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DTSTART;TZID=America/New_York:20240505T193000
DTEND;TZID=America/New_York:20240505T193000
DTSTAMP:20260609T204759
CREATED:20240402T162215Z
LAST-MODIFIED:20240417T194548Z
UID:10002843-1714937400-1714937400@uniondocs.org
SUMMARY:Resonant Chambers
DESCRIPTION:[vc_row][vc_column width=”1/2″][vc_column_text]Doors 7:30p\nProgram 8:00p[/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][vc_empty_space height=”30px”][vc_video link=””][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text css=””]We are thrilled to invite you to an evening of live sound performances featuring sound artists Jenn Grossman\, Shelley Hirsch\, and Hans Tammen. \nJenn Grossman uses a range of materials in her practice including pipes\, tubes\, amplified fans to create sound sculptures\, installations\, and object-based performances. Her work explores the psycho-spatial\, surreal\, affective\, and transcendent potentials of sensory media.  Jenn will present a performance: ‘reflective vessels’ that stretches the material dimensions of amplified sound objects/instruments\, (industrial tubing\, fans\, sine tones\, synths) embedded in a quadraphonic soundscape of ethereal tones and textures.  \nIn Eigengrau\, Tammen and Hirsch play with spontaneity in form as they respond to each others’ improvisations. Eigengrau is the color you see when you close your eyes. Tammen uses his inquisitive approach to musical instruments as objects\, and uses transducers to tease out overtones and noises from guitars. Hirsch uses her signature extended vocal techniques\, devised over decades of experimentation\, dipping in and out of singing\, storytelling\, and using the voice as an instrument. \nThe evening’s performances will be presented on a quadraphonic sound system. We’re embracing the DIY ethos that artists have taken to appropriating the often inaccessible domain of spatial audio. \nPresented in conjunction with Tara Aliya Kesavan and Indranil Choudhury’s exhibition FEEBLE TRANSMITTERS\, the evening’s performances center experiencing the tactile and material dimensions of sound.[/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] \nEigengrau\n[/vc_column_text][vc_column_text]Sound Performance[/vc_column_text][vc_column_text]In Eigengrau\, Tammen and Hirsch play with spontaneity in form as they respond to each others’ improvisations. Eigengrau is the color you see when you close your eyes.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text css=””] \n‘reflective vessels’ \n[/vc_column_text][vc_column_text]Sound Performance[/vc_column_text][vc_column_text css=””]‘reflective vessels’ stretches the material dimensions of amplified sound objects/instruments\, (industrial tubing\, fans\, sine tones\, synths) embedded in a quadraphonic soundscape of ethereal tones and textures.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”30px”][vc_column_text] \nProgram Duration: 60 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=”150842″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text]Jenn Grossman is an audiovisual artist\, composer\, and sound sculptor based in Brooklyn\, NY. She is concerned with the expansive physical and psycho-spatial potentials of sensory media within a culture of commodification\, expanding the “every-day” into affective/emotive/expressive vessels and transportive experiences. She explores themes of disorientation\, staged synchronicity\, cyclical time\, the surreal\, and other-worldly. Her work has taken the form of sound sculpture\, audiovisual installation/performance\, video\, light events\, public interventions\, and spatial audio compositions. She’s held residencies at I-Park Foundation\, Harvestworks Digital Media Arts Center\, presented audio works & research at venues and festivals such as the Black Mountain College Museum\, the Museum of the Moving Image\, the Megapolis Audio Festival\, Cistern Dreams at the Deep Listening Institute\, the Global Composition Conference at Darmstadt amongst many NYC venues and galleries. Recently\, her work’s been presented at SARC’s Sonic Lab\, Roulette’s MATA festival\, the Light Matter Film Festival\, and the Re-embodied Sound Symposium at EMPAC in Troy\, NY.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”150721″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text] \nBorn and raised in East New York Brooklyn\, Vocal Artist\, Performer\, Composer\, Storyteller\, Interdisciplinary Artist Shelley Hirsch has been pushing boundaries with her unique vocal art and performance work\, drawing on her life experiences\, her memory\, her vivid imagination for decades. The New York Times called her “A woman of a thousand voices… She offered an enthralling demonstration of the way songs\, vocal styles and language might have evolved out of more primal musical impulses”. Hirsch’s multimedia performances\, compositions\, improvisations\, electronic music pieces\, sound installations\, collaborations and radio plays have been presented at concert halls\, museums\, theaters\, galleries\, clubs\, radio\, worldwide in venues including Alice Tully Hall\, Roulette\, Experimental Intermedia Foundation and CBGB’s in NYC; Experimenta Festival in Buenos Aires\, What is Music? Festival Melbourne Australia; Beyond Innocence Festival in Kobe Japan; City of Women Festival Llubliana Slovenia; Dom Cultural Center Moscow; Akademie Der Künste Berlin; Next Festival Bratislava Slovakia; Time Festival Ghent\, Belgium; Angelica Festival Bologna Italy\, All Ears Festival Oslo Norway; Red House Sofia Bulgaria; Taktlos Festival Bern Switzerland; New Music America Festival Helena Montana\, TBA Festival Portland Oregon\, and hundreds more.. \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”150580″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text]Hans Tammen is just another worker in rhythms\, frequencies and intensities. He likes to set sounds in motion\, and then sit back to watch the movements unfold. Using textures\, timbre and dynamics as primary elements\, his music is continuously shifting\, with different layers floating into the foreground while others disappear. This flows like clockwork\, “transforming a sequence of instrumental gestures into a wide territory of semi-hostile discontinuity; percussive\, droning\, intricately colorful\, or simply blowing your socks off” (Touching Extremes). \nHe performs regularly with prepared and microtonal guitars\, Buchla Music Easel\, and a Blippoo Box chaos synthesizer. He also performs with various pieces of software of his own design\, made for the interactive processing of various objects or instruments. He regularly writes for large ensembles\, notably his 18-piece chamber-jazz ensemble Third Eye Orchestra\, and the all-electronic Dark Circuits Orchestra\, both founded in 2005. In 2021 FLUX String Quartet commissioned him to write a large work for string quartet and live electronics.[/vc_column_text][/vc_column][/vc_row][vc_row disable_element=”yes”][vc_column offset=”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:1713381196407-cb85787f-d7b5-8″][vc_empty_space height=”30px”][/vc_column][/vc_row]
URL:https://uniondocs.org/event/resonant-chambers-2024-05-05/
LOCATION:UnionDocs\, 352 Onderdonk Avenue\, 352 Onderdonk Avenue\, Ridgewood\, NY\, 11385\, United States
CATEGORIES:From The Vault: Women's Advocacy on Film,Screenings & Events
ATTACH;FMTTYPE=image/gif:https://uniondocs.org/wp-content/uploads/2024/04/UnionDocs-GIF-downsized_large-10.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:20180621T193000
DTEND;TZID=America/New_York:20180621T220000
DTSTAMP:20260609T204759
CREATED:20180607T213256Z
LAST-MODIFIED:20180620T134056Z
UID:10002311-1529609400-1529618400@uniondocs.org
SUMMARY:From The Vault: Intro to Archiving and Preservation for Film + Video
DESCRIPTION:[vc_row][vc_column][vc_empty_space height=”40px”][vc_separator color=”custom” accent_color=”#ffffff”][vc_empty_space height=”40px”][vc_column_text]We’re excited to close out our series with NYWIFT and Women’s Film Preservation Fund with an assembly of some of the best minds in preservation and understanding the archive walking us through the basics. Once you have a finished your documentary and it is a file on your hard drive\, have you thought about how to make sure it will last? Or do you have a movie\, shot on film\, that can no longer be shown because the print is in tatters and no one is screening 16mm anymore? Do you have a documentary master on an obsolescent videotape format? Have you ever wondered if storing your film\, video or digital work in your home or studio is a good idea\, and why placing it in an archive will ensure its longevity? \nOnce a production has been completed documentarians are often consumed with their next project and don’t have access to resources or a budget to figure out how to make sure their work is preserved for longevity. Although intention exists to keep the work alive for the long run — preservation and accessibility maintenance is another job in and of itself\, and a line item that isn’t usually included in production budgets. Sustainability of one’s body of work is essential to our shared discipline\, to keep our stories in the conversation\, to maintain its relevancy and aid each artist’s livelihood. \nJoin us for the final installment of FROM THE VAULT for answers to some of these questions in an introductory presentation on archiving and preserving film and video. This event offers a basic overview and first steps for the long-term safeguarding of motion pictures\, making work accessible for exhibition and monetization over a lifetime.[/vc_column_text][vc_empty_space height=”40px”][vc_text_separator title=”Panel” color=”white” el_class=”h1″][vc_custom_heading text=”Intro to Archiving and Preservation for Film + Video” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_custom_heading text=”” font_container=”tag:p|text_align:left” use_theme_fonts=”yes”][vc_column_text]Join a panel of stellar experts from across the field including Rufus De Rham ( Film Society of Lincoln Center)\, Kelly Haydon (NYU\, Special Collections)\, Bill Seery (The Standby Program)\, and Caroline Gil (MoMA) for a panel on best practices for archiving and preserving your work moderated by Pamela Cruz.[/vc_column_text][vc_empty_space height=”40px”][vc_text_separator title=”” color=”white” el_class=”h1″][vc_empty_space height=”40px”][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”105900″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text]Kelly Haydon is the Audiovisual Archivist for the Special Collections within New York University’s Bobst Library. Previously\, she was the Preservation Manager at Bay Area Video Coalition. She holds degrees from NYU’s Moving Image Archiving and Preservation Program (where she is also an adjunct professor) and the School of Visual Arts. She volunteers as a media archivist for XFR Collective and Third World Newsreel.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”105963″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text]Bill Seery\, the Director of Preservation Services for The Standby Program\, has over 30 years of experience in sound design\, editing and mixing for film\, video\, radio and multimedia as the owner and operator of Mercer Media. For the past 20 years he has been active in the conservation and restoration of time based media including audio and moving image materials\, and installation art. In partnership with The Standby Program\, he created the first not for profit magnetic media preservation center on the East Coast working to conserve the collections of institutions including Hallwalls\, Electronic Arts Intermix\, Experimental Television Center\, Franklin Furnace\, Anthology Film Archives\, NYU Fales Library\, The Martha Graham Dance Company\, The Wooster Group and the works of individual artists including James Nares\, Beryl Korot\, Carolee Schneeman\, Vito Acconci\, David Wojnarowicz\, Henry Hills and Nam June Paik.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”105901″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text]Rufus de Rham is the Programming Operations Manager at Film Society of Lincoln Center where he manages the print traffic and technical projection operations. He also programs film festivals and series\, such as Sound + Vision\, My First Film Festival\, Scary Movies\, New York Asian Film Festival\, Old School Kung Fu Festival and more. He holds a MA in Moving Image Archiving and Preservation from New York University and has worked on archival projects for institutions such as NYU\, Democracy Now!\, the September 11 Television Archive\, The Joint Jewish Distribution Center\, BronxNet\, Activist Archivists\, Video at Risk\, and Third World Newsreel.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”106265″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text]Caroline Gil is a media archivist\, with experience working with artists\, cultural heritage institutions\, private art collectors\, and non-profits. Caroline is currently a Fellow in Media Conservation at The Museum of Modern Art\, and has worked at the Wildlife Conservation Society\, Smithsonian’s Center for Folklore and Cultural Heritage\, the New Art Trust\, New York Public Library\, Third World Newsreel\, Allied Productions\, Filmoteca Cataluña\, and with media artists’ personal collections. She is a graduate of NYU’s Moving Image Archiving and Preservation Program\, holds a Director of Cinematography MA from Universidad de Barcelona-ESCAC and BA in Visual Arts.\n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”105902″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text]Pamela Cruz (Moderator) is an archives executive with extensive global experience in assessment\, organization\, preservation\, and management of asset collections. Her career has included being chief strategist for the National Historic Preservation Center\, Girl Scouts of the USA; vice president of archival services\, Miramax Films; antiques manager\, Polo Ralph Lauren Corporation and an advisor for private collections. During her years at Miramax\, she was responsible for the inception of the Miramax Archives Department\, creating archive databases\, and systems for archival tracking and storage for Miramax and Dimension Films. She worked with an array of asset collections in Italy\, France\, Romania\, Mexico and the U.S.\, as well as on leveraging use of archives\, including for museum exhibits\, publications and media. Cruz has served on the Board of Directors of Archivists Round Table of Metropolitan New York\, Inc. (A.R.T.) as vice president responsible for monthly programming and later as president. She is currently the A.R.T. representative to the Regional Archival Associations Consortium for Society of American Archivists for 2016 – 2018. Cruz is a member of New York Women in Film and Television\, where she is on the Women’s Film Preservation Fund steering committee. She recently completed a tenure on the board of directors for IndieCollect\, whose mission is to preserve and make accessible independent American films. In 2017 Cruz was appointed to the 15-member NYC Archives\, Research and Reference Advisory Board by Mayor de Blasio.\n[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2018-06-21-from-the-vault-intro-to-archiving-and-preservation-for-film-video/
LOCATION:UnionDocs\, 352 Onderdonk Avenue\, 352 Onderdonk Avenue\, Ridgewood\, NY\, 11385\, United States
CATEGORIES:From The Vault: Women's Advocacy on Film,Screenings & Events
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2018/03/Betty-Tells-Her-Story3-Liane-Brandon-Dir.jpg
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:20180520T193000
DTEND;TZID=America/New_York:20180520T220000
DTSTAMP:20260609T204759
CREATED:20180420T205806Z
LAST-MODIFIED:20180519T012843Z
UID:10002289-1526844600-1526853600@uniondocs.org
SUMMARY:Reexamine\, Reclaim\, Redefine: Anything You Want To Be & Joe and Maxi
DESCRIPTION:[vc_row][vc_column][vc_empty_space height=”40px”][vc_separator color=”custom” accent_color=”#ffffff”][vc_empty_space height=”40px”][vc_column_text]Next in our co-presentation with the Women’s Film Preservation Fund (WFPF) and New York Women in Film & Television (NYWIFT)\, From the Vault: Women’s Advocacy on Film\, is a double feature on the development of young women in the midst of societal pressures and stigmas. The first film\, Maxi Cohen’s Joe and Maxi\, is an intimate portrait of a father-daughter relationship\, both autobiographical and universal in its emotional exploration of the family unit. The feature will be followed by Liane Brandon’s groundbreaking short Anything You Want to Be\, which finds humor in the common stereotypes that dictate the opportunities and career choices available towards young women. \nWe are happy to be welcoming back Brandon to discuss her short after the screening![/vc_column_text][vc_empty_space height=”40px”][vc_text_separator title=”Program” color=”white” el_class=”h1″][vc_custom_heading text=”Joe and Maxi” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_custom_heading text=”Maxi Cohen\, 80 min.\, 1973″ font_container=”tag:p|text_align:left” use_theme_fonts=”yes”][vc_column_text]This film is an intimate and revealing portrait of the relationship between a father and daughter. Begun as an attempt to get to know her father\, Cohen’s film ended up dealing with diagnosis of cancer and subsequent death. A breakthrough verité film\, it portrays universal emotions while exposing family interactions and raising ethics issues involved in documentary filmmaking.[/vc_column_text][vc_empty_space height=”40px”][vc_custom_heading text=”Anything You Want to Be” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_custom_heading text=”Liane Brandon\, 8 min.\, 1971″ font_container=”tag:p|text_align:left” use_theme_fonts=”yes”][vc_column_text]ANYTHING YOU WANT TO BE is one of the very first “Women’s Liberation” films in the country – and it was instrumental in spreading the word about the Women’s Movement across the US. Shot in 1970\, it is a humorous film about a teenager’s collision with sex-role stereotypes. In a series of comical vignettes\, a bright high school girl finds that\, despite her parents’ assurance that she can be “anything she wants to be\,” she is repeatedly foiled by social expectations and media stereotypes. As a part of the growing women’s movement\, this film helped give voice to a generation of women whose expectations\, opportunities and career choices were extremely limited.[/vc_column_text][vc_empty_space height=”40px”][vc_empty_space height=”40px”][vc_text_separator title=”88 min” color=”white” el_class=”h1″][vc_empty_space height=”40px”][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”104083″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text]Maxi Cohen is an award-winning artist and filmmaker based in New York City. Her films\, photographs and multimedia installations have been exhibited internationally and are in the permanent collections of numerous museums\, including the Museum of Modern Art\, New York\, the Whitney Museum for American Art\, New York\, the Museum of Fine Arts\, Houston\, the Israel Museum\, Jerusalem\, and the National Gallery of Canada\, Ottawa. Her films have played in movie theatres\, film festivals and television around the world.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”103095″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text]Liane Brandon is an award winning independent filmmaker\, photographer and University of Massachusetts/Amherst Professor Emerita. She was one of the first independent women filmmakers to emerge from the Women’s Movement. She is a co-founder of New Day Films\, the nationally known cooperative that pioneered in the distribution of feminist/social issue films and videos. \nHer classic films include Anything You Want To Be\, Betty Tells Her Story\, Once Upon A Choice\, and How To Prevent A Nuclear War. They have won numerous awards and have been featured on HBO\, TLC\, USA Cable and Cinemax. They have also been presented at the Museum of Modern Art\, the Boston Museum of Fine Arts\, and other venues. Betty Tells Her Story was nominated for inclusion in the National Film Registry and Anything You Want To Be was featured at the Tribeca Film Festival. \nHer photography credits include production stills for the PBS series American Experience\, Nova\, American Masters and the upcoming American Masters bio of Edgar Allan Poe. Her photos have been published in The New York Times\, the Los Angeles Times\, the Boston Globe and many other publications. \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”104084″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text]Deirdre Boyle is a media critic and historian who has written numerous essays\, reviews\, and interviews on independent media for such publications as Afterimage\, Cineaste\, CineAction\, Film Quarterly\, Frameworks\, Millennium Film Journal\, Short Film Studies\, Wide Angle\, among others.  She is the author of Subject to Change: Guerrilla Television Revisited (Oxford Univ. press)\, a history of Seventies’ video collectives\, and Video Classics: A Guide to Video Art and Documentary Tapes (Oryx Press) among other books.  She is currently writing Ferryman of Memories\, a book on the films of Rithy Panh\, Cambodia’s leading filmmaker\, media activist\, and genocide survivor.  [/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2018-05-20-reexamine-reclaim-redefine-joe-and-maxi/
LOCATION:UnionDocs\, 352 Onderdonk Avenue\, 352 Onderdonk Avenue\, Ridgewood\, NY\, 11385\, United States
CATEGORIES:From The Vault: Women's Advocacy on Film,Screenings & Events
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2018/04/JoeMaxi_3.jpg
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:20180422T183000
DTEND;TZID=America/New_York:20180422T213000
DTSTAMP:20260609T204759
CREATED:20180327T201431Z
LAST-MODIFIED:20180420T172045Z
UID:10002712-1524421800-1524432600@uniondocs.org
SUMMARY:Reexamine\, Reclaim\, Redefine: The Woman’s Film
DESCRIPTION:[vc_row][vc_column][vc_empty_space height=”40px”][vc_separator color=”custom” accent_color=”#ffffff”][vc_empty_space height=”40px”][vc_column_text]Next in our co-presentation with the Women’s Film Preservation Fund (WFPF) and New York Women in Film & Television (NYWIFT)\, From the Vault: Women’s Advocacy on Film\, is a triple feature of unique\, trailblazing short form documentaries that examine gender and identity in the ’70s. The first two films of this program\, Liane Brandon’s Betty Tells Her Story and Marguerite Paris’ All Women Are Equal are two significant documentary portraits; the former is considered the first independent film of the women’s movement to explore how clothing and appearance affect a woman’s identity\, while the latter is an early representation of transsexuality that does not make the mistake of exploiting its subject. These two films will be followed by The Woman’s Film — made entirely by women from San Francisco Newsreel — which tracks the origins of the modern women’s movement in the United States.[/vc_column_text][vc_empty_space height=”40px”][vc_text_separator title=”Program” color=”white” el_class=”h1″][vc_custom_heading text=”Betty Tells Her Story” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_custom_heading text=”Liane Brandon\, 20 min.\, 1972″ font_container=”tag:p|text_align:left” use_theme_fonts=”yes”][vc_column_text]Betty Tells Her Story is the poignant tale of beauty\, identity and a dress – and is considered a classic of documentary filmmaking. It was the first independent film of the women’s movement to explore the issues of body image\, self-worth\, and beauty in American society. It is the saga of Betty’s search for “the perfect dress”- how she found just the right one\, felt absolutely transformed\, and… never got to wear it. Then Betty tells her story again. This time\, her feelings emerge and the story is strikingly different. The contrast between the two stories is haunting. \nMade in 1972\, Betty Tells Her Story has won many awards\, was a nominated for the National Film Registry\, and was recently restored with a grant from the Women’s Film Preservation Fund.[/vc_column_text][vc_empty_space height=”40px”][vc_custom_heading text=”All Women Are Equal ” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_custom_heading text=”Marguerite Paris\, 15 min.\, 1972″ font_container=”tag:p|text_align:left” use_theme_fonts=”yes”][vc_column_text]All Women Are Equal is a black and white 15- minute documentary filmed in Nottingham England in 1972\, about Paula\, a male to female transsexual made by veteran lesbian filmmaker Marguerite Paris (1934-2007). This very early and non-exploitative representation of an ordinary well- adjusted transgendered person is historically significant for its treatment of the subject. While other films may have depicted drag queens and other performers (such as Frank Simon’s 1968 feature The Queen)\, they were not made by a women. Also unique is that Paris produced\, directed\, shot and edited this film\, which\, unlike there other representations\, allows the individual to tell her own personal story\, without resorting to spectacle or focusing on performativity. Through Paris’s lens\, see Paula fixing her make up and discussing the difficulty of living as a woman and meeting other trans people. The discussion is remarkably detailed and offers incredible insights into both the time and Paul’s individual psyche. The film was shot on East German 16mm B&W reversal film stock\, and edited with cement splices. The sound was recorded on 1/4″ reel to reel tape\, then transferred to mag stock\, and finally united with the edited reversal original\, which had been mag striped.\n[/vc_column_text][vc_empty_space height=”40px”][vc_custom_heading text=”The Woman’s Film ” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_custom_heading text=”Louise Alaimo\, Judy Smith & Ellen Sorrin\, 40 min.\, 1971″ font_container=”tag:p|text_align:left” use_theme_fonts=”yes”][vc_column_text]A valuable historical document of the origins of the modern women’s movement in the U.S. The film delves into the lives of ordinary women from different races\, educational levels and class Filmed mostly in small consciousness-raising groups\, from which the women’s movement grew\, the women talk about the daily realities of their lives as wives\, home-makers\, and workers. They speak\, sometimes with hesitancy\, often with passion\, about the oppression of women as they see it.[/vc_column_text][vc_video link=”https://vimeo.com/263923508″][vc_empty_space height=”40px”][vc_empty_space height=”40px”][vc_text_separator title=”75 min” color=”white” el_class=”h1″][vc_empty_space height=”40px”][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”103095″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text]Liane Brandon is an award winning independent filmmaker\, photographer and University of\nMassachusetts/Amherst Professor Emerita. She was one of the first independent women filmmakers to emerge from the Women’s Movement. She is a co-founder of New Day Films\, the nationally known cooperative that pioneered in the distribution of feminist/social issue films and videos. \nHer classic films include Anything You Want To Be\, Betty Tells Her Story\, Once Upon A Choice\, and How To Prevent A Nuclear War. They have won numerous awards and have been featured on HBO\, TLC\, USA Cable and Cinemax. They have also been presented at the Museum of Modern Art\, the Boston Museum of Fine Arts\, and other venues. Betty Tells Her Story was nominated for inclusion in the National Film Registry and Anything You Want To Be was featured at the Tribeca Film Festival. \nHer photography credits include production stills for the PBS series American Experience\, Nova\, American Masters and the upcoming American Masters bio of Edgar Allan Poe.   Her photos have been published in The New York Times\, the Los Angeles Times\, the Boston Globe and many other publications.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”103096″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text]Jim Hubbard has been making experimental films that explore lesbian and gay activism and community-building since the mid-1970s. In 1987\, he co-founded MIX NYC\, the New York Lesbian and Gay Experimental Film Festival with the writer and activist Sarah Schulman\, and in 2012 he directed and co-produced the documentary United in Anger: A History of ACT UP (2012). Hubbard and Schulman also coordinate the ACT UP Oral History Project\, a collection of interviews with surviving members of the AIDS Coalition to Unleash Power\, New York.\n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”103107″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text]Louise was born and raised in Brooklyn. She attended Brooklyn College for a couple of years\, then after moving to San Francisco and finally Los Angeles she graduated from UCLA as a Film and Television major. Her connection to NEWSREEL goes back to it’s creation in New York\, and continued in San Francisco\, where she worked on LOS SIETE DE LA RAZA\, and ultimately\, THE WOMAN’S FILM\, alongside Judy Smith and Ellen Sorrin. It was the first NEWSREEL film conceived and produced by women from the collective. Later in her career she worked as a script reader for American Zoetrope and United Artists. In 1982\, she joined the nascent video industry\, initially with Columbia Pictures\, and eventually as senior marketing director for the Home Entertainment Division of New Line Cinema. Louise’s other production credits include indie films\, DOUBLE BARRELED DETECTIVE STORY and UNRELATED\, starring Tom Hiddleston. \nLouise’ husband\, Michael is an actor and director. They have two daughters\, Gabriella and Giovanna\, and two grand-daughters\, Isabella and Malia. She lives in Los Angeles\, where she continues to support and march for women’s rights.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”103109″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text]Professor Siona Wilson teaches at the College of Staten Island as well as the Graduate Center. Her research interests are grounded in issues of sexual difference\, race and sexuality at the intersection of art and politics in the twentieth century. Author of Art Labor\, Sex Politics: Feminist Effects in 1970s British Art and Performance (Minnesota\, 2014)\, she has published on photography\, experimental film\, video\, sound and performance art\, in edited collections and journals\, including Art History\, October\, Oxford Art Journal and Third Text. Her recent curatorial projects include I can’t breathe\, at the Gallery of the College of Staten Island\, featuring works in video and photography by Nona Faustine\, Patricia Silva\, Emma Wolukau-Wanambwa and Kara Walker with a timeline of images documenting the activist group\, Staten Islanders Against Racism and Police Brutality (SIARPB). She also co-curated Sexing Sound: Aural Archives and Feminist Scores (with Valerie Tevere and Catherine Karl) at the James Gallery\, New York. Professor Wilson’s new research relates to documentary\, gender and state violence in a diverse range of geographic sites\, including Algeria\, Britain\, “Kurdistan\,” Iraq and Vietnam\, focusing on episodes from the 1930s to the present. She is interested in supervising doctoral dissertations with a historical emphasis (pre-1990) in a broad range of artistic media.\n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”103307″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text]Judy Smith lives in NYC and is a professor social work. She was a member of San Francisco Newsreel from 1969-1972 and a member of NY Newsreel for one year until 1973. She then became a social worker and eventually a professor at Fordham University. Parallel with her career in social work\, she produced several educational films including: The Separation-Individuation Process (The work of Margaret S. Mahler); The Mother’s Center; Welfare-to- work through the eyes of mothers; Becoming a social worker; Becoming a social worker with older adults; Human behavior and the social environment and social systems theory: A video toolkit.[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2018-04-22-reexamine-reclaim-redefine-the-womans-film/
LOCATION:UnionDocs\, 352 Onderdonk Avenue\, 352 Onderdonk Avenue\, Ridgewood\, NY\, 11385\, United States
CATEGORIES:From The Vault: Women's Advocacy on Film,Screenings & Events
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2018/03/Betty-Tells-Her-Story2-Liane-Brandon-Dir.jpg
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:20180325T193000
DTEND;TZID=America/New_York:20180325T223000
DTSTAMP:20260609T204759
CREATED:20180219T231815Z
LAST-MODIFIED:20180325T213822Z
UID:10002258-1522006200-1522017000@uniondocs.org
SUMMARY:Reexamine\, Reclaim\, Redefine: Growing Up Female
DESCRIPTION:[vc_row][vc_column][vc_empty_space height=”40px”][vc_separator color=”custom” accent_color=”#ffffff”][vc_empty_space height=”40px”][vc_column_text]The next program in our co-presentation with the Women’s Film Preservation Fund (WFPF) and New York Women in Film & Television (NYWIFT)\, From the Vault: Women’s Advocacy on Film\, shifts the focus of the series from activism and reform (RESIST\, REFORM\, REPEAT) to gender and identity (REEXMINE\, RECLAIM\, REDEFINE). This double feature of Julia Reichert and Jim Klein’s Growing Up Female — one of the first films to emerge from the Women’s Liberation Movement — and Geri Ashur\, Peter Barton\, Stephanie Palewski\, and Marilyn Mulford’s Janie’s Janie — a uniquely personal Newsreel film — pairs two culturally significant documentaries that are widely attributed as being among the first to represent the female perspective. \nWe are very excited to have Stephanie Palewski\, Peter Barton\, and Kelly Anderson in conversation after the screening\, joined by Julia Reichert via Skype![/vc_column_text][vc_empty_space height=”40px”][vc_text_separator title=”Program” color=”white” el_class=”h1″][vc_custom_heading text=”Growing Up Female” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_custom_heading text=”Julia Reichert & Jim Klein\, 53 min.\, 1971 ” font_container=”tag:p|text_align:left” use_theme_fonts=”yes”][vc_column_text]A lyrical examination of the socialization of American women. In concise portraits\, the film introduces the audience to girls and women ages five to 34 and looks at the ways their lives and self-concepts are shaped by the institutions of marriage\, school\, advertising and popular culture. Considered by many to be one for the first secondwave feminist documentaries made.[/vc_column_text][vc_empty_space height=”40px”][vc_custom_heading text=”Janie’s Janie” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_custom_heading text=”Geri Ashur\, Stephanie Palewski\, Peter Barton\, and Marilyn Mulford\, 25 min.\, 1970″ font_container=”tag:p|text_align:left” use_theme_fonts=”yes”][vc_column_text] \n\nJanie’s Janie is part of the films of the Third World Newsreel\, whose works represent vibrant documents of the 1960’s women’s movement\, the role of women in the overall protest movement\, and the thinking of young women at that time in history. The very existence of these films resulted from struggles around gender issues within Newsreel. Janie’s Janie is a “personal documentary” that follows a woman who comes to realize that she has to control her own life\, after years of experiencing physical and mental abuse\, illustrated through both interviews and verite footage.[/vc_column_text][vc_empty_space height=”40px”][vc_empty_space height=”40px”][vc_text_separator title=”78 min” color=”white” el_class=”h1″][vc_empty_space height=”40px”][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”100357″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text]Ohio-based Julia Reichert is a three-time Academy Award nominee for her documentary work. Julia’s first film GROWING UP FEMALE was the first feature documentary of the modern Women’s Movement. It was recently selected for the National Film Registry. Her films UNION MAIDS and SEEING RED: Stories of American Communists (with Jim Klein)\, were screened worldwide\, nominated for Academy Awards for Best Feature Documentary\, as was THE LAST TRUCK\, as a Short. Her film A LION IN THE HOUSE (made with Steven Bognar) premiered at Sundance\, screened nationally on PBS\, won the Primetime Emmy for Exceptional Merit in Nonfiction Filmmaking. Her film\, THE LAST TRUCK (with Bognar) premiered on HBO\, and the Telluride Film Festival. Julia is co-founder of New Day Films\, the independent film distribution co-op. She is author of Doing It Yourself\, the first book on self-distribution in independent film. Julia has been drawn to focus on class\, gender and race in her work. She is a mom and a grandma.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”102396″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text]Stephanie Palewski\, a former Newsreel collective member\, is Peabody\, Dupont and Emmy Award winning Producer/ Editor at CBS News\, where she has worked for 26 years. She has also worked for PBS\, ABC\, NBC\, HBO\, and Cinemax\, as well as independent film and video production companies\, and has taught at Columbia University\, NYU\, and Brooklyn College.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”102133″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text]Peter Barton is a veteran filmmaker with three Emmy nominations and three CINE Golden Eagle awards to his credit. Two of his films are in the permanent collection of the Museum of Modern Art. He received the Edward R. Murrow Award for Names Can Really Hurt Us\, a CBS-TV special still used in the classroom to combat prejudice. He joined Newsreel in the late 60’s and worked on movies about squatters(Break and Enter) and the women’s movement (Janie’s Janie). \nBarton is fluent in Spanish and French. He has taught film production and screenwriting at New York University\, Bennington College\, Columbia University\, and Brooklyn College. He first taught at NYU with Marty Scorsese. Oliver Stone was a student. He is a graduate of Dartmouth\, holds an M.F.A. in playwriting and directing from Yale School of Drama\, and served in the Peace Corps in Chile.\n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”102395″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text]Kelly Anderson (Director) directed UNSTUCK: an OCD movie\, which just premiered at the ReelAbilities Festival in New York City. Her other films include My Brooklyn\, a documentary about the hidden causes of gentrification that premiered at the Brooklyn Film Festival\, where it won an Audience Award\, had a three-week sold out run at ReRun Theater in Dumbo (programmed by IFP) and aired on America ReFramed. Kelly’s other films include Never Enough\, about Americans’ relationships with their material possessions\, which won an award for Creative Excellence at the Big Sky Documentary Festival. She also produced and directed Every Mother’s Son (with Tami Gold)\, about three mothers whose children were killed by law enforcement\, which won the Audience Award at the Tribeca Film Festival\, aired on POV and was nominated for an Emmy. Anderson and Gold also made Out At Work\, which was at Sundance and on HBO. Kelly is a professor at Hunter College in New York City\, and she is a recipient of the UFVA’s George C. Stoney Award for Outstanding Documentary Work. \n[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/18-03-25-reexamine-reclaim-redefine-growing-up-female/
LOCATION:UnionDocs\, 352 Onderdonk Avenue\, 352 Onderdonk Avenue\, Ridgewood\, NY\, 11385\, United States
CATEGORIES:From The Vault: Women's Advocacy on Film,Screenings & Events
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2018/02/GUF_Still.jpg
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:20180318T193000
DTEND;TZID=America/New_York:20180318T223000
DTSTAMP:20260609T204759
CREATED:20180309T224317Z
LAST-MODIFIED:20180318T133506Z
UID:10002264-1521401400-1521412200@uniondocs.org
SUMMARY:Joe Frank: A Night of Remembrance
DESCRIPTION:[vc_row][vc_column][vc_empty_space height=”40px”][vc_separator color=”custom” accent_color=”#ffffff”][vc_empty_space height=”40px”][vc_column_text]”Frank is the ultimate acquired taste\, and it doesn’t really matter if you acquire it; the right people do. Since the 1970s\, Frank’s radio broadcasts\, mixing scripted drama\, improv comedy\, and conversation have always been right-place\, right-time affairs; it helps to have a friend with bootlegs. His brew of fiction and nonfiction\, cruelty and self-laceration\, and taboo-smashing riffs on sex\, religion\, and scatology have been controversial since his New York debut 40 years ago.” – Mark Oppenheimer\, Slate. \nJoe Frank is an American radio icon\, known best for his engaging\, often philosophical\, monologues and radio dramas. Joe’s radio programs are at times dark and frequently funny. Adding to the absurd atmosphere of his monologues and dramas are loops of percussive music over drones. On January 15th of this year\,  Frank passed away after a long battle with colon cancer. \nHe pioneered in the form and wrote\, produced\, and performed in various lauded radio dramas and monologues for significant radio companies such as NPR and KRCW from the late ’70s up until his death. \nPlease join us for a night of celebrating his life and legacy. We’ve invited a group of contemporary radio makers\, podcasters and audio pioneers who have been influenced by his work to choose selections from his oeuvre to share and discuss.  Andrew Leland (The Organist)\, Mark Oppenheimer (Unorthodox)\, Andrea Silenzi (The Longest Shortest Time\, Why Oh Why)\, Ben Shapiro (Radio Diaries)\, and Ann Heppermann (Pineapple Street Media) will also be in attendance. \nWe want to thank Michal Story for permission in using the pieces played in this program and for facilitating. We will be donating proceeds from this evening’s sales back towards their family.[/vc_column_text][vc_empty_space height=”40px”][vc_text_separator title=”Program” color=”white” el_class=”h1″][vc_custom_heading text=”Excerpts from Joe Frank’s body of work.” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_empty_space height=”20px”][vc_custom_heading text=”Memories By Joe Frank (1993)” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_column_text]A man details the surreal events that surround his childhood. Directed by Paul Rachman. \n“nakedly personal\, a bit bizarre and oddly moving.” – LA Times[/vc_column_text][vc_empty_space height=”40px”][vc_text_separator title=”” color=”white” el_class=”h1″][vc_empty_space height=”40px”][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”76928″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text]Andrea Silenzi is the new host of The Longest Shortest Time. On the show\, she tells the stories of kids and families while exploring her own journey towards becoming a parent. Before joining Stitcher\, she hosted a hit show about dating and relationships called Why Oh Why. During the show’s run\, it was named a best podcast by The New York Times\, NPR\, Vulture\, Esquire\, GQ\, and Apple Podcasts. She’s the founding producer of Slate’s The Gist\, one of the first daily news podcasts around\, and she holds the world record for most guests booked for an hour-long radio show. That’s 67.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”102328″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text]A Brooklyn-based\, independent\, radio/multimedia documentary producer\, transmission sound artist\, and educator\, her stories air nationally and internationally on National Public Radio\, the BBC\, and on numerous shows\, including: This American Life\, Radio Lab\, Marketplace\, Morning Edition\, Studio 360\, and many others. Recipient of Peabody\, Associated Press\, Edward R. Murrow\, and Third Coast International Audio Festival awards. Transmission artist with free103point9; work exhibited at UnionDocs\, Chicago Center for the Arts\, and other venues. She has taught classes and workshops at Duke Center for Documentary Studies\, Smith College\, Columbia University\, and the CUNY Graduate School of Journalism; for years\, she was the director of radio at Brooklyn College. Co-creator of Mapping Main Street\, a collaborative media project documenting the nation’s more than 10\,000 Main Streets\, which was created through AIR’s MQ2 initiative along with NPR\, the CPB\, and the Berkman Center at Harvard University. Her work has been funded by the Corporation for Public Broadcasting\, Association of Independents\, Arizona Humanities Council\, and Berkman Center for Internet and Society at Harvard. Currently\, she is a Rosalynn Carter for Mental Health Journalism Fellow and will be making a multimedia documentary about preteen anorexia in partnership with Ms. Magazine and NPR.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”97927″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text]Andrew Leland hosts the Organist\, an arts and culture podcast from KCRW and McSweeney’s\, and teaches in the Journalism program at UMass-Amherst. He’s writing a book about blindness.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”102146″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text]Contributing Editor and Producer Ben Shapiro is an award-winning radio producer and documentary filmmaker\, based in New York. His projects have aired on many NPR programs\, PBS\, and the Sundance Channel\, among others\, and include a film about photographer Gregory Crewdson.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”102145″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text]I am the coordinator of the Yale Journalism Initiative\, but I have had a varied career\, having been a newspaper beat reporter for the Hartford Courant\, a magazine writer for The New York Times Magazine\, an essayist for The American Scholar\, Southwest Review\, and Yale Review\, and an historian of religion. I am the author of Wisenheimer\, a memoir about my years as a high school debater\, and I write the Beliefs column\, about religion\, for The New York Times.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”102764″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text]Paul Rachman began his film career as one of the of the industry’s top music video\ndirectors at Propaganda Films in Los Angeles where he worked with Alice in Chains\,\nRoger Waters\, Kiss\, Joan Jett\, Pantera\, The Replacements and the Pearl Jam /\nSoundgarden collaboration Temple of the Dog. By 1995 he had directed several award\nwinning short films\, the award winning Drive Baby Drive and a series of collaborations\nwith NPR storyteller Joe Frank (Memories\, The Hitchhiker\, The Perfect Woman\, Jilted\nLover). Paul made his feature directorial debut in 2000 with Four Dogs Playing Poker\nstarring Forrest Whittaker\, Balthazar Getty\, Tim Curry and Olivia Williams\, the film was\nreleased by Showtime and Warner Home Video. In 2006 his seminal punk documentary\nAmerican Hardcore premiered at the Sundance Film Festival and was acquired and\ntheatrically released by Sony Pictures Classics. His second feature documentary Lost\nRockers about eight musical artists from different eras who were all on the cusp of super\nstardom only to fall forgotten through the cracks of music history is upcoming.\nPaul is a co-founder if the Slamdance Film Festival. He attended The Lycee Francais de\nNew York\, Trinity Pawling School and Boston University. He is based in New York City.[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2018-03-18-joe-frank-tribute-event/
LOCATION:UnionDocs\, 352 Onderdonk Avenue\, 352 Onderdonk Avenue\, Ridgewood\, NY\, 11385\, United States
CATEGORIES:From The Vault: Women's Advocacy on Film,Screenings & Events
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2018/03/cmj_a98cf59b921a4b1889e8c957a496c12f.jpeg
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:20180225T193000
DTEND;TZID=America/New_York:20180225T223000
DTSTAMP:20260609T204759
CREATED:20180122T185253Z
LAST-MODIFIED:20180228T002854Z
UID:10002249-1519587000-1519597800@uniondocs.org
SUMMARY:Resist\, Reform\, Repeat: Harlan County\, USA
DESCRIPTION:[vc_row][vc_column][vc_empty_space height=”40px”][vc_separator color=”custom” accent_color=”#ffffff”][vc_empty_space height=”40px”][vc_column_text]Next up for FROM THE VAULT: WOMEN’S ADVOCACY ON FILM is Barbara Kopple’s Academy Award–winning Harlan County USA\, an unflinching document that chronicles a grueling coal miners’ strike in a small Kentucky town. With unprecedented access\, Kopple and her crew captured the miners’ sometimes violent struggles with strikebreakers\, local police\, and company thugs. The film is a heartbreaking record of the thirteen-month struggle between a community fighting to survive and a corporation dedicated to the bottom line. \nWe’re thrilled to have Barbara Kopple in attendance![/vc_column_text][vc_empty_space height=”40px”][vc_text_separator title=”Program” color=”white” el_class=”h1″][vc_custom_heading text=”Harlan County\, USA” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_custom_heading text=”103 min.\, 1976″ font_container=”tag:p|text_align:left” use_theme_fonts=”yes”][vc_column_text]When a few score coal miners and their wives stood up against the collected might of the Eastover Coal Company in southeastern Kentucky\, documentarian Barbara Kopple was on the ground and right in the thick of the pickets\, recording the Brookside Strike in this rough-and-ready boots-on-the-ground classic which lets working people tell their own story\, and asks in no uncertain terms: Which side are you on? – Metrograph \nNamed in 2014 Sight & Sound’s Greatest Documentaries of All Time list. \nAcademy Award for Best Documentary Feature 1976 \nLos Angeles Film Critics Association: Special Award 1977\, Barbara Kopple. \n“The film retains all of its power\, in the story of a miners’ strike in Kentucky where the company employed armed goons to escort scabs into the mines\, and the most effective picketers were the miners’ wives — articulate\, indomitable\, courageous.” — Roger Ebert[/vc_column_text][vc_empty_space height=”40px”][vc_text_separator title=”103 min” color=”white” el_class=”h1″][vc_empty_space height=”40px”][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”99033″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text]Barbara Kopple is a two-time Academy Award winning filmmaker. A director and producer of narrative films and documentaries\, her two most recent projects are the documentaries Miss Sharon Jones! which premiered at Toronto International Film Festival in September 2015\, was the opening night film of DOC NYC and tracks the talented and gregarious soul singer of the Grammy-nominated R&B band Sharon Jones & the Dap-Kings during the most challenging year of her life and Shelter which tells a story of vets saving vets\, delving into the psychological trauma created by military service\, the effects that remain long after active duty\, and the difficult road back to a normal life for these women and men. \nBarbara produced and directed Harlan County USA and American Dream\, both winners of the Academy Award for Best Documentary Feature. In 1991\, Harlan County USA was named to the National Film Registry by the Librarian of Congress and designated an American Film Classic. Harlan County USA was restored and preserved by the Women’s Preservation Fund and the Academy Film Archive\, and was featured as part of the Sundance Collection at the Sundance Film Festival in 2005. The Criterion Collection released a DVD of Harlan County USA in 2006.\n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”100268″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text]Susan Lazarus\, (Producer\, Post-production Supervisor) works in both feature film and documentary\, with independent filmmakers such as Jim Jarmusch\, Maggie Greenwald\, Spike Lee\, and Mira Nair. Docs include HBO’s The Jinx: The Life and Deaths of Robert Durst\, as well as Naqoyqatsi\, Love\, Marilyn\, Image Before My Eyes\, The War at Home\, and Apache 8. Recently she was Co-Producer on Maggie Greenwald’s “Sophie and the Rising Sun” and Post-Production Supervisor on the Jim Jarmusch film\, “Paterson”\, currently supervising post on Spike Lee’s “Black Klansman”. She is a longtime member and previously Co-Chairwoman of the NYWIFT Women’s Film Preservation Fund\, and served on the Board of NYWIFT as VP of Programming. \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”100269″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text]Pamela Cruz\, archives strategist and advocate\, was recently chief strategist for the National Historic Preservation Center at Girl Scouts of the USA. She has extensive global experience in assessment\, organization\, preservation\, and management of asset collections\, creating systems for tracking and storage. Prior to her work with the Girl Scouts\, Pamela was vice president of archival services for Miramax Films and antiques manager at Polo Ralph Lauren Corporation. During her years at Miramax\, she was responsible for the inception of the Miramax Archives Department\, creating archive databases\, and handling taxonomy and systems for Miramax and Dimension Films as well as the personal archives of the co-chairmen of the company. She worked with an array of film asset collections in Italy\, France\, Mexico\, and Romania\, and the U.S.\, as well as on various exhibits for museums and other venues. During her tenure at Polo\, she was instrumental in bringing the collection digital and implementing tracking and loan systems\, and she provided architects and designers with company assets for projects and special events. \nPamela completed three years of service on the Board of Directors of Archivists Round Table of Metropolitan New York\, Inc. (A.R.T.) as vice president responsible for monthly programming and later as president. She was appointed the A.R.T. representative to the Regional Archival Associations Consortium for Society of American Archivists for 2016 – 2018. Pamela is committed to archival education and outreach and was a participant in the inaugural K-12 Archives Education Institute at New York Archives Week\, bringing Girl Scout archive assets to New York educators for use in the classroom. Pamela is a member of New York Women in Film and Television\, where she is on the Women’s Film Preservation Fund committee. She was recently a member of the board of directors for IndieCollect\, whose mission is to preserve and make accessible independent American films. In March\, 2017 Ms. Cruz was appointed to the 15-member NYC Archives\, Research and Reference Advisory Board by Mayor de Blasio; she is honored to serve the City of New York in this capacity and to support Pauline Toole\, Commissioner\, NYC Department of Records and Information Services.[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2018-02-25-resist-reform-repeat-harlan-county-usa/
LOCATION:UnionDocs\, 352 Onderdonk Avenue\, 352 Onderdonk Avenue\, Ridgewood\, NY\, 11385\, United States
CATEGORIES:From The Vault: Women's Advocacy on Film,Screenings & Events
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2018/01/HARLANCOUNTY_2BluRay.jpg
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:20180128T193000
DTEND;TZID=America/New_York:20180128T223000
DTSTAMP:20260609T204759
CREATED:20171212T221939Z
LAST-MODIFIED:20180228T002856Z
UID:10002246-1517167800-1517178600@uniondocs.org
SUMMARY:RESIST\, REFORM\, REPEAT: The Wobblies
DESCRIPTION:[vc_row][vc_column][vc_empty_space height=”40px”][vc_separator color=”custom” accent_color=”#ffffff”][vc_empty_space height=”40px”][vc_column_text]RESIST\, REFORM\, REPEAT: The Wobblies\, is part of the series: FROM THE VAULT: WOMEN’S ADVOCACY ON FILM\, a program co-presented with Women’s Film Preservation Fund (WFPF) and New York Women in Film & Television (NYWIFT). In this program\, we present nonfiction films that have shaped movements\, provide perspectives on political\, environmental\, and human rights issues; and confront ideas around gender identity\, gender roles\, sexuality\, health and family\, all from a woman’s perspective. Following the program\, we will host discussion around these explorations of story and truth\, their innovative approaches to documentary filmmaking\, and their subjects that continue to be relevant today to filmmakers\, activists\, and media consumers working to creatively affect change.[/vc_column_text][vc_empty_space height=”40px”][vc_text_separator title=”Program” color=”white” el_class=”h1″][vc_custom_heading text=”The Wobblies” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_custom_heading text=”90 min.\, 1979″ font_container=”tag:p|text_align:left” use_theme_fonts=”yes”][vc_column_text]The Wobblies boldly investigates a nation torn by naked corporate greed and the red-hot rift between the industrial masters and the rabble-rousing workers in the field and factory. \n“Stewart Bird and Deborah Shaffer have performed a valuable service in marshaling the combination of interviews and original material ranging from pro-posters to scare-cartoons and old sepia-tone footage and stills. Central exposition is via interviews with surviving Wobblies — the film’s strength really derives from\, these folks\, the ex-loggers\, dockworkers\, silkworkers\, miners\, etc. — the small comforts on the bureaus\, the accumulated knickknacks of a lifetime somehow saying more than the text of their memories.” —Variety \n“The Wobblies is a history of the IWW\, researched lovingly and corroborated by the reminiscences of some of the union’s former members\, who are now in their 80’s and 90’s. When the facts are presented as fully as they have been here\, the feelings that accompanied them aren’t difficult to imagine.” —Janet Maslin\, New York Times \n“Without any pretense of ‘objectivity\,’ Bird and Shaffer not only have resurrected a slice of American history usually buried out of sight in the classrooms\, but produced a spirited and exhilarating distillation of that pre-World War I period in 89 minutes.” —Judy Stone\, San Franiciso Chronicle \n“The greatest value of this film is in restoring full humanity to the elderly — not by making them cute old codgers as Hollywood often does but by demonstrating the survival of their tough\, rebellious spirit… This vibrant\, joyous film celebrates the continuum of history.” —Stephen Farber\, New West \n“The happiest hit of the New York Film Festival.” —Harold Clurman\, The Nation \n“A vivid look into America’s radical past. Its heroes and heroines are filled with vitality — a rare attribute these days.” —Studs Terkel[/vc_column_text][vc_empty_space height=”40px”][vc_text_separator title=”90 min” color=”white” el_class=”h1″][vc_empty_space height=”40px”][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”97726″][/vc_column][vc_column width=”2/3″][vc_column_text]Deborah Shaffer began making social issue documentaries as a member of the Newsreel Collective in the 70’s.  She co-founded Pandora Films\, a woman’s production company\, which produced How About You? and Chris and Bernie.  In 1979 she made the labor history documentary The Wobblies (New York Film Festival).  During the 80’s\, Shaffer focused on war and human rights in Latin America\, directing Nicaragua: Report from the Front; Witness to War (Academy Award® winner\, Best Documentary – Short Subjects); Fire from the Mountain (New York and Sundance Film Festivals; POV); and Dance of Hope (Prix d’Or\, FIPA\, Cannes and Sundance Film Festivals).  Shaffer was one of the first filmmakers to work in post-Sept. 11 New York City.  From the Ashes – 10 Artists (Sundance and Tribeca Film Festivals; Cinemax) captures the impact the attacks had on 10 downtown New York artists\, followed a year later by From the Ashes – Epilogue (Tribeca Film Festival).  She is the Executive Producer of the short documentary\, Asylum\, which played at the Sundance Film Festival\, Human Rights Watch\, won Best Documentary at Aspen Shortsfest and was nominated for an Academy Award®. \nIn addition to her work as a director of independent documentaries\,  Shaffer has directed numerous programs for public television\, including Secrets Underground (Christopher Award\, Emma Award)\, Art:21 – Art for the 21st Century (Emmy Nomination) and Ladies First: The Women of Rwanda (Emmy Award\, Sigma Delta Chi Award\, Cine Golden Eagle). She has received a Guggenheim Fellowship and grants from the NEH\, NEA and NYSCA.  She was recently awarded the Irene Diamond Lifetime Achievement Award by the Human Rights Watch Film Festival.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”99143″][/vc_column][vc_column width=”2/3″][vc_column_text]Stewart Bird was born in the Bronx and grew up in Long Beach\, New York. Murder at the Yeshiva is his first novel. Bird has also written Solidarity Forever\, an oral history of the I.W.W. (University of Minnesota Press) with Dan Georgakas and Deborah Shaffer\, co-authored a play “The Wobblies: The U.S. vs. Wm. D. Haywood et. al.\,” (with Peter Robilotta) which was performed at the Hudson Guild Theatre in New York and published by Smyrna Press. \nBird wrote a one-hour story for PBS entitled “The Mighty Pawns” about a black inner city chess team\, which was shown nationally on Wonderworks and distributed nationally by Disney. As a writer/ producer for Fox television’s Current Affair Bird produced various segments: “Alan Berg\,” “Elvis Presley\,” “A Cycle of Justice\,” and “The Night Natalie Died.” He worked as a writer/ producer for CBS News’ 48 Hours and produced segments such as “Another America\,” “Underground\,” “Stuck on Welfare\,” and “Earth Wars.” \nHe has received grants from the National Endowment for the Humanities\, N.Y. Council for the Humanities\, the National Endowment for the Arts\, The Ford Foundation\, The Rockefeller Foundation and the New York Council on the Arts. Bird has produced numerous feature length documentaries including “Finally Got the News\,” about black auto workers in Detroit; “Retratos\,” on the Puerto Rican community in New York; “Coming Home\,” on Vietnam Veterans; and “The Wobblies” (with Deborah Shaffer) focusing on the Industrial Workers of the World a turn-of-the-century labor union.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”99144″][/vc_column][vc_column width=”2/3″][vc_column_text]Tanya Goldman is a PhD Candidate in the department of Cinema Studies at New York University. Her research focuses on mid-twentieth century nonfiction film and its history as a political and cultural practice. Her dissertation focuses these questions vis-à-vis the career of New York Workers Film and Photo League member and independent nontheatrical distributor Tom Brandon (1910-1982). Her work and reviews have appeared in Feminist Media Histories\, Film Quarterly\, Jump Cut\, Senses of Cinema\, and is forthcoming in Film History. She is currently the graduate rep for the SCMS Nontheatrical Film SIG and recently served as IndieCollect’s inaugural Scholar-in-Residence.[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2018-01-28-the-wobblies/
LOCATION:UnionDocs\, 352 Onderdonk Avenue\, 352 Onderdonk Avenue\, Ridgewood\, NY\, 11385\, United States
CATEGORIES:From The Vault: Women's Advocacy on Film,FROM THE VAULT: WOMEN'S ADVOCACY ON FILM,Screenings & Events
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2017/12/One_Big_Union_02.jpg
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:20171203T193000
DTEND;TZID=America/New_York:20171203T223000
DTSTAMP:20260609T204759
CREATED:20171107T175014Z
LAST-MODIFIED:20180228T002858Z
UID:10002227-1512329400-1512340200@uniondocs.org
SUMMARY:RESIST\, REFORM\, REPEAT: Buffalo Creek Flood: An Act of Man
DESCRIPTION:[vc_row][vc_column][vc_separator color=”custom” accent_color=”#ffffff”][vc_empty_space height=”40px”][vc_column_text]Despite decline in production\, its human and environmental catastrophes\, 25 US states still produce coal. How can stories of our past affect change today? \nRESIST\, REFORM\, REPEAT: Buffalo Creek Flood: An Act of Man is the launch of a new series: FROM THE VAULT: WOMEN’S ADVOCACY ON FILM\, a program co-presented with Women’s Film Preservation Fund (WFPF) and New York Women in Film & Television (NYWIFT). In this program\, we present nonfiction films that have shaped movements\, provide perspectives on political\, environmental\, and human rights issues; and confront ideas around gender identity\, gender roles\, sexuality\, health and family\, all from a woman’s perspective. Following the program\, we will host discussion around these explorations of story and truth\, their innovative approaches to documentary filmmaking\, and their subjects that continue to be relevant today to filmmakers\, activists\, and media consumers working to creatively affect change.[/vc_column_text][vc_empty_space height=”40px”][vc_text_separator title=”Program” color=”white” el_class=”h1″][vc_custom_heading text=”Buffalo Creek Flood: An Act of Man” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_custom_heading text=”40 min.\, 1975\, dir. Mimi Pickering” font_container=”tag:p|text_align:left” use_theme_fonts=”yes”][vc_column_text]Buffalo Creek Flood: An Act of Man investigates the 1972 coal waste dam disaster that flooded a surrounding southern West Virginia with water and sludge\, killing 125 and leaving thousands homeless. \n“A devastating expose of the collusion between state officials and coal executives… a powerful piece of muckraking on film.” –Newsweek \n“Outstanding! A very powerful film.” –Dr. Parker Marden\, Professor of Sociology\, St. Lawrence University \n“Very accurately reflects the despair and frustration of a community caught in a web of corporate red tape… an excellent instructional vehicle for studies in sociology\, business\, psychology\, and government.” –Media Digest \n“Admirable for its ability to strike a balance between emotion and analysis\, the film speaks to us on the human level of universal loss and suffering. But it is also a political film that reflects the decades of abuse and frustration experienced by miners and their families.” –Andrew Horton\, Film Quarterly \n“This film is recommended.” –Educational Film Library Association[/vc_column_text][vc_empty_space height=”40px”][vc_custom_heading text=”Making Connections News” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_custom_heading text=”Selected shorts\, 2010-2014\, prod. Sylvia Ryerson” font_container=”tag:p|text_align:left” use_theme_fonts=”yes”][vc_column_text]Making Connections News is a storytelling platform and multimedia series showcasing the opportunities and challenges in building a healthy and just Appalachia. It was presented by Appalshop and WMMT in Whitesburg\, Kentucky. \n[/vc_column_text][vc_empty_space height=”40px”][vc_text_separator title=”60 min” color=”white” el_class=”h1″][vc_empty_space height=”40px”][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”96369″ img_size=”200×200″][/vc_column][vc_column width=”2/3″][vc_column_text]Mimi Pickering is an award-winning filmmaker and director of Appalshop’s Community Media Initiative (CMI). Her documentaries often feature women as principle storytellers\, focus on injustice and inequity\, and explore the efforts of grassroots people to address community problems that frequently reflect global issues. Pickering is a recipient of a Guggenheim Fellowship and two Kentucky Arts Council Artist Fellowships. Her film\, The Buffalo Creek Flood: An Act of Man\, was selected by the Librarian of Congress for inclusion in the National Film Registry in 2005. Other documentaries include Chemical Valley\, an examination of environmental racism in West Virginia’s Kanawha Valley after the Bhopal disaster in India in 1983\, which aired on the PBS series P.O.V.\, and Dreadful Memories\, an exploration of the life and times of traditional singer and radical songwriter Sarah Ogan Gunning. The Oral History Review described Pickering’s film Hazel Dickens: It’s Hard to Tell the Singer From the Song as “a powerful tale told by one of Appalachia’s most reverent filmmakers working today…” As CMI Director\, Pickering is coordinating the East KY Reproductive Health Project\, a collaboration with AMI and young women from the region to create and distribute media telling their stories about reproductive health issues\, and producing stories for Making Connections News\, a joint effort with WMMT-FM to explore sustainable economic options for the coalfields.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”75839″ img_size=”200×200″][/vc_column][vc_column width=”2/3″][vc_column_text]Sylvia Ryerson is an independent radio producer\, sound artist\, journalist and musician based in Brooklyn\, NY. For nearly a decade her work has probed the overlapping crises of mass incarceration\, rural poverty\, and environmental destruction.  Her work has been featured on NPR’s Weekend Edition\, Here and Now\, The Takeaway\, The Marshall Project\, Transom.org\, and spotlighted by the Third Coast International Audio Festival. From 2010-2015\, she worked at the award-winning media arts center Appalshop\, in the Appalachian Mountains of eastern Kentucky. There she led the production of Calls from Home\, a nationally recognized radio program broadcasting messages from family members to their loved ones incarcerated in rural Appalachia. Sylvia currently produces The Runner’s World Show\, a podcast from Runner’s World Magazine\, and Restorative Radio\, a project working with families that have relatives incarcerated far from home to create “audio postcards” that are broadcast on rural radio stations to reach their loved ones in prison and a general listening audience.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”97380″ img_size=”200×200″][/vc_column][vc_column width=”2/3″][vc_column_text]Michelle Miller is the co-founder of Coworker.org\, a digital platform for worker voice. Since its founding in 2013\, Coworker.org has catalyzed the growth of global employee networks advancing change at companies like Netflix\, Starbucks\, REI and Wells Fargo. She is a 2014 Echoing Green Global Fellow\, 2015 JM Kaplan Innovation Fellow and 2017 fellow at the Institute for the Future. In 2015\, Michelle was proud to join President Barack Obama as co-moderator of the first ever digital Town Hall on Worker Voice\, bringing the voices and concerns of workers directly to the White House. She sits on the boards of Appalshop\, Arts and Democracy Project and the Brooklyn Institute For Social Research\, and lives in Brooklyn\, NY.[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2017-12-03-resist-reform-repeat-buffalo-creek-flood-an-act-of-man/
LOCATION:UnionDocs\, 352 Onderdonk Avenue\, 352 Onderdonk Avenue\, Ridgewood\, NY\, 11385\, United States
CATEGORIES:From The Vault: Women's Advocacy on Film,FROM THE VAULT: WOMEN'S ADVOCACY ON FILM,Screenings & Events
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2017/10/flooddamage-e1508342647804.jpg
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:20170924T193000
DTEND;TZID=America/New_York:20170924T223000
DTSTAMP:20260609T204759
CREATED:20170810T205740Z
LAST-MODIFIED:20180228T143851Z
UID:10002694-1506281400-1506292200@uniondocs.org
SUMMARY:RESIST\, REFORM\, REPEAT: Women's Voices and Las Madres
DESCRIPTION:[vc_row][vc_column][vc_empty_space height=”40px”][vc_separator color=”custom” accent_color=”#ffffff”][vc_empty_space height=”40px”][vc_column_text]RESIST\, REFORM\, REPEAT: Women & Activism is the launch of a new series: FROM THE VAULT: WOMEN’S ADVOCACY ON FILM\, a program co-presented with Women’s Film Preservation Fund (WFPF) and New York Women in Film & Television (NYWIFT). In this program\, we present nonfiction films that have shaped movements\, provide perspectives on political\, environmental\, and human rights issues; and confront ideas around gender identity\, gender roles\, sexuality\, health and family\, all from a woman’s perspective. Following the program\, we will host discussion around these explorations of story and truth\, their innovative approaches to documentary filmmaking\, and their subjects that continue to be relevant today to filmmakers\, activists\, and media consumers working to creatively affect change. \nIn this first installment\, we will showcase two films that illuminate women’s participation in reform and protest in the 1980’s. The series is curated by WFPF Co-Chair Kirsten Larvick\, with programming assistance from Ann Deborah Levy and Raquel Salazar-Foster.[/vc_column_text][vc_empty_space height=”40px”][vc_text_separator title=”Program” color=”white” el_class=”h1″][vc_custom_heading text=”Women’s Voices: The Gender Gap” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_custom_heading text=”16 min.\, 1984\, dir. Jenny Rohrer” font_container=”tag:p|text_align:left” use_theme_fonts=”yes”][vc_column_text]Women’s Voices: The Gender Gap explores the growing difference in the voting patterns of men and women (called the gender gap) that could no longer be denied by the mid-1980’s. Director Jenny Rohrer brings together a diverse group of women to discuss their perspectives on current political issues such as fair pay\, health care\, labor and unions\, the environment\, and reproductive rights\, which became wedge issues in Ronald Reagan’s America. Interwoven through these interviews are witty animated sequences from cartoonist Nicole Hollander\, creator of the comic Sylvia. \n“Superbly produced\, it’s apt to send viewers–male or female–dancing to the polls.”\n– New Age Journal (1984) \n“Women who work selling Avon products and as teachers\, housemakers\, dairy farmers and students bring alive the statistics proving that foreign policy and social programs are women’s issues.”\n– In These Times (1984) \n“‘The Gender Gap is an attempt to let women speak with their own voices about the issues of the day.”\n– Bob Koehler\, Lerner Booster Newspaper (1984) \n“While Gender Gap was certainly not designed for male audiences\, it may prove disconcerting to the few men who do see it.”\n– Catherine Rambeau\, Detroit Free Press (1984) [/vc_column_text][vc_empty_space height=”40px”][vc_custom_heading text=”Las Madres: The Mothers of Plaza del Mayo” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_custom_heading text=”64 min.\, 1985\, dir. Lourdes Portillo and Susana Munoz” font_container=”tag:p|text_align:left” use_theme_fonts=”yes”][vc_column_text]The Mothers of Plaza de Mayo\, an Academy Award nominee\, tells the story of a group of mothers\, who have all lost a son or daughter during Argentina’s “Dirty War” in the 1970’s when thousands of people disappeared. They come together in the Plaza de Mayo in Buenos Aires and demand to learn the fate of their children. \n“Few films have captured the emotion of solidarity as acutely as does this documentary by Susana Munoz and Lourdes Portillo. The filmmakers don’t pin halos on their heroines; they simply let them speak\, and the women’s fierce nobility breaks your heart.”\n– The New Yorker\, on The Mothers of Plaza De Mayor\, 1986[/vc_column_text][vc_empty_space height=”40px”][vc_empty_space height=”40px”][vc_text_separator title=”80 min” color=”white” el_class=”h1″][vc_empty_space height=”40px”][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”82388″ img_size=”200×200″][/vc_column][vc_column width=”2/3″][vc_column_text]Terry Lawler is Executive Director of New York Women in Film & Television. She is a Vice President/Board of Directors of the New York Production Alliance and serves on the advisory committee of Reel New York\, an independent film and video series broadcast on WNET/13. She also serves on the Boards of the Manhattan Neighborhood Network and the Katahdin Foundation. Prior to joining NYWIFT\, Lawler was Director of Development and Production at Women Make Movies and National Director of Film and Videomakers Services at the American Film Institute. She has been a media consultant for foundations and non-profit groups including the MacArthur Foundation\, the Astraea Foundation\, the National Museum of Women in the Arts\, and the Goethe Institute\, among others. She was production executive on several network television specials. She also was Executive Producer of Visions of Light: The Art of Cinematography (1992)\, which won Best Documentary awards from the American Society of Film Critics and the New York Film Critics Circle in 1992\, and Hollywood Mavericks\, which premiered at the Sundance Film Festival in 1990.[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2017-09-24-resist-reform-repeat-women-activism/
LOCATION:UnionDocs\, 352 Onderdonk Avenue\, 352 Onderdonk Avenue\, Ridgewood\, NY\, 11385\, United States
CATEGORIES:From The Vault: Women's Advocacy on Film,FROM THE VAULT: WOMEN'S ADVOCACY ON FILM,Screenings & Events
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