Tonight (Wed, 12/15)
Le Amiche/The Girlfriends (Michelangelo Antonioni, 1955)
Tomorrow (Thurs, 12/16)
The Searchers (John Ford, 1956)
Seance on a Wet Afternoon (Brian Forbes, 1964)
All are on 35mm and begin at 7:00pm.
Troupe de Fetishe is a large scale video piece co-directed by Lisa Marie Patzer (MFA candidate), Ian Markiewicz (MFA '08) and Doris Chia-Ching Lin (MFA candidate) with sound design by David Miranda Hardy (MFA candidate).
Troupe de Fetishe tells the story of Oskar Vanderwold, an eccentric “tinkerer” who manipulates and cares for a troupe of flea circus performers. His ornate flea circus is a hand constructed miniature model that fits inside an antique cigar box. It is a macabre world of surreal spectacle, adorned with a series of miniature circus attractions complete with chariots, a trapeze swing, a high dive, and ring of fire.The project was custom designed for the new video projection system in the Ice Box Project Space, equipped with four synchronized video projectors that create one seamless, 100 ft. wide by 25 ft. tall or 3646 x 768 pixel composition.
Tuesday, October 26, 7pmLang Performing Arts Center Cinema, Swarthmore College (Directions)One of the most acclaimed and prolific experimental moving image artists working in the U.S. today, Leighton Pierce uses film, video, photography, and sound to create experiences in transformative time, executing all aspects of his works himself –conceptualization, cinematography, editing, sound design and composition. Pierce will present an hour-long program of his work including the area premieres of Retrograde Premonition and Sharp Edge Blunt, followed by Q&A. Pierce’s early interest in music, especially jazz and electronic music, and the construction of emotional experiences in time continue to guide his work. His work has been exhibited worldwide, including at the Museum of Modern Art, the Centre Georges Pompidou, and the Whitney Biennial. He teaches in the prestigious film program of the University of Iowa, where he has influenced many important experimental artists.
1) Is there a future to repertory programming, given the momentous changes over the last decade in technology and viewing habits? How would you characterize the impact on theatrical exhibition of home video, Internet streaming, downloading, etc.? Are the consequences entirely negative, or are there collateral benefits (i.e., new prints struck for video releases, more informed audiences, etc.)?2) How would you characterize your programming philosophy, with regard to the variety of films selected, preferred formats (retrospectives, thematic series, national surveys, double features, etc.), your attitude toward audience expectation, or other considerations?3) Do you find that good quality prints continue to be available? Do you think film prints will continue to be struck and distributed, or is this a dying exhibition format? And if projecting from film is destined to become obsolete, how great a loss do you think this is? Are you open to screening video or digital formats?4) How have your audiences changed over the years? Are they increasing or decreasing? Have their demographics changed, in terms of age or background? Have they become more or less receptive to challenging and innovative programs?5) What are some of your formative memories of repertory filmgoing? Do you have stories of particularly unforgettable experiences, inspiring series, or legendary venues?