Film and Media Studies MA Event Archive

November 2

Cinema’s World Migration Pattern: Two Day Student Symposium

Dodge Hall 507 & Dodge Hall 511 1:30 PM

“A Still-frozen Fraternity: Transnational Film Histories between India and China,” Keynote Speaker, Nitin Govil, University of Southern California


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October 5

Foucault at the Movies: What Films Do to Knowledge | Fall 2018

Dodge 507 4:30 PM

Presented by: Film and Media Studies, Columbia University School of the Arts  Please join us for a talk by Dork Zabunyan, Professor of Film Studies, University of Paris — 8 Co-author, Foucault at the Movies (Columbia University Press, 2018) Reception and book-signing will follow.


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April 10

'Columbia Revolt' at 50: Remembering the Radical Film and its Moment | Spring 2018

KOB Screening Room
Lenfest Center for the Arts 6:30 PM

After the 1968 campus anti-war protests, Columbia Revolt, the documentary shot by members of the New York Newsreel, the activist filmmaker collective, became legendary. In commemoration of that moment on the Columbia campus, the School of the Arts screened the original film and talk with former students and filmmakers. SOA would like to thank Third World Newsreel, in operation since 1967, for their help with this program.


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November 30

The Tableau Vivant - Across Media, History, and Culture | Fall 2017

Locations vary 7:30 PM

November 30, 2017 - December 2, 2017 Organized by the Columbia University MA in Film and Media studies, Deutches Haus, The Department of Theatre at Barnard College, and the Heyman Center for the Humanities, and Flanders Government Delegation in the USA. 


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November 27

Film Heritage Beyond the Digital Turn | Fall 2017

Room 511, Dodge Hall 6:00 PM

A Public Lecture with Giovanna Fossati, Chief Curator, EYE Filmmuseum Professor of Film Heritage and Digital Film Culture, University  of Amsterdam, The Netherlands  Giovanna Fossati is author of From Grain to Pixel: The Archival Life of Film in Transition (Amsterdam University Press, 2009) and co-author, The Fantasia of Color in Early Cinema (EYE Filmmuseum/Amsterdam Univ. Press, 2015).


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October 1

Facebook Society: Losing Ourselves in Sharing Ourselves | Fall 2018

Dodge Hall 605 5:00 PM

Roberto Simanowski, Scholar of Media and Cultural Studies based on Basel and Rio Author, Facebook Society: Losing Ourselves in Sharing Ourselves (Columbia University Press, 2018), Data Love (Columbia University Press, 2016) Presented by Columbia University, MA in Film and Media Studies, School of the Arts


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October 28

Genre and Other Repetitions with Difference | Fall 2017

Room 507, Dodge Hall
2960 Broadway
New York, NY 10027 10:00 AM

One-Day Student Symposium Various schedules events: Student panels: 10:00 am - 12:30 pm / 2:45 - 6:00 pm “A New Operational Aesthetic: Comparing Silent Film and Video Games”: 1:30 pm Keynote Speaker, Professor Manuel Garin Department de Comunicació Universitat Pompeu Fabra, Barcelona MA program in Film and Media studies, School of the Arts, Columbia University


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April 6

Silent Matinees: Another Avant-Garde | Fall 2017

Dodge Hall, 2960 Broadway, New York, NY 10027 Room 511 Time: 12:00 PM

Professor Vito Adriaensens presents a five-part silent cinema matinee series with live music by Belgian jazz musician Adriaan Campo and friends. In this final installment, we dive into a lesser-known avant-garde with a stunning cinematic adaptation of Belgian Nobel Prize Maurice Maeterlinck’s Symbolist play The Blue Bird, in which two poor children travel to strange fairytale lands to search for the blue bird of happiness, accompanied by a motley crew of household characters.


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March 30

Silent Matinees: American Slapstick | Spring 2017

Dodge Hall, 2960 Broadway, New York, NY 10027 Room 511 Time: 12:00 PM

Professor Vito Adriaensens presents a five-part silent cinema matinee series with live music by Belgian jazz musician Adriaan Campo and friends. The fourth part is dedicated to the pitfalls and pratfalls of four of America’s best silver screen comedians. Buster Keaton outdoes Mary Pickford by performing not one but all roles in The Play House. Harold Lloyd conquers skyscrapers and death in Never Weaken. Charley Chase and his wife cheat on each other with each other in Mighty Like a Moose. And the outlandish genius Charley Bowers tells a tall tale with stop motion in Now You Tell One.


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March 2

Silent Matinees: A Star is Born | Spring 2017

Dodge Hall, 2960 Broadway, New York, NY 10027 Room 511 Time: 12:00 PM

Professor Vito Adriaensens presents a five-part silent cinema matinee series with live music by Belgian jazz musician Adriaan Campo and friends. In this third screening, come marvel at the talents of one of the world’s first international super stars, Mary Pickford. Modern technology is put to shame in Stella Maris, as Pickford tackles not one but two main roles in this touching pictorial drama. Be sure to bring your hankies!


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October 13 - 28

Filming at the Borders: Migrating to Europe Today | Fall 2016

Buell Hall, East Gallery Time: 3:45 PM

A special film series curated by Nora Philippe and presented by the Columbia Maison Française. Full list of films, dates, times, and respondents available here. Co-sponsors at Columbia University are the Columbia Maison Française, European Institute, the European Union's Getting to Know Europe Program, School of the Arts, MA in Film Studies – School of the Arts, Columbia Center for Contemporary Critical Theory, Heyman Center for the Humanities, Alliance Program, Institute for the Study of Human Rights, Institute of African Studies, and Columbia Global Centers – Europe.


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June 29

From Real to Surreal: Flemish Artists, Belgian Cinema 1910s – 1980s

Dodge Hall, room 511 Time: 6:00 PM

Though a Frenchman, Alfred Machin was responsible for kickstarting both Belgian and Dutch cinema. Charles Pathé sent him to the Low Countries to start two production companies that would make beautiful use of the local landscapes, Belge-Cinéma Film and Hollandsche Film. We will be showing his classic anti-war film, Maudite Soit la Guerre (War is Hell; 1914), a silent pacifist masterpiece in beautiful color that actually anticipated World War I by a few months. Machin made very good use of Flemish landscapes and iconic Flemish and Dutch windmills in his films, as is the case in this film, often shooting close to the city of Ghent. The feature will be preceded by a slapstick short that has Machin’s pet panther Mimir – the star of many of his films - steal one of Belgium’s most iconic monuments in Saïda a enlevé Manneken Pis (1913).


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March 6

From Real to Surreal: Flemish Artists, Belgian Cinema 1910s – 1980s Il court, il court, le monde, Falsch | Spring 2016

Dodge Hall, room 511 Time: 7:30 PM

fter the critical success that Belgian cinema enjoyed in the 1960s and 1970s, it was not until the late 1990s that a true revival occurred. It were two brothers from the south, Jean-Pierre and Luc, that put Belgium on the map again. The Dardenne brothers already started making documentaries in the late 1970s, but it wasn’t until they turned their socio-politically oriented efforts on to feature length fiction filmmaking that international recognition started following. Their first big success was La Promesse (1996), incorporating all the trappings that the brothers would become famous for: a rawly realistic focus on the socio-economic situation of young adults in Wallonia shot in a handheld aesthetic. Their first fiction efforts were markedly different, however. With the short Il court, il court, le monde (1987) the brothers wink to the Futurists and the hectic pace of the modern world. In their first feature fiction film Falsch (1987), a theatrical and absurdly expressionist piece, a Jewish man arrives at the Ostend airport only to be confronted with family members that lost their lives in the concentration camps.


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February 28

From Real to Surreal: Flemish Artists, Belgian Cinema 1910s – 1980s | Spring 2016

Dodge Hall, room 511 Time: 6:00 PM

In the late 1940s, Belgium saw a return of the surreal, though one can argue that it never really went away. Flemish authors Johan Daisne and Hubert Lampo spearheaded the magical realism movement and cinematic adaptations of their work required a director with a feel for the material, so it seems only apt that Johan Daisne’s De Man die zijn haar kort liet knippen (The Man who had his hair cut short) was adapted to the screen in 1965 as the feature film debut of Flemish filmmaker André Delvaux, son of famous Surrealist painter Paul Delvaux. The film follows girls’ school teacher Govert Miereveld (Senne Rouffaer) as he falls in love with a pupil and starts to lose his mind. Delvaux jr. would become renowned for his Surrealist films in the 1960s, 70s and 80s, leading to three Palme d’Or nominations at the Cannes film festival and a lasting legacy in Belgian cinema. The film will be preceded by the Palme d’Or winning short Harpya (1979) by Flanders’ most celebrated animator Raoul Servais.


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