2015

The Brakhage Center Presents: The Work of Chick Strand Program I

Anonymous — Wed, 07 Jan 2015 16:34:29 +0000

The Brakhage Center Presents: The Work of Chick Strand Program I Anonymous (not verified) Wed, 01/07/2015 - 09:34

The Brakhage Center Presents: The Work of Chick Strand Program I
Co Sponsored by the Film Studies Department Faculty and Staff Monday, November 3rd 2014 at 5pm
ATLAS 102, CU ��«��Ƶ Campus

“For most of her filmmaking career, the integrity of Strand’s vision lay aslant of prevailing fashions, so that only belatedly did the full significance of her radically pioneering work in ethnographic, documentary, feminist, and compilation filmmaking-and above all, in the innovation of a unique film language created across these modes-become clear. Though feminism and other currents of her times are woven through her films and though her powerful teaching presence sustained the ideals of underground film in several film schools in the city, hers was essentially a school-of-one.” David James, in The Most Typical Avant-Garde: History and Geography of Minor Cinemas in Los Angeles.

Introduced by Taylor Dunne

Guacamole
1976. 10mins. Color/Sound.

Mosori Monika
1970. 20min. Color/Sound.

Mujer De Milfuegos
1976. 15min. Color/Sound.

Kristallnacht
1979. 7min. B&W/Color/Sound.

Artificial Paradise
1986. 12.5min. Color/Sound.

Fake Fruit
1986. 22min. Color/Sound.

Waterfall
1967. 3min. Color/Sound.

TRT: 90 min

Sponsored by The Brakhage Center and The Film Studies Faculty and Staff
Special thanks to Jennifer Peterson and Jacob Barreras!

Off

Traditional

White

Spring 2015 Luncheon Series Presents Robert Schaller

Anonymous — Mon, 05 Jan 2015 18:49:26 +0000

Spring 2015 Luncheon Series Presents Robert Schaller Anonymous (not verified) Mon, 01/05/2015 - 11:49

The spring 2015 Luncheon Series at the Brakhage Center for Media Arts is pleased to announce that it will feature Robert Schaller on Monday, February 9th !

The presentations will take place from 12:30-1:30pm in the ATLAS building, room 311. The events are FREE! Everyone is welcome! Bring your lunch!

Robert Schaller: A Practice of Film as Music

Robert Schaller is a filmmaker and composer whose current projects revolve around the integration of film and classical chamber music, handmade pinhole cinematography, handmade film emulsion, and dance. His works have shown at many venues and festivals in the United States, Europe, and Australia. Robert founded and directs the Handmade Film Institute, an internationally known non-profit organization based in the Rocky Mountain foothills west of ��«��Ƶ, CO, that is dedicated to the understanding and teaching of photochemical processes as a tool for the making of cinematic art. He received his MFA in 1997 at the University of Colorado in Interdisciplinary Arts, working with Phil Solomon and Stan Brakhage. He was a faculty member at the University of Colorado, and subsequently taught at the San Francisco Art Institute. He teaches classes, seminars, and workshops with the Handmade Film Institute, and has been a teacher and visiting artist at numerous Colleges, Universities, and artist organizations around the world.

Robert will talk about the formal and performative influences that musical thinking offers to the art of filmmaking.

Off

Traditional

White

Alternative Television: References

Anonymous — Mon, 10 Dec 2012 16:44:33 +0000

Alternative Television: References Anonymous (not verified) Mon, 12/10/2012 - 09:44

1960s 1970s 1980s

Intro: Independent and Valuable

References

Allen, G., & Smith, C. (2007). Publishing art: Alternative distribution in print. Art Journal, 66(1), 41-45.

Anderson, K., & Goldson, A. (1993). Alternating currents: Alternative television inside and outside of the academy. Social Text, 35, 56-71.

Baudrillard, J. (1981). For a Critique of the Political Economy of the Sign (pp. 164-184).Telos Press.

Boyle, D. (1992). From portapak to camcorder: A brief history of guerrilla television. Journal of Film and Video, 44(1/2), 67-79.

Boyle, D. (1985). Subject to change: Guerrilla television revisited. Art Journal, 45(3), 228-232.

Burch, E. (1997). Getting closer to folk tv production: Nontraditional uses of video in the U.S. and other cultures. Journal of Film and Video, 49(4), 18-29.

Halleck, D. (1993). Deep dish tv: Community video from geostationary orbit. Leonardo, 26(5), 415-420.

Kellner, D. (2003). The media and the crisis of democracy in the age of bush – 2. Retrieved fromhttp://pages.gseis.ucla.edu/faculty/kellner/essays/2003_Kellner_MediaCrisisDemocracy.pdf

Leistyna, P. (2008). Alternative media resource guide. The Radical Teacher, 81, 28-35.

London, B. (1985). Video: A selected chronology. Art Journal, 45(3), 249-262.

The Universal Declaration of Human Rights.Accessed November 2012.

http://www.un.org/en/documents/udhr/

Weiner, A. S. (2007). Changing channels: Broadcast television, early video and the politics of networked media. Qui Parle, 16(2), 132-145.

Zassoursky, Y. N. (2002). Media and communications as the vehicle of the open society.Gazette: The International Journal for Communication Studies, 64(5), 425-432.

Off

Traditional

White