6712 Hollywood Blvd., Los Angeles, CA 90028
Sunday February 21, 2016, 7:30 pm Los Angeles Filmforum presents The Festival of (In)appropriation #8 Curators Jaimie Baron and Greg Cohen in person! Whether you call it collage, compilation, found footage, dtournement, or recycled cinema, the incorporation of already existing media into new artworks is a practice that generates novel juxtapositions and new meanings and ideas, often in ways entirely unrelated to the intentions of the original makers. Such new works are, in other words, inappropriate. This act of (in)appropriation may even produce revelations about the relationship between past and present, here and there, intention and subversion, artist and critic, not to mention the "producer" and "consumer" of visual culture itself. Fortunately for our purposes, the past decade has witnessed the emergence of a wealth of new audiovisual elements available for appropriation into new works. In addition to official state and commercial archives, resources like vernacular collections, home movie repositories, and digital archives now also provide fascinating material to repurpose in ways that lend it new meaning and resonance. Founded in 2009 and curated by Jaimie Baron, Lauren Berliner, and Greg Cohen, the Festival of (In)appropriation is a yearly showcase of contemporary, short (20 minutes or less), audiovisual works that appropriate existing film, video, or other media and repurpose it in inappropriate and inventive ways.
6712 Hollywood Blvd, Los Angeles, CA 90028
1980, Park Circus, 219 min. After his Academy Award-winning triumph with THE DEER HUNTER, director Michael Cimino broadened and deepened his epic vision of America even further with this elegiac Western. Kris Kristofferson is a sheriff caught in the middle of mounting tensions between affluent landowners and newly arrived homesteaders in 1890s Wyoming; complicating matters is a burgeoning love triangle among Kristofferson, his paramour Ella (Isabelle Huppert) and hired gun Christopher Walken. In Cimino’s hands the personal, political, and historical intersect to powerful effect, with a majesty more apparent than ever in this stunning new restoration personally supervised by the director.