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329 West 18th Street Suite #610
Chicago, Illinois 60616
(312) 243-1808

Scanning JoAnn Elam’s “Filmabuse (Original)”

By Justin Dean and Brian Belak

One of our missions for the Woman Behind the Camera project is to digitize and make accessible online the film work of JoAnn Elam, but as can be the case, that has sometimes turned out easier said than done. Recently, we found a curious reel labeled “Filmabuse (Original)” that presented a challenge for digitizing and required altering our previously established workflow. This uncut double-8mm reel appeared to be an element of a previously digitized (and already streaming) film, “Filmabuse” (circa 1975), an abstract 16mm film that was likely printed from originally hand-painted film. Although probably not the original hand-painted film itself, “Filmabuse (Original)” appeared to be an element that “Filmabuse” was printed from. From what we can determine, the same footage from “Filmabuse (Original)” is repeated four times on “Filmabuse,” each time with variation in direction and orientation. What was initially striking was how vivid the colors of “Filmabuse (Original)” were when compared to “Filmabuse.” Not only was some vibrancy likely lost in the initial printing, but, due to the color process used to make the print, the color of “Filmabuse” has faded over the years.

“Filmabuse (Original)” – Double 8mm

“Filmabuse” – 16mm

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Art Basel Miami Screening: The Reflection in the Puddle is Mine


400 17th Street, Miami Beach
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Saturday, December 9, 2017






In collaboration with Chicago’s own Corbett vs. Dempsey gallery, CFA will be presenting nine films at Art Basel Miami on Saturday, December 9. The screening is free and will be projected outside on the wall of the New World Center (designed by Frank Gehry). More information can be found here!

Named after Helen Morrison and Sybil Shearer’s film The Reflection in the Puddle is Mine, the screening highlights films that utilize dance, bodies, movement, and abstraction. A combination of historical archival footage and contemporary artists films made from CFA’s collections, this selection conveys the poetry and grit of the Midwest with an eye on the place where hard work meets artistic transcendence.

Full Circle (Robert Stiegler, 1968, color, sound, 24 minutes)
“A contemporary Koan. A series of highs, encompassing people: waiting for the bus, laying tiles at Swami’s house, celebrating a Spring Be-in and children smiling.” –Robert Stiegler

An Anthology of Kinship (Samantha Hill and Haptic, 2017, color, sound, 8 minutes)
Commissioned by CFA as part of the archive’s “Media Mixer” project, An Anthology of Kinship utilizes home movies shot by Chicago artist and muralist Don McIlvaine to investigate how memory, history, and location intersect.

Union Pier 1942: Film Experiments (excerpt) (Morton & Millie Goldsholl, 1942, b/w, silent, 5 minutes)
An exploration of objects and bodies in motion by the duo behind Goldsholl Design and Film Associates, one of Chicago’s leading graphic design studios from the 1950s through the 1970s.

Variations on Euclid (Ruth Page, 1938, original score by Jeff Parker, b/w, sound 4 minutes)
Choreographed by dancer Ruth Page, Variations on Euclid is part of a larger collaboration with artist Isamu Noguchi, who designed the “sac dress” at the center of the ballet and created a sculpture based on Ruth Page in this dress titled Miss Expanding Universe (1932).

Untitled Rehearsal (Ruth Page, circa 1930, original score by Jeff Parker, b/w, sound 2 minutes)
While on tour in Southeast Asia in 1928-29, Ruth Page filmed numerous dances that would later influence her choreography. In this footage, we see Page experimenting with movements based on traditional Balinese dances.

Disintegration Line #2 (Larry Janiak, 1970, color, sound, 12 minutes)
“An optically printed full color randomly animated film set to Gamelan music. Full field abstract images progress in subtle visual sequences in discernible steps of intensity. DL2 is a film expressing the spirituality in art, a view of the cosmos as dancing atoms.” –Larry Janiak

Without Wings the Way is Steep (Helen Morrison & Sybil Shearer, 1961, color, sound, 5 minutes)
Shot by filmmaker Helen Balfour Morrison, Without Wings the Way is Steep documents dancer and choreographer Sybil Shearer’s solo performance of “without wings—an abstract version of life on the precipice.”

The Reflection in the Puddle is Mine (Helen Morrison & Sybil Shearer, 1961, b/w, sound, 5 minutes)
A document of Sybil Shearer’s company performing a dance described as one in which “people with mundane jobs are caught up in something bigger than themselves and drawn to an abstract, spiritual power.”

Something to Move In (Latham Zearfoss and Joel Midden, 2014, color, sound, 5 minutes)
Commissioned by CFA as part of the archive’s “Media Mixer” project, this musical manifesto remixes late 1960s political dialogue with modern dance to resuscitate a bygone revolutionary thrust.

[TRT: 70 minutes]

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KINOSONIK 2017: SSSS! Films by JoAnn Elam + Sound by Frauke Aulbert and Seth Parker Woods


1084 N. Milwaukee Ave.
Chicago, IL
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Saturday, December 2, 2017







still from JoAnn Elam’s LAST WHOLE EARTH CATALOG

Back for its third year, KINOSONIK is a collaboration between the Goethe-Institut, Experimental Sound Studio, Nightingale Cinema, and Chicago Film Archives. This year, musicians Frauke Aulbert and Seth Parker Woods will collaborate to compose live scores for a selection of films curated and sequenced by CFA from the JoAnn Elam Collection. Aulbert and Woods were selected based on their substantive and exemplary artistic accomplishments to date, their commitment to risk-taking exploratory approaches to sound and music, their long-standing experience in collaboration, and their interest in integrating their various sonic approaches with moving image.

Saturday’s screening kicks off the SSSS! Second Sexing Sound Symposium which includes panel discussions and performances at Sector 2337, Constellation, and the Experimental Sound Studio.

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AMIA Conference 2017


444 St Charles Ave
New Orleans, LA 70130
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Thursday, November 30, 2017 - Saturday, December 2, 2017


CFA’s Nancy Watrous and Brian Belak head south to New Orleans, Louisiana for the Association of Moving Image Archivists annual conference. Brian will present on Friday, December 1, on the “Woman Behind the Camera: Uncovering An Overlooked Perspective” panel, alongside archivists from Northeast Historic Film, the Lesbian Home Movie Project, and the Center for Home Movies. The panel will discuss the process and challenges encountered while undertaking our Council on Library and Information Resources grant-funded digitization project, with CFA’s focus on the work of Millie Goldsholl and JoAnn Elam.

CFA is able to attend the conference thanks to a grant from The Richard H. Driehaus Foundation (thank you!!).

Friday, December 1, 2017
9:30 AM

The Woman Behind the Camera: Uncovering an Overlooked Perspective

Come see some women-made films and discuss some of the challenges that arise when digitizing home movies and amateur film in the modern digital age. “The Woman Behind the Camera: Home Movies and Amateur Film by Women,” is a CLIR-funded project which will digitize, catalogue, and make accessible collections of women-made films that highlight the rich and varied experiences of women in the 20th Century. By integrating these collections with the Center for Home Movies “Home Movie Registry,” the project extends its reach without having to create a brand-new platform. Archivists from Northeast Historic Film, Chicago Film Archives, Lesbian Home Movie Project, and the Center for Home Movies will discuss the importance of this project and some of the challenges encountered, including issues of permission and exposure in LGBTQ home movies, navigation of sensitive topics/images in home movie and amateur film, and determining true authorship of home movie collections.

Chair(s) and Speakers

Karin Carlson, Northeast Historic Film
Brian Belak, Chicago Film Archives
Sharon Thompson, Lesbian Home Movie Project
Kate Dollenmayer,The Center for Home Movies

Chicago: City of Neighborhoods


1601 N. Clark St.
Chicago, IL
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Sunday, November 5, 2017



CFA_APlacetoLive-3 copy

Chicago Film Archives is teaming up with the Chicago International Film Festival to present CFA films at the upcoming Chicago Architecture Biennial – a multi-platform event geared at facilitating radical new thought about what the built environment should be in the 21st century. More information about the screening and other biennial programs can be found here.

Chicago is much more than its famous towers. This program of films from the Chicago Film Archives reveals the rich history and diversity of the city’s communities and spaces in the 1960s, from portraits of Chicago’s West Side and a house famous for its Indian swami to a chronicle of displaced homeowners. A discussion with architecture photographer and critic Lee Bey and Robert Smith III, Associate Director of the National Public Housing Museum, will follow the screening.

A PLACE TO LIVE (Department of Urban Renewal City of Chicago, 1968, 28 min.)
HALE HOUSE (Larry Janiak, 1965, 11 min.)
THE CORNER (Robert Ford, 1967, 26 min.)

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JoAnn Elam’s Everyday People (1978-1990) at Chicago Film Archives

By Aurore Spiers, University of Chicago

The JoAnn Elam Collection (1967-1990) at Chicago Film Archives (CFA) consists of approximately 735 film, video, audio elements and some paper material, which JoAnn Elam’s husband Joe Hendrix donated in 2011. In addition to Elam’s best known films, such as Rape (1975) and Lie Back and Enjoy It (1982), the collection includes dozens of short films and home movies as well as footage and audio tapes for some unfinished projects like Everyday People (1978-1990). Diaries, notebooks, research material, scrapbooks, and production notes for Everyday People complete CFA’s collection, which gives us unprecedented access to Elam’s rich body of work.

JoAnn Elam in the 1970s.

JoAnn Elam in the 1970s.

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2017 Benefit with Joe Swanberg


195 East Delaware, Chicago IL 60611
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Saturday, October 28, 2017


11am - 1:30pm


$125 per person
$200 per couple

Buy tickets online

2017 Benefit

You are cordially invited to the Chicago Film Archives’ annual benefit at The Casino in downtown Chicago.

Please join filmmaker Joe Swanberg and host Jacqueline Najuma Stewart at an exclusive brunch and film program that will support the preservation and exhibition of Chicago’s rich history and culture on film.

Joe Swanberg is “the most important filmmaker of his generation … his ideas about filmmaking are the most powerful, influential, transformative, and exemplary ones of the times.” - Richard Brody, The New Yorker

Where: The Casino
195 East Delaware
Chicago, Illinois, 60610

When: Saturday, October 28, 2017
11:00AM to 1:30PM

11:00am – 11:30am   Reception with hors d’oeuvres and beverages
11:30am – 12:15pm   Buffet brunch
12:15pm – 1:30pm    Program with host Jacqueline Najuma Stewart, director Joe Swanberg, and the premiere a brand new film made from CFA’s collections

Tickets: $125 or $200 a couple

Sponsor Table: $2500 – Seats 10

Sponsors and their guests are invited to a private reception with Joe Swanberg from 10:30-11am

Dress: Business Casual

For tickets contact: 312-243-1808 or or use the link below.


This benefit will raise much needed funding to help run Chicago’s only independent regional film archive. For over fourteen years, CFA has worked to identify, collect, preserve, and exhibit Chicago’s rich history and culture on film. Today the organization houses over 130 collections and more than 27,000 films. Join us as we celebrate these unique and extraordinary moving images—films that reflect our lives in the 20th century!

This year’s auction prizes are also unique and extraordinary:

1. A private dinner at Lula Cafe with film director Joe Swanberg

Richard Brody, film critic from the New Yorker, says Joe Swanberg is “the most important filmmaker of his generation … his ideas about filmmaking are the most powerful, influential, transformative, and exemplary ones of the times.”

2. One week in Bergamo, Italy during the Bergamo Film Festival, March 2018 

This vacation prize includes roundtrip airfare for two, a hotel room for 7 nights, and two passes to the Bergamo Film Festival where CFA will premiere the International Media Mixer. Lonely Planet describes Bergamo as offering “a wealth of art and medieval Renaissance and baroque architecture, a privileged position overlooking the southern plains, breathtaking views and fine dining. Bergamo is one of northern Italy’s most beguiling cities.”

3. Private film screening and party for 20 at Chicago Filmmakers’ firehouse

Choose the film(s) you would like to screen – either from CFA’s collections or a favorite from your past. CFA will help you build the film program you will share with your guests at Chicago Filmmakers’ newly renovated historic firehouse. Catered hors d’hoeuvres and beverages included.

4. Michigan Getaway Vacation

Get away and relax in idyllic Harbert, Michigan (only 90 minutes from Chicago) for one week at this lovely vacation home. Available any time in the coming year, this comfortable home is air-conditioned and sleeps six. The prize includes a $100 gift certificate to one of the area’s best restaurants, the Red Arrow Road House.

5. Artisanal Bread Baking Class for 4 with David Pasquesi
Join Actor David Pasquesi (VEEP) in a bread baking class taught by noted food stylist and baker, Mary Valentin. Class will include a day of forming, stenciling, baking and of course eating 3 different sourdough breads. Attendees will bring home their own breads, a jar of Mary’s sourdough starter and recipes. Accompanying food and drink will be served throughout the day.


Chicago Open Archives


329 West 18th Street, suite 610
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Wednesday, October 11, 2017


5:30 - 7pm

COA 2017 flyer


“People are hungry for stories. It’s part of our very being. Storytelling is a form of history, of immortality too. It goes from one generation to another.” -Studs Terkel

CFA is excited to celebrate Archives Month throughout October with Chicago area libraries, archives, and museums during Chicago Open Archives (COA), Chicago Area Archivists’ annual event. This year’s theme is “Hidden Stories in the Archives.” Along with behind-the-scenes tours and lectures, Chicago Area Archives is highlighting special spotlight events where you can collect clue sheets and play an online trivia game in November. Check out the calendar on CAA’s website for more information. What hidden stories will you find and what stories will you tell?

CFA will be screening a selection of films that represent the archive’s breadth of material on Wednesday, October 11th from 5:30-7pm at the archive office. More information about our after work social and all of the other events being offered by participating archives is at
Hope to see you at CFA or one of the other events!

Follow #ChicagoOpenArchives on social media to stay up to date.



Chicago Home Movie Day 2017


1601 N. Clark St.
Chicago, IL
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Saturday, October 7, 2017


11AM - 3PM


FREE (donations always welcome!)


Once again, Chicago Film Archives and the Chicago Film Society join forces to present CHICAGO HOME MOVIE DAY at the Chicago History Museum.

Home movies provide invaluable records of our families and our communities: they document vanished storefronts, questionable fashions, adorable pets, long-departed loved ones, and neighborhoods-in-transition. Many Chicagoans still possess these old reels, passed down from generation to generation, but lack the projection equipment to view them properly and safely. That’s where Home Movie Day comes in: you bring the films (16mm, 8mm and/or Super 8mm), and we inspect them, project them, and offer tips on storage, preservation, and video transfer–all free of charge.

Chicago Home Movie Day is dedicated to YOUR home movies. From 11:00am until 3:00pm archivists and projectionists will inspect and project all celluloid home movies that walk in the door. We encourage providers of these gems to introduce their films to an eager HMD audience. Don’t have any films? We’ve got you covered! In the afternoon we’ll present a special program of home movies and amateur films from CFA’s collections.

Watch the trailer below!


What film formats can I bring to Home Movie Day?
We can inspect and project 16mm, 8mm, and Super 8. If you have any other oddball formats (28mm, 9.5mm, etc.), we can’t project the films for you, but we can help you find a safe, cost-effective way to view these prints. You’ll also earn our undying film nerd envy.

Do I need to bring a home movie?
Nope. You’re welcome to stop by and just watch other people’s home movies. And if you’re a walking encyclopedia of forgotten Chicago landmarks, eateries, and parades, your commentary will be much appreciated!

I have a whole box of ‘em! Can we watch ‘em all?
Nobody likes a home movie hog. Bring as many films as you’d like, but we’ll be screening one reel from each participant until everyone has had a chance to see their home movies. After that, second helpings are totally fine–especially in Kodachrome.

Do I have to get up and talk about my home movies?
You’re welcome to narrate your home movies and inform everyone that this scene was shot at Aunt Bertha’s high school graduation and that this one was shot on your family trip to Florida in 1982. Or you can just sit in the auditorium and watch them in anonymous silence. Whatever floats your celluloid boat.

My home movies are very personal. Why would I want to watch them with a bunch of voyeurs?
Home movies often commemorate scenes of enormous personal importance: weddings, graduations, birthdays, family reunions. Though home movies often begin as family records with deeply private meaning, the passage of years makes them compelling to people far beyond your immediate family. They serve as authentic records of our neighborhoods, traditions, and communities. You’ll enjoy sharing them–really.

Will you take my home movies and never give them back? They’re incredibly precious to me!
Nope. We’ll just inspect and project your home movies and return them to you in comparable condition. (If there are broken perforations or cracked frames, we’ll fix those and return the films in better condition!) Keep in mind that decades-old films are fragile and there’s an inherent (though slight) risk of damage during any projection. If we do not feel that the film can be safely projected, we will not screen it.

Will you take my home movies and never give them back? I don’t want ‘em anymore! (They smell funny.)
The Chicago Film Archives would be happy to discuss options for donating your old, unwanted home movies to its ever-growing collection.

This sounds amazing! How much will this expert consultation set me back?
Home Movie Day is absolutely free, but donations are welcome.


The JoAnn Elam Collection at Chicago Film Archives

by Aurore Spiers, University of Chicago

The JoAnn Elam Collection (1967-1990) at Chicago Film Archives (CFA) is one of the 58 archival projects receiving generous support from the Woman Behind the Camera. It consists of approximately 735 film, video, and audio elements and some paper material, which JoAnn Elam’s husband Joe Hendrix donated in 2011. Since then, CFA has inventoried, digitized, and catalogued some of this material, giving the public unprecedented online access to the filmmaker’s work. 

In addition to Elam’s best known films, such as Rape (1975) and Lie Back and Enjoy It (1982), the collection includes many short films, home movies, and unedited footage for Everyday People (1979-1990) and other unfinished projects. It also features medical films by Elam’s father, James O. Elam, M.D., and home movies by Joe Hendrix. This heterogeneity together with the diversity of formats (8mm, Super 8mm, video, 16mm, and audio tapes) and the scarcity of remaining information about some of the material make the JoAnn Elam Collection an archival challenge, one that I was excited to learn about and work on as CFA’s research intern this summer. 

JoAnn Elam, date unknown.

JoAnn Elam in the late 1970s.

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Films by Byron Grush at CINEINFINITO


Calle Bonifaz, 6 39003 Santander, Spain
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September 7, 2017




We’re delighted that a program of films by CFA’s own Byron Grush will be screening on September 7 at CINEINFINITO in Santader, Spain!

For more information about the program, please see CINEINFINITO #25: Byron Grush

CINEINFINITO / Cine Club Filmoteca de Cantabria

Jueves 7 de Septiembre de 2017, 22:00h. Filmoteca de Cantabria.

The Lecture (1966) 16mm, color, silent, 17 min
Hesper and Phosphor Part 2 (1967) 16mm, color, sound, 27 min
Push You Pull Me (1967) 16mm, color, sound, 8 min


Movies Under the Stars: 1968 – MINGUS


359 E. Garfield Blvd.
Chicago, IL 60637
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August 25, 2017







Join Black Cinema House and Chicago Film Archives for the final screening in our annual “Movies Under the Stars” series at the Muffler Shop. Grab a lawn chair and join us at the SW corner of 55th Street and Martin Luther King Jr. Drive for a night of illuminating cinema that begins when the sun goes down.

This summer we’re revisiting the tumultuous and transformative year of 1968 through the lens of three gifted visual artists: Gordon Parks, William Greaves and Thomas Reichman.

Reichman’s documentary portrait of jazz legend Charles Mingus provides a glimpse into the artist’s life at a moment of dramatic personal and professional transition. Released in 1968, the film captures Mingus during a rough period of his career—he didn’t record or release any music between 1966 and 1970. Mingus had just finished a commissioned score for the NET documentary Blues in the Jungle when he cancelled a long-awaited European tour with the Rollins-Mingus-Roach trio and let Reichman into his home on Great Jones Street. Mingus and Reichman’s connection was, in part, based on their shared personal tragedies—Mingus performed at Reichman’s son’s funeral in 1964 and Reichman filmed Mingus at a point of extreme vulnerability as he watched his belongings, sheet music, and instruments be hauled off by the New York City police.

Set primarily in the loft space Mingus lived in on Great Jones Street in 1966 (rented originally with the intention of becoming a “School of Arts, Music, and Gymnastics”), the documentary intercuts material shot on the evening before his eviction with footage of a performance in 1966 at Lennie’s-on-the-Turnpike featuring Mingus and Sun Ra saxophonist John Gilmore, Dannie Richmond, and Charles McPherson. Mingus’s musings on his art and life, politics, social injustice, racism, and sexual desire fluctuate between lucidity and paranoia, and Reichman captures both his brilliance and volatility in this complicated and moving film.



Movies Under the Stars: 1968 – WILLIAM GREAVES


359 E. Garfield Blvd.
Chicago, IL 60637
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July 28, 2017






WILLIAM GREAVES - Still A Brother: Inside the Negro Middle Class (1968, 90 min.)

Join Black Cinema House and Chicago Film Archives for the second of three outdoor screenings in our annual “Movies Under the Stars” series at the Muffler Shop. Grab a lawn chair and join us at the SW corner of 55th Street and Martin Luther King Jr. Drive for a night of illuminating films that begin as the sun goes down. This summer we’re revisiting the tumultuous and transformative year of 1968 through the lens of three gifted visual artists: Gordon Parks, William Greaves and Thomas Reichman.

On Friday 7/28 we’ll be screening William Greaves’ breakthrough documentary Still A Brother: Inside the Negro Middle Class. Originally made in collaboration with William Branch and National Educational Television (NET), Still A Brother presents a variety of perspectives on status and the concerns of the emerging African-American middle class at a time of intense racial, social, cultural, and political turmoil. Narrated by legendary civil rights activist, author, actor, poet, director, and playwright Ossie Davis, the film proved to be much more controversial and provocative than NET expected. While the network envisioned a documentary portrait of “good negroes” whose values and socio-economic aspirations mirrored those of middle-class white Americans, Greaves’ film presents a wide range of perspectives and questions the impact of these aspirations on the fight for equal rights and civil liberty in the 1960s. Still A Brother argues that the passive acceptance of white middle-class values by African-Americans amounted to nothing more than what Greaves referred to as “mental enslavement.” Airing on April 29, 1968, less than three weeks after the assassination of Martin Luther King, Jr., Still A Brother: Inside the Negro Middle Class is a probing and complex look at media coverage and representation, racial and economic disparity, and the various degrees of oppression faced by African-Americans in the United States.

“We had difficulties once Still a Brother was finished because NET had not expected that kind of film. They had expected an Ebony magazine kind of film, but we brought them this documentary that talked about mental revolution and showed increasing militancy in the black experience. People are talking about black is beautiful, the African heritage, militancy, and championing Rap Brown and Stokely Carmichael. So when NET executives saw the film they sort of blinked because they didn’t know whether or not they really wanted to put it into the system. They weren’t clear whether or not it would be acceptable. There was a great deal of anxiety because these executives were looking at their mortgages and didn’t know whether they would be tossed out of their jobs. They didn’t tell me that, but it was obvious that they were really under pressure. But I must say that they rose to the occasion, which speaks well of them, and of course the film eventually received an Emmy nomination and a Blue Ribbon at the American Film Festival.” -William Greaves

Movies Under the Stars: 1968 – GORDON PARKS


359 E. Garfield Blvd.
Chicago, IL 60637
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June 30, 2017


(when the sun goes down!)




Black Cinema House and Chicago Film Archives present the fourth annual series of outdoor summer screenings, “Movies Under the Stars,” at the Muffler Shop. Grab a lawn chair and join us at the corner of 55th and King for a night of illuminating films that begin as the sun goes down.

This summer, we’re revisiting tumultuous and transformative 1968 through the lens of three gifted visual artists: Gordon Parks, William Greaves and Thomas Reichman. The films screening tonight take viewers into the world of New York neighborhoods nearly 50 years ago.

Legendary African American photographer Gordon Parks was a humanitarian who was deeply committed to social justice. From the early 1940s up until his death in 2006, his body of work documents the highs and lows of American culture with a specific focus on race relations, poverty, Civil Rights, and urban life. Parks was also a celebrated composer, author, and filmmaker – best known for his films The Learning Tree (1969) and Shaft (1971). This program presents two very early documentaries made by Parks for public television broadcast. Like his renowned photographic essays for Life Magazine, these films focus on individuals and their environments within the larger context of social and political change.

Diary of a Harlem Family (1968, 20 min, 16mm)
A plea for poverty relief and equal opportunity, this photomontage film documents the life of the Fontinelli family who live in a Harlem tenement in New York City.

World of Piri Thomas (1968, 60 min, 16mm)
Gordon Parks, along with writer and poet Piri Thomas, lead us on a journey through New York City’s Spanish Harlem. Parks guides our eyes through El Barrio, while Thomas reads from his best-selling memoir, “Down These Mean Streets.” These sights and sounds record the grim and crumbling life of the neighborhood and its inhabitants, but also provide a glimmer of hope for “survival and triumph over the ghetto.”

More information about the screening can be found here and on Facebook.



1354 West Wabansia Avenue
Chicago, IL
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Thursday, June 8, 2017


8PM - 11:30PM


$15 (21+)
Buy tickets online

Additional Information:

Facebook Event Page

Come see the premiere of three new works created by Chicago-based artists using footage from the Chicago Film Archives collection!

The Media Mixer project started in 2012 as a way to open up CFA’s vault of archival footage to artists working in media, and to support the creation of a new video work by pairing these visual artists with artists working with sound. At the heart of the project is a desire to give CFA’s archival collections new life through the creative interpretation of contemporary artists. As a result, three new collaborative videos will be made using footage from the Chicago Film Archives collection.

This year’s artists are (videomakers listed first):

Eric Fleischauer + Matchess
Samantha Hill + Haptic
Marianna Milhorat + Brian Kirkbride

More on this year’s artists here!

The evening will be hosted by Alison Cuddy, and former media mixer artist Latham Zearfoss will be our guest DJ!


and more …

CALL THE OFFICE at 312-243-1808!

All proceeds from the CFA Media Mixer go to benefit the Chicago Film Archives and our efforts to identify, preserve and provide access to the Midwest’s audio-visual heritage. The Media Mixer gives CFA fans a chance to support the efforts of both CFA and local artists at the same time!

Watch the event’s trailer below!

In case you haven’t attended in years past, you can see some of the previous projects at the links below.




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