Dalí in New York
September 10–11

Salvador Dalí and his wife Gala first arrived in New York City on November 14, 1934. Dalí's perception of the city was informed by what he saw at the movies; as a boy, he had been particularly fond of the serial The Mysteries of New York (1914), which depicted the city as immersed in a culture of violence. Dalí in New York explores the artist's diverse experiences and encounters in New York from the 1930s to the 1960s. In addition, a special panel discussion, Dalí and New York, will take place on September 10 at 6:30 p.m. Held in conjunction with the gallery exhibition Dalí: Painting and Film.

Salvador Dalí: Creator/Collaborator Redux
September 10–15

This encore presentation of the iconic avant-garde films Un Chien andalou (1929) and L'Age d'or (1930) gives theatergoers a second chance to appreciate Salvador Dalí's filmmaking partnership with Luis Buñuel. The pair first met in 1922 as students at the Residencia de Estudiantes in Madrid, where they shared an innovative visual language of experimentation, rebellion, and critical discourse on bourgeois society. In January of 1929, Buñuel wrote to his former classmate José "Pepín" Bello de Larrasa that while visiting Dalí in Cadaqués, the pair completed the screenplay for Un Chien andalou in six days. "We had to look for the plot line. Dalí said to me, 'I dreamed last night of ants swarming around in my hands', and I said, 'Good Lord, and I dreamed that I had sliced somebody or other's eye. There's the film, let's go and make it." Held in conjunction with the gallery exhibition Dalí: Painting and Film.

Arctic Hysteria Onscreen
September 15

In conjunction with the exhibition Arctic Hysteria: New Art from Finland at P.S.1 Contemporary Art Center, MoMA presents a three-part screening of key works of Finnish experimental film and video art from the mid-1990s to the present. Program 1 considers the Finnish genderless pronoun Hän, featuring films that focus on power relations between genders and investigations of human identity. Program 2 features experiments with metaphors from nature, and reflections on the difficulty of seeing beyond marked paths and mental highways—of transcending physical boundaries and zones in an attempt to create new (political) spaces and alternatives. Program 3 concentrates on fear and public spaces, examining the notion of multiple local significances and the ways in which localities must deal with the consequences of modernity.

Hollywood on the Hudson: Filmmaking in New York, 1920–39
September 17–October 19

Hollywood on the Hudson traces the roots of the modern American film industry to New York City between the two world wars, when an industry built on centralized authority began to listen, for the first time, to a range of independent voices, each with their own ideas about what the movies could say and do. The Hollywood studio system was geared toward creating a standardized product and sought to appeal to all ages and classes, whereas New York cinema was technically innovative and culturally specific, and played to niche audiences, from art houses to ethnic enclaves. This exhibition surveys filmmaking in New York during the hegemony of Hollywood, from D. W. Griffith's return from the West Coast in 1919 to the World's Fair of 1939. Screenings include pioneering sound films shot at the Paramount Studios in Astoria, Queens, and starring Broadway luminaries; and films featuring such stars as Louise Brooks, Marion Davies, the Marx Brothers, Gloria Swanson, and Rudolph Valentino.

MoMA Presents: Pierre Rissient: Man of Cinema
September 18–24

Todd McCarthy—documentary filmmaker, author, and chief film critic of Variety—turns a biographical spotlight on Pierre Rissient, a figure relatively unknown to the public but deeply respected by filmmakers, critics, and film festival directors the world over. In 1993, when MoMA's Department of Film gave Rissient carte blanche to create a film exhibition, he was described as a "filmmaker, scout, festival advisor, programmer, and press strategist." McCarthy's dramatic and rousing portrait of Rissient illustrates the many and varied accomplishments of one of the world's most influential film fans.

From the Archives: A Pierre Rissient Selection
September 18–21

Supplementing MoMA's presentation of Pierre Rissient: Man of Cinema, the Department of Film has selected seven films from the Museum's archives that inform an understanding of Rissient's career: American silents that deeply influenced him, cinema he screened in Paris as a young film promoter; works by directors he championed early on, and Cinq et le Peau, one of two films Rissient wrote and directed himself.

Salvador Dalí: Consumer/Consumed
Through September 15

Salvador Dalí: Consumer/Consumed explores the pictorial and cinematic iconography produced by Dalí, and how that iconography became the catalyst for a distinct visual language that would be "consumed" by other filmmakers. Conversely, the exhibition also examines ways in which Dalí was the beneficiary of others' cinematic methodologies. Dalí frequented the Cineclub Español in Madrid, where he saw not only European avant-garde films, but also American films such as The Mark of Zorro (1920) and Tom Mix Westerns. The cinematographic language that Dalí absorbed as a viewer later played a pivotal role in the paintings and films he made; in turn, Dalí's representations were absorbed by other artists. This exhibition, which is held in conjunction with Dalí: Painting and Film, presents films that influenced Dalí as well as those that demonstrate his influence.

The Night of the Hunter. 1955. USA. Directed by Charles Laughton

Jazz Score
Through September 17

Comprising a film retrospective, a gallery installation, live concerts, and a panel discussion, Jazz Score celebrates some of the best original jazz composed for the cinema from the 1950s to the present. The film retrospective includes fiction features, experimental and animated shorts, and documentaries from countries as far ranging as France, Brazil, Japan, South Africa, and the U.S. Upcoming highlights include David Cronenberg's Naked Lunch (music by Howard Shore, with solos by Ornette Coleman), Philippe Garrel's Emergency Kisses (music by Barney Wilen), Shohei Imamura's Dr. Akagi (music by Yosuke Yamashita), and Spike Lee's She's Gotta Have It (music by Bill Lee) and When the Levees Broke: A Requiem in Four Acts (music by Terence Blanchard). The exhibition concludes on September 17 with Anatomy of a Jazz Score: A Panel Discussion, moderated by Gary Giddens.

Looking at Music
Through December 31

Music was at the forefront of interdisciplinary experimentation in the 1960s, when the mixing of mediums took off. Portable video cameras, electric guitars, and an aura of technical innovation all fostered radical experimentation. This screening series, presented in conjunction with a selection of early media and related drawings, prints, and photographs in the The Yoshiko and Akio Morita Gallery, examines the radical role of music in the early development of media art, and includes documentary and experimental films, and music videos.

Still Moving
Ongoing

MoMA presents a regular series derived exclusively from its film collection, featuring works that have been acquired and preserved by the Museum over the last seven decades. In September, we mark the recent passing of producer, director, and actor Sydney Pollack with a screening of his early directorial success They Shoot Horses, Don't They?, along with Woody Allen's Husbands and Wives, in which Pollack portrays a man in the throes of a midlife crisis. In addition, we present a screening of Michael Snow's 1967 classic of Structuralist cinema, Wavelength.