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Fourth International Conference on the Fantastic in the Arts, Program
Page 9
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International Conference on the Fantastic in the Arts. Fourth International Conference on the Fantastic in the Arts, Program - Page 9. March 24, 1983 - March 27, 1983. Special Collections, University of Houston Libraries. University of Houston Digital Library. Web. December 2, 2020. https://digital.lib.uh.edu/collection/1984_003/item/564/show/535.

Disclaimer: This is a general citation for reference purposes. Please consult the most recent edition of your style manual for the proper formatting of the type of source you are citing. If the date given in the citation does not match the date on the digital item, use the more accurate date below the digital item.

International Conference on the Fantastic in the Arts. (March 24, 1983 - March 27, 1983). Fourth International Conference on the Fantastic in the Arts, Program - Page 9. Fritz Leiber Science Fiction & Fantasy Convention Flyers & Programs. Special Collections, University of Houston Libraries. Retrieved from https://digital.lib.uh.edu/collection/1984_003/item/564/show/535

Disclaimer: This is a general citation for reference purposes. Please consult the most recent edition of your style manual for the proper formatting of the type of source you are citing. If the date given in the citation does not match the date on the digital item, use the more accurate date below the digital item.

International Conference on the Fantastic in the Arts, Fourth International Conference on the Fantastic in the Arts, Program - Page 9, March 24, 1983 - March 27, 1983, Fritz Leiber Science Fiction & Fantasy Convention Flyers & Programs, Special Collections, University of Houston Libraries, accessed December 2, 2020, https://digital.lib.uh.edu/collection/1984_003/item/564/show/535.

Disclaimer: This is a general citation for reference purposes. Please consult the most recent edition of your style manual for the proper formatting of the type of source you are citing. If the date given in the citation does not match the date on the digital item, use the more accurate date below the digital item.

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Compound Item Description
Title Fourth International Conference on the Fantastic in the Arts, Program
Creator (LCNAF)
  • International Conference on the Fantastic in the Arts
Date March 24, 1983 - March 27, 1983
Description Program book for the Fourth International Conference on the Fantastic in the Arts.
Donor Leiber, Fritz; Leiber, Justin
Subject.Topical (LCSH)
  • Science fiction conventions
  • Fantasy fiction
  • Science fiction
Subject.Name (LCNAF)
  • Leiber, Fritz
  • Wolfe, Gene
  • Wilhelm, Kate
  • Pohl, Frederik
  • Knight, Damon
  • Gunn, James E.
  • International Conference on the Fantastic in the Arts
Subject.Geographic (TGN)
  • Boca Raton, Florida
Genre (AAT)
  • brochures
Language English
Type (DCMI)
  • Text
Original Item Location ID 1984-003, Box 57, Folder 15
ArchivesSpace URI /repositories/2/archival_objects/5287
Original Collection Fritz Leiber Papers
Digital Collection Fritz Leiber Science Fiction & Fantasy Convention Flyers & Programs
Digital Collection URL http://digital.lib.uh.edu/1984_003
Repository Special Collections, University of Houston Libraries
Repository URL http://info.lib.uh.edu/about/campus-libraries-collections/special-collections
Use and Reproduction Rights Undetermined
File Name index.cpd
Item Description
Title Page 9
Format (IMT)
  • image/jpeg
File Name uhlib_1984_003_b057_f015_042_011.jpg
Transcript MilLMS films films films films films films films 10:04 - 10:38 p.m. The Grandmother. 1970, USA. This second and only other color film by director David Lynch is a live action/animated featurette. Made the year before he began working on Eraserhead, The Grandmother has won several festival prizes. A bizarre "family drama," with parents who sprout from the ground and talk like wild dogs, and a lonesome son who "grows" a playmate. ^10:38 p.m. - midnight* Eraserhead. 1977, United States. Written and directed by David Lynch. With John Nance and Charlotte Stewart. "No pleasant experience, this, but one that stays with you." —Archer Winston. "Set in a nightmare landscape, the story concerns a pointy-headed young man with an odd hairdo whose life changes dramatically when his girlfriend gives birth to a premature baby chicken. Eraserhead so impressed Mel Brooks that he chose David Lynch to direct The Elephant Man, which Brooks produced." — Cinema 5 Catalog. SATURDAY 9-10 -\ 15 a.m. The Old Dark House. 1932, USA. Directed by James Whale. With Boris Karloff, Melvyn Douglas, Charles Laughton, Raymond Massey, Ernest Thesiger, Eva Moore. "Last seen theatrically in the early fifties, and consigned to that long list of presumably lost films for the past thirty years, James Whale's The Old Dark House is available at last. An all-time horror great, it's one of the most literate and visually striking horror films of the thirties." —Twyman Films. 10:30 — 11:56 a.m. Chinese Roulette. 1976, West Germany. Directed by Rainer Werner Fassbinder. "The most stylish of Fassbinder's films, an all-out Gothic thriller, stylistically as smooth and tricky as the myriad glass surfaces that surround its characters like a hall of mirrors." —New Yorker Films. 12:15 - 12:30 pan. Un Chien Andalou (An Andalusian Dog). 1928, France. Directed by Luis Bun- uel. Scenario by Bunuel and Salvador Dali. The most famous of surrealist films. Its theme is "the pure and correct line of 'conduct' of a human who pursues love through wretched humanitarian, patriotic ideals and the other miserable workings of reality." — Salvador Dali. "Un Chien Andalou, though primarily subjective drama developed like a poem, is nonetheless for me a film with a social theme. Beware of the dog. It bites." —Jean Vigo. 12:30- 1:30 pan. L'Age d'Or (The Age of Gold). 1930, France. Directed by Luis Bunuel. Written by Bunuel and Salvador Dali. With Gaston Modot, Lya Lys, and Max Ernst. "In a manifesto included in the program of L'Age d'Or written and illustrated by many surrealists, it was said: 'The foundations are laid, conventions become dogma, policemen push people around as they do in everyday life. And accidents occur in bourgeois society while that society pays no attention whatsoever. But such accidents (and it must be noted that in Bunuel's film they remain uncorrupted by plausibility) further weaken an already rotting society that is trying to prolong its existence artificially through priests and policemen. But it is Love that brings about the transition from pessimism to action; Love, denounced in the bourgeois demonology as the root of all evil. For love demands the sacrifice of every other value." Showing of the film was interrupted by the fascist League of Patriots and the Anti-Semitic League, and paintings by Dali, Ernst, Man Ray were slashed. Police banned the film. 1:40 - 3:10 p.m. Viridiana. 1961, Spain/Mexico. Directed by Luis Bunel. "viridiana was shot in Spain from a script approved by the Spanish authorities. After production was completed, the authorities became aware of its subversive implications and attempted to seize all copies. But a few had already left for France and despite strenuous protests by the Spanish government it won the Palme d'or at the Cannes festival, and was immediately denounced by l'Osservatore Romano, the official Vatican newspaper. The head of the Spanish state film organization was dismissed, the film banned, and the press was not even allowed to report that Bunuel's film had received an award. It was distributed internationally by the Mexican co-producer." — Peter Morris 3:30 - 5:10 pan. That Obscure Object of Desire. 1977, France/Spa in. Directed by Luis Bunuel. With Fernando Rey, Carole Bouquet, Angela Molina. "In this darkly humorous satirical film, Bunuel demonstrates his long-standing conviction that the last revolutionary act is to be madly in love and not have sex with the object of that love," —Janus Films Catalog. 10 - 10:03 pan. Phantom Subways. 1978, United States. Directed by Rufus Butler Seder. "An eerie, ghostly ride on a phantom train." —Rear Window Catalog. 10:03 - 10:08 pan. Frankenstein Cries Out. 1978, United States. Directed by Flip Johnson. "Ink-stipple drawings and xerography explore the monster's ambiguous screaming/laughing expression." —Rear Window Catalog. 10:10 - 11:40 pan. Buffalo Bill And The Indians, Or Sitting Bull's History Lesson. 1976, united States. Directed by Robert Altman. Written by Alan Rudolph and Altman, based on the play, Indians, by Arthur Kopit. Presented by Dino de Laurentiis. With Paul Newman, Burt Lancaster, Geraldine Chaplin, Frank Kaquitts, Will Sampson, Joel Grey, Harvey Keitel, Shelly Duval, and E. L. Doctorow. "A direct slap in the face at American history." —Judith M. Kass. "A confrontation of myth with myth." —Tom Milne. Just after Buffalo Bill was released, De Laurentiis fired Altman from the film version of Ragtime, which Altman was then preparing to direct. VlSlLMS FILMS FILMS FILMS FILMS FILMS FILMS FILMS