ARTS The Michigan Daily The avant-gard BY MIKE KUNIAVSKY video/computer artist who is teach- ing the class. le Wednesday, February 7, 1990 marches on Page Almost everyone has seen the stereotype of avant-garde film and experimental filmmakers: people who smash bricks on stage and fry eggs on projectors while keeping their black turtlenecks, goatees and Chuck Taylors clean. After the :show, our stereotype surmises, they all go out back and smoke cloves ,pretentiously while talking about nonretrohemineomoderism and how it's so misunderstood by the lay vmasses. Now it's a law of nature that *anyone who talks like this doesn't know diddly about diddly, much less avant-garde film. Unfortunately, while most of us do know diddly about diddly, avant-garde film has 'been somewhat of a blank spot in party small-talk. Until now. All this semester the Program in Film and Video Studies is presenting a series of avant-garde films. Originally in- -tended for viewing by a class (Film/Video 413, section 2), the films are now going to be shown to the public every Wednesday evening. Rather than having some two-bit ~Daily film writer pontificate on the subject while the cloves smolder in the ashtray and the black turtleneck dries (from having espresso stains removed), it's probably best to hear about this program from the source. Following is an interview with Han- nelore Kober, the German film/ Daily: What is the exact purpose of avant-garde film, why is it im- portant to teach it and why is it there? Kober: I think that it is impor- tant to teach it because it is not that well-known, and it's not like Hol- lywood cinema. In Germany, for in- stance, there are many independent filmmakers who work in other arts and who try to make films which are not like ones in Hollywood. This is necessary because most of the films, most of the long narrative films, are give you any and so the best way to start making films is to make exper- imental films because when you think about the structure of those films it's not necessary to think in the narrative. So people who want to make films and have never made them - usually they are painters or working in the other arts - when they start thinking about film they don't think in terms of "how can I tell a story?" but more like "what is film and what can I do with it?" This, of course, does not just happen to painters, they are people in the performing arts or they're poets, or whatever. You're saying that in its basic premise, avant-garde film is non- narrative? Yeah, it started non-narrative and although it's changing a little bit now, it's still non-narrative. Of course, there have always been films that have some narrative... but it's always experimental, and never the straight narrative of commercial or Hollywood film. That's not the point of it. It's not there to tell a story via film, but to deal with the film as an art medium. All artists develop their ideas and present a lot of things you have to think about, not just on film but on audio, video and computers. They are not just trying to convey-a story, but trying to say more. I noticed that the newest film you show is Michael Snow's So Is This, which is from 1981 or '82. Why don't you show any newer films? In your subjective opinion, hasn't there been anything really important in the last 10 years? I think that So Is This is a very, very important film. It's a milestone in avant-garde film. Which is why I put it in, because you cannot show all of the important films in an overview of the whole history of avant-garde film. There are of course some important films which are missing: I left out the films by the Whitney brothers, or Len Lee...and I left out some very early abstract films, sometimes because some of them are not there anymore, they do not exist. In the end I feel the stu- dents will understand much better what was going on in the beginning and what it was all about when they have seen these early films. So you're concentrating more on the early history of avant-garde than on what's happening right now.... Right. It's because it's always important in order to understand what people are doing now to know what artists in the '20s, '30s, and '40s were doing. Really, it doesn't actually matter where you start, it's just that you start early. It's impor- tant, in order to get in touch with any art, to know the history of that art. You get to know what the art means today or what it could be. Avant-garde film ser February 7 (running time 42 minutes) Man Ray Retour a la Raison (1923) Anemic Cinema (1926) L'Etoile de Mer (1928) Fernand Ldger Ballet Mechanique (1924) February 14 (90 minutes) Dziga Vertov The Man With a Movie Cam- era (1929) February 21.(24 minutes) Oskar Fischinger Programs II and V (1923-1941) February 28 (34 minutes) Stan Brakhage Desistfilm (1954) Blue Moses (1962) Murder Psalm (1981) (room 2520 Frieze) March 14 (60 minutes) Peter Kubelka One Man Show (1954-1977) March 21 (72 minutes) Kurt Kren One Man Show (1960-1968) March 28 (68 minutes) Paul Sharits Wrote Movie/Fluxfilm 29 (1966) Razor Blades (1965-1966) Inferential Current (1971) Malcom LaGrice Castle One (The Lightbulb Film) (1966) After Lumiere (1974) April 4 (80 minutes) Werner Nekes Hurrycan (1979) April 11 (77 minutes) Michael Snow So Is This (1982) Ken Jacobs/Jack Smith/Bob Fleischner Blonde Cobra (1959-1963) April 18 (40 minutes) Tony Conrad The Flicker (1966) Straight and Narrow (1970) April 25 (93 minutes) Jonas Mekas Film Magazine on the Arts (1963) Walden: Reel One (1963) Anthony McCall Line Describing a Cone (1973) 7 p.m. Wednesdays, Angell Auditorium C. $1. Hannelore Kober supported by the government usu- ally. If you're young and you want to make films you can ask the gov- ernment for money. But they won't I don't think that art history is very important, it's that after you have seen a series of films it will be easier to understand the next film you see. And it really doesn't matter CLASIFIED ADS 7641 -0557 GOING PLACES $99 ANYWHERE IN THE USA ON NORTHWEST airlines! Bring our NWA voucher and AMEX card. Cal EGENCY TRAVEL, 665-6122, ask for Ann or David. BAHAMAS CRUISE + 6 days $279, incl. meals, parties & hotel; some rooms have kitchens, lvs. trom Ft. Lauderdale. Cancun 8 days $399. Jamaica 6 days $369. Spring Break Travel 1-800-638-6786. CANCUN, BAHAMAS & MORE! SPRING BREAK at GUARAN'T'EED lowest nrces. Call Susan & Michele 747-9742 NO es. CANCUN, MEXICO FROM $299. Includes roundtri,, transfers welcome drink, parties, free admission to clubs & all hoter-taxes. For more info call 800-283-8767. CHEAPEST SPRING BREAK SKI TRIP! 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