B 2012 B E N/F A J

UC Berkeley Art Museum & Pacific Film Archive

program guide

Andy Warhol Ray Johnson & Robert Warner Richard Misrach robert Bresson howard hawks henri-georges Clouzot documentary voices african film festival Gregory Markopoulos mark isham BAM/PFA EXHIBITIONS & FILM SERIES

The Reading room p. 4

Andy Warhol: Polaroids / MATRIX 240 p. 5

Tables of Content: Ray Johnson and Robert Warner

Bob Box Archive / MATRIX 241 p. 6

Abstract Expressionisms: Paintings and Drawings

from the collection p. 7

Himalayan Pilgrimage: Journey to the Land of Snows p. 8

Silke Otto-Knapp: A light in the moon / MATRIX 239 p. 8

Sun Works p. 9 1

1991: The Oakland-Berkeley Fire Aftermath, Photographs by Richard Misrach p. 9

Richard Misrach: Photographs from the Collection

State of Mind: New California Art circa 1970 p. 10

Thom Faulders: BAMscape

Henri-Georges Clouzot: The Cinema of Disenchantment p. 12

Film 50: History of Cinema, Film and the Other Arts p. 14

Behind the Scenes: The Art and Craft of Cinema

Composer Mark Isham p. 15

African film festival 2012 p. 16

Screenagers: 14th Annual Bay Area High School Film and

Video Festival p. 17

Howard Hawks: The Measure of Man p. 18

Austere Perfectionism: The Films of Robert Bresson p. 21

Documentary voices p. 24

Seconds of Eternity: The Films of Gregory J. Markopoulos p. 25

Dizzy Heights: Silent Cinema and Life in the Air p. 26

Cover Get More The Big Sleep, 3.13.12. See Hawks series, p. 18. Want the latest program updates and event reminders in your inbox? Sign up to receive our monthly e-newsletter, weekly film update, 1. Richard Misrach: 3-14-00 6:14 PM, from the series Golden Gate, 2000; exhibition and program announcements, and/or L@TE event updates chromogenic print; 40 × 50 in.; gift of the artist, courtesy Fraenkel Gallery. at bampfa.berkeley.edu/signup.

Download a pdf version of this and previous issues of the Program Guide from our website, bampfa.berkeley.edu/programguide. Subscribe to the BAM/PFA events calendar in iCal, bampfa.berkeley.edu/calendar.

Learn more about our L@TE programmers at bampfa.berkeley.edu/late.

2 JANUARY & FEBRUARY 2012 P T F 1 ning with a free copy of Land and Sea’s publication of Matthew Zapruder’s moon poems. moon Zapruder’s Matthew of publication Sea’s and Land of copy a free with ning eve the Remember sounds. blissful and atmospheric, lush, with us soothes Drift) The of Trevor Montgomery and Tarantel of Grody (Danny Believer and poems moon of a series hisses, pops, and musical snippets. Poet and Guggenheim Fellow Matthew Zapruder reads vinyl’s using strips Möbius and Bottles Klein of interpretations audio handcrafts who Mazawa, Julia turntablist by experimental composition a new hear Then orb. celestial by that inspired set aDJ with Moon The of installment second this off starts Jacobs Rich Artist/curator 6:30 DJ 5:30, Peck Monica RE@DS: 5:00, Doors P T F expansive and emotional work for four pianos. Guerilla Gay including compositions, his of presentation Area Bay major first the be will pop Coprogrammed artists. by composer/musicologist Luciano this Chessa, performance ditions. His pioneering work paved the way for generations of experimental composers and A of likely alone, died and homelessness and addiction endured he 1980s, in N Active processes. minimalist with influences house and rock combine convincingly to composers first the of one was (1940–90) Eastman Julius 6:30 DJ 5:30, Tom Comitta RE@DS: 5:00, Doors P A F Harbor. Aaron by curator/musician DJ set BAM/PFA. with collaboration first Sea’s and Land of commemoration in Wengreen by Dustin designed bag tote afree with home Go Places. High Angeles–based by Los visuals and sounds of ronment O BAM/PFA. of acoustics and space the engage tofully sets film about the moon.Experience Shock as they expand on their high-energy cosmic dance Moon the to Chains Nine album, upcoming her from moments plays she as (Lissom) to Tana Sprague listen moon, by the inspired evening At this 6:30 DJ 5:30, Frost Jackqueline RE@DS: 5:00, Doors r r r ri ri ri F L he Moon (Part (Part Moon he he Moon (Part (Part Moon he o o o T d d d grammed grammed grammed ribute to Julius Julius to ribute ri ay /1.27.12 / 2.24.12 ay /2.24.12 ay @TE / 2.10.12 / d ay N

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a a C nd nd i ah g S S O T : : i ea ea ll wo) @BAM/PFA hts ne) E ast m an , as well as the sound track to her short short to her track sound the as well , as ew Y ew verload your mind with an envi an with mind your verload ork throughout the 1970s and and 1970s the throughout ork I DS-related con DS-related GALLERIES ALWAYS FREE FOR BAM/PFA MEMBERS BAM/PFA FOR FREE ALWAYS GALLERIES 7:30 7:30 7:30 , an , an - - - 2 L@TE : Galleries open until 9 p.m. until open : Galleries L@TE ticket. Theater PFA same-day with free staff; and faculty, students, Cal and members BAM/PFA for free $7; is Admission BAM/PFA trustees. the of support continued the by part in possible made are E@RLY and L@TE (Part Moon The 1. 17). p. (see Congo of Republic Democratic the in music of power the about tary Symphony E@RLY after us Join afternoon. the Palms (Gregg Kowalsky and Marielle Jakobsons) eases us gently into Date Finally, violin. her on compositions solar play Juilliard, and Mills O before. we haven’t ways in vegetables and fruits about thinking away walk all We will moon. the and sun the to, responding by, and inspired shop N of owner and N sun! the celebrating in Sea and Land Join P T sun 2. The Sun (Part (Part Sun The 2. r he he o grammed d ay /2.5.12 S sun e@rly un (Part (Part un nce nourished, listen to Jennifer Curtis, who studied at both both at studied who Curtis, to Jennifer listen nourished, nce (Claus Wischmann, Martin Baer), a triumphant documen

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L@TEL@ FRIDAYTE / e@rly NIGHTS EXHIBITIONS T & FEBRUARY 2012 4 JANUARY Reading Room The in read and share, listen, to look, visitors invites project literary BAM/PFA’s new Lyn Hejinian, English of Professor Berkeley UC and poet and Breslin Bell Ramsay poet and writer by arts inspired and Guided publisher, and community producer at the San Francisco Museum of Modern Art. ( readings literary of site the be L@TE night Friday selected of part As MacAdams. Lewis and Berkson, Bill Padgett, Ron poets with collaboration in Schneeman by George ated cre paper on works original and prints silk-screen view and presses, by these published poets selected of by The Stop project! the of course the over evolves shelves the on works the of character the how to seeing forward We look library. own I available. be also will Distribution Press Small from catalogs and Books Press. Tuumba and Books, Atelos Press, Street Kelsey including presses, small Bay East noted several of collections overstock the from drawn book a free home to take chance the The Reading Room J bampfa.berkeley.edu. Find theMarch/April RE@DS scheduleonourwebsite, website, bampfa.berkeley.edu. Learn more abouttheguest programmers andfeatured poets onour N G anuary e ET w Exhi M he R he ORE b 15–J itio

Reading Room . n une is a temporary project dedicated to poetry and experimental fiction offering visitors visitors offering fiction experimental and to poetry dedicated project atemporary is 17 g eadin during gallery hours to enjoy a comfortable reading area, listen to recordings to recordings listen area, reading acomfortable to enjoy hours gallery during RE@DS programs throughout winter and spring, The ) co-curated by poet/author David Brazil and Suzanne Stein, poet, poet, Stein, Suzanne and Brazil David by poet/author ) co-curated n turn, visitors are asked to replace that book with one from their their from one with book that to replace asked are visitors n turn, Roo 2. 1.

Jackqueline Frost in. × 12 12 board; illustration on media Offspring the On George Schneeman and Bill Berkson: m

Reading Room , 1969 or 1970; mixed mixed 1970; or , 1969 1 will will -

Da S P RE Monica Peck Peck Monica F T F Frost Jackqueline F part conversation. Room The of part are which events, these Expect bampfa.berkeley.edu for the March/April schedule). to (go them for excitement and inspiration of a source been has who artist or writer another of context the in work own their topresent writers younger eight invited we series, this For program. our organized we’ve spirit that in it’s and Halprin, Anna and Wiley, William Duncan, Art Museum in 1970 included performances by Robert Berkeley the of celebration opening the that learning series highlights that generational continuity. We loved reading this and attention, interdisciplinary literary and artistic of tradition a long from emerges community writing Area Bay contemporary the of vibrancy The T ri ri ri hrou o ro u d d d m ay /2.24.12 ay ay /1.27.12 project, to be two parts performance and one one and performance parts two to be project, v z C g / 2.10.12 / h o d B id g anne A @DS m pril ramme itta itta ra . 10 p. . 10 p. S

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Reading 5:30 5:30 5:30

2 Andy Warhol: Polaroids MATRIX 240

1 2 3

January 27–May 20 1. Andy Warhol: Pia Zadora, 1983; New Exhibition Polacolor ER; 4 ¼ × 3 ⅜ in.; gift of The Andy Warhol Foundation for I’ve never met a person I couldn’t call a beauty.—Andy Warhol the Visual Arts. From 1970 to 1987 Andy Warhol took scores of Polaroid and black-and-white photographs, 2. Andy Warhol: Dog, 1976; Polacolor the vast majority of which were never seen by the public. These images often served as the Type 108; 4 ¼ × 3 ⅜ in.; gift of The Andy Warhol Foundation for the basis for his commissioned portraits, silk-screen paintings, drawings, and prints. In 2007, to Visual Arts. commemorate its twentieth anniversary, the Andy Warhol Foundation for the Visual Arts Andy Warhol: Billy Squier, 1982; launched the Andy Warhol Photographic Legacy Program. Designed to give a broad public 3. Polacolor 2; 4 ¼ × 3 ⅜ in.; gift of greater access to Warhol’s photographs, the program donated over 28,500 of Warhol’s The Andy Warhol Foundation for original Polaroids and gelatin silver prints to more than 180 college and university museums the Visual Arts. and galleries across the country. Each institution received a curated selection of over one hundred Polaroids and fifty black-and-white prints.

This January BAM/PFA is proud to present selected Polaroids drawn from this extraordinary gift of the Warhol Foundation to the museum. The group reveals that superstars were not the only figures that Warhol photographed with his Polaroid Big Shot, the distinct plastic camera he used for the majority of his sittings. Over half of those who sat for him were little known or remain unidentified.

The number of images he took at each session varied as greatly as the figures he photographed. Repetition, a recurring motif in Warhol’s paintings, plays both a conceptual and practical role in his photography. By making several Polaroids, he had more material from which to work. By shooting at length, more about the sitter was exposed. Seen all together, the Polaroids destabilize the iconic status that a Warhol image assumes when displayed singly. On its own, a Polaroid image is fully identified with the artwork that ultimately grew out of it; the face depicted becomes a kind of signifier for larger cultural concepts of beauty, power, and worth.

Text adapted from “Andy Warhol’s Photographic Legacy,” in The Andy Warhol Photographic Legacy Program, Vol. III of The Andy Warhol Foundation for the Visual Arts Twenty-Year Report, 1987–2007 (New York: The Andy Warhol Foundation for the Visual Arts, Inc, 2007), 4-5.

Andy Warhol: Polaroids is organized by Curatorial Intern Fabian Leyva-Barragan and Assistant Curator Stephanie Cannizzo. Special thanks to The Andy Warhol Foundation for the Visual Arts for making this exhibition possible. The MATRIX Program at the UC Berkeley Art Museum and Pacific Film Archive is made possible by a generous endowment gift from Phyllis C. Wattis and the continued support of the BAM/PFA Trustees.

5 BAM / PFA Tables of Content: Ray Johnson and Robert Warner Bob Box Archive MATRIX 241 EXHIBITIONS

1. 2.

January 27–May 20 Public Program New Exhibition Friday / 1.27.12 / noon In 1988, New York–based collagist Robert Warner began a correspondence with the Artist’s Talk enigmatic artist Ray Johnson. Until Johnson’s death in 1995, Ray and Bob continued Robert Warner p. 10 their exchange, mostly by mail and telephone, and only occasionally in person. Over the course of their relationship Warner received hundred of pieces of mail art from Johnson, ranging from collages to a hand-delivered piece of driftwood. At one of their rare in-person meetings, Johnson gave Warner thirteen cardboard boxes tied with twine, labeled “Bob Box 1,” “Bob Box 2,” and so on.

Tables of Content displays all thirteen boxes and their contents. Warner has selected and arranged the letters, drawings, photocopies, and found objects like t-shirts, tennis balls, and random beach trash—the material of Johnson’s art—on an assembly of thirteen tables and surrounding gallery walls. Johnson annotated many of these things with personal codes, puns, and dark, irreverent jokes. Johnson’s work—collages, correspondence art, and performance events—remains mysterious and a bit hard to pin down. But his influ- 1. Ray Johnson and Robert Warner: Tables of Content is organized by ences are obvious and surface repeatedly, among them Andy Warhol, Joseph Cornell, Untitled valise from Bob Box Lucinda Barnes, chief curator and Robert Rauschenberg, and Elvis Presley. His collage approach was diaristic, a stream-of- Archive, 1988–95; mixed media; director of programs and collections, in consciousness flow through the matter and memory of everyday life, shifting from one dimensions variable. Photo: collaboration with Robert Warner. The topic to another, across all variety of things. Johnson once remarked, “My work is like Tod Lippy, from Esopus 16 MATRIX Program at the UC Berkeley (Spring 2011). Art Museum and Pacific Film Archive driving a car. I’m always shifting gears.” Tables of Content will particularly resonate with is made possible by a generous 2. Ray Johnson: Untitled correspon- Berkeley audiences who viewed the recent exhibition Kurt Schwitters: Color and Collage. endowment gift from Phyllis C. Wattis dence from Bob Box Archive, and the continued support of the 1988–95; mixed media. From BAM/PFA Trustees. Esopus 16 (Spring 2011).

6 JANUARY & FEBRUARY 2012 Abstract Expressionisms: Paintings and Drawings from the collection

January 18–June 10 new EXHIBITION

Come spend some time with the work of seminal Abstract Expressionists this winter and spring at BAM/PFA. Forceful paintings by Mark Rothko, Willem de Kooning, Hans Hofmann, William Baziotes, Asger Jorn, Philip Guston, and others hang in light-filled Gallery A, while Gallery C displays rarely seen works on paper by artists including Sam Francis, Mark Tobey, Antonio Saura, and Norman Bluhm.

01. Willem de Kooning: The Marshes, 1945; charcoal and oil on composition board; 32 × 23 ⅞ in.; gift of Julian J. Aberbach and Jerry Ganz.

GALLERIES ALWAYS FREE FOR BAM/PFA MEMBERS 7 BAM / PFA EXHIBITIONS & FEBRUARY 2012 8 JANUARY MATRIX 239 MATRIX a li courtesy of The Rachofsky Collection, Dallas. Collection, Rachofsky The of courtesy Silke Trustees. BAM/PFA the of support continued the and Wattis C. Phyllis from gift endowment a generous by possible made MATR The abstraction to renew our engagement in the O Cunningham, Merce and stage directions. Reinterpreting the modernist logic of both Ad Reinhardt awaiting backdrop, apainted appears: alandscape or within, latent lie performances by George Balanchine, Y motion—iconic potential their wesee paintings, the of front in Moving landscape. amoonlit or plane, picture the of edges the against up pressed body asingle dancers, of clusters reveal position aviewer’s or light in changes slight but monochromatic, first at seem artist German London-based this of canvases the watercolors, hued similarly of washes O Silke of paintings The C T sil O hrou I NT O tto-Knapp: NUi k g I X Program at the UC Berkeley Art Museum and Pacific Film Archive is is Archive Film Pacific and Museum Art Berkeley UC the at X Program g 15 h january ng e in moonht the E otto XHI Stage B ITIO , 2009; watercolor and gouache on canvas; 55 × 67 in.; in.; × 67 55 canvas; on gouache and watercolor , 2009; tto-Knapp require movement. With layered layered With movement. require tto-Knapp N tto-Knapp draws from the vocabulary of of vocabulary the from draws tto-Knapp -k napp vonne Rainer, Bronislava Nijinska act : of seeing.

cotton; 30 ⅛ × 23 in.; on long-term loan from a private collection. a private from loan long-term on in.; × 23 30 ⅛ cotton; Shakyamuni Buddha the of Life the Diamond Vehicle of Tibetan Tantric Buddhism. Vajrayana, of realms cosmic the to explore on goes exhibition the this, From exhibition. the of core symbolic and axis the provides Buddha, seated afive-foot-tall image, central The centuries. eighteenth to the ninth the from dating painting and sculpture beautiful H in journey this Explore people. Tibetan the of compass moral and ethical primary the remained I from spread Buddhism world, the in mountains highest the over and centuries several across Reaching C T H J O hrou L the ourney to I NT imalayan NUi g h 2013 ng imalayan Pilgrimage: Journey to the Land of Snows ndia through the narrow corridors of Central Asia into Tibet, where it has has it where Tibet, into Asia Central of corridors narrow the through ndia E XHI B ITIO N ; Central Tibet, 12th–14th century; opaque pigments and gold on on gold and pigments opaque century; 12th–14th Tibet, ; Central P il g rima an d of S g e : through exceptionally nows Sun Works

Through may 6 continuing EXHIBITION

The sun’s power to illuminate, yet also to scar, makes itself known in the works of Sarah Charlesworth and Chris McCaw on view in Sun Works. Part of a larger series that explores how current events are represented photographically in the media, Charlesworth’s Arc of Total Eclipse (1979) tracks a solar eclipse across the front pages of multiple newspapers. Like Charlesworth, McCaw is also interested in questioning the role of the photograph as a simple representation of reality. For Sunburned GSP #488 (2011), he used a handmade view- camera to capture the path of the sun on a paper negative, creating an ambiguous, ethereal image.

Sarah Charlesworth: Arc of Total Eclipse, February 26, 1979, 1979/2010 (detail); twenty-nine Fuji Crystal archive prints; dimensions variable; gift of Seymour and Alyce Lazar, new printing made possible by a bequest of Phoebe Apperson Hearst.

1991: The Oakland-Berkeley Fire Aftermath, Photographs by Richard Misrach

Through February 5 Continuing Exhibition

Visitors to the exhibition are invited to write recollections of the fire and reflec- tions on Misrach’s photographs in the handmade elegy ledger in Gallery 5. Here is a sampling of comments made soon after the exhibition opened:

Very powerful images. Seeing them brings back the smell of smoke that lingered in the air after the fire.

I remember the neighborhood with great love and such a strong sense of place.

The beauty of destruction.

These photos do what only photos can do. So powerful.

The Oakland Museum of California’s presentation of 1991: The Oakland-Berkeley Fire Aftermath, Photographs by Richard Misrach is on view through February 12, 2012. BAM/PFA members may view their presentation at no charge with proof of membership.

1991: The Oakland-Berkeley Fire Aftermath, Photographs by Richard Misrach is made possible by the generous support of The Robert Mapplethorpe Foundation and BAM/PFA members.

Also on view: Richard Misrach: Photographs from the Collection

Richard Misrach: Untitled (OF 104-91: Swimming Pool), 1991; archival pigment print; GET MORE 62 × 77 in.; gift of the artist. © Richard Misrach 1991. Watch a videocast of Richard Misrach’s October 12 gallery talk at bampfa.berkeley.edu/podcasts. Share your photographs of the 1991 fire and its aftermath on flickr, http://flic.kr/g/gwXeS.

9 BAM / PFA in person / Galleries

Friday / 1.27.12 / noon

Artist’s Talk: Robert Warner In conjunction with Bob Box Archive / MATRIX 241, collage artist Robert Warner illuminates the intriguing contents of the “Bob Boxes,” gifts to him from artist Ray Johnson.

Wednesday / 2.29.12 / noon EXHIBITIONS Curator’s Tour Join Adjunct Curator Constance M. Lewallen for an insightful introduc- tion to State of Mind: New California Art circa 1970, which highlights the originality and inventiveness of artists working in both Southern and Northern California in the late 1960s and early 1970s and investigates 1 their vital contributions to Conceptual art and experimental practices.

state of mind: new california art circa 1970

february 29–june 17 Member Events new EXHIBITION Sunday / 2.5.12 / 11:00 2/3/4 Have you ever heard the sound of ice melting? State Catch Up with Conceptual of Mind: New California Art circa 1970, part of Pacific Art p. 32 Friday / 1.27.12 / 5:30 Standard Time, offers an in-depth exploration of Concep- RE@DS: Jackqueline Frost Tuesday / 2.28.12 / 5:30 tual art made by both Northern and Southern California Jackqueline Frost is the author of When We Say Brutal (Berkeley Neo- Opening Celebration p. 32 artists during a pivotal period in contemporary art. The Baroque) and The Soft Appeal (Nous-Zot Press). She co-curates the more than 150 works of art on display—many rarely seen Open to Patron, Donor, Explorers’ Condensery Reading Series in Oakland. p. 4 or newly discovered—are organized by themes, such as and Collectors’ Circle members the street, the body, politics, private/public space, and Friday / 2.10.12 / 5:30 Tuesday / 2.28.12 / 6:30 language/wordplay, that elucidate this dynamic era in RE@DS: Tom Comitta our history and foreshadow the concerns of young art- Opening Celebration p. 32 Tom Comitta is a writer, publisher, programmer, and co-conductor ists working today. Open to all members of the interventionist sound poetry troupe SF Guerrilla Opera. p. 4

Friday / 2.24.12 / 5:30 State of Mind: New California Art circa 1970 is supported by a Public Program grant from the Getty Foundation as part of the unprecedented Wednesday / 2.29.12 / noon RE@DS: Monica Peck collaborative initiative Pacific Standard Time: Art in L.A. 1945– 1980. Additional support for State of Mind has been provided by Curator’s Tour p. 10 Poet Monica Peck lives in San Francisco, teaches at San Jose State, the National Endowment for the Arts. Support from Ms. Robin Constance M. Lewallen and does not have a preferred gender pronoun. p. 4 Wright and Mr. Ian Reeves has made possible the presentation of the pressured air work of Michael Asher. The catalog is supported in part by the Getty Foundation and by Furthermore: a program of In the Museum Store All gallery programs included with museum admission, unless otherwise noted. the J.M. Kaplan Fund. State of Mind is co-organized by BAM/PFA State of Mind: New California Art and the Orange County Museum of Art (OCMA) and co-curated circa 1970, edited by Constance by Constance M. Lewallen, adjunct curator at BAM/PFA, and Karen M. Lewallen and Karen Moss. Moss, adjunct curator at OCMA. 1. Robert Kinmont: 8 Natural Handstands (detail), 1969/2009; Significant funding for theO CMA presentation of State of Mind black-and-white photograph; 8 ½ × 8 ½ in.; courtesy of is provided by Dr. Rosalyn M. Laudati and Dr. James Pick. The Alexander and Bonin, New York. Photo: Bill Orcutt. presentation of State of Mind at BAM/PFA is made possible in part 2. Jackqueline Frost by the continued support of the BAM/PFA Trustees. 3. Tom Comitta

4. Monica Peck

GET MORE Subscribe to the BAM/PFA events calendar in iCal, bampfa.berkeley.edu/calendar.

10 JANUARY & FEBRUARY 2012 In Person / PFA Theater

Documentary voices S

Wednesday / 2.8.12 / 7:00 M

The Green Wave introduced by UC Berkeley Professor RA G Jeffrey Skoller. p. 23 RO

Wednesday / 2.22.12 / 7:00 P

Making it (Un)real: Animated Documentary Shorts 1 introduced by UC Berkeley Professor Jeffrey Skoller, UBLIC P with filmmaker Jacqueline Goss in person. p. 24

African Film Festival 2012 Thursday / 1.26.12 / 7:00

Medicine for Melancholy with director Barry Jenkins in person. p. 16

6 Howard Hawks:

4 The Measure of Man Tuesday / 1.17.12 / 7:00 5 2 Fig Leaves introduced by film scholarMarilyn Fabe, with live piano accompaniment by Judith Rosenberg. p. 18 Behind the Scenes: The Art and Craft of Cinema / Composer Friday / 1.20.12 / 7:00 Mark Isham Fazil with live piano accompaniment by Judith Saturday / 2.4.12 / 7:30 Rosenberg. p. 19 Acclaimed composer joins us for an Mark Isham Tuesday / 1.24.12 / 7:00 illustrated talk on film scoring followed by a screening of his first collaboration with director Robert Redford, A Girl in Every Port introduced by film scholar A River Runs Through It. p. 15 Marilyn Fabe, with live piano accompaniment by Judith Rosenberg. p. 19 Dizzy Heights : Silent Cinema and Life in the Air Friday / 1.27.12 / 7:00 Thursday / 2.23.12 / 7:00 Paid to Love with live piano accompaniment by Judith Rosenberg. p. 19 A Trip to Mars introduced by UC Berkeley Professor Mark Sandberg, with live piano accompaniment by Bruce Loeb. p. 26

3 Friday / 2.24.12 / 7:00

High Treason with live musical accompaniment by Screenagers: 14th Annual Peter Chapman. p. 26 Bay Area High School Film & 1. Medicine for Melancholy, 1.26.12 Video Festival Saturday / 2.25.12 / 6:00 2. Mark Isham, 2.4.12 Saturday / 2.11.12 / 3:00 The Mystery of the Eiffel Tower introduced by guest 3. Screenagers, 2.11.12 Student filmmakers in person. Meet this new genera- curator Patrick Ellis, with live musical accompaniment 4. Stranger Comes to Town, 2.22.12 tion of filmmakers at a Q&A and reception following by Ken Ueno, Matt Ingalls, and Hadley MacCarroll. p. 27 5. A Trip to Mars, 2.23.12 the screening. p. 17 Sunday / 2.26.12 / 2:00 6. A Girl in Every Port, 1.24.12 Fantasies of Flight: Animation and Comedy Shorts introduced by guest curator Patrick Ellis, with live piano accompaniment by Frederick Hodges. p. 27

GALLERIES ALWAYS FREE FOR BAM/PFA MEMBERS 11 BAM / PFA S M IL F Henri-Georges

Clouzot: 1/2 The Cinema of Disenchantment thursday / 1.12.12 7:00 The Murderer Lives at Number 21 Tempered by the pessimism of war-torn France, director Henri-Georges Clouzot’s Henri-Georges Clouzot (France, 1942) brand of hard-edged realism made for gripping genre films, often mysteries and (L’assassin habite au 21). After a quartet of corpses is found, the debo- thrillers, that contained within them a near-misanthropic vision of man. Yet his best- nair detective Wens (played by the always polished Pierre Fresnay) remembered works, the dread-inducing The Wages of Fear (1953) and Diabolique is assigned the case that is paralyzing Paris. Thus begins Clouzot’s (1955), have a paradoxical sympathy for their characters, a sympathy based upon remarkably self-assured directorial debut. The trail of bodies leads the recognition that when left to our own devices, we will helplessly choose the Wens to a seedy boardinghouse at No. 21 Avenue Junot that is teeming baser path. with hearty misfits, including a puppet maker, a blind boxer, and a Clouzot’s virtuosic way with suspense, often tinged with sardonic humor, earned bird-whistling butler. As droll as this mystery may be, it shouldn’t be him the title “French Hitchcock,” yet many of his finest criminal concoctions find overlooked that The Murderer Lives at Number 21 was made during the greater affinity with French-coined film noir and its scenic foreboding, distracted Nazi Occupation, a time when your nearest neighbor could be your cynicism, and dim view of human desire. Not even love gets a cautious embrace closest enemy. Steve Seid from this dry-eyed existentialist who seemed to think that la petite mort naturally Written by Clouzot, Stanislas-André Steeman, based on the novel by Steeman. leads to its grand conclusion and released a string of pearls, dangling amour fou Photographed by Armand Thirard. With Pierre Fresnay, Suzy Delair, Jean Tissier. (84 mins, In French with English titles, B&W, 35mm, From Institut Français, before us with Manon (1949), La vérité (1960), and Woman in Chains (1968). permission From Janus Films/Criterion Collection)

From his self-assured first feature,The Murderer Lives at Number 21 (1942), with Saturday / 1.14.12 its houseful of quirky suspects, through the ravenous Le corbeau (1943) and its 6:30 contagion of accusation, to The Spies (1958), in which Cold War conflicts play out Quai des Orfèvres Henri-Georges Clouzot (France, 1947) in a psychiatric ward, Clouzot has given us beautifully detailed and dispatched dramas that inspect the inky depths of society while lavishing us with the ironic Few crime movies are as spectacular as this.—Armond White, New York Press pleasures of dread and disquiet. Don’t miss this chance to look in the darker corners (Jenny Lamour). After a four-year hiatus, Clouzot returned to the cinema of Clouzot’s career. with this ornately atmospheric tale of a murky murder and the revelations that follow. Set in the smoky halls of Paris’s midforties cabaret scene, Steve Seid, Video Curator this naughty noir follows the voluptuous Jenny Martineau (Suzy Delair), a chanteuse whose star is beginning to soar. We are taken through the This series would not be possible without the support of the Institut Français, Paris and the rain-drenched streets of Paris as the indefatigable Inspector Antoine Cultural Services of the French Embassy. We wish to thank in particular Delphine Selles-Alvarez of the Cultural Services for her diligent attention, as well as Denis Bisson, Cultural Attaché, French (Louis Jouvet), unassuming in his manner, hunts down the murderer of Consulate, San Francisco. Special thanks to: Haden Guest and David Pendleton, Harvard Film the lecherous Brignon (Charles Dullin). The wry inspector is a stand-in Archive; Josh Siegel, Film Department, The Museum of Modern Art; and James Quandt, TIFF for director Clouzot, whose own dim view sheds light on our darkest Cinematheque. Finally, we wish to acknowledge critic David Thomson whose Clouzot-related quote corners. Steve Seid “the cinema of total disenchantment” was the inspiration for the series title. Written by Clouzot, Jean Ferry, based on the novel Legitime defense by Stanislas-André Steeman. Photographed by Armand Thirard. With Louis Jouvet, Suzy Delair, Simone Renant, Bernard Blier. (110 mins, In French with English subtitles, B&W, 35mm, From Institut Français, permission Rialto Pictures)

GET MORE Find expanded film notes and selected trailers on our website, bampfa.berkeley.edu.

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12 JANUARY & FEBRUARY 2012 1. Diabolique, 1.27.12

2. The Wages of Fear, 1.21.12

3. Le corbeau, 1.14.12

4. Quai des Orfèvres, 1.14.12 >> 5. La vérité, 2.2.12

3 4

Saturday / 1.14.12 Friday / 1.20.12 Friday / 1.27.12 8:45 9:00 8:40 Le corbeau Miquette and Her Mother Diabolique Henri-Georges Clouzot (France, 1943) Henri-Georges Clouzot (France, 1949) Henri-Georges Clouzot (France, 1955) (The Raven). Made while France was controlled by (Miquette et sa mère). Clouzot knew well the milieu of the Vichy regime, Clouzot’s second film is a brilliantly the theater, having set Quai des Orfèvres in a similar Two’s company, three’s a shroud in this utterly suspense- nuanced thriller about an “epidemic” of guilt and setting, but here he has set aside his signature cynicism ful story. Callous headmaster Michel (Paul Meurisse) suspicion. In “a village, here or elsewhere,” a rash for a wistfully light comedy. Based on the turn-of- reigns over a boys’ boarding school with sadistic of poison-pen letters surfaces, accusing the resi- the-century play, Miquette and Her Mother stars the pleasure. His terrorized wife Christina (Véra Clouzot) dents of philandering. Distrust mounts, accusations delightful Danièle Delorme as Miquette, a sheltered and his icy mistress (Simone Signoret) join forces abound, and the accumulating letters spread their young woman with ambitions to become an actress. to dispatch the unprincipled principal. The deed is “domestic contagion” among high and low. The film Against the wishes of her mother (Mireille Perrey), she done and the scoundrel disposed of in the school’s was denounced by the Vichy government and the is swept away by a loose-moraled marquis (Saturnin murky pool, but soon it is apparent that the watery Resistance alike for its supposed affront to the national Fabre) and, once abandoned, finds herself working depths bear no body. There is water, water everywhere character. Ironically, the Gestapo also condemned for a sou-less theater troupe. Clouzot delights in the in this shocking suspenser, from the tepid tub and turbid pool, to the pall of dampness that envelops this charmingly caustic portrait of accusations gone artifice of this bubbly “boulevard comedy.” Steve Seid all. Diabolique takes you to the lower depths. You’ll wild, for giving snitching a bad name. Steve Seid Written by Clouzot, Jean Ferry based on the play by Gaston Armand de Caillavet, Robert de Flers. Photographed by be gasping when you resurface. Steve Seid Written by Louis Chavance. Photographed by Nicolas Armand Thirard. With Louis Jouvet, Danièle Delorme, Bourvil, Hayer. With Pierre Fresnay, Ginette Leclerc, Pierre Larquey, Written by Clouzot, Jérôme Géronimi, based on a novel by Saturnin Fabre. (93 mins, In French with English subtitles, Micheline Francey. (93 mins, In French with English Pierre Boileau, Thomas Narcejac. With Simone Signoret, B&W, 16mm, From Institut Français, permission Pathé) subtitles, B&W, 35mm, From Institut Français, permission Véra Clouzot, Paul Meurisse, Charles Vanel. (107 mins, In Rialto Pictures) French with English subtitles, B&W, 35mm, From Institut Saturday / 1.21.12 Français, permission Janus Films/Criterion Collection) Wednesday / 1.18.12 8:10 The Wages of Fear Sunday / 1.29.12 7:00 Henri-Georges Clouzot (France, 1953) Manon 6:30 Henri-Georges Clouzot (France, 1949) (Le salaire de la peur). Desperate men relying on their The Spies Henri-Georges Clouzot (France, 1958) Overlooked for decades though it won the Golden paltry wits in a cruel and forsaken place—a bit like Lion at the Venice Film Festival, Manon is memorable John Huston’s great The Treasure of the Sierra Madre (Les espions). There’s a shock in every corridor in this for its scornful vision of postwar France as a moral made five years earlier. But Clouzot’s existential thriller espionage thriller about a dilapidated psychiatric quagmire. Manon (Cécile Aubrey), a prostitute about accelerates along a perilous mountain road, rather clinic whose head shrink Malic (Gérard Séty) con- to be lynched for sleeping with the enemy, is rescued than circling, vulture-like, above the greed of men. sents to hide a spy (Curt Jürgens). Soon bedlam is by Robert (Michel Auclair), a young Resistance fighter. The inveterate drifter Mario, played by Yves Montand, loosed as all manner of agents infiltrate the grounds, The two flee to Paris where the lure of luxury drives teams up with Jo (Charles Vanel), a barrel-bodied tough including a Lithuanian klepto (Peter Ustinov), and Manon and her naïve lover into an illicit underworld. guy, and together they take on the treacherous job of a Shakespeare-spouting operative played by Sam Clouzot leaves no quarter unsullied as he tracks the hauling nitroglycerin for an oil company across three Jaffe. Identities shift, loyalties lapse, and Dr. Malic downward destiny of his lovers, one an instinctual hundred miles of gut-churning terrain. Every rutted finds himself at the center of a Cold War conspiracy coquette, the other an unswerving dreamer. Steeped road, every rickety bridge becomes a harrowing trial for in which atomic secrets may be at stake. The Spies in postwar pessimism, Manon warns that paradise is these damned haulers in this explosive parable about swings, bipolar-like, between absurdist comedy and brute Cold War menace as though the howl and the not to be found on this earth. Steve Seid who’s really in the driver’s seat. Steve Seid horror were conjoined expressions of the time. Steve Seid Written by Clouzot, Jean Ferry, based on the novel Manon Written by Clouzot, Jérôme Géronimi, based on the novel Lescaut by L’Abbé Prevost. Photographed by Armand by Georges Arnaud. Photographed by Armand Thirard. Written by Clouzot, Jérôme Géronimi, from the novel Thirard. With Cécile Aubry, Michel Auclair, Serge Reggiani. With Yves Montand, Charles Vanel, Véra Clouzot. (1953, Midnight Patient by Egon Hostowsky. Photographed by (90 mins, In French with English subtitles, B&W, 35mm, 147 mins, In French with English subtitles, B&W, 35mm, Christian Matras. With Gérard Séty, Curt Jürgens, Véra From UNC Moving Image Archives) From Janus Films/Criterion Collection) Clouzot, Peter Ustinov. (137 mins, In French with English subtitles, B&W, 35mm, From Tamasa Films)

13 BAM / PFA FILMSFILMS & FEBRUARY 2012 14 JANUARY 35mm, From Sony Pictures) Sony From 35mm, (130 mins, mins, (130 kinetic artist Gilbert (Bernard Fresson), and and Fresson), (Bernard Gilbert artist kinetic bonding not bondage. Enter the obsessive needs she finds but to pose, temptation to the S and M postures. M postures. S and whose hobby is photographing female nudes in but kinky Stanislas Hessler (Laurent Terzieff), chic the gallerist, artist-lover’s her meets Wiener) (Elisabeth Josée to cinema. us draws so that gaze very the by extension, and, voyeurism explore to triangle love tortured another into us takes ( He W F Marie-José Frey, Sami Bardot, Photographed by Armand Thirard. With Brigitte Michèle Perrein, Christiane Rochefort, Véra Clouzot. Drieu, Simone Géronimi, Jérôme Clouzot, by Written ( He L T finally talking abouther generation. was she Dominique, protofeminist as because perhaps role, the into body her just than more and her bohemian rhapsody. Bardot throws nuanced flashbacks thatflesh out Dominique Charles Vanel and Paul Meurisse, and sharply case argued eloquently by Clouzot regulars, sensational the of merits the between alternates also Frey). Clouzot (Sami Gilbert lover her of murder the for trial on is Dominique remorseful and defiant alternately an where acourtroom in vérité La life. contemporary of gloom the Banker who seeks aimless amusements to delay Left liberated asexually Dominique, plays Bardot Brigitte twenty-six-year-old Paris, sixties early of La prisonnière The Truth hursda r a vé 5 nr nr i o da e i-G e i-G man y /2.3.12 r o o I ). I ). n French with English subtitles, B&W, B&W, subtitles, English with n French y /2.2.12 rges rges i t n this inquiring look at youth culture culture youth at look inquiring n this i é n ). Clouzot’s final foray into features features into foray final Clouzot’s ). C C Ch a l l o o N uz uz aturally, Josée succumbs succumbs Josée aturally, o o i t t ns (F (F N ra ra at, Charles Vanel. Vanel. Charles at, n n ce ce , 1968) , 1960) S te begins v 7:00 7:00 8:50 8:50 e Se id

I From part, in ’Scope 35mm, Color/B&W, subtitles, mins, (78 Picasso. Pablo With Written by Clouzot. Photographed by Claude Renoir. ( ever made!— movies joyful and exciting most the of One He Th S Films) Tamasa From 35mm, Color, mins, (105 Carrel. Terzieff, Elisabeth Wiener,Bernard Fresson, Dany Photographed by Andreas Winding. With Laurent Written by Clouzot, Monique Lange, Marcel Moussy. own voyeuristic impulse. our for asubstitute as gaze camera’s the uses Tom Peeping Like sprung. is trap triangulated the himself. Winner of the Palme d’ Palme the of Winner himself. performing Picasso of amimicry merely some successful, some flourishes, of frenzy effortless seemingly the from emerge Paintings recorded. is gesture painterly every maestro’s the that up a camera behind a translucent surface, so I upon a multitude of disembodied brushstrokes. wegaze instead, Picasso; of glimpse intriguing I voice-over. in Clouzot says hands,” his at look to needs just one mind, apainter’s through creative process. creative his of nature fecund the captures Picasso old seventy-five-year- the of glimpse colorful this A nstitut Français, permission Milestone Film and Video) and Film Milestone permission Français, nstitut ronically, hands are not what we see in Clouzot’s Clouzot’s in see we what not are hands ronically, n a style devised for the film, Clouzot sets sets Clouzot film, the for devised n astyle Le mystère Picasso Le mystère aturda ls nr o e M released the same year, Woman in Chains e i-G play o ystery o y /2.4.12 i rges o ng Paul C n I n French with English subtitles, subtitles, English with n French in l /2.1.12 Wednesday o e S K te uz ). “To know what’s going going what’s “To). know ael v o e f Pi Se t (F I id n French with English English with n French S ra te cass v n e ce Se O , 1956) id r at Cannes, Cannes, r at o p.15 5:30 5:30 1 3:10 / L at 3:10 Wednesdays as Purchase advance tickets at bampfa.berkeley.edu. bampfa.berkeley.edu. website, our on notes program full Find I Berkeley UC at media and film in lecturer senior is Fabe Marilyn B A UC 50 architecture, photography. photography. architecture, music, dance, painting, literature, theater, form: art PFA admissions desk; or by phone, (510) 642-5249. (510) by phone, or desk; PFA admissions BAM/ and office PFA box the at person in berkeley.edu); (bampfa. website our on available are which tickets, often sell out, so we recommend purchasing advance students, and youth 17 and under, Programs $8.50. Berkeley non-UC staff, and faculty Berkeley UC sons, UC Berkeley students, Seniors, $5.50; disabled per General admission, BAM/PFA $11.50; members, $7.50; apply: prices admission Special role. a starring plays form art another which in movies at welook as questions these consider We’ll medium?” film the into porated incor are they once modified or transformed film preceded that forms art the are “How possibilities?” expressive specific and unique own its with form, art a separate it is extent to what and arts, other the all of asynthesis cinema is extent “To what ask, C H Fil F n one way or another, each film we’ll study in study we’ll film each another, or way n one G ET ilm an this semester makes prominent use of another space M ORE c erkeley ine istory of istory perm m i ts o O d the o urse m 50: 50: ectures t pen I n film studies, we often often we studies, n film o a t A ther M by h e publ ar i lyn F i

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abe rts

Film Film - - 1. Swing Time, 2.15.12

2. Mark Isham, 2.4.12

3. A River Runs Through It, 2.4.12 Behind the Scenes: the art and craft of cinema

Wednesday / 1.18.12 Course Introduction: The Language of Cinema

Wednesday / 1.25.12 Back to the Beginning: From the Cinema of Attractions to Narrative Illusionism Judith Rosenberg on Piano

Wednesday / 2.1.12 The Mystery of Picasso Henri-Georges Clouzot (France, 1956) Composer 2/3 Wednesday / 2.8.12 Rope Mark Isham Alfred Hitchcock (U.S., 1948) with The Playhouse (Buster Keaton, Eddie Cline, U.S., 1921) An extraordinarily prolific composer, Mark Isham Saturday / 2.4.12 Judith Rosenberg on Piano has written scores for over one hundred feature 7:30 Mark Isham on Wednesday / 2.15.12 films. After getting his musician’s chops down in San Film Scoring Francisco’s eclectic jazz and rock scene, particularly Swing Time A performing artist as well as composer, Mark George Stevens (U.S., 1936) with the legendary prog-rock Group 87, Isham scored Isham talks about his three decades of musical his first film, Carroll Ballard’sNever Cry Wolf, in 1983. scoring for cinema, addressing how a composer Wednesday / 2.22.12 Many films followed that displayed Isham’s diversity brings emotional texture and added drama to a The Red Shoes as a composer, ranging from the rustic orchestral film’s final reception and how a score is shaped Michael Powell, Emeric Pressburger (U.K., 1948) arrangements in A River Runs Through It (1992), to fall within the form of a finished film. Isham through the synth-driven ethereal waves in Crash Wednesday / 2.29.12 concludes his talk with an introduction to his (2004), to the cool, noir jazz of The Black Dahlia Pather Panchali creative participation in A River Runs Through (2006). For his efforts as a film composer and a Satyajit Ray (India, 1955) It, which screens immediately after the talk at 8:45. performing artist, Isham has garnered Grammys, an With Meshes of the Afternoon (Maya Deren, U.S., 1943) Oscar nomination, an Emmy, and ASCAP’s Henry Followed by: Wednesday / 3.7.12 Mancini Award for Lifetime Achievement. A River Runs Through It Throne of Blood Robert Redford (U.S., 1992) Composer Isham belongs to a century-old tradition: Akira Kurosawa (Japan, 1957) Set in rural Montana, A River Runs Though It recounts as early as 1899, films were circulated with original the uneasy reunion of two brothers, the studious Wednesday / 3.14.12 music scores. This “special music” was often the Norman (Craig Sheffer) and the impetuous Paul (Brad Vertigo sign of a film’s stature: an important film deserved Pitt). As the brothers struggle to define themselves Alfred Hitchcock (U.S., 1958) outstanding and intentional music. With the advent under the harsh gaze of their stern minister father of the sound motion picture, music scores grew (Tom Skerritt), they find connection in their shared Wednesday / 3.21.12 from compositions that merely recalled popular rapturous affection for fly-fishing—it is in the silken To Kill a Mockingbird styles to highly original tracks serving the aims of flow of the river that they commune with a kind of Robert Mulligan (U.S., 1962) the accompanying story. Yet it would be wrong prelapsarian grace. The brilliant lensing of the great French cinematographer Philippe Rousselot finds its Wednesday / 4.4.12 to think that a musical score endures on original- counterpoint in Isham’s airy but rustic melodies that ity alone. The relationship between the director’s Red Desert bob to the surface with blissful lightness. Steve Seid Michelangelo Antonioni (Italy/France, 1964) intentions—regarding the pace and temperament of a film—and the score’s intrinsic mood and tempo Written by Richard Friedenberg, based on the novel by Norman Maclean. Photographed by Philippe Rousselot. Wednesday / 4.11.12 is one of infinite subtlety and arrangement. Music by Mark Isham. With Craig Sheffer, Brad Pitt, Tom Playtime Skerritt, Brenda Blethyn. (123 mins, Color, 35mm, From Sony Pictures) Jacques Tati (France, 1967) Join composer Mark Isham for some sound advice.

Wednesday / 4.18.12 Steve Seid, Video Curator Adaptation Spike Jonze (U.S., 2002)

Wednesday / 4.25.12 Dracula: Pages from a Virgin’s Diary Guy Maddin (Canada, 2002) Behind the Scenes is a collaboration between BAM/PFA and the San Francisco Film Society. Major support has been provided by the National Endowment for the Arts. Behind the Scenes is made possible in part by the continued support of the BAM/PFA Trustees.

15 BAM / PFA S

M African IL F Film Festival 2012 1/2

This year’s edition of our annual African Film Festival Thursday / 1.26.12 Adam, his days as a swimming champion behind him, spotlights pool attendants in Chad, Beethoven lovers 7:00 Medicine for Melancholy works as a pool attendant at a resort hotel, along and gangsters in Kinshasa, Tuareg immigrants in Italy, Barry Jenkins (U.S., 2007) with his adult son. When new owners lay Adam off, a Spanish filmmaker in Morocco, and even two African In person Director Barry Jenkins however, and civil war begins to brew, he makes a American hipsters in San Francisco as it spans the globe to fateful decision to fight for his job, and possibly lose Barry Jenkins’s debut feature is some kind of feature new voices from Africa and the African diaspora. wonderful. This is the rare film that is as thoughtful his son. Haroun’s rich cinephilia is in full bloom here, A Screaming Man, from Chadian director Mahamat- as it is sensual.—Michael Fox from the hotel-employee-gone-downhill narrative Saleh Haroun (Daratt), acclaimed as one of Africa’s Leave it to a Florida-by-way-of-L.A. transplant to make of The Last Laugh to the slow-burning, Ozu-like top contemporary filmmakers, anchors the festival, arguably the definitive film about contemporary San photography. which also features a strong line-up of works from and Francisco, and about being young, hip, and African Written by Haroun. Photographed by Laurent Brunet. With about the Democratic Republic of Congo. Viewers can American in a city that seems to only have room for Youssouf Djaoro, Diouc Koma, Emil Abossolo M’Bo, Marius sample a documentary about a classical orchestra in Yelolo. (91 mins, In French and Arabic with English subtitles, Kinshasa (Kinshasa Symphony), then dive head-first the first two. Barry Jenkins’s debut film chronicles the Color, Beta SP) into the city’s gangster life in the Tony Scott–like action “day after” a one-night stand as two hipsters (Tracey Wednesday / 2.1.12 filmViva Riva!, before embarking on a rich experimen- Heggins and The Daily Show’s Wyatt Cenac) struggle 7:00 tal documentary series—part animation, part archival to find more in common than their race. A trip to the One Way, A Tuareg Journey footage—on the entire history of the country (Kongo). Museum of the African Diaspora, in a city emptying Fabio Caramaschi (Italy/Niger, 2010) Starting the series off is Barry Jenkins’s festival hit itself of blackness, serves as a final counterpoint A young Tuareg child interviews his own family as Medicine for Melancholy, a contemporary work about to their banter on personal and political identity. well as other residents of his Italian town in this clever two young African Americans in San Francisco whose Medicine’s airy black-and-white photography draws documentary about family upheaval, immigration, visit to the Museum of the African Diaspora reminds us from the French New Wave’s romanticism, making it and hope. Armed with a video camera and a spirit of of the importance of seeking out images and narratives a delightful, diversified twenty-first-century remix adventure, young Sidi asks various bemused adults

from all over the world, whether from Chad, the Congo, of Rohmer and Truffaut. Jason Sanders pointed questions about immigration and Italy, but Italy, or San Francisco. it is the discussions with his father, who came first Written by Jenkins. Photographed by James Laxton. With Wyatt Cenac, Tracey Heggins. (90 mins, B&W, DigiBeta, to the country alone, and with his younger brother, Jason Sanders, Film Notes Writer From IFC) who just arrived from a nomadic life in Niger, that Preceded by: My Josephine (Barry Jenkins, U.S., 2003). are the most revelatory. Through one family’s very Jenkins’s first film is an impressionistic portrait of an Arab The African Film Festival National Traveling Series is organized particular—yet recognizably universal—experiences, by the African Film Festival, Inc. This touring series has been woman and man who work in a Tallahassee, Florida Laun- made possible by the generous support of the National dromat. (8 mins, Color, Blu-ray, From the artist) One Way uncovers the ordinary lives and extraor- Endowments for the Arts, The Andy Warhol Foundation for dinary journeys of twenty-first-century immigrant Sunday / 1.29.12 the Visual Arts, New York State Council on the Arts, Lambent communities in Europe today. 4:30 Foundation, and The Bradley Family Foundation. Special thanks A Screaming Man to Mahen Bonetti, director, and Toccarra Thomas, program Written, photographed by Caramaschi. (52 mins, In Italian Mahamat-Saleh Haroun (France/Belgium/Chad, 2010) and Tamasheq with English subtitles, Color, Beta SP) coordinator, for their assistance and support. The festival at BAM/PFA is coordinated by Kathy Geritz, and is copresented by It’s a modest film, if only in scale and apparent Preceded by: Lezare (For Today) (Zelalem Woldemariam the Department of African American Studies and the Center for budget, about some of the greatest questions in Ezare, Ethiopia, 2010). A revealing and touching story about a African Studies at UC Berkeley. Prints provided by the African life.—Manohla Dargis, New York Times homeless boy in a small village in southern Ethiopia. (14 mins, Film Festival National Traveling Series, unless indicated otherwise. In Amharic with English subtitles, Color, Beta SP) (Un homme qui crie). The Chadian director Mahamat-

Saleh Haroun (Daratt; Abouna) is fast becoming Total running time: 66 mins African cinema’s premier filmmaker;A Screaming GET MORE Man solidifies his standing. The graying yet still regal Find expanded film notes on our website, bampfa.berkeley.edu. Watch selected film trailers on our website, bampfa.berkeley.edu. 16 JANUARY & FEBRUARY 2012 1. One Way, A Tuareg Journey, 2.1.12

2. A Screaming Man, 1.29.12

3. Viva Riva!, 2.12.12

4. Kinshasa Symphony, 2.5.12

3 4 screenagers

Sunday / 2.5.12 Wednesday / 2.15.12 Saturday / 2.11.12 2:00 7:00 3:00 Kinshasa Symphony Kongo: 50 Years of Screenagers: 14th Annual Claus Wischmann, Martin Baer (Democratic Independence of Congo Bay Area High School Film Republic of Congo/Germany, 2010) Samuel Tilman, Daniel Cattier, Jean-François Bastin and Isabelle Christiaens (Belgium, 2010) and Video Festival Beautifully photographed and sonically stellar . . . a (U.S., 2010–11) Forget Ken Burns or the History Channel: this three- fully charged ode to the power of music.—Variety In Person Artists in person episode series on the strife-ridden history of the Special pricing: $5.50 In a dusty, bustling Kinshasa street, one man fiddles Congo is unlike any documentary series you’ve seen Ready to enjoy an afternoon of movies by a fresh group with speaker wires, another tunes a violin, and a before. Vivid sepia-toned animation and first-person of up-and-coming artists?! Combining teen power with group of mostly self-taught amateur musicians begins narrative voice-overs blend with rarely seen, often the creative juices of the overly imaginative minds of Bay to play Beethoven. Following the members of the startling archival footage to reveal a country whose Area youth, this fun-packed program will keep you thinking Orchestra Kinshasa—individually and as a group—as struggles embody all of African history. From early and on your feet. The festival features documentaries, they prepare for an open-air classical concert celebrat- colonial interference to Belgium’s bloody “red-rubber” narratives, and experimental films from high school ing the country’s independence, the film details the industrial exploitation of the early twentieth century, students throughout the Bay Area. Entries are selected creativity the musicians bring to balancing work, from the rise of African nationalism and the assas- by Berkeley High School students; the program will be family, and rehearsals; dealing with ill-timed power sination of independence leader Patrice Lumumba detailed in a handout available at the screening. After the outages; and repairing— and even making—their show, join us for a question-and-answer period followed to the reign of the corrupt Mobutu dictatorship, the instruments. Kinshasa Symphony heralds the voices by a reception where you can meet this new generation of three episodes of Kongo bring to life the richness and spirits of those responsible for keeping alive a filmmakers. You never know who will be the next big thing . . . and passions of a country, and a continent. literal Ode to Joy in one of the most war-torn, chaotic Tatayana Butcher, Jesus Escobar areas of Africa, the Democratic Republic of Congo. (156 mins, In French and Lingala with English subtitles Color, Beta SP) Total running time: c. 90 mins (95 mins, In French and Lingala with English subtitles, Color, Beta SP) Wednesday / 2.29.12 7:00 Curated by Berkeley High students in the Communication Arts Sunday / 2.12.12 You All Are Captains and Sciences (CAS) program as part of an internship offered by 6:30 Oliver Laxe (Spain/morocco, 2010) BAM/PFA. The student curators are Nichelle Proctor, Mark Bogle, Viva Riva! Jesus Escobar, Keelan Williams, Tatayana Butcher, Joshua Mizrahi, Djo Tunda Wa Munga (France/Belgium/Congo, 2010) One of the rare movies in which action is imbued with Luisa Pio, Shatonya Amerson, and Samantha Serrano. Their high thought, and in which the very process of thought African filmmaking gets a jolt of Hollywood-style school student mentor is Zoe O’Rorke, their UC Berkeley student seems to come to life.—Richard Brody, New Yorker panache in this adrenaline-fueled Congolese action mentor is Mahaliyah Ayla O, and their teacher is Dharini Rasiah. (Todos vós sodes capitáns). You All Are Captains, the film, which energizes its vivid Kinshasa locales and tender and surprising new film by Oliver Laxe, blurs social critiques with a raucous style. Brazen local fiction and documentary as it chronicles a young hustler Riva aims high by taking on an Angolan gang Spanish director’s attempt to make a film with a group (and seducing a rival crime lord’s gal); soon he’s living of Moroccan children. When the children revolt, the large, but he may not be living for long. A film of film shifts from the city to the country, and takes constant surprises, whether cinematic (tributes to film up the children’s vision of what movies should be. noirs and 1970s gangster films) or cultural (fascinat- Described by New Yorker critic Richard Brody as ing glimpses of Angolan/Congolese relations and “a wise reflection about children, foreignness, and Kinshasa gasoline shortages; a pounding African the cinema itself. Imagine something of a blend of hip-hop soundtrack), Viva Riva! is indeed “a blast François Truffaut’sSmall Change and Day for Night, from start to finish” Variety( ). Jason Sanders but with the intimacy of Abbas Kiarostami’s films Written by Munga. Photographed by Antoine Roch. With Patsha Bay Mukuna, Manie Malone, Hoji Fortuna, Alex about children.” Herbo. (96 mins, In Lingala, Portuguese, and French with (78 mins, In Arabic, French, Spanish, with English subtitles, English subtitles, Color, 35mm, From Music Box Films) B&W/Color, 35mm, From Northwest Film Forum)

17 BAM / PFA S M IL F Howard Hawks: The Measure 1/2 of Man

Friday / 1.13.12 7:00 This series celebrates the work of one of the most-loved directors of classical Hol- The Crowd Roars Howard Hawks (U.S., 1932) New Print! lywood cinema. A consummate professional, Howard Hawks (1896–1977) directed In the breathtakingly fast field of Howard Hawks movies, this car racing more than forty films, completing his first features at the end of the silent era. melodrama might hold the land speed record. James Cagney sets the Often working as both director and independent producer, Hawks maintained his pace as Joe Greer, a champion driver whose kid brother Eddie thinks autonomy within the studio system, allowing him control over his own destiny as Joe is the world’s one right guy; “he ought to get around more,” Joe’s an artist. Influenced by John Ford, Ernst Lubitsch, and Josef von Sternberg, Hawks gal (Ann Dvorak) astutely observes. And get around Eddie does, first directed films in every Hollywood genre: screwball comedies, dramas, gangster around a dirt track and eventually all the way to Indianapolis, while films, action adventures, Westerns, science fiction, musical comedies. But no matter Joe finds himself headed downhill. There are the requisite romantic the genre, he would make a quintessentially Hawksian film. entanglements (including Eddie’s with sweet-tart Joan Blondell), but

Favoring a simple, clear visual style, Hawks was an action director par excellence; the film’s emotional engine is on the speedway, in action. Juliet Clark

few filmmakers have rivaled his speed. Making the transition from silent to sound Written by Kubec Glasmon, John Bright, Seton I. Miller, Niven Busch, from a cinema, he found that he could use rapid-fire dialogue to increase narrative velocity. story by Hawks. Photographed by Sid Hickox, John Stumar. With James Cagney, Yet he relied heavily on actions, not words, to convey his characters’ feelings. Hawks’s Joan Blondell, Ann Dvorak, Eric Linden. (70 mins, B&W, 35mm, Preserved by the Library of Congress, permission Warner Bros.) personal credo that “man is the measure of all things” motivates his filmmaking. First and foremost, the Hawksian hero is measured by his (and, less frequently, 8:35 Tiger Shark her) work, and professionalism and camaraderie are paramount in Hawks’s films. Howard Hawks (U.S., 1932) New Print! Continuing through mid-April, this series surveys the full range of the director’s career, The wake of Moby-Dick ripples through Hawks’s melodrama of deep-sea including several rarely screened silents. It demonstrates that, like a composer writing fishing, shot on location in Monterey. “There are elements of Ahab . . . in a theme and variations, Hawks repeatedly treats the same themes, situations, and the character played by Edward G. Robinson, a Portuguese-born tuna actions, transposed from one genre to the next, with a remarkable unity of style. boat captain who loses his left hand to a shark and his young wife to his handsome first mate. Zita Johann, as the wife, is an early embodiment Susan Oxtoby, Senior Film Curator of the typically free-spirited, tough-minded Hawks woman. . . . Hawks sustained a slower tempo and a more romantic mood than he did in later Howard Hawks: The Measure of Man is timed to coincide with a UC Berkeley undergraduate films . . . helped considerably by Tony Gaudio’s beautifully modulated course on Hawks taught by Marilyn Fabe of the Department of Film and Media. We wish to thank photography” (Charles Hopkins, UCLA Film and Television Archive). the following individuals and institutions for their assistance with this major retrospective: Regina Written by Wells Root, from the story “Tuna” by Houston Branch. Photographed by Schlagnitweit, Austrian Film Museum; Rob Stone, Library of Congress; Anne Morra and Mary Keene, Tony Gaudio. With Edward G. Robinson, Richard Arlen, Zita Johann, J. Carrol Naish. The Museum of Modern Art; Daniel Bish, George Eastman House; Todd Wiener and Steven Hill, (80 mins, B&W, 35mm, Preserved by the Library of Congress, permission Warner Bros.) UCLA Film and Television Archive; May Haduong, Academy Film Archive; Fleur Buckley, BFI/NFTVA; George Watson, BFI Distribution; Kristen MacDonald, Film Reference Library, TIFF Bell Lightbox; Tuesday / 1.17.12 Grover Crisp, Sony Pictures; Paul Ginsburg, Universal; Caitlin Robertson, 20th Century Fox; Kent 7:00 Youngblood, MGM; and Marilee Womack, Warner Bros. Archival and restored prints and musical Fig Leaves accompaniment for silent films presented with support from the Packard Humanities Institute. Howard Hawks (U.S., 1926)

Live Music Judith Rosenberg on Piano Introduction Marilyn Fabe

Marilyn Fabe is senior lecturer in film and media at UC Berkeley. GET MORE Fashion is the original sin in Hawks’s second feature film, his earliest Find expanded program notes on our website, bampfa.berkeley.edu. that still survives. “I’ve nothing to wear,” laments Eve (Olive Borden) Get the March/April Hawks schedule at bampfa.berkeley.edu. to an exasperated Adam (George O’Brien) in a Flintstones-like Eden. Flash forward a few thousand years: the styles have changed but the Students and BAM/PFA members: Get a discounted passport to Howard Hawks: The Measure of Man! Find out more and purchase passports before January 27 at bampfa.berkeley.edu.

18 JANUARY & FEBRUARY 2012 1. The Dawn Patrol, 2.17.12

2. Paid to Love, 1.27.12

3. Bringing Up Baby, 2.14.12

4. Scarface, 1.31.12

3 4

complaint remains the same, and Eve trades her of a seminal Hawks theme, a “love story” between Tuesday / 1.31.12 7:00 leopard bikini for the Erté-esque kimonos of a Fifth two men. Victor McLaglen and Robert Armstrong are Scarface Avenue couturier. “[An] effervescent blend of sly sex two sailors who tend to have the same girl in every Howard Hawks (U.S., 1932) Vault Print! comedy and riotous slapstick. . . . Though the film is port until they resolve the rivalry by becoming fast It was the worst of times, it was the best of films: Scar- silent, Hawks’s epigrammatic rapidity is already in friends; then they don’t really need the “skirts” any face was to be the gangster film to end all gangsters, evidence” (Richard Brody, New Yorker). Juliet Clark more. Their developing union is conveyed in a bril- but instead it produced a genre, and perhaps a few Written by Hope Loring, Louis D. Lighton, from a story by liantly conceived style that relies largely on gestures. mobsters, inspired by Hawks’s fun-lovin’ criminals Hawks. Photographed by Joseph August. With George Louise Brooks supplies some of the best moves in riding the crest of a nation’s misery. Of course, they O’Brien, Olive Borden, Andre de Beranger, Phyllis Haver. the role of a circus high diver who almost (but not (c. 70 mins, 24 fps, Silent, B&W, 35mm, From The Museum all meet their Maker, but killing them is like Buñuel’s of Modern Art, permission 20th Century Fox) quite) manages to break up the two stars. Judy Bloch “one less fly”—it only makes room for more. Hawks’s Written by Seton I. Miller, Reginald Morris, James Kevin rat-a-tat-taut direction weaves visual tics (like the Friday / 1.20.12 McGuinness, from a story by Hawks. Photographed by L. ubiquitous image of the X) and humor into the tragic 7:00 W. O’Connell, Rudolph Berquist. With Victor McLaglen, Fazil Robert Armstrong, Louise Brooks, Myrna Loy. (64 mins, trajectory of Tony Camonte (Paul Muni), the original Howard Hawks (U.S., 1928) Silent, B&W, 35mm, From the collection of George Eastman Italian Stallion doomed by his charged love for his Live Music Judith Rosenberg on Piano House, permission 20th Century Fox) own sister (Ann Dvorak). Judy Bloch This rare Hawks silent travels between Paris, Venice, Friday / 1.27.12 Written by Ben Hecht, Seton I. Miller, W. R. Burnett, John and “Araby—untouched by the ages” as it follows 7:00 Lee Mahin, Fred Pasley, from the novel by Armitage Trail. the ill-fated romance between Arabian prince Fazil Paid to Love Photographed by Lee Garmes. With Paul Muni, Ann Dvorak, Howard Hawks (U.S., 1927) Karen Morley, George Raft. (93 mins, B&W, 35mm, From (Charles Farrell) and Fabienne (Greta Nissen), a Universal) freedom-loving Parisienne. “Love is possession,” Live Music Judith Rosenberg on Piano Fazil tells Fabienne; she declares herself willing to Set in a mythical kingdom of the sort you’d see in a Tuesday / 2.7.12 become his property, without knowing quite how Lubitsch film and adorned with visual flourishes à 7:00 la Murnau, this silent romantic comedy of mistaken Twentieth Century far her surrender will go. Hawks’s attitude toward Howard Hawks (U.S., 1934) Vault Print! identity doesn’t exactly fit the Hawksian mold, but this exercise in studio exotica was skeptical—“Christ Fueled by the wit of Ben Hecht and Charles MacArthur it entertains on its own terms. Before an American Almighty, can you imagine Charlie Farrell as an Ara- and the frenetic timing of Hawks, Twentieth Century banker will bail out the tiny nation of San Savona, the bian sheik?” he exclaimed—and the film offers the is a battle of the sexes stripped of the romance: pure girl-shy crown prince (George O’Brien) must be made diversions of comedy, action, and haremsploitation screwball, and one of the best. John Barrymore is marriageable, so a Parisian Apache dancer (Virginia before settling into tragedy. Juliet Clark seemingly unstoppable as a wild-haired Broadway Valli) is hired to overcome his indifference. As the Written by Seton I. Miller, Philip Klein, from the play mogul. Carole Lombard meets him farce for farce as prince’s caddish cousin, William Powell temporarily L’insoumise by Pierre Frondaie. Photographed by William his onetime protégée and lover, Hoboken Cinderella O’Connell. With Charles Farrell, Greta Nissen, John Boles, impedes Valli’s progress—and shamelessly usurps Mae Busch. (75 mins, 24 fps, Silent, B&W, 35mm, From The to his Svengali, bromo to his seltzer, now en route to the movie. Juliet Clark Museum of Modern Art, permission 20th Century Fox) normality. They meet again, on the Twentieth Century Written by William M. Conselman, Seton I. Miller, Benjamin rail line, destined to renew their “little comedy.” This Tuesday / 1.24.12 Glazer, from a story by Harry Carr. Photographed by very American tale goes everywhere at once at an 7:00 William O’Connell. With George O’Brien, Virginia Valli, J. A Girl in Every Port Farrell McDonald, William Powell. (74 mins, 24 fps, Silent, amazing clip, and winds up exactly where it began. Howard Hawks (U.S., 1928) B&W, 35mm, Preserved by The Museum of Modern Art Welcome to the Twentieth Century. Judy Bloch with support from The Film Foundation and the Hollywood Live Music Judith Rosenberg on Piano Foreign Press Association, permission 20th Century Fox) Written by Ben Hecht, Charles MacArthur, from their play Introduction Marilyn Fabe adapted from Napoleon on Broadway by Charles Bruce Marilyn Fabe is senior lecturer in film and media at Mulholland. Photographed by Joseph August. With John UC Berkeley. Barrymore, Carole Lombard, Walter Connolly, Roscoe Karns. (91 mins, B&W, 35mm, From Sony Pictures) A Girl in Every Port represents an early incarnation

19 BAM / PFA FILMSFILMS & FEBRUARY 2012 20 JANUARY (102 mins, B&W, 35mm, From 20th Century Fox) Century 20th From 35mm, B&W, mins, (102 Katharine Hepburn, Charlie Ruggles, Walter Catlett. Grant, Cary With Metty. Russell by Photographed Wilde. Dudley by Written all. of disaster biggest the is that ending to a happy route en repeats she right,” all tobe going dotty as a leopard and just as dangerous. “Everything’s avian and human variety—all thanks to Hepburn, as the of loons and leopards, lookalike eccentrics, rich of a tumult into tossed is he as reversals and humiliations of aseries endures Grant graceless A wonderfully comedies. screwball of screwiest and swiftest this in marriage impending his and career, his car, his to wreck proceeds she as Grant Cary paleontologist trollable heiress Katharine to Hepburn perturbed uncon says agame,” only it’s matter, it does “What Ho B T Pictures) Sony From B&W,35mm, mins, (96 Karloff. Boris Cummings, Constance Holmes, Phillips Huston, Walter With Howe. Wong James Ted by Tetzlaff, Photographed Flavin. Martin Seton by Written said. he amusing,” very be also can “ it: deflates comically and tension the escalates both Hawks while atmosphere, grim the heightens Howe cinematography by Ted Tetzlaff and James Wong The job. his doing just he’s Karloff, by Boris played con revenge-obsessed the including house, big the in else everyone Like expediency. and moralism of union ironic the embodies Huston Walter warden, turned D.A. aterse collector, debt primary film’s the As picture. prison stark this in keepers their and convicts both for ethics of code the is such to pay”: got “Somebody’s Ho Th S I uesda u t was the first time time first the t was 5 r H ward H ward n e ing da C y /2.12.12 r y /2.14.12 ing (U.S., 1938) (U.S., awks 1931) (U.S., awks im inal U I . Miller, Fred Fred . Miller, N p ichols, Hagar Wilde, from a story by a story from Wilde, Hagar ichols, B discovered almost any tragedy tragedy any almost I discovered Co aby de R N est iblo Jr., from the play by play the from Jr., iblo o red P r J ul in iet t! J C ul lark iet

C 7:00 4:30 lark - Ho Only A T Douglas Fairbanks Jr., Photographed by Ernest Haller. With Richard Barthelmess, story “The Flight Commander” by John Monk Saunders. Seton Totheroh, Dan Hawks, by Written soar. engines—really plane the of by that sequences—with the camera’s noise camouflaged flight the static, somewhat are technology, sound I feelings. personal before come must duty professional Jr., played by Richard Barthelmess and Douglas Fairbanks fliers British the for responsibility; of positions in ent inher conflicts moral the instead stressing combat, in men of heroics the demystifies Hawks films, war his all in War. World As First the on documentaries in up turned has film this from footage that ticity authen seeming such of scenes combat aerial staged Hawks pictures, aviation of master acknowledged The Ho Th F (121 mins, B&W, 35mm, From Sony Pictures) Sony From 35mm, B&W, mins, (121 Grant, Jean Arthur, Thomas Mitchell, Richard Barthelmess. Photographed by Joseph Walker, Elmer Dyer. With Cary Hawks. by a story from Furthman, Jules by Written verve. and vitality with glinting but death by shadowed once, at exhilarating and touching, goofy, be to manages film The mortality. of presence real very the responsibility, of meaning the allegiances, professional and work”—personal Hawks’s of threads thematic main the together .drawing masterpiece “ wrote, Wood Robin As another. one about caring of risks greater even the and Andes the over mail flying a south-of-the-border backwater, facing the perils of in isolated Americans of crew a small among Hayworth Grant, Richard Jean Barthelmess, Arthur, and Rita This improbable, irresistible adventure places Cary permission Warner Bros.) Congress, of Library the by Preserved 35mm, B&W, mins, is a completely achieved achieved acompletely is Wings Have Angels Only uesda r H ward H ward i y / 2.17.12 / y da e D a y /2.21.12 f the interior scenes, restricted by early by early restricted scenes, interior f the (U.S., 1939) 1939) (U.S., awks 1930) (U.S., awks w Ha ngels n P atr 6 N eil Hamilton, William Janney. (95 o v l R New e est W P r o i red ngs in I . Miller, from the the from . Miller, t! Pr in t! J ul iet C 7:00 8:55 lark - - Ho Barbary F Gene Lockhart. (92 mins, B&W, 35mm, From Sony Pictures) Sony From 35mm, B&W, mins, (92 Lockhart. Gene Bellamy, Ralph Russell, Rosalind Grant, Cary With Walker. by Ben Hecht, Charles MacArthur. Photographed by Joseph play the from Lederer, Charles by Written quality: dense, rhythmic, layered, in motion. sound a jazz-like but one-liners of a string not ences speed, dialogue overlapping constantly. O breakneck at come lines the movement, as sound of asense had who Hawks, of hands the in think; can today actors than faster talk could Russell and Grant arena. sexual the into Grant) (Cary Burns Walter editor drawing the Machiavellian of machinations newsroom thus and Russell) (Rosalind agal into Johnson Hildy doubly cynical romance, transforming crime reporter in journalism tabloid of portrait cynical MacArthur’s Charles and To Hecht Ben Ho H T Trust) Goldwyn Samuel From 35mm, B&W, mins, (91 Brennan. Walter McCrea, Joel Robinson, G. Edward Hopkins, Miriam With June. Ray by Photographed Written by Ben Hecht, Charles MacArthur, Edward Chodorov. are. they think they as or seem, they as bad as are people whether question: central film’s O whose Brennan, Walter swindler to toothless go bits best the of some but on, to chew plenty stars the gives MacArthur Charles and Hecht by Ben script The her. within softer something stirs McCrea Joel prospector poetical with meeting achance then but Robinson, G. Edward boss corrupt with up takes she out, pan doesn’t stake first her When plans. big with but shovel and pick without arriving Hopkins Miriam wefind so and golddiggers, be will there gold, there’s where 1849: Francisco, San r uesda i H ward H ward i s da rl Gi y /2.24.12 y /2.28.12 (U.S., 1935) (U.S., awks (U.S., 1940) 1940) (U.S., awks F Co r iday ast The Front Page ld Atrocity suggests the the suggests Atrocity ld R est o red The Front Page P r , Hawks added added , Hawks in J t! ul ne experi J iet udy 6. 5. C 7:00 B 8:45 lark His Girl Friday Girl His CoastBarbary l o

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Perfectionism: 1/2

Robert Bresson Thursday / 1.19.12 7:00 1. The Devil Probably, 2.3.12. Au hasard Balthazar Photo: Olive Films/Gaumont/ Robert Bresson (France, 1966) The Film Desk. Inspired in part by the donkey anecdote in Dostoyevsky’s The Idiot, Bresson “It is with something clean and precise that you will force the attention of 2. Au hasard Balthazar, 1.19.12 inattentive eyes and ears.”—Robert Bresson, Notes on Cinematography cast Balthazar the donkey as the central character. Passed from one owner to the next, Balthazar is both witness to and victim of their stories, The works of Robert Bresson— thirteen exquisite gems in a career that their suffering, their violence. His life and death are as mysterious, if not spans five decades—are as rare as they are revered. So it is with great as meaningless, as any of theirs. The other main figure in the film is a pleasure that we present this complete retrospective of his films orga- young farm girl who befriends Balthazar and suffers some of his fate in nized by James Quandt of TIFF Cinematheque on the occasion of the the grip of her passion for a leather-jacketed motorcyclist. The film is at forthcoming publication Robert Bresson (Revised), edited by Quandt once extremely sensual and a work of unearthly sensitivity. Judy Bloch and distributed by Indiana University Press, an invaluable volume for Written by Bresson. Photographed by Ghislain Cloquet. With Anne Wiazemsky, anyone seeking to understand the beauty and perfectionism of Bresson’s François Lafarge, Walter Green, Philippe Asselin. (95 mins, In French with singular body of work. English subtitles, B&W, 35mm, From Rialto Pictures)

With his first feature—made after he had been a prisoner of war—Robert Saturday / 1.21.12 6:30 Bresson (1901–99) was recognized as an original and authentic voice in Mouchette cinema. Over the years, this authenticity would rework itself in film after Robert Bresson (France, 1967) rigorous film, gaining him more than a few imitators, but never a true heir. Mouchette is a visual study of a state of mind. Based on a book by Even now, the power of Bresson’s style—austere, yet deeply affecting; Georges Bernanos (author also of Diary of a Country Priest) it has controlled, yet replete with compassion, almost unbearably so—remains affinities withBalthazar in its depiction of the limits of quiet suffering one of cinema’s pure mysteries. and humiliation a living being can endure. In a French village painted The Catholic Bresson evinces an unsparing eye toward French society—in in all its charmlessness, fourteen-year-old Mouchette has been denied the countryside, in the city, in convent or prison—and unsparing compassion a childhood by an alcoholic father and a dying mother. Despised and for its victims. But while other directors are concerned with sentiment, rejected, she observes the adult world from a position of extreme isola- Bresson’s concern is at once more real and more otherworldly: his subject tion. A final lesson in the callousness of adults informs Mouchette’s first, is suffering and redemption. For his many admirers, his films attain the and last, act of open rebellion, a pure, elegiac enactment of Bresson’s grace his characters seek. redemptive pessimism. Judy Bloch Written by Bresson, based on the novel Nouvelle histoire de Mouchette by Georges Bernanos. Photographed by Ghislain Cloquet. With Nadine Nortier, Series coordinated at BAM/PFA by Susan Oxtoby. Thanks to the following individuals Jean-Claude Guilbert, Marie Cardinal, Paul Hébert. (80 mins, In French with and institutions for their generous support of this retrospective: TIFF Cinematheque English subtitles, B&W, 35mm, From Rialto Pictures) and James Quandt, Toronto, who undertook the organization of the North American touring series; Institut Français, Paris; Delphine Selles Alvarez at the French Cultural Saturday / 1.28.12 Services, New York; Denis Bisson and Nora Orallo, French Consulate San Francisco; 6:30 La Cinémathèque Française, Paris; Mylène Bresson, Paris; Pierre Lhomme, Paris; Jake Pickpocket Robert Bresson (France, 1959) Perlin, The Film Desk, New York; Bruce Goldstein and Eric Di Bernardo, Rialto Pictures, New York; Sarah Finklea and Brian Belovarac, Janus Films, New York; and Alliance It is one of those consummate works of art which in one flash pales Française San Francisco. everything you have ever seen . . . an unmitigated masterpiece. —Paul Schrader Bresson liked to use untrained actors whose natural impassivity he harnessed to his own ends. The epiphany is Pickpocket, which in a watershed year in French cinema, 1959, was merely the most contemporary film ever made. A young recluse, Michel, drawn inexorably to picking

21 BAM / PFA FFILMSILMS & FEBRUARY 2012 22 JANUARY 3 Pictures) Rialto From 35mm, B&W, subtitles, English with French ( Ro Di 35mm, From Janus Films/Criterion Pictures) mins, (75 Pelegri. With Martin Lasalle, Marika Green, Pierre Leymarie, Jean Written by Bresson. Photographed by Léonce-Henry Burel. isolated. observable, is strangers indifferent or wary by turns. Everything from gazes wallets, watches, legs, glances, hands, Pickpocket Paris, of subways and cafes, streets, the in Shot man. superior his on based anxiety pockets, suffers not guilt, but a kind ofperformance interestingly unsympathetic addition to Bresson’s toBresson’s addition unsympathetic interestingly modern world circa 1977. This character makes an of disasters the social and political, ecological, by, the all explained entirely not but to, linked young Parisian whose suicidal despair is vaguely most fashionably cynical protagonist, Charles, a film. cynical most Bresson’s ( Ro Th F N Photographed by Léonce-Henry Burel. With Claude Laydu, Bernanos. Georges by novel the from Bresson, by Written most intimate excursion into the soul. the into excursion intimate most Bresson’s effects He strength. interior and passivity exterior of one is which role, his of authenticity the to achieve order in periods for fasted actor, stage Swiss progresses through pain to grace. Claude Laydu, a priest the cross, the of stages like illness, in then and diary entries. Episode by episode, in his loneliness the screen, using Bernanos’s original dialogue and to novel the adapted faithfully Bresson parishioners. his of scorn the suffers purity, and simplicity his in nanos’s novel concerns a young country priest who, Le journal d’un curé de campagne de curé d’un Le journal Le diable probablement r icole Maurey, Jean Riveyre, André Guibert. (114 mins, mins, (114 Guibert. André Riveyre, Jean Maurey, icole B bert B bert i ary o da e D y /2.3.12 e ress ress vi f l P on (F on on (F on a Co I n French with English subtitles, B&W, B&W, subtitles, English with n French r ra ra o is a brilliant ballet of fingers, P untry n n bably N ce ce ietzschean theories of the the of theories ietzschean J udy , 1950) , 1977) , 1977) ). This has been called called been has This ). B l I t certainly offers his his offers t certainly o

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piece of filmic doggerel; a cartoon with live actors live with cartoon a doggerel; filmic of piece a aplot; with acircus comedy; “A burlesque debut: directorial unlikely intriguingly most cinema’s be to proves lost, believed long film, first legendary Bresson’s Robert 1934). France, son, P Français) French with English subtitles, B&W, 35mm, From From 35mm, B&W, subtitles, English with French Total running time: 121 mins 121 time: running Total 35mm, From La Cinémathèque Française) mins, 25 (1934, With Dalio, Beby, Andrée Servilanges, Gilles Margaritis. by Photographed Bresson. by Written Adair). (Gilbert energy” by exclusively activated a cartoon, Color, 35mm, From The Film Desk and and Desk Film The From 35mm, Color, mins, (93 Carcano. Laetitia search. spiritual athwarted of dignity compromised odd, the retrospect in on takes thought, unexpressed an of middle the in ends which life, Charles’s But beauty can’t mitigate an infuriating, passive arrogance. aristocratic his and saintly, from far is lovers multiple his toward behavior self-sacrifices—his of gallery With Renée Faure, Jany Holt, Louise Sylvie. (96 mins, mins, (96 Sylvie. Louise Holt, Jany Faure, Renée With Bruckberger, Bresson. Photographed by Philippe Agostini. Leopold P. R. Raymond, Giraudoux, Jean by Written ( Ro L S With Antoine Monnier, Tina Written by Bresson. Photographed by Pasqualino de Santis. the film its movement, its real movement.” give characters the inside untied and tied are which knots “The said, Bresson idle, rarely eye is camera’s the if And norm. the as ruthlessness sometimes and discipline, ritual, present life convent of details evoked patiently The girls. delinquent of rehabilitation to the devoted a convent of world closed the into Anne-Marie, woman, young asophisticated follows distinguished playwright and novelist Jean Giraudoux, by France’s written script, The ambiguities. religious passionate its to calm lending film, feature first his in evidence in already are style narrative promising Angels of Sin b receded u es B bert n 4 da anges y /2.5.12 J ress ul iet y: L ). Bresson’s visual elegance and uncom and elegance visual Bresson’s ). C I on (F on n French with English subtitles, B&W, B&W, subtitles, English with n French lark A es p du ra ffa n ce i é I P res I n French with English subtitles, subtitles, English with n French rissari, Henri de Maublanc, c , 1943) , 1943) hé ubl 35 New i N O (Robert Bres (Robert ques icolas Toporkoff. Toporkoff. icolas live Films) live P mm I nstitut nstitut — r in and like like and 4:00 I t n ! - -

de Ro Th F Français, permission Janus Films/Criterion Collection) I Labourdette, Lucienne Bogaert, Paul Bernard. (90 mins, Elena Casarès, Maria With Agostini. Philippe by graphed le fataliste Diderot’s of a part on based Bresson, by Written tion of passions otherwise inexpressible. called his “distanced” approach is, rather, a distilla have some What triumph. love’s of a drama create to necessary abstraction the in steps first his takes Bresson that dialogue, Cocteau’s Jean in and story, I aprostitute. with marriage into him by luring ex-lover her on revenge takes who woman, Hélène (Maria Casarès in her firststarring role), I setting. Paris a contemporary to by Diderot novel eighteenth-century an in episode an updates (on surface) work the accessible most ( — works. incandescent most Bresson’s Robert of One Ro L Films/CriterionJanus Collection) From 35mm, B&W, subtitles, mins, (65 Jacquier. Marc Honorat, Burel. With Florence Carrez, Jean-Claude Fourneau, Roger Written by Bresson. Photographed by Léonce-Henry door behind her.” the closes but world supernatural this enters She faculties. our of reach farthest the at a world of us convinces “She Bresson: existence. woman’s this of drama the and mystery the of full experience an creates O feet. hands, objects, of close-ups extreme with intercut judges, her and Joan of shots medium of mainly consisting austere, are visuals the essentials; to its reduced transcript, trial the of entirely consists dialogue The death. her Joan of Arc’s prolonged interrogation through to ( n French with English subtitles, B&W, 35mm, From From 35mm, B&W, subtitles, English with n French Le procès de Jeanne d’Arc Jeanne de Le procès The Ladies of the Bois de Boulogne de Bois the of Ladies The 5 r es Se B bert B bert i da nses e T Bo dames y /2.10.12 o r o ul . Dialogue written by Jean Cocteau. Photo ress ress f Cin i o al ema on (F on on (F on gne Boi du f Jo ra ra

n n ut of this icy surface Bresson Bresson surface icy this of ut ce ce o an I , 1962) , 1962) , 1945) , 1945) nstitut Français, permission permission Français, nstitut t is in contemporizing the the contemporizing in t is s ). Bresson’s film follows follows film Bresson’s ).

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c h - 3. Mouchette, 1.21.12

4. Lancelot of the Lake, 2.11.12

5. A Man Escaped, 2.17.12

6. Une femme douce, 2.18.12

7. Les dames du Bois de Boulogne, 2.10.12 From Janus Films.

8. The Trial of Joan of Arc, 2.10.12

6 7

Saturday / 2.11.12 Saturday / 2.18.12 Saturday / 2.25.12 8:30 6:30 8:35 Lancelot of the Lake Une femme douce L’argent Robert Bresson (France, 1974) Robert Bresson (France, 1969) Robert Bresson (France, 1983) (Lancelot du lac). One of Bresson’s most beautiful films (A Gentle Creature). The suicide of a young wife Bresson is probably the most stringent stylist that updates the King Arthur legend, not by bringing it begins this simple, inscrutable story; afterward, narrative cinema has yet produced, the French cin- into modern times but by the timeless modernism of her pawnbroker husband relates the history of ema’s brilliant monomaniac. Taken from Tolstoy’s the artist’s treatment. The focus is on the adulterous their marriage. But his narration necessarily fails to “The False Note,” L’argent is a serenely composed love of Lancelot and Guinevere. Long stretches of the explain the woman whose life we see in flashback, crime story that tells its ruthless tale without once film are without dialogue, and offscreen sound and underlining the ultimate privacy of death. The actors raising its voice. An ordinary young man is caught up dialogue—when a person is heard but not seen—is deliver their impassioned Dostoyevskian lines with in a spiraling sequence of crimes that culminate in a the aural counterpart of a visual scheme in which a wonderfully daft (calculated) affectlessness; at double hatchet murder. His acts are inexplicable, but hands, knees, and legs are seemingly disembodied moments, the direction reaches a level of sublime they are triggered by false testimony, abandonment, from their armored owners. The powerful effect of absurdity reminiscent of late Buñuel. Yet the dogged ordinary people on the take—and something totally Bresson’s elliptical soundtrack and images is that of peculiarity of Bresson’s style and his insistent refusal mysterious in the soul of the protagonist. L’argent a code of honor broken down. Judy Bloch of psychology seem paradoxically to bolster the has the manner of an official report, the tone of a

Written by Bresson. Photographed by Pasqualino de Santis. story’s emotional impact. spiritual autopsy. Russell Merritt With Luc Simon, Laura Duke-Condominas, Humbert Balsan, Written by Bresson, from the Dostoyevsky story, “A Written by Bresson, based on the Tolstoy story “The False Vladimir Antolek-Oresek. (85 mins, In French with English Gentle Creature.” Photographed by Ghislain Cloquet. With Note.” Photographed by Pasqualino de Santis, Emmanuel subtitles, Color, 35mm, From Institut Français, permission Dominique Sanda, Guy Frangin. (88 mins, In French with Machuel. With Christian Patey, Sylvie Van Den Elsen, Gaumont) English subtitles, Color, 35mm, From The Film Desk) Michel Briguet, Caroline Lang. (85 mins, In French with English subtitles, Color, 35mm, From Janus Films/Criterion Friday / 2.17.12 8:20 Collection) 7:00 Four Nights of a Dreamer A Man Escaped Robert Bresson (France, 1971) New 35mm Print! Robert Bresson (France, 1956) New 35mm Print! (Quatre nuits d’un rêveur). A Parisian night on the (Un condamné à mort s’est échappé). A Man Escaped Pont Neuf. A woman bereft attempts suicide. Fate is pure film existentialism. From a newspaper account intervenes as a young man, new to town, stops her. by a Resistance leader who escaped from a Nazi prison An ordinary love story begins. Yet through Bresson, in Lyon just hours before he was to be executed, Bres- this well-worn tale is rewoven from the Dostoyevsky son created a film in which the drama is all internal. original into a cinematic meditation on both romanti- Minimizing the drama of prison life, paradoxically he cism and the ultimate subjectivity of love. Bresson’s maximizes its intensity, concentrating on his character lean, austere style deeply etches their interlude: they Fontaine’s solitude, and on prison relationships in are heard almost removed from context, and only what which a tap on the wall, a whisper in the washroom, they see is seen. The director’s trademark somber are bridges to another’s soul. Set to Mozart’s Mass in atmosphere is lightened by his use of color—and a C Minor, this is a genuinely moving encounter with pop/bossa nova beat. Sally Syberg limits, and the need to transcend them. It is a true Written by Bresson, from the Dostoyevsky story “White action film. Judy Bloch Nights.” Photographed by Pierre L’homme. With Isabel Written by Bresson, after the account of André Devigny. Weingarten, Guillaume des Forêts, Jean-Maurice Monnoyer. Photographed by Léonce-Henry Burel. With François (94 mins, In French with English subtitles, Color, 35mm, Leterrier, Charles LeClainche, Maurice Beerblock. (97 mins, From TIFF Cinematheque, permission Gian Vittorio Baldi) In French with English subtitles, B&W, 35mm, From Janus Films/Criterion Collection)

8

23 BAM / PFA 1 2 S M IL F

Documentary voices

Wednesday / 1.25.12 Wednesday / 2.15.12 7:00 7:00 Documentary Voices is presented in conjunc- David Holzman’s Diary Kongo: 50 Years of Jim McBride (U.S, 1968) New PFA Preservation Print! Independence of Congo tion with the UC Berkeley course History of Samuel Tilman, Daniel Cattier, Jean-François Bastin and A totally delightful satire on “the blubber about cinema vérité.” Documentary Film, taught by Jeffrey Skoller Isabelle Christiaens (Belgium, 2010) —New York Times during the spring semester. The series begins See African Film Festival 2012, p. 17. with a screening of PFA’s recent preserva- Taking as its starting point Godard’s celebrated statement that cinema is truth, twenty-four times per second, David tion of the legendary cinema verité–style Wednesday / 2.22.12 Holzman’s Diary proceeds to disabuse both protagonist and fiction film David Holzman’s Diary. We 7:00 also present three programs of animated viewer of any such notion. L. M. Kit Carson (who wrote the Making it (Un)real: Animated Documentary Shorts documentaries: The Green Wave, which uses screenplay) is cast as David Holzman, a New York cinephile Introduction Jeffrey Skoller animation and a range of new technologies to whose desire to record his life on film begins as an artistic In Person Jacqueline Goss document the 2009 Iranian “Green Revolu- quest but turns into obsession and, finally, personal disaster. Hybrid animated documentaries have become one of the tion”; Kongo, which combines animation As the film progresses, it becomes apparent that its subject, most exciting and challenging areas of contemporary film- and historical footage to trace the history at first assumed to be Holzman, is the camera, and finally making. Traditionally, documentary and animation are placed of Congo; and a program of documentary the process of filmmaking itself. at opposite poles of the cinematic spectrum: the aura of animation shorts. These latter works com- Written by McBride, L. M. Kit Carson. Photographed by Michael seriousness surrounding the social documentary, with its claims memorate the publication of Animation: An Wadleigh. With L. M. Kit Carson, Eileen Dietz, Louise Levine, Lorenzo Mans. (73 mins, B&W, 16mm, PFA Preservation Print) to truth and realism, and the frivolity of handmade cartoons, Interdisciplinary Journal, guest edited by springing from the imagination, are seen as philosophical and Jeffrey Skoller, who will introduce two of Wednesday / 2.8.12 political antinomies. This program features a series of short the programs. The special issue Making it 7:00 The Green Wave films, including two films by our guest, New York filmmaker (Un)real: Contemporary Theories and Practices Ali Samadi Ahadi (Germany/Iran, 2010) Jacqueline Goss, which suggests the range of subjects and in Documentary Animation features essays Introduction Jeffrey Skoller forms possible with this hybrid genre. Jeffrey Skoller and reflections by a range of contemporary One of the most important documentaries at Sundance this The Day Sashi Ran Out of Honey Sonia Bridge, U.K., 2000, 5 mins, scholars and filmmakers on, in Skoller’s words, year, and one of the best.—Paste B&W, 16mm, From Moving Image Distribution “this hybrid form that mixes fact and fic- Ryan Chris Landreth, Canada, 2004, 14 mins, Color, DigiBeta, From Spring and summer of 2009 was a heady time for the youth of tion, analysis and speculation, and the high National Film Board of Canada seriousness of documentary nonfiction with Iran. The candidacy of reformist Mir-Hossein Mousavi prom- Capitalism Child Labor Ken Jacobs, 2006, 14 mins, Color, Digital video, From the artist the playfulness of animation.” This series ised a blossoming of democracy. Then, when the people realized that the election outcome was manipulated to give The Simpson Verdict Kota Ezawa, 2002, 3 mins, Color, Digital video, continues in March and April with more From the artist President Ahmadinejad a landslide victory, their fury led programs that explore new directions in Survivors Sheila Sofian, 1997, 16 mins, Color, 35mm, From the artist to massive street demonstrations. These in turn provoked documentary film. There There Square Jacqueline Goss, 2002, 14 mins, Color, Silent, a brutal government crackdown. As the regime silenced Digital video, From the artist Kathy Geritz, Film Curator conventional media outlets, new ones took their place and Stranger Comes to Town Jacqueline Goss, 2007, 29 mins, Color, the Green Wave became a model for a new-media people’s Beta SP, From the artist movement. This account is likewise a documentary for the Total running time: 95 mins twenty-first century, in which vivid animation, Twitter feeds, Get More and blogs drive the moving narrative of a youth revolt against Find expanded program notes and selected one of the most repressive regimes in the world. Frako Loden

trailers on our website, bampfa.berkeley.edu. Written by Ahadi. Photographed by Peter Jeschke, Ahadi. With Pegah 1. Stranger Comes to Town, 2.22.12 Ferydoni, Navid Akhavan, Payam Akhavan, Shirin Ebadi. (80 mins, Color, Want the latest news about our screenings and Blu-ray, From New Yorker Films) 2. The Green Wave, 2.8.12 special guests? Subscribe to our weekly film update at bampfa.berkeley.edu/signup.

24 JANUARY & FEBRUARY 2012 1 2

Seconds of Eternity: The Films of Gregory J. Markopoulos

Thursday / 2.9.12 masterful handling of sound design: he structured 7:00 the soundtrack as a monologue of truncated syllables Rarely seen and nearly forgotten, Markopoulos’s films were Markopoulos: The Early Films spoken by Phaedra juxtaposed with music, sound once compared to the works of Joyce, Proust, and Eisenstein. Gregory J. Markopoulos (U.S., 1940–49) effects, and silence. —Kristin M. Jones, Artforum One of cinema’s great colorists, early in his career Swain 1950. With Markopoulos, Mary Zelles. 24 mins, Color, The films of Gregory J. Markopoulos, a leading figure of the Markopoulos achieved a palette worthy of Delacroix 16mm or Redon.—Kristin M. Jones, Artforum Flowers of Asphalt 1951. With John Markopoulos, Maria American avant-garde and the world of art cinema, have Markopoulos. 7 mins, Silent, Color, 16mm been almost impossible to see during the past forty years. Psyche, the first film of Markopoulos’s trilogyDu Eldora 1953, 8 mins, Silent, Color, 16mm Markopoulos (1928–92) had very specific views on how his Sang, de la volupté et de la mort, demonstrates Mar- Twice a Man 1963. With Paul Kilb, Olympia Dukakis. films should be exhibited; in 1967, when he moved from the kopoulos’s great talent for color, composition, and 48 mins, Color, 16mm United States to Europe, he made the decision to withdraw his graceful camera movements. Made under conditions Total running time: 87 mins films from distribution. From that point forward, Markopoulos of incredible austerity, the trilogy is radical in its Thursday / 2.16.12 use of narrative form and sound/image disparity. concentrated his limited resources solely on the production 7:00 of new work. Markopoulos called Lysis, the second film of the tril- The Illiac Passion Gregory J. Markopoulos (U.S., 1966–67) ogy, “a study in stream-of-consciousness poetry of Along with Kenneth Anger, Stan Brakhage, Andy Warhol, a lost, wandering, homosexual soul“ and felt that A loving and deftly orchestrated color study of an and Jack Smith, Markopoulos was one of the most prominent the film foreshadowedThe Illiac Passion, which he apartment, Ming Green is one of the filmmaker’s figures of American independent cinema. Following in the made twenty years later. The program also includes most sensuous films about place. The Illiac Passion, tradition of directors like Jean Cocteau and Jean Vigo, Mar- The Dead Ones, the director’s only black-and-white a contemporary Odyssean journey, is the most elabo- kopoulos was a poet filmmaker whose work falls intro three film, dedicated to Jean Cocteau. rate of Markopoulos’s completed films and has been main categories: mythic themes, film portraits, and films of compared to Kenneth Anger’s Inauguration of the A Christmas Carol 1940, 5 mins, Silent, Color, 16mm place. Often taking his inspiration from classic literary works, Pleasure Dome. The central character is inspired by Psyche 1947–48. With Ann Wells, George Emmons. 25 mins, Markopoulos forged new terrain as a filmmaker exploring Color, 16mm, PFA Collection Aeschylus’s Prometheus Bound. The film is studded abstract narratives. His poetic approach relied heavily on the Lysis 1947–48. With Markopoulos. 30 mins, Color, 16mm, with art stars (Andy Warhol, Jack Smith, Taylor Mead) expressive, even mannerist use of color, composition, rhythm, PFA Collection from the New York scene: don’t miss “Andy Warhol’s and fractured temporal structures. He achieved a harmonious Charmides 1947-48, 15 mins, Color, 16mm, PFA Collection Poseidon pumping on an Exercycle above a sea of Christmas USA 1949, 8 mins, Silent, Color, 16mm and delicate balance of plot, character, and theme. Sensual plastic [or] Taylor Mead’s Demon leaping, grimacing, The Dead Ones 1949. With Markopoulos, Elwood Decker. and elegant, Markopoulos’s films concern themselves with 28 mins, Silent, B&W, 35mm and streaming vermilion fringes” (Kristin M. Jones). beauty and form, sometimes expressing homoerotic love Total running time: 111 mins Ming Green 1966, 7 mins, Color, 16mm in psychological and dramatic terms (Lysis; Twice a Man). The Illiac Passion 1964–67. With Richard Beauvais, David Saturday / 2.11.12 Beauvais, Robert Alvarez. 92 mins, Color, 16mm Please join us for this rare opportunity to view eleven of 6:30 Total running time: 99 mins Markopolous’s films, made in the United States between Eros and Myth Gregory J. Markopoulos (U.S., 1950–63) 1940 and 1967. Markopoulos’s ability to improvise with his surroundings Susan Oxtoby, Senior Film Curator and to develop techniques of rapid cutting and subjec- tive treatments of narrative time remain among the greatest contributions he made to cinema. Reminiscent We are grateful to the following individuals and institutions for their assistance with this series: Robert Beavers, Temenos Foundation; Steve of Maya Deren’s work, Swain is an early psychodrama Polta, San Francisco Cinematheque; and Mark Webber, London. All trance film that uses single-frame clusters of images prints provided by the Temenos Archive, unless otherwise noted. as a recapitulation device to restate poignant themes. 1. Psyche, 2.9.12. © Temenos Verein 2003. The multilayered Twice a Man, inspired by the myth of 2. Twice a Man, 2.11.12 © Temenos Verein 2003. Hippolytus and Phaedra, demonstrates Markopoulos’s

25 BAM / PFA FFILMSILMS Lobster Films; Marie-Pierre Lessard, Cinémathèque Québécoise; Serge Bromberg and Maria Chiba, Walt Disney Studios. Disney Walt Marleen Labijt, E assistance of Marianne Jerris, Danish Film the for grateful We are Berkeley. UC Media, and Film of Department the and Group Working Film Graduate the from support with Presented Wisnia. Stacey and Sandberg, thanks to Doug Cunningham, Laura Horak, Luke McKernan, Alexa Punnamkuzhyil, With Mark Seid. Steve and Geritz Kathy curators BAM/PFA by taught curating film in course Dizzy Berkeley. UC at Media and Film of Department the in student a doctoral is Ellis Patrick Curator Guest Ellis, Patrick air. the in life present our of harbinger above—a from view by the possessed purchase, available every from below world the at glances steals Duvivier Julien director (1927), Tower Eiffel the of Mystery I films. these in savored view—is aerial seeing—the of way new the all, Above flight. of technology new the from gleaned message pacific a find to war. I put machines these see to generation first the all, after was, This anxieties. attendant without not was speculation such that suggests saboteurs, and conspirators Treason High of London The O possibilities. these explored great silent fantasists—Winsor McCay, Georges Méliès, Walt Disney—all anything then well thought, was fly,it I far-fetched. simply seem not did flight mechanical of idea the when is, That (1915). Hearts Daring and Heights Dizzy like film afisticuffs-on-the-wing with simulated be safely could provided they thrills were still prohibitively expensive and often dangerous, but the vertiginous machines flying new The theater. movie the but airplane, the not was flight experienced first people most which in vehicle the years, many For on the same day. born are they life; through arm in arm go aviation and cinema The Copresented by Francisco theSan Silent FilmFestival & FEBRUARY 2012 26 JANUARY bampfa.berkeley.edu. website, our on series this for musicians guest the about more Learn Get Get More L S D thers imagined how life might be lived in a world of commonplace flight. flight. commonplace of aworld in lived be might life how imagined thers H if Air the in Life and Cinema Silent eights: ilent C ilent izzy H izzy N icholas Varley and Mark Truesdale, Park Circus; and Mary Tallungan, e in the A the in e Y E Film —Fernand Léger I nstitute (1918), made at the war’s end, we we end, war’s the at made (1918), n ATrip Mars to N (1929), a science-fictional “aerotropolis” of of “aerotropolis” ascience-fictional (1929), etherlands; Daniel Bish, George Eastman House; I ei nstitute; Fleur Buckley, British Film might fly: beds, houses, people. The The people. houses, beds, fly: might ine is a project of the UC Berkeley graduate graduate Berkeley UC the of a project is g hts: hts: f a ship could actually actually could f aship m ir a & & a

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in the international market. international the in standing once-central its recover might industry film Danish the how of allegory an also but 1918, in world a war-exhausted for vision alternative vegetarian Martians in a film intended not only to provide a marked and his crew encounter an advanced civilization of chaste, pacifist, and Plenataros Avanti adventurer young the There Mars. planet the ironically, a WW with Excelsior) spaceship/dirigible fantastic the of form the (in flight fantasy, this silent filmfrom Denmark combines thefascination for From British Film 35mm, B&W, Silent, fps, 24 mins, (75 Gill. Basil Wright, Humberston Photographed by Percy Strong. With Benita Hume, Jameson Thomas, Ho A T T 1/2 Written by L’Estrange Fawcett, from the play by by play the from Fawcett, L’Estrange by Written sound and silent versions.) both in released originally afilm of print asilent screening are (We English romance between a pacifist and a soldier. A modernist Lysistrata the repair doing so in force—and air the in revolt a popular stage must Tunnel sabotaged, and arms dealers plotting chaos, the Peace League Channel war, the threatening States” “Atlantic the and Europe With persists—albeit alongside personal helicopters and teleconferencing. I 1920s. the of Treason High 1940,” of a“vision as Billed scores film and television in Toronto. High on Treason, take amodern perform will who Chapman, Peter M H F Film Danish From 35mm, B&W, translation, English and intertitles Tolnæs, Zanny Petersen, Alf Blutecher With Fuglsang. Frederik by Photographed Michaelis. Sophus by Written (Himmelskibet, improvisation. and music period of acombination using Museum, Film Silent Essanay Niles the at including films, silent many for plays Loeb Bruce Mark Sandberg is professor of Scandinavian/film andmedia atUC Berkeley. Intr Liv Liv hursda r aur i lger i e M e M g da o r h T i duct E ce us us I y /2.24.12 i -era imagination of a world without war—in this case, perhaps perhaps case, this war—in without aworld of imagination -era p adse-M Metropolis i i c c reas lve t y /2.23.12

io o M n y (U.K., 1929) 1929) y (U.K., n its futuristic London, flappers reign and bootlegging bootlegging and reign flappers London, futuristic n its n (D I Peter Chapman Mark Sandberg Bruce Loeb nstitute, Park permission Circus) a.k.a. ars on e : n is science fiction for the Jazz Age. Age. Jazz the for fiction science is Treason High mark Sky Ship).Sky A , 1918) rch P M atr ark ival Part science fiction and part utopian i A ck . (90 mins, 18 fps, Silent with Danish Danish with Silent fps, 18 mins, . (90 S rch andberg E P ll r ival i in s t ! R N is unmistakably a product oel Pemberton Billing. Billing. Pemberton oel est o rat ion!

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7:00 7:00 7:00 , an , an 4. 3. 2. 1. High TreasonHigh 2.26.12 The Conquest of the Pole erlands. E Tower Eiffel the of Mystery The Mars to A Trip Y E Film E Film , 2.25.12. Collection Collection , 2.25.12. I nstitute nstitute , 2.24.12 , 2.23.12 N eth - , BAM/PFA Board of Trustees

Barclay Simpson, Chair Noel Nellis, President Lawrence Rinder, Director Steven Addis Margaret Alafi 3 4 Joachim R. Bechtle Chancellor Robert J. Birgeneau Rena Bransten Executive Vice Chancellor and Provost George Breslauer Saturday / 2.25.12 Sunday / 2.26.12 Tecoah Bruce 6:00 2:00 The Mystery of the Fantasies of Flight: Professor Jon Burgstone Eiffel Tower Animation and Comedy Shorts Julien Duvivier (France, 1927) Archival Print! Catherine M. Coates Live Music Frederick Hodges Live Music Ken Ueno, Matt Ingals, Introduction Guest Curator Patrick Ellis Penelope M. Cooper Hadley MacCarroll Carla Crane Introduction Guest Curator Patrick Ellis Pianist Frederick Hodges is a celebrated silent film accompanist who performs regularly at the Niles Scott Crocker UC Berkeley Professor Ken Ueno (vocals/electric Essanay Silent Film Museum. Professor Robert H. Edelstein guitar), along with Matt Ingalls (clarinets/laptop) and Hadley MacCarroll (piano) create viscerally modern The utter novelty of human flight during most of Professor Harrison Fraker, Jr. accompaniment for silent films. the silent period is hard for our post-jet-set age to Daniel Goldstine (Le mystère de la tour Eiffel). A palate cleanser for fathom: this program aims to recapture an inkling Jane Green those who found Spielberg’s Tintin wanting, Julien of this lost sense of wonder. In the French comedy George Gund III Duvivier’s late-silent adventure masterpiece served Airplane Gaze, a city is turned upside down by the Professor Shannon Jackson appearance of an airplane in the skies above. Edwin as an inspiration for the original Tintin comics, and Vice Provost Catherine P. Koshland S. Porter’s classic The Dream of a Rarebit Fiend, like delivers much of the same charm, inventiveness, Wanda M. Kownacki and visual delight. Le mystère de la tour Eiffel traces Mother-in-Law Would Fly, puts wings on an object that Charles Kremer the escapades of carnival worker / millionaire heir ought not fly—the bed. It is animation, though, that Eric X. Li Achilles Saturnin as he battles the international crime provided the most outlandish depiction of life in the Vishalli Loomba syndicate known as the Ku-Klux-Eiffel. Flying wildly air, as made plain by the peripatetic house of Winsor Professor Christina Maslach from mountain peaks to the pinnacle of the Eiffel McCay’s The Flying House and the repurposed word Tower, this is a film obsessed with the aerial view. We balloons of Walt Disney’s Alice’s Balloon Race. Our Assistant Professor Nicholas de Monchaux are pleased to be screening the EYE Film Institute program ends with two classics: Méliès’s speculative Richard J. Olsen Netherlands restored 35mm print, the only known fantasy of an aerial race to the pole and the Mack Ann Baxter Perrin

copy of this rare film. Patrick Ellis Sennett-produced avant-la-lettre aviatrix comedy, James B. Pick Dizzy Heights and Daring Hearts. Patrick Ellis Written by Alfred Machard. Photographed by René Joan Roebuck Guychard, Armand Thirard. With Félicien Tramel, Régine Airplane Gaze Director unknown, France, 1910, 5 mins, Reya Sehgal Bouet, Gaston Jacquet. (129 mins, 18 fps, Silent with Dutch Silent, B&W, 35mm, From British Film Institute, permission intertitles and live English translation, B&W, 35mm, From Dr. Hansruedi Kleiber, Joye Collection Robert Harshorn Shimshak the EYE Film Institute Netherlands, permission Lobster The Dream of a Rarebit Fiend Edwin S. Porter, 1906, 8 Roselyne C. Swig Films and Christian Duvivier) mins, 16 fps, Silent, B&W, 35mm, From George Eastman House Paul L. Wattis III Mother-in-Law Would Fly (Schwiegermutter muß fliegen). Director unknown, Germany, 1909, 5 mins, Silent Jack Wendler with German intertitles and live English translation, B&W, Dean Jennifer Wolch 35mm, From British Film Institute, permission Dr. Hansruedi Kleiber, Joye Collection Alice’s Balloon Race Walt Disney, 1926, 8 mins, Silent, B&W, 35mm, From Walt Disney Studios Dizzy Heights and Daring Hearts Walter Wright, 1916, 25 mins, Silent, B&W, 16mm, From Lobster Films The Dream of a Rarebit Fiend: The Flying House Winsor McCay, 1921, 16 mins, 16 fps, Silent, B&W, 16mm, From Ciné- mathèque Québécoise The Conquest of the Pole (A la conquête du pôle) Georges Méliès, France, 1912, 30 mins, Silent, Tinted, DigiBeta, From Lobster Films Total running time: 97 mins

27 BAM / PFA 2012 CALENDARjan 2012 & FEBRUARY 28 JANUARY 7:30 7:00 12:00 Andy Warhol: Polaroids 7:00 5:30 Galleries open until 9:00 Bob Box Archive Archive Box Bob Ope 8:40 n

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p . 17 p. / . 25

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p . 14 5:30 The Mystery of 11:00 Catch Up with Conceptual 7:00 Twentieth Century Hawks p. 19 Picasso Clouzot p. 14 Art Member Class p. 32 7:30 Mark Isham on Film Scoring, 12:00 The Sun (Part One) E@RLY p. 3 followed by A River Runs 2:00 Kinshasa Symphony Through It Behind the Scenes African Film Festival p. 17 p. 15 4:00 Les anges du péché Bresson p. 22 1991: The Oakland-Berkeley Fire Aftermath, Photographs by Richard Misrach Closes p. 9 Richard Misrach: Photographs from the Collection Closes

4/SAT 5/SUN twentieth century p. 19 7/ T UE

4:30 The Criminal Code Hawks p. 20 7:00 Bringing Up Baby Hawks p. 20 3:10 Swing Time Lecture by Marilyn Fabe 6:30 Viva Riva! African Film Festival Film 50 p. 15 p. 17 7:00 Kongo: 50 Years of Independence of Congo African Film Festival p. 17

12/SUN bob box archive p. 6 14/TUE 15/WED

7:00 Only Angels Have Wings 3:10 The Red Shoes 7:00 A Trip to Mars Hawks p. 20 Lecture by Marilyn Fabe Introduced by Mark Sandberg. Film 50 p. 15 Bruce Loeb on piano Dizzy Heights p. 26 7:00 Making it (Un)real: Animated Documentary Shorts Introduced by Jeffrey Skoller. Jacqueline Goss in person Documentary p. 24

only angels have wings p. 20 21/TUE 22/wed 23/THR

5:30 VIP Opening Celebration 12:00 Curator’s Tour State of Mind p. 32 State of Mind p. 10 6:30 Members’ Opening 3:10 Pather Panchali Celebration State of Mind p. 32 Lecture by Marilyn Fabe Film 50 p. 15 7:00 His Girl Friday Hawks p. 20 7:00 You All Are Captains African Film Festival p. 17

State of Mind: New California Art circa 1970 Opens p. 10

28/TUE 29/wed State of Mind p. 10

GALLERIES open wed–sun, 11-5 31 BAM / PFA UC Berkeley Art Museum & Pacific Film Archive bampfa.berkeley.edu P

1

Member Discounts M BERSHI VISITOR INFO Fandor joins the East Bay Discount Club M E plan your visit PFA Theater Admission* Fandor is a new Bay Area–based subscription bampfa.berkeley.edu $5.50 BAM/PFA members, service for curated independent, international, (510) 642-0808 UC Berkeley students documentary, short, and festival films. BAM/PFA For information on parking, $9.50 General admission transportation, and accessibility, $6.50 UC Berkeley faculty/staff, members receive a 15% discount on the monthly go to bampfa.berkeley.edu/visit. non-UC Berkeley students, 65+, subscription fee for up to twelve months. Museum entrances disabled persons, 17 & under 2626 Bancroft Way Additional feature $4.00 Visit bampfa.berkeley.edu/ebdc for more & 2621 Durant Ave. *Unless indicated otherwise information. PFA Theater PFA Theater Ticket Sales 2575 Bancroft Way online bampfa.berkeley.edu Online Member Events Calendar Gallery hours by phone (510) 642-5249 Wed–Sun 11-5 in person What does your weekend look like? How about Extended hours on selected Tickets available daily 11 a.m.–5 p.m. a guided tour at BAM/PFA, shopping at Moe’s Fridays, see calendar at BAM/PFA admissions desk, Books, a concert at Freight & Salvage, dinner at 2626 Bancroft Way, and one hour Gallery Admission before showtime at the PFA Theater Angeline’s, and a show at the PFA Theater? Free BAM/PFA members, box office, 2575 Bancroft Way UC Berkeley students/ PFA 24-Hr Recorded Information Our new online Member Events Calendar faculty/staff, 12 & under (510) 642-1124 (beta) brings you the best of East Bay arts and $10 General admission PFA Ticket & Program Information culture in one place. As a BAM/PFA member, $7 non-UC Berkeley students, (510) 642-1412 65+, disabled persons, you enjoy discounts and special offers at many ages 13–17 L@TE: Friday Nights @ BAM/PFA of these venues, including 10% off books at After 5 p.m., general admission is $7. Free admission the first Thursday Moe’s, two-for-one admission on select Freight L@TE admission free with a ticket of every month. stub from same-day PFA screening & Salvage performances, and a free order of Events Reservations required for group visits. or gallery visit. Angeline’s amazing beignets! [email protected] Sunday / 2.5.12 / 11:00–1:00 PFA library & film study center For all the details, visit Mon–Wed, 1–5; (510) 642-1437 Catch Up with Conceptual Art bampfa.berkeley.edu/join/memberevents. WURSTER HALL

HARGROVE A members-only class with MUSIC LIBRARY CESAR CHAVEZ STUDENT CENTER Save the date! BARROWS HALL Constance M. Lewallen ZELLERBACH HALL 2012 BAM/PFA Gala SPROUL HEARST ANNEX KROEBER HALL MLK STUDENT HALL Join Constance M. Lewallen, State of Mind: UNION A Celebration in Support of Art, Film, and HEARST GYMNASIUM BANCROFT BOALT LAW SCHOOL TENNIS New California Art circa 1970 co-curator and PLAZA SPROUL COURTS Education Honoring Cissie Swig ESHLEMAN theater HEARST

BAARROW LANE BAARROW MUSEUM BAM/PFA adjunct curator, for an enlightening Tuesday, May 1, 2012 ◀ BANCROFT WAY

look at this pivotal period in contemporary art. museum BANCROFT URBAN store CLOTHING OUTFITTERS Contact Us

film COLLEGE AVENUE $20 per person; contact Kate Johnson at STREET BOWDITCH library

◀ TELEGRAPH AVENUE remedy Questions or comments? coffee (510) 642-8963 to register. We’d love to hear from you! DURANT AVENUE ▶ Tuesday / 2.28.12 UNIT 1 RESIDENCE HALLS Contact us at (510) 642-5186,

Opening Celebration [email protected] CHANNING WAY Preview and celebrate State of Mind: New Not a Member? California Art circa 1970, with special perfor- Three easy ways to join: mances by artists Lowell Darling and Adam II. Call us at (510) 642-5186 5:30–6:30 VIP reception with open wine bar Visit bampfa.berkeley.edu/join MUSEUM STORE and hors d’oeuvres Stop by the BAM/PFA admissions desk or Wed–Sun 11–5 (510) 642-1475 store.bampfa.berkeley.edu Open to Patron, Donor, Explorers’ and PFA Theater box office Collectors’ Circle members

6:30–8:00 Member reception

Open to all members University of California, Berkeley Art Museum and Pacific Film Archive, program guide Volume XXXVl Number 1. Published bimonthly by the University of California, Berkeley. Produced indepen- dently by the UC Berkeley Art Museum and Pacific Film Archive, which is solely responsible for its contents. BAM/PFA, 2625 Durant Avenue, Berkeley, CA 94720-2250, (510) 642-0808. Lawrence Rinder, Director. 1. Linda Mary Montano: Chicken Dance: The Streets of San Francisco, 1972; performance documentation, NonprofitO rganization: Periodical Postage Paid at Berkeley Post Office. Usps #003896. POSTMASTER: color digital print; 9 ½ × 14 in.; courtesy of the artist. Photo: Mitchell Payne. Send address change to: UC Berkeley Art Museum and Pacific Film Archive, 2625 Durant Avenue, Berkeley CA 94720-2250. Copyright © 2011 The Regents of the University of California. All rights reserved.