july 4-September 30, 2012 - Museum of the Moving Image

The Red Shoes (Photofest)To Catch a ThiefSATURDAY, JULY 28, 3:00 P.M.SUNDAY, JULY 29, 3:00 P.M.Dir. Alfred Hitchcock. 1955, 106 mins. New restorationon DCP. With Cary Grant, Grace Kelly. Hitchcock’sTechnicolor crime caper is the acme of glamorous1950s escapism. Grant is devilishly charming—as ever—playing a retired cat burglar on the Riviera suspected ofmasterminding a new wave of robberies. While he triesto find out who really did it, a gorgeous American touristcatches his eye. Filmed partly on location in France, thisis gloriously shot, deliriously witty entertainment.VertigoSATURDAY, JULY 28, 6:00 P.M.SUNDAY, JULY 29, 6:00 P.M.Dir. Alfred Hitchcock. 1958, 128 mins. 35mm IB Technicolorprint. With James Stewart, Kim Novak, Barbara BelGeddes. Considered by many cinephiles the greatest ofall films, Hitchcock’s peerless psychological thrillerfollows a San Francisco private detective who comes outof retirement to trail an old schoolmate’s beautiful wife,who appears to be haunted by a figure from her ancestralpast. Both an ingeniously plotted mystery and a profoundlydisturbing tale of romantic obsession, Vertigo is anemotional experience like no other—on the level of image,sound, and storytelling. This is a very rare screening ofa vintage Technicolor print, with the film’s originalsoundtrack and color beautifully intact.The Red ShoesSATURDAY, JULY 21, 3:00 P.M.SUNDAY, JULY 22, 3:00 P.M.Dirs. Michael Powell and Emeric Pressburger. 1948133 mins. New restoration on DCP. With Anton Walbrook,Marius Goring, Moira Shearer. The story of a ballerinawho becomes consumed by her obsession with her artwas realized by Powell and Pressburger with obsessiveattention to the power of cinematic expression. Theultimate film about the way that art can take over life,The Red Shoes was recently restored, fittingly, withobsessive perfectionism. Thanks to this truly eye-openingrestoration, which employed a state-of-the-art blendof photochemical and digital technology, The Red Shoeshas never looked better.The Life and Death of Colonel BlimpIntroduced by Thelma Schoonmaker (Saturday only)SATURDAY, JULY 21, 6:00 P.M.SUNDAY, JULY 22, 6:00 P.M.Dirs. Michael Powell and Emeric Pressburger. 1943,163 mins. New restoration on DCP. With Deborah Kerr,Roger Livesey, Anton Walbrook. Martin Scorsese andThelma Schoonmaker supervised the astonishing newrestoration of the movie that Dave Kehr has called“very possibly the finest film ever made in Britain.” Anintricate, deeply ambiguous saga that both satirizes andcelebrates military life, it uses a flashback structure tocover forty years in the existence of a British colonel,from the second Boer War to World War II. As Kehrwrites, “Powell’s camera renders the winding plotthrough boldly deployed Technicolor hues and cameramovements of exquisite design and expressivity.”Rio BravoSATURDAY, AUGUST 4, 3:00 P.M.SUNDAY, AUGUST 5, 3:00 P.M.Vertigo (Photofest)Dir. Howard Hawks. 1959, 141 mins. New restoration onDCP. With John Wayne, Dean Martin, Ricky Nelson,Angie Dickinson, Walter Brennan, Ward Bond. Hawks’slaconic and wise big-screen Technicolor western pitsWayne and a group of misfit deputies against a gang ofwell-armed bad guys intent on busting one of their ownout of jail. Will the sheriff and his gang be able to holdtight until the marshal arrives? Bracingly comic andunsentimental, Rio Bravo is also the epitome of Hawks,with its emphasis on professionalism, male camaraderie,and—with the playful chemistry between Dickinsonand Wayne—the battle of the sexes.The Wild BunchSATURDAY, AUGUST 4, 6:00 P.M.SUNDAY, AUGUST 5, 6:00 P.M.Dir. Sam Peckinpah. 1969, 145 mins. 35mm. With WilliamHolden, Ernest Borgnine, Robert Ryan, Edmond O’Brien,Warren Oates. As the western genre dried up aroundhim, Peckinpah assembled a group of grizzled veteransfor one last trip into the breach. A cadre of aging outlaws,fleeing the authorities, attempts to make a final scorefor a Mexican general, but when things go awry, the gangfinds itself in one of the wildest and bloodiest of screenshoot-outs. Peckinpah’s masterpiece is at once classicaland revisionist, an exemplar of the very genre it sobrilliantly subverts.The LeopardSATURDAY, AUGUST 11, 2:00 P.M.SUNDAY, AUGUST 12, 2:00 P.M.Dir. Luchino Visconti. 1963, 185 mins, plus intermission.New restoration on DCP. With Burt Lancaster, AlainDelon, Claudia Cardinale, Pierre Clémenti. Visconti’sextraordinary, luxuriously beautiful three-hour work—about a prince who watches his fortune and way oflife crumble around him amid the upheaval of theRisorgimento in mid-nineteenth-century Italy—is oneof the grandest of all movie epics. The sumptuouswidescreen cinematography by Giuseppe Rotunnoand aching Nino Rota score are matched by the trulydazzling cast.Fellini SatyriconSATURDAY, AUGUST 11, 6:00 P.M.SUNDAY, AUGUST 12, 6:00 P.M.Dir. Federico Fellini. 1969, 128 mins. 35mm. With MartinPotter, Hiram Keller, Magali Noël, Alain Cuny. The ultimateFellini phantasmagoria. The maestro’s legendaryre-creation of first-century Rome provides the backdropfor a wondrous journey into another world—a freeadaptation of Petronius’s satirical ancient novel that isas gritty as it is surreal. Grotesque, erotic, and bizarre,and reportedly inspired by Jack Smith’s FlamingCreatures, Fellini Satyricon remains a hotly debated film,but no one can deny its almost constant visual invention.Taxi DriverFRIDAY, AUGUST 17, 7:00 P.M.SATURDAY, AUGUST 18, 6:00 P.M.SUNDAY, AUGUST 19, 6:00 P.M.Dir. Martin Scorsese. 1976, 113 mins. New restoration onDCP. With Robert De Niro, Cybill Shepherd, Jodie Foster,Albert Brooks, Harvey Keitel. Scorsese’s dark, dyspepticview of New York, made all the more menacing by abrassy Bernard Herrmann score, is also a great visuallove letter to the Big Apple. Among the pimps, prostitutes,vermin, and trash, Scorsese highlights striking flashesof visual beauty and ultimately reveals an undyingaffection for a New York disappearing all around him.Paul Schrader’s script pays homage to The Searchers,a touchstone film for many American directors.The SearchersSATURDAY, AUGUST 18, 3:00 P.M.SUNDAY, AUGUST 19, 3:00 P.M.Taxi Driver (Sony Pictures Repertory)Dir. John Ford. 1956, 119 mins. New restoration on DCP.With John Wayne, Jeffrey Hunter, Vera Miles, WardBond, Natalie Wood. Martin Scorsese has claimed thathe watches this film, arguably western master JohnFord’s greatest achievement, every year, and with goodreason. Its epic story sweeps from the AmericanSouthwest to the Canadian border as it tracks Wayne’sincreasingly unhinged quest for his beloved niece,kidnapped by Chief Scar in a raid years before. Wayne’sEthan Edwards is as neurotically obsessed as DeNiro’sTravis Bickle.6 see it big!7

Brazil (Photofest)The Last Picture ShowFRIDAY, SEPTEMBER 7, 7:00 P.M.SATURDAY, SEPTEMBER 8, 7:00 P.M.SUNDAY, SEPTEMBER 9, 7:00 P.M.THEMUPPETBrazilFRIDAY, AUGUST 24, 7:00 P.M.SATURDAY, AUGUST 25, 3:00 P.M.SUNDAY, AUGUST 26, 3:00 P.M.Dir. Terry Gilliam. 1985, 132 mins.35mm. With Jonathan Pryce, RobertDe Niro, Ian Holm, Michael Palin.Gilliam’s jaw-dropping dystopianscience-fiction black comedy, whichwas almost shelved by Universal,imagines a totalitarian surveillancesociety that would make Orwellenvious. When minor bureaucratPryce notices a clerical error that ledthe state to arrest the wrong man, itsets him on a quest for freedom, andmakes him public enemy number one.Blue VelvetSATURDAY, AUGUST 25, 6:00 P.M.SUNDAY, AUGUST 26, 6:00 P.M.Dir. David Lynch. 1986, 120 mins.35mm. With Kyle MacLachlan,Isabella Rossellini, Dennis Hopper,Dean Stockwell. This nightmarishvision of the suburban underbellyforever marked Lynch as America’spremiere poet of the perverse.MacLachlan’s straight-arrow kidfinds himself drawn ever deeperinto a mystery involving a severedhuman ear, a melancholy loungesinger (Rossellini), and a violent,gas-huffing maniac (Hopper, in acareer-defining performance). Theeffect of this beautifully designedwidescreen work of Americangothic on the last two decades ofmoviemaking is incalculable.Doctor ZhivagoFRIDAY, AUGUST 31, 7:00 P.M.SATURDAY, SEPTEMBER 1, 2:00 P.M.SUNDAY, SEPTEMBER 2, 2:00 P.M.Dir. David Lean. 1965, 197 mins,plus intermission. DCP. With OmarSharif, Julie Christie, GeraldineChaplin, Rod Steiger. Grand-scalemoviemaking became Lean’s fortein the 1960s, and Doctor Zhivagowas one of his grandest triumphs.Based on Boris Pasternak’s novel,this tale of a love triangle set againstthe Bolshevik Revolution is anastonishing feat, as emotionallyinvolving as it is visually spectacular.Highlights include Freddie Young’sOscar-winning cinematography andMaurice Jarre’s iconic score.The Bridge on theRiver KwaiSATURDAY, SEPTEMBER 1, 6:30 P.M.SUNDAY, SEPTEMBER 2, 6:30 P.M.Dir. David Lean. 1957, 161 mins.New restoration on DCP. With AlecGuinness, William Holden, SessueHayakawa. David Lean’s epic andthrilling drama, which won sevenAcademy Awards, is set mostly in aJapanese POW camp, where a Britishcolonel (a superb Guinness) is taskedwith overseeing the building of arailway bridge. Meanwhile, a troopof Allies, led by Holden, has beendispatched to blow it up. Equal partsaction adventure and psychologicaldrama, this is one of the mostcompelling of all World War II films.Dir. Peter Bogdanovich. 1971, 126 mins.New restoration on DCP. WithTimothy Bottoms, Jeff Bridges, CybillShepherd. Bogdanovich emergedas a great American director withthis lively and haunting elegy for theWest, for movies, and for childhood,a coming-of-age saga about threehigh school friends stuck in a fadingTexas town in the 1950s. Thisblack-and-white masterpiece wasphotographed by the great RobertSurtees, whose other credits includeThe Graduate and Ben-Hur.Ben-HurSATURDAY, SEPTEMBER 8, 2:00 P.M.SUNDAY, SEPTEMBER 9, 2:00 P.M.Dir. William Wyler. 1959, 212 mins,plus intermission. New restorationon DCP. With Charlton Heston,Jack Hawkins, Stephen Boyd, HughGriffith. This stunning restorationwas one of the highlights of lastyear’s New York Film Festival. Hestonis magnetic as Jewish prince JudahBen-Hur, betrayed by his childhoodfriend Messala, now a commandingofficer of a Roman legion. Judah’sextensive journey—from a slavegalley to the film’s legendarychariot race scene—is paralleledby the rise of Christ. Winner of arecord eleven Oscars, Ben-Hur is abreathtaking biblical epic that outdideven De Mille.Ben-HurSHOWJULY 7–SEPTEMBER 30, 2012Jim Henson’s Muppets returnto the Museum with continuousscreenings of select episodesof The Muppet Show, the primetimeseries that was the mostwidely watched television showaround the world in the late 1970s.Liza Minnelli, Raquel Welch,Harry Belafonte, Debbie Harry,and many others performalongside Miss Piggy, Kermit,Rowlf, and Fozzy; a new episodewill screen each week.A complete schedule is availableat movingimage.us.Special thanks to Craig Shemin, presidentof the Jim Henson Legacy and longtimeMuppets writer.From top, clockwise(with the Muppets onThe Muppet Show):Liza Minelli,Alan Arkin,Harry Belafonte,Beverly Sills8 see it big!9

Wednesdays,July 4–August 22, 2012(Rain Date: August 29)Socrates Sculpture Park and AT&T, incollaboration with Museum of the MovingImage and Rooftop Films, present the14th Annual Festival of International Film,Music, Dance, and Food.Pre-screening performances begin at 7:00 p.m.Films begin at sunset. Free admission.Come to Socrates Sculpture Park (Vernon Boulevard and Broadway,Long Island City) and sample regional cuisine from neighborhoodrestaurants, picnic on the grass as the sun sets over the city, enjoyperformances by local musicians and dancers, and as the skydarkens, see exceptional international films—all set against thespectacular backdrop of the Manhattan skyline.All films, performers, and vendors are subject to change orcancellation. Please visit socratessculpturepark.org or call718 956 1819 to confirm programming.The American ExperienceJULY 4 UNITED STATES51 mins. On America’s birthday, wecelebrate the nation’s diversity, daring,and charm in a program of short filmsthat are alternately funny, revelatory, anddramatic. Preceded by a live-feed of theMacy’s fireworks display.Mulvar Is Correct Candidate!(Patrick Désilets, 1 min.)Month One(Michael Galinsky and Joanna Arnow,10 mins.)You Have the Right to an Attorney(Matt Bockelman, 13 mins.)My American Life(Mohammed Yakub, 6 mins.)Thread(Iva Radivojevic, 7 mins.)Norman Schwarzkopf Made Me Gay(Sara Zia Ebrahimi, 10 mins.)No More Questions(Rauch Bros., 4 mins.)Soul KitchenJULY 11 GERMANYDir. Fatih Akin. 2009, 99 mins.An irresistible multi-culti farce from adirector better known for his dramaticfilms (Head On, The Edge of Heaven),Soul Kitchen tells the story of a youngGerman-Greek diner owner who—anticipating gentrification of his industrialHamburg neighborhood—transformshis scruffy fish-stick counter into ahaute-boho destination. An energeticsoundtrack of funk, punk, and reggaecomplements an eclectic cast ofcharacters, rapid-fire silliness, andlavish food fun. (Not rated)Lemonade JoeJULY 18 CZECH REPUBLICPresented with support from theCzech Center New YorkDir. Oldrich Lipský. 1964, 84 mins.Czech New Wave political satire meetsHollywood westerns and musicals inthe raucous Lemonade Joe, the storyof a yellow-clad cowboy with a goodnaturedgrin and an unquenchablethirst for justice and Kolaloka lemonade(Joe also happens to be a travelingsalesman for the brand). This silly andsharp comedy became an internationalcult favorite, and one of the earliestand most original western genre spoofs.(Not rated)Her Master’s VoiceJULY 25 UNITED KINGDOMDir. Nina Conti. 2012, 60 mins. In thisgutsy and sidesplitting self-examination,conflicted ventriloquist Conti takesthe bereaved puppets of her mentoron a pilgrimage to the resting placefor deceased performers’ puppets.Nina and “Monkey” will appear live!(Not rated)SennaAUGUST 1 BRAZILDir. Asif Kapadia. 2010, 106 mins.Filled with breathtaking archivalmaterial, the acclaimed and popularSenna documents Ayrton Senna’sexciting life, from being a Formula Onetriple world champion to his earlydeath. Unfolding with the pacing of alive-action thriller, the film exploresSenna’s racing achievements, testsof endurance, personal clashes, andpolitical convictions—and looks at thelegendary status he achieved in hishome country of Brazil. (Rated PG-13)Summer WarsAUGUST 8 JAPANDir. Mamoru Hosoda. 2009, 114 mins.The story of a teen math prodigy whounwittingly unlocks a virtual world ofavatars, this cyber-fantasy/sci-fi animelove story is a breathtaking tour of avisually brilliant alternate universe,and a clever parable about technology,family, and society. The winner of theJapan Academy prize for animation,Summer Wars confirms Hosoda’splace in the new generation of greatanime directors. (Rated PG)Certified CopyAUGUST 15 FRANCE/ITALYDir. Abbas Kiarostami. 2010, 106 mins.In this playful and provocativeromantic drama from the legendaryKiarostami—his first film made outsideof Iran—Juliette Binoche plays agallery owner living in a Tuscanvillage. Her encounter with a Britishauthor over the course of a day takesincreasingly perplexing turns, asKiarostami slyly plays with the rulesof narrative. Binoche won the bestactress award at Cannes. (Not rated)Spring, Summer, Fall,Winter. . . and SpringAUGUST 22 SOUTH KOREAPresented in cooperation with TheKorea SocietyDir. Kim Ki-duk. 2003, 103 mins.Though all the action takes placeat a tranquil and isolated Buddhistmonastery, Kim’s ninth featureabounds with tension and sensuality.Tracing the story of a monk from hisyouth as a protégé into adulthood,and his battles with desire, anger,and cruelty along the way, the filmreflects the struggle to be human inthe modern world. With spectacularlandscape photography and pacingthat echoes the joys and sorrows oflife, this classic of the New KoreanCinema is not to be missed on the big(outdoor) screen. (Rated R)1011

August 25–October 28, 2012Guest curator: J. HobermanIs it possible to speak of a 21st-century cinema barely a decade into the millennium?Film critic J. Hoberman’s new book, Film After Film: (Or, What Became of 21st CenturyCinema?) (2012, Verso) is a timely and provocative collection of writings thatchronicle how the advent of digital technology has led to the displacement of themedium of film—and the very relationship between movies and reality. Meanwhile,the trauma of 9/11 and the ensuing “war on terror” reshaped movies politically.Film After Film, a screening series and exhibition, guest curated by Hoberman,reflects the ideas in the book and shows how filmmakers have responded to theseseismic shifts in the art form.in the amphitheater galleryThe Decay of FictionThis installation of moving image worksAmbassador Hotel, an old-time movie-stardemonstrates some of the ways that film lives hangout; Zhang Yimou’s dazzling openingbeyond the walls of the movie theater—byceremony of the 2008 Beijing Olympics, with ainhabiting our hand-held devices, television cast of 15,000 performers and a reported costscreens, monitors, and walls. Selected works of $100 million; and Joe Swanberg’s LOL (2006),on view include Pat O’Neill’s The Decay ofa Mumblecore film about romance in the socialnetworkera, with love stories playing out onFiction and Tracing the Decay of Fiction (2002),a video installation and interactive DVD-ROM laptops, cell phones, and online chat rooms.based on his 35mm film set in the abandonedJurassic ParkSATURDAY, SEPTEMBER 15, 1:00 P.M.SUNDAY, SEPTEMBER 16, 12:30 P.M.Dir. Steven Spielberg. 1993, 127 mins.With Sam Neill, Laura Dern, JeffGoldblum. Jurassic Park became thehighest-grossing film of its day; itwas also the first major film to featurereal people in convincing interactionwith computer-generated imagery.The film brought dinosaurs backto life even as it presaged theextinction of film as we knew it.In Praise of LoveSATURDAY, SEPTEMBER 15, 4:00 P.M.Introduced by J. Hobermanfollowed by book signingDir. Jean-Luc Godard. 2001, 97mins. With Bruno Putzulu, CécileCamp. An artist begins an ambitiousproject on the subject of love andmourns the end of his own romancewith a mysterious woman. In apointed reversal of the color schemeof Steven Spielberg’s Schindler’sList, Godard depicts the present inphotographic black-and-white andthe past in lurid, oversaturated,video-produced color. This film,whose French title translates as“Elegy for Love,” is Godard’s elegyfor his own films—suffused withhistorical memory—and for cinemain general.Followed by a book signing forFilm After Film: (Or, What Becameof 21st Century Cinema?) withJ. Hoberman in the Moving ImageStore.Digital Works by ErnieGehr and Michael SnowSATURDAY, SEPTEMBER 15, 7:00 P.M.Introduced by Ernie Gehr*Corpus CallosumDir. Michael Snow. 2002, 93 mins.Preceded by:Cotton CandyDir. Ernie Gehr. 2002, 64 mins.Opening with a cheeky nod to hisown Wavelength, *Corpus Callosumis a satiric retrospective of MichaelSnow’s body of work, set in aninformation-age office, featuringvisual gags and digitally produceddistortions, and shot and edited onvideo. Cotton Candy is another videoremembrance of sorts, by an artistbest known for his 16mm films, hereusing DV technology to preservethe eclectic collection of cinematiccarnival toys at San Francisco’sMusée Mécanique. Like the corpuscallosum of Snow’s title, theseworks bridge a gap—between filmand video, past and present.Inland EmpireSUNDAY, SEPTEMBER 16, 3:00 P.M.Dir. David Lynch. 2006, 180 mins.With Laura Dern, Jeremy Irons, HarryDean Stanton. An actress plungesinto Hollywood’s underbelly,attempting her comeback in acursed production. Inland Empire isLynch’s most surreal and formallyaudacious feature film sinceEraserhead. Written scene by sceneduring the shooting process, itseems to spring directly from itsdirector’s subconscious. His expressiveuse of crude digital video lends thefilm an uncanny veneer.Battle in HeavenSUNDAY, SEPTEMBER 16, 7:00 P.M.Dir. Carlos Reygadas. 2005, 98 mins.With Marcos Hernández, AnapolaMushkadiz. A chauffeur seeksabsolution for a horrific crimecommitted while having an affair withhis boss’s daughter. A post-Warholfilmmaker, Reygadas employeduntrained actors for this provocativeportrait of modern Mexico, usinglong takes and explicit sex scenes.The film abounds with ritual—fromfellatio to military procession toreligious pilgrimage—and heralds anew ceremonial, quasi-documentarycinema, inscribing its cosmic battlein the vulgarities of everyday life.Southland TalesFRIDAY, SEPTEMBER 21, 7:00 P.M.SATURDAY, SEPTEMBER 22, 3:30 P.M.Dir. Richard Kelly. 2006, 145 mins.With Dwayne Johnson, Seann WilliamScott, Sarah Michelle Gellar, JustinTimberlake. Manic, messy, andendlessly referential, Southland Talesmay not be for everyone, but what itlacks in precision it more than makesup for in ambition. The film is set inthe aftermath of two catastrophicnuclear attacks in Texas and followsthe intertwining storylines of anaction film actor, a porn star, and apair of twin brothers. Stylisticallyit is no less convoluted, mashingup high and low art in a pitch-blackcomedy pastiche. The film skewersGeorge W. Bush, reality television,and digital media to present anunforgettable satire of post-9/11America.12 13

Avalon (Photofest)Cloverfield (Photofest)AvalonSATURDAY, SEPTEMBER 22, 7:00 P.M.Dir. Mamoru Oshii. 2001, 106 mins. With MalgorzataForemniak, Dariusz Biskupski. Best known for hisanimated work (Ghost in the Shell), Oshii creates a newsort of cyborg entity—a digital-photographic fusion.In this Japanese cult film’s dystopic future, thepopulation is hooked on an illegal virtual reality wargame called Avalon, and a lone player risks real deathin pursuit of its elusive final level. Oshii creates asepia-toned digital-photographic hybrid, punctuated byrevelatory action shots that dissolve into 2-D layers.Preceded by an excerpt from Waking Life (Dir. RichardLinklater. 2000, 5-minute excerpt). An animated featureproduced by digitalizing photographic material, WakingLife includes an episode that playfully evokes AndréBazin’s notion of cinema’s relation to the real.Trash HumpersSUNDAY, SEPTEMBER 23, 3:30 P.M.Dir. Harmony Korine. 2009, 78 mins. Proposed as aVHS tape found in a ditch, Korine’s provocative TrashHumpers depicts masked actors simulating sex withgarbage, mimicking the grungy amateur aesthetic of afound home movie with seemingly random cuts betweenvignettes in alleyways, backyards, and parking lots.An “ode to vandalism,” according to the filmmaker,Trash Humpers rewards the open-minded viewer withmoments of astonishing and unexpected poignancy.CloverfieldSUNDAY, SEPTEMBER 23, 7:00 P.M.Dir. Matt Reeves. 2008, 85 mins. With Michael Stahl-David, T. J. Miller, Odette Yustman, Jessica Lucas, LizzyCaplan. A twenty-something party in New York Cityis derailed by an alien invasion in this found-footagethriller produced by J. J. Abrams. A precursor to TrashHumpers, and much admired by French cineastes,Cloverfield combines shaky handheld footage from aprofessional high-definition camera and a consumercamcorder to propose a cinema vérité for the digital age.Once Upon a Time in AnatoliaFRIDAY, SEPTEMBER 28, 7:00 P.M.Dir. Nuri Bilge Ceylan. 2011, 157 mins. With MuhammetUzuner, Yılmaz Erdoğan, Taner Birsel. A group of mensearch for truth (and a dead body) in the “empty” void ofthe Anatolian steppe. Gökhan Tiryaki’s high-definition,remarkably low-light digital photography, which wastransferred to 35mm, has all the sumptuous breadth ofCinemaScope, projecting a desolate atmosphere for thismeditation on human uncertainty.CoralineSATURDAY, SEPTEMBER 29, 1:00 P.M.SUNDAY, SEPTEMBER 30, 1:00 P.M.Dir. Henry Selick. 2009, 100 mins. In Dolby Digital 3-D.With the voices of Dakota Fanning, Teri Hatcher, JenniferSaunders, Dawn French, John Hodgman, Ian McShane.An inquisitive girl discovers a portal to a parallel universethat isn’t as perfect as it seems. A rare stereo animationwith an interest in actual depth, this whimsical comingof-agetale, based on the beloved children’s novel by NeilGaiman, marries old-school stop-motion puppetry withdigital 3-D.TenSATURDAY, SEPTEMBER 29, 4:00 P.M.Dir. Abbas Kiarostami. 2002, 91 mins. With ManiaAkbari, Amin Maher. Shot with a dashboard digicam,Ten consists of ten conversations between a newlydivorced female driver and a series of passengers.These intimate, sometimes banal discussions take on anunexpected poetry by unfolding on the streets of Tehran,in the midst of life. Kiarostami has called Ten a moviemade without a director, relying on nonprofessionalactors and substantial improvisation.Preceded by:C’est vrai (One Hour)Dir. Robert Frank. 1990, 60 mins. With Kevin O’Connor,Peter Orlovsky. C’est vrai (One Hour) is a single-takefilm of a trip through Manhattan’s Lower East Side.This (almost) spontaneous action “documentary”captures the goings-on of the neighborhood in real timebut gradually gives the lie to its provocative title (“It’sReal”), betraying its elaborate choreography in a seriesof staged events. The film is a one-of-a-kind stunt, partstreet theater and part urban road movie.Coraline (Focus Features)14 film after film15

The Idiots (Photofest)Cloverfield (Photofest)AN ONGOING Martial Arts Series curated by Warrington HudlinThe IdiotsSATURDAY, SEPTEMBER 29, 7:00 P.M.Dir. Lars von Trier. 1998, 117 mins. Imported 35mm printof uncut European version. With Bodil Jørgensen, JensAlbinus, Anne Louise Hassing. A group of politicallyminded actors explore their “inner idiots” by pretendingto be mentally disabled in public. Itself a sort ofdocumentary provocation, this was Lars von Trier’sfirst film made in accordance with the manifesto of theDogme 95 movement, which posited a pure cinema freeof special effects and postproduction tricks.UselessSUNDAY, SEPTEMBER 30, 4:00 P.M.Dir. Jia Zhangke. 2007, 80 mins. With Ma Ke. Thesecond installment of Jia’s “trilogy of artists,” thishigh-definition documentary examines the place ofthe garment industry in a rapidly modernizing China.Jia offers no easy answers for the mixed blessing ofglobalization, dwelling on the work of factory laborers,fashion designers, and rural tailors with extraordinarygrace and humanity. Useless is a snapshot of China ata crossroads, struggling to reconcile its history with itsindustrial future.Goodbye, Dragon Inn (New Yorker Films)Goodbye, Dragon InnSUNDAY, SEPTEMBER 30, 7:00 P.M.Dir. Tsai Ming-liang. 2003, 82 mins. With Lee Kangsheng,Chen Shiang-chyi, Kiyonobu Mitamura. Ahistoric Taipei theater unspools its final attraction, thebeloved martial arts film Dragon Inn. Goodbye, DragonInn is a superimposed double feature, with the freneticmovie-within-a-movie collapsed into a programmaticallystatic one. While Tsai’s long, stationary takes arebasic Lumière, the elaborate gags of his near wordlessnarrative evoke the lost world of silent cinema.Warriors of the Rainbow: Seediq BaleThe Raid: RedemptionFRIDAY, JULY 27, 8:00 P.M.Dir. Gareth Evans. 2011, 101 mins.With Iko Uwais, Joe Taslim, DonnyAlamsyah. Deep in Jakarta’s slumslies an impenetrable, derelictapartment building that has becomea safe house for the city’s mostdangerous murderers, killers, andgangsters. An elite team is taskedwith raiding the building in order tobring down the notorious crimelord Tama Riyadi. Thrillingly stagedand stunningly violent, this pulsepounding,nonstop action fest wasa critical and box office hit.Warriors of theRainbow: Seediq BaleSATURDAY, AUGUST 18, 5:00 P.M.Dir. Wei Te-Sheng. 2011, 150 mins.With Lin Ching-Tai, Umin Boya,Masanobu Ando. In one of thegrandest productions in Taiwanesefilm history, Warriors of the Rainbowdetails the 1930 rebellion againstJapanese troops of 300 warriors whohave been forced to renouncetheir traditions and work as laborers.Lin (himself a member of Taiwan’saboriginal community) anchors thefilm as Mona Rudao, a tribal chiefwho overcomes his lassitude to leadhis people on a desperation-fueledmission.FireballSATURDAY, SEPTEMBER 22, 5:00 P.M.Dir. Thanakorn Pongsuwan. 2009,94 mins. In order to learn the identityof his twin brother’s attackers, Taijoins a team that plays “fireball,” anunderground, hybrid, kill-or-be-killedsport that joins basketball, cagefighting, and martial arts and iscontrolled by the heads of organizedcrime in Thailand. All of the bloodlusttakes place on the court, as Taimaneuvers through elegant air kicks,punches, and jabs to get to the truth.This Thai genre film is full of action,energy, and vengeance.16 film after film17

Rural RouteFilm FestivalAUGUST 3–5, 2012With its focus on rural life, the Rural Route FilmFestival’s fiction, documentary, and experimentalprograms are dedicated to highlighting people,places, and cultures not normally represented inmainstream media. Each program will open witha short film by Robert Gardner, whose lyrical filmsare among cinema’s greatest ethnographic works.The festival is programmed by Alan Webber.In addition to these programs, there will be closingnight screenings on Sunday, August 5, at 8:00 p.m.and 10:00 p.m. at Brooklyn Grange, a few blocksfrom the Museum—the city’s largest rooftopfarm, tended by local urban agrarians.The First SeasonSATURDAY, AUGUST 4, 5:00 P.M.With director Rudd Simmons in personDir. Rudd Simmons. 2012, 83 mins. United States. U.S.premiere. Paul and Phyllis van Amburgh, embracing thevalues essential to life on a small farm (honest toil, thrift,and dedication to family), take their life savings and buya defunct dairy. With three children, plus a fourth on theway, they fight to become full-time farmers. Simmons(producer of The Royal Tenenbaums) makes hisdirectorial debut with this documentary, filmed over ayear. Preceded by Old Lady (Dir. Robert Gardner, 1958,4 mins.), about a woman in the Kalahari Desert.How Are You Doing, Rudolf Ming(Kā tev klājas, Rūdolf Ming?)SUNDAY, AUGUST 5, 2:00 P.M.EXTREMEEXPLORATIONEXPERIMENTAL FILM ANDLIVE MUSIC BY ARPFRIDAY, SEPTEMBER 14, 7:00 P.M.Presented by Cinema 16Guest curator: Molly SurnoSPECIAL 70MM SCREENINGBarakaFRIDAY, AUGUST 3, 7:00 P.M.Dir. Ron Fricke. 1992, 96 mins. United States Magnificentlyphotographed on six continents, Baraka views thewonders of a world, without words, through man’s andnature’s prisms of symmetry, savagery, harmony, andchaos. This rare 70mm screening will be preceded bya special preview of Fricke’s new film, Samsara, and bythe Robert Gardner short It Could Be Good, It Could BeBad (1997, 6 mins.), about a breathtaking flight over theChilean Andes.Upside Down (Khalti doka varti paay)SATURDAY, AUGUST 4, 2:00 P.M.Dir. Ajay Singh. 2012, 80 mins. India. Sneak previewscreening. The endearing and family-friendly Upside Downis about a child’s much-anticipated trip from ruralMaharashtra to the big city of Mumbai. Preceded byLife Keeps on Passing (Dir. Robert Gardner, 1985,5 mins.), filmed on the River Ganges.Now, ForagerSee ruralroutefilms.comfor more information.Dir. Roberts Rubins. 2010, 60 mins. Latvia. U.S. premiere.Latvian thirteen-year-old Rudolf Ming’s near-obsessivepassion for filmmaking and violence is captured in thisintimate documentary. He draws bloody scenes frameby frame on long, thin strips of parchment paper, addingthe voice of every character in his scripts while movingthe homemade filmstrips in front of an old slide projector.Preceded by short films: Hauling Sharks (Dir. RobertGardner, 1968, 10 mins., Eritrea), Our Summer MadeHer Light Escape (Dir. Sasha Waters Freyer, 2012, 5 mins.,United States. World premiere), Morning Glory (Dir.Robert Todd, 2011, 14 mins.), Crosshairs (Dir. MikeHoath, 2011, 12 mins., Australia. New York premiere).Now, ForagerSUNDAY, AUGUST 5, 4:30 P.M.Dirs. Jason Cortlund and Julia Halperin. 2012, 93 mins.United States. Exclusive sneak preview screening.Lucien and Regina are an atypical couple who live inJersey City and forage deep into the Garden State forwild mushrooms to sell to gourmet restaurants. AsRegina seeks more stability as a prep cook at a trendyrestaurant and Lucien wants to devote himself to fulltime,nomadic, cross-country mushroom hunting, theirmarriage is put to a test.Preceded by Salt (Dir. Robert Gardner, 1968, 3 mins.,Ethiopia) and The Grasslands (Dir. Pema Tsetan, 2004,22 mins., Tibet).In an era when movies have been largely reducedto the tiny screens of laptops and smartphones,Cinema 16 refreshes the communal viewingexperience. Cinema 16 is a free-floating seriesnamed in honorof the underground 1950s New YorkCity avant-garde film venue. Founded by the lateAmos Vogel, the original Cinema 16 was acommunity of cinephiles interested in experimentaland avant-garde films. Today, artist and curatorMolly Surno keeps this collective passion alive,commissioning musicians to reinterpret shortexperimental films for site-specific performances.For Moving Image, a selection of films based onextreme exploration and adventure, includingpsychedelic, terrestrial, and celestial travel, arescored by New York-based artist and musicianAlexis Georgopoulos’s solo project ARP.A fitting collaboration, ARP’s music is anotherworldly fusion of analog synthesizersand classical instruments.Fuji (Anthology Film Archives)Gary Beydler’s Hand Held Day (1974, 6 mins.)depicts a day in the Arizona desert throughtime-lapse photography and a handheld mirror;Charles and Ray Eames’s Powers of Ten (1977,9 mins.) illustrates the awesome scope andbreadth of our relationship to the universe byzooming away from Earth (and returning); RobertBreer’s Fuji (1974, 9 mins.), through line drawing,rotoscope, and live action, lyrically depicts a trainride past Mount Fuji; Walerian Borowczyk andChris Marker’s Les astronautes (1959, 12 mins.)offers a surreal combination of live action, stopmotionanimation, and collage cutouts to tell thestory of the adventures of an inventor who buildsa spacecraft; Bruce Conner’s psychedelic Lookingfor Mushrooms (1967, 4 mins.) revolves aroundmushroom hunts by Conner and Timothy Leary inMexico and San Francisco.Tickets: $15 public / $9 Museum members/Free for Silver Screen members and above.1819

Photo by Pete Souzain the amphitheater galleryMay 17–August 12, 2012FirstCameraman:Documenting The ObamaPresidency In Real TimeSATURDAY, SEPTEMBER 29, 3:00 P.M.With Arun ChaudhAry In PersonFollowed by book signingFrom the early months of the 2008 campaignthrough the first years of the Obama administration,former NYU film professor Arun Chaudharyhad a unique perspective on the president of theUnited States. He was the first person to holdthe role of official White House videographer.“I’m sort of like President Obama’s weddingvideographer,” he explains, “if every day was awedding with the same groom but a constantlyrotating set of hysterical guests.”Some of the moments Chaudhary captures aresmall, like the president throwing warm-uppitches deep inside Busch Stadium in St. Louisbefore the All-Star Game. Some are intenselyemotional, as when Obama comforts a grievingteenager whose father has died in a devastatingtornado. And some are just plain bizarre, likeChaudhary getting thrown out of the Indian20parliament by his belt, or being trapped in a WhiteHouse bathroom while Obama conducts a YouTubetown hall on the other side of the door.Film and politics have been intertwined eversince the first films rattled in nickelodeons morethan a century ago. But with the advent of newtechnologies and a new public that is hungry forimages of their leaders, Chaudhary has beenin the right place at the right time to participatein the interplay of film and politics at the veryhighest level. Chaudhary will talk about hisexperience, which he chronicles in his new book,First Cameraman: Documenting the ObamaPresidency in Real Time, and he will present someunforgettable video clips. The program will befollowed by a book signing in the Moving ImageStore.Apart from the familiar world of feature films, thereexists a lesser-known world of industrial films,instructional and informational sponsored shortfilms that were shown in schools, at corporateevents, in the workplace, and at commercialtheaters before features. Documentary filmmakerCaroline Martel’s installation Industry/Cinematakes an illuminating journey through film historyby juxtaposing industrial images with those frompopular or canonical films made between 1903and 1991. With headphones and channel switches,visitors can toggle back and forth between thesoundtracks. Images and sounds comment oneach other, often in surprising ways, allowing for asingular interactive experience. Scenes from filmsby Thomas Edison, Charles Chaplin, FrançoisTruffaut, and Stanley Kubrick are shown alongsidesuch archival gems as How Business Girls KeepWell, Along These Lines, and The Speech Chain, anAT&T film with a computer singing “Daisy Bell,”which was sung by the computer HAL 9000 in2001: A Space Odyssey.21

in the TISCH EDUCATION CENTERPretty LoadedONGOINGpresentation by big sPACESHIP, FRIDAY, July 20, 6:00–8:00 p.m.Pretty Loaded, by the digital creative agency BigSpaceship, is composed of nearly 50 “preloaders,”animated graphics that show how much of awebsite has loaded. Originally, preloaders wereutilitarian, employing progress bars, pie charts, ortext, but designers soon started working inside theform’s constraints to create playful, engaging, andeven suspenseful graphics that hinted at what laybeyond the loading screen. These preloaders wereoriginally produced by agencies and independentdesigners for websites primarily promoting films,television shows, and consumer products. Viewedone after another, they create a never-endingcycle, directing attention to the preloader as itsown creative space and to the inventive ways inwhich designers communicate the simple idea ofprogress from 0 to 100 percent.Pretty Loaded installation made possible by Big Spaceship.View an expanded version online at prettyloaded.comImage courtesy of Agency Netin the LOBBywe trippedel hadjidioufJune 15–September 23, 2012Curated by Jason Eppink, Assistant Curator of Digital MediaDVD Dead DropONGOINGOpening reception, THURSDAY, August 16, 6:00–8:00 p.m.For this new commissioned work, artist AramBartholl (Berlin, b. 1972) embeds an inconspicuous,slot-loading DVD burner into the side of theMuseum, made available to the public 24 hours aday. Visitors who insert a blank DVD-R will receivea surprise collection of digital files that may includefound footage, animated GIFs, video games,feature films, or interactive art curated or createdby artists selected by Bartholl. DVD Dead Dropimbues the act of data transfer with a tangibilityleft behind in a world of cloud computing andappstores, using a medium—the digital versatiledisc—that is quickly becoming another artifactof the past.DVD Dead Drop installation made possible by the Harpo Foundation.Photo courtesy of the artistOn February 5, 2011, T. Finn, a member of the comedy websiteSomething Awful, posted a doctored animated GIF of Senegalesesoccer player El Hadji Diouf being clobbered by an invisibleopponent. His challenge to image-editing-savvy members wassimple: visualize what tripped El Hadji Diouf. Over the next severalweeks, more than a hundred remixed animated GIFs poured in.The cumulative result was one of the Web’s most “epic” Photoshopthreads, highlighting the ease of moving-image manipulationand its proliferation as a natural extension of everyday onlinecommunication. The installation We Tripped El Hadji Dioufpresents the most surprising, clever, and imaginative responses.These short videos were not created with commercial intentionsor claims to fine art. Instead, their makers were using widelyavailable image-editing tools to participate in a humorous visualconversation and engage in playful one-upmanship.2223

Mediamakingfor FAMILIES AND TEENSDROP-IN MOVING IMAGE STUDIOEvery Saturday, 12:00–5:00 p.m.Ages 7+ accompanied by an adult (12+ on their own)Beginning July 7, Museum of the Moving Image will offerdrop-in studio sessions for young visitors ages seven andup. With the assistance of Museum educators, they willengage in hands-on creative work, making projects rangingfrom flipbooks and thaumatropes (hand-drawn opticaltoys) to stop-motion and computer animations and videogames. Studio visitors will also have an opportunity tosee, handle, and explore the inner workings of movingimagetechnology, such as projectors, film strips andvideo tape, video game consoles, and more. Somespecial sessions will feature artist-led group projects.More information is available at movingimage.us/families.Free with Museum admission. Admission is first-come,first-served. Parents/caregivers are welcome andencouraged to participate in the studio.SUMMER MEDIA CAMP 2012August 6–31, 2012At the Moving Image Summer Media Camp, children andteens use state-of-the-art equipment and software tocreate their own animations, live-action videos, and videogames, in a series of weeklong workshops. Thereare two sections: ages 9–11 and ages 12+. Visitmovingimage.us/summermediacamp for more details.PRESENTED AS PART OF THE FALL MAMAS EXPOSATURDAY, SEPTEMBER 22, 1:30 p.m.SUNDAY, SEPTEMBER 23, 11:00 a.m. & 1:30 p.m.Dir. Charlie Chaplin. 1921, 68 mins. With Charlie Chaplin, EdnaPurviance, Jackie Coogan. Combining Chaplin’s trademarkquirky comedy with a tinge of dramatic sentimentality, The Kidis a silent gem that remains a hilarious delight. When the LittleTramp finds an abandoned child on the street, they join to formone of American cinema’s most famous partnerships. Chaplin’sfirst feature-length film, which he also wrote, The Kid made JackieCoogan a famous child star, and proved Chaplin’s mastery on allsides of the camera. This presentation features Chaplin’s ownscore composed for the film’s reissue in 1971.The Fall Mamas ExpoFor parents of children ages 5+SATURDAY AND SUNDAY, SEPTEMBER 22 AND 23,10:00 A.M.–4:00 P.M.The Museum is pleased to team up with the QueensMamas for the Fall Mamas Expo, focused on theelementary set and above. In addition to gaining insideraccess to more than 40 vendors—from educationalresources to new products and services—in theMuseum’s Education Center, attendees will be able tohear experts speak, experience screenings of familyfriendlyfilms in the Museum’s stunning theater, andexplore its exhibitions. Bring the whole family for a greatday at the Museum.Families can expect:• Screenings of Charlie Chaplin’s The Kid andMuppet Show episodes• Hands-on creative fun in the drop-inMoving Image Studio• Special preview screening to be announcedAdditional details to be announcedonline at movingimage.us.Photo by Brian Palmer2627

ehindthe sCReenThe Museum’s core exhibition, Behind the Screen, immerses visitors in the creativeand technical process of producing, promoting, and presenting films, televisionshows, and digital entertainment. It includes over 1,400 artifacts—from nineteenthcenturyoptical toys to video games—as well as an array of interactive experiences,audiovisual material, and artworks to reveal the skills, material resources, andartistic decisions that go into making moving images.Behind the screenHIGHLIGHTThe Howdy Doody Show (1947–1960)was one of the earliest and mostpopular children’s programs ontelevision. By 1950 the show hadgenerated an unprecedented rangeof licensed merchandise; Howdywas featured on such products ascookie jars, night lights, coloringbooks, lunch boxes, watches, puzzles,and shoe polish.See this Howdy Doody Coloring Bookand over one hundred other examplesof licensed merchandise in Behindthe Screen.DEMONSTRATIONSEducators demonstrate the professional craft of filmand sound editing, and allow visitors to view a film ona Kinetoscope and play a prototype of the first homevideo game system. Demonstrations are conductedon Fridays, Saturdays, and Sundays.Visit movingimage.us/exhibitions for more information.ON VIEW IN TV LOUNGECoinciding with the theatrical release of The AmazingSpider-Man, starting July 5, each week TV Lounge willfeature an episode of the animated television seriesSpider-Man (1967), Spider-Man and His Amazing Friends(1981), and the latest installation, The Ultimate Spider-Man (2012).CLASSIC MOVIE SERIALS IN TUT’SFEVER Movie palaceRed Grooms and Lysiane Luong’s artwork/movietheater, Tut’s Fever Movie Palace, an homage to thedays of the ornate movie palace, is the perfect venuefor screenings of classic movie serials. ThroughAugust 3: Terry and the Pirates (Dir. James W. Horne,1940, 15 episodes). Starting on August 4 is Dick TracyReturns (Dir. John English, William Witney, 1938, 15episodes). The sequel to the original Dick Tracy serialfinds Dick battling spies and saboteurs in his questto bring the notorious Stark crime gang to justice.Screenings on Saturdays and Sundays at 1:00 p.m.,2:00 p.m., and 3:30 p.m., and on weekdays at 2:00 p.m.Aliens, Gadgets, andGuns: Designing theWorld of Men in Black 3May 9–September 23, 2012Rick Baker, the master special effects makeup artistwho has won seven Academy Awards, created the aliensfor the Men in Black movies. Baker’s extraterrestrials,as well as futuristic firearms and ingenious gadgets,are among the most memorable visual elements inthe comical action adventure series about a pair ofagents who monitor a population of unruly space aliensposing as ordinary citizens. Aliens, Gadgets, and Guns:Designing the World of Men in Black 3 presents over25 objects from the third installment of the series, andincludes Baker’s aliens, memory-erasing neuralyzers,fantastical guns, a monocycle, and the iconic blackshades worn by Agents J and K. Exclusive behind-thescenesfootage of Baker in his studio and on the set ofMen in Black 3 is also featured in the exhibit.Photo by Thanassi Karageorgiou2928 29

focus on thecollectionIn 2001, the Museum acquired over 2,000 artifactsrelated to the work of puppeteers Hope and Morey Bunin.The Bunins created a cast of puppet characters thatwere featured on television as early as 1944. They are bestknown for creating CBS’s first children’s televisionprogram, Lucky Pup (1948–1951), and its nearly identicalsuccessor on ABC, Foodini the Great (1951). These twoshows were tremwendously popular with adults andchildren alike, and, at the time of their broadcast, wereas well known as The Howdy Doody Show (1947–1960)and Kukla, Fran and Ollie (1947–1957).The Museum’s collection includes a unique, comprehensiveset of material illuminating the production, promotion,and fan response to Lucky Pup and Foodini the Great. Thismaterial sheds light on the making of one of television’sfirst hit shows, and opens a window into the world of itsfans, young and old. Artifacts include the original handpuppets, annotated scripts, handmade props andcostumes, promotional material, a rich assortment oflicensed merchandise, and fan letters and drawings thatreflect the dramatic impact of television on audiences asit emerged as a significant form of mass entertainment.Artifacts in this donation also include photographsand puppets from a range of other early televisionappearances by the Bunin Puppets, as well as materialrelated to Aniforms, Morey Bunin’s pioneering systemfor performing live “cartoon” characters on television.Barbara MillerCollection CuratorVisit the Museum’s online collectiondatabase to view catalog records forthese and thousands of other artifacts:collection.movingimage.us.Museum of the Moving Image is the country’s only museum dedicated to film,television, and digital media—a one-of-a kind destination for audiences of allages and interests, from connoisseurs of world cinema and avid gamers tochildren and families. Join today and take advantage of:• Free admission to over 400 screenings a year in our state-of-the-arttheater• Invitations to exclusive events featuring such guests as cinema greatsMartin Scorsese, David Cronenberg, Oliver Stone, Alexander Payne,Rachel Weisz, and Sir Ben Kingsley• Unlimited access to thought-provoking and interactive exhibitions seenby over 200,000 visitors a year• Family programs including screenings, workshops, and special events• Discounts at the Moving Image Store and CaféMembership starts at $75 per year. To join or for more information aboutbecoming a member, please visit movingimage.us or call 718 777 6877.CORPORATE MEMBERSHIPComic book, Pinhead and Foodini,vol. 1, no. 1, July 1951Puppet, Foodini, undatedCorrespondence, contest submissionfrom Susan Martin, 1949Television still, Lucky Pup, or Foodini theGreat, undatedSound recording, Foodini’s Trip to theMoon, 1949All gifts of the family of Charlotte andMorey Bunin.Become a Corporate Member today and demonstrateyour company’s commitment to the arts.Corporate Members play a vital role in supporting theMuseum’s wealth of exciting film series, immersiveeducation programs, and innovative exhibitions. Yourcompany’s employees will enjoy all the benefitslisted above, plus the opportunity to host events inthe Museum’s recently revamped and architecturallydistinctive facilities.To join, please visit movingimage.us or call 718 777 6877.Photo by Brian Palmer3031

Featuring extraordinary new facilities, the transformedMuseum of the Moving Image is a stunning setting FORprivate events AND SCREENINGSBIRTHDAY PARTIESYour child can be the star of his or hervery own party at the Museum.We create a memorable and fun-filledextravaganza for your child andguests, with a special educator-ledtour, interactive experiences, aprivate screening, and party bags.PRIVATE EVENTSGalleries can remain open after hoursfor guests to enjoy our exhibitionsand interactive experiences. Museumeducators are available to offergallery talks and demonstrations.PRIVATE SCREENINGSThe 267-seat Main Theater and68-seat Celeste and Armand BartosScreening Room are available forprivate screenings. Host a screeningof your favorite film for your friendsto celebrate a milestone or mark aspecial occasion.For more information about rentingspaces at the Museum, pleasecontact BG Hacker at 718 777 6868or bghacker@movingimage.us.Museum of the Moving Image is housed in a building owned by the City of New York and has receivedsignificant support from the following public agencies: New York City Department of Cultural Affairs; New YorkCity Economic Development Corporation; New York State Council on the Arts; Institute of Museum and LibraryServices; National Endowment for the Humanities; National Endowment for the Arts; Natural Heritage Trust(administered by the New York State Office of Parks, Recreation and Historic Preservation).The Museum gratefully acknowledges the leadership and assistance of: Mayor Michael R. Bloomberg;Queens Borough President Helen M. Marshall; Commissioner of Cultural Affairs Kate D. Levin; Speaker of the New YorkCity Council Christine C. Quinn; Council Members Leroy G. Comrie, Domenic M. Recchia, Jimmy Van Bramer, and theentire Queens delegation of the New York City Council; Hon. Andrew M. Cuomo, Governor, New York State; New YorkState Senators Michael N. Gianaris, George Onorato, and Malcolm Smith; New York State Assembly MembersCatherine T. Nolan and Aravella Simotas; Congressman Joseph Crowley; Congresswoman Carolyn Maloney.Major program and operating support provided by: Alfred P. Sloan Foundation; The Andrew W. Mellon Foundation;Bloomberg Philanthropies; Institute of Museum and Library Services; Malt Products Corporation; National Endowmentfor the Arts; Pannonia Foundation; Herbert S. Schlosser; Screen Actors Guild Foundation; Theatrical TeamstersLocal 817; Time Warner Inc.; Ann and Andrew Tisch.Additional support: The Academy of Motion Picture Arts and Sciences; Kathleen Altman; The Andy WarholFoundation for the Visual Arts; Betsy and Michael Barker in honor of Tim Choate, Arthur Krim, Akira Kurosawa,Ed Lowry, Louis Malle; Howard and Stacy Bass; Nathan Bernstein and Katharina Otto-Bernstein; Joshua Bilmes;Lane Brettschneider in honor of Donald R. Manes; Consulate General of the Netherlands; Joan Ganz Cooney; EllinA. Delsener; Charles and Valerie Diker; Krystyna O. and Ronald J. Doerfler; Embassy of France in the UnitedStates; Five Napkin Burger; Jo-Ann Fox-Weingarten; Jerome and Mary Goldman; Raphael Gonzalez; MichaelGordon; Harpo Foundation; Hazen Polsky Foundation, Inc., in memory of Joseph H. Hazen; HBO; CherylHenson; Hive Digital Media Learning Fund in The New York Community Trust; The Jane Henson Foundation;Janklow Foundation; Preethi Krishna; Richard I. Kandel; Richard A. Leibner; Library of Congress coordinatedby Waynesburg University; Ivan and Andrea Lustig; Marc Haas Foundation; The Marilyn and Jeffrey KatzenbergFoundation; The McGraw-Hill Companies; Robert Menschel; Michael Tuch Foundation; Michael and Gabrielle Palitz;Dennis and Coralie Paul; Paul Hastings LLP – Harvey Strickon; Sandy Perlbinder; Steve Perlbinder; Persol;Rhoda and Louis Scovell Charitable Foundation Fund; Rohauer Collection Foundation, Inc.; Jane Rosenthal;Schmutter, Strull, Fleisch, Inc.; Rochelle Slovin in honor of Pauline and Irving Shaw; The Studio in a SchoolAssociation; Ram Sundaram; Twentieth Century Fox; William J. vanden Heuvel; Sue and Edgar Wachenheim III;William Fox, Jr. Foundation; Mike and Woan Jen Wu; Jeffrey Zucker; Anonymous; Anonymous.Funding for the Museum’s after-school programs has been provided by: JP Morgan Chase Foundation; New YorkCity Council Member Stephen Levin; New York City Council Members Leroy Comrie, Daniel Dromm, Peter F. Vallone,Jr., Jimmy Van Bramer, and Mark Weprin, through the New York City Department of Cultural Affairs.Public support for the Museum’s expansion and renovation provided by: New York City Department of CulturalAffairs; New York City Economic Development Corporation; New York City Council; Office of the Queens BoroughPresident; PlaNYC; Dormitory Authority of the State of New York; New York State Council on the Arts; New York StateOffice of Parks, Recreation and Historic Preservation; U.S. Department of Housing and Urban Development;National Endowment for the Humanities.Major support for the Museum’s expansion and renovation provided by: Mahnaz and Adam Bartos; Booth FerrisFoundation; Comcast NBCUniversal; Leon and Michaela Constantiner; Krystyna O. and Ronald J. Doerfler;Michael and Lauren Gordon; HBO; The Hearst Corporation; The Hearst Foundation; Hubbard BroadcastingFoundation; Linda LeRoy Janklow; George S. Kaufman; Ivan and Andrea Lustig; John T. McGuire; New YorkCommunity Bank Foundation; Michael and Gabrielle Palitz; Rockstar Games; Herbert and Judith Schlosser;Silvercup Studios; Time Warner Inc.; Ann and Andrew Tisch; William Fox, Jr. Foundation; Variety Group.32Photo by Brian Palmer33

SEE IT BIG! Film after film OUTDOOR CINEMA2012 AT SOCRATESSCULPTUREPARKTHE MUPPET SHOW Fist & Sword Rural RouteFilm FestivalextRemeexplorationpersolmagnificentobsessionsthe kid /the fallmamas expoKey to LOCATIONMT Main TheaterBA Celeste and Armand Bartos Screening RoomDLS Digital Learning SuiteAll program times, dates, formats, and locations aresubject to change. Unless otherwise noted, all programsare free with Museum admission.Episodes of The Muppet Show are shown continuouslyduring Museum hours, in the Fox Amphitheater or theBartos Screening RoomScreenings of classic movie serials in Tut’s Fever MoviePalace, weekdays at 2:00 p.m., weekends at 1:00, 2:00,and 3:30 p.m.JULYWednesday, July 47:00 The American Experience,preceded by live videofeed of Macy’s fireworksdisplay (SocratesSculpture Park, p. 10)Friday, July 67:00 2001: A Space Odyssey(MT, p. 5)Saturday, July 72:00 2001: A Space Odyssey(MT, p. 5)6:00 2001: A Space Odyssey(MT, p. 5)Sunday, July 82:00 2001: A Space Odyssey(MT, p. 5)6:00 2001: A Space Odyssey(MT, p. 5)Wednesday, July 117:00 Soul Kitchen(Socrates Sculpture Park,p. 10)Friday, July 137:00 Apocalypse Now Redux(MT, p. 5)Saturday, July 143:00 One from the Heart(MT, p. 5)6:00 Apocalypse Now Redux(MT, p. 5)Sunday, July 153:00 One from the Heart(MT, p. 5)6:00 Apocalypse Now Redux(MT, p. 5)Wednesday, July 187:00 Lemonade Joe(Socrates Sculpture Park,p. 11)Friday, July 206:00 Presentation byBig Spaceship (FoxAmphitheater, p. 22)7:00 Cabaret (MT, p. 5)Saturday, July 213:00 The Red Shoes (MT, p. 6)6:00 The Life and Death ofColonel Blimp, introducedby Thelma Schoonmaker(MT, p. 6)Sunday, July 223:00 The Red Shoes (MT, p. 6)6:00 The Life and Death ofColonel Blimp (MT, p. 6)Wednesday, July 257:00 Her Master’s Voice(Socrates Sculpture Park,p. 11)Friday, July 278:00 The Raid: Redemption(MT, p. 17)Saturday, July 283:00 To Catch a Thief (MT, p. 6)6:00 Vertigo (MT, p. 6)Sunday, July 293:00 To Catch a Thief (MT, p. 6)6:00 Vertigo (MT, p. 6)AUGUSTWednesday, August 17:00 Senna (Socrates SculpturePark, p. 1 1)Friday, August 37:00 Baraka, preceded bySamsara preview and ItCould Be Good, It CouldBe Bad (MT, p. 18)Saturday, August 42:00 Upside Down (Khalti dokavarit paay), preceded byLife Keeps on Passing(BA, p. 18)3:00 Rio Bravo (MT, p. 6)5:00 The First Season,preceded by Old Lady,with Rudd Simmons inperson (BA, p. 18)6:00 The Wild Bunch (MT, p. 7)Sunday, August 52:00 How Are You Doing,Rudolf Ming? (Kā tevklājas, Rūdolf Ming?),preceded by HaulingSharks, Our SummersMade Her Light Escape,Morning Glory, andCrosshairs (BA, p. 18)3:00 Rio Bravo (MT, p. 6)4:30 Now, Forager, preceded bySalt and The Grasslands(BA, p. 18)6:00 The Wild Bunch (MT, p. 7)Wednesday, August 87:00 Summer Wars (SocratesSculpture Park, p. 11)Saturday, August 112:00 The Leopard (MT, p. 7)6:00 Fellini Satyricon (MT, p. 7)Sunday, August 122:00 The Leopard (MT, p. 7)6:00 Fellini Satyricon (MT, p. 7Wednesday, August 157:00 Certified Copy(Socrates Sculpture Park,p. 11)Thursday, August 166:00 Opening receptionfor DVD Dead Drop(Lobby, p. 22)Friday, August 177:00 Taxi Driver (MT, p. 7)Saturday, August 183:00 The Searchers (MT, p. 7)5:00 Warriors of the Rainbow:Seediq Bale (BA, p. 17)6:00 Taxi Driver (MT, p. 7)Sunday, August 193:00 The Searchers (MT, p. 7)6:00 Taxi Driver (MT, p. 7)Wednesday, August 227:00 Spring, Summer, Fall,Winter… and Spring(Socrates Sculpture Park,p. 11)Friday, August 247:00 Brazil (MT, p. 8)Saturday, August 253:00 Brazil (MT, p. 8)6:00 Blue Velvet (MT, p. 8)Sunday, August 263:00 Brazil (MT, p. 8)6:00 Blue Velvet (MT, p. 8)Friday, August 317:00 Doctor Zhivago (MT, p. 8)SEPTEMBERSaturday, September 12:00 Doctor Zhivago (MT, p. 8)6:30 The Bridge on the RiverKwai (MT, p. 8)Sunday, September 22:00 Doctor Zhivago (MT, p. 8)6:30 The Bridge on the RiverKwai (MT, p. 8)Friday, September 77:00 The Last Picture Show(MT, p. 8)Saturday, September 82:00 Ben-Hur (MT, p. 8)7:00 The Last Picture Show(MT, p. 8)Sunday, September 92:00 Ben-Hur (MT, p. 8)7:00 The Last Picture Show(MT, p. 8)Friday, September 147:00 Extreme Exploration:Experimental Film andLive Music by ARP(MT, p. 19)Saturday, September 151:00 Jurassic Park (MT, p. 13)4:00 In Praise of Love,introduced byJ. Hoberman (MT, p. 13)7:00 Cotton Candy and*Corpus Callosum,introduced by Ernie Gehr(MT, p. 13)Sunday, September 1612:30 Jurassic Park (MT, p. 13)3:00 Inland Empire (MT, p. 13)7:00 Battle in Heaven (MT, p. 13)Friday, September 217:00 Southland Tales (MT, p. 13)Saturday, September 2210:00 The Fall Mamas Expo(DLS, p. 27)1:30 The Kid (MT, p. 27)3:30 Southland Tales (MT, p. 13)5:00 Fireball (BA, p. 17)7:00 Avalon (MT, p. 14)Sunday, September 2310:00 The Fall Mamas Expo(DLS, p. 27)11:00 The Kid (MT, p. 27)1:30 The Kid (MT, p. 27)3:30 Trash Humpers (MT, p. 14)7:00 Cloverfield (MT, p. 14)Friday, September 287:00 Once Upon a Time inAnatolia (MT, p. 14)Saturday, September 291:00 Coraline (MT, p. 15)3:00 The First Cameraman:Documenting the ObamaPresidency in Real Time,with Arun Chaudhary inperson (MT, p. 20)4:00 Ten, preceded byC’est vrai (One Hour)(BA, p. 15)7:00 The Idiots (MT, p. 16)Sunday, September 301:00 Coraline (MT, p. 15)4:00 Useless (MT, p. 16)7:00 Goodbye, Dragon Inn(MT, p. 16)34