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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
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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
ATTACH;FMTTYPE=image/jpeg:https://filmstudycenter.fas.harvard.edu/wp-content/uploads/2017/11/images-w1400.jpg
END:VEVENT
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
END:VEVENT
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
ATTACH;FMTTYPE=image/png:https://filmstudycenter.fas.harvard.edu/wp-content/uploads/2017/11/linefork_shadygrove-e1519043381241.png
END:VEVENT
END:VCALENDAR