[Frameworks] Bruce Baillie showcase at Film Society of Lincoln Center

Sat Apr 9 12:59:57 UTC 2016

The Films of Bruce Baillie at Film Society of Lincoln Center, April 8-21. Also featured works by Robert Fulton, Will Hindle, Stan Brakhage, James Broughton, Robert Nelson & William Wiley, Chick Strand, Janis Crystal Lipzin, Peter Hutton, Lawrence Jordan and Alice Anne Parker Severson.

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** All My Life:
The Films of Bruce Baillie
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April 9 - April 16 | Art of the Real | Film Society of Lincoln Center | New York, NY
http://canyoncinema.us3.list-manage.com/track/click?u=1a9b415df12c677d769b03069&id=1571031446&e=3c83d2aa16

Bruce Baillie’s lyrical and keenly observational work evades genre and explores narratives in nontraditional forms—from short films to longer explorations. His film Castro Street (1966) was selected for preservation in 1992 by the United States National Film Registry. His work has been inexpressibly influential to the world of avant-garde cinema, and his role as founding member of both Canyon Cinema and the San Francisco Cinematheque speaks to his importance in creating spaces and systems of support and distribution for experimental filmmakers. But the nonfictional dimension of Baillie’s work remains underemphasized: the documentary aspects of such masterpieces as Castro Street and Quick Billy (1970) are both salient and integral to his career-spanning fusion of the mystical and the mundane, the cosmic and the personal, mythology and autobiography. The selection of Baillie’s films in this year’s Art of the Real pays homage to his body of work, and recognizes his legacy as an
artist as well as his outstanding work as a distributor and promoter of avant-garde filmmakers. Organized by Garbiñe Ortega.

“There were ages of faith, when men made natural connections between themselves and the place in which they lived, the plants they cultivated, the fuel they used for warmth, their beasts, and their ancestors. My work will be discovering in American life those natural and ancient contacts through the art of cinema!” – Bruce Baillie

For more about this series, Bruce Baillie and his films read Manohla Dargis wonderful article "Bruce Baillie, a Film-Poet Collapsing Inner and Outer Space (http://canyoncinema.us3.list-manage.com/track/click?u=1a9b415df12c677d769b03069&id=adc6757106&e=3c83d2aa16) " from last week's New York Times.

Congratulations to Bruce Baillie, Garbiñe Ortega, Dennis Lim and Rachael Rakes at the Film Society of Lincoln Center and all those involved in making this series possible. ! All programs will be presented in 16mm.

Program 1: Why Take Up the Camera
Saturday, April 9 | 2pm | Buy Tickets (http://canyoncinema.us3.list-manage2.com/track/click?u=1a9b415df12c677d769b03069&id=ddcf44c285&e=3c83d2aa16)
Bruce Baillie in attendance!

This program compiles a number of Bruce Baillie’s poetic and social documentaries created for Canyon Cinema venues, entitled The News. These little films provided a format for creating low-budget, urgent, and politically motivated works. They also demonstrated possibilities for a more immediate transition from production to exhibition.
* Mr. Hayashi (1961), Mass for the Dakota Sioux (1964), Valentin de las Sierras (1967),  Here I Am (1962),  Little Girl (1966)

Program 2: American Inner Landscape
Saturday, April 9 | 4pm | Buy Tickets (http://canyoncinema.us3.list-manage.com/track/click?u=1a9b415df12c677d769b03069&id=fe2c0f1406&e=3c83d2aa16)
Bruce Baillie in attendance!

This program features three works surveying America’s (inner) landscape: Quick Billy, Baillie’s most personal piece; along with Pastorale D’Ete by Will Hindle, one of Baillie’s beloved filmmaker friends, and the astonishing Starlight by Robert Fulton.
* Starlight (Robert Fulton, 1970),  Pastorale D’Ete (Will Hindle, 1958), Quick Billy (Bruce Baillie, 1971).

Program 3: Searching for Heroes
Sunday, April 10 | 3pm | Buy Tickets (http://canyoncinema.us3.list-manage.com/track/click?u=1a9b415df12c677d769b03069&id=aaeb7d8ae8&e=3c83d2aa16)
Bruce Baillie in attendance!

“I start out on a quest. Thus, again I am speaking of a man in the past, a hero-maker, a storyteller, an image-maker, with whom I was vitally concerned—gradually; I didn’t know any initial point I was concerned with in general, but I was concerned with heroes. Just like a warrior, this poet would start when it was time to start, not knowing really particularly where. And then where he found himself—places that began to tell him where he was bound—he then, of course, began to know about where he was after all.” – B.B.

This program presents two films—Quixote and To Parsifal—that explore the imagistic heroic with which Baillie identified during his quest period with many idols.
* Quixote (1965), To Parsifal (1963)

Program 4: Correspondence - Bruce Baillie/Stan Brakhage
Tuesday, April 12 | 8:30pm | Buy Tickets (http://canyoncinema.us3.list-manage.com/track/click?u=1a9b415df12c677d769b03069&id=2c7491341f&e=3c83d2aa16)

“Mid June, 1968.

Dear Bruce,
You brought me, via your tape, enough joy and thought provocation in Kalamazoo to keep me going all-of-a-piece thru the second very terribly difficult day there. (…) As for your films—ah well… what sheer loveliness as, in the later work, extended with exactitude AND mystery into the film form it engenders for itself—exactly mysterious would be the simplest expletive I could applaud it with… and that’s just a tongue-clap in lieu of saying, more simply, ‘BRAVO!’”

(Stan Brakhage to Bruce Baillie)

For more than five decades, Bruce Baillie corresponded with Stan Brakhage. They shared fascinating letters, films, and even audiotapes recorded from a van on the road. This program shows some possible connections and affinities between these two friends’ film universes.
* Roslyn Romance (Is It Really True?) (Bruce Baillie, 1977),  The Machine of Eden (Stan Brakhage, 1970), Castro Street (Bruce Baillie, 1966), The Wonder Ring (Stan Brakhage, 1955), Tung (Bruce Baillie, 1966), Stellar (Stan Brakhage, 1993), Still Life (Bruce Baillie, 1966), All My Life (Bruce Baillie, 1966), I… Dreaming (Stan Brakhage, 1988)

Program 5: Let’s Not Be So Serious About Art - Canyon Cinema Community
Saturday, April 16 | 4:30pm | Buy Tickets (http://canyoncinema.us3.list-manage.com/track/click?u=1a9b415df12c677d769b03069&id=188cc52878&e=3c83d2aa16)

Bruce Baillie and Chick Strand founded Canyon Cinema in 1961. The original purpose of Canyon Cinema was to bring people together, to establish a connection “between the people and what was happening.” (Baillie) They organized screenings of experimental, documentary, and narrative films in East Bay backyards and community centers. Acting in response to a lack of public venues for independent movies, they were part of a wider explosion in American avant-garde film. The era was one of social idealism and communal energy, and the films they showcased boldly embraced purely cinematic visual expression and cultural critique. This program shows some films of the filmmakers that belong to that community and who were influenced by its spirit.

“One of our ‘devices,’ as P.T. and Chicky Strand would have it, for keeping the audience honest—that is, not too serious about ‘Art.’ Years of fun, work, and thoughtful exchange, covering perhaps everything under the sun! Our Chair in the Sun, we called it.” – B.B.
* The Bed (James Broughton, 1968), The Off-Handed Jape… & How to Pull It Off (Robert Nelson & William Wiley, 1967), Have You Thought of Talking to the Director? (Bruce Baillie, 1962), Angel Blue Sweet Wings (Chick Strand, 1966), L.A. Carwash (Janis Crystal Lipzin, 1975), Big Sur: The Ladies (Lawrence Jordan, 1966), In Marin County (Peter Hutton, 1970), Riverbody (Alice Anne Parker Severson, 1970).

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