ICE-Vision: Martin (George Romero, 1977)
Thursday, March 10 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.

“Set in a Pittsburgh suburb economically devastated by the recession of the ’70s – and psychically devastated by the decade in general – Martin concerns a young man (John Amplas) who believes himself a vampire, a conviction the film takes steps never to confirm or deny. Though he needs the help of razorblades, needles, and other man-made accoutrements, Amplas finds ways to live as a vampire in modern society, arousing the suspicion of a deeply religious uncle (Lincoln Maazel) and achieving local celebrity as a caller to a radio talk show. A sort of Dracula filtered through Taxi Driver (which was filmed the same year), Martin touches on any number of post-Vietnam ills (urban decay, drug addiction, crises in faith) without overstatement, allowing for a deeply considered exploration of horror’s ability to comment on society.” -The A.V. Club
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ICE-Vision: A Zed & Two Noughts (Peter Greenaway, 1985)
Thursday, March 3 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.

“The boldest and arguably one of the best of Peter Greenaway’s fiction features, this extremely odd and perverse conceptual piece certainly isn’t for every taste, although Sacha Vierny’s cinematography makes it so luscious that you may be mesmerized in spite of yourself. The title refers to a European zoo; the curious plot involves two brothers who work as the zoo’s curators and who lose their wives in a freak auto accident. Only partially a narrative film, this elegant puzzle also involves amputees, painting, a menage a trois, and decomposing animals—along with many other things—which are intricately interrelated thanks to Greenaway’s icy brilliance. Definitely a one-of-a-kind movie.” -Jonathan Rosenbaum

CORE Concert Dance Company and Aerial Dance Concert
Wednesday through Saturday, March 2 through 5 at 8 PM
New Dance Theater

JOURNEYS INTO THE VORTEX – of good feelings and delight (premiere) promises sixty minutes of nonstop song, music, film, aerial and contemporary dance fusion. Do not miss the opportunity to take this excursion into the vortices of Flying Carpet Ride, Rainbow Over Africa, Touch the Sky and several other aural/sensory landscapes. Visions, meditation and dreams will expand the imagination; celebration will uplift the heart and the music will rock your soul. Performances with bungee-assistance, trapeze, lyra, silks and swings will push the boundaries of movement into flight. Highlighting the concert are performances by Guest Artists: Meaghan Muller (formerly Cirque de Soleil), Mario Chacn Arias, Bailarin Compania Nacional de Danza, Costa Rica. Special performance of CLICK (2010) by Zoetic Dance Ensemble based in Atlanta, GA is co-choreographed by Melanie Lynch Blanchard, Zoetic Director and Onur-Topal Sumer (member of Full Radius Dance, Atlanta GA and co-director of Dance Camera Istanbul, Turkey).

CORE Concert Dance Company Contemporary & Aerial Dance Concert 2011 company members: Mallory Baxley, Hyeyoung Borden, Anna Bracewell, Virginia Broyles, *Clinton Kyles, Alexandru Muresan, Anna Myer, Chrystola Oseni and Rebecca Pogue. Guest performers with the company: Karishma Amin, Anu Laxmi, Melanie Howard and Kellie McHugh. *Clinton Kyles is now performing with Diavelo Dance Theater

Charge By Phone Advanced Ticket Purchase: (706) 542-8579 Tickets are available at the Tate Student Center cashier’s window M-F 9:00 a.m. – 4:00 p.m. or cash only at the door each evening of the performance beginning at 7:00 p.m. ($10 student/senior citizen, $15 adult. To view ticket information online: www.uga.edu/campuslife/

ICE-Vision: Danger: Diabolik (Mario Bava, 1968)
Thursday, February 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.

“This super-stylish live-action adaptation of the popular 1960 Italian comic book is easily the best of the spate of ’60s European comic-strip / superhero movies. Bava clearly understands the notion of comic book panels and cinema frames, creating dynamic compositions which perfectly mimic the actual comic-strip panels…Each single shot in Danger: Diabolik gives the impression of enormous space and imagination. Bava is a master in the use of colours, drowning his images in garish greens, yellow or reds, as well as creating a detailed, three-dimensional world enhanced by wide-angle lenses, psychedelic sets and outrageous costumes. Also worth noting is Ennio Morricone’s outrageous electric guitar and sitar-laden score.” – Sound On Sight

“Infantile junk.” – The New York Times

ICE-Vision: Ride Lonesome (Budd Boetticher, 1959)
Thursday, February 17 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.

“Budd Boetticher stretched the format of his Randolph Scott westerns into CinemaScope with this 1959 entry in the cycle, and in some respects the narrative seems drawn out as well: there is hardly any pretense of action or suspense as the characters move, almost aimlessly, through an open landscape, testing each other’s strengths and weaknesses through conversations that become psychological chess games. Scott, as usual, is looking for the man who murdered his wife; his companions are two wisecracking outlaws (James Coburn and Pernell Roberts) and a woman whose husband has been killed by Indians (Karen Steele). With James Best and Lee Van Cleef. 73 min” -Dave Kehr

ICE-Vision: The Friends of Eddie Coyle (Peter Yates, 1973)
Thursday, February 10 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.

“Yates’ film, based on a virtually-all-dialogue novel by George V. Higgins, is hardly a thrillathon in the car-chase days of “Bullitt,” “The French Connection,” “The Parallax View” or “The Seven-Ups.” But its elusive stasis is what makes it remarkable. The story is structured almost completely as a series of secret, mano-a-mano backroom discussions, each unfailingly placed in a grungy urban locale of exactly the sort in which no one ever shot movies even five years earlier. Robert Mitchum, lugging himself around like an old bulldog, is Coyle, a petty Boston crook with an extra set of broken-finger knuckles, trying to at least appear to go straight even as he contemplates ratting on one of his associates to get out of a felony stint he has to face in New Hampshire.” -IFC