SEPTEMBER 6 PREFACES Abigail Child
HARLAN COUNTY Barbara Kopple
SEPTEMBER 13 MUTINY Abigail Child
ZOOT SUIT Luis Valdez
SEPTEMBER 20 Paul Clipson in person
SEPTEMBER 27 Hope Tucker 31 YEARS AFTER CHERNOBLE
OCTOBER 4 THE CONNECTION Shirley Clarke
MERCY Abigail Child
OCTOBER 11 COVERT ACTION Abigail Child
NOSTALGIA FOR THE LIGHT Patrice Guzman
OCTOBER 25 Alison Folland
NOVEMBER 1 JOHANNA D'ARC D'MONGOLIA Ulricke Ottinger
(please note we will start exactly an 800pm)
November 8 AFTER THE FIRE IS GONE Cate Giordano
NOVEMBER 15 Maya Deren from our collection
NOVEMBER 27 Julie Murray
DECEMBER 6 Abigail Child (Emma Goldman feature)
DECEMBER 13 Jody Mack
Wednesday, November 29, 2017
Tuesday, November 28, 2017
11/27/17 Julie Murray
PROGRAM:
FF (Fuckface)
(1986) Super 8 to digital sound, 10 mins
FF is put together in such a way as to generate miniature, almost instantaneous fictions, confined and numerous, where meaning can occur between the frames as much as it might in the frame. While the movements and the pace of the film suggest relentlessness and insistent control, the assembly of images serve to illustrate a nervous breakdown of the characters represented as their actions, forced into repetitions, lose their original expression. The original condition of the found footage (damaged, scratched, etc.) and the method and process of rephotographing it are intended to be as much a vital part of the film as is the content re-represented. (FF is originally known as Fuck Face).
Deliquium
(2004) 16mm, sound, 15 mins
(a description is in the form of a question posed)
“Deliquium feels like a very personal work, though it deploys not untypical collage collisions, marrying moments of the natural world (speared fish, floating seahorses, fallen trees and blue butterflies) with human designs (artificial snow, divers, boats, but most often: men at work in factories). The natural world is fallen and speared and fragile, while manufactured landscapes turn humans into factory products. Into this mix there are photographs which struggle to be seen, negatives and home movies which blink in and out of darkness, delivering a sense that you are recalling a family here, that the factory workers have familiar names, that you are describing a generational struggle. Are you telling your story by showing us the work of others?“
-Mike Holboom
Frequency Objects
(2014) Digital, sound, 5 mins
Frequency Objects combines negatives of old family photographs, found fragments of movie film, and photograms of objects’ shadows, all strung together on a reel and observed with a video camera in a stop/start procedure. This “bench winding” technique (a routine method in filmmaking for locating shots) allows a chance element to play in the catching sight of image fragments; souls half in and half out of the frame, things out of focus, carefully staged shots, faces known and unknown, suddenly happened upon, all in a run-on train of exposition in re-animation. The weave pattern is silk fabric 'photogrammed" producing a to-scale shadow of itself.
Untitled (earth)
(2015) Digital, sound, 10 mins
Untitled (earth)is a rhythmical-graphical treatment of 35mm film material that destabilizes the narrative form. Comprehensive film images fuzzed out to a haze, melting slowly in soft pink abstracts, but still recognizable. The film image (a tangible container made on light sensitized substrate) is unraveled and reassembled through electronic frame capture. Figures in landscapes rolled past the video lens, the nuance of their gesture still readable. Any parts that are ambiguous the imagination simply fills in.
Distance
(2010) 16mm, sound, 12 mins
DISTANCE, the film, shows time spent at two shores, one thinly populated, the other a wasteland, joined by the interluency of various paths taken, each bit real enough, though exact measures being obscurely indicated. Notions of home and its ache are, to borrow a phrase, “not capable of being told unless by far-off hints and adumbrations.”
Line of Apsides
(2015) 16mm, silent, 10 mins
16mm silent edit of footage shot at Film Farm Ontario and night skies in Wisconsin among other scenes.
Julie Murray was born in Dublin, Ireland. In 1985 she moved to the US where she began making experimental films. Continuing to work in and draw relationships from painting and photography she has completed many short films and has collaborated on numerous film installation/performance events with artists, musicians and filmmakers.
Her work has been included in the New York Film Festival, Images Festival in Toronto, the Rotterdam International Film Festival, and was exhibited at the Whitney Biennial in 2004. Along with screenings at the Museum of Modern Art, NY , the San Francisco Cinematheque and the Pacific Film Archive in California, Murray has been invited to present her films at the Art Gallery of Ontario Cinematheque in Toronto, at Anthology Film Archives, New York., Hallwalls, NY, Los Angeles Filmforum, SF Cinematheque, Pacific Film Archives, and has been a guest artist at various universities. Outside of the United States her films have been screened in programs at Centre George Pompidou, Paris, the Museum of Strasburg, the Dublin Film Festival and the London Film Festival.
She has curated programs of films including a selection for the Experimental Film night at the New York Women's Film Festival, the New York Filmmaker's Co-op 35th Anniversary series and for a 2005 Canyon Cinema/San Francisco Cinematheque collaboration. She was artist-in-residence at LIFT (Liaison of Independent Filmmakers of Toronto) 2013 and at Mobile Frames in Windsor, CA in 2014 and most recently at MacDowell Colony.
Film prints of Julie’s films are at The Museum of Modern Arts Film Archives as well as the Whitney Museum of American Art and are in the NewYork Public Library's Special Collections, NYC. Murray's early super-8 films were selected for a National Film Preservation Foundation Award in 2014.
FF (Fuckface)
(1986) Super 8 to digital sound, 10 mins
FF is put together in such a way as to generate miniature, almost instantaneous fictions, confined and numerous, where meaning can occur between the frames as much as it might in the frame. While the movements and the pace of the film suggest relentlessness and insistent control, the assembly of images serve to illustrate a nervous breakdown of the characters represented as their actions, forced into repetitions, lose their original expression. The original condition of the found footage (damaged, scratched, etc.) and the method and process of rephotographing it are intended to be as much a vital part of the film as is the content re-represented. (FF is originally known as Fuck Face).
Deliquium
(2004) 16mm, sound, 15 mins
(a description is in the form of a question posed)
“Deliquium feels like a very personal work, though it deploys not untypical collage collisions, marrying moments of the natural world (speared fish, floating seahorses, fallen trees and blue butterflies) with human designs (artificial snow, divers, boats, but most often: men at work in factories). The natural world is fallen and speared and fragile, while manufactured landscapes turn humans into factory products. Into this mix there are photographs which struggle to be seen, negatives and home movies which blink in and out of darkness, delivering a sense that you are recalling a family here, that the factory workers have familiar names, that you are describing a generational struggle. Are you telling your story by showing us the work of others?“
-Mike Holboom
Frequency Objects
(2014) Digital, sound, 5 mins
Frequency Objects combines negatives of old family photographs, found fragments of movie film, and photograms of objects’ shadows, all strung together on a reel and observed with a video camera in a stop/start procedure. This “bench winding” technique (a routine method in filmmaking for locating shots) allows a chance element to play in the catching sight of image fragments; souls half in and half out of the frame, things out of focus, carefully staged shots, faces known and unknown, suddenly happened upon, all in a run-on train of exposition in re-animation. The weave pattern is silk fabric 'photogrammed" producing a to-scale shadow of itself.
Untitled (earth)
(2015) Digital, sound, 10 mins
Untitled (earth)is a rhythmical-graphical treatment of 35mm film material that destabilizes the narrative form. Comprehensive film images fuzzed out to a haze, melting slowly in soft pink abstracts, but still recognizable. The film image (a tangible container made on light sensitized substrate) is unraveled and reassembled through electronic frame capture. Figures in landscapes rolled past the video lens, the nuance of their gesture still readable. Any parts that are ambiguous the imagination simply fills in.
(2010) 16mm, sound, 12 mins
DISTANCE, the film, shows time spent at two shores, one thinly populated, the other a wasteland, joined by the interluency of various paths taken, each bit real enough, though exact measures being obscurely indicated. Notions of home and its ache are, to borrow a phrase, “not capable of being told unless by far-off hints and adumbrations.”
Line of Apsides
(2015) 16mm, silent, 10 mins
16mm silent edit of footage shot at Film Farm Ontario and night skies in Wisconsin among other scenes.
Julie Murray was born in Dublin, Ireland. In 1985 she moved to the US where she began making experimental films. Continuing to work in and draw relationships from painting and photography she has completed many short films and has collaborated on numerous film installation/performance events with artists, musicians and filmmakers.
Her work has been included in the New York Film Festival, Images Festival in Toronto, the Rotterdam International Film Festival, and was exhibited at the Whitney Biennial in 2004. Along with screenings at the Museum of Modern Art, NY , the San Francisco Cinematheque and the Pacific Film Archive in California, Murray has been invited to present her films at the Art Gallery of Ontario Cinematheque in Toronto, at Anthology Film Archives, New York., Hallwalls, NY, Los Angeles Filmforum, SF Cinematheque, Pacific Film Archives, and has been a guest artist at various universities. Outside of the United States her films have been screened in programs at Centre George Pompidou, Paris, the Museum of Strasburg, the Dublin Film Festival and the London Film Festival.
She has curated programs of films including a selection for the Experimental Film night at the New York Women's Film Festival, the New York Filmmaker's Co-op 35th Anniversary series and for a 2005 Canyon Cinema/San Francisco Cinematheque collaboration. She was artist-in-residence at LIFT (Liaison of Independent Filmmakers of Toronto) 2013 and at Mobile Frames in Windsor, CA in 2014 and most recently at MacDowell Colony.
Film prints of Julie’s films are at The Museum of Modern Arts Film Archives as well as the Whitney Museum of American Art and are in the NewYork Public Library's Special Collections, NYC. Murray's early super-8 films were selected for a National Film Preservation Foundation Award in 2014.
Monday, November 13, 2017
11/15/17 the works of MAYA DEREN
Meshes of the Afternoon
1943, 14 min
Considered
a staple of avant-garde American film, this collaboration with
Alexander Hammid stars Deren as a woman inside of a labyrinthine
nightmare, inhabited by her double as well as a mysterious cloaked
figure with the face of a mirror.
At Land
1944, 15 min
A
15-minute silent experimental film written, directed by and starring
Maya Deren. It has a dream-like narrative in which a woman, played by
Deren, is washed up on a beach and goes on a strange journey
encountering other people and other versions of herself. Deren once said
that the film is about the struggle to maintain ones personal identity.
The composer John Cage and the poet and film critic Parker Tyler were
involved in making the film, and appear in the film, which was shot at
Amagansett, Long Island.
Ritual In Transfigured Time
1946, 15 min
In
Maya Deren's Ritual in Transfigured Time we have gestures that invite
us to move into step with them, abandoning the comfort of the known and
giving ourselves over to so many strange partners. This silent short
begins in a domestic environment, moves to a party scene, and ends with
modern dance performed in an outdoor setting. The film's continuity is
established by an emphasis on gesture and/or dance throughout.
A Study in Choreography For Camera
1946, 4 min
Using
a unique editing style, manipulating of time, and utilizing the motions
of dancer Talley Beatty, Deren has said this film was "an effort to
isolate and celebrate the principle of the power of movement."
Meditation On Violence
1948, 13 min
The Very Eye of Night
1963, 15 min
Monday, November 6, 2017
11/8/17 Cate Giordano
Program:
Peg Bordelon Series
HD video, 2013, 10 minutes
A southern transplant winds up in NYC hell bent on making a film. Posing as a “Women’s Studies” major at a non-existent college, Peg can be found skulking through the streets, camera in hand, looking for talent everywhere she goes.
Hunter in the Woods
Hi8 transfer to digital video, 2007, 8 minutes
Hunter Dodge escapes to the woods and builds his ideal life for himself out of scrap wood. His happiness is disrupted by his estranged wife, Joy, who drags him kicking and screaming back into reality.
Species
MiniDV and 16mm film transfer to digital video, 2008, 14 minutes
Trapped in the belly of a Trojan Lion, Jonah and Dot are falling out of love. Jonah, a writer, fights to remain true to his artistic visions, despite mounting pressure from Dot to earn money.
Prelude
Super 8mm transfer to video, 2017, 5 minutes
After the fire is gone
VHS and miniDV transfer to digital video, 2017, 33 minutes
Dolly is discontent with her life in New York City, waiting tables at a greasy spoon while her husband Anton sells life insurance out of a shoebox office in Queens. When Clayton, the love of her life, happens into the diner, Dolly is overcome with nostalgia for her past life with Clayton, the South, and everything she was before she married Anton.
Total Program Runtime: 70 Minutes
Bio: Cate Giordano works in sculpture, performance, and moving image. Cate's work has been exhibited at Microscope Gallery, Spring/Break Art Show, New York; James Farley Post Office, New York; Old School in collaboration with the New Museum, New York; and Parlour Bushwick, Brooklyn, NY, Film Society at Massachusetts College of Art and Design, Boston, MA, Spectacle Theater, Brooklyn, NY, Flaherty Seminar at Anthology Film Archives, New York and Millennium Film Workshop, Brooklyn, NY among others. Cate received a BFA from Massachusetts College of Art in 2008 and was a Smack Mellon’s Artist Studio Program recipient in 2016-17. Originally from Pensacola, FL, Cate Giordano lives and works in Brooklyn, NY.
Peg Bordelon Series
HD video, 2013, 10 minutes
A southern transplant winds up in NYC hell bent on making a film. Posing as a “Women’s Studies” major at a non-existent college, Peg can be found skulking through the streets, camera in hand, looking for talent everywhere she goes.
Hunter in the Woods
Hi8 transfer to digital video, 2007, 8 minutes
Hunter Dodge escapes to the woods and builds his ideal life for himself out of scrap wood. His happiness is disrupted by his estranged wife, Joy, who drags him kicking and screaming back into reality.
Species
MiniDV and 16mm film transfer to digital video, 2008, 14 minutes
Trapped in the belly of a Trojan Lion, Jonah and Dot are falling out of love. Jonah, a writer, fights to remain true to his artistic visions, despite mounting pressure from Dot to earn money.
Prelude
Super 8mm transfer to video, 2017, 5 minutes
After the fire is gone
VHS and miniDV transfer to digital video, 2017, 33 minutes
Dolly is discontent with her life in New York City, waiting tables at a greasy spoon while her husband Anton sells life insurance out of a shoebox office in Queens. When Clayton, the love of her life, happens into the diner, Dolly is overcome with nostalgia for her past life with Clayton, the South, and everything she was before she married Anton.
Bio: Cate Giordano works in sculpture, performance, and moving image. Cate's work has been exhibited at Microscope Gallery, Spring/Break Art Show, New York; James Farley Post Office, New York; Old School in collaboration with the New Museum, New York; and Parlour Bushwick, Brooklyn, NY, Film Society at Massachusetts College of Art and Design, Boston, MA, Spectacle Theater, Brooklyn, NY, Flaherty Seminar at Anthology Film Archives, New York and Millennium Film Workshop, Brooklyn, NY among others. Cate received a BFA from Massachusetts College of Art in 2008 and was a Smack Mellon’s Artist Studio Program recipient in 2016-17. Originally from Pensacola, FL, Cate Giordano lives and works in Brooklyn, NY.
Wednesday, November 1, 2017
11/1/17 Ulrike Ottinger
Please Note: Class, This film will start promptly at 8pm and...
NO DONATIONS for members of the community dropping in to this class
Johanna D'Arc D'Mongolia
Ulrike Ottinger's epic adventure traces a fantastic encounter between two different worlds. Seven western women travelers meet aboard the sumptuous, meticulously reconstructed Trans-Siberian Express, a rolling museum of European culture. Lady Windemere, an elegant ethnographer played by the incomparable Delphine Seyrig in her last screen role, regales a young companion with Mongol myths and lore while other passengers-a prim tourist (Irm Hermann), a brash Broadway chanteuse and an all-girl klezmer trio-revel in campy dining car cabaret. Suddenly ambushed by a band of Mongol horsewomen, the company is abducted to the plains of Inner Mongolia and embark on a fantastic camel ride across the magnificent countryside. Breathtaking vistas, the lavish costumes of Princess Ulun Iga and her retinue, and the rituals of Mongol life are stunningly rendered by Ottinger's cinematography.WMM
Ulrike Ottinger's bio and website
NO DONATIONS for members of the community dropping in to this class
Ulrike Ottinger's epic adventure traces a fantastic encounter between two different worlds. Seven western women travelers meet aboard the sumptuous, meticulously reconstructed Trans-Siberian Express, a rolling museum of European culture. Lady Windemere, an elegant ethnographer played by the incomparable Delphine Seyrig in her last screen role, regales a young companion with Mongol myths and lore while other passengers-a prim tourist (Irm Hermann), a brash Broadway chanteuse and an all-girl klezmer trio-revel in campy dining car cabaret. Suddenly ambushed by a band of Mongol horsewomen, the company is abducted to the plains of Inner Mongolia and embark on a fantastic camel ride across the magnificent countryside. Breathtaking vistas, the lavish costumes of Princess Ulun Iga and her retinue, and the rituals of Mongol life are stunningly rendered by Ottinger's cinematography.WMM
Ulrike Ottinger's bio and website
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