FLAHERTY NYC
Monday, December 8th, 7:30pm, Anthology Film Archives
The December installment of Flaherty NYC, the monthly screening series that brings a taste of the acclaimed Robert Flaherty Film Seminar to New York City audiences, will feature the work of 2008 Seminar filmmakers Lee Wang and Laura Waddington.
Mark Asch and Sharon Steel of L Magazine write that Wang “skillfully blends the emotional and the political, as well as the specific and the global, all the while refusing to offer easy answers and overly simple rhetoric,” and that Waddington’s Cargo “is an insightful contradiction of global transportation and restricted movement,” whose “images are hazy and hypnotic: the ambiguities of truth and understanding become manifest in the blurred pixels of digital video.”
Films and videos to be screened:
God is My Safest Bunker (Lee Wang, 2008, 60 min., USA) More than 30,000 low-wage workers from South and Southeast Asia work for American military contractors in Iraq, cleaning toilets, serving food and building barracks: the backbone of the US occupation of Iraq. An overwhelming number of these “third country nationals” are from the Philippines, where a culture of migration has produced an export economy of labor whose remittances account for 1/7 of its national GDP. Through the stories of three Filipino workers and their families, Wang’s probing documentary investigates the conditions – both domestic and global - which have forced economic migration into the Iraqi war zone, and how they are understood as lived experience.
Cargo (Laura Waddington, 2001, 30 min., The Netherlands) “Cargo is the story of a journey I made on a container ship with a group of Rumanian and Filipino sailors who were delivering cargo to the Middle East. I stayed on the ship six weeks. The sailors weren’t allowed to leave the boat and they spent their days waiting, singing karaoke, and telling me stories in a small TV room. In Syria, the ports were military zones. I hid at a porthole and secretly filmed the life below: a man stealing wood, a soldier fishing off the edge of an abandoned submarine. Later, I made a narrative that falls between reality and fiction. It was a way of showing the limbo these men were living in.” – Laura Waddington
TICKET INFORMATION:
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General admission tickets to the Flaherty NYC series at the Anthology Film Archives are $10. Tickets are $8.00 for Anthology members and students with valid I.D. You can purchase tickets at the Anthology box office the day of the show. For more information, call the Flaherty at 212-448-0457.
Anthology Film Archives is located in the old Second Avenue Courthouse building in the East Village at 32 Second Ave. at the corner of 2nd Street. For subway take F, V to Second Ave., B, D, F, V to Broadway-Lafayette, 6 to Bleecker.
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Contact Information:
The Flaherty/International Film Seminars
email: (JavaScript must be enabled to view this email address)
phone: 212-448-0457
web: http://www.flahertyseminar.org
Flaherty NYC, Monday, November 10th,, 7:30 pm, Anthology Film Archives
The Flaherty follows up the October launch of its new monthly screening series, Flaherty NYC, with another program on Monday November 10, 7:30pm, at Anthology Film Archives.
The program will feature short works from German-Japanese filmmaker Sylvia Schedelbauer, whose films negotiate the space between broader historical narratives and personal, psychological realms mainly through poetic manipulations of found and archival footage, and Canadian-Japanese filmmaker Alison Kobayashi, who plays the part of every character in her rich narratives inspired by found objects that contain traces of private experiences. Alison Kobayashi will participate in a post-screening discussion moderated by Pamela Cohn. (pictured above: Dan Carter)
Filmmaker Magazine says Sylvia Schedelbauer and Alison Kobayashi “gave the seminar energy and hope. Refusing boundaries like intellectual and populist and the staid traditions and genres of prior generations, their works pointed toward a new kind of filmmaking.”
Films and videos to be screened:
· Remote Intimacy (Sylvia Schedelbauer, 2007/8, 14 min., USA) A meditation on dreams, nightmares, desire and the im/possibility of belonging.
· From Alex to Alex (Alison Kobayashi, 2006, 6 min., Canada) Kobayashi plays the roles of two teenage boys in this exploration of performance, gender, and desire.
· Memories (Sylvia Schedelbauer, 2004, 19 min., Germany) A complicated family lineage shapes this filmmaker’s construction of identity, memory and history.
· Dan Carter (Alison Kobayashi, 2006, 15 min., Canada) The life of an unseen man is revealed through his found answering machine messages.
TICKET INFORMATION: General admission tickets to the Flaherty NYC series at the Anthology Film Archives are $10. Tickets are $8 for Anthology members and students with valid I.D. You can also purchase tickets at the Anthology box office the day of the show. For more information, call The Flaherty at 212-448-0457 or visit us online at http://www.flahertyseminar.org.
Now, a brief tribute to a daily ritual: getting my morning laughs from the IMDb news section, a fount of awkwardly written headlines meant to blow up and sensationalize even the slightest comment from a random movie-star interview. Some are haikus.
Barrowman Has Gay Test
15 July 2008 5:08 AM, PDT
Moore Happy To Embarrass Kids
15 July 2008 5:08 AM, PDT
Mendes Carried A Knife
14 July 2008 12:08 PM, PDT
Gyllenhaal’s Nude Scene Fears
13 July 2008 4:06 PM, PDT
Costner Had To Agree To Be A Daddy
15 July 2008 12:09 AM, PDT
Timberlake’s Grandmother Dreams Of Biel Marriage
15 July 2008 12:09 AM, PDT
Ledger’s Dad Gives Batman Movie The Thumbs Up
15 July 2008 12:09 AM, PDT
Fraser’s Height Leaves Him Stooping
14 July 2008 6:27 PM, PDT
Milano Swears Off Baseball Players
14 July 2008 6:27 PM, PDT
Gay McKellan Received Death Threats
13 July 2008 4:06 PM, PDT
Hartnett Refused To Buy Phone
11 July 2008 11:53 AM, PDT
A gift from Junebug director Phil Morrison on the occasion of the release of Flight of the Red Balloon. Says Morrison, “If that is not Mr. Hou drinking the Pepsi and taking the picture, then the guy sitting next to me was a liar or mistaken and you can put this thing in the fiction section.”
Original music by Mac McCaughan; editing by David Traver; title by Emily Kowalczyk.
I’m falling a bit behind on regular Björk video posting, so a quick one for this morning featuring the three videos from her oft-maligned Vespertine: “Hidden Place,” “Pagan Poetry,” and “Cocoon.” These all roughly fall into that category of “malleable Björk” clips: Inez+Vinoodh & M/M Paris’s “Hidden Place” is built around extreme close-ups of the singer’s face as digital gummi worms slide in and out of her mouth, eyes and nostrils; Nick Knight’s notorious “Pagan Poetry” clip raised prurient interest across the web with his vision of a topless and pierced Björk; and Eiko Ishioka’s kinda creepy “Cocoon” (extra negative points for being about sex with Matthew Barney) has our girl in a white bodysuit playfully coaxing red ribbons out of her nipples which gradually envelope her. Appropriately enough for her most overtly personal record, all three push the focus back on Björk in a very direct way (each feature her alone and in some state of undress), but even in a Chinese box contraption like Michel Gondry’s “Bachelorette,” was the focus ever really off of her?
As a group, the three represent an interesting study but the only one that truly stands on its own merits, even if she seems revitalized in her performances here, is “Pagan Poetry”—and only then through some nifty graphics work that finds Björk morphed from the photoreal into an Alexander Calder wire mobile and back again.
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