- When
- Sat., July 27, 2024, 2–3:30 p.m.
- Where
- Art Theater
- Tickets
-
$10 ($8 for students and Carnegie Museums of Pittsburgh Members)
$64 Season Pass ($48 for students and Carnegie Museums of Pittsburgh Members)
Register 🎟
July’s program challenges the understanding of the sports film genre by focusing on artist-made media and counter-narratives that seek to address the political and economic forces driving the global sports-media complex. This series is co-curated with filmmaker, writer, and curator Brett Kashmere.
Zoé Samudzi, the Charles E. Scheidt Visiting Assistant Professor of Genocide Studies and Genocide Prevention at Clark University, will introduce the program.
Program
- Jackie Robinson in locker room†
(Charles “Teenie” Harris, Kodak safety film, c. 1947) - Little boy boxer possibly in the ring at Kay Boys’ Club†
(Charles “Teenie” Harris, Kodak safety film, c. 1945) - Youthupia: an Algerian Tale*
(Fethi Sahraoui, 2020, 7 min.) - The Nation’s Finest
(Keith Piper, 1990, 7 min.) - IT’S IN THE GAME ‘17
(Sondra Perry, 2017, 16 min.) - The Same Track
(Thenjiwe Niki Nkosi, 2022, 5 min.) - Fragments untitled #6
(Doplgenger, 2022, 6 min.) - Prometheus
(Haig Aivazian, 2019, 23 min.)
* Looped in the Art Theater prior to screening
† Part of Carnegie Museum of Art’s collection and installed in the hall outside the theater
Run time: 57 min.
Notes from guest film programmer, Astria Suparak
Tool for exploitation or arena of resistance? The paradoxical nature of sport—as a site of biopolitical control, collective struggle, and individualized fantasy—makes it a rich and captivating subject. This program challenges commonplace understandings of the sports film genre by focusing on artist-made media and counter-narratives rather than commercial documentary and fiction sports movies, which often service hagiographic or nationalistic agendas. Power Plays seeks to address some of the unseen political and economic flows of the globalized sports-media complex.
Themes in this program include the confluence of nationalism, militarism, exploitation, spectacle, and sport, as well as activist resistance to sport’s hegemonic tendencies; the complex imbrications of sports, race, gender, desire, and representation; and the interplay of sports technology, visuality, and public space.