DOCSLIB.ORG

REDCAT.Org 213.237.2800

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
REDCAT.Org 213.237.2800 Fall 2016 CalArts’ Downtown Center for Contemporary Arts Pat Graney: Girl Gods November 3 – 6 REDCAT.org 213.237.2800 Photo: Jenny May Peterson Roy and Edna Disney / CalArts Theater Fall Season 2016 July 9 – September 18 October 15 – December 16 November 21 Pedro Barateiro Tamara Henderson Deborah Stratman and Quinn Latimer ART The Illinois Parables Live from the West FILM/VIDEO October 19 – 23 ART November 28 Ted Hearne and Daniel Fish September 15 – 18 The Source Let It Be Known Christian Rizzo / MUSIC–THEATER FILM/VIDEO ICI–CCN MONTPELLIER (France) October 28 December 3 d’après une histoire vraie DANCE River Song Quintet / The Music of Mark Trayle David Baker / MUSIC September 19 Miwa Matreyek December 5 Bearing Witness: The Visceral MUSIC–THEATER–MULTIMEDIA CalArts’ Downtown Center Cinema of Mike Hoolboom Betzy Bromberg November 3 – 6 FILM/VIDEO Glide of Transparency Pat Graney FILM/VIDEO for Contemporary Arts September 24 Girl Gods ART CONVERSATIONS DANCE FILM/VIDEO MULTIMEDIA MUSIC THEATER December 9 – 10 Trinh T. Minh-ha DANCE Forgetting Vietnam November 7 CalArts Winter Dance FILM/VIDEO DANCE Xu Haofeng September 26 December 14 – 17 Location The Final Master REDCAT Housed in the Walt Disney Concert Hall Laura Kraning: FILM/VIDEO Stew & Heidi complex, REDCAT has a separate entrance Spectral Landscapes Notes of a Native Song Roy and Edna Disney / CalArts Theater at the corner of West 2nd and Hope Streets. November 9 FILM/VIDEO MUSIC–THEATER 631 West 2nd Street REDCAT is a multidisciplinary center for world, and gives artists in this region Musica Elettronica Viva (MEV) Los Angeles, CA 90012 September 29 – October 2 innovative visual, performing and media the creative support they need to achieve MUSIC arts founded by CalArts in the Walt Disney national and international stature. Lauren Weedman Coming in 2017 Concert Hall complex in downtown REDCAT continues the tradition of Parking November 10 Los Angeles. Through performances, CalArts, its parent organization, by Tammy / Lisa — From Misery January 13 exhibitions, screenings and literary events, encouraging experimentation, discovery Parking is available in the Walt Disney to Meaning Callings Out of Context: Concert Hall parking garage. REDCAT introduces diverse audiences, and lively civic discourse. THEATER Rhys Chatham and Priests Junot Díaz students and artists to the most influential Only $5 after 8pm on weeknights MUSIC CONVERSATIONS developments in the arts from around the REDCAT.org $9 flat rate all day on weekends October 3 November 11 January 14 – March 5 Sherry Millner and Ernest Larsen “Global connections bolster local artistry at REDCAT… Tickets Disruptive Film: gnarwhallaby: Miljohn Ruperto an atmosphere of creative experimentation, REDCAT.org 213.237.2800 Everyday Resistance to Power heterophonic avant-garde Ordinal (SW/NE) penetrating discussion and community involvement.” FILM/VIDEO MUSIC ART — American Theatre Magazine The REDCAT Box Office is open Tuesday – Saturday, noon – 6pm, October 4 November 13 – 14 January 15 and two hours prior to curtain. JACK Quartet / CalArts Seating at REDCAT is unassigned, Piano Spheres Presents Studio: Fall 2016 and late seating is not guaranteed. Aron Kallay THEATER–MUSIC–DANCE–MULTIMEDIA Lightbulb Ensemble California Institute of the Arts is an envisioned by Walt Disney encompasses Programs, schedules, prices and MUSIC MUSIC internationally recognized pacesetter a vibrant, eclectic community with artists subject to change. November 18 in the education of professional artists. global reach, inviting experimentation, October 5 January 26 – 28 Offering rigorous undergraduate and independent inquiry, and active collaboration Stay Connected Eyvind Kang graduate degree programs through six and exchange among artists, artistic ARRAY @ The Broad MUSIC Meg Stuart Sign up to receive our brochures schools — Art, Critical Studies, Dance, disciplines and cultural traditions. Based John Berry's Claudine Hunter Film/Video, Music, and Theater — CalArts in Valencia, north of Los Angeles, CalArts and weekly email updates for the November 19 – 20 FILM/VIDEO DANCE has championed creative excellence, further extends its commitment to the latest information on REDCAT events, critical reflection, and the development arts through REDCAT and the nationally special offers and more. Eyeworks Festival of October 7 – 9 March 22 – April 1 of new forms and expressions. As emulated Community Arts Partnership REDCAT.org Experimental Animation successive generations of faculty and (CAP) youth arts education program. Find us: @CalArtsREDCAT Takao Kawaguchi FILM/VIDEO The Wooster Group alumni have helped shape the landscape THE TOWN HALL AFFAIR of contemporary arts, the Institute first calarts.edu About Kazuo Ohno (Japan) DANCE THEATER REDCAT is CalArts’ Downtown Center for Contemporary Arts Tickets: REDCAT.org 213.237.2800 In the Gallery September 15 – 18 Christian Rizzo / ICI–CCN MONTPELLIER d’après une histoire vraie (France) DANCE. To the sound of energizing tribal full-evening work is largely inspired by Foundation for the Arts’ National Dance Project, rock music by two percussionists on stage, Turkish folk dances he saw in Istanbul the Cultural Services of the French Embassy in the internationally acclaimed choreographer in 2004. Christian Rizzo was recently United States, and FACE Foundation, with lead Christian Rizzo extols the masculine in a appointed head of the prestigious funding from the Doris Duke Charitable Foundation, ritual that combines contemporary dance Centre Chorégraphique National (CCN) the Andrew W. Mellon Foundation, the Florence with abstracted elements of folk dances. of Montpellier – Languedoc-Roussillon Gould Foundation, and the French Ministry of Eight male dancers execute powerful succeeding famed choreographer Culture and Communication. choreography inspired by traditional forms Mathilde Monnier. Thur – Sat 8:30pm & Sun 7:00pm and a variety of all-male partnering, Made possible by FUSED: French-US Exchange building into a raw explosion of pleasure in Dance, a program of the New England $25 – $30 [members $20 – $24] that is absolutely irresistible. Rizzo’s latest “The joy of being “An explosion of vitality.” — Les Echos alive, of being together momentarily, and the visceral excitement of dancing.” — Le Monde Photo: Brica Wilcox Pedro Barateiro and Quinn Latimer, Live from the West (2016). Installation view at REDCAT. July 9 – September 18 Pedro Barateiro and Quinn Latimer Live from the West ART. Live from the West is a collaborative A series of poems by Latimer is broadcast This exhibition is funded in part by generous exhibition created by Portuguese artist within a setting of Barateiro’s photographs support from The Gulbenkian Foundation, Lisbon. Pedro Barateiro and Los Angeles-born and sculptures in the Gallery. The poetry Tues – Sun 12 – 6pm or intermission Free poet Quinn Latimer. The project emerges situates the speaker as both implicated from a set of common interests, including in and resistant to a series of crises and a mutual engagement with literature and landscapes that define the Western publishing as an aesthetic practice; imaginary and the real — issues of austerity, an interest in readings of the West in militarism, terrorism, and economic and the neocolonial present; and counter- ecological violence, along with the hegemonic epistemologies, images, projected and very real sites of Greece, and narratives of resistance. Switzerland and California. Photos: Marc Domage REDCAT is CalArts’ Downtown Center for Contemporary Arts Tickets: REDCAT.org 213.237.2800 September 19 September 24 Bearing Witness: The Visceral Trinh T. Minh-ha Cinema of Mike Hoolboom Forgetting FILM/VIDEO. As one of cinema’s great and bluntly honest cultural critiques. Vietnam artists dealing with the ephemerality of the For Hoolboom, bodies are sources and sensate body, Canadian Mike Hoolboom receptors for all experience; though limited Los Angeles Premiere guides his masterful craft between by history, they remain inexorably narrative and abstraction, combining responsive to pleasure and pain, joy and FILM/VIDEO. With exquisitely composed immersive sounds and images with tragedy. The program features the award- images and a shimmering soundtrack, haunting poetic texts. Spanning over 30 winning film Scrapbook (2015, 18 min.), Trinh T. Minh-ha revisits her native Vietnam years, his films are visceral self-portraits, Buffalo Death Mask (2013, 23 min.), 40 years after the war — a home lost in affectionate homages, abstract revelations Sugar Maple Stand (1985/1990, 9 min.) multiple layers of remembrance and and a preview of his latest work. oblivion. Mythologically born of a fragile Scrapbook equilibrium between land and water, In person: Mike Hoolboom the country once called đất nứớc vạn The Jack H. Skirball Series is curated by CalArts xuân — the land of 10,000 springs — is now faculty Steve Anker and Bérénice Reynaud. faced with a no less precarious balancing act. Is she doomed to become a Mon 8:30pm $11 [members $8] Benjaminian image, in touristic snapshots, in diasporic nostalgia? Or is she reborn in “Mike Hoolboom takes his inspiration a to-and-fro between the traditions linked to the solid earth, and the liquid changes directly from the heart. His pictures of rapid globalization? begin with the innermost secrets, In person: Trinh T. Minh-ha as a whisper, a caress.” The Jack H. Skirball Series is curated by CalArts — Panorama Cinéma faculty Steve Anker and Bérénice Reynaud. Sat 8:30pm $11 [members $8] “Esoteric archeology.” — Visions
Load more

Recommended publications
  • A Film by Chris Hegedus and D a Pennebaker
    a film by Chris Hegedus and D A Pennebaker 84 minutes, 2010 National Media Contact Julia Pacetti JMP Verdant Communications [email protected] (917) 584-7846 FIRST RUN FEATURES The Film Center Building, 630 Ninth Ave. #1213 New York, NY 10036 (212) 243-0600 Fax (212) 989-7649 Website: www.firstrunfeatures.com Email: [email protected] PRAISE FOR KINGS OF PASTRY “The film builds in interest and intrigue as it goes along…You’ll be surprised by how devastating the collapse of a chocolate tower can be.” –Mike Hale, The New York Times Critic’s Pick! “Alluring, irresistible…Everything these men make…looks so mouth-watering that no one should dare watch this film on even a half-empty stomach.” – Kenneth Turan, Los Angeles Times “As the helmers observe the mental, physical and emotional toll the competition exacts on the contestants and their families, the film becomes gripping, even for non-foodies…As their calm camera glides over the chefs' almost-too-beautiful-to-eat creations, viewers share their awe.” – Alissa Simon, Variety “How sweet it is!...Call it the ultimate sugar high.” – VA Musetto, The New York Post “Gripping” – Jay Weston, The Huffington Post “Chris Hegedus and D.A. Pennebaker turn to the highest levels of professional cooking in Kings of Pastry,” a short work whose drama plays like a higher-stakes version of popular cuisine-oriented reality TV shows.” – John DeFore, The Hollywood Reporter “A delectable new documentary…spellbinding demonstrations of pastry-making brilliance, high drama and even light moments of humor.” – Monica Eng, The Chicago Tribune “More substantial than any TV food show…the antidote to Gordon Ramsay.” – Andrea Gronvall, Chicago Reader “This doc is a demonstration that the basics, when done by masters, can be very tasty.” - Hank Sartin, Time Out Chicago “Chris Hegedus and D.A.
    [Show full text]
  • Women's Experimental Autobiography from Counterculture Comics to Transmedia Storytelling: Staging Encounters Across Time, Space, and Medium
    Women's Experimental Autobiography from Counterculture Comics to Transmedia Storytelling: Staging Encounters Across Time, Space, and Medium Dissertation Presented in partial fulfillment of the requirement for the Degree Doctor of Philosophy in the Graduate School of Ohio State University Alexandra Mary Jenkins, M.A. Graduate Program in English The Ohio State University 2014 Dissertation Committee: Jared Gardner, Advisor Sean O’Sullivan Robyn Warhol Copyright by Alexandra Mary Jenkins 2014 Abstract Feminist activism in the United States and Europe during the 1960s and 1970s harnessed radical social thought and used innovative expressive forms in order to disrupt the “grand perspective” espoused by men in every field (Adorno 206). Feminist student activists often put their own female bodies on display to disrupt the disembodied “objective” thinking that still seemed to dominate the academy. The philosopher Theodor Adorno responded to one such action, the “bared breasts incident,” carried out by his radical students in Germany in 1969, in an essay, “Marginalia to Theory and Praxis.” In that essay, he defends himself against the students’ claim that he proved his lack of relevance to contemporary students when he failed to respond to the spectacle of their liberated bodies. He acknowledged that the protest movements seemed to offer thoughtful people a way “out of their self-isolation,” but ultimately, to replace philosophy with bodily spectacle would mean to miss the “infinitely progressive aspect of the separation of theory and praxis” (259, 266). Lisa Yun Lee argues that this separation continues to animate contemporary feminist debates, and that it is worth returning to Adorno’s reasoning, if we wish to understand women’s particular modes of theoretical ii insight in conversation with “grand perspectives” on cultural theory in the twenty-first century.
    [Show full text]
  • The Wooster Group the Town Hall Affair (In De Vorm Van Een Eenakter) Gebaseerd Op De Film ‘Town Bloody Hall’ Van Chris Hegedus & D.A
    theater The Wooster Group The Town Hall Affair (in de vorm van een eenakter) gebaseerd op de film ‘Town Bloody Hall’ van Chris Hegedus & D.A. Pennebaker The Town Hall Affair 1. Intro: uittreksel ‘Lesbian Nation’ 2. Het stuk Bzymek © Zbigniew 3. Coda: uittreksel ‘Lesbian Nation’ wo 21, do 22, vr 23 sep 2016 met licht Jennifer Tipton, Ryan Seelig geluid 20 uur / Theaterstudio Kate Valk Jill Johnston Eric Sluyter, Gareth Hobbs Ari Fliakos Norman Mailer/Norman video en projecties Robert Wuss za 24 sep 2016 Kingsley aanvullende video Zbigniew Bzymek 17 & 20.30 uur / Theaterstudio Scott Shepherd Norman Mailer/De kostuums Enver Chakartash regieas- Acteur sistentie Enver Chakartash, Matthew Lucy Taylor Germaine Greer/De Dipple productieleiding Bona Lee De voorstelling duurt ongeveer Echtgenote podiumregie Erin Mullin technische 1 uur, zonder pauze. Greg Mehrten Diana Trilling/De Vriend leiding Joseph Silovsky technische Erin Mullin Robyn/Ruth Mandel leiding tournee Eric Dyer productie Spreektaal Engels Gareth Hobbs (stem) Peter Fisher Cynthia Hedstrom zakelijke leiding boventiteling Enver Chakartash podiumassistentie Pamela Reichen Nederlands/Frans regie Elizabeth LeCompte speciale dank aan Matthias Neckermann en Sheena See. Na afloop van de voorstelling Bronnen: Town Bloody Hall, een documentaire van Chris Hegedus and D.A. Pennebaker, 1979, 88 min, op donderdag 22 september kleur. De film is een weergave van het Theater for Ideas debat uit 1971 met als titel ‘A Dialogue gaat Pieter T’jonck in gesprek on Women’s Liberation’ (‘Een dialoog over vrouwenemancipatie’). met Elizabeth LeCompte in de Maidstone, een film van Norman Mailer, 1970, 110 min, kleur. Een onafhankelijke film, geregis- Theaterstudio.
    [Show full text]
  • On Norman Mailer
    LITERATURE 3 Scavenger of eternal truths Norman Mailer in the 1960s THOMAS MEANEY Norman Mailer COLLECTED ESSAYS OF THE 1960S 500pp. Library of America. £29.99 (US $35). 978 1 59853 559 4 FOUR BOOKS OF THE 1960S 950pp. Library of America. £39.99 (US $45). 978 1 59853 558 7 Edited by J. Michael Lennon I went to Wharton with Donald Trump. We were both from praetorian families in Queens – his more martial than mine – in the first line of defense on the crabgrass frontier. We went out one night together to a hotel behind Rittenhouse Square. His date was a wised-up girl from Phila- delphia society who dreamed of becoming a stripper; mine was a retreating waitress, with a hyena body that gave off a whiff of the inquisi- tive. After the drinks – Don drank seltzer – we took them to a room we’d booked upstairs. My date gashed my face with her high-heel after I tried to shuffle her into one of the bedrooms. There was panting from Don’s quarters, the sound of a teetering vase, then mechanical chanting, until a final flesh-on-flesh “Whaa- aap!” A volley of sweet-talk followed. “If you want to be a dancer, there’s nobody who’s going New York City, 1968 to stop you, not even your father,” Don whis- pered. “I know some of the best dancers in this in a Trump Air commercial, which left him of Walt Whitman and Leon Trotsky, your the haste to give pleasure. It was cool in mood, town.
    [Show full text]
  • Unlocking the Cage
    UNLOCKING THE CAGE A film by Chris Hegedus and D A Pennebaker Running Time: 91 minutes filmswelike CANADIAN DISTRIBUTION Films We Like Bookings and Inquries: [email protected] UNLOCKING THE CAGE A film by Chris Hegedus and D A Pennebaker LOGLINE Unlocking the Cage follows animal rights lawyer Steven Wise in his unprecedented challenge to break down the legal wall that separates animals from humans, by filing the first lawsuits that seek to transform a chimpanzee from a “thing” with no rights to a “person” with legal protections. SYNOPSIS Unlocking the Cage follows animal rights lawyer Steven Wise in his unprecedented challenge to break down the legal wall that separates animals from humans. After 30 years of struggling with ineffective animal welfare laws, Steve and his legal team, the Nonhuman Rights Project (NhRP), are making history by filing the first lawsuits that seek to transform an animal from a “thing” with no rights to a “person” with legal protections. Supported by affidavits from primatologists around the world, Steve maintains that, based on scientific evidence, cognitively complex animals such as chimpanzees, whales, dolphins and elephants have the capacity for limited personhood rights (such as bodily liberty) that would protect them from physical abuse. Using writs of habeas corpus (historically used to free humans from unlawful imprisonment), Wise argues on behalf of four captive chimpanzees in New York State. Unlocking the Cage captures a monumental shift in our culture, as the public and judicial system show increasing receptiveness to Steve’s impassioned arguments. It is an intimate look at a lawsuit that could forever transform our legal system, and one man’s lifelong quest to protect “nonhuman” animals.
    [Show full text]
  • Appendix Screenings and Additional Resources
    Appendix Screenings and Additional Resources The analyses of various films and television programmes undertaken in this book are intended to function ‘interactively’ with screenings of the films and programmes. To this end, a complete list of works to accompany each chapter is provided below. Certain of these works are available from national and international distribution companies. Specific locations in the United States, the United Kingdom and Australia for each of the listed works are, nevertheless, provided below. The entries include running time and format (16 mm, VHS, or DVD) for each work. (Please note: In certain countries films require copyright clearance for public screening.) Also included below are further or additional screenings of works not analysed or referred to in each chapter. This information is supplemented by suggested further reading. 1 ‘Believe me, I’m of the world’: documentary representation Further reading Corner, J. ‘Civic visions: forms of documentary’ in J. Corner, Television Form and Public Address (London: Edward Arnold, 1995). Corner, J. ‘Television, documentary and the category of the aesthetic’, Screen, 44, 1 (2003) 92–100. Nichols, B. Blurred Boundaries: Questions of Meaning in Contemporary Culture (Bloomington: Indiana University Press, 1994). Renov, M. ‘Toward a poetics of documentary’ in M. Renov (ed.), Theorizing Documentary (New York: Routledge, 1993). 2 Men with movie cameras: Flaherty and Grierson Nanook of the North, Robert Flaherty, 1922. 55 min. (Alternative title: Nanook of the North: A Story
    [Show full text]
  • Barbican Wordmark Document Template
    For immediate release: Wednesday 17 May 2017 The Barbican announces 2018 season: The Art of Change At a time of significant national and international uncertainty, the Barbican’s 2018 season The Art of Change, announced today (17 May 2017), explores how the arts respond to, reflect and potentially effect change in the social and political landscape. With new world-class work across three distinct strands – Changing times, Changing perceptions and Changing society now – the season presents bold artistic responses to vital global issues including feminism, climate change and human rights, while providing a platform for voices currently underrepresented in the arts, and will feature across all Barbican stages, galleries, screens and public spaces. Sir Nicholas Kenyon, Managing Director, Barbican said: “The Art of Change is a timely look at the dialogue that exists between art, society and politics. In addition to showcasing work that has responded to geopolitical and social events of the past, our 2018 season will explore the current, and potential, role of artists and the arts in bringing about change. Throughout the year, the Barbican’s public spaces will host talks, debates and projects, fostering civic discussion and featuring a diverse range of voices debating the roles and responsibilities of individual citizens, the arts, and arts centres, in responding to the challenges of the future.” Louise Jeffreys, Director of Arts, Barbican said: “Our 2018 season weaves multiple stories and experiences together across all of the Barbican’s art forms exploring changing societal attitudes, power dynamics, relationships and the treatment of individuals and groups considered to be outside of the mainstream.
    [Show full text]
  • Duke University Dissertation Template
    Facts and Fictions: Feminist Literary Criticism and Cultural Critique, 1968-2012 by Leah Claire Allen Graduate Program in Literature Duke University Date: _______________________ Approved: ___________________________ Robyn Wiegman, Supervisor ___________________________ Michael Hardt ___________________________ Ranjana Khanna ___________________________ Priscilla Wald Dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate Program in Literature in the Graduate School of Duke University 2014 i v ABSTRACT Facts and Fictions: Feminist Literary Criticism and Cultural Critique, 1968-2012 by Leah Claire Allen Graduate Program in Literature Duke University Date: _______________________ Approved: ___________________________ Robyn Wiegman, Supervisor ___________________________ Michael Hardt ___________________________ Ranjana Khanna ___________________________ Priscilla Wald An abstract of a dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate Program in Literature in the Graduate School of Duke University 2014 i v Copyright by Leah Claire Allen © 2014 Abstract “Facts and Fictions: Feminist Literary Criticism and Cultural Critique, 1968- 2012” is a critical history of the unfolding of feminist literary study in the US academy. It contributes to current scholarly efforts to revisit the 1970s by reconsidering often- repeated narratives about the critical naivety of feminist literary criticism in its initial articulation. As the story now goes, many of the most prominent feminist thinkers of the period engaged in unsophisticated literary analysis by conflating lived social reality with textual representation when they read works of literature as documentary evidence of real life. As a result, the work of these “bad critics,” particularly Kate Millett and Andrea Dworkin, has not been fully accounted for in literary critical terms.
    [Show full text]
  • Brilliant Creatures
    A STUDY GUIDE BY PAULETTE GITTINS http://www.metromagazine.com.au ISBN: 978-1-74295-471-4 http://www.theeducationshop.com.au ‘They made us laugh, made us think, made us question, made us see Australia differently... are A two-part documentary By Director PAUL CLARKE and Executive Producers MARGIE BRYANT & ADAM KAY and Series Producer DAN GOLDBERG Written and presented by HOWARD JACOBSON SCREEN AUSTRALIA and 2014 © ATOM SCREEN EDUCATION THE ABC present a Serendipity and Mint Pictures production A STUDY GUIDE BY PAULETTE GITTINS 2 Introduction remarkable thing’ The story of the Australia they left in the sixties, and the impact they would have on the world stage is well worth reflecting on. Robert Hughes: firebrand art critic. Clive James: memoirist, broadcaster, poet. But why did they leave? What explains their spectacular success? Was it because they were Australian that they Barry Humphries: savage satirist. were able to conquer London and New York? And why does it matter so much to me? Germaine Greer: feminist, libertarian. asks our narrator. This is a deeply personal journey for Exiles from Australia, all of them. Howard Jacobson, an intrinsic character in this story. Aca- demic and Booker Prize winner, he reflects on his own ex- perience of Australia and how overwhelmed he was by the positive qualities he immediately sensed when he arrived ith these spare, impeccably chosen in this country. Why, he asks us, would Australians ever words, the voice-over of Howard Jacob- choose to exile themselves from such beauty and exhilara- son opens the BBC/ABC documentary tion? What were they sailing away to find? Brilliant Creatures and encapsulates the essence of four Australians who, having In wonderfully rich archive and musical sequences that Wsailed away from their native shores in the 1960’s, achieved reflect a fond ‘take’ on the era, director Paul Clarke has spectacular success in art criticism, literature, social cri- also juxtaposed interviews from past and present days.
    [Show full text]
  • Don Alan Pennebaker [*] Kevin Finner
    Kieler Beiträge zur Filmmusikforschung, 5.2, 2010 // 203 Don Alan Pennebaker [*] Kevin Finner [*] Don Alan Pennebaker, auch nominiert als D.A., Don A. oder Donn A. Pennebaker. Geboren am 15. Juli 1925, dreht der heute vierundachtzigjährige Don Alan Pennebaker, Sohn eines Fotografen, noch immer Filme. Nach seinem Militärdienst und einem Ingenieurstudium in Yale sowie am M.I.T in Cambridge arbeitete er in verschiedenen Berufen, bevor er auf Drew und Leacock stieß. Michael Barchet zufolge verdiente Pennebaker sein Geld zunächst als Werbetexter und entwickelte u.a. ein computergestütztes Buchungssystem für Fluglinien (Barchet 1991, 154). Inspiriert durch den Filmemacher Francis Thompson drehte Pennebaker mit Ende zwanzig mit DAYBREAK EXPRESS (1953) und BABY (1954) seine ersten Filme über die New Yorker U-Bahn und einen Zoobesuch mit seiner Tochter. Letzterer war eigentlich nichts anderes als ein Amateur-Familienfilm. Jedoch wurde ihm während des Schneidens bewusst, dass er nicht seinem Material eine Story aufdrängen, sondern dass er sich Story und Rhythmus später in der Montage aus sich selbst heraus entwickeln lassen sollte (Saunders 2007, 10). Zusammen mit Richard Leacock wurde Pennebaker ein Gründungsmitglied von Drew Associates und arbeite dort für die nächsten drei Jahre. Nach den Erfolgen um PRIMARY (1960, Robert Drew), THE CHAIR (1963, ROBERT DREW) und CRISIS: BEHIND A PRESIDENTIAL COMMITMENT (1963, Robert Drew) sah sich Pennebaker nicht mehr in der Lage, die Forderungen von ABC, Time-Life und Drew zu erfüllen und strebte zusammen mit Leacock nach mehr künstlerischer Freiheit: My decision to quit wasn’t the result of any great moral conflict, I simply wasn’t able to fulfill their demands, because I realized that our process of filming could produce better films.
    [Show full text]
  • HUMOR NACH #METOO NACH HUMOR Cordula Ditz, Get Out, 2019
    Chris Hegedus & D.A. Pennebaker, Town Bloody Hall, 1979, © Janusfilms 27.6 .—16.08.2020 HUMOR NACH #METOO HUMOR NACH Cordula Ditz, Get Out, 2019 2 BEING LAID UP WAS NO EXCUSE FOR NOT MAKING ART HUMOR NACH #METOO 26.6 - 16.8.2020 3 EINFÜHRUNG Humor und #MeToo sind zwei Begriffe, Situation finden, ohne auf beiden Seiten an den die gerade im Zusammenspiel Irritationen alten Dogmen und Kampfplätzen festzuhalten. hervorrufen. Den vermeintlichen Kampfbegriff Humor ist ein soziales Schmiermittel, es #MeToo möchten viele nicht mehr hören und verbindet, hebt die Stimmung und lässt uns überhaupt, was hat das Ganze eigentlich mit schmunzeln. Humor zu tun? Wir bedanken uns ganz herzlich bei allen Der #MeToo-Bewegung ging es nie darum, Beteiligten für die engagierte Mitarbeit. einen Teil der Gesellschaft gewaltsam zu diskreditieren. Es ging immer darum, das Maike Mia Höhne und Bettina Steinbrügge Bewusstsein für die Prävalenz und die schädlichen Auswirkungen sexueller Gewalt zu schärfen. Und es geht bis heute darum, Veränderungen zu schaffen und darauf hinzuweisen, was strukturell in unserer Gesellschaft – selbst im alltäglichsten Miteinander – falsch läuft und wie daraus ein Ungleichgewicht für den weiblichen Teil der Gesellschaft entsteht. Die Notwendigkeit der Veränderung lässt sich auch für den strukturellen Rassismus und heteronormative Diskurse konstatieren. Wann immer es darum geht, gesellschaftliche Strukturen zu diskutieren und zu verändern, werden Konfliktlinien schmerzlich offenbart, spalten sich die Meinungen, stehen sich die unterschiedlichen Gruppen scheinbar unversöhnlich gegenüber. Wir müssen begreifen, dass sich unsere Welt verändert und wir Teil dieser Veränderung auf allen Ebenen sein müssen. Die Überlegenheitsvorstellungen des (weißen) Mannes, der Märkte, die scheinbar angeborene Zuteilung eines Platzes in der Hierarchie – alles steht derzeit zur Disposition.
    [Show full text]
  • The Art of the Documentary the Art of the Documentary Fifteen Conversations with Leading Directors, Cinematographers, Editors, and Producers
    Spine = 0.678 in. The Art of the The Art of the SECOND EDITION Documentary Documentary Megan Cunningham Fifteen Conversations with Leading Directors, Cinematographers, Editors, and Producers With a foreword by Oscar®-winning director Barbara Kopple (Harlan County, U.S.A., Wild Man Blues) The Art of the Documentary Fifteen Conversations with Leading Directors, Cinematographers, Editors, and Producers 2nd edition Megan Cunningham The Art of the Documentary,Second Edition Fifteen Conversations with Leading Directors, Cinematographers, Editors, and Producers Megan Cunningham New Riders www.newriders.com Find us on the Web at www.peachpit.com. To report errors, please send a note to [email protected] New Riders is an imprint of Peachpit, a division of Pearson Education. Copyright © 2014 by Megan Cunningham Editor: Douglas Cruickshank New Riders Editors: Marjorie Baer, Karyn Johnson Production Editors: Hilal Sala, Tracey Croom Copy Editor: Doug Adrianson Compositors: Kim Scott, Danielle Foster Photo Editor: Annie Young Frisbie Indexer: Rebecca Plunkett Cover design: Mimi Heft Interior design: Mimi Heft with Kim Scott Notice of Rights All rights reserved. No part of this book may be reproduced or transmitted in any form by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the publisher. For information on getting permission for reprints and excerpts, contact [email protected]. Notice of Liability The information in this book is distributed on an “As Is” basis, without warranty. While every precaution has been taken in the preparation of the book, neither the author nor Peachpit shall have any liability to any person or entity with respect to any loss or damage caused or alleged to be caused directly or indirectly by the instructions contained in this book or by the computer software and hardware products described in it.
    [Show full text]