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Page 1 of 18 Moma | Press | Releases | 2000 | the Loss of Childhood MoMA | press | Releases | 2000 | The Loss of Childhood Innocense Examined in Film Ex... Page 1 of 18 THE LOSS OF CHILDHOOD INNOCENSE EXAMINED IN FILM EXHIBITION For Immediate Release September 2000 The Lost Childhood October 5–December 14, 2000 The Roy and Niuta Titus Theaters 1 and 2 Childhood has been a favorite subject of filmmakers since the beginning of cinema. The Lost Childhood explores the period from 1955 to the present, when the nineteenth-century’s romanticized notion of the virginal, visionary child, so prevalent in films made before World War II, gave way to images of children hardened by war and harsh circumstances. This exhibition features approximately 50 feature films, shorts, experimental films, documentaries, and videos, from countries as far ranging as Brazil, Bulgaria, France, Hungary, India, Japan, and Mexico, and includes a diversity of genres, from horror to comedy, to the coming of age story and the fairy tale. The series is on view in The Roy and Niuta Titus Theaters 1 and 2 from October 5 through December 14, 2000. The Lost Childhood is a part of Open Ends, the final cycle of MoMA2000, and is organized by Joshua Siegel, Assistant Curator, Department of Film and Video. In the films and videos of The Lost Childhood, which takes its name from a short story by Graham Greene, adults are seen as either abusive and unloving, or immaturely self-absorbed, and therefore incapable of providing children with the comfort and protection they need. Home is seen as a place of violence and betrayal, not sanctuary, and so children are compelled to take flight in their dreams or take to the open road. Whether in a reform school (Tattooed Tears [1978], Nicholas Broomfield and Joan Churchill), a mental institution (Family Life (Wednesday’s Child) [1971], Ken Loach), on the battlefield of Iwo Jima (Eternal Cause [1972], Tadashi Imai) or on the mean streets of Saõ Paulo (Pixote [1981], Hector Babenco), children are thrust into a chaotic world where they have to fend for themselves. Children and adolescents are also portrayed as sexual and aggressive, desirous and desirable, wildly volatile and perhaps ultimately unknowable—evident, for example, in Elia Kazan’s Baby Doll (1956), Stanley Kubrick’s Lolita (1962), Andy Warhol’s Imitation of Christ (1970), and Rainer Werner Fassbinder’s Wildweschsel (Jail Bait) (1972). The film program also acts as a compliment to the gallery exhibition Innocence and Experience. The exhibition addresses the shift in recent years from a positive, hopeful vision of childhood purity and power to counter-imagery of youth threatened or corrupted. Works include Mona Hatoum’s Silence (1994), Jeff Koons’s Rabbit (1986), and Charles Ray’s Family Romance (1993). SPONSORSHIP Open Ends is part of MoMA2000, which is made possible by The Starr http://www.moma.org/about_moma/press/2000/lost_child_10_16_00.html 1/30/2009 MoMA | press | Releases | 2000 | The Loss of Childhood Innocense Examined in Film Ex... Page 2 of 18 Foundation. Generous support is provided by Agnes Gund and Daniel Shapiro in memory of Louise Reinhardt Smith. The Museum gratefully acknowledges the assistance of the Contemporary Exhibition Fund of The Museum of Modern Art, established with gifts from Lily Auchincloss, Agnes Gund and Daniel Shapiro, and Jo Carole and Ronald S. Lauder. Additional funding is provided by the National Endowment for the Arts, Agnes Gund and Daniel Shapiro, Mrs. Melville Wakeman Hall, Sarah-Ann and Werner H. Kramarsky, Anna Marie and Robert F. Shapiro, Jerry I. Speyer and Katherine G. Farley, Joann and Gifford Phillips, NEC Technologies, Inc., and by The Contemporary Arts Council and The Junior Associates of The Museum of Modern Art. Education programs accompanying MoMA2000 are made possible by BNP Paribas. The publication Modern Contemporary: Art at MoMA Since 1980 is made possible by The International Council of The Museum of Modern Art. The interactive environment of Open Ends is supported by the Rockefeller Brothers Fund. Film and video programs during Open Ends are supported by The New York Times Company Foundation. Web/kiosk content management software is provided by SohoNet. The Lost Childhood Screening Schedule Thursday, October 5, 2:00 p.m.; Sunday, October 8, 1:00 p.m. T1 The Night of the Hunter. 1955. USA. Directed by Charles Laughton. Screenplay by James Agee, based on the novel by Davis Grubb. Cinematography by Stanley Cortez. Edited by Robert Golden. Music by Walter Schumann. With Robert Mitchum, Shelley Winters, Lillian Gish, Evelyn Varden, Peter Graves, Don Beddoe. All that can be known of innocence and experience is contained within The Night of the Hunter, an allegory of good and evil about two children who fall prey to the bloodlust and greed of a backwoods preacher, an unregenerate killer in pursuit of a rag-doll filled with money. Stalked by Death on horseback down the ghostly Ohio River, the children eventually find sanctuary at the farmhouse of Lillian Gish, a wise old woman who shelters them as she has sheltered other orphans from the storm. The Night of the Hunter is an American folk tale, set in the heart of Appalachia in the depths of the Depression, in which false prophecy, adult betrayal, and cold-blooded murder are redeemed by the spiritual powers of song. 93 min. Thursday, October 5, 6:00 p.m.; Tuesday, October 26, 2:00 p.m. T1 Valse Triste. 1977. USA. Directed by Bruce Conner. Music by Sibelius. A experimental short with the vernacular look of a Farm Security Administration photograph, Valse Triste is, in Conner’s words, “a nostalgic recreation of dreamland Kansas 1947,” the place of his boyhood. Nestled in his midwestern bedroom, a small boy drifts asleep, vaguely aroused by sepia-toned images of a woman’s soft hands folding clean white sheets, an orchid’s petals unfolding, a funereal caravan of black sedans filing across a flooded road, a charging steam locomotive, and a quarry wall of rocks tumbling into a pool below. Scenes of rural America fading into history are the stuff of a child’s dreams. 5 min. La Hora de los Niños (The Children’s Hour). 1969. Mexico. Produced and directed by Arturo Ripstein. Screenplay by Ripstein and Pedro Fernández Miret, based on the story “El Narrador” by Miret. Cinematography by Alexis Grivas. Edited by Rafael Castanedo. With Carlos Savage, Bebi Pecanins, Carlos Nieto, Marta Zamora. Going out for the evening, a rich couple hires a clown to amuse their son and put him to sleep. As soon as they leave, the clown drops his playful demeanor and turns gruff with the boy, abandoning him to the oppressive loneliness of his bedroom. At first intrigued, then unnerved by this man’s strange transformation, the boy http://www.moma.org/about_moma/press/2000/lost_child_10_16_00.html 1/30/2009 MoMA | press | Releases | 2000 | The Loss of Childhood Innocense Examined in Film Ex... Page 3 of 18 insists on a bedtime story, and the clown begrudgingly obliges by inventing a newspaper article about the sinking of a cruise ship whose crew and passengers are all babies. In Spanish, with English subtitles. 65 min. Friday, October 6, 2:00 p.m.; Tuesday, October 31, 2:00 p.m. T1 The Company of Wolves. 1984. Great Britain. Directed by Neil Jordan. Screenplay by Angela Carter and Jordan, based on a story by Carter. Cinematography by Bryan Loftus. Edited by Rodney Holland. Music by George Fenton. With Angela Lansbury, Sarah Patterson, David Warner, Stephen Rea. Movie genres, like fables, endure repeated tellings. Often the pleasure lies in peeling away hidden layers of meaning. The Company of Wolves (1984), based on a story by Angela Carter, is a feminist attempt to deconstruct the morphology of the Little Red Riding Hood folktale. The film asks what it means for a girl to disobey her family by straying from the path. Are her parents and grandmother prudently cautioning her against the violent loss of innocence through rape, or betraying the ancient fear that a girl will acquire knowledge and independence through sexual power? 95 min. Friday, October 6, 6:00 p.m. T1; Saturday, November 4, 5:00 p.m. T2 Family Life (Wednesday’s Child). 1971. Great Britain. Directed by Ken Loach. Written by David Mercer, based on his television play In Two Minds. Cinematography by Charles Stewart. With Sandy Ratcliff, Bill Dean, Grace Cave, Malcolm Tierney, and Hilary Martyn. A young woman suffering from schizophrenia is institutionalized by her parents. Through the nurturing therapeutic practices of an unusually sympathetic doctor, she is forced to confront her mother’s complicity in her illness. Within Loach’s fierce indictment of Britain’s woefully unenlightened, callously indifferent mental health care system lies a humane portrait of a shattered family. 108 min. Friday, October 6, 8:00 p.m. T1; Monday, November 6, 3:00 p.m. T2 The Long Day Closes.1992. Great Britain. Written and directed by Terence Davies. Cinematography by Michael Coulter. With Marjorie Yates, Leigh McCormack, Anthony Watson, Nicholas Lamont, and Ayse Owens. Freud writes that the most difficult experience of any man’s life is the death of his father. For Davies, however, that experience was something of a blessing. “Between my father dying when I was seven and leaving primary school,” Davies remembers, “those years were just so happy I was almost sick with happiness.” The film portrays a boy much like Davies—the youngest of ten children in 1950s working-class Liverpool, only seven of whom survived infancy—emerging from a mercilessly dark, violent struggle with a bullying, alcoholic father into the nurturing bliss of life alone with his mother, brothers, and sisters, a life wanting in material comforts but leavened by mirth, song, and Doris Day movies.
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