Appropriation and Film: Deconstructing the Masters

Appropriation and Film: Deconstructing the Masters

Like the appropriation artists of the 1980s, many experimental filmmakers of this period were interested in using appropriation to deconstruct the conventions of film. In Thriller (1979), Sally Potter takes Puccini’s La Bohème and Hitchcock’s Psycho and uses them to posit a female spectator. In Cinderella (1986) Ericka Beckman twists the classic fairy tale to play games with the viewer. And in Sigmund Freud’s Dora (1979), by Anthony McCall, Andrew Tyndall, Claire Pajaczkowska, Ivan Ward, and Jane Weinstock, the filmmakers employ Freud’s text to explore film language.

Organized by Jane Weinstock.

In conjunction with Take It or Leave It: Institution, Image, Ideology.


Location: Billy Wilder Theater
Ticketing: Tickets are required and available at the Box Office one hour before the program. General admission tickets are available one per person on a first come, first served basis following member ticketing. Early arrival is recommended.
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Parking: Under the museum, $6 flat rate after 6 p.m. Cash only. 

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All Hammer public programs are free and made possible by a major gift from the Dream Fund at UCLA.

Generous support is also provided by Susan Bay Nimoy and Leonard Nimoy, the Simms/Mann Family Foundation, The Brotman Foundation of California, Good Works Foundation and Laura Donnelley, and all Hammer members.