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DTSTART;TZID=America/New_York:20260626T100000
DTEND;TZID=America/New_York:20260628T133000
DTSTAMP:20260613T055606
CREATED:20260402T211439Z
LAST-MODIFIED:20260527T153047Z
UID:10003061-1782468000-1782653400@uniondocs.org
SUMMARY:Embracing Adrift:  The Documentary Travelogue
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=””]What does it mean to move through a place with a camera—not to capture it\, but to engage with its present\, histories\, absences\, and afterlives?  In this workshop\, filmmaker & media artist Jean-Jacques Martinod invites participants to look anew at the documentary travelogue as a speculative\, political\, and poetic form.  \nThe travelogue\, an extension of the diary form\, has long served as a structuring device for filmmakers; changing landscapes and passing time offer a visible and legible analog to the development of a narrative and the journey taken by its protagonists. Drawing from his own practice between fieldwork and reflection\, Martinod approaches travel not only as discovery\, but as a process of listening\, wandering\, and attunement to what lingers beneath the visible. The travelogue as a form then encounters the unexpected\, the mistake and the incomplete into the creative process.  \nWe’ll be exploring questions like: how does travel structure the way we construct a film\, and how does filming shape the way we travel? How can the camera register what is no longer there? What kinds of narratives emerge when we relinquish mastery over location and embrace the unexpected? How might the travelogue become a space for reimagining relationships between land\, history\, and the moving image? \nAcross the weekend\, Martinod and guests will share methods for working with landscape as archive\, failure as a generative process\, and travel as an act of participatory worldmaking. Argentine film collective Antes Muerto Cine will present and discuss their unique approach to integrating chaos and mistakes into their work. Tiffany Sia will critically unpack the thorny colonial history of the travelogue\, and look to the future of the form. Participants will also be invited to share their own travel-based projects—whether rooted in distant journeys or the overlooked terrains of the everyday—in the context of a group feedback session. Together\, we will explore the travelogue as an open form\, and against romantic notions of the wandering auteur or the confessional diarist\, we embrace failure\, drift\, and the incomplete as methodology. \nNo prior filmmaking experience is required—just a curiosity for movement\, memory\, and the unstable boundaries between document and dream.[/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 June 17\, 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 June 17.  After June 17\, 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 June 17\, 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_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\, June 26th” 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 Jean-Jacques Martinod \n12:30am – 2:00pm Lunch \n2:00pm – 4:00pm Remote session with Antes Muerto Cine \n4:00pm – 4:30pm Wrap Up Discussion with Jean-Jacques additional exercises / discussion[/vc_column_text][vc_empty_space height=”40px”][vc_custom_heading text=”Saturday\, June 27th” 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 Creative session OR work-in-progress with Jean-Jacques \n12:30am – 2:00pm Lunch \n2:00pm – 4:00pm Session with Khalik Allah \n4:00pm – 4:30pm Wrap Up Discussion with Jean-Jacques\, additional exercises / discussion[/vc_column_text][vc_empty_space height=”40px”][vc_custom_heading text=”Sunday\, June 28th” 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 Tiffany Sia \n12:30am – 2:00pm Wrap Up[/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=”163023″ img_size=”full” css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Jean-Jacques Martinod is a filmmaker\, media artist\, film curator\, abyssological researcher\, and clandestine anarchivist. His work is engaged within extended modes of noetic and intersubjective experience\, manifest in an ongoing practice of experimental documentary cinema: the human/non-human\, folk mythology\, anemic memory\, sur-regional biomes\, hydra techno-logics\, and the poetic mediation of living worlds and their extended cohabitants. Martinod’s work has been showcased in leading festivals\, museums\, and cinematheques worldwide\, including the IFFR International Film Festival Rotterdam\, FIDMarseille\, Sheffield Doc/Fest\, Frontera Sur\, First Look at MoMI\, CIFF Camden\, Novos Cinemas Pontevedra\, PHI Centre Montreal\, Cinemateca do MAM Rio de Janeiro\, Cinemateca Nacional del Ecuador\, Cinemateca de Bogotá\, and the European Media Arts Festival\, among many others.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”163024″ img_size=”full” css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””] Tiffany Sia (b. Hong Kong) is an artist\, filmmaker\, and writer based in New York whose work examines how images and material culture shape power\, governance\, and imagined geographies. Her practice traces the apparatus underwriting film/video\, attending to what remains unseen or illegible within the visual record. Author of On and Off-Screen Imaginaries (Primary Information\, 2024)\, her films have screened at TIFF\, MoMA Doc Fortnight\, and the New York Film Festival. She has held solo exhibitions at Artists Space\, the Cantor Arts Center at Stanford University\, and Mudam Luxembourg. Overt Listening\, her first feature film and a forthcoming body of work\, will be presented at Kunsthalle Wien (Fall 2026) and KW Institute for Contemporary Art\, Berlin (Spring 2027).[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”163034″ img_size=”full” css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Antes Muerto Cine is a film collective based in Buenos Aires\, dedicated to the production of documentary and experimental cinema. We met in a riot in the public university\, recording images and sounds to shake and discuss the reality we inhabit.\nSince then\, we seek that our practice dialogue with past and future experiences to noticeably rescue the absurd and everyday beauty that is shipwrecked in chaos. We like movies that are alive\, those that are made with care in the privacy or in the street\, those that are invented drawing conclusions on the fly\, those that play.Because we believe that films are also their mode of production\, we understand friendship as a creative policy. Our projects were part of MoMA’s Doc Fortnight\, Mar del Plata International Film Fest\, Ji.Hlava DIFF\, FID Marseille\, Márgenes Cine\, DocLisboa\, Visions Du Réel\, BAFICI\, RIDM\, É tudo verdade\, FICUNAM\, Cinélatino Rencontres de Toulouse\, New Horizons IFF\, Festifreak\, Transcinema\, DOCBSAS\, SEMINCI\, FIDOCS\, Open City\, Frontera Sur among other festivals. And they have received support for its realization from Berlinale Talents\, Buenos Aires Youth Art Biennial\, BoliviaLAB\, AcampaDOC\, Labex\, Migrant Film Festival\, INCAA – National Institute of Cinema and Audiovisual Arts\, National Endowment for the Arts\, Cultural Patronage of BsAs and National University of the Arts.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”163241″ img_size=”full” css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Khalik Allah is a New York-based photographer and filmmaker who practices Camera Ministry with an eye as open as his heart. The resulting work has been described as “street opera” and noted for its beautifully visceral humanity. After a number of short films that reflect relationships between formed through portraiture\, Allah advanced his artistry with the feature Field Niggas (2015)\, shot at nighttime on the corder of Harlem’s 125th St. and Lexington Avenue. This corner also served as thesis for his first photography book Souls Against the Concrete\, published by University of Texas Press in 2017. Allah continued with Black Mother (2018)\, an ecstatic expression of reverence and realities across Jamaica. This award winning fil has been seen in festivals\, museums and schools around the world; further released in the UK and the US through distributors Dogwoof and Grasshopper Film. Allah’s films are available on the Criterion Channel. Khalik is currently at work on his second photo book from 125th and Lexington.[/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/embracing-adrift-the-documentary-travelogue-2026-06-26/
CATEGORIES:Workshops & Labs
ATTACH;FMTTYPE=image/gif:https://uniondocs.org/wp-content/uploads/2026/05/Travelogue-Workshop-gif.gif
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260724T100000
DTEND;TZID=America/New_York:20260726T133000
DTSTAMP:20260613T055606
CREATED:20260611T125312Z
LAST-MODIFIED:20260611T125606Z
UID:10003067-1784887200-1785072600@uniondocs.org
SUMMARY:The Magical Image:  Special Effects as Documentary Method
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=””]Special Effects in nonfiction have always been a way of thinking—not just a way of finishing. But in 2026\, when AI can generate any effect on demand and the spectacular becomes benign\, the question changes: what does it mean to slow down and work with effects that reveal the hand\, the labor\, and the ethics of representation itself? Led by artist and educator Carl Elsaesser\, this three-day workshop explores effects not simply as spectacle\, polish or illusion\, but as documentary method shaping how reality is perceived and disguised. \nAcross three days\, we’ll be studying and experimenting with both in-camera and post-produced interventions—rear projection\, masking\, blur/redaction\, matte/compositing\, reenactment\, and “visible seams”—as nonfiction methods for exploring memory\, portraiture\, protection and political critique. The goal is not to resolve whether an image is “real\,” but to understand what reality effects can make possible—and what it costs. Through screenings\, discussion\, demonstration and hands-on exercises\, Carl\, accompanied by a diverse lineup of wonderful guests\, will guide participants through an examination of how these techniques have been used historically\, their evolving use and how these effects continue to function politically and aesthetically today. \nRather than treating effects as in opposition to documentary truth\, the workshop approaches them as tools to confront thorny relationships between visibility and concealment\, evidence and speculation\, memory and reconstruction. Across the weekend we’ll be probing questions like: what does a manipulated image allow a viewer to confront? What kind of history and experience becomes imaginable through compositing or reenactment? What does the line between the real and the manufactured image say about our relationship to the truth? What are the ethical\, aesthetic and political stakes of image mediation? \nDrawing from experimental nonfiction\, essay film\, political cinema\, magic & illusionism\, and hybrid documentary practices\, participants will leave with a deeper understanding of effects as nonfiction strategies.[/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 July 15\, 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 July 15. After July 15\, 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 July 15\, 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\, July 24th” 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 Carl Elsaesser \n12:30am – 2:00pm Lunch \n2:00pm – 4:00pm Session with Guest 1  \n4:00pm – 4:30pm Wrap Up Discussion with Carl additional exercises / discussion[/vc_column_text][vc_empty_space height=”40px”][vc_custom_heading text=”Saturday\, July 25th” 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 Guest 2 \n12:30am – 2:00pm Lunch \n2:00pm – 4:00pm Creative session OR work-in-progress with Carl \n4:00pm – 4:30pm Wrap Up Discussion with Carl\, additional exercises / discussion[/vc_column_text][vc_empty_space height=”40px”][vc_custom_heading text=”Sunday\, July 26th” 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 Guest 3 \n12:30am – 2:00pm Lunch \n2:00pm – 4:00pm Session with Courtney Stephens \n4:00pm – 4:30pm Wrap Up Discussion with Carl\, additional exercises / 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=”163435″ img_size=”full” css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Carl Elsaesser is an experimental filmmaker whose work blends genres and materials to critically investigate the overarching presence of history without losing sight of individual experiences of human connection. He is interested in framing a film practice through ritualistic and slow processes—thinking with a project as something akin to skin or clothing\, worn throughout his day as he teaches class\, walks through the city or countryside late at night\, or calls a friend across the world. His films have screened widely at festivals and institutions including the Berlinale\, New York Film Festival\, Cinema du Réel\, European Media Art Festival\, the National Gallery of Art\, and the Criterion Channel. He has been honored with grants and residencies including a 2026 Creative Capital Award\, a Guggenheim Fellowship\, the Minnesota State Arts Board grant\, a MacDowell Fellowship\, and residencies at the Ellis-Beauregard Foundation\, Hewnoaks\, and Squeaky Wheel Media Center. His work has been featured in publications such as LA Review of Books\, Millennium Film Journal\, and FilmExplorer.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”152992″ img_size=”full” css=””][/vc_column][vc_column width=”2/3″][vc_column_text css=””]Courtney Stephens is the director of four feature films. The American Sector (with Pacho Velez) documents slabs of the Berlin Wall installed around the US. Terra Femme\, composed of amateur travel footage shot by women in the early 20th century\, was a New York Times critic’s pick and has toured widely as a live performance. John Lilly and the Earth Coincidence Control Office (with Michael Almereyda) explores the life of neuroscientist and psychedelics pioneer John C. Lilly\, and Invention is a hybrid fiction film about an esoteric healing device. Both The American Sector and Invention were named among The New Yorker’s best films of the year. Her work been exhibited at MoMA\, The National Gallery of Art\, The Barbican\, Fondazione Prada\, Jeu de Paume\, ICA London\, in film festivals including the Berlinale\, Rotterdam\, Locarno\, Viennale\, New Directors/New Films\, IDFA\, Visions Du Réel\, and the New York Film Festival\, and has been released theatrically in the US and France. She is the recipient of a Guggenheim Fellowship\, a Fulbright Scholarship\, three MacDowell Fellowships\, and grants from the Sloan Foundation\, California Humanities\, and the Foundation for Contemporary Art. She has co-curated the miniature cinema Veggie Cloud since 2014\, and organized film programs for The Getty\, Museum of the Moving Image\, Flaherty NYC\, The Filmmaker’s Cooperative\, and Human Resources. Her writing has appeared in Film Comment\, BOMB\, Filmmaker\, The New Inquiry\, and Cabinet.[/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/the-magical-image-special-effects-as-documentary-method-2026-07-24/
CATEGORIES:Workshops & Labs
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DTSTART;TZID=America/New_York:20261006T193000
DTEND;TZID=America/New_York:20270616T193000
DTSTAMP:20260613T055606
CREATED:20260402T213029Z
LAST-MODIFIED:20260506T122028Z
UID:10002895-1791315000-1813174200@uniondocs.org
SUMMARY:UnionDocs Collaborative Studio
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URL:https://uniondocs.org/event/uniondocs-collaborative-studio/
LOCATION:UnionDocs\, 352 Onderdonk Avenue\, 352 Onderdonk Avenue\, Ridgewood\, NY\, 11385\, United States
CATEGORIES:Workshops & Labs
ATTACH;FMTTYPE=image/gif:https://uniondocs.org/wp-content/uploads/2024/08/Colab-Preview-in-the-Park.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
END:VCALENDAR