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Events 2008-09

Arts First Screenings

Sunday, May 3, 2009
12 Noon - 5:30 PM
l Carpenter Center for the Visual Arts, Room B04
24 Quincy St., Cambridge
Part of ARTS FIRST, Harvard's annual arts festival

Each work will feature a talk-back with the director in person.

12 noon
Tundra as Song (25 min) by Alexander Berman. (Sensory Ethnography Lab)
Tundra as Song journeys through the awkward modernity of the Even people in Russia's most remote frontier.

1:00 PM
Terrace of the Sea
(65 min.) by Diana Keown Allan. (FSC-Harvard Fellow)
A portrait of Jal el Bahar, a Bedouin fishing community in south Lebanon.

2:30 PM
As Long as There’s Breath
(70 min.) by Stephanie Spray. (FSC-Harvard Fellow)
A sensitive depiction of a Nepali family struggling for cohesion despite everyday travails and the absence of a beloved son.

4:00 PM
Sichuan Triptych
(45 min.) by J.P. Sniadecki. (FSC-Harvard Fellow)
Portraits of the everyday which explore three major events shaping this region and all of China: The March uprisings, May earthquake, and August Olympics.

5:00 PM
Ori Mi Pe (My Head is Correct)
(13 min) Cristiana Strava (Sensory Ethnography Lab)
A reassemblage of performed cultural encounters with a group of Yoruba textile makers in the village of Ogidi, Nigeria.

Terrace of the Sea by Diana Allan

Terrace of the Sea by Diana Allan

A Media Archaeology of Boston

Thursday, 23 April, 2009
7 to 9 pm| Carpenter Center for the Visual Arts
Reception to follow in the CCVA Sert Gallery

A Media Archaeology of Boston is a one-night sound, film and video exhibition that presents an excavation of this city’s spaces through a montage of short films, photographs, diagrams, and experimental soundscapes recorded on-location in the larger metropolitan area, exploring different modes of urban representation across history and various media. This unique and engaging installation is wonderful for those interested in architecture, film, media, and history, as well as anyone who enjoys exploring the way we perceive our city.

Some of the highlights of the program include: an early cinema travelogue filmed from a moving streetcar in 1905; an experimental documentary on urban renewal in the South End; historic postcards; government-filmed footage of the old Charlestown Navy Yard; images from the Kepes-Lynch archive, “The Perceptual form of the City”; 1970s television ads for local businesses; a MoMA-funded cinematic interpretation of Le Corbusier’s Carpenter Center in the 1960s; and field recordings of contemporary Boston soundscapes. Much of this source material is rarely screened in public, and has been generously donated from the collection of the Harvard Film Archive and the special collections of other local libraries. The program will be moderated by co-curators Jesse Shapins and Olga Touloumi, and will feature brief presentations by select faculty and guest speakers.

Presented as part of Cambridge Talks III:  Mediated Space, a two-day annual symposium on critical themes in architectural discourse and urban studies at organized by the PhD Program in Architecture, Landscape Architecture and Urban Planning at Harvard University. For more information, please visit

Free and open to the public.

A Media Archaeology of Boston is supported by funds from the Provostial Funds for Arts and the Humanities.


Media Archeology of Boston

The Film Study Center & Balagan Films present:

Thursday April 16th
7 pm | Carpenter Center for the Visual Arts

Free and Open to the Public

The maker of a diverse range of films and videos that have included a pinhole film of Easter Island, a portrait of an audience at a Lightning Bolt concert and a flicker film set to a Richard Pryor monologue, Ben Russell is one of the few artists that is working to make 16mm relevant to the contemporary media landscape (while playing off the varied histories of filmmaking itself). Featuring three 16mm films shot primarily in the Maroon villages of Suriname, South America, this program will focus on a major strain of Russell's work that complicates traditions of ethnographic and documentary film.

NOTE: All works screened will be shown on film in 16mm or 35mm. Program is subject to change

1. Workers Leaving the Factory (Dubai) (8:00, 16mm, 2008)
2. Daumë (6:00, 16mm, 2000)
3. Trypps #5 (Dubai) (3:00, 16mm, 2008)
4. Tjüba Tën/ The Wet Season (47:00, 16mm, 2008)
5. Black and White Trypps Number Three (16mm, 12min, 2007)
6. Trypps #6 (Malobi) (12:00, 16mm, 2008)

Further details at


celebrating the 60th Anniversary of the Universal Declaration of Human Rights

The 30 articles of the Declaration will be projected onto buildings in Harvard Yard,
Harvard Law School, and Harvard's Kennedy School from 5-10 pm on December 8-10.
The installation is created by artist Julie Mallozzi and produced by The University Committee on Human Rights Studies, the Carr Center for Human Rights Policy, and the Film Study Center.

Monday, 8 December
5:00 pm | Opening Night Launch, Outside Widener Library

Please join us as Prof. Jacqueline Bhabha (Director, UCHRS) launches the installation, kicking off a week of events and activities around the Declaration's 60th Anniversary. Refreshments will be served.

link United Nations UDHR Articles

60.30.1 Light Installation:  60th Anniversary of the Universal Declaration of Human Rights


Please join us on Thursday, 16 October 2008, for an evening of remembrance of the remarkable life of Genevieve McMillan, who passed away in May of this year, together with a celebration of the work of Mahamat-Saleh Haroun, this year's recipient of the fellowship she personally established at the Film Study Center, the McMillan-Stewart Fellowship in Distinguished Filmmaking.

McMillan was an art collector, philanthropist, businesswoman, and generous supporter of the arts at Harvard.

Thursday, 16 October 2008
5:00 pm | The FSC Commemoration of Genevieve McMillan, CCVA Main Lecture Hall
6:00 pm | Reception, CCVA Main Gallery
7:30 pm | Presentation of award to Mahamat-Saleh Haroun and screening of Daratt (Dry Season), Chad 2006, 35mm, color, 96 min., plus two selected shorts, CCVA Main Lecture Hall

For program updates and further information about the films:
link the Harvard Film Archive website.

About the Director
Born in Chad in 1961, Mahamat-Saleh Haroun left the country during the civil war of the 1980s and relocated to France, by way of Cameroon. There he worked as a journalist before studying at the Conservatoire Libre du Cinéma in Paris. He is now more than a dozen years into his career as a filmmaker, shooting primarily in Chad. This career has so far produced three feature films and a number of shorts that have made Haroun one of the leading lights in African cinema. He excels at spinning narratives that begin with easily recognizable situations – usually the loss of a parent – and expand to encompass allegorical and political reflection on the state of Chadian society. Often calm on the surface, Haroun's filmmaking belies this calm with simmering strains of anger and melancholy. While occasionally compared to the work of Iranian directors Abbas Kiarostami and Mohsen Makhmalbaf, perhaps because of their deceptively quiet surfaces, Haroun's films recognizably belong to an African tradition of filmmaking stretching from Ousmane Sembene to Abderrahmane Sissako that considers the place of cinema in a postcolonial Africa and, by extension, in a postcolonial world.

link More about the McMillan-Stewart Fellowship

Genevieve McMillan

Dry Season by Mahamat-Saleh Haroun


Sunday, October 26, 6 pm
Kingdom of Shadows, 2000/2001, 50 mins.

followed by Q&A with director in person
Carpenter Center Room B 04
Cosponsored by the Film Study Center and the Sensory Ethnography Lab
Free and open to the public

Director's Notes
Point of departure for this film is the (Protestant) second commandment: 'Thou shalt not make graven images nor worship them.' Kingdom of Shadows is about the confrontation between myself and this prohibition of images. As artist and filmmaker I think of myself primarily as an 'image maker'. This film scrutinizes my complex thoughts and feelings towards the ceaseless stream of pictures, which fill my life and my memory.

Images and our attitudes towards them have changed greatly since the invention of the camera and of printing. Few of us could imagine life now without photography or cinema. In the form of an associative collage I wish to unfold a personal vision of how we currently relate to images, concentrating on photography – a medium we particularly employ to create a picture of the world, to piece together what we call reality.

Paradoxically starting point is the final stop for many photos: archives and collections. Starting with the enormous mountains of all collected visual material, I select and work with my own choice of found footage and photographs. Structured in three parts, flanked by an introduction and epilogue, the film includes four individuals: a collector in Amsterdam, a cinematographer who collects amateur photographs in Budapest, a retired press photographer in Hamburg and an artist in New York who concentrates on what is not seen. All four present their most treasured photos and the individual ways in which they use, love and hate images. The pictures they show are humorous, endearing and heartbreaking. Far from a nostalgic reminiscence all four are actively engaged in dealing with the meaning of images now.

Kingdom of Shadows is a film about looking. Throughout a personal vision of the world of photography and film is unfolded. Shot in both black and white and colour 16 mm film and experimenting with the use of found footage this film is edited an associative collage. Great attention was paid to the editing and the soundtrack. The title, Kingdom of Shadows is a quotation from Maxim Gorki; this is the description he gave of his first visit to a cinema showing given by the Lumière brothers in 1896.

Fiona Tan, Kingdom of Shadows

October 9, 2008
Film Screenings of director Henri Herré at the HFA

From fiction film to documentaries, this program illustrates Herré's attempt, in all his films, to "let it be." 

World Premiere of:
90min video, documentary, 2008
A public school in Dorchester, Massachusetts, becomes a national model for Inclusion – the integration of children with special needs in an elementary school.

Preceded by:
23min 16mm film, fiction, 1983
A love story, recorded by surveillance cameras.

5min video, scientific film, 2001
Everything, and all of us, are in a state of transition - arising from dust.



link Current Events
link Events 2007-08


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