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Andy Warhol’s TAYLOR MEAD’S ASS (1964) Film still courtesy/copyright The Andy Warhol Museum, Pittsburgh, PA, a museum of Carnegie Institute. All rights reserved. TAYLOR MEAD: ON FILM, IN PERSON The Underground’s greatest film comedian, Taylor Mead has been an uproarious onscreen presence since the late 1950s. A beloved Warhol superstar who happens to be a neighborhood fixture, Mead’s comedic quips and improvisatory skills are unparalleled. Besides acting, Mead is a published poet who for the last few years presented a weekly spoken word extravaganza called, naturally, The Taylor Mead Show at the Bowery Poetry Club. That showcase is sadly defunct (for now), but we are absolutely thrilled to have Taylor with us for one more wild evening of recitations and reminiscences. And to up the ante we will also screen, quite possibly simultaneously, a Warhol film soley devoted to…you know what. You’ve never seen Taylor Mead like this before! THE TAYLOR MEAD SHOW One never quite knows what will escape Taylor’s smirking lips. If you have never seen him perform live before, you seriously don’t have any clue what you are missing. Poems, gossip, jokes, and oh so much more… & Andy Warhol TAYLOR MEAD’S ASS 1964, 76 min, 16mm, b&w, silent Andy gives Yoko Ono a run for her money with this epic portrait of Taylor Mead’s posterior. The original version supposedly ran for over two hours! –Fri, January 11 at 7:30. SERIES PERFUMED NIGHTMARE WHY IS YELLOW THE MIDDLE OF THE RAINBOW? (I AM FURIOUS…YELLOW) SANDY REDUX January 11-16 Thanks to Hurricane Sandy, Anthology was forced to shutter for the better part of a week this past October, canceling screenings of several programs, including scheduled in-person appearances by Kidlat Tahimik, Mike Kuchar, and Taylor Mead (talk about a dream team!). Sadly, Kidlat and Mike are safely back in the Philippines and San Francisco respectively – but we will be presenting their work in their absence, as well as hosting Taylor for a re-scheduled presentation of his program, and reprising a cancelled show from our Avant-Garde Masters tribute. Assuming of course, that the gods aren’t angered again… KIDLAT TAHIMIK Kidlat Tahimik, one of the godfathers of Filipino filmmaking, made a triumphant entrance onto the world cinema stage in the late 70s/ early 80s with the appearance of his feature films PERFUMED NIGHTMARE and TURUMBA, which remain two of the most uncategorizable, formally audacious, profoundly entertaining, deeply whimsical, yet politically incisive films in post-colonial cinema. Since then, Tahimik’s work has had very little exposure in North America, even as he has been busier than ever, focusing his boundless energy on a series of adventures, projects, and films ranging from the epic to the compact to the fragmentary. With a sensibility at once mischievously comic, passionately committed, and irresistibly oddball, Tahimik is almost guaranteed to be your new favorite filmmaker! Co-organized by Aily Nash & Juan Daniel Molero. Special thanks to Kidlat Tahimik, and to Les Blank (Flower Films), Kazuyuki Yano & Haruka Hama (Cinematrix), Takahashi Echigoya (Aichi Arts Center), Blake Bertuccelli, Kathy Geritz (Pacific Film Archive), David Pendleton & Haden Guest (Harvard Film Archive), and Peggy Ahwesh. PERFUMED NIGHTMARE 1977, 93 min, 16mm. Born in 1942, during the American occupation of the Philippines, Tahimik is best known for this remarkable, uncategorizable, and entirely unique film, a semi-autobiographical fable that tells the story of his awakening to, and reaction against, American cultural colonialism. –Sat, January 12 at 6:00. –––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––– TURUMBA 1981, 95 min, 16mm. Set in a tiny Philippine village, TURUMBA focuses on one family who traditionally made papier-maché animals to sell during the Turumba festivities. One year, a department store buyer shows up in town and purchases all their stock. When she returns with an order for 500 more (this time with the word “Oktoberfest” painted on them), the family’s seasonal occupation becomes year-round alienated labor. –Sat, January 12 at 8:00. ––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––– WHO INVENTED THE YOYO? WHO INVENTED THE MOON BUGGY? 1979, 95 min, 16mm-to-video “[S]et in fictional Yodel Ville, with Kidlat Tahimik, no longer the same jeepney driver of PERFUMED NIGHTMARE but a character that is closer to the real man, spending time with children in his mission to launch a chicken to space via a makeshift vessel. … Without taking away from the unique delights of seeing a grown man treating toddlers as equals in discussions that should not make sense but actually do, the film, while utilizing the often inane resourcefulness of Tahimik’s character as a wellspring for comedy, proposes that it is that trait, arguably endemic to Filipinos, that is the secret ingredient to genius.” –Francis Joseph Oggs Cruz –Sun, January 13 at 5:15. WHY IS YELLOW THE MIDDLE OF THE RAINBOW? (I AM FURIOUS…YELLOW) 1980-94, 175 min, 16mm-to-digital video “The film, which is effectively Tahimik’s account of his personal life from 1981 to 1993, is perhaps the most personal work of the director whose films are intimately intertwined with him, his history, and his beliefs.” –Francis Joseph Oggs Cruz –Sun, January 13 at 7:30. –––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––– JAPANESE SUMMERS OF A FILIPINO FUNDOSHI 1996, 41 min, 16mm Tahimik spends a summer in Japan, working on several projects in a traditional Filipino costume that resembles the Japanese Fundoshi. & MEMORIES OF OVERDEVELOPMENT 1980-2011, 33 min, video “Perhaps one of the greatest films that will probably never get made is Tahimik’s account of the first circumnavigation of the globe by Enrique, Magellan’s Filipino slave. [This] thirty minute collection of scenes…is, for the moment, the closest the world will ever get to the non-existent film.” –Francis Joseph Oggs Cruz –Mon, January 14 at 7:00. –––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––– VIDEO PALARO: VIDEO DIARIES OF KIDLAT TAHIMIK SOME MORE RICE 2000, 20 min, video BUBONG! (Roofs of the World! UNITE!) 2006, 20 min, video OUR FILM-GRIMAGE TO GUIMARAS / DALAWANG ATANG AT ISANG PASALUBONG 2005, 10 min, video ORBIT 50: LETTERS TO MY 3 SONS 1990-92, 17 min, video CELEBRATING THE YEAR 2021, TODAY 1995, 20 min, video Total running time: ca. 95 min. –Mon, January 14 at 9:00. 11
MIDNIGHT CARNIVAL SANDY REDUX, CONT’D. GO STARBOUND WITH MIKE KUCHAR An icon whose renown reverberates well outside the small world of experimental cinema, Mike Kuchar has been in constant pursuit of his muse since his earliest days drawing and shooting 8mm films in the Bronx. Bold hues illuminate artificial atmospheres in his glamorously gleaming films and videos, all of which were made for pennies on the dollar. Ambience in a Mike Kuchar film is as much of a character as his lovelorn protagonists. Kuchar’s attention to color is similarly expressive, especially in the way he uses light to invest his already ethereal images with deeper emotional and comical resonance. This program brings together three new works with Anthology’s recent preservation of GREEN DESIRE, the filmmaker’s second 16mm production following his revered SINS OF THE FLESHAPOIDS. Two of the videos are stunning pieces made with the students in his class at the San Francisco Art Institute. They are without a doubt among the strongest works of his lengthy career and should by no means be missed by Kuchar fans and thrill-seekers alike. MELTDOWN 2012, 12 min, digital video “Waiting to live” and “Waiting to die” are the same thing…or is he just plain “Mad”? STARBOUND 2012, 47 min, digital video Dizzy “way out”, “new age” widescreen mayhem seethes within the walls of the Institute for Metaphysical Research and Spiritual Wellness. GREEN DESIRE 1966, 20 min, 16mm. Preserved by Anthology Film Archives through the Avant-Garde Masters program funded by The Film Foundation and administered by the National Film Preservation Foundation. A youth wanders the landscape of grass and sky in search of puzzling impulses. GREEN DESIRE is an exquisite and rarely seen example of Kuchar’s masterful use of color, texture, and tone. MIDNIGHT CARNIVAL 2011, 34 min, video A color-splashed mystery play about revelers at a masquerade ball produced by Kuchar and his San Francisco Art Institute students. Total running time: ca. 120 min. 12 –Tues, January 15 at 7:30. THE CLIMATE OF NEW YORK SERIES AVANT-GARDE MASTERS: A DECADE OF PRESERVATION The Avant-Garde Masters grant was created in 2003 by the National Film Preservation Foundation and The Film Foundation to preserve American Avant-Garde cinema. Funded by The Film Foundation, the program has helped save more than 100 films in its first decade, making many works available to audiences for the first time since their creation. Works preserved thus far run the gamut from canonical classics to handmade efforts by artists deserving a second look. All films were preserved through the National Film Preservation Foundation’s Avant-Garde Masters Grant program funded by The Film Foundation. Special thanks to Jeff Lambert (NFPF), Christa Grauer, Chicago Filmmakers, Patrick Friel, Mona Nagai & Jon Shibata (Pacific Film Archive), and Silver Bow Art. Frank Stauffacher NOTES ON THE PORT OF ST. FRANCIS 1951, 21 min, 16mm. Preserved by Pacific Film Archive. A poetic portrait of San Francisco narrated by Vincent Price. Rudy Burckhardt THE CLIMATE OF NEW YORK 1948, 21 min, 16mm. Preserved by Anthology Film Archives. Mid-1940s New York City preserved in luminous black-and-white and saturated color. “Shows the relation of New Yorkers to their monumental environment, their nervous movement against the solid calm of their architecture, and the almost impossible difference in scale between the two. From crowded midtown it takes you to a quiet suburb, to Times Square at night, and down into the subway.” –R.B. Beryl Sokoloff GAUDI 1962, 14 min, 16mm. Preserved by Silver Bow Art. Sokoloff’s cinematic homage to the architect, Antonio Gaudi. The filmmaker intertwines Gaudi’s fantastic forms with the vital streets of Barcelona creating a poetic tension and visual excitement. Tom Palazzolo HE 1966, 8 min, 16mm. Preserved by Chicago Filmmakers. Men are strange creatures. This film follows a few of them, including an Abe Lincoln look-alike, and a nudist swimmer in January. Total running time: ca. 70 min. –Wed, January 16 at 7:30. W.R.: MYSTERIES OF THE ORGANISM A TRIBUTE TO AMOS VOGEL AND ‘FILM AS A SUBVERSIVE ART’ February 6-19, March 7-14 Published in 1973, FILM AS A SUBVERSIVE ART is an oft-referenced, hugely influential, landmark text in the history of film literature. A book with no discernible beginning, middle, or end, it’s as energizing, entertaining, and important a work of film criticism as any that has ever been written – a labyrinthine trek through world cinema via one man’s visionary cosmology. That man was Cinema 16 and New York Film Festival founder Amos Vogel (1922-2012), who dedicated his life to supporting the pioneering efforts of independent artists and aesthetic rebels. In its radical, impassioned polemics and dialectically-placed film frames, FILM AS A SUBVERSIVE ART is the fulcrum of Vogel’s years as a film programmer, festival juror, lecturer, and critic. Citing numerous films that have become increasingly difficult to see due to the vagaries of distribution, his book remains a Pandora’s box of cinematic treasures and an astute elucidation of the artist’s role in contemporary society. To honor Amos and this singular work, Anthology is pleased to present an extensive film series featuring more than two dozen works discussed in FILM AS A SUBVERSIVE ART. Organized to reflect the structure of the book, with films chosen to represent particular chapters, this program brings together a hugely varied and eclectic collection of works, the majority of them unscreened in NYC for many years. Taken together, they demonstrate not only the riches that lie within Vogel’s book, but the extraordinary potential of the cinema, especially in the hands of truly visionary, vanguard artists. Co-curated by Michael Chaiken; special thanks to Steven & Loring Vogel, Brian Belovarac & Sarah Finklea (Janus), Cassie Blake (Academy Film Archive), Chris Chouinard (Park Circus), Rebecca Cleman (Electronic Arts Intermix), Christophe Deverdun (Blaq Out), Sam Di Iorio, Jane Gutteridge (National Film Board of Canada), Henrikku, Go Hirasawa, Tanja Horstmann (Arsenal), Jonathan Howell (New Yorker), Jyette Jensen, Gabe Klinger & Kitty Cleary (MoMA), Mark Johnson (Harvard Film Archive), Joel Kozberg, Gérard Leblanc, Kate Millett, Stephen Parr, Boris Pollet, Julian Ross, Elena Rossi-Snook (NYPL), MM Serra (Film-Makers’ Coop), Gaël Teicher (P.O.M. Films), and Zelimir Zilnik & Sarita Matijevic (Playground produkcija). Except where noted, all film descriptions are from Amos Vogel’s FILM AS A SUBVERSIVE ART. Anthology’s series has been organized in collaboration with the Museum of the Moving Image in Queens, which will present its own Amos Vogel tribute in March; for more details visit: www.movingimage.us/films/
Page 1 and 2: Anthology Film Archives Film Progra
Page 3 and 4: 2 ESSENTIAL CINEMA CHUMLUM THE GREA
Page 5 and 6: 4 MAN WITH A MOVIE CAMERA / THE FIL
Page 7 and 8: ROCK/STRING 6 AFA PRESERVATIONS SPE
Page 9 and 10: ASLEEP EARLY SHORT FILMS: ALONE 196
Page 11: IMAGINARY FRIEND SHOW & TELL, CONT
Page 15 and 16: LEFT AND REVOLUTIONARY CINEMA: THE
Page 17 and 18: SUNDAY MONDAY TUESDAY WEDNESDAY THU
Page 19 and 20: 18 EMPEROR TOMATO KETCHUP A TRIBUTE
Page 21 and 22: SACRIFICE / GISEI 60s-70s JAPAN, CO
Page 23 and 24: WICHITA 22 SARRIS, CONT’D Jacques
Page 25 and 26: 24 MY MARS BAR MOVIE ENCORE SCREENI
Page 27 and 28: 26 SPECIAL SCREENINGS / NEWFILMMAKE
Page 29 and 30: FEATURE PRESENTATION Eugene Ioannou
Page 31 and 32: 30 ANTHOLOGY’S TWO THEATERS ARE A
Page 33 and 34: 32 ADACHI, MASAO, Feb 26, p. 20 AGE
Page 35: ANTHOLOGY New York, NY 10003 F I L

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