quarterly pdf - Anthology Film Archives
quarterly pdf - Anthology Film Archives
quarterly pdf - Anthology Film Archives
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18<br />
EMPEROR TOMATO KETCHUP<br />
A TRIBUTE TO AMOS VOGEL, CONT’D<br />
DEATH<br />
Donald Brittain & John Spotton<br />
MEMORANDUM<br />
1966, 58 min, 16mm. In English and German with English subtitles.<br />
With NIGHT AND FOG, this is unquestionably the most sophisticated fi lm yet<br />
made on the philosophical and moral problems posed by the concentration camp<br />
universe. Twenty years after the liberation, a group of Canadian survivors return on<br />
a pilgrimage to the former Bergen-Belsen concentration camp. A complex fi lmic<br />
structure, combining cinéma vérité and a constant mingling of past and present,<br />
records the result: a morass of paradox, irony, unanswerable questions; and a strong<br />
implication that it may be impossible to go back or to ‘understand’. […] [T]he question<br />
hovering over the entire fi lm – unspoken, yet implicit in every scene – is simply<br />
how, or whether, one can learn from the past.<br />
–Sat, March 9 at 5:30 and Mon, March 11 at 9:00.<br />
–––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––<br />
TRANCE AND WITCHCRAFT<br />
EXCEEDINGLY RARE SCREENING!<br />
Jean-Daniel Pollet<br />
LE SANG<br />
1970, 85 min, 35mm. In French with projected English subtitles.<br />
An apocalyptic vision of man after a cosmic catastrophe, this fi lm is a terrifying metaphor<br />
of a dehumanized future. The Brazilian Cinema Novo, German expressionism of<br />
the twenties, and the ideologically motivated ‘cruelty’ of a Buñuel come together in<br />
this ferocious work of a French theatre collective – an ambitious, almost completely<br />
successful example of visual cinema at its best.<br />
–Sat, March 9 at 7:00 and Wed, March 13 at 7:00.<br />
–––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––<br />
HOMOSEXUALITY AND OTHER VARIANTS: PROGRAM 2<br />
Shûji Terayama<br />
EMPEROR TOMATO KETCHUP / TOMATO KECCHAPPU KÔTEI<br />
1970, 27 min, 16mm. In Japanese with English subtitles.<br />
The use of children in (however simulated) sex acts with adults is always shocking; in<br />
this ‘scandalous’ avant-garde fi lm, magical women act as their initiatory, yet protectively<br />
maternal partners. The children, in revolt, have condemned their parents to<br />
death for depriving them of self-expression and sexual freedom; they create a society<br />
in which fairies and sex education are equally important and…literally combinable.<br />
&<br />
Kôji Wakamatsu<br />
VIOLATED ANGELS / OKASARETA HAKUI<br />
1967, 56 min, 35mm. In Japanese with projected English subtitles.<br />
This fi lm is more symptomatic than signifi cant. Its director claims that his twenty<br />
sadomasochist and erotic features project an anti-authoritarian message. The<br />
‘angels’ in this fi lm are young nurses, methodically violated, shot, and/or cut into<br />
ribbons to the accompaniment of moans, and croaking noises, by a young man with<br />
a gun and a razor. In a lake of blood and beautiful young nude bodies, he is unable to<br />
kill the last one, curling up, foetus-like, in her lap instead. ‘Why did you spill so much<br />
blood?’ asks the girl-mother. ‘To ornament you’, he replies. While there is no doubt of<br />
Wakamatsu’s ability as an artist, his anti-feminist sadism, unadorned by ideological<br />
context, ultimately gives his work an anti-humanist fl avor.<br />
–Sat, March 9 at 9:15, Mon, March 11 at 7:00, and<br />
Thurs, March 14 at 8:45.<br />
SERIES<br />
VIOLATED ANGELS<br />
EROTIC AND PORNOGRAPHIC CINEMA<br />
Arthur Ginsberg<br />
THE CONTINUING STORY OF CAREL AND FERD<br />
1972, 59 min, video<br />
This ‘underground video soap opera’ – presented in an astonishing eighttelevision-screen,<br />
closed-circuit, live-performance format – begins where<br />
commercial TV lets off. A ‘video-vérité’ study of a sometime homosexual junky<br />
and his girl (both former porno fi lmmakers), it is accurately billed as a ‘videotape<br />
novel about pornography, sexual identities, and the effect of living too<br />
close to an electronic medium.’”<br />
&<br />
Karen Johnson ORANGE 1969, 3 min, 16mm<br />
“[T]his close-up of the peeling, sectioning, licking, and eating of a naval orange<br />
becomes a sensuous, sexual experience that disturbs and attracts by the<br />
ambivalence of its images; erotic associations constantly impinge.”<br />
–Sun, March 10 at 5:00.<br />
–––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––<br />
HOMOSEXUALITY AND OTHER VARIANTS: PROGRAM 3<br />
Hellmuth Costard<br />
THE OPPRESSION OF WOMEN IS ESPECIALLY SEEN IN<br />
THE ATTITUDE OF WOMEN THEMSELVES /<br />
DIE UNTERDRÜCKUNG DER FRAU IST VOR ALLEM AN DEM VERHALTEN DER<br />
FRAUEN SELBER ZU ERKENNEN<br />
1969, 64 min, 16mm. In German with English subtitles.<br />
One of the ideologically most aggressive fi lmmakers of the German avantgarde…has<br />
us spy on the humdrum activities of a housewife during a typical<br />
day of her life, much of it recorded in real time to reveal its boredom and stultifying<br />
idiocy. She washes dishes, talks on the telephone, masturbates in front of<br />
a mirror, cooks. With characteristic perversity, however, she is played by a male<br />
in male dress: a brilliant and disturbing visual metaphor. Here the Warhol style<br />
of ‘real time’ and minimal cinema is utilized for a radical political statement.<br />
–Sun, March 10 at 6:45 and Thurs, March 14 at 7:00.<br />
–––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––<br />
AMOS VOGEL ON FILM, PROGRAM 2:<br />
REEL PHILADELPHIA: EPISODE 5<br />
1980, 90 min, video. Hosted by Amos Vogel.<br />
From 1973 until his retirement in 1991, Vogel taught and lectured on fi lm at<br />
the Annenberg School of Communications at the University of Pennsylvania.<br />
In 1980 he hosted a television program broadcast on Philadelphia PBS<br />
affi liate WHYY where he presented and discussed the best independent and<br />
experimental fi lms being made in the Delaware Valley. The series ran for<br />
fi ve episodes; episode 5, the fi nal installment, features work by Peter Rose,<br />
Laurence Salzmann, and Maggi Carson whose fi lm PUNKING OUT inspires a<br />
particularly brilliant introduction from Vogel.<br />
PUNKING OUT will screen in its entirety from 16mm. It has been preserved by<br />
the Reserve <strong>Film</strong> and Video Collection of The New York Public Library for the<br />
Performing Arts, with funding from the Carnegie Corporation of New York.<br />
–Sun, March 10 at 8:30.