berkeley art museum·pacific film archive sep / oct 2 0 16

Transcription

SEP/OCT 2016
BERKELEY ART MUSEUM · PACIFIC FILM ARCHIVE
UNIVERSIT Y OF CALIFORNIA
PROGRAM GUIDE
LISA MEZZACAPPA PAT O’NEILL MIND OVER MATTER BERKELEY EYE HANS HOFMANN CECILIA EDEFALK SUMMER TREES CASTING SHADE KEN JACOBS ANNA MAGNANI SERGIO LEONE ZHOU HAO MARK MORRIS HAYOUN KWON TRINH T. MINH-HA YASUJIRO OZU
CALENDAR
SEPTEMBER
1/THR
1:00
Guided Tour BERKELEY EYE P. 5
4–7
Drop-in Art Making ART LAB 10/ SAT
17/ SAT
24/ SAT
11:30
The Story of Sojourner Truth 11–9
Drop-in Art Making ART LAB 11–9
Drop-in Art Making ART LAB FAMILY FARE P. 6
1:00
Roundtable Discussion: Black
Activism and Photography from
the Civil War to the Civil Rights
Movement SOJOURNER TRUTH P. 5
1:30
Patricia Berger, Thoughts on a
Chinese Buddhist Painting 1:00
The Story of Sojourner Truth FAMILY FARE P. 6
3–9
Drop-in Art Making ART LAB
7:00 Late Spring OZU P. 10
3:00
Roundtable Reading: Wonder P. 6
Free First Thursday: Galleries Free All Day
5:30 Lola Montez VIENNA P. 14
2 / FRI
8:00 For a Few Dollars More 4–9
7:00 The Good, the Bad, and the Ugly SERGIO LEONE P. 9
3 / SAT
11–9
Drop-in Art Making ART LAB 5:30 La ronde VIENNA P. 14
7:30
SERGIO LEONE P. 9
Drop-in Art Making ART LAB Tokyo Story OZU P. 10
4/ SUN
11/ SUN
11–7
Drop-in Art Making ART LAB 3:30 Singin’ in the Rain MATINEES P. 15
5:00 Sojourner Truth Reading
Group P. 4
8:00 Equinox Flower OZU P. 10
6:00 Fear VIENNA P. 14
8:00 Forgetting Vietnam
Trinh T. Minh-ha and Akira
Mizuta Lippit in conversation AFTERIMAGE P. 12
12:00 Demonstration and Open Rehearsal
with Lisa Mezzacappa FULL P. 4
18 / SUN
2:00 Guided Tour BERKELEY EYE P. 5
11–7
3:00 Terri Friedman on Yarn
Painting ART WALL P. 4
2:00 Heavy Breathing #4: I.C.E.
with the Feminist Economics
Department WORKSHOP P. 5
3:30 The Good, the Bad, and the Ugly SUMMER TREES CASTING SHADE P. 5
5:30 Through the Olive Trees
Introduced by Mark Morris Drop-in Art Making ART LAB CINEMA MON AMOUR P. 20
25 / SUN
11–7
Drop-in Art Making ART LAB 2:00 Guided Tour BERKELEY EYE P. 5
4:00 The Wishing Tree
Introduced by Mark Morris CINEMA MON AMOUR P. 20
7:00 Angelina
Introduced by Olivia Magnani ANNA MAGNANI P. 18
Summer Trees Casting Shade closes P. 8
SERGIO LEONE P. 9
7:00 Early Summer OZU P. 10
This Just In: New Acquisitions closes P. 8
4:00 Ludwig: Requiem for a Virgin
King VIENNA P. 14
28 / WED
5:00 Oh . . . Rosalinda!! VIENNA P. 14
6:45
7:00 Trouble in the Image
Pat O’Neill in person MATRIX 262 /
7:15
A Fistful of Dollars SERGIO LEONE P. 9
7/ WED
12:15
7:00 Hollywood, Video Games,
and the Avant-Garde 14/ WED
7:00 Surname Viet Given Name Nam
Trinh T. Minh-ha and Shannon
Jackson in conversation AFTERIMAGE P. 12
ALTERNATIVE VISIONS P. 16
SERGIO LEONE P. 9
21/ WED
12:15
4–7
4–7
7:00 Forgetting Vietnam
Trinh T. Minh-ha and Akira
Mizuta Lippit in conversation Drop-in Art Making ART LAB
7:00 Ken Ueno Selects: Tokyo-Ga
Introduced by Ken Ueno AFTERIMAGE P. 12
CINEMA MON AMOUR P. 17
COMMITTED CINEMA P. 13
Drop-in Art Making ART LAB 12:15
6:00 Collage Night with Desi WORKSHOP P. 5
7:00 Early Spring OZU P. 10
Kim Anno on Landscape in
the Work of Frank Gillette and
Théodore Rousseau BERKELEY EYE P. 4
4–9
Drop-in Art Making ART LAB 6:30 Once upon a Time in the West SERGIO LEONE P. 9
7:00 Full: Scientific P. 4
2 SEPTEMBER / OCTOBER 2016
12:15
Pat O’Neill / MATRIX 262 opens P. 7
29/ THR
7:00 Water and Power
Pat O’Neill in person MATRIX 262 /
22/THR
30/ FRI
4–7
12:15
Drop-in Art Making ART LAB 7:00 Hayoun Kwon Selects:
Animated Short Films
Presented by Hayoun Kwon 16 / FRI
9/ FRI
4–9
Drop-in Art Making ART LAB Guided Tour BERKELEY EYE P. 5
7:00 The Short Films of Hayoun Kwon:
Imaginary Lines
Hayoun Kwon in person 15 / THR
8 / THR
Once upon a Time in the West COMMITTED CINEMA P. 13
23 / FRI
4–9
Drop-in Art Making ART LAB 6:30 Fear VIENNA P. 15
8:15
A Fistful of Dollars SERGIO LEONE P. 9
Enrique Chagoya on Goya’s
Los proverbios BERKELEY EYE P. 4
4–9
Drop-in Art Making ART LAB 4:00 Ashik Kerib
Introduced by Mark Morris CINEMA MON AMOUR P. 20
7:30
The Chinese Mayor
Zhou Hao and Rachel Stern
in conversation COMMITTED CINEMA P. 21
1
Giovanni Caracciolo: The Young Saint
John in the Wilderness, 1610; oil on
canvas. BERKELEY EYE
2
A Fistful of Dollars, 9.4.16, 9.23.16
3
An Autumn Afternoon, 10.30.16
4
Jean Painlevé: Acera,
FULL: SCIENTIFIC , 9.16.16
5
Water and Power, 9.29.16
6
Nagaraja, Tibet, Densatil, 15th century;
gilt bronze inset with hard stones and
turquoise. BUDDHIST ART
OCTOBER
8 / SAT 15 / SAT
22 / SAT
11:30
But Does It Move? FAMILY FARE P. 6
11–9
Drop-in Art Making ART LAB 11–9
1/ SAT
1:00
But Does It Move? FAMILY FARE P. 6
1:00
Lecture by Ken Jacobs 6:00 Many Dreams Along the Way 1:30
American Sign Language
3–9
Drop-in Art Making ART LAB
11–9
2:00 Layla and Majnun Symposium CINEMA MON AMOUR P. 20
5:45
Eliso
Introduced by Mark Morris.
Judith Rosenberg on piano CINEMA MON AMOUR P. 20
3:00 Roundtable Reading:
Because of Winn-Dixie P. 6
4:00 Good Morning OZU P. 11
6:00 La tête d’un homme MAIGRET ON FILM P. 23
8:30 Teresa Venerdi ANNA MAGNANI P. 18
8:15
2 / SUN
9/ SUN
11–7
11–7
Drop-in Art Making ART LAB Bellissima ANNA MAGNANI P. 18
Drop-in Art Making ART LAB 2:00 Guided Tour BERKELEY EYE P. 5
4:30 Full Speed ANNA MAGNANI P. 18
4:30 The Peddler and the Lady 7:00 Cotton
Zhou Hao and Rachel Stern in
conversation COMMITTED CINEMA P. 21
6:45
5 / WED
12 / WED
12:15
12:15
5:00 Draw Club with Drew Bennett WORKSHOP P. 5
7:00 Beyond Enchantment:
The Films of Lawrence Jordan
Lawrence Jordan in person ANNA MAGNANI P. 19
The Piano Teacher VIENNA P. 15
7:00 Nervous Magic Lantern
Performance: Abstract
Expressionist Cinema
Ken Jacobs and Steve Anker in
conversation AFTERIMAGE P. 22
4–7
1:00
4–7
Drop-in Art Making ART LAB 5:00 Julia Bryan-Wilson on
Art in the Making P. 4
7:00 Amadeus VIENNA P. 15
Drop-in Art Making ART LAB 7:00 The Good Fight: The Abraham
Lincoln Brigade in the Spanish
Civil War
Introduced by Peter N. Carroll P. 22
14/ FRI
Free First Thursday: Galleries Free All Day
12:15
7/ FRI
Scott Hewicker on Marsden
Hartley BERKELEY EYE P. 5
4–9
Drop-in Art Making ART LAB Joe McBride on Chinese
Landscape Paintings 6:30 La nuit du carrefour MAIGRET ON FILM P. 23
BERKELEY EYE P. 4
4–9
3:30 Safety Last! Judith Rosenberg on piano
MATINEES P. 15
Rome Open City ANNA MAGNANI P. 19
7:00 Eyes Wide Shut VIENNA P. 15
7:00 Sojourner Truth Reading Group P. 4
MAIGRET ON FILM P. 23
23 / SUN
11–7
Drop-in Art Making ART LAB 2:00 Guided Tour MIND OVER MATTER P. 5
7:00 Full: Breath P. 4
4:00 Volcano ANNA MAGNANI P. 19
7:45
6:15
Late Autumn OZU P. 11
16 / SUN
11–7
Drop-in Art Making ART LAB Eva Hesse P. 11
Sojourner Truth, Photography, and
the Fight Against Slavery closes P. 8
2:00 Ukiyo-e Print Workshop with
Motoharu Asaka WORKSHOP P. 6
26 / WED
7:00 Mother Mortar, Father Pestle
(the petty apocalypse of 2007)
Gibbs Chapman in person
Live music by Turbine 4:00 Angelina ANNA MAGNANI P. 19
6:00 Kamikaze ’89 P. 11
Cecilia Edefalk / MATRIX 261 closes P. 8
12:15
18 / TUE
27/ THR
9:00 Heavy Breathing #5 4–7
FREE OFF-SITE EVENT P. 6
19/ WED
12:15
Gallery Talk with Curator
Constance Lewallen MIND OVER MATTER P. 5
7:00 Cameraless Films
Greta Snider in person ALTERNATIVE VISIONS P. 17
Drop-in Art Making ART LAB 7:00 Rome Open City ANNA MAGNANI P. 19
28 / FRI
12:15
Gallery Talk with Anne Walsh MIND OVER MATTER P. 5
4–9
Drop-in Art Making ART LAB 6:30 Eva Hesse P. 11
8:45
Kamikaze ’89 P. 11
Mind Over Matter opens P. 7
20/ THU
4–7 Drop-in Art Making ART LAB 7:00 Kamikaze ’89 P. 11
29/ SAT
11–9
Drop-in Art Making ART LAB 6:00 Bellissima ANNA MAGNANI P. 19
8:15
Second Breath P. 11
21/ FRI
30/ SUN
4–9 Drop-in Art Making ART LAB 11–7 Drop-in Art Making ART LAB 5:30 Mail Art Viewing with John Held Jr. 2:00 Guided Tour BERKELEY EYE P. 5
MIND OVER MATTER P. 6
6:00 Arabesque Optics READING P. 4
4:00 An Autumn Afternoon OZU P. 11
6:30 The Bandit ANNA MAGNANI P. 19
6:30 Eva Hesse P. 11
7:00 Mail Art Workshop with John Held Jr. MIND OVER MATTER P. 6
8:15
GALLERIES ALWAYS FREE FOR BAM/PFA MEMBERS
ANNA MAGNANI P. 19
8:00 Inspector Bellamy 6:00 The Bandit ANNA MAGNANI P. 19
13 / THR
6 / THR
12:15
HANS HOFMANN / AFTERIMAGE P. 5
2:00 Ukiyo-e Print Workshop with
Motoharu Asaka WORKSHOP P. 6
Drop-in Art Making ART LAB Second Breath P. 11
BAMPFA 3
EVENTS
1/2/3/4/5/6/7/8
FULL
READINGS
GALLERY TALKS
Demonstration and Open Rehearsal
with Lisa Mezzacappa
Sojourner Truth Reading Group:
Frank B. Wilderson III
Terri Friedman on Yarn Painting
SUNDAY / 9.11.16 / 12:00
SATURDAY / 9.17.16 / 5:00
Lisa Mezzacappa, composer of Organelle (see
below), gives an introduction to the use of graphic
scores in contemporary improvisation, then leads
an open rehearsal with her ensemble.
Full: Scientific
FRIDAY / 9.16.16 / 7:00
Programmed by Sean Carson
Lisa Mezzacappa explores scientific phenomena
through sound. Tonight she presents the premiere
of Organelle, her composition for improvisers
inspired by cell biology, astrophysics, paleontology,
and neuroscience. Also dropping some science
will be Broun Fellinis, the brilliant Bay Area trio
that has mixed together postmodern jazz, dub,
afrobeat, and abstract funk for a quarter century.
With short films by Jean Painlevé in the galleries.
Full: Breath
Programmed by David Brazil
Join writer, poet, and UC Irvine professor Frank B. Wilderson III
for a screening of his 2005 film Reparations . . . Now, a critical
documentary that captures the terror of unnamable loss shouldered
by twenty-first-century descendants of slaves, followed by a group
conversation about the issues raised by the film.
Julia Bryan-Wilson on Art in the Making:
Artists and Their Materials from the Studio
to Crowdsourcing
THURSDAY / 10.6.16 / 5:00
Julia Bryan-Wilson, associate professor of art history at UC
Berkeley, introduces her new book with a reading, discussion, and
booksigning. Coauthored with Glenn Adamson, Art in the Making
takes takes us behind the scenes to show how the materials and
processes used by artists are vital to considerations of authorship,
and to understanding the economic and social contexts from
which art emerges.
SUNDAY / 9.11.16 / 3:00
Art Wall artist Terri Friedman discusses her monumental textile Yarn Painting in the context of her
discovery of and engagement with the medium
of weaving. She will talk about the importance
of color and humor, and about overcoming
her trepidation about making a 24 × 60–foot
artwork—her largest ever—on a four-foot loom
in less than four months.
Kim Anno on Landscape in
the Work of Frank Gillette and
Théodore Rousseau
FRIDAY / 9.16.16 / 12:15
Artist Kim Anno explores Gillette’s immersive video
installation, Aransas: Axis of Observation, and
Rousseau’s monumental Forest of Fontainebleau,
both on view in Berkeley Eye, considering forest as
metaphor, the picturesque and anti-picturesque, and
early video art in relation to painting and ecology.
SATURDAY / 10.15.16 / 7:00
Sojourner Truth Reading Group: Regina Mason
Programmed by Shinichi Iova-Koga
FRIDAY / 10.7.16 / 7:00
Enrique Chagoya on Goya’s
Los proverbios
An evening of varied performances celebrating
and contemplating breath. You will experience
the unique sounds of shakuhachi virtuoso
Masayuki Koga, the live calligraphy painting of
Aoi Yamaguchi, the solo dance artistry of Dana
Iova-Koga, and haunting music from Oaklandbased duo Ghost Lore.
Programmed by David Brazil
FRIDAY / 9.30.16 / 12:15
International speaker, author, and storyteller Regina Mason is
the third great-granddaughter of ex-slave and autobiographer
William Grimes. In this talk, learn the fascinating story of how she
took history into her own hands by authenticating her ancestor’s
book, Life of William Grimes, the Runaway Slave, the first American
fugitive slave memoir.
Arabesque Optics
Full is made possible with the continued support of the
BAMPFA Trustees.
FRIDAY / 10.21.16 / 6:00
Programmed by Ava Koohbor
Poet and artist Ava Koohbor brings us two readers tonight: novelist Shahrnush Parsipur and poet Brian Lucas. Arabeque Optics
journeys beyond East and West, where language and form merge
into rhythmical patterns of images and words.
An artist deeply influenced by Francisco Goya,
Enrique Chagoya looks at two gripping etchings by
the Spanish master from the series Los proverbios
on view in Berkeley Eye. Chagoya will discuss the
prints in terms of both their technique and their
powerful social and political content.
Joe McBride on Chinese Landscape
Paintings in Berkeley Eye
FRIDAY / 10.7.16 / 12:15
Professor Emeritus in the Departments of Landscape
Architecture and Forestry at UC Berkeley Joe
McBride addresses two Chinese landscape
paintings: Hu Gongshu’s Chrysanthemums, Old
Tree, Rock (1879) and Xie Cheng’s seventeenthcentury Landscape, paying special attention to
the imagery of trees.
1
Lisa Mezzacappa, Full: Scientific, 9.16.16 Photo: Heike Liss
2
Broun Fellinis, Full: Scientific, 9.16.16 Photo: Shaun Morris
3
Dana Iova-Koga, Full: Breath, 10.15.16 Photo: Pak Han
4
Aoi Yamaguchi, Full: Breath, 10.15.16
5
Heavy Breathing #4: I.C.E. with the FED, 9.18.16
6, 7 Collage Night with Desi, 9.9.16
Draw Club with Drew Bennett, 10.5.16
EVENTS
8
Scott Hewicker on Marsden Hartley
FRIDAY / 10.14.16 / 12:15
Artist Scott Hewicker explores themes of loss,
landscape, and the eternal as they relate to
Marsden Hartley’s iconic and compelling painting
Cascade of Devotion, on view in Berkeley Eye.
Gallery Talk with Curator
Constance Lewallen
WEDNESDAY / 10.19.16 / 12:15
Constance Lewallen introduces her exhibition
Mind over Matter, which features work from
BAMPFA’s important holdings of first-generation
Conceptual art. The exhibition includes work by
Tom Marioni, Theresa Hak Kyung Cha, Ant Farm,
James Lee Byars, and others.
Gallery Talk with Artist Anne Walsh
FRIDAY / 10.28.16 / 12:15
Artist Anne Walsh explores artworks on view in
Mind Over Matter that resonate with her own art
practice, and her interest in language and time,
including work by Theresa Hak Kyung Cha and
Eleanor Antin.
GUIDED TOURS
Guided exhibition tours are offered on Wednesdays,
Sundays, and Free First Thursdays. Special tours for
UC Berkeley’s Homecoming weekend are scheduled
for Friday, September 30. Tours this fall focus on
Berkeley Eye: Perspectives on the Collection
and Mind Over Matter: Conceptual Art from the
Collection. An American Sign Language tour of
Berkeley Eye is offered on Saturday, October 8.
See calendar for tour schedule.
All public programs included
with gallery admission
LECTURES & DISCUSSIONS
WORKSHOPS
Black Activism and Photography from the Civil War
to the Civil Rights Movement
Collage Night with Desi
SATURDAY / 9.17.16 / 1:00
Former slave Sojourner Truth strategically deployed photography as
a form of political activism. In this roundtable discussion presented
in conjunction with Sojourner Truth, Photography, and the Fight
Against Slavery, UC Berkeley professors Darcy Grimaldo Grigsby
(History of Art) and Leigh Raiford (African American Studies) and
photographer/photography historian Makeda Best of the California
College of the Arts consider how photography has been used in
the African American struggle for political change.
Patricia Berger: A Passion for Grapes—Thoughts on
a Chinese Buddhist Painting
SATURDAY / 9.24.16 / 1:30
In this lecture UC Berkeley professor Patricia Berger considers
Wen Riguan’s early fourteenth-century Grapes, one of the most
important early Chinese paintings in the BAMPFA collection (on
view in Summer Trees Casting Shade). Berger will explore what
Wen’s focus on grapes tells us about his Buddhist practice and the
reception of the painting as it made its way from China to Japan
and ultimately to Berkeley.
FRIDAY / 9.9.16 / 6:00–8:00
Join art collective Desi for a night of collage
accompanied by the energetic sounds of a special
guest DJ. Make one large-scale, collaborative
collage, which will be cut into card-size pieces
to make a set of postcard prints using the Art
Lab’s risograph machine. Each participant will
take home a set of postcards.
Heavy Breathing #4: I.C.E. with the
Feminist Economics Department
SUNDAY / 9.18.16 / 2:00–5:00
Join Cassie Thornton and members of the
Feminist Economics Department (the FED) in a
leaderless dance score that models possibilities
for an “Intentional Community in Exile”: a feminist,
property-free mode of mutual belonging. This
participatory workshop takes inspiration from
the Connection and Change–themed artworks
featured in Berkeley Eye.
Draw Club with Drew Bennett
Ken Jacobs: Search for the Real/Delight with Illusion
WEDNESDAY / 10.5.16 / 5:00–7:00
SATURDAY / 10.15.16 / 1:00
Join artist Drew Bennett for an inclusive, noskills-necessary workshop that encourages deep
observation through drawing. We will head into the
galleries with paper and graphite pencils to freely
explore the exhibitions on view. All materials are
provided; feel free to bring a sketchbook (please,
no larger than 11 × 17 inches). We will conclude
the session by creating a collective print of our
sketches using the Art Lab’s risograph machine.
Ken Jacobs, a central figure in postwar experimental cinema who
studied with Abstract Expressionist artist Hans Hofmann, offers
insight into Hofmann’s painting and its impact on his own films in
this midday lecture. Jacobs also presents his 1964 film Window; his
illusionistic 3D Eternalisms will be on display outside the theater
before and after the program. In conjunction with Push and Pull:
Hans Hofmann.
Study Center Viewing with John Held Jr.
FRIDAY / 10.21.16 / 5:30
In conjunction with the exhibition Mind Over Matter, artist and writer
John Held Jr. introduces you to selected works from the Steven
Leiber Conceptual Art Study Center. For this intimate hourlong
viewing and conversation, Held has selected several examples of
mail art that represent various aspects of the medium. Please note that space for this event is limited. RSVP beginning October 3 by
calling the Study Center at (510) 643-0857.
BAMPFA 5
9
Ukiyo-e Print Workshop, 10.15.16, 10.16.16
10 Mail Art History and Practice with John Held Jr.,
10.21.16
EVENTS
11 Heavy Breathing #5: Army of Darkness, 10.18.16
Ukiyo-e Print Workshop with
Motoharu Asaka
FAMILY FARE
ROUNDTABLE READING
SATURDAY / 10.15.16 / 2:00–5:00
Second Saturdays
Ages 6 to 12 with accompanying adult(s)
Ages 8 and up (younger kids welcome as listeners)
SUNDAY / 10.16.16 / 2:00–5:00
A rare opportunity to work with ukiyo-e master
printer Motoharu Asaka. Asaka specializes in the
traditional ukiyo-e techniques from Edo period
Japan and he is entrusted with the reprinting
of Japan’s National Treasures. In this intensive
workshop, Asaka will demonstrate both carving
and printing techniques in making Hokusai’s
Great Wave off Kanagawa and participants will
also try printing. Heavy Breathing #5: Army of
Darkness with Sofía Córdova
TUESDAY / 10.18.16 / 9:00 PM–12:00 AM
*Special off-site free event at the Starline Social Club,
645 West Grand Ave., Oakland
Artist Sofía Córdova’s guided dance meditation
explores the possibilities for transcendence that
the dance floor offers the colored, marginalized
body. Come out for a dance floor experience at
Oakland’s celebrated performance venue, the
Starline Social Club, plus a live set by Córdova’s
band XUXA SANTAMARIA (with Matthew Kirkland).
Mail Art History and Practice with
John Held Jr.
FRIDAY / 10.21.16 / 7:00–9:00
Learn more about the history of mail art with
John Held Jr., author of Mail Art: An Annotated
Bibliography. After surveying the current status
of this underground art genre, we will use the
Art Lab’s extensive rubber stamp collection to
create experimental mail.
Free for kids plus one adult
Sign up onsite beginning fifteen minutes before
the session you wish to attend. Be advised that
space is limited to 12 kids per session; please
arrive promptly to sign up.
The Story of Sojourner Truth
SATURDAY / 9.10.16
11:30–1:00 & 1:00–2:30
Compare and contrast a series of portraits with
guide Shivani Sud, including those on view in
Sojourner Truth, Photography, and the Fight
Against Slavery. Then, with artist Kaya Fortune,
connect with the experiences of Sojourner Truth
by making collages using reproductions of historic
photographs, autographs, and stamps from the
Civil War period.
But Does It Move?
SATURDAY / 10.8.16
11:30–1:00 & 1:00–2:30
In a walkthrough of Berkeley Eye: Perspectives
on the Collection with guide Kristen Kido, search
the galleries for art that moves, suggests movement, or simply makes your eyes dance. Then,
using simple materials such as paper, tape, and
string, work with artist Claudia Tennyson to make
a hanging mobile that spins by itself.
Free for kids plus one adult. No advance sign-up needed.
Wonder by R. J. Palacio
SATURDAY / 9.10.16 / 3:00
Ten-year-old Auggie Pullman is a huge Star Wars
fan who loves his Xbox and his dog. He also was
born with a genetic defect that caused his facial
features to be severely deformed. Now Auggie
and his parents have decided to transition him
from home school to private school. Auggie has to
deal with so much more than just being the new
kid at school. Will he make friends? Can the kids
at school learn to see past his appearance? Begin
reading Palacio’s empathetic yet unsentimental
story in this participatory read-aloud session and
then further explore its themes of kindness and
difference at home.
Because of Winn-Dixie
by Kate DiCamillo
SATURDAY / 10.8.16 / 3:00
The summer Opal and her father move to the
small town of Naomi, Florida, she goes into the
Winn-Dixie supermarket and comes out with a
dog—a big, ugly, suffering dog with a splendid
sense of humor, whom she names after the market.
Together they meet the diverse residents of the
town and hear their stories, and Opal learns about
friendship, empathy, and forgiveness. Join former
BAMPFA children’s film festival programmer Linda
Artel in a participatory reading of the opening
chapters of this remarkable story of a young girl’s
growth and resilience, then take a copy home to
continue reading to find out how the story ends.
PAT O’NEILL / MATRIX 262
SEPTEMBER 28–NOVEMBER 27
Los Angeles–based artist Pat O’Neill (b. 1939), a key figure in West
Coast experimental cinema for the past fifty years, creates densely
layered films and moving-image environments that explore the
hybrid and expanded terrain of film, photography, and sculpture. His
innovative use of the optical printer, which enables filmed images to
be manipulated and altered directly on celluloid, marked a creative
breakthrough in composite image-making in film. MATRIX 262 presents
a wide selection of O’Neill’s films on BAMPFA’s multiple screens—the
Barbro Osher Theater, Theater Two, and the outdoor screen—at
various times throughout the run of the exhibition. His 1970 film
Runs Good, partially inspired by the paintings of Hans Hofmann,
will be shown continuously as a three-channel projection in the
galleries, along with collages, drawings, and sculpture.
Pat O’Neill: still from Runs Good, 1970; three-channel continuous
video projection, transferred from 16mm; color, sound; BAMPFA , museum
purchase: Phoebe Apperson Hearst, by exchange.
EXHIBITIONS
NEW EXHIBITION
Film Screenings
bampfa.org for details
Image courtesy of the artist and Cherry and Martin, Los Angeles.
Through 11.6.16
Wed & Thu 11–2 & 5–7
Fri 11–2 & 5–9
Sat & Sun 11–7
Theater Two program runs 55 mins
9.28.16 & 9.29.16
Pat O’Neill / MATRIX 262 is co-organized by Apsara DiQuinzio, curator of modern and
contemporary art and Phyllis C. Wattis MATRIX Curator, and Kathy Geritz, film curator.
The MATRIX Program is made possible by a generous endowment gift from Phyllis C.
Wattis and the continued support of the BAMPFA Trustees.
Barbro Osher Theater (see p. 16)
Through 11.27.16
Outdoor screen, on the hour
MIND OVER MATTER: CONCEPTUAL
ART FROM THE COLLECTION
OCTOBER 19–DECEMBER 23
NEW EXHIBITION
Mind Over Matter showcases BAMPFA’s holdings of Conceptual art,
including the recently acquired Steven Leiber collection. Emphasizing language-based works and performance documentation, the
exhibition includes works on paper, photography, mail art, artist
books, film and video, and ephemera by Ant Farm, James Lee
Byars, Theresa Hak Kyung Cha, Fluxus, the Museum of Conceptual
Art, and others.
Ant Farm: Media Burn, July 4, 1975; performance, Cow Palace,
San Francisco; BAMPFA collection . Photo: © John F. Turner.
Mind Over Matter: Conceptual Art from the Collection is organized by BAMPFA Adjunct
Curator Constance M. Lewallen. The exhibition is supported in part by Alexandra
Bowes and Stephen Williamson, Rena Bransten, and Robin Wright and Ian Reeves.
GIF COLLIDER 1.0
OCTOBER 25–28
NEW EXHIBITION
GIF Collider 1.0, a 2016 looping Javascript program
created by artists Greg Niemeyer, Olya Dubatova, and
Brewster Kahle, runs on the outdoor screen on the hour.
Greg Niemeyer, Olya Dubatova, Brewster Kahle:
still from GIF Collider 1.0, 2016; Javascript.
BAMPFA 7
SOJOURNER TRUTH,
PHOTOGRAPHY, AND
THE FIGHT AGAINST
SLAVERY
BUDDHIST ART
FROM THE ROOF
OF THE WORLD
THROUGH NOVEMBER 13
EXHIBITIONS
THROUGH OCTOBER 23
SUMMER TREES
CASTING SHADE:
CHINESE PAINTING
AT BERKELEY
CECILIA EDEFALK
MATRIX 261
THROUGH OCTOBER 16
THROUGH SEPTEMBER 25
BERKELEY EYE:
PERSPECTIVES ON
THE COLLECTION
THIS JUST IN:
NEW ACQUISITIONS
THROUGH DECEMBER 11
THROUGH SEPTEMBER 11
PUSH AND PULL:
HANS HOFMANN
ART WALL:
TERRI FRIEDMAN
THROUGH DECEMBER 11
THROUGH FEBRUARY 12
Berkeley Eye: Perspectives on the Collection is supported in part
by Rena Bransten, Catherine M. Coates, The Jay DeFeo Foundation,
Janie and Jeff Green, Professor Catherine and James Koshland,
Dr. Phillip and Lynda Levin, Penelope and Noel Nellis, Joan
Lyke Roebuck, Sharon Simpson, and Roselyne Chroman Swig.
Cecilia Edefalk / MATRIX 261 is made possible by a generous
endowment gift from Phyllis C. Wattis and the continued support
of the BAMPFA Trustees
above left, from top
Carte de visite of Sojourner Truth, 1863; albumen print mounted on cardboard;
4 × 2 1/2 in.; BAMPFA , gift of Darcy Grimaldo Grigsby.
Sun Junze: Landscape with Buildings, early 14th century (detail); hanging scroll: ink and
color on silk; 73 × 44 ¼ in.; BAMPFA , gift of Sarah Cahill, in memory of James Cahill.
Sylvia Fein: Crucial Eye, 2011; egg tempera on panel; 20 × 24 in.; BAMPFA , purchase
made possible through gifts from Andrew Teufel and Judith DeVito, with additional
funds provided by Glenn and April Bucksbaum. © Sylvia Fein. Photo: Nicholas Pishvanov
Hans Hofmann: Combinable Wall I and II, 1961 (detail); oil on canvas; 84 ¼ × 112 ½ in.;
BAMPFA , gift of the artist.
The Art Wall is commissioned by BAMPFA and made possible
by major funding from Frances Hellman and Warren Breslau.
above right, from top
Seated Buddha, 14th century; gilt bronze; 56 in. high; on long-term loan to BAMPFA
from a private collection.
Cecilia Edefalk: To view the painting from within, 2002; oil and acrylic on linen;
17 × 14 5/8 in.; courtesy Gladstone Gallery, New York and Brussels. © Cecilia Edefalk
Hedda Sterne: Horizon Study, 1964; oil pastel on paper; 19 × 14 in.; BAMPFA , purchase
made possible through a gift of Barbara N. and William G. Hyland, Monterey, California.
© The Hedda Sterne Foundation, Inc./Licensed by ARS, New York, NY
Terri Friedman: Yarn Painting, 2016 (detail); acrylic, wool, and cotton fibers; dimensions
variable; courtesy of the artist.
Once upon a Time
in the West, 9.16.16,
9.18.16
2
The Good, the Bad, and
the Ugly, 9.2.16, 9.11.16
FILMS
1
SOMETHING TO DO WITH DEATH:
Sergio Leone
1/2
Sergio Leone made four Westerns in
the 1960s that revolutionized that wellestablished genre and earned these Italian
productions their own nickname. Unlike
the numerous “spaghetti Westerns” that
followed, these films are far more than a
FRIDAY / 9.2.16
THE GOOD, THE BAD, AND THE UGLY
7:00
SERGIO LEONE (ITALY, 1967)
saucy spin on Hollywood classics. Leone
REPEATS SUNDAY / 9.11.16
employed widescreen cinematography, a
(Il buono, il brutto, il cattivo). Sergio Leone’s unrivaled oater involves an
elusive cache of Confederate coins and the three reckless rawhiders who
try to find it. The intricacies of the duplicity dealt these desperadoes in a
Texas ravaged by the Civil War push the film from saddle-sore Western
to full Wagnerian horse opera. Clint Eastwood is the itinerant gunslinger
known as The Man with No Name, partnered here with Tuco (Eli Wallach),
a brutal bandito who delivers lines faster than a Gatling gun. Crossing (and
double-crossing) their path is Lee Van Cleef, a cold-blooded opportunist
who’s set his sights on the same spoils. STEVE SEID
parched dusty palette, and unprecedented
onscreen violence to effectively reframe
the West. Moving beyond good-vs.-evil
binaries, these four films explore the
moral ambivalence behind the brutality of Leone’s mercenary characters as
they navigate the killing fields of Manifest
Destiny. Although set in the US, they are
as influenced by the Italian experience of
oppressive dictatorship and the horror,
death, and destruction of World War II
Written by Leone, Luciano Vincenzoni, from a story by Age & Scarpelli, Leone, Vincenzoni.
Photographed by Tonino Delli Colli. With Clint Eastwood, Eli Wallach, Lee Van Cleef. (179
mins, Color, ’Scope, DCP, From Park Circus)
and its aftermath as they are by a mythi-
SUNDAY / 9.4.16
cal Southwest. Leone’s unshaven, sun-
A FISTFUL OF DOLLARS
burned killers are disillusioned archetypes
motivated by survival, fear, greed, and
vengeance: kindness and generosity are
an afterthought in this blighted landscape
where innocence is doomed or a distant
memory. Replete with tableaux that resemble Goya’s etchings depicting disasters of
war, Leone’s signature style owes almost
as much to the deep space perspective in
the paintings of Dalí and de Chirico as it
does to the films of John Ford or Howard
Hawks. Ennio Morricone’s innovative scores
combine sound effects, unconventional
instrumentation, and symphonic power to
add depth and texture to Leone’s violent
vistas. Although these groundbreaking
films are continually excerpted, imitated,
and referenced, opportunities to see them
on the big screen are all too rare: now is
your chance.
Kate MacKay, Associate Film Curator
7:15
REPEATS FRIDAY / 9.23.16
(Per un pugno di dollari). This first “spaghetti” Western was a sagebrush
version of Kurosawa’s Yojimbo, with lanky Clint Eastwood as The Man with
No Name who finds himself in a beat-up border town ruled over by two
ruthless clans. Dressed in the poncho and dusty Stetson that would be his
well-worn wardrobe through two sequels, the nameless one plays one clan
off the other in a bit of inspired treachery. Ennio Morricone’s bravura mix of
surf guitar, gongs, and rustic choir only adds to the delirium of this virtuosic
oater filled with tumbleweed nihilism. STEVE SEID
Written by Leone, Duccio Tessari, from a story by Tonio Alombi. Photographed by Jack
Dalmas. With Clint Eastwood, Marianne Koch, Gian Maria Volontè, Wolfgang Lukschy. (96
mins, Color, ’Scope, 35mm, From Park Circus)
8:00
(Per qualche dollaro in più). If Sergio Leone has a brand, it’s the trinity: A Fistful
of Dollars had Clint Eastwood, The Man with No Name, triangulated with two
rivalrous clans. For a Few Dollars More, the quasi-sequel, retrieves the ever-vicious
Gian Maria Volontè, now as El Indio, and adds the third spoke, a reptilian Lee Van
Cleef playing a bounty hunter whose way with weapons equals that of Eastwood.
When the battered bodies start stacking up like cords of wood, we look on with
arid admiration. And look on we do as the monumental landscape—indifferent
host to the mounting mayhem—spreads out before us. STEVE SEID
SUNDAY / 9.11.16
THE GOOD, THE BAD,
AND THE UGLY
3:30
SEE FRIDAY / 9.2.16
FRIDAY / 9.16.16
ONCE UPON A TIME
IN THE WEST
6:30
SERGIO LEONE (ITALY/US, 1968)
(C’era una volta il West). Where the “Dollars” trilogy
was about the lethal lengths to which one might go to
get a fistful, this saga draws a bead on the taming of
the once-wild West as an industrial enterprise. Henry
Fonda does the bidding of a railway tycoon driven by
his own loco motives. Derailing the plans of big money
is Claudia Cardinale as a frontier widow fighting for her
spread, aided by Jason Robards and Charles Bronson
as two high plains drifters. All of Leone’s punch-drunk
particulars are here: the epic close-ups of weathered
faces, Morricone’s telegraphic score, and smokin’ shootouts set against majestic vistas. STEVE SEID
Written by Leone, Sergio Donati, from treatments by Leone, Dario
Argento, Bernardo Bertolucci. Photographed by Tonino Delli
Colli. With Henry Fonda, Claudia Cardinale, Jason Robards Jr.,
Charles Bronson. (165 mins, Color, ‘Scope, DCP, From Paramount)
SUNDAY / 9.18.16
SATURDAY / 9.10.16
FOR A FEW DOLLARS MORE
Written by Leone, Luciano Vincenzoni, Sergio Donati, from a story
by Leone, Fulvio Morsella. Photographed by Massimo Dallamano.
With Clint Eastwood, Lee Van Cleef, Gian Maria Volontè, Klaus
Kinski. (130 mins, Color, ’Scope, 35mm, From Park Circus)
ONCE UPON A TIME IN
THE WEST
6:45
SERGIO LEONE (ITALY/US, 1968)
SEE FRIDAY / 9.16.16
FRIDAY / 9.23.16
A FISTFUL OF DOLLARS
8:15
SEE SUNDAY / 9.4.16
BAMPFA 9
FILMS
Contemplative
Cinema
Ozu’s
Late Films
The popularity of BAMPFA’s recent matinee
lecture series In Focus: Japanese Film Classics
led us to realize that it was time for a series
devoted to Yasujiro Ozu. This particular selection focuses on Ozu’s postwar reemergence
with the so-called “Noriko trilogy,” starring the
incomparable Setsuko Hara in three distinct,
unrelated roles as contemporary women all
named Noriko, in Late Spring, Early Summer,
and Ozu’s great masterpiece Tokyo Story. Hara
also appears in this series in Late Autumn.
Ozu’s thoughtful examinations of middle-class
family life make the ordinary extraordinary, in
large measure because of the poetic sensibility of his cinema and the deep humanity of his
characters. It was not uncommon for Ozu to
use ellipses; that is, electing not to show major
events in the story, presenting instead quieter,
seemingly insignificant moments in his characters’ lives. In his later period films, Ozu placed
the camera low, in a fixed position, no longer
involving any camera movement. He opted for
the square-format Academy aspect ratio, never
adopting ’Scope format, even though it was all
the rage in the fifties.
Fans of Ozu will also enjoy a companion film, the
essayistic Tokyo-Ga (screening in Cinema Mon
Amour, see p. 17), in which Wim Wenders travels
to Japan to explore the world of Ozu.
Susan Oxtoby, Senior Film Curator
Thanks to the Japan Society of Northern California.
1/2/3
THURSDAY / 9.1.16
LATE SPRING
7:00
YASUJIRO OZU (JAPAN, 1949)
(Banshun). Chishu Ryu, who appears in minor roles in most of Ozu’s
earlier films, took his place in the later films as the director’s persona,
with Setsuko Hara perhaps the feminine counterpart. In Late Spring, a
widowed father believes that his daughter spurns marriage in order to
remain with him. He allows her to think that he plans to remarry, though he
has no intention of doing so, and she finally accepts an offer of marriage
herself. The hint of a smile on Ryu’s face as he hears the bell of the shoji
door (his daughter, as always) opens the viewer to the full emotional
force of the narrative machinations just set in motion. JUDY BLOCH
Written by Ozu, Kogo Noda. Photographed by Yuharu Atsuta. With Chishu Ryu, Setsuko
Hara, Yumeji Tsukioka, Haruko Sugimura. (108 mins, In Japanese with English subtitles,
B&W, DCP, From Janus Films/Criterion Collection)
SATURDAY / 9.3.16
TOKYO STORY
7:30
(Tokyo monogatari). Setsuko Hara anchors one of the greatest of all Japanese
films with one of the greatest of all performances, as a warm-hearted,
becalmed, yet utterly determined young woman. Tokyo Story is about the
gap between generations in a Japanese family. It tells a simple, sad story
of an elderly couple who travel to Tokyo to visit their two married children,
only to find themselves politely ushered off to a hot springs resort. There,
the mother dies, leaving only their widowed daughter-in-law (Hara) to
care for the father. “A masterpiece” (Donald Richie).
Written by Ozu, Kogo Noda. Photographed by Yuharu Atsuta. With Chishu Ryu,
Chieko Higashiyama, Setsuko Hara, So Yamamura. (140 mins, In Japanese with English
subtitles, B&W, 35mm, From Janus Films/Criterion Collection)
FRIDAY / 9.9.16
EARLY SPRING
7:00
(Soshun). In Early Spring Ozu returns to the office-worker milieu of his
earlier films to “show the life of a man with such a job. . . . [I hoped]
that the audience would feel the sadness of this kind of life” (Ozu). The
disaffected hero finds a pleasant diversion in a young woman nicknamed
Goldfish, leading to marital complications, a split, and a renewal. “The
sequence of cuts showing commuters arriving at the station in the early
morning, and the cut, later on, in the midst of dramatic crises to a neon
sign at twilight are of a profoundness found nowhere else in cinema”
(Nathaniel Dorsky).
Written by Kogo Noda, Ozu. Photographed by Yuharu Atsuta.
With Ryo Ikebe, Chikage Awashima, Keiko Kishi, Teiji Takahashi.
(145 mins, In Japanese with English subtitles, B&W, 35mm, From
Janus Films/Criterion Collection)
SUNDAY / 9.11.16
EARLY SUMMER
7:00
(Bakushu). The radiant Setsuko Hara is a happily single
young woman who, in the eyes of her traditional family,
can’t be happy at all until she’s married. Unbeknownst
to them, however, she has her eyes set on someone,
a widower with a young child. About Early Summer,
Ozu stated, “I was interested in getting much deeper
than just the story itself; I wanted to depict the cycles
of life, the transience of life.” As Donald Richie notes,
“These tiny empty moments are the pores in an Ozu
picture through which the movie breathes. They define
the film by their emptiness.” JUDY BLOCH
Written by Ozu, Kogo Noda. Photographed by Yuharu Atsuta.
With Setsuko Hara, Ichiro Sugai, Chieko Higashiyama, Chishu
Ryu. (125 mins, In Japanese with English subtitles, B&W, 35mm,
From Janus Films/Criterion Collection)
SATURDAY / 9.24.16
EQUINOX FLOWER
8:00
(Higanbana). Equinox Flower is about a successful
businessman and his attempts to cope with a daughter
(Kinuyo Tanaka) who defies an arranged marriage and
runs off with a pianist. Ozu’s sympathy is never with
one character over another; therefore ours cannot be
either. Perhaps this is what makes his films, for all their
designed tranquility, wrenching. UC Berkeley’s Russell
Merritt writes, “Ozu was one of the great precisionists
[and] the exactness of Equinox Flower (his first color
film) is apparent everywhere. . . . His fastidiousness
is not just an assertion about the resources of the
movies. It is also an idea about life.”
Written by Kogo Noda, Ozu, based on a novel by Ton Satomi.
Photographed by Yuharu Atsuta. With Shin Saburi, Kinuyo Tanaka,
Ineko Arima, Miyuki Kuwano. (118 mins, In Japanese with English
subtitles, Color, 35mm, From Janus Films/Criterion Collection)
1
Early Summer, 9.11.16
2
Equinox Flower, 9.24.16
3
Late Autumn, 10.15.16
Limited Engagements
SATURDAY / 10.8.16
4:00
GOOD MORNING
(Ohayo). In a housing development outside of Tokyo, only
one family owns a TV; naturally, their home becomes the
neighborhood clubhouse. But the electronic emission in
their living room makes the family suspect in the eyes
of the rest of the community. The two pint-sized brothers Minoru and Isamu are tired of having to go to their
neighbors’ to watch television; they demand one of their
own. Good Morning is literally a comedy of manners—a
quiet duel between the ceremonial politesse that greases
the wheels of daily life (and parental authority) and the
robust rituals of boyhood. JUDY BLOCH
Written by Kogo Noda, Ozu. Photographed by Yuharu Atsuta. With
Koji Shidara, Masahiko Shimazu, Chishu Ryu, Kuniko Miyake. (93
mins, In Japanese with English subtitles, Color, 35mm, From Janus
Films/Criterion Collection)
SATURDAY / 10.15.16
7:45
LATE AUTUMN
(Akibiyori). In Late Spring, Setsuko Hara played a young
woman whose protests went unheeded by a well-meaning
widowed father who wanted to see her married. Late
Autumn is a reworking of the earlier film with Hara playing
a widowed mother allowing her young daughter to think
it is in her mother’s best interest that she marry. Donald
Richie notes, “There is an elegiac sadness in Late Autumn
and, perhaps in consequence, some relaxation of the
extraordinary objectivity that so distinguishes Late Spring.
‘People sometimes complicate the simplest things,’ wrote
Ozu of this film. ‘Life, which seems complex, suddenly
reveals itself as very simple.’”
Written by Kogo Noda, Ozu, from a novel by Ton Satomi. Photographed
by Yuharu Atsuta. With Setsuko Hara, Yoko Tsukasa, Chishu Ryu,
Mariko Okada. (127 mins, In Japanese with English subtitles, Color,
35mm, From Janus Films/Criterion Collection)
KAMIKAZE ’89
WOLF GREMM (WEST GERMANY, 1982)
NEW RESTORED 35MM PRINT
SUNDAY / 10.16.16 / 6:00
THURSDAY / 10.20.16 / 7:00
FRIDAY / 10.28.16 / 8:45
This cult classic features a hypnotic soundtrack by
Edgar Forese of Tangerine Dream, a stunning 1980s
New Wave production design, and a supporting cast
of German cinema icons. It is a dystopic vision of
a “perfect” society—Germany, 1989—starring R. W.
Fassbinder in his last acting role. As police inspector
Jansen, Fassbinder—even more than typically outrageous, dressed in a leopard-skin suit—investigates a
bomb threat against a publishing house that controls
the media. Jansen’s tactics range from the hardboiled
to the ridiculous, but they work: his research uncovers
a thirty-first floor in a supposed thirty-story building, whose denizens—exiled writers and editors of
conscience—labor under the promise of publishing a
journal of free thinking.
Written by Robert Katz, Gremm, based on the novel Death on the
31st Floor by Per Wahlöö. Photographed by Xaver Schwarzenberger.
With Rainer Werner Fassbinder, Gunther Kaufmann, Brigitte Mira,
Juliane Lorenz. (106 mins, In German with English subtitles, Color,
35mm, From Film Movement)
EVA HESSE
MARCIE BEGLEITER (US/GERMANY 2016)
SUNDAY / 10.23.16 / 6:15
FRIDAY / 10.28.16 / 6:30
SUNDAY / 10.30.16 / 6:30
“An indispensable aid to understanding and
appreciating a fascinating artist.” A. O. SCOTT,
NEW YORK TIMES
Equal parts inspiring and heartbreaking, Eva Hesse
focuses on the eponymous artist who despite her
tragically short life became one of the most significant
American artists of the last century. Hesse’s use of
materials like latex, fiberglass, and plastic added a
visceral complexity to the minimalist idiom practiced
by her peers and her work remains as radical and
compelling today as it was fifty years ago. Director
Marcie Begleiter makes effective use of the artist’s
extensive diaries, which, read by Selma Blair, lend a
poignant intimacy to the film. Works by Hesse from
BAMPFA’s collection will be exhibited concurrently
with the screenings.
Photographed by Nancy Schreiber. With Bob Balaban, Selma
Blair. (108 mins, DCP, From Zeitgeist Films)
SUNDAY / 10.30.16
AN AUTUMN AFTERNOON
4:00
(Samma no aji). Chishu Ryu again portrays a widowed father
who takes a notion to marry off his daughter, and pulls it
off with the help of his drinking circle of ex–school chums.
Ozu’s beautiful last film is an almost bitter portrayal of loss
linked to the tensions of modern living and the unsavory
effects of consumer society on family life (displayed in
golf clubs and Frigidaires, in a heightened awareness of
objects). That nothing is as it was implies that nothing is
as it should be: the characteristic Ozu corridors that here
give way to alleyways, signs, dumps, and ruins. JUDY BLOCH
Written by Kogo Noda, Ozu. Photographed by Yuharu Atsuta. With
Shima Iwashita, Chishu Ryu, Mariko Okada, Keiji Sada. (112 mins, In
Japanese with English subtitles, Color, 35mm, From Janus Films/
Criterion Collection)
SECOND BREATH
JEAN-PIERRE MELVILLE (FRANCE, 1966) IMPORTED 35MM PRINT
FRIDAY / 10.21.16 / 8:15
SATURDAY / 10.29.16 / 8:15
(Le deuxième souffle). The underworld, with its special codes of
professionalism, loyalty, and betrayal, has constituted the universe
of the Melville film since Bob le Flambeur (1955). Le deuxième
souffle is one of a masterly trio of policiers made by Melville in the
sixties (including Le samourai and Le doulos) in which he explores
the existential world of the gangster. Aging gangster Gustave
“Gu” Minda escapes from prison into an underworld society of
professional thieves, killers, and cops that has functioned without
him for ten years. Invited to participate in a heist, he proves his
skills are still intact.
Written by Melville, based on the novel by José Giovanni. Photographed by
Marcel Combes. With Lino Ventura, Paul Meurisse, Raymond Pellegrin, Christine
Fabrega. (125 mins, In French with English subtitles, B&W, 35mm, From Institut
Français, permission Janus Films/Criterion Collection)
BAMPFA 11
1/2
Afterimage
Trinh T. Minh-ha
Filmmakers and Critics in Conversation
WEDNESDAY / 9.14.16
SURNAME VIET GIVEN NAME NAM
Vietnamese-born Trinh T. Minh-ha is an internationally renowned
IN CONVERSATION
writer, composer, and filmmaker. Her most recent film, Forgetting
“Unstable, like a hat without a chin strap,” goes a popular Vietnamese
ballad, an image that resonates immediately with women, whether they
are sampan rowers or doctors in postwar Vietnam. The tornado that was
the American war swept up women along with men, but the peace was
not kind to them; the erasure of the South only further erased women.
“We are ghost women,” says one of those interviewed in Trinh T. Minh-ha’s
1989 film, which got exceedingly close to its subject(s) while continuing
this artist’s almost cubist approach to documentary truth in restaged
interviews and beautifully manipulated archival footage. JUDY BLOCH
myths, and serves as an archeology of changing visual technologies. Her earlier postcolonial classic, also an exploration of Vietnam,
Surname Viet Given Name Nam, includes interviews that are translated multiple times and reenacted, presenting the experiences of
both Vietnam residents and immigrants. Like much of her work, both
films deeply engage with memory, conflict, culture, and women’s
experiences, and with issues of representation and documentation.
Minh-ha’s poetic approach is emotional and layered; as Gabriel
Gabrenya notes, “Seldom do modern films venture north, toward the
Trinh T. Minh-ha and Shannon Jackson
Written by Trinh. Photographed by Kathleen Beeler. With Tran Thi Hien, Khien Lai, Ngo
Kim Nhuy. (108 mins, In English and Vietnamese with English subtitles, Color/B&W,
16mm, BAMPFA collection)
heart or, less likely, into the head. This is dangerous, unchartered
territory, not found on the maps of most moviemakers.” While he
THURSDAY / 9.15.16
was referring to Surname Viet Given Name Nam, which he character-
FORGETTING VIETNAM
izes as “made with emotional confidence and intellectual nerve,” his
REPEATS SATURDAY / 9.17.16
We are delighted that Trinh will be in person at all three screenings
IN CONVERSATION
and in conversation with Shannon Jackson on September 14 and
Akira Mizuta Lippit on September 15 and 17. Both Trinh and Jackson
are on the faculty at UC Berkeley. Trinh is professor of gender and
women’s studies and of rhetoric. Jackson is the Cyrus and Michelle
Hadidi Chair, as well as professor of rhetoric and of theater, dance
and performance studies. Jackson is also UC Berkeley’s first associate vice chancellor of arts and design. Akira Mizuta Lippit is vice
dean of faculty in the School of Cinematic Arts and professor in the
division of cinema and media studies at USC.
Kathy Geritz, Film Curator
Our programs with Trinh T. Minh-ha are presented as part of Afterimage: Filmmakers
and Critics in Conversation, made possible by generous funding from the Hollywood
Foreign Press Association®.
Trinh T. Minh-ha and Akira Mizuta Lippit
Earth and water, leaving and returning, remembering and forgetting,
ancient myths and the “liquid changes” of rapid globalization: “the founding
gesture of two” plays out as a fragile yet sustaining equilibrium in Trinh
T. Minh-ha’s portrait of Vietnam, made to commemorate the fortieth
anniversary of the end of the American war. Together earth (đât) and
water (nu’o’c) form the Vietnamese word for country. These two elements
are the structural threads of an eloquent film that travels the length of the
country to offer poetic ground-truthing in an age of tourism, and asks,
Who eagerly remembers? Who hastily buries and conceals? JUDY BLOCH
Written by Trinh. Photographed by Trinh, Jean-Paul Bourdier. (90 mins, In English and
Vietnamese with English subtitles, Color, Digital, From Moongift Films)
SATURDAY / 9.17.16
FORGETTING VIETNAM
TRINH T. MINH-HA (US, 2015)
SEE THURSDAY / 9.15.16
IN CONVERSATION
7:00
TRINH T. MINH-HA (US, 2015)
words also hold true of Forgetting Vietnam.
Trinh T. Minh-ha and Akira Mizuta Lippit
Surname Viet Given
Name Nam, 9.14.16
2
Forgetting Vietnam,
9.15.16
7:00
TRINH T. MINH-HA (US, 1989) BAMPFA PRESERVATION PRINT
Vietnam, both reflects on Vietnam’s geography, history, legends, and
1
8:00
FILMS
1/2
Committed Cinema
Hayoun
Kwon
WEDNESDAY / 9.21.16
THURSDAY / 9.22.16
7:00
THE SHORT FILMS OF
HAYOUN KWON: IMAGINARY LINES
IN PERSON Hayoun Kwon
HAYOUN KWON SELECTS:
ANIMATED SHORT FILMS
PRESENTED BY
7:00
Hayoun Kwon
Hayoun Kwon’s Model Village and the animations
Panmunjom and 489 Years use very different styles to
focus on the Korean DMZ—the highly militarized strip
of land between North and South Korea. 489 Years is
based on memories of a South Korean soldier who
served in the Demilitarized Zone, while Model Village
recreates an inaccessible North Korean propaganda
village. Panmunjom questions the fictive qualities
of the DMZ, and borders in general. Walls depicts a
prison, to relate Japan’s occupation of Korea. Kwon’s
astounding animation Lack of Evidence is based on
the testimony of a Nigerian man who sought asylum
in France.
We invited Hayoun Kwon to curate a program of
animated films that deal with social or political issues.
Her selection, including the work of Norman McLaren,
Jirí Trnka, and Jan Svankmajer, focuses on films that
deal with conflict on all scales, from an escalating
fight between neighbors and the delicate balance
between a group of men to the destructive hand of
the state and of the constant formation of war. One
of the first films to use computer animation contrasts
self-indulgence with hunger and poverty. Whether
hand-drawn, stop-motion animation, or derived from
computer games, these short films engage with our
times in creative and powerful ways.
WALLS (DES MURS) France, 2010, 18 mins, Color, Digital,
From the artist
DUST 2 DUST Kent Sheely, US, 2013, 5:30 mins, Color, Digital,
From the artist
LACK OF EVIDENCE (MANQUE DE PREUVES) France, 2011,
10 mins, B&W, Digital, From the artist
BALANCE Wolfgang and Christoph Lauenstein, West
Germany, 1989, 7:30 mins, Color, 35mm, From KurzFilmVerleih
PANMUNJOM (PAN MUM JOM) France, 2013, 4 mins, Silent,
Color, Digital, From the artist
THE HAND (RUKA) Jirí Trnka, Czechoslovakia, 1965, 19 mins,
Color, Digital, From Kratky Film Praha
MODEL VILLAGE France, 2014, 10 mins, B&W, Digital, From
the artist
FORMATION II Baden Pailthorpe, US, 2011, 8:30 mins, Color,
Digital, From the artist
and political issues, which she will present
489 YEARS France, 2016, 11 mins, Color, Digital, From the
artist
the following evening.
Total running time: c. 53 mins
DIMENSIONS OF DIALOGUE Jan Švankmajer,
Czechoslovakia, 1982, 13 mins, Color, 35mm, BAMPFA collection,
permission Athanor
HAYOUN KWON IN PERSON
Many of artist and animator Hayoun Kwon’s
short films engage with Korea, particularly
the inaccessible border created between
South Korea, where she was born, and North
Korea. She accesses this forbidden space—
and other territorial boundaries—through
people’s reminiscences, as well as collective memories, which she then reconstructs
through animation, models, or other creative
means, thus exploring the borders between
historical truth and and personal, narrative
truth. She traces these lines with great power
and creativity.
We are pleased that Kwon will join us for
a screening of her films on Wednesday,
September 21. Kwon has also selected a program of animated films that deal with social
Support for Committed Cinema has been provided by
the National Endowment for the Arts.
HUNGER Peter Foldès, Canada, 1974, 11:30 mins, Color, 35mm,
National Film Board of Canada
NEIGHBORS Norman McLaren, Canada, 1952, 8 mins, Color,
35mm, From National Film Board of Canada
Total running time: 73 mins
3
1
489 Years, 9.21.16
2
Balance, 9.22.16
3
Model Village, 9.21.16
BAMPFA 13
FILMS
VIENNA
and the
Movies
We continue our thematic series exploring
the influence of writers and filmmakers
linked to the cultural milieu of Vienna, guest
curated by David Thomson, with a selection
of classics made since 1950.
Presented in collaboration with the Stanford Theatre,
Palo Alto. Curated by film critic and historian David
Thomson. Series organized at BAMPFA by Senior
Film Curator Susan Oxtoby. We extend our thanks to
David Packard and Cyndi Mortensen-Colombetti at
the Packard Humanities Institute for their assistance
with this project. Thanks to our community partner
Goethe-Institut San Francisco.
1/2/3/4 /5
SATURDAY / 9.10.16
SATURDAY / 9.3.16
LA RONDE
5:30
MAX OPHULS (FRANCE, 1950) BAMPFA COLLECTION PRINT
Set in the Vienna of the waltz, this exquisite and witty
film describes love’s ceaseless roundabout starting
with a prostitute (Simone Signoret) who loves a soldier
(Serge Reggiani) who leaves her for a chambermaid
(Simone Simon) who . . . etc., etc., until the story
comes back to the prostitute. Here, “the normal narrow
view of movie stories, always going forward towards
destiny and resolution, is abandoned in favor of the
more mocking designs of hazard, obliqueness, and
digression, a dance in which the dancers do not hear
the beat but in which they revert helplessly to where
they began, older and no wiser” (David Thomson).
In Max Ophuls’s last film, narrative is first de- and then beautifully
reconstructed. The film recounts in flashbacks the life of the courtesan
Lola Montez (Martine Carol), who ended her days as a circus attraction
in a series of gaudy tableaux depicting her scandalous life. Peter Ustinov,
extraordinary in the role of the ringmaster, invites the audience to ask
“the most indelicate questions” of this “monster of cruelty with the eyes
of an angel.” She is the cinema’s femme fatale come full circle; she is the
artist himself, who similarly laid himself open with this film. JUDY BLOCH
OH . . . ROSALINDA!!
Written by Jacques Nathanson, Annette Wademant, Ophuls, based on the novel by
Cecil Saint-Laurent. Photographed by Christian Matras. With Martine Carol, Peter
Ustinov, Anton Walbrook, Oskar Werner. (116 mins, In English, French, and German
with English subtitles, Color, ’Scope, 35mm, BAMPFA collection, permission Janus
SATURDAY / 9.17.16
FEAR
6:00
ROBERTO ROSSELLINI (GERMANY/ITALY, 1955)
SUNDAY / 9.4.16
5:00
MICHAEL POWELL, EMERIC PRESSBURGER (UK, 1955)
Powell and Pressburger followed The Red Shoes and
Tales of Hoffmann with this lesser-known but equally
colorful musical, an adaptation of Johann Strauss’s
Die Fledermaus that is “as light and tart as Viennese
pastry” (David Thomson). William K. Everson called the
film “bursting with vitality. Updated only slightly from
the original Strauss, it is now set in post–World War II
Vienna. Michael Redgrave, doing his own singing and
dancing, clearly is having the time of his life, and Anton
Walbrook manages both to be tongue-in-cheek and
to deliver his few straight speeches with his customary mixture of unique timing and seductive diction.”
Written by Powell, Pressburger, based on the opera Die Fledermaus
by Johann Strauss. Photographed by Christopher Challis. With
Michael Redgrave, Ludmilla Tcherina, Anton Walbrook, Mel
Ferrer. (101 mins, Color, ’Scope, 35mm, From BFI Distribution)
5:30
MAX OPHULS (FRANCE/GERMANY, 1955) BAMPFA COLLECTION PRINT
Written by Ophuls, Jacques Natanson, based on the play Der
Reigen by Arthur Schnitzler. Photographed by Christian Matras.
With Anton Walbrook, Simone Signoret, Serge Reggiani, Simone
Simon. (97 mins, In French with English subtitles, B&W, 35mm,
BAMPFA collection, permission Janus Films/Criterion Collection)
6/7
LOLA MONTEZ
(La paura / Angst). Based on a novella by the Austrian writer Stefan Zweig
(whose work was also the basis for Ophuls’s Letter from an Unknown
Woman), Fear was Roberto Rossellini’s last collaboration with his then
wife Ingrid Bergman. Both the extramarital affair between Bergman and
Rossellini prior to their marriage and the fragile state of their union at
the time of filming cast shadows over the plot, which involves a married
woman (Bergman) anguished over her own infidelity and blackmailed
by her husband’s former lover. Fear was shot in Munich, and its bleak
assessment of postwar West German society harks back to Rossellini’s
Germany Year Zero.
Written by Sergio Amidei, Franz Treuberg, Rossellini, based on the novella by Stefan
Zweig. Photographed by Peter Heller. With Ingrid Bergman, Mathias Wieman, Renate
Mannhardt, Kurt Kreuger. (83 mins, English version, B&W, DCP, From Cineteca di
Bologna, permission Janus Films/Criterion Collection)
SUNDAY / 9.18.16
LUDWIG: REQUIEM FOR A VIRGIN KING
4:00
HANS-JÜRGEN SYBERBERG (WEST GERMANY, 1972)
Like Hans-Jürgen Syberberg’s later epic Our Hitler, Ludwig makes brilliant use of front-projection techniques to present a stylized series of
chapters from the inner life of a leader—in this case, “mad” King Ludwig
II of Bavaria (1845–1886)—whose philosophy and worldview embody a
summation of Germanic culture and myth. A patron of Richard Wagner
La ronde, 9.3.16
2
Fear, 9.17.16, 9.23.16
3
Ludwig: Requiem for a
Virgin King, 9.18.16
4
Lola Montez, 9.10.16
5
Amadeus, 10.6.16
6
Eyes Wide Shut, 10.17.16
7
The Piano Teacher, 9.3.16
FILMS
1
Movie
Matinees
FOR ALL AGES
and onetime ally of the Austrian Empire before Bavaria
was annexed by Prussia, Ludwig is presented here
as a sort of tortured witness of future times, with
culture changing into barbarism, the Bismarckian
state into totalitarianism, and Wagner into the trivial
music of the thirties.
Written by Syberberg. Photographed by Dietrich Lohmann.
With Harry Baer, Peter Kern, Ingrid Caven, Peter Moland. (140
mins, In German with English subtitles, Color, 16mm, From BFI
Distribution)
FRIDAY / 9.23.16
FEAR
6:30
ROBERTO ROSSELLINI (GERMANY/ITALY, 1955)
SEE SATURDAY / 9.17.16
THURSDAY / 10.6.16
AMADEUS
7:00
MILOS FORMAN (US, 1984) BAMPFA COLLECTION PRINT
DIRECTOR’S CUT
Peter Shaffer rewrote history in his “black opera”
Amadeus, then rewrote the play for Milos Forman’s
color extravaganza. It takes the form of a confession,
thirty-two years after Mozart’s death, by his supposed
murderer, Antonio Salieri, a mediocre composer who
alone perceived the sublime genius of Mozart’s music.
Seen through Salieri’s eyes, Tom Hulce’s Mozart never
veers from a cartoon portrayal of the “obscene child”;
he is indeed an unlikely if not unworthy vessel of divine
inspiration, yet paradoxically, one whose talent could
only be explained by divine intervention. Prague, with
its glorious eighteenth-century architecture, stands
in for Vienna.
Written by Peter Shaffer, based on his play. Photographed
by Miroslav Ondricek. With F. Murray Abraham, Tom Hulce,
Elizabeth Berridge, Simon Callow. (180 mins, Color, ’Scope,
35mm, BAMPFA collection)
SATURDAY / 9.17.16
FRIDAY / 10.7.16
EYES WIDE SHUT
7:00
STANLEY KUBRICK (US, 1999)
Stanley Kubrick’s adaptation of Schnitzler’s
Traumnovelle—literally “dream story”—involves a
married couple, played by Tom Cruise and Nicole
Kidman, who free fall through a psychological
landscape of libido and longing. Kubrick does away
with the easy oppositions of fantasy and fact, favoring instead a more polymorphic perversity where
pleasure penetrates all. At a masked ball, Cruise seeks
in anonymity a source for his arousal as a murky rite
with sex as its sacrament transpires around him. Or
does it? And he is not alone behind his mask, or so
Kubrick would tell us. In this carnal construction we
call life, we conceal our true faces. STEVE SEID
Written by Kubrick, Frederic Raphael, based on the novella
Traumnovelle by Arthur Schnitzler. Photographed by Larry
Smith. With Tom Cruise, Nicole Kidman, Sydney Pollack, Marie
Richardson. (159 mins, Color, 35mm, From Warner Bros.)
6:45
MICHAEL HANEKE (AUSTRIA/FRANCE, 2001)
BAMPFA COLLECTION PRINT
(La pianiste). Set in the city of Freud and great
composers, Michael Haneke’s clinical melodrama of
civilization and its discontents hones the razor’s edge
between perversity and art. Isabelle Huppert won
Best Actress at Cannes for her role as Erika, a brilliant
musician with a monstrous mother and an affinity for
Schubert, sex shops, and self-mutilation. “I have no
feelings,” Erika declares, but when a student-cumlover refuses to enact her sadomasochistic script, she
enters a territory of emotional violence that defies
her intellect. Huppert embodies the desire for control
and the desire to lose it in a performance as pellucid
and jagged as broken glass. JULIET CLARK
Written by Haneke, based on the novel by Elfriede Jelinek.
Photographed by Christian Berger. With Isabelle Huppert,
Benoît Magimel, Annie Girardot, Anna Sigalevitch. (129 mins, In
French with English subtitles, Color, 35mm, BAMPFA collection,
permission Kino Lorber)
STANLEY DONEN/GENE KELLY (US, 1952)
DIGITAL RESTORATION
RECOMMENDED FOR AGES 6 & UP
Singin’ in the Rain is set in the late twenties, when
a single technological achievement, the advent of
sound, threatened the artistic careers of a generation
of film stars. Gene Kelly is brilliant as the silent star
who connives to pull his pathetic partner Jean Hagen
into the world of sound by sidestepping the talkies
altogether and inventing the musical, where Debbie
Reynolds can do the singing offscreen. This vastly
entertaining film has many layers of reality, but like
the proverbial onion it has no center: its business is
exposing the conventions of the cinema, where even
“real” characters are not real. JUDY BLOCH
Written by Betty Comden, Adolph Green. Photographed by Harold
Rossen. With Gene Kelly, Debbie Reynolds, Donald O’Connor, Jean
Hagen. (102 mins, Color, DCP, From Warner Bros.)
SATURDAY / 10.15.16
SUNDAY / 10.9.16
THE PIANO TEACHER
3:30
SINGIN’ IN THE RAIN
3:30
SAFETY LAST!
FRED NEWMEYER, SAM TAYLOR (US, 1923)
RECOMMENDED FOR ALL AGES
LIVE MUSIC
Judith Rosenberg on piano
Safety Last! contains one of silent comedy’s most
iconic images: Harold Lloyd hanging precariously
from the arms of a clock ten stories off the ground.
Shot without trick photography (though there was a
safety platform out of camera range), this sequence
established Lloyd as the comedian who would go to
any lengths—or heights—to get a laugh. As The Young
Man Out to Make His Name in the World, Harold lands
a job as a department-store clerk. His letters to The
Girl Back Home lead her to believe he’s a smashing
success; when she unexpectedly arrives in the city,
Harold enters into an elaborate ruse that climaxes in
the now-famous stunt.
Written by Hal Roach, Sam Taylor, Tim Whelan. Photographed
by Walter Lundin. With Harold Lloyd, Mildred Davis, Bill Strother,
Noah Young. (67 mins, Silent, B&W, 35mm, From Janus Films/
Criterion Collection)
BAMPFA 15
FILMS
Alternative
Visions
This year’s season of avant-garde film opens
with a program of found footage films showcasing artists who use Hollywood movies and
video games to construct their own creative
works. A second program of shorts focuses on
films made without a camera, highlighting artists
who paint, scratch, or collage directly onto the
filmstrip. Local artist Lawrence Jordan presents
a program that arcs across his entire career and
features both his collage animations and filmed
works. Gibbs Chapman, also local, discusses his
feature-length experimental narrative. Two evenings of Pat O’Neill’s densely constructed films
are presented as part of MATRIX 262, which
also includes work in the exhibition galleries,
Theater Two, and on the outdoor screen (p. 7).
Both O’Neill’s film work and that of Afterimage
guest Ken Jacobs (p. 22)—who presents a live
film performance—have links to Hans Hofmann,
whose Abstract Expressionist paintings are currently on view. Our second Afterimage guest
this fall is local artist and writer Trinh T. Minh-ha,
who discusses two films reflecting on her native
Vietnam (p. 12). Plus animator Hayoun Kwon
joins us in person as part of Committed Cinema
(p. 13) for a program of her experimental films,
as well as a selection of animation shorts she has
guest curated.
Alternative Visions is presented in conjunction with a course
on avant-garde film taught by Eileen M. Jones at UC Berkeley.
It is presented with support from the Theresa Hak Kyung Cha
Endowment. Pat O’Neill’s film programs, part of MATRIX 262,
are co-curated by Apsara DiQuinzio.
1/2/3/4
WEDNESDAY / 9.7.16
HOLLYWOOD, VIDEO GAMES,
AND THE AVANT-GARDE
WEDNESDAY / 9.28.16
7:00
TROUBLE IN THE IMAGE
Pat O’Neill
Often avant-garde filmmaking is seen as opposing
mainstream cinema, but in tonight’s selection artists
engage with Hollywood films from Sunset Blvd. to
The Entity. Film images are multiplied, slowed down,
splintered, and otherwise manipulated by filmmakers
Gregg Biermann, Peter Tscherkassky, Matthias Müller,
Jerry Tartaglia, Rebecca Baron, and Douglas Goodwin,
bringing forward latent content, analyzing sexual politics,
foregrounding materiality, or scrutinizing cinematic
language. Likewise, Phil Solomon and Peggy Ahwesh
rework footage culled from playing the apocalyptic
video games Tomb Raider and Grand Theft Auto to
create powerful reflections on identity and mortality.
IN PERSON
OUT THERE IN THE DARK Gregg Biermann, US, 2016, 4:15
mins, B&W, Digital, From the artist
PRECEDED BY DOWN WIND US, 1973, 15 mins, Color, 16mm, From Academy Film Archive
FOLLOWED BY HORIZONTAL BOUNDARIES US, 2008, 20 mins, Color, 35mm,
From the artist
SHE PUPPET Peggy Ahwesh, US, 2001, 15 mins, Color, Digital,
From Video Data Bank
PASSAGE A L’ACTE Martin Arnold, Austria, 1993, 12 mins,
B&W, 16mm, From Canyon Cinema
HOME STORIES Matthias Müller, Germany, 1991, 6 mins, Color,
16mm, From Canyon Cinema
REMEMBRANCE Jerry Tartaglia, US, 1990, 5 mins, B&W,
Digital, From Film-Makers’ Cooperative
LAST DAYS IN A LONELY PLACE Phil Solomon, US, 2007,
22 mins, B&W, Digital, From the artist
LOSSLESS #5 Rebecca Baron, Douglas Goodwin, US, 2009,
3 mins, B&W, Digital, From Video Data Bank
ITERATIONS Gregg Biermann, US, 2015, 5:30 mins, Color,
Digital, From the artist
OUTER SPACE Peter Tscherkassky, Austria, 1999, 10 mins,
B&W, ‘Scope, 35mm, From Canyon Cinema
Optical printing pioneer Pat O’Neill uses “his skills in special effects
production to extrapolate metaphysical meaning from the ordinariness
of industrialized culture” (Scott Stark). In O’Neill’s playful, beautiful film,
“trouble in the image,” may take the form of a disturbing moment in
a narrative, how-to instructions for creating an image, or pictures that
break apart and lose their literal meaning. “The film [is] made up of
dozens of performances dislodged from other contexts. These are often
relocated into contemporary industrial landscapes, or interrupted by the
chopping, shredding, or flattening of special-effects technology turned
against itself. . . . The reward is to be found in immersion within a space
of complex and intricate formal relationships” (Pat O’Neill).
(38 mins, Color, 35mm, From Academy Film Archive)
THURSDAY / 9.29.16
WATER AND POWER
7:00
PAT O’NEILL (US, 1989) ARCHIVAL PRINTS
IN PERSON
Pat O’Neill
Pat O’Neill’s rarely screened masterpiece, the exceptionally dense and
technically dazzling Water and Power, is a moving meditation on industrialization, focusing on Los Angeles, “a city that turned land into desert.”
Using time-lapse photography and optical printing, O’Neill intertwines
technology and ideas, collaging different locales into montages that
suggest the inevitable conflict of industry and nature. His genius comes
in combining his raw materials in new and increasingly paradoxical ways,
posing the relationship between humans and nature as a series of questions rather than offering fixed answers. FRED CAMPER, CHICAGO READER
(54 mins, Color, 35mm, From Academy Film Archive)
PRECEDED BY BY THE SEA Pat O’Neill, Robert Abel, US, 1963, 10 mins, B&W,
16mm, From Academy Film Archive
BUMP CITY Pat O’Neill, US, 1964, 4 mins, Color, 16mm, From Academy Film Archive
SCREEN Pat O’Neill, US, 1969, 3 mins, Color, Silent, Digital, From the artist
7:00
PAT O’NEILL (US, 1995)
FILMS
1
Trouble in the Image, 9.28.16
2
She Puppet, 9.7.16
3
Mother Mortar, Father Pestle (the petty apocalypse of 2007),
10.26.16
4
Solar Sight II, 10.5.16
CINEMA MON AMOUR
WEDNESDAY / 10.5.16
7:00
BEYOND ENCHANTMENT:
THE FILMS OF LAWRENCE JORDAN
IN PERSON
Lawrence Jordan
Local collage animator Lawrence Jordan presents
his most recent film, a tribute to Max Ernst and
Luis Buñuel, alongside a selection from his entire
career, followed by a live film performance with John
Davis. “I have always wanted to show the ‘impossible’ in my films, and to astonish the viewer. . . .
I often operate on freely associated series of images,
finding the trail as I go, not plotting it, though some of
the films are meticulously scripted. When I astonish
myself, I put it in the film. When I don’t, I leave it out.”
HELL SPIT FLEXION Stan Brakhage, US, 1983, 1 min, Silent,
Color, 35mm, BAMPFA collection
FREE RADICALS Len Lye, US, 1958/revised 1979, 4 mins, B&W,
16mm, BAMPFA collection
MOTHLIGHT Stan Brakhage, US, 1963, 4 mins, Silent, Color,
16mm, BAMPFA collection
ORB US, 1973, 5 mins, Color, 16mm
SONATA FOR PEN, BRUSH, AND RULER Barry Spinello,
US, 1968, 11 mins, Color, 16mm, From Canyon Cinema
FLIGHT Greta Snider, US, 1996, 5 mins, Silent, B&W, 16mm,
From Canyon Cinema
THE GIRL’S NERVY Jennifer Reeves, US, 1995, 5 mins, Color,
16mm, From Canyon Cinema
HAND EYE COORDINATION Naomi Uman, US, 2002, 10 mins,
Color, 16mm, From Canyon Cinema
POET’S DREAM US, 2005, 5 mins, Color, 16mm
SOLAR SIGHT II US, 2012, 10 mins, Color, 16mm
BEYOND ENCHANTMENT US, 2010, 9 mins, B&W/Color, 16mm
MAN IS IN PAIN US, 1954, 4 mins, B&W, Digital, From the artist
WATER LIGHT US, 1957, 7 mins, Color, 16mm
CHATEAU / POYET US, 2004, 6 mins, Color tint, 16mm
THE APOPLECTIC WALRUS US, 2015, 17 mins, Color/B&W, 16mm
All from Canyon Cinema, unless noted otherwise
FOLLOWED BY INCANTATION (Lawrence Jordan, John Davis, US,
2016). Using outtakes and excerpts from his films, Jordan performs
on three 16mm analyst film projectors to an improvised electronic
music score by John Davis. (25 mins, Live film performance)
WEDNESDAY / 10.19.16
CAMERALESS FILMS:
PAINTING, SCRATCHING,
AND COLLAGING ON FILM
7:00
Greta Snider
Tonight we present a selection of films—primarily
abstract—made without a camera. Filmmakers Len Lye
and Stan Brakhage pioneered using the filmstrip as a
blank slate onto which they scratched, drew, painted,
or collaged. Barry Spinello, Jennifer Reeves, Naomi
Uman, Fred Worden, and many others continued
exploring the possibilities of these processes. We
remember Tony Conrad, who passed away in April,
with his flicker film created from clear and black leader.
Ken Ueno
Our yearlong series Cinema Mon Amour features
local celebrities and internationally acclaimed
filmmakers sharing with our audience their love of
cinema.
Cinema Mon Amour is supported in part by the National
Endowment for the Arts.
THE FLICKER Tony Conrad, US, 1966, 30 mins, B&W, 16mm,
BAMPFA Collection
AUTOMATIC WRITING Fred Worden, US, 2000, 7 mins, Silent,
B&W, 16mm, From Film-Makers’ Cooperative
ENTR’ACTE US, 2013, 3 mins, Color, 16mm
IN PERSON
Local filmmaker Greta Snider pays tribute to her father
with her film made by contact printing objects onto
the filmstrip, a process inspired by Man Ray.
MOTHER MORTAR, FATHER
PESTLE (THE PETTY
APOCALYPSE OF 2007)
7:00
GIBBS CHAPMAN (US, 2013)
IN PERSON
LIVE MUSIC
Gibbs Chapman
Turbine
Turbine is local duo Scott Thiessen and David Barrett
Bay Area filmmaker Gibbs Chapman presents his most
recent film, which he describes as “a weekend seminar
on the irrelevance of human achievement in geologic
time.” For David Finkelstein writing in Film Threat, “Gibbs
Chapman vigorously skewers every possible intellectual
approach to living in what he calls ‘an indifferent universe.’
In doing so with humor and a large dose of compassion,
the film makes an impassioned plea for tolerance and
understanding, a plea all the more effective for being in
the film’s structure rather than its rhetoric.”
THURSDAY / 9.8.16
KEN UENO SELECTS:
7:00
TOKYO-GA
WIM WENDERS (WEST GERMANY/US, 1985)
DIGITAL RESTORATION
INTRODUCTION Ken Ueno
Ken Ueno is a composer/vocalist/sound artist and
professor of music at UC Berkeley. His compositions
have been performed at the world’s leading venues
and he has performed as soloist in his vocal concerto
with orchestras around the world
A fascination with the films of Yasujiro Ozu leads
Wenders to Japan in this poetic documentary on the
beauty—and peril—of understanding another culture
through film. Adrift but never lost in Tokyo, Wenders
meets youth as enraptured with American culture as
he once was, tours a factory that makes plastic food
displays, and ponders other curios of modern Japan.
More importantly, he visits the great actor Chishu Ryu
(the father figure in many Ozu films, including Late
Spring, see p. 10), and interviews Ozu’s cinematographer,
Yuhara Atsuta. Chris Marker and Werner Herzog also
appear in this moving, essayistic work on cinema,
Japan, and, above all, Ozu. JASON SANDERS
Written by Wenders. Photographed by Edward Lachman. With
Chishu Ryu, Yuhara Atsuta, Chris Marker, Werner Herzog. (92
mins, In English and Japanese with English subtitles, Color, DCP,
From Janus Films/Criterion Collection)
With Jarek Kupsc, John Flanagan, Monica Nolan, Roham Sheikhani.
(93 mins, B&W, DCP, From the artist)
PRECEDED BY TURBINE’S RUSSIAN SCISSORS (US, 2002)
An alternative music video. (6 mins, Live music by Turbine,
Color, DCP, From the artist)
BAMPFA 17
FILMS
ANNA
MAGNANI
Eternal Soul of
Italian Cinema
Today, seventy years since Roberto Rossellini’s
Rome Open City introduced Anna Magnani
to international audiences, her performances
remain as radical and arresting as when her
films were first released. Bringing a unique
combination of exuberance, empathy, and
intelligence to the parts she played, Magnani
transcended the stereotypical female roles
that were, and for the most part still are, the
norm. She played wives and lovers, widows and
workers, actresses and mothers, imbuing each
of her characters with exceptional authenticity.
A hilarious comedian, she infused her dramatic
roles with wit and humor and lent a gravitas
to her comedy. Magnani routinely portrayed
strong, passionate women, and she had the
rare ability to convey the vulnerability at the
core of these powerful characters.
Magnani began her career performing in nightclubs and cabarets as a teen, paying her way
through acting school in Rome, before embarking on dramatic roles in the theater and ultimately onscreen. While she continued to appear
on the stage throughout her career, her work in
cinema with some of the greatest directors of
her time—including Vittorio De Sica, Roberto
Rossellini, and Luchino Visconti—has become
her lasting legacy. This series exemplifies the
range of her brilliance, from her roles in rarely
screened gems to iconic classics.
Series continues through December 4.
Copresented by BAMPFA and Istituto Luce Cinecittà, Rome.
Our thanks to Camilla Cormanni, Paolo Ruggiero, and Marco
Cicala, Istituto Luce Cinecittà; Paolo Barlera, Istituto Italiano
di Cultura San Francisco; The Department of Italian Studies,
UC Berkeley; The Italian Society at Berkeley; and Amelia
Antonucci, Cinema Italia San Francisco. There will be a one-day
celebration of Anna Magnani’s films at the Castro Theatre
on September 24, presented by Cinema Italia San Francisco.
1/2/3/4/5
SUNDAY / 9.25.16
ANGELINA
SUNDAY / 10.2.16
7:00
LUIGI ZAMPA (ITALY, 1947)
4:30
MARIO MATTOLI (ITALY, 1934)
INTRODUCTION Olivia Magnani
Actress Olivia Magnani is the granddaughter of Anna Magnani
(L’onorevole Angelina). Magnani won Best Actress at the Venice Film
Festival for her funny and formidable portrait of an accidental activist
in this populist comedy. A mother fighting to keep her family afloat
in the squalid suburbs of Rome, Angelina (Magnani) rallies her fellow
housewives in defiance of corrupt landlords and black-marketeers.
Soon she is at the center of a full-fledged movement, and her husband
is relegated to serving the pasta—at least until domestic order reasserts
itself in the end. Angelina’s leadership is driven not by ideology but by a
fierce maternal nature: in the film’s brand of proto-feminism, personality
is political. JULIET CLARK
Written by Suso Cecchi D’Amico, Piero Tellini, Zampa, Anna Magnani. Photographed
by Mario Craveri. With Anna Magnani, Nando Bruno, Ave Ninchi, Ernesto Almirante.
(90 mins, In Italian with English subtitles, B&W, 35mm, From Istituto Luce Cinecittà,
permission Cristaldi Film)
(Tempo massimo, a.k.a. Deadline). Magnani has a small
but spirited part as a maid in this delightful comedy of
errors. Vittorio De Sica is a dreamy, repressed young
professor who is awakened to life by a woman, Dora
(Milly), who literally lands in his life—via parachute.
His attempts to pursue the manly arts in order to win
Dora’s love are comically unsuccessful. Moreover, the
film features “songs by Vittorio De Sica.” Lovely shots
of northern Italy and a breakneck chase through the
bustling streets of Milan complete the picture, which
was directed by a well-known comedy director who
also produced some of the best theatrical revues
of the day.
Written by Mattoli. Photographed by Virgilio Ripa, Vittorio
Mascheroni. With Vittorio De Sica, Milly, Camillo Pilotto, Anna
Magnani. (78 mins, In Italian with English subtitles, B&W, 35mm,
From Istituto Luce Cinecittà, permission VIGGO Srl)
SATURDAY / 10.8.16
SATURDAY / 10.1.16
TERESA VENERDÌ
FULL SPEED
8:30
VITTORIO DE SICA (ITALY, 1941)
“A screwball romantic comedy of the first rank.” CARYN JAMES, NEW YORK TIMES
(a.k.a. Doctor, Beware). This diverting comedy reveals sides of both Vittorio
De Sica and Anna Magnani that are largely unfamiliar today, obscured
by their neorealist breakthroughs just a few years later. De Sica stars as
a handsome pediatrician of questionable competence plagued by both
creditors and amorous women. Among them are a mattress-factory
heiress who fancies herself a poetess, and a comely eighteen-year-old
orphan with a penchant for reciting Romeo and Juliet. And then there
is Magnani, a showgirl utterly uninspired by her art. The role is small
but essential, providing a refreshingly worldly counterpoint to the other
women’s girlish dreams of romance. JULIET CLARK
Written by Gherardo Gherardi, Franco Riganti, De Sica, Margherita Maglione, based on
a novel by Rudolf Torok. Photographed by Vincenzo Seratrice. With Adriana Benetti,
Irasema Dillian, Anna Magnani, De Sica. (94 mins, In Italian with English subtitles, B&W,
35mm, From Istituto Luce Cinecittà, permission VIGGO Srl)
BELLISSIMA
8:15
LUCHINO VISCONTI (ITALY, 1952)
REPEATS SATURDAY / 10.29.16
“What is acting after all?” Maddalena (Magnani)
rhetorically asks before the mirror in Visconti’s
melodrama of mother love and misplaced ambition.
Magnani’s extraordinary performance is its own answer.
As Maddalena, a working-class mother desperate to
get her young daughter a shot at stardom through a
Cinecittà casting call, Magnani turns what might have
been a simplistic caricature of a domineering stage
mamma into a fully rendered character, both hilarious
and tragically human. Visconti’s direction similarly
refuses to distinguish between satire and sincerity;
even while it mocks the business of moviemaking,
Bellissima is an exquisite example of the filmmaker’s
craft. JULIET CLARK
Written by Suso Cecchi D’Amico, Francesco Rosi, Visconti, based
on a story by Cesare Zavattini. Photographed by Piero Portalupi,
Paul Ronald. With Anna Magnani, Walter Chiari, Tina Apicella,
Alessandro Blasetti. (114 mins, In Italian with English subtitles,
B&W, 35mm, From Istituto Luce Cinecittà, permission Movietime)
1
Rome Open City, 10.14.16, 10.27.16
2
Many Dreams Along the Way,
10.22.16
3
Volcano, 10.23.16
4
The Bandit, 10.15.16
5
Bellissima, 10.8.16, 10.29.16
FILMS
© Photofest
SUNDAY / 10.9.16
SATURDAY / 10.15.16
THE PEDDLER AND THE LADY
4:30
MARIO BONNARD (ITALY, 1943)
THE BANDIT
6:00
ALBERTO LATTUADA (ITALY, 1946)
(Campo de’ Fiori). As Elide, a produce hawker in Rome’s
open-air market, Magnani created the first of the
raucous working-class characters that would become
her trademark. Elide harbors a sniping affection for
fishmonger Peppino (Aldo Fabrizi, who would rejoin
Magnani two years later in Rome Open City). For most of
the film she plays a noisy second fiddle to Elsa (Caterina
Boratto), the object of Peppino’s class-climbing desire
and an emblem of all that Elide is not: blonde, elegant,
well-mannered. But, as Peppino eventually discovers,
elegance isn’t everything. Magnani’s expansive energy
is well matched by Fabrizi, who is by turns boisterous
and poignant. JULIET CLARK
(Il bandito). Like Rome Open City, The Bandit examines the layers of violence in which individuals were
caught up amid the turmoil of war-torn Italy. Ernesto
(Amedeo Nazzari) returns from a German POW camp
to find his mother dead, his sister disappeared, his
home gone. After a killing, Ernesto becomes a man
on the run, linked to the seductive and ruthless Lydia
(Anna Magnani) and her criminal gang. Ernesto tries
to maintain a sense of honor but his Robin Hood
instincts are thwarted at every turn—and Magnani is
no Maid Marian as the two become the quarry of a
manhunt in the hills outside Turin.
Written by Bonnard. Adapted by Aldo Fabrizi, Federico Fellini,
Piero Tellini, from a story by Marino Girolami. Photographed by
Giuseppe La Torre. With Aldo Fabrizi, Anna Magnani, Caterina
Boratto, Peppino De Filippo. (95 mins, In Italian with English
subtitles, B&W, 35mm, From Istituto Luce Cinecittà, permission
Ripley’s Film)
Written by Oreste Biancoli, Mino Caudana, Ettore M. Margadonna,
Tullio Pinelli, Piero Tellini, Lattuada, from a story by Lattuada.
Photographed by Aldo Tonti. With Amedeo Nazzari, Anna
Magnani, Carlo Campanini, Eliana Banducci. (78 mins, In Italian
with English subtitles, B&W, 35mm, From Istituto Luce Cinecittà,
permission Cristaldi Film)
FRIDAY / 10.14.16
SUNDAY / 10.16.16
ROME OPEN CITY
8:15
ROBERTO ROSSELLINI (ITALY, 1945) DIGITAL RESTORATION
REPEATS THURSDAY / 10.27.16
ANGELINA
4:00
LUIGI ZAMPA (ITALY, 1947)
SEE SUNDAY / 9.25.16
(Roma, città aperta). A wartime bread-riot: Pina
(Magnani) stoops to pick up a loaf. “You?” a man
asks. “Should I starve?” she says. Then she gives him
the bread; he shouldn’t starve either. The raw courage, and raw terror, of individuals caught up in the
implicit violence of life under fascism is made explicit
in Rome Open City. Pina is the pregnant lover of a
Resistance worker; the priest who is to marry them
“tomorrow,” Don Pietro (Aldo Fabrizi), runs errands
for the underground. Magnani’s portrait—proud,
plebeian, sardonic—struck a chord, as if a human being
had never been captured on film before. JUDY BLOCH
Written by Sergio Amidei, Federico Fellini, Rossellini, from a story
by Amidei, Alberto Consiglio, Rossellini. Photographed by Ubaldo
Arata. With Anna Magnani, Aldo Fabrizi, Marcello Pagliero, Maria
Michi. (100 mins, In Italian and German with English subtitles,
B&W, DCP, From Janus Films/Criterion Collection)
FRIDAY / 10.21.16
THE BANDIT
6:30
ALBERTO LATTUADA (ITALY, 1946)
SATURDAY / 10.22.16
MANY DREAMS
ALONG THE WAY
Written by Piero Tellini. Photographed by Aldo Tonti. With Anna
Magnani, Massimo Girotti, Checco Rissone, Dante Maggio. (84
mins, In Italian with English subtitles, B&W, 35mm, From Istituto
Luce Cinecittà, permission Rialto Pictures)
SUNDAY / 10.23.16
VOLCANO
4:00
WILLIAM DIETERLE (ITALY/US, 1950)
(Vulcano). Volcano—set, like Roberto Rossellini’s
Stromboli, on a volcanic island—was the film Magnani
made with Hollywood director William Dieterle as a
defiant gesture toward Rossellini, who had transferred
his personal and professional allegiance from Magnani
to Ingrid Bergman. It is a tale of cruel lives in a harsh
landscape, with Magnani in an expressive performance
as a prostitute sent by Neapolitan police back to the
island of her birth, where she is shunned. “Magnani is
the last of the great shameless emotionalists,” Dieterle
commented. “You have to go back to the silent movies
for that kind of acting.”
Written by Piero Tellini, Victor Stoloff, based on an idea by Renzo
Avanzo. Photographed by Arturo Gallea. With Anna Magnani,
Rossano Brazzi, Geraldine Brooks, Edward Cianelli. (103 mins,
In Italian with English subtitles, B&W, 35mm, From Istituto Luce
Cinecittà, permission VIGGO Srl)
THURSDAY/ 10.27.16
6:00
MARIO CAMERINI (ITALY, 1948)
(Molti sogni per la strada, a.k.a. Woman Trouble). Magnani
adapted the boisterous comedy of her irreverent stage
revues to the gentler, sadder aspects of neorealism
in this film. It is the tale of a Roman housewife who
innocently thwarts her luckless husband’s efforts to
make a dishonest living. As in many a commedia
all’italiana, the setting is a harsh one—poverty,
unemployment, and the petty crimes of a man caught
between economic pressures and family devotion.
Still, New York Times critic Bosley Crowther found
in the film a “fragile poignancy.” Magnani’s warmth
and coarseness are a perfect foil for the taut misery
of costar Massimo Girotti (Ossessione).
ROME OPEN CITY
7:00
ROBERTO ROSSELLINI (ITALY, 1945) DIGITAL RESTORATION
SEE FRIDAY / 10.14.16
SATURDAY / 10.29.16
BELLISSIMA
6:00
LUCHINO VISCONTI (ITALY, 1952)
BAMPFA 19
1
Through the Olive
Trees, 9.24.16
2
Ashik Kerib,
9.30.16 © Photofest
3
The Wishing Tree,
9.25.16
CINEMA MON AMOUR
MARK
MORRIS
1/2/3
Internationally acclaimed American choreog-
SATURDAY / 9.24.16
rapher Mark Morris brings remarkable insights
MARK MORRIS SELECTS:
FRIDAY / 9.30.16
5:30
THROUGH THE OLIVE TREES
ASHIK KERIB
new production of Layla and Majnun at Cal
INTRODUCTION Mark Morris
Performances (September 29–October 1)—
IN MEMORIAM, ABBAS KIAROSTAMI (1940–2016)
and inspiration to his creations. Now, timed to
coincide with the world premiere of Morris’s
performed by Mark Morris Dance Group, The
Silk Road Ensemble, and Azerbaijani mugham
vocalists Alim Qasimov and Fargana Qasimova—
BAMPFA screens four classics of world cinema
selected and presented by Morris.
A traditional tale, Layla and Majnun, as expressed
by the great Persian poet Nizami Ganjavi, has
been adapted in many Middle Eastern and subcontinental cultures: Muslim, Sufi, Hindu, and
secular. Its central theme of unrequited love
is echoed in the films in this series—Through
the Olive Trees, Abbas Kiarostami’s enchanting tale of young love; Tengiz Abuladze’s
metaphorical The Wishing Tree, which reflects
upon Georgian society during Soviet rule;
ABBAS KIAROSTAMI (IRAN, 1994) IMPORTED PRINT
Written by Kiarostami. Photographed by Hossein Djafarian, Farhad Saba. With Hossein
Rezal, Tahereh Ladania, Mohamad Ali Keshavarz, Zarifeh Shiva. (108 mins, In Farsi
with English subtitles, Color, 35mm, From Curzon Artificial Eye, permission Janus
stylized picaresque Ashik Kerib; and, finally,
which is set in 1864 in the tribal communities of
Muslim Chechen and Christian Georgian people
and depicts a love affair binding together our
hero and heroine.
Susan Oxtoby, Senior Film Curator
Presented in association with Cal Performances. Cinema
Mon Amour is supported in part by the National Endowment
for the Arts. We wish to thank Nancy Umanoff, executive
director of the Mark Morris Dance Group; Laura Abrams, Cal
Performances; Rajendra Roy and Katie Trainor, The Museum
of Modern Art, New York.
4:00
THE WISHING TREE
TENGIZ ABULADZE (USSR, 1977) 35MM ARCHIVAL PRINT
This is a true trans-Caucasus venture, produced by a
Georgian studio and directed by an ethnic Armenian
who selected Azerbaijani as the language of his
film—simply because he loved the sound of it. This is
a film about art and the all-conquering power of love.
Ashik Kerib, a poor singer and saz (Turkish guitar)
player, when denied the hand of the woman he loves,
sets out on a ten-year journey. The film recounts the
adventures of the wandering minstrel.
Written by Georgi Badridze, based on a story by Mikhail Lermontov.
Photographed by Albert Yavurian. With Yuri Goyan, Veronika
Metonidze, Levan Natroshvili, Sofiko Chiaureli. (78 mins, In
Azerbaijani with English subtitles, Color, 35mm, From Kino Lorber)
SATURDAY / 10.1.16
SUNDAY / 9.25.16
Sergei Paradjanov’s outlandish and highly
Nikoloz Shengelaia’s silent masterpiece, Eliso,
SERGEI PARADJANOV (USSR, 1988)
(Zir-e darakhtan-e zeyton). Through the Olive Trees is about a film crew from
Tehran shooting in an earthquake-ravaged village using the local inhabitants
as actors. But life goes on, bringing the show to a stop. It seems Hossein, the
actor chosen to portray a young bridegroom, is smitten with his onscreen
bride. Earthquake or no, through graveyard and forest glade, he has asked
her to be his wife but she ignores him. Hossein is the hardest-working
actor-philosopher in showbiz, and much of the humor and wry pathos of
Through the Olive Trees is at his expense . . . or is it? JUDY BLOCH
(Natris khe/Drevo zhelanii, a.k.a. The Magic Tree). The textures of folk
legend and striking visual allegory permeate The Wishing Tree, an episodic
pastorale set in a pre-revolutionary Georgian village and spanning four
seasons in the lives of various village characters. Some twenty-two stories
are woven into the narrative, which centers on a beautiful young woman
who is forced to marry a man she does not love; her unsanctioned love for
another leads her to ritual disgrace and sacrifice. Also tragic is the tale of a
village eccentric (one of many) in constant search of a legendary tree that
will make miracles happen—a tree to be found only in death. JUDY BLOCH
Written by Abuladze, Revas Inanishvili, based on a story by Georgi Leonidze.
Photographed by Lomer Ahvlediani. With Lika Davtaradze, Sosso Dchatchvliani, Sasa
Kolelichvili. (108 mins, In Georgian with English subtitles, Color, 35mm, Courtesy of
The Museum of Modern Art, New York)
MARK MORRIS SELECTS: ELISO
5:45
NIKOLOZ SHENGELAIA (USSR, 1928) NEW 35MM PRINT
LIVE MUSIC
Judith Rosenberg on piano
(Elisso). This historical epic evokes the tragic fate of a
nation pacified in 1864 by the Tsarist Russian Empire.
When authorities begin to appropriate arable lands,
the peasants are forced to evacuate under terrible
conditions. In the village of Verdi, we find Eliso, whose
love for Vazho is encumbered by differences of class
and religion. Yet the most overwhelming passion in
this cherished classic is the depiction of Georgia’s
majestic landscape and the deep-rooted traditions
of its people. Directed by Nikoloz Shengelaia, one of
the great early figures in Georgian cinema.
Written by Sergei Tretyakov, Oleg Leonidov, Shengelaia, based on
the short story by Alexandre Kazbegi. Photographed by Vladimir
Kereselidze. With Alexandre Imedashvili, Kokta Karalashvili, Kira
Andronikashvili. (97 mins @ 20 fps, Silent with English electronic
titling, B&W, 35mm, BAMPFA collection)
LAYLA AND MAJNUN SYMPOSIUM Saturday / 10.1.16 / 2:00–5:00
This free event provides context through which to experience the world premiere performances of
Mark Morris’s Layla and Majnun. Presented in association with Cal Performances, the Center for Middle
Eastern Studies and the UC Berkeley Silk Road Initiative. For details and to RSVP, go to bampfa.org.
4:00
Committed Cinema
The Chinese Mayor,
9.30.16
Zhou Hao
Unparalleled Access
BAMPFA BOARD OF TRUSTEES
Noel Nellis, Board President
Lawrence Rinder, Director, BAMPFA
Steven Addis
Natasha Boas, PhD
Sabrina Buell
Jon M. Burgstone
Interim Executive Vice Chancellor and Provost
Carol T. Christ
Catherine M. Coates
Mary Conrad
ZHOU HAO IN PERSON
Carla Crane
After a career as a photojournalist for China’s
national news group, Xinhua News Agency, and
the influential newspaper Southern Weekly, Zhou
Hao applied his keen eye and reporting acumen
Scott Crocker
FRIDAY / 9.30.16
THE CHINESE MAYOR
7:30
Martim de Arantes Oliveira
ZHOU HAO (CHINA, 2015)
to documentary filmmaking. For the last fifteen
IN CONVERSATION
years Zhou has consistently honed his direct
Rachel Stern is assistant professor of law and political
science at UC Berkeley
observational style with each successive documentary, six in total. Zhou’s films are informative
without being didactic and his respect for the
subjects of his films, coupled with his generosity
of spirit, guarantee that what we see on screen
is touchingly candid. In 2015 the Sundance Film
Festival awarded Zhou’s The Chinese Mayor the
special jury prize for Unparalleled Access. The
aptly titled award describes a quality shared by
all of Zhou’s works, which examine the impact of
massive social and economic changes in China.
His first film to achieve international acclaim
was Senior Year, an award-winning portrayal of
a class of high school students from rural backgrounds struggling to prepare for the highly
competitive national university entrance exam.
In the five films that have followed, Zhou has
documented the lives of drug addicts, migrant
laborers, emergency room workers and patients,
politicians, cotton farmers, and cops. Each of
these films exposes some element of China’s
most pressing social issues.
BAMPFA is thrilled that Zhou Hao will make the
journey to Berkeley to present his documentaries
in person and to discuss his work with Rachel
Stern, assistant professor of law and political science at UC Berkeley.
Support for Committed Cinema has been provided by the
National Endowment for the Arts. This series is presented
with the assistance of the National Committee on US-China
Relations’ Public Intellectuals Program, which is funded by
Carnegie Corporation of New York. Thanks to Livia Bloom;
Karin Chien; Shelly Kraicer; Zhoa Qi; Echo Xie, DC Chinese
Film Festival; and James Mudge, Chinese Visual Festival.
Student Committee Co-Chair Lieyah Dagan
ASUC President Yordanos Dejen
Associate Professor Nicholas de Monchaux,
Academic Advisory Council Chair
Chancellor Nicholas B. Dirks
(Datong). This fascinating look at politics, power,
and change in contemporary China focuses on Gang
Yambo, the hardworking and idealistic mayor of the
city of Datong in Shanxi province from 2008 to 2013.
The Chinese Mayor observes the end of Geng’s tenure
as he attempts to transform the polluted coal-mining
center into a hub for cultural tourism, razing tens of
thousands of homes to rebuild the walls of the old
city. Geng is convinced that the sacrifices he asks of
Datong’s inhabitants are a small price to pay for progress. Those he has displaced have a different opinion.
Professor Harrison S. Fraker Jr.
Written by Zhou, Zhao Qi. Photographed by Zhou, Zhang Tianhui.
(89 mins, DigiBeta, From Zhaoqi Films)
Joseph McConnell
SUNDAY / 10.2.16
Soheyl Modarressi
7:00
COTTON
Daniel Goldstine
Associate Vice Chancellor for the Arts & Design
Shannon Jackson, Chancellor’s Board Designee
Vice Chancellor for Undergraduate Education
Catherine Koshland
Wanda Kownacki
Sally Yu Leung
Eric X. Li
Professor Christina Maslach
Scott C. McDonald, PhD
Janet Moody McMurtry
Ann Baxter Perrin
ZHOU HAO (CHINA, 2014)
IN CONVERSATION
Gary Freedman
From cotton fields in northern China to a trade fair in
the south where blue jeans are sold to buyers from
around the world, Zhou Hao documents the lives of
those who work within the massive Chinese cotton
industry. While China is promoting commercialization
as a means of providing a higher standard of living,
in many cases the policy is not improving the quality
of life for the average citizen; Cotton uses a single
commodity to illustrate the struggle of farmers, cotton
pickers, and factory workers as they labor to achieve
a better existence.
Written by Zhou. Photographed by Zhou, Tan Jailing, Yuan Zhe.
(84 mins, DCP, From the artist)
James B. Pick
Professor Benjamin Porter
Deborah Rappaport
Joan Lyke Roebuck
Michael Sasso
Robert Harshorn Shimshak
Julie Simpson
Student Committee Co-Chair Lucy Stark
Roselyne Chroman Swig
Ned M. Topham
Katrina Traywick
Liza Wachter
Catherine Wagner
Paul L. Wattis III
Jack Wendler
William W. Wurster Dean Jennifer Wolch
Tecoah Bruce, Honorary Trustee
BAMPFA 21
Afterimage
Ken Jacobs
80th Anniversary of the
Filmmakers and Critics in Conversation
We are delighted to welcome New York film-
NERVOUS MAGIC LANTERN
PERFORMANCE: ABSTRACT
EXPRESSIONIST CINEMA
maker Ken Jacobs for a week of Bay Area events.
He will present two Nervous Magic Lantern performances, which use pre-cinema technology
7:00
KEN JACOBS (US, 2015)
to create startling, mesmerizing images, and a
Ken Jacobs and Steve Anker
lecture on his teacher, painter Hans Hofmann.
IN CONVERSATION
Following our Wednesday evening program,
Anker is on the faculty of CalArts School of Film/Video
and co-curates film at REDCAT
Jacobs will be in conversation with film curator
Ken Jacobs performs his latest transfixing Nervous
Magic Lantern: “A mystery is that The Nervous Magic
Lantern wasn’t invented centuries ago. . . . But no doubt
we first needed Cubism and Abstract Expressionism to
prepare for such a refutation of common experience,
common sense. We needed Picasso to amusingly
contradict himself, inferring more than one depthreading to his so-called still-lifes, rarefied jokes of
near and far. And Hofmann! to pick up on Kandinsky
and elucidate the invisible stresses between forms.
Me? finally someone to slap together the device, I
suggest looking back at the paintings while covering
one eye” (Ken Jacobs).
Steve Anker.
“Hollywood might do well to learn from Ken
Jacobs, who can boast more than forty years
of provocative, demanding, and transformative explorations of various permutations of
3D, putting the primitive, in-your-face assaults
of Hollywood to shame. . . . Jacobs deploys 3D
technology as part of a larger, lifelong exploration of vision, consciousness, and the materiality
of cinema, even in its incredibly ephemeral manifestations” (Holly Willis). Jacobs himself observes:
“The viewer of Nervous Magic Lantern phenomena
plunges, hovers, sinks, and rises into illusionary
PRECEDED BY CYCLOPS OBSERVES THE CELESTIAL
BODIES Ken Jacobs, US, 2014, 15 mins, B&W, Digital video,
From the artist
deep space. The question of what we are looking
at, tantalizingly suggestive as appearances might
Total running time: c. 75 mins
be, becomes of less urgency than from where in
space we are viewing and where and of what con-
SATURDAY / 10.15.16
sistency and shape and size is the mass confront-
KEN JACOBS LECTURE:
SEARCH FOR THE REAL /
DELIGHT WITH ILLUSION
ing us at any one moment, and when and how did
it become what a moment ago it was not. It might
be best to think of what you and others see as a
Lecture and screening presented in conjunction with
Push and Pull: Hans Hofmann. See p. 5 for details.
group hallucination. My self-constructed ‘lantern’
utilizes neither film nor video.”
Presented in conjunction with San Francisco Cinematheque and
Gray Area, which will present a second Nervous Magic Lantern
performance on Tuesday, October 11, sfcinematheque.org. Ken
Jacobs’s visit is presented as part of Afterimage: Filmmakers
and Critics in Conversation, made possible by generous funding
from the Hollywood Foreign Press Association®.
1:00
Abstract Expressionist Cinema, 10.12.16
Spanish
Civil War
Presented in conjunction with events on the UC Berkeley
campus commemorating the 80th anniversary of the
start of the Spanish Civil War, including a production of Peter Glazer and Eric Bain Peltoniemi’s play
Heart of Spain—A Musical of the Spanish Civil War in
the Department of Theater, Dance, and Performance
Studies, October 20 to 31. For more information, see
tdps.berkeley.edu.
With thanks to Mary Dore, Elena Rossi-Snook, Peter Glazer, Fareed
Ben-Youssef, Jeffrey Skoller, Adrian Acu.
THURSDAY / 10.13.16
7:00
THE GOOD FIGHT: THE ABRAHAM
LINCOLN BRIGADE IN THE SPANISH
CIVIL WAR
NOEL BRUCKNER, MARY DORE, SAM SILLS (US, 1984)
INTRODUCTION Peter N. Carroll
Carroll is the author of The Odyssey of the Abraham Lincoln
Brigade: Americans in the Spanish Civil War and is Chair
Emeritus of the Board of Governors of the Abraham Lincoln
Brigade Archives
The Good Fight tells the inspiring story of the Abraham
Lincoln Brigade, a ragtag group of American citizens who
joined the fight against Franco during the Spanish Civil
War. The stirring documentary punctuates impassioned
testimonies of veterans with harrowing archival footage
to reveal how death loomed over these citizen-soldiers.
Years after the war, however, their revolutionary spirit lives
on. These men and women remain always ready to resist
injustice and fight the good fight. FAREED BEN-YOUSSEF
Photographed by Stephen Lighthill, Peter Rosen, Joe Vitagliano, Renner
Wunderlich. (98 mins, Color, 16mm, From the Reserve Film and Video
Collection of The New York Public Library for the Performing Arts)
PRECEDED BY GUERNICA (Alain Resnais, Robert Hessens, France,
1950). This influential film considers one of the Spanish Civil War’s
worst atrocities through Pablo Picasso’s masterpiece. (12 mins, In
French with English subtitles, B&W, 35mm, From Institut Français)
FILMS
Inspector
Maigret
on Film
Hero of seventy-five novels published between
1931 and 1972, Georges Simenon’s Inspector
Maigret is one of the most beloved of all fictional
detectives. He uses intuition, compassion, and
human understanding rather than superhuman
intellect or strength to solve crimes. Often inhabiting a
criminal’s character, empathizing with the reasons why
they act as they do, Maigret attempts, in Simenon’s
own words, “to understand without condemning.”
A spin-off of our popular 2013 Simenon series, this
three-film spotlight focuses entirely on Inspector
Maigret, or Maigret-inspired works, each from a
titan of French cinema. Jean Renoir worked with
Simenon (and developed a lifelong friendship
with him) on Maigret’s first onscreen appearance,
in the mood-drenched La nuit du carrefour, while
poetic realist master Julien Duvivier brought a
noir influence to 1933’s La tête d’un homme. In
2009, Claude Chabrol teamed with legendary
actor Gérard Depardieu on Inspector Bellamy,
with a title character inspired by Maigret.
Jason Sanders, Film Note Writer
Curated by Film Curator Kathy Geritz. With thanks to Jed
Rapfogel, Anthology Film Archives; Fereidoun Mahboubi,
Centre national du cinéma et de l’image animée; Hannah
Prouse, British Film Institute; Justin DiPietro, IFC Films; and
the Consulate General of France San Francisco.
1/2
SATURDAY / 10.8.16
LA TÊTE D’UN HOMME
SATURDAY / 10.22.16
6:00
JULIEN DUVIVIER (FRANCE, 1933) ARCHIVAL PRINT
INSPECTOR BELLAMY
8:00
CLAUDE CHABROL (FRANCE, 2009)
(A Man’s Neck, a.k.a. A Man’s Head). Simenon himself
had planned to direct La tête d’un homme, but the
producers enlisted Julien Duvivier, who had a number
of literary adaptations to his credit. “One of the first
great screen incarnations of Georges Simenon’s
famous sleuth, Inspector Maigret. Only months
after Jean Renoir filmed La nuit du carrefour with
his actor brother Pierre, Duvivier passed the pipe to
Harry Baur, and the results were just as broodingly
electric. Maigret roams crowded Montparnasse cafés
and dingy tenements as he plays cat and mouse with
a nihilistic, Dostoevskian killer. Both a classic film noir
and a seminal police procedural” (Lenny Borger).
Described by Chabrol as “the adaptation of a novel
that Simenon never wrote,” Inspector Bellamy, his
fiftieth and final film, features Gérard Depardieu
as a police commissioner who, while on vacation,
is approached by a man who confesses to murder.
Like Chief Inspector Maigret, Bellamy is oversized,
fond of eating and drinking, and given to sympathy
for criminals and human frailties. When his troubled
younger brother arrives, disrupting his loving marriage,
Bellamy must also examine his own self-delusions.
There’s always more to the story in this “diabolically
witty homage to Simenon” (Stephen Holden, New
York Times). KATHY GERITZ
Written by Pierre Calmann, Louis Delaprée, Duvivier, based on
the novel La tête d’un homme (A Battle of Nerves) by Georges
Simenon. Photographed by Armand Thirard. With Harry Baur,
Valéry Inkizhinov, Alexandre Rignault, Gaston Jacquet. (98 mins,
In French with English electronic subtitles, B&W, 35mm, From
Centre national du cinéma et de l’image animée)
Written by Odile Barski, Chabrol. Photographed by Eduardo
Serra. With Gérard Depardieu, Marie Bunel, Clovis Cornillac,
Jacques Gamblin. (110 mins, In French with English subtitles,
Color, 35mm, From IFC Films)
FRIDAY / 10.14.16
LA NUIT DU CARREFOUR
6:30
JEAN RENOIR (FRANCE, 1932) ARCHIVAL PRINT
(a.k.a. The Night at the Crossroads). Simenon’s legendary Inspector Maigret first appeared onscreen in
this rarely seen 1932 thriller, directed by none other
than Jean Renoir and starring Renoir’s brother Pierre.
Made in collaboration with Simenon, the film depicts
a diamond merchant’s death at a lonely crossroads
near Paris, and the investigation that follows. Renoir
concerns himself not with plot, though, but with creating
an atmosphere of suffocating dread “thick enough
to slice, eerie and haunted” (John Wakeman). For
Jean-Luc Godard, La nuit du carrefour was “the only
great French detective film, and, indeed, the greatest
French film adventure.” JASON SANDERS
1
La tête d’un homme, 10.8.16
2
Inspector Bellamy, 10.22.16
3
La nuit du carrefour, 10.14.16
3
Written by Renoir, Georges Simenon, based on the novel by
Simenon. Photographed by Marcel Lucien, Asselin. With Pierre
Renoir, Winna Winfried, Georges Terof, Jean Mitry. (75 mins,
In French with English electronic titles, B&W, 35mm, From
British Film Institute)
BAMPFA 23
U C B E R K ELEY ART MUS EUM & PAC I F I C FILM A RCHIV E ba m pfa .org
On View
G A L L ER I E S
B A R B R O OS H ER T H E AT ER
PAT O’NEILL / MATRIX 262
VIENNA AND THE MOVIES
September 28–November 27
Through October 9
MIND OVER MATTER: CONCEPTUAL ART
FROM THE COLLECTION
CONTEMPLATIVE CINEMA: OZU’S LATE FILMS
October 19–December 23
GIF COLLIDER 1.0
October 25–28
THIS JUST IN: NEW ACQUISITIONS
SUMMER TREES CASTING SHADE: CHINESE
PAINTING AT BERKELEY, THE FIRST FIFTY YEARS
September 2–23
Unless otherwise noted, films screen
in the Barbro Osher Theater.
September 7–November 16
CINEMA MON AMOUR: KEN UENO
September 8
MOVIE MATINEES FOR ALL AGES
ADDISON ST
September 17, October 15
SOJOURNER TRUTH, PHOTOGRAPHY, AND THE
FIGHT AGAINST SLAVERY
COMMITTED CINEMA: HAYOUN KWON
September 14–17
Through October 23
September 21, 22
BUDDHIST ART FROM THE ROOF OF THE WORLD
CINEMA MON AMOUR: MARK MORRIS
Through November 13
September 24–October 1
BERKELEY EYE: PERSPECTIVES
ON THE COLLECTION
ANNA MAGNANI: ETERNAL SOUL
OF ITALIAN CINEMA
Through December 11
September 25–December 4
PUSH AND PULL: HANS HOFMANN
COMMITTED CINEMA: ZHOU HAO
Through December 11
September 30, October 2
ART WALL: TERRI FRIEDMAN
INSPECTOR MAIGRET ON FILM
AVE <
AFTERIMAGE: TRINH T. MINH-HA
SHATT
UCK
Through October 16
Through February 12, 2017
UNIVERSITY AVE
ALTERNATIVE VISIONS
SHATTUCK AVE >
CECILIA EDEFALK / MATRIX 261
SOMETHING TO DO WITH DEATH: SERGIO LEONE
GALLERY HOURS
Wed, Thu, Sun 11–7
Fri & Sat 11–9
Plan your visit at bampfa.org/visit
BAM
PFA
OXFORD ST
Through September 25
September 1–October 30
UC BERKELEY
Through September 11
VISIT BAMPFA
2155 Center Street Downtown Berkeley
bampfa.org (510) 642-0808
CENTER ST
ALLSTON WAY
BAMPFA
STORE
N
store.bampfa.org join us!
October 8–22
AFTERIMAGE: KEN JACOBS
October 12, 15
80TH ANNIVERSARY OF THE SPANISH CIVIL WAR
October 13
WOLF GREMM’S KAMIKAZE ’89
bampfa.org/join BABETTE
October 16, 20, 28
COVER Teresa Venerdi, 10.1.16 ANNA MAGNANI
JEAN-PIERRE MELVILLE’S SECOND BREATH
Wed–Fri 9–7
October 21, 29
Sat–Sun 11–7
MARCIE BEGLEITER’S EVA HESSE
October 23, 28, 30
THANKS TO OUR FUNDERS
UNIVERSITY OF CALIFORNIA, BERKELEY ART MUSEUM & PACIFIC FILM ARCHIVE, PROGRAM GUIDE
Volume XL Number 4. Published five times a year by the University of California, Berkeley.
Produced independently by the UC Berkeley Art Museum and Pacific Film Archive, which is
solely responsible for its contents. BAMPFA, 2120 Oxford Street, Berkeley CA 94720, (510) 642-0808.
Lawrence Rinder, Director. Nonprofit Organization: Periodical Postage Paid at Berkeley Post Office. USPS #003896.
STRATEGIC PARTNERS
POSTMASTER: Send address change to:
UC Berkeley Art Museum and Pacific Film Archive, 2120 Oxford Street, Berkeley CA 94720
Copyright © 2016
The Regents of the University of California.
All rights reserved.

berkeley art museum·pacific film archive sep / oct 2 0 16

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