS POLICY Production Equipment Media Study/Buffalo offers individuals, non-profit organizations, and public insti- color video recording systems is arranged tutions access to media production equipment at low cost. The field systems avail- Access to Media Study/Buffalo's portable project description, exhibition/distri- able for public use include 16mm and Super-8mm sync sound film equipment, by proposal, detailing equipment requested, equipment experience. color video portapaks in 1/2" VHS and Beta 1, 3/4" u-matic, plus portable cassette bution plans, prior tapes completed, and and open reel audio recorders. Studio facilities include flatbed editing for 16mm Video Access Proposal forms are available at Media Study/Buffalo's main desk, film and a motorized Super-8 film sound editor, an audio studio with recording and access desk, or by mail . 3/4", and a B&W processing equipment, video editing for Beta 1, VHS, and Media Study reserves the right to reverse a proposal decision at any time in order equipment users must photography darkroom. All production and post-production to protect equipment. demonstrate competence with equipment. Access hours for equipment rental are 9-11 :45 and 1-4:45 PM, Monday through Friday. 1) Color camera, VHS portapak or Beta 1 portapak a) Must demonstrate competence on equipment. SCHEDULE OF FEES 2) Color camera, 3/4" portapak: EQUIPMENT RENTAL a) Must have completed a videotape project of high quality. The following equipment may be reserved by phone (847-2555) and may be picked b) Must have a clear plan for proposed project. up between the hours of 9-11 :45 and 1-4:45, Monday through Friday. A refundable c) Must plan for public distribution of the tape. deposit is required for most equipment and may be in the form of cash or check. d) Must demonstrate competence on equipment. The deposit schedule is as follows: 3) Documentary system (Sony 1640 color camera, Sony VO 4800 3/4" porta- Equipment valued over $500 ...... $100 deposit pak, Lowell Omni-3 lighting kit, fluid head tripod, and microphones) : ...... $25 deposit Equipment valued $100 to $500 . Persons interested in applying for use of this system should meet the qualifi- Equipment valued under $100 ...... no deposit cations as listed abo_ve.for category #3. A selection committee will review proposals on a regular basis. For additional information, call 847-2555. AUDIO CHARGE PER DAY editing suite (Sony VO 2860A, VP 2260 video cassette Individual Institutions 4) 3/4" videocassette decks, RM 440 edit controller, PVM 1211F pulse-cross monitor, Tektronix vec- 3.50 Microphone ...... $ 1 .50 $ torscope, waveform monitor, test signal generator, 3M P-50 video processing $10.00 Shotgun microphone ...... $ 2.50 amplifier): Stereo cassette recorder ...... # ...... $ 2.50 $ 6.00 Persons interested in applying for use of this system should submit a video Sync recorder ...... $10.00 $25.00 access proposal, with a written log of original tapes and a preliminary edited version of the final tape. FILM Super-8mm camera ...... $ 2.00 $ 5.00 Super-8mm sound camera ...... $ 5 .00 $10.00 16mm camera ...... $ 6 .00 $15.00 STUDIO FACILITIES 1 - Tripods ...... $ 1 .00 $ 4.00 Most studio facilities may be used anytime there is no prior reservation or can Fluid head tripod ...... $ 2.00 $ 8.00 be reserved in half-day shifts. All fees are payable in advance when you begin Light meter ...... $ 1 .25 $ 5.00 work that day. Use of the 3/4" video cassette editing suite is by proposal only Lowel "D" kit ...... $ 8.00 $20 .00 and is restricted to final editing. Rough editing should be done on the 1/2" and Lowel solo kit ...... $12 .00 $25.00 3/4" videocassette systems. CHARGE PER HOUR VIDEO Individuals Institutions VHS portable cassette recorder ...... $ 5.00 $20.00 Beta 1 portable cassette recorder ...... $10 .0 $25.00 DARKROOM `3/4" portable cassette recorder ...... $15.00 $40 .00 with chemicals provided ...... $ 1 .50 $ 3 .00 Black and white portable video camera . . . $ 5.00 $15.00 without chemicals provided ...... $ 1 .00 $ 2 .00 $25.00 Panasonic 3320 color video camera ...... $ 5 .00 FILM 'Panasonic 3800 color video camera . . . . . $10 .00 $25.00 Super-8 editing studio ...... $ .75 $ 1 .50 Sony HVC 2200 color video camera ...... $10.00 $25.00 16mm manual editing studio ...... $ .75 $ 1 .50 "Sony 1640 color video camera ...... $15.00 $40 .00 16mm 6-plate flatbed editing studio ...... $ 1 .00 $ 3.00 $ 2.00 ('Use by proposal only) Super-8 or slide projector ...... $ 1 .00 16mm projector ...... $ 1 .50 $ 3 .50 PRODUCTION STUDIO For rehearsal ...... $ 1 .50 $ 3.00 For production ...... $ 2.00 $ 4.00 SOUND STUDIO Aries synthesizer, cassette deck, open reel decks, graphic equalizer, mixer console, turntable, and microphones ...... $ 2.00 $ 8.00 VIDEO Beta 1 video editing system ...... $ 5 .00 $15 .00 VHS video editing system ...... $ 2.50 $10.00 3/4" or VHS video playback ...... $ 2.00 $ 8.00 3/4" video rough editing system ...... $ 3.00_ $12.00 '3/4" video editing suite ...... $10 .00 $25 .00 3/4" editing system or suite with editing technician add: ...... $10.00 $10.00 ('Use by proposal only)

CONFERENCE/SCREENING FACILITIES Media Study/Buffalo is equipped to offer space fqr meetings and conferences for groups needing playback of 3/4" U-Matic, VHS, 1/2" open reel videotapes or screening of 16mm, Super-8 films or slides. Call for rates. Seating Room Size Capacity Conference/screening ...... 10' x 20' 15 Conference/screening ...... 20' x 25' 30 Gallery ...... 30' x 45' 60

Media Studies 3/a" Editing Suite

0 1984 Spring Workshops

16mm FILM PRODUCTION SOUND RECORDING TECHNIQUES Eight Weeks, February 7 - March 27, Tuesday evenings, 7:30-10:30 PM Eight Weeks, February 7 - March 27, Tuesday evenings, 7:30-10:30 PM Fee: $50. Instructor: John Hassenfratz Fee: $50. Instructor : Tom Streich COLOR VIDEO PRODUCTION BASIC AUDIO SYNTHESIS Four Weeks, February 7-28, Tuesday evenings, 7:30-10:30 PM Two Days, Saturday & Sunday, March 24 & 25, 10:00 AM - 5:00 PM Fee : $50. Instructor: Nancy Stalnaker Norwood Fee: $25. Instructor: Vernon Norwood VIDEO EDITING HOW TO WRITE AND SELL YOUR SCREENPLAY Four Weeks, March 6-27, Tuesday evenings, 7:30-10 :30 PM Two Days, Saturday & Sunday, March 24 & 25, 10:00 AM - 5:00 FM . Fee: $50. Instructor: Ken Rowe Fee : $75. Instructor: Michael Hauge VIDEO TECHNOLOGY Four Weeks, March 6-27, Tuesday evenings, 7:30-10:30 PM Fee : $30. Instructor: Richard Smalko

16mm FILM PRODUCTION VIDEO EDITING Eight Weeks, February 7 - March 27, Tuesday evenings, 7:30-10:30 PM Four Weeks, March --6=27, Tuesday-evenings, 7:30-10 :30 PM Fee: $50. Instructor: John Hassenfratz Fee: $50. Instructor: Ken Rowe 16mm film production will be taught through the process of making a short film. "He who controls magnetism, controls the World!" Skills to be learned include the operation of the 16mm camera and Nagra sound -Diet Smith, Scientist/Inventor in Dick Tracy recorder, portable quartz lighting, and the 6-plate flatbed editor. The film will be Offered for those with some experience in video production, this workshop will be taken through each stage of production from planning and shooting through edit- concerned with the use of Media Study's Beta 1 editing system and 3/4" editing ing double system sync sound, and A and B rolling in preparation for printing . Par- suite. Operation of the Sony RM 440 edit controller will be demonstrated along ticipants will be exposed to a wide range of issues related to film production with sound dubbing and mixing, video and audio processing, video signal analysis including technical questions about equipment, filmstocks, and laboratories. and correction . Participants will get hands-on experience by editing a short segment of pre-recorded material.

Nancy Stalnaker Norwood Photo by Ken Rowe Richard Smalko COLOR VIDEO PRODUCTION VIDEO TECHNOLOGY Four Weeks, February 7-28, Tuesday evenings, 7:30-10:30 PM Four Weeks, March 6-27, Tuesday evenings, 7:30-10:30 PM Fee: $50. Instructor: Nancy Stalnaker Norwood Fee: $30. Instructor: Richard Smalko In this workshop, participants will be involved in the entire process of video produc- This workshop, oriented towards the independent video maker, will offer a basic tion with portable equipment. Instruction will cover production planning and primer on how video equipment works, what can go wrong, what to do about it. research, camera operation, lighting and audio skills, editing, and post-production . Each part of the system will be examined: the color camera, the portapak, the editing Hands-on experience will be provided in the use of VHS, Beta 1, and 3/4" portable system, the waveform monitor and the test signal generator. An approach for evalu- recording systems and editing systems. ating problems with the equipment will be taught as well as basic user-oriented maintenance procedures and precautions. the entire project. He will be joined by visual artist Mike Glier, whose massive work was a special feature of the last Whitney Biennial and who will col- laborate closely with Tim Miller on the creation of the decor and a series of large backdrops for Democracy in America. These two gifted artists share a particular involvement with ar- chetypal American imagery as a source for their work and their combined sensibilities promise to result in a work of special resonance. Kirk Wins- low, longtime collaborator with Tim Miller, will realize a projection environment for Democracy in America. His elegant and striking use of advanced audio-visual techniques will provide a wash of images and iriformation in- tegral to the work. Tim Miller will be the central performer of Democracy in America with a large ensemble of actors/dancers/musicians who will partic- ipate in an extensive workshop and rehearsal period for the piece. The video component of Democracy in America demonstrates the truly national scope and vision that outlines the work. Working with radio and television producer Greg Miller, Tim Miller and a video crew will travel to every region of the country during winter and spring 1984, conducting interviews with a wide variety of Americans as they fol- trail . These From 4 Solos For 4 Women by Amy Greenfield low the president-election many hours of videotape of individual American voices and the experience of gathering them will play an important role in both the spirit and realization of Democracy in America as they are shaped into a multi-channeI installation the intensive time of creative and during Greenfield's films, videotapes, and rehearsal during summer internationally work holograms have been . Photographer Dona Ann McA- shows at the 1984 exhibited in one-woman will travel with the video crew of American Art, The dams Whitney Museum documenting the entire process and for Video, Music and Kitchen Center creating a portfolio of black and white 3rd International Avant- Dance, The images. This work is ultimately a medi- Festival/Hayward Gallery (Lon- Garde ation on social life and individual ac- Lincoln Center Auditorium of don), The countability. At the heart of Democracy the Performing Arts and The Art In- in America is a willingness to listen to stitute of Chicago. She has received our national voice. grants from the National Endowment been for the Arts, WGBHTV, The Radcliffe Democracy in America has develop- Institute, and the Rockefeller Founda- awarded numerous grants for include tion . ment and production . These major awards from N.E.A. Inter-Arts and Dance/Video, as well as project support from New York State Council private foun- Tim Miller on the Arts and various dations. March 24 (Saturday) performance artist, com- 8:00 PM Tim Miller is a by both emerging and established ar- choreographer and videomaker (Wednesday) 207 Delaware Avenue poser, March 14 tists. The video and audio works from whose theater, media and social pro- 8:00 PM both regions will be exhibited at Media TIM MILLER: jects have created international in- Avenue 207 Delaware Study/Buffalo on March 14 at 8:00 PM. Democracy in America terest . He was a founder, in 1979, of NIAGARA FRONTIER/ First Version of a multi-media per- Performance Space 122 and is there. During FINGER LAKES EXCHANGE: Artists working in the Niagara Frontier formance presently co-director year-long solo An Electronic Arts Exhibition and Finger Lakes Regions of New York Democracy in America is a new work 1980, he presented his submitting directed by performance performance project Paint Yourself the past decade, upstate New State who are interested in created and During considera- . Combining movement, RedlMe & Mayakovsky on Monday been at the forefront of ex- audio and/or video works for artist Tim Miller York has Stalnaker decor, text and projec- nights at PS 122, as well as his col- with all forms and tion should contact Nancy video, music, perimentation in America under- laborative work with John Bernd, Live arts. This ex- Norwood at Media Study/Buffalo, 207 tions, Democracy genres of . the electronic exploration of our Boys. Among his other major multi- John Minkowsky Delaware Avenue, Buffalo, N .Y., 14202, takes an ambitious hibition, co-curated by and percep- media works is Postwar, a full-evening Norwood, is a (716) 847-2555. nation's attitudes, feelings and Nancy Stalnaker processes and in- piece about hamburgers, a lawnmow- current works by tions of our political cross-section of er and nuclear war, commissioned by producers ex- stitutions. regional independent The Niagara Frontier portion of the the Dance Theater Workshop in 1982. individual artist's Continuing Tim Miller's commitment to representing each hibition will be screened at the Visual His works have been presented and vision as well the during creating an epic multi-media theater unique style Studies Workshop in Rochester throughout Europe and the United sensibilities of their region . that addresses the most compelling so- aesthetic the spring of 1984. For further informa- States, and he is currently touring the Visual cial and personal issues of our time, tion, contact Media Program, U.S. to research and produce video in- Street, Democracy in America will further Lakes Studies Workshop, 31 Prince for his multi-media opera, Niagara FrontierlFinger Ex- demonstrate this unique mix of crea- terviews Rochester, N .Y. 14607. in America. Miller has been change will represent the broad range tive gifts. Tim Miller, whose perfor- Democracy major grants and fellowships of electronic arts, from the political to mance works Postwar (1981) and Cost awarded and National Endowment for the the personal video and audiotape Honoraria will be provided based upon of Living (1983) have created interna- from the York State Council on the the abstract to the documentary video the length of the work submitted . tional excitement, will compose a new Arts, the New the Beard's Fund, and was and audiotape, in single-channel, musical score and songs for Democra- Arts and installation formats, named a "Hero of the Arts" by The Vil- multi-channel and cy in America as well as designing, . choreographing, writing and directing lage Voice Elizabeth Arnold (soprano) in Grahame Weinbren's Erlking Grahame Weinbren, Anthony Forma and Tony Whitman shooting Erlking

March 28 (Wednesday) television shows, extreme closeups Millenium Film Journal, Artweek, Behavior Tableau (1976), Young which distill the information of the 8:00 PM Cirlemanews, Journal of the University American Artists: 1978 Exxon National original context and leave the pure 207 Delaware Avbnue Film Association and Idiolects. Wein- Exhibition (1978), and Jack Tworkov universal emotions of fear, love, despair GRAHAME WEINBREN: bren's recent activities involving inter- (1982). She is currently guest curator and hatred." active videodisc production include his for an exhibition of the work of Will In- Interactive Video as a Medium work for the 1982 World's Fair US Pavil- sley, scheduled to open at the Gug- John Maggiotto received his degree Lecture and Tapes ion interactive disc display; consulta- genheim in the fall of 1984. Linda from the State University of New York After a decade as an experimental film- tion on and design of Smash Hit, an Shearer lives and works in New York. at Buffalo and'is+currently living and maker, film theorist and critic, Grahame arcade game; and Erlking, an ex- working in Venice, California. He is the Weinbren turned his interest to the ar- perimental work currently under former Director of Hallwalls Gallery, tistic potentials of interactive video. He production with support from the New April 5 (Thursday) and was subsequently a staff member of the was supervising film and tape editor, as York State Council on the Arts and the 8:00 PM in the Visual Arts Department Solo well as pt creative input into the U.S. National Endowment for the Arts. 207 Delaware Avenue National Endowment for the Arts. Pavilion interactive Video Display at the exhibitions of Maggiotto's work have 1982 World's Fair. He has since been JOHN MAGGIOTTO : been presented at Los Angeles Con- (LACE) and Los involved in the development of interac- Opening an Exhibition temporary Exhibitions of of Angeles Institute of Contemporary Art tive video arcade games and a per- April 4 (Wednesday) Photographs (to continue (LAICA), Gallery 219, SUNY/Buffalo sonal project, Erlking. Based on 8:00 PM through April 19) Schubert's lieder Opus 1 and Goethe's 207 Delaware Avenue and CEPA Gallery Metro Bus. His first published poem, Erlking is an in- John Maggiotto describes his works as photographs have been included in teractive videodisc project using four 40th Western New York "Photographs of simulated experience various group exhibitions around the different pieces of music from which Exhibition 1984 - Film and invested with idealized meaning. The country, and are in numerous private the viewer can select different images Video Presentations photographs are cropped segments of collections . which are connected narratively and Media Study/Buffalo will host the associatively. Erlking has received presentation of accepted works in film major funding from the National En- and video for the 40th Western New dowment for the Arts and the New York York Exhibition sponsored by the State Council on the Arts. Weinbren Albright-Knox Art Gallery. The exhibi- will discuss all of these projects and tion, to be selected by juror Linda show portions and documents of them, Shearbr, Mlrbe presented from March as well as presenting his most recent 30 through April 29, 1984 at the film (made in collaboration with Rober- Albright-Knox Art Gallery. Media Study ta Friedman), Cheap Imitations Part 6: will premiere the video and film selec- Terms of Analysis (1982) tions of the 40th Western New York Ex- Grahame Weinbren has had a multi- hibition on April 4 at 8:00 PM, with ad- faceted career as a film and video ditional screening dates and times to producer and editor, teacher, critic and be announced . theorist. Hq received his Ph .D. in For further information Philosophy in 1976 and has spent eight concerning the 40th Western years teaching philosophy, aesthetics New York Exhibition, contact: The Albright-Knox Art and film theory at University of Califor- Gallery, nia/Santa Barbara, Otis Art Institute 1285 Elmwood Avenue, Buffalo, N .Y. and California Institute of the Arts. Over 14222, (716) 882-8700. the past decade, he has produced a Linda Shearer is executive director dozen award-winning experimental of Artists Space/Committee for the films in collaboration with Roberta Visual Arts, Inc., New York. Born on Friedman and with grants from the Bri- Long Island, New York in 1946, she tish Film Institute and the Southern received a B.A. in 1968 from Sarah Arts Council of Great Britain, which Lawrence College, Bronxville, NY, and have been exhibited throughout the later pursued graduate studies at the U.S., Great Britain, Germany, France, Institute of Fine Arts, New York Univer- Italy and the Netherlands. He has also sity. As a Curator at the Solomon R . served as Film, Tape and Music Editor Guggenheim Museum, New York, from and Post-Production Coordinator on 1969-80, she organized several impor- numerous award-winning films, includ- tant exhibitions including Eva Hesse: A Photo by John Maggiotto ing Soldier Girls and Tattooed Tears. His Memorial Exhibition (1972), Brice writings on film have appeared in Marden (1975), Scott Burton: Pair

10 April 11 (Wednesday) 8:00 PM and 207 Delaware Avenue Paul Ryan is a videomaker author who has done extensive work PAUL RYAN: using video with small groups and The Work of Art in the Age of ecological systems since 1967. His Electronic Circuitry - A lecture/ writings are published widely and have discussion been included in such periodicals as Media and Methods, Radical Software, " 1) Television's prime mode of percep- CoEvolution Quarterly and Personal tion is monitoring events simultaneous- Computing. He is author of Cybernetics ly with others. of the Sacred, published by Doubleday 2) Fear of television is accounted for by Anchor in 1974 and was the editor of the fact that what television is monitor- the quarterly Talking Wood, in 1978-79. increasing uninhabitability of ing is the in English in world, a fear displaced from the Ryan received his B.A. the York University and world onto its monitor." 1967 from New worked on graduate studies at For- - Stanley Cavell dham University, where he was Paul Ryan's lecture is one of a series, selected as principle video research offered in the belief that the monitor- assistant under Marshall McLuhan in ing power of television can play a 1967-68 and where he was a McLuhan significant role in current efforts to Fellow in the Media Center from reinhabit the earth . 1967-1970. "The Work ofArt in the Age of Electronic Ryan's video works include twenty-five Circuitry (is) a meditation on the topics" tapes done in collaboration with the considered by Walter Benjamin in his alternative video group Raindance; classic essay, 'The Work of Art in the Earthscore Studies; Water Chreods; Age of Mechanical Reproduction: The Triadic Tapes; and Videowake For My topics include aura/authenticity/re- Father. His work has been shown at the producibility/evidence/ritual/acting/poli- Howard Wise Gallery, Anthology Film tics/architecture as social art/etc. The Archives, The Kitchen Center, and over . . . lecture is offered to provide the Manhattan Cable in New York City; Op- listener an opportunity to see how this tic Nerve in San Francisco; and at the video reinvention of realism opens up Woodstock Video Festival . He is on a set of topics not of its own founder and president of Earthscore assembly, and to make a statement Foundation and is currently writing a about art in the age of electronics and monograph on video with support from the New York State Council on the Arts. ecology." - Paul Ryan

Image by Paul Ryan

(Wednesday) April 18 tional groups: delegations, sectional in- 8:00 PM terest groups, press representatives 207 Delaware Avenue and non-participant audience. During the sets RAUL MARROQUIN - the five-day conference, Presentation and Discussion discussed their specific problems. of Videoworks "This Fandangos invites you to take part in the debate on the complexity of Raul Marroquin is an artist based in and working in video, the problems TV. sets have to cope Amsterdam the performance, publishing and with nowadays. It is a survey of audio, TV. . He will present discussion that arose during the mixed-media it documentation of several major pro- convention and the reactions . The convention gives us jects - including The Link, a live interac- generated insight into the technological tive satellite cable melodrama, and The better communication, but more World's First T.V. Convention, a multi- world of is that it succeeds in mak- media installation - as well as a tem- significant worldwide communications net- porary video installation piece. ing the works more comprehensible. The "The Link is the title of one episode in primary goal of this review is the con- a TV series about the political cam- tinuation of the dialogue that was open- paign of an eccentric millionaire living ed during the TV. convention between in exile in a South American paradise, man and machine." y Senor Juan Miguel Maranas - The Secretary of Fandangos to gain Maranas, who has set out (a/k/a Raul Marroquin) political control over the entire planet. The Link shows the philanthropic Juan Raul Marroquin was born in Bogota, Maranas trying to obtain the support of Colombia, where he received a fine New York by saving the city from: Vam- arts degree at the Universidad Na- pirism . The social-cultural context of cional. After completing his M.F.A . at Raul Marrouquin's involvement in TV the Jan Van Eyck Academy in is that of South America, where TV is Maastricht, the Netherlands, he mov- perhaps even more consumer ed to Amsterdam, where he currently orientated than in the United States - resides. Among his works in video, a 24-hour-long brainwash . The basic audio, publishing, performance and principle of TV all over the world is mixed-media, Marroquin has produc- commercial . There is no other form of ed a telephone installation and two TV." records by Dutch new wave bands, The - Josine van Droffelaar, Fandango. Neutronics and The Sets. His work has been exhibited internationally and he 1977-78. The World's First TV. Convention was a ,Raul Marroguin : 'I .v-nvention, segment 170 i .V .sets', has received numerous awards, grants multi-media installation held at The and fellowships for production and Bank in Amsterdam in June of 1980. Image by Raul Marroquin research in the Netherlands and 250 TV. sets were 'seated' in the Colombia. assembly which consisted of the tradi-

Production Still from Waste: Lynn Corcoran(Producer, camera) and David Abbatoy (sound) From Waste by Lynn Corcoran at hazardous waste landfill, Lewiston, N.Y.

May 9 (Wednesday) 8 :00 PM 207 Delaware Avenue April 25 (Wednesday) CHRISTOPHER LAIRD: 8 :00 PM Independent Video from the 207 Delaware Avenue recycled materials, heat going out the Lynn Corcoran began making social Caribbean LYNN CORCORAN : windows and the hazardous chemical documentary videotapes in 1974. Her Christopher Laird, a founding member Premiere Presentation of Waste wastes from industrial processes are work examines the relationships bet- and main director of BANYAN, will among the topics treated . ween citizens and government in areas show examples of the work of the Buffalo videomaker Lynn Corcoran will including community renewal, health BANYAN group and the Mucurapo present and discuss Waste; a new and environmental concerns, and Schools Community Project of videotape which she describes as "The segments function in several housing . Trinidad, including an episode of the follows : ways: they introduce terminology, pro- Caribbean's first television drama seri- vide statistics, describe processes and "Waste, what is no longer wanted or Corcoran's recent documentary, In.Our al . Laird has operated a theater and a identify problems. They include the opi- needed, or what is simply squandered, Own Backyard, an examination of production group in Trinidad and has nions, attitudes and experiences of issues raised by the Love Canal en- edited and published Kaid, a journal of used to be a subject that never seem- business people, workers, consumers, vironmental crisis, was broadcast na- the arts, for the past five years. He is ed important - or polite to consider. govemm®rat officials and environmen- Most of us put our garbage out at the tionally by PBS In 1983. Produced with a writer whose work has been pub- tal critics. Waste, examining curb and never give it another thought. cir- grants from the New York Council for lished :both in the U.K. and the cumstances common to many Ameri- the Humanities and the Artists TV Caribbean. "Waste uses an experimental can communities, is centered on Buf- Workshop at WXXITV, Rochester, New BANYAN originated out of the Trinidad documentary approach, borrowing falo, New York, a city with a received awards including a from York, it and Tobago Television Workshop in the popular television 'magazine' metropolitan population of about a Ribbon at the 1982 American Film format to engage the in this million . News items from Blue 1974 and became popular for a series audience around the Merit Award at the 1982 not ordinarily intriguing country extend the range Festival, a of satirical/educational programs on subject. It of subjects, Athens Film and Video Festival and presents mare than 25 rang- among them, a national television until it was banned segments report from a small Third Prize at the 1983 U.S. Film and ing from a few seconds to about three town in Ohio where a new pizza plant in 1977 for political reasons. Forced to Video Festival . minutes, providing a sampling of the overloaded the town's sewage treat- improvise its own studio in a garage, broad landscape of the topic of waste: ment facility, and news from San Fran- In 1982, Corcoran received a New York it gradually accumulated equipment what we waste, how we waste, and cisco, where garbage trucks will soon State CAPS individual artist's while doing work commissioned by what we do with waste. travel 123 miles roundtrip to the closest fellowship in video. She has taught UNESCO, IPPF and some government landfill . ministries. It now - in addition to its "The documentary takes as its point of documentary production at the State University of New York at Buffalo and own activities - provides the techni- departure the chemical waste con- cal expertise for the Mucurapo Schools tamination of the Love Canal "The segments in Waste vary in ap- at Media Study/Buffalo. She is the pro- The Frontier, the weekly series Community Project producing the only neighborhood, an environmental proach. They may be ironic, direct, sub- ducer of of programs featuring the work of in- educational television in Trinidad and catastrophe which brought national in- tle, detailed, humorous or deadly dependent filmmakers and video- Tobago. BANYAN has become a terest to the subject of waste. serious. Taken together, they provide makers, broadcast on Buffalo's PBS af- household word among TV viewers in Segments that follow touch on com- an unorthodox introduction to waste, a filiate, WNEDTV since 1979. Trinidad through its creation of the only mon and uncommon examples of the subject that is broad, perplexing, drama serials for TV in the Caribbean generation, disposal and re-use of a deceptive, and which creates increas- Waste was produced with support from and for its unique approach to public variety of wastes. Household garbage, ingly complex problems for society." the New York State Council on the Arts. information and education. It recently fast food debris, wrecked automobiles, won a special prize at the Common- wealth Film and Television Festival held in Nicosia for its documentary on the Best Village Festival.

12 New Music

February 25 (Saturday) 8:00 PM 207 Delaware Avenue MALCOLM GOLDSTEIN - Solo Concert Violin virtuoso Malcolm Goldstein will perform a selection of original compositions, including : a multi-media piece, Marin's Song, lluminated (for slide projections of the graphic score, magnetic tape collage: violin, voice and sound objects) ; and other pieces/events/improvisations for solo violin, Soundings and Vermont Night Song. "Malcolm Goldstein has, in a way, reinvented violin playing . He doesn't use an ordinary tone modified by special techniques ; instead, he ac- cepts whatever sound the momentary accidents of his playing happen to produce, and rarely uses any sort of conventional tone. His music ends up sounding more natural to the instru- ment than traditional playing does, and, while you're listening to it, can 'Blue' Gene Tyranny seem more interesting . His sighs, February 11 (Saturday) rasps and bumps have finer gradations 8:00 PM and a more varied range of color than "Blue" Gene Tyranny, born in San voices include The Intermediary for And they make com- 207 Delaware Avenue a pure tone has. Antonio, Texas, has composed and per- computer (analysis) and piano (spon- plex, fantastic phrases that twist, wail, 'n improvisation), and the `BLUE' GENE TYRANNY formed New Music, Jazz and Rock taneous slide and hiss at unexpected moments, Roll for twenty-five years. He appeared musical collaboration on Robert - Solo Concert but always with an intuitive with the legendary ONCE Festival in Ashley's Perfect Lives (Private Parts), rightness . . :1 , . , Composer and virtuoso keyboard Ann Arbor, Michigan, during the six- both pieces available on Lovely Music - Gregory Sandow, Village Voice player 'Blue' Gene Tyranny will perform ties, worked as a recording engineer records, The Word's Greatest Piano and present a selection of multi-media and instructor at The Center for Player in "New Music from Antartica, Malcolm Goldstein is a composer compositions, including : Contemporary Music, a non-profit Vol. 1" on Antartica records; and the and a violinist who has been active in public-access facility in Oakland ; retrospective collection Real Life and music and The Country Boy Country Dog Con- the presentation of new California, during the seventies, and the Movies, Vol. 1 on Fun Music casset- early 1960's as co- cert Videotape (for live synthesizer, dance since the continues to work as a free-lance audio tes (San Francisco). He currently lives of Tone Roads and par- aaudiotape and videotape, with video founderldirector consultant and composer/performer. in New York City, and recently compos- in the Judson Dance Theater, images by Kenn Beckman); ticipant He has composed soundtracks for ed music for dances by Timothy New York Festival of the Avant Garde South of La Honda, Copacetic several award-winning films and Buckley and The Twisters ("Barn and the Experimental Intermedia Foun- (original still unknown) (a series of videotapes, published articles on con- Fever") and Jil Kroesen ("Lou's dation. He has widely performed his ex- three pieces for live synthesizer, temporary music, taught theory and im- Dream"), a new film by Pat Olesko, a tensive repertory of violin music by 20th audiotape and videotape, including provisation courses at Mills College record ("Country Boy Country Dog/The century composers as well as his own Song of the Street of the Singing (Oakland), and recorded and produc- Hidden Codes in the Sounds of Your high-acclaimed compositions and im- Chicken, Garbage/Aikido and David ed albums of other composers' music. Daily Life") for Lovely Music, and tours provisations for solo performer and KopaylTelekinesis) . His recorded compositions for various internationally in solo concerts and in ensembles, throughout the U.S. and and Robert Ashley's "Atalanta". The Crack of Dawn (for videotape and solo and ensemble instruments Europe. live synthesizer, with images by Philip Makanna, of Texas, The Confederate Air Force, mysterious Ghost events, etc. etc.) . 33 Yoyo Tricks (for film and live synthesizer, film by David White). 'An irridescent, occasionally sentimen- tal overview of all of Occidental music . . . like a conservatory-trained bar pianist, not stuck in the 19th century, but knowledgeable of the problems of modernity, up to and including computer music." -Bob Fischer, Baseler Zeitung (Switzerland) "(The songs) are written in a rock idiom by a musician with the techni- que and ear of a classical composer, and are full of engaging harmonic surprises." -Gregory Sandow, Village Voice . . . the exceptional playing of 'Blue' Gene Tyranny . . . a miracle of improvisation . . . in which the most complex of musical phrases, from extend- ed melodies to short sounds with the texture of imperceptible echoes, are invented every fraction of a second . . ." -Mathilde La Bardonnie, Le Monde (Paris) Malcolm Goldstein (photo by Amtaramian)

13 April 14 (Saturday) 8:00 PM 207 Delaware Avenue will gradually trace out the form of a body composed of polyphonic RALPH JONES magnetic fields (exactly corresponding Homage to Tesla - Concert to Schlemmer's idea), and I hope to emulate a bit the visual "Homage to Tesla performance (1981) : Nikola Tesla style of Schlemmer, as near as I can (1856-1943) was a pioneer in the field guess it to have been from photos and of basic electricity, especially alter- descriptions. The technology will nating current theory. be Without the work crude and fantastic - like the sets of Tesla, the world of old as we now know it horror films, for instance - to could not have catch the come to being: he in- air of Tesla's time and the strong vented electric generators and motors, mystical beat he had. In his time, developed polyphase power of transmis- course, electricity was as mysterious sion, and laid the foundation a for the in- power as atomic energy in the 50's. . ." vention of radio and television (both of which he predicted) . A master of - Ralph Jones, 1982 resonance and magnetic field Ralph Jones received a B.A. in behavior, Tesla possessed an Music Theory and an M .A. In Composi- understanding of electricity that was as tion from the State University of New much intuitive as scientific. He was one York at Buffalo. He was a founding of history's great eccentrics, and was member of Composers Inside Elec- fascinated with mysterious power : he tronics, an ensemble known interna- wrote with excitement and reverence of tionally for its performances of David having tamed a wild cat ; the great love Tudor's Rainforest IV, a recording of of his life was a white dove that came which is available on Block/Grama- Public Dance Works to him over the years for food . He vision Records . Jones was a demonstrated his discoveries in events Rockefeller Research Fellow of the that were equally theatre and science. Center for the Creative and Performing Homage to Tesla is a sculpture of Arts (1977) to design a transposing May 2 (Wednesday) polyphase microphone for ultrasound, and a par- magnetic fields and reso- 8:00 PM from rehearsals. These tapes are com- nant circuits ticipant in two research residencies at in interaction, "seen" by 207 Delaware Avenue bined with live shooting and process- pickups that transform Media Study/Buffalo - one to develop the alternating ing of the dance. The live and physical fields into sound. rotatable loudspeaker instruments with DEPARTMENT OF PUBLIC The work is an at- nature of the dancing, on the one tempt to reveal the Composers Inside Electronics (1978), DANCE WORKS: poetry that Tesla so hand, versus the live and recorded clearly saw in and the other to create sonic works for the physics of basic The Room of the Painting in nature of the video on the other, electricity." the acoustical environment of an empty Olympic-sized swimming pool . Jones the Gallery of Borofsky - a creates a~dynamism that adds to the - Ralph Jones, 1981 has also been an Artist-in-Residence Dance/Video/New Music Work quality of the performance. Electronic at ZBS Foundation and performed his Department of Public Dance Works' composers K. ,Atctiley and B: Azarm "The above is a brief description I works in Austria, Holland, Germany, new piece, The Room of the Painting in have created a new score especially for this work. The made a year or so ago of the Homage France and throughout the U.S. Since the Gallery of Borofsky, is an 'epic- Room runs forty-five minutes non-stop. to Tesla. To enlarge on it, I'd say that 1979 he has lived in San Francisco, length'work performed by as many as several aspects of the piece are impor- working with Meyer Sound Labs. His eight dancers, including Dancers will include Matt Kennedy, tant to Me in my plans for a new ver- first film score, The Slumber Party choreographer and artistic director Heide Sackerlotzky, Olivier Heuts, Jan sion. One is:a*-in with Oskar Schlem- Massacre;- has been released on Web Jonathon Apples. The dance is a col- Brecht, Paul Lester, Jonathon Apples, mer (approximately a contemporary of Records, and he is presently compos- laborative work with video artists Skip Seri Eckler and Jill Klenota. Lighting is Tesla's) and his concept of "Raumemp- ing another for New World Pictures' for- Sweeney and Joanne Kelly, who have by Andy Henry and sets by Jonathon findung" (felt space). The performance thcoming release, My Love Letters. produced videotapes based on footage Apples.

Department of Public Dance Works is a San Francisco-based contemporary dance company concerned with affinities between dance and other forms of non-narrative art . Since 1977, over 100 performances have been held in the United States in formal concert halls, galleries and museums, as well as movie theaters and outdoor locations. Jonathon Apples, Artistic Direc- tor, has received awards from the California Arts Council, local city coun- cils, and numerous corporate contribu- tions. As a post-modern dance company, DPDW emphasizes the assimilation of new choreographic techniques, as well as recent advancements in audio and visual artistry. The corps of dancers has been trained in ballet and modern, specifically Cunningham, techniques, as well as training in Eastern modes of relaxed moving and Western psycho-physical systems of movement analysis. Each work con- tains gestures and movements which allow the dancer to represent a discrete, independent unit of motion . DPDW commissions music from composers working in the field of electronic treatment of sounds, such as Ron Kuivila, Joel Ryan, Laetitia de Com- peigne, K. Atchley and Ben Azarm. The use of electronic visual media, slides, film and video, plays an important part in the production design of the Com- pany, and is often the result of collaboration with artists in these fields.

Homage to Tesla by Ralph Jones; detail of small receiver coil The American Film Institute Presents The British Film Institute: Independent Films 1951 -1982 by the AR and programmed Produced on the occasion of the British Film Institute's 50th anniversary, The Ameri- This program was organized and coordinated been made possible in part by can Film Institute Presents the British Film-Institute: Independent Films 1951-1982 - in cooperation with the Walker Art Center. It has British showcases a number of significant films funded by the BFI in over 25 years of the British Embassy (Washington, D.C.) and the Film Department of the production funding . The works display a range of engaging social, aesthetic and Council (London). political issues; few would have been produced without the BFI's recognition of Admission : $2 .00 ; $1 .50 students and senior citizens. independent filmmakers as a vital creative force with definite financial needs and The following notes are excerpted from those written by Bill Horrigan for the AFI's a unique aesthetic agenda for British cinema. program guide.

00,

Scene from My Childhood by Bill Douglas.

April 6 (Friday) Bill Douglas's autobiographical 8:00 PM trilogy-consisting of My Childhood, 207 Delaware Avenue My Ain Folk, and My Way Home- represents one of the signal achieve- THE BILL DOUGLAS TRILOGY ments of narrative cinema in the 1970s. My Childhood (1972) Told in a rigorously spare style equally Directed and written by Bill Douglas . suggestive of Bresson and of the clas- With Stephen Archibald, Hughie sic English documentary, the story Restorick, and Jean Taylor Smith . 48 describes Jamie's trajectory of develop- minutes. ment, beginning in the mid-1940s in a poverty-stricken mining village south of My Ain Folk (1973) Edinburgh where he and his brother Directed and written by Bill Douglas . Tommy live with their grandmother, and With Stephen Archibald, Hughie ending in the mid-1950s with Jamie sta- Restorick, and Jean Taylor Smith. 55 tioned in Egypt doing military service. minutes. What happens in between charts the My Way Home (1978) formation of Jamie's identity, a protrait Directed and written by Bill Douglas. of the filmmaker as a boy and young With Stephen Archibald, Paul Ker- man, growing up within a nearly incom- mack, and Jessie Combe. 72 minutes. prehensible yet clearly oppressive family structure of absent and substitute My Ain Folk by parents. Scene from Bill Douglas.

15 From Before Hindsight by Jonathan Lewis. Lora Logic in Laura Mul ey and Peter Wollen's Crystal Gazing.

April 12 (Thursday) April 13 (Friday) April 19 (Thursday) 8:00 PM 8 :00 PM 8:00 PM SO THAT YOU CAN LIVE (1981) 207 Delaware Avenue 207 Delaware Avenue 207 Delaware Avenue Directed, photographed, and edited by Cinema Action . With Shirley Butts, BEFORE HINDSIGHT (1978) ANGEL IN THE HOUSE (1979) DOWN THE CORNER (1977) Royston Butts, Diane Butts. 85 Directed and edited by Jonathan Lewis. Directed and written by Jane Jackson . Directed by Joe Comerford. With Joe minutes. With Edgar Anstey, George Elvin, Les- With Mary Maddox, Jean Rimmer, Ed- Keenan, Declan Cronin, Kevin Doyle, Five years in the life of a South Wales lie Mitchell, and Ivor Montagu. 78 mund Warwick, and Maureen Bennett. and Christy Keogh. 52 minutes. family is followed in So That You Can minutes. 28 minutes. Down the Corner had its genesis in a Live, using as a specific reference point Before Hindsight re-presents British Angel in the House takes its title from story written by Noel McFarlane for the the Butts family, especially Shirley, the newsreel footage from 1931 to 1939 to Virginia Woolf's 1931 essay, "Profes- Community Arts Workshop in Belly- mother and a shop steward, and her point up what seems today-in hind- sions for Women" in which, invoking fermot, a large working-class housing daughter Diane, who grows into em- sight-its dismaying failure to commu- Coventry Patmore's poem, she identi- estate outside Dublin . Telling an epi- ployable age as the. film progresses. nicate the dimensions of the Nazi fies "the Angel in the House" as that sodic story, Joe Comerford's film uses Through their voices and experiences threat at home and abroad, and the insidiously genteel emblem of female amateur actors and real locations to and collaboration on the film itself (so related limitations of appeasement and domesticity whose authority she had to depict everyday incidents in the lives of that, over the course of five years, the pacifist interests, particularly in Britain. challenge in order to be able to get on five adolescent boys, with the adult filmmakers are learning just as the Using archival footage from the major with her vocation as a writer. Jane world of parents and teachers regard- viewing spectator does), Cinema Ac- newsreel sources (British Movietone, Jackson!s film follows Lily-a univers4-, ed for the most part from a distance. tion's documentary reflects upon Welsh Gaumont British, Pathe, the March of ty student, a sister, a daughter and a Down the Corner was widely regarded national and' social realities as Time) as well as more politically- granddaughter, and an aspiring in Ireland as a landmark event in its de- manifested in a cluster of issues: the inclined ones (Socialist Film Council, writer-over several years as her velopment of national cinema='note- effects of industrial decline in the Film and Photo League) and interviews changing literary and feminist values worthy as much for its history and the Welsh valleys; the crucial role of oral with such newsreel participants as force changes in her relations with manner of its making as for its theme, history and popular memory as correc- Edgar Anstey, Ivor Montagu, and friends and family, particularly her which is, for Ireland, unique," accord- tives to authorized history; and the others, Jonathan Lewis and Elizabeth mother. ing to the Irish Times. strong sense of tradition sustained Taylor-Mead's film provides more than through the family. a critical rereading of the British non- ficton film of the 1930s. CRYSTAL GAZING (1982) Directed and written by Laura Mulvey and Peter Wollen . With Gavin AT THE FOUNTAINHEAD Richards, Lora Logic, Mary Maddox, (OF GERMAN STRENGTH) and Jeff Rawle. 92 minutes. (1980) Descr+bed .by Peter Wollen as "poised Directed, written, and edited by Anthea between Brecht and Breton" and with Kennedy and Nicholas Burton . With "rock 'n' roll and foreign theory" provid- Paul Geoffrey, Michael Millinger, Val ing the film's backbone, Crystal Gazing Kennedy, Bridgette Kahn, and Gerhard addresses the state of Britain in 1982 Richter. 96 minutes. under the Thatcher regime, with its toll of recession and unemployment, as The interest in ways of representing visited upon four characters: Neil, a and recounting historical events (a science-fiction illustrator who loses his major preoccupation of many BFI job; Kim, a rock singer and sax- Production Board films) is central to At ophonist who wins a recording con- the Fountainhead, which joins fact and tract; Vermillion, an analyst of satellite fiction, documentary and recreated photographs; and Julian, a graduate period footage, in pursuit of that student whose thesis on Perrault's project. The narrative concerns a Puss-in-Boots (psychoanalytically ar- German-Jewish emigre, Johannes gued as "the founding text of moder- Schmidt (played by three different ac- nism") is rejected by his faculty tors at three different points in the committee. character's life) now living in London, and a visit made to him by old school friends from Germany: Gerhard, Kurt, and their half-sister Sophie, the latter two of whom having recently co- authored a book exposing ex-Nazis currently prospering in West German industry and politics. Down The Corner by Joe Comerford. Scene from Maeve by Pat Murphy and John Davies.

April 20 (Friday) Stiff Little Fingers perform In Maeve, the apparently endless "trou- in Rough CutandReady Dubbed by Hasan Shah and Dom Shaw. 8 :00 PM bles" in Northern Ireland are filtered 207 Delaware Avenue through the perceptions of Maeve April 26 (Thursday) ANIMATION FOR LIVE ACTION Sweeney, a young woman visiting her family in Belfast from her new home in 8:00 PM (1978) achieves a jaggedly sensuous visual London. Once back in the neighbor- 207 Delaware quality appropriate to its subject, com- Directed, written, animated, and edit- hood of her youth (a Republican FREE CINEMA AND BEYOND plemented by an editorial attitude al- ed by Vera Neubauer. With Ken Parry, stronghold), the past comes flooding lowing conflicting viewpoints to thrash Renate Schowald, and Jewels Walters. back through her own memories, seen O Dreamland (1953) it out among themselves. Most of the 26 minutes. in flashback, and through those of her Directed by Lindsay Anderson . 11 footage captures live performances in parents and sister, whose story-tellings minutes. The remarkable visual invention evi- 1979 and 1980 of British post-punk constitute a kind of oral tradition of dent in Vera Neubauer's Animation for Momma Don't Allow (1956) bands, between which are interspersed which she comes to see she is part. Live Action is enlisted into that venera- Directed by Karel Reisz and Tony interviews and commentaries by musi- Particularly critical of the range of ble tradition in animation whereby the Richardson . With the Chris Barber cians and Music journalists from New models available to women in Cathol- live-action creator is shown in the Band . 22 minutes Musical Express and Sounds. process of drawing his creations, who ic Northern Ireland (notably the mother- then magically spring to life, typically as-martyr posture espoused by wom- Nice Time (1957) Claude Goretta and Alain to challenge the creator's god-like en whose sons have been murdered by Directed by . 17 minutes.- authority. the British occupying forces), Maeve Tanner joins its inquiry into how women should Rough Cut and Ready Dubbed live in contemporary Belfast society-a MAEVE (1981) (1982) colonized country-with a broader po- April 27 (Friday) Directed and produced by Hasan Shah Directed by Pat Murphy and John Da- litical inquiry into the status of Repub- 8:00 PM vies. With Mary Jackson, and Dom Shaw. With Patrik Fitzgerald, Mark Mulhol- licanism itself as it inflects the lives and 207 Delaware Avenue land, Brid Brennan, and Trudy Kelly. behavior of one Catholic family. Colin Peacock, Jake Burns, and Stiff 110 minutes. Little Fingers. 58 minutes. PETER GREENAWAY Free Cinema flourished in Britain from (In Person) the middle to late 1950s, more a ten- The Falls (1980) dency than a full-scale movement. Op- Directed, written, and edited by Peter posed to the style and content of mainstream British Greenaway. With Peter Westley, Aad filmmaking of the Lorna day, Free Cinema films Wirtz, Michael Murray, and expressed a Poulter. 185 minutes. belief in the interest of everyday working class life which could be cinemati- In the pre-history of the fictive universe cally rendered in "personal" constructed in The Falls stands documentaries without concern for the "VUE'=the otherwise unexplained constraints of commercial filmmaking. Violent Unknown Event on whose reports. In O Dreamland, Lindsay Anderson ex- cataclysmic results the film Working in the wake of the VUE (an in- amines the world of the "Dreamland" comprehensible catastrophe suspect- funfair in Margate, Kent, the seaside ed of being caused, somehow, by the resort where Londoners (more skepti- relations people bear to birds, and hav- cal than mirthful) often travel to spend among the shopworn thrills and ing, among others, as consequences, a day from two diversions. Karel Reisz's and Tony the multiplication of sex roles to four and the haphazard mutation of Richardson's Momma Don't Allow humans into Peter Greenaway's the emerging youth culture (in birds), depicts intent is to provide capsule biographies this respect a forerunner of a film like of VUE victims and thereby to il- Cut and Ready Dubbed) within Rough luminate the genesis moment of the the context of a north London jazz club postVUE world. To do this he consults frequented by working class youth (and the VUE Doomsday Directory listing all the occasional middle class guests out 19 million victims, and randomly for a night of "slumming") . In Nice selects those whose surnames begin Time, Claude Goretta and Alain Tanner, with the prefix "Fall," from Falla to Fall- two Swiss filmmakers working at the BFI who would waste. These number 92, coincidental- go on to international ly acclaim in the 1970s, sketch an impres- the same number as that of new VUE's sionistic view of the nightlife in Lon- languages generated in the of don's Piccadilly Circus-in their words, aftermath. The Falls, then, consists VUE vic- "an attempt to catch and interpret the this project: 92 biographies of tims, all given in differing styles but responses of the crowd to the fare it is linked by documentary offered ." such standard guarantees as the objective voice-over The "rough cut" quality of Rough Cut commentator, interviews with experts, and Ready Dubbed underpins both and a reliance on the factual-all of its literal and figurative levels. Blown up erudition invented to give credence to Peter Greenaway's The Falls. from Super-8 to 16mm, the film the world of this dead-pan epic.

17 Independent Filmmakers Media Study/Buffalo's continuing series of presentations by independent filmmakers and screenings of independent films. Admission: $2.00; $1 .50 for students and senior citizens.

Yoshiko Chuma in performance . Photo: Jacob Burckhardt.

January 27 (Friday) February 10 (Friday) for props, quick consultations-was (designed by Isaac), a sound environ- 8:30 PM 8 :00 PM made visible in a way more often seen ment on recorded tape (created by Delaware Avenue 207 Delaware Avenue 207 in musical performance than dance. Marclay), and the energetic and parod- YOSHIKO CHUMA (In Person) So, in many ways, the performance ic movement performed by Chuma. LIZZIE BORDEN (In Person) seemed like a live album, maybe a live Alive magazine has described Pikka A Night at the Millionaire's Club video disc." Don as a "wonderfully orchestrated Born in Flames (1983) (1983) Produced, directed, and edited by Liz- -Sally Banes, Village Voice meditation on the sound and fury of an- A performance by Yoshiko Chuma and nihilation," and Chuma's performance zie Borden. With Honey, Adele Bertei, the School of Hard Knocks (Donald Jeanne Satterfield, and Flo Kennedy. "Twenty explosive episodes . . . dance, as "at her frenzied best." Fleming, Kaja Gam, Brian Moran, Color. 90 minutes. Nelson Zayas. Sets by sing, talk, kiss . . . a magical violently Choreographer, dancer, and filmmak- Gayle Tufts, and "Born in Flames reminds us that in ad- . Sound by Jacob energetic, joyously physical choreo- er Yoshiko Chuma studied art and Carol Mazurek dition to political restraints, cultural Burckhardt. graphic environment. Yoshiko Chuma dance education and worked in ex- and the School of Hard Knocks will go perimental theater in Japan before values also prevent liberation . Although PIKKA DON (1982) up like a box of matches in A Night at coming to New York in 1977. Since that frankly assessing the enormous effort A solo performance by Yoshiko Chu- the Millionaire's Club. The performance time she has been extremely active in required to bring about social change, ma. Images by Jeffrey Isaac. Sound by consists of twenty separate segments dance and performance, working in the film nonetheless leaves us optimis- Christian Marclay. (or 'takes') started and `cut' by the per- collaboration with such artists as tic that we can and will surmount fac- tionalism and put our common ideals "Yoshiko Chuma's work lies some- formers, themselves, in unexpected dancer Charles Dennis, filmmaker into practice." where between dance and perfor- places all over the studio. The au- Jacob Burckhardt, dancer Pooh Kaye, mance art . There's choreographed dience will be surrounded with the ex- and more recently with her company, -Kathryn Jankowski, movement in it, but often all sorts of citement of a movie being filmed in and The School of Hard Knocks. She has Plexus around them . A Night in the Millionaire's other things, including film, objects, performed at Danspace at St. Mark's in Club is a night in Buffalo, a night in "I wanted to set up a dialectic the reflex movement, pure play, brash Church, the Kitchen, A.I .R. Gallery, the film between the present and the fu- sounds, the language of songs and America, a night in the world, a night Performing Garage, Summergarden of in 1984:' ture. Are these people real or are they stories. . . the Museum of Modern Art, and at the actors? Are you seeing just the surface Yoshiko Chuma Venice Biennale. Articles and reviews or are you seeing something to fall intd "Part of what makes A Night at the Mil- of her work have appeared in the New as fictive space? And similarly at the lionaire's Club edge toward perfor- York Times, Village Voice, Downtown end : Is this a solution or is this not a mance has to do with format rather Chu- Review, ALIVE, and Soho News. solution? So that if one would say `NO!' than content. The installment I saw . . . Pikka Don is a solo piece which film, 27, 1979, The Girl ma's first August really loud after the last shot of the partook of too many kinds of art and Yoshiko Chuma has never performed here in the fall Can't Help It was shown movie, that's what I would want. Let's entertainment structures to be narrowly outside of New York City. A result of Media Study's "New of 1980 as part of talk, let's reopen the lines of commu- labeled dance . . . The performers . . . Chuma's collaboration with Films, New York" series. nication." seemed more like a band of musicians dancer/choreographer and visual artist This performance by Yoshiko Chuma than dancers as they took turns in the Jeffrey Isaac and composer/perfor- -Lizzie Borden and The School of Hard Knocks is be- limelight or directing a sequence. In be- mance artist Christian Marclay, the The Independent ing co-sponsored by HALLWALLS tween the segments, casual offstage work involves a lively interaction be- Gallery. behavior-changing costumes, looking tween 120 brilliantly-colored slides

March 2 (Friday) Nearly five years in production, Born in 8 :00 PM Flames is only Lizzie Borden's second 207 Delaware film and her first feature-length project. TOM J014NSON and It is a rather controversial work not only LANCE BIRD because of its unconventional admix- ture of film forms and styles (ranging The World of Tomorrow (1984) from cinema-verite to science fiction, Produced and Directed by Tom from the experimental to the action Johnson and Lance Bird . Narrated by film), but also for its forceful, singular Jason Robards. Written by John political and feminist focus. The film Crowley. Edited by Kate Hirson . Black takes place in New York City ten years and White and Color. 78 minutes. after a social democratic revolution has "Elegiac and unsettling . . . The film supposedly transformed American so- celebrates American pluck as much as ciety. Borden's vision of the future is a it is wistful about our naivete, leaving menacing one-all the more so for its us with a wealth of ideas and no neat resemblance to the present . And yet message." - Diane Jacobs, despite her chilling explication of the The Movies complex forces of oppression operative Tom Johnson and Lance Bird will pre- even within a liberal, progressive state, sent the world premiere of The World Borden manages to balance her ideo- of Tomorrow, their feature-length with a veritable logical analysis documentary about the great New York contemporary women's celebration of World's Fair of 1939. Begun in 1979, the and political culture, aesthetics, film is made up entirely of material from thought . the thirties, including home movies, and promotional Born in Flames has received a great newsreels, industrial deal of attention since its release. films, cartoons, still photographs and graphics which portray Panned by the New York Times, praised other vintage Art Deco extravaganza that was the by the New York Post, drawing mixed the a team of reviews in the Village Voice and other World's Fair. Aided by have evoked alternative papers, the film has al- scholars, the filmmakers the world stood ready played to enthusiastic audiences that moment when black-and-white and in Europe (Berlin International Film poised between Depression and the Festival, London Film Festival), New color, between the whole Fair offered a York (the 1983 Women's International War. Since the and then Film Festival and Film Forum), and San look at Tomorrow effort on film, The Francisco (1983 Lesbian/Gay Film Fes- documented the of offers a look tival and Roxie Cinema) . Borden, a film World Tomorrow also future. editor and former art critic and teacher, back into the has turned the distribution of the film The World of., Tomorrow will open over to First Run Features and is be- theatrically at Film Forum in New York ginning work on her next project, a City and will be broadcast nationally on feature-length study of prostitution to PBS. The film is a project of the be titled Brothel. American Portrait production unit of Media Study/Buffalo and received funding from the New York State Council on the' Humanities and the Pew Memorial Trust. Tom Johnson is former Director of The World of Workman puts finishing touches on "Futurama" model in an image from the Graduate Program for Media Study Tomorrow. at Antioch College. He has extensive film and television credits, having worked as a producer and director on projects for the Corporation for Public Broadcasting, Westinghouse Broad- casting Company, and Time/Life Films. Lance Bird has served as a producer, director, and consulting producer for PBS, Time/Life Films, and HBO, among others. In 1975 Johnson and Bird began work together on a feature documentary, using archival footage from the,Great Depression, entitled America Lost and Found (1979). This film, narrated by Pat Hingle, was shown nationally on PBS and opened theatrically at the Public Theater in New York City. Presented at film festivals throughout the world, America Lost and Found won a CINE Golden Eagle and a Blue Ribbon at the American Film Festival . In 1980, Johnson and Bird received a grant to produce No Place to Hide (1982), a half- hour documentary which examines propaganda films which the American government made between 1946 and 1964 and intended to sell the public on bomb and fallout shelters. The film had its world premiere at the Los Angeles International Film Festival and was widely screened at other major festivals. No Place to Hide opened theatrically in New York City and was favorably reviewed by Newsweek and the New York Times, among others. The filmmakers' current project is a half-hour documentary on the Lizzie Borden's Born in Flames. Honey, in a scene from photographer Walker Evans, entitled Main Street Looking North.

19 March 16 (Friday) the late thirties Flaherty was back in 8:00 PM America, and at the invitation of Pare 207 Delaware Avenue Lorentz, he produced a film on erosion RICHARD LEACOCK for the U.S. Film Service, entitled The Land (1942) . Louisiana Story was Louisiana Story (1948) Flaherty's final major project . Made Directed by Robert Flaherty. Written by with support from Standard Oil, the film Robert and Frances Flaherty. was shot on location in the bayous of Photographed by Richard Leacock . Louisiana with a cast of nonprofes- Edited by Helen Van Dongen . Music by sional actors. The story of a Cajun boy Virgil Thompson . With Joseph from the backwoods who is befriend- Boudreaux, Lionel LeBlanc and Frank ed by an oil driller provided the pretext Hardy. Black and White. 77 minutes. for Flaherty's most lyrical work on film . The Twenty-Four Dollar Island Louisiana Story won a British academy (c. 1928) award and the "Golden Lion" at the By Robert Flaherty. Black and White. Venice Film Festival . 15 minutes. Richard Leacock was born in Lon- In honor of the 100th anniversary of the don and raised in the Canary Islands, birth of the pioneer of documentary where he made his first film at the age The ecstasy of "home movie" filmmaking, from Bruce Posner's Hamaca: The Quickie Version . filmmaking, Robert Flaherty, Media of fourteen . He came to the United Study has invited the celebrated in- March 23 (Friday) "I'm sure that you've heard Brakhage States in 1938 to study at Harvard posit on the possibilities of moving dependent filmmaker Richard Leacock 8:00 PM University, and after completing a visual thinking. I had not given it much to screen and discuss Flaherty's final 207 Delaware Avenue degree in physics, served from 1942 to validity until the making of these films film, Louisiana Story. (Leacock served 1946 as a combat photographer in the as associate producer and BRUCE POSNER (In Person) which do fall outside of language. I U.S. Army. Following the war, Leacock don't think that they create a barrier cinematographer for the film .) Also to worked as associate producer and Pilldebahl (1982) be screened is a short portrait of New for the viewer to unravel and enjoy, but cinematographer for Louisiana Story, 2 projectors/color/silent/11 min . seeing them may inspire one towards York, The Twenty-Four Dollar Island, and from 1947 on he collaborated on shot by Flaherty in the twenties. Deaf Women Listening to a whimsical annotation of the thokight numerous documentary films with process. Robert Flaherty was born on Louis de Rochemont, Willard Van Dyke Stockhausen I (1981) "Revelling in the imagery does not im- February 16, 1884, in Iron Mountain, and others. In the late Fifties, along 3 projectors/color/silent/5 min . Michigan. A working with AI Maysles, D. A. Pennebaker and part a structural analysis of details, but minerologist, Deaf Women Listening to cursory examination of Flaherty explored the Canadian Terry Macartney-Filgate, and Time-Life is akin to the Arctic Stockhausen II (1982) moments I hope to en- and began in the producer Robert Drew, Leacock many fleeting . teens to record his 2 projectors/color/stereo sound/6 min. hance the inherent elements of the film expeditions on film. Following an ear- photographed a series of experimen- medium in order to enthrall the viewer ly attempt to document his encounters tal television documentaries (including Blood-Lined (1983) with the passage of time." with the natives of the Baffin Bay Primary, On the Pole, and The Chair) 3 projectors/color/silent/3.5 min . -Bruce Posner region, he solicited support from a which formed the basis of the style Orgasamatic (1983) Over the past ten years, independent French fur company and returned known as cinema-verite . After the com- 4 projectors/color/sound/4 min. filmmaker Bruce Posner has created a North to spend more than a year with pletion of Crisis (1963), Leacock form- broad array df visually and conceptu- a small group of Eskimos in order to ed a partnership with Pennebaker and The Rifleman (work-in-progress) ally enthralling works that range from depict them "as they really are, not as continued his observational studies of 3 projectors highly kinetic restructurings of found civilized people see them ." What American culture. His films from this Sappho and Jerry (1977-78) footage to abstract, materialist studies ; emerged was his Nanook of the North period include the Emmy Award winn- 35mm/color/sound/? min. (1922). The film proved to be a huge ing The Invisible Empire, A Stravinsky from complex, multi-screen expanded public success, receiving world-wide Portrait, and Happy Mothers Day, cinema pieces to lyrical works in MONADNOCK: THE FIRST Super-8mm. In almost equal measure, theatrical release and more importantly which received Silver Medals at both SYMPHONY (1981-83) encouraging the development of this the Venice and Leipzig Film Festivals. Posner throughout the past decade Spring Snow (1981) Super-8mm/ has been extremely active as a curator new form of filmmaking. Based on After finishing Chiefs (1969), a short color/silent/9 min. Nanook's success, Flaherty was able study of a police chiefs' convention at and presentor of other filmmakers' Rapture (1982) Super-8mm/color/ work. to secure studio backing for h s next Waikiki Beach, Leacock accepted an Currently director of the Film- silent/10 min. Makers in New film, a portrait of Samoan life entitled offer to found and head up a Depart- Showcase Hampshire, Monadnock (1983) Super-8mm/ he has worked with Pittsburgh Film- Moana (1925). Subsequent projects ment of Film at M.I.T. He has remain- color/silent/11 min. Makers, Miami-Dade Community Col- fared less well, and by the early thir- ed active as an independent maker, Rime (1982) Super-8mm/color/ ties and his recent films lege, and East Hubbard Gallery in Flaherty was actively involved in include Light Com- silent/6 min. the British documentary movement. ing Through, A Portrait of Maud Morgan Chicago, among others. He has serv- Lighthouse His major work of the period was Man (1980) and Community of Praise (1982). (1983) Super-8mm/ ed as a free-lance cinematographer, color/silent/6 still of Aran (1934), which vividly captured Leacock is currently at work on a film min. photographer, and animator, and the daily struggles of the inhabitants of about Louise Brooks, entitled Lulu in Autumn-Eroto-Song (1983) has taught courses in film history and . the Aran Islands off the Irish coast. By Berlin. Super-8mm production Posner's work in film and still photography is in the permanent collections of the Art Institute of Chicago, the George Eastman House, and the University of New Mexico, and his films have been widely screened in this country and abroad. Currently, Bruce Posner resides in Claremont, New Hampshire where he is a catalytic force in the burgeoning New England independent cinema.

April 4 (Wednesday) 8 :00 PM 207 Delaware Avenue THE 40th WESTERN NEW YORK EXHIBITION : FILM AND VIDEO In cooperation with the Albright-Knox Art Gallery, Media Study/Buffalo will screen and present works in film and video selected for inclusion in the Albright-Knox's 1984 Western New York Show. Admission is free, and this event is open to the general public. The list of titles and artists to be presented will be announced by the Albright-Knox and will be available prior to the screening by contacting Media Study at Robert and Frances Flaherty with Richard Leacock at the camera. Photo: MOMA Film Stills Archive . 847-2555.

20 Anthony Higgins in Peter Greenaway's The Draughtsman's Contract. Filipino filmmaker Kidlat Tahimik. Photo: MOMA Film Stills Archive.

April 28 (Saturday) Peter Greenaway was born in England Exhibitions and events are being or- the Philippines on the annual Turum- 8:00 PM in 1942. He studied painting at ganized in Boston, Philadelphia, ba religious festivities for German The Historical Society Walthamstow Art College and first ex- Washington, D.C., Chicago, Atlanta, broadcast, and then reworked his hibited his work at the Lord's Gallery Minneapolis, Houston, Los Angeles, material into this engaging, feature- PETER GREENAWAY in 1964. He began working as a film and San Francisco. Independent and length parable. The film focuses on a (In Person) editor in 1965 and spent the next commercial film showcases are village musician and singer who leads eleven years as a professional editor scheduling special programs of films the annual Turumba procession . In ad- The Draughtsman's Contract working primarily for Britain's Central about Central America and work by dition to his cantorial duties, he assists (Great Britain, 1982) Office of Information . In 1966, Greena- Central American filmmakers. The his family's cottage-industry production Written and Directed by Peter Greena- way began making his own films, and touring series of Super-8 Films Against of papier-mache dolls to sell at the fes- way. With Anthony Higgins, Janet Suz- he has continued to produce films, U.S. Intervention will circulate nationally tival . Their lives become disrupted, man, Anne Louise Lambert, and Hugh paintings, novels, and illustrated books. following its January 29th Collective however, by the sudden success of Fraser. Color. 108 minutes. His films have been presented at fes- show. The members of the film commit- their handiwork with a West German "The Draughtsman's Contract is a tivals in London, Edinburgh, Berlin, tee organizing this event are Bill Brand, buyer whose orders for Oktoberfest 'figures-in-a-landscape-movie=an op- Hong Kong, and New York, and he has Simon Field, and Phil Weisman. Spon- souvenir dolls transforms the pro- portunity for me to animate and received awards at the Chicago Inter- soring film artists for this program in- tagonist into a village Henry Ford, and celebrate the paintings of the seven- national Film Festival, Melbourne, Syd- clude Yvonne Rainer, Ken Jacobs, his family and neighbors into rough teenth century and to re-invent an ney, and Brussels. Greenaway is Ericka Beckman, Amy Taubin, Hollis hewn assembly line workers. conversational language of currently completing work on four Frampton, James Benning, Beth B. elaborate Kidlat Tahimik (nee Eric de Guia, born conceit, pun, illusion, and word-play, documentary portraits of American ar- Caroline Avery, Betzy Bromberg, Scott in 1942 in the Philippines) began work- that is,%r better or for worse, absent tists John Cage, Philip Glass, Meredith Band Peter Schnall. ing in film in the mid-seventies while he from contemporary speech." Monk, and Robert Ashley. was living and travelling around Eu- -PG. PLEASE NOTE: This event will take rope. His first feature, Perfumed Night-. place at The Historical Society (25 Not- "The Draughtsman's Contract may well mare, was made over a period of two tingham Court) . be cinema's first Restoration co"nedy- years, on two continents, with borrowed mystery. It's a none-too-solemn, enig- May 4 (Friday) equipment, expired 16mm stock, for A picaresque tale featuring Ta- matic tale of murder set in a great En- 8:00 PM $10,000. himik himself as an innocent abroad glish country house in 1694, when 207 Delaware Avenue morals among the newly rich were as (even within his own country), Per- May 1 (Tuesday) loose as absolutely possible and man- KIDLAT TAHIMIK (In Person) fumed Nightmare was a major critical ners were mad mannerisms of dress;, 8:00 PM success. (The film, in fact, won the In- speech, and behavior." 207 Delaware Avenue Turumba (1982) ternational Critics Prize at its world pre- Written and directed by Kidlat Tahimik. 1977 Berlin Film Festival .) Vincent Canby, miere at the ARTISTS CALL: SUPER-8 With Homer Abiad, Inigo Vito, Maria has complet- New York Times Since that time, Tahimik FILMS AGAINST U.S. Pehidol, and Katrin Luise. Color. 95 ed two more features, Who Invented the A major critical success on last year's INTERVENTION minutes. Tagalog with English subtitles. Yoyo, Who Invented the Moon Buggy international film festival circuit, The (1980-81) and Turumba (1982), is in Presented in co-operation with the film "The director, Kidlat Tahimik, is already Draughtman's Contract is Peter ARTISTS CALL (Against known to some Americans for his post-production with a third (tentative- Greenaway's second feature film and committee of Intervention in Central America), sardonic Perfumed Nightmare, which ly titled Memories of Overdevelopment), his first to use actors. The film was shot U.S. of will consist of a touring visited the United States a few years and is about to begin the shooting in Super-16 on a modest budget of this program explorer selection of one-reel (3-4 minute) films ago. Turumba is another study of a new project on the $500,000 (with principal support from Western influence on Filipino life, Magellan. the British Film Institute and Britain's by makers of all styles from all over the Americas. These films have been couched in delicate and often amusing Channel Four), and it has enjoyed Kidlat Tahimik's work has been widely produced especially for this ARTISTS terms . . . strong runs in commercial cinemas screened with film festival presenta- CALL program with a marathon and art houses in Europe and in the "It's a sly story, commenting wittily on tions at Berlin, Rotterdam, Edinburgh, screening set for late January at the capitalism and cultural colonialism, Toronto, San Remo, Havana, Telluride, U.S. Ostensibly a period-piece drawing in New Collective for Living Cinema and making a virtue of the simplicity and Filmex, among others. Articles and on an odd amalgam of devices from Against York City. Like the 1967 For Life imposed by its evidently tiny budget. reviews of his films have appeared in the literature of detection and comedy filmmakers participat- The Draughtsman's Con- War in which 60 The cast features a number of Tahi- the New York Times, Village Voice, of manners, ARTISTS CALL films will, in one tract in fact a highly speculative work ed, the mik's own relatives, whose characteri- Christian Science Monitor, Hollywood is another, be in protest of U.S. in- that, through an array of brilliant ver- way or zations seem as authentic as Reporter, and The Independent. Tahi- tervention . bal and visual puns, plot twists, and everything else in this rough-hewn but mik has been a featured presentor at logical complications, raises questions ARTISTS CALL is a broad-based or- amiable film ." several major film conferences includ- about the act of representation, about ganization of artists which is embark- -David Sterritt, ing the Third World Film Conference at the power of language, and about the ing on a major series of cultural actions The Christian Science Monitor Hunter College last spring and this potential conundrumsova narrative and events in protest against U.S. in- past summer's Flaherty Film Seminar. practice. These are themes that un- tervention in Central America . Already His current American tour will include derpin much of Greenaway's earlier over 300 major visual artists and 30 Nearly five years in the making, Turum- shows at Cornell Cinema, Walker Art work such as his science-fiction epic, New York galleries and museums are ba was originally commissioned by Center, Neighborhood Film Project, The Falls (1980), and his two featurettes participating. The first events will coin- West German television . Tahimik Collective for Living Cinema, and the from 1978, A Walk Through H and Ver- cide with the January 22nd Internation- produced a 45-minute documentary in Sinking Creek Film Celebration . tical Features Remake. al Day of Solidarity with El Salvador.

Saturday Evenings at 8:00 PM A Series of Recent The Historical Society 25 Nottm ham Court "LOST FILMS99 Rediscoveries and Revivals . g

An important development in film distribution and exhibition in recent years has screens. All of this has resulted in an enrichment of our film culture at a time when been the widespread rediscovery and reissuance of a broad range of films that the contemporary cinema provides its usual disproportionately high share of dis- shared the common destiny of having been "lost" for one reason or another to appointing work. the filmgoing public in this country. In unprecedented numbers, rare films that in Our series of "Lost Films" presents a cross-section of important film works some cases were in whole or part actually lost have emerged from the depth of that have been "rediscovered" and "revived" in the recent past. Three of the pro- the studio vaults, off the shelves of the film archives, or even out of the hands of grams will include talks by noted film historians; three will utilize live organ or pi private collectors to appear restored and revived on the movie screens of Ameri- ano accompaniment . A number of individuals and organizations have provided can cinemas. The premiere presentations in 1981 of a virtually restored, full-length assistance in the planning and preparation of this series. We wish to acknowledge print of Abel Gance's silent masterpiece Napoleon focused major attention on this the help and encouragement of the following: Mirella and Charles Affron of Eight- phenomenon. While Napoleon may remain for some time the most spectacular een Frames Inc., Pearl Bowser of Third World Newsreel, William K. Everson, Nancy, "lost film" to be revived, a number of remarkable works have reappeared in its Gerstman of First Run Features, Images Film Archives, Arthur Lennig, Charles wake. In some cases, major archival work preceded the presentation of films which Musser, New Yorker Films, Schoenfeld Films, Milos Stehlik of Facets Multimedia, could at last be viewed in original, uncut versions. In other cases, American and pianists Harvey Elsaesser and Elliot Finkel . distributors were found for important foreign films that lacked access to American

Image from Sayat Nova by Sergei Paradjanov.

February 4 (Saturday) the underworld, his violation of the February 11 (Saturday) Unknown Chaplin: 1918-1931 (1983) 8:00 PM daughter of one of the matrons of the 8:00 PM Produced by Kevin Brownlow and The Historical Society church, and his ultimate exposure. The Historical Society David Gill. Color. 52 minutes. Robeson's role as the preacher was This part of the series presents scenes PEARL BOWSER Presents perhaps the strongest black character LOST CHAPLIN from Chaplin's first independent film, BODY AND SOUL (1924) he was to play in American films, and This program consists of two parts of which he titled How to Make Movies, it provided the only occasion for him to but never released. Also included are Directed by Oscar Micheaux . With Paul the documentary series that film work with a black director in a produc- outtakes and a set of landmark inter- Robeson . Black and White. 70 historians Kevin Brownlow (one of the tion free of the constraints of white views that shed new light on such minutes. Silent with recorded piano ac- main archivists involved v/vith the resto- Hollywood. Body and Soul opened in Chaplin classics as The Kid, The Gold companiment . ration of Napoleon) and David Gill re- the fall of 1924 to good notices in Varie- cently produced for British television. Rush, and City Lights. Body and Soul is one of only a handful ty, which commended the work's power Utilizing outtakes that ~haplin wanted Unshown Chaplin (1983) of films that survive of the two dozen for black and white audiences alike. burned, old home movies, and Produced by Kevin Brownlow and features produced and directed by the Film historian Pearl Bowser has or- hundreds of hours of previously un- David Gill. Color. 52 minutes pioneer of independent black film ganized a number of major film fes- seen footage, they have fashioned, in Not so much a documentary as a neck- production, Oscar Micheaux. Made at tivals, including "Independent Black the words of Time Magazine film critic lace on which to hang some of the peak of Micheaux's career, Body American Cinema: 1920-1980," "In Richard Schickel, "not only a priceless Chaplin's rarest pearls, this part of the and Soul marked the film debut of ac- Color: 60 Years of Images of Minority contribution to film history, but an es- series employs home movies he made tor and singer Paul Robeson, who Women in Film (1921-1981) ;" and "Jour- say that makes visible that most invisi- for fun, commercial films he shot and plays the lead role of a jack-leg ney Across Three Continents." Ms. ble of human endeavors, the creative then abandoned, and sequences cut preacher with a double life. Micheaux Bowser will be present to introduce and process." from such major features as City Lights portrays in rather graphic detail the discuss this rare screening of Body and Modern Times. preacher's unsavory connections with and Soul. February 25 (Saturday) dances, and musical routines by mu- 8:00 PM sical and non-musical talents alike. February 18 (Saturday) The Historical Society 'Jazz" performances include those by 8:00 PM Paul Whiteman and His Orchestra (mi- The Historical Society spring of 1980, over a decade after its WILLIAM K. EVERSON nus Bix Heiderbecke, regrettably), Bing original production, that Sayat Nova Presents THE KING OF JAZZ Crosby and the Rhythm Boys, The Sis- SAYAT NOVA (1969) was first screened in this country, (1930) ters G., and the Tommy Atkins Sextette, (The Color of Pomegranates) where it has been hailed by the critics. Directed by John Murray Anderson . among others. The film depicts through a series of Directed With Bing Crosby, John Boles, Paul Notable among the film's musical by Sergei Paradjanov. Color. spectacular tableaux the youth of the 72 Whiteman and His Orchestra, and production numbers are its "Rhapso- minutes. Georgian and Armenian Armenian poet Sayat Nova. Despite the with English subtitles. others. Two-Color Technicolor. 120 dy in Blue" sequence, performed by a loss of nearly a quarter of its running minutes. bevy of chorus girls, and its spectacu- Sayat Nova was completed in 1969, but time and a re-editing job to include This rarely-seen Technicolor film is a lar finale, in which the genesis of jazz not released in the Soviet Union until Russian intertitles, Sayat Nova con- fine example of that early form of the is apocryphally traced back through 1973. One year later, its director, the firms the visual artistry and poetic sen- the musical traditions of various Armenian sitivity of its maker. As J . Hoberman of American movie musical, the staged filmmaker Sergei Parad- film. Abandoning nations. janov (Shadows the Village Voice noted, "Paradjanov's revue story and dra- of Our Forgotten An- matic continuity for the pure pleasures Popular film historian William K. cestors) was arrested, convicted compositions are astonishing, and no of a of "all singing, all dancing, all talking," Everson, professor of cinema at New number of trumped up charges, one has ever made the olive-and- and such films dominated movie-making in York University and author of The sentenced to six years in the Gulag orange tones of the Soviet color stock . In the early sound period . The King of Western and American Silent Film, will film was smuggled look better. A sublime and heart- 1977 a print of the Jazz was Universal's contribution to the introduce and discuss this rare movie it wasn't until the breaking film ." into France, but form and featured a variety of songs, musical.

Albert Dieudonne as Napoleon in Abel Lance's silent classic. Photo: MOMA Film Stills Archive.

March 3 (Saturday) 8:00 PM sistance of filmmaker Francis Ford of the Polyvision sequences. As Brown- world, pieced together the most com- The Historical Society Coppola and the musical talents of low has noted, "They never released plete print of the film presented since composer Carmine Coppola. Lance, the full version in America, being un- the original 1927 release. To comple- NAPOLEON (1927) himself, lent a hand in this monumen- willing to risk a Polyvision revolution on ment Brownlow's impressive restora- tal undertaking . top of the talkie upheaval." tion of Napoleon, composer Carmine Directed by Abel Gance. With Albert Coppola prepared a new orchestral Dieudonne, Antonin Artaud, Pierre When he had originally released score for the film consisting pre- Batcheff, Abel Gance, Gina Manes, Gance re-released Napoleon sever- Napoleon in Paris in the spring of 1927, al times, reworking it variously into a dominantly of his own original music. and Annabella. Black and White. 270 the film was 28-reels long and ran It was with this Brownlow-restored print minutes. Silent with recorded musical two-hour stereophonic sound feature in nearly five hours. There were four en- 1934, a 21/4-hour sound feature with (including a Polyvision finale) and the score by Carmine Coppola. Finale in tire sections presented in Polyvision, Coppola score that Napoleon was "dis- Polyvision . Polyvision sequences in 1955, and fi- Lance's spectacular triple-screen nally, the four-hour Bonaparte and the covered" by thousands of fortunate One of the major films of the silent process, and it was accompanied by a Revolution (1971), which featured an in- filmgoers during its recent release. Our cinema, Abel Lance's Napoleon has score from the distinguished French troductory color sequence. Brownlow, screening will consist of the complete become perhaps the most celebrated composer, Arthur Honegger. However, a British filmmaker, editor, and histori- Brownlow print with the recorded or- "lost film" to be restored and revived . Napoleon was screened on this epic an, gained access to the negatives for chestral score by Carmine Coppola. Its New York City debut in early 1981 scale in only a handful of European ci- the film during this final Lance sound was the result of more than a decade ties, and when it was released by MGM version and, drawing on the resources of archival work by film historian Kevin in the United States, the film was cut of nearly every major film archive in the Brownlow, as well as the financial as- to 8 reels and presented without any March 10 (Saturday) March 17 (Saturday) 8:00 PM 8:00 PM The Historical Society The Historical Society BOB LE FLAMBEUR (1955) CHARLES MUSSER Presents Directed by Jean-Pierre Melville. With BEFORE THE NICKELODEON: Roger Duchesne, Isabelle Corey, THE EARLY CINEMA OF Daniel Cauchy, and Guy Decomble. EDWIN S. PORTER (1982) Black and White. 95 minutes. French Directed by Charles Musser. Narrated with English subtitles. by Blanche Sweet. Black and White One of the most popular films to be and Color. 60 minutes. "rediscovered" during the Museum of Charles Musser's excellent documen- Modern Art's year-long retrospective, tary, Before the Nickelodeon, traces the "Rediscovering French Film," was saga of the first decade and a half of Jean-Pierre Melville's mid-fifties gang- filmmaking by focusing on the first ster film, Bob le Flambeur. Often called major American filmmaker, Edwin S. the "father of the French New Wave," Porter. Musser includes a number of Melville was the first feature director to rare early Porter films, music taken work outside of the film industry in from turn-of-the-century records, and postwar France. Melville's work was archival photographs to tell the fas- further distinguished not only by his in- cinating story of Porter's varied career dependence from studio control, but in relation to the emerging American also by his great love of the American film industry. Before the Nickelodeon cinema and things American in gener- had its world premiere at the 1982 New al . (His name is adopted, of course, York Film Festival and was hailed by from that most American of writers, Carrie Rickey of the Village Voice as Herman Melville.) one of the year's best documentaries: In Bob le Flambeur, Melville adapts ". . . delightful . . . a remarkable ar- the style and action of the American chaeology of the cinema . . . enchants gangster films of the thirties to a script while it educates, bristling with social culled from his own recollections of the history, movie gossip and all the fresh Parisian underworld of the same peri- wonder of a pioneer smacking his lips od. As the title suggests, Melville's Bob at his newfoundland ." is a compulsive gambler, who finally opts to break the bank at Deauville Mr. Musser will also screen and dis- through crime rather than luck. His cuss three recently restored, rare Port- heist is halted, however, by a series of er films: The Ex-Convict (1904), The betrayals and a rather humorous rever- Whitecaps (1904), and The Teddy Bears sal of his luck at the gaming tables. (1906) . Musser is the Film Historian for the Thomas Edison-Papers at Rutgers From Jean-Pierre Melville's Bob le Flambeur. Photo: MOMA Film Stills Archive. University and is author of the forth- coming book, Early Cinema in America.

Scene from an Edwin S. Porter film in Charles Musser's Before the Nickelodeon.

March 30 (Friday) 8:00 PM 207 Delaware Avenue SELECTIONS PROGRAM II Vestibule (In 3 Episodes) (1977-78) By Ken Kobland. Color. Sound. 24 minutes. My third film about buildings and emotions. -K. K . 1982

Displaced Person (1981) By Dan Eisenberg. Black and White. . Sound . 12.5 minutes. history: often gives us more than we bargained for, always more than we're looking for. a. private understanding of how specific historical moments and characters have shaped my life. my initial impulses: if no conclusions are to be drawn perhaps because history has too long been a domain for experts while we allow ourselves the comfort of explanation, resolution. -D.E.

Ornamentals (1979) By Abigail Child . Color. Silent . 10 minutes. This film was/is crucial to my understanding of composition, to my desire for-an encyclopedic construction (the Frames from Barbara Lattanzi's Skins. world 'out' there), and reaffirmed by al- legiance to rhythm, specifically the rhythm, of body/nerve/mind. f - A.C. Sorted Details (1979)

By Charles Wright. Color. Sound. 12 minutes. Shared shape, color, or movement links each of these varied fragments of ur- ban landscape with the next. Each sight has its own naturalistic ambient sound . As the film yanks you from spot to spot and from moment to moment, don't take for granted the direction of gravity, the direction or speed of time, or the brightness of vision . -CW.

Gently Down the Stream (1981) By Su Friedrich . Black and White. Si- lent . 14 minutes. The text of Gently Down the Stream is a succession of fourteen dreams taken from eight years of my journals. They were shuffled out of their original chronological order for the purpose of coherence and because often we know/dream something long after, or before, we can use it in our lives. The text is scratched onto the film (with ap- Image from Su Friedrich's Gently Down The Stream. proximately 18 frames per word) so that you hear any voice but that of a record- Closer Outside (1979-81) ed narrator. The images were chosen for their By Vincent Grenier. Color. Silent. 10 indirect but potent correspon- Projection Instructions (1976) dence to the dream content. I am not minutes. ten cards that are interested in recreating a "dream By Morgan Fisher. Black and White. simultaneously read The precisions and idiosyncracies of by a narrator. This written scene" in film: dreams do it infinitely Sound. 4 minutes. text, and movements associated with domestic better themselves. spoken, is a set of instructions to the activities are closely stared at; or as it This film is a score to be performed by projectionist to manipulate the controls sometimes happens, watched careful- F. -S. the projectionist, ordinarily a passive of his machine. Under ordinary circum- ly through the peripheral vision. This mechanic who interferes to the mini- stances this would be an egregious while rhyming, is done in alternance, mum with the film's uneventful pas- disruption of the film, but in this case thus creating sudden rushes in the sage through his machine. The film only by doing so is the projectionist mind while spaces collapse. Also, light consists only of a succession of writ- projecting the film correctly. burns wedges in this film, recalling . . . -M.F V.G. 29 c Evenings for New Film This season's Evenings for New Film offers a series of lecture-screenings presented his films have been screened world-wide. Recently, however, Sharits has returned by artist, filmmaker, and SUNY/Buffalo professor Paul Sharits. The series will fo- to painting, while continuing his film practice. His film installations and related draw- cus on films by artists who have worked primarily in other disciplines-painting, ings and objects have been exhibited at the Whitney Museum of American Art, sculpture, performance, and installation . Beginning with the Surrealists and M .IT, and the Albright-Knox, and in one-person shows at the Bykert Gallery, proceeding through the contemporary art of the past decade, Sharits will utilize Droll/Kolbert Gallery and M .L. D'Arc Gallery in New York City and at the Galerie slides of the more characteristic work of each artist in seeking out relationships Ricke in Cologne . Sharits has had two one-person shows of his paintings at the that might exist between this output and his or her occasional work in film . The Cirrus Gallery in Los Angeles and here in Buffalo at Nina Freudenheim Gallery. series will provide a panoramic view of contemporary art movements, as well as He teaches filmmaking and film analysis at the Center for Media Study, a full range of independent film forms. SUNY/Buffalo, where he has worked since 1973. known for his works in film, a large num- Although Paul Sharits is perhaps best Film series is co-sponsored by the Albright-Knox Art "frozen film frames," and installation pieces have The Evenings for New ber of his paintings, sculptures, for Media Study of SUNY at Buffalo, and Media Study/Buffalo . received recognition throughout the United States and Europe. Trained as a painter, Gallery, the Center Programs begin promptly at 8:30 PM in the auditorium of the Albright-Knox Art Sharits abandoned that medium in 1966 to work exclusively in film, where he helped Gallery Admission : $2.50; $2.00 for students, senior citizens, and gallery members. to pioneer the minimalist/materialistic shift in American avant-garde filmmaking, and

Paul Sharits. Photo: Ken Rowe

DREAMS THAT MONEY February 17 (Friday) sentences that must be read in a spiral- UN CHIEN ANDALOU (1928) PM ing manner off of flat rotating discs. Luis Bunuel and Salvador Dali. CAN BUY (1944-47) 8:30 By By Hans Richter. Color. 88 minutes. Albright-Knox Art Gallery The occasional sexual references that Black and White. Silent. 17 minutes. crop up in these titles add a new Produced and directed by German ex- ANEMIC CINEMA (1925) dimension to the thrusting and This classic collaboration between perimental filmmaker Hans Richter, Spanish painter Salvador Dali and the By Marcel Duchamp. Black and White. receding movements of the optical Dreams That Money Can Buy was a Silent . 7 minutes. discs. novice cineaste Luis Bunuel was collective work that utilized the artistic one of the simultaneously the first and talents of a number of displaced Euro- Made in collaboration with Man Ray, Surrealist last major works of the pean artists living in New York City dur- Anemic Cinema marked Duchamp's UETOILE DE MER (1928) employed a and White. Silent. cinema. The makers ing the war years. Richter worked in- first experiment in film . For this work, By Man Ray. Black in number of Surrealist strategies dividually with each artist to develop a he appropriated a number of his rotary 15 minutes. film, developing and constructing the short film for this omnibus project. Fer- demi-spheres that had emerged from of a poem by evidence the use of Ostensibly a visualization perhaps most in nand Leger contributed "The Girl with his optical experiments in the early Ray's Letoile de the unconscious Robert Desnos, Man the content of the Prefabricated Heart," a love story twenties. Anemic Cinema consists of convoluted narrative halted oc- obsessions). While men is a (dreams, fears, between shop-window mannequins." ten of these kinetic disc-like devices poetic intertitles any sense, logic or mean- casionally by disclaiming Marcel Duchamp's section incor- which are animated (rotated) to create from the Desnos poem), a whole, Dali admit- (presumably ing to the film as porated a number of his roto-reliefs an extremely palpable sense of three- complex web of erotic that Un Chien Andalou depicted that create a ted animated in the manner of his Anemic dimensional space that either projects even reflections and correct line of `conduct' citations, puns and "the pure Cinema. Man Ray presented Richter out of the screen or seems to penetrate of filmmaking, itself. The who pursues love through upon the act of a human with an actual shooting script for his into its depths. After the style of more around a series of en- humanitarian, patriotic ideals plot revolves wretched "Ruth, Roses and Revolvers" se- conventional silent films, Duchamp's a young man and a miserable workings of counters between and the other quence. Richter bound these short film makes use of intertitles which are woman selling mysterious, attractive reality." works and others by means of a frame situated between the optical discs. contact eludes the newspapers. Sexual story about an enterprising young poet These titles involve language that fre- protagonist who ends up with a glass quently turns back upon itself in pun- who decides to capitalize on his vivid paperweight containing the titled figure imagination and become a dream ning fashion creating nonsensical . of the starfish merchant.

Robert Smithson's Spiral Jetty. Photo: Castelli-Sonnabend Tapes and Films, Inc. From Paul Revere, by Joan Jonas and Richard Serra. Photo: Castelli-Sonnabend Tapes and Films, Inc. February 24 (Friday) March 9 (Friday) There is FUSES (1964-67) a close-up of the cameraman 8:30 PM 8:30 PM which can soon be identified as a Albright-Knox Art Gallery Albright-Knox Art Gallery By Carolee Schneemann. Color. Silent. reflected image. Eventually the camera 23 minutes. is no longer seen in reflection ; instead SPIRAL JETTY (1970) VINYL (1965) Described by film critic Gene the mirror creates a 1800 shift of view By Robert Smithson. Color. 35 ByAndy Warhol. With GerardMalanga, Youngblood as "very Joycean and very as the camera directly records Morris minutes. Edie Sedgwick, Bob "Ondine" Olivo, erotic," Carolee Schneemann's Fuses is walking further and further into the a record of her Spiral Jetty and Tosh Carillo. Black and White. 70 sexual experiences background . At this point the mirror is was constructed in 1970 in made over a three-year period using a the shallow minutes. not acting as a reflector and functions waters on the north-east simple hand-wind camera, natural shore of the merely to bounce light and not images. Great Salt Lake, Utah . The Vinyl stars poet and Warhol-superstar light, and a cooperative partner. Com- coil of the jetty extends approximately Gerard Malanga as a young, juvenile plexly edited and organized, APPLICATIONS (1970) 1,500 feet in length, is about 15 feet delinquent punk who "keeps lighting Scheemann composed the work ac- By Vito Acconci . Super-8. Color. Silent wide and composed . of black basalt cigarettes menacingly until he cording to a "fugal structure" which en- 20 minutes. rock, salt crystals, earth, red water and becomes the victim of some obscure compassed "gesture, color sequences, Applications is the film of a live perfor- sunlight reflections. About 6,650 tons and ludicrous torture arrangement, collage, mance of montage, superimposition, done at the Art Institute of earth and boulders were used in its which, correctly, is all preparation ." (Art painting Chicago. Kathy1D11on'puts construction. The film frame-by-frame, breaking the on heavy revolves around News) According, to Ronald Tavel, frame." red lipstick and kisses the the making of this upper part earth sculpture, but author of the scenario- for Vinyl, of Acconci's body - neck, Smithson saw it as a shoulders, cinematic project, "Gerard Malanga offers us a perfor- chest, arms, and stomach - until interweaving the associations it is evoked mance that is unique in cinema history. I a, covered with the imprints of her by the spiral and geological mouth. time, rather Startling , and distressing, MA ch 1'5 (Thursday) Acconci then rubs the front of his body than as a~straightforward documentary. Malanga's performance will mystify the 8:3~ PM against Dennis Oppenheim's back, uninitiated and upset the thoughtful." PAUL REVERE (1971) Albright-Knox Art Gallery removing all traces of color from Vial also marked Edie~Gedgwick's first himself and By Joan_ .Jonas and Richard Serra. transferring them to film appearance, and it proved to be MIRROR (1969) Oppenheirn. Black and White. 9 minutes. one of Warhol's most popular early narrative works. by Robert Morris. Black and White. According to its makers, Paul Revere "is Silent . 9 minutes. TITLE (1971) an adaptation of two sources : Kinesics By John Baldessari . Black & White and Morris walks and Context, by Ray L. Birdwhistle, and in a complete circle Color. 18 minutes. Choreomania, a performance by Joan across a landscape, holding up to the Jonas." A didactic work inspired by the camera a large mirror which reflects Title exploits the conventions of nar- structure of the educational film using the surrounding trees, snow and sky. rative plot development in a series of instructional cards, Paul Revere deals images, or "Episodes," that feed into with the nature and limits of com- succeeding episodes, often inex- munications systems. The initial model plicably. Episode 1 introduces the is Paul Revere's signalling light tower "protagonists" : a rock, a chair, a dog, to alert the town of the coming of the a young man, a landscape. subse- British, and the film proceeds to quent episodes present various pair- demonstrate the inadequacies of this ings of these elements, simple move- system and the necessity of ment events, imageless aural activities, establishing another system to serve as elliptical passages of a possible a check for it. The secondary system melodrama, still lifes of fruits and itself generates further contingencies vegetables, views of L.A., and so forth. and possible ambiguities of interpreta- The film ends with an "Epilogue" portion and thereby necessitates a third - traying two cloyingly romantic views of ultimately unsatisfactory - signalling the beach. system . RAILROAD TURNBRIDGE MIRACLE (1975) (1976) By Ed Ruscha. With Jim Ganzer, By Richard Serra. Black and White. Michelle Phillips, and Dana Derfus. Col- Silent. 19 minutes. or. 30 minutes. Begun in 1975, Richard Serra's Ed Ruscha's film, Miracle, is a narrative Railroad Turnbridge is a film portrait about an auto mechanic confronted shot by the artist of an old drawspan with the challenge of fixing a '65 turnbridge that crosses the Williamette Mustang with a fuel problem . The set- River in Portland, Oregon . According ting is pure L .A. and the mechanic's to Serra, "I wanted to look through the character a pure stereotype : he has camera closely at something I like and photos of pin-up girls on the garage understand : steel structure. The bridge walls, eats tuna-fish sandwiches on and the film became mutually in- Wonder Bread, and has a sexist but Image from John Baldessari's Title. Photo: Castelli-Sonnabend Tapes and Films, Inc. terdependent: the bridge enabled me coy attitude toward the women he to examine movement in filmic struc- stands up in order to fix the car (in- ture ; the filming berame a way of cluding Michelle Phillips as the isolating and concentrating certain petulant, Doublemint-chewing Trixie) . iconic elements of bridge structure."

`orld's Fair i Station

tiunw Ow-- - Gi

r tl ZAV` i., KB

W Ho 0.6 24musements RACE* Independent Subway Terminal NEW YORK WORLD'S FAIR See reverse side for Detailed Plan of the Fair Grounds f.- a 0 O Z A \ \ i l '. Map of fairgrounds - New York World's Fair (1939).

Non-profit Org. U.S. Postage Media Study/Buffalo PAID Buffalo, N.Y. 207Delaware Avenue Permit No. 898 Buffalo, NewYork 14202 r (716) 847-2555 Address correction requested

PARKING AREAS WITHIN 2-MINUTE WALK

Michael Hauge HOW TO WRITE AND SELL YOUR SCREENPLAY Two Days, Saturday and Sunday, March 24 & 25, 10:00 AM - 5:00 PM Fee: $75. Instructor: Michael Hauge The goal of this workshop is to provide participants with the knowledge and tools necessary to complete, evaluate and market a screenplay for a feature film, movie Tom Streich Photo by Ken Rowe for television, series episode or independent film . The primary focus will be the understanding of screenwriting practices as they apply to the Hollywood film and SOUND RECORDING TECHNIQUES television industry, and how they differ from traditional local, independent and Eight Weeks, February 7 - March 27, Tuesday evenings, 7:30-10:30 PM university filmmaking instruction and methods. Each participant will be provided Fee: $50. Instructor: Tom Streich with a sample screenplay for a current feature film and for a current TV series epi- sample treatment; a sample synopsis; a current listing of agents; the cur- This Workshop will concentrate on an introduction to basic electronics; proper use sode; a rent table of Writers Guild minimum fees; and a sample deal memo. of recording equipment; history of recording ; broadcast, video, film, and multi-track music production . Areas that will be covered include proper miking for different sound sources and situations, stereo and multi-track recording and (nixing techniques, and audio processing. The use of equipment and a variety of microphones INSTRUCTORS : will be taught through hands-on demonstration . Participants may schedule studio time in addition to normal workshop hours. JOHN HASSENFRATZ has worked as a director, cinematographer, editor, and sound engineer in the production of motion pictures for television, business, and industry. He was Vice President in charge of production at Concepts in Commu- nication, and is currently an independent producer in communications media. MICHAEL HAUGE is an Independent Producer, and President of Hilltop Produc- tions, responsible for all aspects of acquisition, development, and production of feature films, movies for television, and series. He is also a screenwriting and film instructor at UCLA and other institutions, responsible for creating, organizing and conducting classes, workshops and seminars.

NANCY STALNAKER NORWOOD is an independent videomaker who received her B.F.A. In photography from the Memphis Academy of Arts and her M .F.A. from the Visual Studies Workshop, Rochester, New York where she was Media Program Coordinator and Video Instructor from 1981-83." She-is currently Assistant Producer of the Frontier Series and Assistant Video/Electronic Arts Curator and New Music Programmer at Media Study/Buffalo . Her videotapes and installations have been exhibited throughout New York State.

VERNON NORWOOD is an electronic composer, percussionist, videomaker, and audio engineer. KEN ROWE received his Masters Degree from the Center for Media Study, SUNY/Buffalo. He has worked as a director and cinematographer for television commercials, industrial and educational films and has taught film and photography at Arizona State University. He is presently working at Media Study/Buffalo as Ac- cess and Workshop Coordinator.

RICHARD SMALKO has his own video repair company and has been serving Me- dia Study/Buffalo's equipment over the past year. He has an A.A.S. degree in Elec- trical Technology and is Technical Assistant/Television Engineer for Niagara Community College.

Vernon Norwood Photo by Ken Rowe TOM STREICH is the Chief Engineer for Trackmaster Audio, Inc., where he is responsible for sound engineering for both broadcast and multi-track music production . BASIC AUDIO SYNTHESIS Two Days, Saturday and Sunday, March 24 & 25, 10 :00 AM - 5 :00 PM These workshops are dependent on minimum registration requirements, so please Fee: $25. Instructor: Vernon Norwood register early by sending full payment or $10 deposit. Make checks payable to Me- The workshop will concentrate on fundamental acoustic and electronic principles, dia Study/Buffalo and sent to: as applied to synthesizers and signal processing. The Aries System 300 synthesizer MEDIA STUDY/BUFFALO will be used as a model for generating and altering sound; as well as equalizers, 207 Delaware Avenue delay lines etc. Buffalo, New York 14202 Waveforms, e.q. curves, signal flow, audio spectrum, frequency response and modu- Attn: Workshops lation will be discussed and applied to various methods of sound generation. For additional information call Media Study/Buffalo at 847-2555. These workshops are made possible, in part, with public funds from the New York State Council on the Arts. a Video/Electronic Arts

February 11 (Saturday) where he founded The Kitchen, one of the major U.S. exhibition centers for the 10:00 a.m. - 1 :00 p.m. and electronic arts. He became Associate 3:00 p.m . - 6:00 p.m. Professor at the Center for Media 207 Delaware Avenue Study at SUNY/Buffalo in 1974 and be- THE ELECTRONIC gan his investigations in computer- NARRATIVE - controlled video, designing the "Vasul- A Daylong "Exploration" ka Imaging System:" He ws named a Guggenheim Fellow in 1979. In 1982, Participants : he was awarded a Senior Fellowship Robert Ashley - Composer ; Barbara of the Buckner - Artist; Tony from the Visual Arts Department Video Conrad - for the Arts to Film and Videomaker and Composer; National Endowment Hollis Frampton - Film and Computer complete The Commission, a video Artist; Brian Henderson - Film Theoreti- opera based on the life of Nicolai cian ; Gerald O'Grady - Media Theoreti- Paganini and one of the first neo- cian; Paul Sharits - Filmmaker and narrative works to extensively incor- Visual Artist ; 'Blue' Gene Tyranny - porate digitalized images. Composer; Woody and Steina Vasulka - Video and Computer Artists. Steina, born in Iceland, attended the In these two sessions on The Electronic Music Conservatory in Prague from Narrative, participants and audience 1959 to 1963, and joined the Icelandic will explore the new approaches to nar- Symphony Orchestra in 1964. She rativity and the new forms of the nar- came to the United States the follow- rative that have been made possible by ing year, and has been a seminal force the development and accessibility of in the development of the electronic From Barbara Buckner's Analogs. (Photo by Ed Reed) electronic technology, video and the arts since 1970, both as a video artist digital computer, and approach the and as co-founder of The Kitchen, a question: does the electronic image of- major video exhibition center in New fer unique possibilities, different from York City. Her tapes have been ex- film, e.g ., to restructure narrative? This hibited and broadcast widely in the exploration will attempt to establish the United States and Europe, and she has foundation for a larger conference on worked at The National Center for Ex- the-subject to take place in the fall of periments in Television at KQED in San 1984. Throughout the day, examples of Francisco, at The Television Laboratory 'Electronic Narrative' works will be of WNET in New York, and at KTCA in screened, including Woody Vasulka's St. Paul ; Minnesota, as an artist-in- The Commission, a video opera based residence. She was a Guggenheim on the life of Paganini and featuring Fellow in Videb 0976) and has receiv- Ernest Gusella as Paganini and Robert ed grants from the New York State Ashley as Hector Berlioz, and portions Council on the Arts and the National of Ashley's own experimental TV Endowment for the Arts. opera, Private Parts (Perfect Lives). Also on display will be Barbara Buckner's Brian Henderson, who is Associate video/computer installation, Analogs, Professor in the Center for Media which explores the possibilities of in- Study at SUNY/Buffalo, received a B.A. teractivity between maker and viewer in Philosophy from Johns Hopkins in electronic narrative. Each of the par- University, a J.D. from Harvard Law ticipants have been concerned with the School, and a Ph .D. from the Univer- experimental narrative in a variety of sity of California at Santa Cruz, with a Barbara Buckner media as videomaker, computer artist, dissertation on film theory. He has writ- filmmaker, composer and theoretician . ten extensively on film subjects for February 8 (Wednesday) Tony Conrad is an internationally rec- such journals as Film Quarterly, Film choice, the computer displays a 8:00 PM user's ognized artist in experimental film, vid- Comment and Film Heritage. His writ- 207 Delaware Avenue new text analog which relates both the eo and music. He is perhaps best ings have also been included in the an- user's choice and the two channels of known for his films, The Flicker (1966) thologies Focus on the Horror Film BARBARA BUCKNER: video seen . The art work is a "branch and Articulations of Boolean Algebra (1972), Movies and Methods (1976), Opening of Analogs - an Interactive of meaning" consisting of physical for Film Opticals (1975), for his `cinema Conflict and Control in the Cinema Video Installation (to continue data, the user's perception, and the through February 21) performances,' and for his recent video (1977) and Film Theory and Criticism user's response which actually com- (1979). He is member the editorial the work. installations. From 1963-67, Conrad a of Analogs is an interactive investigation pletes was a composer/performer in the board of Film Quarterly, and his book, of analogous properties existing be- For "th2-Past ten years, Barbara Theatre of Eternal Music, which includ- A Critique ofFilm Theory was published tween things, events, and forces. The Buckner has explored the expressive ed LaMonte Young, Marian Zazeela, by E.P. Dutton in 1980. word "analog" comes from the Latin potential of video synthesizers, col- John Cale, Terry Riley and Angus Mac- founder and 11analogia" meaning proportion . orizers, keyers and most recently, com- Lise, and a recording of his music, Out- Gerald O'Grady is the Directors-of In this work, the user is encouraged to puters. She has exhibited her video side the Dream Syndicate, has been President of the Board of Media Study/Buffalo, founder and Dir- apprehend differences and similarities works internationally, and her tapes released on Caroline Records. He has have been included in the 1979, 1981, in film, ector of the Center for Media Study at between corresponding entities, and received awards for his work SUNY/Buffalo, and Director of the and 1983 Whitney Museum Biennial; Rockefeller so create metaphor. music and video from the Communications Center the Museum of Modern Art in New York Founda- Educational The viewer selects an Analog she or he Foundation, the Cassandra SUNY/Buffalo. He received his Ph.D. City ; and the 1982 Sydney Biennial . the American Film In- at wishes to see by viewing a computer tion, CAPS and from the University of Wisconsin and Buckner has received grants and Most recently, he was awarded display which lists all 26 Analogs as an stitute. was a Marshall Scholar for post- fellowships from the New York State Fellowship from the Visual Analogs Menu or Index. After entering a Senior doctoral work in Medieval Literature at Council on the Arts, the National En- Arts Department of the National En- his or her choice, the computer Oxford University. He founded the Me- dowment for the Arts, and CAPS, and dowment for the Arts to complete Sun- displays a new page of data consisting dia Center at Rice University in was an Artist-in-Residence at the nyside High, the last of a trilogy of of the Analog name and its tape loca- Houston, Texas, and has since taught, WNET TV Lab. Her videotapes are in experimental narrative'films which in- tion numbers to be found on the two lectured and published worldwide . In numerous public and private collec- clude Combat Status Go and Jail Jail. VCR's, followed by a Query. tions and have been reviewed in such addition to having been a panelist and The user forwards/reverses the tapes publications as Artforum, The Village Woody Vasulka came to the United judge for many agencies and festivals, to the appropriate locations and views Voice, and Art in America . She has States from Brno, Czechoslovakia in he has organized and directed many the two channels synchronously, com- taught at several universities around 1965. He had studied metal technolo- institutes, seminars and conferences mencing viewing at designated "Start" the country including the School of the gy and hydraulic mechanics at the on film/media. He is currently Execu- points. Art Institute of Chicago ; the School of state school of industrial engineering tive Producer of The Independents, a After viewing the two-channel Analog, Visual Arts, New York City ; New York before entering the filmmaking pro- series of 24 hour-long programs of she or he answers the Query by mak- University ; SUNY/Binghamton ; and gram of the prestigious Academy of works by independent film and video ing a choice from a set of terms and most recently as Visiting Professor at Performing Arts in Prague. He began makers, to be satellite cable- phrases which relate the two channels the Center for Media Study, explorations in electronic sound and cast/broadcast by The Learning Chan- of video just seen. As a result of the SUNY/Buffalo . stroboscopic lighting in New York, nel beginning Fall, 1984. Associate Professor Robert Ashley is known as a pioneer Hollis Frampton, Media Study, in the development of large-scale, col- at the Center for completed over laborative performance works and new SUN.Y/Buffalo, has He also designed the forms of opera such as That Morning forty films. in 1977 Thing and In Memoriam...Kit Carson. Center's Digital Arts Laboratory a reintegra- Landmark recordings, such as She in response to a need for and practical Was A Visitor and In Sara, Mencken, tion at both theoretical of the several disciplines of film Christ and Beethoven There Were Men levels photography and and Women, have pointed the way to and video. making, and processing, as new uses of language in a musical set- sound synthesis works, operas for tel- these all relate to the interfacial modes ting . His current is entitled Perfect Lives and of computing. Frampton's work evision of the are continuations of his long- represented in the collections Atalanta, Anthology interest in and use of visual me- Museum of Modern Art, time Institute to express musical ideas. Ashley Film Archives, the Carnegie dia Film Ar- Ann Arbor, Michigan and and elsewhere, and the Royal was born in preserves at the University of Michigan chive in Brussels, Belgium, educated work. Since 1972, the Manhattan School of Music. the entire body of his and work on Magel- During the 1960's, he was a co- Frampton has been at proportions, and organizer of the ONCE Group, a music- lan, a film cycle of epic retrospectives at the theater collaborative that toured the has had major Center, the Museum of United States from 1965 to 1969. From Walker Art internationally Robert Ashley Modern Art, and the Fifth Internation- 1966 to 1976, he toured in Bel- Union, a com- al Festival of Experimental Film with the Sonic Arts filmic include David gium . A major exhibition of his posers' collective that planned at and Gordon and photographic work is Behrman, Alvin Lucier in the fall was Director of the the Ablright-Knox Art Gallery Mumma. Ashley collection of, for Contemporary Music at Mills of 1984. Recently, a Center texts on film, still College, Oakland, from 1969 to 1981 . Frampton's theoretical 1968-80, enti- During 1975 and 1976, he produced photography and video, Confusion, was pub- and directed Music With Roots in the tled Circles of Visual Studies Workshop, Aether, video documents of the work lished by the the recipient of a co- and ideas of seven major contem- and he was award, through Media porary American composers. In 1978, production for a new film, R. the Kitchen commissioned Perfect Study/Buffalo, Lives, an opera for television in seven Filmmaker and visual artist Paul half-hour episodes. The series has Sharits is currently an Associate been purchased by The Fourth Chan- Professor at the Center for Media nel (Great Britain) and is scheduled for Study at SONY/Buffalo . Major exhibi- broadcast in Britain in the spring of tions of his work include Dream Dis- 1984. placement and Other Projects at the Albright-Knox Art Gallery in 1976, and a retrospective at Anthology Film Ar- chives in New York in 1980, in conjunc- tion with the publication of a special double-issue of Film Culture dedicated to Sharits' collected writings on film . He has received grants from the Ameri- can Film Institute for the production of Razor Blades in 1968, grants from the National Endowment for the Arts to produce multi-screen installations in 1974 and 1979, and a Bicentennial Grant from the New York State Council on the Arts to produce Declarative Mode in 1976. Sharits recently received an Individual Artist Grant from the Me- dia Arts Program of the NEA to complete several new works which will explore the potentials of a microprocessor-governed electronic Steina color-generator system which was developed in collaboration with Woody Vasuika and Tony Conrad, and which Held . was programmedr by David

Tony Conrad

Brian Henderson Paul Sharits 0 0

Lance Loud Tony Billoni (photo by Steve Gallagher) February 22 (Wednesday) February 15 (Wednesday) Billoni is a Buffalo performance Our space in 4 Solos was the space of 8:00 PM Tony 8:00 PM photographer, videomaker, and the lens, the drama of our relation to 207 Delaware Avenue artist, 207 Delaware Avenue musician. He studied photography at the camera." Richard Leacock acted SUSAN and ALAN RAYMOND : TONY BILLOW Buffalo State College and received his as cameraman for this work. Presentation and Discussion of Re- B.A. from Empire State College in In- Spreining and Presentation of terdisciplinary Studies. In 1983 his American Family Revisted cent Videotapes Videotape for a Woman & a Man is a videotape, "Acting on Information Pro- performance which acts years ago the William Loud family Billoni, a Buffalo-based artist nude dance Ten Tony vided" was selected for showcasing at male-female relation- Santa Barbara, California, shared working in many different media, will out a drama of of the SUNY Statewide Film and Video comments, "I felt that their private lives with millions of televi- present two videotapes, The Fifth Bee- ships. Greenfield Festival in Binghamton, New York. was hopelessly outdat- sion viewers as the subjects of An tle and Acting on Information Provided. the dance duet Billoni's works have been exhibited at dealing with male-female interac- American Family. This PBS 12-hour ed in incorporates a matrix such places as Hallwalls Gallery, Cepa allow me to verite documentary series "The Fifth Beetle tion, and that video would cinema in effort to provide a Gallery, and SUNY/Buffalo, and he has dynamics of the seven months of the fami- of references the explore more exciting chronicled representation of my feelings been the founding member of two interactive, mobile ly's life and recorded the sensitive symbolic joyful struggle for an concerning the effect of mass media modern music groups, Bulletproof . With the total moments of the parents' divorce and means of relationship on the individual who is part of the Claudia and The Atones. Billoni has Ben Dolphin as the the eldest son's gay lifestyle . Broadcast participation of American culture in the '80's. The nar- also acted in several plays at the Buf- 'woman!--and Pat in the spring of 1973, the series cap- `man' myself as the rative involves a character caught in falo Entertainment Theatre, and been Hilary Harris behind the tured the attention of the American Saunders and limbo between his own personality and the curator of the Performance Pro- were all moving, all fight- public and soon. the Loud family camera,, we the representation of `personality' in gram at Hallwalls Gallery. And it is really this four- became media celebrities for just being, all palying. mass media, specifically television . which is communicated ." ing themselves. way thing The use -of-a layered soundtrack is Amy videomakers Alan and "Among film and video artists Film and meant to provide a compressed exam- place in to- Raymond, who filmed the Greenfield holds a special Susan ple of the effect of the daily intake of marvel at original 1973 series and spent those day's avant-garde . . . We mass media in all its permutations. March 7 (Wednesday) poignant spec- seven months recording over 300 and are moved by the Magazines, billboards and television 8:00 PM body as an instru- hours of film, revisited the Louds in tacle of the human not only enter into the individual's 207 Delaware Avenue ment capable of transcending its own 1983 for a current family profile and to solicit opinion from sphere but also an AMY GREENFIELD: reality." examine how this phenomenon af- the viewer. The Fifth Beetle deals with Gruen, Dance Magazine fected their lives. an inquiry into the autonomy of the in- Presentation and Discussion of -John Susan and Alan Raymond have pro- dividual's opinions and beliefs." Dance Videotapes verite creates dances that duced a variety of cinema Choreographer, film and video artist Amy Greenfield video `Acting on Information Provided is a or with others, documentaries working in both Amy Greenfield will present a series of she performs alone have been presentation of control over mass for film, videotape or and film. Their programs dance videotapes produced over the done specifically network, cable and public media. Starting with the format of the . She went to college at broadcast on last decade, including Dialogue for holography and have received the talk-variety show, I proceeded to use and studied dance there, as television Cameraman & Dancer (1974), Radcliffe awards for broadcast jour- various individuals as featured per- well at the Graham studio in New York. highest Videotape for a Woman & a Man . Their previous works include formers. By incorporating free associa- After graduation, Greenfield spent time nalism (1978-79), and 4 Solos for 4 Women Police Tapes, Col- tion into the interview segments, I am children at an The honored with a (1981). teaching dance to umbia School of Journalism Alfred I . providing an extreme example of the educational development center in nature of the conversation centers on an in- DuPont Award, a George Foster contrived 4 Solos for 4 Women Boston where she started working in Peabody Award, and three EMMY contained in talk shows currently seen tensely emotional communication by film. She has been the Visiting Assis- use of selective each of the dancers through a vocabu- Awards; Bad Boys, crtically acclaimed on television . The tant Professor of film at Montclaire movement and chosen as one of 1978's Ten Best editing is also employed to emphasize lary of dramatic/personal State College, New Jersey and the TV Shows; The Third Coast for this example." designed for the close-up, handheld University of Rhode Island and Visiting "The KERA/Dallas PBS; To Die For Ireland - Tony Billoni video camera. Greenfield says, Instructor or Lecturer at numerous not the and Hooray For Hollywood for ABC daring of dance for camera is universities and colleges around the complex, News Closeup, which received an EM- daring of the leap. It is the country. human being . MY and other awards. close-up revelation of a March 24 (Saturday) :00 PM 8 the shooting moved into the African se- Society The Historical quences, Swanson noticed that scenes QUEEN KELLY (1928) deleted by the Hays Office began to reappear in the production. Fearful of Directed by Erich von Stroheim. With censorship and infuriated by the fact Gloria Swanson, Walter Byron, Seena that Stroheim was spending "a Owen and Tully Marshall. Black and fortune-of my money-shooting stuff White. 96 minutes. Silent with live mu- he knew perfectly well would never get sical accompaniment. into the finished picture," Swanson consulted with Kennedy, who advised Kenne- Halted by its producers (Joseph terminating the project. Swanson fired while it was dy and Gloria Swanson) Stroheim and shelved the unfinished was Erich still in shooting, Queen Kelly film to work on her first talkie, eventu- film and his von Stroheim's final silent ally tacking on a trite ending (suppos- motion picture last major project as a edly directed by MGM boss Irving director. Stroheim had been ap- Thalberg) to an abridged version of and Kennedy proached by Swanson Queen Kelly, and releasing the film in (then at the helm of a Hollywood con- Europe and South America in the ear- glomerate that included RKO) to write ly thirties. While Swanson was never and direct a follow-up to Swanson's able to release the film in this country, successful, independently produced in a memorable sequence from Billy Sadie Thompson. What the notorious Wilder's Sunset Boulevard (1950), director proposed was a work of epic Swanson, as Norma Desmond, proportions based on his own story screens a clip from Queen Kelly for Wil- (The Swamp) about a young convent liam Holden. girl who is seduced by a prince, saved from suicide, shipped to an ailing aunt Even in its truncated version, Queen who runs a bordello in Africa, married Kelly reveals the brilliance of the Stro- off to a depraved white planter, and fi- heim style that combined striking deep- nally reunited with her prince. focus cinematography with, exuberant Following approval by the Hays acting and elaborate set design . Our Office which, among other things, had program will include the Swanson ver- Stroheim transform the brothel into a sion of Queen Kelly followed by two hotel, the production began and reels of outtake sequences . including proceeded with complete equanimity the infamous African brothel footage. between star and director. However, as

Director Erich von Stroheim. Photo: MOMA Film Stills Archive.

March 31 (Saturday) 8:00 PM The Historical Society a WARY OF A LOST GIRL (1929) (Das Tagebuch Einer Verlorenen) Directed by G . W. Pabst. With I-ouise Brooks, Josef Rovensky, Fritz Rasp and Vera Pavlova. Black and White. 100 minutes. Silent with live musical accompaniment . Only recently restored and revived, Di- ary of a Lost Girlwas American actress Louise Brooks's second film for Ger- man director G . W Pabst. While still under contract to Paramount's Long Is- land studio where she had performed minor roles in even more minor productions, Brooks had been selected by Pabst to star in a major adaptation of Wedekind's Pandora's Box. She was to play Lulu, the savage innocent, whose free-spirited, libidinous persona brought unprecedented chaos into the staid lives of the German uppercrust. Under the skillful eye of Pabst, Brooks created not only her finest role, but one of the most stunning performances of the silent period. Made the year after Pandora's Box, Pabst's Diary of a Lost Girl was an adaptation of a popular novel by Mar- garete Bohme. Brooks is here cast as Thymian, the headstrong daughter of a wealthy pharmacist, who is seduced by her father's assistant and then in- extricably led into a sordid life of reform schools and brothels. Noted for its rather frank, graphic portrayal of Thy- mian's downfall, Diary ofa Lost Girl, like Pandora's Box before it, was mutilated by the censors in America and even in Germany. The print for this screening includes a partial restoration of Film Stills Archive. much of this previously lost material . The sublime actress Louise Brooks. Photo: MOMA 25 April 7 (Saturday) tack Rome; the Roman fleet lays siege Like Kazan's earlier A Streetcar Jeanne Dielman is the impressive first 8:00 PM to Syracuse and is set afire by Archi- Named Desire, the film is strongly feature by the young Belgian filmmaker The Historical Society medes' gigantic mirrors. Cabiria is also performer-oriented and features a cast Chantal Akerman. Completed in 1975 notable for having introduced the figure culled largely from the Actors' Studio the film received significant critical at- CABIRIA (1914) of Maciste, the kindly giant who always (which Kazan co-founded in 1948). Un- tention and was widely screened at film Directed by Giovanni Pastrone. With saves the day, and who went on to ap- like the earlier film, however, Baby Doll festivals in Europe and the U.S. Despite Letizia Quaranta, Dante Testa, Umber- pear in numerous Italian epics over the was an independent production good reviews and respectable com- to Mozzato and Bartolomeo Pagano. years. (Kazan's first for his Newtown Produc- mercial runs in European cinemas, Black and White. 122 minutes. Silent This special screening of Cabiria is tions) and, more significantly, was shot Jeanne Dielman went without an with live musical accompaniment. presented in cooperation with Eighteen largely on location (by the brilliant American distributor for nearly eight Frames Inc. and features the original cinematographer Boris Kaufman) years until just last spring when a pair The masterpiece of the "golden age" rather than in the studio. This use of of front-page features in the Village of Italian silent cinema, Cabiria was the musical score performed by New York City pianist, Elliot Finkel . a real setting-the town of Benoit, Voice convinced a company to arrange first million-dollar film production . Two Mississippi-gives the film a certain finally for its American release. years in the making, the film featured documentary character that serves to mammoth sets, meticulous costume balance the primitive drama that At 31/4 hours, Jeanne Dielman may design, spectacular visual effects, unfolds. seem an imposing work, and yet poetic intertitles by the celebrated Baby Doll helped to launch Carroll despite its length and Akerman's at- Italian writer Gabriele DAnnunzio, and Baker's career and provided as well the tempts to undermine the expressive a fine score by the distinguished com- name for a new style of pajamas. devices of conventional cinema (e.g ., poser Ildebrando Pizzetti . Cabiria (Maybe the Cardinal was right after all.) no music, little dialogue, single locale, proved to be an international success The film has been out of distribution for little real action), the film remains ab- and revolutionized the art and com- April 14 (Saturday) a number of years and has just recently solutely engaging. Ostensibly the story merce of filmmaking by demonstrating 8:00 PM been revived and theatrically re- of three days in the routine-bound life through aesthetic means that widowed fortyish mother, the film large- The Historical Society released . of a scale, feature-length productions were opens onto a number of important both possible and profitable. The film BABY DOLL (1956) questions about film and about con- the was particularly influential in the U.S. Directed Elia . With Karl Mal- temporary life ranging from by Kazan women to the themes and opened the way for both Griffith's den, Carroll Baker, Eli Wallach, and representation of and DeMille's epic productions. of sexual repression and the oppres- Mildred Dunnock. Black and White. 114 Cabiria depicts the rich and complex sion of the home. Jeanne Dielman is an minutes. history of the Roman Empire during April 21 (Saturday) epic portrayal of the domestic, of the constraints - the Second Punic Wars through the Condemned from the pulpit by Cardi- PM everyday traps, of social 8 :00 Akerman's (and story of a young girl, Cabiria, who is nal Spellman following its original The Historical Society all made visible by separated from her patrician parents release, Elia Kazan's Baby Doll is less cinematographer Babette Mangolte's) and, as a slave, witnesses an extraor- a controversial sexual case study than JEANNE DIELMAN, 23 QUAI camera eye. It is a profound film and dinary array of natural disasters, politi- it is a striking, at times comic, portray- DU COMMERCE, 1080 BRUX- can be seen as the first modernist cal upheavals and romantic intrigues: al of the decaying of the Old South. ELLES (1975) melodrama and one of the signal Mount Etna unleashes its volcanic fury; Baby Doll marked Kazan's second col- Directed by Chantal Akerman . With achievements of feminist artmaking in in Carthage, human sacrifices are fed laboration with playwright Tennessee Delphine Seyrig, Jan Decorte, Henri the seventies. A film not to be missed. into the fiery mouth of an enormous Williams, and it arguably stands as the Storck and J. DoniolValcroze. Color. bronze statue ; Hannibal's armies and best screen adaptation of Williams's 198 minutes. French with English elephants cross the snowy Alps to at- work. subtitles.

A scene from the Italian epic Cabiria. Photo: MOMA Film Stills Archive.

26 journey Across Three Continents of Art and Media Study/Buffalo, in association with Third World Newsreel, is presenting selec- by Third World Newsreel in cooperation with the Metropolitan Museum the Ausar tions from Third World Newsreel's 5th Annual Film Festival . Curated by film historian the American Museum of Natural History, with additional programs at York State and Festival Director Pearl Bowser, Journey Across Three Continents represents Auset Society of Brooklyn. The Festival was partially funded by the New support from twenty years' of cinema from Africa and the Black Diaspora. The major focus of Council on the Arts, the National Endowment for the Arts, and with the program is on work from West Africa-where African cinema has its the Film News Now Foundation. birthplace-and the African presence reflected in the work of Black American film- Pearl Bowser will be present both evenings to introduce the films. makers. Admission: $2.00; $1 .50 for students and senior citizens ; 500 for children . This major series is the first film retrospective of its kind presented in the United States. Journey Across Three Continents was originally presented in the fall of 1983

Festival Poster designed by Christine Choy, 1984. A scene from Blacks Britannica by David Koff and Musindo Mwinyipembe.

February 2 (Thursday) William Greaves is the producer of Senegal's high rate of unemployment 8:00 PM over two hundred documentary films and the generational clash, in which 207 Delaware Avenue Alile Sharon Larkin is a visual artist which have won a total of sixty interna- the old still cling to Islam, polygamy, whose interests in creative writing and film festival awards. He has and paternal dictatorship, while the FESTIVAL PROGRAM I tional the visual arts led her to filmmaking. produced, written and directed two fea- young listen to rock, steal without guilt, Poko (Upper Volta, 1981) She studied Creative Writing at USC ture films, The Marijuana Affair and and grapple with growing up in a rapid- and received an MFA in filmmaking at Symbiopsychotaxiplasm: Take One, ly shifting society. Ousmane Sembene By Idrissa Ouedraogo. 16mm. Black UCLA. Her second film, A Different Im- and was the Executive Producer of tells the'simple story of a young man and White. 20 minutes. age, recently appeared on Indepen- Universal Pictures' Bustin' Loose star- in search of a job in Dakar; in the Women's A short narrative about an expectant dent Focus and at the ring Richard Pryor and Cicely Tyson . course of this quest we witness the in New York. mother and the difficulties of child- International Film Festival He recently produced and directed the decomposition of an ancient society. working on two film bearing in a remote village without a Larkin is currently production Tribute to Paul Robeson at Ousmane Sembene is a leading Afri- Kitchen and Abena's well or medical facilities for emergen- projects: The Carnegie Hall for the Paul Robeson Ar- can director. Self-taught, he learned to cy care. Window. chives. In 1980, Greaves was inducted write by himself while working as a into the Black Filmmakers Hall of stevedore in Marseilles and went on to Your Children Come Back To You become an outstanding novelist and First World Festival of Negro Art Fame. He has also received an Emmy (USA, 1978) as the Executive Producer and Co-host short story writer whose works have (USA, 1966) many prizes in Europe. He began By Alile Sharon Larkin . 16mm . Color. of Black Journal and won 22 interna- won filmmaking when he was past 32 minutes. By William Greaves . 16mm. Sepia. 40 tional awards for the documentary studying minutes. From These Roots. forty, as an apprentice to renowned Your Children Come Back to You is a Russian director Mark Donskoi, and live- contemporary allegory about the clash Greaves's 1966 documentary is a has gone on to make a number of in- Festival of of African and western values for a ly record of the First World ternationally acclaimed works, includ- took place in Dakar, young Black American . Tovi is a little Negro Art, which ing Black Girl (1965), Xala (1974) and in that year. Originally con- girl living in the United States whose Senegal, February 3 (Friday) Ceddo (1977) . inner world is divided between her Aunt ceived as a newsreel, Greaves expand- 8:00 PM a Chris, who represents assimilation to ed the project to produce 207 Delaware Avenue Blacks Brittanica (USA, 1978) cultural European values, and her parents, who documentary film of the major from By David Koff and Musindo Mwinyi- represent Pan-Africanism and tradition- event. Two thousand Black artists FESTIVAL PROGRAM II in Dakar pembe. 16mm. Color. 60 minutes. al African values. Chris believes she all over the world congregated culture Tauw (Senegal, 1970) must rescue Tovi from a world of wel- to celebrate their heritage and "A relentless, hard-hitting exposure of tiny crew-a of fare, winos, make-believe beggars, and as Greaves and his By Ousmane Sembene. Color. 27 the racial and economic oppression Pan-African fairy tales. However, out of cameraman and driver-turned-sound minutes. In Wolof, with English sub- Britain's black population, together legends as a personal loss, Tovi ultimately rejects recordist-fol[owed such titles. with their militant resistance . . ." Duke Ellington, Alvin Ailey, Langston Chris's western values and looks Tauw focuses on two,subjects: the per- - Clyde Taylor, Hughes, and Marpessa Dawn, the star Black Collegian towards Africa in hope of a new and sonal and societal problems caused by better world. of Black Orpheus. 27

Ten Years of Living Cinema-S¢I¢ctioas Media Study/Buffalo, in cooperation with The Collective for Living Cinema, is This touring series is supported in part by grants from The New York State Council presenting "Ten Years of Living Cinema-Selections," a collection of some of the on the Arts and The National Endowment for the Arts. Copies of the special exhi- best films from around the country, shown during the past decade at The Collec- bition catalogue, 10 YEARS OF LIVING CINEMA, containing film notes, essays, tive for Living Cinema in New York City. These films were originally assembled and more, will be available for sale at Media Study. and presented in the fall of 1982 as part of a tenth-anniversary celebration . This Simon Field, Program Director at The Collective for Living Cinema and editor selected touring program provides highlights of the entire series and in so doing of the British film journal Afterimage, will be present both evenings to introduce covers the major trends from this ten years of innovative filmmaking . The two-part and discuss the films. program includes some of the finest work of the period, ranging from experimental animation to the semi-autobiographical, from studies in pure form to social and Admission : $2:00; $1 .50 for students and senior citizens. political works. In all, fifteen films by fifteen filmmakers will be presented in this Catalogues: $6.50; $5.00 for students and senior citizens. retrospective, bringing the diversity of style and viewpoint of "living cinema" to the The following notes are excerpted from the 10 YEARS OF LIVING CINEMA screen . catalogue.

Crisis in Utopia (1981) . By Ken Ross. Color. Sound . 25 minutes. The film concerns itself with the con- tradiction in the title and the state of anxiety and tension implicit in this con- tradiction . I was thinking of Atlantis; of the quality of being on-the-verge, a face in the abyss; of the catastrophe experience which through an abrupt change of events produces perceptu- al re-orientation (I was in a car acci- dent ; yes, events of the past flashing by). A vision of life as it seems. Survival in the physical and soul sense in the age of the bomb and the telephone . -K.R . Skins (1972-76) By Barbara Lattanzi . Color. Silent. 7 minutes. The emulsion/hide-unleashed . . 1 , -B. L. ". . . the work is viewed ornamentally as a series of graphic fluttering curtains of pure color pigment. At the same time, because of the visible relief (shadows of the surface texture) we are conscious of the three dimensionality of the original emulsion and conse- quently are made to feel the gesture which separated and buckled this emulsion . Somewhat less visible is the knowledge that the animals being dis- played are the `patrons' of the gelatin which holds the film emulsion ." -Tom Brener

Counterpane (1979) By Jim Jennings. Color. Silent. 6 minutes. Camera and table editing composes (plays) a film which sounds like (resem- bles) a counterpane (dissonant chords, harmonies) . -J.J. Kino Da! (1981) By Henry Hills. Black and White. Sound.`4 minutes. A portrait of San Francisco columnist . . . Second Festival by Esther Shatavsky, 1982. cafe poet Jack Hirschman Poster designed in a series of sync-sound films I am currently undertaking (preceded by An March 29 (Thursday) concantenation (but a specific con- caging, speeches and speaking. Plagiarism and followed by Radio 8:00 PM tantenation) of styles-a loose cartoon experimental film (a seven-act "play") Adios, etc.): I find each new work more style which dashes into abstract riffs dealing with a medium's narration of us interesting than its predecessor. 207 Delaware Avenue Frames are de- (and elsewhere), collage (real collage and our narration of it. -H .H . SELECTIONS PROGRAM I elements, and hand-drawing pseudo veloped according to the stories one brilliant metamorphoses, con- believes in, cages re-form experience Bedtime Story (1981) TZ (1978) collage), By Esther Shatavsky. Black and White. densation and evaporation of images, into expression, and speeches trans- Silent. 5.5 minutes. By Robert Breer. Color. Sound. 8.5 assemblages of heterogeneous pas- lates what we know into narration. An the negative space is minutes. sages . . . Breer mixes, shuffles, inter- extension of work begun in the film "Fluttering . . . alive. Bat it away with your hand, lady, leaves two or more different runs of Syntax. "TZ refers specifically to the Tappan it will attack you from above, it will drawings so finely that the effect is a and Zee span of the Hudson River, and the -M.H., 1976 yourself. She turns into real galeforce of alternation ." attack you as Tappan Zee Bridge, which Breer can a twitching white blob . . . Now she's see from his hillside apartment in -Sandy Moore The Big Stick (1967-73) batting at the wallpaper. Her lips can Nyack, New York, two miles away. By Saul Levine. Black and White. Si- be read saying, `What are you doing up Frames and Cages and Speeches lent. 15 minutes. talks to a man who comes ". . . TZ (like LMNO) shows off a stupen- there?' She (1976) . . Is she twitching dous array of drawing and shooting Made out of Chaplin's Easy Street, Day out of the screen . By Martha Haslanger. Color. Sound. 13 such a fuss as a reac- techniques that Breer has been de- in the Park, and news footage shot from so, putting up minutes. being cut up?" veloping and sharpening for two de- TV. tion to -Kate Douvan cades of filmmaking . . . TZ is a real About frames and framing, cages and -S.L. 28