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SUMMARY:UCLA AMIA Student Chapter Takeover! Avant-garde Animation
DESCRIPTION:Visit the UCLA Film & Television Archive website to learn more 
 about upcoming screenings and events.\n\nFree admission. No advance 
 reservations. Your seat will be assigned to you when you pick up your 
 ticket at the box office. Seats are assigned on a first come\, first served 
 basis. The box office opens one hour before the event.\n\nIn person: 
 Introduction by UCLA AMIA Student Chapter members Clare Britton and Molly 
 Regan.\nGuest speaker\n\nAvant-garde cinema represents films that are 
 experimental or innovative\, typically rejecting traditional narrative 
 structures while exploring abstract concepts and emphasizing visual and 
 aural elements. Avant-garde animation often utilizes techniques that 
 abstract form\, defy continuity and emphasize musicality.\n\nProgrammed by 
 Molly Regan. Notes written by Clare Britton and Molly Regan.\n\nScreening 1 
 of 3\n\nFreight Yard Symphony\n\nYear: 1963\nCountry: U.S.\nLanguage: 
 English\nRuntime: 6 min.\n16mm: Color\n\nCreated during his time at the 
 UCLA Animation Workshop\, Robert Abel’s Freight Yard Symphony presents a 
 sensorial impression of a commercial rail yard\, in which the destruction 
 of semiotics makes way for a new language of rhythm\, where alphabetical 
 and numerical language indicators become purely textural amongst the 
 frenzied jazz score. Using photo collage and paper craft\, Abel’s early 
 modernist work showcases the immense talent of this future pioneer of 
 visual effects.\n\nDirector: Robert Abel.\n\nScreening 2 of 
 3\n\nChoreography for the Copy Machine (Photocopy Cha Cha)\n\nYear: 
 1991\nCountry: U.S.\nLanguage: English\nRuntime: 4 min.\n16mm. Color.\n\nIn 
 Chel White’s Choreography for the Copy Machine (Photocopy Cha Cha)\, 
 machine and human attempt to understand each other’s dissonant identities 
 through the glass-plate barrier of a photocopy machine. This barrier\, 
 reminiscent of zoo or aquarium glass windows\, distorts and abstracts to 
 create a half-truth. Chel White straddles the line between sensual and 
 grotesque representations of the human body\, juxtaposed with the mundane 
 artifacts that scaffold daily life\, such as keys\, currency\, tools and 
 playing cards.\n\nDirector: Chel White.\n\nPrint courtesy of the Sundance 
 Collection at the UCLA Film & Television Archive.\n\nScreening 3 of 
 3\n\nThe Science of Sleep\n\nYear: 2006\nCountry: France/Italy\nLanguage: 
 French with English subtitles\nRuntime: 106 min.\n35mm. Color.\n\nMichel 
 Gondry’s The Science of Sleep synthesizes live action and animation to 
 emphasize dissatisfaction with reality\, and the lure of imagination. Made 
 in the age of CGI pipelines overwhelmingly contributing to special effects 
 in the future film industry\, Gondry’s trademark whimsical style 
 prioritizes practical effects\, taking a minimal approach to visual 
 effects. Blurring the lines between real life and fantasy\, this film 
 invites us to experience the impossible.\n\nDirector: Michel Gondry. 
 Screenwriter: Michel Gondry. With: Gael García Bernal\, Charlotte 
 Gainsbourg\, Mioux-Mioux.\n\nPrint courtesy of the Sundance Collection at 
 the UCLA Film & Television Archive.
LOCATION:Billy Wilder Theater\, UCLA Film & Television Archive
ORGANIZER;CN="Jae Nguyen":MAILTO:nguyj@g.ucla.edu
CATEGORIES:Screening
CONTACT;CN="Jae Nguyen":MAILTO:nguyj@g.ucla.edu
STATUS:CONFIRMED
UID:LibCal-16460648
URL:https://calendar.library.ucla.edu/event/16460648
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