How would you program this year's newest, most interesting films into double features with movies of the past you saw in 2018?Looking back over each year at what films moved and impressed us, it is clear that watching old films is a crucial part of making new films meaningful. Thus, the annual tradition, now in its 11th edition, of our end of year poll, which calls upon our writers to pick both a new and an old film: they were challenged to choose a new film they saw in 2018—in cinemas or at a festival—and creatively pair it with an old film they also saw in 2018 to create a unique double feature. Together, the two films form a snapshot of the year's viewings—not limited just to the latest releases—that were important to them.All the contributors were given the option to write some text explaining their 2018 fantasy double feature.
- 1/2/2019
- MUBI
Part One of this series is about the origin of the Robert Beck Memorial Cinema (Rbmc). Part Two covers all the screenings in 1998.
Continuing into 1999 at the Collective Unconscious theater space in NYC, the Rbmc — co-programmed by Brian L. Frye and Bradley Eros — went on hiatus for the first week of the year, but resumed on January 12. Below is a list of screenings from then until a May 18 event that celebrated the Rbmc’s first full year of existence.
The films and filmmakers selected to screen by Frye and Eros represent an interesting time in the sphere of avant-garde and experimental cinema. Up until this point, there seemed to be a distinct separation between the formal style of, say, structuralism, and the more raucous, punk rock world of the “underground.” However, in the 1990s, these two worlds appear to be colliding. The Rbmc seemed just as content screening Hollis Frampton‘s Critical Mass (Feb.
Continuing into 1999 at the Collective Unconscious theater space in NYC, the Rbmc — co-programmed by Brian L. Frye and Bradley Eros — went on hiatus for the first week of the year, but resumed on January 12. Below is a list of screenings from then until a May 18 event that celebrated the Rbmc’s first full year of existence.
The films and filmmakers selected to screen by Frye and Eros represent an interesting time in the sphere of avant-garde and experimental cinema. Up until this point, there seemed to be a distinct separation between the formal style of, say, structuralism, and the more raucous, punk rock world of the “underground.” However, in the 1990s, these two worlds appear to be colliding. The Rbmc seemed just as content screening Hollis Frampton‘s Critical Mass (Feb.
- 6/17/2018
- by Mike Everleth
- Underground Film Journal
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