May(sles) is not...whatever, you want it to be(?)

by Amani Jordan

from Blacks in Experimental Film (Part 2)
Maysles Documentary Center 
http://maysles.org/mdc/blacks-in-experimental-film-part-2/

I could smell the gentrification and old-people smell from the subway. I figured it was in Harlem so it wouldn't be that bad....right? I mean Black film in a historical Black neighborhood? But then again, everything changes in thee city at a rapid pace....I suppose I was the one left behind, in this 'NEW' urban landscape.

I exited the station on 125th(1/2/3) [ because I know that line very well due to my time at the greatness known as G-Ho(tel)]].  I see Sylvia's Bright ass lights to my right as I make my way up the avenue known as Lenox or better yet : MALCOLM X BOULEVARD. Hmmm....gentrifyers must not like publicizing the fact that they  used to live near a radical? 

address

Anyways, despite the dumb address choice. I am interested by the fact that as I make my way to the smallest (and only?) indie 'documentary center in Harlem? I shall note this fact in my journal....seek out other documentary film programming in Harlem; A Black neighborhood with a truly rich history, must have good cinematic programming(?) I was proven oh so very wrong.

As noted, there is a $10 suggested donation. First of all.....I did not even see 10 bucks of donations when I stepped into that small ass lobby area. Like c'mon though....you got a random kodak projector with the Pan-African flag in it? Is that supposed to attract the niggers on the street or something that don't even have enough money to pay for  their fines that are delivered by the new york city pigs department? Am I bugging out though?

Amani Jordan

RALI Programming Activity

2. Residents(10-20) will come together in small groups to compete, using their advanced collegiate vocabularies in this enjoyable word game. Insomnia Cookies platter will also be served.

3. Late September; Residential Lounge

4. Expand minds and vocabularies of residents; Allow residents to naturally make connections amongst themselves; Relieve academic stresses at the beginning of the semester.

5. Acquire 5  sets of the [] game, available at bookstores; Reserve lounge 2 weeks in advance; Create an attractive poster to hang in the lobby; Post information about the event on social media pages of the Res Hall & answer any subsequent inquiries; Order Insomnia Cookies platter at least 6 hours in advance; Lastly, set up lounge for the event in the lounge.

This project is about self-documentation and what I did not see when I went to this particular society of greatness. Not to say that there wouldn't be anything...but my expectations were quite low....and what happens when a place like this, a place OF and not truly OF my people? I get frustrated of course.

yeah that was me. just chilling. like what is exactly going on right now? But I mean they did the most with what kind of space they had. i should have planned out this assignment better because I feel as if now I'm realizing that that experience I had near Sylvia's and gentrified buildings actually did me some good. I got to see film for another time and place....from another time and place from the perspective of another type of folks. They definitely

need projection work by the way. They started pretty late...but then again it was raining. 

Manohla Dargis and 21st Century Cinephilia

In her article “The 21st Century Cinephile,” NY Times film critic Manohla Dargis writes, “Not long ago, movies were bigger than life; today you can buy a movie, hold it in your hand and take it home to watch again and again, a revolutionary step in the short history of the medium.” She writes this in 2004 and since then the medium has gone further and further towards a digital revolution. It’s true that more and more of my peers are downloading or streaming movies from their computers and it makes me wonder how long theaters will be in the picture. Video stores are on the outs, will theaters be next?

This also begs bigger questions, such as what will this mean for the ever-changing nature of the cinematic experience and what it means for the art of film? With easy access to movies and the constant barrage of movies releasing in theaters, perceptions of cinema are bound to change. The medium runs the risk of losing its cinematic quality, that is, its beauty and its art.

On the other hand, this constant access allows mainstream audiences exposure to films they’ve never seen or heard of, and it allows independent filmmakers a chance to have their films seen. Case in point my parents. With the advent of Netflix’s Watch Instantly they’ve been able to watch movies from all over the world. These were two people who loved their Pierce Brosnan thrillers, who are now indulging in the works of Akira Kurosawa and Yasujirô Ozu. Twenty years ago, the availability of these films in theaters would have been quite limited.

I, for one, am extremely grateful for online streaming of old classics and new releases (many a paper has been written thanks to Netflix). Yet, I agree with Dargis—going to see a movie in theaters is not yet a dead tradition. There’s nothing quite like seeing Late Spring or 8 ½ on the big screen.

Preview Screening of Duncan Jones's Source Code at the Museum of the Moving Image

After briefly touring the Museum of the Moving Image and speaking with curator David Schwartz for class on Thursday, I decided to buy a ticket for one the museum’s events, the preview screening for Duncan Jones’s new film Source Code. The biggest selling point for me was the fact that Duncan Jones was actually going to be there in person for a Q&A after the film. As someone who absolutely loved Moon, I couldn’t pass up the chance to see, and possibly meet, Jones.

The film screening began at 7:30 in the main theater and I anxiously awaited the start of the film as the lights dimmed. Briefly, Source Code is about a solider (Jake Gyllenhaal) that has eight minutes to save the world. Now I don’t want to say too much and spoil the fun because it really is all about how the plot is revealed to us that makes it rather intriguing and exciting to watch. After about an hour and a half later the film was over and I was left with mixed feelings. Although I don’t think it was as visual stunning or unique as Moon, I definitely felt at that time that Source Code had been entertaining. While the film was far more commercial than Moon, I did think that the plot and visual motif was strong enough to make the film worth the $15 admission.

After the screening, Duncan Jones, as promised, came out for the Q&A, with curator David Schwartz acting as moderator. I must admit, hearing him talk was kind of fantastic. It’s easy to see why Jones chose to do this film: he’s quite the sci-fi nerd. I mean this is the man that credits Bladerunner as one of his biggest influences and believes it to be “the greatest sci-fi film ever made.”

Unlike Moon, which he penned himself, the script for Source Code was brought to him by Gyllenhaal in the hopes that he’d agree to direct it. Once he was in, it was easy to secure studio backing with Gyllenhaal as the star campaigning for Jones as director. Jones secured a cool budget of $35 million (compared to the $5 million budget for Moon sans studio backing) to helm this project—a paltry sum, really, considering all of the staggering special effects and the big name stars aboard, including Vera Farmiga, Jeffrey Wright and Michelle Monaghan.

As the Q&A progressed Jones explained that he’s a director that likes to give his actors “an environment to do what’s in their head as long as it fits the film” and who “likes the idea of building some reveals”—two facts that are most evident in the film. And even though the film tries to appeal to a broader audience, it doesn’t sacrifice story. Overall, I came out quite satisfied as a whole with the event, especially because it was so limited (there are only 267 seats in the theater) I was able to secure a photo!

I'm quite eager to see what other programming the Museum of the Moving Image has coming up. If it's as great as meeting Duncan Jones, I'll definitely be there.