BULLETIN for FILM and VIDEO INFORMATION Vol. 2,No.3

Total Page:16

File Type:pdf, Size:1020Kb

BULLETIN for FILM and VIDEO INFORMATION Vol. 2,No.3 HudochOneWorld, !nn 13AoadiaRU . .0!d8moowioh .CT8G87U 1975'70 ILM AND VIDEO INFORMATION feature film catalogue available . Wd, il, No . 3, May 1975 Independent Filmmakers' Cooperative . 2026 OOntario E., Montreal 133, Quebec, Canada (514) 523-2816 . 1972-73 catalogue is available listing over Editor : HolUo Melton ; Publisher: Anthology Film Archives ! 3K Alms, and a upplemerit to We min catalogue has been published. The subscription : ! Address: DOWouoterS1, New York, N1 10012 . Yearly 85 coopera0e now distributes close to 500 films by independent film-makers . Insight Exchange, P 0 @ux42584SonFmnciouo CA 94101 )021-2713. buUstniu0oserve theiWunnuUonneeds nf The ofthis "We currently seeking ewfilms undvideo inuurmajor categories : mental and their users . The bulletin is organized around five film-and video-makers health, women, community urUmnizing ."Sponsor film-discussion series, of 0m and video: film-and video-making ; distribution ; exhibition and aspects "Women Emorying"Write forfree brochures ondflyers. programming ; study; and preservation . Your suggestions and comments will welcomed . be Mu0Media Resource Center, 540Powo!St . .8anFrancisco, CA041U0 . Has catalogue supplement available of 1Smmfilms andvideocassettes on human sexuality. Now Line Cinema, 8 16th Floor, N.Y, N.Y . 10003 (212) 2DBrentwood Rd D Shore, NY 11706 Cum Wealth Alternate School . 674-7460 . Has new catalogue available . (516) 587-8398 . A new theater group, The Hamlet Collective, ''comprised of directors, dancers, painters, photographers, actors, musicians, playwrights, Polymorph Films . 331 NewburySt .jBoston, 02115(b17)202-5Q0U . artists who might wish to partici- video artists . We welcome film and video ''Films about families and living .'' Write or call for catalogue. pate in our growth .'' For information call or write Ned Bobkoff at the above Work! Class Films. 3SuWinchester Rd . .London N.VV . 3 England . Has two new films available : ''The Miners Film'' and ''Arise Ye Workers .'' Write for Visitation Program . 316 Waverly Ave., Syracuse, NY 13210 Synapse Artist brochure . (315)423-2041 . Is offering extensive possibilities forthe creation of Adeo artists works by from New York State . Proposals are being accepted for participation in the Color Studio Production Program, Post-pr9duction Pr9g- Studio Instruction Seminars to be held in the extensive communica- ram andthe VIDEO tion facilities of Syracuse University . Although the program is directed toward the creation of new video works, artists in all fields of expression are encour- BB WU--Video. c/o Ni4douoHavibndRiUmr. ! Berlin 30, Nollendorfstrasse aged to submit proposals which also explore some unique aspect of video ." Program 13/14. 15 . West Berlin . Distributes ownvideotapes, made on U .3 . standard Color Studio Instruction : Dates : May 903 and Nlay 2121 'Two equipment . Write to above address for tape list . workshops in color studio technique will be held for potential visiting artists and black and white video experience . for others who have had considerable City Slick. c/o Tom Klinkowstein, 106 C S1 Y 13210 are free but room and board must be provided by the airtists . " Courses P15) 4731761, 47SV920. ''A 60-item exhibit in print and video . The 45 Write or call to the above address for descriptive brochure and application. minute videotape contains edited samples of Neighborhood Report television ." Write for free brochure . Women's Movement Media : A Source Guide . Ellen Hmhaon' 1975 . Published byR . R . Bowko . New York . 269 pp . 813 .05 . Includes index. E:o Net Cooperative Video Catalog. c/o Bob Philips, 200A N£ Bmzee . Portland . 8R07212 . A!iutingB of over 2U0videotapes produced in the North- west, including some .C . and California . SUMMER WORKSHOPS IN FILM- AND VIDEO-MAKING Intercollegiate Video Clearing House. P. 0. Drawer 33000 R, Miami, Florida University S of 0h B H ! B bst Library, 12th 33133 . "A non-profit corporation . actively engaged in the development, Floor, New York, N.Y . 10003 . Attn : Director, University Summer Sessions . utilization, and distribution of instructional media, particularly video tape mater- ials for educational purposes ." Publishes a newsletter that lists videocassettes July 18 . available and information about membership in the clearinghouse . Write for Beginning Film Production : Haig Manoogian, Line 9duly 18 . copy of the newsletter to the above address . Portable Half-inch Videotape Workshop : Jacqueline Park, Red Burns, and Staff, July 21 -August 29 . Seattle .... ...... 5463, Seattle Media Internship : Irving Falk, Jacqueline Park, Red Burns, June 9-July 18 and WA 98105 . Edited by Roeby Simons . Lists individuals and their video interests July 21-August 29 . in Seattle and, Puget sound area, video groups, access points, T.V . Courses, equipment access suggestions, hardware, information on time base correc- Visual Studies Workshop . 4 BstonStRochester, N .Y . 14607 . tors, color on 1/4" tape, cable companies and map, Government on cable, Basic VSW Staff, July 7-18, tuition $200 . Video: The libraries, publications, events and includes feed back cards. Costs : $1 . Advanced Video: David [urt and DuvduonGiQ!i«N .Wdoofeex .July 21 - Aug. 1, tisition $200 . N Y. 13210 . xhuK hour ~_`, -y_ presenting of viewpoints on issues surrounding women athletes . Write for brochure, Video Inn Tape (Itallogu, cho The SatelNe Video Exchange Society, 261 RUH Pow0l St . Vancouver, B.C ., Canada V13A IG3 (604) 688-4336 . "Weare committed toVideo Exchange as a means of decentralizing information Canadian Filmmakers' Distribution Centre . 406 Janis St, Toronto, Ontario how, and have thuetre decided not to distribute tapes for now . However, we '4121 . 1975 catalogue of films by Canadian and American do exchange tapes, and many of the titles in our library are for free circulation independent film-makers . (for no-charge showings only!) . Any producers interested in tape exchange should ask for a copy of our catalogue . ~Canyon~0~~_- .~~Sausalito, Ca 9496 . Issue No . 75-1 has listing The Video Inn Catalogue lists names and addresses of producers, so that they of new Aims received by Canyon Film-makers' Cooperative for rental distribu- may be contacted directly . For those people wanting tapes for showings, but tion . Yearly subscription : US $3 ; Canada $4 ; foreign surface $5 ; foreign Or $8 who do not have tapes they can exchange, cost of the publication is $5 .00. Our library is open 7 days a week, 11-5 . Many of our titles are on cassette, so Distributors List, Whitney Museum, New American Filmmakers Series, Sept that people can view them at their leisure . We lend out tapes with a player to 18,1974- May 27,1975 . 945 Madison Ave . at 75th St ., N .Y ., N .Y . 10021 . Alist community groups as well . of film programs in 1974-75 season with addresses of distributors and film- Just a reminder -this fall we shall publish the fourth edition of the Video makers where films can be obtained . Enclose self-addressed, stamped en- Exchange Directory. Groups, artists, community access centres, etc . receive velope . the Directory free when they are listed ; otherwise circulation is limited .'' June 12.5 p.m, Dimhh Ki (1934) [~~GRAMMING AND EXHIBITION 7:30 p.m . Stan BrakAge : Skin : Aquaken ; Sol ; Hymn to Her ; Sur Gainden : 9:30p.m . Early Black Cinema, Program 1 : Oscar Micheaux: Ten Minutesto Live ; FILM-REGIONAL SHOWCASES GA's TeVhildreri . June 13 . 6 pm . Bruce Corlar: Ten Second Film : A TV Commercial; Vivian ; NirshhomMuseum and 0c | Gmdmn.!nUapendenuaAve . 0 8th SL, SW, Permian Strata ; Cosmic Ray : A Movie; The White Rose ; Report ; Looking for Washington, D C 20500 . Schedules admission free film programs . Since Mahroorns; Breakaway, Five Times Marilyn . 8 p.m . Stan Brakhage: The Text of Light. Jill Godmilow, Doris Chase, Robert Brea, Amalie Rothschild, Alexis 10 p .m. Ernie Gehr: Morning ; Wait ; Reverberation ; Transparency ; History . --~- ' _-- .-_ .__ . Robert Morris, Bruce Nauman, Red Grooms, June 14 . 6 p.m . Larry Gottheim: Horizons . Storm deH/rso . Rat U'NeiU . The Whitneym. John Stehum . Scott 8urUeft . 8 p.m . Ernie Gehr: Serene Velocity ; Field ; Still. Jordan 8o!uun]ManRay, Marco!Ouuhamp FomondLager . HanaRiohiar . 10 p.m . Warren Sonbert : Carriage Trade. Harry Smith . The program schedules include notes on films shown . June 17: 7 pm . Charles Laughton : Night of the Hunter (1955) . 910 p.m . Early Black Cinema, Program H : Spencer Williams, Jr .: Go Down Philadelphia Filmmakers Coopembve . 2202 St. James St, PhiQdeIpNa, PA Death; Blood A Jews . 1R103QU5)581-1311 Invites film-makers tocontact hegurdingsummer June 20, 8 p .m. & 10 p .m . Jordan Belson : Cycles ; Robert Polidori : Genetic screening programs in the Philadelphia area . 55, Gal Beydin Hand Held Day; Pasadena Freeway Stills ; Los Ojos ; Glass Face ; Louis Hock : Chronovision . Philadelphia of Cinema (PIC) . 7725JJuniper Ave., Elkins Park, PA June 26 . 8:30 p .m . Early Black Cinema, Program III: Oscar Micheaux : The 19117 (215) MO-7-1855 or ME-5-4706 . Presents ''American Cineprobe : Exile; Asbestos . Dialogues with filmmakers uand film persons." 1 .9 April Ken JacnUuandUia June 219 p.m . On Jacobs : Little Cobm Duct Baud'larian Capers~ Lisa and Apparition Theatre, and Jeff Vaughn (''American's Pop Collector: Robert C . Joey in CConnecticut, January 1875! : ''You've Come Back!'' ''You're Still Here!;" SmU^)appoumd . Window : Naomi is a Dream of Loveliness ; Airshaft : Soft Rain ; Excerpt from "The Russian Revolution;" Divine Retribution Sequence (from
Recommended publications
  • The Fragile Emulsion Author(S): JON GARTENBERG Source: the Moving Image: the Journal of the Association of Moving Image Archivists, Vol
    The Fragile Emulsion Author(s): JON GARTENBERG Source: The Moving Image: The Journal of the Association of Moving Image Archivists, Vol. 2, No. 2 (FALL 2002), pp. 142-153 Published by: University of Minnesota Press Stable URL: http://www.jstor.org/stable/41167089 . Accessed: 31/07/2014 15:46 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. University of Minnesota Press is collaborating with JSTOR to digitize, preserve and extend access to The Moving Image: The Journal of the Association of Moving Image Archivists. http://www.jstor.org This content downloaded from 142.103.160.110 on Thu, 31 Jul 2014 15:46:15 PM All use subject to JSTOR Terms and Conditions ИН!142 dispositionfor those experimentalfilmmakers TheFragile Emulsion afflictedwith AIDS, theircinematic legacies JON GARTENBERG are the most endangered. Given the ever- shrinkingvenues supportingthe showingof One of the mostvital and richlytextured art these works,the decrease in exhibitionde- formsthreatened with extinction centers around mand has createda tendencytoward neglect. the historyof avant-garde filmmaking.1 Experi- Thetitle of this article, "The FragileEmul- mentalfilmmakers work in relativeisolation, sion," aptlyunderscores the status of Ameri- creatingtheir films with the hand of an artist, can experimentalfilms and theirmakers both ratherthan as productsfor consumption by a in the cinematographicculture as well as in mass audience.The style of the films frequently filmarchives.
    [Show full text]
  • The University of Chicago Looking at Cartoons
    THE UNIVERSITY OF CHICAGO LOOKING AT CARTOONS: THE ART, LABOR, AND TECHNOLOGY OF AMERICAN CEL ANIMATION A DISSERTATION SUBMITTED TO THE FACULTY OF THE DIVISION OF THE HUMANITIES IN CANDIDACY FOR THE DEGREE OF DOCTOR OF PHILOSOPHY DEPARTMENT OF CINEMA AND MEDIA STUDIES BY HANNAH MAITLAND FRANK CHICAGO, ILLINOIS AUGUST 2016 FOR MY FAMILY IN MEMORY OF MY FATHER Apparently he had examined them patiently picture by picture and imagined that they would be screened in the same way, failing at that time to grasp the principle of the cinematograph. —Flann O’Brien CONTENTS LIST OF FIGURES...............................................................................................................................v ABSTRACT.......................................................................................................................................vii ACKNOWLEDGMENTS....................................................................................................................viii INTRODUCTION LOOKING AT LABOR......................................................................................1 CHAPTER 1 ANIMATION AND MONTAGE; or, Photographic Records of Documents...................................................22 CHAPTER 2 A VIEW OF THE WORLD Toward a Photographic Theory of Cel Animation ...................................72 CHAPTER 3 PARS PRO TOTO Character Animation and the Work of the Anonymous Artist................121 CHAPTER 4 THE MULTIPLICATION OF TRACES Xerographic Reproduction and One Hundred and One Dalmatians.......174
    [Show full text]
  • BULLETIN for FILM and VIDEO INFORMATION Vol. 1,No.1
    EXHIBITION AND PROGRAMMING in New York : BULLETIN FOR FILM AND VIDEO INFORMATION Independent Film Showcases Film Archives, 80 Wooster st. N.Y.,N.Y.10012 Vol. 1,No .1,January 1974 Anthology (212)758-6327 Collective for the Living Cinema, 108 E 64St . N.Y.,NY.10021 Forum, 256 W 88 St . N.Y .,N .Y.10024 (212)362-0503 Editor : Hollis Melton ; Publisher : Anthology Film Archives ; Film Millennium, 46 Great Jones St. N.Y .,N.Y.10003, (212) 228-9998 Address: 80 Wooster st., New York, N .Y. 10012; Yearly subscription : $2 Museum of Modern Art, 11 W 53 St . N.Y.,N.Y.10019 (212) 956-7078 U-P Screen, 814 Broadway at E 11th St . N.Y. N.Y. 10003 Whitney Museum, 945 Madison Ave . at 75St . N.Y.,N.Y.10021 (212) 861-5322 needs of independent The purpose of this bulletin is to serve the information San :Francisco : their users. The bulletin is organized around five film and video-makers and Canyon Cinematheque,San Francisco Art Institute, 800 Chestnut St., film and video-making ; distribution ; exhibition aspects of film and video: San Francisco, Ca . (415) 332-1514 ; study; and preservation . There is very little in this iddue and programming Film Archive, University Art Museum, Berkeley, Ca. 94720 due to a lack of response from video-makers . Your suggetions and Pacific on video (415) 642-1412 comments will be welcomed . San Francisco Museum of Art, Van Ness & McAllister Streets, San Francisco Ca. (415) 863-8800 DISTRIBUTION that Include Screening Work by A brief note on non-exclusive distribution Regional Centers with Film Programs Independent Film-makers.
    [Show full text]
  • Les Differents Programmes De La Retrospective Warren Sonbert Warren Sonbert Retrospective Touring Programs
    LES DIFFERENTS PROGRAMMES DE LA RETROSPECTIVE WARREN SONBERT ORGANISÉE PAR LIGHT CONE (PARIS) & GARTENBERG MEDIA ENTERPRISES (NEW YORK) Copies : Light Cone, Paris Textes des programmes rédigés par Jon Gartenberg, Commissaire © Light Cone / Gartenberg Media WARREN SONBERT RETROSPECTIVE TOURING PROGRAMS ORGANIZED BY LIGHT CONE (PARIS) & GARTENBERG MEDIA ENTERPRISES (NEW YORK) Film prints courtesy of Light Cone, Paris Program Notes by Jon Gartenberg, Curator © Light Cone / Gartenberg Media 1. 1. IDENTITE QUEER QUEER IDENTITY AMPHETAMINE AMPHETAMINE Warren Sonbert and Wendy Appel. Warren Sonbert and Wendy Appel. 1966, n&b, sonore, 10 min. 1966, B/W, sound, 10 min. NOBLESSE OBLIGE NOBLESSE OBLIGE 1981, couleur, silencieux, 25 min. 1981, color, silent, 25 min. WHIPLASH WHIPLASH Achevé de manière posthume en 1997. Completed posthumously in 1997. Montage de Jeff Scher. Restoration editor: Jeff Scher. 1995, couleur, sonore, 20 min. 1995, color, sound, 20 min. Le programme se poursuit avec Noblesse The program continues with Noblesse Oblige, Oblige, une œuvre au montage magistral qui a masterfully edited work that features ima- offre des images des manifestations qui, à San gery Sonbert photographed of protests in San Francisco, avaient suivi les meurtres du Maire Francisco following the murders of Mayor George Moscone et du conseiller municipal George Moscone and Councilman Harvey Harvey Milk par Dan White. Sonbert a modelé Milk at the hands of Dan White. (Sonbert la structure de ce film sur La Ronde de l’aube modeled the structure of this film on Douglas de Douglas Sirk. Le programme s’achève avec Sirk’s Tarnished Angels). The program culmi- Whiplash, la méditation élégiaque de Sonbert nates with Whiplash, his elegiac meditation on sur sa propre mortalité, un film qui sera achevé his own mortality, a film that was completed après son décès mais selon ses instructions.
    [Show full text]
  • Report to the U. S. Congress for the Year Ending December 31, 2003
    Report to the U.S.Congress for the Year Ending December 31,2003 Created by the U.S. Congress to Preserve America’s Film Heritage Created by the U.S. Congress to Preserve America’s Film Heritage April 30, 2004 Dr. James H. Billington The Librarian of Congress Washington, D.C. 20540-1000 Dear Dr. Billington: In accordance with Public Law 104-285 (Title II), The National Film Preservation Foundation Act of 1996, I submit to the U.S. Congress the 2003 Report of the National Film Preservation Foundation. It gives me great pleasure to review our accomplishments in carrying out this Congressional mandate. Since commencing service to the archival community in 1997, we have helped save 630 historically and culturally significant films from 98 institutions across 34 states and the District of Columbia. We have produced The Film Preservation Guide: The Basics for Archives, Libraries, and Museums, the first such publication designed specifically for regional preservationists, and have pioneered in pre- senting archival films on widely distributed DVDs and on American television. Unseen for decades, motion pictures preserved through our programs are now extensively used in study and exhibition. There is still much to do. This year Congress will consider the reauthorization of our federal grant programs. Increased funding will enable us to expand service to the nation’s archives, libraries, and museums and do more toward saving America’s film heritage for future generations. The film preser- vation community appreciates your efforts to make the case for increased federal investment. We are deeply grateful for your leadership. Space does not permit my acknowledging all those supporting our efforts in 2003, but I would like to single out several organizations that have played an especially significant role: the National Endowment for the Humanities, The Andrew W.
    [Show full text]
  • Steidl WWP SS18.Pdf
    Steidl Spring/Summer 2018 3 Index Contents Artists/Editors Titles Adams, Shelby Lee 63 1968 99 Paris Reconnaissance 113 3 Editorial 81 Orhan Pamuk Balkon Adams, Bryan 93 200 m 123 Paris, Novembre 95 4 Index 85 Christer Strömholm Lido Adolph, Jörg 14-15 42nd Street, 1979 61 Park/Sleep 49 5 Contents 87 Guido MocaficoLeopold & Rudolf Blaschka, The Bailey, David 103-109 8 Minutes 107 Partida 51 6 How to contact us Marine Invertebrates Baltz, Lewis 159 Abandoned Moments 133 Pictures that Mark Can Do 105 Press enquiries 89 Timm Rautert Germans in Uniform Bolofo, Koto 135-139 Abstrakt 75 Pilgrim 121 How to contact our imprint partners 91 Sory Sanlé Volta Photo Burkhard, Balthasar 71 Andreas Gursky 69 Poolscapes 131 93 Bryan Adams Homeless Callahan, Harry 151 Asia Highway 167 Printing 137 95 Sze Tsung, Nicolás Leong Paris, Novembre Clay, Langdon 61 B, drawings of abstract forms 25 Proving Ground 169 DISTRIBUTION 97 Shelley Niro Cole, Ernest 157 Bailey’s Democracy 104 Reconstruction. Shibuya, 2014–2017 19 99 Robert Lebeck 1968 7 Germany, Austria, Switzerland Collins, Hannah 149 Bailey’s East End 108 Regard 127 101 Andy Summers The Bones of Chuang Tzu 8 USA and Canada Davidson, Bruce 165 Bailey’s Naga Hills 109 Seeing the Unseen 153 103 David Bailey’s 80th Birthday 9 France Devlin, Lucinda 147 Balkon 81 Shelley Niro 97 104 David Bailey Bailey’s Democracy All other territories Dine, Jim 113 Ballet 145 Stories 5–7, Soweto—Dukathole—Johannesburg David Bailey Havana Edgerton, Harold 153 Balthasar Burkhard 71 129 105 David Bailey NY JS DB 62 11 Steidl Bookshops Eggleston, William 37-41 Binding 139 Structures of Dominion and Democracy 73 David Bailey Pictures that Mark Can Do 13 Book Awards 2017 Elgort, Arthur 145 Bones of Chuang Tzu, The 101 Synchrony and Diachrony, Photographs of the 106 David Bailey Is That So Kid Fougeron, Martine 119 Book of Life, The 63 J.
    [Show full text]
  • C a N Y O N C I N E M a Z I N E I S S U E N O 3 2 0 1 4 2 0
    CANYONCI NEMAZINE ISSUENO3 20142015 on sound Cover: hand-painted slide by Taryn CONTRIBUTORS ONLINE CONTRIBUTORS Jones, 2013 Inside Cover: collage by Linda Bruce Baillie Jaime Cleeland Scobie, 2014 Michael Betancourt D. Jesse Damazo Brian Darr Robert Edmondson MASTHEAD John Davis Trevor Jahner Michael Daye Philip Mantione Canyon Cinemazine Clint Enns Petri Kuljuntausta An assemblage of experimental Gerry Fialka Michael Reisinger for Sleeping film and video writing, Walter Forsberg Giant Glossolalia art, and ephemera. Paul Glabicki Ken Paul Rosenthal P.O. Box 16163 Max Goldberg Phil Solomon Oakland, CA 94610 Barbara Hammer Ashley Swendsen [email protected] Emma Hurst www.cinemazine.net Joey Izzo w/John Zorn Taryn Jones Editor/Design Courtney Fellion Janis Crystal Lipzin Sounds Editor A.G. Nigrin A Wyman Michael Walsh Screenings Roger D. Wilson Linda Scobie With assistance from ABOUT THE FLEXI-DISC INSERT Charlie Biando Laura Conway A flexi-disc is a phonograph record made of thin, flexible vinyl. The F. O’Neill Phaedra Restad flexi included in this issue plays on a standard record player at 33rpm. Hannah Schulman Designed for magazine promotions, this sound object is particularly Kel Shipley delicate and degrades after about 50 plays. Like the printed page and worn film reel, this object is made to disappear, and a fitting addition to Thanks to Craig Baldwin a publication devoted to transcient images (and sounds). This project would not be possible without a generous grant from Southern Exposure’s Alternative FLEXI-DISC TRACKS & CONTRIBUTORS Exposure program - www.soex.org. John Davis, “Wild Air Moon” This project is an entirely not-for- GX Jupitter Larsen, “A Noisy Delivery” profit art experiment - all funds Jodie Mack, “Let Your Light Shine (B-Side)” generated by sales and donations go directly into funding the next See last page for more information.
    [Show full text]
  • Robert Polidori
    ROBERT POLIDORI Cabinet intérieur de Madame Adélaide, (56 C) CCE.01.058, Corps Central - R.d.C, Château de Versailles, France, 1986, archival Pigment Inkjet Print, 50 x 40 inches Robert Polidori’s atmospheric photographs of interiors altered by the passage of time and the people who have lived in them are investigations into the psychological implications of the human habitat. He has shot all over the world: decaying mansions in the formerly splendid metropolis of Havana, the colonial architecture of Goa, India; Beirut’s courtyards showing traces of war; the devastation after the Chernobyl disaster; and urban dwellings in China and Dubai among other countries. In 2006, he was commissioned by the Metropolitan Museum of Art in New York to photograph New Orleans in the wake of Katrina. Polidori’s career as a fine-art photographer began in the early 1980s when he gained permission to document the restoration of the Palace of Versailles. Since then, he has returned to the palace several times to take more pictures, and in every one, his conception of rooms as metaphors and vessels of memory is evident. He produces his interiors by means of a single long exposure in natural lighting. His tonally rich and seductive photographs are the product of a view camera, long hours waiting for the right light, and careful contemplation of the camera angle. Polidori uses large- format sheet film, which he believes produces superior images to digital photography. Robert Polidori won the World Press Award in 1998 and the Alfred Eisenstaedt Award for Magazine Photography in 1999 and 2000.
    [Show full text]
  • Descargar Catálogo 2017
    PLATAFORMA: FINANCIA FUNDADORA Y ORGANIZADORA PRODUCE INVITAN ALIADOS PRINCIPALES AUSPICIADORES OFICIALES PATROCINAN AUSPICIADORES MEDIA PARTNERS MEDIOS COLABORADORES COLABORADORES DIRAC Ministerio de Relaciones Exteriores Gobierno de Chile Palabras 09 Words FILMS DE Film de Apertura 22 INAUGURACIÓN & Opening Feature CLAUSURA Film de Clausura 26 OPENING & CLOSING FILMS Closing Feature P. 22 Selección Oficial 28 EN COMPETENCIA Largometraje Internacional Official International IN COMPETITION Feature Selection P. 27 Selección Oficial 43 Largometraje Chileno Official Chilean Feature Selection Selección Oficial 53 Cortometraje Latinoamericano Official Latin American Short Film Selection Selección Oficial Cortometraje Infantil Latinoamericano FICVin FICVin Official Latin American 67 Children’s Short Film Selection CINEASTAS Sion Sono 75 INVITADOS Deborah Stratman 85 GUEST Socavón Cine FILMAKERS 92 P. 74 MUESTRA HOMENAJES MUESTRA RETROSPECTIVA PARALELA TRIBUTES RETROSPECTIVE SERIES OUT OF COMPETITION Alice Guy 102 La Lección de Cine 229 PROGRAM Lotte Reiniger 113 The Film Lesson Clásicos 232 P. 101 Maya Deren 121 Classics Colectivo del 126 Cabo Astica Totalmente Salvaje 236 Private Astica’s Collective Totally Wild Claudio Arrau 133 Vhs Erótico 239 Víctor Jara 137 Erotic Vhs 50 años 141 Wavelength MUESTRA UACH Wavelength 50 Years UACH PROGRAM La Gran Ola de Tokio 146 Muestra Facultad de 243 The Great Tokyo Wave Filosofía y Humanidades Espadas Voladoras: 156 Philosophy and Humanities School El Wuxia Taiwanés Program Flying Swords: Taiwanese Wuxia Muestra Facultad de 246 Giallo: Terror a la 166 Arquitectura y Arte Uach Italiana UACH Arquitecture and Arts Faculty Program MUESTRA DE CINE MUESTRA INFANTIL FICVin CONTEMPORANEO FICVin CHILDREN’S PROGRAM CONTEMPORARY CINEMA SERIES CINEMAS 261 Gala 176 CINEMAS Gala Nuevos Caminos 186 INDUSTRIA New Pathways INDUSTRY Disidencias 197 Dissidences P.
    [Show full text]
  • Women's Experimental Cinema
    FILM STUDIES/WOMEN’S STUDIES BLAETZ, Women’s Experimental Cinema provides lively introductions to the work of fifteen avant- ROBIN BLAETZ, garde women filmmakers, some of whom worked as early as the 1950s and many of whom editor editor are still working today. In each essay in this collection, a leading film scholar considers a single filmmaker, supplying biographical information, analyzing various influences on her Experimental Cinema Women’s work, examining the development of her corpus, and interpreting a significant number of individual films. The essays rescue the work of critically neglected but influential women filmmakers for teaching, further study, and, hopefully, restoration and preservation. Just as importantly, they enrich the understanding of feminism in cinema and expand the ter- rain of film history, particularly the history of the American avant-garde. The essays highlight the diversity in these filmmakers’ forms and methods, covering topics such as how Marie Menken used film as a way to rethink the transition from ab- stract expressionism to Pop Art in the 1950s and 1960s, how Barbara Rubin both objecti- fied the body and investigated the filmic apparatus that enabled that objectification in her film Christmas on Earth (1963), and how Cheryl Dunye uses film to explore her own identity as a black lesbian artist. At the same time, the essays reveal commonalities, in- cluding a tendency toward documentary rather than fiction and a commitment to nonhi- erarchical, collaborative production practices. The volume’s final essay focuses explicitly on teaching women’s experimental films, addressing logistical concerns (how to acquire the films and secure proper viewing spaces) and extending the range of the book by sug- gesting alternative films for classroom use.
    [Show full text]
  • Download Artist's CV
    Robert Polidori 1951 Born in Montreal, Canada 1980 State University of New York, Buffalo, NY, M.A., Film 2020 Guggenheim Fellowship 2008 Liliane Bettencourt Prix de la Photographie for Parcours Muséologique Revisité 2006-07 Deutscher Fotobuchpreis for After the Flood 2000 Alfred Eisenstadt Award for Magazine Photography, Architecture 1999 Alfred Eisenstadt Award for Magazine Photography, Architecture 1998-2006 Staff photographer, New Yorker Magazine 1998 World Press Award for Art Solo Exhibitions: 2019 Robert Polidori: Fra Angelico / Opus Operantis, Flowers Gallery, London, United Kingdom 2018 Robert Polidori: Devotion Abandoned, Studio Trisorio, Naples, Italy Robert Polidori: Fra Angelico / Opus Operantis, Paul Kasmin Gallery, New York, NY 2016 Robert Polidori: Ecophilia / Chronostasis, Paul Kasmin Gallery, New York, NY Robert Polidori: 1986-2016 Remembering Chernobyl, Galerie Karsten Greve, Paris, France 2015 Robert Polidori, Camera Work, Berlin, Germany Robert Polidori, Exteriors and Interiors, Galerie Karsten Greve, Köln, Germany Robert Polidori, Versailles, Edwynn Houk Gallery, Zurich, Germany 2014 Robert Polidori, Spuren der Zeit, Museum Bad Arolsen, Bad Arolsen, Germany Versailles, The Memories of Walls, Fontana Gallery, Amsterdam, The Netherlands Robert Polidori, Selected Works, Erie Art Museum, Erie, Pennsylvania, PA 2013 Robert Polidori, Versailles, Mary Boone Gallery, New York City, NY Rose Paintings, Kunstgarten, Graz Robert Polidori, La Mémoire des Murs, Galerie Karsten Greve, Paris, France Robert Polidori, Selected Works,
    [Show full text]
  • Robert Breer Learning Resource
    ROBERT BREER PART ONE ABOUT THE ARTIST Robert Breer was born in Detroit, America, in 1926. He studied Fine Art at Stanford University before moving to Paris in 1949. After starting his career in abstract painting, Breer made his first film in 1952, and had stopped painting by 1959. Breer returned to America in the 1960s. He is now widely considered to be a very important and influential figure in experimental animation. Breer lives and works in Tucson, Arizona. ABOUT THE WORK During his career, Robert Breer has created paintings, films and sculptures. His work displays a concern with movement and the play between abstract and figurative forms. Breer produced his paintings while he lived in Paris in the 1950s. Inspired by the work of Mondrian and other abstract painters, Breer combined lines, colours and geometric shapes. In Breer’s paintings, these elements often appear to fight against each other, suggesting tension or movement. In 1952, Breer made his first short animated film; a medium which made it possible for him to fully capture movement and change. The film was called Form Phases I and was created by producing parts of his paintings on a series of frosted slides, which were recorded with a movie camera, one at a time, to create a sequence of frames. The finished film played back 24 frames every second. Using the same principle as flipbooks the still images created the illusion of movement when played in succession. Film was not a widely used medium within the fine art world at the time and Breer’s films, which were original and radical, were later regarded as highly influential and significant.
    [Show full text]