Experimental Cinema Group was ushered in by Carla Selby and Gladney Oakley and was later influenced by Bruce Conner and Stan Brakhage. It is now called First Person Cinema and the curator is Don Yannacito. This program was started in 1955 with the intention of bringing an awareness of the personal cinema to Boulder, and has become a highly respected, international showcase for the makers of personal film. It is the longest existing program in the world that has been continually screening avant-garde film and video work.
The Stan Brakhage Film Series will continue to show films by Brakhage on the first Sunday of every month at 7:30pm in ATLAS 100. All shows are free and open to the public.
Student Award Showcase
Thursday, January 26
Winners of the Grillo and Goldfarb Awards
Made possible with funds from the Arts and Cultural Enrichment Fee. Free admission.
The Grillo Awards are designed to encourage excellence in filmmaking and help defray some of the expenses required to pursue a degree in film production. A total of up to $17,000, combined Goldfarb and Grillo funds is distributed each year to four tiers of production students. Final recipients and individual award amounts will be determined each semester by in-class student votes and a panel of judges made up of CU Film Studies faculty and a Grillo family member.
The award winning films will be shown one night only. The Grillo Awards are drawn from a University of Colorado Foundation fund set up in the early 90’s by the founder and former chair of the CU Film Studies Program, Virgil Grillo (1938-1994), whose dedication and vision helped shepherd Film Studies from its modest beginnings in the 1970’s to an undergraduate degree program boasting some 600 majors. Goldfarb awards are given by the Goldfarb Foundation and Peter Goldfarb, President.
Various shorts presented in digital format, full award show is estimated to last 120 mins.
Student Academy Awards Show
Thursday, February 9
The 2008 Compilation Film runs approximately 118 minutes and features the five Gold Medal Award-winning entries from the 35th Annual Student Academy Awards competition as well as the Honorary Foreign Film Award winner.
Zoologic (Animation Gold Medal Award)
Nicole Mitchell, California Institute of the Arts, 5 minutes.
A Day's Work (Narrative Gold Medal Award)
Rajeev Dassani, University of Southern California, 18 minutes.
Viola: the Traveling Rooms of a Little Giant (Alternative Gold Medal Award)
Shih-Ting Hung, University of Southern California, 9 minutes.
As We Forgive (Documentary Gold Medal Award)
Laura Waters Hinson, American University, Washington D.C., 53 minutes.
On the Line (Auf Der Strecke, Honorary Foreign Film Award)
Reto Caffi, Academy of Media Arts, Cologne, Germany, 30 minutes.
Thursday, March 9
Since 1981, the annual Black Maria Film and Video Festival, an international juried competition and award tour, has been fulfilling its mission to advocate, exhibit and reward cutting edge works from independent film and video makers. With previous Oscar nominated and international award-winning shorts, the festival is widely known for its national public exhibition program, which remains loyal to featuring a variety of bold contemporary works drawn from the annual collection of 50 award winning films and videos. Now in its 27th year, the Black Maria Festival awards more than $10,000 in cash to independent filmmakers, distinguishing itself as a cornerstone for artists to express the inventive, insightful, and uncommon spirit. Festival Director John Columbus will present a program of the 2008 winning shorts, ranging from a variety of narrative, animation, documentary, and experimental.
Tuesday, March 14
A free two-day symposium and discussion arranged by curators Steve Seid and Mark McElhatten in honor of the late Stan Brakhage focusing on the exploration of moving visual art, past, resent and future. Steve Seid will be curating Saturday and Mark McElhatten will be curating Sunday. University of Colorado at Boulder, ATLAS Building.
See Brakhage Symposium on the CU Film Studies web site
Special support provided by the Academy of Motion Picture Arts and Sciences & the William H. Donner Foundation.
Thursday, March 30
In his introduction to Structural Film Anthology, published in 1976, Peter Gidal offered the following definition of what he called the structural/materialist film: “The dialectic of the film is established in that space of tension between materialist flatness, grain, light, movement, and the supposed reality that is represented.” Over thirty years later, this “dialectic” remains a familiar part for much of experimental cinema. In films made in the 21st century, we can still recognize elements of what writers like Gidal, Malcolm LeGrice, P. Adams Sitney and others identified as prime elements of structural or materialist cinema: flicker in the performances of Bruce McClure, image repetition in films by Luther Price, rephotography (frequently as optical printing) in the work of Glen Fogel, Jennifer Reeves, Stom Sogo, Kerry Laitala and others. In this illustrated talk, I’ll explore what this “new materialism” means for us in the digital age, how the significance of our experience may differ from that of decades ago, and how a materialist aesthetic continues to function in video and internet art.
Ed Halter is a curator and critic living in New York City. He has written for Artforum, The Believer, Moving Image Source, Rhizome, The Village Voice and other publications, and is one of the founders and directors of Light Industry, a venue for film and electronic art in Brooklyn, New York.
Thursday, April 6
James Benning has been one of the outstanding exponents of the structural film since the mid-1970s. His artistic position has been strongly influenced by mathematics and by the creativity of mathematical thinking. Upon moving to California in the 1990s, the relationship between landscape and people became his central theme. Benning currently teaches filmmaking at the California Institute for the Arts.
“RR is two hours of watching one train after another go by, all in their entirety. Filmed in various spots around the United States, the span of time it takes each train to cross the screen depends on the number of its cars as well as its speed. As with people, some trains are fast while others are annoyingly slow. Though he’s limited by a camera that never moves, Benning manages to pull off a number of witty flourishes.” -- Benjamin Strong
“Every shot is mesmerizing, yet the film builds, acquiring a cumulative power, as the simplicity of structure gives way to infinite experiences. RR becomes a film “about” American overconsumption. Benning lets what’s on screen tell the story, with the tumultuous history of railroads and western development only alluded to by songs and words on the soundtrack. Filmed and recorded, as always, by a one-man band, all of its shots captured without permissions or permits, maybe RR is a pirate movie.” -- Mark Peranson
RR (Rail Road)
USA, 2007; 112m (16mm, color/sound)
Thursday, April 20
Founder and janitor of the Oregon Department of Kick Ass, Vanessa Renwick is a filmmaker by nature, not by stress of research. She puts scholars to rout by solving through Nature’s teaching problems that have fretted their trained minds. Her iconoclastic work reflects an interest in place, relationships between bodies and landscapes, and all sorts of borders. Working in experimental and poetic documentary forms, she produces films, videos and installations that explore the possibility of hope in contemporary society. She is a naturalist, born, not made: a true barefoot, cinematic rabblerouser, of grand physique, calm pulse and a magnetism that demands the most profound attention. Her 36 works have screened internationally at sites such as The Andy Warhol Museum, Art Basel Miami, MOMA/NY, The Kitchen, the Montreal Film Festival, the Viennale, Bread and Puppet Theater and The Kill Your Timid Notion Festival In Scotland. Originally from Chicago, Illinois, she is currently a film, video, and installation artist living in Portland, Oregon.