VISUALS Spring 2014: CALL FOR ENTRIES

CALL FOR ENTRIES: VISUALS FILM FESTIVAL (ALSO ACCEPTING FILM-INSPIRED ART SUBMISSIONS)

Visuals is a short film festival for PSU students, faculty, and fans of 5th Avenue Cinema, all of which are welcome to submit and attend.

The deadline for submissions is Friday, May 9th, 2013, submissions received after that date will not be considered. 

We are accepting films under 10 minutes long in a digital format (downloadable Vimeo link, .mp4, or .mpeg). Please share your dropbox file or downloadable Vimeo link in an email to film@pdx.edu. Be sure to include a film title, director and a contact phone number or email.

We are also accepting art inspired by films to be exhibited in our theater during the Visuals Film Festival.  Art must be poster-sized or smaller to be displayed on the walls of our theater. Submit a photo of your work along with its dimensions and an optional short artist’s statement to film@pdx.edu.

There are two awards in the Visuals Film Festival: audience pick and film committee pick. Both winners will receive a prize. Our prizes this year include passes for the NW Film Center and tickets from Hollywood Theater, as well as having your film featured on PSU.TV.com and their television show broadcast by Portland Community Media which reaches up to 400,000 households.

5th Ave Cinema strongly encourages all filmmakers to use original or copyright free music for their soundtracks, however 5th Ave Cinema does not enforce that filmmakers use copyright free music. Films created for 5th Ave Cinema are seen as non-profit educational projects. Using copyrighted music can greatly reduce your opportunities for further distribution or broadcast so it is best to use music that is original or in the public domain. By submitting your film to the festival, you are granting 5th Ave Cinema non-exclusive rights to retain an archive copy of your production for the non-profit purposes of promotion and education.

Visuals Film Festival reserves the right to disqualify any submissions for any reason at the sole discretion of the 5th Ave Cinema reviewers.

If under 18, entrant and their parent or legal guardian must sign a release form.

Visuals film festival runs on May 23rd at 7PM for one night only with free pizza served.

If you have further questions, comments, or would like a copy of the release form for minors, please email film@pdx.edu

Tetris Documentary Screening & Games at the Theater


Saturday, April 19 at 6:15pm - 11:30pm

Join PIGSquad and Pixel Arts in a free screening of Ecstasy of Order: The Tetris Masters & playing videogames on a theater screen to celebrate PIGSquad's 3-year anniversary!

6:15pm: Play Tetris
7pm: Movie Screening – Ecstasy of Order
9pm: More games – Tetris Attack, Hard Lander, and ?

For more about the film, visit:
http://watch.ecstasyoforder.com/

"Tetris. We’ve all played it, rotating the pieces (“tetrominoes”) and dropping them in the perfect place, or despairing as we discover a piece won’t fit. You may have even joked about “mastering” the game during a stint of unemployment, or as a child, before you could afford any other Game Boy cartridges. But what about the people who’ve truly mastered Tetris? Where are the Kasparovs and Fischers, the great champions who’ve dedicated their minds to solving its deepest puzzles?"

Alfred Hitchcock's Rebecca

Manderlay

Manderlay

The movie Rebecca is not about Rebecca. We’re showing it this weekend at the 5th Ave. Cinema. Hitchcock’s first American film, and the only film of his to win a Best Picture Oscar, is a psychosexual drama in the same league as his later movies Vertigo and Marnie. But while those two films feel thoroughly modern, Rebecca is played to a gothic level not common in Hitchcock’s American movies. The house where most of the key events take place, Manderlay, is a large and foreboding mansion masquerading as a friendly home. It has entire wings that are closed off. The militantly secretive staff of two dozen is headed by a severe and expressionless woman named Mrs. Danvers. Manderlay feels like a sprawling environment waiting to be filled by a sprawling presence, but it is missing something: it is missing Rebecca de Winter. And Rebecca is dead.

 The film begins with the line “I dreamt I went to Manderlay again.” This is the voice of our hero, unnamed, although she is played by Joan Fontaine. She is only referred to by name once she is married and rechristened the new Mrs. De Winter, but her first name is never mentioned. Early in the film she falls in, accidentally, with Maxim de Winter, a brooding and temperamental man played by Laurence Olivier. They meet in Monte Carlo, but return to Britain, and to Manderlay, as husband and wife. Their arrival at Manderlay is less than welcoming, owing more to the odd and transitional nature of the household. Mrs. Danvers seems to have taken the role Rebecca de Winter used to fill, and the intrusion of the new Mrs. de Winter, who is so obviously not Rebecca, threatens to tear down the whole household.

the new Mrs. de Winter, and Mrs. Danvers

the new Mrs. de Winter, and Mrs. Danvers

Meanwhile, the relationship between the new Mrs. de Winter and Maxim seems to take flits and starts, as more is revealed about Maxim’s relationship with his newly dead wife. Hitchcock takes full advantage of the dark and moody surroundings as these events play out, though a few surprising scenes take place in court, and on long drives between town and Manderlay. In these scenes the director’s love of faces is obvious, though the Manderlay interiors are sometimes static long shots that take in the entirety of the room through deep focus. The static nature of the interiors plays against a few more expressive shots, including a couple well-timed POV shots, and some operatic flourishes at key emotional moments (like the very end). But it is what is most fascinating about Hitchcock’s expressive camera is that in Rebecca it is largely absent. Same for his sexually implicit punning and jokes, although Mrs. Danvers is called Danny by a few, adding to her gender ambiguity and the sexual intrigue. That said, there is a restraint to this film that is very British, and Hitchcock’s later indulgences with camera movement and sexual inference make it feel a bit tame in comparison. Yet when you compare Rebecca to the four films that followed it, where you’ll see Hitchcock experimenting with different genres and the American studios’ star power to moderate success, it’s not until 1943’s Shadow of a Doubt that Hitchcock makes a movie as assured and well-told as Rebecca.