372 "Meshes" Part Two

7. What were some general tendencies on the programming at Cinema 16, and how were films arranged within the individual programs?
Some general tendencies on the programming at Cinema 16 were: All the films in both programs can be seen as supplying evidence about what is usually termed individual expression; Vogel demonstrated alternative to industry-made cinema; economic dimension to the selections; worshipping physical beauty or the dramatic ability of the stars; and16mm – represented of individuals and social life, and for expressing the problematic realties of class. Films were arranged with in the individual programs by Vogel would view the films and decided what films would be viewed each year. “While some programs or parts of programs revealed particular political positions on specific issues, individual programs and seasonal series were usually structured as if each ere a meta-film meant to confront the audience in manner reminiscent of Sergei Eisenstein’s dialectic editing”; Vogel would show films together to have maximum thought from the viewer; and screenings were accompanied by program notes.
8. What were some of Cinema 16 other activities?
Cinema 16 other activities included: editing, production of musical tracks, microphotography, took bus loads of members to Rochester for weekend visits to watch classical films Vogel could not get, Vogel and Peretz Jones created a film series for children, several courses were developed in collaboration with Cinema 16, and Cinema 16 gave out two awards-avant-garde film, and documentary.
9. What impact did Cinema 16 have on NY City film culture?
The impact Cinema 16 had on NY City film culture was big. Vogel’s rough calculations stated 188,000 individuals came to Cinema 16; two million people had seen films distributed by Cinema 16; influential figures in the arts and entertainment were members; Jonas Mekas and P. Adams Sitney who became spokespeople for North American Avant-garde cinema were members.