Unless otherwise indicated, events are scheduled for Sunday afternoons at 2 in the Bradford Auditorium—Room 125, in the Kirner-Johnson Building. Events run between one and three hours.
This series is made possible by the office of the Dean of the Faculty (the Hansford fund) and by support from the Kirkland Endowment, the Art History Department, and the Days-Massolo Center.
Fall 2019 Schedule
Fall 2018 Schedule
Unless otherwise indicated, events are scheduled for Sunday afternoons at 2 p.m. in the Bradford Auditorium—Room 125, in the Kirner-Johnson Building.
Sunday, September 16
Sasha Waters Freyer, in person, with Garry Winogrand: All Things are Photographable (2018)
Sasha Waters Freyer makes non-fiction films about outsiders, misfits and everyday radicals. Trained in photography and the documentary tradition, she fuses original and found footage in 16mm film and digital media. She is chair of the Department of Film and Photography at Virginia Commonwealth University.
Three times a Guggenheim Fellow, Bronx-born Garry Winogrand was and remains a canonical photographer, known for his portrayal of American street life during the mid-20th century.
“One of the rare art-world bio-docs that delivers the sensation of seeing a story unfold dramatically onscreen, Sasha Waters Freyer’s Garry Winogrand: All Things Are Photographable introduces a compulsive picture-taker who was for a time hailed as photography's essential artist, then saw critical opinion turn on him”—Hollywood Reporter.
Friday, September 30 (2 p.m.)
The Alloy Orchestra accompanies Buster Keaton’s The General (1926)
This afternoon they’ll accompany one of the greatest silent comedies: Buster Keaton’s The General, an epic action thriller that set the standard for dangerous stunts by director and star Keaton. “The Great Stone Face” was never better. Ditto Alloy!
Friday, September 30 (8 p.m.)
The Alloy Orchestra accompanies Dziga Vertov’s The Man with a Movie Camera (1929)
In 2014 the British film journal Sight & Sound conducted a poll to rank the greatest documentary films of all time. 200 film critics and filmmakers contributed; and The Man with a Movie Camera, Dziga Vertov’s day in the life of a modern, Communist Russian city, was voted number 1. Vertov’s film has remained an inspiration for inventive filmmakers ever since its release in 1929, and the Alloy Orchestra’s score brings the film to life.
Sunday, October 28
Sarah Elder, in person, with Uksuum Cauyai/The Drums of Winter (1998)
Uksuum Cauyai/The Drums of Winter, produced by Elder and Leonard Kamerling, explores the traditional dance, music and spiritual world of the Yup'ik Eskimo people of Emmonak, a remote village at the mouth of the Yukon River on the coast of the Bering Sea.
“My favorite film music is in The Drums of Winter by Leonard Kamerling and Sarah Elder. This music was not composed for the film. The music is the subject of the film. In The Drums of Winter we see and hear traditional songs of the Yup'ik people of Western Alaska performed with dances in the intimate setting of the potlatch ceremony. The sound and the cinematography are equally strong. There is no narration, no one who tells us what to think. Rather than watching from the outside, we feel as though we're inside the dance house experiencing each moment with the community”—composer John Luther Adams, Sight & Sound.
A classic ethnographic film, recently remastered, Uksuum Cauyai/The Drums of Winter was added to the Library of Congress National Film Registry in 2007
Sunday, November 4
Maxim Pozdorovkin, in person, with Our New President (2018)
Russian filmmaker Maxim Pozdorovkin is best known for the widely seen Pussy Riot (2013), his document of the radical feminist Russian performance group. His most recent film, Our New President, tells the story of the Trump election as seen through Russian propaganda, providing a startling look at the transformation of Russian televised news during the Putin years and some of the ways in which Russian hackers have impacted Americans.
Pozdorovkin holds a PhD from Harvard University and is a junior fellow at the Harvard Society of Fellows.
Sunday, November 11
Travis Wilkerson, in person, with Did You Wonder Who Fired the Gun? (2017)
“In 1946, my great-grandfather murdered a black man named Bill Spann and got away with it.” So begins Travis Wilkerson’s critically acclaimed documentary, Did You Wonder Who Fired the Gun?
Wilkerson takes us on a journey through the American South to uncover the truth behind a horrific incident and the societal morés that allowed it to happen. Acting as narrator and guide, Wilkerson spins a strange, frightening tale, incorporating scenes from To Kill a Mockingbird, the music of Janelle Monáe and Phil Ochs, and the story of Rosa Parks’ investigation into the Recy Taylor case, as well as his own family history, for a gripping investigation into our collective past and its present-day echoes.
Sunday, December 2
Penny Lane, in person, with The Pain of Others (2018) and Dean Fleischer- Camp’s Fraud (2018)
Over the years, filmmakers have “recycled” films made by others into new works of their own—sometimes as a way of critiquing earlier ideas, assumptions and films, sometimes as a way of being filmmakers without substantial financial resources. One of the new “archives” for filmmakers looking to work with “found-footage” is YouTube and similar sites, where video-posters put their own videos on-line for others to see.
Among current filmmakers who have mined YouTube are Penny Lane, who has visited F.I.L.M. with Our Nixon (2013) and Nuts! (2016), and Dean Fleischer-Camp. Their new “recycled” films are both fascinating and controversial. Lane will join us to present her own The Pain of Others and Fleischer-Camp’s most recent film.