Like its predecessor, HOW TO BE A HOMOSEXUAL PART II sees Roger Jacoby fuse his distinctive hand-processed visual style with a newfound political consciousness. This film in particular, made shortly following Jacoby’s HIV diagnosis, exemplifies the adage “the personal is political.” It is undoubtedly his most intimate and moving work.
Read More”HOW TO BE A HOMOSEXUAL began, said Jacoby, as ‘excerpts from a compilation journal work begun in 1979. It is an ironic title — there's nothing sexually explicit about the film.’ But the film is richly sensual... In every scene, the emulsion captures the images, enhances, then betrays, overpowers and destroys them, as the patterns and color reshape the filmed reality into a different landscape.” —Kathleen Tyner, Cinematograph
Read More"In L'AMICO FRIED'S GLAMOROUS FRIENDS, which is built around a pas de deux by Ondine and Sally Dixon... the relationship to traditional dramatic narrative is rather obvious; the actors are in well-defined roles and are recognizable in them, and the films are as such accessible. More or less. And it is this more or less quality in which I am most interested; because the drama isn't the main object of his presentation, rather a component in Jacoby's total formal approach to film." —Carmen Vigil, Museum of Modern Art program notes, Field of Vision
Read MoreOndine and Sally Dixon “star” as ecstatic 19th century lovers in Roger Jacoby’s first home-processed film. Nickelodeon imagery, school children of Pittsburgh and the Pittsburgh Botanical Conservatory are seen throughout.
Read MoreGartenberg Media is pleased to present Ernst Lubitsch's landmark work of German silent cinema, 1922's THE LOVES OF PHARAOH, as a Digital Site License, now available to North American academic institutions. To inquire about purchasing this title for institutional use, please contact sales@gartenbergmedia.com.
Read MoreIn 2008, GME President Jon Gartenberg programmed Paula Gaitán’s experimental documentary DAYS IN SINTRA at the Tribeca Film Festival. 18 years later, GME is pleased to distribute Gaitán’s landmark film as a Digital Site License to academic and cultural institutions in the United States.
Read MoreCurator Jon Gartenberg writes: “In FRIENDLY WITNESS, Sonbert returned, after 20 years, to sound. In the first section of the film, he deftly edits a swirling montage of images — suggestive of loves gained and love lost — to the tunes of four rock songs. “At times the words of the songs seem to relate directly to the images we see... at other times words and images seem to be working almost at cross-purposes or relating only ironically. Similarly, at times the image rhythm and music rhythm appear to dance together, while at others they go their separate ways.” (Fred Camper).”
Read MoreWarren Sonbert’s THE CUP AND THE LIP screened in the 1987 Whitney Biennalie, where it was described as “continu[ing] his series of cinematic diaries, composed of sequences and shots recorded during his travels. One of his most striking color films, THE CUP AND THE LIP portrays people at ease as private individuals and at attention as representatives of state. Although personal in tone, it is a political text with mediates on the nature of authority.”
Read MoreWarren Sonbert described his 1976 polyvalent montage film RUDE AWAKENING as being “about Western civilization and its work; activity ethic and the viability of performing functions and activities.”
Read MoreGartenberg Media Enterprises is pleased to announce our distribution of the films of Pierre Clémenti as new 2K digital restorations to North American academic institutions. Though best known as an actor, Clémenti's directorial work constitutes a fascinating and long overlooked chapter in 1960s avant-garde film history.
Read MoreWarren Sonbert considered CARRIAGE TRADE (1973) his “magnum opus.” In this film, Sonbert interweaves footage taken from his journeys throughout Europe, Africa, Asia, and the United States, together with shots he removed from the camera originals of a number of his earlier films.
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