{"id":11421,"date":"2022-10-11T14:14:16","date_gmt":"2022-10-11T19:14:16","guid":{"rendered":"https:\/\/ragtagcinema.org\/?p=11421"},"modified":"2022-11-09T08:45:33","modified_gmt":"2022-11-09T14:45:33","slug":"october-22-ragtag","status":"publish","type":"post","link":"https:\/\/ragtagcinema.org\/october-22-ragtag\/","title":{"rendered":"October '22 @ Ragtag"},"content":{"rendered":"\n
Welcome back cinema friends!

Change, as always, is afoot at our humble cinematheque. As you may have noticed, our newsletters have been streamlined these last few weeks. This, however, will serve as the first of a more robust monthly letter, spotlighting series and events at the Cinema as well as providing a roundup of what we\u2019ve been reading and writing in between.

Beyond that, I\u2019d like to introduce you to\u00a0our Letterboxd<\/a>. For the uninitiated, this is social media for the love of film. Unlike the endless scroll of Facebook and its ilk, Letterboxd is purely for building community around cinema. Built on top of a massive database of films, casual users and professional critics alike can log\u2014as academically or frivolously as their mood suits\u2014their adventures in moviegoing.<\/td><\/tr><\/tbody><\/table><\/figure>\n\n\n\n
<\/a>Ragtag Cinema\u2019s Letterboxd HQ is an ever growing home to Lists of our seasons and series; a Diary that serves as a living archive of every film ever shown at Ragtag down to the exact date (with more titles being added as we delve deeper into our internal archaeological digs); featured reviews from our staff and patrons; as well as the kind of longer-form write ups you\u2019ve found in our past newsletters.
Follow us to discover our programming, build your watchlist, rate, review and chart your life in films. App-averse? Look to these emails as a digest\u2014we won\u2019t leave you in the dark.

This Season:<\/em>
October and November\u2014from the gutter to the red carpet\u2014we\u2019re indulging in horror and presenting awards-season prestige. 

Our annual Ragtag of Terrors<\/a> returns this year with a focus on the millennium and the styles, waves, and generations it shaped\u2026 as well as the films that new generations have reshaped and reclaimed. New cult classics are coined, and misunderstood cast-offs reemerge as rebellious and empowering. Kicking off with an Extra Credit presentation of Jennifer\u2019s Body<\/a> on Monday, October 10 featuring a panel discussion on gender and genre.

Films fresh off of festival premiers from familiar and international auteurs\u2014crowned with Audience-Awards and Palme d\u2019Ors\u2014arrive ahead of the Oscars, while titles of a smaller-scale make big impressions with selections from New York's New Directors New Films (with Martine Syms\u2019 The African Desperate<\/a>) and our own True\/False Film Fest.

All throughout, Show Me<\/a> community conversations spotlight LGBTQ history (The Times of Harvey Milk<\/a>) and the future of indigenous storytelling (2022 Sundance Institute Indigenous Short Films<\/a>).
All of this and more is in the October & November print edition of our program guide, found here<\/a>, in your mailbox, or at the Box Office.

Finally, as we continue our Frederick Wiseman: Institutions<\/a> series with the Murray Center for Documentary Journalism, Wiseman himself will be appearing for a Masterclass<\/a> this Sunday, October 9 at 12pm. Joining us remote from Paris, Wiseman will discuss his philosophy and approach to building immersive nonfiction portraits for over seven(!) decades. The event is moderated by Murray Center\u2019s Filmmaker-in-Chief Robert Greene<\/a>, and tickets are on sale now.

Forward,
Ted<\/a><\/td><\/tr><\/tbody><\/table><\/figure>\n","protected":false},"excerpt":{"rendered":"

Welcome back cinema friends! Change, as always, is afoot at our humble cinematheque. As you may have noticed, our newsletters have been streamlined these last few weeks. This, however, will serve as the first of a more robust monthly letter, spotlighting series and events at the Cinema as well as providing a roundup of what […]<\/p>\n","protected":false},"author":14,"featured_media":11423,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[14,50],"tags":[67,69,88,220,192,217],"class_list":["post-11421","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-a-word-from","category-news","tag-cinema","tag-programmer","tag-ragtag","tag-ragtag-of-terrors","tag-show-me","tag-wiseman"],"acf":[],"_links":{"self":[{"href":"https:\/\/ragtagcinema.org\/wp-json\/wp\/v2\/posts\/11421","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/ragtagcinema.org\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/ragtagcinema.org\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/ragtagcinema.org\/wp-json\/wp\/v2\/users\/14"}],"replies":[{"embeddable":true,"href":"https:\/\/ragtagcinema.org\/wp-json\/wp\/v2\/comments?post=11421"}],"version-history":[{"count":2,"href":"https:\/\/ragtagcinema.org\/wp-json\/wp\/v2\/posts\/11421\/revisions"}],"predecessor-version":[{"id":11426,"href":"https:\/\/ragtagcinema.org\/wp-json\/wp\/v2\/posts\/11421\/revisions\/11426"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/ragtagcinema.org\/wp-json\/wp\/v2\/media\/11423"}],"wp:attachment":[{"href":"https:\/\/ragtagcinema.org\/wp-json\/wp\/v2\/media?parent=11421"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/ragtagcinema.org\/wp-json\/wp\/v2\/categories?post=11421"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/ragtagcinema.org\/wp-json\/wp\/v2\/tags?post=11421"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}