Podcasts about Anthology Film Archives

Legendary American scholar and critic Tom Gunning has changed the way we think about film history and the future of the medium, profoundly influencing generations of academics, artists, and cinephiles. On Sunday, April 27, Devika Girish and Clinton Krute hosted a live conversation with Gunning and curator David Schwartz at the Museum of the Moving Image, following a screening of Hal Hartley's Flirt (1995), an experimental narrative of love and loss set in three cities—New York, Berlin, and Tokyo. The event was part of a multiday series of screenings and discussions organized by Schwartz, taking place at venues including MoMI, Anthology Film Archives, and Light Industry. This special weekend marked the publication of a new collection of Gunning's writing, entitled The Attractions of the Moving Image: Essays on History, Theory, and the Avant-Garde. The conversation covered a wide range of topics, from Gunning's seminal essay “The Cinema of Attractions” (1986) to his teacher-student relationship with Hartley to some contemporary films that he's (perhaps surprisingly) enjoyed.

Social Discipline is incredibly excited to present the adventurous life of Jeff Perkins, a hidden gem of the American underground. This massive five-hour podcast, recorded in Berlin in June 2024, explores his fascinating journey—no one else can claim to have performed for Yoko Ono and John Cage, created legendary light shows with The Velvet Underground, Sly and the Family Stone, and The Germs, programmed the first Kenneth Anger retrospective in L.A., and encountered both Charles Manson and members of the satanic cult The Process. Jeff joined the military in the 1960s and was stationed in Tokyo, where he met Yoko Ono in the early '60s. He began performing some of her pieces there and later in New York. Perkins also filmed Ono's classic Film No. 4 (Bottoms), a Fluxus work. His first independent contribution to the Fluxfilm Anthology was Shout. He was at the heart of the 1960s New York avant-garde scene, surrounded by figures like La Monte Young, Jack Smith, and Angus MacLise. In January 1967, Perkins moved to Los Angeles, where he worked as a programmer at Cinematheque 16. Influenced by Tony Conrad's The Flicker, he began producing powerful light shows and collaborated with bands throughout the '60s and '70s—ranging from The Jimi Hendrix Experience and The Grateful Dead to the punk scene with X and The Germs. He even refused to do a show for the Sex Pistols due to a disagreement with the promoter. Perkins was a close friend of Terry Jennings and, in fact, entrusted his archive to La Monte Young. While in L.A., he was neighbors with the artist James Turrell. In 1980, Perkins moved back to New York and started a loft project just a block away from Ground Zero, reminiscent of George Maciunas' artist loft spaces. To finance it, he worked as a cab driver. He remained deeply connected to cinema, particularly through Anthology Film Archives, where he proposed a John Cassavetes retrospective to Jonas Mekas and later became a manager. In 1994, Nam June Paik—who coined the term “The Fluxus cab driver” for Perkins—invited him to perform at Anthology Film Archives in a homage to Yoko Ono. His performance, Butthead, was a great success. His legendary loft became a hub where one could easily encounter visiting filmmakers like Pedro Costa and Albert Serra. In 1989, Perkins organized a series of lectures at Anthology Film Archives with Henry Flynt and Tony Conrad, reuniting the two after years of estrangement. Flynt would become a lifelong friend. In 2008, during the financial crisis, when I lived with Jeff, we organized a series of four-hour lectures by Flynt in the loft's kitchen, focusing on the crisis and communist economics. I vividly remember Tony Conrad attending one of them in his elegant pajamas. Perkins has directed two critically acclaimed films—one on abstract painter Sam Francis and another on the legendary Fluxus figure George Maciunas. He is currently finishing editing a film about Henry Flynt in Berlin. This podcast concludes with an excerpt from his piece Movies for the Blind, which features recordings of conversations with passengers from his time as a New York cab driver.

Ep. 288: Mark Asch on David Lynch RIP, Best of Spectacle, Wicked, La Commune (Paris, 1871) Welcome to The Last Thing I Saw, with your host, Nicolas Rapold. In memory of David Lynch (1946-2025), I rang up critic Mark Asch to commiserate and reflect on his work, both movies and other art. We were also originally going to talk about the world of noted Brooklyn microcinema Spectacle Theater, where Asch volunteers, so we do that as well, covering rarely shown works from Logistics to Hamburger Dad. We also address Wicked, which revisits the world of The Wizard of Oz in rather different ways from Lynch. Finally, Asch shares his experience of watching Peter Watkins's La Commune (Paris, 1871) at Anthology Film Archives. Please support the production of this podcast by signing up at: rapold.substack.com Photo by Steve Snodgrass

Two enigmatic icons with enduring holds on the Western imagination are currently lighting up multiplex screens: fearsome Transylvanian vampire Dracula and Nobel Prize–winning American treasure Bob Dylan. Both released on Christmas Day, Robert Eggers's Nosferatu and James Mangold's A Complete Unknown are ambitious efforts at crafting new and absorbing tales out of these two mainstays of pop culture. Nosferatu stars Bill Skarsgård, Lily Rose-Depp, and Nicholas Hoult in the latest adaptation of Bram Stoker's novel, joining a cinematic canon established by filmmakers like F.W. Murnau, Francis Ford Coppola, and Werner Herzog. A Complete Unknown features Timothée Chalamet as the young Dylan, tracing his arrival in New York in 1961 to his set at the 1965 Newport Folk Festival, where he famously decided to “go electric.” On this week's Podcast, Film Comment editors Devika Girish and Clinton Krute invited Lovia Gyarkye, film critic at The Hollywood Reporter, and FC's very own Michael Blair (a Dylan aficionado) to debate the successes and failures of the two films—for both loyalists and neophytes of Dylan & Dracula. The group also discussed a few other Christmas Week releases, including Barry Jenkins's Mufasa and Rachel Morrison's The Fire Inside—and if you stay till the very end, you can also listen to their thoughts on Peter Watkins's monumental La Commune (Paris, 1871) (2000), which the Film Comment team viewed this past weekend at Anthology Film Archives. Sections: A Complete Unknown (7:25) Nosferatu (31:20) Mufasa (48:00) The Fire Inside (52:16) La Commune (Paris, 1871) (55:56)

The films of Christopher Harris are haunting and cerebral in equal measure—blending the sensorial power of analog avant-garde cinema with a thoroughly researched and deeply felt engagement with African-American history. Starting in 2001 with the 16mm feature still/here, which was also his MFA thesis at the School of the Art Institute of Chicago, Harris has created a rich and versatile body of work that draws on the legacy of the slave trade, the present-day realities of racism and capitalism, and the construction and destruction of urban space. Last week in New York City, Harris celebrated a major career milestone—his latest shorts, Speaking in Tongues: Take One and b/w, screened as part of the 2024 Whitney Biennial, and a weeklong retrospective of his work kicked off at Anthology Film Archives. In the midst of these screenings and speaking engagements, Harris joined Film Comment editors Devika Girish and Clinton Krute to talk about the origins of his filmmaking in his youthful ambition to be musician, his interest in stillness and silence as structuring concepts, and why his work is always as fun as it is challenging and erudite.

Full Title: Are We Living in A Simulation? Testing Tom Campbell's Consciousness-Based Simulation TheoryThis hour-long audio clip is a collection of excerpts from a three-hour long conversation with guest Eliott Edge that can be found on my Patreon page. A new option of a one-time purchase is now available as well, if you'd like to listen to the whole episode! Please visit my Patreon to learn more: https://www.patreon.com/posts/rr-patreon-tier-111609568 As listed on Eliott's website bio, he "is a critically-acclaimed author, artist, and international speaker. Eliott has published and presented through The Institute of Ethics and Emerging Technologies, The University of Melbourne, Stevens Institute of Technology, Anthology Film Archives, The C.G. Jung Center, The Fenris Wolf, The Museum of Computer Arts, VRTO, Block Seoul, and Disinformation. His work has been included in university curricula as well as cited in Masters' theses and Doctoral dissertations. Edge's interests include cyborg anthropology, simulation theory, media theory, consciousness and psi research, liminality, psychoanalysis, psychedelics, western occultism, contemporary folklore, as well as AI, culture and film criticism. Edge is a member of Das Unbehagen: Free Association for Psychoanalysis, and a Media & Arts Advisory Board member for The Lifeboat Foundation."In this discussion, Eliott shares his insights and views surrounding the work of Thomas Campbell, a former NASA physicist who specialized in technology development and complex-system risk analysis for both government and industry. In addition, for more than 50 years, he conducted scientific, drug-free research into altered states of consciousness. Out of this work came My Big TOE, or Theory of Everything,  a scientific model of reality based on the insight that consciousness is fundamental to all existence.  Eliott is currently working on his own book that discusses Campbell's simulation theory, which posits that our idea of reality is actually a virtual simulation. According to Campbell, consciousness is the fundamental basis of what we consider reality, and the physical universe is a virtual construct created by this consciousness.In our discussion, Eliott talks as well about another simulation theory called the ‘ancestor simulation hypothesis' and the problems associated with this. We also talk about how paranormal, or supernatural experiences such as out-of-body experiences, remote viewing, ghosts, UFOs, etc., play into this concept. As Eliott is not only interested in the scientific side of the story, he also talks about how occult practitioners, such as those found in ritual magick and chaos magick, as well as religious practitioners from any path can also benefit from learning about Campbell's work. He explains everything in a down-to-earth manner so that anyone from any walk of life can understand the principles.Eliott Edgewriting | EliottedgeOddEdges - YouTubeEliott Edge and Tom Campbell in Conversation Part 1 of 2 (youtube.com)Eliott Edge and Tom Campbell in Conversation Part 2 of 2 (youtube.com)Home | Testing the Simulation Hypothesis (testingthehypothesis.com)My Big TOE (my-big-toe.com)Tom Campbell - My Big TOE (my-big-toe.com)My Big TOE Trilogy : Thomas Campbell : Free Download, Borrow, and Streaming : Internet ArchiveExperiential Expanded Consciousness Meditation Programs and Research – The Monroe InstituteThe Monroe Explorer Tapes - YouTubeExplorer Series: Compiled Audio Files (1-32) : The Monroe Institute : Free Download, Borrow, and Streaming : Internet ArchiveTheme Music: Daniel P. Shea  

Last April, Film Comment invited writer Adam Shatz on the Podcast to talk about The Rebel's Clinic: The Revolutionary Lives of Frantz Fanon, his new biography of the Martinican writer, psychiatrist, and anti-colonial revolutionary. The Podcast explored Fanon's lasting impression on the world of cinema since his untimely death in 1961—and it became the basis for a four-day series of screenings and talks we presented last weekend, called The Rebel's Cinema—Frantz Fanon on Screen. The series took place at four cinemas across New York City, beginning at Film at Lincoln Center with Michelangelo Antonioni's The Passenger (1975), moving to Maysles Documentary Center in Harlem for Gillo Pontecorvo's Burn!, (1969), winding down to the Brooklyn Academy of Music for Ivan Dixon's The Spook Who Sat by the Door (1973), and finishing up at Anthology Film Archives with Sarah Maldoror's Monangambeee (1969) and Assia Djebar's The Zerda and the Songs of Forgetting (1982). Each screening was followed by a Q&A with special guests, which we're excited to share this week on the Podcast. For our fourth and final episode, Film Comment editor Devika Girish welcomes Adam and filmmaker and artist Madeleine Hunt-Ehrlich to discuss Maldoror's masterful 1969 directorial debut, Monagambeee, about a political prisoner in Portuguese-ruled Angola, as well as The Zerda and the Songs of Forgetting, novelist Djebar's 1982 archival elegy to the Algerian freedom struggle and women's place within it.

Last April, Film Comment invited writer Adam Shatz on the Podcast to talk about The Rebel's Clinic: The Revolutionary Lives of Frantz Fanon, his new biography of the Martinican writer, psychiatrist, and anti-colonial revolutionary. The Podcast explored Fanon's lasting impression on the world of cinema since his untimely death in 1961—and it became the basis for a four-day series of screenings and talks we presented last weekend, called The Rebel's Cinema—Frantz Fanon on Screen. The series took place at four cinemas across New York City, beginning at Film at Lincoln Center with Michelangelo Antonioni's The Passenger (1975), moving to Maysles Documentary Center in Harlem for Gillo Pontecorvo's Burn!, (1969), winding down to the Brooklyn Academy of Music for Ivan Dixon's The Spook Who Sat by the Door (1973), and finishing up at Anthology Film Archives with Sarah Maldoror's Monangambeee (1969) and Assia Djebar's The Zerda and the Songs of Forgetting (1982). Each screening was followed by a Q&A with special guests, which we're excited to share this week on the Podcast. On today's episode, Film Comment editor Devika Girish welcomes Adam, writer Clifford Thompson, and editor and organizer Cheryl Rivera about The Spook Who Sat by the Door, Ivan Dixon's explosive 1973 adaptation of the novel by Sam Greenlee about a black CIA agent who uses his specialized training to build a guerrilla revolutionary army.

Last April, Film Comment invited writer Adam Shatz on the Podcast to talk about The Rebel's Clinic: The Revolutionary Lives of Frantz Fanon, his new biography of the Martinican writer, psychiatrist, and anti-colonial revolutionary. The Podcast explored Fanon's lasting impression on the world of cinema since his untimely death in 1961—and it became the basis for a four-day series of screenings and talks we presented last weekend, called The Rebel's Cinema—Frantz Fanon on Screen. The series took place at four cinemas across New York City, beginning at Film at Lincoln Center with Michelangelo Antonioni's The Passenger (1975), moving to Maysles Documentary Center in Harlem for Gillo Pontecorvo's Burn!, (1969), winding down to the Brooklyn Academy of Music for Ivan Dixon's The Spook Who Sat by the Door (1973), and finishing up at Anthology Film Archives with Sarah Maldoror's Monangambeee (1969) and Assia Djebar's The Zerda and the Songs of Forgetting (1982). Each screening was followed by a Q&A with special guests, which we're excited to share this week on the Podcast. On today's episode, Film Comment editor Devika Girish welcomes Adam as well as Maysles executive director Kazembe Balagun and scholar and writer Brent Hayes Edwards to talk about the entanglements of race and class, and history and Hollywood in Pontecorvo's period epic Burn!, which stars Marlon Brando as a British agent provocateur who overthrows a Portuguese colony in the Caribbean by fomenting a slave revolt.

Last April, Film Comment invited writer Adam Shatz on the Podcast to talk about The Rebel's Clinic: The Revolutionary Lives of Frantz Fanon, his new biography of the Martinican writer, psychiatrist, and anti-colonial revolutionary. The Podcast explored Fanon's lasting impression on the world of cinema since his untimely death in 1961—and it became the basis for a four-day series of screenings and talks we presented last weekend, called The Rebel's Cinema—Frantz Fanon on Screen. The series took place at four cinemas across New York City, beginning at Film at Lincoln Center with Michelangelo Antonioni's The Passenger (1975), moving to Maysles Documentary Center in Harlem for Gillo Pontecorvo's Burn!, (1969), winding down to the Brooklyn Academy of Music for Ivan Dixon's The Spook Who Sat by the Door (1973), and finishing up at Anthology Film Archives with Sarah Maldoror's Monangambeee (1969) and Assia Djebar's The Zerda and the Songs of Forgetting (1982). Each screening was followed by a Q&A with special guests, which we're excited to share this week on the Podcast. On today's episode, Film Comment editors Devika Girish and Clinton Krute welcome Adam as well as critic and film editor Blair McClendon to discuss the Fanonian themes of alienation and objectivity in The Passenger, Antonioni's 1975 epic that stars Jack Nicholson as an American journalist who assumes the identity of a dead gunrunner caught up in a revolutionary conflict in Chad

Early August is usually something of a lull in the film calendar, but this year, at least in New York City, it's proved to be a goldmine—particularly for repertory programming. We had planned to record a single episode of our Rep Report series this week, but there was so much good stuff out there that we ended up recording three different conversations about three different programs, which we'll be sharing over the next few days. Stay tuned!  On today's episode, Jed Rapfogel, film programmer at Anthology Film Archives, joins Film Comment editors Devika Girish and Clinton Krute to discuss Verbatim, a new film series he's put together at the famed New York City theater. Verbatim features an exciting and wide-ranging lineup of titles, spanning features, shorts, experimental films, and made-for-TV titles that are all united by one theme: each of them makes verbatim use of a real-life transcript—be it a court document, a journalistic interview, a letter, or something else. Jed, Clint, and Devika share some of the highlights of the series, including James N. Kienitz Wilkins's Public Hearing (2012), which uses the transcript of a municipal town-hall about the expansion of a Walmart, James Benning's Landscape Suicide (1986), which recreates interviews with a pair of killers, and Elisabeth Subrin's short film, Maria Schneider, 1983 (2022), which offers three different riffs on an archival television interview with the titular actress. Verbatim runs at Anthology Film Archives through August 13. For interested viewers outside of New York City, check out filmcomment.com for streaming links to some of the featured films.

The Nineties are back in fashion. Last week on KEEN ON, Terry Anderson explained why the Nineties still matter. Next week, we are featuring a conversation with John Ganz, the author of When the Calock Broke, his interpretation of how America “cracked up” in the early Nineties. Today we feature a conversation with D.W. Gibson, author of the oral history of Seattle's World Trade Organization protests, One Week to Change the World. As Gibson explains, the June 1999 WTO protests bridge the end of the 20th with the beginning of the 21st century. On the one hand, they are a fitting conclusion to what now appears to be the illusion of Nineties prosperity and stability, on the other, the Seattle protests are an early example of a populist response to economic globalization which climaxed in the Occupy movement a decade later. DW Gibson is most recently the author of One Week To Change the World: An Oral History of the 1999 WTO Protests. His previous books include the awarding-winning The Edge Becomes the Center: An Oral History of Gentrification in the Twenty-First Century, 14 Miles: Building the Border Wall, and Not Working: People Talk About Losing a Job and Finding Their Way in Today's Changing Economy. He shared a National Magazine Award for his work on “This is the Story of One Block in Bed-Stuy, Brooklyn” for New York magazine. His work has also appeared in Harper's, The Atlantic, The New York Times, and The Washington Post. Gibson's radio work includes co-hosting the podcast There Goes the Neighborhood, guest hosting various news programs for WNYC, and reading original essays for Live From Here as well as NPR's All Things Considered. His documentary film, Not Working, a companion to the book, is available through Films Media Group. His directorial debut, Pants Down, premiered at Anthology Film Archives in New York. Gibson serves as director of Art Omi: Writers in Ghent, New York, and he co-founded Sangam House, a writers' residency in India, along with Arshia Sattar.Named as one of the "100 most connected men" by GQ magazine, Andrew Keen is amongst the world's best known broadcasters and commentators. In addition to presenting KEEN ON, he is the host of the long-running How To Fix Democracy show. He is also the author of four prescient books about digital technology: CULT OF THE AMATEUR, DIGITAL VERTIGO, THE INTERNET IS NOT THE ANSWER and HOW TO FIX THE FUTURE. Andrew lives in San Francisco, is married to Cassandra Knight, Google's VP of Litigation & Discovery, and has two grown children. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit keenon.substack.com/subscribe

Ep. 256: Amy Taubin on Leos Carax's It's Not Me, The Shrouds, Charles Atlas, Arthur Jafa, Man Ray, and More Welcome to The Last Thing I Saw, with your host, Nicolas Rapold. The one and only Amy Taubin comes back to The Last Thing I Saw for a wide-ranging conversation about what she's been watching. That includes at least a couple of Cannes titles—Leos Carax's It's Not Me and David Cronenberg's The Shrouds—and New York repertory highlights from the spring: the enormous Charles Atlas retrospective at Anthology Film Archives (which is still ongoing through June), the Man Ray restorations touring with new Jim Jarmusch–led score, and Arthur Jafa's shattering reimagining of the brutal ending to Taxi Driver, titled “*****”, shown at the Gladstone Gallery. There are also shout-outs to the Antoinetta Angelidi revival in Prismatic Ground, a new Blu-ray of Too Much Sleep, and more. Please support the production of this podcast by signing up at: rapold.substack.com Photo by Steve Snodgrass

Apes have been dominating the silver screen with recent first run releases such as MONKEY MAN, SASQUATCH SUNSET, GODZILLA X KONG: THE NEW EMPIRE, and KINGDOM OF THE PLANET OF THE APES. Naturally, this inspired programmer Steve McFarlane to curate a sequel to his 2017 dual film series at Anthology Film Archives and Spectacle: Simian Vérité and Missing Links. This time around he enlisted Nico Pedrero-Setzer to co-program the new series with him — Primate Vision: Man or Monkey?In this episode Nico sits with Host Alec Rodriguez to discuss the film series Primate Vision, the cinemas they're screening at (Spectacle and Roxy Cinema), and they discuss Nico's journey as a NY-based programmer and film critic over the past few years since he graduated from NYU.Get your tickets HERE for screenings at Roxy Cinema!Get your tickets HERE for screenings at Spectacle!Follow Nico on IG or via his website: https://www.nicolaspedrero-setzer.comSupport Marquee Mixtape by subscribing and rating on your podcaster of choice. Follow Marquee Mixtape on Instagram, Substack, and BlueSky.Credits: Produced by Alec Rodriguez, original artwork by Cristina Montes, original music by Jeremy Bullen.

Katie talks to Medea Benjamin who was roughed up protesting the White House Correspondents' Dinner and Bryce Greene, who was arrested at Indiana University where snipers have been brought in. But first, she's joined by filmmakers Rami Younis and Sarah Ema Friedland who talk about their documentary/ science fiction hybrid film Lyd, about the Palestinian city of Lyd, which is now known as the Israeli city Lod. The film shows what the city is like today and imagined what it could have been like without the Nakba. Bryce Greene is a student, writer, organizer and media critic based in Indianapolis. He is a contributor to Fairness and Accuracy In Reporting. He was arrested and banned from Indiana University's campus for participating in the Gaza solidarity encampment at Indiana University. Aidan Khamis is an organizer for Palestine Solidarity Committee IU and IU divestment coalition. Media Benjamin Medea Benjamin is the co-founder of the women-led peace group CODEPINK. She is also co-founder of the human rights group Global Exchange, the Peace in Ukraine Coalition, Unfreeze Afghanistan, ACERE: The Alliance for Cuba Engagement and Respect, and the Nobel Peace Prize for Cuban Doctors Campaign. Medea has been an advocate for social justice for 50 years. She was one of 1,000 women from 140 countries nominated to receive the Nobel Peace Prize on behalf of the millions of women who do the essential work of peace worldwide. She is the author of ten books, including Drone Warfare: Killing by Remote Control, Kingdom of the Unjust: Behind the U.S.-Saudi Connection, and Inside Iran: The Real History and Politics of the Islamic Republic of Iran. Her most recent book, coauthored with Nicolas J.S. Davies, is War in Ukraine: Making Sense of a Senseless Conflict. Sarah Ema Friedland Director/Cinematographer) is an NYC-based media artist and educator. Her work has screened at institutions including Cannes Film Festival, Lincoln Center, Anthology Film Archives, PBS, the Tang Teaching Museum, The Chelsea Museum, The Queens Museum, The 14th Street Y, and the MIT List Center. Her works have been supported by grants and fellowships, including the Jerome Foundation, NYSCA, the Palestine American Research Center, the LABA House of Study, and the MacDowell Colony. She is a recipient of the Paul Robeson Award from the Newark Museum, and was nominated for a New York Emmy. Friedland is a member of the Meerkat Media Collective and the Director of the MDOCS Storyteller's Institute at Skidmore College where she is also a Teaching Professor in the MDOCS Program. Rami Younis is a Palestinian filmmaker, writer, journalist and activist from Lyd. He was a 2019-20 Fellow at the Harvard Divinity School. As a journalist, he mainly wrote for the online magazine +972 and served as both writer and editor of its Hebrew sister site, “local call”, a journalistic project he co-founded, designed to challenge Israeli mainstream journalism outlets. Rami served as a parliamentary consultant and media spokesperson for Palestinian member of Knesset Haneen Zoabi. Rami is also co-founder and manager of the first-ever Palestine Music Expo, an event that connects the local Palestinian music scene to the worldwide industry. Younis is the host of the Arabic-language daily news show, “On the Other Hand.” ***Please support The Katie Halper Show *** For bonus content, exclusive interviews, to support independent media & to help make this program possible, please join us on Patreon - https://www.patreon.com/thekatiehalpershow Get your Katie Halper Show Merch here! https://katiehalper.myspreadshop.com/all Follow Katie on Twitter: @kthalps

Ep. 240: Caroline Golum on Quebec-Core, Ghosts of Mars, The Feeling That the Time for Doing Something Has Passed, Borzage's Man's Castle Welcome to The Last Thing I Saw, with your host, Nicolas Rapold. Filmmaker and self-described “rep rat” Caroline Golum returns to the podcast after far too long to discuss highlights from recent viewing! These include: Au clair de la lune (1983, Andre Forcier) from the “Quebec-Core” series at Anthology Film Archives; couples viewing Ghosts of Mars (2001, The Great John Carpenter); new release The Feeling That the Time for Doing Something Has Passed (Joanna Arnow); and My Morning with Magic Mike (John Wilson, visiting Mike Kuchar), which was available for the blink of a week on Le Cinéma Club. I also shout-out Museum of the Moving Image's discovery-laden Hiroshi Shimizu series (e.g. Children of the Beehive, 1948) and, also from Quebec-Core, Mireille Dansereau's Dream Life (1972). Please support the production of this podcast by signing up at: rapold.substack.com Photo by Steve Snodgrass

In our May-June 2020 issue, the scholar Aboubakar Sanogo wrote of Med Hondo, the late, great Mauritanian-French filmmaker: “For Hondo, decolonization and independence were not simply a matter of regime change from colonial to postcolonial, but rather a radical geopolitical and avant-gardist project. The cinema had its part to play in the realization of this emancipatory vision by liberating itself from all varieties of dominance, including those of form and tradition.” Hondo's brilliant and idiosyncratic ouevre is a testament to that emancipatory vision. From his debut feature Soleil O to the grand anti-colonial musical West Indies; from the collaborative immigrant documentary My Neighbors to the anti-police noir Black Light, Hondo's films are both formally ingenious and politically audacious. On March 22, Anthology Film Archives will kick off a weeklong retrospective of Hondo's works, including some brand-new restorations. The series is organized by none other than Aboubakar Sanogo, who joined us on today's episode to discuss Hondo's life and legacy.

LoVid is a NY-based interdisciplinary artist duo working collaboratively since 2001. LoVid's practice focuses on aspects of contemporary society where technology seeps into human culture and perception. Throughout their interdisciplinary projects over two decades, LoVid has maintained their signature visual and sonic aesthetic of color, pattern, and texture density, with disruption and noise. LoVid's work captures an intermixed world layered with virtual and physical, materials and simulations, connection and isolation.LoVid's process  includes home-made analog synthesizers, hand-cranked code, and tangible materials; their videos, textile works, performances, net-art, installations, and NFTs have been exhibited worldwide for over two decades. LoVid's work has been presented internationally at venues including: Museum of Modern Art (MoMA), Standard Vision X Vellum LA, Wave Hill, Brookfield Arts, RYAN LEE Gallery, Art Blocks Curated, Postmasters Gallery, bitforms Gallery, Honor Fraser Gallery, Unit London, http://Verse.work, http://Expanded.Art, Art Dubai, New Discretions, And/Or Gallery, Klaus von Nichtssagend Gallery, Anthology Film Archives, Issue Project Room, The Science Gallery Dublin, The Jewish Museum, The Kitchen, Daejeon Museum, Smack Mellon, Netherland Media Art Institute, New Museum, and ICA London. LoVid's projects have received grants and awards from organizations including: The Robert Rauschenberg Foundation, Graham Foundation, UC Santa Barbara, Signal Culture, Cue Art Foundation, Eyebeam, Harvestworks, Wave Farm, Rhizome, Franklin Furnace, http://Turbulence.org, New York Foundation for the Arts, Lower Manhattan Cultural Center, Experimental TV Center, NY State Council of the Arts, and Greenwall Foundation.LoVid's videos are distributed by EAI and their work is in the collection of the Whitney Museum, The Museum of Moving Image, The Parrish Museum, Thoma Foundation, Watermill Center, Butler Institute of American Art, Heckscher Museum, NFT Museum of Digital Art, Museum of Nordic Digital Art, and more.

This week on Bad First Impression, returning guest Alex Campo and I dig deep into a movie that that a startling number of people have a childhood connection to: the 2004 blockbuster Christian exploitation film The Passion of the Christ. After we saw it at the Anthology Film Archives as part of their series "Jesus Christ! At the Movies," we sat down to parse how this movie became an Easter staple in Christian households. Discussion topics include:    Is this a horror film? Does its mere existence as a commercial product constitute blasphemy? Why is this movie apologizing for Pontius Pilate's behavior?

THE ARWEN LEWIS SHOW - Richard Baron Arwen welcomes Richard Barone! Richard is a recording artist, performer, producer, and author. Since pioneering the indie rock scene in Hoboken, NJ as frontman of The Bongos and helping to launch the chamber pop movement with his solo debut “Cool Blue Halo”, Barone has produced numerous studio recordings and worked with artists in every musical genre. His list of collaborators has included producer Tony Visconti, Donovan, Lou Reed, and folk legend Pete Seeger. He has scored shows and staged all-star concert events at venues such as Carnegie Hall, the Hollywood Bowl, and Summer Stage in Central Park. His memoir Frontman: Surviving The Rock Star Myth was published in 2007. His album Sorrows & Promises and his latest book, Music + Revolution (2022), are celebrations of the 1960s music scene in Greenwich Village NYC, where Barone lives. He teaches the course “Music + Revolution” at The New School's School of Jazz & Contemporary Music, has served on the Board of Governors of The Recording Academy (GRAMMYs), serves on the Advisory Board of Anthology Film Archives, and hosts Folk Radio on WBAI New York.  @TonyVisconti, @Donovan, @LouReed, @PeteSeeger. Richard's Website: http://www.richardbarone.com More info:Wikipedia: https://en.wikipedia.org/wiki/Richard_Barone The Arwen Lewis Show Host | Arwen Lewis Executive Producer | Jeremiah D. Higgins Producer - Sound Engineer - Richard “Dr. D” Dugan https://arwenlewismusic.com/ On Instagram, Follow Arwen Lewis Here: @thearwenlewisshow @arwenlewis www.thejeremiahshow.com On Instagram @jeremiahdhiggins https://linktr.ee/jeremiahdhiggins

Ep. 192: John Wilson on How To with John Wilson Welcome to The Last Thing I Saw. I'm your host, Nicolas Rapold. This week I talk with John Wilson, the mastermind of How To with John Wilson, the sui generis series on HBO. The third and final season of How To has now begun, and so I took the opportunity to ask Wilson about the secret to assembling the show's serendipitous paths through New York and his own experience of the world. We also talked about his recent viewing and selections from the Anthology Film Archives series he programmed for this month. Please support the production of this podcast by signing up at: rapold.substack.com Music: “Tomorrow's Forecast” by The Minarets, courtesy of The Minarets Photo by Steve Snodgrass

Today on KNOW GOOD MUSIC we talk with singer/songwriter/author : RICHARD BARONE from the 80s band THE BONGOS. Richard is quite the music historian!  We talk about Richard's early days in music as the littlest DJ, promoting bands at 16, forming the Bongos, touring, moving to Greenwich village on the advise of Tiny Tim (who became one his good friends) and Richard's great new book all about Greenwich Village in the 60s called MUSIC + REVOLUTION!   You will learn alot after listening to this interview!  Highly informative. *********** Richard's upcoming shows : PINUPS AT 50 (David Bowie Tribute) - June 30th - City Winery - New York City / PINUPS AT 50 (David Bowie Tribute) - July 2nd - City Winery - Philadelphia  CARNEGIE HALL - Music + Revolution - Greenwich Village in the 60s - Music & readings from Richard's Book with special guests like Marshall Crenshaw (more to be announced) - November 19, 2023 To order Richard's book you can order anywhere you buy books.  Signed copies are available on Richard's website at: www.richardbarone.com ******** A little bit about RICHARD BARONE: Richard Barone is a recording artist, performer, producer, and author. Since pioneering the indie rock scene in Hoboken, NJ as frontman of The Bongos and then helping to launch the chamber pop movement with his solo debut “cool blue halo”, Barone has produced  numerous studio recordings and worked with artists in every musical genre. His list of collaborators includes Tony Visconti, Donovan, the late Lou Reed, and folk legend Pete Seeger. He has scored shows and staged all-star concert events at venues such as Carnegie Hall, the Hollywood Bowl, and SummerStage in Central Park. His memoir Frontman: Surviving The Rock Star Myth was published by Hal Leonard Books. His album Sorrows & Promises and his latest book, Music + Revolution, are celebrations of the 1960s music scene in Greenwich Village NYC, where Barone lives. He teaches the course “Music + Revolution” at The New School's School of Jazz & Contemporary Music, has served on the Board of Governors of The Recording Academy (GRAMMYs), serves on the Advisory Board of Anthology Film Archives, and hosts Folk Radio on WBAI New York.  ******** KNOW GOOD MUSIC can be found on Podbean (host site), Spotify, Apple Podcasts, Iheart Radio, Pandora and almost anywhere you listen to podcasts.     Visit our YouTube Channel where you can see 2 video segments from this interview.  Just search "know good music".   COPYRIGHT CLAIM: The songs used on the podcast : "Brave New World", "Numbers with Wings", "Did you ever have to make up your mind", "Bleeker Street" and "Glow in the Dark" used with permission from Richard Barone.

Projectionist Genevieve Havemeyer-King joins us to talk about recent articles on theatrical film exhibition in The New York Times, Vulture, and n+1. Along with co-host John Klacsmann of Anthology Film Archives, we get into how pre-digital trends toward multiplex automation, corporate union busting, and studios stacking the deck in their favor with the DCP specification have shaped the current state of theatrical film presentation. We also talk about 35mm projection, 70mm blow-ups, the projectionist as mechanic vs. magician, and how the repertory experience is changing.A full-length bonus episode about Regal Union Square, Peter Kubelka's Invisible Cinema, ChatGPT, and New York slasher movies is coming soon for our Patreon subscribers. Hosts: Jon Dieringer & John Klacsmann; Editor: John Klacsmann; Producer: Marielle IngramLinks:Genevieve Havemeyer-King websiteDigital Rocks (Will Tavlin, n+1)Why New Yorkers Still ❤️ Film (Ted Alcorn, New York Times)Bad Projection Is Ruining the Movie Theater Experience (Lane Brown, Vulture)Avant-garde film preservation (Klax & JD in discussion on Screen Slate)Support the showThe Screen Slate Podcast is supported by its Patreon members. Sign up and get access to bonus episodes, our lockdown-era streaming series archives, discounts from partners like Criterion and Posteritati, event invitations, and more.

¿Por qué escuchar esta entrevista? Diana López es una artista visual venezolana y gestora cultural. Su trabajo incluye fotografía, video, performance e instalaciones. La obra de Diana López ha sido expuesta individual y colectivamente en prestigiosas instituciones de América Latina, Estados Unidos, Canadá y Australia. Entre ellas el MoMa PS1, Anthology Film Archives de Nueva York, la Galería Diego Rivera, New Langton Arts de San Francisco, Track 16 de Los Ángeles, Art Metropole, el Museo Alejandro Otero, la Galería de Arte Nacional, la Sala Mendoza, el Museo Jesús Soto de Ciudad Bolívar, el Museo de Arte de Lima, el MAC de Panamá, y el Centro de Fotografía Contemporánea de Melbourne, entre otros. Actualmente es directora de El Archivo, fundación dedicada a la conservación, la investigación y la difusión de la memoria visual venezolana. Diana se convirtió en el año 1994, en la primera mujer en recibir el Premio de Arte Eugenio Mendoza. Y en 2014 recibió el reconocimiento de los Premios Aica. Explora lo que tenemos para ti en nuestra página web: https://tramauniversity.org/ Síguenos en Instagram para estar al día con todas nuestras actividades: https://www.instagram.com/tramauniversity/

Show notes What better way to celebrate Women's History Month than by chatting with former Co-Chair of NYWIFT's Women's Film Preservation Fund (WFPF) Ann Deborah Levy and filmmaker Ariel Dougherty about the WFPF special screening of Surviva at Anthology Film Archives. Ann and Ariel talk with Penni Malloy-Harper about how the 70's artistic movement inspired the movie and why preserving films by women is so important. Co-Hosts Janine McGoldrick and Tammy Reese give a shoutout to several female pioneers of film and television and spotlight avant garde filmmaker Abigail Child's upcoming retrospective also at Anthology Film Archives. To be featured on the podcast email us at communications@nywift.org. For more great content go to NYWIFT.org. Special thanks to Elspeth Collard, the creator of our podcast theme song. Social Media: NYWIFT: @NYWIFT / #NYWIFT Ann: IG @nyimagesmith WFPF: IG @nywiftwfpf /FB Https://www.facebook.com / #WFPF #NYWIFTWFPF Ariel: IG @MediaEquity / Twitter @MediaEquity / FB ArielDougherty.1

This episode was recorded live during the launch of e-flux journal issue #131 on December 7, 2022. The evening was introduced and moderated by the journal editors, and featured authors Martin Guinard, Sabu Kohso, Matt Peterson, Leon Dische Becker, and Cosmo Bjorkenheim. Martin Guinard expands on his “Homage to Bruno Latour” with a message on diplomacy between different worlds that are no longer commoning together. In connection to Dische Becker and Bjorkenheim's later conversation, Guinard also touches on Latour's (non-)relationship to science fiction.  Sabu Kohso and Matt Peterson discuss their conversation “The Catastrophe Revealed: On Radiation and Revolution,” which traces deep, interconnected fault lines between the ongoing aftermaths of the Fukushima disaster and the Covid pandemic, as well as the imperial and also liberatory history of activist movements in Tokyo, New York, and all places where people rise up against a disintegrating world.  Leon Dische Becker and Cosmo Bjorkenheim discuss their essay “A Cursed Franchise: Reliving Colonial Nightmares Through Endless Sci-fi Remakes,” which, among other things, recommends against Hollywood directors mounting a fourth remake of H. G. Wells's The Island of Doctor Moreau, arguing that its curses and racist colonial critiques are better left in the past. e-flux journal is a monthly art publication featuring writings by some of the most engaged artists and thinkers working today. Its Issue #131 (November 2022) features contributions by Mi You, Sabu Kohso, Matt Peterson, Martin Guinard, Leon Dische Becker, Cosmo Bjorkenheim, Nicola Perugini, Tommaso Fiscaletti, Su Wei, Pelin Tan, Olga Olina, Hallie Ayres, and Anton Vidokle. Read or download the issue here. Martin Guinard has been a curator at LUMA Arles since 2021. Before this, he worked on several interdisciplinary projects dealing with ecological mutation in close collaboration with Bruno Latour. He was a curator of the 2020 Taipei Biennial, titled “You and I Don't Live on the Same Planet,” as well as a guest-editor of the e-flux journal issue of the same name.  Sabu Kohso is a political and social critic, translator, and a long-time activist in the global and anti-capitalist struggle. He has published several books on urban space and struggle in Japan, and has translated books by Kojin Karatani and David Graeber. His most recent book is Radiation and Revolution (Duke University Press, 2020). Matt Peterson is an organizer at Woodbine, an experimental space in New York City. He codirected the film Spaces of Exception (2018), and coedited the books In the Name of the People (2018) and The Mohawk Warrior Society (forthcoming 2022). Leon Dische Becker is a writer, editor, and translator (Ger-to-Eng) from Berlin currently living between Los Angeles and New York City. He is trying to write more again.  Cosmo Bjorkenheim is a filmmaker and writer who lives in New York City. His work has been screened at Anthology Film Archives, Maysles Documentary Center, and the Museum of the Moving Image. He is a contributing editor at Screen Slate.

Richard is currently editing a macabre feature film called The Dark Sisters. His feature film King Judith is available in wide release through Indie Rights Movies. My previous feature, A Ship of Human Skin, is available in wide release through Gravitas Ventures. His films have been shown at Alchemy Moving Image, Anthology Film Archives, Arizona Underground, AVIFF Cannes, Bare Bones, Berlin Revolution, Black Maria, Blow-Up (Chicago Art House), Dallas VideoFest, KERA (PBS), Proyector International, SENE, ShockFest, SXSW, and many other festivals. Check out his work on Vimeo and his website. --- Support this podcast: https://podcasters.spotify.com/pod/show/experimentalfilmpodcast/support

"Fragments of Paradise" celebrates the life of Jonas Mekas, co-founder of New York's Anthology Film Archives, who left a lasting legacy on the New York film world. Directed by KD Davison, the film premieres among nearly 200 films at the DOC NYC festival in theaters and online. "Fragments of Paradise" premieres Saturday, Nov. 12 at DOC NYC.  

As one of the most influential musicians in Turkish history and the first modern pop star of Turkey, Zeki Müren gained huge popularity beginning in the 1950s across all different communities in Turkey, in spite of his groundbreaking behaviors like cross-dressing, and can be seen as an LGBTQ+ trailblazer. Even now, Zeki Müren continues to have a profound influence on Turkish society and on the Turkish people. We begin discussing how he became so popular with such a wide audience, then Beyza and Jeff talk about their own experiences with Zeki Müren, and what led them to create the interactive documentary Zeki Müren Hotline. After that, we compare the pop culture background while Zeki was performing with the current Turkish pop culture environment, and also discuss how Zeki kept the balance of pushing boundaries and also being conservative, how he used some survival behaviors, and what made him a national hero. Finally, our guests Beyza and Jeff share some stories from the Zeki Müren Hotline. Beyza Boyacıoğlu is an award-winning documentarian and film editor from Istanbul, currently based in Brooklyn. Her work has been exhibited at MoMA, IDFA, Anthology Film Archives, RIDM, MoMA PS1, Museum of Fine Arts Boston, Venice Biennial, Creative Time Summit, Barbican Centre, UnionDocs, Maysles Cinema, Morelia International Film Festival, !f Istanbul and many others.She created the interactive documentary Zeki Müren Hotline at the MIT Open Documentary Lab with Jeff Soyk.Jeff Soyk is an award-winning media artist with experience in storytelling, direction, UX design, UI design, front-end development, animation, and film/video. His credits include co-director and UI & UX designer on Zeki Müren Hotline (2022 Webby Award Honoree: NetArt, 2017 !f Istanbul exhibit, 2017 RIDM exhibit, 2016 IDFA DocLab nominee), co-creative director and UI & UX designer on PBS Frontline's Inheritance (2016 News & Documentary Emmy Award winner, 2016 Peabody-Facebook Award winner), and art director, UI/UX designer and architect on Hollow (2014 News & Documentary Emmy Award nominee, 2013 Peabody Award winner).A full transcript of this episode will be available soon!Here are some of the references from this episode, for those who want to dig a little deeper:Zeki Müren HotlineZeki Müren Hotline Kickstarter (w/ background info)The Republic of Love: Cultural Intimacy in Turkish Popular MusicTurkey as Major Television Exporter"Letter of Sorrow"MIT Open Documentary LabShare your thoughts via Twitter with Henry, Colin and the How Do You Like It So Far? account! You can also email us at howdoyoulikeitsofarpodcast@gmail.com.Music:“In Time” by Dylan Emmett and “Spaceship” by Lesion X.––––––––––––––––––––––––––––––In Time (Instrumental) by Dylan Emmet  https://soundcloud.com/dylanemmetSpaceship by Lesion X https://soundcloud.com/lesionxbeatsCreative Commons — Attribution 3.0 Unported — CC BY 3.0Free Download / Stream: https://bit.ly/in-time-instrumentalFree Download / Stream: https://bit.ly/lesion-x-spaceshipMusic promoted by Audio Library https://youtu.be/AzYoVrMLa1Q––––––––––––––––––––––––––––––

We're back! This week, we return from our extended summer break with a look at something that's been in the works for nearly three years: the ASK ANY BUDDY and the Golden Age of All-Male Adult Cinema series happening at New York's Anthology Film Archives beginning this Thursday, October 20th and running through the 25th. This series marks the first theatrical screenings of ASK ANY BUDDY since early 2021 and also includes seven other films from the era, including five extremely rare 16mm screenings and the world premiere of a new 2K restoration of Peter Berlin's THAT BOY. Over the course of this episode, we'll talk about each of those seven films, the challenges of programming sex films, and the historical value of seeing these films on film. 

For Video Edition, Please Click and Subscribe Here: https://youtu.be/6rPBvuNOx5s Richard Barone is a recording artist, performer, producer, professor, and author. Since pioneering the indie rock scene in Hoboken, NJ, as frontman of The Bongos, Barone has worked with artists in every musical genre including Donovan, Lou Reed, and folk legend Pete Seeger. He has produced concert events at Carnegie Hall, the Hollywood Bowl, and SummerStage in Central Park. His album Sorrows & Promises is a celebration of the 1960s music scene in Greenwich Village, where Barone lives. He currently teaches the course “Music + Revolution” at The New School's School of Jazz & Contemporary Music, serves on the Advisory Board of Anthology Film Archives, has served on the Board of Governors of The Recording Academy (GRAMMYs), and hosts Folk Radio on WBAI New York. Even before the Beatnik Riots of 1961, New York City's Greenwich Village was the epicenter of revolutionary movements in American music and culture. But, in the early 1960s and throughout the decade, a new wave of writers and performers inspired by the folk music revival of the 1950s created socially aware and deeply personal songs that spoke to a generation like never before. These writers—Bob Dylan, Buffy Sainte-Marie, Janis Ian, and Phil Ochs, to name a few—changed the folk repertoire from traditional songs to songs sprung from personal, contemporary experiences and the nation's headlines, raising the level of political self-expression to high art. Message and music merged and mirrored society. In Music + Revolution: Greenwich Village in the 1960s, Richard Barone unrolls a freewheeling historical narrative, peppered with personal stories and insights from those who were there. 

This week Bunny welcomes Adam Baran to talk about his work as a filmmaker, spaces for sex and cruising and his thoughts on Bros. Adam Baran is a writer, director, producer, and curator whose work focuses on hidden histories of queer life and identity. Baran's short documentary TRADE CENTER screened at the 2021 SXSW Film Festival, AFI Docs, Frameline, Maryland, Provincetown and the Oak Cliff Film Festival, where it received a Special Jury Mention from the Best Documentary Short jury. Baran produced the 2020 Netflix documentary CIRCUS OF BOOKS which was nominated for an Emmy award for Outstanding Writing for a Non-Fiction Program. He is a co-producer on the forthcoming doc-series HOW TO HAVE SEX IN A PANDEMIC which examines the impact of COVID on LGBT New Yorkers. He wrote the first season of the hit webseries HUNTING SEASON and was a contributing editor at BUTT Magazine for many years. As producer, Baran's projects include Emmy-winning director Jeffrey Schwarz's feature documentaries BOULEVARD! A HOLLYWOOD STORY and the forthcoming MINESHAFT: THE CRUISING MURDERS. His next documentary as director explores the history of the leather and motorcycle club scene from 1964-1989. As a curator, Baran co-created the long-running Queer/Art/Film screening series at the IFC Center in Manhattan, and his new monthly screening series is called Narrow Rooms, which highlights dark and dirty gay films every month at the Anthology Film Archives in New York. Adam is also the creator of the NYC INFERNO sex parties, an inclusive sex party which he calls a "sex party for sex nerds". . More can be found on Instagram @nycinfernoparty Learn more about your ad choices. Visit megaphone.fm/adchoices

Brief summary of episode:Margaret Rorison is filmmaker and curator from Baltimore, MD. Her short films are intuitive and personal investigations into urban and corporeal landscapes. Her current work focuses on portraiture, memory, and concepts of absence. She is interested in the potential of storytelling through the use of 16mm projection, performance, and sound. Her practice is dedicated to the preservation of knowledge and community of analog filmmaking and experimental processes; often incorporating tools of early photographic history with motion picture filmmaking. She received her BA from UMD, College Park in Creative Writing and Spanish Literature, and a MFA in Photographic & Electronic Media from MICA. Her work has been exhibited at various festivals and venues including Anthology Film Archives, Ann Arbor Film Festival, Edinburgh International Film Festival, Images Festival, Miami PULSE Art Fair, Mono No Aware Festival of Expanded Cinema, Microscope Gallery, The Museum of The Moving Image, The National Gallery of Art, Open City Documentary Film Festival in London, and The Walker Art Center.  She is the co-founder and curator of the experimental film series, Sight Unseen which ran from 2012 -2022. The series has been recognized for its role in the artistic community and has received numerous operational grants from The Andy Warhol Foundation for the Visual Arts, The MICA Launch Artists in Baltimore Award, Artists Public Domain, The Contemporary Grit Fund Grant, and the Robert W. Deutsch Foundation. The series has worked with over 50 contemporary filmmakers to come and present their work in Baltimore. She is a 35mm and digital projectionist at The National Gallery of Art in D.C. film instructor, and program manager for the Film Department at The Baltimore School for The Arts. The Truth In This ArtThe Truth In This Art is a podcast interview series supporting vibrancy and development of Baltimore & beyond's arts and culture. Mentioned in this episode:Margaret Rorison's website To find more amazing stories from the artist and entrepreneurial scenes in & around Baltimore, check out my episode directory. Stay in TouchNewsletter sign-upSupport my podcastShareable link to episode ★ Support this podcast ★

This week, Film Comment Co-Deputy Editor Clinton Krute takes a look at the wealth of cinematic delights on offer this fall across repertory calendars, both in person in New York City and online. To guide him through the thicket of newly rediscovered gems, lost classics, and thematic programs, Clint invited three experts—critic and filmmaker Gina Telaroli; Inney Prakash, programmer and founder of the Prismatic Ground festival; and Steve Macfarlane, critic and programer at Spectacle Theater and MoMA—to discuss some of the series from the next few months that they're most excited about. These includes Anthology Film Archives' ongoing Imageless Films series, the upcoming Hugo Fregonese and Beth and Scott B retrospectives at MoMA, the online series Spectral Grounds: Black Experimental Film, and much more. Check the links in the show notes for more information:

Sunny Murray changed our whole conception of what drums could do in music.   In this rebroadcast of Mitch Goldman's Deep Focus from 2018, fellow drummer/composer William Hooker thinks (and feels) as deeply about the role of drums as anyone we have heard speak on the topic.  Special guest appearance from reedman/scholar Ras Moshe.     This Monday night (6/13) from 6pm to 9pm NYC time on WKCR 89.9FM, WKCR-HD1 and wkcr.org.   Tuesday morning it goes up on the Deep Focus podcast on your favorite podcasting app or at our hosting site https://mitchgoldman.podbean.com/   You can also find out more about the show and search for past episodes here: https://mitchgoldman.com/about-deep-focus/   And a special mention: William Hooker's feature-length documentary, "the Lost Generation: Outside the Mainstream" is showing at Anthology Film Archives, 32 2nd Ave. NYC, this Sunday, June 19th, 2022 7:00 PM  #WKCR #JazzAlternatives #DeepFocus #WilliamHooker #RasMoshe #MitchGoldman #DeepFocus #JazzRadio #JazzPodcast

Ben Coonley is an artist working with video, computers, 3D, and cats. His work has exhibited in “3D: Double Vision” at LACMA in Los Angeles; “Dreamlands: Immersive Cinema and Art, 1905-2016” at the Whitney Museum of American Art, New York; “Flat is Beautiful: The Strange Case of Pixelvision,” at Lincoln Center, New York; “Continuing Education for Dead Adults,” New Museum, New York; “3D in the 21st Century,” Brooklyn Academy of Music (BAM), Brooklyn, NY;  and “Greater New York: Cinema,” MoMA PS1, Queens, NY, among others. Coonley's works have also been screened widely including at Performa, Anthology Film Archives, the Moscow Biennale, and the International Film Festival Rotterdam (IFFR), Rotterdam, The Netherlands. His works are in the permanent collection of the Whitney Museum of American Art, among others, and have appeared in Art in America, Artforum, Artsy, Frieze, Hyperallergic, The Wall Street Journal, among others. Ben Coonley studied Art Semiotics as an undergraduate at Brown University, and received an MFA from Bard College in 2003. He was born in Boston, MA and currently lives and works between New York City and the Hudson Valley, New York.

For Patreon members | Full episode 20 min | We turn the mic on co-host John Klacsmann, who is on the bargaining committee of the Anthology Film Archives union, for updates on the workers' situation. We talk about how people can support Anthology staff by continuing to attend screenings there and let their support for a fair contract be known to the AFA board and management. Plus: JD runs into a millennial politician from our dating episode, and Caroline Golum on Mets commentators' film criticism. Anthology Film Archives UnionTwitter: @AFAworkersInstagram: @afaunion Film Forum Unionfilmforumunion.orgTwitter: @FilmForumUnion Instagram: @filmforumunionFilm at Lincoln Center Unionflcunion.orgTwitter: @flcunionInstagram: @flcunionBAMunionbamunion.orgTwitter: @BAM_unionInstagram: @bamunionBecome a Patreon member to listen to the full episode.Support the show

A marketing exec creates an AI version of a Gen Z teen to get young people buying his company's products, but it just makes fun of him for being cringe. Tenacity Plys is a nonbinary writer based in Brooklyn, with publications in Hobart, Ethel, Bullshit Lit, Alien Buddha, Word Gathering, and Pif Magazine. Xir short story “I Love My AI Son” will be featured in Alien Buddha's Best of 2022 anthology at the end of this year. Xir 2016 short film was accepted to 23 festivals and won 6 awards, with screenings at Anthology Film Archives in New York and Artist Forum. Xe has read work at the Franklin Park reading series in Crown Heights, and organizes a monthly Zoom variety show called Quaranturnt. You can find more of xir work at tenacityplys.com. ---- Story Submission ---- Got a short story you'd like to submit? Submission guidelines can be found at TallTaleTV.com ---- About Tall Tale TV ---- My name is Chris Herron, and I narrate audiobooks. In 2015, poor control of my diabetes left me legally blind for the better part of a year. The doctors predicted an 80% chance I would never see again, but I changed the way I was living and through sheer willpower beat the odds. During this time I couldn't read or write. Two things that I had been turning to for comfort since I was a small child. With the sheer amount of stress I was under, this was devastating. My wife took me by the arm, lead me into the local library, and read out titles of audiobooks to me. I chose the audiobook versions of books I had loved such as the Disc World series, Name of the Wind, Harry Potter, and more. They brought my favorite stories to life in ways I never thought possible and helped me through the darkest time of my life. Once my vision recovered, I maintained a love for audiobooks. I decided I would turn my focus from being a writer to becoming a narrator. I devised Tall Tale TV as a way to help out all the amazing authors in the writing communities I had come to love before my ordeal. I created Tall Tale TV to help aspiring authors by providing them with a promotional audiobook video. A way to showcase their skills with the written word. They say the strongest form of advertisement is word of mouth, so I provide a video to a platform of readers to help get people talking. Help them spread the word. Click the share button and let the world know about this author. ---- legal ---- All images used in this video are either original or Royalty and Attribution free. Most stock images used are provided by http://www.pixabay.com or purchased from https://www.canstockphoto.com/ . Image attribution will be declared only when required by the copyright owner. All stories on Tall Tale TV have been submitted in accordance with the terms of service provided on http://www.talltaletv.com or obtained with permission by the author. Common Affiliates are: Amazon, Smashwords

This week on the Film at Lincoln Center podcast, we're featuring a programmer's preview of our Jonas Mekas Retrospective with FLC Jr. Programmer Dan Sullivan, followed by a Q&A from the 59th New York Film Festival with Flee director Jonas Poher Rasmussen, moderated by NYFF Director Eugene Hernandez. Few if any figures in the history of New York City film culture have left as large a mark as that of the Lithuanian filmmaker, critic, and poet Jonas Mekas. Rising to notoriety in the 1950s and '60s as a champion of and mouthpiece for the New American Cinema, he founded and presided over such stalwart fixtures of the underground and avant-garde film scenes as Film Culture magazine, the Filmmakers' Cinematheque, the Film-Makers' Cooperative, and Anthology Film Archives. But he was also one of the 20th century's most vital film artists, a master cine-diarist and something like a present-tense historian who documented the particulars of emigrant life in New York City. Featuring 16mm screenings, our Jonas Mekas Retrospective takes place from February 17th to 23rd.  In the Academy Award-nominated Flee, Amin's life has been defined by escape from a young age. Forced to leave his home country of Afghanistan with his mother and siblings after the U.S.-supported mujahideen toppled the government, Amin relocated to Russia as an adolescent, only to take part in a dangerous migration to Western Europe as a teenager to break away from the harsh conditions of post-Soviet living. Now that Amin is planning to marry a man he met in his new homeland, Denmark, he begins to look back over his life, opening up about his past, his trauma, the truth about his family, and his acceptance of his own sexuality. Using animation as both an aesthetic choice and an ethical necessity (to hide Amin's true identity), Jonas Poher Rasmussen's animated documentary is an illuminating and heartrending true story about the importance of personal freedom in all its meanings. Flee, an NYFF59 selection is now streaming.

Front Row Classics kicks off 2022 with a visit from one of the most renowned and trusted voices in the film community. Brandon is thrilled to welcome Leonard Maltin to the podcast. Mr. Maltin discusses his new book, "Starstruck: My Unlikely Road to Hollywood". The interview covers his many interactions with both legendary and lesser known entertainment figures. We also discuss his early days as a critic & interviewer along with his tenure teaching USC's popular film studies course. This is definitely a conversation that any film lover will enjoy. "Starstruck: My Unlikely Road to Hollywood" is available wherever books are sold from GoodKnight Books. Leonard Maltin is one of the most recognized and respected film critics of our time. He spent 30 years on the hit television show Entertainment Tonight and appears regularly on Turner Classic Movies. An established author, he is best known for his annual paperback reference, Leonard Maltin's Movie Guide. In 2005, he introduced a companion volume, Leonard Maltin's Classic Movie Guide (now in its third edition), which focuses on movies made before 1965, going back to the silent era. Leonard's other books include Hooked on Hollywood, The Best 151 Movies You've Never Seen, The Disney Films, Of Mice and Magic: A History of American Animated Cartoons, The Great American Broadcast: A Celebration of Radio's Golden Age, The Great Movie Comedians, Movie Comedy Teams, The Art of the Cinematographer, Selected Short Subjects and (as co-author) The Little Rascals: The Life and Times of Our Gang. Leonard has been teaching at the USC School of Cinematic Arts for the last 23 years. His popular class screens new films prior to their release, followed by a Q&A with the filmmakers. This direct access to top talent has proven to be invaluable in his students' own filmmaking endeavors. As an expert and host, he is frequently seen on news programs and documentaries. Leonard is also a prolific freelance writer whose articles have appeared in The New York Times, The Los Angeles Times, The London Times, Smithsonian, TV Guide, Esquire, The Village Voice and American Film. He was the film critic for Playboy magazine for six years. Additionally, Leonard frequently lectures on film and was a member of the faculty of New York City's New School for Social Research for nine years. He served as Guest Curator at the Museum of Modern Art film department in New York on two separate occasions. Leonard created, hosted and co-produced the popular Walt Disney Treasures DVD series and appeared on Warner Home Video's Night at the Movies features. He has written a number of television specials, including Fantasia: The Creation of a Disney Classic and has hosted, produced and written such video documentaries and compilations as The Making of The Quiet Man, The Making of High Noon, Cartoons for Big Kids, The Lost Stooges, Young Duke: The Making of a Movie Star, Cliffhangers: Adventures from the Thrill Factory and Cartoon Madness: The Fantastic Max Fleischer Cartoons. In 2006 he was named by the Librarian of Congress to join the Board of Directors of the National Film Preservation Foundation. He also has received awards and citations from the Los Angeles Film Critics Association, American Society of Cinematographers, Anthology Film Archives, The Society of Cinephiles, San Diego Comic-Con International, and the Telluride Film Festival. In 1997 he was made a voting member of the National Film Registry, which selects 25 landmark American films every year. Perhaps the greatest indication of his fame was his appearance in a now-classic episode of the animated series South Park. He holds court at leonardmaltin.com. Follow him on Twitter and Facebook; you can also listen to him on his weekly podcast Maltin on Movies, which he hosts with his daughter, Jessie.        

https://notesonfilm1.com/2021/11/22/thinking-aloud-about-film-encounter-at-the-station-hsin-chi-taiwan-1965/ Encounter at the Station (Taiwan, 1965) is the last of the 5 Hsin Chi films programmed by the Anthology Film Archives in New York and available for all to see for free until November 30. It is a melodrama in the truest sense, with songs narrating or underlining the action at almost every moment. And what action! The film takes on every melodramatic trope possible and when you think it can't get any more extreme it surprises you by going even further still. A young high school student falls in love with a boy at the station. On her deathbed her mother reveals to her that she is really adopted and to beware of the stepfather. And for good reason, as soon as the mother dies, he sells the young girl to a nightclub to pay for the mother's funeral. Her love surprises her at the club and buys her out. But it's no good, her secret's revealed and she will be forever a B-girl. People have to give up their children, some go blind, some go mad. It's never boring. We discuss all of this and more in the podcast below:

Robin Starbuck's "The Flight of a Bird Does not Scar the Sky" is an official selection and a film that was screened in The Experimental Film Fest 2021. Robin is an artist, filmmaker, professor of Experimental Film and Animation, and the current Chair of Filmmaking & Moving Image Arts at Sarah Lawrence College in Bronxville, NY. An award-winning filmmaker and artist who produces experimental nonfiction films, installations, and animated media for theatre and opera, Starbuck employs a mixture of documentary and reflexive film styles in her work. By working in a nontraditional form, she strives to create a cinematic space in which the world is perceived rather than known. In response to her work, viewers are invited to interact with what they see on the screen and to create meaning by reflecting on their own experiences, ideas, and truths. She has exhibited works at the Boston Center for the Arts, The Walker's Point Art Center, Milan Biennale, Indie Open in New York City, Anthology Film Archives, Deluge Contemporary Art & Antimatter, Collected Voices Chicago, XVI Cine Pobre Cuba, the Madrid Film Festival, the Ethnograpfia Film Festival in Paris, The Stockholm Experimental and Animation Film festival, and other festivals, art centers, and galleries in the United States, Europe, and Asia. Most recently, her film, How We See Water, was nominated for four international documentary awards at the X Short Film Festival in Rome. Starbuck is currently an active member of the Women in Animation Association. --- Support this podcast: https://podcasters.spotify.com/pod/show/experimentalfilmpodcast/support

Photo of Nicolás by Wadi Céspedes Raful / Courtesy of Nicolás Dumit Estévez Raful Espejo Ovalles Nicolás Dumit Estévez Raful Espejo Ovalles treads an elusive path that manifests itself performatively through creative experiences that he unfolds within the quotidian. He has exhibited or performed at Madrid Abierto/ARCO, The IX Havana Biennial, PERFORMA 05/07, IDENSITAT, Prague Quadrennial, Pontevedra Biennial, Call/Walks, Queens Museum, MoMA, Printed Matter, P.S. 122, Hemispheric Institute of Performance Art and Politics, Princeton University, Anthology Film Archives, El Museo del Barrio, Center for Book Arts, Longwood Art Gallery/BCA, The Smithsonian National Museum of the American Indian, Franklin Furnace, and Lower Manhattan Cultural Council. Nicolás has received mentorship in art in everyday life from Linda Mary Montano, a historic figure in the performance art field. Residencies attended include P.S. 1/MoMA, Yaddo and MacDowell. Nicolás holds an MFA from Tyler School of Art, Temple University, Philadelphia, PA, where he studied with Coco Fusco; and an MA from Union Theological Seminary in the City of New York. Born in Santiago de los Treinta Caballeros, Dominican Republic, in 2011 he was baptized as a Bronxite; a citizen of the Bronx. Since 2006, he has pursued trainings with key people in the healing, somatic movement, and writing fields. Nicolás is the founding director of The Interior Beauty Salon, a space working at the intersection of creativity and healing. Learn more and follow The Interior Beauty Salon on Instagram. Nicolás Dumit Estévez Raful In Bed with the Tropicals, 2015, inaction Photo: Frances Pollitt / Courtesy of Nicolás Dumit Estévez In Bed with the Tropicals consisted of a five-hour stopover by a sleeping subject in Wave Hill's conservatory, NY. This dormant being rested uninterruptedly, side by side with the vast array of orchids, lichens, air plants and ferns that make up the lush greenhouse's collection. In this exercise, which relied on inaction, the cessation of the most visible movements on behalf of the sleeper were meant to put him on a par with the imperceptible activity generated by the plant world around him. In Bed with the Tropicals was meant to conjure images of hibernation, catalepsy, the Dormition of the Virgin, and the continuous interplay between life and death. It also signaled the urgent call for what deep ecology activist Joanna Macy refers to as the “greening of the self” or the eco-self; an awareness for one's inextricable interdependence with all living beings irrespective of the lesser status “humans” have assigned to them. Rhina Valentin and Nicolás Dumit Estévez Raful with Michael Max Knobbe and Angel RodríguezThe Metropolitan Portal, 2020, art in everyday lifePhoto: Argenis Apolinario / Courtesy of Nicolás Dumit EstévezNicolás Dumit Estévez Raful Espejo invites Rhina Valentín, who in turn invites Master Percussionist Angel Rodríguez to represent her spiritual guide, and BronxNet Executive Director, Michael Max Knobbe to represent her connection to community. They step into Rhina's everyday portal through the shopping district of Parkchester, reminiscent of the walk she would take to get to the train when she lived there with her Mother—through improvisational ritual choreography that launches near the fountain of Parkchester and processes through Metropolitan Avenue. Mantras, colors, and drum beats are all part of the portal through which Rhina skillfully takes the group: a magical field. She eventually leads all involved out into the day-to-day buzz of the City to enjoy the echo of any transformations experienced during the action. This action is part of Performing the Bronx. Performing the Bronx is an expansion of Nicolás's on-going efforts to generate work with and within different communities in the Bronx. It is also representative of his interest in recovering, reclaiming and remembering histories of the area's inhabitants that run the risk of being effac...

Steve has spent over 20 years as a video editor, his body of work including promotional spots for AMC, Showtime, Discovery, and others. He has edited original programming for A&E, The History Channel, and truTV as well as original web series and documentaries. His most recent writing and directing credits are THE MASTERPIECE, a mockumentary short about a ridiculously bad movie known as "the greatest film of all time" (which screened at various NYC venues - including the Angelika Film Center and Anthology Film Archives), and LIFE ON PAUSE - about a 1980's wedding videographer who attempts to win his college crush with his "totally awesome" camera skills, which has screened at 7 festivals thus far - most recently the Love Actually Int'l Short Film Showcase - and won the BEST CAST award at the Atlanta Award-Qualifying Film Festival. Steve's completed screenplay credits include the feature-length version of LIFE ON PAUSE and NIGHT SESSIONS (a comedy/horror tale about a vampire who takes over a post-production company). Any Book, Film, or Other Project You're Currently Working on? Life on Pause (short currently in festivals... working towards getting feature funded), Night Sessions screenplay (will put on Black List), Mister Awesome screenplay (writing) IG/TW Handle: @lifeonpausemovie LinkedIn: https://www.linkedin.com/in/steven-li... https://stevelifsheyeditor.vids.io/ One Book, Film/TV Show, Music Artist/Song/Album You Love and Would Recommend for Our Listeners: The Moody Blues - In Search of the Lost Chord

Over the course of a five-decade career, Nares has investigated, challenged, and expanded the boundaries of her multi-media practice that encompasses film, music, painting, photography, and performance. She continues to employ various media to explore physicality, motion, and the unfolding of time. Nares has been the subject of numerous solo exhibitions, including at the Metropolitan Museum of Art, New York and a career-spanning retrospective at the Milwaukee Art Museum in 2019. Her work is included in several prominent public collections, including the Albright-Knox Gallery, Buffalo, NY; The Metropolitan Museum of Art, New York; Museum of Modern Art, New York, and the Whitney Museum of American Art. A career-spanning survey of her film and video works were presented in 2008 at Anthology Film Archives, New York; and in 2011 at IFC Center, New York. In 2014, Rizzoli published a comprehensive monograph on Nares's career to date. Nares has lived and worked in New York since 1974. She has been represented by Kasmin since 1991. --- Send in a voice message: https://anchor.fm/wake-island/message Support this podcast: https://anchor.fm/wake-island/support

Susun Weed answers 90 minutes of herbal health questions followed by a 30 minute interview with her guest, Pam Kray. Pam Kray is film/video/multimedia artist, writer and editor. Pam has exhibited in the United States and internationally through numerous solo screenings and festival participation and has collaborated artistically with filmmakers, audio composers, painters, sculptors, dancers and theatrical producers.     Her works include short and feature narrative, experimental and documentary films and videos. Her video documentary, Mushroom Seekers (2002), premiered at Anthology Film Archives in New York, again at the Telluride Mushroom Festival, and has screened repeatedly in the U.S. and Europe. Working in themes as diverse as gambling and wild mushroom picking, she has brought her observations of humans and their occupations together with her interests in plants as investigations of life, particularly in America. She hopes that her work in American studies strikes more universal points of understanding. To view Pam’s film-video work online, go to: https://pamkray.com Q & A topics in this episode include: separation of partnershipcaller follow-up: seasonal allergiesherbal weight-loss supplementsrebuilding health with nourishing herbal infusionsgoitercompleting a miscarriagesunburned lipsstoring & restoring root tincturesdifferent alcohols for tincture makingtalking with plants

Gabe and I met through a mutual friend (thanks Federico!) when Gabe was looking for an actor for an upcoming reading of one of his films. I had the opportunity to participate and was drawn to the quality and quantity of Gabe's work. In this episode of Actorcast, we discuss Gabe's process as a writer and director for film, as well as his most recent project, "The Sisters Kardos."Gabe Rodriguez is an award-winning filmmaker, playwright, critic, and lyricist. His films include Fighting Nirvana, Susie In the Afterlife, Q To the 6 Train, Havana In Bushwick, and Goddess of Time, all available on Amazon video. Susie In the Afterlife won the Spirit Award at The Queens World Film Festival in 2011. Q To the 6 Train was selected by the Anthology Film Archives as part of a retrospective for the anniversary of 9/11, and has since played in part of The Subway Film Series. Havana In Bushwick premiered at The International Puerto Rican Heritage Film Festival.  His current project, The Sisters Kardos, is currently in post-production.  It is a feature narrative film set during 2020 and confronting the era of Covid.Check out Gabe's website at https://fallenherofilms.com. You can also follow Gabe's work on Instagram @fallenheroproductions and on Facebook at (1) Gabe Rodríguez | Facebook. You can also check out some of his films on YouTube at Fallen Hero - YouTube.Sign up for the Actorcast Newsletter at Actorcast and join our membership to gain access to exclusive content at Become an Actorcast Premium Member | Actorcast.

Anthology Film Archives turned 50 this month. We’ll discuss the film institution’s history as a center for avant-garde cinema in New York and what they have planned for the next 50 years with Anthology’s film programmer, Jed Rapfogel, and archivist, John Klacsmann.

Journalist Robert Fisk, who died at 74 this week, is profiled in “This Is Not A Movie” covering his long career in the Middle East. Filmmaker Yung Chang follows Fisk on reporting trips to Syria, Lebanon, Palestine’s West Bank, and more. Official Trailer: The film is currently screening at Anthology Film Archives.

In this episode, we discuss the essential work of Jonas Mekas, author of the Cinema Journal column in the Village Voice, founder of the Anthology Film Archives, and torchbearer for experimental cinema. If you have any questions or comments, feel free to drop us a line at importantcinemaclubpodcast@gmail.com www.patreon.com/theimportantcinemaclub

In this episode, Your Host, Micheal Pope, will be joined by Chris Bravo, a documentary filmmaker based in Brooklyn, NY. His work is a blend of personal storytelling and activism. Over the past few years, Chris has been a caregiver for his mom, who has Dementia. He will share with us his most recent work: a film he made before the pandemic, and an essay he wrote after quarantine began about his experiences of separation and how COVID-19 is impacting people with dementia significantly. Read EssayWatch FilmHis goal is to bring audiences towards a more profound, emotionally engaged understanding of topics and themes that are often marginalized and suppressed.Bravo's films have screened internationally at venues and festivals such as Chicago Underground Film Festival, New York Underground Film Festival, Oakland International Film Festival, Anthology Film Archives, Berlin Director's Lounge, Chicago Filmmakers, Allied Media Conference, The People's Film Festival. His current projects explore the intersection of aging, age-ism, caregiving, immigration, and racism.Bravo's current short film, Sum of My Parts, about dementia, loss, and disappearance, is part of that more extensive project. He is interested in the convergence of two hyper marginalized communities: the aging population, and the immigrants (mostly women) of color who take care of them.Additionally, Chris works as a documentary editor on feature films, documentary series, and podcasts. His work has appeared on Showtime, Hulu, PBS' Frontline, and Epix and has won Emmy and Peabody awards.

In this episode, Your Host, Micheal Pope, will be joined by Chris Bravo, a documentary filmmaker based in Brooklyn, NY. His work is a blend of personal storytelling and activism. Over the past few years, Chris has been a caregiver for his mom, who has Dementia. He will share with us his most recent work: a film he made before the pandemic, and an essay he wrote after quarantine began about his experiences of separation and how COVID-19 is impacting people with dementia significantly. Read EssayWatch Film His goal is to bring audiences towards a more profound, emotionally engaged understanding of topics and themes that are often marginalized and suppressed. Bravo's films have screened internationally at venues and festivals such as Chicago Underground Film Festival, New York Underground Film Festival, Oakland International Film Festival, Anthology Film Archives, Berlin Director's Lounge, Chicago Filmmakers, Allied Media Conference, The People's Film Festival. His current projects explore the intersection of aging, age-ism, caregiving, immigration, and racism. Bravo's current short film, Sum of My Parts, about dementia, loss, and disappearance, is part of that more extensive project. He is interested in the convergence of two hyper marginalized communities: the aging population, and the immigrants (mostly women) of color who take care of them. Additionally, Chris works as a documentary editor on feature films, documentary series, and podcasts. His work has appeared on Showtime, Hulu, PBS' Frontline, and Epix and has won Emmy and Peabody awards.

In this episode, Your Host, Micheal Pope, will be joined by Chris Bravo, a documentary filmmaker based in Brooklyn, NY. His work is a blend of personal storytelling and activism. Over the past few years, Chris has been a caregiver for his mom, who has Dementia. He will share with us his most recent work: a film he made before the pandemic, and an essay he wrote after quarantine began about his experiences of separation and how COVID-19 is impacting people with dementia significantly. Read EssayWatch Film His goal is to bring audiences towards a more profound, emotionally engaged understanding of topics and themes that are often marginalized and suppressed. Bravo's films have screened internationally at venues and festivals such as Chicago Underground Film Festival, New York Underground Film Festival, Oakland International Film Festival, Anthology Film Archives, Berlin Director's Lounge, Chicago Filmmakers, Allied Media Conference, The People's Film Festival. His current projects explore the intersection of aging, age-ism, caregiving, immigration, and racism. Bravo's current short film, Sum of My Parts, about dementia, loss, and disappearance, is part of that more extensive project. He is interested in the convergence of two hyper marginalized communities: the aging population, and the immigrants (mostly women) of color who take care of them. Additionally, Chris works as a documentary editor on feature films, documentary series, and podcasts. His work has appeared on Showtime, Hulu, PBS' Frontline, and Epix and has won Emmy and Peabody awards.

Roger Beebe's Website During this conversation, we discuss Beebe's films "Amazonia," "Strip Mall Trilogy," and "Lineage (for Norman McLaren)." Roger Beebe is a filmmaker whose work since 2006 consists primarily of multiple projector performances that explore the world of found images and the "found" landscapes of late capitalism. He has screened his films around the globe at such unlikely venues as the CBS Jumbotron in Times Square and McMurdo Station in Antarctica as well as more likely ones including Sundance and the Museum of Modern Art with solo shows at Anthology Film Archives, The Laboratorio Arte Alameda in Mexico City, and Los Angeles Filmforum among many other venues. Beebe is also a film programmer: he ran Flicker, a festival of small-gauge film in Chapel Hill, NC, from 1997-2000 and was the founder and Artistic Director of FLEX, the Florida Experimental Film Festival from 2004-2014. He is currently a Professor in the Department of Art at the Ohio State University where he helped launch the new Moving-Image Production major in Autumn 2017.

Steve Cooper talks with musician/songwriter/producer/professor/author Richard Barone. Richard pioneered the indie rock scene in Hoboken, NJ as frontman for The Bongos and then helped launch the chamber pop movement with his solo debut cool blue halo. He has also produced countless studio recordings and worked with artists in every musical genre. Collaborators have included Tony Visconti, Beach Boy Al Jardine, Sean Lennon, Dion, John Sebastian, Alejandro Escovedo, Donovan, Moby, the late Lou Reed, and American folk icon Pete Seeger. He has scored shows and staged all-star concert events at such venues as Carnegie Hall, the Hollywood Bowl, and New York’s Central Park. His memoir Frontman: Surviving The Rock Star Myth was published by Hal Leonard Books and is affiliated with the Clive Davis Institute of Recorded Music at New York University and The New School University of Jazz & Contemporary Music. Plus he serves on the Board of Governors of The Recording Academy and on the Board of Advisors of Anthology Film Archives.

We're back for another one, grazing on a trio of films inspired by Shakespeare's Henriad: David Michod's THE KING (2019), Laurence Olivier's HENRY V (1944) and Orson Welles' CHIMES AT MIDNIGHT (1965). We also discuss the Andrei Tarkovsky Exhibition at the Eye Filmmuseum in Amsterdam, Jonas Mekas and the Anthology Film Archives, and the EYES WIDE SHUT reissue, as well as reviewing CORPUS CHRISTI, an excellent new Polish release. The musical arrangements for this episode are as follows: 'Het soude een meysken gaen om wijn' - anon., Dutch, 16th c. 'Po che datte mi chonvien' - anon., Tuscan, 14th c. 'Trotto' - ibid 'Agincourt Carol' - anon., English, 15th c. 'Quand je bois du vin claret' - (attrib.) Pierre Attaignant, French, 16th c. 'Mrs White's Nothing' - John Dowland, English, 16th c. twitter.com/FilmGraze letterboxd.com/Film_Graze/ co-produced by emmett cruddas and sam storey

David Puretz is the Editorial Director at Global City, an independent press that publishes the literary and cultural journal Global City Review, and a growing list of other books and anthologies, including his own. As Editorial Director, he oversaw the relaunch of the journal and the publication of the newest online and print journal issue, Legacies. He is also the creator and founder of burly bird zine. Puretz teaches writing at Yeshiva University in New York City, where he currently resides. His debut novel, The Escapist, releases in January. Taylor Hibma grew up in the Midwest and works as a digital media copywriter. His past creative pursuits include writing/directing two short films, including one that premiered at the Anthology Film Archives in New York City. He graduated with an MFA in Creative Writing and is working on a novel series based on his graduate thesis. Amy Veach received her M.F.A. from the City College of New York where she won the Doris Lippman Prize in Creative Writing. When not writing, she enjoys spending time with her husband and two-year old son.

Jules Rosskam is an award-winning filmmaker, educator and interdisciplinary artist interested in liminal spaces: the space between male and female, between documentary and fiction, between moving image and still. His interdisciplinary practice works to induce a perceptual shift in our understanding of how and what bodies mean in the context of documentary film, toward an apprehension of multiplicities. He is the director of transparent (2005), against a trans narrative (2009), Thick Relations (2012), Something to Cry About (2018), Paternal Rites (2018) and Dance, Dance, Evolution (2019). Recent screenings include the Museum of Modern Art, the Museum of Fine Art Boston, Anthology Film Archives, the British Film Institute, Arsenal Berlin, Hallwalls Contemporary Art Center, and the Queens Museum of Art. Recent residencies include Yaddo, Marble House Project, PLAYA, ACRE, and ISSUE Project Room. Rosskam holds an MFA from the School of the Art Institute of Chicago (Film, Video, New Media, 2008). He is currently Assistant Professor of Visual Arts at University of Maryland Baltimore County. Paternal Rites Trailer, NEW from Jules Rosskam on Vimeo. Dance Dance Evolution Teaser from Jules Rosskam on Vimeo.

Ariel Kavoussi is an award-winning artist, writer, producer, filmmaker, actor, and curator of film & video works based in New York City. Her work has been exhibited at the Museum of Modern Art's Documentary Fortnight, Dia: Chelsea, Louis B. James, Anthology Film Archives, the Williams College Museum of Art, Woodstock Film Festival, Loft Film Festival, Maryland Film Festival, Lighthouse International Film Festival, and elsewhere. Her most recent short film, THE POET AND THE PROFESSOR, is a dark comedy which stars herself opposite indie stalwart Kevin Corrigan (WALKING AND TALKING, THE GET DOWN) and Bob Byington (THE COLOR WHEEL). It premiered at the 2017 Maryland Film Festival and was selected as one of the few short films to be included in the new Parkway Theater’s regular programming under Dark Comedy Shorts. In 2017, Ariel acted opposite Anne Heche, Sandra Oh, & Dylan Baker in Onur Tukel's dark comedic feature CATFIGHT (Toronto International Film Festival). Numerous critics have lauded her performance; Vanity Fair singled Ariel Kavoussi out as Hilarious Newcomer for her work, as did Variety. Kavoussi can next be seen opposite Emma Stone in Cary Fukunaga’s original series for Netflix called Maniac,” as well as opposite Mamoudou Athie in Alex Karpovsky’s original series for FX Networks called  Oh, Jerome No.

In 2011, Tyler sat down with Jamie Brisick, writer, former editor of Surfing Magazine, former pro surfer and one of surfing's great storytellers. We recorded in front of a live audience at the legendary Anthology Film Archives in the East Village, NYC. The conversation was led by images from Jamie's past that represent pivotal moments in his life up until then. From being bright eyed and optimistic as a pro surfer to the realization that he needed to transition into his next phase, which eventually became writing. Jamie delivers classic tales and folklore of surfing's rich history. This is not the definitive Brisick story. Just a glimpse into a fascinating life. Jamie's words and surfing will be featured in the forthcoming Pilgrim x Mexican Summer film "Self Discovery for Social Survival". His latest book is "Becoming Westerly" and has garnered rave reviews and praise. We hope you enjoy another episode from the "Swell Season Surf Archive." http://jamiebrisick.com/archives Artist: Silver Jews Song: Random Rule Album: American Water 1998

Ep. 97 - Jamie Brisick circa 2011In 2011 Tyler sat down with Jamie Brisick, writer, former editor of Surfing Magazine, former pro surfer and one of surfing's great storytellers. We recorded in front of a live audience at the legendary Anthology Film Archives. The conversation was led by images from Jamie's past that represent pivotal moments in his life up until then. From being bright eyed and optimistic as a pro surfer to the realization that he needed to transition into his next phase, which eventually became writing. Jamie delivers classic tales and folklore of surfing's rich history. This is not the definitive Brisick story. Just a glimpse into a fascinating life. Jamie will be starring in the upcoming Pilgrim x Mexican Summer film "Self Discovery for Social Survival" as the narrator and shredder. His latest book is "Becoming Westerly" and has garnered rave reviews and praise. We hope you enjoy another episode from the "Swell Season Surf Archive."http://jamiebrisick.com/archivesReading Material-BECOMING WESTERLY-ROMAN AND WILLIAMS BUILDINGS AND INTERIORS - THINGS WE MADE-THE EIGHTIES AT ECHO BEACH-HAVE BOARD, WILL TRAVEL : THE DEFINITIVE HISTORY OF SURF, SKATE, AND SNOW-WE APPROACH OUR MARTINIS WITH SUCH HIGH EXPECTATIONS-BIGMusic:Artist: Silver JewsSong: Random RuleAlbum: American Water1998

Best known as a poet in his native Lithuania, Jonas Mekas (1922-2019) became a titan of US underground cinema after moving to New York in 1949. This week, Juliet talks to filmmaker/artist Chiara Ambrosio and curator/critic Herb Shellenberger about Mekas' life, work and legacy. SELECTED REFERENCES Films by Jonas Mekas Film Magazine of the Arts (1963) - http://film-makerscoop.com/catalogue/jonas-mekas-film-magazine-of-the-arts Walden: Diaries, Notes and Sketches (1969) - https://www.slantmagazine.com/dvd/diaries-notes-and-sketches-also-known-as-walden Reminiscences of a Journey to Lithuania (1972) - https://www.imdb.com/title/tt0069172 Lost Lost Lost (1976) - https://vimeo.com/217911753 Self-Portrait (1980) The Education of Sebastian or Egypt Regained (1992) - https://vimeo.com/40317134 Zefiro Torna (1992) - http://retentionalfinitude.blogspot.com/2010/05/jonas-mekas-zefiro-torna-1992.html As I Was Moving Ahead Occasionally I Saw Brief Glimpses of Beauty (2000) - https://variety.com/2001/film/reviews/as-i-was-moving-ahead-occasionally-i-saw-brief-glimpses-of-beauty-1200467427 A Letter from Greenpoint (2005)- https://vimeo.com/229569417 Paris Hilton (2007) - https://www.youtube.com/watch?v=I3i8VBich1k Texts by Jonas Mekas Anti-100 Years of Cinema - http://www.incite-online.net/jonasmekas.html Conversations with Filmmakers (2018) - https://www.itsnicethat.com/articles/conversations-with-filmmakers-bremer-and-storz-publication-171018 I Had Nowhere to Go (1991) - https://www.youtube.com/watch?v=G9GWqYqPbew I Seem to Live (2019) - http://jonasmekasfilms.com/books/index.php?book=I_seem_to_live Scrapbook of the Sixties (2010) 2002 (dir. C. Spencer Yeh, 2015) - https://issueprojectroom.org/event/c-spencer-yeh-video Robert Aldrich Kenneth Anger - https://www.kennethanger.org/ Anthology Film Archives - http://anthologyfilmarchives.org/ Stan Brakhage - http://www.ubu.com/papers/tyler_parker-stan_brakhage.html Bread and Puppet Theater - http://breadandpuppet.org/about-bread-and-puppet/other-links/peter-schumann James Broughton Un Chant d'amour (dir. Jean Genet, 1950) - https://www.youtube.com/watch?v=4RN_IDtPcNE Shirley Clarke - http://www.projectshirley.com Tony Conrad - https://en.wikipedia.org/wiki/Tony_Conrad Maya Deren - https://www.bfi.org.uk/news-opinion/news-bfi/features/maya-deren-meshes-of-the-afternoon Film Culture (journal) - http://www.ubu.com/papers/film_culture.html Film Culture 80: The Legend of Barbara Rubin - http://www.artbook.com/9783959052023.html Flaming Creatures (dir. Jack Smith, 1963) - http://sensesofcinema.com/2002/cteq/flaming/ For Life, Against the War (dir. various, 1967) - http://flahertyseminar.org/life-against-war Allen Ginsberg Beverly Grant - https://en.wikipedia.org/wiki/Beverly_Grant_(actress) Ken Jacobs - https://vimeo.com/kenjacobs Peter Kubelka - https://offscreen.com/view/interview_kubelka Jim Kweskin & The Jug Band - https://www.discogs.com/artist/1013031-Jim-Kweskin-The-Jug-Band Jacques-Henri Lartigue - https://thephotographersgallery.org.uk/print-sales/our-artists/jacques-henri-lartigue George Maciunas - http://georgemaciunas.com/about Gregory Markopoulos - https://www.closeupfilmcentre.com/film_programmes/2018/gregory-markopoulos Marie Menken - https://lightcone.org/en/filmmaker-220-marie-menken Hermann Nitsch - http://www.nitsch.org/index-en.html Pull My Daisy (dir. Robert Frank & Alfred Leslie, 1959) - https://vimeo.com/92403607 Nicholas Ray Ron Rice - https://www.villagevoice.com/2018/08/23/the-shooting-star-cinema-of-ron-rice/ Shadows (dir. John Cassavetes, 1959) - http://people.bu.edu/rcarney/cassoncass/shadows.shtml Shoah (dir. Claude Lanzmann, 1985) P. Adams Sitney Susan Sontag Stranger Than Paradise (dir. Jim Jarmusch, 1984) Thanatopsis (dir. Em Emshwiller, 1962) - https://www.youtube.com/watch?v=DcVAPnFf20Y HENRY DAVID THOREAU, Walden 1854) Amos Vogel - https://en.wikipedia.org/wiki/Amos_Vogel Andy Warhol Walt Whitman

Love is, of course, in the air, and with most new release schedules in hibernation, February can be a great time for repertory cinema for both lovers and loners. Guests Nellie Killian (FC contributing editor and independent programmer) and Jon Dieringer (founder of Screen Slate) join Film Comment Editor-in-Chief Nicolas Rapold to run down the best rep screenings on offer around New York City. First up are two series at Anthology Film Archives: the annual “Valentine's Day Massacre”—featuring mainstays Albert Brooks's Modern Romance and Maurice Pialat's We Won't Grow Old Together—and “In-Person Reenactment,” featuring Martha Coolidge's Not a Pretty Picture. The three also discuss new documentaries about outsider musicians, the recently wrapped-up Film Comment Selects series, the Marlon Riggs series at BAM, and Claire Simon's The Competition, among others.

New year, new rep report! Our latest edition looks at the annual mainstay of the restoration calendar, To Save and Project at the Museum of Modern Art—featuring everything from Chantal Akerman to Nude on the Moon—as well as a wide-ranging survey of the city symphony film at Anthology Film Archives. And on the new release side of the episode, we play catch-up with the likes of Welcome to Marwen and more. Joining Film Comment Editor-in-Chief Nicolas Rapold this time were our regulars from Screen Slate, its founder Jon Dieringer and FC contributing editor and independent programmer Nellie Killian; and two colleagues from the Film Society of Lincoln Center, Programming Assistant Maddie Whittle and Digital Marketing Manager Jordan Raup, also founder of The Film Stage.

In the latest installment of our series, we travel to lower Manhattan to visit Anthology Film Archives, where DHPSNY staff conducted an Archival Needs Assessment in early 2017. We learn about the organization's founder, godfather of American avant-garde cinema, Jonas Mekas, and meet the current staff who manage Anthology's extensive collections of avant-garde films and videos and the world’s largest collection of paper materials relating to independent and experimental film.

Hear from four alums of the graduate program in Comparative Media Studies as they discuss their experience at MIT and what their careers have looked like in the fields a CMS degree prepared them for. Panelists include: Matthew Weise, ’04, a game designer and educator whose work spans industry and academia. He is the CEO of Empathy Box, a company that specializes in narrative design for games and across media. He was the Narrative Designer at Harmonix Music Systems on Fantasia: Music Evolved, the Game Design Director of the GAMBIT Game Lab at MIT, and a consultant for Warner Bros., Microsoft, PBS, The National Ballet of Spain, and others on storytelling and game design. His work, both creatively and critically, focuses on transmedia adaptation with an emphasis on the challenges of adapting cinema into video games. Matt has given lectures and workshops on film-to-game adaptation all over the world, and has published work on how franchises like Alien, James Bond, and horror cinema in general are adapted into games. Links to his writing and game design work, including his IGF nominated The Snowfield, can be found at www.matthewweise.com. Karen Schrier, ’05, an educator, innovator, and creative researcher who is always looking for collaborators and new connections. She is an Associate Professor at Marist College and Director of the Games and Emerging Media program. She also runs the Play Innovation Lab, where she researches and creates games that support learning, ethical reflection, and compassion. Her recent book, Knowledge Games, was published last year (Johns Hopkins University Press), and was covered by Forbes, New Scientist, Times Higher Education, and SiriusXM. Dr. Schrier also edits the book series, Learning, Education & Games, which is published by ETC Press (Carnegie Mellon), and she is the president of the Learning, Education & Games group of the IGDA (International Game Developers Association). She holds a doctorate from Columbia University, master’s from MIT, and a bachelor’s from Amherst College. In addition, Karen and her family (husband, cats, 5 year old and 2 year old) currently live in the Hudson Valley but are hoping to move to Pound Ridge, NY in the winter. Ainsley Sutherland, ’15, a media technologist and researcher working in immersive computing and human-computer interaction design. Her project Voxhop, a tool for voice collaboration in virtual reality, is a 2017 j360 Challenge winner funded by the Knight Foundation and Google News Lab. She was a 2016 fellow at the BuzzFeed Open Lab, as well as a researcher in the Imagination, Computation, and Expression Lab at MIT. She has cofounded Mediate, an MIT DesignX-backed company that enables collaboration in and analysis of 3D environments. She has an M.S. from MIT in Comparative Media Studies, and a B.A. from the University of Chicago, in Economics. Beyza Boyacioglu, ’17, an award-winning documentary filmmaker and artist. Her work has been presented at MoMA Doc Fortnight, IDFA DocLab, Morelia International Film Festival, RIDM, Anthology Film Archives amongst other venues and festivals. She has received grants and fellowships from LEF Foundation, MIT Council for the Arts, Flaherty Seminar, SALT Research and Greenhouse Seminar. She was an artist in residence at UnionDocs in 2012 where she co-directed “Toñita’s” — a documentary portrait of the last Puerto Rican social club in Williamsburg. She is currently producing a cross-platform documentary about Turkey’s gender-bending pop legend Zeki Müren. The project is comprised of a feature film “A Prince from Outer Space: Zeki Müren”, a hotline and a web experience. Currently, Boyacioglu works as a Producer at the MIT Open Documentary Lab.

Andy Lampert is one of a kind. He's a filmmaker, an archivist, a thinker, a listener and a total mensch. He's presented his work at venues from the Whitney to the Kitchen, the Stone to Anthology Film Archives. A conversation with Andy is likely to go all night and this is a good one. DIG.

Rocky Costanzo is a writer & director currently living in LA. His latest film, Ditch Party' is having a one night showing in New York on Wednesday, Oct 12th at 8:00pm at Anthology Film Archives.32 Second Ave @ 2nd Street. Pre Show Notes-- Ditch Party on FacebookShow Notes-- Panic Attack by Fede Alvarez-- FilmmakingStuff - Site of Jason Brubaker -- Jenna Edwards -- Kevin Smith on writing Red State-- Top 10 Spots for Cheesesteaks in Philly (MY Picks are John's Roast Pork, Jim's on South Street, and Ishkabibble's) ContactRocky Constanzo- Official Site- Twitter- IMDB- Ditch Party on FB- Ditch Party on Twitter- Ditch Party on InstagramDave Bullis-- Official Site-- Twitter-- Instagram-- Facebook-- YoutubeSupport the Podcast1. Sign Up for Dave's email list2. Rate the Podcast on iTunes3. Buy on Amazon.com using my affiliate link4. Buy Final Draft screenwriting software using my affiliate link5. Buy Jason Brubaker's, 'How to Sell Your Movie' course via my affiliate link6. Buy Jason's Brubaker, '101 Short Film Ideas' book for only $7!7. My Podcast Amazon wish list 8. Buy a shirt in the Zazzle store9. The Dave Bullis Podcast on PatreonSubscribe to the Podcast-- Podbean -- iTunes -- Stitcher-- Google Play Podcasts

Jonas and I talked about refugees and memory, about ambient noise, poetry, the new film I Had Nowhere To Go, and why he's spent a lifetime ignoring Hollywood. For more information on I Had Nowhere To Go (IMDB) and TIFF. Synopsis Internationally acclaimed multimedia artist Douglas Gordon (24 Hour Psycho, Zidane: A 21st Century Portrait) returns to the Festival with this intimate portrait of avant-garde cinema legend Jonas Mekas. "An adventurer can always return home; an exile cannot. So I decided that culture would be my home." Jonas Mekas Internationally acclaimed multimedia artist Douglas Gordon returns to the Festival with an intimate portrait of Jonas Mekas, the legendary poet, film critic, risk-taking curator, "the godfather of the American avant-garde cinema" -- and, at 93 years old, among the remaining few to have escaped and survived Nazi persecution. I Had Nowhere to Go plunges us into both a collective and individual space of memory via long, imageless stretches over which Mekas narrates, in his inimitable voice, excerpts from his memoir (which lends the film its title). An extraordinary life story emerges as the film zigzags between Mekas' early years in a forced labour camp and a Displaced Person centre during WWII and his arrival in New York as a young Lithuanian émigré. With an immersive sound environment and intermittent, fleeting images that stand in evocative juxtaposition to Mekas' anecdotes, Gordon's film reveals in its subject a puckish humour that outweighs despair, and an unabated zest for life that both illuminates and softens the sadness. A deeply moving tribute from one great artist to another and a singular work in its own right, I Had Nowhere to Go has timely resonance today as mass migratory movements are displacing millions of people throughout the world as refugees, exiles, and stateless persons. While Mekas is certainly no ordinary person, the story he tells is a profoundly humble one, as much about daily survival as it is about aspiring to accomplish so much more. Gordon, who is ingenious at activating memory and the cinematic imaginary, compellingly presents quotidian moments outside of Mekas' famous film-related activities in order to reveal the desires, impulses, melancholy, and perseverance that inform Mekas' filmmaking and infectious love of cinema. Even when truly having nowhere to go, Mekas always saw brief glimpses of beauty as he was moving ahead. Biography Jonas Mekas - Writer Jonas Mekas born December 24, 1922, is a Lithuanian-born American filmmaker, writer, and curator who has often been called "the godfather of American avant-garde cinema." His work has been exhibited in museums and festivals across Europe and America. In 1944, Mekas left Lithuania because of war. En route, his train was stopped in Germany and he and his brother, Adolfas Mekas, were imprisoned in a labor camp in Elmshorn, a suburb of Hamburg, for eight months. The brothers escaped and were detained near the Danish border where they hid on a farm for two months until the end of the war. After the war, Mekas lived in displaced person camps in Wiesbaden and Kassel. From 1946-48, he studied philosophy at the University of Mainz and at the end of 1949, he emigrated with his brother to the U.S., settling in Williamsburg, Brooklyn, New York. After his arrival, he borrowed the money to buy his first Bolex 16-mm camera and began to record moments of his life. He discovered avant-garde film at venues such as Amos Vogel's pioneering Cinema 16, and he began screening his own films in 1953 at Gallery East on Avenue A and Houston Street, and a Film Forum series at Carl Fisher Auditorium on 57th Street. In 1954, he became editor of Film Culture, and in 1958, began writing his "Movie Journal" column for The Village Voice. In 1962, he co-founded Film-Makers' Cooperative (FMC) and the Filmmaker's Cinematheque in 1964, which eventually grew into Anthology Film Archives, one of the world’s largest and most important repositories of avant-garde films. The films and the voluminous collection of photographs and paper documents (mostly from or about avant garde film makers of the 1950-1980 period) were moved from time to time based on Mekas' ability to raise grant money to pay to house the massive collection. He was part of the New American Cinema, with, in particular, fellow film-maker Lionel Rogosin. He was heavily involved with artists such as Andy Warhol, Nico, Allen Ginsberg, Yoko Ono, John Lennon, Salvador Dalí, and fellow Lithuanian George Maciunas. In 1970, Anthology Film Archives opened on 425 Lafayette Street as a film museum, screening space, and a library, with Mekas as its director. Mekas, along with Stan Brakhage, Ken Kelman, Peter Kubelka, James Broughton, and P. Adams Sitney, begin the ambitious Essential Cinema project at Anthology Film Archives to establish a canon of important cinematic works. Mekas' own output ranging from narrative films (Guns of the Trees, 1961) to documentaries (The Brig, 1963) and to "diaries" such as Walden (1969); Lost, Lost, Lost (1975);Reminiscences of a Voyage to Lithuania (1972) and Zefiro torna (1992) have been screened extensively at festivals and museums around the world. In 2001, he released a five-hour long diary film entitled As I Was Moving Ahead. Martin Scorsese said once: "Jonas Mekas is the one that gave me the desire and strength to be a director." Douglas Gordon - Director Douglas Gordon's practice encompasses video and film, installation, sculpture, photography, and text. Through his work, Gordon investigates human conditions like memory and the passage of time, as well as universal dualities such as life and death, good and evil, right and wrong. Gordon's oeuvre has been exhibited globally and his film works have been presented at many competitions, including the Festival de Cannes, the Toronto International Film Festival, and the International Venice Film Festival. Gordon received the 1996 Turner Prize, the Premio 2000 prize for best young artist at the 1997 Venice Biennale, and the 1998 Hugo Boss Prize. Most recently, in May 2008 he was awarded the Roswitha Haftmann Prize by the Kunsthaus Zurich and, in 2012 the KätheKollwitz Prize from the Akademie der Künste, Berlin. Gordon was the International Juror at the 65th International Venice Film Festival, and in 2012 he was the Jury president of CinemaXXI at the 7th International Rome Film Festival. In December 2014 Douglas Gordon and pianist Hélène Grimaud have joined forces to explore the beauty of water in an extraordinary performance at Armory on Park, New York. The collaboration continued when Gordon directed the theatre performance Neck of the Woods starring Charlotte Rampling and Hélène Grimuaud at the 2015 MIF - Manchester International Festival, Manchester. Born in Scotland, Gordon lives and works in Berlin and Glasgow and teaches film at the Städelschule in Frankfurt am Main. He is represented internationally by Gagosian Gallery, as well as Untilthen in Paris, Galerie Eva Presenhuber in Zürich, and Dvir Gallery in Tel Aviv See acast.com/privacy for privacy and opt-out information.

On this episode of the podcast, environmental sound-artist Philip Blackburn talks about early exposure to an artist that inspired him to build his own instruments. He also talks about how getting to study under Kenneth Gaburo further opened up Philip's ideas about what his art could be. Plus, Philip talks about the lovely unpredictable nature of work that changes based on human interaction. Philip Blackburn was born in Cambridge, England, and studied music there as a Choral Scholar at Clare College (BA, MA). He earned his Ph.D. in Composition from the University of Iowa where he studied with Kenneth Gaburo and began work on publishing the Harry Partch archives. Blackburn's book, Enclosure Three: Harry Partch, won an ASCAP Deems Taylor Award. He has worked at the American Composers Forum since 1991, running the innova Recordings label (which has been called “the nation's premiere label for American new music”) while developing re-granting programs (notably the Jerome commissioning program, McKnight Fellowships) and opportunities for composers (such as the Sonic Circuits International Electronic Music Festival, Continental Harmony, and Bamboofest).   He is also a public artist specializing in sound — a composer/environmental sound-artist — and has served as teaching artist for school residencies connected with the Flint Hills International Children's Festival, creating multi-media performances using home-made instruments.  He composed the soundtrack for the Wild Music: Sounds and Songs of Life exhibition initiated by the Science Museum of Minnesota now traveling the nation.  His Car Horn Fanfare for 8 ArtCars opened the Northern Spark Festival, and his Duluth Harbor Serenade was heard by thousands of people during Duluth Superior Pride. His concert work, Sonata Homophobia, for Flute and Brainwave-Triggered Right Wing Hate Speech was also premiered in Duluth. Blackburn's works have been heard in ships' harbors, state fairs, forests, and coming out of storm sewers, as well as in galleries and on concert stages. He has incorporated brainwave sensors and dowsing rods in performance as well as balloon flutes, car horns, smart phones, and wind-powered harps. He created a multi-media hyperopera about Cragmor Tuberculosis Sanatorium in Colorado Springs. That work, The Sun Palace became a 60-minute indie film that premiered at the New York's Anthology Film Archives.  

This month, at Anthology Film Archives, FILM COMMENT contributor Nick Pinkerton has programmed a variety of shockumentary-style works ranging from the notorious Mondo Cane (an Academy Award nominee, for Original Song) to Thierry Zéno's Des Morts. Many of these films aim to shock and titillate, sometimes purporting to document actual deaths, but they become politically and culturally revealing texts. None of this problematic entertainment holds a candle, however, to the real-life horror that has become a fixture of 21st-century visual culture: recordings showing police brutality—grim evidence of actual violence that is used in calls for justice. In a wide-ranging discussion that moves from the cinema of taboo to the complexities of recordings of police violence, FC Digital Editor Violet Lucca spoke with Pinkerton, critic and programmer Ashley Clark, and New Yorker video producer (and former FC intern) Cassie da Costa.

True Homosexual Experiences: Boyd McDonald and Straight to Hell (We Heard You Like Books) A World War II veteran from the Great Plains, Boyd McDonald (1925-1993) had the makings of a successful career in the 1950s—an education at Harvard, jobs at Time/Life and IBM—but things didn’t turn out as planned. After 20 years of resentful conformity and worsening alcoholism, McDonald dried out, pawned all of his suits, and went on welfare. It was then that his life truly began. From a tiny room in a New York SRO hotel, McDonald published Straight to Hell, a series of chapbooks collecting readers’ “true homosexual experiences.” Following the example of Alfred Kinsey, McDonald obsessively pursued the truth about sex between men just as gay liberation began to tame America’s sexual outlaws for the sake of legal recognition. Admired by such figures as Gore Vidal and William S. Burroughs, Straight to Hell combined a vigorous contempt for authority with a keen literary style, and was the precursor of queer ’zines decades later. Even after his death, Boyd McDonald continued to trouble the powers that be—he was the subject of a 2006 opinion by U. S. Supreme Court Justice Sonia Sotomayor, who ruled that one of his books was pornographic while acknowledging that this question is ultimately vague and subjective. William E. Jones conducted in-depth interviews with many people from McDonald’s life, including friends, colleagues, and most unexpectedly, family members who revealed that he was a loving uncle who doted on his nieces and great-nieces. A complex portrait drawn from a wealth of previously unpublished material, True Homosexual Experiences: Boyd McDonald and Straight to Hell is the first biography devoted to a key figure of the American underground. Praise for True Homosexual Experiences “Move over Maxwell Perkins - here's another literary editor who deserves to be more famous than you. Boyd McDonald may have been an alcoholic, sex-obsessed lunatic who masturbated chronically while encouraging his perverted readers to send in endless descriptions of their gay sex lives with heterosexual men but he remained pure in spirit. His “Straight To Hell” chapbooks join Valerie Solanas’s “SCUM Manifesto” as the most radical (and hilarious) filth classics in modern literature.” -- John Waters William E. Jones was born in Canton, Ohio. He received a B. A. from Yale University and an M. F. A. from California Institute of the Arts. He has made the films Massillon (1991) and Finished (1997), which won a Los Angeles Film Critics Association award, the documentary Is It Really So Strange? (2004), and many videos including The Fall of Communism as Seen in Gay Pornography (1998). His work was included in the 1993 and 2008 Whitney Biennials, and he has had retrospectives at Tate Modern (2005), Anthology Film Archives (2010), and the Austrian Film Museum (2011). Jones has received a Guggenheim Fellowship, a Foundation for Contemporary Arts Grant, two California Community Foundation Fellowships, and most recently, a Creative Capital/Andy Warhol Foundation Arts Writers Grant. His books include "Killed": Rejected Images of the Farm Security Administration (2010), Halsted Plays Himself (2011), Between Artists: Thom Andersen and William E. Jones (2013), Imitation of Christ, named one of the best photo books of 2013 by Time magazine, and Flesh and the Cosmos (2014). He lives in Los Angeles.

Avant-garde cinema pioneer Jonas Mekas joins us for one of our Free Talks, which are sponsored by HBO. Jonas Mekas is a name synonymous with alternative film culture in New York City. In addition to his prolific work as a director, Mekas has also been an integral figure in the exhibition and promotion of experimental film. He founded "Film Culture" magazine in 1954, the "Film-Makers Cooperative" in 1962, and the "Filmmakers Cinematheque" in 1964, which went on to become Anthology Film Archives. Two of his pivotal works, LOST LOST LOST and WALDEN were recently released on Blu-ray by Kino Lorber. Our evening with Jonas Mekas was moderated by programmer Dan Sullivan. This podcast is brought to you by the Film Society of Lincoln Center. Film Lives Here. www.filmlinc.org

On this episode we bring back a Trumpdate and contrast his policy's on Jews and Muslims. Then we tell you what the president did to make two separate usually family-friendly Fox News correspondents on two separate shows curse! We talk to Democracy Now's Sam Alcoff, who calls in live from Paris to tells us why politicians will never solve the climate crisis and how he knows the man who ran his car into him wasn't actually Putin dressed as a Frenchman. And then we chat live in studio with Jeremy Newberger about his documentary "The Anthropologist," which is basically a mother daughter relationship road trip movie, except the trips involve flights to places that are facing climate change crises like Peru, Siberia, Kiribati. The movie was so good, it was invited to be screened at COP21. And I talk about my film Commie Camp, which is playing at Anthology Film Archives on Dec 14th.

We get old school this week with a look at the 3rd part of Alexander Dovzhenko's Ukrainian Trilogy, 'Earth' (1930), which played recently at the Anthology Film Archives. After Mikhail has a chance to get in touch with his cultural roots we switch gears and discuss what we would choose as the perfect double feature for our last night on Earth. 00:00 - 25:34 - Introduction/News 25:035 - 1:05:02 - Alexander Dovzhenko's 'Earth' (1930) 1:05:03 - 1:28:32 - Double Feature for Last Night on Earth 1:28:33 - 1:31:07 - Closing Remarks  

This episode we sit down with Samuel Jamier and Rufus de Rham from Subway Cinema, an organization devoted to the appreciation of Asian film culture. Their flagship event is the annual New York Asian Film Festival but the topic of this podcast is the Old School Kung Fu Fest '15: Enter the Ninjas!! screening at the Anthology Film Archives 4/16-4/19. From Japanese classics such as "Shinobi No Mono" (1962) to the high octane insanity of "Five Element Ninjas" (1982), this is an essential series for anyone seeking to understand the dark, secret arts of the Ninja. Tickets available at http://oldschool15.brownpapertickets.com/

BTW (Penny-Ante Editions) Another Skylight favorite, Jarett Kobek, returns with his most comic work yet, a love letter to Los Angeles and terrible relationships. For tonight's reading he will be joined by artist William E. Jones. Bad relationships, interracial dating, cross-faith intermarriage, the endless pangs of love, reality television, Muslim fundamentalism, Crispin Hellion Glover, Internet pornography, Turkish secularism in the era of Erdoğan, the amorous habits of Thomas Jefferson, errant dogs, monogamous cheeseburger tattoos, alcoholics without  recovery, 9/11 PTSD, female Victorian novelists, the people who go to California to die. Jarett Kobek's second novel, BTW, presents the tragicomedy of a young man in Los Angeles balancing a lunatic father, two catastrophic relationships, identity politics, and American pop culture at its most confused. Praise for BTW: “Moving from Williamsburg to Echo Park, Kobek's account of post-NYU life in the aughts (so generic it can barely be lived, yet alone retold) is surprisingly disrupted as primitive identities of religion and race surface among this young, well-connected, smart and otherwise evolved group of friends. In this, his second novel, Kobek's writing continues to impress."--CHRIS KRAUS, author of Where Art Belongs and I Love Dick “Half of BTW is a coming of age novel about the narrator's romantic entanglements, the most significant of which turns out to be with the city of Los Angeles; the other half is the real love story, played out between the narrator and his father. This father, who is by turns hectoring, profane, and tenderin phone conversations and voicemail messages from his native Turkey, counts as one of the great comic characters in recent fiction, the sort of eccentric with whom you spend a minute in an elevator but can't forget."--William Jones, author of Halstead Plays Himself "Jarett Kobek's deceptively artless prose responds like a flower to the sunlight of joy as to the cold rain of alienation. BTW is a book that could be as big as Bright Lights, Big City with the same general framework of a sharply experimental novel that yet can boast a big heart, a joke on every page, an overwhelming city magnificently delineated, and a handful of fascinating and all too real characters.--Kevin Killian, author of Spread Eagle and Impossible Princess “It's like Kobek keyed into John Kennedy Toole's lost biorhythm and resurrected it amid the cosmopolitan absurdities of Los Angeles. Between Tabitha Brown, Khadija, the Butterfed Behemoth and the legendary Mehmet, BTW adds up to a funny and hyper-literate look at failing relationships.”--Ken Baumann, star of the television show The Secret Life of the American Teenager Jarett Kobek is an American author and essayist living in California. His book ATTA (Semiotexte, 2011) is a fictionalized psychedelic biography of the lead 9/11 terrorist and If You Won't Read, Then Why Should I Write? was published in 2012 by Penny-Ante Editions, both of which were longlisted for Novel of the Year by 3:AM Magazine. His most recent criticism, «Je suis devenu un magicien noir», was published as a catalogue essay by White Cube of London. William E Jones  is an artist and filmmaker born in Ohio and now living in Los Angeles.  He has made two feature length experimental films, Massillon (1991) and Finished (1997), the documentary Is It Really So Strange? (2004), videos including The Fall of Communism as Seen in Gay Pornography (1998) and many installations.  His work has been the subject of retrospectives at Tate Modern (2005), Anthology Film Archives (2010), the Austrian Film Museum and Oberhausen Short Film Festival (both 2011).  His group shows include the 1993 and 2008 Whitney Biennials, the 53rd Venice Biennale (2009), and “Untitled (Death by Gun)” at the 12th Istanbul Biennial (2011). His books include Is It Really So Strange? (2006),Tearoom (2008),“Killed”: Rejected Images of the Farm Security Administration (2010),Halsted Plays Himself (2011), and Imitation of Christ (2013).  His solo exhibition, Heraclitus Fragment 124 Automatically Illustrated, opens at David Kordansky Gallery in January 2014.

Nature Theater of Oklahoma talks again with New York avant-garde legend Richard Foreman about sardines, and (reluctantly) also about theater.  We discuss his new play, Old-Fashioned Prostitutes, which opens next week at The Public Theater, and also his critically-acclaimed film Once Every Day, which was recently screened at the Berlin Film Festival and at Anthology Film Archives in New York.

Cathy Erways talks with Shelly Rogers, Ana Sofia Joanes & Catherine Gund about the Hungry Filmmakers Festival which will take place at Anthology Film Archives tomorrow! More info here

Liliana Greenfield-Sanders is a New York City director of a number of award winning short films including Ghosts of Grey Gardens, Miriam, Anna, Samantha, and Adelaide.She has worked for Anthology Film Archives, Fine Line Features, and Maysles Films. She graduated with honors from the Art-Semiotics department at Brown University. Before attending NYU Graduate film school, her first film Ghosts of Grey Gardens premiered at the Tribeca Film Festival, screened at the Museum of Modern Art, and made its television debut on PBS.  Anna won first prize in the LMN TV Student Filmmaker Contest and made its television debut on Lifetime Television.  Samantha won Best Director, Best Graduate Film, and Best Film at the Fusion Film Festival.  As a short film, Adelaide has won a National Board of Review Award, a SAG/Indie Audience Award at DGA Los Angeles and both the Audience Award and Best Short at the Gen Art Film Festival.

Third Annual Polish Film Festival at the Anthology Film Archives where one of Poland's most prominent filmmakers, Agnieszka Holland appeared for a Q&A following the screening of Copying Beethoven.

Handwritten Theatre reaches the rarefied level of double-digits! Sit still. Be quiet. The restraints are for your protection.Handwritten Theatre Ten: "I can see you're concerned about torture."Performed by Moira QuirkRunning Time: 10:51Explicit Content (Contains a single, non-gratuitous utterance of a popular vulgarity.)Other BusinessVictoria Haas, who tells the tale of a young woman's first encounter with a sour apple martini in Handwritten Theatre Four, recently finished work on Approaching Union Square, an independent film that has been selected for screening at The 2006 Waterfront Film Festival in Saugatuck, Michigan, June 8 - 11.Let me assure you from personal experience that as impressive an actress as Victoria is when she's just a voice on your iPod, she's even more remarkable when you can see her.Approaching Union Square will also be shown at The Long Island Film Expo at The Bellmore Movie Theatre in Bellmore, NY Monday, July 17th, the New Filmmakers LA series at The Frank Lloyd Wright Hollyhock House Theatre at Barnsdall Art Park in Beverly Hills, CA the first week of August, and the Anthology Film Archives on 2nd Avenue and 2nd Street in New York City, Wednesday, August 30, 2006Waterfront Film Festival 2006Anthology Film ArchivesThanks and a big "Welcome to the team" to The Pear Tree Pen Company for "stepping up to the plate" by covering the cost of new uniforms for the Handwritten Theatre Little League Team, "The Scriveners." It's just the boost the kids needed.The Pear Tree Pen Company

Home Movie Day at the Anthology Film Archives, New York City.