The Films of Bruce Baillie at Film Society of Lincoln Center, April 8-21. Also
featured works by Robert Fulton, Will Hindle, Stan Brakhage, James Broughton,
Robert Nelson & William Wiley, Chick Strand, Janis Crystal Lipzin, Peter
Hutton, Lawrence Jordan and Alice Anne Parker Severson.
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** All My Life:
The Films of Bruce Baillie
------------------------------------------------------------
April 9 - April 16 | Art of the Real | Film Society of Lincoln Center | New
York, NY
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Bruce Baillie’s lyrical and keenly observational work evades genre and explores
narratives in nontraditional forms—from short films to longer explorations. His
film Castro Street (1966) was selected for preservation in 1992 by the United
States National Film Registry. His work has been inexpressibly influential to
the world of avant-garde cinema, and his role as founding member of both Canyon
Cinema and the San Francisco Cinematheque speaks to his importance in creating
spaces and systems of support and distribution for experimental filmmakers. But
the nonfictional dimension of Baillie’s work remains underemphasized: the
documentary aspects of such masterpieces as Castro Street and Quick Billy
(1970) are both salient and integral to his career-spanning fusion of the
mystical and the mundane, the cosmic and the personal, mythology and
autobiography. The selection of Baillie’s films in this year’s Art of the Real
pays homage to his body of work, and recognizes his legacy as an
artist as well as his outstanding work as a distributor and promoter of
avant-garde filmmakers. Organized by Garbiñe Ortega.
“There were ages of faith, when men made natural connections between themselves
and the place in which they lived, the plants they cultivated, the fuel they
used for warmth, their beasts, and their ancestors. My work will be discovering
in American life those natural and ancient contacts through the art of cinema!”
– Bruce Baillie
For more about this series, Bruce Baillie and his films read Manohla Dargis
wonderful article "Bruce Baillie, a Film-Poet Collapsing Inner and Outer Space
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" from last week's New York Times.
Congratulations to Bruce Baillie, Garbiñe Ortega, Dennis Lim and Rachael Rakes
at the Film Society of Lincoln Center and all those involved in making this
series possible. ! All programs will be presented in 16mm.
Program 1: Why Take Up the Camera
Saturday, April 9 | 2pm | Buy Tickets
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Bruce Baillie in attendance!
This program compiles a number of Bruce Baillie’s poetic and social
documentaries created for Canyon Cinema venues, entitled The News. These little
films provided a format for creating low-budget, urgent, and politically
motivated works. They also demonstrated possibilities for a more immediate
transition from production to exhibition.
* Mr. Hayashi (1961), Mass for the Dakota Sioux (1964), Valentin de las Sierras
(1967), Here I Am (1962), Little Girl (1966)
Program 2: American Inner Landscape
Saturday, April 9 | 4pm | Buy Tickets
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Bruce Baillie in attendance!
This program features three works surveying America’s (inner) landscape: Quick
Billy, Baillie’s most personal piece; along with Pastorale D’Ete by Will
Hindle, one of Baillie’s beloved filmmaker friends, and the astonishing
Starlight by Robert Fulton.
* Starlight (Robert Fulton, 1970), Pastorale D’Ete (Will Hindle, 1958), Quick
Billy (Bruce Baillie, 1971).
Program 3: Searching for Heroes
Sunday, April 10 | 3pm | Buy Tickets
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Bruce Baillie in attendance!
“I start out on a quest. Thus, again I am speaking of a man in the past, a
hero-maker, a storyteller, an image-maker, with whom I was vitally
concerned—gradually; I didn’t know any initial point I was concerned with in
general, but I was concerned with heroes. Just like a warrior, this poet would
start when it was time to start, not knowing really particularly where. And
then where he found himself—places that began to tell him where he was bound—he
then, of course, began to know about where he was after all.” – B.B.
This program presents two films—Quixote and To Parsifal—that explore the
imagistic heroic with which Baillie identified during his quest period with
many idols.
* Quixote (1965), To Parsifal (1963)
Program 4: Correspondence - Bruce Baillie/Stan Brakhage
Tuesday, April 12 | 8:30pm | Buy Tickets
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“Mid June, 1968.
Dear Bruce,
You brought me, via your tape, enough joy and thought provocation in Kalamazoo
to keep me going all-of-a-piece thru the second very terribly difficult day
there. (…) As for your films—ah well… what sheer loveliness as, in the later
work, extended with exactitude AND mystery into the film form it engenders for
itself—exactly mysterious would be the simplest expletive I could applaud it
with… and that’s just a tongue-clap in lieu of saying, more simply, ‘BRAVO!’”
(Stan Brakhage to Bruce Baillie)
For more than five decades, Bruce Baillie corresponded with Stan Brakhage. They
shared fascinating letters, films, and even audiotapes recorded from a van on
the road. This program shows some possible connections and affinities between
these two friends’ film universes.
* Roslyn Romance (Is It Really True?) (Bruce Baillie, 1977), The Machine of
Eden (Stan Brakhage, 1970), Castro Street (Bruce Baillie, 1966), The Wonder
Ring (Stan Brakhage, 1955), Tung (Bruce Baillie, 1966), Stellar (Stan Brakhage,
1993), Still Life (Bruce Baillie, 1966), All My Life (Bruce Baillie, 1966), I…
Dreaming (Stan Brakhage, 1988)
Program 5: Let’s Not Be So Serious About Art - Canyon Cinema Community
Saturday, April 16 | 4:30pm | Buy Tickets
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Bruce Baillie and Chick Strand founded Canyon Cinema in 1961. The original
purpose of Canyon Cinema was to bring people together, to establish a
connection “between the people and what was happening.” (Baillie) They
organized screenings of experimental, documentary, and narrative films in East
Bay backyards and community centers. Acting in response to a lack of public
venues for independent movies, they were part of a wider explosion in American
avant-garde film. The era was one of social idealism and communal energy, and
the films they showcased boldly embraced purely cinematic visual expression and
cultural critique. This program shows some films of the filmmakers that belong
to that community and who were influenced by its spirit.
“One of our ‘devices,’ as P.T. and Chicky Strand would have it, for keeping the
audience honest—that is, not too serious about ‘Art.’ Years of fun, work, and
thoughtful exchange, covering perhaps everything under the sun! Our Chair in
the Sun, we called it.” – B.B.
* The Bed (James Broughton, 1968), The Off-Handed Jape… & How to Pull It Off
(Robert Nelson & William Wiley, 1967), Have You Thought of Talking to the
Director? (Bruce Baillie, 1962), Angel Blue Sweet Wings (Chick Strand, 1966),
L.A. Carwash (Janis Crystal Lipzin, 1975), Big Sur: The Ladies (Lawrence
Jordan, 1966), In Marin County (Peter Hutton, 1970), Riverbody (Alice Anne
Parker Severson, 1970).
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