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1517 W. Fullerton Ave.
Chicago IL 60614
800.331.6197
Sales hours:
9am-5pm, Mon.-Fri.
Rental hours:
10am-10pm, Mon.-Sat.,
12pm-10pm, Sun. & holidays
Film School Archives:
FACETS FILM SCHOOL ARCHIVE
Summer Session II:
July 18 - August 25, 2011
The Unseen on Screen:
THE NEGLECTED FILMS OF ORSON WELLES
MondaysJuly 18-August 22
7-10 pm
Films screened and discussed:
It's All True (1993)Othello (1952)
Mr. Arkadin (1955)
The Trial (1962)
Chimes at Midnight (1965)
F for Fake (1973)
"I started at the top and have been working my way down ever since." Even Orson Welles occasionally believed what most critics said about him during his lifetime: that although his first two features -- Citizen Kane (1941) and The Magnificent Ambersons (1942) -- were instant classics, a combination of overindulgence, studio interference, and dumb bad luck had prevented him from directing another masterpiece. That critical position has been steadily eroding since Welles's death in 1985. The late 1990s saw Touch of Evil (1958) re-edited to match Welles's original vision, establishing a third, later classic. And in recent years, a restored print of The Lady from Shanghai (1947) has been winning over both audiences and critics. So it would appear that Orson Welles, being ever the magician, still holds surprises for us -- and that his filmography deserves much closer scrutiny. In this class, we'll watch six of the director's "under-seen" features—neglected, forgotten, and misunderstood works—comparing and contrasting them with his better-known films... and possibly discovering another masterpiece.
Adam Jones is a writer, video artist, and performer. He has also taught at DePaul University, the School of the Art Institute of Chicago, Lake Forest College, StoryStudio Chicago, and elsewhere. He writes regularly about film, music, art, and literature and is the author of two books: Amazing Adult Fantasy (stories) and Giant Slugs (a novel). In the fall, he will enter UIC's PhD program in Creative Writing. He has taught previous Facets classes on contemporary Thai cinema, Tsai Ming-Liang, Hayao Miyazaki, Woody Allen, and David Mamet.
Adam Jones is a writer, video artist, and performer. He has also taught at DePaul University, the School of the Art Institute of Chicago, Lake Forest College, StoryStudio Chicago, and elsewhere. He writes regularly about film, music, art, and literature and is the author of two books: Amazing Adult Fantasy (stories) and Giant Slugs (a novel). In the fall, he will enter UIC's PhD program in Creative Writing. He has taught previous Facets classes on contemporary Thai cinema, Tsai Ming-Liang, Hayao Miyazaki, Woody Allen, and David Mamet.
E Pluribus Unum:
NEW LATIN AMERICAN CINEMA (A Selection)
WednesdaysJuly 20-August 24
7-10 pm
Films screened and discussed:
Herod's Law(Luis Estrada, 2007)
Live-in Maid
(Jorge Gaggero, 2004)
Whisky
(Juan Pablo Rebella and Pablo Stoll, 2004)
Miracle in Rome
(Lisandro Duque, 1989)
The Storyteller
(Luiz Villaça, 2009)
Radio Corazón
(Roberto Artiagoitía, 2007)
Latin American art is poetic, symbolic and occasionally raw with great crude humor. With its vibrant and varied national identities, a turbulent and sometimes tortured past along with its proud cultural heritage, Latin America has all the necessary ingredients for a rich tradition of cinema and film. What has become known as the New Latin American Cinema has encompassed a wide range of themes and issues, while adopting a much broader range of artistic styles which depart from the rigid realism of previous traditions. For example, the films shown in this course are as varied as Latin America itself, since these countries, from Argentina to Mexico, are vastly different from each other, their films share a sense of the moment, both on a local level and as part of a larger global zeitgeist.
This course will take a close look at way Latino culture is portrayed from within. Six selected feature films from Latin America will explore religion, social status, individualism and existentialism, political affiliations, human and civil rights, poverty, displacement, and class resentment.
A Colombian native, Carolina Posse Emiliani has exhibited films in Manchester, New York City, Los Angeles, Chicago and Gaberone, Botswana. Some of her credits include Hot Chili (2004), The Quiet (2005), and Path of Least Resistance (2006). She's served on the juries of the Sundance Institute, Independent Television Service, and Latino Public Broadcasting. April 2007 marked her 7th year with the Chicago Latino Film Festival, culminating as Interim Film Festival Director of the 23rd edition. Most recently, her television show on green living, Little Green Men (2009), won a Bronze Telly Award and as a writer her award winning short Vial (2010) will hit the film festival circuit this summer. She teaches creative producing and marketing for film at Columbia College. She previously taught a class at the Facets Film School, titled Eye vs. Eye: David Mamet and Woody Allen (Exploration of Regional Sensibilities In Aesthetics).
This course will take a close look at way Latino culture is portrayed from within. Six selected feature films from Latin America will explore religion, social status, individualism and existentialism, political affiliations, human and civil rights, poverty, displacement, and class resentment.
A Colombian native, Carolina Posse Emiliani has exhibited films in Manchester, New York City, Los Angeles, Chicago and Gaberone, Botswana. Some of her credits include Hot Chili (2004), The Quiet (2005), and Path of Least Resistance (2006). She's served on the juries of the Sundance Institute, Independent Television Service, and Latino Public Broadcasting. April 2007 marked her 7th year with the Chicago Latino Film Festival, culminating as Interim Film Festival Director of the 23rd edition. Most recently, her television show on green living, Little Green Men (2009), won a Bronze Telly Award and as a writer her award winning short Vial (2010) will hit the film festival circuit this summer. She teaches creative producing and marketing for film at Columbia College. She previously taught a class at the Facets Film School, titled Eye vs. Eye: David Mamet and Woody Allen (Exploration of Regional Sensibilities In Aesthetics).
NOTES ON CINEMATOGRAPHY:
Subjective Psychology in Narrative Cinema
ThursdaysJuly 21-August 25
7-10 pm
Films screened and discussed:
Chloe(Atom Egoyan, 2009)
The Quiet American
(Phillip Noyce, 2002)
The Chaser
(Hong-jin Na, 2008)
Pennies From Heaven
(Herbert Ross, 1981)
The Big Heat
(Fritz Lang, 1953)
OSS 117 - Lost in Rio
(Michel Hazanavicius, 2009)
Audiences are most familiar with the contribution of the writer and director in the creation of a motion picture. Less known is the contribution of the cinematographer, who has been referred to as an "Author of Light." The Director of Photography seeks the photo-mechanical-chemical transmutation of the writer's words and the director's vision and cinematography is about telling a story visually. The challenge becomes determining the visual strategies employed to tell a story in a believable manner. On a basic level, the cinematographer is in charge of lighting and coverage so that continuity can be monitored, but on an artistic level, cinematographers use photographic techniques to evoke an emotional response through the creation of mood.
Director of Photography, Michael NJ Wright returns to the Facets Cinémathèque to once again explore how a cinematographer elicits an emphatic audience response by setting the right tone for the story. The tools of cinematography have modernized over the years, especially with the wide adoption of digital imaging, but they still adhere to the basic rules of composition and exposure to "pictorialize" the human psychological state. Cinematographer Charles Lang utilizes tone juxtaposition to contrast the official corruption and moral ambivalence of The Big Heat; Gordon Willis burnishes his reputation after Godfather 2 and plays homage to the painter Edward Hopper in the doomed depression era love story, Pennies From Heaven. Director of Photography, Paul Sarossy tantalizes our fears of infidelity in Chloe and Christopher Doyle ties a visual Gordian knot of lust and betrayal in The Quiet American. An unflinching claustrophobic depiction of South Korea is the noir thriller The Chaser is turned in by Sung-je Lee and the romantic nostalgia of OSS 117 - Lost in Rio, photographed by, Guillaume Schiffman, satirically evokes classic Hollywood splendor to re-envision the spy thriller.
Michael NJ Wright graduated as a Cinematography Fellow from the American Film Institute. He is the head of Wright Bros. Photoplay where he's produced numerous award-winning features and shorts, of which Wright also photographed. He has an extensive track record serving as Director of Photography for television networks such as NBC, ESPN, MTV, Discovery, and WYCC. He is a 2009 Emmy Winner, and his TV show Little Green Men (2009) just won a Bronze Telly in Cultural Programming. His most recent narrative features shot on HD are Banana Leaves and Dog Jack (2009), and The Mole Man of Belmont Ave. (2010). As an individual artist, Wright has been grant recipient from The Illinois Arts Council and Change, Inc. Wright teaches cinematography and directing at the Illinois Institute of Art. He previously taught film classes at the Facets Film School titled Light Narrative: The Rhetoric of Exposure and Eye vs. Eye: David Mamet and Woody Allen (Exploration of Regional Sensibilities In Aesthetics).
Director of Photography, Michael NJ Wright returns to the Facets Cinémathèque to once again explore how a cinematographer elicits an emphatic audience response by setting the right tone for the story. The tools of cinematography have modernized over the years, especially with the wide adoption of digital imaging, but they still adhere to the basic rules of composition and exposure to "pictorialize" the human psychological state. Cinematographer Charles Lang utilizes tone juxtaposition to contrast the official corruption and moral ambivalence of The Big Heat; Gordon Willis burnishes his reputation after Godfather 2 and plays homage to the painter Edward Hopper in the doomed depression era love story, Pennies From Heaven. Director of Photography, Paul Sarossy tantalizes our fears of infidelity in Chloe and Christopher Doyle ties a visual Gordian knot of lust and betrayal in The Quiet American. An unflinching claustrophobic depiction of South Korea is the noir thriller The Chaser is turned in by Sung-je Lee and the romantic nostalgia of OSS 117 - Lost in Rio, photographed by, Guillaume Schiffman, satirically evokes classic Hollywood splendor to re-envision the spy thriller.
Michael NJ Wright graduated as a Cinematography Fellow from the American Film Institute. He is the head of Wright Bros. Photoplay where he's produced numerous award-winning features and shorts, of which Wright also photographed. He has an extensive track record serving as Director of Photography for television networks such as NBC, ESPN, MTV, Discovery, and WYCC. He is a 2009 Emmy Winner, and his TV show Little Green Men (2009) just won a Bronze Telly in Cultural Programming. His most recent narrative features shot on HD are Banana Leaves and Dog Jack (2009), and The Mole Man of Belmont Ave. (2010). As an individual artist, Wright has been grant recipient from The Illinois Arts Council and Change, Inc. Wright teaches cinematography and directing at the Illinois Institute of Art. He previously taught film classes at the Facets Film School titled Light Narrative: The Rhetoric of Exposure and Eye vs. Eye: David Mamet and Woody Allen (Exploration of Regional Sensibilities In Aesthetics).
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