January-february, 2013 - Museum of the Moving Image

January-february, 2013
Outside Satan

Happy New Year! 2013 is an important year for
Museum of the Moving Image, as we celebrate
our 25th anniversary. We opened to the public
on September 10, 1988, in a renovated building
that had formerly been part of the Army
Pictorial Center at the historic Astoria Studios.
The Museum was founded, and realized, with
visionary leadership from The City of New York,
and from the film unions that have long been at
the heart of the industry here. Today, Museum
of the Moving Image remains the country’s only
museum devoted solely to the most pervasive
art form of our time.
At the time we opened, many wondered what
the phrase “moving image” encompassed. Why
not call it the “Museum of Film and Television?”
The answer is that the Museum’s mission was
defined broadly because the moving image
is rooted in technology, and is thus a rapidly
evolving, constantly transforming form of
expression that includes everything from the
earliest silent movies to the latest video games.
And the definition of moving image is changing
in front of our eyes. We are living through a
period of invention and reinvention that is as
exhilarating as it is unpredictable. The digital
revolution has transformed every aspect of
the moving image, from production through
exhibition, marketing, and distribution. The
foundations of the business—theatrical film
distribution and network television—have been
upended, as new platforms emerge. YouTube, to
cite just one example, now feels like an essential
part of our cultural landscape, even though it is
not even eight years old. The three simple words
that have long defined the Museum’s scope—
film, television, and digital—no longer mean
what they used to. Nowadays, with its increasing
composition as video, the Internet is becoming
a primary conduit to bring moving image
media into our homes. Conversely, video is not
confined to the television set; it is transmitted
wirelessly to tablets and smartphones, and
played from hard disks in large movie theaters.
Film, television, and digital truly have merged—
into something we can call the moving image.
As the moving image evolves, so does the
Museum. We have grown physically, with a
major expansion that nearly doubled the size
of our building. And throughout our 25 years
we have adapted in countless other ways.
Our exhibitions have employed an innovative
design philosophy that combines interactive
experiences with artworks, artifacts, video,
and text; we have inspired the design of many
museums. The flexibility and versatility of
the Museum’s building allow us to present
a tremendously wide range of exhibitions,
installations, and screenings; you’ll get a strong
sense of our diversity and range as you look
through these pages.
In 1992, I had the good fortune to be assigned to
a newly created position here at the Museum, as
the world’s first curator of digital media. In part
due to the technological underpinnings of our
rapidly evolving field, we moved to the forefront
of the use of digital technology in museums. In
1996, we added dynamic interactive experiences
to our core exhibition, Behind the Screen. In
2000, we were one of the first museums to bring
video to the Internet with the online exhibition
and resource The Living Room Candidate, an
archive of presidential campaign commercials
which has had millions of visitors and is now a
core component of curricular materials used
by hundreds of thousands of students and
teachers. In 2000 we developed eDocent, a
prototype of the very first museum gallery guide
to use off-the-shelf mobile wireless devices. And
in 2006 we initiated a project, CollectionSpace,
that transforms how museums make their
collections available online.
Yet while we are defined by change and
growth, I can also say with pride that some
things about the Museum haven’t changed.
As forward-looking as we are, everything we
do is rooted in a strong sense of history. While
film’s materiality and means of delivery has
evolved, the need to explore the language of
film and the stunning creativity of our greatest
film artists, whether they made films in 1912 or
2012, remains central to our mission, and will
continue to be so for the foreseeable future. Our
foundational commitment to thinking deeply
and providing educational programs about
popular entertainment only grows stronger and
more critical. So for us, the 25th anniversary
year will be a year to celebrate all that we’ve
accomplished since our opening in 1988, and
what we plan to do, for you, in the many years
ahead. Stay tuned, as we announce a wide range
of special programs and exhibitions throughout
this celebratory year, and thank you for coming
along for this exhilarating ride.
Carl Goodman
Executive Director
2

First Look 4
Curators’ Choice: The Best of 2012 7
The Art of Rise of the Guardians 9
Paul Williams 11
L.A. Rebellion: Creating A 12
New Black Cinema
IndieCade East 16
Spacewar! Video Games Blast Off 17
Fist and Sword 18
Cinema Eye Honors 2013 19
The War Room 19
Special Effect 19
Tongues Untied, True Tales Told 20
Stoker 20
Under Construction 21
Pretty Loaded 22
DVD Dead Drop 22
Behind the Screen 23
Focus on the Collection 24
Drop-In Moving Image Studio 25
Host Your Event 26
Become a Member 27
FIRST LOOK
CURATORS’
CHOICE:
THE BEST
OF 2012
THE ART OF
RISE OF THE
4
7 9
GUARDIANS
Our Supporters 28
Daily Schedule 29
Museum Information 30
PAUL
WILLIAMS
L.A.
REBELLION:
CREATING A
11 12
NEW BLACK
CINEMA
SPACEWAR!
VIDEO GAMES
BLAST OFF
17
3

In the Shadows
January 4–13, 2013
Programmed by Dennis Lim, editor of Moving Image Source;
Rachael Rakes, Assistant Curator of Film; and
David Schwartz, Chief Curator
First Look is the Museum’s annual showcase
for inventive, groundbreaking new international
cinema. Many of the films in this year’s edition
take the form of journeys—geographical,
emotional, and artistic—and the series itself is a
journey, with 26 works, feature-length and short
films, from a dozen countries. The films are by
established masters and emerging filmmakers,
and almost all are New York premieres.
With its debut in 2012, First Look was instantly recognized
as a vital new addition to New York’s film scene, an oasis of
thoughtful and provocative filmmaking amid the hype and noise
of the awards season. It is a great way for New York filmgoers to
start the year, just ahead of the Sundance and Rotterdam film
festivals. In its second year, First Look has expanded its breadth,
with genre-defying and boundary pushing works of all forms,
demonstrating how cinematic creativity and depth can be found
in modes as divergent as action movies and the avant-garde.
All screenings, except the opening night film,
are free with Museum admission. A First Look series pass
is available for $40, providing access to all screenings.
Series presented with support from the Academy of Motion Picture Arts and Sciences, Beyond Kombucha,
Cinema Tropical, Cultural Services of the French Embassy in the United States, the Korea Society, and Pragda.
4

OPENING NIGHT
Arraianos
Easy Rider
With James Benning in person
SUNDAY, JANUARY 6, 5:00 P.M.
U.S. Dir. James Benning. 2012, 95 mins. Digital
projection. Revitalized by his recent switch to digital
filmmaking, Benning, one of the greats of American
experimental cinema, “remakes” Dennis Hopper’s
1969 classic by taking a road trip through the film’s
locations. Featuring Benning’s extraordinary eye for
composition, snatches of dialogue from the original
film, and an all-female soundtrack, the result engages
the viewer’s memory of Easy Rider in surprising and
provocative ways, questioning the mythology of the
American landscape and the 1960s counterculture.
Outside Satan (Hors Satan)
Followed by opening reception
FRIDAY, JANUARY 4, 7:30 P.M.
France. Dir. Bruno Dumont. 2011, 110 mins. 35mm. With David Dewaele, Alexandra Lemâtre. The impassive
hero of Dumont’s mysterious, monumental parable is a nameless drifter with miraculous powers who
seems to exist beyond good and evil. In the stark, desolate hinterlands near the Calais coast, this Jesus—or
is it Satan?—figure becomes the protector of an awkward young woman. An opaque spiritual allegory in a
breathtaking setting, beautifully photographed in CinemaScope, Outside Satan recaptures the elemental
power of Dumont’s earliest works, Life of Jesus and L’humanité. Like all his best films, it’s equal parts
provocation and theological inquiry. Outside Satan opens at Anthology Film Archives on January 18.
Tickets: $12 public / free for Museum members.
Big in Vietnam and
Other Shorts by Mati Diop
SATURDAY, JANUARY 5, 2:30 P.M.
France. Atlantiques, 2009, 15 mins. Digital projection;
Snow Canon, 2011, 33 mins. 35mm.; Big in Vietnam,
2012, 28 mins. DCP. Best known for her performance
in Claire Denis’s 35 Shots of Rum, Mati Diop is steadily
acquiring international recognition as a director of
intimate and intense narrative portraits. Her three
most recent shorts vary widely in subject—a tragic
voyage over the Moroccan border; a coming-of-age
seduction in the Alps; and a chance meeting between
two Vietnamese expats in the streets of Marseilles—but
they share brilliant experimental approaches to film
structure and form.
Siberia (Sibérie)
With Joana Preiss in person
SATURDAY, JANUARY 5, 5:00 P.M.
France. Dir. Joana Preiss. 2011, 82 mins. DCP. With
Preiss, Bruno Dumont. Filmed entirely by Preiss and
her then lover, Dumont, mostly in the claustrophobia
of a train car on the Trans-Siberian Railway, Siberia
is an intense and raw observation of a relationship’s
denouement. With unflinching honesty and a
Direct Cinema approach, Preiss’s documentary
is a fascinating psychological exploration of love,
dependency, and the bounds of romantic privacy.
Presented with support from the Cultural Services of
the French Embassy in the United States.
Arraianos
With Eloy Enciso in person
SATURDAY, JANUARY 5, 7:30 P.M.
Spain. Dir. Eloy Enciso. 2012, 70 mins. DCP. Somewhere
between documentary and fable, Arraianos is an
unconventional portrait of an old village on the Galicia-
Portugal border, where the inhabitants live and work in
a quiet routine. Alternating with real moments of daily
village life—scenes of farming, drinking in the local
bar, and singing traditional songs—are dramatizations
from a foreboding play by the Galician writer Jenaro
Marinhas del Valle, and swirling rumors that a new,
unwelcome world may be pressing its way through the
immense surrounding forest.
Hosted by Maria and Raphael Gonzalez.
Co-presented and supported by Pragda. Additional
support provided by Spain Culture New York-Consulate
General of Spain.
Preceded by:
Birds (Zwazo)
Portugal. Dir. Gabriel Abrantes. 2012, 17 mins. DCP.
Three Haitian girls make their way through the
vegetation and colonial ruins of Jakmel, arriving
at the town square to find a local production of
Aristophanes’s Birds.
Inori
SUNDAY, JANUARY 6, 2:30 P.M.
Japan. Dir. Pedro González-Rubio. 2012, 72 mins. DCP.
Winner of the Golden Leopard at the Locarno Film
Festival, Inori is the haunting, poetic, and atmospheric
second feature from González-Rubio (Alamar). In
collaboration with Japanese filmmaker Naomi Kawase,
González-Rubio explores a tiny mountain community
in Japan made up entirely of the elderly. While the
younger generations have left for bigger cities, the
scattered few remaining inhabitants perform their
everyday activities in peaceful and reflective solitude.
Xavier
SUNDAY, JANUARY 6, 7:30 P.M.
Xavier
Portugal. Dir. Manuel Mozos. 1991/2002, 100 mins.
35mm. With Pedro Hestnes, Cristina Carvalhal,
José Meireles. The troubled title character of Xavier
(Hestnes, star of Pedro Costa’s O Sangue) returns
to Lisbon after a military stint, determined to lead a
meaningful life, only to find his world closing in on him.
This almost lost classic of recent Portuguese cinema
was shot in 1991 but only completed in 2002, and has
barely been seen outside Portugal since. Deadpan and
dreamy, it is a work of bone-deep melancholy, a young
man’s film that bears the scars of age.
Preceded by:
Noelia
Argentina. Dir. María Alché. 2012, 14 mins. DCP.
Seemingly abandoned, a young woman walks through
the porous city of Buenos Aires with her camera,
finding potential mothers at every turn.
5 FIRST LOOK

Greatest Hits
With Nicolás Pereda in person
FRIDAY, JANUARY 11, 7:30 P.M.
Mexico. Dir. Nicolás Pereda. 2012, 103 mins. DCP. With
Gabino Rodríguez, Teresa Sánchez, José Rodríguez
López, Luis Rodríguez. A restless formalist and one of
the most inventive practitioners of the hybrid film, the
prolific Pereda casts two of his regular collaborators,
Gabino Rodríguez and Teresa Sánchez, as son and
mother in a domestic drama about a returning prodigal
father. But the reality of the film soon starts to slip.
An actor is replaced; scenes are repeated with slight
variations; worlds collide as actors interact with
fictional characters. Both playful and radical, Greatest
Hits is one of Pereda’s most emotionally resonant films,
and also, as the title suggests, a culminating work.
Presented in collaboration with Cinema Tropical.
Winter, Go Away!
SATURDAY, JANUARY 12, 2:00 P.M.
Russia. Dirs. Graduates of Marina Razbezhkina’s School
of Documentary Film and Documentary Theatre. 2012,
79 mins. Digital projection. A collaboration among ten
young directors, all students of the documentarian
Razbezhkina, this street-level chronicle of last winter’s
demonstrations against Vladimir Putin’s presidential
run captures the carnivalesque energy of the protests
and the brutality of the crackdowns. As befits a
collective work, it is a vivid portrait of the many faces
of contemporary Russia—some (like the Pussy Riot
episode) familiar from the headlines, others not at all.
Reconversão (Reconversion)
With Thom Andersen in person
SATURDAY, JANUARY 12, 4:00 P.M.
Portugal. Dir. Thom Andersen. 2012, 68 mins. Digital
projection. A master of the essay film, Andersen (Los
Angeles Plays Itself) turns his attention to the work
of the Pritzker Prize-winning Portuguese architect
Eduardo Souto de Moura. Considering built, unrealized,
and abandoned projects and using a stop-motion
technique that emphasizes the temporal dimension
of architecture, Reconversão regards buildings not as
static objects but living things, subject to decay, death,
and even rebirth.
Revision
SATURDAY, JANUARY 12, 6:00 P.M.
Germany. Dir. Philip Scheffner. 2012, 106 mins. DCP. In
1992, two Romanian men were shot dead in a field near
the German-Polish border. According to official reports,
they were victims of a hunting accident—mistaken by
a pair of German hunters for wild boar. Twenty years
later, filmmaker Scheffner carries out the painstaking
investigation that never took place back then, seeking
out witnesses, investigators, the police, and the dead
men’s relatives, in an attempt to reassess the case
through the lenses of history, regret, and remorse.
His cinematic revision of the case leads to profoundly
unsettling revelations about immigration and justice in
Europe today.
P-047
SATURDAY, JANUARY 12, 8:30 P.M.
Thailand. Dir. Kongdej Jaturanrasamee. 2011, 98
mins. DCP. With Apichai Tragoolpadetgrai, Prinya
Ngamwongwarn. Lek (Apichai) and Kong (Prinya) work
beside each other at the local mall and spend their
free time breaking into neighborhood homes together.
Once inside, they don’t steal anything; instead, they
gather ideas for possible alternate lives. After one of
these exploits, Lek wakes up in a hospital, whereupon
everyone insists on calling him “Kong.” Starting off as a
conventional portrait of directionless young adulthood,
this breakout independent film from veteran Thai
director Kongdej soon transitions into a complex and
elliptical meditation on the fluidity of identity.
Preceded by:
Could See a Puma
Argentina. Dir. Eduardo Williams. 2012, 17 mins. Digital
projection. A group of young men journey from their
destroyed neighborhood to the deepest reaches of the
earth in this gorgeous apocalyptic fantasy.
In the Shadows
SUNDAY, JANUARY 13, 2:30 P.M.
P-047
Sleepless Night
SUNDAY, JANUARY 13, 5:00 P.M.
South Korea. Dir. Jang Kun-jae. 2012, 65 mins. DCP.
With Kim Soo-hyun, Kim Joo-ryeong. The winner of
both the Audience and Best Korean Film prizes at the
Jeonju International Film Festival, this second feature
from young director Jang (Eighteen) is an intimate
portrait of a working-middle-class married couple in
their early thirties struggling through daily trials and
facing the decision of whether to start a family. Finely
directed with deceptively simple performances, this
short feature is an intense pleasure to experience.
Presented in collaboration with the Korea Society.
Preceded by:
As the Flames Rose
Portugal. Dir. João Rui Guerra da Mata. 2012, 26 mins.
DCP. With João Pedro Rodrigues. On the phone in his
dark bedroom, a man relives the end of a turbulent
affair, while across town, the city burns.
Shorts by Kleber Mendonça Filho
SUNDAY, JANUARY 13, 7:30 P.M.
Brazil. Dir. Kleber Mendonça Filho. 2002–09, 91 mins.
total. Mendonça’s debut feature, Neighboring Sounds
(part of Curators’ Choice: The Best of 2012 series, see
p. 8), a revelatory portrait of class tensions in Recife,
was one of 2012’s best-reviewed films. This program
of his acclaimed shorts traces the artistic evolution of
this former critic and programmer and demonstrates
his versatility. The films here span a wide range of
genres, reworking and combining the conventions of
horror, romance, and science fiction to startling effect.
Featuring The Little Cotton Girl (2002, 6 mins. Digital
projection ), Green Vinyl (2004, 16 mins. 35mm),
Friday Night Saturday Morning (2005, 16 mins.
35mm), Electrodomestica (2005, 22 mins. 35mm) Luz
Industrial Magicá (2008, 7 mins. Digital projection),
and Cold Tropics (Recife Frio) (2009, 24 mins. 35mm).
Cold Tropics
Winter, Go Away!
Germany. Dir. Thomas Arslan. 2010, 85 mins. 35mm.
With Misel Maticevic, Rainer Bock, Uwe Bohm. One of
the pioneering figures in the loose movement known
as the Berlin School, Arslan finds fresh subtleties in the
familiar contours of the heist thriller. In this modernday
La Samouraï, a laconic master thief (a superb
Maticevic), just out of jail, plans another job, with a
crooked cop and a former boss in pursuit. The premise
is familiar, but the pleasures of this exemplary genre
movie, shot in crisp, gleaming digital, lie in the hypnotic
clarity and precision of Arslan’s filmmaking.
6 FIRST LOOK

Cosmopolis
January 8—
February 22, 2013
Selected by Chief Curator David
Schwartz and Assistant Curator
of Film Rachael Rakes
Master directors such as David Cronenberg,
Terence Davies, Hong Sang-soo, Béla Tarr, and
Jafar Panahi (working secretly while under
house arrest) were all working at the top of their
form in 2012, and there was also exciting work
by new directors, such as the Brazilian criticturned-filmmaker
Kleber Mendonça Filho, who
made an astonishing debut. Here is a chance
to see some of the past year’s best films on the
big screen. With the theatrical window prior to
DVD release becoming shorter and shorter, it
becomes more important than ever that venues
such as the Museum keep these great movies
alive as theatrical experiences.
7

The Deep Blue Sea
With Rachel Weisz in person
TUESDAY, JANUARY 8, 7:00 P.M.
UK. Dir. Terence Davies. 2011, 98 mins. With Rachel
Weisz, Tom Hiddleston. In this lush, meticulous, and
deeply moving adaptation of a Terence Rattigan play,
Rachel Weisz plays Hester Collyer, a woman who
abandons her passionless marriage to a wealthy
barrister, entering a torrid affair with a troubled former
Royal Air Force pilot, the consequences of which plunge
her life into ruin. This is a stunning return to form by
Davies, who has not made a dramatic feature film in
ten years, and his collaboration with cinematographer
Florian Hoffmeister infuses post-war London with
a twilight nostalgic reverie. In a career-topping
performance that earned the Best Actress award from
the New York Film Critics Circle, Weisz (The Constant
Gardener, The Fountain, The Shape of Things) brings
to Hester an unmatched luminosity, magnetism, and
emotional rawness. Also part of the ongoing series
See It Big!
Tickets: $25 public / $15 Museum members / free
for Silver Screen members and above.
The Turin Horse (A torinói ló)
SATURDAY, JANUARY 19, 3:00 P.M.
Hungary. Dir. Béla Tarr. 2011, 146 mins. 35mm. Shot
in a soft black-and-white in mesmerizing long takes,
Tarr’s apocalyptic film—which he announced as his
final movie—burns with a steady, building intensity.
Co-written with frequent Tarr collaborator, the great
Hungarian novelist László Krasznahorkai, the film was
inspired by an incident of brutality against a horse by its
owner that is said to have caused Friedrich Nietzsche’s
mental breakdown. Imagining the bleak world inhabited
by the driver, the film is, according to Tarr, a meditation
on the “heaviness of human existence.” Also part of the
ongoing series See It Big!
The Turin Horse
Neighboring Sounds (O som au redor)
Neighboring Sounds (O som au redor)
SATURDAY, JANUARY 19, 6:00 P.M.
Brazil. Dir. Kleber Mendonça Filho. 2012, 124 mins. DCP.
With Irma Brown, Sebastião Formiga, Gustavo Jahn. A
remarkably assured debut feature, Neighboring Sounds
observes a network of middle-class families who live
on a quiet street in Recife that borders a lower-income
neighborhood. A private security firm hired to police
the street becomes the catalyst for an exploration
of the neighbors’ discontents and anxieties—and a
society that remains unreconciled to its troubled past
and present inequities. With a unique style blending
realism, dreams, and surprising edits, Mendonça Filho
establishes his own compelling directorial imprint.
This Is Not a Film (In film nist)
SUNDAY, JANUARY 20, 3:00
Iran. Dir. Jafar Panahi. 2011, 75 mins. Digital projection.
The backstory is well-known by now: renowned
Iranian director Jafar Panahi received a six-year prison
sentence and a 20-year ban from filmmaking and
interviews because of his support of the opposition
party in Iran’s 2009 election. To get around this, yet
still reach the outside world, Panahi secretly shot this
experimental documentary on an iPhone and a modest
DV camera and had it smuggled into France in a cake
for a last-minute submission to Cannes. As Panahi
shares his day-to-day life, plans future films, and waits
for a decision on his appeal, the film unspools into a
deeply sorrowful call for a return of his freedom.
Moonrise Kingdom
Moonrise Kingdom
SUNDAY, JANUARY 20, 5:00
USA. Dir. Wes Anderson. 2012, 94 mins. With Bruce
Willis, Edward Norton, Bill Murray, Frances McDormand,
Tilda Swinton. Courtesy of Focus Features. Set on an
island off the coast of New England in the summer
of 1965, Moonrise Kingdom tells the story of two
twelve-year-olds who fall in love, make a secret pact,
and run away together into the wilderness. As various
authorities try to hunt them down, a violent storm is
brewing off-shore and the peaceful island community
is turned upside down in every which way. Bruce
Willis plays the local sheriff, Captain Sharp. Edward
Norton is a Khaki Scout troop leader, Scout Master
Ward. Bill Murray and Frances McDormand portray
the young girl’s parents, Mr. and Mrs. Bishop. The cast
also includes Tilda Swinton, Jason Schwartzman, and
Bob Balaban; and introduces Jared Gilman and Kara
Hayward as Sam and Suzy, the boy and girl.
Cosmopolis
FRIDAY, FEBRUARY 15, 7:00 P.M.
USA. Dir. David Cronenberg. 2012, 108 mins. With
Robert Pattinson, Juliette Binoche, Sarah Godon,
Paul Giamatti. Adapted from the novel by Don DeLillo.
Unfolding in a single cataclysmic day, the story follows
Eric Packer (Robert Pattinson)—a 28-year old financial
whiz kid and billionaire asset manager—as he heads
out in his tricked-out stretch limo to get a haircut
from his father’s old barber, while remotely wagering
his company’s massive fortune on a bet against the
Chinese yuan. In his slow crawl through crowded city
streets, Packer encounters explosive riots, and a parade
of provocative visitors, and is thrust into a myriad
of intimate encounters. Having started the day with
everything, believing he is the future, Packer’s perfectly
ordered, doubt-free world is about to implode. One of
Cronenberg’s greatest achievements, Cosmopolis is at
once bone-dry funny and deeply emotional.
In Another Country
FRIDAY, FEBRUARY 22, 7:00 P.M.
South Korea. Dir. Hong Sang-soo. 2012, 89 mins. With
Isabelle Huppert, Kwon Hye Hyo, Jung Yu Mi. In Hong
Sang-soo’s hilarious and intelligent new work, he teams
with French superstar Isabelle Huppert to create a
formally inventive and witty three-part film, in which
different but strikingly similar women—all named
Anne, and all played by Huppert—meet and interact
with the same group of people in a seaside Korean
town, with each encounter producing a set of intriguing
new outcomes and new possibilities. Richard Brody
stated of this slyly delightful work, “Hong’s briskly
assertive drypoint style of long takes and sharp zooms
has never been more expansive in its view of riotous
misunderstandings and erotic misadventures; he keeps
his nested plots spinning whimsically, lending them a
delicate lilt even while infusing them with pain, jealousy,
frustration, lust, and conflict.”
In Another Country
8 Curators’ choice: the best of 2012

IN THE AMPHITHEATER GALLERY
THROUGH March 3, 2013
Rise of the Guardians, the new animated feature from DreamWorks
Animation, is a visually enthralling film based on William Joyce’s Guardians
of Childhood book series, with Santa Claus, the Easter Bunny, the Tooth Fairy,
and other beloved characters reinterpreted as action heroes in a parable
about the ongoing struggle between good and evil. This gallery exhibition takes
a look behind the scenes, revealing the innovative collaborative process behind
the making of the film. Original artwork, both digital and hand-drawn, and a
revealing documentary that take us into the DreamWorks Animation studio show
how the colorful world of the movie and its memorable characters were created.
An accompanying film series offers theatrical screenings of the finest films from
the studio, including the Shrek and Madagascar series, Antz, How to Train Your
Dragon, and much more.
Puss in Boots
In Dolby Digital 3-D
TUESDAY, JANUARY 1, 1:00 P.M.
Shrek 2
SATURDAY, JANUARY 5, 12:00 P.M.
SUNDAY, JANUARY 6, 12:00 P.M.
Rise of the Guardians
DreamWorks Animation
Shark Tale
SATURDAY, JANUARY 12, 12:00 P.M.
SUNDAY, JANUARY 13, 12:00 P.M.
Made possible with support from DreamWorks Animation.
Dir. Chris Miller. 2011, 90 mins.
Dolby Digital 3-D. With Antonio
Banderas, Salma Hayek, Zach
Galifianakis, Billy Bob Thornton,
Amy Sedaris. A spin-off prequel
to the Shrek franchise, Puss in
Boots follows the adventures
of the suave fighter, lover, and
outlaw before his scene-stealing
appearance in Shrek 2.
Dirs. Andrew Adamson, Kelly
Asbury, Conrad Vernon. 2004,
93 mins. DCP. With the voices
of Mike Myers, Eddie Murphy,
Cameron Diaz, Julie Andrews,
Antonio Banderas. With his new
wife, Princess Fiona (Diaz), Shrek
(Myers) travels to Far Far Away for
the unavoidable meeting with his
new in-laws.
Dirs. Bibo Bergeron, Vicky Jenson,
Rob Letterman. 2004, 90 mins.
DCP. With the voices of Will Smith,
Robert De Niro, Renée Zellweger,
Jack Black, Angelina Jolie, Martin
Scorsese. A fishy group of wise
guys rule the aquatic world,
headed by boss Don Lino (De Niro),
in this exuberant, music-filled
gangster comedy.
9

Madagascar: Escape 2 Africa
SATURDAY, JANUARY 19, 1:00 P.M.
SUNDAY, JANUARY 20, 1:00 P.M.
Dirs. Eric Darnell, Tom McGrath. 2008, 89 mins.
DCP. With the voices of Ben Stiller, Chris Rock, David
Schwimmer, Jada Pinkett Smith, Sacha Baron Cohen.
Being true New Yorkers, Alex the lion (Stiller), Marty the
zebra (Rock), Melman the giraffe (Schwimmer), and
Gloria the hippo (Smith) make plans fly back home to
the city. But, history repeating itself, they crash-land—
this time in Africa.
Shrek the Third
SATURDAY, FEBRUARY 2, 1:00 P.M.
SUNDAY, FEBRUARY 3, 1:00 P.M.
Dirs. Chris Miller, Raman Hui. 2007, 93 mins. DCP. With
the voices of Mike Myers, Eddie Murphy, Cameron Diaz,
Antonio Banderas, Julie Andrews. After King Harold’s
sudden death, Shrek (Myers) is designated the heir to
the throne of Far Far Away, against his will.
Shrek Forever After
In Dolby Digital 3-D
SATURDAY, FEBRUARY 16, 1:00 P.M.
SUNDAY, FEBRUARY 17, 1:00 P.M.
Dir. Mike Mitchell. 2010, 93 mins. Dolby Digital
3-D. With the voices of Mike Myers, Eddie Murphy,
Cameron Diaz, Antonio Banderas, Julie Andrews. In
the fourth and final installment in the series, Shrek
(Myers), feeling thoroughly emasculated, entertains
the thought of what life would be like without a wife
and triplets. He is offered the opportunity to relive
a day as a real bachelor ogre, and accepts in a fit of
terrible decision-making.
Madagascar 3: Europe’s Most Wanted
In Dolby Digital 3-D
MONDAY–FRIDAY, FEBRUARY 18–22, 1:00 P.M.
Over the Hedge
Kung Fu Panda 2
In Dolby Digital 3-D
MONDAY, JANUARY 21, 12:00 P.M.
Kung Fu Panda 2
Dir. Jennifer Yuh. 2011, 91 mins. Dolby Digital 3-D.
With the voices of Jack Black, Angelina Jolie, Dustin
Hoffman, Gary Oldman, Jackie Chan. Having come to
terms with his idiosyncratic fighting style, Po (Black)
is more confident in himself when a new archenemy
materializes: the genocidal albino peacock Lord
Shen (Oldman). Kung Fu Panda 2 employs a stunning
variety of animation styles, and the 3-D format gives
it extra kick.
Bee Movie
SATURDAY, JANUARY 26, 1:00 P.M.
SUNDAY, JANUARY 27, 1:00 P.M.
Dirs. Steve Hickner, Simon J. Smith. 2007, 91 mins.
DCP. With the voices of Jerry Seinfeld, Renée Zellweger,
Matthew Broderick. Even bees can be rebellious.
Though he has a bright future ahead of him in the
honey business, Barry B. Benson (Seinfeld) wants
to explore other possibilities. When he discovers the
human race’s large-scale theft of honey, he needs to
“bee” a man, and takes the case to court.
Megamind
In Dolby Digital 3-D
SATURDAY, FEBRUARY 9, 1:00 P.M.
SUNDAY, FEBRUARY 10, 1:00 P.M.
Shrek the Third
Dir. Tom McGrath. 2010, 95 mins. Dolby Digital 3-D.
With the voices of Will Ferrell, Brad Pitt, Tina Fey,
Jonah Hill, David Cross. A funny superhero satire,
Megamind pits the two archenemies Metro Man (Pitt)
and Mastermind (Ferrell) against each other in a
fight between good and evil. But when the villainous
Mastermind wins, he discovers that without the yin to
his yang, there’s no fun left to the game.
Megamind
Dirs. Eric Darnell, Tom McGrath, Conrad Vernon.
2012, 93 mins. Dolby Digital 3-D. With the voices
of Ben Stiller, Chris Rock, David Schwimmer, Jada
Pinkett Smith, Sacha Baron Cohen. In the first of the
Madagascar films released in 3-D, the animals still
desire to get back to the Big Apple. A detour leads them
through Europe, where a traveling circus provides the
perfect hideout.
Madagascar 3: Europe’s Most Wanted
Over the Hedge
SATURDAY, FEBRUARY 23, 1:00 P.M.
SUNDAY, FEBRUARY 24, 1:00 P.M.
Dirs. Tim Johnson, Karey Kirkpatrick. 2006, 83 mins.
DCP. With the voices of Bruce Willis, Garry Shandling,
Steve Carell, Wanda Sykes. A group of forest animals
awake from hibernation to discover that they have new
human neighbors—and Vincent the bear discovers
that his entire food stash has been stolen. But the
neighborhood trash cans are filled to the brim with
MSG-loaded delicacies.
Rise of the Guardians
In Dolby Digital 3-D
SATURDAY, MARCH 2, 1:00 P.M.
SUNDAY, MARCH 3, 1:00 P.M.
Dir. Peter Ramsey. 2012, 97 mins. Dolby Digital 3-D.
With the voices of Chris Pine, Alec Baldwin, Hugh
Jackman, Isla Fisher, Jude Law. When the evil spirit
Pitch (Law) threatens to put an end to children’s
dreams, surely someone must stop him! Taking action,
Santa gathers a motley crew prepared to fight—
including Jack Frost (Pine), the Tooth Fairy (Fisher),
the Easter Bunny (Jackman), and the Sandman.
Rise of the Guardians
10 the art of rise of the guardians

Phantom of the Paradise (Photofest)
Phantom of the Paradise
FRIDAY, JANUARY 25, 7:00 P.M.
January 25–27, 2013
Songwriter, singer, actor, and Tonight show favorite Paul Williams
was a cultural icon throughout the 1970s and 1980s. The hit songs
he wrote dominated the charts and became staples, including
Three Dog Night’s “An Old Fashioned Love Song,” the Carpenters’
“We’ve Only Just Begun,” and “Rainbow Connection,” performed by
Kermit the Frog in The Muppet Movie. The diminutive star
also appeared on the big and small screens, most notably as
the villainous Swan in Brian De Palma’s Phantom of the Paradise
(which he also co-scored). He is the subject of the entertaining and
illuminating new documentary Paul Williams: Still Alive.
Williams will be present at all screenings, except for the
Saturday, January 26 screening of Ishtar,
Dir. Brian De Palma. 1974, 92 mins. DCP. With William Finley, Paul
Williams, Jessica Harper, Gerrit Graham. Williams stars as the
satanic record producer Swan, and he also wrote the songs for
DePalma’s deliriously entertaining rock movie. DePalma merges
The Phantom of the Opera and Faust into the world of glam rock
while telling the story of a songwriter who seeks revenge on a
malicious music mogul. The movie gleefully spoofs the corporate
world of the recording industry.
The Muppet Movie
SATURDAY, JANUARY 26, 3:00 P.M.
Dir. James Frawley. 1979, 95 mins. 35mm. With Jim Henson,
Frank Oz, Jerry Nelson, Richard Hunt. Kermit the Frog
makes his way from his humble origins in a swamp to fabled
Hollywood, assembling his team as he goes, including Fozzie
Bear, Miss Piggy, Gonzo, and others. This enchanting and
clever road movie includes one of Paul Williams’s most
beloved songs, “The Rainbow Connection.”
Ishtar
SATURDAY, JANUARY 26, 6:00 P.M.
SUNDAY, JANUARY 27, 6:00 P.M.
Dir. Elaine May. 1987, 107 mins. DCP of newly restored
edition. With Warren Beatty, Dustin Hoffman, Isabelle
Adjani, Charles Grodin. Wildly underrated at the time
of its release, May’s deceptively screwball comedy is
a cross between a Hope and Crosby road movie and
a trenchant satire about the Middle East that feels
as relevant today as it ever was. Beatty and Hoffman
are brilliant as a hapless duo of failed songwriterperformers.
Paul Williams managed an amazing
feat—writing songs that were intentionally awful yet
totally endearing. “Honest and popular don’t go hand
in hand / If you admit that you play the accordion, no
one will hire you in a rock-and-roll band...”
Paul Williams: Still Alive
SUNDAY, JANUARY 27, 3:00 P.M.
Dir. Stephen Kessler. 2011, 87 mins. Digital
projection. With Paul Williams, Robert Blake,
Karen Carpenter, Johnny Carson. Kessler set out
to make a documentary about his childhood idol,
whom he assumed was dead. Instead, he found
Williams very much alive. Also not according
to plan, Williams coaxed Kessler from behind
the camera to become a part of the story. Paul
Williams: Still Alive is both a rollicking popculture
flashback filled with great performance
clips and the humorous story of an awkward
documentarian and his reluctant—and
reflective—subject.
11

FEBRUARY 2–24, 2013
Organized by the UCLA Film & Television Archive
In the late 1960s, in the aftermath of the Watts Uprising and against the backdrop
of the continuing Civil Rights Movement and the escalating Vietnam War, a group
of African and African American students entered the UCLA School of Theater,
Film and Television, as part of an “Ethno-Communications” initiative designed to be
responsive to communities of color. Now referred to as L.A. Rebellion, these mostly
unheralded artists, including Charles Burnett, Julie Dash, Larry Clark, Haile Gerima,
Billy Woodberry, and many others, created a unique cinematic landscape, as—over
the course of two decades—students arrived, mentored one another, and passed the
torch to the next group.
They came from Watts. They came from New York City. They came from
throughout America or crossed an ocean from Africa. Together, they made movies
and produced a rich, innovative, sustained, and intellectually rigorous body of work.
The filmmakers of L.A. Rebellion achieved this while realizing a new possibility
for “Black” cinema, one that explored and related to the real lives of Black
communities in the U.S. and worldwide.
Presented in association with the UCLA Film & Television Archive and supported in part by grants from the
Getty Foundation and The Andy Warhol Foundation for the Visual Arts. The series is curated by Allyson Nadia Field,
Jan-Christopher Horak, Shannon Kelley, and Jacqueline Stewart.
As Above, So Below
12

Passing Through
Preceded by:
Medea
Dir. Ben Caldwell. 1973, 7 mins. Digital projection.
Made on an animation stand and edited entirely in
the camera, Medea combines live action and rapidly
edited still images of Africans and African Americans
that function like flashes of history the unborn child
will inherit.
Ujamii Uhuru Schule
Community Freedom School
Dir. Don Amis. 1974, 9 mins. Digital projection.
A day-in-the-life portrait of an Afrocentric primary
learning academy located in South L.A. that focuses on
the virtues of the three Rs—Respect, Righteousness,
and Revolution.
Rich
Dir. S. Torriano Berry. 1982, 22 mins. Digital projection.
With Steve T. Berry. On the day of his high school
graduation, an African American youth battles for
self-determination as his family and the neighborhood
gang attempt to shuttle him toward a future of lowered
expectations. This gritty and tender character study
includes a scene filmed at the Watts Towers.
Shipley Street
Dir. Jacqueline Frazier. 1981, 25 mins. Digital projection.
With Leslie Smith, Don Maharry. A construction
worker, frustrated by his inability to get ahead, decides
with his wife to send their daughter to an all-white
Catholic school, where the girl is confronted with harsh
discipline and racist attitudes.
Killer of Sheep
FRIDAY, FEBRUARY 8, 7:00 P.M.
Dir. Charles Burnett. 1979, 83 mins. 35mm. With Henry
G. Sanders, Kaycee Moore, Charles Bracy, Angela
Burnett. Killer of Sheep is L.A. Rebellion’s most widely
celebrated film. The documentary-like but poetically
rendered narrative follows Stan (Sanders), employed at
the slaughterhouse and suffering from the emotional
side effects of his bloody occupation. The film is an
impressionistic portrait of a Black family man eaten up
by money problems, who is fighting to save his soul and
support his family in the Watts ghetto of L.A.
Passing Through
SATURDAY, FEBRUARY 2, 3:00 P.M.
Dir. Larry Clark. 1977, 111 mins. 16mm. With Nathaniel
Taylor, Clarence Muse, Pamela Jones. Black jazz
musician J. Eddie Warmack (Taylor) is released from
a prison term for the killing of a white gangster. Not
willing to play for the mobsters who control the music
industry, Warmack searches for his mentor and
grandfather, legendary jazz musician Poppa Harris
(Jones). The film repeatedly returns to scenes of
musicians improvising jazz, and flashbacks in which
Poppa teaches Warmack to play saxophone.
Preservation funded in part by a grant from The Andy
Warhol Foundation for the Visual Arts and the Packard
Humanities Institute
Preceded by:
When It Rains
Dir. Charles Burnett. 1995, 13 mins. 16mm. With
Ayuko Babu, Kenny Merritt, Charles Bracy, Soul, R.
Ray Barness. On New Year’s Day, a man tries to help a
woman pay her rent and learns a lesson in connecting
with others in a community.
As Above, So Below and Short Films
SATURDAY, FEBRUARY 2, 6:00 P.M.
As Above, So Below
Dir. Larry Clark. 1973, 52 mins. 16mm. With Nathaniel
Taylor, Lyvonne Walder, Billy Middleton. A rediscovered
masterpiece, Clark’s As Above, So Below offers a
powerful political and social critique in its portrayal
of Black insurgency. The film opens in 1945 with a
young boy playing in his Chicago neighborhood, and
then follows the adult Jita-Hadi (Taylor) as a returning
Marine with heightened political consciousness. Like
The Spook Who Sat By the Door, it imagines a post–
Watts Rebellion state of siege and an organized Black
underground plotting revolution.
Your Children Come Back to You
Your Children Come Back to You
and Short Films
SUNDAY, FEBRUARY 3, 3:00 P.M.
Program total running time: 115 mins
Your Children Come Back to You
Dir. Alile Sharon Larkin. 1979, 30 mins. 16mm. With
Angela Burnett. A single mother lives welfare check to
welfare check, struggling to provide for her daughter.
Larkin’s film masterfully presents a child’s perspective
on wealth and social inequality.
Preceded by:
Fragrance
Dir. Gay Abel-Bey. 1991, 38 mins. Digital projection. With
Fumilayo, Leslie Rainey. When George visits his family
before heading to Vietnam, he is confronted by the
conflicting ideals of his veteran father, who encourages
his patriotism, and his militant brother, who urges him
to stay home in protest.
A Different Image and Short Films
SUNDAY, FEBRUARY 3, 6:00 P.M.
Program total running time: 112 mins
A Different Image
Dir. Alile Sharon Larkin. 1982, 51 mins. 16mm. With
Adisa Anderson. A woman yearns to be recognized
for more than her physical attributes. In cultivating
the friendship of a male office mate, she aspires to a
relationship with someone who can “see her as she is,”
rather than see only what he wants to see.
Preceded by:
Cycles
Dir. Zeinabu irene Davis. 1989, 17 mins. Digital
projection. With Stephanie Ingram. As a woman
anxiously awaits her overdue period, she performs
African-based rituals of purification. She cleans house
and body, and calls on the spirits; the film combines
beautifully intimate still and moving images of the
woman’s body and home space with playful stopmotion
sequences.
Water Ritual #1: An Urban Rite of Purification
Dir. Barbara McCullough. 1979, 6 mins. 35mm. Made
in collaboration with performer Yolanda Vidato. A
pioneering work in Black feminist and experimental
filmmaking, Water Ritual #1 was made in an area of
Watts that had been cleared to make way for the
I-105 freeway. Structured as a ritual for McCullough’s
“participant-viewers,” Water Ritual #1 honors Black/
Third World women’s beauty and self-possession.
Grey Area
Dir. Monona Wali. 1981, 38 mins. 16mm. From Black
Panthers to young urban professionals, several
members of a blighted neighborhood debate the
causes and experience the stresses of cyclical poverty,
as a bank commissions a film about its own supposedly
good work in the community.
Black Art, Black Artists
Black Art Black Artists: Short Films
SATURDAY, FEBRUARY 9, 3:00 P.M.
Program total running time: 75 mins.
Black Art, Black Artists
Dir. Elyseo J. Taylor. 1971, 16 mins. 16mm. With Van
Slater. As the only Black faculty member at UCLA’s film
school, Taylor was an influential teacher and advocate
for students of color. With voice-over dialogue with
the woodcut printmaker Van Slater, Taylor’s film is a
visual survey of Black art since the nineteenth century,
punctuated with jazz and blues selections.
Preceded by:
Four Women
Dir. Julie Dash. 1975, 7 mins. 16mm. With Linda Martina
Young. Set to Nina Simone’s stirring ballad of the same
name, and with kinetic camera work and rich visual
design, Dash’s dance film features Young as the strong
Aunt Sarah, the tragic mulatto Saffronia, the sensuous
Sweet Thing, and the militant Peaches.
13 L.A. Rebellion: Creating a new black cinema

Define
Dir. O. Funmilayo Makarah. 1988, 5 mins. Digital
projection. Oblique, episodic meditations on the
semiotics and ethics of ethnic female identity are
accompanied by a blandly cynical narrator explaining
how to “win an invitation to the dominant culture.”
Bellydancing—A History & an Art
Dir. Alicia Dhanifu. 1979, 22 mins. Digital projection.
With Dhanifu. Dhanifu constructs a rigorous and
beautifully rendered history of belly dancing—its roots
and history, forms and meanings.
Festival of Mask
The Diary of an African Nun
Bush Mama
SUNDAY, FEBRUARY 10, 6:00 P.M.
Dir. Haile Gerima. 1975/1979, 97 mins. 16mm. With
Barbara-O, Johnny Weathers. After seeing a Black
woman in Chicago evicted in winter, Gerima developed
Bush Mama as his UCLA thesis film. Gerima blends
narrative fiction, documentary, surrealism, and political
modernism in his unflinching story about a pregnant
welfare recipient in Watts. Bush Mama follows Dorothy
(the magnetic Barbara O. Jones) as she is subjected to
the oppressive cacophony of state-sponsored terrorism
against the poor in her daily dealings with the welfare
office and social workers. Dorothy undergoes an
ideological transformation, from apathy and passivity
to empowered action.
Preceded by:
Daydream Therapy
Dir. Bernard Nicolas. 1977, 8 mins. Digital projection.
With Marva Anderson, Keith Taylor, Gay Abel-Bey. Set
to Nina Simone’s haunting rendition of “Pirate Jenny”
and concluding with Archie Shepp’s “Things Have Got
to Change,” Daydream Therapy poetically envisions the
fantasy life of a hotel worker whose daydreams provide
an escape from workplace indignities.
Festival of Mask
Dir. Don Amis. 1982, 25 mins. Digital projection. With
Carmen Stetson. Amis was one of the few Black student
filmmakers at UCLA working in documentary. In this
film, preparations for and performances at the Craft
and Folk Art Museum’s annual Festival of Mask illustrate
the city’s diverse racial and ethnic communities.
Daughters of the Dust
SATURDAY, FEBRUARY 9, 6:00 P.M.
Dir. Julie Dash. 1991, 112 mins. 35mm. With Cora Lee
Day, Alva Rogers, Barbara-O, Cheryl Lynn Bruce, Tommy
Hicks. Dash’s 1991 masterpiece was her first feature,
and the first feature directed by an African American
woman to receive a general theatrical release. The
year is 1902. In the home of several Gullah people,
descendants of African captives who escaped the
slave trade live on islands off the coasts of South
Carolina and Georgia. Here, members of the Peazant
family are on the verge of a planned migration to the
U.S. mainland, where American modernity seems
to offer a good life. Dash constructs their home as a
rarefied world, possibly soon a “paradise lost,” through
a masterful interplay of mise-en-scène, symbolic
markers, and magical realist gestures.
Preceded by:
The Diary of an African Nun
Dir. Julie Dash. 1977, 15 mins. Digital projection. With
Barbara O. Jones, Barbara Young, Makimi Price, Ron
Flagge, Renee Carraway. A nun in Uganda weighs the
emptiness she finds in her supposed union with Christ.
Adapted from an Alice Walker short story, the film was
a move by its director toward narrative filmmaking,
though it has a stylistic intensity that anticipates
Daughters of the Dust.
Preservation funded in part with a grant from the
National Film Preservation Foundation
Child of Resistance and Short Films
SUNDAY, FEBRUARY 10, 3:00 P.M.
Program total running time: 83 mins
Child of Resistance
Dir. Haile Gerima. 1972, 36 mins. 16mm. With Barbara
O. Jones, James Dougall. Inspired by a dream Gerima
had after seeing Angela Davis handcuffed on television,
Child of Resistance follows a woman (Jones) who has
been imprisoned as a result of her fight for social
justice. Gerima explores the woman’s dreams of
liberation and fears for her people through a series of
abstractly rendered fantasies.
Preceded by:
Brick by Brick
Dir. Shirikiana Aina. 1982, 33 mins. Digital projection.
With Lester Wakefield. Brick by Brick documents a
late-1970s Washington, D.C., ignored by the media,
from which poor Black residents are being pushed out.
Images of monuments contrast with prescient images
of gentrification and homelessness. An alternative is
provided by the Seaton Street project, in which tenants
have united to purchase buildings.
L.A. in My Mind
Dir. O. Funmilayo Makarah. 2006, 4 mins. Digital
projection. A captivating montage of notable L.A. sites,
laced with free-floating names of places and people
and accompanied by street noises.
Rain
Dir. Melvonna Ballenger. 1978, 16 mins. Digital
projection. With Evlynne Braithwaite, Bernard Nicolas.
Rain shows how awareness can lead to a more fulfilling
life. A female typist goes from apathetic to empowered
through the help of a man giving out political flyers on
the street. Using John Coltrane’s song “After the Rain,”
Ballenger’s narration meditates on rainy days and their
promise of renewal.
The Dawn at My Back: Memoir of a
Black Texas Upbringing (excerpt)
Dirs. Carroll Parrott Blue, Kristy H. A. Kang. 2003, 10
mins. Digital projection. With Blue, Debbie Allen, Ruby
Dee, Ossie Davis (narrators). This evocative excerpt
from the Labyrinth Project’s DVD-ROM, based on a
memoir by Blue, leads viewers on a rich visual and
textual exploration of Blue’s family history, and of the
history of Houston’s Black community.
Emma Mae
(a.k.a. Black Sister’s Revenge)
SATURDAY, FEBRUARY 23, 3:00 P.M.
Dir. Jamaa Fanaka. 1976, 100 mins. 35mm. With Jerri
Hayes. Emma Mae is a sympathetic portrait of a young
Black woman (Hayes) from the South and her difficult
adjustment to life in the big city. After the death of her
mother, she travels by bus from Mississippi to L.A., her
rough country edges on full display. While Emma Mae’s
proficiency in kicking ass echoes that of the supermama
heroines who populated other character-named
films of this Blaxploitation era, she is not presented as
an impossibly glamorous vixen. On the contrary, her
plain looks and shy demeanor seem to necessitate her
physical and emotional strength.
Emma Mae
14 L.A. Rebellion: Creating a new black cinema

Preceded by:
A Day in the Life of Willie Faust,
or Death on the Installment Plan
Dir. Jamaa Fanaka (as Walt Gordon). 1972, 20 mins.
Digital projection. With Baby Katina. An adaption of
Goethe’s Faust with a nonsynchronous soundtrack
and superimposed over a remake of Super Fly (1972),
Fanaka’s first project plays off of Blaxploitation’s
genre conventions.
Compensation
SUNDAY, FEBRUARY 24, 3:00 P.M.
Dir. Zeinabu irene Davis. 1999, 90 mins. Digital projection.
With John Earl Jelks, Michelle A. Banks. Compensation
depicts two Chicago love stories, one set at the dawn of
the 20th century and the other in contemporary times,
featuring a deaf woman and a hearing man. Both played
by Jelks and Banks, the two couples face the specter
of death when the man is diagnosed with tuberculosis
in the early story, and the woman with AIDS in the
contemporary one. One of the most striking aspects of
Compensation is its unusual narrative approach. Upon
casting the deaf actress Banks, Davis and screenwriter
Mark Arthur Chéry modified the film to incorporate sign
language and title cards, making it accessible to both deaf
and hearing audiences.
A Day in the Life of Willie Faust, or
Death on the Installment Plan
My Brother’s Wedding
SATURDAY, FEBRUARY 23, 6:00 P.M.
Dir. Charles Burnett. 1983/2007, 82 mins. Director’s
cut. Digital projection. With Everette Silas, Jessie
Holmes, Gaye Shannon-Burnett. Pulled in opposite
directions by loyalty to family and friends, Pierce
Mundy (Silas) feels suspended in place. Recently laid
off from his factory job, he marks time working at his
family’s dry cleaning store under the watchful eye of
his mother (Holmes). In the face of a diminished future,
the return of Pierce’s best friend, Soldier, holds out
the hope of a nostalgic escape to childhood. After a
troubled production, My Brother’s Wedding premiered
in 1984 but wasn’t released theatrically until 1991.
The 2007 director’s cut, 30 minutes shorter, reflects
Burnett’s original intentions.
Preceded by:
A Little Off Mark
Dir. Robert Wheaton. 1986, 9 mins. Digital projection.
With Peter Parros, Lee Daniels. Writer-director
Wheaton’s story of a shy guy trying all the wrong
moves to meet the right girl rides high on its
romantic sensibility.
Compensation
Preceded by:
Dark Exodus
Dir. Iverson White. 1985, 28 mins. 16mm. With John
Jelks, Harold House. Subjected to Jim Crow laws and
an overtly racist white population, an African American
family in the South sends its sons away to a better
life. White’s period film visualizes the migration of
African Americans from the rural South to the urban,
industrial North.
Dark Exodus
The Pocketbook
Bless Their Little Hearts
Bless Their Little Hearts
SUNDAY, FEBRUARY 24, 6:00 P.M.
Dir. Billy Woodberry. 1984, 84 mins. 35mm. With Nate
Hardman, Kaycee Moore. Bless Their Little Hearts
represents the pinnacle of a neorealist strand within
L.A. Rebellion that began with Charles Burnett’s
Several Friends (1969). Woodberry’s film chronicles the
devastating effects of underemployment on a family
in the same L.A. community depicted in Burnett’s
Killer of Sheep (1977). Hardman and Moore deliver gutwrenching
performances as the couple whose family is
torn apart by events beyond their control. If salvation
remains, it is in the sensitive depiction of everyday life,
which persists throughout.
Preservation funded by the National Film Preservation
Foundation and the Packard Humanities Institute
Preceded by:
The Pocketbook
Dir. Billy Woodberry. 1980, 13 mins. 35mm. With Ella
“Simi” Nelson, Ray Cherry. In the course of a botched
purse-snatching, a boy questions the path of his life.
Woodberry’s second film adapts Langston Hughes’s
short story “Thank You, Ma’am,” and features music by
Leadbelly, Thelonious Monk, and Miles Davis.
Preservation funded in part by a grant from The Andy
Warhol Foundation for the Visual Arts.
15 L.A. Rebellion: Creating a new black cinema

February 15–17, 2013
IndieCade, the country’s premier festival for
independent games, was launched in 2010 in
California, where it was called “the video game
industry’s Sundance” by The Los Angeles Times.
In 2013, the event makes its East Coast debut
with a jam-packed weekend at the Museum filled
with events and exhibits in the Main Theater,
Bartos Screening Room, Digital Learning Suite, and
other spaces. IndieCade East will include dozens
of playable IndieCade Official Selection games;
presentations from designers, academics, and
journalists including Kris Piotrowski (Superbrothers:
Sword & Sworcery EP) and Doug Wilson (J.S. Joust); a
conference track (Game U) for budding game makers
led by industry experts; a 48-hour game jam; a night of
“big games;” and much more.
Recommended for ages 6+. More information available
online at movingimage.us.
Photo by Elliot Trinidad
Game U presented with
support by Playstation.
16

IN THE CHANGING EXHIBITIONS GALLERY
THROUGH March 3, 2013
Spacewar! Video Games Blast Off looks at the first 50 years of
video games through the lens of Spacewar!, the first digital video
game, its development, and the culture from which it sprang.
In addition to a model of the original PDP-1 (Programmed Data
Processor-1) computer running a playable simulation of Spacewar!,
the exhibition presents 20 playable video games ranging in
platform (arcade, console, handheld, PC), genre (shooters,
platformers, action, arcade), and developer (commercial,
independent, experimental). From Computer Space to Portal,
the exhibition draws connections and contrasts between these
games and Spacewar!, signaling the latter’s central place in the
development of video games as a cultural form.
DISCUSSION
Spacewar! A Conversation with
Steve Russell and Peter Samson
Friday, February 1, 7:00 p.m.
Steve Russell and Peter Samson, key developers of
Spacewar!, the first digital video game, will join John
Sharp, curator of Spacewar! Video Games Blast Off
in a conversation about their early experiences with
game design and the enduring influence Spacewar!
has had on the game industry since its creation
in 1961–62. Steve Russell will participate in the
conversation by video call.
MIDWINTER BREAK
FAMILY WORKSHOP
The Game-Making Game
Saturday–Tuesday, February 16–19,
2:45 and 3:45 p.m.
The exhibition Spacewar! Video Games Blast Off looks
at the first 50 years of video games. All games, from
Tag and Tic Tac Toe to Pac Man and Super Mario Galaxy
are actually systems that share common features. In
this 45-minute workshop, children learn what makes a
game a game—and what makes a game fun—by making
one, using tokens, die, game chips, and other materials.
Materials fee: $5 / free for Family members. Ages 8+
Photo by Daniel Love
17

The Black Kungfu Experience
Monday, January 21, 2:00 P.M.
Dirs. Martha Burr, Mei-Juin Chen. 2012, 57 mins. Digital
projection. This new documentary chronicles black pioneers,
including famous actors and lesser-known practitioners, who
became respected masters in a world dominated by Chinese
and white men, and created a junction for African-American
and Asian cultures. The Black Kungfu Experience traces the
rise of black kung fu in the United States in the 1960s and
1970s, and then reconnects with the contemporary martial
arts scene at the 1,500-year-old Shaolin Temple, legendary
birthplace of kung fu.
Pui Chan: Kung Fu Pioneer
Saturday, February 23, 3:00 p.m.
Dir. Mimi Chan. 2012. 92 mins. Digital projection. Step
into the extraordinary life of a Chinese immigrant
who achieved the American dream. This biography
follows a boy who learns the value of hard work and
perseverance through kung fu training. He escapes
the harshness of political oppression, bravely
ventures out, and embraces opportunity in a new
land. The now highly recognized Grandmaster Pui
Chan is one of the pioneers responsible for bringing
traditional kung fu to America.
TICKETS: $12 public / free for Museum members.
Pui Chan: Kung Fu Pioneer
18

Image courtesy of Peter Burr
Wednesday, January 9, 8:00 p.m.
The Cinema Eye Honors for Nonfiction Feature
Filmmaking, now in its sixth year, attracts the
world’s top documentary filmmakers for an
annual celebration. Past presenters/recipients
have included Barbara Kopple, Albert Maysles,
Michael Moore, and Frederick Wiseman. This
year, Chris Hegedus and D. A. Pennebaker will
receive the Legacy Award for The War Room.
Top nominees this year include Heidi Ewing
and Rachel Grady’s Detropia, Bart Layton’s The
Imposter, Matthew Akers’ Marina Abramović:
The Artist is Present, Malik Bendjelloul’s
Searching for Sugar Man, and Jason Tippett and
Elizabeth Mims’s Only the Young.
For more information, visit
cinemaeyehonors.com.
The War Room
Presented with Cinema Eye Honors
and Hot Docs. With Chris Hegedus
and D. A. Pennebaker in person.
Thursday, January 10, 7;00 p.m.
Dirs. Chris Hegedus, D.A. Pennebaker. 1993,
96 mins. The recipient of the 2013 Cinema
Eye Honors Legacy Award, The War Room is
the benchmark for inner-sanctum political
documentaries and a classic vérité film that
continues to inspire new generations of
filmmakers. This special 20th anniversary
screening of the behind-the-scenes look
at the turbulent 1992 Clinton campaign
features a conversation with filmmakers
Chris Hegedus and D. A. Pennebaker along
with special guests.
TICKETS: $20 public / $12 Museum
members / free for Silver Screen members
and above.
Friday, January 18, 7:00 p.m.
Presented by Peter Burr
Video and performance artist Peter Burr presents a live television show from the future
inspired by Andrei Tarkovsky’s 1971 film Stalker and its central setting of “The Zone”—
an off-limits place of hope and possibility rumored to make one’s deepest desires
come true. Special Effect features 20 30-second original works from underground
animation label Cartune Xprez, original music from Lucky Dragons and Seabat, and live
performances by Burr involving laser beams and a hacked Kinect camera.
Contributors include James Duesing, Amy Lockhart, Yoshi Sodeoka, Billy Grant, Michael
Bell-Smith, Ola Vasiljeva, Jacob Ciocci, Andrew Benson, Jeff Kriksciun, Chad VanGaalen,
Philippe Blanchard, E*Rock, Luke Painter, Brandon Blommaert, Stu Hughes, Devin Flynn,
Michael Robinson, Sabrina Ratté, Ben Coonley, and Brenna Murphy. Written by Peter
Burr, Maya Lubinsky, and PFFR. Costumes by Diana Joy. Set by Peter Burr and Elliot
Montgomery. Computer programming by Mike Heavers.
TICKETS: $15 public / $9 Museum members / free for Silver Screen members and
above.
19

Mitote
Stoker
Martin Luther King, Jr. Day program
Tongues Untied,
True Tales Told:
African-American Women Changing
the Picture in Film and Television
Screening and discussion with Ruby Dee, S. Epatha Merkerson,
and Barbara Montgomery in person
Monday, January 21, 4:00 p.m.
Barbara Montgomery, a veteran actress-turned-director, will screen excerpts from her
upcoming film Mitote, which shares the stories of three African-American women who live
in New Mexico, circa 1900. Each has a story to tell, based on a unique historical incident.
Following the screening will be a wide-ranging discussion with Barbara Montgomery and her
featured cast members, S. Epatha Merkerson (Law and Order, Lincoln) and screen legend Ruby
Dee, about the untold stories and missing representation of African-Americans. The discussion
will be moderated by noted filmmaker and Museum trustee Warrington Hudlin.
Part of the series Changing the Picture, sponsored by Time Warner.
With director Park Chan-wook in person
Tuesday, February 26, 7:00 p.m.
Dir. Park Chan-wook, 2013, 98 mins. DCP courtesy of Fox
Searchlight. With Mia Wasikowska, Nicole Kidman, Matthew
Goode. Stoker, the eagerly awaited new film by cult-favorite Korean
director Park Chan-wook (Oldboy, Lady Vengeance, Sympathy for
Mr. Vengeance), is an English-language thriller rife with the sort of
style and atmosphere that makes his other movies nothing short of
modern classics of the genre. In the film, India (Mia Wasikowska),
upon the death of her father, finds herself sharing a Southern gothic
mansion with her mother (Nicole Kidman) and her mysterious-yetcharming
Uncle Charlie.
This special screening, followed by a discussion with Park Chanwook,
precedes a retrospective of Park’s films from March 1–3,
2013, presented in collaboration with the Korea Society.
Tickets: $20 public / $12 Museum members / free for Silver
Screen members and above.
20

in the lobby
under construction
THROUGH FEBRUARY 24, 2013
Organized by Jason Eppink, Assistant Curator of Digital Media
Under Construction presents hundreds of animated GIF (Graphics Interchange Format) files
culled from millions of personal websites hosted by Geocities, a service that provided free website
hosting from 1994–2009. After Yahoo! announced it would terminate Geocities in 2009, a digital
preservation collective led by archivist Jason Scott set out to download as much of the website as
possible. To demonstrate the breadth of the material the team rescued, Scott searched for GIFs that
contained “construct” in their filenames and published the animations on view.
21
21

Image courtesy of Agency Net
Photo courtesy of the artist
in the TISCH EDUCATION CENTER
ONGOING
Pretty Loaded, by the digital creative
agency Big Spaceship, is composed
of nearly 50 “preloaders,” animated
graphics that show how much of a
website has loaded. Originally, preloaders
were utilitarian, employing progress
bars, pie charts, or text, but designers
soon started working inside the form’s
constraints to create playful, engaging,
and even suspenseful graphics that hinted
at what lay beyond the loading screen.
These preloaders were originally produced
by agencies and independent designers
for websites primarily promoting films,
television shows, and consumer products.
Viewed one after another, they create a
never-ending cycle, directing attention
to the preloader as its own creative
space and to the inventive ways in which
designers communicate the simple idea
of progress from 0 to 100 percent.
Pretty Loaded installation made possible by
Big Spaceship. View an expanded version
online at prettyloaded.com.
ONGOING
For this new commissioned work, artist Aram Bartholl (Berlin, b. 1972)
embeds an inconspicuous, slot-loading DVD burner into the side of the
Museum, made available to the public 24 hours a day. Visitors who insert a
blank DVD-R will receive a surprise collection of digital files that may include
found footage, animated GIFs, video games, feature films, or interactive art
curated or created by artists selected by Bartholl. DVD Dead Drop imbues
the act of data transfer with a tangibility left behind in a world of cloud
computing and appstores, using a medium—the digital versatile disc—that
is quickly becoming another artifact of the past.
DVD Dead Drop installation made possible by the Harpo Foundation.
22

The Museum’s core exhibition, Behind the Screen, immerses
visitors in the creative and technical process of producing,
promoting, and presenting films, television shows, and
digital entertainment. It includes over 1,400 artifacts—from
nineteenth-century optical toys to video games—as well as
an array of interactive experiences, audiovisual material, and
artworks to reveal the skills, material resources, and artistic
decisions that go into making moving images.
3-D Lenticular Posters
for The Hobbit: An
Unexpected Journey
THROUGH March 31, 2013
Director Peter Jackson filmed The Hobbit: An
Unexpected Journey in 3-D at 48 frames per second
to invite the audience to enter Middle-earth for an
immersive cinematic experience. Emblematic of this
experience is a series of specially commissioned
lenticular posters from designer Grayson Marshall,
featuring seventeen of the main characters in the film,
including Bilbo Baggins, Gandalf, Thorin Oakenshield,
Gollum, and Galadriel.
Presented with support from Warner Bros. Pictures,
New Line Cinema, and Metro-Goldwyn-Mayer Pictures
SCREENINGS IN TUT’S FEVER
Movie palace
Red Grooms and Lysiane Luong’s artwork/movie
theater, Tut’s Fever Movie Palace, an homage to the
days of the ornate movie palace, is the perfect venue
for screenings of classic movie serials and television
shows. Now showing: selected episodes of The Muppet
Show, with a new special guest host each week. Seen
in more than 100 countries by upwards of 235 million
people, The Muppet Show (1976–1981), created by
Jim Henson, was probably the most widely viewed
television program in the world in the late 1970s. The
half-hour variety show delighted audiences with its
Muppet cast and famous guest stars. A selection of
the best episodes will be shown, with a new episode
starting each Saturday. Special thanks to Craig Shemin,
president of The Jim Henson Legacy.
Screenings on Saturdays and Sundays at 1:00 p.m.,
2:00 p.m., and 3:30 p.m., and on weekdays at 2:00 p.m.
BEHIND THE SCREEN HIGHLIGHT
Photo by Samantha Suddaby
In 1925, Bell and Howell introduced the Eyemo camera,
the first handheld 35mm motion picture camera to be
used in professional studio situations. Initially intended
to be used as a news camera, the Eyemo was adopted
by Hollywood cameramen because its portability
enabled them to work more freely, incorporating angles
not possible when shooting on a tripod. It became
a highly popular professional camera, with various
models in continuous production until 1970.
23

Hot Circuits: A Video Arcade (1993)
Hot Circuits: A Video Arcade (1993)
A Magnavox Odyssey and playable
“Brown Box” currently on view in
Behind the Screen
Hot Circuits: A Video Arcade (1989)
Early in its history, Museum of the Moving Image
extended its conception of the “moving image”
beyond film and television to encompass video
games and other forms of digital media. By the
late 1980s, it was apparent to the Museum’s
founding director, Rochelle Slovin, that video
games had become a significant moving image
form, worthy of scholarly interpretation and
physical conservation. In 1989, the Museum
began collecting such video arcade games as
Computer Space and Pong in preparation for the
exhibition Hot Circuits: A Video Arcade, the first
museum exhibition devoted to video games.
After the successful run of Hot Circuits, the
Museum began to collect and exhibit video
game consoles, handheld games, and computer
games of exceptional design quality and
historical significance. Unlike most artifacts
in the Museum’s collection, visitors are
encouraged to interact with many of these
games, allowing visitors to experience games in
their original physical format.
A highlight of the Museum’s holdings is a set
of seven recreations of “TV game” prototypes
originally created between 1966 and 1969,
donated by pioneering game developer Ralph
Baer. One of Baer’s game prototypes, known
as the “Brown Box,” was licensed by Magnavox
and released in 1972 as the Magnavox
Odyssey, the world’s first commercial home
video game console.
Hot Circuits: A Video Arcade (1993)
Playable video arcade and console games are on view in
the Museum’s core exhibition, Behind the Screen, and
Spacewar! Video Games Blast Off.
24

Tech Lab @ the
Moving Image Studio
Ninja Shadow Warrior
by Kaho Abe
Saturday, January 12,
12:00–5:00 p.m.
Kaho Abe is a Computational Fashion
Fellow at Eyebeam and Artist in
Residence at the Game Innovation
Lab at NYU-Poly, where she
researches and builds digital games
that are played in the physical world.
Ninja Shadow Warrior is a photo
booth arcade game. It consists of a
Kinect camera, a computer, and a
hacked closet light, which have been
built into a custom cabinet. In the
game, players “become” a randomly
chosen object by recreating its
shape in silhouette. The game is
designed to encourage strategic
thinking and face-to-face cooperative
interaction—the more players work
together, the more likely they are to
achieve a higher score.
DROP-IN MOVING
IMAGE STUDIO
Every Saturday, 12:00–5:00 p.m.
Ages 7+ accompanied by an adult (12+ on their own)
Photo by Kristen Asp
Museum of the Moving Image offers drop-in studio sessions for young visitors ages seven and
up. With the assistance of Museum educators, visitors engage in hands-on creative work, making
projects ranging from flipbooks and thaumatropes (hand-drawn optical toys) to stop-motion and
computer animations and video games. Studio visitors also have an opportunity to see, handle, and
explore the inner workings of moving-image technology, such as projectors, film strips and video
tape, video game consoles, and more. Some special sessions will feature artist-led group projects.
More information is available at movingimage.us/families.
Midwinter Recess
Family Workshop
The Game-Making Game
February 16–19, 2:45 and 3:45 p.m.
The exhibition Spacewar! Video
Games Blast Off looks at the first
50 years of video games. All games,
from Tag and Tic Tac Toe to Pac
Man and Super Mario Galaxy are
actually systems that share common
features. In this 45-minute workshop,
children learn what makes a game
a game—and what makes a game
fun—by making one, using tokens,
die, game chips, and other materials.
Materials fee: $5 public / free for
Family members and above. Ages 8+
Free with Museum admission. Admission is first-come, first-served. Parents/caregivers are welcome
and encouraged to participate.
25

HOST YOUR EVENT
Photo by Neilson Barnard
Featuring extraordinary
facilities, Museum
of the Moving Image
is a stunning setting
for private events
and screenings
BIRTHDAY PARTIES
Your child can be the star of his or her very
own party at the Museum. The birthday party
program has been developed for children
ages 8+. We create a memorable and funfilled
extravaganza for your child and guests,
with a special educator-led tour, interactive
experiences, a private screening, and party bags.
PRIVATE EVENTS
The Museum is able to accommodate a wide
range of events, from weddings and bar/bat
mitzvahs to meetings and location shoots.
Galleries can remain open after hours for
guests to enjoy our exhibitions and interactive
experiences. Museum educators are available to
offer gallery talks and demonstrations.
PRIVATE SCREENINGS
The 267-seat Main Theater and 68-seat
Celeste and Armand Bartos Screening Room
are available for private screenings. Host a
screening of your favorite film for your friends
to celebrate a milestone or mark a special
occasion.
For more information about renting spaces at the Museum, please contact BG Hacker at 718 777 6868 or bghacker@movingimage.us.
26

Join today and enjoy access to
over 400 film screenings, exclusive
events with special guests,
interactive exhibitions and more!
The loyalty and support of our
members have made it possible
for us to present contemporary
and classic films, as well as more
avant-garde fare, and to nurture
the futures of tomorrow’s mediamakers
through our engaging
education and family programs.
Your support will help us continue
to bring these exciting programs
directly to you.
Individual membership
Starting at just $75, there are a wide range of
memberships for adults, all offering free admission
to the Museum’s galleries and regular screenings.
FAMILY MEMBERSHIP
Museum of the Moving Image is an ideal destination
for families. The Museum offers a wide range
of child- and family-centered activities including
workshops, screenings, and interactive exhibits.
Join today and bring your family to the Museum for
an entire year at $150.
Give the gift of membership
Purchase a membership for a loved one or a
colleague today, and Museum of the Moving Image
will send them a personalized gift packet with a
membership card, our calendar, and a description of
their benefits!
Photo by Brian Palmer
Corporate Membership
• Free admission to Museum galleries and over 400
film screenings annually
• Access to family programs
• Discounts at the Moving Image Store and Café
• Opportunities to host events in the Museum’s
stunning facilities
Become a Corporate member today and enhance
the lives of your employees and demonstrate your
company’s commitment to the arts!
For more information, visit movingimage.us, contact
members@movingimage.us or call 718 777 6877.
27

Museum of the Moving Image is housed in a building owned
by the City of New York and has received significant support
from the following public agencies: New York City Department
of Cultural Affairs; New York City Economic Development
Corporation; New York State Council on the Arts; Institute of
Museum and Library Services; National Endowment for the
Humanities; National Endowment for the Arts; Natural Heritage
Trust (administered by the New York State Office of Parks,
Recreation and Historic Preservation).
The Museum gratefully acknowledges the leadership and
assistance of: Mayor Michael R. Bloomberg; Queens Borough
President Helen M. Marshall; Commissioner of Cultural Affairs Kate
D. Levin; Speaker of the New York City Council Christine C. Quinn;
Council Members Leroy G. Comrie, Domenic M. Recchia, Jimmy
Van Bramer, and the entire Queens delegation of the New York
City Council; Hon. Andrew M. Cuomo, Governor, New York State;
New York State Senators Michael N. Gianaris, George Onorato, and
Malcolm Smith; New York State Assembly Members Catherine
T. Nolan and Aravella Simotas; Congressman Joseph Crowley;
Congresswoman Carolyn Maloney.
Major program and operating support provided by: Alfred P.
Sloan Foundation; The Andrew W. Mellon Foundation; Bloomberg
Philanthropies; Institute of Museum and Library Services; Malt
Products Corporation; Pannonia Foundation; Herbert S. Schlosser;
Screen Actors Guild Foundation; Theatrical Teamsters Local 817;
Time Warner Inc.; Ann and Andrew Tisch.
Additional support: The Academy of Motion Picture Arts and
Sciences; The Andy Warhol Foundation for the Visual Arts; Betsy
and Michael Barker; Howard and Stacy Bass; Nathan Bernstein
and Katharina Otto-Bernstein; Joshua Bilmes; Consulate
General of the Netherlands; Joan Ganz Cooney; Ellin A. Delsener;
Krystyna O. and Ronald J. Doerfler; DreamWorks Animation;
Embassy of France in the United States; Jo-Ann Fox-Weingarten;
Raphael Gonzalez; Michael Gordon; Harpo Foundation; HBO;
Cheryl Henson; Hive Digital Media Learning Fund in The New
York Community Trust; The Jane Henson Foundation; Janklow
Foundation; Richard I. Kandel; Richard A. Leibner; The Liman
Foundatoion; Ivan and Andrea Lustig; Luxottica USA; Marc Haas
Foundation; The Marilyn and Jeffrey Katzenberg Foundation;
The McGraw-Hill Companies; Robert Menschel; Michael Tuch
Foundation; Mondriaan Fund; New York University; Michael
and Gabrielle Palitz; Dennis and Coralie Paul; Persol; Rohauer
Collection Foundation, Inc.; Jane Rosenthal; Rochelle Slovin;
Sony Corporation; The Studio in a School Association; Warner
Bros. Pictures; William Fox, Jr. Foundation; Mike and Woan Jen
Wu; Jeffrey Zucker; Anonymous.
Funding for the Museum’s after-school programs has been
provided by: JP Morgan Chase Foundation; New York City
Council Members Leroy Comrie, Daniel Dromm, Peter F. Vallone,
Jr., Jimmy Van Bramer, and Mark Weprin, through the New York
City Department of Cultural Affairs.
Public support for the Museum’s expansion and renovation
provided by: New York City Department of Cultural Affairs;
New York City Economic Development Corporation; New York
City Council; Office of the Queens Borough President; PlaNYC;
Dormitory Authority of the State of New York; New York State
Council on the Arts; New York State Office of Parks, Recreation
and Historic Preservation; U.S. Department of Housing and
Urban Development; National Endowment for the Humanities.
Major support for the Museum’s expansion and renovation
provided by: Mahnaz and Adam Bartos; Booth Ferris
Foundation; Comcast NBCUniversal; Leon and Michaela
Constantiner; Krystyna O. and Ronald J. Doerfler; Michael and
Lauren Gordon; HBO; The Hearst Corporation; The Hearst
Foundation; Hubbard Broadcasting Foundation; Linda LeRoy
Janklow; George S. Kaufman; Ivan and Andrea Lustig; John T.
McGuire; New York Community Bank Foundation; Michael and
Gabrielle Palitz; Rockstar Games; Herbert and Judith Schlosser;
Silvercup Studios; Time Warner Inc.; Ann and Andrew Tisch;
William Fox, Jr. Foundation; Variety Group.
28

daily schedule
Key to location
MT Main Theater
BA Celeste and Armand Bartos
Screening Room
P Nam June Paik Room / HBO
Production Lab
DLS Digital Learning Suite
Screenings in Tut’s Fever Movie
Palace, weekdays at 2:00 p.m.,
weekends at 1:00, 2:00, and 3:30 p.m.
All program times, dates, formats, and locations
are subject to change. Unless otherwise noted,
all screenings are free with Museum admission.
JANUARY
Tuesday, January 1
1:00 Puss in Boots (MT, p. 9)
Friday, January 4
7:30 Outside Satan (Hors Satan) followed by
opening reception (MT, p. 5)
Saturday, January 5
12:00 Shrek 2 (MT, p. 9)
2:30 Big in Vietnam and Other Shorts by
Mati Diop (MT, p. 5)
5:00 Siberia (Siberie) with Joana Preiss in person
(MT, p. 5)
7:30 Arraianos, preceded by Birds (Zwazo) (MT, p. 5)
Sunday, January 6
12:00 Shrek 2 (MT, p. 9)
2:30 Inori (MT, p. 5)
5:00 Easy Rider with James Benning in person
(MT, p. 5)
7:30 Xavier, preceded by Noelia (MT, p. 5)
Tuesday, January 8
7:00 The Deep Blue Sea (MT, p. 8)
Wednesday, January 9
8:00 Cinema Eye Honors 2013 (MT, p. 19)
Thursday, January 10
7:00 The War Room with Chris Hegedus and
D. A. Pennebaker in person (MT, p. 19)
Friday, January 11
7:30 Greatest Hits with Nicolas Pereda in person
(MT, p. 6)
Saturday, January 12
12:00 Shark Tale (MT, p. 9)
12:00 Ninja Shadow Warrior by Kaho Abe (P, p. 25)
2:00 Winter, Go Away! (MT, p. 6)
4:00 Reconversão (Reconversion) with Thom Andersen
in person (MT, p. 6)
6:00 Revision (MT, p. 6)
8:30 P-047, preceded by Could See a Puma (MT, p. 6)
Sunday, January 13
12:00 Shark Tale (MT, p. 9)
2:30 In the Shadows (MT, p. 6)
5:00 Sleepless Night, preceded by As the Flames Rose
(MT, p. 6)
7:30 Shorts by Kleber Mendonça Filho (MT, p. 6)
Friday, January 18
7:00 Special Effect (MT, p. 19)
Saturday, January 19
1:00 Madagascar: Escape 2 Africa (MT, p. 10)
3:00 The Turin Horse (A torinoi Io) (MT, p. 8)
6:00 Neighboring Sounds (O som au redor) (MT, p. 8)
Sunday, January 20
1:00 Madagascar: Escape 2 Africa (MT, p. 10)
3:00 This is Not a Film (In film nist) (MT, p. 8)
5:00 Moonrise Kingdom (MT, p. 8)
Monday, January 21
12:00 Kung Fu Panda 2 (MT, p. 10)
2:00 The Black Kungfu Experience (MT, p. 18)
4:00 Tongues Untied, True Tales Told: African-
American Women Changing the Picture in Film
and Television (MT, p. 20)
Friday, January 25
7:00 Phantom of the Paradise with Paul Williams
in person (MT, p. 11)
Saturday, January 26
1:00 Bee Movie (MT, p. 10)
3:00 The Muppet Movie with Paul Williams in person
(MT, p. 11)
6:00 Ishtar (MT, p. 11)
Sunday, January 27
1:00 Bee Movie (MT, p. 10)
3:00 Paul Williams: Still Alive with Paul Williams in
person (MT, p. 11)
6:00 Ishtar with Paul Williams in person (MT, p. 11)
FEBRUARY
Friday, February 1
7:00 Spacewar! A Conversation with Peter Samson
and Steve Russell (MT, p. 16)
Saturday, February 2
1:00 Shrek the Third (MT, p. 10)
3:00 Passing Through, preceded by When It Rains
(MT, p. 13)
6:00 As Above, So Below and Short Films (MT, p. 13)
Sunday, February 3
1:00 Shrek the Third (MT, p. 10)
3:00 Your Children Come Back to You and Short Films
(MT, p. 13)
6:00 A Different Image and Short Films (MT, p. 13)
Friday, February 8
7:00 Killer of Sheep (MT, p. 13)
Saturday, February 9
1:00 Megamind (MT, p. 10)
3:00 Black Art, Black Artists: Short Films (MT, p. 13)
6:00 Daughters of Dust, preceded by The Diary of an
African Nun (MT, p. 14)
Sunday, February 10
1:00 Megamind (MT, p. 10)
3:00 Child of Resistance and Short Films (MT, p. 14)
6:00 Bush Mama, preceded by Daydream Therapy
(MT, p. 14)
Friday, February 15
IndieCade East*
7:00 Cosmopolis (MT, p. 8)
Saturday, February 16
IndieCade East*
1:00 Shrek Forever After (MT, p. 10)
2:45 The Game-Making Game (DLS, p. 25)
3:45 The Game-Making Game (DLS, p.25)
Sunday, February 17
IndieCade East*
1:00 Shrek Forever After (MT, p. 10)
2:45 The Game-Making Game (DLS, p. 25)
3:45 The Game-Making Game (DLS, p.25)
Monday, February 18
1:00 Madagascar 3: Europe’s Most Wanted (MT, p. 10)
2:45 The Game-Making Game (DLS, p. 25)
3:45 The Game-Making Game (DLS, p.25)
Tuesday, February 19
1:00 Madagascar 3: Europe’s Most Wanted (MT, p. 10)
2:45 The Game-Making Game (DLS, p. 25)
3:45 The Game-Making Game (DLS, p.25)
Wednesday, February 20
1:00 Madagascar 3: Europe’s Most Wanted (MT, p. 10)
Thursday, February 21
1:00 Madagascar 3: Europe’s Most Wanted (MT, p. 10)
Friday, February 22
1:00 Madagascar 3: Europe’s Most Wanted (MT, p. 10)
7:00 In Another Country (MT, p. 8)
Saturday, February 23
1:00 Over the Hedge (MT, p. 10)
3:00 Pui Chan: Kung Fu Pioneer (MT, p. 18)
3:00 Emma Mae (a.k.a. Black Sister’s Revenge),
preceded by A Day in the Life of Willie Faust, or
Death on the Installment Plan (MT, p. 14)
6:00 My Brother’s Wedding, preceded by
A Little Off Mark (BA, p. 15)
Sunday, February 24
1:00 Over the Hedge (MT, p. 10)
3:00 Compensation, preceded by Dark Exodus
(MT, p. 15)
6:00 Bless Their Little Hearts, preceded by
The Pocketbook (MT, p. 15)
Tuesday, February 26
7:00 Stoker with Park Chan-wook in person (MT, p. 20)
*Check movingimage.us for details on IndieCade East
29

PARKING
Nearby discounted parking is available for
Museum patrons.
Members: 15% discount
Non-members: 10% discount
(Same day parking tickets must be validated at
the Museum)
Parking provided by PV Parking Corp
34-11 Steinway Street (entrance on 41 Street
between 34 & 35 Avenue; wheelchair
accessible). pvparkingny.com
TICKETED EVENTS
Paid tickets are required for some events. To
order tickets, call 718 777 6800 or buy online at
movingimage.us. In addition to free admission to
regular film screenings, Museum members enjoy
a significant discount on all ticketed events.
GROUP TOURS
The Museum offers special discounted rates
for groups of eight or more, as well as engaging
educator-led group tours of its core exhibition,
Behind the Screen, and Spacewar! Video Games
Blast Off. Reservations are required.
Call 718 777 6800.
ADDRESS
ADMISSION
DIRECTIONS
MOVING IMAGE STORE
36-01 35 Avenue (at 37 Street)
Astoria, NY 11106
718 777 6888
movingimage.us
HOURS
Wednesdays–Thursdays: 10:30 a.m.–5:00 p.m.
Fridays: 10:30 a.m.–8:00 p.m.
Saturdays and Sundays: 11:30 a.m.–7.00 p.m.
The Museum will be open Monday, January 21
(Martin Luther King, Jr. Day) and Monday,
February 18 (Presidents’ Day).
ADULTS Ages 18+ $12
SENIORS Ages 65+ $9
STUDENTS $9
CHILDREN Ages 3–12 $6
Under 3
Free
Members
Free
Gallery admission is free on Fridays from
4:00–8:00 p.m.
Paid admission includes all regular
film screenings.
Tickets for screenings are not included
with free admission on Fridays.
Just minutes away from Midtown Manhattan, the
Museum is located on the campus of the historic
Kaufman Astoria Studios, in Astoria, Queens.
Subway: or (weekdays only) to
Steinway Street; or (weekdays only)
to 36 Avenue.
Bus: Q101 (from Midtown Manhattan)
to 35 Avenue; Q66 (from Flushing) to
Steinway Street.
The Moving Image Store has hundreds of books
for everyone from cinephiles to casual movie
buffs, video gamers to students. The Store also
offers a selection of DVDs, specially designed
Moving Image souvenirs, and gifts for children
and adults. Members receive a 15% discount.
MOVING IMAGE CAFÉ
The café serves soup, salads, a rotating
selection of sandwiches, and a variety of snacks
and sweets. Beverages include Lavazza coffee
drinks, fine tea, and juices. Members receive a
10% discount.
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