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Avant-garde Animation",[218],{"title":219,"to":220},"Billy Wilder Theater","https://cinema.ucla.edu/billy-wilder-theater",[222],{"image":223},[224],{"id":225,"src":226,"height":227,"width":228,"srcset":229,"alt":230,"focalPoint":231},"9748429","https://static.library.ucla.edu/craftassetsprod/images/_fullscreen/Avant-garde-Animation.jpg",1912,2560,"https://static.library.ucla.edu/craftassetsprod/images/_375xAUTO_crop_center-center_none/Avant-garde-Animation.jpg 375w, https://static.library.ucla.edu/craftassetsprod/images/_960xAUTO_crop_center-center_none/Avant-garde-Animation.jpg 960w, https://static.library.ucla.edu/craftassetsprod/images/_1280xAUTO_crop_center-center_none/Avant-garde-Animation.jpg 1280w, https://static.library.ucla.edu/craftassetsprod/images/_1920xAUTO_crop_center-center_none/Avant-garde-Animation.jpg 1920w, https://static.library.ucla.edu/craftassetsprod/images/_2560xAUTO_crop_center-center_none/Avant-garde-Animation.jpg 2560w","Still from \"Choreography for the Copy Machine (Photocopy Cha Cha)\". A face distorting into two with a red-orange color palette.",[232,232],0.5,"ucla-amia-student-chapter-takeover-avant-garde-animation-04-17-26","16460648","https://calendar.library.ucla.edu/event/16460648","2026-04-17T19:30","2026-04-17T21:25",[239],{"id":240,"title":241},"156366","Screening","\u003Cp>\u003Ca href=\"https://cinema.ucla.edu/events/\" target=\"_blank\" rel=\"noreferrer noopener\">Visit the UCLA Film &amp; Television Archive website\u003C/a> to learn more about upcoming screenings and events.\u003C/p>\n\n\u003Cp>\u003Cstrong>Free admission. No advance reservations. Your seat will be assigned to you when you pick up your ticket at the box office. Seats are assigned on a first come, first served basis. The box office opens one hour before the event.\u003C/strong>\u003C/p>\n\n\u003Cp>In person: Introduction by UCLA AMIA Student Chapter members Clare Britton and Molly Regan.\u003Cbr />\nGuest speaker\u003C/p>\n\n\u003Cp>Avant-garde cinema represents films that are experimental or innovative, typically rejecting traditional narrative structures while exploring abstract concepts and emphasizing visual and aural elements. Avant-garde animation often utilizes techniques that abstract form, defy continuity and emphasize musicality.\u003C/p>\n\n\u003Cp>\u003Cem>Programmed by Molly Regan. Notes written by Clare Britton and Molly Regan.\u003C/em>\u003C/p>\n\n\u003Cp>Screening 1 of 3\u003C/p>\n\n\u003Ch2>Freight Yard Symphony\u003C/h2>\n\n\u003Cp>\u003Cstrong>Year: \u003C/strong>1963\u003Cbr />\n\u003Cstrong>Country: \u003C/strong>U.S.\u003Cbr />\n\u003Cstrong>Language: \u003C/strong>English\u003Cbr />\n\u003Cstrong>Runtime: \u003C/strong>6 min.\u003Cbr />\n16mm: Color\u003C/p>\n\n\u003Cp dir=\"ltr\">Created during his time at the UCLA Animation Workshop, Robert Abel’s \u003Cem>Freight Yard \u003C/em>\u003Cem>Symphony \u003C/em>presents a sensorial impression of a commercial rail yard, in which the destruction of semiotics makes way for a new language of rhythm, where alphabetical and numerical language indicators become purely textural amongst the frenzied jazz score. Using photo collage and paper craft, Abel’s early modernist work showcases the immense talent of this future pioneer of visual effects.\u003C/p>\n\n\u003Cp dir=\"ltr\">Director: Robert Abel.\u003C/p>\n\n\u003Cp dir=\"ltr\">Screening 2 of 3\u003C/p>\n\n\u003Ch2 dir=\"ltr\">Choreography for the Copy Machine (Photocopy Cha Cha)\u003C/h2>\n\n\u003Cp dir=\"ltr\">\u003Cstrong>Year: \u003C/strong>1991\u003Cbr />\n\u003Cstrong>Country: \u003C/strong>U.S.\u003Cbr />\n\u003Cstrong>Language: \u003C/strong>English\u003Cbr />\n\u003Cstrong>Runtime: \u003C/strong>4 min.\u003Cbr />\n16mm. Color.\u003C/p>\n\n\u003Cp dir=\"ltr\">In Chel White’s \u003Cem>Choreography for the Copy Machine (Photocopy Cha Cha), \u003C/em>machine and human attempt to understand each other’s dissonant identities through the glass-plate barrier of a photocopy machine. This barrier, reminiscent of zoo or aquarium glass windows, distorts and abstracts to create a half-truth. Chel White straddles the line between sensual and grotesque representations of the human body, juxtaposed with the mundane artifacts that scaffold daily life, such as keys, currency, tools and playing cards.\u003C/p>\n\n\u003Cp dir=\"ltr\">Director: Chel White.\u003C/p>\n\n\u003Cp dir=\"ltr\">\u003Cem>Print courtesy of the Sundance Collection at the UCLA Film &amp; Television Archive.\u003C/em>\u003C/p>\n\n\u003Cp dir=\"ltr\">Screening 3 of 3\u003C/p>\n\n\u003Ch2 dir=\"ltr\">The Science of Sleep\u003C/h2>\n\n\u003Cp dir=\"ltr\">\u003Cstrong>Year: \u003C/strong>2006\u003Cbr />\n\u003Cstrong>Country: \u003C/strong>France/Italy\u003Cbr />\n\u003Cstrong>Language: \u003C/strong>French with English subtitles\u003Cbr />\n\u003Cstrong>Runtime: \u003C/strong>106 min.\u003Cbr />\n35mm. Color.\u003C/p>\n\n\u003Cp dir=\"ltr\">Michel Gondry’s \u003Cem>The Science of Sleep \u003C/em>synthesizes live action and animation to emphasize dissatisfaction with reality, and the lure of imagination. Made in the age of CGI pipelines overwhelmingly contributing to special effects in the future film industry, Gondry’s trademark whimsical style prioritizes practical effects, taking a minimal approach to visual effects. Blurring the lines between real life and fantasy, this film invites us to experience the impossible.\u003C/p>\n\n\u003Cp dir=\"ltr\">Director: Michel Gondry. Screenwriter: Michel Gondry. 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