{"id":1142,"date":"2003-11-02T19:00:17","date_gmt":"2003-11-02T19:00:17","guid":{"rendered":"http:\/\/markwebber.org.uk\/archive\/?p=1142"},"modified":"2018-01-25T15:00:17","modified_gmt":"2018-01-25T15:00:17","slug":"film-as-a-subversive-art","status":"publish","type":"post","link":"https:\/\/markwebber.org.uk\/archive\/2003\/11\/02\/film-as-a-subversive-art\/","title":{"rendered":"Film as a Subversive Art"},"content":{"rendered":"

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FILM AS A SUBVERSIVE ART
\n<\/b>Sunday 2 November 2003, at 7pm
\n<\/b>London National Film Theatre NFT3<\/b><\/p>\n

Paul Cronin, Film as a Subversive Art: Amos Vogel and Cinema 16, UK, 2003, 56 min
\n<\/b>Speaking recently about the myriad dangers facing humanity, director-provocateur Werner Herzog cited \u2018the lack of adequate imagery\u2019 as one of the most troubling. It\u2019s a view Amos Vogel would surely endorse. As one of America\u2019s most important curators, historians and festival directors, his influence on artists, experimental and underground film cannot be overstated. Born in Austria in 1922 but resident in New York since 1938, Vogel created the path-breaking film society Cinema 16 in 1947, introducing a continent to previously unseen worlds of experience. 20 years on, he established the New York Film Festival and with his eye-changing book \u2018Film as a Subversive Art\u2019, penned a revolutionary analysis of the moving image. Now, in Cronin\u2019s valuable tribute to an extraordinary man and his times, Vogel delivers a series of compelling and entertaining reflections on a life lived in the passionate belief that film has a fundamental, radical and ethical role to play in society. Required viewing for anyone who believes cinema matters. Really matters. (Gareth Evans)<\/p>\n

followed by
\n<\/i><\/p>\n

Exhibitionism: Subversive Cinema and Social Change
\n<\/b>Following the screening of Film As A Subversive Art: Amos Vogel and Cinema 16<\/i> we will be staging a panel discussion focusing on some of the key issues raised in the film.<\/p>\n

PROGRAMME NOTES<\/a>

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FILM AS A SUBVERSIVE ART
\n<\/b>Sunday 2 November 2003, at 7pm
\nLondon National Film Theatre NFT3<\/p>\n

FILM AS A SUBVERSIVE ART: AMOS VOGEL AND CINEMA 16
\nPaul Cronin, UK, 2003, video, colour, sound, 56m
\n<\/b>An hour-long profile of Amos Vogel, 82-year old New York resident and Austrian emigr\u00e9, founder of the New York Film Festival and the Cinema 16 film society.<\/p>\n

In 1947, Amos Vogel established a film club in New York called Cinema 16, the most important and influential film society in American history. At its height it boasted thousands of members, inspired a nationwide network of smaller film societies, and gave birth to the very rich tradition of post-war film culture that still exists in the United States. More than a decade before the father of modern \u2018independent\u2019 cinema \u2013 John Cassavetes \u2013 even picked up a camera, Vogel was bringing to a mass audience new ways of looking at world cinema.<\/p>\n

The audiences of Cinema 16 were presented with a wide range of film forms, often programmed so as to confront \u2013 and sometimes to shock \u2013 conventional expectations, including works of the avant-garde, documentaries of all kinds, experimental animation, and foreign or independent features and shorts not in distribution in the United States. From the very beginning Vogel was determined to demonstrate that there was an alternative to industry-made cinema. Initially concentrating on non-fiction, he became the first programmer to show the works of Polanski, Cassavetes, De Palma, Kluge, Oshima, Ozu, Polanski, Rivette and Resnais (among many others) to American audiences. Vogel saw himself as a special breed of educator, using an exploration of cinema history and current practice not only to develop a more complete sense of the myriad experiences film culture had to offer, but also to invigorate the potential of citizenship in a democracy, and cultivate a sense of global responsibility.<\/p>\n

Film as a Subversive Art: Amos Vogel and Cinema 16<\/i> tells the story of Cinema 16 through a vivid compilation of images and sounds, including a selection of newly filmed interviews with Amos Vogel (erudite and charismatic on-camera) and historian Scott MacDonald, author of a recent book about Vogel and Cinema 16. Vogel is filmed in various New York locations that are pertinent to the history of Cinema 16 and to New York film culture in general. There are rostrum shots of some of the photographs and beautifully designed catalogues and leaflets from Vogel\u2019s extensive Cinema 16 archive. The film also contains excerpts from a selection of films screened at Cinema 16 between 1947 and 1963, including Roman Polanski\u2019s Two Men and a Wardrobe<\/i>, the infamous Nazi propaganda film The Eternal Jew<\/i>, and the only film made by legendary New York press photographer Weegee. \u2014Paul Cronin<\/p>\n

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Alina Rudnitskaya\u2019s humanistic approach to documentary filmmaking often brings out the humour in her chosen subjects. As an introduction to her work, this programme depicts three diverse groups of contemporary Russian women.<\/p>\n","protected":false},"author":4,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"ngg_post_thumbnail":0,"footnotes":""},"categories":[45],"tags":[9],"class_list":["post-1142","post","type-post","status-publish","format-standard","hentry","category-london-film-festival-2003","tag-london-film-festival"],"_links":{"self":[{"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/posts\/1142","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/users\/4"}],"replies":[{"embeddable":true,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/comments?post=1142"}],"version-history":[{"count":0,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/posts\/1142\/revisions"}],"wp:attachment":[{"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/media?parent=1142"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/categories?post=1142"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/tags?post=1142"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}