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There's some films being shown at Anthology Film Archives this weekend that I'm all hot n' bothered to go see. Since I previously thought I might be out of town this weekend and now seem to be remaining local, let's take the opportunity to go see crazy cinematic shit en masse.
Saturday 20 November
4:30 ESSENTIAL CINEMA
RICE/RICHTER/SHARITS
RICE/RICHTER/SHARITS
Ron Rice
CHUMLUM (1964, 23 minutes)
Hans Richter
RHYTHMUS 21 (1921 2:23 minutes)
ZWEIGROSCHENZAUBER (1929, 2:15 minutes)
ALLES DREHT SICH, ALLES BEWEGT SICH (1929, 8:34 minutes)
Paul Sharits
N:O:T:H:I:N:G (1968, 36 minutes, 16mm, color/sound)
Based, in part, on the Tibetan Mandala of the Five Dhyani Buddhas/a journey toward the
center of pure consciousness (Dharma-Dhatu Wisdom)/space and motion generated
rather than illustrated/time-color. – P.S.
Paul Sharits
T,O,U,C,H,I,N,G (1968, 12 minutes, 16mm, color/sound)
Starring poet David Franks whose voice appears on soundtrack/an uncutting and unscratching mandala. – P.S.
Total program time: ca. 90 minutes.
7:00 GERMAN CINEMA: SILENT INTO SOUND
Fritz Lang
METROPOLIS
1927, 124 minutes, 35mm, b&w, silent. With English intertitles.
Perhaps the most famous and influential of all silent films, METROPOLIS had for 75 years been seen only in shortened or truncated versions. Now, restored in Germany with state-of-the-art digital technology, under the supervision of the Murnau Foundation, and with the original 1927 orchestral score by Gottfried Huppertz added, METROPOLIS can be appreciated in its full glory. It is, as A. O. Scott of The New York Times declared, "A fever dream of the future. At last we have the movie every would-be cinematic visionary has been trying to make since 1927."
Sunday 21 November
5:30 ESSENTIAL CINEMA
Paul Sharits
S:TREAM:S:S:ECTION:S:ECTION:S:S:ECTIONED
1968-70, , 16mm.
"A conceptual lap dissolve from 'water currents' to 'film strip currents'/Dedicated to my
son Christopher." – P.S.
"Yes, S:S:S:S:S:S is beautiful. The successive scratchings of the stream-image film is very powerful vandalism. The film is a very complete organism with all the possible levels really recognized." – Michael Snow.
"A scratch is generally considered a negative factor, which distracts from and eliminates
the illusion by cutting away at the emulsion base of the film itself. But in S:S:S:S:S:S,
Sharits makes a scratch a positive factor in its additive and subtractive relationship to the
recorded film illusion. And, at the same time, he uses the scratch to emphasize the
linearity of the film material and its passage through the projector..." – Regina Cornwell,
ARTFORUM
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