Word: films
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...Saint John of Las Vegas” is a classic case of great characters thrown into a second-rate plot. For amusing but plotless performances, see the film. But for a story that actually makes sense, stick with the poem...
First was the diluting effect of second-degree adaptation. The franchise first manifested as “MASH: A Novel About Three Army Doctors,” published by Richard Hooker in 1968. Two years later, Robert Altman’s tremendously well-received film version premiered. Two more years later, and TV’s “M*A*S*H” was born. When I think of a show-based-on-a-movie-based-on-a-book, I don’t imagine a cultural icon...
Painting, poetry, film, sculpture, humanitarianism, experimentalism and curiosity about the black, curving infinity that lies beyond—these concerns underpin the life and work of Aldo Tambellini. On February 22 at 7:00 PM the Harvard Film Archive (HFA) is running a rare screening of a series of his “black films,” which Tambellini will introduce in person. It will be a remarkable opportunity to discover the work of an artist and filmmaker who has been rather private in the past. “Over the years I made my own art for myself...
...other important early influences. Meaningful later influences include Sergei Eisenstien, Jackson Pollack and Andy Warhol. When Tambellini was sixteen, he moved to Syracuse, New York, where he attended art college. In 1959 he moved to Manhattan, where he co-founded and opened the Black Gate Theater to show experimental films in 1967. In 1976 he moved to Cambridge. For eight years he served as a Fellow at the Center for Advanced Visual Studies at the Massachusetts Institute of Technology, where he specialized in media. According to Tambellini, “All media has something to do with art. Television...
...that cultural contribution is, indeed, significant. In addition to making films, Tambellini is also a painter, sculptor, choreographer, and poet, and will perform a poetry reading in the Pierre Menard Gallery in Harvard Square on March 7th. To him, all the arts are interrelated, with one complementing the other. Tambellini employs this philosophy when making films; instead of using a camera, he paints directly on the leader of the film strip. He then mixes the leader with words from his poems and prerecorded news strips, as in his film “Black...