Archive for June 2009 | Monthly archive page
Co-Presented with the Goethe Institut The 2nd in our 5-part series of films influenced by Bertolt Brecht (1898-1956) Kluge’s Abschied von Gestern & Straub’s The Bridegroom, the Comedienne and the Pimp Kluge’s first feature and a central work of New German Cinema, Yesterday Girl uses fragmented, elliptical storytelling intermingled with various documents (direct-cinema interviews, old
Performance provocateur tENTATIVELY, a cONVENIENCE returns to San Franciso for a program of psychic slippages, conceptual ponderings, neo-cosmic blatherings and a full battery of bad puns. tENT, who claims to have made over 188 movies in 24 years, most of them for little or no money, will present: Bob Cobbing/Movie Trivia/Hypnopedagogy (1991-94): Conceptual vandalism of
Co-Presented with the Goethe Institut The 1st in our 5-part series of films influenced by Bertolt Brecht (1898-1956) Kuhle Wampe (Slatan Dudow, 1932) Brecht’s rejection of illusionism and his techniques of distanciation (Verfremdungseffekt) and reflexivity to reveal the hidden ideological codes of realist art and political power have had an enormous impact on cinema. Tonight
James Benning returns to the Bay Area with a revival screening of his haunting earlier study of the American psyche and space, Landscape Suicide (1986, 95 min.), and the premiere of Four Corners at the Pacific Film Archive on Tuesday, October 13th. Landscape Suicide centers on the parallel lives of two famous murderers: Ed Gein,
Jeanne C. Finely and John H. Muse’s O Night Without Objects is a moving and unusual video trilogy which explores the relationship of conversion experiences —therapeutic, political and religious—to technology, fear and family. The documentary centerpiece, Based On a Story, explores the widely-publicized encounter and subsequent friendship between Jewish Cantor Michael Weisser and Grand Dragon
Join us for a celebration of new films and a post-screening party inaugurating the newly renovated San Francisco Art Institute Theater. The program includes many local premieres: Fluttering by Steve Polta; Stop by Joan Nidzyn; Concrescence by Stan Brakhage; Dwellings by Jim Jennings; We are going home by Jenn Reeves; Glass by J. Leighton Pierce;…or
(See Tuesday September 22 for Series Overview) Land and Sea (1975) by Lee Krugman; Lace of Summer (1973) and Aristotle (1974) by Storm De Hirsch; Spring/Fall: Cinesongs For Storm De Hirsch (1990) by Gary Adlestein; Windows (1984-85) by Anne Robertson; and Farm Diary (Reel 2, 1970) by Gordon Ball.
(See Tuesday September 22 for Series Overview) In Mother’s Way (1981) by Jacalyn White; Martina’s Playhouse (1989) by Peggy Ahwesh; and Mary Smith (1980) by Gail Vachon.
(See Tuesday September 22 for Series Overview) Co-sponsored by San Francisco Art Institute as part of its 1998 Faculty Show: Open/Close (1970) and Conversions (1971) by Vito Acconci; Apologies (1990) by Anne Robertson; Elegy (1991) by Joe Gibbons; A Place Called Lovely (1991) by Sadie Benning; and Clown, Part One (1992) by Luther Price. Plus
Beginning Tuesday, September 22nd, and continuing monthly through June, 1999, the Pacific Film Archive and San Francisco Cinematheque will alternately present highlights from The Museum of Modern Art’s (New York City) 60-program retrospective of American-made 8mm films and videos co-curated by myself and MoMA Associate Curator Jytte Jensen, Big As Life: An American History of
The Cinematheque once again offers West Coast premieres of recent restorations from the Whitney Museum’s Andy Warhol Film Project for Easter Weekend. On Saturday April 3: Outer and Inner Space (1965, 33 minutes, double screen projection) pits side-by-side versions of Edie Sedgwick reacting to herself on a TV monitor-one of the earliest (and prescient) uses
Co-sponsored by Yerba Buena Gardens Center for the Arts. One of the most exciting and challenging media artists working today, Peggy Ahwesh is the Center for the Arts’ first Wattis Film/Video Artist-in-Residence, and she will be present for a unique retrospective of her work paired with works which have influenced her. With a low/no-budget aesthetic
The conventions of Hollywood filmmaking and its inherent repressions are the targets in Austrian filmmaker Martin Arnold’s trilogy of ratcheting cinematic deconstructions. Tonight, Arnold returns to San Francisco for the West Coast premiere of Alone. Life Wastes Andy Hardy, which fluidly mix scenes from three Garland/ Rooney vehicles into a brief summary, exposing their latent
Artists working with film and video as well as film/ video artists examining other disciplines are the subject of this series. This second program will feature a twenty-plus year selection of work by San Francisco artist Paul Kos: Riley Roily River, Lightning, Sympathetic Vibrations, Brieftauben, and La Vache. In Gordon Matta Clark’s stately Conical Intersect,
(See February 14 for Series Overview) “Still (1969-71, 55 min) uses static double exposure (shot with a static camera over the course of a year) to effect a unique synthesis of Lumiere documentary and Melies magic upon a common New York city street.” (J. Hoberman). Plus: a later city film, Untitled: Part One,1981 (1981) which