Mar 3rd 2023

Short Threads with Larry Gottheim

Director Larry Gottheim in person!

For more than 50 years now, Larry Gottheim has humbly tilled the edges of the experimental film world. Emerging in the 1970s with a series of acclaimed single-shot experiments, Gottheim’s filmmaking career has consistently evinced a curiosity regarding all manner of artistic forms and a restless creative energy that’s driven him to continually push the boundaries of his own cinema. Gottheim also founded the highly influential Cinema Department at SUNY Binghamton, one of the earliest programs to emphasize personal, artist-driven filmmaking practices and a vital incubator for American avant-garde film. As an artist and educator, his work has forged new paths for emerging filmmakers, subtly expanded the grammar of cinema, and quietly changed the face of American independent film culture. This program brings together a selection of shorts from across Gottheim’s career, beginning with two rigorously minimalist early works: Barn Rushes (1971), an avant-garde landmark comprised of eight 16mm spools documenting a single barn under different light conditions, and Harmonica (1971), a giddy experiment in synchronized sound that stands as perhaps the most joyful structuralist film ever made. Filling out the bill are a pair of dizzying, obliquely autobiographical efforts: Mnemosyne Mother of Muses (1986), a series of metronomically twined remembrances, and The Red Thread (1987), an ecstatically beautiful tangle of overlapping speech and fleetingly captured images that cruises along at the speed of thought. (CW) Approx run time 80 min • 16mm from Larry Gottheim

About Chicago Film Society

The Chicago Film Society exists to promote the preservation of film in context. Films capture the past uniquely. They hold the stories told by feature films, but also the stories of the industries that produced them, the places where they were exhibited, and the people who watched them. We believe that all of this history — not just of film, but of 20th century industry, labor, recreation, and culture — is more intelligible when it’s grounded in unsimulated experience: seeing a film in a theater, with an audience, and projected from film stock.

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