On Wednesday, March 16, Turner Classic Movies (TCM) will celebrate the film preservation work of The Museum of Modern Art with 24-hour program of 14 films drawn from MoMA’s collection. Chief curator of film Rajendra Roy and I flew to Los Angeles in late February to tape cohosting spots with the well-known TCM host Robert Osborne. We were eager to be a part of TCM’s ongoing commitment to spotlighting efforts to protect the world’s cinema heritage. And we also got to sit in the red leather chairs during the interview with Mr. Osborne!
Posts tagged ‘Rajendra Roy’
With preparations underway for New Directors/New Films—now less than a week away, the festival has been generating buzz since the lineup was announced earlier this month—and a nice write-up in yesterday’s New York Times piece about young curators making waves in New York City, Rajendra Roy, MoMA’s Chief Curator of Film, is having quite a week. That’s why we’re thrilled he’s agreed to answer some of our readers’ questions in what we hope will be an ongoing feature of our blog. Our curators are a varied and fascinating bunch, and from the looks of our comments, Facebook page, and Twitter feed, so are our online fans. Why not bring the two together and spark a conversation?
So, think about what you’ve always wanted to know about the New Directors/New Films festival or about MoMA’s film program, and submit your questions via comments to this blog post. We’ll select the five most intriguing questions, and Raj will answer them here next Friday, so stay tuned!
I like to compare the process of organizing a large-scale museum exhibition like Tim Burton to the process of producing a film. (What can I say, I’m a film person!) You start with an idea, and then research the subject as if you were writing a script—in the case of a gallery show, this means determining what art, objects, media, and documentation are available, and how they can most effectively be used to tell a “story.” Ideally, you want your interpretation of the materials to seem fresh and relevant to a contemporary audience. Typically you negotiate for the loan of materials to your show from various archives around the world—sort of like signing “stars” to a film—and then work with teams of exhibition designers, graphic artists, lighting technicians, A/V folks, carpenters, and so forth to bring your show to life in a gallery, just as the director and producers collaborate with a production department on the lot of a film studio during the making of a movie.
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