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From punk rock to sci-fi documentaries and a Korean feature film, fall 2021 Harpur Cinema The range has something for even the most discerning moviegoers.
“We were unable to offer Harpur Cinema last year due to pandemic restrictions, so this is our big comeback! noted Brian Wall Associate Professor of Cinema, which programs the series with Assistant Professor Kenneth White. “Like in our classes, with this program, we want to give the audience the opportunity to explore types of films that they may not be familiar with, so we have chosen a very diverse list.”
Two of the events are in partnership with the Binghamton University Art Museum. Until December 10, the museum offers an exhibition of posters, fashions and punk memorabilia from the late 1970s and early 1980s entitled “Now form a band: A punk exhibition in 3 chords.” ”
“Cinema was an important part of this movement, so when (curator) Claire Kovacs approached us for feedback, we saw a great opportunity to share our respective audiences. Our projections of Man rest and the short film program (Associate Professor) Tomonari (Nishikawa) assembled – Against the mainstream – watch and even play punk from a provocative perspective, ”Wall said.
The fall schedule is as follows:
September 24 and 26: Robert Greene’s Bisbee ’17 (2018, 112 minutes)
In 1917, nearly 2,000 immigrant miners, on strike for better wages and safer working conditions, were violently rounded up by their armed neighbors, herded into cattle cars, shipped into the middle of the New Mexico desert and left there to die. This long-buried and largely forgotten event is known as the Bisbee Deportation. Bisbee ’17 documents the locals as they play characters and stage dramatic scenes from the controversial story, culminating in a full-scale recreation of the deportation itself on the exact day of its 100th anniversary.
October 1 and 3: with Lisa Rovner Transistor sisters (2020, 86 minutes)
The remarkable and untold story of the pioneers of electronic music, the film traces a new history of electronic music through visionary women whose radical experiments with machines redefined the limits of music, including Clara Rockmore, Daphne Oram, Bebe Barron, Pauline Oliveros, Delia Derbyshire, Maryanne Amacher, Éliane Radigue, Suzanne Ciani and Laurie Spiegel.
October 22 and 24: Alex Cox’s Man rest (1984, 92 minutes) and Vaginal Davis White to be angry (1999, 18 minutes)
This program is a special presentation in coordination with the exhibition “Now form a band: A punk exhibition in 3 chords” presented at the Binghamton University Art Museum until 11 December. The October 22 presentation will include a conversation with Associate Professor of Cinema Brian Wall and Curator of the Art Museum. Claire Kovacs.
White to be angry is Davis’ statement on race and class in the United States. Cox’s sci-fi comedy Man rest stars Harry Dean Stanton as an aged boarding man in a sorry Los Angeles and Emilio Estevez as the middle-class punk he takes under his wing. The job becomes more than what either of them bargained for when they get involved in repossessing a mysterious and otherworldly Chevy Malibu with a hefty reward attached to it.
Oct. 29 and 31: Against the Mainstream: shorts by Sadie Benning, Betzy Bromberg, Abigail Child and Leslie Thornton
Programmed by Associate Film Professor Tomonari Nishikawa, this event consists of low-budget, self-produced short films by female artists that have been filmed or recorded in their homes and neighborhoods, featuring their friends and acquaintances. Films include Bromberg Little Evil (1977, 18 minutes), by Thornton Peggy and Fred in Hell: The Prologue (1988, 19 minutes), Child Grabuge (1987, 20 minutes) and Benning’s It wasn’t love (1992, 20 minutes). This program is a special presentation in coordination with the exhibition “Now form a band: A punk exhibition in 3 chords” at the Binghamton University Art Museum.
November 5 and 7: Tim Sutton’s Black night (2016, 86 minutes)
Loosely based on the 2012 mass shooting in Aurora, Colorado, Black night uses documentary style techniques and a non-professional group as it follows the activities of six strangers in the course of a day, the gunman among them.
November 12 and 14: Antonio Méndez Esparza Life and nothing more (2017, 114 minutes)
Stressed out by her restaurant job, single mom Regina (Regina Williams) is raising her two children in North Florida. When her 14-year-old son Andrew (Andrew Bleechington) has another run-in with the law, she fears he will end up in jail like his father. Méndez Esparza employs documentary-style realism in this snapshot of race, class, and family ties in contemporary America.
November 19 and 21: Hong Sangsoo’s The woman who ran (2020, 77 minutes)
The woman who ran follows Gamhee (Kim Min-hee), who has three separate encounters with friends while her husband is away on business. Youngsoon (Seo Young-hwa) is divorced, has given up meat and enjoys gardening in her garden. Suyoung (Song Seon-mi) has a crush on her architect neighbor and gets stalked by a young poet she met at the bar. Woojin (Kim Sae-byuk) works for a movie theater. Their meeting is polite, but tense; soon after, their shared history resurfaces.
The Cinema Department began showing important films to the academic community in 1965, with an emphasis on foreign and independent films, as well as important works from the historical archives. All foreign films are screened in their original language with English subtitles.
All screenings start at 7:30 p.m. in Conference Room 6; the doors open at 7 p.m. Single entry costs $ 4 and tickets will go on sale the night of the screening. However, students enrolled in CINE 121 can watch the series for free.
Proof of COVID-19 vaccination is required prior to entry, although face masks are required from all participants, regardless of their vaccination status. All of the University’s public health policies will be applied.
The Cinema Department invites the campus community to come and watch fascinating films – in complete safety.
“Everything looks better on the big screen, and every movie is better when you see it with others! Wall said.
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