BEGIN:VCALENDAR VERSION:2.0 PRODID:-//Springshare//LibCal//EN CALSCALE:GREGORIAN METHOD:PUBLISH X-WR-TIMEZONE:America/Los_Angeles X-PUBLISHED-TTL:PT15M BEGIN:VEVENT DTSTART:20260531T055500Z DTEND:20260531T062500Z DTSTAMP:20260530T000000Z SUMMARY:The Computer-Laser-Videos of Raphael Montañez Ortiz DESCRIPTION:Visit the UCLA Film & Television Archive website to learn more about upcoming screenings and events.\n\nFree admission. No advance reservations. Ticketing is on a first come\, first served basis. Seats will not be assigned.\n\nIntroduction by UCLA Distinguished Professor Chon Noriega\, School of Theater\, Film and Television\, and Processing Conservator Yesenia Perez.\n\nCo-presented by the UCLA Chicano Studies Research Center.\n\nWorld Premiere of New Preservations\n\nIn his piece Destructivism: A Manifesto (1962)\, artist and filmmaker Raphael Montañez Ortiz states: “The art that utilizes the destructive processes will purge\, for as it gives death\, so it will give to life.” A key figure in the Destruction in Art movement of the 1960s\, Ortiz is best known for his object-based work and performance art\, most notably his piano destruction concerts. However\, his expansive oeuvre of time-based media art also merits revisiting. Ortiz experimented with film starting in the late 1950s\, creating found-footage films that deconstruct/reconstruct conventional Hollywood\, newsreel and instructional films as a means of combating the xenophobia\, classism and repression manifested within them.\n\nDecades later\, Ortiz revisited this practice of partition and random reassembly\; 1984 to 1997 was a fruitful period resulting in over 50 works Ortiz termed “computer-laser-videos.” The rise of consumer video formats and new technologies brought renewed opportunities for deconstruction — this time\, in a realm that merged analog and digital. These videos were made by using films on laserdiscs (mainly titles from the 1930s to 1940s)\, selecting segments ranging from one to 10 seconds\, editing and distorting clips via computer\, and using joysticks to move footage back and forth at various speeds. Once it was finalized\, Ortiz would transfer the footage to 3/4 in. videotape. This practice resulted in a new visual landscape of disjointed movement that was further heightened by the use of a wave-form generator to alter sound\, creating a cacophony of words\, music and disembodied noises. In expanding the length of these clips\, Ortiz dissects and scrutinizes the whiteness\, hegemony and gendered behaviors presented on-screen\, reconstructing them as satire\, performativity and artifice.\n\nThese four selected works are Ortiz’s final computer-laser-videos\, marking a significant point in his career as an interdisciplinary artist and pioneer of the Destructivism movement.—Yesenia Perez\n\nScreening 1 of 4\n\nThat's Too Much\n\nYear: 1996\nCountry: U.S.\nLanguage: Swedish with English subtitles\nRuntime: 6 min.\nDigital. B&W.\n\nDCP. Director: Raphael Montañez Ortiz. Source: Dollar (1938)\, directed by Gustaf Molander.\n\nPreservation funding provided by the Andrew W. Mellon Foundation. Digitally preserved by the UCLA Film & Television Archive and UCLA Chicano Studies Research Center from the director’s Betacam master. Laboratory services by The MediaPreserve. Special thanks to Raphael Montañez Ortiz\, Chon Noriega.\n\nScreening 2 of 4\n\nRing Ring Ragtime\n\nYear: 1996\nCountry: U.S.\nLanguage: Italian with English subtitles\nRuntime: 12 min.\nDigital. B&W and color.\n\nDCP. Director: Raphael Montañez Ortiz. Sources: unidentified Italian film\, undated footage from the Olympics.\n\nPreservation funding provided by the Andrew W. Mellon Foundation. Digitally preserved by the UCLA Film & Television Archive and UCLA Chicano Studies Research Center from the director’s Betacam master. Laboratory services by The MediaPreserve. Special thanks to Raphael Montañez Ortiz\, Chon Noriega.\n\nScreening 3 of 4\n\nBusy Bodies\n\nYear: 1997\nCountry: U.S.\nRuntime: 9 min.\nDigital. B&W and color.\n\n\n\n\nDCP. Director: Raphael Montañez Ortiz. Sources: A Night at the Opera (1935)\, directed by Sam Wood\; Gone With the Wind (1939)\, directed by Victor Fleming.\n\nPreservation funding provided by the Andrew W. Mellon Foundation. Digitally preserved by the UCLA Film & Television Archive and UCLA Chicano Studies Research Center from the director’s Betacam SP master. Laboratory services by The MediaPreserve. Special thanks to Raphael Montañez Ortiz\, Chon Noriega.\n\nScreening 4 of 4\n\nIt's Coming Up\n\nYear: 1997\nCountry: U.S.\nRuntime: 5 min.\nDigital. B&W and color.\n\n\n\n\nDCP. Director: Raphael Montañez Ortiz. Sources: unidentified exercise video\, c. 1930s\; The Bride of Frankenstein (1935)\, directed by James Whale\; unidentified footage of a volcano eruption.\n\nPreservation funding provided by the Andrew W. Mellon Foundation. Digitally preserved by the UCLA Film & Television Archive and UCLA Chicano Studies Research Center from the director’s Betacam SP master. Laboratory services by the UCLA Film & Television Archive. Special thanks to Raphael Montañez Ortiz\, Chon Noriega.\n\n\n\n\n\n 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-16741761 URL:https://calendar.library.ucla.edu/event/16741761 X-MICROSOFT-CDO-BUSYSTATUS:BUSY BEGIN:VALARM TRIGGER:-PT15M ACTION:DISPLAY DESCRIPTION:Reminder END:VALARM END:VEVENT END:VCALENDAR