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Disruptive film: everyday resistance to power, 1968: the short version

November 7, 2018 8:00 pm

Disruptive film: everyday resistance to power, is a three nights screening program curated by Sherry Millner and Ernest Larsen. Fifteen short-form experimental political non-fiction films and videos from eleven countries and from 50 years of film history are gathered from both volumes 1 and 2 of disruptive film’s initial program. Since 2008, Millner and Larsen have been seeking out moving-image non-fiction media that approaches its material from a distinctly radical point of view – at once aesthetically and politically. Disruptive film: everyday resistance to power consists of short-films that depict different forms of resistance to power across the globe. In the form of radical experimental non-fiction media these short-films span from 1914 to the early 21st century, thus giving an overview of the diverse approaches to documentary filmmaking. The general ambition of the program is described by Millner and Larsen as follows, it’s the construction of an “alternative history of non-fiction film.” – a history that has at times been obstructed and oppressed.  Moreover, they are interested in heterogeneous films, films made at disparate geographical and historical nods, that communicate between each other, constructing then, according to Larsen, “for audience/participants the texture of an event”.

The battle of Michigan avenue, 12 minutes, 1968, film group, the historic events of August 28, when police mercilessly attacked protesters during the Democratic convention in Chicago.

excerpts from cinetracts, 10 min. 1968, uncredited filmmakers including William Klein, Alain Resnais, Chris Marker, Jean-Luc Godard.

Garbage, 10 min, 1968, newsreel, the legendary new york city anarchist group up against the wall motherfuckers dump garbage on cultural citadel lincoln center, in support of sanitation strike.

I like students, 6 min, 1967, Mario Handler, in April 1967, at Punta del Este, Uruguay, U.S. president Lyndon Johnson met with regional leaders. In the midst of the highly unpopular Vietnam war, which he was escalating, the tall Texan president could only be seen as the embodiment of U.S. imperialism he was. His appearance prompted students to take to the streets in protests, which were violently contested by the police. Silent footage of the middle-aged dignitaries’ solemn if not positively grim meeting is countered by the rough and ready urgency of the young activists as they battle the police. During these scenes, a classic Victor Parra song (me gustan los estudiantes) celebrates their spirit. The police moved in to destroy Handler’s camera as he struggled to cover the action.

June Turmoil, 1968, 10 min, Zelimir Zilnik, Yugoslavia, urgent document of students and their professors at the point of revolt in Belgrade, calling into question state socialism.

Return to work at the wonder factory, 11 min, 1968, Jacques Willmont riveting nonstop shot of heroically unreconciled young women worker who refuses to join other workers following the inadequate settlement of walkout at the wonder factory. The refusal of work as a key demand of the May/June events.

Partial critique of separation, 18 min, 1961/2018, Millner/Larsen a two-screen remake of guy debord’s strangely heartfelt critique of separation certifies that the conditions of separation in Paris in 1968, have proliferated in present-day new york city.

Sherry Millner was the initial chair of the media culture department at the College of Staten Island, Cuny. her many films and videos have been exhibited at festivals throughout the US, Europe, Australia, and Asia. In addition to festival awards for her work, she has been the recipient of residencies and grants from NYFA, NYSCA, the Jerome Foundation, Long Beach Museum, The U-cross Foundation, Can Serrat, Babayan Culture House, and Light Works, among others.

Ernest Larsen writes fiction, media criticism, and frequently collaborates with co-curator Sherry Millner on film and video projects his criticism has been published in the nation, art in America, the village voice, art journal, the independent, among others –along with essays in a number of anthologies. Ernest is also a scriptwriter and contributing producer for several PBS series. he has received grants, residencies, and awards from the Jerome Foundation, Paul Robeson Foundation, Macdowell Foundation, Blue Mountain Center, Gunk Foundation, and The Blumenthal Foundation.