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. 

Film Festivals as 'Performance' Art

by Amani Jordan

In the essay, "Film Festival Networks" Thomas Elsaesser stated that film festivals are a new form of "democracy."(103) How can this be true if film festivals  such Cannes, Venice, and Berlin continue to utilize elitist forms of press coverage to emphasize ritzy public performance. Indeed, aspects of 'high culture' seem to take precedence over the appreciation of the actual films themselves. At Cannes, an atmosphere of bourgeoisie art culture is found: "organizers insisted that evening screenings were to be attended in formal attire by guests and reporters alike"(72).  Although these highly organized and sponsored events provide a space for colloquial/professional discourse amongst those in the global industry, they still further classist distinctions. This is preposterous:  If film is truly the  "universal art" as Bazin believes it to be (Rhyne 11)  then why is there this insistence upon certain  film festivals(those following the Cannes model) to make cinema to be something elite and out of reach? 

Festivals themselves have been heralded as great luxurious business events. For instance, in Chapter 1 of  Lee's dissertation("Publics), a  most peculiar phenomenon occurred at the Thessaloniki film festival: "I realized...many of the people that had been frantically trying to get past the guards...had been motivated not by a desire to see the opening film, but rather by a desire to be a part of the opening night spectacle"(emphasis mine, 66). And still, the 'authentic' viewing audiences  made their way to the festivals' screenings. This "second wave audience" were knowledgeable and critical of   unnecessarily extravagant elements of the space; they were not present in the audience for the sake of their self-image or 'glamouria'(67). 

Evidently, there are spectators that come purposely for the screening  and for any  political/commercial/ reputable gain. Mostly,  I agree with the view of Lee: "the festival addresses multiple and even radically different publics"( 69);  those festivals organizers following the older Cannes traditions  utilize the space for a celebration of extra-cinematic elements whilst simultaneously inviting those folks that come to simply watch partake in major presentation of the next great independent filmmakers.  Of course, these cinematic events  must   be tied to the industry in order to continue their mission(s) of art continuation but perhaps there is more to film's reality than  commodified art product. 

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.