Dec 2016 - Bryn Mawr Film Institute

Transcription

BRYN MAWR FILM INSTITUTE
ISSUE 47
PROJECTIONS
ROCKY
ELF
LA LA LAND
Film and Program Schedule
September 2016 — December 2016
BrynMawrFilm.org 610.527.9898
NEW RELEASES
Refer to BrynMawrFilm.org for definitive scheduling.
Photo Credit: Jauhien Sasnou
Film and Program Schedule September 2016 – December 2016
Bryn Mawr Film Institute is a membershipbased, non-profit 501(c)(3) center for film
exhibition and education. Contributions are
tax-deductible to the full extent of the law.
Ticket Prices
Visit BrynMawrFilm.org for ticket prices and
event information.
For group ticket sales (20 or more tickets),
visit the Box Office.
Become a Member
While you do not have to be a member to
enjoy films and classes, membership in the
non-profit Bryn Mawr Film Institute is the
best way to show your support for good
films and a cultural landmark. See the back
cover for membership information.
Theater Rentals
The theater auditoriums, Multimedia Room,
and Community Room are available for
rental and can accommodate a variety of
media formats. Detailed information is
available at BrynMawrFilm.org.
To rent these spaces, please contact
Valerie Temple at 610.527.4008 x109 or
[email protected].
Published quarterly by
Bryn Mawr Film Institute
824 West Lancaster Avenue
Bryn Mawr, PA 19010-3228 Issue 47
Template: HeleneKrasney.com
Layout: Heather Rosenfeldt
2
THE LIGHT BETWEEN OCEANS
SOUTHSIDE WITH YOU
SNOWDEN
USA – 2 hr 10 min – d. Derek Cianfrance
USA – 1 hr 21 min – d. Richard Tanne
USA – 2 hr 8 min – d. Oliver Stone
From the director of Blue Valentine
comes this emotional drama about
a lighthouse keeper (Michael
Fassbender), his wife (Alicia
Vikander), and their startling link to a
grieving stranger (Rachel Weisz).
Before they became the First Couple,
young lawyers Barack (Parker
Sawyers) and Michelle (Tika Sumpter)
meander through the South Side of
Chicago on an epic first date in this
romance set in the summer of 1989.
Joseph Gordon-Levitt stars as
controversial American whistleblower
Edward Snowden in this politically
charged biographical thriller penned
and directed by Academy Awardwinner Oliver Stone.
Parking at Bryn Mawr Film Institute
Limited visitor parking is available behind
the theater. These spots are designated
with yellow signs. Please see our detailed
parking map on p.11.
QUEEN OF KATWE
THE BIRTH OF A NATION
DENIAL
Monday–Friday before 5:00 pm
South Africa/USA – d. Mira Nair
USA – 1 hr 50 min – d. Nate Parker
UK – 1 hr 50 min – d. Mick Jackson
Oscar-winner Lupita Nyong’o (12
Years a Slave) and David Oyelowo
(Selma) star in this inspirational true
story of Phiona Mutesi, an underdog
Ugandan chess prodigy who became
queen of the chess world.
Grand Jury Prize-winner of the 2016
Sundance Film Festival, this unrelenting
debut from Nate Parker portrays the
slave uprising orchestrated and led
by enslaved preacher Nat Turner in
antebellum Virginia.
Historian Deborah E. Lipstadt takes
on Holocaust denier David Irving
during the Irving v. Penguin libel
trials in this true-life courtroom
drama starring Rachel Weisz,
Timothy Spall, and Tom Wilkinson.
LOVING
LA LA LAND
MANCHESTER BY THE SEA
USA – 2 hr 3 min – d. Jeff Nichols
USA – 2 hr 6 min – d. Damien Chazelle
USA – 2 hr 15 min – d. Kenneth Lonergan
Richard and Mildred Loving fight
for their freedom after they are
sentenced to prison for their
interracial marriage in the landmark
Loving v. Virginia case, brought to the
screen by the director of Mud.
After the smashing success of his
2014 debut, Whiplash, writer/director
Damien Chazelle makes music with
Ryan Gosling, Emma Stone, and JK
Simmons in his second feature, set in
star-studded Los Angeles.
After the boy’s father dies, a griefstricken New Englander (Casey
Affleck) is forced to take care of his
teenage nephew in this heart-rending
drama from Oscar-nominee Kenneth
Lonergan (You Can Count on Me.)
Become a Community Partner
BMFI works with Community Partners to
create programs that use film to enhance
the educational and cultural offerings of
each group. Community Partner benefits
are structured to fit each organization’s
goals and include rent-free use of BMFI
theater spaces and meeting rooms,
promotional opportunities, teacher
education, curriculum consultation,
on-site lectures and in-theater field trips,
special screenings, film series,
and specialized events.
Onscreen and Print Sponsorships
Receive recognition for your organization
while supporting BMFI. Contact Gina
Izzo at [email protected] or
610.527.4008 x110 or visit our website at
BrynMawrFilm.org for details.
To learn how your institution, faith
community, or your child's school can
become a Community Partner, please
contact BMFI Director of Education
Andrew J. Douglas, Ph.D., at 610.527.4008
x 102 or [email protected].
Three- and twelve-hour meters are
available in nearby municipal lots.
Two-hour metered parking is available
along Lancaster Avenue.
Current Community Partners
Academy of Notre Dame de Namur
The Agnes Irwin School
The Baldwin School
Bryn Mawr College
Cabrini University
Haverford College
The Hill at Whitemarsh
The Quadrangle
The Shipley School
Bryn Mawr Film Institute
824 W. Lancaster Avenue
Bryn Mawr, Pennsylvania 19010-3228
Theater Hotline: 610-527-9898
Business Office: 610-527-4008
BrynMawrFilm.org
[email protected]
This section lists some of the newly released films that BMFI hopes to screen.
Our goal is to play all of these films, though we can’t guarantee it. Film start
dates will be listed on BrynMawrFilm.org as soon as they become available.
Monday–Friday after 5:00 pm and Weekends
Free parking is available directly behind
the theater and in Bryn Mawr Trust lots
adjacent to BMFI, along S. Bryn Mawr
Avenue, (except for Diesinger & Dolan spots)
and on the other side of Lancaster Avenue.
Three- and twelve-hour meters are
available in the municipal lots (free after
6:00 pm and all day Sunday). Two-hour
metered parking is available along
Lancaster Avenue (free after 6:00 pm and
all day Sunday).
Bryn Mawr Film Institute receives state arts
funding support through a grant from the
Pennsylvania Council on the Arts, a state
agency funded by the Commonwealth of
Pennsylvania and the National Endowment
for the Arts, a federal agency. Official
registration and financial information for
Bryn Mawr Film Institute may be obtained
from the Pennsylvania Department of State
by calling toll-free, within Pennsylvania,
1-800-732-0999. Registration does not
imply endorsement.
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FILM SERIES
90 Years of Films
in Bryn Mawr
Regular admission applies unless otherwise indicated.
Variously known as the Seville Theater, the Bryn Mawr Theater, and Bryn Mawr Film Institute, the
building located at 824 West Lancaster Avenue has been home to film in Bryn Mawr for 90 years.
BMFI celebrates this rich cinematic history with the continuation of a nine-month long series that
features films from the theater’s past, one screening a month for every decade of its existence.
Everybody Sing!
Thursday, September 15, 7:15 pm
THE PHILADELPHIA STORY
Wednesday, November 23, 7:00 pm
THE WIZARD OF OZ
1940 – USA – 1 hr 52 min – d. George Cukor – 35mm
90
1939 – USA – 1 hr 41 min – d. Victor Fleming
Katharine Hepburn, Cary Grant, and James Stewart match wits in this Academy Award-winning
romantic comedy about the disruption of a socialite’s impending wedding caused by the
simultaneous arrival of her ex-husband looking to rekindle their flame and a tabloid magazine
journalist on the hunt for both a story and possible love.
YEARS OF FILMS IN
B R Y N M AW R
Twisters, witches, and ruby slippers, oh my! Accompany Dorothy and Toto to the Land of Oz at
BMFI’s popular and lively interactive singing event. Encounter the Cowardly Lion, Scarecrow,
and Tin Man as you “Follow the Yellow Brick Road” and travel “Over the Rainbow” in this
adaptation of the beloved L. Frank Baum novel. Kathy O’ Connell, host of WXPN’s Kids
Corner, will emcee the event.
Set in the Main Line and starring Bryn Mawr College’s most famous alumna, it’s no wonder that
the Bryn Mawr chose to revive The Philadelphia Story in 1972 as a complement to Pat and Mike
during a week devoted to Katharine Hepburn.
Wednesday, December 21, 7:00 pm and 7:15 pm
THE SOUND OF MUSIC
Shown in conjunction with a Cinema Classics Seminar (see p.16), The Philadelphia Story will be
introduced by the seminar’s instructor, Alice Bullitt, M.A.
1965 – USA – 2 hr 54 min – d. Robert Wise
As a plucky young nun, Julie Andrews sings her way into the hearts of the von Trapp family
in this screen version of the beloved Rodgers and Hammerstein musical. Wear a wimple,
lederhosen, or even dress as a drop of golden sun at this fun-filled event, a holiday tradition for
fans of the film and its many memorable songs.
Thursday, October 20, 7:15 pm
DIABOLIQUE
1955 – France – 1 hr 56 min – d. Henri-Georges Clouzot
90
A heart-grabbing benchmark in horror filmmaking, Simone Signoret, Véra Clouzot, and Paul
Meurisse give outstanding performances in this terrifying and twisty tale of two women—the
fragile wife and the willful mistress of the sadistic headmaster of a boys boarding school—who
hatch a daring revenge plot.
YEARS OF FILMS IN
B R Y N M AW R
Perfect for the Halloween season, Diabolique first chilled audiences at the Bryn Mawr Theater
50 years ago, during a two-week engagement in 1966 (eleven years after this shocker first hit
theaters in 1955!)
Shown in conjunction with a Cinema Classics Seminar (see p.16), Diabolique will be introduced
by the seminar’s instructor, Christopher Long, M.A.
Thursday, November 3, 7:15 pm
LITTLE CAESAR
1931 – USA – 1 hr 19 min – d. Mervyn LeRoy
90
After leaving his small town to seek his fortune in the big city of Chicago, gangland hood
Enrico Cesare Bandello (alias “Rico”) shoots his way to the top, adopting the moniker “Little
Caesar” in the process. Edward G. Robinson creates the template for tough guys to come as
the star of one of Hollywood’s first gangster films.
YEARS OF FILMS IN
B R Y N M AW R
For one week in December 1973, the Bryn Mawr paid tribute to the gangster flicks of yore with
Little Caesar and Public Enemy sharing a double bill.
Shown in conjunction with a Cinema Classics Seminar (see p.17), Little Caesar will be
introduced by the seminar’s instructor, Andrew J. Douglas, Ph. D.
Thursday, December 15, 7:15 pm
DIVORCE ITALIAN STYLE
1961 – Italy – 1 hr 45 min – d. Pietro Germi – 35mm
Starring Italian heartthrob Marcello Mastroianni as a philandering baron with a devious plan
to ditch his wife, this hilarious and cutting satire of Sicilian male chauvinist culture from writer/
director Pietro Germi won the 1962 Academy Award for Best Original Screenplay.
90
YEARS OF FILMS IN
B R Y N M AW R
Join us for these family-friendly interactive events! Experience your favorite classic movie
musicals in a delightful new way. Costumes are encouraged—patrons who dress up receive a
free small popcorn!
Celebrating Sembène!
Fifty years after his feature-film debut with Black Girl (La noire de…), we celebrate Ousmane
Sembène, who passed away in 2007, as one of the most groundbreaking filmmakers who ever
lived and the most internationally renowned African director of the twentieth century.
Thursday, December 1, 7:15 pm
SEMBENE!
2015 – Senegal/USA– 1 hr 27 min – d. Samba Gadjigo and Jason Silverman
In 1952, Ousmane Sembène, a dockworker and fifth-grade dropout from Senegal, began
dreaming an impossible dream: to become the storyteller for a new Africa. Using rare archival
footage and more than 100 hours of exclusive materials, Sembène’s colleague and biographer
Samba Gadijigo (with help from co-director Jason Silverman) tells the unbelievable true story
of the father of African cinema, the self-taught novelist and filmmaker who fought a 50-year
battle, against enormous odds, to return African stories to Africans. Thursday, December 8, 7:15 pm
BLACK GIRL
1966 – France/Senegal – 1 hr 5 min – d. Ousmane Sembène
For his first feature, Sembène, who was also an acclaimed novelist in his native Senegal, adapts
his own novella about a young Senegalese woman who moves to France to work for a wealthy
white couple and finds that life in their small apartment has become a figurative and literal
prison. Featuring a moving central performance by Mbissine Thérèse Diop, Black Girl is a
harrowing human drama as well as a radical political statement—and one of the essential films
of the 1960s.
Sembène’s 1963 short film “Borom Sarret”, arguably the first film made by a black African, will
be screened before the feature.
Shown in conjunction with a Cinema Classics Seminar (see p.17), Black Girl will be introduced
by the seminar’s instructor, Christopher Long, M.A.
Massively popular at the Bryn Mawr Theater, films featuring actor Mastroianni played
regularly for over a decade, most notably a ten-week run of Divorce Italian Style in late 1962
and early 1963.
Shown in conjunction with a Cinema Classics Seminar (see p.17), Divorce Italian Style will be
introduced by the seminar’s instructor, Maurizio Giammarco, Ph. D.
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CINEMA SELECT
Watch trailers for and find more information about these films at BrynMawrFilm.org.
BRYN MAWR
Monday, September 12, 6:00 pm
COLLEGE NIGHT
BMFI welcomes students back to campus with College Night on Monday, September 12!
Students are invited to stop by Bryn Mawr Film Institute for free coffee, free movie posters,
and a free film. Students can grab a poster and a quick pick-me-up cup of coffee, or stay for a
movie and local short films. It’s all free for college students with ID.
At 6:00 pm, doors open to the Poster Party on the second floor of BMFI. Grab a cup of coffee
and rifle through a mountain of movie posters until 8:30pm.
Want to catch a movie? Choose among the newest main attraction films after 7:00 pm. Your
ticket and small popcorn are free with student ID. Visit BrynMawrFilm.org for current films.
Catch a first-look at work from local filmmakers, or show your own film on our big screen for
free at Open Screen Monday, this and the first Monday of every month at 9:15 pm.
Wednesday, September 21, 7:00 pm
ROCKY
A RT H O U S E T H E AT ER DAY
Saturday, September 24
Art House Theater Day celebrates the legacy of independent theaters as advocates for cinema arts. In an age where media has become
more digital than tangible, more solitary than social, art house theaters remain the physical spaces where filmgoers congregate and connect
with intrepid, creative filmmaking. They are the beating heart of new and exciting cinema that is shaping the future of the medium.
In addition to the programming listed below, patrons will enjoy many special giveaways and promotions throughout the entire day, including
free ice cream provided by Bryn Mawr Trust after the screening of Time Bandits.
1976 – USA – 2 hr – d. John G. Avildsen
Inspired by the 1975 fight between Muhammad Ali and middling talent Chuck Wepner,
Sylvester Stallone penned a screenplay about a nobody fighter given the million-to-one
opportunity to challenge for the heavyweight title, and the ultimate underdog, Rocky Balboa,
was born! After winning Best Picture, Best Director, and Best Film Editing at the 1977 Academy
Awards, Stallone’s Rocky went the distance and spawned six sequels, including 2015’s Creed.
Yo, Adrian! Prior to the screening, enjoy a soft pretzel provided by Philly Pretzel Factory and
a Brawler brew provided by Yard's Brewing Company. These refreshments are free with price
of admission.
In celebration of the 40th anniversary of this quintessential Philadelphia film, Sharon Pinkenson,
Executive Director of the Greater Philadelphia Film Office, will introduce the screening.
RAIDERS!: THE STORY OF THE GREATEST FAN FILM EVER MADE AND
RAIDERS OF THE LOST ARK: THE ADAPTATION (DOUBLE FEATURE!)
The true, decades-spanning tale of the greatest fan film ever made.
After Steven Spielberg's classic Raiders of the Lost Ark was released 35 years ago, three
11-year-old boys from Mississippi set out on what would become a 7-year-long labor of love and
tribute to their favorite film: a faithful, shot-for-shot adaptation of the action adventure film.
They finished every scene...except one; the film's explosive airplane set piece.
Over two decades later, the trio reunited with the original cast members from their childhood
in order to complete their masterpiece. Featuring interviews with John Rhys Davies, Eli Roth
and more, Raiders!: The Story of the Greatest Fan Film Ever Made is just that: the story of this
long-gestating project’s culmination, chronicling the friends' dedication to their artistic vision—
mixed in with some movie magic—to create a personal, epic love letter to a true modern classic.
Filmmaker and documentary subject Eric Zala will appear for a Q&A after the screening
of Raiders!: The Story of the Greatest Fan Film Ever Made. Raiders of the Lost Ark: The
Adaptation will screen immediately following the Q&A.
$15 for general admission, $12 for BMFI members, and $10 for students.
11:00 am
TIME BANDITS
1981 – UK – 1 hr 50 min – d. Terry Gilliam
Exclusive to participating Art House Theater Day locations comes this new 2K digital
restoration of Terry Gilliam’s family-friendly adventure, co-written by Michael Palin,
about a young boy who accidentally joins a band of dwarves as they travel through
time looking for treasure to steal.
Ticketholders will receive a limited edition 14”x 18” reproduction of the Time Portal
map used in the film, designed by Terry Gilliam! Attendees will receive free ice cream
provided by Bryn Mawr Trust after the screening. $5 for adults, $4 for children
4:00 pm
EVOLUTION OF AN ARTHOUSE:
A HISTORICAL LECTURE WITH JOHN HERSKER
Encore! BMFI board member and former Paramount Pictures Executive Vice President
John Hersker digs into the storied past of BMFI’s historic building with this illustrated
lecture that details the transformation of the property from The Seville Theater in
1926 to the years as the Bryn Mawr Theater, and into its current form as Bryn Mawr
Film Institute. With special attention given to the era in the 1960s and 70s where
the theater transitioned from showing run-of-the-mill Hollywood films to BMFI’s
now-standard arthouse fare, Hersker—who once managed the Bryn Mawr Theater—will
show that even as the building changed names, the commitment to film in Bryn Mawr
is a legacy that has lasted decades.
The lecture will take place in BMFI’s Multimedia Room and will be free of charge for
all attendees.
9:30 pm
PHANTASM: REMASTERED
1979 – USA – 1 hr 28 min – d. Don Coscarelli
“The funeral is about to begin” with the mysterious graverobber known as The
Tall Man in this highly anticipated 4K restoration and remaster of the legendary
independent horror film Phantasm, restored by J.J. Abrams and Bad Robot.
Director Don Coscarelli and some cast members will appear in a prerecorded Q&A
following the screening. Regular ticket pricing applies.
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7
Watch trailers for and find more information about these films at BrynMawrFilm.org.
Regular admission applies unless otherwise indicated.
CINEMA SELECT
Tuesday, September 27, 7:15 pm
BEAUTY AND THE BEAST
Tuesday, November 8
ELECTION DAY AT BMFI
1946 – France – 1 hr 33 min – d. Jean Cocteau
Planning to exercise your civic duty this November 8th? Stop by Bryn Mawr Film Institute’s
concession stand wearing your “I Voted” sticker and receive a free small popcorn.
New 4K restoration! Jean Cocteau’s sublime adaptation of Mme. Leprince de Beaumont’s fairytale masterpiece—in which the pure love of a beautiful girl melts the heart of a feral but gentle
beast—is a landmark of motion picture fantasy, with unforgettably romantic performances by
Jean Marais and Josette Day.
Shown in conjunction with a Cinema Classics Seminar (see p.16), Beauty and the Beast will be
introduced by the seminar’s instructor, Maurizio Giammarco, Ph.D.
Wednesday, December 7, 7:00 pm
THE THIN MAN
1934 – USA – 1 hr 31 min – d. W.S. Van Dyke – 35mm
Wednesday, October 5, 7:00 pm
THE WONDERFUL WORLD OF INDUSTRIAL MUSICALS
William Powell and Myrna Loy are top-shelf as Nick and Nora Charles, a perpetually tipsy
married duo working on a murder case (and a case of scotch!) in this fast-paced comedy based
on the novel by Dashiell Hammett. Along with their faithful dog Asta, this witty pair drank and
sleuthed their way through six films, of which The Thin Man is the first.
NR – 1 hr 30 min
When comedian and writer Steve Young began gathering oddball albums for the “Dave’s
Record Collection” segment on Late Show with David Letterman, he inadvertently stumbled
upon the wonderful world of corporation-commissioned “industrial musicals”—original shows
about selling bathtubs, tractors, gasoline, and other products—that were only meant to be
seen by insiders at conventions and sales meetings. A wacky marriage of Broadway and
business, Young spent twenty years collecting examples of these twisted musicals and now
presents his own show complete with his hilarious and informative live commentary supporting
a clip program of numbers like “The Bathrooms Are Coming!”, “Diesel Dazzle!”, and “Got to
Investigate Silicones!”
Copies of Young’s book, Everything’s Coming Up Profits: The Golden Age of Industrial
Musicals, will be available for sale and signing at this event.
Prior to the screening, order up a martini provided by Philadelphia Distilling, included with
the price of admission. Highballs or cocktail—the long and short of it (that’s a pun!)—are one
per customer.
$15 for general admission, $12 for BMFI members
HAPPEN I N G S @ B M FI
To see more photos from our special events, visit our Facebook page at facebook.com/brynmawrfilm,
follow us on Instagram @brynmawrfilminstitute, or follow our Twitter feed, @BMFI
TOP LEFT:
URBAN TRINITY: THE STORY OF CATHOLIC PHILADELPHIA
2015 – USA – 1 hr 17 min – d. Sam Katz
Photo: Jon Seidman
Free event! As a follow-up to his insightful Philadelphia: The Great Experiment documentary
series (most recently on display in a program produced by Bryn Mawr Film Institute at the
Philadelphia International Airport during the Democratic National Convention), filmmaker
Sam Katz explores the development of Philadelphia through the lens of the city’s Catholic
community in this three-part historical piece. Accompanied by special guests, Katz will
introduce the film and answer questions after the screening.
DNC delegates were
welcomed at PHL by
BMFI’s popup theater
installation featuring
documentary shorts about
the City of Brotherly
Love produced by Sam
Katz’s History Making
Productions
BOTTOM LEFT:
BMFI Flight Attendants
(L to R) VALERIE TEMPLE,
PATRICIA WESLEY,
PATRICIA RUSSO, HEATHER
ROSENFELDT, AND GINA
IZZO welcomed guests to
the screening of Airplane!.
Through the medium of film, the Philadelphia Jewish Film Festival aims to perpetuate Jewish
values, culture, and history, and by viewing films, gain a deeper understanding of the world and
the ways in which people can make a difference. PJFF returns to BMFI for another thoughtprovoking screening, in theur annual festival.
TOP RIGHT:
Box Office staffer and
Summer Filmmaking
Workshop alumna LILY
MEDOSCH is the first in
the BMFI family to receive
a scholarship from the
National Association of
Theater Owners (NATO).
Congratulations, Lily!
Photo: Gina Izzo
Photo: LaPerria Harvin
Sunday, November 6, 11:00 am
PHILADELPHIA JEWISH FILM FESTIVAL
MIDDLE RIGHT:
BMFI board member
and former Paramount
Pictures Executive Vice
President JOHN HERSKER
digs into the storied past
of BMFI’s historic building.
Photo: LaPerria Harvin
BOTTOM RIGHT:
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First Class member
WYNRHYS COGHLAN and
guest EILEEN LONGACRE
show their boarding
passes for the screening of
Airplane! on August 3.
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KIDS MATINEES
Saturdays at 11:00 am. Adults: $5, Kids: $4
PARKING GUIDE
METERED LOTS (DESIGNATED WITH A BLUE PARKING SYMBOL)
CENTRAL AVENUE LOT, BRYN MAWR STATION LOT
Three-hour and twelve-hour (red cases) metered parking available. For details on municipal lot parking in
OCTOBER
"MONSTERS
AND MAYHEM"
Lower Merion, visit http://www.lowermerion.org/Index.aspx?page=38. Two hour metered parking is also
available on Lancaster Avenue, in front of the theater.
OCTOBER 1
MINIONS
2015 – 1 hr 31 min – Rated PG
OCTOBER 8
ERNEST SCARED STUPID
OCTOBER 15
GOOSEBUMPS
PRIVATE LOTS (DESIGNATED WITH A RED PARKING SYMBOL)
BMFI LOT, BRYN MAWR TRUST LOT
• Free parking available after 5:00 pm Monday-Friday and on weekends.
• Handicapped parking spots and 10 visitor spots are available weekdays in the lot directly behind the
NOVEMBER
theater. Visitors may park in the spaces designated with the yellow visitor signs. Visitors must sign in
"MARTIAL ARTS
MANIA"
OCTOBER 22
GHOSTBUSTERS
NOVEMBER 12
3 NINJAS
OCTOBER 29
HOCUS POCUS
Action Karate will perform
demonstrations before each
screening in November.
at the business office. All spots directly behind the theater are marked permit or visitor parking.
Your car may be towed if parked in a permit space before 5:00 pm Monday-Friday.
NOVEMBER 5
THE KARATE KID
NOVEMBER 19
NOVEMBER 26
DECEMBER 3
DECEMBER 10
TEENAGE MUTANT NINJA TURTLES
NO PARKING ANYTIME
Please be courteous to the Bryn Mawr community
and read the signs in front of parking spaces prior to parking.
KUNG FU PANDA 2
DECEMBER
"FANTASTICAL
ADVENTURES"
PAN
ENCHANTED
Birthday Parties
HAPPY HOLIDAYS &
HAPPY NEW YEAR!
DECEMBER 17
ELF
10
DECEMBER 25 + 31
NO MATINEE
In association with the Saturday
Kids Matinee series, Bryn Mawr
Film Institute offers birthday party
packages (starting at $300) for
children aged 2-12. The rental
includes tickets to the kids matinee,
free popcorn and use of the
Multimedia Room or Community
Room after the film. Email Info@
BrynMawrFilm.org to inquire about
date availability.
LUDINGTON
LIBRARY LOT
BMFI
LOT
11
Not all of our events are listed here.
Visit BrynMawrFilm.org for information about last-minute additions and changes.
MASTER PROGRAM SCHEDULE
September:
1
Thursday, 7:00 pm
LAWRENCE OF ARABIA
8
Thursday, 7:00 pm
Theater: RICHARD III
11
Sunday, 1:00 pm
Theater: RICHARD III
12
Monday, 6:00 pm
College Night
Monday, 9:15 pm
Open Screen Monday
15
Thursday, 6:30 pm
Cinema Classics Seminar:
Thursday, 7:15 pm
18
Sunday, 1:00 pm
Art & Architecture: PAINTING THE MODERN GARDEN: FROM MONET
TO MATISSE
19
Monday, noon
21
Film History Discussion Series:
1945-Present course begins
Wednesday, 7:00 pm
ROCKY
22
Thursday, 7:00 pm
Double Feature: RAIDERS! THE STORY OF THE GREATEST FAN FILM EVER MADE and RAIDERS OF THE LOST ARK: THE ADAPTATION
24
Saturday, 11:00 am
Kids Matinee: TIME BANDITS
Saturday, 4:00 pm
Evolution of an Arthouse:
A Historical Lecture with John Hersker
Saturday, 9:30 pm
PHANTASM
25
Sunday, 10:00 am
Talk Cinema
Sunday, 1:00 pm
Opera: JONAS KAUFMANN:
AN EVENING WITH PUCCINI
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27
Tuesday, 6:30 pm
Tuesday, 7:15 pm
29
Thursday, 6:30 pm
The Building Blocks of the Screenplay course begins
October:
3
Monday, 9:15 pm
27
Thursday, 7:00 pm
Theater: CYMBELINE
30
Sunday, 1:00 pm
Theater: CYMBELINE
31
Monday, 6:30 pm
Tracking The Wire course begins
November:
1
Tuesday, 6:30 pm
Seminar: Short Attention Span Cinema
3
Thursday, 6:30 pm
23
Wednesday, 7:00 pm
Everybody Sing! THE WIZARD OF OZ
27
Sunday, 1:00 pm
Opera: COSI FAN TUTTE
28
Monday, 6:30 pm
Contemporary Israeli Cinema
course begins
December:
1
Thursday, 7:15 pm
SEMBENE!
Open Screen Monday
5
Wednesday, 10:30 am
The Art of Film II course begins at Philadelphia Museum of Art
Thursday, 7:15 pm
Sunday, 1:00 pm
LITTLE CAESAR
Ballet: THE BRIGHT STREAM
Wednesday, 7:00 pm
The Wonderful World of
Industrial Musicals
Saturday, 1:00 pm
5
6
Thursday, 7:00 pm
Theater: THE DEEP BLUE SEA
9
LITTLE CAESAR
5
Ballet: THE GOLDEN AGE
6
Sunday, 10:00 am
Talk Cinema
Sunday, 11:00 am
Theater: THE DEEP BLUE SEA
Philadelphia Jewish Film Festival
10
Monday, 6:30 pm
Sunday, 1:00 pm
Theater: KING LEAR
Sunday, 1:00 pm
The Language of Film course begins
16
Sunday, 10:00 am
7
Monday, 9:15 pm
Talk Cinema
Sunday, 1:00 pm
Opera: NORMA
10
Thursday, 7:00 pm
Theater: KING LEAR
19
Wednesday, 7:00 pm
13
Sunday, 1:00 pm
15
Tuesday, 6:30 pm
URBAN TRINITY: THE STORY OF CATHOLIC PHILADELPHIA
20
Thursday, 6:30 pm
Cinema Classics Seminar: DIABOLIQUE
Thursday, 7:15 pm
DIABOLIQUE
23
26
Sunday, 1:00 pm
Theater: THE THREEPENNY OPERA
Wednesday, 7:00 pm
Theater: THE THREEPENNY OPERA
Open Screen Monday
Ballet: THE GOLDEN AGE
The Magic of Disney course begins
17
Thursday, 7:00 pm
Theater: THE ENTERTAINER
19
Saturday, 1:00 pm
4
Sunday, 10:00 am
Talk Cinema
Monday, 9:15 pm
Open Screen Monday
7
Wednesday, 7:00 pm
8
THE THIN MAN
Thursday, 6:30 pm
BLACK GIRL and “Borom Sarret”
Thursday, 7:15 pm
BLACK GIRL and “Borom Sarret”
11
Sunday, 1:00 pm
Opera: LES CONTES D’HOFFMAN
15
Thursday, 6:30 pm
Thursday, 7:15 pm
17
Saturday, 1:00 pm
Ballet: THE NUTCRACKER
18
Sunday, 1:00 pm
Ballet: THE NUTCRACKER
21
Wednesday, 7:00 pm
Ballet: THE BRIGHT STREAM
20
Sunday, 10:00 am
Talk Cinema
Sunday, 1:00 pm
Wednesday, 7:15 pm
Theater: THE ENTERTAINER
Everybody Sing!
THE SOUND OF MUSIC
Everybody Sing!
THE SOUND OF MUSIC
Ongoing Programs
Going Gaga
Every Wednesday, the early matinee screening
is intended for moms (and dads too!) with small
babies in tow. These Going Gaga screenings
feature one of the films that we are currently
showing in the evenings, but theater lighting and
volume are slightly altered to provide parents
with a more baby-friendly environment.
Open Screen Mondays
FREE EVENT
Bryn Mawr Film Institute invites area filmmakers
to screen their films at our theater. Just bring your
film in DVD format, and we’ll run it on the BIG
SCREEN! Admission, as well as praise (or criticism)
from your peers, will be offered FREE of charge.
Submissions are limited to 10 minutes in length.
First Monday of every month,
9:15 pm to 11:00 pm
Film Discussions
FREE EVENT
BMFI staff or volunteers regularly lead informal
discussions of one of the main attraction films
currently being screened. The group meets for an
hour after selected screenings. No pre-registration
is required, and the film to be discussed is noted
on BMFI's website several days before the
discussion. Free with your ticket stub from the film!
Check BrynMawrFilm.org for specific times.
Talk Cinema
Talk Cinema offers its subscribers a unique
selection of films curated by Harlan Jacobson,
a 30-year industry veteran. The series previews
innovative, independent, and international films
before their release. Screenings are followed by
discussions led by distinguished moderators.
Day of Show Admission:
General Public.............. $20.00
Students with ID............ $10.00
Subscriptions for the current session are
available only at TalkCinema.com or by
calling 914.737.7654.
Subscriptions (Twelve-film Series):
General Public............ $225.00
Students with ID.........$203.00
Sundays at 10:00 am
2016
September 25
October 16
November 6
November 20
December 4
2017
January 22
February 12
March 5
March 19
April 2
April 30
May 14
13
STAGE ON SCREEN
Tickets available now at the
Box Office and BrynMawrFilm.org
General Public.......... $20.00
BMFI Members.......... $18.00
Students with ID........$10.00
RICHARD III
JONAS KAUFMANN: AN EVENING WITH PUCCINI
Written by William Shakespeare – Directed by Rupert Goold – Performed by the Almeida Theatre in
London – Starring Ralph Fiennes and Vanessa Redgrave
Music by Giacomo Puccini – Directed by Brian Large – Conducted by Jochen Rieder – Performed at Teatro
Alla Scala di Milano – Starring Jonas Kaufmann – 2 hr 9 min
Encore! Sunday, September 25, 1:00 pm
THE DEEP BLUE SEA
NORMA
Written by Terence Rattigan – Directed by Rufus Norris – Performed at the National Theatre in London
Starring Helen McCrory, Tom Burke – 3 hr
OPERA
Sunday, October 16, 1:00 pm
COSÌ FAN TUTTE
Music by Wolfgang Amadeus Mozart – Directed by Jan Philipp Gloger – Conducted by Semyon Bychko
Performed at the Royal Opera House in London – Starring Corinne Winters, Daniel Behle – 3 hr 15 min
Sunday, November 27, 1:00 pm
A proud sponsor
of BMFI’s operas
THEATER
Music by Vincenzo Bellini – Directed by Àlex Ollé – Conducted by Antonio Pappano – Performed at the Royal
Opera House in London – Starring Sonya Yoncheva, Joseph Calleja, Sonia Ganassi, Brindley Sherratt – 3 hr
Così Fan Tutte
Sunday, September 11, 1:00 pm
Rosalie Craig and Rory Kinnear in The
Threepenny Opera. Photo by Richard
Hubert Smith
LES CONTES D’HOFFMAN
THE THREEPENNY OPERA
Written by Bertolt Brecht – Adapted by Simon Stephens – Songs by Kurt Weill – Directed by Rufus Norris
Performed at the National Theatre in London – Starring Rory Kinnear, Rosalie Craig, Haydn Gwynne – 3 hr
CYMBELINE
Written by William Shakespeare – Directed by Melly Still – Performed by the Royal Shakespeare Company
at the Royal Shakespeare Theatre in Stratford-upon-Avon – 3 hr 30 min
Music by Jacques Offenbach – Directed by John Schlesinger – Conducted by Antonio Pappano – Performed
at the Royal Opera House in London – Starring Vittorio Grigolo, Thomas Hampson, Sofia Fomina, Christine
Rice, Sonya Yoncheva – 3 hr 30 min
Sunday, December 11, 1:00 pm
KING LEAR
Written by William Shakespeare – Directed by Gregory Doran – Performed by the Royal
Shakespeare Company at the Royal Shakespeare Theatre in Stratford-upon-Avon – Starring Antony Sher 3 hr 30 min
THE GOLDEN AGE
Choreography by Yuri Grigorovich – Music by Dmitri Shostakovich – Libretto by Yuri Grigorovich and Isaak
Glikman – Performed by the Bolshoi Ballet at the Bolshoi Theatre in Moscow – Starring the Bolshoi Principals, Soloists, and Corps De Ballet – 2 hr 20 min
Saturday, November 5, 1:00 pm
THE ENTERTAINER
Written by John Osborne – Directed by Rob Ashford – Performed by the Kenneth Branagh Theatre Company at the Garrick in London – Starring Kenneth Branagh
Olga Smirnova and Artem Ovcharenko in
The Golden Age © Pierce Jackson
Choreography by Alexei Ratmansky – Music by Dmitri Shostakovich – Libretto by Adrian Piatrovsky and
Fyodor Lopukhov – Performed by the Bolshoi Ballet at the Bolshoi Theatre in Moscow – Starring Svetlana
Lunkina, Mikhail Lobukhin, Maria Alexandrova, Ruslan Skvortsov, Denis Savin, Alexei Loparevich – 2 hr 30 min
Saturday, November 19, 1:00 pm
THE NUTCRACKER
Choreography by Yuri Grigorovich – Music by Pyotr Ilyich Tchaikovsky – Libretto by Yuri Grigorovich (after
E. T. A. Hoffmann and Marius Petipa) – Performed by the Bolshoi Ballet at the Bolshoi Theatre in Moscow –
Starring Denis Rodkin, Anna Nikulina, Andrei Merkuriev, Vitaly Biktimirov and the Bolshoi Corps De Ballet
– 2 hr 15 min
Saturday, December 17, 1:00 pm
ART & ARCHITECTURE
DANCE
THE BRIGHT STREAM
Painting the Modern Garden: Monet
to Matisse. The Artist’s Garden in
Argenteuil, 1873. National Gallery of Art,
Washington D.C
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PAINTING THE MODERN GARDEN: MONET TO MATISSE
Directed by David Bickerstaff - 1 hr 32 min
Encore! Sunday, September 18, 1:00 pm
Claude Monet was an avid horticulturist and arguably the most important painter of gardens in
the history of art, but he was not alone. Great artists like Van Gogh, Bonnard, Sorolla, Sargent,
Pissarro, and Matisse all saw the garden as a powerful subject for their art. These great artists,
along with many other famous names, feature in an innovative and extensive exhibition from
The Cleveland Museum of Art and The Royal Academy, London.
From the exhibition walls to the wonder and beauty of artists’ gardens like Giverny and
Seebüll, the film takes a magical and widely traveled journey to discover how different
contemporaries of Monet built and cultivated modern gardens to explore expressive motifs,
abstract color, decorative design and utopian ideas. Guided by passionate curators, artists
and garden enthusiasts, this remarkable collection of Impressionists, Post-Impressionists, and
avant-garde artists of the early twentieth century will reveal the rise of the modern garden
in popular culture and the public’s enduring fascination with gardens today. Long considered
spaces for expressing color, light and atmosphere, the garden has occupied the creative minds
of some of the world’s greatest artists. As Monet said, “Apart from painting and gardening, I’m
no good at anything.” For lovers of art or lovers of gardens, this is an ideal film.
15
To register, visit BrynMawrFilm.org
or call 610.527.4008 x108
FILM STUDIES
CINEMA CL AS SIC S SEMINARS
Join us for one (or more) of these stand-alone classes built around some of the wonderful classic films BMFI is
showing this fall. Students will enjoy an informative lecture before the screening and a guided discussion after it.
In addition, your ticket to see the classic on the big screen, as well as popcorn and a drink, are included. Seminars
meet in BMFI’s 2nd floor Multimedia Room at 6:30 pm; the films will be shown in the theater at 7:15 pm. Each
seminar is $25 for BMFI members and $30 for non-members.
Thursday, September 15
Tuesday, September 27
Thursday, October 20
Thursday, November 3
Thursday, December 8
Thursday, December 15
DIABOLIQUE
LITTLE CAESAR
BLACK GIRL AND “Borom Sarret”
Taught by Alice Bullitt, M.A., BMFI Board Member
Taught by Maurizio Giammarco, Ph.D.,
Intellectual Heritage Program, Temple University
Taught by Christopher Long, M.A.,
Film Critic and Author
Taught by Andrew J. Douglas, Ph.D.,
Director of Education, BMFI
Taught by Christopher Long, M.A.,
Film Critic and Author
Taught by Maurizio Giammarco, Ph.D.,
Intellectual Heritage Program, Temple University
Adapted from Philip Barry’s 1939 Broadway
play of the same name, The Philadelphia
Story is an effervescent romantic comedy
based on the life of Main Line socialite
Helen Hope Montgomery Scott. Katharine
Hepburn delivers a career-defining
performance playing Tracy Lord, a recently
divorced woman whose plans to remarry are
hilariously stymied by complications with her
ex-husband C.K. Dexter Haven (Cary Grant)
and tabloid journalist Macaulay “Mike”
Connor (James Stewart).
Jean Cocteau's Beauty and the Beast (1946)
is one of the most magical of all films, but
also one with a timely message. As Roger
Ebert wrote, “Cocteau . . . was not making
a ‘children's film,’ but was adapting a classic
French tale that he felt had a special
message after the suffering of World War II:
Anyone who has an unhappy childhood may
grow up to be a Beast.” This adaptation of
the traditional fairy tale, written by JeanneMarie Leprince de Beaumont and published
in 1757 as part of an anthology, welcomes
us into a world not of sweetness and light,
but of conflict and corruption, with Belle
(Josette Day) a lone island of virtue. It is
a “fallen world,” the iniquity of which is so
effectively conveyed by Cocteau as to make
Belle’s (and our) introduction into the Beast’s
(Jean Marais) domain all the more wondrous.
Since director Henri-Georges Clouzot
beseeched audiences at the time of
Diabolique’s 1955 release to not “be devils”
by spoiling the ending, we'll respect
his wishes and simply mention that this
internationally acclaimed suspense thriller
was a significant influence on a little film
called Psycho (1960) just a few years later.
In the early 1930s, America was mired in the
Great Depression, parched from Prohibition,
and gripped by headlines about organized
crime, particularly those featuring the
colorful and verbose Al Capone. So, it’s no
surprise that people turned to Hollywood—
then in the midst of its most unbridled,
salacious, and subversive period, the
pre-Code era—and especially the emerging
gangster film for entertainment and more.
It is difficult to identify any single person
as “the father of African cinema,” as
Ousmane Sembène has often been called,
but his influence on both African film and
filmmakers throughout the world over
the past half century is enormous, yet
still greatly underappreciated. Born in
southern Senegal in 1923, Sembène was
raised as a fisherman, trained as an auto
mechanic, drafted by the French army in
World War II, and worked on the docks of
Marseilles before publishing his first novel,
The Black Docker, in 1956.
Infidelity. Divorce. Murder: All the
elements for a comedy? Yes, and a
brilliant one at that. Divorce Italian Style
(1962), directed by Pietro Germi, is a
devastating satire about Sicily's maledominated culture that also ridicules Italy's
hypocritical judicial system, which could
not legally recognize divorce as a solution
for failed marriages, but could forgive
violent crimes of passion. It stars Marcello
Mastroianni as Fefe, a faded nobleman
infatuated with his sixteen-year-old
cousin, whom he intends to wed. But Fefe
is already married, and since the Vatican
doesn't condone divorce, he comes up with
an ingenious plan: manipulate his wife into
an affair with her former admirer, Carmelo,
catch them in a compromising situation,
and kill them in a burst of passion, which
would free Fefe while only earning him a
light prison sentence.
The film earned six Academy Award
nominations and two Oscars (Best Actor
for James Stewart and Best Screenplay for
Donald Ogden Stewart), and revitalized
Hepburn’s flagging career. It’s a prime
example of “the remarriage comedy,” a
subgenre of the screwball comedy, wherein
the protagonists divorced, flirted with new
potential partners, realized the error of
their ways, and then reunited. Join us for a
fun and engaging foray into this winning
film that holds a special place in the annals
of Hollywood, as well as in the history of
our region.
Please see p.4 for more
information about the film.
But the Disney version this is not, and for all
of its romance and ethereal beauty, the film
has its share of dark eroticism and tragic
isolation. In the words of critic Geoffrey
O’Brien, Beauty and the Beast “has been
praised as lyrical, almost unbearable in
its ethereal gorgeousness, a triumph of
the imagination—even when it may just as
accurately be described as tough-minded,
down-to-earth, ferociously unsentimental.”
Join us to learn how it is that within these
stark contrasts, the film’s brilliance lies.
16
Coming off the grueling white-knuckle
ride of Wages of Fear (1953), Clouzot
upped the ante with this tale of a villainous
boarding school principal (Paul Meurisse)
who torments both his students and his
shrinking violet of a wife (Véra Clouzot, the
director's wife). When she joins forces with
her husband's former mistress (the always
formidable Simone Signoret) to turn the
tables on him, this immaculately paced,
cold-blooded puzzler leads to . . . well, we
promised we wouldn't be devils. You’ll just
have to see for yourself.
Based on the novel by W.R. Burnett,
directed by Mervyn LeRoy, and featuring
Edward G. Robinson and Douglas Fairbanks,
Jr., Little Caesar (1931) kicked off this cycle
of pictures with a bang, and gave its studio,
Warner Bros., a real shot in the arm. Join
us to learn more about the film that turned
stone-cold killers into heroes, its lead actor
into a star, and the era’s most incendiary
genre into an industry mainstay.
A successful literary career in hand, he
then studied cinema in Moscow and
produced his first short film, “Borom
Sarret,” in 1963. In 1966, he shot his debut
feature, the crisp and devastating Black
Girl, the story of a young Senegalese
woman (Mbissine Thérèse Diop) who
moves from Dakar to France to work for
a French couple. Dreaming of glamour
on the Riviera, she instead finds a life of
drudgery where she is seen only as “the
black girl.”
Both early works demonstrate Sembène's
ability to balance a perceptive critique
of Western colonialism with empathetic
portraits of richly drawn characters in
crisis. Sembène died in 2007, leaving
behind a legacy matched by few directors.
Come see where it all started.
Bosley Crowther of The New York Times
offered high praise when he wrote: “Not
since Charlie Chaplin's beguiling Verdoux
have we seen a deliberate wife killer so
elegant and suave, so condescending in his
boredom, so thoroughly and pathetically
enmeshed in the suffocating toils of a
woman as Mr. Mastroianni is here.” Join us
to learn why it’s so deserved.
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FILM STUDIES
$100 members; $125 non-members
unless otherwise noted. Tuition includes
digital readings; printed copies are $10.
To register, visit BrynMawrFilm.org or call
610.527.4008 x108
The Building Blocks of the Screenplay
Tracking The Wire
Taught by Martin Leicht, M.A., Author and Screenwriter
Taught by Paul Wright, Ph.D., Department of English, Cabrini University
Regardless of what many directors would like to believe, films do not spontaneously
spring to life the moment the cameras start rolling. The first concrete step for making
any film—good, bad, or ugly—is to write a screenplay, which is the blueprint the director,
production team, and actors will use to create the world, characters, and story that
come to life on the big screen several months later. In this course, we will discuss how
screenplays work on a micro level and learn the essential building blocks of a sturdy and
engaging film narrative.
David Simon and Ed Burns's medium-defining series, The Wire (2002-8), is
acknowledged by many to be the finest work of dramatic television yet produced—and
one of the best pieces of evidence in the case for great television's parity with great
cinema. Yet for all its accolades, the show still reflects an urban America that most
people do not wish to acknowledge, let alone address. In this tortured year of racial
tension, violence, and questions about police power, The Wire is more timely than ever.
Outside of class, students will view films like The Big Lebowski, closely examine the
story “beats” that advance the narrative, and answer such questions as: “Who is the
protagonist?” “What is his/her goal (i.e. what does he/she want)?” “Who or what stands
in the way of the protagonist achieving this goal?”
Using the answers to these questions and the lessons gleaned from the films, each
student will produce original, focused scene work, starting small and building toward
the final project: a screenplay for a short (ten-minute) film. Student writing will be read
aloud and discussed in class to maximize the benefits of the workshop format.
The Big Lebowski (1998)
Class meets at BMFI:
8 Thursdays, September 29 to November 17,
6:30 pm to 10:00 pm
Fee: $200 for members,
$225 for non-members
In assessing the artistic vision of the show, we will examine select episodes that
demonstrate a pseudo-documentary aesthetic that can be traced back to directors
like Roberto Rossellini (Rome, Open City) and Gillo Pontecorvo (The Battle of Algiers).
We will also explore other cultural influences that serve to remind us that the show is
a conscious inheritor of two important literary traditions: social realism (e.g., Upton
Sinclair's The Jungle) and classical Greek tragedy (e.g., Aeschylus and Sophocles). By
doing so, we will endeavor to see why The Wire arguably remains television's most
completely realized vision of political art.
The Wire (2002-8)
4 Mondays, October 31 to November 21,
6:30 pm to 9:30 pm
Class screenings will take place
in the theater whenever possible.
Seminar: Short Attention Span Cinema
The Art of Film II
Taught by Gary M. Kramer, Author and Film Critic
Taught by Jenevieve DeLosSantos, Ph.D., Coordinator of Academic Programs, PMA
& Andrew J. Douglas, Ph.D., Director of Education, BMFI
Although they are rarely screened outside of film festivals, short films deserve anything
but short shrift. These easily digestible mini-movies are often “calling cards” for
burgeoning directors who want to showcase their talents in a modest—and modestly
budgeted—form. For example, stunt man Nash Edgerton’s short, “Spider,” left many
viewers speechless.
The cinema and the visual arts share numerous attributes, including aesthetic
considerations of perspective, light, color, and composition. Beyond such matters of form,
they are also concerned with genre, authorship, technique, and innovation. Along these
lines, there is one rather substantial way in which the two creative forms function similarly:
They are both significantly influenced—aesthetically, as well as thematically—by major
developments in such areas as politics, cultural criticism, commerce, and technology.
This course looks at comparable and significant changes in the creation and consideration
of art and film. Gallery visits and film clips will enhance our discussion of the science
fiction genre, auteur/artist theory, techniques for creating images, and the impact of
modernization as represented in the Museum’s collection and world cinema. Join us to
explore some of the parallels between the making and study of art and film, and to gain a
greater understanding of some of the ways in which we approach creative works.
The Clinch (1928) by Mabel Dwight
Class meets at the
Philadelphia Museum of Art:
4 Wednesdays, October 5 to November 2,
10:30 am to 1:30 pm (no session October 12)
BMFI Members: Please call 610-527-4008
x108 for instructions on receiving your
tuition discount for this class. To register for
this class at PMA, please call (215) 235-7469.
This seminar will showcase about a dozen contemporary short films that highlight the
strengths of the format. Examining films like “Toutes des connes,” “Fresh Guacamole,”
“Lemonade Stand,” and “Brussels,” we’ll look at how shorts use editing, casting,
and narrative strategies, and leave students with a greater appreciation for this
underestimated format.
Walt Disney said his films “appeal to the Mickey in us—that precious, ageless something
in every human being which makes us laugh at silly things and sing in the bathtub and
dream.” Indeed, in many ways his films are the embodiment of nostalgia, encompassing
the collective magical journeys we take as an audience. But sentimentality alone does
not account for the enduring popularity of Disney’s classics. These films also owe their
indelibility to his use of traditional archetypes and doctrinaire storytelling techniques.
Diegesis, mise-en-scene, and chiaroscuro are not trendy Center City nightspots
but rather some of the key terms of film analysis. This course introduces students to
cinematic grammar, giving them the vocabulary and frames of reference to view and
discuss motion pictures in an insightful and critical manner.
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Tuesday, November 1, 6:30 pm to 9:30 pm
Fee: $25 for members, $30 for non-members
Taught by Andrew M. Karasik, Film Producer, 30th Street Entertainment
Taught by Andrew J. Douglas, Ph.D., Director of Education, BMFI
From an early age, we learn to observe movies with awe and delight. Now, as we carry
that wonder with us into adulthood, we can also approach cinema as more active and
sophisticated viewers. Join us to learn to engage with the medium on its own terms
and to discover some of the techniques by which we make meaning of the movies we
see. Understanding the language of film allows you to get more enjoyment out of your
cinematic experience—and to impress your friends at the post-movie discussion!
Lemonade Stand (2012)
The Magic of Disney
The Language of Film
Screenings largely consist of clips from a wide assortment of films illustrating different
aspects of the medium’s language, including cinematography, sound, editing, and
narrative. In addition, we’ll showcase some of cinema’s most memorable images
accompanied by commentary from the cinematographers that made them.
The beauty of a short film—be it a dramatic slice of life, or a simple joke, eloquently
and visually told—is that it can be a brief, intense view into a larger world. A good short film
hooks viewers, carries them through the story, and delivers a satisfying payoff.
The best shorts prompt viewers to reassess their conceptions of cinema. Short films
may not require the investment in character development that features do, but viewers’
emotions—from laughter to sadness to discomfort—can be effectively evoked nevertheless.
The Godfather (1972)
4 Mondays, October 10 to October 31,
6:30 pm to 9:30 pm
This course will explore Disney’s early career, beginning with a survey of his short films
before moving on to his first three feature animations. Snow White and the Seven Dwarfs
(1937), the first full-color, cel-animated feature film, would change the cinematic landscape
forever, if only because its success proved that animation could engage a wide audience
for over an hour. Disney’s second full-length picture, Pinocchio (1940), adapts a simple (and
at times, gruesome) story into an inspirational masterpiece that muses on the power of
wishes and dreams. And after mastering the art of narrative filmmaking, Disney went on to
explore the link between music and image with Fantasia (1940), inspiring many subsequent
efforts to visually interpret sound, such as those found in 2001: A Space Odyssey.
Join us to gain a better appreciation of the movie magic created by the greatest showman
of the 20th century, and to understand what Roger Ebert meant when he said of Disney
and Snow White: “The word genius is easily used and has been cheapened, but when it
is used to describe Walt Disney, reflect that he conceived of this film, in all of its length,
revolutionary style and invention, when there was no other like it—and that to one degree
or another, every animated feature made since owes it something.”
Pinocchio (1940)
4 Tuesdays, November 15 to December 6,
6:30 pm to 9:30 pm
19
FILM STUDIES
To
register,
visit $125
BrynMawrFilm.org
$100
members;
non-members or call
610.527.4008
x108noted. Tuition includes
unless otherwise
digital readings; printed copies are $10.
Contemporary Israeli Cinema
Taught by Maurizio Giammarco, Ph.D., Intellectual Heritage Program, Temple University
In recent years, Israeli cinema has flourished because its films have illuminated the
contradictions, debates, and complexities of a nation still struggling to survive in the
cauldron of the Middle East. The films featured in this class reveal the dilemmas Israelis
face in their society: between tradition and modernity, marriage and divorce, religion
and secularity, Israeli and Palestinian.
In Late Marriage, Zaza is a personable 31-year-old man who has still not met his
obligation to marry and multiply. He has a secret that has kept him single despite his
parents' best efforts, and when they discover it, Zaza must choose between family
tradition and personal fulfillment. In Gett: The Trial of Viviane Amsalem, the anguished
title character seeks to divorce her longtime husband, who refuses to present her
with the eponymous document, a religious bill of divorce required under Israeli law.
This gripping film is set almost entirely inside a rabbinic court, and raises profound
questions about love and human rights.
Footnote explores the rivalry between two scholars, both experts in the highly
specialized and fiercely competitive field of Talmudic studies, who also happen to be
father and son. It is a biting satire, a poignant family drama, and an examination of the
competing claims of honesty, loyalty, ambition, and love. In A Borrowed Identity, Eyad, a
gifted Palestinian Israeli teenager, is given the chance to study at a prestigious Jewish
boarding school, where he discovers that he will have to sacrifice his identity in order
to be accepted. The film avoids polemics to offer a textured portrait of a young man
dealing with a set of crises, and in the process, illustrates the malleability of self.
YOUDON ’THAVETOB EAMOVIESTARTOLEAVEACIN EMATICLEGACY
One magical aspect of the cinema is that the most glorious images, most moving performances,
and most beloved actors are captured and preserved for us to enjoy for decades to come. I have
had the pleasure of introducing my children—and now my grandchildren—to the movies that
influenced my life and depict the times in which I have lived. I cannot tell you how much I value
this unique connection movies can build between generations.
The African Queen (1951)
National Film Registry Film Collection
The National Film Registry is the United
States National Film Preservation Board’s
selection of films for preservation in the
Library of Congress.
Since you helped to make Bryn Mawr Film Institute possible, you may share my desire to
guarantee its enduring role as a community institution where our friends, neighbors, children,
and grandchildren can continue to benefit from the best the movies have to offer for many
years to come. One way you can be part of its legacy is to join me in remembering BMFI in
your estate planning.
Late Marriage (2001)
Juliet Goodfriend
President, Bryn Mawr Film Institute
4 Mondays, November 28 to December 19,
6:30 pm to 9:30 pm
B EQ U E S T S • R E T I R E M E N T P L A N A S S E T S • L I F E I N S U R A N C E G I F T S
H OW W I L L YO U R G I F T B E U S E D?
You may make an Unrestricted Bequest, or specify a particular use for your gift.
TA L K TO YO U R F I N A N C I A L A DV I S O R
Ask your financial advisor about the federal estate tax and state and inheritance tax benefits of a
charitable bequest and how you can best achieve your philanthropic goals.
For more information on how you might support BMFI in this lasting way, go
to BrynMawrFilm.org/Support/Planned-giving, or contact Patricia Wesley,
Director of Development and Communications, at 610.527.4008 x103 or
[email protected]
Join us, then, for a cinematic exploration of the spiritual lives, ethical quandaries, and
ongoing cultural conflicts experienced by a range of Israelis through some of their
country’s more compelling and nuanced recent films.
Film History Discussion Series: 1945-Present
Moderated by Andrew J. Douglas, Ph.D., Director of Education, BMFI
Join us for a series of discussions charting a course through the post-World War II history
of motion pictures. We will take a chronological tour of international cinema, including
stops in Japan, France, the United Kingdom, Australia, Denmark and India. Films
scheduled to be discussed are:
September 19 GILDA (Charles Vidor, USA, 1946)
September 26 DRUNKEN ANGEL (Akira Kurosawa, Japan, 1948)
October 3 No Session
October 10
THE BLOB (Irvin S. Yeaworth, Jr., USA, 1958)
October 17
JULES AND JIM (François Truffaut, France, 1962)
October 24: KES (Ken Loach, UK, 1970)
October 31: GATES OF HEAVEN (Errol Morris, USA, 1978)
November 7: BREAKER MORANT (Bruce Beresford, Australia, 1980)
November 14: BABETTE’S FEAST (Gabriel Axel, Denmark, 1987)
November 21: THE ICE STORM (Ang Lee, USA, 1997)
November 28: MONSOON WEDDING (Mira Nair, India, 2001)
20
The Blob (1958)
Sessions meet at BMFI:
10 Mondays, September 19 to November 28,
noon to 3:00 pm (no session October 3)
Fee: $200 for members, $225 for
non-members (no “a la carte” enrollment)
21
Surviving Cancer In Style
At 22,
a cancer diagnosis
was the last thing I expected to come
my way. The anxiety surrounding losing
my hair was put to rest when I saw
what a natural look and feel the wigs at
Jude Plum have. The staff helped me feel
extremely reassured and comfortable
during this difficult period. I would
recommend Jude Plum to anyone in need
of an understanding, experienced, and
compassionate salon!
www.JudePlumSalon.com
Cancer survivor, Kristen Z.,
with Jude Plum.
821 W. Lancaster Avenue
Bryn Mawr, PA 19010
610.527.1770
Ella’s Grove
Hope Chest
Jos. A. Bank
Linda Golden
Menagerie
Merritt Gallery
for
her,
him,
& home
haverfordsquare.com
22
Patricia Adams Gifts
Prana House Yoga
Sherman Brothers Shoes
Stupp Furs
White Dog Cafe
haverfordsquare
379 - 385 West Lancaster Ave, Haverford, PA 19041
23
NONPROFIT
ORGANIZATION
POSTAGE
PAID
PERMIT NO. 21
FREEPORT, OH
43973
P.O. Box 1058, Bryn Mawr PA 19010
September 2016 – December 2016
Hotline: 610.527.9898
BrynMawrFilm.org
Facebook: www.facebook.com/brynmawrfilm
Follow us on Twitter: @BMFI
Follow us on Instagram: @BrynMawrFilmInstitute
Become a member of the non-profit Bryn Mawr Film Institute. Join online at BrynMawrFilm.org
Basic Annual Membership
 $60 Individual (One adult)
 $110 Couple/Family (Two adults and 


children 18 years or younger)
$35 Student (Full-time secondary
school or college)
$45 Senior Individual (One adult, 65+)
$75 Senior Couple (Two adults, 65+)
All Memberships Include:
–Discounted admission to all films
–Discounts on Film Studies courses
–Invitations to free member events
– Projections program guide mailings
–Discounted admission at Art House
Visiting Members (AHVM) theaters
– Discounts at participating businesses
– Discounted Talk Cinema subscription
– Access to BMFI’s Film Studies Library
– Volunteer opportunities
Membership cards, valid for one year
from the date of joining, will be mailed
to you.
BMFI is a nonprofit, community theater
and membership is tax deductible
to the extent allowed by law. Call
610.527.4008 x106 for details.
Make checks payable to: BMFI. Mail to:
Bryn Mawr Film Institute, PO Box 1058,
Bryn Mawr, PA 19010.
*Membership gift card is promotional and will
expire at the end of the membership year in
which it was acquired.
Sustaining Annual Memberships
 $110 Producer Individual (One adult)
All basic Individual benefits PLUS:
– Extra 10% Film Studies course discount
– Eight movie passes (valid Mon-Thurs)
– Priority registration for free screenings
 $200 Producer Couple
All basic Couple/Family benefits PLUS:
– Extra 10% Film Studies course discount
– Eight movie passes (valid Mon-Thurs)
NAME(S)
ADDRESS
CITY
STATE
ZIP
TELEPHONE
EMAIL (IMPORTANT FOR UPDATES)
 $500 Mogul
All basic Individual benefits PLUS:
–F
ree admission to all films for one adult
– 60% discount on Film Studies courses
– Free $25 BMFI gift card*
– Phone reservations for free admission to main attraction films
– Free popcorn
 $1,000 Angel
All Mogul benefits PLUS:
– Free admission for two adults
– Listing in the BMFI annual report
$
MEMBERSHIP DUES
 CHECK PAYABLE TO BMFI
 MASTERCARD
 VISA
 AMERICAN EXPRESS
 DISCOVER
$
EXTRA GIFT
$
TOTAL
CARD NUMBER
 $2,500 Director
All Angel benefits PLUS:
–F
ree admission to all films for the
entire family
–P
riority ticket purchase for special events
 $5,000 Film Maker
SIGNATURE
BILLING ZIP CODE
Necessary for credit card authorization
EXP. DATE
All Director benefits PLUS:
– Free tuition for Film Studies courses for the entire family
 $10,000 Cineastes
All Film Maker benefits PLUS:
–O
ne free use of the Multimedia Room
(Mon-Thurs)
– Named star under the marquee
Bryn Mawr Hospital is a proud membership sponsor
of Bryn Mawr Film Institute.
We share a vision of a vibrant and healthy community.

Dec 2016 - Bryn Mawr Film Institute

Transcription

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