Solar Sight : An Evening with Lawrence Jordan

Solar Sight : An Evening with Lawrence Jordan

2012.11.9 19:00

Film Studies Center

Best known for his singular cutout animation style, the films of avant-garde great Lawrence Jordan channel the unconscious to construct surrealist dream-like distortions of imaginary rituals. Found graphics of animals, objects and characters come alive against backdrops of drawings and engravings by masters like Gustav Doré. Collaborator with Stan Brakhage, assistant and friend of Joseph Cornell, and co-founder of Canyon Cinema, Jordan has championed the use of film as a vehicle for personal expression from coast to coast for over six decades. Jordan will introduce a program featuring celebrated films from through out his career paired with the premiere of his new work Solar Sight, Parts 1 and 2. In partnership with Conversations At The Edge, screening a program of Jordan's work on Thursday, Nov. 8 at the Gene Siskel Film Center.

Jordan will bring animation models from his work for a demonstration following the screening and discussion.


Solar Sight, Parts 1 and 2 (2011, 16mm, 15 min)
Chateau Poyet (2004, 16mm, 6 min)
The Visible Compendium (1991, 16mm, 17min)
Moonlight Sonata (1979, 16mm, 5 min)
Orb (1973, 16mm, 5 min)
Waterlight (1957, 16mm, 8min)

(총 상영시간 56분)

Lawrence Jordan is an independent filmmaker who has been working in the Bay Area in California since 1955, and making films since 1952. He has produced some 40 experimental and animation films, and three feature-length dramatic films. He is most widely known for his animated collage films. In 1970 he received a Guggenheim award to makeSacred Art of Tibet, and his animation has shown by invitation at the Cannes Film Festival. Jordan is one of the founding directors of Canyon Cinema Cooperative, and he has shown films and lectured throughout the country.

원문출처

http://filmstudiescenter.uchicago.edu/events/2012/solar-sight

Refugees in Cinecittà / Profughi a CinecittàAn Evening with Marco Bertozzi

VISITING FILMMAKER
Refugees in Cinecittà / Profughi a CinecittàAn Evening with Marco Bertozzi

2014.2.28 19:00

Introduction by director, professor and author Marco Bertozzi, and researcher and professor Noa Steimatsky (UC).






Cinecitta, the great movie studio built by Mussolini, became universally known as "Hollywood on the Tiber" and as Fellini's second home. But in an interim period (1944-50) it served very different functions, quite unlike that of a dream factory. Under the Nazi occupation of Rome it was a transit camp for deportees, then following the liberation, it was transformed by the Allies into one of the largest displaced persons camps in Italy. People of some 30 nationalities, entire families, children who had lost everything but their lives, found refuge there. Their experience living among the remnants of colossal movie sets is at the heart of this film directed by documentarist and film scholar Marco Bertozzi, and based on groundbreaking research by Noa Steimatsky (UC). This vivid, startling documentary explores the fortunes of the Cinecitta camp and its inhabitants, unfolding a story hitherto untold in the chronicles of European reconstruction, and of film history.


(Marco Bertozzi, 2012, Italy, DVD, 52 min)


Professor of history of documentary cinema at the University of Venice, and a founding member of DOC/IT, the Italian documentary filmmakers' association, Bertozzi has published numerous studies of documentary cinema and relationships among the cinema, architecture and the city, and has produced numerous award-winning films. His latest monograph is History of the Italian documentary (Venice, 2008), which is used as a text book in several Italian universities and which received the Domenico Meccoli and Limina Awards 2009 for best cinema book of the year.


Co-sponsored by Department of Cinema and Media Studies, Department of Romance Languages and Literatures, Human Rights Program, and Chicago Center for Jewish Studies.

원문출처

http://filmstudiescenter.uchicago.edu/

보이지 않는 적

Invisible Adversaries
Counter Cinema/Counter Media


2013.1.11
Film Studies Center

“Breaking free of conventional unities of body, space and time, this early feature by one of Europe's leading feminist filmmakers is a haunting excursion into psychic disintegration and crumbling identity. It loosely covers one year in the life of Anna, a young Viennese photographer increasingly convinced that the Hyksos, a hostile alien force, are invading people's bodies and responsible for the decay and rising violence around her. Valie Export skillfully exploits montage and integrates video, performance and installation art with elements from Cubism, Surrealism, Dada and avant-garde cinema.”—Women Make Movies
(Valie Export, Austria, 1976, 16mm, in German with subtitles, 108 min)

번역

정서연

원문출처

http://filmstudiescenter.uchicago.edu/events/2013/invisible-adversaries

Our Bodies Your Selves

Our Bodies Your Selves

Counter Cinema/Counter Media


2013.2.7
Film Studies Center

Four recent works that perform gender and resistance: from sex-play critique to gender outlaws, from hunger strikes to the reconstitution of an archived martyr. Curated by film and video maker Jason Livingston.

Love It or Leave It(Dara Greenwald and Bettina Escauriza, 2007, video, 7min)

OPERATION INVERT(Tara Mateik, 2003, BetaSP, 12.5min)

Notre corps est une arme – PRISONS(Clarisse Hahn, 2012, video, 12min)

BERNADETTE(Duncan Cambell, 2008, Digibeta, 37min)



Jason Livingston is a film and video maker from Upstate New York. His work has been programmed at many festivals and venues, including the Rotterdam International Film Festival, Anthology Film Archives, the Austrian Film Museum, the Margaret Mead Film Festival, and Ann Arbor. He is a recipient of a New York State Council of the Arts Individual Artist Grant for his work-in-progress, INTERSTATE, a long-form video essay about video collectives, the Socialist Workers Party, the Onondaga Nation, family history, political economy and disco. In addition to making moving images, he has worked in film exhibition, most notably with THAW in the late 1990s and with Cornell Cinema from 2002 - 2004. He occasionally writes about cinema for such publications as Afterimage and The Brooklyn Rail.

번역

정서연

원문출처

http://filmstudiescenter.uchicago.edu/events/2013/our-bodies-your-selves

반영화로서 21세기 퀴어영화

Queer Cinema as Counter Cinema in the 21st Century

Counter Cinema/Counter Media

2013.2.20

Film Studies Center

Nick Davis, Assistant Professor of English at Northwestern University, explores recent practices in global queer filmmaking from artistic, ideological, and theoretical vantages, assessing how they function as “counter cinema” and how they expand or depart from prior, collective impetus within LGBT filmmaking. Compared to the much-heralded New Queer Cinema of the early 1990s—influenced strongly by postmodernist aesthetics, AIDS activism, and queer theory’s critiques of identity politics—more recent queer cinema is often arraigned as diffuse in both its cinematic and its counterpublic orientations. This talk confronts two seemingly opposed projects that have been ascribed to recent queer cinema on a global scale: a reclaiming of realism, in both narrative and photographic senses, and a heightening of abstraction, often within enigmatic national allegories that make queer or crypto-queer subjects central to both image and story. Both of these trends within queer cinema have been frequently indicted as insufficiently “political.” However, when considered via Gilles Deleuze’s notions of crystalline cinema and of minor aesthetics and politics, each reveals abundant potentials to resist standard ideologies of how images are organized and of how queerness is conceived.

Counter Cinema/Counter Media Series

What is the visual language of opposition? Does the form of resistance matter today? The Center for the Study of Gender and Sexuality's Counter Cinema/Counter Media Project focuses on film and media practices that use form to resist and "counter" dominant film and media outlets, platforms, and traditions. In 2013, the Project will mount a series of talks and screenings curated by project director Jennifer Wild (Assistant Professor, CMS), and international film programmers, makers, collectives, and critics.

번역

정서연

원문출처

http://filmstudiescenter.uchicago.edu/events/2013/queer-cinema-counter-cinema-21st-century-lecture-nick-davis

Visions of Scale: Magnification, Duration, Perspective, Projection

Visions of Scale: Magnification, Duration, Perspective, Projection
9th Annual Cinema and Media Studies Graduate Student Conference

2013.4.5 - 6
Film Studies Center

The Tree of Life, Terrence Malick, 2011

Featuring a keynote address by Mary Ann Doane, "The Legibility of Cinematic Space: Perspective and Scale," the 9th annual Cinema and Media Studies Graduate Student Conference will focus on cinema not only in terms of how it represents the world through juxtaposing images of varying proximity, but also in terms of the aesthetic experience of the viewer.The conference will showcase the work of current graduate students in the field of cinema and media studies, and features a reunion of past graduates of the University of Chicago's Cinema and Media Studies Program and (since 2010) Department of Cinema and Media Studies.


Mary Ann Doane (Film & Media, University of California, Berkeley) is the author of The Desire to Desire: The Woman's Film of the 1940s (Indiana University Press, 1987), Femmes Fatales: Feminism, Film Theory, Psychoanalysis (Routledge, 1991), and The Emergence of Cinematic Time: Modernity, Contingency, the Archive (Harvard University Press, 2002), in addition to a wide range of articles on film and media theory, feminist film theory, sound in the cinema, psychoanalysis, and semiotics. Her publications on the topic of scale in the cinema are major inspirations for this conference, and include "The Close-Up: Scale and Detail in the Cinema," "Scale and the Negotiation of 'Real' and 'Unreal' Space in the Cinema," and "The Location of the Image: Cinematic Projection and Scale in Modernity."



Conference sponsors include Franke Institute, Department of Cinema & Media Studies, Tom Gunning Mellon Foundation Distinguished Achievement Award, Film Studies Center, The Alumni Association, Mass Culture Workshop, and The Humanities Division Graduate Student Council.

번역

정서연

원문출처

http://filmstudiescenter.uchicago.edu/events/2013/visions-scale-magnification-duration-perspective-projection

Oscillating Visions

Oscillating Visions: From Underworld to Underground in Japanese Cinema

2013.5.31 19:00 & 6.1 15:00
Film Studies Center

This two-day screening and discussion of art and avant-garde Japanese cinema of the 1960s and 70s complements a retrospective at Doc Films, “From Silence to Pandemonium: Art Theater Guild and Japanese Underground Cinema, 1962-1974.” Between screenings, Alexander Zahlten (Harvard University) and Tom Gunning will lead discussion on the aesthetics and politics of the films, considering their historical context and their relevance to the present.

Friday, May 31, 7pm

A Manual of Ninja Arts [Ninja Bugeicho](Oshima Nagisa, Japan, 35mm, 1967)

Oshima Nagisa created one of his boldest experiments by filming Shirato Sanpei’s legendary manga Manual of Ninja Arts. The result is neither animation, nor anime, nor cinema in any conventional sense. The resistance of the work to easy categorization perfectly matches Shirato’s world of doppelgängers, ghosts, ninja, samurai, and mythical creatures. The tale of a peasants’ rebellion on the eve of a new world order circa 1600,Manual of Ninja Arts is a guidebook to rebellion which quite literally re-draws the lines of art and politics.
Print courtesy of the Japan Foundation.



Saturday, June 1, 3pm

Pandemonium [Shura](Matsumoto Toshio, Japan, 16mm, 1971)

Noel Burch called Pandemonium the “The most important and beautiful film made in Japan since Kurosawa’s prime.” The film opens with an image of the setting sun that burns bright orange and yellow. However, once night falls the film switches to black and white photography for the remainder of its duration. Nakamura Katsuo (Hoichi the Earless” inKaidan) stars as Gengobe, the “48th ronin” of the classic story of the 47 loyal retainers. As with that famous tale, Pandemonium is a story of revenge, but with an overwhelming sense of bleakness and despair. The film has a dream-like quality due to director Matsumoto’s use of repetition and the pervasive darkness.



Saturday, June 1, 7pm

Dutch Wife in the Desert [Koyano dacchi waifu](Yamatoya Atsushi, Kokuei, 35mm, 1967)

At once a soft-core “pink” film and a hard-boiled mystery, Dutch Wife in the Desert tells the story of real estate agent who hires a private detective to investigate the rape and murder of his wife. Although the crime has been captured on 8mm film, it quickly becomes apparent that the disturbing images may not be true, leading to a chain reaction of uncertainty. While perhaps best known as the writer of Suzuki Seijun’s classic Branded to Kill, Yamatoya Atsushi heads even further out in his own film. A deeply surreal experience in which time, perception, narrative, and genre are scrambled in equal measure until nothing is what it seems.




Discussion will follow each screening with Alexander Zahlten, Assistant Professor of East Asian Languages and Civilizations, Department of East Asian Languages and Literatures, Harvard University, and Tom Gunning, Edwin A. and Betty L. Bergman Distinguished Service Professor, Department of Art History, Department of Cinema and Media Studies, and the College.

Sponsored by the Committee on Japanese Studies, Center for East Asian Studies, Japan Foundation and Film Studies Center.

번역

정서연

원문출처

http://filmstudiescenter.uchicago.edu/events/2013/oscillating-visions-underworld-underground-japanese-cinema

Free Radicals: A History of Experimental Film

Art+Process Film Series:Free Radicals: A History of Experimental Film

2012.10.19 19:00
Film Studies Center (시카고)

"The artists and poets of cinema since before WWI have always been free radicals, crazy about filmmaking and pushing the art form in radical new directions. Trapped in a no man's land, excluded both from the art world and the film industry, they boldly created a grassroots network for making and showing their films in a spirit of friendship and solidarity. They also created a profound body of work that continues to influence our culture. I wanted to share with you some movies that I like, and the artists and free radicals that made them." - Pip Chodorov

In this film essay, Chodorov examines the lives and work of such experimental luminaries as Hans Richter, Michael Snow, Peter Kubelka, Stan Brakhage and Jonas Mekas. Named for Len Lye's landmark experimental film of dancing lines and marks scratched into the emulsion, Free Radicalsgives an enthusiastic and accessible introduction to the world of avant-garde cinema.

Filmmaker and film activist Pip Chodorov studied film semiotics at the University of Paris and cognitive science at the University of Rochester, NY. In 1994, he founded the distribution company Re:Voir for the edition of historical and contemporary experimental films. In 2005, he founded The Film Gallery, the only gallery devoted exclusively to experimental film artists. He is a co-founder of L'Abominable, a cooperative do-it-yourself film lab in Paris, and moderator of the online experimental film forum, Frameworks. His own films range from animation to film diary.

(Pip Chodorov, 2010, France, digital, 82 min)

번역

정서연

원문출처

http://filmstudiescenter.uchicago.edu/events/2012/free-radicals-history-experimental-film