GARTENBERG MEDIA LATEST NEWS

VAL DEL OMAR. ELEMENTAL DE ESPAÑA 5-DVD Set Now Available For North American Institutional Sales

Gartenberg Media Enterprises — Wed, 25 Jan 2012 03:32:00 -0800

VAL DEL OMAR. ELEMENTAL DE ESPAÑA

Limited Edition - 5-Disc Set

Format: DVD PAL / Region 0, No Regional Code.

Institutional Sale Price: $400.00 plus shipping & handling.

The 5-Disc set presents 14 works by José Val del Omar

ESTAMPAS [SCENES] (1932),
FIESTAS CRISTIANAS / FIESTA PROFANES [CHRISTIAN FEASTS / SECULAR FEASTS] (1934-35),
VIBRACIÓN DE GRANADA [VIBRATION OF GRANADA] (1935),
PELICULA FAMILIAR [HOME MOVIE] (1935-38),
TRIPTICO ELEMENTAL DE ESPAÑA [ELEMENTARY TRIPTYCH OF SPAIN]:
ACARIÑO GALAICO (DE BARRO) [GALICIAN CARESS (OF CLAY)] (1961, 1981-82, 1995);
FUEGO EN CASTILLA [FIRE IN CASTILE] (1958-60);
AGUAESPEJO GRANADINO [WATER-MIRROR OF GRANADA] (1953-55),

and inspired by him

VAL DEL OMAR SUR - NORTE (1974) Mario Sáenz de Buruaga,
OJALA VAL DEL OMAR (1994) Cristina Esteban,
VÉRTICE VÓRTICE (2002) Antonella La Sala,
LABORATORIO VAL DEL OMAR (2009-10) Javier Viver,
VAL DEL OMAR FUERA DE SUS CASILLAS (2010) Velasco Broca,
TIRA TU RELOJ AL AGAUA (THROW YOUR WATCH TO THE WATER) (2003-04) Eugeni Bonet.

For more information about José Val del Omar please visit:

http://www.valdelomar.com/

These DVDs are available on an exclusive basis for sale to educational organizations in North America (universities, libraries, & other cultural institutions), and include public performance rights. Public performance rights extend to use in classrooms and in other non-commercial settings where no admission is charged.

For more information on the these titles visit here.

For information on ordering by fax, email or post visit here.

To order by phone please call: 212.280.8654

GARTENBERG MEDIA ENTERPRISES ANNOUNCES EXCLUSIVE REPRESENTATION OF THE RAIMONDO BOREA PHOTOGRAPHY COLLECTION

Gartenberg Media Enterprises — Mon, 23 Jan 2012 10:31:41 -0800

Photograph © Esmond Edwards. Used by permission.

Gartenberg Media Enterprises (GME) is proud to announce exclusive representation of the work of photographer Raimondo Borea (b. 1926 - d. 1982). Over a 40-year career of active photography, Borea amassed an impressive body of photographs that are virtually unknown today. And yet, his creative output permeated all areas of fine art photography, television, music, book publishing, and advertising.

Raimondo Borea was born in Rome in 1926. By the early 1950’s, he was already photographing candid portraits of orphaned and homeless war children housed in the Boys’ Towns of Italy. Borea emigrated to the United States in 1953. He settled in New York City, where he joined the Village Camera Club and The Circle of Confusion. Frequent meetings held by both these informal groups, attended by fellow photographers with a passion for the Leica camera, led Borea to develop his own highly personal form of creative expression.

About his photographic method, Borea wrote:

Photography enables me to discover, observe [and] understand things about people and their relationships, and it allows me to capture and hold them forever… It is by photographs, rather than by talking about experiences, that I communicate.

Photography is an expression of your individuality. You start with color or black and white. Then having chosen your film, the camera, the lens, the developer, the paper for the final print, you can create an almost infinite number of ways to make a photograph.

I enjoy being in my darkroom. There is something in the still darkness that brings out your best creative thinking. You relive your past photography and plan your future… You experience a very special sensation holding the end product…the picture you have printed yourself.

Building on his career as a young photographer in Italy, Borea began working full time in 1957 as a freelance photographer, travelling around New York City on his three-speed Dunelt bicycle. He shot photographic essays of now-demolished New York City landmarks, including the Washington Square Market and the Third Avenue El. He also photographed many other cityscapes, including Central Park, Riverside Park, and the New York City subway system. In his picture-making, he often transformed these locales into studies of abstraction. Borea also produced photographic essays from his travels around the US and abroad.

Borea was afforded exclusive behind-the-scenes access to Firing Line, The Today Show, and The Tonight Show, where he captured candid portraits of the show’s hosts, including William F. Buckley, Jr., Johnny Carson, Hugh Downs, Dave Garroway, David Letterman, and Jack Paar. Among the guests that Borea photographed were Fred Astaire, James Baldwin, Salvador Dali, Bette Davis, Farrah Fawcett, Betty Friedan, Benny Goodman, Steve Martin, Ethel Merman, Robert Mitchum, Ayn Rand, Eleanor Roosevelt, Twiggy, Gore Vidal, and Tom Wolfe. Several telecasts of Borea’s photographs were also presented on The Today Show, narrated by Hugh Downs.

Over the course of his career, Borea was an active member in numerous photographic associations. In addition to the Village Camera Club and The Circle of Confusion, he was also a member of the American Society of Magazine Photographers (ASMP) and the American Society of Picture Professionals (ASPP), where he served as President from 1974 to 1975. He developed both close personal and professional relationships with well-known photographers, including André Kertész, Ruth Orkin, Esmond Edwards, Barbara Morgan, and John Albok. A number of vintage, signed photographs by and/or of these artists are also part of the Raimondo Borea Photography Collection.

Borea’s photographs were published in numerous magazines (Boys’ Life, Ladies’ Home Journal, National Review, Pageant, and Popular Photography), in books (Bunnies in School [Scholastic]), First thing in the Morning [Cowles], Seymour, A Gibbon [Atheneum], and Who needs parks? [Rapoport Printing Corp.]), and on album covers (Hang on Ramsey ! The Ramsey Lewis Trio (Cadet) and Johnny Carson’s Introduction to New York and The World’s Fair [Columbia.]). Borea also used his expertise in the darkroom to print photographs from the original glass negatives by Alice Austen, one of the first female photographers in America to work outside of the confines of a studio setting. This eventually led to the publication of a book of her photographs, entitled Alice’s World.

Borea’s photographs have been exhibited in New York City at the Gallery of Modern Art, the New York Public Library, and the Art Directors Club. Selected photographs are held in the collections of the Library of Congress, the Smithsonian Libraries’ Collection, the ASPP archives, Associated Press, the University of Maryland, and SUNY/Albany.

GME is committed to resurrecting the career of this overlooked photographer, through licensing of his photographs, republishing his out-of-print books, mounting curated exhibitions, and in identifying a long-term repository for this significant collection of photographic works.

For further inquires or information, please contact: info@gartenbergmedia.com.

All photographs © The Estate of Raimondo Borea, except where noted.

CARL THEODOR DREYER Retrospective, presented by Austrian Film Museum, Vienna - November 4-30, 2011

Gartenberg Media Enterprises — Mon, 28 Nov 2011 07:04:06 -0800

NOVEMBER 4 to 30, 2011

Carl Theodor Dreyer

He worked tirelessly to realize a personal, radical idea of cinema. He is the uncompromising filmmaker par excellence: Carl Theodor Dreyer. Even if they had no commercial success upon their initial release and were the subject of controversy and disagreement among critics, films such as LA PASSION DE JEANNE D’ARC (1928), VAMPYR (1932), ORDET (THE WORD, 1955) or GERTRUD (1964) have long been considered among the outstanding works of film history.[...]

LA PASSION DE JEANNE D’ARC (1928)

The retrospective is organized in close cooperation with the Danish Film Institute, which has preserved and restored many of Dreyer's works in extraordinarily beautiful prints.Thomas Christensen, head of the DFI’s film collection, and Dreyer scholar Casper Tybjerg will give lectures and present rare Dreyer materials from the DFI collection. The program also includes two documentaries about the director, made by Eric Rohmer and Torben Skjødt Jensen.

CARL THEODOR DREYER Published by the DFI
on DVD & Blu-ray Exclusively Available from GME
for North American INSTITUTIONAL SALES

LOVE ONE ANOTHER &
THE BRIDE OF GLOMDAL

Carl Th. Dreyer (1922/1926)

Format: DVD PAL / Region 0, No Regional Code.
or Blu-ray Disc / Region 0, No Regional Code.

Institutional Sale Price: $200.00 plus shipping & handling.

ONCE UPON A TIME (DER VAR ENGANG)

Carl Th. Dreyer (1922)

Format: DVD PAL / Region 0, No Regional Code.

Institutional Sale Price: $200.00 plus shipping & handling.

LEAVES OUT OF THE BOOK OF SATAN

Carl Th. Dreyer (1920)

Format: DVD PAL / Region 0, No Regional Code.

Institutional Sale Price: $200.00 plus shipping & handling.

THE PRESIDENT

Carl Th. Dreyer (1919)

Format: DVD PAL / Region 0, No Regional Code.

Institutional Sale Price: $200.00 plus shipping & handling.

For more information on the these titles visit here.

For information on ordering by fax, email or post visit here.

To order by phone please call: 212.280.8654

Jon Gartenberg and Tribeca Film Festival profiled in Millennium Film Journal Issue No. 54 - Fall 2011

Gartenberg Media Enterprises — Mon, 28 Nov 2011 05:19:33 -0800

MFJ No. 54 Fall 2011

TRIBECA FILM FESTIVAL 2011

Jon Gartenberg has been the programmer for experimental works at the Tribeca Film Festival since 2003 and has maintained an unwavering commitment to the presentation of non-narrative, artist-driven films. Jon, a dedicated film specialist and professional archivist and distributor, exudes a breadth of knowledge and love of the medium, and his enthusiasm is infectious. In a recent conversation, Jon and I discussed his tenure with Tribeca and the philosophy behind his selections.

In the past few years, experimental work seemed to be getting scarcer at the festival, and I wondered if there was a decline in support. On the contrary, he said. The interest is still there, but the overall number of programs in the festival was cut in half, and this affected the experimental film programs proportionately. In fact, the key people at Tribeca give him tremendous latitude and freedom. His only disagreement with them came with his wanting to program films that are under the conventional feature length minimum of 85 minutes in their own individual time-slots. "The filmmaker makes what the filmmaker makes," emphasized Jon, "without trying to force fit into a conventional time slot," and in his view such films should be treated with the same care and attention as the longer features. Obviously persuasive, he has been programming films like Bill Morrison's 52-minute The Miners' Hymns (2011), screened at this year's festival, on their own, rather than including them in a group program.

This year Gartenberg presented four programs: in addition to The Miners' Hymns, he included Marie Losier's 75-minute The Ballad of Genesis and Lady Jaye (2011); a program of recent experiment shorts under the title Impressions of Memory; and a selection of women's films preserved by the New York Women's Preservation Fund over the past 15 years.

The two longer films fall on opposite ends of the experimental spectrum, and both involved a significant amount of creative time and research, an earmark of many of the films selected this year. Before starting production on The Miners' Hymns, Morrison spent a year researching rhe history of the coal mining region and collier communities of County Durham in North England, visiting regional film archives and interviewing union organizers. The film opens with a 4.5-minute sequence of aerial shots, in gorgeous HD color, of innocuously suburban and rustic England: sports arenas, empty fields, and shopping centers, all identified in onscreen text as the location of former coalmine sites. This section is the only part of the film for which Morrison actually produced the images: the remainder is all archival footage. Following this sequence, we are confronted with a beautifully crisp, black and white ode to the British Miners' Union, the workers and their families and their close-knit communities. We see a celebration of coalminers' lives and culture, and the yearly Durham Miners' Gala, an event that often included thousands of Unionists and their families and took place from the early 19th century until the mid-1980s. Slow motion footage of past galas with smiling and cheering people carrying banners, brass bands playing (each colliery had its own banner and brass band), and political rallies, intercut with the daily activities of the coal miners as they descend into the mines. Morrison manipulates the footage, slowing down each movement to match the tempo of the plaintive music. This technique allows us to examine each face in detail and reinforces our awareness of the repetitive labors of the men who work in the mines. The scenes inside the mine are striking - pristine and sharp - as men lift their lanterns and gradually move downwards, from bright light into darkness. Coal pours from one large container into another. Little seems to change as the decades pass by on the screen. We also see footage of the mining strikes, which tore the area apart as scabs were brought in past the angry picket lines.

While the archival footage is drawn from a broad range of sources, much of it comes from the BBC, the British National Archives and the National Coal Board film unit material. These government-sponsored organizations naturally celebrated the mining industry and its workers, since from the beginning of the industrial revolution, the economic might of England depended on products of their labor. Though, while, mining may appear to be fulfilling work, the film does not allow us to forget its difficulties and the tremendous cost to the miners' bodies. Adding further gravitas to the film is the somber score by Morrison's collaborator Icelandic composer Johann Johansson, which makes use of brass instruments (a tradition with colliers) pipe organ, and electronic sounds. The soundtrack, commissioned before the film and produced prior to the creation of the archival collage, reinforces the combined themes of joyful celebration and acute loss.

This interesting combination of themes is also present in Jon Gartenberg's second feature-length selection: Marie Losier's The Ballad of Genesis and Lady Jaye. Best known for her series of films starring avantgarde filmmakers, including George and Mike Kuchar; Guy Maddin; Richard Foreman and Tony Conrad, this is the latest and longest of her insightful portraits of creative personalities. Losier documents the romance between Genesis P-orridge, underground performance artist and frontman for the groups Throbbing Gristle and Psychic TV, and his female companion Lady Jaye Breyer, conceptual artist and dominatrix. Very much in love, they lived and worked together, and eventually undertook a series of reconstructive surgeries to transform themselves physically to resemble each other as much as possible. This was one aspect of what they called their 'Pandrogyne Project', the goal being to become two parts of a single person.

Losier documented this transition over a sevenyear period. Shooting with a 16mm spring-wound Bolex in 28 second takes and three-minute (100 foot) segments, mixed in with some HD video and super 8 film, she generated about 150 hours of material. She put the pieces together in a style akin to a William Burroughs' cut-up and added a collage of fifteen layers of sound. The style is as unconventional as the characters - extreme, kinetic, shocking, wildly colorful, yet personal, giving the viewer a visceral experience of the couple and, as Losier calls it, "the energy of love" that surrounded them. Their magnificent affection for each other manifests in their decision to become one person. "Instead of having children, which is, in a way, two people combined to become a new person: what if we made of ourselves a new person instead?" says Genesis in the film. And they proceed to do this. Although we can almost accept Genesis' justification for breast implants and lip augmentation, the film is often hard to watch, particularly as a surgeon prepares Lady Jaye s beautiful smooth-skinned face for cosmetic surgery, drawing bold black lines to indicate incisions. Towards the end of the film, Lady Jaye's premature death comes as a heartbreaking surprise to us, as well as to her lover. Like The Miners' Hymns, the dramatic contrast between the celebration of life and the profundity of loss defines the poignancy of the film.

Each year Jon casts a wide net in order to find a mixture of artists and styles for his program of experimental shorts, wanting to offer the richest experience to the Tribeca audience. He sees thousands of films: experimental work is funneled to him when submitted to the festival, and some films get sent to him direcdy. He goes to the Rotterdam Film Festival to bring a wider variety of works that may not get submitted, like Cyrus Frisch's Dazzle (described in my review of the TFF in MFJ 52), and are rarely released in the United States.

Though, if diversity is his goal, why does he repeatedly program particular filmmakers like Ken Jacobs and Jay Rosenblatt (both in the shorts program this year), or Bill Morrison and Mark Street? Although he always discovers new filmmakers (e.g. this year Brendon Kingsbury, with his gentle, mysterious One Over Wonderlust [2010], a grainy work about nostalgia, merging the present and the past, in addition to several other films), Jon emphasizes that "watching an artist's development (over time) is an important part of appreciating the work." Evolution is critical to understanding an artist's creative process.

This year's shorts theme was Impressions of Memory, and the selections reflected on the distinct ways in which images evoke memory. The 12 films screened were all either world, U.S. or New York premieres. Some films seemed reminiscent of established filmmakers: the quick-cutting, subtly erotic Strips (2010) by Félix Dufour-Laperrière, for example, brought to mind Bruce Conner's 1966 short Breakaway, while Filmpiece for Bartlett (2010) by Scott Nyerges deliberately quoted the style of the less-remembered Scott Bardett as a tribute to the late San Francisco filmmaker. In the words of Bartlett: "There is a pattern in MY film work that could be the pattern of a hundred-thousand movies. It simply is: Repeat and purify; repeat and synthesize; abstract, abstract, abstract." And Nyerges did just that with live footage, hand-painted filmstrips and paper. A fitting ending for the program was Johan Kramer's Bye Bye Super 8 (2010), a personal send-off and homage to Kodachrome, the recently extinct film stock celebrated for its colors. Ironically, the colors of the work screened looked splendid in the HD presentation format. The program selections resonated with each other, and the idea of memory gave the viewer an entry into works that may not have been otherwise accessible. As usual, Jon led the Q & A with insightful questions and statements about the artists' works, both drawing out the filmmakers and encouraging the audience members to speak up as well.

In addition to the Impressions of Memory program, Jon collaborated with New York Women in Film & Television (NYWIFT) to present 11 rarely seen and under-appreciated short experimental films by women, all preserved by the Women's Film Preservation Fund (WFPF) between 1950-1984. He introduced the evening along with New York Women in Film and Television's Executive Director, Terry Lawler. WFPF is the only program in the world that works to preserve the cultural legacy of women in the industry. Avant-garde women filmmakers have too often been overlooked in favor of the 'old boys club', and seeing works by Mary Ellen Bute, Storm de Hirsch, Faidi Hubley, and Marie Menken, as well as Liane Brandon, Lisa Crafts, Barbara Hammer, Jane Aaron, Bette Gordon, Anita Thacher and Caroline Ahlfors Mouris in a cohesive, varied, sexy and abstract program was a rare pleasure.

As the co-chair of WFPF, I had a vested interest, but seeing these films on a large screen was a great treat for everyone. The audience was captivated in spite of projection problems that caused some delays. A discussion followed the screening with panelists including directors Liane Brandon, Lisa Crafts, Barbara Hammer, Jane Aaron, Bette Gordon, as well as animator Emily Hubley, and Bute's films curator/ collector, grand dame of avant-garde cinema, Cecile Starr. It was moderated by the knowledgeable and charming Drake Stutesman, chair of The Women's Film Preservation Fund and editor of Framework: The Journal of Cinema and Media.

Jon Gartenberg is committed to the idea that it is "important to keep the experimental ethos within the larger context of the festival." In keeping with this, he takes on the daunting task of introducing to a wider movie-going audience works produced by creative artists for a variety of reasons - but rarely for fame and never for fortune. The experimental films are shown in the same venues, in adjacent theatres, and treated with the same respect as the larger more commercial feature films. They are screened several times during the festival, with press screenings in the weeks before and announced with the same public relations barrage, even including red carpet introductions. And the films are listed with their descriptions in alphabetical order in the Tribeca catalog, along with all of the other programmed works, for a general audience to select from. This contrasts with other major festivals, such as the London and the New York Film Festivals, which run a ghettoizing "avant-garde weekend" during which each film is shown only once. As such, the exposure is amazing - articles and reviews in the New York Times, Time Out and the Wall Street Journal pique curiosity and engage viewers who might never have seen a non-narrative film before. This kind of recognition is probably the most unusual aspect of the Tribeca Film Festival, and the most rewarding for the filmmakers. Perhaps Jon is creating another "standard" in the industry. I certainly hope so.

ROBERTA FRIEDMAN

James Benning's AMERICAN DREAMS (lost and found) & LANDSCAPE SUICIDE - Now Available on DVD for North American Institutional Sales

Gartenberg Media Enterprises — Mon, 28 Nov 2011 03:27:21 -0800

AMERICAN DREAMS (lost and found)
LANDSCAPE SUICIDE

(1984/1986) 2-Disc Set

Format: DVD PAL / Region 0, No Regional Code.

Institutional Sale Price: $300.00 plus shipping & handling.

For more information on the titles we proudly represent visit here.

For information on ordering by fax, email or post visit here.

To order by phone please call: 212.280.8654

Danish Master Carl Th. Dreyer's LOVE ONE ANOTHER & THE BRIDE OF GLOMDAL on DVD or Blu-ray Disc Available Now for North American Institutional Sales

Gartenberg Media Enterprises — Fri, 04 Nov 2011 10:33:00 -0700

Carl Th. Dreyer's LOVE ONE ANOTHER
& THE BRIDE OF GLOMDAL

(1922/1926)

Format: DVD PAL / Region 0, No Regional Code.
or Blu-ray Disc / Region 0, No Regional Code.

Institutional Sale Price: $200.00 plus shipping & handling.

For more information on the these titles visit here.

For information on ordering by fax, email or post visit here.

To order by phone please call: 212.280.8654

THE FILMS OF ADOLFAS MEKAS - A Retrospective Tribute at Anthology Film Archives October 20-27

Gartenberg Media Enterprises — Fri, 07 Oct 2011 08:59:09 -0700

THE FILMS OF ADOLFAS MEKAS
October 20 - October 27

Anthology Film Archives and the avant-garde film community at large suffered a great loss this past spring with the passing of Adolfas Mekas. A gifted filmmaker and legendary figure at Bard College, where he founded the film department and taught for more than three decades, Adolfas came to New York from Lithuania with his brother Jonas (Anthology’s co-founder and Artistic Director) in 1949. After launching Film Culture magazine together, the Mekas brothers turned to filmmaking, collaborating on GUNS OF THE TREES and THE BRIG. Adolfas would soon go on to produce a remarkable body of work of his own, with films including HALLELUJAH THE HILLS, WINDFLOWERS, and GOING HOME.

A seminal figure in the history of independent cinema, and an always warm, often hilarious presence in the lives of his many friends, family members, and students, Adolfas Mekas will be greatly missed. In tribute to his life and work, Anthology presents this comprehensive retrospective of his work.

Very special thanks to Pola Chapelle, as well as to Barbara Stone, Gabrielle Claes (Cinémathèque Royale de Belgique), and Daniel Wagner & Daniel Bish (George Eastman House).

Please note: following the retrospective of Adolfas Mekas’s work, we will be presenting a series in honor of a friend and collaborator of Adolfas’s, the producer, distributor, and filmmaker David C. Stone, who also passed away earlier this year.

Upcoming Screenings

Adolfas Mekas
WINDFLOWERS
October 20 at 7:00 PM
October 24 at 8:45 PM

Jonas and Adolfas Mekas
THE BRIG
October 20 at 9:15 PM
October 24 at 7:00 PM

Adolfas Mekas
GOING HOME
October 21 at 7:00 PM
October 22 at 8:45 PM
October 26 at 7:00 PM

Jonas Mekas
GUNS IN THE TREES
October 21 at 9:15 PM
October 23 at 4:45 PM

Philip Kaufman & Benjamin Manaster
GOLDSTEIN
October 22 at 4:15 PM
October 23 at 8:30 PM

Adolfas Mekas
THE DOUBLE-BARRELLED DETECTIVE STORY
October 22 at 6:30 PM
October 26 at 9:00 PM

Barbara Stone, David C. Stone, and Adolfas Mekas
COMPAÑERAS AND COMPAÑEROS
October 23 at 6:30 PM

Adolfas Mekas
HALLELUJAH THE HILLS
October 27 at 7:00 PM

Avant Garde Influences Mainstream Movies! 49th NYFF Forums Welcomes Jon Gartenberg as Guest Speaker

Gartenberg Media Enterprises — Fri, 07 Oct 2011 08:03:13 -0700

AVANT GARDE INFLUENCES MAINSTREAM MOVIES!

VENUE: FILM CENTER AMPHITHEATER
CATEGORIES: NYFF

Presented by New York Women in Film and Television. Organized by Terry Lawler, Executive Directorand NYWIFT Board Members Anne Hubbell and Eileen Newman.

For generations experimental filmmakers have been developing new cinematic techniques that haveredefined cinema. This panel of filmmakers, curators and educators looks at how the experiments andground-breaking new filmmaking by the avant garde have influenced and been adopted by mainstreamcinema.

Speakers include Ina Archer, Independent Media Artist; Sara Driver, director and producer, whose newlyrestored film, You Are Not I, is playing at the New York Film Festival; Roberta Friedman, independent producer and post production supervisor; Jon Gartenberg, independent curator and President, Gartenberg Media; and MM Serra, Executive Director, Filmmakers Coop. The panel will be moderated by Drake Stutesman, Editor, Framework: The Journal of Cinema and Media.

SERIES: NYFF FORUMS

SHOWTIMES

Thu Oct. 6: 7:00 pm - AMP

Open Event

Adolfas Mekas's HALLELUJAH THE HILLS and Fluxus: FLUXFILM ANTHOLOGY New on DVD & Available Now for North American Institutional Sales

Gartenberg Media Enterprises — Thu, 06 Oct 2011 01:12:09 -0700

HALLELUJAH THE HILLS

(1963) Adolfas Mekas.

Format: DVD PAL / Region 0, No Regional Code.

Institutional Sale Price: $200.00 plus shipping & handling.

FLUXFILM ANTHOLOGY

(1962-1979) FLUXUS: Nam June Paik, Dick Higgins,
George Macuinas, Chieko Shiomi, John Cavanaugh,
James Riddle, Yoko Ono, George Brecht, Robert Watts,
Pieter Vanderbiek, Joe Jones, Eric Anderson, Jeff Perkins,
Wolf Vostell, Albert Fine, George Landow, Paul Sharits,
John Cale, Peter Kennedy, Mike Parr, Ben Vautier.

Format: DVD PAL / Region 0, No Regional Code.

Institutional Sale Price: $200.00 plus shipping & handling.

For more information on the these titles visit here.

For information on ordering by fax, email or post visit here.

To order by phone please call: 212.280.8654

LANDMARKS OF EARLY SOVIET FILM 4-Disc Box Set Now Available For North American Institutional Sales

Gartenberg Media Enterprises — Tue, 20 Sep 2011 03:38:13 -0700

LANDMARKS OF EARLY SOVIET FILM

8 Films / 4-Disc Set

Format: DVD NTSC / Region 0, No Regional Code.

Institutional Sale Price: $400.00 plus shipping & handling.

The 4-Disc, 8 Film set includes:

OLD AND NEW (1929) Sergei M. Eisenstein

STRIDE, SOVIET (1926) Dziga Vertov

TURKSIB (1930) Victor Turin

THE FALL OF THE ROMANOV DYNASTY (1927) Esther Shub

THE HOUSE ON TRUBNAYA SQUARE (1928) Boris Barnet

THE EXTRAORDINARY ADVENTURES OF MR. WEST IN THE LAND OF THE BOLSHEVIKS
(1924) Lev Kuleshov

BY THE LAW (1926) Lev Kuleshov

SALT FOR SVANETIA (1930) Mikhail Kalatozov

For more information on the these titles visit here.

For information on ordering by fax, email or post visit here.

To order by phone please call: 212.280.8654

GARTENBERG MEDIA LATEST NEWS

VAL DEL OMAR. ELEMENTAL DE ESPAÑA 5-DVD Set Now Available For North American Institutional Sales

GARTENBERG MEDIA ENTERPRISES ANNOUNCES EXCLUSIVE REPRESENTATION OF THE RAIMONDO BOREA PHOTOGRAPHY COLLECTION

CARL THEODOR DREYER Retrospective, presented by Austrian Film Museum, Vienna - November 4-30, 2011

NOVEMBER 4 to 30, 2011

Carl Theodor Dreyer

Jon Gartenberg and Tribeca Film Festival profiled in Millennium Film Journal Issue No. 54 - Fall 2011

James Benning's AMERICAN DREAMS (lost and found) & LANDSCAPE SUICIDE - Now Available on DVD for North American Institutional Sales

Danish Master Carl Th. Dreyer's LOVE ONE ANOTHER & THE BRIDE OF GLOMDAL on DVD or Blu-ray Disc Available Now for North American Institutional Sales

THE FILMS OF ADOLFAS MEKAS - A Retrospective Tribute at Anthology Film Archives October 20-27

THE FILMS OF ADOLFAS MEKASOctober 20 - October 27

Upcoming Screenings

Adolfas MekasWINDFLOWERSOctober 20 at 7:00 PMOctober 24 at 8:45 PM

Jonas and Adolfas MekasTHE BRIGOctober 20 at 9:15 PMOctober 24 at 7:00 PM

Adolfas MekasGOING HOMEOctober 21 at 7:00 PMOctober 22 at 8:45 PMOctober 26 at 7:00 PM

Jonas MekasGUNS IN THE TREESOctober 21 at 9:15 PMOctober 23 at 4:45 PM

Philip Kaufman & Benjamin ManasterGOLDSTEINOctober 22 at 4:15 PMOctober 23 at 8:30 PM

Adolfas MekasTHE DOUBLE-BARRELLED DETECTIVE STORYOctober 22 at 6:30 PMOctober 26 at 9:00 PM

Barbara Stone, David C. Stone, and Adolfas MekasCOMPAÑERAS AND COMPAÑEROSOctober 23 at 6:30 PM

Adolfas MekasHALLELUJAH THE HILLSOctober 27 at 7:00 PM

Avant Garde Influences Mainstream Movies! 49th NYFF Forums Welcomes Jon Gartenberg as Guest Speaker

Adolfas Mekas's HALLELUJAH THE HILLS and Fluxus: FLUXFILM ANTHOLOGY New on DVD & Available Now for North American Institutional Sales

LANDMARKS OF EARLY SOVIET FILM 4-Disc Box Set Now Available For North American Institutional Sales

THE FILMS OF ADOLFAS MEKAS
October 20 - October 27

Adolfas Mekas
WINDFLOWERS
October 20 at 7:00 PM
October 24 at 8:45 PM

Jonas and Adolfas Mekas
THE BRIG
October 20 at 9:15 PM
October 24 at 7:00 PM

Adolfas Mekas
GOING HOME
October 21 at 7:00 PM
October 22 at 8:45 PM
October 26 at 7:00 PM

Jonas Mekas
GUNS IN THE TREES
October 21 at 9:15 PM
October 23 at 4:45 PM

Philip Kaufman & Benjamin Manaster
GOLDSTEIN
October 22 at 4:15 PM
October 23 at 8:30 PM

Adolfas Mekas
THE DOUBLE-BARRELLED DETECTIVE STORY
October 22 at 6:30 PM
October 26 at 9:00 PM

Barbara Stone, David C. Stone, and Adolfas Mekas
COMPAÑERAS AND COMPAÑEROS
October 23 at 6:30 PM

Adolfas Mekas
HALLELUJAH THE HILLS
October 27 at 7:00 PM