|3:00 p.m.||Preserving the Avant-Garde at PFA|
Featuring PFA Preservation Prints
Introduced by Jon Shibata
Mona Nagai is PFA’s film collection curator; Jon Shibata is assistant film archivist.
PFA’s preservation prints and tapes have been the backbone of the entire Radical Light series, so it is fitting that we close the series with a program highlighting PFA’s preservation of films by Bay Area artists. Some of these preservation projects grew directly out of research undertaken for the Radical Light series as we learned that films or videotapes were rare or endangered; others came to our attention through the efforts of individuals, such as the forgotten films of Dion Vigné and Dorsey Alexander (showing March 20). Still other endeavors were part of PFA’s ongoing efforts to collect the work of local avant-garde film- and videomakers. Each project had its own challenges, ranging from film stock that had shrunk or a color palette that was difficult to re-create. In other cases, the original elements were missing or a question arose regarding whether to correct audio flaws. On hand to relate some of these stories will be Jon Shibata, who helped to coordinate the preservation of the films and videos presented tonight.—Kathy Geritz
Mother’s Day (James Broughton, 1948, 22 mins, B&W). North Beach (original version) (Dion Vigné, 1958, 17 mins, Color). Father’s Day (Lenny Lipton, 1975, 9 mins, Color, Super 8mm to 16mm blowup). Porter Springs 3 (Henry Hills, 1977, 5:30 mins, Silent, Color). Peggy and Fred in Hell: The Prologue (Leslie Thornton, 1984, 21 mins, B&W). I, An Actress (George Kuchar, 1977, 9 mins, B&W).
• (Total running time: 84 mins, 16mm, PFA Preservation Prints)