Fall 2019 Visiting Film & Video Artists & Speakers Series
Lecture Hall 6 at 7:30pm (unless otherwise noted)
All events are free (except Harpur Cinema event on November 8) and open to the public. Sponsored
by Cinema Department & Harpur College Dean's Speakers Series.
Wednesday September 25, 2019
Orgone Energy Accumulator by Kenneth White
Lecture Hall B89
Screening: WR: Mysteries of the Organism (Dušan Makavejev, 1971, 85 min)
Cinema Prof. Kenneth White presents the Orgone Energy Accumulator, a mysterious device
invented by the radical Freudo-Marxist Wilhelm Reich. Reich first designed the Accumulator
in 1940, envisioning it as a kind of fallout shelter against rising fascism. Following
Reich’s blueprints, Prof. White and the artists Peggy Ahwesh, Keith Sanborn, and Soyoung
Yoon, built a new Accumulator. Prof. White will speak about the Accumulator’s purpose,
history, and legacy. Followed by a screening of WR: Mysteries of the Organism, the
acclaimed film on the life and work of Reich by Dušan Makavejev (1932–2019).
Tuesday October 15, 2019
Screening: The Passage of the Bride (16mm, 6:00 min.,1980) | The Snowman (16mm, 8:00 min., 1995) | Nocturne (16mm, 10:00 min., 1980) | Psalm II: “Walking Distance” (16mm, 23:00 min., 1999) | Remains to be Seen (Super-8 to 16mm, 17:00 min., 1989/94)
TRT: 64 min.
A celebration of artist, filmmaker, University of Colorado Boulder Professor and former
BU Cinema Department student. “Phil Solomon was among the great avant-garde filmmakers
of this era. Solomon’s films and videos create an interior universe that has rarely,
if ever, been surpassed in any medium for its intimacy, evocation of personal sensibility,
expressive dream-like sounds and images, and for its sublime—and terrifying—sense
of ambiguity between the recognizable world and its dissolution. Perhaps the last
significant innovator of special effects on celluloid, Solomon magically transforms
pre-existing images and sounds into dense landscapes.” (Steve Anker)
Thursday October 24, 2019
Screening: on/off (film, 2:30 min) | Flickering (video, 7 min.) | 4-frame movie (film, 2:30 min) | (k)now (t)here (film, 8:50 min) | orchard, 5 (film, 7:30 min) | picture day: flip side (video, 17min) | ';' (film in progress, 10min)
TRT: 59 min.
Hey-Yeun, Jang is a Korea-born, New York-based installation and film artist. She often
uses sequences of 16mm film still images to examine fleeting moments and meaning of
swallowed words: explore in-between. Her installations have been exhibited in museum
internationally and her films have screened at prestigious venues and numerous festival
in the US, Europe and Korea. She received awards from New York State Council for the
Arts and the National Endowment for the Arts.
Tuesday October 29, 2019
Introduced by Kenneth White
A celebration of the artist, writer, and filmmaker Carolee Schneemann (1939–2019),
with a special screening of celebrated Schneemann’s films Fuses (1964–67) and Kitch’s Last Meal (1973–76).
Friday November 8, 2019
Screening: Breaking the Frame (100 min., 2012)
Marielle Nitoslawska’s Breaking the Frame is a feature–length profile of the radical New York artist Carolee Schneemann. A
pioneer of performance art and avant-garde cinema, Schneemann has been breaking the
frames of the art world for five decades by challenging the taboos leveled against
the female body. Breaking the Frame is a kinetic, hyper-cinematic intervention, a
critical meditation on the intimate correlations animating art and life.
“A work about a formidable artist that is itself an important work of art.” – Mark McElhatten, Views from the Avant-Garde, New York Film Festival.
Note: Another screening will be on Sunday November 10, 2019.
Thursday November 14, 2019
Screening: Close the Lid, Gently (4:56 min.) | Performance for Perfection 1200 (13:36 min.) | Images of Flying and Falling (24:14 min.) | upCycles (7:03 min.) | In Glass Houses (8:22 min.) | Skin in the Game (5:02 min.) | Traces of Elikem (6:59 min.)
TRT: 68 min.
Using complex hand-wrought editing methods and extensive optical printing Gerstein’s work dazzles in its visual complexity and rhythmic timing. Gerstein’s recent work innovatively integrates desktop image scanners into her analog filmmaking process, capturing minute personal gestures in a sort of slow-motion real-time animation process, creating a visuality both intimate and abstract. – Steve Polta, SF Cinematheque
Her films have been screened and awarded prizes at festivals worldwide and awarded grants by New York Council for the Arts, N Y Foundation for the Arts, National Endowment for the Arts, and a Rockefeller Media Arts Fellowship.
Tuesday November 19, 2019
Screening: Chronogram of Inexistent Time (35mm to digital, 6:00 min., 2008) | Rhythm Trail (Super 8mm, 10:00 min., 2010 – 2011) | Anagrams of Light (Super 8mm, 3:00 min., 2011) | Beneath Your Skin of Deep Hollow (Super 8mm to 16mm, 3:40 min., 2010) | Lunar Almanac (16mm, 4:00 min., 2013) | Morfología de un sueño (16mm, 5:30 min., 2015) | ALTIPLANO (35mm, 15:30 min., 2018)
TRT: 48 min.
“Malena Szlam’s films are meticulously assembled using a menagerie of techniques to physically alter the film elements resulting in dreamlike, collaged, flickering images leaving viewers with a sense of wonderment, displacement and an expanded sense of time. Szlam’s careful construction of her works serves to ground and guide viewers on a serene journey through these brief and powerful cinematic experiences.” (Los Angeles Film Forum). Chilean filmmaker Malena Szlam is a member of Montréal’s Double Negative Collective.
Contact: Eric Pritchard, Department Secretary