Part 2 of the The Kartemquin Collection: The Early Years, Volumes 1-3.
"Vintage artifacts from the bygone heydey of gritty 16mm activist doc-making, when idealism was sky-high, when when film classes made movies out of on-campus crises, and when active protest was doubly worth doing if you were doing it on film."
- Michael Atkinson, Sight & Sound, 2011.
For over 45 years, Kartemquin Films has produced documentaries that examine and critique society through the stories of real people. Their extensive body of work includes such films as Taylor Chain I & II, The Last Pullman Car, Vietnam Long Time Coming and Stevie. Now, in this second volume of a three-part series, you can experience some of the classic films that marked the early years of Kartemquin Films.
HUM 255 (1969)
In 1969, striking students at the University of Chicago occupied an administration building. Many were suspended and a few were expelled. Some time later, two expelled young women were asked by their former classmates to talk about the experience as a class project. The women confront the students about their convictions and how far they are willing to go to defend their values.
WHAT THE FUCK ARE THESE RED SQUARES? (1970)
“A fascinating time capsule of radical rhetoric”
– Fred Camper, Chicago Reader
While on strike, students hold a "Revolutionary Seminar" at the School of the Art Institute of Chicago in response to the invasion of Cambodia and the killing of protesting students at Kent and Jackson State Universities. They explore their role as artists in a capitalist society and ask: What are the implications of the artist's elite position in society? Does even "radical" art always get co-opted? And what are the connections between money and art in America?
ANONYMOUS ARTISTS OF AMERICA (1970)
While touring the U.S. in a brightly painted school bus, the psychedelic rock collective Anonymous Artists of America stops to hold a performance at an alma mater, the University of Chicago. Inspired by LSD, the group once opened for the Grateful Dead and played at Ken Kesey’s infamous Acid Test Graduation. The band also featured one of the first analog synthesizers designed by Don Buchla. Kartemquin's Gordon Quinn is behind the camera, and in the audience are Jerry Temaner and his family.
* Interview with the Filmmakers
* Documents from the Early Years
There are no products in your shopping cart.
When you make a contribution to Kartemquin, you enable us to continue telling the stories of the people whose lives are most directly affected by social and political change and who are often overlooked or misrepresented by the media. Thanks to your crucial support, for over 45 years our films have helped to provoke essential dialogue, both in communities and between the general public and policymakers.