GME DVD Distribution – DVD Categories Overview

During the past decade, Gartenberg Media Enterprises (GME) has been actively engaged in seeking out and representing high quality DVD & Blu-ray publications from film archives and boutique publishers around the world, representing films and videos that encompass important works from the breadth and depth of the history of the moving image. These premiere publications are made available by GME exclusively for institutional purchase by the university market in North America. We currently offer more than 150 publications that are noted here. These works range from pioneers of the silent narrative cinema to cutting edge filmmakers of the contemporary avant-garde.

"Archival practices are undergoing reinvention, too, both enabled and blocked by opportunistic technologies. On the one hand, the superb dedication of such entities as the Criterion Collection, Milestone Films, and Gartenberg Media Enterprises, to name key players, are making possible access to a wealth of cinematic history, ephemera, and value-added materials."

– B. Ruby Rich, Film Quarterly

 

 

DVD / Blu-ray Categories

The DVD and Blu-ray publications are arranged on our website under several broad categories as noted below, that are designed to facilitate themes for academic curricula and library acquisition.

Experimental Narratives & Avant-Garde Shorts

This very rich category of cutting-edge moving image works (both film and video art) encompasses films from four continents: North and South America, Europe, Asia, and extend from classic films from the silent era to contemporary time-based media. Broadly speaking, the filmmakers in this category consciously play with narrative form and structure through a wide range of cinematic techniques and styles. Works featured include such diverse filmmakers as James Benning, Abigail Child, Maya Deren, and Jonas Mekas (US); Michael Snow (Canada); Nicholas Pereda (Mexico); Heinz Emigholz, Werner Schroeter, and Hans Richter (Germany); Germaine Dulac, Philippe Garrel, Marcel Hanoun, and Rose Lowder (France); Val del Omar (Spain); Dziga Vertov (USSR); Hou Hsiao-Hsien (Taiwan); and Apichatpoing Weerasethakul (Thailand). See also the category of Austrian Avant-Garde Film & Video.

International Silent Classics

This category encompasses a selection of DVD and Blu-ray publications of films directed by major artists from around the world: Georges Méliès, Abel Gance, René Clair, Marcel L’Herbier, and Louis Feuillade (France); F.W. Murnau, Ernst Lubitsch, and Gerhard Lamprecht (Germany); Sergei Eisenstein, Lev Kuleshov, Mikhail Kalatozov, and Dziga Vertov (USSR); Segundo de Chomón (Spain); and Erich von Stroheim, Josef von Sternberg, Charles Chaplin, Mack Sennett, King Vidor, and Allan Dwan (United States). These films star such screen idols as Asta Nielsen, Charlie Chaplin, Douglas Fairbanks, John Gilbert, Rudolph Valentino, Alla Nazimova, Ivan Mosjoukine, Erich Von Stroheim, and Emil Jannings. See also the category of Danish Silent Cinema.

Film History & Documentaries

Film History & Documentaries comprises important nonfiction films by Robert Flaherty (United States), Henri Storck (Belgium), Peter Von Bagh (Finland), and Henri Georges Clouzot (France). Technical developments throughout film history are represented by the DVD publication DISCOVERING CINEMA, a two-disc set of early sound and color experiments, as well as three films featuring the Cinerama process (CINERAMA’S RUSSIAN ADVENTURE, THIS IS CINERAMA, and WINDJAMMER).

Genre Films

The category of Genre Films comprises lesser-known motion pictures that merit further consideration in the field of genre studies. These include GOW, THE HEADHUNTER and THE MOST DANGEROUS GAME,  two American action-adventure films from the early 1930’s; both Ernest B. Schoedsack and Merian C. Cooper of KING KONG fame were involved in their production. Also featured are two film noir titles from the late 1940s, TOO LATE FOR TEARS, starring the sultry Lizabeth Scott, and WOMAN ON THE RUN, shot on location in San Francisco. From Belgium, we offer 3 movies by the director/screenwriter husband-and-wife filmmaking team of Jan Vanderheyden and Edith Keil, who excelled at producing populist films about the Flemish culture.

Danish Silent Cinema

A series of restorations by the Danish Film Institute include important works by directors Carl Th. Dreyer and Benjamin Christensen, as well as August Blom, Alfred Lind, and A.W. Sandberg. Other DVD editions feature Asta Nielsen, the first diva of international renown, as well as the romantic actor Valdemar Psilander. The 5 films by Carl Th. Dreyer (LEAVES OUT OF THE BOOK OF SATAN, LOVE ONE ANOTHER, THE BRIDE OF GLOMDAL, ONCE UPON A TIME, and THE PRESIDENT) are particularly noteworthy, given the rarity of celluloid projections of these films in North America.

Austrian Avant-Garde Film & Video

Presents key works published by Index DVD from the Austrian Avant-Garde (1957-present), including films by Martin Arnold, Kurt Kren, Gustav Deutsch, Valie Export, Peter Tscherkassky, Maria Lassnig and Peter Weibel, among many others; this section also includes representation of selected artists from Eastern European countries.

◊◊◊

Watch for our upcoming fall releases!

GME DVD Distribution – DVD Categories Overview

During the past decade, Gartenberg Media Enterprises (GME) has been actively engaged in seeking out and representing high quality DVD & Blu-ray publications from film archives and boutique publishers around the world, representing films and videos that encompass important works from the breadth and depth of the history of the moving image. These premiere publications are made available by GME exclusively for institutional purchase by the university market in North America. We currently offer more than 150 publications that are noted here. These works range from pioneers of the silent narrative cinema to cutting edge filmmakers of the contemporary avant-garde.

"Archival practices are undergoing reinvention, too, both enabled and blocked by opportunistic technologies. On the one hand, the superb dedication of such entities as the Criterion Collection, Milestone Films, and Gartenberg Media Enterprises, to name key players, are making possible access to a wealth of cinematic history, ephemera, and value-added materials."

– B. Ruby Rich, Film Quarterly

 

 

DVD / Blu-ray Categories

The DVD and Blu-ray publications are arranged on our website under several broad categories as noted below, that are designed to facilitate themes for academic curricula and library acquisition.

Experimental Narratives & Avant-Garde Shorts

This very rich category of cutting-edge moving image works (both film and video art) encompasses films from four continents: North and South America, Europe, Asia, and extend from classic films from the silent era to contemporary time-based media. Broadly speaking, the filmmakers in this category consciously play with narrative form and structure through a wide range of cinematic techniques and styles. Works featured include such diverse filmmakers as James Benning, Abigail Child, Maya Deren, and Jonas Mekas (US); Michael Snow (Canada); Nicholas Pereda (Mexico); Heinz Emigholz, Werner Schroeter, and Hans Richter (Germany); Germaine Dulac, Philippe Garrel, Marcel Hanoun, and Rose Lowder (France); Val del Omar (Spain); Dziga Vertov (USSR); Hou Hsiao-Hsien (Taiwan); and Apichatpoing Weerasethakul (Thailand). See also the category of Austrian Avant-Garde Film & Video.

International Silent Classics

This category encompasses a selection of DVD and Blu-ray publications of films directed by major artists from around the world: Georges Méliès, Abel Gance, René Clair, Marcel L’Herbier, and Louis Feuillade (France); F.W. Murnau, Ernst Lubitsch, and Gerhard Lamprecht (Germany); Sergei Eisenstein, Lev Kuleshov, Mikhail Kalatozov, and Dziga Vertov (USSR); Segundo de Chomón (Spain); and Erich von Stroheim, Josef von Sternberg, Charles Chaplin, Mack Sennett, King Vidor, and Allan Dwan (United States). These films star such screen idols as Asta Nielsen, Charlie Chaplin, Douglas Fairbanks, John Gilbert, Rudolph Valentino, Alla Nazimova, Ivan Mosjoukine, Erich Von Stroheim, and Emil Jannings. See also the category of Danish Silent Cinema.

Film History & Documentaries

Film History & Documentaries comprises important nonfiction films by Robert Flaherty (United States), Henri Storck (Belgium), Peter Von Bagh (Finland), and Henri Georges Clouzot (France). Technical developments throughout film history are represented by the DVD publication DISCOVERING CINEMA, a two-disc set of early sound and color experiments, as well as three films featuring the Cinerama process (CINERAMA’S RUSSIAN ADVENTURE, THIS IS CINERAMA, and WINDJAMMER).

Genre Films

The category of Genre Films comprises lesser-known motion pictures that merit further consideration in the field of genre studies. These include GOW, THE HEADHUNTER and THE MOST DANGEROUS GAME,  two American action-adventure films from the early 1930’s; both Ernest B. Schoedsack and Merian C. Cooper of KING KONG fame were involved in their production. Also featured are two film noir titles from the late 1940s, TOO LATE FOR TEARS, starring the sultry Lizabeth Scott, and WOMAN ON THE RUN, shot on location in San Francisco. From Belgium, we offer 3 movies by the director/screenwriter husband-and-wife filmmaking team of Jan Vanderheyden and Edith Keil, who excelled at producing populist films about the Flemish culture.

Danish Silent Cinema

A series of restorations by the Danish Film Institute include important works by directors Carl Th. Dreyer and Benjamin Christensen, as well as August Blom, Alfred Lind, and A.W. Sandberg. Other DVD editions feature Asta Nielsen, the first diva of international renown, as well as the romantic actor Valdemar Psilander. The 5 films by Carl Th. Dreyer (LEAVES OUT OF THE BOOK OF SATAN, LOVE ONE ANOTHER, THE BRIDE OF GLOMDAL, ONCE UPON A TIME, and THE PRESIDENT) are particularly noteworthy, given the rarity of celluloid projections of these films in North America.

Austrian Avant-Garde Film & Video

Presents key works published by Index DVD from the Austrian Avant-Garde (1957-present), including films by Martin Arnold, Kurt Kren, Gustav Deutsch, Valie Export, Peter Tscherkassky, Maria Lassnig and Peter Weibel, among many others; this section also includes representation of selected artists from Eastern European countries.

◊◊◊

Watch for our upcoming spring releases!

GME DVD Distribution – Spring 2017 Recap

With the spring academic season now coming to a close, Gartenberg Media Enterprises is pleased to present a new slate of DVD and Blu-ray publications for distribution to the North American academic community. These digital editions have been selected from film archives and boutique publishers worldwide, and represent the entire breadth and depth of moving image history. This current slate of moving image works has extended from BEHIND THE DOOR (1919),  producer Thomas H. Ince’s World War I era drama of patriotism and revenge, through to the latest experimental “psychoactive” films of Chinese artist Sandy Ding  (DREAM ENCLOSURE, 2011-2014).

 
 

Legendary producer Thomas H. Ince and director Irvin V. Willat made this—“the most outspoken of all the vengeance films” according to film historian Kevin Brownlow—during the period of World War I-inspired American patriotism.

Hobart Bosworth stars as Oscar Krug, a working-class American, who is persecuted for his German ancestry after war is declared. Driven by patriotism, Krug enlists and goes to sea. However, tragedy strikes when his wife (Jane Novak) sneaks aboard his ship and is captured following a German U-boat attack. Krug’s single-minded quest for vengeance against the sadistic German submarine commander (played with villainous fervor by Wallace Beery) leads to the film’s shocking and brutal climax.

This newly restored edition, produced by Flicker Alley, represents the most complete version of the film available since 1919, thanks to the collaboration of the San Francisco Silent Film Festival, the Library of Congress, and Gosfilmofond of Russia.

 
 

In order to enrich the selection of Film History & Documentaries, GME is especially proud to offer a new DVD line recently launched by the Cinemateca Portuguesa, JORNAL PORTUGUÊS and MARGOT DIAS: ETHNOGRAPHIC FILMS 1958-1961.

The newsreel series JORNAL PORTUGUÊS (1938-1951) was conceived and employed as part of the propaganda machinery of Salazar's regime. Screened in cinema theatres prior to the main feature film, each issue of JORNAL ran approximately ten minutes in length and covered a variety of official government acts, national political news, major sports events and other assorted social and cultural affairs. JORNAL PORTUGUÊS is not only and indispensable document for the history of Estado Novo's propaganda, but also an unparalleled audiovisual archive of 1940s Portugal. Moreover, for students of the documentary, this comprehensive catalogue of each issue of JORNAL PORTUGUÊS provides a fascinating contrast with the American newsreel series THE MARCH OF TIME (1935-1951). The differing national attitudes about the impending World War, its duration, and aftermath are especially notworthy in this regard.

Between 1958 and 1961, the anthropologist Margot Dias (1908-2001) shot 28 films in Mozambique and Angola, which belong to the Film Archive of the National Museum of Ethnology (Museu Nacional de Etnologia). These films were made within the "study Missions on the Ethnic Minorities of the Portuguese Overseas Territories" headed by Jorge Dias and represent one of the first uses of ethnographic film within Portuguese anthropological studies.

This DVD edition entitled MARGOT DIAS: ETHNOGRAPHIC FILMS 1958-1961 includes all the films shot within those fieldwork campaigns and a soundtrack composed from Margot Dias's own field recordings. The identification and thematic organization of the films, as well as the soundtrack is the work of Catarina Alves Costa. Also included, as a bonus feature, is a previously unreleased interview with Margot Dias, held in 1996 by Joaquim Pais de Brito, former director of the National Museum of Ethnology.

 
 

GME’s offerings of Experimental Narratives from the 1960’s are especially strong. In this vein, we now offer two new DVD editions (published by Re:Voir): UNDERGROUND NEW YORK and ICI ET MAINTENANT (HERE AND NOW). UNDERGROUND NEW YORK provides a rare behind-the-scenes view of the exploding New York “underground” in the late sixties, a turbulent time and place that was to change American culture forever, and ICI ET MAINTENANT (HERE AND NOW) takes a more dreamlike approach in depicting the adventures of a post May ’68 Parisian wanderer.  

In UNDERGROUND NEW YORK, a German TV crew, led by journalist Gideon Bachmann, explores the epicenter of the sixties revolution in art, music, poetry and film and interviews the main players in the New American Cinema movement that was born on the streets of New York. Against a backdrop of cultural upheaval in all of the arts and growing political agitation against the Vietnam War, Bachman interviews the most prominent figures in underground film, including Jonas Mekas, Shirley Clarke, the Kuchar Brothers and Bruce Connor, and visits the most notorious location in the New York art world of the era - Andy Warhol’s Factory - to conduct an interview with the genius of Pop Art himself.

In 1968, Serge Bard made three films in a row. They were DETRUISEZ-VOUS (DESTROY YOURSELF), FUN AND GAMES FOR EVERYONE and finally, ICI ET MAINTENANT (HERE AND NOW). It was photographed in striking black and white by cinematographer Henri Alekan (who also shot Cocteau’s LA BELLE ET LA BÊTE). In the laboratory, the director and cinematographer had the film flashed so as to create a high-contrast, grainy, abstract and luminous image when projected onscreen.  

Shot primarily in long takes on the Pointe du Raz in Brittany, ICI ET MAINTENANT (HERE AND NOW) according to fellow filmmaker Patrick Deval, “consists of the dreams of the solitary rambler, post-revolution... The moralist has given up on chaos; he takes his own pulse; he listens to the world, perhaps vibrating with it; he is in sympathetic ecstasy. The filmmaker holds his position, stiff as the statue of the commander, on alert for the phenomena which approach him; he resembles the lighthouse whose rectitude Bard captures magnificently, on an ink-dark night, with its hallucinatory lamp set against a background of winds and tides."

 
 

The Diary Film was a significant form that has run throughout the history of American independent cinema, and whose major practitioner has been filmmaker Jonas Mekas. GME is therefore pleased to add HE STANDS IN A DESERT COUNTING THE SECONDS OF HIS LIFE to other boxed set editions of Mekas’s other diary films THE MAJOR WORKS and THE SIXITES QUARTET. Shot between 1969 and 1985, the  film consists of 124 brief sketches, each half-a-minute to about two minutes long. According to Mekas, these are “Portraits of people I have spent time with, places, seasons of the year, weather (storms, snow, blizzards etc...) many of my film-maker friends- streets and parks of New-York- brief escape in nature, out of town- nothing spectacular, unimportant celebrations of life that has gone, by now, and remains only as a record in these personal, brief sketches."

With David Perlov’s DIARY, GME is proud to expand its international offerings to include Israeli cinema, that we herewith release as a Diary Film complement to the aforementioned works by Jonas Mekas. Perlov had worked in Paris with the great documentarist, Joris Ivens, and he brought to Israeli film the personal, experimental tradition of the documentary cinema.

According to Uri Kelin, "At the center of Perlov’s work is the gaze:…the gaze through the window of Perlov’s house, which gave rise to his most important work, and the most important film in the history of Israeli cinema, DIARY; his gaze at the surroundings close to his home in Tel Aviv, and his recurring gaze at Paris, where he spent a few years in the 1950s, and at Sao Paolo, the city in which he grew up, in his native land, Brazil. This was the genesis of the six chapters of DIARY, each an hour long, which were filmed in the course of the decade that followed.

Over the years, through the totality of his work, David Perlov’s gaze became our gaze; and this place, this house, where he made his films, became our house, the house to which we return anew whenever we watch DIARY. He was able to transform the biography of the self into the biography of the other, and to transmute his self-portrait into the portrait of the viewer. His cinema, then, is the identity card of us all."

 
 

GME is also pleased to present for the first time, experimental filmmaking work from China (Sandy Ding) and the Netherlands (Studio één).      

Sandy Ding is an experimental filmmaker who lives and works in Beijing, China. He graduated from CalArts in 2007 and started teaching in China Central Academy of Fine Arts in 2008. This DVD edition entitled PSYCHOECHO brings together (including the bonus tracks), 7 moving image works that the filmmaker created in the United States, and later China, as well as an original “noise music” piece. This DVD is accompanied by a booklet that provides extensive insight into the artist’s concept of pyscho-active films.

As a modern proponent of the postwar American "trance film" he produced psycho-active films with the idea of combining ritual processes in both projection and sound. His work is centered on energy patterns, telling mysteries through abstractions or powerful symbolic elements. He is equally interested in live performance of theater projections, installations and live noise music in order to enlarge the concept of experimental film. 

The  DVD publication entitled STUDIO EEN: EXPERIMENTAL FILMS FROM THE LOWLANDS includes works of various Dutch artists who had a main role in the early years of Studio één, from 1992 to 1996. The accompanying booklet contains a statement by each of the filmmakers.  

At the end of the 1980s, many artistic, avant-garde, underground and counterculture movements seemed to be over. The rise of video and its academic use began to compete with Super8. To work against the decline of the Super 8 format and techniques, Karel Doing and two of his friends (Saskia Fransen and Djana Mileta) from the art school in Arnhem, started to think about creating a new space and promoting the invention of DIY techniques for filming and processing Super8 films.

In this particular context, Studio één was launched. They bought optical printers from a professional laboratory that was set to shut down and started to learn by themselves, out of necessity, how to process film. It wasn't long before Studio één became well-known in DIY film circles and began to host various artists who come to meet each other, not only to exchange ideas and work together on the use of Super8 or 16mm, but also to experiment with diverse narrative and sound forms. Some members, Joost Rekveld for example, chose to pursue a career as a musician as well as a filmmaker. After 7 years in Arnhem, Studio één moved to Rotterdam where it continued to thrive. It became a model for many artists in creating their own laboratories, research centers and studios dedicated to experimental cinema.  

GME also continues with the release of films by key experimental artists from France. Christian Lebrat, born in 1952 in Paris, is an internationally acclaimed artist with a career spanning four decades. He is a filmmaker, video artist, performance artist and photographer, as well as a publisher, curator and writer. In 1985 he founded Paris Expérimental, a publishing company entirely devoted to publishing theoretical and historical texts on avant-garde and experimental cinema.

This DVD edition entitled VIBRATIONS, brings together 9 key moving image works created by the filmmaker over a ten-year period (1976-1985). Each film focus on an aspect of his experimentation with the use of color in cinema. The publication is accompanied by a 39-page booklet that includes an artist’s statement; an interview with the filmmaker by Vincent Deville & Émeric de Lastens, in which Lebrat provides detailed explanations about his strategy in creating each film; and a filmography.

According to the filmmaker, “My interest in color perhaps started with an exhibition that I saw.  I had always been very interested in painting. One of the greatest emotions I’ve ever felt was in 1972, when I saw the Mark Rothko retrospective at the Grand Palais. That day – I still remember – I spent two hours in a single room of the exhibition, where there were four immense paintings that overwhelmed me with color; I was completely dumbstruck – transformed, even – by the contact I had with these works.  It was then that I discovered the power of color.”

DVD Distribution – GME Presents Thomas Ince’s World War I Drama, BEHIND THE DOOR – Now Available for North American Institutional Sales

As the U.S. prepares to commemorate the 100th anniversary of entering World War I, BEHIND THE DOOR (1919) offers a unique time capsule of the period. Legendary producer Thomas H. Ince and director Irvin V. Willat made this -- “the most outspoken of all the vengeance films” according to film historian Kevin Brownlow—during the period of World War I-inspired American patriotism.

 
 

Thomas Ince produced and directed CIVILIZATION in 1916, an anti-war film which was part of Hollywood’s support of President Wilson’s policy of staying out of WWI.  But when the United States entered WWI, all of Hollywood supported the war effort, including Ince.  After the conflict, the studios were making films about people healing from the horror of the war and for better understanding of the German people who were caught up with war fever of that time in Europe.
 
Hobart Bosworth stars as Oscar Krug, a working-class American, who is persecuted for his
German ancestry after war is declared. Driven by patriotism, Krug enlists and goes to
sea. However, tragedy strikes when his wife (Jane Novak) sneaks aboard his ship and is
captured following a German U-boat attack. Krug’s single-minded quest for vengeance
against the sadistic German submarine commander (played with villainous fervor by
Wallace Beery) leads to the film’s shocking and brutal climax.
 
The Thomas Ince Studio backlot was used for the village scenes, and the water scenes depicting the battleships and U-Boat encounters were taken in San Pedro Harbor, where Bosworth, the star of the film, did his own stunts.
 
This newly restored edition, produced by Flicker Alley, represents the most complete
version of the film available since 1919, thanks to the collaboration of the San Francisco
Silent Film Festival, the Library of Congress, and Gosfilmofond of Russia.  The numerous bonus features include the re-edited Russian version of the film, outtakes, and an in-depth interview with renowned film historian Kevin Brownlow.

Related Silent Films of Interest Also Available from GME

GME DVD Distribution – GME Offers Experimental Film Works from China, France, and the Netherlands Now Available for Institutional Sales

GME is pleased to offer collections of avant-garde shorts by filmmakers from France (Christian Lebrat), and for the first time, moving image artists from China (Sandy Ding) and the Netherlands (Studio één).

 
 

Sandy Ding is an experimental filmmaker who lives and works in Beijing, China. He graduated from CalArts in 2007 and started teaching in China Central Academy of Fine Arts in 2008. This DVD edition entitled PSYCHOECHO brings together (including the bonus tracks), 7 moving image works that the filmmaker created in the United States, and later China, as well as an original “noise music” piece. This DVD is accompanied by a booklet that provides extensive insight into the artist’s concept of pyscho-active films. As a modern proponent of the postwar American "trance film" he produced psycho-active films with the idea of combining ritual processes in both projection and sound. His work is centered on energy patterns, telling mysteries through abstractions or powerful symbolic elements. He is equally interested in live performance of theater projections, installations and live noise music in order to enlarge the concept of experimental film.  

 
 

The DVD publication entitled STUDIO EEN: EXPERIMENTAL FILMS FROM THE LOWLANDS includes works of various Dutch artists who had a main role in the early years of Studio één, from 1992 to 1996. The accompanying booklet contains a statement by each of the filmmakers.

At the end of the 1980s, many artistic, avant-garde, underground and counterculture movements seemed to be over. The rise of video and its academic use began to compete with Super8. To work against the decline of the Super 8 format and techniques, Karel Doing and two of his friends (Saskia Fransen and Djana Mileta) from the art school in Arnhem, started to think about creating a new space and promoting the invention of DIY techniques for filming and processing Super8 films.

In this particular context, Studio één was launched. They bought optical printers from a professional laboratory that was set to shut down and started to learn by themselves, out of necessity, how to process film. It wasn't long before Studio één became well known in DIY film circles and began to host various artists who come to meet each other, not only to exchange ideas and work together on the use of Super8 or 16mm, but also to experiment with diverse narrative and sound forms. Some members, Joost Rekveld for example, chose to pursue a career as a musician as well as a filmmaker. After 7 years in Arnhem, Studio één moved to Rotterdam where it continued to thrive. It became a model for many artists in creating their own laboratories, research centers and studios dedicated to experimental cinema.

 
 

GME also continues with the release of films by key experimental artists from France. Christian Lebrat, born in 1952 in Paris, is an internationally acclaimed artist with a career spanning four decades. He is a filmmaker, video artist, performance artist and photographer, as well as a publisher, curator and writer. In 1985 he founded Paris Expérimental, a publishing company entirely devoted to publishing theoretical and historical texts on avant-garde and experimental cinema.

This DVD edition entitled VIBRATIONS, brings together 9 key moving image works created by the filmmaker over a ten-year period (1976-1985). Each film focus on an aspect of his experimentation with the use of color in cinema. The publication is accompanied by a 39-page booklet that includes an artist’s statement; an interview with the filmmaker by Vincent Deville & Émeric de Lastens, in which Lebrat provides detailed explanations about his strategy in creating each film; and a filmography.

According to the filmmaker, “My interest in color perhaps started with an exhibition that I saw. I had always been very interested in painting. One of the greatest emotions I’ve ever felt was in 1972, when I saw the Mark Rothko retrospective at the Grand Palais. That day – I still remember – I spent two hours in a single room of the exhibition, where there were four immense paintings that overwhelmed me with color; I was completely dumbstruck – transformed, even – by the contact I had with these works. It was then that I discovered the power of color.”

Digital Restoration of Warren Sonbert's WHERE DID OUR LOVE GO? – Funding by the Fondazione Prada Milano

Warren Sonbert’s WHERE DID OUR LOVE GO? has been digitally restored with funding by the Fondazione Prada Milano. This new digital restoration was screened at The New American Cinema Torino 1967 along with films by Robert Breer and Ben Van Meter.

http://www.fondazioneprada.org/project/program-3/?lang=en

 
 

GME DVD Distribution – Portuguese Documentary and Ethnographic Films Now Available for North American institutional Sales

In order to enrich the selection of Film History & Documentaries, GME is especially proud to offer a new DVD line recently launched by the Cinemateca Portuguesa, JORNAL PORTUGUÊS and MARGOT DIAS: ETHNOGRAPHIC FILMS 1958-1961.

 
 

The newsreel series JORNAL PORTUGUÊS (1938-1951) was conceived and employed as part of the propaganda machinery of Salazar's regime. Screened in cinema theatres prior to the main feature film, each issue of JORNAL ran approximately ten minutes in length and covered a variety of official government acts, national political news, major sports events and other assorted social and cultural affairs. JORNAL PORTUGUÊS is not only and indispensable document for the history of Estado Novo's propaganda, but also an unparalleled audiovisual archive of 1940s Portugal. Moreover, for students of the documentary, this comprehensive catalogue of each issue of JORNAL PORTUGUÊS provides a fascinating contrast with the American newsreel series THE MARCH OF TIME (1935-1951). The differing national attitudes about the impending World War, its duration, and aftermath are especially noteworthy in this regard.

 
 

Between 1958 and 1961, the anthropologist Margot Dias (1908-2001) shot 28 films in Mozambique and Angola, which belong to the Film Archive of the National Museum of Ethnology (Museu Nacional de Etnologia). These films were made within the "study Missions on the Ethnic Minorities of the Portuguese Overseas Territories" headed by Jorge Dias and represent one of the first uses of ethnographic film within Portuguese anthropological studies.
 
This DVD edition entitled MARGOT DIAS: ETHNOGRAPHIC FILMS 1958-1961 includes all the films shot within those fieldwork campaigns and a soundtrack composed from Margot Dias's own field recordings. The identification and thematic organization of the films, as well as the soundtrack is the work of Catarina Alves Costa. Also included, as a bonus feature, is a previously unreleased interview with Margot Dias, held in 1996 by Joaquim Pais de Brito, former director of the National Museum of Ethnology.

Documentary Films of Related Interest Available from GME:

 
 

GME archivists assist in exhibition celebrating 125th Anniversary of the Spence School

GME's long involvement as archivists at The Spence School has led to work involving the school's 125th anniversary exhibition. The exhibition, which focuses on objects from the school's archive brings attention the school's long and rich history.

https://www.spenceschool.org/page/news-detail?pk=885273&fromId=173165

 

GME DVD Distribution – Gideon Bachmann’s Underground New York and Serge Bard’s Ici Et Maintenant Now Available for North American Institutional Sales

The 1960’s was an era of social upheaval and anguished personal quests that was frequently represented cinematically through experimentation in narrative form. GME’s offerings of Experimental Narratives from this period include films from Spain (ADOLPHO ARRIETTA: THE ANGEL TRILOGY), France (LE LIT DE LA VIERGE and LE REVELATEUR, both by Philippe Garrel, as well as DEUX FOIS by Jackie Raynal), and the United States (ECHOES OF SILENCE by Peter Emanuel Goldman, HALLELUJAH THE HILLS by Adolfas Mekas, and GUNS OF THE TREES by Jonas Mekas).

Continuing in this vein, we now offer two new DVD editions from the turbulent year 1968: Gideon Bachmann’s UNDERGROUND NEW YORK and ICI ET MAINTENANT by Serge Bard. UNDERGROUND NEW YORK provides a rare behind-the-scenes view of the exploding New York “underground” in the late sixties, a turbulent time and place that was to change American culture forever, and ICI ET MAINTENANT takes a more dreamlike approach in depicting the adventures of a post May ’68 Parisian wanderer. Both DVD editions are published by Re:Voir.

 
 

In UNDERGROUND NEW YORK, a German TV crew, led by journalist Gideon Bachmann, explores the epicenter of the sixties revolution in art, music, poetry and film and interviews the main players in the New American Cinema movement that was born on the streets of New York. Against a backdrop of cultural upheaval in all of the arts and growing political agitation against the Vietnam War, Bachman interviews the most prominent figures in underground film, including Jonas Mekas, Shirley Clarke, the Kuchar Brothers and Bruce Connor, and visits the most notorious location in the New York art world of the era - Andy Warhol’s Factory - to conduct an interview with the genius of Pop Art himself.

 
 

In 1968, Serge Bard made three films in a row. They were DETRUISEZ-VOUS (DESTROY YOURSELF), FUN AND GAMES FOR EVERYONE and finally, ICI ET MAINTENANT (HERE AND NOW). The later film was photographed in striking black and white by cinematographer Henri Alekan (who also shot Cocteau’s LA BELLE ET LA BÊTE). In the laboratory, the director and cinematographer had the film flashed so as to create a high-contrast, grainy, abstract and luminous image when projected onscreen. Shot primarily in long takes on the Pointe du Raz in Brittany, ICI ET MAINTENANT (HERE AND NOW) according to fellow filmmaker Patrick Deval, “consists of the dreams of the solitary rambler, post-revolution... The moralist has given up on chaos; he takes his own pulse; he listens to the world, perhaps vibrating with it; he is in sympathetic ecstasy. The filmmaker holds his position, stiff as the statue of the commander, on alert for the phenomena which approach him; he resembles the lighthouse whose rectitude Bard captures magnificently, on an ink-dark night, with its hallucinatory lamp set against a background of winds and tides."

Related 1960s Experimental Narratives of Interest from GME:

 
 

GME DVD Distribution – Diary Films by Jonas Mekas and David Perlov – Now Available for North American Institutional Sales

 
 

The Diary Film was a significant form that has run throughout the history of American independent cinema, and whose major practitioner has been filmmaker Jonas Mekas. GME is therefore pleased to add HE STANDS IN A DESERT COUNTING THE SECONDS OF HIS LIFE to other boxed set editions of Mekas’s other diary films THE MAJOR WORKS and THE SIXITES QUARTET. Shot between 1969 and 1985, the  film consists of 124 brief sketches, each half-a-minute to about two minutes long. According to Mekas, these are “Portraits of people I have spent time with, places, seasons of the year, weather (storms, snow, blizzards etc...) many of my film-maker friends- streets and parks of New-York- brief escape in nature, out of town- nothing spectacular, unimportant celebrations of life that has gone, by now, and remains only as a record in these personal, brief sketches."

 
 

 

GME is proud to expand its international offerings to include Israeli cinema. We herewith release David Perlov’s DIARY as a complement to the aforementioned movies by Jonas Mekas. Perlov had worked in Paris with the great documentarist, Joris Ivens, and he brought to Israeli film the personal, experimental tradition of the documentary cinema. According to Uri Klein (writing in the Israeli newspaper Haaretz):

"At the center of Perlov’s work is the gaze:…the gaze through the window of Perlov’s house, which gave rise to his most important work, and the most important film in the history of Israeli cinema, DIARY; his gaze at the surroundings close to his home in Tel Aviv, and his recurring gaze at Paris, where he spent a few years in the 1950s, and at Sao Paolo, the city in which he grew up, in his native land, Brazil. This was the genesis of the six chapters of DIARY, each an hour long, which were filmed in the course of the decade that followed.

Over the years, through the totality of his work, David Perlov’s gaze became our gaze; and this place, this house, where he made his films, became our house, the house to which we return anew whenever we watch DIARY. He was able to transform the biography of the self into the biography of the other, and to transmute his self-portrait into the portrait of the viewer. His cinema, then, is the identity card of us all."

Related Titles of Interest from GME:

 
 

José Val Del Omar Retrospective at Anthology Film Archives, March 16-19th

WATER-MIRROR OF GRANADA (AGUAESPEJO GRANADINO) (1953-55)

WATER-MIRROR OF GRANADA (AGUAESPEJO GRANADINO) (1953-55)

Anthology Film Archives will be exhibiting the films of José Val del Omar in their programmed retrospective "Distant Touch: José Val del Omar: A Retrospective" from March 16th through March 19th. GME sells the DVD publication of the complete works of Val Del Omar for North American institutional sales.

http://anthologyfilmarchives.org/film_screenings/series/46998

GME DVD Distribution – Spring 2017 Releases

With the spring academic season now underway, Gartenberg Media Enterprises is pleased to present a new slate of DVD and Blu-ray publications for distribution to the North American academic community. These digital editions are selected from film archives and boutique publishers worldwide, and represent the entire breadth and depth of moving image history. This current slate of moving image works extend from BEHIND THE DOOR (1919), producer Thomas H. Ince’s World War I era drama of patriotism and revenge, through to the latest experimental “psychoactive” films of Chinese artist Sandy Ding (DREAM ENCLOSURE, 2011-2014).

 
 

Legendary producer Thomas H. Ince and director Irvin V. Willat made this—“the most outspoken of all the vengeance films” according to film historian Kevin Brownlow—during the period of World War I-inspired American patriotism.

Hobart Bosworth stars as Oscar Krug, a working-class American, who is persecuted for his German ancestry after war is declared. Driven by patriotism, Krug enlists and goes to sea. However, tragedy strikes when his wife (Jane Novak) sneaks aboard his ship and is captured following a German U-boat attack. Krug’s single-minded quest for vengeance against the sadistic German submarine commander (played with villainous fervor by Wallace Beery) leads to the film’s shocking and brutal climax.

This newly restored edition, produced by Flicker Alley, represents the most complete version of the film available since 1919, thanks to the collaboration of the San Francisco Silent Film Festival, the Library of Congress, and Gosfilmofond of Russia.

 
 

In order to enrich the selection of Film History & Documentaries, GME is especially proud to offer a new DVD line recently launched by the Cinemateca Portuguesa, JORNAL PORTUGUÊS and MARGOT DIAS: ETHNOGRAPHIC FILMS 1958-1961.

The newsreel series JORNAL PORTUGUÊS (1938-1951) was conceived and employed as part of the propaganda machinery of Salazar's regime. Screened in cinema theatres prior to the main feature film, each issue of JORNAL ran approximately ten minutes in length and covered a variety of official government acts, national political news, major sports events and other assorted social and cultural affairs. JORNAL PORTUGUÊS is not only and indispensable document for the history of Estado Novo's propaganda, but also an unparalleled audiovisual archive of 1940s Portugal. Moreover, for students of the documentary, this comprehensive catalogue of each issue of JORNAL PORTUGUÊS provides a fascinating contrast with the American newsreel series THE MARCH OF TIME (1935-1951). The differing national attitudes about the impending World War, its duration, and aftermath are especially notworthy in this regard.

Between 1958 and 1961, the anthropologist Margot Dias (1908-2001) shot 28 films in Mozambique and Angola, which belong to the Film Archive of the National Museum of Ethnology (Museu Nacional de Etnologia). These films were made within the "study Missions on the Ethnic Minorities of the Portuguese Overseas Territories" headed by Jorge Dias and represent one of the first uses of ethnographic film within Portuguese anthropological studies.

This DVD edition entitled MARGOT DIAS: ETHNOGRAPHIC FILMS 1958-1961 includes all the films shot within those fieldwork campaigns and a soundtrack composed from Margot Dias's own field recordings. The identification and thematic organization of the films, as well as the soundtrack is the work of Catarina Alves Costa. Also included, as a bonus feature, is a previously unreleased interview with Margot Dias, held in 1996 by Joaquim Pais de Brito, former director of the National Museum of Ethnology.

 
 

GME’s offerings of Experimental Narratives from the 1960’s are especially strong. In this vein, we now offer two new DVD editions (published by Re:Voir): UNDERGROUND NEW YORK and ICI ET MAINTENANT (HERE AND NOW). UNDERGROUND NEW YORK provides a rare behind-the-scenes view of the exploding New York “underground” in the late sixties, a turbulent time and place that was to change American culture forever, and ICI ET MAINTENANT (HERE AND NOW) takes a more dreamlike approach in depicting the adventures of a post May ’68 Parisian wanderer.  

In UNDERGROUND NEW YORK, a German TV crew, led by journalist Gideon Bachmann, explores the epicenter of the sixties revolution in art, music, poetry and film and interviews the main players in the New American Cinema movement that was born on the streets of New York. Against a backdrop of cultural upheaval in all of the arts and growing political agitation against the Vietnam War, Bachman interviews the most prominent figures in underground film, including Jonas Mekas, Shirley Clarke, the Kuchar Brothers and Bruce Connor, and visits the most notorious location in the New York art world of the era - Andy Warhol’s Factory - to conduct an interview with the genius of Pop Art himself.

In 1968, Serge Bard made three films in a row. They were DETRUISEZ-VOUS (DESTROY YOURSELF), FUN AND GAMES FOR EVERYONE and finally, ICI ET MAINTENANT (HERE AND NOW). It was photographed in striking black and white by cinematographer Henri Alekan (who also shot Cocteau’s LA BELLE ET LA BÊTE). In the laboratory, the director and cinematographer had the film flashed so as to create a high-contrast, grainy, abstract and luminous image when projected onscreen.  

Shot primarily in long takes on the Pointe du Raz in Brittany, ICI ET MAINTENANT (HERE AND NOW) according to fellow filmmaker Patrick Deval, “consists of the dreams of the solitary rambler, post-revolution... The moralist has given up on chaos; he takes his own pulse; he listens to the world, perhaps vibrating with it; he is in sympathetic ecstasy. The filmmaker holds his position, stiff as the statue of the commander, on alert for the phenomena which approach him; he resembles the lighthouse whose rectitude Bard captures magnificently, on an ink-dark night, with its hallucinatory lamp set against a background of winds and tides."

 
 

The Diary Film was a significant form that has run throughout the history of American independent cinema, and whose major practitioner has been filmmaker Jonas Mekas. GME is therefore pleased to add HE STANDS IN A DESERT COUNTING THE SECONDS OF HIS LIFE to other boxed set editions of Mekas’s other diary films THE MAJOR WORKS and THE SIXITES QUARTET. Shot between 1969 and 1985, the  film consists of 124 brief sketches, each half-a-minute to about two minutes long. According to Mekas, these are “Portraits of people I have spent time with, places, seasons of the year, weather (storms, snow, blizzards etc...) many of my film-maker friends- streets and parks of New-York- brief escape in nature, out of town- nothing spectacular, unimportant celebrations of life that has gone, by now, and remains only as a record in these personal, brief sketches."

With David Perlov’s DIARY, GME is proud to expand its international offerings to include Israeli cinema, that we herewith release as a Diary Film complement to the aforementioned works by Jonas Mekas. Perlov had worked in Paris with the great documentarist, Joris Ivens, and he brought to Israeli film the personal, experimental tradition of the documentary cinema.

According to Uri Kelin, "At the center of Perlov’s work is the gaze:…the gaze through the window of Perlov’s house, which gave rise to his most important work, and the most important film in the history of Israeli cinema, DIARY; his gaze at the surroundings close to his home in Tel Aviv, and his recurring gaze at Paris, where he spent a few years in the 1950s, and at Sao Paolo, the city in which he grew up, in his native land, Brazil. This was the genesis of the six chapters of DIARY, each an hour long, which were filmed in the course of the decade that followed.

Over the years, through the totality of his work, David Perlov’s gaze became our gaze; and this place, this house, where he made his films, became our house, the house to which we return anew whenever we watch DIARY. He was able to transform the biography of the self into the biography of the other, and to transmute his self-portrait into the portrait of the viewer. His cinema, then, is the identity card of us all."

 
 

GME is also pleased to present for the first time, experimental filmmaking work from China (Sandy Ding) and the Netherlands (Studio één).      

Sandy Ding is an experimental filmmaker who lives and works in Beijing, China. He graduated from CalArts in 2007 and started teaching in China Central Academy of Fine Arts in 2008. This DVD edition entitled PSYCHOECHO brings together (including the bonus tracks), 7 moving image works that the filmmaker created in the United States, and later China, as well as an original “noise music” piece. This DVD is accompanied by a booklet that provides extensive insight into the artist’s concept of pyscho-active films.

As a modern proponent of the postwar American "trance film" he produced psycho-active films with the idea of combining ritual processes in both projection and sound. His work is centered on energy patterns, telling mysteries through abstractions or powerful symbolic elements. He is equally interested in live performance of theater projections, installations and live noise music in order to enlarge the concept of experimental film. 

The  DVD publication entitled STUDIO EEN: EXPERIMENTAL FILMS FROM THE LOWLANDS includes works of various Dutch artists who had a main role in the early years of Studio één, from 1992 to 1996. The accompanying booklet contains a statement by each of the filmmakers.  

At the end of the 1980s, many artistic, avant-garde, underground and counterculture movements seemed to be over. The rise of video and its academic use began to compete with Super8. To work against the decline of the Super 8 format and techniques, Karel Doing and two of his friends (Saskia Fransen and Djana Mileta) from the art school in Arnhem, started to think about creating a new space and promoting the invention of DIY techniques for filming and processing Super8 films.

In this particular context, Studio één was launched. They bought optical printers from a professional laboratory that was set to shut down and started to learn by themselves, out of necessity, how to process film. It wasn't long before Studio één became well-known in DIY film circles and began to host various artists who come to meet each other, not only to exchange ideas and work together on the use of Super8 or 16mm, but also to experiment with diverse narrative and sound forms. Some members, Joost Rekveld for example, chose to pursue a career as a musician as well as a filmmaker. After 7 years in Arnhem, Studio één moved to Rotterdam where it continued to thrive. It became a model for many artists in creating their own laboratories, research centers and studios dedicated to experimental cinema.  

GME also continues with the release of films by key experimental artists from France. Christian Lebrat, born in 1952 in Paris, is an internationally acclaimed artist with a career spanning four decades. He is a filmmaker, video artist, performance artist and photographer, as well as a publisher, curator and writer. In 1985 he founded Paris Expérimental, a publishing company entirely devoted to publishing theoretical and historical texts on avant-garde and experimental cinema.

This DVD edition entitled VIBRATIONS, brings together 9 key moving image works created by the filmmaker over a ten-year period (1976-1985). Each film focus on an aspect of his experimentation with the use of color in cinema. The publication is accompanied by a 39-page booklet that includes an artist’s statement; an interview with the filmmaker by Vincent Deville & Émeric de Lastens, in which Lebrat provides detailed explanations about his strategy in creating each film; and a filmography.

According to the filmmaker, “My interest in color perhaps started with an exhibition that I saw.  I had always been very interested in painting. One of the greatest emotions I’ve ever felt was in 1972, when I saw the Mark Rothko retrospective at the Grand Palais. That day – I still remember – I spent two hours in a single room of the exhibition, where there were four immense paintings that overwhelmed me with color; I was completely dumbstruck – transformed, even – by the contact I had with these works.  It was then that I discovered the power of color.”

Warren Sonbert Retrospective Presented By The Center For Contemporary Art (Tel Aviv, Israel) – Begins February 14, 2017 Curated by Chen Sheinberg and Jon Gartenberg

Gartenberg Media Enterprises is pleased to announce a retrospective of Warren Sonbert’s films, for the first time extensively paired together with those of Hollywood filmmakers of the postwar years, including Douglas Sirk, Alfred Hitchcock, Vincente Minnelli, Nicholas Ray, and Michael Gordon. 

Warren Sonbert with his Bolex Camera.

Warren Sonbert with his Bolex Camera.

Six programs will be screened at the Cinematheques in both Jerusalem and Tel Aviv. This series has been co-curated by Chen Sheinberg and Jon Gartenberg, and is presented by the Center for Contemporary Art in Tel Aviv, with the support of the Ostrovsky Family Fund. Before the first screenings (on February 14 and 15), Jon Gartenberg will give an introduction to Warren Sonbert’s work. Chen Sheinberg will introduce the screenings that follow in the coming months.

Click here for the Program Brochure

 
[Note to reader:  The Hebrew version begins from the top down, and the English version from the bottom up].

[Note to reader:  The Hebrew version begins from the top down, and the English version from the bottom up].

 

https://cca.org.il

Sheinberg explains the genesis of this series:

VERTIGO (Alfred Hitchcock, 1958)

VERTIGO (Alfred Hitchcock, 1958)

“Two years ago, OFF 4 series explored various facets of the interrelations and mutual influences between Hollywood and the cinematic experimental avant-garde from the 1920s to our own time in terms of cinematic expression, visual aesthetics and themes. Following the success of that series, and as I kept researching this theme, Vivian Ostrovsky called my attention to one of the seminal figures in American experimental filmmaking – Warren Sonbert. Having discussed it, we decided to focus this time on this specific filmmaker and examine his relationship to classic postwar Hollywood cinema. Ostrovsky referred me to Jon Gartenberg, a world expert on Sonbert’s cinema, who served for 18 years as a curator in the film archive of The Museum of Modern Art in New York and as the experimental film programmer for the Tribeca Film Festival, and has been working for years on archiving and preserving the cineaste’s work and curating retrospectives of his films in many major museums and cinematheques all over the world.

For OFF 5, we came up with a program that connects Sonbert’s films with Hollywood cinema, and especially with innovative Hollywood auteurs who experimented with the medium and explored it, such as Douglas Sirk, Alfred Hitchcock, Vincente Minnelli and Nicholas Ray – all of them directors that also inspired European modernist cinema. Based on the films’ formal, stylistic and thematic elements, the connection we draw between them is also associative at times. It is important to mention right from the outset that Sonbert was influenced by these directors as well as wrote articles on some of them. In addition, we have included in the series other American experimental filmmakers like Kenneth Anger and Jeff Scher, as well as Soviet documentarist Dziga Vertov, in order to point to the influence these filmmakers and their avant-garde films had on Sonbert’s films.”

For further information about Warren Sonbert’s films, please see:
GME Programming & Curating: Warren Sonbert Retrospective

All Sonbert Photographs, © The Estate of Warren Sonbert

"The Films of Dziga Vertov" at Anthology Film Archives from Saturday, February 11 through Monday, February 12

Anthology Film Archives will be showing "The Films of Dziga Vertov" as part of its Essential Cinema Repertory program from Saturday, February 11 through Monday, February 12. GME sells DVDs for all of these films for North American institutional sales, which includes KINO-EYE; FORWARD, SOVIET; A SIXTH OF THE WORLD; THE ELEVENTH YEAR; MAN WITH A MOVIE CAMERA; ENTHUSIASM, and THREE SONGS ABOUT LENIN.

ENTUZIAZM (1930)

ENTUZIAZM (1930)

“The film drama is the Opium of the people…down with Bourgeois fairy-tale scenarios…long live life as it is!” – Dziga Vertov

http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=2&year=2017#showing-46870

Waren Sonbert's CARRIAGE TRADE at Anthology Film Archives, February 2, 2017 at 8:30

Waren Sonbert's CARRIAGE TRADE will be playing as part of the Essential Cinema Repertory program at Anthology Film Archives. It will be screening one night only on Friday, February 3rd at 8:30pm.

“With CARRIAGE TRADE, Sonbert began to challenge the theories espoused by the great Soviet filmmakers of the 1920s; he particularly disliked the ‘knee-jerk’ reaction produced by Eisensteinian montage. In both lectures and writings about his own style of editing, Sonbert described CARRIAGE TRADE as ‘a jig-saw puzzle of postcards to produce varied displaced effects.’ This approach, according to Sonbert, ultimately affords the viewer multi-faceted readings of the connections between shots through the spectator’s assimilation of ‘the changing relations of the movement of objects, the gestures of figures, familiar worldwide icons, rituals and reactions, rhythm, spacing, and density of images.” 

– Jon Gartenberg