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museum of the

American Falls. Courtesy of Phil Solomon

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New York CitY Greek Film Festival see it BiG! raYa martiN

FILM AFTER FILM

PHil solomoN: AMERICAN FALLS

keNJi misUmi

An Evening with Don Francisco: 3 Celebrating 50 Years of Sabado Gigante

Fist and Sword: Here Comes the Boom 3

INDUSTRY/CINEMA: 4 An Installation by Caroline Martel

Film After Film 4

Phil Solomon: American Falls 5

Kenji Misumi 6

New York City Greek Film Festival 7

See It Big! 8

Filmmakers in a Post-Film Landscape: 10 A Conversation

David Lynch: Meditation, Creativity, 10 Peace

The Loneliest Planet 11

A Tribute to Jerry Nelson 11

Raya Martin 12

Korean Cinema Showcase: Punch 13

We Tripped El Hadji Diouf 13

Pretty Loaded 14

DVD Dead Drop 14

Behind the Screen 15

Focus on the Collection 16

Drop-In Moving Image Studio 17

Host Your Event 17

Become a Member 18

Moving Image Salutes Hugh Jackman 19

Our Supporters 19

Daily Schedule 20

Museum Information 21

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An Evening withDon Francisco: Celebrating 50 Years of Sabado Gigante tUesdaY, oCtoBer 2, 7:00 P.m.Presented by Univision

Here Comes the Boom moNdaY, oCtoBer 8, 2:00 P.m.Preview screening: Fist and sword family matinee

The variety show Sábado Gigante (Giant

Saturday) is the longest-running variety show

in television history, entertaining audiences

around the world since it went on the air in

1962 with its distinct mix of live entertainment,

contests, and human interest stories. Don

Francisco, its legendary star, has been there

from the beginning, hosting more than 2,600

episodes. He was inducted into the Television

Academy Hall of Fame this March. The show

can still be seen on Univision from

8:00–11:00 p.m. every Saturday night.

Dir. Frank Coraci. 2012, 80 mins. DCP. Rated PG. Courtesy

of Sony Pictures. With Kevin James, Salma Hayek, Henry

Winkler. This holiday screening of Here Comes the Boom

is part of Fist and Sword, the Museum’s ongoing series

devoted to martial arts and action movies. Real mixed-

martial-arts (MMA) fighters are featured in this family

comedy starring Kevin James as a former collegiate wrestler-

turned-biology-teacher who steps into the ring to help his

cash-strapped school’s music program. James is a real-life

supporter of the sport who trains with MMA fighter Bas Rutten.

Celebrate National Hispanic Heritage Month

with an unforgettable evening with Don

Francisco—a.k.a. Mario Kreutzberger, in

this rare New York personal appearance, an

intimate and informal discussion with a guest

moderator Laura Martinez, and a selection

of clips from the show’s 50-year history.

Followed by a reception.

tiCkets: $25 public / Free for Museum

members. Order online or call 718 777 6800

to reserve tickets.

Photo by Tracy BennettPhoto courtesy of Univision Communications

iN tHe amPHitHeater GallerY

INDUSTRY/CINEMAAN INSTALLATION BY CAROLINE MARTELtHroUGH oCtoBer 28, 2012

Apart from the familiar world of feature films, there exists a lesser-known

world of industrial films, instructional and informational sponsored short

films that were shown in schools, at corporate events, in the workplace, and

at commercial theaters before features. Documentary filmmaker Caroline

Martel’s installation INDUSTRY/CINEMA takes an illuminating journey through

film history by juxtaposing industrial images with those from popular or

canonical films made between 1903 and 1991. With headphones and channel

switches, visitors can toggle back and forth between the soundtracks. Images

and sounds comment on each other, often in surprising ways, allowing for a

singular interactive experience. Scenes from films by Thomas Edison, Charles

Chaplin, François Truffaut, and Stanley Kubrick are shown alongside such

archival gems as How Business Girls Keep Well, Along These Lines, and The

Speech Chain, an AT&T film with a computer singing “Daisy Bell,” which was

sung by the computer HAL 9000 in 2001: A Space Odyssey.

Photo by Thanassi Karageorgiou

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iN tHe CHaNGiNG exHiBitioNs GallerY aNd Bartos sCreeNiNG room

Film After FilmtHroUGH oCtoBer 28, 2012

The moving-image works in Film After Film

show how film has been changed by digital

technology, and how it lives beyond the walls

of the movie theater, by inhabiting our mobile

devices, computers, and gallery walls.

On view in the Changing Exhibitions Gallery

is Phil Solomon’s immersive three-projector

film installation American Falls (2000–2012),

a monumental triptych that takes a journey

through American history of the 20th century

using a combination of avant-garde film and

digital video techniques (on view through

November 25. See page 5). Pat O’Neill’s The

Decay of Fiction (2002, 73 mins.), a film set

in the abandoned Ambassador Hotel, an

old-time movie-star hangout, is presented in

the Bartos Screening Room on a continuous

loop. Immemory, a multilayered multimedia

CD-ROM by the late French filmmaker/

philosopher Chris Marker is presented on a

desktop computer. And Joe Swanberg’s LOL

(2006, 81 mins.), a Mumblecore film about

romance in the social network era, with love

stories playing out on laptops, cell phones,

and online chat rooms, is shown on an iPad.

Presented in conjunction with the recent film

series guest curated by J. Hoberman, Film

After Film (September 15–30, 2012).

The Decay of Fiction

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iN tHe CHaNGiNG exHiBitioNs GallerY

PHil solomon:american fallstHroUGH NovemBer 25, 2012

Phil Solomon, who has been making films

since 1979, is known for his “image alchemy,”

manipulating existing and original footage to

create evocative, dreamlike works that reveal

subterranean depths in the imagery. Solomon’s

immersive three-screen HD installation

American Falls (2000–2012, 55 mins.), which

was originally commissioned by the Corcoran

Gallery of Art in Washington D.C., transforms

the Museum’s 4,000-sq. ft. Changing

Exhibitions Gallery into a panoramic and

artistic journey through the catacylsms of

American history, and an elegy to the film

medium that welcomes a new era of mixed

medias. Combining chemically degraded

film images with computer editing precision,

Solomon’s piece recasts the Niagara Falls as

both a metaphoric landscape and audiovisual

backdrop to American history. Archival footage

of moments in the nation’s history—the fall

of presidents, the Great Depression, Amelia

Earhart’s flight, the civil rights struggle among

them—opens with crackling images of Annie

Edson Taylor, the first person to survive going

over Niagara Falls in a barrel. These are

interlaced with clips from American cinema,

including scenes with Buster Keaton, Charlie

Chaplin, Busby Berkeley dance numbers, and

Daniel Day-Lewis in There Will be Blood, all

accompanied by an intricate soundtrack of

historical addresss, popular music, and sound

effects, designed and mixed in 5.1 surround

by Wrick Wolff.

aN eveNiNG witH PHil solomoN WEDNESDAY, OCTOBER 3 5:30–7:00 p.m. American Falls on view in the Changing Exhibitions Gallery 7:00–8.30 p.m. Film and digital work in the Main Theater, introduced by Phil Solomon Phil Solomon frequently works in a miniaturist scale with such formats as 16mm film and video. This is a special opportunity to see American Falls and to also see Solomon introduce a selection of his films and digital videos in the Main Theater. Included in the theater program is a trilogy composed entirely of footage from the video game Grand Theft Auto.

What’s Out Tonight Is Lost(1983, 8 mins., 16mm, silent) One of Solomon’s earliest films, this elegiac work has been recently restored by Mark Toscano for the Academy of Motion Picture Arts and Sciences. Psalm I: “The Lateness of the Hour” (1999, 10 mins., 16mm) “A little Nachtmusik… breathing in the cool night airs, breathing out a children’s song; then whispering a prayer for a night of easeful sleep. My blue attempt at a sequel to Rose Hobart.”—Phil Solomon. Recently restored by Mark Toscano, Academy of Motion Picture Arts and Sciences. Innocence and Despair(2002, 4 mins., digital projection) “One week after 9/11, filmmakers Jay Rosenblatt and Caveh Zahedi put out a call to over 150 experimental and documentary filmmakers for contributions to a collective film project (Underground Zero) addressing those tragic events. My contribution was my first digital video (with material culled from 16mm footage, both archival and my own) and to make something of a public work, something I had never done before. I was meditating on ideas of before and after, of how the summering people in my little film could never have imagined looking up at the New York City sky at a world such as existed on that day.”—Phil Solomon In Memoriam(2005–2009, digital projection) A trilogy of works in memory of filmmaker Mark Lepore (1952–2005). While Solomon counts Caspar David Friedrich, Edward Hopper, and Georges Seurat among the inspirations, the footage is all taken from the video game Grand Theft Auto: Rehearsals for Retirement (2007, 10 mins.), Last Days in a Lonely Place (2007, 22 mins.), Still Raining, Still Dreaming (2009, 12 mins.). tiCkets: $15 public / $9 Museum members / Free for Silver Screen members and above. Order online or call 718 777 6800 to reserve tickets.

Image courtesy of Phil Solomon

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Japanese director Kenji Misumi (1921–1975)

was best known for his wildly popular

Zatoichi samurai films. Underrated in the

West, this versatile artist was one of the

pioneers of the jidai geki (historical drama),

and was nicknamed Little Mizoguchi for his

stylistic mastery. Although he died young,

his career spanned pivotal eras of Japanese

filmmaking—and his complete body of work

demonstrates his deftness in tone, style, and

content, and his commitment to breaking

through the conventions of the Daiei studio

system. This selection of Misumi’s films, all

The Tale of Zatoichi (Zatôichi monogatari)FRIDAY, OCTOBER 5, 7:00 P.M. 1962, 96 mins. 35mm. With Shintaro Katsu, Masayo Banri. The first film in the long-running samurai series introduces Katsu as Zatoichi, a blind masseur who conceals his expert swordsmanship until life’s unfair situations force him to action. With bold widescreen compositions, Misumi deliberately builds the drama—with touches of comedy—toward the expertly choreographed final climactic battle.

Destiny’s Son (Kiru)SATURDAY, OCTOBER 6, 2:00 P.M. 1962, 71 mins. 35mm. With Raizo Ichikawa. After learning shocking truths about his origins from his dying father, Shingo (Ichikawa) seeks revenge and redemption. Based on the novel by Renzaburo Shibata, Destiny’s Son questions the warrior code and morality of the samurai lifestyle. Gorgeously shot in color, in the TohoScope widescreen process, this is one of Misumi’s most visually stunning and tightly paced films.

Fight, Zatoichi, Fight (Zatôichi kesshô-tabi)SUNDAY, OCTOBER 7, 2:00 P.M. 1964, 87 mins. 35mm. With Shintaro Katsu, Nobuo Kaneko. After witnessing the death of a young woman, Zatoichi promises to deliver her baby to the father. The eighth film in the Zatoichi series finds the blind hero in a webof deception and violence, as

oCtoBer 5–14, 2012Presented in collaboration with the Japan Foundation

Zatoichi must fight off assassins intent on murdering him while the father refuses to claim the child. Deftly balancing its comedic effects with extravagant sword fighting, Fight, Zatoichi, Fight is one of the most entertaining installments of the series.

The Sword (Ken)FRIDAY, OCTOBER 12, 7:00 P.M. 1964, 94 mins. 35mm. With Raizo Ichikawa, Yusuke Kawazu. Misumi’s only contemporary film stars Ichikawa as a talented pupil of kendo caught up in a rivalry with a fellow student. Based on the novella by Yukio Mishima, The Sword allegorizes the temptations and consequences of a generation coming of age in a consumer society. Shot in high-contrast black and white in a distinctly New Wave style, it is one of Misumi’s cinematic gems.

The Homely Sister (Namida gawa)SATURDAY, OCTOBER 13, 4:00 P.M. 1967, 79 mins. 35mm. With Shiho Fujimura, Kiku Wakayagi. In this touching and perceptive drama set in the nineteenth-century Edo period, two sisters have sacrificed their personal happiness to care for their ailing father. Younger Otaka falls in love but can’t accept a marriage proposal because, traditionally, the older sister needs to marry first. When older sister Oshizu learns of this decision, she takes matters in her own hands.

Yotsuya Ghost Story (Yotsuya kaidan)SUNDAY, OCTOBER 14, 5:00 P.M. 1959, 84 mins. 35mm. With Kazuo Hasegawa, Yasuko Nakata. In one of Japan’s most frequently told ghost stories, a murdered wife returns in an act of vengeance. This time around, however, she may have her husband there to help. Misumi’s brilliant black-and-white version of this bloody tale puts a new twist on the old story. With some of the best special effects of his early career, Misumi’s Yotsuya Ghost Story is a thrilling and chilling horror film.

Homeless Drifter (Mushuku mono)SUNDAY, OCTOBER 14, 7:00 P.M. 1964, 89 mins. 35mm. With Raizo Ichikawa. Mushuku mono follows Ipponmatsu, a wandering gambler, as he travels to a nearby village in search of his father’s killer. The deeper he gets into the underworld of the city, the more unexpected twists he must face. Unique for its inclusion of local citizens aiding the hero in his battle for peace, Mushuku mono delves thoughtfully into social issues of the samurai era. Beautifully filmed in widescreen color, it is also a grand experiment in creating motion through choreography and editing.

in rarely screened 35mm prints, includes his

celebrated sword thrillers, among them his

most acclaimed film, Destiny’s Son, and the

blockbuster comic-action Zaitoichi series,

as well a handful of melodramas and horror

films, each rendered with a visual poetry all

the filmmaker’s own.

All films directed by Kenji Misumi, and in

Japanese with English subtitles.

Destiny’s Son © 1962 Kadokawa Pictures

7

Two Men and a Baby(Mia fora kai ena... moro)SATURDAY, OCTOBER 6, 4:30 P.M.

Dir. Nikos Zapatinas. 2011, 80 mins. 35mm. With Petros Filippidis, Sakis Mpoulas, Joyce Evidi, Taxiarhis Hanos, Angeliki Pavlopoulou. A desperately unhappy man finds his life changing when he meets baby Persephone and her ne’er-do-well guardian. This slick and entertaining road movie abounds in comic mayhem and surprises.

God Loves Caviar(O theos agapaei to haviari)SATURDAY OCTOBER 6, 7:00 P.M.

Dir. Yannis Smaragdis. 2012, 99 mins. DCP. With Sebastian Koch, Catherine Deneuve, John Cleese, Lakis Lazopoulos. The epic story of Ioannis Varvakis (1745–1825), who rose from humble beginnings to become a confidant of Catherine the Great of Russia and the head of one of the largest mercantile empires in Europe, is brought to vivid life by an international cast. From pirate to patriot, the life journey of this enterprising and tirelessly inventive man is as compelling as the film is visually striking. (This film is mostly in English.)

Christmas Tango(To tango ton Hristougennon)SUNDAY, OCTOBER 7, 4:30 P.M.

Dir. Nikos Koutelidakis. 2011, 102 mins. Digital projection. With Giannis Bezos, Yannis Stankoglou, Antinoos Albanis, Vicky Papadopoulou. A lonely lieutenant stationed in a cold and dreary army camp finds himself longing for the beautiful but unhappy wife of his colonel. Determined to ask her to dance at the upcoming Christmas party, the love-struck lieutenant recruits a soldier to teach him how to tango. Based on the novel by Yannis Xanthoulis. Winner of three Hellenic Film Academy Awards.

Despite the turmoil caused by the country’s financial crisis,

Greek cinema continues its burst of creativity. And despite

enormous funding difficulties, Greek filmmakers are turning

out cutting-edge films that probe and question their country’s

predicament. Audiences at prestigious festivals are taking

notice, spurring the current interest in recent Greek cinema.

The New York City Greek Film Festival offers New Yorkers

the opportunity to discover some important emerging

filmmakers. After the opening weekend at the Museum, the

festival continues with screenings at the Paris Theatre

(October 10), the Auditorium on Broadway (October 12–14),

and Cinema Village (October 15–17). For more information,

visit nycgreekfilmfestival.com.

Except where noted, all films are in Greek with English subtitles.

Wasted YouthSUNDAY, OCTOBER 7, 7:00 P.M.

Dirs. Argyris Papadimitropoulos, Jan Vogel. 2011, 120 mins. Digital projection. With Haris Markou, Ieronymos Kaletsanos, Maria Skoula, George Kakanis. A teenage skateboarder sets out for a day of fun with his friends. A middle-aged cop, struggling to take care of his family, faces another day on the job he hates. A twist of fate will cause their lives to intersect in the summer heat of Athens.

new york citygreek filmfestivaloCtoBer 6–7, 2012

Christmas Tango

8

oNGoiNG

Curated by Reverse Shot editors michael koresky and Jeff reichert, and the museum’s Chief Curator, david schwartz, and assistant Film Curator, rachael rakes

seeitbig!

The Museum’s popular ongoing film series See It Big! celebrates

the joys of large-scale moviegoing. It provides a chance to

discover or revisit essential films in their full theatrical splendor

in one of the finest film venues in the country. Great movies

transport us into new worlds, and they immerse us visually

and aurally. Despite the easy availability of movies on portable

devices and small screens, there is only one way to really see

a movie: BIG! The Museum always endeavors to show a film

in the best available version, whether it is a stunning digital

restoration, or a rare screening of a vintage Technicolor 35mm

print. Projection formats are noted throughout.

The Birds (Photofest)

9 SEE IT BIG!

Ashes and DiamondsFollowed by a conversation with david thomson, author of The Big Screen, and michael Barker, sony Pictures Classics, and book signing (sunday only)SATURDAY, OCTOBER 13, 2:00 P.M.SUNDAY, OCTOBER 14, 2:00 P.M.Presented in collaboration with the Polish Cultural institute

PsychoSUNDAY, OCTOBER 28, 2:00 P.M. Dir. Alfred Hitchcock. 1960, 109 mins. 35mm. With Anthony Perkins, Janet Leigh, Vera Miles, John Gavin. After stealing a suitcase full of cash, Marion Crane (Leigh) hits the road out of Phoenix, freedom on her mind. But no bad blonde goes unpunished in Hitchcock’s world. Her truncated stay at the creepy, run-down Bates Motel culminates in the most iconic shower ever taken, in a sequence where precise editing and camera placement simply overwhelm. If it ended there, Psycho would be a classic; that it continues, boldly plumbing a depth of psychosis never before seen in Hollywood, makes it the stuff of myth.

PoltergeistSUNDAY, OCTOBER 28, 4:30 P.M. Dir. Tobe Hooper. 1982, 114 mins. Digital projection. With Jobeth Williams, Craig T. Nelson, Beatrice Straight. Melding the immense—and wildly different—talents of Hooper (The Texas Chainsaw Massacre) and Steven Spielberg, this haunted-house blockbuster is the ultimate suburban nightmare. After the cherubic 5-year-old Carol Anne Freeling is abducted by malevolent spirits, her parents are determined to bring her back at any cost. A furiously entertaining, emotionally gripping ghost story that has terrorized kids (and their parents) for 30 years, Poltergeist is a major horror spectacle that’s equal parts domestic drama, dark comedy, suspense, and gross-out.

The ThingSATURDAY, OCTOBER 27, 7:00 P.M. Dir. John Carpenter. 1982, 109 mins. DCP. With Kurt Russell, Wilford Brimley, Keith David. In remaking Howard Hawks’s The Thing from Another World, horror master Carpenter fashioned his own equally chilling classic. Featuring some of the ooziest special effects ever created for the screen, this awesomely terrifying film follows a group of scientists, trapped in a remote Antarctic outpost, who are beset by a shape-shifting extraterrestrial force that is able to enter anyone’s body undetected. With its jaw-dropping gallery of creepy-crawlies and gorgeous widescreen compositions, this is definitely one to see in a theater—in the dark.

The Texas Chainsaw MassacreSUNDAY, OCTOBER 28, 7:00 P.M. Dir. Tobe Hooper. 1974, 83 mins. Digital projection. With Marilyn Burns, Gunnar Hansen. What better way to spend Halloween weekend than with a bunch of bloodthirsty hillbilly cannibals? Hooper’s genre-inventing slasher is grimy and gory but also, in its final, desperate chase, oddly beautiful, even serene, as the constant grind of Leatherface’s chainsaw on the soundtrack gradually pulverizes you into submission. That said, Massacre remains one of the tensest, most terrifying movie experiences of all time. Those who have caught it only on degraded videocassette, see it big and cower in fear.

Ashes and Diamonds (Kino RP)

Psycho (Photofest) Poltergeist (Photofest)

The Texas Chainsaw Massacre (Photofest)

Dir. Andrzej Wajda. 1958, 116 mins. New restoration, on DCP. In Polish with English subtitles. With Zbigniew Cybulski, Ewa Krzyzewska. The most acclaimed film from Polish auteur Andrzej Wajda was recently selected by both Martin Scorsese and Francis Ford Coppola as one of the ten greatest movies of all time. A visually stunning and historically specific work of political cinema, Ashes and Diamonds takes place on the last day of World War II in a small town, and concerns

a Home Army soldier (Cybulski, often called the Polish James Dean) given the task of carrying out a major political assassination. Wajda, a master at creating atmosphere, tension, and multilayered characterizations, never made a more searing film. After the screening, author David Thomson will talk with Sony Pictures Classic Co-President Michael Barker about Thomson’s new book, The Big Screen: The Story of the Movies. Followed by a book signing.

The BirdsSATURDAY, OCTOBER 27, 4:30 P.M. Dir. Alfred Hitchcock. 1963, 119 mins. 35mm. With Tippi Hedren, Rod Taylor, Jessica Tandy. Hitchcock’s masterpiece of avian horror puts Hedren’s mod socialite Melanie Daniels through the wringer as she flees for her life from seagulls, jays, hawks, and sparrows gone curiously amok in Bodega Bay, California. One of Hitchcock’s scariest, The Birds, with its deadly beaks and furiously flying feathers, is a wildly intense experience, enhanced by razor-sharp editing and a soundtrack with no music, only the sounds of birdcalls and flapping wings.

2010

Filmmakers in a Post-Film Landscape: A ConversationFridaY, oCtoBer 12, 7:00 P.m.Presented by storyCode

What happens when filmmakers go beyond

film? In a conversation that foregoes “the

sky is falling” predictions to engage relevant

questions in an in-depth way, the discussion

program Filmmakers in a Post-Film Landscape

will explore the implications of storytelling

in new ways. Filmmakers Craig Singer and

Michael Monello have expanded their oeuvre

into the world of interactive, multiplatform,

omnichannel, and transmedia productions.

Moderated by StoryCode cofounder Aina

Abiodun, the conversation will examine the

ways in which digital technology is changing

storytelling and the medium of film.

Craig Singer, a director and producer of

television, film, and theater, is now an

innovator in the development of multiplatform

entertainment properties. His latest project

is Ollie Mongo, the story of a 16-year-old

skateboarding zombie in post-apocalyptic

Asbury Park, New Jersey. Ollie Mongo is being

developed with Klasky Csupo, the creators

of Rugrats. It is being developed as a graphic

novel, a social experience, a video game, a

television series, and consumer products.

Mike Monello is the chief creative officer and

cofounder of Campfire NYC, a marketing

agency that focuses on storytelling to shape

perceptions and brand preferences. He is

involved in every project at Campfire, and was

a co-creator of The Blair Witch Project, which

changed the way marketers use the Internet.

Moderator Aina Abiodun is a filmmaker,

innovator, and cofounder of StoryCode, a

community hub, lab, and creative consultancy

for emerging and established cross-platform

and immersive storytellers.

tiCkets: $10 public / Free for Museum

members. Order online or call to reserve tickets.

Meditation, Creativity, Peace introduced by Bob roth, executive director, david lynch FoundationSATURDAY, OCTOBER 13, 5:00 P.M. Followed by a reception in the moving image Café with donuts from the doughnut Plant and david lynch signature Cup organic Coffee 2012, 71 mins. Edited by Noriko Miyakawa. Digital projection. “This is a donut. It is very sweet, and very good. But if you’ve never tasted a donut, you wouldn’t really know how sweet and how good a donut is… Transcendental Meditation is like that. Transcendental Meditation gives an experience much sweeter than the sweetness of this donut. It gives the experience of the sweetest nectar of life, pure bliss consciousness.” This fascinating documentary follows David Lynch on a sixteen-country tour of Europe and the Middle East to spread the word about the individual and global impact of Transcendental Meditation. With equal parts wit and passion, Meditation, Creativity, Peace, shows the director’s commitment to Transcendental Meditation as way of changing the world, starting from within. The film also offers rare insight into Lynch’s creative process, through interviews and revealing moments from the tour.

DAVID LYNCH: MEDITATION, Creativity, PeacesatUrdaY, oCtoBer 13Presented in collaboration with the david lynch Foundation

Image courtesy of Mike Knowlton

Photo by Adam Bardow

Eraserhead SATURDAY, OCTOBER 13, 7:30 P.M.rare screening of archival 35mm print, courtesy of asymmetrical Productions Dir. David Lynch. 1977, 85 mins.35mm. With Jack Nance, Charlotte Stewart, Allen Joseph. A surrealist horror film, an urban-decay nightmare, an expressionistic mind-melt, and a pitch-black comedy, Eraserhead is David Lynch’s astonishing debut film, a nightmarish movie about a zombielike loner. Beautifully filmed in black-and-white, it is filled with astonishing sights—and sounds, from the dirge of Fats Waller organ music to the haunting sound design by Alan Splet.

2211

TheLoneliest PlanetwedNesdaY, oCtoBer 17, 7:00 P.m.with Julia loktev and Hani Furstenberg in person

Dir. Julia Loktev. 2011, 113 mins. 35mm. With Hani Furstenberg, Gael García

Bernal. An audacious and intimate romantic drama that plays out against

a magnificent mountain landscape in the Georgia republic, Julia Loktev’s

(Day Night Day Night) second feature explores the frightening fragility of

love amid moments of crisis. A young couple, touring with a local guide,

encounters a situation that pivots everything they have come to know and

trust about each other. Hani Furstenberg’s stunning, mostly nonverbal lead

performance is full of brooding silence that echoes the endless landscape.

Film critic David Thomson wrote “You have to see The Loneliest Planet, for

it is one of those works that prepares you for life, that make you wary, alive

and responsible, and which... well, you’ll never forget it… Julia Loktev is one

of the most radical, intelligent, and talented filmmakers now at work.”

tiCkets: $15 public / $9 Museum members / Free for Silver Screen

members and above. Order online or call 718 777 6800 to reserve tickets.

A Tribute to Jerry NelsonsatUrdaY, oCtoBer 27, 2:00 P.m.with Bill Barretta, Fran Brill, dave Goelz, and other special guests in person. Presented in collaboration with the Jim Henson legacy.

Jerry Nelson (1934–2012), one of Jim Henson’s most beloved collaborators,

was the puppeteer best known for his character Count von Count, a

mainstay on Sesame Street since 1970. On the popular Henson television

series Fraggle Rock, he performed Gobo Fraggle, the leader of the Fraggle

five; Marjory the Trash Heap; and Pa Gorg. Kermit’s nephew Robin, Lew

Zealand, and Sgt. Floyd Pepper are just a few of the many characters he

brought to life on The Muppet Show. As Lisa Henson (Jim Henson’s daughter,

and Chief Executive Officer of the Jim Henson Company) said when Nelson

died this summer, “Jerry Nelson imbued all of his characters with the same

gentle, sweet whimsy and kindness that were a part of his own personality.”

This celebratory tribute program will include remarks and remembrances by

fellow Muppet performers Bill Barretta, Fran Brill, and Dave Goelz, clips from

Nelson’s entire career, and some special surprises.

Count von Count and Jerry Nelson.Sesame Workshop. © 2012 Sesame Workshop. All Rights Reserved.

12

Independencia with raya martin in personFRIDAY, OCTOBER 19, 7:00 P.M.

2009, 77 mins. 35mm. In Tagalog with English subtitles. With Tetchie Agbayani, Sid Lucero. During the early-20th-century American invasion of the Philippines, a mother and son flee to the woods, to stay. A visual pastiche of early American cinema (and its colonized imitators), using a simple set with hand-painted backdrops and sound-stage bombastics, Independencia mocks Hollywood’s exotic fantasies as it tells its tale in a style that resembles indigenous and oral storytelling traditions. The result is a reflexive allegory of imperial and cultural resistance.

Preceded by:Track Projections 2007, 6 mins. Digital projection.

The Island at the End of the WorldSATURDAY, OCTOBER 20, 2:30 P.M. 2005, 106 mins. Digital projection. In Filipino/Tagalog with English subtitles. Martin’s debut film is a quietly immersive document of the cloistered inhabitants of Itbayat, a remote island in the north of the Philippines. Recorded on digital video, the scenes switch between intimate interviews and verité shots that blend into the surroundings—imparting on the film the sense of a home movie rather than an outsider looking in.

The Great Cinema Party SATURDAY, OCTOBER 27, 1:30 P.M. 2012, 70 mins. Digital projection. In English and Tagalog with English subtitles. A silent passage of black-and-white war footage leads into what the title promises: a group of cinephiles and filmmakers, all friends of Martin’s, convene for a social gathering at a small island in Manila Bay, where Pacific War relics have been preserved. Commissioned as part of the 2012 Jeonju Digital Project.

Now Showing SATURDAY, OCTOBER 27, 4:00 P.M. 2008, 280 mins. Digital projection. In Filipino/Tagalog with English subtitles. With Ness Roque, Adriana Agcaoili. The coming-of-age of young Rita—named after Rita Hayworth by her actress grandmother—is recounted in long scenes of daily life suggestive of home movies, with the film’s two halves divided by excerpts from a 1939 Filipino melodrama. This movie about self-discovery through cinema is described by Martin as being “about everyone’s efforts to make sense of their own pasts.”

oCtoBer 19–27, 2012Filipino filmmaker Raya Martin is one of the most distinctive emerging voices in world cinema.

Born in Manila in 1984, he has more than a dozen films to his credit: an ambitious, constantly

evolving body of work consisting of fiction features, documentaries, shorts, and installations.

The youngest artist on Cinema Scope magazine’s 2012 list of the 50 best filmmakers under

50 years old, Martin draws on a wide array of sources—combining pop culture references,

archival material, and avant-garde structuralism—in his radically lyrical works. This daring,

restless filmmaker with a sensibility all his own suggests entirely new ways of approaching

film, personal, and national history.

As part of the retrospective, Martin has collaborated with filmmaker Gym Lumbera to create

a panoramic installation for the Museum lobby, a simplistic altar made from a prohibited film

scene. The installation opens Friday, October 19.

All films directed by Raya Martin.

A Short Film About the Indio Nacional SUNDAY, OCTOBER 21, 2:00 P.M. 2005, 97 mins. 35mm. In Filipino/Tagalog with English subtitles. With the Barasoain Kalinangan Theater Group. The first film in a trilogy about imperialism in the Philippines that includes Independencia, A Short Film About the Indio Nacional is a collection of silent actualities revolving around an indio, or common man, set during the escalation of the 1890s revolution against Spain. “Shot in stately black-and-white long takes, Martin’s work recalls the films of Béla Tarr and Martin’s countryman Lav Diaz, but with an eye for composition and detail all his own.” —Filmmaker Magazine.

Next Attraction SUNDAY, OCTOBER 21, 4:30 P.M. 2008, 90 mins. Digital projection. In Filipino/Tagalog with English subtitles. With Jacklyn Jose, Coco Martin, Paolo Rivero. The middle part of a trilogy on cinema that also includes Now Showing, Next Attraction, which purports to document the production of a short film about a young man’s first sexual experience, doubles as a coming-out film and a multiply layered making-of movie.

Autohystoria SUNDAY, OCTOBER 21, 7:00 P.M. 2007, 95 mins. Digital projection. In Filipino/Tagalog with English subtitles. With Lowell Conales, J. K. Anicoche. Opening with an epic handheld shot of a man walking through city streets, Martin’s hallucinatory doc-fiction hybrid combines paranoid thriller and landscape film to revisit a traumatic episode in Philippine history: the execution of the revolutionary Bonifacio brothers in the mountains in 1897.

A Short Film About the Indio Nacional

2613

PunchSUNDAY, OCTOBER 28, 5:00 P.M. Dir. Lee Han. 2011, 107 min. With Yoo Ah-in, Kim Yun-seok. A neglected and hot-tempered 17-year-old and his abrasive schoolteacher form the unlikely pair that anchors this charming ensemble drama, which unfolds in the busy streets of Seoul. A commercial hit in Korea, Lee’s fourth film is layered in thematic details that lift it beyond the narrative conventions of the coming-of-age genre—a funny, reserved, and genuinely heartfelt picture.

Korean CinemaShowcase: Filmmakers of the Future starts oCtoBer 28

Working with low budgets and mostly unknown

actors, directors Kim Joong-hyun, Lee Han,

and Lee Sang-woo are creating a new “indie”

movement in their country, and fostering

Korea’s ever-increasing prominence on the

international festival scene. This trio of films

share a focus on the private lives and personal

situations of young Koreans, melding them with

universal themes of sibling rivalry, generational

misunderstanding, and the transition to (and

deferment of) adulthood. Together they provide

an excellent starting point to glimpsing a new

generation of talent emerging in Korea. Coming

in November and December are: Choked

(dir. Kim Joong-hyun, November 18) and Barbie

(dir. Lee Sang-woo, December 16).

On February 5, 2011, T. Finn, a member of the comedy website Something

Awful, posted a doctored animated GIF of Senegalese soccer player

El Hadji Diouf being clobbered by an invisible opponent. His challenge

to image-editing-savvy members was simple: visualize what tripped El

Hadji Diouf. Over the next several weeks, more than a hundred remixed

animated GIFs poured in. The cumulative result was one of the Web’s

most “epic” Photoshop threads, highlighting the ease of moving-image

manipulation and its proliferation as a natural extension of everyday online

communication. The installation We Tripped El Hadji Diouf presents the

most surprising, clever, and imaginative responses. These short videos

were not created with commercial intentions or claims to fine art. Instead,

their makers were using widely available image-editing tools to participate

in a humorous visual conversation and engage in playful one-upmanship.

iN tHe loBBY

we trippedel hadji diouf tHroUGH oCtoBer 14, 2012Curated by Jason eppink,assistant Curator of digital media

(CJ E&M)

2814

iN tHe tisCH edUCatioN CeNter

Pretty Loaded 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 Image courtesy of Agency Net

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.

Photo courtesy of the artist

15

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.

BEHIND THE SCREEN HiGHliGHt

Set models help filmmakers plan how scenes will be shot. Particularly charming among the set models on exhibit in the Production Design section of Behind the Screen is the model from The Muppets Take Manhattan (1984), which depicts Muppet characters on one side, and the puppeteers who operate them on the reverse.

Photo by Brian Palmer

3-d leNtiCUlar Posters For THE HOBBITOCTOBER 28, 2012–MARCH 31, 2013Courtesy of warner Bros. Pictures,

metro-Goldwyn-mayer Pictures (mGm)

and New line Cinema

Discover the world of The Hobbit: An

Unexpected Journey (2012) through

seventeen astonishing 3-D lenticular posters

for the eagerly awaited epic motion picture.

The posters, each featuring a key character,

including Bilbo Baggins, Gandalf, Gollum,

and Thorin Oakenshield, will be on view in

the core exhibition Behind the Screen. (Warner Bros. Pictures)

ClassiC movie serials 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. Now playing Dick Tracy

Returns (Dir. John English, William Witney,

1938). The sequel to the original Dick Tracy

serial finds Dick battling spies and saboteurs

in his quest to bring the notorious Stark crime

gang to justice. 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.Photo by Jude Domski

16

The Museum’s collection

includes more than 1,500

glass slides, which were an

integral part of the early cinema

experience. The first movie

theaters were often equipped

with only one projector, the

light source of which could

illuminate both motion picture

film and glass slides, allowing

the projectionist to keep the

audience entertained as he

changed reels. Slides displayed

lyrics and illustrations of

popular songs as a theater’s

pianist played and sang,

with the audience joining

in on the chorus. Theaters

also commonly used slides

to promote upcoming films,

advertise local businesses,

and offer such behavioral tips

as “Ladies, please remove

your hats.” Often referred to

as “lantern” slides because of

their origin in pre-cinema magic

lantern shows, these colorful

3¼-by-4-inch slides were widely

used in theaters into the 1930s.

Visit the Museum’s on-line

collection database to view

catalog records for lantern slides

and thousands of other artifacts:

collection.movingimage.us

Clockwise, from top left: Preview slide, The Scarlet Letter,

1927; Advertising slide, Medicated Throat Discs, ca. 1924; Song

slide, “Avalon”, ca. 1920; Special message slide, “Everyone Has

Taken Their Hat Off But You,” 1915, All gifts of Glenn Ralston.

Preview slide, The Adventurer, 1917, Gift of Joseph C. Sweet, Jr.

17

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 aged

8+. We create a memorable

and fun-filled extravaganza

for your child and guests,

with a special educator-led

tour, interactive experiences,

a private screening, and

party bags.

FeatUriNG extraordiNarY FaCilities, mUseUm oF tHe moviNG imaGe is a stUNNiNG settiNG For Private eveNts aNd sCreeNiNGs

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.

HOST YOUR EVENT

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.

Free with Museum admission. Admission is first-come, first-served.

Parents/caregivers are welcome and encouraged to participate.

tech lab at the moving image studio

Kids, teens, and families get

an inside look at cutting-

edge new technologies at

the Tech Lab. On October 27,

Matt Richardson presents

the Descriptive Camera,

which rather than producing

an image outputs a text

description of a scene.

More info online at

movingimage.us

DROP-IN MOVING IMAGE STUDIOeverY satUrdaY, 12:00–5:00 P.m.aGes 7+ aCComPaNied BY aN adUlt (12+ oN tHeir owN)

(WireImage)

Photo by Kristen Asp

18

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 media-

makers through our engaging

education and family programs.

Your support will help us continue

to bring these exciting programs

directly to you.

CorPorate memBersHiP

Corporate membership offers:• 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!

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

Photo by Jared Zagha

For more information, visit movingimage.us, contact members@movingimage.us or call 718 777 6877.

19

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; National Endowment

for the Arts; 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; Kathleen Altman; The Andy Warhol

Foundation for the Visual Arts; Betsy and Michael Barker in honor of Tim Choate, Arthur Krim, Akira Kurosawa, Ed

Lowry, Louis Malle; Howard and Stacy Bass; Nathan Bernstein and Katharina Otto-Bernstein; Joshua Bilmes; Lane

Brettschneider in honor of Donald R. Manes; Consulate General of the Netherlands; Joan Ganz Cooney; Ellin A.

Delsener; Charles and Valerie Diker; Krystyna O. and Ronald J. Doerfler; DreamWorks Animation; Embassy of France in

the United States; Five Napkin Burger; Jo-Ann Fox-Weingarten; Jerome and Mary Goldman; Raphael Gonzalez; Michael

Gordon; Harpo Foundation; Hazen Polsky Foundation, Inc., in memory of Joseph H. Hazen; HBO; Cheryl Henson; Hive

Digital Media Learning Fund in The New York Community Trust; The Jane Henson Foundation; Janklow Foundation;

Preethi Krishna; Richard I. Kandel; Richard A. Leibner; Library of Congress coordinated by Waynesburg University; Ivan

and Andrea Lustig; Luxxotica 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; Paul Hastings LLP – Harvey Strickon; Sandy Perlbinder; Steve Perlbinder; Persol; Rhoda

and Louis Scovell Charitable Foundation Fund; Rohauer Collection Foundation, Inc.; Jane Rosenthal; Schmutter, Strull,

Fleisch, Inc.; Rochelle Slovin in honor of Pauline and Irving Shaw; Sony Corporation; The Studio in a School Association;

Ram Sundaram; Twentieth Century Fox; William J. vanden Heuvel; Sue and Edgar Wachenheim III; William Fox, Jr.

Foundation; Mike and Woan Jen Wu; Jeffrey Zucker; Anonymous; Anonymous.

Funding for the museum’s after-school programs has been provided by: JP Morgan Chase Foundation; New York City

Council Member Stephen Levin; 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.

Perhaps best known around the world as Wolverine in the X-Men series, Jackman has starred in films for such directors as Baz Luhrmann (Australia), Woody Allen (Scoop), Christopher Nolan (The Prestige), and Darren Aronofsky (The Fountain). Later this year, he will headline as Jean Valjean in the eagerly awaited screen version of the musical epic Les Misérables from acclaimed director Tom Hooper (The King’s Speech), set for a December 14 release. As comfortable on stage as he is on screen, Jackman has seen additional success on Broadway with credits including the musical The Boy From Oz (for which he won Tony, Drama Desk, Drama League, Outer Critics Circle and Theatre World Awards), his recent one-man show Hugh Jackman: Back on Broadway, and the drama A Steady Rain opposite Daniel Craig. In addition to serving as Tony Awards host for three consecutive years from 2003 to 2005 (his second appearance earned him an

Emmy Award, and the final garnered an Emmy nomination), Jackman brought his honed skills to Hollywood where he hosted the 81st Annual Academy Awards in 2009. Hugh Jackman joins the ranks of past honorees who have received the Museum’s Salute, including Alec Baldwin, Tom Cruise, Clint Eastwood, Robert DeNiro, Goldie Hawn, Dustin Hoffman, Tom Hanks, Steve Martin, Mike Nichols, Al Pacino, Sidney Poitier, Julia Roberts, Martin Scorsese, and Steven Spielberg.

Funds raised from the Salute support the programs, exhibitions, and educational activities of Museum of the Moving Image. The education programs, which include curriculum-based tours, screenings, and workshops, serve nearly 50,000 students per year.

For information on tickets and tables, contact Event Associates at 212 245 6570. Please note individual tickets start at $1,500.

tUesdaY, deCemBer 11, 2012CiPriaNi wall street

Photo by Ben Watts

20

tUesdaY, oCtoBer 2

7:00 An Evening with Don Francisco (MT, p. 2)

wedNesdaY, oCtoBer 3

7:00 An Evening with Phil Solomon (MT, p. 5)

FridaY, oCtoBer 5

7:00 The Tale of Zatoichi (Zatôichi monogatari) (MT, p. 6)

satUrdaY, oCtoBer 6

2:00 Destiny’s Son (Kiru) (MT, p. 6)

4:30 Two Men and a Baby (Mia for a kai ena… moro) (MT, p. 7)

7:00 God Loves Caviar (O theos agapaei to haviari) (MT, p. 7)

sUNdaY, oCtoBer 14

2:00 Ashes and Diamonds with David Thomson and Michael Barker in person (MT, p. 9)

5:00 Yotsuya Ghost Story (Yotsuyakaidan) (MT, p. 6)

7:00 Homeless Drifter (Mushuku mono) (MT, p. 6)

wedNesdaY, oCtoBer 17

7:00 The Loneliest Planet with Julia Loktev and Hani Furstenberg in person

(MT, p. 11)

OCTOBERkeY to loCatioN

MT Main Theater

BA Celeste and Armand Bartos Screening Room

Screenings of classic movie serials in Tut’s Fever Movie Palace, weekdays at 2:00 p.m., weekends at 1:00, 2:00, and 3:30 p.m.

Pat O’Neill: The Decay of Fiction screens continuously in the Bartos Screening Room, with the exception of other scheduled programs.

All program times, dates, formats, and locations are subject to change. Unless otherwise noted, all screenings are free with Museum admission.

sUNdaY, oCtoBer 7

2:00 Fight, Zatoichi, Fight (Zatôichi kesshô-tabi) (MT, p. 6)

4:30 Christmas Tango (To tango ton Hristougennon) (MT, p. 7)

7:00 Wasted Youth (MT, p. 7)

moNdaY, oCtoBer 8

2:00 Here Comes the Boom (MT, p. 3)

FridaY, oCtoBer 12

7:00 Filmmakers in a Post-Film Landscape: A Conversation (MT, p. 10)

7:00 The Sword (Ken) (BA, p. 6)

sUNdaY, oCtoBer 21

2:00 A Short Film About the Indio Nacional (MT, p. 12)

4:30 Next Attraction (MT, p. 12)

7:00 Autohystoria (MT, p. 12)

FridaY, oCtoBer 19

7:00 Independencia, preceded by Track Projections with Raya Martin in person (MT, p. 12)

satUrdaY, oCtoBer 20

2:30 The Island at the End of the World (MT, p. 12)

satUrdaY, oCtoBer 27

1:30 The Great Cinema Party (BA, p. 12)

2:00 A Tribute to Jerry Nelson with Bill Barretta, Fran Brill, and Dave Goelz in person (MT, p. 11)

4:00 Now Showing (BA, p. 12)

4:30 The Birds (MT, p. 9)

7:00 The Thing (MT, p. 9)

sUNdaY, oCtoBer 28

2:00 Psycho (MT, p. 9)

4:30 Poltergeist (MT, p. 9)

5:00 Punch (BA, p. 13)

7:00 The Texas Chainsaw Massacre (MT, p. 9)satUrdaY, oCtoBer 13

2:00 Ashes and Diamonds (MT, p. 9)

4:00 The Homely Sister (Namida gawa) (BA, p. 6)

5:00 Meditation, Creativity, Peace with Bob Roth in person (MT, p. 10)

7:30 Eraserhead (MT, p. 10)

The Texas Chainsaw Massacre

The Loneliest Planet

Filmmakers in a Post-Film Landscape: A Conversation

God Loves Caviar (O theos agapaei to haviari)

Here Comes the Boom

Ashes and Diamonds

Next Attraction

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. Reservations

are required. Call 718 777 6800.

moviNG imaGe store

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.

21

address

36-01 35 Avenue (at 37 Street)

Astoria, NY 11106

718 777 6888

movingimage.us

HoUrs

Tuesdays–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 on

Monday, October 8 (Columbus Day)

(11.30 a.m.–5.00 p.m.)

direCtioNs

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.

admissioN

ADULTS Ages 18+ $12

SENIORS Ages 65+ $9

STUDENTS $9

CHILDREN Ages 3–12 $6

Under 3 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.