ANTHOLOGY FILM ARCHIVES
32 SECOND AVENUE NEW YORK, NY 10003
www.anthologyfilmarchives.org
–––––––––––––––––––––––––––––––––––––
This week at Anthology Film Archives:
2 Premieres: Ken & Aza Jacobs!
Dudley Murphy, Hollywood Wild Card
John Cage: ONE11 AND 103
FILMS BY LÁSZLÓ MOHOLY-NAGY
Essential Cinema: Eisenstein
Artists Space Presents
––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
2 Premieres: Ken & Aza Jacobs!
Azazel Jacobs’ THE GOODTIMESKID
Ken Jacobs’ TWO WRENCHING DEPARTURES
January 17 - 23
Read the rave reviews for Azazel Jacobs’ and Ken Jacobs’ feature premieres!
The New York Times says "Azazel Jacobs's (“The GoodTimesKid”) unexpectedly beguiling romantic comedy finds poetry in wordless scenes of observation." And Ken Jacob’s "Two Wrenching Departures," "suggests an attempt to seize time and live forever in the moment."
Read more: http://movies2.nytimes.com/2007/01/17/movies/17kid.html?ref=movies
The Village Voice says about Ken Jacobs’ video: “The flickering motion-studies create the startling illusion of three dimensions when viewed theatrically, and otherwise incidental visual details like architecture and passersby take on a haunting prominence. “Two Wrenching Departures” projects a long-form symphonic power rarely achieved by today's video-scratching VJs.” And on Azazel’s film: “It concludes in a marvelous final shot: a long take set to Gang of Four, grungy and materialist in the Jacobs tradition.” Read more: http://www.villagevoice.com/film/0703,halter,75565,20.html
Time Out NY on “The GoodTimesKid:” “The long, climactic shot in a wrecked living room is as compelling as a painting.”
More here: http://tinyurl.com/yqkcqr
And on “Two Wrenching Departures:” “Once the brain does the work of reconciling the disparate elements, what emerges is not only a tender tribute to the two men, but to film and memory as well. Talk about the spirit not of life but of living.”
More here: http://tinyurl.com/2xu3zr
Salon.com:
"The GoodTimesKid": The ultra-indie '80s spirit lives on!
“Just a footnote to New Yorkers, urging you to catch Azazel Jacobs' second feature. A zero-budget L.A. filmmaker somewhat in the vein of Jacques Rivette or the early Godard or the early Jarmusch (OK, a lot in the vein of the early Jarmusch), Jacobs is building a small but growing cult following, and is about as close to being an underground hero as you can get in the 21st century. “The GoodTimesKid" has a whimsy, a passion, a sophistication and, above all, a vigor that's mostly drained out of Amerindie cinema over the last decade or so.”
Read more here: http://www.salon.com/ent/movies/review/2007/01/18/btm/index.html
Azazel Jacobs
THE GOODTIMESKID
(2005, 77 minutes, 35mm, color)
SHOWTIMES:
Wednesday, January 17 – Friday, January 19 at 7:00,
Saturday and Sunday, January 20 and 21 at 5:00 & 9:00,
Monday and Tuesday, January 22 and 23 at 7:00.
Ken Jacobs
TWO WRENCHING DEPARTURES
(2006, 90 minutes, video, b&w, sound)
SHOWTIMES:
Wednesday, January 17 to Friday, January 19 at 9:00
Saturday and Sunday, January 20 and 21 at 7:00
Monday and Tuesday, January 22 and 23 at 9:00.
––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
DUDLEY MURPHY, HOLLYWOOD WILD CARD
Friday, January 19 at 7:30
Our Dudley Murphy: Hollywood Wild Card screening is a pick this week from J. Hoberman at the Village Voice:
http://www.villagevoice.com/film/0703,hoberman,75563,20.html
Filmmaker Dudley Murphy (1897-1968) is so little known that he can't even claim cult status¬…yet. Join film-historian Susan Delson, author of Murphy's just-published biography, for a program of his early work, including the rarely screened but surprisingly sexy "visual symphony," SOUL OF THE CYPRESS (1920), and a beautiful restoration of BALLET MÉCANIQUE (made with artist Fernand Léger and others). Explore the unexpected legacy of an early filmmaker who would have been right at home making music videos for rap stars. Delson's book, DUDLEY MURPHY, HOLLYWOOD WILD CARD, will be available for purchase and signing.
Program will include:
SOUL OF THE CYPRESS (1920, 7 minutes)
ST LOUIS BLUES (1929, 16 minutes)
BALLET MÉCANIQUE (1924, 20 minutes)
BLACK AND TAN (1929, 19 minutes)
Additional films to be announced.
––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
John Cage: ONE11 AND 103
Saturday, January 20 at 6:00 and Sunday, January 21 at 8:00
PRESENTED BY MODE RECORDS
1992, 94 minutes, 35mm, b&w, sound. Produced and directed by Henning Lohner, cinematography by Van Carlson.
Special note: the film will be screened with alternate soundtracks each night.
John Cage created his only feature-length film in the year he died. A sublime performance for camera-person and light, ONE11 is, in Cage’s words, “a film without subject. There is light but no persons, no things, no ideas about repetition and variation. It is meaningless activity which is nonetheless communicative, like light itself, escaping our attention as communication because it has no content to restrict its transforming and informing power.” The final impression is of another, timeless place – freely roaming amidst the clouds or, perhaps, under the sea.
Chance operations were used with respect to the shots and the editing of the film. The light environment was designed and programmed by John Cage and Andrew Culver. The orchestral work 103 musically accompanies ONE11. Like the film, 103 is 90 minutes long, divided into seventeen parts – its density varies from solos, duos, trios to full orchestral tuttis.
“ONE11 AND 103 is very strong, very daring, and finally completely mesmerizing.” –Louis Malle
This is the first screening of a 35mm print in New York since its premiere in 1992. This screening is presented by Mode Records in conjunction with ONE11’s first release on DVD.
––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
FILMS BY LÁSZLÓ MOHOLY-NAGY
Saturday, January 20 at 8:00
Introduction by Hattula Moholy-Nagy, daughter of László Moholy-Nagy and director of The Moholy-Nagy Foundation. Presented in collaboration with the Whitney Museum of American Art.
From his innovative photographs, including his 'camera-less' photograms and photomontages, to his experiments with novel synthetic materials such as Perspex and Rhodoid, László Moholy-Nagy explored the changing nature of art in the face of new technology. As he wrote, "[P]ainting, photography, and film are parts of one problem although their techniques may be entirely different. They belong to the same realm; that is, to visual expression, where cross-fertilizations are possible."
Tonight, six of his experimental and documentary films will be screened:
MARSEILLE VIEUX PORT (1929, 9 minutes)
LIGHT DISPLAY: BLACK-WHITE-GREY (1930, 5.5 minutes)
BERLIN STILL LIFE (1931, 9 minutes)
URBAN GYPSIES / GROSSSTADT-ZIGEUNER (1932, 11 minutes)
THE LIFE OF THE LOBSTER (1936, 16 minutes)
THE NEW ARCHITECTURE AT THE LONDON ZOO (1936, 15.5 minutes)
––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
Essential Cinema: Eisenstein
Sunday, January 21 at 5:30
Sergei Eisenstein
STRIKE / STACHKA
1925, 106 minutes, b&w. With Russian intertitles. English synopsis available.
Eisenstein’s interest in the Freudian father complex drives this psychological scenario in which non-actors step forward to acknowledge the viewer, illustrating Eisenstein’s desire to penetrate to the heart of cinema, sidestepping realism by “being real.” Governmental restrictions made STRIKE the only completed film of a series intended to portray the road to revolution.
Essential Cinema Screenings are $7 General admission / $6 Students/seniors
$0 Members --- FREE!
––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
ARTISTS SPACE PRESENTS: IN THE POEM ABOUT LOVE YOU DON’T WRITE THE WORD LOVE
Monday, January 29 at 7:30
PROGRAM 4
Harun Farocki & Andrei Ujica
VIDEOGRAMS OF A REVOLUTION
1992, 106 minutes, video, color, sound. Courtesy of the artist.
&
Jeremy Deller & Mike Figgis
BATTLE OF ORGREAVE
2001, 60 minutes, video, color. Courtesy of Artangel, London and the artist.
With:
Matthew Buckingham SITUATION LEADING TO A STORY (1999, 21 minutes, 16mm, b&w, sound)
Courtesy of the artist and Murray Guy Gallery, New York.
Total running time: ca. 190 minutes.
––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
If you want to be removed from this list, please REPLY DIRECTLY TO THIS EMAIL with “unsubscribe” in subject line.
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Anthology Film Archives is located at 32 Second Ave. at Second Street and can be reached by the Second Avenue F and V train or the #6, Bleecker Street stop.
ANTHOLOGY FILM ARCHIVES
32 Second Ave (at 2nd St) NYC 212-505-5181 www.anthologyfilmarchives.org
32 SECOND AVENUE NEW YORK, NY 10003
www.anthologyfilmarchives.org
–––––––––––––––––––––––––––––––––––––
This week at Anthology Film Archives:
2 Premieres: Ken & Aza Jacobs!
Dudley Murphy, Hollywood Wild Card
John Cage: ONE11 AND 103
FILMS BY LÁSZLÓ MOHOLY-NAGY
Essential Cinema: Eisenstein
Artists Space Presents
––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
2 Premieres: Ken & Aza Jacobs!
Azazel Jacobs’ THE GOODTIMESKID
Ken Jacobs’ TWO WRENCHING DEPARTURES
January 17 - 23
Read the rave reviews for Azazel Jacobs’ and Ken Jacobs’ feature premieres!
The New York Times says "Azazel Jacobs's (“The GoodTimesKid”) unexpectedly beguiling romantic comedy finds poetry in wordless scenes of observation." And Ken Jacob’s "Two Wrenching Departures," "suggests an attempt to seize time and live forever in the moment."
Read more: http://movies2.nytimes.com/2007/01/17/movies/17kid.html?ref=movies
The Village Voice says about Ken Jacobs’ video: “The flickering motion-studies create the startling illusion of three dimensions when viewed theatrically, and otherwise incidental visual details like architecture and passersby take on a haunting prominence. “Two Wrenching Departures” projects a long-form symphonic power rarely achieved by today's video-scratching VJs.” And on Azazel’s film: “It concludes in a marvelous final shot: a long take set to Gang of Four, grungy and materialist in the Jacobs tradition.” Read more: http://www.villagevoice.com/film/0703,halter,75565,20.html
Time Out NY on “The GoodTimesKid:” “The long, climactic shot in a wrecked living room is as compelling as a painting.”
More here: http://tinyurl.com/yqkcqr
And on “Two Wrenching Departures:” “Once the brain does the work of reconciling the disparate elements, what emerges is not only a tender tribute to the two men, but to film and memory as well. Talk about the spirit not of life but of living.”
More here: http://tinyurl.com/2xu3zr
Salon.com:
"The GoodTimesKid": The ultra-indie '80s spirit lives on!
“Just a footnote to New Yorkers, urging you to catch Azazel Jacobs' second feature. A zero-budget L.A. filmmaker somewhat in the vein of Jacques Rivette or the early Godard or the early Jarmusch (OK, a lot in the vein of the early Jarmusch), Jacobs is building a small but growing cult following, and is about as close to being an underground hero as you can get in the 21st century. “The GoodTimesKid" has a whimsy, a passion, a sophistication and, above all, a vigor that's mostly drained out of Amerindie cinema over the last decade or so.”
Read more here: http://www.salon.com/ent/movies/review/2007/01/18/btm/index.html
Azazel Jacobs
THE GOODTIMESKID
(2005, 77 minutes, 35mm, color)
SHOWTIMES:
Wednesday, January 17 – Friday, January 19 at 7:00,
Saturday and Sunday, January 20 and 21 at 5:00 & 9:00,
Monday and Tuesday, January 22 and 23 at 7:00.
Ken Jacobs
TWO WRENCHING DEPARTURES
(2006, 90 minutes, video, b&w, sound)
SHOWTIMES:
Wednesday, January 17 to Friday, January 19 at 9:00
Saturday and Sunday, January 20 and 21 at 7:00
Monday and Tuesday, January 22 and 23 at 9:00.
––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
DUDLEY MURPHY, HOLLYWOOD WILD CARD
Friday, January 19 at 7:30
Our Dudley Murphy: Hollywood Wild Card screening is a pick this week from J. Hoberman at the Village Voice:
http://www.villagevoice.com/film/0703,hoberman,75563,20.html
Filmmaker Dudley Murphy (1897-1968) is so little known that he can't even claim cult status¬…yet. Join film-historian Susan Delson, author of Murphy's just-published biography, for a program of his early work, including the rarely screened but surprisingly sexy "visual symphony," SOUL OF THE CYPRESS (1920), and a beautiful restoration of BALLET MÉCANIQUE (made with artist Fernand Léger and others). Explore the unexpected legacy of an early filmmaker who would have been right at home making music videos for rap stars. Delson's book, DUDLEY MURPHY, HOLLYWOOD WILD CARD, will be available for purchase and signing.
Program will include:
SOUL OF THE CYPRESS (1920, 7 minutes)
ST LOUIS BLUES (1929, 16 minutes)
BALLET MÉCANIQUE (1924, 20 minutes)
BLACK AND TAN (1929, 19 minutes)
Additional films to be announced.
––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
John Cage: ONE11 AND 103
Saturday, January 20 at 6:00 and Sunday, January 21 at 8:00
PRESENTED BY MODE RECORDS
1992, 94 minutes, 35mm, b&w, sound. Produced and directed by Henning Lohner, cinematography by Van Carlson.
Special note: the film will be screened with alternate soundtracks each night.
John Cage created his only feature-length film in the year he died. A sublime performance for camera-person and light, ONE11 is, in Cage’s words, “a film without subject. There is light but no persons, no things, no ideas about repetition and variation. It is meaningless activity which is nonetheless communicative, like light itself, escaping our attention as communication because it has no content to restrict its transforming and informing power.” The final impression is of another, timeless place – freely roaming amidst the clouds or, perhaps, under the sea.
Chance operations were used with respect to the shots and the editing of the film. The light environment was designed and programmed by John Cage and Andrew Culver. The orchestral work 103 musically accompanies ONE11. Like the film, 103 is 90 minutes long, divided into seventeen parts – its density varies from solos, duos, trios to full orchestral tuttis.
“ONE11 AND 103 is very strong, very daring, and finally completely mesmerizing.” –Louis Malle
This is the first screening of a 35mm print in New York since its premiere in 1992. This screening is presented by Mode Records in conjunction with ONE11’s first release on DVD.
––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
FILMS BY LÁSZLÓ MOHOLY-NAGY
Saturday, January 20 at 8:00
Introduction by Hattula Moholy-Nagy, daughter of László Moholy-Nagy and director of The Moholy-Nagy Foundation. Presented in collaboration with the Whitney Museum of American Art.
From his innovative photographs, including his 'camera-less' photograms and photomontages, to his experiments with novel synthetic materials such as Perspex and Rhodoid, László Moholy-Nagy explored the changing nature of art in the face of new technology. As he wrote, "[P]ainting, photography, and film are parts of one problem although their techniques may be entirely different. They belong to the same realm; that is, to visual expression, where cross-fertilizations are possible."
Tonight, six of his experimental and documentary films will be screened:
MARSEILLE VIEUX PORT (1929, 9 minutes)
LIGHT DISPLAY: BLACK-WHITE-GREY (1930, 5.5 minutes)
BERLIN STILL LIFE (1931, 9 minutes)
URBAN GYPSIES / GROSSSTADT-ZIGEUNER (1932, 11 minutes)
THE LIFE OF THE LOBSTER (1936, 16 minutes)
THE NEW ARCHITECTURE AT THE LONDON ZOO (1936, 15.5 minutes)
––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
Essential Cinema: Eisenstein
Sunday, January 21 at 5:30
Sergei Eisenstein
STRIKE / STACHKA
1925, 106 minutes, b&w. With Russian intertitles. English synopsis available.
Eisenstein’s interest in the Freudian father complex drives this psychological scenario in which non-actors step forward to acknowledge the viewer, illustrating Eisenstein’s desire to penetrate to the heart of cinema, sidestepping realism by “being real.” Governmental restrictions made STRIKE the only completed film of a series intended to portray the road to revolution.
Essential Cinema Screenings are $7 General admission / $6 Students/seniors
$0 Members --- FREE!
––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
ARTISTS SPACE PRESENTS: IN THE POEM ABOUT LOVE YOU DON’T WRITE THE WORD LOVE
Monday, January 29 at 7:30
PROGRAM 4
Harun Farocki & Andrei Ujica
VIDEOGRAMS OF A REVOLUTION
1992, 106 minutes, video, color, sound. Courtesy of the artist.
&
Jeremy Deller & Mike Figgis
BATTLE OF ORGREAVE
2001, 60 minutes, video, color. Courtesy of Artangel, London and the artist.
With:
Matthew Buckingham SITUATION LEADING TO A STORY (1999, 21 minutes, 16mm, b&w, sound)
Courtesy of the artist and Murray Guy Gallery, New York.
Total running time: ca. 190 minutes.
––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
If you want to be removed from this list, please REPLY DIRECTLY TO THIS EMAIL with “unsubscribe” in subject line.
*Gmail users please be aware of this; Gmail addresses seem to have particular trouble replying directly to the message so that we can unsubscribe you. We are working on it—thanks
Anthology Film Archives is located at 32 Second Ave. at Second Street and can be reached by the Second Avenue F and V train or the #6, Bleecker Street stop.
ANTHOLOGY FILM ARCHIVES
32 Second Ave (at 2nd St) NYC 212-505-5181 www.anthologyfilmarchives.org
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