The Future of the Past

The Art and Philosophy of Film Preservation

UCSB Pollock Theater

Wednesday, Oct 10, 7pm


Metropolis

January 15, 7–10pm

The Hoodlum

January 22, 7–10pm

Sparrows with Live Music

February 10, 3–6pm
Lawrence of Arabia February 26, 7–11pm Wild River March 12, 7–10pm>





Andy Warhol Film Series


Warhol Screen Tests

UCSB Pollock Theater

Wednesday, Oct 10, 7pm


Andy Warhol's Screen Tests were filmed from early 1964 - November 1966. Although the short films became known as Screen Tests, they were originally conceived as film portraits - portraits done on film rather than canvas.  

Double Feature: "Kiss" & "Blowjob"

UCSB Pollock Theater
Wednesday, Oct 17, 7pm


Kiss-(1963) is an experimental film directed by Andy Warhol, which runs 50 minutes and features various couples -- man and woman, woman and woman, man and man -- kissing for 3½ minutes each.

Blowjob-Andy Warhol directs a single 35-minute shot of a man's face to capture his facial expressions as he receives the sexual act depicted in the title.

Chelsea Girls

UCSB Pollock Theater
Wednesday, Oct 24, 7pm


Chelsea Girls is a 1966 experimental underground film directed by Andy Warhol and Paul Morrissey. The film was Warhol's first major commercial success after a long line of avant-garde art films (both feature length and short). It was shot at the Hotel Chelsea and other locations in New York City, and follows the lives of several of the young women who live there, and stars many of Warhol's superstars.

Lonesome Cowboys

UCSB Pollock Theater
Wednesday, Oct 24, 7pm


Five lonesome cowboys get all hot & bothered at home en the range after confronting Ramona Alvarez and her nurse.


Going Out/Going In:

Immaculate Penetrations and the Wilderness Bleed


Anastasia Hill

Film & Media Studies Graduate Student

Friday, May 18, 1:00-2:30pm
SSMS 2013


The term “psychonaut” is derived from the Greek root “psych” (soul/spirit/mind) and “naúts” (sailor/navigator) and “psychonautic(s)” is used to describe both the subjective effects of altered states of consciousness, and a field of research founded on the exploration and ‘expansion’ of mind through such states.  The materials, technologies, and apparati used as a means of entering into and navigating alternate realms of consciousness form a category I am calling Psychonautic Media. Examples include: chemicals and fungi, sound, sensory deprivation tanks and other neuroperceptual devices, sweat lodges, and the focus of this talk - the wilderness.  The ‘inner media’ experience of ‘higher consciousness’ that the medium incites and mediates constitutes the ‘content’ of the experience - the immersive, interactive image. 


The Archive Effect:

Archival Footage as an Experience of Reception


Jaimie Baron

Visiting Assistant Professor of Film and Media Studies

Friday, April 13, 1:00-2:30pm
SSMS 2135


In the past several decades, “the archive” as both a concept and an object has been undergoing a transformation. Although official photography, film, and television archives still promote their holdings as the most valuable and “authentic,” online databases and private collections threaten to unseat official archives as the primary purveyors of evidentiary audiovisual documents.


Future-Tense Trauma Cinema

[with reference to Cuarón’s Children of Men (2006)].

E. Ann Kaplan

(English, Stony Brook University)

Monday, February 27 / 4:00 PM
McCune Conference Room, HSSB


This paper, part of an ongoing book project, builds on Kaplan’s 2005 Trauma Culture to argue that along with theorizing memories of past atrocities, we need also to explore a select form of futurist imaginaries that have proliferated in the wake of 9/11. As authors of a recent volume put it, it’s essential to consider “the influence of the future—as imagined and desired by individuals and groups—on how the past is remembered, interpreted and dealt with, and vice versa.” Limiting herself to film, Kaplan first defines a new genre, Future-Tense Trauma Cinema, distinct from age-old Science Fiction and Film, and from the related Nuclear Disaster cinema. Using Children of Men as a case-study, Kaplan then theorizes the cultural (subjective and collective) work that futurist fantasies perform, using trauma theory (and psychoanalysis more generally), political theory, Utopian/dystopian discourse, and sociology. As far as time allows, Kaplan will also interrogate concepts (e.g. “trauma,” “dystopia”) on which her argument relies.
Transforming the view of optical illusions from amusing novelty to a basic perceptual competency, optical toys contributed to an early discourse of media literacy that positioned the young viewer as active and agential while simultaneously rendering them subject to the rationalization and discipline of mediated vision.



Seeing Things:

Optical toys and the fashioning of modern media spectatorship

Friday, February 3rd
1:00 pm - 2:30 pm Social Science & Media Studies (SSMS) 2135


Optical toys such as the thaumatrope, phenakistoscope, and zoetrope figure into media history not merely as technological precursors to the cinema, but also as objects implicated alongside a range of cultural practices in the formation of a new modern observer whose vision is both subjective, and subjected to new structures of power related to the emerging industrial order.
Transforming the view of optical illusions from amusing novelty to a basic perceptual competency, optical toys contributed to an early discourse of media literacy that positioned the young viewer as active and agential while simultaneously rendering them subject to the rationalization and discipline of mediated vision.





Slaying Digital Cannibals:

New Media Distribution and The Gatekeepers of Workspace Media

Friday, January 20
1:00 pm - 2:30 pm Social Science & Media Studies (SSMS) 2135


Digital technology has advanced to the point where it is possible to create a replacement for traditional television and film distribution but a variety of economic obstacles ensures that this will never happen. Scholars have largely ignored the role distribution and infrastructure plays in the creation and understanding of popular culture.
This presentation identifies the obstacles on the path of workspace media from its placement on a server through its fiber optic journey to its eventual display on the multiple screens of the workplace. The genres and conventions of workspace media are proof that digital technology is bound by certain material conditions including computer processing power, the software code, and the physical pipes that deliver digital content.




What About Sound!


For one special evening at the Pollock Theater, the art of sound will take center stage. Sound and music in films penetrates our sub-conscious so we can feel exhilaration, sadness, and passion, fear. Sound is an emotional conduit for the artistic vision of the director.

For one night only at the Pollock Theater, Hollywood sound artists will disclose their secrets. We are honored to have Bernard Wesier, sound effects editor of The Hurt Locker, Steve Nelson, production sound mixer, Inception (Tokyo) and Sven Holcomb, sound recording mixer for Jeff Bridges' self titled solo album.

Thursday, Jan 19th
7pm
Pollock Theater, UCSB


Tickets are free and they can be reserved online.

Reserve A Ticket







The body in the swimming pool as metonym for trouble in paradise is a recurrent motif bordering on cliché in West Coast sunshine noir. This talk tracks the passage of the corpse floating face down in the pool across the American imaginary from Southern Gothic to “Sunset Boulevard,” from the “LA Times” news archive to “Weeds” and “Breaking Bad.”

Dick Hebdige
Professor of Film & Media Studies & Art
Friday, December 2, 2011
2:00 – 3:30 pm, SSMS 2135








Pollock Theater, Script to Screen presents an evening with Oscar nominated animator Don Hertzfeldt and his animated stick figure madness. Completing his trilogy, Don?s newest animated 35mm film It's Such a Beautiful Day will screen in conjunction with Everything Will Be Ok, I am so Proud of You and two of his other shorts. Following the screenings, there will be a Q&A with Don Hertzfeldt that will delve deep into his animated psyche.

Wednesday, Nov 30th
7pm
Pollock Theater, UCSB


Tickets are $5 and they can be purchased online.

Purchase A Ticket








Advanced Screening - Tower Heist

Followed by a Q&A with Jeff Nathanson, Screenwriter, UCSB Alumnus who also wrote "Catch Me If You Can" and “The Terminal”

Thursday, OCT 27th
7pm
Pollock Theater, UCSB


Free Tickets available on Monday, October 24th in 2433 SSMS Day-of standby tickets at the Pollock Theater door.

 

Part of the Script to Screen Series






CRITICAL ISSUES Symposium:
Perspectives on Risk


Oct 14 2-5 pm
Professors Wolf Kitler & Colin Milburn
Annenberg Conference Room
SSMS 4315

http://www.criticalissues.ucsb.edu/




Losing Control


Thursday, October 6, 2011
7:00 p.m.
Pollock Theater
UCSB
Free
Download a poster here


Film and Media Studies Colloquium

Social Media,
Youth and the Jasmine Revolution


Friday, October 7, 2011
1-2:30 PM
SSMS Building, Room 2135

Raja Boussedra
Professor of English at the Université de Carthage
Institut Supérieur des Langues de Tunis, Tunisia

 

download the flyer