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DTSTART;TZID=America/New_York:20150626T193000
DTEND;TZID=America/New_York:20150626T220000
DTSTAMP:20260427T101255
CREATED:20150416T040000Z
LAST-MODIFIED:20180320T162429Z
UID:10001909-1435347000-1435356000@uniondocs.org
SUMMARY:Documentary Fundamentals Planning
DESCRIPTION:[vc_row][vc_column][vc_column_text] \nAbout Documentary Fundamentals Planning:\nWhat are the essential business and legal issues to consider as you plan your documentary film? What can you do now to avoid problems later? Do you need an LLC? What is E&O insurance? This session covers issues of legal rights and clearances\, business basics for filmmakers\, budgeting\, structuring agreements for talent and crew\, and more. \nFeatured Presenters:\nNicole Page is Partner of Reavis Parent Lehrer LLP and practices in the areas of media\, entertainment\, intellectual property and employment law. She has broad experience in providing advice with respect to all aspects of motion picture\, television and new media productions\, and in counseling writers\, producers and other creative personnel and entertainment industry executives concerning all facets of their work. She regularly serves as production counsel for film\, television and digital productions and assists in structuring private equity investments and other types of production financing. Ms. Page works with authors in connection with their collaboration\, literary agent and publishing agreements. Her extensive intellectual property practice includes advice on protection and exploitation of copyrights and trademarks across multi-media platforms. Ms. Page also works with clients in connection with cross-platform branding and licensing in the worlds of media\, fashion\, lifestyle\, sports and entertainment. \nMs. Page regularly lectures and writes on legal issues in the arts and media. She has appeared on panels at SXSW\, Hot Docs\, The Napa Valley Film Festival\, Slamdance\, The Hamptons International Film Festival\, The World Congress of Science and Factual Producers\, IFP and Real Screen\, among other festivals and conferences. Ms. Page also produces a Business and Legal Seminar Series for New York Women in Film and Television covering topics including production company formation and management\, copyright and fair use and various employment issues. She has been a guest lecturer at NYU’s Tisch School of the Arts and School of Continuing Education\, Hunter College’s Department of Film and Media Studies\, Cardozo Law School\, The Fashion Institute of Technology and The Department of Film and Media Studies at Hunter College. Ms. Page is the Chair of the Board of Women Make Movies. She is also a member of New York Women in Film and Television\, and the Independent Feature Project. \nSam Cullman is an award-winning cinematographer\, producer and director of documentaries. His latest film\, ART AND CRAFT (2014)\, which Cullman shot\, produced and directed with Jennifer Grausman and co-director Mark Becker\, won the National Board of Review Top 5 Documentaries in 2014 and was shortlisted for the 2015 Academy Awards. Cullman also produced and shot the Peabody and Sundance Grand Jury prize-winning THE HOUSE I LIVE IN (2012)\, directed by Eugene Jarecki. Later that year his short film\, BLACK CHEROKEE (2012)\, which Cullman directed\, shot and produced with Benjamin Rosen\, premiered at DOC NYC. With director Marshall Curry\, Cullman also co-directed\, shot and produced IF A TREE FALLS (2011)\, which won the U.S. Documentary Editing Award at the 2011 Sundance Film Festival and later received an Academy Award® nomination for Best Documentary Feature. In addition to camerawork on his own films\, Cullman’s cinematography has also appeared in dozens of other documentaries including WATCHERS OF THE SKY (2014)\, REAGAN (2011)\, and KING CORN (2006). A graduate of Brown University (1999) with Honors in Visual Art and a second major in Urban Studies\, Cullman currently lives and works in Brooklyn\, New York. \n  \nAbout Documentary Fundamentals:\nA nuts-and-bolts professional development series designed for the beginning or intermediate documentary filmmaker\, Documentary Fundamentals @ UnionDocs is six-week course culminating in a certificate of completion. Registrants can also attend individual sessions. This curriculum developed out of our experience hearing what fundamentals documentarians need to understand to plan\, produce\, and release an independent documentary today. \nHosted by the Chai Vasarhelyi of Little Monster Films\, Documentary Fundamentals is essential learning for the documentary filmmaker\, covering business basics\, fundraising and financing\, production and post-production strategies\, transmedia campaigns\, sales and distribution models. Each session features guest speakers sharing tips and secrets of the trade\, with an emphasis on real-life case studies and best practices. For 2015\, the series will use the feature documentary Meru as a case study. Meru was co-directed by Vasarhelyi and premiered this year in competition at the Sundance Film Festival. Full guest speaker list to be announced. \nDocumentary Fundamentals is designed for beginning or intermediate filmmakers with projects in any stage of development or production (even the daydreaming stage!).  Sessions combine formal presentations with extensive time for in-depth discussions with participants. \nRegistrants completing all six sessions will receive a Certificate of Completion\, and will have special opportunities to promote their projects within the UnionDocs network.  Specific guests and topics are subject to change.  \nDocumentary Fundamentals Full Schedule:\nFRI 6/26 – 7:00 PM | Planning Your Documentary – \nSAT 6/27 – 1:00PM | Financing Your Documentary – \nSAT 6/27 – 4:00PM | Directing and Shooting Your Documentary – \nSAT 6/27 – 7:00PM | Editing Your Documentary – \nSUN 6/28 – 1:00PM | Graphics\, Music\, and Your Transmedia Campaign – \nSUN 6/28 – 4:00PM | Releasing Your Documentary – \n  \nChai Vasarhelyi is an award-winning director and producer.  Her first film\, A Normal Life\, won Best Documentary at the Tribeca Film Festival in 2003.  Her second film\, Youssou N’Dour: I Bring What I Love\, was released in theaters in the U.S. and internationally. The film premiered at the Telluride and Toronto Film Festivals and won numerous awards including the Special Jury Prize at the Middle East International Film Festival in 2008 and a nomination for the Pare Lorentz Award at the 2009 International Documentary Association Awards.  Touba\, a visceral documentary experience that takes the viewer through each step of the annual Mouride pilgrimage\, the Grand Magaal in Touba\, Senegal\, premiered at SXSW 2013 where it won the Special Jury Prize for Best Cinematography.  She returned to Senegal in 2012 to document the heated Presidential elections.  Incorruptible (formerly An African Spring)\, the intense and unflinching story of Senegalese democracy is currently in post-production. She is also currently working on two American stories: The Home Front (formerly Little Troopers)\, a film about the impact of American soldiers’ deployments on their families left behind; and Father School\, a glimpse into the Korean American movement towards becoming more in-touch fathers and husbands.  Vasarhelyi has received grants from several foundations including the Sundance Documentary Fund\, National Endowment for the Arts\, BRITDOC\, Ford Foundation\, Rockefeller Brothers Fund\, and the William and Mary Greve Foundation.   She was selected as a 2013 Sundance Documentary Film Fellow\, named one of Filmmaker Magazine’s “25 New Faces of Independent Film” in 2005 and received an Achievement Award from Creative Visions foundation in 2008.   She has been featured in numerous publications including\, The New Yorker\, The Wall Street Journal\, Vogue and New York Magazine. Chai has a B.A. from Princeton University in Comparative Literature. \n  \nWorkshop Policies:\nRegistration & Cancellation To register for a workshop\, students must pay in full via PayPal. In the event a student must withdraw from a class\, he or she may do so any time before the start of the workshop\, and will receive a 75% refund of class costs. After this deadline\, 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. \n[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2015-06-26-documentary-fundamentals-planning/
LOCATION:NY
CATEGORIES:Workshops & Labs
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2015/04/Meru-11.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20150627T193000
DTEND;TZID=America/New_York:20150627T220000
DTSTAMP:20260427T101255
CREATED:20150416T040000Z
LAST-MODIFIED:20180320T153127Z
UID:10002050-1435433400-1435442400@uniondocs.org
SUMMARY:Documentary Fundamentals Financing
DESCRIPTION:[vc_row row_type=”row_full_center_content”][vc_column][vc_column_text] \nABOUT DOCUMENTARY FUNDAMENTALS FINANCING:\nThis session will address the eternal question: how to finance your doc? What are the pros and cons of different fundraising models (grants\, equity investment\, pre-sales\, crowdsourcing)? We will also have veteran independent film accountant Fred Siegel to talk about tax ramifications and planning around financing as well as investor relations. Budgeting\, how to find and successfully apply for grants\, tips and tools for crowdfunding and other approaches to getting funded will be discussed in addition for this can’t-miss session. \nFeatured Presenters:\nTracie Holder is an award-winning filmmaker\, fundraising consultant and engagement campaign specialist.Clients include Women Make Movies\, Active Voice\, European Documentary Network\, DocNomads and the Made in NY Media Center. She leads workshops both in the U.S. and abroad\, consults on numerous documentary projects and runs engagement campaigns using social issue films to help shape public opinion and influence public policy. Holder is a former board member of NY Women in Film & Television and Manhattan Neighborhood Network and grant panelist for national and local funders. She has raised nearly $2 million for her projects from a mix of government funders\, private foundations and individuals. Holder co-produced/directed/ wrote Joe Papp in Five Acts\, which premiered at the Tribeca Film Festival and screened at more than 40 festivals internationally. She is currently producing Mudflow\, a documentary set in Indonesia\, directed by Academy Award-winner Cynthia Wade and Executive Producer\, Abby Disney. \nSarah Meister currently serves as Head of Projects at Vann Alexandra\, a creative services agency that finances projects through crowdfunding. Her film campaigns have included the Joan Didion documentary\, We Tell Ourselves Stories in Order to Live(The Carter Office)\, Check It (Olive Productions\, Macro Pictures)\, To the Edge of the Sky (Wider Film Projects) and The Earth Moves (Mr. Mudd) a documentary about Philip Glass and Bob Wilson’s opera Einstein on the Beach\, which is currently live on Kickstarter. Her other projects at Vann Alexandra have included TLC’s final album\, the NYCTA Graphic Standards manual\, and Jane Green’s cookbook. Sarah is a New-York-based Texan with a background in post production and live TV as well as freelance public relations\, social media and marketing. Past work experience includes Martha Stewart Living\, Of A Kind\, Mast Brothers Chocolate\, Spot Welders and Centerbridge Partners. Sarah graduated from The University of Puget Sound with a bachelor’s in History and a minor in Sociology. \n David Koh is an independent producer\, distributor\, sales agent\, curator & programmer. He has been involved in the acquisition\, distribution\, marketing\, production\, financing\, release and sale of over 300 films. He is currently a partner with Josh Braun & Dan Braun at Submarine Entertainment\, one of the leading sales agents in the world; and is partnered with Stanley Buchthal & Maja Hoffmann’s Dakota Group Ltd where he currently co-manages a combined slate and portfolio of approximately 50+ projects a year — 75% non-fiction and 25% fiction — in addition to producing & co-producing 10-15 projects a year. Prior to that he ran Chris Blackwell’s (founder of Island Records & Island Pictures) label\, Palm Pictures\, which included Manga Entertainment\, RES Media Group\, sputnik7\, and several music labels and prior to that served as the Head of Acquisitions & Co-Productions for Wellspring Media one of the leading foreign language and independent film distributors which was subsequently sold to the Weinstein Co. David founded the boutique distributino imprint Arthouse Films and has worked with world renowned artist Nam June Paik as a Producer and served as an Editor of Film Culture Magazine with Jonas Mekas. He has worked in the Film Curatorial Departments of MoMA\, Guggenheim Museum\, and Anthology Film Archives and was the Founder & Artistic Director of the Santa Fe Film Festival & Goldeneye Film Festival in Jamaica. He has recently been a Curator at the Core Club in NYC and the Vincent Van Gogh Museum in Arles\, France and co-hosts a series of screenings & Film Salons with the Andre Balazs Hotel Group. He has served as a Curator for Microsoft. \nDavid’s most recent and upcoming projects include: the launch of Submarine Deluxe distribution imprint\, NFP Submarine Doks – a German distribution imprint\, Submarine 360 a museum distribution imprint\, and the films Peggy Guggenheim: Art Addict\, Chris Burden: Double Bind\, Yayoi Kusama: a Life in Polka Dots\, Troublemakers: the Story of Land Art\, Station to Station\, The Record Man\, Danny Says\, Mavis!\, the Heady Days of Hedy Lamarr\, Rats NYC\, Leica x 100\, 22 Short Films about Kenny Scharf\, 20 Feet from Stardom\, Citizenfour\, Dior & I\, Iris\, Searching for Sugar Man\, Marina Abramovic: the Artist is Present\, Jean-Michel Basquiat the Radiant Child\, Waste Land\, Cutie & the Boxer\, Herb & Dorothy\, Chasing Ice\, Bill Cunningham New York\, Finding Vivian Maier\, Muscle Shoals\, Nas: Time Is Illmatic. David studied Philosophy & Literature at the New School for Social Research and has been on the selection committee for Creative Capital Foundation. \n  \nABOUT DOCUMENTARY FUNDAMENTALS:\nA nuts-and-bolts professional development series designed for the beginning or intermediate documentary filmmaker\, Documentary Fundamentals @ UnionDocs is six-week course culminating in a certificate of completion. Registrants can also attend individual sessions. This curriculum developed out of our experience hearing what fundamentals documentarians need to understand to plan\, produce\, and release an independent documentary today. \nHosted by the Chai Vasarhelyi of Little Monster Films\, Documentary Fundamentals is essential learning for the documentary filmmaker\, covering business basics\, fundraising and financing\, production and post-production strategies\, transmedia campaigns\, sales and distribution models. Each session features guest speakers sharing tips and secrets of the trade\, with an emphasis on real-life case studies and best practices. For 2015\, the series will use the feature documentary Meru as a case study. Meru was co-directed by Vasarhelyi and premiered this year in competition at the Sundance Film Festival. Full guest speaker list to be announced. \nDocumentary Fundamentals is designed for beginning or intermediate filmmakers with projects in any stage of development or production (even the daydreaming stage!).  Sessions combine formal presentations with extensive time for in-depth discussions with participants. \nRegistrants completing all six sessions will receive a Certificate of Completion\, and will have special opportunities to promote their projects within the UnionDocs network.  Specific guests and topics are subject to change. Doors will close at 7:15 and we will begin each session promptly at 7:30pm. \nDOCUMENTARY FUNDAMENTALS FULL SCHEDULE:\nFRI 6/26 – 7:00PM | Planning Your Documentary – \nSAT 6/27 – 1:00PM | Financing Your Documentary – \nSAT 6/27 – 4:00PM | Directing and Shooting Your Documentary – \nSAT 6/27 – 7:00PM | Editing Your Documentary – \nSUN 6/28 – 1:00PM | Graphics\, Music\, and Your Transmedia Campaign – \nSUN 6/28 – 4:00PM | Releasing Your Documentary – \n  \nChai Vasarhelyi is an award-winning director and producer.  Her first film\, A Normal Life\, won Best Documentary at the Tribeca Film Festival in 2003.  Her second film\, Youssou N’Dour: I Bring What I Love\, was released in theaters in the U.S. and internationally. The film premiered at the Telluride and Toronto Film Festivals and won numerous awards including the Special Jury Prize at the Middle East International Film Festival in 2008 and a nomination for the Pare Lorentz Award at the 2009 International Documentary Association Awards.  Touba\, a visceral documentary experience that takes the viewer through each step of the annual Mouride pilgrimage\, the Grand Magaal in Touba\, Senegal\, premiered at SXSW 2013 where it won the Special Jury Prize for Best Cinematography.  She returned to Senegal in 2012 to document the heated Presidential elections.  Incorruptible (formerly An African Spring)\, the intense and unflinching story of Senegalese democracy is currently in post-production. She is also currently working on two American stories: The Home Front (formerly Little Troopers)\, a film about the impact of American soldiers’ deployments on their families left behind; and Father School\, a glimpse into the Korean American movement towards becoming more in-touch fathers and husbands.  Vasarhelyi has received grants from several foundations including the Sundance Documentary Fund\, National Endowment for the Arts\, BRITDOC\, Ford Foundation\, Rockefeller Brothers Fund\, and the William and Mary Greve Foundation.   She was selected as a 2013 Sundance Documentary Film Fellow\, named one of Filmmaker Magazine’s “25 New Faces of Independent Film” in 2005 and received an Achievement Award from Creative Visions foundation in 2008.   She has been featured in numerous publications including\, The New Yorker\, The Wall Street Journal\, Vogue and New York Magazine. Chai has a B.A. from Princeton University in Comparative Literature. \n  \nWorkshop Policies:\nRegistration & Cancellation To register for a workshop\, students must pay in full via PayPal. In the event a student must withdraw from a class\, he or she may do so any time before the start of the workshop\, and will receive a 75% refund of class costs. After this deadline\, 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. \n[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2015-06-27-1-documentary-fundamentals-financing/
LOCATION:NY
CATEGORIES:Workshops & Labs
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2015/04/Meru-5.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20150627T193000
DTEND;TZID=America/New_York:20150627T220000
DTSTAMP:20260427T101255
CREATED:20150416T040000Z
LAST-MODIFIED:20180320T153956Z
UID:10002057-1435433400-1435442400@uniondocs.org
SUMMARY:Documentary Fundamentals Shooting and Directing
DESCRIPTION:[vc_row][vc_column][vc_column_text] \nAbout Documentary Fundamentals Shooting and Directing:\nDocumentary filmmakers produce and shoot in a wide variety of locations under many different practical\, financial\, technical and legal constraints. What kind of equipment do you need? Who do you need on your production team? How do you deal with emergencies during shooting and how do you pick out a camera and DP? Should I be thinking of archival material in advance? \nFeatured Presenters: \nHeidi Ewing Co-owner of New York’s Loki Films\, Ewing is a documentary filmmaker that shines lights on the myriad of unseen worlds in our midst. She is the co-director of “Jesus Camp” (2007 Oscar nominee)\, “The Boys of Baraka” (2005\, Emmy nominee) 12th & Delaware (2010\, Peabody winner) and DETROPIA (2012\, Sundance and Emmy winner). She is currently at work on “The Arrivals\,” an innovative scripted/documentary hybrid about two successful gay immigrants in Brooklyn searching for a path to legalization. Heidi is a member of the Directors Guild and the Academy of Motion Picture Arts and Sciences. \nKirsten Johnson is an award-winning New York-based documentary filmmaker and cinematographer. Her feature film script MY HABIBI was selected for the 2006 Sundance Writer’s Lab and Director’s Lab and is the recipient of an Annenberg grant. Her documentary\, DEADLINE\, (co-directed with Katy Chevigny)\, premiered at Sundance in 2004\, was broadcast on primetime NBC\, and won the Thurgood Marshall Award. As a cinematographer\, her film credits include Derrida (2002)\, a documentary on French philosopher Jacques Derrida\, the documentary Darfur Now (2006)\, and Pray the Devil Back to Hell (2008) which won the Tribeca Film Festival Best Documentary. Her most recent works are The Oath (2010) and Citizenfour (2014)\, both directed by Laura Poitras. The Oath is about Osama bin Laden’s driver\, Abu Jandal\, for which Johnson won an award from Sundance. Citizenfour concerns Edward Snowden and his revelations about the NSA. Johnson is a 1987 graduate of Brown University. Her 1999 film Innocent Until Proven Guilty examined the numbers of African American men in the U.S. criminal justice system. \nAbout Documentary Fundamentals:\nA nuts-and-bolts professional development series designed for the beginning or intermediate documentary filmmaker\, Documentary Fundamentals @ UnionDocs is six-week course culminating in a certificate of completion. Registrants can also attend individual sessions. This curriculum developed out of our experience hearing what fundamentals documentarians need to understand to plan\, produce\, and release an independent documentary today. \nHosted by the Chai Vasarhelyi of Little Monster Films\, Documentary Fundamentals is essential learning for the documentary filmmaker\, covering business basics\, fundraising and financing\, production and post-production strategies\, transmedia campaigns\, sales and distribution models. Each session features guest speakers sharing tips and secrets of the trade\, with an emphasis on real-life case studies and best practices. For 2015\, the series will use the feature documentary Meru as a case study. Meru was co-directed by Vasarhelyi and premiered this year in competition at the Sundance Film Festival. \nDocumentary Fundamentals is designed for beginning or intermediate filmmakers with projects in any stage of development or production (even the daydreaming stage!).  Sessions combine formal presentations with extensive time for in-depth discussions with participants. \nRegistrants completing all six sessions will receive a Certificate of Completion\, and will have special opportunities to promote their projects within the UnionDocs network.  Specific guests and topics are subject to change. Doors will closed at 7:15 and we will being each session promptly at 7:30pm. \nDocumentary Fundamentals Full Schedule:\nFRI 6/26 – 7:30PM | Planning Your Documentary – \nSAT 6/27 – 1:00PM | Financing Your Documentary – \nSAT 6/27 – 4:00PM | Directing and Shooting Your Documentary – \nSAT 6/27 – 7:00PM | Editing Your Documentary – \nSUN 6/28 – 1:00PM | Graphics\, Music\, and Your Transmedia Campaign – \nSUN 6/28 – 4:00PM | Releasing Your Documentary – \n  \nChai Vasarhelyi is an award-winning director and producer.  Her first film\, A Normal Life\, won Best Documentary at the Tribeca Film Festival in 2003.  Her second film\, Youssou N’Dour: I Bring What I Love\, was released in theaters in the U.S. and internationally. The film premiered at the Telluride and Toronto Film Festivals and won numerous awards including the Special Jury Prize at the Middle East International Film Festival in 2008 and a nomination for the Pare Lorentz Award at the 2009 International Documentary Association Awards.  Touba\, a visceral documentary experience that takes the viewer through each step of the annual Mouride pilgrimage\, the Grand Magaal in Touba\, Senegal\, premiered at SXSW 2013 where it won the Special Jury Prize for Best Cinematography.  She returned to Senegal in 2012 to document the heated Presidential elections.  Incorruptible (formerly An African Spring)\, the intense and unflinching story of Senegalese democracy is currently in post-production. She is also currently working on two American stories: The Home Front (formerly Little Troopers)\, a film about the impact of American soldiers’ deployments on their families left behind; and Father School\, a glimpse into the Korean American movement towards becoming more in-touch fathers and husbands.  Vasarhelyi has received grants from several foundations including the Sundance Documentary Fund\, National Endowment for the Arts\, BRITDOC\, Ford Foundation\, Rockefeller Brothers Fund\, and the William and Mary Greve Foundation.   She was selected as a 2013 Sundance Documentary Film Fellow\, named one of Filmmaker Magazine’s “25 New Faces of Independent Film” in 2005 and received an Achievement Award from Creative Visions foundation in 2008.   She has been featured in numerous publications including\, The New Yorker\, The Wall Street Journal\, Vogue and New York Magazine. Chai has a B.A. from Princeton University in Comparative Literature. \n  \nWorkshop Policies:\nRegistration & Cancellation To register for a workshop\, students must pay in full via PayPal. In the event a student must withdraw from a class\, he or she may do so any time before the start of the workshop\, and will receive a 75% refund of class costs. After this deadline\, 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. \n[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2015-06-27-4-documentary-fundamentals-shooting-and-directing/
LOCATION:NY
CATEGORIES:Workshops & Labs
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2015/04/Meru-21.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20150627T193000
DTEND;TZID=America/New_York:20150627T220000
DTSTAMP:20260427T101255
CREATED:20150416T040000Z
LAST-MODIFIED:20180320T155116Z
UID:10002060-1435433400-1435442400@uniondocs.org
SUMMARY:Documentary Fundamentals Editing
DESCRIPTION:[vc_row row_type=”row_full_center_content”][vc_column][vc_column_text] \nAbout Documentary Fundamentals Editing:\nHow can documentary directors work effectively with editors\, sound designers\, and other essential post-production talent?  How does a story emerge from a pile of footage?  Can you really “fix it in post”?  What is an online edit and can you do it yourself?  How does a good sound designer work\, and how does post-production sound enhance your documentary \nFeatured Presenters:\nEditor Bob Eisenhardt\, A.C.E. (Meru\, Valentino: The Last Emperor\, Living Emergency: Stories of Doctors without Borders\, Shut Up & Sing Bearing Witness) and sound engineer\, Tom Fleischman (Meru\, The 50 Year Argument\, Neil Young: Heart of Gold\, Stations of the Elevated\, Gates of Heaven). \nBob Eisenhardt is a three-time Emmy Award winner and Oscar nominee with over sixty films to his credit. Recent films include WAGNER’S DREAM\, which received an Emmy nomination for editing\, VALENTINO: THE LAST EMPEROR\, DIXIE CHICKS: SHUT UP & SING\, and LIVING EMERGENCY: STORIES OF DOCTORS WITHOUT BORDERS. His latest film\, MERU\, won the Audience Award at the 2015 Sundance Film Festival and was the closeding night selection at the Full Frame Film Festival. Currently he is editing the HBO film\, EVERYTHING IS COPY\, on the life of Nora Ephron. \nTom Fleischman was born and raised in New York City\, the son of legendary film editor Dede Allen and television documentary writer/producer/director Stephen Fleischman. Although Tom began his career in 1969 as an apprentice film editor\, it was not until he went to work for Image Sound Studios in 1971 that he became truly interested in sound. At Image Sound he began by cataloging and creating a sound effects library and recording sound effects and foley. In 1973 Tom joined Trans/Audio Inc. where he worked in the transfer department and was given the opportunity to begin mixing under the tutelage of the well respected New York re-recording mixer Richard Vorisek. In 1979\, he mixed his first commercial feature film\, Jonathan Demme’s “Melvin And Howard”\, and in 1981 he and Dick Vorisek were nominated for an Academy Award for Best Sound for their work on Warren Beatty’s\, “Reds”. In 1985 Tom moved to Sound One where he continued to develop long-term working relationships with many illustrious directors\, including Martin Scorsese\, Jonathan Demme\, Spike Lee\, Barbet Schroeder\, John Sayles\, Warren Beatty\, Oliver Stone\, and Ron Howard. Over the next twenty years Tom earned Academy Award nominations for Demme’s\, “The Silence of the Lambs” (1991)\, Martin Scorsese’s “Gangs Of New York”(2002) and “The Aviator” (2004) for which he also won the Cinema Audio Society award for Outstanding Sound Mixing for a Television Series\, and was most recently recognized by the Academy with an Oscar win for Scorsese’s “Hugo” in 2012. Tom has also won sound mixing Emmy Awards for Scorsese’s documentary\, “Bob Dylan: No Direction Home” in 2010\, and in 2013 won Emmys for the television series “Boardwalk Empire”\, and Alex Gibney’s music documentary\, “The History of the Eagles”. Tom’s home base for the past dozen years has been at Soundtrack Film & Television in the heart of Chelsea\, NYC. \n Over the past thirty years\, Deborah Wallach has established herself as one of the most sought after sound editors in the film industry. With her roots in documentary picture editing\, Deborah eventually made the move into audio post-production\, focusing in particular on ADR work for feature films. She has collaborated with some of the most important directors in cinema – Ron Howard\, Mike Nichols\, Jonathan Demme\, Julie Taymor – and her credits include the Oscar winning/nominated films Silence of the Lambs\, Philadelphia\, A Beautiful Mind\, Frost/ Nixon\, and Across the Universe (or Frida – since it had more nominations)\, as well as numerous award-winning documentaries. She lives and works in New York City. \n  \nAbout Documentary Fundamentals:\nA nuts-and-bolts professional development series designed for the beginning or intermediate documentary filmmaker\, Documentary Fundamentals @ UnionDocs is six-week course culminating in a certificate of completion. Registrants can also attend individual sessions. This curriculum developed out of our experience hearing what fundamentals documentarians need to understand to plan\, produce\, and release an independent documentary today. \nHosted by the Chai Vasarhelyi of Little Monster Films\, Documentary Fundamentals is essential learning for the documentary filmmaker\, covering business basics\, fundraising and financing\, production and post-production strategies\, transmedia campaigns\, sales and distribution models. Each session features guest speakers sharing tips and secrets of the trade\, with an emphasis on real-life case studies and best practices. For 2015\, the series will use the feature documentary Meru as a case study. Meru was co-directed by Vasarhelyi and premiered this year in competition at the Sundance Film Festival. Full guest speaker list to be announced. \nDocumentary Fundamentals is designed for beginning or intermediate filmmakers with projects in any stage of development or production (even the daydreaming stage!).  Sessions combine formal presentations with extensive time for in-depth discussions with participants. \nRegistrants completing all six sessions will receive a Certificate of Completion\, and will have special opportunities to promote their projects within the UnionDocs network.  Specific guests and topics are subject to change.  \nDocumentary Fundamentals Full Schedule:\nFRI 6/26 – 7:00PM | Planning Your Documentary – \nSAT 6/27 – 1:00PM | Financing Your Documentary – \nSAT 6/27 – 4:00PM | Directing and Shooting Your Documentary – \nSAT 6/27 – 7:00PM | Editing Your Documentary – \nSUN 6/28 – 1:00PM | Graphics\, Music\, and Your Transmedia Campaign – \nSUN 6/28 – 4:00PM | Releasing Your Documentary – \n  \nChai Vasarhelyi is an award-winning director and producer.  Her first film\, A Normal Life\, won Best Documentary at the Tribeca Film Festival in 2003.  Her second film\, Youssou N’Dour: I Bring What I Love\, was released in theaters in the U.S. and internationally. The film premiered at the Telluride and Toronto Film Festivals and won numerous awards including the Special Jury Prize at the Middle East International Film Festival in 2008 and a nomination for the Pare Lorentz Award at the 2009 International Documentary Association Awards.  Touba\, a visceral documentary experience that takes the viewer through each step of the annual Mouride pilgrimage\, the Grand Magaal in Touba\, Senegal\, premiered at SXSW 2013 where it won the Special Jury Prize for Best Cinematography.  She returned to Senegal in 2012 to document the heated Presidential elections.  Incorruptible (formerly An African Spring)\, the intense and unflinching story of Senegalese democracy is currently in post-production. She is also currently working on two American stories: The Home Front (formerly Little Troopers)\, a film about the impact of American soldiers’ deployments on their families left behind; and Father School\, a glimpse into the Korean American movement towards becoming more in-touch fathers and husbands.  Vasarhelyi has received grants from several foundations including the Sundance Documentary Fund\, National Endowment for the Arts\, BRITDOC\, Ford Foundation\, Rockefeller Brothers Fund\, and the William and Mary Greve Foundation.   She was selected as a 2013 Sundance Documentary Film Fellow\, named one of Filmmaker Magazine’s “25 New Faces of Independent Film” in 2005 and received an Achievement Award from Creative Visions foundation in 2008.   She has been featured in numerous publications including\, The New Yorker\, The Wall Street Journal\, Vogue and New York Magazine. Chai has a B.A. from Princeton University in Comparative Literature. \n  \nWorkshop Policies:\nRegistration & Cancellation To register for a workshop\, students must pay in full via PayPal. In the event a student must withdraw from a class\, he or she may do so any time before the start of the workshop\, and will receive a 75% refund of class costs. After this deadline\, 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. \n[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2015-06-27-7-documentary-fundamentals-editing/
LOCATION:NY
CATEGORIES:Workshops & Labs
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2015/04/Meru-31.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20150628T193000
DTEND;TZID=America/New_York:20150628T220000
DTSTAMP:20260427T101255
CREATED:20150416T040000Z
LAST-MODIFIED:20180320T152132Z
UID:10002066-1435519800-1435528800@uniondocs.org
SUMMARY:Documentary Fundamentals Graphics\, Music\, and Transmedia Campaigns
DESCRIPTION:[vc_row row_type=”row_full_center_content”][vc_column][vc_column_text] \nAbout Documentary Fundamentals Graphics\, Music\, and Transmedia:\nHow can title design and graphics be effectively utilized in documentary? What about my approach to music? What is transmedia and why should documentary filmmakers pay attention to it?  This session will dig in to graphics and music issues that come together during post production. We will also explore broad strokes of how to plan and execute transmedia campaigns. \nFeatured Presenters:\nAdnaan Wasey (@adnaanwasey) is the Executive Producer of POV Digital\, the Webby Award-winning department that drives storytelling innovation for the PBS documentary series POV (@povdocs). At POV\, Adnaan oversees digital production\, programming and licensing\, the POV Hackathon lab and POV’s digital marketing. POV is the longest-running showcase on American television to feature the work of today’s best independent documentary filmmakers. POV films have won every major film and broadcasting award\, including 33 Emmys\, 17 George Foster Peabody Awards\, 12 Alfred I. duPont-Columbia University Awards and three Academy Awards. \nKina Pickett is owner and executive producer of Helio & Company (www.wearehelio.com). Helio is a digital creative agency\, specializing in storytelling and motion design. We tell stories. From napkin sketch to cinematic piece — it doesn’t matter which landscape\, what product\, whose purpose — story is everywhere and anywhere. Our passion is the creation of profound story; where we thrive is in the strategic selection of that story. This means research\, concept\, creation\, execution. Platforms and leverage are our bread and butter\, the everyday instruments for the content we create. We cultivate ideas into beautiful products: collaboratively working to create a complete\, deployable package with a strategic preplan. \nBrand ID in a digital world is all about motion design. Your logo is the single most important marker of your brand’s identity. We bridge the gap between analog and animation\, and utilize the strengths of both depending on the opportunity\, application\, and core values of a brand. Motion graphics is a vehicle that delivers messaging across all branded content: commercials\, digital shorts\, title sequences\, feature length projects. With beautifully crafted motion design\, we help your brand separate itself in an ocean of standard\, digitized work. \nJ. Ralph is an Academy Award nominated composer and producer from NYC whose music has sold more than 10 million records worldwide and reached the No.1 spot in over 22 countries. His career began with the signing to Atlantic Records as a recording artist and since then J. Ralph has written and produced the music for numerous Grammy Award winning artists\, symphony orchestras\, The United Nations\, The President of The United States and more Oscar winning/nominated documentaries then any other composer in the history of the Academy Awards. Such films include Man On Wire\, The Cove\, Hell And Back Again\, Chasing Ice\, Finding Vivian Maier and Virunga. He is widely regarded for the original songs he writes and produces for these films such as the Oscar nominated “Before My Time” performed by Scarlett Johansson and Joshua Bell\, “Hell & Back” performed by Willie Nelson\, “We Will Not Go” performed by Youssou Ndour\, Salif Keita & Fally Ipupa and “Until The End” performed by Liza Minnelli & Wynton Marsalis. J. Ralph is the only composer to win two consecutive A.I.C.P. awards. Several of Mr. Ralph’s works are included in the Museum of Modern Art’s permanent collection of film and media in New York City. \n  \nAbout Documentary Fundamentals:\nA nuts-and-bolts professional development series designed for the beginning or intermediate documentary filmmaker\, Documentary Fundamentals @ UnionDocs is six-week course culminating in a certificate of completion. Registrants can also attend individual sessions. This curriculum developed out of our experience hearing what fundamentals documentarians need to understand to plan\, produce\, and release an independent documentary today. \nHosted by the Chai Vasarhelyi of Little Monster Films\, Documentary Fundamentals is essential learning for the documentary filmmaker\, covering business basics\, fundraising and financing\, production and post-production strategies\, transmedia campaigns\, sales and distribution models. Each session features guest speakers sharing tips and secrets of the trade\, with an emphasis on real-life case studies and best practices. For 2015\, the series will use the feature documentary Meru as a case study. Meru was co-directed by Vasarhelyi and premiered this year in competition at the Sundance Film Festival. Full guest speaker list to be announced. \nDocumentary Fundamentals is designed for beginning or intermediate filmmakers with projects in any stage of development or production (even the daydreaming stage!).  Sessions combine formal presentations with extensive time for in-depth discussions with participants. \nRegistrants completing all six sessions will receive a Certificate of Completion\, and will have special opportunities to promote their projects within the UnionDocs network.  Specific guests and topics are subject to change.  \n  \nDocumentary Fundamentals Full Schedule:\nFRI 6/26 – 7:00PM | Planning Your Documentary – \nSAT 6/27 – 1:00PM | Financing Your Documentary – \nSAT 6/27 – 4:00PM | Directing and Shooting Your Documentary – \nSAT 6/27 – 7:00PM | Editing Your Documentary – \nSUN 6/28 – 1:00PM | Graphics\, Music\, and Your Transmedia Campaign – \nSUN 6/28 – 4:00PM | Releasing Your Documentary – \n  \nChai Vasarhelyi is an award-winning director and producer.  Her first film\, A Normal Life\, won Best Documentary at the Tribeca Film Festival in 2003.  Her second film\, Youssou N’Dour: I Bring What I Love\, was released in theaters in the U.S. and internationally. The film premiered at the Telluride and Toronto Film Festivals and won numerous awards including the Special Jury Prize at the Middle East International Film Festival in 2008 and a nomination for the Pare Lorentz Award at the 2009 International Documentary Association Awards. Touba\, a visceral documentary experience that takes the viewer through each step of the annual Mouride pilgrimage\, the Grand Magaal in Touba\, Senegal\, premiered at SXSW 2013 where it won the Special Jury Prize for Best Cinematography.  She returned to Senegal in 2012 to document the heated Presidential elections.  Incorruptible (formerly An African Spring)\, the intense and unflinching story of Senegalese democracy is currently in post-production. She is also currently working on two American stories: The Home Front (formerly Little Troopers)\, a film about the impact of American soldiers’ deployments on their families left behind; and Father School\, a glimpse into the Korean American movement towards becoming more in-touch fathers and husbands.  Vasarhelyi has received grants from several foundations including the Sundance Documentary Fund\, National Endowment for the Arts\, BRITDOC\, Ford Foundation\, Rockefeller Brothers Fund\, and the William and Mary Greve Foundation.   She was selected as a 2013 Sundance Documentary Film Fellow\, named one of Filmmaker Magazine’s “25 New Faces of Independent Film” in 2005 and received an Achievement Award from Creative Visions foundation in 2008.   She has been featured in numerous publications including\, The New Yorker\, The Wall Street Journal\, Vogue and New York Magazine. Chai has a B.A. from Princeton University in Comparative Literature. \n  \nWorkshop Policies:\nRegistration & Cancellation To register for a workshop\, students must pay in full via PayPal. In the event a student must withdraw from a class\, he or she may do so any time before the start of the workshop\, and will receive a 75% refund of class costs. After this deadline\, 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. \n[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2015-06-28-1-documentary-fundamentals-graphics-music-and-transmedia-campaigns/
LOCATION:NY
CATEGORIES:Workshops & Labs
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2015/04/Meru-41.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20150628T193000
DTEND;TZID=America/New_York:20150628T220000
DTSTAMP:20260427T101255
CREATED:20150416T040000Z
LAST-MODIFIED:20180320T152625Z
UID:10002072-1435519800-1435528800@uniondocs.org
SUMMARY:Documentary Fundamentals How to Release Your Documentary
DESCRIPTION:[vc_row row_type=”row_full_center_content”][vc_column][vc_column_text] \nABOUT DOCUMENTARY FUNDAMENTALS HOW TO RELEASE YOUR DOCUMENTARY:\nHow can you find and build audiences for your film?  How do you know if your film is best suited for theatrical\, broadcast\, or both?  How do digital platforms affect “traditional” models of distribution and release? How can you best utilize your film festival campaign?  What does a sales agent do and how do I get one? Another can’t-miss session! \nFeatured Presenters: \nRyan Werner is a Senior Executive at Cinetic Media and Programmer-at-Large at BAMcinemtek. He previously held the title of Senior Vice President of Marketing and Publicity for IFC Entertainment for almost eight years. An industry veteran\, Werner has also held positions at Wellspring Media\, Palm Pictures\, and Magnolia Pictures. \n Since 2007\, Ed Arentz\, has been co-founder and managing director of Music Box Films\, one of the US’s leading art house distributors. In a 25 year career in specialty distribution has acquired and released over 100 foreign language and documentary features. Prominent past releases include the original Swedish version of THE GIRL WITH THE DRAGON TATTOO; the Emmy award winning French TV series “Les Revenants” (The Returned); and Pawel Pawlikowski’s Best Foreign Language Oscar winner IDA. Also programmed one of Manhattan’s oldest art cinemas\, Cinema Village\, from 1993 to 2014. \nABOUT DOCUMENTARY FUNDAMENTALS:\nA nuts-and-bolts professional development series designed for the beginning or intermediate documentary filmmaker\, Documentary Fundamentals @ UnionDocs is six-week course culminating in a certificate of completion. Registrants can also attend individual sessions. This curriculum developed out of our experience hearing what fundamentals documentarians need to understand to plan\, produce\, and release an independent documentary today. \nHosted by the Chai Vasarhelyi of Little Monster Films\, Documentary Fundamentals is essential learning for the documentary filmmaker\, covering business basics\, fundraising and financing\, production and post-production strategies\, transmedia campaigns\, sales and distribution models. Each session features guest speakers sharing tips and secrets of the trade\, with an emphasis on real-life case studies and best practices. For 2015\, the series will use the feature documentary Meru as a case study. Meru was co-directed by Vasarhelyi and premiered this year in competition at the Sundance Film Festival. Full guest speaker list to be announced. \nDocumentary Fundamentals is designed for beginning or intermediate filmmakers with projects in any stage of development or production (even the daydreaming stage!).  Sessions combine formal presentations with extensive time for in-depth discussions with participants. \nRegistrants completing all six sessions will receive a Certificate of Completion\, and will have special opportunities to promote their projects within the UnionDocs network.  Specific guests and topics are subject to change.  \nDOCUMENTARY FUNDAMENTALS FULL SCHEDULE:\nFRI 6/26 – 7:00PM | Planning Your Documentary – \nSAT 6/27 – 1:00PM | Financing Your Documentary – \nSAT 6/27 – 4:00PM | Directing and Shooting Your Documentary – \nSAT 6/27 – 7:00PM | Editing Your Documentary – \nSUN 6/28 – 1:00PM | Graphics\, Music\, and Your Transmedia Campaign – \nSUN 6/28 – 4:00PM | Releasing Your Documentary – \n  \nChai Vasarhelyi is an award-winning director and producer.  Her first film\, A Normal Life\, won Best Documentary at the Tribeca Film Festival in 2003.  Her second film\, Youssou N’Dour: I Bring What I Love\, was released in theaters in the U.S. and internationally. The film premiered at the Telluride and Toronto Film Festivals and won numerous awards including the Special Jury Prize at the Middle East International Film Festival in 2008 and a nomination for the Pare Lorentz Award at the 2009 International Documentary Association Awards.  Touba\, a visceral documentary experience that takes the viewer through each step of the annual Mouride pilgrimage\, the Grand Magaal in Touba\, Senegal\, premiered at SXSW 2013 where it won the Special Jury Prize for Best Cinematography.  She returned to Senegal in 2012 to document the heated Presidential elections.  Incorruptible (formerly An African Spring)\, the intense and unflinching story of Senegalese democracy is currently in post-production. She is also currently working on two American stories: The Home Front (formerly Little Troopers)\, a film about the impact of American soldiers’ deployments on their families left behind; and Father School\, a glimpse into the Korean American movement towards becoming more in-touch fathers and husbands.  Vasarhelyi has received grants from several foundations including the Sundance Documentary Fund\, National Endowment for the Arts\, BRITDOC\, Ford Foundation\, Rockefeller Brothers Fund\, and the William and Mary Greve Foundation.   She was selected as a 2013 Sundance Documentary Film Fellow\, named one of Filmmaker Magazine’s “25 New Faces of Independent Film” in 2005 and received an Achievement Award from Creative Visions foundation in 2008.   She has been featured in numerous publications including\, The New Yorker\, The Wall Street Journal\, Vogue and New York Magazine. Chai has a B.A. from Princeton University in Comparative Literature. \n  \nWorkshop Policies:\nRegistration & Cancellation To register for a workshop\, students must pay in full via PayPal. In the event a student must withdraw from a class\, he or she may do so any time before the start of the workshop\, and will receive a 75% refund of class costs. After this deadline\, 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. \n[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2015-06-28-4-documentary-fundamentals-how-to-release-your-documentary/
LOCATION:NY
CATEGORIES:Workshops & Labs
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2015/04/Meru-62.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20150710T193000
DTEND;TZID=America/New_York:20150710T214500
DTSTAMP:20260427T101255
CREATED:20150630T040000Z
LAST-MODIFIED:20180312T191329Z
UID:10002557-1436556600-1436564700@uniondocs.org
SUMMARY:Field Visits for Chelsea Manning
DESCRIPTION:[vc_row][vc_column][vc_column_text] \n\n\nThis first-person travelogue maps the surrounding areas where former Army intelligence analyst Chelsea Manning was imprisoned before her trial for releasing classified documents to Wikileaks. In an attempt to piece together disparate landscapes and events into a larger narrative\, this essay film tracks Manning’s places of detention from Kuwait to Virginia\, Kansas\, and Maryland. Following in the footsteps of Adachi’s theory of landscape and the peripatetic tradition of road movies\, Field Visits for Chelsea Manning reflects a landscape of mass-detention\, endless war\, whistleblowers\, and America’s unresolved history of race.\n\nField Visits for Chelsea Manning dir. Lance Wakeling\, USA\, 2014\, HD video\, 49 minutes. \nThis screening will be followed by a discussion with the director\, Lance Wakeling\, moderated by Karl McCool\, moving image archivist and curator.\n  \n  \n  \nLance Wakeling lives and works in Brooklyn\, NY. His recent films include “Field Visits for Chelsea Manning (2014)\,” “Subida al cielo (2013)\,” and “A Tour of the AC-1 Transatlantic Submarine Cable (2011).” His artworks and videos have shown at BAM\, NYC\, Ullens Center for Contemporary Art\, Beijing\, Supplement Gallery\, London\, NiMK\, Amsterdam\, The Woodmill\, London\, Import Projects\, Berlin\, Capricious Gallery\, Brooklyn\, and Future Gallery\, Berlin. His work has appeared in Flash Art\, The New York Times\, ubu.com and Artforum.com\, among other publications and websites. \nKarl McCool is a moving image archivist and curator. Associate director of Dirty Looks NYC and distribution manager at Electronic Arts Intermix (EAI)\, he received his MA in Moving Image Archiving and Preservation from New York University. He lives in New York City. \n\n\n[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2015-07-10-field-visits-for-chelsea-manning/
LOCATION:NY
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2015/06/FieldVisits1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20150718T193000
DTEND;TZID=America/New_York:20150718T193000
DTSTAMP:20260427T101255
CREATED:20150527T040000Z
LAST-MODIFIED:20240130T030831Z
UID:10001924-1437247800-1437247800@uniondocs.org
SUMMARY:Little Raptures for the Uncommitted and Fissures by Patrick O'Hare
DESCRIPTION:[vc_row][vc_column][vc_column_text]Filmmaker Patrick O’Hare is interested in the sidelong glance at the world and the natural elisions and illusions found there\, as well as those created through the editing of vastly disparate subject matter. Utilizing the language of merging and omission that can alter time\, allowing reality to slip\, hinting at the invisible. \nThe aim is to reveal a state of mind investigating\, coalescing\, faltering and fusing into its own landscape. That recognizes and embraces the half seen\, flashes and slow reveals of perception. Attuned as possible to phenomena of light\, stasis\, form\, movement and the echoes of intimation. Through the cracks something startles and vanishes\, the shape shifting riddle of inside and outside. Obliquely\, these films try to convey the poignancy of the abstracted universe we move through\, inhabit and have become inured to. \nLittle Raptures for the Uncommitted\, USA\, 2014\, HD\, voiceover\, 45:33 \nA road trip that perpetually circles in upon itself. A disembodied voice muses from within the slipstream of life and attempts to find some meaning there. Searching through a series of desolate terrains and spectral visions\, many seen through prisms of weather and windshields\, it follows a trajectory that accepts the push and pull of memory\, while simultaneously being aware of\, and taking leave of the senses. Tracing inner and outer fault lines\, Little Raptures becomes a journey of haunted self awareness. \nFissures\, USA\, HD\, 2014\, silent\, 16:43 \nA succession of scenes exploring shards of city and rural settings\, various interiors\, still lifes and fleeting moments\, Fissures aspires to a sense of fragmented harmony. It sharply observes the everyday and the uncommon\, splitting their differences into something more elusive and closed-ended without surrendering to seamlessness. Invoking a constant state of transition\, it attempts to find something luminous through the breeches\, gaps\, reflections and broken mirrors of existence. \nTotal runtime: approx. 62 min. \n  \n  \n  \nPatrick O’Hare has been making films since 2012. Prior to that\, he worked as a still photographer exploring the modern landscape. His photographs have been exhibited at  MoMA PS1\, Parsons School of Design and the Rotunda Gallery. His work has been published in Camera Austria\, Harpers and The New York Times. His photographs and book\, “Slipstream” are included in various collections including The New York Public Library\, MoMA Library\, the Amon Carter Museum of American Art Research Library\,  and the Samuel Dorsky Museum. \n[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2015-07-18-patrick-o-hare/
LOCATION:NY
CATEGORIES:Screenings & Events
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20150722T193000
DTEND;TZID=America/New_York:20150722T210000
DTSTAMP:20260427T101255
CREATED:20150706T040000Z
LAST-MODIFIED:20180305T230350Z
UID:10002560-1437593400-1437598800@uniondocs.org
SUMMARY:Through His Documents: Remembering Christopher Lee
DESCRIPTION:[vc_row][vc_column][vc_column_text]Christopher’s Chronicles\, Christopher Lee & Elise Hurwitz\, US\, 1996\, 30 min. \nTrappings of Transhood\, Christopher Lee & Elise Hurwitz\, US\, 1997\, 27 min. \nThis program highlights the documentary work of late transgender filmmaker and activist Christopher Lee. Lee’s first film\, Christopher’s Chronicles\, a record of the artist’s transition from female to male was among the very first films made by and about a transgender man of color and premiered at the 1997 Frameline Festival. Through his use of interviews\, video collage\, and music (including transgender artist Chloe Dzubilo’s band\, Transisters)\, Lee’s second feature documentary film\, Trappings of Transhood focuses on the stories and lived experiences of a multi­racial group of transmen who candidly share their experiences of negotiating issues of race\, ethnicity\, sexuality\, gender\, and the medical industry within their process of transition. Trappings of Transhood was the first known feature­length work to document the experiences of transmen\, and has been screened internationally. This will be both the first NYC screening of Lee’s two documentary films since his death in 2012 and within an NYC festival setting since 1997. \n1997 Frameline Film Festival \n1997 MIX New York Queer Experimental Film Festival \n1997 Seattle Lesbian & Gay Film Festival \n1999 Northwest Transgender Film Festival \n2000 Lesben Film Festival Berlin \nFollowed by a post­screening conversation with curator Leeroy Kun Young Kang and scholar and public health research scientist Sel J. Hwahng. This screening is part of Dirty Looks: On Location. \nDirty Looks: On Location is a series of queer intervention in New York City spaces. Over the course of July\, artist film and video will appear in these queer social spaces and former sites of queer sociality (like shuttered bars\, bathhouses\, and former meeting zones). A new piece\, a different setting on each night of July. The summer in New York is hot\, sticky and social. Installing moving image works around the city in bars\, centers and “haunted” venues allows for the free flow of viewers to engage and celebrate with work\, in evening events that commemorate contemporary moving­image production and its precedents in queer culture. \n  \n  \n  \n  \n \nChristopher Lee (1964­-2012) was responsible for making the world’s first feature film starring FTM people of color and the first ever FTM trans pornographic movies. Lee and Alex Austin co­-founded Trannyfest in 1997\, now known as the San Francisco Transgender Film Festival. In addition to being a filmmaker\, Lee was a leading activist of the San Francisco Bay Area transgender community and served as the world’s first FTM Grand Marshal of San Francisco’s LGBT Pride in 2002. Lee’s work has screened at various underground\, queer\, and experimental film festivals and universities both nationally and internationally. Elise Hurwitz ?worked in film and video through 2003 and then changed careers to work in consumer electronics as an Engineering Program Manager. She lives in Berkeley\, California with her husband and 15 year old daughter who is a fierce gender rights advocate and activist. \nElise Hurwitz worked in film and video through 2003 and then changed careers to work in consumer electronics as an Engineering Program Manager. She lives in Berkeley\, California with her husband and 15 year old daughter who is a fierce gender rights advocate and activist. \n  \nLeeroy Kun Young Kang is an archivist\, visual artist\, and independent film curator based in Brooklyn\, NY. Leeroy received a BA in Studio Art from UC Santa Barbara with an emphasis in experimental video and holds a Master of Library Science from CUNY. He is a guest curator for Dirty Looks: On Location 2015 and co­-curator of the LGBTQ Shorts Program for the Los Angeles Asian Pacific Film Festival. \nSel J. Hwahng\, Ph.D. is a Co-Investigator at the Baron Edmond de Rothschild Chemical Dependency Institute\, Mount Sinai Beth Israel and has received numerous grants\, awards\,and fellowships from such organizations/institutions as the National Institute on Drug Abuse (NIDA)\, the National Institutes of Health\, the American Public Health Association\, the International AIDS Society\, and the Association for Women in Psychology. Publications include over 25 sole-\, first-\, and co-authored articles and book chapters in peer-reviewed journals and edited volumes as well as first-author on multiple public health reports. Sel has taught as faculty at Columbia University\, New York University\, Parsons School of Design\, and other institutions and is Program Chair of the Lesbian\, Gay\, Bisexual\, and Transgender Caucus of the American Public Health Association. Sel has also curated film/video programs on LGBTQ people of color and transmasculine identities and communities for both the New York LGBT Film Festival (NewFest) and the New York Queer Experimental Film Festival (Mix NYC)\, and nationally toured a lecture and film/video clip show called “Queer Colored Girls.” \n\nEvent Sponsor \nApicha Community Health Center (Apicha CHC) is a healthcare provider located in Chinatown that specializes in healthcare for the LGBT community\, People Living with HIV/AIDS\, and People of Color. They are excited to sponsor this event because the health and happiness of the trans* community is a priority for Apicha CHC. To help make sure New York’s trans* community thrives\,  Apicha CHC has a Trans* Health Clinic. In fact\, nearly a quarter of their patients are trans* identified and Apicha CHC has many trans*-identified staff\, including one of their Primary Care Providers.  All of Apicha CHC’s service are on a sliding-fee scale based on income\, so everyone can afford the quality of health care they deserve.\n  [/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2015-07-22-remembering-christopher-lee/
LOCATION:NY
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2015/07/Christopher-Lee-Footer-e1435854030253.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20150724T193000
DTEND;TZID=America/New_York:20150724T193000
DTSTAMP:20260427T101255
CREATED:20150715T040000Z
LAST-MODIFIED:20180305T225929Z
UID:10001934-1437766200-1437766200@uniondocs.org
SUMMARY:Spacetime Singularities
DESCRIPTION:[vc_row][vc_column][vc_column_text]UnionDocs invites you to the closeding reception of Space Singularities\, presented by Peephole Cinema and Microscope Gallery. The program will feature new works by Bradley Eros\, Sarah Halpern\, Andrew Lampert\, and is guest curated by Elle Burchill and Andrea Monti (Microscope Gallery\, Brooklyn). Beginning July 24th\, the films in the program will be available to view 24/7 via the Peephole Cinema outside of UnionDocs until September 17th. \nReception and BBQ will start at 7:30PM on Friday\, July 24th\, and feature live music by the Brooklyn-based group Odd Rumblings. \n  \nSpace Singularities (July 24th-September 17th) \nSpacetime Singularities is a program of new moving image works made for the occasion of Peephole Cinema by Bradley Eros\, Sarah Halpern and Andrew Lampert. The works\, hand shot by each artist in the darkness – of a cave\, a nightclub and on the streets of NYC in the wee morning hours – collapse sensations and sounds into a single focus viewing experience in which stalactites appear as sonograms\, Kenneth Anger conducts a ceremony on the theremin\, and liquid nitrogen tanks become ticking time bombs in the city’s rain-slicked streets. – EB & AM \nFEATURING: \nBradley Eros\nNitrogen Ghost\, 2015\ndigital video\, color and b&w\, sound\, 3 minutes\n“A speculative fiction on the mysterious tanks that populate the streets of New York City. A haunted abstraction of metal\, steam & luminous objects moving through urban spaces.” – BE\n  \n\n\n\nSarah Halpern\nInterior\, 2015\n16mm film transferred to digital\, color\, silent\, 2 minutes\n“An optically printed cave sonogram for hole peeping.” – SH\n  \n\nAndrew Lampert\nPrelude In Anger\, 2015\nSuper 8mm transferred to digital\, color\, silent\, 1 minute 50 seconds\n“Silent documentation of a loud event that you don’t need to hear in order to feel. Kenneth Anger\, filmmaker and author\, live on the theremin\, May 19 2010.” – AL\n\n  \n  \n  \nABOUT THE ARTISTS \nBradley Eros is a New York-based artist working in various mediums including film & video\, collage\, performance\, contracted and expanded cinema & installation. Eros works have exhibited and screened extensively in the US and abroad including at The Whitney Biennial\, The Whitney Museum’s series “The American Century\,” The Museum of Modern Art (MoMA)\, The Andy Warhol Museum\, MoMA P.S.1\, The New Museum\, Anthology Film Archives\, Participant Inc.\, The Kitchen\, Performa09\, Arsenal (Berlin)\, Camden Arts Center (London)\, and The New York\, London and Rotterdam Film Festivals. Collaborations include the Alchemical Theater\, the band Circle X\, Voom HD Lab\, and the expanded cinema groups kinoSonik\, Arcane Project and currently Optipus. Eros works and lives in Brooklyn\, NY. \nSarah Halpern works with 16mm film\, collage on paper\, 35mm slides\, music and performance. Her work is largely focused on cinematic time and the active role of the viewer\, and has been shown previously at venues including The Museum of Moving Image\, The Kitchen\, Participant Inc\, Anthology Film Archives\, and Microscope Gallery. Halpern holds a B.A. in Film and Electronic Arts from Bard College and was awarded a MacDowell Colony Fellowship in 2014. She works and lives in Brooklyn\, NY. \nAndrew Lampert makes moving images\, photographs and live performances that deal with whatever he is thinking about\, fascinated by or concerned with around the time of production. He has no single focus and is strategically inconsistent\, which may or may not be apparent. Lampert has widely exhibited at institutions and festivals including the Whitney Museum of American Art\, The Art Gallery of Ontario\, MoMA P.S.1\, The Getty Museum\, The British Film Institute\, The International Rotterdam Film Festival\, The Toronto International Film Festival and The New York Film Festival. Musical collaborators have included Chris Corsano\, Peter Evans\, Okkyung Lee\, Alan Licht and C. Spencer Yeh among many others. He is editor of the book THE GEORGE KUCHAR READER (Primary Information\, 2014) and co-editor of both volumes of HARRY SMITH COLLECTIONS CATALOGUE RAISONNE (J&L Books\, 2015). Electronic Arts Intermix (EAI) in NYC distributes many of his works. Lampert works and lives in Brooklyn\, NY. \nOdd Rumblings is an electronic duo based in Brooklyn. “The tension between the holy voices and the sensual machines feels like watching an alien invasion from a church\,” wrote 20 Jazz Funk Greats of their music\, while Dummy Magazine has likened their sound to “eerie signals bubbling up from beneath\, disrupting the earth’s crust.” Their debut EP “Thieves” is out now on London-based label Public Information. \nABOUT THE PROJECT \nNearly two hundred years before the invention of cinema\, the peepshow\, raree show\, or boîte optique—a closed box with at least one peephole revealing a hidden “view”—was a form of both visual entertainment and optical experimentation. Peephole Cinema\, a “miniature cinema” collective\, revives this unique viewing apparatus\, along with the attendant tensions it produces between public and private\, authorized viewing and voyeurism\, and seeing and being seen. \nPeephole Cinema features satellite projects in three cities: Brooklyn\, San Francisco and Los Angeles. In each city\, silent film shorts are screened 24/7 through a dime-sized peephole installed in a public location. Peephole Cinema Brooklyn is hosted by UnionDocs in Williamsburg and organized by Laurie O’Brien. Guest curators are chosen every two months. For more information\, visit the Peephole Cinema website. \n\n[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2015-07-24-space-singularities/
LOCATION:NY
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2015/07/IMG_70601.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20150726T193000
DTEND;TZID=America/New_York:20150726T193000
DTSTAMP:20260427T101255
CREATED:20150714T040000Z
LAST-MODIFIED:20180306T193041Z
UID:10001932-1437939000-1437939000@uniondocs.org
SUMMARY:Los Sures (1984) at BAM
DESCRIPTION:[vc_row row_type=”row_full_center_content”][vc_column][vc_column_text]Come see the film that inspired UnionDocs’ Living Los Sures project on the big screen. The original film from 1984\, Los Sures\, will be screened at the Brooklyn Academy of Music Rose Cinemas on Sunday\, July 26th in two showings: 2pm and 6:30pm. \nTickets for this unique opportunity to watch the film in theaters are available on the BAM website here. Following the second showing\, there will be an after party (details TBD). \nLos Sures\, Diego Echeverria\, USA\, 1984\, 16mm\, 56m\nIn the early 1980s\, Diego Echeverria took a 16mm camera into the streets of the Southside of Williamsburg\, then a primarily Puerto Rican neighborhood and one of the city’s poorest\, most crime-ridden areas. Still\, amidst the urban blight\, Echeverria finds a thriving street culture in which music\, breakdancing\, and graffiti abound. \nLos Sures skillfully represents the challenges of its time: drugs\, gang violence\, crime\, abandoned real estate\, racial tension\, single-parent homes\, and inadequate local resources in Brooklyn’s Los Sures neighborhood. Yet Echeverria’s portrait also celebrates the vitality of this community\, showing the strength of their culture\, their creativity\, and their determination to overcome a desperate situation. Los Sures is both an invaluable record of pre-gentrification Brooklyn and an ode to a community’s resilience. \n  \nDiego Echeverria is a filmmaker born in Chile and raised in Puerto Rico. He studied film at Columbia University and was for many years a producer/director of News and Current Affairs documentaries for WNET and WNBC in New York\, and for NBC News and CBS News in network television. Later\, as an independent producer\, he directed documentaries for PBS and for European television and developed projects on health promotion\, education and in support of social programs in the national and international arenas. Based in Latin America\, he was for several years Regional Advisor on Communications for UNICEF\, overseeing programs directed to the wellbeing of children and women. Through his company\, Terra Associates\, he produced a wide array of multimedia\, television programs\, and audio visual projects targeted for classroom use\, health organizations and corporate sponsors. His work in television was awarded two Emmys. \nABOUT BAM\nBAM (Brooklyn Academy of Music) is a multi-arts center located in Brooklyn\, New York.  For more than 150 years\, BAM has been the home for adventurous artists\, audiences\, and ideas—engaging both global and local communities. With world-renowned programming in theater\, dance\, music\, opera\, film\, and much more\, BAM showcases the work of emerging artists and innovative modern masters. \n[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2015-07-26-los-sures-screening-bam/
LOCATION:NY
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2015/07/Diego-Echeverria-Square.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20150731T193000
DTEND;TZID=America/New_York:20150731T213000
DTSTAMP:20260427T101255
CREATED:20150721T040000Z
LAST-MODIFIED:20180305T225715Z
UID:10001935-1438371000-1438378200@uniondocs.org
SUMMARY:Tomorrow We Disappear
DESCRIPTION:[vc_row][vc_column][vc_column_text] \nAt first glance\, the Kathputli Colony looks like any other Indian slum. Flies swarm its putrid canals. Children climb on drooping electrical wires. Construction cranes and an ever-expanding metro line loom on the horizon. \nBut Kathputli is a place of fading traditions. For half a century 2\,800 artist families have called its narrow alleyways home; there are jugglers and acrobats\, puppeteers and painters\, folk singers and magicians\, many of whom are well-respected artists in India and abroad. \nIn 2009 the New Delhi government sold Kathputli to developers for a fraction of its worth. The land is to be bulldozed to make room for the city’s first-ever skyscraper\, The Raheja Phoenix. \nTomorrow We Disappear\, directed by Jimmy Goldblum and Adam Weber\, follows three of Kathputli’s most-talented performers as they wrangle with the reality of their approaching eviction. The story begins with the fate of thousands of marginalized performers in Delhi\, India. The film chronicles a turning point in the lives of these performers\, with the hopes of anticipating what’s to come in India’s future and preserving what’s being left behind. \n  \n  \nJimmy Goldblum  began his career as an interactive director and producer. In 2008\, Goldblum won the Emmy for “New Approaches to Documentary” for Live Hope Love\, an interactive documentary he produced for the Pulitzer Center. Goldblum also wrote\, filmed\, and produced “The Institute for Human Continuity\,” an online narrative for Sony Pictures’ film 2012\, which is widely considered one of the most successful transmedia campaigns of all time. Through his production company\, Old Friend (oldfriend.tv)\, Goldblum has directed commercials for Google\, Budweiser\, and Nature’s Variety\, and his interactive films have won an Emmy\, a Webby for Best Art Project\, and been featured in the New York Times\, Washington Post\, Time Magazine\, and USA Today. \nAdam Weber is an editor\, director\, and writer who has worked for major film and TV studios in both New York and Los Angeles. Weber edited Michel Gondry’s Is the Man Who is Tall Also Happy?\, was an assistant editor on Gondry’s The Green Hornet\, and previously worked as the apprentice editor on Quentin Tarantino’s Inglorious Basterds.[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2015-07-31-tomorrow-we-disappear/
LOCATION:NY
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2017/02/jimmy-goldblum-and-adam-weber.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20150904T193000
DTEND;TZID=America/New_York:20150904T213000
DTSTAMP:20260427T101255
CREATED:20150804T040000Z
LAST-MODIFIED:20180302T212711Z
UID:10002579-1441395000-1441402200@uniondocs.org
SUMMARY:Kiss Me\, Gentlemen – In Pursuit of Realness
DESCRIPTION:[vc_row][vc_column][vc_column_text] \nOur bodies belong to others; parents first\, then lovers. A mother’s body belongs to her child. We are subjected to education systems; consumer desires demand to be satisfied through contracts of labor. Our bodies belong to institutions; institutions for criminals\, the sick\, and the insane; institutions in the end too\, for all of us\, via the medical\, care\, and funerary systems. \n When we agree to participate in films\, our bodies belong to the filmmaker. A contractual agreement places the image\, sound – and by metaphorical extension – the body\, in the ownership of the filmmaker. Its care is entangled with the politics of filmic history and filmic experience. The filmmaker’s own body is also invested\, navigating space\, time\, and the ‘contaminated projections’ of their own ideologies. As we watch carefully\, or repeatedly\, our knowledge may be ruptured\, our feelings disturbed. \nIn one way or another all the films in this program deal with the mechanisms and technologies of entrapment: the destitute body\, the incarcerated body\, the body as a self-replicating system\, bodies of soldiers performing military rituals\, Greek mythology made contemporary through performative acts of defiance. Strategies in the pursuit of ‘realness’ range from injecting humor; others incite horror\, follow a performative impulse\, or straddle precariously on the ethical tightrope of representation. All point powerfully towards the condition of embodied subjects that have become specular\, schizoid\, internally disjointed.  \nSelected by Minou Norouzi\, filmmaker and programmer\, doctoral candidate at Goldsmiths\, University of London. \nKISS ME\, GENTLEMEN\nFeaturing works by Alexander Lorenz\, Nelmarie du Preez\, Sirah Foighel\, Daniel Mann\, Eitan Efrat\, Miranda Pennell\, Chelsea Knight\, Michel Wenzer\, Yaron Lapid\, Elise Rasmussen. \nTotal running time: 75 min. \nPROGRAM: \nArcadia\, downtown Yaron Lapid (Israel 2008) 15’ \nComplex Sirah Foighel\, Daniel Mann\, Eitan Efrat (Israel 2008) 9’ \nThree Poems by Spoon Jackson Michel Wenzer (Sweden 2003) 14’ \nVon Ordnung der Gesellschaft / Of the Order of Society Alexander Lorenz (Germany 2013) 12’30” \n TATTOO Miranda Pennell (UK 2001) 9’ \nTo Stab Nelmarie du Preez (UK 2013) 45” \n I Lay Claim to You Chelsea Knight (USA 2009) 4’ 45” \nI Am Not a Man\, Not Now Elise Rasmussen\, Chelsea Knight (USA 2012) 9’ \nIn attendance: Chelsea Knight \nFEATURED GUESTS \nChelsea Knight was born in Vermont and lives and works in New York. She received her B.A. from Oberlin College and her M.F.A. from the School of the Art Institute of Chicago. Knight completed residencies at the Whitney Independent Study Program (2010) and the Skowhegan School of Painting and Sculpture (2008)\, and was a Fulbright Fellow in Italy (2007). Solo exhibitions and performances include: The St. Louis Art Museum; The Brooklyn Museum; Aspect Ratio Gallery (Chicago); Momenta Art (Brooklyn); DiverseWorks (Houston); Night Gallery (LA\, with Elise Rasmussen) and Julius Caesar Gallery (Chicago). Knight has exhibited and screened her work in group shows including Nouvelles Vagues at the Palais de Tokyo (Paris); Anti-Establishment at Bard CCS Hessel Museum (NY); the Young Artists’ Biennial (Bucharest); the 10th Annual Istanbul Biennial; Werkschauhalle Gallery (Leipzig); the Michelangelo Pistoletto Foundation\, (Biella\, Italy) and Harvard University. Knight was a 2015 VAN artist resident at Project Row Houses (Houston) and is a Spring 2015 Research and Development Artist in Residence at the New Museum (NYC). \nJess Wilcox is Programs Manager at the Elizabeth A. Sackler Center for Feminist Art at the Brooklyn Museum\, where she organizes public programs and has worked on the public artworks Between the Door and the Street a performance initiated by Suzanne Lacy and A Butterfly for Brooklyn a pyrotechnic performance by Judy Chicago. She has worked on curatorial projects at Abrons Art Center\, the International Studio and Curatorial Program\, Performa\, SculptureCenter\, and Storm King Art Center\, among others. Recurring interests of hers are translation\, performativity\, the choreographic\, and personal and political identity. \nMinou Norouzi is an Austrian-born Iranian artist working mainly with moving image portraiture. She received her BA from the University of the Arts London\, majoring in cinematography\, and her MA from Goldsmiths College in 2007. Whilst giving the impression of layered fiction\, her video works are routed in documentary practice. Her thematic preoccupation lies in the psychological landscapes of incubated desire\, displacement\, authoritarianism & surrender\, misplaced femininity\, often framed within the mundane. \nAnatomy of Failure\, her first full-length documentary work\, premiered in Toronto at Hot Docs in 2008. All Shades of Grey\, supported by the British Council\, showed at the 55th Oberhausen Festival in Germany. She is a recipient of the TED Fellowship and a AHRC funded Practice-PhD Researcher at Goldsmiths University of London. Minou divides her time between London & Linz. \n[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2015-09-04-kiss-me-gentlemen/
LOCATION:NY
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2015/08/Arcadia03.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20150905T193000
DTEND;TZID=America/New_York:20150905T193000
DTSTAMP:20260427T101255
CREATED:20150806T040000Z
LAST-MODIFIED:20180303T020754Z
UID:10002586-1441481400-1441481400@uniondocs.org
SUMMARY:MADE AT KUVA - Moving Image from Helsinki
DESCRIPTION:[su_spoiler title=” GET TICKETS” class=”my-custom-spoiler”] Oops! We could not locate your form.  [/su_spoiler] \n \n  \n  \nMADE AT KUVA – moving image from Helsinki \nCurated by Caspar Stracke\, Helsinki \nA note from the curator: \nWhen thinking of Finnish culture\, moving image arts in particular\, one should avoid thinking of melancholia\, or silence\, or darkness\, or the forest\, and definitely not of ultra-dry humor. \nEverything else is very much preferred. Despite any undeniable pre-conceptions of Finnish moving image art\, this program invites viewers to discover a Finnish cultural identity that defined itself in-between the prevalent set of century-old clichés\, situated among such large topics as narrativity\, affect\, and the sublime. These aspects reverberate in this collection of such contrasting films as a documentary of blind people in a ultra-gentrified Helsinki neighborhood (Anu Pennanen) and performative interventions in a traditional cultural rituals (Pilvi Takala). \nThe commonality amongst the films of this program is the place of the program’s production: Kuva is the short form of “Kuvataideakatemia\,” the Finnish Academy of Fine Arts. Since 2012 I have taught the moving image as part of the Academy’s Time and Space Arts program – an employment that made me move from New York to the miraculous\, wonderful Helsinki. \nThis program is a small part of a larger research project and screening series at Kuva. The selected work shown here spans over the past three decades\, and includes work by artists who have studied at and/or graduated from the academy\, such as internationally-recognized alumni Eija-Liisa Ahtila and Salla Tykkää. This concept offers a rare look at the very first works by some of Finland’s most sophisticated moving image artists. It is especially attractive to a foreign audience to study the creative origins of Ahtila and Tykkää\, and to recognize their (and others’) early emerging artistic signatures. \n\nPROGRAM: \n\n\n\n\nAnimal Experiment A/1\, Sami van Ingen (1990)\nPower\, Salla Tykkää (1999)\nPopcorn\, Liisa Lounilla (2001)\nReverse Engineering\, Jaakko Palasvuo (2013)\nA Monument for the Invisible\, Anu Pennanen (2003)\nContrapuntal\, Jani Ruscica (2005)\nWall Flower\, Pilvi Takala (2006)\nMe/We\, OKAY\, GRAY\, Eija-Liisa Ahtila (1993)\n\n\n\n\n  \nTRT: 78 minutes \n\nThis program was compiled with the generous help of AV-Arkki\, Finland’s Media Art distribution center. Special thanks to its director\, Hanna Maria Anttila. \nThe Finnish Academy of Fine arts is part of Helsinki’s newly formed University of Arts.
URL:https://uniondocs.org/event/made-at-kuva-moving-image-from-helsinki/
LOCATION:NY
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2015/08/W_C1656_L.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20150911T193000
DTEND;TZID=America/New_York:20150911T213000
DTSTAMP:20260427T101255
CREATED:20150729T040000Z
LAST-MODIFIED:20180305T174007Z
UID:10002564-1441999800-1442007000@uniondocs.org
SUMMARY:The River of Life
DESCRIPTION:[vc_row][vc_column][vc_column_text] \nTHE RIVER OF LIFE (SHENGMING DE HELIU)\nDirected by Yang Pingdao\, 2014\, 101 min\, digital. In Mandarin and Cantonese with English subtitles. \nYang Pingdao is one of China’s most exciting emerging filmmakers. His astonishingly creative camera eye brings unexpected beauty to his new feature length film. Using an innovative structure\, based on the distinctive texture of family memory through space and time\, Yang invents something poised delicately between fiction and documentary to capture crystallized moments in his family history\, to recreate in cinematic form its emotional weight and variety\, woven around the life and death of his grandmother\, and the birth of his child. In order to combine extended family chronicle\, implicit national history\, and intimate soul-bearing autobiography\, Yang employs gentle formal experimentation to invent new cinematic pathways. \n“Sometimes I shoot films just so I can hear my inner voice. But in China doing this may not be “permitted”. Therefore\, many artists will censor themselves. It’s a question of making a choice. I absolutely need Chinese audiences to see my films\, because I shoot stories that this land itself gives rise to.” Yang Pingdao \n  \n  \nAbout Cinema On The Edge \nA film series unlike any other\, “Cinema on the Edge: Best of Beijing Independent Film 2012-2014” celebrates the daring spirit and creative innovation of independent filmmakers and festival organizers in mainland China. \nThis film series features 18 programs of outstanding recent Chinese independent cinema\, showcasing the work of such acclaimed filmmakers as Ai Weiwei\, Li Luo\, Hu Jie\, Zou Xueping and Yang Mingming.  The series is organized and curated by three of Chinese independent cinema’s most committed supporters: producer and distributor Karin Chien\, critic and curator Shelly Kraicer\, and filmmaker and anthropologist J.P. Sniadecki. Seven of NYC’s most revered film and cultural institutions will present these works: Anthology Film Archives\, Made in NY Media Center by IFP\, Asia Society\, Maysles Cinematheque\, Museum of Chinese in America\, Weatherhead East Asian Institute\, and UnionDocs.[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2015-09-11-the-river-of-life/
LOCATION:NY
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2011/04/31.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20150912T193000
DTEND;TZID=America/New_York:20150912T193000
DTSTAMP:20260427T101255
CREATED:20150729T040000Z
LAST-MODIFIED:20180305T223954Z
UID:10001938-1442086200-1442086200@uniondocs.org
SUMMARY:Spark
DESCRIPTION:[vc_row][vc_column][vc_column_text] \nSPARK (XINGHUO)\nDirected by Hu Jie 2014\, 101 min\, digital. In Mandarin with English subtitles. \nProbably China’s most important unofficial historian-filmmaker\, Hu Jie documents with his camera episodes that Chinese official history\, for now\, ignores. Spark was an underground magazine published in 1960 by four young intellectuals who wanted to expose the devastating famine caused by Mao’s Great Leap Forward\, a horrendous period of national suffering that is still unmentioned in China’s history textbooks today. This is filmmaking as urgent historical investigation: with a shoestring budget Hu combines years of research\, and a knack for getting people to talk without fear about the most taboo subjects in China’s recent past. His alternative oral history approach knits together courageous and frequently moving interviews with the magazine’s surviving editor\, supporters\, and readers\, who were ready to sacrifice themselves to alert their countrymen to unprecedented disaster. \n“The beauty of independent cinema lies in its independence. The opposite of this independence is a media controlled by a propaganda mechanism under centralized command. Independence\, exploration\, and discovery grant you freedom.” – Hu Jie \n  \n  \n  \nAbout Cinema On The Edge \nA film series unlike any other\, “Cinema on the Edge: Best of Beijing Independent Film 2012-2014” celebrates the daring spirit and creative innovation of independent filmmakers and festival organizers in mainland China. \nThis film series features 18 programs of outstanding recent Chinese independent cinema\, showcasing the work of such acclaimed filmmakers as Ai Weiwei\, Li Luo\, Hu Jie\, Zou Xueping and Yang Mingming.  The series is organized and curated by three of Chinese independent cinema’s most committed supporters: producer and distributor Karin Chien\, critic and curator Shelly Kraicer\, and filmmaker and anthropologist J.P. Sniadecki. Seven of NYC’s most revered film and cultural institutions will present these works: Anthology Film Archives\, Made in NY Media Center by IFP\, Asia Society\, Maysles Cinematheque\, Museum of Chinese in America\, Weatherhead East Asian Institute\, and UnionDocs. \nAbout the presenter \nAndrew J. Nathan is Class of 1919 Professor of Political Science at Columbia University. His teaching and research interests include Chinese politics and foreign policy\, the comparative study of political participation and political culture\, and human rights. Nathan has served at Columbia as chair of the Department of Political Science\, 2003-2006\, chair of the Executive Committee of the Faculty of Arts and Sciences\, 2002- 2003\, and director of the Weatherhead East Asian Institute\, 1991-1995. He is currently chair of the Morningside Institutional Review Board (IRB). Off campus\, he is a member of the boards of Freedom House\, the National Endowment for Democracy\, and Human Rights in China\, and a member of the Advisory Committee of Human Rights Watch\, Asia. He is the regular Asia and Pacific book reviewer for Foreign Affairs.[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2015-09-12-spark/
LOCATION:NY
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2016/12/static1.squarespace.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20150912T193000
DTEND;TZID=America/New_York:20150912T220000
DTSTAMP:20260427T101255
CREATED:20150729T040000Z
LAST-MODIFIED:20180306T180959Z
UID:10002569-1442086200-1442095200@uniondocs.org
SUMMARY:STRATUM 1: THE VISITORS
DESCRIPTION:[vc_row row_type=”row_full_center_content”][vc_column][vc_column_text] \nSTRATUM 1: THE VISITORS (DICENG 1: LAIKE)\nDirected by Cong Feng\, 2013\, 71 min\, digital. In Mandarin with English subtitles. \nPoet and filmmaker Cong Feng started to film a documentary about whole-scale urban demolition in the Beijing suburb of Tongzhou\, but discovered that the extraordinary rapidity of change and the furious power of China’s history of destruction required something more experimental\, more essay-like. From hallucinatory (are they perhaps utopian? despairing?) images of a bulldozer seeming to conjure up a building from its rubble\, we follow two characters wandering through debris\, telling stories of childhood trauma (featuring canine\, not human loyalty during a horrific episode from the Cultural Revolution). Cong\, like a visual paleo-geologist\, unearths surreal\, chilling images of otherworldly beauty emanating from the buried strata of this collapsing world\, whose history threatens to be suffocated by layers of experience\, of loss\, of unremembered suffering. \nAbout Cinema On The Edge \nA film series unlike any other\, “Cinema on the Edge: Best of Beijing Independent Film 2012-2014” celebrates the daring spirit and creative innovation of independent filmmakers and festival organizers in mainland China. \nThis film series features 18 programs of outstanding recent Chinese independent cinema\, showcasing the work of such acclaimed filmmakers as Ai Weiwei\, Li Luo\, Hu Jie\, Zou Xueping and Yang Mingming.  The series is organized and curated by three of Chinese independent cinema’s most committed supporters: producer and distributor Karin Chien\, critic and curator Shelly Kraicer\, and filmmaker and anthropologist J.P. Sniadecki. Seven of NYC’s most revered film and cultural institutions will present these works: Anthology Film Archives\, Made in NY Media Center by IFP\, Asia Society\, Maysles Cinematheque\, Museum of Chinese in America\, Weatherhead East Asian Institute\, and UnionDocs.[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2015-09-12-stratum-1/
LOCATION:NY
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2016/12/static1.squarespace-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20150913T193000
DTEND;TZID=America/New_York:20150913T193000
DTSTAMP:20260427T101255
CREATED:20150729T040000Z
LAST-MODIFIED:20180305T174248Z
UID:10002573-1442172600-1442172600@uniondocs.org
SUMMARY:I Want to be a People's Representative
DESCRIPTION:[vc_row][vc_column][vc_column_text] \nI WANT TO BE A PEOPLE’S REPRESENTATIVE\n(WO YAO DANG RENMIN DAIBIAO) \nDirected by Jia Zhitan\, 2014\, 78 min\, digital. In Hunanese with English subtitles. \nCan a documentary camera be a tool for democracy in China? Jia Zhitan certainly thinks so\, and wields his camera like an anti-bureaucratic weapon. Jia\, a member of Caochangdi’s influential Villagers Documentary Project (organizer Wu Wenguang has been training local villagers to use digital video cameras to record their participation in ultra-local politics)\, wants to run to be a delegate to the National People’s Congress. He wins the first round\, but is deemed unqualified by officials for reasons they keep to themselves. As the irrepressibly scrappy and stubborn Jia seeks explanations and redress from ever higher levels of authority\, he records their interactions scenes that would play as entertaining satiric comedy if they weren’t so frustratingly real. \n  \n  \nAbout Cinema On The Edge \nA film series unlike any other\, “Cinema on the Edge: Best of Beijing Independent Film 2012-2014” celebrates the daring spirit and creative innovation of independent filmmakers and festival organizers in mainland China. \nThis film series features 18 programs of outstanding recent Chinese independent cinema\, showcasing the work of such acclaimed filmmakers as Ai Weiwei\, Li Luo\, Hu Jie\, Zou Xueping and Yang Mingming.  The series is organized and curated by three of Chinese independent cinema’s most committed supporters: producer and distributor Karin Chien\, critic and curator Shelly Kraicer\, and filmmaker and anthropologist J.P. Sniadecki. Seven of NYC’s most revered film and cultural institutions will present these works: Anthology Film Archives\, Made in NY Media Center by IFP\, Asia Society\, Maysles Cinematheque\, Museum of Chinese in America\, Weatherhead East Asian Institute\, and UnionDocs.[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2015-09-12-peoples-representative/
LOCATION:NY
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2016/09/static1.squarespace-2.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20150913T193000
DTEND;TZID=America/New_York:20150913T203000
DTSTAMP:20260427T101255
CREATED:20150729T040000Z
LAST-MODIFIED:20180305T173421Z
UID:10001940-1442172600-1442176200@uniondocs.org
SUMMARY:Satiated Village
DESCRIPTION:[vc_row][vc_column][vc_column_text] \nSATIATED VILLAGE CHIBAO DE CUNZI\nDirected by Zou Xueping\, 2011\, 88 min. In Shandong dialect with English subtitles. \nZou Xueping’s took her first documentary The Hungry Village (part of Caochangdi Workstation’s Folk Memory Project) — made up of first-person testimony about the effects of the Great Famine of 1960 (see Hu Jie’s Spark for another view) on her home village in Shandong —  back home to show her subjects. They unanimously disapproved. Frustrated and full of doubt\, Zou then made this second documentary discussing the villagers’ reactions to her first. This wonderful\, searching\, self-reflexive film questions the necessity and usefulness of truth-telling via cinema\, when it brings pain and even shame upon neighbours and family. Zou’s 9-year-old niece emerges as its star\, a girl who can balance competing exigencies of truth and love with a wisdom beyond her years. \nAbout Cinema On The Edge \nA film series unlike any other\, “Cinema on the Edge: Best of Beijing Independent Film 2012-2014” celebrates the daring spirit and creative innovation of independent filmmakers and festival organizers in mainland China. \nThis film series features 18 programs of outstanding recent Chinese independent cinema\, showcasing the work of such acclaimed filmmakers as Ai Weiwei\, Li Luo\, Hu Jie\, Zou Xueping and Yang Mingming.  The series is organized and curated by three of Chinese independent cinema’s most committed supporters: producer and distributor Karin Chien\, critic and curator Shelly Kraicer\, and filmmaker and anthropologist J.P. Sniadecki. Seven of NYC’s most revered film and cultural institutions will present these works: Anthology Film Archives\, Made in NY Media Center by IFP\, Asia Society\, Maysles Cinematheque\, Museum of Chinese in America\, Weatherhead East Asian Institute\, and UnionDocs.[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2015-09-13-satiated-village/
LOCATION:NY
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2017/03/static1.squarespace.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20150918T193000
DTEND;TZID=America/New_York:20150918T193000
DTSTAMP:20260427T101255
CREATED:20150902T040000Z
LAST-MODIFIED:20180302T221429Z
UID:10001944-1442604600-1442604600@uniondocs.org
SUMMARY:Memories of the Future
DESCRIPTION:[vc_row][vc_column][vc_column_text] \nUS National Premiere\, presented by Cinema Tropical.  \nMemories of the Future\, Rodrigo Reyes\, 2009-2012\, 70 minutes \nA woman writes increasingly passionate love letters without answer. Her passion and frustration are interwoven with a sense of impending doom\, a vision of the coming Mexican apocalypse. A single personal tragedy mirrors the struggle of an entire country trying\, in the midst of increasing chaos\, to find itself. \nWinner of the LCI AWARD at the 2012 FICUNAM Film Festival. \nFollowing the screening\, there will be discussion between Cinema Tropical’s Carlos Gutierrez and director Rodrigo Reyes. Following the discussion will be a birthday party at UnionDocs for Gutierrez and closed to all attendees. \nA note from the director: \nI shot this film on a shoestring over several months on the road\, living in the back of a minivan. Memories is a catalogue of my concerns and struggles\, a deliberate digging into shadows of the Mexican soul\, a mad universe of visceral images and characters on the edge of reality. \nThis is the film’s first public screening in the US. I feel anxious and confused by the context. On the one hand\, this work was my very own film school\, raw and incredibly painful. On the other\, I don’t ever want to see it again because I may find that I have not strayed too far from its universe. \n\nJoin UnionDocs before the screening for the closeding reception of Kinetoscopic Records\, presented by Peephole Cinema and programmed by Dan Streible (NYU / Orphan Film Symposium. Free; from 5pm – 7pm. \nBios: \nRodrigo Reyes (b. 1983) is a Mexican-American filmmaker working in narratives and documentaries. His films have screened at many festivals around the world\, garnering several awards. \nCarlos A. Gutiérrez is co-founder and executive director of Cinema Tropical. As a guest curator\, he has presented several film/video series at different cultural institutions\, including The Museum of Modern Art\, the Solomon R. Guggenheim Museum\, BAMcinématek\, and the IFC Center\, among others. In 2007\, he co-curated the 53rd edition of the Robert Flaherty Film Seminar under the banner “South of the Other”. He is a contributing editor to BOMB magazine and has served as a member of the jury for various film festivals including the Morelia\, SANFIC\, DocsDF\, Austin’s Cine Las Americas\, and the Havana Film Festival in New York. He has served as both expert nominator and panelist for the Rockefeller Fellowship Program for Mexican Film & Media Arts\, Sundance Documentary Fund\, the Tribeca Film Institute’s LatinAmerica Media Arts Fund\, and The Rolex Mentor and Protégé Arts Initiative. \nAbout Cinema Tropical \nNew York-based Cinema Tropical (CT) is the leading presenter of Latin American cinema in the U.S. Founded in 2001 by Carlos A. Gutiérrez and Mónika Wagenberg with the mission of distributing\, programming and promoting what was to become the biggest boom of Latin American cinema in decades\, CT brought U.S. audiences some of the first screening of films such as Amores Perros and Y Tu Mamá También. Through a diversity of programs and initiatives\, CT is thriving as a dynamic and groundbreaking 501(c)(3) non-profit media arts organization experimenting in the creation of better and more effective strategies for the distribution and exhibition of foreign cinema in this country. \n[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/memories-of-the-future/
LOCATION:NY
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/png:https://uniondocs.org/wp-content/uploads/2015/08/Memorias-STILL-4.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20150918T193000
DTEND;TZID=America/New_York:20150918T193000
DTSTAMP:20260427T101255
CREATED:20150910T040000Z
LAST-MODIFIED:20180302T222407Z
UID:10001948-1442604600-1442604600@uniondocs.org
SUMMARY:Peephole Cinema Presents: Kinetoscopic Records
DESCRIPTION:[vc_row][vc_column][vc_column_text] \nUnionDocs invites you to the closeding reception of Kinetoscopic Records\, presented by Peephole Cinema and programmed by Dan Streible (NYU / Orphan Film Symposium) on Friday\, September 18 from 5pm – 7pm. \nPeephole Cinema exhibitions showcase contemporary media artists while also evoking the proto- and early cinema experiences of the peep show. This UnionDocs program\, Kinetoscopic Records\, invites a collision of the old and new\, the earliest movies and born-digital works. The ten pieces replicate qualities of the earliest film shows\, an incongruous variety of kinetic\, flickery\, silent pictures in motion\, each less than a minute long. \nThis program’s inspiration is the recent rebirth of one of the first motion pictures ever made\, Edison Kinetoscopic Record of a Sneeze\, January 7\, 1894 (aka Fred Ott’s Sneeze). Although its copyrighted images appeared in print in 1894\, the Sneeze was not seen in motion until reanimated on 16mm film in 1953. However\, only now has the entire recording been reproduced. The new Library of Congress version reveals The Sneeze to be nearly twice as long as presumed\, with Mr. Ott sneezing twice in one unedited take. This is its premier public run.    \n \nThe ten movies in five minutes are: \n\nW. K.-L. Dickson\, Edison Kinetoscopic Record of a Sneeze  \nEvan Meaney\, Re_Sneeze   \nJodie Mack\, All Stars  \nJoel Schlemowitz\, The Invention of the Gramophone  \nDanielle Ash\, Creature of the Gowanus  \nTom Whiteside & Anna Kipervaser\, Ott Gotcha  \nAndrea Callard\, Something Medical   \nBill Brand\, Ornithology 4   \nMono No Aware\, Sneezes  \nBill Morrison\, Dancing Decay   \n\nThree new pieces derive directly from the Sneeze. Evan Meaney takes the new version and digitally explodes its halftone printing. Tom Whiteside (who actually collects film prints of Fred Ott’s Sneeze) and Anna Kipervaser create a 16mm found footage jest\, while the Mono No Aware collective made a pilgrimage-homage\, traveling to the Edison Historic Site in New Jersey to shoot Sneezes on black-and-white 16mm film inside the Black Maria building.  \nTwo others works\, also born on celluloid\, reference the era of early cinema. Joel Schlemowitz shot black-and-white film for his Mélièsian féerie about the Kinetoscope’s exact contemporary\, the gramophone. Bill Morrison’s uncanny piece of decaying nitrate 35mm film reveals dancers (a frequent Kinetoscope subject) dancing in a pink cobweb of swirling emulsion. (It too came from the Library of Congress\, but from its discard bin.) \nThe remaining pieces deliver a variety of arresting images for the peep show viewing context. Jodie Mack’s cameraless animation stars rapid-fire geometric forms\, while fellow animator Danielle Ash creates an ethereal aerial view of an imagined Brooklyn\, lit up by lengthy exposures of thousands of pinholes. Bill Brand’s dual-layered duel of abstraction and HD realism pushes the kinetic accelerator even further with a traveling matte that flutters over every frame. The medical imaging technology put to use in Andrea Callard’s memento mori piece pulls in yet another direction\, a reminder that early cinema combined optical toys and scientific devices. \nPeephole Cinema Brooklyn is part of a “miniature cinema” collective with satellite projects in three cities: San Francisco\, Brooklyn\, and Los Angeles. In each location\, silent film shorts are screened 24/7 through a dime-sized peephole installed in a public location.  \nHearkening back to the peep show or raree show—a closed box with at least one peephole revealing a hidden “view”—which was a popular form of entertainment throughout the 18th and 19th centuries\, Peephole Cinema plays on age-old tensions between public and private\, authorized viewing and voyeurism\, seeing and being seen. \nPeephole Cinema Brooklyn is located on the façade of UnionDocs\, Center for Documentary Art in Williamsburg.  Films will change about every two months.  \nFor more information please go to http://www.peepholecinema.com \n[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2015-09-18-kinetoscopic-records/
LOCATION:NY
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2015/09/CF5WoGRUIAAKYAE.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20150925T193000
DTEND;TZID=America/New_York:20150925T223000
DTSTAMP:20260427T101255
CREATED:20150819T040000Z
LAST-MODIFIED:20180302T214010Z
UID:10001943-1443209400-1443220200@uniondocs.org
SUMMARY:Cowbird Presents: Unheard Voices
DESCRIPTION:[vc_row][vc_column][vc_column_text] \n \nCowbird: Unheard Voices \nEven in this age of social media\, we still learn most of what we know through predominantly white male filters and pundits\, experts and academics\, politicians and editorialists. We don’t often hear directly from people like a bread baker from La Unión Xaltepec community in Nochistlán\, Mexico\, the only one of her family to stay behind and not leave for work in the United States. \nNor do we hear stories from a father who started his own hair salon in Harlem\, recounting the day his son became old enough to take over the business. \nThose are just two of the people you’ll hear from in Cowbird’s new Unheard Voices digital storytelling collection. Cowbird’s Unheard Voices recently funded two storytellers to amplify the voices and experiences of those excluded from traditional media outlets. Inspired by the acclaimed Cowbird/National Geographic collaboration that gave a platform to residents of the Pine Ridge Reservation\, Unheard Voices launched this spring and will premiere its first two collections of stories at UnionDocs on September 25th. \nWriter and storyteller Dawn Fraser will share the experiences of the stylists\, patrons and community members who congregate in barbershops and natural hair salons in New York City. Photographer Rodrigo Jardón will share the voices and images of the Mixteca Alta\, an indigenous region in the mountains of Oaxaca\, Mexico\, which has been profoundly changed by immigration. Afterward\, they’ll be joined by Cowbird Founder Jonathan Harris and panelists\, Kayla Epstein\, Nadia Reiman and Sarah Kate Kramer\, for a discussion and Q&A about their projects and the future of community storytelling. \n\n[su_spacer size=”30″] \n \n[su_spacer size=”30″] \nCowbird launched on December 8\, 2011 with hundreds of stories about the Occupy Wall Street movement\, and a global community of storytellers soon sprung up around it. Cowbird received widespread media attention from places like The New York Times\, The Washington Post\, The Wall Street Journal\, and TIME Magazine\, which named Cowbird “Twitter in Slow Motion\,” and one of the “50 Best Websites of 2012.” \n  \n  \n  \nFeatured Guests \nJonathan Harris is a digital artist\, known for his work with data visualization and storytelling. He is the creator of seminal interactive projects like We Feel Fine\, The Whale Hunt\, 10×10\, and I Love Your Work\, and the founder of Cowbird. \nDawn J. Fraser is a humorist\, storyteller\, and national speaker from San Jose\, California. She is the Host and Producer of Barbershop Stories\, which features some of New York’s bravest storytellers\, comedians\, and memoirists\, as they tell live stories… while chopping of their hair. Dawn was featured as a speaker amongst some of the nation’s top innovators and change makers at TED@NYC\, and currently teaches storytelling to students through The Moth’s Community Program. Dawn is a nationally acclaimed speaker\, and delivers speeches and workshops to students\, entrepreneurs\, and business owners to develop stories that engage and inspire. Her own stories about growing up as a twin and a first generation Trinidadian have been featured on storytelling shows including The Moth\, Story Collider\,The Soundtrack Series and RISK! \nRodrigo Jardon is a freelance documentary and concert photographer. He received his Bachelor of Journalism at Mexico’s National Autonomous University and has studied workshops at the Narco News’ School of Authentic Journalism\, the International Center of Photography and Aperture Foundation. His work has been published online in The Guardian\, TIME\, Vice\, Berliner Morgenpost and printed on The Scotsman\, Filter Mexico\, The Red Bulletin\, JPG Magazine and more. Since 2009 Rodrigo’s ongoing project “Homelands” has been focused in the effects of the world’s political economy in the life of individuals of Mexico\, the United States\, the West Bank\, Kurdistan and the Western Sahara. \nPanelists \n \nKayla Epstein is the Engagement Editor for The Guardian\, where she utilizes traditional reporting methods as well as social media and closed journalism to tell stories and engage readers. Her work at The Guardian includes The Counted\, a project to document people killed by police in the US in 2015. She worked alongside the Pulitzer-Prize winning team that broke the Edward Snowden NSA stories. Before joining the Guardian\, Kayla worked in worked in NYC politics and government. \nNadia Reiman has been a radio producer since 2005. She has worked for StoryCorps for almost 8 years\, and her work there on the team that produced 9/11 stories earned them a Peabody Award. Nadia has also worked on Afropop Worldwide and NPR’s Latino USA\, where she still curates the show’s music. Nadia also writes for music blogs like Remezcla and Sounds and Colours and worked on a short­lived Spanish language public radio politics program called Epicentro when she worked in Washington DC. \nSarah Kate Kramer is a producer at Radio Diaries\, where she works with Joe Richman to produce audio diaries and documentaries. Her adventures in radio began a decade ago\, when she got hooked on collecting stories as a StoryCorps facilitator. She then traveled to Morocco on Fulbright Fellowship (taking her microphone along) before settling down in her hometown of NYC. Before joining Radio Diaries in 2012\, she was editor of Feet in 2 Worlds and a freelancer for WNYC Radio. \n[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2015-09-25-unheard-voices/
LOCATION:NY
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2015/08/SEDA-workshop-SKramer.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20150926T193000
DTEND;TZID=America/New_York:20150926T213000
DTSTAMP:20260427T101255
CREATED:20150911T040000Z
LAST-MODIFIED:20180302T210339Z
UID:10001952-1443295800-1443303000@uniondocs.org
SUMMARY:ANN ARBOR FILM FESTIVAL PRESENTS
DESCRIPTION:[vc_row][vc_column][vc_column_text] \nANN ARBOR FILM FESTIVAL PRESENTS \nOn Saturday\, September 26th\, AAFF will curate a film program at UnionDocs consisting of nine new non-fiction films. All works presented\, that were screened at the 53rd edition of the Ann Arbor Film Festival\, originate from Mexico\, Brazil\, Sweden\, Germany\, Canada and the US. The filmmakers behind the works are Kevin Jerome Everson\, Mike Hoolboom\, Brett Story\, Bruno Varela\, John Skoog\, Pablo Lobato\, Katarzyna Plazinska\, Richard Wiebe and Helmut Völter. \nCorda \nPablo Lobato \nBrazil | 2014 | 7 min | digital \nCírio de Nazaré\, held in Belém (Brazil) since 1793\, is one of the biggest Catholic processions in the world. Each year millions of pilgrims accompany the saint’s statue competing for the privilege of holding the long sisal rope that leads the carriage throughout the city streets. In disarray with the rules of the celebration\, and in order to assure their relics\, some promisors cut the rope in the middle of the ritual. The video brings two different fluxes closer: one linear\, guided by the entirety of the rope\, the other chaotic\, responding to the cut. \n  \nWar Prayer \nRichard Wiebe \nUSA\, Cyprus | 2015 | 17 min | digital \nThere are icons in Cyprus that are centuries old. They bloom like flowers in houses\, churches\, monasteries\, and markets. Last summer marked the 40th anniversary of Cyprus’s invasion and partition. Today the island remains divided with abandoned spaces on both sides of the Green Line. For decades every US administration has exploited this partition\, using military bases on the island to conduct surveillance in the Middle East. An icon is a prayer\, a window to heaven\, to a listening ear. \n  \nMasanao Abe- Cloudgraphy \nHelmut Völter \nGermany | 2015 | 5 min | 35mm on digital \nIn 1927\, the Japanese physicist Masanao Abe built an observatory with a view of Mount Fuji. From it\, over the course of over fifteen years\, he recorded the clouds that surrounded the mountain. Abe was interested in the scientific question of how the air currents around Fuji could be visualized by means of film and photography. \nMasanao Abe- Cloudgraphy is a selection of film sequences by Abe from 1929 to 1938. They show his attempts to scientifically grasp the ephemeral forms and movements of the clouds\, but they are at the same time beautiful documents in a long iconographic tradition: the mountain and the clouds. \n  \n  \nChapri    \nKatarzyna Plazinska \nUSA | 2015 | 6 min | digital \nLight\, shadow\, and sound imprint themselves onto ephemeral making. \nScrapbook \nMike Hoolboom \nCanada | 2015 | 19 min | 16mm on digital \nLensed in Ohio’s Broadview Developmental Center in 1967 by secret camera genius and audio visual healer Jeffrey Paull\, Scrapbook tells the story of audacious autistic Donna Washington in her own words\, as she encounters pictures of one of her former selves fifty years later. \nThree Quarters \nKevin Jerome Everson \nCharlottesville\, VA | 2014 | 3 min | digital \nNorth American Premiere \nTwo magicians in Philadelphia practice their sleight of hand tricks. \nVolatilidad \nBruno Varela \nMexico | 2015 | 2 min | digital \nVolatility: image\, memory\, disappearance. Indirect audiovisual action. Phantoms\, gaps of light\, indexes\, shadows. Wiping of the image through chlorine applied directly on film surface until the last traces are unrecognizable and stop harboring any presence. Sudden interruption on the everyday flow\, of life. Enforced disappearances constitute a systematic practice of terrorism by the State\, it is an operation of induced invisibility. The attorney general\, from the theater of operations\, embodies the script of a tragic act of prestidigitation. Dark magic\, evil dream. Notebook 2015. \nClear and No Screws \nBrett Story \nCanada | 2014 | 6 min | digital \nClear and No Screws profiles SendAPackage\, a wholesale warehouse founded by ex-prisoner Chris Barrett where all of the items sold meet the 36-page list of rules regulating packages allowed into the New York prison system. From pattern-less boxer shorts to hip hop cassette tapes specially produced for New York State’s 54\,000 prisoners\, Clear and No Screws offers a tender glimpse into life in prison through the circulation of regulated goods. \nReduit \nJohn Skoog \nSkåne\, Sweden | 2014 | 14 min | digital \nIn the early 1940’s the farm-worker Karl-Göran Persson started to fortify his small house in the flat farmlands of southern Sweden. He wanted to build a place where he and the people in the village could find refuge in the event of a Soviet invasion. He took any metal he could get cheap or for free from the neighboring farmers and used it as reinforcement for the cement casting of the house’s new exterior walls. Karl-Göran lived alone in the house and continued his re-construction until his death in 1975. \n  \n  \n  \n  \n  \nAAFF Program Director David Dinnell will be in attendance with filmmakers Katarzyna Plazinska and Brett Story. \nKatarzyna Plazinska is a filmmaker born in Poland\, currently based in New York City. She makes both fiction and non-fiction films. Her work is characterized by a subtle sensuality and rigorous attention to detail in both image and sound. A fellow of the MacDowell Colony and a recipient of Iowa Arts Fellowship\, her works have screened at numerous film festivals and venues. Katarzyna is a recipient of the Black Maria Director’s Choice Award\, Ann Arbor Festival Jury Award\, and Grand Prix at Montreal Underground Film Festival. \nBrett Story is a writer and independent non-fiction filmmaker based out of Toronto\, currently resideing in New York City. Her first feature-length film\, Land of Destiny (2010)\, was the winner of the Canadian Environmental Media Award in 2011 for Best Documentary. Her journalism and film criticism have appeared in such outlets as CBC Radio\, the Nation Magazine\, and the Toronto Review of Books. She was the recipient of the Documentary Organization of Canada Institute’s 2014 New Visions Award. Brett recently received her PhD in geography from the University of Toronto and is working on a new feature-length film\, titled The Prison in Twelve Landscapes. \nThe Ann Arbor Film Festival is the longest-running independent and experimental film festival in North America\, founded by George Manupelli in 1963. Internationally recognized as a premiere forum for independent filmmakers and artists\, each year’s festival engages audiences with remarkable cinematic experiences. The six-day festival presents 40 programs with more than 180 films from over 20 countries of all lengths and genres\, including experimental\, animation\, documentary\, fiction\, and performance-based works. \nFor its first four decades\, the festival solely exhibited works finished on 16mm. The AAFF remains committed to the exhibition of this medium among other formats including expanded cinematic forms. \nThousands of influential filmmakers and artists have exhibited early work at the AAFF\, including Kenneth Anger\, Agnes Varda\, Andy Warhol\, Gus Van Sant\, Barbara Hammer\, George Lucas\, Les Blank\, Matthew Buckingham\, and James Benning. \n[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2015-09-26-aaff-presents/
LOCATION:NY
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2015/09/AAFF-Three-Quarters_220300.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20151011T193000
DTEND;TZID=America/New_York:20151011T213000
DTSTAMP:20260427T101255
CREATED:20151009T040000Z
LAST-MODIFIED:20190516T165307Z
UID:10001956-1444591800-1444599000@uniondocs.org
SUMMARY:STAND BY FOR TAPE BACK-UP
DESCRIPTION:[vc_row][vc_column][vc_column_text]”Two years ago\, I found a videotape in my loft. On it: one and a half films\, one quiz show and two sit-coms. Somehow\, it became the story of my life. \nAfter a hard-drive crash and a near-death experience\, Ross Sutherland found himself house-bound with only one thing for company: an old videotape that once belonged to his granddad. \nOver the months that followed\, Ross memorized every second of the tape. Slowly\, he learned how to manipulate the images into telling the story of his life. The videotape allowed Ross to closed a dialogue with his late grandfather\, and eventually helped him confront the illness that had nearly ended his life. \nThe true story of one man’s journey into synchronicity and madness.[/vc_column_text][vc_empty_space][vc_text_separator title=”About”][vc_empty_space][vc_column_text]Performance poet\, Scot\, media-remixer\, Ross Sutherland will take over UnionDocs for a weekend run of his VHS “odyssey” STAND BY FOR TAPE BACK-UP. The production was one of the critical hits of the Edinburgh Festival Fringe 2014 – enjoying a sell-out run at Summerhall\, featuring on The Culture Show’s Fringe highlights program (BBC2)\, and following a sold-out run in spring 2015 at Shoreditch Town Hall\, before it moved onto a successful run at the Soho Theater in London. A film version of the performance premiered at HOT DOCS 2015. \nFollowing the live performance\, visual artist and filmmaker Brent Green will join in conversation with Ross Sutherland. \n“The videotape has a lot of sentimental significance to me – it’s my main way of maintaining a connection to him\, posthumously. The tape has also helped me combat depression (I’ve come to use the tape as a form of meditation). I try to demonstrate this in the show: how repetition helps locate hidden meaning inside the video\, transforming innocuous pieces of TV into buried pieces of my psyche.” \n[/vc_column_text][vc_empty_space][vc_text_separator title=”Press”][vc_empty_space][vc_column_text] \n“Consuming\, compelling\, hypnotic.”\n– Stage \n“Extraordinary”\n– Fest Magazine \n“Touching\, funny\, linguistically thrilling”\n– Exeunt Magazine \n“Simply note down the booking number\, because this is a must see show… extraordinary”- The Observer \n“A profound meditation on death and the afterlife – which sounds utterly absurd\, but is in fact audaciously\, brilliantly pulled off.”\n– Independent \n“Ross Sutherland’s entry at Hot Docs is one of the festival’s most unusual and potentially mind-altering selections”\n– POV Magazine \n“It all builds to a remarkable release of emotion\, as the best live theatre does. But it works damn well as a recording\, too.”\n– NOW Magazine \n“Stand by for Tape Back-up uses the screen as a scrapbook and a reflective surface to compellingly show how magnetic tape has shaped Sutherland’s sense of self and the world around him. A mind-blowing meditation on media’s influence and inheritance.”\n– HotDocs \n\nYO! Ross Sutherland’s incredible #StandByForTapeBackup is gonna be LIVE @UnionDocs this weekend. Change your plans. Go. Laugh. Cry. Rewind. \n— Tom Roston (@DocSoupMan) October 7\, 2015 \n \nOi @RossGSutherland you jammy git! #StandByForTapeBackUp came 1st runners up for @fantasticfest viewers choice award!!! Gwan son! So proud! — M3NSA (@mensamusic) October 2\, 2015 \n \n\n#standbyfortapebackup was great. The more I think about it\, and the more it plays in my memory\, the better it gets. How fitting. \n— Colin (@Colicub) June 26\, 2015 \n\nCongratulations to @RossGSutherland on his beautifully crafted & emotionally powerful show @ShoreditchTH #StandbyForTapeBackUp — Tom Chivers (@thisisyogic) April 29\, 2015 \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space][vc_text_separator title=”120 minutes”][vc_empty_space][vc_column_text]Ross Sutherland is a poet and filmmaker from Edinburgh\, Scotland. He has four collections of poetry\, including Things To Do Before You Leave Town and Emergency Window. He writes regularly for BBC Radio 4 and is the host of the podcast\, Imaginary Advice. He was runner-up for the 2015 National Art Foundation Award for poetry. His play\, Stand-By For Tape Back-Up toured theatres in 2014\, before being adapted for film in 2015 (developed in collaboration with filmmaker Charlie Lyne). Besides “touring” with his STAND BY FOR TAPE BACK-UP show\, he is currently working on a piece of interactive theatre about a comedy club\, trapped inside a five minute timeloop. To read more\, go here.[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2015-10-11-tape-backup/
LOCATION:UnionDocs\, 352 Onderdonk Avenue\, 352 Onderdonk Avenue\, Ridgewood\, NY\, 11385\, United States
CATEGORIES:Screenings & Events
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:20151017T193000
DTEND;TZID=America/New_York:20151017T230000
DTSTAMP:20260427T101255
CREATED:20151005T040000Z
LAST-MODIFIED:20190516T170420Z
UID:10001953-1445110200-1445122800@uniondocs.org
SUMMARY:American Pictures by Jacob Holdt
DESCRIPTION:[vc_row][vc_column][vc_column_text]A true eccentric\, Mr. Holdt has created a body of work that is both brutally honest yet remarkably sympathetic both to the oppressors and the oppressed. \n \nAn experiment in oppression\n“The show reveals the psychological costs of racism on both the black and the white mind. Yet it is not only a “show” about the victims of racism\, but also an experiment in oppression. \nThe technique of the show is to incessantly bombard the audience with a one-sided view from the position of the black underclass\, a view in sharp contrast to the Horato Alger myth. \nThere is no opportunity for rationalization or justification. A form of oppression ensues which gradually breaks down the defenses of the audience. It effectively creates a momentary role reversal letting the astonished students actually experience the emotions black people often suffer in everyday white society. This closeds the way for whites to begin to identify with and understand black reactions.” – Jacob Holdt \n  \n \nWhat makes American Pictures so disturbingly powerful is the cumulative effects of Holdt’s photographs combined with his outsider’s analysis of the dynamics of poverty and oppression in the U.S.[/su_quote] \nThe welfare state….. Or the lack of it\nAn important thrust both in the show and discussion groups concerns institutionalized poverty\, fear and insecurity. As an outsider having grown up in a European welfare state Jacob Holdt challenges what he understands as established American thought patterns by demonstrating the enormous financial and human costs of life without cradle-to-grave security. \n[su_quote cite=”Lisa Anne Auerbach\, The Art Book Review”]American Pictures is a wild book that’s all shock and awe and freakshow. Self-published by photographer and “vagabond” Jacob Holdt\, the book is a fucked-up wacky look at America by a guy who makes a habit of jumping into bed with his subjects and hanging out at cross burnings with the Ku Klux Klan. The dude has love and respect for all people\, in a Jesus kind of way\, and he wears a beard braided down to his belly button in order to let everyone know that he’s a weirdo too. \n \n  \nIt is his selfless love for humanity which allows him to move back and forth between the worlds of the fabulously wealthy and the destitute with surprising ease\, thus enabling him to live with the Southern “aristocracy”\, get drunk with millionaires\, and befriend street people\, drug addicts\, gays\, lesbians\, transsexuals\, pimps and prostitutes. Before leaving the country he even attempts to bring about reform in the American prison system. The reader soon realizes that Holdt is better qualified than are most Americans to treat such complex issues as alcoholism\, malnutrition\, unionization\, American religion\, the K.K.K.\, black pride and integration. \nRead more about Jacob Holdt’s project and the full review from ASX.[/vc_column_text][vc_empty_space][/vc_column][/vc_row][vc_row][vc_column][vc_text_separator title=”120 minutes”][vc_empty_space][vc_column_text]ABOUT \nBorn in Denmark 1947\, Danish photographer Jacob Holdt has gained international success for his mammoth ‘travel book’ American Pictures. Since the early 1970s\, Holdt traveled around the US to explore the lower classes of the American society\, inviting himself into the lives and homes of citizens in lower social classes of America. He did not consider himself a photographer until his mother sent him a pocket-sized Canon Dial for his birthday\, asking him to send home some pictures from his travels in North America. Holdt considers his photography work as “a result of non-violent communication with the victims of a violent racism (…) I had never photographed before and saw it first as my visual diary helping me to remember all the people who gave me hospitality and food in more than 400 homes over 5 years as a ‘vagabond’.” \nRead more about Jacob Holdt and his non-violent approach to photography.[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2015-10-17-american-pictures/
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/2015/10/Jacob-Holdt-default.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:20151024T193000
DTEND;TZID=America/New_York:20151024T193000
DTSTAMP:20260427T101255
CREATED:20151019T040000Z
LAST-MODIFIED:20190404T190758Z
UID:10001959-1445715000-1445715000@uniondocs.org
SUMMARY:Elephant's Dream
DESCRIPTION:[vc_row][vc_column][vc_empty_space height=”40px”][vc_separator color=”custom” accent_color=”#ffffff”][vc_empty_space height=”40px”][vc_column_text] \nAfter a lengthy and devastating civil war in the Democratic Republic of Congo (DRC)\, the capital city of Kinshasa is rebuilding. Through the eyes of three civil workers struggling to reconstruct the foundation of the city’s public services\, we witness a tale of national transformation— at a snail’s pace. Driven by desperate ambition\, postal worker Henriette faces a system defined by stagnation\, even as she rises through its ranks.  With ramshackle equipment\, a firefighter is forced to watch as everything he helped build burns to the ground. Meanwhile\, optimistic railway worker Simon stands guard over an unused rail-station—unsure of what he is protecting. Their stories allow director Kristof Bilsen to offer a rare look at the DRC\, filled with poetry and absurdity that is brimming with compassionate insight. – Eli Horwatt (HotDocs) \nFestivals & Awards \nTRT Documentary Awards – WINNER 2nd Best International Documentary \nDocs Against Gravity – WINNER Magic Hour Award \nDocPoint Helsinki – WINNER From You to YLE Audience vote \nMargaret Mead Film Festival (NY Premiere) \nCongo in Harlem (NY) \nEthnoFilmFest Muenchen (DE) \nFestival International Ânûû-rû Âboro (New Caledonia) – in competition \nInconvenient Films Human Rights Fest Vilnius – in competition \nZIFF (Zimbabwe – Harare) – in competition \nAfrica International Film Festival AFRIFF (Nigeria)- in competition \nCamden International Film Festival (in competition) – US Premiere \nMilano Film Festival – State of (T)Error \nDOKUFest Prizren (Kosovo) (International Documentary Competition) \nEast End Film Festival London – UK Premiere \nFrontline Club London – Preview Screening 9/2/15 \nAddis International Film Festival (Ethiopia) \nHOTDOCS Toronto North-American premiere in World \n[/vc_column_text][vc_empty_space height=”40px”][vc_text_separator title=”Program” color=”white” el_class=”h1″][vc_custom_heading text=”Elephant’s Dream” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_custom_heading text=”37 min.\, 2014 << this is where you put the format\, timing\, year\, and other details provided for an element of the program” font_container=”tag:p|text_align:left” use_theme_fonts=”yes”][vc_column_text] \nElephant’s Dream takes us beyond the usual reports of the Congo\, to provide poetic and compassionate insight into a country in transition\, as seen through the microcosm of three state-owned institutions and its public sector workers in the third largest city in Africa\, Kinshasa\, a railway station\, the central post office and the only existing fire station. At times surreal\, at times hopeful\, this film will reveal a truly surprising perspective on lives lived beyond chaos. \n[/vc_column_text][vc_empty_space height=”40px”][vc_text_separator title=”” color=”white” el_class=”h1″][vc_empty_space height=”40px”][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”115565″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text] \nKristof Bilsen (director/DOP/producer) completed a filmmaking BA in Brussels (2002). He also works as cinematographer\, editor and director for the performing arts and collaborated in the past with directors such as Peter Missotten\, Sidi Larbi Cherkaoui and Meg Stuart. His first film Three Women (about female detainees in a Belgian prison) was shortlisted for the Henri Storck Prize and shown twice on Belgian National Television. He also made the short  documentary Fez-return-ticket\, about a mixed marriage in Morocco before beginning his Masters  at the National Film and Television School. He enrolled for the Werner Herzog Film Course in Los Angeles and also attended the Berlinale Talent Campus 2012.  Elephant’s Dream\, his first feature film\, is a co-production with Limerick Films\, Associate directors\, Man’s Films and RTBF and is currently traveling festivals worldwide. His work screened at more then 50 festivals worldwide (IDFA\, DOK Leipzig\, Hot Docs\, Margaret Mead\, Thessaloniki\, a.o.) and won several awards\, such as the Nanook/Jean Rouch Grand Prize in Paris. Along with his film practice\, he is one of the 8 founding members of Kitchen Sink collective and also runs his boutique company Limerick Films. \n[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2015-10-24-elephants-dream/
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/2015/10/Elephants-Dream-11.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:20151024T193000
DTEND;TZID=America/New_York:20151024T213000
DTSTAMP:20260427T101255
CREATED:20151005T040000Z
LAST-MODIFIED:20190502T183715Z
UID:10002098-1445715000-1445722200@uniondocs.org
SUMMARY:The Iron Ministry
DESCRIPTION:[vc_row][vc_column][vc_empty_space height=”40px”][vc_separator color=”custom” accent_color=”#ffffff”][vc_empty_space height=”40px”][vc_column_text]Filmed over three years on China’s railways\, The Iron Ministry traces the vast interiors of a country on the move: flesh and metal\, clangs and squeals\, light and dark\, language and gesture. Scores of rail journeys come together into one\, capturing the thrills and anxieties of social and technological transformation. The Iron Ministry immerses audiences in fleeting relationships and uneasy encounters between humans and machines on what will soon be the world’s largest railway network. \n  \n“[T]he best film about China in the twenty-first century that I’ve seen to date—was made by an American\, J.P. Sniadecki\, known for his work with Harvard’s Sensory Ethnography Lab. Following People’s Park (2012) and Yumen (2013)\, both documentaries on contemporary China that Sniadecki co-directed\, The Iron Ministry compiles three years of footage shot during rides on China’s extensive railway system. A cow stomach is sliced into edible bits; a man puffs on a bamboo cigar-holder between compartments; the filthy floor is lined with cigarette butts and sleeping human bodies; a precocious little boy sarcastically encourages the crowd to piss and shit in the aisles.” – Travis Jeppesen\, Artforum \n  \n\n\n\n\nOfficial Selection\, New York Film Festival \nJury Award\, Ann Arbor Film Festival \nJury Award\, Camden International Film Festival \nOfficial Selection\, Locarno Film Festival \nOfficial Selection\, Viennale \nOfficial Selection\, International Film Festival of Rotterdam \n  \n\n\n\n\nRead more about The Iron Ministry[/vc_column_text][vc_empty_space height=”40px”][vc_text_separator title=”83 min” color=”white” el_class=”h1″][vc_empty_space height=”40px”][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”117027″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text]Born in Michigan\, J.P. Sniadecki is a filmmaker and anthropologist whose films have screened at festivals such as the Berlinale\, the Locarno International Film Festival\, the New York Film Festival\, the Viennale\, BAFICI\, the Beijing Independent Film Festival\, and at museums and galleries such as the Guggenheim and the MoMA in New York\, the MAC in Vienna\, the UCCA in Beijing and the 2014 Whitney Biennale. He is also a professor of filmmaking in the Performing and Media Arts Department at Cornell University.[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2015-10-24-iron-ministry/
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/2015/10/THE-IRON-MINISTRY-590x332.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:20151030T000000
DTEND;TZID=America/New_York:20151101T000000
DTSTAMP:20260427T101255
CREATED:20150817T192237Z
LAST-MODIFIED:20180323T182327Z
UID:10002589-1446163200-1446336000@uniondocs.org
SUMMARY:BRANDED DOCUMENTARIES: An Intensive 3-day Seminar on Creative Content
DESCRIPTION:[vc_row][vc_column][vc_column_text] \nBRANDED DOCUMENTARIES:\n\nAn Intensive 3-day Seminar on Creative Content \n \nFrom DamNation – photo by Ben Knight \n\nThis seminar is a theoretical and practical intensive course designed for documentary filmmakers and media artists looking to develop their skill sets in the emerging field of branded content. Branded videos are on the rise! Clients are looking to engage with their customers through creative collaborations. Filmmakers are using this new form of patronage to finance their own works. \nDesigned by UnionDocs in partnership with Mathilde Walker-Billaud\, the seminar will explore new business models in the media and entertainment industry. It will offer technical tools and strategies for working with clients while developing and maintaining a creative voice. \nThis seminar will bring together five guest instructors who are thinkers and practitioners from different disciplines: producers\, marketers and strategists\, entrepreneurs and filmmakers. The goal is to expose a small group (the audience is limited to 14 students) to a broad range of creative approaches to branded documentary\, including audience engagement\, online and cultural marketing\, branded and creative content\, fundraising strategy\, digital innovation and film production/distribution. \nFilm producer\, entrepreneur and writer Brian Newman will lead the seminar. \n\n IMPORTANT FACTS: \nWhen: Friday\, October 30th to Sunday\, November 1st\, 10:00am – 5pm \nWhere: UnionDocs\, 322 Union Avenue\, Brooklyn\, NY 11211 \nWho is eligible? \nOpen to the public. We are looking for producers\, marketers and filmmakers interested in branded content. Participants are accepted on a first-come\, first-served basis. \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 films and a project idea (if you have one)\, 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. \nPlease note: Participants *will not* be producing a piece during the week. Focus is on discussion. The goal is also to develop your personal project conceptually. \nCost: \n$450  \nPlease note that the service charge is waived if payment is made via check. \nChecks can be made out to UnionDocs and mailed to 322 Union Ave\, Brooklyn\, NY 11211. \nTechnology Requirements: \nIn order to keep costs down\, this workshop is a BYOL\, i.e. bring your own laptop. Students must be fully proficient using and operating their computers. \n\nEach day will explore one topic with one or two guest instructors: \nFriday – The filmmaker as an artist-entrepreneur \nThe first day of the seminar looks in-depth at the ways we produce and distribute films today. How best to use both the internet and the film industry at the same time? How innovative is the branded documentary model? \nInstructors: \nAM: Brian Newman \nPM: Kenyatta Cheese \nSaturday – New strategies for brands \nThe second day of the intensive focuses on content and cultural marketing. How do the brands implement successful marketing campaign and generate audience engagement with the help of artists and filmmakers? \nInstructors: \nAM: Adam Katz \nPM: Karol Martesko-Fenster (cinelan.com) \nSunday – The final cut \nThe third day explores the creative execution of branded content. What is the impact of brands on the process? \nInstructors: \nAM: Trish Dalton \nPM: Final presentation\, critique and discussion of individual projects \n Each day follows this general structure\, with some minor variations and substitutions: \n10:00a    Warm up\, inspiring references\, exercises and film training. \n10:30a    Presentation by guest speaker \n11:45a    Discussion \n12:30p    Share / Discussion / Exercise \n1:00p      Lunch (on your own) \n2:00p      Presentation by guest speaker \n3:15p      Discussion \n4:00p      Workshop Exercise and Critique \n5:00p      End \n\nINSTRUCTOR BIOS: \nTrish Dalton is an independent director/producer\, currently working on projects at her production company Lucky Cat Pictures. Her first feature\, ONE NIGHT STAND\, directed with Elisabeth Sperling\, was released theatrically in over 450 theaters in North America by Fathom and  Front Row events. The film also aired on OVATION in the spring of 2013. It won the audience award from Newfest and was called  “Engaging” by Hollywood Reporter\, “Joyous and heartfelt” by Indiewire\, and “wonderfully hilarious” by LA Times. \nHer short documentary\, SOUTHMOST U.S.A.\, about Brownsville\, Texas\, a community separated by the US/Mexican border fence\, premiered in film festivals in 2013.  It has won awards from USA film Festival\, Cine las Americas\, and Worldfest-Houston. \nThanks to generous support from New York State Council on the Arts\, Trish recently completed BORDERING ON TREASON\, a personal retrospective of America’s war with Iraq told though the eyes of photojournalist\, Lorna Tychostup. \nTrish began her film career in 1999\, when she moved from Toronto to New York to study film at New York University. While there\, she volunteered and worked for a number of film collectives and organizations\, including: The 5th Night\, Paper Tiger TV\, United Nations Global Action Project\, Reel Sweet Betty\, DCTV\, and the Indy Media Center. In 2001\, Trish formed ‘Ohms Media Collective’ along with other socially conscious filmmakers to combine her love of storytelling with her dedication to social activism.  She launched the ongoing “Park Slope Coop Screening series” in 2004\, showcasing Brooklyn documentaries. Trish is an active member of NYWIFT\, IFP\, Shooting People\, and is sponsored by Women Make Movies. \nMany of her documentaries have been used as tools for social change.  For example\, BREAKING THE SILENCE\, was made in collaboration with Girls Educational and Mentoring Services (GEMS)\, as an advocacy tool for the organization to share the voices of commercially sexually exploited youth for legal and financial aid.  Similarly\, FARM SANCTUARY\, was made in collaboration with the organization upstate New York that rescues animals in danger\, was used to raise awareness about animal cruelty. \nIn addition to making documentaries\, Trish has been directing and producing commercial\, branded\, and educational content for a wide range of International organizations and companies\, including: Capital One Spark\, Amazon\, Kashi\, Danskin\, About.com\, Beiersdorf\, Pepsi\, Nike\, illy\, Cole Haan\, Cossette\, and IDEO.   She also production managed the National Geographic television series\, ‘Fight Science’. \n[su_youtube url=”https://www.youtube.com/watch?v=7DhkjDTvWWE”] \n  \n \nBrian Newman is the founder of Sub-Genre\, a consulting company focusing on developing and implementing new business models for film and new media. Current clients include: Patagonia\, developing film strategies\, including distribution and marketing for the feature documentaryDamNation; Sundance Institute on a film data project; and several filmmakers on fundraising\, distribution and marketing. \nBrian is also the producer of Love & Taxes a narrative feature in post from Jake and Josh Kornbluth\, and executive producer\, Shored Up a documentary feature by Ben Kalina. Brian has served as CEO of the Tribeca Film Institute\, president of Renew Media and executive director of IMAGE Film & Video. Brian is chair of the board of Rooftop Films\, and serves on the board of Muse Film & Television. He authored “Inventing the Future of the Arts: Seven Digital Trends that Present Challenges and Opportunities for Success in the Cultural Sector” for the book 20 Under 40: Reinventing the Arts and Arts Education for the 21st Century. He was born in North Carolina and has an MA in Film Studies from Emory University. \n  \n  \n \nKenyatta Cheese is a professional internet enthusiast best known for co-creating the web series and internet meme database Know Your Meme. He built interesting things at Rocketboom\, Unmediated\, the Eyebeam Center for Art and Technology\, Screensaversgroup\, and Manhattan Neighborhood Network. Nowadays he is Creative Director at Everybody at Once\, a consultancy dedicated to audience development for media\, entertainment\, and sports. \n  \n  \nAdam Katz\, President and Co-Founder of Imprint Projects\, a creative agency that develops innovative brand platforms for marketing and communications. \nAdam is a brand consultant\, cultural programmer and entrepreneur. He strives to develop new business models that encourage arts patronage and community engagement.  In addition to his brand campaign portfolio (Google Play\, Levi’s\, Moog Music Sonos\, Virgin)\, Adam’s professional background includes work in art museums\, contemporary galleries and non-profit arts organizations.  Adam holds a degree in Art Semiotics from Brown University. He has organized and led countless workshops and classes\, including stints managing The Public School in Los Angeles and New York. \n[su_youtube url=”https://www.youtube.com/watch?v=MKWNl0ZsH_U”] \n\nKarol Martesko-Fenster is an Austrian-born American entrepreneur and media industry innovator with broad motion picture\, broadcast\, publishing\, event\, and Internet backgrounds and his career spans over two decades including leadership in the American independent film industry. \nHe is a special consultant on Kevin Kerslake’s AS I AM: THE LIFE AND TIMES OF DJ AM\, Avi Lewis’ THIS CHANGES EVERYTHING and Jon Long’s THE SEARCH FOR FREEDOM and the producer of Thomas Wirthensohn’s 2015 DOCNYC Grand Jury Award winning HOMME LESS. Karol is an Executive Producer on Amy Benson’s DRAWING THE TIGER\, Daniel McCabe’s THIS IS CONGO\, Phil Cox’s THE LOVE HOTEL and THE BENGALI DETECTIVE\, Noel Dernesch & Moritz Springer’s 2013 Zurich Film Festival Audience Award winning JOURNEY TO JAH\, Havana Marking’s SMASH & GRAB: THE STORY OF THE PINK PANTHERS\, James Allen Smith’s FLOORED\, and Dean Budnick’s WETLANDS PRESERVED.  He was the Production Executive on Emmett Malloy’s 2013 Grammy Award winning BIG EASY EXPRESS and Harry Belafonte’s 2012 NAACP Image Award winning SING YOUR SONG and Executive Producer of Danfung Dennis’s 2012 Academy Award Nominee HELL AND BACK AGAIN. \nKarol is a Managing Partner of Cinelan and Thought Engine | Media Group and collaborates closely with Abramorama and Gull Gotham.  Hewas the President of Film & Media for Michael Cohl’s S2BN Entertainment Corporation\, SVP of Film & Animation at Babel Networks\, and Head of Film at Chris Blackwell’s Palm Pictures. He has produced over 25 television and satellite broadcast music programs and he co-founded FILMMAKER Magazine\, RES Magazine\, and the media content enterprises indiewire.com\, hackateerventures.com\,conditionone.com and cinelan.com. \nWay back when Karol was a Coordinating Producer for PBS & WNET’s Great Performances Music Division and Market Director for the breakout 1989 Independent Feature Film Market and in 1990\, as the Executive Director of the IFP\, he restructured the organization and co-initiated the inaugural Gotham Awards. \n[su_vimeo url=”https://www.vimeo.com/107520721″] \n  \n\nWorkshop Policies:\nRegistration & Cancellation To register for a workshop\, participants must pay in full via PayPal. After the registration deadline of October 13th\, 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 cancelled. Participants 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\, participants 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. \n[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2015-10-30-branded-doc/
LOCATION:NY
CATEGORIES:Workshops & Labs
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DTSTART;TZID=America/New_York:20151031T193000
DTEND;TZID=America/New_York:20151101T030000
DTSTAMP:20260427T101255
CREATED:20151013T040000Z
LAST-MODIFIED:20190516T164403Z
UID:10001960-1446319800-1446346800@uniondocs.org
SUMMARY:HALLOWEEN at UNIONDOCS
DESCRIPTION:On Saturday October 31st UnionDocs will closed its doors to a spooky night of thrill and horror. Stop by if you dare\, and bring your friends.\n \nWith \n/cheap drinks /your friends in costume /decorations made by real artists /djs + so much dancing /our new sound system /real ghosts /etc \nAs some of you know\, our Collaborative Studio is made up of both local and international artists\, some of whom have NEVER celebrated Halloween before! \nLet’s show them how it’s done. \nDJ’s: \n– DJ Stewey Decimal (with visuals by Grayson Earle) \n– Secil Sane (Denmark) \nDrink tickets at the door – cash only. Your contribution benefits the UnionDocs collaborative and their productions. \nRSVP ON FACEBOOK
URL:https://uniondocs.org/event/2015-10-31-halloween-undo/
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
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DTSTART;TZID=America/New_York:20151101T193000
DTEND;TZID=America/New_York:20151101T213000
DTSTAMP:20260427T101255
CREATED:20151005T040000Z
LAST-MODIFIED:20190516T170211Z
UID:10002103-1446406200-1446413400@uniondocs.org
SUMMARY:Speculation Nation
DESCRIPTION:[vc_row][vc_column][vc_custom_heading text=”Speculation Nation\, Sabine Gruffat & Bill Brown\, USA\, 74 min\, 2014″][vc_empty_space][vc_column_text]Real estate speculators destroyed the Spanish economy\, and now ordinary citizens occupy empty buildings and speculate on new ways to live. \nThe global financial crisis that began in 2007 battered Spain. Over a quarter of the population lost their jobs\, and hundreds of thousands of people lost their homes. The constitutional guarantee for housing that has been a cornerstone of Spain following the death of Francisco Franco has been shaken by a combination of greedy real estate speculators\, predatory banks\, corrupt public officials\, and a global financial catastrophe. \nIn this impressionistic documentary film\, Sabine Gruffat and Bill Brown travel across Spain to explore the consequences of the housing crisis. What they find are Spanish citizens\, inspired by the politics of The 15M Movement and Occupy Wall Street\, who are mobilizing\, collectivizing\, and fighting for the right for a decent place to live. Along the way\, the filmmakers visit young mothers and their families squatting in failed condo developments; intentional communities of mountain cave dwellers; protest campsites that have sprung up in front of bank branches; and empty apartment buildings transformed into experiments in utopian living. The film examines the ideologies that separate housing from home\, and real estate speculation from speculations about a better way to live. \n \nSpeculation Nation is interested in rendering political crisis not only as a wasteland but also a catalyst for social action. In depicting protest camps\, demonstrations and the occupation of unused apartments and the caves overlooking Granada\, the film’s title picks up a secondary meaning inflected by the determination of ordinary citizens to think outside the box. \nAfter the screening\, filmmaker and political activist Paige Sarlin\, photojournalist Elia Gran and writer and activist Luis Moreno-Callabud will join in a panel discussion about the Spanish housing crisis and some of the resulting issues. \nSelected Screenings: \nCPH:DOX\, Cclosedhagen\, 2014 \n53rd Ann Arbor Film Festival\, 2015 (Michael Moore Award for Best Documentary) \n22nd Chicago Underground Film Festival \nArchitecture Film Festival Rotterdam\, 2015 \n9th Nuremberg International Human Rights Film Festival\, 2015[/vc_column_text][vc_empty_space][vc_text_separator title=”Program”][vc_empty_space][vc_column_text] \n\n \nSabine Gruffat is a digital media artist and filmmaker living and working in North Carolina. Currently she is Assistant Professor of Art at the University of North Carolina – Chapel Hill. \nSabine’s films and videos have screened at festivals worldwide including the Image Forum Festival in Japan\, The Ann Arbor Film Festival and Migrating Forms in New York. Her feature film I Have Always Been A Dreamer has screened internationally including at the Viennale\, MoMA Documentary Fortnight\, Cinéma du Réel at the Centre Pompidou\, and The Cclosedhagen International Documentary Film Festival. \nShe has also produced digital media works for public spaces as well as interactive installations that have been shown at the Zolla Lieberman Gallery in Chicago\, Art In General\, Devotion Gallery\, PS1 Contemporary Art Museum\, and Hudson Franklin in New York. \n  \n \nBill Brown is a writer and filmmaker living in North Carolina where he is a lecturing fellow in the Arts of the Moving Image Program at Duke University. He received a BA from Harvard University and an MFA from the California Institute of the Arts. In his work\, Bill is interested in landscapes as markers of our memories\, dreams\, and desires. \nBill’s films have screened at venues around the world\, including the Viennale\, the Rotterdam Film Festival\, the London Film Festival\, the Sundance Film Festival\, and Lincoln Center. A retrospective of his films was shown at the Museum of Modern Art in New York. He is a recipient of a Creative Capital Grant and a Rockefeller Fellowship. \n  \nPaige Sarlin is a filmmaker\, scholar\, and political activist. Her first film\, The Last Slide Projector\, premiered at the Rotterdam International Film Festival in 2007. Her writings on art\, film\, and politics have been published in October\, Re-Thinking Marxism\, Afterimage\, Reviews in Cultural Theory\, The Journal of Aesthetics and Protest\, and Framework: A Journal of Film and Culture.  She is currently at work on a book-length manuscript entitled Interview-Work: The Genealogy of a Cultural Form and a documentary film whose working title is Practice: How to Get a Job.  She is an Assistant Professor in the Department of Media Study at University at Buffalo\, SUNY. \n  \nElia Gran is a Spanish\, New York based photojournalist. She has written or collaborated with various radios and written journals like The Nation\, WBAI radio\, DemocracyNow!\, The New York Times\, Periódico Diagonal\, La Directa and Eldiario.es. In Barcelona\, Spain she was involved in organizing local media\, especially through radio programs and local publications\, to try to talk about those issues less present in mainstream media. Her interests focus mainly on Human Rights issues and social movements. She considers herself an activist and is part of the Marea Granate organization in NYC which\, together with other worldwide grassroot communities\, are trying to create a global network of collaboration \n  \nLuis Moreno-Caballud is a researcher\, writer\, and activist. He works at the University of Pennsylvania and participates in different political groups (including Marea Granate NY)\, focusing mostly on building dialogues between anti-neoliberal social movements in Spain and the US. His book Cultures of Anyone. Studies on Cultural Democratization in the Spanish Neoliberal Crisis has been published by Liverpool UP in 2015 (it’s available online for free here). It explores the crisis of authoritarian and competitive cultures in the wake of the Spanish economic crisis\, and the emergence of collaborative and equalitarian alternatives in social movements such as 15M and the PAH.[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2015-11-01-speculation-nation/
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/2017/01/unnamed.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
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