tag:blogger.com,1999:blog-91826418649075981932024-03-14T07:00:37.612-04:00Curating Moving Images: where curators write.Unknownnoreply@blogger.comBlogger238125tag:blogger.com,1999:blog-9182641864907598193.post-9131457562384360422018-07-25T15:56:00.003-04:002018-07-25T18:03:56.967-04:00"What does a film curator do all day?" <div style="text-align: left;">
Here's one way the Museum of Modern Art's Department of Film reached out to its public. <a href="https://www.youtube.com/watch?v=Icaitpbfi48" target="_blank">Watch the recording of the live stream video</a>. Film curator Dave Kehr invited YouTube (and Instagram) users to submit questions, such as . . . </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEir3St6x0pDaaa4G0_02a5tQGQpaQBhHpbvyyDPkZIOgDWHobZa2QpbDYIFpWoNnzp6S9RHZJzuy_tn2JUbad46MyRAlN01GJ7jyVzma9Q5mJkLX0WF8XmFOLR5t7YXIVDnkIQ2NCWjgO2e/s1600/37743850_10156679401591738_8198603676231663616_n.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="4" data-original-height="539" data-original-width="960" height="356" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEir3St6x0pDaaa4G0_02a5tQGQpaQBhHpbvyyDPkZIOgDWHobZa2QpbDYIFpWoNnzp6S9RHZJzuy_tn2JUbad46MyRAlN01GJ7jyVzma9Q5mJkLX0WF8XmFOLR5t7YXIVDnkIQ2NCWjgO2e/s640/37743850_10156679401591738_8198603676231663616_n.jpg" width="640" /></a></div>
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<span style="font-family: "times";"><br />
</span> <span style="font-family: "times";">MoMA posted this text on its YouTube channel </span><a href="http://www.youtube.com/watch?v=Icaitpbfi48" target="_blank">youtube.com/watch?v=Icaitpbfi48</a><span style="font-family: "times";">:</span><br />
<b><br />
</b> <b>LIVE Q&A with MoMA Film Curator Dave Kehr (July 25, 2018) </b><br />
<b>– Send us your questions! </b></div>
<span style="background-color: white; color: #111111; font-family: "roboto" , "arial" , sans-serif; font-size: 14px; white-space: pre-wrap;"> Tune in today at 3:00 p.m. EDT for a Live Q&A with MoMA Film Curator Dave Kehr. What does it mean to be a Film curator at The Museum of Modern Art? What goes into the restoration of lost silent films? Dave will answer these and many more of your questions during the live-stream! </span><br />
<span style="background-color: white; color: #111111; font-family: "roboto" , "arial" , sans-serif; font-size: 14px; white-space: pre-wrap;"> </span> <span style="background-color: white; color: #111111; font-family: "roboto" , "arial" , sans-serif; font-size: 14px; white-space: pre-wrap;">See more LIVE Q&As from The Museum of Modern Art </span><a class="yt-simple-endpoint style-scope yt-formatted-string" href="https://www.youtube.com/redirect?q=https%3A%2F%2Fbit.ly%2F2IrQxka&redir_token=-Ikd8VEFK7JnoWA-XUciZLdg6XV8MTUzMjYzMjUyNEAxNTMyNTQ2MTI0&event=video_description&v=Icaitpbfi48" spellcheck="false" style="background-color: white; cursor: pointer; display: inline-block; font-family: Roboto, Arial, sans-serif; font-size: 14px; text-decoration-line: none; white-space: pre-wrap;">https://bit.ly/2IrQxka</a><span style="background-color: white; color: #111111; font-family: "roboto" , "arial" , sans-serif; font-size: 14px; white-space: pre-wrap;"> </span><br />
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The first question posed (by three people): "How do I become a film curator?"<br />
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"It's the big question," he begins. "I think the good news is there's no answer to that question. There is no real career path, educational path, to this particular job. I came from almost 40 years as a film critic writing for daily newspapers when the film department contacted me and asked me if I'd be interested in coming aboard. We have other members of the department who have started here as assistants and gradually worked their way up the ladder. We have other people who were trained at some of the archival programs at NYU or Rochester and have entered that way." <br />
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NYU has our master's degree program in <a href="http://tisch.nyu.edu/cinema-studies/miap.html" target="_blank">Moving Image Archiving and Preservation</a>, part of the <a href="http://tisch.nyu.edu/cinema-studies" target="_blank">Department of Cinema Studies</a>. Rochester refers both to the U of R's <a href="http://www.sas.rochester.edu/fms/" target="_blank">master's degree</a> and to the nine-month certificate program in the <a href="https://www.eastman.org/l-jeffrey-selznick-school-film-preservation-0" target="_blank">Selznick School of Film Preservation</a> at the George Eastman Museum.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFBiCrs8L0NEzipQAjY1zboyI3fc7XOpgS9ckMIJ3YP6x54IWHt9vpw1XTMsTtiVchWgjQ9W9JFpsYDpI53DEQJt-VWFZw4sa3xacY7A3fMRFTX7WI38yuAzjwRNwphrHbhO-H_W9TRYfU/s1600/q2moma.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="4" data-original-height="948" data-original-width="1367" height="276" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFBiCrs8L0NEzipQAjY1zboyI3fc7XOpgS9ckMIJ3YP6x54IWHt9vpw1XTMsTtiVchWgjQ9W9JFpsYDpI53DEQJt-VWFZw4sa3xacY7A3fMRFTX7WI38yuAzjwRNwphrHbhO-H_W9TRYfU/s400/q2moma.png" width="400" /></a></div>
Q2: Is there a specific path of studies at a university to become a film curator?<br />
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"A good background in film history is definitely a must," Kehr offers first. "There are more technical pursuits. If you're interested in film preservation, that's a very distinct branch. Working with the film elements, with nitrate film, the negatives. That's something you <i>can</i> learn -- and probably should learn -- in a university environment. There are a number of programs around the country: UCLA, USC, Rochester, Indiana, all of them producing very fine people in that field."<br />
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"If you're more interested in programming side," among the things to do, he says: "Learn how to make a good argument."<br />
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Dave Kehr studied English at the University of Chicago in the 1970s, which had an active film society, Doc Films -- which he once headed. <a href="http://docfilms.uchicago.edu/dev/about/index.shtml" target="_blank">Doc Films remains</a> an active volunteer-run institution.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhp2B5UbNL_rQ_9GUMvDoLbnFJcrmNcF4Ksgvr61w-PAlIJzefEZbkv-NBoLneGYixpqVEkvaFFg3IX3MenlCz_W9loGJkLRJnqmAdzTE5jb5QhEX9NbdBz__LNz-f1uWGoqVdgt6r2FWwq/s1600/Screen+Shot+2018-07-25+at+3.31.21+PM.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="4" data-original-height="673" data-original-width="1183" height="364" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhp2B5UbNL_rQ_9GUMvDoLbnFJcrmNcF4Ksgvr61w-PAlIJzefEZbkv-NBoLneGYixpqVEkvaFFg3IX3MenlCz_W9loGJkLRJnqmAdzTE5jb5QhEX9NbdBz__LNz-f1uWGoqVdgt6r2FWwq/s640/Screen+Shot+2018-07-25+at+3.31.21+PM.png" width="640" /></a></div>
<br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-9182641864907598193.post-18776032569565885692017-09-10T17:36:00.001-04:002019-04-05T19:37:56.516-04:00VIKTOR UND VIKTORIA at Anthology, by Jacob Zaborowski<span style="font-family: "georgia" , "times new roman" , serif;"><i>Viktor und Viktoria</i> (1933) at Anthology </span><br />
<span style="font-family: "georgia" , "times new roman" , serif;">by Jacob Zaborowski </span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVVW4-NamjuODGGXwgQcaPryfcS-7ABrUlovZTkacqD8DRY2Zm4zk38fvnDLmfeYs2zYtAMWnFXFHiYug3Hc5hrWMmYYHb0cPhWNh8_ETuyheSoMV1WOY1WuJAeP-9v8tyBpKG-UhFenw/s1600/viktor+2-782114.jpg"><img alt="" border="0" height="457" id="BLOGGER_PHOTO_ID_6415797160844772098" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVVW4-NamjuODGGXwgQcaPryfcS-7ABrUlovZTkacqD8DRY2Zm4zk38fvnDLmfeYs2zYtAMWnFXFHiYug3Hc5hrWMmYYHb0cPhWNh8_ETuyheSoMV1WOY1WuJAeP-9v8tyBpKG-UhFenw/s640/viktor+2-782114.jpg" width="640" /></a></span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;"><br />It is March 29th, 2017, when I attend a Wednesday evening screening of <i>Viktor und Viktoria</i> at the Anthology Film Archives on Second Avenue and East 2nd Street NYC. <br /><br />Some backstory on Anthology: it was founded in 1970, and moved to its current location, a former municipal courthouse, in 1979. While it has been renovated and retrofitted to include two theaters, it maintains some vestiges of its former life; a weathered "Magistrates' Court" sign hangs in the lobby. The rest of the lobby itself merges the old and the new in this quiet, unadorned manner. Old marble floors coexist with off-white, almost pale blue walls and fluorescent lighting. The rust-red metal doors take you into this lobby and lead you to a circular ticket window with printed announcements and ticket price lists surrounding it. A young ticket taker, probably working their way through college here, takes your money and gives you one green (if you're a student) ticket. A brief trip to the third floor (where the water fountain is located) shows a large theater named for. <br /><i><br />Viktor und Viktoria</i> is not showing in this theater. It is showing in the theater to the right of the ticket window, named for Maya Deren. I hand my ticket to the man taking them at the theater's entrance, and he rips off half. Naming the theater after the director of <i>Meshes of the Afternoon</i> is fitting, as the interior reminds one of the minimalist aesthetic associated with Deren's work. Black walls, about fifteen rows of seats inclining towards the back of the theater, and a blank projection screen at the front. <br /><br />I take my seat, the lights dim, and the logo of the F. W. Murnau Foundation appears on the screen. <i>Viktor und Viktoria</i> (Reinhold Schunzel, 1933) is the German talkie that provided the basis for the better-known <i>Victor/Victoria </i>(1982), MGM musical comedy directed by Blake Edwards and starring Julie Andrews. The <a href="https://en.wikipedia.org/wiki/Victor_and_Victoria" target="_blank">story has been the basis for several movies,</a> including British, German, and Argentine versions. </span><br />
<span style="font-family: "georgia" , "times new roman" , serif;"><br /></span>
<span style="font-family: "georgia" , "times new roman" , serif;">Anthology presented this German film as part of a multi-month series called "<a href="http://anthologyfilmarchives.org/film_screenings/series/47050" target="_blank">Cross Dressing On Screen</a>," guest-curated by performer John "Lypsinka" Epperson. <br /><br /><i>Viktor und Viktoria </i>is the story of two down-on-their luck performers, Viktor (Herman Thimig) and Susanne (Renate Muller). Viktor, a Shakespearean ham, finds work as a female impersonator, but falls ill; he asks Susanne to take his place as...Viktoria. Needless to say, Viktoria becomes a hit, winning the hearts of audiences in London, and a German playboy for extra measure (Anton Walbrook, billed as Adolf Wahlbruck). <br /><br />I've written more about the venue than the film that was screened for a reason. The driving sense behind Anthology in its aesthetic is that you have sense of its history and reputation before making your way in, only to forget it as the film you're watching unfolds. I still remember what I saw in <i>Viktor und Viktoria</i> and liked (Renate Muller's boyish femininity and Thimig's zealous hamming make for excellent on-screen chemistry), but in looking back, I realize that's because Anthology, as a brick-and mortar building and an institution, did their job right by fading themselves into the background. You don't go there to see the Magistrates' Court sign, you go there to see the movie. Even the screen beneath the screen proper to show the subtitles is unobtrusive. <br /><br />Anthology is in the midst of fundraising for a renovation and expansion project that will add a cafe and expand their archival facilities and researchers' access. I hope that the end result will be present when needed and fade into the background when necessary. </span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;">-- </span><span style="font-family: "georgia" , "times new roman" , serif;">Jacob Zaborowski</span><span style="font-family: "georgia" , "times new roman" , serif;"> </span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;">Post script:</span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;">Six months later, the newly renovated Quad Cinema in New York ran the film (35mm, subtitled) for three nights as part of its series </span><span style="font-family: "georgia" , "times new roman" , serif;"><a href="https://quadcinema.com/program/the-whole-world-sings-international-musicals/" target="_blank">The Whole World Sings: International Musicals</a>, presented in collaboration with film critic Bilge Ebiri. </span><br />
<span style="font-family: "georgia" , "times new roman" , serif;"><br /></span>
<span style="font-family: "georgia" , "times new roman" , serif;"><br /></span>
<span style="font-family: "georgia" , "times new roman" , serif;"><br /></span>
<span style="font-family: "georgia" , "times new roman" , serif;"><br /></span>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-9182641864907598193.post-9048913810342212822017-05-27T23:32:00.000-04:002017-05-27T23:32:56.079-04:00A Showcase of Animated Works from Female Animator: Faith Hubley and Emily Hubley
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<span lang="EN-US"><span style="font-family: Verdana, sans-serif;">The first Hubley’s animation I saw is an animated segment in the film version of the Off-Broadway rock theater hit <i style="mso-bidi-font-style: normal;">Hedwig and the Angry Inch</i>. The director of the film, John Cameron Mitchell, hired female animator Emily Hubley to created this animation to accompany Hedwig’s theme song “The Origin of Love.” Not to praise how perfect the animation fit for Hedwig’s punk aesthetic, or say how coherent it embodies the story of the song. I was deeply attracted by its distinctive hand drawn characters, the changing of the shapes at inspired whim, the original color…… <o:p></o:p></span></span></div>
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<span lang="EN-US"><span style="font-family: Verdana, sans-serif;"><span style="font-size: x-small;">Faith Hubley, <i style="mso-bidi-font-style: normal;">The Origin of Love</i></span><o:p></o:p></span></span></div>
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<span lang="EN-US"><span style="font-family: Verdana, sans-serif;">Later I decided to develop a showcase of selected animated shorts of Emily and her mother, Faith Hubley, both of who have illuminated the art of animation in a unique and hypnotic tone. Patrick McGilligan, the biographer and film historian, once tried to put the artistic success of Faith and her husband John Hubley briefly: John and Faith Hubley broke away from Hollywood in the mid-1950s to form their own independent, small-scale studio in New York City, making animated films in an anti-Disney visual style that was closer inform and spirit to European surrealism and impressionism. They pioneered the use of name performers and of their own children with improvised dialogue. They sponsored marvelous jazz and new-music soundtracks. The themes in their(mostly short) films are not about entertaining children with talking animals, but about adult and philosophical: the absurdity of war, the nuclear threat, environmental concern, over-population, love, marriage, childhood development, spirituality, and feminism. <o:p></o:p></span></span></div>
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<span lang="EN-US"><span style="font-family: Verdana, sans-serif;">Faith’s experience of childhood and adulthood plays a pivotal role in her career of independent animation and her artistic subjectivity, while her parenthood is the primary issue to interpret how her children, the younger Hubley, inherits her and her husband’s animation style and spirit. Faith Hubley was born in New York City in 1926, neither of her parents painted or drew, her father was a dentist who is a Russian-Jewish immigrant, and her mother played the stock market. To fight against her parents’ request of which wanted her to be a dentist, she dropped the school and started doing theater at 15(adopting the name Faith Elliott). After she ended the hasty marriage with her first husband, a radio announcer, she went to Hollywood and became a messenger at Columbia Pictures. In that period, she subsequently worked as a sound-effects, music editor and script clerk in different companies. Several years later, she met John Hubley, who left Walt Disney Studios in a so-called artistic peak and became a founder of UPA(United Production of America). They get married after being the close friend for a long time. Because John was in the anti-Communist blacklisted during McCarthy years, they broke away from Hollywood and established their own independent studio in New York City in 1955. They had a mutual pact to produce at least one short film per year according to their artistic standards. During this collaboration, they have created twenty-two films. Seven of these were nominated for Academy Award, and three of these,<i style="mso-bidi-font-style: normal;"> Moodbird(1959), The Hole(1962)</i>, <i style="mso-bidi-font-style: normal;">Tijuana Brass Double Feature(1965)</i> were awarded the Oscar.<o:p></o:p></span></span></div>
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<span lang="EN-US"><span style="font-family: Verdana, sans-serif;">However, John died in 1977, leaving Faith struggle with her terminal cancer. </span></span></div>
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<span lang="EN-US"><span style="font-family: Verdana, sans-serif;">Fortunately, because of her optimism and the little support from her children(they have four children, Mark, Ray, Emily, Georgia), she has continued to make passionate, independent films that confront relevant social issues. As the Hubleys' children grew up, they became more involved in the animation process: painting, inking drawing, music. Emily and Georgia were animators and artists on many of their mother’s film, and today, Emily is an established director of her own animation studio and has made films for Nickelodeon and Lifetime Television. Georgia, who is a sometime animator and a full-time drummer, singer, and songwriter with her husband Ira Kaplan(their backing rock band Yo La Tengo), has composed music for recent films by Emily Hubley.<o:p></o:p></span></span></div>
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<span lang="EN-US"><span style="font-family: Verdana, sans-serif;">Although the elder Hubleys never pressure their children to follow in their footstep, Emily once indicated that they were growing up with animation, films made by her parents were burned into their brains. After her father had died, her mother did not have an easy time setting out on her own as an animator. She needed someone she could trust, luckily, Emily was there. As for the initial of Emily’s career, she made her first film in high school to get out of some school work. Then, at Hampshire College(Amherst, Massachusetts), she pursued the medium, battling her own fears that her untrained hand would never make anything anyone want to see. But people did want to see what she made, and the 10 films she has created have been included in archives, museums and dozens of festivals. <o:p></o:p></span></span></div>
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<span lang="EN-US"><span style="font-family: Verdana, sans-serif;">To interpret Hubleys’ animation in a more accurate way, I have selected five of their animated shorts made from the 70s to the 90s with a family collaboration:<o:p></o:p></span></span></div>
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<span lang="EN-US"><span style="font-family: Verdana, sans-serif;"> <i style="mso-bidi-font-style: normal;"><span style="font-size: x-small;">W.O.W Women of The World(1975)</span><o:p></o:p></i></span></span></div>
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<span lang="EN-US"><span style="font-family: Verdana, sans-serif; font-size: x-small;">Director: Faith Hubley<o:p></o:p></span></span></div>
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<span lang="EN-US"><span style="font-family: Verdana, sans-serif; font-size: x-small;">Music by: William Russo<o:p></o:p></span></span></div>
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<span lang="EN-US"><span style="font-family: Verdana, sans-serif; font-size: x-small;">Animated by: Ruth Kissing<o:p></o:p></span></span></div>
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<span lang="EN-US"><span style="font-family: Verdana, sans-serif; font-size: x-small;">William Littlejohn<o:p></o:p></span></span></div>
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<span lang="EN-US"><span style="font-family: Verdana, sans-serif; font-size: x-small;">Barry Nelson<o:p></o:p></span></span></div>
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<span lang="EN-US"><span style="font-family: Verdana, sans-serif; font-size: x-small;">Earl James<o:p></o:p></span></span></div>
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<span lang="EN-US"><span style="font-family: Verdana, sans-serif; font-size: x-small;">Spencer Peel<o:p></o:p></span></span></div>
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<span lang="EN-US"><span style="font-family: Verdana, sans-serif; font-size: x-small;">Kate Wodell<o:p></o:p></span></span></div>
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<span lang="EN-US"><span style="font-family: Verdana, sans-serif; font-size: x-small;">Camera: Dickson/Vasu<o:p></o:p></span></span></div>
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<span lang="EN-US"><span style="font-family: Verdana, sans-serif; font-size: x-small;">Produced for the World Council of Churches<o:p></o:p></span></span></div>
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<span lang="EN-US"><span style="font-family: Verdana, sans-serif; font-size: x-small;">Associate Producers: John Taylor<o:p></o:p></span></span></div>
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<span lang="EN-US"><span style="font-family: Verdana, sans-serif;"><span style="font-size: x-small;">John Hubley</span><o:p></o:p></span></span></div>
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<span lang="EN-US"><span style="font-family: Verdana, sans-serif;">The animation spans the history of women in all ages around the world and embodies an anti-war message within a feminist fantasy. One the surface level, it depicts the fighting of warriors and the sadness of gods(most of them are the goddess), audiences can easily recognize the figure of Virgin Mary and Buddha with tears. But it ultimately suggests the history of women’s changing relationships with man and gives a future portrait for human liberation.<o:p></o:p></span></span></div>
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<span lang="EN-US"><span style="font-family: Verdana, sans-serif;"> <i style="mso-bidi-font-style: normal;"><span style="font-size: x-small;">Yes We Can(1988)<o:p></o:p></span></i></span></span></div>
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<span lang="EN-US"><span style="font-family: Verdana, sans-serif; font-size: x-small;">Director&Producer: Faith Hubley<o:p></o:p></span></span></div>
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<span lang="EN-US"><span style="font-family: Verdana, sans-serif; font-size: x-small;">Animated by: Emily Hubley<o:p></o:p></span></span></div>
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<span lang="EN-US"><span style="font-family: Verdana, sans-serif; font-size: x-small;">Georgia Hubley<o:p></o:p></span></span></div>
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<span lang="EN-US"><span style="font-family: Verdana, sans-serif; font-size: x-small;">William Littlejohn<o:p></o:p></span></span></div>
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<span lang="EN-US"><span style="font-family: Verdana, sans-serif; font-size: x-small;">Music by: Don Christensen<o:p></o:p></span></span></div>
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<span lang="EN-US"><span style="font-family: Verdana, sans-serif;"><span style="font-size: x-small;">Michael Ontkban</span><o:p></o:p></span></span></div>
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<span lang="EN-US"><span style="font-family: Verdana, sans-serif;"> <span style="font-size: x-small;"> <o:p></o:p></span></span></span><a href="https://www.youtube.com/watch?v=NBOfkResEj8&t=323s"><span style="font-family: Verdana, sans-serif; font-size: x-small;">https://www.youtube.com/watch?v=NBOfkResEj8&t=323s</span></a></div>
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<span lang="EN-US"><span style="font-family: Verdana, sans-serif;">To Suggest a conception of environmental protect and to narrate a story with the educational purpose. The film depicts the GAIA, the female incarnation of the earth(earth mother) is being plundered and dying. All the beings on the planet decide to unite a common goal and help GAIA heal herself. In one sequence, when the GAIA is suffering from severe damage, she looks in the mirror, an ugly skeleton is smiling and waving to her. “When I look in the mirror my face frightens me,”she said, “I am afraid of myself.”<o:p></o:p></span></span></div>
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<span style="font-family: Verdana, sans-serif; font-size: x-small;"><span lang="EN-US"> </span><i style="-webkit-text-stroke: rgb(255, 255, 255);">My Universe Inside Out (1996)</i></span></div>
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<span lang="EN-US"><span style="font-family: Verdana, sans-serif; font-size: x-small;">Director&Producer: Faith Hubley<o:p></o:p></span></span></div>
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<span lang="EN-US"><span style="font-family: Verdana, sans-serif; font-size: x-small;">Music by: Don Christensen<o:p></o:p></span></span></div>
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<span lang="EN-US"><span style="font-family: Verdana, sans-serif; font-size: x-small;">Animated by: Emily Hubley<o:p></o:p></span></span></div>
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<span lang="EN-US"><span style="font-family: Verdana, sans-serif; font-size: x-small;">Faith Hubley<o:p></o:p></span></span></div>
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<span lang="EN-US"><span style="font-family: Verdana, sans-serif; font-size: x-small;">William Littlejohn<o:p></o:p></span></span></div>
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<span lang="EN-US"><span style="font-family: Verdana, sans-serif; font-size: x-small;">Associate Producer: Emily Hubley<o:p></o:p></span></span></div>
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<span lang="EN-US"><span style="font-family: Verdana, sans-serif; font-size: x-small;">Painters: Amanda Gvsack<o:p></o:p></span></span></div>
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<span lang="EN-US"><span style="font-family: Verdana, sans-serif; font-size: x-small;">Lina Moroney<o:p></o:p></span></span></div>
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<span lang="EN-US"><span style="font-family: Verdana, sans-serif; font-size: x-small;">Jay Bastian<o:p></o:p></span></span></div>
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<span lang="EN-US"><span style="font-family: Verdana, sans-serif;"><span style="font-size: x-small;">Lynne Smilow</span><o:p></o:p></span></span></div>
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<span lang="EN-US"><span style="font-family: Verdana, sans-serif;">The film is Faith Hubley's animated self-portrait intercut with a parallel story of the universe. Moments in the filmmaker's life connect with the unfolding of the universe as she recalls infancy, childhood, adolescence, adventurous youth, life with her husband John, and with their four children and so on. I might want to emphasize the very moment of feminine temperament in the film. Such as, leaving her home and escaping from her first marriage as a teenager girl, finding herself have trouble to be pregnant, being surprised by having her first baby boy, accepting herself as a terminal cancer patient and struggling against the disease. <o:p></o:p></span></span></div>
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<span lang="EN-US"><span style="font-family: Verdana, sans-serif; font-size: x-small;"><i style="mso-bidi-font-style: normal;">One Self: Fish/Girl(1996)<o:p></o:p></i></span></span></div>
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<span lang="EN-US"><span style="font-family: Verdana, sans-serif; font-size: x-small;">Written, directed&Animated by: Emily Hubley<o:p></o:p></span></span></div>
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<span lang="EN-US"><span style="font-family: Verdana, sans-serif; font-size: x-small;">Music by: Georgia Hubley&Ira Kaplan<o:p></o:p></span></span></div>
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<span lang="EN-US"><span style="font-family: Verdana, sans-serif; font-size: x-small;">Supported by: Threshold Foundation&Geraldine R Dodge Foundation<o:p></o:p></span></span></div>
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<span lang="EN-US"><span style="font-family: Verdana, sans-serif;">To echo with the whimsicality of its drawing style, the narration might inspired from a feeling, a sentence in girl’s diary, a piece of music, an abstract idea or an internal effort to deal with the world and overcome self-doubt. The metamorphosis is central to all Emily work. In One Self: Fish/Girl, when a character says the word ''artist,'' Flowers grow out of her head, and then in a graceful transition her head transforms into a bed on which she herself is reading. <o:p></o:p></span></span></div>
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<span lang="EN-US"><span style="font-family: Verdana, sans-serif;">It is rather remarkable that, in these films, Faith and Emily have depicted the particular female character or feminine temperament. In Faith’s work, she narrated her contemplation of philosophy and humanity from a female perspective. Whereas in Emily’s, just as Jonathan Fried described, she speaks to a contemporary generation. Her works are less political, less about class or group, but more about personal reflections of her generation, about her thoughts of being a woman. <o:p></o:p></span></span></div>
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<span lang="EN-US"><span style="font-family: Verdana, sans-serif;">Reference:<o:p></o:p></span></span></div>
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<span style="font-family: Verdana, sans-serif;"><span class="MsoEndnoteReference"><span lang="EN-US"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><span lang="EN-US" style="font-size: 12pt;">1 </span></span></span></span></span><span lang="EN-US">Patrick McGilligan, <i style="mso-bidi-font-style: normal;">Faith Hubley: An Interview</i>, Film Quarterly, Vol 42, 1988</span></span></div>
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<span style="font-family: Verdana, sans-serif;"><span class="MsoEndnoteReference"><span lang="EN-US">2</span></span><span lang="EN-US"> Jonathan Fried, <i style="mso-bidi-font-style: normal;">In Person; Family Picture, Frame by Frame</i>, Feb 27, 2000, The New York Times, <a href="http://www.nytimes.com/2000/02/27/nyregion/in-person-family-pictures-frame-by-frame.html">http://www.nytimes.com/2000/02/27/nyregion/in-person-family-pictures-frame-by-frame.html</a></span></span></div>
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<span style="font-family: Verdana, sans-serif;"><span class="MsoEndnoteReference"><span lang="EN-US">3 </span></span><span lang="EN-US">Emily Hubley Hubhub Inc, <o:p></o:p></span></span></div>
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<span lang="EN-US"><span style="font-family: Verdana, sans-serif;"><a href="http://www.emilyhubley.com/">http://www.emilyhubley.com/</a></span></span><span style="font-family: Verdana, sans-serif; font-size: 12pt;"> </span></div>
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<span style="font-family: Verdana, sans-serif;"><span class="MsoEndnoteReference"><span lang="EN-US">4<span id="goog_904718758"></span><a href="https://www.blogger.com/"></a><span id="goog_904718759"></span> </span></span><span lang="EN-US">Emily Hubley, <i style="mso-bidi-font-style: normal;">The Origin of Love <o:p></o:p></i></span></span></div>
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<span lang="EN-US"><span style="font-family: Verdana, sans-serif;"><a href="https://www.youtube.com/watch?v=_zU3U7E1Odc">https://www.youtube.com/watch?v=_zU3U7E1Odc</a><o:p></o:p></span></span></div>
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margin:65.2pt 65.2pt 65.2pt 65.2pt; mso-header-margin:42.55pt; mso-footer-margin:49.6pt; mso-paper-source:0; layout-grid:15.6pt;} div.WordSection1 {page:WordSection1;} --> </style>Anonymoushttp://www.blogger.com/profile/11952915520694391038noreply@blogger.com0tag:blogger.com,1999:blog-9182641864907598193.post-53087807896971901242017-05-16T02:58:00.002-04:002017-05-16T21:55:35.462-04:00Final Project Presentations<div class="p1">
I found the presentations for other students’ final projects really helpful when thinking of my own work. When working alone, it is hard to gauge if you are on the right track, if your process is similar to others, and if the scope of your work is appropriate. Sarah’s presentation was especially interesting. She mentioned that she started her program about women’s empowerment and resistance thinking she would screen <i>The Color Purple</i>, but as she continued her work, the film no longer fit into the program. </div>
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I had similar struggles with figuring out where certain films worked, and as I added pieces, if they still worked with the program. I also took Raanan’s questions and concerns to heart, with respect to my final project. My project, while touching on the theme of discomfort in one’s body, does not touch on topics such as race, gender dysphoria, or other equally important and relevant issues. I struggled to figure out why I felt that these topics didn’t fit. When selecting works, I had purposely chosen not to include a medical film of child birth. Why? I know part of the reason is that the scope of my program was becoming too broad. When your series’ theme is the human body, that includes every body. It’s not to say I shied away from certain topics, but rather, this program was more personal to me than I realized. My world is heavily populated by doctors, pills, procedures, and the latest medical studies. Luckily, this has also turned into a love for most things medical. But feeling like an object, or even dependent on machines is a thought manifested in this series. How others interpret or react to the program is entirely welcome, as everyone’s reaction to their own body, let alone a piece of art is unique and personal. With that said, I do welcome the challenges this series has brought and could bring in the future.</div>
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Hannah Franklin</div>
Hannah Franklinhttp://www.blogger.com/profile/16745384661227393305noreply@blogger.com0tag:blogger.com,1999:blog-9182641864907598193.post-67057462023601033752017-05-15T16:36:00.001-04:002018-02-08T08:42:40.962-05:00Keeping Your Programming Ideas Memorable/TweetableAfter having kept a close eye on the New York repertory film world for a few years now, one lesson that I’ve learned is that sometimes all it takes is a really funny, audacious, or provocative title or concept to get people interested in your film program. While I’m sure I left out a few great ones, here’s a list of some of the most memorable program titles, concepts, and film pairings that I’ve seen over the last couple of years:<br />
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•<span class="Apple-tab-span" style="white-space: pre;"> </span>The Caan Film Festival @ the Museum of the Moving Image<br />
-- “For two glittering weekends at the end of May, the world turns its attention to the movie event of the year: The Caan Film Festival at Museum of the Moving Image. In celebration of the Bronx-born, Sunnyside-raised, and Meisner-instructed actor, the survey revisits twelve of James Caan’s greatest performances.” – from the MOMI website<br />
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•<span class="Apple-tab-span" style="white-space: pre;"> </span>Simian Vérité @ the Anthology Film Archives<br />
-- A mostly documentary series focusing on the subject of human-primate coexistence. The series features such classics as Frederick Wiseman’s <i>Primate</i>, Barbet Schroder’s <i>Koko: A Talking Gorilla</i>, and Nagisa Oshima’s <i>Max Mon Amour</i>. How <i>Bedtime for Bonzo</i> was overlooked, I do not know.<br />
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•<span class="Apple-tab-span" style="white-space: pre;"> </span>Bad Reputation: Spotlight on Kristen Stewart @ BAMcinématek<br />
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•<span class="Apple-tab-span" style="white-space: pre;"> </span>Double Feature: Despairing Times for a Mute Woman in a Vast Landscape @ Tenant 416<br />
-- Featuring <i>Few of Us</i> (Šarūnas Bartas, 1996) and <i>Hellé</i> (Roger Vadim, 1972)<br />
<br />
•<span class="Apple-tab-span" style="white-space: pre;"> </span>Workers Film and Photo League Films + Busby Berkeley’s <i>Gold Diggers of 1933</i> @ Light Industry<br />
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•<span class="Apple-tab-span" style="white-space: pre;"> </span>Bronxploitation @ Spectacle<br />
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•<span class="Apple-tab-span" style="white-space: pre;"> </span>The Cat-vant Garde Film Show @ the Museum of the Moving Image<br />
-- Organized in conjunction with the “How Cats Took Over the Internet” exhibition, this series highlighted the extraordinary number of experimental films that prominently feature cats. The show included works by filmmakers such as Maya Deren, Alexander Hammid, Carolee Schneemann, Stan Brakhage, Ken Jacobs, and Bill Brand.<br />
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•<span class="Apple-tab-span" style="white-space: pre;"> </span>Inauguration of the Displeasure Dome: Coping with the Election @ the Anthology Film Archives<br />
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•<span class="Apple-tab-span" style="white-space: pre;"> </span>Double Feature: Cloaked Hungarian Outlaw: 2 Films of György Szomjas @ Tenant 416<br />
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Trevor Izzohttp://www.blogger.com/profile/11512062716140090947noreply@blogger.com0tag:blogger.com,1999:blog-9182641864907598193.post-89416444028750629672017-05-15T14:19:00.000-04:002018-02-02T09:29:11.625-05:00A Microcinema HandbookDuring a recent visit to my hometown of San Diego, I was struck by an idea while attending a experimental film screening being held at an abandoned bread factory turned art center (<a href="http://www.breadandsaltsandiego.com/">http://www.breadandsaltsandiego.com/</a>): why doesn’t someone write a book on how to start your own microcinema?<br />
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This particular screening series (<a href="https://www.spacetimeart.org/">https://www.spacetimeart.org/</a>) was organized by a group of New York expats who, having become frustrated with their day jobs as arts administrators and graphic designers, decided to start a microcinema dedicated to exhibiting experimental cinema, video art, and other forms of time-based media. As we learned in Scott MacDonald’s book on Cinema 16 and see living on today in places like Light Industry and Spectacle, microcinemas and alternative screening spaces have long served as venues where films outside the mainstream can be seen and appreciated. By starting a microcinema or screening series, you're able to inject new ideas into the public consciousness by showing new, unfamiliar work, while also bringing like-minded people together and forming artistic communities. It's also worth noting that spaces like these are especially significant for people who don't live in major urban centers, and have significantly less opportunities to see (and show) challenging, unconventional work.<br />
<br />
However, deciding to start a microcinema leaves one with a great number of difficult questions. How do you go about clearing the rights to a film for public screening, especially if the venue is charging admission? How do you go about becoming a nonprofit? Most importantly, how much is this going to cost? I believe that if someone wrote a book on how to start a microcinema that helped to answer questions like these, more people would open them. The result could only be a more interesting and vibrant film culture.Trevor Izzohttp://www.blogger.com/profile/11512062716140090947noreply@blogger.com0tag:blogger.com,1999:blog-9182641864907598193.post-15718612383037038612017-05-14T17:28:00.000-04:002017-05-14T17:28:03.646-04:00You Just Hate to be a Thing<div class="p1">
Before the class session in which students would present their final projects, Dan had paired students with a responder, responsible for asking questions or providing feedback on a single student’s project. I was assigned as Mel’s responder, and the night before class, I noticed she had uploaded a video as part of her final project. Because it was 3:00am and I figured sleep could wait, I decided to watch it. First, I didn’t realize it was Marilyn Monroe narrating the work until about halfway into the roughly six minute piece. I think this is very telling of my viewing experience and the intent of the work. Although it could partially be chalked up to my lack of sleep, I think it is also due to the fact that much of what Monroe says is relevant to me and many other women, such as the many depicted in the short work. Notable, she remarks that she is “generally miserable”, with a cut to a late 1950s/early 1960s dinner party in which well-dressed women are seen smiling and politely nodding their heads. If that is not a depiction of middle to upperclass women’s misery, I don’t know what is. </div>
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Monroe also states that she believes everyone “want[s ]to be alone, but they want to be together”. I found it so striking that right after Monroe finishes that thought, a contemporary woman is shown out in public, maybe at a concert or other event. This is perhaps my favorite part of the short because, as Monroe expresses, it is difficult for women to be in public. While Monroe’s experience was certainly different from most (and certainly mine), it is exhausting to be “together” or be with others, especially in public. Female comedian Jen Kirkman once jokingly compared the freedom men feel when leaving the house with only keys and a cellphone, while women cannot experience that feeling because we cannot take off our gender-signifying body parts before we get out the door. While the desire “to be together” is there, the sense of isolation can feel unavoidable. </div>
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The short closes with Monroe stating that “you hate to become a thing”, followed by this narration in text and credits, revealing that the work was done by our own Melanie Miller. I had no idea that this was her work, and throughout viewing had assumed that Melanie was presenting her research on this work, done by an established artist. I was truly impressed by her choice in archival clips, which while following the narration, did not match it; it had a parallel narrative. I knew Melanie had made some short films in undergrad, but I had never seen any of her work, and I really hope she continues to create more. </div>
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Hannah Franklin</div>
Hannah Franklinhttp://www.blogger.com/profile/16745384661227393305noreply@blogger.com0tag:blogger.com,1999:blog-9182641864907598193.post-37846359384454938712017-05-03T13:51:00.000-04:002017-05-03T13:51:32.791-04:00Spoiler-Free Tribeca ThoughtsIn the midst of this busy semester, I managed to see a few films at the Tribeca Film Festival this year. Here are my spoiler-free reactions:<br />
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<i>Flower</i> (2017) </div>
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<i>Flower</i> is a coming-of-age dramedy. It's hilarious, uncomfortable, and takes some seriously dark turns. This film surprised in a lot of ways, and while the ending felt a little too neat for my taste, I enjoyed it overall. The audience at the premiere seemed to love it, and there were laughs and audible gasps throughout. The film's cast is amazing, and I think the lead gives a great performance as a funny, yet infuriating teen who likes to think she's more mature than she really is.<br />
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<i>Aardvark </i>is a drama about a therapist, her mentally ill patient, and his brother. Again, the cast here is excellent - Jenny Slate, Zachary Quinto, and Jon Hamm. I wanted to love this film more than I did. There were a couple of moments that didn't make any logical sense, which is hard for me to get over. I did like the elements of mystery, but ultimately the film just felt unfinished. So much potential though.<br />
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<i>Take Me </i>is a mad-cap comedy produced by the Duplass Brothers (l watch everything these two work on, and it blows my mind how prolific they are) and starring <i>Orange is the New Black</i>'s Taylor Schilling. This film suffers from some tonal shifts, but when it's funny, it is really funny. There are a couple of side characters, but the two leads basically carry the film. I had fun with this one, and you'll be able to catch it on Netflix in a few months.<br />
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<a href="http://about.att.com/content/dam/snr/2017/March%202016/tribeca_946x432.jpg.thumb.432.946.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="146" src="https://about.att.com/content/dam/snr/2017/March%202016/tribeca_946x432.jpg.thumb.432.946.png" width="320" /></a></div>
On the festival as a whole, I love that Tribeca offers individual tickets for films for about $20 each. Other fests I have been to don't necessarily do this, and it simply doesn't make sense for me to buy a pass when I don't have time to see many films. I think Tribeca caters perfectly to busy New Yorkers with these single ticket sales. Props to AT&T for their Free Film Friday promotion also. I got to see one of these films for absolutely nothing, simply by walking into an AT&T store and asking for a ticket. I love the accessibility of this festival.Caroline Rollhttp://www.blogger.com/profile/04978315687744005895noreply@blogger.com0tag:blogger.com,1999:blog-9182641864907598193.post-76842081647884059862017-05-03T02:51:00.004-04:002017-05-03T02:51:50.065-04:00VIKTOR UND VIKTORIA at Anthology<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiggFuJFlG3YzTl2Z-LnlybK37fKG7tBgR86fGugSIstwExvZM1Qon0DphOO15FN2tksGfv-JeKRvuUvEOJYCw4Za7YljyppQTFKhq_Yymj9RGwoV1vaYEFgIsE4NCEBoyiJzoozACKGUns/s1600/viktor+2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="228" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiggFuJFlG3YzTl2Z-LnlybK37fKG7tBgR86fGugSIstwExvZM1Qon0DphOO15FN2tksGfv-JeKRvuUvEOJYCw4Za7YljyppQTFKhq_Yymj9RGwoV1vaYEFgIsE4NCEBoyiJzoozACKGUns/s320/viktor+2.jpg" width="320" /></a></div>
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by
Jacob Zaborowski</div>
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It
is March 29<sup>th</sup><span style="font-size: 12pt;">,
2017</span><sup> </sup><span style="font-size: 12pt;">when
I attend</span> a Wednesday
evening (6:30 pm) screening of <i>Viktor und Viktoria</i>
at the Anthology Film Archives on Second Avenue and East 2<sup>nd</sup>
Street. Some backstory on Anthology: it was founded in 1970, and
moved to its current location, a former municipal courthouse, in
1979. While it has been renovated and retrofitted to include two
theaters, it maintains some vestiges of its former life; a weathered
“Magistrates’ Court” sign hangs in the lobby.</div>
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The
rest of the lobby itself merges the old and the new in this quiet,
unadorned manner. Old marble floors coexist with off-white, almost
pale blue walls and fluorescent lighting. The rust-red metal doors
take you into this lobby and lead you to a circular ticket window
with printed announcements and ticket price lists surrounding it. A
young ticket taker, probably working their way through college here,
takes your money and gives you one green (if you’re a student)
ticket. A brief trip to the third floor (where the water fountain is
located) shows a large theater named for. <i>Viktor und
Viktoria</i> is not showing in this
theater. It is showing in the theater to the right of the ticket
window, named for Maya Deren. I hand my ticket to the man taking them
at the theater’s entrance, and he rips off half. Naming the
theater after the director of <i>Meshes of the Afternoon</i>
is fitting, as the interior reminds one of the minimalist aesthetic
associated with Deren’s work. Black walls, about fifteen rows of
seats inclining towards the back of the theater, and a blank
projection screen at the front. I take my seat, the lights dim, and
the logo of the F. W. Murnau Foundation appears on the screen.
</div>
<div class="western" style="line-height: 100%; margin-bottom: 0in;">
<br />
</div>
<div class="western" style="line-height: 100%; margin-bottom: 0in;">
For
some clarification: <i>Viktor und Viktoria </i>(Reinhold
Schunzel, 1933) is the German talkie that provided the basis for the
better-known <i>Victor/Victoria</i>,
directed by Blake Edwards and starring Julie Andrews. Anthology
presented it as part of a series called “Cross Dressing On Screen”,
guest-curated
by performer John “Lypsinka” Epperson. For those not familiar,
<i>Viktor und Viktoria </i>is
the story of two down-on-their luck performers, Viktor (Herman
Thimig) and Susanne (Renate Muller). Viktor, a Shakespearean ham,
finds work as a female inpersonator, but falls ill; he asks Susanne
to take his place as...Viktoria. Needless to say, Viktoria becomes
a hit, winning the hearts of audiences in London, and a German
playboy for extra measure(Anton Walbrook, billed as Adolf Wahlbruck).</div>
<div class="western" style="line-height: 100%; margin-bottom: 0in;">
<br />
</div>
<br />
<div class="western" style="line-height: 100%; margin-bottom: 0in;">
I’ve
written more about the venue than the film that was screened for a
reason. To me, the driving sense behind Anthology in its aesthetic is
that you have sense of its history and reputation before making your
way in, only to forget it as the film you’re watching unfolds. I
still remember what I saw in <i>Viktor und Viktoria </i>and
liked (Renate Muller’s boyish femininity and Thimig’s zealous
hamming make for excellent on-screen chemistry), but in looking back,
I realize that’s because Anthology, as a brick-and mortar building
and an institution, did their job right by fading themselves into the
background. You don’t go there to see the Magistrates’ Court
sign, you go there to see the movie. Even the screen
beneath the screen proper to show the subtitles is unobtrusive.
Anthology is in the midst of fundraising for a renovation and
expansion project that will add a
cafe and expand their archival facilities. I hope
that the end result will be present when needed and fade into the
background when necessary.</div>
jacobzaborowskihttp://www.blogger.com/profile/17590541585663382692noreply@blogger.com0tag:blogger.com,1999:blog-9182641864907598193.post-73719443458825039072017-04-30T21:01:00.002-04:002017-04-30T21:01:34.993-04:00Film Screenings in Remembrance of Japanese Internment Camps<div align="left" class="MsoNormal" style="line-height: 200%; mso-layout-grid-align: none; mso-pagination: widow-orphan; tab-stops: 28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; text-align: left; text-autospace: none;">
<span lang="EN-US" style="color: black; mso-ascii-font-family: Cambria; mso-bidi-font-family: Cambria; mso-font-kerning: 0pt; mso-hansi-font-family: Cambria;"><span style="mso-spacerun: yes;"> </span></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLiLuwyssuaEnfUKDW4NjoDpBjCgaFUeVoKlFwiLbj7jLntjA3uWh1Mp-1dd9WYdQGef4BW3sWcLsJiYmeTjqeArbwChTZwcuAHPKTb9qNl56HOh9ikRmPuCChK0UOqoZf7VjImmwwejnZ/s1600/where+i+live.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLiLuwyssuaEnfUKDW4NjoDpBjCgaFUeVoKlFwiLbj7jLntjA3uWh1Mp-1dd9WYdQGef4BW3sWcLsJiYmeTjqeArbwChTZwcuAHPKTb9qNl56HOh9ikRmPuCChK0UOqoZf7VjImmwwejnZ/s400/where+i+live.jpg" width="308" /></a></div>
<br />
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<span lang="EN-US" style="color: black; mso-ascii-font-family: Cambria; mso-bidi-font-family: Cambria; mso-font-kerning: 0pt; mso-hansi-font-family: Cambria;"><span style="mso-spacerun: yes;"></span> </span></div>
<div align="left" class="MsoNormal" style="line-height: 200%; mso-layout-grid-align: none; mso-pagination: widow-orphan; tab-stops: 28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; text-align: left; text-autospace: none;">
<span lang="EN-US" style="color: black; mso-ascii-font-family: Cambria; mso-bidi-font-family: Cambria; mso-font-kerning: 0pt; mso-hansi-font-family: Cambria;"> On Wednesday evening, April 26, I went to room 674(6 floor, Tisch, NYU) to see the Japanese Internment Camp film screenings: <i>Where I Live</i>, produced by my cinema studies classmate Conan Ito and Luyao Ma. A couple of weeks earlier, Conan invited me to go to their upcoming documentary screenings, which would include a film he and Maloo (as we call her) recently made. He said their film is about the World War II Japanese concentration camp. The phrase “concentration camp” he used, instantly made me associate this with what the Nazi regime had done to its Jewish victims. Thus I started to question myself: why didn’t I know anything about this period of history before? But later Conan told me that most of the Japanese Americans in these camps had survived. At the screening, I also found the presenters changed the word “concentration” into “internment,” a more apt term. <o:p></o:p></span></div>
<div align="left" class="MsoNormal" style="line-height: 200%; mso-layout-grid-align: none; mso-pagination: widow-orphan; tab-stops: 28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; text-align: left; text-autospace: none;">
<span lang="EN-US" style="color: black; mso-ascii-font-family: Cambria; mso-bidi-font-family: Cambria; mso-font-kerning: 0pt; mso-hansi-font-family: Cambria;"><span style="mso-spacerun: yes;"> </span>The screening showcased three films in this order: Robert Nakamura’s <i>Something Strong Within </i>(1995), Ito and Ma’s work-in-progress, <i>Where I Live </i>(2017), and Rea Tajiri’s <i>History and Memory: For Akiko and Takashige </i>(1991). The first and the third are documentaries, but quite distinct from conventional ones. <i>Something Strong Within</i> is an assemblage of home movie footage, with intertitles giving the names of their makers. It unfolds these images of the real life in multiple Japanese internment camps across America. In a mix of black-and-white and color footage, we witness how American Japanese reconstruct a new community far away from the outside world, celebrating their traditional holidays; holding sporting events, games, and art classes; chopping firewood and working in the field. <span style="mso-bidi-font-style: italic;">But<i> History and Memory: For Akiko and Takashige</i></span> is far more fragmentary and experimental with its use of documents.</span></div>
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<span style="font-size: 12pt;"> In the discussion that followed the screenings, Maloo answered a question about why they selected these two to juxtapose with their film. She admitted that even she started to understand them in this second viewing. What’s more important, Conan added that there are plenty of mainstream documentaries which introduce the history of American Japanese in a more dramatic tone, whereas what they intend to do is more directly reveal the truth of this period of history.</span></div>
<div align="left" class="MsoNormal" style="line-height: 200%; mso-layout-grid-align: none; mso-pagination: widow-orphan; tab-stops: 28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; text-align: left; text-autospace: none;">
<span lang="EN-US" style="color: black; mso-ascii-font-family: Cambria; mso-bidi-font-family: Cambria; mso-font-kerning: 0pt; mso-hansi-font-family: Cambria;"><span style="mso-spacerun: yes;"> </span>As for their new documentary, I wanted to praise them for doing a good job. From the perspective of the present, they interviewed three women involved in the past and historical trauma in different degrees. What interests me most are the multiple identities of these female interviewees. Instead of being the so-called survivors or the descendants of survivors of that period and experience, they constructed new identities, socially or professionally, to integrate into the multicultural society they have known since the war years. Theodora Yoshikami, the 74-year-old interviewee who came to the screening, was once a dancer. I was deeply moved by seeing the old images (performance record from NYU Tisch, took in 80s, Theodora used to be a student in Dance department in Tisch.) that she was performing traditional Japanese dance in <i style="mso-bidi-font-style: normal;">Where I Live</i>. <o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2_Mgtb7DVdLyLNOIGGQ1tfEccgpnJFR6hOo8vAC9MBEG3yO3pjAiRNXOYHsMZTW7stsnnkzHgU0nj4s-jJiu3IluYS6V3wrKzz81LxbwZQ6K7_Ph0QKSNWpM9IVG74BZ-SQeY-_5PlAgk/s1600/where+i+live+1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="250" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2_Mgtb7DVdLyLNOIGGQ1tfEccgpnJFR6hOo8vAC9MBEG3yO3pjAiRNXOYHsMZTW7stsnnkzHgU0nj4s-jJiu3IluYS6V3wrKzz81LxbwZQ6K7_Ph0QKSNWpM9IVG74BZ-SQeY-_5PlAgk/s400/where+i+live+1.jpg" width="400" /></a></div>
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<span lang="EN-US" style="color: black; mso-ascii-font-family: Cambria; mso-bidi-font-family: Cambria; mso-font-kerning: 0pt; mso-hansi-font-family: Cambria;">(</span> Theodora Yoshikami)</div>
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<div class="MsoNormal" style="line-height: 200%;">
<span lang="EN-US" style="color: black; mso-ascii-font-family: Cambria; mso-bidi-font-family: Cambria; mso-font-kerning: 0pt; mso-hansi-font-family: Cambria;"><span style="mso-spacerun: yes;"> </span>I want to end with some words from the conversation between Theodora and a Japanese girl in the Q&A section. The girl said in Japan she had never heard of the history of American Japanese internment camps. She thought it must be a big part of American history, so she wanted to know how important the issue is to Americans. But Theodora<b style="mso-bidi-font-weight: normal;"> </b>instantly answered it was never a big part of America.</span><span lang="EN-US"> W</span><span lang="EN-US" style="color: black; mso-ascii-font-family: Cambria; mso-bidi-font-family: Cambria; mso-font-kerning: 0pt; mso-hansi-font-family: Cambria;">hat she meant is the American haven’t widely discussed or memorialized the internment camp and it will never appeal on the official textbook no matter in America or Japan. So how should the younger generation consider the issue? Memorize or let it go?</span><b style="mso-bidi-font-weight: normal;"><span lang="EN-US"><o:p></o:p></span></b></div>
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<div class="MsoNormal" style="line-height: 200%;">
Ni Lei</div>
Anonymoushttp://www.blogger.com/profile/11952915520694391038noreply@blogger.com0tag:blogger.com,1999:blog-9182641864907598193.post-46775363881895620092017-04-30T20:43:00.004-04:002017-04-30T20:43:36.741-04:00'Shorts: Postcards' at Tribeca<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6BWq7dYDV3gs9u6EVFbbVPZBQulFnZo16BeLNcULaJO1UQ_ZJDKdjROd4pSYZJkLuluVfKI1KtjaApqX84KNgbyoEPDcuQxZySiXMkwViCr-gCaR45mifB5KYrtN6cJVxaZLEMDKG-L_o/s1600/Screen+Shot+2017-04-30+at+8.42.43+PM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="322" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6BWq7dYDV3gs9u6EVFbbVPZBQulFnZo16BeLNcULaJO1UQ_ZJDKdjROd4pSYZJkLuluVfKI1KtjaApqX84KNgbyoEPDcuQxZySiXMkwViCr-gCaR45mifB5KYrtN6cJVxaZLEMDKG-L_o/s640/Screen+Shot+2017-04-30+at+8.42.43+PM.png" width="640" /></a></div>
<br />
On Friday evening I attended a program of <a href="https://tribecafilm.com/filmguide/shorts-postcards-2017">five short films</a> at the Tribeca Film Festival. They were titled 'Postcards,' presented as "five female-centric stories where the past meets the present." There was no introduction other than a brief welcome by a festival programmer who let us know that four of the directors were present in the audience. The theater was totally packed.<br />
<br />
The films ran about 20 minutes each, with each one beginning right after the other. The first film, '<a href="https://tribecafilm.com/filmguide/viola-franca-2017">Viola, Franca</a>,' was an incredibly powerful film about the first rape trial in Italy in the 1960s. Shot on film and very aesthetically European, it was an incredible way to begin the program. The second film was called '<a href="https://tribecafilm.com/filmguide/fry-day-2017">Fry Day</a>,' about a young girl coming of age in middle America. It was also heavy, like the first film, and my friend turned to me and said, "Do you think the next one might be happy?" I said probably not - the female experience is often not a happy one.<br />
<br />
The third film, '<a href="https://tribecafilm.com/filmguide/dive-2017">Dive</a>,' was a Venezuelan film that fell slightly short compared to the first two. While still somewhat thematically heavy, it did not develop as much depth as the others had. The fourth film is where I really knew the programming was struggling, as we watched '<a href="https://tribecafilm.com/filmguide/tokyo-project-2017">Tokyo Project</a>' a big budget, indulgence from executive producer Lena Dunham and starring Elisabeth Moss. It very much felt like the outlier, and I feel like it was programmed for political reasons more than anything. It was also the man's story much more than the woman's, so I'm not sure why it was included in this series.<br />
<br />
The final short was called '<a href="https://tribecafilm.com/filmguide/little-bird-2017">Little Bird</a>,' another period piece set in 1941 - I thought it was interesting to begin and end the program with such obviously period narratives - and while the editing might have helped the story have a little more clarity, it was a powerful, relevant story about abortion and independence.<br />
<br />
It was the first time I have attended a shorts program at a major film festival, and overall I loved it; however, a couple of the films were not as enthralling as the others, and out of the 20,000 submissions I like to think they might have had some better options. Still, it's always exciting to see women's stories given center stage in a program such as this.<br />
<br />
- Sarah DawsonSarah Dawsonhttp://www.blogger.com/profile/12268590098752434212noreply@blogger.com0tag:blogger.com,1999:blog-9182641864907598193.post-64016202401505286902017-04-30T20:27:00.000-04:002017-04-30T20:27:00.151-04:00Moving Images at the Whitney Biennial<div class="separator" style="clear: both; text-align: left;">
<span style="font-family: "times new roman"; font-size: 12pt;">Last
Sunday I went to the Whitney Museum of American Art to see the </span><i style="font-family: "Times New Roman"; font-size: 12pt;">2017 Whitney Biennial</i><span style="font-family: "times new roman"; font-size: 12pt;"> exhibition. Every
two years, the </span><i style="font-family: "Times New Roman"; font-size: 12pt;">Whitney Biennial</i><span style="font-family: "times new roman"; font-size: 12pt;"> acts
as a survey of the current landscape of contemporary American art and artists.
At this year’s exhibition, there are a wide array of different mediums featured,
from painting, photography, and sculpture to performance art and a multitude of
time-based media works. The moving image artworks in the show include formats
such as 16mm, 4K digital video, and even virtual reality. These various
audiovisual works are interspersed throughout the museum’s fifth and sixth
floor galleries. They are displayed next to non-moving image works such as
paintings and photographs in the same, brightly lit gallery spaces, though some
are also shown isolated in separate, darkened screening rooms with blackout
curtains preventing light spill from the galleries from entering the screening
space.</span></div>
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<span style="font-family: "times new roman"; mso-ascii-theme-font: major-latin; mso-bidi-theme-font: major-latin; mso-hansi-theme-font: major-latin;">The
last time I visited the Whitney, I saw the <i style="mso-bidi-font-style: normal;">Dreamlands</i>
exhibition, which was comprised entirely of moving image works. One of the
impressions I had about <i style="mso-bidi-font-style: normal;">Dreamlands</i>
concerned audio (an aspect of time-based media works that museum curators should
carefully consider when planning exhibitions). In many of the gallery rooms in <i style="mso-bidi-font-style: normal;">Dreamlands</i>, the audio from several
different pieces could be heard simultaneously, and in some cases the resulting
cacophony made it difficult to discern which sound track was meant to accompany
which video. I am pleased to report that this was not an issue at the <i style="mso-bidi-font-style: normal;">2017 Whitney Biennial</i>. The audiovisual
works on view are dispersed throughout the galleries in such a configuration
that the audio from one piece never overlaps with the audio of another.<o:p></o:p></span></div>
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<span style="font-family: "times new roman"; mso-ascii-theme-font: major-latin; mso-bidi-theme-font: major-latin; mso-hansi-theme-font: major-latin;"><br /></span></div>
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<span style="font-family: "times new roman"; mso-ascii-theme-font: major-latin; mso-bidi-theme-font: major-latin; mso-hansi-theme-font: major-latin;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNLJXJXoCpNM9l1QF-i4bz-zgLWrnd-WXszcw83-xLNblhRVLvEACgyr2Rn4kOCtUIg-i_sYW2KjTNLdFDjwxXUXvQ0krKGBikUcilll-ckHg3NxN_8R9bh4oMCc1Ms1WlvdEibPPtJ7VS/s1600/Screen+Shot+2017-04-30+at+8.17.36+PM.png" imageanchor="1"><img border="0" height="203" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNLJXJXoCpNM9l1QF-i4bz-zgLWrnd-WXszcw83-xLNblhRVLvEACgyr2Rn4kOCtUIg-i_sYW2KjTNLdFDjwxXUXvQ0krKGBikUcilll-ckHg3NxN_8R9bh4oMCc1Ms1WlvdEibPPtJ7VS/s320/Screen+Shot+2017-04-30+at+8.17.36+PM.png" width="320" /></a></span><br />
<span style="font-family: Times, Times New Roman, serif;">(Leigh Ledare's <i>Vokzal</i>, 16mm film projection)</span></div>
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<span style="font-family: "times new roman"; mso-ascii-theme-font: major-latin; mso-bidi-theme-font: major-latin; mso-hansi-theme-font: major-latin;">Though
there are dozens of moving image works featured in the <i style="mso-bidi-font-style: normal;">2017 Whitney Biennial</i>, I will briefly discuss three of them and the
curatorial questions they raised for me.</span><br />
<span style="font-family: "times new roman"; mso-ascii-theme-font: major-latin; mso-bidi-theme-font: major-latin; mso-hansi-theme-font: major-latin;"><br /></span></div>
<div class="MsoListParagraphCxSpFirst" style="mso-list: l0 level1 lfo1; text-indent: -.25in;">
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<!--[if !supportLists]--><b><span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font-family: "Times New Roman"; font-size: 7pt; font-stretch: normal; font-style: normal; font-variant: normal; line-height: normal;">
</span></span></span><!--[endif]--><i style="mso-bidi-font-style: normal;"><span style="font-family: "Times New Roman"; mso-ascii-theme-font: major-latin; mso-bidi-theme-font: major-latin; mso-hansi-theme-font: major-latin;">The Flavor
Genome</span></i></b><span style="font-family: "Times New Roman"; mso-ascii-theme-font: major-latin; mso-bidi-theme-font: major-latin; mso-hansi-theme-font: major-latin;"><b>
(Anicka Yi, 2016, 3D high definition video)</b><o:p></o:p></span></div>
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<span style="font-family: "Times New Roman"; mso-ascii-theme-font: major-latin; mso-bidi-theme-font: major-latin; mso-hansi-theme-font: major-latin;"><b><br /></b></span></div>
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<span style="font-family: "Times New Roman"; mso-ascii-theme-font: major-latin; mso-bidi-theme-font: major-latin; mso-hansi-theme-font: major-latin;"> Anicka Yi’s <i style="mso-bidi-font-style: normal;">The Flavor
Genome</i> is one of the works in the exhibition displayed in its own screening
room. This piece requires that the viewer don 3D glasses, which two museum
staff members hand out as one enters the screening room. The curatorial question
that arose with me for this piece concerns how often components such as 3D
glasses need to be replaced over the course of an exhibition. The side pieces
on the glasses I received were extremely stretched out, causing the glasses to
repeatedly fall off my face during the screening. This type of wear and tear on
viewing devices needs to be considered when programming events (especially if
it is a months-long exhibition that is open every day).<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman"; mso-ascii-theme-font: major-latin; mso-bidi-theme-font: major-latin; mso-hansi-theme-font: major-latin;"><br /></span></div>
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<!--[if !supportLists]--><b><span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font-family: "Times New Roman"; font-size: 7pt; font-stretch: normal; font-style: normal; font-variant: normal; line-height: normal;">
</span></span></span><!--[endif]--><i style="mso-bidi-font-style: normal;"><span style="font-family: "Times New Roman"; mso-ascii-theme-font: major-latin; mso-bidi-theme-font: major-latin; mso-hansi-theme-font: major-latin;">Vokzal </span></i></b><span style="font-family: "Times New Roman"; mso-ascii-theme-font: major-latin; mso-bidi-theme-font: major-latin; mso-hansi-theme-font: major-latin;"><b>(Leigh
Ledare, 2016, 16mm film)</b></span></div>
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<span style="font-family: "Times New Roman"; mso-ascii-theme-font: major-latin; mso-bidi-theme-font: major-latin; mso-hansi-theme-font: major-latin;"><b><br /></b></span></div>
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<span style="font-family: "Times New Roman"; mso-ascii-theme-font: major-latin; mso-bidi-theme-font: major-latin; mso-hansi-theme-font: major-latin;"> Leigh Ledare’s 16mm work <i style="mso-bidi-font-style: normal;">Vokzal
</i>was unfortunately projected in an extremely bright gallery space, and was
placed next to a large, floor-to-ceiling stained glass piece that had no discernable
relation to this work. The light emanating from the windows made the images
coming from the 16mm film projector very difficult to view. This arrangement struck
me as an odd curatorial decision. <o:p></o:p></span></div>
<div class="MsoListParagraphCxSpMiddle">
<span style="font-family: "Times New Roman"; mso-ascii-theme-font: major-latin; mso-bidi-theme-font: major-latin; mso-hansi-theme-font: major-latin;"><br /></span></div>
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<!--[if !supportLists]--><span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt "Times New Roman";">
</span></span></span><!--[endif]--><i style="mso-bidi-font-style: normal;"><span style="font-family: "Times New Roman"; mso-ascii-theme-font: major-latin; mso-bidi-theme-font: major-latin; mso-hansi-theme-font: major-latin;"><b>Real Violence</b></span></i><span style="font-family: "Times New Roman"; mso-ascii-theme-font: major-latin; mso-bidi-theme-font: major-latin; mso-hansi-theme-font: major-latin;"><b> (Jordan
Wolfson, 2017, virtual reality)</b></span></div>
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<w:LsdException Locked="false" Priority="9" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="heading 2"/>
<w:LsdException Locked="false" Priority="9" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="heading 3"/>
<w:LsdException Locked="false" Priority="9" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="heading 4"/>
<w:LsdException Locked="false" Priority="9" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="heading 5"/>
<w:LsdException Locked="false" Priority="9" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="heading 6"/>
<w:LsdException Locked="false" Priority="9" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="heading 7"/>
<w:LsdException Locked="false" Priority="9" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="heading 8"/>
<w:LsdException Locked="false" Priority="9" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="heading 9"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="index 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="index 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="index 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="index 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="index 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="index 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="index 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="index 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="index 9"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" Name="toc 1"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" Name="toc 2"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" Name="toc 3"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" Name="toc 4"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" Name="toc 5"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" Name="toc 6"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" Name="toc 7"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" Name="toc 8"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" Name="toc 9"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="footnote text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="header"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="footer"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="index heading"/>
<w:LsdException Locked="false" Priority="35" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="caption"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="table of figures"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="envelope address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="envelope return"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="footnote reference"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation reference"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="line number"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="page number"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="endnote reference"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="endnote text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="table of authorities"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="macro"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="toa heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="10" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Signature"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="true"
UnhideWhenUsed="true" Name="Default Paragraph Font"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Message Header"/>
<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Date"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
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<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
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<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
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<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
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<span style="font-family: "Times New Roman"; mso-ascii-theme-font: major-latin; mso-bidi-theme-font: major-latin; mso-hansi-theme-font: major-latin;"> I have seen virtual reality works at a few programmed events and I
have to say that I the Whitney handled the exhibition of a VR work in a very
efficient way. For Jordon Wolfson’s <i style="mso-bidi-font-style: normal;">Real
Violence,</i> a table was set up with ten VR headsets so ten people could watch
the piece at the same time. Though there was a line to view the work, it moved
very quickly (even on a Sunday!) as the piece is fairly short and can accommodate
ten viewers at once. As this work features extremely graphic violence, a
warning of the brutal content was prominently displayed in the gallery. Museum
staff members assisted patrons with putting on the VR headsets and I observed
them cleaning the headsets in between viewings. The only issue I found was that
the staff informed everyone the work was 90 seconds long, while the wall text
said it was two and a half minutes long. Aside from this minor discrepancy, the
Whitney and its staff did a great job curating this VR experience. <o:p></o:p></span></div>
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<br /></div>
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<br /></div>
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<span style="font-family: "times" , "times new roman" , serif;">--Savannah Campbell</span></div>
Savannah Campbellhttp://www.blogger.com/profile/06597708330086992828noreply@blogger.com0tag:blogger.com,1999:blog-9182641864907598193.post-46957207232728312232017-04-28T17:43:00.000-04:002017-04-28T17:43:12.359-04:00The Ballad of Sexual Dependency<div class="separator" style="clear: both; text-align: center;">
<a href="https://www.moma.org/d/assets/W1siZiIsIjIwMTYvMDYvMjcvODBqYW01a2U3aV9tb21hX2dvbGRpbl80N18yMDA2X2NjY3IuanBnIl0sWyJwIiwiY29udmVydCIsIi1yZXNpemUgMjAwMHgyMDAwXiAtZ3Jhdml0eSBDZW50ZXIgLWV4dGVudCAyMDAweDIwMDAiXV0/moma_goldin_47_2006_cccr.jpg?sha=e88765ad4f525df9" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://www.moma.org/d/assets/W1siZiIsIjIwMTYvMDYvMjcvODBqYW01a2U3aV9tb21hX2dvbGRpbl80N18yMDA2X2NjY3IuanBnIl0sWyJwIiwiY29udmVydCIsIi1yZXNpemUgMjAwMHgyMDAwXiAtZ3Jhdml0eSBDZW50ZXIgLWV4dGVudCAyMDAweDIwMDAiXV0/moma_goldin_47_2006_cccr.jpg?sha=e88765ad4f525df9" width="320" /></a></div>
<br />
<br />
<a href="https://www.moma.org/calendar/exhibitions/1651" target="_blank">The Ballad of Sexual Dependency</a> by Nan Goldin, an essayistic slideshow of nearly 700 photos taken by Nan Goldin throughout the 1970s and 80s was recently taken down from exhibition at MoMA. In a scramble to see this piece before being taken down, I rushed the day before its end to wait in line and to see what my reaction would be. I had seen a small segment merely two days before, and found myself moved by the work in a way that I couldn't explain, and I needed to see more. So, on the 15th of April, i went to MoMA, wormed my way into the room where it was being shown to a packed and rapt audience, and sat through the entirety of the piece twice. And afterwards, I found myself so moved by the piece, so in need to preserve my connection to the work, that I immediately went to the bookstore on the premises and bought the photo book collection of roughly 250 of the photos from the work. To hold on to the memory of the work, and the powerful effect it had on me. I ended up crying three times that day, twice during the show itself and once hours later at the memory of the piece. I haven't been moved by art so strongly in some time, and that I was able to see this just days before it would be taken down, and unknown years before I would ever be able to see this work again, fills me with an energy and hope. To see it in its original 35mm slide format only enhanced the experience<br />
<br />
Raananah Sarid-Segal<br />
<br />
<br />Raananhttp://www.blogger.com/profile/03894183628762994966noreply@blogger.com1tag:blogger.com,1999:blog-9182641864907598193.post-86485147062055122242017-04-15T23:11:00.001-04:002017-04-16T10:40:37.656-04:00Floral Juxtaposition<div class="mobile-photo">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhR_-dm7SLAd3EuwHdwivzt4ta0g2TxzN2xKiACHuzeLPolyxZwmQVnvEL3vM5ugoy2qnAi1ZsBZzBxfiQFZsJAuTluzChkUp6AT4-CuBEh8K1sLptsi-dzccYTiaagoARb6gAOX33Su8bU/s1600/BouquetsToArt-707462.jpeg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_6409432561703659522" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhR_-dm7SLAd3EuwHdwivzt4ta0g2TxzN2xKiACHuzeLPolyxZwmQVnvEL3vM5ugoy2qnAi1ZsBZzBxfiQFZsJAuTluzChkUp6AT4-CuBEh8K1sLptsi-dzccYTiaagoARb6gAOX33Su8bU/s400/BouquetsToArt-707462.jpeg" /></a></div>
<div class="mobile-photo">
<br /></div>
<div class="mobile-photo">
by </div>
<div class="mobile-photo">
Manon Gray</div>
<div class="mobile-photo">
<br /></div>
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Over spring break I visited the de Young Art Museum in San Francisco. It happened to be during their annual Bouquets to Art. The museum invites florists from around the Bay Area to create flower arrangements that pair with art in the de Young's collection. I've been several times, and there's always been a large crowd. Picture taking of the flowers is so popular that the museum advertises photo-free hours in the morning. Bouquets to Art is a fundraiser, and, according to the museum's website, has "raised more than $6 million for the Museums' special exhibitions, conservation projects, and education programs." </div>
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I always find the level of excitement around the flowers intriguing. It's tempting to conclude that people like flowers more than they like paintings, but I don't think that is it. I think that the flowers make the art less intimidating. Often art can feel inaccessible without some understanding of its art history context. Since the bouquets are usually paired with a single work, they are interpretations. A visitor can easily compare the arrangement with the work. The arrangements are usually not figurative, so the comparison invites consideration of the piece's formal characteristics such as color and shape. The comparison provides structure for contemplation.</div>
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None of the works featured in Bouquets to Art were moving images, and I don't think flower arrangements would pair as well with them compared to static works. However, I wonder if a different juxtaposition could provide similar effects for the interpretation and appreciation of moving images. <br />
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-9182641864907598193.post-36452346286935617712017-04-14T10:52:00.001-04:002017-04-14T10:52:54.630-04:00Egyptian Theatre Screens Nitrate Prints<div dir="ltr"> <p class="MsoNormal" style="text-indent:0.5in">The TCM Classic Film Festival ran from April 6-9 this year, and like any other year, they aired time honored classics in iconic Hollywood venues, sometimes with the artists themselves as guests of honor. This year was entitled <i>Comedy in the Movies</i>, but that wasn't the detail that was particularly special about the event. This year, TCM screened four of their features using nitrate prints of the films. The short but exciting list consisted of the titels: <i>Laura, The Man Who Knew Too Much, Lady in the Dark, </i>and <i>Black Narcissus. </i>Even more exciting, the latter three films are color nitrate stock. Due to Kodak ceasing nitrate producing in 1950, color prints are far less common than earlier black and white films. <span></span></p> <p class="MsoNormal" style="text-indent:0.5in">In order to accommodate this endeavor, the projection booth at the Egyptian Theatre, where the films were shown, had to be remodeled to be brought up to modern construction codes. This was a collaboration between TCM, Martin Scorcese's The Film Foundation, Academy Film Archive, and the American Cinematheque. Additionally, the project also modified two 35mm projectors: they were connected to a large emergency button. In the case of a fire, when depressed, the button shuts off the projectors and activates metal fire shutters that encase the projection booth to isolate the fire. <span></span></p> <p class="MsoNormal" style="text-indent:0.5in">While the project itself is exciting enough, the long lasting effects are even more enticing: because the Egyptian is now up to code, they have future plans to show nitrate films in their programming from time to time. This is fantastic news for those who have never seen nitrate projected – which is a large number of younger peoples – and has implications for increased access not only at this theatre, but proves that with some motivation, it is a possibility for other theatres and venues (funding available) as well. <span></span></p><p class="MsoNormal" style="text-indent:0.5in"><br></p><p class="MsoNormal" style="text-indent:0.5in">-- Melanie Miller</p> </div> Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-9182641864907598193.post-36737829943797488222017-04-12T21:28:00.000-04:002017-04-12T21:28:12.729-04:00'Casablanca' in the Age of TrumpLast week, I attended an event hosted by Eugene Lang College and The New School; specifically, the Department of Culture and Media at Eugene Lang College of Liberal Arts and the Zolberg Institute on Migration and Mobility, as well as the Department of Liberal Studies at The New School for Social Research. The event included a screening of the classic 1942 film <i>Casablanca,</i> and was titled "Casablanca at 75: A Refugee Story."<br />
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I was incredibly excited about the event for two main reasons: <i>Casablanca</i> is one of my favorite films, and one of my primary passions concerning cinema is the ability to recontextualize stories across time, culture, etc. in order to invoke new meanings from them. In the age of Trump and the divisive rhetoric surrounding immigration, this screening event appeared to be the perfect antidote and opportunity for discussion around "new" meanings of a classic film.<br />
<br />
The event was also to include a conversation with Noah Isenberg, a Eugene Lang College professor of Culture and Media and the author of <i>We'll Always Have Casablanca: The Life, Legend, and Afterlife of Hollywood's Most Beloved Movie, </i>and Alexander Aleinikoff, director of the Zolberg Institute on Migration and Mobility at The New School. The conversation was to be moderated by A.O. Scott of <i>The New York Times. </i>Honestly, I cannot think of a set-up for an event that could possibly excite me more than this one; when I discovered it on Facebook, I immediately registered (it was also free).<br />
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Unfortunately, the event fell incredibly short of my expectations. The venue at The New School was nice and there were about 40 people in attendance (fewer than I had anticipated). The screening was fine - the film seemed to be played via DVD - but there was no real introduction beforehand. When the three men took to the stage after the film ended, no introductions were made. There was also no program or pamphlet, and so I had no idea who was who and had forgotten exactly which each person's expertise was supposed to be. They launched into a too-casual conversation that talked some about the film's renewed relevance in the current political climate, but it felt more like a chat between friends and we all just happened to be there, too. While I think a casual discussion at at event like this is often fine, introductions were definitely necessary and it would have been nice to have felt more addressed as audience members. The conversation lasted 25 minutes or so, with nothing all that substantial to contribute to the relevance of the film.<br />
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I had high hopes for this sort of recontextualization of such an iconic film - it felt like it would be the perfect event - but it seemed to fall short based on poor planning and execution. It might have been a really impactful conversation, but I left feeling like I had watched a film I had seen a hundred times before with no new insight. It's unfortunate, because obviously these men have remarkable expertise on the topic. With more proper planning, it might have been a really special experience.<br />
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- Sarah DawsonSarah Dawsonhttp://www.blogger.com/profile/12268590098752434212noreply@blogger.com0tag:blogger.com,1999:blog-9182641864907598193.post-8213962062636144062017-04-09T12:59:00.000-04:002017-04-09T13:04:30.697-04:00On a Mission to Rescue Home Movies and Orphan Films<span style="font-family: "times new roman" , serif; font-size: 12pt; margin: 0px;"> “Home
movies too often have been perceived as simply an irrelevant pastime or
nostalgic mementos of the past, or dismissed as insignificant byproducts of
consumer technology”.<span style="margin: 0px;"> </span>Patricia Zimmerman
and Karen Ishizuka say it best in their book <i style="mso-bidi-font-style: normal;">Mining the Home Movie: Excavations in Histories and Home Movies</i>.<span style="margin: 0px;"> </span>I am a firm believer of this, that home
movies serve a much greater role outside of the families that they belong
too.<span style="margin: 0px;"> </span></span><span style="color: black; font-family: "times new roman" , serif; font-size: 12pt; margin: 0px;">The Center for Home Movies proclaims on their website that “you
may be surprised to learn that your home movies can hold great interest for a
much wider public, including local historians, international scholars, and
artists. Popular celebrities or historic events that appear in your films would
be obvious examples, but in fact it is the record of normal human beings being
themselves in everyday circumstances that may be of most historical value.” This
brings me to the questions: Can someone curate home movies and only home
movies? This question stems from a paper I wrote for my final assignment in
Howard Besser’s Culture of Archives, Museums and Libraries class in the spring
of 2016. In this paper, I surveyed three historic houses located on Long Island,
New York. A historic house can be defined as a building, where people can go to
learn more about their local history of the town they live in.<span style="margin: 0px;"> </span>Some of those houses represent a single
family that once owned most the land at one point in time.<span style="margin: 0px;"> </span>These types of houses are common throughout Long
Island and much of the country and I was wondering if I could draw common
threads between them and analyze what they might be lacking and in need of. <span style="margin: 0px;"> </span>It turns out that none of them considered
themselves historic houses but rather variants of that name.<span style="margin: 0px;"> </span>More importantly, they are all in need of an
archivist. Some houses had small moving image collections that were known to
exist but had never been inspected or assessed of their value.<span style="margin: 0px;"> </span>It is a hope of mine to survey as many of
these houses as I can to bring these materials to light and show the people of
New York what wonderful things lay dormant on film and maybe stumble upon something
special that no one knew existed before. </span><br />
<span style="color: black; font-family: "times new roman" , serif; font-size: 12pt; margin: 0px;"> This is the beginning a
project that will be based on Long Island that involves surveying not just historic
houses but libraries, museums, local television stations, town halls, schools
and colleges in Nassau County for home movies and orphan films. The end goal of
this project is exhibition of this material in its original form as well as
creating awareness of the potential of this material. This could be a good way
to drum up attention for home movies and preservation of local history in
general. I believe that if enough home movies are discovered, we could curate
events using those home movies. We could get local musicians to score the home
movies and perform alongside them as they are screened.<span style="margin: 0px;"> </span>Historical societies and libraries are always
in search of new and varied events to hold that are also educational.</span><br />
<span style="color: black; font-family: "times new roman" , serif; font-size: 12pt; margin: 0px;"> Another impetus for this
project occurred over the summer.<span style="margin: 0px;"> </span>While
interning at Indiana University Libraries’ Moving Image Archive in Bloomington,
Indiana, I was given the task of beginning the inventory of the Edward and
Naomi Feil Collection. During that time, I was intrigued by a film can that
read, “World’s Fair 64-65”. To make a long story short, Edward Feil took his
camera into a theater at the fair that was showing a film, <i style="mso-bidi-font-style: normal;">Think</i>. Ed captured three minutes of this ten-minute film and I was
aware that the Library of Congress was working on a restoration of the
film.<span style="margin: 0px;"> </span>There were still questions
surrounding the film’s original exhibition and some of the images within it.
These questions were answered in Edward’s home movie from the World’s Fair.
This re-discovery got me thinking. What other wonders lay dormant on home
movies throughout the country? Throughout the world? How could I go about
figuring this out? How could I obtain the funds to do it? How can I rescue home
movies that have been orphaned over the years? Could I stumble upon something
as equally as important as Edward Feil’s home at World’s Fair? </span><br />
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<div style="line-height: normal; margin: 0px; text-indent: 0.5in;">
<span style="color: black; font-family: "times new roman" , serif; font-size: 12pt; margin: 0px;">https://www.nytimes.com/2016/10/31/nyregion/a-lost-snippet-of-film-history-found-in-a-home-movie-shot-in-1964.html?_r=0</span><br />
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<span style="color: black; font-family: "times new roman" , serif; font-size: 12pt; margin: 0px;"> Could I do this
in a pro-bono fashion? How can I get people who don’t care about home movies to
care about home movies? So many questions and so few answers.<span style="margin: 0px;"> </span>Over the course of my career as an
audio-visual archivist and preservationist I hope to become part of the larger
community of like-minded professionals who speak of and save home movies. </span></div>
<span style="font-family: "times new roman" , serif; font-size: 12pt; margin: 0px;"><span style="color: black; margin: 0px;"> Well, to keep costs down, preliminary work would be done on
the phone. This will also be an easy way for others who want to get involved in
such a project, to do so. Since I live in Nassau County on Long Island, I will
begin there and begin with historic houses throughout Nassau County, which
there are many, almost one for every town. <span style="margin: 0px;"> </span>Sixty-three cities, towns and, villages make
up Nassau County. <span style="margin: 0px;"> </span>Almost each one has a
library, multiple schools and historic houses that work towards preserving
local histories. </span></span><br />
<span style="color: black; font-family: "times new roman" , serif; font-size: 12pt; margin: 0px;"> Having worked with my local historical society in
Malverne, NY and a couple others in the recent past, this is the where we will
start. The Malverne Historical and Preservation Society, for the past year, has
shown interest in hosting an event using home movies found within the town. I
have suggested that, to do this, we could use the local television station to
reach out to local people and communicate the idea that home movies are
important and relevant to not just the families who originally shot them. With
enough home movies, we could program an event to show the development of Malverne
over time. This could serve as an example of what can be done in any town with
their home movies and could inspire others to reach into their closets, attics,
and garages, dig up their home movies and allow them to part of this project.</span><br />
<span style="color: black; font-family: "times new roman" , serif; font-size: 12pt; margin: 0px;"> In the fall of 2015, I performed a collection assessment for my
local television station of their tapes and found a box of VHS tapes of home
movies. They broadcast them occasionally. These are films that have been
reformatted to VHS by the families that owned them and it is no longer clear
who gave the station these reformatted VHS tapes. <span style="margin: 0px;"> </span>A quick search revealed that a film collection
at Northeast Historic Film houses some other home movies from Malverne in the
1930s.</span><span style="font-family: "times new roman" , serif; font-size: 12pt; margin: 0px;"><span style="margin: 0px;">
</span></span><br />
<span style="color: black; font-family: "times new roman" , serif; font-size: 12pt; margin: 0px;"> The first Wednesday of every month, Malverne holds a board meeting
that the television station broadcasts live to discuss issues and the goings-on
in the town.<span style="margin: 0px;"> </span>During this meeting, there
is a segment where anyone who wants to address the board can ask them questions,
speak to the camera and address those who are watching.<span style="margin: 0px;"> </span>Here I could make a plea for the opportunity
to inspect and exhibit their home movies at an event at the Malverne Historical
and Preservation Society sometime in the future.<span style="margin: 0px;"> </span>I will also ask if those who have donated VHS
tapes in the past if they still have the film.<span style="margin: 0px;">
</span>I would love to use these home movies but the VHS tapes and DVDs I have
seen are poor presentations of the material. </span><br />
<span style="color: black; font-family: "times new roman" , serif; font-size: 12pt; margin: 0px;"> Looking beyond Malverne, we could contact each historic
house and library by phone or email.<span style="margin: 0px;"> </span></span><span style="font-family: "times new roman" , serif; font-size: 12pt; margin: 0px;">For the purpose of this project, when discussing film
materials, the term “moving image” will not be used in conversation.<span style="margin: 0px;"> </span>Too often, I receive confused looks when I
refer to film and video as moving image material. <span style="color: black; margin: 0px;">Below
are some questions that could be asked of these places in an email, over the
phone or in person:</span></span><br />
<br />
<ul style="margin-top: 0in;" type="disc">
<li style="color: black; font-family: "Times New Roman",serif; font-size: 12pt; font-style: normal; font-weight: normal; line-height: normal; margin: 0px; vertical-align: baseline;"><span style="font-family: "times new roman" , serif; font-size: 12pt; margin: 0px;">How large are your holdings?</span></li>
<li style="color: black; font-family: "Times New Roman",serif; font-size: 12pt; font-style: normal; font-weight: normal; line-height: normal; margin: 0px; vertical-align: baseline;"><span style="font-family: "times new roman" , serif; font-size: 12pt; margin: 0px;">How is your material handled
and stored? </span></li>
<li style="color: black; font-family: "Times New Roman",serif; font-size: 12pt; font-style: normal; font-weight: normal; line-height: normal; margin: 0px; vertical-align: baseline;"><span style="font-family: "times new roman" , serif; font-size: 12pt; margin: 0px;">Do you have any home movies on
film or home movies that are now on tape or DVD that were born on film? </span></li>
<li style="color: black; font-family: "Times New Roman",serif; font-size: 12pt; font-style: normal; font-weight: normal; line-height: normal; margin: 0px; vertical-align: baseline;"><span style="font-family: "times new roman" , serif; font-size: 12pt; margin: 0px;">Are you ever approached by
local people who want to give you home movies or film materials?</span></li>
<li style="color: black; font-family: "Times New Roman",serif; font-size: 12pt; font-style: normal; font-weight: normal; line-height: normal; margin: 0px; vertical-align: baseline;"><span style="font-family: "times new roman" , serif; font-size: 12pt; margin: 0px;">Do you have any film projectors
in your holdings?</span></li>
<li style="color: black; font-family: "Times New Roman",serif; font-size: 12pt; font-style: normal; font-weight: normal; line-height: normal; margin: 0px; vertical-align: baseline;"><span style="font-family: "times new roman" , serif; font-size: 12pt; margin: 0px;">Have you ever had an archivist
on staff?</span></li>
<li style="color: black; font-family: "Times New Roman",serif; font-size: 12pt; font-style: normal; font-weight: normal; line-height: normal; margin: 0px; vertical-align: baseline;"><span style="font-family: "times new roman" , serif; font-size: 12pt; margin: 0px;">Would you be interested in
having an audio-visual archivist inspect any films materials?</span></li>
<li style="color: black; font-family: "Times New Roman",serif; font-size: 12pt; font-style: normal; font-weight: normal; line-height: normal; margin: 0px; vertical-align: baseline;"><span style="font-family: "times new roman" , serif; font-size: 12pt; margin: 0px;">Would you be interested in this
project I am working on?</span></li>
<li style="color: black; font-family: "Times New Roman",serif; font-size: 12pt; font-style: normal; font-weight: normal; line-height: normal; margin: 0px; vertical-align: baseline;"><span style="font-family: "times new roman" , serif; font-size: 12pt; margin: 0px;">Do you know of any other places
such as other historic houses or libraries that may have film materials
that need inspection?</span></li>
<li style="color: black; font-family: "Times New Roman",serif; font-size: 12pt; font-style: normal; font-weight: normal; line-height: normal; margin: 0px; vertical-align: baseline;"><span style="font-family: "times new roman" , serif; font-size: 12pt; margin: 0px;">Would you be interested in hosting
an event this exhibits home movies and/or orphan films?</span></li>
<li style="color: black; font-family: "Times New Roman",serif; font-size: 12pt; font-style: normal; font-weight: normal; line-height: normal; margin: 0px; vertical-align: baseline;"><span style="font-family: "times new roman" , serif; font-size: 12pt; margin: 0px;">Would you be willing to work
with us to secure funds for the digitization of any home movies or orphan
films found in your possession? </span></li>
<li style="color: black; font-family: "Times New Roman",serif; font-size: 12pt; font-style: normal; font-weight: normal; line-height: normal; margin: 0px; vertical-align: baseline;"><span style="font-family: "times new roman" , serif; font-size: 12pt; margin: 0px;">Would you be willing to provide
broader access to these materials once they have been digitized?</span></li>
</ul>
<span style="color: black; font-family: "times new roman" , serif; font-size: 12pt; margin: 0px;"> In the summer, after graduation from the Moving Image
Archiving and Preservation Program (MIAP) at NYU, I will work on answering all
of the questions raised in this blog post.<span style="margin: 0px;">
</span>In a hypothetical situation where this project is a success, minimally, we
would end up re-discovering a few hundred home movies. The films that are in
good shape will be exhibited in their original form with both 8mm and 16mm
projectors that have been provided by The Malverne Historical and Preservation
Society. Projectors that I help maintain and have access to regularly.<span style="margin: 0px;"> </span>We will attempt to secure funding for films
that have been inspected and appear to be in poor condition, shrunken, and are
unable to be projected. Assuming we are able to project most of the films
discovered, we could stumble upon something of importance. Using the example of
Edward Feil’s home movie from the World’s Fair, one never knows how valuable a
home movie could be.</span><br />
<span style="color: black; font-family: "times new roman" , serif; font-size: 12pt; margin: 0px;"> I’m already aware of two historic houses that possess
home movies of the families that once owned them. These two houses happen to be
Gold Coast mansions.<span style="margin: 0px;"> </span>Gold Coast mansions
are home located on the north shore of Long Island.<span style="margin: 0px;"> </span>These mansions were built during the
1920s.<span style="margin: 0px;"> </span>It would be interesting to
exhibit these home movies in conjunction with each other.<span style="margin: 0px;"> </span>One could witness how different families of
affluent background lived at that time. One of the historic houses from my
survey mentioned that they possess nitrate film in their holdings.<span style="margin: 0px;"> </span>This project can also serve to connect local
institutions that may not necessarily communicate with each other. Long Island,
including Brooklyn and Queens, is a highly-populated area with great potential
for home movies and orphan films to be re-discovered. Since most historic
houses have material that is in need of archiving and preservation but no money
for an archivist, I’m hoping the attention that the combination of events and
the re-discovery of home movies and orphan films will highlight the need for
archivists in not just on Long Island but all over the country. There is
special material, both moving image and non-moving image that is waiting to be
researched and re-discovered but no one knows what specials thing lay dormant
for people to see. <span style="margin: 0px;"> </span>Beginning with a few
emails and phone calls, I am optimistic that this can be done with great
results within a year or two. I am on a rescue mission so to save local history
in the form of home movies and orphan films. </span><br />
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<div style="text-align: center;">
<span style="color: black; font-family: "times new roman" , serif; font-size: 12pt; margin: 0px;">Sources Cited:</span></div>
<br />
<div style="line-height: normal; margin: 0px; vertical-align: baseline;">
<span style="color: black; font-family: "times new roman" , serif; font-size: 12pt; margin: 0px;"> Center for Home Movies. Web. 02 Mar. 2017.
<http://www.centerforhomemovies.org/>.</span></div>
<br />
<div style="line-height: normal; margin: 0px; text-align: justify; text-indent: 0.5in;">
</div>
<span style="color: #333333; font-family: "times new roman" , serif; font-size: 12pt; margin: 0px;"> Ishizuka,
Karen L., and Patricia Rodden. Zimmermann. <i>Mining the home movie:
excavations in histories and memories</i>. Berkeley: U of California Press,
2008. Print.</span><br />
<b></b><i></i><u></u><sub></sub><sup></sup><strike></strike>Robert Anenhttp://www.blogger.com/profile/10012441804898518637noreply@blogger.com0tag:blogger.com,1999:blog-9182641864907598193.post-69453073075317192462017-04-03T14:12:00.000-04:002017-04-03T14:12:00.867-04:00Keeping an Open Mind at the Museum of Sex <span style="font-family: "Times New Roman"; font-size: 12pt;">Recently,
some friends of mine came to town, and they decided they wanted to check out
the Museum of Sex.</span><span style="font-family: "Times New Roman"; font-size: 12pt;"> </span><span style="font-family: "Times New Roman"; font-size: 12pt;">I hadn’t been there
before, and it wasn’t high on my list of things to do in New York. It always
seemed like kind of a joke to me. As it turns out, the Museum of Sex </span><i style="font-family: "Times New Roman"; font-size: 12pt;">is </i><span style="font-family: "Times New Roman"; font-size: 12pt;">kind of a joke, but it also aims to provide an earnest
presentation of</span><span style="font-family: "Times New Roman"; font-size: 12pt;"> art, biology, and sexuality.</span><br />
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The
“OBJECTXXX” exhibition featured artifacts from the museum’s archive. My friend
wondered aloud, “Wow, I feel bad for whoever has to handles these
acquisitions.” I had to agree. These objects were various sexual devices, toys,
dolls, contraceptives, and even Hugh Hefner’s smoking jacket. On view in the
center of the gallery was a bicycle contraption serving as a very complex sex
toy, complete with footage showing how it worked. While the majority of these
objects weren’t very old, some dated as far back as 1900, offering a historical
perspective of human sexuality.<span style="mso-spacerun: yes;"> </span><o:p></o:p></div>
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“The Sex
Lives of Animals” exhibition claims that “Sex in the animal kingdom is as
nuanced as it is in the human realm.” Developed in collaboration with a number
of scientists, evolutionary biologists, and zoologists, the exhibition was
extremely informative. Text on the walls explained the behaviors of many
different animal species, proving that sexual behavior in animals varies widely
and goes far beyond the purpose of reproduction, which is true of human
behavior as well. There were also a lot of sculptures and videos in this exhibition. My
friends and I are no prudes, but even we felt a bit scandalized by the sights
and sounds in the room. <o:p></o:p></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEfbcooTBRixsCnMzCqlf6j0Ak9orOdEVX7LtvyttbFBw4f2whB-mcjBI6Ehsfk0h7PNqEL4AV7Qz59zrwMefAHWlXIiNZUG13g1_eNvpVXlH0sW_GCKsAPUi42pkkqGRDDLs7d947vTq8/s1600/dolphins.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="201" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEfbcooTBRixsCnMzCqlf6j0Ak9orOdEVX7LtvyttbFBw4f2whB-mcjBI6Ehsfk0h7PNqEL4AV7Qz59zrwMefAHWlXIiNZUG13g1_eNvpVXlH0sW_GCKsAPUi42pkkqGRDDLs7d947vTq8/s320/dolphins.jpg" width="320" /></a></div>
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<div class="MsoNormal">
I’m glad I
went to the Museum of Sex and looked beyond my preconceived notions of it. A lot of
people do think of this museum as a good place to have some laughs, and that’s
fair. After all, for an extra charge you can jump around in boob-shaped bounce
house. Yet having said that, my friends and I actually learned a thing or two in
the hour we spent there, and I saw just how much work went into curating these
exhibitions.<o:p></o:p></div>
Caroline Rollhttp://www.blogger.com/profile/04978315687744005895noreply@blogger.com0tag:blogger.com,1999:blog-9182641864907598193.post-11155108111956179372017-03-15T14:07:00.000-04:002017-03-15T14:07:28.986-04:00Cartoons, Carnivals and the Cinematic Experience
<br />
<div style="margin: 0px 0px 11px; text-indent: 0.5in;">
<span style="font-family: Times, "Times New Roman", serif;">On February 25</span><sup><span style="font-family: Times, "Times New Roman", serif; font-size: x-small;">th</span></sup><span style="font-family: Times, "Times New Roman", serif;">, I
attended a screening of The Tommy Stathes Cartoon Carnival. The program was a
wonderfully, curated event of “Fairytales and Fables”. The screening was held
at Shoestring Press and the room was packed with people lining the walls to
spend the evening watching cartoons on film. Stathes created one of the most
authentic cinema experiences I have ever been part of. With no projection booth
to encase the 16mm projector and all the sounds that ensue when aging prints
become the subject of its manipulation, the audience was given an experience reminiscent
of the early days of cinema, when films were indeed shown at carnivals.</span><span style="margin: 0px;"><span style="font-family: Times, "Times New Roman", serif;"> </span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDWqJUjndItw7qoAsTpcsg5hjkEwZzljwjeHBo5-9QhNoNXJd42XIlYxYjdTQPCw-eRGIaikwezAjAT0puo72Lv2OqIx5hiwzUHSA12WY0X9f8tcMP4PbXw32ki2stec-FCxn4hatSIX8/s1600/File_001.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"></a></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDWqJUjndItw7qoAsTpcsg5hjkEwZzljwjeHBo5-9QhNoNXJd42XIlYxYjdTQPCw-eRGIaikwezAjAT0puo72Lv2OqIx5hiwzUHSA12WY0X9f8tcMP4PbXw32ki2stec-FCxn4hatSIX8/s1600/File_001.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Times, "Times New Roman", serif;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDWqJUjndItw7qoAsTpcsg5hjkEwZzljwjeHBo5-9QhNoNXJd42XIlYxYjdTQPCw-eRGIaikwezAjAT0puo72Lv2OqIx5hiwzUHSA12WY0X9f8tcMP4PbXw32ki2stec-FCxn4hatSIX8/s200/File_001.jpeg" width="172" /></span></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDWqJUjndItw7qoAsTpcsg5hjkEwZzljwjeHBo5-9QhNoNXJd42XIlYxYjdTQPCw-eRGIaikwezAjAT0puo72Lv2OqIx5hiwzUHSA12WY0X9f8tcMP4PbXw32ki2stec-FCxn4hatSIX8/s1600/File_001.jpeg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><b></b></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Times, "Times New Roman", serif;">Tommy Stathes at the projector.</span></td></tr>
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<span style="font-family: Times, "Times New Roman", serif;">Once the evening began, the light
leaking from the projector lit the room in the most romantic fashion.</span><span style="margin: 0px;"><span style="font-family: Times, "Times New Roman", serif;"> </span></span><span style="font-family: Times, "Times New Roman", serif;">The highlights of the evening included </span><i style="mso-bidi-font-style: normal;"><span style="font-family: Times, "Times New Roman", serif;">Snow White</span></i><span style="font-family: Times, "Times New Roman", serif;">, a 1933 Fleischer Studios
film, that starred Betty Boop and Cab Calloway in the form of a clown. Second, listed
in the program as a “super surprise cartoon short”, Marv Newland’s 1969 short
film, Bambi Meets Godzilla. The audience went wild for both of those cartoons.
My personal favorite from that evening was a 1935 George Pal cartoon, </span><i style="mso-bidi-font-style: normal;"><span style="font-family: Times, "Times New Roman", serif;">The Sleeping Beauty.</span><span style="margin: 0px;"><span style="font-family: Times, "Times New Roman", serif;"> </span></span></i><span style="font-family: Times, "Times New Roman", serif;">This was a sponsored film for Philips.</span><span style="margin: 0px;"><span style="font-family: Times, "Times New Roman", serif;"> </span></span><span style="font-family: Times, "Times New Roman", serif;">Sleeping Beauty is held up in a castle and over
the centuries various chivalrous men attempt to rescue her but are unable to
break through the dense system of vines that encapsulate the castle. It turns
out that the only way to wake her up was by playing music from the latest model
of Philips radio. The brilliance and visual depth of this cartoon will stick
with me for a while. </span></div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjahnJ7VVSjJvxkChkVUWHhajpAuGOA3Y1lqODUmOaijCE4z3zSMydzZ19Glczir3mLSkThiL8UR5LPQbA7H4FHr59ccXyprBP-T_JWp2vTpSp6n9k4CqcztnimmLLtSJVbINvUj3aDyK0/s1600/File_000.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="font-family: Times, "Times New Roman", serif;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjahnJ7VVSjJvxkChkVUWHhajpAuGOA3Y1lqODUmOaijCE4z3zSMydzZ19Glczir3mLSkThiL8UR5LPQbA7H4FHr59ccXyprBP-T_JWp2vTpSp6n9k4CqcztnimmLLtSJVbINvUj3aDyK0/s200/File_000.jpeg" width="128" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Times, "Times New Roman", serif;">Cover of the evening's program.</span></td></tr>
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<span style="font-family: Times, "Times New Roman", serif;">I would highly recommend going to
any and every Cartoon Carnival that is hosted by Tommy Stathes.</span><span style="margin: 0px;"><span style="font-family: Times, "Times New Roman", serif;"> </span></span><span style="font-family: Times, "Times New Roman", serif;">By attending, you get two things, a hilarity
filled evening and equally as important, a genuine cinematic experience. I urge
you to attend and support Stathes and all the great work he is doing by keeping
film exhibition alive and well in the New York area. Please visit the links below:</span></div>
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<a href="http://www.tommyjose.com/"><span style="color: #0563c1; font-family: Times, "Times New Roman", serif;">http://www.tommyjose.com/</span></a></div>
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<span style="font-family: Times, "Times New Roman", serif;">and the trailer for Tommy’s Cartoon Carnival: </span></div>
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<a href="https://www.youtube.com/watch?v=tzJnNWiAm-Q"><span style="color: #0563c1; font-family: Times, "Times New Roman", serif;">https://www.youtube.com/watch?v=tzJnNWiAm-Q</span></a><span style="font-family: Calibri;">
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<b></b><i></i><u></u><sub></sub><sup></sup><strike></strike>Robert Anenhttp://www.blogger.com/profile/10012441804898518637noreply@blogger.com0tag:blogger.com,1999:blog-9182641864907598193.post-77755891470509263962017-02-25T17:59:00.003-05:002017-02-25T18:03:01.405-05:00Love in the Library (After Hours)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlmsT_pi4QSL-oqXkKFiNP4ZoYCoBlF2YjJBk1q50t29avQyghwVBynWFVpKSyAcgTWx-ZkpA8pbFTwocoVrYJXwkqgviwZl5HOKXYthbWUdIVU6TWI4_2x88lreKBBSqQ0l_DKpiBGTXl/s1600/IMG_1995.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlmsT_pi4QSL-oqXkKFiNP4ZoYCoBlF2YjJBk1q50t29avQyghwVBynWFVpKSyAcgTWx-ZkpA8pbFTwocoVrYJXwkqgviwZl5HOKXYthbWUdIVU6TWI4_2x88lreKBBSqQ0l_DKpiBGTXl/s400/IMG_1995.jpg" width="400" /></a></div>
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Last night I attended the New York Public Library's "After Hours" event, themed around their new exhibit, "<a href="https://www.nypl.org/events/exhibitions/love-venice">Love in Venice</a>." The evening - which ran from 6:30 pm until 9:00 pm - included dance lessons, masquerade mask making, speciality cocktails, tours of the exhibit, and (most relevantly) a curated selection of 16 mm films from the library's archives about Venice.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcd_WEfxc8sq9rOGUSv56svilkvjoXHVM5x75x1bNj-vL1q2h1XF7os3b0GZ7jsCF2KBiC2_x51m8dxQJ2vOcJ3yshqs3JgAh36FNnkax1Wvp3lSKPTKuye4vNz2WwknGJm49ZqNyQNLTj/s1600/IMG_1997.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcd_WEfxc8sq9rOGUSv56svilkvjoXHVM5x75x1bNj-vL1q2h1XF7os3b0GZ7jsCF2KBiC2_x51m8dxQJ2vOcJ3yshqs3JgAh36FNnkax1Wvp3lSKPTKuye4vNz2WwknGJm49ZqNyQNLTj/s400/IMG_1997.jpg" width="300" /></a></div>
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The films were being projected - via a film projector, no less! - in a small theater that was somewhat difficult to find in the slew of activities available. They were being shown on a continuous loop, and we entered during 'The Gondola Eye;' we only knew this because the screen outside the theater had informed us of which film was currently playing. These informational slides came up for each of the films.</div>
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The theater was small, the screen even smaller, but the film projector lent a level of nostalgia that much of the audience seemed to appreciate. There were five rows with a few leather seats, but many in the audience (myself included) sat on the floor along the walls. The door to the theater was left open and the bright light flooding in was terribly distracting, but perhaps less distracting than the door constantly opening and closing (?), as people were constantly coming into the theater (many of them turning around to leave within a couple of minutes).<br />
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'The Gondola Eye,' by Ian Hugo from 1964, was a great 27 minute film shot from the POV of the gondola (hence the name). Despite having no soundtrack with the exception of some ominous sounding bells here and there, the whirring of the film projector provided wonderful non-diegetic accompaniment. The content of the film itself was deeply somber, dark, and creepy, portraying Venice as a dirty city of filthy canals and depressing, muted colors - not at all what is usually associated with the city. I loved that about the film. We then watched the first five or so minutes of the next one - which was entirely different and done with claymation. This suggests that the curation of films (even though I did not sit through all of them) was diverse and thoughtful.<br />
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Overall, the films were a nice addition to the evening and a great supplement to the activities outside of the theater room. People seemed to appreciate the curation of the films for the most part and they appeared to be distinct and diverse. It was also wonderful to see the 16 mm prints projected on a film projector, and they seemed to be in great condition. Those who were sitting seemed to stay at least through the entirety of the film, but many people were popping in and out of the doorway as well, which was distracting. The vibe of the screening room was drastically different from the loud and crowded activities happening in the rest of the event; so I think it either felt like a welcome refuge from the chaos (and long drink lines) or a confusing, too relaxed component to the evening. Personally, I loved that the films were part of the event and cannot wait to attend the next Library After Hours.<br />
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- Sarah DawsonSarah Dawsonhttp://www.blogger.com/profile/12268590098752434212noreply@blogger.com0tag:blogger.com,1999:blog-9182641864907598193.post-33667699924567253102017-02-22T20:32:00.002-05:002017-02-22T20:46:15.865-05:00The "Chinese" Exhibition-故事新編<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAcdUkqRg3n5nDaMH3lpsY0CeK7evuH3b8gFUVm6fQTx_5_LnQ9YqwqI58_LqfnPh2FmbTSw4NdPJLUmzuPxPlkS0MnTyQKcADDHVvQxl1t-w8K3GQyuYTECeO1NArwPlIUON6sCE8ObQ/s1600/IMG_3375.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAcdUkqRg3n5nDaMH3lpsY0CeK7evuH3b8gFUVm6fQTx_5_LnQ9YqwqI58_LqfnPh2FmbTSw4NdPJLUmzuPxPlkS0MnTyQKcADDHVvQxl1t-w8K3GQyuYTECeO1NArwPlIUON6sCE8ObQ/s320/IMG_3375.JPG" width="320" /></a></div>
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A lot of things make me dizzy, like staring at moving train (I have never got carsick or anything, I just can't look at moving trains), like watching a long hand-held shot (typical examples, the beginning of <i>The Diving Bell and Butterfly</i> and the whole <i>Birdman</i>) and walking in Guggenheim. It is not that I am unhappy with the interior design of this museum. The layout is very unique. It is just my body and my brain is not happy with this museum. </div>
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Anyway, I was there for the Chinese exhibition, which I wanted to go for a long time. Because I went to the exhibition in Whitney just several weeks ago, which was so great and I kind of had a very high expectation for this one. </div>
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My first reaction is that the exhibition space is so small, although the exhibition takes the parts of two "floors". Guggenheim is not like any regular museums which have the whole flat floors. A lot of space in the museum is compromised for this circled up layout. Like I said in my previous blog, the moving image pieces need a lot of space and especially private space. Another thing that bothering me is that this exhibition does not have a designated route. There are two entrances for the part on fourth floor and multiple exits. One entrance on the part of fifth floor, except the fact that the giant robot basically takes up all the space on fifth floor. I suddenly feels that $18 admission fee is really not worth it, at least MoMA is free for NYU students. Back to the designated route, I kind of followed the "original" route for this exhibition. I came in through the entrance that had the wall text of whole description for this exhibition, and the first giant piece, Sun Xun's Mythological Time. I think this piece, being the true representation of the mainland China today, is the only one in this exhibition that is worth look at. </div>
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Why?</div>
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To put together an exhibition about modern China, the curators first need to answer one question: What is China? In this exhibition, I see many ideologies contradict. I see the piece about the modern history mainland China, which is Sun Xun's Mythological Time. I see the artist Chia-en Jiao's pieces, which clearly represent modern Taiwan. The tea tasting part by Yangjiang Group follows the Cantonese and HK traditions. The artist Tsang Kin-Wah, obviously Cantonese, moved to HK and then UK. Zhou Tao, born and raised in China, got BFA in Canton and has an international background. Sun Yuan and Peng Yu, and artists making that giant robot, are both from Northeastern part of mainland China. (The material of the robot, the movement all show that background of the artists. I can tell they are from northern and northeastern part without even looking at their bios.)</div>
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As a person born and raised in mainland, Sun Xun's Mythological Time is the best representation of modern China. The others are all somehow weird. </div>
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Another thing that needs to be mentioned is that the reason why I had such a high expectation for this exhibition was because the title--"Tales of Our Time". This is a book title which is a collection of prose published in 1936 by Lu Xun, the famous Chinese writer. The book contains a series of short stories that are rewrites of several Chinese traditional mythological stories. That is why I adore Sun Xun's piece. It combines the traditional Chinese art forms with new technology, and modern Chinese history. </div>
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From my initial and preliminary research, I find out the curators are a group of people all with the mixed background, just like those artists. The foundation who organizes this exhibition is based in HK. </div>
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I think whether it is someone from HK, Canton/Chinese American, Taiwanese, or people from mainland China going to this exhibition, their reaction would all be: This is not the China I understand. And a person from any western countries like US, UK walking into this exhibition, they will react like: Wow, this is China. </div>
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Just I can tell how the Met Gala of 2015 <i>China: Through the Looking Glass</i> would be like that. So weird and so wrong. </div>
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I will expand this for my mid-term. </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvu4A6C5eucXIp0u3z-CuJJWtlCIy00q2f_Hqwpw-H-vY0cWX5N0ex1ZtJaJn8ubjGltTv8mn6vHspelZGRFr6P0JKXLsDWmVDs3YynBwMiMKsDJ6W8yPnRdQcTlHJSOl7ZLfeSvhahfI/s1600/IMG_3388.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvu4A6C5eucXIp0u3z-CuJJWtlCIy00q2f_Hqwpw-H-vY0cWX5N0ex1ZtJaJn8ubjGltTv8mn6vHspelZGRFr6P0JKXLsDWmVDs3YynBwMiMKsDJ6W8yPnRdQcTlHJSOl7ZLfeSvhahfI/s320/IMG_3388.JPG" width="320" /></a></div>
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Xinhttp://www.blogger.com/profile/13994773815313424585noreply@blogger.com0tag:blogger.com,1999:blog-9182641864907598193.post-73960409333442927342017-02-16T21:16:00.000-05:002017-02-16T21:16:33.330-05:00Captivated by ¡Cuba!
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiC1aS3EnxBIY9Jjpm8wQcRNRPHE5n2S0WuFaj19qGAiV5rIAkg1GOXxhu1nv14ixw8nEaI4JtdFHkyFADwWp7cbDuL7cLJkqxVWO1Mya9nKeTD48mHzmLglI5yOG4p8VKc-9rLecOgMMo/s1600/File_000.jpeg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiC1aS3EnxBIY9Jjpm8wQcRNRPHE5n2S0WuFaj19qGAiV5rIAkg1GOXxhu1nv14ixw8nEaI4JtdFHkyFADwWp7cbDuL7cLJkqxVWO1Mya9nKeTD48mHzmLglI5yOG4p8VKc-9rLecOgMMo/s200/File_000.jpeg" width="78" /></a><span style="color: #4b4f56; font-size: 12pt; line-height: 107%; margin: 0px;">On
Monday, I visited the American Museum of Natural History to see a new and
wonderfully curated exhibit, <span style="color: black;">¡</span>Cuba! It is co-curated by Ana Luz Porzecnski,
director of the Museum’s Center for Biodiversity and Conservation and Chris
Raxworthy of the Museum’s Department of Herpetology. Upon entering the exhibit,
you walk past several vertical banners that contain testaments of Cuban people who
express love for their country but at the same time convey that it hasn’t
always been easy. Structured as a Cuban street with “stores” that function as
smaller portions of the exhibit, it’s a wonderful exhibit that makes you want to
hop on the first plane and discover Cuba in person. </span></div>
<br />
<div style="margin: 0px 0px 11px;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUiYo6HquJBLfWh9MhwphpTwi8XvudSTS9IBquEGvVY0f4oWdOZAqMwnVc0J55RbuBoj2PTjDg1kE-x69Zh-FXheFSFUIiHjOjAiPTUBG6WP_sola-i19rweSpSs6TQBM8lULZM0_EiDk/s1600/File_001.jpeg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUiYo6HquJBLfWh9MhwphpTwi8XvudSTS9IBquEGvVY0f4oWdOZAqMwnVc0J55RbuBoj2PTjDg1kE-x69Zh-FXheFSFUIiHjOjAiPTUBG6WP_sola-i19rweSpSs6TQBM8lULZM0_EiDk/s200/File_001.jpeg" style="cursor: move;" width="150" /></a><span style="color: #4b4f56; font-size: 12pt; line-height: 107%; margin: 0px;">As
a moving image archivist, my one and only gripe is the main moving image
display in the exhibit towards the beginning. Aside from the fact that the
video crams the entire history of Cuba into seven minutes, it stretches the
archival footage in the video to an uncomfortable 16:9 aspect ratio. This footage
was created long before the 16:9 aspect ratio came to be and should have been
presented in its original 4:3 aspect ratio. Several of the images were low
resolution and stretching them out only made them worse. </span></div>
<br />
<b></b><i></i><u></u><sub></sub><sup></sup><strike></strike>Robert Anenhttp://www.blogger.com/profile/10012441804898518637noreply@blogger.com0tag:blogger.com,1999:blog-9182641864907598193.post-43580183354431748472017-02-09T15:13:00.002-05:002017-02-09T15:25:10.066-05:00Looking for "All My Babies"<!--[if gte mso 9]><xml>
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<span style="color: #222222; font-family: "arial";"><span style="font-size: small;"><b><i>All My Babies </i>(1952) </b>53-55 min., depending on the copy</span></span><br />
<span style="color: #222222; font-family: "arial";"><span style="font-size: small;">Director: George Stoley</span></span><br />
<span style="color: #222222; font-family: "arial";"><span style="font-size: small;">Copyright: Georgia Department of Health</span></span><br />
<span style="color: #222222; font-family: "arial";"><span style="font-size: small;">Columbia University Press</span></span><br />
<span style="color: #222222; font-family: "arial";"><span style="font-size: small;"><br /></span></span>
<span style="color: #222222; font-family: "arial";"><span style="font-size: small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiilDxUdAy8_v3QpUMqxHrlP6hIZNSUZGUg1Jjyl8kfz5HkTM5Iz71tQHQWoOFySmpcEPBlh9L9R47cl4qIXPORFnZV3YZn3w6UBrMDRZONnM29F60AKW1hbEXuT_5y1f0VOL0eDtS3VWI/s1600/Screen+Shot+2017-02-09+at+3.22.49+PM.png" imageanchor="1"><img border="0" height="237" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiilDxUdAy8_v3QpUMqxHrlP6hIZNSUZGUg1Jjyl8kfz5HkTM5Iz71tQHQWoOFySmpcEPBlh9L9R47cl4qIXPORFnZV3YZn3w6UBrMDRZONnM29F60AKW1hbEXuT_5y1f0VOL0eDtS3VWI/s320/Screen+Shot+2017-02-09+at+3.22.49+PM.png" width="320" /></a></span></span><br />
<span style="color: #222222; font-family: "arial";"><span style="font-size: small;"><br /></span></span>
<span style="color: #222222; font-family: "arial";"><span style="font-size: small;">In
the “Letter to Scott MacDonald from George Stoney, 3/22/01”, Stoney writes of
the screening of his film <i>All My Babies:
A Midwife’s Own Tale</i> at a Cinema 16 screening. Although I had never heard
of the film, an abundant amount of information about the film is available online
with a simple Google search. It is an educational film from 1952 that depicts childbirth and the work of midwives in the Deep South. The film’s full content is available on YouTube, (posted
by “Ultimate YouTube Resource” in January of 2014) with the description
claiming the work is in the public domain. However, this seems dubious as the
film’s content is also available online through Bobst, but only with an NYU account. The Georgia Department of Health owns the rights and a 16mm print is available at the Center
for Mass Communication of Columbia University Press. </span><span style="font-size: 9.5pt;"><o:p></o:p></span></span></div>
Hannah Franklinhttp://www.blogger.com/profile/16745384661227393305noreply@blogger.com0tag:blogger.com,1999:blog-9182641864907598193.post-25250095028657545142017-02-08T01:43:00.000-05:002017-02-08T19:23:34.624-05:00EB Films<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLF9jhX_5wQ3ywozG8go_dSKu3RWZtLz8RNPPTAmFpb-RxYv9S_8wpBQIDQ0BMrb9pgxSJr0MSvf1QxJ3nOOcfOz9z39Qaad_jwdEjnlXDadXJqOmSXCRzTHbrdgrh3siGBxqYSK4YQ7sZ/s1600/EB_logo_%25281952%2529.JPG" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="148" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLF9jhX_5wQ3ywozG8go_dSKu3RWZtLz8RNPPTAmFpb-RxYv9S_8wpBQIDQ0BMrb9pgxSJr0MSvf1QxJ3nOOcfOz9z39Qaad_jwdEjnlXDadXJqOmSXCRzTHbrdgrh3siGBxqYSK4YQ7sZ/s200/EB_logo_%25281952%2529.JPG" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Screen logo 1952. <span style="font-size: xx-small;"><br />https://goo.gl/images/GQpAob</span></td></tr>
</tbody></table>
Since I recounted some of this history of Encyclopædia Britannica Films in class, here are some fleshed out details.<br />
<br />
<br />
The anthology <i>Learning with the Lights Off: Educational Film in the United States,</i> ed. Devin Orgeron, Marsha Orgeron, and Dan Streible (Oxford University Press, 2012) includes this sidebar. Listed as Table 3.<br />
<br />
<br />
<br />
<br />
<br />
<b><br /></b>
<b><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Encyclopaedia Britannica Films, Inc.</span></b><br />
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Among the many producers of classroom films, Encyclopaedia Britannica Films was perhaps the most successful, launching at the beginning of the boom period for educational reels. Hundreds of schools and libraries used the company’s productions -- which numbered up to one thousand titles. </span><br />
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">The film corporation’s relationship to the redoubtable printed Encyclopædia Britannica obviously allowed it instant name recognition and authority. The encyclopedia, first published in Edinburgh in 1768, but was acquired and published by American firms from 1901. In 1928, the Sears Roebuck company bought the publishing brand, selling it to ad executive, philanthropist, and University of Chicago vice president William Benton in 1943. He maintained ownership until his death in 1973; thereafter a foundation bearing his name, and run by his son Charles, managed the company until 1996.</span><br />
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Upon buying Encyclopaedia Britannica, Inc., Benton simultaneously created its film production-distribution subsidiary. Although unable to persuade the University of Chicago to be a full partner, he provided the financing that made it part owner. To launch Encyclopaedia Britannica Films, Inc. at full strength, Benton simply acquired two of the most influential entities in the educational film business. From Western Electric, he bought Erpi Classroom Films, Inc., which included production facilities and a large library of films. Benton also convinced George Eastman’s company to donate the Eastman Teaching Films collection to the university, Thus EBF began with more than 500 titles to build upon. In an industry known for marginal economic status, Benton made the motion picture operation into a viable, large-scale business -- buying out the University of Chicago’s share in 1952. </span><br />
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">However, EBF was not simply built to exploit these assets. Its productions established a reputation for quality, both technical and educational. Its success was also attributable in part to a large sales and support team that visited schools frequently.</span><br />
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">In 1966, near the height of the boom in educational film, the company became Encyclopaedia Britannica Educational Corporation (EBEC), producing and marketing other audiovisual media for schools -- filmstrips, supporting texts, and eventually video and Web-based media. </span><br />
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Financier Jacob [Jacqui] Safra bought the ailing corporation in 1996, creating Encyclopædia Britannica Holding S.A. Copies of most of the original Britannica films continue to be sold on video. </span><br />
<br />
<hr><br />
Sources: “Britannica Films,” <i>Time,</i> Apr. 24, 1944; “Help on Celluloid,” <i>Time, </i>Apr. 29, 1957; <br />
“History of Encyclopædia Britannica,” Jan. 2010, http://corporate.britannica.com. Also, Kenneth Kaye, “40th Anniversary of Encyclopedia Britannica Films and Its Predecessor Companies, 1928-1968,” unpublished ms. (1968), provided by Charles Benton, who commissioned this study while president of EBEC.<br />
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-- Dan StreibleUnknownnoreply@blogger.com0tag:blogger.com,1999:blog-9182641864907598193.post-16314527382551675462017-02-08T01:30:00.004-05:002017-02-08T01:30:44.796-05:00Notes on 16mm filmsThanks for the lively arguments about arguments in class.<br />
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Since we were 3 persons down due to illness, here are a few of the references from today and a few extra ones relevant to our cause.<br />
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We opened with a twin bill:<br />
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</i></b> <b><i>Despotism </i>(1945)</b> 10 or 11 min., depending on which copy you view.<br />
Archival source? Hard to say. There are 5 uploaded files on the Internet Archive alone. Many more on YouTube. The MP4 file we projected was from the Prelinger Archives collection at the IA.<br />
Several files of varying resolution and format are available there. The URL <a href="https://archive.org/details/Despotis1946">https://archive.org/details/Despotis1946</a> is among the ways in which this film is often dated 1946, as on the AV Geeks YouTube channel. Encyclopaedia Britannica Films and Erpi Classroom Films were distributed as 16mm prints (by the hundreds), yet Worldcat.org lists only 2 libraries holding 16mm copies (North Carolina A&T State University and the State Library of New South Wales, Australia). Certainly other prints exist in private collections like those of Prelinger and Skip Elsheimer's AV Geeks. The EB Films company assets were sold to a holding company, which put them in a former salt mine, Underground Vaults & Storage Inc., in Hutchinson, Kansas. <br />
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<b><i>Meteority</i> (Meteorites, 1947) </b>10 min.<br />
Directed by Pavel Klushantsev<br />
Leningrad Popular Science Film Studio, USSR. In Russian with English subtitles added 2012.<br />
Archival source: Gosfilmofond of Russia (35mm)<br />
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Manon Gray projected the DVD <i>Orphans in Space: Forgotten Films from the Final Frontier </i>(2012), produced by the NYU Orphan Film Symposium by Walter Forsberg, Jonah Volk with Alice Moscoso, then media archivist at NYU Bobst Library. Liner notes by Sergei Kapterev and the whole 40-page booklet are at <a href="https://archive.org/details/OrphansInSpaceBooklet">https://archive.org/details/OrphansInSpaceBooklet</a>. Worldcat lists 6 libraries holding the DVD set, but not NYU (even though NYU Bobst Library does have a circulating copy).<br />
Since the DVD's release, a nice looking copy has become available on YouTube. "Alexander J" posted it as <b>Метеориты. Meteors / Meteoroid</b> (though we are assured the Russian word translates best as Meteorites). <a href="https://www.youtube.com/watch?v=yHURLhTaHhA&t=339s" target="_blank">Watch it here.</a> No English subtitles.<br />
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We discussed the pairing of the two works: educational films, American and Soviet; nontheatrical and theatrical; 16mm and 35mm; arguably dated and undated in different ways. <i>Despotism </i>has been appearing in a variety of blogs and Facebook postings, usually "programmed" with an argument something like "Britannica got it right; why do so many people not recognize authoritarianism in 2017?" or "This once-dated film suddenly looks smart and concise, given the results of the presidential election."<br />
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A 2013 digital release from Films for the Humanities & Sciences summarizes <i><a href="http://www.worldcat.org/title/prelinger-archives-despotism/oclc/879609361&referer=brief_results" target="_blank">Prelinger Archives. Despotism</a> </i>this way: "<b>Thoughtful and non-propagandistic</b> educational film concerning how a society ranks on a spectrum stretching from democracy to despotism. Explains how societies and nations can be measured by the degree that power is concentrated and respect for the individual is restricted." Worldcat lists 6 university libraries holding this release (4 in Indiana, 2 in Kentucky; go figure).<br />
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An essential source for understanding the 16mm nontheatrical film phenomenon is Rick Prelinger's <i>The Field Guide to Sponsored Films</i> (San Francisco: National Film Preservation Foundation, 2006), <b><a href="https://www.filmpreservation.org/dvds-and-books/the-field-guide-to-sponsored-film" target="_blank">available as a PDF here</a>. </b>It's an annotated filmography of 452 works, listing archival holdings. In the Introduction, Prelinger says "300,000 industrial and institutional films have been made in the United States" before 1980, "far more than any other type of motion picture."<br />
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The book's bio offers this useful summeary: "Rick Prelinger is the founder of the Prelinger Archives, a collection of 51,000 advertising, educational, industrial, and amateur films that was acquired by the Library of Congress in 2002. He has partnered with the Internet Archive (www.archive.org) to make 2,000 films from his collection available online." That number is almost 7,000 now, with more than 1,000 items in the Prelinger Archives home movie collection. All digitized at the Internet Archive work station in San Francisco, where Savannah Campbell has worked.<br />
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The <i>Field Guide</i> lists four Encyclopaedia Britannica films, including<br />
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<i><a href="http://www.archive.org/-%20details/MakingFi1954"><b>Making Films That Teach</b></a> </i>(1954) 18 min.<br />
HOLDINGS: AAFF, LC/Prelinger.<br />
Film celebrating the 25th anniversary of the educational film company. <i>Making Films That Teach</i> illustrates the film production process, including location shooting in exotic locales, and includes numerous clips from Encyclopaedia Britannica films. NOTE: The black-and-white film ends with a color sequence.<br />
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<div style="text-align: center;"><iframe allowfullscreen="" frameborder="5" height="320" mozallowfullscreen="true" src="https://archive.org/embed/MakingFi1954" webkitallowfullscreen="true" width="425"></iframe><br />
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Many of the works in the <i>Field Guide </i>list holdings from the J. Fred MacDonald Collection, the Prelinger Collection, and the <a href="http://www.loc.gov/programs/static/national-film-preservation-board/documents/faaff.pdf" target="_blank">American Archives of the Factual Film</a> (AAFF). In fact all three of these large collections are now part of the Library of Congress holdings. Access has been slow to develop. However, now that film scanning workflows have improved -- and a new Librarian of Congress came into office in 2016 -- access to some of this material looks promising. LOC moving image section head Mike Mashon has been prioritizing the scanning of film titles found in the <i>Field Guide.</i> Working with the National Film Preservation Foundation, LOC will be putting a digital edition of the book online with most of the titles downloadable. (Two students in this Curating class authored prototype research notes and essays for the project.)<br />
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A curious curatorial discussion is ongoing about the AAFF Collection. Orphaned by Iowa State University, LOC took in the 25,000 films when they would otherwise have been deaccessioned. But twenty years later, the materials have not been worked on. We've heard in class about Indiana University and its Moving Image Archive, which has prioritized the collection, preservation, and digitization of 16mm educational films as core to its curatorial identity. IU is interested in helping process the AAFF Collection, which rhymes well with its own institutional history (a Midwestern state university, a distribution hub for educational films).<br />
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Stay tuned, as they say.<br />
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-- Dan Streible<br />
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