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DTSTART;VALUE=DATE:20251114
DTEND;VALUE=DATE:20261117
DTSTAMP:20260913T200601
CREATED:20250930T202405Z
LAST-MODIFIED:20260105T173108Z
UID:10003002-1763100000-1794808799@uniondocs.org
SUMMARY:A Symposium of Sorts: Radical Inquiries with the UNDO Fellows
DESCRIPTION:g
URL:https://uniondocs.org/event/a-symposium-of-sorts/
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/gif:https://uniondocs.org/wp-content/uploads/2025/09/gif-5.gif
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DTSTART;VALUE=DATE:20260902
DTEND;VALUE=DATE:20260915
DTSTAMP:20260913T200601
CREATED:20260720T202612Z
LAST-MODIFIED:20260806T173422Z
UID:10003077-1788328800-1789365599@uniondocs.org
SUMMARY:Wiseman's New York
DESCRIPTION:
URL:https://uniondocs.org/event/wisemans-new-york/
LOCATION:UnionDocs\, 352 Onderdonk Avenue\, 352 Onderdonk Avenue\, Ridgewood\, NY\, 11385\, United States
CATEGORIES:Screenings & Events,Workshops & Labs
ATTACH;FMTTYPE=image/gif:https://uniondocs.org/wp-content/uploads/2026/07/GIF-by-UnionDsocs.gif
GEO:40.7099952;-73.9507576
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=UnionDocs 352 Onderdonk Avenue 352 Onderdonk Avenue Ridgewood NY 11385 United States;X-APPLE-RADIUS=500;X-TITLE=352 Onderdonk Avenue:geo:-73.9507576,40.7099952
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260915T193000
DTEND;TZID=America/New_York:20260915T193000
DTSTAMP:20260913T200601
CREATED:20260810T141404Z
LAST-MODIFIED:20260810T141159Z
UID:10003078-1789500600-1789500600@uniondocs.org
SUMMARY:100 Jars of Honey
DESCRIPTION:[vc_row][vc_column width=”1/2″][vc_column_text css=””]Doors 7:00p\nProgram 7:30p\nTickets $12[/vc_column_text][/vc_column][vc_column width=”1/2″][vc_column_text]UnionDocs\n352 Onderdonk Ave\nRidgewood\, NY[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_separator][/vc_column][/vc_row][vc_row][vc_column offset=”vc_hidden-lg vc_hidden-md vc_hidden-sm vc_hidden-xs”][vc_empty_space height=”30px”][vc_video link=”https://vimeo.com/851422192″][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text css=””]We’re delighted to have encountered the practice of Mike Williams\, who has traveled from Australia to move across an impressive live audio tour across the east coast of the U.S. \nWe’ve invited Signal Hill to host a multi-part evening across three artist practices that brings us into a room to listen and join together.   \nMike Williams (Australia) blends music\, comedy and storytelling in a series of short stories including one about inheriting a collection of 100 jars of honey (and why he can’t let them go). He’s joined by a mix of exciting documentary makers.  \nPublic radio veteran\, Sean Cole shares insights into making a spoof of a long defunct radio show.  \nIndependent radio journalist and filmmaker\, Bianca Giaever will present short stories from a new body of work titled\, Stories of Objects that Haunt Me.  \nThis whole night will be hosted by the incredible team at Signal Hill\, an audio magazine changing the landscape for the field. We’re lucky that they’ve promised a few surprises of their own to share throughout the night. \nDon’t miss this rare lineup\, for one night only! Come through! \nCome through![/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_separator][vc_column_text] \nProgram \n[/vc_column_text][vc_separator][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text css=””] \n\n100 Jars of Honey by Mike Williams\n\n[/vc_column_text][vc_column_text css=””]A series of gonzo short stories blending narrative non-fiction\, comedy and music. Mike investigates his local barber’s love for Cher\, why there are no forks at his workplace\, and what to do with a supply of 100 jars of honey. [/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text css=””] \n\nA Weird Way to Learn About the World by Sean Cole\n\n[/vc_column_text][vc_column_text css=””]While the rest of Podcastistan trends further toward true crime\, wellness\, and video\, Sean Cole has been making an audio-only spoof of a long defunct radio show about writers and poetry. It’s unwise. But if nothing else\, it’s led him to some fascinating stories he’d have never learned otherwise – some of which he’ll share with you! [/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text css=””] \n\nStories of Objects that Haunt Me by Bianca Giaever\n\n[/vc_column_text][vc_column_text css=””]Bianca will be presenting a few short pieces from a new body of work called Stories of Objects that Haunt Me.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column offset=”vc_hidden-lg vc_hidden-md vc_hidden-sm vc_hidden-xs”][vc_empty_space height=”40px”][vc_single_image image=”147742″ img_size=”full”][vc_column_text] \nWatch the conversation between Presenter1\, Presenter2 and Presenter 3 on the UnionDocs’ Membership hub. \n[/vc_column_text][vc_btn title=”Watch” style=”outline-custom” outline_custom_color=”#ffffff” outline_custom_hover_background=”#adadcc” outline_custom_hover_text=”#0000cd” shape=”round” align=”center” css_animation=”bounceIn”][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_separator][vc_column_text] \nBios \n[/vc_column_text][vc_separator][vc_empty_space height=”30px”][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”164493″ img_size=”full” css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Mike Williams (Marrickville\, NSW) makes fast\, irreverent\, and unmistakably Australian audio documentaries. His work has been broadcast internationally and he’s performed stories live at venues ranging from a local sausage restaurant to the Sydney Opera House. Mike works as Head of Entertainment and Culture at LiSTNR\, supporting the teams behind some of Australia’s biggest podcasts.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”164490″ img_size=”full” css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Bianca Giaever is an independent radio journalist and filmmaker. Her recent short film\, STALIN BOYS\, won a Special Jury Award and Audience Award at SXSW. Her other stories have appeared on This American Life\, Radiolab\, The New Yorker\, and The New York Times.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”164491″ img_size=”full” css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Sean Cole has been working in public radio and podcasting for almost thirty years\, including more than a decade at This American Life where he was a producer\, reporter\, and occasional guest host. He’s also been a staffer at Radiolab\, a contract reporter for Marketplace\, and a contributor to lots of other shows including 99% Invisible and  NPR’s All Things Considered. Sean’s poems have appeared in various magazines (both physical and virtual). His collection After This Messages was published by Lunar Chandelier press in 2022.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”164482″ img_size=”full” css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Signal Hill is an audio magazine\, edited by Liza Yeager\, Lio Wong\, Annie Rosenthal\, Jackson Roach\, and Omar Etman. We publish audio stories of all kinds\, created collaboratively by a wide range of contributors: longform reporting\, experimental essays\, fiction\, dispatches\, profiles\, and more. We were named one of the best podcasts of 2025 by The BBC\, The Atlantic\, and The New Yorker.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column offset=”vc_hidden-lg vc_hidden-md vc_hidden-sm vc_hidden-xs”][vc_empty_space height=”30px”][vc_separator][vc_column_text] \nFrom the Event \n[/vc_column_text][vc_separator][vc_empty_space height=”30px”][vc_media_grid style=”pagination” items_per_page=”1″ element_width=”12″ arrows_design=”vc_arrow-icon-arrow_01_left” arrows_position=”outside” arrows_color=”white” loop=”yes” item=”136647″ grid_id=”vc_gid:1785514173272-bf4e23f4-c149-8″ include=”147747\,147746\,147745″][vc_empty_space height=”30px”][/vc_column][/vc_row]
URL:https://uniondocs.org/event/100-jars-of-honey-2026-09-15/
LOCATION:UnionDocs\, 352 Onderdonk Avenue\, 352 Onderdonk Avenue\, Ridgewood\, NY\, 11385\, United States
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/gif:https://uniondocs.org/wp-content/uploads/2026/07/gif-7.gif
GEO:40.7099952;-73.9507576
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=UnionDocs 352 Onderdonk Avenue 352 Onderdonk Avenue Ridgewood NY 11385 United States;X-APPLE-RADIUS=500;X-TITLE=352 Onderdonk Avenue:geo:-73.9507576,40.7099952
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20261002T100000
DTEND;TZID=America/New_York:20261004T163000
DTSTAMP:20260913T200601
CREATED:20260810T120800Z
LAST-MODIFIED:20260909T141952Z
UID:10003083-1790935200-1791131400@uniondocs.org
SUMMARY:Tell Don't Show:  Adventures in First-Person Filmmaking
DESCRIPTION:[vc_row][vc_column offset=”vc_hidden-lg vc_hidden-md vc_hidden-sm vc_hidden-xs”][vc_video link=”https://www.youtube.com/watch?v=46T0dWTytwA” css=””][/vc_column][/vc_row][vc_row][vc_column][vc_column_text css=””]Sometimes it’s worth just telling it like it is. In documentary filmmaking\, “show don’t tell” has become an oft-repeated mantra in an effort to expel any perceived didacticism\, but how might a subjective perspective complicate a film\, and invite the audience to actively question its authority? When a non-fiction filmmaker embraces their first-person point of view\, what can their personality\, positionality and biases reveal about the subject of a documentary? \nAcross the 3 days of this workshop\, essay filmmaker Charlie Shackleton will lead participants in an excavation of how first-person cinema can both offer a generative framework and be a creative technique; considering its rich proponents\, revelatory applications and profound potentials for documentary. Here we’re not looking at film that centers the filmmaker as the subject\, but rather where the filmmaker employs their own character as a filmic tool; their sense of humor\, cadence of speech\, or the performance of the filmmaking process itself become a part of the creative methodology. By inverting the traditional idiom of “show don’t tell”\, this workshop celebrates personality\, perspective and explores the idea of subjectivity becoming the primary mediator of the reality portrayed on screen. \nWe’ll be joined by a diverse range of guest practitioners\, each with their own distinctive filmmaking personality or approach to imprinting personal identity on their work. Charlie will discuss how the construction of an on-screen persona can facilitate a film’s intended direction.  Alan Berliner will reveal how his personal life has become inextricably linked to his creative work. Joanna Arnow will discuss how she draws on personal experience in her fictional works. Rebeca Huntt will explore how the personal and the intimate can reflect broader societal truths. \nParticipants will be encouraged to experiment with different ways of incorporating their own personalities as a creative strategy to uncover new understandings of their material\, each given the opportunity to engage in constructive group discussion by sharing a work-in-progress from their own practice. \nCome through![/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_text_separator title=”Details” color=”white” el_class=”h1″][vc_empty_space height=”40px”][vc_tta_accordion style=”outline” shape=”square” color=”white” active_section=”8″ no_fill=”true” collapsible_all=”true”][vc_tta_section title=”Who is eligible?” tab_id=”1477608256488-ac7d3d1a-ae9084d0-801ebd47-97fc”][vc_column_text css=””]Open to everyone\, though the workshop setting is best suited for filmmakers\, film producers\, journalists\, curators and media artists. \nGive us an idea of who you are and why you are coming. When you register you will be asked for a short statement of interest that should briefly describe your experience and a film project (it would be great if you have a project in progress that you would present to the group during the work-in-progress critique sessions)\, plus a bio. There’s a spot for a link to a work sample (and CV\, which would also be nice\, but is not required).[/vc_column_text][/vc_tta_section][vc_tta_section title=”Cost” tab_id=”1477608256642-4c32d845-e84384d0-801ebd47-97fc”][vc_column_text css=””]$295 early bird registration ends on Sep 22\, 2026. \n$350 regular registration.[/vc_column_text][/vc_tta_section][vc_tta_section title=”Refund Policy” tab_id=”1477608441051-60d28267-92bf84d0-801ebd47-97fc”][vc_column_text css=””]The deposit is non-refundable. Should you need to cancel\, you’ll receive half of your registration fee back until Sep 22. After Sep 22\, the fee is non-refundable.[/vc_column_text][/vc_tta_section][vc_tta_section title=”Technology Requirements” tab_id=”1477608488046-a8fa4720-501684d0-801ebd47-97fc”][vc_column_text css=””]No animation software is required for participation in this workshop. \nIn order to keep costs down\, this workshop is a BYOL\, i.e. bring your own laptop. Students must be fully proficient using and operating their computers.[/vc_column_text][/vc_tta_section][vc_tta_section title=”Registration & Cancellation Policy” tab_id=”1477612055387-51381642-d1c784d0-801ebd47-97fc”][vc_column_text css=””]To register for a workshop\, students must pay in full via card\, check\, or cash . After the early bird registration deadline of Sep 22\, course fees are not refundable or transferable and any withdrawals or deadlines will result in the full cost of the class being forfeit. There will be no exceptions. To withdraw from a course please email info-at-uniondocs.org. \nIn the event that a workshop does not receive sufficient enrollment\, it may be canceled. Students will be notified at least 48 hours prior to the start of a cancelled workshop and will be refunded within 5 business days. If we reschedule a workshop to another date\, students are also entitled to a full refund. UnionDocs reserves the right to change instructors without prior notification\, and to change class location and meeting times by up to an hour with 48 hours prior notice.[/vc_column_text][/vc_tta_section][vc_tta_section title=”Section” tab_id=”1781182352324-698be9aa-6635″][/vc_tta_section][/vc_tta_accordion][vc_empty_space height=”40px”][vc_empty_space height=”40px”][vc_message message_box_style=”solid” style=”square” message_box_color=”orange”]Please note: Participants are accepted on a first-come\, first-serve basis.[/vc_message][vc_empty_space height=”40px”][vc_empty_space height=”40px”][vc_text_separator title=”Schedule” color=”white” el_class=”h1″][vc_empty_space height=”40px”][vc_row_inner][vc_column_inner][vc_custom_heading text=”Friday\, October 2″ font_container=”tag:h1|text_align:left” use_theme_fonts=”yes” css=””][vc_separator color=”white”][vc_column_text css=””]10:00am – 10:30am Welcome & intros  \n10:30am – 12:30pm Intro session with Charlie Shackleton \n12:30pm – 2:00pm Lunch \n2:00pm – 4:00pm Session with Rebeca Huntt \n4:00pm – 4:30pm Wrap Up Discussion with Charlie additional exercises / discussion \n7:30pm – 10:00pm Screening of Zodiac Killer Project with Charlie Shackleton[/vc_column_text][vc_empty_space height=”40px”][vc_custom_heading text=”Saturday\, October 3″ font_container=”tag:h1|text_align:left” use_theme_fonts=”yes” css=””][vc_separator color=”white”][vc_column_text css=””]10:00am – 10:30am Warm up\, inspiring references\, case studies \n10:30am – 12:30pm Session with Alan Berliner \n12:30pm – 2:00pm Lunch \n2:00pm – 4:00pm Session with Joanna Arnow \n4:00pm – 4:30pm Wrap Up Discussion with Charlie\, additional exercises / discussion[/vc_column_text][vc_empty_space height=”40px”][vc_custom_heading text=”Sunday\, October 4″ font_container=”tag:h1|text_align:left” use_theme_fonts=”yes” css=””][vc_separator color=”white”][vc_column_text css=””]10:00am – 10:30am Warm up\, inspiring references\, case study\, eye training. \n10:30am – 12:30pm Creative feedback session with Charlie \n12:30pm – 1:30pm Wrap up and conclusion with Charlie[/vc_column_text][/vc_column_inner][/vc_row_inner][vc_empty_space height=”40px”][vc_custom_heading text=”Each day follows this general structure\, with some minor variations and substitutions:” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_empty_space height=”40px”][/vc_column][/vc_row][vc_row][vc_column width=”1/6″][vc_column_text]10:00a[/vc_column_text][/vc_column][vc_column width=”5/6″][vc_column_text]Warm up\, inspiring references\, case study\, eye training.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/6″][vc_column_text]10:30a[/vc_column_text][/vc_column][vc_column width=”5/6″][vc_column_text]Presentation by guest speaker + individual work-in-progress critique[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/6″][vc_column_text]11:45a[/vc_column_text][/vc_column][vc_column width=”5/6″][vc_column_text]Discussion[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/6″][vc_column_text]12:30p[/vc_column_text][/vc_column][vc_column width=”5/6″][vc_column_text]Share / Discussion / Exercise[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/6″][vc_column_text]1:00p[/vc_column_text][/vc_column][vc_column width=”5/6″][vc_column_text]Lunch (on your own)[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/6″][vc_column_text]2:00p[/vc_column_text][/vc_column][vc_column width=”5/6″][vc_column_text]Presentation by guest speaker + individual work-in-progress critique[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/6″][vc_column_text]3:15p[/vc_column_text][/vc_column][vc_column width=”5/6″][vc_column_text]Discussion[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/6″][vc_column_text]4:00p[/vc_column_text][/vc_column][vc_column width=”5/6″][vc_column_text]Workshop Exercise + Critique[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/6″][vc_column_text]5:00p[/vc_column_text][/vc_column][vc_column width=”5/6″][vc_column_text]Wrap Up[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”40px”][vc_text_separator title=”Bios” color=”white” el_class=” \n“][vc_empty_space height=”40px”][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”164699″ img_size=”full” css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Charlie Shackleton is a nonfiction filmmaker working across film\, television\, radio\, and immersive media. He is one third of the London-based production outfit Loop. His latest film Zodiac Killer Project premiered at the 2025 Sundance Film Festival\, where it won the NEXT Innovator Award.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”164701″ img_size=”full” css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Alan Berliner’s uncanny ability to combine experimental cinema\, artistic purpose\, and popular appeal in compelling film essays has made him one of America’s most acclaimed independent filmmakers. The New York Times has described Berliner’s work as “powerful\, compelling and bittersweet… full of juicy conflict and contradiction\, innovative in their cinematic technique\, unpredictable in their structures… Alan Berliner illustrates the power of fine art to transform life.” His experimental documentary films\, BENITA (2025)\, Letter to the Editor (2019)\, First Cousin Once Removed (2013)\, Wide Awake (2006)\, The Sweetest Sound (2001)\, Nobody’s Business (1996)\, Intimate Stranger (1991)\, and The Family Album (1986)\, have been broadcast all over the world\, and received awards\, prizes\, and retrospectives at many major international film festivals. The Florida Film Festival called him “the modern master of personal documentary filmmaking.” Over the years\, Berliner’s films have become part of the core curriculum for documentary filmmaking and film history classes at universities worldwide and are in the permanent collections of many film societies\, festivals\, libraries\, colleges and museums.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”164700″ img_size=”full” css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Joanna Arnow is a filmmaker and actor based in Brooklyn. Her first fiction feature “The Feeling That the Time for Doing Something Has Passed” screened at Cannes Directors’ Fortnight\, TIFF\, New York Film Festival and received the 2024 Cahiers du Cinema André Bazin Award. The film was released by Magnolia Pictures. Her other films include personal documentary feature “i hate myself :)” as well as narrative shorts “Laying Out” and “Bad at Dancing” which won the Berlinale Silver Bear Jury Prize. Joanna received Indie Spirit nominations for Best First Screenplay and the Someone to Watch Award\, and recently completed a six month DAAD Artist-in-Berlin fellowship.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”165121″ img_size=”full” css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Rebeca Huntt is an award-winning Afro-Latina writer and director born and raised in New York City. Her debut feature\, Beba\, premiered at the Toronto International Film Festival and was released theatrically by NEON in 2022 to critical acclaim from The New York Times\, The New Yorker\, Variety\, The Hollywood Reporter\, and others. The film was nominated for a Berlinale Crystal Bear and the Film Independent Spirit Award for Truer Than Fiction\, and received three Cinema Eye Honors nominations\, including Outstanding Direction and Outstanding Debut. Rebeca’s second feature\, RAPINOE\, produced by Story Syndicate was the opening night doc at Toronto International FIlm Festival 2026. Huntt was selected as a BAFTA Breakthrough artist and is represented by UTA.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_column_text]\n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space][/vc_column][/vc_row]
URL:https://uniondocs.org/event/tell-dont-show-first-person-filmmaking-2026-10-02/
CATEGORIES:Workshops & Labs
ATTACH;FMTTYPE=image/gif:https://uniondocs.org/wp-content/uploads/2026/08/gif-9.gif
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20261002T193000
DTEND;TZID=America/New_York:20261002T193000
DTSTAMP:20260913T200601
CREATED:20260818T161418Z
LAST-MODIFIED:20260826T142906Z
UID:10003088-1790969400-1790969400@uniondocs.org
SUMMARY:Zodiac Killer Project
DESCRIPTION:[vc_row][vc_column width=”1/2″][vc_column_text css=””]Doors 7:00p\nProgram 7:30p\nTickets $12[/vc_column_text][/vc_column][vc_column width=”1/2″][vc_column_text]UnionDocs\n352 Onderdonk Ave\nRidgewood\, NY[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_separator][/vc_column][/vc_row][vc_row][vc_column offset=”vc_hidden-lg vc_hidden-md vc_hidden-sm vc_hidden-xs”][vc_empty_space height=”30px”][vc_video link=”https://vimeo.com/851422192″][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text css=””]We’re delighted to kick off our workshop Tell Don’t Show: Adventures in First-Person Filmmaking with a special screening and conversation with workshop lead\, the brilliant essay filmmaker Charlie Shackleton! \nIn Camera Test (King Cadbury)\, a routine camera test spirals into an investigation of a mysterious mid-century Cadbury’s commercial\, preserved in Shackleton’s family mythology despite there being no evidence that it ever existed. A documentary readymade about memory\, family lore\, and chocolate biscuits\, the film offers a compact introduction to Shackleton’s singular first-person approach. \nWinner of the NEXT Innovator Award at the 2025 Sundance Film Festival\, Zodiac Killer Project begins with another unrealized object: the true crime documentary Shackleton tried and failed to make. Narrating the abandoned project beat by beat over vacant Bay Area landscapes\, stylized re-enactments\, and fragments of contemporary true crime\, Shackleton conjures the film that might have been while dismantling the genre’s familiar tricks and conventions along the way. Dryly funny\, formally inventive\, and sharply critical\, the film turns creative frustration itself into a method. \nFollowing the screening\, Charlie Shackleton will join us for a conversation. \nCome through![/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_separator][vc_column_text] \nProgram \n[/vc_column_text][vc_separator][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text css=””] \nCamera Test (King Cadbury) by Charlie Shackleton\n[/vc_column_text][vc_column_text css=””] UK / 2024 / 7min[/vc_column_text][vc_column_text css=””]A documentary readymade about family lore and chocolate biscuits.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text css=””] \nZodiac Killer Project by Charlie Shackleton\n[/vc_column_text][vc_column_text css=””] US/UK / 2025 / 92min[/vc_column_text][vc_column_text css=””]Having tried and failed to make a true crime documentary\, filmmaker Charlie Shackleton tells the story of what might have been.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text css=””] \nProgram Duration: 99 mins \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column offset=”vc_hidden-lg vc_hidden-md vc_hidden-sm vc_hidden-xs”][vc_empty_space height=”40px”][vc_single_image image=”147742″ img_size=”full”][vc_column_text] \nWatch the conversation between Presenter1\, Presenter2 and Presenter 3 on the UnionDocs’ Membership hub. \n[/vc_column_text][vc_btn title=”Watch” style=”outline-custom” outline_custom_color=”#ffffff” outline_custom_hover_background=”#adadcc” outline_custom_hover_text=”#0000cd” shape=”round” align=”center” css_animation=”bounceIn”][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_separator][vc_column_text] \nBios \n[/vc_column_text][vc_separator][vc_empty_space height=”30px”][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”164699″ img_size=”full” css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Charlie Shackleton is a nonfiction filmmaker working across film\, television\, radio\, and immersive media. He is one third of the London-based production outfit Loop. His latest film Zodiac Killer Project premiered at the 2025 Sundance Film Festival\, where it won the NEXT Innovator Award.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column offset=”vc_hidden-lg vc_hidden-md vc_hidden-sm vc_hidden-xs”][vc_empty_space height=”30px”][vc_separator][vc_column_text] \nFrom the Event \n[/vc_column_text][vc_separator][vc_empty_space height=”30px”][vc_media_grid style=”pagination” items_per_page=”1″ element_width=”12″ arrows_design=”vc_arrow-icon-arrow_01_left” arrows_position=”outside” arrows_color=”white” loop=”yes” item=”136647″ grid_id=”vc_gid:1787754518450-5a41b0ab-2161-0″ include=”147747\,147746\,147745″][vc_empty_space height=”30px”][/vc_column][/vc_row]
URL:https://uniondocs.org/event/zodiac-killer-2026-10-02/
LOCATION:UnionDocs\, 352 Onderdonk Avenue\, 352 Onderdonk Avenue\, Ridgewood\, NY\, 11385\, United States
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/gif:https://uniondocs.org/wp-content/uploads/2026/08/gif-11.gif
GEO:40.7099952;-73.9507576
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=UnionDocs 352 Onderdonk Avenue 352 Onderdonk Avenue Ridgewood NY 11385 United States;X-APPLE-RADIUS=500;X-TITLE=352 Onderdonk Avenue:geo:-73.9507576,40.7099952
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20261004T193000
DTEND;TZID=America/New_York:20261004T193000
DTSTAMP:20260913T200601
CREATED:20260901T085209Z
LAST-MODIFIED:20260911T133129Z
UID:10003090-1791142200-1791142200@uniondocs.org
SUMMARY:Under the Sky of Fetishes
DESCRIPTION:[vc_row][vc_column width=”1/2″][vc_column_text css=””]Doors 7:00p\nProgram 7:30p\nTickets $12[/vc_column_text][/vc_column][vc_column width=”1/2″][vc_column_text]UnionDocs\n352 Onderdonk Ave\nRidgewood\, NY[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_separator][/vc_column][/vc_row][vc_row][vc_column offset=”vc_hidden-lg vc_hidden-md vc_hidden-sm vc_hidden-xs”][vc_empty_space height=”30px”][vc_video link=”https://vimeo.com/851422192″][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text css=””]We’re delighted to welcome Caroline Déodat for a special evening of films and conversation with writer\, researcher\, and film programmer Yasmina Price! \nWorking at the intersection of ethnography and fabulation\, archival research and critical theory\, Déodat’s films explore the spectral lives of images and the histories of violence that continue to haunt them. Moving through colonial archives\, personal genealogies\, myth\, dance\, and landscape\, her work asks how histories erased or distorted by dominant narratives might be encountered otherwise. \nThe evening will bring together three of Déodat’s films\, Landslides (2020)\, Under the Sky of the Fetishes (2023)\, and her newest work\, Nostra Memoria (2026). Across these works\, Déodat traces the enduring imaginaries of slavery\, colonialism\, fascism\, and Empire\, while experimenting with forms that unsettle the authority of the archive and the hegemony of the visible. \nFollowing the screening\, Déodat will join Yasmina Price in a conversation about their shared work around African and Afro-diasporic expressive cultures\, aesthetic remembrance and the politics of camera-based technologies. \nDon’t miss it\, come through![/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_separator][vc_column_text] \nProgram \n[/vc_column_text][vc_separator][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text css=””] \n\nUnder The Sky Of The Fetishes (Sous Le Ciel Des Fétiches)\n\n[/vc_column_text][vc_column_text css=””]HD video\, ~17 minutes\, 2023[/vc_column_text][vc_column_text css=””]Under The Sky Of Fetishes responds to the complexity of showing the ubiquitous presence of colonial archives. The film reinvests the spectres of a haunting gaze to tell the story of Mauritian sega – a practice of dance and music born during the slavery period within communities of fugitives. How do we project – literally bring out of ourselves – the narrative of the aggressor?[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text css=””] \n\nNostra Memoria\n\n[/vc_column_text][vc_column_text css=””]HD video\, 19 minutes\, 2026.[/vc_column_text][vc_column_text css=””]Nostra Memoria is a film-collage shot in Rome\, Italy\, that examines the precariousness of modern citizenship and the enduring imaginaries of fascism\, slavery\, and Empire through the figure of the foreigner. Set in the gardens of the Villa Medici\, a place haunted both by the legacy of its founder Colbert and by the canon of Western art\, the film brings together personal archives\, documentary footage\, analog animation\, and peplum imagery. These fragments interrogate the persistent obsession with national origins\, purity\, and heritage\, revealing the political fictions through which Empire continues to shape our understanding with the notion of origins. Multiple women’s voices come together around a polyphony of intimate narratives\, historical facts\, and myths\, as a way of writing history or caring for the dead.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text css=””] \n\nLandslides\n\n[/vc_column_text][vc_column_text css=””]HD video\, 12 minutes\, 2020.[/vc_column_text][vc_column_text css=””]Landslides is a cinematographic essay/poem where fictional images are created from research about a Mauritian ritual born during the slavery period. The contemporary Mauritian dancer Jean-Renat Anamah crosses mythical territories of Sega which combine with intimate places of my own story. From the pixel of digital image and the shadow of electronic rhythm\, this film exhumes in layers of landscapes the spectrum of a ritual erased by History through a personal genealogy: between hauntological memory and delayed archive.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column offset=”vc_hidden-lg vc_hidden-md vc_hidden-sm vc_hidden-xs”][vc_empty_space height=”40px”][vc_single_image image=”147742″ img_size=”full”][vc_column_text] \nWatch the conversation between Presenter1\, Presenter2 and Presenter 3 on the UnionDocs’ Membership hub. \n[/vc_column_text][vc_btn title=”Watch” style=”outline-custom” outline_custom_color=”#ffffff” outline_custom_hover_background=”#adadcc” outline_custom_hover_text=”#0000cd” shape=”round” align=”center” css_animation=”bounceIn”][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_separator][vc_column_text] \nBios \n[/vc_column_text][vc_separator][vc_empty_space height=”30px”][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”165217″ img_size=”full” css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Caroline Déodat’s practice operates at the intersection of ethnography and fabulation\, archival research and critical theory. Her work explores the spectral dimension of the moving image\, its capacity to haunt as well as processes of alienation\, myths\, and histories of violence in response to punitive architectures. Through film and installation\, she seeks to create conditions of enunciation that unsettle disciplinary cartographies and challenge the hegemony of the visible. \nHolding a PhD in Anthropology (EHESS)\, she completed the postgraduate Art program at the École nationale supérieure des beaux-arts de Lyon (ENSBA Lyon). Déodat’s work has been shown at the Reina Sofía Museum in Madrid\, in international festivals such as Jih.lava International Documentary Film Festival\, at the Sandretto Re Rebaudengo Foundation in Turin\, at the 14th Bamako Encounters\, at the CAPC – Museum of Contemporary Art of the City of Bordeaux\, and soon at the 16th Dakar Biennale. \nHer book Dans la polyphonie d’une île. Les ficitions coloniales du séga mauricien\n(Éditions B42) has been awarded by the Nicolás Cristóbal Guillén Batista Philosophical\nLiterature Outstanding Book Award from The Caribbean Philosophical Association in\n2025.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”165582″ img_size=”full” css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Yasmina Price is a New York–based writer and film programmer. She is devoted to visual culture from the African continent and diaspora\, anticolonial cinema\, and the experimental work of women filmmakers. Her work pays particular attention to the materiality of image-making and the politics of memory. She has programmed at Anthology Film Archives\, Light Industry\, Maysles Documentary Center\, e-flux\, the Brooklyn Academy of Music\, the Los Angeles County Museum of Art\, the Pan African Film & Arts Festival\, and the National Gallery of Art. Her writing has appeared in edited volumes\, museum catalogues and journals such as The Nation\, Film Quarterly\, The Baffler\, MUBI’s Notebook\, Hammer & Hope\, World Records Journal and Criterion’s Current. She holds a Ph.D. in Black Studies and Film & Media Studies from Yale University.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column offset=”vc_hidden-lg vc_hidden-md vc_hidden-sm vc_hidden-xs”][vc_empty_space height=”30px”][vc_separator][vc_column_text] \nFrom the Event \n[/vc_column_text][vc_separator][vc_empty_space height=”30px”][vc_media_grid style=”pagination” items_per_page=”1″ element_width=”12″ arrows_design=”vc_arrow-icon-arrow_01_left” arrows_position=”outside” arrows_color=”white” loop=”yes” item=”136647″ grid_id=”vc_gid:1789132290503-1d9982a9-4b31-8″ include=”147747\,147746\,147745″][vc_empty_space height=”30px”][/vc_column][/vc_row]
URL:https://uniondocs.org/event/under-the-sky-of-fetishes-2026-10-04/
LOCATION:UnionDocs\, 352 Onderdonk Avenue\, 352 Onderdonk Avenue\, Ridgewood\, NY\, 11385\, United States
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/gif:https://uniondocs.org/wp-content/uploads/2026/09/gif-12.gif
GEO:40.7099952;-73.9507576
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=UnionDocs 352 Onderdonk Avenue 352 Onderdonk Avenue Ridgewood NY 11385 United States;X-APPLE-RADIUS=500;X-TITLE=352 Onderdonk Avenue:geo:-73.9507576,40.7099952
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20261023T100000
DTEND;TZID=America/New_York:20261025T163000
DTSTAMP:20260913T200601
CREATED:20260901T100931Z
LAST-MODIFIED:20260901T152818Z
UID:10003091-1792749600-1792945800@uniondocs.org
SUMMARY:Uneasy Arrangements:  Collage\, Animation & the Archive
DESCRIPTION:[vc_row][vc_column offset=”vc_hidden-lg vc_hidden-md vc_hidden-sm vc_hidden-xs”][vc_video link=”https://www.youtube.com/watch?v=46T0dWTytwA” css=””][/vc_column][/vc_row][vc_row][vc_column][vc_column_text css=””]Every image carries the intentions\, assumptions\, and histories of its making. Yet these meanings are never fixed. When images are displaced\, recast\, and recontextualized\, they can spark new meanings\, unexpected connections\, and critical perspectives. What if we deliberately unsettled the image\, using collage\, remix\, and transformation to intervene in its intended function\, revealing other possibilities latent within the frame? For this workshop\, we’re thrilled to host filmmaker and animator Kelly Sears to think through the politics and aesthetics of reappropriating\, reassembling and mutating images. \nJoin us for an exploration of the creative possibilities that exist in the cracks and seams of our contemporary visual culture to critically engage with the prevailing image regime. We’ll consider the image as raw material; a flexible\, unfixed\, and malleable resource available for the artist to cut up\, reassemble and collage to generate new narratives\, temporalities and performances. We’ll approach collage not simply as a visual technique\, but as a way of thinking: a practice of transformation and resourcefulness. \nAcross these intensive 3-days we’ll be asking questions like: What can be revealed when an image is released from its original context? What happens when historical documents\, institutional archives\, family photographs\, fragmented media and ephemeral scraps of everyday life are brought into collision? How can our cultural detritus become a site of play and invention? How can we turn a culture of surveillance and consumption into its own criticism? \nKelly Sears will lead participants through her own collage-based practice\, at the intersection of animation\, archival\, speculative fiction and documentary. She’ll be joined by an all-star cast of artists who know how to recycle: Bill Morrison\, “the poet laureate of lost films”\, will elaborate on his recent work with surveillance materials; the Anti-banality Union will share examples of composite imagery reframing the assumptions of mainstream media; and acclaimed photographer Keisha Scarville will elaborate on her iterative approach to reinterpretation and artistic reappropriation. \nParticipants will leave with a deeper understanding of how the unstable image might become a space for imagining something otherwise\, and of collage as an aesthetic and political strategy. No prior experience with collage or found footage is required—just a curiosity about images and their afterlives.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_text_separator title=”Details” color=”white” el_class=”h1″][vc_empty_space height=”40px”][vc_tta_accordion style=”outline” shape=”square” color=”white” active_section=”8″ no_fill=”true” collapsible_all=”true”][vc_tta_section title=”Who is eligible?” tab_id=”1477608256488-ac7d3d1a-ae9084d0-801ebd47-97fc”][vc_column_text css=””]Open to everyone\, though the workshop setting is best suited for filmmakers\, film producers\, journalists\, curators and media artists. \nGive us an idea of who you are and why you are coming. When you register you will be asked for a short statement of interest that should briefly describe your experience and a film project (it would be great if you have a project in progress that you would present to the group during the work-in-progress critique sessions)\, plus a bio. There’s a spot for a link to a work sample (and CV\, which would also be nice\, but is not required).[/vc_column_text][/vc_tta_section][vc_tta_section title=”Cost” tab_id=”1477608256642-4c32d845-e84384d0-801ebd47-97fc”][vc_column_text css=””]$295 early bird registration ends on Oct 16\, 2026. \n$350 regular registration.[/vc_column_text][/vc_tta_section][vc_tta_section title=”Refund Policy” tab_id=”1477608441051-60d28267-92bf84d0-801ebd47-97fc”][vc_column_text css=””]The deposit is non-refundable. Should you need to cancel\, you’ll receive half of your registration fee back until Oct 16. After Oct 16\, the fee is non-refundable.[/vc_column_text][/vc_tta_section][vc_tta_section title=”Technology Requirements” tab_id=”1477608488046-a8fa4720-501684d0-801ebd47-97fc”][vc_column_text css=””]No animation software is required for participation in this workshop. \nIn order to keep costs down\, this workshop is a BYOL\, i.e. bring your own laptop. Students must be fully proficient using and operating their computers.[/vc_column_text][/vc_tta_section][vc_tta_section title=”Registration & Cancellation Policy” tab_id=”1477612055387-51381642-d1c784d0-801ebd47-97fc”][vc_column_text css=””]To register for a workshop\, students must pay in full via card\, check\, or cash . After the early bird registration deadline of Oct 16\, course fees are not refundable or transferable and any withdrawals or deadlines will result in the full cost of the class being forfeit. There will be no exceptions. To withdraw from a course please email info-at-uniondocs.org. \nIn the event that a workshop does not receive sufficient enrollment\, it may be canceled. Students will be notified at least 48 hours prior to the start of a cancelled workshop and will be refunded within 5 business days. If we reschedule a workshop to another date\, students are also entitled to a full refund. UnionDocs reserves the right to change instructors without prior notification\, and to change class location and meeting times by up to an hour with 48 hours prior notice.[/vc_column_text][/vc_tta_section][vc_tta_section title=”Section” tab_id=”1781182352324-698be9aa-6635″][/vc_tta_section][/vc_tta_accordion][vc_empty_space height=”40px”][vc_empty_space height=”40px”][vc_message message_box_style=”solid” style=”square” message_box_color=”orange”]Please note: Participants are accepted on a first-come\, first-serve basis.[/vc_message][vc_empty_space height=”40px”][vc_empty_space height=”40px”][vc_text_separator title=”Schedule” color=”white” el_class=”h1″][vc_empty_space height=”40px”][vc_row_inner][vc_column_inner][vc_custom_heading text=”Friday\, October 23″ font_container=”tag:h1|text_align:left” use_theme_fonts=”yes” css=””][vc_separator color=”white”][vc_column_text css=””]10:00am – 10:30am Welcome & intros  \n10:30am – 12:30pm Intro session with Kelly Sears \n12:30am – 2:00pm Lunch \n2:00pm – 4:00pm Session with Bill Morrison \n4:00pm – 4:30pm Wrap Up Discussion with Kelly additional exercises / discussion[/vc_column_text][vc_empty_space height=”40px”][vc_custom_heading text=”Saturday\, October 24″ font_container=”tag:h1|text_align:left” use_theme_fonts=”yes” css=””][vc_separator color=”white”][vc_column_text css=””]10:00am – 10:30am Warm up\, inspiring references\, case studies \n10:30am – 12:30pm Session with Anti-banality Union \n12:30am – 2:00pm Lunch \n2:00pm – 4:00pm Creative feedback session with Kelly \n4:00pm – 4:30pm Wrap Up Discussion with Kelly\, additional exercises / discussion[/vc_column_text][vc_empty_space height=”40px”][vc_custom_heading text=”Sunday\, October 25″ font_container=”tag:h1|text_align:left” use_theme_fonts=”yes” css=””][vc_separator color=”white”][vc_column_text css=””]10:00am – 10:30am Warm up\, inspiring references\, case study\, eye training. \n10:30am – 12:30pm Session with Keisha Scarville \n12:30am – 1:30pm Final discussion[/vc_column_text][/vc_column_inner][/vc_row_inner][vc_empty_space height=”40px”][vc_custom_heading text=”Each day follows this general structure\, with some minor variations and substitutions:” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_empty_space height=”40px”][/vc_column][/vc_row][vc_row][vc_column width=”1/6″][vc_column_text]10:00a[/vc_column_text][/vc_column][vc_column width=”5/6″][vc_column_text]Warm up\, inspiring references\, case study\, eye training.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/6″][vc_column_text]10:30a[/vc_column_text][/vc_column][vc_column width=”5/6″][vc_column_text]Presentation by guest speaker + individual work-in-progress critique[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/6″][vc_column_text]11:45a[/vc_column_text][/vc_column][vc_column width=”5/6″][vc_column_text]Discussion[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/6″][vc_column_text]12:30p[/vc_column_text][/vc_column][vc_column width=”5/6″][vc_column_text]Share / Discussion / Exercise[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/6″][vc_column_text]1:00p[/vc_column_text][/vc_column][vc_column width=”5/6″][vc_column_text]Lunch (on your own)[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/6″][vc_column_text]2:00p[/vc_column_text][/vc_column][vc_column width=”5/6″][vc_column_text]Presentation by guest speaker + individual work-in-progress critique[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/6″][vc_column_text]3:15p[/vc_column_text][/vc_column][vc_column width=”5/6″][vc_column_text]Discussion[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/6″][vc_column_text]4:00p[/vc_column_text][/vc_column][vc_column width=”5/6″][vc_column_text]Workshop Exercise + Critique[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/6″][vc_column_text]5:00p[/vc_column_text][/vc_column][vc_column width=”5/6″][vc_column_text]Wrap Up[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”40px”][vc_text_separator title=”Bios” color=”white” el_class=” \n“][vc_empty_space height=”40px”][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”165236″ img_size=”full” css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Kelly Sears uses experimental animation to reconfigure familiar source imagery. Her films move between documentary and speculative fiction\, reimagining social and political pasts and possible futures. Through cutting and collage\, she untethers images from their intended use\, creating slippages between the familiar and the fantastic. Her films have been screened at festivals such as Sundance\, Slamdance\, South by Southwest\, the American Film Institute\, the International Film Festival Rotterdam\, and museums such as MoMA\, the Hammer Museum\, and the Eye Filmmuseum in Amsterdam. She is an Associate Professor in the Cinema Studies and Moving Image Arts Department and Director of the Brakhage Center at the University of Colorado Boulder.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”165235″ img_size=”full” css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Bill Morrison has been called “the poet laureate of lost films” (New York Times\, 9/21/2021). He has premiered feature-length documentary films at the New York\, Sundance\, Telluride and Venice film festivals. Decasia (2002) was the first film of the 21st century to be named to the Library of Congress’ National Film Registry. Dawson City: Frozen Time (2016) has been listed as one of the best films of its decade (2010s) by the Associated Press\, Los Angeles Times\, and Vanity Fair\, among others. Incident (2023) won the International Documentary Association’s Best Short Film Award from in 2023\, the Cinema Eye Honors award for Outstanding Nonfiction Short in 2025\, and it was nominated for an Academy Award in Documentary Short in 2025. His most recent film\, Sawyer Avenue: Sunday Afternoon (18’\, 2026) premiered this year at Visions du Réel 2026\, and won two jury awards at the UnArchive Found Footage Festival 2026.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”165234″ img_size=”full” css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]The Anti-Banality Union is a collective that re-cuts Hollywood blockbusters into new feature-length films. Their work has been screened at Spectacle Theater\, Anthology Film Archives\, the Museum of the Moving Image\, and several undisclosed squats & communes.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”165233″ img_size=”full” css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Keisha Scarville (b. Brooklyn\, NY; lives in Brooklyn\, NY) weaves together themes dealing with loss\, latencies\, and the elusive body. Her work has been widely exhibited\, including the International Center of Photography\, Studio Museum of Harlem\, Huxley-Parlour in London\, ICA Philadelphia\, Contact Gallery in Toronto\, Lightwork\, The Brooklyn Museum of Art\, Higher Pictures\, and Webber Gallery in Los Angeles. Recent exhibitions include The 2nd Biennial das Amazonias (curated by Manuela Moscoso); 2025 Les Rencontres d’Arles; The Rose at CPW (curated by Justine Kurland and Marina Chao); If I Had a Hammer – Fotofest Biennial\, Houston (2022); and All of Them Witches\, Jeffrey Deitch\, Los Angeles (2020\, curated by Dan Nadel and Laurie Simmons). Her work is held in the collections of the Brooklyn Museum of Art\, Smithsonian Museum of American Art\, Yale University Art Gallery\, George Eastman House\, Denver Museum of Art\, and the Detroit Institute of Arts\, Museum of Fine Arts\, Houston. She has participated in residencies at Lightwork\, Lower Manhattan Cultural Council\, WOPHA\, Baxter Street CCNY\, and Skowhegan School of Painting and Sculpture. In addition\, her work has appeared in Vice\, Small Axe\, and The New York Times where her work has also received critical review. She is a recipient of the 2026 Brooklyn Museum UOVO Prize\, the 2023 Creator Lab Photo Fund\, and the inaugural Saltzman Prize in Photography in 2024. She is currently a Visiting Professor in the Department of Art\, Film\, and Visual Studies at Harvard University and a faculty member at Parsons School of Design in New York. Her first book\, lick of tongue rub of finger on soft wound\, was published by MACK and shortlisted in the 2023 Aperture/Paris PhotoBook Awards. Her second book with MACK was published in Spring 2026 and awarded the 2026 Les Rencontres d’Arles Author Book Award.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_column_text]\n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space][/vc_column][/vc_row]
URL:https://uniondocs.org/event/uneasy-arrangements-collage-animation-the-archive/
CATEGORIES:Workshops & Labs
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