PROJECTIONS Sept 2016 - Bryn Mawr Film Institute

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BRYN MAWR FILM INSTITUTE

ISSUE 47

PROJECTIONS

ROCKY

ELF

LA LA LAND

Film and Program Schedule September 2016 — December 2016 BrynMawrFilm.org 610.527.9898

BRYN MAWR FILM INSTITUTE

NEW RELEASES

Refer to BrynMawrFilm.org for definitive scheduling.

Photo Credit: Jauhien Sasnou

Film and Program Schedule September 2016 – December 2016

Bryn Mawr Film Institute is a membershipbased, non-profit 501(c)(3) center for film exhibition and education. Contributions are tax-deductible to the full extent of the law. Ticket Prices Visit BrynMawrFilm.org for ticket prices and event information. For group ticket sales (20 or more tickets), visit the Box Office. Become a Member While you do not have to be a member to enjoy films and classes, membership in the non-profit Bryn Mawr Film Institute is the best way to show your support for good films and a cultural landmark. See the back cover for membership information. Theater Rentals The theater auditoriums, Multimedia Room, and Community Room are available for rental and can accommodate a variety of media formats. Detailed information is available at BrynMawrFilm.org. To rent these spaces, please contact Valerie Temple at 610.527.4008 x109 or [email protected].

Published quarterly by Bryn Mawr Film Institute 824 West Lancaster Avenue Bryn Mawr, PA 19010-3228 Issue 47 Template: HeleneKrasney.com Layout: Heather Rosenfeldt

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THE LIGHT BETWEEN OCEANS

SOUTHSIDE WITH YOU

SNOWDEN

USA – 2 hr 10 min – d. Derek Cianfrance

USA – 1 hr 21 min – d. Richard Tanne

USA – 2 hr 8 min – d. Oliver Stone

From the director of Blue Valentine comes this emotional drama about a lighthouse keeper (Michael Fassbender), his wife (Alicia Vikander), and their startling link to a grieving stranger (Rachel Weisz).

Before they became the First Couple, young lawyers Barack (Parker Sawyers) and Michelle (Tika Sumpter) meander through the South Side of Chicago on an epic first date in this romance set in the summer of 1989.

Joseph Gordon-Levitt stars as controversial American whistleblower Edward Snowden in this politically charged biographical thriller penned and directed by Academy Awardwinner Oliver Stone.

Parking at Bryn Mawr Film Institute Limited visitor parking is available behind the theater. These spots are designated with yellow signs. Please see our detailed parking map on p.11.

QUEEN OF KATWE

THE BIRTH OF A NATION

DENIAL

Monday–Friday before 5:00 pm

South Africa/USA – d. Mira Nair

USA – 1 hr 50 min – d. Nate Parker

UK – 1 hr 50 min – d. Mick Jackson

Oscar-winner Lupita Nyong’o (12 Years a Slave) and David Oyelowo (Selma) star in this inspirational true story of Phiona Mutesi, an underdog Ugandan chess prodigy who became queen of the chess world.

Grand Jury Prize-winner of the 2016 Sundance Film Festival, this unrelenting debut from Nate Parker portrays the slave uprising orchestrated and led by enslaved preacher Nat Turner in antebellum Virginia.

Historian Deborah E. Lipstadt takes on Holocaust denier David Irving during the Irving v. Penguin libel trials in this true-life courtroom drama starring Rachel Weisz, Timothy Spall, and Tom Wilkinson.

LOVING

LA LA LAND

MANCHESTER BY THE SEA

USA – 2 hr 3 min – d. Jeff Nichols

USA – 2 hr 6 min – d. Damien Chazelle

USA – 2 hr 15 min – d. Kenneth Lonergan

Richard and Mildred Loving fight for their freedom after they are sentenced to prison for their interracial marriage in the landmark Loving v. Virginia case, brought to the screen by the director of Mud.

After the smashing success of his 2014 debut, Whiplash, writer/director Damien Chazelle makes music with Ryan Gosling, Emma Stone, and JK Simmons in his second feature, set in star-studded Los Angeles.

After the boy’s father dies, a griefstricken New Englander (Casey Affleck) is forced to take care of his teenage nephew in this heart-rending drama from Oscar-nominee Kenneth Lonergan (You Can Count on Me.)

Become a Community Partner BMFI works with Community Partners to create programs that use film to enhance the educational and cultural offerings of each group. Community Partner benefits are structured to fit each organization’s goals and include rent-free use of BMFI theater spaces and meeting rooms, promotional opportunities, teacher education, curriculum consultation, on-site lectures and in-theater field trips, special screenings, film series, and specialized events.

Onscreen and Print Sponsorships Receive recognition for your organization while supporting BMFI. Contact Gina Izzo at [email protected] or 610.527.4008 x110 or visit our website at BrynMawrFilm.org for details.

To learn how your institution, faith community, or your child's school can become a Community Partner, please contact BMFI Director of Education Andrew J. Douglas, Ph.D., at 610.527.4008 x 102 or [email protected].

Three- and twelve-hour meters are available in nearby municipal lots. Two-hour metered parking is available along Lancaster Avenue.

Current Community Partners Academy of Notre Dame de Namur The Agnes Irwin School The Baldwin School Bryn Mawr College Cabrini University Haverford College The Hill at Whitemarsh The Quadrangle The Shipley School

Bryn Mawr Film Institute 824 W. Lancaster Avenue Bryn Mawr, Pennsylvania 19010-3228 Theater Hotline: 610-527-9898 Business Office: 610-527-4008 BrynMawrFilm.org [email protected]

This section lists some of the newly released films that BMFI hopes to screen. Our goal is to play all of these films, though we can’t guarantee it. Film start dates will be listed on BrynMawrFilm.org as soon as they become available.

Monday–Friday after 5:00 pm and Weekends

Free parking is available directly behind the theater and in Bryn Mawr Trust lots adjacent to BMFI, along S. Bryn Mawr Avenue, (except for Diesinger & Dolan spots) and on the other side of Lancaster Avenue. Three- and twelve-hour meters are available in the municipal lots (free after 6:00 pm and all day Sunday). Two-hour metered parking is available along Lancaster Avenue (free after 6:00 pm and all day Sunday).

Bryn Mawr Film Institute receives state arts funding support through a grant from the Pennsylvania Council on the Arts, a state agency funded by the Commonwealth of Pennsylvania and the National Endowment for the Arts, a federal agency. Official registration and financial information for Bryn Mawr Film Institute may be obtained from the Pennsylvania Department of State by calling toll-free, within Pennsylvania, 1-800-732-0999. Registration does not imply endorsement.

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FILM SERIES 90 Years of Films in Bryn Mawr

Regular admission applies unless otherwise indicated. Variously known as the Seville Theater, the Bryn Mawr Theater, and Bryn Mawr Film Institute, the building located at 824 West Lancaster Avenue has been home to film in Bryn Mawr for 90 years. BMFI celebrates this rich cinematic history with the continuation of a nine-month long series that features films from the theater’s past, one screening a month for every decade of its existence.

Everybody Sing!

Thursday, September 15, 7:15 pm THE PHILADELPHIA STORY

Wednesday, November 23, 7:00 pm THE WIZARD OF OZ

1940 – USA – 1 hr 52 min – d. George Cukor – 35mm

90

1939 – USA – 1 hr 41 min – d. Victor Fleming

Katharine Hepburn, Cary Grant, and James Stewart match wits in this Academy Award-winning romantic comedy about the disruption of a socialite’s impending wedding caused by the simultaneous arrival of her ex-husband looking to rekindle their flame and a tabloid magazine journalist on the hunt for both a story and possible love. YEARS OF FILMS IN

B R Y N M AW R

Twisters, witches, and ruby slippers, oh my! Accompany Dorothy and Toto to the Land of Oz at BMFI’s popular and lively interactive singing event. Encounter the Cowardly Lion, Scarecrow, and Tin Man as you “Follow the Yellow Brick Road” and travel “Over the Rainbow” in this adaptation of the beloved L. Frank Baum novel. Kathy O’ Connell, host of WXPN’s Kids Corner, will emcee the event.

Set in the Main Line and starring Bryn Mawr College’s most famous alumna, it’s no wonder that the Bryn Mawr chose to revive The Philadelphia Story in 1972 as a complement to Pat and Mike during a week devoted to Katharine Hepburn.

Wednesday, December 21, 7:00 pm and 7:15 pm THE SOUND OF MUSIC

Shown in conjunction with a Cinema Classics Seminar (see p.16), The Philadelphia Story will be introduced by the seminar’s instructor, Alice Bullitt, M.A.

1965 – USA – 2 hr 54 min – d. Robert Wise As a plucky young nun, Julie Andrews sings her way into the hearts of the von Trapp family in this screen version of the beloved Rodgers and Hammerstein musical. Wear a wimple, lederhosen, or even dress as a drop of golden sun at this fun-filled event, a holiday tradition for fans of the film and its many memorable songs.

Thursday, October 20, 7:15 pm DIABOLIQUE 1955 – France – 1 hr 56 min – d. Henri-Georges Clouzot

90

A heart-grabbing benchmark in horror filmmaking, Simone Signoret, Véra Clouzot, and Paul Meurisse give outstanding performances in this terrifying and twisty tale of two women—the fragile wife and the willful mistress of the sadistic headmaster of a boys boarding school—who hatch a daring revenge plot. YEARS OF FILMS IN

B R Y N M AW R

Perfect for the Halloween season, Diabolique first chilled audiences at the Bryn Mawr Theater 50 years ago, during a two-week engagement in 1966 (eleven years after this shocker first hit theaters in 1955!) Shown in conjunction with a Cinema Classics Seminar (see p.16), Diabolique will be introduced by the seminar’s instructor, Christopher Long, M.A.

Thursday, November 3, 7:15 pm LITTLE CAESAR 1931 – USA – 1 hr 19 min – d. Mervyn LeRoy

90

After leaving his small town to seek his fortune in the big city of Chicago, gangland hood Enrico Cesare Bandello (alias “Rico”) shoots his way to the top, adopting the moniker “Little Caesar” in the process. Edward G. Robinson creates the template for tough guys to come as the star of one of Hollywood’s first gangster films. YEARS OF FILMS IN

B R Y N M AW R

For one week in December 1973, the Bryn Mawr paid tribute to the gangster flicks of yore with Little Caesar and Public Enemy sharing a double bill. Shown in conjunction with a Cinema Classics Seminar (see p.17), Little Caesar will be introduced by the seminar’s instructor, Andrew J. Douglas, Ph. D.

Thursday, December 15, 7:15 pm DIVORCE ITALIAN STYLE 1961 – Italy – 1 hr 45 min – d. Pietro Germi – 35mm

Starring Italian heartthrob Marcello Mastroianni as a philandering baron with a devious plan to ditch his wife, this hilarious and cutting satire of Sicilian male chauvinist culture from writer/ director Pietro Germi won the 1962 Academy Award for Best Original Screenplay.

90

YEARS OF FILMS IN

B R Y N M AW R

Join us for these family-friendly interactive events! Experience your favorite classic movie musicals in a delightful new way. Costumes are encouraged—patrons who dress up receive a free small popcorn!

Celebrating Sembène!

Fifty years after his feature-film debut with Black Girl (La noire de…), we celebrate Ousmane Sembène, who passed away in 2007, as one of the most groundbreaking filmmakers who ever lived and the most internationally renowned African director of the twentieth century.

Thursday, December 1, 7:15 pm SEMBENE! 2015 – Senegal/USA– 1 hr 27 min – d. Samba Gadjigo and Jason Silverman

In 1952, Ousmane Sembène, a dockworker and fifth-grade dropout from Senegal, began dreaming an impossible dream: to become the storyteller for a new Africa. Using rare archival footage and more than 100 hours of exclusive materials, Sembène’s colleague and biographer Samba Gadijigo (with help from co-director Jason Silverman) tells the unbelievable true story of the father of African cinema, the self-taught novelist and filmmaker who fought a 50-year battle, against enormous odds, to return African stories to Africans. 

Thursday, December 8, 7:15 pm BLACK GIRL 1966 – France/Senegal – 1 hr 5 min – d. Ousmane Sembène

For his first feature, Sembène, who was also an acclaimed novelist in his native Senegal, adapts his own novella about a young Senegalese woman who moves to France to work for a wealthy white couple and finds that life in their small apartment has become a figurative and literal prison. Featuring a moving central performance by Mbissine Thérèse Diop, Black Girl is a harrowing human drama as well as a radical political statement—and one of the essential films of the 1960s. Sembène’s 1963 short film “Borom Sarret”, arguably the first film made by a black African, will be screened before the feature. Shown in conjunction with a Cinema Classics Seminar (see p.17), Black Girl will be introduced by the seminar’s instructor, Christopher Long, M.A.

Massively popular at the Bryn Mawr Theater, films featuring actor Mastroianni played regularly for over a decade, most notably a ten-week run of Divorce Italian Style in late 1962 and early 1963. Shown in conjunction with a Cinema Classics Seminar (see p.17), Divorce Italian Style will be introduced by the seminar’s instructor, Maurizio Giammarco, Ph. D.

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CINEMA SELECT

Watch trailers for and find more information about these films at BrynMawrFilm.org.

BRYN MAWR Monday, September 12, 6:00 pm COLLEGE NIGHT BMFI welcomes students back to campus with College Night on Monday, September 12! Students are invited to stop by Bryn Mawr Film Institute for free coffee, free movie posters, and a free film. Students can grab a poster and a quick pick-me-up cup of coffee, or stay for a movie and local short films. It’s all free for college students with ID. At 6:00 pm, doors open to the Poster Party on the second floor of BMFI. Grab a cup of coffee and rifle through a mountain of movie posters until 8:30pm. Want to catch a movie? Choose among the newest main attraction films after 7:00 pm. Your ticket and small popcorn are free with student ID. Visit BrynMawrFilm.org for current films. Catch a first-look at work from local filmmakers, or show your own film on our big screen for free at Open Screen Monday, this and the first Monday of every month at 9:15 pm.

Wednesday, September 21, 7:00 pm ROCKY

A RT H O U S E T H E AT ER DAY Saturday, September 24

Art House Theater Day celebrates the legacy of independent theaters as advocates for cinema arts. In an age where media has become more digital than tangible, more solitary than social, art house theaters remain the physical spaces where filmgoers congregate and connect with intrepid, creative filmmaking. They are the beating heart of new and exciting cinema that is shaping the future of the medium. In addition to the programming listed below, patrons will enjoy many special giveaways and promotions throughout the entire day, including free ice cream provided by Bryn Mawr Trust after the screening of Time Bandits.

1976 – USA – 2 hr – d. John G. Avildsen

Inspired by the 1975 fight between Muhammad Ali and middling talent Chuck Wepner, Sylvester Stallone penned a screenplay about a nobody fighter given the million-to-one opportunity to challenge for the heavyweight title, and the ultimate underdog, Rocky Balboa, was born! After winning Best Picture, Best Director, and Best Film Editing at the 1977 Academy Awards, Stallone’s Rocky went the distance and spawned six sequels, including 2015’s Creed. Yo, Adrian! Prior to the screening, enjoy a soft pretzel provided by Philly Pretzel Factory and a Brawler brew provided by Yard's Brewing Company. These refreshments are free with price of admission. In celebration of the 40th anniversary of this quintessential Philadelphia film, Sharon Pinkenson, Executive Director of the Greater Philadelphia Film Office, will introduce the screening.

Thursday, September 22, 7:00 pm RAIDERS!: THE STORY OF THE GREATEST FAN FILM EVER MADE AND RAIDERS OF THE LOST ARK: THE ADAPTATION (DOUBLE FEATURE!) The true, decades-spanning tale of the greatest fan film ever made. After Steven Spielberg's classic Raiders of the Lost Ark was released 35 years ago, three 11-year-old boys from Mississippi set out on what would become a 7-year-long labor of love and tribute to their favorite film: a faithful, shot-for-shot adaptation of the action adventure film. They finished every scene...except one; the film's explosive airplane set piece. Over two decades later, the trio reunited with the original cast members from their childhood in order to complete their masterpiece. Featuring interviews with John Rhys Davies, Eli Roth and more, Raiders!: The Story of the Greatest Fan Film Ever Made is just that: the story of this long-gestating project’s culmination, chronicling the friends' dedication to their artistic vision— mixed in with some movie magic—to create a personal, epic love letter to a true modern classic. Filmmaker and documentary subject Eric Zala will appear for a Q&A after the screening of Raiders!: The Story of the Greatest Fan Film Ever Made. Raiders of the Lost Ark: The Adaptation will screen immediately following the Q&A. $15 for general admission, $12 for BMFI members, and $10 for students.

11:00 am TIME BANDITS 1981 – UK – 1 hr 50 min – d. Terry Gilliam

Exclusive to participating Art House Theater Day locations comes this new 2K digital restoration of Terry Gilliam’s family-friendly adventure, co-written by Michael Palin, about a young boy who accidentally joins a band of dwarves as they travel through time looking for treasure to steal. Ticketholders will receive a limited edition 14”x 18” reproduction of the Time Portal map used in the film, designed by Terry Gilliam! Attendees will receive free ice cream provided by Bryn Mawr Trust after the screening. $5 for adults, $4 for children

4:00 pm EVOLUTION OF AN ARTHOUSE: A HISTORICAL LECTURE WITH JOHN HERSKER Encore! BMFI board member and former Paramount Pictures Executive Vice President John Hersker digs into the storied past of BMFI’s historic building with this illustrated lecture that details the transformation of the property from The Seville Theater in 1926 to the years as the Bryn Mawr Theater, and into its current form as Bryn Mawr Film Institute. With special attention given to the era in the 1960s and 70s where the theater transitioned from showing run-of-the-mill Hollywood films to BMFI’s now-standard arthouse fare, Hersker—who once managed the Bryn Mawr Theater—will show that even as the building changed names, the commitment to film in Bryn Mawr is a legacy that has lasted decades. The lecture will take place in BMFI’s Multimedia Room and will be free of charge for all attendees.

9:30 pm PHANTASM: REMASTERED 1979 – USA – 1 hr 28 min – d. Don Coscarelli

“The funeral is about to begin” with the mysterious graverobber known as The Tall Man in this highly anticipated 4K restoration and remaster of the legendary independent horror film Phantasm, restored by J.J. Abrams and Bad Robot. Director Don Coscarelli and some cast members will appear in a prerecorded Q&A following the screening. Regular ticket pricing applies.

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Watch trailers for and find more information about these films at BrynMawrFilm.org. Regular admission applies unless otherwise indicated.

CINEMA SELECT Tuesday, September 27, 7:15 pm BEAUTY AND THE BEAST

Tuesday, November 8 ELECTION DAY AT BMFI

1946 – France – 1 hr 33 min – d. Jean Cocteau

Planning to exercise your civic duty this November 8th? Stop by Bryn Mawr Film Institute’s concession stand wearing your “I Voted” sticker and receive a free small popcorn.

New 4K restoration! Jean Cocteau’s sublime adaptation of Mme. Leprince de Beaumont’s fairytale masterpiece—in which the pure love of a beautiful girl melts the heart of a feral but gentle beast—is a landmark of motion picture fantasy, with unforgettably romantic performances by Jean Marais and Josette Day. Shown in conjunction with a Cinema Classics Seminar (see p.16), Beauty and the Beast will be introduced by the seminar’s instructor, Maurizio Giammarco, Ph.D.

Wednesday, December 7, 7:00 pm THE THIN MAN 1934 – USA – 1 hr 31 min – d. W.S. Van Dyke – 35mm

Wednesday, October 5, 7:00 pm THE WONDERFUL WORLD OF INDUSTRIAL MUSICALS

William Powell and Myrna Loy are top-shelf as Nick and Nora Charles, a perpetually tipsy married duo working on a murder case (and a case of scotch!) in this fast-paced comedy based on the novel by Dashiell Hammett. Along with their faithful dog Asta, this witty pair drank and sleuthed their way through six films, of which The Thin Man is the first.

NR – 1 hr 30 min

When comedian and writer Steve Young began gathering oddball albums for the “Dave’s Record Collection” segment on Late Show with David Letterman, he inadvertently stumbled upon the wonderful world of corporation-commissioned “industrial musicals”—original shows about selling bathtubs, tractors, gasoline, and other products—that were only meant to be seen by insiders at conventions and sales meetings. A wacky marriage of Broadway and business, Young spent twenty years collecting examples of these twisted musicals and now presents his own show complete with his hilarious and informative live commentary supporting a clip program of numbers like “The Bathrooms Are Coming!”, “Diesel Dazzle!”, and “Got to Investigate Silicones!” Copies of Young’s book, Everything’s Coming Up Profits: The Golden Age of Industrial Musicals, will be available for sale and signing at this event.

Prior to the screening, order up a martini provided by Philadelphia Distilling, included with the price of admission. Highballs or cocktail—the long and short of it (that’s a pun!)—are one per customer. $15 for general admission, $12 for BMFI members

HAPPEN I N G S @ B M FI

To see more photos from our special events, visit our Facebook page at facebook.com/brynmawrfilm, follow us on Instagram @brynmawrfilminstitute, or follow our Twitter feed, @BMFI

TOP LEFT:

Wednesday, October 19, 7:00 pm URBAN TRINITY: THE STORY OF CATHOLIC PHILADELPHIA 2015 – USA – 1 hr 17 min – d. Sam Katz Photo: Jon Seidman

Free event! As a follow-up to his insightful Philadelphia: The Great Experiment documentary series (most recently on display in a program produced by Bryn Mawr Film Institute at the Philadelphia International Airport during the Democratic National Convention), filmmaker Sam Katz explores the development of Philadelphia through the lens of the city’s Catholic community in this three-part historical piece. Accompanied by special guests, Katz will introduce the film and answer questions after the screening.

DNC delegates were welcomed at PHL by BMFI’s popup theater installation featuring documentary shorts about the City of Brotherly Love produced by Sam Katz’s History Making Productions BOTTOM LEFT:

BMFI Flight Attendants (L to R) VALERIE TEMPLE, PATRICIA WESLEY, PATRICIA RUSSO, HEATHER ROSENFELDT, AND GINA IZZO welcomed guests to

the screening of Airplane!.

Through the medium of film, the Philadelphia Jewish Film Festival aims to perpetuate Jewish values, culture, and history, and by viewing films, gain a deeper understanding of the world and the ways in which people can make a difference. PJFF returns to BMFI for another thoughtprovoking screening, in theur annual festival.

TOP RIGHT:

Box Office staffer and Summer Filmmaking Workshop alumna LILY MEDOSCH is the first in the BMFI family to receive a scholarship from the National Association of Theater Owners (NATO). Congratulations, Lily!

Photo: Gina Izzo

Photo: LaPerria Harvin

Sunday, November 6, 11:00 am PHILADELPHIA JEWISH FILM FESTIVAL

MIDDLE RIGHT:

BMFI board member and former Paramount Pictures Executive Vice President JOHN HERSKER digs into the storied past of BMFI’s historic building. Photo: LaPerria Harvin

BOTTOM RIGHT:

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First Class member

WYNRHYS COGHLAN and guest EILEEN LONGACRE

show their boarding passes for the screening of Airplane! on August 3.

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KIDS MATINEES

Saturdays at 11:00 am. Adults: $5, Kids: $4

PARKING GUIDE METERED LOTS (DESIGNATED WITH A BLUE PARKING SYMBOL) CENTRAL AVENUE LOT, BRYN MAWR STATION LOT Three-hour and twelve-hour (red cases) metered parking available. For details on municipal lot parking in

OCTOBER "MONSTERS AND MAYHEM"

Lower Merion, visit http://www.lowermerion.org/Index.aspx?page=38. Two hour metered parking is also available on Lancaster Avenue, in front of the theater.

OCTOBER 1

MINIONS 2015 – 1 hr 31 min – Rated PG

OCTOBER 8

ERNEST SCARED STUPID 1991 – 1 hr 31 min – Rated PG

OCTOBER 15

GOOSEBUMPS 2015 – 1 hr 43 min – Rated PG

PRIVATE LOTS (DESIGNATED WITH A RED PARKING SYMBOL) BMFI LOT, BRYN MAWR TRUST LOT • Free parking available after 5:00 pm Monday-Friday and on weekends. • Handicapped parking spots and 10 visitor spots are available weekdays in the lot directly behind the

NOVEMBER

theater. Visitors may park in the spaces designated with the yellow visitor signs. Visitors must sign in

"MARTIAL ARTS MANIA" OCTOBER 22

GHOSTBUSTERS 1984 – 1 hr 45 min – Rated PG

NOVEMBER 12

3 NINJAS 1992 – 1 hr 24 min – Rated PG

OCTOBER 29

HOCUS POCUS 1993 – 1 hr 36 min – Rated PG

Action Karate will perform demonstrations before each screening in November.

at the business office. All spots directly behind the theater are marked permit or visitor parking. Your car may be towed if parked in a permit space before 5:00 pm Monday-Friday.

NOVEMBER 5

THE KARATE KID 1984 – 2 hr 6 min – Rated PG

NOVEMBER 19

NOVEMBER 26

DECEMBER 3

DECEMBER 10

TEENAGE MUTANT NINJA TURTLES 1990 – 1 hr 33 min – Rated PG

NO PARKING ANYTIME Please be courteous to the Bryn Mawr community and read the signs in front of parking spaces prior to parking.

KUNG FU PANDA 2 2011 – 1 hr 31 min – Rated PG

DECEMBER "FANTASTICAL ADVENTURES" PAN 2015 – 1 hr 51 min – Rated PG

ENCHANTED 2007 – 1 hr 47 min – Rated PG

Birthday Parties

HAPPY HOLIDAYS & HAPPY NEW YEAR! DECEMBER 17

ELF 2003 – 1 hr 37 min – Rated PG

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DECEMBER 25 + 31 NO MATINEE

In association with the Saturday Kids Matinee series, Bryn Mawr Film Institute offers birthday party packages (starting at $300) for children aged 2-12. The rental includes tickets to the kids matinee, free popcorn and use of the Multimedia Room or Community Room after the film. Email Info@ BrynMawrFilm.org to inquire about date availability.

LUDINGTON LIBRARY LOT

BMFI LOT

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Not all of our events are listed here. Visit BrynMawrFilm.org for information about last-minute additions and changes.

MASTER PROGRAM SCHEDULE September:

1



Thursday, 7:00 pm



LAWRENCE OF ARABIA

8

Thursday, 7:00 pm



Theater: RICHARD III

11

Sunday, 1:00 pm



Theater: RICHARD III

12

Monday, 6:00 pm



College Night



Monday, 9:15 pm



Open Screen Monday

15

Thursday, 6:30 pm



Cinema Classics Seminar: THE PHILADELPHIA STORY



Thursday, 7:15 pm



THE PHILADELPHIA STORY

18

Sunday, 1:00 pm



Art & Architecture: PAINTING THE MODERN GARDEN: FROM MONET TO MATISSE

19

Monday, noon



21

Film History Discussion Series: 1945-Present course begins Wednesday, 7:00 pm

ROCKY

22

Thursday, 7:00 pm



Double Feature: RAIDERS! THE STORY OF THE GREATEST FAN FILM EVER MADE and RAIDERS OF THE LOST ARK: THE ADAPTATION

24

Saturday, 11:00 am



Kids Matinee: TIME BANDITS



Saturday, 4:00 pm



Evolution of an Arthouse: A Historical Lecture with John Hersker



Saturday, 9:30 pm

PHANTASM

25

Sunday, 10:00 am

Talk Cinema



Sunday, 1:00 pm



Opera: JONAS KAUFMANN: AN EVENING WITH PUCCINI

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27

Tuesday, 6:30 pm

Cinema Classics Seminar: BEAUTY AND THE BEAST



Tuesday, 7:15 pm



BEAUTY AND THE BEAST

29

Thursday, 6:30 pm



The Building Blocks of the Screenplay course begins

October:

3

Monday, 9:15 pm

27

Thursday, 7:00 pm



Theater: CYMBELINE

30

Sunday, 1:00 pm



Theater: CYMBELINE

31

Monday, 6:30 pm

Tracking The Wire course begins

November:

1

Tuesday, 6:30 pm



Seminar: Short Attention Span Cinema

3

Thursday, 6:30 pm

23

Wednesday, 7:00 pm



Everybody Sing! THE WIZARD OF OZ

27

Sunday, 1:00 pm



Opera: COSI FAN TUTTE

28

Monday, 6:30 pm



Contemporary Israeli Cinema course begins

December:

1



Thursday, 7:15 pm

SEMBENE!



Open Screen Monday

5

Wednesday, 10:30 am





The Art of Film II course begins at Philadelphia Museum of Art



Thursday, 7:15 pm



Sunday, 1:00 pm



LITTLE CAESAR



Ballet: THE BRIGHT STREAM



Wednesday, 7:00 pm



The Wonderful World of Industrial Musicals

Saturday, 1:00 pm

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6

Thursday, 7:00 pm



Theater: THE DEEP BLUE SEA

9

Cinema Classics Seminar: LITTLE CAESAR

5

Ballet: THE GOLDEN AGE

6

Sunday, 10:00 am



Talk Cinema



Sunday, 11:00 am



Theater: THE DEEP BLUE SEA



Philadelphia Jewish Film Festival

10

Monday, 6:30 pm



Sunday, 1:00 pm

Theater: KING LEAR

Sunday, 1:00 pm



The Language of Film course begins



16

Sunday, 10:00 am

7

Monday, 9:15 pm

Talk Cinema





Sunday, 1:00 pm

Opera: NORMA

10

Thursday, 7:00 pm





Theater: KING LEAR

19

Wednesday, 7:00 pm

13

Sunday, 1:00 pm

15

Tuesday, 6:30 pm





URBAN TRINITY: THE STORY OF CATHOLIC PHILADELPHIA

20

Thursday, 6:30 pm

Cinema Classics Seminar: DIABOLIQUE

Thursday, 7:15 pm

DIABOLIQUE

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26

Sunday, 1:00 pm

Theater: THE THREEPENNY OPERA

Wednesday, 7:00 pm



Theater: THE THREEPENNY OPERA

Open Screen Monday





Ballet: THE GOLDEN AGE



The Magic of Disney course begins

17

Thursday, 7:00 pm



Theater: THE ENTERTAINER

19

Saturday, 1:00 pm

4

Sunday, 10:00 am

Talk Cinema

Monday, 9:15 pm



Open Screen Monday

7

Wednesday, 7:00 pm



8

THE THIN MAN Thursday, 6:30 pm

Cinema Classics Seminar: BLACK GIRL and “Borom Sarret”



Thursday, 7:15 pm



BLACK GIRL and “Borom Sarret”

11

Sunday, 1:00 pm



Opera: LES CONTES D’HOFFMAN

15

Thursday, 6:30 pm



Cinema Classics Seminar: DIVORCE ITALIAN STYLE



Thursday, 7:15 pm



DIVORCE ITALIAN STYLE

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Saturday, 1:00 pm



Ballet: THE NUTCRACKER

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Sunday, 1:00 pm



Ballet: THE NUTCRACKER

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Wednesday, 7:00 pm



Ballet: THE BRIGHT STREAM

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Sunday, 10:00 am



Talk Cinema





Sunday, 1:00 pm



Wednesday, 7:15 pm

Theater: THE ENTERTAINER



Everybody Sing! THE SOUND OF MUSIC



Everybody Sing! THE SOUND OF MUSIC

Ongoing Programs Going Gaga Every Wednesday, the early matinee screening is intended for moms (and dads too!) with small babies in tow. These Going Gaga screenings feature one of the films that we are currently showing in the evenings, but theater lighting and volume are slightly altered to provide parents with a more baby-friendly environment.

Open Screen Mondays FREE EVENT

Bryn Mawr Film Institute invites area filmmakers to screen their films at our theater. Just bring your film in DVD format, and we’ll run it on the BIG SCREEN! Admission, as well as praise (or criticism) from your peers, will be offered FREE of charge. Submissions are limited to 10 minutes in length. First Monday of every month, 9:15 pm to 11:00 pm

Film Discussions FREE EVENT BMFI staff or volunteers regularly lead informal discussions of one of the main attraction films currently being screened. The group meets for an hour after selected screenings. No pre-registration is required, and the film to be discussed is noted on BMFI's website several days before the discussion. Free with your ticket stub from the film! Check BrynMawrFilm.org for specific times.

Talk Cinema Talk Cinema offers its subscribers a unique selection of films curated by Harlan Jacobson, a 30-year industry veteran. The series previews innovative, independent, and international films before their release. Screenings are followed by discussions led by distinguished moderators. Day of Show Admission: General Public.............. $20.00 Students with ID............ $10.00

Subscriptions for the current session are available only at TalkCinema.com or by calling 914.737.7654.

Subscriptions (Twelve-film Series): General Public............ $225.00 Students with ID.........$203.00 Sundays at 10:00 am 2016 September 25 October 16 November 6 November 20 December 4

2017 January 22 February 12 March 5 March 19 April 2 April 30 May 14

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STAGE ON SCREEN

Tickets available now at the Box Office and BrynMawrFilm.org

General Public.......... $20.00 BMFI Members.......... $18.00 Students with ID........$10.00

RICHARD III

JONAS KAUFMANN: AN EVENING WITH PUCCINI

Written by William Shakespeare – Directed by Rupert Goold – Performed by the Almeida Theatre in London – Starring Ralph Fiennes and Vanessa Redgrave

Music by Giacomo Puccini – Directed by Brian Large – Conducted by Jochen Rieder – Performed at Teatro Alla Scala di Milano – Starring Jonas Kaufmann – 2 hr 9 min

Thursday, September 8, 7:00 pm

Encore! Sunday, September 25, 1:00 pm

THE DEEP BLUE SEA

NORMA

Written by Terence Rattigan – Directed by Rufus Norris – Performed at the National Theatre in London Starring Helen McCrory, Tom Burke – 3 hr

OPERA

Sunday, October 16, 1:00 pm

COSÌ FAN TUTTE Music by Wolfgang Amadeus Mozart – Directed by Jan Philipp Gloger – Conducted by Semyon Bychko Performed at the Royal Opera House in London – Starring Corinne Winters, Daniel Behle – 3 hr 15 min

Sunday, November 27, 1:00 pm

A proud sponsor of BMFI’s operas

THEATER

Music by Vincenzo Bellini – Directed by Àlex Ollé – Conducted by Antonio Pappano – Performed at the Royal Opera House in London – Starring Sonya Yoncheva, Joseph Calleja, Sonia Ganassi, Brindley Sherratt – 3 hr

Così Fan Tutte

Sunday, September 11, 1:00 pm

Rosalie Craig and Rory Kinnear in The Threepenny Opera. Photo by Richard Hubert Smith

LES CONTES D’HOFFMAN

Thursday, October 6, 7:00 pm

Sunday, October 9, 1:00 pm

THE THREEPENNY OPERA Written by Bertolt Brecht – Adapted by Simon Stephens – Songs by Kurt Weill – Directed by Rufus Norris Performed at the National Theatre in London – Starring Rory Kinnear, Rosalie Craig, Haydn Gwynne – 3 hr

Sunday, October 23, 1:00 pm

Wednesday, October 26, 7:00 pm

CYMBELINE Written by William Shakespeare – Directed by Melly Still – Performed by the Royal Shakespeare Company at the Royal Shakespeare Theatre in Stratford-upon-Avon – 3 hr 30 min

Music by Jacques Offenbach – Directed by John Schlesinger – Conducted by Antonio Pappano – Performed at the Royal Opera House in London – Starring Vittorio Grigolo, Thomas Hampson, Sofia Fomina, Christine Rice, Sonya Yoncheva – 3 hr 30 min

Thursday, October 27, 7:00 pm

Sunday, December 11, 1:00 pm

Sunday, October 30, 1:00 pm

KING LEAR Written by William Shakespeare – Directed by Gregory Doran – Performed by the Royal Shakespeare Company at the Royal Shakespeare Theatre in Stratford-upon-Avon – Starring Antony Sher 3 hr 30 min

Sunday, November 6, 1:00 pm

THE GOLDEN AGE Choreography by Yuri Grigorovich – Music by Dmitri Shostakovich – Libretto by Yuri Grigorovich and Isaak Glikman – Performed by the Bolshoi Ballet at the Bolshoi Theatre in Moscow – Starring the Bolshoi Principals, Soloists, and Corps De Ballet – 2 hr 20 min

Saturday, November 5, 1:00 pm

Thursday, November 10, 7:00 pm

THE ENTERTAINER Written by John Osborne – Directed by Rob Ashford – Performed by the Kenneth Branagh Theatre Company at the Garrick in London – Starring Kenneth Branagh

Sunday, November 13, 1:00 pm

Thursday, November 17, 7:00 pm

Sunday, November 20, 1:00 pm

Olga Smirnova and Artem Ovcharenko in The Golden Age © Pierce Jackson

Choreography by Alexei Ratmansky – Music by Dmitri Shostakovich – Libretto by Adrian Piatrovsky and Fyodor Lopukhov – Performed by the Bolshoi Ballet at the Bolshoi Theatre in Moscow – Starring Svetlana Lunkina, Mikhail Lobukhin, Maria Alexandrova, Ruslan Skvortsov, Denis Savin, Alexei Loparevich – 2 hr 30 min

Saturday, November 19, 1:00 pm

Sunday, December 4, 1:00 pm

THE NUTCRACKER Choreography by Yuri Grigorovich – Music by Pyotr Ilyich Tchaikovsky – Libretto by Yuri Grigorovich (after E. T. A. Hoffmann and Marius Petipa) – Performed by the Bolshoi Ballet at the Bolshoi Theatre in Moscow – Starring Denis Rodkin, Anna Nikulina, Andrei Merkuriev, Vitaly Biktimirov and the Bolshoi Corps De Ballet – 2 hr 15 min

Saturday, December 17, 1:00 pm

Sunday, December 18, 1:00 pm

ART & ARCHITECTURE

DANCE

THE BRIGHT STREAM

Painting the Modern Garden: Monet to Matisse. The Artist’s Garden in Argenteuil, 1873. National Gallery of Art, Washington D.C

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PAINTING THE MODERN GARDEN: MONET TO MATISSE Directed by David Bickerstaff - 1 hr 32 min

Encore! Sunday, September 18, 1:00 pm Claude Monet was an avid horticulturist and arguably the most important painter of gardens in the history of art, but he was not alone. Great artists like Van Gogh, Bonnard, Sorolla, Sargent, Pissarro, and Matisse all saw the garden as a powerful subject for their art. These great artists, along with many other famous names, feature in an innovative and extensive exhibition from The Cleveland Museum of Art and The Royal Academy, London. From the exhibition walls to the wonder and beauty of artists’ gardens like Giverny and Seebüll, the film takes a magical and widely traveled journey to discover how different contemporaries of Monet built and cultivated modern gardens to explore expressive motifs, abstract color, decorative design and utopian ideas. Guided by passionate curators, artists and garden enthusiasts, this remarkable collection of Impressionists, Post-Impressionists, and avant-garde artists of the early twentieth century will reveal the rise of the modern garden in popular culture and the public’s enduring fascination with gardens today. Long considered spaces for expressing color, light and atmosphere, the garden has occupied the creative minds of some of the world’s greatest artists. As Monet said, “Apart from painting and gardening, I’m no good at anything.” For lovers of art or lovers of gardens, this is an ideal film.

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To register, visit BrynMawrFilm.org or call 610.527.4008 x108

FILM STUDIES

CINEMA CL AS SIC S SEMINARS

Join us for one (or more) of these stand-alone classes built around some of the wonderful classic films BMFI is showing this fall. Students will enjoy an informative lecture before the screening and a guided discussion after it. In addition, your ticket to see the classic on the big screen, as well as popcorn and a drink, are included. Seminars meet in BMFI’s 2nd floor Multimedia Room at 6:30 pm; the films will be shown in the theater at 7:15 pm. Each seminar is $25 for BMFI members and $30 for non-members.

Thursday, September 15

Tuesday, September 27

Thursday, October 20

Thursday, November 3

Thursday, December 8

Thursday, December 15

Cinema Classics Seminar: THE PHILADELPHIA STORY

Cinema Classics Seminar: BEAUTY AND THE BEAST

Cinema Classics Seminar: DIABOLIQUE

Cinema Classics Seminar: LITTLE CAESAR

Cinema Classics Seminar: BLACK GIRL AND “Borom Sarret”

Cinema Classics Seminar: DIVORCE ITALIAN STYLE

Taught by Alice Bullitt, M.A., BMFI Board Member

Taught by Maurizio Giammarco, Ph.D., Intellectual Heritage Program, Temple University

Taught by Christopher Long, M.A., Film Critic and Author

Taught by Andrew J. Douglas, Ph.D., Director of Education, BMFI

Taught by Christopher Long, M.A., Film Critic and Author

Taught by Maurizio Giammarco, Ph.D., Intellectual Heritage Program, Temple University

Adapted from Philip Barry’s 1939 Broadway play of the same name, The Philadelphia Story is an effervescent romantic comedy based on the life of Main Line socialite Helen Hope Montgomery Scott. Katharine Hepburn delivers a career-defining performance playing Tracy Lord, a recently divorced woman whose plans to remarry are hilariously stymied by complications with her ex-husband C.K. Dexter Haven (Cary Grant) and tabloid journalist Macaulay “Mike” Connor (James Stewart).

Jean Cocteau's Beauty and the Beast (1946) is one of the most magical of all films, but also one with a timely message. As Roger Ebert wrote, “Cocteau . . . was not making a ‘children's film,’ but was adapting a classic French tale that he felt had a special message after the suffering of World War II: Anyone who has an unhappy childhood may grow up to be a Beast.” This adaptation of the traditional fairy tale, written by JeanneMarie Leprince de Beaumont and published in 1757 as part of an anthology, welcomes us into a world not of sweetness and light, but of conflict and corruption, with Belle (Josette Day) a lone island of virtue. It is a “fallen world,” the iniquity of which is so effectively conveyed by Cocteau as to make Belle’s (and our) introduction into the Beast’s (Jean Marais) domain all the more wondrous.

Since director Henri-Georges Clouzot beseeched audiences at the time of Diabolique’s 1955 release to not “be devils” by spoiling the ending, we'll respect his wishes and simply mention that this internationally acclaimed suspense thriller was a significant influence on a little film called Psycho (1960) just a few years later.

In the early 1930s, America was mired in the Great Depression, parched from Prohibition, and gripped by headlines about organized crime, particularly those featuring the colorful and verbose Al Capone. So, it’s no surprise that people turned to Hollywood— then in the midst of its most unbridled, salacious, and subversive period, the pre-Code era—and especially the emerging gangster film for entertainment and more.

It is difficult to identify any single person as “the father of African cinema,” as Ousmane Sembène has often been called, but his influence on both African film and filmmakers throughout the world over the past half century is enormous, yet still greatly underappreciated. Born in southern Senegal in 1923, Sembène was raised as a fisherman, trained as an auto mechanic, drafted by the French army in World War II, and worked on the docks of Marseilles before publishing his first novel, The Black Docker, in 1956.

Infidelity. Divorce. Murder: All the elements for a comedy? Yes, and a brilliant one at that. Divorce Italian Style (1962), directed by Pietro Germi, is a devastating satire about Sicily's maledominated culture that also ridicules Italy's hypocritical judicial system, which could not legally recognize divorce as a solution for failed marriages, but could forgive violent crimes of passion. It stars Marcello Mastroianni as Fefe, a faded nobleman infatuated with his sixteen-year-old cousin, whom he intends to wed. But Fefe is already married, and since the Vatican doesn't condone divorce, he comes up with an ingenious plan: manipulate his wife into an affair with her former admirer, Carmelo, catch them in a compromising situation, and kill them in a burst of passion, which would free Fefe while only earning him a light prison sentence.

The film earned six Academy Award nominations and two Oscars (Best Actor for James Stewart and Best Screenplay for Donald Ogden Stewart), and revitalized Hepburn’s flagging career. It’s a prime example of “the remarriage comedy,” a subgenre of the screwball comedy, wherein the protagonists divorced, flirted with new potential partners, realized the error of their ways, and then reunited. Join us for a fun and engaging foray into this winning film that holds a special place in the annals of Hollywood, as well as in the history of our region. Please see p.4 for more information about the film.

But the Disney version this is not, and for all of its romance and ethereal beauty, the film has its share of dark eroticism and tragic isolation. In the words of critic Geoffrey O’Brien, Beauty and the Beast “has been praised as lyrical, almost unbearable in its ethereal gorgeousness, a triumph of the imagination—even when it may just as accurately be described as tough-minded, down-to-earth, ferociously unsentimental.” Join us to learn how it is that within these stark contrasts, the film’s brilliance lies. Please see p.8 for more information about the film.

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Coming off the grueling white-knuckle ride of Wages of Fear (1953), Clouzot upped the ante with this tale of a villainous boarding school principal (Paul Meurisse) who torments both his students and his shrinking violet of a wife (Véra Clouzot, the director's wife). When she joins forces with her husband's former mistress (the always formidable Simone Signoret) to turn the tables on him, this immaculately paced, cold-blooded puzzler leads to . . . well, we promised we wouldn't be devils. You’ll just have to see for yourself. Please see p.4 for more information about the film.

Based on the novel by W.R. Burnett, directed by Mervyn LeRoy, and featuring Edward G. Robinson and Douglas Fairbanks, Jr., Little Caesar (1931) kicked off this cycle of pictures with a bang, and gave its studio, Warner Bros., a real shot in the arm. Join us to learn more about the film that turned stone-cold killers into heroes, its lead actor into a star, and the era’s most incendiary genre into an industry mainstay. Please see p.4 for more information about the film.

A successful literary career in hand, he then studied cinema in Moscow and produced his first short film, “Borom Sarret,” in 1963. In 1966, he shot his debut feature, the crisp and devastating Black Girl, the story of a young Senegalese woman (Mbissine Thérèse Diop) who moves from Dakar to France to work for a French couple. Dreaming of glamour on the Riviera, she instead finds a life of drudgery where she is seen only as “the black girl.” Both early works demonstrate Sembène's ability to balance a perceptive critique of Western colonialism with empathetic portraits of richly drawn characters in crisis. Sembène died in 2007, leaving behind a legacy matched by few directors. Come see where it all started.

Bosley Crowther of The New York Times offered high praise when he wrote: “Not since Charlie Chaplin's beguiling Verdoux have we seen a deliberate wife killer so elegant and suave, so condescending in his boredom, so thoroughly and pathetically enmeshed in the suffocating toils of a woman as Mr. Mastroianni is here.” Join us to learn why it’s so deserved. Please see p.4 for more information about the film.

Please see p.5 for more information about the film.

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FILM STUDIES

$100 members; $125 non-members unless otherwise noted. Tuition includes digital readings; printed copies are $10.

To register, visit BrynMawrFilm.org or call 610.527.4008 x108

The Building Blocks of the Screenplay

Tracking The Wire

Taught by Martin Leicht, M.A., Author and Screenwriter

Taught by Paul Wright, Ph.D., Department of English, Cabrini University

Regardless of what many directors would like to believe, films do not spontaneously spring to life the moment the cameras start rolling. The first concrete step for making any film—good, bad, or ugly—is to write a screenplay, which is the blueprint the director, production team, and actors will use to create the world, characters, and story that come to life on the big screen several months later. In this course, we will discuss how screenplays work on a micro level and learn the essential building blocks of a sturdy and engaging film narrative.

David Simon and Ed Burns's medium-defining series, The Wire (2002-8), is acknowledged by many to be the finest work of dramatic television yet produced—and one of the best pieces of evidence in the case for great television's parity with great cinema. Yet for all its accolades, the show still reflects an urban America that most people do not wish to acknowledge, let alone address. In this tortured year of racial tension, violence, and questions about police power, The Wire is more timely than ever.

Outside of class, students will view films like The Big Lebowski, closely examine the story “beats” that advance the narrative, and answer such questions as: “Who is the protagonist?” “What is his/her goal (i.e. what does he/she want)?” “Who or what stands in the way of the protagonist achieving this goal?” Using the answers to these questions and the lessons gleaned from the films, each student will produce original, focused scene work, starting small and building toward the final project: a screenplay for a short (ten-minute) film. Student writing will be read aloud and discussed in class to maximize the benefits of the workshop format.

The Big Lebowski (1998)

Class meets at BMFI: 8 Thursdays, September 29 to November 17, 6:30 pm to 10:00 pm Fee: $200 for members, $225 for non-members

In assessing the artistic vision of the show, we will examine select episodes that demonstrate a pseudo-documentary aesthetic that can be traced back to directors like Roberto Rossellini (Rome, Open City) and Gillo Pontecorvo (The Battle of Algiers). We will also explore other cultural influences that serve to remind us that the show is a conscious inheritor of two important literary traditions: social realism (e.g., Upton Sinclair's The Jungle) and classical Greek tragedy (e.g., Aeschylus and Sophocles). By doing so, we will endeavor to see why The Wire arguably remains television's most completely realized vision of political art.

The Wire (2002-8)

Class meets at BMFI: 4 Mondays, October 31 to November 21, 6:30 pm to 9:30 pm Class screenings will take place in the theater whenever possible.

Seminar: Short Attention Span Cinema The Art of Film II

Taught by Gary M. Kramer, Author and Film Critic

Taught by Jenevieve DeLosSantos, Ph.D., Coordinator of Academic Programs, PMA & Andrew J. Douglas, Ph.D., Director of Education, BMFI

Although they are rarely screened outside of film festivals, short films deserve anything but short shrift. These easily digestible mini-movies are often “calling cards” for burgeoning directors who want to showcase their talents in a modest—and modestly budgeted—form. For example, stunt man Nash Edgerton’s short, “Spider,” left many viewers speechless.

The cinema and the visual arts share numerous attributes, including aesthetic considerations of perspective, light, color, and composition. Beyond such matters of form, they are also concerned with genre, authorship, technique, and innovation. Along these lines, there is one rather substantial way in which the two creative forms function similarly: They are both significantly influenced—aesthetically, as well as thematically—by major developments in such areas as politics, cultural criticism, commerce, and technology. This course looks at comparable and significant changes in the creation and consideration of art and film. Gallery visits and film clips will enhance our discussion of the science fiction genre, auteur/artist theory, techniques for creating images, and the impact of modernization as represented in the Museum’s collection and world cinema. Join us to explore some of the parallels between the making and study of art and film, and to gain a greater understanding of some of the ways in which we approach creative works.

The Clinch (1928) by Mabel Dwight

Class meets at the Philadelphia Museum of Art: 4 Wednesdays, October 5 to November 2, 10:30 am to 1:30 pm (no session October 12) BMFI Members: Please call 610-527-4008 x108 for instructions on receiving your tuition discount for this class. To register for this class at PMA, please call (215) 235-7469.

This seminar will showcase about a dozen contemporary short films that highlight the strengths of the format. Examining films like “Toutes des connes,” “Fresh Guacamole,” “Lemonade Stand,” and “Brussels,” we’ll look at how shorts use editing, casting, and narrative strategies, and leave students with a greater appreciation for this underestimated format.

Walt Disney said his films “appeal to the Mickey in us—that precious, ageless something in every human being which makes us laugh at silly things and sing in the bathtub and dream.” Indeed, in many ways his films are the embodiment of nostalgia, encompassing the collective magical journeys we take as an audience. But sentimentality alone does not account for the enduring popularity of Disney’s classics. These films also owe their indelibility to his use of traditional archetypes and doctrinaire storytelling techniques.

Diegesis, mise-en-scene, and chiaroscuro are not trendy Center City nightspots but rather some of the key terms of film analysis. This course introduces students to cinematic grammar, giving them the vocabulary and frames of reference to view and discuss motion pictures in an insightful and critical manner.

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Class meets at BMFI: Tuesday, November 1, 6:30 pm to 9:30 pm Fee: $25 for members, $30 for non-members

Taught by Andrew M. Karasik, Film Producer, 30th Street Entertainment

Taught by Andrew J. Douglas, Ph.D., Director of Education, BMFI

From an early age, we learn to observe movies with awe and delight. Now, as we carry that wonder with us into adulthood, we can also approach cinema as more active and sophisticated viewers. Join us to learn to engage with the medium on its own terms and to discover some of the techniques by which we make meaning of the movies we see. Understanding the language of film allows you to get more enjoyment out of your cinematic experience—and to impress your friends at the post-movie discussion!

Lemonade Stand (2012)

The Magic of Disney

The Language of Film

Screenings largely consist of clips from a wide assortment of films illustrating different aspects of the medium’s language, including cinematography, sound, editing, and narrative. In addition, we’ll showcase some of cinema’s most memorable images accompanied by commentary from the cinematographers that made them.

The beauty of a short film—be it a dramatic slice of life, or a simple joke, eloquently and visually told—is that it can be a brief, intense view into a larger world. A good short film hooks viewers, carries them through the story, and delivers a satisfying payoff. The best shorts prompt viewers to reassess their conceptions of cinema. Short films may not require the investment in character development that features do, but viewers’ emotions—from laughter to sadness to discomfort—can be effectively evoked nevertheless.

The Godfather (1972)

Class meets at BMFI: 4 Mondays, October 10 to October 31, 6:30 pm to 9:30 pm

This course will explore Disney’s early career, beginning with a survey of his short films before moving on to his first three feature animations. Snow White and the Seven Dwarfs (1937), the first full-color, cel-animated feature film, would change the cinematic landscape forever, if only because its success proved that animation could engage a wide audience for over an hour. Disney’s second full-length picture, Pinocchio (1940), adapts a simple (and at times, gruesome) story into an inspirational masterpiece that muses on the power of wishes and dreams. And after mastering the art of narrative filmmaking, Disney went on to explore the link between music and image with Fantasia (1940), inspiring many subsequent efforts to visually interpret sound, such as those found in 2001: A Space Odyssey. Join us to gain a better appreciation of the movie magic created by the greatest showman of the 20th century, and to understand what Roger Ebert meant when he said of Disney and Snow White: “The word genius is easily used and has been cheapened, but when it is used to describe Walt Disney, reflect that he conceived of this film, in all of its length, revolutionary style and invention, when there was no other like it—and that to one degree or another, every animated feature made since owes it something.”

Pinocchio (1940)

Class meets at BMFI: 4 Tuesdays, November 15 to December 6, 6:30 pm to 9:30 pm Class screenings will take place in the theater whenever possible.

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FILM STUDIES

To register, visit $125 BrynMawrFilm.org $100 members; non-members or call 610.527.4008 x108noted. Tuition includes unless otherwise digital readings; printed copies are $10.

Contemporary Israeli Cinema Taught by Maurizio Giammarco, Ph.D., Intellectual Heritage Program, Temple University

In recent years, Israeli cinema has flourished because its films have illuminated the contradictions, debates, and complexities of a nation still struggling to survive in the cauldron of the Middle East. The films featured in this class reveal the dilemmas Israelis face in their society: between tradition and modernity, marriage and divorce, religion and secularity, Israeli and Palestinian. In Late Marriage, Zaza is a personable 31-year-old man who has still not met his obligation to marry and multiply. He has a secret that has kept him single despite his parents' best efforts, and when they discover it, Zaza must choose between family tradition and personal fulfillment. In Gett: The Trial of Viviane Amsalem, the anguished title character seeks to divorce her longtime husband, who refuses to present her with the eponymous document, a religious bill of divorce required under Israeli law. This gripping film is set almost entirely inside a rabbinic court, and raises profound questions about love and human rights. Footnote explores the rivalry between two scholars, both experts in the highly specialized and fiercely competitive field of Talmudic studies, who also happen to be father and son. It is a biting satire, a poignant family drama, and an examination of the competing claims of honesty, loyalty, ambition, and love. In A Borrowed Identity, Eyad, a gifted Palestinian Israeli teenager, is given the chance to study at a prestigious Jewish boarding school, where he discovers that he will have to sacrifice his identity in order to be accepted. The film avoids polemics to offer a textured portrait of a young man dealing with a set of crises, and in the process, illustrates the malleability of self.

YOUDON ’THAVETOB EAMOVIESTARTOLEAVEACIN EMATICLEGACY One magical aspect of the cinema is that the most glorious images, most moving performances, and most beloved actors are captured and preserved for us to enjoy for decades to come. I have had the pleasure of introducing my children—and now my grandchildren—to the movies that influenced my life and depict the times in which I have lived. I cannot tell you how much I value this unique connection movies can build between generations.

The African Queen (1951) National Film Registry Film Collection The National Film Registry is the United States National Film Preservation Board’s selection of films for preservation in the Library of Congress.

Since you helped to make Bryn Mawr Film Institute possible, you may share my desire to guarantee its enduring role as a community institution where our friends, neighbors, children, and grandchildren can continue to benefit from the best the movies have to offer for many years to come. One way you can be part of its legacy is to join me in remembering BMFI in your estate planning. Late Marriage (2001)

Juliet Goodfriend President, Bryn Mawr Film Institute

Class meets at BMFI: 4 Mondays, November 28 to December 19, 6:30 pm to 9:30 pm Class screenings will take place in the theater whenever possible.

B EQ U E S T S • R E T I R E M E N T P L A N A S S E T S • L I F E I N S U R A N C E G I F T S H OW W I L L YO U R G I F T B E U S E D?

You may make an Unrestricted Bequest, or specify a particular use for your gift.

TA L K TO YO U R F I N A N C I A L A DV I S O R

Ask your financial advisor about the federal estate tax and state and inheritance tax benefits of a charitable bequest and how you can best achieve your philanthropic goals.

For more information on how you might support BMFI in this lasting way, go to BrynMawrFilm.org/Support/Planned-giving, or contact Patricia Wesley, Director of Development and Communications, at 610.527.4008 x103 or [email protected]

Join us, then, for a cinematic exploration of the spiritual lives, ethical quandaries, and ongoing cultural conflicts experienced by a range of Israelis through some of their country’s more compelling and nuanced recent films.

Film History Discussion Series: 1945-Present Moderated by Andrew J. Douglas, Ph.D., Director of Education, BMFI

Join us for a series of discussions charting a course through the post-World War II history of motion pictures. We will take a chronological tour of international cinema, including stops in Japan, France, the United Kingdom, Australia, Denmark and India. Films scheduled to be discussed are: September 19 GILDA (Charles Vidor, USA, 1946) September 26

DRUNKEN ANGEL (Akira Kurosawa, Japan, 1948)

October 3

No Session

October 10

THE BLOB (Irvin S. Yeaworth, Jr., USA, 1958)

October 17

JULES AND JIM (François Truffaut, France, 1962)

October 24:

KES (Ken Loach, UK, 1970)

October 31:

GATES OF HEAVEN (Errol Morris, USA, 1978)

November 7:

BREAKER MORANT (Bruce Beresford, Australia, 1980)

November 14:

BABETTE’S FEAST (Gabriel Axel, Denmark, 1987)

November 21:

THE ICE STORM (Ang Lee, USA, 1997)

November 28:

MONSOON WEDDING (Mira Nair, India, 2001)

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The Blob (1958)

Sessions meet at BMFI: 10 Mondays, September 19 to November 28, noon to 3:00 pm (no session October 3) Fee: $200 for members, $225 for non-members (no “a la carte” enrollment)

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P.O. Box 1058, Bryn Mawr PA 19010

September 2016 – December 2016 Hotline: 610.527.9898 BrynMawrFilm.org Facebook: www.facebook.com/brynmawrfilm Follow us on Twitter: @BMFI Follow us on Instagram: @BrynMawrFilmInstitute

Become a member of the non-profit Bryn Mawr Film Institute. Join online at BrynMawrFilm.org Basic Annual Membership  $60 Individual (One adult)  $110 Couple/Family (Two adults and



 

children 18 years or younger) $35 Student (Full-time secondary school or college) $45 Senior Individual (One adult, 65+) $75 Senior Couple (Two adults, 65+)

All Memberships Include: – Discounted admission to all films – Discounts on Film Studies courses – Invitations to free member events – Projections program guide mailings – Discounted admission at Art House Visiting Members (AHVM) theaters – Discounts at participating businesses – Discounted Talk Cinema subscription – Access to BMFI’s Film Studies Library – Volunteer opportunities

Membership cards, valid for one year from the date of joining, will be mailed to you. BMFI is a nonprofit, community theater and membership is tax deductible to the extent allowed by law. Call 610.527.4008 x106 for details. Make checks payable to: BMFI. Mail to: Bryn Mawr Film Institute, PO Box 1058, Bryn Mawr, PA 19010. *Membership gift card is promotional and will expire at the end of the membership year in which it was acquired.

Sustaining Annual Memberships  $110 Producer Individual (One adult)



All basic Individual benefits PLUS: – Extra 10% Film Studies course discount – Eight movie passes (valid Mon-Thurs) – Priority registration for free screenings

 $200 Producer Couple

All basic Couple/Family benefits PLUS: – Extra 10% Film Studies course discount – Eight movie passes (valid Mon-Thurs) – Priority registration for free screenings

NAME(S) ADDRESS CITY

STATE

ZIP

TELEPHONE EMAIL (IMPORTANT FOR UPDATES)

 $500 Mogul

All basic Individual benefits PLUS: –F  ree admission to all films for one adult – 60% discount on Film Studies courses – Free $25 BMFI gift card* – Phone reservations for free admission to main attraction films – Free popcorn – Priority registration for free screenings

 $1,000 Angel

All Mogul benefits PLUS: – Free admission for two adults – Listing in the BMFI annual report

$ MEMBERSHIP DUES

 CHECK PAYABLE TO BMFI  MASTERCARD  VISA  AMERICAN EXPRESS  DISCOVER

$ EXTRA GIFT $ TOTAL

CARD NUMBER

 $2,500 Director

All Angel benefits PLUS: –F  ree admission to all films for the entire family –P  riority ticket purchase for special events

 $5,000 Film Maker

SIGNATURE BILLING ZIP CODE Necessary for credit card authorization

EXP. DATE

All Director benefits PLUS: – Free tuition for Film Studies courses for the entire family

 $10,000 Cineastes

All Film Maker benefits PLUS: –O  ne free use of the Multimedia Room (Mon-Thurs) – Named star under the marquee

Bryn Mawr Hospital is a proud membership sponsor of Bryn Mawr Film Institute. We share a vision of a vibrant and healthy community.