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BEGIN:VEVENT
DTSTART;TZID=UTC:20181016T140000
DTEND;TZID=UTC:20181016T160000
DTSTAMP:20181010T213010Z
CREATED:20180927T225303Z
LAST-MODIFIED:20181010T213010Z
UID:15179-1539698400-1539705600@filmstudycenter.fas.harvard.edu
SUMMARY:Workshop: Interview Techniques with Julie Mallozzi
DESCRIPTION:In this workshop students will learn the basics of recording video and/or audio interviews including how to prepare questions\, how to set up the camera\, lights\, and microphone\, and how to conduct the interview to get the most powerful and editable answers. \n  \nIn addition to her role as the Film Study Center’s Administrative Director Julie Mallozzi is a documentary filmmaker. Her work explores the ways cultural traditions from around the globe intersect\, hybridize\, and are turned to new social purposes far from their original context. Her films have won awards at festivals around the world and have screened in museums\, universities\, and on public television. Mallozzi has also created over 100 videos and transmedia projects for community organizations. She received her BA from Harvard University and her MFA from San Francisco Art Institute. Mallozzi has taught at Harvard University\, Massachusetts College of Art and Design\, Boston University\, and Rhode Island School of Design. \n  \nKindly RSVP as there is a limit of 20 participants.
URL:https://filmstudycenter.fas.harvard.edu/event/workshop-interview-techniques-with-julie-mallozzi/
LOCATION:Vanserg 111\, 29 Francis Ave\, Cambridge\, MA\, 02138\, United States
CATEGORIES:Workshop
ATTACH;FMTTYPE=image/jpeg:https://filmstudycenter.fas.harvard.edu/wp-content/uploads/2018/09/Julie-Mallozzi-Interview_crop.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20180928T190000
DTEND;TZID=UTC:20180928T210000
DTSTAMP:20210108T001328Z
CREATED:20180921T194652Z
LAST-MODIFIED:20210108T001328Z
UID:15132-1538161200-1538168400@filmstudycenter.fas.harvard.edu
SUMMARY:Screening & Conversation: Ali Cherri
DESCRIPTION:Moving-Image Work + Ali Cherri in Conversation with Lucien Castaing-Taylor  \nWorking across a wide range of different media\, Lebanese artist Ali Cherri (b. 1976) has steadily explored his native land as a political\, geographical\, climatic and religious territory. Whether investigating archaeological and sacred sites\, borders or seismic fault lines\, Cherri has searched for new ways to map and imagine Lebanon and its place within the Middle East. His recent solo exhibitions include Somniculus at Jeu de Paume\, Paris and CAPC musée d’art contemporain de Bordeaux (2017); Galerie Imane Farès (Oct. 2017); and Sursock Museum\, Beirut (2016). His films have been shown in international film festivals including New Directors/New Films MoMA NY; Cinéma du Réel\, Centre Pompidou; CPH:DOX (winner of NewVision Award) amongst others. Ali Cherri lives and works in Paris and Beirut. \n  \nUn Cercle autour du Soleil\nDirected by Ali Cherri\nNetherlands 2005\, digital video\, color\, 15 min. In English \nIn a cyclical structure from dark to light\, “Un Cercle autour du Soleil” is a reflection on growing up in Beirut during the civil war years\, and adapting to the “post war” life: accepting the body that is in ruin\, and learning to live in the city that is always already in ruin. – Ali Cherri \n  \nPipe Dreams\nDirected by Ali Cherri\nFrance/Lebanon 2011\, digital video\, color\, 7 min. Arabic with English subtitles \nBetween dreamscapes and reality this video is a journey in three chapters\, on the backdrop of the uprising in the Arab world. A Rise\, a Decline\, and a Fall that would create a tabula rasa and a new start. “Sometimes dreams have to hurt before they become reality” – AC \n  \nThe Disquiet\nDirected by Ali Cherri\nFrance/Lebanon 2013\, digital video\, color\, 20 min. Arabic with English subtitles \nEarth-shattering events are relatively par for the course in Lebanon\, with war\, political upheaval and a number of social revolts. While the Lebanese focus on surface-level events that could rock the nation\, few realize that below the ground we walk on\, an actual shattering of the earth is mounting. Lebanon stands on several major fault lines\, which are cracks in the earth’s crust. This film investigates the geological situation in Lebanon\, trying to look for the traces of the imminent disaster. – AC \n  \nThe Digger\nDirected by Ali Cherri\nLebanon/France/UAE 2015\, digital video\, color\, 24 min. Arabic and Pashto with English subtitles \nFor twenty years\, Sultan Zeib Khan has kept watch over a ruined Neolithic necropolis in the Sharjah desert in the United Arab Emirates. Although majestic\, the wide-angle shots have no monumentalising intent: the beauty and extent of the site speak for themselves. What is playing out here is the possibility for one man to become part of a landscape that overwhelms him yet seems to need his help. Seen under the silhouette of a rock about to devour him or as a dwarfed figure spade in hand walking from the back of the frame\, Sultan curiously busies himself from day to day to prevent the ruins… from falling into ruin. Hamlet’s words in the famous gravedigger scene come to mind: “Has this fellow no feeling of his business? He sings at grave-making.” But here the human remains have long since become archaeological artefacts: the highly luminous outside sequences alternate with shots inside a museum where the bones are sorted and laid out for the visitor’s eye. The switching between day and night but also the soundscape of the man’s singing and the sound of his transistor radio suggest that even the greatest solitude can allow itself be inhabited. Above all\, it underlines the paradox of these empty tombs\, where death is compounded by the absence of the relics. – Charlotte Garson \n 
URL:https://filmstudycenter.fas.harvard.edu/event/screening-conversation-ali-cherri/
LOCATION:Harvard Film Archive\, 24 Quincy St.\, Cambridge\, MA\, 02138\, United States
CATEGORIES:Screening & Artist Talk
ATTACH;FMTTYPE=image/jpeg:https://filmstudycenter.fas.harvard.edu/wp-content/uploads/2018/09/TheDigger_Ali_Cherri_2015-01_sm.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20180928T130000
DTEND;TZID=UTC:20180928T150000
DTSTAMP:20210108T001404Z
CREATED:20180927T224020Z
LAST-MODIFIED:20210108T001404Z
UID:15168-1538139600-1538146800@filmstudycenter.fas.harvard.edu
SUMMARY:Master Class: Ali Cherri
DESCRIPTION:Ali Cherri\, a Beirut-and-Paris based visual and video artist whose work traces correspondences between political and geological disasters in Lebanon and neighboring territories will give a Master Class on selected installation projects\, walking participants through his detailed process for making them. Ali Cherri was the 2016-17 Robert E. Fulton III Fellow at the Film Study Center. \n  \nCherri’s recent solo exhibitions include Somniculus at Jeu de Paume\, Paris and CAPC musée d’art contemporain de Bordeaux (2017); Tretyakov Gallery Moscow (Sep. 2017); Galerie Imane Farès (Oct. 2017); Jönköpings läns museum\, Sweden (2017); Sursock Museum\, Beirut (2016) and his films have been shown in International Film Festivals including New Directors/New Films MoMA NY; Cinéma du Réel\, Centre Pompidou; CPH:DOX (winner of NewVision Award); Dubai International Film Festival (winner Best Director); VideoBrasil (Southern Panorama Award); Berlinale; Toronto International Film Festival & San Francisco International Film Festival amongst others. \n  \nEnrollment limited to 35 with priority given to current Film Study Center fellows and Critical Media Practice students. RSVP required.
URL:https://filmstudycenter.fas.harvard.edu/event/ali-cherri-master-class/
LOCATION:Sever Hall 416\, 25 Harvard Yard\, Cambridge\, MA\, United States
CATEGORIES:Artist Talk
ATTACH;FMTTYPE=image/jpeg:https://filmstudycenter.fas.harvard.edu/wp-content/uploads/2018/09/SOMNICULUS.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20180927T180000
DTEND;TZID=UTC:20180927T200000
DTSTAMP:20210108T001427Z
CREATED:20180921T193505Z
LAST-MODIFIED:20210108T001427Z
UID:15118-1538071200-1538078400@filmstudycenter.fas.harvard.edu
SUMMARY:Artist Talk: Ali Cherri
DESCRIPTION:Working across a wide range of different media\, Lebanese artist Ali Cherri (b. 1976) has steadily explored his native land as a political\, geographical\, climatic and religious territory. Whether investigating archaeological and sacred sites\, borders or seismic fault lines\, Cherri has searched for new ways to map and imagine Lebanon and its place within the Middle East. His recent solo exhibitions include Somniculus at Jeu de Paume\, Paris and CAPC musée d’art contemporain de Bordeaux (2017); Galerie Imane Farès (Oct. 2017); and Sursock Museum\, Beirut (2016). His films have been shown in International Film Festivals including New Directors/New Films MoMA NY; Cinéma du Réel\, Centre Pompidou; CPH:DOX (winner of NewVision Award) amongst others. Ali Cherri lives and works in Paris and Beirut. \n  \nIn collaboration with Harvard Film Archive and the Carpenter Center for the Visual Arts. \n 
URL:https://filmstudycenter.fas.harvard.edu/event/artist-talk-ali-cherri/
LOCATION:Level 3\, Bookshop\, Carpenter Center for the Visual Arts\, 24 Quincy Street\, Cambridge\, MA\, 02138\, United States
CATEGORIES:Artist Talk
ATTACH;FMTTYPE=image/jpeg:https://filmstudycenter.fas.harvard.edu/wp-content/uploads/2018/09/Master-Class-Ali-Cherri-e1537615779942.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20180419T190000
DTEND;TZID=UTC:20180419T190000
DTSTAMP:20180316T171704Z
CREATED:20180313T033955Z
LAST-MODIFIED:20180316T171704Z
UID:14953-1524164400-1524164400@filmstudycenter.fas.harvard.edu
SUMMARY:Film Screening: Spell Reel with Filmmaker Filipa César in Person
DESCRIPTION:Spell Reel\, 2017\, Germany/Portugal/France/Guinea-Bissau\, Directed by Filipa César. \nIn Portuguese\, Fula\, Guinea-Bissau Creole\, English\, French; English subtitles. 96 min. \nA ghostly moving image of a young man’s face\, shot some fifty years earlier\, floats on the foliage of night-darkened trees in contemporary Guinea-Bissau. This image appears early in Filipa César’s 2017 film Spell Reel. By turns a political documentary\, an archival history\, and a lyrical exploration of the relation between past and present\, the film organizes itself around a trove of film footage taken during Guinea-Bissau’s war of independence from Portugal (1963-1974). Shot by four young students at the request of revolutionary leader Amílcar Cabral\, himself assassinated in 1973\, these deteriorating film reels were nearly lost when sixty percent of them were destroyed during the country’s 1998 civil war. In 2012\, César began working with the two surviving filmmakers\, Flora Gomes and Sana Na N’Hada\, as well as Berlin’s Arsenal-Institute for Film and Video Art\, to digitize the remaining footage. \nThese “spell reels\,” with their images of rural education\, guerilla warfare\, and the construction and celebration of a new country\, hover over Spell Reel\, often literally. Throughout\, black and white fragments play over the film’s current-day scenes\, capturing rhymes between the present and this irretrievable past. In the film’s contemporary scenes\, César and her collaborators create a transnational itinerant cinema\, projecting and narrating the footage for crowds across Europe and Guinea-Bissau. As audiences participate\, speaking back to the film and their fellow spectators\, the “revolutionary films” provide a space for political response—whether in the form of hopeful expressions for Guinea-Bissau’s future\, critical assessments of the state of things\, or lingering colonial attitudes. In other words these film fragments become\, as César calls them\, a “visionary prism”—offering a new lens on a world in crisis. \nCo-Sponsored with the Harvard Art Museums
URL:https://filmstudycenter.fas.harvard.edu/event/film-screening-spell-reel-with-filmmaker-filipa-cesar-in-person/
LOCATION:Harvard Film Archive\, 24 Quincy Street\, Cambridge\, MA\, United States
ATTACH;FMTTYPE=image/jpeg:https://filmstudycenter.fas.harvard.edu/wp-content/uploads/2018/03/SPELL_REEL-e1520897795398.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20180411T180000
DTEND;TZID=UTC:20180411T180000
DTSTAMP:20180410T043932Z
CREATED:20180402T190417Z
LAST-MODIFIED:20180410T043932Z
UID:14983-1523469600-1523469600@filmstudycenter.fas.harvard.edu
SUMMARY:The Tale by Jennifer Fox - Filmmaker in Person
DESCRIPTION:Free admission\, but limited seating is available.\nTickets will be distributed beginning at 5:30pm at the Broadway entrance.\nOne ticket per person.\nPlease enter the museums via the entrance on Broadway. Doors will open at 5:30pm. \n  \nThe Tale (2017\, USA\, DCP\, 114 min)\nJennifer\, a globetrotting journalist and professor\, lives an enviable life with her boyfriend in New York City. That is\, until her mother finds a story Jennifer wrote at age 13 depicting a “special” relationship with two adult coaches. Reading the yellowed pages of “The Tale\,” Jennifer discovers the coded details she composed 40 years earlier are quite unlike her recollection. Deeply shaken yet determined to square her version of events with the truth\, Jennifer sets out to find her two coaches. Returning to the Carolina horse farm where so much transpired\, Jennifer’s gangly yet tenacious seventh-grade self reawakens\, and the loving stories she told herself for decades begin to unravel. \n  \n“Seamlessly toggling between past and present\, writer/director Jennifer Fox forges a fresh and uncompromising cinematic language to penetrate the heightened internal worlds of her character at two pivotal stages. Shocking\, emotionally raw\, and destabilizing\, this investigative thriller punctures the insidious workings of unchecked power and lays bare the mechanisms of memory—refashioned over time by a growing girl in order to not only ​survive\, but to prevail.”\n– Caroline Libresco\, Senior Programmer\, Sundance Film Festival 2018 \n  \n“A landmark advance in the field of cinematic memoir…\n the #MeToo movie could hardly have arrived at a better time”\n– Peter Debruge\, Variety \n  \n“Laura Dern stuns in this unforgettable personal exploration of living with trauma.”\n– Tim Grierson\, Screen International \n  \n“An immense\, brave\, and genuinely earth-shaking self-portrait”\n– David Ehrlich\, IndieWire \n  \n“Thought-provoking and thoroughly compelling…an audacious work that blurs boundaries between fiction and nonfiction”\n– Leslie Felperin\, The Hollywood Reporter \n  \n“An invigorating and bogglingly successful experiment in cinematic form”\n– Richard Lawson\, Vanity Fair
URL:https://filmstudycenter.fas.harvard.edu/event/the-tale-by-jennifer-fox/
LOCATION:Harvard Film Archive\, 24 Quincy Street\, Cambridge\, MA\, United States
ATTACH;FMTTYPE=image/jpeg:https://filmstudycenter.fas.harvard.edu/wp-content/uploads/2018/04/TALE_01103-1-e1522681659407.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20180411T160000
DTEND;TZID=UTC:20180411T160000
DTSTAMP:20210108T001714Z
CREATED:20180223T160623Z
LAST-MODIFIED:20210108T001714Z
UID:14912-1523462400-1523462400@filmstudycenter.fas.harvard.edu
SUMMARY:FSC-Radcliffe Fellows’ Presentation: Benjamin Naishtat
DESCRIPTION:The Core \nBenjamín Naishtat is a filmmaker from Buenos Aires\, Argentina. His work includes experimental and fictional works\, such as the shorts El Juego (2010) and Historia del Mal (2011) and the features Historia del Miedo (2014) and El Movimiento (2015). His third feature film\, Rojo\, will have its release in early 2018. \nDuring his Radcliffe fellowship\, he is developing a fictional-experimental feature film project adapted from The Seven Madmen\, a 1929 Argentine novel by Roberto Arlt\, in combination with a Jules Verne novel and a violin concerto by the contemporary Argentine composer Alberto Ginastera. The main goal of the research process for this film\, and of the film itself\, is to establish connections between the spiritual mood of the late 1920s that resulted in the rise of fascism in large parts of the western world and the current ongoing streams of borderline politics and religious frenzy. \nNaishtat completed his studies at the Universidad del Cine\, in Buenos Aires\, later holding a two-year residency at Le Fresnoy-Studio national des arts contemporains\, a French institution that favors transdiciplinary interaction for artists. He has shown his work internationally\, including at the Berlinale\, Festival de Cannes\, Locarno Festival\, and the International Film Festival Rotterdam\, and at such institutions as Film Society of Lincoln Center and the Museum of Modern Art. He has won awards at the festivals of Jeonju\, Mar del Plata\, San Francisco\, Valdivia\, and Wroclaw\, among others. The Cinema South International Film Festival organized the first retrospective of his work in 2016.
URL:https://filmstudycenter.fas.harvard.edu/event/fsc-radcliffe-fellows-presentation-benjamin-naishtat/
LOCATION:Harvard Film Archive\, 24 Quincy St.\, Cambridge\, MA\, 02138\, United States
ATTACH;FMTTYPE=image/jpeg:https://filmstudycenter.fas.harvard.edu/wp-content/uploads/2018/02/BenjaminN.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20180321T160000
DTEND;TZID=UTC:20180321T160000
DTSTAMP:20180317T003600Z
CREATED:20180223T160035Z
LAST-MODIFIED:20180317T003600Z
UID:14904-1521648000-1521648000@filmstudycenter.fas.harvard.edu
SUMMARY:FSC-Radcliffe Fellows’ Presentation: Bouchra Khalili
DESCRIPTION:Free and open to the public \nTwenty-Two Hours \nDuring her fellowship\, Bouchra Khalili is dedicating herself to Twenty-Two Hours\, a video installation focusing on the politics of the relationship between author and character\, as epitomized in Prisoner of Love (Un Captif Amoreux)\, Jean Genet’s last book\, which linked the Black Panther Party and the Palestinian revolution. \nBouchra Khalili is a Moroccan-French artist. She lives and works in Berlin and Oslo. Working with film\, video\, installation\, photography\, and prints\, Khaliliʼs practice articulates language\, subjectivity\, orality\, and geographical explorations to investigate strategies and discourses of resistance as elaborated\, developed\, and narrated by individuals—often members of political minorities. \nBorn in Casablanca\, Khalili studied film at Université Sorbonne Nouvelle and visual arts at the École nationale supérieure d’arts de Paris-Cergy. She is a professor of contemporary art at the Oslo National Academy of the Arts and a founding member of La Cinémathèque de Tanger\, an artist-run nonprofit organization based in Tangiers\, Morocco. Khaliliʼs work has been internationally exhibited\, most recently at documenta 14. She has had solo exhibitions at the Museum of Modern Art\, in New York (The Mapping Journey Project\, 2016); Palais de Tokyo\, in Paris (Foreign Office\, 2015); and MACBA\, in Barcelona (Garden Conversation\, 2015). Her work has also been shown at the New Museum and at the 55th Venice Biennale. She has been the recipient of an Abraaj Group Art Prize\, a grant from the DAAD Berliner Künstlerprogramm\, the Sam Prize for Contemporary Art\, and a Vera List Center Fellowship at the New School\, among other awards.
URL:https://filmstudycenter.fas.harvard.edu/event/fsc-radcliffe-fellows-presentation-bouchra-khalili/
LOCATION:Knafel Center\, 10 Garden St.\, Cambridge\, MA\, 02138\, United States
ATTACH;FMTTYPE=image/jpeg:https://filmstudycenter.fas.harvard.edu/wp-content/uploads/2018/02/Art-Prize-2014-Bouchra-Khalili-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20180319T210000
DTEND;TZID=UTC:20180319T210000
DTSTAMP:20180317T232735Z
CREATED:20180316T172342Z
LAST-MODIFIED:20180317T232735Z
UID:14969-1521493200-1521493200@filmstudycenter.fas.harvard.edu
SUMMARY:Roger Beebe: Films for One to Eight Projectors
DESCRIPTION:Ohio-based filmmaker Roger Beebe will be presenting a program entitled Films for One to Eight Projectors\, featuring multi-projector performances on 16mm\, along with premieres of several new single channel works on video. These works take on a range of strategies from formalist investigations of the materiality of film to essayistic explorations of popular culture and topics ranging from the forbidden pleasures of men crying (“Historia Calamitatum (The Story of My Misfortunes)”) and the secret logic of the book of Genesis (“Beginnings”) to Las Vegas suicides (“Money Changes Everything”) and the real spaces of the virtual economy (“Amazonia”). \nThis program is co-presented with the AgX Film Collective.
URL:https://filmstudycenter.fas.harvard.edu/event/roger-beebe-films-for-one-to-eight-projectors-filmmaker-in-person/
LOCATION:B04 Carpenter Center for the Visual Arts\, 24 Quincy St\, Cambridge\, MA\, 02138
ATTACH;FMTTYPE=image/jpeg:https://filmstudycenter.fas.harvard.edu/wp-content/uploads/2018/03/Beebe-e1521206275485.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20180306T180000
DTEND;TZID=UTC:20180306T180000
DTSTAMP:20180306T062540Z
CREATED:20180306T041409Z
LAST-MODIFIED:20180306T062540Z
UID:14924-1520359200-1520359200@filmstudycenter.fas.harvard.edu
SUMMARY:Screening: MARIANA with director Chris Gude and programmer Cecilia Barrionuevo
DESCRIPTION:MARIANA\nChris Gude\n2017\, 64 minutes\nColombia\, Spanish with English subtitles\nPresented by Cecilia Barrionuevo and Chris Gude \nIn this experimental road movie\, director Chris Gude (Mambo Cool) follows two smugglers attempting to cross into Colombia from Venezuela. As the men drive across the sun-soaked terrain of the Guajira peninsula\, occasionally stopping off to wander or play pool in the lonely ruins of abandoned buildings\, their journey comes to symbolize a search for an idealized land. Gesturing toward Colombia’s colonial legacy (such as when the pair listen to a Hugo Chávez radio broadcast about Simón Bolívar)\, this beautifully photographed film gives the viewer ample room to ponder questions of space and identity. (Neighboring Scenes: New Latin American Cinema\, Film Society of the Lincoln Center: https://www.filmlinc.org/films/mariana/) \nScreening with: \nThe Mouth / La Bouche\nCamilo Restrepo\n2017\, 19 minutes\nFrance\, Susu with English subtitles \nFollowing his 2016 film Cilaos\, Restrepo again experiments with the musical genre in a film that uses radical aesthetics as a means of standing up to social injustice. (Neighboring Scenes: New Latin American Cinema\, Film Society of the Lincoln Center) \nCecilia Barrionuevo has a masters in documentary film from the Autonomous University of Barcelona and a programmer at the International Film Festival of Mar del Plata (Argentina) since 2010\, programming advisor at Antofadocs international Film Festival (Chile)\, guest programmer Neighboring Scenes 2018 (Lincoln Center)\, and co-editor of the series Las Naves Cine. She collaborated with cultural publications\, took part in round tables and festival juries\, taught and curated film programmes in museums. In 2013\, she was awarded the Leo Dratfield Professional Development Fellowship at the Flaherty Film Seminar. \nCecilia is a co-curator with Carlos Gutiérrez of “Neighnoring Scenes: New Latin American Cinema\,” now being presented at the Film Society of the Lincoln Center. \nChris Gude (1985\, New York) studied geography and anthropology at Middlebury College. His first film\, MAMBO COOL (2013)\, exhibited at FIDMarseille\, Viennale\, Punto de Vista\, Mar del Plata\, Cartagena\, among others. His second film\, MARIANA (2017)\, also premiered at FIDMarseille\, and has premiered at the Lincoln Center in New York as part of “Neighboring Scenes: New Latin American Cinema.”
URL:https://filmstudycenter.fas.harvard.edu/event/screening-mariana-with-director-chris-gude-and-programmer-cecilia-barrionuevo/
LOCATION:Sever Hall 416\, Harvard Yard\, Cambridge\, MA\, 02138\, United States
ATTACH;FMTTYPE=image/png:https://filmstudycenter.fas.harvard.edu/wp-content/uploads/2018/03/image.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20180303T190000
DTEND;TZID=UTC:20180303T190000
DTSTAMP:20210116T053854Z
CREATED:20180128T095044Z
LAST-MODIFIED:20210116T053854Z
UID:14524-1520103600-1520103600@filmstudycenter.fas.harvard.edu
SUMMARY:Aujourd’hui (Tey) by Alain Gomis at the HFA
DESCRIPTION:Free Admission \nFILMMAKER IN PERSON \n  \nAujourd’hui (Tey) \nDirected by Alain Gomis. With Saul Williams\, Djolof Mbengue\, Anisia Uzeyman \nFrance/Senegal 2012\, 35mm\, color\, 86 min. French and Wolof with English subtitles \nHow would you spend your last day on earth if you knew exactly when your life would end? So asks Gomis in this gentle existential parable that finds a man given the knowledge of his death and the freedom to live his last hours exactly as he pleases. Taking almost mythological form\, Aujourd’hui follows the course of this final day as its hero first stands before the judgment of family members and then steps out into the streets of Dakar animated by an intense appreciation of all that passes before his eyes and ears. For his lead actor\, Gomis made the unexpected choice of American slam poet Saul Williams\, whose inability to understand either French or Wolof makes hauntingly real his floating distance from the fleeting world and the flood of emotions\, accusations and regrets that color his poignant encounters with family\, friends and lovers. Embracing a kind of stream-of-consciousness flow as it wanders with Williams on an emotional itinerary\, Aujourd’hui is also punctuated by intense documentary style—sequences that look beyond its death-driven hero to reveal enraged protesters against the corrupt presidency of Abdoulaye Wade. In these moments\, Gomis seemingly refuses his own film’s Felliniesque oneirism by reminding us of the stark instability and injustice that has gripped Senegal in recent times. \n  \nPreceded by \n  \nLittle Light (Petite Lumière) \nDirected by Alain Gomis. With Assy Fall\, Djolof Mbengue\, Thierno Ndiaye \nFrance/Senegal 2013\, DCP\, color\, 15 min. French and Wolof with English subtitles \nThe films of Alain Gomis (b. 1972) define a richly cinematic mode of narrative portraiture. Each of his four features centers around willful characters overwhelmed by difficult circumstances that force them to question their place within a world that seems indifferent and even hostile to their plight. From the Senegalese graduate student in Gomis’ first film L’Afrance\, who must decide whether to stay in Paris without papers\, to the mother in his newest feature Félicité\, whose desperate situation drives her to seek help from friends\, family and strangers alike\, Gomis’ protagonists suddenly find themselves radically disoriented\, no longer able to find a stability within a place they once called home. Ultimately\, L’Afrance and Félicité—as well as Andalucia and Aujourd’hui—expand to pointedly question the relationship of the individual and citizen to an uncaring state while also examining the tensions and contradictions of the multi-ethnic and multi-tribal local communities redefining French and African cities today. A fascination with the vitality and dangers of urban life gives Gomis’ films a distinct rhythm and energy as they poetically alternate between the almost stream-of-consciousness perspective of their drifting characters and raw\, verité scenes of unruly\, violent city streets. \nBorn in France into a Senegalese and Bissau-Guinean family\, Alain Gomis has divided his films between France and Francophone Africa\, offering a unique vista over the sharp differences and deep bonds that continue to define the relationship between Europe and its former colonies. In many ways the extreme sensitivity of his characters—who hear\, touch and see their world with an acute yet wandering attention—embodies the same position and argument as Gomis’ humanist cinema\, which gives dignity and moving voice to lives made difficult by socioeconomic and historical injustices while pointing to the world beyond his compelling characters and their urgent stories\, toward that vital place glimpsed only from the edge of the story and frame. \nTogether with the Film Study Center and the McMillan-Stewart Foundation\, the Harvard Film Archive is proud to welcome Alain Gomis as the winner of the Film Study Center’s 2018 Geneviève McMillan-Reba Stewart Fellowship in Distinguished Filmmaking. – Haden Guest\, Director of the Harvard Film Archive \nMore details on all events with Alain Gomis here.
URL:https://filmstudycenter.fas.harvard.edu/event/the-mcmillan-stewart-fellowship-alain-gomis-4/
LOCATION:Harvard Film Archive\, 24 Quincy St.\, Cambridge\, MA\, 02138\, United States
CATEGORIES:Screening & Artist Talk
ATTACH;FMTTYPE=image/jpeg:https://filmstudycenter.fas.harvard.edu/wp-content/uploads/2018/01/aujourd-hui-e1518820021444.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20180302T190000
DTEND;TZID=UTC:20180302T190000
DTSTAMP:20210116T045707Z
CREATED:20180128T094714Z
LAST-MODIFIED:20210116T045707Z
UID:14521-1520017200-1520017200@filmstudycenter.fas.harvard.edu
SUMMARY:Félicité by Alain Gomis at the HFA
DESCRIPTION:Free Admission \nFILMMAKER IN PERSON \nPlease join us for a reception honoring Alain Gomis after the screening \n  \nFélicité \nDirected by Alain Gomis. With Véro Tshanda Beya Mputu\, Gaetan Claudia\, Papi Mpaka
France/Belgium/Senegal/Germany/Lebanon 2017\, DCP\, color\, 129 min. Lingala and French with English subtitles \nGomis’ latest work stars Congolese singer Véro Tshanda Beya Mputu in her first film role as a nightclub singer and mother whose life is suddenly turned overturned by the near-fatal accident of her wayward son. Following in the footsteps of Pasolini\, Bong Joon-Ho and Ripstein-Garciadiego\, Gomis invents an indelible maternal figure who vividly embodies the hard truths and paradoxes of motherhood: the crushing burden of responsibility; the festering resentment between mother and offspring; and the love that nevertheless grows between them\, like a stubborn root in rocky soil. Making innovative use of music\, Félicité adds a new dimension to Gomis’ cinema by offsetting Mputu’s captivating vocal performances with her real-life collaborators\, the Kasai Allstars\, against a moody and contrapuntal score provided by a local orchestra whose music floats up to accompany Mputu at some of her most difficult moments. Here\, and in unexplained nocturnal dream or fantasy sequences\, Gomis holds up melodrama as a construct—pointing to the role of melos\, or music\, to elicit emotion and empathy. Winner of top prizes in both Berlin and FESPACO\, Africa’s most important film festival\, Félicité offers both a moving portrait of resilience and an indictment of the corruption and violence that colors everyday life in the Democratic Republic of Congo. \nThe films of Alain Gomis (b. 1972) define a richly cinematic mode of narrative portraiture. Each of his four features centers around willful characters overwhelmed by difficult circumstances that force them to question their place within a world that seems indifferent and even hostile to their plight. From the Senegalese graduate student in Gomis’ first film L’Afrance\, who must decide whether to stay in Paris without papers\, to the mother in his newest feature Félicité\, whose desperate situation drives her to seek help from friends\, family and strangers alike\, Gomis’ protagonists suddenly find themselves radically disoriented\, no longer able to find a stability within a place they once called home. Ultimately\, L’Afrance and Félicité—as well as Andalucia and Aujourd’hui—expand to pointedly question the relationship of the individual and citizen to an uncaring state while also examining the tensions and contradictions of the multi-ethnic and multi-tribal local communities redefining French and African cities today. A fascination with the vitality and dangers of urban life gives Gomis’ films a distinct rhythm and energy as they poetically alternate between the almost stream-of-consciousness perspective of their drifting characters and raw\, verité scenes of unruly\, violent city streets. \nBorn in France into a Senegalese and Bissau-Guinean family\, Alain Gomis has divided his films between France and Francophone Africa\, offering a unique vista over the sharp differences and deep bonds that continue to define the relationship between Europe and its former colonies. In many ways the extreme sensitivity of his characters—who hear\, touch and see their world with an acute yet wandering attention—embodies the same position and argument as Gomis’ humanist cinema\, which gives dignity and moving voice to lives made difficult by socioeconomic and historical injustices while pointing to the world beyond his compelling characters and their urgent stories\, toward that vital place glimpsed only from the edge of the story and frame. \nTogether with the Film Study Center and the McMillan-Stewart Foundation\, the Harvard Film Archive is proud to welcome Alain Gomis as the winner of the Film Study Center’s 2018 Geneviève McMillan-Reba Stewart Fellowship in Distinguished Filmmaking. – Haden Guest\, Director of the Harvard Film Archive \nMore details on all events with Alain Gomis here.
URL:https://filmstudycenter.fas.harvard.edu/event/the-mcmillan-stewart-fellowship-alain-gomis-3/
LOCATION:Harvard Film Archive\, 24 Quincy St.\, Cambridge\, MA\, 02138\, United States
CATEGORIES:Screening & Artist Talk
ATTACH;FMTTYPE=image/jpeg:https://filmstudycenter.fas.harvard.edu/wp-content/uploads/2018/01/felicite_02_c_celine_bozon.jpg-h_2017-e1519043188501.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20180301T190000
DTEND;TZID=UTC:20180301T203000
DTSTAMP:20180224T012811Z
CREATED:20180221T155913Z
LAST-MODIFIED:20180224T012811Z
UID:14894-1519930800-1519936200@filmstudycenter.fas.harvard.edu
SUMMARY:Monuments and Other Things that Change: screening and discussion with filmmaker Masha Vlasova
DESCRIPTION:Monuments and Other Things that Change \nWalking the streets of Bishkek\, Kyrgyzstan’s capital\, I was seized by a new apprehension of how one can feel at once welcomed and estranged\, returned and displaced. The urban plan of Bishkek is a Soviet trademark\, strongly resembled the town in which I spent my childhood. I imagined that I could navigate the city equipped with the memory of my hometown. I could not. I was an outsider: a speaker of Russian and English\, but not Kyrgyz; a former citizen of the Soviet Union\, but not a local of Bishkek. \nThe film departs from a found\, untitled\, uncredited image of a Lenin monument in Bishkek. The film evolved over three years\, shaped by events as diverse as the annexation of Crimea and a failing relationship. \nSponsored by: The Film Study Center\, Inner Asian and Altaic Studies\, the Asia Center and the Davis Center
URL:https://filmstudycenter.fas.harvard.edu/event/monuments-and-other-things-that-change-screening-and-discussion-with-filmmaker-masha-vlasova/
LOCATION:B04 Carpenter Center for the Visual Arts\, 24 Quincy St\, Cambridge\, MA\, 02138
ATTACH;FMTTYPE=image/png:https://filmstudycenter.fas.harvard.edu/wp-content/uploads/2018/02/Bishkek-e1519416769898.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20180221T160000
DTEND;TZID=UTC:20180221T160000
DTSTAMP:20210108T015718Z
CREATED:20180128T084311Z
LAST-MODIFIED:20210108T015718Z
UID:14507-1519228800-1519228800@filmstudycenter.fas.harvard.edu
SUMMARY:FSC-Radcliffe Fellows' Presentation: Phillip Warnell
DESCRIPTION:Free and open to the public \n  \nAnimality\, Cinemality\, Criminality \nDuring his fellowship\, Phillip Warnell is addressing a series of interconnected questions on “animality-cinemality-criminality\,” involving engagement with film professionals and researchers relative to screen-based roles and exploring the relationship among appearance\, measurement\, and typecasting. He is also developing script-based ideas for a planned feature-length film\, currently in development\, that investigates ideas on misobservation and apparitions of other life-worlds\, accessing archival material to inform and incorporate into the project. \nPhillip Warnell is an artist-filmmaker\, a writer\, and the director of the Visible Institute\, for research in film and photography\, at Kingston University\, London. He produces film works and texts exploring a range of philosophical and poetic thematics\, also exploring ideas on human-animal relations. His most recent film\, The Flying Proletarian (2017)\, premiered at CPH:DOX\, Copenhagen International Documentary Film Festival\, in March 2017. \nWarnell’s film work has been exhibited extensively\, including recent screenings at the ICA in London\, KW Institute for Contemporary Art\, in Berlin\, and Tate Modern\, in London\, as well as in such prestigious film festivals as the Locarno Festival\, the New York Film Festival\, and the Viennale. Previous exhibitions have included at the Moderna galerija\, in Ljubljana\, Slovenia; Sharjah Biennial\, in United Arab Emirates; and Wellcome Collection\, in London. His film Ming of Harlem: Twenty One Storeys in the Air (2014) won the 2014 Georges de Beauregard International Prize at FID International Film Festival Marseille and the 2015 Universities SIC Award at IndieLisboa.
URL:https://filmstudycenter.fas.harvard.edu/event/fsc-radcliffe-fellows-presentation-phillip-warnell/
LOCATION:Harvard Film Archive\, 24 Quincy St.\, Cambridge\, MA\, 02138\, United States
ATTACH;FMTTYPE=image/jpeg:https://filmstudycenter.fas.harvard.edu/wp-content/uploads/2018/01/warnell_stripey_397-1-e1517112482710.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20180216T210000
DTEND;TZID=UTC:20180216T210000
DTSTAMP:20210116T045553Z
CREATED:20180128T085050Z
LAST-MODIFIED:20210116T045553Z
UID:14517-1518814800-1518814800@filmstudycenter.fas.harvard.edu
SUMMARY:Andalucia by Alain Gomis at the HFA
DESCRIPTION:Free Admission \n  \nAndalucia \nDirected by Alain Gomis. With Samir Guesmi\, Delphine Zingg\, Djolof Mbengue. France 2007\, 35mm\, color\, 90 min. French with English subtitles \nGomis regular Samir Guesmi stars as an eccentric outsider\, a French-Algerian social worker inspired by a never fully explained identity crisis to abandon family and home to start a new life on the far edge of Paris. Living in a trailer home alongside circus performers\, Gomis’ awkward everyman drifts in search of a new connection to French society while reconsidering his past\, recalled through a series of fragmentary flashbacks. An edgy and formally bold companion piece to L’Afrance\, Andalucia expands upon the earlier film’s portrait of Paris as a vibrant yet unstable postcolonial \nThe films of Alain Gomis (b. 1972) define a richly cinematic mode of narrative portraiture. Each of his four features centers around willful characters overwhelmed by difficult circumstances that force them to question their place within a world that seems indifferent and even hostile to their plight. From the Senegalese graduate student in Gomis’ first film L’Afrance\, who must decide whether to stay in Paris without papers\, to the mother in his newest feature Félicité\, whose desperate situation drives her to seek help from friends\, family and strangers alike\, Gomis’ protagonists suddenly find themselves radically disoriented\, no longer able to find a stability within a place they once called home. Ultimately\, L’Afrance and Félicité—as well as Andalucia and Aujourd’hui—expand to pointedly question the relationship of the individual and citizen to an uncaring state while also examining the tensions and contradictions of the multi-ethnic and multi-tribal local communities redefining French and African cities today. A fascination with the vitality and dangers of urban life gives Gomis’ films a distinct rhythm and energy as they poetically alternate between the almost stream-of-consciousness perspective of their drifting characters and raw\, verité scenes of unruly\, violent city streets. \nBorn in France into a Senegalese and Bissau-Guinean family\, Alain Gomis has divided his films between France and Francophone Africa\, offering a unique vista over the sharp differences and deep bonds that continue to define the relationship between Europe and its former colonies. In many ways the extreme sensitivity of his characters—who hear\, touch and see their world with an acute yet wandering attention—embodies the same position and argument as Gomis’ humanist cinema\, which gives dignity and moving voice to lives made difficult by socioeconomic and historical injustices while pointing to the world beyond his compelling characters and their urgent stories\, toward that vital place glimpsed only from the edge of the story and frame. \nTogether with the Film Study Center and the McMillan-Stewart Foundation\, the Harvard Film Archive is proud to welcome Alain Gomis as the winner of the Film Study Center’s 2018 Geneviève McMillan-Reba Stewart Fellowship in Distinguished Filmmaking. – Haden Guest\, Director of the Harvard Film Archive \nMore details on all events with Alain Gomis here.
URL:https://filmstudycenter.fas.harvard.edu/event/the-mcmillan-stewart-fellowship-alain-gomis-2/
LOCATION:Harvard Film Archive\, 24 Quincy St.\, Cambridge\, MA\, 02138\, United States
ATTACH;FMTTYPE=image/jpeg:https://filmstudycenter.fas.harvard.edu/wp-content/uploads/2018/01/image-w1280.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20180216T190000
DTEND;TZID=UTC:20180216T190000
DTSTAMP:20210116T045218Z
CREATED:20180128T084716Z
LAST-MODIFIED:20210116T045218Z
UID:14514-1518807600-1518807600@filmstudycenter.fas.harvard.edu
SUMMARY:L’Afrance by Alain Gomis at the HFA
DESCRIPTION:Free Admission \n  \nL’Afrance \nDirected by Alain Gomis. With Djolof Mbengue\, Delphine Zingg\, Samir Guesmi \nFrance/Senegal 2001\, 35mm\, color\, 90 min. French with English subtitles \nL’Afrance tells a tragically familiar tale of victimization by uncaring immigration laws as it follows the vertiginous voyage of an idealistic Senegalese exchange student\, El-Hadj\, studying in Paris and abruptly transformed into an illegal immigrant when he carelessly allows his visa to expire. Offering El-Hadj as an emblem of the uncertainty faced by so many Africans in Europe\, Gomis lingers upon the stark and moral decisions that force El-Hadj to question his national identity and allegiances while destabilizing his closest relationship. The film’s striking opening—the recording and playing back of a cassette “letter” from the student’s parents in Senegal—stands alone as an evocative poem of the sense of displacement and longing that defines so many immigrants’ experiences. \nThe films of Alain Gomis (b. 1972) define a richly cinematic mode of narrative portraiture. Each of his four features centers around willful characters overwhelmed by difficult circumstances that force them to question their place within a world that seems indifferent and even hostile to their plight. From the Senegalese graduate student in Gomis’ first film L’Afrance\, who must decide whether to stay in Paris without papers\, to the mother in his newest feature Félicité\, whose desperate situation drives her to seek help from friends\, family and strangers alike\, Gomis’ protagonists suddenly find themselves radically disoriented\, no longer able to find a stability within a place they once called home. Ultimately\, L’Afrance and Félicité—as well as Andalucia and Aujourd’hui—expand to pointedly question the relationship of the individual and citizen to an uncaring state while also examining the tensions and contradictions of the multi-ethnic and multi-tribal local communities redefining French and African cities today. A fascination with the vitality and dangers of urban life gives Gomis’ films a distinct rhythm and energy as they poetically alternate between the almost stream-of-consciousness perspective of their drifting characters and raw\, verité scenes of unruly\, violent city streets. \nBorn in France into a Senegalese and Bissau-Guinean family\, Alain Gomis has divided his films between France and Francophone Africa\, offering a unique vista over the sharp differences and deep bonds that continue to define the relationship between Europe and its former colonies. In many ways the extreme sensitivity of his characters—who hear\, touch and see their world with an acute yet wandering attention—embodies the same position and argument as Gomis’ humanist cinema\, which gives dignity and moving voice to lives made difficult by socioeconomic and historical injustices while pointing to the world beyond his compelling characters and their urgent stories\, toward that vital place glimpsed only from the edge of the story and frame. \nTogether with the Film Study Center and the McMillan-Stewart Foundation\, the Harvard Film Archive is proud to welcome Alain Gomis as the winner of the Film Study Center’s 2018 Geneviève McMillan-Reba Stewart Fellowship in Distinguished Filmmaking. – Haden Guest\, Director of the Harvard Film Archive \nMore details on all events with Alain Gomis here
URL:https://filmstudycenter.fas.harvard.edu/event/the-mcmillan-stewart-fellowship-alain-gomis/
LOCATION:Harvard Film Archive\, 24 Quincy St.\, Cambridge\, MA\, 02138\, United States
CATEGORIES:Screening & Artist Talk
ATTACH;FMTTYPE=image/jpeg:https://filmstudycenter.fas.harvard.edu/wp-content/uploads/2018/01/lrafrance_1_full-e1610757638314.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20180210T190000
DTEND;TZID=UTC:20180210T190000
DTSTAMP:20210121T213513Z
CREATED:20180128T083303Z
LAST-MODIFIED:20210121T213513Z
UID:14498-1518289200-1518289200@filmstudycenter.fas.harvard.edu
SUMMARY:Round Seven by Kevin Jerome Everson at the HFA
DESCRIPTION:FILMMAKER IN PERSON \n  \nRound Seven \nDirected by Kevin Jerome Everson \nUS 2018\, 16mm transferred to digital\, color\, \n19 min \nRigorously divided into seven parts corresponding to the seven rounds fought between boxers Art McKnight and Sugar Ray Leonard in a 1978 Mansfield match\, Round Seven stresses the alternately wistful\, proud and frustrated recollections of losing contestant McKnight over dreamy footage of the boxer practicing his strokes in a darkened ring. \nEars\, Nose and Throat \nDirected by Kevin Jerome Everson \nUS 2016\, 16mm transferred to digital\, color\, \n10.5 min \nDeCarrio Antwan Couley\, Everson’s son\, was murdered in 2010\, and Ears\, Nose and Throat is the second of the director’s films (following 2016’s Shadeena) to reflect on the tragedy. As in the prior film\, Everson takes a roundabout angle on the events by centering his attention on Shadeena Brooks\, a woman who witnessed the incident in front of her home. Here\, her trauma is manifested physically as she undergoes a hearing test at the doctor’s office\, the left-to-right beeping of which becomes a crucial formal element in the film’s construction. As Shadeena recounts the story in voiceover\, footage of her misidentifying the directionality of the beeping devastatingly materializes the toll of gun violence on African-American bodies. \nUndefeated \nDirected by Kevin Jerome Everson \nUS 2008\, 16mm transferred to digital\, b/w\, 1.5 min \nIn this striking single-panel sketch\, a cleverly bifurcated composition shows a man on one half of the frame tending to an engine on the side of the road while another man shadowboxes on the opposite side\, possibly to keep warm in the Midwestern winter. Throughout\, the 16mm image skips and stutters\, creating a visual analogue to the rhythm of the boxer’s gestures. \nEmergency Needs \nDirected by Kevin Jerome Everson \nUS 2007\, 16mm transferred to digital\, color\, \n7 min \nEmergency Needs centers around a press conference recorded after the Hough Riots of July 1966 with Carl B. Stokes\, then Cleveland’s (and the nation’s) first Black mayor. Employing split-screen\, Everson juxtaposes Stokes’s appearance against a word-for-word re-staging with actress Esosa Edosomwan\, provoking a heightened awareness of the moment-to-moment complexities of the high-pressure public performance. \nFe26 \nDirected by Kevin Jerome Everson \nUS 2014\, 16mm transferred to digital\, color\, \n7 min \nEverson explores petty criminality as a form of economic necessity in Fe26 by depicting a pair of copper thieves scouring the streets of East Cleveland for vulnerable manhole covers and crowbars (objects actually sculpted by the filmmaker but placed in the scene as “real”). The men describe their daily routines and struggles atop a montage of their assorted misadventures. \nCompany Line \nDirected by Kevin Jerome Everson \nUS 2009\, 16mm transferred to digital\, b/w & color\, 30 min \nShot over a particularly snowy winter in Mansfield\, Ohio\, the wistful Company Line resurrects the submerged history of the town’s earliest Black neighborhood via the testimonies of past residents and local workers—among them a pensive plowman whose evening routes through the historic streets form a key structuring element. Alternating between crude prosumer video imagery and warm 16mm color footage while peppering its soundtrack with various recurrences of a hit song by a sixties African-American girl group\, the film creates a poignant weave of past and present\, exploring a largely forgotten community through its reverberations into the modern day. \nNinety-Three \nDirected by Kevin Jerome Everson \nUS 2008\, 16mm transferred to digital\, b/w\, silent\, 3 min \nIn this wry comic miniature\, a man\, presumably celebrating his 93rd birthday\, gradually blows out 93 candles on a cake in slow-motion\, failing numerous times before finally extinguishing all remaining light. \n  \n\n  \nKEVIN JEROME EVERSON – CINEMA AND THE PRACTICE OF EVERYDAY LIFE from Friday February 2 – Monday February 26\, 2018 featuring the filmmaker in person on Feb. 9 & 10. \nSee the complete program here: http://hcl.harvard.edu/hfa/films/2017decfeb/everson.html \nPresented in collaboration with Harvard University’s Hutchins Center for African & African American Research and the Harvard Film Archive with support from the Provostial Fund for the Arts and Humanities\, Harvard.
URL:https://filmstudycenter.fas.harvard.edu/event/kevin-jerome-everson-cinema-and-the-practice-of-everyday-life-3/
LOCATION:Harvard Film Archive\, 24 Quincy St.\, Cambridge\, MA\, 02138\, United States
ATTACH;FMTTYPE=image/jpeg:https://filmstudycenter.fas.harvard.edu/wp-content/uploads/2018/01/images-w1400-e1517112599698.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20180209T190000
DTEND;TZID=UTC:20180209T190000
DTSTAMP:20210121T213436Z
CREATED:20180128T083725Z
LAST-MODIFIED:20210121T213436Z
UID:14502-1518202800-1518202800@filmstudycenter.fas.harvard.edu
SUMMARY:Erie by Kevin Jerome Everson at the HFA
DESCRIPTION:FILMMAKER IN PERSON \n  \nErie \nDirected by Kevin Jerome Everson \nUS 2010\, 16mm transferred to digital\, b/w\, \n81 min \nOstensibly a portrait of daily life around the perimeter of the titular Great Lake\, Erie offers as its second shot the Warholian anti-spectacle of a young girl\, framed in medium shot in front of a dreary concrete wall\, silently staring at a candle for just over ten minutes. In placing this scene directly after the film’s opening title card\, Everson effectively calibrates a viewer’s expectations and sensitivities for what’s to come: a series of decontextualized vignettes in which abstract pleasures—such as meditating on the passage of time and studying the evolution of figures across long durations—precede any potential expository content. With the exception of one scene in which three former employees of a General Motors plant discuss the conditions surrounding their field of work\, Erie scarcely illuminates the particular social fabrics of its chosen settings\, which range from Niagara Falls to anonymous suburban Ohio. What it does offer is a hypnotic fixation on the subject of quotidian perseverance within the Black community\, whether through a sustained study of a man tirelessly attempting to shimmy open his locked car door or a virtuosic sequence in a community auditorium that finds the camera shuffling between a pair of musicians rehearsing a piano ballad and a group of break-dancers emphatically practicing their routines\, with Everson’s roving camera finding both chaos and harmony in their competing sonic signals. \n  \n\n  \nKEVIN JEROME EVERSON – CINEMA AND THE PRACTICE OF EVERYDAY LIFE from Friday February 2 – Monday February 26\, 2018 featuring the filmmaker in person on Feb. 9 & 10. \nSee the complete program here: http://hcl.harvard.edu/hfa/films/2017decfeb/everson.html \nPresented in collaboration with Harvard University’s Hutchins Center for African & African American Research and the Harvard Film Archive with support from the Provostial Fund for the Arts and Humanities\, Harvard.
URL:https://filmstudycenter.fas.harvard.edu/event/kevin-jerome-everson-cinema-and-the-practice-of-everyday-life-4/
LOCATION:Harvard Film Archive\, 24 Quincy St.\, Cambridge\, MA\, 02138\, United States
ATTACH;FMTTYPE=image/jpeg:https://filmstudycenter.fas.harvard.edu/wp-content/uploads/2018/01/4_CATE_Everson_Erie-e1517112385162.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20180205T190000
DTEND;TZID=UTC:20180205T190000
DTSTAMP:20210121T213356Z
CREATED:20180128T082715Z
LAST-MODIFIED:20210121T213356Z
UID:14490-1517857200-1517857200@filmstudycenter.fas.harvard.edu
SUMMARY:Quality Control by Kevin Jerome Everson at the HFA
DESCRIPTION:Quality Control \nDirected by Kevin Jerome Everson \nUS 2011\, 16mm transferred to digital\, b/w\, \n71 min \nAnticipating the durational extremes of Park Lanes\, Everson’s Quality Control describes life at an Alabama dry-cleaning factory over six takes that each span the totality of a 400-foot film magazine. Unlike a more staunchly formalist examination of blue-collar labor such as Sharon Lockhart’s Lunch Break\, however\, Everson shoots handheld\, never letting the audience forget the presence of a filmmaker actively aware of his surroundings. Within these slabs of real time\, Everson finds much to observe and listen to: the ingrained routines of the laborers\, the contrapuntal movement of clothing as it carriages across the foreground\, the chatter of the employees and the background rhythms of an FM radio\, all juxtaposed against the relentless hum of the machinery. The overall impression\, strengthened by short montages of silent footage around the factory that interrupt the otherwise rigid structural framework\, is not of mechanized drudgery but rather a lively\, spirited ecosystem\, one where workers make the most of their time while plying skills long ago mastered. \n  \nPreceded by \n  \nSomething Else \nDirected by Kevin Jerome Everson \nUS 2007\, 16mm transferred to digital\, color\, \n2 min \nAn extracted clip from the 1971 Miss Black Virginia beauty pageant in which a white journalist interviewing the elated winner reveals a complicated thicket of contemporaneous attitudes toward race in Something Else\, a scrap of found-footage ephemera that demonstrates Everson’s acuity as an archival researcher. \nHow Can I Ever Be Late \nDirected by Claudrena N. Harold and Kevin Jerome Everson \nUS 2017\, 16mm transferred to digital\, b/w\, \n5 min \nCo-directed with his UVA colleague\, African-American and labor historian Claudrena N. Harold\, the joyous How Can I Ever Be Late plays as a kind of alternative music video for Sly and the Family Stone\, who are shown to be natural stars even when out of the spotlight. \n  \n\n  \nKEVIN JEROME EVERSON – CINEMA AND THE PRACTICE OF EVERYDAY LIFE from Friday February 2 – Monday February 26\, 2018 featuring the filmmaker in person on Feb. 9 & 10. \nSee the complete program here: http://hcl.harvard.edu/hfa/films/2017decfeb/everson.html \nPresented in collaboration with Harvard University’s Hutchins Center for African & African American Research and the Harvard Film Archive with support from the Provostial Fund for the Arts and Humanities\, Harvard.
URL:https://filmstudycenter.fas.harvard.edu/event/kevin-jerome-everson-cinema-and-the-practice-of-everyday-life-2/
LOCATION:Harvard Film Archive\, 24 Quincy St.\, Cambridge\, MA\, 02138\, United States
ATTACH;FMTTYPE=image/jpeg:https://filmstudycenter.fas.harvard.edu/wp-content/uploads/2018/01/QualityControl2_600px-1600x900-c-default.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20180202T190000
DTEND;TZID=UTC:20180202T190000
DTSTAMP:20210121T213323Z
CREATED:20180128T082137Z
LAST-MODIFIED:20210121T213323Z
UID:14483-1517598000-1517598000@filmstudycenter.fas.harvard.edu
SUMMARY:Tonsler Park by Kevin Jerome Everson at the HFA
DESCRIPTION:Tonsler Park \nDirected by Kevin Jerome Everson \nUS 2017\, 16mm transferred to digital\, b/w\, \n80 min \nThe contentious 2016 presidential election has been a hot talking point for almost a year now\, and yet Everson’s Tonsler Park\, which documents polling station workers in the eponymous Charlottesville\, VA precinct on November 8th\,stubbornly resists being read as any kind of cultural barometer. Seemingly eschewing topical issues altogether (the words “Trump” and “Clinton\,” for instance\, are never heard)\, the film instead bears witness to the mundanity of the polling process\, the hours burned away staring at computer screens and reciting the same pleasantries to voters over and over. What ultimately politicizes this unorthodox conceptual documentary is its choice of setting\, not only for it being the notorious site of racist commotion just months later but for the predominantly African-American populace\, a considerable sample of which become the subjects of Everson’s unblinking gaze. As non-synced ambience from the room hums away on the soundtrack\, the director trains his telephoto lenses on the faces of these generous workers\, all doing their part\, however dispassionately\, to ensure democracy is preserved. \n  \nPreceded by \n  \nPolly One \nDirected by Kevin Jerome Everson \nUS 2018\, 16mm transferred to digital\, color\, silent\, 6 min \nEverson contemplates the August 2017 solar eclipse over two skyward shots in this tranquil silent short\, which plays like a tribute to James Benning’s Ten Skies. \n  \n\n  \nKEVIN JEROME EVERSON – CINEMA AND THE PRACTICE OF EVERYDAY LIFE from Friday February 2 – Monday February 26\, 2018 featuring the filmmaker in person on Feb. 9 & 10. \nSee the complete program here: http://hcl.harvard.edu/hfa/films/2017decfeb/everson.html \nPresented in collaboration with Harvard University’s Hutchins Center for African & African American Research and the Harvard Film Archive with support from the Provostial Fund for the Arts and Humanities\, Harvard.
URL:https://filmstudycenter.fas.harvard.edu/event/kevin-jerome-everson-cinema-and-the-practice-of-everyday-life/
LOCATION:Harvard Film Archive\, 24 Quincy St.\, Cambridge\, MA\, 02138\, United States
ATTACH;FMTTYPE=image/jpeg:https://filmstudycenter.fas.harvard.edu/wp-content/uploads/2018/01/tonsler-park-2017-002-swearing-pledge-e1517112314305.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20171201T190000
DTEND;TZID=UTC:20171201T190000
DTSTAMP:20180128T192911Z
CREATED:20171106T042444Z
LAST-MODIFIED:20180128T192911Z
UID:13803-1512154800-1512154800@filmstudycenter.fas.harvard.edu
SUMMARY:Screening & Artist Talk: OUROBOROS by Basma Alsharif
DESCRIPTION:OUROBOROS BY BASMA ALSHARIF\nScreening + Q&A\nDec. 1\, 2017 7pm\nHarvard Film Archive \nIn her first feature length film Ouroboros\, Basma Alsharif pays homage to the Gaza Strip\, upending mass-mediated representations of trauma. Journeying outside of time\, the allegorical narrative is based on the eternal return and how we move forward when all is lost. – Whitney Museum of American Art
URL:https://filmstudycenter.fas.harvard.edu/event/screening-artist-talk-ouroborosby-basma-alsharif-2/
LOCATION:Harvard Film Archive\, 24 Quincy St.\, Cambridge\, MA\, 02138\, United States
CATEGORIES:Screening & Artist Talk
ATTACH;FMTTYPE=image/jpeg:https://filmstudycenter.fas.harvard.edu/wp-content/uploads/2017/11/large_alsharif-e1517149608554.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20171130T180000
DTEND;TZID=UTC:20171130T200000
DTSTAMP:20180128T192904Z
CREATED:20171106T030926Z
LAST-MODIFIED:20180128T192904Z
UID:13796-1512064800-1512072000@filmstudycenter.fas.harvard.edu
SUMMARY:Screening & Artist Talk: OUROBOROSby Basma Alsharif
DESCRIPTION:Basma Alsharif presents an evening of texts\, sounds\, and images as references and influences for her first feature-length film Ouroboros\, which screens at the Harvard Film Archive on Fri\, Dec 1\, 7 pm. \nThe event includes excerpts from Pier Paolo Pasolini’s documentary Location Hunting in Palestine\, a brief reading from Carlo Levi’s Christ Stopped at Eboli\, and sounds by musician Yann Gourdon. Also included is Alsharif’s short film Home Movies Gaza (2013\, 24 min)\, in which she captures the private and public spheres of the Gaza Strip. \nDrawing a line through the Ouroboros with Basma Alsharif is presented in collaboration with Carpenter Center for the Visual Arts\, the Harvard Film Archive and the Film Study Center at Harvard.
URL:https://filmstudycenter.fas.harvard.edu/event/screening-artist-talk-ouroborosby-basma-alsharif/
LOCATION:B04 Carpenter Center for the Visual Arts\, 24 Quincy St\, Cambridge\, MA\, 02138
CATEGORIES:Screening & Artist Talk
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BEGIN:VEVENT
DTSTART;TZID=UTC:20171114T170000
DTEND;TZID=UTC:20171114T170000
DTSTAMP:20180128T192925Z
CREATED:20171104T160409Z
LAST-MODIFIED:20180128T192925Z
UID:13764-1510678800-1510678800@filmstudycenter.fas.harvard.edu
SUMMARY:Talk: Frédérique Aït-Touati
DESCRIPTION:In this talk\, Frédérique Aït-Touati will discuss how performing research can be a way to develop creative relationships between art and theory. She will present some of the collaborative projects she has participated in\, whether theatrical plays\, performances or exhibitions\, that seek to develop a new sensitivity. Theater will be envisaged and discussed according to various heuristic functions that have been encountered: as a model\, a simulation\, a thought experiment\, a test or a tool for visualization. \nFrédérique Aït-Touati is a stage director and a historian (CNRS\, Paris). Her research focuses on the relationship between fiction and knowledge. Since 2014\, she leads the experimental programme in arts and politics of Sciences Po\, SPEAP. She is the author of Fictions of the Cosmos: Science and Literature in the Seventeenth Century (The University of Chicago Press\, 2011\, MLA Prize) and of numerous articles on literature\, history\, optical instruments and scientific discourse. She is also a regular contributor to the French national newspaper Libération. Aside from publishing\, Frédérique Aït-Touati has directed plays and performances\, including Gaia Circus Circus\, INSIDE\, The theatre of Negociations/Make it work\, among other collaborations with the philosopher Bruno Latour. Her work has been presented at Théâtre Nanterre-Amandiers\, Comédie de Reims\, Théâtre Dijon-Bourgogne\, Théâtre du Passage in Swizterland\, ZKM in Karlsruhe\, HAU in Berlin\, Mousonturm in Francfort\, The Kitchen in New York\, as well as in London and Canada. \nCo-sponsored with Critical Media Practice\, Theater\, Dance & Media and the Mahindra Humanities Center’s France and the World Seminar
URL:https://filmstudycenter.fas.harvard.edu/event/frederique-ait-touatibecoming-sensitive/
LOCATION:Farkas Hall\, Room 203\, 12 Holyoke St.\, Cambridge\, MA\, United States
CATEGORIES:Talk
ATTACH;FMTTYPE=image/jpeg:https://filmstudycenter.fas.harvard.edu/wp-content/uploads/2017/11/ait_touati-3.jpeg
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BEGIN:VEVENT
DTSTART;TZID=UTC:20171018T193000
DTEND;TZID=UTC:20171018T193000
DTSTAMP:20210108T003246Z
CREATED:20171104T234838Z
LAST-MODIFIED:20210108T003246Z
UID:13774-1508355000-1508355000@filmstudycenter.fas.harvard.edu
SUMMARY:Screening & Artist Talk: LINEFORK a film by Jeff Silva & Vic Rawlings
DESCRIPTION:LINEFORK (2017)\nRecorded by: Jeff Silva and Vic Rawlings\nSound Design & Mix: Ernst Karel\nFeaturing: Lee & Opal Sexton\nFilmmakers present \nAn immersive meditation on the passage of time and the persistent resonance of place\, LINEFORK follows the daily rituals of an elderly couple living in Kentucky’s Appalachian Mountains. Now well into his eighties\, Lee Sexton is the last living link to the distant past of a regional American music. A retired coal miner with black lung\, Lee and his wife\, Opal\, continue to farm the land where he was born. Together they face encroaching health concerns and stark economic realities. Recorded over three years\, LINEFORK is an observational film documenting their marriage\, their community\, their resilience\, and the raw yet delicate music of an unheralded banjo legend\, linked to the past yet immediately present.
URL:https://filmstudycenter.fas.harvard.edu/event/screening-artist-talk-linefork-a-film-by-jeff-silva-vic-rawlings/
LOCATION:MA
CATEGORIES:Artist Talk
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END:VCALENDAR