BEGIN:VCALENDAR
VERSION:2.0
PRODID:-//UnionDocs - ECPv6.7.0//NONSGML v1.0//EN
CALSCALE:GREGORIAN
METHOD:PUBLISH
X-ORIGINAL-URL:https://uniondocs.org
X-WR-CALDESC:Events for UnionDocs
REFRESH-INTERVAL;VALUE=DURATION:PT1H
X-Robots-Tag:noindex
X-PUBLISHED-TTL:PT1H
BEGIN:VTIMEZONE
TZID:America/New_York
BEGIN:DAYLIGHT
TZOFFSETFROM:-0500
TZOFFSETTO:-0400
TZNAME:EDT
DTSTART:20120311T070000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0400
TZOFFSETTO:-0500
TZNAME:EST
DTSTART:20121104T060000
END:STANDARD
BEGIN:DAYLIGHT
TZOFFSETFROM:-0500
TZOFFSETTO:-0400
TZNAME:EDT
DTSTART:20130310T070000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0400
TZOFFSETTO:-0500
TZNAME:EST
DTSTART:20131103T060000
END:STANDARD
END:VTIMEZONE
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20120623T193000
DTEND;TZID=America/New_York:20120623T220000
DTSTAMP:20260614T215730
CREATED:20120604T040000Z
LAST-MODIFIED:20180323T185720Z
UID:10001862-1340479800-1340488800@uniondocs.org
SUMMARY:More Open Wounds: Shorts after the Flaherty
DESCRIPTION:[vc_row row_type=”row_full_center_content”][vc_column][vc_column_text] \nThe 2012 Robert Flaherty Film Seminar is now in full swing this week at Colgate University in Upstate New York. This year’s Seminar “closed Wounds”\, programmed by Josexto Cerdán (Punto de Vista)\, examines changing perspectives on politics\, the economy\, technology\, culture\, and ethics over the past Century. Whether making connections between activist films across decades or demonstrating how the traumas of oppression pass from generation to generation\, these selected works illustrate how ideas and histories are linked over time. \nJoin us Saturday for our final screening of the season before we break until mid-September\, which presents a taste of the Seminar. We will showcase additional rare and in-progress work from presenting artists who will be in-person including Su Friedrich\, Sami van Ingen\, Sebastián Lingiardi\, Andrés Duque\, Sun Xun\, and Minda Martin. Cerdán will also be in attendance to introduce the screening. \n  \n  \nPractice Makes Perfect (2012)\, 11 minutes by Su Friedrich. \nSu Friedrich will present her work\, Practice Makes Perfect which was  commissioned for “Crossing Brooklyn Ferry\,” a festival held in May 2012 at the Brooklyn Academy of Music (BAM). The festival mainly featured musical acts by Brooklyn-based bands\, but seven Brooklyn filmmakers were asked to do short works\, without any stipulation as to form or content. \nIn 2011\, Su had seen Kam Kelly (as well as a number of young boys and girls) drumming at a block party down the street from where she lives in Bed-Stuy\, and decided to do a portrait of him and his students. Although he teaches in many locations around the five boroughs\, she only went to observe him at one school\, Intermediate School 292 in East New York. There are several classes and many students\, but she chose to concentrate on one especially enthusiastic and dedicated young drummer\, Jessica Jackson. \n \nHATE (2012)\, 12 minutes by Sami van Ingen. \nSami van Ingen is a finnish visual artist who works mostly with film and video and is presenting\, HATE which investigates how otherness is portrayed in the Finnish national epic Kalevala. \n  \n  \n \nIt’s Not the Image It’s The Object (2008)\, 12 minutes and Miracle (2001)\, 33 seconds by Andrès Duque \nVenezuelan Filmmaker\, Andrès Duque will present two of his shorts. He is a professor for the Master of Creative Documentary at Universidad Autónoma de Barcelona. He currently resides in Spain. \n  \nFollow Orders (2006)\, 15 minutes by Sebastián Lingiardi. \nSebastián Lingiardi’s first short Follow Orders won him the first prize at the International Festival of Film Schools. He describes the short as the world seen through the window – the intimacy has already passed away. The struggle is between strange organizations. There is no common cause to die for anymore. This is despite the man\, the enemy\, expands his power in each place the characters wander. The orders from the organization emphasize taking care of yourself first – in this kind of situation\, who sees his death from a window? \n  \n  \n  \n\nPresented with \n \nThe Flaherty is a non-profit organization dedicated to the proposition that independent media can illuminate the human spirit. Its mission is to foster exploration\, dialogue\, and introspection about the art and craft of all forms of the moving image. The Flaherty was chartered (as International Film Seminars\, Inc.) in the state of Vermont but is based in New York City. It was established in 1960 to present the annual Robert Flaherty Film Seminar\, which was started five years earlier by the Robert Flaherty Foundation. The Seminar remains the central and defining activity of The Flaherty. \nThrough its unique annual Robert Flaherty Film Seminar\, The Flaherty provides media makers\, sp;users\, teachers and students an unparalleled opportunity to confront the core of the creative process\, reaffirm the freedom of the independent artist to explore beyond known limits and renew the challenge to discover\, reveal and illuminate the ways of life of peoples and cultures throughout the world.[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2012-06-23-more-open-wounds-shorts-after-the-flaherty/
LOCATION:NY
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/png:https://uniondocs.org/wp-content/uploads/2012/06/UNDO-BLUE.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20120623T193000
DTEND;TZID=America/New_York:20120623T220000
DTSTAMP:20260614T215730
CREATED:20120620T040000Z
LAST-MODIFIED:20190314T204332Z
UID:10002316-1340479800-1340488800@uniondocs.org
SUMMARY:More closed Wounds: Shorts After The Flaherty
DESCRIPTION:[vc_row row_type=”row_full_center_content”][vc_column][vc_column_text]The 2012 Robert Flaherty Film Seminar is now in full swing this week at Colgate University in Upstate New York. This year’s Seminar “closed Wounds”\, programmed by Josexto Cerdán (Punto de Vista)\, examines changing perspectives on politics\, the economy\, technology\, culture\, and ethics over the past Century. Whether making connections between activist films across decades or demonstrating how the traumas of oppression pass from generation to generation\, these selected works illustrate how ideas and histories are linked over time. Join us Saturday for our final screening of the season before we break until mid-September\, which presents a taste of the Seminar. We will showcase additional rare and in-progress work from presenting artists who will be in-person including Su Friedrich\, Sami van Ingen\, Sebastián Lingiardi\, Andrés Duque\, Sun Xun\, and Minda Martin. Cerdán will also be in attendance to introduce the screening.[/vc_column_text][vc_empty_space][vc_text_separator title=”Program”][vc_empty_space][vc_column_text] \nPractice Makes Perfect (2012)\, 11 minutes by Su Friedrich. Su Friedrich will present her work\, Practice Makes Perfect which was  commissioned for “Crossing Brooklyn Ferry\,” a festival held in May 2012 at the Brooklyn Academy of Music (BAM). The festival mainly featured musical acts by Brooklyn-based bands\, but seven Brooklyn filmmakers were asked to do short works\, without any stipulation as to form or content. In 2011\, Su had seen Kam Kelly (as well as a number of young boys and girls) drumming at a block party down the street from where she lives in Bed-Stuy\, and decided to do a portrait of him and his students. Although he teaches in many locations around the five boroughs\, she only went to observe him at one school\, Intermediate School 292 in East New York. There are several classes and many students\, but she chose to concentrate on one especially enthusiastic and dedicated young drummer\, Jessica Jackson. \n \nHATE (2012)\, 12 minutes by Sami van Ingen. Sami van Ingen is a finnish visual artist who works mostly with film and video and is presenting\, HATE which investigates how otherness is portrayed in the Finnish national epic Kalevala. \n  \n \nIt’s Not the Image It’s The Object (2008)\, 12 minutes and Miracle (2001)\, 33 seconds by Andrès Duque Venezuelan Filmmaker\, Andrès Duque will present two of his shorts. He is a professor for the Master of Creative Documentary at Universidad Autónoma de Barcelona. He currently resides in Spain. \n  \n \n  \nFollow Orders (2006)\, 15 minutes by Sebastián Lingiardi. Sebastián Lingiardi’s first short Follow Orders won him the first prize at the International Festival of Film Schools. He describes the short as the world seen through the window – the intimacy has already passed away. The struggle is between strange organizations. There is no common cause to die for anymore. This is despite the man\, the enemy\, expands his power in each place the characters wander. The orders from the organization emphasize taking care of yourself first – in this kind of situation\, who sees his death from a window?[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space][/vc_column][/vc_row][vc_row][vc_column][vc_text_separator title=”90 min”][vc_empty_space][vc_column_text]The Flaherty is a non-profit organization dedicated to the proposition that independent media can illuminate the human spirit. Its mission is to foster exploration\, dialogue\, and introspection about the art and craft of all forms of the moving image. The Flaherty was chartered (as International Film Seminars\, Inc.) in the state of Vermont but is based in New York City. It was established in 1960 to present the annual Robert Flaherty Film Seminar\, which was started five years earlier by the Robert Flaherty Foundation. The Seminar remains the central and defining activity of The Flaherty. Through its unique annual Robert Flaherty Film Seminar\, The Flaherty provides media makers\, users\, teachers and students an unparalleled opportunity to confront the core of the creative process\, reaffirm the freedom of the independent artist to explore beyond known limits and renew the challenge to discover\, reveal and illuminate the ways of life of peoples and cultures throughout the world.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2012-06-23-more-closed-wounds-shorts-after-the-flaherty/
LOCATION:UnionDocs\, 352 Onderdonk Avenue\, 352 Onderdonk Avenue\, Ridgewood\, NY\, 11385\, United States
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/png:https://uniondocs.org/wp-content/uploads/2012/06/UNDO-BLUE.png
GEO:40.7099952;-73.9507576
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=UnionDocs 352 Onderdonk Avenue 352 Onderdonk Avenue Ridgewood NY 11385 United States;X-APPLE-RADIUS=500;X-TITLE=352 Onderdonk Avenue:geo:-73.9507576,40.7099952
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20120627T193000
DTEND;TZID=America/New_York:20120627T220000
DTSTAMP:20260614T215730
CREATED:20120621T040000Z
LAST-MODIFIED:20180320T155817Z
UID:10001744-1340825400-1340834400@uniondocs.org
SUMMARY:UnionDocs Collaborative Studio at the Austrian Cultural Forum
DESCRIPTION:[vc_row row_type=”row_full_center_content”][vc_column][vc_column_text]UnionDocs is teaming up with Change Administration as a part of OUR HAUS\, a project by Vienna-based group WochenKlausur who is taking part in the Austrian Cultural Forum’s tenth anniversary exhibition. OUR HAUS focuses on contemporary positions and practices for housing and public space. \nFor this event\, Change Administration will screen a selection of films in collaboration with UnionDocs. The screenings will be followed by a Q&A with the filmmakers and other urbanists. \nTo attend\, reserve your spot now! Click the reservation button and save your spot through ACF. \nSelections from Living Los Sures by the UnionDocs Collaborative Studio \nExperiments in Place and Collaborative Documentary \nIn the late seventies and early eighties\, South Williamsburg was one of the poorest neighborhoods in New York City. It was troubled by drugs and violence\, full of abandoned real estate\, and badly under-served. Los Sures\, a documentary from 1984 by Diego Echeverria\, skillfully represents the challenges of this time\, while also celebrating a community that was connected\, coherent and full of culture. \nUnionDocs is in the midst of a project that revisits this film and creates a constellation of companion documentary works that will update\, annotate\, and spiral off from the original. The final result will be Living Los Sures\, an interactive\, multi-layer documentary that seeks not just to extract important and unusual stories from the place\, but to also create new shared histories and relationships between neighbors. \n  \nCouchsurferz\, Selections from a 12 part cycle (15 minutes) \nby Emma Brenner-Malin\, Josh Solondz\, Stephanie Chang \nA journey into the homes of friends and strangers\, in search of significance in Williamsburg\, Brooklyn. Sleeping on assorted couches\, the surferz document the physical environments of their overnight stays\, as well as the persons residing within them. Throughout the course of a year\, the surferz explore relationships between themselves\, their hosts\, and the spaces they inhabit\, as well as issues of representation\, subjectivity\, and agency in documentary filmmaking. \nWhose Schools? (18 minutes) \nby Claire Richard \nThe arrival of a charter school backed by corporations unites the gentrifying neighborhood of Williamsburg. Long time residents and new comers get together in the fight for local schools. \nBefore After (13 Minutes) \nby Daniel Terna\, Michael Kugler \nWe got to know this neighborhood by exploring it through a series of filmed experiments and encounters in the mostly Latino and Jewish communities. The camera is considered as a compass that gives direction to a variety of inquiries. Guiding our interactions with the neighborhood\, both in terms of physical space and its inhabitants\, we found ourselves approaching the neighborhood as one big playground. The short sequences in this piece are the result of unexpected encounters with people\, images\, and local rituals. Objects were used as props to facilitate interventions with spaces and communications with people. The title\, Before After\, references a photography storefront sign along Lee Avenue in the heart of the Jewish neighborhood\, and it reminds us that deciding when something is “over” or “finished” is easier said than “done.” \nSundays (12 minutes) \nby Meg Kelly \nPinned between Bushwick\, Williamsburg and Bed-Stuy\, the Broadway Triangle has stood as one of the most disputed spaces in New York City. It’s development into low income housing has sparked greater division between the already intensely divided communities. \n  \n \nOf Birds and Boundaries (22 Minutes) \nby Annie Berman\, Laura Mayer\, Matt Yoka \nA filmmaker’s search for the Williamsburg’s Eruv (a string the defines the boundaries of the Chasidic neighborhood and redefines public space as a shared private space) leads her to ‘Marty\,’ an anonymous Chasid who volunteers to help with research. The result is the development of an unexpected relationship\, a cross-cultural exchange between two unlikely collaborators. \n \nDesperately Seeking Stagg Girls (18 minutes) \nby Sonia Gonzalez \nAs she’s watching a 1980s documentary about South Williamsburg\, the neighborhood she’s just moved in\, a young French woman’s imagination is caught by a RIP graffiti signed by the Stagg Girls on a wall nearby her house. She then decides to track down those girls… \n\n[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2012-06-27-uniondocs-collaborative-studio-at-the-austrian-cultural-forum/
LOCATION:NY
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/png:https://uniondocs.org/wp-content/uploads/2013/03/soniagonzalez.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20120714T193000
DTEND;TZID=America/New_York:20120714T234500
DTSTAMP:20260614T215730
CREATED:20120613T040000Z
LAST-MODIFIED:20180312T191712Z
UID:10002310-1342294200-1342309500@uniondocs.org
SUMMARY:Living Los Sures- Preview in the Park
DESCRIPTION:[vc_row][vc_column][vc_column_text]In the late seventies and early eighties\, South Williamsburg was one of the poorest neighborhoods in New York City. It was troubled by drugs and violence\, full of abandoned real estate\, and badly under-served. Los Sures\, a documentary from 1984 by Diego Echeverria\, skillfully represents the challenges of this time\, while also celebrating a community that was connected\, coherent and full of culture. \nUnionDocs is in the midst of a project that revisits this film and creates a constellation of companion documentary works that will update\, annotate\, and spiral off from the original. The result will be Living Los Sures\, an interactive\, multi-layer documentary that seeks not just to extract important and unusual stories from the place\, but to also create new shared histories and relationships between neighbors. \nPresented with Moviehouse\, this special preview event will take place on the handball courts at Sternberg Park\, which actually make an appearance in the original film. It will include free popcorn\, live radio and music and the public preview of a collection of compelling short documentaries created over the past year by a group of talented artists fellows from the UnionDocs Collaborative Studio. The entire event will be live-streamed on BBOX radio. \n \n\n\nLIVE RADIO BROADCAST IN THE PARK\n7:30pm @ Sternberg Park. \nKeep it Movin’\nby Kaitlin Prest \n20 minutes \n“The curiosity about love is what set me on this journey…man that shit is no joke.” \nMaria DeJesus—AKA TS (Tough Shit) and her mother Marta Iris Aviles unearth the stories of their first romances and reveal the lasting impact they had. These are stories about being swept off of your feet\, about being a beautiful young girl coming into her own in a rough neighbourhood thinking she’s got it all figured out. \nPROGRAM I\n9:00pm @ Sternberg Park. \nLa Marqueta 1\nDirected by Elizabeth Lawrence\, produced by Elizabeth Lawrence & Sonia Gonzalez \n5 minutes \nA parisian TV host now living in Brooklyn\, Sonia visits one of the oldest markets in Williamsburg called LA MARQUETA. Home to 20+ latino vendors\, La Marqueta sells food\, haircuts\, music and gifts. Every episode\, Sonia visits a different vendor and learns about their craft. One day she works in a Dominican restaurant and another she’s learning to cut hair in a Barbershop. The short films of LA MARQUETA are a show and tell of culture and craft. They instruct and highlight a marketplace built for the community and run by the community. \nWhose Schools?\nDirected by Claire Richard \n18 minutes \nThe arrival of a charter school backed by corporations unites the gentrifying neighborhood of Williamsburg. Long time residents and new comers get together in the fight for local schools. \n\n\nBrooklyn Cupcake\nDirected by Oresti Tsonopoulos \n9 minutes \nThe flavors of nostalgia\, community and family come together for the Rodriguez family to successfully run Brooklyn Cupcake\, a vibrant cupcake shop in the Los Sures neighborhood of Brooklyn. \n\nLittle Tricksters\nDirected by Alexandre Gaspar Maia \n25 minutes \nThis film is a close look into the 6-week long rehearsal process of the young performers\, ages 6-13\, in preparation for a theater and dance performance piece. The show is organized by the El Puente Arts program in South Williamsburg\, addressing the issues the Latino community faces with the impending takeover of their local junior high school by the Success charter network. \nReunion\nDirected by Olivia Koski \nA selection of 60-90 second shorts \nThis is the story of a community of “WillyB” (Williamsburg) natives who grew up in Los Sures in the 50’s and 60’s – when candy was 5 cents\, when the BQE was incomplete\, and before anyone had heard the word “gentrification.” After finding each other on Facebook\, they return to their hometown to reminisce about a time long gone and a place that exists only in their memories. \nAFTER PARTY\n11:00pm @ UnionDocs. \nLive Set from Analog Experimental NYC –  Featuring Damian Quiñones on guitar\, cuatro Puertorriqueño\, and vocals\, Gregory Richardson on upright bass and Bendji Allonce on percussion. \nAnalog Experimental\, an acoustic power trio specializes in experimental Pan-Latin dance music. Using Afro Caribbean rhythms and repertoire as their point of departure\, the group “experiments” by mixing it up with elements of funk\, jazz\, reggae\, rock\, and electronic music. \n \nFrench indie\, trans-genre producer / remixer\, MBFM (Nophono\, Atcha\, Discograph) will play one of his notorious urban dance-rock DJ sets.  \nFree CD giveaway from local Williamsburg Salsa Orchestra! \nSundays\nDirected by Meg Kelly \n12 minutes\, Installation loop. \nPinned between Bushwick\, Williamsburg and Bed-Stuy\, the Broadway Triangle has stood as one of the most disputed spaces in New York City. It’s development into low income housing has sparked greater division between the already intensely divided communities. \nPROGRAM II\nMidnight @ UnionDocs. \nLa Marqueta 2\nDirected by Elizabeth Lawrence\, produced by Elizabeth Lawrence & Sonia Gonzalez5 minutes \nA parisian TV host now living in Brooklyn\, Sonia visits one of the oldest markets in Williamsburg called LA MARQUETA. Home to 20+ latino vendors\, La Marqueta sells food\, haircuts\, music and gifts. Every episode\, Sonia visits a different vendor and learns about their craft. One day she works in a Dominican restaurant and another she’s learning to cut hair in a Barbershop. The short films of LA MARQUETA are a show and tell of culture and craft. They instruct and highlight a marketplace built for the community and run by the community. \nanother day without a future\,\nbut what the hell another day \nDirected by Adam Khalil30 minutes \nA free-wheeling experimental docu-fiction… “I create because I know how. I know how good-for-nothing I am\, that is. Art as communication is the contact between the good-for-nothing in one and the good-for-nothing in others.“-Robert Filliou #friendship\, #livinduhdream\, #artsyfartsy\, #sextourism\, #process\, #Bodegaunderworld\, #newaesthetics \nDesperately Seeking Stagg Girls\nDirected by Sonia Gonzalez \n18 minutes\nAs she’s watching a 1980s documentary about South Williamsburg\, the neighborhood she’s just moved in\, a young French woman’s imagination is caught by a RIP graffiti signed by the Stagg Girls on a wall nearby her house. She then decides to track down those girls… \n  \n \n\n[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2012-07-14-living-los-sures-preview/
LOCATION:NY
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/png:https://uniondocs.org/wp-content/uploads/2012/06/Screen-shot-2012-07-12-at-7.00.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20120803T193000
DTEND;TZID=America/New_York:20120803T193000
DTSTAMP:20260614T215730
CREATED:20120125T050000Z
LAST-MODIFIED:20180305T224630Z
UID:10002305-1344022200-1344022200@uniondocs.org
SUMMARY:Dani Leventhal and Samita Sinha: Salt
DESCRIPTION:[vc_row][vc_column][vc_column_text]This evening will start with a captivating solo vocal performance by Samita Sinha and then Dani Leventhal will present three acclaimed recent short videos. \nVocalist/composer Samita Sinha and video artist Dani Leventhal met at Bard in 2008\, and since 2009 they have been working side-by-side and in collaboration. In their collaborations\, Leventhal makes videos in which Sinha performs and/or creates sound. In their side-by-side practice\, Sinha sings and sounds while Leventhal draws. They take inspiration from each other’s images and sounds\, allowing their creative practices\, which are generally solo and rather singular\, to become permeable to each other’s influence and energy. Both work from a place of intuition and make work that is deeply embodied. \nTime Out New York wrote that Sinha’s voice is “mesmerizing. This is fusion… in the best sense: she effortlessly\, seamlessly weaves [sounds] yet keeps their distinct flavors intact.” Cinema Scope magazine recently wrote that “Leventhal’s videos are not the triumph of an all-seeing subjectivity but rather an effort to reduce the barrier between her and the rest of the world\, whether human\, animal\, or inanimate… Leventhal aims for immanence\, for the roiling\, beautiful mess of existence\, documenting life from moment to moment through images both eloquent and enigmatic.” \n  \n  \nCipher by Samita Sinha \nCipher is a solo work that begins from the question: how does sound come out of my body? Sinha explores this question using the “nonsense” sounds of tarana—a genre of song in Indian classical music invented in the 13th century that mixes Persian\, Arabic\, and Sanskrit syllables that are said to encode mystical meanings. Cipher is performed with a “band” of four electronic boxes\, including electronic tabla (drum box) and electronic tanpura (drone box)\, which have trapped a centuries-old tradition of acoustic finery into a convenient\, portable form. \nWe will be showing the following films: \nProgram runtime 30 minutes \n  \n54 Days this Winter 36 Days this Spring for 18 Minutes by Dani Leventhal\, 2009\, 16 mins. \nDani Leventhal gathered material for 9 minutes each day\, then condensed it down to this 16-minute video montage of impressions which has a cumulative effect\, accessed and read differently depending on the mental connections the viewer makes. It is presented as short scenes: documentation of the quotidian\, on-camera monologues\, and performative or expressive shots that are constructed. The material\, while mostly generated as a diary\, is heterogeneous enough to include just about any kind of footage. \n  \n \nHearts Are Trump Again by Dani Leventhal\, 2010\, 9 mins. \nBy way of lush formal and associative shifts\, Hearts Are Trump Again evokes the ever-present tension between seemingly polarized states of experience. Desire and repulsion; freedom and constraint; pain and pleasure all find articulation in images of ferocious dogs and mock conversations about childbearing. Tonally complex and viscerally rich\, Hearts Are Trump Again is a lyrical exploration of emotional weather. –Brett Price \n  \n \nTin Pressed by Dani Leventhal\, 2011\, 6 mins. \ncloseding with jarring violence\, Dani Leventhal’s Tin Pressed proceeds to negotiate a balancing act between the bewildering tonal variances of daily life with all of its unnamable and enchantingly fragmented specifics and the gravitational urge to construct both private and shared narratives. The world discovered through these images revolves around multiple centers. The camera’s odd equanimity feels both generous and dangerous. Leventhal’s deft oscillation between elision and inclusion reveals a brief but vast taxonomy of beauty\, peace\, longing\, and terror. –Jeremy Hoevenaar. \n  \n  \n  \nDani Leventhal has been the recipient of numerous grants and awards\, among them the Wexner Center Film/Video Residency\, the Milton & Sally Avery Fine Arts Award and the Astraea Visual Arts Award; her films have been screened at the Rotterdam Film Festival\, the New York Film Festival\, Migrating Forms\, The Museum for Contemporary Photography\, Chicago\, The Brooklyn Museum\, and P.S.1. Her work is in the permanent collections of the Museum of Modern Art\, The University of Illinois at Chicago and Yale University. \nSamita Sinha is a performance artist\, composer and singer who combines tradition with experiment to create new forms\, drawing from a deep grounding in North Indian classical music\, a contemporary vocabulary\, folk and ritual music\, and songs and texts in several languages. She has performed her solo and ensemble work internationally\, and has collaborated with poets (Sekou Sundiata\, Fiona Templeton\, Robert Ashley)\, musicians (Marc Cary\, Sunny Jain)\, choreographers (Daria Fain)\, and communities (through MAPP\, and the Coleman Center in York\, AL) to create art that crosses boundaries of genre and discipline\, and expands ideas about modes of collaboration. Sinha has received awards and residencies from the Fulbright Foundation\, NYSCA\, Urban Artists Initiative\, Queens Council on the Arts\, Watermill Center\, and Millay Colony. She received her MFA in Music/ Sound from Bard and studied post-colonial Literature at Yale\, and studies Hindustani music with Shubhangi Sakhalkar. For more information visit her website: www.samitasinha.com.[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2012-03-18-dani-leventhal-and-samita-sinha/
LOCATION:NY
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2012/01/54-Days-ice.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20120916T193000
DTEND;TZID=America/New_York:20120916T220000
DTSTAMP:20260614T215730
CREATED:20120820T040000Z
LAST-MODIFIED:20180302T223450Z
UID:10002322-1347823800-1347832800@uniondocs.org
SUMMARY:Images of Asian Music and At Sea with Peter Hutton
DESCRIPTION:[vc_row][vc_column][vc_column_text] \nPeter Hutton’s unforgettable films\, typically shot and exhibited on 16mm\, often portray landscapes and cityscapes from around the world. Here we present his sublime\, At Sea\, which overviews the life cycle of a container ship (recently awarded the top spot on Film Comment’s Best of the Decade: Avant-Garde list). Proceeding this we will screen Hutton’s Images of Asian Music\, which recalls his time as a US Merchant Marine in Southeast Asia in the early 1970’s. \n\nProgram Runtime: 89 minutes \nIMAGES OF ASIAN MUSIC (1974) \n29 min. | 16mm | b/w | silent \n“Rich with truly wonderful visions: a thick\, white porcelain cup perched on a ship’s rail\, the tea within swaying gently in sync with the ship while the sea rushes by beyond?the faces of crewmen posing awkwardly but also movingly for the camera; a cockfight on ship; scenes from a bucolic pre–Pol Pot Phnom Penh. Images has the haunting elegiac resonance of Eugène Atget’s Paris\, the echo of a time and place that was.” – Jon Jost \n\nAT SEA (2007) \n60 min. | 16mm | color and b/w | silent \n“The sublime is no more strongly felt than in Peter Hutton’s magisterial At Sea. Put simply\, the film tells the story (“the birth\, life and death”—in the director’s words) of a container ship—but there are no words to adequately describe the film’s awesome visual expedition. Hutton knows the sea. His experiences as a former merchant seaman have informed his filmmaking practice\, known for its rigor and epic beauty. At Sea begins in South Korea with diminutive workers shipbuilding. The colossal vessel is revealed in de Chirico-worthy proportions\, its magnitude surreal to the human eye. Off to sea\, the splendor and intensity of the water—set against the vibrant colors of the containers—causes us to see the world anew. The film concludes in Bangladesh amidst ship breakers as enthralled by Hutton’s camera as we are by his images.” – Andréa Picard\, Toronto International Film Festival Programmer.   \n \nPETER HUTTON \nPeter Hutton received his B.F.A. and M.F.A. from the San Francisco Art Institute. He has taught at Hampshire College\, Harvard University\, SUNY Purchase. He has produced more than 20 films\, most of which are portraits of cities and landscapes around the world. In 2008\, the Museum of Modern Art curated a retrospective of his work\, which has shown in major museums and at festivals in the United States and Europe\, including Whitney Biennial (1985\, 1991\, 1995\, 2004). He is the recipient of grants from the National Endowment for the Arts\, DAAD Berliner\, the Rockefeller Foundation\, the Dutch Film Critics Award\, and a Guggenheim Fellowship. He has taught at Bard College since 1984. \n \nJEM COHEN \nCohen has made approximately 50 films including Instrument\, Chain\, Lost Book Found\, and Benjamin Smoke (with Peter Sillen). His work is in the collections of MoMA and the Whitney and has been broadcast by PBS\, Arte\, the BBC\, and the Sundance Channel. He he’s had retrospectives at venues including the NFT in London\, Buenos Aires Independent Film Fest\, and Punto de Vista in Spain\, which published the monograph\, Signal Fires: The Cinema of Jem Cohen\, in 2010. Cohen has collaborated extensively with musicians including Fugazi\, Patti Smith\, Terry Riley\, Vic Chesnutt\, Godspeed You Black Emperor!\, R.E.M.\, DJ Rupture\, Blonde Redhead\, Elliott Smith\, and the Ex\, as well as writer Luc Sante. As an activist\, Cohen was extensively involved in overturning proposed restrictions on street photography in New York City. Current projects include the feature\, Museum Hours\, and the Gravity Hill Newsreels (about Occupy Wall Street). \n\n\n\n\n\n\n[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/09-16-12-hutton-images-of-asian-music-and-at-sea-with-peter-hutton/
LOCATION:NY
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2012/08/Images_of_Asian_Music1.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20120921T193000
DTEND;TZID=America/New_York:20120921T220000
DTSTAMP:20260614T215730
CREATED:20120906T040000Z
LAST-MODIFIED:20180306T174348Z
UID:10001745-1348255800-1348264800@uniondocs.org
SUMMARY:WILLiFEST: Andrew Bird: Fever Year | Angelfish with Born and Raised
DESCRIPTION:[vc_row row_type=”row_full_center_content”][vc_column][vc_column_text]We are hosting more exciting screenings with WILLiFEST on Saturday\, September 22. Our neighbors at the Knitting Factory and El Puente are presenting films and other events as well. See the complete festival line-up here. \n8:00pm – 10:00pm \n \n  \n  \n  \n  \n  \nLos Muertos de Siempre (Music Video) directed by Milton Ramirez Malave \nA Greedy Grim Reaper rises from the underworld to collect the souls of mortal sinners with a mighty stroke of her razor-sharp violin. When she starts to take advantage of her position and starts taking the lives of sinners and innocents alike\, she is confronted by an old rival\, who wants to stop her evil actions and they have duel to the ‘end’ to see who gets possession of the souls collected. \n \n  \n  \n  \n  \n  \nN.Y. UKE directed by Manon Gauthier \nNew York’s ukulele scene is divided: While some players just want to have fun\, others struggle for respect\, with tensions rising as the city’s annual Uke Fest approaches. Into this mix\, an outsider works up the nerve to play his first live show. Who knew such a happy little instrument could cause so much trouble. \n \n  \n  \n  \n  \n  \nAndrew Bird: Fever Year directed by Xan Aranda \nThe acclaimed musician’s rigorous touring year culminates in perpetual fever as he crosses the finish line on crutches from an onstage injury. Concert documentary features collaborators Martin Dosh\, Annie Clark of St. Vincent\, and others \nBuy tickets for WILLiFEST: N.Y. UKE | Andrew Bird: Fever Year  \n10:00pm – 12:00am \n \n  \n  \n  \n  \n  \nScars and Stripes (Music Video) directed by Matthew Pizzano \nScars and Stripes is an allegorical music video that follows a business executive and a paranoid loner as they approach the end of their world. \n \n  \n  \n  \n  \n  \nAngelfish directed by Michael Tyburski \nWhile searching for isolation\, a young man moves to live aboard a sailboat on New York City’s East River. \n \n  \n  \n  \nBorn and Raised directed by Joshua Dragge \nIn a small\, seaside town\, a young man learns a thing or two about love\, luck and life from his well-traveled\, outlaw grandfather. Born & Raised is a rough\, tough\, coming-of-age drama\, with a lot of heart and a ton of laughs. It deals with family\, friends\, love\, forgiveness\, small towns and the want for something more. \nBuy tickets for WILLiFEST: Angelfish | Born and Raised[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/willifest-andrew-bird-fever-year-angelfish-with-born-and-raised/
LOCATION:NY
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2012/09/AndrewBirdScreen_shot_2011-10-26_at_22604_PM.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20120922T193000
DTEND;TZID=America/New_York:20120922T220000
DTSTAMP:20260614T215730
CREATED:20120821T040000Z
LAST-MODIFIED:20180302T220216Z
UID:10002327-1348342200-1348351200@uniondocs.org
SUMMARY:Running Stumbled
DESCRIPTION:[vc_row][vc_column][vc_column_text] \n“A digital video phantasmagoria of disorienting stylistics and mind-altering imagery… Running Stumbled nevertheless follows in a long American dramatic tradition of viewing the family as the center of the world and\, in particular\, of sons trying to fathom fathers and their legacy.” – Robert Koehler\, Variety \nRUNNING STUMBLED  directed by John Maringouin \n85 min.| digital projection | 2006 | USA \nDocumentary begins when fiction leaves the scene. Rarely in filmmaking does the theory meet the practice\, but in the case of the powerful\, gritty Running Stumbled\, director John Maringouin manages to take us into the heart of the matter in a dramatic exploration of family\, life\, art\, drugs\, murder\, love\, and legacy. After a 25-year absence\, Maringouin the prodigal son returns from Hollywood to Terrytown\, Louisiana. Placed in the center of an emotional battle\, he films an intimate\, frank and strange portrait about the complex relationship between his estranged father\, Dadaist painter Johnny Roe Jr.\, and Roe’s self-destructive common-law wife\, Virgie Marie Pennoui. Johnny is a New Orleans legend\, known for being a career heroin user\, a street-fighting pimp\, and an accused murder. He also once tried to kill his son. Running Stumbled is a dark\, Southern Gothic fable\, as dramatic as it is cautionary\, enveloped in an atmosphere that has its main characters chasing demons and pursued by death. – PW\, True/False  \n  \n[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/09-22-12-benefit-john-maringouin-running-stumbled/
LOCATION:NY
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2016/07/runningstumbled460.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20120922T193000
DTEND;TZID=America/New_York:20120922T220000
DTSTAMP:20260614T215730
CREATED:20120906T040000Z
LAST-MODIFIED:20180306T171716Z
UID:10002344-1348342200-1348351200@uniondocs.org
SUMMARY:WILLiFEST:  Justice Shorts I The Domino Effect I Priceless Things with 3 Days of Normal
DESCRIPTION:[vc_row row_type=”row_full_center_content”][vc_column][vc_column_text]We are hosting more exciting screenings with WILLiFEST on Friday\, September 21. Our neighbors at the Knitting Factory and El Puente are presenting films and other events as well. See the complete festival line-up here. \n3:30pm – 5:30pm \n \n  \n  \n  \n  \n  \nScars and Stripes (Music Video) directed by Matthew Pizzano \nScars and Stripes is an allegorical music video that follows a business executive and a paranoid loner as they approach the end of their world. \n \n  \n  \n  \n  \n  \nStay: Migration and Poverty in Rural Mexico directed by Laura Elizabeth Pohl \nThe unauthorized immigrant population in the United States has tripled from 3.5 million people in 1990 to more than 11 million in 2010. Stepped-up patrols along the border with Mexico – the source of 60 percent of unauthorized immigrants – has had little impact. Why? This short film documents the lives of two men and their families. They migrated separately to the United States and Canada for work but are now able to stay in Mexico with the help of programs that invest in rural areas and reduce the pressure to migrate. \n \n  \n  \n  \n  \nTrial and Error directed by Max Kutner \nTrial and Error follows Dewey Bozella\, a man who spent 26 years in prison for a murder he did not commit\, a year after his exoneration as he struggles to become a professional boxer. \n \n  \n  \n  \n  \n  \nA Question of Integrity: Politics\, Ethics and The Supreme Court directed by Devan Shea \nNarrated by Edward James Olmos\, A Question of Integrity examines ways in which recent behavior by some Supreme Court justices undermines the public’s faith in our nation’s most important legal institution. The documentary explores evidence that some justices have participated in overtly political and ethically questionable activity and explains that the justices of the Supreme Court are not formally bound by the Code of Conduct that guides the behavior of all other federal judges. It also discusses reforms that can help end these questions of integrity hanging over several justices and the Court itself. \n \n  \n  \n  \n  \n  \nTeached Vol. I directed by Kelly Amis \nBuy tickets for WILLiFEST: Justice Shorts \n5:30pm – 7:30pm \n \n  \n  \n  \n  \nScars and Stripes (Music Video) directed by Matthew Pizzano \nScars and Stripes is an allegorical music video that follows a business executive and a paranoid loner as they approach the end of their world. \n \n  \n  \n  \n  \n  \nThe Domino Effect directed by Megan Sperry\, Daniel Phelps \nThe Domino Effect explores the process of real estate development in New York City and digs deep to uncover the complex networks of banks\, developers\, politicians\, and non-profit organizations that shape our cities. Recently\, the communities of Williamsburg and Greenpoint in North Brooklyn have experienced the negative impacts of excessive luxury development and gentrification. The Community Preservation Corporation’s ‘New Domino’ project – the redevelopment of the Domino Sugar Factory on the East River into a complex of 2\,200 apartments and condos – serves as the film’s case study. \n \n  \n  \n  \n  \n  \nErroll Garner – No one can hear you read directed by Atticus Brady \nErroll Garner – No One Can Hear You Read is a music documentary chronicling the life and career of this jazz legend. \nBuy tickets for WILLiFEST: The Domino Effect | Erroll Garner – No one can hear you read \n10:00pm – 12:00am \n \n  \n  \n  \n  \n  \nTurn it Around (Music Video) directed by Matthew Pizzano \nA narrative music video for the popular Brooklyn Based group\, Lucius. Set in the early 1960’s\, the video follows the story of two young girls who become envious of each others lives and subsequently tear apart their own worlds. \n \n  \n  \n  \n  \n  \nPriceless Things directed by Sarah-Violet Bliss \nPriceless Things is about a liberal white couple navigating their struggle to remain progressive in a setting that challenges their politically correct veneer. \n \n  \n  \n  \n  \n  \n3 Days of Normal directed by Ishai Setton \nIt’s fall in rural New Hampshire and Deputy Bill Morgan runs the flags up the pole in front of his small town police station. It’s a typical day for him and the last thing he expects to discover is Nikki Gold\, Hollywood’s current It Girl\, passed out drunk in her car. When the paparazzi hear the news\, Bill and Nikki find themselves hiding out\, as the town sees a level of excitement it isn’t exactly used to. \nBuy tickets for WILLiFEST: Priceless Things and 3 Days of Normal[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/willifest-justice-shorts-i-the-domino-effect-i-priceless-things-and-3-days-of-normal/
LOCATION:NY
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2012/09/3daysofnormal.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20120923T193000
DTEND;TZID=America/New_York:20120923T220000
DTSTAMP:20260614T215730
CREATED:20120905T040000Z
LAST-MODIFIED:20180306T164950Z
UID:10002336-1348428600-1348437600@uniondocs.org
SUMMARY:Poetry Was My Gateway Drug: Leigh Stein and Alexander Chee read and discuss the relationship between fiction and non-fiction writing
DESCRIPTION:[vc_row row_type=”row_full_center_content”][vc_column][vc_column_text] \nIncreasingly\, writers are falling into discrete literary camps and are asked to define themselves — as novelists\, poets\, essayists — and often expected to stay true to form. Poet/Novelist Leigh Stein (author of the poetry collection Dispatch From the Future and the novel The Fallback Plan) and Novelist/Essayist Alexander Chee Author of Edinburgh and the forthcoming novel Queen of the Night) will discuss ever-present tension between poetry\, fiction and non-fiction writing and how one often leads to another and whether or not they should. \nIn celebration of the Brooklyn Book Festival\, Stein and Chee will read from their own work and discuss how they have moved flexibly between poetry\, fiction and non-fiction writing within their own genre-spanning careers. Hosted by Lisa Lucas (Assistant Publisher\, Guernica Magazine). Books will be available for purchase and signing courtesy of Mobile Libris. \n  \nAlexander Chee \nAlexander Chee is the author of the novels Edinburgh and The Queen of the Night\, due out in 2013. Publisher’s Weekly called him “a gifted\, poetic writer who takes big risks.” He is a Whiting Award winner and his stories and essays have appeared in The Paris Review Daily\, Granta\, The LA Review of Books\, Salon and The Morning News. Follow him @alexanderchee. \nLeigh Stein  \nLeigh Stein is the author of the novel THE FALLBACK PLAN\, which New York Magazine called “a masterwork of the post-collegiate babysitting genre\,” and a book of poems\, DISPATCH FROM THE FUTURE\, which was a Publishers Weekly pick for Best Summer Books of 2012. Her non-fiction has appeared in Allure and Bookforum. Follow her @rhymeswithbee \n\nLisa Lucas \nLisa Lucas is an assistant publisher at Guernica Magazine and a non-fiction programmer for the Brooklyn Book Festival. In addition to literary pursuits\, she also works as a non-profit arts consultant\, with a focus on curriculum development\, marketing\, fundraising\, and program design/development. Additionally\, Lucas serves as a council member at Bronx Preparatory Charter School; a national juror for the Scholastic Art & Writing Awards and is a 2012 juror for the New Orleans Film Festival (Narrative Shorts in Competition). She tweets as @likaluca. \n[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/9-23-12uniondocs-brooklyn-book-festival-bookend-gateways-to-non-fiction-with-leigh-stein-and-friends/
LOCATION:NY
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2016/07/bbf.001.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20120930T193000
DTEND;TZID=America/New_York:20120930T220000
DTSTAMP:20260614T215730
CREATED:20120828T040000Z
LAST-MODIFIED:20180303T021024Z
UID:10002333-1349033400-1349042400@uniondocs.org
SUMMARY:Prologue with Raed Rafei
DESCRIPTION:The current furor over dramatic shifts that continue throughout the Middle East and North Africa often obscure the significant political protest and social actions that have set the stage for contemporary revolutionary fervor. Prologue is a film that offers audiences imagined yet intimate portraits of young activists in 1974. The film collapses time and offers testimony as an aesthetic project by giving young Lebanese activists a platform to tell the story of their forebears\, and reveals a complex narrative of agitation\, direct action and rebellion. The film toggles between past and present\, imagined history and reality\, to create a platform that engenders a dialogue with the past\, an action that is often marked as taboo in the Lebanese context. \nPROLOGUE directed by Raed & Rania Rafei \n49 mins. | Lebanon | Arabic with English subtitles | 2011 | digital projection \nIn March 1974\, a group of Lebanese radical leftist students occupied the campus of the American University of Beirut (AUB). They were protesting against cultural and political imperialism and social injustices at a time when Lebanon was sliding into civil violence. Prologue revisits this emblematic incident in the history of the country through the eyes of young political activists. It explores the sequence of events that led to the occupation of AUB in 1974 in light of present-day Arab revolutions. The film meticulously deconstructs the themes pertaining to any revolution: what drives change? What mobilizes the masses? What is the place of revolutionary violence? Prologue blurs the lines between reality and fiction\, action and intention\, past and present. Prologue is the initial phase of a feature film project on the 1974 occupation of the American University of Beirut. \nThis program is a part of ArteEast’s 2012 series “Making the Real: Practices of Documentation.” This program is curated by Barrak Alzaid and Mohammad Shawky Hassan and made possible with generous support from UnionDocs\, New York City Department of Cultural Affairs and the New York State Council on the Arts. \n\n \n\nRAED RAFEI \nRaed Rafei has worked as a journalist for various publications covering an array of fields since 2004. After completing a BS at the American University of Beirut and a degree in journalism\, he first contributed articles for a specialized environmental magazine before moving to work as a reporter for the Lebanese Daily Star. In 2006\, he joined the Los Angeles Times as a correspondent in Lebanon. He also contributed articles to The Progressive magazine\, Al-Ahram Weekly\, and Forbes Arabia. Between 2008 and 2011\, he worked with the Institute for War and Peace as a trainer for young Syrian reporters and an editor of an online newsletter on Syria. In 2010\, he conducted research on the history of student movements in Lebanon for a TV documentary. In 2011\, with his sister Rania\, they wrote and directed Prologue\, a 49-minute video that constituted a prelude to their first feature film\, 74 (The Reconstitution of a Struggle). The film premiered at the FID Marseille\, an international film festival\, and received a national prize. Rafei is currently pursuing a graduate degree in journalism at the City University of New York Journalism School. \n \nRANIA RAFEI \nRania Rafei is a documentary and fiction filmmaker. Born in 1979 in Tripoli\, Lebanon\, Rafei has a diploma in Audiovisual and Cinema Studies from the Lebanese Academy of Fine Arts (ALBA). For the past five years\, she has directed short and feature documentaries that were broadcasted on Al Jazeera Channel. Topics included\, student and labor movements in the Arab world\, snake hunters in Egypt and portraits of artists in the Arab world. Rafei has also worked on art and fiction film projects. She wrote and directed several short movies: Harissa Texas in 2004\, The Dish and Manchette in 2005. She made four art videos: Smoking Kills\, Minimum Precautions\, The Four Seasons: Summer 2006 and Brain Cells in 2006-2007. In 2010\, she made a documentary\, Notes on Love in Cclosedhagen. In 2011\, with her brother Raed\, they wrote and directed Prologue\, a 49-minute video that constituted a prelude to their first feature film\, 74 (The Reconstitution of a Struggle). The film premiered at the FID Marseille\, an international film festival\, and received a national prize. \n\n\nPRESENTED WITH: \n \nArteEast presents the works of contemporary artists from the Middle East\, North Africa and their diasporas t a wide audience in order to foster a more complex understanding of the regions’ arts and cultures and to encourage artistic excellence. Through public events\, exhibitions\, film screenings\, a dynamic virtual gallery and a resource-rich website\, ArteEast supports artists and filmmakers by providing the platforms necessary for them to showcase groundbreaking and significant work. We also give the public the opportunity to learn more about and develop an appreciation for the talent of these established and emerging artists.
URL:https://uniondocs.org/event/prologue-with-raed-rafei/
LOCATION:NY
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2016/07/81.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20121208T193000
DTEND;TZID=America/New_York:20121208T220000
DTSTAMP:20260614T215730
CREATED:20121015T040000Z
LAST-MODIFIED:20190503T192144Z
UID:10001869-1354995000-1355004000@uniondocs.org
SUMMARY:Those Strange\, Inescapable Lines and Slivers
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] \nWhat does the landscape reveal?  What does it hide?  Each of these short films is a map of sites unseen and lands lost in time. \n[/vc_column_text][vc_empty_space height=”40px”][vc_text_separator title=”Program” color=”white” el_class=”h1″][vc_custom_heading text=”Those Inescapable Slivers of Celluloid by Jeremy Moss” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_custom_heading text=”7 min.\, 2011″ font_container=”tag:p|text_align:left” use_theme_fonts=”yes”][vc_column_text] \nStumbling upon sun bleached bullet-riddled vintage pornography sequestered in hidden desert nooks and sagebrush\, circuit boards and shattered glass along off-the-path shooting ranges\, rotting cow parts in ritual-like mounds\, a prophet’s omniscient and culpable gaze; contemplating ideology and place\, attempting to apply memory to moving image. Part lyrical exploration\, part structural landscape study – an abstract/personal Super 8mm collage documentary with soundtrack by Olivia Block. \n[/vc_column_text][vc_empty_space height=”40px”][vc_custom_heading text=”Somnium by Rosa Barba” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_custom_heading text=”20 min.\, 2011″ font_container=”tag:p|text_align:left” use_theme_fonts=”yes”][vc_column_text] \n“Rosa Barba produced a science fiction film based on interviews with local residents and individuals involved in the land suppletion project for Maasvlakte 2. Barba asked the interviewees to imagine what this new land could look like in the future. While we see images of the new land\, the slufter: a storage reservoir for heavily contaminated sludge from the new Meuse river\, the construction of the huge docksides\, basalt blocks\, empty containers and the mechanical movements of the transhipment process\, we listen to a story apparently taking place in the future. The main character is a beekeeper who started with his first hive on the Maasvlakte\, 30 years ago\, and is now surrounded by silos for oil storage. Combined with archive pictures of the port\, the images form a mechanical ballet of man and machine\, set against a futuristic landscape.” – SKOR\, Foundation for Art and Public Domain \n[/vc_column_text][vc_empty_space height=”40px”][vc_custom_heading text=”Strange Lines and Distances\, Joshua Bonnetta” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_custom_heading text=”30 min.\, 2011″ font_container=”tag:p|text_align:left” use_theme_fonts=”yes”][vc_column_text] \nStrange Lines and Distances is a two-channel audiovisual installation focusing on Guglielmo Marconi’s first transatlantic radio broadcast. The work is inspired by Marconi’s belief that sound never diminishes\, but rather grows incrementally fainter and fainter. He believed that with an adequately sensitive receiver\, one could amplify the echoes of history. Strange Lines and Distances looks at and listens to the past\, revisiting Marconi’s original transmission sites in order to explore the hauntological aspects of radio and landscape. The installation invites a consideration of the monumental impact of the first wireless transmission\, and explores the medium’s potential to conflate and fragment both space and time. Strange Lines and Distances takes its title from a passage in Francis Bacon’s utopian text New Atlantis\, in which Bacon imagines a futuristic society’s culture\, politics\, history and media. In contradistinction\, Strange Lines and Distances moves backwards\, retrospectively exploring the invention of radio while looking for echoes and historical intimations of the past within the present. \nStrange Lines and Distances’ dual channels represent the transmission site in Poldhu Cove\, U.K. and the receiving site at Fever Hospital\, St. John’s\, NL. Each historical site is documented using 16mm colour negative film. The sonic composition was created from site-specific field recordings\, shortwave and longwave radio recordings and archival material. Mired in static and atmospheric interference\, the recordings exist as fragmentary spectres of outport beacons\, noise\, musical passages and human voice. Visually\, each channel contains imagery that resonates and rhymes with the opposing channel in terms of shape\, line\, colour\, light and optical geometry. Through a visual examination of the sites’ topographical similarities\, the work plays with the juxtaposition of landscape\, architectural ruins\, flora\, and geological and meteorological phenomena. The images unfold as a series of long shots\, and this play with duration creates a montage that asks the spectator to consider distance and the poetics of form. \n[/vc_column_text][vc_empty_space height=”40px”][vc_empty_space height=”40px”][vc_text_separator title=”57 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=”117628″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text] \nJeremy Moss is a filmmaker and an Assistant Professor of Film and Media Studies at Franklin & Marshall College in Pennsylvania.  He was born in Southern Utah where he grew up surrounded by the intensity of a stark desert landscape and the Mormon ideology and culture.  After a two-year missionary stint in Brazil and a degree in English Literature\, he moved eastward to Ohio where he pursued an M.F.A. in filmmaking.  His moving image work is distinctly structural\, at times surrealist – an intrinsic\, yet subversive\, extension of\, and response to\, the place of his upbringing.   His own formal asceticism\, clearly pushes for new and alternative experiences\, both cultural and aesthetic\, exploring the relationship of moving bodies within moving frames\, the impact of jolting montage juxtapositions\, and an ongoing existential narrative.  His films have screened throughout the United States and Europe\, in Latin America\, Australia\, and Asia. \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”117629″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text] \nJoshua Bonnetta is an artist working with film\, video and sound in various modes of theatrical exhibition\, performance and installation. His work has shown at the Berlinale\, Toronto International Film Festival\, European Media Arts Festival\, Images Festival\, Mutek International Festival of Electronic Music\, Rotterdam International Film Festival and at various other festivals and venues through out Europe\, U.K.\, Russia\, North & South America. He is the two time winner of the Deluxe Cinematic Vision Award for excellence and visual innovation (2010\, 2012) and the 2009 winner of the National Film Board of Canada Award to the Best Emerging or Mid-career Canadian Film or Video Maker from the Images Festival. His soundtracks have been released by the Milan based Senufo Editions and forthcoming on U.S. label Experimedia.He is an Assistant Professor in the Department of Media Arts\, Studies and Sciences at Ithaca College in Ithaca\, NewYork. \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”117627″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text] \nJesse Pires is a curator based in Philadelphia. \n[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2012-12-08-those-strange-inescapable-lines-and-slivers/
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/2012/10/image-w856.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:20130106T193000
DTEND;TZID=America/New_York:20130106T220000
DTSTAMP:20260614T215730
CREATED:20121203T050000Z
LAST-MODIFIED:20190502T215602Z
UID:10001750-1357500600-1357509600@uniondocs.org
SUMMARY:Sans Soleil presented with the Cinema Eye Honors
DESCRIPTION:[vc_row][vc_column][vc_custom_heading text=”SANS SOLEIL by Chris Marker; 100 minutes | France | 1983 | French\, German\, and Japanese with English Subtitles | 16mm”][vc_column_text]Marker\, the cinema’s globetrotter/essayist par excellence\, travelled between Japan\, Africa and Iceland to create his masterpiece Sans Soleil. Refiltering and synthesizing sounds and images with astonishing fluidity\, Marker dissolves the distinctions between fiction and non-fiction film\, offering the viewer the extraordinary sensation of simultaneously spanning the globe and being enclosed within someone’s mind. \n“No two people will come away from Sans Soleil with the same impression\, nor will a solitary viewer’s multiple viewings yield the same experience. Marker’s film prefigures multimedia and\, like what Amy Taubin said of Inland Empire in Film Comment\, approximates the experience of being trapped inside the Internet and making radical leaps of associative connection…only Marker typically prefigured the technology.” \n—Eric Henderson\, Slant Magazine \n[/vc_column_text][vc_empty_space][vc_text_separator title=”120 minutes”][vc_empty_space][/vc_column][/vc_row][vc_row][vc_column][vc_column_text]David Sterritt\, chair of the National Society of Film Critics\, is a film professor atColumbia University – where he also co-chairs the University Seminar on Cinemaand Interdisciplinary Interpretation – and the Maryland Institute College of Art aswell chief book critic of Film Quarterly\, contributing editor and film critic of Tikkun\,contributing writer at Cineaste and MovieMaker\, and editorial-board member atCinema Journal\, Quarterly Review of Film and Video\, Journal of Beat Studies\, andHitchcock Annual\, and he was film critic for The Christian Science Monitor for almostforty years\, serving twice as chairman of the New York Film Critics Circle duringthat time. He is author or editor of The Films of Jean-Luc Godard: Seeing the Invisible(Cambridge UP)\, Guiltless Pleasures: A David Sterritt Film Reader (UP of Mississippi)\,Mad to Be Saved: The Beats\, the ‘50s\, and Film (Southern Illinois UP)\, The B List (DaCapo)\, The Honeymooners (Wayne State UP)\, Spike Lee’s America (Polity\, January2013)\, The Beats: A Very Short Introduction (Oxford UP\, March 2013)\, and severalother books. His writing has appeared in Cahiers du cinéma\, The New York Times\,The Chronicle of Higher Education\, The Journal of Aesthetics and Art Criticism\,Journal of French and Francophone Philosophy\, Film Comment\, The HuffingtonPost\, PopMatters\, Senses of Cinema\, Cinema Scope\, CounterPunch\, and many otherpublications as well as many edited collections. He has been a member of the NewYork Film Festival selection committee and film critic of NPR’s All Things Considered\,and he has served on film-festival juries in Moscow\, Vienna\, Toronto\, and beyond. \n  \n\nPRESENTED WITH: \n  \nThe Cinema Eye Honors for Nonfiction Filmmaking were founded in late 2007 to recognize and honor exemplary craft and innovation in nonfiction film.  Cinema Eye’s mission has been to advocate for\, recognize and promote the highest commitment to rigor and artistry in the nonfiction field. \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2013-01-06sans-soleil-presented-with-the-cinema-eye-honors/
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/2012/12/1312227149Sans_Soleil_Poster_1.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:20130112T193000
DTEND;TZID=America/New_York:20130112T220000
DTSTAMP:20260614T215730
CREATED:20121220T050000Z
LAST-MODIFIED:20190404T171200Z
UID:10001754-1358019000-1358028000@uniondocs.org
SUMMARY:In the Valley of the Uncanny: Humans and Humanoids
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]Puppets\, robots\, cyborgs\, sex dolls\, automata. These not-quite-human beings alternately – sometimes simultaneously – attract\, move and repulse us\, populating the social landscape as our toys\, our tools\, our companions and our fantasies. \nIn the 1970s\, Japanese roboticist Masahiro Mori first used the term “The Uncanny Valley” to describe the profoundly unsettling sense of the non-human in these human-like beings. Building on Freud’s definition of the uncanny as the feeling of strangeness in something familiar\, Mori’s theories have since become influential in fields as diverse as puppetry\, psychology\, animation and video games. \nOur guests take us on a tour of the Uncanny Valley\, exploring the horrors as well as the pleasures of the not-quite-human. John Bell traces a history of the uncanny in puppetry; Allison de Fren shares her short documentary on robot fetishists; Asif Ghazanfar discusses his research on the Uncanny Valley effect among monkeys; and Laurie O’Brien introduces us to Toby the Puppet. Together\, they examine and indulge in the enduring human fascination with the humanoid.[/vc_column_text][vc_empty_space height=”40px”][vc_empty_space height=”40px”][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”115910″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text] \nJohn Bell is a puppeteer\, theater historian and director of the Ballard Institute & Museum of Puppetry at the University of Connecticut; he is also currently the J. Donald Monan\, S.J. Visiting Professor in Theatre Arts at Boston College. He is a founding member of the Obie-award-winning theater company Great Small Works\, based in Brooklyn\, and was previously a member of the Bread & Puppet Theater company. He is the author of many books and articles about puppet theater\, including most recently American Puppet Modernism:The Material World in Performance. He and his wife Trudi Cohen are currently performing their toy theater spectacle Living Newspaper; they are also organizers of Boston’s Honk! Festival of Activist Street Bands and members of the Second Line Social Aid & Pleasure Society Brass Band. \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”115907″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text] \nAllison de Fren is a filmmaker and scholar based in Los Angeles\, who divides her time between creating\, writing\, and teaching about media\, gender\, and technology. While she has long been fascinated by dolls\, puppets\, and automata\, her interest in men who build artificial women was sparked in her former life as a digital interaction designer\, while working among predominantly male roboticists at a future technology “think tank” in Silicon Valley. Her recently-completed feature-length documentary\, The Mechanical Bride (2012)\, is “a moving\, weirdly human exploration of artificial companionship” (WIRED)\, which premiered at Hot Docs. She is currently an Assistant Professor of Media Arts & Culture at Occidental College in LA. \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”115908″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text] \nAsif Ghazanfar is an Associate Professor at the Neuroscience Institute and in the Departments of Psychology and Ecology and Evolutionary Biology at Princeton University. His research focuses on the development\, evolution and neurobiology of primate communication and how they are influenced by body morphology and socioecological context. Since 2009\, he has been investigating the “uncanny valley” response in both monkeys and human infants. \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”115911″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text] \nLaurie O’brien is an artist working in video\, installation\, animation\, performance and puppetry. Her work is inspired by the outdated\, the hand-made and the mechanical combined with the digital. Sheis particularly interested in dual identities\, alternate worlds and our attraction to deception. She recently directed a puppet play The Architecture of Great Cathedrals by Erik Ehn at La Mama in November 2012. She is a recipient of the Henson Foundation Carriage Grant and Residency this May in NYC and is a Princess Grace Award recipient in theater. She is currently a Visiting Assistant Professor of 4D Design (time-based art) in the Photography Department at RIT in Rochester\, N.Y. \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”115909″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text] \nD. Graham Burnett is an editor at Cabinet magazine\, in Brooklyn\, and a member of the faculty at Princeton University. He studies the relationship between power and knowledge\, and writes on human beings’ changing understanding of nature and technology. Burnett was a Marshall Scholar at Trinity College\, Cambridge\, where he completed a Ph.D. in the History and Philosophy of Science\, and he is the author of five books\, including Descartes and the Hyperbolic Quest (2005) and Trying Leviathan (2007)\, which won the New York City Book Award. A recent Mellon Foundation “New Directions” Fellow\, Burnett is currently writing on the intersection of humanistic scholarship\, artistic practice\, and scientific research. \n[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2013-01-12-the-uncanny-valley-humans-and-humanoids/
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:20130113T193000
DTEND;TZID=America/New_York:20130113T220000
DTSTAMP:20260614T215730
CREATED:20121206T050000Z
LAST-MODIFIED:20190404T171130Z
UID:10001875-1358105400-1358114400@uniondocs.org
SUMMARY:Pasolini's Language of Reality: Digesting a Polemical Life
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] \nOn the heels of the complete Pasolini retrospective at MoMA (12/13/12-1/5/13)\, filmmaker Cathy Lee Crane and  Louis-Georges Schwartz\, a scholar who works at Ohio University’s School of Film\, endeavor to digest (in the implacable Swiftian sense) Pasolini’s political aesthetics\, or\, as he himself described it\, “the language of reality”. Engaging directly with the archival material surrounding Pasolini’s murder in 1975 two films by Crane and Alfredo Jaar investigate Pasolini’s prescient and foundational critique of consumer capitalism. In an effort to entice “the angel of history” to look over its shoulder towards the future\, this closed discussion takes on many current issues at the intersection of politics\, poetics and cultural critique.  \n[/vc_column_text][vc_empty_space height=”40px”][vc_text_separator title=”Program” color=”white” el_class=”h1″][vc_custom_heading text=”The Ashes of Pasolini\, Alfredo Jaar\,” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_custom_heading text=”38 min.\, 2009″ font_container=”tag:p|text_align:left” use_theme_fonts=”yes”][vc_column_text] \nThe artist Alfred Jaar produced this film for the exhibition “The Fear Society”. It is mostly based on documentary material discovered after 1975\, the year of his death\, and before. As you know\, it is still unclear who killed him. But for me\, it has always been clear why: it was because of fear. Fear of his voice\, fear of his life style\, fear of his ideas\, fear of his opinions\, fear of his intellect. \n[/vc_column_text][vc_empty_space height=”40px”][vc_custom_heading text=”Louis-Georges Schwartz on “Pasolini and the Written Language of Reality”” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_column_text] \nAn introduction to Pasolini’s cinematic and theoretical critique of social reproduction in neo-capitalist Italy between 1964 and 1975 with constant reference to Pasolini’s Last Words and the present. \n[/vc_column_text][vc_empty_space height=”40px”][vc_custom_heading text=”Homay King on Free Indirect Cinema” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_column_text] \nA brief discussion of Pasolini’s 1965 essay “The Cinema of Poetry” and Gilles Deleuze’s commentaries on it in Cinema 1 and Cinema 2\, with a focus on the “free indirect” mode and the ways that Jaar’s and Crane’s films engage with and extend this narratological form. \n[/vc_column_text][vc_empty_space height=”40px”][vc_custom_heading text=”Pasolini’s Last Words by Cathy Lee Crane” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_custom_heading text=”60 min.\, 2012″ font_container=”tag:p|text_align:left” use_theme_fonts=”yes”][vc_column_text] \nKnown as one of Italy’s most important filmmakers\, Pier Paolo Pasolini was first and foremost\, one of its poets. Combining staged and archival material\, this elegiac essay considers Pasolini’s brutal murder in 1975 alongside the texts he published or left unfinished during his last year. All dialogues by Pier Paolo Pasolini. \n[/vc_column_text][vc_empty_space height=”40px”][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_column][vc_column width=”2/3″][vc_column_text] \nCathy Lee Crane has been making hybrid narrative/documentary films on 16mm since 1994. She has received support from the New York Foundation for the Arts\, the New York Council on the Arts\, and the San Francisco Film Commission for her lyrical re-combinations of archival and staged material. Her award-winning short films have been broadcast on European television and are distributed by Canyon Cinema and Lightcone. In addition to her own film work\, she has worked as a cinematographer\, most notably in her collaboration with Harun Farocki on I Thought I was Seeing Convicts (2000). Crane received the first North American survey of her work at LA Filmforum in March 2011 while an Artist-in-Residence at the Film Directing Program at the California Institute of the Arts. She is currently Associate Professor in the Department of Cinema\, Photography\, and Media Arts at Ithaca College. \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][/vc_column][vc_column width=”2/3″][vc_column_text] \nHomay King is Associate Professor of History of Art at Bryn Mawr College. She is the author of Lost in Translation: Orientalism\, Cinema\, and the Enigmatic Signifier (Duke UP\, 2010). Her essays on film\, photography\, and contemporary art have appeared in Afterall\, Camera Obscura\, Discourse\, Film Quarterly\, October\, and other journals and edited collections. She is a member of the Camera Obscuraeditorial collective\, and is currently working on a book about the virtual. \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][/vc_column][vc_column width=”2/3″][vc_column_text] \nLouis-Georges Schwartz\, Director of the MA Program in Film Studies at Ohio University\, teaches contemporary cinema\, film analysis\, and film theory. His book\, Mechanical Witness\, A history of motion picture evidence in U.S. Courts was recently published by the Oxford University press. Mechanical Witness is the first cultural and legal history charting the changing role and theoretical implications of film and video use as courtroom evidence. \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][/vc_column][vc_column width=”2/3″][vc_column_text] \nAlfredo Jaar is an artist\, architect\, and filmmaker who lives and works in New York. He was born in Santiago de Chile. His work has been shown extensively around the world. He has participated in the Biennales of Venice (1986\,2007\, 2009)\, São Paulo (1987\, 1989\, 2010) as well as Documenta (1987\, 2002) in Kassel. Important individual exhibitions include The New Museum of Contemporary Art\, New York\, Whitechapel\, London\, and Museum of Contemporary Art\, Chicago as well as the Museum of Contemporary Art\, Rome and Moderna Museet\, Stockholm. \n[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2013-01-13-pasolinis-language-of-reality-digesting-a-polemical-life/
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/2012/12/PASOLINI_CRANE3002.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:20130120T193000
DTEND;TZID=America/New_York:20130120T220000
DTSTAMP:20260614T215730
CREATED:20121004T040000Z
LAST-MODIFIED:20181127T224828Z
UID:10002347-1358710200-1358719200@uniondocs.org
SUMMARY:Modern Wars with Michal Kosakowski
DESCRIPTION:[vc_row][vc_column][vc_column_text]Polish-born\, Berlin-based artist Michal Kosakowski will be traveling here for a unique North American presentation of short works created between 1999 and 2010 in Italy\, Austria\, Germany\, and the Balkans. Cumulatively\, “Modern Wars” considers globalization in terms of the microcosmic physical\, psychic and cultural battlegrounds it wedges among the banalities of everyday life. Variously composed of recycled footage\, stark abstractions and stunning original photography\, Kosakowski work sinks an incisive\, satirical bite into its subject matter and challenges the audience to reframe its understanding of common experiences. \nThis event precedes the rescheduled New York City premiere of Kosakowski’s debut feature ZERO KILLED\, Wednesday\, January 23\, at 92YTribeca. Part of the Flaherty NYC series MORE FUN IN THE NEW WORLD.[/vc_column_text][vc_text_separator title=”Program” color=”white”][vc_column_text] \nHOLY WAR \n16 minutes\, Italy\, no dialogue\, 1999\, digital projection \nA vast\, indifferent fog rolls over the hillside while the camera looms toward a totemic fir tree—and as it begins to quiver\, the faint rumble of chainsaws heralds the arrival of the holiday season. Holy War is a breathtaking structural analysis of the yuletide apparatus locating dread and violence in the form of machines punching tree trunks\, robotic arms packaging candy\, furious currents of shopping carts rushing against each other\, and\, finally\, a massive claw heaping torrents of trash upon the incinerator. A vision of winter chill rivaled only by The Shining. \n  \nSLEEPERS \n3 minutes\, Austria\, no dialogue\, 2002\, digital projection \nDuring each October 26 holiday commemorating the signing of its declaration of neutrality\, the Austrian military stages an exhibition of its heavy artillery for the public. In three furious minutes\, Sleepers focuses on the indoctrination of the youth into armament culture with shots of children—some barely older than toddlers—weidling some very serious looking firepower juxtaposed against scenes from video games. \n  \nJUST LIKE THE MOVIES \n21 minutes\, Austria\, English language\, 2006\, digital projection \nKosakowski’s most widely screened\, award-winning short responds to the déjà vu of 9/11 by reconstructing the day’s narrative from fictive scenes of Hollywood feature films. The intensely provocative and boundlessly thought provoking work culminates in moments singular poignancy. Meanwhile\, composer Paolo Marzocchi’s facial expressions and fingers appear at the bottom of the frame in split screen as he provides piano accompaniment in the style of silent film players and distinctly New York composers like George Gershwin. Just Like the Movies confronts us with the two-way proposition of how immediate historical trauma is interpreted through manufactured cultural memory\, and also how\, in the context of gleefully consumed multi-million dollar entertainment\, these images suggest a reality we privately yearn for\, or perhaps even will toward existence. \nTHE HEART OF IT \n26 minutes\, Germany and Austria\, Serbian with English subtitles\, 2010\, digital projection \nFor the most traditional documentary-style piece in the show\, Kosakowski accompanied a friend to his hometown Novi Sad\, Serbia\, five years after the NATO air raids during the Kosovo War. Novi Sad was one of the cities most affected by the violence\, which resulted not only in widespread destruction of the second-largest Yugoslav city’s infrastructure\, but also a great deal of civilian casualties and ecological damage. The Heart of It is a poetic rumination on the fringe residents’ daily struggles and the city’s altered physical\, natural and psychological landscapes. \n  \nDEEP WATER HORIZON \n9 minutes\, Germany\, no dialogue\, 2010\, digital projection \n“Truth may be stretched\, but cannot be broken\, and always gets above falsehood\, as does oil above water.” – Miguel de Cervantes. \nHow does one portray an inconceivable ecological disaster? This haunting\, abstract work unfurls clouds suggesting the 2010 Gulf of Mexico oil spill caused by the sinking of the Deepwater Horizon offshore drilling rig. Marzocchi provides a chilling score performed by the Atem Sax Quartet. The result is a grim elegy for environmental disaster and a reflection of denial. \n  \nSpecial thanks to the Austrian Cultural Forum\, The Goethe Institut\, and the Polish Cultural Institute.[/vc_column_text][vc_text_separator title=”75 min” color=”white”][vc_column_text]MICHAL KOSAKOWSKI \nBorn in Szczecin\, Poland\, 1975\, Kosakowski is the director\, writer\, producer\, director of photography and editor of numerous short and experimental films\, documentaries and video installations. His work includes more than 70 films\, many of which have been shown in international festivals and exhibitions\, and have received numerous awards. Currently he is touring his award-winning debut feature film ‘Zero Killed’ (2011). \n \nBILL MORRISON has been called “one of the most adventurous American filmmakers” (Robert Koehler\, Variety). His work typically pairs rare archival footage with contemporary music. “Decasia” (2002) was described as “the most widely acclaimed American avant-garde film of the fin-de-siècle” (J. Hoberman\, Village Voice). “Spark of Being” (65’\, 2010) won the Los Angeles Film Critics Award for Best Independent / Experimental Film. Recent titles include “The Miners’ Hymns” (52’\, 2011)\, “The Great Flood” (85’\, 2012)\, “Just Ancient Loops” (25’\, 2012)\, and “The Shooting Gallery” at BAM Next Wave 2012. \n[/vc_column_text][vc_separator color=”white”][vc_column_text] \nPRESENTED WITH: \n \nScreen Slate is a daily resource for curated listings and editorial commentary of New York City independent\, repertory\, microcinema and gallery screenings and events encompassing film\, video and electronic media. It aims to raise awareness and accessibility of moving image culture\, stimulate exchange between the film and art worlds and illuminate new creative directions. Screen Slate is published\, edited\, designed and updated by Jon Dieringer. http://www.screenslate.com/ \n \nThe Flaherty is a non-profit organization dedicated to the proposition that independent media can illuminate the human spirit. Its mission is to foster exploration\, dialogue\, and introspection about the art and craft of all forms of the moving image. The Flaherty was chartered (as International Film Seminars\, Inc.) in the state of Vermont but is based in New York City. It was established in 1960 to present the annual Robert Flaherty Film Seminar\, which was started five years earlier by the Robert Flaherty Foundation. The Seminar remains the central and defining activity of The Flaherty. \nThrough its unique annual Robert Flaherty Film Seminar\, The Flaherty provides media makers\, sp;users\, teachers and students an unparalleled opportunity to confront the core of the creative process\, reaffirm the freedom of the independent artist to explore beyond known limits and renew the challenge to discover\, reveal and illuminate the ways of life of peoples and cultures throughout the world.[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2013-01-20-modern-wars-with-michal-kosakowski/
LOCATION:NY
CATEGORIES:Screenings & Events
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20130127T193000
DTEND;TZID=America/New_York:20130127T220000
DTSTAMP:20260614T215730
CREATED:20130109T050000Z
LAST-MODIFIED:20190404T205008Z
UID:10001760-1359315000-1359324000@uniondocs.org
SUMMARY:Israeli Settler Kitsch and Stolen Beauty
DESCRIPTION:[vc_row][vc_column][vc_column_text]This event will have two parts. \nFirst\, journalist Kiera Feldman will present a curated selection of propaganda movies and youtube ephemera produced by suburbanite American Jews who become settlers in the West Bank. \nNext\, film critic Tom McCormack will introduce a screening of Israeli video artist Guy Ben-Ner’s “Stealing Beauty\,” a Marxist family sitcom set in an Ikea that takes as its subjects property\, the family\, and revolution. \nFollowed by a Q&A with Feldman and McCormack[/vc_column_text][vc_empty_space][vc_text_separator title=”120 minutes”][vc_empty_space][/vc_column][/vc_row][vc_row][vc_column][vc_column_text] \n \n  \nKiera Feldman is a reporter for the Nation Institute’s Investigative Fund. She has written for The Nation\, n+1\, nymag.com\, Mother Jones\, This Land\, and elsewhere. Her most recent article in Vice magazine\, “Living the American Dream in the West Bank\,” investigates the steady flow of dollars and immigrants from the suburbs of New York to the Israeli settlements. \n  \nTom McCormack is a writer and curator living in Brooklyn. His work has appeared in Moving Image Source\, Film Comment\, Cinema Scope\, Rhizome\, The Brooklyn Rail\, and other publications.[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2013-01-27-israeli-settler-kitsch-stolen-beauty/
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/2013/01/Kiera-profile-pic-Jan-2012-photo.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:20130131T193000
DTEND;TZID=America/New_York:20130131T220000
DTSTAMP:20260614T215730
CREATED:20130118T050000Z
LAST-MODIFIED:20190502T210425Z
UID:10001886-1359660600-1359669600@uniondocs.org
SUMMARY:New York Film/Video Microcinema Summit
DESCRIPTION:New York City has a diverse history of alternative screening spaces\, yet many agree it’s currently undergoing a watershed moment with new crops of intimately-sized venues redefining the way audiences encounter work\, interact with each other\, and gain exposure to new cinematic forms. \nThe New York Film/Video Council kicks off 2013 with a panel of owners\, organizers and programmers representing some of these venues\, all with varying kinds of programming and operating models. Topics addressed will entail everything from organization and administration to programming and outreach: mission statements\, volunteer organization\, approaches to institutional support\, developing programming\, working with outside curators\, supporting artists\, community relations\, and more. The tenor of the event will be insightful but not overly formal\, eventually developing into an closed discussion between the audience and participants. \n  \nPARTICIPATING VENUES \nLight Industry – Thomas Beard\, Co-Founder and Director \nMaysles Cinema – Jessica Green\, Cinema Director \nMICROSCOPE Gallery – Elle Burchill\, Curator \nSpectacle – Steve Macfarlane\, Head Programmer/Volunteer \nUnionDocs – Christopher Allen\, Founder/Artistic Director \nModerated by Rachael Rakes \nOrganized by the New York Film/Video Council \n  \nLIGHT INDUSTRY \nLight Industry is a venue for film and electronic art in Brooklyn\, New York. Developed and overseen by Thomas Beard and Ed Halter\, the project centers upon a series of weekly events\, which are frequently organized in collaboration with an invited artist\, critic\, or curator. Conceptually\, Light Industry draws equal inspiration from the long history of alternative art spaces in New York as well its storied tradition of cinematheques and other intrepid film exhibitors. Through a regular program of screenings\, performances\, and lectures\, its goal is to explore new models for the presentation of cinema. Bringing together the worlds of contemporary art\, experimental film\, and documentary (to name only a few)\, Light Industry looks to foster an ongoing dialogue among a wide range of artists and audiences within the city. \n \nThomas Beard is a founder and director of Light Industry\, a venue for film and electronic art in Brooklyn\, New York. In addition to organizing screenings for Artists Space\, the Institute of Contemporary Arts (London)\, the Museum of Modern Art\, the New Museum\, and Tate Modern\, he recently co-curated the cinema for Greater New York 2010 at MoMA PS1 and the film program for the 2012 Whitney Biennial. \nMAYSLES CINEMA \nThe Maysles Cinema\, the only independent film house north of Lincoln Center in Manhattan\, is dedicated to the exhibition of documentary films\, and it provides programming and forum discussions at least four nights out of every week. The Cinema is committed to a democratic experience\, one where filmmakers are asked to attend the screenings of their work\, and audiences have the opportunity to actively engage the films and each other in post-screening forums. Coupled with its scheduled series\, we encourage the programming participation of local social and cultural organizations and citizen-activists to deepen community involvement and provide exposure for under-represented social issues and overlooked artists and their work. We have forged partnerships with organizations as diverse as The National Black Programming Consortium\, the New Museum\, and the Harlem Historic Parks Association\, to name a few. Our suggested-donation ticket model allows for everyone to engage in our programming\, regardless of his or her ability to pay. As a result of steady growth in attendance we have recently added capacity to accommodate our frequent overflow audiences. \n \nJessica Green is currently associate producing an adaptation of Henry James’ The Beast In the Jungle and producing a documentary on Graffiti titled Anything You Can Get Away With. Green also serves as a consultant on various media and Internet projects\, including a television pilot. She got her new media sea legs as the executive editor of BET.com from 2000-2006. She is also a former founder\, owner and editor-In-chief of the New York based\, independent Hip-Hop magazine Stress (1994-2001). Green has an undergraduate degree fromLang College at the New School for Social Research and was born and raised in New York City. \n  \nMICROSCOPE GALLERY\n\nMICROSCOPE Gallery is an artist-run space specializing in the works of film\, video\, sound\, new media and other time-based artists. The artists we present are independent\, radical\, experimenters and risk takers who range from the emerging to recognized pioneers and innovators. MICROSCOPE also offers a weekly screening\, performance\, readings and lecture series complementing the exhibitions and showcasing additional artists. \nElle Burchill is an artist and curator living and working in Brooklyn\, New York. She works primarily with the moving image and her works screen and exhibit regularly in the US and abroad. Her most recent curatorial project (in collaboration with Andrea Monti) is Microscope Gallery\, an art space devoted to film\, video\, sound\, new media and othertime-based arts\, which closeded in September 2010.  (www.microscopegallery.com) \n\nSPECTACLE \nSpectacle is a community screening space in Williamsburg\, Brooklyn\, established and staffed entirely by volunteers. Its programming encompasses overlooked works\, offbeat gems\, contemporary art\, radical polemics\, live performance and more. \n \nSteve Macfarlane is a writer\, programmer and filmmaker based in Ridgewood\, Queens. He is a co-founder of the roving film screening collective Cinebeasts\, and a head programmer at Spectacle in Williamsburg. Whenever possible\, he writes criticism for publications such as Slant Magazine and The L. He is a native of Seattle\, Washington. His first film is expected to leak at some point in 2013. \n  \nUNIONDOCS \nUnionDocs is a Center for Documentary Art that generates and shares big ideas. UnionDocs (UnDo) brings together a diverse community of experimental media-makers\, dedicated journalists\, critical thinkers\, and local partners on a search for urgent expressions of the human experience\, practical perspectives on the world today\, and compelling visions for the future. Visit  www.uniondocs.org for more information and our complete schedule of weekend screenings and other events. \nChristopher Allen is principal founder of UnionDocs and is currently the Artistic Director. After graduating from Columbia University and studying at Trinity College Dublin\, Allen worked as an entrepreneur\, documentary director\, and new media artist. His individual works and collaborative projects have been exhibited at the MoMA\, Harvard’s Carpenter Center for Visual Arts\, the Volksbühne Theatre\, DirektorenHaus in Berlin\, Independent Film Week\, Sonár\, DIVA\, and Conflux Festivals\, among many other venues. He directed the interactive documentary Capitol of Punk\, which was part of “Design and the Elastic Mind” at the Museum of Modern Art\, and he is currently in post-production on the feature Diamond Vehicle\, shot in Tibet\, China\, Nepal\, and India. Christopher was founding-partner of Counts Media\, and played a leading role in the invention and execution of many art & entertainment concepts there\, such as The Ride NY\, a live theatrical and cinematic experience on the streets of the city\, and Yellow Arrow\, a place-based storytelling project exhibited online and in galleries and museums internationally. \n  \nMODERATOR \nRachael Rakes is the Assistant Curator of Film at Museum of the Moving Image\, Film Section Editor for the Brooklyn Rail\, a co-curator at Heliopolis project space\, and a programming advisor for UnionDocs. She has also independently programmed experimental nonfiction film for the past ten years\, most recently organizing the traveling series Doctruck\, taking place in numerous arts spaces around NYC. \n  \n  \n\nORGANIZED BY: \nThe New York Film/Video Council is New York’s oldest continuously operating non-profit serving the independent film\, video and electronic arts community. For over 70 years\, we’ve been a haven for lively discussions\, panels and screenings. Founded in the 1940s\, the Council was one of the only film organizations operating in New York.  Now\, in a rich sea of film and media organizations\, the Council is unique in drawing together members for conversation across the breadth of our community. Our monthly programming is FREE with an annual membership\, $40 individual\, $20 students\, and $85 institutions (three members). Find us online at http://www.nyfvc.org/.
URL:https://uniondocs.org/event/2013-01-31-microcinema-summit/
LOCATION:NY
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/png:https://uniondocs.org/wp-content/uploads/2016/07/2.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20130202T193000
DTEND;TZID=America/New_York:20130202T220000
DTSTAMP:20260614T215730
CREATED:20130116T050000Z
LAST-MODIFIED:20190503T175409Z
UID:10001759-1359833400-1359842400@uniondocs.org
SUMMARY:Hasta Nunca: An Uruguayan Odyssey with Mark Street
DESCRIPTION:[vc_row][vc_column][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”40px”][vc_separator color=”custom” accent_color=”#ffffff”][vc_empty_space height=”40px”][vc_column_text]Hasta Nunca follows Mario Ligetti\, a middle aged hipster DJ who produces an underground radio show in Montevideo\, Uruguay. On his show “Secrets and Stories”\, he invites listeners to share their intimate thoughts with him and a live radio audience. Mario re-negotiates his public and private personas during the course of the film and enters into an extramarital affair with Julia\, a divorcee searching for a new artistic spark. \nIn this international production (USA\, Uruguay)\, wach call in to the show was written and performed by local actors. Topics addressed in telephone conversations” lingering effects of the military dictatorship of Uruguay\, the difficulty of obtaining an illegal abortion\, and varied identity issues. Ligetti’s show is a modern rollicking “Miss Lonelyhearts”\, with its host increasingly suffocated by the persona predicaments of his listeners. \nShot in cinéma vérité style\, Hasta Nunca reveals Montevideo as a strong background character in the film’s visual landscape. Callers’ voices on the radio provide an acoustic counterpoint for an observational investigation of this ramshackle port city which retains the architectural vestiges of its colonial past. \nPreceded by short film Mirano de Lejos\, Como Desde Una Colina \nSuper8 B/W short film \nWith Enrique Guevara \nDirected by Uzi Sabah FantasmaBionico \n2012[/vc_column_text][vc_empty_space height=”40px”][vc_text_separator title=”Program” color=”white” el_class=”h1″][vc_custom_heading text=”Hasta Nunca” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_custom_heading text=”80 min.\, 2012″ font_container=”tag:p|text_align:left” use_theme_fonts=”yes”][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=”117594″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text]Mark Street graduated from Bard College (B.A\, 1986) and the San Francisco Art Institute (MFA 1992). He has shown work in the New York Museum of Modern Art Cineprobe series (1991\, 1994)\, at Anthology Film Archives (1993\, 2006\, 2009)\, Millennium (1990\,1996)\, and the San Francisco Cinematheque (1986\, 1992\, 2009). His work has appeared at the Tribeca (5 times)\, Sundance\, Rotterdam\, New York\, London\, San Francisco\, New York Underground\, Sarajevo\, Viennale\, Ourense (Spain)\, Mill Valley\, South by Southwest\, and other film festivals.His work ranges from the abstract (Winterwheat\, 1989; Echo Anthem 1992; Fulton Fish Market\, 2004\, Trailer Trash\, 2008) to improvised narrative feature films (At Home and Asea\, 2000; Rockaway 2005)\, He has led community workshops a variety of venues (Echo Park Film Center in LA\, Cucalorus Film Festival in Wilmington\, NC\, Fondacion d’Arte Contemporaneo in Montevideo Uruguay) on a variety of topics\, including “The Devil is in the Details: Urban Street Videography.” \nHe is Associate Professor of Film in the Visual Art Department at Fordham University– Lincoln Center where he teaches film/video production and other courses that engage contemporary artistic practice.[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2013-02-02-hasta-nunca/
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/2013/01/mariostudio2-1.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:20130209T193000
DTEND;TZID=America/New_York:20130209T220000
DTSTAMP:20260614T215730
CREATED:20130130T050000Z
LAST-MODIFIED:20190314T214749Z
UID:10001892-1360438200-1360447200@uniondocs.org
SUMMARY:Oscar Nominated: Inocente with Yael Melamede
DESCRIPTION:[vc_row][vc_column][vc_empty_space height=”40px”][vc_separator color=”white”][/vc_column][/vc_row][vc_row][vc_column][vc_column_text]Inocente is an intensely personal and vibrant coming of age documentary about a young artist’s fierce determination to never surrender to the bleakness of her surroundings. We will be screening this documentary in honor of it’s Academy Award nomination for best short documentary. \nAt 15\, Inocente refuses to let her dream of becoming an artist be caged by her life as an undocumented immigrant forced to live homeless for the last nine years. Color is her personal revolution and its extraordinary sweep on her canvases creates a world that looks nothing like her own dark past – a past punctuated by a father deported for domestic abuse\, an alcoholic and defeated mother of four who once took her daughter by the hand to jump off a bridge together\, an endless shuffle year after year through the city’s overcrowded homeless shelters and the constant threat of deportation. \nTold entirely in her own words\, we come to Inocente’s story as she realizes her life is at a turning point\, and for the first time\, she decides to take control of her own destiny. Irreverent\, flawed and funny\, she’s now channeling her irrepressible personality into a future she controls. Her talent has finally been noticed\, and if she can create a body of work in time\, she has an opportunity to put on her first art show. Meanwhile\, her family life is at a tense impasse – – if she legally emancipates herself from her mother to strike out on her own\, she’ll risk placing her brothers in foster care\, but to stay is unbearable. \nInocente is both a timeless story about the transformative power of art and a timely snapshot of the new face of homelessness in America\, children. Neither sentimental nor sensational\, Inocente will immerse you in the very real\, day-to-day existence of a young girl who is battling a war that we rarely see. The challenges are staggering\, but the hope in Inocente’s story proves that the hand she has been dealt does not define her\, her dreams do.[/vc_column_text][vc_empty_space height=”40px”][vc_text_separator title=”42 min” color=”white”][vc_empty_space height=”40px”][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”114255″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text]Yael Melamede is a co-founder of SALTY Features – an independent production company based in NYC whose goal is to create media that is vital and enhances the world\, like salt. Melamede’s producer credits include: the documentary film Inocente\, directed by Sean Fine and Andrea Nix Fine; Brief Interviews with Hideous Men\, written and directed by John Krasinski\, based on the book by David Foster Wallace; The Inner Life of Martin Frost\, written and directed by Paul Auster; and My Architect\, directed by Nathaniel Kahn and nominated for an Academy Award in 2004. Melamede was trained and worked as an architect before becoming a filmmaker.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”40px”][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2013-02-09-inocente-yael-melamede/
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/2013/01/Inocente_5_IMG_7821_cropped.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:20130210T193000
DTEND;TZID=America/New_York:20130210T220000
DTSTAMP:20260614T215730
CREATED:20130116T050000Z
LAST-MODIFIED:20190503T182111Z
UID:10001882-1360524600-1360533600@uniondocs.org
SUMMARY:The Improbable Made Possible: Revisited
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] \n“The spectral yet luminous group program sparks artificial systems set amidst the natural world. The earth and its natives are captured by poetic dialects of deep authenticity and deliberate artifice. The paradoxical recognition of the other is provoked through the mesmerizing reinvigoration of mystical remnants. Enactment\, endurance\, evocation and even exhumation are the filmic schemes in flux. The ghostly elsewhere is conditioned cinematically into an imagined future\, altered present or affected past. The second installment of ‘The Improbable Made Possible’ continues a tradition that radically confuses the trajectories of direct observation and speculative fiction.” – Lorenzo Gattorna \n[/vc_column_text][vc_empty_space height=”40px”][vc_text_separator title=”Program” color=”white” el_class=”h1″][vc_custom_heading text=”LANDFILL 16 by Jennifer Reeves” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_custom_heading text=”9 min.\, 2012\, 16mm” font_container=”tag:p|text_align:left” use_theme_fonts=”yes”][vc_column_text] \n“Exhumed film from my very own landfill in Elkhart\, Indiana constitutes the canvas of my hand-painted LANDFILL 16. After finishing my double-projection WHEN IT WAS BLUE I was horrified by the bulk of outtakes that would normally go to a landfill. So I temporarily buried then painted the film to transform it. Within this colorful\, pulsating\, abstract “moving painting” I attempt to express my dread of man-made waste that endangers land and wildlife. This “recycling” is a meditation on the demise of the beautiful 16mm medium and nature’s losing battle to decompose relics of our abandoned technologies. For the soundtrack\, I combined recognizable sounds\, from bulldozers to nature audio\, with more abstracted textural and rhythmic sounds I created using audio from consumer-goods-creating factories\, old 16mm equipment\, the cries of a dying bird stuck in my wall\, and other oddities.” – Jennifer Reeves \n[/vc_column_text][vc_empty_space height=”40px”][vc_custom_heading text=”LUMINOUS PASSAGE by Ryan Marino” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_custom_heading text=”6 min.\, 2010\, 16mm” font_container=”tag:p|text_align:left” use_theme_fonts=”yes”][vc_column_text] \n“A meditation on the passage of time and light\, an evocation of the season of autumn. This film was shot during consecutive autumns in New York\, Maine and New Hampshire.” – Ryan Marino \n[/vc_column_text][vc_empty_space height=”40px”][vc_custom_heading text=”INTERVIEW WITH EARTH by Nicolás Pereda” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_custom_heading text=”18 min.\, 2009″ font_container=”tag:p|text_align:left” use_theme_fonts=”yes”][vc_column_text] \n“Through a series of interviews and enactments we learn the story of Nico and Amalio\, two children who lost a friend while climbing a mountain. Documentary and fiction seamlessly merge creating a hybrid poetic film.” – FiGa Films \n[/vc_column_text][vc_empty_space height=”40px”][vc_custom_heading text=”OONA’S VEIL by Brian L. Frye” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_custom_heading text=”16 min.\, 2000\, 16mm” font_container=”tag:p|text_align:left” use_theme_fonts=”yes”][vc_column_text] \n“A short screen test of Oona Chaplin\, her only film-record\, is reconstructed into an intense meditation on seeing and being seen. The original shot was rephotographed\, mutilated\, exposed to chemicals and even buried. The result is an unearthly film portrait\, with occasional spots of black emulsion\, creating a continuously shifting exchange of glances between the image and the spectator.” – Courtisane Festival \n[/vc_column_text][vc_empty_space height=”40px”][vc_custom_heading text=”PHYSICAL CHANGES by David Dinnell” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_custom_heading text=”36 min.\, 2009″ font_container=”tag:p|text_align:left” use_theme_fonts=”yes”][vc_column_text] \n“An unnerving work\, rooted in and alien from the physical world\, an effect enhanced by an ear-splitting soundtrack. Increasingly shrill throughout the work’s thirty-six minutes\, the sound pierces the environment\, threatening to displace attention to the image and swallow everything around it. Nothing about the imagery appears to elicit this\, not the initial flashes of light and distant view of a town or a suburb\, not the cloudy sky that often dominates the upper 2/3 of the image. Perhaps a clue lies in the vague\, underlying image of vertical shapes that suggest some blocked interior world trying to burst through. More than two dozen images follow – of landscapes of hills and mountains\, forests with tall\, leafless trees\, lush foliage waving furiously in the wind\, eerily lit night skies\, clouds of all kinds\, shimmering\, silvery-tinged leaves\, tops of trees fluttering in dialogue\, cows grazing\, deer moving in a forest\, a horse and rider approaching the foreground. Largely gray-black\, the photography is mistily filtered\, alternately luminous and spectral\, as if the camera\, positioned on an alien spacecraft\, were focused on an un-chartered zone between nature and the cosmos.” – Tony Pipolo\, Millennium Film Journal \n[/vc_column_text][vc_empty_space height=”40px”][vc_empty_space height=”40px”][vc_text_separator title=”84 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=”117604″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text] \nJennifer Reeves is a New York-based filmmaker working primarily on 16mm film. Reeves was named one of the “Best 50 Filmmakers Under 50” in the film journal Cinema Scope in the spring of 2012. Reeves has made experimental films since 1990. She does her own writing\, cinematography\, editing\, and sound design. Her subjective and personal films push the boundaries of film through optical-printing and direct-on-film techniques. Reeves has consistently explored themes of memory\, mental health and recovery\, feminism and sexuality\, landscape\, wildlife\, and politics from many different angles. \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”117605″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text] \nRyan Marino is a filmmaker and sound artist based in Brookyn\, New York. His films have screened at numerous film festivals and art spaces around the United States. His work in sound has consisted of both solo and collaborative performance. He currently runs the experimental imprint Imminent Frequencies. \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”117606″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text] \nLorenzo Gattorna is a filmmaker and programmer residing in Baltimore and raised in New York. His films have screened in exhibitions associated with Baltimore City Paper\, CCNY\, LMAKprojects\, Maysles Cinema\, Microscope Gallery\, Spectacle Theater\, UnionDocs and Views from the Avant-Garde at The New York Film Festival. Past programming credits at Maysles Cinema\, Spectacle Theater and UnionDocs include Missing Allen/The Grandfather Trilogy\, New York(er) Shorts\, The Playing Field\, Near and Dear\, The Improbable Made Possible and The Experiment. Recently he presented his work at NYU’s Experimental Film Workshop as a visiting artist\, participated in the E.P.I.C. Program at the 2010 Migrating Forms and received the 2012 Creative Alliance Media Makers’ Fellowship. Currently he is programming a roaming monthly screening series in Baltimore called Sight Unseen supported by the 2012 MICA Launch Artists in Baltimore Award. \n[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2013-02-10-improbable-made-possible-revisited/
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/2013/01/photo-11-1-scaled.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:20130223T193000
DTEND;TZID=America/New_York:20130223T220000
DTSTAMP:20260614T215730
CREATED:20130130T050000Z
LAST-MODIFIED:20190502T183404Z
UID:10001761-1361647800-1361656800@uniondocs.org
SUMMARY:The Installation of the Real: A Panel Discussion on Documentary in the Gallery
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] \nAudiovisual documentary material has become increasingly prominent in the art world\, with more artists incorporating non-fiction material into their work\, and more filmmakers and new media artists creating documentary film\, video\, and interactive work destined for a museum or gallery setting. This overlap of the cinema and art worlds has created a productive hybridity of forms\, but it also poses questions about the relationship between the traditions of art\, documentary\, and journalism\, and raises issues of presentation\, contextualization\, and preservation for curators and artists alike. This panel brings together a set of artists\, filmmakers\, curators\, and critics to discuss the opportunities and challenges of bringing documentary work from the cinema into the gallery\, and of floating between black box and white box exhibition spaces. \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=”117326″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text] \nRebecca Cleman is the Director of Distribution of Electronic Arts Intermix (EAI). In 2012\, she curated the group show “VHS The Exhibition” for Franklin Street Works\, Stamford\, Connecticut\, and published a related  article about analog video culture in the Moving Image Source. She has  programmed or curated media for such venues as the New York Underground Film Festival\, the Museum of Art and Design\, Anthology Film Archives\, and Andrea Rosen Gallery. She has also organized and moderated numerous panels\, including “What Do You Get When You Buy Video Art” for the Moving Iage Fair 2012\, and “Motion Rhythms\,” featuring David Wojnarowicz’s films\, for EAI. \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”117327″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text] \nNeil Goldberg‘s video\, photographic and sculptural work documents the spaces and cadences of the everyday and overlooked. He has been exhibiting this work since 1992 at venues including The Museum of Modern Art (where it is part of the permanent collection); The New Museum of Contemporary Art; The Aldrich Contemporary Art Museum; The Wexner Center for the Arts; The Jewish Museum; The Kitchen; The Pacific Film Archive; NGBK Kunsthalle Berlin; El Centro de Cultura Contemporània de Barcelona; and the British Film Institute. In 2012 his work was the subject of a mid-career survey at the Museum of the City of New York\, entitled “Stories the City Tells Itself.” He has received fellowships from the Guggenheim Foundation\, the New York State Council on the Arts\, the Experimental Television Center\, CEC ArtsLink\, and the MacDowell Colony\, among others. \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”113927″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text] \nElisabeth Subrin creates conceptually driven projects in film\, video\, photography and installation. Her work seeks intersections between history and subjectivity\, investigating the nature and poetics of psychological “disorder\,” the legacy of feminism\, and the impact of recent social and political history on contemporary life and consciousness. Her work has exhibited widely in group exhibitions and screenings\, including The Whitney Biennial\, PS1/MoMA Greater New York\, The New York Film Festival\, The Guggenheim Museum\, the Walker Art Center\, Harvard Film Archives\, The Mattress Factory\, VOLTA\, Vienna Arts Week\, and The Institute of Contemporary Art\, Boston. Solo shows include The Jewish Museum\, The Museum of Modern Art\, Harvard Film Archives\, Sue Scott Gallery\, and forthcoming at PARTICIPANT\, Inc. She’s received commissions from The MacDowell Colony\, The Danish Film Institute\, the feminist pop band Le Tigre\, and has been a fellow at The Sundance Institute Screenwriting and Feature Filmmaking Labs. Her award-winning films and videos have been screened and broadcast widely in the US and abroad. She has received grants from the Rockefeller\, Guggenheim\, Annenberg\, and Creative Capital Foundations. She is Assistant Professor of Film and Media Art at Temple University and lives in Brooklyn. \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”117328″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text] \nNiels Van Tomme is a New York-based curator\, researcher\, and critic. He currently works as Visiting Curator at the Center for Art\, Design and Visual Culture and Assistant Professor in Visual Arts at UMBC in Baltimore. Most recently\, he curated the travelling exhibition Where Do We Migrate To? (Baltimore\, New York\, New Orleans\, El Paso)\, as well as the exhibitions Melancholy is not enough…(Bucharest) and There Is Nothing There (New York). He is a Contributing Editor of ART PAPERS and publishes internationally in journals\, magazines\, and exhibition catalogues. He has been a guest critic at M.I.T. (Cambridge)\, Parsons The New School for Design (New York)\, and Vassar College (Poughkeepsie)\, among others. Van Tomme is currently preparing the exhibition projectVisibility Machines: Harun Farocki & Trevor Paglen\, which will closed in the fall of 2013 at the Center for Art\, Design and Visual Culture. His book Aesthetic Justice (co-edited with Pascal Gielen) is forthcoming from Antennae Series by Valiz\, Amsterdam. \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”66328″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text] \nRachael Rakes is the Assistant Curator of Film at the Museum of the Moving Image\, co-editor of the Film section of The Brooklyn Rail\, and a Programming Advisor for UnionDocs. \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”66238″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text] \nLeo Goldsmith is co-editor of the Film section of The Brooklyn Rail and a PhD candidate in the Department of Cinema Studies at New York University. \n[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2013-02-23-documentary-in-the-gallery/
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/2013/01/Interface-Harun_Farocki_6_copy_small.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:20130302T193000
DTEND;TZID=America/New_York:20130302T220000
DTSTAMP:20260614T215730
CREATED:20130206T050000Z
LAST-MODIFIED:20181107T223116Z
UID:10001896-1362252600-1362261600@uniondocs.org
SUMMARY:The Last Clinic with Maisie Crow
DESCRIPTION:[vc_row][vc_column][vc_text_separator title=”Program” color=”white” border_width=”2″][vc_empty_space][vc_column_text] \nThe Last Clinic\nIn Mississippi\, a new law threatens to shut down the Jackson Women’s Health Organization\, the last abortion provider in the state. Award-winning filmmaker and photographer Maisie Crow and writer Alissa Quart provide an intimate portrait of the lives at the center of this political maelstrom. From one of the clinic’s doctors\, who feels duty-bound to travel there each week from out of state; to a leading protester\, a doctor who once performed abortions herself; to the young women wrestling with a decision that will change the course of their lives\, this unique multimedia story takes you beyond the slogans. The Last Clinic captures the humanity behind an incendiary issue. \n“I’ve been involved with the movement for women’s reproductive rights for over 40 years\, both as an activist and a writer\, and this is by far the best reporting I have ever seen on the subject. Alissa Quart and Maisie Crow offer a view from the frontlines of the abortion conflict that is both intimate and bracingly challenging.” —Barbara Ehrenreich\, founding editor of the Economic Hardship Reporting Project . \n \nThe Last Clinic from Atavist on Vimeo. \n[/vc_column_text][vc_empty_space][vc_text_separator title=”49 min” color=”white” border_width=”2″][vc_empty_space][vc_column_text]Maisie Crow is a photographer and multimedia producer based in Brooklyn. She has done work for The Boston Globe\, Bread for the World\, MediaStorm\, The New York Times\, the Robin Hood Foundation\, Save the Children\, and the Virginia Quarterly Review\, among others. Maisie has taught as an adjunct professor at the Columbia University Graduate School of Journalism and as a multimedia instructor at the Salt Institute for Documentary Studies. \n  \n \nAlissa Quart is the author of three nonfiction books\, Branded and Hothouse Kids\, and the forthcoming Republic of Outsiders: The Power of Amateurs\, Dreamers and Rebels. She has written for The New York Times Magazine\, Marie Claire and many other publications\, and contributes regularly to New York magazine\, Columbia Journalism Review\, and The New York Times Sunday Review. An adjunct professor at Columbia University’s Graduate School of Journalism\, she was a 2010 Nieman Fellow at Harvard University. She commissioned Atavist 21\, The Last Clinic\, and reported and wrote the text accompanying Maisie Crow’s documentary film.[/vc_column_text][vc_empty_space][vc_separator color=”white” border_width=”2″][vc_empty_space][vc_column_text] \n PRESENTED WITH \n \nAtavist is a media and software company at the forefront of digital\, mobile publishing. Their mission is to enable the next generation of multimedia storytelling\, reaching readers across mobile devices and the Web. Their flagship publishing arm\, The Atavist—built on Atavist Create—features original pieces of longform\, nonfiction journalism. Sold individually on mobile devices and e-readers as “e-singles\,” The Atavist is digital-first\, pushing the boundaries of multimedia publishing while always emphasizing the story above all.[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2013-03-02-last-clinic-maisie-crow/
LOCATION:NY
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2013/02/atavist2.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20130303T193000
DTEND;TZID=America/New_York:20130303T220000
DTSTAMP:20260614T215730
CREATED:20121206T050000Z
LAST-MODIFIED:20181023T181333Z
UID:10001755-1362339000-1362348000@uniondocs.org
SUMMARY:Metropolitan Avenue with Christine Noschese
DESCRIPTION:[vc_row][vc_column][vc_column_text]”Metropolitan Avenue probably touches on every problem that every urban neighborhood has either gone through or will face. … Christine Noschese\, the show’s producer and director and a former Brooklynite who delivers the narration\, expresses a point of view\, focusing on the women of the diverse ethnic communities. She documents\, through interviews\, their strength\, individually and collectively\, and their persistence. \nThe neighborhood’s problems are almost textbookish in their content. In the 1950’s\, the elevated highway split it in half. In the 1960’s\, a new housing project brought 900 families\, most of them black\, into a community long settled by Italian-Americans who lived in neat private houses. In other situations\, a manufacturer of boxes receives the go-ahead to demolish homes to make way for its new plant\, and the local police station is threatened with closing. \nIt was these sorts of problems that injected a previously unknown sense of activism into the lives of the people of the neighborhood. Anger at decisions made by faraway forces grips the residents and bridges are built between black and white. Surprising and beneficial results ensue.” – Richard F. Shepard\, The New York Times on August 16\, 1988 \nPrint courtesy of the Reserve Film and Video Collection of The New York Public Library for the Performing Arts \n\n \nCHRISTINE NOSCHESE \nNoschese is a writer\, director and producer of both narrative and documentary films. Keep On Steppin’ \, her most recent film\, won Best Short at the Newburyport Documentary Film Festival\, and was exhibited at festivals nationwide including BET and HBO’s Urban World Festival. Her previous films include June Roses\, a narrative feature\, which premiered at the Museum of Modern Art in New York in New Directors/New Films and received grants from the American Film Institute Independent Filmmakers Program and the Women in Film and Television Foundation. Her documentary\, Metropolitan Avenue\, had a theatrical run at the Film Forum in New York and was broadcast nationally on PBS\, P.O.V. and on Channel Four in Great Britain. The John T. & Catherine D. MacArthur Foundation distributed over 2\,000 copies of Metropolitan Avenue to libraries throughout the US. \nChristine received a New York Foundation for the Arts fellowship for her short comedy\, Mary Therese and the John Grierson Award for best documentary for Metropolitan Avenue. Her work has been supported by grants from the New York State Council on the Arts\, the National Endowment for the Humanities\, the New York Council on the Humanities\, the Ford Foundation\, the Paul Robeson Foundation and The Film Fund. In addition to her independent films and videos\, Christine has produced and directed educational videos for unions\, educational institutions and nonprofit organizations. \nChristine was a Directing Fellow at the American Film Institute Center for Advanced Film and Television Studies and received an M.A. from Goddard College in Media Studies. She is on the faculty of Hofstra University\, where she teaches film production\, screenwriting and documentary. \nIDA SUSSER  \nSusser is a professor of anthropology at Hunter College and CUNY Graduate Center and has conducted ethnographic research in New York City\, Puerto Rico and southern Africa around working class politics\, gender and health. Her latest publication: Updated  Norman Street: Poverty and Politics  in an Urban Neighborhood (Oxford University Press 2012)features a new section: “Claiming a Right to New York City” which discusses the changing neighborhoods of Greenpoint and Williamsburg in Brooklyn from the original ethnography which began with the New York City fiscal crisis and the occupation of the People’s Firehouse in 1975 to the Occupy movement of 2011. It documents the displacement of the Latino population and the gentrification over the past decades as well as the collaboration of artists\, actors\, dancers\, theater directors\, writers and working class people in mobilizing to improve environmental and living conditions. All these were threatened by the 2005 rezoning process instigated by Mayor Bloomberg to attract major corporate investors and an upscale international elite. The updated edition follows the battle to save the affordable housing\, diverse population\, parks\, swimming pool and  riverfront  views which the community  had created. \nHer other most recent books are AIDS\, Sex and Culture: Global Politics and Survival in Southern Africa (Wiley-Blackwell 2009) which was awarded the Eileen Basker Memorial Prize for research in women and health\, by the Society for Medical Anthropology (2012) and a co-edited book : Rethinking America (Paradigm Press 2010). \n  \n \nJAN PETERSON \nPeterson is founder and director of the National Congress of Neighborhood Women (NCNW)\, and a founder and representative to GREC. The women credit Jan as a source of their empowerment. They had done fundraising for their organizations\, but were left out of decision-making.  “She brought us together and helped us find our power.” NCNW created the first educational model whereby community residents. could receive Associate of ARts degrees from a college (LaGuardia/CUNY and Long Island University) by attending school in their neighborhood. NCNW also collaborated with the NYC Board of Education to form the You Can after-school programs. They partnered with the Ford Foundation to expand their services to share their leadership support principles and methods with grassroots women organizations throughout the world.[/vc_column_text][vc_separator color=”white” border_width=”2″][vc_column_text] \nPRESENTED WITH: \n \nThis project is made possible in part with public funds from the New York State Council on the Arts’ Electronic Media and Film Presentation Funds grant program\, administered by The ARTS Council of the Southern Finger Lakes (www.NYSCA.org www.eARTS.org). \n[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2013-02-03-metropolitan-avenue-with-christine-noschese/
LOCATION:NY
CATEGORIES:Screenings & Events
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20130309T193000
DTEND;TZID=America/New_York:20130309T220000
DTSTAMP:20260614T215730
CREATED:20130214T050000Z
LAST-MODIFIED:20181016T214336Z
UID:10001899-1362857400-1362866400@uniondocs.org
SUMMARY:Teenager Hamlet and Auto Mechanic Ulysses
DESCRIPTION:[vc_row][vc_column][vc_column_text]This double feature explores the distance between–and proximity of—the Western Canon and our own gonzo contemporary world\, as well as just art and life. \nHarrel Fletcher’s Blot Out the Sun is an adaptation of James Joyce’s Ulysses set in a garage shop in Portland\, OR. The owner of the shop\, Jay\, inspired the movie when he observed\, echoing Joyce\, that it was as if every kind of thing and person passed through his auto shop every day. \nMargaux Williamson’s Teenager Hamlet is a portrait of young artists in 21st century Canada\, including\, but not limited to\, Williamson herself and friend Sheila Heti\, author of How Should a Person Be (which in turn features Williamson as a main character). In part a self-reflexive treatise on the turn to documentary movie-making by Williamson\, a painter\, Teenager Hamlet makes a story from real life while sorting through the distinctions and confusions between acting in a play and taking action in the world.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_separator color=”white”][/vc_column][/vc_row][vc_row][vc_column][vc_column_text] \n \nMargaux Williamson lives in Toronto and was born in Pittsburgh. She’s exhibited her paintings internationally. In 2008\, she took a break from exhibiting. During that time\, she made the movie Teenager Hamlet which premiered at the Toronto International Film Festival and can now be found on Ubuweb. She started writing movie reviews in 2010 and helped found the cultural review site Back to the World with the critics Carl Wilson and Chris Randle. Her work has been reviewed or featured by Canadian Art Magazine\,The Toronto Star\, The Artfag\, LA Times\, Five Dials\, The New York Times\, among others. She collaborates with the band Tomboyfriend\, with the lecture series Trampoline Hall and with the writer Sheila Heti on various projects including The Production Front where they initiate projects with other artists. Most recently\, she was the artist in Residence at the Art Gallery of Ontario. She’s currently working on a new painting series. \nTom McCormack is a writer and curator living in Brooklyn. His work has appeared in Moving Image Source\, Film Comment\, Cinema Scope\, Rhizome\, The Brooklyn Rail\, and other publications. \nHarrell Fletcher received a BFA from the San Francisco Art Institute (1990)\, and a MFA from the California College of Arts and Crafts (1994). For over ten years Fletcher has worked collaboratively and individually on interdisciplinary\, site-specific projects exploring the dynamics of social spaces and communities. Along with this work he has developed a series of more personal and idiosyncratic pieces that take various forms: drawings\, prints\, writings\, events\, videos\, and sculptural objects. \nFletcher has created exhibitions at Gallery HERE in Oakland\, New Langton Arts\, Southern Exposure\, The McBean Project Space\, Yerba Buena Center For The Arts\, and The de Young Museum in San Francisco\, Alleged Gallery in NYC\, COCA in Seattle\, WA.\, and PICA\, in Portland Oregon. He has been commissioned to produce public art projects for the San Francisco Art Commission\, The Washington State Art Commission\, The University of Minnesota\, the City of Fairfield\, CA\, and Portland\, Oregon’s Regional Art and Culture Council. Fletcher has work in the permanent collection of the San Francisco Museum of Modern Art\, the De Young Museum\, the Berkeley Art Museum\, and the New Museum in NYC. He has received grants and residencies from The Creative Work Fund\, Gunk\, Creative Capital\, Headlands Center for the Arts\, and the California Arts Council. Fletcher has taught in a wide variety of settings from public grade schools to Stanford University. \nBorn 1967 – Santa Maria\, CA \nAlpert Award for visual artist\, California Institute of the Arts and Herb Alpert Foundation\, 2005[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2013-03-09-teenager-hamlet-auto-mechanic-ulysses/
LOCATION:NY
CATEGORIES:Screenings & Events
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20130310T193000
DTEND;TZID=America/New_York:20130310T193000
DTSTAMP:20260614T215730
CREATED:20130220T050000Z
LAST-MODIFIED:20181023T161213Z
UID:10001905-1362943800-1362943800@uniondocs.org
SUMMARY:Georges Franju's The Blood of the Beasts and Jean-Daniel Pollet's L'Ordre with Emmanuelle Demoris
DESCRIPTION:[vc_row][vc_column][vc_column_text]The French documentary filmmaker Emmanuelle Demoris\, whose five-film series Mafrouza will be screening March 6-10 at the Museum of Modern Art (MoMA)\, presents and discusses two personally influential\, broadly important short French documentaries in conversation with the critic Aaron Cutler. The two will also hold a conversation about Mafrouza during a MoMA Modern Mondays event the following evening\, March 11\, at 7 P.M. \n“Both Blood of the Beasts and L’Ordre are as realistic as they are poetic. They do not impose a poetic vision in order to cover the world\, instead they create poetry out of the world itself. No ostentation or showing off\, just a certain kind of tenacity\, harshness\, persistence in facing the world\, in facing both its tenderness and its cruelty. The films can go far into the fields of cruelty because they go far into tenderness\, too. Both directors have divided their work into two extreme and opposite directions: such harsh documentary films on one side\, but also\, on the other side\, light fiction films such as Franju’s Judexand Pollet’s L’Acrobate\, which revisit some popular forms of cinema by means of poetry.” — Emmanuelle Demoris \nProgram \nBlood of the Beasts (Le Sang des bêtes) \nGeorges Franju | 1949 | 20 minutes | DVD projection \nA guided tour through a Parisian slaughterhouse\, in which we are shown first the tools and then the steps involved in killing\, dismembering\, and cleaning horses\, cows\, and other animals. The film\, with the help of voiceover written by science and nature filmmaker Jean Painlevé\, gracefully places these activities within the context of the urban workday. Some brief footage of Franju discussing the making of the film and his ideas on documentary filmmaking will also be screened. \nThanks to the Criterion Collection \n \nL’Ordre (Order) \nJean-Daniel Pollet | 1973 | 41 minutes | digital projection \n “I have been imprisoned for 36 years without having committed any kind of crime.” The film explores a leper colony on the beautiful\, shimmering Greek island of Spinalonga\, near Crete\, which contains people who have been forcibly banished there since the colony’s 1904 establishment. Several residents are shown\, and one man speaks about his condition at length. The dialogue between him and the camera leads to questioning the very question of health\, of its normality\, and of the feelings compassion creates. As the leper says: “We pity you\, sincerely\, for your indifference\, your insolence.” \nPollet’s film Le Sang will also screen at Anthology Film Archives on March 9 and 13 \nThanks to éditions de l’oeil \nFor more information on the five Mafrouza films\, including trailers\, images\, and reviews\, please visit the series website.[/vc_column_text][vc_column_text] \n61 min \n[/vc_column_text][vc_column_text]Emmanuelle Demoris was born in London in 1965 and lives in Paris\, where she studied literature and art history in university before studying cinema at the FEMIS school. She first worked in theatre as a director and as an actor\, most notably in Tadeusz Kantor’s production of Ô Douce Nuit!. She also wrote for cinema\, which is how she met Jean Gruault\, a screenwriter who had previously written or helped write the screenplays for films by Jacques Rivette\, François Truffaut\, Jean-Luc Godard\, Roberto Rossellini\, Alain Resnais and Chantal Akerman\, and who became a producer for the sake of Mafrouza. In 1998 she directed her first documentary film\, Mémoires de pierre (aka Stone memories)\, about the past and the present of a stone quarry near Paris. She started the Mafrouza series project in 1999 with filmed research on the relationships between the living and the dead in the Mediterranean area. \nAaron Cutler lives in São Paulo with the artist Mariana Shellard. He works as a programming aide for the São Paulo International Film Festival and keeps a film criticism site\, The Moviegoer. \n  \nPRESENTED WITH \n \nIdiom was founded in 2009 to allow emerging artists\, writers and arts professionals to report on\, review\, and otherwise cover overlooked or under-thought aspects of the larger creative community. Additionally\, Idiom aims to provide a venue for emerging editors to exercise their craft. Our focus is on long-form essays and interviews in all areas ofculture\, including books\, films\, and visual and performing arts.[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2013-03-10-blood-of-the-beasts-lordre/
LOCATION:NY
CATEGORIES:Screenings & Events
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20130317T193000
DTEND;TZID=America/New_York:20130317T193000
DTSTAMP:20260614T215730
CREATED:20130306T050000Z
LAST-MODIFIED:20190314T214741Z
UID:10001766-1363548600-1363548600@uniondocs.org
SUMMARY:An Evening with Narratively
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]Join us for a showcase and discussion of some of the most compelling work from Narratively – an exciting new multimedia outlet devoted to original and in-depth local stories with a universal appeal. \nNarratively is a platform devoted to original\, true and in-depth stories. They launched in New York in September 2012 and began their expansion to additional cities in February 2013. Narratively slows down the news cycle. They don’t care about the breaking news or the next big headline; They’re devoted exclusively to sharing a city’s untold stories—the rich\, intricate narratives that get at the heart of what a place is all about. \nEach week\, they explore a different theme and publish a series of stories—just one a day—told in the most appropriate medium for each piece. They might feature a longform article on a Monday\, followed by an animated documentary on Tuesday\, then a photo essay\, an audio piece or a short documentary film. Every story gets the space and time it needs to have an impact—an approach they like to call “slow storytelling” or “slow journalism.”[/vc_column_text][vc_empty_space height=”40px”][vc_text_separator title=”Program” color=”white” el_class=”h1″][vc_custom_heading text=”Just Like Clockwork” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_custom_heading text=”5 min\, 2012\, Emon Hassan” font_container=”tag:p|text_align:left” use_theme_fonts=”yes”][vc_column_text]Master horologist John Metcalfe takes us inside his “hospital for clocks\,” a precisely-tuned world where time never stops.[/vc_column_text][vc_empty_space height=”40px”][vc_custom_heading text=”The Space Between” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_custom_heading text=”8 min\, 2013\, Drew Mose & Chelsea Mose” font_container=”tag:p|text_align:left” use_theme_fonts=”yes”][vc_column_text]An author with a neurological blending of the senses explains what the world looks\, sounds and feels like to someone with synesthesia.[/vc_column_text][vc_empty_space height=”40px”][vc_custom_heading text=”Reinventing the Oldest Profession” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_custom_heading text=”Text by Noah Rosenberg. Photos by Tara Israel” font_container=”tag:p|text_align:left” use_theme_fonts=”yes”][vc_column_text]Through business consultancies\, political rallies and poetry readings\, sex workers of all stripes have stepped out of the shadows.[/vc_column_text][vc_empty_space height=”40px”][vc_custom_heading text=”The Ins & The Outs” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_custom_heading text=”Text by Vinnie Rotondaro & Maura Ewing. Photos by Mo Scarpelli” font_container=”tag:p|text_align:left” use_theme_fonts=”yes”][vc_column_text]Along one of New York’s most rapidly changing boulevards\, a look below the surface exposes what—and who—is really driving gentrification in Crown Heights.[/vc_column_text][vc_empty_space height=”40px”][vc_custom_heading text=”Heretic Hasidim” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_custom_heading text=”Text and photos by Pearl Gabel” font_container=”tag:p|text_align:left” use_theme_fonts=”yes”][vc_column_text] \n\n\n\n\n\nTorn between devotion to their faith and families and a desire to explore the outside world\, rebellious young ultra-Orthodox Jewish men are resigned to live secret double lives. \n\n\n[/vc_column_text][vc_empty_space height=”40px”][vc_empty_space height=”40px”][vc_text_separator title=”” color=”white” el_class=”h1″][vc_empty_space height=”40px”][vc_column_text]Emon Hassan Narratively’s multimedia editor\, is a New York-based filmmaker and photographer. He is a contributor to The New York Times\, The Wall Street Journal\, and The Atlantic. His work has also appeared on the BBC\, Einestages\, The Washington Post\, The Boston Globe\, and PBS. \nDrew Mose is a Brooklyn-born artist and videojournalist. He loves adventure\, and specializes in being in the wrong place at the right time. \nChelsea Mose is an Australian-born artist and photographer with a passion for neurology\, strange behavior and unforeseen circumstances. \nNoah Rosenberg is Narratively’s founder\, CEO and editor-in-chief. He is a regular contributor to The New York Times\, and his writing\, photography and documentary film work has also been published by The Wall Street Journal\, GQ and New York magazine\, among other outlets. \nTara Israel is Narratively’s photo editor\, born and raised among the local fishermen and seasonal Manhattanites of East Hampton and currently residing in New York City. \nVinnie Rotondaro is a contributing editor at Narratively. He lives and writes in Brooklyn. \nMaura Ewing is a Brooklyn-based writer\, and a student at The New School for Social Research where she is pursuing an MA in Liberal Studies. \nMo Scarpelli is a Brooklyn-based filmmaker and multimedia journalist. She likes hanging out with people until they forget she’s there\, and filming or photographing the whole damn thing. Her work has appeared on the BBC\, The Wall Street Journal\, Africa Review and The Huffington Post. \nPearl Gabel is a photographer and multimedia reporter based in Brooklyn.[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2013-03-17-an-evening-with-narrative-ly/
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/2013/03/EDIT_A5C3045.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:20130322T193000
DTEND;TZID=America/New_York:20130322T193000
DTSTAMP:20260614T215730
CREATED:20130227T050000Z
LAST-MODIFIED:20181107T214707Z
UID:10002356-1363980600-1363980600@uniondocs.org
SUMMARY:Day is Done with Christoph Terhechte
DESCRIPTION:[vc_row][vc_column][vc_text_separator title=”Program” color=”white” border_width=”2″][vc_column_text] \nDay is Done\nThomas Imbach\, 2011\, Switzerland\, Digital Projection\, 111 minutes \n \n  \n  \n  \n  \n“Day Is Done becomes a poetic but also wryly humorous study of the selfish artist trying to play the indifferent God\, but ending up revealing himself as all too human. Day Is Done contains images of ravishing though unconventional urban beauty.” -Screen Daily \nFirst the smoking chimney\, which the telephoto lens draws up close to us. Then the trains\, the clouds and the flocks of birds\, the panorama of the city viewed through a wide-angle lens. Airplanes. Time-lapse. Slow-motion. Later\, dark rain clouds\, sun\, snow\, moonlight. The street in front of the building: warehouses before which junk is sorted\, wine is delivered\, a party is thrown. Burning cars\, a terrible motorcycle accident. A young woman who day for day picks up her mail and the newspaper\, crossing into the frame from the left and returning from the right. In all the years\, she never seems to notice the man standing at his window with a camera watching her\, recording life as it unfolds in front of his studio. It is only through the messages on the filmmaker’s answering machine that the viewer notes the passage of time. In the beginning these messages seem a bit funny: calls from happy or disappointed girlfriends\, holiday greetings and congratulations. At that point\, they are still without any context – but the context soon becomes clear. From then on\, every message takes on a historical significance. Illness\, death\, pregnancy\, birth\, a break-up\, successes\, failures. It comes as a shock when we realize that we are in the middle of a life that is more dramatic than any fiction.-Christoph Terhechte[/vc_column_text][vc_empty_space][vc_text_separator title=”111 min” color=”white” border_width=”2″][vc_empty_space][vc_column_text]Christoph Terhechte has been head of the Forum since June\, 2001. Terhechte was born in 1961 in the city of Münster\, Westphalia. He studied political science and journalism at the University of Hamburg and has worked as a film journalist since 1984. In 1987\, he was hired as a writer in Hamburg for the “taz” daily newspaper. In 1988 he moved to Paris for two years\, working as a freelance journalist. Up until 1990\, he also worked on the film selection and editorial work of the European Low Budget Film Forum in Hamburg. In 1991 he became film editor at the Berlin city magazine “tip”. Christoph Terhechte has been a member of the selection committee of the Forum since the end of 1997. In June\, 2001 he was appointed head of this Berlinale section. \nThomas Imbach was born in Lucerne\, Switzerland in 1962. He is a maverick Swiss director\, whose work is visual\, edgy and performance driven. With WELL DONE (1994) and GHETTO (1997) he established his trademark audio-visual style based on a combination of cinema-verité camera-work and fast-paced computer controlled editing. In 2007 he founded Okofilm Productions together with director Andrea Štaka. \nThe DAY IS DONE Band \nThe composer and music producer Balz Bachmann put together a hand-picked group of musicians to reinterpret the 12 songs used in the film. The songs were recorded during a 3-day live studio session at the Sonar Studio in Zurich. The DAY IS DONE Band’s distinctive style – between folk rock and punk-inspired bar sound – is the unifying element in an eclectic playlist ranging from Bob Dylan’s gospel blues and Syd Barret›s homage to James Joyce\, all the way to Alphaville’s 1980s synthpop and Conor Oberst›s edgy indie rock.[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2013-03-22-day-is-done/
LOCATION:NY
CATEGORIES:Screenings & Events
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20130323T193000
DTEND;TZID=America/New_York:20130323T220000
DTSTAMP:20260614T215730
CREATED:20130313T040000Z
LAST-MODIFIED:20181107T185839Z
UID:10001767-1364067000-1364076000@uniondocs.org
SUMMARY:Deafening Silence with Holly Fisher
DESCRIPTION:[vc_row][vc_column][vc_text_separator title=”Program”][vc_column_text] \nDeafening Silence\n[/vc_column_text][vc_column_text]Holly Fisher\, 2012\, United States\, Digital Projection\, 118 mins \n“…Fisher’s compelling vision of Burma is essential viewing for anyone interested in this fast-changing Southeast Asian country.  The military has softened its decades of strict dictatorship\, but glimmers of democratic space may prove limited and even ephemeral. … freedom of expression remains tenuous\, and the army continues offensives against minority peoples whose human rights have been particularly abused for decades.  Deafening Silence offers images of and witness to life in Burma that daily news reports\, and even traditional documentaries\, cannot. The film is reportage of another order that not only illustrates harsh contrasts\, but also illuminates its subjects in a manner that allows us to connect with them beyond the archetypal media panoply of victims and heroes….” — Thomas R Lansner (Visiting Professor\, School of International Affairs\, Sciences-Po Paris) \nDeafening Silence is a fusion of beauty and terror\, observation and danger\, roving visuals and intimate stories either funny\, contemplative\, or horrific – a subjective\, layered depiction of Burma under brutal military dictatorship. The filmmaker’s first trip was legal\, shooting video as a fake tour guide doing research; the next was on foot\, undercover with ethnic Karen guerillas\, to film internal exiles surviving in a free-fire jungle war zone. \nColonial archival imagery and clips from You Tube are woven within this tapestry of fragments\, often in ironic counterpoint\, and always to pierce the chokehold of censorship. This is a living history of a country arrested in time\, a hybrid documentary focuses on ethnic genocide\, but with constant poetic resonance and a rich multiplicity of references to history and popular culture.[/vc_column_text][vc_empty_space][vc_text_separator title=”118 min” color=”white” border_width=”2″][vc_empty_space][vc_column_text] \nHolly Fisher has been active since the mid-sixties as an independent filmmaker\, teacher\, and editor of documentaries\, including the 1989 Academy Award Nominee Who Killed Vincent Chin?  Her personal works (director\, camera\, editor) have been screened in museums and film festivals worldwide\, including The Museum of Modern Art\, Whitney Museum Biennials\, and Centre Pompidou.  Her first feature Bullets for Breakfast\, made via JK optical printing of layers of S8:16mm\, received “Best Experimental Film” at the Ann Arbor Film Festival\, 1992.  Two of her works have had world-premiers at The Berlin International Film Festival\, including Bullets and her first documentary concerning Burma\, Kalama Sutta:  Seeing is Believing\, in 2001. \nWith an on-going interest in human rights\, perception\, and media\, Fisher followed with a second Burma project –– Deafening Silence (118 minutes\, 2012)\, in which she travels to The Goldenland’s eastern frontier\, on foot and under-cover with guerrilla soldiers\, to document life in a village of internally displaced ethnic Karen people.  Rejecting strategies of agit-prop\, Fisher’s films are closed-ended essays\, fusing linear narrative with non-linear and increasingly layered and cyclic structures\, as a way to position the viewer at the subject/center of the work as it unfolds –– in pursuit of presence. \nJohn Gianvito is a director\, teacher\, and curator based in Boston. Gianvito’s 2001 feature The Mad Songs of Fernanda Hussein\, a three- hour dramatic exploration of the United States during the period of the first Persian Gulf War received the Jury Prize at the Buenos Aires International Festival of Independent Cinema\, the first “Rosa Luxemburg Prize” and Best Independent Film at the New England Film/Video Festival. His 2007 film Profit Motive and the Whispering windreceived considerable acclaim\, earning 8 awards including “Best Experimental Film of the Year” by the National Society of Film Critics\, and was cited on various Top Ten lists including in Sight & Sound\, Film Comment\, Cahiers du Cinema\, and Cinema Scope. Gianvito’s latest documentary\, Far from Afghanistan.[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2013-03-23-deafening-silence-holly-fisher/
LOCATION:NY
CATEGORIES:Screenings & Events
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20130324T193000
DTEND;TZID=America/New_York:20130324T220000
DTSTAMP:20260614T215730
CREATED:20130305T050000Z
LAST-MODIFIED:20190124T213929Z
UID:10002361-1364153400-1364162400@uniondocs.org
SUMMARY:Interactive Storytelling 101
DESCRIPTION:[vc_row][vc_column][vc_column_text]A primer for nonfiction filmmakers looking to expand into interactive storytelling. This workshop surveys trends in interactive documentary\, introduces new technologies being used\, and provides a “how-to” for starting and conceptualizing interactive projects. We will look at different approaches to developing non-fiction content with interactivity\, and share best practices to translate linear documentary films into dynamic\, fluid digital stories. \nUsing techniques and processes from the commercial interactive design world\, we will focus on design strategies rather than on computer programs and code (Flash\, HTML etc.). Participants will learn how to to break down the complexity of an interactive project into separate visual user interface\, media and technology layers. \nOur task as creative storytellers are as translators of stories into new forms.  Learn how you can you use interactive design and media to make your film more than a static Youtube video embedded onto a webpage.[/vc_column_text][vc_empty_space][vc_empty_space][/vc_column][/vc_row][vc_row][vc_column][vc_separator][vc_empty_space][vc_empty_space][vc_column_text] \n \nLaurie Sumiye is a filmmaker\, designer and artist who uses media and technology to explore new ways of looking at natural and urban environments and people who exist in them. Her varied experience in fine art\, interactive media\, graphic design\, animation and broadcast journalism uniquely informs her work by combining graphic\, handmade\, digital\, and documentary forms. Laurie received her MFA in Integrated Media Arts at CUNY Hunter College\, and recently presented her work at EXIT Art (2010)\, Hawaii International Film Festival (2010)\, Summercamp Project Project in Los Angeles (2010)\, Arts@Renaissance in Brooklyn (2010). \n \nAnnie Berman came of age studying theater in magnet schools for the arts in Miami. She attended Brandeis University for scientific research\, but it was a Philosophy of Aesthetics course that fired her synapses. Since then\, her camera has taken her around the world exploring image and representation\, identity\, and religion. Her work has screened at galleries and universities\, including the Short and Edgy Film Festival at the Harvard Film Archive. In addition to making work\, Annie has also taught workshops in Super-8 filmmaking\, nonlinear editing\, animation\, and social media. She is the former President of the board of Women in Film and Video New England\, and the founder of Fish in the Hand Productions. Her feature film THE FAITHFUL: The King\, the Pope\, the Princess\, and me explores pop-iconography and the relationship between art\, expression\, and the law. After a decade of obsessively gathering images and souvenirs of Elvis Presley\, Pope John Paul II\, and Princess Diana\, and capturing the annual rituals of their followers\, Annie is now in post-production and preparing to launch a multi-platform exhibition. \n  \n[/vc_column_text][vc_empty_space][vc_empty_space][/vc_column][/vc_row][vc_row][vc_column][vc_separator][/vc_column][/vc_row][vc_row][vc_column][/vc_column][/vc_row][vc_row][vc_column][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2013-03-2-interactive-storytelling-101/
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/2013/03/designdoc.jpg
GEO:40.7099952;-73.9507576
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=UnionDocs 352 Onderdonk Avenue 352 Onderdonk Avenue Ridgewood NY 11385 United States;X-APPLE-RADIUS=500;X-TITLE=352 Onderdonk Avenue:geo:-73.9507576,40.7099952
END:VEVENT
END:VCALENDAR