From Stratton Coffman ’14:
Join us for a program this Thursday evening that pairs films made by Daria Martin and Laurie Simmons, two artists who break down the boundaries between dance, visual art, and music, in work that shares a highly aestheticized exterior belying more complex and disturbing content. The elegant work of British artist Daria Martin—”In the Palace” (2000), “Loneliness and the Modern Pentathlon” (2004-5), and “Harpstrings & Lava” (2007)—presents the human body as a mechanized and abstract container for rich emotions, composed with the eye of a painter for two-dimensional surfaces and the mind of a filmmaker for visceral three-dimensional perspectives. Laurie Simmons, best known for her large-scale puppet-based photographs from the 1980s, made her directorial debut with “The Music of Regret” (2006), a three-act musical featuring actress Meryl Streep that uses puppets to enact tales of ambition, disappointment, love, loss, and regret, suggesting the darker side of domesticity, and the fragile ecology of everyday life.
Date: Today, November 15th
Place: Powell Family Cinema
Just a friendly neighborhood reminder from Izzy Litke ’12 that tomorrow is May 1:
Gacaca is a form of citizen-based justice established in Rwanda in an attempt to address the crimes of the 1994 genocide. In a series of documentaries, director Anne Aghion charts the impact of this experiment in transitional justice on survivors and perpetrators alike. Join us for a screening of “My Neighbor, My Killer” (2009 Cannes Film Festival Official Selection), followed by a discussion with Anne Aghion.
Date: Tuesday, May 1
Time: 5:00 pm – 7:00 pm
Place: Center for Film Studies 190 (Powell Family Cinema)
A new lecture sponsored by the Adelphic Education Fund:
Graphic artist and comics historian Arlen Schumer explores the origins of the superhero tradition, its personification American ideals and values, and how these attitudes and portrayals changed during the 1960s, using comic book panels and pages in a large-size projection format that graphically communicates the sequential nature of comic book art itself. And while that art reflected the dominant motifs of the 1960s, from the futuristic idealism of Infantino to the cinematic realism of Adams, the superheroes changed, from establishment conservatives like Superman, The Flash and Green Lantern, to counterculture liberals like Spider-Man, Dr. Strange and Green Arrow.
- Date: Thursday, September 23
- Time: 6:00 PM
- Place: The Powell Family Cinema, Center for Film Studies
- Cost: Absolutely Free