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Archive for December 2010 | Monthly archive page

Dec 13

Beginning with the exit of the female protagonist, The Man Who Envied Women, is an ironic twist to the notion of “female lack.” Out of the picture, she presides over the soundtrack: “Rage at men. The noun: rage at men. Why now? Why can’t it be put off indefinitely? I’m not up to it this

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Dec 13

The Cinematheque resumes our longest tradition, regularly scheduled evenings in which moving image artists are invited to show completed or in-progress works. Highlights from the year’s Open Screenings will be shown in May. Works in super-8 or 16mm film, 1/2″ or 3/4″ tape will be accepted; please bring your film or tape at 7:30 P.M.

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Dec 13

Montage is the basic method particular to film. Simply through the means of sequence, the films on this program create a direct poetry of the moving image: Pneuma (revised 1990) by Nathaniel Dorsky, a meditative study of infinitely subtle movement; Renga (1990) is a collaboration inspired from the medieval Japanese linked verse form; Cassandra and

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Dec 13

“Is Journeys… autobiography of fiction? Is it dadaist vaudeville or legitimate filmic research? Is its politics a set-up, a rigged game, mere window dressing thinly masking a formalist adventurism? Are its armchair terrorists and self-absorbed narcissists worthy of being made to voice serious moral-political concerns?” (Y.R., from a 1980 essay) With these questions on the

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Dec 13

Admission is free. Chris Marker has been called cinema’s premier essayist. His idiosyncratic yet committed documentaries, such as Letter from Siberia and Sans Soleil, reveal an ironic wit, escaping the didacticism common to many a “political” filmmaker. Originally released in 1977 (revised 1988), A Grin without a Cat (240 min., video) is a look at

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Dec 13

The collaborative works of Birgit and Wilhelm Hein have been a source of vitality in European experimental film for over 20 years. Most recently the Heins have produced a group of films that boldly examine ties binding the suppression of sexuality to aggression. Birgit will present Forbidden Images (1985, 90 min.), which…”come from the forbidden

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Dec 13

“All right, call me Kristina. That’s not my real name, but let it stand. It’s on my passport. I was born in a little town near Budapest before the last few wars.” (text from the film). Rainer establishes the role of Kristina as survivor and witness, presenting her personal “history” as a grounds for exploring

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Dec 13

Jennifer Montgomery and Matthias Müller both work in Super-8mm to explore the construction of their own sexualities. Montgomery uses autobiography and a faux-documentary style to question notions of truth and nostalgia. She will screen Home Avenue (1989) and Age 12: Love With a Little L (1990), where “in retracing my past I discover the fault

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Dec 13

Tonight’s program marks the beginning of a series in which new local work can be seen and considered on an ongoing basis, reflecting the range and diversity of media art being produced in the Bay Area. Overlay (1989) by Jenny Fernald, Hymn (1989) by Claire Dannenbaum, Memory Eye (1989) by Alfonso Alvarez, Transplanted 7 Years

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Dec 13

Film About a Woman Who…, Rainer’s second feature film, continues her exploration into forms of narrative construction. Made following her 1973 mixed-media performance, This is the Story of a Woman Who… (for performers, slide and film projectors, tape recorder, and microphone), Film About… takes on the gamut of filmic representation. Addressing the terms in which

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Dec 13

Special time and location: September 11-13, 1990 – 7:00 & 9:15 The S.F. Cinematheque, in collaboration with the Roxie Cinema, presents the S.F. premiere of Yvonne Rainer’s Privilege. Beginning as a public examination into the private matter of menopause, Privilege unleashes a spectrum of volatile issues ranging from information blackout and gender ideology to racial

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Dec 13

Tonight the Cinematheque begins the first complete West Coast retrospective of the films of Yvonne Rainer. Beginning as a dancer/choreographer in the early 60’s, Rainer’s work in dance, film, and theory has been pivotal in redefining the landscape of contemporary art. Lives of Performers (A Melodrama) marked her transition from dancer/choreographer to filmmaker. Completed in

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Dec 13

The plight of the homeless has been the subject of independent documentary filmmakers going back to the darkest days of the Depression. Tonight’s program juxtaposes three different approaches to portraying the loneliness and desolation of transient urban living. On The Bowery (1956) by Lionel Rogosin, 65 minutes, depicts men and women of the Bowery, “who

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Dec 13

Tonight the Cinematheque will present two of Ozu’s early silent melodramas. Ozu, whose career as director began in 1927, explored a variety of genres before arriving at the meditative refinement he is so noted for. His films of the early 30’s are remarkable because they serve as a bridge between his youthful fascination/emulation of Hollywood

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Dec 13

Though United Productions of America (UPA) was one of the top animation studios in the country during the 1950’s, they are virtually unknown today. Founders included animation pioneers Chuck Jones, John Hubley, Bill (Bullwinkle) Scott, and Art Babbitt (fired from Disney for organizing the animators). UPA’s short subjects won numerous Academy Awards, but their real

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Dec 08

Tonight’s program presents works which create complex relationships about other cultures through unique formal strategies. Leslie Thornton’s (Dung Smoke Enters the Palace) (1989, 16 min.) “has teased out the regression hidden in Progress, the Fundamentalism concealed in sophisticated culture, the fear behind the desire to predict and control.” (Linda Peckham) and Mark LaPore’s The Sleepers

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Dec 08

Tonight’s program features selections from last Fall’s highly successful New York Lesbian and Gay Experimental Film Festival. The work represents the cutting edge of the Lesbian and Gay avantgarde, reflecting the cross-currents of A.I.D.S. activism, Lesbian-feminist identity, and non-commercial Gay cinema. Films include: Cirque du S.I.D.A. by Robert Hilferty; DHPG mon Amour by Carl George;

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Dec 08

The Germans and Their Men (1989) by Helke Sander, 96 minutes. Sander has been called “the most radical feminist in West Germany” (Christel Buschmann), whose influence in the European Feminist movement since the late 1960’s extends through several films, theater works, and as founder and editor-in-chief of the theoretical journal Frauen und Film (from 1974

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Dec 08

Los Angeles videomaker Erika Suderburg and San Francisco filmmaker Julie Murray probe history, violence, and popular images in densely ambiguous and enigmatic works. Each will be making their first Cinematheque appearance. Suderberg’s Displayed Termination: The Interval Between Deaths (1988) compiles fragmented stories to explore the displaced impacts of war, memory and loss, moving back and

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Dec 08

Boston filmmaker Saul Levine returns to San Francisco for the first time since 1984 with a major new film, Notes After Long Silence (1989). Levine’s body of regular and super-8mm films spans nearly 25 years, and is one of the most singular achievements of the American avantgarde. Uncompromising in content and as personal expression, Levine’s

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Dec 08

The 1989-90 season proved to be one of our most exciting and successful years of Open Screenings. Tonight’s presentation of particularly outstanding works shown at this year’s four screenings includes: Town of Day (16mm) by Jerome Carolfi, Michael G. Page’s Laundry (S8mm) by Duncan MacLeod, Looking Back (3/4″) by Ramon Quanta La Gusta, A Piece

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Dec 08

Short films rule tonight! The ‘less is more’ approach to filmmaking is examined in a program of super-8 (which fit on a 50-foot reel) and 16mm (which fit on a 100-foot reel) films. The one-reel genre often demonstrates compression, immediacy, 1:1 shooting, and serendipitous in-camera editing. We will see more than 20 examples (totalling 60-70

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Dec 08

Subversive independent cinema exploded in the Soviet Union more than five years ago. Of an early screening in Kirov, Yevgeny Yufit reported (in Cine Fantom, #9): “The theater was packed—they had to turn people away. After the first part of the program, audience opinion became polarized. Here and there old fogies would leap up with

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Dec 08

Since 1985, Innocent Eyes & Lenses and IMAGE FORUM have collaborated to organize and present a traveling exhibition of contemporary Japanese films. Tonight the Cinematheque will show a selection of works from the 5th Annual Jikken Eiga 90/91 tour. Innocent Eyes & Lenses is a Chicago-based organization committed to the promotion and distribution of experimental

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Dec 08

Tonight’s program will feature five recently completed films that give voice to many of the concerns and issues being explored by women filmmakers currently working in Britain. Through re-photography, fragmentation, montage, etc., these works create a filmic space often located in the “imaginary.” In this space all is potential metaphor, at once evoking and calling

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Dec 08

Daria Stermac of the Canadian Filmmakers Distribution Centre has chosen a selection of works attesting to the breadth and vitality of Canadian experimental cinema. Current (1983) by Ellie Epp is a rigorously defined work of elegance and economy; No. 5 Reversal (1989) by Josephine Mesarella, a journey of perspectives, creates a continuous and deliberate disruption

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Dec 08

The Super-8 Film Group of Sydney was a lively center of low-budget filmmaking through most of the last decade, producing nearly 600 films by scores of Australian filmmakers. Embracing super-8’s low-end production values, these filmmakers rudely rejected the formal ‘ascetisicm’ of the previous generation, turning to pop culture and early Underground film figures for their

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