Los Angeles. It's a city with its own history and secrets, and it's the movies' largest and most convenient backlot. It's a place where historic buildings are considered so quaint they must be sets, and people who live in glass houses get stoned; where the generations cruelly play out immigrant strivings, while true immigrants get pushed to the outskirts; a desert that water made into an Eden, a paradise that industry turned into a desert; where immobility is death, but with a car you've got a story.
“Los Angeles is hard to get right,” says filmmaker and scholar Thom Andersen, who has made a study of his adopted town as it has shaped and been shaped by the movies. Andersen has brought together Hollywood crème from the forties and no-budget schlock from the sixties, film noir and Laurel and Hardy, black neorealism and hippie art films, and resurrected from obscurity some genuine gems in an ambitious documentary, Los Angeles Plays Itself, that has been enthusiastically received at the Toronto, Vancouver, and Rotterdam film festivals. “If we can appreciate documentaries for their dramatic qualities,” Andersen posits, “perhaps we can appreciate fiction films for their documentary revelations.” In Los Angeles Plays Itself, Andersen tries to get it right.
We invite you to explore Los Angeles on screen in a monthlong series of films, ranging from the infamous to the fabulous, suggested by Andersen's documentary. All you lapsed Angelenos, now's the time to dig out your Dodgers caps and come see your fair city, maybe even your block, as an extra in the movies.
Judy Bloch
Thom Andersen is artist in residence at PFA the first week of June and the first artist in our new project Documentary Voices. Andersen studied film at UCLA and since 1987 has taught directing and film theory at California Institute of the Arts. Together with Noël Burch, he wrote Les Communistes de Hollywood: autre chose que des martyrs and directed the documentary Red Hollywood, which was the basis of a 1996 series at PFA.