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<<back TUESDAY, APRIL 27 Part 1 QCC Curated Programs 1930ās, 40ās, 50ās, 60ās Film Theatre Lower Level Regina Public Library 2311 12th Ave. (see April 26 for introduction) 7 PM 1960ās Flaming Creatures (Jack Smith, USA, 1963, 16mm, 45 min.) "During its final deliberation, the selection jury decided to state explicitly that the majority of its members recognized the aesthetical and experimental qualities of the film Flaming Creaturesā by Jack Smith, but had to ascertain unanimously that the showing of it was impossible in regard to Belgium laws." öThird International Experimental Film Competition, Knokke-Le-Zoute, Belgium 1964 Couch (Andy Warhol, USA, 1964, 16mm, silent, 40 min.) The couch at Andy Warholās Factory was as famous in its own right as any of his Superstars. In Couch, visitors to the Factory were invited to Īperformā on camera, seated on the old couch. Their many acts ö both lascivious and mundane ö are documented in a film that has come to be regarded as one of the most notorious of Warholās early works. Across the course of the film we encounter such figures as poets Allen Ginsberg and Gregory Corso, the writer Jack Kerouac, and perennial New York figure Taylor Mead. Hold Me While I'm Naked (George Kuchar, USA, 1966, 16mm, 15 min.) "This film could cheer an arthritic gorilla, and audiences, apparently sensitized by its blithely accurate representation of feelings few among them can have escaped, rise from their general stupor to cheer it back." öJames Stoller, The Village Voice Phases of The Moon (Tom Chomont, USA, 1968, 16mm, silent, 5 min.) "I usually avoid the term Īfilm poemā, because it was overused in the '40's and '50's. But somehow it fits Phases of The Moon, it is a film poem and nothing else. A small, miniature film poem, a jewel, if the word masterpiece is too stuffy.ä öJonas Mekas, Village Voice, October, 1973 9 PM 1960ās Ingreen (Nathaniel Dorsky, USA, 1964, 16mm, 12 min.) The first of three films depicting the emergence from adolescence. Ingreen is a reflecting pool of the underwater involvement of a mother-father-son relationship. "... the film haunts, has tugged at my mind now and again all these years ..." öStan Brakhage Amphetamine (Warren Sonbert and Wendy Appel, USA, 1966, 16mm, 10min.) Sonbert began making films in 1966, as a student at New York University's film school in New York. In his first films, he uniquely captured the spirit of his generation, and was inspired both by his university milieu and by the denizens of the Warhol art scene. In both provocative and playful fashion, Amphetamine depicts young men shooting amphetamines and making love in the era of sex, drugs and rock and roll. Winter Kept Us Warm (David Secter, Canada, 1965, 16mm, 81 min.) The first gay movie from English Canada is not an obscure museum piece, but a fine dramatic feature that played to festival acclaim around the world in 1965. Winter Kept Us Warm was made on a shoestring at the University of Toronto by Secter, [then] a 22 - year-old English major from Winnipeg. It wasn't easy. After Student Council money launched the filming of Secter's script of an 'ambiguous' (as they used to say in the sixties) male friendship in a campus residence, finishing grants were predictably refused by the Canada Council, the Ontario Arts Council and the National Film Board. But Secter persisted and went on to prove the bureaucrats wrong. The critics loved it, despite its black-and-white 'Canadian' aura and its forbidden theme. <<back
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| Design: Vary Garro Design/Rio Saxon Design - Programming: Rio Saxon | ||||||||
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