ICE-Vision: House (Nobuhiko Obayashi, 1977)
Thursday, April 7 at 8 PM
Lamar Dodd School of Art Room S150

Film Studies major Will Stephenson continues ICE’s informal weekly series, selecting a variety of world cinema classics and subcultural curiosities.

“Nobuhiko Obayashi’s eye-poppingly demented, jaw-droppingly inventive House is 1970s Japanese pop culture at its most delightfully unhinged extreme . . . a predigital maelstrom of cinekinetic visual ingenuity produced during one of the most tepid seasons in late twentieth-century Japanese filmmaking. Disney had his seven dwarves, Kurosawa his seven samurai. For Obayashi (with the help of his eleven-year-old daughter, Chigumi, who provided many of the story ideas), it was seven teenage damsels in distress – Carrie raised to the seventh power, Suspiria spiraling ever upward into some psychedelic seventh heaven. House is a film that must be seen to be believed, and then seen again to believe that you really did see what you think you saw.” -Chuck Stephens

Graduate Student Interdisciplinary Research Conference
Saturday, April 2 from 8 AM to 5 PM
Miller Learning Center
http://www.ugagsa.com/

ICE Graduate Research Assistants Rachel Debuque, Mike Krzyzaniak, Tifany Lee, and David Mitchell will make presentations during the conference.

The University of Georgia Graduate Student Association (GSA) is proud to host the 11th annual Graduate Student Interdisciplinary Conference The theme for this year’s conference is, “to bring together diverse avenues of graduate research that address local and global issues, while making an impact on society.

ICE-Vision: Killer of Sheep (Charles Burnett, 1977)
Thursday, March 31 at 8 PM
Lamar Dodd School of Art Room S150

Film Studies major Will Stephenson continues ICE’s informal weekly series, selecting a variety of world cinema classics and subcultural curiosities.

“For three long decades, Charles Burnett’s “Killer of Sheep,” a fictional portrait of a working-class black family living in a broken-down home in a bombed-out stretch of Los Angeles, has been largely hidden from view. Shot in Watts in the early ’70s and completed in 1977, the film was Mr. Burnett’s M.F.A. thesis project and never meant for a commercial release. He operated the 16-millimeter camera himself, edited the black-and-white images into a visual poem and added the ballads, the jazz and the moody blues that seep into your head like smoke. The result is an American masterpiece, independent to the bone.” -The New York Times

Pop-Up Performance: Killick

Tuesday, March 22 at 3:33 PM in the courtyard outside the ICE office

Killick is active as a composer, performer, and promoter of a wide range of music. He plays quartertone electric guitar, as well as Big Red harp guitar and the H’arpeggione, an 18-stringed upright acoustic instrument with sympathetic strings, both built by Fred Carlson. Equally influenced by improvisational music and “composed” sounds, Killick’s style blends primitive folk, heavy metal, and sacred musics from around the world.

http://www.killick.me/

ICE-Vision: The 5,000 Fingers of Dr. T (Roy Rowland, 1953)
Thursday, March 24 at 8 PM
Lamar Dodd School of Art Room S150

Film Studies major Will Stephenson continues ICE’s informal weekly series, selecting a variety of world cinema classics and subcultural curiosities.

“One of the most underrated children’s musical fantasies and conceivably the most interesting movie Stanley Kramer ever produced. Dr. Seuss wrote the screenplay (with Allan Scott); his wartime buddy Carl Foreman was originally supposed to direct, but the Hollywood witch hunts soon made this impossible, and Roy Rowland took Foreman’s place. The plot basically consists of the florid nightmare of a ten-year-old boy (Tommy Rettig) about his authoritarian, prissy, and vaguely foreign piano teacher (Hans Conried), who forces 500 boys to play his monotonous exercise on a continuous keyboard located in his gargantuan palace, while the boy’s mother (Mary Healy) is locked, hypnotized, in a gilded cage. A very inventive form of delirium, with songs by Frederick Hollander and choreography by Eugene Loring; the use of Technicolor is especially impressive. If you’ve never seen this, prepare to have your mind blown.”
-Jonathan Rosenbaum (Chicago Reader)