I was a punkish young film critic for the Chicago Reader when I saw, and loved, Robert Zemeckis’s first feature film, I Wanna Hold Your Hand, in 1978. Almost 40 years later, I’m now a mature, mostly respectable curator in MoMA’s Department of Film, and I’m still a devoted Zemeckis fan
Posts in ‘Film’
In recent weeks, filmmakers featured in the series Films from Here: Recent Views from the Arab World have been sending me their thoughts on their films (which we will be sharing on MoMA’s social media channels).
There is an old-fashioned expression about “honor among thieves.” What does this mean exactly? Perhaps this group swears an oath that no one criminal will interfere in the nefarious actions of another? If the question leaves you flummoxed, be sure to see the 1932 film Trouble in Paradise for an enjoyable resolution.
In conjunction with </i>Scorsese Collects</a>, an exhibition of selections from the Scorsese Poster Collection, MoMA’s Department of Film has organized </i>Scorsese Screens</a>, featuring films represented in the poster exhibition along with some of the Scorsese titles they influenced.
Long before The Museum of Modern Art Department of Film was so named, it was called the Film Library. The entity to be known as the Film Library was officially announced on June 27, 1935, and on July 2 The Museum of Modern Art Film Library Corporation was formalized with documents signed by trustees A. Conger Goodyear, John Hay Whitney, and Nelson A. Rockefeller.
A sense of place pervades the work of British artist Shezad Dawood, but we’re not talking about your picture-postcard nostalgia. Dawood’s first feature film, Piercing Brightness, is at the surface a stylized science-fiction tale, but it could equally be read as a public artwork of sorts.
The discovery of new artists and the rediscovery of established ones are key components of curatorial work. An exhilarating part of curatorial work is the ability to be something of a cultural archeologist and bring to the fore an artist whose work has been consigned to the past due to changing critical taste, shifts in technology, and the demands of motion picture economics. As a longtime Fox Films contract director, Hamilton MacFadden (American, 1901–1977) is indeed worthy of thoughtful rediscovery.
At its core, New Directors/New Films celebrates the unexpected and cutting-edge in movie making, and the 16 short films in this year’s festival offer plenty of excitement about the future of the medium.
A notable amount of these short films experiment with modes of storytelling, at times eschewing dialogue-driven narratives altogether.
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