International House Philadelphia by Iperdesign

fall 2010

contents SPECIAL EVENTS

Michael Snow + John Oswald A Page of Madness

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The Janus Collection 7-8 Motion Pictures: Traversing Genres of the Cinematic Imaginary 9-10 Archive Fever! 2.0 11-12 Winnipeg Babysitter 13 No One Else Could Love You More 13 Cosmic Terrarium: Motion Painting Project 23 The Anchorage 24 Home Movie Day 24 Women Directors from North Africa and the Middle East 25-27 Set Pieces Film Series 28 Views of a Changing World 6th Edition 29-30 Project Twenty1 Film & Animation Festival 31 Reelblack 31 The 19th Philadelphia Film Festival 31 Philadelphia Asian American Film Festival 31 Exhumed Films 31 Scribe Video Center 31

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Fennesz Ars Nova Workshop in Residence

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It Is The Mercy by Joseph Lozano Valence by Stephen Scott Smith InLiquid Art + Design Video Installation Many Moving and Still Works by Two Torontonians at Slought Foundation Six Plus Six

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Culture and Cuisine From Your Country to Ours Potluck Welcome Party Halloween Party

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Spoken English Program Foreign Language Program

Cover art: Stephen Scott Smith’s B Jump

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INTERNATIONAL HOUSE PHILADELPHIA 100 YEARS

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Throughout our history, International House Philadelphia has served as a cultural intersection where individuals and ideas connect in a vibrant setting. In recognition of the Centennial year of IHP’s founding, we present a major exhibition of film, video, music, and mixed media work — all of which are related to the central theme of Movement. Movement, in this case, is being interpreted both literally — in terms of work that embraces physical motion, changes through time, and geographical shifts — and figuratively, in terms of work that moves between media or crosses the borders of convention. We build on an already-dynamic annual roster of film screenings and music events by opening up our theater and exhibition spaces to new forms of media that broaden the scope of our current programming. Much of this work expands beyond simple performance and presentation categories, including pieces that literally move beyond the venue of The Ibrahim Theater @ International House Philadelphia. As a forum for shape-shifting, boundary-crossing art, the Movement series invites and engages creative cultural dialogue. For more information on individual Movement programs, visit www.ihousephilly.org/movement.htm.

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The Movement Series

Avoid lines day of show and ticketweb fees! Beginning September, The Ibrahim Theater Box Office will be open every Thursday from 2pm – 6pm.

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Michael Snow and John Oswald Wednesday, September 29 + Thursday, September 30 Michael Snow and John Oswald are Canadian artists working in film, sound, video, and visual art. Snow is one of the most respected experimental artists living today. He has worked as a painter, photographer, sculptor, filmmaker, musician, and writer since the 1950’s. Oswald’s most famous work, Plunderphonics, remains an innovative and controversial example of using re-appropriated, copyrighted audio material to create new works. Unless noted, Film @ International House Philadelphia admission is Free for members above Internationalist level; $5 Internationalist members; $6 students + seniors; $8 general admission. In advance at www.ihousephilly.org + 866.468.7619 or 1/2 hour before showtime at The Ibrahim Theater Box Office.

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F *Corpus Callosum Wednesday, September 29 at 8pm dir. Michael Snow, Canada, 2002, video, 91 mins, color

Introduced by Michael Snow The corpus callosum is a central region of tissue in the human brain which passes ‘messages’ between the two hemispheres. *Corpus Callosum, is constructed of, depicts, creates, examines, presents, consists of, and is, ‘betweens.’ Between beginning and ending, between ‘natural’ and ‘artificial,’ between fiction and fact, between hearing and seeing, between 1956 and 2002. It’s a tragi-comedy of the cinematic variables. with

F Many Moving and Still Works by Two Torontonians at Slought Foundation September 29 – October 29 Opening Reception – Wednesday, September 29 at 6:30pm Slought Foundation and International House Philadelphia present Many Moving and Still Works by Two Torontonians, an exhibition of recent work by Michael Snow and John Oswald, on display in the Slought Foundation galleries. This exhibit joins two artists of different generations whose work has explored film, video, sound, photography, and digital technology. Michael Snow and John Oswald offer contemporary meditations on time and temporality, through experiential works that invite us to reconsider the nature of perception. The opening reception includes “Snoswald”, a public conversation between artists Michael Snow and John Oswald. Free admission. Slought is located at 4017 Walnut Street, Philadelphia.

F Michael Snow and John Oswald Duo Thursday, September 30 at 8pm Michael Snow and John Oswald are enormously influential Canadian artists working in film, sound, video, and visual art. Snow is one of the most important experimental artists living today. He’s been a painter, photographer, sculptor, filmmaker, musician, and writer since the 1950’s. His films including Wavelength (1967) and Back and Forth (1969) are often cited as the most important examples of structuralist filmmaking. As an elder statesman of the avant-garde, his enduring influence is still present in today’s emerging artists. Primarily known as a composer, dancer, musician, and sound artist, John Oswald has recently exhibited numerous photographic and chronophotic works that employ various methods of movement and illumination. Although perhaps best known for their composed studio works, like Snow’s self-explanatorily-titled “Music For Piano, Whistling, Microphone And Tape Recorder” and “Two Radio Solos,” and Oswald’s infamous “Plunderphonics” (creating original musical works by sampling others), the two also improvise on piano/ synthesizer and saxophone, respectively. For this show, they are performing new improvised work. Free admission members above Internationalist level; $7 Internationalists; $8 students + seniors; $10 general admission. In advance or one hour before showtime at The Ibrahim Theater Box Office.

Unless noted, Film @ International House Philadelphia admission is Free for members above Internationalist level; $5 Internationalist members; $6 students + seniors; $8 general admission. In advance at www.ihousephilly.org + 866.468.7619 or 1/2 hour before showtime at The Ibrahim Theater Box Office.

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*Corpus Callosum juxtaposes or counterpoints a realism of normal metamorphosis (two extreme examples: pregnancy, explosions) in believable, ‘real’ interior spaces with ‘impossible’ shape changes (some made possible with digital animation). First the camera, then we in the audience, observe the observations of the ‘real’ people depicted in the obviously staged situations. What we see and what they ‘see’ is involved in shifting modes of belief. There seem to be (though there is no narrative) a Hero and Heroine. However, from scene to scene they are different people costumed identically or altered electronically. The sound — electronic like the picture — is also a continuous metamorphosis and as the film’s ‘nervous system,’ is as important to the film as the picture. Or: the sound and the picture are two hemispheres joined by the artist. *Corpus Callosum is resolutely ‘artificial,’ it not only wants to convince, but also to be a perceived pictorial and musical phenomenon. – Michael Snow

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F Film with Live Score by Ensemble N_JP A Page of Madness – World Premiere Friday, October 22 at 7pm dir. Teinosuke Kinugasa, Japan, 1926, 35mm, 85 mins, b/w, silent with live score Ensemble N_JP (Japan/US) - Akikazu Nakamura, shakuhachi; Gene Coleman, bass clarinet; Toshiko Kuto, koto; Alex Waterman, cello; Evan Lipson, contra bass; Stephanie Griffin, viola; and Rei Hotoda, assistant conductor of the Dallas Symphony, conductor International house philadelphia

Co-presented by the Philadelphia Film Society as part of the 2010 Philadelphia Film Festival Supported by the Japan Foundation through the Performing Arts JAPAN program A Page of Madness is a collaborative work of Philadelphia composer Gene Coleman and Japanese artist Akikazu Nakamura, commissioned by IHP for the Movement program. The two created a new musical composition for the 1926 Japanese silent film A Page of Madness. This performance re-imagines the role of contemporary music in the interpretation and presentation of historic films. Following Friday’s premiere screening, A Page of Madness will be presented at the Museum of Modern Art (NYC) in the Eighth MoMA International Festival of Film Preservation. A Page of Madness is a legendary silent Japanese film. Its reputation is widespread and is the subject of a number of academic essays and a newly published book. It may well also be one of the most acclaimed, but least seen, films in history. Made in 1926 by Teinosuke Kinugasa, A Page of Madness was believed lost — destroyed during World War II — until Kinugasa himself found a print in his garden shed. Kinugasa made nearly 100 films in his lifetime but only one other was released in English, the period drama Jigokumon (1953), which won the Palme d’Or at Cannes and a special Academy Award for Best Foreign Film in 1955. The concept of the project is to create live music for string quartet and koto, plus Coleman performing on bass clarinet and Nakamura on shakuhachi. In keeping with the way silent films were presented in Japan, spoken text in Japanese and English are used as part of the score. This project takes the relationship of the music, sound, and cinema into entirely new dimensions as the musicians add layers of texture and color that amplify the bold visual language and intense emotional nature of the film. This is a rare opportunity for Philadelphians to hear Akikazu Nakamura — one of the greatest Japanese musicians living today. Special Thanks to the Japan American Society of Greater Philadelphia. Please visit www.ihousephilly.org for more events surrounding the world premiere of A Page of Madness. 5

Free admission members above Adventurer level; $15 Internationalists + Adventurers; $17.50 students + seniors; $20 general admission. In advance or two hours before showtime at The Ibrahim Theater Box Office.

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Wave Currents Wave Currents explores the interaction between live music and live cinema and presents a variety of artists whose work is creating an entirely new category of sound/moving image performance. Wave Currents seeks to explore the unique possibilities for combining these two mediums.

F Utopia in Four Movements Saturday, September 11 at 7pm

F Sandra Gibson and Luis Recoder with Olivia Block Friday, November 19 at 7pm

Throughout human history, people have had giddy dreams and fantastic notions about what the future would bring. Today the future has become more of a threat than a promise — a knot of intractable problems looming menacingly on the horizon. With a powerful sense of poetry, Utopia in Four Movements uses the collective experience of cinema to explore the battered state of the utopian impulse at the dawn of the twenty-first century.

Special Thanks to Philadelphia Sound Forum Free admission members above Internationalist level; $7 Internationalists; $8 students + seniors; $10 general admission. In advance or one hour before showtime at The Ibrahim Theater Box Office.

Philadelphia Live Arts Festival & Philly Fringe Co-presented by the Philadelphia Independent Film and Video Association In this “live documentary,” filmmaker Sam Green cues images and narrates while musician Dave Cerf performs the soundtrack composed by T Griffin, Catherine McRae, and Dennis Cronin. An Award-winning documentarian, Green was nominated for the Grand Jury Prize at Sundance and Best Feature Documentary at the Academy Awards for 2002’s The Weather Underground.

From the establishment of a man-made language designed to end war and cultural conflict and the undying optimism of an American exile in Cuba, to the current economic boom in China and the desire to give the remains in mass graves a dignified burial, Green and Cerf sift through the history of the utopian impulse with audiences and search for insights about the way to build a vision of the future based on humankind’s noblest impulses. with

F Master Class by Sam Green Sunday, September 12 from 1pm – 3pm Sam Green conducts a master class on his journey from journalism to performance documentaries at the Philadelphia Independent Film and Video Association. Free admission to attendees of Utopia in Four Movements (save your ticket); $10 IHouse + PIFVA members; $20 general admission. PIFVA is located at 4212 Chestnut Street, 3rd Floor, Philadelphia.

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Sandra Gibson and Luis Recoder present an original piece of “live cinema” using film projectors and simple mechanical means to create slowly shifting abstract light sculptures, with soundtrack by noted composer and sound artist Olivia Block. Gibson and Recoder show their work around the world, including recent performances at the International Film Festival Rotterdam and Performa New York. Block is a contemporary composer and sound artist who combines field recordings, scored segments for acoustic instruments, and electronically generated sound. Her release Mobius Fuse was voted one of the best albums of the decade by Pitchfork.

dir. Sam Green and Dave Cerf, US, 2010, video, 80 mins, color

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THE JANUS COLLECTION Truly one of our national treasures, Janus Films is a vital part of American film culture. Film @ International House continues the Janus Collection with titles from their library, all in brand new or restored 35mm prints.

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dir. Aki Kaurismäki, Finland, 1990, 35mm, 69 mins, color, Finnish w/ English subtitles

Aki Kaurismäki took his penchant for despairing character studies to unspeakably grim depths in the shockingly entertaining The Match Factory Girl. Kati Outinen is memorably impenetrable as Iris, who spends days as a cog in a factory wheel and nights as a neglected daughter living with her parents, ultimately sending her over the edge. Yet despite her transgressions, Kaurismäki makes Iris a compelling, even sympathetic figure. Bleak yet suffused with comic irony, The Match Factory Girl closes out his “Proletariat Trilogy” with a bang — and a whimper.

F Night on Earth Saturday, October 9 at 7pm dir. Jim Jarmusch, US, 1991, 35mm, 128 mins, color, English, Finnish, French and Italian w/ English subtitles

Five cities. Five taxicabs. A multitude of strangers in the night. Jim Jarmusch assembled an extraordinary international cast of actors (including Gena Rowlands, Winona Ryder, Armin Mueller-Stahl, Beatrice Dalle, and Roberto Benigni) for this hilarious quintet of tales of urban displacement and existential angst. Spanning time zones, continents, and languages, Jarmusch’s lovingly askew view of humanity from the passenger seat makes for one of his most charming and beloved films.

F La strada Saturday, November 20 at 7pm dir. Federico Fellini, Italy, 1954, 35mm, 108 mins, b/w, Italian w/ English subtitles

There has never been a face quite like that of Giulietta Masina. Her husband, the legendary Federico Fellini, directs her as Gelsomina in La strada, the film that launched them both to international stardom. Gelsomina is sold by her mother into the employ of Zampanò (Anthony Quinn), a brutal strongman in a traveling circus. When Zampanò encounters an old rival in highwire artist Il Matto (Richard Basehart), his fury is provoked to its breaking point. With La strada, Fellini left behind the familiar signposts of Italian neorealism for a poetic fable of love and cruelty, evoking brilliant performances and winning the hearts of audiences and critics worldwide.

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F The Match Factory Girl Saturday, September 25 at 7pm

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Motion Pictures: Traversing Genres of the Cinematic Imaginary Motion Pictures is a monthly series which focuses on significant movements and genres in film culture, including Italian Neo-Realism, Westerns, and French New Wave. The history of the moving image exists at the center of modern and postmodern culture, as the invention of film and the projector in the late nineteenth century brought movement as a new dimension to the visual arts. Once the creative use of movement was no longer reserved for solely the live arts, the photographic medium took on new expressive and formal capabilities. Cinema became both entertainment and developed into an acknowledged art form. Unless noted, Film @ International House Philadelphia admission is Free for members above Internationalist level; $5 Internationalist members; $6 students + seniors; $8 general admission. In advance at www.ihousephilly.org + 866.468.7619 or 1/2 hour before showtime at The Ibrahim Theater Box Office.

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dir. Lumiere Brothers, France, 1895-96, 16mm, 41 mins, b/w, silent

On December 28, 1895, The Lumiere Brothers brought their Cinematographe to Paris for the first ever public film screening. Motion pictures reached France, England, and the US almost simultaneously and viewings consisted largely of the films of Louis and Auguste Lumiere. During cinema’s first decade, most films produced were “actualities,” simple subjects featuring soldiers, workers, trains, and babies, staged for the camera. Their composition, their use of space and movement contributed to what was to become the art of cinema. Light and compact, the camera was used by photographers all over the world to create steady stream of short actualities. This program includes examples of actualities, topical subjects, and slapstick comedies. and

F A Georges MÈliÉs Sampler dir. Georges Mèliés, France, 1899-1912, 16mm, 47 mins, b/w, silent

F THE EPIC – Cabiria Thursday, October 28 at 7pm dir. Giovanni Pastrone, Italy, 1914, 16mm, 116 mins, b/w, silent w/ English and Italian intertitles

F THE CITY SYMPHONIES – Berlin: Symphony of a Great City Thursday, November 18 at 7pm dir. Walter Ruttmann, Germany, 1927, 16mm, 52 mins, b/w, silent

This famous historical epic takes place during the struggle for supremacy between Rome and Carthage in the second Punic War. Cabiria, daughter of a Roman family, is sold into slavery and destined to be sacrificed to the pagan god Moloch. She escapes with the help of Maciste, a gigantic Roman slave. Elaborate sets, spectacular battle sequences employing thousands of extras, and the use of process shots contributed to the grandeur of this film. The traveling shot, used to follow action, isolate characters, and emphasize the depth perspective of sets was considered revolutionary and came to known as the “Cabiria movement”.

In the mid-1920’s, German cinema was beginning a transition from its heavily Expressionist leanings and towards more realistic subjects. Known as the “New Objectivity,” a leading figure in this approach was Walter Ruttmann. Berlin, Symphony of a Great City revels in a formal visual style with stunning photography and editing. Curiously, it is strongly influenced by, and a close approximation of Russian director Dziga Vertov’s symphonic use of imagery. Undoubtedly, it is the greatest city film outside of Vertov’s Man with the Movie Camera (1929).

Preceded at 6pm by the Art @ Video Installation of Six Plus Six. Please see page 34 for more information.

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dir. Fernando Birra, Argentina, 1958, 16mm, 30 mins, b/w, Spanish w/ English subtitles

A moving documentary portrait of the poor set far away from Buenos Aires. Its central image is of the children who run alongside the trains asking for money.

All early filmmakers were fascinated at first with the camera’s possibilities for tricks and illusionism. In fact, many were magicians before becoming filmmakers. But it was Georges Mèliés, the French magician, producer of spectacles, actor, artist, and poet who had the imagination and enthusiasm to fully exploit the camera’s marvels. His films amaze and delight. Although he made many kinds of films, even actualities, those chosen for this program are typical of his productions. Unless noted, Film @ International House Philadelphia admission is Free for members above Internationalist level; $5 Internationalist members; $6 students + seniors; $8 general admission. In advance at www.ihousephilly.org + 866.468.7619 or 1/2 hour before showtime at The Ibrahim Theater Box Office.

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F THE FIRST CINEMA – The LUMIERE BROTHERS Thursday, September 23 at 7pm

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F Film ist. 1-6 Wednesday, October 13 at 7pm dir. Gustav Deutsch, Austria, 1998, 35mm, 60 mins, b/w

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Archive Fever! 2.0

Central to our visual culture, the archive is a repository for any personal memories, shared histories, objects, and documents through which we revisit the history of our time. Through YouTube, Wikipedia, Creative Common., and video mash ups, consciously or not, we are willing participants in the creation of the new electronic archive. In this series, we explore the myriad ways in which the archive, archival, and found materials are central to the works of film and video artists who are discovering the dynamic possibilities within archives, creating new inventive modes for archival practice. The filmmaker’s creative responses collected include assemblages, fabrications, and recycling of materials that create new content to use as vehicles for this exploration.

Film ist consists almost exclusively of sequences from existing scientific films seen in the classroom, but rarely in the cinema. These films are about the acrobatic flights of pigeons, the intelligence testing of apes; about “reversed worlds” and stereoscopic vision; hurricanes and impact waves in the air; how glass breaks, children walk, and how a Mercedes crashes into a stone wall in slow motion. Pictures which, from their origins, have nothing to do with each other, which don’t “belong together,” are compared, tied together, fused with each other. Film ist. is a poetic film in itself. – Alexander Horwath followed by

F Film ist. 7-12 dir. Gustav Deutsch, Austria, 2002, 35mm, 93 mins, b/w

According to director Gustav Deutsch, “film is so many things that a catalog of what it can be must necessarily remain open.” Deutsch’s found footage is peopled with recycled figures and the undead — early cinema silently reproduces the living beings who once dared subject themselves to its gaze; it depicts what once seemed alive as a mere, though faded, reflection of light. An unbounded love of cinema’s tangible material is obvious in Deutsch’s compilation. – Stefan Grissemann

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Wednesday, November 3 at 7pm

Introduced by Dave Jones, Dean of Drexel University’s Pennoni Honors College In the late 1950s, Unit B, one of several production units within the National Film Board of Canada, emerged as a distinctive, remarkably creative entity among the international documentary community. Unit B pioneered documentary technology, technique, and style, yielding several enduring classics. The Unit’s leading filmmakers combined meticulous attention to the details of craft with an intense interest in filmic structure. While its key members saw life in a happy light and in mystic overtones, Unit B’s body of work was criticized for a lack of interest in social or political issues. But their attitude toward the craft, their almost messianic perfectionism, and their success profoundly affected their more politically minded colleagues and provoked a radical reorganization of the Film Board’s production branch.

F Paul Tomkowicz, Street Railway Switchman dir. Roman Kroite, Canada, 1954, 16mm, 9 mins, b/w

In winter, the rail switches on Winnipeg’s streetcar tracks would jam with freezing mud and snow. Keeping them clean, whatever the weather, was the job of the switchman. In this film about a bygone era, Paul Tomkowicz, Polish-born Canadian, talks about his job and his life in Canada.

F Corral dir. Colin Low, Canada, 1954, 16mm, 11 mins, b/w

Set in the foothills of Alberta, Corral uses movement, music but no dialogue, to tell the story of a man’s struggle to master a horse.

F Universe dir. Roman Kroiter and Colin Low, Canada, 1960, 16mm, 26 mins, b/w

A triumph of film art, creating on the screen a vast aweinspiring picture of the universe as it would appear to a voyager in space. Realistic animations take you into far regions of space, beyond the reaches of the strongest telescope, past the moon, sun, and the Milky Way into galaxies yet unfathomed.

F Lonely Boy (Paul Anka) dir. Wolf Koenig and Roman Kroiter, Canada, 1961, 16mm, 27 mins, b/w

The story of pop singer Paul Anka, Lonely Boy takes a look at both sides of the footlights. He rose from obscurity to become the idol of millions of adolescent fans around the world. Interviews with Anka and his manager reveal what they thought of it all.

F City of Gold dir. Wolf Keonig and Colin Low, Canada, 1957, 16mm, 21 mins, b/w

A vivid recollection of the Klondike gold rush at its frenzied height, the film captures the agonizing months, which would-be prospectors struggled through steep passes and wintry trails to reach the fabled gold fields 2,000 miles north of civilization.

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National Film Board of Canada Unit B

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FW innipeg Babysitter Saturday, September 4 at 7pm Curated and Performed by Daniel Barrow, Canada, 90 mins, video, color

Philadelphia Live Arts Festival & Philly Fringe In the late ‘70s and throughout the ‘80s, Winnipeg, Manitoba, Canada, experienced a “golden age” of public access television. Anyone with a creative dream, concept, or politic would be endowed with airtime and professional production services. When Shaw Cable purchased Winnipeg’s local cable station VPW, a rumor was circulated that Shaw destroyed the public access television archives and was systematically dismantling public access services. Shortly thereafter, artist Daniel Barrow began compiling and archiving a history of independently produced television in Winnipeg. For Winnipeg Babysitter, Daniel Barrow travels to each screening with hand crafted, overhead-projected liner notes, tracing the histories of public access television in Manitoba and describing the various and outrageous biographies of each television producer and personality. This style of commentary is deliberate; it is less intrusive and more respectful of the video images than a voice-over. In this regard, Winnipeg Babysitter is also a documentary, curatorial, and performance project. Featuring Survival (Greg Klymkiw and Guy Maddin, 1982-87); Metal Inquisition (Fearless Pig and Terrible Dog, 1986); Delirious Photoplay (Myles and Drue Langlois of the Royal Art Lodge, 1999); and The Pollock & Pollock Gossip Show (Natalie and Ronnie Pollock, 1986-89).

F No One Else Could Love You More Monday, September 13 at 7pm dir. Byron Karabatsos, US, 2010, video, 60 mins, color

Philadelphia Live Arts Festival & Philly Fringe Director Byron Karabatsos and David Brick, Amy Smith and Andrew Simonet of Headlong Dance Theater in person This documentary follows the making of Headlong Dance Theater’s more., which debuted at the 2009 Live Arts Festival. Provoked by in-depth conversations with renowned choreographer Tere O’Connor, Headlong Dance Theater uprooted their 15-year collaborative process to create more., their most personal work-to-date. No One Else Could Love You More documents the personal and professional challenges of their year-long development from the first rehearsal through more.’s premiere.

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Culture and Cuisine at IHP

From Your Country to Ours Potluck

We should look for someone to eat and drink with before looking for something to eat and drink... Epicurus

Take a culinary tour of our world as we celebrate the end of Ramadan with an International Potluck. Bring your favorite dish and sample 40 different cuisines from 40 or more different countries!

Sponsored by IHP’s Board of Delegates

Join us for dinner and explore the wonderful diversity and culinary treasures in Philadelphia. Each month we visit an ethnic restaurant for an authentic experience. This fall, we journey to Ghana, Turkey and Senegal. The restaurant’s host selects our menu and beverages and presents a short overview of the food and culture of the region. Bring your friends and enjoy new tastes from around the world! For dates and restaurant locations, please visit www.ihousephilly.org or contact us at bod@ihphilly.org.

Friday, September 10 at 6pm

Open to IHP Residents and members only. Please RSVP by September 6 to Deborah Houda at deborah@ihphilly.org or 215.895.6584.

Welcome Party Friday, September 24 at 6pm

Greet new and returning Residents at our annual Welcome Party! Join us for an evening of mixing and mingling with IHP Trustees, Staff, and Residents. Open to IHP Residents and members only. Please RSVP by September 17 to Deborah Houda at deborah@ihphilly.org or 215.895.6584.

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Halloween Party Friday, October 29 at 9pm

Move to the spooky sounds and dress in your favorite costume. Join IHP Residents at the Freaks Come Out at Night Party! Don’t miss the costume parade at midnight! This is an IHP Resident favorite event! $5 IHP alumni + members; $8 general admission.

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SPOKEN ENGLISH PROGRAM

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Learn @ International House Philadelphia offers the opportunity to study a foreign language, improve proficiency in English conversation and enhance skills that assist in future goals. SPECIAL EVENT

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Many people have found that “classroom English” is very different from “conversational English” — they have trouble speaking even after years of study. We will help you learn how to communicate clearly outside of the classroom with our small, friendly, and informal classes.

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Fall 2010: September 27 – December 13 This term, the Spoken English Program offers 10 week classes in Speaking, Writing, TOEFL Preparation, and Tutoring. Writing and TOEFL Prep classes are for high intermediate to advanced students.

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WHERE IN THE WORLD

FOREIGN LANGUAGE PROGRAM

Co-presented by University of Pennsylvania World Centers – African Studies Center, Middle East Center, South Asia Center, and Center for East Asian Studies

Expand your foreign language skills! Our small, relaxed classes are designed to help students develop basic speaking and listening skills for real-life situations.

Korea – Tuesday, October 5 at 7pm Turkey – Tuesday, November 2 at 7pm

This term, the Foreign Language Program offers the following 10 week classes: Mandarin Parts 1, 2, 4, 7 + 9 and Korean Parts 1 – 4.

Have you ever wondered what it would be like to travel off the beaten path when visiting a foreign country? What does the Foder’s guide not tell you when visiting a local market in Addis Abba, or ordering food at a sidewalk café in Lisbon, that a resident citizen of that city can tell you, making your experience even richer? Come hear tips and ask questions of people native to these countries in IHP’s Where in the World series — a meet, greet, and eat experience with IHP’s Residents who hail from all over the world. $10 general admission; $5 students + members. In advance at http://visitKorea.eventbrite.com + http://visitTurkey.eventbrite.com. For more information, please contact us at 215.895.6543.

Fall 2010: September 27 – December 13

Monday, September 13 – Thursday, September 16 from 10am – 2pm Wednesday, September 15 from 5pm – 7pm Monday, September 20 and Tuesday, September 21 from 10am – 2pm Monday, September 20 from 5pm – 7pm We offer low intermediate through advanced level classes only. Some experience studying English is required. You must register in person so that we can determine your English proficiency. If you cannot register during one of the times given above, call 215.895.6592.

Each part is equivalent to 20 to 30 hours of classroom study.

2010- 2011 Tuition Rates

Register by calling 215.895.6592 on Monday through Thursday from 10am to 4pm and Monday and Wednesday from 5:15pm – 8:45pm. The registration deadline is Thursday, September 16.

2010- 2011 Tuition Rates New Continuing Students Students Once a Week

$125

$100

Twice a Week

$170

$150

Number of New Continuing Weeks Students Students

$200

$220

If you have any questions about our language programs, please call 215.895.6592 or email languages@ihphilly.org. Language levels and dates are dependent on class participation and subject to change.

MESSAGE FROM OUR EXECUTIVE DIRECTOR Tanya Steinberg, Executive Director LOOKING TOWARDS IHP’S FUTURE As International House Philadelphia celebrates 100 years since its founding, I cannot help but imagine IHP’s future. From a chance meeting of a sympathetic individual and a group of Chinese students studying at Penn, a Movement grew. A Movement that now reaches people in nearly every continent through 22 International Houses World Wide. Going forward, IHP continues to contribute to the development of skilled future leaders through intercultural, educational, and arts and humanities programs. And we look ahead to sustain our unique commitment to the social, cultural, and intellectual life of students and residents of the Greater Philadelphia region. This year you’ll witness Arts programming specifically conceived for IHP’s Centennial Celebration. Presented under the theme of Movement, the series features works from today’s leading visual artists and musicians, as well as selections from our robust film program. You can also discover Cultural programs from our Resident Activities and Advisory Center, also created around the topic of Movement. IHP brings the best of international arts and culture to our neighbors; we invite you to visit as one of our valued Members, and we welcome the chance for IHP to be a part of your many joyful memories this year! Warmest regards, Tanya

sustain ahead to k o o l e nt W commitme e u iq n u our ltural, ocial, cu s e h t o t e of ctual lif e l l e t in the and idents of s re d n a region. students adelphia il h P r e t Grea

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Women Directors from North Africa and the Middle East– Souha/Our Heedless Wars NEW SPECIAL Measures EVENT OPTIONS: of Distance/Women Without Men IHOUSE CALENDAR ICONS: p. 26-27 The Janus Collection– Night on Earth p. 8 FILM

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Views of a Changing World– Beetle Queen Conquers Tokyo p. 30

Wave Currents– Sandra Gibson + Luis Recoder w/ Olivia Block p. 6

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Views of a Changing World– American Radical: The Trials of Norman Finkelstein NEW SPECIAL p. EVENT 30OPTIONS:

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Tickets are available at www.ihousephilly.org + 866.468.7619 The Ibrahim Theater Box Office opens 30 minutes before the event unless otherwise noted. Free admission tickets are available only at the box office and cannot be reserved online or by phone. Follow us on twitter at http://www.Twitter.Com/ihousephilly or join the official International House Philadelphia group. Become a fan on facebook at http://www.Facebook.com/ibrahimtheateratinternationalhouse.

IHP Staff Executive Director Tanya Steinberg Arts + Language Programs Renae Dinerman - Director of Arts Robert Cargni - Curator, Film @ International House Jesse Pires - Curator, Film + Live @ International House Barbara Warnock - Language Programs Manager Jesse Kudler - Production Manager Herb Shellenberger - Programs + Box Office Manager Admissions + Resident Services Glenn Martin - Director of Admissions + Resident Services Deborah Houda - Resident Activities + Advisory Center Manager Marlon Patton - Front Desk Manager + Cashier Edwin Garcia - Admissions Coordinator Emily Martin - Admissions Coordinator Eugene Park - Front Desk Coordinator Institutional Advancement Simone Jeffers - Development Director Lauren Pagliaro - Marketing Director Building Operations Carole Parker - Director of Building Operations Moshe Caspi - Security Services + Systems Manager Raj Persad - Building Operations Manager Alex Rivkin - Information Systems + Technology Manager Althelson Towns - Housekeeping Supervisor Wendy Hyatt - Conference Center + Building Services Coordinator Business Office Lina Yankelevich - Finance + Human Resources Manager Clara Fomich - Executive Assistant Housekeeping, Maintenance + Security Reginald Brown Henry Koffi Phillip Carter Yefim Klurfeld Natalie Fauntleroy Vipin Maxwell Kodzo “David” Gasonu Larry Moore Ronald Green Lulzim Myrtaj Sherman Griggs Amar Persad Ryan Harley Christina Rivera Sylvie Hoeto Ronald Smith Russell Jenkins Linda Stanton Tarnue “Keith” Kabah Robert Wooten

Board of Trustees

Board of Delegates

Officers James M Papada, III, Esq, Chair Laurada B Byers, Vice Chair Frank J Mechura, Treasurer William Larkin, EdD, Secretary

Kodjo Adovor Audrey Allen, Esq Busola Awoniyi Sally Baraka, Esq Richard Bartlett Peter Brennan Thomas Fischer Frode Kjersem Kimberly Langton Christian Mattioli, Esq Ken Oh Richard Powell John Walker, Esq

Board of Trustees Christer Andresen Jill R Felix-Colton Peter R Dachowski George M Doolittle Adelaide Ferguson, Esq Hernan Guaracao Robert I Harries Robin Pinder Herndon, Esq Nicole Wellman Kraus Kenneth L Kring Siobhan Lyons Louis Padulo, PhD Herbert Rappaport, PhD Emily C Riley Heather Ritch, Esq Constance W Benoliel-Rock James R Roebuck* Edward J Ryan Edward M Satell John F Smith, III, Esq David C U’Prichard, PhD Richard L Veith Anthony Hardy Williams* *ex-officio

Emeriti, Honorary + International Trustees Hussein El-Sharkawy Anne Elder John C Haas Josephine Klein A Bruce Mainwaring William T McClintock Thomas B Morris, Jr, Esq Lewis S Somers, 3rd Mark Willcox, Jr, Esq

Center Board Richard P Brown, Jr, Esq Graham S Finney Frederick Heldring A Bruce Mainwaring Paul F Miller, Jr Thomas B Morris, Jr, Esq James M Papada, III, Esq Curtis R Reitz, Esq Constance W Benoliel-Rock John F Smith, III, Esq Richard L Veith

parking

It’s easy to park in University City!

Discount parking for International House patrons is now available at the Science Center Parking Garage, 3665 Market Street. A special rate of $5 per vehicle, effective after 4pm until 7am, Monday through Friday plus all day Saturday & Sunday. Please bring your parking stub to International House’s Front Desk to be stamped when attending events. There are two other parking lots (38th + Walnut and 36th + Chestnut) just a short distance away. Plenty of street parking, free after 8pm, is available on Chestnut and Market Streets and throughout University City.

getting here

We are located at 37th and Chestnut Streets, in the University City area, one block south of Market Street and one block north of Walnut Street. Public Transportation: It’s a short walk from either of the Green Line’s 36th Street stops or the Market-Frankford El’s 34th Street stop. From Center City, you can take the 21 bus west on Walnut Street to 37th Street. From West Philly, take the 21 bus east on Chestnut to 37th. From Center City: Take Walnut Street to 38th and Walnut. Make a right onto 38th Street, when you come to Chestnut Street, make another right. We are located one block down on the left. From I-95 North: Take the I-95 S exit towards Central Philadelphia. Merge onto Delaware Expressway. Delaware Expressway becomes I-95 S. Take the I-676/US-30 exit, exit number 17, towards Central Phila./ Independence Hall. Keep left at the fork in the ramp. Merge onto Vine Street Expressway. Take the I-76 E exit towards International Airport. Keep right at the fork in the ramp. Turn right onto Arch Street. Arch Street becomes North 30th Street. Turn right onto John F. Kennedy Blvd. Turn right onto Market Street. Turn left onto 38th Street. Turn left onto Chestnut Street; we are located one block down on the left.

From I-95 South: Take the PA-291 exit, exit number 11, towards I-76 W/Central Philadelphia. Keep right at the fork in the ramp. Keep left at the fork in the ramp. Merge onto Penrose Avenue. Stay straight to go onto George C. Platt Memorial Bridge. George C. Platt Memorial Bridge becomes Penrose Avenue. Turn left onto S 26th Street. S 26th Street becomes I-76 W. Take exit number 41 towards University Avenue/Civic Center. Stay straight to go onto S 34th Street. S 34th Street becomes S University Avenue. Stay straight to go onto S 38th Street. Turn right onto Chestnut; we are located one block down on the left. From 476: Take exit 16A (from 476 south) or exit 16 (from 476 north) for I-76 East toward Philadelphia. Follow I-76 East to exit 345 toward 30th Street Station/Market Street. Turn right off of the ramp onto Arch St./PA-3 W; follow the road as it curves behind 30th Street Station. Turn right onto John F. Kennedy Blvd./PA-3. Turn right onto Market Street. Turn left onto 38th Street. Turn left onto Chestnut Street; we are located one block down on the left.

General Information 215.387.5125 or info@ihphilly.org Housing Information 215.895.6540 or housing@ihphilly.org Programs Office 215.895.6575 or programs@ihphilly.org Art @ International House 215.895.6533 or programs@ihphilly.org Film @ International House 215.895.6555 or film@ihphilly.org Live @ International House 215.895.6546 or programs@ihphilly.org Spoken English + Foreign Language Programs 215.895.6541 or languages@ihphilly.org Resident Activities + Advisory Center 215.895.6584 or raac@ihphilly.org Conference Center + Commercial Tenants 215.895.6539 or facilities@ihphilly.org Marketing + Public Relations 215.895.6531 or marketing@ihphilly.org Membership 215.895.6553 or chawndab@ihphilly.org Ibrahim Theater Inquiries 215.895.6530 or programs@ihphilly.org Development Office/Alumni Relations 215.895.6543 or simone@ihphilly.org Business Office 215.895.6566 or lina@ihphilly.org Executive Director Tanya Steinberg 215.895.6527 or tanya@ihphilly.org

Giving Opportunities + Membership Benefits Join us and enjoy the benefits of being part of a vibrant, global community.

• The Arts + Humanities • Residential Life • Area of Greatest Need By directing your gift to programs of personal interest, you support vital resources and services that are integral to the success of IHP. Should contributions designated for a particular fund exceed the fund’s budgeted amount, IHP will use its discretion in directing the funds to the area of greatest need.

To learn more about Membership Programs for Individuals + Households or Corporate, Business + Non-Profit Organizations, contact Simone Jeffers at 215.895.6543 or simone@ihphilly.org.

IHP Annual Membership Fund Campaign Chairs John F Smith, III, Esq + Susan Smith Emily C Riley Leadership Chairs Donald + Hana Callaghan Frank + Susan Mechura Richard + Carolyn Veith Trustees, Delegates + Center Board Chairs Christer M Andresen + Donna Lee Jones, Esq Thomas B Morris, Jr, Esq Edward M Satell Resident Chairs Glenn Martin Alumni Chairs Jonathan Gaev ‘80 Chandrakant Gupta ‘56 + Margot Rowley Friends Chair Herbert Rappaport, PhD Staff Chair Carole Parker Corporate + Institution Chairs Richard Bartlett, Bartlett & Co, Ltd Frank Menna, Genesis Asset Protection, Inc James M Papada, III, Esq, Technitrol, Inc David C U’Prichard, PhD, Druid Consulting LLC

International house philadelphia

More than 1,200 Residents from over 80 countries call International House Philadelphia “home”. Each year IHP welcomes more than 22,000 visitors to our programs, conferences and activities. International House Philadelphia fosters global connections one person at a time through our international Arts, Humanities, and Residential programs, bringing cultural understanding to our international residential community and the broader community at large. Your gift provides critical funding for programming and opportunities that enhance and sustain the International House Philadelphia Experience. Our IHP Annual Giving Family of Funds allows you to direct your gift to your choice of three specific program areas.

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centennial event

F Cosmic Terrarium: Motion Painting Project featuring Muralmorphosis – Philadelphia Premiere Saturday, September 18 at 2pm Curated by Sean Stoops in collaboration with the Philadelphia Mural Arts Program

Philadelphia Live Arts Festival & Philly Fringe Cosmic Terrarium: Motion Painting Project, is a live outdoor mural painting/street art project unfolding in Northern Liberties during the Philadelphia Live Arts Festival & Philly Fringe (September 4 - 18). Cosmic Terrarium evolved from Muralmorphosis, created for the 2009 Festival as a visual art and mural painting event, transformed into an animated short video of the same title. The Motion Painting Project culminates with an afternoon of street-art films and “animated painting” plus a panel discussion at International House Philadelphia. Featured movies include Muralmorphosis, NEXT: a Primer on Urban Painting by Pablo Aravena, and short films by Blu, the Barnstormers and local artist Jennifer Levonian; plus a slide show of Cosmic Terrarium. Following the screening, a panel discusses the intersections between murals, street art, and animated film including Mural Arts Program Executive Director Jane Golden, Motion Painting Project curator Sean Stoops, filmmaker Pablo Aravena, and Cosmic Terrarium artist Paul Santoleri. Free admission. Tickets available 1/2 hour before showtime at the box office.

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dir. Anders Edström and CW Winter, US/Sweden, 2009, 35mm, 87 mins, color

This enigmatic, mysterious minimalist feature, a collaboration between CalArts graduate CW Winter and photographer Anders Edström, combines elements of narrative fiction, documentary, and even installation art in depicting the daily routine of Ulla, a middle-aged woman living in self-sufficient isolation on a wild island on the Stockholm archipelago. Spending her days maintaining her land, reading, and taking a brief swim every morning (an act that lends a delicate structure to the film), Ulla enjoys a pleasant visit from her daughter who comes with boyfriend in tow. After their departure, though, she discovers that the world she has felt so secure in has been invaded by a strange deer-hunter. Shot with a minimal crew, with Edström’s mother in the lead role, Winter and Edström’s first fiction feature unobtrusively combines silence and the sounds of nature to create hypnotic sequences of great beauty. Beyond the lyricism of these meditative images, The Anchorage is an ode to a woman whose strength and grace are in perfect harmony with nature.

F Home Movie Day Saturday, October 16 at 11am Happening simultaneously in cities around the world, Home Movie Day is a rare opportunity for Philadelphians to take their unseen and forgotten movies out of boxes and see them on the big screen. Now in its seventh year, Home Movie Day provides a unique service to the community: it illuminates the lives of friends and neighbors through their own films and family histories. The charm of this singular event is in watching fashions change, families grow, and history unfold. Everyone is encouraged to bring their 8mm, super 8mm, and/or 16mm home movies. Free admission.

International house philadelphia

F The Anchorage Wednesday, October 6 at 7pm

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Women Directors from North Africa and the Middle East International house philadelphia

Thursday, October 7 – Saturday, October 9 Co-presented by Cinema Studies + Middle East Center at University of Pennsylvania

All screenings introduced by Patricia White, Professor of Film and Media Studies at Swarthmore College.

Women filmmakers from North Africa, the Middle East, and their diasporas are among the most exciting voices in world cinema to emerge over the past few decades. This program highlights three important figures whose works paved the way for other female directors. They are often among the most commanding figures within their own national cinemas, making films about the experience of passionate women at the center of the region’s complex histories and ideologies. This program was selected from the touring exhibitions “Women in Cinema from Tangiers to Tehran” and “The Calm After the Storm: Making Sense of Lebanon’s Civil War,” organized by Patricia White in consultation with Suzanne Gauch for ArteEast. Thanks to Barrak Alziad at Arte East, Nicola Gentili of Penn Cinema Studies, and Swarthmore College Film and Media Studies.

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dir Lida Abdul, US/Afghanistan, 2006, DigiBeta, 6 mins, color, w/o dialog

Born in Afghanistan, Lida Abdul fled after the formerSoviet invasion and now lives and works in both Afghanistan and the US. In this piece, shot on 16mm and transferred to video, the precise images of young boys selling bricks to a man in the desert evokes both the energy of commerce and the devastation of war. followed by

F Passage Thursday, October 7 at 7pm dir. Shirin Neshat, US/Iran, 2001, Betacam, 12 mins, color, w/o dialog

Shirin Neshat’s panoramic landscapes provide an epic backdrop to the ritualized movements of male and female figures involved in funerary preparations. Beautifully composed elemental symbols and rhythmic gestures are underscored by Philip Glass’ orchestrations in a work evocative of cycles of life and death, tradition and the new. followed by

F A Door to the Sky – Bab al-sama maftouh dir. Farida Ben Lyazid, Morocco, 1989, 35mm, 107 mins, color, Arabic w/ English subtitles

In this landmark of Moroccan cinema, Nadia, a young emigrée, returns from Paris to Fez to visit her dying father and remains to establish a Muslim women’s shelter in her father’s palace. A Sufi tale told metaphorically, A Door to the Sky is the first North African film to depict a Muslim woman’s spiritual quest, one undertaken with the guidance of other women.

F La Nouba des femmes de Mont-Chenoua dir. Assia Djebar, Algeria, 1977, DigiBeta, 115 mins, color, French and Arabic w/ English subtitles, video transfer made from an old 16mm print

Finally available in the United States, this haunting film from acclaimed novelist Assia Djebar takes its title and structure from the “nouba,” a traditional song form with multiple movements. Lila returns to her native region 15 years after the end of the Algerian war for independence that defined her childhood. In dialogue with other Algerian women, she reflects on the differences between her life and theirs. Lyrical footage contemplates the power of grandmothers who pass down traditions of anti-colonial resistance. The film combines narrative and documentary styles to find the history of Algeria in the stories of women’s lives. Author of more than a dozen books, Djebar is one of the foremost figures in francophone Magrebi literature, and this film is one of the first to be made by a woman from the region.

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F Souha Saturday, October 9 at NEW 2pmSPECIAL EVENT OPTIONS: dir. Randa Chahal Sabbag, Lebanon, 2001, BetaSP, 57 mins, color, French and Arabic w/ English subtitles

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In 1989, twenty-one-year-old Lebanese communist Souha Béchara attempted to assassinate General Antoine Lahad, who was collaborating with the Israeli Army in the south of Lebanon. Lahad survived, and Souha was arrested and imprisoned in Khiam prison, where she spent the next ten years, six in solitary confinement. The film follows the emotional homecoming in her village, revisiting Khiam prison, and meeting with fellow former prisoners — men and women, secularists and Islamists — alike. Despite her suffering, Souha is a survivor who shares her story with hope for the future, both her own and that of Lebanon. followed by

F Our Heedless Wars – Nos gueres imprudents dir. Randa Chahal Sabbag, France/Lebanon, 1995, DigiBeta, 61 mins, color, French and Arabic w/ English subtitles

Randa Chahal Sabbag began filming the then seventeen-year-old Lebanese civil war in 1976 and recording her politically active family on video in 1983. Our Heedless Wars is a thought-provoking journey of rediscovery, drawing on this material to document the filmmaker’s return home from Paris, where she lived in self-imposed political exile, to Lebanon, where many of her family remained.

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F Brick Sellers of Kabul Friday, October 8 at 7pm

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F Measures of Distance Saturday, October 9 at 5pm dir. Mona Hatoum, UK, 1988, BetaSP, 16 mins, color, English voiceover

This stunning video essay by UK-based Palestinian artist Mona Hatoum is composed of two visual and two sound elements. Arabic script from a series of letters between the artist and her mother is superimposed over still images of her mother’s body taken during a visit to her parent’s home in war-torn Beirut. The soundtrack consists of conversations in Arabic between Hatoum and her mother, taped during the visit, and the artist’s voiceover reading the text of the letters. Layers of sound and image, frame and screen, flesh and text are charged with the longing of separations imposed by war, exile, and personal history.

followed by

F Women Without Men – Philadelphia Premiere dir. Shirin Neshat in collaboration with Shoja Azari, France/Germany, 2009, 95 mins, color, Farsi w/ English subtitles

In her feature-film debut, renowned visual artist Shirin Neshat offers a powerful, stunningly crafted view of Iran in 1953, when a British-backed and CIA-orchestrated coup removed the democratically elected government and reinstated the Shah. Adapted from the banned 1989 magic realist novel by Iranian feminist author Shahrnush Parsipur, the film first took shape as an installation piece. Women Without Men brings together four diverse women who find refuge in a metaphorical garden during those traumatic days.

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Set Pieces Film Series Co-presented by the Institute of Contemporary Art at University of Pennsylvania

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F L’Avventura Wednesday, October 27 at 6:30pm dir. Michelangelo Antonioni, Italy, 1960, 16mm, 143 mins, b/w, Italian w/ English subtitles

Introduced by artist and curator Virgil Marti A girl mysteriously disappears on a yachting trip. While her lover and her best friend search for her across Italy, they begin an affair. Antonioni’s penetrating study of the idle upper class offers stinging observations on spiritual isolation and the many meanings of love.

F The Bitter Tears of Petra von Kant Wednesday, November 17 at 6:30pm dir. Rainer Werner Fassbinder, Germany, 1972, 35mm, 124 mins, color, German w/ English subtitles

Introduced by artist and curator Virgil Marti This tale of intermingled love and hate, The Bitter Tears of Petra von Kant explores the universal dynamics present in close human relationships. Petra Von Kant (Margit Carstensen) is a divorced fashion designer. Until recently, she has been in a fairly satisfactory S & M relationship with her assistant. When she develops an obsession with a female model, things become far more complicated.

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Set Pieces is an exhibit at the Institute of Contemporary Art of restaged objects and art works from the collection of the Philadelphia Museum of Art. Organized by guest curator Virgil Marti, a Philadelphia-based artist, the selection taps treasures from the museum’s storage. The selections in the Set Pieces Film Series are introduced by Marti, who will illustrate the connections between the imagery and structure of his installation and some of his favorite films. ICA is located at 118 S 36th Street, Philadelphia.

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Views of a Changing World 6th Edition International house philadelphia

Wednesday November 10 - Saturday November 13 Sponsored by Susan and Frank Mechura The driving force of the documentary has been a true desire on the part of its makers to shed light on the very issues that make our global society so complex. Examples are consistently appearing in this post-modern era that make one rethink what the term “documentary” might mean. However, films still retain the ingredients of tradition: history and images in real time through which each one of us can make that crucial aesthetic decision as to what may be true and what is open for question. Views of a Changing World features new works that demonstrate many of the technological and formalistic changes in the making of today’s documentaries.

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dir. David Ridgen and Nicolas Rossier, US, 2009, DigiBeta, 86 mins, color

Co-presented by Scribe Video Center’s Producers’ Forum A devoted son of Holocaust survivors and ardent critic of Israeli foreign policy, the polarizing American political scientist and author Norman Finkelstein has been called a lunatic and self-hating Jew by some and an inspirational revolutionary by others. Exploring the deeply complex issues at the heart of the Palestinian-Israeli conflict, American Radical is an insightful and enraging documentary that follows Finkelstein around the world as he attempts to negotiate a voice among his impassioned critics and supporters.

An Evening with Lynne Sachs

F Reel Injun SPECIAL EVENT OPTIONS: Saturday, November 13NEW at 5pm

F Wind in Our Hair

Hollywood has made over 4,000 films about Native people; over 100 years of movies defining how Native Americans are seen by the world. Reel Injun takes an entertaining and insightful look at the “Hollywood Indian,” exploring their portrayal through the history of cinema. Reel Injun traces the evolution of cinema’s depiction of Native people from the silent film era to today.

Friday, November 12 at 7pm

dir. Lynne Sachs, US, 2010, BetaSP, 40 mins, color

Inspired by the stories of Argentine writer Julio Cortázar, yet blended with the realities of contemporary Argentina, Wind in Our Hair is an experimental narrative about four girls discovering themselves through a fascination with the trains that pass by their house. A story of early-teen anticipation and disappointment, Wind in Our Hair is circumscribed by a period of profound Argentine political and social unrest. followed by

F Beetle Queen Conquers Tokyo Thursday, November 11 at 7pm dir. Jessica Oreck, US, 2009, DigiBeta, 90 mins, color

Director Jessica Oreck in person Like a detective story, Beetle Queen Conquers Tokyo untangles the web of influences behind Japan’s captivation with insects. Through history and adventure, the film travels back in time to stories of the fabled first emperor who named Japan the “Isle of the Dragonflies”. Searching for the inspirations that moved Japan into this fascination while other cultures hurtled off towards an almost universal and profound fear of insects, Beetle Queen Conquers Tokyo is set to the rhythm of traditional Japanese values in its attention to detail, harmony, and the appreciation of the seemingly mundane. It quietly challenges the viewer to observe the world from an uncommon perspective that will shift the familiar to the fantastic and just might change not only the way we think about bugs, but the way we think about life.

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F The Last Happy Day dir. Lynne Sachs, US, 2009, BetaSP, 39 mins, color

A portrait of a doctor who saw the worst of society, and ran away. The Last Happy Day is an experimental documentary portrait of Sandor (Alexander) Lenard, a Hungarian medical doctor and a distant cousin of filmmaker Lynne Sachs. In 1938, Lenard, a Jewish doctor and writer, fled the Nazis to a safe haven in Rome. Shortly thereafter, the US Army Graves Registration Service hired him to reconstruct the bones — small and large — of dead American soldiers. Eventually he found himself in remotest Brazil, translating Winnie the Pooh into Latin, an eccentric task that catapulted him to brief world-wide fame. Sachs’ essay film uses personal letters, abstract war imagery, home movies, interviews, and a children’s performance to create an intimate meditation on the destructive power of war.

dir. Neil Diamond, Canada, 2009, 35mm, 86 mins, color SPECIAL EVENT

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F DDR/DDR Saturday, November 13 at 7pm dir. Amie Siegel, US, 2008, HD, 135 mins, color, English and German w/ English subtitles

DDR/DDR is one in a series of “ciné-constellations,” feature-length associative visual essays. Dream-like and propositional, works mirror shared concerns of voyeurism, psychoanalysis, memory, surveillance, and modernist architecture. These films engage in a selfreflexive inquiry into non-fiction film practices, including objectivity, authority, and performance.

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F American Radical: The Trials of Norman Finkelstein Wednesday, November 10 at 7pm

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Project Twenty1 Film & Animation Festival NEW SPECIAL EVENT OPTIONS:

Friday, October 1 – Sunday, October 3

P21Fest is a celebration of independent film and animation in Philadelphia hosted by Project Twenty1. The festival includes the world premiere of the 21-Day Filmmaking Competition films, a collection of shorts from all over the world based on a common secret element, as well as educational workshops, prize giveaways, and VIP networking parties. More information and advance tickets at www.projecttwenty1.org. SPECIAL EVENT

SPECIAL EVENT

Reelblack Presents

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Reelblack Presents promotes discoveries and rediscoveries in African-American film. F Coming Back For More Tuesday, October 5 at 7pm dir. Willem Alkema, Netherlands, 2010, MiniDV, 74 mins, color

F Brainiacs In La La Land Tuesday, November 9 at 7pm dir. Sarah Poindexter, US, 2010, DVD, 70 mins, color

preceded by

F The Visit dir. Kaloni Davis, US, 2010, DVD, 40 mins, color

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PHILADELPHIA FILM SOCIETY PRESENTS THE 19TH PHILADELPHIA FILM FESTIVAL

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Friday, October 15 – Sunday, October 17 + Friday, October 22 and Saturday, October 23

The 19th Philadelphia Film Festival is a destination of both established and forthcoming filmmakers, as well as passionate film-lovers from around the world. In addition to receptions and seminars with filmmakers, the festival lineup also includes star studded Opening, Closing, and Centerpiece screenings as well as several Award screenings. More information and advanced tickets at www.filmadelphia.org.

Philadelphia Asian American Film Festival

Thursday, October 21, Saturday, October 23 + Sunday, October 24 The first event of its kind in Philadelphia — a film festival celebrating and elevating the Asian American experience. Now in its 3rd year, the 2010 Philadelphia Asian American Film Festival will continue to promote culturally relevant programming to a broad audience and provide sponsors with a meaningful platform to engage the community. Please visit www.phillyasianfilmfest.org for more information.

Exhumed Films

Formed in 1997, Exhumed Films was created to provide a theatrical venue for a much beloved art form that had all but disappeared in the 1990s and is in further decline in the early 21st Century: the B-grade horror movie. F Horror-thon Part IV Saturday, October 30 – Sunday, October 31 from 12 noon – 12 noon To celebrate the joyous Halloween season, Exhumed Films proudly presents the fourth annual 24 Hour Horror-thon: a full 24 hour marathon of nonstop horror mayhem! with

F Video Violence Art Exhibit A study of cult film on the now defunct Video Home System (VHS), artists from across the country cut, paint, print and, deface VHS copies of their favorite films from the past. $25 general admission. In advance at www.exhumedfilms.com or one hour before showtime at the door (cash only).

SCRIBE VIDEO CENTER Scribe Video Center was founded in 1982 as a place where emerging and experienced media artists could gain access to the tools and knowledge of video making and work together in a supportive environment. Dates and times TBA.

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F Fennesz Sunday, September 5 at 8pm Christian Fennesz, electric guitar + electronics + laptop

Ars Nova Workshop in Residence

Co-presented by Ars Nova Workshop + R5 Productions “I have a feeling that long after many of the experimental electronic records from the past ten years disappear we’ll continue to reach for the works of Fennesz.” Mark Richardson, Pitchfork In his first ever Philadelphia performance, Ars Nova Workshop and R5 Productions invite you to a very rare performance by Austrian experimental musician Fennesz. For over 25 years, Fennesz has created category-blurring music that navigates the edges of ambient, noise, electronic, improvisation, pop, and minimalism. Born in 1962, Christian Fennesz began playing guitar when he was 8 years old and studied music while attending art school in his native country of Austria. In the late-1980s, he briefly played with Maische, who explored the relationships between noise and pop while also taking a more free form improvisational approach. In the 1990s, Fennesz became involved with the vibrant Austrian techno scene and quickly began to introduce synthesizers and various electronics to his sonic arsenal. In addition to his massive solo discography, over the years he has recorded and performed with some of the most creative contemporary experimental artists such as David Sylvain, Jim O’Rourke, Keith Rowe, Sparklehorse, Ryuichi Sakomoto, Mike Patton, Toshimaru Nakamura, Oren Ambarachi, Mika Vainio, Otomo Yoshihide, and Kevin Drumm. $20 general admission. In advance at arsnovaworkshop.org, r5productions.com, www.ihousephilly.org + AKA Records, 27 N 2nd Street, or one hour before showtime at The Ibrahim Theater Box Office.

F Marc Ribot with live solo performance to Charlie Chaplin’s The Kid (1921) Sunday, September 26 at 8pm $15 general admission. In advance at www.arsnovaworkshop.com or one hour before showtime (cash only).

F Merzbow + Charles Cohen Monday, September 27 at 8pm $15 general admission. In advance at www.arsnovaworkshop.com or one hour before showtime (cash only).

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Live @ International House Philadelphia presents the most unique and innovative artists working in music and performance. With an emphasis on experimentation and improvisation, the stage at IHP is an ideal forum for discovering new sounds and ideas.

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Art @ International House Philadelphia is proud to introduce guest curator Reza Nahaie-Ghanad. Currently exhibiting and teaching in Philadelphia, Reza received a Master of Fine Arts Degree from PAFA in 2010. His works have also been exhibited in New Jersey, Vermont, and Massachusetts. Reza will curate shows for our East Gallery. The West Gallery remains dedicated to InLiquid Art + Design Video Installations. SPECIAL EVENT

SPECIAL EVENT

Opening Receptions International house philadelphia

Thursday, September 23 at 6pm

F It Is The Mercy by Joseph Lozano September 3 – December 3 Through painting-installations, I create a world of abstract objects based on narratives of water and our relationship to it. These stories are about striving toward an unreachable goal and the beautiful brokenness that becomes the purpose of the journey: encountering the loneliness inherent in the feeling of awe; the wonder inherent in the banal; and the presence inherent in a void. – Joseph Lozano Inspired by the story of sailor and businessman Donald Crowhurst, this exhibit expands its narrative beyond its origins. Crowhurst, in an attempt to win a contest to circumnavigate the globe, sent false locations and attempted to create the illusion he was winning the challenge. Sadly he was lost at sea, due to madness and possibly suicide. This installation carries many layers: a formal echo both haunting and touchingly frail, and visual subtleties that carry reminders of previous installations by Lozano. I’m very pleased to open this year’s exhibition suite with such a versatile and poetic talent as Joseph Lozano. – Reza NahaieGhanad

F Valence by Stephen Scott Smith InLiquid Art + Design Video Installation September 3 – December 3 Valence is a digital photo, stop-motion, morph, animation, video, and installation series. The works explore movement and the deconstruction of image into geometry through repeated actions, light, shadow, surface, as well as the observation, breakdown, and extension of the lines created by the morphing program. Initial images and video debuted at Portland’s Worksound group show Portraits in July 2009, curated by Mark Woolley. Richard Spear from the Willamette Weekly wrote, “The most polished work here, however, is Stephen Scott Smith’s B Jump, an impossibly beautiful and sophisticated stop-motion animation encased in enormous white frames, which wouldn’t look out of place in a Phillipe Starckdesigned penthouse.”

Galleries are open to the public Monday – Friday from 10am to 6pm and whenever there is a program in The Ibrahim Theater.

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Opening Reception at Slought foundation

Opening Reception Thursday, October 28 at 6pm

Wednesday, September 29 at 6:30pm

F Many Moving and Still Works by Two Torontonians at Slought Foundation September 29 - October 29 Co-presented by Slought Foundation

SPECIAL EVENT

F Six Plus Six October 22 – December 24 Six Plus Six is a video installation by local filmmaker Ted Knighton. Based on the myth of Persephone, Six Plus Six consists of two films, one shown in one room and one shown in another. Since the action and characters of the story are spread between the two rooms, each film shows only half the story. Six Plus Six precedes Film @ International House’s screening of the silent epic Cabiria at 7pm. Please see page 10 for more information.

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Many Moving and Still Works by Two Torontonians is an exhibition of recent work by Michael Snow and John Oswald on display in the Slought Foundation galleries. Please join us for the opening reception which includes “Snoswald,” a public conversation between artists Michael Snow and John Oswald. Please see page 4 for more information.

SPECIAL EVENT

Galleries are open to the public Monday – Friday from 10am to 6pm and whenever there is a program in The Ibrahim Theater.

INTERNATIONAL HOUSE PHILADELPHIA 100 YEARS

3701 Chestnut Street Philadelphia, PA 19104

IHP is an independent, member supported non-profit. JOIN TODAY! International House Philadelphia is a multicultural residential center, a source of distinctive programming, and the embodiment of an ideal. It has a critical threefold mission: to maintain a diverse and welcoming community for scholars from around the world, while introducing them to the American experience; to broaden the horizons of its Residents and the larger community through high quality international arts and humanities programs; and to encourage cooperation and respect among the peoples of all nations.

www.ihousephilly.org

The generous support of our Members, Friends, and Benefactors allows International House Philadelphia to continue its tradition of offering lifelong learning through the Arts, Culture, and Humanities to an increasing number of people each year. We receive State arts funding through a generous grant from the Pennsylvania Council on the Arts, a state agency funded by the Commonwealth of Pennsylvania. These programs are also funded in part by grants from the Philadelphia Exhibitions Initiative, a program of the Pew Center for Arts and Heritage; The Barra Foundation; The Connelly Foundation; The Eugene Garfield Foundation; The Quaker Chemical Foundation; and the JP Morgan Chase Foundation. We thank our Corporate Members and Supporters: Asher & Co. Ltd; Bartlett Insurance Brokers; Blank Rome LLP; CertainTeed; Citizens Bank; Crown Americas; Elliot Lewis Corporation; Genesis Asset Protection; Husky Associates; Philip Rosenau Co., Inc; PNC Bank; Progressive Business Publications; Sheraton Philadelphia University City Hotel; and Wells Fargo. IHP is also thankful for the support of our in-kind donors and many generous annual donors. We thank the Centennial Arts Committee – Jill Katz, Joseph Newland, Mimi Sheller, and Sean Stoops – for their invaluable dedication and commitment to Arts Programming at International House Philadelphia. Special thanks to the Sheraton University City for their support in providing accommodations to our guest artists.

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