A Fire in My Belly ‘Original’ (1986-87) by DAVID WOJNAROWICZ

Pour faire suite au billet du 2 décembre :

 

A Fire In My Belly (Film In Progress)
David Wojnarowicz, USA, 1986-87, Super 8mm film, black and white & color, Silent

 

In November 2010, G. Wayne Clough, Secretary of the Smithsonian, removed Wojnarowicz’s short silent film A Fire in My Belly from the exhibit « Hide/Seek: Difference and Desire in American Portraiture » at the National Portrait Gallery after complaints from the Catholic League and Rep. John Boehner. One segment of the film shows ants crawling over a crucifix.

In response, The Andy Warhol Foundation, which had co-sponsored the exhibition, announced that it would not fund future Smithsonian projects, while several institutions, including SFMOMA, scheduled showings of the removed work.

KENNETH ANGER’s Hollywood Babylon

Arena: Kenneth Anger’s Hollywood Babylon
Nigel Finch, GB, 1991, 60 min


Profile of Kenneth Anger, looking at the uproar his books on Hollywood scandals caused and journeying through the darker side of Hollywood’s history, including film clips, and Anger playing a guide with comedian Mike McShane playing the God of Hollywood. It also includes a look at some of Anger’s own work… Film historian Kevin Brownlow has repeatedly criticized the book, citing Anger as saying his research method was, « Mental telepathy, mostly. »

The Color of Pomegranates (1968) by SERGEI PARAJANOV

The Color of Pomegranates
Sergei Parajanov, Soviet Union, 1968, 78 minutes (Armenian release), 73 minutes
Soviet release : Five minutes were cut mainly due to religious censorship for release in the Soviet Union beyond Armenia

 

Steeped in religious iconography, The Color of Pomegranates is a deeply spiritual testament to director Sergei Parajanov’s fascination with Armenian folk art and culture. It is also a controversial work, which, coupled with another of his films, Shadows of our Forgotten Ancestors, led to his arrest and imprisonment in a Soviet Gulag for four years. The Soviets insisted he was guilty of selling gold and icons illegally and committing “homosexual acts.” In reality, his only crime was offending the tenets of socialist realism, both in his daring surrealistic form and in his choice of subject matter. While many of the popular films of this era in Soviet cinema were largely propaganda designed to serve the ideological interests of the regime, Parajanov chose to focus on the ethnography and spirituality of the Ukraine, Armenia, and Georgia.


The Color of Pomegranates (1968) by SERGEI PARAJANOV