IHP Fall Mag

FALL 2011

INTERNATIONAL HOUSE PHILADELPHIA SINCE 1910

INTERNATIONAL HOUSE PHILADELPHIA SINCE 1910INTERNATIONAL HOUSE PHILADELPHIA SINCE 1910


CONTENTS SPECIAL EVENTSFall Arts Preview Pg 3Sonic Arts Union Retrospective Pg 6-9Incredible India! Pg 30

FILM + LIVEWave Currents - Bruce McClure Pg 4Daniel Barrow Pg 5Nosferatu Pg 5

FILMThe Janus Collection Pg 10-11Motion Pictures Pg 12The Cinema of Attractions: The Essential Films of Segundo de Chomón Pg 13Resurrect Dead: The Mystery of the Toynbee Tiles Pg 14Full Exposure Pg 19Sound on Screen Pg 20Archive Fever! 3.0 Pg 20Bruce Conner: The Art of Montage Pg 21-23Minding the Gap: The Films of Dick Fontaine Pg 24-26Scribe Video Center’s Producers’ Forum Pg 27An Evening with Deborah Phillips Pg 27First Person Arts: Alan Lerner Social Justice Film Series Pg 28Project Twenty1: Philadelphia Film & Animation Festival Pg 28Philadelphia Film Society: The 20th Philadelphia Film Festival Pg 28Philadelphia Asian American Film & Filmmakers 2011 Asian American Film Festival Pg 28

ARTAlphabet of Art Pg 29

CULTURE + LEARNCulture + Cuisine - Cambodia Pg 31IHP Annual Halloween Party Pg 312

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Cover art: From the film The River

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FALL ARTS PREVIEWThursday, September 1 at 7pmWith free food and drink, a performance by NYC-based musician Steve Moore and the Philadelphia premiere of Troy Herion and Alex Tyson’s short film Baroque Suite

Please join us for our second-annual Fall Arts Preview, our free season-opening event. In addition to the film and performance, we’ll also take a look at some upcoming season highlights including the return of the Wave Currents series with Bruce McClure, an artist known for his experimental film performances; a program focusing on the under-hailed documentarian Dick Fontaine, who introduced Direct Cinema techniques to the UK in films featuring John Lennon and Yoko Ono, Ornette Coleman, John Cage, Afrika Bambaataa, and a host of artists and cultural icons; the return of Canadian artist Daniel Barrow and his live animation performance Every Time I See Your Picture I Cry; Bruce Conner: The Art of Montage, including every short film by the legendary avant garde filmmaker with a keynote address by film scholar Bruce Jenkins; and our Philadelphia Music Project-funded series Sonic Arts Union, a substantial retrospective for the American 1970s group whose pioneering influence can be heard in the fields of contemporary composition, electronic music and noise.

Free admission. Please rsvp at www.ihousephilly.org/fallartspreview2011. For more information, contact Herb Shellenberger at [email protected].

BARoqUE SUITE – PHILADELPHIA PREMIEREdir. Troy Herion and Alex Tyson, US, 2011, HD, 15 mins, color

Baroque Suite is a visual-music piece that invites to audience to “listen to image” or “see sound” in five synesthetic movements. The formal structure is guided by the traditional Baroque Suite: a set of musical movements as exemplified by composers such as JS Bach. The work is built upon the guiding principle that creative collaboration in visual-music must have no boundaries of input between composer and filmmaker. Thus the artists’ process is to conceive and realize images and sounds simultaneously, in a serious attempt to create continuum between media while not sacrificing the most expressive conventions relative to each.

STEVE MooRE – SyNTHESIzERS AND ELECTRoNICSNYC-based musician Steve Moore is recognized in a variety of circles. He is one-half of the space rock duo Zombi, known for their mixture of cosmic rock and horror soundtrack elements heard on a number of releases for Philadelphia-area label Relapse Records. Moore’s solo work explores more subtle and intricate pop and ambient electronic elements. Often crouched behind stacks of synthesizers and electronics, he creates work that is grand and cinematic in scope. In addition, he has become a sought-after producer and remixer, working with artists as diverse as Washed Out, Voivod, The Melvins and Sally Shapiro. This summer Moore performed at MoMA PS1’s Warm Up series alongside Simian Mobile Disco and Detroit house producer Omar S before bringing his music to Philadelphia for the first time since early 2010.

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WAVE CURRENTSWave Currents is an ongoing series that investigates the interaction between live cinema and live music, showcasing artists whose work is creating an entirely new category of sound/moving image performance.

BRUCE MCCLURE TUNE yoUR PIPES AND FALL A HUMMINGFriday, September 16 at 8pmCo-presented by the Philadelphia Independent Film & Video Association, the Film and Media Arts Department at Temple University and the Media Arts Department at the University of the Arts at the University of the Arts

Using modified and manipulated film projectors, Bruce McClure creates a completely immersive experience. Each elaborately constructed and highly original projector performances is a spectacular display of sight and sound. McClure conjures the early cinematic experience of the mechanical age combined with a dizzying dose of modern day visual pyrotechnics.

In the 1990’s 16mm projectors were being relegated to a technological yard sale of hobby horses for aficionados of the quaintly obsolete. This hybrid of incandescent and mechanical paradigms delineated in a roomful of people with a screen, a PA system, some film and audio equipment is a deceptively simple machine. It is, however, a powerful tool to ensconce, escape, transpose, reflect, amplify, compress, deflect and obstruct. These are some of the operative verbs constantly under revision in the formal suite of reception. In an auditorium, sited within the arc of an audience, the 16mm. projector is privileged as a part of an extra-ordinary nonlinear differential equation. Leaning into an enfilade of harmonically related, phase independent, sinusoidal inputs the projector signals to an inveterate pasture of nerve endings. Threaded with loops, film becomes only a technical substrate, a sprocketed analogue in service to the projector’s engagement with neural images that hang between the gaps of the bio-synod. Bruce McClure’s projection performances transfix film in headlights, flatten it and leave it behind as road kill. In this work the mimetic potentialities of the projector to tell a story through enactment and directness upsets the argentine cinematic picture palace shaking its walls and tearing fresh openings for light and ventilation. Projection performance, according to McClure’s definition, “abandons the camera on the other side of the picture plane valorizing the latent hush of a theater populated by cooperation and darkened with expectancy creating a vantage point for aimless observation and drift of internal gyroscopes.” — Bruce McClure, Brooklyn, NY, August 11, 2011

$5 IHP + PIFVA members; $8 students + seniors; $10 general admission.

BRUCE MCCLURE ILLUSTRATED LECTUREMoRE LIGHT, AND THE GLooM oF THAT LIGHTMoRE GLooM AND THE LIGHT oF THAT GLooMSaturday, September 17 at 2pm The motion picture camera and movie projector are positioned symmetrically about the film plane and mirrored as analogues in the dialectic between inside and out. Suppressed and neglected by filmmakers the metabolic dynamo consisting of an audience and the projective apparatus is essential to cinema and is a metaphor for the conversion of matter into energy and consciousness between living things. My cinematic paradigm radicalizes the film plane as a translucent boundary that cannot be crossed. In this illustrated lecture I propose to view the flattened camera realm abstractly by celebrating the spherical world gathered by humans accompanied by the music of the projector. In 1927 the fundamental measure of things by discrete picture frames was challenged by a continuous line read by the projector’s optical sound system. Sound production, disassociated on film’s surface, is synchronized with pictures by the projector and broadcast into a phenomenal space that are like those undiscoverable arctic regions where the needle indifferently respects all points of the horizon alike. — Bruce McClure, Brooklyn, NY, August 11, 2011

Free admission IHP + PIFVA members, Temple + UArts students; $8 students + seniors; $10 general admission.

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The Ibrahim Theater Box Office opens one hour before showtime for these events. Tickets available in advance at www.ihousephilly.org.

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DANIEL BARRoW EVERy TIME I SEE yoUR PICTURE I CRySunday, September 18 at 7pmPhiladelphia Live Arts Festival & Philly Fringewritten, illustrated and performed by Daniel Barrow, Canada, 2008, video, 60 mins, color, original soundtrack by Amy Linton

Awarded the Images Prize at Toronto’s yearly Images Festival, Daniel Barrow’s “manual animation” combines overhead projection with video, music, and live narration to tell the story of a garbage man who creates a phone book chronicling the lives of each person in his city. In the late hours of the night, he sifts through garbage, collecting personal information and then traces pictures of each citizen through the windows of their homes as they sleep. What he doesn’t know is that a deranged killer is trailing him, murdering everyone included in his book, rendering his cataloging efforts obsolete.

$5 IHP members; $8 students + seniors; $10 general admission. Also available in advance at http://livearts-fringe.org.

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NoSFERATU - EINE SyMPHoNIE DES GRAUENS (A SyMPHoNy oF HoRRoR)Saturday, october 15 at 8pmdir. FW Murnau, Germany, 1922, DVD, 94 mins, b/w, silent w /English intertitles

with live musical accompaniment performed by Brendan Cooney (piano), Larry Goldfinger (clarinet), Shunjoo Cho (accordion), Carlos Santiago (violin) and Chris Coyle (bass)

Brendan Cooney (West Philadelphia Orchestra, City Wide Specials, Noggin Hill, Rhinoceri Trio) brings a new original live score for FW Murnau’s classic German expressionist film Nosferatu. Cooney’s original score is heavy in gypsy and klezmer motifs, giving the score a distinctive old-fashioned Eastern European sound. It also makes wide use of dramatic horror-camp effects, avant-garde improvisatory vocabulary, and classical idioms.

Nosferatu was based (without permission) on Bram Stoker’s Dracula. While the story remains essentially the same, Max Schreck’s portrayal of Orlok/Nosferatu set the bar for vampires to come. The film is ranked twenty-first in Empire magazine’s “The 100 Best Films of World Cinema”.

$5 IHP members; $8 students + seniors; $10 general admission.

The Ibrahim Theater Box Office opens one hour before showtime for these events. Tickets available in advance at www.ihousephilly.org.

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SONIC ARTS UNION RETROSPECTIVEThe Sonic Arts Union was a pioneering composer collective, active between 1966 and 1976, presenting original live electronic music by its members, performed by the composers themselves. Although both artistically and organizationally significant and influential, the Sonic Arts Union is under- recognized in music history, as is the important work of its members. Robert Ashley, David Behrman, Alvin Lucier, and Gordon Mumma made significant musical innovations in the 1960s and 1970s and continue to be active today. IHP presents four concerts showcasing the music of each of these composers, with Ashley, Behrman and Lucier appearing in person.

In addition to the concerts by Sonic Arts Union members and ensembles, we are presenting programs that further expand the work and legacy of the Sonic Arts Union including films, workshops, talks and panels in The Ibrahim Theater @ International House and performances at Vox Populi Gallery.

Sonic Arts Union has been supported by The Pew Center for Arts & Heritage through the Philadelphia Music Project.

CoNCERT + TALKS AT IHP

ALVIN LUCIER + ENSEMBLESaturday, December 10 at 8pmAlvin Lucier, electronics; Charles Curtis, cello and Anthony Burr, clarinet

Preceded by a talk by Kenneth Goldsmith at 7pm

Alvin Lucier presents electro-acoustic works spanning his career. Lucier’s work poetically examines the acoustics of space, psycho-acoustics, resonance and other phenomena of sound. Recently retired as Professor of Music at Wesleyan University, Lucier has a long history of compositions for electronics, voice, instruments, brain waves, echo-location devices, and more. His groundbreaking piece “I am sitting in a room” is regularly hailed as a landmark in 20th century experimental composition, using only a recording of the composer’s own voice, the resonance of a room, and a simple repeated process to transform voice into shimmering tones.

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DAVID BEHRMAN + ENSEMBLESaturday, January 21, 2012 at 8pmDavid Behrman, laptop, violin, guitar; Eric Barsness and Thomas Buckner, vocals; Ralph Samuelson, shakuhachi; Peter Zummo, trombone and auxiliary instruments and Ted Mook, cello

Preceded by panel discussion with Andrew Raffo Dewar, Thomas Patteson, and Chris Madak at 6pm

David Behrman presents a live version of “My Dear Siegfried,” a performance environment in which musicians interact with texts by Sam Behrman and Siegfried Sassoon and with music software designed to respond to the performers’ actions. The two writers met once in 1920. Many years later, each author wrote about this youthful meeting, which inaugurated a long-lasting friendship and a correspondence, mostly conducted via trans-Atlantic letters between England and the United States.

David Behrman has had a long and storied career as a composer, academic, and record producer. His early work featured homemade electronics, but he eventually moved to using computers to create interactive systems that respond to players, sensing their inputs to generate complementary material. He worked at Columbia Records producing the “Music of Our Time” series of new music recordings for Columbia Masterworks, which presented works by Cage, Oliveros, Lucier, Reich, Riley, Pousseur and other influential composers.

GoRDoN MUMMA PERFoRMED By JENNy LIN AND CoNRAD HARRISSaturday, March 17, 2012 at 8pmJenny Lin, piano and Conrad Harris, violin

Preceded by a talk by Nicolas Collins at 7pm

Highly-regarded contemporary music interpreters Jenny Lin and Conrad Harris perform recent works by Gordon Mumma. Mumma studied piano and horn in Chicago and Detroit, and began his career as an active horn player in symphonic and chamber music. He co-founded with Robert Ashley the Cooperative Studio for Electronic Music and the now-historic ONCE Festivals of Contemporary Music. Gordon Mumma was among the first composers to employ circuitry of his own design in compositions and performance. An extremely prolific composer and a virtuoso performer (French horn), his work is known for the integration of advanced electric principles in the operation of the musical structures. He has termed this approach “Cybersonic” and has applied it to a wide range of compositions (eg “Hornpipe”, electronic music for cybersonic French horn and “Ambivex,” a surrogate myoelectronic telemetering system with pairs of performing appendages). His most recent work has explored writing for conventional instruments.

RoBERT ASHLEy + ENSEMBLESaturday, May 5, 2012 at 8pm

Preceded by a talk with Arthur Sabatini at 7pm

Robert Ashley presents ‘Concrete,’ a recent opera. Concrete follows from Ashley’s preoccupation in two previous works with the kind of speech that has not been explored in opera — in Dust, the speech of the homeless; in Celestial Excursions, the speech of people living together in a home for old people. The three operas are not a “trilogy” in any sense, but they all come from this preoccupation with or fascination with special kinds of speech and special kinds of states of mind. Concrete will be presented in surround sound.

A distinguished figure in American contemporary music, Ashley holds an international reputation for his work in new forms of opera and multi-disciplinary projects. His recorded works are acknowledged classics of language in a musical setting, and he pioneered opera-for-television. His main artistic innovation has been to examine and incorporate spoken American English into music, experimental soundworks, and opera. Early pieces for electronics and voice, including “The Wolfman,” prefigured later innovations in live electronics and noise music. He also developed a distinctive party of work for electronics and spoken English, eventually expanding to opera and his work in opera-for-television.

IHP Concerts are $15 IHP members; $17.50 students + seniors; $20 general admission.

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FILM SCREENINGS AT IHP

9 EVENINGS: THEATRE AND ENGINEERINGThursday, october 20 at 7pmDirector Julie Martin in person

In 1966, ten New York artists and thirty engineers and scientists from Bell Telephone Laboratories collaborated on a series of innovative dance, music and theater performances. Presented at the 69th Regiment Armory in New York City, 9 Evenings: Theatre & Engineering is recognized as a major artistic event of the 1960s. The performances represented the culmination of a period of extraordinary creative energy in art, dance and music in the late 1950s and early 1960s, and they also pointed to the future, as artists began to use new technology in their work.

VARIATIoNS VII By JoHN CAGEdir. Barbro Schultz Lundestam, US, 2008, video, 41 mins, color

“Variations VII,” performed at 9 Evenings, was the next to last in John Cage’s series of indeterminate works that he had begun in 1958. The piece uses sound from telephone calls placed around New York City, contact microphones on the stage and on household appliances, electrodes on one performer to capture brain waves, 20 radio bands, two televisions, two Geiger counters, oscillators and pulse generators. This film documents the only complete performance of “Variations VII.”

BANDoNEoN! [BANDoNEoN FACToRIAL], A CoMBINEdir. Julie Martin, US, 2009, video, 38 mins, color

Bandoneon! [Bandoneon Factorial], a combine is David Tudor’s first full concert work as a composer. Tudor played the bandoneon as the input into a complex sound and visual modification system that moved sound from speaker to speaker and controlled lights and video images, creating a work that animated the entire Armory space. Bandoneon! documents the performance with film and vintage photographs as well as interviews with the performers, engineers and Tudor’s fellow composers.

MUSIC WITH RooTS IN THE AETHERMusic with Roots in the Aether is a seven-part series of video portraits of notable American composers, in interviews staged as “landscapes” and in performance. Sonic Arts Union Retrospective features the segments on David Behrman, Gordon Mumma, and Alvin Lucier, engaging the composers in friendly and insightful conversations and showing performances of their work.

ALVIN LUCIER Thursday, December 1 at 7pmdir. Robert Ashley and Philip Makanna, US, 1983, video, 116 mins, color

Lucier is interviewed on stage, acting out a fishing trip, followed by a performance of “Bird and Person Dyning” and “Music for Solo Performer” .

DAVID BEHRMANFriday, January 6, 2012 at 7pmdir. Robert Ashley and Philip Makanna, US, 1983, video, 116 mins, color

Behrman is interviewed overlooking the San Francisco Bay, followed by a performance of “Music with Melody-driven Electronics”.

GoRDoN MUMMAFriday, March 2, 2012 at 7pmdir. Robert Ashley and Philip Makanna, US, 1983, video, 116 mins, color

Gordon Mumma is interviewed on a football field (after a brief bit of bike repair), followed by a performance of Some Voltage Drop: Simulcast, Schoolwork, Telepos/Foxbat.

PERFECT LIVES Saturday, April 14, 2012 and plays continuously with starting times at 1pm, 4pm, and 7pm (single full-day admission)dir. Robert Ashley and John Sanborn, US, 1983, video, 175 mins, color

Commissioned by The Kitchen and co-produced with Great Britain’s arts network Channel Four, Perfect Lives is an opera for television in seven half-hour episodes. First broadcast in Great Britain in April 1984, Perfect Lives has since been seen on television in Austria, Germany, Spain and the United States and has been shown at film and video festivals around the world. It is widely considered to be a pre-cursor of “music-television.” Perfect Lives has been called “the most influential music/theater/literary work of the 1980s.” At its center is the hypnotic voice of Robert Ashley. His continuous song narrates the events of the story and describes a 1980s update of the mythology of small-town America. Derived from a colloquial idiom, Perfect Lives transforms familiar material into an elaborate metaphor for the rebirth of the human soul. It has been called a comic opera about reincarnation.

Screenings are free admission IHP members; $7 students + seniors; $9 general admission.

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CoNCERTS AT Vox PoPULI GALLERy DAVE SMoLEN AND DAVEy HARMSThursday, November 11 at 8pmLocal musician Dave Smolen and longtime Philadelphian (recently relocated to Providence, RI) Davey Harms (aka Mincemeat or Tenspeed) premiere new works for live electronics, inspired by the work of the Sonic Arts Union. Linchpins of the Philadelphia noise and electronic music communities, Smolen and Harms both use simple guitar pedals and other electronic devices, wired in feedback loops, to create propulsive rhythmic textures. They augment their regular work with material inspired by the work of Ashley, Behrman, Mumma and Lucier.

CHRIS BENEDETTo MADAKFriday, February 10, 2012 at 8pmChris Benedetto Madak is the man behind the long-running electronic music project Bee Mask as well as the Deception Island label. Performing in New York, Cleveland and now Philadelphia, his work plumbs the history of electronic and tape music, using synthesizers, sequencers, tape, and other electronics to reference German kosmische, musique concrete, noise, minimal techno and drone. His most recent work was released by Spectrum Spools, an offshoot of the esteemed Editions Mego label. Past work has used computers, light-sensitive electronics, homemade tone generators, and other bespoke devices. Tonight, he’ll give the world premiere of a new piece inspired by the Sonic Arts Union composers.

Vox Concerts are free admission. Vox Populi is located 319 N 11th Street, 3rd Floor, Philadelphia.

WoRKSHoP HARDWARE HACKING WoRKSHoP WITH NICoLAS CoLLINSSaturday, March 17, 2012 at tbaComposer, musician and professor Nicolas Collins leads a workshop in “hardware hacking.” Assuming no technical background whatsoever, these workshops guide the participants through a series of sound-producing electronic construction projects, from making simple contact microphones, through “bending” toys, to making oscillators and other circuits from scratch. The curriculum is drawn from Collins’ book, Handmade Electronic Music—The Art of Hardware Hacking.

Free admission.

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30+YeArs Of fIlm @ INTerNATIONAl hOuse phIlADelphIA

THE JANUS COLLECTIONTruly 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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BLACK oRPHEUSSaturday, September 17 at 7pmdir. Marcel Camus, France, 1959, 35mm, 107 mins, color, Portuguese w/ English subtitles

Winner of both the Academy Award for best foreign-language film and the Cannes Film Festival’s Palme d’Or, Marcel Camus’ Black Orpheus (Orfeu negro) brings the ancient Greek myth of Orpheus and Eurydice to the twentieth-century madness of Carnival in Rio de Janeiro. With its eye-popping photography and ravishing, epochal soundtrack, Black Orpheus was an international cultural event, and it kicked off the bossa nova craze that set hi-fis across America spinning.

THE RIVERSaturday, october 8 at 7pm dir. Jean Renoir, India/France, 1951. 35mm, 99 mins, color

Shot entirely on location in India, director Jean Renoir’s entrancing first color feature is a visual tour de force. Based on the novel by Rumer Godden, the film eloquently contrasts the growing pains of three young women with the immutability of the holy Bengal River, around which their daily lives unfold. Enriched by Renoir’s subtle understanding and appreciation for India and its people, The River gracefully explores the fragile connections between transitory emotions and everlasting creation.

See page 30 for Incredible INDIA!, a series celebrating the people, culture and heritage of India.

�PICNIC AT HANGING RoCKSaturday, November 12 at 7pmdir. Peter Weir, Australia, 1975, 35mm, 107 minutes, color

Decades after it swept Australia into the international film spotlight, Peter Weir’s stunning masterpiece remains as indescribable as the mystery at its core. A Valentine’s Day picnic at an ancient volcanic outcropping turns to disaster for the residents of Mrs Appleyard’s school when a few young girls inexplicably vanish. Picnic at Hanging Rock is a lyrical, meditative film charged with suppressed longing.





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ACTIoN/ADVENTUREFANFAN THE TULIP (FANFAN LA TULIPE)Thursday September 22 at 7pmdir. Christian-Jaque, France, 1952, 35mm, 99 mins, b/w, French w/ English subtitles

Legendary French star Gerard Philipe swash-buckled his way into film history as peasant soldier Fanfan in Christian-Jaque’s devil-may-care romantic action-comedy. In eighteenth-century France, Fanfan joins King Louis XV’s army to avoid a forced marriage. On his way to fighting in the Seven Years’ War, Fanfan gets himself out of close scrapes and into tight squeezes with Gina Lollobrigida’s impostor fortune teller Adeline.

Filled to the brim with dazzling stunts and randy innuendo, Fanfan the Tulip won the Best Director prize at Cannes. A smash hit upon its initial release, it remains one of France’s all-time most beloved films.

MOTION PICTURESDirectors such as Segundo de Chomon, Sergei Eisenstein and perennial favorite Ranier Werner Fassbinder are featured in Motion Pictures, a monthly series that focuses on different movements in film culture such as science fiction, romance and American independents.

SoVIET CoNSTRUCTIVIST CINEMABATTLESHIP PoTEMKIN – New Restored 35mm PrintThursday, November 10 at 7pmdir. Sergei Eisenstein, USSR, 1926, 35mm, 69 mins, b/w, w/ English intertitles

A dramatized account of a great Russian naval mutiny and a resulting street demonstration which brought on a police massacre, Sergei Eisenstein’s 1925 masterpiece remains one of the most influential silent films of all time. This all-new restoration includes dozens of missing shots, all 146 title cards, and Edmund Meisel’s definitive 1926 score, returning the film to a form as close to its creator’s bold vision as seen since at its triumphant Moscow premiere.

Unless noted, all Film @ International House screenings are free admission for IHP members; $7 students + seniors; $9 general admission.

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LoS HéRoES DEL SITIo DE zARAGozA dir. Segundo de Chomón, France, 1904, video, 3.5 mins, b/w with hand-painted color

The first historical recreation of the defense of the city of Zaragosa by the people of Aragon against Napoleon’s troupes.

�L’HEREU DE CAN PRUNA dir. Segundo de Chomón, France, 1904, video, 6.5 mins, b/w with hand-painted color

A comic tale of surprising modernity.

�LE RoI DES DoLLARS dir. Segundo de Chomón, France, 1905, video, 2 mins, b/w with hand-painted color

The main character is a conjuror’s hand shown in close-up at the moment when he is performing tricks.

�AH! LA BARBE dir. Segundo de Chomón, France, 1905, video, 2 mins, b/w with hand-painted color

A man stands before a mirror about to shave. His reflection is successively replaced by a series of grotesque characters which make him increasingly angry.

�LES CENT TRUCSdir. Segundo de Chomón, France, 1906, video, 3 mins, b/w with hand-painted color

A multitude of transformations and sudden appearances by a lady, a ballerina and two clowns, all of whom are part of a conjuror’s performance.

�LE CoURANT éLECTRIqUE dir. Segundo de Chomón, France, 1906, video, 1.5 mins, b/w with hand-painted color

Described in the Pathé catalogue as a ‘scene comique’, this is one of the few films in this series which is not a “Cinema of Attractions” selection.

LE SPECTRE RoUGEdir. Segundo de Chomón, France, 1907, video, 9 mins, b/w with hand-painted color

Satan carries three bottles towards the camera. Inside captive women dance when liquid is poured into them.

�KI RI KI, ACRoBATES JAPoNAISdir. Segundo de Chomón, France, 1907, video, 3 mins, b/w with hand-painted color

A large group of acrobats perform a range of implausible balancing acts that seem to defy the laws of gravity.

THE CINEMA oF ATTRACTIoNS THE ESSENTIAL FILMS oF SEGUNDo DE CHoMÓNThursday, october 13 at 7pmThis program is devoted to the visionary, astoundingly inventive early-cinema pioneer Segundo de Chomón (1871-1929). An ultra-prolific innovator whose pioneering camera trickery still perplexes and befuddles, Chomón was widely active throughout the budding film industries in France (where he worked for Pathé), Italy and his native Spain. Our series brings together a selection of Chomón’s unbelievable work, all of which forces the question: “How did he do that?”

�LA MAISoN ENSoRCELEEdir. Segundo de Chomón, France, 1908, video, 6 mins, b/w with hand-painted color

Domestic objects move by themselves, to the exasperation of the characters that enter a haunted house.

ELECTRIC HoTELdir. Segundo de Chomón, France, 1908, video, 7 mins, b/w with hand-painted color

The tribulations of a couple who check into an electric hotel.

LE PETIT PoUCET dir. Segundo de Chomón, France, 1909, video, 11 mins, b/w with hand-painted color

Based on the short story by Charles Perrault, Le Petit Poucet has a complex story line which uses inter-titles and trick film sequences.

LE THéâTRE éLECTRIqUE DE BoBdir. Segundo de Chomón, France, 1909, video, 5 mins, b/w with hand-painted color

Bob places a toy theatre for a performance by two puppets before some children.

VoyAGE SUR JUPITER dir. Segundo de Chomón, France, 1909, video, 8 mins, b/w with hand-painted color

A king and his personal magician look through a telescope at the planets, dreaming of a fantastic trip to Jupiter.

GéRoNE, LA VENISE ESPAGNoLE dir. Segundo de Chomón, France, 1912, video, 3 mins, b/w with hand-painted color

Here Chomon returns to his initial vocation as a documentary filmmaker shooting a number of scenes en plein air (outdoors).

SUPERSTITIoN ANDALoUSEdir. Segundo de Chomón, France, 1912, video, 10.5 mins, b/w with hand-painted color

Chomón again uses a trick sequence where liquid is poured into bottles and dancing girls appear in them.

BARCELoNE, PRINCIPALE VILLE DE LA CATALoGNEdir. Segundo de Chomón, France, 1912, video, 4 mins, b/w with hand-painted color

A documentary with gardens shot from a moving boat, the city’s tourist haunts, the port and the monument of the Mercat del Born.

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RESURRECT DEAD: THE MYSTERY OF THE TOYNBEE TILES – PHILADELPHIA PREMIEREThursday, September 8 at 7pm, Saturday, September 10 at 7pm + 9:30pm, Sunday, September 11 at 7pm + Monday, September 12 at 7pmdir. Jon Foy, US, 2011, HD, 85 mins, color

Each screening features director Jon Foy, producers and cast members in person, providing surprises including live music, tile-making demonstrations, photography exhibitions and more

The Ibrahim Theater @ International House presents the Philadelphia premiere of this local production, a surprise hit at the Sundance Film Festival and winner of the best directing prize for US documentary for West Philadelphian Jon Foy. Resurrect Dead: The Mystery of the Toynbee Tiles is an artfully crafted documentary that follows Foy, local musician and artist Justin Duerr, and Steve Weinik and Colin Smith as they try to solve the mystery of the Toynbee Tiles, the hundreds of cryptic tiled messages about resurrecting the dead that have been appearing in city streets over the past three decades. Their search takes them to a David Mamet play, a TV news hijacker with a cryptic message, eccentric residents in the deepest reaches of South Philadelphia and dedicated shortwave radio buffs, creating an atmosphere of magical realism as the unexpected pieces of this complex puzzle click into place.

INSIDE THE INDIE PATH To SUNDANCE: JoN Foy AND DoUG BLoCK IN CoNVERSATIoN Thursday, September 8 at 5:30pm Co-presented by Philadelphia Independent Film & Video Association

This workshop on the art of producing documentaries is focused on Resurrect Dead: The Mystery of the Toynbee Tiles. Laboring for 6 years, with proceeds from house cleaning and other jobs and finishing funds from PIFVA, Resurrect Dead is Philadelphia filmmaker and composer Jon Foy‘s debut feature. He was awarded Best Documentary Director at Sundance 2011. Executive Producer Doug Block is a multiple award-winning, New York-based documentary director, cameraman and producer. He has directed The Heck with Hollywood! (1991), Home Page (1999), 51 Birch Street (2005), and The Kids Grow Up (2009). Block is also the founder of The D-Word, a worldwide online community of documentary professionals.

$6 IHP + PIFVA members; $15 general admission. Tickets include admission to the screening of Resurrect Dead: The Mystery of the Toynbee Tiles.






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Join us and enjoy the benefits of being part of a vibrant, global community.

Giving Opportunities + membership Benefits

make a gift today and enjoy the benefits of being part of a vibrant, global community.

Residents from 95 different countries around the world have called International House Philadelphia “home”, and each year IHP welcomes over 800 new Residents and more than 22,000 visitors through our doors and invites them all to experience our arts, culture, humanities and other enriching programs.

Through the generosity of people like you, IHP has been able to serve its mission for over 100 years, but without your support we won’t be able to continue to provide the wonderful programming vital to the promotion of cross-cultural awareness and an appreciation for diversity. Please help IHP in our commitment to continue building a global community in Philadelphia by making a gift and becoming a member today. Our IHP Annual Giving Family of Funds allows you to direct your gift to your choice of four specific program areas:

The residential life fund

The Arts + humanities fund

The Curtain Call Campaign fund

The Area of Greatest Need fund

for more information on giving opportunities and membership benefits, please contact us at [email protected] or call 215.387.5125 and select the membership option.

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FRIDAy, SEPTEMBER 23 Alphabet of Art opening Reception and Presentationp. 29

Bruce Conner: The Art of Montagep. 21-22

SATURDAy, SEPTEMBER 24 Alphabet of Art Panel Discussionp. 29

Bruce Conner: The Art of Montagep. 23

MoNDAy, SEPTEMBER 26Language Classes Startp. 31

First Person Arts Social Justice Film SeriesHot Coffeep. 28

THURSDAy, SEPTEMBER 29 - SUNDAy, oCToBER 2Project Twenty1p. 28

TUESDAy, oCToBER 4Incredible IndiaWhere in the Worldp. 30

Scribe Video Center’s Producers’ ForumSex in an Epidemicp. 27

WEDNESDAy, oCToBER 5 Archive Fever! 3.0The Phantom of the operatorp. 20

SATURDAy, oCToBER 8 The Janus CollectionIncredible IndiaThe Riverp. 11

WEDNESDAy, oCToBER 12Sound on ScreenTwo by Luke Fowler The Way out/Pilgrimage from Scattered Pointsp. 20

THURSDAy, SEPTEMBER 1Fall Arts Previewp. 3

THURSDAy, SEPTEMBER 8Resurrect Dead withWorkshop by Jon Foy + Doug Blockp. 14

SATURDAy, SEPTEMBER 10 - MoNDAy, SEPTEMBER 12Resurrect Deadp. 14

MoNDAy, SEPTEMBER 12 - THURSDAy, SEPTEMBER 15 Language Programs Registrationp. 31

FRIDAy, SEPTEMBER 16 Wave Currents Bruce McClurep. 4

SATURDAy, SEPTEMBER 17 Wave Currents Bruce McClure Workshopp. 4

The Janus CollectionBlack orpheus p. 11

SUNDAy, SEPTEMBER 18 Philadelphia Live Arts Festival & Philly FringeDaniel Barrow Every Time I See your Picture I Cryp. 5

TUESDAy, SEPTEMBER 20Culture and CuisineCambodiap. 31

WEDNESDAy, SEPTEMBER 21 Full ExposureAn Evening with Kevin Jerome EversonEriep. 19

THURSDAy, SEPTEMBER 22 Motion Pictures Action/Adventure Fanfan the Tulip p. 12
























































IHOUSE CALENDAR ICONS: CULTURELIVEARTLEARNFILM












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THURSDAy, oCToBER 13 Motion Pictures The Cinema of AttractionsThe Essential Films of Segundo de Chomonp. 13

SATURDAy, oCToBER 15Incredible IndiaLagaan: once Upon a Time in Indiap. 30

Nosferatu - eine Symphonie des Grauens (A Symphony of Horror)p. 5

TUESDAy, oCToBER 18Incredible India Culture + Cuisine Tandoor Indiap. 30

THURSDAy, oCToBER 20opening ReceptionsIncredible IndiaIndia: A Photography Exhibit + InLiquid Art + Design Video Installation Indian Kaleidoscope p. 30

Sonic Arts Union9 Evenings: Theatre and EngineeringVariations VIIBandoneon! [Bandoneon Factorial], a combinep. 8

FRIDAy, oCToBER 21 - WEDNESDAy, oCToBER 26 + SUNDAy oCToBER 30 20th Philadelphia Film Festivalp. 28

THURSDAy, oCToBER 27 Diwali Celebrationp. 30

FRIDAy, oCToBER 28Annual Halloween Partyp. 31

TUESDAy, NoVEMBER 1 India in Philadelphia Award Ceremony + Receptionp. 30

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WEDNESDAy, NoVEMBER 2Full ExposureAn Evening wih Pawel Wojtasik Pigs/The Aquarium/Dark Sun Squeeze/Crush/At the Still Point p. 19

THURSDAy, NoVEMBER 3 - SUNDAy, NoVEMBER 6Philadelphia Asian American Film Festivalp. 28

WEDNESDAy, NoVEMBER 9An Evening with Deborah PhillipsHerman(N)/Capsicum/71/Noor/Bread p. 27

THURSDAy, NoVEMBER 10 Motion Pictures Soviet Constructivist CinemaBattleship Potemkinp. 12

FRIDAy, NoVEMBER 11Sonic Arts UnionDave Smolen and Davey Harmsp. 9

SATURDAy, NoVEMBER 12 The Janus CollectionPicnic at Hanging Rockp. 11

WEDNESDAy, NoVEMBER 16Archive Fever! 3.0The Autobiography of Nicolae Ceausescup. 20

THURSDAy, NoVEMBER 17 - SATURDAy NoVEMBER 19 Minding the Gap: The Films of Dick Fontainep. 24-26





























TICkETS/BOX OFFICETickets are available at www.ihousephilly.org + 215.387.5125The 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 www.twitter.com/ihousephilly or join the official International House Philadelphia group. Become a fan on Facebook at www.facebook.com/ihousephilly. Follow us on Twitter at www.twitter.com/ihousephilly or join the official International House Philadelphia group.

SoNIC ARTS UNIoN RETRoSPECTIVE

CoNCERTS

SATURDAy, DECEMBER 10Alvin Lucier + Ensemblep. 6

SATURDAy, JANUARy 21, 2012David Behrman + Ensemblep. 7

FRIDAy, FEBRUARy 10, 2012Chris Benedetto Madakp. 9

SATURDAy, MARCH 17, 2012Gordon Mumma performed by Jenny Lin and Conrad Harrisp. 7

SATURDAy, MAy 5, 2012Robert Ashley + Ensemblep. 7

FILM SCREENINGS

THURSDAy, DECEMBER 1Alvin Lucierp. 8

FRIDAy, JANUARy 6, 2012David Behrmanp. 8

FRIDAy, MARCH 2, 2012Gordon Mummap. 8

SATURDAy, APRIL 14, 2012Perfect Livesp. 9

WoRKSHoP

SATURDAy, MARCH 17, 2012Hardware Hacking Workshop with Nicolas Collinsp. 9









































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IHP STAFFExecutive DirectorTanya Steinberg

Arts + Language ProgramsRenae Dinerman - Director of ArtsBarbara Warnock - Language Programs DirectorRobert Cargni - CuratorJesse Pires - CuratorJesse Kudler - Production ManagerHerb Shellenberger - Programs + Box Office Manager

Admissions + Resident ServicesGlenn Martin - Director of Admissions + Resident ServicesMarlon Patton - Front Desk Manager + CashierLara Kindle - Resident Activities + Advisory Center Manager

(interim)Edwin Garcia - Admissions Coordinator Emily Martin - Admissions Coordinator Eugene Park - Front Desk Coordinator

Institutional AdvancementMartha Buccino - VP of Institutional AdvancementSimone Jeffers - Director of Development William Parker - Senior Marketing ManagerChristina Rockwell - Membership Programs and

Development Services Manager

Business officeLina Yankelevich - Finance + Human Resources ManagerClara Fomich - Executive Assistant Angela Bachman - Business Office Assistant

Building operationsCarole Parker - Director of Building OperationsMoshe Caspi - Security Services + Systems ManagerAlex Rivkin - Information Systems + Technology ManagerRaj Persad - Building Operations ManagerDeborah Houda - Housekeeping Operations ManagerWendy Hyatt - Conference Center + Building Services

Coordinator

Housekeeping, Maintenance + SecurityReginald BrownPhillip CarterMoifee DorleyRobert EngleKodzo “David” GasonuSherman GriggsSylvie HoetoRussell JenkinsTarnue “Keith” KabahHenry KoffiYefim Klurfeld

Antoinette MalikVipin MaxwellLarry Moore Lulzim MyrtajAmar PersadDesiree RivasChristina RiveraRonald SmithLinda StantonAlthelson TownsRobert Wooten

GETTING HEREInternational House Philadelphia is located at 3701 Chestnut Street, in the University City neighborhood, 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, take the 21 bus west on Walnut Street to 37th Street. From West Philly, take the 21 bus east on Chestnut to 37th.

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 IHP’s Front Desk to be stamped when attending events. Plenty of street parking, free after 8pm, is available on Chestnut and Market Streets and throughout the neighborhood.

CoNTACT USGeneral Information 215.387.5125 or [email protected]

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FULL EXPOSUREA series dedicated to recent works by innovative film and video makers from around the world, Full Exposure is a snapshot of current moving image production and its constantly evolving practices.

AN EVENING WITH KEVIN JERoME EVERSoNWednesday, September 21 at 7pm

ERIEdir. Kevin Jerome Everson, US, 2010, 16mm, 81 mins, b/w

Presented as part of Scribe Video Center’s Producers’ Forum q+A with Kevin Jerome Everson following the film

Erie consists of a series of single take, black and white, 16mm sequences filmed in and around communities near Lake Erie, including Buffalo, Cleveland, Mansfield, Ohio and Niagara Falls. The scenes relate to Black migration from the American South to the North, contemporary conditions, current realities impacting workers and factories in the automobile industry, folks concentrating on the task at hand, theater and famous art objects. The audience at any given screening is also an integral component of the film, as the rhythm of observation meshes with the routine of concentration and movement experienced in each shot.

Special thanks to Philadelphia Independent Film & Video Association, Film and Media Arts Department at Temple University and Africana Studies and Cinema Studies at University of Pennsylvania.

On Saturday, September 22 at 7pm, Everson presents a Special Topic Lecture “Materials, Process, Procedures and Subject” at Scribe Video Center. Scribe is located at 4212 Chestnut Street, 3rd Floor, Philadelphia. For more information, please visit www.scribe.org.

$5 IHP + Scribe members; $8 students + seniors; $10 general admission.

AN EVENING WIH PAWEL WoJTASIKWednesday, November 2 at 7pmCo-presented by Cinema Studies at the University of Pennsylvania

Pawel Wojtasik was born in Lodz, Poland, and lived in Tunisia before immigrating to the US in 1972 and holds an MFA from Yale University (1996). His films and videos are visionary and poetic reflections on our environment and culture. Wojtasik’s short film Pigs was awarded the Grand Prize at the 2011 Hong Kong International Film Festival. Referring to Dark Sun Squeeze (2003), Holland Cotter writing in The New York Times said, “Pawel Wojtasik delivers the final word on the absolute value of news, money, politics, and just about everything else.”

PIGS�dir. Pawel Wojtasik, US, 2010, DVCAM, 8 mins, color

In this close-close look at pigs on a farm in Las Vegas, NV, the animals become a metaphor for humanity as they go from leisurely wallowing in the mud to the wildness of a feeding frenzy. In a key shot, a pig confronts the viewer with a prolonged, enigmatic stare, as if questioning the very nature of human/animal relationship.

THE AqUARIUMdir. Pawel Wojtasik, US, 2006, HDCAM, 22 mins, color

Filmed in Alaska, The Aquarium contrasts the openness of the primeval Arctic landscape with the entrapment of captured sea mammals in aquariums.

DARK SUN SqUEEzEdir. Pawel Wojtasik, US, 2003, HDCAM, 10 mins, color

Dark Sun Squeeze is a darkly meditative exploration of a sewage treatment plant, revealing the hidden rhythms and bizarre journey of raw human waste which speak of decay, destruction, of madness inherent in excessive consumption. At the same time they reveal the redemptive side of detritus, its regenerative potential, the sublime that exists in the abject.

CRUSHdir. Pawel Wojtasik, US, 2010, HDCAM, 15 mins, color

Cars are transformed into a flattened mass of steel during a process that involves piercing, breaking, folding and tearing of metal, and shattering of glass.

AT THE STILL PoINT (WoRK-IN-PRoGRESS)dir. Pawel Wojtasik, US, 2011, HDCAM, 23 mins, color

Shot in India, At the Still Point is an exploration of the different facets of labor, from ship breaking to the funerary work at the burning Ghats of Varanasi, where bodies are cremated after being immersed in the Ganges.

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ARCHIVE FEVER! 3.0In this series, we explore the myriad ways in which the archive, archival and found materials are integral to the works of film and video artists who are discovering the dynamic possibilities within archives, creating new inventive modes for archival practice.

THE PHANToM oF THE oPERAToRWednesday, october 5 at 7pm dir. Caroline Martel, Canada, 2004, Beta SP, 66 mins, color and b/w, French w/ English subtitles

This wry and delightful found-footage film reveals a little-known chapter in labor history: the story of female telephone operators’ central place in the development of global communications. With an eye for the quirky and humorous, Caroline Martel assembled more than one hundred remarkable, rarely seen industrial, advertising and scientific management films produced in North America between 1903 and 1989 by Bell and Western Electric. Refreshing and hilarious, The Phantom of the Operator provides a wry yet ethereal portrait of human society.

With short subjects from Bell Telephone Labratories.

THE AUToBIoGRAPHy oF NICoLAE CEAUSESCUWednesday, November 16 at 7pm dir. Andrei Ujicâ, Romania/Germany, 2010, 35mm, 180 mins, Romanian w/ English subtitles

Who knew that three hours of coarsely edited Romanian state propaganda culled from the ruinous Ceaucescu era between 1965 and 1989 could be so transfixing, illuminating and haunting? Andrei Ujicâ’s extraordinary film eschews context and narration in a wry attempt to fashion a historical chronicle in the same dubiously subjective spirit that the footage was initially conceived. – Time Out London

Autobiography defies categorization when fragments of reality are edited together from an inventory of images in order to illustrate a higher truth. But what constitutes reality when its images have been stage-managed into baroque pageantry or quasi-Hollywood musicals by a delusional dictator? A radical and chilling project, The Autobiography of Nicolae Ceausescu concludes the filmmaker’s trilogy exploring the end of communism which began with the landmark Videograms for a Revolution.

SOUND ON SCREENSound on Screen gives a home to the growing list of music documentaries, bio-pics and concert films capturing some of the some of the most unique sounds from around the globe. Music is an incredibly influential tool that unites people, while at the same time, is almost always a uniquely personal journey. These films seek to bring a deeper understanding of the power music has over all of us.

TWo By LUKE FoWLER Wednesday, october 12 at 7pmLuke Fowler is an artist, filmmaker and musician from Glasgow, Scotland. His works have shown at the New Museum, New york, Ny, the Centre for Contemporary Arts, Glasgow, Scotland and Tate Modern, London, England.

THE WAy oUTdir. Luke Fowler, UK, 2003, 16mm, 33 mins, color

The Way Out profiles Xentos “Fray Bentos” Jones, a founding member of The Homosexuals, who lapsed into obscurity after self-releasing a number of groundbreaking records in the post-punk period. Although The Homosexuals disbanded without ever releasing an authorized LP, L Voag (aka Xentos) released his own solo project “The Way Out” in 1979. A DIY concept album, “The Way Out” imagined an inverted parallel universe where pop music is made by Modernist and Serialist composers and the avant-garde is left to those on the fringes of acceptance.

PILGRIMAGE FRoM SCATTERED PoINTSdir. Luke Fowler, UK, 2006, 16mm, 45 mins, color

English composer Cornelius Cardew (1936-1981) formed The Scratch Orchestra (1968-73) with Michael Parsons and Howard Skempton and published their draft constitution in The Musical Times in June 1969. The document proposed a fluid community where students, office workers, amateur musicians and professional composers would gather together for performance, music making and edification and set out the framework which dominated the orchestra’s musical work for the first half of its existence.





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PRoGRAM IFriday, September 23 at 7:30pmFollowed by q+A with Bruce Jenkins, in conversation with Michelle Silva

CoSMIC RAydir. Bruce Conner, US, 1961, 16mm, 4 mins, b/w

COSMIC RAY seems like a reckless collage of fast moving parts: comic strips, dancing girls, flashing lights. It is the dancing girl - hardly dressed, stripping or nude - which provides the leitmotiv for the film. Again and again she appears - sandwiched between soldiers, guns, and even death in the form of a skull positioned between her legs. And if the statement equates sex with destruction, the cataclysm is a brilliant one, like an exploding firecracker, and one which ends the world with a cosmic bang.

Of course, the title also refers to musician Ray Charles whose art Conner visually transcribes onto film as a potent reality, tough and penetrating in its ability to affect some pretty basic animal instincts. But if such is the content of the film - that much of our behavior consists of bestiality - the work as a whole stands as insight rather than indictment. — Carl Belz, Film Culture

A MoVIEdir. Bruce Conner, US, 1958, 16mm, 12 mins, b/w

... a montage of found materials from fact (newsreels) and fiction (old movies). Clichés and horrors make a rapid collage in which destruction and sex follow each other in images of pursuit and falling until finally a diver disappears through a hole in the bottom of the sea — the ultimate exit. — Brian O’Doherty, The New York Times

BRUCE CONNER: THE ART OF MONTAgEFriday, September 23 + Saturday, September 24Co-presented by the Center for Visual Culture and the Program in Film Studies at Bryn Mawr College

Beginning with his groundbreaking found-footage masterpiece A MOVIE, the films of San-Francisco-based artist Bruce Conner (1933-2008) have marked a radical intervention into the language of filmmaking. often referred to as the “father of found footage film” and the “father of MTV music videos,” Conner paired his trademark rapid-fire editing style with a broad spectrum of music from R&B, gospel, classical, pop and punk, to minimalist compositions. His pioneering body of work continues to exert a broad and lasting influence on both mainstream and avant garde film culture.

Special thanks to Bruce Jenkins and to Michelle Silva of the Conner Family Trust





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PRoGRAM I (continued)

THE WHITE RoSEdir. Bruce Conner, US, 1967, 16mm, 7 mins, b/w

THE WHITE ROSE documents Beat generation artist Jay DeFeo’s painting of the same name, begun in 1957. When the unfinished painting was removed eight years later it weighed over 2300 pounds.

MARILyN TIMES FIVEdir. Bruce Conner, US, 1968-73, 16mm, 13 mins, b/w

A young woman, allegedly Marilyn Monroe, is seen with pitiless scrutiny in the arena of an old girlie film. The reiteration of five cycles rotates the commodity of her moon-pale body as her song repeats five times on the sound track... “I’m through with love.” — Anthony Reveaux, monograph on Bruce Conner published by Film in the Cities

VIVIANdir. Bruce Conner, US, 1964, 16mm, 4 mins, b/w

An ecstatic portrait of actress Vivian Kurtz with footage of a 1964 Conner exhibition and couches a humorous critique of the art market.

TEN SECoND FILMdir. Bruce Conner, US, 1965, 16mm, 10 sec, b/w

Conner created a ten second scandal with this very short film, commissioned by the New York Film Festival as a “trailer” and promptly rejected for being simply “too fast.”

BREAKAWAydir. Bruce Conner, US, 1965, 16mm, 5 mins, b/w

The camera captures her movements in gestural, expressive light smears. Intercut rhythmically with strophes of black leader, she gyrates in graceful, stroboscopic accelerations. Conner’s editing is consummate as he alternates angles of her figure from different shots into a kinesthetic, flowing continuity. — Anthony Reveaux.

With music by Ed Cobba and dance and vocal by Toni Basil.

MEA CULPAdir. Bruce Conner, US, 1981, 16mm, 5 mins, b/w

In his first collaboration with David Byrne and Brian Eno, Conner used footage from educational films to create a rhythmically austere image-track for music from their pioneering “sampling” album My Life in the Bush of Ghosts (1981).

TAKE THE 5:10 To DREAMLANDdir. Bruce Conner, US, 1977, 16mm, 5 mins, color

An autobiographic chapter in Conner’s cinema with a mysterious, evocative soundtrack by Patrick Gleeson.

VALSE TRISTEdir. Bruce Conner, US, 1979, 16mm, 5 mins, b/w

VALSE TRISTE is frankly and gracefully autobiographical of Conner’s Kansas boyhood. Here, his 1940s source material parallels his own life experiences.

HIS EyE oN THE SPARRoWdir. Bruce Conner, US, 2006, video, 4 mins, b/w and color

Conner distilled footage from his unfinished documentary on the gospel group The Soul Stirrers into a collage accompaniment to the group’s version of the classic spiritual “His Eye is on the Sparrow.”

EASTER MoRNINGdir. Bruce Conner, US, 2008, 16mm, 10 mins, color

At some point near the halfway mark in the film, a bridge from the world of nature to that of the man-made is gently placed down, in the form of several shots of a floral-print carpet that leads to images of a loft — wooden floors and furniture, and a giant stone cross seen through the panes of the room’s large windows. A nude woman emerges from a glass cabinet, as if reborn into a world of light. — GreenCine





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BRUCE CoNNER: THE ART oF THE MoNTAGE (continued)

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PRoGRAM IISaturday, September 24 at 7pmFollowed by Keynote Presentation by Bruce Jenkins on Conner’s life and work

MoNGoLoIDdir. Bruce Conner, US, 1978, 16mm, 3 mins, b/w

A documentary film exploring the manner in which a determined young man overcame a basic mental defect and became a useful member of society. Insightful editing techniques reveal the dreams, ideals and problems that face a large segment of the American male population. Background music written and performed by DEVO.

AMERICA IS WAITINGdir. Bruce Conner, US, 1981, 16mm, 4 mins, b/w

Like most of Bruce Conner’s films, repeated viewings yield deeper layers of successive structures. AMERICA IS WAITING is strongly composed of interlocking visual connections, emblematic content and a resonating ambiguity of the human condition within the constructs with which we confound ourselves. — Anthony Reveaux.

With music by David Byrne and Brian Eno.

REPoRTdir. Bruce Conner, US, 1967, 16mm, 13 mins, b/w

Haunted by JFK’s assassination, Conner obsessively filmed television coverage of the killing, funeral and miscellaneous programming, repurposing the footage into both a sorrowful portrait of a lost hero. Between 1963 and 1967, this film went through seven transformations and in 2005 Conner transferred the film to digital for yet another version.

CRoSSRoADSdir. Bruce Conner, US, 1976, 35mm, 36 mins, b/w

CROSSROADS features extreme slow-motion replays of the Operation Crossroads Baker underwater nuclear test at Bikini Atoll on July 25, 1946. The event was captured for research purposes by five hundred cameras stationed on unmanned planes, high-altitude aircraft, boats near the blast, and from more distant points on land around the Atoll.

LooKING FoR MUSHRooMSdir. Bruce Conner, US, 1996, 16mm, 14 mins, b/w

This is the same footage as edited in the earlier short version of LOOKING FOR MUSHROOMS released in 1968 with a Beatles soundtrack. It is made longer with five frames for each original frame but still remains the same edit and nothing added, nothing lost, always the same, never ending... New soundtrack by Terry Riley and Poppy Nogood and the Phantom Band.

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MINDINg THE gAP: THE FILMS OF DICk FONTAINEThursday, November 17– Saturday, November 19The films of Dick Fontaine, a pioneer of cinema vérité in the UK, are an unrivaled document of the seismic shifts within Western culture during the second half of the 20th century. Starting in the early 60s, inspired by American jazz and the writings of Marshall McLuhan, Fontaine began forging a unique path for himself within the distinctively British tradition of documentary filmmaking. His work, past and present, speaks directly to the parallel trajectory of politics and culture, bridging the negligible distance between the two.

His uncanny ability to find himself on the precipice of history-making events has put him in direct contact with many of the people and incidents that have defined our era, yielding an astonishing body of work that includes films on the controversial election to Parliament of Alec Douglas-Home, The Beatles before Beatlemania, the Battle of Tonkin and the escalation of the war in Vietnam, Norman Mailer at his 1967 arrest at the Pentagon, ornette Coleman and the New Wave of American jazz, James Baldwin along the path of the Civil Rights movement, the funeral of Black Panther George Jackson and, years before they were lionized as progenitors of a new global culture, the South Bronx originators of hip hop.

Curated in collaboration with Michael Chaiken. Special thanks to Dick Fontaine, Gugulethu Mseleku, Haden Guest (Harvard Film Archive), Nick Varley (Park Circus/Granada), Kitty Cleary (MoMA), and Philip Maysles (Maysles Institute).

PRoGRAM 1: INTRoDUCING DICK FoNTAINEThursday, November 17 at 7pm

THE FACE oN THE CoVERdir. Dick Fontaine, UK, 1964, video, 30 mins

The life of the world’s top model Jean Shrimpton and her svengali photographer David Bailey, filmed by Albert Maysles.

HERoES dir. Dick Fontaine, UK, 1967, video, 30 mins

A satire on celebrity with a cacophony of gossip merchants, publicists, and “a host of stars.”

WILL THE REAL NoRMAN MAILER PLEASE STAND UP?dir. Dick Fontaine, US/UK, 1968, video, 60 mins, b/w

The filmed counterpart to Mailer’s Pulitzer-winning nonfiction novel, The Armies Of The Night, focusing on his participation in the antiwar protest movement. Mailer, Robert Lowell, and The Fugs (accompanied by a quarter of a million others) attack the Pentagon in October 1967. Mailer goes to jail, is sprung, and recites his sermon on the mount. In addition, the film provides behind-the-scenes footage of the making of Mailer’s second feature film Beyond the Law, an interview conducted by a twenty-something James Toback, and a brilliantly performative appearance by Mailer on The Merv Griffin Show.





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WHo’S CRAzy? (AKA DAVID, CHARLIE AND oRNETTE)dir. Dick Fontaine, UK, 1966, video, 30 mins

A meditation on freedom of expression with three avant-garde musicians under the leadership of composer and multi-instrumentalist Ornette Coleman. Capturing the trio over two days in Paris as they worked on scoring a Living Theater project titled “Who’s Crazy”, the film famously contains a complete, uninterrupted, performance of “Sadness”, one of Coleman’s most memorable and enduring compositions.

DoUBLE PISCES, SCoRPIo RISING dir. Dick Fontaine, UK, 1970, video, 45 mins

Fontaine’s ironic autobiographical film (with real and imagined characters) features music by Pete Townsend and stars Jean Shrimpton, Robert Brownjohn, Norman Mailer, Pat Hartley and Amanda Lear. Produced by Tattooist, it was one of two British entries to the 1970 New York Film Festival. Described by New York Times critic Howard Thompson as a “visual rollercoaster”, the film culminates with Fontaine assembling a machine gun atop a schoolhouse.

WHo IS SoNNy RoLLINS?dir. Dick Fontaine, UK, 1968, video, 30 mins

Portrait of the jazz great during his self-enforced exile from his audience as protest against the war in Vietnam. Filmed playing with students in Harlem, in the countryside, and on the Williamsburg Bridge to the accompaniment of passing subway trains, Rollins’ melodic sense throughout the film is as probing and soulful as ever.

SoUND?? dir. Dick Fontaine, UK, 1967, video, 30 mins

Produced by Mike Hodges for New Tempo, Sound?? is a poetic journey from zoo to anechoic chamber in search of the limits of music with blind musician Rahsaan Roland Kirk and composer John Cage. An attempt to make films against conventional televisual rhetoric, New Tempo began as a series of arguments around a single concept (drugs, expendability, celebrity, etc.) between the filmmakers and sculptor Eduardo Paolozzi, architect Cedric Price and poet Al Alvarez. These discussions were later realized as films Sound?? the first of Fontaine’s two contributions to the series.

RAPE dir. Yoko Ono, Austria, 16mm, 77 mins, color

Starring Eva Majlata, a 21 year old Hungarian actress who couldn’t speak a word of English and produced by Tattooist International and shot by cinematographer Nic Knowland, Rape follows the implacable, continuous and brutal harassment of a young woman by a male camera crew. John Lennon and Yoko Ono held a press conference in Vienna after the film premiered at which John commented: “We are showing how all of us are exposed and under pressure in our contemporary world. This isn’t just about The Beatles. What is happening to this girl on the screen is happening in Biafra, Vietnam, everywhere.”

PRoGRAM 3: TATTooIST INTERNATIoNAL Saturday, November 19 at 2pmIn early 1969, inspired by the post-May ’68 collectivist filmmaking practices of The Dziga Vertov Groupe and Groupe Medvedkin, Fontaine joined Nic Knowland in the founding of Tattooist International, a loose confederation of filmmakers, cinematographers and editors working together to produce and distribute newsreels, music films and underground features.

PRoGRAM 2: TEMPo & NEW TEMPo Friday, November 18 at 7pmIn 1966, Mike Hodges was made a producer for ABC-UK, he called on Fontaine to assist in filling the stations necessary quota of weekly arts programming. With a budget at their disposal and little interference from management, Fontaine and Hodges moved to Paris, creating intimate portraits of some of the most radical and innovative artists of the day. Produced for the program Tempo (later New Tempo), the films were a stylistic departure from Fontaine’s earlier work for Granada. McLuhan’s influence becoming increasingly more pronounced, the end results were often as challenging as the subjects themselves, including, among other works, some of the finest portraits of jazz musicians ever committed to film.





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PRoGRAM 5: HIP HoP Saturday, November 19 at 8pm

BEAT THIS! A HIP HoP HISToRy dir. Dick Fontaine, UK, 1983, video, 60 mins

As indelible original school imagery goes, you can’t beat Beat This! Amongst its brain-staining frames: footage of hip-hop godhead Kool Herc chauffeuring a pair of monstrous speakers through the South Bronx in a Caddy drop top; Afrika Bambaataa and the Soulsonic Force crashing Gotham’s ozone on the last spaceship from Planet Rock; and the Cold Crush Brothers performing “Heartbreakers” at Danceteria in their wildest punk-rock-rap-inspired attire. But director Dick Fontaine’s heavily stylized 1984 BBC production is much more than sci-fi/fantasy-infused eye candy. It is, like the title says, a real historical re-telling of rap’s genesis and evolution, with legendary NYC radio host Gary Byrd providing rhymed narration. Essential viewing for going way back. Egotrip Magazine/Maysles Film Institute

BoMBIN’dir. Dick Fontaine, UK, 1986, video, 60 mins

The Bronx founders of hip hop culture carry their message to the ghettos of Britain and find they’re close to home. Co-produced and written with Pat Hartley and members of the Hip Hop community including Bronx graffiti writer Brim Fuentes and future drum and bass icon Goldie, then known primarily for his artwork around Birmingham and Wolverhampton.

PRoGRAM 4: CIVIL RIGHTS MoVEMENT Saturday, November 19 at 5pm

DEATH oF A REVoLUTIoNARydir. Dick Fontaine, UK, 1972, video, 30 mins

Produced with the Black Panther Party and featuring Huey Newton and Bobby Seale, the film is an evocation of the life and ideas of Soledad Brother George Jackson after his assassination in San Quentin Prison.

I HEARD IT THRoUGH THE GRAPEVINEdir. Dick Fontaine, UK, 1980, video, 85 mins

Moving to New York in 1979 and forming his own production company Grapevine Pictures, with partner and longtime collaborator writer/director/actress Pat Hartley, it was over the subsequent ten year period that Fontaine produced several award winning films for British TV, PBS and “art house” distribution — most notably this collaboration with writer James Baldwin and his brother David about the survivors of the civil rights movement. Re-examining the movements ideals twenty years later, this film charts the post-civil rights return of James Baldwin to cities of struggle in the South beginning with a central question posed by the author: “What has happened to these people? What happened to this country? And what does this mean for the world?”

MALCoLM x: No SELL oUT dir. Dick Fontaine, UK, 1984, video, 6 mins

Music video with words by Malcolm X and music by Keith LeBlanc.





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MINDING THE GAP: THE FILMS oF DICK FoNTAINE (continued)

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SCRIBE VIDEO CENTER’S PRODUCERS’ FORUMSEx IN AN EPIDEMICTuesday, october 4 at 7pmdir. Jean Carlomusto, US, 2010, video, 61 mins, color

Director Jean Carlomusto in person

A powerful and urgent look at HIV/AIDS in the US and its impact on the gay community, linking the emergence of the disease in the early 1980s to contemporary sex education approaches.

$5 IHP + Scribe members; $8 students + seniors; $10 general admission.

71dir. Deborah Phillips, Germany, 2005, 16mm, 8 mins, color, silent

71 is guided by impressions and feelings of an artist during shooting: a feeling of absurdity that comes when one travels to the back of beyond without ever reaching anywhere. – Deborah Phillips

NooR dir. Deborah Phillips, Germany, 2003, 16mm, 6 mins, color, silent

The Allam house is in Esfahan was being renovated when we were there. It had been damaged during the Iran-Iraq war. Other footage was shot (super 8), in Berlin and in the Polish countryside. – Deborah Phillips

BREAD dir. Deborah Phillips, Germany, 1994, 16mm, 4 min., color, silent

Loosely based on Lewis Carroll’s Through the Looking Glass, Bread is a series of metamorphoses. We pass through a table into a world of strange mutations: breadcrumbs bounce and dance. At the end gravity wins. – Deborah Phillips

AN EVENINg WITH DEBORAH PHILLIPSWednesday, November 9 at 7pmBased in Berlin, artist and filmmaker Deborah Phillips studied fine arts, painting and film in Italy, the US and Germany. Her films are shown at festivals around the world. She has also published several artist’s books, created a number of site-specific installations, and participated in numerous international group and solo exhibitions. She is also active as a translator and curator of and exhibitions film programs.

Co-presented by Cinema Studies at the University of Pennsylvania

HERMAN(N) dir. Deborah Phillips, Germany, 2011, 16mm, 8 mins, color, silent

Although this part of Neukölln (a district in Berlin) has a reputation as a dangerous place, I see it, through golden late summer light, as an inviting place. I have lived, for 10 years. Gentrification has already commenced a few blocks north of where I live. This multimedia project (16mm film, installation and hand-made book) is an attempt to make the different segments of this street palatable to viewers: it’s not a matter of relaying a message, but more a feeling of the place… – Deborah Phillips

CAPSICUM dir. Deborah Phillips, Germany, 2008, 16mm, 8 mins, color, silent

I spent years as a girl fighting to be allowed to have a Bas Mitzvah and read from the Torah, like the boys. I was given a portion containing four weird lines about a perfect red heifer, out of context. I have, since then, identified with this cow. And I’ve thought about it while cooking, as an architectural student and as a woman who prefers blue to red... – Deborah Phillips

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FIRST PERSoN ARTS ALAN LERNER SoCIAL JUSTICE FILM SERIESHoT CoFFEEMonday, September 26 at 7pm dir. Susan Saladoff, US, 2011, video, 88 mins, color

Think you know everything about the infamous McDonald’s hot coffee case? Think again. This eye opening film reveals the many ways that big business influences civil justice and how the little guy loses out. Interviews with John Grisham, Al Franken, and others shed light on the loopholes, deception, and backdoor bargaining that plague our justice system and what YOU can do about it. An official selection at the 2011 Sundance, Los Angeles and Silverdocs film festivals.

Followed by a post-film discussion with leading figures in the civil justice community.

Sends audiences out of the theater thinking in a brand new way. — The Washington Post

This screening of Hot Coffee is held to honor the memory of First Person Arts supporter, former University of Pennsylvania Law School professor, and advocate for the little guy, Alan Lerner.

Free admission IHP members; $12 First Person Arts members; $15 general admission.

PRoJECT TWENTy1 PHILADELPHIA FILM & ANIMATIoN FESTIVALThursday, September 29 – Sunday, october 2The Philadelphia Film & Animation Festival is a celebration of independent film and animation hosted by Project Twenty1, a non-profit organization dedicated to inspiring, connecting, exhibiting, and promoting artists from all disciplines through film & animation.

Tickets and schedule at www.ProjectTwenty1.com.

PHILADELPHIA FILM SoCIETy THE 20TH PHILADELPHIA FILM FESTIVALFriday, october 21 – Wednesday, october 26As the originator of the Festival in 1990, International House is proud to welcome the 20th Anniversary Event.

As the originator of the Festival in 1990, International House Philadelphia is proud to welcome the 20th Anniversary Event.

From October 20 – November 3, the 20th 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 & FILMMAKERS 2011 ASIAN AMERICAN FILM FESTIVALThursday, November 3 – Sunday, November 6The first event of its kind in Philadelphia – a film festival celebrating and elevating the Asian American experience. In 3 short years, PAAFF is proud to have screened over 100 films (Documentaries, Narrative Features and Shorts) of culturally relevant programming.

Please visit www.phillyasianfilmfest.org for more information including film selection, special events, tickets and additional screenings and venues.

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ALPHABET OF ART Thursday, September 1 – Friday, october 14

oPENING RECEPTIoN AND TALK By TANyA SToRCHFriday, September 23 at 5:30pmThe most interesting things appear at the intersection of genres, the most dynamic systems are balanced at the edge of dissolution and stagnation, the best books tell of a miracle. The language of words, sounds, outlines, colors, intimations, mysteries pulls us forward. – Raphael Levchin, artist

Alphabet of Art includes pieces by more than 30 artists from 7 different countries. All the artists share an interest in the visual importance of letters, numbers and music and integrate them with other images, creating works where different ideas, principles and approaches to art meet. In May 2011, Alphabet of Art opened at the Zverev Centre for Contemporary Art in Moscow, Russia and will travel throughout the US and the world.

Alphabet of Art is more than an exhibition of fine and innovative modern art. It takes the viewer to a new level of consciousness as it speaks of the universal language of human intelligence.

All symbols - whether they come from our dreams, works of art, or religious rituals - are interconnected. Letters of our alphabets were once pictures inscribed on cave walls, clay tablets and papyrus. Paintings and pictures are just words and letters united in the alphabet of art.

Peace on earth is easier than we think. We just need to choose to speak the language of universal intelligence. This is why Alphabet of Art in Philadelphia, with its thirty-one artists dedicated to raising human consciousness to its highest level, films and lectures elaborating on the use of symbolism throughout human history, is an absolutely must-see. – Tanya Storch, Associate Professor of Religious and Classical Studies, University of the Pacific

ALPHABET oF ART PANEL DISCUSSIoNSaturday, September 24 at 2pmA presentation on traveling exhibition and the use of symbols throughout the history of art. With artists Vitaly Komar and Gregory Perkel, Associate Professor Tanya Storch and publisher Alexander Ocheretyansky.

Please visit http://ihousephilly.org/events/art-alphabet-of-art/ for more information on our distinguished speakers.

Alphabet of Art concept, design and production by Vitaly Rakhman.

See Incredible INDIA! on next page for more Art@ International House

ART @CULTURELIVEARTLEARNFILM




Art @ International House emerged from requests by local artists and organizations for space to showcase their work. A partnership with InLiquid Art + Design resulted in a dedicated new media gallery with video installations, with a second gallery highlighting the work of regional artists.

from Indian Kaleidoscope

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INCREDIBLE INDIA!Throughout october, International House Philadelphia presents programs celebrating the people, culture and heritage of India.

LEARN @ INTERNATIoNAL HoUSEWHERE IN THE WoRLDTuesday, october 4 at 6pmCelebrating India’s cultural influence around the world. Presented by Shaily Dadiala, founder, artistic director, choreographer and principal dancer of Usiloquy Dance Designs.

$5 IHP members, students + seniors; $10 general admission.

FILM @ INTERNATIoNAL HoUSETHE RIVERSaturday, october 8 at 7pmdir. Jean Renoir, India/France, 1951, 35mm, 99 mins, color

Shot entirely on location in India, director Jean Renoir’s entrancing first color feature is a visual tour de force. Please see page 11 for more information.

Free admission IHP members; $7 students + seniors; $9 general admission.

LAGAAN: oNCE UPoN A TIME IN INDIASaturday, october 15 at 2pmdir. Ashutosh Gowariker, India, 2001, video, 224 mins, color, English, Hindi, Awadhi and Urdu w/ English subtitles

Nominated for Best Foreign Film at the 2001 Academy Awards, Lagaan is a Bollywood musical set during Quenn Victoria’s reign. Farmers are facing a difficult drought and high land taxes. Challenged by a colonial English officer to a match of cricket, if they win the game, the tax will be waived for three years. If they lose, the tax will be tripled. In their fight for land and dignity, the villagers must not only learn and master an alien sport but also beat those who invented it.

Free admission IHP members; $5 general admission.

CULTURE @ INTERNATIoNAL HoUSECULTURE + CUISINE - TANDooR INDIATuesday, october 18 at 6pmJoin us for dinner and explore the wonderful diversity and culinary treasures in Philadelphia as we visit an ethnic restaurant for an authentic experience. 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!

Tandoor India features exotic North and South Indian cuisine. “We believe that the joy of eating lies in the heart of fine cooking”. BYOB. Our host recommends beer or white wine.

Tandoor India is located at 106 S 40th Street, Philadelphia.

$25 general admission.

DIWALI CELEBRATIoNThursday, october 27 at 6:30pmKnown as the Festival of Lights, Diwali symbolizes the victory of good over evil, and lamps are lit as a sign of celebration and hope for mankind - a magical and radiant touch creates an atmosphere of joy and revelry. Diwali celebrations in India are similar to Christmas festivities in the US. We will create a mini-Melas (fair) with food and performances by Usiloquy Dance Design. Please visit our website for more information on the Diwali Village, open to the public prior to our Celebration from 11am – 6pm.

$5 IHP members; $ 8 students + seniors; $10 general admission. Please buy your tickets in advance. Day of show tickets are an additional $2.

INTERNATIoNAL VISIoN AWARD CEREMoNy + RECEPTIoNTuesday, November 1 at 6pmPlease join us as we present the International Vision Award to a prominent leader in the community who has contributed to the life of the greater Philadelphia region. Please visit our website for more information.

ART @ INTERNATIoNAL HoUSEINDIA: A PHoToGRAPHy ExHIBIT by artists Robert Carter, Gloria Pearse, Shrish Kothari, Mara Foley, Corey Palmer & Nikki Vassallo with InLiquid Art + Design Video Installation - INDIAN KALEIDoSCoPE by Termite TVThursday, october 20 at 6pm India is a land as vast and as majestic as it is colorful, and as the main character in our show, it has provided us with endless inspiration. As artists, inspiration is a gift of the highest caliber, and we have humbly accepted it in the hopes that we may, through this show, be able to return the favor. We are celebrating India for its mesmerizing beauty, its legendary tradition, and for the magnanimous splendor that continues to inspire us as artists and as human beings. – Curator Reza Ghanad

Indian Kaleidoscope features the experimental video works by artists from Termite TV Collective explore sounds and images of India through a blend of experimental, documentary and narrative work. The films explore a range of topics, from whimsical travelogues and journeys, issues of migration and diaspora, oral traditions and rituals, and personal expressions and memories.

Free admission.

For more information and tickets for all Incredible INDIA! events, please visit http://ihousephilly.org/events/india/.





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Culture @ international house explores global perspectives through shared experiences, with events from holiday celebrations to conversations in an informal setting

CULTURE + LEARN @

CULTURE + CUISINE - CAMBoDIATuesday, September 20 at 6pmMeet us at a Philadelphia restaurant for a dining excursion to learn about the food and culture of Cambodia. Please visit www.ihousephilly.org for details.

$25 general admission.

IHP ANNUAL HALLoWEEN PARTyFriday, october 28 at 9pmJoin IHP Residents as we dance the night away to spooky DJ beats. Come out and play with ghosts and goblins as IHP is transformed into a haunted playground. With food and beer and a costume contest at midnight! Attend if you dare!

$8 IHP members + alumni; $10 generla admission.

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

FoREIGN LANGUAGE PRoGRAMOur small, relaxed classes are designed to help students develop basic speaking and listening skills for real-life situations.

ClassesTen WeeksSeptember 26 – December 7

Beginning Korean, Parts 1 & 2; Beginning Mandarin, Parts 1 – 3; Beginning Japenese, Part 1.

Registrationby Wednesday, September 21

IHP residents and members, family members of students, and those taking more than one class receive an additional $20 discount to all Language Program Classes.

For more information or to register for Language Classes, please call 215.895.6592. To arrange for a Mandarin placement test, call 215.895.6541.

Number of New Continuing Weeks Students Students

9 - 10 $200* $170

5.5 - 8.5 $170* $140

5 or fewer $140* $120

* includes non-refundable registration fee

2011 Tuition Rates (Foreign Language Program)

SPoKEN ENGLISH PRoGRAMMany 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.

ClassesTen WeeksSeptember 26 – December 7

Advanced beginning through advanced level classes only.

RegistrationSeptember 12 – 15, 10am – 1:30pm

Please note, classes and levels subject to change





LANgUAgE PROgRAMSFall 2011

Number of New Continuing Weeks Students Students

9 - 10 $230* $200

5.5 - 8.5 $200* $170

5 or fewer $170* $140

* includes non-refundable registration fee

2011 Tuition Rates (Spoken English Program)

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 three-fold 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

3701 Chestnut StreetPhiladelphia, PA 19104


INTERNATIONAL HOUSE PHILADELPHIA SINCE 1910INTERNATIONAL HOUSE PHILADELPHIA SINCE 1910


Magazine designed by Iperdesign

International House Philadelphia: THE NEXUS BETWEEN INTERNATIONAL CULTURE AND INTERNATIONAL BUSINESS

The generous support of our Members, Friends and Benefactors allows International House Philadelphia to continue the tradition of offering lifelong learning through the Arts, Culture and Humanities to an increasing number of people each year.

International House Philadelphia 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. These programs are also funded in part by grant from The Pew Center for Arts & Heritage through the Philadelphia Music Project, a program of the Pew Center for Arts and Heritage; Callaghan Family Foundation; Alpin W Cameron Foundation; Citizens Bank Charitable Foundation; The Connelly Foundation; Cozen O’Connor Foundation; Davis United World College Scholars Program; Japan Foundation; Samuel P Mandell Foundation; Leo Model Foundation, Inc; Ounsworth-Fitzgerald Foundation and Rittenhouse Foundation. We thank our Corporate members and Supporters including Asher & Co, Ltd; Barlett Insurance Brokers; Blank Rome LLP; CertainTeed; Citizens Bank; Coinmach; Elliot Lewis; Husky Associates; Mintz, Levin, Coh, Ferris, Clocsky & Peo, PC; JP Morgan Chase; Philip Rosenau Co, Inc; PNC Bank; Progressive Business Publications, Pulse Electronics; Sheraton University City Hotel and Wells Fargo. We are also thankful for the support of our in-kind donors and the many generous annual donors.

Documents

IHP Fall Mag