calendario eventi  :: 

X

12/1/2011

MoMA Film

The Museum of Modern Art - MoMA, New York

On Line: Drawing and Film
January 12–February 6, 2011

On Line: Drawing and Film, held in conjunction with the gallery exhibition On Line: Drawing Through the Twentieth Century, presents films from MoMA’s collection by artists whose work redefines the very parameters of drawing through an investigation of the line, both static and kinetic.

The intersection between the world and the line, both as a visual element and a rich metaphor for life, can be found in numerous films, from the dawn of cinema in the late 19th century to the present. Early animation—a film technique that springs directly from the medium of drawing—succeeded in the activation of the drawn line, as in Winsor McKay’s Gertie, the Dinosaur (1914). Despite subsequent technical advances, many artists have chosen to continue to reveal the connection between drawing and film; they paint, scratch, and manipulate the physical material of film to create abstract lines and patterns, which sometimes stand alone as moving drawings. In other films, these drawn lines are forced into the cinematic world created by the filmmaker, as an active backdrop for artistic intervention. Then there are films in which the line functions symbolically, referring to the various trajectories of the world at large through spiritual and physical travel, such as Bill Morrison’s Night Highway (1990). The passage of time, the marks left in our landscape, and lines drawn to both join and separate us from each other simultaneously provoke fascination and repulsion, as in A Season Outside (1998) by Amar Kanwar. The manipulation of line as cinematic subject was often inspired by the movement of the body, as in Circles I (1971)—a dance film by Doris Chase—and the syncopated, choreographed abstract imagery of Mary Ellen Bute’s Tarantella (1940). Contemporaneously, the transformation of the line (or a crossing of multiple lines to form a grid) injects the limits of the exterior world into the interior of the work of art. The first wave of computer generated films, especially those made at the Bell Telephone Laboratories in Murray Hill, New Jersey, in the early 1960s—such as Computer Generated Ballet (c.1965) by researcher A. Michael Noll—explores the subject of “dancers” on a computer grid.

This exhibition includes films by Yann Beauvais (French, b. 1953), Stan Brakhage (American, 1933–2003), Robert Breer (American, b. 1926), Mary Ellen Bute (American, 1906–1983), Doris Chase (American, 1923–2008), Jim Capobianco (American, b. 1969), Walt Disney (American, 1901–1966), Ed Emshwiller (American, 1925–1990), valie export (Austrian, b. 1940), Harun Farocki (German, b. Czechoslovakia 1944), Emily Hubley (American, b. 1958), Amar Kanwar (Indian, b. 1964), Bernard Longpre (Canadian, 1937–2002), Len Lye (New Zealander, 1901–1980), Norman McLaren (Canadian, b. Scotland 1914–1987), Bill Morrison (American, b. 1965), David Piel (American, 1926–2004), Yvonne Rainer (American, b. 1934), Randy Rotheisler (Canadian, b. 1953), Carolee Schneemann (American, b. 1939), Zdenek Smetana (Czech, b. 1925), Stuart Sherman (American, 1945–2001), Alia Syed (British, b. 1964), and Steven Yazzie (American, b. 1970).

Organized by Anne Morra, Associate Curator, Department of Film, and Esther Adler, Curatorial Assistant, Department of Drawings.

---------------------------------

The Contenders 2010
until January 22, 2011

Every year there are films that resonate far beyond a theatrical release—if they manage to find their way to a commercial screen at all—or film festival appearance. Their significance can be attributed to a variety of factors, from structure to subject matter to language, but these films are united in their lasting impact on the cinematic art form. For this recurring series, the Department of Film combs through major studio releases and the top film festivals in the world, selecting influential, innovative films made in the past 12 months that we believe will stand the test of time. Whether bound for awards glory or destined to become a cult classic, each of these films is a contender for lasting historical significance—and any true cinephile will want to catch them on the big screen. Screening details will be available here soon.

Organized by the Department of Film, supported by BNP Paribas. Media sponsorship provided by indieWIRE.

---------------------------------

Global Lens 2011
until January 28, 2011

The films presented in this annual collaboration between MoMA and the Global Film Initiative (GFI) are part of the touring film exhibition Global Lens, a project conceived to encourage filmmaking in countries with emerging film communities. The selection of nine programs, which include films developed with seed money from GFI, represents a concise survey of contemporary filmmaking from areas where local economic realities make such expensive and technology-driven endeavors a challenge. Accomplished, entertaining, and thought-provoking, the films are also deeply rooted in the social and political realities of the countries where their talented and resourceful makers live and set their stories.

Organized by Jytte Jensen, Curator, Department of Film. The exhibition is a collaboration between the Global Film Initiative and the Department of Film.

---------------------------------

Weimar Cinema, 1919–1933: Daydreams and Nightmares
until March 7, 2011

Organized in association with the Friedrich Wilhelm Murnau Foundation in Wiesbaden and in cooperation with the Deutsche Kinemathek in Berlin, this exhibition—the most extensive ever mounted in the United States of German films made between the world wars—includes seventy-five feature-length films and six shorts, along with a gallery exhibition of Weimar-era film posters and stills. The exhibition continues the tradition of Iris Barry, the world’s first curator of film and founding curator of MoMA’s Department of Film, who began adding German films to the collection in the mid-1930s and exhibited a deep commitment to this rich period of film culture throughout her career. Daydreams and Nightmares also builds upon the scholarly legacy of Siegfried Kracauer’s seminal 1947 book From Caligari to Hitler: A Psychological History of the German Film, which the émigré film and social critic wrote (at Barry’s invitation) at The Museum of Modern Art.

In addition to classic films by Fritz Lang, F. W. Murnau, and G. W. Pabst, among others, the exhibition includes many films, unseen for decades, that were restored after German reunification. The extensive program reaches beyond the standard view of Weimar cinema—which sees its tropes of madmen, evil geniuses, pagan forces, and schizophrenic behavior as dark harbingers of Hitler—by adding another perspective: that of the popular German cinema of the period. The development of Weimar cinema coincides with the coming of sound, and German filmmakers also excelled in the making of popular musicals, cabaret-type comedies, and dramas, shot outside the studio, that tackled social issues.

All silent films have piano accompaniment by Ben Model, Stuart Oderman, or Donald Sosin.

The film portion of the exhibition is organized by Laurence Kardish, Senior Curator, Department of Film, and Eva Orbanz, Senior Curator, Special Projects, Deutsche Kinemathek – Museum für Film und Fernsehen. The gallery exhibition is organized by Laurence Kardish and Ronald S. Magliozzi, Assistant Curator, Department of Film.

The exhibition is supported by the Consulate General of the Federal Republic of Germany and The International Council of The Museum of Modern Art.

---------------------------------

An Auteurist History of Film
Ongoing

This ongoing screening cycle is intended to serve as both an exploration of the richness of the Museum’s film collection and a basic introduction to the emergence of cinema as the predominant art form of the twentieth century. The auteurist approach to film—articulated by the critics of Cahiers du Cinéma in the 1950s and brought to America by Andrew Sarris—contends that, despite the collaborative nature of the medium, the director is the primary force behind the creation of a film. This exhibition takes this theory as its point of departure, charting the careers of several key figures not in order to establish a formal canon, but to develop one picture of cinematic history.

Organized by Charles Silver, Curator, Department of Film.

Image: Gertie the Dinosaur, 1914, USA. Directed by Winsor McCay. Preserved with funding from Celeste Bartos.

The Museum of Modern Art MoMa
11 West 53 Street 212 - New York
Hours: Sun, Mon, Wed, Thu and Sat 10.30am-5.30pm, Fri 10.30am-8pm, Tue closed.
Film Admission (without Museum gallery admission): Adults $10, Seniors (65 and over with ID) $8, Students (full-time with current ID) $6, Guest of Members $5.

stampa

permanent link