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An examination of the history of the U.S. through archival footage and contrasting views of society, incorporating audiovisual material ranging from political more
An examination of the history of the U.S. through archival footage and contrasting views of society, incorporating audiovisual material ranging from political campaign films to animated cartoons to children’s phonograph records, featuring Al Jolson, Mickey Mouse, the young Jack Smith, and a half-dozen American presidents. close
A reflection on Jafa's desire to craft a "black cinema" that is responsive to the "existential, political, and spiritual dimensions" of Black life. Comprised more
A reflection on Jafa's desire to craft a "black cinema" that is responsive to the "existential, political, and spiritual dimensions" of Black life. Comprised of found footage sampled from films, newscasts, sporting events, music videos, and citizen videos, all of it downloaded from the Internet, the clips have been woven together and set to Kanye West's anthem "Ultralight Beam." Together the images and music make for an intense, poignant meditation on African American life in the twentieth-century. This history is also the history, by necessity, of racism and prejudice. close
Looping, chugging and barreling by, the trains in Benning's latest monumental film map a stunning topography and a history of American development. RR more
Looping, chugging and barreling by, the trains in Benning's latest monumental film map a stunning topography and a history of American development. RR comes three decades after Benning and Bette Gordon made The United States of America (1975), a cinematic journey along the country’s interstates that is keenly aware “of superhighways and railroad tracks as American public symbols.” A political essay responding to the economic histories of trains as instruments in a culture of hyper-consumption, RR articulates its concern most explicitly when Eisenhower's military-industrial complex speech is heard as a mile long coal train passes through eastern Wyoming. Benning spent two and a half years collecting two hundred and sixteen shots of trains, forty-three of which appear in RR. The locomotives' varying colors, speeds, vectors, and reverberations are charged with visual thrills, romance and a nostalgia heightened by Benning's declaration that this will be his last work in 16mm film. close
Double Tide documents the work of a female clam digger in the mudflats of coastal Maine and is filmed on the rare occasion in which low tide occurs twice more
Double Tide documents the work of a female clam digger in the mudflats of coastal Maine and is filmed on the rare occasion in which low tide occurs twice within daylight hours—once at dawn and once at dusk. close
Robert Breer’s What Goes Up... continues his “kitchen sink” approach of including as many different kinds of things as possible. Central to his art are more
Robert Breer’s What Goes Up... continues his “kitchen sink” approach of including as many different kinds of things as possible. Central to his art are a series of tensions. Rather than using animation to produce seamless illusions, his films reveal cinema’s dual nature as both an illusion of movement and a succession of stills. The ultimate effect of his work is ecstatic: by combining various rhythmic patterns, abstract and photographed shapes, and flatness mixed with depth illusions, Breer energizes ordinary eyesight. The whole world can seem more alive, alive with rhythms and colors and shapes and textures as well, after seeing one of his films. But Breer’s films also often have a theme of failure, of failed movements and failed aspirations, and the title What Goes Up..., in referencing the idiom “What goes up must come down”, refers to his childhood dreams of flying (illustrated here as in many of his films with airplanes) as well as to the limpness that follows orgasm for males. close
Direct cinema pioneer Frederick Wiseman takes an in-depth look at the preeminent American university during a fall semester that saw a vigorous debate more
Direct cinema pioneer Frederick Wiseman takes an in-depth look at the preeminent American university during a fall semester that saw a vigorous debate taking place over tuition hikes, budget cuts, and the future of higher education in the United States. close
A cinematic omnibus rooted in New Orleans, challenging the idea of black cinema as a "wave" or "movement in time," proposing instead a continuous thread of achievement.
A cinematic omnibus rooted in New Orleans, challenging the idea of black cinema as a "wave" or "movement in time," proposing instead a continuous thread of achievement. close
Based on real events, the film’s protagonist inherits a house in West Philadelphia that becomes home to an urban collective for activists of color. The more
Based on real events, the film’s protagonist inherits a house in West Philadelphia that becomes home to an urban collective for activists of color. The increasingly claustrophobic drama unfolds as the group attempts to live together and find consensus through Black political discourse and social philosophy. close
Legendary documentary filmmaker Frederick Wiseman (At Berkeley, National Gallery) explores the culture, politics and daily life of the Queens, NYC district more
Legendary documentary filmmaker Frederick Wiseman (At Berkeley, National Gallery) explores the culture, politics and daily life of the Queens, NYC district of Jackson Heights, which lays claim to being the most diverse neighbourhood in the world. close
A spiritual journey into the highlands of Harar, immersed in the rituals of khat, a leaf Sufi Muslims chewed for centuries for religious meditations – more
A spiritual journey into the highlands of Harar, immersed in the rituals of khat, a leaf Sufi Muslims chewed for centuries for religious meditations – and Ethiopia’s most lucrative cash crop today. A tapestry of intimate stories offers a window into the dreams of youth under a repressive regime. close
Four landscape shots containing a replica of Ted Kaczynski’s cabin, one shot per season. On the soundtrack, Benning reads extracts from Kaczynski’s journals more
Four landscape shots containing a replica of Ted Kaczynski’s cabin, one shot per season. On the soundtrack, Benning reads extracts from Kaczynski’s journals from the early 1970s, recording his progress at hunting and gathering, and his connection to the Montana wilderness; a hand-written folded sheet of paper detailing his acts of “monkey wrenching” and first attempts at planting bombs; two notebooks written in numerical code in 1985 and decoded by Benning in 2011; two excepts from Industrial Society and Its Future by "FC" (aka the Unabomber Manifesto) as published in The New York Times and The Washington Post in 1995; and a 2001 interview with Kaczynski by J. Alienus Rychalski, special correspondent for the Blackfoot Valley Dispatch. close
Keith is a disturbingly maladjusted social outcast and self-described “troll” whose neuroses plunge him into an unstoppable spiral of self-obliteration more
Keith is a disturbingly maladjusted social outcast and self-described “troll” whose neuroses plunge him into an unstoppable spiral of self-obliteration as his crummy coupon-selling job, pitiful living situation and last remaining human relationships disintegrate around him. close
Concerned with processes of assembly, CHOIR brings together disparate bodies of material and archival technologies into dissonant concert. It is a work more
Concerned with processes of assembly, CHOIR brings together disparate bodies of material and archival technologies into dissonant concert. It is a work of several parts. Part one constructs an auditorium in which an action will be staged. Part two assembles the chorus to narrate the action. Part three supplies the action. close
Five centuries ago, anatomist André Vésale opened up the human body to science for the first time in history. Today, De Humani Corporis Fabrica opens more
Five centuries ago, anatomist André Vésale opened up the human body to science for the first time in history. Today, De Humani Corporis Fabrica opens the human body to the cinema. It reveals that human flesh is an extraordinary landscape that exists only through the gaze and attention of others. As places of care, suffering and hope, hospitals are laboratories that connect every body in the world. close
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