First Person Cinema (formerly The Avant-Garde Cinema Program), was started in 1953 by Bruce Conner and Stan Brakhage, seminal figures in the independent/personal/experimental film movement. Their intention was to bring an awareness of the personal cinema to Boulder. This program, curated by Don Yannacito since the 1960s, has become a highly respected, international showcase, for the makers of personal film. It is the longest existing program in the world that has been continually screening avant-garde film and video work.
The Stan Brakhage Film Series will continue to show films by Brakhage on the first Sunday of every month at 7:30pm in Fine Arts N141. All shows are free and open to the public.
Student Award Showcase
Monday, September 11
Winners of the Grillo and Goldfarb Awards
Special Friday show
Sponsored by The Performing arts and Cultural Enrichment Fee
The Grillo Awards are designed to encourage excellence in filmmaking and help defray some of the expenses required to pursue a degree in film production.
A total of up to $17,000, combined Goldfarb and Grillo funds, will be distributed each year to four tiers of production students. Final recipients and individual award amounts will be determined each semester by in-class student votes and a panel of judges made up of CU Film Studies faculty. The advanced courses award winning films will be shown this evening. The Grillo Awards are drawn from a University of Colorado Foundation fund set up in the early 90s by the founder and former chair of the CU Film Studies Program, Virgil Grillo (1938-1994), whose dedication and vision helped shepherd Film Studies from its modest beginnings in the 1970s to an undergraduate degree program boasting some 600 majors. Goldfarb awards are given by the Goldfarb Foundation and Peter Goldfarb, President. (Screening made possible by ACE fees.)
Various shorts presented in digital format; full awards show is estimated to last 140 mins.
Monday, September 18
TIE, The International Experimental Cinema Exposition was conceived in Telluride, Colorado(2000) by film curator, Christopher May in a vision shared with his colleagues to join the world of experimental/avant-garde filmmakers and exhibit a high-caliber, international experimental cinema. In doing so, TIE has had the dual mission to preserve the fundamental qualities of cinema and film exhibition. TIE insists that experimental motion picture films and their makers hold the fundamental key in illuminating the truest form of cinema. Since the festival’s inception, it has screened over 600 innovative historic and contemporary films and has joined over 200 of the world’s leading avant-gardists.
Christopher May is the director and primary curator for TIE, The International Experimental Cinema Exposition. In addition to his work with TIE, May has curated film programs for organizations in areas ranging from Buenos Aires, Argentina to Miami, Florida. Christopher served as a nominator for the Rockefeller Foundation’s Media Artist Fellowship and consulted several other foundations' filmmaker grant programs, including the MacArthur Foundation and the Pennsylvania Council for the Arts.
Monday, October 9
"Using combinations of found and original footage, Irish-born New Yorker Julie Murray makes subtle and eloquent films that imbue banal images and everyday sounds with an other-worldly charge, a sense of mystery and menace. Murray’s increasingly sophisticated cutting style connects images using visual rhymes based on rhythm, gesture and morphology, until each person, animal or object becomes the dream or nightmare of another in a web of associations without beginning or end. Anathema, Conscious and If You Stand With Your Back To The Slowing Of The Speed Of Light In Water all show an extraordinary sensitivity to the sensual, rhythmic and connotative qualities of image and sound, whether purloined or created, and establish her as a masterful editor and visionary filmmaker." -- Chris Gehman, Cinematheque Ontario.
If You Stand
16mm, sound, 1997, 17 min
I Began to Wish
16mm, silent, 2003, 5 min
16mm, sound, 2002, 5 min
Digital video, 2005, 8 min
16mm, sound, 2004, 9 min
16mm, sound, 2004, 15 min
Jean Pierre Gorin
Monday, October 16
JEAN-PIERRE GORIN began his filmmaking career in the mid Sixties. After meeting filmmaker Jean-Luc Godard the two created the infamous Dziga Vertov Group which has long been recognized as seminal to the period of radical filmmaking of the late Sixties and early Seventies. They are historically significant for their pioneering critical reexamination of film "language" and its ideological implications. During his time with the Dziga Vertov Group, Gorin and Godard codirected several overtly political films. In 1975 Gorin left France to join the faculty of the UCSD Visual Arts Department. At UCSD his investigation of narrative led him toward documentary. He attempted to redefine the parameters of the genre in a series of three essay films which form a Southern California trilogy. These films have been selected for major film festivals both in Europe and the US. Gorin has remained at UCSD where he teaches courses in film history and criticism.
NOTE: This program will take place in ATLAS room 100.
Poto and Cabengo
1979, 76 min, 16mm
Monday, October 30
NATHANIEL DORSKY's films are precise articulations of cinematic qualities. Dorsky’s camera is drawn towards those transient moments of wonder that often pass unnoticed in daily life. Although he has been a filmmaker since 1964, mainstream first clued into Dorsky as Sam Mendes' inspiration behind the empty bag wafting in the wind in 2000's American Beauty. In recent years, Dorsky has also received recognition with his essay "Devotional Cinema," which explores cinema as a spiritual and metabolic experience.
"... an occurrence, not one specifically of time and place, but one of revelation in one's psyche. The place of articulation is not so much in the realm of images as information, but in the response of the heart to the poignancy of the cuts." -- Nathaniel Dorsky
16mm, 2002, 18 min
"Threnody is the second of two devotional songs the first being The Visitation. It is an offering to a friend who died." -- Nathaniel Dorsky
16mm, 2003-04, 20 min
Song and Solitude
"[Song and Solitude's] balance is more toward an expression of inner landscape, or what it feels like to be, than an exploration of the external visual world as such." -- Nathaniel Dorsky
16mm, 2005-06, 21 min
Sunday, November 12
"GEORGE KUCHAR is one of the most exciting and prolific independent videomakers working today. A master of genre manipulation and subversion, he has created dozens of brilliantly edited, hilarious, observant, often diaristic tapes with an 8mm video camcorder, dime-store props, and not-so-special effects, using friends as actors and the 'pageant that is life' for his studio." -– videodatabank.org
Temple of Torment
There is so much to absorb: the wetness from the sky. The hooded figure in the box. A big plate of pasta, and that chair on wheels. Messages of moral guidance clash with actions that are on a collision course with dilapidation. And through it all the water runs, the fridge is full and hearts yearn for that which mellows the melody of God's glockenspiel.
mini-DV, 18 min
This black and white drama of romance, adventure, and outer space intervention was mounted at the San Francisco Art Institute. The plot concerns two groups of missionaries who depart for a tropical island inhabited by a population of attractive denizens who are ruled by a libido-fueled queen. The $400 budget guarantees cheap thrills and makes an explosive vehicle for the queen of these dime store dynamos: Linda Martinez (our Sharon Stone).
A tour of various film/video personalities and places with a smattering of summer fun thrown in.
Monday, November 13
Steve Anker, is dean of CalArts' School of Film/Video, and he was formerly Artistic Director of San Francisco Cinematheque for twenty years, founding program director of the Boston Film/Video Foundation, and he has taught at the San Francisco Art Institute, Massachusetts College of Art and Bard College.
California Institute of the Arts (CalArts) was conceived in the late fifties as what came to be Walt Disney's final creative project, one that proved to be his most radical venture in an otherwise solidly mainstream career. Combining all of the performing and visual arts under one roof, CalArts was a multifaceted laboratory for artistic creation that from its beginning attracted some of the most experimental artists in all forms and mediums.
The program will include several short films and videos representing a wide variety of genres and styles that were made over the school's brief thirtyseven year history, and among the titles will be work by J.J.Villard, Henry Selick, Danielle Ye, Stephen Hillenburg, Adam Beckett, Betzy Bromberg, Cy Kuckenbaker, Miwa Matrayek, Madison Brookshire and others.
Monday, December 4
Steve Seid is the Video Curator at the Pacific Film Archive, a department of the University of California, Berkeley. Over the past fifteen years, he has organized over 600 programs of video art, film and new media. These programs typically circulate around cultural, historical and aesthetic ideas with experimental media being the prevalent form showcased. Seid also oversees an ongoing video preservation project and conducts annual workshops on visual literacy for high school teachers. He has taught video aesthetics and history courses at the University of California, Berkeley, San Francisco State University, the California College of Arts, and the San Francisco Art Institute. His recent largescale program, "Whose Side Are You On: The Border," toured Brazil under the sponsorship of Itau Cultural. He cocurated the first museum retrospective of Ant Farm, the `60s / '70s art collective and creators of Cadillac Ranch and Media Burn, which tours through 2006. In progress is a fifty year history of moving image art in the San Francisco Bay Area, a book and exhibition scheduled for 2007. Seid just cocurated the 2006 Flaherty Film Seminar.