Word: gianvito
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Dates: during 1990-1999
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...taste been infected by all the theory, criticism and analysis I've spent the last three years digesting and regurgitating? The answer is, as one of my professors is fond of saying, far from obvious. So I decide to pay a visit to John Gianvito, the guest curator at the Harvard Film Archive, hoping that he'll be able to help me make sense of the situation...
...arrive at Gianvito's office and we start talking about his interest in film and his involvement with the Archive. "I'm an obsessive filmgoer," the soft-spoken young-looking man confesses right away, going so far as to guess that most of his life has been spent in the dark...
...Gianvito and I get to talking about where the Archive gets its funding and he explains that the University pays for overhead costs and the salary of the tiny staff while course budgets take care of week-night films. But when I press him, he concedes that this is the extent of Harvard's support. There is no fountain of funds set aside to finance his weekend film series; he is more or less bound to take in enough in receipts over the course of the week to pay for his Friday and Saturday programs...
Finally, it comes out that Gianvito has been working on a film for the last several years, using "small grants and 12 credit cards." The movie has been shot and its first 70 minutes have been edited in a room adjoining the one we are sitting...
...John Gianvito, guest curator of the Harvard Film Archive, must have recognized that an all-night showing of the English-subtitled German classic would be a little intimidating to audiences. In his introductory speech, Gianvito jokingly asked the 50 audience members assembled whether they were feeling tired yet. He also mercifully scheduled breaks every four hours during the showing of the movie, and had assistants selling coffee and food in the adjacent auditorium. "It's worth it" to remain through the entire film, he reminded the audience, in order "to reach that amazing two-hour dream sequence...