On November 30, 1970, New York City’s Anthology Film Archives opened its doors as the first ever “museum of film” at its original location at 425 Lafayette Street. That was an invitation-only Opening Night event with the first public screening occurring the following night, December 1.
A previous article on the Underground Film Journal uncovered the first five nights of screenings at the Anthology, and the reaction in the NYC press to this unique movie theater.
Digging around in the digital archives of the Village Voice, the Journal has been able to piece together most of the screening lineups for the month of December. Unfortunately, these archives do not contain issues for the last week of November nor the first week of December, so we do not have screening info for December 5-9.
However, below are the screenings for December 10-30. The Anthology’s original plan was to have three screenings every night...
A previous article on the Underground Film Journal uncovered the first five nights of screenings at the Anthology, and the reaction in the NYC press to this unique movie theater.
Digging around in the digital archives of the Village Voice, the Journal has been able to piece together most of the screening lineups for the month of December. Unfortunately, these archives do not contain issues for the last week of November nor the first week of December, so we do not have screening info for December 5-9.
However, below are the screenings for December 10-30. The Anthology’s original plan was to have three screenings every night...
- 8/5/2018
- by Mike Everleth
- Underground Film Journal
We wanted to give a heads-up for an exciting new publication by filmmaker, projectionist, and Notebook contributor Paul Clipson. Published by Land And Sea, Reel is a limited edition "287 page book collecting approximately 15 years of drawings and notes from his job as head projectionist/av tech at SFMoMA. The drawings illustrate the moment before the "cigarette burn" (a symbol used in film projection to indicate when to change the reel of film) shows as a reference intended to assist part-time projectionists."
Only 100 copies will be available, with 5 "artist edition" versions, which come with a DVD Clipson has made for this release of "cigarette" moments, a dust jacket of film stills, and a signed and numbered slip case. More information can be found here.
If you are in the San Francisco area, the gallery Will Brown will be hosting an event for the book release today, Sunday, March 9. If you are in the New York area,...
Only 100 copies will be available, with 5 "artist edition" versions, which come with a DVD Clipson has made for this release of "cigarette" moments, a dust jacket of film stills, and a signed and numbered slip case. More information can be found here.
If you are in the San Francisco area, the gallery Will Brown will be hosting an event for the book release today, Sunday, March 9. If you are in the New York area,...
- 3/9/2014
- by Paul Clipson
- MUBI
‘Gilda,’ ‘Pulp Fiction’: 2013 National Film Registry movies (photo: Rita Hayworth in ‘Gilda’) See previous post: “‘Mary Poppins’ in National Film Registry: Good Timing for Disney’s ‘Saving Mr. Banks.’” Billy Woodberry’s UCLA thesis film Bless Their Little Hearts (1984). Stanton Kaye’s Brandy in the Wilderness (1969). The Film Group’s Cicero March (1966), about a Civil Rights march in an all-white Chicago suburb. Norbert A. Myles’ Daughter of Dawn (1920), with Hunting Horse, Oscar Yellow Wolf, Esther Labarre. Bill Morrison’s Decasia (2002), featuring decomposing archival footage. Alfred E. Green’s Ella Cinders (1926), with Colleen Moore, Lloyd Hughes, Vera Lewis. Fred M. Wilcox’s Forbidden Planet (1956), with Walter Pidgeon, Anne Francis, Leslie Nielsen, Warren Stevens, Jack Kelly, Robby the Robot. Charles Vidor’s Gilda (1946), with Rita Hayworth, Glenn Ford, George Macready. John and Faith Hubley’s Oscar-winning animated short The Hole (1962). Stanley Kramer’s Judgment at Nuremberg (1961), with Best Actor Oscar winner Maximilian Schell,...
- 12/20/2013
- by Andre Soares
- Alt Film Guide
In the fall of 1946, Frank Stauffacher mounted a major, and very influential, retrospective of avant-garde film in the U.S. at the San Francisco Museum of Art. The series was called “Art in Cinema” and it featured ten different programs from filmmakers in the U.S., France, Germany and Canada.
By the mid-’40s, the avant-garde hadn’t taken a strong hold in the U.S. yet, so the majority of the films screened came from Europe, or by Europeans who relocated to the U.S. However, by that time also, the European avant-garde had pretty much completely petered out. Still, Stauffacher wanted to show that there was a continuity to avant-garde film history that, up until that point, had yet to be fully considered.
In conjunction with the series, the San Francisco Museum of Art published a catalog, pretty much like one would find with any major art exhibit.
By the mid-’40s, the avant-garde hadn’t taken a strong hold in the U.S. yet, so the majority of the films screened came from Europe, or by Europeans who relocated to the U.S. However, by that time also, the European avant-garde had pretty much completely petered out. Still, Stauffacher wanted to show that there was a continuity to avant-garde film history that, up until that point, had yet to be fully considered.
In conjunction with the series, the San Francisco Museum of Art published a catalog, pretty much like one would find with any major art exhibit.
- 12/15/2010
- by Mike Everleth
- Underground Film Journal
Woo-hoo! Bad Lit’s Underground Film Timeline finally reaches the modern era! Or, at least, up until 2005.
I recently just finished adding data — film titles and significant events — from Jack Sargeant’s always awesome book, Deathtripping: The Extreme Underground. Of course, Sargeant only covers one aspect of the underground film movement in this book, i.e. the Cinema of Transgression, but I’m really thrilled to have at last incorporated this time period into the timeline.
It is a bit distressing that the most serious chroniclers of underground film history typically consider the movement ending sometime in the early ’70s. Sargeant is one of the few who is connects broad swatches of history, from the ’60s to the ’00s in Deathtripping as well as in Naked Lens. And maybe I shouldn’t be so pessimistic. I know there’s a bunch of books I still have yet to check out.
I recently just finished adding data — film titles and significant events — from Jack Sargeant’s always awesome book, Deathtripping: The Extreme Underground. Of course, Sargeant only covers one aspect of the underground film movement in this book, i.e. the Cinema of Transgression, but I’m really thrilled to have at last incorporated this time period into the timeline.
It is a bit distressing that the most serious chroniclers of underground film history typically consider the movement ending sometime in the early ’70s. Sargeant is one of the few who is connects broad swatches of history, from the ’60s to the ’00s in Deathtripping as well as in Naked Lens. And maybe I shouldn’t be so pessimistic. I know there’s a bunch of books I still have yet to check out.
- 12/11/2010
- by Mike Everleth
- Underground Film Journal
First the history, then the list:
In 1969, Jerome Hill, P. Adams Sitney, Peter Kubelka, Stan Brakhage, and Jonas Mekas decided to open the world’s first museum devoted to film. Of course, a typical museum hangs its collections of artwork on the wall for visitors to walk up to and study. However, a film museum needs special considerations on how — and what, of course — to present its collection to the public.
Thus, for this film museum, first a film selection committee was formed that included James Broughton, Ken Kelman, Peter Kubelka, Jonas Mekas and P. Adams Sitney, plus, for a time, Stan Brakhage. This committee met over the course of several months to decide exactly what films would be collected and how they would be shown. The final selection of films would come to be called the The Essential Cinema Repertory.
The Essential Cinema Collection that the committee came up with consisted of about 330 films.
In 1969, Jerome Hill, P. Adams Sitney, Peter Kubelka, Stan Brakhage, and Jonas Mekas decided to open the world’s first museum devoted to film. Of course, a typical museum hangs its collections of artwork on the wall for visitors to walk up to and study. However, a film museum needs special considerations on how — and what, of course — to present its collection to the public.
Thus, for this film museum, first a film selection committee was formed that included James Broughton, Ken Kelman, Peter Kubelka, Jonas Mekas and P. Adams Sitney, plus, for a time, Stan Brakhage. This committee met over the course of several months to decide exactly what films would be collected and how they would be shown. The final selection of films would come to be called the The Essential Cinema Repertory.
The Essential Cinema Collection that the committee came up with consisted of about 330 films.
- 5/3/2010
- by Mike Everleth
- Underground Film Journal
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