To Save and Project: The 12th MoMA International Festival of Film Preservation
October 24–November 22, 2014
Each fall, MoMA’s annual festival of newly preserved films, To Save and Project, brings together masterworks and rediscoveries from film archives, studios, and foundations from around the world. Many of the films in the festival will be receiving their first American screening since their original release; others will be shown in meticulously restored editions that more closely approximate the original experience of the film; a few will even be publicly screened for the first time ever in New York—including work by Orson Welles (sequences filmed but never used for the 1938 Mercury Theatre production Too Much Johnson). Also presented are films by Charles Chaplin, Maya Deren, Allan Dwan, Derek Jarman, Sergio Leone, Kenji Mizoguchi, Raul Ruiz, and Edgar G. Ulmer. Guest presenters include John Boorman, George Chakiris, and Ken Jacobs.
The opening-night film is the North American premiere of a new MoMA restoration: Allan Dwan’s 1929 masterpiece The Iron Mask, a rousingly entertaining swashbuckler starring Douglas Fairbanks that is often considered, as Dwan himself called it, “the last of the big silents.” MoMA’s version, however, contains the entire original Vitaphone soundtrack—with music, sound effects, and three spoken sequences—which will be heard here for the first time since the film’s original roadshow presentation.
These titles will join dozens of others from archives both public and private to create a four-week overview of the tremendously exciting work that is being done around the world to reclaim endangered films and rediscover forgotten treasures.
Related Film Screenings
The Iron Mask
1929. USA. Allan Dwan. 95 min.
1976. Italy/France. Elio Petri. 125 min.
Too Much Johnson [work print]
1938. USA. Directed by Orson Welles. With Joseph Cotten, Ruth Ford, George Duthie, Edgar Barrier. Welles’s first professional undertaking as a filmmaker was this unfinished project, a silent film in three parts meant to be shown with the Mercury Theatre’s 1938 production of William Gillette’s 1894 stage farce. Though Welles seems to have completed the editing of only the first seven minutes before the film component of the production was abandoned, the surviving 66-minute work print—miraculously discovered in a warehouse in Pordenone, Italy—offers a world of wonderment to Welles, revealing its director to be well on the way to the stylistic advances that would startle the world in Citizen Kane three years later. Paolo Cherchi Usai, Senior Curator of Motion Pictures at George Eastman House, will lead us on a tour of the raw footage, which includes many glimpses of New York City and its environs. The film is from the Cinemazero collection at the Cineteca del Friuli and was preserved by George Eastman House through a grant from the National Film Preservation Foundation, with additional funding from the Regione Friuli Venezia Giulia.
Orson Welles Directing Too Much Johnson [home movie]. 1938. USA. Directed by Myron Falk. Accompanying the presentation is this three-minute short, shot by Mercury Theatre funder Myron Falk, showing Welles at work on the production. Preserved by University of California, Berkeley Art Museum and Pacific Film Archive (BAM/PFA). 3 min. Silent.
Das Cabinet des Dr. Caligari (The Cabinet of Dr. Caligari)
1920. Germany. Robert Wiene. 75 min.
Wutai Jiemei (Stage Sisters)
1964. China. Xie Jin. 112 min.
George Chakiris: A Life in Film
George Chakiris became a permanent part of the iconography of New York City for his role as Bernardo, the leader of the Sharks gang in the 1961 film West Side Story. But there is much more to the life and career of this versatile performer, who was born to Greek immigrant parents in Norwood, Ohio. Trained at the American School of Dance, Mr. Chakiris turned professional at the age of 13, when he was cast in the chorus of the MGM musical Song of Love (1947). A decade of Hollywood dance followed, including appearances in Gentlemen Prefer Blondes (1953, screening on October 27), There’s No Business Like Show Business (1954), and White Christmas (1954). After his breakthrough in West Side Story, Chakiris performed as a singer and dancer on many television specials of the 1960s and recorded several albums. In 1962 he left Hollywood in search of more demanding dramatic roles, making films in England (633 Squadron), France (Jacques Demy’s classic Les Demoiselles de Rochefort) and Italy (Luigi Comencini’s La Ragazza di Bube/Bebo’s Girl, screening this evening). In a rare visit to New York, Chakiris joins dance critic Debra Levine to discuss the many facets of his career, in a presentation illustrated with rare clips courtesy the UCLA Film & Television Archive.
Bebo's Girl (Ragazza di Bube)
1964. Italy. Luigi Comencini. 106 min.
Gentlemen Prefer Blondes
1953. USA. Howard Hawks.
Ready When You Are, Mr. Diaghilev: Debra Levine on Theodore Kosloff, Cecil B. De Mille, and Madam Satan
Those who have seen Cecil B. DeMille’s extravagant 1930 musical Madam Satan will not soon forget the hallucinatory “ballet mécanique” improbably performed for a party of socialites aboard a dirigible anchored over Central Park (in a thunderstorm). At the center of the ballet is a striking figure with lightning bolts shooting from his head and hands—“The Spirit of Electricity” as danced by Theodore Kosloff, a veteran of the Ballets Russes whose friendship with DeMille dated to the 1916 The Woman God Forgot and continued until the dancer’s death in 1956. Dance critic Debra Levine tells the story of this enduring, unlikely friendship, and the astounding moment of cinema it produced, in an illustrated lecture, followed by a screening of the complete, see-it-to-believe-it film.
Madam Satan 1930. USA. Directed by Cecil B. DeMille. Screenplay by Jeanie Macpherson, Gladys Unger, Elsie Janis. With Kay Johnson, Reginald Denny, Lilian Roth, Roland Young. Preserved print courtesy Warner Bros. 116 min.
1918. USA. William S. Hart. 60 min.
To the Last Man
1933. USA. Henry Hathaway. 72 min.
The Golden Boat
1990. USA. Raul Ruiz. 83 min.
1935. Japan. Kenji Mizoguchi. 73 min.
Ojô Okichi (Miss Okichi)
1935. Japan. Tatsunosuke Takashima. 64 min.
Joseph Cornell and Ken Jacobs: Footage Lost and Found
MoMA presents the world premiere of a recent discovery in its collection, Untitled Joseph Cornell Film (The Wool Collage), shown with the Museum’s new restoration of Ken Jacobs’s Perfect Film. Following the screening, Jacobs takes part in a discussion with Anne Morra, MoMA Associate Curator of Film, who organized this program. Since 1995, The Museum of Modern Art has been home to the personal film collection of the artist Joseph Cornell, as donated to MoMA by the Joseph and Robert Cornell Memorial Foundation. The collection contains both films made by Cornell and those he purchased to entertain his disabled brother, Robert—which in turn became a source for the marvelous collage films (Rose Hobart and many others) that today are central to Cornell’s accomplishments as a filmmaker. During the course of a 2011 research project, in which every can of film material in the Cornell collection was hand-inspected and cataloged, Morra and Film Conservation Manager Peter Williamson discovered a single 16mm reel that had been edited using Cornell’s distinctive splicing tape. Originally identified as Collage Fragments on the inventory, study of the reel revealed a distinct narrative structure. With a grant from the National Film Preservation Foundation, new 16mm prints and a polyester negative were created from what is now identified as Untitled Joseph Cornell Film (The Wool Collage) (c. 1940–55). Since 1955 Ken Jacobs has been making experimental films that repurpose found footage, often in combination with newly shot images or through optical manipulation of the original film. His Perfect Film (1985) may be Jacobs’s most radical gesture in the use of found footage: the film consists entirely of an unedited reel of interviews with eyewitnesses to the assassination of Malcolm X, shot by a New York television station. Jacobs did nothing to alter the material, allowing the choices made by the unidentified cameraman as to who, what, and when to film, to create a spontaneous narrative. Perfect Film has been preserved by The Museum of Modern Art with support from the Celeste Bartos Fund for Film Preservation. It is not surprising to learn that Jacobs worked for Cornell as a studio assistant in the 1950s. Both artists are masters of the manipulation of found footage, each taking the practice to very different ends with very different methods.
Untitled Joseph Cornell Film (The Wool Collage). c. 1940–55. USA. Directed by Joseph Cornell. 23 min.
Perfect Film. 1985. USA. Directed by Ken Jacobs. 21 min.
Program 75 min
1976. Great Britain. Paul Humfress, Derek Jarman. 86 min.
1986. Great Britain. 93 min.
Another Man’s Poison
1951. Great Britain. Irving Rapper. 90 min.
A Child’s Introduction to the Wonders of Space
1979. USA. Rachel Reichman. 10 min.
The Family Secret
1924. USA. William A. Seiter.
Miles of Smiles
1923. USA. Alfred J. Goulding.
Memories of the Eichmann Trial
1979. Israel. David Perlov. 65 min.
Per un Pugno di Dollari (A Fistful of Dollars)
1964. Italy/West Germany/Spain. Sergio Leone. 99 min.
Laurel and Hardy: The Boys Are Back in Town
The films of Stan Laurel and Oliver Hardy have been almost literally loved to death. In almost constant release since they were first made, the classic Laurel and Hardy shorts and features have been copied and recopied, cut and recut, so many times over the decades that they today retain little of their original luster and technical polish. Thankfully, a major reclamation effort is underway at the UCLA Film & Television Archive, where the publicly financed Laurel and Hardy Preservation Fund is making it possible to restore the surviving original camera negatives. Our program includes three of UCLA’s most recent restorations, courtesy Sonar Entertainment.
Busy Bodies. 1933. USA. Directed by Lloyd French. Another day at the sawmill for Stan and Ollie. 22 min.
The Midnight Patrol. 1933. USA. Directed by Lloyd French. A night on the job for beat cops Stan and Ollie ends when they arrest the wrong man for a burglary, leading to a memorably grim conclusion. 20 min.
The Music Box. 1932. USA. Directed by James Parrott. One of the greatest of all slapstick comedies (and, perhaps coincidentally, the winner of the Oscar for best comedy short of 1932), The Music Box possesses the simplicity of a fable and the impact of a Beckett play, as the boys attempt to deliver a packing crate containing an upright piano to a house located at the top of a long, long flight of stairs. 29 min.
Program 71 min.
Gertie the Dinosaur Is 100 Years Young: John Canemaker Presents Animated Masterworks by Winsor McCay
1966. USA. Arch Oboler. 91 min.
Bert Williams: 100 Years in Post-Production
At a challenging time of segregation in the fall of 1913, a virtuoso cast of African American performers led by famed Caribbean American entertainer Bert Williams (1874–1922) gathered in the Bronx to make a feature-length motion picture. After more than an hour of film was shot, the unreleased project was abandoned by its white producers and left forgotten until today. Found in MoMA’s Biograph Studio collection, the seven reels of untitled and unassembled footage represent the earliest known surviving feature with a cast of black actors. Shot at locations in New York and New Jersey, the comedy centers on Williams’s efforts to win the hand of the local beauty, and boasts among its highlights a two-minute exhibition dance sequence and a cutting-edge display of onscreen affection between its black leads. Additionally, nearly 100 remarkable still images of the interracial production were recovered from within the unedited material, providing evidence of an historic effort by a little-known Harlem theatrical community to gain access to the developing medium of moving pictures. To Save and Project premieres the Museum’s restoration of this lost landmark of film history with an hour-long assemblage of daily rushes and multiple takes. MoMA project leaders Ron Magliozzi, Associate Curator, and Peter Williamson, Preservation Officer, narrate a selection of unique photographs from the pioneering production and present visual material explaining the film’s creation, 101-year disappearance, and ultimate resurrection. The presentation accompanies a gallery exhibition, 100 Years in Post-Production: Resurrecting a Lost Landmark of Black Film History, on view through March 2015.
[Bert Williams Lime Kiln Club Field Day]. 1913. USA. Produced by Biograph Co. for Klaw and Erlanger. Directors Edwin Middleton, T. Hunter Hayes, Sam Corker Jr. With Bert Williams, Odessa Warren Grey, Walker Thompson, and members of J. Leubrie Hill’s Darktown Follies Company. Silent.
Program 100 min.
1971. South Africa. Louis de Witt. 79 min.
1928. USA. Erle C. Kenton. 60 min.
1928. USA. Edwin Carewe. 100 min.
Hollywood and the Second World War: John Ford and John Huston
Mark Harris, the author of the authoritative and highly readable history Five Came Back: A Story of Hollywood and the Second World War (Penguin, 2014), introduces a selection of short films that represent the extraordinary contribution made by Hollywood filmmakers to the war effort—as propagandists, witnesses, and eulogists. While Harris’s book traces the wartime careers of five directors—Frank Capra, William Wyler, George Stevens, John Huston, and John Ford—this program focuses on the distinctive and very different visions of the latter two filmmakers. Huston’s Report from the Aleutians (1943) emphasizes the numbing routine of the servicemen stationed on remote Adak Island, a staging center for aerial raids on a Japanese-occupied island in the Aleutian chain. Ford’s The Battle of Midway (1942), perhaps the most acclaimed film to emerge from the war effort, contains some of the most vivid and frightening combat footage ever captured, as what begins as a documentary on daily life on Midway Island is interrupted by a Japanese attack. Preserved prints and digital material courtesy the National Archives and Records Administration.
Report from the Aleutians. 1943. USA. Directed by John Huston. 46 min. Preserved by the National Archives and Records Administration.
The Battle of Midway. 1942. USA. Directed by John Ford. 18 min. Preserved by The Museum of Modern Art, with support from the Celeste Bartos Fund for Film Preservation, the National Endowment for the Arts, and The Film Foundation
Torpedo Squadron. 1942. USA. Directed by John Ford. 8 min. Digital material courtesy the National Archives and Records Administration.
1947. USA. Alfred L. Werker. 91 min.
"Oreos – Little Girls Have Pretty Curls.”
1962. USA. Morris Engel.
Her Sister’s Secret
1946. USA. Edgar G. Ulmer. 86 min.
Den vita sporten (The White Game)
1968. Sweden. 102 min.
Leo the Last
1970. Great Britain. John Boorman. 104 min.
Chaplin Restored: Essanay and Mutual Classics
The Chaplin Project brings together a consortium of international archives with Lobster Films in Paris and the Cineteca di Bologna in Italy to restore all of Charles Chaplin’s short films and features. Serge Bromberg, who has helped spearhead this project as the founder of Lobster Films, presents the North American premieres of The Bank, A Night in the Show, and Easy Street—all made between 1915 and 1917, the period during which Chaplin was lured away from Mack Sennett’s Keystone Studios to produce comedies for the Essanay Film Manufacturing Company and, starting in 1916, the Mutual Film Company. During his acrimonious but pivotal career at Essanay, which ended in 1918, Chaplin took greater control over his films. By honing his comic timing and deepening the humor through pathos, romantic disillusionment, and fantasy, he turned the Tramp into an international phenomenon. On November 15, in his inimitably entertaining way, Bromberg presents before-and-after examples of the restoration effort and accompanies the films on piano. On November 22, Ben Model performs piano accompaniment, following his fascinating illustrated lecture at 3:00 p.m. on the use of undercranking in silent slapstick comedy.
Au Music hall (At The Music Hall). 1908. France. Pathé. With Max Linder. 3 min.
The Bank. 1915. USA. With Chaplin, Edna Purviance, Leo White. Restored from unique material held in The Museum of Modern Art, thanks to the generous support of Susan Harmon and Richard Meyer. 25 min.
A Night in the Show. 1915. USA. With Chaplin, Purviance, Wesley Ruggles. Restored by Cineteca di Bologna at L'Immagine Ritrovata, in collaboration with Lobster Films and Film Preservation Associates, with funding provided by The Film Foundation, the George Lucas Family Foundation, and The Material World Charitable Foundation. 23 min. Easy Street. 1917. USA. With Chaplin, Purviance, Eric Campbell, Lloyd Bacon. 23 min.
Easy Street. 1917. USA. With Chaplin, Purviance, Eric Campbell, Lloyd Bacon. 23 min.
Rencontre Max Linder / Chaplin. 1917. USA. 2 min.
Program approx. 80 min.
Special thanks to the Cultural Services of the French Embassy
Serge Bromberg’s Retour de Flamme: A Presentation of Wondrous New Discoveries
1981. Great Britain. John Boorman. 140 min.
John Cage and the Avant-Garde Film Score
This program explores the use of avant-garde music in experimental cinema, with a particular focus on John Cage, who used chance, unconventional instrumentation, electroacoustics, ambient sound, and silence in his film scores. Cage’s collaborations with Maya Deren, Sidney Peterson, and Herbert Matter are included, along with a film by Ian Hugo featuring an original score by the electronic music pioneers Bebe and Louis Barron. The program culminates in four recent restorations by Center for Visual Music in Los Angeles: John Cage and Richard Lippold’s The Sun Film (1956); Cage and Lippold’s unfinished collaboration The Sun, Variations with a Sphere No. 10 (1956); Oskar Fischinger’s Studie nr. 5 (1930); and Jordan Belson’s LSD (c.1962).
At Land. 1944. USA. Directed by Maya Deren. With Deren, John Cage, Parker Tyler, Alexander Hammid. Deren’s dream of self-discovery unfolds in a series of silent, sensuous tableaux. “I wanted it to look like an underwater garden,” Deren would recall. “And the falling down the rocks is the tempo of underwater falling!” Preserved by Anthology Film Archives. 15 min.
Horror Dream. 1947. USA. Directed by Sidney Peterson, Hy Hirsh. During World War II, Mills College in Oakland, California, was a center of artistic innovation. The choreographer Marian Van Tuyl and the composer John Cage taught there for a number of years, and in 1947 they collaborated on this “choreographed interpretation of a dancer’s anxiety before starting her theater routine” (Scott MacDonald). Preserved by University of California, Berkeley Art Museum and Pacific Film Archive (BAM/PFA); courtesy Canyon Cinema. 10 min.
Jazz of Lights. 1954. USA. Directed by Ian Hugo. Music by Louis and Bebe Barron. A pulsating city symphony of light, movement, and electronic music, transforming Times Square in the 1950s into what Hugo’s wife, the writer Anaïs Nin, called "an ephemeral flow of sensations.” Preserved by The Library of Congress through the National Film Preservation Foundation's Avant-Garde Masters Grant program funded by The Film Foundation. 16 min.
Works of Calder. 1950. USA. Directed by Herbert Matter. Music by John Cage. Narration by Burgess Meredith. A portrait of the artist Alexander Calder, for which Cage wrote a complex score featuring prepared piano, percussion, electronic effects, and the gentle clanging of Calder’s mobiles. Preserved by The Museum of Modern Art. 20 min.
The Sun Film. 1956. USA. Directed by John Cage, Richard Lippold. Silent. 6 min.
The Sun, Variations within a Sphere No. 10 [documentation]. 1956. USA. Directed by John Cage, Richard Lippold. Silent. 7 min.
Two films on the construction and display of Lippold’s kinetic art sculpture, The Sun, edited according to Cage’s graphic score composed via chance. Cage himself edited the first film; the second was never completed. These “lost” films were discovered in 2010 in a Long Island storage locker by the musicologist Richard Brown. Both films restored by Center for Visual Music in association with The John Cage Trust, with support from the National Film Preservation Foundation.
LSD. c. 1962. USA. Directed by Jordan Belson. “Belson created abstract films richly woven with cosmological imagery. LSD, for which Belson created an avant-garde score, was for him an experiment representing the zeitgeist of early 1960s San Francisco” (Cindy Keefer). Restored by Center for Visual Music with support from the National Film Preservation Foundation. 5 min.
Studie nr. 5. 1930. Germany. Directed by Oskar Fischinger. A “fantastic abstract ballet” (William Moritz) based on a popular foxtrot, “I’ve Never Seen a Smile Like Yours.” A young John Cage’s brief apprenticeship with Fischinger in 1937 was an encounter that would revolutionize his music: “[Fischinger] began to talk with me about the spirit which is inside each of the objects of this world,” Cage later recalled. “So, he told me, all we need to do to liberate that spirit is to brush past the object, and to draw forth its sound. That’s the idea which led me to percussion.” Restored by Center for Visual Music with funding from EYE Film Institute. 3 min.
John Cage performs "Water Walk" on I’ve Got a Secret 1960. USA. Cage performs his 1959 composition on live television, using an eclectic array of instruments including a rubber duck and a vase of roses. Courtesy The John Cage Trust. 5 min.
Me and Me Dad
2011. Great Britain/Ireland. Katrine Boorman. 66 min.
Modern Mondays: A Cine Virus Evening with Michael Oblowitz and Sylvère Lotringer
To Save and Project, in a special co-presentation with Modern Mondays, revisits Cine Virus, a film program organized in 1978 by the filmmakers Kathryn Bigelow (Near Dark, The Hurt Locker) and Michael Oblowitz to coincide with the publication of Schizo-Culture, a widely influential special issue of the radical journal Semiotext(e). Founded by Sylvère Lotringer and a group of Columbia University graduate students in 1974, Semiotext(e) was known both for introducing American readers to French poststructuralist theory and for bringing disparate elements of New York’s downtown cultural scene together in the late 1970s and 1980s—“making profuse connections via a circuitry that seemed to exist between the cracks,” as Jim Fletcher would observe.
While Schizo-Culture insisted on a violent break with the counterculture of the 1960s, its sister film program offered its own sinister directive: “Everyone wants to be infected/everyone wants to be infectious. Cine Virus programs cinema as a soft-machine of control bringing into proximity different strains of the disease. The virus is the pleasure and contamination: the infection.”
Oblowitz and Lotringer present films from that original Cine Virus program, including Antony Balch’s dizzying William S. Burroughs collage Cut Ups; Bruce Conner’s music video for Devo’s “Mongoloid”; and the MoMA restoration of Bigelow‘s own Set-Up, in which two semioticians—Lotringer and Marshall Blonsky—unpack, through voiceover commentary, seductively shot images of two men engaged in a brutal fight. Author Kate Zambreno reads from the work of the late Kathy Acker, who contributed a live performance to the 1978 event and also wrote for Schizo-Culture. This event is presented in conjunction withThe Return of Schizo-Culture at MoMA PS1, and was organized with Carole Ann Klonarides and Sylvère Lotringer on the occasion of the 40th anniversary of Semiotext(e).
Cut Ups. 1967. Great Britain. Directed by Antony Balch. Preserved by The Museum of Modern Art. 11 min.
Car Crash/Mass Homicide/Suicide Attack. 1978/2014. USA. Directed by Eric Mitchell. Digital projection. 6 min.
Set-Up. 1978. USA. Directed by Kathryn Bigelow. Preserved by The Museum of Modern Art with support from the Celeste Bartos Fund for Film Preservation. 17 min.
Circuits of Control/Minus Zero . 1977–79. Directed by Michael Oblowitz. Digital projection. 39 min.
Snake Woman. 1977. USA. Directed by Tina L'Hotsky. Cinematography by Michael Oblowitz. Digital projection. 15 min.
Mongoloid. 1977. USA. Directed by Bruce Conner. Music by Devo. 4 min.
Kathy Acker: Blood and Guts in High School [live reading]. 1978/2014. Live reading by Kate Zambreno. 10 min.
Burroughs on Bowery. 1977. USA. Directed by Marc Olmsted. 5 min.
Program approx. 120 min.
Pan si Dong (The Cave of the Silken Web)
1927. China. Dan Duyu. 60 min.
China and the Chinese [Part 2]
1917. USA. 18 min.
Orphans at MoMA: An Amateur Cinema League of Nations
Sudba Cheloveka (The Fate of a Man)
1959. USSR. Sergey Bondarchuk. 103 min.
One of the unexpected side benefits of the digital cinema revolution has been the surge in classic 3-D films now made available through the new technology, many looking better than ever. This program of rare short films suggests the international reach of the 3-D phenomenon of the late 1940s and early 1950s as well as the range of material created for the new medium. The program begins with Now Is the Time (To Put on Your 3-D Glasses), from 1951, a brief reminder from the National Film Board of Canada and its star animator, Norman McLaren, that the audience must do its part, too, in creating the spectacle. It will be followed by three more animated shorts by McLaren: O Canada, Around Is Around, and Twirligig. The latter has an interesting history: Gretta Ekman, whose drawings on film were turned into 3-D by McLaren, was a victim of an anti-Communist purge at the NFB in 1952 and her name was removed from the credits; her credit has now been restored. From Gosfilmofond, the Russian state film archive, come two rarely seen Soviet-era 3-D shorts, the 1948 educational film Kristally (Crystals), directed by Jakov Kaplunov, and the 1952 travelogue V Allejah parka (In The Alleys of the Park), directed by Andrei G. Boltianski. Concluding the show are three rarities from the 3-D Film Archive, presented by its founder, Robert Furmanek: M.L. Gunzburg Presents Natural Vision Three-Dimension, in which the puppets Beany and Cecil explain how the process works; the trailer for William Cameron Menzies’s 3-D horror film The Maze; and a new restoration of the widescreen Technicolor cartoon Boo Moon, directed by Izzy Sparber and Seymour Kneitel for Famous Studios and starring Casper the Friendly Ghost. Program 75 min.
Now Is The Time. 1951. Canada. Directed by Norman McLaren. 3 min.
O Canada. 1952. Canada. Directed by McLaren. 2 min.
Around Is Around. 1951. Canada. Directed by McLaren. 8 min.
Twirligig. 1952. Canada. Directed by McLaren. 4 min.
Kristally (Crystals). 1948. USSR. Directed by Jakov Kaplunov. 20 min.
V Allejah parka (In The Alleys of the Park). 1952. USSR. Directed by Andrei G. Boltianski. 7 min.
M.L. Gunzburg Presents Natural Vision Three-Dimension. 1952. USA. 5 min.
The Maze (trailer). 1953. USA. Directed by William Cameron Menzies. 3 min.
Boo Moon. 1953. USA. Directed by Izzy Sparber, Seymour Kneitel. 7 min.
Courtesy the National Film Board of Canada; Gosfilmofund, Moscow; and the 3-D Film Archive
Undercranking: The Magic behind the Slapstick
Beth Custer Ensemble Accompanies Kote Mikaberidze’s My Grandmother
Held in conjunction with MoMA’s Discovering Georgian Cinema exhibition, this special presentation, introduced by Peter Bagrov, Curator of the Russian state archive Gosfilmofond in Moscow, features a live performance by Beth Custer Ensemble of an original score commissioned by Berkeley Art Museum/Pacific Film Archive (BAM/PFA). With thanks to the International Council of The Museum of Modern Art.
Chemi Bebia/Moya Babushka (My Grandmother)
1929. USSR. Kote Mikaberidze. 65 min.