september 2018, arsenal cinema

Hollywood Blacklist

What do you think of communism? All US artists and intellectuals were expected to have an opinion on this issue in the 1930s. In the second half of the following decade, this was no longer necessary. All possible sympathies for socialist ideas were branded “un-American”. The Cold War had begun. Reactionary forces, which had long been bothered by what they considered decadence and leftist tendencies in Hollywood, used the chance to portray the film industry as being infiltrated by communists. In October 1947, the House Un-American Activities Committee (HUAC) started conducting hearings in Washington. Of dozens subpoenaed to answer questions, 11 – Alvah Bessie, Herbert J. Biberman, Lester Cole, Edward Dmytryk, Ring Lardner Jr., John Howard Lawson, Albert Maltz, Samuel Ornitz, Adrian Scott, Dalton Trumbo and Bertolt Brecht – were branded “unfriendly witnesses”. With the exception of Brecht, who left for Europe shortly afterwards, they all refused to answer the question: “Are you or have you ever been a member of the Communist Party?” A month later, the “Hollywood Ten” were sentenced to imprisonment. The studios succumbed to the pressure of the anti-communist witch-hunters and the Hollywood blacklist was born. There were further HUAC hearings after 1951 and conservative publications also started publishing lists of “suspects”. In the following years, hundreds in the film industry lost their livelihoods. Many were not able to find work in the entertainment industry until the 1960s, if at all.

This month's retrospective curated by Hannes Brühwiler pays tribute to those affected by the blacklist and features a selection of their films. All 24, including several which have rarely been screened, explore the filmmakers’ key concerns: fascism (THE MAN I MARRIED), exploitation (GIVE US THIS DAY), racism (CRY, THE BELOVED COUNTRY), feminism (I CAN GET IT FOR YOU WHOLESALE), the greed of capitalism (FORCE OF EVIL) and more than once the despair of the worker-class (THE SOUND OF FURY). In sum, a left-wing vision of the US, which is rarely utopian but always exact and analytical, emerges. It is a cinema of “clairvoyant pessimism” (Noël Burch) that is as pertinent today as it was then.

Most of the films were made before the blacklist was compiled. They shed light on the liberties the filmmakers were able to take within Hollywood’s narrow confines and reveal the conflicts that arose. They also underline the fact that there was a significant creative bloodletting (contrary to popular belief). This retrospective explicitly opposes Billy Wilder’s malicious comment: "Of the ten, two had talent, and the rest were just unfriendly.” JOHNNY GUITAR and RED HOLLYWOOD are two films which comment on the blacklist in different ways.

35mm prints of all the features will be shown; many of them have been restored.

NB: The names of those affected by the blacklist are in bold.

september 2018, arsenal cinema

Magical History Tour
 – Forms of the Grotesque

As an artistic stylistic device, the grotesque crosses all boundaries. Its definitions are as varied and subjective as its shifts in meaning in (art) history are numerous and its forms in film are frequent and multifaceted. Grotesque motifs appear in worlds of images, send shivers, combine with fantasy or humor (or both), light up characters, whose behavior ranges from the bizarre and eccentric to the monstrous, provide the basis for whole storylines, deform and transform cinematographic reality or break new ground in dramatic feverish dreams, hysterical excesses or satirical and absurd confusions. Grotesque elements can be found in all genres, from the comedy to the thriller, to Heimat films or romantic movies. Taking in different eras, styles and regions as usual, this month's 10 Magical History Tour films illustrate the influence of the grotesque’s anarchic force – in ways that can be upsetting at times, or exhilarating, but always idiosyncratic and surprising.

september 2018, arsenal cinema

70 mm: INTERSTELLAR

september 2018, transfer

Next Projection Room Tour on September 29

picture of projection room at Arsenal

What do 16mm, 35mm and 70mm actually mean? What is screen masking and what is it used for? How does a dissolve work? And what is actually happening when the image on the screen stops moving and begins to melt? If you’re interested in finding out how films get on to the screen, Arsenal would like to invite you to take a peek behind the scenes on one of our projection room tours. Our projectionist Bodo Pagels will show you round the projection room, tell you all about film formats, projectors and projection techniques, demonstrate how films are fed into the projector and provide a full introduction to the secrets of film projection. He will also be happy to answer any questions you might have about the cinema set-up and will adapt the tour to your wishes and interests as far as possible. The next scheduled tour will take place on Saturday September 29, at 4pm. Please register in advance. 


september 2018, transfer

Autumn School for Teachers: Showing and Telling in Film

The first ever Autumn School for teachers takes place from 11.–13.10. and is entitled “Showing and Telling in Film”. The further training program unites film analysis and practice, presents different teaching methods, and offers an in-depth look at forms of film narration and documentation. The Autumn School was conceived by film educators and scholars Bettina Henzler and Stefanie Schlüter, who will be carrying out the program together with film director and historian Brigitta Wagner.

 

arsenal cinema: Edit Film Culture!

06:30 pm Cinema 2


Lichtspiel Schwarz-Weiß-Grau

Straight and Narrow

11 x 14

30.10.1978: Bilder und Strukturen
*Lichtspiel Schwarz-Weiß-Grau László Moholy-Nagy
Germany/USSR 1930 35 mm 6 min
*Straight and Narrow Beverly and Tony Conrad
USA 1970 16 mm 10 min
*11 x 14 James Benning
USA 1977 35 mm 82 min

Introduced by Stefanie Schulte Strathaus
arsenal cinema: Retrospective Andrei Tarkovsky

08:00 pm Cinema 1


Offret

Katok i skripka

*Offret The Sacrifice Sweden/France 1986
35 mm OV/GeS 145 min
Showing first: Katok i skripka The Steamroller and the Violin
USSR 1960 35 mm OV/EnS 45 min

arsenal cinema: Edit Film Culture!

08:30 pm Cinema 1


Visual Variations On Noguchi

Glimpse Of The Garden

Hurry! Hurry!

Dwightiana

Arabesque For Kenneth Anger

Bagatelle For Willard Maas

Drips In Strips

Eye Music In Red Mayor

Moon Play

Mood Mondrian

Notebook

Go! Go! Go!

Watts With Eggs

Wrestlers

Lights

Andy Warhol

Excursion

Marie Menken
*Visual Variations On Noguchi Marie Menken USA 1945 16 mm 4 min
*Glimpse Of The Garden Marie Menken USA 1957 16 mm 5 min
*Hurry! Hurry! Marie Menken USA 1957 16 mm 4 min
*Dwightiana Marie Menken USA 1959 16 mm 4 min
*Arabesque For Kenneth Anger Marie Menken USA 1961 16 mm 5 min
*Bagatelle For Willard Maas Marie Menken USA 1961 16 mm 5 min
*Drips In Strips Marie Menken USA 1961 16 mm 3 min
*Eye Music In Red Mayor Marie Menken USA 1961 16 mm 5 min
*Moon Play Marie Menken USA 1961 16 mm 4 min
*Mood Mondrian Marie Menken USA 1961/62 16 mm 6 min
*Sidewalks Marie Menken USA 1961/66 16 mm 6 min
*Notebook Marie Menken USA 1962 16 mm 11 min
*Go! Go! Go! Marie Menken USA 1963 16 mm 12 min
*Watts With Eggs Marie Menken USA 1964 16 mm 2 min
*Wrestlers Marie Menken USA 1964 16 mm 8 min
*Lights Marie Menken USA 1964/65 16 mm 6 min
*Andy Warhol Marie Menken USA 1965 16 mm 18 min
*Excursion Marie Menken USA 1968 16 mm 5 min

Introduced by Ute Aurand