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Posts Tagged ‘Anthology Film Archives’

50th Anniversary Screening of The Chelsea Girls at Anthology

Sunday, October 2nd, 2016

Fifty years ago today, Andy Warhol’s The Chelsea Girls had its first public screening.

Tonight at Anthology Film Archives, Jonas Mekas will introduce the 50th anniversary screening of this indelible, inexhaustible masterpiece, which is a very difficult film to project, requiring two 16mm projectors, stereo sound, and a great deal of patience on the part of the projectionist.

Starring nearly the entire gallery of Warhol 60s superstars, including Nico, Ondine, Marie Menken, Mary Woronov, Gerard Malanga, International Velvet, Ingrid Superstar, Mario Montez, Eric Emerson, and Brigid Berlin, the film runs a mammoth 210 minutes, but is worth every second of your time.

As Anthology’s website notes, “Warhol’s double-screen masterpiece – consisting of 12 unedited reels, shown side-by-side, with only one soundtrack audible at a time – depicts the Chelsea Hotel as a teeming hive of Superstars, junkies, prostitutes, and generally out-sized personalities.

An underground sensation upon its release, it ultimately broke out of the underground cinema circuit, invading a ‘respectable’ uptown theater and leading uptight New York Times critic Bosley Crowther to declare, ‘now that [the] underground has surfaced on West 57th Street and taken over a theater with carpets…it is time for permissive adults to stop winking at their too-precious pranks….’

Before having the gall to blow uptown minds, however, The Chelsea Girls premiered in 1966 at Jonas Mekas’s Film-Makers’ Cinematheque at 125 West 41st Street (apparently far enough downtown for Crowther), where it sold out many of its initial screenings and enjoyed several return engagements, before moving to the Cinema Rendezvous on 57th.

To celebrate its 50th anniversary, we present this special screening (safely downtown), hosted by Jonas Mekas himself, who will share stories of how The Chelsea Girls was let loose on the world.”

The original projectionists were Jerome Hiler and Bob Cowan; the Cinemathque in this particular iteration was run by the late Greg Sharits; and as the notes above indicate, it was an instant smash, with ads running in The New York Times, and nearly universal critical acclaim.

More than any other film, with the exception of La Dolce Vita, The Chelsea Girls holds a mirror up to the culture of the 1960s; it is at all surprising that the late chanteuse and actor Nico is in both films?

So, if you’re in New York City tonight, this is a must see – of course, there’s also a great new production of Wagner’s Tristan und Isolde playing at The Metropolitan Opera this week, so that’s something – just something – of a toss up. But that should give you some idea of just how important The Chelsea Girls is as a cultural landmark – it’s an absolutely brilliant, merciless, and altogether stunning experience, of equally epic stature.

The Chelsea Girls is on my “top ten” list – which has 250 films in it – see it if you can.

The Films of Jim Krell at Anthology – At Last!

Saturday, April 18th, 2015

A sold out audience for the films of Jim Krell at Anthology Film Archives – 4/17/2015.

At last, in their first projection since a screening at the Rutgers University in 1982, six of Jim Krell’s films were shown to a large, receptive, and deeply enthusiastic audience at Manhattan’s Anthology Film Archive on April 17, 2015. Krell’s films are such utterly original works that the chance to see them should simply not be overlooked, not least because they were created in 16mm, and were screened in that format, something that is increasingly rare in the 21st century.

I curated the screening, in addition to presenting an introductory lecture offering an overview of Krell’s work, as someone who witnessed the creation of many of the films included in the program. Sadly, the prints of some of Krell’s earliest films, such as Paper Palsy and Shoreline of China, seem to have been lost in the thirty or so years since their last projection.

The originals for these early films, however, are happily all in Anthology’s collection of Krell’s materials; perhaps, someday, they will be printed up again. Nevertheless, what we saw was astounding, and demonstrates conclusively that a major retrospective of Krell’s work is long, long overdue.

One of the most original and iconoclastic figures of the New American Cinema, Jim Krell created work that is simultaneously so important, and yet so unknown, that this screening constitutes a major event, closing a significant gap in experimental film history. Starting in the early 1970s, Krell created a series of mysterious and rigorous films that defy written description, visionary works that conjure up an entirely different vision of the physical universe.

During that time, I had the opportunity to watch him at work on several occasions. What always impressed me (or perhaps ‘astonished’ is a better word) concerning Krell’s shooting methods was the intrinsic speed and seemingly random technique he brought to his work, creating films with offhand precision that both challenged and engaged the viewer.

Now living in Italy, Krell has long since moved on to other pursuits, but during the white hot period in which he turned out one amazing film after another in a veritable torrent of work, Krell created a singular vision that is all the more impressive because each of his films is entirely different from any other of his works; he never does the same thing twice. So the chance to see, and save, his work, is something that isn’t to be taken lightly.

Thanks to all at Anthology, including Jed Rapfogel, Andrew Lampert, Sarah Halpern, and the superb projectionists who really brought Jim’s films to life on this memorable night; I really do hope this will be the first of many more screenings of his work. You can read more about Krell’s work in my book The Exploding Eye: A Re-Visionary History of 1960s American Experimental Cinema.

Jim Krell is a genuine American original, in every sense of the word.

Anthology Film Archives

Wednesday, September 14th, 2011

Film is such an ephemeral art form; it must be constantly preserved in order to survive for each succeeding generation. One of the most important and influential archives in the world for the study of experimental and avant-garde film is Anthology Film Archives. As its website notes:

Anthology Film Archives is an international center for the preservation, study, and exhibition of film and video, with a particular focus on independent, experimental, and avant-garde cinema.

Founded in 1969 by Jonas Mekas, Jerome Hill, P. Adams Sitney, Peter Kubelka, and Stan Brakhage [. . .] Anthology has grown [. . .] to encompass film preservation; the formation of a reference library containing the world’s largest collection of books, periodicals, stills, and other paper materials related to avant-garde cinema; and a remarkably innovative and eclectic film exhibition program. Anthology screens more than 900 programs annually, preserves an average of 25 films per year (with 800 works preserved to date), publishes books and DVDs, and hosts numerous scholars and researchers.

Fueled by the conviction that the index of a culture’s health and vibrancy lies largely in its margins, in those works of art that are created outside the commercial mainstream, Anthology strives to advance the cause and protect the heritage of a kind of cinema that is in particular danger of being lost, overlooked, or ignored.”

If you’re in the New York area, a visit to Anthology should not be missed; here is a link to its website, or you can click on the image at the top of this post.

About the Author

Wheeler Winston Dixon

Wheeler Winston Dixon, Ryan Professor of Film Studies at the University of Nebraska-Lincoln, is an internationally recognized scholar and writer of film history, theory and criticism. He is the author of thirty books and more than 100 articles on film, and appears regularly in national media outlets discussing film and culture trends. Frame by Frame is a collection of his thoughts on a number of those topics. All comments by Dixon on this blog are his own opinions.

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Wheeler Winston Dixon has been quoted by Fast Company, The New Yorker, The New York Times, the BBC, CNN, The Christian Science Monitor, US News and World Report, The Boston Globe, Entertainment Weekly, The Los Angeles Times, NPR, The PBS Newshour, USA Today and other national media outlets on digital cinema, film and related topics - see the UNL newsroom at for more details.

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