Writings by Filmmakers

Writings by Filmmakers
Art Criticism & Writing
SVA

Fall 2014

Instructor: Thomas Beard
Time: Mondays, 12-3pm

September 8: Correspondences
Chris Marker, Sans Soleil

Poetics of Cinema: Devotional to Baroque

September 15
Raúl Ruiz, Poetics of Cinema

September 22
Robert Bresson, Notes on the Cinematographer
Nathaniel Dorsky, Devotional Cinema
Carl Theodor Dreyer, “A Little on Film Style”
Michelangelo Antonioni, “Reflections on the Film Actor”

September 29
Andrei Tarkovsky, Sculpting in Time

October 6: The Film Factory
Sergei Eisenstein, “The Montage of Attractions”
—, “The Montage of Film Attractions”
—, “The Problem of the Materialist Approach to Form”
—, “Beyond the Shot”
Lev Kuleshov, from Art of Film
V.I. Pudovkin, from Film Technique
Dziga Vertov, “We: Variant of a Manifesto”
—, “Kinoks: A Revolution”
—, “Kino-Eye”

October 13: The Shadow of the Hollywood Sign
Eric Rohmer, “The Cardinal Virtues of CinemaScope”
Jean-Luc Godard, “Beyond the Stars”
Jacques Rivette, “The Hand”
Luc Moullet, “Sam Fuller: In Marlowe’s Footsteps”
Rainer Werner Fassbinder, “Six Films by Douglas Sirk”
Jack Smith, “The Perfect Filmic Appositeness of Maria Montez”
Thom Andersen, “Red Hollywood”
Morgan Fisher, “Standard Gauge in Three Parts”

October 20: Before and after Anagram (Essay Draft Due)
Jean Epstein, “The Essence of Cinema”
Luis Buñuel, “A Night at the Studio des Ursulines”
Germaine Dulac, “The Essence of the Cinema: The Visual Idea”
Maya Deren, An Anagram of Ideas on Art, Form and Film
Stan Brakhage, from Metaphors on Vision
Gregory Markopoulos, “Correspondences of Smells and Visuals”

October 27: Writing Workshop

November 3: The Cinema of Poetry
Margaret Tait, from Subjects and Sequences: A Margaret Tait Reader
Pier Paolo Pasolini, from Poems
—, “The Cinema of Poetry”
—, “The Screenplay as a ‘Structure that Wants to Be Another Structure’”
—, “The Written Language of Reality”
Forugh Farrokhzad, from Sin
Theresa Hak Kyung Cha, “Commentaire”

November 10: Evidence
John Grierson, “First Principles of Documentary”
Lindsay Anderson, “Only Connect: Some Aspects of the Work of Humphrey Jennings”
Leni Riefenstahl, “Notes on the Making of Olympia
Jean Rouch, “The Camera and Man”
Robert Gardner, “Chronicles of the Human Experience: Dead Birds
David MacDougall, “Beyond Observational Cinema”
Trinh T. Minh-ha, “The Totalizing Quest of Meaning”

November 17: Our Films, Their Films
Satyajit Ray, Satyajit Ray on Cinema
Mrinal Sen, from Montage
Ritwik Ghatak, from Rows and Rows of Fences

November 24: Structures of Feeling
Alice Guy-Blaché, “Woman’s Place in Photoplay Production”
Lois Weber, “How I Became a Motion Picture Director”
Laura Mulvey, “Visual Pleasure and Narrative Cinema”
Yvonne Rainer, “Thoughts on Women’s Cinema: Eating Words, Voicing Struggles”
Elisabeth Subrin, “Trashing Shulie: Remnants from Some Abandoned Feminist HIstory”
Marlon Riggs, “Notes of a Signifying Snap! Queen”
Gregg Bordowitz, “The AIDS Crisis Is Ridiculous”

December 1: Making Films Politically
Jean Vigo, “Towards a Social Cinema”
Fernando Solanas and Octavio Getino, “Towards a Third Cinema”
Julio García Espinosa, “For an Imperfect Cinema”
Glauber Rocha, “The Aesthetics of Hunger”
Nagisa Oshima, from Cinema, Censorship, and the State
Guy Debord, “Cinema and Revolution”
Jean-Luc Godard, “What Is to Be Done?”
Harun Farocki, “Controlling Observation”
Hito Steyerl, “In Defense of the Poor Image”

December 8: Back to the Future (Essay Draft Due)
W.K.L. Dickson, History of the Kinetograph, Kinetoscope, and Kinetophonograph
Stan VanDerBeek, “CULTURE: Intercom and Expanded Cinema”
Hollis Frampton, “For a Metahistory of Film: Commonplace Notes and Hypotheses”
Alexander Kluge, from The Assault of the Present on the Rest of Time 
Keith Sanborn, “Modern, all too modern”
Jonas Mekas, “Anti-100 Years of Cinema Manifesto”

December 15: Writing Workshop

I’m heading back to Marfa in May to introduce Pasolini’s Medea and James Bennings’s RR at CineMarfa. I’ll also be taking part in a conversation with Zoe Leonard about her piece 100 North Nevill Street, which is on view now at the Chinati Foundation.Above: Still from Medea (Pier Paolo Pasolini, 35mm, 1969, 110 mins)

I’m heading back to Marfa in May to introduce Pasolini’s Medea and James Bennings’s RR at CineMarfa. I’ll also be taking part in a conversation with Zoe Leonard about her piece 100 North Nevill Street, which is on view now at the Chinati Foundation.

Above: Still from Medea (Pier Paolo Pasolini, 35mm, 1969, 110 mins)

Jeanne Dielman and She-Devil, together at last: Nellie Killian and I organized a series at BAM about the women’s revenge film. Above: Still from The Heiress (William Wyler, 35mm, 1949, 115 mins)

Jeanne Dielman and She-Devil, together at last: Nellie Killian and I organized a series at BAM about the women’s revenge film.

Above: Still from The Heiress (William Wyler, 35mm, 1949, 115 mins)

The good folks at YU in Portland invited me to speak about Alain Resnais’s The Song of Styrene and John Smith’s Slow Glass as part of their show The Devil, Probably.Above: Still from Slow Glass (John Smith, 16mm, 1991, 40 mins)

The good folks at YU in Portland invited me to speak about Alain Resnais’s The Song of Styrene and John Smith’s Slow Glass as part of their show The Devil, Probably.

Above: Still from Slow Glass (John Smith, 16mm, 1991, 40 mins)

lightindustrylightindustry:

Paul Chan Untitled Poster for Susan Sontag’s Promised Lands, 2010 Screenprint 27 x 41 inches Signed Edition of 100 $200 Available here. All proceeds from the sale of this edition will directly support the activities of Light Industry and The Film Desk. For more information, please email information@lightindustry.org.

lightindustrylightindustry:

Paul Chan
Untitled Poster for Susan Sontag’s Promised Lands, 2010
Screenprint
27 x 41 inches
Signed Edition of 100
$200

Available here.

All proceeds from the sale of this edition will directly support the activities of Light Industry and The Film Desk.

For more information, please email information@lightindustry.org.

I wrote about Shirley Clarke’s Portrait of Jason for the November issue of Artforum.

I wrote about Shirley Clarke’s Portrait of Jason for the November issue of Artforum.

Message to Man, a festival in St. Petersburg which opens tonight, invited me to present a variation of the Unfinished Film show I organized for Gladstone Gallery in 2011. The Russian edition will be a series of five screenings: Sergei Eisenstein’s Qué viva México!, Kenneth Anger’s Puce Moment with Erich von Stroheim Queen Kelly, Albert and David Maysles’s Orson Welles in Spain with Pier Paolo Pasolini’s Notes on an African Orestes, the first three episodes of Leslie Thornton’s Peggy and Fred in Hell with fragments of Maya Deren’s Haiti footage, and selections from Hollis Frampton’s Magellan with David Gatten’s The Great Art of Knowing.

Message to Man, a festival in St. Petersburg which opens tonight, invited me to present a variation of the Unfinished Film show I organized for Gladstone Gallery in 2011. The Russian edition will be a series of five screenings: Sergei Eisenstein’s Qué viva México!, Kenneth Anger’s Puce Moment with Erich von Stroheim Queen Kelly, Albert and David Maysles’s Orson Welles in Spain with Pier Paolo Pasolini’s Notes on an African Orestes, the first three episodes of Leslie Thornton’s Peggy and Fred in Hell with fragments of Maya Deren’s Haiti footage, and selections from Hollis Frampton’s Magellan with David Gatten’s The Great Art of Knowing.

dadushin:

Drew a small portrait of the Light Industry guys for the New Yorker.

dadushin:

Drew a small portrait of the Light Industry guys for the New Yorker.

I wrote the liner notes for Criterion’s new reissue of Medium Cool.

I wrote the liner notes for Criterion’s new reissue of Medium Cool.