Humanities Film Series


The Humanities Film Series at
York College of
Pennsylvania is an interdisciplinary program sponsored by the
English &
Humanities Department that is designed
to
promote the humanities on campus and in the surrounding community by encouraging
a serious and ongoing examination of and discussion about cinema.
All too often, in our media-saturated and leisure-driven culture, we approach
film as a form of disposable entertainment; movies are passively “consumed” and
soon forgotten, leaving no lasting impression and prompting little in the way of
critical dialogue. The Humanities Film Series aims to transform such viewing
habits by presenting films in an academic context, one in which students and
members of the community will learn about the various aesthetic, industrial,
social, and historical dimensions of cinema, while at the same time having the
opportunity to enter into meaningful debates about the nature of the medium and
its effects. In this way, the Humanities Film Series helps to foster on campus
and in the community a renewed understanding of and appreciation
for this major art form, one that—along with television—is perhaps the
predominant way in which the contemporary Western world represents itself.
The Humanities Film Series
will consist of between four and six advertised film screenings per academic year that
are free and open to the entire college and to the surrounding community. At
each of the film screenings, a guest scholar or filmmaker will, after a short introductory lecture,
present a film and lead discussion about it afterward. The films screened will
vary widely to include classic as well as contemporary American and foreign
movies. The present and past schedules for the series can be found below.
FALL 2011
Thursday, October 27


The Lives of Others (2006), with Professor Mary Boldt
What is a good person?
Director Florian Henckel von Donnersmarck’s Academy Award-winning
film debut, The Lives of Others
(2006), examines this question against the backdrop of the
Soviet-era East German police state.
Gerd Wiesler, a captain in the German Democratic Republic’s
notorious secret police, the
Stasi, finds himself questioning his long-held values while spying
on a prominent playwright who unwittingly draws Wiesler into a world of
tenderness, passion… and danger.
For this unique presentation of
The Lives of Others, Mary
Boldt, a Professor of German at York College, will provide the
historical context necessary to understand the movie, as well as
glimpses into subtleties of the film that do not translate in the
English subtitles. A
question-and-answer session will follow the screening.
Program begins at 7:00pm on Thursday,
October 27
in Humanities Center 218.
Thursday, November 17


Margin Call (2011), with Producer Neal Dodson
A gripping thriller and a clear-eyed indictment of
greed and malfeasance on Wall Street, Margin Call (2011) tracks
eight people at an important investment bank over the course of a single
tumultuous day in the early stages of the 2008 financial crisis.
Boasting an all-star cast—including Kevin Spacey, Paul Bettany, Jeremy
Irons, Zachary Quinto, Demi Moore, and Stanley Tucci—the film manages to
tackle a hugely complex episode in recent American history in a way that
is, according to the New York Times, “both intimately scaled
and dazzling in its sweep and implication.” After its premiere at
the 2011 Sundance Film Festival, Margin Call went on to play at
the Berlin Film Festival and was selected as the opening feature at the
annual New Directors/New Films festival in
New York. While the
film is a credit to its writer and director, JC Chandor, it is also a
triumph for Before the Door Pictures, a production company formed in
2008 by longtime friends and collaborators Neal Dodson, Zachary Quinto,
and Corey Moosa: Margin Call is their first feature film.
In a special guest appearance as part of the 2011-12 Humanities Film
Series, producer Neal Dodson, a native of
York, will present his movie
and answer questions about it after the screening.
Program begins at 7:00pm on Thursday,
November 17
in Humanities Center 218.
**DATE CHANGE** Thursday, December 1
**DATE CHANGE**


Goodbye Solo (2009), with Director Ramin Bahrani
The latest movie from acclaimed independent filmmaker
Ramin Bahrani, Goodbye Solo
(2008) charts an unlikely friendship forged on the lonely roads of
Winston-Salem,
North Carolina by Solo, a
Senegalese cab driver working to provide a better life for his young
family, and William, a tough Southern “good old boy” with a lifetime of
regrets. Since debuting at
the Venice Film Festival, where it won the prestigious FIPRESCI
International Critics Prize,
Goodbye Solo has been widely praised by film critics.
Indeed, it was named one of the best movies of 2009 by the
New York Times’s A.O. Scott,
who described it as an “almost perfect film.”
Bahrani himself has been hailed by Roger Ebert as “the new great
American director.” In a
special guest appearance as part of the 2011-12 Humanities Film Series,
this talented and important filmmaker will present
Goodbye Solo, along with his
recent short film, Plastic Bag
(2009), and answer questions about his work after the screening.
Program begins at 7:00pm on Thursday, September
29
in Humanities Center 218.
SPRING 2012
Thursday, February 16

Weapons of the Spirit (1989), with Director Pierre Sauvage
Scarcely known to the outside world, the small French village of Le Chambon-sur-Lignon was the scene of an
extraordinary episode of communal courage during World War II.
As 75,000 Jews were being deported from Occupied France by the
Nazis, the Christian Chambonnais
quietly banded together to rescue 5,000 of them—nearly as many Jews as
there were villagers—from almost certain death.
Years later, filmmaker Pierre Sauvage discovered that he was one
of those 5,000 Jews and set out to discover what had motivated the
inhabitants of Le Chambon-sur-Lignon to act as they did.
The result was his award-winning documentary,
Weapons of the Spirit (1989),
an unforgettable film that opens a window onto the human soul.
Mr. Sauvage will be on hand to present his movie and answer
questions about it.
Program begins at 3:30pm on Thursday,
February 16
in Humanities Center 218. A lecture by the filmmaker will follow
at 7pm in the DeMeester Recital Hall.
**DATE CHANGE** Thursday, March 8
**DATE CHANGE**


Dead Snow (2009), with Professor Cynthia Miller
In the 1940s, our greatest fear was that the Nazis
would win the Second World War.
Now, it’s that they’ll come back from the dead.
Nazi zombies have shambled, lumbered, and run headlong through
popular culture since the mid-twentieth century, creating a small but
significant sub-genre of films, and raising questions about the nature
and function of these recurring social villains. Beginning as an
offshoot of “evil scientist”
narratives of the World War II era, and finally making their way to the
Sundance Film Festival in 2009, Nazi zombies have wrested a place of
note in the horror film genre, drawing on symbols, spectacles, and
social fears over half a century old, to evoke—and mock—audiences’
deepest fears. Guest
speaker Cynthia Miller, a Professor with the Institute for Liberal Arts
at Emerson College,
will help us to better understand the cultural phenomenon of the Nazi
zombie movie by screening Dead
Snow (2009), one of the most recent examples of this popular and
controversial sub-genre. A
question-and-answer session will follow the film.
Program begins at 7:00pm on Thursday,
March 8
in Humanities Center 218.
Thursday, April 26


The "Complete" Metropolis (1927), with Professor Ian Olney
Think of the most popular science fiction movies in
recent memory: Star Wars, Blade Runner, The Matrix…
It’s quite possible that they (and many other contemporary sci-fi
movies) wouldn’t exist if it wasn’t for a silent German film made
eighty-five years ago: Metropolis (1927). While it is
largely forgotten by moviegoers today, Metropolis is a landmark
film in its genre; it established at a stroke the imagery and themes
that have come to define science fiction cinema. In an exciting
recent development, an uncut negative of the film was found at an
archive in Buenos Aires. Almost a half an hour
longer than other existing prints of the movie, it allowed
preservationists to restore footage to the film that was previously
considered lost and premiere a “complete” version of Metropolis
in 2010. It is this version of Metropolis that will be
presented as part of the 2011-12 Humanities Film Series by Ian Olney, a
Professor of English at
York
College, who will discuss
the film’s legacy and answer questions about it.
Program begins at 7:00pm on Thursday,
April 26
in Humanities Center 218.
FALL 2010
Thursday, September 30

Beeswax (2009)
A marvelous new film from Andrew Bujalski, one of the
brightest stars in indie cinema, Beeswax (2009) revolves around the personal and professional
entanglements of twin sisters Jeannie and Lauren (played by real life
twins Tilly and Maggie Hatcher).
Jeannie co-owns a vintage clothing store in Austin, Texas with
Amanda, a semi-estranged friend who she fears is trying to end their
partnership. Lauren leads a
looser, less tethered existence and is considering getting out of the
country altogether. Imbued
with an innate charm, Beeswax
is a story about families, friends, lovers and those awkward moments
that bring all of them together.
A.O. Scott of the New York
Times recently selected the film as a “NYT Critics’ Pick,” calling
it a “remarkably subtle, even elegant movie.”
Bujalski himself is acclaimed as the godfather of “mumblecore,” a
movement in contemporary American independent cinema driven by the
digital revolution and an ultra-low-budget, do-it-yourself approach to
filmmaking. According to
Cinema Scope magazine, he is
“making what may prove to be the defining movies about [his]
generation.” In a special appearance as part of the 2010-11 Humanities
Film Series, this talented and important filmmaker will present his
latest movie and answer questions about it after the screening.
Program begins at 7:00pm on Thursday, September
30
in Humanities Center 218.
Thursday, October 21

Great World of Sound (2007)
Directed by Craig Zobel,
Great World of Sound (2007)
is a recent independent film that blends fact and fiction in a unique
and fascinating way. It
follows Martin (Pat Healy) as he applies for a job at a company training
prospective “music producers.”
During training, he pairs up with another new employee, Clarence
(Kene Holliday), a middle-aged man trying to change his career path.
On the job, the two travel to small towns where their company has
placed newspaper ads inviting undiscovered musicians to audition for a
record contract. Martin and
Clarence present themselves as representatives of a music label who are
signing artists and giving them a chance to let their music be heard…
for a small fee. Once they
have the money, however, they skip town, leaving the aspiring musicians
high and dry. Interestingly, while the characters of Martin and Clarence are fictional
and played by actors, the auditioning musicians in
Great World of Sound are real
people who responded to the kind of newspaper ads featured in the story
and had no idea they were being filmed for a movie.
Great World of Sound
has won a number of awards at film festivals across the country and has
garnered high critical praise.
Zobel himself was named by Filmmaker Magazine in 2007 as one of “25 New Faces of Independent
Film.” The Humanities Film
Series is pleased to present the work of this gifted director, who will
be on hand to present his film and lead a question-and-answer session
after the screening. Program begins
at 7:00pm on Thursday, October 21
in Humanities Center 218.
Thursday, November 18

Born on the Fourth of July (1989)
Oliver Stone’s Born on the Fourth of July (1989) captures the essence of American
life for the post-World War II baby boomers who bore the brunt of the
Vietnam war. While the film
cannot explain the entirety of the war, it nevertheless provides a
window through which that understanding can begin.
Combat itself plays a small role in this movie.
Rather, it focuses on the life of Ron Kovic (Tom Cruise), who
enlists in the Marine Corps right after high school and who, on his
second tour in Vietnam, is paralyzed from the chest down by an enemy
bullet. As a young
enlistee, Kovic at first embraces at face value the conventional wisdom
of his America, a United States basking in its unprecedented power;
after his devastating injury, however, he begins to question its
self-image as a protector of freedom and a country whose ideals remained
unsullied by corruption and self-interest.
In his remarks before the screening, Dr. Phil Avillo, a professor
of history at York College, will discuss how Stone and Kovic confront a
myriad of issues surrounding the Vietnam War, including the American
arrogance, militarism, and materialism that fueled it, and show how they
grapple with the consequences of the war for the 58,000 Americans who
died in Vietnam and the hundreds of thousands wounded whose lives
paralleled at some level Kovic’s.
A question-and-answer session with Dr. Avillo will follow the
screening. Program begins at 7:00pm
on Thursday, November 18
in Humanities Center 218.
SPRING 2011
Thursday, February 17

Nacho Libre (2006)
Nacho Libre
(2006) is a comedy directed by Jared Hess and loosely based on the life
of Father Sergio Gutiérrez Benítez, a.k.a “Fray Tormenta”, a Mexican
Catholic priest who became a masked wrestler to support an orphanage
that he founded in Teotihuacan, Mexico.
Hess’s adaption, starring Jack Black as Brother Ignacio, a.k.a
“Nacho Libre,” blends tragedy and comedy as “Nacho” wrestles to provide
for his orphans and discover his existential place in a world of
poverty, wealth, violence, hope, and love.
While the film is in many regards a “stupid” and predictable
“Jack Black” comedy, Dr. Victor Taylor, York College professor of
philosophy and religious studies, argues that it offers an excellent
example of what the Slovenian philosopher Slavoj Žižek refers to as the
“comedy of Christianity,” a dialectical or ironic reversal in which
Christianity achieves its full expression in a Christ-centered atheism.
Dr. Taylor will outline his unique take on the film before the
screening and lead a question-and-answer session about it afterward.
Program begins at 7:00pm on Thursday, February 17
in Humanities Center 218.
Thursday, March 24

Alice in Wonderland (2010)
Everyone knows that in order to watch a film
adaptation as an adaptation, you have to know something about its
relation to the story or novel or comic strip it’s based on. But what
exactly do you have to know? Is it possible to watch an adaptation as an
adaptation even if you’ve never read the original? And if the adaptation
draws on a dozen earlier versions of a familiar story instead of a
single version, do the filmmakers really assume that you know every
earlier version? These are
questions that fascinate Dr. Tom Leitch, a professor of English at the
University of Delaware and the author of
Film Adaptation and Its
Discontents (Johns Hopkins University Press, 2009).
In a special appearance as part of the 2010-11 Humanities Film
Series, Dr. Leitch will use Tim Burton’s recent adaptation of
Alice in Wonderland (2010) to
test the hypothesis that you need to have read the book before you watch
the movie and stimulate a conversation about what kinds of background
knowledge filmgoers are most likely to have when they settle back with
their popcorn to enjoy a new film adaptation whose literary source they
may never have read. A
question-and-answer session will follow the screening.
Program begins at 7:00pm on Thursday, March 24 in Humanities Center 218.
Thursday, April 28
In Bruges (2008)
Irish playwright, screenwriter, and filmmaker Martin
McDonagh is no stranger to controversy. Although he has been
nominated for four Tony awards, two Academy Awards, and countless other
honors, many critics feel McDonagh is a sensationalist hack. Mary
Lockhurst, for example, has written that he is a "thoroughly
establishment figure who relies on monolithic, prejudicial constructs of
rural Ireland to generate himself an income." McDonagh's recent
move into the world of cinema prompted more backlash: Variety
labeled his feature film debut, In Bruges (2008), the tale of
two hit men (Colin Ferrell and Brendan Gleeson) on vacation in the
Belgian city of Bruges, "highly erratic," "far-fetched," and generally
"weak." In her presentation of the movie, Laura Eldred, a
professor of English at Lebanon Valley College, will connect In
Bruges with McDonagh's earlier work and present an argument for the
value of his unique aesthetic. In her view, the film is clearly an
outgrowth of McDonagh's previous work; however, his usual gothic
emphasis on the inescapable past, brutal violence, and family
dysfunction paves the way for some innovations--namely, a new interest
in the possibility of personal growth and redemption. A
question-and-answer session will follow the screening.
Program begins at 7:00pm on Thursday, April 28 in Humanities Center 218.
FALL 2009
Thursday, September 24

The Guatemalan Handshake (2006)
Filmed on location in
South-Central Pennsylvania, The
Guatemalan Handshake is the impressive feature film debut of
independent filmmaker, Todd Rohal.
It tells the story of the disappearance of a
small-town demolition derby driver, Donald Turnupseed (actor-musician
Will Oldham), who suddenly
vanishes after a massive power outage, setting into motion a surreal
series of events affecting his hapless father, his pregnant girlfriend,
a pack of wild boy scouts, a lactose-intolerant roller rink employee, an
elderly woman in search of her lost poodle, and his best friend: a
ten-year-old girl named Turkeylegs. Narrated by Turkeylegs as she
pieces together Donald's puzzling disappearance, Rohal's rural tapestry
explodes in unforgettable widescreen surprises: a woman attends her own
funeral, a childhood TV legend leaps from a cliff, the sun rises
sideways, and a bright orange electric car changes hands again and
again. Chaotically absurd with an underlying poignancy, these
droll vignettes come crashing together in a climactic demolition derby
that marks the exhilerating debut of an adventurous storyteller.
The Guatemalan Handshake
premiered at the Slamdance Film Festival in 2006, where it won the
Special Jury Prize; it has since been screened at well over a dozen
other film festivals internationally and has garnered high critical
praise.
Rohal himself has been named by
Filmmaker Magazine as one of
“25 New Faces of Independent Film.”
The Humanities Film Series is proud to
present the work of this talented director, who will be on hand to
present his film and lead a question-and-answer session after the
screening. Program begins at 7:00pm on Thursday, September 24
in Humanities Center 218.
Thursday, October 29
![[ BIG LEBOWSKI POSTER ]](MPW-9595.jpg)
The Big Lebowski (1998)
The Rocky
Horror Picture Show.
Donnie Darko.
Pink Flamingos.
Showgirls.
Eraserhead.
Napoleon Dynamite.
Plan 9 from Outer Space.
Dazed
and Confused.
Monty Python and the Holy Grail.
The Big Lebowski.
Although these movies were made in different eras, by different
directors, and in different genres, they have one thing in common: they
are all considered cult films.
Some of them were box office failures when they debuted, scorned
by general audiences and critics alike; others never received a proper
release, playing only as “midnight movies” in seedy downtown theaters or
on college campuses. Over
the years, however, they have all become famous--and in some cases
infamous--examples of offbeat, alternative cinema.
But what exactly makes a movie a cult film?
Does it have something to do with the characteristics of the
movie itself? Cult films
are often notable for their oddball qualities; compared to mainstream
movies, they are wild, wacky, weird, or just plain bad.
Or does it have something to do with how the movie is treated by
its audience? Cult films
often have extremely dedicated and enthusiastic fans, who regard them
with an almost religious reverence, watching and re-watching them
obsessively, quoting choice lines of dialogue, and even dressing up like
their favorite characters. Is it possible to define exactly what a cult film is?
To find out, York College film professor Dr. Ian Olney will
present a screening of one of the most popular cult movies in recent
memory: The Big Lebowski.
A truly strange picture that combines elements of the detective
movie, the western, the buddy film, the musical, and the stoner comedy,
it tells the story of Jeffrey Lebowski, aka “The Dude” (Jeff Bridges),
an aging ex-hippie living in early-1990s Los Angeles who--along with his
bowling buddies, the short-fused Vietnam vet, Walter (John Goodman), and
the timid, clueless Donny (Steve Buscemi)--becomes involved in a mystery
surrounding the kidnapping of a wealthy heiress.
Following the screening, Dr. Olney will lead a
question-and-answer session devoted to determining how and why this
movie can be considered a cult film.
Program begins at 7:00pm on Thursday, October 29
in Humanities Center 218.
Thursday, November 19

Human Canvas
An Evening with Emmy-Winning Make-Up Effects Artist Chris
Burgoyne
Were you moved by the sight of the aged and infirm
John and Abigail Adams at the end of the recent HBO mini-series devoted
to their lives? Were you horrified by Father Brennan's gruesome
death in the 2006 remake of The Omen? Were you thrilled
by the appearance of the fierce tribal warriors in the climactic scenes
of Indiana Jones and the Kingdom of the Crystal Skull? If
so, it was partly thanks to the work of Emmy-winning make-up effects
artist Chris Burgoyne and his team. Although we tend to think of
the director as the prime creative force behind a film, cinema is a
uniquely collaborative medium; artists like Burgoyne--using prosthetic
sculpting, molding, and casting techniques, along with other tricks of
the trade--play an important role in bringing the director's vision to
life on the screen and helping audiences to accept movie illusion as
reality. In a unique appearance as part of the 2009-10 Humanities
Film Series, Burgoyne will give a live make-up effects demonstration and
discuss photographs and clips of his work from the projects mentioned
above, as well as from Love in the Time of Cholera, Duma,
Last Holiday, CSI, ER, Little Britain USA,
and other film and television productions in which he has been involved
over the course of his career.
Program begins at 7:00pm on Thursday, November 19
in Humanities Center 218.
SPRING 2010
Thursday, February 18

Children of Men (2006)
The genre of science fiction often focuses on
imagining the future of humanity, or even whether humanity has a future.
It is precisely the uncertain future of humanity that is the premise of
Alfonso Cuaron's Children of Men; the film depicts a
near-future in which human beings can no longer reproduce. Because
of the impending end of the species, human society has become
increasingly violent, hopeless, and desperate. Though the film
presents a hyperbolic scenario, it is not wholly dissimilar to past
cultures' attempts to come to terms with the threat of smaller-scale
disasters. Such attempts to make sense of disasters frequently
lead to apocalyptic religious perspectives. Children of Men
may help us consider how and why humans have been attracted to
apocalypse throughout human religious history and, alternatively, to
consider the ways that religious perspectives may help us understand
contemporary fascinations with these dystopic visions. Dr. Christa
Shusko, a professor of religious studies at York College, will introduce
the film and lead question-and-answer session after the screening.
Program begins at 7:00pm on Thursday, February 18
in Humanities Center 218.
Thursday, March 18
**DATE CHANGE**


From the Gallery to the Cinema
Avant-Garde Art and Experimental Film in the 1920s
Fernand Léger.
Man Ray. Paul Strand.
Marcel Duchamp. Salvador Dalí.
These men
were some of the most important and influential avant-garde artists of
the 1920s; indeed, their groundbreaking contributions to painting,
photography, sculpture, and assemblage helped to define this key era in
the history of twentieth-century art.
Lesser known, however, is the fact that they were also
accomplished filmmakers who made equally vital contributions to
experimental cinema at the same time.
In the final event of the 2009-10 Humanities Film Series, Dr.
Pamela Hemzik, a professor of art at York College, will trace the path
taken by Léger, Ray, Strand, Duchamp, and Dalí from the gallery to the
cinema during the 1920s, comparing and contrasting famous works of art
they created over the course of this pivotal decade with the films that
they made concurrently: Ballet
Mécanique, Le Retour à la Raison, Manhatta,
Anémic Cinéma,
and Un Chien Andalou, among
them. After her talk, Dr.
Hemzik will also lead a question-and-answer session focusing on, among
other things, the influence that these films continue to have on
contemporary world cinema.
Program begins at 7:00pm on Thursday, March 18
in Humanities Center 218.
Thursday, April 29
**DATE CHANGE**

What Makes a Successful TV Show?
An Evening with Writer/Producer Chad Gervich
People often marvel at which shows survive on TV and
which don't. And even more curiously--which shows become hits and
which don't. Why does According to Jim last eight seasons
and Arrested Development barely survive three? If anyone
knows, it's Chad Gervich. Gervich is a television producer, book
author, and playwright. As a writer and producer, he has worked on
numerous scripted and reality shows for both TV and the Internet,
including Foody Call on Style, Celebrity Drive-By for
E!, Wig Out for Warner Brothers, Spellbound for the
Weinstein Company, Speeders for TruTV, and
Reality Binge for Fox.
As an executive at the Littlefield Company/Paramount Television, he
helped develop and maintain series and pilots for ABC, NBC, CBS, FOX,
UPN, and the WB. He is the author of the bestselling TV-writing
guide, Small Screen, Big Picture
(Random House, 2008), and he writes for Writers Digest and Daily
Variety. In a unique appearance as part of the 2009-10 Humanities
Film Series, Gervich will break down the creative elements of successful
TV shows and examine how they're different from other forms of
storytelling--like film, online entertainment, even novels--and why
networks and studios develop the shows they do. He will discuss
current shows like The Mentalist, Lost, and Grey's
Anatomy, as well as classics like Friends, The Cosby
Show, and I Love Lucy, and talk about why some succeed and
others fail--and how you can use this information to think of your own
hit show ideas. Program begins at 7:00pm on Thursday, April 22
in Humanities Center 218.
FALL 2008
Thursday, September 25

Home (2008)
York, Pennsylvania has long been the quintessential, salt-of-the-earth
American town, touting a proud cultural, architectural and industrial
history. But after a steady migration to the suburbs that began in the
1950s, poverty, crime and blight have become the city’s current hallmarks,
straining its finances, tarnishing its image and demoralizing its
citizenry. In the midst of these challenges, some have sought a
revolution in York--an economic revolution. When municipal, county and
area business leaders unveiled a plan to level part of a low-income,
residential neighborhood and build a minor league stadium, promising it to
be the catalyst behind millions in urban redevelopment, who could argue?
But what happened to those who lived in this neighborhood and made way for
the stadium? Houses are built with wood and nails, brick and mortar.
Homes, however, are built over time with family and memories; they are
deeply associated with our sense of self and security. How are these
intangible values assessed when one is compelled to move? In order to
find out, Brian Plow, an Assistant Professor of Electronic Media and Film
at Towson University, produced and directed Home (2008), a
documentary that examines the story of baseball, urban redevelopment and
the human cost of bringing them to York. The Humanities Film Series is
proud to present the York premiere of Home, with a special
introduction by Mr. Plow. A question-and-answer session will follow the
screening.
Program begins at 7:00pm on Thursday, September 25
in Humanities Center 218.
Wednesday, October 22

Halloween Magic-Lantern Show and "Cinema Before Film" Lecture
In conjunction with the Division of Art at York College, the Humanities
Film Series is pleased to present a performance by the American
Magic-Lantern Theater. Travel back in time with the boisterous fun of
America’s only Victorian magic-lantern show. An authentic 1890s visual
extravaganza projected on a full-sized screen--the kind of show that led
to the movies! Spooktacular Halloween stories like Poe’s The Raven,
bizarre animated comedy and outrageous songs--all dramatized on screen by
a live showman and singer/pianist. The audience participates in the fun,
creating sound effects and joining in chants and hilarious sing-alongs
like The Worm Crawls In. Plus, following the show, there will be
an illustrated lecture about the history and cinematic techniques of the
Magic Lantern. For 16 years, the American Magic-Lantern Theater has
delighted audiences from Lincoln Center to Singapore. “What a hoot!”
says NEED. “You’ll be enthralled,” says The Family
Adventure Guide to Connecticut. But National Public Radio says it
best: “It’s an incredible experience . . . Don’t miss them. They’re a
living national treasure!” For adults and children ages 6 and up.
Program begins at 7:00pm on Wednesday, October 22
in the Collegiate Performing Arts Center.
Thursday, November 20

Catch Me if You Can (2002)
Music is a
key ingredient of cinema; all too often, however, we overlook its
importance when we watch movies. Consider the case of Steven
Spielberg's chase thriller, Catch Me if You Can (2002). Based
on a true story, Spielberg's film stars Leonardo DiCaprio as Frank
Abagnale, Jr., the youngest con artist on the FBI's 10 Most Wanted List
during the 1960s. Starting at the tender age of 16, Abagnale began a
five-year string of impersonations and forgeries. He went by countless
aliases, but the FBI agent trailing him (played in the film by Tom Hanks)
knew him as the Skywayman. Abagnale managed to use his skills to cash in
on millions of dollars. He took on such identities as an airline pilot, a
doctor, a professor, and even an assistant attorney general. The success
of the film owes much to the musical score composed by longtime Spielberg
collaborator John Williams. Williams, in a departure from his usual
symphonic style of movie composition, offers an unusual jazz-inspired
score featuring a saxophone soloist in many of the music cues.
Indeed, not since Henry Mancini's Pink Panther theme has the
saxophone played such a major role in a film score. Here, it
effectively evokes the 1960s, while helping the movie to walk a delicate
line between drama and comedy. Susan Loy, a professor of music at
York College, will introduce Catch Me if You Can, discussing in
more detail how the film uses music to help create tone and define
settings, characters, and themes. A question-and-answer session will
follow the screening.
Program begins at 7:00pm on Thursday, November 20
in Humanities Center 218.
SPRING 2009
Thursday, February 19

Miss Evers' Boys (1997)
In 1932, the United States government started a medical program to treat
black men for syphilis at the Tuskegee Institute, which housed the South’s
only black hospital. Funding for the program was soon cut, but money was
made available to continue a study of the effects of untreated syphilis in
black men to determine if blacks and whites were similarly affected by the
disease. The Tuskegee Study of Untreated Syphilis in the Adult Male Negro
was poorly designed, had no real oversight, and continued despite advances
in medicine, changes in research protocol, World War II, penicillin’s
development, and the increasing pressure for civil rights. The program
was in place until 1972, when it was finally exposed to the public. Today
the study is considered one of the worst moments in the history of
American medicine. It produced few, if any, valuable scientific insights,
but it was instrumental in the birth of medical ethics and increased
concern for welfare of all study participants. In 1992, this story was
dramatized by David Feldshuh in his play, Miss Evers’ Boys, which
used as its inspiration the long-time participation of Nurse Eunice Rivers
in the Tuskegee Study. In 1997, Feldshuh’s play was turned into an Emmy-
and Golden Globe-award-winning HBO film starring Alfre Woodard and
Laurence Fishburne. In honor of Black History Month, Dr. Rory Kraft, a
professor of philosophy at York College, will introduce the film and
discuss the role of the Tuskegee Study and other landmark events in the
formation of medical ethics as a legitimate discipline. A
question-and-answer session will follow the screening.
Program begins at 7:00pm on Thursday, February 19
in Humanities Center 218.
Thursday, March 26
![[ TAMING OF THE SHREW POSTER ]](b70-6919.jpg)
The Taming of the Shrew (1967)
Shakespeare’s early farcical comedy
The Taming of the Shrew
(1592-4) has been popular for over 400 years. Beyond very different stage
versions over the centuries, the play has spawned a musical, Kiss Me
Kate (1953), and a recent teen film, 10 Things I Hate about You
(1999). Moreover, Shakespeare’s staged battle of the sexes has been
interpreted in a variety of ways: as an example of patriarchal misogyny,
as an expression of companionate marriage recommended by early-modern
Protestantism, as a proto-feminist play in which a smart and independent
woman gets her way, and as the triumph of mutual love over both
psychological insecurities and confining social conventions. In the
turbulent 1960s, two recently married global stars--Shakespearean actor
Richard Burton and Hollywood beauty Elizabeth Taylor--asked Franco
Zeffirelli, Italian opera, stage, and film director, to direct their
cinematic production of Shakespeare’s The Taming of the Shrew
(1967). The film went on to gross twice its budget in the USA and three
times worldwide; it was also nominated for two Oscars and two Golden
Globes. Interestingly, however, it featured many additions, cuts, and
changes to the Bard’s comedy, all of which resulted in a surprising new
interpretation of the play. In his introduction to the film, Dr. David
Kranz, Dickinson College Professor of English and Film Studies, will
compare the source text and the film adaptation, outlining the dramatic
and cinematic ways in which Zeffirelli represented his interpretation of
Shakespeare’s comedy to twentieth-century filmgoers. A
question-and-answer session will follow the screening.
Program begins at 7:00pm on Thursday, March 26
in Humanities Center 218.
Thursday, April 23

The Black Maria Film Festival
The Black Maria was
the world’s first motion picture studio. It was built in West Orange, New
Jersey in 1893 by Thomas Edison to facilitate the production of the
earliest moving images known to the public. Edison’s motion picture
technology allowed previously unimagined expressive possibilities and
freed creative individuals to interpret and represent--and audiences to
experience--the world as never before. It is this pioneering and
adventuresome spirit of innovation and pursuit of fresh, insightful,
passionate, and diverse independent filmmaking that originally inspired
the Black Maria Film and Video Festival. Since 1981, this annual
festival, an international juried competition and award tour, has been
fulfilling its mission to advocate, exhibit and reward cutting edge works
from independent film and videomakers. The festival is known for its
national public exhibition program, which features a variety of bold
contemporary works drawn from the annual collection of 50 award winning
films and videos. The York College Humanities Film Series is proud to
host a selection of short films from the 2009 Black Maria Film and Video
Festival. The program will be introduced by the Festival’s Director, who
will also lead a question-and-answer session after the screenings.
Program begins at 7:00pm on Thursday, April 23
in Humanities Center 218.
FALL 2007
Thursday, September 27

The Films of Jay Rosenblatt
The 2007-08 Humanities Film Series will open with the presentation of two
critically-acclaimed films made by Jay Rosenblatt, a veteran independent
director described by the San Francisco Chronicle as a “major
artist” whose films exhibit a “deep, unfeigned and unmistakable respect
for life in its many forms.” Human Remains (1998) is a haunting
documentary that illustrates the banality of evil by creating intimate
portraits of five of this century’s most reviled dictators: Hitler,
Mussolini, Stalin, Franco and Mao. Though based on historical figures, Human Remains is contemporary in its implications and ultimately
invites the viewer to confront the nature of evil. King of the Jews
(2000) is a film about fear and transcendence. Utilizing Hollywood movies,
1950s educational films, personal home movies and religious films spanning
the history of cinema, the filmmaker depicts his childhood fear of Jesus
Christ. These childhood recollections are a point of departure for larger
issues, including the roots of Christian anti-Semitism and the need for
forgiveness and healing. Director Jay Rosenblatt will introduce his films
and lead a question-and-answer session after the screenings.
Program begins at 7:00pm on Thursday, September 27
in York College's Humanities Center Film Viewing Room.
Friday, September 28

A Lecture by Film Critic Jonathan Rosenbaum
The New Film Criticism and
the New Cinephilia: Paradigmatic Shifts
In a recent
New York Times article, A.O. Scott questioned whether
film criticism still matters in an age where, in spite of almost
universally negative reviews, Hollywood movies like Pirates of the
Caribbean: Dead Man’s Chest and The Da Vinci Code gross
millions of dollars at the box office, while critically-praised arthouse
and foreign cinema fails to find an audience. At the same time, other
commentators maintain that film criticism is undergoing a renaissance,
thanks largely to the platform that the internet has provided to amateur
critics.
Jonathan Rosenbaum argues, however, that current claims that film
criticism is becoming extinct, and counter-claims that it’s entering a new
golden age, miss the point. We should instead be focusing on how the
fundamental changes in the way we now watch movies necessitate entirely
different critical perspectives. Today, when someone says, “I just saw a
film,” we don’t know whether this person saw something on a large screen
with hundreds of other people or alone on a laptop--or whether what he or
she saw was on film, video, or DVD, regardless of where and how it was
seen. We’re living in a transitional period where enormous paradigmatic
shifts should be engendering new concepts, new terms, and new kinds of
analysis, evaluation, and measurement, not to mention new kinds of
political and social formations, as well as new forms of etiquette. In
most cases, however, we’re stuck with vocabularies and patterns of
thinking that are still tied to the ways we were watching movies half a
century ago. In his talk, Mr. Rosenbaum will map out the possible
directions that a new film criticism and a new cinephilia might take.
Jonathan Rosenbaum is widely recognized as one of the most important
voices in contemporary American film criticism and an outspoken champion
of world cinema produced outside the commercial mainstream. He is the lead
film critic for the Chicago Reader and has authored many books on
film, including Movie Wars: How Hollywood and the Media Limit What
Films We Can See (A Cappella Books, 2002); Essential Cinema: On the
Necessity of Film Canons (Johns Hopkins University Press, 2004), and,
most recently, Discovering Orson Welles (University of California
Press, 2007). The lecture is free and open to the public. No tickets or
reservations are required.
Program begins at 7:00pm on Friday, September 28
in York College's Humanities Center Film Viewing Room.
Thursday, October 25

A Special Screening Hosted by Film Professor Ray Carney
Honoring the Legacy of Beat Cinema
In honor
of the 50th anniversary of the publication of Jack Kerouac's Beat
Generation masterpiece On the Road, Ray Carney, Professor of Film
and American Studies at Boston University, will be re-creating one of
the major artistic events of the Beat movement. John Cassavetes'
Shadows and Robert Frank and Alfred Leslie's Pull My Daisy
were originally given their world premiere screenings on a double bill
at Amos Vogel's Cinema 16 in New York on November 11, 1959. The two
films have seldom or never played together on the same program since
then. Now, almost a half century later, they will be brought together
again. Professor Carney will introduce the screening and briefly discuss
the Beat Movement.
Professor
Carney co-curated the Whitney Museum of American Art's Beat Culture
and the New America 1950-1965 show, is the author of more than ten
books on film and other art, and manages the largest non-commercial web
site in the world devoted to the art of film (at
www.Cassavetes.com).
Thursday, November 15

An Inconvenient Truth (2006)
An Inconvenient Truth
(2006), one of the most widely-seen and discussed documentaries in recent years,
presents Al Gore’s campaign to make the issue of global warming a recognized
problem worldwide. Intertwining simple but harrowing statistics with personal
reflections, Gore explains that the tools and methods to reverse the damage we
have done are at hand and that the economic consequences of tackling the problem
are positive rather than negative. This documentary helped to open a national
dialogue about the scientific evidence underlying climate change and the
observation that our warming world is impacting physical and biological systems.
Dr. Keith Peterman, a chemistry professor at York College, addresses issues
associated with climate change in his courses and has participated in field
studies related to climate change in the tropics and the artic. He will
introduce An Inconvenient Truth by discussing a case study of species
impact due to climate change observed by York College students during a recent
field study in the cloud forests of Costa Rica. A question-and-answer session
will follow the screening. Program begins at 7:00pm on Thursday, November 15
in York College's Humanities Center Film Viewing Room.
SPRING 2008
Thursday, February 14

Killer of Sheep (1977)
Killer of Sheep (1977) examines the black Los Angeles ghetto of
Watts in the mid-1970s through the eyes of Stan, a sensitive dreamer who
is growing detached and numb from the psychic toll of working at a
slaughterhouse. The film offers no solutions; it merely presents
life--sometimes hauntingly bleak, sometimes filled with transcendent joy
and gentle humor. It was directed by independent African-American
filmmaker Charles Burnett on location in Watts over a series of weekends
on a budget of less than $10,000, most of which was grant money. Finished
in 1977 and shown sporadically, its reputation grew and grew until it won
a prize at the 1981 Berlin International Film Festival. Since then, the
Library of Congress has declared it a national treasure and the National
Society of Film Critics selected it as one of the “100 Essential Films” of
all time; it was also released theatrically for the first time in 2007 and
received rapturous reviews from critics around the country. Most people,
however, have never heard of this important film or its director. In
celebration of Black History Month, York College film professor Dr. Ian
Olney will present Killer of Sheep, making a case for its
historical importance and artistic value. A question-and-answer session
will follow the screening.
Program begins at 7:00pm on Thursday, February 14
in York College's Humanities Center Film Viewing Room.
DATE CHANGE!
Wednesday, March 19

Dodo (2006)
An alternately harrowing and hilarious autobiographical documentary about
growing up in a dysfunctional family in Western Pennsylvania, Dodo
(2006) charts the emotionally-strained relationship between director Bob
Golub and his late father, a domineering and abusive alcoholic nicknamed
“Dodo.” Golub, an actor and stand-up comedian by profession (he has
appeared as a comic on The Tonight Show and Comedy Central,
and his credits as an actor include Goodfellas and Art School
Confidential), first conceived Dodo as a one-man stage
production, which he performed live in theaters around the country.
Encouraged by the positive reviews garnered by the show, he decided to
transform it into a film, drawing on home movies of his family that he
made as a teenager and combining them with newly-shot footage of the town
where he grew up, as well as excerpts from his comedy routines and the
one-man performance piece, interviews with himself and others, and scenes
from an unfinished dramatic movie based on his life. The result is a
powerful and often very funny portrait of family dysfunction and its
consequences that has won widespread audience praise and critical
recognition--most recently at the Pittsburgh Film Festival, where Dodo
was awarded the prize for Best Documentary. Director Bob Golub will
present his film and lead a question-and-answer session after the
screening.
Program begins at 7:00pm on Wednesday, March 19
in York College's Humanities Center Film Viewing Room.
Thursday, April 17

A Scanner Darkly (2006)
On one level a cautionary drug tale,
A Scanner Darkly (2006) is
also a paranoid fantasy of life in a 21st century surveillance culture in
which the distinctions between reality and fantasy and self and other are
melted away in a pharmacological and technical mélange. Richard
Linklater’s film, based on Philip K. Dick’s novel of the same name,
employs a unique rotoscoping technique to give form to Dick’s trenchant
observation that “so-called ‘reality’ is a mass delusion that we’ve all
been required to believe for reasons totally obscure.” Dr. Dennis Weiss, a
professor of philosophy at York College, will introduce A Scanner
Darkly and situate it in Dick’s fictional and film oeuvre.
Program begins at 7:00pm on Thursday, April 17
in York College's Humanities Center Film Viewing Room.
FALL 2006
Tuesday, September 12

City of Hope (1991)
Almost fifteen years before the release of the recent, Oscar-winning
Crash
(2005), John Sayles's searing independent film, City of Hope (1991),
dramatized the racial, economic, and political tensions simmering in
contemporary urban America by chronicling the ways in which the lives of a large
cast of socially-diverse characters intertwine in a fictional New Jersey city.
Weaving together their stories in a way that challenges stereotypes and defeats
the viewer's expectations, Sayles creates a rich and compelling tapestry that
remains provocative today for its insights into the fractiousness of modern-day
social relations in the United States. Dr. Jack Ryan, a professor of
English at Gettysburg College and the author of John Sayles, Filmmaker
(McFarland, 1998), will introduce the film and lead a question-and-answer
session after the screening.
Program begins at 7:00pm on Tuesday, September 12
in York College's DeMeester Theatre.
Tuesday, October 24


Rough Cut (2005)
Rough Cut
(2005), an independent documentary directed by native Pennsylvanian Todd Klick,
demonstrates once again that truth is stranger than fiction. On January
10, 2003, a woman was found murdered in her East Pennsboro Township home.
Eight months earlier, an independent horror film was shot on the nearby
Appalachian Trail. How did these two events tie together? Rough
Cut explores the twisted tale of two young filmmakers who had a dream of
making a horror movie and the bizarre events that followed. Director Todd
Klick will introduce his film and lead a question-and-answer session after the
screening.
Program begins at 7:00pm on Tuesday, October 24
in York College's DeMeester Theatre.
Tuesday, November 14

Butterfly (1999)
Set in rural Spain in 1936, Jose Luis Cuerda's
Butterfly (1999) tells the
story of a young schoolboy who forms a special bond with his teacher, a crusty
old man who, despite his fearsome reputation among his pupils, takes the boy
under his wing and teaches him to appreciate literature and nature. The
boy's idyllic education is interrupted, however, by the outbreak of the Spanish
Civil War, which teaches him real-life lessons about political persecution,
discrimination, religious hysteria, and the terror of war. Dr. Cindy
Doutrich, a professor of Spanish at York College, will introduce the film and
lead a question-and-answer session after the screening.
Program begins at 7:00pm on Tuesday, November 14
in York College's DeMeester Theatre.
SPRING 2007
Tuesday, February 6
![[ TRAIN OF LIFE POSTER ]](A70-7658.jpg)
Train of Life (1998)
Radu Mihaileanu's comic fable,
Train of Life (1998), tells the story of
the inhabitants of an Eastern European Jewish village who discover, in the
summer of 1941, that their shtetl is about to be invaded by German troops.
To avoid being sent to the death camps, the villagers decide to fake their own
deportation by masquerading as a group of Nazi soldiers and Jewish prisoners,
and embarking on a wild train ride towards the Russian border and the promise of
freedom. Dr. Kay McAdams, a professor of history at York College, will
introduce the film and lead a question-and-answer session after the screening.
Program begins at 7:00pm on Tuesday, February 6
in York College's DeMeester Theatre.
Tuesday, March 13
![[ GOOD NIGHT, AND GOOD LUCK POSTER ]](MPW-15858.jpg)
Good Night and Good Luck (2005)
George Clooney's recent, Oscar-winning film,
Good Night and Good Luck
(2005), recreates a crucial chapter in twentieth-century American history when
acclaimed CBS journalist Edward R. Murrow took to the airwaves in a personal,
patriotic crusade to challenge the infamous anti-Communist witch-hunt being
conducted by Senator Joseph McCarthy in the mid-1950s. Although the events
depicted in the film take place fifty years in the past, its observations about
the importance of an unfettered press to a free, open, and democratic society
are timelier now than ever. Dr. Jill Craven, a professor of film at
Millersville University, will introduce the film and lead a question-and-answer
session after the screening.
Program begins at 7:00pm on Tuesday, March 13
in York College's DeMeester Theatre.
Tuesday, April 17

Short Films: Tracks (2005) and Civil War (2006)
The 2006-07 Humanities Film Series ends with two independent short films
directed by native Pennsylvanian C.C. Webster. Tracks (2005),
winner of the award for best short film at the 2005 Quittapahilla Film Festival,
tells the story of an environmental science teacher who inherits an old car from
her estranged father. She plans to get rid of the unwanted gift as quickly
as possible, but finds this surprisingly hard to do when it keeps giving her
pieces to a puzzle about the man she thought she wanted to forget. Civil War (2006), a short film sponsored by the Lifetime cable television
channel, tells the story of a mutiny that happens between a group of 13-year-old
girls on a field trip to the battlefield of Gettysburg, focusing on the harsh
cruelty of young women towards each other. Director C.C. Webster will
introduce her short films and lead a question-and-answer session after the
screenings.
Program begins at 7:00pm on Tuesday, April 17
in York College's DeMeester Theatre.
FALL 2005
Thursday, September 22
![[ VERY LONG ENGAGEMENT POSTER ]](MPW-11414.jpg)
A Very Long Engagement (2004)
The most recent film by Jean-Pierre Jeunet, the
director of the international smash-hit
A Very Long Engagement tells the World War I story of a young
woman named Mathilde (played by Amelie star Audrey
Tautou) who receives news that her fiancé, Manech (Gaspard Ulliel), has
been killed in the Battle of the Somme. Refusing to believe that Manech
is truly dead, Mathilde, who walks with difficulty because of a childhood
case of polio, resolves to find him, embarking on a journey that is by
turns whimsical and horrific. In his introduction to the film, York
College Professor Ian Olney, who teaches and has written extensively about
European cinema, will discuss what
A Very Long Engagement
tells us about the current state of filmmaking in Europe. For the
American moviegoing public, European film has long been synonymous with
challenging “art cinema”: the opposite of the mainstream, commercial fare
produced by Hollywood. This may no longer be the case, however, as the
growing popularity of European movies like A Very Long Engagement—a
very expensive film, largely financed by Warner Brothers, that tells an
epic story with state-of-the-art digital effects and a cast of
international stars including Audrey Tautou and Jodie Foster—would seem to
indicate. A question-and-answer session led by Professor
Olney will follow the screening.
Program begins at 7:00pm on Thursday,
September 22 in York College's DeMeester Theatre.
Thursday, October 27

France Divided (2002)
France Divided, a complex and compelling
documentary produced, directed, and authored by Eileen M. Angelini, Ph.D.,
and Barbara P. Barnett, M.A., explores the two sides of France during
World War II. Both collaborators and resisters are seen through the eyes
of seven French people: a Holocaust survivor, three hidden children, two
historians (including Serge Klarsfeld) and leader of the French Resistance
Lucie Aubrac. Each interviewee presents a very different account of the
times by virtue of his or her personal experiences. Also included are the
historic public apologies of the French government and the Catholic
Church. In her introduction to the film, Philadelphia University
Professor Eileen Angelini, who co-authored, co-directed, and co-produced
France Divided, will discuss the impact that her study of French
complicity with and resistance to the Holocaust has had on her teaching
and share anecdotes of her experience making the documentary. A
question-and-answer session led by Professor Angelini will follow the
screening. Program begins at 7:00pm on
Thursday, October 27 in York College's DeMeester Theatre.
SPRING 2006
Thursday, March 16

The Women (1939)
Before
there was Sex in the City, there was The Women. George
Cukor's wickedly funny comedy of manners tells the story of a
happily-married socialite, Mary Haines (Norma Shearer), who discovers that
her husband is having an affair with a gold-digging perfume salesgirl
(Joan Crawford). At the urging of her acerbic best friend, Sylvia
(Rosalind Russell), whose marriage is also on the rocks, Mary travels to
Reno to get a divorce; however, while waiting with a group of
similarly-minded women at a dude ranch outside of Reno for her divorce to
become final, Mary has a change of heart and decides to fight for her
marriage. In her introduction to the film, York College professor
Colbey Emmerson Reid, who teaches and has written extensively about the
intersection of cultural, literary, and cinematic sophistication in the
first half of the twentieth century, will discuss the feminization of the
American public sphere during that era, explaining how, in Cukor's classic
Hollywood comedy, the techniques of gossip, flirtation, and deception
undermine the distinction between public and domestic spheres, and showing
how such strategies turn marriage and the home into sites of important
modernist experimentation. A question-and-answer session led by
Professor Reid will follow the screening.
Program begins at 7:00pm on Thursday, March
16 in York College's DeMeester Theatre.
Thursday, April 6
![[ ALL OR NOTHING POSTER ]](MPW-3426.jpg)
All or Nothing (2002)
This quintessentially representative film by Mike Leigh, the director of
the recent, Oscar-nominated film, Vera Drake (2004), takes a
documentary-like look at the fragility of working-class family life and
love in a drab South London high-rise housing project or “sink” estate.
It concentrates, after provocatively hinting at a number of potential
plotlines, on the disintegrating relationship between a taxi driver
(Timothy Spall) and his common-law spouse (Lesley Manville) and their
nearly-grown children. These are characters, played by screen newcomers
and superb veteran Leigh performers, too lethargic or afraid to ask for
love despite their immense need for it. A family emergency provides a
catalyst for the renewal of shared affection and trust. In his
introduction to the film, York College Professor Emeritus Edward Jones,
author of All or Nothing: The Cinema of Mike Leigh (Peter Lang,
2004), will discuss the director’s collaborative working methods and draw
attention to some of the cinematic means Leigh uses to achieve his
distinctive tragicomic effects. This film clearly demonstrates the
humanistic intimacy that comprises the art and power of Mike Leigh as a
world-class filmmaker. A question-and-answer session led by Professor
Jones will follow the screening. Program begins at 7:00pm on Thursday, April 6 in York College's DeMeester
Theatre.
If you have further questions about the Humanities Film Series, please contact Dr. Ian Olney at
iolney@ycp.edu or visit his web page at
http://goose.ycp.edu/~iolney.
