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#81

From: Shmuel Ben-Gad <shmuelb@...>
Date: Wed Dec 16, 2009 9:57 pm
Subject: Fwd: This Week at Anthology: Warhol/Tavel wraps up, Bresson Book Event + screening, Best of AFA, Essential Cinema

tormance13

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Robert Bresson's Trial of Joan of Arc tomorrow and Friday in NYC!!  I wish I
could be there.

      Shmuel Ben-Gad,
      Gelman Library,
      George Washington University.

"The world is indeed full of peril, and in it there are many dark places; but
still there is much that is fair, and though in all lands love is now mingled
with grief, it grows perhaps the greater."
             --Haldir of Lothlorien

This Week at Anthology Film Archives December 16-22, 2009

Showing this week:

RONALD TAVEL ANDY WARHOL

BOOK RELEASE EVENT: Bresson's THE TRIAL OF JOAN OF ARC

Best of AFA

ESSENTIAL CINEMA

BEYOND THE ABSURD:
RONALD TAVEL ANDY WARHOL
Through December 20

Playwright, screenwriter, and novelist Ronald Tavel, who passed away this spring, is not as well known in film circles as some of the other writers, artists, and performers with whom Andy Warhol collaborated as he built his remarkable body of film work. But Tavel's contribution to New York underground culture can hardly be overstated, due both to his crucial role in the development of Warhol's cinema (it was during their brief collaboration that Warhol first began to incorporate sound and scripted narratives into his film practice), and particularly to his formative role in the creation of the Theater of the Ridiculous, the Off-Off-Broadway movement that expanded on the innovations of the Theater of the Absurd.
Discovered by Warhol at a reading in 1964, Tavel was soon furnishing scripts for the filmmaker at a furious pace, resulting in some of Warhol's greatest films. And he then adapted several of these screenplays for the stage, producing them at a theater he dubbed The Play-House of the Ridiculous, and for which he conceived of a manifesto declaring, "We have passed beyond the absurd; our position is absolutely preposterous." Together with director John Vaccaro and actor Charles Ludlam (soon to form his own competing theater, The Ridiculous Theatrical Company), as well as with Jack Smith (Tavel took part in the filming of FLAMING CREATURES and worked with Smith on several theatrical events), Tavel's influence on avant-garde theater was profound. In tribute to Tavel, we will be screening a generous selection of the films he worked on with Warhol, as well as the SCREEN TEST he's featured in, and excerpts from interviews he gave during his lifetime.
Very special thanks to Harvey Tavel, Callie Angell (the Whitney Museum of American Art), Norman R. Glick, and Kitty Cleary (MoMA). All film descriptions (except for THE CHELSEA GIRLS) are adapted from Callie Angell's notes for the Museum of Modern Art's Andy Warhol film catalogue.

THE LIFE OF JUANITA CASTRO
1965, 66 minutes, 16mm.
An article written by Castro's sister in 1964 inspired Tavel's script for this film, a subversive avant-garde satire on Latin American politics.
- Wed. December 16 at 8:45.

HARLOT
1964, 67 minutes, 16mm.
Warhol's first synch-sound feature is an underground version of the Jean Harlow story with Mario Montez in drag as the platinum-haired Hollywood sex symbol of the 1930s.
-Wed. December 16 at 7:00.

BACK BY (EVEN MORE) POPULAR DEMAND!
THE CHELSEA GIRLS
1966, ca. 210 minutes, 16mm double-projection. With Nico, Ondine, Marie Menken, Mary Woronov, Gerard Malanga, International Velvet, Ingrid Superstar, Mario Montez, Eric Emerson, and Brigid Berlin.
Two of the 12 reels - the sections entitled "Hannoi Hanna" and "Their Town", and both featuring Mary Woronov among others - were based on scripts by Tavel.
-Thurs. December 17 at 7:00.

Arthur Lubin
WHITE SAVAGE
1943, 76 minutes, 35mm. With Maria Montez, Jon Hall, and Sabu.
In addition to collaborating with Warhol, Tavel was closely associated with Jack Smith. The two artists were cinematically conjoined via their shared passion for Maria Montez, the so-called 'Queen of Technicolor'. Headlining a string of lavish costume-adventure films set in exotic locales, Montez enjoyed a brief period of popular success, though little critical respect.
-Sun. December 20 at 7:00 8:45.

SPECIAL BOOK RELEASE EVENT!

Robert Bresson
THE TRIAL OF JOAN OF ARC /

PROC�S DE JEANNE D'ARC
1962, 65 minutes, 35mm. In French with English subtitles. With Florence Delay.
This special screening of Robert Bresson's take on the Joan of Arc story is presented in conjunction with the publication of Tony Pipolo's new book, ROBERT BRESSON: A PASSION FOR FILM. Published by Oxford University Press, and lavishly illustrated, it is the first comprehensive study of Bresson in English. In it, Pipolo gives equal attention to Bresson's films, their literary sources, and psycho-biological aspects of the work.

"On every page of his masterful work, Pipolo's observations serve as a potent reminder to the serious spectator: it's often what's left unspoken--the slightest trembling of a lip or a downcast gaze--that can prove most vital to a film."--Film Comment

Join us to celebrate the book's long-awaited release! Tony Pipolo will be here in person on Thursday, December 17 to introduce the film and sign books.

Special thanks to Tony Pipolo, Shannon McLachlan (Oxford University Press), Delphine Selles-Alvarez (Cultural Services of the French Embassy), Brian Belovarac (Janus Films), and James Quandt (Cinematheque Ontario).

"Following the male-dominated narratives of the 1950s, Bresson launched a decade devoted to female protagonists with a film about a teenage girl of the 15th century who esteemed private revelation above Church authority, claimed to have been sent by God to save France, persuaded hardened soldiers, cynical courtiers, and scholarly churchmen to make her general of the French forces, and made good her promise to lead the dauphin Charles to Rheims, where he was crowned king. In less than thirteen months, she reversed the course of the 100 Years War, but spent the final months of her life imprisoned, tried as a heretic, and burned at the stake by the faction of the Church sympathetic to the English. Proclaiming herself a virgin, she wore male clothing in prison, as she had while living with soldiers, two facts that obsessed her judges and plagued her case. Bresson could not have found a more apposite figure from French history to resemble his previous protagonists than Joan of Arc, whom he considered the 'most interesting' historical personage. Arguably his most underrated film, THE TRIAL OF JOAN OF ARC, at 65 minutes, is the most astonishing example of the economy of Bresson's style and the closest he came to a documentary aesthetic. In adhering to the record and trajectory of Joan's trial, the film embodies the predetermined course of events that is the essence of the Bressonian narrative." -Tony Pipolo

Check out the critics on The Trial of Joan of Arc:

The New Yorker (scroll down)

Village Voice

-Thursday and Friday, December 17 18 at 7:30

BEST OF AFA
As 2009 draws to a close, we offer up a brief series representing that rarest of phenomena: the Second Chance. We've combed through our calendars from the last couple years and assembled a selection of a few films, videos, and programs that we feel were the major discoveries of our past half-dozen calendars, but still have not been discovered enough! The Best of AFA represents a second chance to see these films or a chance to see them for the second time. Either way, join us as we ride out 2009 with a look back at some of the more unusual and little-known gems that graced our screens in recent months.
Special thanks to Alfred Leslie, Matthew Silver, Rip and Tony Torn, J. Hoberman, James Nares, Jon Gartenberg, Crista Grauer, Jeffrey P. Capp, Crystal Rangel, Jim McBride, Danny Lyon, Jaime Davidovich, George Stoney, David Callahan (Donnell Media Center), and Ellis Vilma Hayeem.

ALFRED LESLIE
Luckily for us, painter and filmmaker Alfred Leslie has lately been producing some of the very best work of his distinguished career. As talented as he is restless, Leslie is a true radical and an artist's artist. Hard at work since the 1940s, Leslie's approach to all his chosen mediums (painting, film, video, performance) is carefully considered and always on the cutting-edge. This program presents a quartet of recent works which should not be missed.
A STRANGER CALLS AT MIDNIGHT
(2008, 30 minutes, video)
SONGS OF THE BLUE-FOOTED BOOBIES
(2008, 11 minutes, video)
EINSTEIN'S SECRET (2008, 11 minutes, video)
MAGIC THINKING (Guggenheim version) (2008, 35 minutes, video)
Total running time: ca. 90 minutes.
-Friday, December 18 at 8:00.

SHORTS PROGRAM:
Matthew Silver BEWARE OF THE HOT DOG PEOPLE (2002, 5 minutes, 16mm-to-video)
Michael Jackson, the open highway, and pizza.
Rip Torn THE BEARDING OF THE PRESIDENT (ca. 16 minutes, 16mm)
J. Hoberman CARGO OF LURE (1974, 14.5 minutes, 16mm)
Greg Sharits TRANSFER (12 minutes, 8mm-to-16mm) Preserved with support from the National Endowment for the Arts.
Jose Rodriguez-Soltero JEROVI (1965, 11.5 minutes, 16mm) Preserved with support from the Andy Warhol Foundation for the Visual Arts.
Matthew Silver IRRITABLE BOWEL SYNDROME (2006, 30 minutes, 16mm/DV. Made in collaboration with Bogdan Szabo.)
Total running time: ca. 95 minutes.
-Saturday, December 19 at 6:30.

JAMES NARES
In May 2008 Anthology hosted the first complete retrospective of painter/filmmaker James Nares. While perhaps most recognized by cinephiles for his no-wave period piece ROME 78, Nares has produced an extensive, exciting body of moving image works that continually defy gravity and expectations. This single-program survey includes a generous selection of short works spanning more than 30 years and concludes with the premiere of two brand new videos.
"James Nares's films are like luminous jewels scattered in the dirt - as varied and striking as his paintings, his photographs, and his train of thought." -Jim Jarmusch
DRIP (2007, 2 minutes, video)
RAMP (1976, 3 minutes, Super-8mm-to-16mm)
WAITING FOR THE WIND (1982, 7.5 minutes, Super-8mm-to-16mm)
WEATHER BED (1991, 3 minutes, video)
SUICIDE ? NO, MURDER (1977, 30 minutes, Super-8mm-to-16mm)
HAMMERED (1991, 2 minutes, video)
WITH GOD ON OUR SIDE (2008, 5 minutes, video)
RIDING WITH MICHAUX (2009, 5 minutes, video)
Total running time: ca. 60 minutes.
-Saturday, December 19 at 8:30.

BERYL SOKOLOFF
Sokoloff (1918-2006) was a creative artist who worked in many different art forms: as a painter, a photographer, a photojournalist, a musician, and a filmmaker. In his filmmaking career, which spanned the 1950s-90s, Sokoloff focused on portraits of numerous artists and the process of making art, observations of politics and society, and poetic evocations of both New York City and landscapes encountered through his travels, frequently weaving these various threads together in individual films.
The two programs screened at Anthology last fall helped bring attention to Sokoloff's creative vision, as well as the importance of archiving, restoring, and distributing his films. Here we have selected from the two programs to display the full range of Sokoloff's subjects and themes.
The films in this program have not yet been precisely dated, but were all made between the 1960s-1990s.
Curated by Jon Gartenberg, in consultation with Crista Grauer, and with archival project assistance from Jeffrey P. Capp and Crystal Rangel. Preservation print of MY MIRRORED HOPE by BB Optics.
MY MIRRORED HOPE (17 minutes)
FIRE (11 minutes)
GAUDI (8 minutes)
LINE (11 minutes)
CHROMOCHROMO (10 minutes)
KAPITOL (9 minutes)
Total running time: ca. 70 minutes.
-Sunday, December 20 at 6:30.

JIM MCBRIDE
Anthology hosted a retrospective this past spring devoted to Jim McBride, whose landmark cinema-v�rit� satire DAVID HOLZMAN'S DIARY is justifiably a cult favorite. But the series established without a doubt that there is much more to McBride's career, marking the re-discovery of several incredible films, including the two personal documentaries screening here, the bona fide v�rit� follow-ups to HOLZMAN.
MY GIRLFRIEND'S WEDDING
1969, 60 minutes, 16mm.
A fascinating profile of McBride's English girlfriend, Clarissa Ainley. McBride explores Clarissa's life and loves, her feelings about her parents and children, and documents her greencard marriage to a man she has only known for a week. However, as the film progresses, the most revealing truths are about the person behind the camera.
PICTURES FROM LIFE'S OTHER SIDE
1971, 45 minutes, video.
The third film of McBride's 'documentary' trilogy, PICTURES follows Jim and Clarissa in a journey across the U.S., waiting for a baby and looking for a place to settle. Crude, witty, or plain scenes of everyday life compose a moving portrait of early-70s America - an uncharted country, a generation with no direction home.
Total running time: ca. 110 minutes.
-Sunday, December 20 at 8:30.

LYON / DAVIDOVICH / STONEY
Danny Lyon
BORN TO FILM
1982, 33 minutes, 16mm.
One of the highlights of our retrospective devoted to the photographer and filmmaker Danny Lyon.
"...[I]ntimately autobiographical, interspersing footage of Lyon's own young son with film shot in the 1930s by Lyon's father, a doctor who emigrated from Germany... Lyon's passionate vision has deepened and grown in resonance and the film is not just family or even social history, but about human continuity, the power of instinct to survive, the grace that love and play bring to it, the wonder of being alive." -Thomas Albright, SAN FRANCISCO CHRONICLE
Jaime Davidovich
SALUDOS AMIGOS!
1982, ca. 20 minutes, video.
A classic of cable access by the master of the medium, Jaime "Dr. Videovich" Davidovich.
"SALUDOS AMIGOS! is a documentary about Lubbock, Texas, where the denim-suited doctor chases armadillos and discusses television, race and the Vietnam War with Christopher B. 'Stubbs' Stubblefield, founder of the legendary Texan BBQ establishment-cum-music-venue." -Leah Churner
George Stoney
HOW TO LOOK AT A CITY
1963, 28 minutes, 16mm.
One of the more than two-dozen films made by Stoney, along with collaborators, celebrating New York City. Urbanologist Gene Raskin demonstrates what "makes it work" in this film from the Channel 13 series, METROPOLIS, CREATOR OR DESTROYER.
Total running time: ca. 85 minutes.
-Monday, December 21 at 8:00.

Ben Hayeem
THE BLACK BANANA
1976, 71 minutes, 16mm, color.
We're particularly thrilled to present an encore screening, co-presented with BIDOUN MAGAZINE, of Ben Hayeem's unmissable, unfathomable wonder. Born and raised in Bombay, Hayeem (1933-2004) made a number of well-regarded films and was close with experimental film pioneers Maya Deren and Slavko Vorkapich. Early in his career he joined the Living Theater group in New York and became the only Indian Jew to play a Chinese Priest with a Yiddish accent in a Brecht play. This comedic, cross-cultural experience must have set him down the path to the rather incredible and risqu� happenings in THE BLACK BANANA.
Plus:
PAPILLOTE (1964, 10.5 minutes, 16mm)
FLORA (1965, 6 minutes, 16mm)
Total running time: ca. 90 minutes.
-Tuesday, December 22 at 8:00.

ESSENTIAL CINEMA
A very special series of films screened on a repertory basis, the Essential Cinema Repertory collection consists of 110 programs/330 titles assembled in 1970-75 by Anthology's Film Selection Committee - James Broughton, Ken Kelman, Peter Kubelka, P. Adams Sitney, and Jonas Mekas. It was an ambitious attempt to define the art of cinema. The project was never completed but even in its unfinished state the series provides an uncompromising critical overview of cinema's history.
And remember: ALL ESSENTIAL CINEMA SCREENINGS ARE FREE FOR AFA MEMBERS!

EGGELING / CAVALCANTI
Viking Eggeling SYMPHONIE DIAGONALE 1924, 8 minutes, 35mm, silent.
Alberto Cavalcanti RIEN QUE LES HEURES 1928, 52 minutes, 35mm, silent.
A "city symphony" interweaving documentary, experimental, and narrative elements that provide vivid images of Paris in the mid-1920s.
Total running time: ca. 65 minutes.
-Saturday, December 19 at 6:00.

CONRAD / JACOBS FLEISCHNER
Tony Conrad THE FLICKER 1966, 30 minutes, 16mm, sound.
Mathematical and rhythmical orchestration of white and black frames.
Ken Jacobs Bob Fleischner
BLONDE COBRA
1959-63, 35 minutes, 16-to-35mm blow-up. Featuring Jack Smith.
Preserved by Anthology, with the generous support of the Film Foundation, the National Film Preservation Foundation, Simon Lund and Cineric, Inc.
"BLONDE COBRA is an erratic narrative - no, not really a narrative, it's only stretched out in time for convenience of delivery. It's a look in on an exploding life, on a man of imagination suffering pre-fashionable Lower East Side deprivation and consumed with American 1950s, 40s, 30s disgust. Silly, self-pitying, guilt-strictured and yet triumphing - on one level - over the situation with style... enticing us into an absurd moral posture the better to dismiss us with a regal 'screw off.'" -K.J.
Total running time: ca. 70 minutes.
-Saturday, December 19 at 7:30.

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#80

From: Shmuel Ben-Gad <shmuelb@...>
Date: Mon Dec 14, 2009 2:19 pm
Subject: Re: The Girl on the Train and Lancelot du lac

tormance13

Offline

Send Email

I think it might have been a good, short film. But it is filled out with two underdeveloped aubplots that are, in my opinion, ultimately uninteresting. Padded and formless is how I would describe it. If you see it and have the time and inclination, please let e know what you think of it.

     Shmuel Ben-Gad,
     Gelman Library,
     George Washington University.

"The world is indeed full of peril, and in it there are many dark places; but still there is much that is fair, and though in all lands love is now mingled with grief, it grows perhaps the greater."
            --Haldir of Lothlorien

----- Original Message -----
From: David Ehrenstein <cellar47@...>
Date: Sunday, December 13, 2009 6:58 pm
Subject: Re: [bresson-no-spam] The Girl on the Train and Lancelot du lac
To: bresson-no-spam@yahoogroups.com

> What's wrong with it? I haven't seen it as yet and I like Techine.
>
> --- On Sun, 12/13/09, Shmuel Ben-Gad <shmuelb@...> wrote:
>
>
> From: Shmuel Ben-Gad <shmuelb@...>
> Subject: [bresson-no-spam] The Girl on the Train and Lancelot du lac
> To: bresson-no-spam@yahoogroups.com
> Date: Sunday, December 13, 2009, 3:15 PM
>
>
>
>
>
>
> I saw this film recently and do not recommend it, but I was glad that
> it used Philippe Sarde's theme music for Lancelot du lac at the very beginning!
>
> Shmuel Ben-Gad,
> Gelman Library,
> George Washington University.
>
> "The world is indeed full of peril, and in it there are many dark
> places; but still there is much that is fair, and though in all lands
> love is now mingled with grief, it grows perhaps the greater."
> --Haldir of Lothlorien
>
>
>
>
>
>
>
>
>

Reply | Forward | Messages in this Topic (3)

#79

From: David Ehrenstein <cellar47@...>
Date: Sun Dec 13, 2009 11:57 pm
Subject: Re: The Girl on the Train and Lancelot du lac

cellar47

Offline

Send Email

What's wrong with it? I haven't seen it as yet and I like Techine.

--- On Sun, 12/13/09, Shmuel Ben-Gad <shmuelb@...> wrote:

From: Shmuel Ben-Gad <shmuelb@...>
Subject: [bresson-no-spam] The Girl on the Train and Lancelot du lac
To: bresson-no-spam@yahoogroups.com
Date: Sunday, December 13, 2009, 3:15 PM

I saw this film recently and do not recommend it, but I was glad that it used Philippe Sarde's theme music for Lancelot du lac at the very beginning!

Shmuel Ben-Gad,
Gelman Library,
George Washington University.

"The world is indeed full of peril, and in it there are many dark places; but still there is much that is fair, and though in all lands love is now mingled with grief, it grows perhaps the greater."
--Haldir of Lothlorien

Reply | Forward | Messages in this Topic (3)

#78

From: Shmuel Ben-Gad <shmuelb@...>
Date: Sun Dec 13, 2009 11:15 pm
Subject: The Girl on the Train and Lancelot du lac

tormance13

Offline

Send Email

I saw this film recently and do not recommend it, but I was glad  that it used
Philippe Sarde's theme music for Lancelot du lac at the very beginning!

      Shmuel Ben-Gad,
      Gelman Library,
      George Washington University.

"The world is indeed full of peril, and in it there are many dark places; but
still there is much that is fair, and though in all lands love is now mingled
with grief, it grows perhaps the greater."
             --Haldir of Lothlorien

Reply | Forward | Messages in this Topic (3)

#77

From: Shmuel Ben-Gad <shmuelb@...>
Date: Sun Sep 27, 2009 2:23 pm
Subject: Re: A reminder that September 25th is Robert Bresson's birthday.

tormance13

Offline

Send Email

Thank you very much, Mr. Ehrenstein..

     Shmuel Ben-Gad,
     Gelman Library,
     George Washington University.

"The world is indeed full of peril, and in it there are many dark places; but still there is much that is fair, and though in all lands love is now mingled with grief, it grows perhaps the greater."
            --Haldir of Lothlorien

----- Original Message -----
From: David Ehrenstein <cellar47@...>
Date: Thursday, September 24, 2009 7:03 pm
Subject: Re: [bresson-no-spam] A reminder that September 25th is Robert Bresson's birthday.
To: bresson-no-spam@yahoogroups.com

>
> --- On Thu, 9/24/09, Shmuel Ben-Gad <shmuelb@...> wrote:
>
>
> From: Shmuel Ben-Gad <shmuelb@...>
> Subject: [bresson-no-spam] A reminder that September 25th is Robert
> Bresson's birthday.
> To: bresson-no-spam@yahoogroups.com
> Date: Thursday, September 24, 2009, 2:02 PM
>
>
>
>
>
>
> Ii hope all of us will commemorate it in some appropriate fashion!
>
> Shmuel Ben-Gad,
> Gelman Library,
> George Washington University.
>
> "The world is indeed full of peril, and in it there are many dark
> places; but still there is much that is fair, and though in all lands
> love is now mingled with grief, it grows perhaps the greater."
> --Haldir of Lothlorien
>
>
>
>
>
>
>
>
>
>
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Reply | Forward | Messages in this Topic (3)

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