SF Cinematheque presents: James T. Hong In Person
With a dark humor and a darker sense of irony the documentary and essayistic film/video and installation work of James T. Hong bristles with anger and irony. On an extremely rare visit to the U.S. soil he once renounced, formerly-SF-now-Taipei-based filmmaker James T. Hong appears in person to present a program of recent films from his confrontationally intense body of work exploring racialism, philosophy and revisionist approaches to history. Screening: Apologies (2012), an ambient installation work examining the ironies of the nation-to-nation apology (“A stiff apology is a second insult…”—G. K. Chesterton); The Turner Film Diaries (2012), a deadpan dystopian depiction of Andrew Macdonald/W.L. Pierce’s infamous apocalyptic white supremacist fantasy (labeled a “bible of the racist right” by the Southern Poverty Law Center); and Cutaways of Jiang Chun Gen—Forward and Back Again (2013), a portrait of an elderly Chinese farmer who, subject to Japanese biological warfare in 1942, has lived and persevered for 70 years with open wounds. (Steve Polta)
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With a dark humor and a darker sense of irony the documentary and essayistic film/video and installation work of James T. Hong bristles with anger and irony. On an extremely rare visit to the U.S. soil he once renounced, formerly-SF-now-Taipei-based filmmaker James T. Hong appears in person to present a program of recent films from his confrontationally intense body of work exploring racialism, philosophy and revisionist approaches to history. Screening: Apologies (2012), an ambient installation work examining the ironies of the nation-to-nation apology (“A stiff apology is a second insult…”—G. K. Chesterton); The Turner Film Diaries (2012), a deadpan dystopian depiction of Andrew Macdonald/W.L. Pierce’s infamous apocalyptic white supremacist fantasy (labeled a “bible of the racist right” by the Southern Poverty Law Center); and Cutaways of Jiang Chun Gen—Forward and Back Again (2013), a portrait of an elderly Chinese farmer who, subject to Japanese biological warfare in 1942, has lived and persevered for 70 years with open wounds. (Steve Polta)
SF Cinematheque presents: James T. Hong In Person
With a dark humor and a darker sense of irony the documentary and essayistic film/video and installation work of James T. Hong bristles with anger and irony. On an extremely rare visit to the U.S. soil he once renounced, formerly-SF-now-Taipei-based filmmaker James T. Hong appears in person to present a program of recent films from his confrontationally intense body of work exploring racialism, philosophy and revisionist approaches to history. Screening: Apologies (2012), an ambient installation work examining the ironies of the nation-to-nation apology (“A stiff apology is a second insult…”—G. K. Chesterton); The Turner Film Diaries (2012), a deadpan dystopian depiction of Andrew Macdonald/W.L. Pierce’s infamous apocalyptic white supremacist fantasy (labeled a “bible of the racist right” by the Southern Poverty Law Center); and Cutaways of Jiang Chun Gen—Forward and Back Again (2013), a portrait of an elderly Chinese farmer who, subject to Japanese biological warfare in 1942, has lived and persevered for 70 years with open wounds. (Steve Polta)
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With a dark humor and a darker sense of irony the documentary and essayistic film/video and installation work of James T. Hong bristles with anger and irony. On an extremely rare visit to the U.S. soil he once renounced, formerly-SF-now-Taipei-based filmmaker James T. Hong appears in person to present a program of recent films from his confrontationally intense body of work exploring racialism, philosophy and revisionist approaches to history. Screening: Apologies (2012), an ambient installation work examining the ironies of the nation-to-nation apology (“A stiff apology is a second insult…”—G. K. Chesterton); The Turner Film Diaries (2012), a deadpan dystopian depiction of Andrew Macdonald/W.L. Pierce’s infamous apocalyptic white supremacist fantasy (labeled a “bible of the racist right” by the Southern Poverty Law Center); and Cutaways of Jiang Chun Gen—Forward and Back Again (2013), a portrait of an elderly Chinese farmer who, subject to Japanese biological warfare in 1942, has lived and persevered for 70 years with open wounds. (Steve Polta)
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992 Valencia Street, San Francisco, CA 94110
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