5 Reasons Why You Should Join Us This Saturday At The Photo Finish 5K

Posted by on Sep 30 2013 | Other

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This Saturday, October 5 is George Eastman House’s 3rd annual Photo Finish 5K. As a runner and Eastman House’s newest employee, I couldn’t be more thrilled to be a part of this race because the event is far from your typical 5K. If you haven’t registered yet, here are five reasons why you should consider joining us at the starting line Saturday morning:

1. 65+ Charities Represented

This race is about Mr. Eastman’s wish to make Rochester the healthiest and best place in the world to live and work. In just two years this event has raised over half a million dollars for more than 60 area non-profits. This year, more than 80 teams have registered and raised $140K+ for more than 65 organizations and they are still going strong. You can still join one of the existing teams, or start your own!

2. 3.1 Miles of Beautiful Scenery

Whether you are a walker, runner, or supporter, this course through the Neighborhood of the Arts never disappoints. Starting and ending at Eastman House, the course is designed to bring you by many other great Rochester organizations including the Memorial Art Gallery, Red Cross, School of the Arts, Visual Studies Workshop, Boy Scouts of America, and the Rochester Museum and Science Center.

3. Prizes For Speed AND Philanthropy

There really is something for everyone when participating in the Photo Finish 5K.

  • If speed is your thing, first, second, and third place male and female prizes will be given in 8 age categories. In addition, top male and female finishers receive $100 to go to his/her favorite charity.
  • If fundraising is more your strength, teams that raise the most money for their chosen non-profit will win EXTRA prize money based on five different categories.
  • And if you show up on race day with the most spirit, there is a very special prize for that, too, called the Crosby Spirit Prize.

 4. Post-Race Activities

Crossing the finish line is just the beginning of the fun. Your race registration gives you access to FREE post-race activities at Eastman House including admission to the Museum, food and drinks, massages from Onondaga School of Therapeutic Massage, and a photo booth to capture shots of you and your friends.

5. 5K Cultural Pass

Your Photo Finish 5K entry also includes something that no other race has, a Cultural Pass for one free admission to some of Rochester’s cultural gems, including the Dryden Theatre at George Eastman House, the Memorial Art Gallery, the Rochester Museum and Science Center, the Strasenburg Planetarium, and the Rochester Philharminic Orchestra. What a better way to celebrate your support for the Rochester community!

Ways to get involved…

Register to walk/run here: http://photofinish5k.eastmanhouse.org/

And if you are looking for ways to support Eastman House, please check out the following teams raising money for various projects around the Museum:

 

 

Rachel Pikus is the Manager of Online Engagement at George Eastman House International Museum of Photography and Film.

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King of B-movies – Roger Corman

Posted by on Sep 12 2013 | Motion Pictures

Director’s note via Films & Events 9/10, 2013

The Intruder (1962)

The Intruder (1962)

The George Eastman Award for distinguished contribution to the art of film was established in 1955, and was the first award by an American film archive to honor artistic work of enduring value. In bestowing this honor, we recognize individuals who have enriched the field of motion pictures. Legendary recipients have ranged from George Cukor and Fred Astaire to Martin Scorsese and Meryl Steep.

This year’s award, being presented to Roger Corman on November 2, marks our belated embrace of independent cinema. Far surpassing his reputation as the undisputed king of B-movies, Corman has had an enormous impact on both independent and mainstream cinema over the past six decades. He is the paragon of the independents.

Best known for The Little Shop of Horrors (1960)—said to have been filmed in just two days—and his Edgar Allan Poe cycle starring Vincent Price, Corman has had a long career as a director of groundbreaking and entertaining films. He fearlessly approached every subject he covered, from monster movies and gangster films to psychedelic drugs and burgeoning countercultures.



In 1962, he made the only feature film about the civil rights movement to be made during the civil rights movement: The Intruder, starring William Shatner, which was shot on location in the Deep South.

Corman’s dedication to independent film production quickly set him apart from other producers and directors in the 1950s and 1960s. Having produced more than 550 films, Corman is known for working with incredibly small budgets and in short periods of time. The films he produced and directed in the 1950s for American International Pictures were highly successful, low-budget features—the kinds of films he has continued to make and support throughout his career.

With a famously sharp eye for talent, Corman is credited with having discovered some of the most remarkable actors and directors of the last five decades. He fostered the careers of Jack Nicholson, Francis Ford Coppola, Dennis Hopper, Peter Fonda, Robert De Niro, Jonathan Demme, Martin Scorsese, Ron Howard, and James Cameron, among many others.

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Corman was a sympathetic and accessible mentor, often giving those with little or no experience opportunities to direct or star in his films.
Corman’s sense for great cinema has reached far beyond his own productions. In the 1970s, he brought to American audiences foreign-language films that were ignored by major distributors.

New World Pictures, the company that Corman founded with his brother in 1970, distributed not only a slew of Corman’s own films, but also masterpieces by auteurs such as Ingmar Bergman, Federico Fellini, Akira Kurosawa, and François
Truffaut, as well as important works by less well-known foreign directors.

As director, producer, mentor, and distributor, Roger Corman has helped to define motion pictures. Join us in celebrating a true American independent as we honor Roger Corman for his exceptional career and tremendous contributions to cinema.

Ticket information available now.

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Ron and Donna Fielding Director Dr. Bruce Barnes

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Focus 45: Nick Brandreth

Posted by on Aug 29 2013 | Photography

Lisa Kribs-LaPierre is the former Manager of Online Engagement at the George Eastman House International Museum of Photography and Film.

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Our Erie Canal tintype excursion

Posted by on Aug 16 2013 | Photography

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Lisa Kribs-LaPierre is the former Manager of Online Engagement at the George Eastman House International Museum of Photography and Film.

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Hair, film, and photography

Posted by on Aug 12 2013 | Photography, Student Work

Victoria Gao is an intern in our photography department.

Check our Tumblr, Dodge & Burn all week for more *interesting* hair in film and photography.

Hair often transcends categorizations of gender by transforming people into fashion icons or recognizable characters. Celebrities are often noted for starting hairstyle trends or for embodying them so well that their hair becomes as much of their celebrity as they themselves are.

Louise Brooks

Edward Steichen (American, b. Luxembourg 1879 – 1973), Louise Brooks, 1928, Gelatin silver contact print, Bequest of Edward Steichen under the direction of Joanna T. Steichen, ©Estate of Edward Steichen

For example, Louise Brooks, the American silent film star and the first woman to dance the Charleston in London, epitomized the Roaring Twenties with her sharp bob haircut. She popularized the style through her appearances in movies and advertisement photographs. Similarly, Charlie Chaplin, with his small bowler hat, baggy pants, and comical waddling walk, completed his “Tramp” look with the toothbrush moustache that was fashionable decades earlier but would come to define him throughout his career.

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Charles C. Zoller (American, 1854 – 1934), Charlie Chaplin, ca 1917-1918, Color plate, screen (Autochrome) process, Gift of Mr. & Mrs. Lucius A. Dickerson

Hair can also be used as a tool for masquerade.

Andreas Feininger (American, 1906 - 1999), Wig shop exhibits in store window, New  York, 1968, Gelatin silver print, Gift of the photographer

Andreas Feininger (American, 1906 – 1999), Wig shop exhibits in store window, New
York, 1968, Gelatin silver print, Gift of the photographer, ©Estate of Andreas Feininger

People use wigs to disguise signs of balding, aging, or illness, or to transform themselves into costumed characters for entertainment. The modern history of wigs is closely intertwined with the history of photography. Nineteenth century photographs of men and women dressed in elaborate, white-powdered wigs and other eighteenth century clothing were lighthearted sources of satire and comedy. Wigs remained largely out of fashion until the 1960s and 70s, when women’s bouffants revived the industry, but Andreas Feininger’s 1968 image of a wig shop draws close parallels with the famed street photographs of store window mannequin heads taken by Eugène Atget in the early decades of the mass consumer culture industry.

Richard Avedon (American, 1923 - 2004), Brigitte Bardot, 1959, Gelatin silver print, George Eastman House

Richard Avedon (American, 1923 – 2004), Brigitte Bardot, 1959, Gelatin silver print, George Eastman House, ©Richard Avedon Foundation

Above all else hair is a source of aesthetic pleasure, and film and photography have played significant roles in representing that. From the politically charged musical-turned movie Hair (1979) to photographs focusing on hair as an abstracted, formalist element throughout twentieth century art movements, hair has bewitched, provoked, inspired, repelled, and entertained us all.

-Victoria Gao
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Lisa Kribs-LaPierre is the former Manager of Online Engagement at the George Eastman House International Museum of Photography and Film.

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