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DTSTART;TZID=America/New_York:20160703T193000
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SUMMARY:Encirclement: Neo-Liberalism Ensnares Democracy
DESCRIPTION:[vc_row][vc_column][vc_column_text] \n\n“Listening to these specialists unravel with stunning clarity the roots of neo-liberalism\, the mechanisms of its expansion and the ideas it conveys is a fascinating experience.” \n– Malik Berkati\, Le Courrier (Genève) \n“A cogent attempt to bring related ideas to cinematic life\, and an antidote to sound bite documentaries in general” \n– Dennis Lim\, The New York Times \n[su_vimeo url=”https://vimeo.com/171011492″][su_vimeo url=”https://vimeo.com/123566682″][/su_vimeo] \nAs a part of the RIDM TAKEOVER at UnionDocs\, IndiePix and RIDM have teamed up to share Encirclement: Neo-Liberalism Ensnares Democracy\, a companion to Oncle Bernard: A Counter-Lesson in Economics by Richard Brouillette. The screening will be followed by a discussion with the director and a guest panel\, to be announced. \nEncirclement: Neo-Liberalism Ensnares Democracy (2008\, 160 min) is a masterful examination of neo-liberal ideology and the various mechanisms used to impose its dictates throughout the world. The film draws on the thinking and analysis of renowned intellectuals and thinkers including Noam Chomsky\, Ignacio Ramonet\, Normand Baillargeon\, Susan George\, Omar Aktouf\, Oncle Bernard\, Michel Chossudovsky\, François Denord\, François Brune\, Martin Masse\, Jean-Luc Migué\, Filip Palda and Donald J. Boudreau. \n\nNeo-liberalism’s one-size-fits-all dogmas are well known: deregulation\, reducing the role of the State\, privatization\, limiting inflation rather than unemployment\, etc. In other words\, depoliticizing the economy and putting it into the hands of the financial class. And these dogmas are gradually settling into our consciousness because they’re being broadcast across a vast and pervasive network of propaganda. \nBeginning with the founding in 1947 of the Mont Pèlerin Society\, neo-liberal think tanks financed by multinational companies and big money have propagated neo-liberal ideas in universities\, in the media\, and in governments. \nConvinced of its historical and scientific validity\, this ideology has intoxicated all governments\, left and right alike. Often imposed with force\, either through the structural adjustment plans of the International Monetary Fund (IMF) and the World Bank\, under the pressure of financial markets and multinationals\, or even by outright war\, the neo-liberal doctrine has now reached every corner of the planet. \nBut behind the ideological smokescreen\, behind the neat concepts of natural order and the harmony of interests in a free market and beyond the panacea of the “invisible hand\,” what is really going on? \n\nStay tuned to join Richard in discussion following the screening and a BBQ with RIDM and UnionDocs. \nWeekend Schedule: \nFriday\, 7:30pm – Oncle Bernard Screening 1 and RIDM takeover party \nSaturday\, 7:30pm – Oncle Bernard Screening 2 and Q&A \nSunday\, 4pm – Encirclement Screening and BBQ \n  \n  \n  \nBios: \n \nRichard Brouillette is a film producer\, director\, editor and programmer. Starting as a film critic for the Montréal weekly\, Voir (1989)\, he then worked for Québec’s top independent distribution company\, Cinéma Libre (1989-1999)\, which has since folded. In 1993\, he founded the artist-run center Casa Obscura\, a multi-disciplinary exhibition space\, where he still runs a weekly cine-club called Les projections libérantes\, for which he is also the projectionist. \nHe has produced and directed Too Much is Enough (doc.\, 111 min.\, 1995)\, for which he won the prestigious M. Joan Chalmers Award in 1996; Carpe Diem (experimental\, 5 mins.\, 1995) and Encirclement: Neo-Liberalism Ensnares Democracy (doc.\, 160 mins.\, 2008)\, for which he won six awards including the prestigious Robert and Frances Flaherty Grand Prize of the Yamagata International Documentary Film Festival and Grand Prize La Poste Suisse of the 2009 Visions du réel festival. \nHe has also produced six feature-length films: Tree with Severed Branches by Pascale Ferland (doc.\, 81 mins. 2005)\, Barbers – A Men’s Story by Claude Demers (doc.\, 82 mins.\, 2006)\, Les désœuvrés by René Bail (fiction\, 72 mins. 1959-2007)\, Adagio for a Biker by Pascale Ferland (doc.\, 90 mins.\, 2008)\, Les dames en bleu et Michel Louvain by Claude Demers (doc.\, 90 mins.\, 2009) and Chantier by René Bail (doc.\, 75 mins.\, 1957-2009). Brouillette has also acted as consulting producer on a number of other documentary projects. \nRichard Brouillette has also been active in Québec’s independent film community\, participating in militant actions and devoting himself to the cause of artist-run centers. Since 1993\, he has also sat on the Boards of various organizations. He is currently treasurer of the independent filmmakers’ cooperative\, Main Film\, and administrator of l’Amicale de la culture indépendante\, the coop that manages Casa Obscura. \nFounded in 1998\, the Montreal International Documentary Festival (Rencontres internationales du documentaire de Montréal – RIDM) presents a selection of the year’s best documentaries from Canada and around the world for general and professional audiences. Documentary film has a unique place in Quebec culture. The historic backbone of Quebec cinema\, the documentary sector produced a large number of major filmmakers who embraced a demanding\, innovative vision of reality-based cinema\, and their influence is still being felt. Above all\, RIDM’s mission is to carry on the vision of those pioneering filmmakers by promoting the best local productions and presenting the year’s most important and ambitious international works. \nAt a time when a large part of the world’s documentary output is constrained by the demands of television\, shaping films into easily digested products\, our exacting selection process is driven by a view of documentary that – while plural and seeking to address a wide spectrum of social\, political and environmental themes – remains grounded in the idea of promoting truly artistic visions\, by selecting productions that redefine our relationships with the world around us\, and with the ever more tenuous line between fiction and documentary. \nConceived as a filmmakers’ event\, RIDM relies on the presence of a large number of creators and organizes an impressive number of parallel events that promote local productions and documentary film in its many forms. Every year\, master classes\, roundtables and topical discussions are presented for both professionals and the general public. In addition\, the close cooperation of broadcasters\, distributors\, programmers\, festival directors and critics from around the world gives our local productions exceptional exposure. The desire to make the festival part of an organized professional promotion network inspired the creation of Doc Circuit Montreal\, Quebec’s documentary market\, designed specifically to support and stimulate independent documentary production and facilitate discussions among professionals\, artists\, producers\, distributors and exhibitors of all stripes. \nSupport for the weekend from: \n \n \n \n  \n \n[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2016-07-03-encirclement/
CATEGORIES:Screenings & Events
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20160707T193000
DTEND;TZID=America/New_York:20160708T223000
DTSTAMP:20260623T032618
CREATED:20160627T040000Z
LAST-MODIFIED:20180306T191609Z
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SUMMARY:We're Already Here: A Showcase from the Diverse Filmmakers Alliance Program #1
DESCRIPTION:[vc_row row_type=”row_full_center_content”][vc_column][vc_column_text]The Diverse Filmmakers Alliance (DFA) will present two programs on Thursday\, July 7 and Friday\, July 8 at UnionDocs. DFA is a group of documentary\, narrative\, experimental\, and transmedia filmmakers from diverse backgrounds who meet weekly to workshop their media projects.  The alliance’s goal is to provide and receive feedback designed to make their media projects more fundable\, more watchable\, more entertaining\, more educational and ready to meet their audience.  The group meets once a week at the Women Make Movies office in Chelsea.The programs will feature work from their members along with former UnionDocs CoLab fellow Arisleyda Dilone and former UnDo programming intern\, Melissa Saucedo. \n \n  \nSemiotics of Islam by Fouzia Najar (7 min) \nInspired by Martha Rosler’s Semiotics of the Kitchen\, this film highlights the media’s role in Islamophobia. \n  \nTo Germany\, With Love by Desireena Almoradie (7 min) \nn 1985\, Kathleen lost her brother Eddie\, an American soldier\, at the hands of the Red Army Faction\, a German leftist terrorist organization. Thirty years later\, she seeks out the women convicted of his murder. This is a work-in-progress preview of the feature length documentary. \n \n  \nSmall Delights by Hena Ashraf (13 minutes)  \nSmall Delights is a short fiction film that centers on teenage Aziza\, who is in the middle of figuring herself out.  But one thing she does know is that she loves music. \n  \n \n  \nMami y Yo y Mi Gallito by Arisleyda Dilone (17 minutes) \nIn this personal short documentary\, Aris and her mother sit down to discuss her intersex body for the first time.   \n  \nOya: Something Happened On The Way To West Africa! by Seyi Adebanjo \nFollow Seyi’s journey as a Queer Gender Non Conforming Nigerian as I connect with Òrì?à tradition (African God/dess) and the powerful legacy of my great grandmother\, Chief Moloran Ìyá ?l??ya.    \n \n  \nThe Tunnel Man by Katya Soldak (2 min) \nA story of Bob Diamond and a mysterious forgotten tunnel underneath Atlantic Avenue in Brooklyn. \n  \n \nI Said\, Listen by Martyna Starosta (20 min) \nWelcome to the bizarre land of language exorcism. It all began when Martyna signed up for an “accent reduction class.” What followed was an investigation into the American battlefield of language\, identity and power. Her fundamental question was a political one: who has the authority to speak and to be listened to? \n  \nBios \nDesireena Almoradie is a queer immigrant filmmaker born in Manila and living in NYC since the age of 11. In her works\, she explores collective history and the representation of marginalized communities\, especially as it pertains to LGBT and people of color. A graduate of NYU’s film program and its Interactive Telecommunications Program\, she was nominated for an Emmy in 2002 and won a GLAAD Media Award in 2009 for her work with the seminal LGBT television program In the Life on PBS. Her films and interactive video installations have shown at MIX NYC\, Queens Museum of Art\, and the British Film Institute\, among other venues. Most recently she received an Artist As Activist travel and research grant from the Robert Rauschenberg Foundation for her work-in-progress documentary To Germany\, With Love\, which poses the question: Can an act of radical forgiveness create a more peaceful world? \nHena Ashraf is a filmmaker and artist. Hena’s roots are from the subcontinent\, and she spent her early years in the U.K. before immigrating to America. At the University of Michigan\, Hena concentrated in Film and Video Studies and Political Science. During her following 7 years in NYC\, Hena worked for various media institutions such as Black Public Media and the Tribeca Film Institute\, amongst others. Her films feature characters whose multiple identities characterize them as outsiders and who thus struggle to fit in. These themes have been developed from her own personal experiences as a young Muslim woman growing up in the U.K. and America. Small Delights (Best Emerging Filmmaker\, Queens World Film Festival) is Hena’s second short fiction film that she wrote and directed\, and features a young Muslim teenager struggling with her dreams and of belonging. Hena’s current material focuses on the largely untold intersectional experiences of queer Muslims \nArisleyda Dilone makes film work about her life and her family. Born in Santiago de Los de Caballeros\, Dominican Republic\, she spent her formative years in a hillside village outside of the city of Santiago. At the age of seven she was brought to New York and raised in a suburb of Long Island.  As filmmaker\, she was awarded a NALIP mentorship and she was a 2012 Jerome Foundation-Travel and Study Grant Fellow. Arisleyda was a 2014 UnionDocs Collaborative Fellow and a 2015 Queer Art/Mentorship/Program Fellow\, in which she completed her short film\, Mami y Yo y Mi Gallito/Mom and Me and My Little Rooster (2015). Arisleyda is a member of Diverse Filmmakers Alliance and Brooklyn Filmmakers Collective.  \nSeyi Adebanjo is a Queer gender-non-conforming Nigerian MFA artist.  Seyi is a media artist who raises awareness around social issues through digital video\, multimedia photography and writings. Seyi’s work is the intersection of art\, media\, imagination\, ritual and politics. Seyi Adebanjo has been an artist in resident with Allgo and exhibited at Leslie-Lohman Museum.  Seyi has been a Queer/Art/Mentorship\, The Laundromat Project\, Maysles Institute\, IFP and City Lore Documentary Fellow. Seyi is the recipient of the Best International Short Film Award\, Pride of the Ocean LGBT Film Festival Award and Hunter College’s Dean of Arts & Science Master’s Thesis Support Grant. Seyi presented at NYU\, UFVA Conference\, AWP & Lambda Literary Foundation & Brazilian Queering Paradigms Conference. Seyi’s short Trans Lives Matter! Justice for Islan Nettles screened on PBS and at 17 festivals including Official Selection at the 28th BFI Flare London LGBT Film Festival\, Black Star and Al Jazeera America. \nKatya Soldak is a New-York-based multimedia journalist. She’s working on a documentary about her family in Eastern Ukraine — where she was born and raised in the city of Kharkiv —  and their lives in the post-Soviet country as it transitioned through two revolutions and eventually found itself at war with Russia.  A Columbia School of Journalism alumna\, Katya now works as an international editor for Forbes Magazine\, having previously toiled in the world of documentary production. \n  \n \nMartyna Starosta is Polish-German documentary filmmaker. She is working on a short about the phenomenon of accent reduction classes in New York which examines language\, communication and power. Martyna works as a video journalist at the Jewish Daily Forward. Prior to that she was a yearlong Video/TV News Production Fellow at the daily news hour Democracy Now! with Amy Goodman. Martyna graduated from the University of the Arts in Berlin and is currently pursuing her MFA in Integrated Media Arts at Hunter College.[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/07-08-2016-already-here-showcase-diverse-filmmakers-alliance/
CATEGORIES:Screenings & Events
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20160708T193000
DTEND;TZID=America/New_York:20160709T213000
DTSTAMP:20260623T032618
CREATED:20160705T040000Z
LAST-MODIFIED:20180306T191124Z
UID:10002636-1468006200-1468099800@uniondocs.org
SUMMARY:We're Already Here: A Showcase from the Diverse Filmmakers Alliance Program #2
DESCRIPTION:[vc_row row_type=”row_full_center_content”][vc_column][vc_column_text]The Diverse Filmmakers Alliance (DFA) will present two programs on Thursday\, July 7 and Friday\, July 8 at UnionDocs. DFA is a group of documentary\, narrative\, experimental\, and transmedia filmmakers from diverse backgrounds who meet weekly to workshop their media projects.  The alliance’s goal is to provide and receive feedback designed to make their media projects more fundable\, more watchable\, more entertaining\, more educational and ready to meet their audience.  The group meets once a week at the Women Make Movies office in Chelsea. The programs will feature work from their members along with former UnionDocs CoLab fellow Arisleyda Dilone and former UnDo programming intern\, Melissa Saucedo. \nFriday\, July 8 \nThe Way You Love by Lydia Darly (10 min) \nThe Way You Love is a short film based on the filmmaker’s personal experience\, and the many conversations around love with women\, many of which were exchanged in beauty parlors and hair salons in Garges-les gonesse near Paris where she lived. The Way You Love is about unconditional love and forgiveness of the past in order to be free. \n72 Hours : a Brooklyn Love Story? by Raafi Rivero \nCaesar Winslow\, 18\, is the charismatic leader of his crew. Unlike his friends\, he has a chance to leave Brooklyn and attend a prestigious university. But he’s got big problems. His girlfriend dumped him\, and guys in the neighborhood are already lining up to take his crown. Torn by his desire to experience a new life and a fear of leaving the only world he’s ever known\, Caesar has 72 hours to steel himself. \n \nBefore David by Melissa Saucedo (20 min) \nA short documentary about PRE-partum depression\, its symptoms\, and the difficulties it poses when a woman is going through the extreme physical and emotional changes of pregnancy. \n  \n \nblack enuf* (segment) by Carrie Hawks (4 min) \nblack enuf* explores the expanding black identity. This animated documentary takes a playful approach to heavier questions of race\, difference\, and self-acceptance. \n  \n \n  \nGaysians by Vicky Du (13 min) \nFive queer and trans Asian-Americans from New York City and explore their relationships with their family and culture in this patchwork documentary. \n  \nThe Liberation of Helène Aylon by Kelly Spivey (25 min) \nThis intimate film portrait explores how a woman raised in an Orthodox\, working class community became a radical feminist conceptual artist\, commandeering a monumental cross-country trip to “rescue” nuclear contaminated earth. Helène Aylon will charm and mystify you with her endlessly hopeful view of humanity\, art and her faith. \nJessy’s House of Styles by Walis Johnson (4 min) \nAn ethnographic film on a day in the life of an african American barber located in Fort Greene\, Brooklyn that is about to go out of business because of rising rent. \n  \n  \nBios \n \nLydia Darly was born and raised in the suburbs of Paris (France) called ” banlieues”. She is originally from Guadeloupe. She was first discovered as an actress at age 17 when she was invited to audition for Mathieu Kassovitz film Cafe au Lait thus began her journey and passion for theater and films. She was part of several experimental and avant-garde theater companies in Paris as a teenager\, before her journey as aspiring actress and model took her to Rome\, where she continued her passion for acting. She was featured in The Exorcist: The Beginning and acted in several TV series in Rome. Lydia love of American Cinema and desire to develop and perfect her craft took her to New York City. She studied at the Lee Strasberg\,TVI actors studio\, and with acting coach and director Jordan Bayne fostering a working/Mentor relationship with her. Lydia was Jordan’s assistant on the film\,The Sea Is All I Know\, featuring Academy Award Winner\, Melissa Leo. Lydia is the writer\, producer and lead Actress of the short Film SCRATCH. For her performance she won the Best Actress Award in 2012  and Best Director Award for The Way You Love in 2014 at the CinemAvennire Film Festival in Rome Italy. \nRaafi Rivero has directed numerous short films\, music videos\, and advertisements. His directing credits include a suite of promos for HBO?s True Blood\, content for Microsoft\, Sony\, The Rockefeller Foundation\, and an Art Directors Club award-winning viral campaign for the Maryland Lottery. His transmedia film pitch Heart of the City was the inaugural winner of London’s Power to the Pixel competition and part of IFP?s No Borders film market the following year. Their Eyes Were Watching Gummy Bears (2010) played 22 film festivals\, winning honors in multiple cities. 72 Hours: A Brooklyn Love Story?\, Raafi’s first feature film\, is currently in postproduction. Raafi holds an MFA from Howard University and a BA from Brown University. His writing about new media has appeared in The New York Times. \n \nMelissa Saucedo is documentary filmmaker from Northeast Mexico. She moved to New York City with The Fulbright Scholarship in 2011. Her documentary\, The Coalmen\, about the harsh working conditions of coal miners in Mexico\, was awarded at Monterrey International Film Festival in 2010. In NYC\, she worked for brief periods at the production company Quit Pictures\, POV – television’s longest-running showcase for independent non-fiction films\, and UnionDocs. As an independent filmmaker she focuses on issues of health\, gender\, education\, and immigration. She holds a MFA in Integrated Media Arts from Hunter College\, CUNY\, and a MS in Communications and BA in Marketing from the Monterrey Institute of Technology in Mexico. \nCarrie Hawks is a filmmaker\, artist\, and designer. Her work explores race\, gender\, sexuality and constructed identities. She is a New York based artist. She works in a variety of mediums including paintings\, drawings\, dolls\, and film. Her film “Delilah” won best experimental film at the Reel Sisters of the Diaspora Film Festival in 2012. She holds a BA in Art History and Printmaking from Barnard College and a BFA in Graphic Design from Georgia State University. She has exhibited in New York\, Atlanta\, Toronto\, Berlin\, and Tokyo. She graduated from Barnard College\, studying Art History and Printmaking. Her second degree is in Graphic Design from Georgia State University. Her current project is black enuf*  The Jerome Foundation awarded her a grant in 2014 for this film. \nVicky Du is a Taiwanese-American documentary filmmaker based in New York City. Her short film Gaysians was selected for NewFest and Los Angeles Asian Pacific Film Festival. She is currently developing a non-fiction feature on the birth tourism experiences of single Chinese women in the US. Her directing and editing work has been featured on The History Channel\, The New Yorker and National Geographic. Vicky has a BA in Biological Anthropology from Columbia University\, and in a past life\, she studied wild monkeys in Kenya and the Caribbean. She is a member of Brooklyn Filmmakers’ Collective and Diverse Filmmakers’ Alliance. \nKelly Spivey has been making films since 1998. Her films have explored themes of class\, gender\, women’s roles and more recently\, anxiety\, especially in relationship to our increasingly frenetic urban lifestyles\, and information overload capabilities. Her work has screened nationally and internationally and has won various awards. Several of her film projects have received support from the Queens Council on the Arts\, The New York State Council on the Arts\, and she was a New York Foundation on the Arts Fellow in 2005. She works in New York City in audio and video production and post-production under the name KinoPixel and is an Adjunct Lecturer at Hunter College where she earned her M.F.A. in Integrated Media Arts in 2014. \n \nWalis Johnson is an experimental filmmaker\, artist\, educator\, avid walker and ceramic potter whose work documents the experience of the urban landscape through ethnographic film\, oral history\, and artist walking practice.  She is interested in the intersection of documentary film and performance. Her latest work\, The Red Line Archive\, a mobile public art project focused on the history of the 1938 Red line Map in Brooklyn and its impact on neighborhoods of Clinton Hill/Fort Greene\, Bedford Stuyvesant and Crown Heights\, areas of cultural and historical importance in black Brooklyn. The Archive is a personal history that exposes critical links among housing and racial discrimination\, urban gentrification\, economic displacement and cultural/historical erasure. Walis has an MFA from Hunter College\, in Interactive Media and Documentary film and has taught at Parsons School of Design. She has presented her work at the Animart Conference on artist walking practices in Delphi\, Greece in 2016 and at the Brooklyn Museum’s Community Forum Anti-gentrification and Displacement Forum. A new iteration of  archive representing the history of redlining in Loisaida and Stuyvesant Town neighborhoods will appear this fall in the Art in Odd Places Festival along 14th Street in NYC.[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/07-08-2016-already-here-showcase-diverse-filmmakers-alliance-2/
CATEGORIES:Screenings & Events
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20160714T193000
DTEND;TZID=America/New_York:20160714T213000
DTSTAMP:20260623T032618
CREATED:20160628T040000Z
LAST-MODIFIED:20180309T183456Z
UID:10002630-1468524600-1468531800@uniondocs.org
SUMMARY:The New Black
DESCRIPTION:[vc_row][vc_column][vc_column_text] \n\n“…a portrait of what it means to be black\, what it means to be gay\, [and] what it means to be a Christian.” \n— Peter Knegt\, Indiewire.com \n“The New Black is the best among several films that tangle with the role religion plays in the lives of America’s queers.” \n— Mark Taylor\, KQED Arts \nWinner of the Audience Award at AFI Docs  \n\nUnionDocs will present Yoruba Richen’s film The New Black on July 14 at 7:30 pm as part of the BK@24FPS series. The New Black is a documentary that tells the story of how the African American community is grappling with the gay rights issue in light of the recent gay marriage movement and the fight over civil rights. The film documents activists\, families and clergy on both sides of the campaign to legalize gay marriage and examines homophobia in the black community’s institutional pillar – the black church – and reveals the Christian right wing’s strategy of exploiting this phenomenon in order to pursue an anti-gay political agenda. The New Black takes viewers into the pews and onto the streets and provides a seat at the kitchen table as it tells the story of the historic fight to win marriage equality in Maryland and charts the evolution of this divisive issue within the black community.\n\n\n \n\n\nThis event is co-presented with Skylight and Witness. Director\, Yoruba Richen  along with subject\, Karess Taylor-Hughes and Jose-Michell Britto\, advocate for homeless LGBTQ youth of color\, will all be in attendance for discussion following the film.\n\n\n\n\n\nBios\n\nYoruba Richen is a documentary filmmaker who has directed and produced films in the United States\, Africa\, South America\, and Southeast Asia. Yoruba’s award-winning film\, Promised Land\, premiered at the Full Frame Documentary Festival and has screened at numerous festivals around the world. It received a Diverse Voices Co-Production fund award from the Corporation for Public Broadcasting and won the Fledgling Fund Award for Social Issue Documentary. Yoruba has produced for the investigative unit of ABC News and the independent news program Democracy Now. In 2007\, Yoruba won a Fulbright Award in filmmaking and traveled to Salvador\, Brazil\, where she began production on Sisters of the Good Death\, a documentary about the oldest African women’s association in the Americas and the annual festival they hold celebrating the end of slavery. In 2012\, Yoruba won the Tribeca All Access Creative Promise Award and became a Guggenheim fellow. She is a graduate of Brown University and teaches Documentary film at CUNY’s Graduate School of Journalism.\n\n\n Karess Taylor-Hughes is a NY native who identifies as queer gender non-conforming (They/Them pronouns). Karess has years of experience working in political campaigns on LGBTQ rights. The activist earned their B.S. in Kinesiology from University of Maryland and their M.S. from Columbia University in Sports Management. Karess also has experience working in both intercollegiate and professional sports. Their interests lie in research on the intersections of race\, gender and sexuality in physical culture and how it impacts our society. As a member and chapter co-chair of the Black Queer Feminist organization BYP100’s NYC chapter\, Karess will continue to make progress by pushing to increase more advocacy work for marginalized communities.\n\n\nJose-Michell Brito\, is a graduate of Bard College\, with a major in Cultural Anthropology and focus on both Africana and Latin-American Studies; Michell has been working with youth since 2008 and is now working with Homeless Queer Youth in NYC. An Afro-Taino Black Global Citizen and a Cis Same Gender Loving Man\, he stands with #BlackLivesMatter and is all about the RAGE!  He serves intelligent anti-intellectual dialogue\, anti-supremacist oppression rage\, he is mad pro-black\, and a lover of all things Spiraling. You can find him on: The Spiral Tv with a lot more to come in the near future.\n\n\n\nSkylight Pictures’ monthly Brooklyn-based screening series\, BK@24FPS\, highlights documentary films as a way to to expand dialogue around the intersection of human rights and art. Born out of a three-way collaboration between Skylight\, UnionDocs\, and WITNESS\, these monthly events aim to strengthen the ties between people interested in human rights in Brooklyn and will consist of\, a 10-part series of film screenings followed by a partner-moderated discussion between the filmmaker\, movement actors\, and the audience. During our discussions we will debate the conventional framework for human rights and challenge the definition of what constitutes human rights media.\n\n\n\nWITNESS is an international organization that trains and supports people using video in their fight for human rights. WITNESS trains and supports activists and citizens around the world to use video safely\, ethically\, and effectively to expose human rights abuse and fight for human rights change.\n[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2016-07-14-the-new-black/
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2016/06/02d1d7e.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20160715T193000
DTEND;TZID=America/New_York:20160715T213000
DTSTAMP:20260623T032618
CREATED:20160705T040000Z
LAST-MODIFIED:20180309T183158Z
UID:10002634-1468611000-1468618200@uniondocs.org
SUMMARY:Death in Arizona with Director Tin Dirdamal
DESCRIPTION:[vc_row][vc_column][vc_column_text] \nWinner\, Best Documentary at Miradas Doc\nOficial Selection\, Visions du Reél – Nyon\, Suiza / Ambulante\, Morelia International Film Festival\, Riviera Maya Film Festival – Mexico\nDeath in Arizona is a futuristic documentary of lost love and a tale of a dying civilization.  It is an autobiographical portrayal of a filmmaker who returns to his lost love’s empty apartment in pursuit of answers. The changing life outside as seen through the windows confront the man and his loss. Distant voices of a tribe in Arizona that survive a meteorite make their way into this third story apartment in an obscure Bolivian city. \nDeath in Arizona will screen with director Tin Dirdamal in attendance for discussion following the film with programmer and former CoLAB fellow Sebastian Diaz. This program is co-presented with Cinema Tropical. \n  \n  \n  \nTin Dirdamal is a director and producer.  Born in the North of Mexico\, his films seek to find contradiction in contemporary virtue. Self taught filmmaker with studies in physics his work includes: DeNadie (2005)\, Rivers of Men (2011)\, and Death in Arizona (2014). His films have been booed and applauded in IDFA\, Visions du Reel\, BAFICI… They have received awards at Sundance and Documenta Madrid. He has received grants from the Sundance Institute and a Rockefeller Media Artists Fellowship through the Tribeca Film Institute. He is a documentary film teacher in the Yucatan. \nSebastian Diaz is a Mexican filmmaker and film programmer based in New York. He was a fellow at UnionDocs Collaborative Studio\, Brooklyn 2013\, where he directed ‘Toñita’s’ (MoMA Documentary Fortnight 2014). He co­-directed ‘Brilliant Soil’ (Material Culture & Archeology Film Prize at 13th RAI International Fest of Ethnographic Film\, Edinburgh 2011). Sebastian photographed and edited the documentary ‘Tijuaneados Anonymous’ (Ambulante Festival 2010; Best local film at San Diego Latino Film Festival). He co­founded ‘Bulbo Art Collective’\, which produced a documentary series broadcast in US and Mexico about Tijuana/­San Diego border culture (Channels 22 & Univision). His work has been exhibited at ARCO (Madrid)\, The MAK Museum (Vienna)\, InSite_05 (Tijuana ­San Diego)\, among others. He curates contemporary Mexican films at several venues in New York City. \nProyector Film Series is a platform in New York City to watch and discuss contemporary independent films from Mexico that\, despite their recognition at international festivals\, get very limited distribution and exposure. The themes and characters that the works present fall outside of the cliches of Mexico portrayed by the media. With a formal exploration these films break away from commercial production schemes. The film series is curated by New York based Mexican filmmaker and independent programmer Sebastian Diaz in diverse venues\, such as UnionDocs\, Brooklyn.\n\n\n\n\n\n\n\nSupport for this program from: \n \n[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2016-07-15-death-in-arizona/
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2016/07/DeathInArizonaSCREEN-e1467749390980.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20160724T193000
DTEND;TZID=America/New_York:20160724T223000
DTSTAMP:20260623T032618
CREATED:20160713T040000Z
LAST-MODIFIED:20180305T225822Z
UID:10002039-1469388600-1469399400@uniondocs.org
SUMMARY:The Spectacle of History
DESCRIPTION:[vc_row][vc_column][vc_column_text]UnionDocs presents The Spectacle of History\, a program of short films by Sasha Litvintseva. Litvintseva will be in attendance alongside curator of experimental documentary series Visions\, Benjamin R. Taylor\, for a discussion following the program. \nAlluvion\, 2013\, 31 mins \nA father and his grown children of unnamed nationality\, make their way through a landscape where ancient and modern histories transmute into material spectacle and the nights are filled with incessant entertainment. Amidst remains of mutated cultures\, bodies are caught in rituals of sun worship\, stagnating in a state of passivity. Disco-lights permeate all\, and turquoise toenails float above the city. Millennia old columns are submerged in swimming pools. At a shipyard on the edge of town\, a group of men are building an ark\, labourers actively asserting meaningful influence upon their surroundings\, they may or may not achieve salvation as the film and the world around them all are disintegrating toward an Atlantean End.  Watch the trailer here. \nImmortality\, Home and Elsewhere\, 2014\, 12 mins \nWeaving around a theory of immortality based on the premise that our lives are a summation of all the information we consume and process\, gleaned from existing theories from a number of scientific disciplines\, the film draws on my personal history’s brush with a global nuclear disaster\, to precipitate a meditation on the potential role of an individual in the imaginary film/event of our individual or collective death: as a protagonist\, or as an extra appearing in a handful of frames at the very moment of their death.   If you could experience everything that ever was\, would you still be afraid?  Watch the trailer here. \n  \nEvergreen\, 2014\, 27 mins \nEvergreen explores the crisis of grand narratives in the face of the photographic image. It is a self-deconstructing story of an immortal traveller’s undefinably temporal/spacial journey through inhabited theme parks and museums\, islands of time\, abandoned cities. A civilisation’s perpetual struggle for perfection and unquenchable documentation of itself\, as if driven by knowledge of its looming demise. Heritage as spectacle\, spectacle as heritage\, nature as both.  Watch the trailer here. \n  \nExile Exotic\, 2015\, 14 mins \nSteeped in elliptical history and historical simulacra\, Exile Exotic is set at a hotel that is a replica of the Kremlin. Narrating the exotic beginnings of my mother’s and my exile from Russia\, the film serves as a platform for us to visit the Kremlin again\, albeit by the side of a pool. Soundtracked by an operatic score reminiscent of the song of the sirens making Odysseus stray on his long journey home\, our story reverberates throughout the scope of Russian history’s limiting of free movement of individuals. This film is a pilgrimage. This film comes in waves.  Watch the trailer here. \n  \n  \n  \n  \n \nSasha Litvintseva is an artist\, filmmaker\, researcher and curator. She was born and raised in Russia and has been based in London since 2004. Her films excavate the layers of history\, past and future\, embedded in landscape and architecture\, and juxtapose and entangle the monumental and the pictorial\, narrative and infrastructure\, the global and the personal\, the human and the geologic\, embodiment and temporality\, politics and leisure\, and ultimately the infinite and the everyday. Her work has been exhibited worldwide including Wroclaw Media Art Biennale\, Poland\, The Moscow Biennale for Young Art\, Modern Art Museum Moscow\, Institute of Contemporary Art\, London\,  Ann Arbor Film Festival\, Edinburgh Film Festival\, Kasseler Dokfest\, Festival Du Nouveau Cinema\, Montreal\, Kino Der Kunst\, Munich\, Cinema Du Reel\, Paris among many others. A graduate of the Slade School of Fine Art she is currently working on practice based PhD proposing the concept of geological filmmaking at Goldsmiths\, University of London. \n \n  \nBenjamin Taylor  is a filmmaker working in experimental and documentary forms. His work focusses on geography\, architecture\, nature and spirituality. His films have been presented in various festivals and galleries in Canada\, Europe\, Asia and Australia. He is the curator of the monthly experimental documentary screening series Visions in Montréal. \n[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2016-07-24-the-spectacle-of-history/
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2016/07/Alluvion-Still-4.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20160828T193000
DTEND;TZID=America/New_York:20160828T213000
DTSTAMP:20260623T032618
CREATED:20160822T040000Z
LAST-MODIFIED:20180306T183502Z
UID:10002036-1472412600-1472419800@uniondocs.org
SUMMARY:UnionDocs Editing Retreat Reception and Preview
DESCRIPTION:[vc_row row_type=”row_full_center_content”][vc_column][vc_column_text]This weekend join us for a reception and a preview of excerpts from the work at the UnionDocs Editing Retreat at the Pocantico Center of The Rockefeller Brothers Fund. Filmmakers Camila Donoso (Casa Roshell)\, Joseph Magnat (Holy Crafts)\, Annie Berman (The Faithful)\, and André Valentin Almeida (The Faithful) will be in attendance and show short excerpts of their progress from the retreat before a group reception with complimentary beer and wine. \nFilms & Filmmakers\n \nCASA ROSHELL \nA documentary about a couple of transvestites\, Roshell (51) and Liliana (43)\, who together run Casa Roshell\, in Mexico City. Casa Roshell is a utopic place that serves as a hideout for men who seek to freely express their desire to present female. A small room with a stage receives guests with intimacy\, among political performances and playbacks\, conversations turn existential when frustrations and dreams come out. A duality of the genres and their reality as biological men. On their innate desires and the constant search of identity. \nCamila Donoso\, from Santiago de Chile\, co-directed (with Nicolás Videla) Naomi Campbel (2013)\, experimenting with the boundaries of documentary and fiction. The film received wide acclaim and screened at FICValdivia\, CPH:DOX\, BAFICI\, Indielisboa\, FICCI\, IFF Göteborg\, Distrital\, La Habana’s film festival and DOK Leipzig\, among others and received the Cinema Tropical Award for Best Documentary. Her second feature film Nona (2014)\, based on the delirious personality of her grandmother\, participated in numerous labs such as 3 Puertos Cine by BAFICI BAL and FICValdivia\, Riviera Maya FF’s RivieraLab and received support from TFI Latin America Media Arts Fund. Donoso shot Casa Roshell (in production) in Mexico\, with a residence grant from AMEXCID\, and is a co-production between Cine Tonalá and Interior XIII. She is founder of a nomad school of experimental film called Transfrontera\, participating in Chile\, Perú and Bolivia. \n  \n \nHOLY CRAFTS \nA documentary film that examines the peculiarities of religion\, labor and capital intersecting in a Catholic goods factory in the Philippines. During 2015 Pope Francis visited the Philippines\, a country where over 80 million devout Catholics reside. He briefly mentions the statue of sleeping Saint Joseph that he keeps by his bedside so that he can pray to it during difficult times often writing down his prayers and placing them underneath the statue hoping to dream about the answers. The statue was quickly mass produced and became highly sought after. The film follows the production of the statue and its transformation from secular to sacred while underlining the lives of the people that indirectly benefited from the Pope’s endorsement. \nJoseph Mangat director and editor of Holy Crafts is a filmmaker based in Brooklyn\, New York. He was born in Manila\, Philippines and moved to San Diego when he was eight years old. He wrote\, directed and edited multiple short films that garnered awards and screened at various festivals. He began making films during his undergraduate study at the University of California\, San Diego where he was mentored by Professor and Avant-garde Filmmaker Jean-Pierre Gorin. He holds MA in TV\, Film and New Media from San Diego State University. He won the Student Emmy Award for his 35mm short film\, Exorcism\, adapted based on an early work of Pulitzer Prize winning playwright Eugene O’Neill. More recently he has produced and edited videos for Tribeca Film Institute and directed web spots for Ikea\, Ogilvy and Mather and the Chicago Theological Seminary. \n  \n\n \nTHE FAITHFUL \nThe Faithful is a feature length essay film exploring the enduring phenomenon of three global icons: Elvis Presley\, Pope John Paul II\, and Princess Diana. Launched by the discovery of a Pope lollipop for sale at the Vatican\, the filmmaker embarks on what will become an obsessive 15-year journey to the annual memorials of these icons documenting the rites and rituals of their followers\, in this meditation on fans\, faith\, and image. From the dawn of a new millennium to well into our digital era\, the film traces our complex relation to the photographic image.  What began as a voyeuristic encounter slowly envelops the filmmaker\, the person behind the camera. She finds herself returning year after year to the annual rituals\, making her own pilgrimage\, obsessively collecting more and more footage. \nAnnie Berman is a media artist living and working in New York City. Her background in photography and psychology inspires work about visual culture\, religion\, and the changing media landscape. Her films\, videos\, performances\, and installations have shown internationally in galleries\, festivals\, universities\, and conferences including the Museum of Modern Art’s Doc Fortnight\, Rooftop Films\, Galerie Patrick Ebensperger Berlin\, Kassel Hauptbahnhof\, and the Rome Independent Film Festival where she was awarded the Best Experimental Film Prize. Past President of Women in Film and Video New England\, and founder of Fish in the Hand Productions\, her work has received support from the Puffin Foundation\, Wave Farm\, the Leonard Bernstein Festival of the Arts\, the Center for Independent Documentary\, Signal Culture\, and UnionDocs. Credits include Director of ‘Utopia 1.0: Post-Neo-Futurist-Capitalism in 3D!\,’ ‘Street Views’ and ‘Of Birds and Boundaries.’ She earned her MFA in Integrated Media Arts at Hunter College. Annie is a member of the Brooklyn Filmmakers Collective. \nAndre Valentim Almeida is an editor\, filmmaker from Portugal and PHD candidate whose work has screened at MoMA\, the Carpenter Center for Visual Arts\, and DocLisboa. His most recent film\, The Quest of the Schooner Creoula\, was awarded Best Film from the Doc Alliance\, presented at Cannes. More importantly\, Andre is a long-term collaborator\, the rarest of types who shares a stylistic and thematic affinity with my own work and process. Together\, we bring this film somewhere greater than either of us ever could alone.[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2016-08-28-pocantico-editing-retreat-reception-preview/
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/png:https://uniondocs.org/wp-content/uploads/2016/08/CASA-ROCHELL-e1471878299857.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20160908T153000
DTEND;TZID=America/New_York:20160908T183000
DTSTAMP:20260623T032618
CREATED:20161214T092343Z
LAST-MODIFIED:20180409T220146Z
UID:10002268-1473348600-1473359400@uniondocs.org
SUMMARY:BaddDDD Sonia Sanchez
DESCRIPTION:[vc_row][vc_column][vc_video link=”https://www.youtube.com/watch?v=j7cP6g6VBAY”][/vc_column][/vc_row][vc_row][vc_column][vc_column_text]For 81-year-old Sonia Sanchez\, writing is both a personal and political act. She emerged as a seminal figure in the 1960s Black Arts Movement\, raising her voice in the name of black culture\, civil rights\, women’s liberation\, and peace as a poet\, playwright\, teacher\, activist and early champion of the spoken word. She is among the earliest poets to have incorporated urban black English into her poetry; she was one of the first activists to secure the inclusion of African American studies in university curricula. Deemed “a lion in literature’s forest” by poet Maya Angelou and winner of major literary awards including the American Book Award\, Sonia Sanchez is best known for 17 books of poetry that explore a wide range of global and humanist themes\, particularly the struggles and triumphs of women and people of color. \nIn BaddDDD Sonia Sanchez\, Sanchez’s life unfolds in a documentary rich with readings and jazz-accompanied performances of her work. With appearances by Questlove\, Talib Kweli\, Ursula Rucker\, Amiri Baraka\, Haki Madhubuti\, Jessica Care Moore\, Ruby Dee\, Yasiin Bey\, Ayana Mathis\, Imani Uzuri and Bryonn Bain\, the documentary examines Sanchez’s contribution to the world of poetry\, her singular place in the Black Arts Movement and her leadership role in African American culture over the last half century. \n\n  \nSabrina Schmidt Gordon has been committed to cultural and social issues documentary filmmaking for over a decade. Her editing debut garnered an Emmy for WGBH’s Greater Boston Arts series\, and she has continued to distinguish herself as both a producer and editor through her work on numerous award-winning programs for public television and cable.  \nShe is the editor and co-producer of DOCUMENTED\, Sabrina is also the co-producer and editor of Mrs. Goundo’s Daughter\, a Sundance Institute/ ITVS documentary about a young Malian mother’s quest to protect her baby daughter from female genital cutting. She is also the co-producer and editor of Hip-Hop: Beyond Beats and Rhymes\, a groundbreaking PBS documentary about manhood and gender politics in mainstream Hip- Hop. \nSabrina is also a documentary filmmaking instructor\, currently teaching Documentary Story Structure at the CUNY Graduate School of Journalism. She has guest lectured at New York University/Poly\, Brooklyn College\, New Jersey City University\, the Independent Filmmaker Project\, Reel Works\, and the Jacob Burns Film Center. She is an honors graduate from New York University. \nSonia Sanchez \nPoet. Mother. Professor. National and International lecturer on Black Culture and Literature\, Women’s Liberation\, Peace and Racial Justice. Sponsor of Women’s International League for Peace and Freedom. Board Member of MADRE. Sonia Sanchez is the author of over 16 books including Homecoming\, We a BaddDDD People\, Love Poems\, I’ve Been a Woman\, A Sound Investment and Other Stories\, Homegirls and Handgrenades\, Under a Soprano Sky\, Wounded in the House of a Friend(Beacon Press\, 1995)\, Does Your House Have Lions? (Beacon Press\, 1997)\, Like the Singing Coming off the Drums (Beacon Press\, 1998)\, Shake Loose My Skin (Beacon Press\, 1999)\, and most recently\, Morning Haiku (Beacon Press\, 2010). In addition to being a contributing editor to Black Scholar and The Journal of African Studies\, she has edited an anthology\,We Be Word Sorcerers: 25 Stories by Black Americans. BMA: The Sonia Sanchez Literary Review is the first African American Journal that discusses the work of Sonia Sanchez and the Black Arts Movement. A recipient of a National Endowment for the Arts\, the Lucretia Mott Award for 1984\, the Outstanding Arts Award from the Pennsylvania Coalition of 100 Black Women\, the Community Service Award from the National Black Caucus of State Legislators\, she is a winner of the 1985 American Book Award for Homegirls and Handgrenades\, the Governor’s Award for Excellence in the Humanities for 1988\, the Peace and Freedom Award from Women International League for Peace and Freedom (W.I.L.P.F.) for 1989\, a PEW Fellowship in the Arts for 1992-1993 and the recipient of Langston Hughes Poetry Award for 1999. Does Your House Have Lions?was a finalist for the National Book Critics Circle Award. She is the Poetry Society of America’s 2001 Robert Frost Medalist and a Ford Freedom Scholar from the Charles H. Wright Museum of African American History. Her poetry also appeared in the movie Love Jones. Sonia Sanchez has lectured at over 500 universities and colleges in the United States and has traveled extensively\, reading her poetry in Africa\, Cuba\, England\, the Caribbean\, Australia\, Europe\, Nicaragua\, the People’s Republic of China\, Norway\, and Canada. She was the first Presidential Fellow at Temple University and she held the Laura Carnell Chair in English at Temple University. She is the recipient of the Harper Lee Award\, 2004\, Alabama Distinguished Writer\, and the National Visionary Leadership Award for 2006. She is the recipient of the 2005 Leeway Foundation Transformational Award. Currently\, Sonia Sanchez is one of 20 African American women featured in “Freedom Sisters\,” an interactive exhibition created by the Cincinnati Museum Center and Smithsonian Institution traveling exhibition and she was the recipient of the Robert Creeley award in March of 2009. \n\n  \nA monthly Brooklyn-based screening series highlighting documentary films as a way to to expand dialogue around the intersection of human rights and art. Born out of a three-way collaboration between Skylight\, UnionDocs\, and WITNESS\, these monthly events aim to strengthen the ties between people interested in human rights in Brooklyn and will consist of film screenings followed by a partner-moderated discussion between the filmmaker\, movement actors\, and the audience. During our discussions we debate the conventional framework for human rights and challenge the definition of what constitutes human rights media.[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/baddddd-sonia-sanchez/
LOCATION:322 UNION AVE\, BROOKLYN\, 11211\, United States
CATEGORIES:BK@24fps,Screenings & Events
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2016/12/sonia-sanchez.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20160908T193000
DTEND;TZID=America/New_York:20160908T223000
DTSTAMP:20260623T032618
CREATED:20160825T040000Z
LAST-MODIFIED:20180305T161048Z
UID:10002044-1473363000-1473373800@uniondocs.org
SUMMARY:BaddDDD Sonia Sanchez
DESCRIPTION:[vc_row][vc_column][vc_column_text] \nFor 81-year-old Sonia Sanchez\, writing is both a personal and political act. She emerged as a seminal figure in the 1960s Black Arts Movement\, raising her voice in the name of black culture\, civil rights\, women’s liberation\, and peace as a poet\, playwright\, teacher\, activist and early champion of the spoken word. She is among the earliest poets to have incorporated urban black English into her poetry; she was one of the first activists to secure the inclusion of African American studies in university curricula. Deemed “a lion in literature’s forest” by poet Maya Angelou and winner of major literary awards including the American Book Award\, Sonia Sanchez is best known for 17 books of poetry that explore a wide range of global and humanist themes\, particularly the struggles and triumphs of women and people of color. \nIn BaddDDD Sonia Sanchez\, Sanchez’s life unfolds in a documentary rich with readings and jazz-accompanied performances of her work. With appearances by Questlove\, Talib Kweli\, Ursula Rucker\, Amiri Baraka\, Haki Madhubuti\, Jessica Care Moore\, Ruby Dee\, Yasiin Bey\, Ayana Mathis\, Imani Uzuri and Bryonn Bain\, the documentary examines Sanchez’s contribution to the world of poetry\, her singular place in the Black Arts Movement and her leadership role in African American culture over the last half century. \n  \n  \n  \n  \nSabrina Schmidt Gordon has been committed to cultural and social issues documentary filmmaking for over a decade. Her editing debut garnered an Emmy for WGBH’s Greater Boston Arts series\, and she has continued to distinguish herself as both a producer and editor through her work on numerous award-winning programs for public television and cable.  \nShe is the editor and co-producer of DOCUMENTED\, Sabrina is also the co-producer and editor of Mrs. Goundo’s Daughter\, a Sundance Institute/ ITVS documentary about a young Malian mother’s quest to protect her baby daughter from female genital cutting. She is also the co-producer and editor of Hip-Hop: Beyond Beats and Rhymes\, a groundbreaking PBS documentary about manhood and gender politics in mainstream Hip- Hop. \nSabrina is also a documentary filmmaking instructor\, currently teaching Documentary Story Structure at the CUNY Graduate School of Journalism. She has guest lectured at New York University/Poly\, Brooklyn College\, New Jersey City University\, the Independent Filmmaker Project\, Reel Works\, and the Jacob Burns Film Center. She is an honors graduate from New York University. \nSonia Sanchez \nPoet. Mother. Professor. National and International lecturer on Black Culture and Literature\, Women’s Liberation\, Peace and Racial Justice. Sponsor of Women’s International League for Peace and Freedom. Board Member of MADRE. Sonia Sanchez is the author of over 16 books including Homecoming\, We a BaddDDD People\, Love Poems\, I’ve Been a Woman\, A Sound Investment and Other Stories\, Homegirls and Handgrenades\, Under a Soprano Sky\, Wounded in the House of a Friend(Beacon Press\, 1995)\, Does Your House Have Lions? (Beacon Press\, 1997)\, Like the Singing Coming off the Drums (Beacon Press\, 1998)\, Shake Loose My Skin (Beacon Press\, 1999)\, and most recently\, Morning Haiku (Beacon Press\, 2010). In addition to being a contributing editor to Black Scholar and The Journal of African Studies\, she has edited an anthology\,We Be Word Sorcerers: 25 Stories by Black Americans. BMA: The Sonia Sanchez Literary Review is the first African American Journal that discusses the work of Sonia Sanchez and the Black Arts Movement. A recipient of a National Endowment for the Arts\, the Lucretia Mott Award for 1984\, the Outstanding Arts Award from the Pennsylvania Coalition of 100 Black Women\, the Community Service Award from the National Black Caucus of State Legislators\, she is a winner of the 1985 American Book Award for Homegirls and Handgrenades\, the Governor’s Award for Excellence in the Humanities for 1988\, the Peace and Freedom Award from Women International League for Peace and Freedom (W.I.L.P.F.) for 1989\, a PEW Fellowship in the Arts for 1992-1993 and the recipient of Langston Hughes Poetry Award for 1999. Does Your House Have Lions?was a finalist for the National Book Critics Circle Award. She is the Poetry Society of America’s 2001 Robert Frost Medalist and a Ford Freedom Scholar from the Charles H. Wright Museum of African American History. Her poetry also appeared in the movie Love Jones. Sonia Sanchez has lectured at over 500 universities and colleges in the United States and has traveled extensively\, reading her poetry in Africa\, Cuba\, England\, the Caribbean\, Australia\, Europe\, Nicaragua\, the People’s Republic of China\, Norway\, and Canada. She was the first Presidential Fellow at Temple University and she held the Laura Carnell Chair in English at Temple University. She is the recipient of the Harper Lee Award\, 2004\, Alabama Distinguished Writer\, and the National Visionary Leadership Award for 2006. She is the recipient of the 2005 Leeway Foundation Transformational Award. Currently\, Sonia Sanchez is one of 20 African American women featured in “Freedom Sisters\,” an interactive exhibition created by the Cincinnati Museum Center and Smithsonian Institution traveling exhibition and she was the recipient of the Robert Creeley award in March of 2009. \n  \n  \n  \nA monthly Brooklyn-based screening series highlighting documentary films as a way to to expand dialogue around the intersection of human rights and art. Born out of a three-way collaboration between Skylight\, UnionDocs\, and WITNESS\, these monthly events aim to strengthen the ties between people interested in human rights in Brooklyn and will consist of film screenings followed by a partner-moderated discussion between the filmmaker\, movement actors\, and the audience. During our discussions we debate the conventional framework for human rights and challenge the definition of what constitutes human rights media.[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2016-09-08-baddddd-sonia-sanchez/
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20160909T060000
DTEND;TZID=America/New_York:20160923T210000
DTSTAMP:20260623T032618
CREATED:20170130T174113Z
LAST-MODIFIED:20180228T041351Z
UID:10002108-1473400800-1474664400@uniondocs.org
SUMMARY:Radio Boot Camp - The Art of the Pitch
DESCRIPTION:[vc_row][vc_column][vc_column_text] \nDon’t just listen to stories\, tell your own!\n\n\nPrint journalism may be under attack but when it comes to audio\, reporting and storytelling are thriving: Serial\, Radiolab\, Reveal; Gimlet\, Panoply\, Radiotopia.  The landscape of radio is exploding and new shows and podcasts are being launched almost faster than listeners can decide which episode to download next.  These outlets\, shows and story making machines are hungry beasts\, both for stories\, and for the producers with the skills to know how to tell them. Buts it’s no good getting the scoop\, if you don’t know how to sell your stuff. This three session class will cover the art of the pitch. That’s industry lingo for selling your story.Note: this is not a production class (if you’re looking for a production class\, try Radio Boot Camp.) Instead\, this workshop will focus entirely on writing and honing our pitches. \n\n\n[/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-ae90e6ca-a03c”][vc_column_text]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-e843e6ca-a03c”][vc_column_text]$350 early bird registration by November 14th\, 2016 at 5PM. \n$400 regular registration.[/vc_column_text][/vc_tta_section][vc_tta_section title=”Refund Policy” tab_id=”1477608441051-60d28267-92bfe6ca-a03c”][vc_column_text]The deposit is non-refundable. Should you need to cancel\, you’ll receive half of your registration fee back until August 9th. After August 9th the fee is non-refundable.[/vc_column_text][/vc_tta_section][vc_tta_section title=”Technology Requirements” tab_id=”1477608488046-a8fa4720-5016e6ca-a03c”][vc_column_text]In 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-d1c7e6ca-a03c”][vc_column_text]To register for a workshop\, students must pay in full via PayPal. After the registration deadline of August 9th\, 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\, Sep 9\, – 6:00 – 9:00p” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_separator color=”white”][vc_column_text]Session one: Covers the basics of writing a pitch[/vc_column_text][vc_empty_space height=”40px”][vc_custom_heading text=”Friday\, Sep 16 – 6:00 – 9:00p” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_separator color=”white”][vc_column_text]Session two: You bring a pitch of your own and workshop it[/vc_column_text][vc_empty_space height=”40px”][vc_custom_heading text=”Friday\, Sep 23 – 6:00 – 9:00p” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_separator color=”white”][vc_column_text]Session three: You present your revised pitch with a final chance to get notes from the group[/vc_column_text][vc_empty_space height=”40px”][/vc_column_inner][/vc_row_inner][vc_empty_space height=”40px”][vc_empty_space height=”40px”][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”53009″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text]Sally Herships is an award winning journalist who’s been making radio for over a decade. She’s produced or reported for BBC World Service\, NPR\, WNYC\, The New York Times and Studio 360. She’s put in many hours at Radio Lab and is a regular contributor to public radio’s Marketplace. Sally has taught radio at numerous venues ranging from the Willie Mae Rock Camp for Girls\, to NYU\, Smith and the New School and teaches writing for radio at Sarah Lawrence College and Columbia University’s Graduate School of Journalism. Sally has been a Brooklynite for almost 20 years and when she’s not making radio she loves to daydream and paint pictures of robots and cats. You can listen to Sally’s radio work here or here.[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/radio-boot-camp-art-pitch/2016-09-09/
LOCATION:UnionDocs\, 352 Onderdonk Avenue\, 352 Onderdonk Avenue\, Ridgewood\, NY\, 11385\, United States
CATEGORIES:Workshops & Labs
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2017/01/radio.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:20160909T100000
DTEND;TZID=America/New_York:20160911T170000
DTSTAMP:20260623T032618
CREATED:20170123T225726Z
LAST-MODIFIED:20180228T041350Z
UID:10002104-1473415200-1473613200@uniondocs.org
SUMMARY:Sound Ethnographies: Theory and Practice for Non-Fiction Media
DESCRIPTION:[vc_row][vc_column][vc_column_text] \n“For twenty-five centuries\, Western knowledge has tried to look upon the world. It has failed to understand that the world is not for beholding. It is for hearing. It is not legible\, but audible.” Jacques Attali\, Noise: The Political Economy of Music (1985) \nThis workshop is a three-day immersion in critical sound making for documentarians\, sound artists and scholars. \nThis three-day intensive will immerse participants in using sound to understand and document the world. Through critical listening exercises\, practical demonstrations\, guest presentations\, readings and discussions\, students will explore what sound is and what it does\, learning to critically and ethically integrate sound recording and sound research into their artistic and scholarly practices. Over the course of the workshop\, students will develop a range of sound recording techniques and will learn to craft stories\, arguments and artworks from recorded sounds. \nSound scholar and filmmaker Jen Heuson will introduce the practical methods and theoretical debates of sound ethnography to nonfiction media makers\, artists and scholars in this intensive. Participants will have the unique opportunity to develop skills and workshop current projects with guests working in a range of fields\, including sound art\, radio\, music\, film\, anthropology and media studies. \nWorkshop topics will include: understanding sound basics; sound walking and mapping; field recording techniques; DIY microphone construction; sound editing; working with sound and image; developing stories and arguments with sound; engaging audiences in critical listening; noise and silence politics; soundscape study and sound heritage; and the ethics of sound recording. The workshop is designed to introduce participants to a range of approaches that include sound ethnography\, acoustic ecology\, archaeoacoustics\, ethnomusicology\, and aural heritage. Scholars and audiophiles of all types are encouraged to attend. \nSound scholar and filmmaker Jen Heuson will lead the seminar as main instructor.[/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-ae90d4ff-31e0″][vc_column_text]Open to everyone. We are looking for filmmakers\, radio producers\, sound and media artists and scholars interested in working with sound. \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 project (if you have a work in progress or an idea\, it’s great. If you don’t\, you might develop one during the workshop)\, plus a bio. There’s a spot for a link to a work sample too (something you’d like to share with the group and present to the speakers for feedback and critiques). A CV would also be nice\, but is not required.[/vc_column_text][/vc_tta_section][vc_tta_section title=”Cost” tab_id=”1477608256642-4c32d845-e843d4ff-31e0″][vc_column_text]$350 early bird registration by November 14th\, 2016 at 5PM. \n$400 regular registration.[/vc_column_text][/vc_tta_section][vc_tta_section title=”Refund Policy” tab_id=”1477608441051-60d28267-92bfd4ff-31e0″][vc_column_text]The deposit is non-refundable. Should you need to cancel\, you’ll receive half of your registration fee back until November 14th. After November 14th\, the fee is non-refundable.[/vc_column_text][/vc_tta_section][vc_tta_section title=”Technology Requirements” tab_id=”1477608488046-a8fa4720-5016d4ff-31e0″][vc_column_text]In order to keep costs down\, this workshop is b-y-o-m\, bring your own laptop. Recording equipment is not required\, but iPhones or other handheld recording equipment is welcomed. Students must be fully proficient using and operating their own computers or other equipment.[/vc_column_text][/vc_tta_section][vc_tta_section title=”Registration & Cancellation Policy” tab_id=”1477612055387-51381642-d1c7d4ff-31e0″][vc_column_text]To register for a workshop\, students must pay in full via PayPal. After the early bird registration deadline of November 14th\, 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\, Sep 9\, – 10:00 – 5:00pm” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_separator color=”white”][vc_column_text]Day 1 – An introduction to sound as ethnography \nWhat is sound and how can it help us understand other peoples\, places or things? The first day of the seminar will explore how we think about and document sound. Participants will be introduced to sound walking and mapping\, field recording and how to craft artistic and scholarly works focused on recorded sound. \nMorning: Kevin T. Allen \nAfternoon: Ben Tausig[/vc_column_text][vc_empty_space height=”40px”][vc_custom_heading text=”Saturday\, Sep 10 – 10:00am – 5:00pm” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_separator color=”white”][vc_column_text]Day 2 – Sound ethnographic methods \nThe second day of the intensive will delve deeper into the methods of sound study and documentation and will explore ethical questions related to sound recording. Participants will be introduced to sound study debates and will begin thinking about how to tell stories and share experiences through sound. \nMorning: Jen Heuson and Maile Colbert (in conversation) \nAfternoon: Peter McMurray \n*Special Night Event: Ernst Karel[/vc_column_text][vc_empty_space height=”40px”][vc_custom_heading text=”Sunday\, Sep 11 – 10:00a – 5:00p” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_separator color=”white”][vc_column_text]Day 3 – Sharing sound ethnographic work \nThe final day will emphasize audience engagement\, exploring how to share sound ethnographic work in public contexts. Participants will be introduced to sound editing and installation and will learn additional sound recording and critical listening techniques. \nMorning: Ernst Karel \nAfternoon: Zach Poff[/vc_column_text][vc_empty_space height=”40px”][/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[/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[/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=”52852″ img_size=”200×200″][/vc_column][vc_column width=”2/3″][vc_column_text]Kevin T. Allen is a filmmaker/sound-artist whose work straddles the territory between ethnographic and experimental practice. He has exhibited at numerous venues\, including MoMA\, Ethnographic Terminalia\, Flaherty NYC\, Margaret Mead Film Festival\, Berlin Directors Lounge and Ann Arbor Film Festival. His sound work has been featured at museums and festivals\, including the Canadian Centre for Architecture\, Third Coast International Audio Festival and Deep Wireless Festival of Radio Art. He has made ethnographically imbued films in Vietnam\, Sri Lanka\, India\, Peru\, Bolivia\, Argentina\, the Wild West\, and the migrant farm worker community of Immokalee\, Florida. Recent research has lead him to find culture not exclusively in human forms\, but also inherent in physical landscapes and material objects. His work is funded through the Jerome Foundation. He is an assistant professor at The New School where teaches documentary practice and experimental filmmaking. http://www.smallgauge.org/[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”52853″ img_size=”200×200″][/vc_column][vc_column width=”2/3″][vc_column_text]Maile Colbert  is  an  intermedia  artist  with a  concentration  on sound and video. She is currently a PhD Research Fellow in Artistic Studies with a concentration on sound studies\, sound design in time-based media\, and soundscape ecology at the Universidade Nova de Lisboa\, Faculdade de Ciências Sociais e Humanas\, through the Fundação para a Ciência e a Tecnologia\, and a visiting lecturer at the Faculdade de Belas Artes da Universidade do Porto. She spent the last five years collaborating with the art organization Binaural\, and is director of Cross the Pond\, an organization based on arts and cultural exchange between the U.S. and Portugal\, and is an ongoing contributor of articles on Acoustic Ecology and Sound Studies at  “Sounding Out”\, the award winning sound studies journal. http://www.mailecolbert.com/[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”52854″ img_size=”200×200″][/vc_column][vc_column width=”2/3″][vc_column_text]Jen Heuson is a scholar and filmmaker whose work critically engages the mediated experience of culture and identity during travel. Her award-winning films have screened internationally at venues as diverse as FLEX Fest\, Big Muddy\, Black Maria and the Margaret Mead Film & Video Festival. She has also produced sound ethnographies of the Peruvian Amazon\, New York City and South Dakota’s Black Hills and has written articles for Contemporary Music Review\, Sensate and Ethnoscripts. Jen earned her PhD with distinction from the Department of Media\, Culture and Communication at New York University in 2015. Her dissertation\, funded by the Wenner-Gren and Reed Foundations\, explores the role of sound in producing national sensory heritage in the Black Hills. Jen is currently working on a film and community-engagement project about aural sovereignty and a science-fiction novel exploring stone tape theory in South Dakota. She teaches media ethics and film at The New School and critical media analysis at New York University.  http://www.smallgauge.org/[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”52855″ img_size=”200×200″][/vc_column][vc_column width=”2/3″][vc_column_text]Ernst Karel makes electroacoustic music and experimental nonfiction sound works for multichannel installation and performance. His recent projects are edited/composed using unprocessed location recordings; in performance he sometimes combines these with analog electronics to create pieces which move between the abstract and the documentary. Recent sound projections have been presented at Oboro\, Montreal; EMPAC\, Troy NY; Arsenal\, Berlin; and the 2014 Whitney Biennial. Sound installations in collaboration with Helen Mirra have been exhibited at Culturgest\, Lisbon; KW Institute for Contemporary Art\, Berlin; Audiorama\, Stockholm; MIT List Visual Arts Center\, Cambridge; and in the 2012 Sao Paulo Bienal. Video with multichannel sound collaborations include Ah humanity! (2015\, with Lucien Castaing-Taylor and Véréna Paravel) and Single Stream (2014\, with Toby Lee and Pawel Wojtasik). Other projects include the long-running electroacoustic duo EKG\, and the location recording/performance collective the New England Phonographers Union. Recent nonfiction vilms on which he has done sound work include The Iron Ministry\, Manakamana\, and Leviathan\, all produced in the Sensory Ethnography Lab at Harvard University\, where as a Lecturer on Anthropology\, he teaches a class in sonic ethnography. http://ek.klingt.org/[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”52856″ img_size=”200×200″][/vc_column][vc_column width=”2/3″][vc_column_text]Peter McMurray is an ethnomusicologist\, filmmaker and composer interested in the interface of sound and culture. As a Junior Fellow at the Harvard Society of Fellows\, he is currently working on a book/media project on the sonic life of Islam in Turkish diasporic communities in Berlin. He has a longstanding interest in sound archives and the history of acoustics research. Other stray pursuits include improvised music\, soundmapping\, phonography\, and collecting cheap toys that make sounds. http://scholar.harvard.edu/mcmurray[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”52857″ img_size=”200×200″][/vc_column][vc_column width=”2/3″][vc_column_text]Zach Poff is a New York area digital media artist\, educator\, and maker-of-things. Through his artwork\, teaching\, and software he examines the tremendous opportunities and challenges that arise from the translation of our experiences into “information”. His recent work has been focused on how traditional broadcasting reverberates into digital media and influences notions of an emerging post-broadcast discourse. He currently teaches Sound Art at Cooper Union School of Art in NYC. He has taught media theory\, video art\, and digital photography at Bennington College and Cooper Union Continuing Education. http://www.zachpoff.com/[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”52858″ img_size=”200×200″][/vc_column][vc_column width=”2/3″][vc_column_text]Benjamin Tausig’s research focuses on music\, sound\, and political protest in Bangkok\, Thailand. With a particular emphasis on urban space\, Tausig has given attention to the ways that genre and performance are adapted in contexts of political upheaval. He has published on the musical activity of the Thai military’s psychological operations unit\, and on the lives and art of protest musicians\, among other topics. Tausig’s interdisciplinary interests combine ethnomusicology\, sound studies\, and human geography. His dissertation\, “Bangkok Is Ringing\,” is a critical study of the music and broadcast environment of Thailand’s Red Shirt movement in 2010-11\, during which time he conducted fieldwork in Bangkok and elsewhere. The dissertation tracks the fragmentation of the Red Shirt movement through its musical and sonic spatial ordering. Tausig’s work has appeared in the journals Culture\, Theory\, & Critique (in a special issue devoted to music and neoliberalism)\, Twentieth-Century Music\, and Positions: Asia Critique. He has taught classes on urban soundscapes\, the art of listening\, and the elements of music at both the New School and NYU\, where he received his Ph.D.  http://www.stonybrook.edu/commcms/music/aboutus/faculty/Tausig_Benjamin.html\n[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/sound-ethnographies-theory-practice-non-fiction-media/
LOCATION:UnionDocs\, 352 Onderdonk Avenue\, 352 Onderdonk Avenue\, Ridgewood\, NY\, 11385\, United States
CATEGORIES:Workshops & Labs
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2017/01/WayBackSoundMachine_MColbert2013-2.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:20160909T153000
DTEND;TZID=America/New_York:20160909T183000
DTSTAMP:20260623T032618
CREATED:20160814T082343Z
LAST-MODIFIED:20180409T220322Z
UID:10002035-1473435000-1473445800@uniondocs.org
SUMMARY:Pilots in Pajamas
DESCRIPTION:[vc_row][vc_column][vc_empty_space height=”40px”][vc_column_text] \nThis screening will be the first significant US presentation of portions of Pilots In Pajamas\, a long filmed conversation between Walter Heynowski and US Prisoners of War in Vietnam in 1968. From East German team Studio H & S— whose works are as forbidden as any in the whole of US documentary discourse\, Pilots in Pajamas uses its interviews with US pilots and prisoners of war in North Vietnam’s “Hanoi Hilton\,” to present a deeply critical perspective on US Imperialism in this unflinching four-part five-hour documentary mini-series. \nThe conversation that unfurls is the most direct ever of bomber pilots discussing what led them to war on film. The subjects are literal prisoners\, altering discourse and raising profound ethical concerns. Through dramaturgy\, setting\, and power relations\, the discussions unfold to amplify their alienation into a document unique in cinema. We will be screening a program of work including portions of Pilots in Pajamas with Filmmaker Travis Wilkerson who has spent extensive time researching and writing around this series. He will be present for discussion following the film. \n  \nUnionDocs is proud to present the premiere of Travis Wilkerson’s latest feature film Machine Gun or Typewriter? October 21\, 2016. \n  \n\n[/vc_column_text][vc_empty_space height=”40px”][vc_empty_space height=”40px”][/vc_column][/vc_row][vc_row][vc_column][vc_text_separator title=”Program”][vc_empty_space height=”40px”][vc_custom_heading text=”“Pilots in Pajamas“ Part 1 “Yes\, Sir.” ” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_custom_heading text=”Walter Heynowski and Gerhard Scheumann\, GDR\, 1968\, 70 minutes” font_container=”tag:p|text_align:left” use_theme_fonts=”yes”][vc_empty_space height=”40px”][vc_custom_heading text=”“400 CM ²” ” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_custom_heading text=”Heynowski and Scheumann\, GDR\, 6 minutes\, 1968″ font_container=”tag:p|text_align:left” use_theme_fonts=”yes”][vc_empty_space height=”40px”][vc_custom_heading text=”“100” ” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_custom_heading text=”Heynowski and Scheumann\, GDR\, 15 minutes\, 1972″ font_container=”tag:p|text_align:left” use_theme_fonts=”yes”][vc_empty_space height=”40px”][vc_custom_heading text=”“Remington .12 Caliber” ” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_custom_heading text=”Heynowski and Scheumann\, GDR\, 6 minutes\, 1971″ font_container=”tag:p|text_align:left” use_theme_fonts=”yes”][vc_empty_space height=”40px”][vc_custom_heading text=”“A Refugee from Vietnam” ” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_custom_heading text=”Heynowski and Scheumann\, GDR\, 4 minutes\, 1979″ font_container=”tag:p|text_align:left” use_theme_fonts=”yes”][vc_empty_space height=”40px”][vc_empty_space height=”40px”][vc_text_separator title=”105 min”][vc_empty_space height=”40px”][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”52292″][/vc_column][vc_column width=”2/3″][vc_column_text] \nTravis Wilkerson \nA chance meeting in Havana with legendary Cuban film propagandist Santiago Alvarez changed the course of Travis Wilkerson’s life. He now makes films in the tradition of the “third cinema\,” wedding politics to form in an indivisible manner. In 2015\, Sight & Sound called Wilkerson “the political conscience of American cinema.” His films have screened at scores of venues and festivals worldwide\, including Sundance\, Toronto\, Locarno\, Rotterdam\, Vienna\, Yamagata\, the FID Marseille and the Muse?e du Louvre. His best-known work is an agit-prop essay on the lynching of Wobbly Frank Little called “An Injury to One\,” named one of the best avant-garde films of the decade by Film Comment. His most recent fiction feature\, “Machine Gun or Writer?” premiered at Locarno 2015 and was awarded Best International Feature at DokuFest (Kosovo). It has since screened worldwide and was recognized as one the finest films of the year on numerous lists including La Furia Umana and DesistFilm. His writings on film have appeared in Cineaste\, Kino!\, and Senses of Cinema. He has taught filmmaking at the University of Colorado and Film Directing at CalArts\, and was the inaugural Visiting Fellow of Media Praxis in the Pomona College Media Guild. Presently\, he is a Visiting Assistant Professor of Film at Vassar College. He is also the founding Editor of Now: A Journal of Urgent Praxis. \n[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2016-09-09-pilots-in-pajamas/
LOCATION:322 UNION AVE\, BROOKLYN\, 11211\, United States
CATEGORIES:Screenings & Events
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20160909T193000
DTEND;TZID=America/New_York:20160909T223000
DTSTAMP:20260623T032618
CREATED:20160824T040000Z
LAST-MODIFIED:20180301T215542Z
UID:10002041-1473449400-1473460200@uniondocs.org
SUMMARY:Pilots in Pajamas
DESCRIPTION:[vc_row][vc_column][vc_column_text] \nThis screening will be the first significant US presentation of portions of Pilots In Pajamas\, a long filmed conversation between Walter Heynowski and US Prisoners of War in Vietnam in 1968. From East German team Studio H & S— whose works are as forbidden as any in the whole of US documentary discourse\, Pilots in Pajamas uses its interviews with US pilots and prisoners of war in North Vietnam’s “Hanoi Hilton\,” to present a deeply critical perspective on US Imperialism in this unflinching four-part five-hour documentary mini-series. \nThe conversation that unfurls is the most direct ever of bomber pilots discussing what led them to war on film. The subjects are literal prisoners\, altering discourse and raising profound ethical concerns. Through dramaturgy\, setting\, and power relations\, the discussions unfold to amplify their alienation into a document unique in cinema. We will be screening a program of work including portions of Pilots in Pajamas with Filmmaker Travis Wilkerson who has spent extensive time researching and writing around this series. He will be present for discussion following the film. \n\n \nPROGRAM\n“Pilots in Pajamas” Part 1  “Yes\, Sir.” Walter Heynowski and Gerhard Scheumann\, GDR\, 1968\, 70 minutes \n“400 CM ²\,”  Heynowski and Scheumann\, GDR\,  6 minutes\, 1968 \n“100\,”  Heynowski and Scheumann\, GDR\,  15 minutes\, 1972 \n“Remington .12 Caliber”  Heynowski and Scheumann\, GDR\,  6 minutes\, 1971 \n“A Refugee from Vietnam\,”  Heynowski and Scheumann\, GDR\,  4 minutes\, 1979 \n[/vc_column_text][vc_empty_space][vc_empty_space][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”52292″][/vc_column][vc_column width=”2/3″][vc_column_text] \n\n\n\nTravis Wilkerson \nA chance meeting in Havana with legendary Cuban film propagandist Santiago Alvarez changed the course of Travis Wilkerson’s life. He now makes films in the tradition of the “third cinema\,” wedding politics to form in an indivisible manner. In 2015\, Sight & Sound called Wilkerson “the political conscience of American cinema.” His films have screened at scores of venues and festivals worldwide\, including Sundance\, Toronto\, Locarno\, Rotterdam\, Vienna\, Yamagata\, the FID Marseille and the Muse?e du Louvre. His best-known work is an agit-prop essay on the lynching of Wobbly Frank Little called “An Injury to One\,” named one of the best avant-garde films of the decade by Film Comment. His most recent fiction feature\, “Machine Gun or Writer?” premiered at Locarno 2015 and was awarded Best International Feature at DokuFest (Kosovo). It has since screened worldwide and was recognized as one the finest films of the year on numerous lists including La Furia Umana and DesistFilm. His writings on film have appeared in Cineaste\, Kino!\, and Senses of Cinema. He has taught filmmaking at the University of Colorado and Film Directing at CalArts\, and was the inaugural Visiting Fellow of Media Praxis in the Pomona College Media Guild. Presently\, he is a Visiting Assistant Professor of Film at Vassar College. He is also the founding Editor of Now: A Journal of Urgent Praxis. \n\n\n\nUnionDocs is proud to present the premiere of Travis Wilkerson’s latest feature film Machine Gun or Typewriter? October 21\, 2016. \n[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2016-09-09-pilots-in-pajamas-2/
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2016/08/02-Piloten_-im-_Pyjama_Szenenfoto-e1472068804347.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20160910T153000
DTEND;TZID=America/New_York:20160910T173000
DTSTAMP:20260623T032618
CREATED:20160901T082343Z
LAST-MODIFIED:20180228T041350Z
UID:10002040-1473521400-1473528600@uniondocs.org
SUMMARY:Listening Session Vol. 2 with Ernst Karel
DESCRIPTION:[vc_row row_type=”row_full_center_content”][vc_column][vc_empty_space height=”40px”][vc_column_text]Morning and Other Times is a multichannel audio composition that was recorded in the city of Chiang Mai over a period of four weeks in early 2014 — a few months before the military coup which led to the current dictatorship under General Prayuth. The piece attends to the multidimensional nature of the city\, not just in terms of human multiplicity\, but also in terms of the ways it’s inhabited by beings of different species\, and so the piece takes as its starting point the voices of nonhuman participants in the urban environment.  In one recurring case\, that of dogs\, the voices are literally in dialog with audible religious and political aspects of life in the city: namely the ringing of bells in temples (which are places that shelter street dogs)\, and the bugle calls which emanate from a military training facility on the outskirts of the city. The piece also relies on overhearing\, on listening through\, in order to convey something of its setting by what is revealed in the background.  For example\, when I was going through my recordings some months after making them\, I found that I had more than once inadvertently recorded the Thai national anthem being broadcast somewhere in the distance; including them in this piece contributes to the theme of a pervasive background of nationalism and militarism. \n\nMycological is an audio piece which takes as its subject certain aspects of human encounters with fungi.  Fungi were once thought of as kinds of plants but are now categorized as their own kingdom\, which also includes yeast and molds.  Genetically more similar to animals than to plants\, fungi nearly always coexist in symbiotic\, mycorrhizal relationships with other life forms and thus index above all interconnectedness.  Mycology is unusual among the sciences in that advances in the field have historically been made by both professionals and amateurs\, and these two groups have likewise been interdependent in the creation of mycological knowledge. Amateur mycology in the US goes back to the late 1800s\, when it was a subfield of amateur botany\, and clubs were formed in many American cities. The Boston Mycological Club (BMC)\, founded in 1895\, is the longest running such club\, with a growing active membership.  While members often join initially out of a desire to safely forage for wild mushrooms\, many develop fascinations which go far beyond the edible fruiting bodies\, to the ecological and morphological aspects of fungi more generally. This piece was recorded in biology labs and the herbaria at Harvard University\, and during forays with the BMC\, and listens in on processes of observation and knowledge production. (Ernst Karel) \n\n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”40px”][vc_empty_space height=”40px”][vc_text_separator title=”Program”][/vc_column][/vc_row][vc_row][vc_column][vc_custom_heading text=”Morning and Other Times” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_custom_heading text=”31 min.\, 7.1 audio\, 2015″ font_container=”tag:p|text_align:left” use_theme_fonts=”yes”][vc_column_text] \nEMPAC\, Troy NY\nOboro\, Montréal\, Canada\nHarvard Art Museums\, Cambridge MA \n[/vc_column_text][vc_empty_space height=”40px”][vc_custom_heading text=”Mycological” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_custom_heading text=”33 min.\, 5.1 audio\, 2014″ font_container=”tag:p|text_align:left” use_theme_fonts=”yes”][vc_column_text] \nSound Positions\, CONTEXT New York\nThe Long Now\, Maerzmusik\, Berlin\nPlenary session\, 13th Biennial Conference of the European Association of Anthropologists\, Tallinn\, Estonia \n[/vc_column_text][vc_empty_space height=”40px”][vc_empty_space height=”40px”][vc_text_separator title=”65 min”][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”52416″][/vc_column][vc_column width=”2/3″][vc_column_text] \nErnst Karel makes electroacoustic music and experimental nonfiction sound works for multichannel installation and performance\, and collaborates with filmmakers and artists in making audiovisual work. Recent multichannel sound projections have been presented at The Long Now in Berlin; Oboro in Montreal; EMPAC in Troy NY; and in conjunction with the 2014 Whitney Biennial.  Sound installations in collaboration with Helen Mirra have been exhibited at Culturgest\, Lisbon; KW Institute for Contemporary Art\, Berlin; Audiorama\, Stockholm; MIT List Visual Arts Center\, Cambridge; and in the 2012 Sao Paulo Bienal. Video with multichannel sound collaborations include the installation work Ah humanity! (with Lucien Castaing-Taylor and Véréna Paravel) and Single Stream (with Toby Lee and Pawel Wojtasik). Nonfiction films on which he has done sound work include The Iron Ministry\, Manakamana\, Leviathan\, and Sweetgrass\, all produced in the Sensory Ethnography Lab at Harvard University\, where as a Lecturer on Anthropology\, he teaches a class in sonic ethnography. \n[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2016-09-10-listening-session-vol-2-with-ernst-karel/
LOCATION:322 UNION AVE\, BROOKLYN\, 11211\, United States
CATEGORIES:Screenings & Events
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20160910T193000
DTEND;TZID=America/New_York:20160910T193000
DTSTAMP:20260623T032618
CREATED:20160824T040000Z
LAST-MODIFIED:20180306T181249Z
UID:10002038-1473535800-1473535800@uniondocs.org
SUMMARY:Listening Session Vol. 2 with Ernst Karel
DESCRIPTION:[vc_row row_type=”row_full_center_content”][vc_column][vc_column_text]Morning and Other Times is a multichannel audio composition that was recorded in the city of Chiang Mai over a period of four weeks in early 2014 — a few months before the military coup which led to the current dictatorship under General Prayuth. The piece attends to the multidimensional nature of the city\, not just in terms of human multiplicity\, but also in terms of the ways it’s inhabited by beings of different species\, and so the piece takes as its starting point the voices of nonhuman participants in the urban environment.  In one recurring case\, that of dogs\, the voices are literally in dialog with audible religious and political aspects of life in the city: namely the ringing of bells in temples (which are places that shelter street dogs)\, and the bugle calls which emanate from a military training facility on the outskirts of the city. The piece also relies on overhearing\, on listening through\, in order to convey something of its setting by what is revealed in the background.  For example\, when I was going through my recordings some months after making them\, I found that I had more than once inadvertently recorded the Thai national anthem being broadcast somewhere in the distance; including them in this piece contributes to the theme of a pervasive background of nationalism and militarism. \n\nMycological is an audio piece which takes as its subject certain aspects of human encounters with fungi.  Fungi were once thought of as kinds of plants but are now categorized as their own kingdom\, which also includes yeast and molds.  Genetically more similar to animals than to plants\, fungi nearly always coexist in symbiotic\, mycorrhizal relationships with other life forms and thus index above all interconnectedness.  Mycology is unusual among the sciences in that advances in the field have historically been made by both professionals and amateurs\, and these two groups have likewise been interdependent in the creation of mycological knowledge. Amateur mycology in the US goes back to the late 1800s\, when it was a subfield of amateur botany\, and clubs were formed in many American cities. The Boston Mycological Club (BMC)\, founded in 1895\, is the longest running such club\, with a growing active membership.  While members often join initially out of a desire to safely forage for wild mushrooms\, many develop fascinations which go far beyond the edible fruiting bodies\, to the ecological and morphological aspects of fungi more generally. This piece was recorded in biology labs and the herbaria at Harvard University\, and during forays with the BMC\, and listens in on processes of observation and knowledge production. (Ernst Karel) \nMorning and Other Times\, 2015\, 7.1 audio\, 31 min \nEMPAC\, Troy NY \nOboro\, Montréal\, Canada \nHarvard Art Museums\, Cambridge MA \nMycological\, 2014\, 5.1 audio\, 33 min \nSound Positions\, CONTEXT New York \nThe Long Now\, Maerzmusik\, Berlin \nPlenary session\,13th Biennial Conference of the European Association of Anthropologists\, Tallinn\, Estonia ( http://www.nomadit.co.uk/easa/easa2014/panels.php5?PanelID=3246 ) \n\nErnst Karel makes electroacoustic music and experimental nonfiction sound works for multichannel installation and performance\, and collaborates with filmmakers and artists in making audiovisual work. Recent multichannel sound projections have been presented at The Long Now in Berlin; Oboro in Montreal; EMPAC in Troy NY; and in conjunction with the 2014 Whitney Biennial.  Sound installations in collaboration with Helen Mirra have been exhibited at Culturgest\, Lisbon; KW Institute for Contemporary Art\, Berlin; Audiorama\, Stockholm; MIT List Visual Arts Center\, Cambridge; and in the 2012 Sao Paulo Bienal. Video with multichannel sound collaborations include the installation work Ah humanity! (with Lucien Castaing-Taylor and Véréna Paravel) and Single Stream (with Toby Lee and Pawel Wojtasik). Nonfiction films on which he has done sound work include The Iron Ministry\, Manakamana\, Leviathan\, and Sweetgrass\, all produced in the Sensory Ethnography Lab at Harvard University\, where as a Lecturer on Anthropology\, he teaches a class in sonic ethnography.[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2016-09-10-ernst-karel/
CATEGORIES:Screenings & Events
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20160922T153000
DTEND;TZID=America/New_York:20160922T180000
DTSTAMP:20260623T032618
CREATED:20160818T191847Z
LAST-MODIFIED:20180228T041349Z
UID:10002034-1474558200-1474567200@uniondocs.org
SUMMARY:What You Get Is What You See: Empathy in the Archives
DESCRIPTION:[vc_row][vc_column][vc_empty_space height=”40px”][vc_video link=”https://vimeo.com/62820819″][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”40px”][vc_column_text]What does it mean to listen or look deeply and critically across time? How can empathy help us move towards a collaborative model for placing ourselves in conversation with history–different from the stance of a passive spectator or even of an analytical historian? Filmmaker and archival researcher Irene Lusztig leads this personal tour through fifteen years of looking at\, reflecting on\, and making film work out of archival materials. She will share the viewing pleasures\, poetics\, ethics\, responsibilities and the freedoms of being an artist in the archives. From Romanian propaganda films to 80s television and from medical training films to 70s feminist documentaries and material archives\, Lusztig will explore what it means to be an empathetic witness to historical images and other ephemera\, ultimately proposing a feminist politics of archival spectatorship.[/vc_column_text][vc_empty_space height=”40px”][vc_empty_space height=”40px”][vc_text_separator title=”Bios”][vc_empty_space height=”40px”][/vc_column][/vc_row][vc_row][vc_column width=”1/4″][vc_single_image image=”21540″ img_size=”full”][vc_empty_space height=”44px”][/vc_column][vc_column width=”3/4″][vc_column_text]Irene Lusztig is a filmmaker\, visual artist\, archival researcher\, and amateur seamstress. Her film and video work mines old images and technologies for new meanings in order to reframe\, recuperate\, and reanimate forgotten and neglected histories. Often beginning with rigorous research in archives\, her work brings historical materials into conversation with the present day\, inviting the viewer to explore historical spaces as a way of contemplating larger questions of politics\, ideology\, and the production of personal\, collective\, and national memories.  Born in England to Romanian parents\, Irene grew up in Boston and has lived in France\, Italy\, Romania\, China\, and Russia. She received her BA in filmmaking and Chinese studies from Harvard and completed her MFA in film and video at Bard College. Her debut feature film\, Reconstruction (2001) was recognized with a Boston Society of Film Critics Discovery award and won best documentary at the New England Film Festival. Her most recent feature-length film is The Motherhood Archives (2013)\, a feature length archival essay charting the history of the maternal education film from 1919 to the present. She is now working on Yours in Sisterhood\, a performative\, participatory documentary project based on archived letters sent to the editor of Ms. Magazine\, 1972-1980. \nHer work has been screened around the world\, including at MoMA\, Museum of Fine Arts Boston\, Anthology Film Archives\, Pacific Film Archive\, Flaherty NYC\, IDFA Amsterdam\, and on television in the US\, Europe\, and Taiwan. She has received grants from the Massachusetts Foundation for the Humanities\, Massachusetts Cultural Council\, LEF Foundation\, New York State Council for the Arts\, and Sustainable Arts Foundation and has been awarded fellowships at the MacDowell Colony\, the Flaherty Film Seminar\, the Radcliffe Institute for Advanced Study\, and Harvard’s Film Study Center. She is the 2016-17 recipient of a Rydell Visual Arts Fellowship and a Fulbright Fellowship. She teaches filmmaking at UC Santa Cruz where she is Associate Professor of Film and Digital Media; she lives in the Santa Cruz Mountains.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/4″][vc_empty_space height=”10px”][vc_single_image image=”21538″ img_size=”full”][/vc_column][vc_column width=”3/4″][vc_empty_space height=”10px”][vc_column_text]Mathilde Walker-Billaud trained and worked as an art editor in Paris. She was a Program Officer for the Book Office at the French Embassy and for Villa Gillet in the USA. She is now an independent curator and cultural producer based in New York City.[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2016-09-22-what-you-get-is-what-you-see-empathy-in-the-archives/
LOCATION:UnionDocs\, 352 Onderdonk Avenue\, 352 Onderdonk Avenue\, Ridgewood\, NY\, 11385\, United States
CATEGORIES:Screenings & Events,What You Get Is What You See
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2016/08/empathy-in-the-archive.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:20160923T100000
DTEND;TZID=America/New_York:20160925T170000
DTSTAMP:20260623T032618
CREATED:20170130T171838Z
LAST-MODIFIED:20180228T041349Z
UID:10002106-1474624800-1474822800@uniondocs.org
SUMMARY:Spaces of Memory: Poetics and Politics in the Archives
DESCRIPTION:[vc_row][vc_column][vc_column_text] \n“The Archive is a place where people can be alone with the past…” (Carolyn Steedman\, Dust: a Cultural History) \nThis workshop is an immersive three days of thinking with and about archives\, found image materials\, and documentary film practice. \nOver the course of three days\, participants will think expansively about archives and archival materials to consider complex questions around archival ownership\, appropriation\, power\, authorship\, speculative histories\, intimacy and empathy as we dive deeply into filmic explorations of the past. Students will have the opportunity to learn from a varied range of seasoned guest speakers\, including archivists\, archival researchers\, nonfiction filmmakers\, and visual artists — as well as an opportunity to workshop their own works-in-progress with these experienced guests.   \nFilmmaker Irene Lusztig and Curator Mathilde Walker-Billaud will lead this intensive seminar and deliver both practical advice and creative inspiration to filmmakers\, artists and storytellers of all kinds interested in delving into the world of archival research as part of their own creative process. The workshop format will include a dynamic mix of reading\, discussion\, screening\, visitor presentations\, a field trip\, and presentations by students. \nTopics will include: creative strategies allowing the archival research process to inspire new work; ethical\, historiographic and creative problems related to appropriation and transformation of “found” material; home movies and other intimate archives; how to locate archival material and work effectively with archivists\, libraries\, stock footage houses\, and other institutions; and understanding fair use and other copyright issues. The goal of the workshop is to inspire and encourage artists of all kinds to better benefit from the rich shared history found in archives everywhere. \nFilmmaker Irene Lusztig will lead the seminar as main instructor.[/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-ae9016bc-74a5″][vc_column_text]Open to everyone\, but designed specifically for filmmakers\, documentarists\, media and visual artists\, archivist and writers. \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 in audio practice and a project idea (if you have one\, that’s great. If you don’t\, you might develop one during the workshop.)\, plus a bio. There’s a spot for a link to a work sample that you’d like to share with the group (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-e84316bc-74a5″][vc_column_text]$385 early bird registration by September 1st\, by 5pm. \n$450 regular[/vc_column_text][/vc_tta_section][vc_tta_section title=”Refund Policy” tab_id=”1477608441051-60d28267-92bf16bc-74a5″][vc_column_text]The deposit is non-refundable. Should you need to cancel\, you’ll receive half of your registration fee back until November 14th. After November 14th\, the fee is non-refundable.[/vc_column_text][/vc_tta_section][vc_tta_section title=”Technology Requirements” tab_id=”1477608488046-a8fa4720-501616bc-74a5″][vc_column_text]In 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-d1c716bc-74a5″][vc_column_text]To register for a workshop\, students must pay in full via PayPal. After the early bird registration deadline of November 14th\, 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\, Sep 23\, – 10:00 – 5:00p” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_separator color=”white”][vc_column_text]DAY 1 – The archive in fragments \nHow can we think with history in the present? The first day of the seminar looks at how we tell stories based on historical research and archival materials. It will explore the ethical\, historiographic and creative problems artists face when they thinking\, theorizing and work with the speculative past. \nMorning: Irene Lusztig (Reconstruction\, The Motherhood Archives) \nAfternoon: Matt Wolf (Teenage)[/vc_column_text][vc_empty_space height=”40px”][vc_custom_heading text=”Saturday\, Sep 24 – 10:00a – 5:00p” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_separator color=”white”][vc_column_text]DAY 2 – Archival Research   \nThe second day of the intensive focuses on the research process: how artists work with both archival researchers and archivists; tools available for locating and accessing documents; how archives and copyright issues including fair use function. It will include a field trip. \nMorning: Lewanne Jones (Fahrenheit 9/11\, The Black Panthers: Vanguard of the Revolution ) \nAfternoon: Field trip to Getty Images (with Lee Shoulders)[/vc_column_text][vc_empty_space height=”40px”][vc_custom_heading text=”Sunday\, Sep 25 – 10:00a – 5:00p” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_separator color=”white”][vc_column_text]DAY 3 – The value of Intimate Archives \nThe third day expands our discussion by exploring personal archives. We’ll discuss the conservation\, appropriation and transformation of intimate materials in the field of documentary art. \nMorning: Final presentation\, critique and discussion of individual projects \nAfternoon: Zoe Beloff[/vc_column_text][vc_empty_space height=”40px”][/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[/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[/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[/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=”53001″ img_size=”200×200″][/vc_column][vc_column width=”2/3″][vc_column_text]Irene Lusztig is a filmmaker\, visual artist\, archival researcher\, and amateur seamstress. Her film and video work mines old images and technologies for new meanings in order to reframe\, recuperate\, and reanimate forgotten and neglected histories.  Often beginning with rigorous research in archives\, her work brings historical materials into conversation with the present day\, inviting the viewer to explore historical spaces as a way of contemplating larger questions of politics\, ideology\, and the production of personal\, collective\, and national memories.  Born in England to Romanian parents\, Irene grew up in Boston and has lived in France\, Italy\, Romania\, China\, and Russia. She received her BA in filmmaking and Chinese studies from Harvard and completed her MFA in film and video at Bard College. Her debut feature film\, Reconstruction (2001) was recognized with a Boston Society of Film Critics Discovery award and won best documentary at the New England Film Festival. Her most recent feature-length film is The Motherhood Archives (2013)\, a feature length archival essay charting the history of the maternal education film from 1919 to the present. She is now working on Yours in Sisterhood\, a performative\, participatory documentary project based on archived letters sent to the editor of Ms. Magazine\, 1972-1980.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”53002″ img_size=”200×200″][/vc_column][vc_column width=”2/3″][vc_column_text]Matt Wolf is a filmmaker in New York. His critically acclaimed and award-winning films have played widely in festivals and have been distributed internationally in theaters and on television. Matt’s first feature documentary Wild Combination is about the avant-garde cellist and disco producer Arthur Russell. His second feature Teenage is about the birth of youth culture\, based on a book by the British punk author Jon Savage. He is currently making a film about Marion Stokes\, who secretly recorded television 24 hours a day for 30 years.  Matt’s work in television includes the HBO Documentary It’s Me\, Hilary: The Man Who Drew Eloise\, which premiered at Sundance and is Executive Produced by Lena Dunham and Jenni Konner. Most recently Matt was Executive Producer\, Showrunner\, and Writer on a National Geographic miniseries I Am Rebel alongside Executive Producers Doug Liman and Hypnotic. The series features 1930s crime scene photographer Weegee\, the 1970s police brutality activist turned hijacker Louis Moore\, psychedelic chemist Alexander Shulgin\, and the hacker Kevin Mitnick.  Matt also makes short films including I Remember about the artist and poet Joe Brainard and a recent commission for Time Magazine about the notorious 1990s Benetton advertisement Pieta. Matt has also made commissioned shorts for the New York Times\, NPR/Storycorps\, and the Whitney Museum of American Art. Recent commercial clients include Facebook and US Bank. Matt is a Guggenheim Fellow.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”53003″ img_size=”200×200″][/vc_column][vc_column width=”2/3″][vc_column_text]Zoe Beloff works with a wide range of media including film\, installation and drawing. She considers an interface between the living and the dead\, the real and the imaginary. Each project aims to connect the present to past so that it might illuminate the future in new ways.  Her most recent project “A World Redrawn: Eisenstein and Brecht in Hollywood” explores their as yet unrealized ideas for movies and asks we might learn from them today.  Beloff’s projects have been featured in international exhibitions and screenings; venues include the Whitney Museum of American Art\, the M HKA museum in Antwerp\, the Pompidou Center in Paris and Freud’s Dream Museum in St. Petersburg. She has been awarded fellowships from. The Graham Foundation\, The Guggenheim Foundation\, The Foundation for Contemporary Arts\, The Radcliffe Institute at Harvard and the New York Foundation for the Arts. She is a Professor in the Departments of Media Studies and Art at Queens College CUNY[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”53004″ img_size=”200×200″][/vc_column][vc_column width=”2/3″][vc_column_text]Lewanne Jones is an Archival Producer/Research Director for audio-visual productions.  She has worked on many independent\, network and public television projects as well as multimedia installations for on-site and web-based exhibitions.  Her expertise includes visuals and general research\, project management\, database design\, and permissions/copyright clearance. Among the many projects that she has contributed to are Eyes on the Prize\, ABC’s Century\, PBS Frontline and American Experience\, and Fahrenheit 911. Recently she worked with Firelight Media on Freedom Riders and The Black Panthers: Vanguard of the Revolution\, both documentaries for PBS that premiered at the Sundance Film Festival.\nShe is president of Autonomedia\, a Brooklyn-based not-for-profit publishing and media activist collective and is currently working on several independent documentary projects relating to her life experiences in Africa and South America.[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/spaces-memory-poetics-politics-archives/
LOCATION:UnionDocs\, 352 Onderdonk Avenue\, 352 Onderdonk Avenue\, Ridgewood\, NY\, 11385\, United States
CATEGORIES:Workshops & Labs
ATTACH;FMTTYPE=image/png:https://uniondocs.org/wp-content/uploads/2017/01/The-Motherhood-Archive.png
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:20160925T153000
DTEND;TZID=America/New_York:20160925T173000
DTSTAMP:20260623T032618
CREATED:20160914T082343Z
LAST-MODIFIED:20180228T041349Z
UID:10002061-1474817400-1474824600@uniondocs.org
SUMMARY:A LINE DRAWN IN THE REZ DIRT
DESCRIPTION:[vc_row row_type=”row_full_center_content”][vc_column][vc_empty_space height=”40px”][vc_column_text]For over two decades\, Duane “Chili” Yazzie has been an activist for Native American rights. Of the Navajo tribe\, Chili has spent his life on the reservation in Shiprock\, New Mexico\, following tribal traditions and questioning the relationship between Native Peoples and Anglo-Americans. As a young man\, he became a member of the influential Native American rock band\, XIT\, playing at political rallies across the United States. Chili would later become involved in Navajo politics\, being sworn into the administration of the Shiprock Chapter House\, where he now serves as president. \n  \nEverything Is Stories is launching their new podcast season this Fall and as a precursor to that release we are teaming up to premiere a new episode following Chili’s story. Over the course of this episode\, he shares the principles of the Diné people\, while also recalling his experiences of the United States Indian Affairs relocation program\, armed takeovers of corporate factories\, political riots in the Navajo Capital\, and an assassination attempt by a local white man to take Chili’s life. A LINE DRAWN IN THE REZ DIRT gives a glimpse into the struggle of Native Americans transitioning into a modern day America that has renounced the traditions of its past.[/vc_column_text][vc_empty_space height=”40px”][vc_empty_space height=”40px”][vc_text_separator title=”Program”][vc_empty_space height=”40px”][vc_custom_heading text=”A LINE DRAWN IN THE REZ DIRT” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_custom_heading text=”70 min.\, 2016″ font_container=”tag:p|text_align:left” use_theme_fonts=”yes”][vc_empty_space height=”40px”][vc_empty_space height=”40px”][vc_text_separator title=”70 min”][vc_empty_space height=”40px”][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”52376″][/vc_column][vc_column width=”2/3″][vc_column_text] \nDuane “Chili” Yazzie has been an activist for Native American rights. Of the Navajo tribe\, Chili has spent his life on the reservation in Shiprock\, New Mexico\, following tribal traditions and questioning the relationship between Native Peoples and Anglo-Americans. As a young man\, he became a member of the influential Native American rock band\, XIT\, playing at political rallies across the United States. Chili would later become involved in Navajo politics\, being sworn into the administration of the Shiprock Chapter House\, where he now serves as president. \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”52377″][/vc_column][vc_column width=”2/3″][vc_column_text] \nTeresa Montoya (Diné) is pursuing her PhD in Anthropology at New York University where she also trained in documentary film making in the Culture and Media Program. In 2013\, Montoya produced her first film titled Doing the Sheep Good\, tracing the return of iconic Navajo-made films\, produced in the 1960s visual anthropology experiment Through Navajo Eyes\, to their community of origin. Currently\, Montoya is working on her second short film\, The Day Our River Ran Yellow/ Tó ?itso\, with Duane “Chili” Yazzie that presents a Diné centered perspective on the land and waterscapes affected by the Gold King Mine spill of August 2015. Themes of environmental toxicity and regulatory politics raised in this film are central to her dissertation project on alternative political formations within and beyond the Navajo Nation. \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”40px”][vc_column_text]Everything Is Stories is a podcast produced by Garrett Crowe\, Mike Martinez\, and Tyler Wray. Created in 2014\, the series explores unconventional narratives of the past and present to preserve tales from the underdog\, the outlaw\, and the outcast. EIS has been critically acclaimed by outlets such as Wired\, Buzzfeed\, and Brooklyn Mag. “Everything Is Stories is an audio high-wire act which dazzles with its relative austerity of production and narration.” – The A.V. Club[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2016-09-25-a-line-drawn-in-the-rez-dirt/
LOCATION:322 UNION AVE\, BROOKLYN\, 11211\, United States
CATEGORIES:Screenings & Events
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20160925T193000
DTEND;TZID=America/New_York:20160925T210000
DTSTAMP:20260623T032618
CREATED:20160831T040000Z
LAST-MODIFIED:20180306T170832Z
UID:10002638-1474831800-1474837200@uniondocs.org
SUMMARY:A LINE DRAWN IN THE REZ DIRT
DESCRIPTION:[vc_row row_type=”row_full_center_content”][vc_column][vc_column_text]For over two decades\, Duane “Chili” Yazzie has been an activist for Native American rights. Of the Navajo tribe\, Chili has spent his life on the reservation in Shiprock\, New Mexico\, following tribal traditions and questioning the relationship between Native Peoples and Anglo-Americans. As a young man\, he became a member of the influential Native American rock band\, XIT\, playing at political rallies across the United States. Chili would later become involved in Navajo politics\, being sworn into the administration of the Shiprock Chapter House\, where he now serves as president. \n \nEverything Is Stories is launching their new podcast season this Fall and as a precursor to that release we are teaming up to premiere a new episode following Chili’s story. Over the course of this episode\, he shares the principles of the Diné people\, while also recalling his experiences of the United States Indian Affairs relocation program\, armed takeovers of corporate factories\, political riots in the Navajo Capital\, and an assassination attempt by a local white man to take Chili’s life. A LINE DRAWN IN THE REZ DIRT gives a glimpse into the struggle of Native Americans transitioning into a modern day America that has renounced the traditions of its past. \nBIO  \n \n  \nDuane “Chili” Yazzie has been an activist for Native American rights. Of the Navajo tribe\, Chili has spent his life on the reservation in Shiprock\, New Mexico\, following tribal traditions and questioning the relationship between Native Peoples and Anglo-Americans. As a young man\, he became a member of the influential Native American rock band\, XIT\, playing at political rallies across the United States. Chili would later become involved in Navajo politics\, being sworn into the administration of the Shiprock Chapter House\, where he now serves as president. \n  \nTeresa Montoya (Diné) is pursuing her PhD in Anthropology at New York University where she also trained in documentary film making in the Culture and Media Program. In 2013\, Montoya produced her first film titled Doing the Sheep Good\, tracing the return of iconic Navajo-made films\, produced in the 1960s visual anthropology experiment Through Navajo Eyes\, to their community of origin. Currently\, Montoya is working on her second short film\, The Day Our River Ran Yellow/ Tó ?itso\, with Duane “Chili” Yazzie that presents a Diné centered perspective on the land and waterscapes affected by the Gold King Mine spill of August 2015. Themes of environmental toxicity and regulatory politics raised in this film are central to her dissertation project on alternative political formations within and beyond the Navajo Nation. \nEverything Is Stories is a podcast produced by Garrett Crowe\, Mike Martinez\, and Tyler Wray. Created in 2014\, the series explores unconventional narratives of the past and present to preserve tales from the underdog\, the outlaw\, and the outcast. EIS has been critically acclaimed by outlets such as Wired\, Buzzfeed\, and Brooklyn Mag. “Everything Is Stories is an audio high-wire act which dazzles with its relative austerity of production and narration.” – The A.V. Club[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2016-09-25-line-drawn/
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2016/08/EIS_NATIVE_AMERICANS-2390.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20160929T193000
DTEND;TZID=America/New_York:20160929T223000
DTSTAMP:20260623T032618
CREATED:20160817T040000Z
LAST-MODIFIED:20180302T204128Z
UID:10002032-1475177400-1475188200@uniondocs.org
SUMMARY:Grace Period
DESCRIPTION:[vc_row][vc_column][vc_column_text] \nCombining documentary with experimental video\, Grace Period documents the activities of women sex workers in the Yeongdeungpo red-light district in Seoul\, South Korea. \n \nFacing constant police crackdowns and the threat of permanent closure following the closeding of a massive shopping complex adjacent to their workplaces\, the women of Yeongdeungpo band together in protest. Archival footage\, mostly shot by the women themselves\, show their collective efforts as they organize with other sex workers from brothels across the country. In creative and daring acts of resistance\, they launch a series of demonstrations that trace a lineage to Korea’s democratic union movements of the 1980s– denouncing the government and corporate interests\, demanding decriminalization\, and declaring their rights as workers. Their activism is placed into relief against scenes of the night-to- night demands upon the women while at work in the brothel storefronts\, or “hallboxes”. \nWaiting for customers within these brightly lit arenas awash in neon and candy colors\, the women\, specifically their bodies\, are the hypervisible obverse of their pariah status—desired\, yet unwanted. Careful to avoid reinscribing the women with such stigma\, the filmmakers utilize digital effects to manipulate the images of them. This effect\, called “rotoscoping”\, took the efforts of four animators\, working over the span of a full year\, to create by digitally tracing and animating the women’s figures frame by frame. The results are flickering silhouettes designed to protect the privacy of the women\, while underscoring their status as precarious workers. Together\, these scenes of activism and labor work in tandem to reveal the specificities of these women’s struggles within ubiquitous conditions of debt\, caring labor\, the gendering of that labor\, and institutional and state violence. \n  \n  \n  \nCaroline Key is a Korean-American filmmaker and video installation artist based in Brooklyn\, NY. She received her MFA in Film/Video from the California Institute of the Arts\, her BFA from the School of the Art Institute of Chicago\, and was an participant in the Whitney Independent Study Program. Her works employ a range of cinematic practices- 16mm film\, alchemical film processing\, documentary\, animation\, and digital graphics. These films and videos investigate the construction and negotiation of identities rooted in conditions of alterity. Her works have shown internationally at festivals and galleries\, including Arsenal Cinema in Berlin\, the Smithsonian Hirshhorn Museum\, and the New Museum in New York. \nKIM KyungMook was born in Busan\, South Korea\, in 1985 and went to Seoul at the age of sixteen. From the year 2001 to 2004\, with the pen name Kyum\, he worked as a journalist and a columnist for publications\, including Hankyoreh and Outsider. In 2006\, he was on the editorial board of Korea’s only independent film magazine\, Independent Film. In 2011\, he was a committee member of the Association of Korean Independent Film and Video. KyungMook has produced and directed five feature length films. His films have screened internationally and have won several awards. He was the youngest Korean filmmaker ever to be accepted into the Venice Film Festival with his third feature film\, Stateless Things. There have been retrospectives of his work in South Korea\, Taiwan\, France\, and Switzerland. \nRosa Cho is a counselor/advocate at the Sex Workers Project. She was previously policy and research analyst at Re:Gender (formerly National Council for Research on Women) and a Ralph J. Bunche fellow at Amnesty International USA. Rosa has extensive experience in women’s rights advocacy and violence against women and has worked as a direct service worker as well as a researcher. Currently\, she teaches and is a doctoral candidate at NYU Silver School of Social Work. When she is not working or teaching\, she’s busy studying martial arts\, yoga\, and dancing. \n[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2016-09-29-grace-period/
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2016/08/Caroline-Key.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20161002T153000
DTEND;TZID=America/New_York:20161002T183000
DTSTAMP:20260623T032618
CREATED:20161002T112343Z
LAST-MODIFIED:20180507T200725Z
UID:10002195-1475422200-1475433000@uniondocs.org
SUMMARY:Genuine Fake Films by Gerry Fialka
DESCRIPTION:[vc_row][vc_column][vc_column_text]”As this modern digital Dark Age of technological advances threatens to drive physical film stock itself — the very stuff from which dreams are made — into extinction\, this evening of Genuine Fake Films by Gerry Fialka couldn’t come at a more propitious moment. One of Los Angeles’ great celluloid underworld overlords\, relentless cultural provocateur and filmmaker Fialka has been successfully bedeviling our popular consciousness since the late 20th century. A recognized artistic force since his early 1970s breakout as head shot-caller at the notorious Ann Arbor Film Co-op and renowned as the veteran curator of PXL THIS\, Hollywood’s second oldest film festival\, any presentation of Fialka’s work is guaranteed to rate as a mind-bending affair. Framed as an evening of “short films and interactive discussion\,” featured titles include 2009’s Eye Am Not a Robot; 2008’s All Advertising Advertises Advertising; and Double Duty Interrobang\, Fialka’s 2003 Pixelvision (read: Fischer Price toy video camera) eyebrow raiser. It’s a veritable stampede of visual strangeness\, theoretical acrobatics and sociocultural redefinition\, all delivered through the singular prism of Fialka’s self-defined prime directive: ‘exploration of the hidden psychic effects of human inventions.'” – LA Weekly \nI THINK I’M INTO SOMETHING  (2012\, 8 minutes) Gerry Fialka and Clifford Novey’s Pixelvision short hybridizes beautiful dancers and psychedelic jazz  to the randomness of tube clown movements.\n“Mesmerizing to experience” – Noted film author Beverly Gray.  Special “Live Cinema” version with live music and dancers. \nEYE AM NOT A ROBOT (2009\, 14 minutes) – Mark X Farina & Gerry Fialka’s scintillating film probes the percept of technology “being alive” by evoking early Russian film and Constructivism. Cultural icons from James Joyce to Robby the Robot to Marilyn Monroe are your humanoid guides through new art technologies. Can machines surpass humans in the creative process? How are robotics restructuring patterns of social interdependence in Art\, Science and Nature? Cine-poets Farina & Fialka reframe our collective compliance in anthropomorphizing media as art forms. In the spirit of McLuhan’s mosaic writing\, this collage film propagates mythic thinking\, in the Jungian sense\, where people mime cues from technology used by millions. By flipping the art museum video installation experience into media yoga\, one can download morphic resonance into the nervous system as a Zen experiment. What is the future of art and artificial intelligence? See the likeness & difference in Anticipatory Mindfulness and Android Meme. Summon the impossible by examining what Derrida calls “the absence of presence.” “The future of the future is the present.” – McLuhan. “I wouldn’t be seen dead with a living work of art.” – Museum curator. \nDirector’s Statement\n\nGerry Fialka explores the hidden psyche effects of human inventions. We look to the artists\, the antennae of the race\, to uncover these hidden environments. But why do we ignore them? His director statement encourages folks to use Marshall McLuhan’s Tetrad\, four questions one can apply to media: 1) What does it enhance or intensify? 2) What does it render obsolete or replace? 3) What does it bring back that was previously obsolesced? 4) What does it become when pressed to an extreme\, what does it flip into? McLuhan defined “media” and “technology” as anything humans invent from clothing to computers\, from language to philosophy\, from toothpicks to cell phones. \nHis motives may also include:\n* to find epiphanies in everydayness\,\n* to satirize information overload\,\n*to invent new questions and new metaphors: “Brother\, can you paradigm?”\n* to uncover the hidden psychic effects of our inventions so we can cope with these effects.\n* to reinvent James Joyce’s  “laughtears” and “feelful thinkamalinks.”  (words from Finnegans Wake)\n* to make people freer as Vito Acconci articulated in Financial Times 11-17-12.\n* to struggle with “don’t tell anyone everything you know” – something Bob Dylan learned from the Bible.\n* to elevate viewers’ spirits and give them courage – Marina Abramovic.\n* to re-imagine “ESP is old hat when effects precede causes” – McLuhan – Take Today: The Executive As Dropout 1972.\n* to contradict myself as not to conform to my own ideas – Duchamp.\n* to question questions like John Cage: “that’s a very good question\, I would not like to ruin it with an answer.”\n* to nurture Robert Frost\, who wrote “the object in writing poetry is to make all poems sound as different as possible from each other.” When he was asked to explain one of his poems\, he responded\, “You mean\, you want me to say it worse?”\n* to probe sense-ratio-shifting\, effects-precede-causes (reasoning backwards) and the non-physical.\n* to examine Bucky Fuller’s “I seem to be a verb\,” “less is more” and “there’s no passengers\, we are all crew.”\n* Is the mystery of art\, technology\, and new media to more activate or more pacify? – discussed by poet W. H. Auden\, who said “Poetry makes nothing happen”)\n* to propagate connectedness and commonalities.\n* to rethink polyphonic\, immersive and critical discourse.\n* to play around like Bob Fosse\, as detailed in the book Fosse by Sam Wasson\, who wrote that Fosse’s dancers seemed “as if they were playing at dancing more than actually dancing.”\n*to play at playing\, much like Jimi Hendrix\, who said ” You’ve got to have a purpose in life. But I’m not here to talk\, I’m here to play.”\n*to struggle with the paradox – “the worst things in life are free” – bumper sticker\, and “Freedom means everything free” – Emmett Grogan.\n* to transcend to a higher consciousness and achieve full human potential – George Gurdjieff.\n* to do nothing effectively.\n* to stare at the clouds\, which my parents Dolores and Albert Fialka encourage\, again much like Hendrix said\, “You never know what shape clouds are going to be before you see them.” \n\n\n\nBIO\nGerry Fialka lectures world-wide on experimental film\, avant garde art and subversive social media. Fialka’s  films have screened world-wide at film festivals\, art museums and galleries. Fialka ran the infamous Ann Arbor Film Co-op from 1972 to 1980. He has curated http://www.laughtears.com/  film screenings in LA since 1980 for his many series – Documental\, 7 Dudley Cinema\, Subversive Cinema and PXL THIS (second oldest film festival in LA). \n[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/genuine-fake-films-by-gerry-fialka/
LOCATION:322 UNION AVE\, BROOKLYN\, 11211\, United States
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/png:https://uniondocs.org/wp-content/uploads/2016/10/Screenshot-47.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20161002T193000
DTEND;TZID=America/New_York:20161002T193000
DTSTAMP:20260623T032618
CREATED:20160830T040000Z
LAST-MODIFIED:20190411T214546Z
UID:10002047-1475436600-1475436600@uniondocs.org
SUMMARY:Genuine Fake Films by Gerry Fialka
DESCRIPTION:[vc_row][vc_column][vc_column_text]”As this modern digital Dark Age of technological advances threatens to drive physical film stock itself — the very stuff from which dreams are made — into extinction\, this evening of Genuine Fake Films by Gerry Fialka couldn’t come at a more propitious moment. One of Los Angeles’ great celluloid underworld overlords\, relentless cultural provocateur and filmmaker Fialka has been successfully bedeviling our popular consciousness since the late 20th century. A recognized artistic force since his early 1970s breakout as head shot-caller at the notorious Ann Arbor Film Co-op and renowned as the veteran curator of PXL THIS\, Hollywood’s second oldest film festival\, any presentation of Fialka’s work is guaranteed to rate as a mind-bending affair. Framed as an evening of “short films and interactive discussion\,” featured titles include 2009’s Eye Am Not a Robot; 2008’s All Advertising Advertises Advertising; and Double Duty Interrobang\, Fialka’s 2003 Pixelvision (read: Fischer Price toy video camera) eyebrow raiser. It’s a veritable stampede of visual strangeness\, theoretical acrobatics and sociocultural redefinition\, all delivered through the singular prism of Fialka’s self-defined prime directive: ‘exploration of the hidden psychic effects of human inventions.'” – LA Weekly \n  \nDirector’s Statement\n\nGerry Fialka explores the hidden psyche effects of human inventions. We look to the artists\, the antennae of the race\, to uncover these hidden environments. But why do we ignore them? His director statement encourages folks to use Marshall McLuhan’s Tetrad\, four questions one can apply to media: 1) What does it enhance or intensify? 2) What does it render obsolete or replace? 3) What does it bring back that was previously obsolesced? 4) What does it become when pressed to an extreme\, what does it flip into? McLuhan defined “media” and “technology” as anything humans invent from clothing to computers\, from language to philosophy\, from toothpicks to cell phones. \nHis motives may also include: \n* to find epiphanies in everydayness\, \n* to satirize information overload\, \n*to invent new questions and new metaphors: “Brother\, can you paradigm?” \n* to uncover the hidden psychic effects of our inventions so we can cope with these effects. \n* to reinvent James Joyce’s  “laughtears” and “feelful thinkamalinks.”  (words from Finnegans Wake) \n* to make people freer as Vito Acconci articulated in Financial Times 11-17-12. \n* to struggle with “don’t tell anyone everything you know” – something Bob Dylan learned from the Bible. \n* to elevate viewers’ spirits and give them courage – Marina Abramovic. \n* to re-imagine “ESP is old hat when effects precede causes” – McLuhan – Take Today: The Executive As Dropout 1972. \n* to contradict myself as not to conform to my own ideas – Duchamp. \n* to question questions like John Cage: “that’s a very good question\, I would not like to ruin it with an answer.” \n* to nurture Robert Frost\, who wrote “the object in writing poetry is to make all poems sound as different as possible from each other.” When he was asked to explain one of his poems\, he responded\, “You mean\, you want me to say it worse?” \n* to probe sense-ratio-shifting\, effects-precede-causes (reasoning backwards) and the non-physical. \n* to examine Bucky Fuller’s “I seem to be a verb\,” “less is more” and “there’s no passengers\, we are all crew.” \n* Is the mystery of art\, technology\, and new media to more activate or more pacify? – discussed by poet W. H. Auden\, who said “Poetry makes nothing happen”) \n* to propagate connectedness and commonalities. \n* to rethink polyphonic\, immersive and critical discourse. \n* to play around like Bob Fosse\, as detailed in the book Fosse by Sam Wasson\, who wrote that Fosse’s dancers seemed “as if they were playing at dancing more than actually dancing.” \n*to play at playing\, much like Jimi Hendrix\, who said ” You’ve got to have a purpose in life. But I’m not here to talk\, I’m here to play.” \n*to struggle with the paradox – “the worst things in life are free” – bumper sticker\, and “Freedom means everything free” – Emmett Grogan. \n* to transcend to a higher consciousness and achieve full human potential – George Gurdjieff. \n* to do nothing effectively. \n* to stare at the clouds\, which my parents Dolores and Albert Fialka encourage\, again much like Hendrix said\, “You never know what shape clouds are going to be before you see them.” \n\n[/vc_column_text][vc_empty_space][vc_text_separator title=”Program”][vc_empty_space][/vc_column][/vc_row][vc_row][vc_column][vc_column_text]I THINK I’M INTO SOMETHING  (2012\, 8 minutes) Gerry Fialka and Clifford Novey’s Pixelvision short hybridizes beautiful dancers and psychedelic jazz  to the randomness of tube clown movements. \n“Mesmerizing to experience” – Noted film author Beverly Gray.  Special “Live Cinema” version with live music and dancers. \nEYE AM NOT A ROBOT (2009\, 14 minutes) – Mark X Farina & Gerry Fialka’s scintillating film probes the percept of technology “being alive” by evoking early Russian film and Constructivism. Cultural icons from James Joyce to Robby the Robot to Marilyn Monroe are your humanoid guides through new art technologies. Can machines surpass humans in the creative process? How are robotics restructuring patterns of social interdependence in Art\, Science and Nature? Cine-poets Farina & Fialka reframe our collective compliance in anthropomorphizing media as art forms. In the spirit of McLuhan’s mosaic writing\, this collage film propagates mythic thinking\, in the Jungian sense\, where people mime cues from technology used by millions. By flipping the art museum video installation experience into media yoga\, one can download morphic resonance into the nervous system as a Zen experiment. What is the future of art and artificial intelligence? See the likeness & difference in Anticipatory Mindfulness and Android Meme. Summon the impossible by examining what Derrida calls “the absence of presence.” “The future of the future is the present.” – McLuhan. “I wouldn’t be seen dead with a living work of art.” – Museum curator.[/vc_column_text][vc_empty_space][vc_text_separator title=”90 minutes”][vc_empty_space][/vc_column][/vc_row][vc_row][vc_column][vc_column_text] \nGerry Fialka lectures world-wide on experimental film\, avant garde art and subversive social media. Fialka’s  films have screened world-wide at film festivals\, art museums and galleries. Fialka ran the infamous Ann Arbor Film Co-op from 1972 to 1980. He has curated http://www.laughtears.com/  film screenings in LA since 1980 for his many series – Documental\, 7 Dudley Cinema\, Subversive Cinema and PXL THIS (second oldest film festival in LA).[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2016-10-02-gerry-fialka/
LOCATION:UnionDocs\, 352 Onderdonk Avenue\, 352 Onderdonk Avenue\, Ridgewood\, NY\, 11385\, United States
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2016/08/Gerry-360dpi.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:20161007T153000
DTEND;TZID=America/New_York:20161007T170000
DTSTAMP:20260623T032618
CREATED:20160907T082343Z
LAST-MODIFIED:20230831T190936Z
UID:10002642-1475854200-1475859600@uniondocs.org
SUMMARY:Cunt Art Was the First Art
DESCRIPTION:[vc_row row_type=”row_full_center_content”][vc_column][vc_column_text]Cunt Art was the First Art is an evening about the role “cunt” played in early feminist art and consciousness raising\, touching on the role of female genitalia in popular culture today. Between 1968 and 1974\, women artists attempted to reclaim a positive female identity by creating what they termed “cunt art.” The legacy of cunt art was absorbed by feminist sex education and sex-positive third wave feminism. \nThe program includes a historical account of feminist cunt iconography by Sasha Archibald; a short film about labia typology\, Labial Quintet\, by Courtney Stephens; and a rare screening of Near the Big Chakra\, a 1971 experimental film by Alice Anne Parker (née Anne Severson). This event was organized with Veggie Cloud\, an arts space in Los Angeles\, where a version of it was originally presented in May 2015. \n \nNear the Big Chakra (Dir: Alice Anne Parker (née Anne Severson\, 1971\, 14min) \nDescribed by Agnès Varda as “a new approach to our femininity\,” Near the Big Chakra is a 14-minute silent film comprising extreme close-ups of 37 women’s vulvas. Made in 1971 and screened internationally in the early 1970s\, audiences’ reactions to the film—disgust\, mockery\, fist fights with the projectionist—made clear the degree to which Severson radically upends conventional imaging of female genitalia. \n \nLabial Quintet (Dir: Courtney Stephens\, 2015\, 11min) \nCreated specifically for the 2015 Cunt Art event at Veggie Cloud in Los Angeles\, Labial Quintet was prompted by a claim made by a waxing aesthetician that there are five distinct varieties of labia shape. Browsing pornography\, a live waxing session\, surgical footage\, and other visual “evidence\,” the film explores the veracity of this claim\, and what it means to typologize a body part.  \n  \n  \nBIOS \nSasha Archibald is a writer and curator in Los Angeles. Her essays about picture-making\, obsolete spectacles\, and historical byways have appeared in The Believer\, Rhizome\, Modern Painters\, Los Angeles Review of Books\, and other publications\, and in a number of books and exhibition catalogues. She is an editor-at-large at Cabinet magazine\, and works at the non-profit arts space Clockshop. \n  \nAlice Anne Parker’s films from the late 1960s and early 70s have been screened at Cannes\, New York Film Festival\, Whitney Museum\, and other venues\, and were the subject of a retrospective at Pacific Film Archive in Berkeley. Parker has since left the art world\, and is currently a celebrated psychic in Honolulu. She is the producer of a radio show\, a frequent public speaker\, and the author of the best-selling Understand Your Dreams (HJ Kramer/New World Library\, 2001).  \n  \nCourtney Stephens is a filmmaker and writer based in Los Angeles.  Her films\, on subjects ranging from rummage sales to female exile\, have screened internationally.  She attended the American Film Institute\, and was a Fulbright Fellow in India from 2011-2012. She has lectured at The Royal Geographical Society\, The Satyajit Ray Film and Television Institute\, and elsewhere. \n  \nKate Wolf is a writer based in Los Angeles. Her essays\, journalism\, and fiction have appeared in such publications as Art in America\, East of Borneo\, X-TRA\, Black Clock\, The Los Angeles Review of Books\, where she’s an editor at large\, and Night Papers\, a newspaper of art and writing she edits with the Night Gallery. \n  \nVeggie Cloud is a wide-ranging film and lecture series in Los Angeles organized by Courtney Stephens and Kate Wolf. In addition to regular\, free programs at their space\, Veggie Cloud has guest-programmed screenings at the Getty Museum and Human Resources\, and collaborated with institutions throughout Los Angeles\, mostly recently on the citywide Chantal Akerman retrospective “Contre L’Oubli: Against Oblivion.”[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2016-10-07-cunt-art-was-the-first-art/
LOCATION:UnionDocs\, 352 Onderdonk Avenue\, 352 Onderdonk Avenue\, Ridgewood\, NY\, 11385\, United States
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2016/09/Cth7UktXEAQ_t5p.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:20161007T193000
DTEND;TZID=America/New_York:20161007T210000
DTSTAMP:20260623T032618
CREATED:20160831T040000Z
LAST-MODIFIED:20250124T225452Z
UID:10002052-1475868600-1475874000@uniondocs.org
SUMMARY:CUNT ART WAS THE FIRST ART
DESCRIPTION:[vc_row][vc_column][vc_column_text css=””]Cunt Art was the First Art is an evening about the role “cunt” played in early feminist art and consciousness raising\, touching on the role of female genitalia in popular culture today. Between 1968 and 1974\, women artists attempted to reclaim a positive female identity by creating what they termed “cunt art.” The legacy of cunt art was absorbed by feminist sex education and sex-positive third wave feminism. \nThe program includes a historical account of feminist cunt iconography by Sasha Archibald; a short film about labia typology\, Labial Quintet\, by Courtney Stephens; and a rare screening of Near the Big Chakra\, a 1971 experimental film by Alice Anne Parker (née Anne Severson). This event was organized with Veggie Cloud\, an arts space in Los Angeles\, where it was originally presented in May 2015.[/vc_column_text][vc_empty_space][/vc_column][/vc_row][vc_row][vc_column][vc_text_separator title=”Program”][vc_empty_space][vc_column_text]Near the Big Chakra (Dir: Alice Anne Parker (née Anne Severson\, 1971\, 14min) \nDescribed by Agnès Varda as “a new approach to our femininity\,” Near the Big Chakra is a 14-minute silent film comprising extreme close-ups of 37 women’s vulvas. Made in 1971 and screened internationally in the early 1970s\, audiences’ reactions to the film—disgust\, mockery\, fist fights with the projectionist—made clear the degree to which Severson radically upends conventional imaging of female genitalia. \nLabial Quintet (Dir: Courtney Stephens\, 2015\, 11min) \nCreated specifically for the 2015 Cunt Art event at Veggie Cloud in Los Angeles\, Labial Quintet was prompted by a claim made by a waxing aesthetician that there are five distinct varieties of labia shape. Browsing pornography\, a live waxing session\, surgical footage\, and other visual “evidence\,” the film explores the veracity of this claim\, and what it means to typologize a body part. [/vc_column_text][vc_empty_space][vc_text_separator title=”120 minutes”][vc_empty_space][/vc_column][/vc_row][vc_row][vc_column][vc_column_text] \nSasha Archibald is a writer and curator in Los Angeles. Her essays about picture-making\, obsolete spectacles\, and historical byways have appeared in The Believer\, Rhizome\, Modern Painters\, Los Angeles Review of Books\, and other publications\, and in a number of books and exhibition catalogues. She is an editor-at-large at Cabinet magazine\, and works at the non-profit arts space Clockshop. \n  \n  \nAlice Anne Parker’s films from the late 1960s and early 70s have been screened at Cannes\, New York Film Festival\, Whitney Museum\, and other venues\, and were the subject of a retrospective at Pacific Film Archive in Berkeley. Parker has since left the art world\, and is currently a celebrated psychic in Honolulu. She is the producer of a radio show\, a frequent public speaker\, and the author of the best-selling Understand Your Dreams (HJ Kramer/New World Library\, 2001).  \n  \n  \nCourtney Stephens is a filmmaker and writer based in Los Angeles.  Her films\, on subjects ranging from rummage sales to female exile\, have screened internationally.  She attended the American Film Institute\, and was a Fulbright Fellow in India from 2011-2012. She has lectured at The Royal Geographical Society\, The Satyajit Ray Film and Television Institute\, and elsewhere. \n  \n  \nKate Wolf is a writer based in Los Angeles. Her essays\, journalism\, and fiction have appeared in such publications as Art in America\, East of Borneo\, X-TRA\, Black Clock\, The Los Angeles Review of Books\, where she’s an editor at large\, and Night Papers\, a newspaper of art and writing she edits with the Night Gallery. \n  \n  \n\n  \nVeggie Cloud is a wide-ranging film and lecture series in Los Angeles organized by Courtney Stephens and Kate Wolf. In addition to regular\, free programs at their space\, Veggie Cloud has guest-programmed screenings at the Getty Museum and Human Resources\, and collaborated with institutions throughout Los Angeles\, mostly recently on the citywide Chantal Akerman retrospective “Contre L’Oubli: Against Oblivion.”[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2016-10-07-cunt-art/
LOCATION:UnionDocs\, 352 Onderdonk Avenue\, 352 Onderdonk Avenue\, Ridgewood\, NY\, 11385\, United States
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/png:https://uniondocs.org/wp-content/uploads/2017/06/unnamed-1.png
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:20161009T153000
DTEND;TZID=America/New_York:20161009T173000
DTSTAMP:20260623T032618
CREATED:20161212T092343Z
LAST-MODIFIED:20180430T211048Z
UID:10002091-1476027000-1476034200@uniondocs.org
SUMMARY:DEEP RUN with PINK BOY
DESCRIPTION:[vc_row][vc_column][vc_empty_space height=”40px”][vc_empty_space height=”40px”][vc_video link=”https://vimeo.com/158829795″][vc_empty_space height=”40px”][vc_empty_space height=”40px”][/vc_column][/vc_row][vc_row row_type=”row_full_center_content”][vc_column][vc_column_text]DEEP RUN is a powerful verité portrait of trans life in rural North Carolina. Exiled by his family and rejected by an ex\, 17-year-old Spazz has no one to lean on for support. But when Spazz falls in love again and summons up the courage to become Cole\, a strong-willed trans man\, his candid humor and steadfast\, all-inclusive Christian beliefs counter the bigotry he experiences daily. This intimate documentary reveals rebirth and courage within America’s deeply conservative Bible Belt. \n  \nPreceded by PINK BOY by Eric Rockey \nPINK BOY an award-winning\, intimate 15-minute portrait of a gender-creative boy growing up in conservative rural Florida. Butch lesbian BJ successfully avoided dresses her entire life until she and her partner Sherrie adopted Jeffrey\, who to their shock\, starts to dance in gowns and perform for his parents. As six-year-old Jeffrey increasingly wishes to dress up in public\, BJ must navigate where it is safe for him\, from school to a rodeo in Georgia to the ultimate holiday for a pink boy\, Halloween. It is a story of love between a butch mother and her feminine son\, in one sense opposites\, but united by a determination to be who they truly are. Pink Boy had its World Premiere at the Sheffield Doc/Fest in the UK on June 7th\, and its North American Premiere at Palm Springs ShortFest on June 18th where it won Best Documentary.  Pink Boy has won five awards in total\, including Grand Jury Prize for Best Short at DOC NYC. \nWe are lucky to have Alexandra Juhasz (Professor and Department Chairperson of Film at Brooklyn College) who has a history of working with documentary\, social change\, and gender politics in the film world and beyond joining Director of DEEP RUN\, Hillevi Loven\, after the program for discussion. \n  \n*SPECIAL LIVESTREAM AFTER THE PROGRAM: PRESIDENTIAL DEBATE* \nWe are adding a special livestream after the program of the presidential debate. \nAfter the screening we know we all were going to try to rush home or to the nearest bar streaming the debates\, so we figured we’d project it here for convenience and to share in watching as a community. \nIf it’s nice out we’ll move to watch in the backyard\, so feel free to stick around to live-tweet with us while it all goes down! \nTell your friends![/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”40px”][vc_empty_space height=”40px”][/vc_column][/vc_row][vc_row][vc_column][vc_text_separator title=”Program”][vc_empty_space height=”40px”][/vc_column][/vc_row][vc_row][vc_column][vc_custom_heading text=”DEEP RUN” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_custom_heading text=”75 min.\, 2015″ font_container=”tag:p|text_align:left” use_theme_fonts=”yes”][vc_empty_space height=”40px”][vc_custom_heading text=”PINK BOY” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_custom_heading text=”15 min.\, 2015″ font_container=”tag:p|text_align:left” use_theme_fonts=”yes”][vc_empty_space height=”40px”][vc_empty_space height=”40px”][vc_text_separator title=”90 min”][vc_empty_space height=”40px”][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”52357″ img_size=”200×200″][/vc_column][vc_column width=”2/3″][vc_column_text] \nHillevi Loven is a filmmaker\, producer and still photographer based in Brooklyn. She is making her feature-film-directing debut with Deep Run. As a Sundance Documentary Fellow\, she took part in the Sundance lab while completing Deep Run. In collaboration with MIT anthropologist Natasha Schull\, she co-directed the documentary\, Buffet: All You Can Eat Las Vegas\, which won Best Short from the Society of Visual Anthropology. As an artist\, she has received funding and support from the New York State Council on the Arts\, the Sundance Institute\, New York Foundation for the Arts and Robert Wood Johnson Foundation. Her commercial work includes projects for Condé Nast\, American Express and Time Inc. She has produced collaborative work with the Brooklyn art collectives UnionDocs\, OVO\, and the Brooklyn Filmmakers’ Collective. Hillevi is an alumna of Barnard College\, and the Hunter College IMA MFA program. \nDeep Run is the culmination of years of Hillevi’s own social justice work\, which began with teaching media arts to LGBT youth at the Hetrick Martin Institute in NYC. \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_empty_space height=”10px”][vc_single_image image=”52360″][/vc_column][vc_column width=”2/3″][vc_empty_space height=”10px”][vc_column_text] \nDr. Alexandra Juhasz teaches\, makes and studies committed media practices that contribute to political change and individual and community growth. She has a Ph.D. in Cinema Studies from NYU and is the author of AIDS TV (Duke\, 1995)\, Women of Vision: Histories in Feminist Media (Minnesota\, 2001)\, F is for Phony: Fake Documentary and Truth?s Undoing with Jesse Lerner (Minnesota\, 2005)\, Learning from YouTube (MIT Press\, 2011)\, The Blackwell Companion on Contemporary Documentary with Alisa Lebow (2016)\, and with Yvonne Welbon\, Sisters in the Life: 25 Years of African-American Lesbian Filmmaking (forthcoming Duke). She is the producer of educational videotapes on feminist issues from AIDS to teen pregnancy and the feature films The Watermelon Woman (Cheryl Dunye\, 1997) and The Owls (Dunye\, 2010). Her current work is on and about the feminist Internet including YouTube\, pedagogy\, affect and community. Her personal website is: http://pzacad.pitzer.edu/ \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_empty_space height=”10px”][vc_single_image image=”52361″][/vc_column][vc_column width=”2/3″][vc_empty_space height=”10px”][vc_column_text] \nEric Rockey’s work straddles the worlds of technology and film. A Microsoft veteran\, now at tech startup FiftyThree\, he graduated from the New School’s Documentary Certificate and Media Studies MA programs. His first short\, “Vulture Culture”\, premiered at DOC NYC in 2011. He was also the designer and developer for interactive doc and Webby Award Honoree\, “What Killed Kevin?” directed by Beverly Peterson in 2014. “Pink Boy” is his second short. \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2016-10-09-deep-run-with-pink-boy/
LOCATION:322 UNION AVE\, BROOKLYN\, 11211\, United States
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2016/12/deep-run.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20161009T193000
DTEND;TZID=America/New_York:20161009T210000
DTSTAMP:20260623T032618
CREATED:20160908T040000Z
LAST-MODIFIED:20190411T213109Z
UID:10002644-1476041400-1476046800@uniondocs.org
SUMMARY:DEEP RUN with PINK BOY
DESCRIPTION:[vc_row][vc_column][vc_column_text]DEEP RUN is a powerful verité portrait of trans life in rural North Carolina. Exiled by his family and rejected by an ex\, 17-year-old Spazz has no one to lean on for support. But when Spazz falls in love again and summons up the courage to become Cole\, a strong-willed trans man\, his candid humor and steadfast\, all-inclusive Christian beliefs counter the bigotry he experiences daily. This intimate documentary reveals rebirth and courage within America’s deeply conservative Bible Belt. \n \nPreceded by PINK BOY by Eric Rockey \nPINK BOY an award-winning\, intimate 15-minute portrait of a gender-creative boy growing up in conservative rural Florida. Butch lesbian BJ successfully avoided dresses her entire life until she and her partner Sherrie adopted Jeffrey\, who to their shock\, starts to dance in gowns and perform for his parents. As six-year-old Jeffrey increasingly wishes to dress up in public\, BJ must navigate where it is safe for him\, from school to a rodeo in Georgia to the ultimate holiday for a pink boy\, Halloween. It is a story of love between a butch mother and her feminine son\, in one sense opposites\, but united by a determination to be who they truly are. Pink Boy had its World Premiere at the Sheffield Doc/Fest in the UK on June 7th\, and its North American Premiere at Palm Springs ShortFest on June 18th where it won Best Documentary.  Pink Boy has won five awards in total\, including Grand Jury Prize for Best Short at DOC NYC. \nWe are lucky to have Alexandra Juhasz (Professor and Department Chairperson of Film at Brooklyn College) who has a history of working with documentary\, social change\, and gender politics in the film world and beyond joining Director of DEEP RUN\, Hillevi Loven\, after the program for discussion. \n*SPECIAL LIVESTREAM AFTER THE PROGRAM: PRESIDENTIAL DEBATE* \nWe are adding a special livestream after the program of the presidential debate. \nAfter the screening we know we all were going to try to rush home or to the nearest bar streaming the debates\, so we figured we’d project it here for convenience and to share in watching as a community. \nIf it’s nice out we’ll move to watch in the backyard\, so feel free to stick around to live-tweet with us while it all goes down! \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_column_text] \nHILLEVI LOVEN is a filmmaker\, producer and still photographer based in Brooklyn. She is making her feature-film-directing debut with Deep Run. As a Sundance Documentary Fellow\, she took part in the Sundance lab while completing Deep Run. In collaboration with MIT anthropologist Natasha Schull\, she co-directed the documentary\, Buffet: All You Can Eat Las Vegas\, which won Best Short from the Society of Visual Anthropology. As an artist\, she has received funding and support from the New York State Council on the Arts\, the Sundance Institute\, New York Foundation for the Arts and Robert Wood Johnson Foundation. Her commercial work includes projects for Condé Nast\, American Express and Time Inc. She has produced collaborative work with the Brooklyn art collectives UnionDocs\, OVO\, and the Brooklyn Filmmakers’ Collective. Hillevi is an alumna of Barnard College\, and the Hunter College IMA MFA program. \nDeep Run is the culmination of years of Hillevi’s own social justice work\, which began with teaching media arts to LGBT youth at the Hetrick Martin Institute in NYC. \nDr. Alexandra Juhasz teaches\, makes and studies committed media practices that contribute to political change and individual and community growth. She has a Ph.D. in Cinema Studies from NYU and is the author of AIDS TV (Duke\, 1995)\, Women of Vision: Histories in Feminist Media (Minnesota\, 2001)\, F is for Phony: Fake Documentary and Truth?s Undoing with Jesse Lerner (Minnesota\, 2005)\, Learning from YouTube (MIT Press\, 2011)\, The Blackwell Companion on Contemporary Documentary with Alisa Lebow (2016)\, and with Yvonne Welbon\, Sisters in the Life: 25 Years of African-American Lesbian Filmmaking (forthcoming Duke). She is the producer of educational videotapes on feminist issues from AIDS to teen pregnancy and the feature films The Watermelon Woman (Cheryl Dunye\, 1997) and The Owls (Dunye\, 2010). Her current work is on and about the feminist Internet including YouTube\, pedagogy\, affect and community. Her personal website is: http://pzacad.pitzer.edu/ \nERIC ROCKEY \nEric Rockey’s work straddles the worlds of technology and film. A Microsoft veteran\, now at tech startup FiftyThree\, he graduated from the New School’s Documentary Certificate and Media Studies MA programs. His first short\, “Vulture Culture”\, premiered at DOC NYC in 2011. He was also the designer and developer for interactive doc and Webby Award Honoree\, “What Killed Kevin?” directed by Beverly Peterson in 2014. “Pink Boy” is his second short.[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2016-10-09-deep-run/
LOCATION:UnionDocs\, 352 Onderdonk Avenue\, 352 Onderdonk Avenue\, Ridgewood\, NY\, 11385\, United States
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2016/09/DRun-Cole-wood-bckgrnd-smile-4_sized.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:20161013T153000
DTEND;TZID=America/New_York:20161013T170000
DTSTAMP:20260623T032618
CREATED:20161010T192602Z
LAST-MODIFIED:20180228T041348Z
UID:10002071-1476372600-1476378000@uniondocs.org
SUMMARY:Jackie Robinson
DESCRIPTION:Jack Roosevelt Robinson rose from humble origins to cross baseball’s color line and become one of the most beloved men in America. A fierce integrationist\, Robinson used his immense fame to speak out against the discrimination he saw on and off the field\, angering fans\, the press\, and even teammates who had once celebrated him for “turning the other cheek.” After baseball\, he was a widely-read newspaper columnist\, divisive political activist and tireless advocate for civil rights\, who later struggled to remain relevant as diabetes crippled his body and a new generation of leaders set a more militant course for the civil rights movement. \nJackie Robinson\, a two-part\, four-hour film directed by Ken Burns\, Sarah Burns and David McMahon tells the story of an American icon whose life-long battle for first class citizenship for all African Americans transcends even his remarkable athletic achievements. “Jackie Robinson\,” Martin Luther King Jr. once said\, “was a sit-inner before sit-ins\, a freedom rider before freedom rides.” We’ll be screening a special 90-minute cut of the film along with filmmakers in attendance for discussion moderated by Sridhar Pappu.
URL:https://uniondocs.org/event/jackie-robinson/
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2016/10/Jackie-Robinson.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20161013T193000
DTEND;TZID=America/New_York:20161013T213000
DTSTAMP:20260623T032618
CREATED:20160909T040000Z
LAST-MODIFIED:20190516T162842Z
UID:10002646-1476387000-1476394200@uniondocs.org
SUMMARY:Jackie Robinson
DESCRIPTION:[vc_row][vc_column][vc_column_text]Jack Roosevelt Robinson rose from humble origins to cross baseball’s color line and become one of the most beloved men in America. A fierce integrationist\, Robinson used his immense fame to speak out against the discrimination he saw on and off the field\, angering fans\, the press\, and even teammates who had once celebrated him for “turning the other cheek.” After baseball\, he was a widely-read newspaper columnist\, divisive political activist and tireless advocate for civil rights\, who later struggled to remain relevant as diabetes crippled his body and a new generation of leaders set a more militant course for the civil rights movement. \nJackie Robinson\, a two-part\, four-hour film directed by Ken Burns\, Sarah Burns and David McMahon tells the story of an American icon whose life-long battle for first class citizenship for all African Americans transcends even his remarkable athletic achievements. “Jackie Robinson\,” Martin Luther King Jr. once said\, “was a sit-inner before sit-ins\, a freedom rider before freedom rides.” We’ll be screening a special 90-minute cut of the film along with filmmakers in attendance for discussion moderated by Sridhar Pappu.[/vc_column_text][vc_empty_space][vc_text_separator title=”120 minutes”][vc_empty_space][vc_column_text] \nDavid McMahon has been making award-winning documentary films for more than a decade. In 2010\, he wrote and produced with Ken Burns and Lynn Novick The Tenth Inning\, a two-part\, four-hour update to their Emmy Award-winning series\, Baseball. With Ken Burns and Sarah Burns\, he wrote\, produced and directed The Central Park Five\, a two-hour film about the five teenagers who were wrongly convicted in the Central Park Jogger case of 1989\, which won a Peabody Award and best non-fiction film of 2012 from The New York Film Critics Circle. Most recently\, he teamed with Ken Burns and Sarah Burns again to produce and direct Jackie Robinson\, a two-part\, four-hour biography of the baseball and civil rights icon\, for which he and Sarah Burns received an Emmy nomination for Outstanding Writing For A Nonfiction Program. He is currently producing a documentary about public housing. \nSarah Burns is the author of The Central Park Five: A Chronicle of a City Wilding (Knopf\, 2011) and\, along with David McMahon and Ken Burns\, the producer\, writer and director of the documentary The Central Park Five\, about the five Black and Latino teenagers who were wrongly convicted in the infamous Central Park Jogger rape of 1989. The film premiered at the Cannes Film Festival in 2012\, was named the Best Non-Fiction film of 2012 by the New York Film Critics Circle and won a 2013 Peabody Award. Most recently\, she produced and directed\, along with David McMahon and Ken Burns\, the two-part\, four hour Jackie Robinson\, a biography of the celebrated baseball player and civil rights icon\, for which she and McMahon received an Emmy nomination for Outstanding Writing For A Nonfiction Program. She is currently working on a documentary about public housing in Atlanta. \n \nSridhar Pappu is the author of a forthcoming book centered on the 1968 World Series for Houghton Mifflin Harcourt. Sridhar is interested in and writes about all kinds of things\, including national politics\, media\, and sports. He began his career as a feature writer for theChicago Reader and has served as a columnist at The New York Observer and as a correspondent for The Atlantic Monthly. In addition he worked as a staff writer at Sports Illustrated and The Washington Post. His work has appeared in numerous publications including The New York Times\, New York Magazine\, Fast Company\, Mother Jones and Men’s Journal. A native of Oxford\, Ohio\, and graduate of Northwestern University\, he currently lives in Brooklyn.      \n\nA monthly Brooklyn-based screening series highlighting documentary films as a way to to expand dialogue around the intersection of human rights and art. Born out of a three-way collaboration between Skylight\, UnionDocs\, and WITNESS\, these monthly events aim to strengthen the ties between people interested in human rights in Brooklyn and will consist of film screenings followed by a partner-moderated discussion between the filmmaker\, movement actors\, and the audience. During our discussions we debate the conventional framework for human rights and challenge the definition of what constitutes human rights media. \n[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2016-10-13-jackie-robinson/
LOCATION:UnionDocs\, 352 Onderdonk Avenue\, 352 Onderdonk Avenue\, Ridgewood\, NY\, 11385\, United States
CATEGORIES:Screenings & Events
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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:20161016T153000
DTEND;TZID=America/New_York:20161016T180000
DTSTAMP:20260623T032618
CREATED:20161022T082343Z
LAST-MODIFIED:20180228T041348Z
UID:10002058-1476631800-1476640800@uniondocs.org
SUMMARY:Arraianos
DESCRIPTION:[vc_row][vc_column][vc_column_text]The inhabitants of a small village lost in the woodlands between Galicia and Portugal live and work in a quiet routine. From time to time\, brief conversations arise amongst them. Surrounded by an endless forest\, incapable of finding a way out\, the Arraianos ask themselves about the reasons for their confinement\, wondering if such things as sunlight\, free will or a horizon really exist. One day\, a stranger arrives; the possibility of change\, a way out\, a means of purification… What is left after the end\, when all has been consumed? \nSomewhere between reality and fable\, the Arraianos play out their lives to make a portrait of the rural world and its obstinate resistance to disappear\, a picture of life as it is. \n“I wanted to make a film based on the images printed in my memory when I was a child…Rather than the factual influences\, I wanted to portray the emotional connections that arise between the individual and the environs…I wanted to work on the musical plasticity of Galician language\, trying to touch upon it with images… \nThe film deals with our grandparent’s generation\, a generation I feel is a kind of hinge between two different eras. I was interested in the way we relate with what we used to be and particularly with what we do not fully understand…The experience of shooting in a “true” frontier showed us that the culmination of something is always the beginning of something else. Like the interminable and unreachable dream told by the woman in the film\, an end is just a matter of perspective.” – Director Eloy Enciso \n\nBIO \nEloy Enciso Cachafeiro completed a degree in documentary filmmaking at San Antonio de los Baños film school in Cuba. His experimental and documentary short-films (“La clase”\, “Funk the wheel” and “Isa003”) participated in several international film festivals. He shot his first documentary feature Pic-nic in 2007\, which was showed in several international festivals. He has been working for the last four years on Arraianos\, his last feature film. He lives and works in between Galicia\, Portugal and Madrid. \n [/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2016-10-16-arraianos/
LOCATION:322 UNION AVE\, BROOKLYN\, 11211\, United States
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2016/10/arraianos.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20161016T193000
DTEND;TZID=America/New_York:20161016T210000
DTSTAMP:20260623T032618
CREATED:20160914T040000Z
LAST-MODIFIED:20190411T212820Z
UID:10002185-1476646200-1476651600@uniondocs.org
SUMMARY:Arraianos
DESCRIPTION:[vc_row][vc_column][vc_column_text]The inhabitants of a small village lost in the woodlands between Galicia and Portugal live and work in a quiet routine. From time to time\, brief conversations arise amongst them. Surrounded by an endless forest\, incapable of finding a way out\, the Arraianos ask themselves about the reasons for their confinement\, wondering if such things as sunlight\, free will or a horizon really exist. One day\, a stranger arrives; the possibility of change\, a way out\, a means of purification… What is left after the end\, when all has been consumed? \nSomewhere between reality and fable\, the Arraianos play out their lives to make a portrait of the rural world and its obstinate resistance to disappear\, a picture of life as it is. \n“I wanted to make a film based on the images printed in my memory when I was a child…Rather than the factual influences\, I wanted to portray the emotional connections that arise between the individual and the environs…I wanted to work on the musical plasticity of Galician language\, trying to touch upon it with images… \nThe film deals with our grandparent’s generation\, a generation I feel is a kind of hinge between two different eras. I was interested in the way we relate with what we used to be and particularly with what we do not fully understand…The experience of shooting in a “true” frontier showed us that the culmination of something is always the beginning of something else. Like the interminable and unreachable dream told by the woman in the film\, an end is just a matter of perspective.” – Director Eloy Enciso \n[/vc_column_text][vc_empty_space][vc_text_separator title=”120 minutes”][vc_empty_space][/vc_column][/vc_row][vc_row][vc_column][vc_column_text]Eloy Enciso Cachafeiro completed a degree in documentary filmmaking at San Antonio de los Baños film school in Cuba. His experimental and documentary short-films (“La clase”\, “Funk the wheel” and “Isa003”) participated in several international film festivals. He shot his first documentary feature Pic-nic in 2007\, which was showed in several international festivals. He has been working for the last four years on Arraianos\, his last feature film. He lives and works in between Galicia\, Portugal and Madrid.[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2016-10-16-arraianos-2/
LOCATION:UnionDocs\, 352 Onderdonk Avenue\, 352 Onderdonk Avenue\, Ridgewood\, NY\, 11385\, United States
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2016/09/ARRAIANOS_STILL_6-e1473872538887.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
END:VCALENDAR