CLINTON – The Hamilton College Fall Film Series (Forum on Image and Language in Motion) returns for the fall semester 2021.
All events are free and take place in the Bradford Auditorium in the Kirner-Johnson building on the Hamilton campus.
The FILM series welcomes members of the public fully vaccinated against COVID-19. All visitors must wear masks. In accordance with Hamilton College policy, unvaccinated visitors, including children, are not permitted at this time.
Below are the programs for the Fall 2021 series.
â¢ Saturday Sept. 18, at 4 p.m .: Metropolis by Fritz Lang (1927), the precursor of modern science fiction and dystopian cinema. FILM will present a new full version of the film.
â¢ Sunday September 19 at 2 pm: The General (1926) by Buster Keaton, one of the greatest silent comedies.
Both film screenings are accompanied live by the Anvil Orchestra.
For more than a decade, FILM has had the honor of presenting the Alloy Orchestra (Terry Donahue, Roger Miller and Ken Winokur) performing their own scores for the great classics. Dubbed âthe best in the world to accompany silent cinemaâ by the late Roger Ebert, the Alloy Orchestra visited Hamilton one last time in the fall of 2019, before the musicians went their separate ways.
In the wake of COVID-19, veterans Alloy Terry Donahue and Roger Miller have decided to team up with percussionist Larry Dersch and return to the stage, as the Anvil Orchestra.
â¢ Sunday September 26 at 2 pm: David Greaves will present a film by William Greaves.
Greaves has collaborated with his father on several films, including Symbiopsychotaxiplasm: Take One (1968, 1971), which will premiere on October 24, From these roots (1974), Nationtime â Gary (1972), The Voice of La Raza (1972), and several films on the first fight between Muhammad Ali and Joe Frazier. For many years, Greaves edited Our Time Press, a neighborhood newspaper serving the Bedford-Stuyvesant area of ââNew York City.
â¢ Sunday October 3: Hamilton Professor Zhuoyi Wang and filmmaker Dayong Zhao present two films.
At 2 p.m., they screen Shadow Days (2014), a dramatic film about personal secrets and China’s one-child policy in which a young urban couple returns to the rural âghost townâ of their youth.
At 7 p.m., they present a documentary called The Nailhouse: One Says No (2020). Reports of demolition of entire city neighborhoods in China seem to belong to everyday life; no one in China wants to hinder economic growth. Person? What happens when someone suddenly says “no” and refuses to leave their house?
Chinese artist and filmmaker Dayong Zhao made his film debut over 20 years ago directing commercials and is today one of China’s most accomplished filmmakers. His films focus on life in contemporary China.
â¢ Sunday, October 24, at 2 pm, Hamilton’s teacher Scott MacDonald presents Symbiopsychotaxiplasm: Take One by William Greaves (filmed in 1968, first version, 1971).
By 1968 William Greaves had established himself as a major contributor to modern documentary cinema. When a friend asked Greaves if he had a favorite project in mind that might seem so unusual to producers that funding would be unlikely, Greaves admitted he had such a project, and the friend became the angel from the movie.
Symbio is Greaves’ exploration of the directing process itself, including the complex relationships of director, cast, crew, and – since the film was shot openly in Central Park – viewers and passers-by.
When Symbio was finally released to the public some 20 years after its end, it was immediately recognized as one of the quintessential 1960s films and a canonical film about cinema. The reasons why the film’s release was delayed for so long will be discussed during the screening.
â¢ Sunday October 31 at 2 p.m .: Halloween by John Carpenter (1978)
The two decades since the release of Hitchcock’s Psycho (1960) saw a whole range of new forms of horror films, from low-budget independent productions like Night of the Living Dead (1968) to big-budget hits like The Exorcist (1973). John Carpenter’s Halloween is one of the most memorable horror films of this era, not only because of its powerful suspense and memorable score, but also because of its sleek, pumpkin-colored look.
In 2006, the film was selected for preservation in the United States National Film Registry by the Library of Congress as being “culturally, historically or aesthetically significant”.
â¢ Sunday November 7: SHOAH by Claude Lanzmann (1984), in its entirety
9 a.m. to 1:30 p.m .: âPremiÃ¨re Ã¨reâ (270 minutes)
3 p.m. to 8 p.m .: “Second era” (293 minutes)
SHOAH, a documentary on the Holocaust, will be shown as it was in 1984 – complete, with a single intermission, a way of suggesting that you have to interrupt your normal schedule to understand the lessons on offer.
While other films about Hitler’s “Final Solution” create terror and shock by documenting the dead and emaciated bodies that were found during the liberation of the concentration and extermination camps, Lanzmann relies entirely on on the memories of Holocaust survivors – Jews, Germans and other witnesses – and on the documentation of the landscapes where the events described took place.
â¢ Sunday, November 14, 2 pm: Hamilton teacher Celeste Day Moore presents excerpts from National Entertainment Television’s Black Journal (1968-1971).
As a result of the unrest that spread across the United States following the murder of Martin Luther King, the Kirner Commission was formed to examine, among other things, the relationship of the American mass media with African America. Among the results was NET’s Black Journal, the first network-based television news program to focus on African-American and Pan-African life and culture.
William Greaves co-hosted the show with Lou House / Wali Sadiq and quickly served as its executive producer. Black Journal won an Emmy in its first year for its innovative programming, and Greaves mentored many young filmmakers.
Moore, a historian of African-American culture and media and black internationalism, will provide context for a selection of episodes from Black journal.
â¢ Sunday December 5, 2 pm: Media artist John Knecht presents a selection of electronic films and paintings.
John Knecht’s work, and in particular his recent work for flat screen gallery installation and digital projection, has found a growing following on Facebook, as well as in galleries and on his website, (http: / /johnknechtart.com/)
The single-channel and multi-channel works (sometimes referred to as electronic paintings) that Knecht has produced since the early 1990s, including Deluge: Studies in the Super Natural (2010) and After Math (2017), have both surreal and expressionist roots. painting, as well as in the early days of animation history.
Knecht is Russell Colgate Distinguished University Professor Emeritus of Art & Art History and Film & Media Studies at Colgate University.