In Direct Address: Films by Amy Taubin, Paul Arthur, and J. Hoberman

Saturday 23 July, 2016
8:30pm, $0

Le Petit Versailles
346 East Houston St, New York

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A program of works by filmmakers best known for things they have written about other peoples' films. "In Direct Address" lets these artists speak for themselves, indirectly, through the medium of film.

Amy Taubin, "See!,” “Like,” and “Duck” (1975) 16mm, b&w, sound, 11 min total
Three separate shorts originally produced for use in a live performance. Cinematography by Babette Mangolte.

Amy Taubin, "In the Bag" (1981) 16mm, color, sound, 20 min 
“What is stowed in a purse is often adduced as a reflection of, or synecdoche for, the personality of its owner; here Taubin manages to bare the trappings of personal intimacy while withholding any scopophilic pleasure derived from exposing herself as visual image.” –Paul Arthur
“In the Bag represents a sneak attack on minimalism.” –Noël Carroll 

Paul Arthur, "The Cliffs, The Silk City Detour" (1985) 16mm, b&w, sound, 14 min
“Living in suburban New Jersey watching too much film noir on television. The materials thrown together are: a partial inventory of houses in my neighborhood; a fragment of a dream journal; a 1949 pamphlet about Englewood Cliffs by The League Women Voters; outtakes from a fiction film I acted in; lines from famous movies; a passage from Engels' The Origin of the Family, Private Property, and the State.” –P.A.

Paul Arthur, "Theory of The Leisure Class" (1985) 16mm, b&w, 8.25 min 
“A contemporary golf course is paired with footage taken by the Edison Company in 1897 and buttressed with iconography from the spectrum of leisure class motivations. A montage of material around the idea of film as history.” –P.A.

J. Hoberman, "Broken Honeymoon #3" (1978) 16mm, b&w, 21.5 min
“Hoberman recuts a television sitcom, Bewitched, with Elizabeth Montgomery and Dick York: he divided each shot into one second segments and changed the order of the segments… The episode concerns a visit by one of the in-laws to Dick York’s family, but its appeal for Hoberman lay in the sequence when Dick York attempts to show some home movies, but has difficulty with the sound synchronization… Clearly, recutting the sitcom, with an optical track, automatically wreaks havoc on the synchronization because of the 26 frame sound advance. Since television and film build their ‘illusion of reality’ on the base of synchronization, Hoberman has ‘broken’ the ‘honeymoon’ usually enjoyed by the audience of such constructions, for the audience must now work at reconstituting the union of sound and image.” –Jonathan Buchsbaum

TRT ca. 74 min

Le Petit Versailles events are made possible by Allied Productions, Inc., Gardeners & Friends of LPV, GreenThumb/NYC Dept. of Parks, Materials for the Arts, the NYC Dept. of Cultural Affairs, and the Office of City Councilwoman Rosie Mendez. LPV Exhibitions are made possible with public funds from the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature.

The Film-Makers’ Cooperative is Supported by Funding from The New York State Council on the Arts and the New York City Department of Cultural Affairs.

Josh Guilford is Scholar in Residence at the Film-Makers’ Cooperative. He is based in Western Massachusetts, where he serves as Visiting Assistant Professor of English in Film and Media Studies at Amherst College. Essays of his have been included in Alternative Projections: Experimental Film in Los Angeles, 1945-1980; The Global Sixties in Sound and Vision: Media, Counterculture, Revolt; and other publications. Programs he has curated have screened at Anthology Film Archives, Union Docs, Microscope Gallery, Millennium Film Workshop, Balagan, and other venues. His short film, Rock Roll (2015), screened at the Ann Arbor Film Festival and the Onion City Experimental Film and Video Festival.

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