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DTSTART;TZID=America/New_York:20251001T180000
DTEND;TZID=America/New_York:20251001T193000
DTSTAMP:20250919T141643Z
CREATED:20250108T192832Z
LAST-MODIFIED:20250919T141643Z
UID:20918-1759341600-1759347000@filmstudycenter.fas.harvard.edu
SUMMARY:Screening: Fragments for Venus with Alice Diop in person
DESCRIPTION:We are excited to welcome Gardner FSC fellow Alice Diop back to Harvard to screen her new short film Fragments for Venus (France/Italy\, 2025\, 21 minutes)\, which premiered at the Venice Film Festival and New York Film Festival. FSC -Harvard fellow Kendra McLaughlin worked as a cinematographer on the film. \n“Continuing the meditations that shaped Saint Omer (NYFF60)\, Alice Diop’s new short indexes centuries-old artistic representation in the Louvre before observing womanhood on the streets of contemporary New York. Running between refined and loose—Miu Miu costumes complement quotidian streetwear while the museum’s silent halls are juxtaposed with metropolitan clamor—Fragments for Venus poses difficult questions while celebrating everyday living’s basic pleasures.”  – New York Film Festival
URL:https://filmstudycenter.fas.harvard.edu/event/screening-fragments-for-venus-with-alice-diop-in-person/
LOCATION:Carpenter Center Theater\, CCVA\, Level 0\, 24 Quincy Street\, Cambridge\, MA\, 02138\, United States
CATEGORIES:Screening & Artist Talk
ATTACH;FMTTYPE=image/jpeg:https://filmstudycenter.fas.harvard.edu/wp-content/uploads/2025/01/Fragements-for-Venus.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250923T150000
DTEND;TZID=America/New_York:20250923T163000
DTSTAMP:20251006T155025Z
CREATED:20250108T192832Z
LAST-MODIFIED:20251006T155025Z
UID:20983-1758639600-1758645000@filmstudycenter.fas.harvard.edu
SUMMARY:HFA tour & Research Info Session
DESCRIPTION:To welcome new students\, staff\, faculty\, and artists in the AFVS\, FSC\, and CMP community\, please join us for an introduction to the Harvard Film Archive focused on the HFA’s collection. We’ll go over how to find material and arrange use for classroom screenings\, individual research\, and filmmaking projects. This informal tour & information session is open to all who are interested. \nWHEN: Tuesday\, September 23\, 2025 from 3:00 to 4:00pm\, with optional time for more focused questions from 4:00 to 4:30pm. \nWHERE: We’ll meet on the lower level of the Carpenter Center at the bottom of the stairs / in front of the theater. \nAGENDA: We’ll start with a short tour of the HFA collection spaces in the Carpenter Center and then move into CCVA classroom B-04 for an introduction to the collections\, focusing on how to locate material and request and arrange use for your classes and projects. \nFeel free to join for all or part of the event\, and if you can’t make it but are interested in learning more about the HFA\, please reach out to HFA collections archivist Amy Sloper.
URL:https://filmstudycenter.fas.harvard.edu/event/hfa-tour-research-info-session/
LOCATION:Carpenter Center Theater\, CCVA\, Level 0\, 24 Quincy Street\, Cambridge\, MA\, 02138\, United States
CATEGORIES:Screening & Artist Talk
ATTACH;FMTTYPE=image/jpeg:https://filmstudycenter.fas.harvard.edu/wp-content/uploads/2025/10/IMG_7428-scaled-e1759765105233.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250417T180000
DTEND;TZID=America/New_York:20250417T210000
DTSTAMP:20251113T163907Z
CREATED:20250108T192832Z
LAST-MODIFIED:20251113T163907Z
UID:20662-1744912800-1744923600@filmstudycenter.fas.harvard.edu
SUMMARY:The Ideal Cinematheque of the Outskirts of the World: Alice Diop\, with Amélie Galli
DESCRIPTION:Alice Diop\, the filmmaker behind groundbreaking films such as We (Nous\, 2021) and Saint Omer (2022)\, launched in 2020 The Ideal Cinematheque of the Outskirts of the World (La Cinémathèque Idéale des Banlieues du Monde)\, collecting and screening films that are formally and politically committed to exploring the urban peripheries of the great city capitals\, places that are often violently portrayed and appropriated but rarely have a chance to show their own images on their own terms. As Diop puts it\, the Ideal Cinematheque’s work of collecting and assembling representative films raises central questions: “In the periphery\, where buildings appear and disappear to the beat of human experiences and urban developments\, in a cycle that could seem infinite\, cinema represents heritage that nowadays must be revealed\, saved and shared. This parallel history of cinema is a continuous flow of erasure and disappearances. The challenge is also to question the logic of our fields of meaning\, in the critical relationship to works and their reception. What is a filmmaker or a film ‘from the periphery’? Which stories fall under this category?”\n \n\nFor this iteration of The Ideal Cinematheque of the Outskirts of the World at Harvard\, Diop\, alongside the Cinematheque programmer Amélie Galli\, will present two films by Virgil Vernier: the short Kindertotenlieder (2021) and the feature 100\,000\,000\,000\,000 (100 000 Milliards\, 2024) preceded by one of the seminal works for the Cinematheque\, Love Exists (L’amour existe\, 1960) by Maurice Pialat. Diop and Galli will present and discuss the Cinematheque and its work at the screening. \n  \n\nLove Exists (L’amour existe)\nMaurice Pialat\nFrance\, 1960\, 21 min.\nA contemplative and poetic short film that depicts the grayness of life and the monotony in the suburbs of Paris at the eve pf the 60s. But hope for social change remains. \nKindertotenlieder\nVirgil Vernier\nFrance\, 2021\, 27 min.\nThrough television news bulletins\, Kindertotenlieder revisits the 2005 riots in France\, sparked by the deaths of two teenagers from the Parisian banlieue of Clichy-sur-Bois\, who were killed during a police chase. Here\, the static formal conventions of TV news—vox pop interviews\, B-roll of burning cars\, outraged neighbors—slowly reveal a subtler narrative beneath the surface: one of neglect\, oppression\, ethnic and class divisions. \n100\,000\,000\,000\,000 (100 000 Milliards)\nVirgil Vernier\nFrance\, 2024\, 77 min.\nZakaria Bouti\, Mina Gajovic\, Victoire Song\nThey stayed up all night talking in Julia’s room. She told him about palaces\, castles\, diamonds\, and all the gold she had seen. She told him about what happened after death. Afine listened without saying a word\, dazzled by all these things he had never heard of before. \nThis event is co-presented by the Film Study Center at Harvard University and ArtsThursdays\, a university-wide initiative supported by Harvard University Committee on the Arts (HUCA).
URL:https://filmstudycenter.fas.harvard.edu/event/the-ideal-cinematheque-of-the-outskirts-of-the-world-alice-diop-with-amelie-galli/
LOCATION:Carpenter Center Theater\, CCVA\, Level 0\, 24 Quincy Street\, Cambridge\, MA\, 02138\, United States
CATEGORIES:Screening & Artist Talk
ATTACH;FMTTYPE=image/jpeg:https://filmstudycenter.fas.harvard.edu/wp-content/uploads/2025/01/100-000-Milliards-Virgil-Vernier-2024-Petit-Film-5.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250416T180000
DTEND;TZID=America/New_York:20250416T210000
DTSTAMP:20250410T180113Z
CREATED:20250108T192832Z
LAST-MODIFIED:20250410T180113Z
UID:20776-1744826400-1744837200@filmstudycenter.fas.harvard.edu
SUMMARY:Contemporary Moving Image Practices: Helena Wittmann
DESCRIPTION:In partnership with Contemporary Moving Image Practices\, the Film Study Center is delighted to host filmmaker Helena Wittmann. Please join us for a screening and talk with Witteman who will present her film\, Human Flowers of Flesh (2022\, 106 min.) \n\nHelena Wittmann’s second feature\, Human Flowers of Flesh\, sails out to the Mediterranean Sea on a small boat chartered by the stoic\, determined Ida (Angeliki Papoulia). The specifics of her crew’s mission are ambiguous\, but they are driven by an unequivocal need to search and question; the anthropologist at the heart of Wittmann’s debut feature\, Drift (2017)\, takes to the sea with a similarly all-consuming yearning. To that end\, Human Flowers is a powerfully sensory experience\, at one point plunging us into a literal deep-sea-dive sequence into the unknown. \nWithout academic pretensions\, the film meditates on the nature of physicality\, time\, consciousness\, and even the porousness of cultural borders; according to Wittmann\, the film originated with her futile attempt to make eye contact with a member of the French Foreign Legion at a base in Marseille\, which also shapes Ida’s wanderings. Immersions in nature sit alongside quotations from Marguerite Duras or Claire Denis\, which delicately expand on the original texts—most spectacularly when the specter of Beau Travail (1999) is invoked by a cameo from Denis Lavant\, in character as Galoup. These affective collages are something of an invitation: Wittmann seems to propose that the life of a work of art can only begin when it reaches the viewer\, open to its mysteries\, willing to traverse its open waters. – Chloe Lizotte\, Metrograph \nThis event is co-presented by Contemporary Moving Image Practices and the Film Study Center at Harvard University.
URL:https://filmstudycenter.fas.harvard.edu/event/contemporary-moving-image-practices-helena-wittmann/
LOCATION:Carpenter Center Theater\, CCVA\, Level 0\, 24 Quincy Street\, Cambridge\, MA\, 02138\, United States
CATEGORIES:Screening & Artist Talk
ATTACH;FMTTYPE=image/jpeg:https://filmstudycenter.fas.harvard.edu/wp-content/uploads/2025/01/HFOF_Still_07.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250402T180000
DTEND;TZID=America/New_York:20250402T210000
DTSTAMP:20250320T222932Z
CREATED:20250108T192832Z
LAST-MODIFIED:20250320T222932Z
UID:20756-1743616800-1743627600@filmstudycenter.fas.harvard.edu
SUMMARY:Contemporary Moving Image Practices: Adam Khalil
DESCRIPTION:In partnership with Contemporary Moving Image Practices\, the Film Study Center is delighted to host filmmaker Adam Khalil. Please join us for a screening and talk with Khalil who will present Endless Acknowledgment (2021\, 3 min.)\, Never Settle: The Program (2020\, 55 min.)\, and Give it Back: Crimes Against Reality (2024\, 34 min.). \n\nAdam Khalil\, a member of the Ojibway tribe\, is a filmmaker and artist from Sault Ste. Marie\, Michigan\, whose practice attempts to subvert traditional forms of ethnography through humor\, relation\, and transgression. Khalil is a core contributor to New Red Order and a co-founder of COUSINS Collective. Khalil’s work has been exhibited at the Museum of Modern Art\, Sundance Film Festival\, Walker Arts Center\, Lincoln Center\, Tate Modern\, HKW\, Museum of Contemporary Art Detroit\, Toronto Biennial 2019 and Whitney Biennial 2019\, among other institutions. Khalil is the recipient of various fellowships and grants\, including but not limited to a 2021 Creative Capital Award\, Sundance Art of Nonfiction\, Jerome Artist Fellowship\, Cinereach and the Gates Millennium Scholarship. \nThis event is co-presented by Contemporary Moving Image Practices and the Film Study Center at Harvard University.
URL:https://filmstudycenter.fas.harvard.edu/event/contemporary-moving-image-practices-adam-khalil/
LOCATION:Carpenter Center Theater\, CCVA\, Level 0\, 24 Quincy Street\, Cambridge\, MA\, 02138\, United States
CATEGORIES:Screening & Artist Talk
ATTACH;FMTTYPE=image/jpeg:https://filmstudycenter.fas.harvard.edu/wp-content/uploads/2025/01/endless_acknowledgment_stills_2-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250331T190000
DTEND;TZID=America/New_York:20250331T220000
DTSTAMP:20251113T163930Z
CREATED:20250305T192832Z
LAST-MODIFIED:20251113T163930Z
UID:20743-1743447600-1743458400@filmstudycenter.fas.harvard.edu
SUMMARY:"Afternoons of Solitude" with Albert Serra in person
DESCRIPTION:Afternoons of Solitude\n(Tardes de soledad)\nDirected by Albert Serra.\nFrance/Portugal/Spain\, 2024\, DCP\, color\, 125 min.\nSpanish with English subtitles.\nDCP source: Grasshopper Films \nA cherished project long in the making\, Serra’s observational documentary follows\, with structural precision\, the full length of a traditional corrida fought by Spain’s most celebrated toreador\, the Peruvian Andrés Roca Rey. Using almost exclusively close-up cameras and wired microphones that capture the every word and breath of the toreador and the bull alike\, Tardes de soledad plunges the viewer into the ring to offer a startling\, and ultimately salubrious\, response to the woeful trend of contemporary documentary in which ever more “dangerous” and edgy subjects are designed as somehow more real and authentic\, a trend partially ascribed\, locally\, to Harvard’s own Sensory Ethnography Lab. \nTickets: https://harvardfilmarchive.org/calendar/afternoons-of-solitude-2025-04
URL:https://filmstudycenter.fas.harvard.edu/event/afternoons-of-solitude-with-albert-serra-in-person/
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/2025/03/afternoonsofsolitude_01-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250329T190000
DTEND;TZID=America/New_York:20250329T220000
DTSTAMP:20250306T185626Z
CREATED:20250305T192832Z
LAST-MODIFIED:20250306T185626Z
UID:20740-1743274800-1743285600@filmstudycenter.fas.harvard.edu
SUMMARY:"Story of My Death" with Albert Serra in person
DESCRIPTION:Story of My Death\n(Història de la meva mort)\nDirector in Person\nScreening on Film\n$15 Special Event Tickets\nDirected by Albert Serra.\nWith Vicenç Altaió\, Lluís Serrat\, Eliseu Huertas.\nSpain/France/Romania\, 2013\, 35mm\, color\, 148 min.\nCatalan with English subtitles.\nPrint source: HFA \nThe spirit of Warhol’s stylized genre-bending collaborations with the late Paul Morrissey infuses Serra’s lush and mournful imagination of an encounter between Giacomo Casanova and Count Dracula. Starring poet and Catalan art critic Vicenç Altaió as a voluble Casanova\, Story of My Death stages the meeting of the mythical figures as embodiments of distinct ideas of human desire and\, perhaps\, a charged metaphor for the passage from the Enlightenment to Romanticism. \nTickets: https://harvardfilmarchive.org/calendar/story-of-my-death-2025-03
URL:https://filmstudycenter.fas.harvard.edu/event/story-of-my-death-with-albert-serra-in-person/
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/2025/03/Story-of-My-Death-film-still.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250328T190000
DTEND;TZID=America/New_York:20250328T223000
DTSTAMP:20250306T185447Z
CREATED:20250305T192832Z
LAST-MODIFIED:20250306T185447Z
UID:20722-1743188400-1743201000@filmstudycenter.fas.harvard.edu
SUMMARY:"Pacifiction" with Albert Serra in person
DESCRIPTION:Pacifiction\nDirector in Person\n$15 Special Event Tickets\nDirected by Albert Serra.\nWith Benoît Magimel\, Pahoa Mahagafanau\, Marc Susini.\nFrance/Spain/Germany/Portugal/French Polynesia\, 2022\, DCP\, color\, 162 min.\nFrench\, English\, Polynesian and Portuguese with English subtitles.\nDCP source: Grasshopper Films \nSerra channeled the energy of New Hollywood paranoid thrillers such as Night Moves (1975) and The Conversation (1974) into a wonderfully rambling portrait of a well-intentioned but ultimately ineffectual French diplomat trying to deter a possible nuclear threat to the Polynesian islands. Shadows gradually emerge that shift the tone of Pacifiction; tropical Technicolor gives way to a creeping darkness that eventually engulfs the film. Once-prominent French star Benôit Magimel delivers a wonderful\, offbeat performance inflected with comic touches yet imbued with the melancholy of faded stardom. \nTickets: https://harvardfilmarchive.org/calendar/pacifiction-2025-03
URL:https://filmstudycenter.fas.harvard.edu/event/pacifiction-with-albert-serra-in-person/
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/2025/01/Pacifiction-film-still.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250211T173000
DTEND;TZID=America/New_York:20250211T200000
DTSTAMP:20251113T163953Z
CREATED:20250108T192832Z
LAST-MODIFIED:20251113T163953Z
UID:20688-1739295000-1739304000@filmstudycenter.fas.harvard.edu
SUMMARY:The Personal Decolonization of my Cinematographic Glance: Masterclass with Rosine Mbakam
DESCRIPTION:Art helps shape our imagination\, our gaze and our thoughts. Cinema\, like other arts\, has contributed to the establishment of ideologies of domination\, forging an imaginary of the dominant and the dominated that endures to this day in our society. From generation to generation\, these ills are passed on\, unconsciously or consciously; they remain the same\, but take on new clothes. \nToday\, the word “decolonization” has been reclaimed and often used to deconstruct the rigidity of our society. And yet\, we are all part of this society\, and sometimes participate in its rigidity. Decolonization should start with ourselves. \nThis masterclass will examine how cinema can be a motor for questioning and deconstructing colonial patterns through a personal and intimate decolonization of your thinking\, your gaze\, your imagination\, your history. \nOpen to FSC fellows and CMP students. All others kindly RSVP to Cozette Russell\, cerussell (at) fas.harvard.edu
URL:https://filmstudycenter.fas.harvard.edu/event/the-personal-decolonization-of-my-cinematographic-glance/
LOCATION:FSC\, Harvard Yard\, Cambridge\, MA\, 02138\, United States
CATEGORIES:Artist Talk,Workshop
ATTACH;FMTTYPE=image/jpeg:https://filmstudycenter.fas.harvard.edu/wp-content/uploads/2025/01/Masterclass-with-Rosine-Mbakam_16x9.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250209T190000
DTEND;TZID=America/New_York:20250209T213000
DTSTAMP:20250122T200051Z
CREATED:20250108T192832Z
LAST-MODIFIED:20250122T200051Z
UID:20639-1739127600-1739136600@filmstudycenter.fas.harvard.edu
SUMMARY:Screening: Delphine's Prayers with Rosine Mbakam in Person
DESCRIPTION:Delphine’s Prayers\n(Les prières de Delphine)\nDirector in Person\n$15 Special Event Tickets\nDirected by Rosine Mbakam.\nBelgium/Cameroon \, 2021\, DCP\, color\, 90 min.\nFrench and Cameroon Pidgin with English subtitles.\nDCP source: Icarus Films\n\nAs with Chez jolie coiffure\, Delphine’s Prayers takes place in a single enclosed space with one woman at its center. Aside from the filmmaker’s presence\, Delphine is the sole star here. Sitting up casually in her bed\, she treats the experience like a video diary\, candidly and passionately relating her painful tale for the first time. Compelled by desperate circumstances into sex work and eventually marriage\, she describes a life besieged by poverty\, loss\, violence and trauma. Her confidante\, fellow Cameroonian Mbakam\, also immigrated to Belgium\, yet under very different circumstances. In their collaboration\, it is sometimes Delphine who directs\, signaling when to end for the day\, telling Mbakam to sit down\, “or I won’t be able to relax.” Not merely tragedy\, her saga is filled with heroic efforts to help others or to simply stay alive\, only to be met with rejection and further abuse from her family and fellow Cameroonians\, later by racist Europeans\, and now she sacrifices herself for her children’s needs\, while supporting family back home. In Mbakam’s film\, Delphine emerges as a defiant survivor and brave warrior\, telling her own story for others and praying for a better one for herself. “I am not dead\,” proclaims Delphine. “I’m still here. Now that I’m here\, I can bear witness.”\n\n\n\n\n\n\n\nThis event is co-presented by the Harvard Film Archive and the Film Study Center at Harvard University.
URL:https://filmstudycenter.fas.harvard.edu/event/rosine-mbakam-screening-delphines-prayers-with-rosine-mbakam-in-person/
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/2025/01/Delphines-Prayers.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250208T190000
DTEND;TZID=America/New_York:20250208T213000
DTSTAMP:20250109T224003Z
CREATED:20250108T192832Z
LAST-MODIFIED:20250109T224003Z
UID:20636-1739041200-1739050200@filmstudycenter.fas.harvard.edu
SUMMARY:Screening: Mambar Pierrette with Rosine Mbakam in Person
DESCRIPTION:Mambar Pierrette\nDirector in Person\nDirected by Rosine Mbakam.\nWith With Pierrette Aboheu Njeuthat\, Marguerite Mbakop\, Duval Franklin Nwodu Chinedu.\nBelgium/Cameroon/France\, 2023\, DCP\, color\, 93 min.\nFrench with English subtitles.\nDCP source: Icarus Films\n\n\n\n\n\n\n\n\n\nLingering in a convincing documentary-like state\, Mbakam’s latest feature is an extraordinary\, mesmerizing portrait of an independent\, single Cameroonian woman raising two young children\, running a sewing business and caring for her elderly mother. Despite her sought-after skills as a creative seamstress\, she struggles to make ends meet. At times resembling a contemporary Jeanne Dielman\, the film carefully details her tasks at work and home\, the constant monetary and social negotiations\, incremental disasters and setbacks\, acts of political resistance\, moments of connection and release—all woven seamlessly into the complex fabric of her daily existence. Reminiscent of the manifold roles Chez jolie coiffure’s Sabine plays in her community\, Pierrette is mother\, businesswoman\, friend and also humble recipient of others’ support. There are no sweeping acts of valor or weighty moments of self-actualization\, yet by the end\, the undaunted Pierrette has earned heroic status—made even more so upon learning that she\, along with most of the cast\, is played by a nonprofessional actor. One of Pierrette’s friends notes\, “You look like you have all of Cameroon’s cares on your shoulders.” Indeed\, the same could be said for the filmmaker\, who seems to have meticulously folded every one of those cares into this smoldering\, inconspicuous tour de force.\n\n\n\n\n\n\n\n\nThis event is co-presented by the Harvard Film Archive and the Film Study Center at Harvard University.
URL:https://filmstudycenter.fas.harvard.edu/event/mambar-pierrette/
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/2025/01/Mambar-Pierrette-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250204T183000
DTEND;TZID=America/New_York:20250204T210000
DTSTAMP:20250122T195924Z
CREATED:20250108T192832Z
LAST-MODIFIED:20250122T195924Z
UID:20652-1738693800-1738702800@filmstudycenter.fas.harvard.edu
SUMMARY:Unclaimed Experience: a night of film and video\, curated by Sara Jordenö
DESCRIPTION:From the personal to the necropolitical\, the artists in this program grapple with their own position as witnesses and the camera apparatus\, the emulsion on the celluloid film strip\, subtitles\, video and audio signals as fickle and elusive\, yet powerful\, forms of evidence\, while simultaneously embracing the relationship between sensing and making sense. \nFilms and Videos by Louise Bourque\, Africanus Okokon\, Kathryn Ramey\, Evelyn Cao\, Bryan Parcival\, Runo Lagomarsino\, Behjat Omer Abdulla\, Carlos Motta\, and Tomonari Nishikawa. \nCo-presented by the AgX Film Collective and the Film Study Center \nPROGRAM: \nSelf Portrait Post Mortem (2002)\, Louise Bourque\, 35mm\, 2:30\nSongs on the Stairs (2024)\, Bryan Parcival\, video\, 4:00\nIt’s your turn\, doctor (2018)\, Behjat Omer Abdulla\, video\, 18:52\n.srt (2019)\, Africanus Okokon\, video\, 8:00\nEchoes 1: Drumbeats Out of Time (2024) \, Bryan Parcival\, video\, 0:30\nEchoes 2: Bedtime (2024)\, Bryan Parcival\, video\, 0:30\nThe Passenger (2007)\, Kathryn Ramey\, 16mm\, 17:00\nEchoes 3: The Science Club (2024)\, Bryan Parcival\, video\, 0:30\nEchoes 4: Slices of Life\, Bryan Parcival\, video\, 1:00\nTheo by the Sea\, Evelyn Cao\, video\, 4:00\nEchoes 5: The Summoning Ritual (2024)\, Bryan Parcival\, video\, 0:30\nEchoes 6: Any Colour You Like (2024)\, Bryan Parcival\, video\, 1:30\nEchoes 7: Stormy Sea (2024)\, Bryan Parcival\, video\, 2:30\nFissures (1999)\, Louise Bourque\, 16mm\, 2:30\nEchoes 8: It’s 2:37 (2024)\, Bryan Parcival\, video\, 1:00\nEchoes 9: Foos For Thought (2024). Bryan Parcival\, video\, 0:30\nResistance and Repression (2010)\, Carlos Motta\, video\, 4:35\nEuropa Point (2019)\, Runo Lagomarsino\, video\, 4:39\nEchoes 10: Room with a View (2024)\, Bryan Parcival\, video\, 1:00\nEchoes 11: Baptism (2024)\, Bryan Parcival\, video\, 1:00\nEchoes 12: Same Song\, Second Verse (2024)\, Bryan Parcival\, video\, 1:30\nsound of a million insects\, light of a thousand stars (2014)\, Tomonari Nishikawa\, 35mm\, 2:00 \nTOTAL RUNTIME: approx. 77m.\nProjection format as noted. \nFollowed by a panel discussion with Sara Jordenö (RISD)\, Bryan Parcival (Harvard/RISD)\, Alex Green (Harvard).
URL:https://filmstudycenter.fas.harvard.edu/event/unclaimed-experience-a-night-of-film-and-video-curated-by-sara-jordeno/
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/2025/01/Bourque_16x9.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250202T190000
DTEND;TZID=America/New_York:20250202T203000
DTSTAMP:20250109T223940Z
CREATED:20250108T192832Z
LAST-MODIFIED:20250109T223940Z
UID:20625-1738522800-1738528200@filmstudycenter.fas.harvard.edu
SUMMARY:Screening: The Two Faces of a Bamiléké Woman
DESCRIPTION:The Two Faces of a Bamiléké Woman\n(Les deux visages d’une femme Bamiléké)\nDirected by Rosine Mbakam.\nBelgium/Cameroon\, DCP\, color\, 76 min.\nFrench and Bamiléké with English subtitles.\nDCP source: Icarus Films\n\n\n\n\n\nAfter seven years away\, the filmmaker returns to Yaoundé\, the village in Cameroon where she grew up\, with her white European husband and their young son. Now living in Belgium\, Mbakam not only reunites with her family and homeland but embarks upon a revelatory project of exploring her childhood\, her parents’ lives and the wider stories of Cameroonian women. The “two faces” appear in different guises: from Mbakam’s own existence between two worlds—she is an acclaimed filmmaker\, yet her mother has only been to the movies once—and the less obvious duality that older Bamiléké women balance on a daily basis\, including within unhappily arranged marriages. Mbakam’s mother directly experienced the horrific violence of French colonialism and the death of her son\, while revealing that her husband’s second wife made her miserable. Despite the hardships\, what emerges in their tales are actions of quiet\, radical rebellion. Many of the women featured work for themselves\, find loopholes in tradition or create new\, supportive ones\, like the tontine. Mbakam\, too\, has joined these ranks\, creatively responding to neocolonial repercussions by renewing the bonds between generations while illuminating the resilience\, wisdom and generosity of Bamiléké matriarchs.\n\n\n\n\n\n\n\n\nThis event is co-presented by the Harvard Film Archive and the Film Study Center at Harvard University.
URL:https://filmstudycenter.fas.harvard.edu/event/mcmillan-stewart-screening-the-two-faces-of-a-bamileke-woman-feb-2/
LOCATION:Harvard Film Archive\, 24 Quincy St.\, Cambridge\, MA\, 02138\, United States
CATEGORIES:Screening
ATTACH;FMTTYPE=image/jpeg:https://filmstudycenter.fas.harvard.edu/wp-content/uploads/2024/09/The-Two-Faces-of-a-Bamiléké-Woman-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250131T213000
DTEND;TZID=America/New_York:20250131T230000
DTSTAMP:20250123T150700Z
CREATED:20250108T192832Z
LAST-MODIFIED:20250123T150700Z
UID:20633-1738359000-1738364400@filmstudycenter.fas.harvard.edu
SUMMARY:Screening: Prism

DESCRIPTION:Prism
(Prisme)\nDirected by Rosine Mbakam\, An van Dienderen\, Éléonore Yaméogo.\nBelgium\, 2021\, DCP\, color\, 78 min.\nEnglish and French with English subtitles.\n\n\n\n\n\nFilmmakers Rosine Mbakam\, An van Dienderen and Éléonore Yaméogo collaborate on a multifaceted essay film thinking through questions around Black representation in a cinema historically white-balanced. With the participation of a variety of scholars\, artists\, actors and fellow filmmakers\, the film experimentally explores the depths that this colonization of representation erases. Upon debunking the myth of the technology’s neutrality\, they creatively crack open the Pandora’s box of implications and repercussions. Using a distinctly non-didactic\, unconventional approach\, the film is a moving and dynamic reclamation\, a poetic manifesto for an enlightened\, inclusive cinema.\n\n\n\n\n\n\n\n\nThis event is co-presented by the Harvard Film Archive and the Film Study Center at Harvard University.
URL:https://filmstudycenter.fas.harvard.edu/event/rosine-mbakam-screening-prism/
LOCATION:Harvard Film Archive\, 24 Quincy St.\, Cambridge\, MA\, 02138\, United States
CATEGORIES:Screening
ATTACH;FMTTYPE=image/jpeg:https://filmstudycenter.fas.harvard.edu/wp-content/uploads/2025/01/Prism.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250131T193000
DTEND;TZID=America/New_York:20250131T210000
DTSTAMP:20250109T223823Z
CREATED:20250108T192832Z
LAST-MODIFIED:20250109T223823Z
UID:20630-1738351800-1738357200@filmstudycenter.fas.harvard.edu
SUMMARY:Screening: Chez jolie coiffure
DESCRIPTION:Chez jolie coiffure\nDirected by Rosine Mbakam.\nBelgium/Cameroon \, 2018\, DCP\, color\, 71 min.\nFrench with English subtitles.\nDCP source: Icarus Films\n\n\n\n\n\nMbakam reveals the unseen worlds contained within the microcosm of a hair salon inside a Brussels shopping mall in a neighborhood that has become a hub of African transplants. Helmed by the steadfast Sabine\, the salon is not only a place of business\, but a community center\, therapy clinic\, or even display window—when the curious white tourists gawk—and at its most precarious\, the entire mall becomes a trap where police search for undocumented immigrants. Mbakam spent a year within the glassed-off confines of the salon\, filming Sabine as she multitasks. During the intimate swathes of time-consuming hair braiding and styling\, shop talk ranges from the misconceptions of life in Europe for African immigrants; the sex trafficking of young African women and everyone’s money troubles; to joking\, flirting and of course\, love and beauty advice. The latter are usually courtesy of Sabine\, who is the gentle guide and the stoic center of this ad-hoc sanctuary. Between helping people with their relationships\, finding housing and jobs or recruiting for her tontine\, Sabine also discloses her own traumatic tale of a hard-won\, precarious independence\, one that has taken her far away from Cameroon\, yet has enabled her to nurture a new\, improvised family making their way on unstable ground.\n\n\n\n\n\n\n\n\nThis event is co-presented by the Harvard Film Archive and the Film Study Center at Harvard University.
URL:https://filmstudycenter.fas.harvard.edu/event/rosine-mbakam-screening-chez-jolie-coiffure/
LOCATION:Harvard Film Archive\, 24 Quincy St.\, Cambridge\, MA\, 02138\, United States
CATEGORIES:Screening
ATTACH;FMTTYPE=image/jpeg:https://filmstudycenter.fas.harvard.edu/wp-content/uploads/2025/01/Chez-jolie-coiffure.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250127T193000
DTEND;TZID=America/New_York:20250127T210000
DTSTAMP:20250109T223750Z
CREATED:20250108T192832Z
LAST-MODIFIED:20250109T223750Z
UID:20622-1738006200-1738011600@filmstudycenter.fas.harvard.edu
SUMMARY:Screening: The Two Faces of a Bamiléké Woman
DESCRIPTION:The Two Faces of a Bamiléké Woman\n(Les deux visages d’une femme Bamiléké)\nDirected by Rosine Mbakam.\nBelgium/Cameroon\, DCP\, color\, 76 min.\nFrench and Bamiléké with English subtitles.\nDCP source: Icarus Films\n\n\n\n\n\nAfter seven years away\, the filmmaker returns to Yaoundé\, the village in Cameroon where she grew up\, with her white European husband and their young son. Now living in Belgium\, Mbakam not only reunites with her family and homeland but embarks upon a revelatory project of exploring her childhood\, her parents’ lives and the wider stories of Cameroonian women. The “two faces” appear in different guises: from Mbakam’s own existence between two worlds—she is an acclaimed filmmaker\, yet her mother has only been to the movies once—and the less obvious duality that older Bamiléké women balance on a daily basis\, including within unhappily arranged marriages. Mbakam’s mother directly experienced the horrific violence of French colonialism and the death of her son\, while revealing that her husband’s second wife made her miserable. Despite the hardships\, what emerges in their tales are actions of quiet\, radical rebellion. Many of the women featured work for themselves\, find loopholes in tradition or create new\, supportive ones\, like the tontine. Mbakam\, too\, has joined these ranks\, creatively responding to neocolonial repercussions by renewing the bonds between generations while illuminating the resilience\, wisdom and generosity of Bamiléké matriarchs.\n\n\n\n\n\n\n\n\nThis event is co-presented by the Harvard Film Archive and the Film Study Center at Harvard University.
URL:https://filmstudycenter.fas.harvard.edu/event/mcmillan-stewart-screening-the-two-faces-of-a-bamileke-woman/
LOCATION:Harvard Film Archive\, 24 Quincy St.\, Cambridge\, MA\, 02138\, United States
CATEGORIES:Screening
ATTACH;FMTTYPE=image/jpeg:https://filmstudycenter.fas.harvard.edu/wp-content/uploads/2024/09/The-Two-Faces-of-a-Bamiléké-Woman-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20241113T190000
DTEND;TZID=America/New_York:20241113T210000
DTSTAMP:20241105T153112Z
CREATED:20240912T182832Z
LAST-MODIFIED:20241105T153112Z
UID:20568-1731524400-1731531600@filmstudycenter.fas.harvard.edu
SUMMARY:Screening: Users with Natalia Almada
DESCRIPTION:Users\nDirected by Natalia Almada\nUnited States\, Mexico\, 2022\, DCP\, color\, 81 min.\nEnglish; Spanish with English subtitles\n\nNatalia Almada will be in conversation with Tabitha Jackson (Shorenstein fellow spring ’24) after the screening\n\nUsers begins with a mother’s question–will my children love the perfect machines more than they love me\, their imperfect mother? She pushes the button\, and a smart crib lulls her crying baby to sleep\, flawlessly every time. This question guides her inquiry into the intimate relationship we have with technology that is increasingly driving all aspects of our society. We explore the unintended and often dehumanizing consequences of our society’s embedded belief that technological progress will lead to the betterment of humanity. Is technological progress inevitable? Are we all increasingly isolated? Do we really have agency to direct its course? Is technology an expression of our humanity or is technology destroying our humanity? The film will be a critical and intimate meditation on these questions.\n\nUsers traverses places ranging from the largest indoor vertical farm in the world to the perfect artificial wave\, from an IVF embryo lab to a fiber optic cable landing. Invisible infrastructure that we all rely on is made visible. Our reliance on machines and our alienation from each other is palatable. Urgent global issues like climate change and privacy are explored from the intimate perspective of a mother thinking\, worrying and loving her children. – Icarus Films\n\nThis event is co-presented by the Shorenstein Center and the Film Study Center at Harvard University.
URL:https://filmstudycenter.fas.harvard.edu/event/screening-users-with-natalia-almada/
LOCATION:Carpenter Center Theater\, CCVA\, level 0\, 24 Quincy Street\, Cambridge\, MA\, 02138\, United States
CATEGORIES:Screening & Artist Talk
ATTACH;FMTTYPE=image/jpeg:https://filmstudycenter.fas.harvard.edu/wp-content/uploads/2024/09/Users-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20241111T190000
DTEND;TZID=America/New_York:20241111T210000
DTSTAMP:20241105T153316Z
CREATED:20240912T182832Z
LAST-MODIFIED:20241105T153316Z
UID:20551-1731351600-1731358800@filmstudycenter.fas.harvard.edu
SUMMARY:Screening: The Night Watchman (El Velador) with Natalia Almada
DESCRIPTION:The Night Watchman (El Velador)\nDirected by Natalia Almada\nMexico\, 2011\, DCP\, color\, 72 min.\nSpanish with English subtitles\n\nNatalia Almada will be in conversation with Julie Mallozzi after the screening\n\nBorn in Mexico City as the great-granddaughter of Mexico’s controversial president Plutarco Elías Calles\, Natalia Almada makes intimate films exploring the tragedies in her own family history as well as the current violence in Mexico’s Sinaloa region. Her poetic\, multilayered approaches to storytelling have won her a MacArthur Award\, two Sundance Documentary Directing Awards\, and screenings at Documenta13\, The Museum of Modern Art\, The Guggenheim Museum\, and the 2008 Whitney Biennial. This event is part of a three-day visit to Harvard that will include a Shorenstein Center screening of Almada’s film Users on November 13\, followed by a conversation with Almada and Shorenstein Documentary Film Fellow Tabitha Jackson.\n\nFrom the opening shot through a pickup truck’s foggy windshield entering a cemetery at sunset\, El Velador is infused with an atmosphere of patient dread. At its center is Martin\, who works from dusk until dawn watching over the extravagant mausoleums of some of Mexico’s most notorious drug lords. In portraying the daily labor of those who maintain the cemetery and eschewing the pervasive\, graphic images of the violence behind many of these deaths\, Almada asks viewers to consider the relationship between the workers and those honored there. Such restraint opens these spaces of contemplation throughout the film. Between Martin’s night shifts\, masons frame the high cupolas and spread their cement\, coconut vendors roll by with music playing\, and florists arrange lavish wreath displays in time for the luxury cars to arrive for services. With radio reports about the weather and the latest murders comprising most of the film’s dialogue\, El Veladorbecomes a kind of landscape film: one capturing not only the vistas of this peculiar place but an aura generated by years of gross inequality\, corruption and ever-present violence. – Julie Mallozzi\n\nCo-presented by the Shorenstein Center on Media\, Politics and Public Policy\, The Harvard Film Archive\, and the Film Study Center.\n\n \n\n\n\n 
URL:https://filmstudycenter.fas.harvard.edu/event/screening-the-night-watchman-el-velador-with-natalia-almada/
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/2024/09/The-Night-Watchman-El-Velador-with-Natalia-Almada.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20241015T150000
DTEND;TZID=America/New_York:20241015T163000
DTSTAMP:20241002T220915Z
CREATED:20240912T182832Z
LAST-MODIFIED:20241002T220915Z
UID:20536-1729004400-1729009800@filmstudycenter.fas.harvard.edu
SUMMARY:Workshop: Accessing Unique Film and Video Resources at Harvard Libraries and Harvard Film Archive
DESCRIPTION:Harvard has incredible audiovisual resources in multiple media spread across several entities on campus. In this workshop\, you will learn how to locate\, request\, and view items from Harvard’s various film collections – and about the procedures to pursue inclusion of media in your research or art projects. Amy Sloper\, Collections Archivist at the Harvard Film Archive\, will describe the collections and access instructions for Harvard Film Archive and other special collections on campus. \nLocation: CCVA 401 \n\n\n\nThis workshop is limited to 20. Priority is given to FSC fellows and CMP students. kindly RSVP: cerussell@fas.harvard.edu \n\n 
URL:https://filmstudycenter.fas.harvard.edu/event/harvard-film-archive-workshop/
LOCATION:CCVA 401\, MA\, United States
CATEGORIES:Workshop
ATTACH;FMTTYPE=image/jpeg:https://filmstudycenter.fas.harvard.edu/wp-content/uploads/2023/01/Archive_image_SQ-1111-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20240502T183000
DTEND;TZID=America/New_York:20240502T203000
DTSTAMP:20240430T210821Z
CREATED:20230115T171203Z
LAST-MODIFIED:20240430T210821Z
UID:20361-1714674600-1714681800@filmstudycenter.fas.harvard.edu
SUMMARY:Charlie Prodger Double Bill: "BRIDGIT" and "SaF05" with Radcliffe-FSC fellow Charlie Prodger
DESCRIPTION:We are thrilled to present Charlie Prodger Double Bill: BRIDGIT and SaF05 with Charlie Prodger in person\, May 2 at 6:30pm at the Carpenter Center Theater. \nThrough the prism of queer subjectivity\, Charlie Prodger’s work explores intertwined relationships between the body\, landscape\, language and technology. This double-bill comprises BRIDGIT (2016) and SaF05 (2019); the penultimate and final in Prodger’s trilogy of films that began in 2015 with Stoneymollan Trail. This autobiographical cycle traces the accumulation of affinities\, desires and losses that form a self as it moves forward in time. Prodger is a 2023-24 fellow at the Radcliffe Institute for Advanced Study. \nBRIDGIT\, 2016\n32 mins \nBRIDGIT\, for which Prodger won the 2018 Turner Prize\, takes its title from the eponymous Neolithic deity whose name has numerous iterations depending on life stage\, locality and point in history. Exploring the shifting temporal interrelations of name\, body\, and landscape\, BRIDGIT focuses on female attachments—a process of identification that includes friends\, shape-shifting deities\, and other figures of influence. A flash drive used in the production of the film is named Turiya\, a moniker of musician Alice Coltrane\, and Prodger quotes virtual systems theorist and transgender studies pioneer Sandy Stone\, citing Stone’s various names (e.g. Sandy Stone\, Allucquere Rosanne Stone\, Allucquere Rosanne “Sandy” Stone) as extended embodiments spanning time and space. BRIDGIT was shot entirely on Prodger’s phone\, which she approaches as a prosthesis or extension of the nervous system—one which also provides an intimate connection to global social interaction and work. Body and device become extensions of each other\, and the work becomes a unified meditation on shifting subjectivity. \nSaF05\, 2019\n39 mins \nSaF05\, with which Prodger represented Scotland at the 58th Venice Biennale in 2019\, draws on archival\, scientific and diaristic sources and combines footage from a number of geographical locations (the Scottish Highlands\, the Great Basin Desert\, the Okavango Delta and the Ionian Islands). SaF05 is named after a maned lioness that figures in the work as a cipher for queer attachment and desire. This animal was the last of several maned lionesses documented in the Okavango Delta\, known to Prodger only through a database of behaviours and camera-trap footage logged by conservationists. Here\, she uses film industry cameras\, a smartphone\, and a flying drone—each employed for their inherent material properties. The hum of the drone is taken up as a sonic motif that transmutates throughout the film as a bagpipe\, a cicada mating call\, a saxophone\, and a battery alarm – syncopated equivalences between animal and human\, instrument and machine. Concurrently\, Prodger’s voiceover traces a chronology of intimate gestures and interpersonal connections from pubescence to the present\, inscribed with wider political structures of sovereignty\, land use and territory. SaF05 is a meditation on relations\, however tangible\, that expand and diffuse conceptions of intimacy\, family\, sexuality and kinship. \nCharlie Prodger (b. 1974\, United Kingdom) is a Glasgow-based artist working with moving image\, writing\, sculpture\, and drawing. She was the winner of the 2018 Turner Prize and represented Scotland at the 2019 Venice Biennale. She received the 2014 Margaret Tait Award\, the 2017 Paul Hamlyn Award and is a Macdowell Fellow. Prodger is currrently a 2023–24 fellow at Harvard Radcliffe Institute and a fellow at the Harvard Film Study Center. \nProdger’s work has been exhibited internationally\, including at Secession\, Vienna; Stedelijk Museum\, Amsterdam; Kunst Museum Winterthur; Monash University Museum of Art\, Melbourne; Wesleyan University Zlkha Gallery; The Renaissance Society\, University of Chicago; Yale Center for British Art; Bunder Kunstmuseum\, Chur; Studio Voltaire\, London; Tate Britain\, London; SculptureCenter\, New York; Bergen Kunsthall; Kunstverein Dusseldorf; British Art Show 8; Spike Island\, Bristol; National Galleries of Scotland\, Edinburgh; Kunsthalle Frieburg and Artists Space\, New York. Her films have been screened at numerous film festivals\, including London Film Festival\, Bucharest International Experimental Film Festival\, Courtisane festival\, Internationale Kurzfilmtage Oberhausen\, New York Film Festival\, Vancouver International Film Festival\, Lux Biennial of Moving Images\, Kochi-Muziris Biennale\, Seoul International New Media Festival and Toronto International Film Festival. \nProdger’s writing has been published in Frieze\, F.R.DAVID\, 2HB\, The Happy Hypocrite\, Intertitles: An Anthology at the Intersection of Writing and Visual Art and What Artists Wear by Charlie Porter. She teaches at De Ateliers in Amsterdam and at Zurich University of the Arts. She is represented by Hollybush Gardens\, London and Kendall Koppe\, Glasgow. \nFree admission\, general seating \nThis event is co-presented by the Carpenter Center for the Visual Arts\, the Film Study Center at Harvard University\, and the Radcliffe Institute for Advanced Study. \n 
URL:https://filmstudycenter.fas.harvard.edu/event/charlie-prodger-double-bill-bridgit-and-saf05/
LOCATION:Carpenter Center Theater\, CCVA\, Level 0\, 24 Quincy Street\, Cambridge\, MA\, 02138\, United States
CATEGORIES:Screening & Artist Talk
ATTACH;FMTTYPE=image/jpeg:https://filmstudycenter.fas.harvard.edu/wp-content/uploads/2023/01/Chralie-Prodger-film-still.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20240417T180000
DTEND;TZID=America/New_York:20240417T203000
DTSTAMP:20240319T181849Z
CREATED:20230115T171203Z
LAST-MODIFIED:20240319T181849Z
UID:20337-1713376800-1713385800@filmstudycenter.fas.harvard.edu
SUMMARY:"All Dirt Roads Taste of Salt" screening and conversation with filmmaker Raven Jackson\, film lead Charleen McClure\, and Professor Tracy K. Smith
DESCRIPTION:Please join us for a film screening of All Dirt Roads Taste of Salt (2023)\, with a post-screening conversation with filmmaker Raven Jackson\, film lead Charleen McClure\, and Professor Tracy K. Smith. \nAll Dirt Roads Taste of Salt\nWritten and Directed by Raven Jackson\nWith Charleen McClure\, Moses Ingram\, Reginald Helms Jr.\, Zainab Jah\, Sheila Atim\, and Chris Chalk\n2023\, 92 min. \nA lyrical\, decades-spanning exploration across a woman’s life in Mississippi\, the feature debut from award-winning poet\, photographer and filmmaker Raven Jackson is a haunting and richly layered portrait\, a beautiful ode to the generations of people and places that shape us. \nRaven Jackson is an award-winning filmmaker\, poet\, and photographer from Tennessee. Her work often explores landscapes of indefinable experiences and emotions\, as well as the body’s relationship to nature. Recently nominated for an Independent Spirit Award for Best First Feature and a Gotham Award for Breakthrough Director\, Raven’s debut narrative film\, All Dirt Roads Taste of Salt\, made in partnership with Maria Altamirano\, PASTEL\, and A24\, world-premiered in the US Dramatic Competition at the 2023 Sundance Film Festival\, and was named one of the top ten movies of the year by The New Yorker\, Rolling Stone\, and RogerEbert.com. The film has received support from Cinereach\, SFFILM\, the Gotham\, Film Independent\, Tribeca Film Institute\, New Orleans Film Society\, Ikusmira Berriak\, Indie Memphis\, Kenneth Rainin Foundation\, and Westridge Foundation. \nHer short films Nettles and A Guide to Breathing Underwater are currently streaming on the Criterion Channel. Stories From a Place Where All Dirt Roads Taste of Salt\, the companion book for her debut feature\, is currently out from A24. Her photography can be found in the book\, as well as in BOMB Magazine. She is a Cave Canem fellow and holds MFAs from New York University’s Graduate Film Program and the New School’s Writing Program. Her chapbook of poetry\, little violences\, is available from Cutbank Literary Magazine. \nCharleen McClure is a Fulbright scholar and 2020 recipient of the Rona Jaffe Foundation Writer’s Award. Her debut poetry collection\, d-sorientation\, is forthcoming from BOA Editions. All Dirt Roads Taste of Salt (A24\, 2023) is her film debut. She lives a few miles off the Chattahoochee River. \nTracy K. Smith is a Pulitzer Prize-winning poet\, memoirist\, editor\, translator and librettist. She served as the 22nd Poet Laureate of the United States from 2017-19\, during which time she spearheaded American Conversations: Celebrating Poetry in Rural Communities with the Library of Congress\, created the American Public Media podcast The Slowdown\, and edited the anthology American Journal: Fifty Poems for Our Time. \nSmith is the author of five poetry collections: Such Color: New and Selected Poems\, which won the 2022 New England Book Award; Wade in the Water\, which was awarded the 2018 Anisfield-Wolf Book Award; Life on Mars\, which won the 2012 Pulitzer Prize; Duende\, winner of the 2006 James Laughlin Award of the Academy of American Poets; and The Body’s Question\, which received the 2003 Cave Canem Prize. Her memoir\, Ordinary Light\, was a finalist for the 2015 National Book Award in nonfiction. She is the co-translator (with Changtai Bi) of My Name Will Grow Wide like a Tree: Selected Poems of Yi Lei\, which was a finalist for the 2021 Griffin Poetry Prize; and co-editor (with John Freeman) of There’s a Revolution Outside\, My Love: Letters from a Crisis. Her memoir-manifesto To Free the Captives: A Plea for the American Soul was published in November 2023. \nShe is a Professor of English and of African and African American Studies at Harvard University\, and a Susan S. and Kenneth L. Wallach Professor at Harvard Radcliffe Institute. \nFree admission\, general seating \nCo-Sponsored by The Film Study Center\, the Sensory Ethnography Lab\, the Department of Art\, Film\, and Visual Studies\, the Department of English\, and the for African & African American Research \n 
URL:https://filmstudycenter.fas.harvard.edu/event/all-dirt-roads-taste-of-salt/
LOCATION:Carpenter Center Theater\, CCVA\, Level 0\, 24 Quincy Street\, Cambridge\, MA\, 02138\, United States
CATEGORIES:Screening & Artist Talk
ATTACH;FMTTYPE=image/jpeg:https://filmstudycenter.fas.harvard.edu/wp-content/uploads/2023/01/AllDirtRoads4-1600x900-c-default.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20240326T173000
DTEND;TZID=America/New_York:20240326T200000
DTSTAMP:20240305T203328Z
CREATED:20230115T171203Z
LAST-MODIFIED:20240305T203328Z
UID:20330-1711474200-1711483200@filmstudycenter.fas.harvard.edu
SUMMARY:FSC Workshop: Jean-Pierre Bekolo | Afrofuturist Cinema's Quest for Immortality
DESCRIPTION:Please join us for a workshop with McMillan-Stewart fellow\, Jean-Pierre Bekolo. In this workshop\, we critically reassess traditional cinematic practices against the backdrop of technological advancements and the rise of AI. Why should cinema adhere to conventional boundaries when technology and AI have transformed its production\, consumption\, and the world itself? The workshop prompts a reevaluation of cinema’s role in the face of profound changes and urges participants to question established approaches. Just as the world undergoes shifts in perception and relationship dynamics\, the workshop challenges participants to reconsider how cinema engages with the world\, especially concerning life\, death\, and the quest for immortality. \n  \n  \n  \n 
URL:https://filmstudycenter.fas.harvard.edu/event/workshop-jean-pierre-bekolo-afrofuturist-cinemas-quest-for-immortality/
LOCATION:Sever Hall 416\, 25 Harvard Yard\, Cambridge\, MA\, United States
CATEGORIES:Artist Talk,Workshop
ATTACH;FMTTYPE=image/jpeg:https://filmstudycenter.fas.harvard.edu/wp-content/uploads/2023/01/FSC-Workshop-Jean-Pierre-Bekolo-film-still-Naked-Reality-scaled.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20240304T190000
DTEND;TZID=America/New_York:20240421T190000
DTSTAMP:20250604T170843Z
CREATED:20230115T171203Z
LAST-MODIFIED:20250604T170843Z
UID:20298-1709578800-1713726000@filmstudycenter.fas.harvard.edu
SUMMARY:McMillan-Stewart Fellow Jean-Pierre Bekolo Retrospective at the Harvard Film Archive March 4 - April 21
DESCRIPTION:The Harvard Film Archive will host a retrospective of McMillan-Stewart fellow Jean-Pierre Bekolo’s films March 4 – April 21\, with Bekolo in attendance for screenings on March 22\, 23\, and 24. \nJEAN-PIERRE BEKOLO\, 2024 MCMILLAN-STEWART FELLOW \nIn 1992\, both Jean-Pierre Bekolo (b.1966) with Quartier Mozart and Quentin Tarantino with Reservoir Dogs (along with Julio Medem) were nominated for the London Film Festival’s prestigious Sutherland Trophy as two of the most promising cinematic voices in the years to come. Flash-forward three decades later: Hollywood filmmaker Tarantino is now a household name around the globe\, while equally talented and maverick Cameroonian/African filmmaker Jean-Pierre Bekolo has\, in spite of a truly brilliant and cerebro-visceral output\, unfortunately and\, arguably\, unjustly not received the same amount of attention. This structurally uneven and unequal political economy of world cinema\, which shapes and defines the destinies of filmmakers around the world\, underlines the need to celebrate and honor Jean-Pierre Bekolo’s insufficiently recognized\, yet thoroughly original\, deeply reflexive\, and always profoundly forward-looking cinema of questioning. \nJean-Pierre Bekolo came to cinema in the mid-1980s as a student of physics and chemistry at the University of Yaoundé in Cameroon. Taking advantage of the newly opened national television station\, he received training as an editor for two years\, in the process directing many music videos including one for popular Cameroonian musician Charlotte Mbango. From 1988 to 1990 Bekolo attended the famous Institut National de l’Audiovisuel in Paris and took courses with world-renowned film semiotician Christian Metz. After the release of three short films\, his first feature film\, Quartier Mozart (1992)\, announced the advent of a groundbreaking\, innovative voice in African and world cinema\, one who was at once part of the MTV generation of Africans and was also deeply influenced by the films of Spike Lee and by American popular cinema more broadly. Immediately\, the film was selected and celebrated at the 1992 Cannes Film Festival. \nBekolo continued to develop a rich\, multilayered and complex filmography including such classics as Aristotle’s Plot (1996)\, Les Saignantes (2005)\, and Le président (2013); exploring newer terrains with Naked Reality (2016)\, Miraculous Weapons (2017) and Nous Les Noirs (2021); and more recently producing a filmic adaptation of Djaili Amadou Amal’s novel Walaandé\, the Art of Sharing a Husband (2023)\, directed by Thierry Ntamack. In addition to filmmaking\, Bekolo’s artistic practice navigates the worlds of the gallery and the museum\, of knowledge production and dissemination as well as collective action and organizing. \nIt was clearly apparent\, at least since Aristotle’s Plot\, a film commissioned by the British Film Institute as part of its celebration of the centenary of the cinema\, that Bekolo was\, at his core\, an essayist in the noblest sense of the term\, who sought to work out his interrogations\, ideas\, thoughts and affects in his own subjectively experimental\, tentative and nondogmatic ways. Indeed\, since the end of the first decade of the 2000s\, Bekolo has been publishing essays\, blogs and various forms of reflection both on the significance and relevance of the cinema as well as on the challenges and the destiny of the African continent\, including Africa for the Future\, Sortir un nouveau monde du cinema (2009) and more recently Cinema as a Transformative Tool for the Therapeutic Intellectual (2023). Together\, these writings reveal a mind at once restless\, perpetually inquisitive and questioning\, always innovative while remaining profoundly dissatisfied with a lenifying status quo both in cinema as a means of representation and with the object of representation itself\, i.e. the real\, African and otherwise. There is in Bekolo a double impulse to transform the real itself as well as the means to represent it\, making his work profoundly philosophically inflected. \nIn addition to committing his own reflections and musings to paper\, Bekolo has also in the last decade sought to disseminate the thoughts of others through the moving image. Arguably inspired by Michel Gondry’s documentary Is the Man Who Is Tall Happy? An Animated Conversation with Noam Chomsky (2013)\, Bekolo would devote a three-hour documentary\, Mudimbe’s Order of Things (2015)\, to one of the foremost African philosophers\, Valentin Mudimbe\, author of such classics of postcolonial theory as The Invention of Africa (1988). Perhaps Bekolo’s single most comprehensive effort in this area involved filming the now famous “Workshops of Thought” (Les ateliers de la pensée) initiated by prominent African public intellectuals Achille Mbembe and Felwine Sarr. In doing so\, Bekolo positions himself as a traveling companion to major African scholars and intellectuals\, situating the cinematic field as another battlefield for both discursive and actual social transformation. \nJean-Pierre Bekolo’s work exceeds the focus on his own cine-artistic output. A decade after the beginning of his film practice and upon his return to France following his North American years\, roughly 1998-2000\, he decided to join and actively take part in one of the most important film movements in the history of African cinema\, the Guilde of African Filmmakers and Producers. Created in the mid-1990s as a self-conscious group which sought to initially establish its distances from the much larger Pan-African Federation of Filmmakers (FEPACI)\, it saw itself as the gathering of filmmakers who had a love for Africa in common\, who shared a location as displaced African subjects/cultural producers in major European/formerly colonial metropolises (primarily Paris/France)\, and who benefitted from the singularity of their bidirectional insider/outsider gaze at the continent. This globalization generation of African filmmakers was also the first generation to embrace the promise of the digital as a way of reinventing African cinema and the cinema more generally. This group included some of the most prominent contemporary voices of African cinema\, from Jean-Marie Teno\, Nadia El Fani\, Jihan El Tahri\, Abderrahmane Sissako and Fanta Nacro to Mahamat-Saleh Haroun\, Dani Kouyaté\, Issa Serge Coelo\, Jacques Trabi\, Fatma Zohra Zamoum\, Balufu Bakupa Kanyinda and Mama Keïta. \nMost famously\, Bekolo’s participation within the Guilde included a major intervention at the 2007 Cannes Film Festival. As part of its celebration of its sixtieth anniversary in 2006\, Cannes had commissioned filmmakers from around the world to each direct a part of an omnibus film but had not invited African filmmakers to participate\, with the exception of Youssef Chahine. For several years\, the festival had also failed to select a single African film in its official competition. Bekolo spearheaded a press campaign to denounce this\, pondering whether this was a case of racial profiling related to “the color of our images\,” arguably anticipating by over a decade the #OscarsSoWhite movement. \nJean-Pierre Bekolo is also an accomplished educator who has lectured at various universities in Europe and the United States. In recent years\, he has initiated the Scripto Sensa Workshops focusing on book-to-film adaptations and invented what he refers to as an “Alphabet of Film” in which he breaks down “cinematic elements into symbols and cards.” – Aboubakar Sanogo\, Carleton University \nBekolo’s extended visit to Harvard as the 2024 McMillan-Stewart Fellow in Distinguished Filmmaking will feature nearly all of his theatrical releases. The Harvard Film Archive and the FIlm Study Center are thrilled to welcome Bekolo to discuss his inventive\, otherworldly cinema and presumably much\, much more. \nPlease visit the HFA website for a list of films and times:\nhttps://harvardfilmarchive.org/programs/jean-pierre-bekolo-2024-mcmillan-stewart-fellow
URL:https://filmstudycenter.fas.harvard.edu/event/jean-pierre-bekolo-screenings-at-the-harvard-film-archive-march-4-april-21/
LOCATION:Harvard Film Archive\, 24 Quincy St.\, Cambridge\, MA\, 02138\, United States
CATEGORIES:Screening,Screening & Artist Talk
ATTACH;FMTTYPE=image/jpeg:https://filmstudycenter.fas.harvard.edu/wp-content/uploads/2023/01/DORY-ADELE-VOITURE.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20240206T173000
DTEND;TZID=America/New_York:20240206T200000
DTSTAMP:20240124T201544Z
CREATED:20230115T171203Z
LAST-MODIFIED:20240124T201544Z
UID:20254-1707240600-1707249600@filmstudycenter.fas.harvard.edu
SUMMARY:FSC Workshop with Filmmaker Ana Vaz | The Voyage Out: Embrace Tiger Return to Mountain
DESCRIPTION:Please join us for a workshop with experimental filmmaker Ana Vaz. \nThe Voyage Out: Embrace Tiger Return to Mountain \nThe film-poems of Ana Vaz challenge hegemonic forms of cinema through experimental forms\, highlighting the destructive practices of colonial modernity. Her films are haunted by histories of violence and extraction\, carefully rendered through a disquieted lens that questions cinema as an art of the (in)visible. \nFilmed intermittently in Japan over the last seven years – between the islands of Ogasawara\, the (de)contaminated fields of Fukushima\, and Tokyo – The Voyage Out conjures tales of survival and rexistance from communities who already seem to inhabit a collapsed world: resilient beekeepers\, caring marine biologists\, decontamination workers\, utopian gardeners\, and radiophobics populate this constellation of insurgency. Amidst this polyphony of voices\, the film stages a savage adaptation of Japanese author and anti-nuclear activist Yoko Hayasuke’s “Journal of a Radioactive Brain”\, a radical account of the psycho-subjective consequences of the nuclear accident in Fukushima from the perspective of a women’s body in contemporary Japan. \nThe Voyage Out: Embrace Tiger Return to Mountain is the most recent incantation of this long filmmaking process\, presented at Palais de Tokyo in Paris in 2022\, as a multi-channel installation bringing together a series of autonomous sequences that constantly defy unity. Vaz will be sharing this work-in-process for the FSC workshop questioning and expanding her engagement with a cinema that exists and circulates beyond the screens\, through multiple spaces and experiences. \nAna will also be in person to screen her films at the Harvard FIlm Archive on February 4 & 5. \nThis event is open to FSC fellows\, CMP students\, AFVS students\, and AFVS community \n 
URL:https://filmstudycenter.fas.harvard.edu/event/fsc-workshop-with-filmmaker-ana-vaz/
LOCATION:Sever Hall 416\, 25 Harvard Yard\, Cambridge\, MA\, United States
CATEGORIES:Workshop
ATTACH;FMTTYPE=image/jpeg:https://filmstudycenter.fas.harvard.edu/wp-content/uploads/2023/01/ENOITENAAMERICA01_SM.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20240130T173000
DTEND;TZID=America/New_York:20240130T200000
DTSTAMP:20240124T202154Z
CREATED:20230115T171203Z
LAST-MODIFIED:20240124T202154Z
UID:20280-1706635800-1706644800@filmstudycenter.fas.harvard.edu
SUMMARY:FSC Workshop with Cinematographer Rui Poças | The Creative Relationship Between Filmmaker and Cinematographer
DESCRIPTION:Please join us for an FSC workshop with cinematographer Rui Poças. Poças will explore the creative relationship between filmmaker and cinematographer\, revisiting films he’s collaborated on with luminary directors such as Lucrecia Martel\, Ira Sachs\, Miguel Gomes\, and João Pedro Rodrigues\, among others. \nRui Poças is an award-winning cinematographer best known for his collaboration in Zama\, Lucrecia’s Martel feature film\, which premiered at the 74th Venice International Film Festival. He shot Ira Sachs’s Frankie\, starring Isabelle Huppert\, Greg Kinnear\, Marisa Tomei\, and Jérémie Renier\, and is a regular collaborator of the Portuguese filmmakers Miguel Gomes (This Dear Month of August and Tabu) and João Pedro Rodrigues (Phantom\, To Die Like a Man\, The Ornithologist\, and Will-o’-the-Wisp). \nThis event is open to FSC fellows\, CMP students\, AFVS students\, and AFVS community \n  \n  \n 
URL:https://filmstudycenter.fas.harvard.edu/event/fsc-workshop-with-cinematographer-rui-pocas/
LOCATION:Sever Hall 416\, 25 Harvard Yard\, Cambridge\, MA\, United States
CATEGORIES:Workshop
ATTACH;FMTTYPE=image/jpeg:https://filmstudycenter.fas.harvard.edu/wp-content/uploads/2023/01/ZAMA_6_SM.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20231107T173000
DTEND;TZID=America/New_York:20231107T200000
DTSTAMP:20231103T141646Z
CREATED:20230115T171203Z
LAST-MODIFIED:20231103T141646Z
UID:20179-1699378200-1699387200@filmstudycenter.fas.harvard.edu
SUMMARY:FSC Workshop with Filmmaker and Writer David MacDougall
DESCRIPTION:The FSC is thrilled to welcome celebrated visual anthropologist and filmmaker David MacDougall\, who will be joining us to show and talk about three of his works: Digital Marseille 1997\, a rarely-seen film he made using the first small digital camera to come on the market; Photo Wallahs\, an exploration of the cultural and personal meanings of photographs in a hill station in northern India\, and one of his most prominent works\, co-directed with Judith MacDougall; and The Queen of the Hills\, a film they recently finished and that was edited from material not used in Photo Wallahs. We hope you can join us! \nDavid MacDougall is a maker of documentary and ethnographic films and writer on cinema. He was educated at Harvard University and the University of California at Los Angeles. His first feature-length film\, To Live With Herds\, filmed in Uganda\, won the Grand Prix Venezia Genti at the Venice Film Festival in 1972. He and his wife Judith MacDougall then produced the “Turkana Conversations” trilogy of films on semi-nomadic camel herders of northwestern Kenya. Of these\, Lorang’s Way won the Prize of Cinéma du Réel in Paris in 1979\, The Wedding Camels the Film Prize of the Royal Anthropological Institute in 1980\, and A Wife among Wives the Prix du Festival Jean Rouch (Bilan du Film Ethnographique) in 1982. With Judith MacDougall\, he co-directed a dozen films on indigenous communities in Australia and\, in 1991\, a film on local photographers in an Indian hill town\, Photo Wallahs. In 1993 he made Tempus de Baristas\, on goat herders in the mountains of Sardinia. In 1997 he began a film study of the Doon School in northern India\, resulting in Doon School Chronicles (2000) and four other films: With Morning Hearts (2001)\, Karam in Jaipur (2001)\, The New Boys (2003)\, and The Age of Reason (2004). He went on to film at Rishi Valley School\, a progressive\, co-educational boarding school in South India where he produced SchoolScapes (2007) and\, together with Judith\, Awareness (2010). Gandhi’s Children (2008)\, his study of a shelter for homeless children in New Delhi\, won the Astra Film Festival Grand Prize and a “Best Documentary Feature Film” nomination at the Asia Pacific Film Awards in 2009. His latest films include Arnav at Six (2012) and Under the Palace Wall (2014). Since 2011 he has directed the “Childhood and Modernity” Project\, conducting video workshops with children in different parts of India. Twelve of the films produced by children in the project are presented in the DVD\, The Child’s Eye (2018). MacDougall writes regularly on documentary and ethnographic cinema and is the author of three books: Transcultural Cinema (Princeton University Press\, 1998)\, The Corporeal Image: Film\, Ethnography\, and the Senses (Princeton\, 2006)\, and The Looking Machine: Essays on Cinema\, Anthropology and Documentary Filmmaking (Manchester University Press\, 2019). He is presently Honorary Professor at the Research School of Humanities & the Arts\, The Australian National University\, Canberra. \n  \n  \n 
URL:https://filmstudycenter.fas.harvard.edu/event/fsc-workshop-with-filmmaker-david-macdougall/
LOCATION:Sever Hall 416\, 25 Harvard Yard\, Cambridge\, MA\, United States
CATEGORIES:Workshop
ATTACH;FMTTYPE=image/jpeg:https://filmstudycenter.fas.harvard.edu/wp-content/uploads/2023/01/Film-stilll-from-Photo-Wallahs.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20231010T173000
DTEND;TZID=America/New_York:20231010T200000
DTSTAMP:20231004T131956Z
CREATED:20230115T171203Z
LAST-MODIFIED:20231004T131956Z
UID:20128-1696959000-1696968000@filmstudycenter.fas.harvard.edu
SUMMARY:FSC Workshop with filmmaker Laura Citarella
DESCRIPTION:Please join us for a workshop with filmmaker Laura Citarella \nBorn in La Plata (Province of Buenos Aires\, Argentina) in 1981\, Citarella graduated as a film director from the Universidad del Cine. Since 2005\, she has been part of El Pampero Cine Production Company\, along with Mariano Llinás\, Alejo Moguillansky and Agustín Mendilaharzu. She directed films like Ostende (2011)\, La Mujer de los Perros (2015) (Co-directed with Verónica Llinás) and Las Poetas visitan a Juana Bignozzi (2019) (Co-directed with Mercedes Halfon). Trenque Lauquen is her forth film. Citarella has also made a name for herself as one of the biggest independent movie producers in Argentina. Her production work includes\, among others\, Mariano Llinás’s Extraordinary Stories and La Flor\, and Alejo Moguillansky’s Castro\, The Parrot and the Swan\, The Goldbug and For the Money. \nLaura Citarella is screening her film Trenque Lauquen (Part I & II) at the Harvard Film Archive on Oct. 8\, 9\, and 28. \nCo-sponsored with the Harvard Film Archive \n  \n 
URL:https://filmstudycenter.fas.harvard.edu/event/fsc-workshop-with-filmmaker-laura-citarella/
LOCATION:Sever Hall 416\, 25 Harvard Yard\, Cambridge\, MA\, United States
CATEGORIES:Workshop
ATTACH;FMTTYPE=image/jpeg:https://filmstudycenter.fas.harvard.edu/wp-content/uploads/2023/01/Film-Still-from-Trenque-Lauquen.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20231003T173000
DTEND;TZID=America/New_York:20231003T200000
DTSTAMP:20230928T003758Z
CREATED:20230115T171203Z
LAST-MODIFIED:20230928T003758Z
UID:20121-1696354200-1696363200@filmstudycenter.fas.harvard.edu
SUMMARY:The Power of Short Film in Afghan Cinema with Samiullah Nabipour and Sayed Zubair Hashimi
DESCRIPTION:Professors of cinema at Kabul University\, Samiullah Nabipour and Sayed Zubair Hashimi\, will present a selection of films from Afghanistan\, including short films made by the students of Kabul University’s Cinema Studies and Siddiq Barmak’s The Stranger from 1987 to provide some context into the history of Afghan short films and their ability to depict Afghan social norms and culture. \nSamiullah Nabipour is a prominent figure in the fields of culture and art in Afghanistan\, known for his work as a university professor\, researcher\, and activist. He has been a professor at Kabul University for fourteen years and served as the head of the cinema department for six years and the faculty of art for two years. Nabipour has authored two treatises and six research articles on Afghan cinema. As one of the founders of the Cinema Department at Kabul University\, Nabipour has played a vital role in the education and training of young filmmakers and producers in short film production in Afghanistan. The department is the only academic institution in the country dedicated to film education. Additionally\, Nabipour founded the Kabul Student Film Festival\, the first of its kind in Afghanistan\, and served as its president for three terms. Nabipour has been honored for his work in the field of art and cinema\, receiving recognition from President Ashraf Ghani on two occasions. He has also served as a judge at several international film festivals held in Afghanistan and has been a member of notable institutions\, including the Scientific Council of Kabul University\, the High Council of Arts of Afghanistan\, the Union of Cinematographers of Afghanistan\, and the Board of Directors. \nSayed Zubair Hashimi has nine years of teaching experience in the Cinema Department of the Faculty of Fine Arts at Kabul University and was a member of the Scientific Council of the Faculty of Arts at Kabul University for four years. The Department of Cinema is the only academic institution in Afghanistan that trains young people in the field of filmmaking. During the nine years of teaching\, he had an advisor role with cinema students as a mentor in screenplays and short films that included students’ guild projects. The films produced under Hashimi’s supervision reflect social issues. Also\, he wrote a treatise that compared the films of two decades of Afghanistan Cinema and wrote three scientific articles about Afghan cinema\, which were published in the scientific journal of Kabul University. Hashimi was a member of the three-member group of writers in two seasons of the series 24 episodes (the third line)\, which was broadcast on Tolo TV and was warmly received by the viewers. He was also a member of the three-member group of radio drama writers (Friendship Farm) produced by Roya Film for immigrants and internally displaced people. This drama was written in 44 episodes and broadcast through local radio. Hashimi founded the nonprofit organization Peshraw Cultural and Educational Organization\, and through it\, he voluntarily carried out cultural and educational activities for teenagers and street children. \nCo-sponsored with The Lakshmi Mittal and Family South Asia Institute
URL:https://filmstudycenter.fas.harvard.edu/event/the-power-of-the-short-film-in-afghan-cinema/
LOCATION:B04 Carpenter Center for the Visual Arts\, 24 Quincy St\, Cambridge\, MA\, 02138
CATEGORIES:Screening,Talk
ATTACH;FMTTYPE=image/jpeg:https://filmstudycenter.fas.harvard.edu/wp-content/uploads/2023/01/Afghan-cinema_sm.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20231002T173000
DTEND;TZID=America/New_York:20231002T200000
DTSTAMP:20230925T152100Z
CREATED:20230115T171203Z
LAST-MODIFIED:20230925T152100Z
UID:20118-1696267800-1696276800@filmstudycenter.fas.harvard.edu
SUMMARY:We Are All Levers: How a constellation forms around image and story with filmmaker Rhayne Vermette
DESCRIPTION:Please join us for this workshop with Métis experimental filmmaker Rhayne Vermette. \nRhayne Vermette was born in Notre Dame de Lourdes\, Manitoba. It was while studying architecture at the University of Manitoba\, that she fell into the practices of image making and storytelling. Primarily self taught\, Rhayne’s films are opulent collages of fiction\, animation\, documentary\, reenactments and divine interruption. Ste. Anne is her first feature narrative. \nCo-sponsored with the Critical Media Practice and AFVS 264 – Advanced Projects in Time-Based Media \nThis event is open to FSC fellows\, CMP students\, AFVS students\, and AFVS community \n 
URL:https://filmstudycenter.fas.harvard.edu/event/we-are-all-levers-how-a-constellation-forms-around-image-and-story-with-filmmaker-rhayne-vermette/
LOCATION:Sever Hall 416\, 25 Harvard Yard\, Cambridge\, MA\, United States
CATEGORIES:Workshop
ATTACH;FMTTYPE=image/jpeg:https://filmstudycenter.fas.harvard.edu/wp-content/uploads/2023/01/Film-Still-from-Ste.-Anne.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20230926T173000
DTEND;TZID=America/New_York:20230926T200000
DTSTAMP:20230915T204549Z
CREATED:20230115T171203Z
LAST-MODIFIED:20230915T204549Z
UID:20097-1695749400-1695758400@filmstudycenter.fas.harvard.edu
SUMMARY:The Imaginary Is an Emotional Hard Drive: Containing Multitudes from Francis Bacon's Studio to Cinema's secret shelves
DESCRIPTION:Please join us for a workshop with film producer Andrea Queralt who will look at the producer and director roles through the creative process. \nBorn in Spain\, based in Paris\, since 2014 Andrea Queralt has been a producer at 4 A 4 Productions\, where she has produced feature films such as Fire Will Come by Oliver Laxe (Jury Prize at Festival de Cannes Un certain regard 2019)\, Matadero by Santiago Fillol (Locarno 2022) and Foremost By Night by Victor Iriarte (Venice Days 2023). She is currently producing the next feature films by Oliver Laxe\, Nelson Carlo de Los Santos Arias and Ben Rivers. In 2020 she was the French representative for Producers on the Move\, a selection of 20 promising European producers promoted by MEDIA and Eurimages.  She also teaches at the Universitat Pompeu Fabra – Creative Documentary Master and San Sebastian’s Tabakalera. \nCo-sponsored with the Sensory Ethnography Lab \nThis event is open to FSC fellows\, CMP students\, SE students\, AFVS students\, and AFVS community \n  \n 
URL:https://filmstudycenter.fas.harvard.edu/event/the-imaginary-is-an-emotional-hard-drive/
LOCATION:Sever Hall 416\, 25 Harvard Yard\, Cambridge\, MA\, United States
CATEGORIES:Workshop
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END:VCALENDAR