ngg_shortcode_0_placeholder<\/p>\n
FILM AS FILM: THE CINEMA OF GREGORY MARKOPOULOS 2<\/strong> Introduced by Mark Webber<\/p>\n Gregory J. Markopoulos, Himself as Herself, 1967, 60 min Gregory J. Markopoulos, The Dead Ones, 1949, 28 min Gregory J. Markopoulos, Through a Lens Brightly: Mark Turbyfill, 1967, 15min FILM AS FILM: THE CINEMA OF GREGORY MARKOPOULOS 2 Saturday 20 September 2014, at 7pm Cambridge Harvard Film Archive Introduced by Mark Webber Gregory J. Markopoulos, Himself as Herself, 1967, 60 min \u201cLoosely based on Balzac\u2019s novel Seraphita but merging its male and female protagonists, the film is at once melancholy and transcendent, laden with the gloom of […]<\/p>\n","protected":false},"author":4,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"ngg_post_thumbnail":0,"footnotes":""},"categories":[158],"tags":[136],"class_list":["post-5710","post","type-post","status-publish","format-standard","hentry","category-gregory-markopoulos-film-as-film","tag-gregory-markopoulos"],"_links":{"self":[{"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/posts\/5710","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=5710"}],"version-history":[{"count":0,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/posts\/5710\/revisions"}],"wp:attachment":[{"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/media?parent=5710"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/categories?post=5710"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/tags?post=5710"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
\n Saturday 20 September 2014, at 7pm<\/strong>
\n Cambridge Harvard Film Archive<\/strong><\/p>\n
\n<\/strong>\u201cLoosely based on Balzac\u2019s novel Seraphita<\/em> but merging its male and female protagonists, the film is at once melancholy and transcendent, laden with the gloom of what Markopoulos termed the character\u2019s denial of self but also alive with the possibility of transformation. Clad in formal attire, the young hero seems the essence of maleness, yet he\u2019s troubled by vaguely feminine objects \u2013 a fluttering fan, a gold-colorred foot standing on fur. Soon his masculine and feminine selves are intercut, the latter signaled not by drag but by a simple sari, as each of his identities appears to look and gesture at the other. The images are tinged with a powerful if partially suppressed eroticism, yet the plush interiors (this is a rich<\/em> young man) trap us in a deadened world of opulence, the thick colors embedding the character in the decor. Most important, Markopoulos\u2019s radical editing intercuts two or three scenes, sometimes in a single-frame flicker, which undermines the stability of any one locale or person, each image poised to escape its immediate moment.\u201d (Fred Camper)<\/p>\n
\n<\/strong>Markopoulos\u2019 first attempt at making a 35mm feature film, clearly inspired by the cinema of Jean Cocteau, was left unfinished and the materials were lost for many years.<\/p>\n
\n<\/strong>The life of painter, dancer and poet Mark Turbyfill, seen in his 70th year, is evoked through Markopoulos\u2019 unique form of cinematic portraiture.<\/p>\n","protected":false},"excerpt":{"rendered":"