Special Nationwide Event - One Night Only!
Panel discussion to follow with Loren Glass, H. Glenn Penny, Garrett Stewart & Lisa Heineman.
Attendees will receive a paperback copy of 1984 provided by The Tuesday Agency
A portion of proceeds will benefit the ACLU of Iowa
$10 Suggested Donation. Choose your own level of support in advance or at the door.
On Tuesday, April 4 -- the date on which George Orwell's classic character Winston Smith begins writing his journal in Orwell's landmark novel -- more than 90 art house movie theaters across the country will be collectively participating in a National Event Day screening of 1984. FilmScene is proud to join our friends in the film community to consider the issues raised by this important movie.
Along with sister cinemas such as Alamo Drafthouse, IFC Center, and the Film Society of Lincoln Center, our shared aim is to voice our collective protest of many of our current administration's policies and practices – and most specifically as art house cinemas, their alleged proposed cuts on cultural programs, including the possible elimination of the National Endowment for the Arts. A joint statement by the presenting family of cinemas reads as follows:
"Orwell's novel begins with the sentence, 'It was a bright cold day in April, and the clocks were striking thirteen.' Less than one month into the new presidential administration, theater owners collectively believe the clock is already striking thirteen. Orwell's portrait of a government that manufactures their own facts, demands total obedience, and demonizes foreign enemies, has never been timelier. The endeavor encourages theaters to take a stand for our most basic values: freedom of speech, respect for our fellow human beings, and the simple truth that there are no such things as 'alternative facts.' By doing what we do best – showing a movie – the goal is that cinemas can initiate a much-needed community conversation at a time when the existence of facts, and basic human rights are under attack. Through nationwide participation and strength in numbers, these screenings are intended to galvanize people at the crossroads of cinema and community, and bring us together to foster communication and resistance against current efforts to undermine the most basic tenets of our society."
Every cinema participating in this event will be donating a portion of their proceeds to a local charity or organization. FilmScene will be donating to the ACLU of Iowa.
The ACLU of Iowa is a non-partisan, non-profit organization. The views expressed as part of this event are solely those of the organizers and participants.
ABOUT THE PANELISTS
Loren Glass is Professor of English and the Center for the Book at the University of Iowa. His first book, Authors Inc.: Literary Celebrity in the Modern United States, was published by New York University Press in 2004. His history of Grove Press, Counterculture Colophon: Grove Press, the Evergreen Review, and the Incorporation of the Avant-Garde, was published by Stanford University Press as part of their Post45 Series in 2013. He is a member of the Post45 collective and co-edits their book series. He is the principal investigator on The Program Era Project and is currently writing a literary history of Iowa City to be called City of Literature.
H. Glenn Penny is Professor of Modern European History at the University of Iowa. This year, he is one of countless educators in the United States who assigned George Orwell's 1984 to his students. Much of Glenn's work is focused on relations between Germans and non-Europeans over the last two centuries. He is the author of Objects of Culture: Ethnology and Ethnographic Museums in Imperial Germany (Univ. of North Carolina Press, 2002), and Kindred by Choice: Germans and American Indians since 1880 (The Univ. of North Carolina Press, 2013). He is also the editor (together with Matti Bunzl) of Worldly Provincialism: German Anthropology in the Age of Empire (Univ. of Michigan Press, 2003), and (with Laura Graham) Performing Indigeneity: Global Histories and Contemporary Experiences (Nebraska Univ. Press, 2014). He is currently engaged in an in-depth study of German interactions with Guatemala and completing a book manuscript titled: German History Unbound, 1760s-1960s for Cambridge University Press.
Garrett Stewart has taught fiction, film, and textual theory at the University of Iowa since 1993. Pursuing always a methodology of close-grained verbal or visual analysis—in books on language in Dickens (1974), the death scene in British fiction (1984), the phonetic undertow of literary writing from Shakespeare to Woolf (1990), and the “Dear Reader” address of Victorian novels (1996)—Stewart was led by that last topic to a subsequent study of the scene of reading in painting, from saints with books in illuminated manuscripts through Rembrandt to Picasso and Francis Bacon. In approaches to the moving rather than the still image, his 1999 investigation into the “photogrammar” of traditional cinema was brought up to date in 2007 by a companion volume on the new digital conditions of screen narrative, Framed Time: Toward a Postfilmic Cinema. In 2009, Novel Violence: A Narratography of Victorian Fiction, awarded the Perkins Prize from the International Society for the Study of Narrative, named in its subtitle the method of this and the previous film book, searching out the “microplots” of narrative development in the inflections of technique, audiovisual or linguistic. Since then, concentrating on the conceptual violence done to rather than in books, Bookwork: Medium to Object to Concept to Art (2011) follows up on the 2-D image of reading with a close look at the ironies of illegibility in conceptual book sculpture, whether in found, altered, or fabricated volumes, engaging again with the digital epoch on another front: its rapid transformation of the reading experience. Stewart’s work on cinema continues in regular reviewing for Film Quarterly. He was elected in 2010 to the American Academy of Arts and Sciences.