sep / oct 2011

BAM/PFA UC Berkeley Art Museum & Pacific Film Archive program guide

silke Otto-Knapp Richard Misrach Desirée Holman Kurt Schwitters create himalayan pilgrimage Dziga Vertov UCLA Festival of Preservation Paul Sharits yilmaz güney Cinema in the Seventies TERRY RILEY robin cox ensemble 01

BAM/PFA EXHIBITIONS & FILM SERIES

Silke Otto-Knapp / MATRIX 239 p. 7

1991: The Oakland-Berkeley Fire Aftermath

Photographs by Richard Misrach p. 5

Richard Misrach: Photographs from the Collection p. 6

Desirée Holman: Heterotopias / MATRIX 238 p. 9

Create p. 8

Rome, Naples, Venice: Masterworks from

the BAM/PFA Collection p. 9

Kurt Schwitters: Color and Collage p. 8

Himalayan Pilgrimage: Journey to the Land of Snows p. 9

Thom Faulders: BAMscape

UCLA Festival of Preservation p. 15

The Outsiders: New Hollywood Cinema in the Seventies p. 12

Sounding Off: Portraits of Unusual Music p. 18

Alternative Visions p. 22

Anatolian Outlaw: Yilmaz Güney p. 20

Kino-Eye: The Revolutionary Cinema of Dziga Vertov p. 24

A Theater Near You p. 19

Paul Sharits: An Open Cinema p. 23

Home Movie day p. 17

Rainer Werner Fassbinder: Two Great epics p. 26

Get More Listen to artist Desirée Holman in conversation with curatorial assistant Dena Beard, bampfa.berkeley.edu/podcasts. Cover Dziga Vertov: Imitation of the "Leap from the Grotto" (PE 5), c. 1935; from the Vertov Collection, Austrian Film Museum, Vienna. Listen to the June 23 Create roundtable discussion, bampfa.berkeley.edu/podcasts. 01. Peter Bissegger: Reconstruction of Kurt Schwitters’s Merzbau, 1981-83 (original ca. 1930–37, destroyed 1943); 154 3/4 × 228 3/8 × 181 in.; Sprengel Museum Hannover; Photo: Michael Herling/ Learn more about L@TE artists and programmers at bampfa.berkeley.edu/late. Aline Gwose, Sprengel Museum Hannover © Peter Bisseger.

Find expanded film program notes, selected film trailers, and video reviews on our website, 02. Terry Riley, 09.09.11. Photo: Sara Sackner. bampfa.berkeley.edu. 2 september & october 2011 02

from the director short list

We have a new look! With the help of Noon design weekly Film Update, L@TE announcements, exhibi- exhibitions in San Francisco, we have redesigned our bimonthly tion announcements, member event reminders, and Preview the exhibition 1991: The Oakland-Berkeley Fire Aftermath, Photographs magazine to engage you more effectively in our excit- a subscription to our iCal feed. You can sign up for or by Richard Misrach at our community evening and add your recollections to the ing and diverse programming. Many of the features of manage your subscriptions to these e-publications at elegy ledger. October 12. Page 5. the new BAM/PFA Program Guide were initiated by bampfa.berkeley.edu/signup. You can also get more feedback from you, our readers. Full-color images give if you find us on Facebook (facebook.com/bampfa), MATRIX Live! MATRIX moves to L@TE for the opening of Silke Otto-Knapp’s exhibition of watercolor paintings inspired by dance and performance. Videos, you a better sense of what you will encounter in the follow us on Twitter (twitter.com/bampfa), or read our live dance performances, and a Q & A with the artist. September 30. Page 4. theater and the galleries. The smaller, more manageable blog, blook.bampfa.berkeley.edu. format includes a larger calendar that joins together all film A new section of our website, bampfa.berkeley.edu/ of our programming in one place: art, film, and public programguide, includes a pdf of this publication for Join us for a screening of the much-anticipated restoration of Barbara Loden's programs; L@TE performances; and member events. New you to download. This is also where you can find a list independent masterpiece, the 1970 semi-autobiographical Wanda. September 3. “In Person” sections enable you to find out at-a-glance of BAM/PFA Program Guide distribution points, so you Page 15. which artists, filmmakers, and experts are coming to can find out where to pick up a copy in your Bay Area Get your tickets now for Kurt Cobain's favorite film, Jonathan Kaplan's Over the BAM/PFA. And throughout the BAM/PFA Program Guide, neighborhood. Of course, they will always be avail- Edge (1979), with screenwriter Charlie Haas in person. Part of our extensive series we indicate when you can find additional information able in our galleries and the PFA Theater. As always, The Outsiders: New Hollywood Cinema in the Seventies. October 2. Page 14. online: expanded film notes, film trailers, podcasts of though, the best way to ensure that you receive the artist’s talks, and other multimedia content that will public programs BAM/PFA Program Guide every other month is to become a enhance your BAM/PFA experience. BAM/PFA member (bampfa.berkeley.edu/join). Get inspired by Schwitters! Pick up a pair of scissors and make collages with The ways in which we communicate with our audiences local artists William Theophilus Brown and Veronica de Jesus. September 18 We hope you agree that the new BAM/PFA Program and members have changed dramatically in recent and October 9. Page 10. Guide communicates our excellence, edge, and energy. years. Our new BAM/PFA Program Guide is designed l@te to work in conjunction with our website and our Lawrence Rinder, Director Don’t miss a transcendent evening of reverbations in Gallery B, as living legend e-publications: the monthly Art & Film Update, the Terry Riley returns to L@TE with a rare solo concert on piano and synthesizer. September 9. Page 4.

3 BAM / PFA GALLERIES ALWAYS FREE FOR BAM/PFA MEMBERS TE L@ L@TE FRIDAY NIGHTS @ BAM/PFA

01 02 / 03 / 04 05 / 06

Friday / 09.02.11 Friday / 09.16.11 Friday / 10.07.11 Friday / 10.28.11 7:30 7:30 7:30 7:30 Chris Kubick & The Forbidden Zone Random Rotations The Blob: Seth Horvitz Programmed by Harrell Fletcher Programmed by Kamau Patton A Shapeless Spectacle Programmed by Kamau Patton Programmed by Steve Seid Doors 5:00 Doors 5:00, DJ 6:30 Doors 5:00, DJ 6:30 Doors 5:00, Projection performance 6:30 Celebrate the Create exhibition with films and Four artists whose practices expand the bound- Guest programmer Kamau Patton’s L@TE video projections, a moderated discussion with aries of the stage converge to create a collage Beware! The Blob! That amorphous 1970s mocu- programs explore the artistic legacy of Kurt the artists, a dance party DJ’d by some of the of overlapping performance and sensation monster movie is coming, slowly undulating its Schwitters. Tonight’s program features artists centers’ artists, and other special surprises. The that implicates the viewer as participant. Amid way into Gallery B. This will be a B2B viewing working in digital and electronic media whose night will include a screening of The Forbidden Parker Ito’s newsprint and video installation, experience—Blob to Bamscape. Let’s stick to the work investigates notions of space and col- Zone, guest programmer Harrell Fletcher’s col- Lana Voronina performs a one-woman show sticky one: Beware, a.k.a. The Son of the Blob. lage. Experience Berkeley-based artist Chris laborative project with Chris Johanson, the late with video collage, electronic music, and psy- The Blob blobulates around town, absorbing all Kubick’s Many Many More Than One, a swirl- Creativity Explored artist David Jarvey, Elizabeth chosomatic movement. Suzy Poling’s installation creatures, big and small: Godfrey Cambridge, ing multichannel audio-video environment Meyer, and Alexis Van Hurkman that explores of sculpture and light devices will respond to Bud Cort, even the totally edible director/star that explores and twists film and T.V. sound Jarvey’s interest in an early Star Trek episode. her live performance on flute and synthesiz- Larry Hagman. To keep things as formless as effects to simulate the murmurs of crowds. ers. Brad Troemel’s Blind Mist, an interactive, possible, we’ll extrude an ill-defined selection Friday / 09.30.11 Then listen as the cavernous space of Gallery Internet-enabled, revolving display of images of gooey, gooshy treats to eat. Beside our blob, 5:30 B fills with a complex audio composition by MATRIX Live will be projected throughout the night. Go to BAMscape, will be another, a giant air sac with artist and musician Seth Horvitz that uses as Programmed by Dena Beard blindmist.com and enter your image to be sounds and images emitting from its moving source material a recording of Kurt Schwit- Films and Q & A 5:30, Dance performances 7:30 included in the random rotation. membrane. Join us for a totally blobular bash. ters reciting his epic sound-poem Ursonate. MATRIX moves out of Gallery 1 with a L@TE Friday / 10.14.11 program that brings the paintings of Silke Otto- Friday / 09.09.11 7:30 7:30 Knapp to life. The evening commences with stage Robin Cox Ensemble Programmed by Sarah Cahill L@TE is made possible in part by the continued Terry Riley videos from the Pacific Film Archive collection, Programmed by Sarah Cahill support of the BAM/PFA trustees. including a rare 1969 performance by Yvonne Doors 5:00, Performance 5:30 Doors 5:00, DJ 6:30 Admission is $7; free for BAM/PFA members Rainer, followed by a Q & A with Otto-Knapp. The Los Angeles-based Robin Cox Ensemble, and Cal students. Living legend and UC Berkeley alumnus Terry Linda K. Johnson will perform two variations of dubbed “local heroes” by L.A. Weekly’s Alan Galleries open until 9 p.m. Riley returns to BAM/PFA in a rare solo con- Rainer’s Trio A, emphasizing the stage dynamics Rich, brings its unique “postclassical” combi- cert on piano and synthesizer. Best known as and gestural discipline of this seminal dance. nation of acoustic instruments and electronics the godfather of minimalist music, Riley’s per- Choreographer Flora Wiegmann concludes the to L@TE, performing a selection of composi- formances encompass North Indian classical night with a site-specific dance that reinterprets tions by Bay Area composers. This is a chance 01. Terry Riley, 09.09.11. Photo: Sara Sackner. music, American jazz, and a particular strain of still-frame photography. to see a young and energetic sextet on their 02. Chris Kubick & Seth Horvitz, 09.02.11

musical experimentalism that is uniquely Cali- rise to international acclaim. 03. The Forbidden Zone, 09.16.11 fornian. Feel free to bring pillows or blankets 04. Robin Cox Ensemble, 10.14.11 so you can stretch out on the gallery floor or 05. MATRIX Live, 09.30.11. Courtesy of the Banff Centre, on BAMscape and enjoy the reverberations. Alberta. Photo: Laura Vanags.

06. The Blob: A Shapeless Spectacle, 10.28.11

4 september & october 2011 is made possible by the generous support of The Robert Robert The of support generous the by Mapplethorpe Foundation possible and made BAM/PFA is members. Misrach Richard by Photographs Aftermath, Fire Oakland-Berkeley 1991: with charge no at proof of membership. presentation their view may members BAM/PFA 2012. 12, February through 2011 15, October from view on of presentation ’s of Museum Oakland The 5 B A giving seven prints to each institution. The monumental California, of Museum Oakland the to and BAM/PFA to donated fourteen newly printed large-scale photographs anniversary of the Oakland-Berkeley fire, the artist has twentieth the commemorate to Now, images. the exhibit to not chose injured—Misrach 150 and killed were people fire—twenty-five the of victims the for respect of Out transformed. aworld reveal sensational, being without dramatic compositions, The aftermath. fire’s the of beauty ing haunt and horror the capture subjects, his of framing by distinguished resulting Misrach’s images, masterful The homes. destroyed of details intimate and vistas he roamed devastated neighborhoods, recording stark ruins, the amidst alone Working camera. view ten-inch eight-by- his with armed zone fire the into ventured acres, renowned Bay Area photographer Richard Misrach and destroyed nearly three thousand houses and 1,520 hills Berkeley and Oakland the struck that firestorm catastrophic the following immediately 1991, October In N O R 1991: Th c E t f W ob E i A term XHI M / e ch 12, 2011–Fe r 12, P B FA I T I O N e Oa a a t br h ua rd Misrrd , Ph , r k y 5, 2012 y 5, lan oto is is Misrach Richard by Photographs Aftermath, Fire Oakland-Berkeley 1991: d- B g - l erke r and Collections Lucinda Barnes, Chief Curator and Director of Programs memory.” collective our as serve will these like commentary and photographs only Eventually, past. the into recede to continues itself event the as impact fire’s the of perspective changing the chronicling material exhibition the of part as remain will book “This notes, Misrach ledger.” “elegy an galleries, the in book handmade to a reflections and recollections own their by contributing history of recording this in participate can museum the to Visitors record. historical to reportage journalistic from years, twenty past the over meaning their in shifted have photographs These public. the to exhibited be will time the the time first the series, the from images other alongside prints simultaneously presenting the fourteen large-format is museum Each elegies. quiet Misrach’s into enter to viewer the feet—invites by ten eight are two and feet scale of these photographs—twelve measure five by six a p Oakland-Berkeley Fire Aftermath Oakland-Berkeley s by by hs h ac ey F ey i re photographs

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EXHIBITIONS EXHIBITIONS 6 01. S

General Acquisitions Fund purchase. Roman Ruins and Greek Ancient of Photographs Graecism: (overview) Richard Misrach: eptember & october 2011 , 1979–82, from the portfolio portfolio the from , 1979–82, ; dye transfer print; 16 × 20 in.; in.; × 20 16 print; transfer ; dye Parthenon Interior oto Ph R Shown in its entirety for the first time in BAM/PFA history, Misrach’s Misrach’s history, BAM/PFA in time first the for entirety its in Shown popularize. to helped Misrach that a format prints, chromogenic large-scale his as well as photography color into forays early artist’s the include collection BAM/PFA’s from drawn pictures Selected autumn. this Gallery Theater the in view on Misrach Richard of photographs the in spotlight the share decay and Sublimity Graecism with Graecism Presented exposure technique, the resulting imagery takes on the quality of a modern Hollywood sound stage. along using shot and night at by strobes Lit ruins. Roman and Greek of prints transfer dye vintage twelve N Stephanie Cannizzo, Assistant Curator series, two comprised that Work Berkeley Misrach: Richard presented we 2002 in and 1989, in Program MATRIX our in featured was Misrach alumnus, Berkeley AUC BAM/PFA. with association longtime Misrach’s celebrates also and 5) page This exhibition coincides with changing. ever actually is fixed is what that revealing conditions, atmospheric and hues, colors, its in unique is photograph each point, vantage exact same the sharing Although years. three about of period a day over of times different at Bridge Gate Golden the of images hundred seven than more captured and Hills Berkeley the in home his of porch front the to camera his secured Misrach (1997–2000), series Gate Golden his For bombs. high-explosive test to Navy States United by the used was that Indians Paiute by Nevada’s creation” of “source the considered Range Bombing 20 Bravo from (1986), Fish Dead example, For nature. and mankind Range Bombing 20 O c E t W ob i E XHI e ch 12, 2011–Fe r 12, B I T I O gr N , all part of Misrach’s ongoing visual narrative examining the complex relationship between between relationship complex the examining narrative visual ongoing Misrach’s of part , all a and and 3A.M. Telegraph a br Golden Gate are from samplings Misrach’s acclaimed Golden series ua p rd Misrrd

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September 30, 2011–January 15, 2012 Public Program NEW EXHIBITION Friday / 09.30.11 / 5:30 The paintings of Silke Otto-Knapp require movement. With layered washes of similarly hued watercolors, the L@TE: MATRIX Live / Exhibition canvases of this London-based German artist seem at first monochromatic, but slight changes in light or a Opening p. 4 viewer’s position reveal clusters of dancers, a single body pressed up against the edges of the picture plane, or a moonlit landscape. Moving in front of the paintings, we see their potential motion—iconic performances Member Event by George Balanchine, Yvonne Rainer, Bronislava Nijinska lie latent within, or a landscape appears: a painted backdrop, awaiting stage directions. Reinterpreting the modernist logic of Ad Reinhardt and Merce Cunningham, Tuesday / 09.27.11 / 6:30 Otto-Knapp draws from the vocabulary of abstraction to renew our engagement in the act of seeing. Explorers’ Circle: MATRIX Chat Otto-Knapp’s recent work conflates the mediums of painting and performance by creating a third site: a theatrical/ with Silke Otto-Knapp p. 32 pictorial stage. Her application of silver pigment serves to echo the shiny seduction of Pop materiality and to veil, or curtain, the represented image. Appropriating famous photographs from contemporary choreography, she stages them within, and behind, this ethereal pigment. This makes for a surprisingly kinesthetic spectacle: figures

01. Silke Otto-Knapp: Stage, 2009; watercolor and gouache on float tenuously between visibility and invisibility, refusing to be ‘fixed’ onto the canvas, and we, as spectators, canvas; 55 × 67 in.; courtesy of the artist and Gavin Brown’s perform our own extemporal choreography out of the friction of standing before and within staged space. enterprise, . This work has inspired a L@TE event with rare videos and live dance performances that will celebrate the opening of the exhibition.

Dena Beard, Curatorial Assistant

Exhibition conceived by Phyllis Wattis MATRIX Curator Elizabeth Thomas. The MATRIX Program at the UC Berkeley Art Museum and Pacific Film Archive is made possible by a generous endowment gift from Phyllis C. Wattis; The Andy Warhol Foundation for the Visual Arts; and the continued support of the BAM/PFA Trustees.

7 BAM / PFA GALLERIES ALWAYS FREE FOR BAM/PFA MEMBERS EXHIBITIONS 8 S Creativity Explored, San Francisco. Reyes: Evelyn Photo: Michael Herling/Aline Gwose. Sprengel Museum Hannover, loan from Kurt and Ernst Schwitters Stiftung. Kurt Schwitters: Schwitters: Kurt eptember & october 2011 , 2010; oil pastel on paper; 12 × 18 in.; courtesy of the artist and and artist the of courtesy in.; × 18 12 paper; on pastel oil , 2010; Carrots Mz 601 Mz , 1923; paint and paper on cardboard; 17 × 15 in.; in.; × 15 17 cardboard; on paper and paint , 1923;

International (ICI). A national tour of of tour A national Trustees. BAM/PFA the of support continued the and Foundation, LEF the Laudati, M. Rosalyn Dr. and Pick B. James Dr. by part in possible made was and York New Columns, White of director Higgs, made at the three centers. three the at made work of variety the and excellence the both demonstrates styles, and media of avariety representing work, whose artists Create art. contemporary of field the to once seen as outsiders have made important contributions artists which in atmosphere an fostered have studios these dynamic centers of art making, such as Gee’s Bend, Alabama, become have that communities small other Like Richmond. in Center Art NIAD and Explored, Creativity Francisco’s San Oakland, in Center Art Growth Creative disabilities: mental develop with artists for centers pioneering three at made Create collage and painting. his between relationship the explores and work artist’s the in light and color of significance the on emphasis particular places Merzbau installation sculptural room-size his of Including assemblages, collages, sculpture, and a reconstruction avant-garde. international the of figures innovative and daring most the of one examines Collage and Color Schwitters: Kurt years, twenty-five than more in States United the in appear to work Schwitters’s of presentation museum major first The C CO CO K C T C trustees. BAM/PFA the of support continued the by and Fund Karlinsky Simon the by part in possible made is presentation Collection. Menil the of Airline Preferred the is Airlines eveninginaugural of Exhibition Continental underwriter MEN OF MENIL. the from proceeds by and Houston; of City the Zilkha; Michael and Nina Fort; Sissy and Denny Kempner; Northern Trust; Ann and Mathew Wolf; Jeff and Barthelme Marion Sarofim; Allison Group; Lionstone Taub; J. Carol and Taub, J.N. Henry Taub, Ben of memory in Foundation Taub the Karen and Harry Pinson; Louisa Stude Sarofim; Leslie and Shannon Sasser; Negley; Brown Nancy Mrs. Morgan; Catherine Inc.; Foundation, Brown The Inc.; Endowment Houston Arnold; John and Laura from gifts by supported generously is exhibition This Collection. Menil the of director Helfenstein, Schwitters Archive at the Sprengel Museum Hannover, with Josef Kurt the of curator and Foundation Schwitters Ernst and Kurt the of director executive Schulz, Isabel curator guest by curated is Houston, Collage and Color Schwitters: Kurt T r h h eate ro ro N N urt Sc urt re ol T T is curated by BAM/PFA Director Lawrence Rinder, with Matthew Matthew with Rinder, Lawrence Director BAM/PFA by curated is IN IN ugh Septe ugh Nov is a major survey exhibition that brings together work work together brings that exhibition survey a major is Uing Uing or an or a te

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Desirée Holman: Heterotopias MATRIX 238

Through september 18 Public Program CONTINUing EXHIBITION Wednesday / 09.07.11 / 6:00 Heterotopias continues Desirée Holman’s exploration of our tendency Desirée Holman in conversation with to engage in fictional narratives. ForHeterotopias , Holman asked nine Sherry Turkle p. 10 performers to each create a surrogate identity, which she then realized, first with props and costumes, and then with fully rendered 3-D virtual models. The resulting three-channel video, which moves between live-action Desirée Holman: video still from Heterotopias, 2011; three-channel HD video; 13 min.; courtesy of the artist and Silverman Gallery, San Francisco. costumed roleplaying and digitally animated avatars, features characters The MATRIX Program at the UC Berkeley Art Museum dancing and battling in settings derived from the image stream of the and Pacific Film Archive is made possible by a generous endowment gift from Phyllis C. Wattis; The Andy Warhol Web. Transcending the real and the virtual, Heterotopias explores the Foundation for the Visual Arts; and the continued support performance of the self in everyday life. of the BAM/PFA Trustees.

Himalayan Pilgrimage: Journey to the Land of Snows

Through 2013 CONTINUing EXHIBITION

Reaching across several centuries and over the highest mountains in the world, Buddhism spread from through the narrow corridors of Central Asia into Tibet, where it has remained the primary ethical and moral compass of the Tibetan people. Explore this journey in Himala- yan Pilgrimage: Journey to the Land of Snows through exceptionally beautiful sculpture and painting dating from the ninth to the eighteenth Unidentified artist, Tibet:Shakyamuni Buddha, 14th century; gilt centuries. The central image, a five-foot-tall seated Buddha, provides the bronze; 56 in. high; on long-term loan from a private collection. axis and symbolic core of the exhibition. From this, the exhibition goes on to explore the cosmic realms of Vajrayana, the Diamond Vehicle of Tibetan Tantric Buddhism.

Rome, Naples, Venice: Masterworks from the BAM/PFA Collection

Through October 15 CONTINUing EXHIBITION member event Tuesday / 09.20.11 / 6:30 In celebration of the one hundred and fiftieth anniversary of the Italian Explorers’ Circle: Italian Art & Wine Republic, we present Rome, Naples, Venice: Italian Masterworks from Workshop p. 32 the BAM/PFA Collection. This exhibition brings together striking works by Mannerist and Baroque artists, including Caravaggio, Giovanni Benedetto Castiglione, Giambattista Tiepolo, and Il Cavaliere D’Arpino, that reflect a vibrant range of artistic innovation from three of ’s great cities.

Giovanni Battista Tiepolo: Flying Female Figure, c. 1744; pen, ink, and wash on paper; 10 9/16 × 7 15/16 in.; museum purchase.

9 BAM / PFA PUBLICPUBLIC PROPROGRAMSGRAMS 10 02. 05. 04. 03. 02. 01. otherwise noted. otherwise with museum admission, unless All gallery programs included september & october 2011

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Saturday / 09.03.11 / 6:00 Wednesday / 09.21.11 / 7:30 Saturday / 10.01.11 / 6:00 Wednesday / 10.12.11 / 7:30

The Reach of Resonance with film- A Sixth Part of the World with live piano The Herd with Deniz Göktürk, UC Berke- Paul Sharits: Midcareer Work with guest maker Steve Elkins and musician Bob accompaniment by Judith Rosenberg ley professor in German and Film and curator Jennifer Pranolo, UC Berkeley Ostertag p. 18 p. 24 Media p. 21 doctoral student in Rhetoric and Film and Media p. 23 Wednesday / 09.07.11 / 7:30 Friday / 09.23.11 / 7:00 Wednesday / 10.13.11 / 7:30 Martha Colburn’s Collage Animation Enthusiasm: Symphony of the Don-

with filmmakerMartha Colburn p. 22 bass with Adelheid Heftberger, curator Paul Sharits: Late Work with guest of the Vertov Collection, Austrian Film curator Jennifer Pranolo, UC Berke- Thursday / 09.08.11 / 7:00 Museum, Vienna p. 24 ley doctoral student in Rhetoric and Trimpin: The Sound of Invention and 5 Film and Media p. 23 Variations on a Long String with film- maker Peter Esmonde and musician Ellen Fullman p. 18

06

Saturday / 10.15.11 / 6:30

04 Amateur Night: Home Movies from American Archives with filmmaker sunday / 10.02.11 / 6:00 and amateur-film specialistDwight Swanson and film archivistPamela Over the Edge with screenwriter Charlie Jean Vadakan p. 17 Haas and film programmer/multimedia artist Peter Conheim p. 14 Tuesday / 10.18.11 / 7:00

Wednesday / 10.05.11 / 7:30 Kino-Pravda nos. 9–11, 13 with Anne Nesbet, UC Berkeley professor of Slavic Paul Sharits: Early Work with experi- Languages and Literatures and Film and mental-film scholar and CCA film history Media, and live piano accompaniment professor Federico Windhausen p. 23 by Judith Rosenberg p. 25 03 Sunday / 10.09.11 / 4:00 Wednesday / 10.19.11 / 7:30 Saturday / 09.10.11 / 8:35 Sunday / 09.25.11 / 2:00 Eve’s Leaves with live piano accom- Jordan Belson: Films Sacred and Pro- Cry Danger with film noir historian Kino-Pravda, Nos. 1–8 with Adelheid paniment by Judith Rosenberg p. 16 fane with guest curator Cindy Keefer, Eddie Muller p. 15 Heftberger, curator of the Vertov Col- Tuesday / 10.11.11 / 7:00 director of Center for Visual Music p. 22 lection, Austrian Film Museum, Vienna, Saturday / 09.17.11 / 6:30 and live piano accompaniment by Judith Kino-Week Nos. 31–35 with Anne Tuesday / 10.25.11 / 7:00 Hope with Deniz Göktürk, UC Berke- Rosenberg p. 24 Nesbet, UC Berkeley professor of Slavic Kino-Pravda Nos. 14–17 with live piano ley professor in German and Film and Languages and Literatures and Film and Tuesday / 09.27.11 / 7:00 accompaniment by Judith Rosenberg Media p. 20 Media, and live piano accompaniment p. 25 Kino-Week Nos. 1, 3, 4, 5, 21–25 with by Judith Rosenberg p. 25 Sunday / 09.18.11 / 4:00 Anne Nesbet, UC Berkeley professor of This Is Your Life: Holocaust Survivors Slavic Languages and Literatures and with Julie Kohner, daughter of Hanna Film and Media, and live piano accom- Bloch Kohner, whose appearance on This paniment by Judith Rosenberg p. 25 Is Your Life is featured in this program Wednesday / 09.28.11 / 7:30 p. 15 Zvenigora with live piano accompani-

ment by Judith Rosenberg p. 22

05

11 BAM / PFA MS

FIL The Outsiders: New Hollywood Cinema in the 01/02 Seventies

Friday / 09.02.11 7:00 The New Hollywood of the late 1960s and 1970s brought a wave of startling films The Heartbreak Kid (U.S., 1972) Archival Print! to American theaters. It was a period of political and cultural upheaval, and cinema Elaine May achieves a delicate balance in her second film as director: kept pace. Whether graduates of film school (including the “movie brats” Francis The Heartbreak Kid is a bitter satire that plays like a whimsical romantic Coppola, George Lucas, Brian DePalma, and Martin Scorsese) or of the legendary comedy. May’s daughter Jeannie shines as Lila, who marries Lenny producer/director ’s hands-on “school” of low-budget filmmaking (such Cantrow (Charles Grodin) at the film’s outset. The Jewish newlyweds drive as , Peter Bogdanovich, Monte Hellman, and Dennis Hopper), or of both, from New York to Miami Beach for their honeymoon, where Lila’s complete this younger generation of filmmakers passionately explored edgy subject matter with unselfconsciousness—and Lenny’s repeated run-ins with WASP princess a cutting-edge style. And while Andrew Sarris accurately described the results as a Kelly (Cybill Shepherd)—cause Lenny and his marriage to unravel. Grodin cinema of “alienation, anomie, anarchy, and absurdism,” it also exemplified a new kind brings a delightfully awkward energy to this film, which J. Hoberman called of realism. Sex, drugs, and rock-and-roll ruled, but so did the banality of everyday life. “one of the darkest, funniest visions of Jewish assimilation to emerge from Outsiders themselves, the New Hollywood makers championed rebels and underdogs Hollywood.” Jonathan L. Knapp in open-ended, atmospheric narratives that cast light on the dark side of the American dream. New , including Karen Black, Robert DeNiro, and Warren Oates, came Written by Neil Simon, from a story by Bruce Jay Friedman. Photographed by Owen Roizman. With Charles Grodin, Cybill Shepherd, Jeannie Berlin, Eddie to the forefront, embodying misfits and marginal characters. Albert. (106 mins, Color, 35mm, Courtesy of the Academy Film Archive)

Our series presents a cross-section of this new wave, focusing on filmmakers who made 9:10 their first film in this period, often with their own production company. A majority of The Landlord Hal Ashby (U.S., 1970) the filmmakers represented are little known: they made just one, two, or a few films “A film that, thirty-four years later, still feels daring, both stylistically and before opportunities closed down for boundary-pushing filmmaking. The series ranges politically.” Darren Hughes, Senses of Cinema from films by two of the few female filmmakers of the New Hollywood era, Barbara Beau Bridges is a casually clueless rich boy who becomes a Brooklyn Loden and Elaine May, to the radical reflections of Robert Kramer and Haile Gerima tenement landlord in Hal Ashby’s audacious satire on race and class, “one and the biting visions of Hal Ashby and Larry Cohen. It also includes early films by of the funniest social comedies of the period” (Village Voice). Its daring well-known directors Martin Scorsese, Peter Bogdanovich, and . They aesthetic announced a new era in American cinema, with mood and a changed the way movies were made. feel for place taking precedent over typical Hollywood narrative. A biting Kathy Geritz, Film Curator script by Bill Gunn (Ganja and Hess) reads like “a Marx Brothers movie charged up on LSD and left-wing politics” (Salon), while cinematography by (The Godfather; Annie Hall) captures pregentrified Park With thanks to Thom Andersen, Isa Cucinotta, Andrea Glawogger, Jonathan L. Knapp, Edith Kramer, Jason Sanders, and Steve Seid for sharing their ideas and expertise, and the Austrian Film Museum’s Slope (or “that dreadful slum”) in a golden light. Jason Sanders 2004 New Hollywood series, curated by Alexander Horwath, and accompanying book, The Last Written by Bill Gunn, based on the novel by Kristen Hunter. Photographed by Great American Picture Show: New Hollywood Cinema in the 1970s, for providing inspiration. Gordon Willis. With Beau Bridges, Pearl Bailey, Lee Grant, Marki Bey. (112 mins, Color, 35mm, From MGM)

01. Mean Streets, 10.08.11 Saturday / 09.03.11 02. Badlands, 10.08.11 8:50 03. Mikey and Nicky, 09.16.11 Wanda Barbara Loden (U.S., 1970) New Preservation Print! 04. Dusty and Sweets McGee, 09.15.11 See UCLA Festival of Preservation, p. 15.

GET MORE Find expanded program notes, selected film trailers, and video reviews on our website, bampfa.berkeley.edu.

12 september & october 2011 03 04

Friday / 09.09.11 Wednesday / 09.14.11 Friday / 09.16.11 7:00 7:30 8:45 Cisco Pike Ice Mikey and Nicky Bill L. Norton (U.S., 1971) Robert Kramer (U.S., 1970) Elaine May (U.S., 1976)

“An evocative, rather comprehensive portrait of America on Robert Kramer is “the most important American director Mikey (Peter Falk, who died in June) and Nicky (John the edge of chaos.” Stephen Farber, New York Times you’ve never heard of.” The New Yorker Cassavetes) are petty gangsters who grew up and grew A holy quintuplet of 1970s cultural icons—Kris Kristof- The legendary radical filmmaker Robert Kramer, a middle-aged together in Philadelphia. Now Mikey has ferson, Karen Black, , Harry Dean Stanton, committed anti-Vietnam War activist who founded a patina of respectability in the ‘burbs, while Nicky and the Warhol star Viva—anchor this atmospheric tale Newsreel Collective, turned to sci-fi thriller in the potent maintains the ruthless egotism of a charmed child. of a former rock star trying to move some stolen hash Ice, a combination of political documentary, Orwellian When Nicky’s karma comes home to roost and he finds through an extremely stoned Los Angeles. Filmed as the dystopia, and radical-left guerrilla theory. It stands as there is a hit out on him, disheveled and ulcerous he hippie ideals of the sixties were fading to spaced-out “the most original and significant American narrative calls on Mikey to say it isn’t so. “Just because they seventies hedonism, Cisco Pike disregards its osten- film of the late sixties/early seventies” (Jonas Mekas). wanna kill you doesn’t mean you’re gonna die,” is the sible bad cop/good pusher plot to instead focus on Sometime in the future, underground radical groups ready best Mikey can do, and for good reason. The tension the rhythms and shifting moods of the time: music for total revolution, while the U.S. invades Mexico and between tenderness and betrayal builds excruciatingly clubs, Hollywood bars, Hare Krishnas, casual hook-ups, paranoia becomes the norm. Science fiction flavored by as Nicky leads Mikey, and Mikey leads Nicky, through yoga poses, and more. Here, it’s all about the drugs, Mao and Che, shot on grainy 16mm, the revelatory Ice a long last night.

the scene, and—with Kristofferson supplying several is unlike anything made before or since. Jason Sanders Written by May. Photographed by Victor J. Kemper. With John Cassavetes, Peter Falk, Ned Beatty, Rose Arrick. memorable songs—the sound. Jason Sanders Photographed by Robert Machover. With Kramer, Tom (1976, 108 mins, Color, 35mm, From Westchester Films) Griffen. (135 mins, B&W, 16mm, From Film-Makers’ Written by Norton, Robert Towne (uncredited). Cooperative, permission Icarus Films) Photographed by Vilis Lapenieks. With Kris Kristofferson, Friday / 09.30.11 Karen Black, Gene Hackman, Harry Dean Stanton. (95 mins, 7:00 Color, 35mm, From Sony Pictures Releasing) Thursday / 09.15.11 Hickey & Boggs 7:00 Robert Culp (U.S., 1972) 8:55 Dusty and Sweets McGee Payday Floyd Mutrux (U.S., 1971) Several years after the end of I Spy, costars Robert Culp Daryl Duke (U.S., 1972) PFA Collection Print! “As an elegy to wasted youth, Dusty and Sweets McGee is and Bill Cosby reunited for this downbeat curio involving Rip Torn, in the role of a lifetime, plays mean-ass Maury irresistible.” Thom Andersen two private eyes trying to survive in a lovingly seedy Dann in a freefall through dingy motels, dreary liaisons, A legendary “lost film” of the 1970s,Dusty and Sweets Los Angeles. “There’s nothing left in this profession; and the bottom end of a bourbon, neat. Maury is a country McGee was released in 1971 but quickly withdrawn by a it’s not about anything,” complains private eye Hickey singer with a few minor hits, the melodies long since studio fearful of its too-lyrical take on drugs. In a sun- (Culp) while shaking off another night of heavy drink- faded. He and his pickup band are on a tour of C&W stained L.A., several “everyday dope fiends”—nearly ing. His partner Boggs (Cosby) still has the emotional dives in Alabama, playing for twelve-steppers doing all nonprofessional actors who were, in reality, profes- cool and muscle control that Hickey long since drank the two-step. Payday captures this swing through the sional dope fiends—go about their daily chores: scoring, away, but that might not go far when their search for a South with the gusto of a bar brawl—all broken bottles, hustling, tying up, and slipping down. An eye-opening, missing woman leads to a violent criminal underworld. bruises, and stumbling regrets. And Torn gets every surprisingly easy-natured mixture of cinema verité, Hickey & Boggs is a surprisingly atmospheric effort by

note right in the discordant riff that is Maury’s grimy Hollywood locales, seventies pop radio, and heroin, director Culp. Jason Sanders descent. Steve Seid Dusty and Sweets McGee was about thirty ahead of Written by Walter Hill. Photographed by Wilmer C. Butler. Written by Don Carpenter. Photographed by Richard C. its time in its blend of observational atmosphere and With Culp, Bill Cosby, Rosalind Cash, Sheila Sullivan. (111 Glouner. With Rip Torn, Ahna Capri, Elayne Heilveil, Michael mins, Color, 35mm, From MGM) documentary/fiction. Jason Sanders C. Gwynne. (102 mins, Color, 35mm, PFA Collection, Thanks to the Saul Zaentz Company) Written by Mutrux. Photographed by Wm. A. Fraker. With Billy Gray, Tip Fredell, Kit Ryder, Beverly Eckert. (92 mins, Color, 35mm, From Warner Bros., with thanks to Floyd Mutrux)

13 BAM / PFA FILMS 14 Baa of American regional cinema. regional American of (Vincent Canby), E Loose friendship and marriage and the limitations of each” about movie level-headed good, “A remarkably matter. another is course, of it, find they whether commitments; family and lives mundane their than bigger something and shooting pool, best friends Billy and Eddie dream of husband/wife team. Spending their days drinking beer by a Minneapolis in ashoestring on made frustrations, this humanist paean to working-class dreams and to—in try Denver—or for off set friends Two restless D L F Permission Warner Bros.) 16mm, Color, mins, (94 Northup. Harry Romano, Andy Kramer, Michael Dillon, Matt With Davis. Andrew by Written by Charlie Haas, Tim Hunter. Photographed conformity. seventies of denial” “a all, Like Teen Spirit Theuprising. notorious inspiration for Nirvana’s Smells youth and violence gang of fears to due circulation from pulled was film the Dillon), Matt then-unknown a mix of nonprofessionals and no-names (including a with Cast up. all it tear to time it’s occurs, tragedy when cops; by the hunted and parents by their despised or and/ ignored are Granada New featureless of teens the restless, and stoned, Bored, ideal. community planned- seventies the to torch a takes film wasteland Cheap Trick, and some quaaludes, this definitive teenage Dillon, Matt from help alittle with burn: suburbia, Burn, I I J O /10.02.11 Sunday Association.) Press Foreign Hollywood the and Foundation Film the from support with Art Modern of Museum the by Preserved Peebles. Van Melvin Permission 35mm, Color, mins, (97 Dullaghan. John Scales, Hubert Chuckster, Simon Peebles, Van With Maxwell. Robert by Photographed Peebles. Van by Written made.” film Black revolutionary truly first “the film the called P. Newton Huey Defense of Minister Panther Black cinema. of kind anew toward working seemingly style, and theme in techniques, Van Peebles gleefully embraces anarchy and other experimental superimpositions, jump cuts, Using leaders. religious black and bikers, prostitutes, of a string with out by hiding cops white evades director) by the (played protagonist titular the brutality, police from man black ayoung defending After Man.” the of enough had who Sisters and Brothers the all to diately its radical intentions: announces “Dedicated imme blaxploitation inventing with credited film The M S R E “Distinctly anti-romantic, it invites comparison with the september & october 2011 n P ntro onathan obin nglish essays on working-class life made in the sixties.” the in made life working-class on essays nglish B avid r V elvin oose oose weet weet ver the the ver erson iday / 10.07.11 iday W duction d ood M urton P an a K sssss E S aplan (U.S., 1971) A 1971) (U.S., eebles nds weetb Screenwriter Charlie Haas Peter Conheim Over the E the Over anarchic , the orris E d J (U.S., 1979) (U.S., onathan g , V S e W ictoria on nds ack L. K is an inspiring example g J S ason napp ’s P rchival (U.S., 1975) (U.S., ozniak

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- an American masterpiece and as noir as they come. they as noir as and masterpiece American an artists) the From 16mm, B&W, mins, (100 Cummins. With Chris Mulkey, John Jenkins, Linda Jenkins. M. Gregory by Photographed Wozniak. Morris, by Written . . . and a bloody shootout finale. . . . finale. . . . shootout a bloody and . . . hangout bar guys’ the in afratricide nasty; turns that forparty a neighborhood buddy just back from Vietnam a welcome-home here: situations and scenes brilliant of amultitude are There Keitel—guy. . . . loveable—to but immature irresponsible, Boy, an Johnny nutty the is DeNiro York neighborhood. New Italy, Little their in chief mafia local the of nephew the is Keitel manhood. young to grown now pals boyhood are DeNiro Robert and Keitel Harvey movie. great first Scorsese’s was This M Me Bros.) Warner permission Archive, Film Academy the of Warren Oates, Ramon Bieri. (94 mins, Color, 35mm, Courtesy Larner, Brian Probyn. With Martin Sheen, Sissy Spacek, Written by Malick. Photographed by Tak Fujimoto, Stevan grammar.” the Excuse caught. got hadn’t sign, a good far so . . . opinion of majority the with along get to try . . . teachers and parents your to “Listen norms: cultural mainstream with preoccupation acurious has Kit acriminal, For plains. Western the across spree killing ahaphazard on goes who type Dean James a Sheen), (Martin Kit follows film the Spacek), (Sissy Holly teenager of narration poetic the Through rhythms. languorous nature’s to attention equal devotes but violence, explores debut masterful Bonnie and Clyde and (1950) Crazy Gun predecessors lovers-on-the-run its Like T Badl Satu Sanders, Kaycee Moore, Charles Bracy, Angela Burnett. Written, photographed by Burnett. With Henry Gayle ahead. get by,alone let get to just struggle neighbors his and Stan himself. and children, his wife, his from disconnected exhaustion, in mired worker aslaughterhouse Stan, of character the on centers plot episodic The script. crafted a carefully with observation on-the-street keen combining cast, nonprofessional amostly with budget aminuscule on film the made Burnett Watts. 1970s in Americans African trials, fragile pleasures, and tenacious humor of blue-collar everyday the evokes Sheep of Killer Burnett’s Charles life” urban American of poem tone greatest—cinematic “A great—the C o Killer Warner Bros.) From 35mm, Color, mins, (110 Danova. Cesare Robinson, Amy Keitel, Harvey DeNiro, Robert With Wakeford. Kent Written by Scorsese, Mardit Martin. Photographed by B Milestone) From 35mm, B&W, mins, (81 G arry M errence B harles S artin a r ifford n day /10.08.11 day ands (U.S., 1973) 1973) (U.S., corsese D S (U.S., 1977) (U.S., urnett avid (U.S., 1973) ARCHIVAL PRINT! ARCHIVAL 1973) (U.S., alick treets f E

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J. slightly out of breath.” of out slightly P T Satu Films) Mypheduh From 16mm, B&W, mins, (96 Day. Lee Cora Burnett. With Barbara Jones, Johnny Weathers, Susan Williams, Written by Gerima. Photographed by Roderick Young, Charles humor. its as well as despair its language, ghetto of style distinctive rich, the capturing adocumentary, of acted, political awareness. Though scripted and professionally agrowing to self-hate black of expressions and fantasies escapist from range reality oppressive this to Responses workers. social and tenements, decaying lines, ployment unem offices, welfare violence, police of world ghetto—a the in life of turmoil the experience we eyes Dorothy’s Through commit. didn’t he acrime for jail in is man her while daughter her raise to trying Watts, in welfare on Bush Mama “ H B T Blakley. (112 mins, Color, 35mm, Permission Larry Cohen) Larry Permission 35mm, Color, mins, (112 Blakley. Broderick Crawford, Jose Ferrer, Michael Parks, Ronee Written by Cohen. Photographed by Paul Glickman. With proclivities. sexual strange Hoover’s on sheets the back pulling by rumor reifies Cohen Director witchhunts. wiggy his in alike presidents and politicians aside pushing from ungainly gangbuster to anti-Communist bulldog, rise Hoover’s to testament tabloid-like this narrates Torn Rip agent, adisgruntled Playing Bureau. the of exposé made without the de rigueur endorsement astute politically but ascandalous more, and that is as “cheap, lurid sensationalism,” Cohen’s FBI flogger byVariety Panned film. horror as lesson history first-ever the be might what in Hoover jowly the as Crawford E J. of Files Private The released, theatrically never but 1978 in Completed L T T Releasing) Pictures Sony From 35mm, B&W, mins, (127 Timothy Bottoms, JeffBridges, Cybill Shepherd,Ben Johnson. With Surtees. Robert by Photographed novel. McMurtry’s Written by Larry McMurtry and Bogdanovich, based on honky-tonk tearjerkers. broken that hearts find good company in all those of a trail leave that escapades sexual in by engaging and Snow, Hank and Frizell, Lefty Williams, Hank to listening by void the fill Texas town adesolate in folks movies, watching or pool shooting not When roles. their Ben Johnson, who both earned for emotional subtlety of veterans Cloris Leachman and exquisite the to Shepherd Cybill of beauty staggering the from actors: to attuned especially proves director The themes. Code post-Production decidedly with style Hollywood classical melds that picture and-white Peter Bogdanovich’s breakthrough is a gorgeous black- Bush Mama C arry B eter G aile hu hu he he he he ush Mama E rs rs d r Bush Mama La P (U.S., 1975) (U.S., erima ga (U.S., 1971) N 1971) (U.S., ogdanovich day /10.22.11 day (U.S., 1978) (U.S., ohen day / 10.20.11 day /10.27.11 day riv is fiery, furious, overflowing with rhetoric and rhetoric with overflowing furious, fiery, is st st focuses on Dorothy, a black woman living living woman ablack Dorothy, on focuses r S S teve a H P te Files o Files te oover i has all the immediacy and urgency urgency and immediacy the all has c eid N ture ture Y ew casts Broderick Hoover dgar J T ork onathan imes S how f 35 ew L. K

napp P mm rint 8:40 7:00 7:00 7:00 ! - ucla

Festival of 01/02 03 Preservation

Thursday / 09.01.11 Written by Loden. Photographed by Nicholas T. Proferes. With Michael Higgins, Loden, Frank Jourdano, Valerie 7:00 One of our great pleasures is sharing what our colleagues at other The Crusades Manches. (102 mins, Color, 35mm, Permission Televentures. Cecil B. DeMille (U.S., 1935) Preservation funded by the Film Foundation and Gucci.) film archives are doing to preserve cinema’s heritage, allowing “Two hours of tempestuous extravaganza.” NY Times, 1935 us to experience cinema as it was meant to be seen—and heard. Saturday / 09.10.11 With amazing set pieces and memorable flourishes, 8:35 The biennial Festival of Preservation from the UCLA Film and Cry Danger Television Archive showcases their masterful restoration and The Crusades is crafted with brio by a master at the Robert Parrish (U.S., 1951)

preservation achievements with a broad sampling of the works height of his powers. DeMille’s epic pits the Islamic Introduction Eddie Muller warrior Saladin against ’s Richard “the Lion- they have rescued over the past few years. A Cecil B. DeMille epic, Eddie Muller is a writer, filmmaker, noted noir historian, and vintage episodes of This Is Your Life, a Paul Strand-photographed heart” (Henry Wilcoxon) as religious factions clash for president of the Film Noir Foundation. control of Jerusalem. Richard sees the crusade as an docudrama, early Douglas Sirk in blazing black-and-white, silent In his directorial debut, former editor Robert Parrish opportunity to escape a marriage to the dour princess star Leatrice Joy in a cross-dressing role, Zero Mostel in Waiting skillfully transforms screenwriter Bill Bowers’s acerbic of (DeMille’s daughter, Katherine), but ultimately for Godot, and the premiere of a resurrected gem, Barbara and droll Cry Danger into a noir gem, “a crackerjack finds it necessary to take a bride (Loretta Young as Loden’s Wanda, are among the pristine prizes from the Festival crime film—short, smart, sassy, and full of surprises” Berengaria). The romance that follows becomes the of Preservation. Preserved, now projected! (Eddie Muller). The tersely pitch-perfect Dick Powell film’s tender heart as Richard storms the cities of Acre Steve Seid, Video Curator portrays ex-convict Rocky Mulloy who returns to Los and Jerusalem in quest of holy victory. Angeles to find the gang that framed him for a crime Written by Harold Lamb, Dudley Nichols, Waldemar Young. he did not commit. Aided by a hard-drinking, crippled All films from UCLA Film and Television Archive. Special thanks to Photographed by Victor Milner. With Henry Wilcoxon, ex-marine (brilliantly realized by Richard Erdman in a Shannon Kelley and Todd Wiener, UCLA Film and Television Archive; Loretta Young, Ian Keith, C. Aubrey Smith. (125 mins, Barbara Scharres, Gene Siskel Film Center; John Couch, Ralph and B&W, 35mm, Permission Universal Pictures. Preservation standout performance), Mulloy sets up home-base at funded by the Cecil B. DeMille Foundation and the Packard Barbara Edwards Family Foundation; and to all the generous funders a Bunker Hill trailer camp, home to his ex-girlfriend Humanities Institute.) who made the preservation possible. Julie Kohner’s appearance at the Nancy (Rhonda Fleming), and proceeds to play cat- September 18 program is made possible by the generosity of the Ralph Saturday / 09.03.11 and Barbara Edwards Family Foundation. and-mouse with his archenemy, played by the tough 8:50 guy’s tough guy William Conrad. Program notes adapted from those by Jeffrey Bickel, Dan Einstein, Wanda Steven K. Hill, Jan-Christopher Horak, Shannon Kelley, Ross Lipman, Barbara Loden (U.S., 1970) Written by William Bowers, from a story by Jerome Cady. Mark Quigley, Pauline Stakelon, Todd Wiener. Barbara Loden’s neorealist gem centers on her brilliant Photographed by Joseph F. Biroc. With Dick Powell, Rhonda Fleming, Richard Erdman, William Conrad. (79 performance as a rural Pennsylvanian housewife on mins, B&W, 35mm, Permission Warner Bros. Preservation a flight to nowhere, traveling through an American funded by the Film Noir Foundation.) landscape of decrepit factories, two-lane wastelands, Sunday / 09.18.11 and ratty motels. With its location shooting, existing- 4:00 light cinematography, long takes, and extensive use This Is Your Life: of nonactors, Wanda functions at one level as pure Holocaust Survivors 01. This Is Your Life, 09.18.11 Axel Gruenberg, Richard Gottlieb (U.S., 1953, 02. Wanda, 09.03.11 documentary. Loden’s creative partner in the production, 1955, 1961)

03. The Crusades, 09.01.11 cinematographer/editor Nick Proferes, emerged from Introduction Julie Kohner the then-vital tradition of cinema verité and those origins Julie Kohner is the daughter of Hanna Bloch Kohner. fused with Loden’s expert direction to create one of the From 1952 to 1961, NBC’s This Is Your Life, hosted by the most authentic visions of middle America ever committed effervescent Ralph Edwards, surprised on-air guests by to screen. Cited by critic Jonathan Rosenbaum as one taking them on a journey through their lives, reuniting of the hundred greatest American films. GET MORE both famous and ordinary people with long-lost friends Find expanded program notes, selected trailers, and preservation details on our website, bampfa.berkeley.edu.

1515 MBAAMRC / HP FA& APRIL FILMS Preservation Fund. Total running time: 90 mins 90 time: running Total Fund. Preservation T. Shedlo Ronald the and Foundation Persons Righteous by funded Preservation Productions. Edwards Ralph Permission DigiBeta, B&W, B&W, 35mm, Permission Warner Bros. Bros. Warner Permission 35mm, B&W, DigiBeta, Permission Ralph Edwards Productions. DigiBeta, Permission Ralph Edwards Productions. vaudevillian skits that were the rage on stage and screen. and stage on rage the were that skits vaudevillian and song-and-dance of mix alively is shorts Vitaphone of selection This “real.” so or “natural” so sound could reproductions musical and vocal that astounded were critics Film theater. the throughout clearly heard be to audio the allowed which amplification, electronic in improvements vast were there when time a during developed discs, shellac sixteen-inch via film to sound recorded syncing of a method technology, audio early day. This the of talent top the featuring Bros. by Warner 1931 to 1926 from produced Vitaphone films gained tremendouspopularity, particularly the shorts (U.S., 1928–1930) O T “S “I “H children. six and husband her with attic Amsterdam atwelve-by-twelve-foot in hiding Nazi concentration camps; and Sara Veffer, who spent eighteen months from people hundred four of over release the effected , from exit forced her before who, Stanley, Ilse actress television; national on story her share to survivor first the Kohner, Bloch Hanna survivors: Holocaust and relatives. Tonight’s program presents three episodes that featured 16 T W F H N B C H 35mm, Permission Warner Bros. Warner Permission 35mm, 35mm, Permission Warner Bros. Bros. Warner Permission 35mm, Permission Warner Bros. 11 mins, B&W, 35mm, Permission Warner Bros. Warner Permission 35mm, B&W, mins, 11 11 mins, B&W, 35mm, Permission Warner Bros. Warner Permission 35mm, B&W, mins, 11 B&W, 35mm, Permission Warner Bros. Warner Permission 35mm, B&W, Vitaphone #2235, 1928, 9 mins, B&W, 35mm, Permission Warner Bros. Warner Permission 35mm, B&W, 9 mins, 1928, #2235, Vitaphone 01 he W rank Diamon arlena an orn arr oll ia S lse hu hat AL V ara B anna september & october 2011 n the n the g W F ara y y F rs il woo tanle effer d W o d L V with ife hitman K loch x an day / 09.22.11 /09.22.11 day B with alls d B with esterner “T awrence y” ” V d H o March 19, 1961. Directed by Gottlieb. Written by Gruenberg, 30 mins, mins, 30 Gruenberg, by Written Gottlieb. by Directed 1961. 19, March November 2, 1955. Directed, written by Gruenberg, 30 mins, B&W, B&W, mins, 30 Gruenberg, by written Directed, 1955. 2, November ohner u “T it d “H n S is ir Gla d with hat Su a g i Su arpist r x A S inia phone: 1928-1930 1928-1930 phone: ” y W ant C he May 27, 1953. Directed, written by Gruenberg, 30 mins, B&W, B&W, mins, 30 Gruenberg, by written Directed, 27, 1953. May B merican rprisin V ale o al ashb u dy preme , S H ntr i arris s B g F d S u y Gentlemen ea rn rockwell ilvers i ” dd u , A Vitaphone #864, 1929, 6 mins, B&W, 35mm, 35mm, B&W, 6 mins, 1929, #864, Vitaphone , H ties ler J elen H nn , W ” Vitaphone # 828, 1929, 12 mins, B&W, B&W, mins, 12 1929, #828, Vitaphone Vitaphone #703, 1929, 7 mins, B&W, 7 mins, 1929, #703, Vitaphone I illiam owe , N Eddy erome ” eel Vitaphone # 2885, 1928, 7 mins, 7mins, 1928, #2885, Vitaphone Vitaphone #2759, 1928, 8 mins, 8mins, 1928, #2759, Vitaphone rvin y Ed g war Vitaphone #3849, 1930, 1930, #3849, Vitaphone Vitaphone #3778, 1930, 1930, #3778, Vitaphone d s , J B ames ra d 7:00 b u r y

sion Warner Bros. Bros. Warner sion the filmmakersas students of Eisenstein andPudovkin. marks that editing by fluid supported is cinematography black-and-white S I T 35mm. Preservation funded by the Packard Humanities Institute.) Humanities Packard the by funded Preservation 35mm. B&W, mins, Silent, (75 Long. Walter Edeson, Robert Boyd, William Joy, Leatrice With Miller. Arthur by Photographed Jevne. Jack and Harris Elmer by Written show. the steals that performance ebullient Joy’s Leatrice is it but desire, Eve’s of object the as commendable is Cassidy, Hopalong hero cowboy as fame achieve later would who Boyd, William movie. this of heart the forms that comedy is it by melodrama, framed is plot the While steamer. tramp father’s her aboard mischief widespread by provoking Eve responds world. the of evils the from her protect to attempt amisguided in aboy as Joy) masquerade to Eve (Leatrice daughter his forces who captain asea of Sloane’s Ford, Chapman byHarry play the on Based m live P E /10.09.11 Sunday P Institute.) Humanities Packard the by funded Preservation 35mm. B&W, mins, (80 Rennick. John George, Mary Johnson, Fred Robeson, Paul With Strand. by Photographed Maddow). (Ben Wolff David Strand, Hurwitz, by Written N II. War World of politics unity national the with tune in longer no struggle class of message its disappeared, quickly and 1942 in opened film the events, reenact to actors professional using footage Constructed out of documentary and newsreel sequences as well as fictional previously. done had he anything than radical more but nature and man of exploration ongoing his of part docudrama, this produced pendently Politically committed art photographer and filmmaker Paul Strand inde L Na /10.02.11 Sunday Total running time: 89 mins 89 time: running Total Humanities.) the for Endowment National the by funded Preservation 35mm. B&W, mins, (9 Libya. in war and Wisconsin of governor the defying Total running time: c. 90 mins 90 c. time: running Total Bros. Warner Permission 35mm, B&W, 02 an harps receded H eo S aul Yo hank ve’s tive urwitz u (U.S., 1926) (U.S., loane sic by u d F L Edd with : J with lats e N nd La , P ews a Judith Rosenberg on Piano S aul ves Da the of W ie (U.S., 1942) (U.S., trand imm hite y C y Vitaphone #2689, 1928, 9 mins, B&W, 35mm, Permis 35mm, B&W, 9 mins, 1928, #2689, Vitaphone onlin (April 3, 1941) This brief actualité brief This 1941) 3, (April , My Glass rtle Vitaphone #2577, 1928, 9 mins, E is the story story the is Leaves ve’s ative Land 03 reports on a union a union on reports ’s striking 4:00 4:00 - - 04. 03. 02. 01. Dean, 10.22.11 Dime, Jimmy Dean, Jimmy and Five the to Back Come Film, 10.30.11 On the Vitaphone, 09.22.11 10.02.11 Land, Native Home

04 Movie Day

Saturday / 10.15.11 Sunday / 10.30.11 8:45 6:00 Sleep, My Love Waiting for Godot Saturday / 10.15.11 Douglas Sirk (U.S., 1948) Alan Schneider (U.S., 1961) 6:30 Amateur Night: Although his reputation as an auteur wouldn’t materialize The independently produced Play of the Week, which Home Movies from until much later in his career, Douglas Sirk’s early Hollywood premiered in 1959 on New York’s WNTA-TV, presented American Archives films contained some interesting efforts. Sirk’sSleep, an eclectic mix of plays that, according to series pro- Dwight Swanson (U.S., 2010) My Love, while not the box-office success ofRebecca or ducer Lewis Freedman, “no one else would touch.” For In Person Dwight Swanson and Pamela Jean Vadakan Suspicion, is still a surprisingly effective terrorized-wife Beckett’s absurdist masterpiece Waiting for Godot, Dwight Swanson, of the Center for Home Movies, is drama. With a story by Leo Rosten and atmospheric, producer David Susskind chose Zero Mostel, who a specialist in amateur film. Film archivist Pamela noir-like cinematography by Joseph Valentine, the plot had suffered years of unemployment for refusing to Jean Vadakan coordinates the California Audiovisual centers on a socialite, played by the lovely Claudette testify before the House Committee on Un-American Preservation Project. Colbert, who is being driven mad by her faithless husband Activities. Mostel and costar Burgess Meredith are keen To commemorate Home Movie Day, a celebration of (a subdued Don Ameche playing against type). In spite existential partners in this wry drama of deferred desire amateur filmmaking held at many venues worldwide, of some of the formulaic melodramatic focus of the and stymied reward. we present a compilation of sixteen amateur films. story, Colbert is enchantingly convincing as the heroine. Written by Samuel Beckett. Photographed by Mel London. Framing diverse communities, the home movie camera With Zero Mostel, Burgess Meredith, Kurt Kasznar, Alvin Written by St. Clair McKelway, Leo Rosten, from the novel captures moments ranging from surprises to spec- Epstein. (102 mins, B&W, BetaSP, Permission Estate of Ely by Rosten. Photographed by Joseph Valentine. With Landau) tacles. You’ll see a dance of pure joy at a Pittsburgh Claudette Colbert, Robert Cummings, Don Ameche, Rita house party, a newspaperman witness an atomic Johnson. (96 mins, B&W, 35mm. Preservation funded by Preceded by: Film (Alan Schneider, U.S., 1965). Beckett’s Film the Packard Humanities Institute.) is in essence a chase film—arguably the craziest committed bomb test in Nevada, a doll magically come to life to celluloid. It’s a chase between camera and pursued image Christmas morning in Chicago, as well as appearances Saturday / 10.22.11 that finds dread embedded in the very apparatus. The link to by Alfred Hitchcock and Richard Nixon. Featuring 6:30 cinema’s essence is evident in the casting, as the chased object Come Back to the Five is none other than an aged , who was befuddled original narration, archival audio, commentaries at Beckett’s imperative that he keep his face hidden from the and Dime, Jimmy Dean, from family members, and newly recorded music, Jimmy Dean camera’s gaze. (U.S., 1982) Written by Samuel Beckett. Photographed by Boris Amateur Night provides a fascinating history of small Kaufman. With Buster Keaton, Nell Harrison, James Karen, Set in 1975, Come Back to the Five and Dime, Jimmy gauge filmmaking. Pamela Jean Vadakan Susan Reed. (22 mins, B&W, 35mm, Permission Evergreen Dean, Jimmy Dean stars Sandy Dennis, Cher, and Karen Review. Preservation funded through the Avant-Garde (84 mins, B&W/Color, Blown up to 35mm from original formats, From Center for Home Movies). Produced by the Black as members of “The Disciples of James Dean” fan Masters program funded by the Film Foundation and administered by the National Film Preservation Foundation.) Center for Home Movies with support from the National club at their twentieth reunion. They meet at the local Film Preservation Foundation, the Louis B. Mayer Total running time: 124 mins Foundation, the Haghefilm Foundation and Cineric, Inc. hangout in a small Texas town, near where Giant had been shot in 1955. The soda-fountain waitress seems Waiting for Godot is copresented with Cal Performances. the same, but the fan club members have gotten older, A promotional price for non-BAM/PFA members of $7.50 some successful, others beaten down. Each relates will be offered to Cal Performances patrons with a ticket for The Gate Theatre of Dublin’s performance of Samuel Beckett’s (often in flashbacks) their dreams, aspirations, and Endgame or Watt. failures of the past decades. Given the focus on female fans, it’s not surprising that the film tackles themes of feminism, gender relations, and sexuality.

Written by Ed Graczyk, based on his play. Photographed by GET MORE Pierre Mignot. With Sandy Dennis, Cher, Karen Black, Kathy Bates. (109 mins, Color, 35mm, Permission Paramount Pictures. Find an expanded program note on our website, Preservation funded by the Hollywood Foreign Press.) bampfa.berkeley.edu.

For more information on Home Movie Day, go to homemovieday.com. 17 BAM / PFA 01

Saturday / 09.03.11 her is Rodolphe Burger, an exquisite musician whose 6:00 The Reach of Resonance guitar exudes a nebula of sounds. Minimal in his riffing, Steve Elkins (U.S., 2010) Burger envelops Balibar’s voice with a constellation

In Person Steve Elkins and Bob Ostertag of atmospheric tones, allowing her to circle back to In its purest form, music is not about sonic distrac- her hard-won weariness. This is no concert film, but a tion or instrumental mastery, but about an eloquent meditation akin to Godard’s Sympathy for the Devil. Only relationship to the world. Director Elkins takes this as in Costa’s dusky portrait, the devil may care. Steve Seid his guide for the selection of four notable artists who Photographed by Costa. With Jeanne Balibar, Rodolphe Burger, Herve Loos, Arnaud Dieterlen. (103 mins, In French pursue unusual musical investigations: koto player Miya and English with English subtitles, B&W, 35mm, From MS Masaoka, who performs music for insects and plants; Northwest Film Forum)

FIL Bob Ostertag, who builds musical environments that Friday / 09.16.11 express the tension between man and machine; violin 7:00 Sounding Off: virtuoso Jon Rose who plies the barbed-wire fences We Don’t Care About strung across Australia’s outback; and John Luther Music Anyway Cédric Dupire, Gaspard Kuentz (France, 2009) Portraits Adams, who seeks an “ecology of music.” “Music is “The Koyaanisqatsi of French documentaries about Japanese not what I do,” Adams admits, “but how I understand noise music.” Maryland Film Festival the world.” Steve Seid of Unusual This provocative portrait of Tokyo’s new music scene Photographed by Elkins. With Kronos Quartet, Pierre features eight musicians in a seductive montage of clatter Hébert, Fred Frith, Joan Jeanrenaud. (116 mins, Color, Music DigiBeta, From the artist) and racket. Perhaps most mesmerizing is Yamakawa Fuyuki, a noise guitarist who uses a stethoscope to Thursday / 09.08.11 amplify his chest, his drone guitar punctuated by his own According to Webster’s, music “is the art of ordering tones or 7:00 Trimpin: The Sound heartbeat. Sakamoto Hiromichi prepares his challenged sounds in succession, in combination, and in temporal relationships of Invention cello for industrial abuse, while Shimazaki Tomoko to produce a composition having unity and continuity.” Or not. Peter Esmonde (U.S., 2009) strips her guitar bare on a beach strewn with uncivil As you’ll see from these melodious inquiries into contemporary In Person Peter Esmonde and Ellen Fullman detritus. All this sound is caught inside a haranguing musical practice, music can be more about a relationship to the “[A] lifelike ride through Trimpin’s wonderful Dr. Seuss world image track, beautiful in its apocalyptic decay. But We world than the ordering of tones or sounds. As expressed in these of sound sculptures.” Kyle Gann Don’t Care About Music Anyway isn’t about anarchic five films, there even seems to be a tendency to disrupt those very Trimpin, part madcap inventor, part eccentric com- music, it’s about music that emanates from the very things in opposition to musical traditions that forgo the surrounding poser, will have nothing to do with the restrictions of pores of the city. Steve Seid culture. Whether it’s Trimpin’s quest to devise new sound-producing conventional music: the formal array of instruments, instruments, or koto player Miya Masaoka forging a sonic kin- Music direction by Noa Garcia. With Otomo Yoshihide, the proscribed techniques of play, the sounds falling Numb & Saidrum, L?K?O, Takehisa Ken. (80 mins, In ship with insect life, whether it’s violin virtuoso Jon Rose playing into neat categories. The Seattle-based artist has made Japanese with English subtitles, Color, DigiBeta, From Studio Shaiprod) barbed-wire fences strung across Australia’s outback, or shaman it his bedeviled business to explode the bounds of Kim Seok-Chul’s ecstatic ritual drumming, the many musicians in instrumentation and, consequently, the sonorities Sunday / 09.18.11 Sounding Off pursue unusual musical manifestations that are as applied. Peter Esmonde’s lively film takes us into this 6:30 much responses to political circumstance or the natural landscape Intangible Asset creative genius’s workspace, itself a metaphor for the Number 82 as to the unity of composition. And though these musicians might tangled and fanciful mind of the maker, where Trimpin Emma Franz (Australia, 2009) relish noisy intervention or unexpected discord, in their hands it’s turns recycled, repurposed, and reinvented materials “It opened my eyes to another facet of the cross-pollination still a sound enterprise. into elaborate sculptural assemblies. Trimpin’s outra- taking place in the melting pot art form known as jazz.” Aidan Levy, Village Voice geous musical ventures are always more sound than Steve Seid, Video Curator they seem. Steve Seid Virtuosic jazz drummer Simon Barker reached a point

Photographed by Peter Esmonde. With Kronos Quartet, where he wanted to be freed from the percussive pre- Charles Amirkhanian, Cork Marcheschi, Kyle Gann. (79 dictability of Western tempos. Then he heard a rare mins, Color, HD, From the artist) Special thanks to Steve Elkins, Peter Esmonde, and Dean Rowan for their advice. recording of Korean shaman Kim Seok-Chul, a master Preceded by: 5 Variations on a Long String (Peter Esmonde, drummer whose official designation was “Intangible U.S., 2010). A mesmeric look at Ellen Fullman performing on her unique long string instrument, played longitudinally so Asset Number 82.” Paired with his voice, Seok-Chul’s that it emits otherworldly microtones. (20 mins, Color, HD, drumming is a complex extension of shamanic ritual 01. The Reach of Resonance, 09.03.11 From the artist) that strives toward ecstatic visitation. Director Franz’s Total running time: 99 mins equally rhythmic film follows Barker to South Korea as Saturday / 09.10.11 he tries to locate the elusive master drummer. Barker’s 6:30 quest to expand his rhythmic dexterity leads him to Ne change rien Pedro Costa (Portugal/France, 2009) an unexpected revelation: music is not technique but “It’s torture that I’m going through,” sings Jeanne Bali- an expression of a culture’s spirit. Steve Seid bar, a French chanteuse of the damaged and bruised. Written, photographed by Franz. With Carl Dewhurst, Jeong Sung-Dok, Park Byong-Chon, Phil Slater. (90 Extraordinary Portuguese director Pedro Costa has mins, in English and Korean with English subtitles, Color, Balibar emerging from darkness just as her sad ballads DigiBeta, From Kino Lorber) find their origin in a dark-drenched sorrow. Joining GET MORE Find expanded program notes and selected trailers on our website, bampfa.berkeley.edu.

18 september & october 2011 A Theater 01 Near You 02

Sunday / 09.25.11 pass without dialogue, as Rohmer surrounds the story 4:15 and Delphine with the sounds of isolation: the wind, Join us for new selections in our ongoing series featuring rare Diary of a Country Priest Robert Bresson (France, 1950) New 35mm Print! the ocean, footsteps on pavement, murmurs of other

prints of classic and contemporary films. We bring you a new Please see Friday / 09.23.11 people’s conversations, overheard just enough to keep

35mm print struck from the original printing elements of Robert hope alive. Jason Sanders Bresson’s brilliant Diary of a Country Priest (1950); a stunning new Thursday / 10.06.11 Written by Rohmer. Photographed by Sophie Maintigneux. 7:00 35mm restoration of Alberto Cavalcanti’s World War II drama Went the Day Well? With Marie Rivière, Lisa Heredia, Vincent Gauthier. (98 Went the Day Well? (1942); and two wonderful films from the Alberto Cavalcanti (U.K., 1942) mins, In French with English subtitles, Color, 35mm, From New 35mm Restoration! The Film Desk) mid-1980s, the masterful Summer (a.k.a. Le rayon vert, 1986) and “A prescient masterpiece! A conspiracy thriller, a black-comic the charming Four Adventures of Reinette and Mirabelle (1987), 8:30 nightmare, and a surrealist masterpiece!” The Guardian Four Adventures of made back-to-back by the late Eric Rohmer. Made at the height of the World War II invasion scare Reinette and Mirabelle Eric Rohmer (France, 1987) New 35mm Print! Susan Oxtoby, Senior Film Curator in England, Went the Day Well? concerns the infiltra- (Quatre aventures de Reinette et Mirabelle). Four episodes tion of an unsuspecting British village by sixty German in the relationship between a naive but talented painter paratroopers. “Cavalcanti was Britain’s only real noir from the provinces and a worldly Parisian student. . . . specialist. . . . This wartime propaganda film, written Working a sophisticated variation on the country mouse/ by Graham Greene, is rather like a Hitchcock script city mouse theme, Four Adventures is a departure from suddenly turned over to Buñuel to direct, full of beauty, Rohmer’s Comedies and Proverbs of the period, and black humor, and sudden savagery. An important film, GET MORE is in many ways his most offbeat film sincePerceval . still insufficiently known and appreciated” (William K. Find expanded program notes and selected film trailers on our Uncontrived events are enhanced with a Chaplinesque Everson). Don’t miss this new restoration by StudioCanal website, bampfa.berkeley.edu. sense of comedy and a strong undercurrent of narrative and the BFI, which recently received rave reviews upon experimentation that accompany Rohmer’s customary its rerelease in New York. delight in paradox and richness of characterization. Written by John Dighton et al., from a story by Graham New Yorker Films Greene. Photographed by Wilkie Cooper. With Leslie Banks, Elizabeth Allan, Frank Lawton, Mervyn Jones. (92 Written by Rohmer. Photographed by Sophie Maintigneux. mins, B&W, 35mm, From Rialto Pictures) With Joëlle Miquel, Jessica Forde. (95 mins, In French with Friday / 09.23.11 English subtitles, Color, 35mm, From The Film Desk) 8:30 Diary of a Country Priest Saturday / 10.29.11 Robert Bresson (France, 1950) New 35mm Print! 6:30 Sunday / 10.30.11 Summer 4:00 repeated on Sunday / 09.25.11 Eric Rohmer (France, 1986) New 35mm Print! Summer Eric Rohmer (France, 1986) New 35mm Print! (Le journal d’un curé de campagne). Georges Bernanos’s novel concerns a repeated on Sunday / 10.30.11 please See Saturday / 10.29.11 young country priest who, in his simplicity and purity, suffers the scorn of Best Film, Venice Film Festival, 1986 his parishioners. Bresson faithfully adapted the novel to the screen, using (Le rayon vert). The astounding performance of Marie Bernanos’s original dialogue and diary entries. The essence of Bresson’s Rivière as a lonely woman searching for company—yet filmécriture , the narrative is punctuated by images of the priest’s journal unwilling to compromise—grounds this airy, ephemeral accompanied by a voice-over reading. Episode by episode, in his loneliness Rohmer tale. It’s summertime in France and the proud, and then in illness, like stages of the cross, the priest progresses through outspoken Delphine needs a travel partner, but finds pain to grace. Claude Laydu fasted in order to achieve the authenticity of instead loneliness. Her travels through France and his role, which is one of exterior passivity and interior strength. 01. Summer, 10.29.11, 10.30.11 awkward attempts to meet people frame the story, Written by Bresson, from the novel by Georges Bernanos. Photographed by Léonce- 02. Diary of a Country Priest, 09.23.11, 09.25.11 but Summer is more a feeling than a narrative. Scenes Henry Burel. With Claude Laydu, Nicole Maurey, Jean Riveyre, André Guibert. (114 mins, In French with English subtitles, B&W, 35mm, From Rialto Pictures)

19 BAM / PFA FILMSFILMS the Güney Foundation; Erju Ackman, Ackman, Erju Foundation; Güney the Karabey, Hüseyin DC; Washington Office, Counselor’s Tourism and Culture Turkish Tourism; and Culture of Ministry of Republic to thanks Special Geritz. Kathy by BAM/PFA at Coordinated Jason FilmSanders, Notes Writer unjust.” the and oppressive, the fatalistic, the of a to refusal devoted completely “one in Nezan Kendal wrote life,” incandescent an to note “A tragic forty-seven. only was he cancer; stomach of died Güney homeland, his from exiled but last at persona non grata Güney made Turkey immediately resistance. of symbol and celebrity international an into Güney transforming Festival, Film Cannes 1982 the at amasterpiece declared was Gören) Serif Yol where France, to went eventually and jail, from escaped Güney 1981 In screenplays and precise directing instructions for three new films. out smuggle to managed still he Miraculously, 1961). since imprisonment fourth (his years eighteen to sentenced and judge, aright-wing of murder the for arrested was he however, 1974, In realism. social and cinema, World Third Westerns, Hollywood and Italian of blend ahypnotic into them merged and folklore outlaw Kurdish and Turkish of elements key took that a cinema creating midsixties, the in a director became Güney King”). Ugly “the nickname the and success popular him (earning man leading atypical rugged, as a career afull-fledged into blossomed improbably term) jail another yet (after later which one role, acting achance to led literature communist distributing and writing for imprisonment His cinema. and politics of power by the awakened being before projectionist film and butcher, assistant picker, a cotton as worked he sheepherders, Kurdish rural of son The role. fictional any than dramatic more life a lived Güney Yilmaz actor/filmmaker Turkish the combined,” Guevara Che and Dean, James Eastwood, Clint like “something as Hoberman J. critic by the Described and Cinema, Telif Hakları ve Sinema Genel Müdürlüğü. Copyright of Directorate General Tourism, and Culture of Turkey, Ministry of Republic by provided prints, 35mm new features series The possible. series this making in assistance invaluable their for 20 bampfa.berkeley.edu. Find expanded program notes on our website, GET An Y O september & october 2011

MORE il utl a ma toli a z Güney z Turkish Cinema N w: , however. In 1984, at the height of his powers, free free powers, his of height the at 1984, In , however. a

ewsletter n ; and Deniz Göktürk, UC Berkeley, Berkeley, UC Göktürk, Deniz ; and (codirected by by (codirected Cinemaya , to to Compared dirt. only yields that treasure buried for asearch on embarks he as idiocy, sheer is left what’s hope; the then and cart the loses soon hope, of asense and family alarge with acart-driver hero, wistful Our power. and society Turkish of critique neorealist committed, a socially toward and films action gritty his from away Güney, for direction new familiar with the cinema of and Roberto Rossellini.” Roberto and Ray Satyajit of cinema the with familiar becoming was Güney suggest that lyricism quiet of moments surprising “Contains Y H Satu 01/02 04. 03. 02. 01. 35mm) B&W, subtitles, English with Turkish In mins, (78 Topatan. Danyal Hamzaoglu, Hayati Written by Güney. Photographed by Gani Turanli. With Güney, Nebahat Çehre, neck. his to up quicksand in a man cage, a wicker in as well as more baroque, almost Bosch-like touches—a woman trapped landscape, of use dramatic his in particularly images, striking for eye his demonstrating while work political overtly more Güney’s to forward looks aspiration personal and happiness to barrier as a poverty to attention film’s The life. rural of conditions feudal and superstitions bythe bride-to-be his effort, ( Y B subtitles, B&W, 35mm) English with Turkish In mins, (100 Alyanak. Osman Kurtiz, Tuncel Alniacik, Gülsen Güney, With Ererez. Kaya by Photographed Gören. Güney, by Written it— greet to rises that class working the ( Deniz Göktürk, coeditor of Orienting : Cultural Capital of Europe?, I cinema—to the world stage. world the cinema—to clarity.” startling with universe Güney’s time first the for achievement…defines “A magnificent Berkeley. UC at Media and Film and German in professor associate is C of ntro Umut Seyyit Han Seyyit Gü ilmaz Gü ilmaz ride o ride ope The Bicycle Thief i Elegy, 10.01.11 09.17.11 Earth, the of Bride 09.17.11 Hope, 09.24.11 Yol, ne duction ma r ). With its sharply defined, wordless opening—a city at dawn, and and dawn, at city opening—a wordless defined, sharply its With ). Bride of the E the of Bride day / 09.17.11 / day ney (T ney ). The first film that Güney acknowledged as a fully realized realized fully asa acknowledged Güney that film first The ). the f the , S Deniz Göktürk D Gö erif erek urkey upon its release stars the director himself as a man separated from from separated aman as himself director the stars arth E lley Ea , 1968) N , 1968) (T ren rth J S ason urkey 35 ew catapulted, Hope Güney—and Turkish anders , 1975) N , 1975) P mm Hope rint 35 ew immediately announced a ! P mm H arvard rint B E ilge ! F biri ilm

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Saturday / 09.24.11 Thursday / 09.29.11 8:45 6:30 7:00 Elegy Yol The Hungry Wolves Yilmaz Güney (Turkey, 1971) New 35mm Print! Yilmaz Güney, Serif Gören (Turkey, 1982) Yilmaz Güney (Turkey, 1969) New 35mm Print! New 35mm Print! (Agit). A group of smugglers keeps one step ahead of (Aç kurtlar). A mountain bandit runs from his many hunters the police in Güney’s tough Turkish Western, part Wild Palme d’Or, Cannes, 1982 in this violent snowbound “ethnographic Western,” which Bunch, part “hymn to . . . the freedom from oppres- Güney’s first film to reach a wide audience in the U.S., grafts the aesthetics of a 1960s Sergio Leone action sion” (Fernando Herrero). Colorful naive sketches open Yol follows the fates of five Kurdish prisoners who are set film onto a rugged, documentary-like social realism. the film, establishing a folklorish tone for what is to free by their military captors for a week’s leave; rather Filmed in Eastern Anatolia in a wintry landscape similar come: a timeless tale of violence and revenge set in than liberation, their return home only offers a different to Ghobadi’s A Time for Drunken Horses, The Hungry an almost mythical, Peckinpah-like village of endless kind of entrapment, especially for the women in their Wolves stars Güney at his most Clint Eastwood/Lee poverty and brutality. (As in The Hungry Wolves, the lives. Written while Güney was imprisoned (and directed Marvinesque as the bearded, ruthless brigand who’s setting turns out to be contemporary Turkey). Güney’s by a longtime colleague under Güney’s supervision), making (and killing) enemies as quickly as the snow elemental combination of Hollywood Western and Yol is a film about the pecking order of oppression: falls. Güney places an almost ethnographic examina- Third World cinema creates a hypnotic effect, told political, religious, and sexual. At the 1982 Cannes tion of rural Turkish culture amidst the gun battles, with Shakespearean emotional grandeur and direct, Festival, Güney dramatically emerged from hiding to filling the screen with images taut with an austere, primitive realism. Jason Sanders win the festival’s Grand Prize; Turkey responded by raw poetry. Jason Sanders Written by Güney. Photographed by Gani Turanli. With stripping him of citizenship. Jason Sanders Written by Güney. Photographed by Ali Ugur. With Güney, Güney, Hayati Hamazaoglu, Bilal Inci, Atilla Olgaç. (80 Sevgi Can, Hayati Hamazaoglu, Enver Güney. (70 mins, In Written by Güney. Photographed by Erdogan Engin. With mins, In Turkish with English subtitles, Color, 35mm) Turkish with English subtitles, B&W, 35mm) Tarik Akan, Serif Sezer, Halil Ergün. (111 mins, In Turkish with English subtitles, Color, 35mm) Sunday / 10.09.11 Saturday / 10.01.11 5:35 8:40 6:00 The Poor The Friend the herd Yilmaz Güney, Atif Yilmaz (Turkey, 1974) Zeki Ökten (Turkey, 1978) New 35mm Print! Yilmaz Güney (Turkey, 1974) New 35mm Print! New 35mm Print! Introduction Deniz Göktürk (Arkadas). Güney turns his gaze away from the strug- (Zavallilar). Like so many of Güney’s subsequent (Süru). The Herd has a simple premise that it utilizes to gling rural poor and toward the alienated urban rich in films, The Poor is about prisoners. The film opens on devastating effect: the economic survival of a Kurdish this scathing Antonioniesque indictment of the class a winter night as three convicts are released. A complex family depends on its herd of sheep. The constant threats boundaries and glass ceilings of contemporary Turkey. structure of flashbacks describes how they came to to the livestock and the family serve both as ethnographic Two old friends meet by chance at a seaside resort; be imprisoned, while at the same time following the documentary and existential (and political) parable. one has become a wealthy, obese architect given to men through the night as they find themselves faced Explaining to an interviewer about his use of metaphor debauchery and sunburned shirtlessness; the other with reentering a society in which they are outcasts. and allegory to express himself politically in his films, (played by Güney) has remained lean, angry, and com- Filming was interrupted in midproduction when Güney Güney declared that the subject of was the mitted. Placing his characters within the decadent, The Herd was himself briefly imprisoned for having sheltered history of the Kurds. At the same time, he noted, the overly decorated realm of a seventies-era Turkey, Güney some anarchist students. Rather than delay the film’s film was made in Turkish; any public use of the Kurdish underlines the choices that all must make: whether to completion, Güney asked his mentor Atif Yilmaz to finish language was illegal at the time. Harvard Film Archive consume or refuse, to take comfort in riches, poetry, it. The result is a fascinating mix of hard-bitten realism or revolution. Jason Sanders Written by Güney. Photographed by Izzet Akay. With and florid melodrama. Harvard Film Archive Melike Demirag, Tarik Akan, Tuncel Kurtiz, Levent Inanir. Written by Güney. Photographed by Çetin Tunca. With (129 mins, In Turkish with English subtitles, Color, 35mm) Written by Güney, Atif Yilmaz. Photographed by Gani Turanli, Kerim Afsar, Güney, Melike Demirag. (100 mins, In Turkish Kenan Ormalar. With Güney, Yildirim Önal, Güven Sengil. (72 with English subtitles, Color, 35mm) mins, In Turkish with English subtitles, Color, 35mm)

21 BAM / PFA FILMSFILMS 22 Coll of her generation” (Jonas Mekas). (Jonas generation” her of and times, our of testimonials naked are films Colburn Martha energy, frame (with) crackling outrageous, the on “Bordering perversity. and inventiveness with play and politics combines Colburn pleasure. pure and beauty immediately apparent, there are also many moments of is work her of edginess and pace fast the While friends. by poetry rock punk of adash with drawings and pets pup flat own her in mixes and by hand, footage paints images, out cuts she obsessiveness, daunting With culture. underground and popular of array a vast on draw collages low-tech labor-intensive, Colburn’s Martha I M M W Kathy Geritz, Film Curator offerings. cinema avant-garde our of part also is 23), page (see Sharits Paul of films the to devoted Pranolo, curated by Film Studies graduate student Jennifer Aseries Strand. Chick of work lyrical the other the and Belson Jordan of cinema” “cosmic the Light Radical cinema, Area Bay alternative of exploration ongoing our of part are Two Vertov. nights Dziga tor Alexander Dovzhenko and Russian director direc Ukrainian great the by films classic as well as Colburn, Martha of animations collage edgy the includes lineup 2011 fall The Skoller. Jeffrey by taught Film, Avant-Garde course Berkeley Visions Our annual avant-garde showcase V Alterna 01 n P C artha edne september & october 2011 a erson rth , one featuring rarely screened films from from films screened rarely featuring , one isions is presented in conjunction with the UC UC the with conjunction in presented is ag s (U.S., 1995–2011) 1995–2011) (U.S., olburn day /09.07.11 day a e Ani Colburn’s Colburn’s Martha Colburn ma tion

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pick - ! 7:30 7:30 - Total running time: c. 75 mins mins 75 c. time: running Total the artist. From the artist. artist. the From From the artist. artist. the From Ic W vs Dolls J Electric T C My Don Celebrate A XXX I C T E A L B C A classic classic the is work best-known whose Dovzhenko, Alexander director Ukrainian great the by film important first The m live A Z W S D A W S R From the artist. artist. the From the artist. the artist. From the artist. artist. the From PFA COLLECTION PRINT! believes that there is a treasure hidden in the mountains mountains the in hidden a treasure is there that believes man old The Ukraine. the of spirit the for stands who figure agrandfather on centering myths, folk Ukrainian of F the oin ri O ift K ee here T ee osmetic Drac of vil i ats A nti sthma K obert V ziga D lexander g Bug A g Bug an veni edne edne edne L th u S e W the of mph ’t -F ino Ou he ’ t K K i ff mster rackin ’ abs more u s aP x ill E sic -Ey Up eep 1995, 2:30 mins, Color, 16mm, From the artist. artist. the From 16mm, Color, mins, 2:30 1995, Emer (U.S.S.R., 1926) ARCHIVAL PRINT! ARCHIVAL 1926) (U.S.S.R., ertov arth arth 1998, 2 mins, Color, 16mm, From the artist. artist. the From 16mm, Color, 2 mins, 1998, L . Dictators ttack th th the s s s ree B iterat tsi (U.S., 1970) (U.S., ramer 2008, 7:30 mins, Color, Digital video, From the artist. artist. the From video, Digital Color, mins, 7:30 2008, g e Ou in ervert d day / 09.14.11 / day day /09.28.11 day /09.21.11 day u rookl : T g 2002, 2:30 mins, Color, 16mm, From the artist. artist. the From 16mm, Color, mins, 2:30 2002, am d or la (1930), (1930), W d g R he 2011, 1:30 mins, Color, Digital video, From the artist. artist. the From video, Digital Color, mins, 1:30 2011, ers Pa enc F om (U.S.S.R, 1928) 1928) (U.S.S.R, ovzhenko 1997, 3:30 mins, Color, 16mm, From the artist. artist. the From 16mm, Color, mins, 3:30 1997, 2002, 3:30 mins, Color, 16mm, From the artist. the From 16mm, Color, mins, 3:30 2002, eatherman! il 2004, 3:30 mins, Color, Digital video, From From video, Digital Color, mins, 3:30 2004, Judith Rosenberg on Piano 1997, 2:30 mins, Color, 16mm, From the artist. artist. the From 16mm, Color, mins, 2:30 1997, u d evol : N re y a y n orce 2008, 10 mins, Color, 35mm, From the artist. artist. the From 35mm, Color, mins, 10 2008, rt o rt H ew 2005, 8 mins, Color, 35mm, From the artist. artist. the From 35mm, Color, 8 mins, 2005,

2010, 11 mins, Color, Digital video, From From video, Digital Color, mins, 11 2010,

Zvenigora 2009, 2:30 mins, Color, Digital video, video, Digital Color, mins, 2:30 2009, 2005, 1 min, Color, Digital video, From From video, Digital Color, 1 min, 2005, u tionar r P oll 2009, 4 mins, Color, Digital video, video, Digital Color, 4mins, 2009, ool the f the 2007, 5 mins, Color, Digital video, video, Digital Color, 5mins, 2007, y woo y C ! is essentially an anthology anthology an essentially is 1998, 3 mins, Color, 16mm, 16mm, Color, 3 mins, 1998, D of inema d in W S the orld z

eventies i g a V 02 02 ertov , p 7:30 7:30 7:30 7:30 . 13. , p . 24. running time: c. 70 mins 70 c. time: running Total Music. Visual for Center with Association in Presented CVM. and Program Art NASA the of support the with Museum, Hirshhorn The by exhibition Music Visual the for missioned 16mm, From CVM. CVM. From 16mm, Color, 16mm transferred to DigiBeta, From CVM. CVM. From DigiBeta, to transferred 16mm Color, Fil rich and wonderful experience. incredibly an Dovzhenko), (even for symbolic extremely and impressionistic, flowing, free is film The wealth. mineral land’s the of harnessing their ambition, and intelligence their people, the is silver—it or gold not be to out turns treasure real the end At the Zvenigora. of E Mu Cy L C Moment A Sé C Momentum including films, screened rarely features program This rhythms. vibrant color, mandalas, liquid forms, and mesmerizing with cinema”—brimming “cosmic called been has that work of body avisionary in itself light of nature the Belson has explored consciousness, transcendence, and 1947, Since series. Cinema in Art seminal the at Richter films ofOskar Fischinger,Norman McLaren, andHans abstract the discovering after filmmaking to attention his turning before a painter as trained Belson Jordan (CVM). Music Visual for Center of director the is Keefer Cindy archivist and Curator I J Jord W Collection) PFA 35mm, B&W, translation, English live with Intertitles Russian Silent, mins, (73 (2005). ntro i ordan pilo hakra aravan ll g cles ance edne S the of sic ht u res

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With Stephen Beck, 1974, 10 mins, Color, 16mm, From CVM. CVM. From 16mm, Color, mins, 10 1974, Beck, Stephen With

u e 1959, 3 mins, Color, 16mm, From CVM. CVM. From 16mm, Color, 3 mins, 1959, Sound by Belson, 1972, 6 mins, Color, 16mm, From CVM. CVM. From 16mm, Color, 6mins, 1972, Belson, by Sound s

B Sound by Belson, Henry Jacobs, 1961, 8 mins, Color, Color, 8 mins, 1961, Jacobs, Henry Belson, by Sound m a 1952, 4 mins, Color, 16mm, From CVM. From 16mm, Color, 4 mins, 1952, s 2005, 12 mins, Color, DigiBeta, From CVM. Com CVM. From DigiBeta, Color, mins, 12 2005,

elson Séance 1968, 6 mins, Color, 16mm, From CVM. CVM. From 16mm, Color, 6 mins, 1968, Sac day / 10.19.11 10.19.11 / day n (1968) and Chakra and (1968) pheres B Guest curator Cindy Keefer Cindy curator Guest (U.S., 1959–2005) (U.S., elson: elson: red red (1959), new preservation prints of of prints preservation new (1959), 1977/abridged version 2002, 7 mins, a nd nd

(1972), and Epilogue and (1972), P T radical L om ro uddy fa , Y

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03 04 01. Chakra, 10.19.11. (c) Jordan Belson, courtesy Center for Visual Music.

02. Myth Labs, 09.07.11

03. Kristallnacht, 10.26.11

04. T,O,U,C,H,I,N,G, 10.05.11

Paul Sharits: An Open Cinema

Wednesday / 10.26.11 Wednesday / 10.05.11 7:30 “The question ‘What is cinema?’ is rather open.” 7:30 Films of Chick Strand Paul Sharits Paul Sharits: Early Work Chick Strand (U.S., 1964–1986) radical light Paul Sharits (U.S., 1966–1971) New PFA Preservation Prints! A pioneer of the flicker film, Paul Sharits (1943–93) Introduction Film scholar and CCA professor Federico Windhausen. Together with Bruce Baillie and Ernest Callenbach, trained in painting and graphic design before turning The interaction and conflict between text and image, seeing and hearing is Chick Strand was instrumental in launching the Bay to film. This background is apparent throughout foremost in Sharits’s early films, which make provocative reference to sexual- Area’s Canyon Cinema screening series, featuring his work, which juxtaposes intense pulses of color ity, violence, and self-destruction amidst striking formal experimentation new and old experimental films, cartoons, movie with repeated words or sound tones, and often with dueling visual and audio tracks. Sound and image blur and layer into serials, and other programs designed both to be fun takes the form of multiprojector pieces or installa- indistinguishable flows of color and sense. Jennifer Pranolo and to build an audience for avant-garde cinema. tions. A long-time teacher at SUNY Buffalo, Sharits Word Movie/Flux Film 1966, 4 mins, Color, 16mm, From Canyon Cinema. As a direct result, Strand began making films—her sought to bring about “entirely new definitions Razor Blades 1965–68, 25 mins, Color, 16mm two-screen projection, From Anthology Film Archives. of the film viewing and making enterprise.” His first, Eric and the Monsters, while still in the Bay T,O,U,C,H,I,N,G 1968, 12 mins, Color, 16mm, From Anthology Film Archives. ultimate goal was to retrain viewers’ senses, which Area, and the rest after relocating to Los Angeles. Inferential Current 1971, 8 mins, Color, 16mm, From Anthology Film Archives. Strand, who died in 2009, worked intuitively, bring- he saw as caught up in the overloading stimuli of Total running time: c. 50 mins ing an intimate, sensuous sensibility to her lyrical the “electric age.” Wednesday / 10.12.11 portraits of people and places. Her innovative oeuvre Tracing the legacy of this pedagogical aim, this 7:30 includes found-footage, ethnographic, and collage retrospective series, featuring many new pres- Paul Sharits: Midcareer Work Paul Sharits (U.S., 1973–76) films. Tonight’s program includes Strand’s final ervation prints, surveys Sharits’s career as he Introduction Guest curator Jennifer Pranolo completed film,W oman with Flowers, which was continuously evolves what it means to “open up” never released. The postproduction was completed Following his philosophy of Cinematics, Sharits began making films that were the cinematic medium. He envisioned his films—with meant to push perceptual limits, “so that one cannot tell whether or not what by the Academy Film Archive in 2011. Kathy Geritz their equal parts abrasion and elegance—as a one is experiencing is in the work or in oneself.” The labor behind this bodily Eric and the Monsters 1964, 6 mins, B&W, 16mm, PFA type of perceptual retuning or shock treatment Collection. synesthesia is illustrated in Analytical Studies III, which shows Sharits and his that could reawaken viewers’ dulled capacities Angel Blue Sweet Wings 1966, 3 mins, Color, 16mm, PFA students at work, and in the gloriously “pulsating dialectic” of the two-screen Collection. for feeling and cognition. In a vivid endorsement, Shutter Interface. Jennifer Pranolo Mosori Monika 1970, 20 mins, Color, 16mm, PFA Collection. Stan Brakhage characterized Sharits’s cinema as Analytical Studies III: Color Frame Passages 1973–74, 22 mins, Color, 16mm, From Canyon Cinema. Kristallnacht 1979, 7 mins, B&W, 16mm, PFA Collection. a “healing fever cycle” that could be felt flooding Shutter Interface 1975, 24 mins, Color, 16mm two-screen projection, From Film-makers’ Co-op. Fever Dream 1979, 7 mins, B&W, 16mm, PFA Collection. through the viewer’s veins. Tails 1976, 3 mins, Silent, Color, 16mm, From Canyon Cinema. Cartoon le Mousse 1979, 15 mins, B&W, 16mm, PFA Col- Total running time: c. 50 mins lection. A piece from Paul Sharits’s Frozen Film Frames (c. Artificial Paradise 1986, 12:30 mins, Color, 16mm, PFA Collection. 1969), which consists of serial arrangements of Thursday / 10.13.11 Señora Con Flores / Woman With Flowers 1995, 15 mins, colored filmstrips encased in suspended plastic, 7:30 Color, 16mm, Courtesy the Academy Film Archive, with will be on display at BAM/PFA during this series. Paul Sharits: Late Work thanks to Mark Toscano. Paul Sharits (U.S., 1975–82) Total running time: c. 85 mins Jennifer Pranolo, Guest Curator Introduction Guest curator Jennifer Pranolo Towards the end of his career, Sharits turned to visceral icons of pathology and decay. The disintegration of the body and the decomposition of the filmic Jennifer Pranolo is a doctoral student in Rhetoric and Film and Media at UC Berkeley. Paul Sharits: An Open Cinema material became corollary metaphors in disturbing—and at times extraordinarily is a project of the UC Berkeley graduate course in film beautiful—assaults on the viewer’s consciousness. Jennifer Pranolo curating taught by BAM/PFA curators Kathy Geritz and Epileptic Seizure Comparison 1976, 17 mins, Color, 16mm two-screen projection, Steve Seid. With thanks to Andrew Lampert and Matthew From Anthology Film Archives, Canyon Cinema. Cowan, Anthology Film Archives; Dominic Angerame, Apparent Motion 1975, 30 mins, Color, 16mm, From Film-makers’ Co-op. Canyon Cinema; M.M. Serra, Film-makers’ Co-op. 3rd Degree 1982, 24 mins, Color, 16mm, From Film-makers’ Co-op. Total running time: 71 mins

23 BAM / PFA FILMSFILMS 24 septemberM & october 2011 D Kino- Cine Revolution and Eurasian Studies. European, East Slavic, of Institute the and Media and Film of Department Berkeley’s UC of support generous the acknowledge to wish also and assistance collegial their for Museum Film Austrian the and MoMA of staff the to indebted We are catalog. Festival Film Silent Pordenone Third Twenty- the from Tsivian Yuri by texts from adapted Siegel, Joshua by are notes Film Vienna. Museum, Film Austrian the by loaned generously been have theater PFA the at presented prints 35mm of majority The York. New Art, Modern of Museum the Film, of Department curator, associate Siegel, Joshua and Chicago, of University the of Tsivian Yuri professor by curated retrospective recent the on modeled is series This Curator Film Senior Oxtoby, Susan listings. complete for website the consult please so December, two guest introductions. The retrospective continues through offer will who Museum, Film Austrian the at Collection Vertov the of curator Heftberger, Adelheid welcome to pleased also We are screenings. public several introduce will who Nesbet, Anne professor Berkeley by UC taught Vertov Dziga on a course with aligning months, three over stretches retrospective The Archive. Film Pacific the by mounted ever films Vertov’s of series largest the is This alike. features and newsreels his in see we which transformation, revolutionary to form aesthetic link to impulse an is cinema his of core the At instead. production of forms new embracing filmmaking, of styles dramatic traditional rejected Vertov premiered. first they and documentary filmmakers and are as revelatory today as when contemporary life, have influenced generations of avant-garde were intended as bold aesthetic experiments in documenting which films, His cinema. of history the in place amajor holds (1896–1954) Vertov Dziga theorist film and filmmaker Russian pseudonym, by his known best but Kaufman, Arkadievitch Denis Born Visit our website for the complete schedule. complete the for website our Visit 4. December until continues series This bampfa.berkeley.edu. Find expanded program notes on our website, Get More zi A RC H & A ga PR IL ma E V ye: T ye: ertov of

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D E F the Austrian Film Museum) Film Austrian the From 35mm, B&W, translation, English live and intertitles Russian with Silent fps, 18 mins, (78 Vertov. by Written statements. political into “facts” transform to editingincluding dialectical (thesis-antithesis-synthesis), techniques, film then-novel with play to begins Vertov Kino-Pravda eight first the In told).” normally are we as 1924 in not 1922, in (born cinema avant-garde Soviet of growth the showing movie time-lapse “a witness to is writes, Tsivian Yuri as so, doing for reward The newsreels. of cycle three-year entire the follow to chance rare a offers retrospective this and fragments), in some (though survive issue one but All experiments. cinematic radical most his among are 1925 and 1922 between made Kino-Pravda of issues twenty-three The intro L D P Kino- /09.25.11 Sunday Austrian Film Museum) the From 35mm, B&W, translation, English with Russian In mins, (67 Zeitlin. by Photographed Vertov. by Written 1970s. the in Museum Film Austrian the at Kubelka Peter by filmmaker/archivist restored was screen will we print The idealism. heroic its parody or critique they as even rhythms dynamic film’s the recapture to sought have who Harun Farocki, Wang Bing, and Lucy Raven—filmmakers Serra, Richard to Ivens Joris and Chaplin Charlie from inspired countless filmmakers throughout the century, has 1920s, late the of Year Plan Five the of celebration in made machine, and man of “symphony” rousing Vertov’s workers and the supremacy of Soviet industrial production. Russian avant-garde cinema, is a paean to coal and steel ( Vienna. Museum, Film Austrian the at Collection Vertov the of curator is Heftberger Adelheid intro o E ive V ziga V ziga r nthusi ntuziazm the f the iday /09.23.11 iday m duction duction u sic (U.S.S.R., 1930) 35MM A 35MM 1930) (U.S.S.R., ertov (U.S.S.R., 1922) 35MM A 35MM 1922) (U.S.S.R., ertov ). Vertov’s first sound film, a masterpiece of masterpiece a film, sound first Vertov’s ). r D a onb a Adelheid Heftberger Judith Rosenber Adelheid Heftberger vd s m: 03 a a , S ss os. Nos. 1–8 y phony mphony g o n Piano P rchival P rchival that Vertov Vertov that

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Tuesday / 09.27.11 Tuesday / 10.11.11 astonishing: the funerals of revolutionary heroes from 7:00 7:00 Kino-Week Nos. Kino-Week Nos. 31–35 1917 to 1922, some excerpted from Kino-Week, that 1, 3, 4, 5, 21–25 Dziga Vertov (U.S.S.R., 1919) 35MM Archival Print! Vertov strung together to create what Yuri Tsivian calls Dziga Vertov (U.S.S.R., 1918) 35MM Archival Print! live music Judith Rosenberg on Piano “some kind of simultaneous, over-arching funeral in live music Judith Rosenberg on Piano introduction Anne Nesbet which the whole country is participating.” introduction Anne Nesbet (Kinonedelja Nos. 31–35). In this program, dedicated (86 mins, 18 fps, Silent with Russian intertitles and live English Anne Nesbet is associate professor of Slavic Languages and to Kino-Week issues from 1919, we see workers forced translation, B&W, 35mm, From the Austrian Film Museum) Literatures and Film and Media at UC Berkeley. by the Russian government to clear the streets and Tuesday / 10.25.11 (Kinonedelja) The forty-three issues of Kino-Week sidewalks of Moscow after a heavy snowfall, the funer- 7:00 that were made between May 1918 and June 1919 als of field commanders, and a demonstration in Kiev Kino-Pravda Nos. 14–17 Dziga Vertov (U.S.S.R, 1922-23) 35MM Archival Print! (some of them directed and supervised by Vertov) protesting the murder of Karl Liebknecht and Rosa live music Judith Rosenberg on Piano are a priceless record of daily life during the civil war Luxemburg in Germany. between the White and Red Armies, and at the brutal This program features some of Vertov and Aleksandr (45 mins, 16 fps, Silent with Russian and Norwegian conclusion of the Great War between Russia and its intertitles presented with live English translation, B&W, Rodchenko’s most ingenious experiments in graphic former allies—violent upheaval that brought about 35mm, From the Austrian Film Museum) design, such as Kino-Pravda No. 14. For No. 15, Vertov famine, peasant mutinies, and the Soviet government’s Followed by: The Eleventh Year (Odinnadtsatyi, Dziga Vertov, enlisted cameraman Boris Frantsisson, and Ivan Belia- U.S.S.R., 1928) Vertov, cinematographer Mikhail Kaufman, and “Red Terror” policy. Included in this program from 1918 kov and Mikhail Kaufman, to invent tricks of process editor Elizaveta Svilova worked in perfect harmony to create this are images of Lenin and Trotsky reviewing the Red visually and rhythmically spectacular film. Made to commemorate photography, including a firework of newspapers burst- Army parade in Red Square and the wildly triumphant the tenth anniversary of the revolution—but only completed in ing like “agit-shells,” and the Proletarian “hammer of “the eleventh year”—the film charts the excavation of a future “Anniversary Chariot” circling the streets of Moscow in riverbed for the construction of a giant hydroelectric power knowledge” smashing out Religion. No. 16, the Spring commemoration of the centenary of Karl Marx’s birth. station. (Written by Vertov. Photographed by Mikhail Kaufman. Kino Pravda, is “A Lyrical View Newsreel” featuring 52 mins, 20 fps, Silent with Russian intertitles and live English (72 mins, 16 fps, Silent with Russian and Norwegian translation, B&W, 35mm, From the Austrian Film Museum) rare glimpses of Sergei Eisenstein’s first film,Dnevnik intertitles presented with live English translation, B&W, Total running time: 97 mins Glumova (Glumov’s Diary). No. 17 showcases Elizaveta 35mm, From the Austrian Film Museum) Svilova’s virtuoso rapid-fire editing and cinematographer Preceded by: Vertov Filmed in Person (Edited by Elizaveta Svilo- Tuesday /10.18.11 Mikhail Kaufman’s Constructivist aesthetic in depicting va, U.S.S.R., 1922–30). A compilation of outtakes and excerpts 7:00 from films in which Vertov appears. Kino-Pravda issues 8 and Kino-Pravda nos. 9–11, 13 a harmonious gathering of workers and peasants. 17 are among the sources. (1 min, 20 fps, Silent, B&W, 35mm, (Yesterday, Today, Tomorrow: A Photographed by Vasilii Bystrov, Mikhail Kaufman. (79 From the Austrian Film Museum) Film Poem Dedicated to the October mins, 18 fps, Silent with Russian intertitles and live English Celebrations) translation, B&W, 35mm, From the Austrian Film Museum) Vertov Interviews (U.S.S.R., post-1935). A compilation of docu- Dziga Vertov (U.S.S.R., 1922) 35MM Archival Print! mentary shots featuring Vertov, possibly edited by Elizaveta Preceded by: Soviet Toys (Dziga Vertov, U.S.S.R., 1924.) One Svilova, including an interview that was probably conducted live music Judith Rosenberg on Piano of Vertov’s first animated films, drawn by Ivan Beliakov and at the 1935 Moscow Film Festival. (1 min, 20 fps, Silent, B&W, introduction Anne Nesbet Aleksandr Ivanov, Soviet Toys celebrates the smychka alliance 35mm, From the Austrian Film Museum) In breathless images we see the opening of the racing of workers and peasants through the humorous depiction of a piggish bourgeoisie who grotesquely drinks, eats, and vomits. Total running time: 74 mins season in Moscow; the All-Russia Olympiad, which offered (13 mins, 24 fps, Silent with Russian intertitles and live English Vertov a chance to experiment with what he called “a translation, B&W, 35mm, PFA Collection) precise study of movement”; and the lightning-fast Total running time: 92 mins deployment of a mobile film projection unit in a Moscow square. Kino-Pravda No. 13 is famous for Aleksandr Rodchenko’s Constructivist intertitles, a masterpiece of graphic design, and the images themselves are also

25 BAM / PFA Rainer MS

FIL Werner Fassbinder: Two Great 01/02 Epics Friday / 10.14.11 7:00 Berlin Alexanderplatz Back by popular demand after its recent premiere at the San Francisco Rainer Werner Fassbinder (Germany, 1979–80) Rainer Werner Fassbinder (Germany, 1973) New New 35mm Restored Print! International Film Festival, we present another opportunity to see 35mm Restored Print! Restored in 2006, Berlin Alexanderplatz is the summa of the dazzling new 35mm restored print of the sci-fi spectacleW orld (Welt am draht). Largely unseen since its 1973 broadcast Rainer Werner Fassbinder’s art, and the culmination of on a Wire (1973), paired with Fassbinder’s other great television on German television, the restoration of Rainer Werner his lifelong relationship to Alfred Döblin’s monumental epic, the masterful Berlin Alexanderplatz (1979–80), which we Fassbinder’s cyberpunk precursor is a revelation. The novel of 1920s Berlin—a book the filmmaker said was have gone to extraordinary lengths to import as a 35mm restored film’s treatment of virtual worlds brings to mindThe “embedded in my mind, my flesh, my body as a whole, print from Germany. Matrix or Tron, but with its own astounding visual style. and my soul.” Fassbinder pours knowing tenderness Fassbinder (1945–1982) seemingly overnight went from enfant Director of photography , who also into the characterization of Franz Biberkopf (Günter terrible to being the driving force behind the New German Cinema, supervised the restoration, mounts a riot of reflected, Lamprecht), an unemployed lumpen worker who earns and one of the most influential artists of the postwar European refracted, and severely fragmented images in the service his living as a thief and pimp following a stint in jail for scene, with a prodigious output as director, actor, author, and of a prescient story concerned with the illusory nature murdering his mistress. Franz is a jovial if explosive playwright. With a stock team of collaborators from the antiteater of reality and the subjectivity of perception. Scientist figure in the Alexanderplatz district of Berlin, a man troupe, Fassbinder created a mirror for postwar German society Fred Stiller replaces a colleague who was in charge of with optimistic dreams, a determination to “go straight,” in the individual souls of his characters. This reprise of his work, an enormous computer simulation until he committed and an absurd faith in love. The film chronicles the with a series of his feature films soon to follow, will introduce a suicide. Stiller’s paranoia grows as he tries to uncover destruction of this faith, amid the poverty, hypocrisy, new generation of viewers to the deeply felt humanity his films the reason behind his coworker’s death. Subverting and violence of Berlin in the years just before Nazism daringly explore. the material with characteristic elements of camp, took full hold. pastiche, and Sirkian melodrama, Fassbinder lends the film his distinctive sensibility, and it is all the richer At fifteen and a half hours,Berlin Alexanderplatz comes for it. World on a Wire is a beguilingly eccentric fusion closer than most film experiences to the engagement that Series curated by Senior Film Curator Susan Oxtoby. of styles, as well as a breathtaking visual achievement. a good novel offers. The beauty, richness, and cohesion Jesse Dubus, SFIFF of Fassbinder’s style can here be fully appreciated as Written by Fassbinder, Fritz Müller-Scherz. Photographed it links one chapter to the next. by Michael Ballhaus. With Klaus Löwitch, Ulli Lommel, Written by Fassbinder, based on the novel by Alfred Barbara Valentin, Günter Lamprecht. (204 mins plus Döblin. Photographed by Xavier Schwarzenberger. With intermission, In German with English subtitles, Color, Günter Lamprecht, Barbara Sukowa, Gottfried John, 35mm, From Janus Films/Criterion Collection) Barbara Valentin, Hanna Schygulla. (In German with English subtitles, Color, 35mm, From Bavaria Film International)

SPECIAL PRICING $13.50, general; $9.50, BAM/PFA members, UC Berkeley Special Pricing students; $10.50, UC Berkeley faculty/staff, non-UC Berkeley Berlin Alexanderplatz is divided into thirteen parts and an students, seniors, and disabled persons. epilogue. It will be screened in its entirety over four days. Spe- cial admission prices apply for each screening: $13.50, general; $9.50, BAM/PFA members, UC Berkeley students; $10.50, UC Berkeley faculty/staff, non-UC Berkeley students, seniors, and 01. Fassbinder directing Hanna Schygulla in disabled persons. Berlin Alexanderplatz Berlin Alexanderplatz Passport

02. World on a Wire, 10.14.11 Purchase tickets to all four screenings by October 16 and receive a $6 discount! Passport cost is $48, general; $32, BAM/PFA 03. Berlin Alexanderplatz members, UC Berkeley students; $36, other reduced categories. GET MORE Find expanded program notes on our website, bampfa.berkeley.edu.

26 september & october 2011 BIG MUSEUM STORE SALE 30% off most items 40% off for BAM/PFA Members

Open Wed–Sun 11–5 store.bampfa.berkeley.edu (510) 642-1475 O INF TOR I I S V

03

bampfa.berkeley.edu/visit/cafe

Sunday / 10.16.11 plan your visit PFA Theater Admission* bampfa.berkeley.edu 2:00 $5.50 BAM/PFA members, Berlin Alexanderplatz, (510) 642-0808 UC Berkeley students Parts I–III For information on parking, $9.50 General admission I: The Punishment Begins (Die Strafe beginnt). II: How Is One to Live If transportation, and accessibility, $6.50 UC Berkeley faculty/staff, go to bampfa.berkeley.edu/visit. non-UC Berkeley students, 65+, One Doesn’t Want to Die? (Wie soll man leben, wenn man nicht sterben disabled persons, 17 & under Museum entrances will?). III: A Hammer Blow on the Head Can Injure the Soul (Ein Hammer 2626 Bancroft Way Additional feature $4.00 *Unless indicated otherwise auf den Kopf kann die Seele verletzen) & 2621 Durant Ave. PFA Theater Ticket Sales PFA Theater Total running time: 199 mins plus intermission 2575 Bancroft Way online bampfa.berkeley.edu

Gallery hours by phone (510) 642-5249 Friday / 10.21.11 Wed–Sun 11-5 in person 7:00 Extended hours on selected Tickets available daily 11 a.m.–5 p.m. Berlin Alexanderplatz, Fridays, see calendar at BAM/PFA admissions desk, Parts IV–VII 2626 Bancroft Way, and one hour before showtime at the PFA Theater IV: A Handful of People in the Depths of Silence (Eine Handvoll Menschen Gallery Admission Free BAM/PFA members, box office, 2575 Bancroft Way in der Tiefe der Stille). V: A Grim Reaper with Powers from Almighty God UC Berkeley students/ PFA 24-Hr Recorded Information (Ein Schnitter mit der Gewalt vom lieben Gott). VI: Love Has Its Price (Ein faculty/staff, 12 & under (510) 642-1124 $10 General admission PFA Ticket and Program Information Liebe, das kostet immer viel). VII: Remember: An Oath Can Be Amputated $7 Non-UC Berkeley students, (510) 642-1412 (Merke: einen Schwur kann man amputieren) 65+, disabled persons, ages 13–17 L@TE: Friday Nights @ BAM/PFA Total running time: 240 mins plus intermission After 5 p.m., general admission is $7. Free admission the first Thursday L@TE admission free with a ticket of every month. Sunday / 10.23.11 stub from same-day PFA screening 2:00 Reservations required for group visits. or gallery visit. Berlin Alexanderplatz, [email protected]

Parts VIII–XI PFA library and film and study center VIII: The Sun Warms the Skin, but Burns It Sometimes, Too (Die Sonne (510) 642-1437 wärmt die Haut, die sie manchmal verbrennt). IX: About the Eternities Between the Many and the Few (Von den Ewigkeiten zwischen den Vielen WURSTER HALL

HARGROVE MUSIC LIBRARY und den Wenigen). X: Loneliness Tears Cracks of Madness Even in Walls CESAR CHAVEZ STUDENT CENTER BARROWS HALL (Einsamkeit reisst auch in Mauern Risse des Irrsinns). XI: Knowledge Is Power, ZELLERBACH HALL

SPROUL HEARST ANNEX KROEBER HALL HALL and the Early Bird Catches the Worm (Wissen ist Macht, und Morgenstund MLK STUDENT UNION

HEARST GYMNASIUM hat Gold im Mund) BANCROFT BOALT LAW SCHOOL TENNIS SPROUL PLAZA SPROUL COURTS ESHLEMAN theater HEARST Total running time: 240 mins plus intermission LANE BAARROW MUSEUM

◀ BANCROFT WAY

museum BANCROFT URBAN store Friday / 10.28.11 CLOTHING OUTFITTERS 7:00 film COLLEGE AVENUE BOWDITCH STREET BOWDITCH library

Berlin Alexanderplatz, ◀ TELEGRAPH AVENUE remedy Parts XII, XIII, Epilogue coffee DURANT AVENUE ▶ XII: The Serpent in the Soul of the Serpent (Die Schlange in der Seele der UNIT 1 RESIDENCE HALLS Schlange). XIII: The Outside and the Inside, and the Secret of the Fear of

Fear (Das Aussere und das Innere, und das Geheimnis der Angst vor dem CHANNING WAY

Geheimnis). Epilogue: My Dream of Franz Biberkopf’s Dream (Mein Traum University of California, Berkeley Art Museum and Pacific Film Archive, program guide vom Traum des Franz Biberkopf) Volume XXXV Number 3. Published bimonthly by the University of California, Berkeley. Produced indepen- dently by the UC Berkeley Art Museum and Pacific Film Archive, which is solely responsible for its contents. Total running time: 240 mins plus intermission BAM/PFA, 2625 Durant Avenue, Berkeley, CA 94720-2250, (510) 642-0808. Lawrence Rinder, Director. Nonprofit Organization: Periodical Postage Paid at Berkeley Post Office. Usps #003896. POSTMASTER: Send address change to: UC Berkeley Art Museum and Pacific Film Archive, 2625 Durant Avenue, Berkeley CA 94720-2250. Copyright © 2011 The Regents of the University of California. All rights reserved. 27 BAM / PFA 2011 CALENDARCALENDsep AR 28 7:30 7:00 7:00 8:40 6:30 12:15 Galleries open until 9:00 until Galleries open 8:45 september & october 2011

F F + Peter Esmonde and Ellen Anyway Create guided tour F L@TE F F Invention with short short with Invention Fullman in person in Fullman p. 18 p. ilm ilm ilm ilm ilm The Friend The Yol Mikey and Nicky and Mikey Music About Care We Don’t of Sound The Trimpin: The Forbidden Zone Zone Forbidden The 08/ Güney Sounding Off Sounding 24/ 16/F p. 21 p. Güney Sounding Off Sounding T p. 10 p.

p. 18 p. S Seventies p. 21 p. HR AT R p. 4 p. p. 13 I

7:00 2:00 2:00 4:15 7:30 7:00 Create closes 12:15 Free First Thursday 8:45 6:30 Galleries open until 9:00 until open Galleries 8:55

+ Introduction by Adelheid Theater Near You + Introduction by Deniz Göktürk by Deniz + Introduction Create guided tour F F Heftberger and Judith Rosenberg on piano on Schwitters guided tour F Preservation Güney F F F L@TE F ilm ilm ilm ilm ilm ilm ilm

Diary of a Country Priest a Country of Diary 1–8 Nos. Kino-Pravda, The Crusades Bride of the Earth the of Bride Hope Payday Riley Terry Pike Cisco 25/ p. 20 p. 01/ Vertov 09/F

p. 15 p. 17/ Seventies p. 19 p. Seventies p. 24 p. p. 4 p. N SU T UCLA UCLA p. 10 p. S p. 13 HR Güney p. 10 p. p. 13 A R p. 20 p. T

I

7:30 7:00 2:00 4:00 9:10 Galleries open until 9:00 until open Galleries 6:30 Desirée Holman/MATRIX closes

8:35 6:30 judith

+ Introduction by Julie Kohner + Introduction by Eddie Muller F L@TE F Survivors Seventies Make Art with William Theophilus Theophilus William with Art Make F F Sounding Off Sounding UCLA Preservation UCLA Brown p. 4 p. F F Sounding Off Sounding UCLA PreservationUCLA ilm ilm ilm ilm scott ilm ilm The Landlord The The Heartbreak Kid Intangible Asset Number 82 Holocaust Your Life: Is This Cry Danger Ne change rien Chris Kubick & Seth Horvitz Horvitz & Seth Kubick Chris

Schwitters p. 8 p. 18/ p. 12 p. 02/F

10/ p. 18 p. p. 18 p.

p. 15 p. p. 10 p. p. 15 p. SU Seventies

S

AT RI N p. 12 p.

7:00 2:00 8:50 6:00 6:30 intangible

+ Steve Elkins and Bob Ostertag Ostertag Bob and Elkins + Steve + Introduction by Anne Nesbet 21–25 with shorts shorts with 21–25 Vertov F F F Explorers’ Circle MATRIX Chat MATRIX Circle Explorers’ and Judith Rosenberg on piano in person in Member event Schwitters guided tour guided Schwitters ilm ilm ilm Wanda Resonance of Reach The Kino-Week, Nos. 1, 3, 4, 5, 5, 4, 3, 1, Nos. Kino-Week, asset p. 25 p. 27/ 03/ 11/ Sounding Off Sounding number UCLA PreservationUCLA p. 32 p.

N SU 82 ue t S p. 18 18 p. p. 18 p. p. 10 p. AT p. 15 p.

6:00 Desirée Holman and Sherry Turkle in conversation Holman/matrix p. 10

7:30 Film Martha Colburn’s Collage Animation + Martha Colburn in person Alt Visions p. 22

The Last Picture Show, p. 14 Sweet Sweetback's Baadasssss Song p. 14 07/ WED

7:30 Film Ice Seventies p. 13 12:15 Create guided tour p. 10

7:00 Film Dusty and Sweets McGee Seventies p. 13

Enthusiasm: Symphony of the Donbass p. 25 14/WED 15/THR

6:30 Explorer’s Circle Italian Art and 7:30 Film A Sixth Part of the World 12:15 Schwitters guided tour p. 10 7:00 Film Enthusiasm: Symphony Wine Workshop Member Event p. 32 with short of the Donbass 7:00 Film On the Vitaphone: 1928-1930 + Judith Rosenberg on piano + Introduction by Adelheid UCLA Preservation p. 16 Vertov p. 24 Heftberger Vertov p. 24

8:30 Film Diary of a Country Priest Theater Near You p. 19

20/TUE 21/WED 22/THR 23/FRI

7:30 Film Zvenigora 12:15 Schwitters guided tour p. 10 5:30 L@TE MATRIX Live/Exhibition + Judith Rosenberg on piano Opening p. 4 7:00 Film The Hungry Wolves Alt Visions p. 22 Güney p. 21 7:00 Film Hickey & Boggs Seventies p. 13

9:10 Film Sweet Sweetback’s Baadasssss Song Seventies p. 14

Silke Otto-Knapp / MATRIX opens Galleries open until 9:00

28/WED 29/THR 30/FRI matrix live p. 4

29 BAM / PFA GALLERIES ALWAYS FREE FOR BAM/PFA MEMBERS 6:00 Film The Herd 2:00 Schwitters guided tour p. 10 + Introduction by Deniz Göktürk 4:00 Film Native Land Güney p. 21 UCLA Preservation p. 16 8:45 Film Elegy Güney p. 21 6:00 Film Over the Edge + Charlie Haas in person Seventies p. 14 oct CALENDAR

2011 01/SAT 02/SUN killer of sheep p. 14

6:30 Film Badlands Seventies p. 14 2:00 Make Art with Veronica de Jesus 5:30 Community Evening Schwitters p. 10 Misrach p. 10 8:25 Film Mean Streets Seventies p. 14 4:00 Film Eve’s Leaves 7:00 Film Kino-Week, Nos. 31–35 + Judith Rosenberg on piano with The Eleventh Year UCLA Preservation p. 16 + Introduction by Anne Nesbet

5:35 Film The Poor Güney p. 21 and Judith Rosenberg on piano Vertov p. 25

08/SAT 09/SUN richard misrach p. 5 11/TUE

1:00 Tour: Introduction to BAM/PFA 7:00 Film Kino-Pravda, Nos. 9–11, 13 7:30 Film Jordan Belson: Films Cal Homecoming + Introduction by Anne Nesbet Sacred and Profane and Judith Rosenberg on piano + Introduction by Cindy Keefer 2:00 Schwitters guided tour p. 10 Vertov p. 25 Alt Visions p. 22 2:00 Baatcheet Around the Bay p. 10

2:00 Film Berlin Alexanderplatz, I–III Fassbinder p. 26

16/SUN berlin alexanderplatz p. 26 18/TUE 19/WED

7:00 Film Kino-Pravda, Nos. 14–17 7:30 Film Films of Chick Strand 12:15 Schwitters guided tour p. 10 with short Alt Visions p. 23 7:00 Film The Private Files of + Judith Rosenberg on piano J. Edgar Hoover Seventies p. 14 Vertov p. 25

kurt Schwitters p. 8 25/TUE 26/WED 27/ THR

30 september & october 2011 7:30 Film Paul Sharits: Early Work 12:15 Schwitters guided tour p. 10 7:00 Film Loose Ends Seventies p. 14 + Introduction by Federico 7:00 Film Went the Day Well? 7:30 L@TE Random Rotations p. 4 Windhausen Sharits p. 23 Theater Near You p. 19 9:00 Film Killer of Sheep Seventies p. 14

Free First Thursday Galleries open until 9:00 05/WED 06/THR 07/FRI

12:00 Richard Misrach: Gallery Talk 12:15 Schwitters guided tour p. 10 11:00 Tour: Introduction to BAM/PFA 2:00 Tour: Introduction to BAM/PFA Misrach p. 10 Cal Homecoming Cal Homecoming 7:30 Film Paul Sharits: Late Work 7:30 Film Paul Sharits: Midcareer Work + Introduction by Jennifer 3:00 Tour: Introduction to BAM/PFA 6:30 Film Amateur Night: Home + Introduction by Jennifer Pranolo Sharits p. 23 Cal Homecoming Movies from American Archives Pranolo Sharits p. 23 + Dwight Swanson and Pamela 7:00 Film World on a Wire Fassbinder p. 26 Jean Vadakan in person Home Movie Day p. 17 5:30 L@TE Robin Cox Ensemble p. 4 8:45 Film Sleep, My Love 1991: The Oakland-Berkeley Fire UCLA Preservation p. 17 Aftermath, Photographs by Richard Misrach opens Richard Misrach: Photographs from the Galleries open until 9:00 Rome, Naples, Venice closes Collection opens 12/WED 13/THR 14/FRI 15/SAT

12:15 Schwitters guided tour p. 10 7:00 Film Berlin Alexanderplatz, IV–VII 6:30 Film Come Back to the Five and 2:00 Schwitters guided tour p. 10 Fassbinder p. 26 Dime, Jimmy Dean, Jimmy Dean 7:00 Film Bush Mama Seventies p. 14 2:00 Film Berlin Alexanderplatz, VIII–XI p. 17 UCLA Preservation Fassbinder p. 26 8:40 Film The Last Picture Show 3:00 The Art of the Masque: Dramatic Seventies p. 14 Music by Henry Purcell p. 10

20/THR 21/FRI 22/SAT 23/SUN

7:00 Film Berlin Alexanderplatz, XII–XIII, 6:30 Film Summer Theater Near You p. 19 2:00 Schwitters guided tour p. 10 Epilogue Fassbinder p. 27 8:30 Film Four Adventures of Reinette 3:00 Louise Mozingo and Richard 7:30 L@TE The Blob: A Shapeless and Mirabelle Theater Near You p. 19 Walker in Conversation Spectacle p. 4 Misrach p. 10

4:00 Film Summer Theater Near You p. 19

6:00 Film Waiting for Godot with short UCLA Preservation p. 17

Galleries open until 9:00

28/FRI 29/SAT 30/SUN went the day well? p.19

31 BAM / PFA GALLERIES ALWAYS FREE FOR BAM/PFA MEMBERS MEMBERSHIP 32 UC Berkeley Art M Art Berkeley UC september & october 2011 05.

chase. pur museum in.; × 7 15/16 9/16 10 pen, ink, and wash on paper; Flying Female Figure Giovanni Battista Tiepolo: u se , c. 1744 , c. &P um ; - Silke Ott T above. and Circle Explorers’ to Open tasting. wine Italian enlightening an tional T Stop by the BAM/PFA admissions desk or PFA Theater box office box PFA Theater or desk admissions BAM/PFA by the Stop Visit bampfa.berkeley.edu/join 642-5186 (510) at us Call join: to ways easy Three (510) 642-5186, [email protected] you! from We’d hear to love comments? or Questions BAM/PFA! @ Coffee Remedy café, museum new our at products retail and food on discount a 10% receive members that announce to thrilled We are Rem discounts. of listing up-to-date most the for frequently website our check so time, over grow to continue will partners community of list Our more. many and Books, Moe’s the details. Discount partners include Gather, Vintage Berkeley Wine, BAM/PFA member discount. Visit bampfa.berkeley.edu/join for all a special receive to restaurants and stores local participating at card Announcing an exciting NEW benefit formembers! Show yourmember E * N above. and Circle Explorers’ to Open home. a private at team curatorial our and members, BAM/PFA fellow Otto-Knapp, Silke artist MATRIX with drink and food, conversation, great of evening an Enjoy Ex Venice: Italian Masterworks about a discussion for Barnes Lucinda Curator Chief Join Ex W ac M E Not aM Not C e uesd uesd a Ex an ot ’ a ll n ve o ember Di pl pl ifi s n perks dd dd t Bay D edy C ta or or c ts twelve plorers a a ct U ct F y / 09.27.11 /6:30 y /09.27.11 y / 09.20.11 /6:30 y /09.20.11 the of ember? ember? e e il rs rs months m Ar o ’ C off scou s hi ircle i - g ’ Ci ’ Ci sco K level her napp y to ee @ B member c rc rc n bampfa.berkeley.edu hive o unt Clu unt ts u le :M le :I le r ! ? C c u u all rrent A

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