Lightcube Film Society presents "Trafic" film screening at Kiran Nadar Museum of Art, 145, DLF South Court Mall, Saket > 5pm on 27th September 2013

Time : 5:00 pm 

Duration : 93 min. 

Entry : Programme subject to change / For Registered Members only /  Registrations for the programme available for Rs 500/-
Contact:
lightcubefilmsociety@gmail.com | saumya.bhatt@shivnadarfoundation.org | lightcube.in | knma.in
7838340196 | 9654344455

Place : Kiran Nadar Museum of Art, 145, DLF South Court Mall, Saket, New Delhi -110017
011-49160000, 9312343005
Landmark : Behind Select Citywalk Mall
Venue Info : About | Map | Nearest Metro Station - 'Malviya Nagar (Yellow Line) Exit Gate - 3'
Area : Saket

Event Description : Lightcube Film Society presents 'Trafic' film screening.
In Trafic, Hulot is a bumbling automobile designer who works for Altra, a Paris auto plant. He, along with a truckdriver and a publicity agent (Maria Kimberly), takes a new camper-car (designed by Hulot) to an auto show in Amsterdam. On the way there, they encounter various obstacles on the road. Some of the obstacles that Hulot and his companions encounter are getting impounded by Dutch customs guards, a car accident (meticulously choreographed by the filmmakers), and an inefficient mechanic.

Year : 1971

Director : Jacques Tati

Background : ‘Echo Chamber’, the film club collaboration between Kiran Nadar Museum of Art & Lightcube Film Society present,
THE MACHINE AGE
Cinema came into being in the late 19th century, its existence necessitated by a world on the verge of widespread and rampant automatisation, machinisation, equipment, industry and armament; and on the immediate consequences of these phenomena: surveillance, nuclear war, accidental footage, dehumanization, a loss of individual personality and late 20th century paranoia. The present film series will aim to study in detail the manner in which a machine relates to another machine; the manner in which the tracking shot (which is made possible again, by railway line like rails) contemplates the diagonals, assembly lines and general geometries of modern factories and also, how the cinematic form can re-humanize those whose vitality is drained by their professional occupation inside these industries.  

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