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Emil L. Rinderspacher selected papers, 1970-1971
Refocus '71 Page 11
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that one feels when viewing vintage sepia photographs is a sensation full of poetic richness." Coke says that the rarest photo in the exhibition is a daguerreotype made in 1840 of a chateau located south of Paris. He points out that a group of portraits from the 1840's and 1850's are worthy of study because they convey the modes of fashion of the day, and psychological reactions to the camera and so give an intimate feeling of contact with persons who lived 125 years ago. Among photos important as visual history are several of the 1872 fire in Boston. Twentieth-century photos in the exhibition show the varies approaches in our day to photography as an art, ranging from Man Ray's pioneering rayographs made without the use of a camera, to pictures by the noted photographer, Ansel Adams. The exhibition of photographs from the Coke Collection will be a feature of Refocus 7. COKE VAN DEREN Friday/March 26/ 8 p.m. Museum of Art Van Deren Coke received his degrees from Indiana University and Harvard and has taught at Indiana University, the University of Florida, Arizona State University, and the University of New Mexico. He is presently deputy director of the George Eastman House, Rochester N.Y., an international museum of photography and cinematography. He has shown his own photography extensively including such places at the Museum of Modern Art and the Bibliotheue Nationale in Paris Mr. Coke is a founding member of the Society for Photographic Education and has completed a sizable amount of original research in photographic history. Mr. Coke will come to The University of Iowa campus on March 26 to speak during Refocus 71. CRACK IN THE MIRROR 1960 Sunday/ March 21/ 4 and 9 p.m. Illinois Room Directed by Richard Fleischer Welles often influenced films in which he was merely credited for acting. Perhaps this was the case with Crack in the Mirror. At least, this strangely compelling film can be used as the basis for further exploration into Welles awesome acting prowess. THE CROWD 1928 Silent Saturday/ March 20/ 9 p.m. Illinois Room Directed by King Vildor Classic motion pictures are difficult to discuss and The Crowd is surely one such. It is as might be expected, a key work of Vidor's social cinema- as significant, in this respect, because of its abandonment of strong narrative as for any other reason. The Crowd is a film built- like a Dreiser novel - of small details piled upon one another to make the portrait of one person whose very individuality makes him the mirror of us all. THE DEVIL'S BROTHER 1933 Tuesday/March 23/ 7:40 p.m. Ballroom Directed by Hal Roach; Starring Stan Laurel, Oliver Hardy, Dennis King, Thelma Todd, James, Finlayson, Henry Armetta. A costumed lighthearted conception of the comic opera "Fra Diavolo" presents Laurel and Hardy as two hilarious but lightbrained men who are robbed of their life savings by a highwayman. To recoup, they awkwardly try to hold up the last man in the world the should, Fra Diavolo, the most feared bandit in the country. He threatens to boil them in oil if they reveal his identity (he often poses as Marquis to learn who should be robbed) Now vassals of the Marquis, the fumbling Laurel and Hardy let the cat out of the bag after becoming thoroughly inebriated in a wine cellar during a laughing spell. However, the charming bandit ignores them because he is too busy being chased by a regiment of troops. Comedy that stands or falls on the personalities who enact it is illustrated in this burlesque by Laurel and Hardy Despite the comic opera setting, the film is in fact simply a frame for a series of routines by the stars - past masters of what the French call "le gag" DEWITT, TOM Wednesday/March 24/ p.m. Ballroom Tom Dewitt, 26, studied moving images with Stan Vanderbeek and at San Francisco State College. He collaborated on the film Off On and on several fighting environments for dance and theater. He is one of the young filmmakers who has put an emphasis on mastering technique and visual impact. His films have non-verbal as well as verbal interpretations. "My films deal with realities drawn from abstractions and abstracted realities. " Independently produced films: Atmostear, 1966, 6 min, color, sound, 16mm. Winner Zellerbach Award, 1966 San Francisco Film Festival Distributed by Canyon Cinema Co-op Film Canada, The Museum of Modern Art. The Leap, 1968, 8 1/2 min, color, sound, 16,,. Credit: sound by Man Meyer. Cash prize winner St Lawrence Independent Filmmaker's Festival 1968, 2nd prize Foothill College Independent Filmmaker's Festibal; Top cash prize (George Gund Award) San Francisco Film Festival, 1969. Distributed by the Kinetic Art Program, Universal Films. Fall, 1970, 21 min, color, sound, 16mm DR JEKYLL AND MR. HYDE 1931 Thursday/March 25./ 4 p.m. Ballroom Directed by Rouben Mamoulian Starring Frederic March, Miriam Hopkins, Rose Hobart, Holmes Herbert, Edgar Norton, Halliwell Hobbes.
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that one feels when viewing vintage sepia photographs is a sensation full of poetic richness." Coke says that the rarest photo in the exhibition is a daguerreotype made in 1840 of a chateau located south of Paris. He points out that a group of portraits from the 1840's and 1850's are worthy of study because they convey the modes of fashion of the day, and psychological reactions to the camera and so give an intimate feeling of contact with persons who lived 125 years ago. Among photos important as visual history are several of the 1872 fire in Boston. Twentieth-century photos in the exhibition show the varies approaches in our day to photography as an art, ranging from Man Ray's pioneering rayographs made without the use of a camera, to pictures by the noted photographer, Ansel Adams. The exhibition of photographs from the Coke Collection will be a feature of Refocus 7. COKE VAN DEREN Friday/March 26/ 8 p.m. Museum of Art Van Deren Coke received his degrees from Indiana University and Harvard and has taught at Indiana University, the University of Florida, Arizona State University, and the University of New Mexico. He is presently deputy director of the George Eastman House, Rochester N.Y., an international museum of photography and cinematography. He has shown his own photography extensively including such places at the Museum of Modern Art and the Bibliotheue Nationale in Paris Mr. Coke is a founding member of the Society for Photographic Education and has completed a sizable amount of original research in photographic history. Mr. Coke will come to The University of Iowa campus on March 26 to speak during Refocus 71. CRACK IN THE MIRROR 1960 Sunday/ March 21/ 4 and 9 p.m. Illinois Room Directed by Richard Fleischer Welles often influenced films in which he was merely credited for acting. Perhaps this was the case with Crack in the Mirror. At least, this strangely compelling film can be used as the basis for further exploration into Welles awesome acting prowess. THE CROWD 1928 Silent Saturday/ March 20/ 9 p.m. Illinois Room Directed by King Vildor Classic motion pictures are difficult to discuss and The Crowd is surely one such. It is as might be expected, a key work of Vidor's social cinema- as significant, in this respect, because of its abandonment of strong narrative as for any other reason. The Crowd is a film built- like a Dreiser novel - of small details piled upon one another to make the portrait of one person whose very individuality makes him the mirror of us all. THE DEVIL'S BROTHER 1933 Tuesday/March 23/ 7:40 p.m. Ballroom Directed by Hal Roach; Starring Stan Laurel, Oliver Hardy, Dennis King, Thelma Todd, James, Finlayson, Henry Armetta. A costumed lighthearted conception of the comic opera "Fra Diavolo" presents Laurel and Hardy as two hilarious but lightbrained men who are robbed of their life savings by a highwayman. To recoup, they awkwardly try to hold up the last man in the world the should, Fra Diavolo, the most feared bandit in the country. He threatens to boil them in oil if they reveal his identity (he often poses as Marquis to learn who should be robbed) Now vassals of the Marquis, the fumbling Laurel and Hardy let the cat out of the bag after becoming thoroughly inebriated in a wine cellar during a laughing spell. However, the charming bandit ignores them because he is too busy being chased by a regiment of troops. Comedy that stands or falls on the personalities who enact it is illustrated in this burlesque by Laurel and Hardy Despite the comic opera setting, the film is in fact simply a frame for a series of routines by the stars - past masters of what the French call "le gag" DEWITT, TOM Wednesday/March 24/ p.m. Ballroom Tom Dewitt, 26, studied moving images with Stan Vanderbeek and at San Francisco State College. He collaborated on the film Off On and on several fighting environments for dance and theater. He is one of the young filmmakers who has put an emphasis on mastering technique and visual impact. His films have non-verbal as well as verbal interpretations. "My films deal with realities drawn from abstractions and abstracted realities. " Independently produced films: Atmostear, 1966, 6 min, color, sound, 16mm. Winner Zellerbach Award, 1966 San Francisco Film Festival Distributed by Canyon Cinema Co-op Film Canada, The Museum of Modern Art. The Leap, 1968, 8 1/2 min, color, sound, 16,,. Credit: sound by Man Meyer. Cash prize winner St Lawrence Independent Filmmaker's Festival 1968, 2nd prize Foothill College Independent Filmmaker's Festibal; Top cash prize (George Gund Award) San Francisco Film Festival, 1969. Distributed by the Kinetic Art Program, Universal Films. Fall, 1970, 21 min, color, sound, 16mm DR JEKYLL AND MR. HYDE 1931 Thursday/March 25./ 4 p.m. Ballroom Directed by Rouben Mamoulian Starring Frederic March, Miriam Hopkins, Rose Hobart, Holmes Herbert, Edgar Norton, Halliwell Hobbes.
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