


Animators Caroline Leaf and Mary Beams visited Screening Room in 1975 to discuss their films and techniques.
Caroline Leaf’s animated work springs from her expert storytelling and pioneering animation techniques. One significant contribution to filmmaking is her technique of manipulating sand on a light-box, which she began as a student at Harvard. She later worked as an animator and director at the National Film Board of Canada. Her film The Street garnered an Academy Award nomination in 1976. On this episode, she screens the remarkable The Owl Who Married a Goose: An Eskimo Legend and parts of The Street and The Metamorphosis of Mr. Samsa which were works-in-progress at the time.
Mary Beams’ hand-drawn films carry themes of memory, erotic fantasy and feminism. She taught animation at Harvard from 1972 to 1977, and by 1988, she was a partner in Media Ink, Inc., with a weekly animated political spot on NBC’s Sunday Today Show. She has also taught at the University of South Florida and Northern Illinois University. Here, she screens The Tub, Solo Film, Going Home Sketch-book, Piano Rub, and her work-in-progress, Quilt Film.
Screening Room was a 1970s Boston television series that for almost ten years offered independent filmmakers a chance to show and discuss their work on a commercial (ABC-TV) affiliate station. The series was developed and hosted by filmmaker Robert Gardner (Dead Birds, Forest of Bliss), who was Chairman of the Department of Visual and Environmental Studies and Director of the Carpenter Center for Visual Arts at Harvard for many years.
This unique program dealt even-handedly with animation, documentary, and experimental film, welcoming such artists as Jan Lenica, John and Faith Hubley, Emile DeAntonio, Jean Rouch, Ricky Leacock, Jonas Mekas, Bruce Baillie, Yvonne Rainer and Michael Snow. Frequently, guests such as Octavio Paz, Stanley Cavell, and Rudolph Arnheim appeared as well.
Nearly 100 programs were produced during the years Screening Room was broadcast. Recently, The Museum of TV and Radio in New York City offered to copy the two-inch master tapes that had been given to the Film Study Center.
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© 2009 Tribeca Film Institute
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