Doclisboa's retrospectives are moments distinguished by curatorial projects that aim to offer a precise and comprehensive vision of the themes and filmmakers to which they are dedicated; the preview session that will take place on the terrace of the Cinemateca Portuguesa on the 7th of July at 21h30, will be a first glimpse into this year's programme.
This year Doclisboa, in partnership with Cinemateca Portuguesa, dedicates its thematic retrospective to the delicate coalition of radical filmmakers who, in the midst of the Great Depression, fought to birth the new genre of Social Documentary as a tool for socio-political change in the USA.
In parallel to President Franklin Delano Roosevelt's commitment to social justice through the policies of his government's New Deal in the 1930s, a generation of filmmakers sought to infuse facts with feelings, art with agitprop and propaganda, through a cinema of reality that sought to communicate, and perhaps even help resolve,...
This year Doclisboa, in partnership with Cinemateca Portuguesa, dedicates its thematic retrospective to the delicate coalition of radical filmmakers who, in the midst of the Great Depression, fought to birth the new genre of Social Documentary as a tool for socio-political change in the USA.
In parallel to President Franklin Delano Roosevelt's commitment to social justice through the policies of his government's New Deal in the 1930s, a generation of filmmakers sought to infuse facts with feelings, art with agitprop and propaganda, through a cinema of reality that sought to communicate, and perhaps even help resolve,...
- 8/13/2023
- by Adriana Rosati
- AsianMoviePulse
Joanne Koch, emeritus executive director and member of the Board of Trustees of Film At Lincoln Center, has died. She was 92. Koch was an influential figure in the culture of cinema in New York and ran Film at Lincoln Center, as it is known now, for 32 years from 1971 to 2003.
Hollywood & Media Deaths In 2022: Photo Gallery
Koch died on Tuesday, August 16, according to Film at Lincoln Center who retweeted a story published by THR and was first to report the story.
The cinema connoisseur stepped down from her position at Film at Lincoln Center back in 2003 after a long tenure where she helped launch New York Film Festival’s New Directors/New Films Festival in 1972. She was also the publisher of Film Comment magazine and co-produced 19 of the Chaplin Award galas that paid tribute to legendary film artists.
At the time she left her position at Film at Lincoln Center she said in a statement,...
Hollywood & Media Deaths In 2022: Photo Gallery
Koch died on Tuesday, August 16, according to Film at Lincoln Center who retweeted a story published by THR and was first to report the story.
The cinema connoisseur stepped down from her position at Film at Lincoln Center back in 2003 after a long tenure where she helped launch New York Film Festival’s New Directors/New Films Festival in 1972. She was also the publisher of Film Comment magazine and co-produced 19 of the Chaplin Award galas that paid tribute to legendary film artists.
At the time she left her position at Film at Lincoln Center she said in a statement,...
- 8/21/2022
- by Armando Tinoco
- Deadline Film + TV
As with many veterans of the Film Society of Lincoln Center, which is being renamed Film at Lincoln Center to mark its 50th Anniversary this week, longtime former executive director Joanne Koch has some stories to tell.
“We tried to get Katharine Hepburn at the Chaplin Gala, and she wrote me and said she’d rather go to the South Pole,” Koch laughs. “But when we honored George Cukor in 1978, she was very nervous, but she came — and the audience went crazy.”
So did the Lincoln Center board chairman George Weissman in 1989, but for another reason. “The New York Film Festival was showing ‘Roger and Me,’ which attacked General Motors, a substantial donor to Lincoln Center. I remember [George] saying, ‘Are you really going to show this film?’ I said yes, and we did.”
Longtime former program director and Nyff selection committee chairman Richard Peña has a slightly different memory of the screening.
“We tried to get Katharine Hepburn at the Chaplin Gala, and she wrote me and said she’d rather go to the South Pole,” Koch laughs. “But when we honored George Cukor in 1978, she was very nervous, but she came — and the audience went crazy.”
So did the Lincoln Center board chairman George Weissman in 1989, but for another reason. “The New York Film Festival was showing ‘Roger and Me,’ which attacked General Motors, a substantial donor to Lincoln Center. I remember [George] saying, ‘Are you really going to show this film?’ I said yes, and we did.”
Longtime former program director and Nyff selection committee chairman Richard Peña has a slightly different memory of the screening.
- 4/29/2019
- by Gregg Goldstein
- Variety Film + TV
The 1968 film “Spring Night, Summer Night” finally received its much-deserved New York Film Festival premiere last week, 50 years after it was “unceremoniously bumped” — per Nyff’s festival catalogue — to make space for John Cassavetes’s “Faces.” It’s a film of astounding beauty – bringing to life rural life in a way rarely seen on the big screen – but it was never properly exhibited, and faded from existence shortly after it was made.
Long before its restoration, the film was re-cut and re-shot to look like an exploitation picture, with the new title “Miss Jessica is Pregnant.” It was only saved from oblivion decades later, through extensive efforts by the filmmakers’ former students, director Nicolas Winding Refn, and a former Albuquerque theater owner by the name of Peter Conheim, who made it his mission to restore the film after seeing a version of it in 2004.
“I first saw ‘Spring Night, Summer Night...
Long before its restoration, the film was re-cut and re-shot to look like an exploitation picture, with the new title “Miss Jessica is Pregnant.” It was only saved from oblivion decades later, through extensive efforts by the filmmakers’ former students, director Nicolas Winding Refn, and a former Albuquerque theater owner by the name of Peter Conheim, who made it his mission to restore the film after seeing a version of it in 2004.
“I first saw ‘Spring Night, Summer Night...
- 10/15/2018
- by Chris O'Falt
- Indiewire
Offon by Scott Bartlett (1968)
This film’s title is spelled various ways in different sources. Variations include Off-On, Off/On, and Offon. The Canyon Cinema Catalog 3, published in Spring 1972, spells it Offon. However, all film titles in the catalog are spelled in all caps, so the Underground Film Journal has opted to spell it as Offon, also based on the title screen, which is in all caps. Some sources also give a completion year of 1967, but 1968 is correct.
Offon is considered one of the first works to combine film and video together. It was celebrated upon its release for both its technical ingenuity as much as for its artistic integrity.
Over the weekend of May 10th, 1968, Offon screened at the first Yale Film Festival at Yale University, where it was awarded First Prize by judges Annette Michelson, Willard Van Dyke, Bernard Hanson, and Jonas Mekas, who wrote about the festival...
This film’s title is spelled various ways in different sources. Variations include Off-On, Off/On, and Offon. The Canyon Cinema Catalog 3, published in Spring 1972, spells it Offon. However, all film titles in the catalog are spelled in all caps, so the Underground Film Journal has opted to spell it as Offon, also based on the title screen, which is in all caps. Some sources also give a completion year of 1967, but 1968 is correct.
Offon is considered one of the first works to combine film and video together. It was celebrated upon its release for both its technical ingenuity as much as for its artistic integrity.
Over the weekend of May 10th, 1968, Offon screened at the first Yale Film Festival at Yale University, where it was awarded First Prize by judges Annette Michelson, Willard Van Dyke, Bernard Hanson, and Jonas Mekas, who wrote about the festival...
- 7/29/2018
- by Mike Everleth
- Underground Film Journal
After years of planning, the Anthology Film Archives first opened its doors in New York City towards the end of 1970. That opening came with great interest and fascination of how the world’s first “museum of film” was going to operate like no other theater before it.
Articles on the Anthology’s grand opening ran in both the New York Times and New York magazine in late November. Plus, the Anthology itself ran a full page ad in the Times with the screening calendar of its first four days. Through that printed material, those early days can be pretty well reconstructed.
The Anthology itself says that it opened its doors on November 30, 1970; but, according to an article in the Times the previous day by film critic Vincent Canby, that opening was an invitation-only event at which work by George Méliès, Joseph Cornell, Jerome Hill and Harry Smith was screened. Jonas Mekas...
Articles on the Anthology’s grand opening ran in both the New York Times and New York magazine in late November. Plus, the Anthology itself ran a full page ad in the Times with the screening calendar of its first four days. Through that printed material, those early days can be pretty well reconstructed.
The Anthology itself says that it opened its doors on November 30, 1970; but, according to an article in the Times the previous day by film critic Vincent Canby, that opening was an invitation-only event at which work by George Méliès, Joseph Cornell, Jerome Hill and Harry Smith was screened. Jonas Mekas...
- 6/2/2018
- by Mike Everleth
- Underground Film Journal
(Click image to read article as originally printed.)
From the Arizona Republic, March 16, 1964:
Twelve American filmmakers will receive a total of $118,500 from the Ford Foundation in its first move to aid creative artists in motion pictures. The grants range up to $10,000 for a one-year period. They will be used by the recipients either to produce short films or for travel and study.
The awards are part of a long-range plan of the foundation to include motion pictures in its program.
The undertaking was described as a “pilot project” by W. McNeil Lowry, director of the foundation’s program in humanities and the arts, when it was established last June.
The moviemakers chosen are professionals but their works are generally unknown to viewers of popular film fare.
The 12 winners were selected from 177 nominees considered by a panel of judges. More than 400 letters had been sent to producers, directors, writers, critics...
From the Arizona Republic, March 16, 1964:
Twelve American filmmakers will receive a total of $118,500 from the Ford Foundation in its first move to aid creative artists in motion pictures. The grants range up to $10,000 for a one-year period. They will be used by the recipients either to produce short films or for travel and study.
The awards are part of a long-range plan of the foundation to include motion pictures in its program.
The undertaking was described as a “pilot project” by W. McNeil Lowry, director of the foundation’s program in humanities and the arts, when it was established last June.
The moviemakers chosen are professionals but their works are generally unknown to viewers of popular film fare.
The 12 winners were selected from 177 nominees considered by a panel of judges. More than 400 letters had been sent to producers, directors, writers, critics...
- 6/10/2017
- by Mike Everleth
- Underground Film Journal
In the fall of 1946, Frank Stauffacher mounted a major, and very influential, retrospective of avant-garde film in the U.S. at the San Francisco Museum of Art. The series was called “Art in Cinema” and it featured ten different programs from filmmakers in the U.S., France, Germany and Canada.
By the mid-’40s, the avant-garde hadn’t taken a strong hold in the U.S. yet, so the majority of the films screened came from Europe, or by Europeans who relocated to the U.S. However, by that time also, the European avant-garde had pretty much completely petered out. Still, Stauffacher wanted to show that there was a continuity to avant-garde film history that, up until that point, had yet to be fully considered.
In conjunction with the series, the San Francisco Museum of Art published a catalog, pretty much like one would find with any major art exhibit.
By the mid-’40s, the avant-garde hadn’t taken a strong hold in the U.S. yet, so the majority of the films screened came from Europe, or by Europeans who relocated to the U.S. However, by that time also, the European avant-garde had pretty much completely petered out. Still, Stauffacher wanted to show that there was a continuity to avant-garde film history that, up until that point, had yet to be fully considered.
In conjunction with the series, the San Francisco Museum of Art published a catalog, pretty much like one would find with any major art exhibit.
- 12/15/2010
- by Mike Everleth
- Underground Film Journal
Repertory theaters on the coasts are truly offering a window onto the world this spring, with Jia Zhangke and Bong Joon-ho retrospectives, as well as New French Cinema in New York, "Freebie and the Bean," "Killer Klowns from Outer Space" and Jason Reitman's favorite films invade Los Angeles, and the Alamo Drafthouse in Austin is offering a fond farewell to the video cassette. But consider this a hello to seeing classics, oddities and rarities on the big screen over the next few months.
Cities: [New York] [Los Angeles] [Austin] More Spring Preview: [Theatrical Calendar]
[Anywhere But a Movie Theater]
New York
92YTribeca
Is there a more energetic way to start the spring than with a screening of Russ Meyer's "Faster Pussycat! Kill! Kill!" (Feb. 20, with editors Rumsey Taylor, Leo Goldsmith and Jenny Jediny in attendance)? Perhaps not, but it's only the start of an exciting spring season at the 92YTribeca Screening Room, which will present several special events over the next few months.
Cities: [New York] [Los Angeles] [Austin] More Spring Preview: [Theatrical Calendar]
[Anywhere But a Movie Theater]
New York
92YTribeca
Is there a more energetic way to start the spring than with a screening of Russ Meyer's "Faster Pussycat! Kill! Kill!" (Feb. 20, with editors Rumsey Taylor, Leo Goldsmith and Jenny Jediny in attendance)? Perhaps not, but it's only the start of an exciting spring season at the 92YTribeca Screening Room, which will present several special events over the next few months.
- 2/20/2010
- by Stephen Saito
- ifc.com
IMDb.com, Inc. takes no responsibility for the content or accuracy of the above news articles, Tweets, or blog posts. This content is published for the entertainment of our users only. The news articles, Tweets, and blog posts do not represent IMDb's opinions nor can we guarantee that the reporting therein is completely factual. Please visit the source responsible for the item in question to report any concerns you may have regarding content or accuracy.