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Saturday, Jun 20 - 7:30pm Shorts after the Flaherty Seminar 2015 With guest filmmakers from the Flaherty Seminar, Arthur Jafa & Juan Manuel Sepulveda. Cinema that makes the subtlest of presences perceptible.The title “The Scent of Places” suggests the ways cinema makes the subtlest of presences perceptible. It brings lost or forgotten events into present awareness. It gives form to unbidden feelings. It invents stories more truthful than fact. It detects patterns—emotional, social, and political. It sharpens perception so that we can see and hear, smell and feel more clearly. Filmmakers from the Arab world are some of the most adept at these creative strategies. Living in the Arab world in recent decades, with its barrage of external and internal pressures, demands filmmakers and artists to come up with smart and subtle ways to express forces, histories, and experiences that lie under the radar. The goal of the program is to focus not on the works’ geographic, social, and political context, but on their aesthetic qualities: the scents of places that they make present. So the program brings Arab artists together with other international filmmakers who share creative strategies with them. The program also diminishes large-scale politics to focus on more intimate and playful gestures. The richest and strangest scents—those of ordinary life—float through these works. They discover patterns in the chaos of the world. They fabulate, or invent fictions that become true. They engage in psychodynamics, teasing people into expressive acts. They crackle like Geiger counters in the presence of invisible forces. With rhythm and performance they shake up the world and squeeze it for its juice.

Shorts after the Flaherty Seminar 2015

With guest filmmakers from the Flaherty Seminar, Arthur Jafa & Juan Manuel Sepulveda. Cinema that makes the subtlest of presences perceptible.The title “The Scent of Places” suggests the ways cinema makes the subtlest of presences perceptible. It brings lost or forgotten events into present awareness. It gives form to unbidden feelings. It invents stories more truthful than fact. It detects patterns—emotional, social, and political. It sharpens perception so that we can see and hear, smell and feel more clearly. Filmmakers from the Arab world are some of the most adept at these creative strategies. Living in the Arab world in recent decades, with its barrage of external and internal pressures, demands filmmakers and artists to come up with smart and subtle ways to express forces, histories, and experiences that lie under the radar. The goal of the program is to focus not on the works’ geographic, social, and political context, but on their aesthetic qualities: the scents of places that they make present. So the program brings Arab artists together with other international filmmakers who share creative strategies with them. The program also diminishes large-scale politics to focus on more intimate and playful gestures. The richest and strangest scents—those of ordinary life—float through these works. They discover patterns in the chaos of the world. They fabulate, or invent fictions that become true. They engage in psychodynamics, teasing people into expressive acts. They crackle like Geiger counters in the presence of invisible forces. With rhythm and performance they shake up the world and squeeze it for its juice.

Magic Lantern Presents: Masses and Swarms

Curated by Seth Watter. Moving images have had a special fondness for masses and swarms: human, animal, cellular, chemical, granular.It is known that crowd scenes in the cinema produce a rhythmic, poetic, photogenic effect when there is a real, actively thinking crowd involved. The reason is that the cinema can pick this cadence up better than the human eye and by other means; it can record this fundamental rhythm and its harmonics.—Jean Epstein From the earliest Lumière actualities to the contemporary disaster film, cinema has given apt expression to masses and what they seemingly do best: massing. This program presents a survey of crowds, masses, and swarms in their many and varied manifestations: from the elemental to the complex, and from the archaic to the contemporary. Though often hidden beneath a veneer of solidity, masses and swarms are the very stuff of life. Gathering and dispersing, contracting and expanding, are the formal figures most proper to them. They exist at the level of particles and parades, demonstrations and desktop icons, spermatozoa and shopping mallers. Even the grain of film, the noise of video, the pixilation of a buffering stream—they, too, with their swirling and spreading, justly merit the name of “crowd.” Wherever division, multiplicity, and movement co-exist, masses and swarms are sure to follow: on the street, in the density of a throng; in the depths of the body, cell against cell.

Frantz Fanon: Black Skin, White Mask

Co-presented by Brooklyn Institute for Social Research Frantz Fanon: Black Skin, White Mask explores for the first time on film the pre-eminent theorist of the anti-colonial movements of this century. Fanon's two major works, Black Skin, White Masks and The Wretched of the Earth, were pioneering studies of the psychological impact of racism on both colonized and colonizer. Jean-Paul Sartre recognized Fanon as the figure "through whose voice the Third World finds and speaks for itself." This innovative film biography restores Fanon to his rightful place at the center of contemporary discussions around post-colonial identity. Isaac Julien, the celebrated black British director of such provocative films as Looking for Langston and Young Soul Rebels, integrates the facts of Fanon's brief but remarkably eventful life with his long and tortuous inner journey. Julien elegantly weaves together interviews with family members and friends, documentary footage, readings from Fanon's work and dramatizations of crucial moments in Fanon's life. Cultural critics Stuart Hall and Françoise Verges position Fanon's work in his own time and draw out its implications for our own.
Friday, Jun 12 - 7:30pm Kingdom of Shadows NYC Premiere. With Bernardo Ruiz & Katia Maguire. Kingdom of Shadows, Bernardo Ruiz, 2015, 74 minutes Bernardo Ruiz takes an unflinching look at the hard choices and destructive consequences of the U.S.-Mexico “drug war,” weaving together the stories of a U.S. drug enforcement agent on the border, an activist nun in violence- scarred Monterrey, Mexico, and a former Texas smuggler, to reveal the human side of an often misunderstood conflict that has resulted in a growing human-rights crisis that only recently has made international headlines. Presented by Participant Media in association with Boiling Pot and Quiet Pictures. “Many documentaries have chronicled the drug war in the U.S. and Mexico, but few have humanized it as poignantly as Kingdom of Shadows... [It] is more observant than crusading...rooted in first-rate journalism.” — Slackerwood | March 21, 2015 “‘Kingdom of Shadows’, produced through Participant, stands out for its measured look at deep structure." — IDA | March 27, 2015 South by Southwest, March 2015, World Premiere Full Frame Documentary Festival, April 2015 Ambulante, April 28-29, 2015, Mexico Special Preview Amnesty International Mexico, May 7, 2015, Mexico Special Preview

Kingdom of Shadows

NYC Premiere. With Bernardo Ruiz & Katia Maguire. Kingdom of Shadows, Bernardo Ruiz, 2015, 74 minutes Bernardo Ruiz takes an unflinching look at the hard choices and destructive consequences of the U.S.-Mexico “drug war,” weaving together the stories of a U.S. drug enforcement agent on the border, an activist nun in violence- scarred Monterrey, Mexico, and a former Texas smuggler, to reveal the human side of an often misunderstood conflict that has resulted in a growing human-rights crisis that only recently has made international headlines. Presented by Participant Media in association with Boiling Pot and Quiet Pictures. “Many documentaries have chronicled the drug war in the U.S. and Mexico, but few have humanized it as poignantly as Kingdom of Shadows... [It] is more observant than crusading...rooted in first-rate journalism.” — Slackerwood | March 21, 2015 “‘Kingdom of Shadows’, produced through Participant, stands out for its measured look at deep structure." — IDA | March 27, 2015 South by Southwest, March 2015, World Premiere Full Frame Documentary Festival, April 2015 Ambulante, April 28-29, 2015, Mexico Special Preview Amnesty International Mexico, May 7, 2015, Mexico Special Preview

The Winds that Scatter (World Premiere)

Part of the Northside Film Festival. With director Christopher Bell Ahmad is a refugee from Syria living in the U.S. who hopes to start his own taxi service. After losing a menial job at a gas station, he attempts to navigate the American economy with optimism. Soon, however, reality sets in and he finds consistent work to be scarce. Creeping hopelessness begins to take a toll on his relationships, faith and sense of self, his dream slipping quickly from his grasp.

Documentary Block II

Part of the Northside Film Festival. Filmmakers present for the screening. Green Card, Pilar Rico and David Whitmer, 8 minutes A film about a song and its author, Mohammad Rahman, a convenience store owner from Bangladesh living in Brooklyn, who writes song lyrics about the immigrant experience. El Porvenir, Josh Chertoff, Alfredo Alcantara, 14 mintues El Porvenir is an inside look at the world of Mexican cockfighting, where men and roosters meet at the intersection of life, death, and sport. Sandorkraut, Emily Lobsenz, 12 minutes An intimate portrait of Sandor Katz, America's foremost home fermentation revivalist. Cada Noche: Every Night (World Premiere), Ian Phillips, 8 minutes Sazon Perez Restaurant in Brooklyn serves over five-hundred customers, daily. Not including the men who line up outside...every night. Nelly’s, Danya Abt and Samantha Richardson, 12 minutes Nelly's is a portrait of Nelly's, a family-owned flower shop in the Southside of Williamsburg. Sandwiched between elevated tracks and congested streets, we watch as this tiny oasis brings the local population together in ritual, memory and celebration. Through customer portraits, candid interviews with the store's owner Nelly, and observational footage captured inside and outside the shop, this nontraditional documentary considers our varied relationship with plants and flowers and how these living things are use to redefine our ever-changing urban landscapes. As we watch the seasons turn, subtle changes are observed in the store and the surrounding neighborhood.
Tuesday, Jun 9 - 7:30pm Shorts Block III Part of the Northside Film Festival. Directors present for screening. Daniel, Amanda Ring, 3 minutes "And the visions of my mind terrify me." Mujer, Sofia Canales, 10 minutes Three Latinas of different generations take pleasure in helping each other bathe, dress up, and cook dinner. Eye in Tuna Care, John Walter Lustig, 5 minutes Eye in Tuna Care is a work of shameless plagiarism; filmmaker John W. Lustig stole the idea from a character in a dream. Didn't even bother to change the title. In the film, a dentist's expertise is put to the test when an unusual patient seeks his help. Rhythm of a City, Julie Gratz, 3 minutes An invitation into the heart of New York City through the atmospheric art of BUA. With the music of DJ Qbert and Dana Leong, escape into moments in the streets that are filled with artistic expression from hip hop culture of a vibrant metropolis. Directed and arranged by Julie Gratz and animated by KALEIDA. Alvaro (World Premiere), Alexandra Lazarowich, 13 minutes A meditation on memory and perseverance, ÁLVARO follows 75 year-old South Williamsburg, Brooklyn resident Álvaro Brandon on his daily route to feed 40 stray cats living in the abandoned lots of his neighborhood. Palm Rot, Ryan Gillis, 8 minutes Investigating a mysterious explosion in the Florida Everglades, an old crop-duster discovers a lone crate that survived the wreckage. And it ruins his day. It Hit Upon a Roof, Teymour Ghaderi, 4 minutes A house in a village, where only an old woman and a child live, the rain falls and starts dripping from the ceiling. The child tries to do something about the drips. Tick Tock (Brooklyn Premiere), Zeynep Kocak, 10 minutes The beautiful thing is not the goal you achieve; it is the road that takes you there with hope! Ham Over Rice, 4 minutes, Ying Liu Houyi saves the world but loses his immortality. N6-4Q Born Free, Sasha Gransjean, 12 minutes Short film series exploring themes of biology and technology through documentary and fiction.

Shorts Block III

Part of the Northside Film Festival. Directors present for screening. Daniel, Amanda Ring, 3 minutes "And the visions of my mind terrify me." Mujer, Sofia Canales, 10 minutes Three Latinas of different generations take pleasure in helping each other bathe, dress up, and cook dinner. Eye in Tuna Care, John Walter Lustig, 5 minutes Eye in Tuna Care is a work of shameless plagiarism; filmmaker John W. Lustig stole the idea from a character in a dream. Didn't even bother to change the title. In the film, a dentist's expertise is put to the test when an unusual patient seeks his help. Rhythm of a City, Julie Gratz, 3 minutes An invitation into the heart of New York City through the atmospheric art of BUA. With the music of DJ Qbert and Dana Leong, escape into moments in the streets that are filled with artistic expression from hip hop culture of a vibrant metropolis. Directed and arranged by Julie Gratz and animated by KALEIDA. Alvaro (World Premiere), Alexandra Lazarowich, 13 minutes A meditation on memory and perseverance, ÁLVARO follows 75 year-old South Williamsburg, Brooklyn resident Álvaro Brandon on his daily route to feed 40 stray cats living in the abandoned lots of his neighborhood. Palm Rot, Ryan Gillis, 8 minutes Investigating a mysterious explosion in the Florida Everglades, an old crop-duster discovers a lone crate that survived the wreckage. And it ruins his day. It Hit Upon a Roof, Teymour Ghaderi, 4 minutes A house in a village, where only an old woman and a child live, the rain falls and starts dripping from the ceiling. The child tries to do something about the drips. Tick Tock (Brooklyn Premiere), Zeynep Kocak, 10 minutes The beautiful thing is not the goal you achieve; it is the road that takes you there with hope! Ham Over Rice, 4 minutes, Ying Liu Houyi saves the world but loses his immortality. N6-4Q Born Free, Sasha Gransjean, 12 minutes Short film series exploring themes of biology and technology through documentary and fiction.

Aspie Seeks Love (New York Premiere)

Part of the Northside Film Festival.With director Julie Sokolow. This award-winning documentary follows a fearless outsider's quest for love. David Matthews wasn't diagnosed with Asperger's until age 41, at which point his entire life changed, including his strategy for winning love and achieving his artistic dreams.
Monday, Jun 8 - 7:30pm A Day’s Work (Brooklyn Premiere) Part of the Northside Film Festival.With director David Garcia. When a young temporary employee is killed 90 minutes into his first day on the job, his sister searches for answers as an investigation reveals how the $100 billion staffing industry is putting millions of American workers at risk.

A Day’s Work (Brooklyn Premiere)

Part of the Northside Film Festival.With director David Garcia. When a young temporary employee is killed 90 minutes into his first day on the job, his sister searches for answers as an investigation reveals how the $100 billion staffing industry is putting millions of American workers at risk.
Monday, Jun 8 - 7:30pm Documentary Block Part I Part of the Northside Film Festival! Filmmakers present for screening. Bob Spells Backwards, Josh Polon and Ryan Maxey, 2 minutes Bob demonstrates his strange compulsion to spell every word he hears backwards. Stella Walsh, Rob Lucas, 15 minutes The tragic story of Stella Walsh, the greatest female athlete in the world, her murder, and the gender controversy that followed. Time, Theodore Collatos, 7 minutes Conversations oscillate between family, politics and sexuality in an voyeuristic contemplation of prison. Terms of Intimacy, Melissa Langer, 9 minutes A glimpse into the emerging industry of professional cuddling and the lives of the clients that use this service. This is Not the End (New York Premiere), Hilary Campbell, 7 minutes The Campbell Family as they are now. Comic Book Heaven, E.J. McLeavey-Fisher, 12 minutes Comic Book Heaven is a short documentary follows 81-year-old Joe Leisner, owner of Comic Book Heaven in Sunnyside, Queens, NY, as he cantankerously assesses the status of his business, the comic book industry, and his future.

Documentary Block Part I

Part of the Northside Film Festival! Filmmakers present for screening. Bob Spells Backwards, Josh Polon and Ryan Maxey, 2 minutes Bob demonstrates his strange compulsion to spell every word he hears backwards. Stella Walsh, Rob Lucas, 15 minutes The tragic story of Stella Walsh, the greatest female athlete in the world, her murder, and the gender controversy that followed. Time, Theodore Collatos, 7 minutes Conversations oscillate between family, politics and sexuality in an voyeuristic contemplation of prison. Terms of Intimacy, Melissa Langer, 9 minutes A glimpse into the emerging industry of professional cuddling and the lives of the clients that use this service. This is Not the End (New York Premiere), Hilary Campbell, 7 minutes The Campbell Family as they are now. Comic Book Heaven, E.J. McLeavey-Fisher, 12 minutes Comic Book Heaven is a short documentary follows 81-year-old Joe Leisner, owner of Comic Book Heaven in Sunnyside, Queens, NY, as he cantankerously assesses the status of his business, the comic book industry, and his future.
Saturday, Jun 6 - 7:30pm A Brooklyn Barrio: Living Los Sures Hangouts in Los Sures, dominoes a free outdoor screening, and afterparty/screening at UnionDocs. How can the physical spaces of a neighborhood help build local relationships among neighbors? How do you gain a deeper understanding of a place? You hang out! That’s what documentary filmmaker Diego Echeverria did when he made Los Sures. Diego spent a lot of time on the streets of the Southside of Williamsburg, a neighborhood that had been called one of the worst ghettos in America; meeting people, being seen, building trust, hanging out. UnionDocs, a Center for Documentary Art has been hanging out on the Southside for many years. By obsessively exploring every aspect of Los Sures and documenting the longstanding Latino community as they fight displacement and survive the growth machine, they’ve produced a multi-faceted production of their own called Living Los Sures. Using the original film and this impressive body of new work as points of departure, we have organized a pop-up school of local experiences including talks, tours, installations, interviews, artist interventions, music and play across the barrio of Los Sures. Come for a roaming celebration of street life and neighborhood space and expand your view of how the past pervades the present.

A Brooklyn Barrio: Living Los Sures

Hangouts in Los Sures, dominoes a free outdoor screening, and afterparty/screening at UnionDocs. How can the physical spaces of a neighborhood help build local relationships among neighbors? How do you gain a deeper understanding of a place? You hang out! That’s what documentary filmmaker Diego Echeverria did when he made Los Sures. Diego spent a lot of time on the streets of the Southside of Williamsburg, a neighborhood that had been called one of the worst ghettos in America; meeting people, being seen, building trust, hanging out. UnionDocs, a Center for Documentary Art has been hanging out on the Southside for many years. By obsessively exploring every aspect of Los Sures and documenting the longstanding Latino community as they fight displacement and survive the growth machine, they’ve produced a multi-faceted production of their own called Living Los Sures. Using the original film and this impressive body of new work as points of departure, we have organized a pop-up school of local experiences including talks, tours, installations, interviews, artist interventions, music and play across the barrio of Los Sures. Come for a roaming celebration of street life and neighborhood space and expand your view of how the past pervades the present.

LIVING LOS SURES: PREVIEW IN THE PARK & PARTY

A preview of new works for Living Los Sures by the UnionDocs Collaborative Studio To celebrate the creation of the new documentary projects made this year as part of the UnionDocs Collaborative Production Living Los Sures, a special public preview will be held in Sternberg (aka Lindsay) Park on Saturday June 6th starting at 8:00pm. Activities start at 6pm - come early to hang out and grab a seat before 8!
Sunday, May 10 - 7:30pm Refracting Lumiere: Avant Garde Revisions of the Lumiere Brothers with Joshua Guilford Cinema’s origins have held an enduring appeal for the avant-garde. In the act of returning to cinema’s earliest productions, experimental filmmakers from different eras and regions have discovered a highly flexible and productive artistic gesture. Such returns facilitate interrogations of film history as well as efforts to renew film form or criticize modern media cultures; at their most fruitful, they question the terms of avant-garde film practice itself. The films of the Lumière brothers have lent themselves especially well to such endeavors. As a series of recent screenings produced at film venues such as Cornell Cinema, Mad Stork Cinema, and MoMA PS1 have demonstrated, remakes and revisions of works by the Lumières constitute a veritable sub-genre of avant-garde film: a common form through which highly disparate practitioners have repeatedly reframed our understanding of the cinematic, positioning our filmic present in relation to films past. “Refracting Lumière” presents a highly distinctive subset of experimental films that re-stage, re-situate, or re-purpose filmic scenarios initiated by the Lumières. The program is drawn from the collection of the avant-garde film distributor, the Film-Makers’ Cooperative, and focuses on works produced in the 1970s, a decade of experimental film practice characterized by sustained inquiries into cinematic specificity, as well as innovative contributions to narrative, found footage, and diaristic film forms. Works exemplifying these tendencies by Malcolm Le Grice, Chick Strand, Hollis Frampton, and Bill Brand will be presented alongside a short compilation reel that reproduces the Lumière brothers’ first public exhibition program in 1895, provided by the New York Public Library’s Reserve Film and Video Collection. The screening will be followed by a Q&A with the artist Bill Brand.

Refracting Lumiere: Avant Garde Revisions of the Lumiere Brothers

with Joshua Guilford Cinema’s origins have held an enduring appeal for the avant-garde. In the act of returning to cinema’s earliest productions, experimental filmmakers from different eras and regions have discovered a highly flexible and productive artistic gesture. Such returns facilitate interrogations of film history as well as efforts to renew film form or criticize modern media cultures; at their most fruitful, they question the terms of avant-garde film practice itself. The films of the Lumière brothers have lent themselves especially well to such endeavors. As a series of recent screenings produced at film venues such as Cornell Cinema, Mad Stork Cinema, and MoMA PS1 have demonstrated, remakes and revisions of works by the Lumières constitute a veritable sub-genre of avant-garde film: a common form through which highly disparate practitioners have repeatedly reframed our understanding of the cinematic, positioning our filmic present in relation to films past. “Refracting Lumière” presents a highly distinctive subset of experimental films that re-stage, re-situate, or re-purpose filmic scenarios initiated by the Lumières. The program is drawn from the collection of the avant-garde film distributor, the Film-Makers’ Cooperative, and focuses on works produced in the 1970s, a decade of experimental film practice characterized by sustained inquiries into cinematic specificity, as well as innovative contributions to narrative, found footage, and diaristic film forms. Works exemplifying these tendencies by Malcolm Le Grice, Chick Strand, Hollis Frampton, and Bill Brand will be presented alongside a short compilation reel that reproduces the Lumière brothers’ first public exhibition program in 1895, provided by the New York Public Library’s Reserve Film and Video Collection. The screening will be followed by a Q&A with the artist Bill Brand.
Friday, May 8 - 7:30pm What You Get is What You See: The City Has Eyes with Geoff Manaugh The first part of this talk will attempt to look at security professionals, at those who look for a living—to watch the watchers—and to understand urban security as a different kind of spectatorship, with its own narrative expectations and interpretive cinematography. Whether this involves staring for hours at a time at multiple video feeds or simply reorienting CCTV cameras to watch—and thus protect—their own cars parked outside the office, guards are the very definition of urban spectatorship, literally looking at how the metropolis is used or inhabited. The second part of this talk will look the other way, so to speak, at those who seek not to be looked at, who wish to remain invisible and anonymous: how burglars, vandals, and everyday criminals see the city, as an arena of crimes both real and imagined. The point is to reveal the city as a stadium of looking: on the lookout for criminals hiding in the shadows, and looking out for police waiting around the next corner.

What You Get is What You See: The City Has Eyes

with Geoff Manaugh The first part of this talk will attempt to look at security professionals, at those who look for a living—to watch the watchers—and to understand urban security as a different kind of spectatorship, with its own narrative expectations and interpretive cinematography. Whether this involves staring for hours at a time at multiple video feeds or simply reorienting CCTV cameras to watch—and thus protect—their own cars parked outside the office, guards are the very definition of urban spectatorship, literally looking at how the metropolis is used or inhabited. The second part of this talk will look the other way, so to speak, at those who seek not to be looked at, who wish to remain invisible and anonymous: how burglars, vandals, and everyday criminals see the city, as an arena of crimes both real and imagined. The point is to reveal the city as a stadium of looking: on the lookout for criminals hiding in the shadows, and looking out for police waiting around the next corner.
Sunday, Apr 26 - 7:30pm Theater of War with In Country with Meredith Davenport, Jessica Catherine Lieberman, Fred Ritchen, Mike Attie and Meghan O'Hara. Americans have been bombarded by photographs and videos from battlefields far removed from the safety of our cities and towns. War stories come home through veterans’ very personal experiences and images which influence popular video games and are rehearsed through the growing phenomenon of live-action military simulation and recreation. On Sunday evening, borrowing the focus of documentary photographer Meredith Davenport’s new book, we ask questions about the Theater of War. How do images of war enter into and influence our personal narratives, our cultural psyche? Do iconic images of conflict perpetuate trauma? Can games or play using these representations help metabolize the violence? Have war photographs lost their meaning? Is there a new visual vocabulary that could be used to discuss war? Seeking answers and discussion, Meredith Davenport will present her photography alongside presentations from Jessica Catherine Lieberman and Fred Ritchin, both experts on the topic who have written essays for the book. Clips will be shown of the recently released feature, In Country, which documents a community of men who gather each year to dutifully recreate battles from the Vietnam War. The directors of this fascinating film, Mike Attie and Meghan O'Hara will join in the conversation remotely.

Theater of War with In Country

with Meredith Davenport, Jessica Catherine Lieberman, Fred Ritchen, Mike Attie and Meghan O'Hara. Americans have been bombarded by photographs and videos from battlefields far removed from the safety of our cities and towns. War stories come home through veterans’ very personal experiences and images which influence popular video games and are rehearsed through the growing phenomenon of live-action military simulation and recreation. On Sunday evening, borrowing the focus of documentary photographer Meredith Davenport’s new book, we ask questions about the Theater of War. How do images of war enter into and influence our personal narratives, our cultural psyche? Do iconic images of conflict perpetuate trauma? Can games or play using these representations help metabolize the violence? Have war photographs lost their meaning? Is there a new visual vocabulary that could be used to discuss war? Seeking answers and discussion, Meredith Davenport will present her photography alongside presentations from Jessica Catherine Lieberman and Fred Ritchin, both experts on the topic who have written essays for the book. Clips will be shown of the recently released feature, In Country, which documents a community of men who gather each year to dutifully recreate battles from the Vietnam War. The directors of this fascinating film, Mike Attie and Meghan O'Hara will join in the conversation remotely.

Eclipses

with Daniel Hui At the juncture of the personal and the political, the individual and the collective, the particular and the universal. A woman begins to come to terms with society after having withdrawn into her own world to mourn her late husband. The film splinters away to document the characters surrounding her – people from different classes, including the director’s own family. An investigation of the landscapes in which we live, work, and play, this is Singapore seen through the prisms of family, class and race.
Sunday, Apr 19 - 7:30pm Still Matters: A Screening of Archival and Found Footage Re-Appropriation with Lei Lei, Daniel Traub, and Xin Zhao In 2009, the Beijing-based archivist and artist Thomas Sauvin salvaged over half a million discarded negatives from a recycling plant on the outskirts of the city. Sauvin processed, archived, and curated selections of these photographs in a project called Beijing Silvermine. The images were taken between 1985 and 2005, a period of tremendous social and economic change in mainland China, as well as the height of consumer film photography in the region. From 2011 to 2012, a collaboration between Sauvin and the Chinese animator Lei Lei led to the creation of Recycled, an experimental video work that animates over 3000 of the Beijing Silvermine photos, reconstructing anonymous memories of place and personal history in China over a 20 year timespan. Taking Recycled as a point of departure, this screening will include a selection of works from experimental filmmakers and artists who explore innovative formal approaches in their reconstructions of place and memory on moving image. The concept behind this program was partially inspired by RECYCLED CINEMA, an earlier screening program held in Boston that was developed and curated by the new Boston-based film initiative Crows & Sparrows in collaboration with the Balagan Film Series.

Still Matters: A Screening of Archival and Found Footage Re-Appropriation

with Lei Lei, Daniel Traub, and Xin Zhao In 2009, the Beijing-based archivist and artist Thomas Sauvin salvaged over half a million discarded negatives from a recycling plant on the outskirts of the city. Sauvin processed, archived, and curated selections of these photographs in a project called Beijing Silvermine. The images were taken between 1985 and 2005, a period of tremendous social and economic change in mainland China, as well as the height of consumer film photography in the region. From 2011 to 2012, a collaboration between Sauvin and the Chinese animator Lei Lei led to the creation of Recycled, an experimental video work that animates over 3000 of the Beijing Silvermine photos, reconstructing anonymous memories of place and personal history in China over a 20 year timespan. Taking Recycled as a point of departure, this screening will include a selection of works from experimental filmmakers and artists who explore innovative formal approaches in their reconstructions of place and memory on moving image. The concept behind this program was partially inspired by RECYCLED CINEMA, an earlier screening program held in Boston that was developed and curated by the new Boston-based film initiative Crows & Sparrows in collaboration with the Balagan Film Series.
Sunday, Apr 19 - 7:30pm Bloody Marys with Scott Carrier with Scott Carrier and Jonathan Goldstein Peabody Award-winning journalist Scott Carrier has been all over. His work, both written and spoken, has taken him around the globe and back, each time with a new story of the road. Recently, he has taken a step into new territory, the world of podcasts. With Home of the Brave, Scott provides a weekly story "from the archives, the road, and the end of the world." Join UnionDocs for a discussion, and a Bloody Mary, with Scott.

Bloody Marys with Scott Carrier

with Scott Carrier and Jonathan Goldstein Peabody Award-winning journalist Scott Carrier has been all over. His work, both written and spoken, has taken him around the globe and back, each time with a new story of the road. Recently, he has taken a step into new territory, the world of podcasts. With Home of the Brave, Scott provides a weekly story "from the archives, the road, and the end of the world." Join UnionDocs for a discussion, and a Bloody Mary, with Scott.

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