28 de febrero, 19h
Unowned Luxuries. Illustrated conference
This illustrated conference will consist, on the one hand, in a dialogue in which the filmmaker Amy Halpern, who visits us from Los Angeles, will explain what her work process has been since she began making 16mm films in 1972; and on the other, in the 16mm screening of eight of his films: first, some of her first and most important works, Roll # 1 For Nancy, Cigarette Burn, A Glance, Pythoness or Ready-Made, along with three of his most recent films, Newt Pauses, Slow Fireworks and Unowned Luxuries #3. Throughout her speech, Halpern will also expose how she has alternated the realization of her own films with his collaboration in the films and performances of other filmmakers, either acting, either as director of photography, as well as lighting, both in the Hollywood industry context as in the field of experimental cinema. Since Amy Halpern lived and worked in New York and later in Los Angeles, she will describe from her privileged witness position how the avant-garde film scene on the East Coast and the West Coast was, as well as what are the main differences she found in the two great movements in the history of American experimental cinema. Finally, as an archivist, programmer and founder of the mythical Collective for Living Cinema and Los Angeles Independent Film Oasis, and as a film professor at the University of Southern California and UCLA, Amy Halpern will talk to us about the way in which conservation, exhibition and teaching intermingle for her in a single gesture.
Films included in this session:
- Roll #1 For Nancy, Amy Halpern, 1972, 16mm, silent, 3'
- A Glance, Amy Halpern, 1972, 16mm, silent, 1'
- Cigarette Burn, Amy Halpern, 1978, 16mm, sound, 7'
- Pythoness, Amy Halpern, 1979, 16mm, silent, 2'
- Ready-Made, Amy Halpern, 1985, 16mm, silent, 3'
- Slow Fireworks, Amy Halpern, 2019, 16mm, silent, 2’
- Newt Pauses, Amy Halpern, 2016, 16mm, silent, 7’
- Unowned Luxuries #3, Amy Halpern, 2020, 16mm, silent, 2'
28 de febrero, 21h
Our Lady of the Angels. Carte blanche
Beyond the light and palm trees of Los Angeles, this session is an invitation to the trip by Amy Halpern, who arrives in Barcelona loaded with a suitcase full of 16mm films. Professor, programmer and archivist, Halpern founded the Collective for Living Cinema in New York in 1973, and the Los Angeles Independent Film Oasis shortly after her arrival in Los Angeles in 1976. The program recombines two groups of films: on the one hand , some works of several of the fundamental filmmakers of the avant-garde cinema of the West Coast will be screened in 16mm, such as Pat O'Neill, Barbara Hammer, Chick Strand or David Lebrun, with whom Amy Halpern has collaborated on different occasions such as director of photography, actress, illuminator or director of special effects. On the other hand, some of the most inventive recent films made in Los Angeles will be shown, such as the latest works by Kate Brown and Alee Peoples. The session is completed with the films of the pioneer Sheila Pinkel, who made one of the first 16mm films generated by computer, and with two of Amy Halpern's own works made in the 70s, one of them in collaboration with the filmmaker Larry Gottheim.
- Pythoness, Amy Halpern, 1979, 16mm, silent, 2'
- Intuition, Sheila Pinkel, 1976, 16mm, sound, 5'
- Atlanta Central Library, Kate Brown, 2019, 16mm, sound,16'
- Guacamole, Chick Strand, 1976, 16mm, sound, 10'
- Self-Portrait as a City, Amy Halpern, 1977, 16mm, silent, 5'
- Pools, Barbara Hammer, 1981, 16mm, sound, 8’
- Delight, Sheila Pinkel, 1975, 16mm, sound, 4'
- Sidewinder’s Delta, Pat O’Neill, 1976, 16mm, sound, 17’
- With Pluses and Minuses, Mike Stoltz, 2013, 16mm, sound, 5'
- Standing Forward Full, Alee Peoples, 2020, 16mm, sound, 5’
- Tanka, David Lebrun, 1976, 16mm, sound, 9'
29 de febrero, 16h
Guerrilla Lighting. Workshop
Amy Halpern, filmmaker, director of photography, illuminator, director of special effects, collaborated in different films both inside and outside of Hollywood, alternating the avant-garde cinema with the great industrial films. The title of this workshop, Guerrilla Lighting, consists of taking control of the lighting at work with Super 8, 16mm or 35mm film, in conditions where very basic equipment is available. The filmmaker, who began to build her films in the 70s with an 8mm camera that she borrowed from her father and a splicer, working completely alone in her New York apartment, will leave this workshop with more than 40 years of experience in the field of lighting both in Hollywood and working as a director of photography in many of the films of the LA movement Rebellion, and collaborating on films such as My Brother’s Wedding, by Charles Burnett, The Decay of Fiction, by Pat O’Neill or Illusions, by Julie Dash. Amy Halpern will focus her workshop on the qualities of light, the relationship between light and color, the creation of atmospheres, the construction of shadows or the use of household items that can be used as tools.
The workshop will include the screening of:
- Maya Double-Bottomed Bowl, Amy Halpern, 2014, video, sound, 2'
- The Deer's Blessing, Amy Halpern, 2017, video, silent, 2'
- My Diamond, Amy Halpern, 2015, video, sound, 4'
- Plausible Light Source, Amy Halpern, 1976, 16mm to video, silent, 1'
- Vezelay Curtain, Amy Halpern, 2018, video, sound, 5'