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DTSTART;TZID=America/New_York:20230210T100000
DTEND;TZID=America/New_York:20230212T163000
DTSTAMP:20260418T105616
CREATED:20230109T141145Z
LAST-MODIFIED:20230714T190127Z
UID:10002608-1676023200-1676219400@uniondocs.org
SUMMARY:Threading Frames: Creative Editing for Nonfiction Storytelling
DESCRIPTION:[vc_row][vc_column][vc_empty_space height=”30px”][vc_btn title=”This workshop is Sold Out” style=”custom” custom_background=”#ed0000″ custom_text=”#ffffff” shape=”round” size=”lg” align=”center” css_animation=”bounceIn”][vc_empty_space height=”30px”][vc_empty_space height=”30px”][/vc_column][/vc_row][vc_row][vc_column][vc_message message_box_style=”solid” style=”square” message_box_color=”blue”]Please note: This workshop will be held in UnionDocs’ new space in Ridgewood!\nWe’re now at: 352 Onderdonk Ave\, Ridgewood\,  NY – 11385[/vc_message][vc_column_text]“Life is difficult to understand; it’s filled with repetitions\, coincidences and meaningless injustices that can create anxiety and chaos. We try to impose order\, categorize and eliminate to give life meaning. We tell stories so that we can understand ourselves and the lives we are living.”\n— Excerpt From Order in Chaos\, Niels Pagh Andersen \nAs editors\, and filmmakers how do we define our style or the intended tone in a film? How can we find a rhythm that suits our goal for combining different types of material and footage? How can we work cooperatively and efficiently with a director\, and what are the ways to approach editing yourself when you’re directing too? How should your process change between editing a feature\, series or short? \nAcclaimed editor of Homeroom\, “The Vow (part 1)”\, and Moments Like This Never Last\, Rebecca Adorno will lead us through a range of approaches and frameworks for editing in documentary during this intense three-day workshop. We’re overjoyed to have a stellar lineup of established editors / filmmakers who will join to engage with the group to share their own techniques\, toolkits and workflows. \nOn Friday\, Nyneve Minnear (306 Hollywood\, (T)error) will discuss the nuances of storytelling while working with and compiling different types of material: from archival\, to verité\, to recreation and reenactment. David Teague (Life Animated\, Cutie and the Boxer) will join us Saturday to discuss the process of finding a story and the act of writing as an editor. Liz Hodes will also host a session discussing the role of story producing in a documentary series\, clarifying around the differing involvement of story producers in series vs. feature or short documentaries. On Sunday\, Theo Anthony (All Light\, Everywhere\, Rat Film) will share his experiences in holding the dual role of director/editor on his films\, and help to understand the benefits and challenges of taking on your own edit. There will also be a session dedicated for interested participants to share a work-in-progress and receive feedback on a current project. \nCome spend a weekend exploring the wide-ranging topics to think through in editing nonfiction and come away with inspiration\, and connections that will help to guide your own work! \nSeats are limited\, so sign up today! \nNOTE: This workshop will require in-person participation from all participants. Each participant must present proof of vaccination. Any and all questions\, please reach out to raphaelle@uniondocs.org.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_separator color=”white”][vc_column_text] \nDetails \n[/vc_column_text][vc_separator color=”white”][vc_tta_accordion style=”outline” shape=”square” color=”white” active_section=”8″ no_fill=”true” collapsible_all=”true”][vc_tta_section title=”Who is eligible?” tab_id=”1477608256488-ac7d3d1a-ae9084d0-801e6e6b-713c”][vc_column_text]Open to everyone\, though the workshop setting is best suited for documentary filmmakers\,  animators\, podcasters\, journalists\, and media artists. This workshop is in person and will be conducted in compliance with CDC protocols.[/vc_column_text][/vc_tta_section][vc_tta_section title=”Cost” tab_id=”1477608256642-4c32d845-e84384d0-801e6e6b-713c”][vc_column_text]$350 early bird registration by Feb 3rd\, 2023 at 11:59PM. \n$400 regular registration. \nUnionDocs will offer the equivalent of 2 scholarships for BIPOC filmmakers and media artists expressing financial need. Applicants should reach out to raphaelle@uniondocs.org in order to fill a scholarship inquiry by January 27\, 2023.[/vc_column_text][/vc_tta_section][vc_tta_section title=”Refund Policy” tab_id=”1477608441051-60d28267-92bf84d0-801e6e6b-713c”][vc_column_text]The deposit is non-refundable. Should you need to cancel\, you’ll receive half of your registration fee back until Feb 3rd. After Feb 3rd\, the fee is non-refundable.[/vc_column_text][/vc_tta_section][vc_tta_section title=”Technology Requirements” tab_id=”1477608488046-a8fa4720-501684d0-801e6e6b-713c”][vc_column_text]In order to keep costs down\, this workshop is a BYOL\, i.e. bring your own laptop. Students must be fully proficient using and operating their computers.[/vc_column_text][/vc_tta_section][vc_tta_section title=”Registration & Cancellation Policy” tab_id=”1477612055387-51381642-d1c784d0-801e6e6b-713c”][vc_column_text]NOTE: To register for a workshop\, students must pay in full via card\, check\, or cash.  After the early bird registration deadline of Feb 3rd\, course fees are not refundable or transferable and any withdrawals or deadlines will result in the full cost of the class being forfeit. There will be no exceptions. To withdraw from a course please email info-at-uniondocs.org. \nIn the event that a workshop does not receive sufficient enrollment\, it may be canceled. Students will be notified at least 48 hours prior to the start of a cancelled workshop and will be refunded within 5 business days. If we reschedule a workshop to another date\, students are also entitled to a full refund. UnionDocs reserves the right to change instructors without prior notification\, and to change class location and meeting times by up to an hour with 48 hours prior notice.[/vc_column_text][/vc_tta_section][/vc_tta_accordion][vc_empty_space height=”40px”][vc_empty_space height=”40px”][vc_message message_box_style=”solid” style=”square” message_box_color=”blue”]Please note: Participants are accepted on a first-come\, first-serve basis.[/vc_message][vc_empty_space height=”40px”][vc_empty_space height=”40px”][vc_separator color=”white”][vc_column_text] \nSchedule \n[/vc_column_text][vc_separator color=”white”][vc_empty_space height=”40px”][vc_row_inner][vc_column_inner][vc_custom_heading text=”Friday\, Feb 10: 10:00am – 4:30pm” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_separator color=”white”][vc_column_text]Theme for the day: WORLD BUILDING\n10:00am – 10:30am Welcome & Intros\n10:30am – 12:30pm Intro by Rebecca Adorno\n12:30am – 2:00pm Lunch\n2:00pm – 4:00pm Nyneve Minnear\n4:00pm – 4:30pm –  Wrap up\, additional exercises / discussion[/vc_column_text][vc_empty_space height=”40px”][vc_custom_heading text=”Saturday\, Feb 11: 10:00am – 4:30pm” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_separator color=”white”][vc_column_text]Theme for the day: FINDING THE RIGHT STORY TO TELL\, WITH THE MATERIAL YOU HAVE AT HAND\n10:00am – 10:30am Warm up\, inspiring references\, case study\, review of previous day\n10:30am – 12:30pm David Teague\n12:30am – 2:00pm Lunch\n2:00pm – 4:00pm Liz Hodes\n4:00pm – 4:30pm –  Wrap up\, additional exercises / discussion[/vc_column_text][vc_empty_space height=”40px”][vc_custom_heading text=”Sunday\, Feb 12: 10:00am – 4:30pm” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_separator color=”white”][vc_column_text]Theme for the day: THE INTERCONNECTEDNESS OF THEMES\n10:00am – 10:30am Warm up\, inspiring references\, case study\, review of previous day\n10:30am – 12:30pm Participant work-in-progress\n12:30am – 2:00pm Lunch\n2:00pm – 4:00pm Theo Anthony\n4:00pm – 4:30pm –  Wrap up\, additional exercises / discussion[/vc_column_text][vc_empty_space height=”40px”][/vc_column_inner][/vc_row_inner][vc_custom_heading text=”Each day follows this general structure\, with some minor variations and substitutions:” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_empty_space height=”40px”][/vc_column][/vc_row][vc_row][vc_column width=”1/6″][vc_column_text]10:30a[/vc_column_text][/vc_column][vc_column width=”5/6″][vc_column_text]First Workshop Session[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/6″][vc_column_text]12:30p[/vc_column_text][/vc_column][vc_column width=”5/6″][vc_column_text]Lunch[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/6″][vc_column_text]2:00p[/vc_column_text][/vc_column][vc_column width=”5/6″][vc_column_text]Second Workshop Session[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/6″][vc_column_text]4:00p[/vc_column_text][/vc_column][vc_column width=”5/6″][vc_column_text]Wrap Up[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”40px”][vc_separator color=”white”][vc_column_text] \nBios \n[/vc_column_text][vc_separator color=”white”][vc_empty_space height=”40px”][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”146317″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text]Rebecca Adorno-Dávila is an award winning video editor born and raised in Puerto Rico. A lot of her work focuses on vérité and archival heavy\, character-driven stories. She was an editor on the nine part HBO documentary series The Vow and worked on three seasons of the Emmy-award winning series VICE on HBO. Among others\, she edited feature length documentaries “Residente”\, which was an official selection at SXSW’s Film Festival in 2017\, “Moments Like This Never Last”\, which was an official selection at DocNYC and CPH:DOX 2020 and “Homeroom”\, which premiered at the 2021 Sundance Film Festival. \nAdorno received a BA in Fine Arts from the University of Puerto Rico (2008) and an MFA in computer Arts from the School of Visual Arts in New York City (2010). She was nominated for a Primetime Emmy for Outstanding Picture Editing in 2016 and is one of the the recipients of Sundance Film Festival’s 2021 Inaugural Jonathan Oppenheim Documentary Editing Award for her work on the verite driven documentary film Homeroom. She was also a 2022 nominee for Cinema Eye Honors’ Outstanding Achievement in Editing award and for IDA’s Best Editing Award. She currently works between New York\, Puerto Rico or anywhere where there is a good story that needs to be told.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”146318″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text]Nyneve Laura Minnear is an Editor\, Writer\, and Story Consultant based in Brooklyn. Her current project “Little Richard – I Am Everything” is premiering in Competition at Sundance 2023. Past credits include HBO’s “The Vow” series; “306 Hollywood”\, the first documentary to premiere in the Sundance (2018) NEXT section for Innovative Filmmaking; “(T)ERROR”\, an Emmy\, Sundance 2015 Special Jury Award\, and Full Frame Grand Jury Award winner; “Girl With Black Balloons”\, a Grand Jury Prize winner at DOCNYC. Nyneve was a Producer/Editor for the Emmy award-winning news series\, “Dan Rather Reports”\, for three years\, a Sundance and IFP Lab Fellow\, a Mentor with the Gotham Lab and Karen Schmeer Editing Fellowship Diversity Program\, and was an inaugural Steering Committee member for the Alliance of Documentary Editors.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”146319″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text]Theo Anthony is a filmmaker based in upstate New York. His first feature documentary\, “Rat Film”\, premiered internationally at the Locarno Film Festival and domestically at the 2017 True/ False Film Festival. It has since received wide critical acclaim\, receiving a nomination for a 2017 Gotham Award for Best Documentary Feature film as well as a Cinema Eye Honor nomination for Best Debut Feature. The film was theatrically released and was featured on PBS’ Independent Lens in early 2018. His follow up\, “Subject to Review”\, produced for ESPN’s 30 for 30 series\, played at the 2019 New York Film Festival and was broadcast nationally later that year. His most recent feature\, “All Light\, Everywhere”\, premiered in competition at the 2021 Sundance Film Festival\, where it won a Special Jury award. The film received an international theatrical release\, and is now streaming on Hulu. Currently\, Theo is serving as the Fourth Ward Council Member for the city of Hudson\, NY.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”146338″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text]David Teague is an Emmy-winning documentary film editor and writer. His work as an editor includes the Oscar-nominated and Emmy-winning Life Animated\, the Oscar-nominated and Emmy-winning Cutie and the Boxer\, the Independent Spirit-nominated The Departure\, the Emmy-nominated E-TEAM\, and the Oscar-winning Freeheld. As a consulting editor\, he worked on American Factory\, Knock Down the House\, Crip Camp\, Cameraperson\, Welcome to Chechnya\, Mayor\, and Athlete A. He wrote the fiction film Cassandro with director Roger Ross Williams\, starring Gael García Bernal (Sundance 2023). David has served as an editing mentor with IFP/Gotham\, Firelight\, Catapult & True/False\, Brown Girls Doc Mafia and the Sundance Institute.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”146321″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text]Liz Hodes is an Emmy-winning documentary television and film producer. Over the past 15 years\, Liz has produced content for major networks including\, HBO\, Showtime\, Netflix\, Hulu and FX. Liz began her career working in Production Management for television shows\, including: This American Life and Frontline. Liz then transitioned into a creative role as a Producer working on television series and features films; including\, The New York Times Presents: Framing Britney Spears\, Malfunction: The Dressing Down of Janet Jackson\, The Vow\, and The Circus. [/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_column_text] \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][/vc_column][/vc_row]
URL:https://uniondocs.org/event/threading-frames-creative-editing-for-nonfiction-storytelling-2023-02-10/
LOCATION:UnionDocs\, Ridgewood\, 352 Onderdonk Avenue\, QUEENS\, NY\, 11385\, United States
CATEGORIES:Workshops & Labs
ATTACH;FMTTYPE=image/gif:https://uniondocs.org/wp-content/uploads/2023/01/gif-for-editing-carousel.gif
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20230217T110000
DTEND;TZID=America/New_York:20230217T140000
DTSTAMP:20260418T105616
CREATED:20230118T140859Z
LAST-MODIFIED:20230215T105146Z
UID:10002767-1676631600-1676642400@uniondocs.org
SUMMARY:Artistic Differences: GHOSTS OF A DAMNED EARTH
DESCRIPTION:[vc_row][vc_column][vc_message message_box_style=”solid” message_box_color=”blue” icon_fontawesome=”fas fa-hand-point-right”]Note: this event takes place at Berlin Critics’ Week (Woche Der Kritik) in Berlin\, (map)[/vc_message][vc_empty_space height=”40px”][vc_column_text]ARTISTIC DIFFERENCES is back with a new slate of partners for 2023! \nCo-curator Cíntia Gil and UnionDocs\, are delighted to come together with Berlin Critics’ Week this February to present a dynamic and urgent program organized in partnership with the FICG Cinematheque\, and in collaboration with curator/critic Victor Guimarães. \nThis program brings together four films both contemporary and from the archive with singular\, even surrealist dialogues with history\, bringing critical visions that complicate and confront norms and discourses on body and power\, labor and identity. From Brazil to Mexico\, from the 60’s to today\, we see a multilayered history unfold\, revealing links between the legacy of slavery and capitalist domination\, between authoritarian politics and strategies for resistance\, between filmic experimentations and the construction of collective identity.   \nThis programme is a journey through the deft interpretation of Mário Chamie in LAVRA DOR by Paulo Rufino\, Aloysio Raulino’s 1977 poetic evocation of Frantz Fanon in O TIGRE E A GAZELA\, Rodrigo Ribeirio-Andrade’s sensory-political journey THE WHITE DEATH OF THE BLACK WIZARD (2020)\, arriving to Ruben Gámez’ 1965 irreverent essay LA FORMULA SECRETA\, where surrealist logic and the poetry of Juan Rulfo ground a debate on Mexican national character and its pains and contradictions.  \nA screening and conversation around the program is staged with Woche Der Kritik\, Februrary 17th at 5PM in Berlin. \nWe’ll host a screening and in-depth online Study Group that will explore a range of urgent questions with our growing international community in an exciting and social format with ideas instigated by Victor Guimarães. We invite you to join us for a social and fun way of engaging around challenging and adventurous documentary. Sign Up today![/vc_column_text][vc_empty_space height=”40px”][vc_separator color=”white”][vc_column_text] \nFILM PROGRAM – Berlin Critic’s Week\, Berlinale – Feb 17  | (Online for UNDO Members) \n[/vc_column_text][vc_separator color=”white”][vc_empty_space height=”40px”][vc_custom_heading text=”La Formula Secreta by Rubén Gámez” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_custom_heading text=”42 minutes | 1965″ font_container=”tag:p|text_align:left” use_theme_fonts=”yes”][vc_column_text]An essay where a poem by Juan Rulfo\, in Jaime Sabines’ voice\, sets the tone and the depth. \, Full of surreal moments of beauty and provocation\, scenarios debating the Mexican national character and its historical contradictions and painful construction.\nAlso entitled Coca-Cola en la sangre (Coca-Cola in the blood)\, the film accumulates a series of metaphors that confront the construction of identity to the power of the neighboring country and the capitalistic colonial force acting upon a society looking for its own destiny. Filming its country against the grain\, as a counter-shot of the representations of the country by its contemporaries\, this film’s baroque and irreverent style resonates with our time in multiple ways.\n[/vc_column_text][vc_empty_space height=”40px”][vc_custom_heading text=”The White Death of the Black Wizard (A Morte Branca Do Feiticeiro Negro) by Rodrigo Ribeiro-Andrade” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_custom_heading text=”11 minutes | 2020″ font_container=”tag:p|text_align:left” use_theme_fonts=”yes”][vc_column_text]Through a suicide note written by enslaved Afro-Brazilian\, Timóteo\, memories of Brazil’s history of slavery are revealed\, that overflow into imagery showing ethereal landscapes\, accompanied by a soundtrack of harrowing noise. Punctuated by reinvented and manipulated ghostly archival imagery and an undulating\, wailing score\, this poetic essay film is an intimate and sensorial journey reflecting on the silencing and invisibility of Black people across the diaspora. Images\, sounds\, and memories reverberate across generations\, exploring the intangible psychosocial effects of slavery\, its material and architectural impact\, and the extreme measures that were taken to resist it. With Brazil holding the record for the importation of the most enslaved Africans during the Trans-Atlantic slave trade\, this film is a pensive meditation on the frequently underrecognised violent legacies that still haunt Brazil and the world today.[/vc_column_text][vc_empty_space height=”40px”][vc_custom_heading text=”Lavra Dor by Ana Carolina and Paulo Rufino” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_custom_heading text=”10 minutes | 1968″ font_container=”tag:p|text_align:left” use_theme_fonts=”yes”][vc_column_text]A debate about the agrarian reform in Brazil\, in free and poetic form\, showing the countrymen’s struggles and hardships\, and rural unionism issues after the military coup\, kind of a nonlinear interpretation of Mário Chamie’s poem “Lavra-Lavra”.[/vc_column_text][vc_empty_space height=”40px”][vc_custom_heading text=”O Tigre e a Gazela by Aloysio Raulino” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_custom_heading text=”14 minutes | 1977″ font_container=”tag:p|text_align:left” use_theme_fonts=”yes”][vc_column_text]The images of poverty and of dignity of those who appear in this film are juxtaposed with texts from Frantz Fanon\, an important black writer and political activist from Martinique\, who participated in the liberation of Algeria and died at 36 years of age.[/vc_column_text][vc_separator color=”white”][vc_column_text] \nSTUDY GROUP – Online – Feb 11 \n[/vc_column_text][vc_separator color=”white”][vc_column_text]We’re thrilled to come together for a Study Group Session structured around these incredible films! Like a kind of grassroots book club\, but for documentary art\, it’s all about sparking discussion and deeper investigation\, through reading\, listening and responding in small\, self-organized groups that together form a larger collective experience. \nYou will get access to the film program through our Membership Hub a few days in advance. Sign up now and stay tuned in your inbox for further instructions![/vc_column_text][vc_empty_space height=”40px”][vc_btn title=”SIGN UP!” style=”outline-custom” outline_custom_color=”#61ff00″ outline_custom_hover_background=”#61ff00″ outline_custom_hover_text=”#000000″ shape=”round” align=”center” link=”url:https%3A%2F%2Fairtable.com%2FshrQQyl718Dcv2AEO|title:Breakout%20Reminders”][vc_empty_space height=”40px”][vc_separator color=”white”][vc_column_text] \nPUBLIC DIALOGUE – Feb 17 at Berlin Critics Week (tickets) \n[/vc_column_text][vc_separator color=”white”][vc_column_text]If you’re interested in hearing from the filmmakers & artists themselves as well as the ideas generated in collaboration with our Study Group be sure to catch our regular public dialogues for each film program on the UNDO Member’s Hub. These conversations sample from the festival dialogues\, the study group and an in-depth interview hosted by Artistic Differences with the featured artists.  Sign Up to receive a note when it’s released.[/vc_column_text][vc_empty_space height=”40px”][vc_btn title=”TICKETS” style=”outline-custom” outline_custom_color=”#61ff00″ outline_custom_hover_background=”#61ff00″ outline_custom_hover_text=”#000000″ shape=”round” align=”center” link=”url:https%3A%2F%2Fwochederkritik.de%2Fde_DE%2Fspecial-screenings%2F|title:CRITICSWEEK”][vc_empty_space height=”40px”][vc_separator color=”white”][vc_column_text] \nBIOS \n[/vc_column_text][vc_separator color=”white”][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”146223″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text]Rubén Gámez studied photography at the Trade Technical College in Los Angeles and the University of Southern California. He returned to Mexico\, where he began his professional career. In 1957\, he was invited to film a documentary about the Great Wall of China. The documentary was never produced. In 1962\, he filmed Magueyes\, a series of photographs accompanying the ninth symphony by Dmitri Shostakovich. Magueyes is regarded for its personal\, experimental\, dramatic style and pacifist moral. The nine-minute film was released in Europe as a preamble to Luis Buñuel’s Viridiana\, including a screening at the Cannes Film Festival\, the Sestri Levante Festival and the Mannheim Film Week. In 1965\, he won the first experimental film competition in Mexico with La fórmula secreta\, the aim of which was to find and promote new talent and open up opportunities for entering the Mexican film industry\, which was quite complicated. La fórmula secreta\, allowed Gámez to win his first award. His innovative and experimental tone juxtaposes images of identity-loss in Mexico with its arid and desert lands. In the 1970s\, Gámez shot several short documentaries. He had to wait until 1992 to make Tequila. Then in 2000 came Apuntes\, a video tribute to the composer Silvestre Revueltas. Rubén Gámez died leaving his fiction project Mesoamérica unfinished. In 2001\, Rubén Gámez was awarded the CMA Ariel de Oro Special Award for lifetime achievement\, “for the enrichment of Mexican culture.”[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”146224″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text]Rodrigo Ribeiro-Andrade is a filmmaker born in São Paulo\, Brazil. Director\, screenwriter and editor\, his works are dedicated to social and racial themes. Believes “in a free art and in the formidable revolt of the marginalized”. Collaborator in Gata Maior film producer company\, directed the experimental short-film A Morte Branca do Feiticeiro Negro (2020).[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”146233″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text]Ana Carolina is a Brazilian film director and screenwriter. She directed seven films between 1969 and 2003. In 1978\, she was a member of the jury at the 28th Berlin International Film Festival. Her 1982 film Heart and Guts was screened in the Un Certain Regard section at the 1982 Cannes Film Festival.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”146234″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text]Aloysio Raulino was born in Rio de Janeiro in 1947. Established in São Paulo\, he was part of the first film studies graduating class at ECA-USP. During the 1970’s\, he was one of the founders and first president of the Brazilian Documentarian Association. He directed a large number of short films from the 1960’s to the 1990’s\, but gained notoriety for his work as a cinematographer. He filmed two of the most important recent Brazilian docs\, Paulo Sacramento’s O Prisioneiro da Grade de Ferro (2003) and Andrea Tonacci’s Serras da Desordem (2006). He worked as a cinematographer in more than 30 films\, and his filmography includes João Batista de Andrade’s O Homem que Virou Suco (1980); Paulo Cesar Saraceni’s Ao Sul do Meu Corpo (1982); one of the segments of Welcome to São Paulo (2004) and Paulo Sacramento’s Riverrun (2013). He died in São Paulo in 2013.[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/artistic-differences-ghosts-of-a-damned-earth/
LOCATION:Hackesche Höfe Kino\, Rosenthaler Strasse\, Berlin\, Rosenthaler Str. 40 -41\,\, Berlin\, Berlin\, 10178\, Germany
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/gif:https://uniondocs.org/wp-content/uploads/2023/01/UnionDocs-GIF-downsized_large-12.gif
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20230224T100000
DTEND;TZID=America/New_York:20230226T163000
DTSTAMP:20260418T105616
CREATED:20230206T150043Z
LAST-MODIFIED:20230209T165110Z
UID:10002768-1677232800-1677429000@uniondocs.org
SUMMARY:Recycling the Screen: Sourcing Materials for Nonfiction Art
DESCRIPTION:[vc_row][vc_column][vc_message message_box_style=”solid” style=”square” message_box_color=”blue”]Please note: This workshop will be held in UnionDocs’ new space in Ridgewood!\nWe’re now at: 352 Onderdonk Ave\, Ridgewood\,  NY – 11385[/vc_message][vc_column_text]In a world overloaded with visual material\, accessible footage there for the taking\, and endless streams of ‘content’ we encounter and generate every day\, there is infinite potential towards a practice of remixing\, reappropriating and rewriting. How do we organize and arrange these images towards new narratives? How can the use of archival imagery be used to challenge and create counter-narratives? What is the difference between shooting vs. finding material? And how can we approach the question and ethics of reappropriation?  \nOver the course of three days\, join acclaimed filmmaker and artist Leslie Thornton (Luna\, Peggy and Fred in Hell) and an all-star lineup of media artists creating the most compelling uses of found footage and archive materials in their work to discuss and think through various modes and approaches to the “sourcing” of images. \nThis workshop will unfold as an investigation into the many ways we accumulate raw material\, whether through revisiting our own footage\, or acquiring found imagery. We will explore a range of non-fictional practices to discuss how the use and mixing of shot and found footage expands the space of media in many potential and radical directions. \nParticipants will have the opportunity to learn from guest speakers including archivists\, archival researchers\, nonfiction filmmakers\, and visual artists- as well as to present their own work during work in progress sessions- to initiate or expand their own creative journey into the archival world. \nOn Friday\, Rebeca Cleman (Executive Director at Electronic Arts Intermix) will explore modes of presentation and curation. On Saturday\, Onyeka Igwe (a so-called archive\, No Dance\, No Palaver) will discuss the process of recovering history through colonial archives\, and Keith Sanborn will introduce workshop participants to his archival research on pioneering Soviet filmmaker Esfir Shub\, the French situationists\, and Putin-era Russian television. On Sunday\, interested participants will be able to share a work-in-progress and receive feedback on a current project\, and Sid Iandovka (horizon\, signal to Noise\, a minor piece of damage) will close the weekend sharing his approaches to working with archival and appropriated images. \nCome spend a weekend exploring various methods of working with archives\, and come away with inspiration and information to guide your own work! \nAny and all questions\, please reach out to raphaelle@uniondocs.org. \nNOTE: This workshop will require in-person participation from all participants. Each participant must present proof of vaccination. Any and all questions\, please reach out to raphaelle@uniondocs.org.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_separator color=”white”][vc_column_text] \nDetails \n[/vc_column_text][vc_separator color=”white”][vc_tta_accordion style=”outline” shape=”square” color=”white” active_section=”8″ no_fill=”true” collapsible_all=”true”][vc_tta_section title=”Who is eligible?” tab_id=”1477608256488-ac7d3d1a-ae9084d0-801e6e6b-713c”][vc_column_text]Open to everyone\, though the workshop setting is best suited for documentary filmmakers\,  animators\, podcasters\, journalists\, and media artists. This workshop is in person and will be conducted in compliance with CDC protocols.[/vc_column_text][/vc_tta_section][vc_tta_section title=”Cost” tab_id=”1477608256642-4c32d845-e84384d0-801e6e6b-713c”][vc_column_text]$350 early bird registration by Feb 17th\, 2023 at 11:59PM. \n$400 regular registration. \nUnionDocs will offer the equivalent of 2 scholarships for BIPOC filmmakers and media artists expressing financial need. Applicants should reach out to raphaelle@uniondocs.org in order to fill a scholarship inquiry by February 10\, 2023.[/vc_column_text][/vc_tta_section][vc_tta_section title=”Refund Policy” tab_id=”1477608441051-60d28267-92bf84d0-801e6e6b-713c”][vc_column_text]The deposit is non-refundable. Should you need to cancel\, you’ll receive half of your registration fee back until Feb 17th. After Feb 17th\, the fee is non-refundable.[/vc_column_text][/vc_tta_section][vc_tta_section title=”Technology Requirements” tab_id=”1477608488046-a8fa4720-501684d0-801e6e6b-713c”][vc_column_text]In order to keep costs down\, this workshop is a BYOL\, i.e. bring your own laptop. Students must be fully proficient using and operating their computers.[/vc_column_text][/vc_tta_section][vc_tta_section title=”Registration & Cancellation Policy” tab_id=”1477612055387-51381642-d1c784d0-801e6e6b-713c”][vc_column_text]NOTE: To register for a workshop\, students must pay in full via card\, check\, or cash.  After the early bird registration deadline of Feb 17th\, course fees are not refundable or transferable and any withdrawals or deadlines will result in the full cost of the class being forfeit. There will be no exceptions. To withdraw from a course please email info-at-uniondocs.org. \nIn the event that a workshop does not receive sufficient enrollment\, it may be canceled. Students will be notified at least 48 hours prior to the start of a cancelled workshop and will be refunded within 5 business days. If we reschedule a workshop to another date\, students are also entitled to a full refund. UnionDocs reserves the right to change instructors without prior notification\, and to change class location and meeting times by up to an hour with 48 hours prior notice.[/vc_column_text][/vc_tta_section][/vc_tta_accordion][vc_empty_space height=”40px”][vc_empty_space height=”40px”][vc_message message_box_style=”solid” style=”square” message_box_color=”blue”]Please note: Participants are accepted on a first-come\, first-serve basis.[/vc_message][vc_empty_space height=”40px”][vc_empty_space height=”40px”][vc_separator color=”white”][vc_column_text] \nSchedule \n[/vc_column_text][vc_separator color=”white”][vc_empty_space height=”40px”][vc_row_inner][vc_column_inner][vc_custom_heading text=”Friday\, Feb 24: 10:00am – 4:30pm” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_separator color=”white”][vc_column_text]10:00am – 10:30am Welcome & intros\n10:30am – 12:30pm Intro by Leslie Thornton\n12:30am – 2:00pm Lunch\n2:00pm – 4:00pm Rebecca Cleman\n4:00pm – 4:30pm –  Wrap up\, additional exercises / discussion[/vc_column_text][vc_empty_space height=”40px”][vc_custom_heading text=”Saturday\, Feb 25: 10:00am – 4:30pm” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_separator color=”white”][vc_column_text]10:00am – 10:30am Warm up\, inspiring references\, case study\, review of previous day\n10:30am – 12:30pm Onyeka Igwe\n12:30am – 2:00pm Lunch\n2:00pm – 4:00pm Keith Sanborn\n4:00pm – 4:30pm –  Wrap up\, additional exercises / discussion[/vc_column_text][vc_empty_space height=”40px”][vc_custom_heading text=”Sunday\, Feb 26: 10:00am – 4:30pm” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_separator color=”white”][vc_column_text]10:00am – 10:30am Warm up\, inspiring references\, case study\, review of previous day\n10:30am – 12:30pm Participant work-in-progress\n12:30am – 2:00pm Lunch\n2:00pm – 4:00pm Sid Iandovka\n4:00pm – 4:30pm –  Wrap up\, additional exercises / discussion[/vc_column_text][vc_empty_space height=”40px”][/vc_column_inner][/vc_row_inner][vc_custom_heading text=”Each day follows this general structure\, with some minor variations and substitutions:” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_empty_space height=”40px”][/vc_column][/vc_row][vc_row][vc_column width=”1/6″][vc_column_text]10:30a[/vc_column_text][/vc_column][vc_column width=”5/6″][vc_column_text]First Workshop Session[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/6″][vc_column_text]12:30p[/vc_column_text][/vc_column][vc_column width=”5/6″][vc_column_text]Lunch[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/6″][vc_column_text]2:00p[/vc_column_text][/vc_column][vc_column width=”5/6″][vc_column_text]Second Workshop Session[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/6″][vc_column_text]4:00p[/vc_column_text][/vc_column][vc_column width=”5/6″][vc_column_text]Wrap Up[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”40px”][vc_separator color=”white”][vc_column_text] \nBios \n[/vc_column_text][vc_separator color=”white”][vc_empty_space height=”40px”][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”146678″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text] \n\n\n\nLeslie Thornton (Tennessee\, 1951) \nThe pioneering career of American filmmaker and artist Leslie Thornton spans five decades. She occupied an important place in cinema history early in her career\, straddling structural filmmaking and the feminist avant-garde. Her lush\, complex projects probe past the boundaries of language and formal convention. Difficult to categorize or describe\, they are steeped in theoretical interest and filled with rich and intuitive imagery\, in experimental narratives crossing science fiction\, ethnographic\, and documentary forms. Her interest in how technologies dominate American culture\, constructing our realities and shaping our sense of history\, time\, and the natural world is fully manifest in her best known work\, Peggy and Fred in Hell (1985–2015). This epic video presents a dystopian vision of two children apparently raised by an AI entity\, the sole inhabitants of a socially demolished world. Most recently Thornton was an artist resident at CERN and Caltech\, where she shot and developed a whole new archive of encounters with “the space of science\,” taken up in her latest projects. Thornton’s experimental practice has continued to evolve as she incorporates new technologies in her videos and installations. Her work is widely acclaimed and exhibited throughout the world. \n“Her work found its first location\, and inspiration\, in what in those times was understood as an ‘avant-garde’ film practice; the quoted term\, suspiciously suspended\, is rarely invoked in these times\, but the rigor\, the pure oppositional avowal\, and the belief in moving imagery’s electro-shock potential [endures].”—Cinematexas \n\n\n\n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”146679″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text] \n\nThomas Zummer is a scholar\, writer\, and artist. Publications include “Projection and Dis/embodiment: Genealogies of the Virtual” in Into the Light: The Projected Image in American Art 1964-1977; “Variables: Notations on Stability\, Permeability and Plurality in Media Artifacts” in Saving the Image: Essays on Film and Video; CRASH: Nostalgia for the Absence of Cyberspace (with Robert Reynolds); “On the Notion of an Improvisatory Archive\,’ in Biennale de l”Image en Mouvement 2018–The Sound of Screens Imploding; “How to Do Words with Things: Inference\, Reference\, and Difference in Aesthetic and Scientific Practices\,”  in Intercalary. Thomas Zummer is also a practicing artist\, exhibiting at Exit Art\, Whitebox\, and Frieze (NYC)\, San José Museum of Art\, Palais de Beaux Artes (Brussels)\,  and Malmö Konsthall (Sweden)\, to name a few. Zummer has curated major exhibitions at Wexner Center for the Arts\, Threadwaxing Space\, Katonah Museum of Art\, and Anthology Film Archives. As a lecturer and professor he  has taught at European Graduate School (Switzerland)\, NYU (Critical Studies)\, Tyler School of Art and Kuvo Art Institute (Helsinki). \n\n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”146649″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text]Rebecca Cleman is the Executive Director of Electronic Arts Intermix (EAI)\, a leading nonprofit resource that has fostered the creation\, exhibition\, distribution and preservation of media art since 1971. EAI’s catalogue of over 4000 titles by over 200 artists is one of the most important collections of video and media art in the world. [/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”146677″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text]Onyeka Igwe is an artist and researcher working between cinema and installation\, born and based in London\, UK. Through her work\, Onyeka is animated by the question —  how do we live together? — with particular interest in the ways the sensorial\, spatial and non-canonical ways of knowing can provide answers to this question. She uses embodiment\, archives\, narration and text to create structural ‘figure-of-eights’\, a form that exposes a multiplicity of narratives. Her works have been shown in the UK and internationally at film festivals and galleries. She was awarded the New Cinema Award at Berwick Film and Media Arts Festival 2019\, 2020 Arts Foundation Fellowship Award for Experimental Film\, 2021 Foundwork Artist Prize and has been nominated for the 2022 Jarman Award and Max Mara Artis Prize for Women.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”146650″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text]Sid Iandovka is a New York-based musician and visual artist whose practice extends across many different media\, including moving images. Together with Anya Tsyrlina (though only selected works of theirs are co-authored in a traditional sense)\, they have collaborated (on and off) for almost thirty years\, ultimately creating a joint\, entirely independent\, “homemade” production approach for their films. Their practice is not rooted in any state; it is immaterial and doesn’t benefit from any national/international funding\, resources\, or structures. The foundations of their work and sensibility can be traced back to the context of their formative years\, when they met as teenagers playing experimental noise in their hometown in Siberia. This music practice morphed into experiments with VJing and new media\, with the same sense of punk’s DIY spirit taken up in their practice of recording\, manipulating\, cutting together\, and fucking with moving images\, ranging from archival film to crazy CGI. Recently\, their films have been screened at festivals including Art of the Real\, Berwick Film & Media Arts Festival\, International Film Festival Rotterdam and Viennale.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”146668″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text]Keith Sanborn is a media artist\, theorist and translator based in New York.His artistic practice includes film\, video\, photography\, installation\, and performance. That work has been the subject of numerous one-person shows and has been featured in major museum surveys including the Whitney Biennial\, the American Century\, and Monter/Sampler (Centre Pompidou) and festivals including EMAF\, OVNI\, and The Rotterdam International Film Festival. He has translated the work of Debord\, Viénet\, Wolman\, Bataille\, Napoleon\, Gioli\, Brecht\, Farocki\, Kuleshov and Shub. He has taught at Princeton\, Columbia\, Bard\, UCSD\, SUNY/Buffalo and the San Francisco Art Institute\, among others. He now blissfully ignores academia to follow his own artistic and intellectual pursuits.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_column_text] \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][/vc_column][/vc_row]
URL:https://uniondocs.org/event/recycling-the-screen-found-materials-for-nonfiction-art-2023-02-24/
LOCATION:UnionDocs\, Ridgewood\, 352 Onderdonk Avenue\, QUEENS\, NY\, 11385\, United States
CATEGORIES:Workshops & Labs
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