I’ve recently discovered a sassy feature that has been in the MoMA collection for more than 40 years. Don’t Bet on Women, a drawing-room comedy produced by the Fox Film Corp. in 1931, encompasses all of the risqué behaviors, modes of dress, suggestive situations, and freewheeling alcohol consumption that the Motion Picture Production Code hoped to curtail.
Posts in ‘Film’
The selections in this year’s Documentary Fortnight: MoMA’s International Festival of Nonfiction Film and Media (February 13 through 27) cast an intriguing look at life using a range of storytelling approaches—poetic, hybrid, observational, and dramatic. Many of these films, which center, at their core, on stories of human resourcefulness, are haunted by the concerns of our age: environmental disasters, wars, austere immigration and economic policies, urban and rural overdevelopment, and the repetition and ellipses of history.
Alongside Citizenfour, Timbuktu might be the most urgently topical film of the year, but unlike Citizenfour, Timbuktu is not a documentary. This narrative film, the latest by Malian auteur Abderrahmane Sissako, was inspired by a 2012 entry in a local Malian newspaper about a couple being stoned to death for having children out of wedlock. Sissako’s interlocking stories of Timbuktu residents bring texture to tragically frequent headlines chronicling the rise and bloody tactics of foreign jihadists on the African continent.
It’s a dream job: my role in marketing and communications at MoMA is to get the public excited by telling stories about our exhibitions and programs. It’s also a fast-moving and fluid media environment; we need to constantly experiment with new ways of telling those stories, and test new channels for connecting with an audience that has many options for enjoying art and culture.
Paul W. S. Anderson’s Pompeii is the very model of the kind of movie usually dismissed from contention during awards season. It’s a genre piece, pure and simple, directed with great skill and efficiency but innocent of any desire to impress Oscar voters with flashy performances or profound moral lessons.
Those of you who follow my blog posts know I generally write about issues relating to the MoMA film collection. When my colleague and dear friend Art Wehrhahn announced his retirement this summer, it seemed fitting to devote a blog post to an interview with Art that examines an extraordinary career spanning more than four decades.
The first time I remember going to “the Engine,” I was probably six or seven years old and I was taking my little sister with me. We were flying across the country alone, unaccompanied minors in the late 1970s. I remember feeling in charge; I’d been on planes since I was 10 days old.
Music is a central component of the films of Bill Morrison (currently the subject of a mid-career retrospective at MoMA) and his collaborations with contemporary composers reflect his early interest in music as “a soundtrack in [his] life” and are informed by his artistic training as a painter and filmmaker.
On Saturday, November 15, as part of </i>To Save and Project: The 12th MoMA International Festival of Film Preservation</a>, director John Boorman will introduce a screening of his Excalibur (1981) in an excellent 35mm print. A second screening takes place on Monday, November 17.
A key component of curatorial work is the discovery of a new artist, the study of their continued output, and the development of a long-term, supportive relationship. Following an artist’s work over many years and investigating their growth or, in certain cases, their failure to evolve, is an essential endeavor for a curator.
If you are interested in reproducing images from The Museum of Modern Art web site, please visit the Image Permissions page (www.moma.org/permissions). For additional information about using content from MoMA.org, please visit About this Site (www.moma.org/site).
© Copyright 2016 The Museum of Modern Art