Download the full program as PDF - Fashion Film Festival
Download the full program as PDF - Fashion Film Festival
Download the full program as PDF - Fashion Film Festival
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The F<strong>as</strong>hion in <strong>Film</strong> <strong>Festival</strong> is proud to present a<br />
special edition of birds of paradise, an intoxicating<br />
exploration of costume <strong>as</strong> a form of cinematic spectacle<br />
throughout European and American cinema. The<br />
<strong>program</strong> highlights those episodes in cinema history<br />
which most distinctly foreground costume, adornment,<br />
and styling <strong>as</strong> vehicles of sensuous ple<strong>as</strong>ure and<br />
enchantment. Underground films by Kenneth Anger,<br />
Jack Smith, Jose Rodriguez-Soltero, Steven Arnold,<br />
and James Bidgood constitute one such episode.<br />
Their exquisitely decadent, highly stylized visions <strong>full</strong><br />
of lyrical f<strong>as</strong>cination with jewelry, textures, layers,<br />
luxurious fabrics, and make-up unlock <strong>the</strong> opulence of<br />
earlier periods of popular cinema, especially “spectacle”<br />
and Orientalist films of <strong>the</strong> 1920s; early dance, trick<br />
films and féeries of <strong>the</strong> 1890s and 1900s; and Hollywood<br />
exotica of <strong>the</strong> 1930s and 1940s.<br />
The <strong>program</strong> forges a link between <strong>the</strong> characteristic<br />
visual intensity of American underground cinema<br />
and <strong>the</strong> dreamlike, marvelous world of silent cinema.<br />
In <strong>the</strong>ir magical and sometimes phant<strong>as</strong>magorical<br />
tableaux, costume and artifice are not merely on display.<br />
Instead, <strong>the</strong>y dazzle, seduce, surprise, or dramatically<br />
metamorphose—<strong>the</strong>y become a type of special effect.<br />
birds of paradise delves into <strong>the</strong> archives to show<br />
that costume and adornment have often been a key<br />
component in film and have, from early on, proved<br />
absolutely vital in showc<strong>as</strong>ing such b<strong>as</strong>ic properties <strong>as</strong><br />
movement, change, light and, of course, color. Stressing<br />
<strong>the</strong> aes<strong>the</strong>tic <strong>as</strong>pects of cinema, <strong>the</strong> <strong>program</strong> suggests<br />
one way of closing <strong>the</strong> cleavage (or at le<strong>as</strong>t temporarily<br />
suspending <strong>the</strong> opposition) between avant-garde film<br />
and mainstream commercial cinema. This is very much<br />
in <strong>the</strong> spirit of such progressive journals <strong>as</strong> <strong>the</strong> pre-war<br />
French cinéa-ciné pour tous and <strong>the</strong> post-war American<br />
<strong>Film</strong> culture, and of course, <strong>the</strong> very attitude of <strong>the</strong><br />
experimental filmmakers featured.<br />
The festival presents many rare screenings including Nino<br />
Oxilia’s rapsodia satanica (1915/1917), a newly restored<br />
print of Jack Smith’s normal love (1963), Jose Rodriguez-<br />
Soltero’s lupe (1966), and Alexandre Volkoff’s secrets<br />
of <strong>the</strong> e<strong>as</strong>t (1928). There will also be favourites such <strong>as</strong><br />
Cecil B. DeMille’s male and Female (1919), Erich von<br />
Stroheim’s <strong>the</strong> merry Widow (1925), <strong>as</strong> well <strong>as</strong> talks, film<br />
introductions and seminars. The festival takes place at<br />
Museum of <strong>the</strong> Moving Image and The Graduate Center,<br />
CUNY this April and May, followed by a symposium with<br />
screenings at Yale University in November.<br />
All silent films will be accompanied with live music by Donald Sosin,<br />
Stephen Horne or Makia Matsumura.<br />
“The F<strong>as</strong>hion in <strong>Film</strong> <strong>Festival</strong> h<strong>as</strong> established itself <strong>as</strong> a lively and<br />
wonder<strong>full</strong>y <strong>program</strong>med cinema event that spans a wide range of<br />
genres and periods, finding a common link in <strong>the</strong> medium’s emph<strong>as</strong>is<br />
on visual spectacle, dazzling excess, and general enchantment.<br />
Museum of <strong>the</strong> Moving Image is thrilled to be <strong>the</strong> New York venue for<br />
this original and essential film festival.”<br />
David Schwartz, Chief Curator, Museum of <strong>the</strong> Moving Image<br />
Founded in 2005, F<strong>as</strong>hion in <strong>Film</strong> is<br />
an exhibition, research and education<br />
project b<strong>as</strong>ed at Central Saint Martins<br />
College of Art and Design. Birds<br />
of Paradise is a second collaboration<br />
with Museum of <strong>the</strong> Moving Image,<br />
and is organized in partnership with<br />
<strong>Film</strong> Studies Program and <strong>Film</strong>s at <strong>the</strong><br />
Whitney at Yale University, The Center<br />
for <strong>the</strong> Humanities and The Graduate<br />
Center at City University of New York.<br />
The <strong>program</strong> is curated by Marketa<br />
Uhlirova, with Ronald Gregg, Stuart<br />
Comer, Eugenia Paulicelli, and Inga<br />
Fr<strong>as</strong>er. It is organized for Moving Image<br />
by David Schwartz.<br />
<strong>Festival</strong> advisors: Serge Bromberg,<br />
Alistair O’Neill, Eric de Kuyper, Ronny<br />
Temme, Christel Tsilibaris, Marc Siegel.