


A professor of art history and film, a photographer and an inventor, Standish Lawder has made truly experimental films by seeing what a predetermined idea about content, structure, or technique will produce when carried out in shooting or printing. Lawder has taught at Harvard, Yale, UC San Diego, and at Denver Darkroom, which he founded. He is the author of The Cubist Cinema.
A distinguished philosopher and professor at Harvard, Stanley Cavell had just published The World Viewed, his first book on film, when he appeared on this program. His subsequent writing on film includes Pursuits of Happiness and Contesting Tears.
In this episode of Screening Room, Lawder demonstrates the intricacies of his home-made optical printer and shows examples of what can be achieved with rephotographing film. Gardner, Lawder, and Cavell also discuss the intellectual and psychological implications of his manipulations. Their frank commentary carries on over Lawder's test print of Intolerance, which he had just received from the lab and had not yet viewed it himself. Lawder also screens Necrology, Color Film, and Corridor.
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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