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"content": "\u003cp>The central event of \u003cem>Monsters and Men\u003c/em> is clearly based on the 2014 slaying of Eric Garner by NYPD officers on Staten Island, although writer-director Reinaldo Marcus Green has altered both the location and the cause of death. Yet the killing of loose-cigarette peddler Big D (Samel Edwards) takes place literally in the background. This evocative drama is most concerned about the aftermath, viewed from three different angles.\u003c/p>\n\u003cp>Green is clearly fascinated by vantage points, as he demonstrates with a prologue that introduces an African-American man, Dennis (John David Washington), as a face in his car’s rear-view mirror. It’s a face whose expression turns from blithe to anxious with the warning bleat of a police cruiser’s siren.\u003c/p>\n\u003cp>\u003cem>Monsters and Men\u003c/em> was filmed exquisitely by Pat Scola, who follows the characters through Brooklyn and Manhattan with a handheld camera, conveying intimacy and distance simultaneously. The camerawork captures the feeling of being at home in the crowd, but with the nagging awareness that trouble could lurk around the next corner, and is as likely to come from cops as criminals.\u003c/p>\n\u003cp>https://youtu.be/4AnpybNQ-hU\u003c/p>\n\u003cp>This is not simply the story of a black and Latino community oppressed by white police officers. Dennis, it turns out, is a cop. It’s a job he’s proud to have, even after Big D’s death sparks protests and reprisals. In one of the movie’s most emotionally complex scenes, Dennis defends the NYPD from the anger of a friend who’s come to his house for dinner.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Before circling back to Dennis, though, Green introduces Manny (Anthony Ramos), a buddy of Big D and a guy with a few hustles of his own. Manny is there when the neighborhood fixture is shot, and records the action on his mobile phone.\u003c/p>\n\u003cp>Manny has reasons to be cautious: He shares a young daughter and a promising future with his pregnant girlfriend (Jasmine Cephas Jones, who like Ramos was in the original cast of \u003cem>Hamilton\u003c/em>). Disseminating the video of Big D’s killing is likely to threaten all that, since the footage appears to contradict the police’s official story of what happened. But how can Manny suppress this evidence when the cops are falsely claiming they shot Big D in self-defense?\u003c/p>\n\u003cp>The third chapter shifts to Zyrick (Kelvin Harrison Jr.), a high-schooler whose baseball skills may clear a path out of the neighborhood. The kid’s father (Rob Morgan), who just happens to also be a cop, encourages Zyrick to concentrate on his potential sports career and ignore the local controversy. But baseball seems less consequential than protest, especially when the latter is being organized by an alluring young woman played by Chante Adams. (This development echoes one in \u003cem>BlacKKKlansman\u003c/em>, which starred John David Washington as a similarly conflicted, albeit more impulsive, cop.)\u003c/p>\n\u003cp>Despite the cinematic visual style, \u003cem>Monsters and Men\u003c/em> is stagey in places. It also includes a few clunky motifs, notably a recurring bit with paper airplanes.\u003c/p>\n\u003cp>The thing that’s most likely to divide audiences, though, is the movie’s lack of a tidy resolution. The three stories are left hanging, as is the Internal Affairs investigation of Big D’s death. Onscreen, at least, justice is not done, and the truth is not revealed. Even what the audience sees of Manny’s video is inconclusive.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But that’s the point. \u003cem>Monsters and Men\u003c/em> offers neither unalloyed despair nor implausible hope. It’s about the way people of color live now, moving through the streets with passion, purpose and one eye on the rear-view mirror.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The central event of \u003cem>Monsters and Men\u003c/em> is clearly based on the 2014 slaying of Eric Garner by NYPD officers on Staten Island, although writer-director Reinaldo Marcus Green has altered both the location and the cause of death. Yet the killing of loose-cigarette peddler Big D (Samel Edwards) takes place literally in the background. This evocative drama is most concerned about the aftermath, viewed from three different angles.\u003c/p>\n\u003cp>Green is clearly fascinated by vantage points, as he demonstrates with a prologue that introduces an African-American man, Dennis (John David Washington), as a face in his car’s rear-view mirror. It’s a face whose expression turns from blithe to anxious with the warning bleat of a police cruiser’s siren.\u003c/p>\n\u003cp>\u003cem>Monsters and Men\u003c/em> was filmed exquisitely by Pat Scola, who follows the characters through Brooklyn and Manhattan with a handheld camera, conveying intimacy and distance simultaneously. The camerawork captures the feeling of being at home in the crowd, but with the nagging awareness that trouble could lurk around the next corner, and is as likely to come from cops as criminals.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/4AnpybNQ-hU'\n title='//www.youtube.com/embed/4AnpybNQ-hU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>This is not simply the story of a black and Latino community oppressed by white police officers. Dennis, it turns out, is a cop. It’s a job he’s proud to have, even after Big D’s death sparks protests and reprisals. In one of the movie’s most emotionally complex scenes, Dennis defends the NYPD from the anger of a friend who’s come to his house for dinner.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Before circling back to Dennis, though, Green introduces Manny (Anthony Ramos), a buddy of Big D and a guy with a few hustles of his own. Manny is there when the neighborhood fixture is shot, and records the action on his mobile phone.\u003c/p>\n\u003cp>Manny has reasons to be cautious: He shares a young daughter and a promising future with his pregnant girlfriend (Jasmine Cephas Jones, who like Ramos was in the original cast of \u003cem>Hamilton\u003c/em>). Disseminating the video of Big D’s killing is likely to threaten all that, since the footage appears to contradict the police’s official story of what happened. But how can Manny suppress this evidence when the cops are falsely claiming they shot Big D in self-defense?\u003c/p>\n\u003cp>The third chapter shifts to Zyrick (Kelvin Harrison Jr.), a high-schooler whose baseball skills may clear a path out of the neighborhood. The kid’s father (Rob Morgan), who just happens to also be a cop, encourages Zyrick to concentrate on his potential sports career and ignore the local controversy. But baseball seems less consequential than protest, especially when the latter is being organized by an alluring young woman played by Chante Adams. (This development echoes one in \u003cem>BlacKKKlansman\u003c/em>, which starred John David Washington as a similarly conflicted, albeit more impulsive, cop.)\u003c/p>\n\u003cp>Despite the cinematic visual style, \u003cem>Monsters and Men\u003c/em> is stagey in places. It also includes a few clunky motifs, notably a recurring bit with paper airplanes.\u003c/p>\n\u003cp>The thing that’s most likely to divide audiences, though, is the movie’s lack of a tidy resolution. The three stories are left hanging, as is the Internal Affairs investigation of Big D’s death. Onscreen, at least, justice is not done, and the truth is not revealed. Even what the audience sees of Manny’s video is inconclusive.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But that’s the point. \u003cem>Monsters and Men\u003c/em> offers neither unalloyed despair nor implausible hope. It’s about the way people of color live now, moving through the streets with passion, purpose and one eye on the rear-view mirror.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Films are magic. Over two hours or even just three minutes, they have the ability to momentarily transport audiences into different worlds, different lives and different experiences. And it’s the filmmaker who guides viewers on that journey, making decisions behind the scenes based on their own experiences and dreams.\u003c/p>\n\u003cp>[contextly_sidebar id=”WT5lxoEQp7lrBQYpJ7lqFWwMM9sGkRrV”]\u003c/p>\n\u003cp>This fall, KQED Arts helps you dive deeper into the stories behind the stories with filmmakers \u003ca href=\"https://www.kqed.org/arts/13811487/moses-documentary-changes-lead-character-and-filmmakers-lives\" target=\"_blank\" rel=\"noopener noreferrer\">Fran Guijarro and Diya Guha\u003c/a>; \u003ca href=\"https://www.kqed.org/arts/13820054/filmmaker-peter-nicks-embraces-complexity-in-oakland-pd-doc-the-force\" target=\"_blank\" rel=\"noopener noreferrer\">Peter Nicks\u003c/a>; \u003ca href=\"https://www.kqed.org/arts/13825213/filmmaker-leo-herrera-imagines-an-alternate-world-without-aids\" target=\"_blank\" rel=\"noopener noreferrer\">Leo Herrera\u003c/a>; \u003ca href=\"https://www.kqed.org/arts/13842424/behind-the-lens-pamela-chavez\">Pamela Chavez\u003c/a>; \u003ca href=\"https://www.kqed.org/arts/13843368/behind-the-lens-rodents-of-unusual-size\" target=\"_blank\" rel=\"noopener noreferrer\">Chris Metzler, Quinn Costello and Jeff Springer\u003c/a>; \u003ca href=\"https://www.kqed.org/arts/13844441/behind-the-lens-nijla-mumin\" target=\"_blank\" rel=\"noopener noreferrer\">Nijla Mu’min\u003c/a>; \u003ca href=\"https://www.kqed.org/arts/13844798/loners-rappers-and-bankrobbers-pete-lee-brings-the-bays-scrappiness-to-life\" target=\"_blank\" rel=\"noopener noreferrer\">Pete Lee\u003c/a>; \u003ca href=\"https://www.kqed.org/arts/13846310/behind-the-lens-talibah-newman\" target=\"_blank\" rel=\"noopener noreferrer\">Talibah Newman\u003c/a>; and \u003ca href=\"https://www.kqed.org/arts/13846936/behind-the-lens-eugene-kim\" target=\"_blank\" rel=\"noopener noreferrer\">Eugene Kim\u003c/a>.\u003c/p>\n\u003cp>Whether they’re making a film about a young black woman coming of age in a strict Muslim household, about a middle-aged woman robbing banks on her lunch hour, or about nutria hunters in the Louisiana wetlands, each of filmmakers in \u003cem>Behind the Lens\u003c/em> is dedicated to doing it their own way: with energy, honesty and sincere curiosity about the world around them.\u003c/p>\n\u003cp>\u003cem>Behind the Lens\u003c/em> is a digital video series about bold California indie filmmakers pushing the boundaries of their craft. Each episode focuses on a documentary, narrative or animated film director, capturing the personal experiences that inform their films, and the risks they take to bring stories to the screen. Step behind the lens and follow the journeys of a new generation of storytellers. \u003cem>— Sarah Hotchkiss\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Watch exclusively online or find full episodes on social media @KQEDArts.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Films are magic. Over two hours or even just three minutes, they have the ability to momentarily transport audiences into different worlds, different lives and different experiences. And it’s the filmmaker who guides viewers on that journey, making decisions behind the scenes based on their own experiences and dreams.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>This fall, KQED Arts helps you dive deeper into the stories behind the stories with filmmakers \u003ca href=\"https://www.kqed.org/arts/13811487/moses-documentary-changes-lead-character-and-filmmakers-lives\" target=\"_blank\" rel=\"noopener noreferrer\">Fran Guijarro and Diya Guha\u003c/a>; \u003ca href=\"https://www.kqed.org/arts/13820054/filmmaker-peter-nicks-embraces-complexity-in-oakland-pd-doc-the-force\" target=\"_blank\" rel=\"noopener noreferrer\">Peter Nicks\u003c/a>; \u003ca href=\"https://www.kqed.org/arts/13825213/filmmaker-leo-herrera-imagines-an-alternate-world-without-aids\" target=\"_blank\" rel=\"noopener noreferrer\">Leo Herrera\u003c/a>; \u003ca href=\"https://www.kqed.org/arts/13842424/behind-the-lens-pamela-chavez\">Pamela Chavez\u003c/a>; \u003ca href=\"https://www.kqed.org/arts/13843368/behind-the-lens-rodents-of-unusual-size\" target=\"_blank\" rel=\"noopener noreferrer\">Chris Metzler, Quinn Costello and Jeff Springer\u003c/a>; \u003ca href=\"https://www.kqed.org/arts/13844441/behind-the-lens-nijla-mumin\" target=\"_blank\" rel=\"noopener noreferrer\">Nijla Mu’min\u003c/a>; \u003ca href=\"https://www.kqed.org/arts/13844798/loners-rappers-and-bankrobbers-pete-lee-brings-the-bays-scrappiness-to-life\" target=\"_blank\" rel=\"noopener noreferrer\">Pete Lee\u003c/a>; \u003ca href=\"https://www.kqed.org/arts/13846310/behind-the-lens-talibah-newman\" target=\"_blank\" rel=\"noopener noreferrer\">Talibah Newman\u003c/a>; and \u003ca href=\"https://www.kqed.org/arts/13846936/behind-the-lens-eugene-kim\" target=\"_blank\" rel=\"noopener noreferrer\">Eugene Kim\u003c/a>.\u003c/p>\n\u003cp>Whether they’re making a film about a young black woman coming of age in a strict Muslim household, about a middle-aged woman robbing banks on her lunch hour, or about nutria hunters in the Louisiana wetlands, each of filmmakers in \u003cem>Behind the Lens\u003c/em> is dedicated to doing it their own way: with energy, honesty and sincere curiosity about the world around them.\u003c/p>\n\u003cp>\u003cem>Behind the Lens\u003c/em> is a digital video series about bold California indie filmmakers pushing the boundaries of their craft. Each episode focuses on a documentary, narrative or animated film director, capturing the personal experiences that inform their films, and the risks they take to bring stories to the screen. Step behind the lens and follow the journeys of a new generation of storytellers. \u003cem>— Sarah Hotchkiss\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Now Playing! Stepping Out With the S.F. Dance Film Festival",
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"content": "\u003cp>When Lumiere and Edison independently invented the motion picture camera in the 1890s, did they have specific subjects (or purposes) in mind? Louis filmed people and trains in real-life action, while Tom brought jugglers, wrestlers and other physical performers into his black-box studio. However, both were inspired by Eadweard Muybridge’s photographs of galloping horses for California magnate Leland Stanford, suggesting that they primarily valued the camera as a medium for recording movement.\u003c/p>\n\u003cp>In short order, narrative filmmakers discovered the power of the human face, and then the human voice. A century on, we crave close-ups and demand dialogue. The \u003ca href=\"http://www.sfdancefilmfest.org\" rel=\"noopener\" target=\"_blank\">San Francisco Dance Film Festival\u003c/a> (Oct. 4–14 at the Brava Theater and other venues) is a kind of oasis that returns us to the happy realization that the movies were made for movement. At the same time, the lineup defies the imperative of Hollywood musicals (think Astaire and Rogers, Fosse and Verdon, Stone and Gosling), that every picture and every dance has to tell a story.\u003c/p>\n\u003cfigure id=\"attachment_13841950\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/baseballet1.jpeg\" alt=\"Still from 'BaseBallet: Into the Game.'\" width=\"1920\" height=\"809\" class=\"size-full wp-image-13841950\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/baseballet1.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/baseballet1-160x67.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/baseballet1-800x337.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/baseballet1-768x324.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/baseballet1-1020x430.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/baseballet1-1200x506.jpeg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/baseballet1-1180x497.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/baseballet1-960x405.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/baseballet1-240x101.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/baseballet1-375x158.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/baseballet1-520x219.jpeg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘BaseBallet: Into the Game.’ \u003ccite>(Courtesy of San Francisco Dance Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Free your mind and your feet will follow. (Or is it the other way around?) Taking that bit of wisdom as our guide, the most liberating program in this year’s S.F. Dance Film Festival may well be “Shorts 1: Concentric Circles” (Thursday, Oct. 11 at 5pm), a compilation of short works from here and yon that were each conceived as a collaboration between choreography and cinematography. \u003c/p>\n\u003cp>Sure, the lineup includes more accessible options, including histories (\u003cem>American Tap\u003c/em>), explorations of the creative process (\u003cem>Play Serious\u003c/em>) and filmed performance (\u003cem>BaseBallet: Into the Game\u003c/em>). But filmmaking, and dance for that matter, is about taking a leap.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When Lumiere and Edison independently invented the motion picture camera in the 1890s, did they have specific subjects (or purposes) in mind? Louis filmed people and trains in real-life action, while Tom brought jugglers, wrestlers and other physical performers into his black-box studio. However, both were inspired by Eadweard Muybridge’s photographs of galloping horses for California magnate Leland Stanford, suggesting that they primarily valued the camera as a medium for recording movement.\u003c/p>\n\u003cp>In short order, narrative filmmakers discovered the power of the human face, and then the human voice. A century on, we crave close-ups and demand dialogue. The \u003ca href=\"http://www.sfdancefilmfest.org\" rel=\"noopener\" target=\"_blank\">San Francisco Dance Film Festival\u003c/a> (Oct. 4–14 at the Brava Theater and other venues) is a kind of oasis that returns us to the happy realization that the movies were made for movement. At the same time, the lineup defies the imperative of Hollywood musicals (think Astaire and Rogers, Fosse and Verdon, Stone and Gosling), that every picture and every dance has to tell a story.\u003c/p>\n\u003cfigure id=\"attachment_13841950\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/baseballet1.jpeg\" alt=\"Still from 'BaseBallet: Into the Game.'\" width=\"1920\" height=\"809\" class=\"size-full wp-image-13841950\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/baseballet1.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/baseballet1-160x67.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/baseballet1-800x337.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/baseballet1-768x324.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/baseballet1-1020x430.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/baseballet1-1200x506.jpeg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/baseballet1-1180x497.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/baseballet1-960x405.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/baseballet1-240x101.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/baseballet1-375x158.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/baseballet1-520x219.jpeg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘BaseBallet: Into the Game.’ \u003ccite>(Courtesy of San Francisco Dance Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Free your mind and your feet will follow. (Or is it the other way around?) Taking that bit of wisdom as our guide, the most liberating program in this year’s S.F. Dance Film Festival may well be “Shorts 1: Concentric Circles” (Thursday, Oct. 11 at 5pm), a compilation of short works from here and yon that were each conceived as a collaboration between choreography and cinematography. \u003c/p>\n\u003cp>Sure, the lineup includes more accessible options, including histories (\u003cem>American Tap\u003c/em>), explorations of the creative process (\u003cem>Play Serious\u003c/em>) and filmed performance (\u003cem>BaseBallet: Into the Game\u003c/em>). But filmmaking, and dance for that matter, is about taking a leap.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>“This town could keep a secret,” says one of the small-town Arizonans who appears in \u003cem>Bisbee ’17\u003c/em>. But the people who most wanted Bisbee’s secret kept — the executives of a copper-mining company — are long-gone. And a centennial is a fine opportunity to discuss events of the past, however unspeakable they once were. \u003c/p>\n\u003cp>The not-quite-secret history told in Robert Greene’s thematically rich, narratively canny film involves the 1917 roundup and banishment of some 1,300 striking miners. A century ago, brother literally turned against brother when Bisbee’s copper baron mobilized a compliant sheriff and more than 2,000 deputized vigilantes against men organized by the Industrial Workers of the World (a union then considered the country’s most radical). \u003c/p>\n\u003cp>The primary issues were, as usual, money and control. But there was something else, Bisbee’s civic chroniclers reveal. About 90 percent of the workers who were expelled (to New Mexico, not from the country) were foreign-born. Most were Mexican and Eastern European in origin, and doubts about their allegiance to their new country were intensified by World War I fervor. \u003c/p>\n\u003cp>https://youtu.be/etwjMcdvxx8\u003c/p>\n\u003cp>The episode is pertinent today, since the town is just seven miles from the still-contested U.S. southern border. “The word ‘deportation’ is alive with meaning” in Bisbee, a local commentator explains. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Like many arty contemporary documentaries, \u003cem>Bisbee ’17\u003c/em> is rather theatrical. But that’s reasonable in this case, since Greene organized a 2017 reenactment of the 1917 incident in collaboration with residents of the town (where his mother-in-law lives). The resulting film recalls both \u003cem>Spettacolo\u003c/em>, in which Italian villagers prepare an annual play about their own lives, and \u003cem>The Act of Killing\u003c/em>, in which participants in Indonesia’s 1965 massacres are encouraged to simulate their crimes. \u003c/p>\n\u003cp>Another example of historical pageantry is much closer to Bisbee. To mount the centennial production, the town imports actors from nearby Tombstone, which 100 years ago provided deputies for the roundup. Tombstone is well-supplied with performers, since today one of its principal businesses is entertaining tourists with restagings of the gunfight at the OK Corral. Both Tombstone and \u003cem>Bisbee ’17\u003c/em>, which was shot in widescreen format to emulate Hollywood epics, trade in Wild West imagery. \u003c/p>\n\u003cp>Now that most of the copper has been extracted, history is among the scarce remaining natural resources of southern Arizona. Bisbee itself doesn’t market cowboy lore, but it does offer hardhat tours of an abandoned mine. \u003c/p>\n\u003cp>Bisbee’s version of its past is less of a crowd-pleaser than Tombstone’s, but it does culminate in a sweeping crowd scene, complete with guns, banners, and a mock-up of one of the cattle-cars in which strikers were sent away. Yet the movie’s overall vibe is subdued and the principal song — there are a couple — turns “Solidarity Forever” into a mournful lament. \u003c/p>\n\u003cp>Several of the on-screen players have personal links to the proceedings. Two siblings play their ancestors, a striker and the brother who helped arrest and eject him from Bisbee. An even more evocative figure is a young man of Mexican descent, Fernando Serrano, whose life story is scarred by his mother’s deportation. Less successfully, Greene attempts to connect Bisbee’s past with the sort of ghost stories people like to tell about vintage buildings and venerable personages. These predictable yarns aren’t nearly so compelling as the movie’s essential story. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Yet the filmmakers do make effective use of Serrano’s ethereal presence, holding the camera on him as he walks through local sites both deserted and lively. If \u003cem>Bisbee ’17\u003c/em> is a ghost story, it’s haunted less by the events of 1917 than the way century-old conflicts play out today.\u003c/p>\n\n",
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"title": "Now Playing! SFFILM's Hong Kong Cinema Rocks the Vogue",
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"content": "\u003cp>More than 20 years after the handover, Hong Kong is still working out its identity issues. Or so one concludes from its movie industry, which has one eye on the enormous Chinese market and the other on tried-and-true Hollywood storytelling. The result, more often than not, is a well-made piece of escapist entertainment that, if you peer beneath the veneer, has a sharp political point.\u003c/p>\n\u003cp>Take \u003cem>Distinction\u003c/em> (showing 4pm on Sept. 29 at the Vogue), one of seven new and recent titles that comprise the eighth edition of SFFILM’s annual \u003ca href=\"https://www.sffilm.org/screenings-and-events/hong-kong-cinema-2018\" target=\"_blank\" rel=\"noopener\">Hong Kong Cinema\u003c/a> series. Up-and-coming director Jevons Au (who will be in the house) turns our hearts to putty with his story of a special needs school staging a musical while simultaneously critiquing the higher-ups’ ghettoization and marginalization of differently abled youngsters.\u003c/p>\n\u003cfigure id=\"attachment_13841548\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/Distinction_1200.jpg\" alt=\"Still from 'Distinction.'\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13841548\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Distinction_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Distinction_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Distinction_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Distinction_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Distinction_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Distinction_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Distinction_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Distinction_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Distinction_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Distinction_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Distinction.’ \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Stick around for the boy-band saga \u003cem>House of the Rising Sons\u003c/em> (Sept. 29 at 6:30pm), which tracks the formative years of The Wynners. Set in the early 1970s, and directed by its drummer-turned-actor and director Anthony Chan, the movie conjures the intoxicating brew of youthful ambition, idealism, friendship and freedom. Ah, those innocent days of pre-internet celebrity and fame.\u003c/p>\n\u003cp>\u003cem>The Brink\u003c/em> (Sept. 30 at 7pm) caps the weekend with an incendiary dose of what made Hong Kong films popular ‘round the world back in the ’80s: state of the art suspense and killer action sequences. Jonathan Li’s directorial debut follows a detective in the great tradition of loose cannons on the trail of a gang of gold smugglers. The waterlogged fight scenes set a new standard (and demand to be seen on the big screen), but Li’s main concern is blasting the failed promise of capitalism and the corruption that undergirds contemporary Hong Kong. You’re not buying that, are you? \u003cem>The Brink\u003c/em> is primal, adrenalized moviemaking. Movies are fun, too, you know.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>More than 20 years after the handover, Hong Kong is still working out its identity issues. Or so one concludes from its movie industry, which has one eye on the enormous Chinese market and the other on tried-and-true Hollywood storytelling. The result, more often than not, is a well-made piece of escapist entertainment that, if you peer beneath the veneer, has a sharp political point.\u003c/p>\n\u003cp>Take \u003cem>Distinction\u003c/em> (showing 4pm on Sept. 29 at the Vogue), one of seven new and recent titles that comprise the eighth edition of SFFILM’s annual \u003ca href=\"https://www.sffilm.org/screenings-and-events/hong-kong-cinema-2018\" target=\"_blank\" rel=\"noopener\">Hong Kong Cinema\u003c/a> series. Up-and-coming director Jevons Au (who will be in the house) turns our hearts to putty with his story of a special needs school staging a musical while simultaneously critiquing the higher-ups’ ghettoization and marginalization of differently abled youngsters.\u003c/p>\n\u003cfigure id=\"attachment_13841548\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/Distinction_1200.jpg\" alt=\"Still from 'Distinction.'\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13841548\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Distinction_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Distinction_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Distinction_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Distinction_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Distinction_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Distinction_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Distinction_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Distinction_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Distinction_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Distinction_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Distinction.’ \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Stick around for the boy-band saga \u003cem>House of the Rising Sons\u003c/em> (Sept. 29 at 6:30pm), which tracks the formative years of The Wynners. Set in the early 1970s, and directed by its drummer-turned-actor and director Anthony Chan, the movie conjures the intoxicating brew of youthful ambition, idealism, friendship and freedom. Ah, those innocent days of pre-internet celebrity and fame.\u003c/p>\n\u003cp>\u003cem>The Brink\u003c/em> (Sept. 30 at 7pm) caps the weekend with an incendiary dose of what made Hong Kong films popular ‘round the world back in the ’80s: state of the art suspense and killer action sequences. Jonathan Li’s directorial debut follows a detective in the great tradition of loose cannons on the trail of a gang of gold smugglers. The waterlogged fight scenes set a new standard (and demand to be seen on the big screen), but Li’s main concern is blasting the failed promise of capitalism and the corruption that undergirds contemporary Hong Kong. You’re not buying that, are you? \u003cem>The Brink\u003c/em> is primal, adrenalized moviemaking. Movies are fun, too, you know.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "A Desperate Father Goes 'Searching' For His Missing Daughter In A Taut New Film",
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"content": "\u003cp>The ingeniously high-concept whodunit \u003cem>Searching\u003c/em> isn’t the first movie to turn the big screen into a computer screen, to make you feel as if you’re eavesdropping on online conversations and surfing the Internet alongside its characters. You might have seen the 2014 horror movie \u003cem>Unfriended\u003c/em>, where a group chat suddenly turns deadly — basically the Skype version of Agatha Christie’s \u003cem>And Then There Were None.\u003c/em>\u003c/p>\n\u003cp>As a thriller, \u003cem>Searching\u003c/em> is less violent, more compassionate and equally gripping. As a sustained technical exercise, it’s remarkable: It takes the mundane details of your average computer session — from video chats to browser windows — and spins them into a taut, surprising, sometimes uncomfortably voyeuristic crime drama.\u003c/p>\n\u003cp>https://youtu.be/3Ro9ebQxEOY\u003c/p>\n\u003cp>This may be the first feature written and directed by Aneesh Chaganty, a 27-year-old Bay Area native and former Google employee, but the intricacy of his visual design is matched by a talent for old-fashioned suspense filmmaking. Anyone who can wring tension simply from the pulsing colors of a screensaver clearly knows what he’s doing.\u003c/p>\n\u003cp>Everything we see unfolds through the eyes of David Kim, a Silicon Valley widower played by John Cho. Because we’re almost always looking at David’s screen, we see his face only when it shows up on his webcam, like when he’s FaceTiming with his 16-year-old daughter, Margot, played by Michelle La.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The actors have a lovely rapport, and Cho’s concerned-dad routine is at once funny, moving and completely dead-on. When David sends Margot a text message playfully chiding her for not taking out the trash, he makes sure to include a photo of the overflowing garbage can. Margot replies that she’ll empty it when she gets home that night. Except that she never comes home, and David finds himself living every parent’s worst nightmare.\u003c/p>\n\u003cp>The only clues to Margot’s whereabouts can be found on her laptop, and not long after reporting her missing to the police, David begins scouring his daughter’s hard drive for clues. At the advice of Detective Rosemary Vick, played by Debra Messing, he starts calling Margot’s Facebook contacts and asking when they last saw her. He pores over Margot’s calendar and Venmo account, and even raids her personal video diaries. As he watches them he realizes, to his shame, that he didn’t know his daughter as well as he thought. Nor did he see how profoundly lonely a person she had become.\u003c/p>\n\u003cp>Eventually, David has to confront the possibility that Margot ran away from home, though the fact that she called him three times the night of her disappearance would seem to contradict that theory. But much more will soon come to light — some of it involving Margot’s online contacts, and some of it involving David’s younger brother, played by Joseph Lee.\u003c/p>\n\u003cp>Most of the other computer-screen thrillers we’ve seen, like \u003cem>Unfriended\u003c/em> and the Elijah Wood shocker \u003cem>Open Windows\u003c/em>, played out in real time, with no cuts or breaks. Watching them could be exhausting, but they also left you feeling hard-wired into the user’s experience.\u003c/p>\n\u003cp>Because \u003cem>Searching\u003c/em> unfolds over the course of a week, Chaganty and his co-writer, Sev Ohanian, have to compress David’s investigation into byte-sized chunks. The result may breathe and flow a little better as storytelling, but without the real-time element, it’s also a less tense, less immersive experience. At key moments the movie cuts to online news footage of the ongoing police investigation, and the summary feels like a bit of a cop-out — a lazy way to maintain the movie’s gimmick.\u003c/p>\n\u003cp>The story’s second half is packed with all manner of fiendishly clever surprises and red herrings, and I’m not sure if the twists are rendered more or less convincing by the movie’s online-all-the-time interface.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>What does linger in the end, all too plausibly, is Chaganty’s vision of an era in which every facet of life is increasingly mediated by technology, our relationships very much included. He leaves you with the possibility that in a world where everyone is connected, maybe no one is.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The ingeniously high-concept whodunit \u003cem>Searching\u003c/em> isn’t the first movie to turn the big screen into a computer screen, to make you feel as if you’re eavesdropping on online conversations and surfing the Internet alongside its characters. You might have seen the 2014 horror movie \u003cem>Unfriended\u003c/em>, where a group chat suddenly turns deadly — basically the Skype version of Agatha Christie’s \u003cem>And Then There Were None.\u003c/em>\u003c/p>\n\u003cp>As a thriller, \u003cem>Searching\u003c/em> is less violent, more compassionate and equally gripping. As a sustained technical exercise, it’s remarkable: It takes the mundane details of your average computer session — from video chats to browser windows — and spins them into a taut, surprising, sometimes uncomfortably voyeuristic crime drama.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/3Ro9ebQxEOY'\n title='//www.youtube.com/embed/3Ro9ebQxEOY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>This may be the first feature written and directed by Aneesh Chaganty, a 27-year-old Bay Area native and former Google employee, but the intricacy of his visual design is matched by a talent for old-fashioned suspense filmmaking. Anyone who can wring tension simply from the pulsing colors of a screensaver clearly knows what he’s doing.\u003c/p>\n\u003cp>Everything we see unfolds through the eyes of David Kim, a Silicon Valley widower played by John Cho. Because we’re almost always looking at David’s screen, we see his face only when it shows up on his webcam, like when he’s FaceTiming with his 16-year-old daughter, Margot, played by Michelle La.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The actors have a lovely rapport, and Cho’s concerned-dad routine is at once funny, moving and completely dead-on. When David sends Margot a text message playfully chiding her for not taking out the trash, he makes sure to include a photo of the overflowing garbage can. Margot replies that she’ll empty it when she gets home that night. Except that she never comes home, and David finds himself living every parent’s worst nightmare.\u003c/p>\n\u003cp>The only clues to Margot’s whereabouts can be found on her laptop, and not long after reporting her missing to the police, David begins scouring his daughter’s hard drive for clues. At the advice of Detective Rosemary Vick, played by Debra Messing, he starts calling Margot’s Facebook contacts and asking when they last saw her. He pores over Margot’s calendar and Venmo account, and even raids her personal video diaries. As he watches them he realizes, to his shame, that he didn’t know his daughter as well as he thought. Nor did he see how profoundly lonely a person she had become.\u003c/p>\n\u003cp>Eventually, David has to confront the possibility that Margot ran away from home, though the fact that she called him three times the night of her disappearance would seem to contradict that theory. But much more will soon come to light — some of it involving Margot’s online contacts, and some of it involving David’s younger brother, played by Joseph Lee.\u003c/p>\n\u003cp>Most of the other computer-screen thrillers we’ve seen, like \u003cem>Unfriended\u003c/em> and the Elijah Wood shocker \u003cem>Open Windows\u003c/em>, played out in real time, with no cuts or breaks. Watching them could be exhausting, but they also left you feeling hard-wired into the user’s experience.\u003c/p>\n\u003cp>Because \u003cem>Searching\u003c/em> unfolds over the course of a week, Chaganty and his co-writer, Sev Ohanian, have to compress David’s investigation into byte-sized chunks. The result may breathe and flow a little better as storytelling, but without the real-time element, it’s also a less tense, less immersive experience. At key moments the movie cuts to online news footage of the ongoing police investigation, and the summary feels like a bit of a cop-out — a lazy way to maintain the movie’s gimmick.\u003c/p>\n\u003cp>The story’s second half is packed with all manner of fiendishly clever surprises and red herrings, and I’m not sure if the twists are rendered more or less convincing by the movie’s online-all-the-time interface.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>What does linger in the end, all too plausibly, is Chaganty’s vision of an era in which every facet of life is increasingly mediated by technology, our relationships very much included. He leaves you with the possibility that in a world where everyone is connected, maybe no one is.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "What Happens When All the Curators Are Gone?",
"headTitle": "What Happens When All the Curators Are Gone? | KQED",
"content": "\u003cp>Two months before she lost her job, Katie Hood Morgan sat in a board meeting, watching her department’s budget get cut in half.\u003c/p>\n\u003cp>“It was a little weird to be sitting there,” she remembers of her final months as San Francisco Art Institute’s curator of exhibitions and public programs, “looking at the budget like, ‘There’s my line. And there’s last year, and there’s me somewhere floating away.’”\u003c/p>\n\u003cp>With that board vote, the 147-year-old art school fundamentally altered its exhibition program, removing the in-house curatorial staff responsible for filling not only its Walter & McBean Galleries, but the new Fort Mason campus’ gallery space, which opened in August 2017. Morgan was also responsible for overseeing student exhibitions in the Diego Rivera Gallery and organizing SFAI’s well-respected visiting artist lecture series.\u003c/p>\n\u003cfigure id=\"attachment_13841228\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13841228\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/SFAIGallery_1600.jpg\" alt=\"An exhibition opening on SFAI's Fort Mason campus.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SFAIGallery_1600.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SFAIGallery_1600-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SFAIGallery_1600-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SFAIGallery_1600-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SFAIGallery_1600-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SFAIGallery_1600-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SFAIGallery_1600-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SFAIGallery_1600-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SFAIGallery_1600-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SFAIGallery_1600-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">An exhibition opening on SFAI’s Fort Mason campus. \u003ccite>(Marco David)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the relatively small Bay Area arts scene, Morgan’s layoff followed the April 24 dismissal of Joel Shepard, Yerba Buena Center for the Arts’ curator of film and video (and the beginning of the film program’s “hiatus”), and preceded the Aug. 1 elimination of Kara Q. Smith’s assistant curator position at the di Rosa Center for Contemporary Art.\u003c/p>\n\u003cp>These three positions, the people who held them and the institutions that eliminated them are vastly different. Yet all three are curatorial positions; local job openings in the field are already few and far between. And each year, newly minted graduates from California College of the Arts’ \u003ca href=\"https://www.cca.edu/academics/graduate/curatorial-practice\" target=\"_blank\" rel=\"noopener\">curatorial practice program\u003c/a>, and SFAI’s \u003ca href=\"https://www.sfai.edu/degree-programs/graduate/ma/exhibition-and-museum-studies-ma\" target=\"_blank\" rel=\"noopener\">exhibitions and museum studies program\u003c/a> enter the market, while the full-time long-term positions they might once have aspired to disappear one by one.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The quiet elimination of curatorial jobs is a troubling manifestation of a Bay Area arts ecosystem that struggles to find stability despite a booming local economy. Institutions “restructure,” “return to their core missions” and “redefine their priorities” in attempts to both clarify their role within a competitive field of development dollars and audience attention and pare down budgets.\u003c/p>\n\u003cfigure id=\"attachment_13841262\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13841262\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/Katie.inline-800x533.jpg\" alt=\"Katie Hood Morgan.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Katie.inline-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Katie.inline-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Katie.inline-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Katie.inline-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Katie.inline-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Katie.inline.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Katie.inline-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Katie.inline-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Katie.inline-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Katie.inline-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Katie.inline-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Katie Hood Morgan. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But with each dismissal, years of institutional knowledge, community relationships and public goodwill are lost. Most importantly, the cutting of curatorial positions is a loss for the audience.\u003c/p>\n\u003cp>“A curator lobbies on the behalf [of artists] and makes cases not only to the institution, but to the public on why something matters,” says CCA’s curatorial practice program chair, James Voorhies. “They’re a mediator. They might take very complex ideas that an artist or a filmmaker is working with and they bring those ideas into the public realm responsibly so that audiences understand why a work is relevant in a contemporary context.”\u003c/p>\n\u003cfigure id=\"attachment_13841229\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13841229\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/CRBatYBCA_1200.jpg\" alt=\"Curatorial practice students with artist Shahryar Nashat on Sept. 11, 2018 in CCA's new Curatorial Research Bureau at Yerba Buena Center for the Arts.\" width=\"1200\" height=\"900\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/CRBatYBCA_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/CRBatYBCA_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/CRBatYBCA_1200-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/CRBatYBCA_1200-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/CRBatYBCA_1200-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/CRBatYBCA_1200-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/CRBatYBCA_1200-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/CRBatYBCA_1200-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/CRBatYBCA_1200-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/CRBatYBCA_1200-520x390.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Curatorial practice students with artist Shahryar Nashat on Sept. 11, 2018 in CCA’s new Curatorial Research Bureau at Yerba Buena Center for the Arts. \u003ccite>(Courtesy of Curatorial Research Bureau)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Constantly Refreshed’ Curatorial Thinking at SFAI\u003c/h2>\n\u003cp>Gordon Knox, president of SFAI, explains changes to the exhibition program as a return to the school’s core mission: teaching and learning. “We are absolutely a school,” he says. “We are embracing our exhibitions program in a way that’s deeply integrated into our curriculum and pedagogy.”\u003c/p>\n\u003cp>Knox envisions a future in which SFAI will rely on visiting artists and curators to teach classes that result in exhibitions, public programs and publications. Students will get hands-on experience mounting an exhibition from start to finish, he says, including possibly working on research and grant applications.\u003c/p>\n\u003cp>Of the Bay Area’s many art schools, SFAI has perhaps the scrappiest legacy, having weathered multiple instances of financial instability over its long history. But this is the first time, to Morgan’s knowledge, that those financial straits have resulted in such severe cuts to the exhibition program.\u003c/p>\n\u003cfigure id=\"attachment_13841224\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13841224\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/WB_RECEPTION_1_Lucas_Terranova.jpg\" alt=\"Lights in the Walter and McBean Galleries fluctuate in response to trade data from Will Brown's Ethereum investment during the 'Ether' opening, Sept. 13, 2018.\" width=\"2048\" height=\"1365\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/WB_RECEPTION_1_Lucas_Terranova.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/WB_RECEPTION_1_Lucas_Terranova-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/WB_RECEPTION_1_Lucas_Terranova-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/WB_RECEPTION_1_Lucas_Terranova-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/WB_RECEPTION_1_Lucas_Terranova-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/WB_RECEPTION_1_Lucas_Terranova-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/WB_RECEPTION_1_Lucas_Terranova-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/WB_RECEPTION_1_Lucas_Terranova-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/WB_RECEPTION_1_Lucas_Terranova-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/WB_RECEPTION_1_Lucas_Terranova-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/WB_RECEPTION_1_Lucas_Terranova-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/WB_RECEPTION_1_Lucas_Terranova-520x347.jpg 520w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Lights in the Walter and McBean Galleries fluctuate in response to trade data from Will Brown’s Ethereum investment during the ‘Ether’ opening, Sept. 13, 2018. \u003ccite>(Lucas Terranova)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Coincidentally, the last show Morgan worked on for SFAI is both an indictment of the school’s cuts to the exhibition program and a cynical look to technology for arts funding answers. \u003ci>\u003ca href=\"https://sfai.edu/exhibitions-public-events/detail/will-brown-ether\" target=\"_blank\" rel=\"noopener\">Ether\u003c/a>\u003c/i>, which opened Sept. 13, is a conceptual cryptocurrency investment scheme by the collaborative trio known as \u003ca href=\"http://www.wearewillbrown.com/\" target=\"_blank\" rel=\"noopener\">Will Brown\u003c/a> (David Kasprzak, Jordan Stein and Lindsey White).\u003c/p>\n\u003cp>The exhibition draws comparisons between SFAI’s current financial challenges (Knox named enrollment as a factor) with a moment in history when the school sold its collection of Eadweard Muybridge photographs to finance the creation of what is now the school’s New Genres department.\u003c/p>\n\u003cp>“In a similarly speculative action,” the collaborative’s press announcement reads, “Will Brown has invested our exhibition budget in Ether, the underlying token powering the Ethereum blockchain.” At irregular intervals, any profits from this investment will be available to fund SFAI student, staff or faculty projects, supplementing the school’s official budget via an application process open to all.\u003c/p>\n\u003cfigure id=\"attachment_13841231\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13841231\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/Courtyard3.jpg\" alt=\"SFAI's North Beach campus courtyard.\" width=\"2048\" height=\"1365\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Courtyard3.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Courtyard3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Courtyard3-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Courtyard3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Courtyard3-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Courtyard3-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Courtyard3-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Courtyard3-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Courtyard3-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Courtyard3-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Courtyard3-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Courtyard3-520x347.jpg 520w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">SFAI’s North Beach campus courtyard. \u003ccite>(Courtesy of SFAI)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As the opening date drew near, Morgan remained involved as a contract employee, even though her last day on staff after five years at SFAI was July 5. Up to then, she’d been attending cabinet meetings for nearly a year, where she represented the exhibition program and advocated for it as best she could without any actual executive power. It was in these meetings that she was first confronted with pressure to justify her department’s existence.\u003c/p>\n\u003cp>“I gave them examples of exhibitions that got a lot of great press for the school, and I gave them examples on the other side, of students who had worked in the galleries and told us it was the biggest educational experience they had at the school, alongside their practice,” Morgan says. “But of course that’s anecdotal. How do you quantify that kind of story, and that kind of experience and that impact?”\u003c/p>\n\u003cp>“It made me feel really uncomfortable, honestly,” she says of being the lone advocate for the exhibition department. “I don’t see it as my role to fight that fight within my own institution. It’s hard enough considering the political moment and attitude towards the arts and intellectualism in general, but to have to do that within the institution just felt terrible.”\u003c/p>\n\u003cp>[contextly_sidebar id=”1VqRTdOK9TxLY8gluVQGiZVaOgTScoiQ”]\u003c/p>\n\u003cp>During Morgan’s time at SFAI, the exhibition program organized numerous projects that seemed to directly fit the description of Knox’s plans for the future: world class artists doing high-end serious projects and multiplying their capacity through student participation.\u003c/p>\n\u003cp>Knox admits this is true: “The elimination of a steady curatorial stand-alone department is really a reflection of something that that department was already doing, which was trying very much to involve itself with the school.” In other words, the exhibition department’s good work proved there was no need for an exhibition department.\u003c/p>\n\u003cp>To hear Knox tell it, these cuts actually mean opportunities for more curators to work at the school. “I think that what I’d really like to do is have SFAI be a location where curatorial thinking is constantly refreshed, constantly coming in, constantly being applied in the actual social world of education,” Knox says. He’s thinking in terms of one- or two-year-long positions, “a wonderful springboard for young curators” to “work with this dynamic terrain.”\u003c/p>\n\u003cp>What won’t return to SFAI, Knox says, is the role of a long-term senior curator position.\u003c/p>\n\u003cfigure id=\"attachment_13841236\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13841236\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/YBCA-Exterior_1200.jpg\" alt=\"Yerba Buena Center for the Arts viewed from Mission Street.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/YBCA-Exterior_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/YBCA-Exterior_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/YBCA-Exterior_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/YBCA-Exterior_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/YBCA-Exterior_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/YBCA-Exterior_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/YBCA-Exterior_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/YBCA-Exterior_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/YBCA-Exterior_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/YBCA-Exterior_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Yerba Buena Center for the Arts viewed from Mission Street. \u003ccite>(Courtesy Yerba Buena Center for the Arts; photo by Tommy Lau)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Reimagining’ a Film Program at YBCA\u003c/h2>\n\u003cp>Unlike Morgan, Joel Shepard didn’t see it coming.\u003c/p>\n\u003cp>YBCA hired Shepard in 1997 to start the then-four-year-old institution’s film and video program. “It was a big thing,” he remembers. “You’re really lucky to be able to start something from scratch and not have much of a legacy to deal with.”\u003c/p>\n\u003cp>Over the next two decades, Shepard organized a regular schedule of about 150 film screenings a year, created partnerships with former and existing Bay Area organizations (Film Arts Foundation, Cine Accion, CAAM before it was CAAM), launched the New Filipino Cinema film festival, received the \u003ca href=\"http://sffcc.org/2014/12/2014-san-francisco-film-critics-circle-awards/\" target=\"_blank\" rel=\"noopener\">Marlon Riggs Award\u003c/a> from the San Francisco Film Critics Circle and was named one of SFFILM’s “\u003ca href=\"https://www.sffilm.org/press/releases/112116-essential-sf-2016\" target=\"_blank\" rel=\"noopener\">Essential SF\u003c/a>.”\u003c/p>\n\u003cp>Though YBCA announced there would be restructuring several months prior, hinting at some level of staff reduction, Shepard never expected both he and his part-time curatorial assistant David Robson to be laid off. Or for the film program to fundamentally change.\u003c/p>\n\u003cfigure id=\"attachment_13841234\" class=\"wp-caption aligncenter\" style=\"max-width: 960px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13841234\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/Joel-Shepard_2.jpg\" alt=\"Former YBCA film/video curator Joel Shepard.\" width=\"960\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Joel-Shepard_2.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Joel-Shepard_2-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Joel-Shepard_2-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Joel-Shepard_2-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Joel-Shepard_2-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Joel-Shepard_2-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Joel-Shepard_2-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Joel-Shepard_2-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Joel-Shepard_2-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Joel-Shepard_2-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Joel-Shepard_2-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Joel-Shepard_2-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Joel-Shepard_2-150x150.jpg 150w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003cfigcaption class=\"wp-caption-text\">Former YBCA film/video curator Joel Shepard.\u003c/figcaption>\u003c/figure>\n\u003cp>On April 26, YBCA sent an email to film patrons and select members of the press stating, “We have made the decision to reimagine YBCA’s film program, so that it is more fully integrated into our public engagement efforts and working in service of YBCA’s mission. As a result we will be putting our film program \u003ca href=\"https://www.ybca.org/whats-on?page=1&category=Film&when=days30&view=event&start=&end=\" target=\"_blank\" rel=\"noopener\">on hiatus\u003c/a> while we work to achieve these goals.”\u003c/p>\n\u003cp>For Deborah Cullinan, YBCA’s CEO, the hiatus and reimagining process is an opportunity to better support the local arts ecosystem, break down silos within the 25-year-old organization, bring film and video out of the center’s 92-seat theater and “make it bigger.”\u003c/p>\n\u003cfigure id=\"attachment_13841237\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13841237\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/Cullinan640.jpg\" alt=\"YBCA CEO Deborah Cullinan during the opening of 'Bay Area Now 9,' Sept. 7, 2018. \" width=\"640\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Cullinan640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Cullinan640-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Cullinan640-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Cullinan640-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Cullinan640-520x780.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">YBCA CEO Deborah Cullinan during the opening of ‘Bay Area Now 9,’ Sept. 7, 2018. \u003ccite>(Courtesy Yerba Buena Center for the Arts; photo by Brittney Valdez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We are really trying to pioneer a new model for a contemporary arts center, and it requires that we have to question all of it,” she says. But YBCA only appears to be questioning some of it; since Shepard and Robson’s departure on April 24, other curatorial staff members have not been laid off and other programs, like visual arts and performance, remain intact. The film and video curatorial position might return, Cullinan says, but she’s also open to ideas that could support local filmmakers or integrate film and video into institution-wide programs.\u003c/p>\n\u003cp>It’s hard to know what the future will look like for film and video at YBCA, or even when this hiatus will conclude. (Cullinan wishes the “reimagining” was moving faster.) The last film program on YBCA’s calendar was the June 9–July 1 \u003ca href=\"https://ybca.org/whats-on/2018-architecture-and-design-films?utm_source=sf-station&utm_medium=REFERRAL&utm_campaign=2018-architecture-and-design-films&utm_content=CALENDAR-LISTING\" target=\"_blank\" rel=\"noopener\">Architecture & Design Films Showcase\u003c/a>, co-presented by AIGA and SF Design Week.\u003c/p>\n\u003cp>Of the various possible futures that Cullinan describes, some seem to involve leaving film and video programming up to the remaining curatorial staff. (Cullinan claims it’s increasingly difficult to recruit full-time staff, “In part because of the affordability issues we have in the Bay, but it’s also because people want to live their lives differently, and they are actually interested in having multiple gigs.”) Some sound like partnerships with local film organizations and festivals. And others are too nebulous to speculate upon.\u003c/p>\n\u003cp>What’s missing, in the interim, is a venue that long showcased a rare mix of global and local cinema. “There’s already fewer and fewer foreign language films showing in San Francisco,” Shepard says. “The number drops every year.” Films that don’t have a readymade audience or pre-existing buzz don’t show in San Francisco anymore, he says. YBCA was the city’s only arts institution with a regular film program. He points to the Pacific Film Archive’s schedule at the Berkeley Art Museum as a rare example of a visual arts institution and film program existing, seemingly successfully, side-by-side.\u003c/p>\n\u003cp>And it’s not a vacuum that can be filled by the \u003ca href=\"https://www.kqed.org/arts/13836539/the-eradication-of-memory-on-netflix-amazon-and-other-streaming-video-sites\" target=\"_blank\" rel=\"noopener\">options of streaming movies\u003c/a>, either. Curatorial guidance, by a trained and informed film historian, enriches the viewing experience and exposes audiences to material they wouldn’t necessarily choose for themselves. “My whole career is based on \u003ci>not\u003c/i> doing that,” Shepard says. “It’s going to the unfamiliar, going to places you don’t know about that might be uncomfortable at first. It’s kind of the opposite of Netflix.”\u003c/p>\n\u003cp>“There’s a million things on there and everything has exactly the same weight. It’s just pages after pages of little rectangles.”\u003c/p>\n\u003cfigure id=\"attachment_13841238\" class=\"wp-caption aligncenter\" style=\"max-width: 900px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13841238\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/AmyKara.jpg\" alt=\"di Rosa curator Amy Owen and former assistant curator Kara Q. Smith.\" width=\"900\" height=\"601\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/AmyKara.jpg 900w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/AmyKara-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/AmyKara-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/AmyKara-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/AmyKara-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/AmyKara-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/AmyKara-520x347.jpg 520w\" sizes=\"(max-width: 900px) 100vw, 900px\">\u003cfigcaption class=\"wp-caption-text\">di Rosa curator Amy Owen and former assistant curator Kara Q. Smith. \u003ccite>(Courtesy Kara Q. Smith)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Shifting Institutional Priorities’ at di Rosa\u003c/h2>\n\u003cp>While the changes at YBCA were at least nominally announced, the elimination of Kara Q. Smith’s assistant curator position at Napa’s di Rosa Center for Contemporary Art took place quietly, without public remark. An email did go out to artists Smith had been working with for a 2019 show letting them know that due to her “unfortunate departure,” the di Rosa would “not be moving forward with the show as originally planned.”\u003c/p>\n\u003cp>Smith was the second full-time curator hired at di Rosa (Amy Owen, the organization’s lead curator, was the first). Smith says her role was unique; she worked interdepartmentally across the organization on multiple collaborative initiatives. Some of the many projects she took on included co-organizing and launching di Rosa’s yearlong artist-centered initiative \u003ci>\u003ca href=\"https://www.kqed.org/arts/13823502/di-rosa-hands-programming-over-to-artists-in-uncertain-times\" target=\"_blank\" rel=\"noopener\">Be Not Still: Living in Uncertain Times\u003c/a>\u003c/i> and appearing on behalf of the organization at city council meetings and local community events.\u003c/p>\n\u003cp>“I \u003ci>left\u003c/i> San Francisco. I made Napa my home,” she says. It was a major commitment for someone whose life and community previously centered on San Francisco. During her nearly four-year tenure at di Rosa, Smith says she worked hard to build a relationship between the arts center and an often ambivalent local population.\u003c/p>\n\u003cp>When asked about the reasoning behind the position’s elimination, di Rosa offered up a statement so short it’s easily reproduced in full: “As di Rosa completes its transition from a private collection to a public facing institution, shifting institutional priorities have prompted strategic restructuring to better serve the organization’s evolving needs.”\u003c/p>\n\u003cp>A di Rosa spokesperson confirmed no other positions have been eliminated since; they have actually grown the staff “in other critical areas.”\u003c/p>\n\u003cp>For Smith, the post-di Rosa job search has been as depressing as di Rosa’s official statement is ambiguous. She’ll likely have to leave the Bay Area to find a similar curatorial position; she’s casting a wide net with limited expectations.\u003c/p>\n\u003cp>“I’m not even looking for a 20-year position per se, but where do I find the stability?” she asks.\u003c/p>\n\u003cfigure id=\"attachment_13841240\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13841240\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/Kara_diRosa.jpg\" alt=\"Kara Q. Smith leading a tour on the di Rosa grounds.\" width=\"1600\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Kara_diRosa.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Kara_diRosa-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Kara_diRosa-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Kara_diRosa-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Kara_diRosa-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Kara_diRosa-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Kara_diRosa-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Kara_diRosa-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Kara_diRosa-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Kara_diRosa-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Kara_diRosa-520x390.jpg 520w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">Kara Q. Smith leading a tour on the di Rosa grounds. \u003ccite>(Courtesy of Kara Q. Smith)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>What Gets Lost\u003c/h2>\n\u003cp>In Renny Pritikin’s oft-cited “\u003ca href=\"https://s3-us-west-2.amazonaws.com/sfmomaopenspace/wp-content/uploads/2010/06/pritikin-prescription-for-a-healthy-art-scene2-600x746.gif\" target=\"_blank\" rel=\"noopener\">Prescription for a Healthy Art Scene\u003c/a>,” committed curators are one of nearly two dozen factors that must be present to create a thriving arts ecosystem. The institutions discussed here occupy other, equally important roles (point 3: “active art schools”; point 12: “accessible museums”).\u003c/p>\n\u003cp>Pritikin’s healthy art scene also requires an engaged viewership (point 13)—interested audiences who will attend exhibitions, performances and screenings, and read the writing that’s produced about those events. When YBCA announced Shepard’s dismissal and the film and video program’s hiatus, they listed an email address for the public to respond with feedback.\u003c/p>\n\u003cp>“There was not an overwhelming response,” Cullinan says. “The questions and concerns either had to do specifically with Joel and his undeniable value, or just with YBCA’s commitment to film.”\u003c/p>\n\u003cp>But Shepard heard from hundreds of people—on Facebook and via private messages—expressing their goodwill and anger, demonstrating to him he’d reached an audience (and accomplished what he’d been trying to do in his programming).\u003c/p>\n\u003cp>And there’s the rub. Internal decisions at arts organizations will never be completely transparent, but participating—voicing enjoyment or displeasure in response to an organization’s public programming—is a right that should be employed constantly, not just in reaction to a major change. And to be effective, those messages should be relayed not within closed networks, like a personal Facebook thread, but to the organizations themselves.\u003c/p>\n\u003cp>Fundamentally, the arts ecosystem is a litmus test for the health of the region as a whole, and if audiences aren’t more vocal in their support for the arts and their desire for ambitious curatorial programming, the elimination of these positions could be a harbinger of things to come.\u003c/p>\n\u003cp>“You need a really thriving arts scene for a good city,” Shepard points out. “It’s not just about me or these individuals who have also lost their jobs, there’s a bigger problem here. I don’t think we want to turn into Dallas.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>Correction: An earlier version of this article incorrectly stated that the 2018 Architecture & Design Films Showcase at YBCA was not curated in-house. Joel Shepard selected the films prior to his departure.\u003c/i> \u003c/p>\n\n",
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"excerpt": "Recent eliminations of curatorial positions at SFAI, YBCA and di Rosa raise concern for the Bay Area arts scene.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Two months before she lost her job, Katie Hood Morgan sat in a board meeting, watching her department’s budget get cut in half.\u003c/p>\n\u003cp>“It was a little weird to be sitting there,” she remembers of her final months as San Francisco Art Institute’s curator of exhibitions and public programs, “looking at the budget like, ‘There’s my line. And there’s last year, and there’s me somewhere floating away.’”\u003c/p>\n\u003cp>With that board vote, the 147-year-old art school fundamentally altered its exhibition program, removing the in-house curatorial staff responsible for filling not only its Walter & McBean Galleries, but the new Fort Mason campus’ gallery space, which opened in August 2017. Morgan was also responsible for overseeing student exhibitions in the Diego Rivera Gallery and organizing SFAI’s well-respected visiting artist lecture series.\u003c/p>\n\u003cfigure id=\"attachment_13841228\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13841228\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/SFAIGallery_1600.jpg\" alt=\"An exhibition opening on SFAI's Fort Mason campus.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SFAIGallery_1600.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SFAIGallery_1600-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SFAIGallery_1600-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SFAIGallery_1600-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SFAIGallery_1600-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SFAIGallery_1600-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SFAIGallery_1600-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SFAIGallery_1600-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SFAIGallery_1600-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SFAIGallery_1600-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">An exhibition opening on SFAI’s Fort Mason campus. \u003ccite>(Marco David)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the relatively small Bay Area arts scene, Morgan’s layoff followed the April 24 dismissal of Joel Shepard, Yerba Buena Center for the Arts’ curator of film and video (and the beginning of the film program’s “hiatus”), and preceded the Aug. 1 elimination of Kara Q. Smith’s assistant curator position at the di Rosa Center for Contemporary Art.\u003c/p>\n\u003cp>These three positions, the people who held them and the institutions that eliminated them are vastly different. Yet all three are curatorial positions; local job openings in the field are already few and far between. And each year, newly minted graduates from California College of the Arts’ \u003ca href=\"https://www.cca.edu/academics/graduate/curatorial-practice\" target=\"_blank\" rel=\"noopener\">curatorial practice program\u003c/a>, and SFAI’s \u003ca href=\"https://www.sfai.edu/degree-programs/graduate/ma/exhibition-and-museum-studies-ma\" target=\"_blank\" rel=\"noopener\">exhibitions and museum studies program\u003c/a> enter the market, while the full-time long-term positions they might once have aspired to disappear one by one.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The quiet elimination of curatorial jobs is a troubling manifestation of a Bay Area arts ecosystem that struggles to find stability despite a booming local economy. Institutions “restructure,” “return to their core missions” and “redefine their priorities” in attempts to both clarify their role within a competitive field of development dollars and audience attention and pare down budgets.\u003c/p>\n\u003cfigure id=\"attachment_13841262\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13841262\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/Katie.inline-800x533.jpg\" alt=\"Katie Hood Morgan.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Katie.inline-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Katie.inline-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Katie.inline-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Katie.inline-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Katie.inline-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Katie.inline.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Katie.inline-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Katie.inline-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Katie.inline-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Katie.inline-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Katie.inline-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Katie Hood Morgan. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But with each dismissal, years of institutional knowledge, community relationships and public goodwill are lost. Most importantly, the cutting of curatorial positions is a loss for the audience.\u003c/p>\n\u003cp>“A curator lobbies on the behalf [of artists] and makes cases not only to the institution, but to the public on why something matters,” says CCA’s curatorial practice program chair, James Voorhies. “They’re a mediator. They might take very complex ideas that an artist or a filmmaker is working with and they bring those ideas into the public realm responsibly so that audiences understand why a work is relevant in a contemporary context.”\u003c/p>\n\u003cfigure id=\"attachment_13841229\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13841229\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/CRBatYBCA_1200.jpg\" alt=\"Curatorial practice students with artist Shahryar Nashat on Sept. 11, 2018 in CCA's new Curatorial Research Bureau at Yerba Buena Center for the Arts.\" width=\"1200\" height=\"900\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/CRBatYBCA_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/CRBatYBCA_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/CRBatYBCA_1200-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/CRBatYBCA_1200-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/CRBatYBCA_1200-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/CRBatYBCA_1200-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/CRBatYBCA_1200-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/CRBatYBCA_1200-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/CRBatYBCA_1200-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/CRBatYBCA_1200-520x390.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Curatorial practice students with artist Shahryar Nashat on Sept. 11, 2018 in CCA’s new Curatorial Research Bureau at Yerba Buena Center for the Arts. \u003ccite>(Courtesy of Curatorial Research Bureau)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Constantly Refreshed’ Curatorial Thinking at SFAI\u003c/h2>\n\u003cp>Gordon Knox, president of SFAI, explains changes to the exhibition program as a return to the school’s core mission: teaching and learning. “We are absolutely a school,” he says. “We are embracing our exhibitions program in a way that’s deeply integrated into our curriculum and pedagogy.”\u003c/p>\n\u003cp>Knox envisions a future in which SFAI will rely on visiting artists and curators to teach classes that result in exhibitions, public programs and publications. Students will get hands-on experience mounting an exhibition from start to finish, he says, including possibly working on research and grant applications.\u003c/p>\n\u003cp>Of the Bay Area’s many art schools, SFAI has perhaps the scrappiest legacy, having weathered multiple instances of financial instability over its long history. But this is the first time, to Morgan’s knowledge, that those financial straits have resulted in such severe cuts to the exhibition program.\u003c/p>\n\u003cfigure id=\"attachment_13841224\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13841224\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/WB_RECEPTION_1_Lucas_Terranova.jpg\" alt=\"Lights in the Walter and McBean Galleries fluctuate in response to trade data from Will Brown's Ethereum investment during the 'Ether' opening, Sept. 13, 2018.\" width=\"2048\" height=\"1365\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/WB_RECEPTION_1_Lucas_Terranova.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/WB_RECEPTION_1_Lucas_Terranova-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/WB_RECEPTION_1_Lucas_Terranova-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/WB_RECEPTION_1_Lucas_Terranova-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/WB_RECEPTION_1_Lucas_Terranova-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/WB_RECEPTION_1_Lucas_Terranova-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/WB_RECEPTION_1_Lucas_Terranova-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/WB_RECEPTION_1_Lucas_Terranova-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/WB_RECEPTION_1_Lucas_Terranova-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/WB_RECEPTION_1_Lucas_Terranova-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/WB_RECEPTION_1_Lucas_Terranova-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/WB_RECEPTION_1_Lucas_Terranova-520x347.jpg 520w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Lights in the Walter and McBean Galleries fluctuate in response to trade data from Will Brown’s Ethereum investment during the ‘Ether’ opening, Sept. 13, 2018. \u003ccite>(Lucas Terranova)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Coincidentally, the last show Morgan worked on for SFAI is both an indictment of the school’s cuts to the exhibition program and a cynical look to technology for arts funding answers. \u003ci>\u003ca href=\"https://sfai.edu/exhibitions-public-events/detail/will-brown-ether\" target=\"_blank\" rel=\"noopener\">Ether\u003c/a>\u003c/i>, which opened Sept. 13, is a conceptual cryptocurrency investment scheme by the collaborative trio known as \u003ca href=\"http://www.wearewillbrown.com/\" target=\"_blank\" rel=\"noopener\">Will Brown\u003c/a> (David Kasprzak, Jordan Stein and Lindsey White).\u003c/p>\n\u003cp>The exhibition draws comparisons between SFAI’s current financial challenges (Knox named enrollment as a factor) with a moment in history when the school sold its collection of Eadweard Muybridge photographs to finance the creation of what is now the school’s New Genres department.\u003c/p>\n\u003cp>“In a similarly speculative action,” the collaborative’s press announcement reads, “Will Brown has invested our exhibition budget in Ether, the underlying token powering the Ethereum blockchain.” At irregular intervals, any profits from this investment will be available to fund SFAI student, staff or faculty projects, supplementing the school’s official budget via an application process open to all.\u003c/p>\n\u003cfigure id=\"attachment_13841231\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13841231\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/Courtyard3.jpg\" alt=\"SFAI's North Beach campus courtyard.\" width=\"2048\" height=\"1365\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Courtyard3.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Courtyard3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Courtyard3-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Courtyard3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Courtyard3-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Courtyard3-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Courtyard3-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Courtyard3-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Courtyard3-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Courtyard3-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Courtyard3-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Courtyard3-520x347.jpg 520w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">SFAI’s North Beach campus courtyard. \u003ccite>(Courtesy of SFAI)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As the opening date drew near, Morgan remained involved as a contract employee, even though her last day on staff after five years at SFAI was July 5. Up to then, she’d been attending cabinet meetings for nearly a year, where she represented the exhibition program and advocated for it as best she could without any actual executive power. It was in these meetings that she was first confronted with pressure to justify her department’s existence.\u003c/p>\n\u003cp>“I gave them examples of exhibitions that got a lot of great press for the school, and I gave them examples on the other side, of students who had worked in the galleries and told us it was the biggest educational experience they had at the school, alongside their practice,” Morgan says. “But of course that’s anecdotal. How do you quantify that kind of story, and that kind of experience and that impact?”\u003c/p>\n\u003cp>“It made me feel really uncomfortable, honestly,” she says of being the lone advocate for the exhibition department. “I don’t see it as my role to fight that fight within my own institution. It’s hard enough considering the political moment and attitude towards the arts and intellectualism in general, but to have to do that within the institution just felt terrible.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>During Morgan’s time at SFAI, the exhibition program organized numerous projects that seemed to directly fit the description of Knox’s plans for the future: world class artists doing high-end serious projects and multiplying their capacity through student participation.\u003c/p>\n\u003cp>Knox admits this is true: “The elimination of a steady curatorial stand-alone department is really a reflection of something that that department was already doing, which was trying very much to involve itself with the school.” In other words, the exhibition department’s good work proved there was no need for an exhibition department.\u003c/p>\n\u003cp>To hear Knox tell it, these cuts actually mean opportunities for more curators to work at the school. “I think that what I’d really like to do is have SFAI be a location where curatorial thinking is constantly refreshed, constantly coming in, constantly being applied in the actual social world of education,” Knox says. He’s thinking in terms of one- or two-year-long positions, “a wonderful springboard for young curators” to “work with this dynamic terrain.”\u003c/p>\n\u003cp>What won’t return to SFAI, Knox says, is the role of a long-term senior curator position.\u003c/p>\n\u003cfigure id=\"attachment_13841236\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13841236\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/YBCA-Exterior_1200.jpg\" alt=\"Yerba Buena Center for the Arts viewed from Mission Street.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/YBCA-Exterior_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/YBCA-Exterior_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/YBCA-Exterior_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/YBCA-Exterior_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/YBCA-Exterior_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/YBCA-Exterior_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/YBCA-Exterior_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/YBCA-Exterior_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/YBCA-Exterior_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/YBCA-Exterior_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Yerba Buena Center for the Arts viewed from Mission Street. \u003ccite>(Courtesy Yerba Buena Center for the Arts; photo by Tommy Lau)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Reimagining’ a Film Program at YBCA\u003c/h2>\n\u003cp>Unlike Morgan, Joel Shepard didn’t see it coming.\u003c/p>\n\u003cp>YBCA hired Shepard in 1997 to start the then-four-year-old institution’s film and video program. “It was a big thing,” he remembers. “You’re really lucky to be able to start something from scratch and not have much of a legacy to deal with.”\u003c/p>\n\u003cp>Over the next two decades, Shepard organized a regular schedule of about 150 film screenings a year, created partnerships with former and existing Bay Area organizations (Film Arts Foundation, Cine Accion, CAAM before it was CAAM), launched the New Filipino Cinema film festival, received the \u003ca href=\"http://sffcc.org/2014/12/2014-san-francisco-film-critics-circle-awards/\" target=\"_blank\" rel=\"noopener\">Marlon Riggs Award\u003c/a> from the San Francisco Film Critics Circle and was named one of SFFILM’s “\u003ca href=\"https://www.sffilm.org/press/releases/112116-essential-sf-2016\" target=\"_blank\" rel=\"noopener\">Essential SF\u003c/a>.”\u003c/p>\n\u003cp>Though YBCA announced there would be restructuring several months prior, hinting at some level of staff reduction, Shepard never expected both he and his part-time curatorial assistant David Robson to be laid off. Or for the film program to fundamentally change.\u003c/p>\n\u003cfigure id=\"attachment_13841234\" class=\"wp-caption aligncenter\" style=\"max-width: 960px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13841234\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/Joel-Shepard_2.jpg\" alt=\"Former YBCA film/video curator Joel Shepard.\" width=\"960\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Joel-Shepard_2.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Joel-Shepard_2-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Joel-Shepard_2-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Joel-Shepard_2-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Joel-Shepard_2-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Joel-Shepard_2-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Joel-Shepard_2-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Joel-Shepard_2-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Joel-Shepard_2-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Joel-Shepard_2-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Joel-Shepard_2-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Joel-Shepard_2-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Joel-Shepard_2-150x150.jpg 150w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003cfigcaption class=\"wp-caption-text\">Former YBCA film/video curator Joel Shepard.\u003c/figcaption>\u003c/figure>\n\u003cp>On April 26, YBCA sent an email to film patrons and select members of the press stating, “We have made the decision to reimagine YBCA’s film program, so that it is more fully integrated into our public engagement efforts and working in service of YBCA’s mission. As a result we will be putting our film program \u003ca href=\"https://www.ybca.org/whats-on?page=1&category=Film&when=days30&view=event&start=&end=\" target=\"_blank\" rel=\"noopener\">on hiatus\u003c/a> while we work to achieve these goals.”\u003c/p>\n\u003cp>For Deborah Cullinan, YBCA’s CEO, the hiatus and reimagining process is an opportunity to better support the local arts ecosystem, break down silos within the 25-year-old organization, bring film and video out of the center’s 92-seat theater and “make it bigger.”\u003c/p>\n\u003cfigure id=\"attachment_13841237\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13841237\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/Cullinan640.jpg\" alt=\"YBCA CEO Deborah Cullinan during the opening of 'Bay Area Now 9,' Sept. 7, 2018. \" width=\"640\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Cullinan640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Cullinan640-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Cullinan640-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Cullinan640-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Cullinan640-520x780.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">YBCA CEO Deborah Cullinan during the opening of ‘Bay Area Now 9,’ Sept. 7, 2018. \u003ccite>(Courtesy Yerba Buena Center for the Arts; photo by Brittney Valdez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We are really trying to pioneer a new model for a contemporary arts center, and it requires that we have to question all of it,” she says. But YBCA only appears to be questioning some of it; since Shepard and Robson’s departure on April 24, other curatorial staff members have not been laid off and other programs, like visual arts and performance, remain intact. The film and video curatorial position might return, Cullinan says, but she’s also open to ideas that could support local filmmakers or integrate film and video into institution-wide programs.\u003c/p>\n\u003cp>It’s hard to know what the future will look like for film and video at YBCA, or even when this hiatus will conclude. (Cullinan wishes the “reimagining” was moving faster.) The last film program on YBCA’s calendar was the June 9–July 1 \u003ca href=\"https://ybca.org/whats-on/2018-architecture-and-design-films?utm_source=sf-station&utm_medium=REFERRAL&utm_campaign=2018-architecture-and-design-films&utm_content=CALENDAR-LISTING\" target=\"_blank\" rel=\"noopener\">Architecture & Design Films Showcase\u003c/a>, co-presented by AIGA and SF Design Week.\u003c/p>\n\u003cp>Of the various possible futures that Cullinan describes, some seem to involve leaving film and video programming up to the remaining curatorial staff. (Cullinan claims it’s increasingly difficult to recruit full-time staff, “In part because of the affordability issues we have in the Bay, but it’s also because people want to live their lives differently, and they are actually interested in having multiple gigs.”) Some sound like partnerships with local film organizations and festivals. And others are too nebulous to speculate upon.\u003c/p>\n\u003cp>What’s missing, in the interim, is a venue that long showcased a rare mix of global and local cinema. “There’s already fewer and fewer foreign language films showing in San Francisco,” Shepard says. “The number drops every year.” Films that don’t have a readymade audience or pre-existing buzz don’t show in San Francisco anymore, he says. YBCA was the city’s only arts institution with a regular film program. He points to the Pacific Film Archive’s schedule at the Berkeley Art Museum as a rare example of a visual arts institution and film program existing, seemingly successfully, side-by-side.\u003c/p>\n\u003cp>And it’s not a vacuum that can be filled by the \u003ca href=\"https://www.kqed.org/arts/13836539/the-eradication-of-memory-on-netflix-amazon-and-other-streaming-video-sites\" target=\"_blank\" rel=\"noopener\">options of streaming movies\u003c/a>, either. Curatorial guidance, by a trained and informed film historian, enriches the viewing experience and exposes audiences to material they wouldn’t necessarily choose for themselves. “My whole career is based on \u003ci>not\u003c/i> doing that,” Shepard says. “It’s going to the unfamiliar, going to places you don’t know about that might be uncomfortable at first. It’s kind of the opposite of Netflix.”\u003c/p>\n\u003cp>“There’s a million things on there and everything has exactly the same weight. It’s just pages after pages of little rectangles.”\u003c/p>\n\u003cfigure id=\"attachment_13841238\" class=\"wp-caption aligncenter\" style=\"max-width: 900px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13841238\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/AmyKara.jpg\" alt=\"di Rosa curator Amy Owen and former assistant curator Kara Q. Smith.\" width=\"900\" height=\"601\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/AmyKara.jpg 900w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/AmyKara-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/AmyKara-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/AmyKara-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/AmyKara-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/AmyKara-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/AmyKara-520x347.jpg 520w\" sizes=\"(max-width: 900px) 100vw, 900px\">\u003cfigcaption class=\"wp-caption-text\">di Rosa curator Amy Owen and former assistant curator Kara Q. Smith. \u003ccite>(Courtesy Kara Q. Smith)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Shifting Institutional Priorities’ at di Rosa\u003c/h2>\n\u003cp>While the changes at YBCA were at least nominally announced, the elimination of Kara Q. Smith’s assistant curator position at Napa’s di Rosa Center for Contemporary Art took place quietly, without public remark. An email did go out to artists Smith had been working with for a 2019 show letting them know that due to her “unfortunate departure,” the di Rosa would “not be moving forward with the show as originally planned.”\u003c/p>\n\u003cp>Smith was the second full-time curator hired at di Rosa (Amy Owen, the organization’s lead curator, was the first). Smith says her role was unique; she worked interdepartmentally across the organization on multiple collaborative initiatives. Some of the many projects she took on included co-organizing and launching di Rosa’s yearlong artist-centered initiative \u003ci>\u003ca href=\"https://www.kqed.org/arts/13823502/di-rosa-hands-programming-over-to-artists-in-uncertain-times\" target=\"_blank\" rel=\"noopener\">Be Not Still: Living in Uncertain Times\u003c/a>\u003c/i> and appearing on behalf of the organization at city council meetings and local community events.\u003c/p>\n\u003cp>“I \u003ci>left\u003c/i> San Francisco. I made Napa my home,” she says. It was a major commitment for someone whose life and community previously centered on San Francisco. During her nearly four-year tenure at di Rosa, Smith says she worked hard to build a relationship between the arts center and an often ambivalent local population.\u003c/p>\n\u003cp>When asked about the reasoning behind the position’s elimination, di Rosa offered up a statement so short it’s easily reproduced in full: “As di Rosa completes its transition from a private collection to a public facing institution, shifting institutional priorities have prompted strategic restructuring to better serve the organization’s evolving needs.”\u003c/p>\n\u003cp>A di Rosa spokesperson confirmed no other positions have been eliminated since; they have actually grown the staff “in other critical areas.”\u003c/p>\n\u003cp>For Smith, the post-di Rosa job search has been as depressing as di Rosa’s official statement is ambiguous. She’ll likely have to leave the Bay Area to find a similar curatorial position; she’s casting a wide net with limited expectations.\u003c/p>\n\u003cp>“I’m not even looking for a 20-year position per se, but where do I find the stability?” she asks.\u003c/p>\n\u003cfigure id=\"attachment_13841240\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13841240\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/Kara_diRosa.jpg\" alt=\"Kara Q. Smith leading a tour on the di Rosa grounds.\" width=\"1600\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Kara_diRosa.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Kara_diRosa-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Kara_diRosa-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Kara_diRosa-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Kara_diRosa-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Kara_diRosa-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Kara_diRosa-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Kara_diRosa-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Kara_diRosa-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Kara_diRosa-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Kara_diRosa-520x390.jpg 520w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">Kara Q. Smith leading a tour on the di Rosa grounds. \u003ccite>(Courtesy of Kara Q. Smith)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>What Gets Lost\u003c/h2>\n\u003cp>In Renny Pritikin’s oft-cited “\u003ca href=\"https://s3-us-west-2.amazonaws.com/sfmomaopenspace/wp-content/uploads/2010/06/pritikin-prescription-for-a-healthy-art-scene2-600x746.gif\" target=\"_blank\" rel=\"noopener\">Prescription for a Healthy Art Scene\u003c/a>,” committed curators are one of nearly two dozen factors that must be present to create a thriving arts ecosystem. The institutions discussed here occupy other, equally important roles (point 3: “active art schools”; point 12: “accessible museums”).\u003c/p>\n\u003cp>Pritikin’s healthy art scene also requires an engaged viewership (point 13)—interested audiences who will attend exhibitions, performances and screenings, and read the writing that’s produced about those events. When YBCA announced Shepard’s dismissal and the film and video program’s hiatus, they listed an email address for the public to respond with feedback.\u003c/p>\n\u003cp>“There was not an overwhelming response,” Cullinan says. “The questions and concerns either had to do specifically with Joel and his undeniable value, or just with YBCA’s commitment to film.”\u003c/p>\n\u003cp>But Shepard heard from hundreds of people—on Facebook and via private messages—expressing their goodwill and anger, demonstrating to him he’d reached an audience (and accomplished what he’d been trying to do in his programming).\u003c/p>\n\u003cp>And there’s the rub. Internal decisions at arts organizations will never be completely transparent, but participating—voicing enjoyment or displeasure in response to an organization’s public programming—is a right that should be employed constantly, not just in reaction to a major change. And to be effective, those messages should be relayed not within closed networks, like a personal Facebook thread, but to the organizations themselves.\u003c/p>\n\u003cp>Fundamentally, the arts ecosystem is a litmus test for the health of the region as a whole, and if audiences aren’t more vocal in their support for the arts and their desire for ambitious curatorial programming, the elimination of these positions could be a harbinger of things to come.\u003c/p>\n\u003cp>“You need a really thriving arts scene for a good city,” Shepard points out. “It’s not just about me or these individuals who have also lost their jobs, there’s a bigger problem here. I don’t think we want to turn into Dallas.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>Correction: An earlier version of this article incorrectly stated that the 2018 Architecture & Design Films Showcase at YBCA was not curated in-house. Joel Shepard selected the films prior to his departure.\u003c/i> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Now Playing! The Great Mastroianni Pops Hearts at the Castro",
"headTitle": "Now Playing! The Great Mastroianni Pops Hearts at the Castro | KQED",
"content": "\u003cp>Even non-aficionados of screen acting appreciate the total immersion required to deliver the kind of anguished performances that distinguished, say, Robert De Niro and Daniel Day-Lewis. But the ones who make it look easy, who possess a casual nonchalance, who seem to be enjoying themselves like it’s the last day of kindergarten—they’re special. Robert Mitchum, of course, and Cary Grant; Jean Gabin and Alec Guinness. And arguably the greatest of them all, Marcello Mastroianni.\u003c/p>\n\u003cp>I’ve never seen a stiff or awkward Mastroianni performance, even in roles that were miles from his well-honed urban persona. He was the rare movie star who could play high and low, sophisticated and grungy, insider and outsider. If you want to find the key to any Mastroianni character, watch how he walks, or just moves. In two minutes you know what class the man occupies, his confidence level and what he wants—or wants to avoid.\u003c/p>\n\u003cfigure id=\"attachment_13841028\" class=\"wp-caption aligncenter\" style=\"max-width: 1348px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/italia2.jpg\" alt=\"Marcello Mastroianni in Federico Fellini's '8½,' 1963.\" width=\"1348\" height=\"1000\" class=\"size-full wp-image-13841028\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/italia2.jpg 1348w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/italia2-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/italia2-800x593.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/italia2-768x570.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/italia2-1020x757.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/italia2-1200x890.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/italia2-1180x875.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/italia2-960x712.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/italia2-240x178.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/italia2-375x278.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/italia2-520x386.jpg 520w\" sizes=\"(max-width: 1348px) 100vw, 1348px\">\u003cfigcaption class=\"wp-caption-text\">Marcello Mastroianni in Federico Fellini’s ‘8½,’ 1963. \u003ccite>(Courtesy Cinema Italia SF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Upon the actor’s death in 1996, Roger Ebert recalled the time he asked Mastroianni to name his all-time favorite love scene. After reflecting for a few minutes, Mastroianni said, “I like it when Minnie kisses Mickey, and little red hearts go pop-pop-pop in the air.” How can you resist a guy like that? \u003c/p>\n\u003cp>Dedicated local programmer Amelia Antonucci has assembled five—count ‘em, five—of Mastroianni’s finest performances this Saturday, Sept. 22 on a bill she calls, naturally, \u003ca href=\"http://www.cinemaitaliasf.com\" rel=\"noopener\" target=\"_blank\">Ciao, Marcello! An Homage to Marcello Mastroianni\u003c/a>. Vittorio De Sica’s smart, sexy \u003cem>Yesterday, Today and Tomorrow\u003c/em> (1963), co-starring a wonderful Sophia Loren, raises the Castro curtain, and Pietro Germi’s biting 1961 farce \u003cem>Divorce Italian Style\u003c/em> brings it down.\u003c/p>\n\u003cp>Fellini and Mastroianni’s ambitious masterworks, \u003cem>8½\u003c/em> (1963) and \u003cem>La Dolce Vita\u003c/em> (1960), get the big-screen treatment they demand and deserve. Sandwiched in between is Ettore Scola’s intimate and moving \u003cem>A Special Day\u003c/em> (1977), set in fascist Italy and featuring Mastroianni as a melancholy homosexual who bonds with a conservative housewife (Loren, in top form). Pure pleasure, start to finish.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Even non-aficionados of screen acting appreciate the total immersion required to deliver the kind of anguished performances that distinguished, say, Robert De Niro and Daniel Day-Lewis. But the ones who make it look easy, who possess a casual nonchalance, who seem to be enjoying themselves like it’s the last day of kindergarten—they’re special. Robert Mitchum, of course, and Cary Grant; Jean Gabin and Alec Guinness. And arguably the greatest of them all, Marcello Mastroianni.\u003c/p>\n\u003cp>I’ve never seen a stiff or awkward Mastroianni performance, even in roles that were miles from his well-honed urban persona. He was the rare movie star who could play high and low, sophisticated and grungy, insider and outsider. If you want to find the key to any Mastroianni character, watch how he walks, or just moves. In two minutes you know what class the man occupies, his confidence level and what he wants—or wants to avoid.\u003c/p>\n\u003cfigure id=\"attachment_13841028\" class=\"wp-caption aligncenter\" style=\"max-width: 1348px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/italia2.jpg\" alt=\"Marcello Mastroianni in Federico Fellini's '8½,' 1963.\" width=\"1348\" height=\"1000\" class=\"size-full wp-image-13841028\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/italia2.jpg 1348w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/italia2-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/italia2-800x593.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/italia2-768x570.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/italia2-1020x757.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/italia2-1200x890.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/italia2-1180x875.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/italia2-960x712.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/italia2-240x178.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/italia2-375x278.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/italia2-520x386.jpg 520w\" sizes=\"(max-width: 1348px) 100vw, 1348px\">\u003cfigcaption class=\"wp-caption-text\">Marcello Mastroianni in Federico Fellini’s ‘8½,’ 1963. \u003ccite>(Courtesy Cinema Italia SF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Upon the actor’s death in 1996, Roger Ebert recalled the time he asked Mastroianni to name his all-time favorite love scene. After reflecting for a few minutes, Mastroianni said, “I like it when Minnie kisses Mickey, and little red hearts go pop-pop-pop in the air.” How can you resist a guy like that? \u003c/p>\n\u003cp>Dedicated local programmer Amelia Antonucci has assembled five—count ‘em, five—of Mastroianni’s finest performances this Saturday, Sept. 22 on a bill she calls, naturally, \u003ca href=\"http://www.cinemaitaliasf.com\" rel=\"noopener\" target=\"_blank\">Ciao, Marcello! An Homage to Marcello Mastroianni\u003c/a>. Vittorio De Sica’s smart, sexy \u003cem>Yesterday, Today and Tomorrow\u003c/em> (1963), co-starring a wonderful Sophia Loren, raises the Castro curtain, and Pietro Germi’s biting 1961 farce \u003cem>Divorce Italian Style\u003c/em> brings it down.\u003c/p>\n\u003cp>Fellini and Mastroianni’s ambitious masterworks, \u003cem>8½\u003c/em> (1963) and \u003cem>La Dolce Vita\u003c/em> (1960), get the big-screen treatment they demand and deserve. Sandwiched in between is Ettore Scola’s intimate and moving \u003cem>A Special Day\u003c/em> (1977), set in fascist Italy and featuring Mastroianni as a melancholy homosexual who bonds with a conservative housewife (Loren, in top form). Pure pleasure, start to finish.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "'Love, Gilda': A New Documentary Remembers SNL's Not-So-Secret Weapon",
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"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">D\u003c/span>o you have a foolproof video that always makes you laugh? A TV or movie clip that, no matter what particular brand of despair filled your day—the fear and anxiety of daily headlines, work frustrations or relationship troubles—can at the very least get you to smile?\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13839927\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/EmmaSilvers.HeadshotwCap-160x193.jpg\" alt=\"\" width=\"160\" height=\"193\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/EmmaSilvers.HeadshotwCap-160x193.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/EmmaSilvers.HeadshotwCap.jpg 180w\" sizes=\"auto, (max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>There’s a handful of media that I regularly employ in such a medicinal fashion, but my No. 1 has held steady for years now. It’s \u003ca href=\"https://www.nbc.com/saturday-night-live/video/extremely-stupid/n8642\" target=\"_blank\" rel=\"noopener noreferrer\">a skit that ran on \u003cem>Saturday Night Live\u003c/em> in December 1976\u003c/a>, during the 10th episode of the second season. Candice Bergen hosted; Frank Zappa was the musical guest.\u003c/p>\n\u003cp>The sketch is a fake commercial, a public service announcement for the stupidity-rights movement, featuring Bergen and Gilda Radner. The premise is, appropriately, extremely stupid, and would likely have only been moderately funny if things had gone according to script. But then magic happens: Bergen flubs a line, and Radner runs with it in such a simple yet hilarious way that the studio audience erupts with laughter and, simultaneously, Bergen breaks. Straight-up loses it. I’m talking slumber party, wipe-your-eyes, pee-your-pants style giggle fit, which the viewer gets to watch over Radner’s right shoulder for the duration of the sketch.\u003c/p>\n\u003cp>This sketch is \u003cem>so dumb\u003c/em>, but I love it. I love the face Radner makes as she’s deciding to deliver the ad-libbed line that sends the thing over the top; I love seeing a seasoned actress rendered helpless by laughter. But there’s also something that’s just perfectly-distilled \u003cem>Gilda\u003c/em> here: open, silly, contagious joy. It feels like an old friend making you laugh, finding your weak spot and doubling down on it, trying to make milk shoot out of your nose. I wish this skit lasted 10 minutes longer.\u003c/p>\n\u003cp>I wish we got even 10 more minutes of Gilda in general.\u003c/p>\n\u003cfigure id=\"attachment_13840709\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840709\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/5-800x803.jpg\" alt=\"Gilda Radner in 'Love, Gilda.'\" width=\"800\" height=\"803\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/5-800x803.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/5-160x161.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/5-768x771.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/5-1020x1024.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/5-1195x1200.jpg 1195w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/5.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/5-1180x1185.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/5-960x964.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/5-240x241.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/5-375x377.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/5-520x522.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/5-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/5-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/5-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/5-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/5-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/5-150x150.jpg 150w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gilda Radner in ‘Love, Gilda.’ \u003ccite>(Courtesy Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">“T\u003c/span>here’s truly a timeless, universal quality to what she did. Amy Poehler said she thinks of Gilda as a red-blue state: loved by all,” says Lisa D’Apolito, the director of \u003cem>Love, Gilda\u003c/em>, a new documentary about the late comedian that hits theaters Sept. 21. (It had its world premiere as the opening film at New York’s Tribeca Film Festival in April, with an emotional introduction from Tina Fey.)\u003c/p>\n\u003cp>“She just enjoyed performing \u003cem>so much\u003c/em>,” says D’Apolito of Radner. “And she obviously had an acute sense of character, but physical comedy was always part of it. The way she uses her body—even if you didn’t understand the language she was speaking, I think you could just watch Gilda and laugh.”\u003c/p>\n\u003cp>“Just watch Gilda and laugh” is, fittingly, what most \u003cem>Love, Gilda\u003c/em> viewers will leave the theater wanting to do, so prepare to lose at least an hour or two afterward in a YouTube rabbit hole, revisiting beloved characters like Emily Litella, Roseanne Roseannadanna and Lisa Loopner. But casual fans of the comedian—who died tragically at 42, of ovarian cancer—will also gain insight on lesser-known aspects of her life; the documentary isn’t shy about her demons.\u003c/p>\n\u003cfigure id=\"attachment_13840744\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840744\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/gildaSNLgroup-800x808.jpg\" alt=\"Tom Schiller, Gilda Radner, John Belushi, Dan Akroyd and Jane Curtin in 'Love, Gilda.'\" width=\"800\" height=\"808\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/gildaSNLgroup-800x808.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/gildaSNLgroup-160x162.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/gildaSNLgroup-768x776.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/gildaSNLgroup-1020x1031.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/gildaSNLgroup-1188x1200.jpg 1188w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/gildaSNLgroup-1180x1192.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/gildaSNLgroup-960x970.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/gildaSNLgroup-240x242.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/gildaSNLgroup-375x379.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/gildaSNLgroup-520x525.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/gildaSNLgroup-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/gildaSNLgroup-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/gildaSNLgroup-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/gildaSNLgroup-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/gildaSNLgroup-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/gildaSNLgroup.jpg 1544w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tom Schiller, Gilda Radner, John Belushi, Dan Akroyd and Jane Curtin in ‘Love, Gilda.’ \u003ccite>(Courtesy Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Born into an upper-middle-class Jewish family in Detroit, Radner was a happy but chubby kid; her parents put her on diet pills while she was still in elementary school. Meanwhile, she honed a self-deprecating sense of humor as a way to debarb insults from other children, and grew to crave the feeling of love that came with making people laugh. Then Radner’s father, her most enthusiastic audience, died when she was 14. In context, her deep insecurities (even at the height of her fame) and her ongoing battle with bulimia as an adult (diary entries from her stay at an eating disorder clinic are particularly tough to hear) snap into painfully sharp focus.\u003c/p>\n\u003cp>D’Apolito earned the trust of Radner’s brother, as well as ex-husband Gene Wilder and other close friends over the course of the four-year filmmaking process, gaining access to previously unreleased material, and the film feels both intimate and protective of Radner’s legacy as a result. To be sure, it’s fun to see Amy Poehler, Melissa McCarthy, Bill Hader and other current comics voice their awe about Radner, while onetime colleagues like Lorne Michaels and Martin Short get the chance to reminisce. The doc touches on the comedian’s romantic relationships, including marriages to \u003cem>SNL\u003c/em> bandleader G.E. Smith and, of course, to Wilder. (Bill Murray, who had a two-year, deep but reportedly tumultuous relationship with Radner, didn’t respond to the filmmaker’s requests for an interview.)\u003c/p>\n\u003cp>But it’s the primary sources that make \u003cem>Love, Gilda\u003c/em> hit you in the chest. Using home movies, diaries, and a series of audiotapes the comedian recorded in the process of writing her memoir \u003cem>It’s Always Something\u003c/em>, the film smartly allows Radner to narrate her own story, in her own voice, wherever possible.\u003c/p>\n\u003cfigure id=\"attachment_13840708\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840708\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/3-800x254.jpg\" alt=\"Gilda Radner in 'Love, Gilda.'\" width=\"800\" height=\"254\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/3-800x254.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/3-160x51.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/3-768x244.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/3-1020x324.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/3-1200x381.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/3.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/3-1180x375.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/3-960x305.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/3-240x76.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/3-375x119.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/3-520x165.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gilda Radner in ‘Love, Gilda.’ \u003ccite>(Courtesy Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s in these journals that we get closest to understanding a central tension for Radner: that of a natural star who got blindsided by the realities of actual stardom. The first person cast in the “Not Ready For Primetime Players”—the freshman group of comedians on \u003cem>SNL\u003c/em> in 1975 that included Chevy Chase, John Belushi and Dan Aykroyd—Radner was in many ways an archetypal \u003ca href=\"https://www.buzzfeed.com/annehelenpetersen/jennifer-lawrence-and-the-history-of-cool-girls\" target=\"_blank\" rel=\"noopener noreferrer\">Cool Girl\u003c/a>. She could hold her own with literally the best of them; there was an innocence about her, but she also loved to get gross, tell fart jokes; she could play kids or old ladies and anything in between. She was always having fun—explosive, fully committed fun—and she didn’t mind \u003ca href=\"http://fuckyeahgildaradner.tumblr.com/post/67929609392/jagweedish-deactivated20140427-gilda-radner\" target=\"_blank\" rel=\"noopener noreferrer\">if it came with a few bruised ribs\u003c/a>.\u003c/p>\n\u003cp>By the end of the show’s first season, viewers across America had fallen in love with her. And just like that, she could barely leave the house without a disguise.\u003c/p>\n\u003cp>“I think she saw life as a playground, and she loved to go out and play,” says D’Apolito. “But once she started to become famous she couldn’t go out, and I think that’s when the eating disorder got worse … her friends told me she liked getting her makeup done for magazines, but she definitely wasn’t after fame.”\u003c/p>\n\u003cp>What does it mean, exactly, to love an audience but dislike being famous? What do you owe your fans, if anything? And how much heavier are those questions when you’re a young woman whom nearly everyone, myself included, has subconsciously come to think of as a friend?\u003c/p>\n\u003cfigure id=\"attachment_13840712\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840712\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/12-800x543.jpg\" alt=\"Gilda Radner with Gene Wilder and dog Sparkle in 'Love, Gilda.'\" width=\"800\" height=\"543\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/12-800x543.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/12-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/12-768x521.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/12-1020x692.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/12-1200x814.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/12.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/12-1180x801.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/12-960x652.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/12-240x163.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/12-375x254.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/12-520x353.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gilda Radner with Gene Wilder and dog Sparkle in ‘Love, Gilda.’ \u003ccite>(Courtesy Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span>t’d be ridiculous to attempt to list the performers, male and female, who owe Gilda Radner a debt in some way. Mike Myers has said she’s the reason he wanted to be on \u003cem>SNL\u003c/em>. Personally, I can’t watch Maya Rudolph, Kate McKinnon, \u003cem>Broad City\u003c/em>, Ali Wong, Jenny Slate—the list goes on—without seeing sparks of Gilda’s electricity.\u003c/p>\n\u003cp>With the whole doc clocking in at just 86 minutes, \u003cem>Love, Gilda\u003c/em> doesn’t have time to fully map that lineage either. The final half-hour feels a bit rushed, covering Radner’s life in Los Angeles, grief over a miscarriage, diagnosis with ovarian cancer, and discovery of the Wellness Community, a cancer support organization that later inspired Wilder to found Gilda’s Club in his wife’s honor. (The two organizations have since merged.)\u003c/p>\n\u003cp>But for those of us who are still in love with her, it might also be true that even a five-hour film wouldn’t feel sufficient.\u003c/p>\n\u003cp>“When I first started trying to drum up support for the film, I was hearing concern about whether there would be enough interest in her—I think especially among younger viewers, who might not know who she is,” says D’Apolito. But D’Apolito had worked with Gilda’s Club; she knew exactly how much Radner meant to clients there. And since the film first premiered she’s held screenings in select cities—when we talk, she’s just hosted San Diego’s the night before—and “every time, there are 20 or 25 people who wait to just tell me ‘thank you’ after. They’re \u003cem>grateful\u003c/em> for her.”\u003c/p>\n\u003cfigure id=\"attachment_13840742\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840742\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/GildaWriting-800x537.jpg\" alt=\"Gilda Radner in 'Love, Gilda.'\" width=\"800\" height=\"537\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/GildaWriting-800x537.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/GildaWriting-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/GildaWriting-768x515.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/GildaWriting-1020x684.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/GildaWriting-1200x805.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/GildaWriting.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/GildaWriting-1180x792.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/GildaWriting-960x644.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/GildaWriting-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/GildaWriting-375x252.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/GildaWriting-520x349.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gilda Radner in ‘Love, Gilda.’ \u003ccite>(Courtesy Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gilda Radner died on the afternoon of May 20, 1989, which also happened to be a Saturday, a few hours before the finale of \u003cem>SNL\u003c/em>’s 14th season. The news broke as host Steve Martin was rehearsing; the cast and crew were understandably devastated—apparently few of them were aware of how ill she’d been—and the decision was made to scrap the intro monologue.\u003c/p>\n\u003cp>Instead, visibly choked up, Martin introduces a \u003ca href=\"http://classicajays.tumblr.com/post/7734859743/so-here-it-is-everyone-the-steve-martin-monologue\" target=\"_blank\" rel=\"noopener noreferrer\">clip of a sketch he performed with her on the show in 1978\u003c/a>. It’s entirely wordless: a musical number in which the pair, dressed in white, both obviously masters of physical comedy, swerve between attempts at sensual ballroom dancing and goofy, hysterical, limb-swinging freakouts—all culminating in Radner climbing back into her chair at a dinner table in, and I don’t know how else to phrase this, the funniest way anyone has ever tried to segue from dancing into sitting back down at a dinner table in the history of time.\u003c/p>\n\u003cp>The sketch was apparently parodying a well-known routine from a Fred Astaire movie, but I didn’t know that the first few times I saw it. All I knew was that it made me laugh like crazy, and that it, too, was top-shelf, quadruple-distilled Gilda. Which is to say, joyful. Game for anything. Sweet beyond belief, but cut with the signs of an absolute maniac. And perfectly, imperfectly human.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>‘Love, Gilda’ opens nationally Sept. 21.\u003c/em>\u003c/p>\n\u003cp>\u003cem>Emma Silvers is a writer living in San Francisco. Find her on Twitter \u003ca href=\"https://twitter.com/emmaruthless\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">D\u003c/span>o you have a foolproof video that always makes you laugh? A TV or movie clip that, no matter what particular brand of despair filled your day—the fear and anxiety of daily headlines, work frustrations or relationship troubles—can at the very least get you to smile?\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13839927\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/EmmaSilvers.HeadshotwCap-160x193.jpg\" alt=\"\" width=\"160\" height=\"193\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/EmmaSilvers.HeadshotwCap-160x193.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/EmmaSilvers.HeadshotwCap.jpg 180w\" sizes=\"auto, (max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>There’s a handful of media that I regularly employ in such a medicinal fashion, but my No. 1 has held steady for years now. It’s \u003ca href=\"https://www.nbc.com/saturday-night-live/video/extremely-stupid/n8642\" target=\"_blank\" rel=\"noopener noreferrer\">a skit that ran on \u003cem>Saturday Night Live\u003c/em> in December 1976\u003c/a>, during the 10th episode of the second season. Candice Bergen hosted; Frank Zappa was the musical guest.\u003c/p>\n\u003cp>The sketch is a fake commercial, a public service announcement for the stupidity-rights movement, featuring Bergen and Gilda Radner. The premise is, appropriately, extremely stupid, and would likely have only been moderately funny if things had gone according to script. But then magic happens: Bergen flubs a line, and Radner runs with it in such a simple yet hilarious way that the studio audience erupts with laughter and, simultaneously, Bergen breaks. Straight-up loses it. I’m talking slumber party, wipe-your-eyes, pee-your-pants style giggle fit, which the viewer gets to watch over Radner’s right shoulder for the duration of the sketch.\u003c/p>\n\u003cp>This sketch is \u003cem>so dumb\u003c/em>, but I love it. I love the face Radner makes as she’s deciding to deliver the ad-libbed line that sends the thing over the top; I love seeing a seasoned actress rendered helpless by laughter. But there’s also something that’s just perfectly-distilled \u003cem>Gilda\u003c/em> here: open, silly, contagious joy. It feels like an old friend making you laugh, finding your weak spot and doubling down on it, trying to make milk shoot out of your nose. I wish this skit lasted 10 minutes longer.\u003c/p>\n\u003cp>I wish we got even 10 more minutes of Gilda in general.\u003c/p>\n\u003cfigure id=\"attachment_13840709\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840709\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/5-800x803.jpg\" alt=\"Gilda Radner in 'Love, Gilda.'\" width=\"800\" height=\"803\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/5-800x803.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/5-160x161.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/5-768x771.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/5-1020x1024.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/5-1195x1200.jpg 1195w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/5.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/5-1180x1185.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/5-960x964.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/5-240x241.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/5-375x377.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/5-520x522.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/5-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/5-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/5-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/5-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/5-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/5-150x150.jpg 150w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gilda Radner in ‘Love, Gilda.’ \u003ccite>(Courtesy Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">“T\u003c/span>here’s truly a timeless, universal quality to what she did. Amy Poehler said she thinks of Gilda as a red-blue state: loved by all,” says Lisa D’Apolito, the director of \u003cem>Love, Gilda\u003c/em>, a new documentary about the late comedian that hits theaters Sept. 21. (It had its world premiere as the opening film at New York’s Tribeca Film Festival in April, with an emotional introduction from Tina Fey.)\u003c/p>\n\u003cp>“She just enjoyed performing \u003cem>so much\u003c/em>,” says D’Apolito of Radner. “And she obviously had an acute sense of character, but physical comedy was always part of it. The way she uses her body—even if you didn’t understand the language she was speaking, I think you could just watch Gilda and laugh.”\u003c/p>\n\u003cp>“Just watch Gilda and laugh” is, fittingly, what most \u003cem>Love, Gilda\u003c/em> viewers will leave the theater wanting to do, so prepare to lose at least an hour or two afterward in a YouTube rabbit hole, revisiting beloved characters like Emily Litella, Roseanne Roseannadanna and Lisa Loopner. But casual fans of the comedian—who died tragically at 42, of ovarian cancer—will also gain insight on lesser-known aspects of her life; the documentary isn’t shy about her demons.\u003c/p>\n\u003cfigure id=\"attachment_13840744\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840744\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/gildaSNLgroup-800x808.jpg\" alt=\"Tom Schiller, Gilda Radner, John Belushi, Dan Akroyd and Jane Curtin in 'Love, Gilda.'\" width=\"800\" height=\"808\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/gildaSNLgroup-800x808.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/gildaSNLgroup-160x162.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/gildaSNLgroup-768x776.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/gildaSNLgroup-1020x1031.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/gildaSNLgroup-1188x1200.jpg 1188w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/gildaSNLgroup-1180x1192.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/gildaSNLgroup-960x970.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/gildaSNLgroup-240x242.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/gildaSNLgroup-375x379.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/gildaSNLgroup-520x525.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/gildaSNLgroup-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/gildaSNLgroup-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/gildaSNLgroup-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/gildaSNLgroup-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/gildaSNLgroup-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/gildaSNLgroup.jpg 1544w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tom Schiller, Gilda Radner, John Belushi, Dan Akroyd and Jane Curtin in ‘Love, Gilda.’ \u003ccite>(Courtesy Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Born into an upper-middle-class Jewish family in Detroit, Radner was a happy but chubby kid; her parents put her on diet pills while she was still in elementary school. Meanwhile, she honed a self-deprecating sense of humor as a way to debarb insults from other children, and grew to crave the feeling of love that came with making people laugh. Then Radner’s father, her most enthusiastic audience, died when she was 14. In context, her deep insecurities (even at the height of her fame) and her ongoing battle with bulimia as an adult (diary entries from her stay at an eating disorder clinic are particularly tough to hear) snap into painfully sharp focus.\u003c/p>\n\u003cp>D’Apolito earned the trust of Radner’s brother, as well as ex-husband Gene Wilder and other close friends over the course of the four-year filmmaking process, gaining access to previously unreleased material, and the film feels both intimate and protective of Radner’s legacy as a result. To be sure, it’s fun to see Amy Poehler, Melissa McCarthy, Bill Hader and other current comics voice their awe about Radner, while onetime colleagues like Lorne Michaels and Martin Short get the chance to reminisce. The doc touches on the comedian’s romantic relationships, including marriages to \u003cem>SNL\u003c/em> bandleader G.E. Smith and, of course, to Wilder. (Bill Murray, who had a two-year, deep but reportedly tumultuous relationship with Radner, didn’t respond to the filmmaker’s requests for an interview.)\u003c/p>\n\u003cp>But it’s the primary sources that make \u003cem>Love, Gilda\u003c/em> hit you in the chest. Using home movies, diaries, and a series of audiotapes the comedian recorded in the process of writing her memoir \u003cem>It’s Always Something\u003c/em>, the film smartly allows Radner to narrate her own story, in her own voice, wherever possible.\u003c/p>\n\u003cfigure id=\"attachment_13840708\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840708\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/3-800x254.jpg\" alt=\"Gilda Radner in 'Love, Gilda.'\" width=\"800\" height=\"254\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/3-800x254.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/3-160x51.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/3-768x244.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/3-1020x324.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/3-1200x381.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/3.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/3-1180x375.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/3-960x305.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/3-240x76.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/3-375x119.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/3-520x165.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gilda Radner in ‘Love, Gilda.’ \u003ccite>(Courtesy Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s in these journals that we get closest to understanding a central tension for Radner: that of a natural star who got blindsided by the realities of actual stardom. The first person cast in the “Not Ready For Primetime Players”—the freshman group of comedians on \u003cem>SNL\u003c/em> in 1975 that included Chevy Chase, John Belushi and Dan Aykroyd—Radner was in many ways an archetypal \u003ca href=\"https://www.buzzfeed.com/annehelenpetersen/jennifer-lawrence-and-the-history-of-cool-girls\" target=\"_blank\" rel=\"noopener noreferrer\">Cool Girl\u003c/a>. She could hold her own with literally the best of them; there was an innocence about her, but she also loved to get gross, tell fart jokes; she could play kids or old ladies and anything in between. She was always having fun—explosive, fully committed fun—and she didn’t mind \u003ca href=\"http://fuckyeahgildaradner.tumblr.com/post/67929609392/jagweedish-deactivated20140427-gilda-radner\" target=\"_blank\" rel=\"noopener noreferrer\">if it came with a few bruised ribs\u003c/a>.\u003c/p>\n\u003cp>By the end of the show’s first season, viewers across America had fallen in love with her. And just like that, she could barely leave the house without a disguise.\u003c/p>\n\u003cp>“I think she saw life as a playground, and she loved to go out and play,” says D’Apolito. “But once she started to become famous she couldn’t go out, and I think that’s when the eating disorder got worse … her friends told me she liked getting her makeup done for magazines, but she definitely wasn’t after fame.”\u003c/p>\n\u003cp>What does it mean, exactly, to love an audience but dislike being famous? What do you owe your fans, if anything? And how much heavier are those questions when you’re a young woman whom nearly everyone, myself included, has subconsciously come to think of as a friend?\u003c/p>\n\u003cfigure id=\"attachment_13840712\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840712\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/12-800x543.jpg\" alt=\"Gilda Radner with Gene Wilder and dog Sparkle in 'Love, Gilda.'\" width=\"800\" height=\"543\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/12-800x543.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/12-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/12-768x521.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/12-1020x692.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/12-1200x814.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/12.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/12-1180x801.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/12-960x652.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/12-240x163.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/12-375x254.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/12-520x353.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gilda Radner with Gene Wilder and dog Sparkle in ‘Love, Gilda.’ \u003ccite>(Courtesy Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span>t’d be ridiculous to attempt to list the performers, male and female, who owe Gilda Radner a debt in some way. Mike Myers has said she’s the reason he wanted to be on \u003cem>SNL\u003c/em>. Personally, I can’t watch Maya Rudolph, Kate McKinnon, \u003cem>Broad City\u003c/em>, Ali Wong, Jenny Slate—the list goes on—without seeing sparks of Gilda’s electricity.\u003c/p>\n\u003cp>With the whole doc clocking in at just 86 minutes, \u003cem>Love, Gilda\u003c/em> doesn’t have time to fully map that lineage either. The final half-hour feels a bit rushed, covering Radner’s life in Los Angeles, grief over a miscarriage, diagnosis with ovarian cancer, and discovery of the Wellness Community, a cancer support organization that later inspired Wilder to found Gilda’s Club in his wife’s honor. (The two organizations have since merged.)\u003c/p>\n\u003cp>But for those of us who are still in love with her, it might also be true that even a five-hour film wouldn’t feel sufficient.\u003c/p>\n\u003cp>“When I first started trying to drum up support for the film, I was hearing concern about whether there would be enough interest in her—I think especially among younger viewers, who might not know who she is,” says D’Apolito. But D’Apolito had worked with Gilda’s Club; she knew exactly how much Radner meant to clients there. And since the film first premiered she’s held screenings in select cities—when we talk, she’s just hosted San Diego’s the night before—and “every time, there are 20 or 25 people who wait to just tell me ‘thank you’ after. They’re \u003cem>grateful\u003c/em> for her.”\u003c/p>\n\u003cfigure id=\"attachment_13840742\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840742\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/GildaWriting-800x537.jpg\" alt=\"Gilda Radner in 'Love, Gilda.'\" width=\"800\" height=\"537\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/GildaWriting-800x537.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/GildaWriting-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/GildaWriting-768x515.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/GildaWriting-1020x684.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/GildaWriting-1200x805.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/GildaWriting.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/GildaWriting-1180x792.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/GildaWriting-960x644.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/GildaWriting-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/GildaWriting-375x252.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/GildaWriting-520x349.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gilda Radner in ‘Love, Gilda.’ \u003ccite>(Courtesy Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gilda Radner died on the afternoon of May 20, 1989, which also happened to be a Saturday, a few hours before the finale of \u003cem>SNL\u003c/em>’s 14th season. The news broke as host Steve Martin was rehearsing; the cast and crew were understandably devastated—apparently few of them were aware of how ill she’d been—and the decision was made to scrap the intro monologue.\u003c/p>\n\u003cp>Instead, visibly choked up, Martin introduces a \u003ca href=\"http://classicajays.tumblr.com/post/7734859743/so-here-it-is-everyone-the-steve-martin-monologue\" target=\"_blank\" rel=\"noopener noreferrer\">clip of a sketch he performed with her on the show in 1978\u003c/a>. It’s entirely wordless: a musical number in which the pair, dressed in white, both obviously masters of physical comedy, swerve between attempts at sensual ballroom dancing and goofy, hysterical, limb-swinging freakouts—all culminating in Radner climbing back into her chair at a dinner table in, and I don’t know how else to phrase this, the funniest way anyone has ever tried to segue from dancing into sitting back down at a dinner table in the history of time.\u003c/p>\n\u003cp>The sketch was apparently parodying a well-known routine from a Fred Astaire movie, but I didn’t know that the first few times I saw it. All I knew was that it made me laugh like crazy, and that it, too, was top-shelf, quadruple-distilled Gilda. Which is to say, joyful. Game for anything. Sweet beyond belief, but cut with the signs of an absolute maniac. And perfectly, imperfectly human.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>‘Love, Gilda’ opens nationally Sept. 21.\u003c/em>\u003c/p>\n\u003cp>\u003cem>Emma Silvers is a writer living in San Francisco. Find her on Twitter \u003ca href=\"https://twitter.com/emmaruthless\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "A Movie, Minutely Examined: How an Obsession Made an (Unusual) Podcast",
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"content": "\u003cp>If you could focus on \u003cem>any\u003c/em> one thing—every day, for the foreseeable future—what would you choose?\u003c/p>\n\u003cp>Over a year ago, Australian movie critic and podcaster Blake Howard found himself doing just this—“goaded,” as he puts it, by a friend over beers, into choosing his next professional project. His answer, as he tells it today? “I just want to f-cking talk about \u003ci>Heat\u003c/i> every day.”\u003c/p>\n\u003cp>“And there was a laugh,” Howard remembers, “and he goes: ‘I’d listen to that.’” So \u003ca href=\"https://oneheatminute.com/\">\u003ci>One Heat Minute\u003c/i>\u003c/a>—the only podcast, at the time of writing, to dissect Michael Mann’s 1995 crime saga \u003ci>Heat\u003c/i> minute-by-minute—was born.\u003c/p>\n\u003cfigure id=\"attachment_13839994\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13839994 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/download-2.jpeg\" alt=\"\" width=\"500\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/download-2.jpeg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/download-2-160x160.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/download-2-240x240.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/download-2-375x375.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/download-2-32x32.jpeg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/download-2-50x50.jpeg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/download-2-64x64.jpeg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/download-2-96x96.jpeg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/download-2-128x128.jpeg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/download-2-150x150.jpeg 150w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">One Heat Minute host Blake Howard \u003ccite>(Courtesy Blake Howard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>Heat\u003c/i> is probably best known, among casual viewers, for its \u003ca href=\"https://youtu.be/mZjraQagtTo\" target=\"_blank\" rel=\"noopener\">coffee-shop face-off\u003c/a> between stars Robert de Niro and Al Pacino, who until then had never shared an actual on-screen scene together. Over two decades after its release, it’s most frequently remembered as a classic of the cops-and-robbers genre, with Pacino’s driven detective pursuing de Niro’s equally focused thief across a gorgeously-rendered backdrop of LA loneliness.\u003c/p>\n\u003cp>Howard has been obsessed with \u003ci>Heat\u003c/i> since he was a teen, and now he talks to people on his lo-fi, minimally-edited podcast about \u003ci>Heat\u003c/i> (which he says has had “about 20,000 downloads” so far) most days.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Every one of these episodes, which range in length from 20 minutes to an hour, examines another minute of this 170-minute movie. In each, Howard is joined by a guest—including that “goading” buddy, the critic Stu Coote; \u003cem>New York Times\u003c/em> film writer Manohla Dargis; and, most recently, an anonymous investigator of organized crime in Australia—to pore over every shot, line and performance within a given 60 seconds. That time limit, by the way, is strict: The first episode deals only with the opening credits. Some minutes have zero dialogue.\u003c/p>\n\u003cp>If you’re not a superfan of \u003cem>Heat\u003c/em>, \u003ci>One Heat Minute\u003c/i> will alienate you in the way only hearing people rave about an obsession you don’t share can (despite Howard’s effusive and enthusiastic presence). There’s nothing so inclusive \u003cem>and\u003c/em> exclusionary as people talking about a shared obsession, depending on which side of the door you’re on.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ktSdle1Mwdg\u003c/p>\n\u003cp>But if you \u003cem>are\u003c/em> a superfan? You’ll probably find it fascinating. And here I must declare a personal interest: Though I don’t think anyone could love \u003ci>Heat\u003c/i> more than Blake Howard does, one of the people who might come closest… is me.\u003c/p>\n\u003cp>Thanks to a decadent-for-1990s-Yorkshire VHS setup in my childhood bedroom, and a predilection for overwrought Mann movies about tortured machismo, discovering \u003cem>Heat\u003c/em> in my most impressionable years has resulted in a lifelong connection with this film. Knowing all this, even I had to ask: Why \u003ci>Heat\u003c/i>?\u003c/p>\n\u003cp>“Sometimes you get this perfection, you know,” says Howard. “It’s like, it was \u003ci>made\u003c/i> to be examined. It was \u003ci>made\u003c/i> for me to have a conversation about.” As an exercise, he calls \u003ci>One Heat Minute\u003c/i> “the most endlessly rewarding thing I think I’ve ever done, as far as a creative exploration. But the movie just gets better and better.”\u003c/p>\n\u003cp>\u003cem>One Heat Minute\u003c/em> is by no means the only podcast to dissect a movie in minute chronological detail—\u003ca href=\"http://www.starwarsminute.com/\">\u003cem>Star Wars Minute\u003c/em>\u003c/a> and \u003ca href=\"http://goodfellasminute.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>Goodfellas Minute\u003c/em>\u003c/a> started several years ago. Howard compares this kind of hyper-close, repetitive examination to Roger Ebert’s tradition of revisiting and re-reviewing a film after his first published pass. True classics of cinema, says Howard, “deserve more of your time than a casual review.”\u003c/p>\n\u003cfigure id=\"attachment_13839996\" class=\"wp-caption alignnone\" style=\"max-width: 1934px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13839996 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/heat-michael-mann-edition-2017-fox-master-4k-blu-ray-50.jpg\" alt=\"\" width=\"1934\" height=\"1088\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/heat-michael-mann-edition-2017-fox-master-4k-blu-ray-50.jpg 1934w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/heat-michael-mann-edition-2017-fox-master-4k-blu-ray-50-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/heat-michael-mann-edition-2017-fox-master-4k-blu-ray-50-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/heat-michael-mann-edition-2017-fox-master-4k-blu-ray-50-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/heat-michael-mann-edition-2017-fox-master-4k-blu-ray-50-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/heat-michael-mann-edition-2017-fox-master-4k-blu-ray-50-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/heat-michael-mann-edition-2017-fox-master-4k-blu-ray-50-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/heat-michael-mann-edition-2017-fox-master-4k-blu-ray-50-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/heat-michael-mann-edition-2017-fox-master-4k-blu-ray-50-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/heat-michael-mann-edition-2017-fox-master-4k-blu-ray-50-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/heat-michael-mann-edition-2017-fox-master-4k-blu-ray-50-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/heat-michael-mann-edition-2017-fox-master-4k-blu-ray-50-520x293.jpg 520w\" sizes=\"(max-width: 1934px) 100vw, 1934px\">\u003cfigcaption class=\"wp-caption-text\">The final moments of Heat — it’s been 23 years, this isn’t a spoiler. \u003ccite>(Courtesy Warner Bros.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>True to his word, Howard’s podcast subjects \u003cem>Heat\u003c/em> to the kind of analysis and vigilance some might think reserved for “arthouse” cinema. This has yielded truly interesting discoveries, from previously-unnoticed visual echoes to connections between characters that would pass by unseen on a casual viewing.\u003c/p>\n\u003cp>In the episode that dissects \u003cem>Heat\u003c/em>’s third minute, Howard and his guest stumble on an undeniable bit of foreshadowing, noticing how the camera lingers on a statue in a hospital’s grounds—stone figures in a pose that almost exactly mirrors the one De Niro and Pacino hold in the movie’s very last frame. This is the stuff film students write papers on—and with \u003ci>One Heat Minute\u003c/i>’s minimal editing, hearing the two critics realize the connection seemingly in real time is genuinely, well, exciting.\u003c/p>\n\u003cp>Can you truly subject something to examination and commentary if you are, by your own admission, utterly in love with it? If adoring a movie with your whole heart makes you far less of an impartial critic, Howard isn’t concerned—\u003cem>One Heat Minute\u003c/em> is where critical review meets unabashed fandom.\u003c/p>\n\u003cp>Even though podcasting isn’t quite the meritocracy some make it out to be—there’s still something of a technical and financial barrier to entry—the field of what’s considered “worthy” of a podcast is wide. Howard didn’t \u003cem>need\u003c/em> to convince an editor of the artistic merits of a synth-heavy action thriller starring Val Kilmer, versus, say, \u003cem>Citizen Kane\u003c/em>. He just began recording his conversations with fellow enthusiasts and releasing them on iTunes. Anyone who wants to chat with their buddies about their favorite movie—or period of history, or serial killer—can do the same. Whether they find their audience, of course, is another story.\u003c/p>\n\u003cfigure id=\"attachment_13840505\" class=\"wp-caption alignnone\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13840505\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/heat-20-755160.jpg\" alt=\"\" width=\"1024\" height=\"576\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/heat-20-755160.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/heat-20-755160-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/heat-20-755160-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/heat-20-755160-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/heat-20-755160-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/heat-20-755160-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/heat-20-755160-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/heat-20-755160-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/heat-20-755160-520x293.jpg 520w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Amy Brenneman and Robert De Niro in Heat \u003ccite>(Courtesy Warner Bros.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Listening to a film podcast can feel like the sonic equivalent of that post-screening digest (or depending on varying opinions, debate) in a bar with your movie buddies. As a medium for criticism, podcasting provides extended run time and the freedom to dwell as long as desired on a particular subject—or in \u003cem>One Heat Minute\u003c/em>’s case, a frame or a glance or a throwaway line.\u003c/p>\n\u003cp>Yet if podcasting, as a medium, didn’t exist, how might a devotee like Howard have scratched this particular itch? His answer: writing, perhaps even in chapter-by-chapter book form, about this movie. “I would’ve been writing about \u003ci>Heat\u003c/i> forever. Honestly.”\u003c/p>\n\u003cp>Writing out this passion might not have enabled Howard to connect so relentlessly with fellow obsessives—and to conduct extended conversations with them. Obsession loves community, something podcasts in particular have so deftly tapped into, convening conversations between invested parties and then drawing the listener in to create a second layer of belonging.\u003c/p>\n\u003cfigure id=\"attachment_13840506\" class=\"wp-caption alignnone\" style=\"max-width: 960px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13840506\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/Heat1.jpg\" alt=\"\" width=\"960\" height=\"540\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Heat1.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Heat1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Heat1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Heat1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Heat1-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Heat1-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Heat1-520x293.jpg 520w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003cfigcaption class=\"wp-caption-text\">Robert De Niro in Heat \u003ccite>(Courtesy Warner Bros.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Howard calls podcasts a “little nice little campfire to sort of get around, to find your people.” As much as he jokes about being “deeply selfish” in birthing \u003ci>One Heat Minute\u003c/i> as a way to talk about his favorite movie on a near-daily basis, it was that friend’s assertion that he’d actually enjoy \u003ci>hearing\u003c/i> it that turned the joke into an actual endeavor.\u003c/p>\n\u003cp>He never expected to attract a mass audience with his project, but the reaction to the series, now that he’s 75 episodes in, has surprised him. “I couldn’t have imagined, in a really positive way, how many people loved \u003cem>Heat\u003c/em>. And I’m so glad.”\u003c/p>\n\u003cp>In life, an obsession—with a movie, a song, a person—usually fades because another one’s taken its place. Yet as Howard acknowledges, he’ll be moving on not because his decades-long love affair with \u003cem>Heat\u003c/em> is over—but because his 170-episode podcast exercise is.\u003c/p>\n\u003cp>According to the current release schedule, \u003ci>One Heat Minute\u003c/i> will formally come to an end in July 2019—just under one year away. “I have no idea what it’s going to feel like,” says Howard. “To have done it—at 170 minutes, when this thing’s over.” He’s already got another movie in mind (a secret, for now) for his next minute-by-minute podcast.\u003c/p>\n\u003cp>How does Howard feel about becoming a professional obsessive focused on a movie that’s famously about characters who are professional obsessives? “That’s fine with me. I guess that’s what I was looking for,” he laughs. “I quite like being this obsessed. It hasn’t ruined me.”\u003c/p>\n\u003cp>And then he adds: “Yet.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you could focus on \u003cem>any\u003c/em> one thing—every day, for the foreseeable future—what would you choose?\u003c/p>\n\u003cp>Over a year ago, Australian movie critic and podcaster Blake Howard found himself doing just this—“goaded,” as he puts it, by a friend over beers, into choosing his next professional project. His answer, as he tells it today? “I just want to f-cking talk about \u003ci>Heat\u003c/i> every day.”\u003c/p>\n\u003cp>“And there was a laugh,” Howard remembers, “and he goes: ‘I’d listen to that.’” So \u003ca href=\"https://oneheatminute.com/\">\u003ci>One Heat Minute\u003c/i>\u003c/a>—the only podcast, at the time of writing, to dissect Michael Mann’s 1995 crime saga \u003ci>Heat\u003c/i> minute-by-minute—was born.\u003c/p>\n\u003cfigure id=\"attachment_13839994\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13839994 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/download-2.jpeg\" alt=\"\" width=\"500\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/download-2.jpeg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/download-2-160x160.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/download-2-240x240.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/download-2-375x375.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/download-2-32x32.jpeg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/download-2-50x50.jpeg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/download-2-64x64.jpeg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/download-2-96x96.jpeg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/download-2-128x128.jpeg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/download-2-150x150.jpeg 150w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">One Heat Minute host Blake Howard \u003ccite>(Courtesy Blake Howard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>Heat\u003c/i> is probably best known, among casual viewers, for its \u003ca href=\"https://youtu.be/mZjraQagtTo\" target=\"_blank\" rel=\"noopener\">coffee-shop face-off\u003c/a> between stars Robert de Niro and Al Pacino, who until then had never shared an actual on-screen scene together. Over two decades after its release, it’s most frequently remembered as a classic of the cops-and-robbers genre, with Pacino’s driven detective pursuing de Niro’s equally focused thief across a gorgeously-rendered backdrop of LA loneliness.\u003c/p>\n\u003cp>Howard has been obsessed with \u003ci>Heat\u003c/i> since he was a teen, and now he talks to people on his lo-fi, minimally-edited podcast about \u003ci>Heat\u003c/i> (which he says has had “about 20,000 downloads” so far) most days.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Every one of these episodes, which range in length from 20 minutes to an hour, examines another minute of this 170-minute movie. In each, Howard is joined by a guest—including that “goading” buddy, the critic Stu Coote; \u003cem>New York Times\u003c/em> film writer Manohla Dargis; and, most recently, an anonymous investigator of organized crime in Australia—to pore over every shot, line and performance within a given 60 seconds. That time limit, by the way, is strict: The first episode deals only with the opening credits. Some minutes have zero dialogue.\u003c/p>\n\u003cp>If you’re not a superfan of \u003cem>Heat\u003c/em>, \u003ci>One Heat Minute\u003c/i> will alienate you in the way only hearing people rave about an obsession you don’t share can (despite Howard’s effusive and enthusiastic presence). There’s nothing so inclusive \u003cem>and\u003c/em> exclusionary as people talking about a shared obsession, depending on which side of the door you’re on.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/ktSdle1Mwdg'\n title='//www.youtube.com/embed/ktSdle1Mwdg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But if you \u003cem>are\u003c/em> a superfan? You’ll probably find it fascinating. And here I must declare a personal interest: Though I don’t think anyone could love \u003ci>Heat\u003c/i> more than Blake Howard does, one of the people who might come closest… is me.\u003c/p>\n\u003cp>Thanks to a decadent-for-1990s-Yorkshire VHS setup in my childhood bedroom, and a predilection for overwrought Mann movies about tortured machismo, discovering \u003cem>Heat\u003c/em> in my most impressionable years has resulted in a lifelong connection with this film. Knowing all this, even I had to ask: Why \u003ci>Heat\u003c/i>?\u003c/p>\n\u003cp>“Sometimes you get this perfection, you know,” says Howard. “It’s like, it was \u003ci>made\u003c/i> to be examined. It was \u003ci>made\u003c/i> for me to have a conversation about.” As an exercise, he calls \u003ci>One Heat Minute\u003c/i> “the most endlessly rewarding thing I think I’ve ever done, as far as a creative exploration. But the movie just gets better and better.”\u003c/p>\n\u003cp>\u003cem>One Heat Minute\u003c/em> is by no means the only podcast to dissect a movie in minute chronological detail—\u003ca href=\"http://www.starwarsminute.com/\">\u003cem>Star Wars Minute\u003c/em>\u003c/a> and \u003ca href=\"http://goodfellasminute.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>Goodfellas Minute\u003c/em>\u003c/a> started several years ago. Howard compares this kind of hyper-close, repetitive examination to Roger Ebert’s tradition of revisiting and re-reviewing a film after his first published pass. True classics of cinema, says Howard, “deserve more of your time than a casual review.”\u003c/p>\n\u003cfigure id=\"attachment_13839996\" class=\"wp-caption alignnone\" style=\"max-width: 1934px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13839996 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/heat-michael-mann-edition-2017-fox-master-4k-blu-ray-50.jpg\" alt=\"\" width=\"1934\" height=\"1088\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/heat-michael-mann-edition-2017-fox-master-4k-blu-ray-50.jpg 1934w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/heat-michael-mann-edition-2017-fox-master-4k-blu-ray-50-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/heat-michael-mann-edition-2017-fox-master-4k-blu-ray-50-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/heat-michael-mann-edition-2017-fox-master-4k-blu-ray-50-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/heat-michael-mann-edition-2017-fox-master-4k-blu-ray-50-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/heat-michael-mann-edition-2017-fox-master-4k-blu-ray-50-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/heat-michael-mann-edition-2017-fox-master-4k-blu-ray-50-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/heat-michael-mann-edition-2017-fox-master-4k-blu-ray-50-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/heat-michael-mann-edition-2017-fox-master-4k-blu-ray-50-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/heat-michael-mann-edition-2017-fox-master-4k-blu-ray-50-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/heat-michael-mann-edition-2017-fox-master-4k-blu-ray-50-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/heat-michael-mann-edition-2017-fox-master-4k-blu-ray-50-520x293.jpg 520w\" sizes=\"(max-width: 1934px) 100vw, 1934px\">\u003cfigcaption class=\"wp-caption-text\">The final moments of Heat — it’s been 23 years, this isn’t a spoiler. \u003ccite>(Courtesy Warner Bros.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>True to his word, Howard’s podcast subjects \u003cem>Heat\u003c/em> to the kind of analysis and vigilance some might think reserved for “arthouse” cinema. This has yielded truly interesting discoveries, from previously-unnoticed visual echoes to connections between characters that would pass by unseen on a casual viewing.\u003c/p>\n\u003cp>In the episode that dissects \u003cem>Heat\u003c/em>’s third minute, Howard and his guest stumble on an undeniable bit of foreshadowing, noticing how the camera lingers on a statue in a hospital’s grounds—stone figures in a pose that almost exactly mirrors the one De Niro and Pacino hold in the movie’s very last frame. This is the stuff film students write papers on—and with \u003ci>One Heat Minute\u003c/i>’s minimal editing, hearing the two critics realize the connection seemingly in real time is genuinely, well, exciting.\u003c/p>\n\u003cp>Can you truly subject something to examination and commentary if you are, by your own admission, utterly in love with it? If adoring a movie with your whole heart makes you far less of an impartial critic, Howard isn’t concerned—\u003cem>One Heat Minute\u003c/em> is where critical review meets unabashed fandom.\u003c/p>\n\u003cp>Even though podcasting isn’t quite the meritocracy some make it out to be—there’s still something of a technical and financial barrier to entry—the field of what’s considered “worthy” of a podcast is wide. Howard didn’t \u003cem>need\u003c/em> to convince an editor of the artistic merits of a synth-heavy action thriller starring Val Kilmer, versus, say, \u003cem>Citizen Kane\u003c/em>. He just began recording his conversations with fellow enthusiasts and releasing them on iTunes. Anyone who wants to chat with their buddies about their favorite movie—or period of history, or serial killer—can do the same. Whether they find their audience, of course, is another story.\u003c/p>\n\u003cfigure id=\"attachment_13840505\" class=\"wp-caption alignnone\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13840505\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/heat-20-755160.jpg\" alt=\"\" width=\"1024\" height=\"576\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/heat-20-755160.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/heat-20-755160-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/heat-20-755160-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/heat-20-755160-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/heat-20-755160-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/heat-20-755160-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/heat-20-755160-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/heat-20-755160-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/heat-20-755160-520x293.jpg 520w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Amy Brenneman and Robert De Niro in Heat \u003ccite>(Courtesy Warner Bros.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Listening to a film podcast can feel like the sonic equivalent of that post-screening digest (or depending on varying opinions, debate) in a bar with your movie buddies. As a medium for criticism, podcasting provides extended run time and the freedom to dwell as long as desired on a particular subject—or in \u003cem>One Heat Minute\u003c/em>’s case, a frame or a glance or a throwaway line.\u003c/p>\n\u003cp>Yet if podcasting, as a medium, didn’t exist, how might a devotee like Howard have scratched this particular itch? His answer: writing, perhaps even in chapter-by-chapter book form, about this movie. “I would’ve been writing about \u003ci>Heat\u003c/i> forever. Honestly.”\u003c/p>\n\u003cp>Writing out this passion might not have enabled Howard to connect so relentlessly with fellow obsessives—and to conduct extended conversations with them. Obsession loves community, something podcasts in particular have so deftly tapped into, convening conversations between invested parties and then drawing the listener in to create a second layer of belonging.\u003c/p>\n\u003cfigure id=\"attachment_13840506\" class=\"wp-caption alignnone\" style=\"max-width: 960px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13840506\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/Heat1.jpg\" alt=\"\" width=\"960\" height=\"540\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Heat1.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Heat1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Heat1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Heat1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Heat1-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Heat1-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Heat1-520x293.jpg 520w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003cfigcaption class=\"wp-caption-text\">Robert De Niro in Heat \u003ccite>(Courtesy Warner Bros.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Howard calls podcasts a “little nice little campfire to sort of get around, to find your people.” As much as he jokes about being “deeply selfish” in birthing \u003ci>One Heat Minute\u003c/i> as a way to talk about his favorite movie on a near-daily basis, it was that friend’s assertion that he’d actually enjoy \u003ci>hearing\u003c/i> it that turned the joke into an actual endeavor.\u003c/p>\n\u003cp>He never expected to attract a mass audience with his project, but the reaction to the series, now that he’s 75 episodes in, has surprised him. “I couldn’t have imagined, in a really positive way, how many people loved \u003cem>Heat\u003c/em>. And I’m so glad.”\u003c/p>\n\u003cp>In life, an obsession—with a movie, a song, a person—usually fades because another one’s taken its place. Yet as Howard acknowledges, he’ll be moving on not because his decades-long love affair with \u003cem>Heat\u003c/em> is over—but because his 170-episode podcast exercise is.\u003c/p>\n\u003cp>According to the current release schedule, \u003ci>One Heat Minute\u003c/i> will formally come to an end in July 2019—just under one year away. “I have no idea what it’s going to feel like,” says Howard. “To have done it—at 170 minutes, when this thing’s over.” He’s already got another movie in mind (a secret, for now) for his next minute-by-minute podcast.\u003c/p>\n\u003cp>How does Howard feel about becoming a professional obsessive focused on a movie that’s famously about characters who are professional obsessives? “That’s fine with me. I guess that’s what I was looking for,” he laughs. “I quite like being this obsessed. It hasn’t ruined me.”\u003c/p>\n\u003cp>And then he adds: “Yet.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cem>We the Animals\u003c/em>, Jeremiah Zagar’s fever-dream of a movie, gets underway on a hot summer afternoon in upstate New York, with three shirtless, preteen boys running wild, the way kids do.\u003c/p>\n\u003cp>The youngest, Jonah (Evan Rosado), reads from a secret journal he scribbles at night, about wanting more: more noise, more muscles, more time with brothers Manny (Isaiah Kristian) and Joel (Josiah Gabriel).\u003c/p>\n\u003cp>The three boys are so inseparable they seem almost a single organism, bouncing off the walls, tearing across a field, baying at the moon, turning every flat object in the house into a drum … and when all of that gets old, huddling under a sheet, whispering.\u003c/p>\n\u003cp>Childhood is a magical time for these three, if also—when the discovery of that journal leads to unintended revelations—a fraught time. \u003c/p>\n\u003cp>https://youtu.be/jTRZsrj28C4\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Based on Justin Torres’ 2011, autobiographical debut novel, \u003cem>We the Animals \u003c/em>seemed an unlikely candidate for film adaptation. The book is impressionistic, fragmented, deeply felt but nearly non-narrative as it tells of a working-class family’s turbulent home life. Somehow, though, Zagar has found a way to let the film’s scenes surface and recede the way memories do.\u003c/p>\n\u003cp>Scenes about breakfasts and truck rides, dancing, cuddling, and roughhousing in the care of a mixed-race couple who’ve moved upstate looking for a good life that hasn’t materialized. Paps (Raul Castillo), a night watchman, is Puerto Rican; Ma (Sheila Vand), who works in a bottling plant, is white. They met when she was underage, and a dozen years later are still crazy in love. \u003c/p>\n\u003cp>But dead-end-jobs and struggling-to-make-ends-meet was never the plan, so sometimes they’re not just lovers, but also fighters—she protective of the kids, he rough and tumble (or just rough)—which means the boys need to figure out what’s happening when, say, Paps packs his things and takes off after one fight that leaves Ma bruised, and in the words of her sons, “purple … crazy … tore-up.” That rates a note \u003cem>and\u003c/em> an illustration in Jonah’s journal, animated with Mark Samsonovich’s scratchy pen drawings for the film.\u003c/p>\n\u003cp>That fight also leaves Ma too depressed to leave her bed for a week or so, which gives the kids a chance to eat themselves out of house and home, and then go foraging at a convenience store, in the woods, and on a farm, where a gruff but kind-hearted farmer gives them a hot meal, while glimpses of his striking blond grandson give Jonah feelings he doesn’t quite know what to do with. \u003c/p>\n\u003cp>Filmmaker Zagar is a documentarian, making his first fiction feature here, working with youngsters who’d never acted before, and creating a dreamlike narrative where Jonah’s carousing merges with his fantasies about adulthood, and his confusion over things his parents say and do—Paps loving and leaving; Ma loving and clinging.\u003c/p>\n\u003cp>“I remember your heart inside me,” she whispers to Jonah as she hugs him close, “tickin’ like a bomb.”\u003c/p>\n\u003cp>That’s quite the image, and applies equally to Jonah at age nine—ticking like a bomb with explosive sensual feelings, and the realization that there are ways in which he is not like his brothers. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>We the Animals\u003c/em> catches its characters as they are right on the cusp of the growth spurt that will propel them into their teens—into the years when they’ll finally grow out of the feral joys of childhood. Grow, in the case of journal-keeping Jonah, perhaps to be a writer who’ll try to capture in words this summer of wanting more—this summer when things began to change—and make it intense, scary and ecstatically lyrical.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Based on Justin Torres’ 2011, autobiographical debut novel, \u003cem>We the Animals \u003c/em>seemed an unlikely candidate for film adaptation. The book is impressionistic, fragmented, deeply felt but nearly non-narrative as it tells of a working-class family’s turbulent home life. Somehow, though, Zagar has found a way to let the film’s scenes surface and recede the way memories do.\u003c/p>\n\u003cp>Scenes about breakfasts and truck rides, dancing, cuddling, and roughhousing in the care of a mixed-race couple who’ve moved upstate looking for a good life that hasn’t materialized. Paps (Raul Castillo), a night watchman, is Puerto Rican; Ma (Sheila Vand), who works in a bottling plant, is white. They met when she was underage, and a dozen years later are still crazy in love. \u003c/p>\n\u003cp>But dead-end-jobs and struggling-to-make-ends-meet was never the plan, so sometimes they’re not just lovers, but also fighters—she protective of the kids, he rough and tumble (or just rough)—which means the boys need to figure out what’s happening when, say, Paps packs his things and takes off after one fight that leaves Ma bruised, and in the words of her sons, “purple … crazy … tore-up.” That rates a note \u003cem>and\u003c/em> an illustration in Jonah’s journal, animated with Mark Samsonovich’s scratchy pen drawings for the film.\u003c/p>\n\u003cp>That fight also leaves Ma too depressed to leave her bed for a week or so, which gives the kids a chance to eat themselves out of house and home, and then go foraging at a convenience store, in the woods, and on a farm, where a gruff but kind-hearted farmer gives them a hot meal, while glimpses of his striking blond grandson give Jonah feelings he doesn’t quite know what to do with. \u003c/p>\n\u003cp>Filmmaker Zagar is a documentarian, making his first fiction feature here, working with youngsters who’d never acted before, and creating a dreamlike narrative where Jonah’s carousing merges with his fantasies about adulthood, and his confusion over things his parents say and do—Paps loving and leaving; Ma loving and clinging.\u003c/p>\n\u003cp>“I remember your heart inside me,” she whispers to Jonah as she hugs him close, “tickin’ like a bomb.”\u003c/p>\n\u003cp>That’s quite the image, and applies equally to Jonah at age nine—ticking like a bomb with explosive sensual feelings, and the realization that there are ways in which he is not like his brothers. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>We the Animals\u003c/em> catches its characters as they are right on the cusp of the growth spurt that will propel them into their teens—into the years when they’ll finally grow out of the feral joys of childhood. Grow, in the case of journal-keeping Jonah, perhaps to be a writer who’ll try to capture in words this summer of wanting more—this summer when things began to change—and make it intense, scary and ecstatically lyrical.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"soldout": {
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