San Francisco Cinematheque Program Notes
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Pippaciné Pieter van Huystee Film Contact: Ms.Sophia Talamas Contact: Ms.Curien Kroon Interviews & Press, Worldwide Interviews & Press, Holland Email: [email protected] Email: [email protected] http://shadoman-film.com SHADO’MAN Shot in Freetown, Sierra Leone 87 min, feature length documentary Available on DCP Original language Krio Subtitles English, French or Dutch LOGLINE A community of friends, each facing severe physical and psychological challenges, survives on the nocturnal streets of Freetown, Sierra Leone. The film delves deep into their life, telling a story of humanity and dignity in a world that otherwise offers little consolation. SYNOPSIS A bitter logic lies in the fact that those whom the society does not care to see are living by night. At the junction of Lightfoot-Boston and Wilberforce in downtown Freetown, Sierra Leone the streets of the city are covered in darkness. Only a few street lamps and flares of light from passing cars and motorcycles sporadically illuminate the Dantesque scenery. This is where a group of friends live. They call themselves the Freetown Streetboys, even though some women are among them. They each face enormous physical and psychological challenges. From early childhood when they endured the neglect and scorn of their parents until the present day, their life has been one of social abandonment by the world around them. With no place but the bleak and sleepless streets of the capital city, they are condemned to a life of begging. Shado’man is a cinematic journey undertaken by the filmmaker together with the ‘Streetboys’: Suley, Lama, David, Alfred, Shero and Sarah. -
Kristine Stiles
Concerning Consequences STUDIES IN ART, DESTRUCTION, AND TRAUMA Kristine Stiles The University of Chicago Press Chicago and London KRISTINE STILES is the France Family Professor of Art, Art Flistory, and Visual Studies at Duke University. The University of Chicago Press, Chicago 60637 The University of Chicago Press, Ltd., London © 2016 by Kristine Stiles All rights reserved. Published 2016. Printed in the United States of America 24 23 22 21 20 19 18 17 16 15 12345 ISBN13: 9780226774510 (cloth) ISBN13: 9780226774534 (paper) ISBN13: 9780226304403 (ebook) DOI: 10.7208/chicago/9780226304403.001.0001 Library of Congress CataloguinginPublication Data Stiles, Kristine, author. Concerning consequences : studies in art, destruction, and trauma / Kristine Stiles, pages cm Includes bibliographical references and index. ISBN 9780226774510 (cloth : alkaline paper) — ISBN 9780226774534 (paperback : alkaline paper) — ISBN 9780226304403 (ebook) 1. Art, Modern — 20th century. 2. Psychic trauma in art. 3. Violence in art. I. Title. N6490.S767 2016 709.04'075 —dc23 2015025618 © This paper meets the requirements of ANSI/NISO z39.481992 (Permanence of Paper). In conversation with Susan Swenson, Kim Jones explained that the drawing on the cover of this book depicts directional forces in "an Xman, dotman war game." The rectangles represent tanks and fortresses, and the lines are for tank movement, combat, and containment: "They're symbols. They're erased to show movement. 111 draw a tank, or I'll draw an X, and erase it, then redraw it in a different posmon... -
Beyond the Black Box: the Lettrist Cinema of Disjunction
Beyond the Black Box: The Lettrist Cinema of Disjunction ANDREW V. UROSKIE I was not, in my youth, particularly affected by cine - ma’s “Europeans” . perhaps because I, early on, developed an aversion to Surrealism—finding it an altogether inadequate (highly symbolic) envision - ment of dreaming. What did rivet my attention (and must be particularly distinguished) was Jean- Isidore Isou’s Treatise : as a creative polemic it has no peer in the history of cinema. —Stan Brakhage 1 As Caroline Jones has demonstrated, midcentury aesthetics was dominated by a rhetoric of isolated and purified opticality. 2 But another aesthetics, one dramatically opposed to it, was in motion at the time. Operating at a subterranean level, it began, as early as 1951, to articulate a vision of intermedia assemblage. Rather than cohering into the synaesthetic unity of the Wagnerian Gesamtkunstwerk , works in this vein sought to juxtapose multiple registers of sensory experience—the spatial and the temporal, the textual and the imagistic—into pieces that were intentionally disjunc - tive and lacking in unity. Within them, we can already observe questions that would come to haunt the topos of avant-garde film and performance in the coming decades: questions regarding the nature and specificity of cinema, its place within artistic modernism and mass culture, the institutions through which it is presented, and the possible modes of its spectatorial engagement. Crucially associated with 1. “Inspirations,” in The Essential Brakhage , ed. Bruce McPherson (New York: McPherson & Co., 2001), pp. 208 –9. Mentioned briefly across his various writings, Isou’s Treatise was the subject of a 1993 letter from Brakhage to Frédérique Devaux on the occasion of her research for Traité de bave et d’eternite de Isidore Isou (Paris: Editions Yellow Now, 1994). -
Astria Suparak Is an Independent Curator and Artist Based in Oakland, California. Her Cross
Astria Suparak is an independent curator and artist based in Oakland, California. Her cross- disciplinary projects often address urgent political issues and have been widely acclaimed for their high-level concepts made accessible through a popular culture lens. Suparak has curated exhibitions, screenings, performances, and live music events for art institutions and festivals across ten countries, including The Liverpool Biennial, MoMA PS1, Museo Rufino Tamayo, Eyebeam, The Kitchen, Carnegie Mellon, Internationale Kurzfilmtage Oberhausen, and Expo Chicago, as well as for unconventional spaces such as roller-skating rinks, ferry boats, sports bars, and rock clubs. Her current research interests include sci-fi, diasporas, food histories, and linguistics. PROFESSIONAL EXPERIENCE (selected) . Independent Curator, 1999 – 2006, 2014 – Present Suparak has curated exhibitions, screenings, performances, and live music events for art, film, music, and academic institutions and festivals across 10 countries, as well as for unconventional spaces like roller-skating rinks, ferry boats, elementary schools, sports bars, and rock clubs. • ART SPACES, BIENNIALS, FAIRS (selected): The Kitchen, MoMA PS1, Eyebeam, Participant Inc., Smack Mellon, New York; The Liverpool Biennial 2004, FACT (Foundation for Art and Creative Technology), England; Museo Rufino Tamayo Arte Contemporaneo, Mexico City; Yerba Buena Center for the Arts, San Francisco; Museum of Photographic Arts, San Diego; FotoFest Biennial 2004, Houston; Space 1026, Vox Populi, Philadelphia; National -
Letterism 1947-2014 Vol. 1
The Future is Unwritten: Letterism 1947-2014 Vol. 1 Catalog 17 Division Leap 6635 N. Baltimore Ave. Ste. 111 Portland, OR 97203 www.divisionleap.com [email protected] 503 206 7291 “Radically anticipating Herbert Marcuse, Paul Goodman, and their Letterism is a movement whose influence is as widespread as it is unacknowledged. From punk to concrete poetry to experimental film, from the development of youth culture to the student uprisings of 1968 and epigones in the 1960s new left, Isou the formation of the Situationist International, most postwar avant-garde movements owe a debt to it’s rev- produced an analysis of youth as olutionary theories, yet it remains largely overlooked in studies of the period (some notable exceptions are listed in the bibliography that follows the text). an inevitably revolutionary social sector - revolutionary on its own This catalog contains over one hundred items devoted to Letterism and Inismo. To the best of our knowl- edge it is the first devoted to either of these movements in the US. It contains a number of publications terms, which meant that the terms which have little or no institutional representation on these shores, and represents a valuable opportunity for of revolution had to be seen in a future research. new way.” A number of the items in this catalog were collected by the anarchist scholar Pietro Ferrua, who was closely associated with members of both Letterism and Inismo and who has written a great deal about both move- ments. Ferrua organized the first international conference on Letterism here in Portland in 1979 [see #62]. -
FIRST CENTURY AVANT-GARDE FILM RUTH NOVACZEK a Thesis
NEW VERNACULARS AND FEMININE ECRITURE; TWENTY- FIRST CENTURY AVANT-GARDE FILM RUTH NOVACZEK A thesis submitted in partial fulfilment of the requirements of the University of Westminster for the degree of Doctor of Philosophy March 2015 Acknowledgements Thanks to Chris Kraus, Eileen Myles and Rachel Garfield for boosting my morale in times of great uncertainty. To my supervisors Michael Mazière and Rosie Thomas for rigorous critique and sound advice. To Jelena Stojkovic, Alisa Lebow and Basak Ertur for camaraderie and encouragement. To my father Alfred for support. To Lucy Harris and Sophie Mayer for excellent editorial consultancy. To Anya Lewin, Gillian Wylde, Cathy Gelbin, Mark Pringle and Helen Pritchard who helped a lot one way or another. And to all the filmmakers, writers, artists and poets who make this work what it is. Abstract New Vernaculars and Feminine Ecriture; Twenty First Century Avant-Garde Film. Ruth Novaczek This practice-based research project explores the parameters of – and aims to construct – a new film language for a feminine écriture within a twenty first century avant-garde practice. My two films, Radio and The New World, together with my contextualising thesis, ask how new vernaculars might construct subjectivity in the contemporary moment. Both films draw on classical and independent cinema to revisit the remix in a feminist context. Using appropriated and live-action footage the five short films that comprise Radio are collaged and subjective, representing an imagined world of short, chaptered ‘songs’ inside a radio set. The New World also uses both live-action and found footage to inscribe a feminist transnational world, in which the narrative is continuous and its trajectory bridges, rather than juxtaposes, the stories it tells. -
Johan Van Der Keuken
HIVER 2018 RÉTROSPECTIVE JOHAN VAN DER KEUKEN DU COURT, TOUJOURS NOUVELLES ÉCRITURES DOCUMENTAIRES 1 2 ÉDITO À partir de janvier 2018, la Bibliothèque Organisée en trois grandes saisons publique d’information s’engage dans proposant chacune un cycle phare, un pari un peu fou : proposer chaque la programmation de la Bpi aura jour, aux curieux, aux cinéphiles, à tous, pour objectifs d’accompagner et de venir voir des films documentaires diffuser la création contemporaine, dans les salles du Centre Pompidou. de montrer les films de patrimoine Des films venus du monde entier, sur leur support d’origine et en version des grands classiques aux dernières restaurée, de valoriser et interroger créations, des films pour se donner le des corpus artistiques et thématiques, temps de regarder et penser le monde, à commencer au 1er trimestre 2018 ensemble, au cinéma. par une rétrospective consacrée au cinéaste néerlandais Johan van C’est toute l‘ambition de l’incarnation der Keuken. La cinémathèque du parisienne d’un projet à part, La documentaire à la Bpi proposera cinémathèque du documentaire. aussi des rendez-vous réguliers : courts métrages, nouvelles écritures, En résonance avec la société, ses travaux en cours, fenêtre sur festivals, espoirs, ses rêves, ses inquiétudes, avant-premières…, ainsi qu’un volet la création documentaire connaît d’éducation à l’image destiné aux une effervescence extraordinaire. scolaires. Elle attire un public toujours plus nombreux. Au cinéma, à la télévision, Le cinéma documentaire a toujours sur les réseaux numériques, elle été au cœur de l’identité de la Bpi qui enrichit chaque jour un fonds d’une fut en 1977 la première bibliothèque exceptionnelle diversité de regards, multimédia en France. -
Guy Debord and the Situationist International: Texts and Documents, Edited by Tom Mcdonough G D S I
G D S I OCTOBER BOOKS Rosalind E. Krauss, Annette Michelson, Yve-Alain Bois, Benjamin H. D. Buchloh, Hal Foster, Denis Hollier, and Mignon Nixon, editors Broodthaers, edited by Benjamin H. D. Buchloh AIDS: Cultural Analysis/Cultural Activism, edited by Douglas Crimp Aberrations, by Jurgis Baltrusˇaitis Against Architecture: The Writings of Georges Bataille, by Denis Hollier Painting as Model, by Yve-Alain Bois The Destruction of Tilted Arc: Documents, edited by Clara Weyergraf-Serra and Martha Buskirk The Woman in Question, edited by Parveen Adams and Elizabeth Cowie Techniques of the Observer: On Vision and Modernity in the Nineteenth Century, by Jonathan Crary The Subjectivity Effect in Western Literary Tradition: Essays toward the Release of Shakespeare’s Will, by Joel Fineman Looking Awry: An Introduction to Jacques Lacan through Popular Culture, by Slavoj Zˇizˇek Cinema, Censorship, and the State: The Writings of Nagisa Oshima, by Nagisa Oshima The Optical Unconscious, by Rosalind E. Krauss Gesture and Speech, by André Leroi-Gourhan Compulsive Beauty, by Hal Foster Continuous Project Altered Daily: The Writings of Robert Morris, by Robert Morris Read My Desire: Lacan against the Historicists, by Joan Copjec Fast Cars, Clean Bodies: Decolonization and the Reordering of French Culture, by Kristin Ross Kant after Duchamp, by Thierry de Duve The Duchamp Effect, edited by Martha Buskirk and Mignon Nixon The Return of the Real: The Avant-Garde at the End of the Century, by Hal Foster October: The Second Decade, 1986–1996, edited by Rosalind Krauss, Yve-Alain Bois, Benjamin H. D. Buchloh, Hal Foster, Denis Hollier, and Silvia Kolbowski Infinite Regress: Marcel Duchamp 1910–1941, by David Joselit Caravaggio’s Secrets, by Leo Bersani and Ulysse Dutoit Scenes in a Library: Reading the Photograph in the Book, 1843–1875, by Carol Armstrong Neo-Avantgarde and Culture Industry: Essays on European and American Art from 1955 to 1975, by Benjamin H. -
The Letterists
The Letterists The Letterism, founded in 1946 by Gabriel Pomerand (1925-1972) and Isidore Isou (1925-2007), uses letters as “sounds” and then as “images.” Poetry turns into music and writing becomes painting. The letterists extend these changing relationships to film, culture and society. In 1952 the movement divides because of diverging objectives: living art or the art of living. Jean-Louis Brau, Guy Debord and Gil Wolman founded the Letterist International to “transcend art”. Marc’O set up the group “Ex- ternalists” to encourage the uprising of youth. The Isouists asserted that their only doctrine came from a single creator. Letterists, for a long time, would remain “badly known or known to be bad”. gation d’un nom et d’un messie and at- tempted alliances such as Réflexions sur André Breton; group lectures on youth up- rising, which Isou would develop in Traité d’économie nucléaire; lectures by Pomer- and on prostitution, pederasty, rain and fine weather, that he published and had him sent to jail, such as his book Lettres ouvertes à un mythe. Le cri et son arch- ange, which Isou wanted to appropriate, led Pomerand to break with him. Isou pub- lished Isou ou la Mécanique des femmes, which brought him legal troubles, like those of Pomerand. 1949 and the beginning of 1950 marked a move to the production of films and paint- From poetic letterism to political letterists: 1946-1952 ings. The documentary filmed about Saint The letter as sound 1946 / 1949 Germain des Près, on which Jacques Barat- Letterism takes its name from the letter that some young people, of the inter-war gen- ier worked with Pomerand starting in 1947, eration, wanted to use in ways other than words, which they believed had been killed by was finished in 1949. -
De Grote Vakantie / Die Großen Ferien
7 DE GROTE VAKANTIE Die Großen Ferien The Long Holiday Regie: Johan van der Keuken Land: Niederlande 1999. Produktion: Pietervan Huystee Film & Synopsis TV. Regie, Kamera: )ohan van der Keuken. Ton: Noshka van der In October 1998, Johan van der Keuken called his doc - Lely. Schnitt: Menno Boerema. tor (the head of radiotherapy) at the Academic Hospital Format: 35mm, 1:1.66, Farbe. Länge: 145 Minuten, 25 Bilder/Sek. in Utrecht from Paris and heard that he only had a few- Uraufführung: Januar 2000, Filmfestival Rotterdam. years to live. Prostate cancer cells had taken hold in his Sprachen: Niederländisch, tibetanis< h, englisch, französisi h. son- body. ray, moree. Van der Keuken has travelled the world for years with Ins Drehorte: Nepal, Bhutan, Burkina Faso, Mali, Brasilien, USA und wife Nosh van der Lely. She held the microphone and die Niederlande. recorder, he wielded the camera. Together they decided Weltvertrieb: Ideale Audience Distribution (Susanna Scott), 13 to spend the rest of their precious time looking and lis• rue Portefoin, 75003 Paris, Frankreich. Tel.: (33-1) 42 77 89 70. tening. At Christmas they set off for Bhutan. Johan van Fax: (33-1) 42 77 36 56. E-mail: [email protected] der Keuken regarded the film they were embarking on as a chronicle of his own view of the world, made all the Inhalt more urgent by his own mortality. Later in the film - and Im Oktober 1998 rief Johan van der Keuken seinen Arzt (den in his life - things take a turn for the better, when Johan ( hefarzt der Abteilung Strahlentherapie) an der Universitätsklinik finds a new medicine in the United States that drastically in Utrecht von Paris aus an und erfuhr, daß er nur noch einige increases his chanc es of sur\ iv al. -
L'œuvre De Johan Van Der Keuken Et Son Contexte : Contre Le Documentaire, Tout Contre
L'œuvre de Johan van der Keuken et son contexte : contre le documentaire, tout contre. Par Robin Dereux La position de Johan van der Keuken par rapport au genre documentaire ne peut pas se résumer en une phrase. Elle est complexe, variable selon les époques, et lui-même donne régulièrement l’impression d’entretenir une certaine ambiguïté par rapport à cette question. D’autre part, on sent bien que ce qu’il expose dans les entretiens avec la presse repose largement sur des malentendus et sur l’attente de son interlocuteur. Les historiens y verront peut-être une attitude paradoxale: van der Keuken critique souvent le genre mais inscrit aussi ses films dans des “festivals documentaires”. S’il cite souvent en référence des cinéastes emblématiques (Leacock par exemple), et d’autres qui ont pu, à un moment ou à un autre, être assimilés au “documentaire”, bien que leur travail transcende les genres (comme Ivens ou Rouch), il se réfère au moins autant à des cinéastes de fiction (Hitchcock, Resnais), et parfois également à des cinéastes expérimentaux (Jonas Mekas, Yervant Gianikian et Angela Ricci Luchi). Tout est donc question de point de vue, et van der Keuken donne souvent l’impression, dans ses textes et entretiens, de ménager les différentes interprétations. Son attitude, à la fois volontaire et douce, l’amène parfois au sentiment d’être incompris, quand la distance est trop grande entre sa recherche et les questions qui lui sont posées. Il ne lui reste alors plus qu’à répéter toujours la même phrase: “on ne peut pas se contenter d’une description primaire du réel”, que l’on peut interpréter comme une mise en garde contre l’assimilation trop rapide à un genre avec lequel il se débat. -
Jean-Michel-Mension-Tribe-Translated-Donald-Nicholson-Smith-1.Pdf
JEAN-MICHEL MENSION CONVERSATIONS WITH GERARD BERREB Y AND FRANCESCO MILO TRANSLATED FROM THE FRENCH BY DONALD NICHOLSON-SMITH Contributions to the History of the Situationist International and Its Time, Vol. I CITY LIGHTS BOOKS SAN FRANCISCO © 2001 by Donald Nicholson-Smith for this translation © 1998 by Editions Allia, Paris, for La Tribu by Jean-Michel Mension © by Ed van der Elsken{fhe Netherlands Photo Archives for his photographs All rights reserved 10 98 7 6 5 4 3 2 1 Cover & book design: Stefan Gutermuth/doubleu-gee Editor: James Brook This work, published as part of the program of aid for publication, received support from the French Ministry of Foreign Affairs and the Cultural Service of the French Embassy in the United States. Cet ouvrage publie dans Ie cadre du programme d'aide a la publication beneficie du soutien du Ministere des Affaires Etrangeres et du Service Culture I de l'Ambassade de France represente aux Etats-Unis. Mension, Jean-Michel. [Tribu. English] The tribe / by Jean-Michel Mension ; translated from the French by Donald Nicholson-Smith. p. cm. Interviews with Gerard Berreby and Francesco Milo. ISBN 0-87286-392-1 1. Mension, Jean-Michel-Friends and associates-Interviews. 2. Paris (France)-intellectual life-20th century-Interviews. 3. Radicalism-France-Paris. l. Berreby, Gerard. II. Milo, Francesco. III. Title. DC715 .M39413 2001 944'.36083'092-dc21 2001042129 CITY LIGHTS BOOKS are edited by Lawrence Ferlinghetti and Nancy J. Peters and published at the City Lights Bookstore, 261 Columbus Avenue, San Francisco, CA 94133. Visit us on the Web at www.citylights.com.