Re: [Frameworks] HFA Presents MORGAN FISHER PRESENTS

From: albert alcoz <>
Date: Sat, 26 Mar 2011 10:09:34 +0000 (GMT)

Morgan Fisher films are really inspiring. I recommend those screenings. A month ago we showed some of his films in Barcelona. It was very difficult to coordinate the copies and the subtitles, but finally the screening was really great: Thank you Morgan for your attention and your patience, Gloria Vilches and I really appreciate it. Best, Albert Alcoz ________________________________ De: Myron Ort <> Para: Experimental Film Discussion List <> Enviado: vie,25 marzo, 2011 22:04 Asunto: Re: [Frameworks] HFA Presents MORGAN FISHER PRESENTS I am based in Northern California (hour north of SF), but will be visiting the Los Angeles area mid May. I too am a huge fan or Morgan (who once visited me up here some years back -- we have mutual friends and acquaintances -- I think I met him at a private screening of Abe Osheroff's first documentary around the time that Thom Anderson was working on his Muybridge film, I hate to think how many years ago that was.... Myron On Mar 25, 2011, at 12:58 PM, Mark Toscano wrote: > I'm happy to say that the prints of Documentary Footage, Phi > Phenomenon, and Production Footage will be from the Academy's > preservations/restorations, which came out great, thanks to > Morgan's extensive collaboration. He's really fun and inspiring to > work with for me as an archivist. > > The two videos are very rarely screened and a substantial addition > to Morgan's more known/circulated work - Turning Over is hilarious, > and Protective Coloration is unsettling and powerful. > > Morgan is a fantastic thinker and speaker, and I'm a huge fan of > his work, so I wholeheartedly recommend these shows. If anybody > out there is on the fence about going, definitely go! > > Mark T > > p.s. Myron, where are you based? > > > --- On Fri, 3/25/11, Myron Ort <> wrote: > > From: Myron Ort <> > Subject: Re: [Frameworks] HFA Presents MORGAN FISHER PRESENTS > To: "Experimental Film Discussion List" > <> > Date: Friday, March 25, 2011, 11:13 AM > > Wish I could see this. Any chance there will be a similar show on > the West Coast sometime? > I like the point made here about the comedic vein. I am thinking > Morgan connects on some level to Buster Keaton. > Myron Ort > > On Mar 25, 2011, at 8:52 AM, Gravely, Brittany wrote: > MORGAN FISHER PRESENTS > APRIL 8 – APRIL 10 > > CAMBRIDGE, MA: The Harvard Film Archive is pleased to screen > MORGAN FISHER PRESENTS from FRIDAY APRIL 8 – SUNDAY APRIL 10, 2011. > > An influential presence in the second wave of postwar American > experimental cinema that began in earnest in the late 1960s, Morgan > Fisher (b. 1942) has created a body of films whose lucidly complex > engagement with the cinematic apparatus, and with conceptual art, > is just beginning to be fully appreciated. Few filmmakers have so > presciently explored- and expanded- critical debates central to > Modernist art and its reception and also revolving around the > relationship between art and industry, and between theory and > practice. Fisher’s films are, in truth, only part of a more > expansive art practice and his Production Stills was, tellingly, > screened in 1970 at the Museum of Modern Art in conjunction with > its historic “Information” show, among the first US museum exhibits > devoted to conceptual art. In 2005-06, one-person exhibitions at > the Tate Modern and Whitney Museum inspired renewed interest in > Fisher’s films, and he has recently received > recognition for his paintings and other non-film work that employ > strategies similar to those in his films. > Focusing with rare intensity and insight upon the construction > (and deconstruction) of cinematic illusionism, Fisher’s earliest > films, such as The Director and His Actor Look at Footage Showing > Preparations for an Unmade Film (2) and Production Stills, revealed > the careful self-reflexivity and theoretical sophistication that > have remained important trademarks of his work. Fisher’s late > masterpieces Standard Gauge and ( ) have added another dimension to > his meta-cinematic concerns, channeling Fisher’s ardent love, and > deep knowledge, of cinema into a heartfelt, and at times distinctly > melancholy, searching for the essence of film. Fisher’s late films > offer a radical, “termite” history of the cinema from within the > machine, a recovery and even an ontology, of precisely those film > techniques and technologies that are typically overlooked and, > paradoxically, designed to be invisible- the insert, film gauges, > and the motion picture camera itself. > An undergraduate art history major at Harvard, Fisher received his > formal training in filmmaking in Los Angeles, at USC and UCLA, > before taking a variety of jobs in the commercial film industry- as > an editor, stock footage researcher, assistant director and even > bit actor- working for the likes of Roger Corman and Haskell > Wexler. Typically identified with the structuralist film movement, > Fisher’s work must also be understood in the broader context of > conceptual and minimalist art, on the one hand, and, on the other, > the emergent “apparatus theory” of Marxist film scholars in the > 1970s, led by Jean-Luis Baudry. Counterbalancing and enriching the > theoretical rigor of Fisher’s films is their subtle and unexpected > humor which offers a nuanced variation of the rich yet > underappreciated comedic vein running throughout the work of other > avant-garde filmmakers in the same generation as Ernie Gehr, Owen > Land and Michael Snow. > The HFA is proud to welcome Morgan Fisher back to Harvard for this > rare opportunity to screen and discuss his pioneering films. > Invited to select a film that could complete and complement his > retrospective, Fisher chose Alfred Hitchcock’s rarely screened > Under Capricorn. > > Screening Schedule: > Director Morgan Fisher in Person > Special Event Tickets $12 > April 8 at 7pm > The Director and his Actor Look at Footage Showing Preparations of > an Unmade Film (2) > USA 1968, 16mm, b/w, 15 min. > > Documentary Footage > USA 1968, 16mm, color, 11 min. > > Phi Phenomenon > USA 1968, 16mm, color, 11 min. > > Production Stills > USA 1970, 16mm, color, 11 min. > > Cue Rolls > USA 1974, 16mm, color, 5.5 min. > > ( ) > USA 2003, 16mm, color, 21 min. > > TRT: 74 min. > > Director Morgan Fisher in Person > Special Event Tickets $12 > April 9 at 7pm > Projection Instructions > USA 1976, 16mm, b/w, 4 min. > > Picture and Sound Rushes > USA 1973, 16mm, b/w, 11 min. > > Production Footage > USA 1971, 16mm, color, 10 min. > > The Wilkinson Household Fire Alarm > USA 1973, 16mm, color, 1.5min. > > Turning Over > USA 1975, video, b/w, 15 min. > > Protective Coloration > USA 1979, video, color, 13 min. > > Standard Guage > USA 1984, 16mm, color, 35 min. > > Detour - The final shot only. > Directed by Edgar Ulmer. > USA 1945, 35mm, color > > TRT: 92 min. > > Under Capricorn > April 10 at 3pm > It is well known that some of Hitchcock’s films take place all but > entirely in a single confined space: Rope, Rear Window, Lifeboat. > By working within this self-imposed limit Hitchcock showed that > shifts from one space to another, all too easy in film and on which > almost all narrative films depend, are hardly a necessity. Another > limit in film is a material one, the length of a roll of film. > There can be no shot longer than eleven minutes. It is clear that > the staging of many of the scenes in Under Capricorn was conceived > of in relation to this limit, in fact working backwards from it. > The action in these scenes—the dialogue and how it is delivered, > the movements of the actors, the rhythms they all create—was > composed to accord with a length of time close to the maximum that > a roll of film allowed. This procedure inverts the way scenes in > almost all films are shot, where they are built up piece by piece > from the elements of classical > decoupage—the establishing shot, two-shot, close-ups—to move the > story forward without regard for how long each shots lasts. In a > scene shot in a continuous take, everything necessary has to happen > but nothing beyond. And the execution of the scene is as exacting > as its composition. Everything must happen perfectly: how the > actors deliver their lines, their expressions, their gestures, how > and where they move, how the camera moves. One mistake in the least > detail, and there is no alternative but to start over again. You > can’t cut around mistakes, you can’t get rid of lines you don’t > need or add lines that you do, you can’t go back and shoot pick- > ups. The longer the take and the more complicated the movements of > the actors and the movements of the camera, the more opportunities > for things to go wrong. Not only does everything has to happen > perfectly, it has to happen without apparent effort, when in fact > the shot is the result of a large > number of people making extraordinary efforts, the work of each > exactly coordinated with the work of everyone else. For me the > sustained perfection of the long takes in Under Capricorn inspires > awe. - Morgan Fisher > Directed by Alfred Hitchcock. With Ingrid Bergman, Joseph Cotton, > Michael Wilding. > USA 1949, 35mm, color, 117 min. > > Harvard Film Archive > 24 Quincy Street, Cambridge, MA 02138 > (617) 495-4700 > <> > General Admission Tickets $9, $7 Non-Harvard Students, Seniors, > Harvard Faculty and Staff. Harvard students free > Special event tickets (for in-person appearances) are $12. > Tickets go on sale 45 minutes prior to show time. The HFA does not > do advance ticket sales. > > Press Contact: > Brittany Gravely > Publicist > Harvard Film Archive > 24 Quincy Street > Cambridge, MA 02138 > 617-496-3211 > > > > _______________________________________________FrameWorks mailing > listFrameWorks@jonasmekasfilms.comhttp://mailman- > > > -----Inline Attachment Follows----- > > _______________________________________________ > FrameWorks mailing list > > > > > > > > _______________________________________________ > FrameWorks mailing list > > > _______________________________________________ FrameWorks mailing list

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Received on Sat Mar 26 2011 - 03:09:42 CDT