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"content": "\u003cp>As an antidote, or rebuff, to the garish and fleeting pleasures of Hollywood’s overhyped holiday movies, the Bay Area’s vital contingent of curators and programmers present a singular array of celebratory tributes and timeless classics. There’s something for everyone, from lowbrow to highbrow, from goofy to poignant, and from around the corner to medieval England to mid-century France. When you toast the season, friends and family this December, be sure to include a “skol” to the dedicated local savants that keep our movie stocking filled year-round.\u003c/p>\n\u003cp>\u003cb>Midnites for Maniacs\u003c/b>, Jesse Hawthorne Ficks’ ongoing excavation of his formative years via triple bills culled from the 1970s and ’80s — if Freud was alive, he’d call it “the watching cure” — hits an entertaining low Friday, Dec. 2 with \u003cb>More Fun Than Games: A Genuine Tribute to the Exploitation Cinema of Greydon Clark\u003c/b>. The jiggle-and-giggle marathon, shown on rare 35mm prints, revs its engine at 7:30pm with the motorcycle flick \u003ci>Hi-Riders\u003c/i> (1978), followed by the video arcade epic \u003ci>Joysticks\u003c/i> (1983) and the slasher knockoff \u003ci>Wacko\u003c/i> (1981). Joe Don Baker fans of the world, unite! Speaking of cult favorites, Udo Kier will be next door at the Little Roxie the same night for the opening of \u003ci>House of Boys\u003c/i>, a dance-music-infused drama set in Amsterdam’s gay club scene at the dawn of the AIDS era. For \u003ca href=\"http://roxie.com/events/details.cfm?EventID=C65C27FF-1143-DBB3-C6C98F1B36342A70&View=weeklist&linkDate=%7Bts%20%272011-12-02%2000%3A00%3A00%27%7D\">more information\u003c/a> visit roxie.com\u003c/p>\n\u003cp>When local filmmaker and teacher George Kuchar died in September at the age of 69, a light truly went out. Enthusiastic, irreverent and endlessly self-deprecating, Kuchar embodied the principle of taking one’s work seriously but not one’s self. San Francisco Cinematheque and Canyon Cinema honor the work \u003ci>and\u003c/i> the artist with two programs aptly titled \u003cb>Celebrating George Kuchar\u003c/b>. The SFMOMA show on Thursday, Dec. 8 features the vintage camp classics \u003ci>Hold Me While I’m Naked\u003c/i> (1966) and \u003ci>Wild Night in El Reno\u003c/i> (1977), while the Friday, Dec 16 program at the Ninth Street Independent Film Center includes \u003ci>Aqueerious\u003c/i> (1980) and \u003ci>Cattle Mutilations\u003c/i> (1983). For \u003ca href=\"http://www.sfcinematheque.org/#/calendar/201112080/.aspx\">more information\u003c/a> visit sfcinematheque.org.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/lostlandscapes.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>Lost Landscapes of San Francisco\u003c/i>\u003c/p>\n\u003cp>San Francisco archivist and curator Rick Prelinger has made a career out of preserving the moving images that convey our cultural and communal history. Yes, Bogart’s fedora and Hepburn’s slacks reflect the mores of an era, but amateur home movies and professional educational and training films tell us even more. In the new edition of his now-annual show, \u003cb>Lost Landscapes of San Francisco 6\u003c/b> (Thursday, Dec. 8 at the Castro), Prelinger invites the audience to vociferously identify the sights — some gone, like the Produce Market or the pre-development sand dunes of the Sunset District, and others still extant — on a delicious, bittersweet tour of the town. For \u003ca href=\"http://www.castrotheatre.com/p-list.html#dec08\">more information\u003c/a> visit castrotheatre.com\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/chimes.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>Chimes at Midnight\u003c/i>\u003c/p>\n\u003cp>The marvelous Pacific Film Archive retrospective \u003cb>Jeanne Moreau: Enduring Allure\u003c/b> ends Sunday, Dec. 11 with Orson Welles’ remarkable, rarely screened Shakespeare adaptation \u003ci>Chimes at Midnight\u003c/i> (1966). The brilliant actor-director delivers a buoyant, heartbreaking performance as the rotund Falstaff opposite Keith Baxter’s callow, impressionable Prince Hal and John Gielgud’s sternly austere Henry IV. The dialogue can be hard to decipher, but the performances and staging carry the day regardless. For \u003ca href=\"http://bampfa.berkeley.edu/film/FN19252\">more information\u003c/a> visit bampfa.berkeley.edu.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/brideworeblack.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>The Bride Wore Black\u003c/i>\u003c/p>\n\u003cp>The PFA series reminds us that the sharply intelligent French actress starred in an extraordinary number of great films, notably Francois Truffaut’s \u003ci>Jules and Jim\u003c/i>. Another Truffaut-Moreau collaboration, the delightfully suspenseful 1968 revenge escapade \u003ci>The Bride Wore Black\u003c/i>, adapted from a Cornell Woolrich novel and featuring a Bernard Hermann score, screens Saturday, Dec. 11 at the PFA followed by a week-long run Dec. 16-22 (excepting Dec. 17) at the San Francisco Film Society’s New People Cinema. For \u003ca href=\"http://www.sffs.org/content.aspx?catid=8&pageid=2594&TitleId=fsc-brideworeblack.aspx\">more information\u003c/a> visit sffs.org.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/pianoplayer.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>Shoot the Piano Player\u003c/i>\u003c/p>\n\u003cp>As it happens, two new holiday releases (the Paris-set \u003ci>Hugo\u003c/i> and the Hollywood-set \u003ci>The Artist\u003c/i>) pay homage to the early years of moviemaking. Nostalgia is where you find it, and for some reason that Jesse Hawthorne Ficks can explain, I associate the holidays with the humanist Truffaut. Dive deep into the late, great director’s exciting early films with the adulterous \u003ci>The Soft Skin\u003c/i> (1964) and the noir-inspired \u003ci>Shoot the Piano Player\u003c/i> (1960) in a Castro double bill Thursday, Dec. 15. For \u003ca href=\"http://www.castrotheatre.com/p-list.html#dec15\">more information\u003c/a> visit castrotheatre.com\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Clearly, anyone who says you can’t live in the past isn’t a film buff.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/chimes.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>Chimes at Midnight\u003c/i>\u003c/p>\n\u003cp>The marvelous Pacific Film Archive retrospective \u003cb>Jeanne Moreau: Enduring Allure\u003c/b> ends Sunday, Dec. 11 with Orson Welles’ remarkable, rarely screened Shakespeare adaptation \u003ci>Chimes at Midnight\u003c/i> (1966). The brilliant actor-director delivers a buoyant, heartbreaking performance as the rotund Falstaff opposite Keith Baxter’s callow, impressionable Prince Hal and John Gielgud’s sternly austere Henry IV. The dialogue can be hard to decipher, but the performances and staging carry the day regardless. For \u003ca href=\"http://bampfa.berkeley.edu/film/FN19252\">more information\u003c/a> visit bampfa.berkeley.edu.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/brideworeblack.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>The Bride Wore Black\u003c/i>\u003c/p>\n\u003cp>The PFA series reminds us that the sharply intelligent French actress starred in an extraordinary number of great films, notably Francois Truffaut’s \u003ci>Jules and Jim\u003c/i>. Another Truffaut-Moreau collaboration, the delightfully suspenseful 1968 revenge escapade \u003ci>The Bride Wore Black\u003c/i>, adapted from a Cornell Woolrich novel and featuring a Bernard Hermann score, screens Saturday, Dec. 11 at the PFA followed by a week-long run Dec. 16-22 (excepting Dec. 17) at the San Francisco Film Society’s New People Cinema. For \u003ca href=\"http://www.sffs.org/content.aspx?catid=8&pageid=2594&TitleId=fsc-brideworeblack.aspx\">more information\u003c/a> visit sffs.org.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/pianoplayer.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>Shoot the Piano Player\u003c/i>\u003c/p>\n\u003cp>As it happens, two new holiday releases (the Paris-set \u003ci>Hugo\u003c/i> and the Hollywood-set \u003ci>The Artist\u003c/i>) pay homage to the early years of moviemaking. Nostalgia is where you find it, and for some reason that Jesse Hawthorne Ficks can explain, I associate the holidays with the humanist Truffaut. Dive deep into the late, great director’s exciting early films with the adulterous \u003ci>The Soft Skin\u003c/i> (1964) and the noir-inspired \u003ci>Shoot the Piano Player\u003c/i> (1960) in a Castro double bill Thursday, Dec. 15. For \u003ca href=\"http://www.castrotheatre.com/p-list.html#dec15\">more information\u003c/a> visit castrotheatre.com\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Clearly, anyone who says you can’t live in the past isn’t a film buff.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>What happens when aging punk rockers become fathers? They go all gooey inside, just like regular guys. Or at least they do when they stagger home from expletive-filled gigs on the road to drive the kids to school, soccer and ballet, with cleaned-up versions of their own albums playing in the station wagon.\u003c/p>\n\u003cp>Food for midlife crisis? We’ll get to that. But first to the charm offensive, and I mean from the filmmakers, not the stars of this affable new rockumentary, the latest in a thriving subgenre about bad-boy musicians landing on the wrinkly side of 40. The feature debut of television producer Andrea Blaugrund Nevins, The Other F Word is executive-produced (with Jeremy Chilnick) by Morgan Spurlock (Supersize Me and The Greatest Movie Ever Sold), a man with a sharp nose for commercial high concept. Wild and crazy guys tamed for life! And there’s something undeniably sweet and comforting about the sight of little angels snuggling happily in the tattooed arms of grizzled lugs with names like Fat Mike, Rob Chaos and Tony Adolescent.\u003c/p>\n\u003cp>The feeling is mutual, to judge by the fervent testimony of the dads, most of whom played with hardcore bands like Black Flag, The Adolescents and Rancid that flourished in California’s beach communities in the ’70s and ’80s. The film focuses on Jim Lindberg, lead singer of the skate-punk band Pennywise and author of a book about being a punk dad; when he’s not on tour belting out that other other F-word for 17-year-old fans around the country, the genial Lindberg is home in a modest suburb with his high-school sweetheart wife and their three girls, doing what dads do.\u003c/p>\n\u003cp>An impressive number of these men say flat out that their children saved them — the Red Hot Chili Peppers’ Flea breaks down in tears — and all seem desperate to be better fathers to their own children than their own abusive or absentee parents. Yet in focusing on the rockers’ deprived childhoods, the movie, which is rather careless with period detail — if punk was a refuge for misfits in 1970s suburbia, why show footage from the 1950s sitcom Ozzie and Harriet as the model for a generation more likely to have grown up watching Happy Days? — has little to say about punk as a form of political and cultural resistance in its time. It winds up reducing the movement to little more than a bunch of disaffected furies from lousy homes.\u003c/p>\n\u003cp>Few of the dads repudiate punk as a musical form; they’ve simply aged out of it. “Punk was never meant to grow up,” says one dad sadly, while another registers his growing discomfort at having to play “birthday clown” for hormonal young things who embrace the style without the political message. In that regard The Other F Word may already be a little out of date — Black Flag frontman Henry Rollins, who doesn’t appear in the film, has said that punk may yet come back to bite us with the Occupy movements. If so, the midwives will have to be the young.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>With or without children to support, there’s real pathos, as Lindberg wryly admits while applying black dye to his hair before a gig, in being a 43-year-old man preaching rage against the machine to a bunch of teens safely penned behind a partition. On the home front, it’s hard to remain a nihilist around little kids, who are natural creators of meaning from the materials at hand.\u003c/p>\n\u003cp>As wonderful as it is to see the peace and happiness they’ve brought their dads, the real challenge for these men may come when the sweet tots who now look up to them grow into adolescents looking for authorities of their own to displace. I look forward to the sequel, Back to the F Word: When Teenagers Out-Punk Their Elders and Make Them Mad Again.\u003c/p>\n\u003cp>Copyright 2011 National Public Radio. To see more, visit \u003ca href=\"www.npr.org\">www.npr.org\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Source: \u003ca href=\"www.npr.org\">NPR\u003c/a>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>What happens when aging punk rockers become fathers? They go all gooey inside, just like regular guys. Or at least they do when they stagger home from expletive-filled gigs on the road to drive the kids to school, soccer and ballet, with cleaned-up versions of their own albums playing in the station wagon.\u003c/p>\n\u003cp>Food for midlife crisis? We’ll get to that. But first to the charm offensive, and I mean from the filmmakers, not the stars of this affable new rockumentary, the latest in a thriving subgenre about bad-boy musicians landing on the wrinkly side of 40. The feature debut of television producer Andrea Blaugrund Nevins, The Other F Word is executive-produced (with Jeremy Chilnick) by Morgan Spurlock (Supersize Me and The Greatest Movie Ever Sold), a man with a sharp nose for commercial high concept. Wild and crazy guys tamed for life! And there’s something undeniably sweet and comforting about the sight of little angels snuggling happily in the tattooed arms of grizzled lugs with names like Fat Mike, Rob Chaos and Tony Adolescent.\u003c/p>\n\u003cp>The feeling is mutual, to judge by the fervent testimony of the dads, most of whom played with hardcore bands like Black Flag, The Adolescents and Rancid that flourished in California’s beach communities in the ’70s and ’80s. The film focuses on Jim Lindberg, lead singer of the skate-punk band Pennywise and author of a book about being a punk dad; when he’s not on tour belting out that other other F-word for 17-year-old fans around the country, the genial Lindberg is home in a modest suburb with his high-school sweetheart wife and their three girls, doing what dads do.\u003c/p>\n\u003cp>An impressive number of these men say flat out that their children saved them — the Red Hot Chili Peppers’ Flea breaks down in tears — and all seem desperate to be better fathers to their own children than their own abusive or absentee parents. Yet in focusing on the rockers’ deprived childhoods, the movie, which is rather careless with period detail — if punk was a refuge for misfits in 1970s suburbia, why show footage from the 1950s sitcom Ozzie and Harriet as the model for a generation more likely to have grown up watching Happy Days? — has little to say about punk as a form of political and cultural resistance in its time. It winds up reducing the movement to little more than a bunch of disaffected furies from lousy homes.\u003c/p>\n\u003cp>Few of the dads repudiate punk as a musical form; they’ve simply aged out of it. “Punk was never meant to grow up,” says one dad sadly, while another registers his growing discomfort at having to play “birthday clown” for hormonal young things who embrace the style without the political message. In that regard The Other F Word may already be a little out of date — Black Flag frontman Henry Rollins, who doesn’t appear in the film, has said that punk may yet come back to bite us with the Occupy movements. If so, the midwives will have to be the young.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>With or without children to support, there’s real pathos, as Lindberg wryly admits while applying black dye to his hair before a gig, in being a 43-year-old man preaching rage against the machine to a bunch of teens safely penned behind a partition. On the home front, it’s hard to remain a nihilist around little kids, who are natural creators of meaning from the materials at hand.\u003c/p>\n\u003cp>As wonderful as it is to see the peace and happiness they’ve brought their dads, the real challenge for these men may come when the sweet tots who now look up to them grow into adolescents looking for authorities of their own to displace. I look forward to the sequel, Back to the F Word: When Teenagers Out-Punk Their Elders and Make Them Mad Again.\u003c/p>\n\u003cp>Copyright 2011 National Public Radio. To see more, visit \u003ca href=\"www.npr.org\">www.npr.org\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Source: \u003ca href=\"www.npr.org\">NPR\u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>If the name John Korty doesn’t ring a bell, fair enough. It has been a while since the North Bay filmmaker’s Oscar-winning 1977 documentary about a family of adopted disabled war orphans, \u003ci>Who Are the DeBolts and Where Did They Get 19 Kids?\u003c/i> Since then he has been retiring, in the sense of remaining withdrawn from wide circulation, but not in the sense of stopping work. That distinction seems crucial for Korty, a perennial independent.\u003c/p>\n\u003cp>Given the Oscar, his many Emmys, and a host of other award nominations, not to mention all the films themselves, we may begin to marvel at the way Korty makes quasi-obscurity look like a trade secret. We may ask: Who is John Korty, and how did he get 50 steady years worth of independent filmmaking experience? Inasmuch as an answer exists, it’ll be available at the Smith Rafael Film Center’s welcome retrospective of Korty’s work.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/debolts.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>Who Are the DeBolts and Where Did They Get 19 Kids?\u003c/i>\u003c/p>\n\u003cp>Maybe the most important thing to know going in is not just that Korty’s the guy who inspired Francis Coppola and George Lucas to move to Northern California and work outside Hollywood, but also the guy who stayed his course even after those two became excessively famous and enmeshed \u003ci>within\u003c/i> Hollywood.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/missjane.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>The Autobiography of Miss Jane Pittman\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>We know, too, from 1974’s \u003ci>The Autobiography of Miss Jane Pittman\u003c/i>, about a woman born into slavery who lived long enough to embrace the civil rights movement, that Korty is attuned to endurance. We see rudiments of his humane, resourceful style in \u003ci>The Crazy-Quilt\u003c/i>, a beautifully unvarnished, poignantly funny 1966 love story about an exterminator and a flower child, from San Francisco psychoanalyst Allen Wheelis’s story, \u003ci>The Illusionless Man and the Visionary Maid\u003c/i>. And from the following year’s \u003ci>Funnyman\u003c/i>, about an improv comedian who wants his work to matter, we infer Korty’s faith in the elasticity both of spirit and of form.\u003c/p>\n\u003cp>If there is a throughline from Korty’s short 1961 documentary debut, \u003ci>The Language of Faces\u003c/i>, about a Quaker peace vigil at the Pentagon during the Cold War, all the way to this year’s \u003ci>John Allair Digs In!\u003c/i>, a portrait of the Marin County rock ‘n’ roller and piano tuner, it must be a bold zigzag. Korty is an artist whose perceptiveness cuts across lines of race, class, gender and especially genre. He seems equally at home in trippy, vintage, \u003ci>Sesame Street\u003c/i> animation and in the sober genteel short fiction of John Updike.\u003c/p>\n\u003cp>Korty’s website lists the distinguished alumni of his production concern, whose ranks include David Fincher, hired at the tender age of 19. “I take no credit for the accomplishments of these talents,” Korty writes, “but I am proud to have provided a place of employment for them outside of Hollywood.”\u003c/p>\n\u003cp>So, do we detect an outright aversion? Too mannerly to wear the label of maverick with any real pomp, Korty probably wouldn’t go so far as to call Hollywood a “garbagerie,” to borrow a term from his Lucas-produced, collage-animated 1983 fable \u003ci>Twice Upon a Time\u003c/i>. But there is the sense of real staisfaction with all that has sprung from his raffish DIY studio in Stinson Beach. There is the sense, still plausibly inspiring to those who would so receive it, that Korty wouldn’t have it any other way. As Updike’s narrator tells us in \u003ci>The Music School\u003c/i>, which Korty adapted in 1974, “in the end each life wears its events with a geological inevitability.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>The Films of John Korty\u003c/b> will be showing Thursdays and Sundays, November 10 through December 4, 2011 at the Christopher B. Smith Rafael Film Center in San Rafael, with director John Korty and other special guests in attendance. For \u003ca href=\"http://cafilm.org/rfc/index.html\">tickets and more information\u003c/a>, visit cafilm.org.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If the name John Korty doesn’t ring a bell, fair enough. It has been a while since the North Bay filmmaker’s Oscar-winning 1977 documentary about a family of adopted disabled war orphans, \u003ci>Who Are the DeBolts and Where Did They Get 19 Kids?\u003c/i> Since then he has been retiring, in the sense of remaining withdrawn from wide circulation, but not in the sense of stopping work. That distinction seems crucial for Korty, a perennial independent.\u003c/p>\n\u003cp>Given the Oscar, his many Emmys, and a host of other award nominations, not to mention all the films themselves, we may begin to marvel at the way Korty makes quasi-obscurity look like a trade secret. We may ask: Who is John Korty, and how did he get 50 steady years worth of independent filmmaking experience? Inasmuch as an answer exists, it’ll be available at the Smith Rafael Film Center’s welcome retrospective of Korty’s work.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/debolts.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>Who Are the DeBolts and Where Did They Get 19 Kids?\u003c/i>\u003c/p>\n\u003cp>Maybe the most important thing to know going in is not just that Korty’s the guy who inspired Francis Coppola and George Lucas to move to Northern California and work outside Hollywood, but also the guy who stayed his course even after those two became excessively famous and enmeshed \u003ci>within\u003c/i> Hollywood.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/missjane.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>The Autobiography of Miss Jane Pittman\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>We know, too, from 1974’s \u003ci>The Autobiography of Miss Jane Pittman\u003c/i>, about a woman born into slavery who lived long enough to embrace the civil rights movement, that Korty is attuned to endurance. We see rudiments of his humane, resourceful style in \u003ci>The Crazy-Quilt\u003c/i>, a beautifully unvarnished, poignantly funny 1966 love story about an exterminator and a flower child, from San Francisco psychoanalyst Allen Wheelis’s story, \u003ci>The Illusionless Man and the Visionary Maid\u003c/i>. And from the following year’s \u003ci>Funnyman\u003c/i>, about an improv comedian who wants his work to matter, we infer Korty’s faith in the elasticity both of spirit and of form.\u003c/p>\n\u003cp>If there is a throughline from Korty’s short 1961 documentary debut, \u003ci>The Language of Faces\u003c/i>, about a Quaker peace vigil at the Pentagon during the Cold War, all the way to this year’s \u003ci>John Allair Digs In!\u003c/i>, a portrait of the Marin County rock ‘n’ roller and piano tuner, it must be a bold zigzag. Korty is an artist whose perceptiveness cuts across lines of race, class, gender and especially genre. He seems equally at home in trippy, vintage, \u003ci>Sesame Street\u003c/i> animation and in the sober genteel short fiction of John Updike.\u003c/p>\n\u003cp>Korty’s website lists the distinguished alumni of his production concern, whose ranks include David Fincher, hired at the tender age of 19. “I take no credit for the accomplishments of these talents,” Korty writes, “but I am proud to have provided a place of employment for them outside of Hollywood.”\u003c/p>\n\u003cp>So, do we detect an outright aversion? Too mannerly to wear the label of maverick with any real pomp, Korty probably wouldn’t go so far as to call Hollywood a “garbagerie,” to borrow a term from his Lucas-produced, collage-animated 1983 fable \u003ci>Twice Upon a Time\u003c/i>. But there is the sense of real staisfaction with all that has sprung from his raffish DIY studio in Stinson Beach. There is the sense, still plausibly inspiring to those who would so receive it, that Korty wouldn’t have it any other way. As Updike’s narrator tells us in \u003ci>The Music School\u003c/i>, which Korty adapted in 1974, “in the end each life wears its events with a geological inevitability.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>The Films of John Korty\u003c/b> will be showing Thursdays and Sundays, November 10 through December 4, 2011 at the Christopher B. Smith Rafael Film Center in San Rafael, with director John Korty and other special guests in attendance. For \u003ca href=\"http://cafilm.org/rfc/index.html\">tickets and more information\u003c/a>, visit cafilm.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Give thanks for the Bay Area film calendar, which is as packed as that of any city outside of New York or Paris. But there’s no possible way a movie lover can catch all the festivals, retrospectives, one-off revivals, filmmaker visits and worthwhile new releases brightening our screens every month. As a public service of sorts, the following is a quick-hit fistful of movie-going highlights in the upcoming weeks.\u003c/p>\n\u003cp>The San Francisco Film Society’s third annual spotlight on local filmmakers, \u003cb>Cinema by the Bay\u003c/b> (Nov. 3-6), covers the waterfront from personal narrative filmmaking (Joshua Moore’s moody, ambiguous character study, \u003ci>I Think It’s Raining\u003c/i>) to vintage experimental shorts (\u003cb>Essential SF: Canyon Cinema\u003c/b>) to a live music-silent film event (\u003ci>The Bat\u003c/i> with acoustic guitar accompaniment by Ava Mendoza).\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"//u.s.kqed.org/2011/11/02/thepriceofsex1.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>The Price of Sex\u003c/i>\u003c/p>\n\u003cp>Special mention goes to photojournalist and UC Berkeley professor Mimi Chakarova’s unrelenting investigation into the trafficking of Eastern European women, \u003ci>The Price of Sex\u003c/i>. (The East Bay filmmaker also screens her gutsy documentary Saturday, Nov. 26 at Other Cinema (at Artists Television Access in the Mission). For \u003ca href=\"http://sffs.org/Screenings-and-Events/Fall-Season-2011/Cinema-by-the-Bay.aspx\">more information\u003c/a> visit sffs.org.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/brainstorm1.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>Brainstorm\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Longtime Roxie programmer Elliot Lavine returns to the screen of the crime with \u003cb>Not Necessarily Noir II\u003c/b> (Nov. 4-8), his latest excavation of post-noir tales of obsessive love, doomed characters and laughing chance. A certified highlight is \u003ci>Brainstorm\u003c/i> (1965), William Conrad’s brick-by-brick unraveling of a brainy, otherwise rational analyst (Jeffrey Hunter of \u003ci>The Searchers\u003c/i>) who falls for the suicidal wife (Anne Francis at her most fetching) of the controlling, Howard Hughes-ish magnate (Dana Andrews) who owns the company. If it’s camp you crave, don’t miss the Ed Wood, Jr. triple feature of \u003ci>Jail Bait\u003c/i>, \u003ci>Glen or Glenda?\u003c/i> and \u003ci>Plan 9 From Outer Space\u003c/i> (Tuesday, Nov. 8). For \u003ca href=\"http://www.roxie.com/events/details.cfm?eventID=AC7AFF9F-1143-DBB3-C6C5C3A14CA68FA6\">more information\u003c/a> visit roxie.com.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/darkcountry1.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>Dark Country\u003c/i>\u003c/p>\n\u003cp>Eddie Muller, who knows a thing or three about noir himself, dives into the deep end of the Castro pool with actor-director Thomas Jane (\u003ci>Hung\u003c/i>) on Friday, Nov. 18. The macho duo square off onstage following a rare screening of \u003ci>Dark Country\u003c/i> (2009), Jane’s atmospheric 3-D yarn about a honeymooning couple whose fun abruptly ends when they run into a man in the Nevada desert. For \u003ca href=\"http://www.castrotheatre.com/p-list.html#nov18\">more information\u003c/a> visit castrotheatre.com\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/manwith1.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>The Man With the Movie Camera\u003c/i>\u003c/p>\n\u003cp>If field trips can be arranged, I encourage Occupy San Francisco and Occupy Oakland to send rotating groups to \u003cb>Kino-Eye: The Revolutionary Cinema of Dziga Vertov\u003c/b>, screening through Nov. 29 at the Pacific Film Archive in Berkeley. The brilliant Soviet film pioneer was convinced that the young medium of movies could be a tool for people building a new Utopia. Not all movies, mind you, for Vertov derided conventional narratives as “the vodka of the masses.” Montage was the sledgehammer he employed to destroy bourgeois ideas, and the paintbrush he used to plant fresh ideals. For \u003ca href=\"http://www.bampfa.berkeley.edu/filmseries/vertov\">more information\u003c/a>, visit bampfa.berkeley.edu.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/lumiere1.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>Bring on the Lumiere!\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Let’s go back even further in time to the Lumiere brothers, the French duo who, desiring to promote and sell their groundbreaking, turn-of-the-20th-century movie cameras, created the first films and the original theaters. The mustard’s been cut ever since, as some hard-boiled wit once said about something else. In \u003ci>Bring On the Lumiere!\u003c/i>, director/choreographer Catherine Galasso and lighting designer Elaine Buckholtz combine dance, video and evocative illusion in an homage to the permanent influence and temporal nature of moving images. Performances take place at the ODC Theater in San Francisco Nov. 11-13. For \u003ca href=\"http://odcdance.org/performance.php?param=78\">more information\u003c/a> visit odcdance.org.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Give thanks for the Bay Area film calendar, which is as packed as that of any city outside of New York or Paris. But there’s no possible way a movie lover can catch all the festivals, retrospectives, one-off revivals, filmmaker visits and worthwhile new releases brightening our screens every month. As a public service of sorts, the following is a quick-hit fistful of movie-going highlights in the upcoming weeks.\u003c/p>\n\u003cp>The San Francisco Film Society’s third annual spotlight on local filmmakers, \u003cb>Cinema by the Bay\u003c/b> (Nov. 3-6), covers the waterfront from personal narrative filmmaking (Joshua Moore’s moody, ambiguous character study, \u003ci>I Think It’s Raining\u003c/i>) to vintage experimental shorts (\u003cb>Essential SF: Canyon Cinema\u003c/b>) to a live music-silent film event (\u003ci>The Bat\u003c/i> with acoustic guitar accompaniment by Ava Mendoza).\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"//u.s.kqed.org/2011/11/02/thepriceofsex1.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>The Price of Sex\u003c/i>\u003c/p>\n\u003cp>Special mention goes to photojournalist and UC Berkeley professor Mimi Chakarova’s unrelenting investigation into the trafficking of Eastern European women, \u003ci>The Price of Sex\u003c/i>. (The East Bay filmmaker also screens her gutsy documentary Saturday, Nov. 26 at Other Cinema (at Artists Television Access in the Mission). For \u003ca href=\"http://sffs.org/Screenings-and-Events/Fall-Season-2011/Cinema-by-the-Bay.aspx\">more information\u003c/a> visit sffs.org.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/brainstorm1.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>Brainstorm\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Longtime Roxie programmer Elliot Lavine returns to the screen of the crime with \u003cb>Not Necessarily Noir II\u003c/b> (Nov. 4-8), his latest excavation of post-noir tales of obsessive love, doomed characters and laughing chance. A certified highlight is \u003ci>Brainstorm\u003c/i> (1965), William Conrad’s brick-by-brick unraveling of a brainy, otherwise rational analyst (Jeffrey Hunter of \u003ci>The Searchers\u003c/i>) who falls for the suicidal wife (Anne Francis at her most fetching) of the controlling, Howard Hughes-ish magnate (Dana Andrews) who owns the company. If it’s camp you crave, don’t miss the Ed Wood, Jr. triple feature of \u003ci>Jail Bait\u003c/i>, \u003ci>Glen or Glenda?\u003c/i> and \u003ci>Plan 9 From Outer Space\u003c/i> (Tuesday, Nov. 8). For \u003ca href=\"http://www.roxie.com/events/details.cfm?eventID=AC7AFF9F-1143-DBB3-C6C5C3A14CA68FA6\">more information\u003c/a> visit roxie.com.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/darkcountry1.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>Dark Country\u003c/i>\u003c/p>\n\u003cp>Eddie Muller, who knows a thing or three about noir himself, dives into the deep end of the Castro pool with actor-director Thomas Jane (\u003ci>Hung\u003c/i>) on Friday, Nov. 18. The macho duo square off onstage following a rare screening of \u003ci>Dark Country\u003c/i> (2009), Jane’s atmospheric 3-D yarn about a honeymooning couple whose fun abruptly ends when they run into a man in the Nevada desert. For \u003ca href=\"http://www.castrotheatre.com/p-list.html#nov18\">more information\u003c/a> visit castrotheatre.com\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/manwith1.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>The Man With the Movie Camera\u003c/i>\u003c/p>\n\u003cp>If field trips can be arranged, I encourage Occupy San Francisco and Occupy Oakland to send rotating groups to \u003cb>Kino-Eye: The Revolutionary Cinema of Dziga Vertov\u003c/b>, screening through Nov. 29 at the Pacific Film Archive in Berkeley. The brilliant Soviet film pioneer was convinced that the young medium of movies could be a tool for people building a new Utopia. Not all movies, mind you, for Vertov derided conventional narratives as “the vodka of the masses.” Montage was the sledgehammer he employed to destroy bourgeois ideas, and the paintbrush he used to plant fresh ideals. For \u003ca href=\"http://www.bampfa.berkeley.edu/filmseries/vertov\">more information\u003c/a>, visit bampfa.berkeley.edu.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/lumiere1.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>Bring on the Lumiere!\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Let’s go back even further in time to the Lumiere brothers, the French duo who, desiring to promote and sell their groundbreaking, turn-of-the-20th-century movie cameras, created the first films and the original theaters. The mustard’s been cut ever since, as some hard-boiled wit once said about something else. In \u003ci>Bring On the Lumiere!\u003c/i>, director/choreographer Catherine Galasso and lighting designer Elaine Buckholtz combine dance, video and evocative illusion in an homage to the permanent influence and temporal nature of moving images. Performances take place at the ODC Theater in San Francisco Nov. 11-13. For \u003ca href=\"http://odcdance.org/performance.php?param=78\">more information\u003c/a> visit odcdance.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In 2008, Jazz pianist Fred Hersch went into a two-month coma caused by an HIV virus that had traveled to his brain, which then triggered AIDS-related dementia. The experience revealed to him how difficult it is to articulate what being sick sounds and looks like. Hersch decided to create a language — visual and musical, private and open — to describe living with a long-term illness. That language developed into a multi-media performance called \u003cb>My Coma Dreams\u003c/b>.\u003c/p>\n\u003cp>Built around a series of dreams and nightmares that Fred experienced while recovering from his coma, the live performance includes an 11-piece orchestra, singing, spoken word and projections of animation and other visual effects that illustrate Hersch’s experience of sinking into and beginning to heal from a gravely serious and lifelong illness.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003ciframe loading=\"lazy\" width=\"480\" height=\"300\" src=\"http://www.youtube.com/embed/YPBYRnIsxLA\" frameborder=\"0\" allowfullscreen>\u003c/iframe>\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>After reading about Hersch in \u003ci>The New York Times\u003c/i>, filmmakers Charlotte Lagarde and Carrie Lozano were inspired to develop a full-length documentary film tracing the production of \u003cb>My Coma Dreams\u003c/b> from its first notes to its live performances in venues around the world. This Thursday, Lagarde and Lozano will screen clips and have a conversation about their documentary-in-progress in the screening room at Yerba Buena Center for the Arts.\u003c/p>\n\u003cp>The screening will show pieces of the documentary in its nascent stage (filming began last December). In a telephone conversation, Charlotte Lagarde noted that she and Lozano are using the making of \u003cb>My Coma Dreams\u003c/b>, which is the largest work Hersch has ever produced, as “the spine for the story about the story of Fred.” He is a prolific artist and an inspiring activist. “There is something very appealing about Hersch, since he is into creating this huge piece and sending [it] out into the world.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Charlotte continued, “Dreams are natural transitions to intimate portraits of Fred,” and the filmmakers see these dreams as points of entry into Fred’s process composing this epic project. Up until now, the documentary has focused primarily on the behind-the-scenes making of \u003cb>My Coma Dreams\u003c/b>. Charlotte and Carrie are setting out to also develop an intimate portrait of the man as a musician and an activist within the medical community.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003ciframe loading=\"lazy\" width=\"420\" height=\"345\" src=\"http://www.youtube.com/embed/w0DdXxClnsk\" frameborder=\"0\" allowfullscreen>\u003c/iframe>\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>The filmmakers are adamant that this is not just a biography. Lagarde and Lozano are focusing on Fred as he is now and how he approaches every day with urgency and precision. The conversation and screening will be an excellent introduction to Hersch as a musician, activist and leader. Even while doing the most simple daily tasks, Fred’s personality and aggressive motivation to live every day to its fullest make him a great documentary subject.\u003c/p>\n\u003cp>Hersch’s live performance of \u003cb>My Coma Dreams\u003c/b> will debut in San Francisco on October 30, 2011 at the Herbst Theater.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Filming Performance: Work-in-Progress Screening and Discussion with Carrie Lozano and Charlotte Lagarde\u003c/b> is Thursday, September 8, 7:30pm at Yerba Buena Center for the Arts in San Francisco. For \u003ca href=\"http://ybca.org/filming-performance\">more information\u003c/a> visit ybca.org.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 2008, Jazz pianist Fred Hersch went into a two-month coma caused by an HIV virus that had traveled to his brain, which then triggered AIDS-related dementia. The experience revealed to him how difficult it is to articulate what being sick sounds and looks like. Hersch decided to create a language — visual and musical, private and open — to describe living with a long-term illness. That language developed into a multi-media performance called \u003cb>My Coma Dreams\u003c/b>.\u003c/p>\n\u003cp>Built around a series of dreams and nightmares that Fred experienced while recovering from his coma, the live performance includes an 11-piece orchestra, singing, spoken word and projections of animation and other visual effects that illustrate Hersch’s experience of sinking into and beginning to heal from a gravely serious and lifelong illness.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003ciframe loading=\"lazy\" width=\"480\" height=\"300\" src=\"http://www.youtube.com/embed/YPBYRnIsxLA\" frameborder=\"0\" allowfullscreen>\u003c/iframe>\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>After reading about Hersch in \u003ci>The New York Times\u003c/i>, filmmakers Charlotte Lagarde and Carrie Lozano were inspired to develop a full-length documentary film tracing the production of \u003cb>My Coma Dreams\u003c/b> from its first notes to its live performances in venues around the world. This Thursday, Lagarde and Lozano will screen clips and have a conversation about their documentary-in-progress in the screening room at Yerba Buena Center for the Arts.\u003c/p>\n\u003cp>The screening will show pieces of the documentary in its nascent stage (filming began last December). In a telephone conversation, Charlotte Lagarde noted that she and Lozano are using the making of \u003cb>My Coma Dreams\u003c/b>, which is the largest work Hersch has ever produced, as “the spine for the story about the story of Fred.” He is a prolific artist and an inspiring activist. “There is something very appealing about Hersch, since he is into creating this huge piece and sending [it] out into the world.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Charlotte continued, “Dreams are natural transitions to intimate portraits of Fred,” and the filmmakers see these dreams as points of entry into Fred’s process composing this epic project. Up until now, the documentary has focused primarily on the behind-the-scenes making of \u003cb>My Coma Dreams\u003c/b>. Charlotte and Carrie are setting out to also develop an intimate portrait of the man as a musician and an activist within the medical community.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003ciframe loading=\"lazy\" width=\"420\" height=\"345\" src=\"http://www.youtube.com/embed/w0DdXxClnsk\" frameborder=\"0\" allowfullscreen>\u003c/iframe>\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>The filmmakers are adamant that this is not just a biography. Lagarde and Lozano are focusing on Fred as he is now and how he approaches every day with urgency and precision. The conversation and screening will be an excellent introduction to Hersch as a musician, activist and leader. Even while doing the most simple daily tasks, Fred’s personality and aggressive motivation to live every day to its fullest make him a great documentary subject.\u003c/p>\n\u003cp>Hersch’s live performance of \u003cb>My Coma Dreams\u003c/b> will debut in San Francisco on October 30, 2011 at the Herbst Theater.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Filming Performance: Work-in-Progress Screening and Discussion with Carrie Lozano and Charlotte Lagarde\u003c/b> is Thursday, September 8, 7:30pm at Yerba Buena Center for the Arts in San Francisco. For \u003ca href=\"http://ybca.org/filming-performance\">more information\u003c/a> visit ybca.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>On the first Friday night of every month, downtown Oakland is transformed from mildly populated business center to densely packed social scene. As the sun sets and neon signs blink to life, the Great Wall of Oakland offers an innovative public art program during \u003ca href=\"http://oaklandartmurmur.org/\">Oakland Art Murmur\u003c/a>, the popular gallery crawl on First Fridays. From 8 to 11pm, people line sidewalks and perch on medians to watch videos screened from around the world, projected 100′ x 100′ on the exterior of a building on West Grand, between Broadway and Valley Streets.\u003c/p>\n\u003cp>The audio is broadcast on 89.5 FM and amplified from boom boxes jerry-rigged in the parking lot below. A beam of light from an adjacent rooftop indicates the location of the 15,000 Lumens Eiki projector. It is a charmingly simple production and a great example of an innovative public art initiative, low budget and non-invasive. The curatorial philosophy, as articulated by curator Issabella Shields Grantham, focuses “on cutting-edge motion art appropriate for the whole family, with an emphasis on local artists whenever possible.” Submissions are accepted on a rolling basis; selected artists receive a modest honoraria and documentation of the screening.\u003c/p>\n\u003cp>The outgrowth of a defunct project called the “Illuminated Corridor,” the Great Wall of Oakland developed into its own non-profit organization in 2006. It is funded by various city funds and helmed by executive director Chris Curtis. Oakland Museum of California senior curator René de Guzman and Oakland Standard new media producer Stijn Schiffeleers, along with members of the City of Oakland Cultural Arts Department, serve as curatorial advisors.\u003c/p>\n\u003cp>In August the Great Wall featured \u003cb>A Celebration of Animation\u003c/b>, a selection that explored various styles, from hand-drawn illustrations to cut-paper and computer-generated imagery. The work, compiled from submissions and public portfolios on Vimeo.com, hailed from disparate cities including Tokyo, Mallorca, London, Paris, Toronto, Lugano, Sarasota, and Austin. (Markedly absent was the inclusion of a local artist, which seems odd given the area’s relationship to animation. Another recent program however featured the personal videos of Pixar employees.) There were twelve videos, ranging in time from 30 seconds up to nearly 8 minutes. The total program ran around 40 minutes and played several times throughout the evening.\u003c/p>\n\u003cp>A few resonating examples included Joseph Pierce’s hand-drawn \u003cb>A Family Portrait\u003c/b>, which depicts the emotional complexities in a family portrait session; and \u003cb>The Shore\u003c/b> by Eric Power, a compelling cut-paper animated music video for a tune by Wiretree. Less engaging non-narrative work, such as Andreas Gysin’s unfinished \u003cb>Anthem of Hearts\u003c/b>, an abstract display of dot-like forms, created an interesting balance in the program, like breathing room. People took a break from craning their necks to look around and compare notes with friends and strangers. “Not so into this one,” I overheard. “Really? I kind of like it,” came a reply.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Many of the videos negotiated the ambiguous aesthetic terrain between artwork and music video, but this indeterminate distinction seemed to have no bearing on the viewers. Whether or not the works were visually compelling determined their success, measured only by the attention span of the audience. Either people stayed to watch or they didn’t. Despite the uneven quality of the videos, or perhaps because of it, a fair number of viewers were intent to stay for the duration. Knowing that the videos won’t exceed seven minutes means that you don’t have to wait long to see the next piece.\u003c/p>\n\u003cp>Premised on the most basic criteria of public art — \u003ci>does it engage people? does it animate the environment?\u003c/i> — without the usual pitfall of long-term commitments, either to the artwork or from the audience, the Great Wall is indeed a great success and, once a month, a very compelling place to see and be seen.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The Great Wall of Oakland screens a new program every first Friday during Oakland Art Murmur, 8-11pm. The next program is on Friday, September 2, 2011.For \u003ca href=\"http://www.greatwallofoakland.org\">more information\u003c/a> visit greatwallofoakland.org.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On the first Friday night of every month, downtown Oakland is transformed from mildly populated business center to densely packed social scene. As the sun sets and neon signs blink to life, the Great Wall of Oakland offers an innovative public art program during \u003ca href=\"http://oaklandartmurmur.org/\">Oakland Art Murmur\u003c/a>, the popular gallery crawl on First Fridays. From 8 to 11pm, people line sidewalks and perch on medians to watch videos screened from around the world, projected 100′ x 100′ on the exterior of a building on West Grand, between Broadway and Valley Streets.\u003c/p>\n\u003cp>The audio is broadcast on 89.5 FM and amplified from boom boxes jerry-rigged in the parking lot below. A beam of light from an adjacent rooftop indicates the location of the 15,000 Lumens Eiki projector. It is a charmingly simple production and a great example of an innovative public art initiative, low budget and non-invasive. The curatorial philosophy, as articulated by curator Issabella Shields Grantham, focuses “on cutting-edge motion art appropriate for the whole family, with an emphasis on local artists whenever possible.” Submissions are accepted on a rolling basis; selected artists receive a modest honoraria and documentation of the screening.\u003c/p>\n\u003cp>The outgrowth of a defunct project called the “Illuminated Corridor,” the Great Wall of Oakland developed into its own non-profit organization in 2006. It is funded by various city funds and helmed by executive director Chris Curtis. Oakland Museum of California senior curator René de Guzman and Oakland Standard new media producer Stijn Schiffeleers, along with members of the City of Oakland Cultural Arts Department, serve as curatorial advisors.\u003c/p>\n\u003cp>In August the Great Wall featured \u003cb>A Celebration of Animation\u003c/b>, a selection that explored various styles, from hand-drawn illustrations to cut-paper and computer-generated imagery. The work, compiled from submissions and public portfolios on Vimeo.com, hailed from disparate cities including Tokyo, Mallorca, London, Paris, Toronto, Lugano, Sarasota, and Austin. (Markedly absent was the inclusion of a local artist, which seems odd given the area’s relationship to animation. Another recent program however featured the personal videos of Pixar employees.) There were twelve videos, ranging in time from 30 seconds up to nearly 8 minutes. The total program ran around 40 minutes and played several times throughout the evening.\u003c/p>\n\u003cp>A few resonating examples included Joseph Pierce’s hand-drawn \u003cb>A Family Portrait\u003c/b>, which depicts the emotional complexities in a family portrait session; and \u003cb>The Shore\u003c/b> by Eric Power, a compelling cut-paper animated music video for a tune by Wiretree. Less engaging non-narrative work, such as Andreas Gysin’s unfinished \u003cb>Anthem of Hearts\u003c/b>, an abstract display of dot-like forms, created an interesting balance in the program, like breathing room. People took a break from craning their necks to look around and compare notes with friends and strangers. “Not so into this one,” I overheard. “Really? I kind of like it,” came a reply.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Many of the videos negotiated the ambiguous aesthetic terrain between artwork and music video, but this indeterminate distinction seemed to have no bearing on the viewers. Whether or not the works were visually compelling determined their success, measured only by the attention span of the audience. Either people stayed to watch or they didn’t. Despite the uneven quality of the videos, or perhaps because of it, a fair number of viewers were intent to stay for the duration. Knowing that the videos won’t exceed seven minutes means that you don’t have to wait long to see the next piece.\u003c/p>\n\u003cp>Premised on the most basic criteria of public art — \u003ci>does it engage people? does it animate the environment?\u003c/i> — without the usual pitfall of long-term commitments, either to the artwork or from the audience, the Great Wall is indeed a great success and, once a month, a very compelling place to see and be seen.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The Great Wall of Oakland screens a new program every first Friday during Oakland Art Murmur, 8-11pm. The next program is on Friday, September 2, 2011.For \u003ca href=\"http://www.greatwallofoakland.org\">more information\u003c/a> visit greatwallofoakland.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "A Rare Treat: Bay Area Animation",
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"content": "\u003cp>This week at Berkeley’s Pacific Film Archive Theater, guest curator Karl Cohen will introduce audiences to a wealth of animated shorts, all produced in the Bay Area, all vastly removed from what we have come to think of as animation in the era of Pixar and Dreamworks.\u003c/p>\n\u003cp>The two-part program of 25 short works arose after Cohen — president, among other roles, of the San Francisco branch of ASIFA (International Animated Film Association) — prepared a screening of experimental animation for the PFA’s 2010 \u003cb>Radical Light\u003c/b> series. Works shown at that event covered the late 1940s to the late 1980s, but Cohen wanted more. “So much is happening right now,” he realized. It was time to bring the program up to date.\u003c/p>\n\u003cp>Cohen’s selections are not the result of a single curatorial theme — the featured shorts are a wonderfully eclectic mix — but the screenings evince his own enthusiasm and respect for the works presented. According to Cohen, \u003cb>Bay Area Animation\u003c/b> is best summed up as a “collection of individual personalities and personal pursuits executed with a great deal of mastery.”\u003c/p>\n\u003cp>Without corporate oversight and the pressure to succeed commercially, independent animators are both blessed and cursed. While they might have the freedom to create highly personal and thematically challenging animations, the distribution channels available to larger productions are simply not open to them. Nights like the \u003cb>Bay Area Animation\u003c/b> screenings are few and far between, relying on the dedication of people such as Karl Cohen to pull these disparate artworks together into a persuasive argument for the persistence of independent animation.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" style=\"margin-bottom: 10px\" src=\"http://a.s.kqed.net/img/arts/blog/quasi.jpg\" alt=\"\">\u003cbr>\nQuasi at the Quackadero \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The August 24 program features twelve twentieth-century animations, including products of the psychedelic era and early computer animations. Sally Cruikshank’s \u003cb>Quasi at the Quackadero\u003c/b> (1975) is the trippy and bizarre story of a duck’s visit to an amusement park with his simpering girlfriend Anita and a pet robot. Various attractions at the park promise to make visible hidden layers of the mind. Signs proclaim “Relive One of the Shining Moments of Your Life” and “See Last Night’s Dreams Today.” The saturated colors, hard edges, and constant movement of Cruikshank’s animation could be source material for the future realization of \u003cb>Pee-wee’s Playhouse\u003c/b>.\u003c/p>\n\u003cp>Steve Segal’s \u003cb>Dance of the Stumblers\u003c/b> (1987) was made on what Cohen terms a “prehistoric computer.” Low-resolution shapes sprout arms and legs to dance, balance, and trip like clumsy confetti. While the technology is simplistic by today’s standards, the animation transcends any lapse of time with its playful humor. The final credits read “made in Steve’s bedroom,” attesting to the independent and innovative spirit of early computer animation.\u003c/p>\n\u003cp>Triumphantly closing out the first night of screenings is Tim Hittle’s \u003cb>Canhead\u003c/b> (1996). In this slapstick claymation, the traveler Jay Clay braves a hostile landscape to reunite with his black-footed dog. The piece has elements of a more commercial strain of animation, but it’s also surprisingly off-kilter. A \u003cb>Wallace & Gromit\u003c/b>-loving child would be more than slightly disturbed by the monsters inhabiting Hittle’s narrative.\u003c/p>\n\u003cp>[vimeo 20726306 w=480 h=360] \u003c/p>\n\u003cp>On August 28, the second night of \u003cb>Bay Area Animation\u003c/b> features works from the twenty-first century. Cohen’s picks move through the 2000s in an even-wider smattering of style and subject matter. The animations range from lighthearted to meditative, pairing absurdist narratives with pointed social commentary.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" style=\"margin-bottom: 10px\" src=\"http://a.s.kqed.net/img/arts/blog/abc.jpg\" alt=\"\">\u003cbr>\nLos ABCs \u003c/p>\n\u003cp>Notable selections include Nina Paley’s \u003cb>Fetch\u003c/b> (2002), a lighthearted exploration of the trickeries of perspective. In it, an owner pursues his dog (who pursues a ball) through a world of increasingly complex optical illusions. John Jota Leaños’s “\u003cb>Los ABCs\u003c/b> (2005) is a primer, led by a mariachi band, on the various global conflicts and injustices that lead to death. Sung as an A to Z — “N is for Natalia, lost in the Walmart” — the tune is unabashedly upbeat and catchy. Similarly, Leaños’s visuals are bright and crisp, an unsettling contrast to the horrors portrayed.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" style=\"margin-bottom: 10px\" src=\"http://a.s.kqed.net/img/arts/blog/enrique.jpg\" alt=\"\">\u003cbr>\nEnrique Wrecks the World \u003c/p>\n\u003cp>In the final animation of the series, David Chai’s \u003cb>Enrique Wrecks the World\u003c/b> (2010), a child sets off a terrifying chain reaction with his slingshot. As disasters mount on a global scale, increasingly bloody and ridiculous, poor Enrique suffers light years beyond a simple “look what you did.” The audience’s laughter will be uncontainable.\u003c/p>\n\u003cp>It is this opportunity for a communal viewing experience that makes \u003cb>Bay Area Animation\u003c/b> worth seeing. A number of the featured animations can be found online, but the screenings at the PFA offer an audience the chance to see independent animations introduced by the knowledgeable Karl Cohen, projected in a theater, and treated with the respect they deserve.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Bay Area Animation\u003c/b> will screen \u003cb>Twentieth-Century Animations\u003c/b> on August 24 and \u003cb>Twenty-First Century Animations\u003c/b> on August 28, 2011 at the Pacific Film Archive Theater in Berkeley. For \u003ca href=\"http://bampfa.berkeley.edu/\">tickets and information\u003c/a> visit bampfa.berkeley.edu.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This week at Berkeley’s Pacific Film Archive Theater, guest curator Karl Cohen will introduce audiences to a wealth of animated shorts, all produced in the Bay Area, all vastly removed from what we have come to think of as animation in the era of Pixar and Dreamworks.\u003c/p>\n\u003cp>The two-part program of 25 short works arose after Cohen — president, among other roles, of the San Francisco branch of ASIFA (International Animated Film Association) — prepared a screening of experimental animation for the PFA’s 2010 \u003cb>Radical Light\u003c/b> series. Works shown at that event covered the late 1940s to the late 1980s, but Cohen wanted more. “So much is happening right now,” he realized. It was time to bring the program up to date.\u003c/p>\n\u003cp>Cohen’s selections are not the result of a single curatorial theme — the featured shorts are a wonderfully eclectic mix — but the screenings evince his own enthusiasm and respect for the works presented. According to Cohen, \u003cb>Bay Area Animation\u003c/b> is best summed up as a “collection of individual personalities and personal pursuits executed with a great deal of mastery.”\u003c/p>\n\u003cp>Without corporate oversight and the pressure to succeed commercially, independent animators are both blessed and cursed. While they might have the freedom to create highly personal and thematically challenging animations, the distribution channels available to larger productions are simply not open to them. Nights like the \u003cb>Bay Area Animation\u003c/b> screenings are few and far between, relying on the dedication of people such as Karl Cohen to pull these disparate artworks together into a persuasive argument for the persistence of independent animation.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" style=\"margin-bottom: 10px\" src=\"http://a.s.kqed.net/img/arts/blog/quasi.jpg\" alt=\"\">\u003cbr>\nQuasi at the Quackadero \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The August 24 program features twelve twentieth-century animations, including products of the psychedelic era and early computer animations. Sally Cruikshank’s \u003cb>Quasi at the Quackadero\u003c/b> (1975) is the trippy and bizarre story of a duck’s visit to an amusement park with his simpering girlfriend Anita and a pet robot. Various attractions at the park promise to make visible hidden layers of the mind. Signs proclaim “Relive One of the Shining Moments of Your Life” and “See Last Night’s Dreams Today.” The saturated colors, hard edges, and constant movement of Cruikshank’s animation could be source material for the future realization of \u003cb>Pee-wee’s Playhouse\u003c/b>.\u003c/p>\n\u003cp>Steve Segal’s \u003cb>Dance of the Stumblers\u003c/b> (1987) was made on what Cohen terms a “prehistoric computer.” Low-resolution shapes sprout arms and legs to dance, balance, and trip like clumsy confetti. While the technology is simplistic by today’s standards, the animation transcends any lapse of time with its playful humor. The final credits read “made in Steve’s bedroom,” attesting to the independent and innovative spirit of early computer animation.\u003c/p>\n\u003cp>Triumphantly closing out the first night of screenings is Tim Hittle’s \u003cb>Canhead\u003c/b> (1996). In this slapstick claymation, the traveler Jay Clay braves a hostile landscape to reunite with his black-footed dog. The piece has elements of a more commercial strain of animation, but it’s also surprisingly off-kilter. A \u003cb>Wallace & Gromit\u003c/b>-loving child would be more than slightly disturbed by the monsters inhabiting Hittle’s narrative.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp> \u003c/p>\n\u003cp>On August 28, the second night of \u003cb>Bay Area Animation\u003c/b> features works from the twenty-first century. Cohen’s picks move through the 2000s in an even-wider smattering of style and subject matter. The animations range from lighthearted to meditative, pairing absurdist narratives with pointed social commentary.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" style=\"margin-bottom: 10px\" src=\"http://a.s.kqed.net/img/arts/blog/abc.jpg\" alt=\"\">\u003cbr>\nLos ABCs \u003c/p>\n\u003cp>Notable selections include Nina Paley’s \u003cb>Fetch\u003c/b> (2002), a lighthearted exploration of the trickeries of perspective. In it, an owner pursues his dog (who pursues a ball) through a world of increasingly complex optical illusions. John Jota Leaños’s “\u003cb>Los ABCs\u003c/b> (2005) is a primer, led by a mariachi band, on the various global conflicts and injustices that lead to death. Sung as an A to Z — “N is for Natalia, lost in the Walmart” — the tune is unabashedly upbeat and catchy. Similarly, Leaños’s visuals are bright and crisp, an unsettling contrast to the horrors portrayed.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" style=\"margin-bottom: 10px\" src=\"http://a.s.kqed.net/img/arts/blog/enrique.jpg\" alt=\"\">\u003cbr>\nEnrique Wrecks the World \u003c/p>\n\u003cp>In the final animation of the series, David Chai’s \u003cb>Enrique Wrecks the World\u003c/b> (2010), a child sets off a terrifying chain reaction with his slingshot. As disasters mount on a global scale, increasingly bloody and ridiculous, poor Enrique suffers light years beyond a simple “look what you did.” The audience’s laughter will be uncontainable.\u003c/p>\n\u003cp>It is this opportunity for a communal viewing experience that makes \u003cb>Bay Area Animation\u003c/b> worth seeing. A number of the featured animations can be found online, but the screenings at the PFA offer an audience the chance to see independent animations introduced by the knowledgeable Karl Cohen, projected in a theater, and treated with the respect they deserve.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Bay Area Animation\u003c/b> will screen \u003cb>Twentieth-Century Animations\u003c/b> on August 24 and \u003cb>Twenty-First Century Animations\u003c/b> on August 28, 2011 at the Pacific Film Archive Theater in Berkeley. For \u003ca href=\"http://bampfa.berkeley.edu/\">tickets and information\u003c/a> visit bampfa.berkeley.edu.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Cult Filmmaker Monte Hellman Returns with Road to Nowhere",
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"content": "\u003cp>There’s not as big a difference as you think between the ragtag assortment of low-budget horror and crime-film directors in every country and the artiest, most iconoclastic Cannes-friendly filmmakers (Terence Malick, Bela Tarr, Carlos Reygadas, Claire Denis, Nuri Bilge Ceylan, et al). They’re all wrestling with the same challenge, namely finding innovative ways of telling stories in worn-out genres.\u003c/p>\n\u003cp>Given the abridged distance between high and low, it’s only natural that a scuffler on the margins, if he or she hangs in long enough, will receive some of the acclaim and affection heaped on upper-echelon directors. That’s what’s happening with 69-year-old Monte Hellman, who’s out with his first new film in 20 years. \u003cb>Road to Nowhere\u003c/b>, a curiously fascinating yet ultimately slight parable of life imitating art on a movie set, receives its Bay Area release this Friday, backed by an appearance by Hellman and a week-long revival of three of his best-known yet little-screened films.\u003c/p>\n\u003cp>The New York native, a graduate of Roger Corman’s real-world school of ultra-low-budget filmmaking, made a few waves in Hollywood in the ’60s and early ’70s when the new youth culture turned the fissures in the old-guard studio system into cracks big enough for Robert Altman, Bob Rafleson, Hal Ashby, Francis Ford Coppola and Martin Scorsese to crash through.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/ride-whirlwind.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>“Ride in the Whirlwind”\u003c/p>\n\u003cp>Teaming up with Jack Nicholson, a friend from the Corman days, Hellman made a pair of off-off-offbeat Westerns, \u003cb>The Shooting\u003c/b> and \u003cb>Ride in the Whirlwind\u003c/b>, in the mid-’60s. The testosterone-inflected titles notwithstanding, the films aren’t driven by plot so much as by the characters’ internal, unexpressed dilemmas. That also applies to Hellman’s cult success, \u003cb>Two-Lane Blacktop\u003c/b> (1971), featuring the deeply stoned, once-in-a-lifetime casting of North Carolina singer-songwriter James Taylor, Beach Boys drummer Dennis Wilson and laconic character actor Warren Oates.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/two-lane.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>“Two-Lane Blacktop”\u003c/p>\n\u003cp>There’s no pot of gold at the end of their journey for Hellman’s typically male characters. The best they can expect is a revelation, an inevitably expensive insight, a hot, bright light cast on their soul. \u003cb>Road to Nowhere\u003c/b> is a title made in heaven for Hellman, but don’t be scared off: Self-deception, not nihilism, is what he’s interested in.\u003c/p>\n\u003cp>Adapted from a script by Steven Gaydos, a longtime staffer for the venerable show-biz trade magazine \u003ci>Variety\u003c/i>, \u003cb>Road to Nowhere\u003c/b> follows a likable, unexpectedly modest, 30-something director as he embarks on what he hopes will be his breakthrough studio picture. The story he’s filming involves betrayal, murder, faked disappearances and a very large insurance settlement. The movie-within-the-movie is based on a true story, we’re told, and that proves to be the wild card in the deck.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/roadtonowhere.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>“Road to Nowhere”\u003c/p>\n\u003cp>\u003cb>Road to Nowhere\u003c/b>, which premiered last fall at the Venice Film Festival (remember what I said about narrowing distinctions between directors?), is about filmmaking as much as male-female (dis)trust. The director (played by Tygh Runyan) instinctively cast his unknown lead actress (Shannyn Sossamon) on the basis of watching her in an unreleased exploitation movie. As the shoot progresses, he falls gradually in love. Of course, this being the ambitious world of the movies, it’s difficult to differentiate between his personal feelings and his professional need for her to give a great performance, and therefore be supported in any way necessary. That particular mystery gets cleared up in a harrowing and beautiful way in the last few minutes.\u003c/p>\n\u003cp>Hellman has fun making us guess if each new scene is from the movie-in-progress or “real life.” Unfortunately, the script isn’t quite sharp enough, nor are the characters beyond the main duo sufficiently developed, to entwine us fully in the twisty puzzle. Instead, we’re often left wondering why Hellman sticks with shots, and scenes, past the point where most directors would cut and move on.\u003c/p>\n\u003cp>It’s quite clear, actually. Hellman is doing what he’s always done, pushing back against convention and cliché, provoking unanticipated reactions and stretching a genre beyond its usual shape. That’s the job the man signed up for, and he’s too young to retire.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Road to Nowhere\u003c/b> opens Friday, July 22, 2011 and “Monte Hellman: On the Road Again” runs Saturday-Monday, July 23-25 at the Roxie Theatre in San Francisco and the Smith Rafael Film Center in San Rafael. Hellman appears after the 7pm show on opening night at the Roxie, and after the 4:30pm show of \u003cb>The Shooting\u003c/b> on Saturday at the Rafael. For \u003ca href=\"http://www.roxie.com/events/details.cfm?eventID=AA8AA3EB-1143-DBB3-C690BB3F4B25F868\">information on Roxie screenings\u003c/a> visit roxie.com and \u003ca href=\"http://www.cafilm.org/rfc/films/1572.html\">information on Rafael Film Center screenings\u003c/a> visit cafilm.org.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There’s not as big a difference as you think between the ragtag assortment of low-budget horror and crime-film directors in every country and the artiest, most iconoclastic Cannes-friendly filmmakers (Terence Malick, Bela Tarr, Carlos Reygadas, Claire Denis, Nuri Bilge Ceylan, et al). They’re all wrestling with the same challenge, namely finding innovative ways of telling stories in worn-out genres.\u003c/p>\n\u003cp>Given the abridged distance between high and low, it’s only natural that a scuffler on the margins, if he or she hangs in long enough, will receive some of the acclaim and affection heaped on upper-echelon directors. That’s what’s happening with 69-year-old Monte Hellman, who’s out with his first new film in 20 years. \u003cb>Road to Nowhere\u003c/b>, a curiously fascinating yet ultimately slight parable of life imitating art on a movie set, receives its Bay Area release this Friday, backed by an appearance by Hellman and a week-long revival of three of his best-known yet little-screened films.\u003c/p>\n\u003cp>The New York native, a graduate of Roger Corman’s real-world school of ultra-low-budget filmmaking, made a few waves in Hollywood in the ’60s and early ’70s when the new youth culture turned the fissures in the old-guard studio system into cracks big enough for Robert Altman, Bob Rafleson, Hal Ashby, Francis Ford Coppola and Martin Scorsese to crash through.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/ride-whirlwind.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>“Ride in the Whirlwind”\u003c/p>\n\u003cp>Teaming up with Jack Nicholson, a friend from the Corman days, Hellman made a pair of off-off-offbeat Westerns, \u003cb>The Shooting\u003c/b> and \u003cb>Ride in the Whirlwind\u003c/b>, in the mid-’60s. The testosterone-inflected titles notwithstanding, the films aren’t driven by plot so much as by the characters’ internal, unexpressed dilemmas. That also applies to Hellman’s cult success, \u003cb>Two-Lane Blacktop\u003c/b> (1971), featuring the deeply stoned, once-in-a-lifetime casting of North Carolina singer-songwriter James Taylor, Beach Boys drummer Dennis Wilson and laconic character actor Warren Oates.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>From rural Italy to Imperial China, from torrid love affairs to political embroilments, Bernardo Bertolucci has made a career out of capturing the most puzzling facets of human nature and projecting them amidst vivid colors and stunning landscapes onto the big screen. The Pacific Film Archive’s six-week retrospective of his oeuvre, which begins Friday, July 8, showcases both the range of Bertolucci’s work and the motifs that run throughout his films.\u003c/p>\n\u003cp>The series’ name, \u003cb>In Search of Mystery\u003c/b>, is taken from the title of a poetry collection that won Bertolucci the Viareggio Literary Prize within a few days of his first film, \u003cb>The Grim Reaper\u003c/b>, appearing at the Venice Film Festival. After that early success in both media, he stopped writing, but his films retain the suggestive and metaphoric qualities of poetry. Despite the strangeness and even perversity of many of his subjects, Bertolucci never seems interested in explaining people’s motives or parsing their innermost thoughts. Instead, he delves into the mystery of the forces and instincts that drive not just individual lives but also politics, society, and even history.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/conformist.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>“The Conformist”\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>His first films drew on the influence of other directors, most notably Pier Paolo Pasolini, a family friend and mentor. The young Bertolucci explored his native Italy, focusing on the influence of the country’s troubled politics on already troubled individuals. In more recent years, his subjects have grown to epic proportions, encompassing entire swaths of history, but without losing the intense intimacy that gives his films their emotion and their edge.\u003c/p>\n\u003cp>Over the course of his career, Bertolucci has experimented with what movies can show, most notably with \u003cb>Last Tango in Paris\u003c/b>, and with how they can show it. His actors are often cast in vivid, almost surreal washes of color or dwarfed by overwhelming spaces, whether the vast desert landscapes of \u003cb>The Sheltering Sky\u003c/b>, the imposing façades of the Forbidden City in \u003cb>The Last Emperor\u003c/b>, or the oppressive fascist architecture of \u003cb>The Conformist\u003c/b>. Through exquisitely constructed sequences, Bertolucci illuminates his characters’ desires and sketches richly moody narratives against these visually stunning backdrops.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/last-emperor.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>“The Last Emperor”\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>The Pacific Film Archive’s selection covers the arc of Bertolucci’s career, including his first film and his latest, \u003cb>The Dreamers\u003c/b>, a nostalgic look at 1968 Paris that lacks both the cinematic and the emotional scope of his earlier works. \u003cb>The Conformist\u003c/b>, a masterpiece of controlled filmmaking and psychological-political entanglement, and \u003cb>1900\u003c/b>, an epic set against the sweep of Italian history and starring Robert De Niro, Gérard Depardieu, and Burt Lancaster, are especially worth seeing. \u003cb>The Last Emperor\u003c/b>, the story of the end of China’s Manchu Dynasty, filmed with extensive access to the Forbidden City, is a must-see on a big screen. All the films are new prints, and this is a special opportunity to appreciate the visual glory of Bertolucci’s varied and complex oeuvre.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Bernardo Bertolucci: In Search of Mystery\u003c/b> runs July 8 through August 18, 2011 at the Pacific Film Archive. For \u003ca href>tickets and information\u003c/a> visit http://www.bampfa.berkeley.edu/filmseries/bertolucci.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>From rural Italy to Imperial China, from torrid love affairs to political embroilments, Bernardo Bertolucci has made a career out of capturing the most puzzling facets of human nature and projecting them amidst vivid colors and stunning landscapes onto the big screen. The Pacific Film Archive’s six-week retrospective of his oeuvre, which begins Friday, July 8, showcases both the range of Bertolucci’s work and the motifs that run throughout his films.\u003c/p>\n\u003cp>The series’ name, \u003cb>In Search of Mystery\u003c/b>, is taken from the title of a poetry collection that won Bertolucci the Viareggio Literary Prize within a few days of his first film, \u003cb>The Grim Reaper\u003c/b>, appearing at the Venice Film Festival. After that early success in both media, he stopped writing, but his films retain the suggestive and metaphoric qualities of poetry. Despite the strangeness and even perversity of many of his subjects, Bertolucci never seems interested in explaining people’s motives or parsing their innermost thoughts. Instead, he delves into the mystery of the forces and instincts that drive not just individual lives but also politics, society, and even history.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/conformist.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>“The Conformist”\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>His first films drew on the influence of other directors, most notably Pier Paolo Pasolini, a family friend and mentor. The young Bertolucci explored his native Italy, focusing on the influence of the country’s troubled politics on already troubled individuals. In more recent years, his subjects have grown to epic proportions, encompassing entire swaths of history, but without losing the intense intimacy that gives his films their emotion and their edge.\u003c/p>\n\u003cp>Over the course of his career, Bertolucci has experimented with what movies can show, most notably with \u003cb>Last Tango in Paris\u003c/b>, and with how they can show it. His actors are often cast in vivid, almost surreal washes of color or dwarfed by overwhelming spaces, whether the vast desert landscapes of \u003cb>The Sheltering Sky\u003c/b>, the imposing façades of the Forbidden City in \u003cb>The Last Emperor\u003c/b>, or the oppressive fascist architecture of \u003cb>The Conformist\u003c/b>. Through exquisitely constructed sequences, Bertolucci illuminates his characters’ desires and sketches richly moody narratives against these visually stunning backdrops.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/last-emperor.jpg\" style=\"margin-bottom: 10px;\" alt=\"\">\u003cbr>“The Last Emperor”\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>The Pacific Film Archive’s selection covers the arc of Bertolucci’s career, including his first film and his latest, \u003cb>The Dreamers\u003c/b>, a nostalgic look at 1968 Paris that lacks both the cinematic and the emotional scope of his earlier works. \u003cb>The Conformist\u003c/b>, a masterpiece of controlled filmmaking and psychological-political entanglement, and \u003cb>1900\u003c/b>, an epic set against the sweep of Italian history and starring Robert De Niro, Gérard Depardieu, and Burt Lancaster, are especially worth seeing. \u003cb>The Last Emperor\u003c/b>, the story of the end of China’s Manchu Dynasty, filmed with extensive access to the Forbidden City, is a must-see on a big screen. All the films are new prints, and this is a special opportunity to appreciate the visual glory of Bertolucci’s varied and complex oeuvre.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Bernardo Bertolucci: In Search of Mystery\u003c/b> runs July 8 through August 18, 2011 at the Pacific Film Archive. For \u003ca href>tickets and information\u003c/a> visit http://www.bampfa.berkeley.edu/filmseries/bertolucci.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"soldout": {
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