Categorized: Film

A Letter to the World: Experiments in Essay Filmmaking, Workshop at UnionDocs, September 8-10

The folks at UnionDocs is offering a three-day intensive workshop on the essay film, called A Letter to the World: Experiments in Essay Filmmaking, between September 8 and 10, to enable artists to articulate their ideas and explore new methodologies in crafting their work. The workshop will be led by filmmaker Lynne Sachs and will feature guest instructors Alan Berliner, Akosua Adoma Owusu and Roger Beebe, with scholars Timothy Corrigan and Nora M. Alter, co-authors of the book Essays on the Essay Film.

The workshop is open to filmmakers, students, artists, scholars, etc.

The workshop is currently sold-out, but you can join the waiting list at https://uniondocs.org/event/2017-09-08-explorations-essay-filmmaking/.

New York City 2017 Bike Map Pays Tribute to Bill Cunningham

I finally had a chance to see the New York City 2017 Bike Map, and it took me a while to realize that the cover pays tribute to longtime New York Times fashion photographer and cultural icon Bill Cunningham. Cunningham was a well known bicycle enthusiast and was known to enjoy riding his bike to photograph New York street life in his weekly “On the Street” columns for the New York Times.

Film still from Bill Cunningham New York. First Thought Films/Zeitgeist Films.

There are a few giveaways that show the cover illustration depicts Cunningham:

  • it’s an older, white-haired man on cruiser,
  • he’s snapping a photo from his bike,
  • he’s wearing his trademark blue jacket and grey pants,
  • most obviously, the map indicates a credit of “Cover illustration of Bill Cunningham, used with permission of the Estate of William J. Cunningham.”

Bill Cunningham passed away at age 87 a year ago today. He was extensively covered in the 2010 documentary, Bill Cunningham New York, which as of today, is available to stream on Amazon Prime Video.

NYC Bike Map 2017 Inset Pays Tribute to Bill Cunningham

Today, the Clock Strikes Thirteen

Today, over 200 art-house and independent movie theaters in the United States are screening 1984, the 1984 film adaptation of George Orwell’s novel directed by Michael Radford. The theaters are doing so to stand up for “freedom of speech, respect for our fellow human beings, and the simple truth that there are no such things as ‘alternative facts,'” according to the United State of Cinema website.

I bought tickets to screening at the Loews Jersey in Jersey City and am going tonight. However, I later realized that there were plenty of other options closer to home, including the Nitehawk (sold out), Anthology Film Archives (buy at the box office), the IFC Center (also sold out) and even the newish Alamo Drafthouse in downtown Brooklyn (yup…sold out). The Film Society of Lincoln Center is screening it for free, but you should expect a throng of cheapskates waiting to get in.

If you can’t get to a screening near you, you can stream it on Amazon.

The above link to Amazon is an affiliate link. Shopping through that link will kick back a referral fee to me. Thanks for your support!

Nicholas Baer: Siegfried Kracauer & the Historical Film at New York University

Partly to torment my students with a long reading, but also to perhaps have them reflect on contemporary issues, I assigned Siegfried Kracauer’s “Mass Ornament” essay to my students in my History of Film class this week.

By a great stroke of luck, Nicholar Baer is delivering a lecture about Kracauer’s writings and film on Wednesday, February 15, at the department of Cinema Studies at New York University. The students in my Tuesday class may get a chance to hear this lecture, but the students in my Wednesday class will not. Our class meets at the same time as this lecture.

The announcement from NYU Cinema Studies is reproduced below.

Abel Gance's Napoleon Playing at Apollo Theater

Nicholas Baer: Siegfried Kracauer & the Historical Film

This presentation will examine how Siegfried Kracauer addressed the relation between history and poetics in his film-theoretical writings. I will argue that insofar as Kracauer came to define the medium’s “basic aesthetic principle” in terms of engagement with the singular and transitory occurrences of physical reality, he obfuscated Aristotle’s opposition between history and poetry, paradoxically locating the poetics of film in its potential as a historian of contemporary life. Notably, however, the genre of the historical film was problematic for Kracauer, given its efforts to visualize a past that is by definition no longer present. Rather than showing “how things actually were,” in Leopold von Ranke’s famous words, the historical film can only envision “things as they could have happened.” An examination of Kracauer’s extensive writings on the historical film will shed new light on his film theory and illuminate significant developments in his thought from Weimar Germany to 1960s New York. Not least, Kracauer’s texts will provide an occasion for considering cinema in relation to historical-philosophical debates on the dissolving distinction between empirical reality and fictional construction, the history and the story, and the true (das Wahre) and the verisimilar (das Wahrscheinliche)—issues of renewed concern in our own “post-truth” era.

Nicholas Baer: Siegfried Kracauer & the Historical Film

  • February 15, 2017
  • Michelson Theater, 721 Broadway, 6 Fl
  • Free

Roots of an “Imperfect Cinema”

About a week ago, film professor and documentarian Michael Chanan posted an excerpt from his documentary film The New Cinema of Latin America (1983). The excerpt includes an enlightening interview with Cuban filmmaker Julio Garcia Espinosa. At the time, he was the head of ICAIC, the Cuban Film Institute founded by the Castro regime after the 1959 Revolution, but he is perhaps best remembered for writing the essay “For an Imperfect Cinema” in 1969.

Espinosa’s interview highlights two very compelling issues of the post-1959 period of filmmaking and, apparently, his own thinking about “imperfect cinema”:

  1. The filmmakers were influenced by the European New Waves and documentary. Espinosa describes how Italian Neorealism was a model for quality filmmaking and recalls how someone criticized his early film work for ignoring this important movement. He also notes the influence of Michaelangelo Antonioni and Ingmar Bergman, as well as generally referring to the documentary work that grew in the decades after World War II.
  2. The filmmakers were determined to create their own cinema. Espinosa discusses how filmmakers had adopted many tricks to mask the racial markers of Afro-Cubans, but they were determined to forgo that practice in favor of representing the Cuban people in their truest light.

The New Cinema of Latin America (1983) is hard to find. It is available on DVD for institutional purchase and on VHS, for the rest of us, at a library near you.

Help Launch the only Non-Profit Film Lab in the United States

New York City has a rich history of supporting experimental filmmaking. One major reason is that filmmaking is a collaborative effort, and the city is home to many artists and resources to nurture a filmmaking community. It’s one of the reasons I moved here: if not to produce such work, I was looking forward to being around it.

However, filmmaking has changed dramatically over the last twenty years, and now it’s almost impossible to find resources for making film.

Mono No Aware, a non-profit cinema arts organization founded a decade ago by a cadre of experienced experimental filmmakers, has sustained independent filmmaking in New York since 2006. They are currently nearing the end of their fundraising campaign to start the nation’s only non-profit film laboratory. This will also be, believe it or not, the only film laboratory in New York City.

The campaign ends on December 6. Support independent filmmaking in New York City. Otherwise, the only films made here will be cheesy rom-coms and indulgent HBO series that block access to your home and local bodega.

Contribute to Mono No Aware

The Big Lebowski On-Sale

After two moves in two years, I’ve become frustrated toting around my physical media collection, especially books, DVDs, CDs, and VHS tapes. Over the years, I have managed to digitize almost my entire music collection and most of my movies. The physical copies are safely stashed away in a friend’s basement.

My collection of movies and TV programs, however, is almost entirely in SD. I never bought into Blu-ray like I did with DVDs in the late-1990s and early-2000s. It would be nice if I could magically upgrade all my movie files from SD to HD… or better.

One of my favorite films of all time, The Big Lebowski, is currently on sale for $7.99 on iTunes and Amazon. I’ve owned it on DVD for years, and it’s occasionally been available to stream, but I couldn’t resist getting it through iTunes, especially since it’s available to stream on any device.

The sale is for a limited time.

The above links to iTunes and Amazon are affiliate links. Shopping through those links will kick back a referral fee to me. Thanks for your support!

Demagogues at Film Forum

NewImage

Just in time for the General Election next Tuesday, Film Forum is starting a very timely, weeklong film series tomorrow: films about demagogues.

While I would highly recommend against watching all of the films in the series, simply because it would be too emotionally and spiritually draining to see all these exercises in mass persuasion over and over again, there are some really great titles in the series you really should see. And a good number of them are packaged as double features.

My favorite aspect of this series—other than the timing—is the range of causes for the demagogue’s rise. Newspapers empower them in Meet John Doe and Citizen Kane, while the then-nascent medium of TV is to blame for Lonesome Rhodes, played by Andy Griffith in his first film role, in A Face in the Crowd. The plots get a little more dark in films like The Manchurian Candidate and Seven Days in May with full-on conspiracies at work.

Update: I just noticed that TCM aired a lot of the same movies on Friday, November 4.

Details

  • November 4 – November 10
  • Film Forum, 209 W. Houston St, NYC
  • $14.00 General, $8 Members
  • Buy Tickets

Lecture: Ernie Gehr at New York University

Tonight, experimental filmmaker Ernie Gehr will be giving the seventh annual Experimental Film Lecture, jointly presented by the departments of Cinema Studies and Undergraduate Film & Television at New York University’s Tisch School of the Arts. The pre-lecture screening is of his films in 16mm. You might want to see those while you can, lest they burn up in the projector.

The announcement from NYU Cinema Studies is reproduced below.

Gehr web

Ernie Gehr, “What Is an Unfinished Work?”

​For nearly fifty years, artist Ernie Gehr has transformed his deep knowledge of the moving image into a distinct vision of cinema’s potential for interpreting and fragmenting reality. With an astute, often humorous, appreciation for the limits and possibilities of the frame, Gehr has, since the mid-1960s, created a large, radical body of work that continues to challenge and surprise audiences. He uses his camera as a tool for creating new modes of perception. With few words, no characters, and no plots, his films, video work, and installations push us to re-imagine our own relationships to time and space.

There are a multiplicity of adjectives that fit Ernie Gehr’s experimental film and digital work: abstract, beautiful, mysterious, invigorating, utopian.

Manohla Dargis, New York Times, 11/11/11

In Gehr’s hands, the camera seems to take on magical properties, able to transform the most quotidian object or environment—the pattern of sunlight on a wall, a busy street—into marvelous and unexpected phenomena.

Ernie Gehr’s Marvelous Cinema, Harvard Film Archive

Join us for screenings at 5:30 and Gehr’s Experimental Lecture at 7:00.

5:30
Pre-lecture 16mm screening of Serene Velocity (1970), Shift (1972-74) and Rear Window (1986/1991)
6:30
Artist reception
7:00
Experimental Lecture with screenings of Lisa and Suzanne (1968-69), Untitled: Part 1 (l981), Coney Island Boardwalk (2013)

Free and open to the public.

Details

  • October 19, 2016
  • Michelson Theater, 721 Broadway, 6th Fl
  • Free

Los Sures at the Metrograph

Los Sures is a documentary about the predominantly Puerto Rican neighborhood and produced and directed by Diego Echeverria. Used with permission, © 1983 Ellen Tolmie.

Los Sures is a documentary about the predominantly Puerto Rican neighborhood and produced and directed by Diego Echeverria. Used with permission, © 1983 Ellen Tolmie.

Did you miss the screening of Los Sures and the presentation of the Living Los Sures project last month at NYU?

Good news, then! Beginning tomorrow, Metrograph—New York City’s newest independent film venue—will be screening Diego Echeverria’s 1984 film Los Sures and shorts from the continuing Living Los Sures project. The theatrical release will run from April 15–21.

Los Sures is a 1984 film about the “southsiders” of Williamsburg, Brooklyn. The film was reemerged in the last few years because it captured the Brooklyn neighborhood that has dramatically changed and all but disappeared—and not necessarily because I screened it in my New York Independents class back in 2006. Union Docs has been working on the companion Living Los Sures project as an oral history to document the current state of the neighborhood and its changes.

Update: Screen Slate has posted an interview with the filmmaker, Diego Echevarria.

Los Sures and Living Los Sures

  • April 15—21
  • Metrograph, 7 Ludlow St, New York
  • $15.00
  • Buy Tickets