Saul Levine, nacido en 1943 en New Haven, Connecticut, es un creador y defensor del cine de vanguardia, y más recientemente también de vídeo. Actualmente es profesor en MassArt donde ha enseñado durante 30 años y donde programa la veterana MassArt Film Society. Su trabajo ha sido proyectado en los EEUU e internacionalmente, recientemente enShanghai, París y Rotterdam. Levine vive en la ciudad de Boston, de donde apenas se mueve.
This program of works from San Francisco experimental-film distributor Canyon Cinema, one of DIM’s favourite partners, is curated by David Dinnell, visiting faculty at CalArts and former program director at the Ann Arbor Film Festival.
snow and ice data a night of experimental films curated by joe steele an offering by the colloquium ‘Film in the Present Tense’, RE:MI/ LaborBerlin co-presented with Light-Movement
Movement as Meaning in Experimental Cinema offers sweeping and cogent arguments as to why analytic philosophers should take experimental cinema seriously as a medium for illuminating mechanisms of meaning in language. Using the analogy of the movie projector, Barnett deconstructs all communication acts into functions of interval, repetition and context. He describes how Wittgenstein's concepts of family resemblance and language games provide a dynamic perspective on the analysis of acts of reference.
Saul Levine is one of the leading figures in the autobiographical tradition within underground cinema. His films are often marked by a direct confrontation with the fragile material of 8mm, and the resulting works bear the marks of his construction, splices appearing like indentions in concrete.
Fechas:
De Viernes, Enero 27, 2017 - 19:00 hasta Sábado, Enero 28, 2017 - 18:55
(S8) Mostra de Cinema Periférico celebra su séptima edición del 1 al 5 de junio en A Coruña, reuniendo un año más a destacados nombres del cine experimental y de vanguardia. En esta ocasión el festival celebrará una edición especial bajo el nombre “Los nuevos impresionistas”. En torno a este tema central, se podrán ver los trabajos en 16mm del canadiense Stephen Broomer, en los que recurre a rápidos barridos, colisiones y movimientos que retan al ojo, y que hacen imaginar al cineasta manejando la cámara como si ejecutara un cuadro de luz con las maneras del action painting.
Fechas:
De Miércoles, Junio 1, 2016 (Todo el día) hasta Domingo, Junio 5, 2016 (Todo el día)
Belgian experimental film festival L’Âge d’Or comes back next October 3-10 with the second edition of its new run. 2015 celebrates the 50th anniversary of Super 8 and so for its second edition, the Âge d’Or festival has chosen to pay homage to the work of the fiercest advocates of this format, too often denigrated and considered ‘amateur’. A format however that has been, and sometimes still is, the terrain of innovative cinematic experiments, full of the constraints that only it can create.
Fechas:
De Sábado, Octubre 3, 2015 (Todo el día) hasta Sábado, Octubre 10, 2015 (Todo el día)
In Binghamton Babylon, Scott M. MacDonald documents one of the crucial moments in the history of cinema studies: the emergence of a cinema department at what was then the State University of New York at Binghamton (now Binghamton University) between 1967 and 1977. The department brought together a group of faculty and students who not only produced a remarkable body of films and videos but went on to invigorate the American media scene for the next half-century.
“I tried to film what was going on around me and value it as much as the heroics of the big screen.”—Saul Levine
With a monumental filmography that dates back almost fifty years and seems to grow monthly (if not weekly), Saul Levine (b. 1943) long ago established himself as a central figure in American experimental cinema. He is also a key member of the filmmaking community in Boston and Cambridge, not only because of his own work but also for his passionate, tireless and inspiring roles as both a professor at the Massachusetts College of Art and Design and the programmer of the MassArt Film Society, one of the foremost venues for experimental cinema in the area. The Harvard Film Archive is extremely excited to present the first in a number of programs designed to help local audiences acquaint, or re-acquaint, themselves with Levine’s impressive body of work, from the beginnings to the present day.
Fechas:
De Viernes, Septiembre 11, 2015 - 19:00 hasta Sábado, Septiembre 12, 2015 - 18:55
De Domingo, Septiembre 13, 2015 - 19:00 hasta Lunes, Septiembre 14, 2015 - 18:55
De Lunes, Septiembre 14, 2015 - 19:00 hasta Martes, Septiembre 15, 2015 - 18:55
The program title Kaleidoscopic Visions was inspired by P. Adams Sitney’s description of Saul Levine’s unique style of shooting and cutting as "...fused with the kaleidoscopic fury of memory...”. The program selects films by Saul Levine from 1973 to 2011. The films represent roughly three of Saul’s major formal approaches to the small gauge formats of Regular 8mm (presented as a digital transfers and a 16mm blow up) and Super 8mm (presented in Super 8mm and 16mm blow ups).
Filmmaker Saul Levine will be in Chicago for the Screening! Q & A following the Program!
Fechas:
De Sábado, Mayo 2, 2015 - 20:00 hasta Domingo, Mayo 3, 2015 - 19:55
Las películas de Anne Charlotte Robertson (1949-2012), rodadas la mayoría en súper-8, documentan los efectos del trastorno bipolar que padeció, sus crisis nerviosas e internamientos en centros psiquiátricos. Filmando sus sentimientos y vivencias de un modo íntimo, directo y crudo, pero no exento de humor, las diferentes capas sonoras —en particular la voz de la cineasta— generan una emotiva reflexión introspectiva y ensayística sobre su propia vida, que mostró en su proyecto Five Years Diary (1981-1997). Tras ver su cine, Jonas Mekas le envío una carta: «Estoy abrumado con lo que he visto. No creo que sea yo el film-diarista: ¡Eres tú! ¡Eres tú! Me he quedado conmovido y no he podido dormir en toda la noche pensado en ello». La sesión se completa con una película de Carole Schneemann, que fue una de sus grandes influencias, y la oda final que Saul Levine, quien fuera su tutor en el Massachusetts College of Arts, realizó tras su entierro.
