Out of the many, many things about Madison that make me feel warm and fuzzy inside, the annual Wisconsin Film Festival is one that generates special pride. One could say I am an amateur film buff; I use my subscription to Four Star Video to watch cult classics, foreign films and obscure British television shows as much as possible. I've seen a very odd assortment of movies, so when the Film Festival came to town last year, I realized how much I adore Madison's cultural offerings. The overwhelmingly diverse and interesting selections had me picking out a rather ambitious list, though I only managed to make it to five or six films. However, two of those instantly found themselves on my list of favorite films—there's truly something for everyone at the festival.
Indeed, some things never change. Here I am in 2011, again choosing more films than I can possibly attend, again reading diligently through the intimidating film guide in an unsuccessful effort to narrow my sights. Perhaps the most exciting aspect of the upcoming festival is the knowledge that once I arrive, mere seconds before the posted start time, and settle into my seat as the lights dim, I will be transported into the minds of filmmakers from across the world, artists who work in this medium of movement. Film inherently has the ability to become great art, and I can rest assured that most, if not all, of the films I catch at the festival will be works of art.
That is a debate that plagued film at its outset: Is it art or just entertainment? I see no reason for these to be mutually exclusive, and I also see no reason that there could be any means of communication between humans that cannot be artistically enabled. Art, including film, moves us, shakes us, offends us, enlightens us, surprises us, rewards us and sometimes even sanctifies us.
Film, in a sense, is an art form built upon music. Music is the art of sounds in time, rhythms, pitch progressions and melodies, using the fluidity of these movements to stir listeners. Film is another art of motion, viscously blending stills into activity. Narratives seep and wax, visuals pop and recede, sounds swirl and define. The history of moving art intertwines inseparably with the canonized history of art.
Film has been separated, however. There is a clear distinction between film history and music history versus art history. This is perhaps one of the greatest ills of the arts and humanities as academic disciplines; only a communication arts major with numerous com-arts prerequisites can access film history courses at UW-Madison, and I am sure this is not the only program in the country of this design.
Despite visual culture's identification with art history, the inclusion of film, music or video games as viable media in art history classes is the exception, not the rule. I do not take issue with communication arts as a discipline, or specifically film's role within that, but a relatively simple academic bridge would give art history students, especially those interested in visual cultures, access to this area. If ignored, perhaps we should admit art history is no more than the study of painting, sculpture, and perhaps photography, giving less credit where credit is not due.
As if to directly support my point, this year's film festival will spotlight experimental film, or so-called video art (and if that term is unrelated to film and film history, I haven't a clue what is). Several sets of short, avant-garde films will be shown throughout the Festival, offering a smattering of unique pieces at the junction of film and the ""visual arts."" Thus, even if I cannot incorporate it into my curriculum, film history will unfold before me while I sit in the anticipatory dark, finding another film that might change my life.
The 2011 Wisconsin Film Festival will run March 30 to April 3 in downtown Madison. Film guides, locations, and ticket information can be found at the official website: http://2011.wifilmfest.org/
