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Freeman Auditorium Tulane University New Orleans
New Orleans, Louisiana 70118
In conjunction with our exhibition, «Unfamiliar Again: Contemporary Women Abstractionists,» Newcomb Art Museum will host a screening of several short films by influential directors, including Maya Deren, Germaine Dulac, and Joyce Wieland.
About the directors:
Maya Deren was a Russian-American filmmaker and one of the most important American experimental filmmakers and entrepreneurial promoters of the avant-garde in the 1940s and 1950s. Deren believed the function of film was to create an experience; each one of her films would evoke new conclusions, lending her focus to be dynamic and always-evolving. She combined her interests in dance, Haitian Vodou and subjective psychology in a series of surreal, perceptual, black and white short films. Using editing, multiple exposures, jump cutting, superimposition, slow-motion and other camera techniques to her fullest advantage, Deren creates continued motion through discontinued space, while abandoning the established notions of physical space and time, with the ability to turn her vision into a stream of consciousness.
Germaine Dulac was a French filmmaker, film theorist, journalist and critic. She was born in Amiens and moved to Paris in early childhood. A few years after her marriage she embarked on a journalistic career in a feminist magazine, and later became interested in film. With the help of her husband and friend she founded a film company and directed a few commercial works before slowly moving into Impressionist and Surrealist territory. She is best known today for her Impressionist film, La Souriante Madame Beudet («The Smiling Madam Beudet», 1922/23), and her Surrealist experiment, La Coquille et le Clergyman («The Seashell and the Clergyman», 1928). Her other important experimental films include several shorts based on music: Disque(s) 957 (1928/29; based on Chopin) and Thème et variations (1928/29; classical music), and others from the same period.
Joyce Wieland was a central figure in Canadian art during the 1960s and 1970s. Though, she began her career as a painter, her work came to explore a wide range of materials and media, including film. Her art was often infused with humour, even as it engaged with issues of war, gender, ecology, and nationalism. Internationally, Wieland is best known as an experimental filmmaker whose work challenged and bridged boundaries among avant-garde film factions of her time. Her works introduced physical manipulation of the filmstrip that inscribed an explicitly female craft tradition into her films while also playing with the facticity of photographed images. Wieland's output was small but received considerable attention in comparison to other female avant-garde filmmakers of her time. As both a gallery artist and a filmmaker, Wieland was able to cross over between those realms and to garner attention and support in both worlds.
The screening is free and open to the public. Contact Tom Friel at [email protected]
The museum will be open from 6 to 7 prior to the screening.
*These films will be presented as digital transfers not celluloid