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• W323503208 abstract "I do not remember exactly when I met Amos Vogel, but it must have been when I was working toward Cinema 16: Documents toward a Hutory of the Film Society, somewhere in the late 1970s. At the time, Amos was transitioning into retirement. He still loved to go to the movies and to talk about them, but he no longer needed to be the mover and shaker he had been during the previous decades. He and Marcia took great pleasure in hanging out, seeing old friends and talking to a younger generation stopping by 15 Washington Place to pay their respects and enjoy the Vogels' company.Of course, by the time I began stopping by, Cinema 16 had been forgotten by most everyone other rlian those who had been the beneficiaries of Amos and Marcia's adventure in transforming the passion for cinema that had brought them together into a lifestyle. The idea of a film society wasn't new when Amos and Marcia began Cinema 16 in 1947; Amos himself had been a member of a cine-club in Vienna before he emigrated to the States and by 1 946 Frank Stauffacher had Art in Cinema going in San Francisco. What was new was their decision to make running an American film society a way of life, a full-time occupation.Amos's strategy as a programmer was to edit varied forms of film into emotionally and intellectually stimulating experiences and to build an audience for these programs. He sought no grants, had no secret angel financiers, and while it cost money to attend Cinema 16 screenings, membership was affordable for most New Yorkers (cineastes who couldn't pay the fare were usually admitted by Marcia for free). At its height Cinema 16 boasted 7,000 members and filled a 1,600-seat auditorium at the High School of the Fashion Industries twice a night for monthly screenings, plus sometimes three 500-seat theaters at various Manhattan locations. For the better part of 17 years, Cinema 16 was a financially self-sustaining service to the cultural life of New York City and an inspiration to the many movers and shakers who bought memberships.For Amos, cinema was many things: artistic expression, scientific reportage, feature entertainment, historical research, a way of confronting complacency, a history of experiments, a revisiting of forgotten classics, freedom of speech in action - an opportunity for dialectical thinking about the world and our place in it. But most of all, it was training in good citizenship for the thousands who became Cinema 16 devotees, training in being committed world citizens in an era (not so different from ours) when many Americans feared the influence of other peoples, other nations, other histories (as well as their own) - the era of Joseph McCarthy and other fanatics who could make life a hell.Amos's commitment to the wide world of cinema involved importing the work of major talents from around the world (Werner Herzog, Alain Resnais, Roman Polanski, Kurosawa, Robert Bresson, Bunuel, so many others); becoming an early distributor of many forms of avant-garde film (including the work of Maya Deren, Marie Menken, Stan Brakhage, Bruce Conner, Kenneth Anger, Robert Breer, Gregory Markopoulos, Sidney Peterson, James Broughton. …" @default.
• W323503208 created "2016-06-24" @default.
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• W323503208 date "2012-10-01" @default.
• W323503208 modified "2023-09-28" @default.
• W323503208 title "In Memoriam: Amos Vogel (1921-2012)" @default.
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