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Collage of five diverse artworks from the Hammer Museum Collections side by side. From left to right: 1) Contemporary painting of two embracing figures with surreal elements. 2) Post-impressionist style painting of trees with vibrant blues and greens. 3) Black and white illustration of a face with intricate patterns. 4) Japanese woodblock print style image of a figure in a checkered robe. 5) Photograph of a couple dancing, the woman in a black dress and the man in white

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Still from the short film "Black Panthers" (1968)
Screenings
Part of the series Can’t Get That Monster Out of My Mind: Joan Didion and Cinema

Didion and the Counterculture

SUN DEC 4, 7 PM

Copresented by the Hammer Museum and the UCLA Film & Television Archive

Visit the exhibition Joan Didion: What She Means before the film.  Galleries will be open until 7:30 p.m.

Ringing throughout Joan Didion’s pieces on the counterculture and political militancy of the long 1960s is a clear note of skepticism. These four works offer contrasting vibe reports from those same milieus: Agnès Varda’s dispatch on the Black Panthers in Oakland, Kenneth Anger’s avant-garde summoning (which stars Manson Family member Bobby Beausoleil), Ralph Arlyck’s portrait of a four-year-old hippie in the Haight, and a Newsreel documentary about one woman’s path to feminist self-understanding.

Black Panthers
(1968, dir. Agnès Varda, color, 31 min.)

Invocation of My Demon Brother
1969, dir. Kenneth Anger, 35mm, color, 12 min.)

Sean
(1969, dir. Ralph Arlyck, 16mm, color, 14 min.)

Janie’s Janie
(1971, dir. Geri Ashur, Peter Barton, Marilyn Mulford, Stephanie Palewski, 16mm, black & white, 25 min.)

Total runtime: 82 min.

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