Anthology Film Archives Research Articles

Kwang Woo Noh, Coordinator of Korean Film Festival

The New York Korean Film Festival was started in 2001. Kwang Woo Noh was one of the founders. This interview was conducted in New York, August 18, 2002. JWK: Could you briefly explain the preparation procedure of this film festival? KWN: Usually we begin to plan and program in January and February. And then we contact Korean distributors and sponsors. We decide where we will have the festival. This year, we got Anthology Film Archives in May. Last year's success made Anthology Film Archives schedule for us with good cooperation.

Ain't Nothin' Like The Real Thing: Hollywood Comes to New York

W5T V 7 hen Robert De Niro's production company, Tribeca Films, announced its plans for a major film festival, there were murmurs of concern, if not outright consternation. For one thing, film festivals can take years to put together, and Tribeca Films claimed that their festival would be up and running in four months; another claim was that the Tribeca Film Festival would rival Cannes in its stellar quality. The purpose of the festival, of course, was the promotion of the downtown Manhattan area, so hard hit after the events of September 11, 2001. Could a major festival be organized in four months? From January 2002, when the announcement was made, to the beginning of May, could an entire festival be created? Would motion picture industry heavyweights (De Niro, Jane Rosenthal, Martin Scorsese, et al.) be able to delegate responsibility effectively, in order to ensure effective facilitation of day-to-day festival management? The downtown Manhattan area already had played a significant role in the dramatic history of independent filmmaking in the United States; right now, many individuals and organizations important to independent filmmaking are domiciled in lower Manhattan, and one question was whether the true independent filmmaking community would be allowed some visibility in the industry-oriented Tribeca Film Festival. (Examples of independent film organizations in lower Manhattan would include the Filmmakers Coop, Anthology Film Archives, the Millennium Film Workshop, the Association of Independent Video and Film, Film/Video Arts, MIX, and The New Festival.)

Stars Directing Our Fate: Millennium

The Berlin International Film Festival, February 10-21, 1999. New Directors/New Films, The Museum of Modern Art, New York, March 26April 11, 1999. The Time of Our Lives and Keith Piper, The New Museum of Contemporary Art, New York, July 15-October 17, 1999. The New York Video Festival, Walter Reade Theater, New York, July 16-22, 1999. The Blair Witch Project, a film by Daniel Myrick and Eduardo Sanchez, distributed by Artisan. Festival des Films du Monde Montreal/Montreal World Film Festival, August 27-September 6, 1999. Le Mois de la Photo a Montrial, Marche Bonsecours, Montreal, September 2-October 17, 1999. The Independent Feature Film Market, New York, September 17-24, 1999. The New York Film Festival, September 24-October 10, 1999. Secret Defense, a film by Jacques Rivette, presented by Fabiano Canosa. The Annual African Diaspora Film Festival, Anthology Film Archives, New York, November 26-December 12, 1999.

SeOUL NYmAX and FLUXFEST: Anthology Film Archives

n the winter of 1965, the Film-Makers' Cinematheque, the forerunner of Anthology Film Archives, presented a three-month festival of multimedia artists. From Saturday, October 8, to Sunday, November 6, 1994, Anthology Film Archives presented SeOUL NYmAX: A Celebration of Arts Without Borders, another extensive multimedia festival. Organized principally by Robert Haller, Hong Hee Kim, Jonas Mekas, and Nam June Paik, the festival included performances, lectures, panel discussions, installations, films, and videotapes. In terms of the scope of the festival, Jonas Mekas remarked, While the 1965 event was semi-local in scope, the current one is semi-global, bringing together far Asia and the far West. The sponsorship of the Korean Cultural Service and Korea Society provided one of the foci of the festival. To quote from the program:

Some people just don’t get it

Review| March 01 1986 Some people just don’t get it Music Video: The Industry and Its Fringes, at the Museum of Modern Art New York City, Sept.-Oct. 14, 1985; Frank Gillette, In The Creeks, at Anthology Film Archives, Oct. 17, 1985; Steven Kolpan, He/She: A Video Narrative in Progress and other works, at Anthology Film Archives, Oct. 24, 1985; Merrill Aldighieri and Joe Tripician, Industrial Revolution, La Cathedrale Engloutee, Angel Lust, and others, at Anthology Film Archives, Oct. 31, 1985; Buky Schwartz, TV Stripes on Tree Stumps, at the Museum of the Moving Image, Oct. 25-Dec. 14, 1985; Sara Hornbacher, Engendered Species, at New Math gallery, Sept. 17-Oct. 13, 1985 Ann-Sargent Wooster Ann-Sargent Wooster Ann-Sargent Wooster, an artist and critic, teaches at the School of Visual Arts in New York City. Search for other works by this author on: This Site PubMed Google Scholar Afterimage (1986) 13 (8): 22–24. https://doi.org/10.1525/aft.1986.13.8.22 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Twitter LinkedIn Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation Ann-Sargent Wooster; Some people just don’t get it. Afterimage 1 March 1986; 13 (8): 22–24. doi: https://doi.org/10.1525/aft.1986.13.8.22 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu nav search search input Search input auto suggest search filter All ContentAfterimage Search This content is only available via PDF. © 1986 by The Regents of the University of California1986 Article PDF first page preview Close Modal You do not currently have access to this content.

Manhattan short cuts

Review| April 01 1982 Manhattan short cuts Japanese Experimental Film, at Japan House, Jan. 20, 21; Themes in Electronic Image Processing, at The Kitchen, December 1981; Joan Jonas/Memory Corridor, at P.S. 1, Jan.17-March 14; Joan Jonas and Jill Kroesen/Double Lunar Dogs, at the Performing Garage, January; Bill Stephens/Fire Walls Four, at the Whitney Museum, Dec. 23-Jan. 12; Bill Lundberg/Discord, at the Whitney Museum, Jan. 20-Feb. 9; and Al Robbins/Catch: The Speed of Shiver, at Anthology Film Archives, Jan. 25-Feb. 14. Ann-Sargent Wooster Ann-Sargent Wooster Ann-Sargent Wooster, an artist and a critic, teaches at the School of Visual Arts in New York and at Kean College, Union, N.J. Search for other works by this author on: This Site PubMed Google Scholar Afterimage (1982) 9 (9): 17–18. https://doi.org/10.1525/aft.1982.9.9.17 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Twitter LinkedIn Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation Ann-Sargent Wooster; Manhattan short cuts. Afterimage 1 April 1982; 9 (9): 17–18. doi: https://doi.org/10.1525/aft.1982.9.9.17 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu nav search search input Search input auto suggest search filter All ContentAfterimage Search This content is only available via PDF. © 1982 by The Regents of the University of California1982 Article PDF first page preview Close Modal You do not currently have access to this content.

Manhattan short cuts

Review| February 01 1982 Manhattan short cuts Providence Works, at Anthology Film Archives, Nov. 28; First Runs, at The Kitchen, November; Margia Kramer/The Media Matrix and the Jean Seberg Story, at the Museum of Modern Art, Sept. 18-Oct. 27; Mary Lucier/Denman’s Col(Geometry), at the Whitney Museum, Nov. 7-28; and Buky Schwartz/3-D Imprint, at Anthology Film Archives, November. Ann-Sargent Wooster Ann-Sargent Wooster Ann-Sargent Wooster is a critic and an artist who teaches at Kean College, Union, N.J., and the School of Visual Arts, New York. Search for other works by this author on: This Site PubMed Google Scholar Afterimage (1982) 9 (7): 18–19. https://doi.org/10.1525/aft.1982.9.7.18 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Twitter LinkedIn Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation Ann-Sargent Wooster; Manhattan short cuts. Afterimage 1 February 1982; 9 (7): 18–19. doi: https://doi.org/10.1525/aft.1982.9.7.18 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu nav search search input Search input auto suggest search filter All ContentAfterimage Search This content is only available via PDF. © 1982 by The Regents of the University of California1982 Article PDF first page preview Close Modal You do not currently have access to this content.

John Zorn's Theatre of Musical Optics

This is when I founded the Theatre of Musical Optics. What you see and what you hear is the same thing, music. Music had never anything to do with sound… In my shows the objects in performance are like solid sounds...different shapes and textures.John ZornJohn Zorn founded the Theatre of Musical Optics in 1975. Since then he has developed two different types of concerts. In one he plays a musical instrument. As a saxophone player and composer, he appears regularly with a group of musicians working with “improvised music” or “music for improvisers.” In other concerts he performs alone in intimate situations using small objects visually as though they were musical “notes.” Though he has performed these shows with objects at Anthology Film Archives, the Collective for the Living Cinema and the Ontological-Hysteric Theatre, most of the work has taken place at his small studios on Lafayette Street and, more recently, on the Lower East Side.

Kate Manheim as Foreman's Rhoda

Kate Manheim spent most of her life in France, coming to the United States in the fall of 1969 and to New York City in March, 1970. Because she speaks two languages without an accent, one of her first jobs in this country was at the Berlitz School of Languages, where she taught private lessons in both French and English. In the fall of 1971, shortly after she began working at the Anthology Film Archives, she met playwright/director Richard Foreman [T58, T62]. Foreman was already in rehearsal for his Ontological-Hysteric Theatre's fourth production entitled HċOhTiEṅL (or) Hotel China. Since one of the actresses had dropped out of the play, he went to the Anthology looking for a volunteer replacement. After walking back and forth several times through the office where Manheim was working. Foreman finally approached her and asked shyly, “Would you mind being an angel in my play?” She replied simply, “No, I wouldn't mind.”