Posts tagged with "Film":
The following is excerpted from Film Forum: Under Construction 2018.
The images that you see here were captured on a worksite for the expansion of Film Forum, a place where people gather with a group of strangers to watch a story unfold —something that is increasingly unusual these days. They are a celebration of an ancient ritual married to a modern technology. The technology develops but the ritual decays.What do these photographs say about watching movies? What do they recall and what do they suggest? How is it that beneath the formal pleasures of their design, their abstraction, and their use of color, they conjure something concrete about shared experience? Like a lot of abstractions, and certainly like many of Jan Staller’s photographs, these pictures are not only about a surface but the materiality below the surface. In this case the materials are the brick and mortar of the theater itself and the steel and brittle celluloid of projectors, reels and filmstrips—objects that look now like sacraments of the earliest technology of the art form. They are evocative because they are tactile. My first exposure to the movies was more sterile and electronic. It took place alone, in a dark room, late at night in front of a television set. In this respect, it was closer to the way that most people watch movies today. As I got older I went to movie theaters, spending hours of my youth in palaces called The Orpheum, The Lyric, and more prosaically (and appropriately), The Suburban World. There was something fundamentally different about going to a theater. The impact of the experience was magnified literally by the scale of its presentation and emotionally by the act of sharing it with a community. And just as importantly, by its appeal to the sensorium, something that most modern technology abjures. The theater was itself a machine, one that you entered, was turned on, and then would grind into action. Its constituent parts were hidden but somehow felt. That’s part of what these photographs evoke, but for me they also evoke memories of my early days as a film editor, when you felt the film in your hands and heard the clack of the sprockets as it ran through the machines. But before waxing too nostalgic about the older ways of doing things, it may be useful to think about two movies that I saw for the first time at Film Forum. They were both by F. W. Murnau, a German filmmaker who came to Hollywood in 1926. The first, Sunrise, was made in 1927 and is certainly one of the greatest movies of the silent period. It was a huge success, and William Fox, the man who had brought Murnau to America and who was the producer of Sunrise, asked him to do another movie. In his youth, Murnau had been something of a gear head—he was fascinated by cameras and new technology. In the interim between Sunrise and his next film for Fox, The City Girl, sound had been introduced. The new technology was alien to Murnau as an older man. He couldn’t reconcile it with his taste or his process and The City Girl was made and released as a silent film with title cards instead of dialogue. Watching it now one wonders what it would have been like otherwise. A cautionary tale about aging out of your era. The movies are wedded to technology, and for better or worse as the technology advances it changes not only how they’re made, but what we actually see and how we watch them. At a certain point resistance seems quaint and misguided. The opportunities in most cases outweigh the things we lose. The sensual pleasures of pre-digital machines are probably lost forever, but the act of gathering to watch stories, to be part of an audience, would be dangerous to lose. It is ancient and fundamental. So let’s celebrate one of the few institutions that continues to expand that opportunity. These pictures do, and they do something else—they get under the skin.
Below are dates and descriptions available on the ADFF website. JULY 27 - OCTOBER 29 ADFF: Seoul @ Storage Seoul, South Korea Presented by Storage, an experimental exhibition space opened by HyundaiCard, ADFF will screen three films per day over a four-month period. The gallery shows alternative works covering architecture, design, film, and contemporary art. AUGUST 24 - 27 ADFF: NOLA New Orleans, Louisiana Presented by the Louisiana Architectural Foundation (LAF), the opening night of the second annual ADFF: NOLA (August 24) will be held at the Contemporary Arts Center followed by a special screening of Designing Life: The Modernist Legacy of Albert C. Ledner at the New Orleans Museum of Art (NOMA) on Friday, August 25. All other screenings will be held at the Broad Theater. SEPTEMBER 23 - 24 ADFF: Tippet Rise Fishtail, Montana ADFF will present a curated selection of nine feature-length documentaries and three film shorts at the Tippet Rise Art Center—the 10,260-acre sculpture park and classical music center in the Montana highlands. On Saturday, September 23, Frances Anderton, host of KCRW’s DnA, will moderate a conversation with artist Stephen Talasnik, architect Débora Mesa, and Tippet Rise co-founder Peter Halstead. SEPTEMBER 26 – 27 Ace Hotel Screenings Chicago, Illinois During the Chicago Biennial, ADFF will host two rooftop screenings at the Ace Hotel. On September 26, the winner of AIA’s ‘I Look Up Film Challenge’—an initiative that encourages architects and filmmakers to collaborate and produce short film— will make its world premiere in addition to a screening of Design that Heals with Mass Design Principal Alan Ricks. OCTOBER 11 ADFF: Short Films Walk New York, NY ADFF and SoHo Design District present the 4th Annual Short Films Walk (SFW), where participating SoHo showrooms will screen a unique program of film shorts curated by ADFF. This year’s walk will be held from 5:00 - 9:00 pm with an expanded list of locations. NOVEMBER 1-5 ADFF: New York New York, NY In its ninth edition, ADFF’s annual anchor festival in New York will present a series of feature length and short films, panel discussions, filmmaker Q&A's, and more, at Cinépolis Chelsea (260 West 23rd Street, NYC). Film highlights include Columbus, Building Home: The Maggie’s Centres, Glenn Murcutt: Spirit of Place, Integral Man, and Land Artists: The Story of Denton Corker Marshall.
Liam Young: New Romance is the first solo exhibition for the filmmaker, storyteller, futurist, and architect in the U.S., presented by the Arthur Ross Architecture Gallery at Columbia. Young’s work is an examination of fiction, technology, and the near future through cinema and visualization. The exhibit will feature three of Young’s short films: In the Robot Skies (2016), an exploration of love in the time of drone surveillance; Where the City Can’t See (2016), a look at subcultures in the near-future world of data shot entirely with laser scanning technology; and Young’s most recent film, Renderlands (2017), a look at the half-realities of rendered worlds built with the leftovers of digital rendering projects. Alongside the films will be several props Young created for the work and research he utilized for his fictitious cinematic universes, emphasizing his focus on existing technologies and networks and how he begins to project them into unknown futures.
Liam Young: New Romance The Ross Gallery in Buell Hall Columbia University 1172 Amsterdam Avenue, New York City Through May 13, 2017
Explore three near-future worlds where technology has changed romance (and cities too) in this GSAPP exhibit
- Abacus: Small Enough to Jail is set in New York’s Chinatown.
- Neruda follows the poet and politician’s exile in 1948 Chile.
- I, Daniel Blake takes place in bleak, brutalist Newcastle, United Kingdom.
- Moonlight is located in Liberty City, the poor, 95% black community in central Miami.
- Karl Marx City is set Chemnitz (renamed Karl Marx City by East German from 1953 to 1990) and features Soviet-style factories, office buildings, and tower blocks.
- Certain Women is mostly set in rural Livingston, Montana, a small, central casting Western town with only human-scale buildings and no chain stores.
- The Human Surge, where viewers walk behind a character traversing Buenos Aires, Argentina through flooded streets and into houses, supermarkets, and tower blocks before flipping to Mozambique and then an ant colony.
- A Quiet Passion, where poet Emily Dickinson is confined to her 18th century home in Amherst, Massachusetts.
- 20th Century Women is centered in a 1906 Mission-style Santa Barbara house under constant renovation—the ceiling is taken down to its substructure, there's talk about plaster and woodwork, sanding the balustrade, repairing the green tile fireplace.
- The Settlers, which graphically shows, from a drones-eye-view, how the West Bank settlements are deeply—and permanently—entrenched in the infrastructure.
- My Journey Through French Cinema, whose director and producer Bertrand Tavernier shows us clips of his favorites, including The Things of Life (Les Choses de la vie, directed by Claude Sautet) where Michel Piccoli plays a Paris-based architect.