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The Fragile Emulsion Author(S): JON GARTENBERG Source: the Moving Image: the Journal of the Association of Moving Image Archivists, Vol
The Fragile Emulsion Author(s): JON GARTENBERG Source: The Moving Image: The Journal of the Association of Moving Image Archivists, Vol. 2, No. 2 (FALL 2002), pp. 142-153 Published by: University of Minnesota Press Stable URL: http://www.jstor.org/stable/41167089 . Accessed: 31/07/2014 15:46 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. University of Minnesota Press is collaborating with JSTOR to digitize, preserve and extend access to The Moving Image: The Journal of the Association of Moving Image Archivists. http://www.jstor.org This content downloaded from 142.103.160.110 on Thu, 31 Jul 2014 15:46:15 PM All use subject to JSTOR Terms and Conditions ИН!142 dispositionfor those experimentalfilmmakers TheFragile Emulsion afflictedwith AIDS, theircinematic legacies JON GARTENBERG are the most endangered. Given the ever- shrinkingvenues supportingthe showingof One of the mostvital and richlytextured art these works,the decrease in exhibitionde- formsthreatened with extinction centers around mand has createda tendencytoward neglect. the historyof avant-garde filmmaking.1 Experi- Thetitle of this article, "The FragileEmul- mentalfilmmakers work in relativeisolation, sion," aptlyunderscores the status of Ameri- creatingtheir films with the hand of an artist, can experimentalfilms and theirmakers both ratherthan as productsfor consumption by a in the cinematographicculture as well as in mass audience.The style of the films frequently filmarchives. -
BULLETIN for FILM and VIDEO INFORMATION Vol. 1,No.1
EXHIBITION AND PROGRAMMING in New York : BULLETIN FOR FILM AND VIDEO INFORMATION Independent Film Showcases Film Archives, 80 Wooster st. N.Y.,N.Y.10012 Vol. 1,No .1,January 1974 Anthology (212)758-6327 Collective for the Living Cinema, 108 E 64St . N.Y.,NY.10021 Forum, 256 W 88 St . N.Y .,N .Y.10024 (212)362-0503 Editor : Hollis Melton ; Publisher : Anthology Film Archives ; Film Millennium, 46 Great Jones St. N.Y .,N.Y.10003, (212) 228-9998 Address: 80 Wooster st., New York, N .Y. 10012; Yearly subscription : $2 Museum of Modern Art, 11 W 53 St . N.Y.,N.Y.10019 (212) 956-7078 U-P Screen, 814 Broadway at E 11th St . N.Y. N.Y. 10003 Whitney Museum, 945 Madison Ave . at 75St . N.Y.,N.Y.10021 (212) 861-5322 needs of independent The purpose of this bulletin is to serve the information San :Francisco : their users. The bulletin is organized around five film and video-makers and Canyon Cinematheque,San Francisco Art Institute, 800 Chestnut St., film and video-making ; distribution ; exhibition aspects of film and video: San Francisco, Ca . (415) 332-1514 ; study; and preservation . There is very little in this iddue and programming Film Archive, University Art Museum, Berkeley, Ca. 94720 due to a lack of response from video-makers . Your suggetions and Pacific on video (415) 642-1412 comments will be welcomed . San Francisco Museum of Art, Van Ness & McAllister Streets, San Francisco Ca. (415) 863-8800 DISTRIBUTION that Include Screening Work by A brief note on non-exclusive distribution Regional Centers with Film Programs Independent Film-makers. -
Contenido Estrenos Mexicanos
Contenido estrenos mexicanos ............................................................................120 programas especiales mexicanos .................................. 122 Foro de los Pueblos Indígenas 2019 .......................................... 122 Programa Exilio Español ....................................................................... 123 introducción ...........................................................................................................4 Programa Luis Buñuel ............................................................................. 128 Presentación ............................................................................................................... 5 El Día Después ................................................................................................ 132 ¡Bienvenidos a Morelia! ................................................................................... 7 Feratum Film Festival .............................................................................. 134 Mensaje de la Secretaría de Cultura ....................................................8 ......... 10 Mensaje del Instituto Mexicano de Cinematografía funciones especiales mexicanas .......................................137 17° Festival Internacional de Cine de Morelia ............................11 programas especiales internacionales................148 ...........................................................................................................................12 jurados Programa Agnès Varda ...........................................................................148 -
BULLETIN for FILM and VIDEO INFORMATION Vol. 2,No.3
HudochOneWorld, !nn 13AoadiaRU . .0!d8moowioh .CT8G87U 1975'70 ILM AND VIDEO INFORMATION feature film catalogue available . Wd, il, No . 3, May 1975 Independent Filmmakers' Cooperative . 2026 OOntario E., Montreal 133, Quebec, Canada (514) 523-2816 . 1972-73 catalogue is available listing over Editor : HolUo Melton ; Publisher: Anthology Film Archives ! 3K Alms, and a upplemerit to We min catalogue has been published. The subscription : ! Address: DOWouoterS1, New York, N1 10012 . Yearly 85 coopera0e now distributes close to 500 films by independent film-makers . Insight Exchange, P 0 @ux42584SonFmnciouo CA 94101 )021-2713. buUstniu0oserve theiWunnuUonneeds nf The ofthis "We currently seeking ewfilms undvideo inuurmajor categories : mental and their users . The bulletin is organized around five film-and video-makers health, women, community urUmnizing ."Sponsor film-discussion series, of 0m and video: film-and video-making ; distribution ; exhibition and aspects "Women Emorying"Write forfree brochures ondflyers. programming ; study; and preservation . Your suggestions and comments will welcomed . be Mu0Media Resource Center, 540Powo!St . .8anFrancisco, CA041U0 . Has catalogue supplement available of 1Smmfilms andvideocassettes on human sexuality. Now Line Cinema, 8 16th Floor, N.Y, N.Y . 10003 (212) 2DBrentwood Rd D Shore, NY 11706 Cum Wealth Alternate School . 674-7460 . Has new catalogue available . (516) 587-8398 . A new theater group, The Hamlet Collective, ''comprised of directors, dancers, painters, photographers, actors, musicians, playwrights, Polymorph Films . 331 NewburySt .jBoston, 02115(b17)202-5Q0U . artists who might wish to partici- video artists . We welcome film and video ''Films about families and living .'' Write or call for catalogue. pate in our growth .'' For information call or write Ned Bobkoff at the above Work! Class Films. -
Les Differents Programmes De La Retrospective Warren Sonbert Warren Sonbert Retrospective Touring Programs
LES DIFFERENTS PROGRAMMES DE LA RETROSPECTIVE WARREN SONBERT ORGANISÉE PAR LIGHT CONE (PARIS) & GARTENBERG MEDIA ENTERPRISES (NEW YORK) Copies : Light Cone, Paris Textes des programmes rédigés par Jon Gartenberg, Commissaire © Light Cone / Gartenberg Media WARREN SONBERT RETROSPECTIVE TOURING PROGRAMS ORGANIZED BY LIGHT CONE (PARIS) & GARTENBERG MEDIA ENTERPRISES (NEW YORK) Film prints courtesy of Light Cone, Paris Program Notes by Jon Gartenberg, Curator © Light Cone / Gartenberg Media 1. 1. IDENTITE QUEER QUEER IDENTITY AMPHETAMINE AMPHETAMINE Warren Sonbert and Wendy Appel. Warren Sonbert and Wendy Appel. 1966, n&b, sonore, 10 min. 1966, B/W, sound, 10 min. NOBLESSE OBLIGE NOBLESSE OBLIGE 1981, couleur, silencieux, 25 min. 1981, color, silent, 25 min. WHIPLASH WHIPLASH Achevé de manière posthume en 1997. Completed posthumously in 1997. Montage de Jeff Scher. Restoration editor: Jeff Scher. 1995, couleur, sonore, 20 min. 1995, color, sound, 20 min. Le programme se poursuit avec Noblesse The program continues with Noblesse Oblige, Oblige, une œuvre au montage magistral qui a masterfully edited work that features ima- offre des images des manifestations qui, à San gery Sonbert photographed of protests in San Francisco, avaient suivi les meurtres du Maire Francisco following the murders of Mayor George Moscone et du conseiller municipal George Moscone and Councilman Harvey Harvey Milk par Dan White. Sonbert a modelé Milk at the hands of Dan White. (Sonbert la structure de ce film sur La Ronde de l’aube modeled the structure of this film on Douglas de Douglas Sirk. Le programme s’achève avec Sirk’s Tarnished Angels). The program culmi- Whiplash, la méditation élégiaque de Sonbert nates with Whiplash, his elegiac meditation on sur sa propre mortalité, un film qui sera achevé his own mortality, a film that was completed après son décès mais selon ses instructions. -
Depaul Animation Zine #1
Conditioner // Shane Beam D i e F l u c h t / / C a r t e r B o y c e 2 0 1 6 S t u d e n t A c a d e m y A w a r d B r o n z e M e d a l 243 South Wabash Avenue Chicago, IL 60604 #1 zine a z i n e e x p l o r i n g t h e A n i m a t i o n C u l t u r e a t D e P a u l U n i v e r s i t y in Chicago R a n k e d t h e # 1 0 A n i m a t i o n M F A P r o g r a m a n d # 1 4 A n i m a t i o n P r o g r a m i n t h e U . S . b y A n i m a t i o n C a r e e r R e v i e w i n 2 0 1 8 D e P a u l h a s 1 3 f u l l - t i m e A n i m a t i o n p r o f e s s o r s , o n e o f t h e l a r g e s t f u l l - t i m e A n i m a t i o n f a c u l t i e s i n t h e U S , w i t h e x p e r t i s e i n t r a d i t i o n a l c h a r a c t e r a n i m a t i o n , 3 D , s t o r y b o a r d i n g , g a m e a r t , s t o p m o t i o n , c h r a c t e r d e s i g n , e x p e r i m e n t a l , a n d m o t i o n g r a p h i c s . -
Report to the U. S. Congress for the Year Ending December 31, 2003
Report to the U.S.Congress for the Year Ending December 31,2003 Created by the U.S. Congress to Preserve America’s Film Heritage Created by the U.S. Congress to Preserve America’s Film Heritage April 30, 2004 Dr. James H. Billington The Librarian of Congress Washington, D.C. 20540-1000 Dear Dr. Billington: In accordance with Public Law 104-285 (Title II), The National Film Preservation Foundation Act of 1996, I submit to the U.S. Congress the 2003 Report of the National Film Preservation Foundation. It gives me great pleasure to review our accomplishments in carrying out this Congressional mandate. Since commencing service to the archival community in 1997, we have helped save 630 historically and culturally significant films from 98 institutions across 34 states and the District of Columbia. We have produced The Film Preservation Guide: The Basics for Archives, Libraries, and Museums, the first such publication designed specifically for regional preservationists, and have pioneered in pre- senting archival films on widely distributed DVDs and on American television. Unseen for decades, motion pictures preserved through our programs are now extensively used in study and exhibition. There is still much to do. This year Congress will consider the reauthorization of our federal grant programs. Increased funding will enable us to expand service to the nation’s archives, libraries, and museums and do more toward saving America’s film heritage for future generations. The film preser- vation community appreciates your efforts to make the case for increased federal investment. We are deeply grateful for your leadership. Space does not permit my acknowledging all those supporting our efforts in 2003, but I would like to single out several organizations that have played an especially significant role: the National Endowment for the Humanities, The Andrew W. -
The Quay Brothers: Choreographed Chiaroscuro, Enigmatic and Sublime Author(S): Suzanne H
The Quay Brothers: Choreographed Chiaroscuro, Enigmatic and Sublime Author(s): Suzanne H. Buchan Source: Film Quarterly, Vol. 51, No. 3 (Spring, 1998), pp. 2-15 Published by: University of California Press Stable URL: http://www.jstor.org/stable/1213598 Accessed: 04/04/2010 08:30 Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/action/showPublisher?publisherCode=ucal. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. University of California Press is collaborating with JSTOR to digitize, preserve and extend access to Film Quarterly. http://www.jstor.org The Quay Brothers Since the early 1980s, animation has received increasing attention from cinema and television pro- grammers and is gradually being in- corporated as a viable genre in film studies. -
Surrealist Sources of Eastern European Animation Film
BALTIC SCREEN MEDIA REVIEW 2013 / VOLUME 1 / ARTICLE Article Surrealist Sources of Eastern European Animation Film ÜLO PIKKOV, Estonian Academy of Arts; email: [email protected] 28 DOI: 10.1515/bsmr-2015-0003 BALTIC SCREEN MEDIA REVIEW 2013 / VOLUME 1 / ARTICLE ABSTRACT This article investigates the relationship between surreal- ism and animation fi lm, attempting to establish the char- acteristic features of surrealist animation fi lm and to deter- mine an approach for identifying them. Drawing on the interviews conducted during the research, I will also strive to chart the terrain of contemporary surrealist animation fi lm and its authors, most of who work in Eastern Europe. My principal aim is to establish why surrealism enjoyed such relevance and vitality in post-World War II Eastern Europe. I will conclude that the popularity of surrealist animation fi lm in Eastern Europe can be seen as a continu- ation of a tradition (Prague was an important centre of surrealism during the interwar period), as well as an act of protest against the socialist realist paradigm of the Soviet period. INTRODUCTION ing also in sight the spatiotemporal context Surrealism in animation fi lm has been of production. an under-researched fi eld. While several It must be established from the out- monographs have been written on authors set that there are many ways to understand whose work is related to surrealism (Jan and interpret the notion of “surrealist ani- Švankmajer, Brothers Quay, Priit Pärn, Raoul mation fi lm”. In everyday use, “surreal” often Servais and many others), no broader stud- stands for something obscure and incom- ies on the matter exist. -
A Film by the Quay Brothers
A FILM BY THE QUAY BROTHERS A ZEITGEIST FILMS RELEASE A FILM BY THE QUAY BROTHERS THE PIANO TUNER OF EARTHQUAKES is the breathtakingly beautiful and long-awaited second feature from the Quay Brothers. On the eve of her wedding, the beautiful opera singer Malvina is mysteriously killed and abducted by a malevolent Dr. Droz. Felisberto, an innocent piano tuner, is summoned to Droz’s secluded villa to service his strange musical automatons. Little by little Felisberto learns of the doctor’s plans to stage a “diabolical opera” and of Malvina’s fate. He secretly conspires to rescue her, only to become trapped himself in the web of Droz’s perverse universe... Starring Amira Casar (Catherine Breillat’s ANATOMY OF HELL), Assumpta Serna (Pedro Almodovar’s MATADOR), Cesar Sarachu (the Quays’ INSTITUTE BENJAMENTA) and Gottfried John (Fassbinder’s MARRIAGE OF MARIA BRAUN). THE QUAY BROTHERS The extraordinary Quay Brothers are two of the world’s most original filmmakers. Identical twins who were born in Pennsylvania in 1947, Stephen and Timothy Quay studied illustration in Philadelphia before going on to the Royal College of Art in London, where they started to make animated shorts in the 1970s. They have lived in London ever since, making their unique and innovative films under the aegis of Koninck Studios. Influenced by a tradition of Eastern European animation, the Quays display a passion for detail, a breathtaking command of color and texture, and an uncanny use of focus and camera movement that make their films unique and instantly recognizable. Best known for their classic 1986 film STREET OF CROCODILES, which filmmaker Terry Gilliam recently selected as one of the ten best animated films of all time, they are masters of miniaturization and on their tiny sets have created an unforgettable world, suggestive of a landscape of long-repressed childhood dreams. -
Quaybrothers PREVIEW.Pdf
contents 6 Foreword Glenn D. Lowry 8 Acknowledgments 10 THE MANIC DEPARTMENT STORE New Perspectives on the Quay Brothers Ron Magliozzi 16 THOSE WHO DESIRE WITHOUT END Animation as “Bachelor Machine” Edwin Carels 21 O N DECIPHERING THE PHARMACIST’S PRESCRIPTION FOR LIP-READING PUPPETS A project by the Quay Brothers 28 PlATES 62 Works by the Quay Brothers 63 Selected Bibliography 64 Trustees of The Museum of Modern Art The book also contains a project by the Quay Brothers on the front and back inside covers. Ron Magliozzi t is gratifying to report, right at the start, that the As illustrators, stage designers, and film- The twins’ “facility for drawing”6 was encouraged by reputed inaccessibility of the Quay Brothers’ work is a makers in a range of genres, the Quays have their family. At home, snowy pastoral landscapes of a Imyth. The challenge of deciphering meaning and narra- penetrated many fields of visual expression red barn at different distances were hung side by side, tive in the roughly thirty theatrical shorts and two features for a number of different audiences, from coincidentally suggesting a cinema tracking shot. Stark that the filmmakers have produced since 1979 is real avant-garde cinema and opera to publication countryside landscapes dotted with trees appeared indeed, a characteristic of their work that they adopted art and television advertising. Looking at commonly in their youthful drawings, often with ele- on principle when they were still students. Interpreters of their artistic endeavors as a whole, in the ments of telling human interest, as in Bicycle Course for their stop-motion puppet films, such as the defining Street context of fresh biographical information and Aspiring Amputees (1969) and Fantasy-Penalty for of Crocodiles (1986), have described them as alchemists, new evidence of their creativity, provides Missed Goal (c.1968). -
C a N Y O N C I N E M a Z I N E I S S U E N O 3 2 0 1 4 2 0
CANYONCI NEMAZINE ISSUENO3 20142015 on sound Cover: hand-painted slide by Taryn CONTRIBUTORS ONLINE CONTRIBUTORS Jones, 2013 Inside Cover: collage by Linda Bruce Baillie Jaime Cleeland Scobie, 2014 Michael Betancourt D. Jesse Damazo Brian Darr Robert Edmondson MASTHEAD John Davis Trevor Jahner Michael Daye Philip Mantione Canyon Cinemazine Clint Enns Petri Kuljuntausta An assemblage of experimental Gerry Fialka Michael Reisinger for Sleeping film and video writing, Walter Forsberg Giant Glossolalia art, and ephemera. Paul Glabicki Ken Paul Rosenthal P.O. Box 16163 Max Goldberg Phil Solomon Oakland, CA 94610 Barbara Hammer Ashley Swendsen [email protected] Emma Hurst www.cinemazine.net Joey Izzo w/John Zorn Taryn Jones Editor/Design Courtney Fellion Janis Crystal Lipzin Sounds Editor A.G. Nigrin A Wyman Michael Walsh Screenings Roger D. Wilson Linda Scobie With assistance from ABOUT THE FLEXI-DISC INSERT Charlie Biando Laura Conway A flexi-disc is a phonograph record made of thin, flexible vinyl. The F. O’Neill Phaedra Restad flexi included in this issue plays on a standard record player at 33rpm. Hannah Schulman Designed for magazine promotions, this sound object is particularly Kel Shipley delicate and degrades after about 50 plays. Like the printed page and worn film reel, this object is made to disappear, and a fitting addition to Thanks to Craig Baldwin a publication devoted to transcient images (and sounds). This project would not be possible without a generous grant from Southern Exposure’s Alternative FLEXI-DISC TRACKS & CONTRIBUTORS Exposure program - www.soex.org. John Davis, “Wild Air Moon” This project is an entirely not-for- GX Jupitter Larsen, “A Noisy Delivery” profit art experiment - all funds Jodie Mack, “Let Your Light Shine (B-Side)” generated by sales and donations go directly into funding the next See last page for more information.