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Fall 2018 Visiting Film & Video Artists & Speakers Series

Lecture Hall 6 at 7:30pm (unless otherwise noted)

All events are free and open to the public.

Sponsored by Cinema Department & Harpur College Dean's Speakers Series.
Note that some events occur on Tuesdays and others on Thursdays.

Tuesday October 16, 2018
Stephanie Black

* Note that the event starts at 7:00 pm.

Event sponsored by Department of Cinema & Human Right Institute.

Life and Debt, 86 min., USA

Life and Debt is a feature-length documentary which addresses the impact of the International Monetary Fund, the World Bank, the Inter-American Development Bank and current globalization policies on a developing country such as Jamaica. Utilizing excerpts from the award-winning non-fiction text "A Small Place" by Jamaica Kincaid, Life & Debt is a woven tapestry of sequences focusing on the stories of individual Jamaicans whose strategies for survival and parameters of day-to-day existence are determined by the U.S. and other foreign economic agendas. By combining traditional documentary telling with a stylized narrative framework, the complexity of international lending, structural adjustment policies and free trade will be understood in the context of the day-to-day realities of the people whose lives they impact. This film was screened on PBS/POV and was awarded best film award at seven international film festivals.

* Screening earlier at 1:15-2:40 pm, H-2 WORKER (70 min., USA), in Zurack Center (LN 1302C), followed by discussion with the filmmaker.

A fascinating exposé of Florida's sugar cane industry guest worker program. Winner of the Grand Jury prize at the Sundance Film Festival, H-2 WORKER reveals the systematic exploitation of Caribbean laborers by the Florida sugar industry from World War II to the 1990's.

Tuesday October 23, 2018
Helga Fanderl

A onetime student of both Peter Kubelka and Robert Breer, Fanderl makes her work impressionistically and intuitively, in response to the rhythms, forms, textures, and colors she encounters, and always limits herself to in-camera editing, so that each film becomes a reflection of the process of its own creation. Her practice is distinguished as well by her commitment to a particular way of presenting her work in public: generally projecting the films herself from within the screening space, Fanderl conceives of each screening program as a unique 'montage' of individual works that together comprise a kind of ephemeral, never-to-be-repeated 'film' in their own right (an approach made possible by the sheer multitude of pieces she's created over the years). The interplay of the varied films with their different motifs and rhythms evokes ever-changing and infinitely diverse correspondences and contrasts, and transforms each screening into a unique performance, more than a fixed presentation. – Anthology Film Archives Notes.
Since 1990 she has been presenting her films worldwide in film museums, cinemas, exhibition spaces, art galleries, film schools and festivals like New York Film Festival, Toronto International Film Festival, Cinéma du Réél, Paris and International Short Film Festival Oberhausen.

(Super 8 and 16mm blowups, color and bw, silent, 60 min., Germany, ca. 1995-2018)

Tuesday November 6, 2018
Rose Lowder

The Bouquets films, like most all of Lowder's films, are characterized by a rapid-fire perceptual workout generated by frame-by-frame photography. She exposes her scenes at alternating increments, introducing a vibration or alternation between two distinct positions or, in many cases, subjects, thereby depriving cinema of its standard capacity to replicate "normal" vision. This natural look, we might call it, is replaced with a tense, heightened dialecticism, which electrifies that which might otherwise mistake for being inert. Although the Bouquets (and other Lowder films) contain all sorts of images drawn from in and around Lowder's home in provincial France, the image which has become her standard recognition baseline (a kind of cine-avatar, if you will) is the flower, either in isolation or dispersed across gardens in color-organized beds. Lowder's flowers don't just sway in the wind. Her single-frame shifting whips the flora into a kind of molecular frenzy. Frequently, another view—a hillside, a home, even an animal—will intersect with this flower motion, its dominant melody allowing the unexpected content to function as counterpoint. – Michael Sicinski, TIFF Wavelength 2011

The event program includes:
TURBULENCE, 2015, 7.5 min.
TARTARUGHE D'ACQUA, 2016, 24.5 min.
BOUQUETS 11-20, 2005-09, 14 min., France, ca 50 min.


Contact: Kathy Horton, Department Secretary
607-777- 4998

Last Updated: 2/8/19