tag:blogger.com,1999:blog-36348864198667496822024-03-12T23:20:12.105-04:00Out 1 Film JournalAn online, alternative film journal focusing on international, independent, and experimental cinema. Founded by James Hansen in 2007. Member of Central Ohio Film Critics Association. James Hansenhttp://www.blogger.com/profile/09650436008918093617noreply@blogger.comBlogger394125tag:blogger.com,1999:blog-3634886419866749682.post-2109568181197349422017-04-15T13:15:00.000-04:002017-04-15T13:16:21.767-04:00End Credits<div class="separator" style="clear: both; text-align: center;">
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Dear Out 1 Film Journal Readers of the Past, Present, and Future,<div>
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How have you all been? I write you today what will be the final post here at Out 1 Film Journal. This will likely not come as a surprise, as the site has been pretty inactive for a while. But I wanted to write here both to make it official, and to provide a short reflection along with an update.</div>
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I started Out 1 in Fall 2007 when I moved to New York City for an MA Program in Film Studies at Columbia University. This week, almost a decade later, I successfully defended my PhD in the History of Art department at The Ohio State University. I will be relocating this summer to Rochester, NY with my wife. The journal has been there all through this process. Having reached the culmination of it, I feel it is an appropriate time to close up shop. </div>
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I hope there have been posts, discussions, and reviews that will continue to be of value to some of you out there. I'll continue to pay my dues to keep the site active as an archive of the writing that has been published here over the last decade. </div>
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Thank you to Brandon, Chuck, and all the other writers and contributors. Thank you to the Columbus Film Critics Association (COFCA) for allowing me to join your ranks. Thank you to every person who has ever taken the time to be a reader. I truly appreciate your time, your thoughts, and your support. You are what made this site important and alive all of these years. Thanks to all of you from the bottom of my heart. </div>
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Here's to you all, and to whatever comes next. </div>
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cheers,</div>
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james</div>
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Editorhttp://www.blogger.com/profile/17200163851591850302noreply@blogger.com0tag:blogger.com,1999:blog-3634886419866749682.post-29375462554925822252016-06-01T09:00:00.000-04:002016-10-14T14:29:22.662-04:00Crossroads Film Festival 2016 at The Brooklyn Rail<div class="separator" style="clear: both; text-align: center;">
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I was once again given the opportunity to write about the annual CROSSROADS for The Brooklyn Rail. Films by Ben Rivers, Josh Gibson, Peter Burr, Meredith Lackey, Heather Trawick, Mike Stoltz, Karen Yaskinsky, and Michael Robinson.<br />
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http://www.brooklynrail.org/2016/05/film/continuing-interference-crossroads-2016<br />
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<br />James Hansenhttp://www.blogger.com/profile/09650436008918093617noreply@blogger.com0tag:blogger.com,1999:blog-3634886419866749682.post-91210932760596869272015-05-20T09:00:00.000-04:002016-01-06T15:42:52.788-05:00Crossroads Film Festival at The Brooklyn Rail<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">I was given the opportunity to write about San Francisco's great CROSSROADS Film Festival at The Brooklyn Rail. Films include Ross Meckfessel's <i>The Golden Hour</i>, Basma Alsharif's <i>A Field Guide to the Ferns</i>,Guillaume Cailleau's <i>Laborat</i>, Ben Russell's <i>Greetings to the Ancestors</i>, and others.</span><br />
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><a href="http://www.brooklynrail.org/2015/05/film/pleasure-in-dissonance-crossroads-2015" target="_blank">Check it out</a>.</span>James Hansenhttp://www.blogger.com/profile/09650436008918093617noreply@blogger.com0tag:blogger.com,1999:blog-3634886419866749682.post-85672734888739367572015-04-27T09:00:00.000-04:002016-01-06T15:41:45.528-05:002015 Ann Arbor Film Festival at Filmmaker Magazine<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: Georgia, Times New Roman, serif;"><br /></span><span style="font-family: Georgia, Times New Roman, serif;">I was given the opportunity to write about the fantastic Ann Arbor Film Festival for Filmmaker Magazine. Films include the work of Tacita Dean, programs on experimental cinema in Eastern Europe, Greg Zinman and Leo Goldsmith's curated program "Computer Age," Harun Farocki's essential <i>Parallel </i>series, Lonnie van Brummelen and Siebren de Hahn’s Episode of the Sea, Félix Dufour-Laperriere’s Transatlantique, Mike Holboom’s Scrapbook, and Simone Rapisarda Casanova’s award winner <i>The Creation of Meaning</i>.</span><br />
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<span style="font-family: Georgia, Times New Roman, serif;"><a href="http://filmmakermagazine.com/93811-tracking-changes-the-53rd-ann-arbor-film-festival/" target="_blank">Check it out</a>. </span>James Hansenhttp://www.blogger.com/profile/09650436008918093617noreply@blogger.com0tag:blogger.com,1999:blog-3634886419866749682.post-84882863684680086402015-02-23T12:34:00.001-05:002016-06-22T19:33:26.798-04:00Top 13 Films of 2014<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: "georgia" , "times new roman" , serif;">by James Hansen</span><br />
<span style="font-family: "georgia" , "times new roman" , serif;">Looking at the works on this list, there aren't necessarily many connections. They range from shorts to features, narrative to documentary, Hollywood to experimental. Still, I think lurking below the surface of many of the best works of the year (and recent years) is a unique emphasis on spatial dynamics, both internal and external. Space and the surrounding environment become imbued within the characters, images, and hidden stories of these films. Further, each of these moving image artists shows an awareness of how the feeling of those spaces has the ability to transfer onto and into the viewer's body. At times disorienting, irritating, and/or overwhelming, these films place demands on the minds, eyes, and bodies of their viewers (not to mention their performers), and ask for a willingness to play in games without ever knowing all the rules. Active investigations don't need to end when the movies do. </span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;">Here are my Top 13 Films of 2014. </span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;">1. <i>Goodbye to Language</i> (Jean Luc Godard)</span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">2. <i>The Strange Little Cat</i> (Ramon Zürcher)</span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">3. <i>Inherent Vice</i> (Paul Thomas Anderson)</span></div>
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<a href="http://filmmakermagazine.com/87569-between-the-familiar-and-the-strange-tiff-wavelengths-2014/#.VOti-lPF9sA" target="_blank"><span style="font-family: "georgia" , "times new roman" , serif;">4. <i>Sea of Vapors</i> (Sylvia Schedelbauer)</span></a></div>
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<a href="http://filmmakermagazine.com/88242-is-this-line-to-see-the-avant-garde-show-nyff-2014-projections/" target="_blank"><span style="font-family: "georgia" , "times new roman" , serif;">5. <i>Things</i> (Ben Rivers)</span></a></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">6. <i>Story of My Death</i> (Albert Serra)</span></div>
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<a href="http://filmmakermagazine.com/88242-is-this-line-to-see-the-avant-garde-show-nyff-2014-projections/" target="_blank"><span style="font-family: "georgia" , "times new roman" , serif;">7. <i>Wayward Fronds</i> (Fern Silva)</span></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhv2VXwRCeFJWhe7su1f9n6Bgx0WhGSSJsM6sTrGlJWEvpxo9ygErjPS7qt-rjWONfPLM39b-NUV0RytJFxZckDXfLyq7EBYSodXvBdalLGma-l5CAJnbfnMhfJx2GMQ9ZZXPTn42AYDLxJ/s1600/lizzie_reading.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "georgia" , "times new roman" , serif;"><img border="0" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhv2VXwRCeFJWhe7su1f9n6Bgx0WhGSSJsM6sTrGlJWEvpxo9ygErjPS7qt-rjWONfPLM39b-NUV0RytJFxZckDXfLyq7EBYSodXvBdalLGma-l5CAJnbfnMhfJx2GMQ9ZZXPTn42AYDLxJ/s1600/lizzie_reading.jpg" width="400" /></span></a></div>
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<a href="http://www.gofundme.com/kg5s2w" target="_blank"><span style="font-family: "georgia" , "times new roman" , serif;">8. <i>Listen Up Philip </i>(Alex Ross Perry)</span></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvHKfvUj9SH-g6HDz0qh6sbYEYVOD71GBSkQ1x8pQdef6_mbPU47tJLCzIL58hncpzTorlaaSXoRBc5EAHdE74HAeF3RkZ6BCgf6yug64pB6qfzwosqfXRdcxRLbzctALjbbtwJ9yCHpaX/s1600/140426_ActressMain.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "georgia" , "times new roman" , serif;"><img border="0" height="243" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvHKfvUj9SH-g6HDz0qh6sbYEYVOD71GBSkQ1x8pQdef6_mbPU47tJLCzIL58hncpzTorlaaSXoRBc5EAHdE74HAeF3RkZ6BCgf6yug64pB6qfzwosqfXRdcxRLbzctALjbbtwJ9yCHpaX/s1600/140426_ActressMain.jpg" width="400" /></span></a></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">9. <i>Actress</i> (Robert Greene) </span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtR5nwRqyOhQvYc618aSm_6UF0rlPBiw_Y-3sLkxW3brwidtCWJXqAiu-lJEhnWPEPPiFtrmYtKfYmqIwOgllec7vfi64xvZL1_SFVYQRuyzufuu9k2rFMaGJJtKAjraXcopAKIHmxD7qa/s1600/selma002-679x350.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "georgia" , "times new roman" , serif;"><img border="0" height="205" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtR5nwRqyOhQvYc618aSm_6UF0rlPBiw_Y-3sLkxW3brwidtCWJXqAiu-lJEhnWPEPPiFtrmYtKfYmqIwOgllec7vfi64xvZL1_SFVYQRuyzufuu9k2rFMaGJJtKAjraXcopAKIHmxD7qa/s1600/selma002-679x350.jpg" width="400" /></span></a></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">10. <i>Selma</i> (Ava DuVernay)</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0srHYiFLyVXYbPH6fO1UeQKwWFJOVgiPOQPeLr0nkZDfLlo7IdS0bbseVP0Ol_W0nsHxssT0yxIhez_qO4UUu8W5X6fWL8MvVZw-Br5-PUyXKgeZmxdnK5q29uj94qEEbaoBPg3Tt6xfq/s1600/506605f5088b2c09d7e8c3aff45b23de.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "georgia" , "times new roman" , serif;"><img border="0" height="201" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0srHYiFLyVXYbPH6fO1UeQKwWFJOVgiPOQPeLr0nkZDfLlo7IdS0bbseVP0Ol_W0nsHxssT0yxIhez_qO4UUu8W5X6fWL8MvVZw-Br5-PUyXKgeZmxdnK5q29uj94qEEbaoBPg3Tt6xfq/s1600/506605f5088b2c09d7e8c3aff45b23de.jpg" width="400" /></span></a></div>
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<a href="http://filmmakermagazine.com/87569-between-the-familiar-and-the-strange-tiff-wavelengths-2014/#.VOti-lPF9sA" target="_blank"><span style="font-family: "georgia" , "times new roman" , serif;">11. <i>The Dragon is the Frame</i> (Mary Helena Clark)</span></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3xA0WGc_JqPw1eyaiUN4VRpiWqyziYdmOTl_jpWG9lwTJw2NxzU3gg5G326PgZTaRl8xxe8Vt4u19-oKhSREr4k8N0od5I11JdOEDVa_HRdYFvt0El4ia6T-iX4WBc0z4ClgL5fYKBnwa/s1600/BabadookBlog2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "georgia" , "times new roman" , serif;"><img border="0" height="243" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3xA0WGc_JqPw1eyaiUN4VRpiWqyziYdmOTl_jpWG9lwTJw2NxzU3gg5G326PgZTaRl8xxe8Vt4u19-oKhSREr4k8N0od5I11JdOEDVa_HRdYFvt0El4ia6T-iX4WBc0z4ClgL5fYKBnwa/s1600/BabadookBlog2.jpg" width="400" /></span></a></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">12. <i>The Babadook</i> (Jennifer Kent)</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhcGuAi7KZH8FdtoJwZ2_i1hJDQYxia1OxgPJR2FAxxwP19ySDZH05eoa1z-PNLXt5mzZVOp0UW7RjeJfD8bMxIT8uga0RBV-oEP5ptKKFIMW6mYufba1ln1orESUQqELBIdbJ-8G2Wiwq/s1600/635494961822000008-BEAGLE-JOHN-WICK-MOV-JY-3400-68084492.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "georgia" , "times new roman" , serif;"><img border="0" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhcGuAi7KZH8FdtoJwZ2_i1hJDQYxia1OxgPJR2FAxxwP19ySDZH05eoa1z-PNLXt5mzZVOp0UW7RjeJfD8bMxIT8uga0RBV-oEP5ptKKFIMW6mYufba1ln1orESUQqELBIdbJ-8G2Wiwq/s1600/635494961822000008-BEAGLE-JOHN-WICK-MOV-JY-3400-68084492.jpg" width="400" /></span></a></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">13. <i>John Wick</i> (Chad Stahelski and David Weitch)</span></div>
<br />James Hansenhttp://www.blogger.com/profile/09650436008918093617noreply@blogger.com0tag:blogger.com,1999:blog-3634886419866749682.post-2386362656117182472014-12-03T18:00:00.000-05:002015-02-23T13:10:18.010-05:00Sylvia Schedelbauer at Cléo: A Journal of Film and Feminism<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRD76BXvNk6EmlLXPflOnL6_rbyolR9E-hsBtZFI_SOScpUibHLRGgrGlQMhyphenhyphenFipcjbissUvVJQCLFxym5wrbOv_Nky_cxNbrcGAy2Ke1MJvSEr5pavC6dF9htZeYtDebpx8XuhJ_KwwEi/s1600/10_sylvia.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRD76BXvNk6EmlLXPflOnL6_rbyolR9E-hsBtZFI_SOScpUibHLRGgrGlQMhyphenhyphenFipcjbissUvVJQCLFxym5wrbOv_Nky_cxNbrcGAy2Ke1MJvSEr5pavC6dF9htZeYtDebpx8XuhJ_KwwEi/s1600/10_sylvia.jpg" height="228" width="400" /></a></div>
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<span style="font-family: Georgia, Times New Roman, serif;">I was given the chance to write about Sylvia Schedelbauer, one of the most exciting experimental filmmakers of recent years, at Cléo: A Journal of Film and Feminism. Thanks to Kiva Reardon and everyone at Cléo for the opportunity. Check it out.</span><br />
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<a href="http://cleojournal.com/2014/12/03/women-to-watch-sylvia-schedelbauer/"><span style="font-family: Georgia, Times New Roman, serif;">http://cleojournal.com/2014/12/03/women-to-watch-sylvia-schedelbauer/</span></a>James Hansenhttp://www.blogger.com/profile/09650436008918093617noreply@blogger.com0tag:blogger.com,1999:blog-3634886419866749682.post-64024421619537911862014-11-07T18:00:00.000-05:002015-02-23T12:46:26.021-05:00NYFF Projections at Filmmaker Magazine<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiH_Xvj1pERy8zUbY2SaAlFX2z4o-pSXUDNtWKh69V0_K5qNwi2MwyaBLI8FdgEhWhpSt6yMsTcZHF_mjCJS9INMs4p79u363RhIkPb3FaGm1QNHehoq9UGjYO0JcCi4-LNm9KNNbZHGcyl/s1600/201501604_1_IMG_FIX_700x700.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiH_Xvj1pERy8zUbY2SaAlFX2z4o-pSXUDNtWKh69V0_K5qNwi2MwyaBLI8FdgEhWhpSt6yMsTcZHF_mjCJS9INMs4p79u363RhIkPb3FaGm1QNHehoq9UGjYO0JcCi4-LNm9KNNbZHGcyl/s1600/201501604_1_IMG_FIX_700x700.jpg" height="300" width="400" /></a></div>
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<span style="font-family: Georgia, Times New Roman, serif;">I had the opportunity to write about the first NYFF Projections at Filmmaker Magazine. Check it out.</span><br />
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<a href="http://filmmakermagazine.com/88242-is-this-line-to-see-the-avant-garde-show-nyff-2014-projections/"><span style="font-family: Georgia, Times New Roman, serif;">http://filmmakermagazine.com/88242-is-this-line-to-see-the-avant-garde-show-nyff-2014-projections/</span></a>James Hansenhttp://www.blogger.com/profile/09650436008918093617noreply@blogger.com0tag:blogger.com,1999:blog-3634886419866749682.post-50731283758152419042014-09-16T18:00:00.000-04:002015-02-23T12:51:00.262-05:00TIFF Wavelengths 2014 at Filmmaker Magazine<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0srHYiFLyVXYbPH6fO1UeQKwWFJOVgiPOQPeLr0nkZDfLlo7IdS0bbseVP0Ol_W0nsHxssT0yxIhez_qO4UUu8W5X6fWL8MvVZw-Br5-PUyXKgeZmxdnK5q29uj94qEEbaoBPg3Tt6xfq/s1600/506605f5088b2c09d7e8c3aff45b23de.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0srHYiFLyVXYbPH6fO1UeQKwWFJOVgiPOQPeLr0nkZDfLlo7IdS0bbseVP0Ol_W0nsHxssT0yxIhez_qO4UUu8W5X6fWL8MvVZw-Br5-PUyXKgeZmxdnK5q29uj94qEEbaoBPg3Tt6xfq/s1600/506605f5088b2c09d7e8c3aff45b23de.jpg" height="201" width="400" /></a></div>
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<span style="font-family: Georgia, Times New Roman, serif;">I had the opportunity to write about the short films of TIFF Wavelengths at Filmmaker Magazine. Check it out. </span><br />
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<a href="http://filmmakermagazine.com/87569-between-the-familiar-and-the-strange-tiff-wavelengths-2014/#.VOtnjFPF9sA"><span style="font-family: Georgia, Times New Roman, serif;">http://filmmakermagazine.com/87569-between-the-familiar-and-the-strange-tiff-wavelengths-2014/#.VOtnjFPF9sA</span></a>James Hansenhttp://www.blogger.com/profile/09650436008918093617noreply@blogger.com0tag:blogger.com,1999:blog-3634886419866749682.post-18623084803190824912014-06-05T18:00:00.000-04:002015-02-23T12:57:31.087-05:0060th Oberhausen International Short Film Festival at Filmmaker Magazine<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj37gKPuVaBdVUeMp18Vr-RzGGR6sAVdyjL1t4oZuiUc-ZdxvDXHKES_HGkXl1XpsO2hUCmXet58qeWHXJO0HSuLD35OoGNCfn5bthWrrm4HwzHavwgCvg5OaP_rUb2L_wj5Lzvz6Cu9A6Z/s1600/million-miles.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj37gKPuVaBdVUeMp18Vr-RzGGR6sAVdyjL1t4oZuiUc-ZdxvDXHKES_HGkXl1XpsO2hUCmXet58qeWHXJO0HSuLD35OoGNCfn5bthWrrm4HwzHavwgCvg5OaP_rUb2L_wj5Lzvz6Cu9A6Z/s1600/million-miles.jpg" height="223" width="400" /></a></div>
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<span style="font-family: Georgia, Times New Roman, serif;">I was given the opportunity to write about my experiences at the 60th Oberhausen International Short Film Festival (with some asides concerning the first Oberhausen Seminar) at Filmmaker Magazine. Check it out.</span><br />
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<a href="http://filmmakermagazine.com/86250-old-and-new-the-60th-oberhausen-international-short-film-festival/#.VOtouFPF9sA"><span style="font-family: Georgia, Times New Roman, serif;">http://filmmakermagazine.com/86250-old-and-new-the-60th-oberhausen-international-short-film-festival/#.VOtouFPF9sA</span></a>James Hansenhttp://www.blogger.com/profile/09650436008918093617noreply@blogger.com0tag:blogger.com,1999:blog-3634886419866749682.post-41430576356666862262014-01-14T15:16:00.000-05:002016-06-22T19:33:50.492-04:00Out 1 Film Journal's Top 13 Films of 2013<div class="separator" style="clear: both; text-align: center;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjs1Txh23-2FVL3kq5ZYXW_MvWKVnRIewsruLYDFA6rtYpzLP7srDNm2pFfKzJQl598UYxgmkAu2kg7Z1N6j0WWQVGWG7vtbixAdlgt_6AQAY1y0erQxJ0aeHXwaERtBwTum0JceUd6ry-X/s1600/Biblicalshot.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjs1Txh23-2FVL3kq5ZYXW_MvWKVnRIewsruLYDFA6rtYpzLP7srDNm2pFfKzJQl598UYxgmkAu2kg7Z1N6j0WWQVGWG7vtbixAdlgt_6AQAY1y0erQxJ0aeHXwaERtBwTum0JceUd6ry-X/s400/Biblicalshot.jpg" width="400" /></a></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">by James Hansen </span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">While not quite on purpose, this list reflects the desire for unique images, assemblages, and experiences outside the confines of traditional narrative, character, and story; further, it illustrates a wide range of artists who expand, complicate, and question this inclination across fiction and documentary, narrative and experimental. These films epitomize a consistently paradoxical, often historical negotiation with images, the process of their construction, and their external (and cultural) mobility. Operating through what Blanchot calls "the happy chance of unconcern," these artists have made solitary, striking, slippery, wonderful works that I won't soon forget. </span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguBIYXohUmuyib15NhzQ8TxpD-qqo0G_bS3wXENdBvMG7klMGXHMHFibdgTeu0JTbUwoFiUizCST05RMUvLftErIIaPpZYCmfP60byeXbOjPcjvhhibO8QL3eVA6v-cdkL8mweRKvTzTZv/s1600/leviathan2012.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguBIYXohUmuyib15NhzQ8TxpD-qqo0G_bS3wXENdBvMG7klMGXHMHFibdgTeu0JTbUwoFiUizCST05RMUvLftErIIaPpZYCmfP60byeXbOjPcjvhhibO8QL3eVA6v-cdkL8mweRKvTzTZv/s400/leviathan2012.jpg" width="400" /></a></div>
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<a href="http://www.out1filmjournal.com/2013/03/leviathan-lucien-castaing-taylor-and.html"><span style="font-family: "georgia" , "times new roman" , serif;">1. <i>Leviathan</i> </span></a></div>
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<a href="http://www.out1filmjournal.com/2013/03/leviathan-lucien-castaing-taylor-and.html"><span style="font-family: "georgia" , "times new roman" , serif;">(Lucien Castaing-Taylor & Veronica Paravel)</span></a></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-Lc-OwuKGqOtfMA1o1kdBQSQanU9Gc78M9I4Ja-3LWadV0AdG3Oq-mjIbHeKctiK219cJ2UhF16b8Cjrx_tw-jg2aUGSlKCjHjBXktYGxfZXYLZfmTBS-fxr0gfJO-QcjQ9-Jj2cKTBoD/s1600/comp_chess_2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="265" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-Lc-OwuKGqOtfMA1o1kdBQSQanU9Gc78M9I4Ja-3LWadV0AdG3Oq-mjIbHeKctiK219cJ2UhF16b8Cjrx_tw-jg2aUGSlKCjHjBXktYGxfZXYLZfmTBS-fxr0gfJO-QcjQ9-Jj2cKTBoD/s400/comp_chess_2.jpg" width="400" /></a> </span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">2. <i>Computer Chess </i></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">(Andrew Bujalski)</span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9QN_ClUl5t6b7316y2tcNPnLtFxxsR5FOIZqPIu2ujghCiTluv5EqdqlQxvTpU3lCxLq05dC7dn9dmMBJDayWXUuwZwP4yZ_Xz2DXF8TUMv5j1MwICdAMK9qgrOBd_1RNgTyKZ1_md3aX/s1600/let-us-preserve-001.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="223" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9QN_ClUl5t6b7316y2tcNPnLtFxxsR5FOIZqPIu2ujghCiTluv5EqdqlQxvTpU3lCxLq05dC7dn9dmMBJDayWXUuwZwP4yZ_Xz2DXF8TUMv5j1MwICdAMK9qgrOBd_1RNgTyKZ1_md3aX/s400/let-us-preserve-001.jpg" width="400" /></a></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"> 3. <i>Let Us Persevere In What We Have Resolved Before We Forget</i> </span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">(Ben Russell)</span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhi3XVbNLCXx0KJMeHiyOshm4WcY9h80hVVCkHEAzNCx1_G8rbp-oi_VEnr_6n-xTkJ1b3tcI6PoozV2nOx-NcGv6e-oB0lz0Ax4hXwtJEuygfq1n4Q7AOHQ4d3v4QF4Rmf_TRt6RKKWAgg/s1600/breakers.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhi3XVbNLCXx0KJMeHiyOshm4WcY9h80hVVCkHEAzNCx1_G8rbp-oi_VEnr_6n-xTkJ1b3tcI6PoozV2nOx-NcGv6e-oB0lz0Ax4hXwtJEuygfq1n4Q7AOHQ4d3v4QF4Rmf_TRt6RKKWAgg/s400/breakers.jpg" width="400" /></a></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">4. <i>Spring Breakers </i></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">(Harmony Korine)</span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjm7tmbOvsYtUP7wmq2qaLeLEQnlQvvAHBVp8qlIHVjdJWTmORRs8_ISsMNpm-yMDe1ByIy3vTyKrRLfMnDioDvKUUT3F8rh1Gnws4_X03p4h6IXiKudfbTFtdfiuXL3dzio-i0LYhZTja2/s1600/Screen+Shot+2014-01-14+at+1.59.37+PM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="237" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjm7tmbOvsYtUP7wmq2qaLeLEQnlQvvAHBVp8qlIHVjdJWTmORRs8_ISsMNpm-yMDe1ByIy3vTyKrRLfMnDioDvKUUT3F8rh1Gnws4_X03p4h6IXiKudfbTFtdfiuXL3dzio-i0LYhZTja2/s400/Screen+Shot+2014-01-14+at+1.59.37+PM.png" width="400" /></a></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"> 5. <i>Life Is An Opinion (Fire A Fact) </i></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">(Karen Yasinsky)</span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvteOXc5x4dt6FInDC98SJRreDh2UeQx6Un2RmYAXJ01QBvgtjtcaS2e_Mw_JiKtQWw4_JsmeKUXp3ABnBNEbpaC6CMEt1C1Vo0k4KCO7E6kQ7O00qfhPhz9lh8WQ1W7QnrTpZv6Z_4R2x/s1600/post-tenebras-lux-otras4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="292" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvteOXc5x4dt6FInDC98SJRreDh2UeQx6Un2RmYAXJ01QBvgtjtcaS2e_Mw_JiKtQWw4_JsmeKUXp3ABnBNEbpaC6CMEt1C1Vo0k4KCO7E6kQ7O00qfhPhz9lh8WQ1W7QnrTpZv6Z_4R2x/s400/post-tenebras-lux-otras4.jpg" width="400" /></a></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"> 6. <i>Post Tenebras Lux</i> </span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">(Carlos Reygadas)</span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLIWCiz9VDzLgBCw10azIDvTBt4NPAE_suyqHZLRqT_0HCzgO7_jUpTh-34j30v8uUlVjbB9v62yutZZvjVY8Fe2t1Bu1go-7jieSDkskrN5hkBN0PReOZ65bqPLsmON9Y8_7LOKD84Q7b/s1600/let-your-light-shine-001.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="223" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLIWCiz9VDzLgBCw10azIDvTBt4NPAE_suyqHZLRqT_0HCzgO7_jUpTh-34j30v8uUlVjbB9v62yutZZvjVY8Fe2t1Bu1go-7jieSDkskrN5hkBN0PReOZ65bqPLsmON9Y8_7LOKD84Q7b/s400/let-your-light-shine-001.jpg" width="400" /></a></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"> 7. <i>Let Your Light Shine</i> </span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">(Jodie Mack)</span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZ4D79RfHINXMStZCndpgPByAqI7qfndtFuuf-dP05hHZQfNA-97SHS2rimI8lTgaES1R9R0bRkaGP67KVnf9mEgyv_W2YgTH5vSHHoImMQAb_PHkwXD0yiKG6Tpbv92-7oGhEecJEwVU4/s1600/frances.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZ4D79RfHINXMStZCndpgPByAqI7qfndtFuuf-dP05hHZQfNA-97SHS2rimI8lTgaES1R9R0bRkaGP67KVnf9mEgyv_W2YgTH5vSHHoImMQAb_PHkwXD0yiKG6Tpbv92-7oGhEecJEwVU4/s400/frances.jpg" width="400" /></a></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"> 8. <i>Frances Ha</i> </span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">(Noah Baumbach)</span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyVV9sJKF6xf3igcQtwjZ-ueWbFXhlbNKHGizbtXc66Bcx8o8iCiUZuHoXetxGeS488G-IPWyIx1WA37Xh8UOeALwSuVFVqdKkX4ktzHirqvnA97sffEOQRSCBz-5-JnTTb9ja3z6Fw5NM/s1600/vlcsnap-2014-01-14-14h06m11s33.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="168" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyVV9sJKF6xf3igcQtwjZ-ueWbFXhlbNKHGizbtXc66Bcx8o8iCiUZuHoXetxGeS488G-IPWyIx1WA37Xh8UOeALwSuVFVqdKkX4ktzHirqvnA97sffEOQRSCBz-5-JnTTb9ja3z6Fw5NM/s400/vlcsnap-2014-01-14-14h06m11s33.png" width="400" /></a></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">9. <i>Beyond The Hills </i></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">(Cristian Mungiu)</span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgH53UOa6pyro8S-d5Sl1HOVjhhVJotbHIWvXrPB1gSzNoPoTNWoRNcrziWhBQfxchHafDGqbiCmhQTsQK_OcX1Cqu8CP7K1LobOrZ0BZm2pa70wPBdNky0qQoFcMGy3rk8VGPGfSA9EDXk/s1600/lords.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgH53UOa6pyro8S-d5Sl1HOVjhhVJotbHIWvXrPB1gSzNoPoTNWoRNcrziWhBQfxchHafDGqbiCmhQTsQK_OcX1Cqu8CP7K1LobOrZ0BZm2pa70wPBdNky0qQoFcMGy3rk8VGPGfSA9EDXk/s400/lords.jpg" width="400" /></a></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"> 10. <i>The Lords of Salem </i></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">(Rob Zombie)</span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCcuF3st3bIDmFvByJhj2KBeQk5UERYBKHhbDZ8p5L88TNtfpOhuU5JpI7pbzBAPYXbCSiSz_EO65mPIdZ9IUQmQEQCNJBoeERlx6jttY78WyMiDnAhmom_Xho4sQBCJ15HA4-WbHwwlge/s1600/museum_hours_film_still_a_l.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCcuF3st3bIDmFvByJhj2KBeQk5UERYBKHhbDZ8p5L88TNtfpOhuU5JpI7pbzBAPYXbCSiSz_EO65mPIdZ9IUQmQEQCNJBoeERlx6jttY78WyMiDnAhmom_Xho4sQBCJ15HA4-WbHwwlge/s400/museum_hours_film_still_a_l.jpg" width="400" /></a></span></div>
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<a href="http://www.out1filmjournal.com/2013/09/museum-hours-jem-cohen-2013.html"><span style="font-family: "georgia" , "times new roman" , serif;">11. <i>Museum Hours </i></span></a></div>
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<a href="http://www.out1filmjournal.com/2013/09/museum-hours-jem-cohen-2013.html"><span style="font-family: "georgia" , "times new roman" , serif;">(Jem Cohen)</span></a></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkO_1fehFQj_pWHfx4dgXlkkQtFuMJ-ugDyzJ7raFpNSUHiA6Rzf-pqWlpYaifygjGbrXprihWCvWWK5LjHsjn6uDQIT1_1MGvw7pni07lnNElIB50bI5JByaLee_5GEsE-5dz20OYXVZe/s1600/VIOLA-superJumbo.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkO_1fehFQj_pWHfx4dgXlkkQtFuMJ-ugDyzJ7raFpNSUHiA6Rzf-pqWlpYaifygjGbrXprihWCvWWK5LjHsjn6uDQIT1_1MGvw7pni07lnNElIB50bI5JByaLee_5GEsE-5dz20OYXVZe/s400/VIOLA-superJumbo.jpg" width="400" /></a></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"> 12. <i>Viola </i></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">(<span class="st">Matías Piñeiro)</span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6Vj5Sr7vKnG4SVZzqp6LeIMCWMlFgG2NG3kwHfKn8aLrVqfrcQCCIGl371YpIf9LfpOO2fYTYPN8CeU9eLJKOThRhP2KuDvZlF95F7qEkfhk7F4P_0kWZgTITeadCsQvy6x7PW-_ygNzI/s1600/barber.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6Vj5Sr7vKnG4SVZzqp6LeIMCWMlFgG2NG3kwHfKn8aLrVqfrcQCCIGl371YpIf9LfpOO2fYTYPN8CeU9eLJKOThRhP2KuDvZlF95F7qEkfhk7F4P_0kWZgTITeadCsQvy6x7PW-_ygNzI/s400/barber.jpg" width="400" /></a></span></div>
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<a href="http://www.out1filmjournal.com/2013/10/living-variables-stephanie-barbers.html"><span style="font-family: "georgia" , "times new roman" , serif;">13. <i>Daredevils </i></span></a></div>
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<a href="http://www.out1filmjournal.com/2013/10/living-variables-stephanie-barbers.html"><span style="font-family: "georgia" , "times new roman" , serif;">(Stephanie Barber)</span></a></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><b>BEST UNRELEASED FILM</b></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjq1fipNkD6xo9Ej3Ku1GquPuliusKQgiYThDo4QvTGGw5Px2MkXfXDwAmsSqNjndDLKV9kHcVsk1M71dRSiZJvE2tyNndnpLtqQXK6I9bCxHjTb166BfsHLf18QUCtwVbFlCn5YngvxFzM/s1600/Hard-to-be-a-God4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="258" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjq1fipNkD6xo9Ej3Ku1GquPuliusKQgiYThDo4QvTGGw5Px2MkXfXDwAmsSqNjndDLKV9kHcVsk1M71dRSiZJvE2tyNndnpLtqQXK6I9bCxHjTb166BfsHLf18QUCtwVbFlCn5YngvxFzM/s400/Hard-to-be-a-God4.jpg" width="400" /></a></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><b> </b><i>Hard To Be A God</i></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">(Aleksei German)<i> </i><b></b></span></div>
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James Hansenhttp://www.blogger.com/profile/09650436008918093617noreply@blogger.com0tag:blogger.com,1999:blog-3634886419866749682.post-12239239141348265222013-11-26T14:00:00.000-05:002013-12-02T15:19:41.177-05:00Exhausting Tomorrow: Michael Robinson's "The Dark, Krystle" (2013)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOwr2dzz3DzITE7RPUJrMGJlrRqbNF_GeVflze4XHwpZ6J7DpmxdAl4Hk64bw2VXFTt2s1TyQs3zXpq39Dh4LxuzGvram_5cBocNsTZ0OBhB0mD0lCHZqedDB1HjG6pqt743VbZIFmiv8I/s1600/Screen+Shot+2013-11-25+at+5.05.34+PM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Georgia, Times New Roman, serif;"><img border="0" height="302" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOwr2dzz3DzITE7RPUJrMGJlrRqbNF_GeVflze4XHwpZ6J7DpmxdAl4Hk64bw2VXFTt2s1TyQs3zXpq39Dh4LxuzGvram_5cBocNsTZ0OBhB0mD0lCHZqedDB1HjG6pqt743VbZIFmiv8I/s400/Screen+Shot+2013-11-25+at+5.05.34+PM.png" width="400" /></span></a></div>
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<i><span style="font-family: Georgia, Times New Roman, serif; font-size: x-small;">INEZ: But, you crazy creature, what do you think you're doing? You know quite well I'm dead.</span></i></div>
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<i><span style="font-family: Georgia, Times New Roman, serif; font-size: x-small;">ESTELLE: Dead?</span></i></div>
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<i><span style="font-family: Georgia, Times New Roman, serif; font-size: x-small;">INEZ: Dead! Dead! Dead! Knives, poison, ropes--useless. It has happened already, do you understand? Once and for all. So here we are, forever.</span></i></div>
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<i><span style="font-family: Georgia, Times New Roman, serif; font-size: x-small;">ESTELLE: Forever. My God, how funny! Forever.</span></i></div>
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<i><span style="font-family: Georgia, Times New Roman, serif; font-size: x-small;">GARCIN: For ever, and ever, and ever.</span></i></div>
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<i><span style="font-family: Georgia, Times New Roman, serif; font-size: x-small;">(A long silence.)</span></i></div>
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<i><span style="font-family: Georgia, Times New Roman, serif; font-size: x-small;">GARCIN: Well, well, let's get on with it...</span></i></div>
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<span style="font-family: Georgia, Times New Roman, serif;">by James Hansen</span><br />
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<span style="font-family: Georgia, Times New Roman, serif;">Over the image of a fire burning blue, we hear the faint, exhausted whisper of a middle-aged woman. “There was a fire in the cabin. I tried to leave, but the door was locked. I died in that fire...” The woman sits in a hospital bed. Her head slightly tilted, she gazes into the distance with a look of despair. “I don’t know who I am.” These sounds and images serve as the prelude of Michael Robinson’s new video <i>The Dark, Krystle</i>. They establish the work’s central premise, that of being trapped in a place with no hope of escape. And yet, the narrator doesn’t die, despite stating her condition as being dead, as no longer knowing herself. She is alive, born new even, but lacks an awareness of herself, of her life, of her history.</span><br />
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<span style="font-family: Georgia, Times New Roman, serif;">Robinson’s body of work could largely be said to confront this condition in the form of appropriated media. His ability to craft startling contemporary works from cast off remnants of relatively recent popular culture has cemented his status as one of the most important voices of 21st century experimental cinema. However, it isn’t quite right to say he revives dead imagery or unearths lost objects, as is often said of found footage filmmaking. Instead, Robinson wants to observe media as they cut horizontally across time. His films and videos are collaged in such a way that they account for the media’s previous incarnations and their current state of existence.</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgV6QnXyiG5-FfKqToLoTXy5fZzyKUp3x6MNqahZisHENByuJIT_Mbo4IiwQM9DX9-CRB7Rkkdq0P6jlRjLOlCqechJf9-RNhDP__nzbZmTxvo2YlGi0xeydxejXaSH2c72i1g7GTx-g9dd/s1600/Screen+Shot+2013-11-25+at+5.04.03+PM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Georgia, Times New Roman, serif;"><img border="0" height="301" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgV6QnXyiG5-FfKqToLoTXy5fZzyKUp3x6MNqahZisHENByuJIT_Mbo4IiwQM9DX9-CRB7Rkkdq0P6jlRjLOlCqechJf9-RNhDP__nzbZmTxvo2YlGi0xeydxejXaSH2c72i1g7GTx-g9dd/s400/Screen+Shot+2013-11-25+at+5.04.03+PM.png" width="400" /></span></a></div>
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<span style="font-family: Georgia, Times New Roman, serif;">This transversal operation pushes the images beyond their own parameters, all the while remaining true to their initial manifestation. As such, they are simultaneously open and closed, aware and unaware. His work locates and refashions popular material precisely at the point where it in unclear what or who that material is anymore. His mode of response echoes the words of Maurice Blanchot: "A sound response puts down roots in the question...It can close in around the question, but it does so in order to preserve the question by keeping it open." (While this certainly echoes the work of Martin Arnold, which Akira Lippit describes as an ex-cinematic memory machine, Robinson allows images themselves to act as a structuring principle without necessarily evoking mechanical reproduction and the technological apparatus. This isn’t to say Robinson ignores these historical concerns. Rather, his work inscribes the differences between the appropriating processes of physical film and digital media.)</span><br />
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<span style="font-family: Georgia, Times New Roman, serif;">This position allows the Krystle character to stand as something of a clarifying figure across Robinson’s work. <i>The Dark, Krystle</i> examines her fate as a character presumably unaware of her own imprisonment to the confines of gender and gesture. Utilizing material from the long running soap opera <i>Dynasty</i>, Robinson filters the program’s longstanding catfights between Krystle and Alexis through their infinitely repeated gestures. After the prelude (cue the dramatic music!), there is a series of shots in which Krystle’s back faces the camera before she aggressively turns to presumably face someone off screen. Next, she begins with her head raised before ultimately slouching her head downward. She stares into the distance, the camera zooms in on her bewildered face, she cries and violently throws her head to the right. Robinson smoothly transitions from one gesture to the next establishing a nebulous flow between abstract repetition and narrative continuity. However, despite the swelling music and rising action, the gestures bottom out and become empty. Each element feels overdone and artificial. The monotonous mood of Krystle’s perpetual feuds with Alexis transfers to the enervated audience. </span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCXEQjtHCbKkkrNTvKmWusWRGcl-WtcSIDlvGtzYF0i6FhK56QeToWHqiKyJGA4Hpc2NyARtp0BG5L9o7ZiKSIzgfeAgL_RoBgaOVFkF1Ecm9hpoGWUh3DGK056iTGwXw0XZCybesVe6uR/s1600/Screen+Shot+2013-11-25+at+5.06.34+PM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Georgia, Times New Roman, serif;"><img border="0" height="301" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCXEQjtHCbKkkrNTvKmWusWRGcl-WtcSIDlvGtzYF0i6FhK56QeToWHqiKyJGA4Hpc2NyARtp0BG5L9o7ZiKSIzgfeAgL_RoBgaOVFkF1Ecm9hpoGWUh3DGK056iTGwXw0XZCybesVe6uR/s400/Screen+Shot+2013-11-25+at+5.06.34+PM.png" width="400" /></span></a></div>
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<span style="font-family: Georgia, Times New Roman, serif;">Around the midway point, Robinson attempts to leave Krystle, but, once again, finds the door locked by Alexis. Suddenly, the villainous Alexis takes over the video. She drinks, drinks more, and drinks even more. Krystle’s multitude of gestures become calcified in Alexis’s singular menacing activity: drinking, drinking, and drinking. While the character’s voiceover indicates a rising of the stakes, the action remains the same. The images no longer correspond with their narrative arch – although Robinson’s impressive use of sound creates a fully formed environment of such a melodrama – but instead only refer to the eternal condition of the narrative itself. Thus, if melodrama operates through a series of rising actions while ultimately reach a boiling point in which events spill over into excess, <i>The Dark, Krystle </i>functions as an excessively excessive melodrama which in turn deflates its own rising action. Robinson reveals the images as trapped by repetitive redundancy and incapable of sustaining their content. </span><br />
<span style="font-family: Georgia, Times New Roman, serif;"><br /></span>
<span style="font-family: Georgia, Times New Roman, serif;">Meanwhile, as the images and gestures deflate into meaninglessness, boredom and fatigue transfers directly to the audience. In this way, <i>The Dark, Krystle</i>’s achievement extend beyond the critique of network television’s narrative system and the playful questioning of melodramatic operations. <i>Dynasty</i>, along with <i>Dallas</i>, were perhaps the first shows to transfer the daytime soap opera into a primetime television series. <i>Dynasty</i>’s arrival signaled the end of the prior soap opera format – fixed in the day, marketed largely towards women – and a turn toward global audiences and markets. </span><br />
<span style="font-family: Georgia, Times New Roman, serif;"><br /></span>
<span style="font-family: Georgia, Times New Roman, serif;">If Robinson’s <i>Circle in the Sand</i> recognizes his debt to female filmmakers, as he has indicated in interviews, <i>The Dark, Krystle</i> engages domestic settings in a differential manner, similar in some ways to his already canonical <i>Light Is Waiting</i>. Here, Robinson’s internal juxtaposition of footage indicates not only the systematic breakdown of the daytime soap opera (as <i>Light Is Waiting</i> did with the TGIF moment), but also perceives the exhaustion of the housewife as a representational figure and as a marketing demographic. Robinson takes two women – Krystle, the dutiful housewife, and Alexis, the professional ex-wife – and shows their actions as eternally repeatable and thus hollow, tiresome, and ultimately lacking literal and figurative purchase. They are trapped. Their house will burn. They will die. They won’t know who they are. And they’ll do it all again tomorrow. An already exhausted tomorrow. </span><br />
<br />James Hansenhttp://www.blogger.com/profile/09650436008918093617noreply@blogger.com0tag:blogger.com,1999:blog-3634886419866749682.post-57958434354324180052013-10-01T16:24:00.000-04:002013-10-03T00:12:56.077-04:00Living Variables: Stephanie Barber's "Daredevils" (2013) and David Gatten's "The Extravagant Shadows" (2012)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwzuADSR3l09ci9y_sh2gsQGdKhC7FOsXLfzAKMx8IKlNPkxKK98tkmEGCF9ruodgdWME0PU6W3pVTLl_slBHGTILVBwqkCbkXRzpGgaFQtt483hsXYlxP5TJcyPJ9Tc0-LWmEHTdbn_Vr/s1600/daredevils1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Georgia, Times New Roman, serif;"><img border="0" height="243" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwzuADSR3l09ci9y_sh2gsQGdKhC7FOsXLfzAKMx8IKlNPkxKK98tkmEGCF9ruodgdWME0PU6W3pVTLl_slBHGTILVBwqkCbkXRzpGgaFQtt483hsXYlxP5TJcyPJ9Tc0-LWmEHTdbn_Vr/s400/daredevils1.jpg" width="400" /></span></a></div>
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<span style="font-family: Georgia, Times New Roman, serif;">by James Hansen</span><br />
<span style="font-family: Georgia, Times New Roman, serif;"><br /></span>
<span style="font-family: Georgia, Times New Roman, serif;">On Sunday, as I wandered through David Gatten’s monumental feature <i>The Extravagant Shadows</i> for the second time, my mind kept returning, quite
unexpectedly, to Stephanie Barber’s <i>Daredevils</i>, a new feature-length video premiering this
Thursday at the New York Film Festival’s Views from the Avant-Garde sidebar. </span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGXzLdDW7nvlrna-sBA4ESSzFjfiPAsn_e2ldjVv94oJzXZ1yA77MUoCo2sbWKRNhzHjrX7isES26GyCQ2y8hk1oKmkxNV17NAIA8UoA41FpY1BeuvjSmdDdTOoYIXBVgpktmOg8_PYlmw/s1600/the-extravagant-shadows.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Georgia, Times New Roman, serif;"><img border="0" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGXzLdDW7nvlrna-sBA4ESSzFjfiPAsn_e2ldjVv94oJzXZ1yA77MUoCo2sbWKRNhzHjrX7isES26GyCQ2y8hk1oKmkxNV17NAIA8UoA41FpY1BeuvjSmdDdTOoYIXBVgpktmOg8_PYlmw/s400/the-extravagant-shadows.jpg" width="400" /></span></a></div>
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<span style="font-family: Georgia, Times New Roman, serif;">On the surface, Gatten’s video perhaps
appears as the polar opposite of Barber’s work. In <i>The Extravagant Shadows</i>,
Gatten utilizes different types of paint and a number of colors, which he
layers one on top of the other across the digital 16x9 frame. Over the
three-hour running time, the layers of paint react to one another, seeping from
background to foreground ultimately revealing the dense surfaces of paint, the
accumulation of sensuous, decaying materials across the motion of time.</span><br />
<span style="font-family: Georgia, Times New Roman, serif;"><br /></span>
<span style="font-family: Georgia, Times New Roman, serif;">Just as distinctively, <i>The Extravagant
Shadows</i> features numerous texts which appear on screen punctuated by an
additive layer of paint across the sheet of glass, filling the cinema screen.
The texts establish a narrative of two young lovers exchanging letters and
attempting to make another connection over the course of time. Incorporating
writing from Henry James, Wallace Stevens, Maurice Blanchot, and others,
Gatten’s written narrative personally and philosophically echoes the conceptual
operations behind the abstract, mutating paint – the reemergence of colors and
ideas once buried or forgotten, the animating spirit of earlier inhabitance,
the appearance of sometimes violent shadows, open wounds, that cannot be fully
covered even as they disappear or reappear before the viewer’s eyes.</span><br />
<span style="font-family: Georgia, Times New Roman, serif;"><br /></span>
<span style="font-family: Georgia, Times New Roman, serif;">As viewers read the words and absorb
the images, connections can be made (and missed) between previous texts and
earlier images. The repetitive vertical brush strokes are matched by the return
of certain predominant questions – contingency, presence, absence, shadows, and
ghosts. Still, even when the images or words are familiar, there undoubtedly
remains some confusion. Haven’t I seen this before? Haven’t I read this
already? Will we meet again? How will it be different next time? As a text in a
section entitled “The Useless Resistance” suggests, the more one recognizes a
sense of being “here” – of presence – in the viewing experience of <i>The
Extravagant Shadows</i>, the more one is lead elsewhere or somewhere far away – to
the crackling paint, to the screen, to our seats, to the heavens, to the
disappearing past, to the anticipated future. Each individual viewer acts as a
variable in dealing with language, processing words internally, and responding
with their own thoughts in a personal, intimate direction.</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqhkc-5Ocxz800ClzYsofMJTHh-surVghIVflxkztxxUb3TolfX1elya72pxR1sPWIFdrUAhNjYAU-eYqY1t9kpWpADGSKq8J9sMUa_TbL9sZgC5IevsvpuEw4GXlr3Fg-JBsxKb3lcW-V/s1600/extravagant2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Georgia, Times New Roman, serif;"><img border="0" height="260" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqhkc-5Ocxz800ClzYsofMJTHh-surVghIVflxkztxxUb3TolfX1elya72pxR1sPWIFdrUAhNjYAU-eYqY1t9kpWpADGSKq8J9sMUa_TbL9sZgC5IevsvpuEw4GXlr3Fg-JBsxKb3lcW-V/s400/extravagant2.jpg" width="400" /></span></a></div>
<span style="font-family: Georgia, Times New Roman, serif;"><br /></span>
<span style="font-family: Georgia, Times New Roman, serif;">In this way, <i>The Extravagant Shadows</i>
initiates an interior dialogue with the viewer who negotiates text and image,
space and screen, the introduction of ideas and the manifestation of their
potentiality. Gatten provides something of a “circuitous route” for individual
viewers to feel their way the video – through time and history – and bring it
back to our lives, our words, our language, our existence. <i>The Extravagant
Shadows</i> is an act of supreme reflection, which drifts through language – visual
and textual, representational and abstract, thought and unthought – hovers at
the borders of living and dead, remembered and forgotten, and reveals the
disappearing emergence of the past, present, and future through the
connectedness and embodiment of time, history, and the written word.</span><br />
<span style="font-family: Georgia, Times New Roman, serif;"><br /></span>
<span style="font-family: Georgia, Times New Roman, serif;">While abstract imagery and the
written word are central components in the history of experimental cinema,
Stephanie Barber’s <i>Daredevils</i> operates in a different fashion and would seem to
indicate a sharp contrast to work like <i>The Extravagant Shadows</i>. <i>Daredevils</i>
features three sequences: an interview, a monologue, and a song. Barber
constructs the long interview sequence, nearly two-thirds of the running time,
with a typical three-camera setup. The artist and the writer talk continuously
and the actors naturally perform Barber’s eloquent script. If there are hints
of artifice, they come, first, in the form of high-definition images saturated
by pastel green walls and a backlit window in the center of the frame, and,
second, in the presence of the writer’s recording device set on the center of
the table. Nonetheless, while similarly engaged with questions of language,
Barber incorporates representational images and speech rather than abstraction
and text.</span><br />
<span style="font-family: Georgia, Times New Roman, serif;"><br /></span>
<span style="font-family: Georgia, Times New Roman, serif;">Why then do <i>Daredevils</i> and <i>The
Extravagant Shadows</i> feel like strange companions, a pair of distant acquaintances
speaking to one another across form and across time?</span><br />
<span style="font-family: Georgia, Times New Roman, serif;"><br /></span>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh37zXSJgWCYv8L-b3Ay6BI7KAzQEMuz_00odUqWrn4_XAo7n7rQC5aHe-w4w-q62F3QhmzTC-wookJORignXEVncIcchKl2HYhxQwOka0qBCIsGo4wOjFTBTzMEMH1JcKPT9coFMMBlvUo/s1600/coker-A.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Georgia, Times New Roman, serif;"><img border="0" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh37zXSJgWCYv8L-b3Ay6BI7KAzQEMuz_00odUqWrn4_XAo7n7rQC5aHe-w4w-q62F3QhmzTC-wookJORignXEVncIcchKl2HYhxQwOka0qBCIsGo4wOjFTBTzMEMH1JcKPT9coFMMBlvUo/s400/coker-A.png" width="400" /></span></a></div>
<span style="font-family: Georgia, Times New Roman, serif;"><br /></span>
<span style="font-family: Georgia, Times New Roman, serif;"><i>Daredevils</i> opens with the image of a
man rhythmically clicking sticks together in the woods. Nestled in the deep
space of the forest, he goes almost unnoticed in the frame. Throughout the
film, small breaks in the interview sequence are punctuated by shots of the man
creating and recording various sounds: a pair of feet stomping on blocks, metal
wires scraping over rocks, etc. With this, Barber introduces the question of
sound beyond speech, abstract acoustics beyond human language. Here, though, we
see the sound in the process of its creation. We know it is diegetic. We
recognize its component parts. Still, it functions as a narrative digression, a
cutaway from the central story, a seemingly random interruption.</span><br />
<span style="font-family: Georgia, Times New Roman, serif;"><br /></span>
<span style="font-family: Georgia, Times New Roman, serif;">As the title card appears, we hear a
voiceover of a woman discussing the butterfly’s cross generational migration,
first through Canada, then through the United States, and then Mexico. “It is
barely a risk. Just a journey.” Later, the voiceover continues, “There is small
and large extinction. The extinction of an idea, of a hope, of a life, of a
species.” These statements hover over the scene as the writer takes her seat at a round
table awaiting her subject’s arrival. </span><br />
<span style="font-family: Georgia, Times New Roman, serif;"><br /></span>
<span style="font-family: Georgia, Times New Roman, serif;">Once The Artist, Dora (Flora Coker),
arrives, The Writer, Louise (KimSu Theiler), begins the nearly hour long
interview. The conversation ebbs and flows through an examination of Dora’s
work as an artist. Louise seems somewhat over-eager at the start, connecting
Dora’s practice to those of several female artists – Marie Menken, Maya Deren,
Peggy Ahwesh – who are likely familiar to <i>Daredevils</i>’ audience but not to Dora
herself. Importantly, Dora ponders the question of scale in relation to gender,
to her role as a female artist, as a response to the historically dominant
narratives of large scale, abstract works by male artists. It is impossible not
to think of <i>Daredevils</i>, Barber’s first feature, in terms of these same
historiographic problems.</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqu0j7v9QVKnigAyod_U2zUTDnfdD_A3oFF-ASnrTHU3_nd5fCB7-DaGygmDtb8wJY6IDXAJ5KBmNB_97Y93MVcYGPMND0TBsYded74zwlBbUu0edygmxB8MX0z8GDsTrd-zPNvV9oqU6E/s1600/robinson-B.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Georgia, Times New Roman, serif;"><img border="0" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqu0j7v9QVKnigAyod_U2zUTDnfdD_A3oFF-ASnrTHU3_nd5fCB7-DaGygmDtb8wJY6IDXAJ5KBmNB_97Y93MVcYGPMND0TBsYded74zwlBbUu0edygmxB8MX0z8GDsTrd-zPNvV9oqU6E/s400/robinson-B.png" width="400" /></span></a></div>
<div class="Body">
<span style="font-family: Georgia, Times New Roman, serif;"><br /></span></div>
<div class="Body">
<span style="font-family: Georgia, Times New Roman, serif;">Slowly, though, the conversation
subtly slides from artistic discussions of Dora’s work and toward personal
experience: Dora’s decision to quit smoking, her move to the Everglades, her
“forgetting” to have children. The formal interview process transforms into an
interpersonal conversation initiating a role reversal between artist and
writer, director and actor, distant observation and active participation. Here,
Dora’s aesthetic concepts filter not through her own thoughts and experiences,
but rather through Louise’s engagement, as a character, and through Barber’s
audience, as thinking participants in the game <i>Daredevils</i> creates. The
situational variable is how much one engages with what is before them and how
much of themselves they bring to the table.</span></div>
<div class="Body">
<span style="font-family: Georgia, Times New Roman, serif;"><br /></span></div>
<div class="Body">
<span style="font-family: Georgia, Times New Roman, serif;">Time and again, the interview
returns to similar concerns: risk, chance, scale, smell, musicality, and
representation. Dora and Louise’s questions – and <i>Daredevils</i> as a whole –
hinges on a clash between personal/private experience and a constructed
engagement with art, with the public display of someone else’s thoughts. This
dialectical impulse unfolds on multiples levels. First and foremost, it plays
out as a narrative between Dora and Louise. Louis is clearly affected by Dora’s
questions, as is made clear in the final two sequences.</span></div>
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<span style="font-family: Georgia, Times New Roman, serif;"><br /></span></div>
<div class="Body">
<span style="font-family: Georgia, Times New Roman, serif;">Just before the interview ends, Dora
raises the issue of connectivity in conversation and the joy and sadness that
comes with connectedness. Just as quickly as their connection has been made,
Dora and Louise’s interview abruptly ends. Louise seems somewhat shocked and
confused. Has she been discarded so soon? Has the burden of connectivity been
lifted or is it an existential need? What happens when a deep connection
suddenly disappears? What mode of extinction is this? <i>Daredevils</i> makes clear
the burden of connection – through language, speech, and art, that is, through
personal internal experience – requires both participation and risk, the risk
of being a participant, of playing the game, of winning or losing what you
have, of migrating away from the things you love. </span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjW-cxa2Z7yacIBCU-054eiH-HIC5HnjxtKRL9NnZ2pmMAvnEfVw4tW2MShl9hr0trUQWzd2YhLxn3LdB_1tEifvb-3Banmv8qFZOo4bPkbyyWJfGjfpHvtPQkdUh_6Sgj0AEEGuro_DHNI/s1600/jogging-A.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Georgia, Times New Roman, serif;"><img border="0" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjW-cxa2Z7yacIBCU-054eiH-HIC5HnjxtKRL9NnZ2pmMAvnEfVw4tW2MShl9hr0trUQWzd2YhLxn3LdB_1tEifvb-3Banmv8qFZOo4bPkbyyWJfGjfpHvtPQkdUh_6Sgj0AEEGuro_DHNI/s400/jogging-A.png" width="400" /></span></a></div>
<div class="Body">
<span style="font-family: Georgia, Times New Roman, serif;"><br /></span></div>
<div class="Body">
<span style="font-family: Georgia, Times New Roman, serif;">The next, extraordinarily powerful
sequence shows Louise running on a treadmill listening to an interview with a
daredevil, a stunt woman. As she listens to the daredevil, something hits a
nerve. She runs faster and faster, but goes nowhere. She is simultaneously
moving and not moving; her inner experience physically manifests itself in the
gym. A brilliantly constructed shot, Louise is pinned between the horizontal
and vertical lines of a racquetball court directly behind the treadmill. The
static grid fixes Louise in the center of the frame, while a racquetball game
takes place in the background. Louise is alone, boxed in. As she (and we) hear the
daredevil’s stories of risk and potential death, it becomes clear that the
risky variable in any situation, in the world at large, is the human, the
individual, the body in motion. Louise’s jogging, and the racquetball game,
disturb the static, mathematical, objective grid. Like the crackling paint in
<i>The Extravagant Shadows</i>, Louise and the game players are animating spirits –
the historical, artistic, and personal variables – who both cover and seep
through the transparent sheet of glass, the canvas of time, the moving
embodiment of abstract connection, personal experience, and the simultaneously
representational and abstract spoken word.</span></div>
<div class="Body">
<span style="font-family: Georgia, Times New Roman, serif;"><br /></span></div>
<div class="Body">
<span style="font-family: Georgia, Times New Roman, serif;">Yet, more than just a narrative
construction, it is hard not to consider <i>Daredevils</i> to be Barber in reflexive
conversation with herself through her characters. If her recent work suggests
an interest in individual responses creating new, interactive dialogues with
cultural texts – as in <i>Tatum’s Ghost</i>, which pastes various YouTube comments on
top of the source video, an episode of <i>Unsolved Mysteries</i>; or her book <i>Night
Moves</i>, a poetry collection of YouTube comments from the music video for Bob Seger’s
“Night Moves” – Louise and Dora’s dialogue indicates a similar mode of
participation with given texts, that is, they approach artworks as Artist and
Writer and, through a process of abstract and representational thinking, they come to simultaneously occupy both positions.</span></div>
<div class="Body">
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<div class="Body">
<span style="font-family: Georgia, Times New Roman, serif;">It is a daring move for Barber to
conduct such a direct conversation with her own work, but it would be specious
to suggest <i>Daredevils</i> is artistically hermetic. More than anything, <i>Daredevils</i> invites
its audience to be a participant in its game. For both the characters and the
audience, Barber structures a narrative process of taking an external dialogue,
a spoken conversation, that is to be read internally and filtered through
personal experience before finally taking up physical, embodied form. As Dora
says, mimicry becomes something social and experience is transferred to the
audience. If the final scene reveals the connective process as something of a
“song-and-dance,” it does so with playful seriousness of a child’s game. While
strikingly different in form, <i>Daredevils</i>, like <i>The Extravagant Shadows</i>,
provides something of a “circuitous route” for individual viewers to experience
their own migration through the video – through time and history – and bring it
back to our lives, our words, our language, our existence. It is barely a risk.
Just a journey. Tag! You’re it. <span style="color: windowtext; font-size: 10pt;"><o:p></o:p></span></span></div>
<div class="Body">
<span style="font-family: "Times New Roman";"><br /></span></div>
<!--EndFragment-->James Hansenhttp://www.blogger.com/profile/09650436008918093617noreply@blogger.com0tag:blogger.com,1999:blog-3634886419866749682.post-67064509358430054942013-09-26T15:29:00.000-04:002013-09-26T15:34:30.912-04:00Museum Hours (Jem Cohen, 2013)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdyDtwvD0MSICTCEOtvZOddyreE0Rfa_5P8MPCEe2cTLsc3y-0ye5TIy-5gM8lIHOl0Z2Ni9QGr8xdq0uE2b-azKzYrOFt55DE0bU5oQ_nfZb_BpXkTOT3Qnvudjihr7a5yeKCMxxl0scR/s1600/MuseumHoursPoster.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdyDtwvD0MSICTCEOtvZOddyreE0Rfa_5P8MPCEe2cTLsc3y-0ye5TIy-5gM8lIHOl0Z2Ni9QGr8xdq0uE2b-azKzYrOFt55DE0bU5oQ_nfZb_BpXkTOT3Qnvudjihr7a5yeKCMxxl0scR/s400/MuseumHoursPoster.jpg" width="282" /></a></div>
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<span style="font-family: Georgia,"Times New Roman",serif;">by James Hansen</span><br />
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<span style="font-family: Georgia,"Times New Roman",serif;">A tender, intimate portrait of care and friendship, life and art, Jem Cohen’s <i>Museum Hours</i> may be best observed in the position of a wanderer. Anne (Mary Margaret O’Hara) makes an unexpected trip to Vienna to care for a dying family member. In Vienna, Johann (Bobby Summer), a museum guard, befriends Anna. He becomes her guide and they travel around a number of unique spaces – the hospital, the museum, and the city at large. Cohen’s fine directorial eye shows Anne and Johann as almost floating around the city. The beautifully rendered scenes softly flow from one to the next, as if they are leaves blowing in the wind or billiard balls gliding across a table.</span><br />
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<a name='more'></a><br />
<span style="font-family: Georgia,"Times New Roman",serif;"> Anne and Johann move from one room to another, from one day to the next. They fill their time with quiet conversation. They discuss small, nearly unseen elements in paintings and recall detailed narratives of art and life. Slowly and subtly, <i>Museum Hours</i> reveals a deeply felt sense of shared experience between the solitary, unassuming figures. This becomes further reflected in the city, as objects, trinkets, and images from the museum become represented in varying fashions within the environment itself. </span><br />
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<span style="font-family: Georgia,"Times New Roman",serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrXB4Ckqq1Z6TnNTSCbe5Mhf2qZ1g01S27zRNQ1SiBruCForG4zCuRxrDfI11ChTdVkA7wc8WHmn6JcXpkNwYM6Js9cxrwHt5XrEDx420zRw1EDtcWmiuh0bOP2BOPnyyJSm38a4aWv5TX/s1600/MH_Mary-Margaret-O_Hara.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrXB4Ckqq1Z6TnNTSCbe5Mhf2qZ1g01S27zRNQ1SiBruCForG4zCuRxrDfI11ChTdVkA7wc8WHmn6JcXpkNwYM6Js9cxrwHt5XrEDx420zRw1EDtcWmiuh0bOP2BOPnyyJSm38a4aWv5TX/s400/MH_Mary-Margaret-O_Hara.jpg" width="400" /></a></span></div>
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<span style="font-family: Georgia,"Times New Roman",serif;">In <i>Museum Hours</i>, seemingly minor, simple elements from everyday life illustrate the deep complexities of an individual image, a single, transient moment, from everyday life. Like the Bruegel paintings that fill the museum’s most popular room, <i>Museum Hours</i> shows a seemingly quaint, documentary simplicity that becomes more and more complicated upon further inspection. The unidentified museum visitors become something like the figures in the paintings, a multitude of specific individuals present in space and at that moment in history. </span><br />
<br />
<span style="font-family: Georgia,"Times New Roman",serif;">In this way, Cohen establishes a unity between Anne, Johann, and the other visitors with both the paintings themselves and the entire visible world around them. They becomes small pieces in the delicate portrait that is <i>Museum Hours</i>. In the end, the film plays as what the characters describe as “a hallucination of the real.” With <i>Museum Hours</i>, Cohen uncovers a world that is both familiar and in constant motion – an infinite space full of possibility that may disappear when you walk around a corner.</span><br />
<br />James Hansenhttp://www.blogger.com/profile/09650436008918093617noreply@blogger.com0tag:blogger.com,1999:blog-3634886419866749682.post-65262302717338343082013-09-04T13:40:00.000-04:002013-09-04T13:49:30.096-04:00NYFF: 2013 Views from the Avant-Garde Schedule<div class="p1">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgH4cLcLi9ZFWUr4wtqfkgJRXW86ecUwd4FfyFZ73MkcL3V1AgvbndqhyET7iC0xVQd5a4cqna4e70dap1cCjFqextTbszegVtpBbvvfBkOuCkJdA3HXEKiaPuFZl5SQpaVWQTC87OiPRw/s1600/stark.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgH4cLcLi9ZFWUr4wtqfkgJRXW86ecUwd4FfyFZ73MkcL3V1AgvbndqhyET7iC0xVQd5a4cqna4e70dap1cCjFqextTbszegVtpBbvvfBkOuCkJdA3HXEKiaPuFZl5SQpaVWQTC87OiPRw/s400/stark.jpg" width="400" /></a></div>
<div style="text-align: center;">
<span style="font-family: Georgia, Times New Roman, serif; font-size: x-small;">Scott Stark, <i>The Realist</i>, 2013</span></div>
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<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>Schedule for NYFF Views</b></span></div>
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<span style="font-family: Georgia, Times New Roman, serif;"><span class="s1"><b><br />
T</b>he Film Society of Lincoln Center announced today the complete lineup for the 17</span><span class="s2"><sup>th</sup></span><span class="s1"> edition of Views from the Avant-Garde (VIEWS), taking place from Oct 3-7 during the New York Film Festival (NYFF). The popular yearly touchstone for experimental film returns with curator Mark McElhatten at the helm, and will contain 35+ programs in glorious Super-8, 16 mm and 35mm film and HD formats. Many familiar faces will return, and VIEWS will also feature 45 new artists and several mini-retrospectives of several of these artists including, Aura Satz, Lois Patiño, Sandro Aguilar, and Jean-Paul Kelly. Views will also offer special tributes to the late Stom Sogo and Anne Robertson whose work is a testimony to the power of a Cinema that is fearless, confidential and inextinguishable.</span></span></div>
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<span class="s1" style="font-family: Georgia, Times New Roman, serif;">Curator of Views from the Avant-Garde, Mark McElhatten said, “Cinema existed before Film and will exist long after film's twilight and digital's decay. Cinema exists as an innate way of perceiving the world through light, through cadence through juxtaposition and as a way of sensing and organizing reality. VIEWS celebrates Cinema in its material marriage with film, in its honeymoon period with an ideal medium, projecting super-8, 16mm, 35mm, sequential slides. We celebrate the lightning fleetness of digital that is able to translate the cinema of consciousness in a way than is very different than film, giving it a different elasticity and a different body. We are screening work that ranges through the ethnographic, abstract, psychological, documentarian, essayistic, devotional, parotic, scientific-naturalist many different impulses and directions along with the latest archival preservations of rediscovered works from earlier decades. The goal is to offer a festival of works that is evidence of true exploration coming from individual impulse, showing what can happen when exceptional artists absent themselves from the concerns of a consensus commercial aim and authentically pursue the limits of their art.”</span></div>
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<span style="font-family: Georgia, Times New Roman, serif;"><span class="s1"></span><br /></span></div>
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<span style="font-family: Georgia, Times New Roman, serif;"><span class="s1">Some highlights this year include, work by Lois Patiño who will showcase multiple programs, group shows, solo and amphitheater cycles. Opening night offers the North American Premiere of Patiño’s first feature COSTA DA MORTE, which just won an award of distinction at the 66</span><span class="s2"><sup>th</sup></span><span class="s1"> Festival del Film Locarno for Best Emerging Director. Filmed in a region of Galicia, Spain called Coast of Death, derived from the numerous shipwrecks that happened in this region. The film crosses this land observing the people who inhabit it, witnessing the traditional craftsmen who maintain both an intimate relationship and an antagonistic battle with the vastness of this territory. The wind, the stones, the sea, the fire, are characters in this film, and through them, approach the mystery of the landscape, understanding it as a unified ensemble with man, his history and legends.</span></span></div>
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<span style="font-family: Georgia, Times New Roman, serif;"><span class="s1"></span><br /></span></div>
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<span class="s1" style="font-family: Georgia, Times New Roman, serif;">Sandro Aguilar is known internationally as the founder of the production company, “O Som e a Fúria,” responsible for acclaimed films by Miguel Gomes, Manoel de Olivera and many other notable directors. His extraordinary films have been receiving nominations and awards from dozens of festivals worldwide over the last decade or so. Aguilar’s latest film <i>Dive: Approach and Exit</i> will be shown in its New York Premiere along with a selection of short films from 2007 to 2013. In addition his film <i>A Serpente</i> will screen once with the New York premiere of Scott Stark’s The REALIST.</span></div>
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<span style="font-family: Georgia, Times New Roman, serif;"><span class="s1"></span><br /></span></div>
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<span class="s1" style="font-family: Georgia, Times New Roman, serif;">VIEWS will present the World Premiere of Aura Satz’s just completed work Doorway for Nathalie Kalmus, a film centered around the use of color in moving image technology and exploring the disorienting technicolor prismatic effects of the lamp house of a 35mm color film printer. Through minute shifts across an abstract color spectrum, punctuated by a mechanical soundtrack, the film evokes kaleidoscopic perceptual after-images (bringing to mind Paul Sharits, Dario Argento and the Wizard of Oz).</span></div>
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<span style="font-family: Georgia, Times New Roman, serif;"><span class="s1"></span><br /></span></div>
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<span class="s1" style="font-family: Georgia, Times New Roman, serif;">SUNKEN TREASURE will be part of a special closing day of VIEWS that seeks to dissolve boundaries in the way we categorize and approach cinema of different origins and genre by presenting relative rarities directed by John Stahl and Max Ophuls, along with the works of Stan Brakhage and Nathaniel Dorsky. The evening will conclude with the last presentation in this year’s edition of VIEWS titled <b>Kodachrome Dailies from the Time of Song and Solitude (Reel 2)</b>by Nathaniel Dorsky, includes screening unreleased materials for the first and only time to a public audience.</span></div>
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<span class="s1" style="font-family: Georgia, Times New Roman, serif;">Over 200 individual works will screen this year from all over the world, including: Argentina, Austria, Australia, Brazil, Burma/Myanmar, Canada, Ethiopia, France, Germany. Israel, Italy, India, Japan, Palestinian territories, Mexico, Nepal, the Netherlands, Nigeria, Norway, Portugal, South Korea, Spain, Turkey, Uganda, United Kingdom, United States, Vanuatu and Venezuela.</span></div>
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<span style="font-family: Georgia, Times New Roman, serif;"><span class="s1"></span><br /></span></div>
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<span style="font-family: Georgia, Times New Roman, serif;"><span class="s1">Director Stephanie Spray and Pacho Velez’s film <i>Manakamana</i> will be co-presented by Views from the Avant-Garde and was previously announced in the Spotlight on Documentary section, Motion Portraits. The film will screen on </span><span class="s3">September 28 and 30</span><span class="s1"> with the filmmakers in attendance. Visit Filmlinc.com for more information.</span></span></div>
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<span style="font-family: Georgia, Times New Roman, serif;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;">The 17-day New York Film Festival highlights the best in world cinema, featuring top films from celebrated filmmakers as well as fresh new talent. The selection committee, chaired by Kent Jones, also includes: Dennis Lim, FSLC Director of Cinematheque Programming; Marian Masone, FSLC Associate Director of Programming; Gavin Smith, Editor-in-Chief,<i>Film Comment</i>; and Amy Taubin, Contributing Editor, <i>Film Comment</i> and <i>Sight & Sound</i>.</span></div>
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<span style="font-family: Georgia, Times New Roman, serif;"><span class="s1"></span><br /></span></div>
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<span style="font-family: Georgia, Times New Roman, serif;"><span class="s1">Gain access to the 34 programs in Views from the Avant-Garde with a $99 NYFF Views Badge, which will be available for purchase exclusively online. The badge as well as tickets to individual programs will go on sale </span><span class="s3">September 12th</span><span class="s1">. More ticket information for the New York Film Festival will be available on Filmlinc.com/NYFF.</span></span><br />
<span style="font-family: Georgia, Times New Roman, serif;"><span class="s1"><br /></span></span>
<span style="font-family: Georgia, Times New Roman, serif;"><span class="s1">Complete schedule after the break.</span></span><br />
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<a name='more'></a><span style="font-family: Georgia, Times New Roman, serif;"><span class="s1"><br /></span></span></div>
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<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b><i>VIEWS FROM THE AVANT-GARDE </i></b></span></div>
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<span class="s4" style="font-family: Georgia, Times New Roman, serif;"><b>SCHEDULE & DESCRIPTIONS</b></span></div>
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<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>October 3 – 7</b></span></div>
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<span style="font-family: Georgia, Times New Roman, serif;"><span class="s1"></span><br /></span></div>
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<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b><i>Venue Key: Francesca Beale Theater (FBT), Howard Gilman Theater (HGT), Amphitheater (AMPH)</i></b></span></div>
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<span style="font-family: Georgia, Times New Roman, serif;"><span class="s1"><b>Thursday, October 3</b></span><span class="s4"><b> </b></span></span></div>
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<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>(Please Note: Thursday, <i>Opening day Views program includes amphitheater events and all other days, the amphitheater events are listed separately at the end of the schedule) </i></b></span></div>
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<span style="font-family: Georgia, Times New Roman, serif;"><span class="s1"></span><br /></span></div>
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<span style="font-family: Georgia, Times New Roman, serif;"><span class="s3">3:00 pm</span><span class="s1"> <b><i>Program 15a: (FBT)</i></b></span></span></div>
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<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b><i>voices perish (coloring the darkening glow)</i></b></span></div>
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<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>Strawberries in the Summertime, </b>Jennifer Reeves U.S., 2013 15min.</span></div>
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<span style="font-family: Georgia, Times New Roman, serif;"><span class="s1"></span><br /></span></div>
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<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>LUNA (Snow), </b>Leslie Thornton, U.S., 2013, 2:21min.</span></div>
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<span style="font-family: Georgia, Times New Roman, serif;"><span class="s1"></span><br /></span></div>
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<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>Onomatopoeic Alphabet, </b>Aura Satz, U.K., 2010, 7min</span></div>
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<span style="font-family: Georgia, Times New Roman, serif;"><span class="s1"></span><br /></span></div>
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<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>Doorway for Nathalie Kalmus, </b>Aura Satz, U.K., 2013, 9min</span></div>
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<span style="font-family: Georgia, Times New Roman, serif;"><span class="s1"></span><br /></span></div>
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<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>Paisaje-Duración Trigal </b> (Duration Landscape Cornfield), Lois Patiño, Spain, 2010, 2:57min</span></div>
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<span style="font-family: Georgia, Times New Roman, serif;"><span class="s1"></span><br /></span></div>
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<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>Psalm IV: Valley of the Shadow, </b>Phil Solomon, U.S., 2013, 7:31min</span></div>
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<span class="s1" style="font-family: Georgia, Times New Roman, serif;"> </span></div>
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<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>All or Nothing, </b>Fred Worden, U.S., 2013, 8 min</span></div>
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<span style="font-family: Georgia, Times New Roman, serif;"><span class="s1"></span><br /></span></div>
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<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>Half Life,</b> April Simmons, U.S., 2013, 6:04min</span></div>
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<span class="s1" style="font-family: Georgia, Times New Roman, serif;"> </span></div>
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<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>LUNA </b> <b>(Heaven), </b>Leslie Thornton, 2013, U.S., 9:05min </span></div>
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<span style="font-family: Georgia, Times New Roman, serif;"><span class="s1"></span><br /></span></div>
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<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>Remanence IV, Josh Bonnetta, U.S., 2013, 54 seconds</b></span></div>
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<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>Bedtime Story,</b> Esther Shatavsky, U.S., 35mm, 1981, 5.5 min, *<i>35mm (blown-up from 16mm), Preserved by Anthology Film Archives with support from the National Film Preservation Foundation and the Andy Warhol Foundation for the Visual Arts.</i></span></div>
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<span class="s1" style="font-family: Georgia, Times New Roman, serif;"> </span></div>
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<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>WEISSFILM</b>, Wilhelm and Birgit Hein, Germany, 1977, 5min </span></div>
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<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>"Splice 181 to Splice 243 of SPLICEFILM, 2013, Homage to Birgit and Wilhelm Hein's WEISSFILM, 1977," </b>Florian Zeyfang, Germany, 2013, 5min.</span></div>
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<span style="font-family: Georgia, Times New Roman, serif;"><span class="s1"></span><br /></span></div>
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<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>Creme 21, </b>Eve Heller, Austria, 2013, 11min </span></div>
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<span style="font-family: Georgia, Times New Roman, serif;"><span class="s1"></span><br /></span></div>
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<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>Ten Notes on A Summer Day,</b> Mike Stoltz, 2012, 4.5min</span></div>
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<span style="font-family: Georgia, Times New Roman, serif;"><span class="s1"></span><br /></span></div>
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<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>The Sea Seeks Its Own Level, </b>Erin Espelie, U.S., 2013, 5:04min </span></div>
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<span style="font-family: Georgia, Times New Roman, serif;"><span class="s1"></span><br /></span></div>
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<span style="font-family: Georgia, Times New Roman, serif;"><span class="s1"><b>*</b>Program repeats on </span><span class="s3">Saturday, October 5 at 11:30 am</span><span class="s1"> (FBT) with the addition of<b> Philosphers Walk on the Sublime</b>, Leslie Thornton, U.S. 2013,12min</span></span></div>
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<span style="font-family: Georgia, Times New Roman, serif;"><span class="s1"></span><br /></span></div>
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<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>6:00 pm</b> <b><i>Program 1: (FBT)</i></b></span></div>
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<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b><i>STEPHANIE BARBER: DAREDEVILS </i></b></span></div>
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<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><i>World Premiere!</i></span></div>
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<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>Daredevils</b>, Stephanie Barber, U.S., 2013, 1hr 25min with Flora Cokes, Kim Su Theiler and the voice of Susan Howe. </span></div>
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<span style="font-family: Georgia, Times New Roman, serif;"><span class="s1"></span><br /></span></div>
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<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>6:30 pm Amphitheater Program A: (AMPH) </b></span></div>
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<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>PATRICIA THORNLEY </b></span></div>
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<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><i>World Premiere!</i></span></div>
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<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>THIS IS US: Don’t Cry For Me, </b>Patricia Thornley, U.S., 2013, 48min., with Janie Geiser, Michael Buscemi, Paul David Young. with <b>Kriminalistik</b>, Janie Geiser,U.S., 2013, 3min.</span></div>
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<span style="font-family: Georgia, Times New Roman, serif;"><span class="s1"></span><br /></span></div>
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<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>7:00 pm </b> <b><i>Program 2a: (HGT) </i></b> </span></div>
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<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>Travis Wilkerson<i> Los Angeles Red Squad with Miguel Gomes’ Redemption </i></b></span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>Redemption, </b>Miguel Gomes, Portugal, France, Germany, Italy 2013, 26min.</span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>Los Angeles Red Squad: The Communist Situation in </b></span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>California, </b>Travis Wilkerson, U.S., 2013, 70min</span></div>
<div class="p1">
<span style="font-family: Georgia, Times New Roman, serif;"><span class="s1">*Program repeats on </span><span class="s3">Friday, October 4 at 2:00</span><span class="s1"> (FBT), with the exception of Miguel Gomes’ Redemption.</span></span></div>
<div class="p2">
<span style="font-family: Georgia, Times New Roman, serif;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>8:00 pm Amphitheater Program B: (AMPH) </b></span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>The Wooster’s Group’s RUMSTICK ROAD (2010-2013)</b> Ken Kobland and Elizabeth LeCompte, U.S., 2013, 77min. A Video Reconstruction of the 1977 theater piece by Ken Kobland and Elizabeth LeCompte with Spalding Gray.</span></div>
<div class="p2">
<span style="font-family: Georgia, Times New Roman, serif;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>9:00 pm <i>Program 3a: (FBT) </i></b> </span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>Lois Patiño :<i> COSTA DA MORTE </i></b></span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>Costa da Morte (Coast of Death),</b> Lois Patiño, Spain, 2013, 83 min.</span></div>
<div class="p4">
<span style="font-family: Georgia, Times New Roman, serif;"><span class="s5">*Repeats on </span><span class="s1">Friday, October 4 at 1:00 pm</span><span class="s5"> (HGT)</span></span></div>
<div class="p2">
<span style="font-family: Georgia, Times New Roman, serif;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>9:15 pm</b> <b><i>Program 4: (HGT) </i></b></span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b><i>Chris Marker DESCRIPTION OF A STRUGGLE with Miguel Gomes’ Redemption </i></b></span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>Redemption, </b>Miguel Gomes, Portugal, France, Germany, Italy 2013, 26min.</span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>Description of A Struggle (Description d’un combat) </b>Chris Marker, France 1961 51min </span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>*</b><i>Digital Restoration from the Israel Film Archive –Jerusalem Cinematheque</i></span></div>
<div class="p2">
<span style="font-family: Georgia, Times New Roman, serif;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>10:00 pm Amphitheater Program C: (AMPH) </b></span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>JIM FINN</b></span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>ENCOUNTERS WITH YOUR INNER TROTSKY CHILD,</b> Jim Finn, U.S., 2013, 21.5 min. and <b>Christmas with Chávez,</b> Jim Finn, Argentina, U.S./Venezula, 2013, 2min.</span></div>
<div class="p2">
<span style="font-family: Georgia, Times New Roman, serif;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>11:00 pm Amphitheater Program D: (AMPH)</b></span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>LESLIE THORNTON </b></span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>LUNA (Trance), </b>Leslie Thornton, U.S. 2013, 12min</span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>Binocular: Zebra 2</b>, Leslie Thornton, U.S. 2013, 2:45min</span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>Binocular: Bees</b>, Leslie Thornton, U.S., 2013, 6min</span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>Binocular: Mandarin Duck,</b> Leslie Thornton, U.S., 2013, 2min59</span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>Little Balls of Air</b>, Leslie Thornton, U.S., 2013, 5min</span></div>
<div class="p2">
<span style="font-family: Georgia, Times New Roman, serif;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span style="font-family: Georgia, Times New Roman, serif;"><span class="s1"><b>Friday, October 4</b></span><span class="s4"><b> </b></span></span></div>
<div class="p1">
<span style="font-family: Georgia, Times New Roman, serif;"><span class="s3">12:00 pm</span><span class="s1"> <b><i>Program 5: (FBT)</i></b></span></span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b><i>Raúl Ruiz Life is A Dream </i></b></span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>Mémoire des apparences (Life is Dream)</b>, Raúl Ruiz, France, 1987, 100min</span></div>
<div class="p2">
<span style="font-family: Georgia, Times New Roman, serif;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span style="font-family: Georgia, Times New Roman, serif;"><span class="s1"> </span><span class="s3">1:00 pm</span><span class="s1"> <b><i>Program 3b: (HGT)</i></b></span></span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>Lois Patiño <i> Costa da Morte </i></b></span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>Costa da Morte ( Coast of Death), </b>Lois Patiño, Spain, 2013, 83 min.</span></div>
<div class="p2">
<span style="font-family: Georgia, Times New Roman, serif;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span style="font-family: Georgia, Times New Roman, serif;"><span class="s3">2:00 pm</span><span class="s1"> <b><i>Program 2b: (FBT)</i></b></span></span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>Travis Wilkerson: <i>Los Angeles Red Squad</i></b></span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>Los Angeles Red Squad: The Communist Situation in </b></span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>California,</b> Travis Wilkerson, U.S., 2013, 70min</span></div>
<div class="p2">
<span style="font-family: Georgia, Times New Roman, serif;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span style="font-family: Georgia, Times New Roman, serif;"><span class="s3">3:15 pm</span><span class="s1"> <b><i>Program 6: (HGT)</i></b></span></span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b><i>SOLAR RADIOS, FIRE FROM THE SUN</i></b></span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>With Pluses and minuses</b>, Mike Stoltz, U.S., 2013, 5min</span></div>
<div class="p2">
<span style="font-family: Georgia, Times New Roman, serif;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>The Starry Messenger, </b>Marika Borgeson, U.S., 2013, 15min</span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>Palindrome, </b>Hollis Frampton, U.S. 1969, 22 minutes, 2013 *<i>Preservation Print provided by Anthology Film Archives</i></span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>Radio Adios, </b>Henry Hills, U.S.,1982, 10.5 minutes</span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>*</b><i>Preserved in 2013 by Anthology Film Archives in with support from the National Film Preservation Foundation and the Andy Warhol Foundation for the Visual Arts.</i></span></div>
<div class="p2">
<span style="font-family: Georgia, Times New Roman, serif;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>Neuron, </b>Robert Russett, U.S., 1972, 7min</span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>Primary Stimulus</b>, Robert Russett, U.S., 8min, 1977/1980</span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><i>*2013 Restored prints of the Robert Russet films courtesy of the Academy Film Archive </i></span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>Tessitura Calda</b>, Paolo Gioli, Italy, 2013, 7:30min</span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>Screen Tone,</b> Richard Touhy, Australia, 2012, 16min</span></div>
<div class="p2">
<span style="font-family: Georgia, Times New Roman, serif;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span style="font-family: Georgia, Times New Roman, serif;"><span class="s3">4:00 pm</span><span class="s1"><b> <i>Program 7a: (FBT) </i> </b></span></span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"> <b>SANDRO AGUILAR<i> – DIVE: APPROACH AND EXIT </i></b></span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>DIVE: APPROACH AND EXIT</b> Sandro Aguilar, Portugal,2013, 12'</span></div>
<div class="p2">
<span style="font-family: Georgia, Times New Roman, serif;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>SIGNS OF STILLNESS OUT OF MEANINGLESS THINGS </b>Sandro Aguilar, Portugal, 2012, 28'</span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>REMAINS</b> Sandro Aguilar, Portugal, 2010, 18 min</span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>MERCURIO</b> Sandro Aguilar, Portugal, 2010 18 min</span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>ARQUIVO</b> Sandro Aguilar, Portugal, 2007 19 min</span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>VOODOO</b> Sandro Aguilar, Portugal, 2010 30 min</span></div>
<div class="p4">
<span style="font-family: Georgia, Times New Roman, serif;"><span class="s5">*Program repeats on </span><span class="s1">Saturday, October 5 at 2:30 pm</span><span class="s5"> (HGT)</span></span></div>
<div class="p2">
<span style="font-family: Georgia, Times New Roman, serif;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span style="font-family: Georgia, Times New Roman, serif;"><span class="s3">5:15 pm</span><span class="s1"> <b><i>Program 8: (HGT)</i></b></span></span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b><i>ANNE CHARLOTTE ROBERTSON :</i></b></span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>I Wanted to See How I Lived, I Wanted to Love Myself and My Past. Films from 1976 to 1996. </b></span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b><i>*</i></b><i>Presented with The Harvard Film Archive and HFA Conservator Liz Coffee from materials preserved in the Harvard Film Archive. </i>TRT: 90min</span></div>
<div class="p2">
<span style="font-family: Georgia, Times New Roman, serif;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span style="font-family: Georgia, Times New Roman, serif;"><span class="s3">6:15 pm</span><span class="s1"> <b><i>Program 9a: (FBT)</i></b></span></span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b><i>Landscapes in the Shadow of Time</i></b></span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>Views from the Acropolis </b>Lonnie van Brummelen and Siebren de Haan Netherlands/Turkey, 2012, 14: 58</span></div>
<div class="p2">
<span style="font-family: Georgia, Times New Roman, serif;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span style="font-family: Georgia, Times New Roman, serif;"><span class="s1"><b>Paisaje-Duración Duration Rocas (Landscape Rocks )</b> Lois Patiño Spain 2011 </span><span class="s3">4:19</span><span class="s1"> </span></span></div>
<div class="p2">
<span style="font-family: Georgia, Times New Roman, serif;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span style="font-family: Georgia, Times New Roman, serif;"><span class="s1"><b>Montaña en sombra</b><br />
<b> (Mountain in shadow)</b> Lois Patiño Spain 2012 </span><span class="s3">13:54</span><span class="s1"> </span></span></div>
<div class="p2">
<span style="font-family: Georgia, Times New Roman, serif;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span style="font-family: Georgia, Times New Roman, serif;"><span class="s1"><b>Nile Perch </b>(35mm version) Josh Gibson US./Uganda 2013 </span><span class="s3">16:47</span></span></div>
<div class="p2">
<span style="font-family: Georgia, Times New Roman, serif;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>Three Landscapes </b>Peter Hutton, 2013 US/Ethiopia 46min. </span></div>
<div class="p4">
<span style="font-family: Georgia, Times New Roman, serif;"><span class="s5">*Program repeats on </span><span class="s1">Sunday, October 6 at 10:30 pm</span><span class="s5"> (HGT)</span></span></div>
<div class="p2">
<span style="font-family: Georgia, Times New Roman, serif;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span style="font-family: Georgia, Times New Roman, serif;"><span class="s3">8:00 pm</span><span class="s1"> <b><i>Program 10: (HGT)</i></b></span></span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b><i>SUPER -8 SHORT FUSE INCANDESCENCE </i></b></span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;">Please note: All films except <i>Photooxidation</i> and<i> Lunas</i> screen in super-8 projection.</span></div>
<div class="p2">
<span style="font-family: Georgia, Times New Roman, serif;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>Blind Alley Augury, </b>Daichi Saito, Canada 2.5</span></div>
<div class="p1">
<span style="font-family: Georgia, Times New Roman, serif;"><span class="s1"><b>Green Fuse, </b>Daichi Saito, Canada, </span><span class="s3">3:11</span></span></div>
<div class="p1">
<span style="font-family: Georgia, Times New Roman, serif;"><span class="s1"><b>Field of View #1, </b>Daichi Saito, Canada, </span><span class="s3">3:16</span></span></div>
<div class="p1">
<span style="font-family: Georgia, Times New Roman, serif;"><span class="s1"><b>Javi</b> Malena Szlam, Canada 2011, super 8, </span><span class="s3">2:42</span><span class="s1"> </span></span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>Lunas</b> Malena Szlam, Canada, 2013, 4: 33 16mm</span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>The Quilpo Dreams of Waterfalls / El Quilpo Sueña Cataratas, </b>Pablo Mazzolo, Argentina 2012 11 min Super-8</span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>Conjectures / Conjeturas, </b>Pablo Mazzolo, Argentina, 2013, 3:30min</span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>Photooxidation/Fotooxidación - </b>Pablo Mazzolo, Argentina, 2013, 7min.</span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>VOID REDUX </b>Paul Clipson, U.S.<b>, </b>2013 Silent 6.5 min</span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>DIFFICULT LOVES </b> Paul Clipson U.S. 2013,. 3.5 music by Jefre Cantu- Ledesma.</span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>SPEAKING CORPSE</b> Paul Clipson, U.S. 2012 7.5min Music by Jefre Cantu Ledesma</span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>CARRIE AT STILL</b> Stom Sogo, U.S./Japan 1998, 27 minutes, <i>From the collection of Anthology Film Archives</i>.</span></div>
<div class="p2">
<span style="font-family: Georgia, Times New Roman, serif;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span style="font-family: Georgia, Times New Roman, serif;"><span class="s3">8:15 pm</span><span class="s1">: <b><i>Program 11: (FBT)</i></b></span></span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b><i>ONE SECRET DESTROYS EVERYTHING </i></b></span></div>
<div class="p2">
<span style="font-family: Georgia, Times New Roman, serif;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>Dad’s Stick</b>, John Smith, Great Britain, 2013, 6min</span></div>
<div class="p1">
<span style="font-family: Georgia, Times New Roman, serif;"><span class="s1"><b>The Invisible World,</b> Jesse McLean, U.S., 2012, </span><span class="s3">20:15</span><span class="s1"> seconds</span></span></div>
<div class="p1">
<span style="font-family: Georgia, Times New Roman, serif;"><span class="s1"><b>Lyrica,</b> Shana Moulton, U.S. 2012, </span><span class="s3">4:53</span></span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>The Dark, Krystle, </b>Michael Robinson, U.S., 2013, 8 min</span></div>
<div class="p1">
<span style="font-family: Georgia, Times New Roman, serif;"><span class="s1"><b>Mount Song, </b>Shambhavi Kaul , U.S./India, 2013, </span><span class="s3">8:49</span><span class="s1"> </span></span></div>
<div class="p1">
<span style="font-family: Georgia, Times New Roman, serif;"><span class="s1"><b>Property</b>, Jeanne Liotta U.S, 2013, </span><span class="s3">3:28</span></span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>Ojo Caliente, </b>Pat O’Neill U.S., 2012, 4m </span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>Dirty Code, </b>Bobby Abate, U.S., 2013, 5min</span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>Black Powder, White Smoke, </b>Sarah Halpern, U.S., 2.5 min</span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>Life is an Opinion Fire a Fact</b> Karen Yasinsky U.S., 2012, 9 min.</span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>Greystone, </b>Kerry Tribe, U.S.. 2012, 29min.</span></div>
<div class="p2">
<span style="font-family: Georgia, Times New Roman, serif;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span style="font-family: Georgia, Times New Roman, serif;"><span class="s3">9:45 pm</span><span class="s1"> <b><i>Program 12: (HGT)</i></b></span></span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b><i>LUTHER PRICE: TEARS OF A CLOWN </i></b></span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>Jellyfish Sandwich </b>Luther Price U.S. 1994, 17min.</span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>Clown </b>Luther Price U.S. 1991/2002, 32 min. <i>2013 Digital *Preservation by Anthology Film Archives with support from the Andy Warhol Foundation for the Visual Arts.</i></span></div>
<div class="p2">
<span style="font-family: Georgia, Times New Roman, serif;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span style="font-family: Georgia, Times New Roman, serif;"><span class="s3">10:30 pm</span><span class="s1"><b><i> Program 13: (FBT)</i></b></span></span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b><i>JODIE MACK: LET YOUR LIGHT SHINE </i></b></span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>LET YOUR LIGHT SHINE: </b></span></div>
<div class="p1">
<span style="font-family: Georgia, Times New Roman, serif;"><span class="s1"><b>Undertone Overture</b>, Jodie Mack, U.S., 2013, </span><span class="s3">10:30</span></span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>New Fancy Foils</b>, Jodie Mack, U.S., 2013, 12min</span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>Dusty Stacks of Mom, </b>Jodie Mack, U.S., 2013 41m</span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>Glistening Thrills</b>, Jodie Mack, U.S., 2013, 8m</span></div>
<div class="p1">
<span style="font-family: Georgia, Times New Roman, serif;"><span class="s1"><b>Let Your Light Shine, </b>Jodie Mack, U.S., 2013, </span><span class="s3">2:45</span></span></div>
<div class="p2">
<span style="font-family: Georgia, Times New Roman, serif;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span style="font-family: Georgia, Times New Roman, serif;"><span class="s1"><b>Saturday</b></span><span class="s4"><b>, </b></span><span class="s1"><b>October 5</b></span></span></div>
<div class="p1">
<span style="font-family: Georgia, Times New Roman, serif;"><span class="s3">11:30 am</span><span class="s1"> <b><i>Program 15b: (FBT)</i></b> </span></span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b><i>voices perish (coloring the darkening glow) </i></b></span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>Strawberries in the Summertime</b>, Jennifer Reeves U.S., 2013 15min.</span></div>
<div class="p1">
<span style="font-family: Georgia, Times New Roman, serif;"><span class="s1"><b>LUNA (Snow) </b>Leslie Thornton, U.S., 2013, </span><span class="s3">2:21</span></span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>Onomatopoeic Alphabet, </b>Aura Satz U.K. 2010 7min</span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>Doorway for Nathalie Kalmus, </b>Aura Satz, U.K. 2013 9min</span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>Paisaje-Duración Trigal </b> ( Duration Landscape Cornfield ), Lois Patiño, 2010, 2:57min</span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>Psalm IV: Valley of the Shadow, </b>Phil Solomon, U.S., 2013, 7:31min</span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>All or Nothing, </b>Fred Worden, U.S., 2013, 8 min</span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>Half Life, </b>April Simmons, 2013, U.S., 6:04min</span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>LUNA (Heaven), </b>Leslie Thornton, 2013 U.S., 12min </span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>Remanence IV, </b>Josh Bonnetta, U.S., 2013, 54 seconds</span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>Bedtime Story</b> Esther Shatavsky, U.S. 35mm 1981, 5.5 min, <i>35mm (blown-up from 16mm)</i></span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>*</b><i>Preserved by Anthology Film Archives in 2013 with support from the National Film Preservation Foundation and the Andy Warhol Foundation for the Visual Arts.</i></span></div>
<div class="p2">
<span style="font-family: Georgia, Times New Roman, serif;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b> WEISSFILM</b>, Wilhelm and Birgit Hein, Germany ,1977, 5min</span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>"Splice 181 to Splice 243 of SPLICEFILM, 2013, Homage to Birgit and Wilhelm Hein's WEISSFILM, 1977" </b>Florian Zeyfang, Germany 2013, 5min. </span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>Creme 21, </b>Eve Heller, Austria, 2013 11 min </span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>Ten Notes on A Summer Day</b> Mike Stoltz 2012, 4.5min</span></div>
<div class="p1">
<span style="font-family: Georgia, Times New Roman, serif;"><span class="s1"><b>The Sea Seeks Its Own Level </b>Erin Espelie, U.S., 2013, </span><span class="s3">5:04</span><span class="s1"> </span></span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>Philosophers Walk on the Sublime </b> Leslie Thornton, U.S. 2013,12min</span></div>
<div class="p2">
<span style="font-family: Georgia, Times New Roman, serif;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span style="font-family: Georgia, Times New Roman, serif;"><span class="s3">12:00 pm</span><span class="s1"><b><i> Program 16: (HGT) </i></b></span></span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b><i>L’Age D’Or</i></b></span></div>
<div class="p2">
<span style="font-family: Georgia, Times New Roman, serif;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>Tender Feet</b> U.S., 2013, 10 min Fern Silva</span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>45 7 Broadway </b> Tomonari Nishikawa, U.S./Japan,2013, 6 min.</span></div>
<div class="p1">
<span style="font-family: Georgia, Times New Roman, serif;"><span class="s1"><b>Blue</b> Shiloh Cinquemani, Germany, 2013, </span><span class="s3">3:02</span></span></div>
<div class="p1">
<span style="font-family: Georgia, Times New Roman, serif;"><span class="s1"><b>Sea Series 12, 13, 14 </b> John Price, Canada, 2013 </span><span class="s3">7:30</span></span></div>
<div class="p1">
<span style="font-family: Georgia, Times New Roman, serif;"><span class="s1"><b>Despedida (Farewell)</b> Alexandra Cuesta U.S.,2013, </span><span class="s3">9:36</span></span></div>
<div class="p1">
<span style="font-family: Georgia, Times New Roman, serif;"><span class="s1"><b>Bat El Drinking Water and Other Signs </b>Jonathan Schwartz, U.S/Israel 2013, </span><span class="s3">9:59</span></span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>Utskor: Either/Or </b>Laida Lertxundi<b>, Norway Spain U.S. 2013, 7:30</b></span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>Gowanus Canal </b> Sarah J. Christman, U.S. 2013, 7 min.</span></div>
<div class="p1">
<span style="font-family: Georgia, Times New Roman, serif;"><span class="s1"><b>High Water </b> Pawel Wojtasik U.S., 2013, </span><span class="s3">9:23</span></span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>A</b> <b>Idade de Pedra/ Age of Stone</b> Ana Vaz, Brazil, 2013, 28:57</span></div>
<div class="p2">
<span style="font-family: Georgia, Times New Roman, serif;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span style="font-family: Georgia, Times New Roman, serif;"><span class="s3">2:15 pm</span><span class="s1"> <b><i>Program 17 : (FBT)</i></b></span></span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b><i>Being Here (found in silence , heard within sight) </i></b></span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>Narcissi</b> Shiloh Cinquemani , Germany, 2012, 3 min. </span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>Listening to the Space in My Room </b> Robert Beavers, Germany/U.S., 2013,19min.</span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>Lost and Found</b> Jim Jennings, U.S., rediscovered in 2013, 5 min.</span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>Susan +Lisbeth </b>Ute Aurand Germany, 2013 10 min.</span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>to be here</b> Ute Aurand, Germany/U.S., 2013, 38:06</span></div>
<div class="p2">
<span style="font-family: Georgia, Times New Roman, serif;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span style="font-family: Georgia, Times New Roman, serif;"><span class="s3">2:30 pm</span><span class="s1"> <b><i>Program 17b: (HGT)</i></b></span></span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b><i>SANDRO AGUILAR: DIVE: APPROACH AND EXIT </i></b></span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>DIVE: APPROACH AND EXIT</b> - Sandro Aguilar,Portugal, 2013, 12'</span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>SIGNS OF STILLNESS OUT OF MEANINGLESS THINGS -</b> Sandro Aguilar,Portugal, 2012, 28'</span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>REMAINS</b> - Sandro Aguilar,Portugal, 2010, 18 min.</span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>MERCURIO</b> - Sandro Aguilar,Portugal, 2010 18 min.</span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>ARQUIVO</b> - Sandro Aguilar ,Portugal, 2007 19 min.</span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>VOODOO</b> Sandro Aguilar ,Portugal, 2010 30 min.</span></div>
<div class="p2">
<span style="font-family: Georgia, Times New Roman, serif;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span style="font-family: Georgia, Times New Roman, serif;"><span class="s3">4:15 pm</span><span class="s1"> <b><i>Program 18 (FBT)</i></b></span></span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b><i>PRECARIOUS LIGHT IN CALM FREQUENCIES </i></b></span></div>
<div class="p2">
<span style="font-family: Georgia, Times New Roman, serif;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span style="font-family: Georgia, Times New Roman, serif;"><span class="s1"><b>Balga </b> Lichun Tseng, Netherlands, 2012 </span><span class="s3">4:26</span></span></div>
<div class="p1">
<span style="font-family: Georgia, Times New Roman, serif;"><span class="s1"><b>Natura Obscura</b> Paolo Gioli, Italy, </span><span class="s3">7:50</span></span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>Orchard.5 </b> Hey –Yeun Jang, U.S., 2013, 4min</span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>Late Summer</b> Barry Gerson, U.S., 2013, 11min</span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>Lost Our Lease </b> Jim Jennings, U.S., 2013, 10min. </span></div>
<div class="p1">
<span style="font-family: Georgia, Times New Roman, serif;"><span class="s1"><b>February</b> Inhan Cho, South Korea, 2011, </span><span class="s3">4:25</span></span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>Watercolor (Fall Creek)</b> Vincent Grenier,U.S. 2013,12:15</span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>Flow</b> Lichun Tseng, Netherlands, 2013,16min</span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>Falling Notes Unleaving </b>Saul Levine, U.S., 2013, 12min.</span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>Threshold </b> Robert Todd, U.S.,2013, 19min </span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>Exterior Extended</b> Siegfried A. Fruhauf, Austria, 2013, 9 min. </span></div>
<div class="p2">
<span style="font-family: Georgia, Times New Roman, serif;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span style="font-family: Georgia, Times New Roman, serif;"><span class="s3">5:15 pm</span><span class="s1"> <b><i>Program 19: (HGT)</i></b> </span></span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b><i>STOM SOGO: EIJANAIKA –BROKEN IMAGE, UNPROTECTED JOY</i></b></span></div>
<div class="p2">
<span style="font-family: Georgia, Times New Roman, serif;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>Around the World (aka Speedy Speedy California Sky) </b>Stom Sogo 103 min.</span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>Diaries </b> Stom Sogo excerpts and other surprises</span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><i>*All materials provided by Anthology Film Archives.</i></span></div>
<div class="p2">
<span style="font-family: Georgia, Times New Roman, serif;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span style="font-family: Georgia, Times New Roman, serif;"><span class="s3">7:30 pm</span><span class="s1"> <b><i>Program 20a: (FBT)</i></b> </span></span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b><i>Momentary Light and Seasonal Songs: The Films of Nathaniel Dorsky and Jerome Hiler</i></b></span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>Song</b> Nathaniel Dorsky, U.S.,2013,18.5 min</span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>Spring</b> Nathaniel Dorsky U.S.,23min 2013</span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>Misplacement</b> Jerome Hiler ,U.S.,2013, 21min.</span></div>
<div class="p4">
<span style="font-family: Georgia, Times New Roman, serif;"><span class="s5">*Program repeats on </span><span class="s1">Sunday, October 6 at 1:30pm</span><span class="s5"> </span></span></div>
<div class="p2">
<span style="font-family: Georgia, Times New Roman, serif;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span style="font-family: Georgia, Times New Roman, serif;"><span class="s3">8:30 pm</span><span class="s1"> <b><i>Program 21: (HGT) </i></b></span></span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b><i> Two Weeks in Another Time,-Transfigured and Immersive Ethnographies</i></b>.</span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>MAGIC MUSHROOM MOUNTAIN MOVIE </b> Manuel De Landa, Mexico/U.S.1973-1980, 15 min.</span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><i>*Super- 8mm digitized to HD video in 2013 by Anthology Film Archives with support from the Andy Warhol Foundation for the Visual Arts.</i></span></div>
<div class="p2">
<span style="font-family: Georgia, Times New Roman, serif;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span style="font-family: Georgia, Times New Roman, serif;"><span class="s1"><b>Brébeuf </b>Stephen Broomer <br />
Canada / </span><span class="s3">10:32</span><span class="s1"> / 2013</span></span></div>
<div class="p2">
<span style="font-family: Georgia, Times New Roman, serif;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>Kolkata</b> Mark Lapore U.S./India,2005,35min <i>A Views -NYFF reprise screening</i></span></div>
<div class="p2">
<span style="font-family: Georgia, Times New Roman, serif;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>Let Us Persevere in What We Have Resolved Before We Forget </b> Ben Russell, U.S./France/ Vanuatu 2013 20 min. </span></div>
<div class="p2">
<span style="font-family: Georgia, Times New Roman, serif;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>Natpwe, the feast of the spirits</b> Jean Dubrel and Tiane Doan Na Champassak France/ Burma 2012,31min.</span></div>
<div class="p2">
<span style="font-family: Georgia, Times New Roman, serif;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span style="font-family: Georgia, Times New Roman, serif;"><span class="s3">9:30 pm</span><span class="s1"><b><i> Program 22: (FBT) </i></b></span></span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b><i>LULLABIES AND ALARMS </i></b></span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>Cars and Killers</b> Gretchen Skogerson, U.S. 2013.2min.</span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>Platonic</b> Dani Leventhal,U.S., 2013 21 min.</span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>Elsa merdelamerdelamer</b> Abigail Child, U.S., 2013.3:30 sec</span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>vis à vis</b> Abigail Child, U.S. 2013, 25min.</span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>After Hours </b> Karen Yasinsky, U.S., 2013,14:40 min.</span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>El Adios Largos</b> Andrew Lampert U.S.,2013,10min</span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>Rode Molen</b> Esther Urlus, Netherlands, 2013, 4min</span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>Seoul Electric</b> Richard Tuohy, South Korea, 2012 16mm sound 7:29min</span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>Las Variaciones Schwitters</b> Alberto Cabrera Bernal, Spain,2012 6min.</span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>Slackness Princess </b>Sara Grace Nesin, U.S. 2013,3:57</span></div>
<div class="p1">
<span style="font-family: Georgia, Times New Roman, serif;"><span class="s1"><b>Scattered in the Wind</b> Lori Felker,U.S. 2013, </span><span class="s3">5:32</span></span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>P.S. WHEN YOU ARE ABOUT TO DIE </b> Stom Sogo, U.S./Japan, 2003, 12min. <i>a Views NYFF reprise screening ,from the collection of Anthology Film Archive.</i></span></div>
<div class="p2">
<span style="font-family: Georgia, Times New Roman, serif;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span style="font-family: Georgia, Times New Roman, serif;"><span class="s3">10:45 pm</span><span class="s1"><b> SURPRISE SCREENING (HGT)</b></span></span></div>
<div class="p2">
<span style="font-family: Georgia, Times New Roman, serif;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>Sunday, October 6</b></span></div>
<div class="p1">
<span style="font-family: Georgia, Times New Roman, serif;"><span class="s3">11:30 am</span><span class="s1"> <b><i>Program 14: (HGT)</i></b> </span></span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b><i>KEVIN JEROME EVERSON </i></b></span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>The Island of St. Matthews</b> Kevin Jerome Everson,U.S. 2013, 70min</span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>Rhinoceros </b> 2013, Kevin Jerome Everson,U.S. 2013,7min, </span></div>
<div class="p2">
<span style="font-family: Georgia, Times New Roman, serif;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span style="font-family: Georgia, Times New Roman, serif;"><span class="s3">12:00 pm</span><span class="s1"> <b><i>Program 23: (FBT)</i></b></span></span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b><i>TALENA SANDERS </i></b></span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>Liahona</b> Talena Sanders, U.S.,2013, 68min </span></div>
<div class="p2">
<span style="font-family: Georgia, Times New Roman, serif;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span style="font-family: Georgia, Times New Roman, serif;"><span class="s3">1:30 pm</span><span class="s1"> <b><i>Program 20b: (HGT)</i></b></span></span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b><i>Momentary Light and Seasonal Songs : The films of Nathaniel Dorsky and Jerome Hiler</i></b></span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>Song</b> Nathaniel Dorsky, U.S.,2013,18.5 min</span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>Spring</b> Nathaniel Dorsky U.S.,23min 2013</span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>Misplacement</b> Jerome Hiler ,U.S.,2013, 21min.</span></div>
<div class="p2">
<span style="font-family: Georgia, Times New Roman, serif;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span style="font-family: Georgia, Times New Roman, serif;"><span class="s3">2:30 pm</span><span class="s1"> <b><i>Program 24: (FBT)</i></b> </span></span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>Breaking the Frame</b> </span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>Breaking the Frame</b> Marielle Nitoslawska, Canada, 2012,100 min with Carolee Schneemann</span></div>
<div class="p2">
<span style="font-family: Georgia, Times New Roman, serif;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span style="font-family: Georgia, Times New Roman, serif;"><span class="s3">3:15 pm</span><span class="s1"> <b><i>Program 25:</i></b> (HGT)</span></span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b><i>(a noisy distance of None will be returned if, and only if, the ghost is captured).</i></b></span></div>
<div class="p2">
<span style="font-family: Georgia, Times New Roman, serif;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>Home Movie Gaza </b> Basma Alsharif, Palestinian Territories 2013,24min.</span></div>
<div class="p2">
<span style="font-family: Georgia, Times New Roman, serif;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>The Fold</b> – Leslie Thornton, 2013, 4min.</span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>Every Filter In Final Cut Pro </b> Lisa McArty, U.S., 2013 9:55min.</span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>Immortal, Suspended </b> Deborah Stratman , U.S., 2013 5min</span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>Sound Seam</b> Aura Satz, U.K.,2010, 14’04</span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>Binocular; Zebra 2</b>, Leslie Thornton, 2013, 2:</span></div>
<div class="p1">
<span style="font-family: Georgia, Times New Roman, serif;"><span class="s1"><b>Movement in Squares </b> Jean-Paul Kelly, Canada, 2013, </span><span class="s3">12:37</span></span></div>
<div class="p1">
<span style="font-family: Georgia, Times New Roman, serif;"><span class="s1"><b>Figure –ground </b> Jean-Paul Kelly, Canada, 2013, </span><span class="s3">4:47</span><span class="s1"> </span></span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>Service of the Goods </b> Jean-Paul Kelly, Canada, 2013, 29:10</span></div>
<div class="p2">
<span style="font-family: Georgia, Times New Roman, serif;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span style="font-family: Georgia, Times New Roman, serif;"><span class="s3">5:30 pm</span><span class="s1"> <b><i>PROGRAM 26: (FBT) </i></b></span></span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b><i>WRITTEN ON THE WIND </i></b></span></div>
<div class="p1">
<span style="font-family: Georgia, Times New Roman, serif;"><span class="s1"><b>Murmurations</b> Rebecca Meyers, U.S., 2013, </span><span class="s3">5:40</span></span></div>
<div class="p1">
<span style="font-family: Georgia, Times New Roman, serif;"><span class="s1"><b>Aviary</b> Katherin McInnis 2013 </span><span class="s3">5:00</span></span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>Verses</b> James Sansing ,U.S. 2012, 4min</span></div>
<div class="p1">
<span style="font-family: Georgia, Times New Roman, serif;"><span class="s1"><b>Experiments in Buoyancy</b> Calum Michel Walter, U.S., 2013, </span><span class="s3">4:30</span></span></div>
<div class="p1">
<span style="font-family: Georgia, Times New Roman, serif;"><span class="s1"><b>Handful of Dust </b> Hope Tucker, U.S.,2013, </span><span class="s3">8:46</span><span class="s1"> sec.</span></span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>Burrow- Cams</b> Sam Easterson, U.S.,2012, 3min. </span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b><i>True-Life Adventure I, </i></b>Erin Espelie, U.S. 2012, 5 min</span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b><i>True-Life Adventure II, </i></b>Erin Espelie, U.S. 2013, 5 min</span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b><i>True-Life Adventure III, </i></b>Erin Espelie, U.S. 2013, 6 min</span></div>
<div class="p1">
<span style="font-family: Georgia, Times New Roman, serif;"><span class="s1"><b>Looking Glass Insects </b> Charlotte Pryce, U.S. 2013, </span><span class="s3">4:02</span></span></div>
<div class="p1">
<span style="font-family: Georgia, Times New Roman, serif;"><span class="s1"><b>A Study in Natural Magic </b> Charlotte Pryce U.S.,2013, </span><span class="s3">3:28</span></span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>Animals Moving to the Sound of Drums</b> Jonathan Schwartz, U.S. 2013, 8min. </span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>Painter and Ball 4-14</b> Pat O’Neill, U.S. 2011, 10min.</span></div>
<div class="p1">
<span style="font-family: Georgia, Times New Roman, serif;"><span class="s1"><b>After Creation After Icebergs </b> Mary Beth Reed 16mm 2013 </span><span class="s3">2:26</span><span class="s1"> second </span></span></div>
<div class="p2">
<span style="font-family: Georgia, Times New Roman, serif;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span style="font-family: Georgia, Times New Roman, serif;"><span class="s3">5:45 pm</span><span class="s1"> <b><i>PROGRAM 27: (HGT) </i></b></span></span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b><i>ROBERT NELSON </i></b></span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b><i>Robert Nelson: Miracle of the Overlook: A Second Chance for Second Sight, Wonders that Pass Us By Seldom Return, Returning to Suite California </i></b></span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>SUITE CALIFORNIA STOPS & PASSES PART 1: TIJUANA TO HOLLYWOOD VIA DEATH VALLEY </b></span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;">Robert Nelson U.S.,1976, , 46min.</span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>SUITE CALIFORNIA STOPS & PASSES PART 2: SAN FRANCISCO TO THE SIERRA NEVADAS & BACK AGAIN</b> </span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;">Robert Nelson, U.S.1978,48min.</span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><i>This program is co- presented with the Academy of Motion Pictures Arts and Sciences. Preservationist Mark Toscano will be present.</i></span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><i>Restored Prints courtesy of the Academy Film Archive. </i></span></div>
<div class="p2">
<span style="font-family: Georgia, Times New Roman, serif;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span style="font-family: Georgia, Times New Roman, serif;"><span class="s3">7:30 pm</span><span class="s1"> <b><i>PROGRAM 28: (FBT)</i></b> </span></span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>ERNIE GEHR :</b> <b><i>LIVING NEXT DOOR TO MAGIC</i></b></span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>PHOTOGRAPHIC PHANTOMS </b> Ernie Gehr, U.S.,2013 26 min. </span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>WINTER MORNING</b> Ernie Gehr, U.S.,2013 18 min. </span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>THE QUIET CAR</b> Ernie Gehr, U.S.,2013 18 min. </span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>AUTO-COLLIDER XVIII</b> Ernie Gehr, U.S.,2013 13 min. </span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>BROOKLYN SERIES </b>Ernie Gehr, U.S.,2013 8min. HD </span></div>
<div class="p2">
<span style="font-family: Georgia, Times New Roman, serif;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span style="font-family: Georgia, Times New Roman, serif;"><span class="s3">8:30 pm</span><span class="s1"> <b><i>PROGRAM 29: (HGT)</i></b></span></span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b><i>LUTHER PRICE- LIGHT FRACTURES </i></b></span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>Light Fractures </b> Luther Price, U.S., 2013. double projection slides of varying durations.</span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>Home </b>Luther Price, U.S. 1999, 13min.</span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><i>2013 Digital restoration by Anthology Film Archives with support from the Andy Warhol Foundation for the Visual Arts</i></span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>Recitations</b> Luther Price U.S.1999- Luther Price, U.S.,1998-2000, 10min. </span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;">And other surprises. </span></div>
<div class="p2">
<span style="font-family: Georgia, Times New Roman, serif;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span style="font-family: Georgia, Times New Roman, serif;"><span class="s3">9:45 pm</span><span class="s1"> <b><i>PROGRAM 30: (FBT) </i></b></span></span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b><i>SCOTT STARK - THE REALIST </i></b></span></div>
<div class="p1">
<span style="font-family: Georgia, Times New Roman, serif;"><span class="s1"><b>Etienne’s Hand</b> Richard Touhy Australia 2011 </span><span class="s3">12:34</span></span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>Poetry and Truth Dichtung und Wahrheit</b>, Peter Kubelka 2003, 13 mins <i>a Views NYFF festival reprise </i></span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>A Serpente</b> Sandro Aguilar,Portugal, 2005,15'</span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>The Realist</b> Scott Stark,U.S., 2013, 40min., music Daniel Goode </span></div>
<div class="p2">
<span style="font-family: Georgia, Times New Roman, serif;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span style="font-family: Georgia, Times New Roman, serif;"><span class="s3">10:30 pm</span><span class="s1"> <b><i>PROGRAM 9b: (HGT) </i></b></span></span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b><i>LANDSCAPES IN THE SHADOW OF TIME </i></b></span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>Views from the Acropolis </b>Lonnie van Brummelen and Siebren de Haan Netherlands/Turkey, 2012, 14: 58</span></div>
<div class="p1">
<span style="font-family: Georgia, Times New Roman, serif;"><span class="s1"><b>Paisaje-Duración Duration Rocas ( Landscape Rocks )</b> Lois Patiño Spain 2011 </span><span class="s3">4:19</span><span class="s1"> </span></span></div>
<div class="p1">
<span style="font-family: Georgia, Times New Roman, serif;"><span class="s1"><b>Montaña en sombra</b><br />
<b> (Mountain in shadow )</b> Lois Patiño Spain 2012 </span><span class="s3">13:54</span><span class="s1"> </span></span></div>
<div class="p1">
<span style="font-family: Georgia, Times New Roman, serif;"><span class="s1"><b>Nile Perch </b>(35mm version) Josh Gibson US./Uganda 2013 </span><span class="s3">16:47</span><span class="s1"> </span></span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>Three Landscapes </b> Peter Hutton, 2013 US/Ethiopia 46min. </span></div>
<div class="p2">
<span style="font-family: Georgia, Times New Roman, serif;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span style="font-family: Georgia, Times New Roman, serif;"><span class="s1"><b>Monday, October 7</b></span><span class="s4"><b> </b></span></span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b><i>VIEWS special programs </i></b></span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b><i>Coda: SUNKEN TREASURE – BRUEGHEL TEACHES US HOW TO SEE de KOONING (and vice versa)</i></b></span></div>
<div class="p2">
<span style="font-family: Georgia, Times New Roman, serif;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span style="font-family: Georgia, Times New Roman, serif;"><span class="s3">2:00 pm</span><span class="s1"> <b><i>PROGRAM 31: (HGT) </i></b></span></span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b><i>JOHN STAHL ONLY YESTERDAY</i></b></span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>Only Yesterday</b> John Stahl, U.S.,1933, 105min.</span></div>
<div class="p2">
<span style="font-family: Georgia, Times New Roman, serif;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;">4:15 pm <b><i>PROGRAM 32: (HGT)</i></b></span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b><i>MAX OPHULS SANS LENDEMAIN</i></b></span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>Sans Lendemain </b> Max Ophuls, France 1939-40 82min</span></div>
<div class="p2">
<span style="font-family: Georgia, Times New Roman, serif;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;">6:30 pm <b><i>PROGRAM 33: (HGT)</i></b></span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b><i>STAN BRAKHAGE</i></b></span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>Anticipation of the Night </b>Stan Brakhage, U.S. 1958, 40min.</span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>Window Water Baby Moving </b>Stan Brakhage, U.S. 1959 12min.</span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>The Dead </b>Stan Brakhage, U.S. 1960, 11min.</span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><i>This program is co- presented with the Academy of Motion Pictures Arts and Sciences. Preservationist Mark Toscano will be present.</i></span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><i>2012/2013 Preservation prints courtesy of The Academy Film Archive restored by the Academy with the support of the Film Foundation. – </i></span></div>
<div class="p2">
<span style="font-family: Georgia, Times New Roman, serif;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;">8:30 pm <b><i>PROGRAM 34: (HGT)</i></b></span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b><i>Nathaniel Dorsky In A Silent Way (part2)</i></b></span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;">First and only public showing of</span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>Kodachrome Dailies from the Time of Song and Solitude (Reel 2)</b><br />
Nathaniel Dorsky U.S. 2005-6 30m (approx.)</span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>Ariel </b> Nathaniel Dorsky, U.S 1983 16min </span></div>
<div class="p2">
<span style="font-family: Georgia, Times New Roman, serif;"><span class="s1"></span><br /></span></div>
<div class="p2">
<span style="font-family: Georgia, Times New Roman, serif;"><span class="s1"></span><br /></span></div>
<div class="p3">
<span class="s4" style="font-family: Georgia, Times New Roman, serif;"><b>FREE PROGRAMMING IN THE ELINOR BUNIN MUNROE FILM CENTER AMPHITHEATER </b></span></div>
<div class="p3">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>OCTOBER 3-6</b></span></div>
<div class="p2">
<span style="font-family: Georgia, Times New Roman, serif;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>Amphitheater Program A: </b></span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>PATRICIA THORNLEY </b></span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>THIS IS US: Don’t Cry For Me,</b> Patricia Thornley, U.S., 2013, 48min with <b>Kriminalistik,</b> Janie Geiser, U.S., 2013, 3min.</span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><i>*Thursday, October 3/Friday, October 4 at 6:30 p.m., Saturday, October 5 at 1:30 p.m., Sunday, October 6 at 4:00 p.m.</i></span></div>
<div class="p2">
<span style="font-family: Georgia, Times New Roman, serif;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>Amphitheater Program B: </b></span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>The Wooster’s Group’s RUMSTICK ROAD</b> (2010-2013), Ken Kobland and Elizabeth LeCompte, U.S. 2013, 77min. A Video RE-Construction of the 1977 theater piece by Ken Kobland and Elizabeth LeCompte with Spalding Gray</span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><i>*Thursday, October 3 at 8:00 p.m., Friday, October 4 at 7:25 p.m., Saturday, October 5 at 2:30 p.m. and 8:30p.m., Sunday, October 6 at 5:00 p.m. and 7:00 p.m.</i></span></div>
<div class="p2">
<span style="font-family: Georgia, Times New Roman, serif;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>Amphitheater Program C: </b></span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>JIM FINN</b></span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>ENCOUNTERS WITH YOUR INNER TROTSKY CHILD</b>, Jim Finn, U.S. 2013, 21.5 min. <b>Christmas with Chávez</b>, Jim Finn, Argentina, U.S., Venezula, 2013, 2min.</span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><i>*Thursday, October 3 at 10 p.m., Friday, October 4 at 4:30pm and 10:30pm,</i></span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><i>Saturday, October 5 at 12:30 p.m. and 10:35 p.m., Sunday, October 6 at 2 p.m.</i></span></div>
<div class="p2">
<span style="font-family: Georgia, Times New Roman, serif;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>Amphitheater Program D: </b></span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>LESLIE THORNTON </b></span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>LUNA (Trance)</b>, Leslie Thornton, U.S. 2013, 12min</span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>Binocular; Zebra 2</b>, Leslie Thornton, U.S. 2013, 2:45</span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>Binocular; Bees</b>. Leslie Thornton, U.S. 2013 6min.</span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>Binocular: Mandarin Duck</b>, Leslie Thornton, U.S. 2013, 2min 59 second</span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>Little Balls of Air</b>, Leslie Thornton, U.S. 2013 5min</span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><i>*Thursday, October 3 at 10:30 p.m., Friday, October 4 at 9:45 p.m., </i></span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><i>Saturday, October 5 at 12:00 p.m. and 10:05 p.m., Sunday, October 6 at 3:00 p.m.</i></span></div>
<div class="p2">
<span style="font-family: Georgia, Times New Roman, serif;"><span class="s1"></span><br /></span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>Amphitheater program E: </b></span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>ANNE CHARLOTTE ROBERTSON from the <i>5 YEAR DIARY</i> </b></span></div>
<div class="p1">
<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>Diary #9,#22,#23,#31,#80,#81</b></span></div>
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<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><i>*Friday, October 4 at 11am (AMPT) Diary #9,#22,#23,#31,#80,#81, Saturday, October 5 at 11a.m. Diary #9,#22 only, Saturday, October 5 at 4p.m. Diary#23,#31 only</i></span></div>
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<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><i>Sunday Oct 6 at 11 a.m. Diary #23,#31,#80,#81</i></span></div>
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<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>Amphitheater program F 1: </b></span></div>
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<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>JOHN PRICE : THE SACRED AND THE PROFANE </b></span></div>
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<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><i>*Friday, October 4 at 2:15pm, Sunday, October 6 at 1:00 p.m.</i></span></div>
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<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>Amphitheater Program : G: </b></span></div>
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<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>Lois Patiño: Distance/Duration/Vibration </b></span></div>
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<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>Duration Landscape Road, </b>2012 <b>Duration, Landscape Rocks, </b>2011 <b>Distance –Landscape, Football Field, </b>2011<b>Into Earth’s Vibration</b>, 2011 <b>Into Water’s Vibration,</b> 2012 <b>Mountain in shadow, </b>2012</span></div>
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<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><i>*Friday, October 4 at 3:30 (AMPT), Saturday, October 5 at 5:00 p.m., Sunday, October 6 at 8:30 p.m.</i></span></div>
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<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>Amphitheater program H: </b></span></div>
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<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>ERNIE GEHR and CINTHIA MARCELLE </b></span></div>
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<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>As If</b> Ernie Gehr, 2013 and <b>Automóvel, </b>Cinthia Marcelle, 2012</span></div>
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<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><i>*Friday, October 4 at 5:30 pm (in repeat cycles), Saturday, October 5 at 6:00 p.m. and 9:45 p.m. (in repeat cycles), Sunday, October 6 at 2:30 p.m. (in repeat cycles) </i></span></div>
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<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>Amphitheater program I: </b></span></div>
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<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>AURA SATZ </b></span></div>
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<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>Onomatopoeic Alphabet</b> 2010 <b>Sound Seam</b> 2010 <b>Vocal Flame</b> 2012 </span></div>
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<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>Oramics: Atlantis Anew</b> 2011 <b>Doorway for Natalie Kalmus</b> 2013</span></div>
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<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><i>*Friday, October 4 at 8:45 p.m., Saturday, October 5 at 7:30 p.m., Sunday, October 6 at 9:15 p.m.</i></span></div>
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<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>Amphitheater program J: TALENA SANDERS: THE RELIEF MINING COMPANY</b></span></div>
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<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><i>*Saturday, October 5 at 1:00 p.m., Sunday, October 6 at 3:30 p.m.</i></span></div>
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<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>Amphitheater program K: </b></span></div>
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<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><b>STOM SOGO: The Mystery Album </b></span></div>
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<span class="s1" style="font-family: Georgia, Times New Roman, serif;"><i>*Sunday October 6 at 10:15 p.m.</i></span></div>
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<span style="font-family: Georgia, Times New Roman, serif;"><span class="s4"><b>Film Society of Lincoln Center</b></span><span class="s1"><br />
Founded in 1969 to celebrate American and international cinema, the Film Society of Lincoln Center works to recognize established and emerging filmmakers, support important new work, and to enhance the awareness, accessibility and understanding of the moving image. Film Society produces the renowned New York Film Festival, a curated selection of the year's most significant new film work, and presents or collaborates on other annual New York City festivals including Dance on Camera, Film Comment Selects, Human Rights Watch Film Festival, LatinBeat, New Directors/New Films, NewFest, New York African Film Festival, New York Asian Film Festival, New York Jewish Film Festival, Open Roads: New Italian Cinema, Rendez-vous With French Cinema, and Spanish Cinema Now. In addition to publishing the award-winning Film Comment Magazine, Film Society recognizes an artist's unique achievement in film with the prestigious "Chaplin Award." The Film Society's state-of-the-art Walter Reade Theater and the Elinor Bunin Munroe Film Center, located at Lincoln Center, provide a home for year round programs and the New York City film community.<br />
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<b>The Film Society receives generous, year-round support from Royal Bank of Canada, Jaeger-LeCoultre, American Airlines, The New York Times, Stonehenge Partners, Stella Artois, illy café, the Kobal Collection, Trump International Hotel and Tower, the National Endowment for the Arts, and the New York State Council on the Arts.</b><br />
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<b>Support for the New York Film Festival is also generously provided by Hearst Corporation, HBO®, Dolby, Paramount Hotel, ADK Packworks, WABC-7, and WNET New York Public Media.</b></span></span></div>
Editorhttp://www.blogger.com/profile/17200163851591850302noreply@blogger.com0tag:blogger.com,1999:blog-3634886419866749682.post-33912873677629606792013-08-17T14:01:00.000-04:002016-12-02T16:41:07.099-05:00Has-Been History: The Impossible Call and Response of Lewis Klahr's "Candy's 16!" (1984)<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: "georgia" , "times new roman" , serif;">by James Hansen</span></div>
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<i><span style="font-family: "georgia" , "times new roman" , serif;">This is the text from a paper presented at the 2012 Society for Cinema and Media Studies conference in Boston, Massachusetts. It remains a work in progress.</span></i></div>
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<span class="s2"><span style="font-family: "georgia" , "times new roman" , serif;">A girl named Candy sits alone at her 16th birthday party. A pop record plays quietly in the background. It starts to skip. An untouched birthday cake rests on a table in front of her. Sixteen candles remain unlit. There is no need to light them. For Candy, they are already extinguished. Her friends didn’t come to her celebration. In fact, they couldn’t come. It turns out this party wasn’t today or yesterday. It was years ago. But, for Candy, it is tomorrow. It is <i>always</i> tomorrow. She awaits an event – a future – which will never come, although perhaps it already has. Instead, she lingers in a present moment, hermeneutically sealed off from the yesterday of her adolescence and the tomorrow of her adulthood. She isn’t <i>on</i> a precipice – she is locked <i>in </i>it. As such, she becomes a forgotten figure in her own world. A has-been in her own being. </span></span></div>
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<span class="s2"><span style="font-family: "georgia" , "times new roman" , serif;"><span class="Apple-tab-span"> </span>This is a vision extrapolated from Lewis Klahr’s 1984 short film <i>Candy’s 16!</i>, part of his “Picture Books For Adults” series (1983-1985). In this series, Klahr gestures toward history as both static and moving. Constructed of eight 8mm short films, Klahr uses a variety of techniques – found footage, splicing, as well as his well known cutout animation style – and creates collages from ephemeral, cultural fragments – home movies, comic books, advertisements, and pop music. with a career and signals many of the concerns of which he continues to work through – history, memory, and the recent past. Stripping objects from their specific contexts, Klahr’s films reference the outmodedness of their objects through a self-referential temporal lag – that is, they are lapsed historical objects. The objects and images enter into dialogic communication allowing them to intersect both historically and aesthetically; his films display a process of an ongoing, irresolvable dialectical history: a history of the present’s past and the past’s presence – or, as Klahr himself says, his films illustrate “the pastness of the present.” </span></span></div>
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<span class="s2"><span style="font-family: "georgia" , "times new roman" , serif;"><span class="Apple-tab-span"> </span>This paper will examine <i>Candy’s 16! </i>as a model of what I am calling, following Walter Benjamin, “Has-Been history” – a conception of history understood through outmoded, forgotten objects and commodities. For Klahr, objects are “has-beens” lying dormant in historical ruins waiting to be revived. The stakes of this revival is central to this paper and Klahr’s work in general. Klahr has become well-known for his cutout animation techniques, yet <i>Candy’s 16! </i>is a more traditional found footage film. This may make it a somewhat odd choice for extended analysis. However, I argue Klahr’s approach, even in the early stages of his career, indicates the mission of has-been history – the purpose is not to pace an object historically, but rather to uncover the irresolvable tensions between the historical context and the cultural moment in which materials are extended. <i>Candy’s 16!</i> operates as a transhistorical exchange in which the images of has-been history are revealed as irretrievably fractured. Klahr grants them new visibility only to have them quickly evaporate and remain unrealized. <i>Candy’s 16!</i> questions how personal materials, cultural memory, and the audience negotiate such a schism. Is this all an introduction or a farewell? As Candy awaits her party, celebrating her passage from adolescence to adulthood, Klahr indicates that has-been history can be called, but it cannot respond. History reverberates. Klahr’s films gesture toward its incommensurable aftershocks.</span></span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;">As we have seen, <i>Candy’s 16! </i>begins innocently enough. After a title card written with chalk on a crinkled piece of black construction paper, it cuts to the image of a record with the title “Countdown Sixteen Featuring Candee Weinstein.” This record provides the soundtrack for the film’s brief running time. The sound starts to play even before the record spins. The audio quality is fuzzy. There is a heavy presence of static. As a man begins to sing, it cuts to black-and-white footage of the interior of a space ship. A large subtitle appears, reading “Approaching Venus” captain. As a group of girls sings Candee’s name, the image pans right revealing the exterior of the spaceship – a world up in smoke. Candee’s voice is heard. As she counts in the form of “new math,” more images are seen which will recur throughout the film – the interior of a car, the exterior of spaceships awaiting take off, [IMAGE 6] an animated suburban neighborhood, perhaps a school, a group of adolescent boys, and various images of collapsing structures. Immediately, Candee’s anxious anticipation is met with a pile of ruins. As the ship takes off, things are already falling apart. </span></div>
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<span class="s2"><span style="font-family: "georgia" , "times new roman" , serif;"><span class="Apple-tab-span"> </span>Klahr then cuts back to the cartoon, which we may recognize as a <i>Spiderman</i> cartoon. A teenager reads notes in a chemistry lab. The subtitle reads “I’ve got to test myself and find out the extend of my power.” Then, an image of outer space reads “Turning mass into matter” before it quickly cuts back to the boy with the title “I feel so strange.” He holds a spider and then begins flexing his right hand. Meanwhile, Candee tells us that this is a personal invitation, a limited edition record, pressed for to attend her Sweet 16 and Confirmation dinner dance. Her invitation continues to play out over several series of images. The astronauts explores the ruins of a forgotten city. A group of girls is seen waving at a camera – perhaps an image of the party to come. However, this is met with equal danger. A woman recalls being attacked by two men before urging the group to “Be careful.” The Spiderman character wanders the streets pondering what has happened to him. Eventually, he is in the street and a driver fails to see him. Unable to utilize his superhero powers, he is hit by a car. A police car, flashing its red light, parks on the sidewalk at the scene of the crime. And, in the distance, a phone rings and rings, but no one answers. Candee thanks us for calling and the film ends.</span></span></div>
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<span class="s2"><span style="font-family: "georgia" , "times new roman" , serif;"><span class="Apple-tab-span"> </span>Thus, the viewer is provided a unique experience of history and aesthetics which pierces time and space. Placed in conjunction with one another, <i>Candy’s 16!</i> establishes a mode of fracture. In the film’s narrative, we hear Candy engaging the audience with an invitation to her birthday party with the promise of “a really good time.” However, in the images, we find a dangerous sense of collapse. The teen character, as he attempts to understand his new, strange power, is hit by a car. His life is taken from him, just as a new potentiality seemed to open before him. He was not the super hero he could have been, but is instead derailed by a purposeless accident. He won’t be attending Candee’s birthday party, nor, as in the film’s final images, graduating to his next stage of life. The sound of the ringing phone at the end of the film suggests a definitive unreachability. The final images, seen in silence, become not a ceremonious occasion, but instead a mournful, distant image of unrealized potential. Both adolescents – the male figure of the images and the female voice of the soundtrack – are locked away, hidden, and buried in outmoded materials, objects, and fading memories. <i>Candy’s 16!, </i>in a sense, allows them to become present again, but just as quickly reveals that they are always already vanishing into the past. They appear only as “has-beens” – to use the slang term – who surface again, years later, if only for a moment before burning out and disappearing into the far reaches, the outer limits, of time and space.</span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span class="s2"><span class="Apple-tab-span"> </span>In a famous passage from <i>The Arcades Project, </i>Walter Benjamin outlines the relationship between past and present. Arguing against historicism, Benjamin argues for a dialectical materialism which explodes the continuum of history and proposes a new form of communication between past and present. He writes </span><span style="text-align: center;">"It is not that what is past casts its light on what is present, or what it present its light on what is past; rather, image is that wherein what has been comes together in a flash with the now to form a constellation. In other words: image is dialectics at a standstill. For while the relation of the present to the past is purely temporal, the relation of what-has-been to the now is dialectical: not temporal in nature but figural."</span></span></div>
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<span class="s2"><span style="font-family: "georgia" , "times new roman" , serif;"><span class="Apple-tab-span"> </span>This passage has been thoroughly emphasized for its provocative suggestion of dialectics at a standstill. While this is still useful to discuss, for my purposes, I want to shift the emphasis to the sentence just after this. It is in this sentence that Benjamin places emphasis on the what-has-been and now – Gewesnen and Jetzt in German – rather than simply “the past” and “the present.” He recognizes the strict temporality of the terms past and present, indicating a passive relationship in which “the past” is a mere historical outline for the present moment. However, in the “what-has-been” lies the potential for reemergence in the now through a unique dialectical process. To use the term “has-been” from a contemporary context in conjunction with the historical, as I am extending it here, does not suggest death but rather latency, not fixity but rather plasticity, not immobility but activity. At the same time, this image of the past is constantly fractured, its objects continually fracturing; or, as Derrida says of the trace, it is “always being erased and always able to be erased.” In this way, the life of a has-been, of becoming a has-been, is one that cannot be fixed or pinpointed, but one that is undergoing constant transformation. Thus, Benjamin’s movement from the past to the present to the what-has-been and the now infers not only a from the temporal to the figural, but also a move from the historically fixed image to gestural image – a gesture that, as Giorgio Agamben explains, “is a communication of communicability.” It speaks to its ability to communicate, or, in the case of <i>Candy’s 16!</i>, the motion of historical communication. By refiguring these terms as what-has-been and now, Benjamin frees the past and the present from their resolute temporality, in which dialectical operation is impossible, and allows them, through the what-has-been and the now, to enter into a mode of dialectical historicism.</span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span class="s2">For Klahr, while keeping in mind the gestural, it is equally important to note the importance of quotation. Using found footage in <i>Candy’s 16!</i>, Klahr places himself in the model of quotation (or appropriation) which predominates the majority of his work. However, this process is not simple quotation as attribution, but quite the opposite. Specifically, in utilizing unknown footage, or, at least, placing the media works far from their context, Klahr alienates source from context and, in so doing, highlights the dormant quality of historical objects as always lying in wait, waiting to be used, waiting, once again, to function. In a famous passage from his essay “One Way Street,” Benjamin writes, “Quotations in my work are like wayside robbers who leap out, armed, and relieve the idle stroller of his conviction.” </span><span class="s2">The quotation is a piece of history torn from an historical moment and placed in the now. For Benjamin, quotation is not a means of reconfiguring history, but rather destroying its context and blowing up the continuum. Agamben explains, “Alienating by force a fragment of the past from its historical context, the quotation at once makes it lose its character of authentic testimony and invests it with an alienating power that constitutes its unmistakable aggressive force.” </span><span class="s2">This “aggressive force” interrupts historical understanding and establishes a modern “alienation value” by destroying “the transmissibility of culture.” </span>He argues the creation of this alienation value (between tradition and the now) has become the preeminent task of modern artists. He states that aesthetics, by turning intransmissibility into a value, “open[s] for man a space between past and future in which he can found his action and knowledge.” Nevertheless, “what is transmitted in [aesthetic space] is precisely the impossibility of transmission, and its truth is the negation of the truth of its contents.”</span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span class="s2"><span class="Apple-tab-span"> </span>Undoubtedly, Klahr is one of these modern artists, if not an apotheosis of sorts. His artistic mode of gesture and quotation make essential the ongoing evaporation of culture and history. However, at the same time, this negation opens up a space for reconfiguration, reconsideration, and points to new possibilities even as it reveals the impossibility of their possibility. Thus, transmission itself is what is understood in Klahr as an impossible. This follows Benjamin’s demand that the historical materialist “dissociate himself from this process of transmission as far as possible.” </span>However, he suggests “only for a redeemed mankind has its past become citable in all its moments.” Every moment becomes a citation. It is in this process of citation and quotation that the what-has-been is torn from its context and reverberates with the now in dialectical movement. The quotation of the what-has-been in the now forces the two modes to confront one another and, through a dual process of intransmissibility, the historical continuum evaporates while the moments are allowed to speak to one another as never before. Quotation now occurs without citation. Though it is inherently citable, quotation reverberates in the opened space between the what-has-been and the now. It becomes a process of quotation without quotation marks.</span></div>
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<span class="s2"><span style="font-family: "georgia" , "times new roman" , serif;"><span class="Apple-tab-span"> </span>Klahr quotes not only characters and media through the film, but he implicitly cites a moment of ephemerality through his late use of 8-mm film. The “Picture Books For Adults” series, created between 1983 and 1985, came about just as videotape was overtaking 8-mm as a medium for recording and watching home movies, not to mention the expansion of the home video market for Hollywood films. Aware of this moment, Klahr uses the ephemerality of Candee’s record to echo the similarly precarious status of not only the medium itself, but he uses this to reflect on the dangers in the film’s narrative world. He captures the very moment when the medium is caught between the has-been and the now – that is, the moment between adolescence and adulthood from which his characters cannot advance. Stuck in this moment, the narrative of <i>Candy’s 16!</i> and the medium itself is caught in a standstill between use and non-use, transmission and intransmission, the what-has-been and the now. Both technology and mankind are perpetually caught in this reverberating standstill. <i>Candy’s 16!</i> exemplifies this dual nature and stands by as history moves toward an unstable, uncertain goal. The what-has-been navigates the now through a set of lingering catastrophes and endless ruins. Nevertheless, it keeps moving toward its own birthday party – a long awaited day that will never arrive. As such, the contemporary viewer bears witness to the intransmissibility of history.</span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">As the film ends, Candee again asks for RSVP phone calls to her party. Just after this, a phone begins ringing. As the phone rings, two images appear and then repeat: first, a zoom towards the window of an animated suburban home, then, a static image of the stars in outer space. The phone stops ringing when Candee says, “Thank you for calling.” Finally, there is grainy footage from a graduation ceremony as Candee’s theme song plays and drops from the soundtrack. The image continues for a few seconds before the film ends. </span></div>
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<span class="s2"><span style="font-family: "georgia" , "times new roman" , serif;"><span class="Apple-tab-span"> </span>This provides a fitting conclusion to the unresolved questions of <i>Candy’s 16!</i>’s historical and aesthetic devices. After all, who is Candee speaking to when she says “Thank you for calling?” Has she picked up the phone to answer? Or has she turned it off? Is she speaking to a distant friend and thanking her for an RSVP? Or is she thanking the now-audience for listening to her and what-has-been record? Are Candee’s birthday and the graduation ceremony beginnings or ends? Is this a venture into a suburban home or the far reaches of outer space? Klahr makes all these things present to the audience although Candee’s temporal dating makes it clear these moments and events belong to the has-been. They are recognizable, but, nevertheless, they have no direct, linear source. <i>Candy’s 16!</i> festers in the space between these modes and moments which flashes before present history as a historical constellation of what-never-has-been – a graduation into unrealized potential. This is not just Benjamin’s well known notion of “love at last sight” but, in fact, <i>love before sight</i> – a love which, paradoxically, only occurs after the object, the moment has vanished. Potential is understood before it appears, and, at the moment of its appearance, it loses its potential as such. Through this chaotic, perpetual motion of “has-been history,” Klahr conceptualize the past and the present – “the pastness of the present” – as simultaneously realized and unrealized.</span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span class="s2">Benjamin notes, “The true image of the past flits by. The past can be seized only as an image that flashes up at the moment of its recognizability, and is never seen again.” </span>Through the flitting image of the what-has-been, Klahr reveals the melancholic impossibility of the has-been truly being seen again. There is always fragmentation. There is always loss. Through “has-been history,” Klahr shows that in the what-has-been lurks the static, buried, unrevealed what-never-has-been. And, for a moment, he lets us see the what-never-has-been for what it could be – what it still can be. Thus, potentiality is found through its own historical unrealization. Alienated from history and tradition, the what-has-been operates recursively – through and against itself – as a self-perpetuating system which negates itself and shows its process of transmission as an impossibility, instead revealing the intransmissable what-never-has-been, the transmission of a potentiality, the image of a past that never occurred.</span></div>
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<span class="s2"><span style="font-family: "georgia" , "times new roman" , serif;"><span class="Apple-tab-span"> </span>And then there is Candee. Amidst a pile of ruins, she, always almost 16, sits alone at her birthday party. And, in the far reaches of space, a beyond she will never reach, her phone rings. Do we say hello or goodbye? Thank you for calling. </span></span></div>
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James Hansenhttp://www.blogger.com/profile/09650436008918093617noreply@blogger.com0tag:blogger.com,1999:blog-3634886419866749682.post-91681587056209831862013-07-15T20:32:00.001-04:002013-07-16T02:26:12.232-04:00A Tidy Mosaic: Stories We Tell (Sarah Polley)<div class="separator" style="clear: both; text-align: center;">
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<span class="s1"><span style="font-family: Georgia, Times New Roman, serif;">Sarah Polley’s <i>Stories We Tell </i>maps out the mosaic-like narrative of her discovery that her father, Michael Polley, was, in fact, not her biological father. In making a film about her past and the relationship of her parents, Polley’s story spans her entire family history, stretching across space and time to reconstruct the story of her mother and the extramarital affair that lead to her birth. The film includes interviews with various family members and archival 8mm home footage, as well as reenactments of false events and recreations of supposedly ephemeral material. The film attempts to grapple with the refracted shards of fact and fiction, history and memory. Indeed, Polley’s narration and the possibly false interviews <strike>of actors playing Polley’s siblings***</strike> point the audience directly toward these ambivalences time and again. While there remain moments in which the curtain is specifically lifted, <i>Stories We Tell</i> doesn’t attempt to trick its audience. Instead, it often explicitly states its intention to create and/or work through a slippage between the past and the present. </span></span></div>
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<span class="s1"><span style="font-family: Georgia, Times New Roman, serif;">This decision ends up cutting two directions at the same time. First, it places the audience in a place of comfort, more easily navigating the vagueries of the narrative. There is a little question what the film is “about” if only because the figures tell us time and again exactly what they are proposing and where the historical “target” is, even if they find it to be a moving one. Second, though, this ends up denying the film its central premise – that of the refracted, fragmented impossibility of recovering history and finding an essential truth within an individual figure or time period. (In some ways, Polley’s film reverses the thrust of <i>Citizen Kane</i>: a version of <i>Citizen Kane</i> made by the ghost of Hearst himself.)</span></span></div>
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<span class="s1"><span style="font-family: Georgia, Times New Roman, serif;">Polley’s direction and construction of the film as a narrative – and its insistence on making the audience aware of its constructedness – is remarkably polished. Yet, with the narrative mystery in mind, this positive polish can also be read as overly tidy. While this highlights Polley’s talents as a narrative director, it fails to accept the mysteries and the challenges of its own documentary thrust. That is, for all its talk of fragmentation and rupture, <i>Stories We Tell</i> is resoundingly clear, its connections are perfectly tied together; thus, its entire mode of address becomes exceedingly didactic. For all its complexities and provocative lines of questioning, <i>Stories We Tell</i>, if anything, left me wanting less.</span></span><br />
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<span class="s1"><span style="font-family: Georgia, Times New Roman, serif;">***Note: This sentence has lead to some confusion and was poorly worded. Polley speaks with her actual siblings throughout the interview process. In the faux-archival footage, however, they are played by other figures (as mentioned in the previous sentences). Here, I am trying to point to this productive slippage between fact/fiction that resonates throughout the film. Actors do not play the siblings in the interviews, although I would suggest the fact that the documentation becomes skewed suggests a neat, stage-like quality to the interviews themselves in which truth/falsity can still be raised. [Thanks to Peter Labuza, Jim Gabriel, and Corey Atad for raising these points.] </span></span></div>
James Hansenhttp://www.blogger.com/profile/09650436008918093617noreply@blogger.com0tag:blogger.com,1999:blog-3634886419866749682.post-34438411488363407682013-05-25T10:00:00.000-04:002013-05-25T10:00:03.509-04:00Cannes (à Paris) 2013: Inside Llewyn Davis (Coen Brothers)<div class="separator" style="clear: both; text-align: center;">
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<span class="s1"><span style="font-family: Georgia, Times New Roman, serif;">It was a bit strange when I realized my first trip to France – occurring during the month of May – wouldn’t be for the Cannes Film Festival. Luckily for me, and Parisians, not only do Cannes films open quickly here (<i>Only God Forgives</i> and <i>The Past </i>are already in theaters), but many films that won’t open for a while have a chance to be screened via the Cannes a Paris series. Showcasing “highlights” from the festival’s official selection, there have been plenty opportunities to enjoy Cannes outside of Cannes. Alas, I don’t trust my French enough to see films without English or French subs (my reading comprehension is good-ish). As such, the Coen Brothers new film <i>Inside Llewyn Davis</i>, currently considered one of the frontrunners for the Palme d’Or, was an easy choice. And it wasn’t even sold out!</span></span></div>
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<span class="s1"><span style="font-family: Georgia, Times New Roman, serif;">The soft opening of <i>Inside Llewyn Davis</i> suggests the Coens may be offering a different type of character than we’ve seen in their previous features. A slow ballad rings from the voice of Llewyn (a terrific Oscar Isaac), shot in a classical “unplugged” concert style. The character’s introductory emotional state bleeds through the lyrics of the song. The film immediately hits you with music and there’s a lot more of that to come. Indeed, perhaps even more than <i>O Brother Where Art Thou?</i>, this film, or at least its lead character, lives and breathes through the music. There is a deeply understated, affecting quality that pervades the film, providing it with some kind of backbone as it drifts with Llewyn from place to place. Other forms of music appear as cheap knockoffs, full of cliches and lacking depth. Despite Llewyn’s brashness, the Coens feel fully on his cynical side.</span></span></div>
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<span class="s1"><span style="font-family: Georgia, Times New Roman, serif;">Nonetheless, while different than the leads of <i>A Serious Man</i> or <i>Burn After Reading</i>, Llewyn ends up as a classic Coen character – difficult, off-putting in humorous ways, self-involved, etc. Here, Llewyn’s understated back story adds interesting depths to the character’s wandering, distant nature. For a while, Llewyn’s quest feeds a tale of a man who can’t speak or interact with others as well as the loss of partnership and the toll it takes. He finds a means of communication not through conversation, but through his music, his words, his art. The music as its own kind of language leads to some of the film’s emotional sequences, but also threatens to drain it of its sly humor filled in by an array of minor characters. It fits comfortably within the world of Llewyn, but it perhaps less certainly fits within the entire world of the film. There is something caught in the middle here – much like Llewyn himself – that doesn’t feel wholly...whole. </span></span></div>
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<span class="s1"><span style="font-family: Georgia, Times New Roman, serif;">And, while the film is nuanced enough to work around a number of cliches, the characters and scope of the film almost too familiar. The direction of the film is sharp and sensitive, but it also never seems particularly ambitious. Llewyn’s ventures undoubtedly reflects a sensibility very much present in the Coens’ recent films – that is, life’s incredible journey as a circular, repetitive road to nowhere – but one can’t help feeling this has been treaded on in the same way before by the Coens. And maybe that is just how it goes. </span></span></div>
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James Hansenhttp://www.blogger.com/profile/09650436008918093617noreply@blogger.com0tag:blogger.com,1999:blog-3634886419866749682.post-82919153129074145632013-05-14T10:00:00.000-04:002013-05-14T17:58:37.554-04:00The Mood of No-Mood: "Frames" (Brandon Colvin)<br />
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<span class="s1"><span style="font-family: Georgia, Times New Roman, serif;">by James Hansen</span></span></div>
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<span class="s1"><i><span style="font-family: Georgia, Times New Roman, serif;">*Writer’s Note: As long time readers of this site will know, Brandon Colvin was a crucial part to its founding and initial success. Brandon and I got the site going in 2007-08, as undergraduates at different institutions. I mention this not because I believe it disqualifies me from writing about the film at hand – if friendship were a disqualification, then we may have a very different history of film and art – but rather just to say this has been a rather difficult piece to put together. It is also somewhat strange to see Colvin listed as the director of a film and not the author of criticism. Those were the days. Anyways, I didn’t feel like I NEEDED to write a “disclaimer” on this piece, but I did want address the “history” of this site somewhat and credit Brandon for always thinking through his writing and writing through his thinking. It shows. jh</span></i></span></div>
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<span class="s1"><span style="font-family: Georgia, Times New Roman, serif;">If <i>Frames</i> were as simple as it may seem, one might say it gives itself away in its opening moments. The static shot reveals a brick wall taking up most of the frame. Along the left side, a sign. In front of the wall, a small yellow piece of equipment with painter’s tools. A light wind blows across, the towels hanging from side ladders whipping in the wind. The shot is held for nearly 40 seconds before a figure enters, briskly walking left to right. His face turns toward the foreground. The film cuts behind a young man, holding a digital camera, pointing towards the painter. His shot has been our shot. His film is our film. </span></span></div>
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<span class="s1"><span style="font-family: Georgia, Times New Roman, serif;">At some level, this meta-discourse maintains itself throughout <i>Frames</i>, but it becomes much more than this. Over the course of the film, <i>Frames</i> quietly inflates its parameters, expanding from a smart, eclectic, yet openly reference-heavy pastiche pivoting around flattened affect, emotiveless emotion, and apathetic mystery before shifting towards a somewhat brooding, deliberately paced, atmospheric vision of contemporary horror.</span></span></div>
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<span class="s1"><span style="font-family: Georgia, Times New Roman, serif;">Indeed, this opening shot indicates a “frame” around which one could construct an entire cinematic discourse. And, indeed, the use of the frame and framing (what is left in and left out, what view we see and, more specifically, what view we don’t) is crucial to Colvin’s compositional strategy. In large part, the main view comes from Peter. He controls the camera and constructs the short documentary about his small hometown that the film returns to time and again.</span></span></div>
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<span class="s1"><span style="font-family: Georgia, Times New Roman, serif;">As the film tracks Peter’s production of the documentary, his relationship with his filming partner, Vera, increases in importance. The (perhaps virginal) Peter shoots empty spaces, blank landscapes. He wants to make a tracking shot like Kubrick. She finds a wheelchair. He draws storyboards during school. She suggests watching Rear Window. He says he has only seen Psycho. While the film slowly swirls together many of these references throughout its first half hour, the images begin to be coded differently. Nothing has changed, but, then again, perhaps it has. “Why do you keep shooting all these shots of nothing?” says Vera. “It’s for mood. You know to catch the mood of the town,” replies Peter. “But there’s no mood to catch.” This kind of dry humor is infused throughout <i>Frames</i>, and, while it too explicitly delivers some of the film’s buried thematics, it sets the stage for the town’s transformation from Nowheresville into something dangerous, treacherous and terrifying. What is buried under that non-mood, those shots of nothing? </span></span></div>
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<span class="s1"><span style="font-family: Georgia, Times New Roman, serif;"><i>Frames</i> never provides a clear answer – nor should it – but it is evident that one of the answers is more shots of nothing. Or, more specifically, <i>Frames</i> tracks the moments when those shots of nothing reveal themselves as simultaneously nothing and something else. As Peter and Vera’s relationship becomes more serious, the film increases in intensity. Peter starts filming things he shouldn’t, turning into something of a Peeping Tom. Soon, this empty landscapes don’t seem like B-roll to “catch the mood of the town,” but rather the vision of a missing person, of a dark secret. The turning point comes when Peter films outside Vera’s house late one night, panting into the camera, a new peephole for our modern day Anthony Perkins. Or is it Jimmy Stewart? Or both? </span></span></div>
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<span class="s1"><span style="font-family: Georgia, Times New Roman, serif;">Either way, the camera turns into the weapon with which the disaffected adolescents confronts the strange world around them. In this way, Colvin positions himself among the likes of Antonio Campos’s <i>Afterschool </i>or Gus Van Sant’s <i>Paranoid Park</i> without feeling like a film school knock-off. Where Colvin (and <i>Frames</i>) really succeed is in the last half – after Peter’s late night film shoot – when the film consistently maintains its mode of address while increasing intensity up until its surprising and unexpected finale. Caught in the closet, Peter’s camera is his only ammunition. </span></span></div>
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<span class="s1"><span style="font-family: Georgia, Times New Roman, serif;">While it isn't completely radical, <i>Frames</i> undoubtedly demands attention. It wears its influences a bit too heavily on its sleeve, but it nonetheless transmutes them into unique and darker territory. It conceptualizes an innocent worldview that is simultaneously distanced and deeply invested in the world around it – landscapes and media. Its meta-critique suggests the means by which we now live through our media. Its traditions and stories are our stories. Its shots are our shots. Those films are us. So, of course, <i>Frames</i> ends with a story of its own incomplete status, its own failure. It pushes toward thinking where that leaves both audiences and filmmakers. As such, it stands as a very strong and thoughtful debut feature from a burgeoning young talent in Colvin. <i>Frames</i> literally reveals the process of Peter’s documentary converting into another kind of documentation, into an archive; at the same time, underlying all of this, <i>Frames</i>’ provocative bait-and-switch illustrates its transformation from a fiction film into yet another form of documentation – one not necessarily of its own creation, but of its own thinking, its own shattered framework. </span></span><br />
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<i><span class="s1"><span style="font-family: Georgia, Times New Roman, serif;">You can watch Frames here: </span></span><span style="font-family: Georgia, Times New Roman, serif;"><a href="http://vimeo.com/59333739">http://vimeo.com/59333739</a></span></i><br />
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<i><span class="s1"><span style="font-family: Georgia, Times New Roman, serif;">For info on Colvin's next project, go here: </span></span><span style="font-family: Georgia, Times New Roman, serif;"><a href="http://sabbatical-mossgarden.com/">http://sabbatical-mossgarden.com/</a></span></i></div>
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<br />James Hansenhttp://www.blogger.com/profile/09650436008918093617noreply@blogger.com0tag:blogger.com,1999:blog-3634886419866749682.post-3777852591025683772013-03-30T18:31:00.000-04:002013-03-30T18:33:15.745-04:00Hug Me Tight: Tom Rhoads (1987-1989)<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: Georgia,"Times New Roman",serif;"><i>This piece was originally published in Dirty Looks 3.3 "Tom Rhoads: 3 Films" as part of a screening which took place at The Kitchen in New York, NY on March 26, 2013. (<a href="http://dirtylooksnyc.org/pages/rhoads.html">http://dirtylooksnyc.org/pages/rhoads.html</a>) Thanks to Bradford Nordeen for the opportunity. </i></span><br />
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<span style="font-family: Georgia,"Times New Roman",serif;">Tom Rhoads was a gentle, tortured soul. In the words of Luther Price, he was “a nice guy who would buy you an ice cream cone.” Nonetheless, watching the 8mm films of Tom Rhoads, one has to wonder how long he stood still in the sun, gripping the ice cream cone with a crooked smile on his face, anticipating the arrival of someone – anyone – so that they can finally pry the melting treat from his hand. The tender films appear as unearthed, forgotten time capsules. Intensely personal and deeply felt, they reveal unknown subjects lost in time, waiting on life or death or both. </span><br />
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<span style="font-family: Georgia,"Times New Roman",serif;">Active between 1987 and 1989, Tom Rhoads created 18 works which reflect the memories of his difficult childhood and burgeoning homosexuality as filtered through the tattered remnants of culture and family. <i>Green</i>, <i>Warm Broth</i>, and <i>Mr. Wonderful</i> display Rhoads’s ritualistic pouring over these fragmented, material histories through both sound and image: the carefully crossed feet of a dead starling, the vivid colors of blooming flowers set against an empty sky, the watchful eyes of dolls and stuffed animals who observe the daily actions of a mother and witness the punishment of her children, the bleeding light of the sun peering through a patch of trees, the haphazard shapes of clipped toenails, the swirling repetition of patterned wallpaper, the implicit violence and oddity of sexual acts, the calming voice behind the picture of a well known face, the warbling calls of pop music.</span><br />
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<span style="font-family: Georgia,"Times New Roman",serif;">There is no room for ironic detachment here. Rather, each sound and object is inflected with the full weight of its past life. If they nevertheless remain at a distance, Rhoads reveals the sincere sorrow of their sliding away. In <i>Warm Broth</i>, perpetually fading, yet eternal cries of a pull-string doll fill the soundtrack. “Tell me a secret. Sing me a song. I like flowers. I love you mommy. Hug me tight.” These innocent requests remain even as aggression and sexuality appears written on the walls. Male bodies become increasingly prominent. An isolated figure sits in a chair, facing a corner, feeling ashamed and punished. A perpetually melting fudgsicle leaves a dirty stain. The fragments of childhood and queer sexuality retroactively regenerate as an abandoned crime scene; Rhoads ponders the aftermath of his own life and death.</span><br />
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<span style="font-family: Georgia,"Times New Roman",serif;">While these have been called “home movies from hell,” Rhoads’s enclosed family histories push towards a means revivification through the act of fading away. In <i>Green</i>, Rhoads always counterbalances entropy with persistent life. Incorporating reel-to-reel tape of him and his sister Sally – the same name as Price’s aunt who committed suicide on the day he was born – <i>Green</i> references death and family, while at the same time offering songs of love and encouragement. The emotional intensity of the film comes from this grouping of despair and hope, forgetting and remembering, interior emotion and its exterior manifestation.</span><br />
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<span style="font-family: Georgia,"Times New Roman",serif;">Though the film opens with a rendition of “Let There Be Love,” perhaps more significant is the appearance of Patsy Cline’s “I Can See An Angel Walking.” The camera swirls and points to the sky. (“I can see an angel walking/ Someone else is by his side.”) A soft shimmer of sunlight shines down. (“I can hear an angel talking/ And he looks so satisfied.”) The playful voices of children persist. (“I can see an angel smiling/ By his side I’ll never be.”) Echoing the opening shot of the dead starling, there is an image of a static, dead butterfly. (“In my heart I’ll go on crying/ Only tears are left for me.”) In the film’s final moments, Rhoads cuts around the image. The butterfly rotates, shifts positions; for a few moments, its wings flutter. Breaking free from its deathly cocoon, the butterfly is reborn. The angel walks again. Rhoads finds a way for his films to act as an always fleeting, sometimes painful form of reincarnation. Tell me a secret. Sing me a song. I love you. Hug me tight.</span>James Hansenhttp://www.blogger.com/profile/09650436008918093617noreply@blogger.com0tag:blogger.com,1999:blog-3634886419866749682.post-2514906480919492702013-03-23T13:38:00.001-04:002013-03-23T17:35:16.380-04:00Leviathan (Lucien Castaing-Taylor and Verena Paravel)<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: Georgia, Times New Roman, serif;">by James Hansen</span><br />
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<span class="s1"><span style="font-family: Georgia, Times New Roman, serif;">It is practically useless to describe Lucien Castaing-Taylor and Verena Paravel’s experiential documentary <i>Leviathan</i>, surely one of the most enthralling and terrifying films of the year. Ostensibly about the commercial fishing industry, the directors utilize mini-waterproof cameras to gain access to various locations and points of view on board a fishing vessel. While there are certain precedents for this kind of “observational” filmmaking, <i>Leviathan</i> is truly something no one has seen or heard before.</span></span></div>
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<span style="font-family: Georgia, Times New Roman, serif;">The film doesn’t merely function at the level of “How did they do that?” but extends further into “What, how, and where in the hell am I looking?” The opening sequence begins with a soft bounding light, tilted slightly sideways with creaky sounds and rushing waters barely visible amidst the great darkness. Castaing-Taylor and Paravel’s editing is so sharp, the sequence seems to extend endlessly, the flow of the waters matching the smashing, whipping sounds of the ocean and the fishing vessel even as human figures arise from the darkness. The shot seems to go on forever, the energy rapidly increasing. One would think it impossible to sustain this wild energy throughout the running time, but through the expert sound editing and avant-garde editing techniques, constantly cutting and either sound or motion, <i>Leviathan</i> maintains its wild, exhausting, haunting mood for its entirety. <span class="s1"></span></span></div>
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<span class="s1"><span style="font-family: Georgia, Times New Roman, serif;">Of course, this says nothing of the indescribable, topsy-turvy cinematography, which, as Blake Williams has already noted, “seems to be first and foremost an attempt at recalibrating viewers’ sense of gravity.” Even the most stable shots in <i>Leviathan</i> find an odd orientation or evoke bizarre feelings. More often than not, the camera bounds up and down, spins left or right, floats above the bodies of death fish, waves with the vessel in and out of the choppy ocean waters, barely peering above the surface to find various fragments of lights or blindingly white birds cast against the pitch black background of the night sky. Another scene – an act break of sorts – finds a bird trapped in the boat before finally plummeting off the side of the boat. </span></span></div>
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<span class="s1"><span style="font-family: Georgia, Times New Roman, serif;">Achingly beautiful, <i>Leviathan</i> illustrates a matter-of-factness that transforms the film into a form of admiration and, indeed, horror. The brutal, repetitive, mechanistic (but not entirely mechanical) labour take its toll on the human body of the workers, as well as the eyes of the viewer. After nearly 90 minutes of twisting and turning my own head to try and locate myself or the image within some knowable space, it becomes clear that <i>Leviathan</i> locates itself in an other space – in the world of something unknowable that can nevertheless be witnessed. </span></span></div>
James Hansenhttp://www.blogger.com/profile/09650436008918093617noreply@blogger.com0tag:blogger.com,1999:blog-3634886419866749682.post-55697299177114622192013-01-11T15:18:00.000-05:002013-01-11T15:24:55.263-05:00On Representation and Wish Fulfillment<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: Georgia,"Times New Roman",serif;">by Adam Hofbauer</span><br />
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<span style="font-family: Georgia,"Times New Roman",serif;">2012’s two most visible films relating the experiences of African Americans were both made by white men. Benh Zeitlin’s <i>Beasts of the Southern Wild</i> fantasized a magical Mississippi Delta, where most of the magic seemed to involve ignoring any racial or post-Katrina related subtext and Quentin Tarantino’s <i>Django Unchained</i> continued his increasingly Ouroboros like cycle of cinematic self-reference. Here is a superhero origin story for a man whose superpower is cultural reparations via bullet to the nuts, where the intended pleasure is escapist, bloody fantasy. </span><br />
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<span style="font-family: Georgia,"Times New Roman",serif;">It is not these films’ treatment of race that raises eye brows, but their shared filter of wish fulfillment. Their creators seem to be using blacks in the south as set dressing for their own personal fantasies. Controversy over <i>Django</i> has been mostly limited to its use of the word “nigger”, with little question raised about its muddy approach to morality. That the film all but equates freedom with gun ownership seems to little trouble audiences and critics when there is so much bloody carnage to enjoy. Obviously, praise for <i>Django</i> has not been unanimous. The <a href="http://www.newyorker.com/online/blogs/culture/2013/01/how-accurate-is-quentin-tarantinos-portrayal-of-slavery-in-django-unchained.html">New Yorker’s Jelani Cobb</a> called into question many of the film’s issues, from its portrayal of slaves as “ciphers passively awaiting freedom” (a diminishing of populist slave resistance that finds echoes in Steven Spielberg’s Lincoln) to its replacing of history with morally simplistic mythology. Of course, even a cursory viewing of <i>Django</i> reveals that this is its very intention, restaging the legend of Siegfried through the kind of lone wolf emancipator inspired by real life rebels like John Brown. Of course Tarantino is aware of his history. The issue is the wide spread acceptance of stories that reshape history and contemporary politics for the sake of emotional catharsis.</span><br />
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<span style="font-family: Georgia,"Times New Roman",serif;"><i>Beasts of the Southern Wild</i> depicts a Mississippi Delta where blacks and whites live in post-racial harmony, idealized happy “po people”, a kind of antediluvian Little Rascals. Their resilience is never muddied by issues like gender or race relations. And nearly every paean to <i>Beasts of the Southern Wild</i> acknowledges the film’s “magical” qualities, often describing it as a <a href="http://www.ew.com/ew/article/0,,20483133_20607456,00.html">“Post Katrina fable”</a> with some critics even going to far as to say that the film’s relationship with reality is <a href="http://www.guardian.co.uk/film/filmblog/2012/dec/05/beasts-of-the-southern-wild">irrelevant</a>. Because subtext doesn’t matter if your movie is pretty. </span><br />
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<span style="font-family: Georgia,"Times New Roman",serif;"><i>Beasts</i> shares numerous elements with Lance Hammer’s 2008 debut, <i>Ballast</i>. That film too was made by a white man about the experience of impoverished blacks in the Mississippi Delta. Like Zeitlin, Hammer also culled amateur actors from the local area. Much as <i>Beasts</i> is told through the perspective of a young girl, <i>Ballast</i> is told largely through the point of view of a young man. Hammer’s previous work had been constructing sets for Joel Schumacher’s garish entries into the Batman franchise, an experience which so soured him on the Hollywood system that he sought to create a film as opposed to this sensibility as he could. Hammer encouraged improvisation and heavily reworked his original treatment based on the influence of his actors. <a href="http://www.out1filmjournal.com/2008/12/preserving-deltas-voice-in-ballast.html">Brandon Colvin has already isolated <i>Ballast</i>’s success on this site</a> as owing less to the work of an auteur seeking to represent than as a piece of collaboration. It was, as Colvin put it, Hammer, “Diminishing his own role from totalitarian author to co-creator.” </span><br />
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<span style="font-family: Georgia,"Times New Roman",serif;">It is ironic that <i>Beasts</i> was actually the work of an artistic collaborative, Court 13, a self-described <a href="http://nofilmschool.com/2012/08/beasts-southern-wild-making-demonstrates/">“Independent Filmmaking Army”</a> from Wesleyan University. After a few semesters worth of “animating meat and building things out of bones,” they decided to take their “communal” based approach to film making down south and make something in praise of Delta resilience. But their collaborative efforts seem limited to the level of projection. They are not interested in the Delta as a source of its own idioms and feelings, as Hammer was, so much as a sand box into which they can project their own sensibilities. </span><br />
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<span style="font-family: Georgia,"Times New Roman",serif;">Hammer describes his role as director as attempting to emulate a distant, almost alien presence. He seeks to document life as closely to its own experience as he can, limiting his own interference. <i>Ballast</i> has no score. It has no opening credits. It is the creation of a former visual effects artist that has no visual effects, outside of the intense visual impact of the Delta itself. Stray dogs roaming a road to nowhere. A young boy’s crack pipe hidden in the hollow of a tree. Nature is the mysterious uplift of birds, the rising puddles of a flooded field. <i>Beasts of the Southern Wild</i>, however, is nothing but cinematic intrusion, utilizing score, narration, flowing camera work, the lights of sparklers, a rich color palette and even some computer enhanced monsters to wow us into submission. Nature is a choreographed symphony, a magical rush of imagery employed by a young girl’s mind to mask the pain of her life. But it is also the work of adults, and as such the escapism is their own. In Court 13’s America, even climate change is de-politicized by the (admitted) charm of a five year old. In Quentin Tarantino’s prewar South, violence answers violence and vengeance begets increased freedom (a moral step backwards from the “forest of revenge” elucidated in the superior <i>Kill Bill</i> series).</span><br />
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<span style="font-family: Georgia,"Times New Roman",serif;">This is what Mark Cousins, in his book and documentary, <a href="http://www.channel4.com/programmes/the-story-of-film-an-odyssey"><i>The Story of Film: An Odyssey</i></a>, identifies as “the bauble,” the glittering object that draws our gaze, the shiny thing so easily broken that we handle it with care lest it reveal its hollow center. We are comforted by the ideas of morally just revenge and disaster ravaged communities untroubled by racial conflict. The quiet ambiguity of films like <i>Ballast</i> are drowned out by surface level praises for whatever tucks us in and tells us it is going to ok. </span><br />
<span style="font-family: Georgia,"Times New Roman",serif;"> <i><br />Adam Hofbauer is a contributor to the SF Informer. You can follow his writing at <a href="http://www.theoverpicture.com/">www.theoverpicture.com</a>. </i></span>James Hansenhttp://www.blogger.com/profile/09650436008918093617noreply@blogger.com3tag:blogger.com,1999:blog-3634886419866749682.post-45417697644941057222013-01-07T12:30:00.000-05:002013-01-15T14:48:03.609-05:00Out 1 Film Journal's Top 13 Films of 2012<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: Georgia,"Times New Roman",serif;">Just like everyone else in the film critic community, I've been slowly putting together my list of the best films I saw in 2012. This year, rather than publish a simple list, I took the liberty to create this video compilation including clips/images from the films. (Fair use!) Quality probably isn't great (and it's probably obvious which clips have been cobbled together from all-too-brief-shots-in-trailers) but I hope you enjoy it. I should note that I still haven't seen <i>Almayer's Folly</i>, <i>Amour</i>, or <i>Tabu</i>, all of which I look forward to seeing. I also should say a second look may have greatly benefited two particular films (David Gatten's <i>The Extravagant Shadows</i> and Dardenne's <i>Kid With A Bike</i>) that I like very much, but which slid off this list nonetheless. I may eventually write capsules and include a list in this post, but, for now, just the video. [Edit: a list is now included after the break.] Thanks to everyone for your continued readership and support of the site. Here's to more movies (and more publishing!) in 2013. Cheers. </span><br />
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<span style="font-family: Georgia,"Times New Roman",serif;"><b>Top 13 Films of 2012 (capsules forthcoming) </b></span><br />
<span style="font-family: Georgia,"Times New Roman",serif;"> 1. Luther Price [Whitney Biennial, Wexner Center, Views from the Avant-Garde, Dirty Looks, Etc]</span><br />
<span style="font-family: Georgia,"Times New Roman",serif;">2. <i>Cosmopolis</i> (David Cronenberg) </span><br />
<span style="font-family: Georgia,"Times New Roman",serif;">3. <i>Circle in the Sand</i> (Michael Robinson) </span><br />
<span style="font-family: Georgia,"Times New Roman",serif;">4. <i>Holy Motors</i> (Leos Carax) </span><br />
<span style="font-family: Georgia,"Times New Roman",serif;">5. <i>Zero Dark Thirty</i> (Kathryn Bigelow) </span><br />
<span style="font-family: Georgia,"Times New Roman",serif;">6. <i>The Deep Blue Sea</i> (Terence Davies) </span><br />
<span style="font-family: Georgia,"Times New Roman",serif;">7. <i>The Turin Horse</i> (Bela Tarr) </span><br />
<span style="font-family: Georgia,"Times New Roman",serif;">8. <i>Moonrise Kingdom</i> (Wes Anderson) </span><br />
<span style="font-family: Georgia,"Times New Roman",serif;">9. <i>Killer Joe</i> (William Friedkin) </span><br />
<span style="font-family: Georgia,"Times New Roman",serif;">10. <i>The Day of Two Noons</i> (Mike Gibisser) </span><br />
<span style="font-family: Georgia,"Times New Roman",serif;">11. <i>The Loneliest Planet</i> (Julia Loktev) </span><br />
<span style="font-family: Georgia,"Times New Roman",serif;">12. <i>Dredd</i> (Pete Travis) </span><br />
<span style="font-family: Georgia,"Times New Roman",serif;">13. <i>The Room Called Heaven</i> (Laida Lertxundi)
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<span style="font-family: Georgia,"Times New Roman",serif;"><br /></span>James Hansenhttp://www.blogger.com/profile/09650436008918093617noreply@blogger.com0tag:blogger.com,1999:blog-3634886419866749682.post-38873901504494055282012-12-25T09:00:00.000-05:002012-12-25T09:00:10.351-05:00An Endless, Thoughtless Bloodbath: Django Unchained (Quentin Tarantino, 2012)<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: Georgia,"Times New Roman",serif;">by James Hansen </span><br />
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<span style="font-family: Georgia,"Times New Roman",serif;">Over the past few weeks, the internet has been abuzz with critics, pundits, and politicians considering the moral, ethical, and political implications in regard to the representation of violence – particularly torture – in Kathryn Bigelow’s highly acclaimed <i>Zero Dark Thirty</i>. Interest in the movie has grown in large part because of these discussions, almost making an actual analysis of the film itself a moot point. (I’ll still have something to say about <i>Zero Dark Thirty</i> once it opens locally in Columbus.) Not garnering the same amount of controversy prior to its release – aside from a breif dustup when director Spike Lee commented that he will not be seeing the film – is Quentin Tarantino’s <i>Django Unchained</i>. Recalling both films now, I have to admit the outrage(ous) [responses] to the films feel somewhat backward. What I want to offer here is a bit polemical as to the reactions each film has received (again, leaving a direct critique of<i> ZD30</i> for later) which stand as indicative of the relative merits of each film. That is, if <i>Zero Dark Thirty</i> has been, at the very least, a “conversation starter,” a lack of furor over <i>Django Unchained</i> reveals an utter lack of seriousness, the complete absence of even a veiled attempt at critical dialogue, in Tarantino’s blaxploitation-slavery-revenge epic. </span><br />
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<span style="font-family: Georgia,"Times New Roman",serif;">All the same, <i>Django Unchained</i> starts very well. Dr. King Schultz (a terrific Christoph Waltz) finds Django (Jamie Foxx) walking along a trail in shackles with other slaves who are to be up for auction. Schultz offers to free Django in exchange for his help in a bounty hunting mission. If Django can help Schultz kill the Brittle Boys, he will be free to go find his wife (Kerry Washington) who he learns has been sold to the Candie plantation where male slaves fight for sport and female slaves are forced into prostitution. Tarantino is at his best with the Schultz character, talking his way in, around, and out of trouble as a bounty hunter, using official documentation and language to defend his murderous actions. Foxx is more contained, slowly opening up from reserved slave to almost flamboyant freed man. Immediately a good shot with a gun, Tarantino nevertheless gives us a montage of Django learning to shoot (that is, learning to be free) before trotting along with Schultz on several bounty hunting missions. The air is a bit lighter with all of this and Tarantino’s postmodern playfulness propels the narrative for an hour or so until Schultz and Django finally come across the Brittle Boys.</span><br />
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<span style="font-family: Georgia,"Times New Roman",serif;">Despite Django’s recent freedom, he immediately begins to take on the attitude of someone familiar with the position of power, even moreso than Schultz who open renounces slavery as cruel and inhumane. Django, taking revenge on the Brittles, whips them as they once did him. Throughout the rest of the film, Tarantino uses this literal reversal of violence – the freed slave now in control of the “master” – to the point of excess. With violence now pumping through the veins of all the characters, Schultz and Django finally come upon Candie (the overly cartoonship Leonardo DiCaprio). Here, on their way to Candyland, <i>Django Unchained</i> takes on a more serious tone with characters analyzing slavery more openly in some surprising ways. As a means of appeasing Candie, Django often mocks the other slaves and refuses to help some in dire situations, even when Schultz attempts to intervene. This helps Tarantino set up more gamesmanship between Candie and Django, but unfortunately places our hero in a similar, individualistic mindset as Candie. Django isn’t concerned with slavery at large and neither is the film. Instead, Django is around to save his girl – no more, no less. </span><br />
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<span style="font-family: Georgia,"Times New Roman",serif;">Once on the Candyland plantation, all of Tarantino’s indulgences come to the fore, as the film gets increasingly messy, less convincing, and simultaneously more and more troubling. This begins and ends with the resident Uncle Tom, Stephen (Samuel L. Jackson), who is so loyal to the monstrous Candie that he continually chides Candie for treating Django as a free man. Here, an extended dialogue sequence at the dinner table could remind us of the terrific sequence in<i> Inglourious Basterds</i>, but here there is little spark, DiCaprio’s performance almost too finely tuned for any genuine responses or surprises. The link made, of course, is one between slavery and capitalism, the black body as a form of trade and exchange, but this too feels only in service of leading to an oncoming blood bath. And then another blood bath. And then another. Indeed, <i>Django Unchained</i> begins to feel endless as the plantation is gleefully shot up and blown to bits when the deal between Candie and Schultz inevitably falls apart. As part of the plantation, everyone has been complicit and, thus, everyone must pay. Tarantino clearly wants this to operate as the main set piece, the exciting moment the whole film has been turning towards, and, to some extent, it is. Nonetheless, the violence becomes redundant, so excessive it fails to operate as excess, and instead a baffling indulgence of an out of control director who doesn’t know when to stop.</span><br />
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<span style="font-family: Georgia,"Times New Roman",serif;">More indulgent than ever before, Tarantino is much more invested in <i>Django Unchained</i> as a hyper-self-aware Tarantino film than he is in using temporal hindsight to anachronistically reshape and question codes of violence from the horrors of history. As such, <i>Django Unchained</i> imbues freedom with violence, wherein freedom is the very thing that allows for violent acts, that allows for senseless killing to be seen as a form of creativity and individuation, not to mention comedy and nihilism. In the end, then, <i>Django Unchained</i> practically celebrates eye-for-an-eye logic. (While Tarantino’s foot fetish is well known, he also has a strange relationship with eyes and the fear of blindness, this being at least the second of his films to feature someone having both their eyes ripped out and leaving them alive to roll around on the floor screaming.) This logic grants violence an eery form of equivalence no matter the forms it takes. Tarantino could use this as a critique of both violence and historical equivalency if he weren’t so damn gleeful about seeing Django blow away everyone white person, friend or foe. Here, Tarantino is particularly attached to suffering as a comedic trope, often having people shot in the knees so they can wallow in the floor during shootouts to be used as undying human shields, screaming and moaning as they are shot over and over again. This is all still a childlike fantasy of playing Cowboys and Indians in a backyard, a fun little game without real action or consequences. Why use history at all then? Why make a movie about race? About slavery? There doesn’t seem to be a clear idea. <i>Django Unchained</i> wants to be pure pop entertainment, slavery revenge fun for the whole family. If that’s the point, then I suppose it works, because, just like at a carnival, I left speechless, exhausted, and wanting to puke. </span><br />
<br />James Hansenhttp://www.blogger.com/profile/09650436008918093617noreply@blogger.com2tag:blogger.com,1999:blog-3634886419866749682.post-91174360790371411502012-12-21T14:36:00.001-05:002012-12-21T14:36:28.880-05:00And Must I Now Begin To Doubt?: On the Disappointments of "Les Miserables" (Tom Hooper, 2012)<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: Georgia, Times New Roman, serif;">by James Hansen</span></div>
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<span class="s1"><span style="font-family: Georgia, Times New Roman, serif;">I suppose I would be remiss if I didn’t mention at the start of this review that I grew up as something of a <i>Les Miserables</i> nerd. It’s one of the first (traveling) Broadway shows I ever saw. In high school, I only had a few tapes in my car to listen to on my 20 minute drive to school and the <i>Les Mis</i> soundtrack was one of them. I still randomly quote lyrics from “The Confrontation Song.” So, when several friends, unaware of this fact, wanted to watch the movie, I clammed up, got a bit jittery, and could hardly contain my hysterically nervous trepidation of watching this thing – my thing – with other people. Naturally, they found this hilarious, pressed forward, and demanded we watch it together. We did. And it wasn’t pretty. In fact, I suppose I would be remiss if I didn’t say that this fan of the show found it completely disappointing. </span></span></div>
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<span class="s1"><span style="font-family: Georgia, Times New Roman, serif;">Now, this isn’t to say that it’s a total misfire. The songs are all here after all! So, to some extent, you can’t take that away. (If you don’t like the show or don’t like musicals in general, I hardly expect this to be the movie that will bring anyone around.) The thing is, even from the get go, director Tom Hooper shows an impeccable lack of directorial chops to establish meaningful connection – emotional or otherwise – with the characters of his “star-studded” ensemble. And, strangely, this is practically Hooper’s design. Much has been said already of Hooper’s decision to live-sing/record all the songs, thus leaving messy voices messy, but granting the film a theatrical performativity typically missing from cinematic adaptations of musicals. Fair enough. What happens because of this is Hooper spends so much time isolating characters from one another in somewhat bizarre close ups that the performers never resonate with one another. Thus, <i>Les Miserables</i> becomes a movie of actors singing at actors without cohesion, thereby disabling the film’s epic scale and limiting it to several entirely isolated star turns. </span></span></div>
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<span class="s1"><span style="font-family: Georgia, Times New Roman, serif;">Credit where credit is due, in the case of Anne Hatheway’s Fantine, this actually works precisely because Fantine’s character operates somewhere outside the bounds of the movie’s main thrust. Thrown out of a factory overseen by our hero Jean Valjean (Hugh Jackman), Fantine wanders the streets begging for money, selling her hair, and turning to prostitution in order to send money to her daughter Cosette. Without connection to the rest of the film’s world (or the world at large), Fantine’s “I Dreamed A Dream” locates her as alone, weak, scared, and hopeless. Hooper stages this mostly in one close up shot which Hathaway performs with supreme sincerity and a feverish intensity. With a surprisingly excellent voice, Hathaway steals the movie before the one-hour mark. Hooper’s style matches the character’s mental state where the outside world discarded this damaged, frail creature, leaving her, as it were, on her own. </span></span></div>
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<span class="s1"><span style="font-family: Georgia, Times New Roman, serif;">Unfortunately, that Hooper continues with this style for almost every song reveals a more the fortuitous success on the part of Fantine rather than any kind of calculated effort on the part of the director. The plot chugs along, moment by moment, rarely giving the story any room to breathe. Songs are sung over dead bodies time and again. Love songs emerge from mere glances. The primary love “triangle” of the second half (Marius, Eponine, Cosette) features many pretty songs sung by people with pretty voices, but, still, the love story unquestionably comes out both flat and lifeless. There’s so little energy in the (few) moments where Marius (Eddie Redmayne) and Cosette (Amanda Seyfried) are actually together that it deflates not only their supposed connection but further diminishes the role of Eponine (Samantha Barks) whose inextinguishable, unrequited love for Marius comes across as a lot creepier than it should. </span></span></div>
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<span class="s1"><span style="font-family: Georgia, Times New Roman, serif;">With so many balls in the air, <i>Les Miserables</i> has no choice but to steamroll forward. Hooper’s main problem and weakness comes with the question of scale. From beginning to end, he operates solely to move from song to song rather than crafting a sweeping profundity that could move us moment to moment. Even with the backdrop of the French Revolution, there’s actually very little here that feels truly epic. Jean Valjean’s path to eternal glory chugs at such a breakneck pace, especially in the second half, that the prayers, deaths, and tears start to feel more like a checklist. Hugh Jackman does an admirable job, transforming himself into the many roles of Valjean. The songs, many seemingly at the top of his range, are done beautifully, although, again, without the grand scale behind him, this comes across as more of a Jackman show than a deeply felt call for a new humanism. (Unforgivable, though, is the new song “Suddenly” which has Valjean falling a little too hard for his new daughter. It’s a nearly disastrous, inappropriate note.) </span></span></div>
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<span class="s1"><span style="font-family: Georgia, Times New Roman, serif;">Sadly, the same cannot be said of Javert (Russell Crowe), perhaps the most pivotal role in the show. Crowe is utterly out of sorts from the opening moments. His voice sounds sucked-up, strained, and instantly unnatural. Hooper, perhaps avoiding some painful closeups, finally grants some space when Javert sings “Stars.” The camera swoops around him and back again. A giant eagle statue distracts us from his butchering of the song, as he wanders around ledges of a building (yes, the foreshadowing is that mind-numbingly obvious) and stares at an artificial sky. Choosing to swerve around Javert at the moments where his critical character is at his most vulnerable, his most human – contemplating his mission of protecting the law, and thus serving God, at all costs – Hooper instead transforms him into the cartoon-like villain, an incessant inconvenience rather than a tortured soul attempting to understand his place in a rapidly changing world. Perhaps he remains the model for this cinematic adaptation of a classic. In the end, like Javert, Hooper’s <i>Les Miserables</i> lands with an awkward thud.</span></span></div>
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Editorhttp://www.blogger.com/profile/17200163851591850302noreply@blogger.com0tag:blogger.com,1999:blog-3634886419866749682.post-52823890862627354062012-12-14T00:01:00.000-05:002012-12-14T00:01:00.791-05:00The Hobbit (Peter Jackson, 2012)<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: Georgia, Times New Roman, serif;"><i>"...Jackson’s unwillingness to streamline anything leaves The Hobbit feeling more like a special-effect sledgehammer set to automatic and left to bludgeon its audience for an interminable running time."</i> </span><br />
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<span class="fullpost" style="font-family: Georgia, Times New Roman, serif;">It’s a little strange writing a review of Peter Jackson’s <i>The Hobbit</i> because anyone who has seen his <i>Lord of the Rings</i> trilogy (which is pretty much everyone) already knows exactly how this movie is going to look and operate. Of course, Jackson is using newer technology here – his choice to shoot in 3D 48 fps has been much discussed – and there are new adventures and creatures, but, at the same time, the color pallette, the swooping landscape shots, the near-identical score are all present. Even more than <i>Lord of the Rings</i>, the technology permits Jackson’s supreme indulgence with effects, here building an almost completely animated world in which the characters walk around, eat, drink, walk, run away, fall through things, fight things, and triumph. </span><br />
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<span class="fullpost" style="font-family: Georgia, Times New Roman, serif;">Bilbo’s heroes journey is extremely familiar, but, of course, this isn’t the point at all. The narrative is merely a cardboard cutout for Jackson’s technical wizardry. <i>The Hobbit</i> nearly abandons its narrative every 15 minutes or so to take us into the world of a new creature – glimpses of spiders and dragon, the already familiar home of elves, rock monsters, orc armies, etc. Jackson desperately wants to create an entire world here, but a world not established by space but rather by number of small things in it. Given the film’s epic scale, it does seem a bit strange that, aside from the aforementioned helicopter shots, there is little spatial orientation, often shooting in close ups to reveal the “naturalism” of the creatures rather than establishing the dimensions in which the story takes place. </span><br />
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<span class="fullpost" style="font-family: Georgia, Times New Roman, serif;">Still, this isn’t to say there is no excitement – there are several spectacular sequences – but Jackson’s unwillingness to streamline anything leaves <i>The Hobbit</i> feeling more like a special-effect sledgehammer set to automatic and left to bludgeon its audience for an interminable running time. More so, perhaps a credit to the 48 fps, the motion and color of the creatures is so fascinating and vivid (good thing!) that the main characters seem almost entirely out of place (bad thing!) Undoubtedly, there remains a tension between the effects and the actors, the technology and the narrative. That is, as the creatures become more “realistic,” the actors look more and more artificial. Indeed, if <i>The Hobbit</i> shows us anything, it’s that this fantasy stars a bunch of dudes playing dress up. </span><br />
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<span class="fullpost" style="font-family: Georgia, Times New Roman, serif;">Grade: C+
</span>James Hansenhttp://www.blogger.com/profile/09650436008918093617noreply@blogger.com1