On December 5th, GME presented the little-seen 1955 television remake of THE MIRACLE ON 34TH STREET in the Adrienne Mancia Streaming Room, in time for the Christmas season. This month, GME presents another little-seen television remake of a classic story that has been reproduced in numerous iterations for screens big and small: the 1966 CBS Playhouse broadcast of Tennessee Williams’ play THE GLASS MENAGERIE.
Read MoreFollowing a brief hiatus in November, the team at GME is pleased to offer new programming this month in the Adrienne Mancia Streaming Room. Just in time for the holiday season, we bring you the little-seen 1955 made-for-television remake of the Christmas classic MIRACLE ON 34TH STREET (1947).
Read MoreGartenberg Media Enterprises mourns the loss of legendary filmmaker Ken Jacobs, who passed away on October 5th, 2025, at the age of 92. A founding member of The Film-Makers' Cooperative, Millennium Film Workshop, and the Film Department at Binghamton University, Jacobs was a titan of the New York and global avant-garde filmmaking community for over 60 years. This month in the Adrienne Mancia Streaming Room, as an homage both Ken and Flo Jacobs, we present Ken’s film CYCLOPEAN 3D: LIFE WITH A BEAUTIFUL WOMAN, which was produced by GME in 2012 through the Experimental Filmmakers Production Fund.
Read MoreOver the past several months, GME has paid homage to Adrienne Mancia by showcasing films in the Adrienne Mancia Streaming Room that she championed throughout her prolific career as a film exhibitor and curator. We now turn our focus to one of our company’s major projects: the excavation of libraries of celluloid films that have been abandoned in warehouses which GME has subsequently repatriated to archives for preservation and exhibition. For lighter, end-of-summer fare, we present Leopold Lindtberg's SWISS TOUR (1949) — a project that cuts across the various facets and activities of our company, including film archiving, distribution, and exhibition.
Read MoreJim McBride’s DAVID HOLZMAN’S DIARY (1967) is widely regarded as one of the first “mockumentaries,” and was once described by eminent film critic Richard Brody as an “ingenious, scruffy metafiction… an exotic fruit grown in New York from the seed of the French New Wave.” Filmed on a shoestring budget over the course of several days, it is a work of experimental fiction presented as an autobiographical documentary about aspiring filmmaker David Holzman (played by L.M. Kit Carson), who decides to make a filmed diary of his life on the Upper West Side.
Read MoreAllan King made his feature-length directorial debut with the 1967 documentary WARRENDALE, in which he visited a home for emotionally-disturbed young people. King’s documentary premiered to widespread critical acclaim, winning the Prix d’art et d’essai at the Cannes Film Fesitval and a special documentary award from the National Society of Film Critics. One of the many champions of WARRENDALE when it first premiered was Adrienne Mancia, who later programmed the film at MoMA while working there as a curator.
Read MoreDuring her time as a curator in MoMA's Department of Film, Adrienne Mancia was a major proponent of unearthing important and often overlooked treasures from film history. As noted by her close friend and colleague Jon Gartenberg, “[Adrienne] celebrated American directors of a bygone era who had worked within the Hollywood studio system.” King Vidor's THE JACK-KNIFE MAN (1920) and Henry King's THE SEVENTH DAY (1922) are among the early Hollywood films Mancia championed. Both films, which were featured in MoMA's 2023 In Memoriam tribute to Mancia, stream this month in the Adrienne Mancia Streaming Room.
Read MoreIn addition to her work as a film programmer, Adrienne Mancia was an accomplished writer of film criticism and film treatments. Hiroshi Teshigahara’s 1964 avant-garde psychological thriller WOMAN IN THE DUNES was a film Mancia championed at length in Film Comment, and is one of the titles GME’s team has selected to stream this month in the Adrienne Mancia Streaming Room.
Read MoreIn 1963, while working as an assistant for producer Roger Corman, Francis Ford Coppola made his directorial debut with the mystery horror film DEMENTIA 13. As a programmer at The Museum of Modern Art, Adrienne Mancia was an advocate of progressive “New Hollywood” filmmakers such as Coppola who, in the late 1960s and early ‘70s, subverted the moral and aesthetic traditions (and limitations) of the studio system by producing thematically and stylistically challenging work influenced by European cinema, the American avant-garde, and the countercultural ethos of the era at large. Part of Mancia’s advocacy of these filmmakers was seeking out their first works (often made for low-budget producers like Corman and production companies like American International Pictures) in order to chart the trajectory of their careers and connect their early output to the later works that brought them mainstream fame.
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