As noted in today’s Dateline: Filmmaker Julia Haslett, professor of media production at the University of North Carolina, accompanied by Assistant Professor of Music Daniel Thomas Davis, will present a film screening and discussion of An Encounter with Simone Weil at 4 p.m. Monday, Feb. 1, in LH-B39.
Haslett makes expressionistic documentary films on historical and contemporary subjects. Her work has shown at festivals, theaters, and on broadcast television around the world. Her most recent feature-length project, An Encounter with Simone Weil – which was scored by Davis– is a personal essay film inspired by the French thinker, activist and mystic, Simone Weil. It premiered at IDFA (Amsterdam), won Michael Moore’s Special Founder’s Prize at the Traverse City Film Festival, and was a New York Magazine Critic’s Pick during its U.S. theatrical run. Following the screening, Haslett and Davis will discuss their collaborative approach to image and sound. Co-presented by the Department of Cinema and Material and Visual Worlds Transdisciplinary Area of Excellence.
As noted in Dateline, Moving the Sleeping Images of Things Towards the Light: Films by Artist in Residence Daïchi Saïto will be presented at 7:30 p.m. Tuesday, Nov. 17, in LH-6. The films of Saïto explore the relationship between the corporeal phenomena of vision and the material nature of the medium, fusing a formal investigation of frame and juxtaposition with sensual and poetic expressions. This program of many 16 mm films, except where indicated, will include: Chiasmus (2003), Chasmic Dance (2004), Blind Alley Augury (2006), All That Rises (2007), Green Fuse (2008), Trees of Syntax, Leaves of Axis (35mm, 2009) Field of View #1 (super-8, 2009), Never a Foot Too Far, Even (double-projection 16mm, 2012), Engram of Returning (35mm Scope, 2015). Saïto was ranked third among the “25 Filmmakers for the 21st Century” in Film Comment’s Avant-Garde Poll. Sponsored by the Cinema Department.
This week’s Harpur Cinema offering is The Crowd, directed by King Vidor, to be shown on November 13th at 7:30 in Lecture Hall 6. King Vidor’s American masterpiece The Crowd will be accompanied by Dr. Philip Carli, internationally recognized artist, conductor, composer, musicologist and professor of music. Dr. Carli will speak about the issues and challenges raised in composing a score for silent films before he performs his original setting of The Crowd.
Harpur Film Society’s original programs included a number of silent films including Buster Keaton’s The Navigator, René Clair’s The Italian Straw Hat, and D.W. Griffith’s The Birth of a Nation.
This week’s Harpur Cinema title is Clouds of Sils Maria, by Olivier Assayas. It will be shown in Lecture Hall 6 on Friday and Sunday nights at 7:30. Blurring the lines between “lines and life” and identities between actress and role, lover and beloved, Olivier Assayas begins by bewildering the viewer and winds up producing a bewitching amalgam of “female-driven films about identities in flux: Alfred Hitchcock’s Vertigo, Ingmar Bergman’s Persona, David Lynch’s Mulholland Drive all come to mind. Yet the interplay among Juliette Binoche, Kristen Stewart and Chloe-Grace Moritz is fresh and invigorating, not the least of which because Assayas keeps us on our toes with his abrupt shifts in place, space and time. Kristen Stewart has left Twilight far behind her in this ascent up the alpine slopes into the magical atmosphere of Sils Maria. Awards: Won, César (Best Supporting Actress-Kristen Stewart), Prix Louis Delluc (Best Film); Nominated: Palme d’Or (Cannes)
As mentioned on Dateline: “A Mirror Avant-Garde: Women’s Experimental and Documentary Filmmaking” is the title of the next presentation in this series, continuing at 7:30 p.m. Wednesday, Nov. 4, in LH-6. Each of these seven films by women filmmakers, curated and presented by film scholar Tess Takahasi, scholar in residence at the Filmmaker’s Cooperative in New York, was chosen from the co-op’s collection and deserves to be considered in relation to the canon of avant-garde film and the tradition of documentary production. An important thematic thread running through this program is artists’ incorporation of various kinds of mirrors, both material and metaphoric. These films also explore questions of voice in populations that have been marginal, including those of children, sex workers and transgendered individuals. Films to be screened: Baby Doll (Tessa Hughes-Freeland, 1982), Mutiny (Abby Child, 1982), Noyes (Bette Gordon, 1976), Abstraction (Rosalind Schneider, 1971), All Women Are Equal (Marguerite Paris, 1972), The Scary Movie (Peggy Ahwesh, 1996), What is a man? (Sara-Kathryn Arledge, 1958). All are 16 mm films.
Takahashi is an independent, Toronto-based scholar who writes on experimental media, documentary film and art installation. She is working on a book titled Impure Film: Medium Specificity and the North American Avant-Garde (1968-2008). Her work has been published in journals like Camera Obscura, Cinema Journal, Millennium Film Journal, Animation, and MIRAGE.
Sponsored by Cinema Department and Harpur College Dean’s Speakers Series.
FIAF... which was on trial earlier this month has been added to the Libraries’ collection of databases. FIAF is the only library database which is devoted entirely to film and film criticism. Many articles are full-text and there is good coverage of non-English language journals. It indexes over 500,000 articles from academic and popular film journals, going back to 1972. It also includes the International Index to TV Periodicals, Treasures from the Film Archives, (silent film holdings archives), a variety of film reference works and the International Directory of Film/TV Documentation Collections.
The film Gueros will be shown in on October 23 and 25th at 7:30 in the Lecture Hall. As, the Harpur Cinema page notes, Mexico First time director, Ruizpalacios, fondly references the Nouvelle Vague style of the 1960′s in this black and white film with its “sudden cuts, fleet, ground-level camera work, abrupt changes in tone, and boxy aspect ratio.” Güeros follows the journey of young Tomás to Mexico City to stay with his brother. The adventures that follow result a film that “pops and swerves” with “images by turns comical, banal and ravishing…You come away with a buzz that’s invigorating.”
The Libraries have quite a few books on Mexican cinema. Some recent titles are listed below.
Mexican screen fiction: between cinema and television, by Paul Julian Smith. Fine Arts – PN1993.5.M4 S65 2014.
The three amigos : the transnational filmmaking of Guillermo del Toro, Alejandro González Iñárritu, and Alfonso Cuarón, by Deborah Shaw. Fine Arts – PN1993.5.M4 S53 2013
The transnational fantasies of Guillermo del Toro , ed. by Ann Davies, Deborah Shaw, and Dolores Tierney. Fine Arts – PN1998.3.T583 T83 2014
Revolution and rebellion in Mexican film, by Niamh Thornton. Fine Arts Collection – PN1993.5.M4 T46 2013
Mexican cinema : reflections of a society, 1896-2004, by Carl J. Mora. Fine Arts– PN1993.5.M4 M6 2005
The Libraries are running a database trial of the FIAF International Index to Film Periodicals Plus. This film studies database was created by the International Federation of Film Archives (FIAF); it indexes over 500,000 articles from academic and popular film journals (1972 and onward), The database also include the International Index to TV periodicals, Treasures from the Film Archives, silent film holdings archives.and International Directory of Film/TV Documentation Collections. Trial ends November 13, 2015. As with most library database trials, FIAF can only be used on campus.
Scott M. MacDonald will discuss his just-published book, “Binghamton Babylon, Voices from the Cinema Department, 1967-1977,” (now on order–coming soon to the Libraries) at 7:30 p.m. Wednesday, Oct. 21, in LH-6. He will also talk about some of the very films he saw on Saturday, April 29, 1972, at the Binghamton Cinema Department that re-set his life: Serene Velocity by Ernie Gehr, Soft Rain by Ken Jacobs, Barn Rushes by Larry Gottheim, and The Act of Seeing with One’s Own Eyes by Stan Brakhage.
New titles for this summer.
Dictionary of film terms : the aesthetic companion to film art, by Frank Eugene Beaver. Bartle Library Reference PN1993.45 .B33 2015
Italian fascism’s empire cinema, by Ruth Ben-Ghiat. Fine Arts PN1993.5.I88 B336 2015
Historical dictionary of African American cinema, by S. Torriano Berry and Venise T. Berry. Bartle Library Reference PN1995.9.N4 B433 2015
American road narratives : reimagining mobility in literature and film, by Ann Brigham. PS169.T74 B75 2015
The comic book film adaptation : exploring modern Hollywood’s leading genre, by Liam Burke. Fine Arts PN1997.85 .B87 2015
Italian gothic horror films, 1957-1969, by Roberto Curti ; foreword by Ernesto Gastaldi. Fine Arts PN1995.9.H6 C877 2015
Superheroes on world screens, by ed. by Rayna Denison and Rachel Mizsei-Ward. Fine Arts PN1995.9.S76 S87 2015
Recycled stars: female film stardom in the age of television and video, by Mary R. Desjardins. e-book
The cinema of Ang Lee: the other side of the screen, by Whitney Crothers Dilley. e-book
Tolstoy on screen, ed. by Lorna Fitzsimmons and Michael A. Denner. PG3415.F54 T69 2015
A history of 1970s experimental film: Britain’s decade of diversity, by Patti Gaal-Holmes. e-book
The end of cinema? : a medium in crisis in the digital age, by André Gaudreault and Philippe Marion ; translated by Timothy Barnard. Fine Arts PN1995 .G335 2015
Latin American cinema, by Stephen M. Hart. Fine Arts PN1993.5.L3 H378 2015
Cinema, slavery, and Brazilian nationalism, by Richard A. Gordon. Fine Arts PN1995.9.S557 G68 2015
Bollywood’s India : a public fantasy, by Priya Joshi. Fine Arts PN1993.5.I8 J673 2015
A companion to contemporary documentary film, ed. by Alexandra Juhasz and Alisa Lebow. Fine Arts PN1995.9.D6 C543 2015