Designers in Film: The Cinematic World of the Goldsholls

This film series complements and extends the Block’s exhibition Up Is Down: Mid-Century Experiments in Advertising and Film at the Goldsholl Studio with five programs of films produced by the Chicago-based Goldsholls, their collaborators, influences, and contemporaries. Presenting a wide spectrum of classic and rarely-seen experimental cinema, animation, and commissioned films, Designers in Film explores the playful and innovative atmosphere of 20th-century moving image-making in which Mort and Millie Goldsholl took a central place.

Designers in Film: Films by the Goldsholls and Company

Friday, October 12, 2018 7:00 PM FREE
In their advertising and personal films like Night Driving (1957), Morton and Millie Goldsholl devised exciting and adventurous forms of image-making—as did their employees and collaborators. This program surveys some of the Goldsholls’ most dazzling shorts, along with underseen works by Goldsholl Studio members like Wayne Boyer, Larry Janiak, and Byron Grush.

NEA titles (Goldsholl Design Associates, ca 1975, 35mm, 1 min.)
Night Driving (Millie and Morton Goldsholl, 1957, 2k digital, 4 min.)
Faces and Fortunes (Goldsholl Design Associates, 1959, 16mm, 12 min.)
Kleenex-X-Periments: Glove Love and Scratch (Goldsholl Design Associates, 1960, 16mm, 6 min.)
Lichtspiel Nur 1 (Robert Stiegler, 1966, 2k digital, 6 min.)
Up Is Down (Millie Goldsholl, 1969, 2k Digital 6 min.)
Drop City (Wayne Boyer, 1968, digital, 5 min.)
Hexagrams (Byron Grush, 1966, 16mm, 5 min.)
Nebula 2 (Robert Frerck, 1969, digital, 6 min.)
Rebellion of the Flowers (Millie Goldsholl, 1992, 35mm, 8 min.)
Dog License (Paul Jessel and Bill Langdon, ca 1972, 16mm, 2 min.)
DL #2 (Disintegration Line 2) (Larry Janiak, 1970, 16mm, 11 min.)
A Line on Fanfares (1979, 16mm, 1 min.)

TRT: approx 75 min.

Exhibition curator Amy Beste will join Wayne Boyer, Marie Cenker, Byron Grush and Paul Jessel to talk about their films, their experiences with the Goldsholls and their place at the cutting edge of experimental screen culture in Chicago.

Designers in Context: Film, Advertising and Modernism

Friday, October 19, 2018 7:00 PM FREE

The mid-century love affair between advertising, design, and modernism united the Goldsholls with peers in the vanguard of film and television from coast to coast. This program gathers together dazzling experimental and commissioned films by such celebrated figures as Charles and Ray Eames, and Saul Bass, along with rarely-screened gems by innovators Fred Mogubgub and Francis Thompson. Lynn Spigel, Northwestern Professor of Screen Cultures, will introduce the program, situating the Goldsholls within the history explored in her book TV by Design: Modern Art and the Rise of Network Television.

N.Y., N.Y. (Francis Thompson, 1957, USA, 16mm, 15 min.)
The Pop Show (Fred Mogubgub, 1966, USA, 16mm, 7 min.)
From Here to There (Saul Bass, 1964, USA, Digital, 9 min.)
Information Machine (Charles and Ray Eames, 1958, USA, 16mm, 10 min.)
Foote, Cone & Belding–25th Anniversary Presentation Reel (Mort and Millie Goldsholl, 1967, USA, Digital, 3 min.)
Sears Sox (Chick Strand, Pat O’Neill, Neon Park, 1969, USA, 16mm, 5 min.) Print courtesy of the Academy Film Archive

Why Man Creates (Saul Bass, USA, 1968, 35mm, 25 min.) Print courtesy of the Academy Film Archive

Color and Line: Mid-Century Animation

Saturday, October 20, 2018 1:00 PM FREE

Challenging and creative films like 1969’s Up Is Down put director Millie Goldsholl at the vanguard of animation during a period of intense innovation in the form. This program surveys some of her influences and peers, showcasing styles that vary from Norman McLaren’s visionary experiments in direct-to-film animation and pixilation to Faith and John Hubley’s beautifully-crafted and humanistic narrative shorts. Award-winning animator (and Northwestern Professor) Eric Patrick will be present to share his insights into these bold, inventive films.

Begone Dull Care (Norman McLaren and Evelyn Lambart, 1949, 16mm, 8 min.) Produced and distributed by the National Film Board of Canada

Neighbors (Norman McLaren, 1952, 35mm, 8 min.) Produced and distributed by the National Film Board of Canada

Trade Tattoo (Len Lye, 1937, 16mm, 5 min.)

Celery Stalks At Midnight (John Whitney 1951, 16mm, 3 min.) Print courtesy of the Academy Film Archive

Form Phases IV (Robert Breer, 1954, 16mm, 3 min.)

The Hole (Faith & John Hubley, 1962, 35mm, 15 min.) Print courtesy of the Academy Film Archive

Composition in Blue (Oskar Fischinger, 1935, 35mm, 4 min.) Courtesy Center for Visual Music

Sand, or Peter and the Wolf (Caroline Leaf, 1969, 16mm, 10 min.)

Frank Film (Caroline and Frank Mouris, 1973, DCP, 9 min.) Print courtesy of the Academy Film Archive

Envelope Jive (Goldsholl Design & Film Associates, ca 1963, 16mm, 10 min.)

Light Play: Film and the Bauhaus

Friday, October 26, 2018 7:00 PM FREE

The Goldsholls studied at the IIT School of Design (the “New Bauhaus”) in the 1940s under renowned artist and educator László Moholy-Nagy, who brought the methods and principles of the Bauhaus movement to the US. Known for architecture and design, the Bauhaus also explored the kinetic possibilities of projected light and film, a legacy that deeply influenced New Bauhaus students in Chicago. Harvard professor Laura Frahm will present her ongoing research on film at the Bauhaus, followed by a screening of key films by Hans Richter and others. We’ll also be joined by filmmaker Alysa Nahmias, who will share a clip from her forthcoming documentary on the New Bauhaus.

Films screening will include:

Lightplay: Black White Gray (László Moholy-Nagy, 1926, 16mm, 6 min.)

Filmstudie (Hans Richter, 1926, 16mm, 7 min.)

Rhythmus 21 (Hans Richter, 1921, 16mm, 3 min.)

Rhythmus 23 (Hans Richter, 1923, 16mm, 3 min.)

Lens Distortion (Millie and Mort Goldsholl, ca. 1969, 2k Digital, 4m)

Plus: additional films by Werner Graeff and Kurt Kranz

This program has been made possible through the generous support of the Goethe Institut.


Eve of the Future: Women and Film before 1960

Friday, November 2, 2018 7:00 PM FREE

In 1959, Millie Goldsholl curated a film program for the Aspen Design Conference which pointedly included the most important female voices in independent cinema at that time. This screening brings together many of these vital contributions to experimental film, animation, and documentary, including works by Shirley Clarke, Maya Deren, Mary Ellen Bute, and other trailblazers who challenged the status quo in advance of second-wave feminism. With an introduction by Jennifer Wild, Associate Professor of Cinema at the University of Chicago.

At Land (Maya Deren, 1944, 16mm, 15 min.)

A Chairy Tale (Claude Jutra and Norman McLaren, animation by Evelyn Lambart, 35mm, 12 min.) Produced and distributed by the National Film Board of Canada

Bridges-Go-Round (Shirley Clarke, 1958, 16mm, 8 min.)

A Short Vision (Joan and Peter Foldes, 1956, 16mm, 6 min.)

Logos (Jane Conger Belson Shimané, 1957, 16mm, 2 min.) Print courtesy of the Academy Film Archive

Obmaru (Patricia Marx, 1953, 16mm, 4 min.) Print courtesy of the Academy Film Archive

Color Rhapsodie (Mary Ellen Bute, 1948, digital, 7 min.) Courtesy Center for Visual Music

In the Street (Helen Levitt, James Agee, Janice Loeb, 1948, 16mm, 16 min.)

Tender Game (Faith & John Hubley, 1958, 35mm, 6 min.)

Dissent Illusion (Mort and Millie Goldsholl, 1963, 16mm, 4 min.)