A few semesters ago, when I was a more active staff writer in this section, I reviewed the 1971 film Walkabout before it screened at the Cornell Cinema. When the opportunity arose to review one of the greatest Australian films ever made, I obviously seized it without hesitation, thankful there exists an institution right here at Cornell that is devoted to showcasing profound examples of world cinema, like Ran and Koyaanisqatsi, alongside more contemporary works like Moonlight and Baby Driver. I didn’t expect much to come of that review — after all, who actually reads this section, if not this paper, right? — but at the bottom of the online article, I found a comment by an alumnus named David Moriah ’72, whose response is tangible evidence of the enduring relevance of institutions like the Cornell Cinema. It has been nearly half a century since David graduated, yet he has “returned to [Walkabout] several times over the years and continue[s] to drink in the deep well of its wisdom and beauty.”
Recently, we were all rudely awakened to discover the Cornell Cinema has been threatened by not just a reduction to existing funding, but a complete withdrawal of financial support.
The Student Assembly Appropriations Committee voted on Monday to allocate $0 to Cornell Cinema in 2018-20 in advance of the S.A. meeting on Thursday, when members of the Assembly will debate whether or not to approve the Committee’s recommendations.
Citizen Jane: Battle for the City relayed a narrative of civil disobedience, the destructive uprooting and displacement of black communities, and a constant fight to bring the city back to its people. The 2016 documentary, directed by Matt Tyrnauer and featuring Prof. Thomas Campanella, premiered in Ithaca at Willard Straight Theater this past Wednesday. The documentary delves into the life of Jane Jacobs’, recounting her fervent campaign to save New York City from attempts to pave over its existing social fabric. Author of the influential book The Death and Life of Great American Cities, grassroots activist Jacobs advocated for “eyes on the street” as a force for safety, providing for vital and prosperous city streets. In an hour and a half the film provided a critique of urban renewal and the ideals of modernism driving New York City’s planning commissioner Robert Moses to clear out the suffering cities through demolition and the complete remodeling of its infrastructure.
“There are 50-something women everywhere! Why do we only see them in the world but never on the screen?”
This was the question that prompted Katherine Dieckmann to set out and make Strange Weather. Following the screening on Thursday night at Cornell Cinema, writer-director Dieckmann joined the audience for a conversation about the making of her most recent film. I find her initial question striking because the only reason I wanted to see this film in the first place was Holly Hunter. I’m a fan of hers; I don’t care if she’s pushing sixty or most of her recent roles are mothers or kind-hearted neighbors, because she shines in major and minor parts alike.
How does a “little brown girl” feel power in a nation plagued by discrimination, privilege and bias? Bronx Gothic, which plays Wednesday at 7:15 p.m. at Cornell Cinema, follows Okwui Okpokwasili as she passionately examines this topic through drama, comedy and dance. Okpokwasili’s one-woman show follows the narrative of two young, black girls growing up in the Bronx, one innocent and the other’s life marked by sexual violence and abuse, who communicate on a deeply personal level through the passing of notes. For the first thirty minutes of the stage version of Bronx Gothic, Okpokwasili simply vibrates in the corner of the stage with the hope that people will be forced to stop asking what is going on and tune in to the frequency that she is emitting. The remainder of her narrative is laid out as a crude series of letters depicting a friendship’s rise and fall, sex, and bias, paired with movements that, at times, bring Okpokwasili to the stage floor.
I am gonna come clean now: I didn’t know who John Cleese is until two weeks ago. My best friend was appalled when he asked if I wanted to go to this Cleese talk together, and I looked at the event title and said “sure, I loved Kirshner’s class.”
But now I’m converted! The Monty Python star wrote, directed and stars in the brilliantly silly heist movie, A Fish Called Wanda, which screened at Cornell Cinema on Sept. 10. Cleese and professor Jonathan Kirshner, government, engaged in a prescreening conversation, which is just as funny and nutritious as the film.
We’re all probably familiar with the story of Shakespeare’s Hamlet – Hamlet, prince of Denmark, seeks revenge on his uncle at the behest of his father’s ghost, all the while finding the time to talk to skulls, wallow in existential dread, etc. etc. However, this 1921 German silent film adaptation turns the familiar tale on its head, doing so with a very interesting proposition from Dr. Edward P. Vining’s 1881 book: Hamlet is actually a woman.
This not actually as unusual as it might seem; there is, in fact, a long and rich tradition of female Hamlets. After Charles II gave permission for women to act, the first woman to appear in a Shakespeare play did so in 1660, and soon afterwards, women began playing not only women’s roles but also those of men.
There was nothing I loved more as a kid than driving five minutes up the road to an AMC theater with my mom, waiting in line at the massive concession bar and finishing my extra-large popcorn with extra butter during the previews. Sometimes we’d treat ourselves and drive 15 whole minutes to a Regal with the nice reclining, leather seats. So why, if I love going to the movies so much, had I never been to Cornell Cinema? Last week I sauntered into the basement of Willard Straight to talk with Cornell Cinema manager Doug McLaren. I didn’t lie to him — I’d never ventured below the Ivy Room, so he graciously showed me around.
Cornell Cinema inaugurates a new 3-D projection system Friday night with the post-apocalyptic film Mad Max: Fury Road.
In 2016, Cornell Cinema received a capital equipment grant from the New York State Council on the Arts offering the campus theatre half of the installation cost for a 3-D system. A crowdfunding campaign launched in November matched the funds — remarkably quickly — and the Friday night show will be its first run. For many people, myself included, 3-D film still feels new. Cornell Cinema hopes to share the medium’s weighted cinematic history. The first 3-D exhibition dates back to 1915 and, since that time, the stereoscopic method attracts Hollywood, independent, documentary, foreign and experimental film productions.
Car speakers emit radio waves with a long travel logged history. When we turn up the dial on a finger-worn sound system, our heads bop to a sound bit morphed into electromagnetic energy — a wave particle caught up in the ionosphere, thrust back down again and ricocheted at the speed of light from one aerial antenna to the next. By the time these notes reach our numb ears, they carry more than empty air. Once our carpool starts singing the lyrics, we’ve forgotten even what station transmits each new note. The next best single transports our minds like the long-form radio wave — away from car parts and gasoline, beyond wired batteries and tuning dial.