GME News
Light Industry presents an evening devoted to Lis Rhodes, occasioned by “Telling Invents Told”, a new collection of her writings published by The Visible Press and edited by María Palacios Cruz. Rhodes was one of the key figures to emerge from the London Film-Makers’ Co-operative in the 1970s. In her films the site of female subjectivity is analyzed like a crime scene.
Read MoreIt is stupid to treat Charlie as a clown of genius. If there had never been a cinema he would undoubtedly have been a clown of genius, but the cinema has allowed him to raise the comedy of circus and music hall to the highest aesthetic level. Chaplin needed the medium of the cinema to free comedy completely from the limits of space and time imposed by the stage or the circus arena. The best Chaplin films can be seen over and over again with no loss of pleasure – indeed the very opposite is the case.
Read MoreBradley Eros’ MovieHeadBox is a quasi-readymade, DIY, democratized version of a VR headset for the personal, immersive and concentrated experience of cinema. GME president Jon Gartenberg was on hand at Microscope Gallery recently to try it out.
Read MoreWerner Schroeter’s only U.S. production, WILLOW SPRINGS (1973) and Jean-Marie Straub & Danièle Huillet’s CLASS RELATIONS (KLASSENVERHÄLTNISSE) (West Germany, 1984) among the most incisive observations about the United States have been made by those born beyond its shores. In these films, and others in this series, one encounters many Americas, perspectives on a nation that reveal the peculiarities of its customs, the drama of its natural splendor, and the lacerating contradictions of its political mythologies.
Read MoreMaya Deren, the godmother of the American avant-garde, created trance-state explorations of consciousness, movement, the body, and nature rooted in the dream logic of surrealism and awash in unforgettably uncanny images. From the time-and space-collapsing psychodrama of her forever influential debut MESHES OF THE AFTERNOON to the mesmerizing dance film RITUAL IN TRANSFIGURED TIME, these profoundly personal landmarks of experimental film showed that cinema could be a direct conduit to the unconscious mind. Plus David Lynch’s neo-noir freak-out MULHOLLAND DRIVE.
Read More“Shot in fits and starts on a minuscule budget, MYSTERIOUS OBJECT AT NOON was modeled on the Exquisite Corpse add-an-element structure famous from French surrealism, in which drawings or texts are passed from person to person to elaborate upon, with the original materials hidden so that each addition does not adhere in any “logical” or predetermined way, resulting in a collective, randomly assembled piece (Hail Duchamp).”
– James Quant, "Mysterious Object at Noon"
Read MoreIn a moving video letter to curator John Hanhardt, LETTER TO JOHN FROM JONAS (1999), in which he stresses the need for Anthology Film Archives to resist the option of merging with the Guggenheim Museum, Jonas Mekas discusses the shift away from Anthology's role as the sole preservationist of experimental cinema, and, by example, the important work of Jon Gartenberg’s preservation of Warren Sonbert’s estate following Sonbert’s untimely death in 1995.
Read MoreAuthor Dominic Smith (“The Last Painting of Sara de Vos”) at once rediscovers and reinvents the formerly lost single-frame animation classic The Electric Hotel by Segundo de Chomón, Spain’s answer to France’s renowned Lumiere brothers, the early kings of silent cinema.
Read MoreLearn more about 2019 Il Cinema Ritrovato – DVD Awards recipients L'ENFANT SECRET (Philippe Garrel) and THE MAN WHO CHEATED HIMSELF (Felix E. Feist) currently offered by GME.
Read MoreHugh Bell was of St. Lucian ancestry, and quite a number of his photographs focused on his Afro-Caribbean roots.
Read MoreGartenberg Media Enterprises is a full-service company dedicated to the excavation, repurposing and distribution of library assets in film, television, photographic and print media.
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