January February Filmmarch Film Program Winter 2007 National
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Film Program Winter 2007 National Gallery of Art, Washington Winter Series film Béla Tarr Cinedance in America Filming Othello Jacques Rivette on the Streets of Paris Art Films and Events Absolute Wilson How to Survive the 1940s The Spirit of Places (Films en Vue) Jasper Johns: A Compilation John Cage and Elliott Carter 20 Sat March 2:00 Jacques Rivette: La Belle Noiseuse Khadak 21 Sun 3 Sat 5:00 Event: Premiere: Absolute Wilson 2:30 Event: Women and Film—A Legacy in Print Manufactured Landscapes 4 Sun Fri 26 4:30 Event: The Rape of Europa Norman McLaren Restored 1:00 Jacques Rivette: Paris Belongs to Us 27 Sat 2:30 Jacques Rivette: L’Amour fou 10 Sat The Open Road — England 2:00 Event: Jasper Johns: A Compilation in the 1920s 28 Sun 4:30 Jacques Rivette: Paris Belongs to Us 11 Sun 4:30 Cinedance in America: Reaching Beyond Quay Brothers: The Piano the Stage Tuner of Earthquakes February 17 Sat The Rape of Europa 12:30 Cinedance in America: 1894 – 1938: 3 Sat First Steps and New Directions 2:00 Jacques Rivette: Out One: Spectre 3:00 Event: Manufactured Landscapes; The Spirit of Places The Spirit of Places 4 Sun 4:00 Jacques Rivette: Duelle 18 Sun Women and Film — A Legacy 4:00 Béla Tarr: Damnation in Print 9 Fri 12:30 Event: How to Survive the 1940s 24 Sat 1:00 Music and Film: John Cage and 10 Sat January Elliott Carter 1:00 Event: How to Survive the 1940s 4:30 Event: Khadak 3:00 Jacques Rivette: Jacques Rivette, The 5 Fri Night Watchman; Jean Renoir, le patron 25 Sun 12:00 Filming Othello: Laurence Olivier’s 4:00 Béla Tarr: Werckmeister Harmonies Othello 11 Sun 3:00 Filming Othello: Orson Welles’ Othello 4:00 Jacques Rivette: Wuthering Heights 6 Sat 31 Sat 12:30 Filming Othello: Laurence Olivier’s 1:00 Cinedance in America: 1939 – 1962: 17 Sat Othello Classic Works of Avant-Garde Cinedance 12:00 Event: The Open Road — England in the 3:30 Filming Othello: Orson Welles’ Othello 2:30 Cinedance in America: 1965 – 2002: 1920s The Postmodernist Explosion 7 Sun 2:00 Jacques Rivette: The Gang of Four 4:30 Event: Norman McLaren Restored 18 Sun 4:30 Event: The Open Road — England in the Films are shown in original format in the 1920s auditorium of the National Gallery’s East 12 Fri Building at 4th Street and Constitution 1:00 Jacques Rivette: Celine and Julie Go Avenue nw. Seating is on a first-come basis. Boating 24 Sat To ensure a seat, please plan to arrive at 13 Sat 3:30 Jacques Rivette: The Story of Marie and least ten minutes before showtime. Julien 2:30 Filming Othello: O Programs are subject to change. 14 Sun 25 Sun For current information, visit our Web site: 4:30 Jacques Rivette: Celine and Julie Go 4:00 Event: Quay Brothers: The Piano Tuner of www.nga.gov/programs/film.htm or call Boating Earthquakes (202) 842-6799. film National Gallery of Art, Washington Art, of Gallery National Winter 2007 Winter Program Film National Gallery of Art Fourth Street and Non-Profit Org. Constitution Avenue nw U.S. Postage Paid Washington, dc Washington, DC Permit # 9712 Mailing address 2000b South Club Drive Landover, md 20785 www.nga.gov Films are shown in the East Building Auditorium Cover image from Out One: Spectre (Photofest) Film Program Winter 2007 Art Films and Events and middle-of-the-road destinations, includ- Discussion with The Rape of Europa author ing South Devon, Cardiff, Plymouth, London, Lynn Nicholas and co-producer of the film Blackpool, Glasgow, Edinburgh, and John and Rescuing Da Vinci author Robert M. Edsel Norman McLaren Restored o’ Groats, among others. The result is a series follows the screening. Premiere of new 35 mm prints of twenty-six “color postcards,” all of which January 7 at 4:30 were screened weekly in Britain’s neighbor- Jasper Johns: A Compilation Brilliant Scottish-born Canadian animator hood cinemas during the 1920s. (Claude March 10 at 2:00 Norman McLaren (1914 – 1987) perfected Friese-Greene, 1926, 35 mm, 65 minutes) many of the techniques that became the In conjunction with the exhibition Jasper standard of animation art. Often imitated, Johns: An Allegory of Painting, 1955 – 1965, this The Piano Tuner of Earthquakes McLaren’s work during the 1930s and 1940s diverse collection of short works has two par- also The Street of Crocodiles for the National Film Board of Canada allel themes. The first includes documentary Washington premiere and Britain’s GPO film unit was legendary. footage of Jasper Johns working with friends February 25 at 4:00 Eleven of his classic short films — including and collaborators John Cage and Merce Cun- Begone Dull Care (1949), Neighbours (1952), The bizarre mind’s eye of twin brothers ningham, and the second features experi- A Chairy Tale (1957), Pas de deux (1968), Syn- Timothy and Stephen Quay churned out this mental shorts by Stan Brakhage and Alfred chromy (1971), Blinkity Blank (1955), and Hen curious nineteenth-century tale of a mad doc- Leslie, contemporaries of Johns who shared Hop (1942) — have now been restored by the tor named Droz, his beautiful opera singer many of his artistic concerns. The program National Film Board of Canada to their origi- prisoner, and a naïve piano tuner who lands includes Crises, with members of the Merce nal 35 mm format. Viewed in these spectacu- on the doctor’s odd island retreat ostensibly Cunningham Dance Company (Helen Priest lar new prints, McLaren’s films demonstrate to mend a collection of automated music Rogers, 1961, 16 mm silent, 22 minutes); cinema’s close affinity with painting and machines — incredible stop-motion creations Walkaround Time (Charles Atlas, James Klosty, music — a concept that was one of this artist’s housed in huge boxes. With its remarkable and Michael Norborg, produced by the Cun- main preoccupations. (total running time color tableaux and exotic, ethereal imagery, ningham Dance Foundation, 1968 – 1973, 16 85 minutes) The Piano Tuner of Earthquakes — the second mm, 67 minutes); Marcel Duchamp and John feature from the American-born brothers Cage (John Cage and Shigeko Kubota with who in the 1980s revived the tradition of sur- Marcel Duchamp, 1972, Beta SP, 28 minutes); Absolute Wilson realist Eastern European animation — was Last Clean Shirt (Alfred Leslie, dialogue by Washington premiere inspired by Jules Verne’s The Carpathian Castle. Frank O’Hara, 1964, 16 mm, 39 minutes); and Filmmaker Katharina Otto-Bernstein (Stephen and Timothy Quay, 2005, 35 mm, 99 Anticipation of the Night (Stan Brakhage, 1958, in person minutes) 16 mm, 40 minutes). January 21 at 5:00 A new 35mm print of the Quay Brothers’ The Washington premiere of a new docu- early animated short The Street of Crocodiles, Manufactured Landscapes mentary on the life, times, and uncommon filled with their trademark visual poetry, pre- also The Spirit of Places (L’Esprit des lieux) career of theatrical genius Robert Wilson cedes the feature. (1986, 35 mm, 20 minutes) is introduced and discussed by director Washington premieres Katharina Otto-Bernstein. Wilson’s March 17 at 3:00 Women and Film — A Legacy in Print mammoth opera Einstein on the Beach (a The beautiful yet frightening large-format Lecture and screening celebrated 1970s collaboration with Philip photographs of Edward Burtynsky comprise March 3 at 2:30 Glass) and his visually stunning Deafman a catalogue of manmade horrors: strip mines, Glance were among the legendary avant-garde Red Velvet Seat: Women’s Writings on the First oil tankers, dumps, factories, and massive theatrical works of the twentieth century. Fifty Years of Cinema is a new compendium of piles of post-industrial debris. Manufactured Wilson collaborators from Jessye Norman women’s writings assembled from journals, Landscapes follows the Toronto-based Bur- to David Byrne, critics and friends such as newspapers, and other ephemera. Contribu- tynsky to China, where he travels around the Susan Sontag, and members of his family tors range from Virginia Woolf to Colette country documenting its economic boom. participate in the project. Wilson himself to Lillian Gish to assorted poets, activists, The artist visits factory floors over a half-mile noted, “I’ve never talked so much about my and social reformers. Red Velvet Seat’s editor, long, colossal urban renewal sites, and the personal life.” (Katharina Otto-Bernstein, film historian Antonia Lant, will discuss notorious Three Gorges Dam, a project that 2006, 35 mm, 90 minutes) these writings, providing both context and displaced over a million people. The film perspective. Following the discussion, three not only illustrates this environmental devas- films showing an extraordinary range of tation in a deliberately discomforting way, How to Survive the 1940s female talent will be screened in preserved but it also challenges viewers, who find February 9 at 12:30, February 10 at 1:00 35 mm prints: Alice Guy-Blaché’s Matrimony’s themselves both captivated by the beauty British postwar public-information Speed Limit (1913, 14 minutes); Unmasked (1917, of the photographs and unnerved by their films — short government-sponsored works 11 minutes), featuring Grace Cunard, the subject matter. (Jennifer Baichwal, 2006, intended to “put a war-weary nation back multitalented queen of the serials; and Dirty 35 mm, 90 minutes) on its feet” — are prized today more for their Gertie from Harlem USA (1946, 65 minutes), Québécois filmmaker Catherine Martin’s unintended humor and clever handling of an independent feature based on Somerset The Spirit of Places embraces a noble concept: content than for their obvious historical value. Maugham’s Rain starring Francine Everett, thirty-five years after Hungarian-born pho- From the singular comedy of the treasury- the pioneering African American actor who tographer Gabor Szilasi first documented the sponsored Pool of Contentment (1946) to the refused to play stereotypical roles.