NORTHWEST FILM CENTER NON-PROFIT ORG 1219 SW PARK AVENUE U.S. POSTAGE

PORTLAND, OR 97205 PAID

PORTLAND, OR PERMIT NO. 664

CLASSES & WORKSHOPS & CLASSES

School of Film of School

GHIBLI

STUDIO STUDIO

CLASSICS FROM CLASSICS PRODUCTION/DISTRIBUTION

BURT

FOREVER

THE UCLA FILM & TELEVISION ARCHIVE TELEVISION & FILM UCLA THE TREASURES FROM FROM TREASURES

FilmCenter FilmCenter 2014 JANUARY/MARCH NW PORTLAND ART MUSEUM ART PORTLAND STAFF WELCOME

NORTHWEST FILM CENTER DIRECTOR: Before you get to a jam-packed winter exhibition schedule (with February’s PIFF 37 BILL FOSTER EDUCATION DIRECTOR: program not yet announced) and School of Film offerings, we’d like to take a quick look ELLEN THOMAS back to November’s Northwest Filmmakers’ Festival and to salute the winners in this year’s FILMMAKER SERVICES MANAGER: THOMAS PHILLIPSON smart™ Audience Awards. Among the 49 films screened, emerging at the top were: A HARRY & ROSE MOYER EXHIBITION PROGRAM ASSISTANT: PLACE OF TRUTH, Barrett Rudich, Portland—Best Feature; MANDAROSE, Gabe Van Lelyveld, ADMINISTRATIVE OFFICES & MORGEN RUFF NORTHWEST FILM CENTER PUBLIC RELATIONS & MARKETING MANAGER: Portland—Best Narrative Feature; NEMO, Adrienne Leverette and Rob Tyler, Portland—Best SCHOOL OF FILM LAURA BARTROFF Short; GROUND LONDON, Dustin Morrow, Portland—Best Experimental Short; DEER FATHER, 934 SW SALMON STREET PUBLIC RELATIONS & MARKETING ASSISTANT: NICK BRUNO Alex Brinkman, Belgrade, MT—Best Narrative Short; and WILD BICHONS, Stefan Nadelman, ALL SCREENINGS TAKE PLACE, MEMBERSHIP & SPONSORSHIP MANAGER: Portland—Best Animated Short. Congratulations to all. UNLESS OTHERWISE NOTED, KRISTY CONRAD AT THE MEMBERSHIP COORDINATOR: The Festival lives on in the annual “Best of the Northwest” Touring Program, which in the NORTHWEST FILM CENTER SOPHIA MACKENZIE EDUCATION PROGRAMS MANAGER: coming year will showcase this year’s short film highlights to audiences in five states. WHITSELL AUDITORIUM ANNA CRANDALL PORTLAND ART MUSEUM Joining DEER FATHER, WILD BICHONS, and NEMO on tour are: AMERICAN LAWN, Robert EQUIPMENT & FACILITIES MANAGER: 1219 SW PARK AVENUE DAVE HANAGAN Sickels, Walla Walla, WA; HEY VANCOUVER, THIS IS YOU ON CRAIGSLIST, Lewis Bennett, ADMINISTRATIVE COORDINATOR: MAILING ADDRESS (FOR ALL) KAREN WENNSTROM Vancouver, BC; SF HITCH, Vanessa Renwick, Portland; CHERYL’S SPIN, Kathy Witkowsky, 1219 SW PARK AVENUE EDUCATION SERVICES COORDINATORS: Missoula, MT; THE ROPER, Anna Sandilands and Ewan McNicol, Seattle; SPLIT ENDS, Joanna PORTLAND, OR 97205 STEPHANIE HOUGH ANDREW PRICE Priestley, Portland; and A BEGINNING, A MIDDLE, AND AN END, Jon Behrens, Seattle. If you’d MILES SPRIESTMA THE KILLERS like to host a screening of this year’s program, you can find all the details at nwfilm.org/ EDUCATION PROGRAM ASSISTANTS: P.16 FELISHA LEDESMA festivals/nwfest/tour. HAZEL MALONE MATT SMITH JARRATT TAYLOR The new year signals the start of a second year of our education outreach initiative, Project HEAD THEATRE MANAGER & PROJECTIONIST: MELINDA KOWALSKA Viewfinder, which helps disadvantaged homeless youth to use filmmaking as a tool in their THEATRE STAFF: journey to self-sufficiency. With our social service partners New Avenues for Youth, Outside KATIE BURKART LILY HUDSON In, p:ear, and others, this winter our School of Film faculty will be mentoring selected ERIK MCCLANAHAN ARIKA OGLESBEE individuals through the process of telling their stories of struggle and hope on film. You ALEX SMITH SPECIAL SCREENINGS ILANA SOL can meet the participants on our website (nwfilm.org/youngfilmmakers/projectviewfinder) PAGE 3 LISA TRAN VERONICA VICHIT-VADAKAN and see the work of last year’s participants as part of our Northwest Tracking series on TREASURES FROM LARISA ZIMMERMAN January 5. This project is made possible largely by individuals, members, and friends who THE UCLA FILM OFFICE INTERNS & VOLUNTEERS: & TELEVISION ARCHIVE SARAH CHAN believe in the power of film to change lives and create community. We welcome donations PAGES 4-5 EMILY CRAFT MATT ELLIS in any amount and look forward to sharing the success of this year’s participants with you NORTHWEST TRACKING ANDREW HASKELL later this spring. PAGE 6 ALYSSA PERSONS JOHN PINNEY SCHOOL OF FILM BRIANNE SIEGEL MEGAN STUMP Bill Foster PAGES 7-14 IAN WESTMORLAND DIRECTOR THEATRE VOLUNTEERS: CLASSICS FROM NORTHWEST FILM CENTER STUDIO GHIBLI YASUE ARAI JEAN BELLINGER PAGE 15 LIS COOPER JEANNE DEVON FOREVER BURT GABRIELLE FOULKES PAGES 16-17 CONNIE GUIST DOUGLAS HANES MISSION PRODUCTION/DISTRIBUTION PAT HOLMES The Northwest Film Center is a regional media arts resource and service organization founded to encourage the PAGES 18-19 JESSE IIAMS-HAUSER LEAH ISAAC INGEBORG MUSSCHE study, appreciation, and utilization of the moving image arts; to foster their artistic and professional excellence; and GENERAL ADMISSION KAY OLSEN NANDINI RANGANATHAN to help create a climate in which they may flourish. $9 GENERAL LAUREL SAGER HANNAH VAN LOON $8 PAM MEMBERS, STUDENTS, SENIORS KRISTEN WALKER PRESENTING $6 SILVER SCREEN CLUB FRIENDS AND MANY MORE… The Film Center’s year-round exhibition program surveys the full range of cinema past and present. From classic SPECIAL ADMISSION PRICES AS NOTED. silent film to the avant-garde, thematic series, director retrospectives, national cinema surveys, visiting artists, ALL PROGRAMS ARE SINGLE ADMISSION, and the latest in regional, independent, and foreign film, the Film Center’s programs open the world of diverse UNLESS OTHERWISE NOTED. PORTLAND ART MUSEUM BOARD OF TRUSTEES CHAIR: moving image expression. SILVER SCREEN CLUB DIRECTORS, JIM WINKLER PRODUCERS, BENEFACTORS VICE CHAIRS: & SUSTAINERS RECEIVE FREE RICHARD BROWN ADMISSION TO ALL REGULAR TEACHING JANET GEARY ADMISSION PROGRAMS, The Film Center’s School of Film is one of the oldest and largest community-based media arts education INCLUDING FESTIVALS. NW FILM CENTER COMMITTEE: DON VAN WART, CHAIRMAN programs in the country. The School of Film offers intensive hands-on classes and workshops in film production SEATS FOR ADVANCE TICKET HOLDERS ALICE WIEWEL AND SILVER SCREEN CLUB MEMBERS DICK RUBINSTEIN for adults and youth, taught by faculty members who are accomplished working media artists. Students may earn ARE HELD UNTIL 10 MINUTES BEFORE MARY HINCKLEY SHOWTIME, AT WHICH POINT ANY DAVID MARGULIS the Film Center’s non-degree Certificate in Film as well as obtain optional college credit through partnering UNFILLED SEATS ARE RELEASED LINDA ANDREWS TO THE PUBLIC. higher education institutions. PORTLAND ART MUSEUM BOX OFFICE OPENS ONE-HALF MARILYN H. & DR. ROBERT B. In K-12 classrooms, after-school, and community settings, in partnership with many other organizations, HOUR BEFORE SHOWTIME. PAMPLIN, JR. DIRECTOR: the School of Film advances media literacy and expression as core skills for the next generation through BRIAN FERRISO SCRIP BOOKS: screenings, production camps, and other innovative programs and collaborations. $50 (10 TICKETS) NW FILM CENTER CORRESPONDENCE TO: ADVANCE PURCHASE AT THE SUPPORTING FILMMAKERS AND COMMUNITY NORTHWEST FILM CENTER BOX OFFICE. NORTHWEST FILM CENTERR 1219 SW PARK AVENUE In addition to exhibition and teaching opportunities, the Film Center circulates traveling exhibition programs PORTLAND, OR 97205 IDENTIFICATION STATEMENT featuring work by regional artists, administers the Oregon Media Arts Fellowship, offers fiscal agent services PUBLICATION TITLE: NORTHWEST FILM CENTER EMAIL: [email protected] for independent producers in need of non-profit sponsorship, provides low-cost equipment access, and engages PHONE: 503-221-1156 ISSUE DATE: DECEMBER 2013 in consulting services to community producers and organizations. FAX: 503-294-0874 STATEMENT OF FREQUENCY: PUBLISHED 6 TIMES PER YEAR WWW.NWFILM.ORG THE NORTHWEST FILM CENTER IS FUNDED IN PART BY THE NATIONAL ENDOWMENT FOR THE ARTS, AUTHORIZED ORGANIZATION NAME AND ADDRESS: OREGON ARTS COMMISSION, OREGON CULTURAL TRUST, REGIONAL ARTS & CULTURE COUNCIL, THE TED NORTHWEST FILM CENTER PORTLAND ART MUSEUM R. GAMBLE FILM ENDOWMENT, THE PAUL G. ALLEN FAMILY FOUNDATION, THE JAMES F. AND MARION L. 1219 SW PARK AVENUE MILLER FOUNDATION, AND THE SUPPORT OF NUMEROUS CORPORATE AND EDUCATION PROGRAM SPONSORS, PORTLAND, OR 97205 MEMBERS, & FRIENDS. ISSUE NUMBER: VOL. 42; ISSUE 1

PAGE 02 NORTHWEST FILM CENTER JANUARY/MARCH 2014 503-221-1156 NWFILM.ORG SPECIAL SCREENINGS

BROADWAY DANNY ROSE FIRE IN THE BLOOD JAN 17 19 FRI 7 PM, SUN 1:30 PM JAN 31 FEB 1 FRI 7 PM, SAT 7 PM FIRE IN THE BLOOD KISS THE WATER US 2013 US/UK 2013 DIRECTOR: DYLAN MOHAN GRAY DIRECTOR: ERIC STEEL “In 1996, the development of antiretroviral drug therapies may Reading the obituaries in The New York Times, Eric Steel not have cured AIDS, but the breakthrough made the disease treat- wondered at how a life’s essence can be captured and able—if patients could afford the hefty price tag. For millions in the immortalized in just a few words. The obituary of a Scottish developing world, the cost kept essential medicines out of reach and fishing fly-maker, Megan Boyd, captured his imagination, meant they would continue to die. Hope came in the form of low-cost and after a decade of thinking about her, he finally set off to generic drugs manufactured in India and elsewhere, but pharmaceu- make this meditative reflection on a most unusual creative tical companies—favoring patents over patients and profits over the being. Self-taught in the artful craft of fly-making, Boyd’s prevention of unnecessary deaths—threatened legal action against fishing flies—fashioned from twirled bits of feather, fur, any company that dared circumvent their control of the market. The silk, silver, and gold—became internationally renowned. struggle to overcome this inconceivably greedy blockade—with lit- Though she lived alone in the small stone cottage she grew erally life-or-death stakes—is at the heart of Dylan Mohan Gray’s up in, with no running water, her flies seduced sportsmen, art absorbing documentary. Gray uses the response to the AIDS crisis in lovers, and fish worldwide. Boyd’s mythic reputation earned Africa to reveal the power of the drug companies and the impact of her the Queen’s British Empire Medal and, here, an elegant their lobby on the federal government. The implications of their abil- film that—through striking cinematography, lively friends, ity to effectively deny critical treatment based on economic inequities and loving animation—reveals that in every strand, in every are more far-reaching than any single disease.”—Sundance Film fiber, there was a story, a fairy tale, a truth waiting to be Festival. (87 mins.) Co-sponsored by the Portland Area Global AIDS unraveled. (80 mins.) Coalition, Oregon Health & Science University, Cascade AIDS Project (CAP), and Doctors Without Borders/Médecins Sans Frontières (MSF). On Friday, join us for a post-film panel discussion with Peter Parisot, MAR 21 FRI 7 PM JAN 11 SAT 5 PM & 7 PM CAP; James Love, Knowledge Ecology International; and James J. RUSSIAN ARK LA CAMIONETA: Peck, MSF. On Sunday, join us for a post-film discussion with Liesl RUSSIA 2002 Messerschmidt, Health and Development Consulting International. DIRECTOR: ALEXANDER SOKUROV THE JOURNEY OF ONE “RUSSIAN ARK is both a dazzling technical tour-de-force AMERICAN SCHOOL BUS JAN 18 SAT 7 PM and a love letter to Russian culture. Unfolding in real time US 2012 BROADWAY DANNY ROSE in a single, dreamlike, uncut digital video take, it tracks a DIRECTOR: MARK KENDALL US 1984 contemporary filmmaker (Sokurov) and a mercurial 19th- Every day, dozens of decommissioned school buses leave DIRECTOR: WOODY ALLEN century French diplomat, the Marquis de Custine—tour the United States and migrate through Mexico to Guatemala, Tonight we welcome Reed College professor Marat Ginsburg and guides on a phantasmagoric, time-traveling journey through where they are repaired, repainted, and reborn as the UCLA professor Vincent Brook, who will introduce one of Woody St. Petersburg’s opulent Hermitage Museum. Swirling brightly colored camionetas that bring most Guatemalans Allen’s classic, quip-rich comedies and talk about their new collection through the galleries of time, we encounter its first resident, to work. Kendall’s lyrical film follows the migration of one of essays, WOODY ON RYE: JEWISHNESS IN THE FILMS AND PLAYS Catherine the Great; the family of Czar Nicholas II; current Pennsylvania bus as well as the personal stories of five indi- OF WOODY ALLEN. In Allen’s film, Danny Rose (Allen) is a hapless but Hermitage director Mikhail Piotrovsky; and regular Russian viduals whose lives become intertwined with its transforma- very conscientious theatrical agent who can only hold on to “talents” art lovers. Requiring seven months of rehearsal, 1,000 cos- tion. Like the bus that unites their stories, the choice between that no one else will represent—everything from dancing penguins tumed actors, the equivalent of 33 soundstages, and a live obsolescence and innovation defines their decisions, pro- to one-legged tap dancers, blind jugglers, and piano-playing birds. orchestra performance, the exhilarating final film was shot pelling them toward an increasingly uncertain future in a To help his top client, an aging singer on a comeback, Danny literally in just the amount of time it takes to watch it. But beyond the country where civil institutions and authorities are power- puts his life on the line, only to lose him to a bigger agent. As the story seamless logistical achievement, RUSSIAN ARK creates a less to protect citizens from organized crime. What slowly of Danny’s career and troubles unfolds in flashbacks told by his roster moving testimony to human resiliency and the survival of cul- emerges is a vivid and rich meditation on the universal quest of offbeat clients, we see that through it all, Danny’s conviction that ture. Sampling history and some of the world’s most exquisite for mobility—and survival. “An upbeat story of resilience, the things which count most in life—“acceptance, forgiveness, and art and artifacts, it is, like the Hermitage itself, a veritable regeneration, and artistic imagination.”—Stephen Holden, love”—is unshaken. With Mia Farrow, Nick Apollo Forte, Milton Berle, Russian Ark.”—28th Portland International Film Festival. The New York Times. (81 mins.) and Sandy Baron. (84 mins.) (99 mins.)

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TREASURES FROM THE UCLA FILM & TELEVISION ARCHIVE

The UCLA Film & Television Archive is, after the Library of Congress, the largest collection of media materials in the United States and among the premier film preservation institutions in the world. The Archive’s annual preservation efforts—an ambitious, eclectic range of everything from lost silents to at-risk mid-century features, shorts, and documentaries—find new audiences in each year’s Festival of Preservation in Los Angeles and in the works selected for a smaller touring program. We are pleased to present the 18th Festival Tour, a surprise-filled treasure trove sure to delight cinema lovers of many persuasions. “Forget Blu-ray discs and plasma TVs. For true cinephiles, nothing lets a movie really sing like a pristine celluloid print. In which case, UCLA’s Festival of Preservation is a veritable opera.”—Matt Sussman, Flavorpill. Special thanks to Shannon Kelley, Head of Public Programs; Steven Hill, Circulation; Todd Weiner, Archivist; and Dr. Jan-Christopher Horak, Director, UCLA Film & Television Archive, for making these new preservation prints available. Program notes are adapted from the 2013 Festival of Preservation program catalogue—www.cinema.ucla.edu/events/2013-03-01/ucla-festival-pres- ervation-2013—which includes additional information about the films and the Archive’s ambitious preservation efforts. For complete restoration credits, see nwfilm.org.

JAN 3 4 FRI 7 PM, SAT 8:30 PM JAN 12 SUN 6:30 PM GUN CRAZY MANTRAP US 1950 US 1926 DIRECTOR: JOSEPH H. LEWIS DIRECTOR: VICTOR FLEMING Bart Tare loves guns. After an ill-advised attempt to steal one at age fourteen lands him in reform Paramount Pictures paid $50,000 for Sinclair Lewis’s justifiably forgotten novel MANTRAP, but school and the army, Bart returns home, where he meets Annie Laurie Starr, a sharpshooter happily, screenwriters Ethel Doherty and Adelaide Heilbron turned Lewis’s misogynistic tirade at a local carnival. It is love at first gunsight. The fact that she’s a bad girl who may have been into a light-as-a-feather comedy romp. New York lawyer Ralph Prescott and a friend escape city involved in prostitution and murder hardly seems to matter. Together they embark on a robbery life on a camping trip near Mantrap, Canada, but soon find themselves out of their depth. After spree, even pulling off a major heist, but not before Laurie has killed two people, putting the FBI the two get into a fight, a local trading post owner takes Prescott home, where Prescott meets his on their tail. “If you had to select a single film to justify the present enthusiasm for film noir and flirtatious new wife Alverna (Clara Bow). Sparks fly instantly between Prescott and Alverna—all define its allure, few movies could compete with GUN CRAZY.”—Richard T. Jameson. (86 mins.) thanks to Bow and her Jazz Age characterization of an outrageous good-time girl who leads at PRECEDED BY least two men by the nose but nevertheless honors her commitment…at least until the next pros- pect comes along. (86 mins.) BUSY BODIES FOLLOWED BY US 1933 DIRECTOR: LLOYD FRENCH MIDNIGHT MADNESS In this masterpiece of physical comedy by Laurel and Hardy, Stan and Ollie report for work at the US 1928 sawmill, haplessly creating mayhem with planks and saws. (19 mins.) DIRECTOR: F. HARMON WEIGHT “Its very title reeks of strange people, mystery, suspense!” read the publicity for this silent JAN 4 5 SAT 4 PM, SUN 7 PM melodrama, loosely inspired by “The Taming of the Shrew.” Secretary Norma Forbes accepts THE CHASE the proposal of wealthy diamond miner Michael Bream but reveals to her boss and actual love US 1946 interest that she’s only marrying for the money. Eavesdropping through a conveniently open door, DIRECTOR: ARTHUR D. RIPLEY Michael schemes to teach her a lesson by leading her to believe he is penniless. After the wed- Chuck Scott (Robert Cummings) is a down-on-his-luck ex-serviceman in need of a meal in post-war ding, he takes her to South Africa, where they settle in a bleak shack and where Norma discovers Miami. Stumbling upon a lost wallet, he traces it back to the palatial home of suave businessman the hardships of life in the jungle. She sends a cable to her former employer to retrieve her. After Eddie Roman (Steve Cochran), who, pleased by Scotty’s honesty, offers him a job as chauffeur. the two men fight, Michael is bound and left prey to a lion—prompting Norma to realize her true Scotty soon learns that Roman is bad news, likely involved in a business rival’s death, but keeps feelings and attempt a daring rescue. (65 mins.) his mouth shut for the sake of a meal ticket. His resolve is tested, however, when Roman’s trophy wife Lorna (Michèle Morgan) appeals to him to help her escape her loveless marriage and flee to “The city’s most surprising, most stimulating, most invigorating Havana. “Through a series of adroit directorial strokes, in the Hitchcock tradition, the pic’s momen- film event.”—Kenneth Turan, Los Angeles Times tum is made to mount in a steady, ascending line.”—Variety. (86 mins.)

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MANTRAP

JAN 19 SUN 4 PM DOUBLE DOOR US 1934 DIRECTOR: CHARLES VIDOR New Yorkers who flocked in the fall of 1933 to see Elizabeth EADWEARD MUYBRIDGE, ZOOPRAXOGRAPHER McFadden’s play “Double Door” knew it was inspired by Manhattan’s Wendel family, a Gilded Age dynasty of fabulously wealthy eccentrics. JAN 30 THURS 7 PM What could be more gothic than seven sisters sequestered in a gloomy mansion, tainted by madness, forbidden to marry, presided over by ROBERT FROST: A LOVER’S SUPERNATURAL an avaricious brother? DOUBLE DOOR is a dark riff on this legend, QUARREL WITH THE WORLD compressed into a three-act melodrama. The scion became a tyran- US 1963 JAN 15 WED 7 PM nical spinster, holding in thrall a neurotic sister and a demoralized DIRECTOR: SHIRLEY CLARKE kid brother. When the brother makes a bid for sanity and freedom and President Kennedy’s speech on the occasion of Robert Frost INTERNATIONAL HOUSE takes a bride, the wheels of madness begin to turn. (75 mins.) receiving the Congressional Gold Medal in March 1962 US 1933 forms the epigraph for director Shirley Clarke’s powerfully DIRECTOR: EDWARD SUTHERLAND FOLLOWED BY human portrait of Frost, shot just months before the iconic The manic, boisterous energy that marks many Hollywood SUPERNATURAL poet’s death in 1963. Clarke intercuts footage of Frost out comedies of the early sound era owes to the vaudeville stars US 1933 in the world—speaking to students, touring a naval vessel, who found second careers on the big screen. INTERNATIONAL DIRECTOR: VICTOR HALPERIN delivering a talk at Sarah Lawrence College—and scenes HOUSE features “a fortune in marquee material,” including On the strength of their independent horror film WHITE ZOMBIE, a of his purposeful, solitary puttering around his rural home in WC Fields, George Burns, Gracie Allen, and Peggy Hopkins freak success in 1932, Victor and Edward Halperin landed at Vermont. While capturing the rhythmic flow of the poet’s life, Joyce. The story begins when eccentric Dr. Wong (Edmund Paramount on a one-picture deal. It was the only time in their careers Clarke also allows her subject to comment on her approach. Breese) calls an international conference at a swanky hotel in that the Halperins worked at a major studio with access to first-rate Speaking to his audience at Sarah Lawrence, Frost comments “Wu Hu, China” to demonstrate his latest invention, the radio- production facilities, competent supporting players, and a major on the cameras on stage with him: “What you’re seeing here, scope, which can pick up images and sound from anywhere star—in this case, Carole Lombard, eager to prove she was more this sideshow, this is a documentary film going on…but it is a in the world. As potential investors descend on the hotel— than just the queen of screwball comedy. Lombard plays heiress Roma false picture that presents me as always digging potatoes or literally in the case of Fields’s Professor Quail, who arrives Courtenay, who is approached by a quack spiritualist claiming to carry saying my own poems.” (51 mins.) via “autogyro”—various storylines emerge. Adding to the an important message from her deceased brother. After participat- mayhem are performances on Dr. Wong’s device by popular FOLLOWED BY ing in a séance in the hopes of speaking with her brother, Lombard radio entertainers Rudy Vallee, Baby Rose Marie, and Cab becomes possessed by the malevolent spirit of an executed murderess EADWEARD MUYBRIDGE, Calloway. (68 mins.) with unfinished business… (65 mins.) ZOOPRAXOGRAPHER FOLLOWED BY US 1975 THIRTY DAY PRINCESS JAN 22 WED 7 PM DIRECTOR: THOM ANDERSEN, WITH FAY ANDERSEN AND US 1934 THAT COLD DAY IN THE PARK MORGAN FISHER DIRECTOR: MARION GERING US 1969 Thom Andersen’s first feature announced the arrival of one of With an ebullient yet simple script penned by four different DIRECTOR: ROBERT ALTMAN America’s most significant documentary auteurs. EADWEARD writers, including a pre-heyday Preston Sturges, THIRTY THAT COLD DAY IN THE PARK displayed Altman’s iconoclastic fasci- MUYBRIDGE, ZOOPRAXOGRAPHER is at once a biography of DAY PRINCESS stars Depression-era heroine Sylvia Sidney nations: a sensitivity to schisms within normalcy, a fascination with Muybridge, a reanimation of his historic sequential photo- in a rare comedic turn—or, rather, two. First, Sidney shines female subjectivity, and the construction of atmospheres as expres- graphs, and an inspired examination of their philosophi- as the European princess who travels to America to secure sive of psychological states. Sandy Dennis portrays Frances Austen, cal implications. Working in collaboration with filmmaker a much-needed loan for her country, but when she falls ill, a young spinster living in a well-appointed apartment in Vancouver, Morgan Fisher, composer Mike Cohen, Muybridge biographer someone has to take her place on a nationwide goodwill tour. where she listlessly entertains an older suitor and engages in dull Robert Bartlett Haas, and narrator Dean Stockwell, Andersen Enter Nancy Lane (Sidney again), a struggling New York domestic routines. From her window one day, Frances spies a young took the idea of reanimating raw material and expanded it into actress and the spitting image of the princess. To succeed in man on a park bench outside, visibly cold and wet. Inviting him inside, a profound meditation on the nature of vision. The title speaks her new role, Nancy must convince a cynical newspaperman she shows the handsome, apparently mute stranger every hospital- to both Muybridge’s practice of motion study and his 1879 (Cary Grant) of her authenticity, even if it means losing her ity—food, clothes, conversation, and a room. Little does she real- device, which enabled the images’ projection. As such, the heart in the charade. “It’s fun. It’s clever. It’s suspenseful. ize that her guest has a complex life of his own, to which he escapes film foregrounds Muybridge’s role in the invention of cinema And it presents a running fire of bright dialogue that keeps the nightly through his bedroom window. The stage is set for conflict as and cinema itself as an illusion arising from stillness. “One corners of your mouth turned up.”—Chicago Daily Tribune. Frances’s loneliness takes on a ferocity that drives the story to a har- of the best essay films ever made on a cinematic subject.” (74 mins.) rowing conclusion. (113 mins.) —Jonathan Rosenbaum, Chicago Reader. (59 mins.)

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MAR 9 SUN 7 PM—VISITING ARTIST THE AUTOBIOGRAPHY OF KARL KROGSTAD SEATTLE 2013 DIRECTOR: KARL KROGSTAD The irrepressible Karl Krogstad has made over 60 films since the early 1970s—animated, experimental, music videos, AN EVENING WITH ELIJAH HASAN documentaries, and features—and earned his fair share of festival awards in the process. Most made on a shoestring JAN 23 THURS 7 PM—VISITING ARTIST and employing the talents of volunteers, Krogstad’s film proj- SCRAPPER ects have essentially served as inspiration and community SEATTLE 2013 film school for a generation of Seattle filmmakers and film DIRECTOR: BRADY HALL lovers. More than being a maverick director, Krogstad’s flam- Seattle filmmaker Brady Hall’s (HELLO, MY NAME IS DICK LICKER) lat- boyant personality and promotional antics, not to mention est comedy is inspired by his own home renovation, which introduced other eclectic creative pursuits, have made him a community him to the world of people who collect scrap metal. “Former Boeing legend. But while Karl basks in his own praises in his cin- employee Hollis Wallace (Michael Beach) has scraped out a living for ematic self-portrait, his film is as much a valentine to his col- years scavenging and selling scrap metal, all to keep a roof over him- laborators and fellow creative spirits, which range from Tom self and his ailing mom (Jennifer Lanier). Then he stumbles upon hot Robbins and Gus Van Sant to uncounted others in the Seattle teenage mess Swan (Anna Giles), who happens to be hanging around film and arts community. “Krogstad is both a slave to beauty at the house of a screw-loose older guy (‘Game of Thrones’’s Aidan and a lenient master of it; he’s a Picasso-esque ceramicist, THE AUTOBIOGRAPHY Gillen). The girl gradually elbows her way into Hollis’s monochromatic a Euro-juicy painter with a bit of a cult following, an excellent OF KARL KROGSTAD existence as an apprentice scrapper and would-be surrogate daugh- adventurous cook, and a stand-up comic who prefers to sit ter figure, and you can guess the rest. Then again, a fair amount down.”—Tom Robbins. (120 mins.) Director Karl Krogstad The ongoing Northwest Tracking series focuses a will be in attendance to introduce the film. spotlight on the work of independent filmmakers liv- of the time, you can’t—and that’s part of SCRAPPER’s rough-hewn ing across the Northwest—Alaska, British Columbia, charm. The sharp script (by Hall and producer Ed Dougherty) thrives MAR 13 THURS 7 PM—VISITING ARTIST Idaho, Montana, Oregon, and Washington—whose on little details.”—City Arts. (85 mins.) Director Brady Hall will be in attendance to introduce the film. BEYOND BEYOND: work reflects the vibrant cinematic culture of the region. Please join us on March 6 for the announce- THE BOB MORICZ A/V MIXTAPE JAN 25 SAT 4:30 PM PORTLAND 1991-2012 ment of the 2014 Oregon Media Arts Fellowship winner. FALL TERM Portland filmmaker Bob Moricz began making films in the STUDENT SCREENING third grade, but life changed for him after meeting George JAN 5 SUN 2 PM PORTLAND 2013 Kuchar and being invited to witness the goings-on in Kuchar’s PROJECT VIEWFINDER Everyone is invited to watch the many short films created by students “AC/DC Psychotronic Teleplays” class at the San Francisco PORTLAND 2013 in the classes of Fall Term 2013. Whether the first attempt of a begin- Art Institute. Brazenly anti-formalist, Moricz’s trans-genre DIRECTORS: ALEX, ANTWOINE, BUTTERFLY, DAVID, ner or something more ambitious from an advanced student, it’s an film entertainments utilize conventional cinematic tropes DEONDRE, JOHN, JO’VANNIE, RACHEL, REX, TREASURE, uncurated, all-comers program for anyone who has decided they’re only to reveal the banal falsities contained within them, AND STONE ready to show their work on the big screen. Join in congratulating ultimately transcending their narrow scope by opening up As the Film Center embarks on a second iteration of this them on this important step in their journey toward self-expression new revelations through neo-expressionistic no-fi imagery. important program, we celebrate the creative spirit and through film. (120 mins.) Free admission. Included in this mixtape of short films and excerpts are artistic achievements of the young adults who participated CHARLEMAGNE! (2012), NAKED PREACHER LADY (2012), in Project Viewfinder 2013. See page 14 for complete listing. MAR 6 THURS 7 PM—VISITING ARTIST I AM UGLY AND I WANT TO DIE SO WHY DON’T YOU JUST (80 mins.) Free admission. PLEASE FUCK ME (2010), BUMPS (2009), THE SLAVES OF AN EVENING WITH DESTRUCTO (2007), A NIGHT IN THE LIFE OF DORIS DOLORES JAN 9 THURS 7 PM—VISITING ARTIST ELIJAH HASAN (2007), NOTHING IS GOOD (2006), A BIG ASS LUST FOR Portland writer, composer, photographer, and filmmaker Elijah SPEED (2001), RICH LITTLE RICHARD III VERSUS THE CRACK TARGETING IRAN Hasan’s work has been strongly influenced by his reflections on PORTLAND 2013 WHORE MARINE CORPS (2000), GUTWRENCHED (1991), and the human condition. His experimentation with stop-motion photog- DIRECTOR: ANDY NORRIS more. (90 mins.) Director Bob Moricz will be in attendance to raphy and symbolism immerses the audience in an array of meta- introduce the program. Based on the book of the same name by author and journalist phoric imagery, providing an opportunity to reflect on unfamiliar David Barsamian, TARGETING IRAN seeks to elucidate the ground and to see, for the first time, from a path they’ve walked a MAR 20 THURS 7 PM myths and popular misconceptions surrounding Iran’s nucle- thousand times. Tonight we present a collection of his short films, ar aspirations. Through interviews with eminent figures such OPEN SCREENING including IS THAT ME (5 mins.), COINED (7 mins.), CYCHO (18 mins.), DIRECTOR: YOU as MIT’s Jim Walsh, National Iranian American Council presi- LAYING AWAKE (8 mins.), BESIDE MYSELF (10 mins.)—finishing with Tonight the screen is yours. We throw open the doors of the dent and author of A SINGLE ROLL OF THE DICE Trita Parsi, RHYTHM AND ROMANCE (27 mins.), a documentary piece spotlighting Whitsell Auditorium and invite you to show your new short Noam Chomsky, veteran New York Times correspondent Chuck Israels, the world-renowned jazz bassist and composer, from work. If you have something you’re proud of, sign up by con- Stephen Kinzer, and David Barsamian himself, Portland film- his younger days playing with the Bill Evans Trio to his current adven- tacting Thomas Phillipson by March 12 at thomas@nwfilm. maker Andy Norris (SOURCE TO SEA: THE COLUMBIA RIVER tures in jazz right here in the Rose City where he has made his home. org. First come, first served as time allows, with preference SWIM) lays out the complexities of Iran’s history, sociopoliti- (90 mins.) Director Elijah Hasan will be in attendance to introduce the cal strata, and strategic quandary. (71 mins.) Director Andy program. The Film Center will announce the winner of the 2014 Oregon given to works under 10 minutes. Bring your friends, family, Norris will be in attendance to introduce the film. Media Arts Fellowship preceding the screening. and crew. (120 mins.) Free admission.

PAGE 06 NORTHWEST FILM CENTER JANUARY/MARCH 2014 503-221-1156 NWFILM.ORG JANUARY/FEBRUARY/MARCH 2014

We are a place where individuals fi nd and cultivate their personal voices as storytellers and image-makers. Our classrooms and facilities bring a diverse cross- section of community members together for skill-building, friend-making, and technical support. We’re a center where access, aesthetics, and action combine to help people realize their aspirations and where new fi lms and fi lmmakers are launched into the world. Challenge yourself to make fi lms, and start now!

STUDENTS FACULTY Our students are artists, communicators, educators, and business professionals who want Our faculty are working fi lmmakers who humanize and enrich the learning process by to connect to the fi lm scene and explore fi lmmaking with others, whether professionally, teaching and guiding from real life experience, encouraging class dialogue and supportive avocationally, or in between. Many have completed college and are exploring career critique. Among our region’s fi nest documentary, narrative, and experimental fi lmmakers, options; some are cross-enrolled in degree programs with PSU and other institutions. their award-winning work appears on public television and in fi lm festivals, microcinemas, Enrollment is open to all. Simply sign up for what interests you. and exhibition programs worldwide.

FACILITY CURRICULUM Our 10,000-square-foot building in downtown Portland contains classrooms, editing labs, Take a class or two at your leisure or challenge yourself further by enrolling in our an equipment room, and the Film Center’s administrative offi ces. Our equipment is chosen Certifi cate Program in Film. We off er classes and workshops in most aspects of fi lmmaking: with emerging fi lmmakers in mind. The workhorse of our digital camera pool is the Canon cinematography, editing, screenwriting, animation, and more. Most of our classes are no XA-10. We feature Avid Media Composer for editing. Use our equipment (it’s provided with larger than 15 students. Classes generally meet once a week, most often on evenings and registration) or bring your own. weekends. Equipment is provided with registration.

HAVE A LOOK FOLLOW US LIKE US OUR NEWSROOM

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nwfi lm.org/school REGISTER REGISTER NOW AT NWFILM.ORG JUST We off er a Core Sequence and variety of Topic Classes and Workshops (see below) in hands-on production and NOW DROP-IN ADVISING AND TOURS: SIGN related aspects of independent fi lmmaking. Simply sign Tuesday, Thursday, Friday–10 AM & 2 PM up for what appeals to you. Most have no prerequisites. 934 SW Salmon Street, Portland, OR 97205 UP Equipment is provided. There is no registration deadline; Corner of 10th & Salmon registration is open until a class is fi lled. Early registration Or to schedule an appointment, is encouraged, however, as our classes are small in size. email info@nwfi lm.org. College credit is optional (see below).

Qualifi es Free WINTER CLASSES PSU for Avid Admission # Credit Pre- Avid Student to NWFC AT-A-GLANCE 2014 Faculty Tuition Sessions Start Date Day of Week Option requisite Camera Edit Lab Discount Screenings CORE SEQUENCE

Art of Filmmaking I Azzouz $1,125.00 14 Jan 16 Thursdays Canon XA-10

Art of Filmmaking II Azzouz $1,225.00 14 Jan 14 Tuesdays Canon XA-10

Art of Filmmaking III, Part 1 Azzouz $1,125.00 14 Jan 13 Mondays Canon XA-10

Art of Filmmaking III, Part 2 Azzouz $1,125.00 14 Summer '14 TBA Canon XA-10

TOPIC COURSES

Character Animation with Claymation Vinton $1,595.00 14 Jan 15 Wednesdays

Digital Editing I O'Brien $745.00 9 Jan 13 Mondays

Digital Editing II O'Brien $745.00 9 Spring '14 TBA

NEW! Experimental Approaches Diehl $745.00 9 Jan 16 Thursdays Canon XA-10 to Digital Filmmaking

NEW! Planning Your Documentary Hermann $745.00 9 Jan 13 Mondays

Screenwriting: Fundamentals Blain $745.00 9 Jan 15 Wednesdays

WORKSHOPS

Avid for Final Cut Users O'Brien $10.00 1 Jan 7 Tuesday

Blueprinting Your Screenplay Brix $75.00 1 Feb 1 Saturday

Canon XA-10 Camera Operation Blubaugh $55.00 1 Jan 25 Saturday Canon XA-10

NEW! Lighting on a Shoestring Thomas $65.00 2 Feb 8 Saturdays

Sound Recording Minty $85.00 2 Feb 16 Sundays

WANT If simply taking a class or two doesn’t seem focused PSU Optional college credit is available for Core Sequence or challenging enough, consider enrolling in our and Topic Classes through Portland State University. MORE optional Certifi cate Program in Film. Certifi cate CREDIT Admission to the PSU degree program is not required. students complete the Core Sequence above and PSU degree students may transfer School of Film classes ? select Topic Classes and Workshops to round out to their transcript as electives (please consult with your their studies. Initiated in 1994, the Program has PSU advisor). The School also off ers cross-registration nearly 50 graduates who launched their fi lm practice with Marylhurst University. For more information, please through the School of Film. Please see page 11 for contact info@nwfi lm.org. more information.

8 JAN/FEB/MAR 2014 nwfi lm.org/school CLASSES & WORKSHOPS

ART OF FILMMAKING I AVID FOR FINAL CUT USERS

THURSDAYS, JAN 16-APR 24, 6:30-9:30 PM NO CLASS MAR 27 TUESDAY, JAN 7, 6:30-9:30 PM 14 sessions 1 session Tuition: $1,125 | PSU Credit Option: $260 Tuition: $10 BUSHRA AZZOUZ AMY O’BRIEN Beginning-level introduction to the basics of visual, cinematic storytelling. Orientation to Avid Media Composer 6.5 for users of Final Cut Pro 7. Topics: The components of fi lm language; basics of HD digital camera operation, sound recording, Topics: What the Avid interface looks like and how it works; similarities and diff erences of the shooting, and editing; hands-on working knowledge of basic HD digital video production process and two systems; setting up a project; color correction and sound mixing capabilities; short cuts; workfl ow; shoot and edit two short individual fi lms; bring in work-in-progress for class critique. outputting options. Qualifi es for Avid discount. Prerequisites: Basic knowledge of Final Cut Pro 7 Textbook: SHOT BY SHOT: A PRACTICAL GUIDE TO FILMMAKING, 4th Edition, by John Cantine, Susan Related courses: DIGITAL EDITING I, DIGITAL VIDEO WORKFLOW Howard, & Brady Lewis (ISBN 978-0-9637433-8-1) Projects: Two individual projects Allocated gear: Canon XA-10 cameras, basic sound and lighting gear, Avid Edit Lab or your own editing BLUEPRINTING YOUR SCREENPLAY system Prerequisites: None SATURDAY, FEB 1, 10 AM-5 PM Related courses: ART OF FILMMAKING II, ART OF FILMMAKING III 1 session Tuition: $75 HOLLY BRIX ART OF FILMMAKING II Quit worrying about dialogue (for now). First, it’s about structure. TUESDAYS, JAN 14-APR 22, 6:30-9:30 PM NO CLASS MAR 25 Topics: Learn about the universal structural elements and key moments that propel a story 14 sessions forward in every genre (comedy, action, thriller, drama, and even the indie short); fi nd out Tuition: $1,225 | PSU Credit Option: $260 how they create a structure for all stages of the screenwriting process; use them to fl esh out a great idea, prevent second act woes, and give your creative impulses shape; lively interactive BUSHRA AZZOUZ discussion will prepare you to create a blueprint for your own screenplay. Intermediate-level exploration of cinematic storytelling skills and techniques. Prerequisites: None Topics: More ambitious shooting styles and lighting techniques, including option of shooting and Related courses: SCREENWRITING: FUNDAMENTALS, SCREENWRITING: ADVANCED hand-processing 16mm fi lm; refi ning your creative eye by envisioning a scene or concept; in-depth pre- production and planning techniques to support your vision, such as digital storyboards; art direction and mise en scene; editing for character, story, and rhythm; all phases of post-production including CANON XA-10 CAMERA OPERATION color correction and sound design; shoot and edit two individual projects (either HD or 16mm); bring in work-in-progress for class critique. SATURDAY, JAN 25, 10 AM-1 PM Qualifi es for Avid discount. 1 session Tuition: $55 Projects: Two individual projects Allocated gear: Canon XA-10 cameras and Bolex 16mm cameras, professional shotgun/wireless ANDY BLUBAUGH microphones and fi eld mixers, lighting and grip gear, Avid Edit Lab or your own editing system. Tuition Introduction to the basics of our HD camera workhorse. This workshop is REQUIRED for includes fi lm stock and fi lm processing. renters of this particular camera. Prerequisites: ART OF FILMMAKING I or previous shooting and editing experience Topics: Manual focus and exposure; proper use of external microphones; basics of the touch Related courses: ART OF FILMMAKING I, ART OF FILMMAKING III screen; recommended presets; how to download your AVCHD footage to your computer. Prerequisites: None ART OF FILMMAKING III Related courses: LIGHTING ON A SHOESTRING, SOUND RECORDING

PART I – Pre-Production & Production MONDAYS, JAN 13-APR 21, 6:30-9:30 PM NO CLASS MAR 24 CHARACTER ANIMATION WITH CLAYMATION™ 14 sessions WEDNESDAYS, JAN 15-APR 23, 6:30-9:30 PM NO CLASS MAR 26 Tuition: $1,125 | PSU Credit Option: $260 14 sessions BUSHRA AZZOUZ Tuition: $1,595 | PSU Credit Option: $260 PART II – Post-Production WILL VINTON SUMMER TERM + NOVEMBER PUBLIC SCREENING: DATES TBA Explore 3D character animation with the Oscar-winning inventor of Claymation™. 14 sessions Tuition: $1,125 | PSU Credit Option: $260 Topics: Learn the technology and principles of stop-motion animation; develop BUSHRA AZZOUZ your own original and eff ective animated characters; master the basics including concepts of squash/stretch, ease in and ease out, metamorphosis, staging and Produce a festival-quality personal project showcasing your skills and interests. composition, armatures and fabrication, clay sculpting, gesture, walks, and lip sync; Topics: Plan, write, shoot, and edit a polished fi lm with professional-level production values, in any apply character animation to CGI and other techniques; in-class demonstrations and genre or combination of styles, with a fi nished running time of up to 12 minutes; assume one or more frame-by-frame analysis of artfully rendered animated fi lms; set up and use your primary creative roles on the fi lm (e.g., director, cinematographer, editor, writer), drawing upon others own basic, personal stop-motion lab/studio (guidelines provided by instructor); to create a full crew; crew on at least one other class project in a supporting role (e.g., producer, animate in and out of class throughout the term on exercises, tests, experiments, assistant director, or technical position); progress through rough cut, fi nal cut, color correction, sound and a fi nal individual project; receive regular critique. mix, music, titles, and fi nal outputting; create an artist statement, biography, and synopsis for the fi lm Qualifi es for Avid discount. and present the fi lm to a public audience; emphasis is on student-generated critique and feedback, with faculty acting as mentors and facilitators. Projects: Individual Allocated gear: Access to Avid Edit Lab for assembly of completed shots or use your This is a continuous two-term class. Enrollment for Part II immediately follows completion of Part I. own editing system. Equipment, tools, and art supplies are a student responsibility Qualifi es for Avid discount. (list provided upon request). Prerequisites: None Projects: One individual project Related courses: EDITING WITH AVID, SCREENWRITING: FUNDAMENTALS Allocated gear: Canon XA-10 cameras and 16mm cameras, professional shotgun/wireless microphones and fi eld mixers, lighting and grip gear, Avid Edit Lab or your own editing system. Tuition includes 10- day use of HD or 16mm camera package. Out-of-facility expenses are a student responsibility. Prerequisites: ART OF FILMMAKING I and ART OF FILMMAKING II or instructor consent Related courses: ART OF FILMMAKING I, ART OF FILMMAKING II

9 REGISTER NOW

DIGITAL EDITING I NEW! LIGHTING ON A SHOESTRING SCREENWRITING: FUNDAMENTALS MONDAYS, JAN 13-MAR 10, 6:30-9:30 PM SATURDAYS, FEB 8 & 15, 1-5 PM 9 sessions 2 sessions WEDNESDAYS, JAN 15-MAR 12, 6:30-9:30 PM Tuition: $745 | PSU Credit Option: $195 Tuition: $65 9 sessions AMY O’BRIEN JEAN MARGARET THOMAS Tuition: $745 | PSU Credit Option: $195 Introduction to editing styles and techniques using Avid Media Use whatever you can get your hands on to achieve an intended JACQUELYN BLAIN Composer. lighting eff ect. Take your ideas to the next level and get a solid start on a Topics: How editors work and think; how sound and picture work Topics: Get the most out of what you have on hand or what you feature-length screenplay. together; matching action and montage editing styles; editing can aff ord; learn about diff erent types of available light sources Topics: Screenplay structure and formatting; creating steps and organizing materials; adding sound eff ects, music, and (e.g., table lamps, work lights, soft lights) and how they work characters with depth and purpose; writing eff ective narration; basics of titles; edit two fi lms in two styles; bring in most eff ectively (open face versus soft lights, tungsten versus dialogue; the diff erence between plot and story; structuring work-in-progress for class critique. halogen, etc.); learn how to repair fi xtures bought at a garage scenes and sequences; solving the second act droop; write Qualifi es for Avid discount. sale; get comfortable going beyond basic three-point lighting an outline and at least the fi rst 30 pages of your screenplay; by discussing various approaches and doing hands-on setups bring in work-in-progress for class critique. Textbook: AVID EDITING: A GUIDE FOR BEGINNING AND (interior and exterior); with tips from the trade, understand when INTERMEDIATE USERS 5, by Sam Kauff mann and Ashley Kennedy and how to supplement with inexpensive rentals and hear about Qualifi es for Avid discount. (Focal Press, ISBN 978-0240818566). some good buys. Projects: Individual Projects: Individual Prerequisites: None Prerequisites: None Allocated gear: Avid Edit Lab Related course: SCREENWRITING: ADVANCED Prerequisites: None Related courses: DIGITAL EDITING II, DIGITAL VIDEO WORKFLOW NEW! PLANNING SOUND RECORDING YOUR DOCUMENTARY DIGITAL EDITING II SUNDAYS, FEB 16 & 23, 1-5 PM 2 sessions SPRING TERM DATES TBA MONDAYS, JAN 13-MAR 10, 6:30-9:30 PM Tuition: $85 9 sessions 9 sessions PAM MINTY Tuition: $745 | PSU Credit Option: $195 Tuition: $745 | PSU Credit Option: $195 AMY O’BRIEN COURTNEY HERMANN Basics of recording dialogue, interviews, narration, and Develop a vision and a game plan for your documentary project. eff ects. Build out your editing toolbox while editing a more ambitious individual project. Topics: Framing and developing your story, proposal and Topics: First session is general overview of microphone types treatment writing, budgeting, approaches to fundraising, and uses, from lavaliers to shotguns; operation of the Marantz Topics: How to use editing to create story, character, emotion, choosing subjects, crewing, fair use, permissions and releases, PMD-660, Sound Devices 702 Digital Audio Recorder, Mix- fl ow, rhythm, and compositing, using video and audio fi lters, appropriate technology; planning for the shoot (coverage, Pre, and 302 Field Mixer; single versus dual system recording; keyframing, and motion eff ects; advanced titles and color protocols, interview techniques); planning for the edit (narration, second session is devoted entirely to hands-on practice; correction; workfl ow and prepping for output; bring in work-in- music, logging, media management); planning for marketing and rotate through common recording scenarios for scripted progress for class critique; edit one individual project. distribution (branding and buzz, social media, exhibition outlets); dialogue and basic interviews; learn about sound recording Qualifi es for Avid discount. resources for documentary fi lmmakers; turn in a proposal, gear rental options. Textbook: AVID EDITING: A GUIDE FOR BEGINNING AND treatment, marketing materials, and a distribution plan for Prerequisites: None INTERMEDIATE USERS 5, by Sam Kauff mann and Ashley Kennedy feedback and critique. Related courses: CANON XA-10 CAMERA OPERATION, ART OF (Focal Press, ISBN 978-0240818566). Qualifi es for Avid discount (note: software instruction not FILMMAKING I Projects: Individual included). Allocated gear: Avid Edit Lab Projects: Individual Prerequisites: DIGITAL EDITING I or familiarity with Avid Media Prerequisites: None Composer 6.5 Related courses: DOCUMENTARY PRODUCTION, INTERVIEWING Related courses: DIGITAL EDITING I, DIGITAL VIDEO WORKFLOW TECHNIQUES

NEW! EXPERIMENTAL APPROACHES TO DIGITAL FILMMAKING

THURSDAYS, JAN 16-MAR 13, 6:30-9:30 PM 9 sessions Tuition: $745 | PSU Credit Option: $195 CARL DIEHL Venture into the outer limits of unconventional, cutting-edge strategies, novel techniques, and alternative structures in production. Topics: Hyperkinetic editing (Jawa), recombinant media aesthetics, sound collage, glitchcraft, and live cinema; inspiring fresh solutions and diff erent ways of working; noteworthy experimental fi lmmakers of yesterday and today; opportunities for exhibition of experimental fi lm in Portland and beyond; create three short videos using approaches discussed in class. Qualifi es for Avid discount. Projects: Individual or collaborative Allocated gear: Canon XA-10 cameras, Avid Edit Lab Prerequisites: Familiarity with basic digital editing techniques recommended Related courses: CANON XA-10 CAMERA OPERATION, SOUND RECORDING, DIGITAL EDITING I

10 JAN/FEB/MAR 2014 nwfi lm.org/school CHALLENGE YOURSELF

IINN CCERTIFICATEERTIFICATE PROGRAMPROGRAM FFILMILM

Challenge yourself to set artistic and/or professional development goals in fi lmmaking beyond simply a class or two. Our optional, non-degree Certifi cate Program in Film provides a structure within which you can advance from the beginning to advanced level, while creating works that showcase your achievements as an emerging fi lmmaker. Through a Core Sequence (see below), the Program teaches the concepts and techniques of cinematic storytelling, helps you develop your vision as a media artist, and supports you in creating fi lm work that demonstrates your potential. The Core Sequence is supplemented by Topic Classes and Workshops in the general curriculum which you choose based on your interests. These may be focused on a particular area (e.g., documentary) or be spread across a variety of topics. A Certifi cate may be earned at a Level One or Level Two, depending on the depth of knowledge desired (see below). The Certifi cate track at both levels concludes with a public screening of your fi nal fi lm project in our state-of-the-art Whitsell Auditorium. Certifi cate students receive ongoing advising and mentorship from faculty and staff . A Certifi cate may be completed in as little as two years when pursued at a rigorous pace. However, you can also move along at your own pace and take up to six years to complete all requirements.

REQUIREMENTS HOW & WHEN TO APPLY

CORE SEQUENCE Download an application and get more information at nwfi lm. ART OF FILMMAKING I—two beginning-level fi lm projects org/school. Applications are accepted throughout the year on ART OF FILMMAKING II—two intermediate-level fi lm projects a rolling basis. Notifi cation will be made within four weeks of ART OF FILMMAKING III—one festival-quality advanced fi lm project receipt. Acceptance is based upon the clarity of your stated goals (see page 9 for full class listings) and whether the goals align with the School of Film mission and PUBLIC SCREENING OF ADVANCED FILM PROJECT Certifi cate curriculum. You may be at any stage of your formal education (pre-college, in college, post-college, pre-graduate LEVEL ONE school). There are no prerequisites. Core Sequence (above) + 3 or more selected Topic Classes If you want to test the waters before diving in, you are welcome to + 10 hours selected Workshops enroll in and complete ART OF FILMMAKING I and up to two Topic Classes prior to applying to the Program. Upon your acceptance, LEVEL TWO these will be automatically transferred onto the Certifi cate Core Sequence (above) + 6 or more selected Topic Classes transcript at no additional charge (a letter grade of B or higher + 15 hours selected Workshops is required). For more information, email info@nwfi lm.org or call 503-221-1156.

CERTIFICATE INFO NIGHT THURSDAY, JAN 9, 6:30 PM LOCATION: SCHOOL OF FILM Find out about the School of Film and whether the Certifi cate Program in Film is right for you. This evening, we’ll review how/when to apply, acceptance criteria, levels of completion, and course requirements. Learn about the Core Sequence, planning your course of study, scholarship options, and college credit options. See Certifi cate fi nal project fi lms and hear from current and past Certifi cate students about their plans for after graduation. Faculty and registration staff will be on hand to answer your questions. Open to prospective and enrolled School of Film students. Free admission.

11 WINTER TERM FACULTY BIOS

BUSHRA AZZOUZ, lead faculty member for 20 years, is the director of the award-winning documen- COURTNEY HERMANN is an award-winning documentary filmmaker whose films have won tary AND WOMAN WOVE IT IN A BASKET..., an exploration of traditional Klickitat river culture through grant funding from The Paul Robeson Fund for Independent Media, Native American Public a contemporary Native American woman’s point of view. Her two recent films, NO NEWS, a personal Telecommunications, “POV”/American Documentary (CPB), The Playboy Foundation, The Seventh reflection on 9/11, and WOMEN OF CYPRUS, a collaboration with the women of the divided island, Generation Fund, and other sources, including multiple highly successful Kickstarter campaigns. investigate the imprint of war on everyday life. She holds a BA from Reed College and an MA from San Among her recent films are STANDING SILENT NATION, chronicling the Lakota Indians’ struggle Francisco State. She was recently the lead mentor on the School of Film’s 2013 Project Viewfinder against the US Drug Enforcement Administration, which screened on PBS’s “POV” series, and EXOTIC and is currently working on A MIDSUMMER NIGHT’S DREAM IN PRISON, which follows inmates at an WORLD AND THE BURLESQUE REVIVAL, about the last days of an old Route 66 roadside attraction. Oregon state prison as they produce Shakespearian comedies. Holding an MFA in Film from Columbia College, she has an extensive background as an educator, including a decade-long stint with The Art Institute of Portland’s Digital Film and Video Program. JACQUELYN BLAIN is a Writers Guild of America screenwriter with more than 75 hours of produced television and credits as a staff writer/producer on such series as “Diagnosis Murder,” “VR.5,” and PAM MINTY, former Film Center Education Program Manager, is a visual artist whose work explores “Martial Law,” working with actors like Dick Van Dyke, David McCallum, Arsenio Hall, Sammo Hung, geography, home, and community through the mechanisms of sound recording, still photogra- and Anthony Stewart Head (Giles on “Buffy the Vampire Slayer”). She has taught at the UCLA Writers phy, and motion picture. Her film and video work has screened at Anthology Film Archives, Center Program, The Art Institute of Portland, and Chemeketa Community College, helping numerous stu- for Documentary Studies, Cornell Cinema, Film Studies Center at University of Chicago, Hallwalls dents to produce award-winning films. She runs workshops and the Pitch Practice Room at the annual Contemporary Art Center, International House Philadelphia, Los Angeles Filmforum, Margaret Mead Willamette Writers Conference and served as script consultant and producer for NOT DEAD YET, Film Festival, Portland Art Museum, San Francisco Cinematheque, and Vancouver International Film which won first place in the Baltimore Women’s Film Festival. Centre, as well as other venues throughout North America. pamminty.com ANDY BLUBAUGH’s experimental documentaries have screened at the Sundance, Clermont- AMY O’BRIEN is a documentary and narrative filmmaker/editor with a background in theater and Ferrand, Edinburgh, and Seattle International Film Festivals, among others, and have been broad- web design. Through her production company, Purple Macaroni Productions, she creates short cast by the PBS program “POV” and the logo network. He is the recipient of a fellowship from the films that document personal stories and explore the lighter side of life. These have included FOUR, Tribeca Film Institute and was identified as one of “25 New Faces of Independent Film” by Filmmaker which screened in the Northwest Filmmakers’ Festival, and NO SOLICITING, which screened at the Magazine. His debut feature, THE ADULTS IN THE ROOM, premiered at the FrameLine Film Festival in Columbia Gorge International Film Festival. She also creates promotional films for nonprofits such San Francisco and won Best Narrative Feature at the 37th Northwest Filmmakers’ Festival. as Literary Arts and the Tucker-Maxon School for the Deaf and recently edited “Blue Fiddles,” a web series. An active member of Women in Film PDX, she studied media at the New School for Social HOLLY BRIX is a writer on “The Vampire Diaries” and is shooting a feature with Jada Pinkett Smith Research after taking classes at the School of Film. purplemacaroni.com and Overbrook Entertainment. She is the screenwriter of BUTTERFLY EFFECT 3: REVELATION, MILE ZERO starring Milla Jovovich, and CUTTING EDGE 4: FIRE AND ICE. With an MFA in Film and Television JEAN MARGARET THOMAS is a director of photography, gaffer, and electrician for the stop-motion from USC, Holly has taught screenwriting at UCLA Extension and was a featured guest on NPR’s “All animation and live-action film industries, working on feature films, television shows, commercials, Things Considered Goes Hollywood.” She also won the contest for best sci-fi script in “Written By,” the independent films, and music videos, in formats from 35mm and 16mm to High Definition and RED. A official publication of the Writers Guide of America. graduate of the Pacific Northwest College of Art in photography, she also has more than a decade of experience lighting for dance, opera, and music performance organizations and for museum exhibi- CARL DIEHL is a video artist with an MFA in Digital Art from the University of Oregon. Puzzling the tions at OMSI. She has taught at The Art Institute of Portland and PNCA and as a supporting instructor shifting values associated with new and obsolescent media, his video essays and audiovisual perfor- for the Film Center’s previous offering Low Budget Film Intensive, led by Kelley Baker. mances feature research-driven satirical monologues paired with recombinant video montage, digi- tal animation, and extensive sound design. These works have been exhibited in festivals, artist-run WILL VINTON, Academy Award- and primetime Emmy Award-winning director/producer, is the world- spaces, and galleries nationally and internationally, including the PDX Film Festival, Other Cinema, renowned Claymation pioneer, having coined and trademarked the word and created some of the Grand Detour, Transmediale, and the International Symposium of Electronic Art. In addition to his most innovative dimensional animation in the industry. Among the world-famous characters he has independent pursuits, he collaborates regularly with Portland’s Weird Fiction, an interdisciplinary directed and produced are “The California Raisins” and the computer-animated M&Ms “Red” and media arts group. “Yellow.” As the founder of Will Vinton Studios, he was the executive producer for the acclaimed tele- vision series “The PJs” and “Gary & Mike.” Now, as principal of Free Will Entertainment, he is direct- ing, developing, and producing animation for film, television, and commercial markets.

EQ The School of Film supports the use of media in our community as a means of self-expression and cultural advancement by making its fi lm/ video equipment, editing rooms, and other facilities available to artist and non-profi t users at subsidized rental rates and to commercial users as availability allows. Download a Rental Rate Sheet at nwfi lm.org/equipment for a complete list of available items, services, and pricing. Rental ACCESS requests must be received at least 48 hours in advance and will be confi rmed within 24 hours. For more information, contact 503-221-1156 or reserve@nwfi lm.org.

Equipment available for rent includes: Facilities available We’re your Super-8 Canon XA-10 Camera Package Microphones and Sound Mixers for rent include: headquarters for: Panasonic DVX-100 Camera Light Kits and Grip Equipment Voiceover Recording Room Canon and Minolta Super-8 Package Casting and Audition Rooms Camera Rental Soundtrack Pro Audio Work Ektachrome Color Reversal JVC EX555 HD Handycam Station Super-8 Film Stock Package Avid Media Composer and Final Tri-X B/W Reversal Super-8 16mm and Super-8mm Film Cut Studio Work Station Film Stock Cameras Portable Green Screen

THANK The Northwest Film Center’s School of Film is supported by: National Endowment for the Arts James F. and Marion L. Miller Frank Hood Fund of the Oregon Regional Arts & Culture Council YOU! Oregon Arts Commission Foundation Community Foundation Marylhurst University John D. and Catherine T. King Family Foundation Wieden+Kennedy Chipotle Mexican Grill MacArthur Foundation Vikki Mee Portland State University Harold & Arlene Schnitzer Henry Lea Hillman Foundation Women in Film/ ZGF Architects CARE Foundation Faerie Godmother Fund Pro Photo Supply Individual Donors and Friends

12 JAN/FEB/MAR 2014 nwfi lm.org/school SOUND School of Film faculty member and documentary fi lmmaker COURTNEY HERMANN talks about BYTE homicidal nutcrackers, underdogs, and devotion to process.

How and when did you fi rst become interested in fi lm? You’ve taught at the adult level for many years. As an As a kid growing up in Baltimore, Maryland, television educator, what’s the most important thing that you try to enraptured me. I loved it all—cartoons, commercials, impart to emerging fi lmmakers? sitcoms, sporting events, old movies, soap operas, Bringing a fi lm from idea to reality requires a sheer game shows—you name it. It wasn’t until I was studying force of will. And making a worthwhile fi lm requires mass communications at James Madison University dedication to the details of every stage of production. that I fell in love with fi lm. At the Virginia Film Festival, What this adds up to is cultivating a devotion to the I attended a screening of Ross Spears’s TO RENDER process of fi lmmaking, not just the end product. The A LIFE, a documentary whose subject is documentary end product is fl eeting and won’t sustain you on its fi lmmaking itself. A lecture by Harvard professor Robert own. Having made something isn’t what you spend Coles is woven into the fi lm, and though it complicates the your time doing—it’s all process all the time, and if practice of interpreting someone else’s life experience, I you don’t love that, well…. was hooked—not just on documentary as my chosen form of expression but also on the study and teaching of documentary as a subject. Are there barriers to entry and/or success for women in fi lm? What advice do you have for aspiring women fi lmmakers? Tell us about one of your fi rst fi lms. Working in fi lm can be very challenging. There’s a lot When I was in high school, I shot a short fi lm on a VHS of competition, which makes it tough to begin with, but camera, which I then edited by recording individual clips the industry itself, with all of its diversity and variance, from the camera to a VHS deck. The fi lm was called THE can be pretty opaque, so it takes a lot of fortitude NUTCRACKER NOT SO SWEET, and it was about a homicidal and networking acumen to navigate it successfully. Christmas nutcracker. It was a dark comedy, and it was My advice would be to seek out as wide a variety super dumb. I still like the title, though. The fi rst “real” fi lm of fi lm-related experiences as possible, say yes to I made was a short documentary called TOMMY, which every opportunity that comes your way, never burn featured a man who, much to his amazement, survived a bridge with anyone, fi nish every project you start, the San Francisco AIDS epidemic of the 1980s despite and approach your work with equal parts confi dence indulging in risky behaviors. and humility.

Your specialty is documentary production. How do you You’re teaching a class for the School of Film this choose your subjects, and what are some of them? winter called Planning Your Documentary. Do you I like stories that showcase the integrity of an underdog, really have to plan a documentary? characters whose value systems require a dedication to Yes! If you’ve started working on a documentary of a losing (but worthy) cause, and topics that subvert the any length or you want to begin one, having a good dominant culture. I hope to depict subjects that on paper game plan prepares you to handle what’s coming—the may be foreign or unfamiliar to a viewer but on fi lm are inevitable twists and turns of the project. Also, it’s tough very relatable. to get others on board with your project, whether they are collaborators, subjects, funders, or even yourself, if you don’t have your strategy dialed in. What are you working on now? I’m co-producing the documentary CRYING EARTH RISE UP, a project being made in conjunction with the Speaking of strategies, how do you develop one? PBS minority consortia member Vision Maker Media. Close your eyes. The projector fl ickers to life, and your It’s about two Lakota women from the Pine Ridge fi lm appears onscreen. What do you see, moment to Reservation who are trying to stop the expansion of the moment, from beginning to end? What does it look and uranium mining industry in their region. They epitomize feel like? I’m not being fl ippant here—truly, getting specifi c disenfranchisement, both economically and politically, but is a prerequisite. Too often, fi lmmakers will say, “I can’t tell their resolve doesn’t waver because they both believe that you exactly what it is, but it’s going to be great!” That won’t clean drinking water is worthy of every eff ort to succeed. help you decide who your intended audience is or make a budget, plan for equipment, or market it successfully. When you can envision the fi nished fi lm, at least as you hope or What is special about the Portland community? Why think it will be, you have created a bread crumb trail of details have you chosen to make Portland your home? that will allow you to navigate through the process. And it can In my experience, people here tend to treat others always take you back to your starting point if you lose your humanely and generally without a lot of attitude. That’s bearings along the way. important to me, personally. Bad behavior and discord distract me. Also, the community values the DIY ethic, which, as an independent media maker, I live by. 13 in the community... PROJECT VIEWFINDER CHANGING YOUNG LIVES THROUGH FILM In collaboration with partnering social service agencies, the School of Film mentors underserved youth by helping them to use film as a means of taking positive steps in their lives. Learning the hands-on process of filmmaking from our faculty mentors, individuals share their personal stories on film, working both behind and in front of the camera. Their films are screened in the Whitsell Auditorium and circulate to the community to foster dialogue about the social and cul- tural issues their stories reveal. To learn more about this program and how you can support it, visit nwfilm.org/youngfilmmakers/projectviewfinder. PROJECT VIEWFINDER SCREENING SUNDAY, JAN 5, 2 PM LOCATION: WHITSELL AUDITORIUM DIRECTORS: ALEX, ANTWOINE, BUTTERFLY, DAVID, DEONDRE, JOHN, JO’VANNIE, RACHEL, REX, TREASURE, AND STONE As the Film Center embarks on a second iteration of this important program, we celebrate the creative spirit and artistic achievements of the young adults who participated in Project Viewfi nder 2013—a School of Film community outreach project conducted with the help of New Avenues for Youth, p:ear, Outside In, and the Bud Clark Commons Media Project. Mentored by lead Film Center faculty member Bushra Azzouz and supporting instructors, these youth have worked in front of and behind the camera to fi nd their voices as mediamakers, sharing personal stories about the struggles of homelessness and the transitions they are now trying to make to lives of hope, joy, and self-suffi ciency. (80 mins.) Free admission. GLOBAL CLASSROOM TEACHING THE WORLD THROUGH FILM Global Classroom links Portland metro area high schools with the films and filmmakers of the Portland International Film Festival through free, school-day screenings during the Festival in February and during the academic year. Screenings take place in the Film Center’s Whitsell Auditorium inside the Portland Art Museum and are offered free of charge. Through the films, students learn about topics related to foreign language, social studies, language arts, and other academic areas. Many screenings are presented by visiting filmmakers, who discuss how films are made, film careers, and film festivals. For more information about this program, visit nwfilm. org/festivals/piff/globalclassroom.

MEDIA ARTS ACADEMY FOR TEACHERS SUPPORTING K-12 ARTS LEARNING The Media Arts Academy for Teachers is a week-long, graduate-level professional develop- ment summer institute for K-12 teachers, founded in 2000 and co-offered with Portland State University. The Academy teaches the language and processes of filmmaking and suggests hands-on filmmaking projects that teachers can use to support curriculum goals in language arts, visual arts, social studies, health, and other academic subjects. The activities also help stu- dents to develop skills in critical thinking, leadership, and media literacy. The 2014 Academy will be held in late June. Register online at nwfilm.org/school. FRESH FILM NORTHWEST CELEBRATING THE NEXT GENERATION Fresh Film Northwest, one of the oldest youth film festivals in the nation, celebrates the next generation of filmmakers by showcasing the work of teens ages 13-19 from Oregon, Washington, Idaho, Montana, and Alaska. Submissions are accepted in all genres and styles and from indi- viduals, school classes, and community groups. Entries are juried by a panel of professional film- makers and educators. Winning selections are featured as part of the Northwest Filmmakers’ Festival in November. The annual deadline is August 1. There is no entry fee. For more informa- tion, visit nwfilm.org/festivals/youngfestival.

14 JAN/FEB/MAR 2014 nwfi lm.org/school  HOWL’S MOVING CASTLE CLASSICS FROM STUDIO GHIBLI

With the recent release of Miyazaki’s THE WIND RISES, we are pleased to present “Classics from Studio Ghibli.” Founded in Tokyo in 1985 by Hayao Miyazaki and Isao Takahata, Studio Ghibli is one of the most successful and well-respected animation studios in the world. Cultivating a creative force of talented directors, animators, and storytellers under the revered brilliance of Miyazaki and Takahata, Studio Ghibli’s films have been critically praised for their originality, dazzling animation, and epic storytelling and loved by audiences of all ages throughout the world. We are pleased to bring these great films back to the big screen on new 35mm prints made especially for this studio retrospective. SPIRITED AWAY

MAR 1 SAT 7 PM MAR 15 SAT 4:30 PM MAR 23 SUN 4:30 PM NAUSICAÄ OF THE VALLEY PRINCESS MONONOKE POM POKO OF THE WIND JAPAN 1997 JAPAN 1994 JAPAN 1984 DIRECTOR: HAYAO MIYAZAKI DIRECTOR: ISAO TAKAHATA DIRECTOR: HAYAO MIYAZAKI A landmark of animation and a film of unsurpassed power and beauty, In this brilliant and often overlooked Studio Ghibli master- This first of many triumphs for Studio Ghibli is set a thou- Miyazaki’s epic story of conflict and balance between humans, God, piece, the forests are filled with groups of magical tanuki, sand years after a nuclear holocaust has gutted the globe. and nature has been universally acclaimed by critics and broke the mischievous raccoon-like animals from Japanese folklore After the death of her father and an attack from the hostile box office record on its original release in Japan. While defending that are capable of shape-shifting from their standard rac- Tormekia, Princess Nausicaä must use her uncanny ability his village from a demonic boar-god, the young warrior Ashitaka coon form to practically any object. The tanuki spend their to communicate with the giant crustacean Ohmu to unite her becomes afflicted with a deadly curse that grants him superhuman days playing idly in the hillsides and squabbling over food— people against the threat of annihilation. Based on the manga power in battle but will eventually take his life. Traveling west to find until the construction of a huge new Tokyo suburb clears the of the same name and using Miyazaki’s distinctive stylistic a cure and meet his destiny, he journeys deep into the sacred depths nearby forest and threatens their way of life. In an effort to flare for the dreamlike and fantastical, the film also inau- of the Great Forest, where he meets San (Princess Mononoke), a girl defend their home, the tanuki learn to transform into humans gurates Miyazaki’s enduring collaboration and friendship raised by wolf-gods. Mononoke is a force of nature, riding bareback and start playing tricks to make the workers think the con- with composer Joe Hisaishi. Visually breathtaking, with truly on a great white wolf and terrorizing the human outpost of Iron Town struction site is haunted, ending in a spectacular night-time dexterous image making, the film introduced an original and on the edge of the forest. (134 mins.) spirit parade, with thousands of ghosts, dragons, and other lasting talent to the world of animation. (117 mins.) magical creatures descending on the city. (119 mins.) MAR 22 SAT 2 PM MAR 7 FRI 7 PM PORCO ROSSO MAR 27 THURS 7 PM MY NEIGHBOR TOTORO JAPAN 1992 CASTLE IN THE SKY JAPAN 1988 DIRECTOR: HAYAO MIYAZAKI JAPAN 1986 DIRECTOR: HAYAO MIYAZAKI This unsung Miyazaki treasure nestles a tale of morality and identity DIRECTOR: HAYAO MIYAZAKI The third Studio Ghibli feature tells the story of two young sis- inside a soaring airborne adventure—a tribute to early aviation and A rare opportunity to see one of Miyazaki’s most stunningly ters, Satsuki and Mei Kusakabe, who move with their father the reckless flyboys whose home was the open sky. Set in a mid-World beautiful, exciting, and infrequently screened films. A young into a new house near a vast forest to be closer to their ailing, War II Italy swept by fascism, the film follows Marco, a world-weary girl with a mysterious crystal pendant falls out of the sky hospitalized mother. Discovering wondrous forest spirits and flying ace turned bounty hunter who plies his trade above the waters into the arms and life of young Pazu. Together they search dust bunnies, they also encounter Totoro, a giant lumbering of the Adriatic. Somewhere along the way a curse has transformed for a floating island in the sky, site of a long-dead civiliza- bunny-esque creature. “Here is a children’s film made for the Marco’s head into that of a pig, reflecting his loss of faith in human- tion promising enormous wealth and power to those who can world we should live in, rather than the one we occupy. A film ity. Marco meets his polar opposite in the innocent and energetic unlock its secrets. CASTLE IN THE SKY is an early master- with no villains. No fight scenes. No evil adults. No fighting 17-year-old Fio, an aspiring airplane designer, and the two are cata- piece of storytelling and filmmaking whose imaginative and between the two kids. No scary monsters. No darkness before pulted into an airborne adventure pursued by air pirates, the Italian ornately detailed vision presaged later films like PRINCESS the dawn. A world that is benign. A world where if you meet army, and an egotistical American flying ace. (94 mins.) MONONOKE and SPIRITED AWAY. (124 mins.) a strange towering creature in the forest, you curl up on its tummy and have a nap. MY NEIGHBOR TOTORO has become MAR 22 SAT 4:30 PM MAR 29 SUN 4:30 PM one of the most beloved of all family films without ever having SPIRITED AWAY HOWL’S MOVING CASTLE been much promoted or advertised.”—Roger Ebert, Chicago JAPAN 2001 JAPAN 2004 Sun-Times. (86 mins.) DIRECTOR: HAYAO MIYAZAKI DIRECTOR: HAYAO MIYAZAKI Miyazaki’s Academy Award-winning masterpiece was the biggest box Sophie, an average teenage girl working in a hat shop, finds MAR 15 SAT 2 PM office hit of all time in Japan and a film that helped redefine the pos- her life thrown into turmoil when she is literally swept off her ONLY YESTERDAY sibilities of animation for American audiences and a generation of feet by a handsome but mysterious wizard named Howl. After JAPAN 1991 new filmmakers. Wandering through an abandoned carnival site, this chance meeting, the young girl is turned into a 90-year- DIRECTOR: ISAO TAKAHATA 10-year-old Chichiro is separated from her parents and stumbles old woman by the vain and conniving Witch of the Waste. into a dreamlike spirit world where she is put to work in a bathhouse Embarking on an incredible adventure to lift the curse, she Realizing that she is at a crossroads in her life, bored twenty- for the gods, a place where all kinds of nonhuman beings come to finds refuge in Howl’s magical moving castle. As the true something Taeko heads for the countryside. The trip dredges refresh, relax, and recharge. Here she encounters a vast menag- power of Howl’s wizardry is revealed and his relationship with up forgotten childhood memories which unfold in flashback erie of impossibly inventive characters—shape-shifting phantoms Sophie deepens, our young grey heroine finds herself fight- to younger years: the first immature stirrings of romance, and spirits, some friendly, some less so—and must find the inner ing to protect them both from a dangerous war of sorcery the onset of puberty, and the frustrations of math and boys. strength to outsmart her captors and return to her family. Combining that threatens their world. HOWL’S MOVING CASTLE was the In lyrical switches between the present and the past, Taeko Japanese mythology with THROUGH THE LOOKING GLASS-type second Studio Ghibli film to be nominated for Best Animated wonders if she has been true to the dreams of her childhood whimsy, SPIRITED AWAY cemented Miyazaki’s reputation as an icon Feature at the Academy Awards. (119 mins.) self. A double period piece that beautifully evokes both the of inspired animation and wondrous, lyrical storytelling. (125 mins.) 1960s and 1980s and a quintessential drama of Japanese school-day nostalgia, ONLY YESTERDAY delves deeper into the real emotional experiences of girls and women than per- haps any animated film before or since. (118 mins.)

NWFILM.ORG 503-221-1156 JANUARY/MARCH 2014 NORTHWEST FILM CENTER PAGE 15  FILL THE VOID FOREVER BURT

THE SWIMMER THE CRIMSON PIRATE

Burt Lancaster cut his teeth in the circus and vaudeville but achieved everlasting fame in the motion pictures. Iconic star of such classic films as THE KILLERS (1946), SWEET SMELL OF SUCCESS (1957), and BIRDMAN OF ALCATRAZ (1962), he acted with charm and wit, starring alongside some of Hollywood’s most glamorous and respected stars. Lancaster daringly performed his own stunts throughout his career, often making public appearances recreating noteworthy stunts as proof. Finally, with partners Harold Hecht and James Hill, Lancaster cannily produced films under their HHL banner—including many of Lancaster’s films and critical and commercial successes like MARTY (winner of the 1955 Academy Award for Best Picture). Lancaster’s film career spanned count- less genres over five decades, during which the popularization of color in film, the Hollywood blacklist, and the move to widescreen all transformed the industry. This 12-film retrospective (on 35mm prints!) features some of Lancaster’s most esteemed roles and reveals that while changes to the industry are visible in the films, one constant remains: Lancaster and his trademark grin.

FEB 28 MAR 1 FRI 7 PM, SAT 4:30 PM MAR 2 SUN 7 PM SWEET SMELL OF SUCCESS CRISS CROSS US 1957 US 1949 DIRECTOR: ALEXANDER MACKENDRICK DIRECTOR: ROBERT SIODMAK The New York media ecosystem in the 1950s, seen here through famed Arguably the prototypical Los Angeles noir and featuring cinematographer James Wong Howe’s expressive lens and left-wing extensive location photography in the Bunker Hill neighbor- screenwriter Clifford Odets’s cracked vision, was a cutthroat world hood shortly before it was razed to the ground, CRISS CROSS in which men would do anything to succeed, freely tossing morals and sees Lancaster donning the role of Steve Thompson, an ethics aside. In this context, Lancaster seethes as high-profile gos- armored truck driver who returns to Los Angeles in an attempt sip columnist and blackmail artist extraordinaire J.J. Hunsecker. He to rekindle a relationship with his estranged wife Anna enlists Sidney Falco (Tony Curtis), a down-on-his-luck press agent, to (Yvonne De Carlo). However, Anna has fallen for mobster Slim do his bidding when Hunsecker decides that the man dating his sister Dundee (Dan Duryea). Despite Anna’s new marriage to Slim, (Susan Harrison) is no good. Falco resists until Hunsecker makes she and Steve carry on an affair, but when Slim catches them, him an offer he can’t pass up: to take over Hunsecker’s wildly popular Steve is desperate for an explanation: a risky heist involving gossip column. “The film stands as the record of one of the most con- all of them, the target being Steve’s own armored truck. “An THE KILLERS vincing and closely observed symbiotic relationships in the movies. archly noir story replete with triple and quadruple crosses, Hunsecker and Falco. You can’t have one without the other.”—Roger leading up to one of the most shockingly cynical endings in the MAR 8 9 SAT 7 PM, SUN 4:30 PM Ebert. (96 mins.) whole genre.”—Dave Kehr, Chicago Reader. (88 mins.) THE KILLERS US 1946 MAR 2 SUN 4:30 PM MAR 8 SAT 4:30 PM DIRECTOR: ROBERT SIODMAK THE CRIMSON PIRATE TRAPEZE A critical and commercial smash featuring Lancaster’s US 1952 US 1956 screen debut as Swede, a man running from his past who’s DIRECTOR: ROBERT SIODMAK DIRECTOR: CAROL REED too tired to run anymore, THE KILLERS is one of the key film The most successful of Lancaster’s many action-packed swashbuck- In TRAPEZE, a “picture that soars high, high, high above them noirs of the 1940s and one of the most atmospheric and tense lers made for his Hecht-Hill-Lancaster production company, THE all,” Lancaster returns to his first love, the circus, as Mike films of the classical Hollywood period. In an unnamed rural CRIMSON PIRATE features Lancaster as Captain Vallo, leader of a Ribble, a legendary high-wire trapeze artist who was injured town, Swede lives an unassuming life working at a service ship of pirates intent on disrupting the plans of the British navy, who during a show. Ribble still performs, but in a supporting role; station and keeping to himself. Through a series of flash- are sailing through the Caribbean to quash a rebellion on the island of Tino Orsini (Tony Curtis), an up-and-coming young American, backs, however, we get extended glimpses into his prior life Cobra. Aided by his first mate Ojo (Lancaster’s boyhood friend and cir- now handles the big stunts in the company under Ribble’s tute- as a professional boxer mixed up with several shady charac- cus partner Nick Cravat), Vallo meets with the rebels and promises to lage. Lola (Gina Lollobrigida), a newcomer to the troupe, has ters, including crime boss “Big Jim” Colfax (Albert Dekker) help them, but the rebels, wary of outsiders, do not trust him. As Vallo, big dreams like Orsini, but as a love triangle forms between and enchanting vixen Kitty Collins (Ava Gardner). Swede and Ojo, and the rest of the pirates work to prove themselves trustwor- the three and Orsini’s aspirations grow, Ribble’s support of Big Jim go in on a robbery, but in a world where double-cross- thy, Vallo’s lust for money threatens to undermine their efforts. “Any his protégés begins to wane and the troupe’s future is left ing is expected at every juncture, plans go awry, and Swede, viewer with a drop of red blood in his veins and with fond memories of in serious doubt. Shot in both CinemaScope and color and Kitty, and Big Jim are all forced to reconcile their desires with the Douglas Fairbanks Sr. school of derring-do should be happy to go featuring several thrilling action scenes, TRAPEZE is a film their immediate reality. Based on the short story by Ernest on this last cruise of the crimson pirate.”—The New York Times. (105 bristling with tension from an unexpected source. (105 mins.) Hemingway. (103 mins.) mins.)

PAGE 16 NORTHWEST FILM CENTER JANUARY/MARCH 2014 503-221-1156 NWFILM.ORG  VERA CRUZ

BRUTE FORCE

ATLANTIC CITY MAR 23 SUN 7 PM ELMER GANTRY US 1960 DIRECTOR: RICHARD BROOKS “Burt Lancaster won his only Academy Award (out of four nominations) for his devilishly seductive performance as a down-and-out scoundrel turned fiery preacher in Richard Brooks’s adaptation of Sinclair Lewis’s novel. Jean Simmons plays the revival leader who falls for his line and Shirley Jones as the prostitute who undoes him. Lancaster’s spellbinding energy extends Brooks’s assault on religious hypocrisy to cri- tique the very charisma that made him a star.”—UCLA Film & Television Archive. (146 mins.)

GUNFIGHT AT THE O.K. CORRAL MAR 28 29 FRI 7 PM, SAT 7 PM THE SWIMMER US 1968 MAR 14 15 FRI 7 PM, SAT 7:30 PM MAR 16 SUN 7 PM DIRECTORS: FRANK PERRY, SYDNEY POLLACK BRUTE FORCE VERA CRUZ Based on the famous John Cheever story of the same name, US 1947 US 1954 THE SWIMMER interrogates the American Dream, illuminating DIRECTOR: JULES DASSIN DIRECTOR: ROBERT ALDRICH the ways that an upper-middle-class lifestyle can look won- “Soon-to-be-blacklisted director Jules Dassin’s excoriating and angry A detailed study in contrasts, VERA CRUZ pairs Lancaster’s derful on the surface but is occasionally built on a very unsta- prison drama uses the ‘big cage’ as a metaphor for the lost innocence smarmy, conniving rancher with Gary Cooper’s upstanding, ble foundation. Lancaster here plays Ned Merrill, a seemingly and spiritual malignancy of post-WWII America. One in a series of ’40s old-guard Southern gentleman in the 19th-century Mexican successful businessman living in suburban Connecticut. He films haunted by talismanic portraits of women, BRUTE FORCE uses a desert as guns-for-hire. The two meet by chance as Joe Erin appears one day wandering through the woods in a swimsuit dreamy calendar model as the inspiration for a series of flashbacks (Lancaster) attempts to steal Benjamin Trane’s (Cooper) and finds himself in the backyard of some friends. After some- that reveal Lancaster and his fellow cellmates to be united by bad horse. They both have bigger problems, however, as they are one notes that there are swimming pools lining the periphery luck, bad timing, and impossible love. Lancaster’s mournful yearning quickly caught up in the Mexican Revolution of 1866. Hired of the neighborhood, Ned decides to swim through them, trav- turns to embittered rage when a carefully planned breakout pits him by the reigning French royalty to escort a beautiful countess eling through past transgressions along the way, as each pool against the messianic and warped ego of the Napoleonic prison war- (Denise Darcel) across Mexico to Vera Cruz, the two men and becomes a symbol for a specific time in his life. (95 mins.) den, made viciously real by the brilliant Hume Cronyn. During the film’s their reluctantly assembled gang must choose between fol- furious, fiery climax of man against machine, Lancaster’s expressive lowing through with the mission honestly or following their MAR 30 SUN 7 PM use of his body is harrowing and perhaps unsurpassed in his entire intuition when they discover that several million dollars in ATLANTIC CITY career.”—Harvard Film Archive. (98 mins.) gold is hiding somewhere in the convoy. (94 mins.) US 1980 DIRECTOR: LOUIS MALLE MAR 16 SUN 4:30 PM MAR 17 MON 6:30 PM “As if his 1940s noir hoodlum had lived to see the 1980s, GUNFIGHT AT THE O.K. CORRAL BIRDMAN OF ALCATRAZ Lancaster’s Lou Pasco catches only faint echoes of those US 1957 US 1962 glory days between his small numbers-running and petty DIRECTOR: JOHN STURGES DIRECTORS: JOHN FRANKENHEIMER, CHARLES CRICHTON errand-running for an aging widow of a notorious gangster. Lancaster takes on a legend of the West in his role as lawman Wyatt “In this film based on a true story, Lancaster stars as con- As Atlantic City disintegrates before him, Lou maintains his Earp opposite Kirk Douglas’s gunslinger Doc Holliday. The story victed murderer and lifelong prisoner Robert Stroud. Forever dignity and a tender awareness of the station to which age is familiar: Holliday is in Dodge City, having murdered the brother isolated in solitary confinement, Stroud begins to develop an and cultural change have taken him. When a drug deal brings of Texas Ed Bailey (Lee Van Cleef), who seeks revenge; Earp, just interest in injured birds, then how birds—and men—react the crime underworld on his heels, money in his pocket, and arriving in Dodge, seeks to apprehend a group of outlaws led by Ike to being caged. As much a chamber drama as a prison film, a charming young woman at his side, he accepts this sec- Clanton (Lyle Bettger). Despite Holliday’s shady past and their trou- BIRDMAN OF ALCATRAZ shows Lancaster at his best, never ond youth with a giddy astonishment and chivalrous self- bled relationship, Earp needs the gunslinger’s help to bring down the letting us forget the violence in Stroud’s past but eliciting possession tempered by the wisdom of age. Rather than fall Clantons—but can they trust each other? In one of the great pairings empathy for his situation and admiration for his insightful into tried-and-true mannerisms, Lancaster embraces Louis in screen history, GUNFIGHT AT THE O.K. CORRAL sees Lancaster radi- attempts to understand its impact on him and his fellow pris- Malle’s sweet rendering with the restraint of an actor hum- ating a quiet, refined power while Douglas simmers with raw energy. oners.”—George Eastman House. (147 mins.) bly consenting to yet another reincarnation.”—Harvard Film (122 mins.) Archive. (104 mins.)

NWFILM.ORG 503-221-1156 JANUARY/MARCH 2014 NORTHWEST FILM CENTER PAGE 17  PRODUCTION/DISTRIBUTION

IN COMPARISON

In this series, co-presented by Yale Union and the Northwest Film Center, thirteen documentaries explore the production and distribution of material and immaterial goods. Some of these films were commissioned by companies representing specific interests, but the majority were made by filmmakers who felt compelled to record and scrutinize an often unseen facet of consumerism. Central to the program is the insight that with the advent of cinema, the world became visible in a whole new way, yet most mainstream films today still take place in a part of life in which we are led to believe that work does not exist, where goods seem almost immaculately conceived. The films of “Production/Distribution” consistently work against this lack of representation and describe the processes, facilities, locations, and durations of how things are made and transported. Special thanks to Robert Snowden, Hope Svenson, and Lucas Quigley, co-curators of the series. See yaleunion.org for detailed program notes.

JAN 4 SAT 6:30 PM JAN 10 FRI 7 PM JAN 18 SAT 4:30 PM IN COMPARISON THE SONG OF STYRENE DUST GERMANY 2009 FRANCE 1959 GERMANY 2007 DIRECTOR: HARUN FAROCKI DIRECTOR: ALAIN RESNAIS DIRECTOR: HARTMUT BITOMSKY Farocki, who boasts a distinguished career as one of Written by acclaimed essayist Raymond Queneau, THE SONG OF An extended essay focused on that smallest thing permeating Europe’s foremost documentarians and whose films often STYRENE, commissioned by French plastics giant Péchiney, is our everyday lives, DUST uses interviews with a wide range of critique the valences of modern life, here trains his camera ostensibly an investigation into the positive properties of plastics. industrial workers, professional cleaners, meteorologists, on bricks and their differing modes of production around However, when filtered through Resnais’s uniquely philosophical style artists, and others to evoke a sense of the sublime as the film the world, in all sorts of contexts, both machine- and man- of filmmaking, the film takes on a subversively fantastic tone. (19 takes on far-reaching strains of reflection about something made. Through a distanced approach virtually devoid of mins.) Thomas Beard, co-director of Brooklyn’s Light Industry, will which most of us never give a second thought. “Bitomsky’s judgment, IN COMPARISON reveals fundamental differences introduce the film. dense, quicksilver voiceover, sense of philosophical depth, and surprisingly profound similarities between disparate FOLLOWED BY healthy good humor, and wry intellectual poetry make this cultures. “I wanted to make a film about concomitance and journey from microscopic to macrocosmic a meditation on about contemporary production on a range of different SLOW GLASS the splendor of the futility of existence.”—Film Comment. technical levels. So I looked for an object that had not UK 1991 (90 mins.) changed too much in the past few thousand years. This could DIRECTOR: JOHN SMITH have been a shoe or a knife, but a brick becomes part of a “A nostalgic glazier shows off his knowledge and expounds his JAN 19 SUN 7 PM building and therefore part of our environment. So the brick theories. Taking glassmaking processes and history as its central BIOGRAPHIES OF OBJECTS appears as something of a poetic object.”—Harun Farocki, theme, SLOW GLASS explores ideas about memory, perception, and SWEDEN 1970 change.”—John Smith. (40 mins.) Artforum. (61 mins.) DIRECTORS: PETER NESTLER, ZSÓKA NESTLER In this four-film cycle made for Swedish television in the JAN 5 SUN 4:30 PM JAN 16 THURS 7 PM early 1970s, Peter and Zsóka Nestler collaborate on films GENÈSE D’UN REPAS MEAT about the history of crafts and the making of things. In these US 1976 “biographies of objects,” the filmmakers undertake rigorous (GENESIS OF A MEAL) DIRECTOR: FREDERICK WISEMAN FRANCE 1979 historical and material investigations into labor relations After spending much of the 1960s and early 1970s examining the DIRECTOR: LUC MOULLET in addition to the history of materials, techniques, and their complexity of official institutions of American life—the school, Bananas, eggs, and tuna: three basic foodstuffs with three representation. This program features ABOUT THE HISTORY the court, the military, bureaucracy—Wiseman here turns his lens wildly different points of origin. Moullet begins with these on OF PAPER PART ONE (1970), HOW TO MAKE GLASS MANUALLY toward the food industry, specifically the production of beef and lamb. his plate but constructs his film by working backwards and (1970), HOW TO MAKE GLASS BY MACHINE (1970), and ABOUT At times grisly but wholly incisive, MEAT is more than a precursor to finding the sources for these items and how they reach our THE ADVENT OF THE PRINTING PRESS (1970). (72 mins.) politically aware documentary exposés on industrial food production; plates. As Moullet’s investigation deepens, however, the film it is a deeper look at American life through the prism of a basic moves beyond the confines of a simple exploration of food human need. “As always, [Wiseman] treats his viewer as a person of origins into more political and social realms, not only relating intelligence who can put together their own pattern of meaning without to food but also to the medium of film. (115 mins.) Andy Rector, narration. And as always, he leads us to probe ourselves to see how we film critic and author of the Kino Slang blog, will introduce the film. feel about what we are seeing on the screen. Like Wiseman’s earlier films, MEAT is disturbing, revealing, surprising—and masterful cinema.”—London Film Festival. (112 mins.)

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THE SONG OF STYRENE

MEAT DUST JAN 24 FRI 7 PM THE FORGOTTEN SPACE US 2010 DIRECTORS: ALLAN SEKULA, NOËL BURCH Based on Sekula’s “Fish Story,” a large-scale exhibition of photographs and accompanying texts depicting the international seabound shipping trade, THE FORGOTTEN SPACE sees that project gaining complexity through interviews with dock workers, engineers, politicians, and individuals directly affected by the trade. While the film’s scope is impressively wide-ranging, the filmmakers focus on the day-to-day to illuminate the ways in which seabound shipping profoundly affects all of us. “The sea is forgotten until disaster strikes. But perhaps the biggest seagoing THE STORE disaster is the global supply chain, which—maybe in a more fundamental way than financial speculation—leads the world economy to the abyss.”—Sekula and Burch. (112 mins.) Thom FEB 1 SAT 4:30 PM Andersen, faculty member in the Program in Film and Video at Cal Arts and personal friend to both filmmakers, will introduce the film. IBM: A SELF-PORTRAIT US 1964 JAN 25 SAT 7 PM DIRECTORS: ALBERT MAYSLES, DAVID MAYSLES RR In this early Maysles film, the filmmakers visit the corporate headquarters of then-burgeoning IBM, US 2007 interviewing average workers, executives, and everyone in between. In the process, they reveal the inner workings of the newly christened technological age’s frontier. “In sharp contrast to current, DIRECTOR: JAMES BENNING more calculated modes of corporate self-presentation, the Maysles evoke an institution through “Looping, chugging, and barreling by, the trains in Benning’s monumental film map a stunning everyday minutiae and the individual psychologies of its workers.”—Light Industry. (35 mins.) topography and a history of American development. RR comes three decades after Benning and Bette Gordon made THE UNITED STATES OF AMERICA (1975), a cinematic journey along the FOLLOWED BY country’s interstates that is keenly aware ‘of superhighways and railroad tracks as American public symbols.’ A political essay responding to the economic histories of trains as instruments TOUJOURS MOINS AND TOUJOURS PLUS FRANCE 1993, 2010 in a culture of hyper-consumption, RR articulates its concern most explicitly when Eisenhower’s military-industrial complex speech is heard as a mile-long coal train passes through eastern DIRECTOR: LUC MOULLET Wyoming. Benning spent two and a half years collecting two hundred and sixteen shots of “In 1993, I filmed ALWAYS MORE (TOUJOURS PLUS). The indispensable complement was missing, trains, forty-three of which appear in RR. The locomotives’ varying colors, speeds, vectors, and LESS AND LESS (TOUJOURS MOINS), my 40th film. It evokes in 14 minutes the development reverberations are charged with visual thrills, romance, and a nostalgia heightened by Benning’s and expansion, from 1968 to 2010, of the devices based on computers, automats, interactive terminals, and others that can be found everywhere. The aim of our current system appears to declaration that this [was] his last work in 16mm film.”—Harvard Film Archive. (111 mins.) be to employ a single individual in each sector of activity. We are not there yet, but we’re getting JAN 26 SUN 12 PM there.... A schizophrenic world, since, at the same time, businesses have to pay the price for these suppressions in an indirect way. We can’t leave millions of human beings jobless. An observation TIE XI QU: WEST OF THE TRACKS that is both bitter and funny: the methods of this perpetual reduction are surprising and comical….” CHINA 2003 —Luc Moullet. (14 mins. and 24 mins.) DIRECTOR: WANG BING The massive, labyrinthine Tie Xi (literal translation: “west of the railway”), China’s oldest FEB 2 SUN 7 PM and largest manufacturing center, is the setting for Wang’s deeply patient and highly complex meditation on labor, class, capitalism, and survival in the rapidly changing 21st century. The THE STORE US 1983 film, shot covertly on handheld, consumer-grade cameras due to the overall lack of filmmaking freedom in China during the last several decades, is broken up into three parts: Part One tracks DIRECTOR: FREDERICK WISEMAN groups of workers at three different factories in Tie Xi; Part Two focuses on the workers’ families In this fly-on-the-wall examination of the surrealism of the everyday, Wiseman points his camera living in “Rainbow Row,” a state-run housing facility; and Part Three follows a father and son who at the flagship luxury department store Neiman Marcus in Dallas, Texas, during the 1982 holiday scavenge loose parts to survive in Tie Xe’s overwhelmingly harsh landscape. Rarely screened in season and the height of fame of landmark TV series “Dallas.” Wiseman, granted unprecedented the United States, TIE XI QU stoically shows us the other side of the supply chain to which we have access to the store’s day-to-day operations, from sales meetings to showrooms, shows us the inner grown so accustomed. “Without question the greatest work to have come out of the Chinese workings of Reagan-era capitalism through the prismatic lens of big retail. “Insatiable need, documentary movement…must be ranked among the most extraordinary achievements of world ostentatious greed, and desperate loneliness hang in the air, as sales clerks smooth-talk rich, insecure Texans into buying furs and jewels and other ‘indispensable’ luxury goods, and employers cinema in the new century.”—New Left Review. (551 mins.) There will be a 30-minute intermission between each of the film’s three parts. and management gather together over holiday celebrations filled with sad tinsel decorations and even sadder conversations.”—The Museum of Modern Art. (118 mins.)

NWFILM.ORG 503-221-1156 JANUARY/MARCH 2014 NORTHWEST FILM CENTER PAGE 19 FILM CALENDAR JANUARY/MARCH 2014 NWFilmCenter FILMS SCREENED AT NORTHWEST FILM CENTER • WHITSELL AUDITORIUM PORTLAND ART MUSEUM 1219 SW PARK AVENUE

SUNDAY MONDAY TUESDAY WEDNESDAY THURSDAY FRIDAY SATURDAY THIRTY DAY 127 PM 3 4 PM 4 PRINCESS P.5 GUN CRAZY THE CHASE (P.4) support the NW Film Center! PRECEDED BY Join the silver screen CLub BUSY BODIES 6:30 PM IN COMPARISON (P.18) makeS A great gift! (P.4) 8:30 PM SEE nwfilm.org or call 503-221-1156 for details GUN CRAZY JANUARY PRECEDED BY BUSY BODIES (P.4) 2 PM 567THE AUTOBIOGRAPHYTHIRTY DAY OF FIRE IN THE 87 PM 9 7 PM 10 5 PM & 7 PM 11 PROJECT VIEWFINDER (P.6) KARLPRINCESS KROGSTAD P.5 P.6 BLOOD P.3 TARGETING IRAN THE SONG LA CAMIONETA (P.3) 4:30 PM (P.6) OF STYRENE GENÈSE D’UN REPAS (P.18) FOLLOWED BY SLOW GLASS (P.18) 7 PM THE CHASE (P.4)

6:30 PM 12 13 14 7 PM 15 7 PM 16 7 PM 17 4:30 PM 18 MANTRAP INTERNATIONAL MEAT (P.18) FIRE IN THE DUST (P.18) FOLLOWED BY HOUSE FOLLOWED BY BLOOD (P.3) 7 PM MIDNIGHT MADNESS (P.4) THIRTY DAY BROADWAY DANNY ROSE (P.3) PRINCESS (P.5) 1:30 PM 19 20 21 7 PM 22 7 PM 23 7 PM 24 4:30 PM 25 FIRE IN THE BLOOD (P.3) THAT COLD DAY IN SCRAPPER (P.6) THE FORGOTTEN FALL TERM STUDENT 4 PM THE PARK (P.5) SPACE (P.19) SCREENING (P.6) DOUBLE DOOR FOLLOWED BY 7 PM SUPERNATURAL (P.5) RR (P.19) 7 PM BIOGRAPHIES OF OBJECTS (P.18) 12 PM 26 27 28 29 7 PM 30 7 PM 31 4:30 PM 1 TIE XI QU (P.19) ROBERT FROST KISS THE WATER IBM FOLLOWED BY TOUJOURS MOINS FOLLOWED BY (P.3) AND TOUJOURS PLUS (P.19) EADWEARD 7 PM MUYBRIDGE (P.5) KISS THE WATER (P.3) 7 PM 234 537TH PORTLAND 67 8 THE STORE (P.19) INTERNATIONAL FEBRUARY FILM FESTIVAL 91011121314 15 16 17 18 19 20 21 22 POM POKO P.15 23 24 25 26 27 7 PM 28 4:30 PM 1 SWEET SMELL OF SWEET SMELL OF SUCCESS SUCCESS (P.16) (P.16) 7 PM NAUSICAÄ OF THE VALLEY OF THE WIND (P.15) 4:30 PM 234THE SWIMMER 5 7 PM 6 7 PM 7 4:30 PM 8 THE CRIMSON PIRATE (P.16) P.17 AN EVENING WITH MY NEIGHBOR TRAPEZE (P.16) 7 PM ELIJAH HASAN TOTORO (P.15) 7 PM CRISS CROSS (P.16) MARCH (P.6) THE KILLERS (P.16) 4:30 PM 91011127 PM 13 7 PM 14 2 PM 15 THE KILLERS (P.16) BEYOND BEYOND: BRUTE FORCE ONLY YESTERDAY (P.15) 7 PM THE BOB MORICZ (P.17) 4:30 PM THE AUTOBIOGRAPHY OF KARL A/V MIXTAPE PRINCESS MONONOKE (P.15) (P.6) KROGSTAD (P.6) 7:30 PM BRUTE FORCE (P.17)

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