The Experimental Cinema Group at CU Boulder was ushered in by Carla Selby and Gladney Oakley and was later carried forward by Bruce Connor and Stan Brakhage. It is now called First Person Cinema and the curator is Don Yannacito. This program was started in 1955 with the intention of bringing an awareness of the personal cinema to Boulder, and has become a highly respected international showcase for the makers of personal film. It is the longest running program in the world screening avant-garde film and video work.

Most screenings are Mondays at 7:00pm in the Visual Arts Complex Auditorium 1B20 / Admission is free.

Student Award Showcase

Student Award Showcase

Monday, February 4, 2019
7:00 PM

Winners of The Grillo Awards

Made possible with funds from the Arts and Cultural Enrichment Fee. Free admission. The Grillo awards are designed to encourage excellence in filmmaking and help defray some of the expenses required to pursue a degree in film production. A total of up to $17,000 of Grillo funds is distributed each year to four tiers of production students. Final recipients and individual award amounts will be determined each semester by in-class student votes and a panel of judges made up of CU Film Studies faculty and outside professionals. A selection of award-winning films will be shown one night only. The Grillo Awards are drawn from a University of Colorado Foundation fund set up in the early 1990s by Virgil Grillo (1938-1994), the founder and former Director of the CU Film Studies Program, whose dedication and vision helped shepherd Film Studies from its modest beginnings in the 1970s to an undergraduate program with some 600 students.

Malena Szlam

Malena Szlam

Monday, February 18, 2019
7:00 PM

Malena Szlam is a Chilean-born artist and filmmaker currently living in Montreal, Canada. Working at the intersection of cinema, installation, and performance, her practice explores the relationship between the natural world, perception, and intuitive process. Her dreamlike, collaged, and flickering imagery leave viewers with a sense of wonderment and an expanded sense of time.

Chronogram Of Inexistent Time

Chile, Canada, 35mm, color, silent, 6:00 min., 2008

Anagrams Of Light

Canada, Super 8, color, silent, 3:00 min., 2011

Rhythm Trail

Chile, Canada, Super 8, color, silent, 10:00 min., 2010 – 2011

Beneath Your Skin Of Deep Hollow

Canada, 16mm, color, silent, 3:40 min., 2010

Lunar Almanac

Canada, 16mm, color, silent, 4:00 min., 2013

Morfología De Un Sueño

USA, Canada, 16mm, color, silent, 5:30 min., 2015 – 2018

Altiplano

Chile, Argentina, Canada, 35mm, color, sound, 15:30 min., 2018

Brakhage Center Symposium

Brakhage Center Symposium

Sunday, March 19, 2017
March 9 & 10

The Contemporary Body: A Multicultural Moving Image Perspective

The 15th Brakhage Center Symposium will focus on representations of the contemporary body within the shifting codes of gender and sexuality. It will feature moving image artists who use experimental media to focus on how bodies and roles change with history, and how norms are in constant flux. There will be screenings and presentations on March 9 by Nazli Dincel, Laida Lertxundi, and Cauleen Smith, followed by two film programs on March 10 devoted to Arab cinema—work primarily by women from the Middle East and North Africa—curated by Rachael Rakes. For more information, please go to The Brakhage Center Symposium's web site

Irene Lusztig

Irene Lusztig

Monday, April 8, 2019
7:00 PM

Irene Lusztig is a filmmaker, visual artist, archival researcher, and amateur seamstress. She will be screening one long-form film, YOURS IN SISTERHOOD (2018, 101 min, color / sound). This film is a collective portrait of feminism now and forty years ago that is newly urgent in the aftermath of the 2016 election–a project about time travel, embodied listening, empathy, public discourse, and the lost art of letter-writing. What might be revealed in the process of inviting strangers to act out and respond to 1970s feminism 40 years later? Between 2015 and 2017, hundreds of strangers in communities all over the US were invited to read aloud and respond to letters from the 1970s sent to the editor of Ms. Magazine–the first mainstream feminist magazine in the US. The intimate, provocative, and sometimes heartbreaking conversations that emerge from these spontaneous performances make us think critically about the past, present, and future of feminism.

Graduate show

Graduate show

Monday, April 29, 2019
7:00 PM

Ben Hernstrom grew up in McKeesport, Pennsylvania. He makes experimental narratives, documentaries, and installations. His works have been exhibited in the Andy Warhol Museum, the Mattress Factory, and the Pittsburgh Center for the Arts.

Dakota Nanton is an experimental animator and printmaker. His films draw inspiration from such influences as comic books, folklore, and science fiction. His work is held in permanent collections in the United States, Canada, Italy, Australia, Egypt, and New Zealand.

Kate E. Hinshaw is an experimental filmmaker who hand-paints and distresses 8mm and 16mm film. Her work depicts conflicts of memory and nostalgia. She has worked with musicians to create music videos and live projection pieces which have been seen in AfroPunk, Creative Loafing Atlanta, and Immersive ATL.

Laura Conway is a filmmaker and DJ from Denver, Colorado. She believes that creating community is as important as the practice of making films itself and as such is actively involved in booking cinema, music, and political events. Laura responds the complexity of life in late capitalism with digitized absurdity.

Jona Gerlach is a filmmaker and interdisciplinary artist whose work explores history, memory, and place. He works in film, video, and installation to explore the relationship between landscape, people, and systems of power in the Western United States.

Emily Van Loan is an experimental filmmaker and artist. Her 16mm and Super 8 films are personal in nature, often diaristic, and embody themes of identity, experience, and radical vulnerability.

First Person Cinema

See previous schedules in the FPC Archive

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