DOCSLIB.ORG

Download the Monthly Film & Event Calendar

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Download the Monthly Film & Event Calendar THU SAT WED 1:30 Film 1 10 21 3:10 to Yuma. T2 Events & Programs Film & Event Calendar 1:30 Film 10:20 Family Film FRI Gallery Sessions The Armory Party 2018 Beloved Enemy. T2 Tours for Fours. Irresistible Forces, Daily, 11:30 a.m. & 1:30 p.m. Wed, Mar 7, 9:00 p.m.–12:30 a.m. Education & Immovable 30 5:30 Film Museum galleries VIP Access at 8:00 p.m. Research Building Objects: The Films Film Janitzio. T2 of Amir Naderi. New Directors/ Join us for conversations and Celebrate the opening of The 10:20 Family 7:00 Film See moma.org/film New Films 2018. activities that offer insightful and Armory Show and Armory Arts A Closer Look for El Mar La Mar. T1 4:30 Film 1:30 Film 6:05 Event for details. See newdirectors.org unusual ways to engage with art. Week with The Armory Party SUN WED Kids. Education & FRI SAT MON Pueblerina. T2 Music by Luciano VW Sunday Sessions: for details. at MoMA—a benefit event with 7:30 Film Research Building 1:30 Film Limited to 25 participants 4 7 16 Berio and Bruno Hair Wars. MoMA PS1 24 26 live music and DJs, featuring María Calendaria. T2 7:30 Film Kings Go Forth. T2 10:20 Family 7:30 Event 2:00 Film Film Maderna. T1 Film Film platinum-selling artist BØRNS. Flor silvestre. T1 6:30 Film Art Lab: Nature Tours for Fours. Quiet Mornings. Victims of Sin. T2 Irresistible Forces, 4:30 Film Irresistible Forces, Irresistible Forces, 6:30 Film Music by Pink Floyd, Daily. Education & Research Tickets start at $150, and are Education & Museum galleries Immovable Music by Edgard Immovable Immovable available for purchase at 4:30 Film Red Italy. T2 Wendy Carlos, Brian Building Research Building MON Objects: The Films Varèse, Iannis Objects: The Films Objects: The Films moma.org/thearmoryparty2018. 1:30 Film Nest of Virgins. T2 Eno, Yoko Ono, Terry 12 of Amir Naderi. 6:30 Event Xenakis, Karlheinz of Amir Naderi. of Amir Naderi. Discover how artists and designers 10:20 Family The Cowboy and Riley, and Others. T2 1:30 Film 6:30 Film See moma.org/film VW Sunday Sessions: Stockhausen, Steve See moma.org/film See moma.org/film are inspired by the natural world Night at the Museum A Closer Look for the Lady. T2 7:00 Film Three for the Show. Enamorada. T1 for details. Jenny Hval. Reich, John Cage, for details. for details. in this hands-on installation. All Fri, Mar 9, 8:00 p.m. MoMA PS1 FRI Kids. Education & Modern Mondays: MON T2 5:00 Film MoMA PS1 and Others. T2 ages are welcome. Research Building An Evening with 1:30 Film 10:20 Family 7:00 Film Celebrate the closing of 2 The Pearl. T2 SUN 19 Daily, 10:30 a.m.–4:30 p.m.; Michael Holman. T2 History of Aviation; Tours for Fours. Modern Mondays: SAT MoMA PS1’s Carolee Schneemann 1:30 Film SUN THU Fri, until 6:30 p.m. 1:30 Film 7:00 Film 11 Mr. Lucky. T2 4:30 Film Education & An Evening of and Cathy Wilkes exhibitions Pueblerina. T1 7:30 Film M Destination Tokyo. Janitzio. T2 18 Music by Hanns 22 Research Building Computer Films with 31 during a special Armory Week Exhibition Closing Enamorada. T1 4:30 Film T1 2:00 Event Eisler and Krzysztof Ken Knowlton. T2 Exhibition Opening Tours for Fours: Red, Yellow, Night at the Museum. The 8:00 Event Tania Bruguera: Music by Edgard Exhibition Opening Film 10:20 Family VW Sunday Sessions: Penderecki. T1 Adrian Piper: Blue, and Other Colors Too! galleries will be open until 4:30 Film The Armory Party Untitled (Havana, TUE Varese, Iannis Being: New Irresistible Forces, A Closer Look for Saturdays and Sundays, Sex Workers’ Festival TUE A Synthesis of midnight, along with cocktails, Flor silvestre. T2 2018. Museum 2000). Floor 2 Xenakis, Karlheinz Photography 2018. 7:00 Film Immovable Kids. Education & of Resistance. 13 Intuitions, 1965– Mar 3–31, 10:20–11:15 a.m. bites by M. Wells, and DJ sets. galleries Stockhausen, Steve Floor 3 Modern Mondays: Objects: The Films Research Building 27 Education & Research Building 7:30 Film MoMA PS1 Exhibition Closing 2016. Floor 6 4:30 Film Reich, John Cage, An Evening with of Amir Naderi. Tickets $15, $13 members. For details, Enamorada. T1 Carolee Film 12:00 Event Film visit moma.org. 4:30 Film Salón México. T2 and Others. T2 Morgan Fisher. T2 See moma.org/film Film Look, listen, and share ideas THU Schneemann: Kinetic Irresistible Forces, VW Sunday Sessions: Irresistible Forces, Maclovia. T2 for details. New Directors/ while you explore art through SAT 8 Painting. MoMA PS1 7:30 Film Immovable 7:00 Film Come Together: Immovable movement, drawing, and more. Family Films: Transformations WED New Films 2018. 7:00 Film Music by Pierre Objects: The Films Music by Toru 1:30 Film Music Festival and Objects: The Films 1:30 Film Exhibition Closing See newdirectors.org For kids age four and adult companions. Sat, Mar 17, 12:00–1:00 p.m. T3 3 Salón México. T2 Boulez, Daphne of Amir Naderi. Takemitsu. T1 The Farmer’s Label Market. of Amir Naderi. The Story of Vernon Cathy Wilkes. 14 for details. Free tickets distributed on a first-come, 10:20 Family Oram, Mauricio See moma.org/film Daughter. T3 MoMA PS1 See moma.org/film first-served basis at 10:00 a.m. on the Watch and discuss live-action and and Irene Castle. T2 MoMA PS1 1:30 Film day of the program. animated short films. Tours for Fours. MON Kagel, and Ludwig for details. TUE for details. 10:20 Family Broken Arrow. T2 5:00 Film Education & 4:30 Film Exhibition Closing van Beethoven. T1 SUN Tours for Fours. For kids ages five and up and adult 10:20 Family Music by Teiji Ito, 11:00 Event Research Building 5 Río Escondido. T2 Naeem Mohaiemen: 4:30 Film 20 Education & A Closer Look for Kids: companions. Free tickets distributed A Tours for Fours. Arvo Pärt, John 25 #ArtSpeaks. on a first-come, first-served basis at 5:00 Film There Is No Last Man. Music by George SAT Film Research Building In This Place 10:20 Family 7:30 Film Education & Cage, Pierre Museum galleries 10:00 a.m. on the day of the program. Victims of Sin. T3 MoMA PS1 Anthiel, Steve Reich, Irresistible Forces, Film Saturdays and Sundays, A Closer Look for The Fugitive. T1 Research Building Schaeffer, and 10:20 Family and Don Druick. T2 17 Immovable Irresistible Forces, Mar 3–31, 10:20–11:30 a.m. Kids. Education & 6:30 Film 10:20 Family Others. T1 WED A Closer Look for #ArtSpeaks Film 10:20 Family Objects: The Films Immovable Education & Research Building Research Building Modern Mondays: An Tours for Fours. 7:00 Film Kids. Education & Tue, Mar 27, 11:00 a.m.–4:00 p.m. FRI Irresistible Forces, A Closer Look for of Amir Naderi. Objects: The Films 28 Evening with Carolee Education & Music by Luciano FRI Research Building Kids and adults participate in Museum galleries 1:30 Film Immovable Kids. Education & See moma.org/film of Amir Naderi. Schneemann. T2 9 Research Building Berio and Bruno Film lively discussions and activities The Pearl. T2 Objects: The Films Research Building for details. 23 See moma.org/film Images, from left: María Staff members choose artworks 1:30 Film Maderna. T2 New Directors/ while looking at art. 7:30 Film 10:20 Family of Amir Naderi. for details. Candelaria. Courtesy of of special meaning for them. Dark Passage. T2 1:00 Film 4:30 Film Film New Films 2018. Nest of Virgins. T3 A Closer Look for See moma.org/film Filmoteca de la UNAM; The For kids ages five to 10 and adult Talks take place every 30 minutes. THU Music by George Music by Pierre Irresistible Forces, 10:20 Family See newdirectors.org Pearl. Courtesy of Morelia companions. Free tickets distributed on a 4:30 Film Kids. Education & for details. Anthiel, Steve Reich, Boulez, Daphne Immovable Tours for Fours. for details. International Film Festival; first-come, first-served basis starting Free for members and Museum TUE Maclovia. T2 Research Building 15 Victims of Sin. Courtesy of at 10:00 a.m. on the day of the program. admission ticket holders 10:20 Family and Don Druick. T1 Oram, Mauricio Objects: The Films Education & 1:30 Film Cineteca Nacional de 6 7:30 Film 1:30 Film 1:30 Film Tours for Fours. Kagel, and Ludwig of Amir Naderi. Research Building Mexico; Cut. 2011. 3:30 Event Treasure of the 4:30 Film Salón México. T1 Bring Me the Head of Hellzapoppin’. T2 Education & van Beethoven. T1 See moma.org/film Directed by Amir Naderi. Quiet Mornings VW Sunday Sessions 4:30 Film VW Sunday Sessions: 10:20 Family Golden Condor. T2 Courtesy of the filmmaker; The Fugitive. T1 Alfredo Garcia. T2 Research Building for details. Wed, Mar 7, 7:30–9:00 a.m. Various dates and times. 8:00 4:30 7:30 Erection. 1971. Directed by R María Calendaria. T1 Event Film Leilah Weinraub, Film A Closer Look for Yoko Ono. © Yoko Ono; Museum galleries MoMA PS1 7:00 Film Night at the Museum. 2:00 Event Music by Teiji Ito, 10:20 Family SHAKEDOWN. Music by Pink Floyd, 1:30 Film Kids. Education & THU 7:30 Film Mr. Blandings Builds His Río Escondido. T1 MoMA PS1 VW Sunday Sessions: Arvo Pärt, John A Closer Look for MoMA PS1 Wendy Carlos, Brian Mr.
Load more

Recommended publications
  • Georges Bataille's Philosophy of Transgression and the Cinema Of
    Is Mark of the Devil an Example of Transgressive Cinema? Georges Bataille’s Philosophy of Transgression and the Cinema of the 1970s Marcus Stiglegger translated by Laura Melchior Abstract collective moment of fear, and raises the Witchploitation films of the late 1960s – like question of whether or not this could generate a Mark of the Devil (1970) – were often criticised ‘transgressive cinema’. And in particular it asks: for exploiting inquisitorial violence such as are witchploitation films transgressive? torture and rape for the sake of pure sensation. While the exploitative manner of dealing with Keywords: witchploitation, censorship, historically based violence is clearly an issue, at sensation, transgression, taboo, philosophy, the same time the question of what effect these Georges Bataille, exploitation film, violence, depictions of extreme violence might have on torture. the audience should be raised. Every culture has its own defined and accepted limits, which are made by collective agreement. Reaching and transgressing these limits amounts to the transgression of an interdiction, of a taboo. This article discusses the representations in the media of the act of transgression – commonly associated with the work of the French philosopher and novelist Georges Bataille – as a 21 The witchploitation films which followed the useful to delineate a theoretical key to success of Michael Reeves’s Witchfinder understanding this phenomenon. After General (1968) were often criticised for explaining the notion of transgression according exploiting inquisitorial violence such as torture to Georges Bataille, I will contextualise the and rape for the sake of pure sensation. In witchploitation films by analysing several Germany Mark of the Devil (Hexen bis aufs Blut movies relating to this concept and finally gequält, Michael Armstrong, 1970) was banned comment on the transgressive nature of till 2016, and in England this film was a well- Witchfinder General and Mark of the Devil.
    [Show full text]
  • Delmer Daves ̘​Í™” ˪…˶€ (Ìž'í'ˆìœ¼ë¡Œ)
    Delmer Daves ì˜í​ ™” 명부 (작품으로) The Hanging https://ko.listvote.com/lists/film/movies/the-hanging-tree-1193688/actors Tree Demetrius and https://ko.listvote.com/lists/film/movies/demetrius-and-the-gladiators-1213081/actors the Gladiators Dark Passage https://ko.listvote.com/lists/film/movies/dark-passage-1302406/actors Never Let Me https://ko.listvote.com/lists/film/movies/never-let-me-go-1347666/actors Go The https://ko.listvote.com/lists/film/movies/the-badlanders-1510303/actors Badlanders Cowboy https://ko.listvote.com/lists/film/movies/cowboy-1747719/actors Kings Go https://ko.listvote.com/lists/film/movies/kings-go-forth-2060830/actors Forth Drum Beat https://ko.listvote.com/lists/film/movies/drum-beat-2081544/actors Jubal https://ko.listvote.com/lists/film/movies/jubal-2481256/actors Hollywood https://ko.listvote.com/lists/film/movies/hollywood-canteen-261550/actors Canteen Rome https://ko.listvote.com/lists/film/movies/rome-adventure-319170/actors Adventure Bird of https://ko.listvote.com/lists/film/movies/bird-of-paradise-3204466/actors Paradise The Battle of https://ko.listvote.com/lists/film/movies/the-battle-of-the-villa-fiorita-3206509/actors the Villa Fiorita The Red https://ko.listvote.com/lists/film/movies/the-red-house-3210438/actors House Treasure of the Golden https://ko.listvote.com/lists/film/movies/treasure-of-the-golden-condor-3227913/actors Condor Return of the https://ko.listvote.com/lists/film/movies/return-of-the-texan-3428288/actors Texan Susan Slade https://ko.listvote.com/lists/film/movies/susan-slade-3505607/actors
    [Show full text]
  • Film Reviews Jonathan Lighter
    Film Reviews Jonathan Lighter Lebanon (2009) he timeless figure of the raw recruit overpowered by the shock of battle first attracted the full gaze of literary attention in Crane’s Red Badge of Courage (1894- T 95). Generations of Americans eventually came to recognize Private Henry Fleming as the key fictional image of a young American soldier: confused, unprepared, and pretty much alone. But despite Crane’s pervasive ironies and his successful refutation of genteel literary treatments of warfare, The Red Badge can nonetheless be read as endorsing battle as a ticket to manhood and self-confidence. Not so the First World War verse of Lieutenant Wilfred Owen. Owen’s antiheroic, almost revolutionary poems introduced an enduring new archetype: the young soldier as a guileless victim, meaninglessly sacrificed to the vanity of civilians and politicians. Written, though not published during the war, Owen’s “Strange Meeting,” “The Parable of the Old Man and the Young,” and “Anthem for Doomed Youth,” especially, exemplify his judgment. Owen, a decorated officer who once described himself as a “pacifist with a very seared conscience,” portrays soldiers as young, helpless, innocent, and ill- starred. On the German side, the same theme pervades novelist Erich Maria Remarque’s All Quiet on the Western Front (1928): Lewis Milestone’s film adaptation (1930) is often ranked among the best war movies of all time. Unlike Crane, neither Owen nor Remarque detected in warfare any redeeming value; and by the late twentieth century, general revulsion of the educated against war solicited a wide acceptance of this sympathetic image among Western War, Literature & the Arts: an international journal of the humanities / Volume 32 / 2020 civilians—incomplete and sentimental as it is.
    [Show full text]
  • Dur 26/11/2020
    E JUEVES 26 DE NOVIEMBRE DE 2020 [email protected] LEGADO EN EL CINE Y LA MÚSICA Una de las figuras más reconocidas en la industria del espectáculo falleció a los 90 años. EL SIGLO DE DURANGO cubren’ el productor cinemato- te década actúa frente a las cá- Durango gráfico Gregorio Walerstein y maras conViruta y Capulina CARRERA Emilio Azcárraga en una de en ‘Dos Locos en Escena’ (1960) 90 películas y poco más La actriz y cantante mexicana sus actuaciones en el centro y dos años más tarde se presen- de 200 discos, son parte Flor Silvestre, madre del can- nocturno ‘El Patio’ y la invitan ta en la película (nominada al d ela trayectoria artística tautor mexicano Pepe Aguilar a que trabaje en el cine contra- Óscar) que la proyecta a un ni- de la viuda de Antonio y viuda de Antonio Aguilar, fa- tándola para cinco estelares, vel mucho más internacional, Aguilar. lleció este miércoles 25 de no- en un programa en la XEW y ‘Ánimas Trujano’, donde com- viembre a los 90 años de edad, para grabar su primer disco. parte roles estelares con Toshi- por causas naturales en su ca- En la primera de sus pelí- ro Mifune y Columba Domín- sa en Zacatecas. culas, ‘Primero Soy Mexicano’, guez, junto a su esposo Anto- ¿SABÍAS “La familia Aguilar agrade- comparte créditos con Joaquín nio Aguilar, hizo dramas y co- QUE...? ce las muestras de cariño que Pardabé, Luis Aguilar y El medias como ‘Caballo Prieto Su primer película a color siempre tuvieron, les pedi- Charro Avitia, tres ‘rivales’ Azabache’ (1968), ‘Lauro Puña- fue ‘La Doncella de Piedra’, mos respeto y comprensión que se pelean entre sí por el les’ y ‘El Ojo de Vidrio’ (1969).
    [Show full text]
  • Download the Monthly Film & Event Calendar
    SAT 2:00 Film SAT 7:00 Film SAT 7:00 Film 4:00 Film Hale County Ugetsu. T3 Suzakumon. T2 The Devil’s Temple. Film & Event Calendar 7 This Morning, This 14 21 T2 Events & Programs 7:00 Film 10:20 Family Evening. T1 10:20 Family 10:20 Family WED An Evening with 6:30 Film Gallery Sessions Explore This! Activity Stations Tours for Fours. Tours for Fours. Tours for Fours. 4:30 Film Shannon Plumb. T2 Gonza the Spearman. Daily, 11:30 a.m. & 1:30 p.m. Sat, Apr 7 & Sun, Apr 8, Education & Education & Education & 25 The Nothing Factory. T2 Museum galleries 1:00–3:00 p.m. Floor 5 Research Building Research Building Research Building 1:30 Film T2 Mr. Blandings Builds 7:00 Film Join us for conversations and Explore art through fun and 10:20 Family 10:20 Family 10:20 Family His Dream House. T2 In the Last Days of activities that offer insightful and engaging activities for all ages. A Closer Look for MON A Closer Look for A Closer Look for SUN WED the City. T1 unusual ways to engage with art. Kids. Education & Kids. Education & Kids. Education & 4:30 Film Free with admission 1 4 Research Building 9 Research Building Research Building Gonza the Spearman. Limited to 25 participants SUN See moma.org for TUE T2 Family Films: Yum! Films 10:20 Family 7:30 Event 1:00 Family 1:30 Film 12:00 Family up-to-date listings. 29 Art Lab: Nature About Food Tours for Fours.
    [Show full text]
  • Recurso De Apelación Expediente: Sg-Rap-3/2015
    RECURSO DE APELACIÓN EXPEDIENTE: SG-RAP-3/2015. RECURRENTE: FLOR SILVESTRE PEREA RUIZ AUTORIDAD RESPONSABLE: JUNTA LOCAL EJECUTIVA DEL INSTITUTO NACIONAL ELECTORAL EN SINALOA. MAGISTRADA PONENTE: MÓNICA ARALÍ SOTO FREGOSO SECRETARIO: JUAN CARLOS MEDINA ALVARADO. Guadalajara, Jalisco, a diecisiete de febrero de dos mil quince. VISTOS, para resolver, los autos del recurso de apelación SG-RAP-3/2015, interpuesto por Flor Silvestre Perea Ruiz por su propio derecho, a fin de impugnar la resolución identificada con la clave R01/INE/SIN/JL/23-01-15 de veintitrés de enero de dos mil quince, relativa a los expedientes INE/RSL/JLE/SIN/001/2015 y su acumulado INE/RSL/JLE/SIN/002/2015, emitida por la Junta Local Ejecutiva del Instituto Nacional Electoral en Sinaloa en la que, entre otras cuestiones, se confirmó el acto de la autoridad responsable emanado del oficio INE/VE/00036/2015 y, SUP-RAP-3/2015 R E S U L T A N D O I. ANTECEDENTES. De lo expuesto en el escrito recursal y de las constancias que obran en el expediente, se desprende lo siguiente: 1.- Convocatoria. Mediante acuerdo identificado con la clave INE/CG101//2014, del 14 de julio de 2014, el Consejo General del INE, aprobó la “Estrategia de Capacitación y Asistencia Electoral para el Proceso Electoral 2014-2015”. Derivado de lo anterior, se publicó la convocatoria a los ciudadanos que desearan participar como supervisores electorales y capacitadores-asistentes electorales para el proceso electoral 2014-2015. 2.- Solicitud y plática de inducción. Refiere la actora que el veintiocho de noviembre de diciembre de dos mil catorce, atendiendo a la referida convocatoria, compareció a la 05 Junta Distrital Ejecutiva del Instituto Nacional Electoral en Sinaloa, a efecto de presentar la documentación requerida para aspirar al puesto de Supervisor Electoral o Capacitador Asistente Electoral.
    [Show full text]
  • Cinematic Image and National Identity in Fuentes9 Orquídeas a La Luz De La Luna
    SPRING 1984 3 Cinematic Image and National Identity in Fuentes9 Orquídeas a la luz de la luna Lanin A. Gyurko Orquídeas a la luz de la luna, the third and most recent drama by the Mexican author Carlos Fuentes, provides a fascinating evocation of two of Mexico's greatest cinematic actresses, Dolores Del Rio and María Félix. This complex drama constitutes a play-within-a-play. It presents two aging chicanas, Dolores and Maria, living in seclusion in an apartment in Venice, California, who identify so strongly with the screen personalities of Dolores Del Rio and Maria Félix that they—paralleling the self-deluded Don Quijote, who, intoxicated by his readings of the novelas de caballerías, sallies forth as a caballero andante— believe, in their self-delusions, that they actually have become these two cinematic stars. Thus they seek desperately to convince one another, the very audience watching Orquídeas a la luz de la luna, and the mysterious and sinister Fan who one day arrives at their apartment, that they are these two legendary actresses. Having failed at their cinematic careers in their native land, Mexico, the two central characters of Fuentes' drama emigrate to the United States, where they attempt to pursue the glamorous illusion of a Hollywood film career. Denied entrance to their El Dorado, they are forced instead to dwell in a limbo realm, a shoddy apartment that is more like a penitentiary cell, symbolizing how much they remain entrapped in their fantasies. Here the two chicanas engage in a bizarre cult of their cinematic idols, even constructing altars to them, thus from the very start transforming María Félix and Dolores Del Rio into household gods.
    [Show full text]
  • La Revolución Mexicana En El Cine Mexicano Del Siglo De Oro Wednesdays at 5:00 Pm
    Spring 2010: Noche de Cine: La Revolución Mexicana en el cine mexicano del Siglo de Oro Wednesdays at 5:00 pm February 10 Enamorada, (1949), Director: Emilio Fernández, 96 minutes, Spanish. Presented by Sergio Martínez Summary: During the Mexican Revolution days a Zapatista General arrives to the City of Cholula. Once he takes over the city he becomes obsessed with the beautiful Beatriz, daughter of the most powerful man in Cholula. February 17 La soldadera, (1967), Director: José Bolaños, 148 minutes, Spanish. Presented by Sergio Martínez Summary: La Soldadera is based on Eisenstein Soldadera portion of the movie Que Viva Mexico! When her husband is taken away by government troops at the time of the Mexican Revolution, la soldadera tries to follow him. After he dies, she joins up with other women in her situation to fight for the Revolution. March 3 La Cucaracha, (1958), Director: Ismael Rodríguez, 97 minutes, Spanish with English subtitles. Presented by Gloria Vásquez Summary: La Cucaracha is a film celebrating the Mexican Revolution. La Cucaracha is a brave woman leading a group of revolutionary of woman. The story represents a bourgeois lady who is forced to join the group and fight for the revolutionary ideals. March 17 El compadre Mendoza, (1934), Directors: Juan Bustillos and Fernando de Fuentes, 85 minutes, Spanish with English Subtitles. Presented by Sergio Martínez Summary: During the Mexican Revolution, Rosalio Mendoza survives by making and winning favors from both, the government forces and Zapatista Army. He welcomes everybody on his hacienda; eventually, the situation becomes unsustainable and he has to take sides.
    [Show full text]
  • YOU KILLED ME FIRST the Cinema of Transgression Press Release
    YOU KILLED ME FIRST The Cinema of Transgression Press Release February 19 – April 9, 2012 Opening: Saturday, February 18, 2012, 5–10 pm Press Preview: Friday, February 17, 2012, 11 am Karen Finley, Tessa Hughes-Freeland, Richard Kern, Lung Leg, Lydia Lunch, Kembra Pfahler, Casandra Stark, Tommy Turner, David Wojnarowicz, Nick Zedd “Basically, in one sentence, give us the definition of the ‚Cinema of Transgression’.” Nick Zedd: “Fuck you.” In the 1980s a group of filmmakers emerged from the Lower East Side, New York, whose shared aims Nick Zedd later postulated in the Cinema of Transgression manifesto: „We propose … that any film which doesn’t shock isn’t worth looking at. … We propose to go beyond all limits set or prescribed by taste, morality or any other traditional value system shackling the minds of men. … There will be blood, shame, pain and ecstasy, the likes of which no one has yet imagined.“ While the Reagan government mainly focused on counteracting the decline of traditional family values, the filmmakers went on a collision course with the conventions of American society by dealing with life in the Lower East Side defined by criminality, brutality, drugs, AIDS, sex, and excess. Nightmarish scenarios of violence, dramatic states of mind, and perverse sexual abysses – sometimes shot with stolen camera equipment, the low budget films, which were consciously aimed at shock, provocation, and confrontation, bear witness to an extraordinary radicality. The films stridently analyze a reality of social hardship met with sociopolitical indifference. Although all the filmmakers of the Cinema of Transgression shared a belief in a radical form of moral and aesthetic transgression the films themselves emerged from an individual inner necessity; thus following a very personal visual sense and demonstratively subjective readings of various living realities.
    [Show full text]
  • Violence and Masculinity in Hollywood War Films During World War II a Thesis Submitted To
    Violence and Masculinity in Hollywood War Films During World War II A thesis submitted to: Lakehead University Faculty of Arts and Sciences Department of History In partial fulfillment of the requirements for the degree in Master of Arts Matthew Sitter Thunder Bay, Ontario July 2012 Library and Archives Bibliothèque et Canada Archives Canada Published Heritage Direction du Branch Patrimoine de l'édition 395 Wellington Street 395, rue Wellington Ottawa ON K1A 0N4 Ottawa ON K1A 0N4 Canada Canada Your file Votre référence ISBN: 978-0-494-84504-2 Our file Notre référence ISBN: 978-0-494-84504-2 NOTICE: AVIS: The author has granted a non- L'auteur a accordé une licence non exclusive exclusive license allowing Library and permettant à la Bibliothèque et Archives Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par télécommunication ou par l'Internet, prêter, telecommunication or on the Internet, distribuer et vendre des thèses partout dans le loan, distrbute and sell theses monde, à des fins commerciales ou autres, sur worldwide, for commercial or non- support microforme, papier, électronique et/ou commercial purposes, in microform, autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriété du droit d'auteur ownership and moral rights in this et des droits moraux qui protege cette thèse. Ni thesis. Neither the thesis nor la thèse ni des extraits substantiels de celle-ci substantial extracts from it may be ne doivent être imprimés ou autrement printed or otherwise reproduced reproduits sans son autorisation.
    [Show full text]
  • Index to Volume 26 January to December 2016 Compiled by Patricia Coward
    THE INTERNATIONAL FILM MAGAZINE Index to Volume 26 January to December 2016 Compiled by Patricia Coward How to use this Index The first number after a title refers to the issue month, and the second and subsequent numbers are the page references. Eg: 8:9, 32 (August, page 9 and page 32). THIS IS A SUPPLEMENT TO SIGHT & SOUND Index 2016_4.indd 1 14/12/2016 17:41 SUBJECT INDEX SUBJECT INDEX After the Storm (2016) 7:25 (magazine) 9:102 7:43; 10:47; 11:41 Orlando 6:112 effect on technological Film review titles are also Agace, Mel 1:15 American Film Institute (AFI) 3:53 Apologies 2:54 Ran 4:7; 6:94-5; 9:111 changes 8:38-43 included and are indicated by age and cinema American Friend, The 8:12 Appropriate Behaviour 1:55 Jacques Rivette 3:38, 39; 4:5, failure to cater for and represent (r) after the reference; growth in older viewers and American Gangster 11:31, 32 Aquarius (2016) 6:7; 7:18, Céline and Julie Go Boating diversity of in 2015 1:55 (b) after reference indicates their preferences 1:16 American Gigolo 4:104 20, 23; 10:13 1:103; 4:8, 56, 57; 5:52, missing older viewers, growth of and A a book review Agostini, Philippe 11:49 American Graffiti 7:53; 11:39 Arabian Nights triptych (2015) films of 1970s 3:94-5, Paris their preferences 1:16 Aguilar, Claire 2:16; 7:7 American Honey 6:7; 7:5, 18; 1:46, 49, 53, 54, 57; 3:5: nous appartient 4:56-7 viewing films in isolation, A Aguirre, Wrath of God 3:9 10:13, 23; 11:66(r) 5:70(r), 71(r); 6:58(r) Eric Rohmer 3:38, 39, 40, pleasure of 4:12; 6:111 Aaaaaaaah! 1:49, 53, 111 Agutter, Jenny 3:7 background
    [Show full text]
  • Marlon Riggs
    Speaking the Self: Cinema of Transgression Flaming Creatures “At once primitive and sophisticated, hilarious and poignant, spontaneous and studied, frenzied and languid, crude and delicate, avant and nostalgic, gritty and fanciful, fresh and faded, innocent and jaded, high and low, raw and cooked, underground and camp, black and white and white on white, composed and decomposed, richly perverse and gloriously impoverished, Flaming Creatures was something new. Had Jack Smith produced nothing other than this amazing artifice, he would still rank among the great visionaries of American film.” [J. Hoberman] Jack Smith: Flaming Creatures, 1963 • Writer, performance artist, actor. Classic “downtown” underground personality. • Smith endorsed a realm of “secret flix” ranging from B-grade horror movies to Maureen O'Hara Spanish Galleon films, from Busby Berkeley musicals to Dorothy Lamour sarong movies. Singled out Universal Pictures' “Queen of Technicolor,” Maria Montez, star of exotic adventure films such as Arabian Nights (1942), Ali Baba and the Forty Thieves (1944), and Cobra Woman (1944). • Loose tableau set to scratchy needle-drop music: “polymorphous perverse.” • Banned in New York state, 1964. Vigorous defense by Susan Sontag and others. Outsiders • David Lynch: “John Waters opened up an important space for all of us.” Pink Flamingos • Why has this work come to be celebrated? Midnight Movie shock value or esthetic/cultural importance? • What role does this film play in the lives of its actors? • Film as an esthetic experience vs. film as a liberatory social rallying cry. Compare to punk music. • How does this film address its audience? How might “specific, historical audiences” read this differently? Outsiders “The term camp—normally used as an adjective, even though earliest recorded uses employed it mainly as a verb—refers to the deliberate and sophisticated use of kitsch, mawkish or corny themes and styles in art, clothing or conversation.
    [Show full text]