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DTSTART;TZID=America/New_York:20110316T190000
DTEND;TZID=America/New_York:20110316T210000
DTSTAMP:20260617T094652
CREATED:20110228T050000Z
LAST-MODIFIED:20190314T211135Z
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SUMMARY:99 Minute Film School Raindance New York
DESCRIPTION:[vc_row][vc_column][vc_text_separator title=”Program”][vc_empty_space][vc_column_text]Elliot Grove\, founder of Raindance and one of the most knowledgeable filmmakers in the UK\, will attempt just that and give you a viable plan and dozens of filmmaking tips in just 99 minutes. \nWriters\, directors\, producers\, actors\, filmmakers\, cinema lovers\, anyone with an interest in how movies are made and who seek a basic introduction to the filmmaking process are welcome. This evening workshop will run through the basic essentials you will need to create a film and to create a plan to launch your career. \n* Finding a do-able script \n* Finding cast and crew \n* Shooting tips \n* Getting your film seen \n* The career ladder \n* Distribution and exhibition \n* Money and how to get paid[/vc_column_text][vc_empty_space][vc_text_separator title=”99 minutes”][vc_empty_space][vc_column_text] \n \nElliot Grove has worked intensively with writers at Raindance since 1992. He explains the tricks of the trade from practical experience and reveals some of the latest paradigms through lecture\, exercises and video clips. Elliot Grove founded Raindance Film Festival in 1993\, the British Independent Film Awards in 1998\, and Raindance.TV in 2007. He has produced over 150 short films\, and 5 feature films. He has written eight scripts\, one of which is currently in pre-production. His first feature film\, Table 5 was shot on 35mm and completed for a total of $382.89. He teaches writers and producers in the UK\, Europe. Japan and America. He has written three books which have become industry standards: Raindance Writers’ Lab: 2nd Edition (Focal Press 2008)\, Raindance Producers’ Lab (Focal Press 2004) and 130 Projects to Get You Into Filmmaking (Barrons 2009). His first novel The Bandit Queen is scheduled for publication in 2010. closed University awarded Elliot an Honorary Doctorate for services to film education in 2009. \n\n\n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][/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/99-minute-film-school-raindance-new-york/
LOCATION:UnionDocs\, 352 Onderdonk Avenue\, 352 Onderdonk Avenue\, Ridgewood\, NY\, 11385\, United States
CATEGORIES:Screenings & Events
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20110319T193000
DTEND;TZID=America/New_York:20110319T213000
DTSTAMP:20260617T094652
CREATED:20110221T050000Z
LAST-MODIFIED:20181107T224228Z
UID:10001715-1300563000-1300570200@uniondocs.org
SUMMARY:The Suburban Trilogy with Abigail Child
DESCRIPTION:[vc_row][vc_column][vc_separator color=”white” border_width=”2″][vc_column_text]A feature-length project about girlhood and the immigrant dream\, focusing on post World War II North American suburbs and between the war Europe\, critically seen through the lens of gender\, property and myths of nation. —A rambunctious embrace\, body to body\, woman to woman\, entrance to exit—in-laws foregrounding the construction of cinematic meaning\, the elusive nature of memory and desire\, the hysteric familial arena of the social.[/vc_column_text][vc_text_separator title=”Program” color=”white” border_width=”2″][vc_column_text] \nCake and Steak\nAbigail Child\, USA\, 2002-2004\, 21 minutes\, digital projection \nLike all parts of this series\, excavates ‘girl training’ in the legacy of home movies and post-war American suburban culture\, and is conceived for both single-screen\, loop and multiple projection. Cake and Steak is constructed as a series of achronological ‘chapters’ in which Edenic images of adolescent twirlers\, basement parties\, and ‘dress-up’ are challenged by a sound montage composed of horror movie music\, old TV shows\, laugh tracks\, and machine noise of our modern Arcadias. \nThe Future is Behind You\nAbigail Child\, USA\, 2004\, 20 minutes\, digital projection \nA fictional story composed from an anonymous family archive of 1930’s Europe\, reconstructed to emphasize gender acculturation in two sisters who play\, race\, fight\, kiss and grow up together under a shadow of oncoming history.  Here there are at least 3 levels of research: 1) the home movie in which a family from 1930s Germany near the Swiss border poses for the camera\, preternaturally happy;  2) the historical moment which remains as text trace\, undermining the image and serving as covert motive for the action; 3) the development of gender identities—the innocent freedom of the elder transformed into socially bruised ‘bride\,’ the irrepressibility of the younger moving from tomboy to awkward\, diffident adult. At once biography & fiction\, history & psychology\, The Future is Behind You excavates gestures to get at the heart of narrative; it seeks a bridge between private & public histories. Music by Jon Zorn from The Circlemaker\, arranged and performed for the movie by Sylvie Courvoisier and Mark Feldman. \nSurf and Turf\nAbigail Child USA\, 2008\, 34 minutes\, digital projection \nThis film examines contemporary ambiguities of Syrian Orthodox Jews who have built extensive synagogues\, restaurants and schools on the Jersey shore\, profoundly changing the local culture\, continuing a tradition of immigration\, if not exactly\, assimilation. The look is secular\, the lifestyle capitalist and religious. The topic—that of the “unmelted pot” of America’s small towns combined with a portrait of wealthy orthodox religious sectarians— is a compelling one. What does it mean to have class in America? What does it mean to be Jewish? I think of conflicts between Israel and Palestine\, Serbia and Bosnia\, India and Pakistan: neighboring families and races split apart by religion. Extreme poverty enforces the tribal\, while extreme wealth maintains it. Surf and Turf provides no easy answers but raises issues that have too long stayed behind closed doors: what do we say when we think no one is listening?[/vc_column_text][vc_text_separator title=”75 min”][vc_column_text] \n\n \nAbigail Child is a media artist and writer whose original montage pushes the envelope of sound-image relations to make\, in the words of LA Weekly “brilliant exciting work…a vibrant political filmmaking that’s attentive to form.” Her films explore gesture as language\, using radical strategies to rewrite narrative\, including the cult classics Mayhem (1987)\, and Covert Action (1984)\, as well as the more recent Dark Dark (2001)\, The Future is Behind You (2005) and Mirror World (2006). Other productions borrow documentary to poetically envision and interrogate public space including B/Side\, Below the New\, and Cake and Steak (2004). Recent work has expanded into installation utilizing surround sound and multiple projectors. She is currently completing a feature of the life of Percy and Mary Shelley\, shot in Italy in the form of imaginary home movies. A monograph with interview and articles on her work\, in both French and English\, accompanied with DVD\, will be appearing in April 2011 out of MetisPresse\, Geneva\, Switzerland. Winner of the Rome Prize\, a Radcliffe Institute Fellowship\, both Guggenheim and Fulbright Fellowships\, as well as participating in two Whitney Biennials\, 1989 and 1997\, Child has had numerous retrospectives including the Buena Vista Center in San Francisco\, Anthology Film Archive (in conjunction with The New Museum\, NY)\, Harvard Cinematheque\, Reservoir\, Switzerland and most recently at the Cinoteca in Rome. \n\n Melissa Ragona’s essays and reviews have appeared in October\, Frieze\, Art Papers and in the edited collections Lowering the Boom: Critical Studies in Film Sound\, eds. J. Beck and T. Grajeda (U of Illinois Press\, 2008)\, Women’s Experimental Cinema\, ed. Robin Blaetz (Duke University Press\, 2007)\, and Andy Warhol Live (Prestel\, 2008)\, among others. She is currently completing a book on Andy Warhol’s tape recordings tentatively titled Readymade Sound: Andy Warhol’s Recording Aesthetics\, forthcoming from University of California Press\, Berkeley. She is an Associate Professor of Critical Theory and Art History in the School of Art at Carnegie-Mellon University.[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/the-suburban-trilogy/
LOCATION:NY
CATEGORIES:Screenings & Events
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20110320T193000
DTEND;TZID=America/New_York:20110320T213000
DTSTAMP:20260617T094652
CREATED:20110218T050000Z
LAST-MODIFIED:20190314T214639Z
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SUMMARY:Documentary Poetry Cinema by Stephen Connolly
DESCRIPTION:[vc_row][vc_column][vc_column_text]This work explores the fertile territory between documentary and poetic modes of moving image. From diary to essay-film to observational work\, London-based artist Stephen Connolly employs a variety of investigative and reconstructive approaches to his non-fiction filmmaking. Serious\, yet never solemn\, and infused with wit and passion\, the work combines an urgency and complexity in the short film form. Connolly combines and layers seemingly disparate images\, sounds\, and narrative threads to explore the relationships between individual and social agency. \nConnolly’s film The Whale (2003) is described by the artist as “an oblique meditation on safety\, fear and notions of faraway places”. The dispassionate camera of Great American Desert (2007) explores an Arizona landscape to the chatter of a flock of Snowbirds. Más Se Perdió (2008) wanders through a revolutionary ruin in Havana\, while respectfully appreciating the nuances of image making in this politically contested space. The first section of the program includes the “.. angular\, beautifully shot Film for Tom (2005)\, which broods upon the life and death of a bright\, troubled outsider\, …. breathtakingly measured and sure-footed.” ‘New Contemporaries’\, Martin Herbert\, TIME OUT LONDON 2006. Stephen Connolly will jury the 2011 Ann Arbor Film Festival\,  March 22-27. \n[/vc_column_text][vc_text_separator title=”Program”][vc_column_text]The Reading Room By Stephen Connolly\nUK\, 2002\, 3 minutes\, digital projection \nThis film traces the movement of visitors to the British Museum reading room through an entire working day in under three minutes. The film is an exploration of the changing place of the archive. Using an elevated camera\, a single ‘ master’ shot film reveals the layout of the library as a panoptican\, a structure envisaged as an ideal prison by Jeremy Bentham (1785). \nFilm for Tom by Stephen Connolly \nUK\, 2005\, 12 minutes\, digital projection \nBased on a single evening’s sound recording with Tom\, this film is a lyrical homage to a friend and formative influence. Tom in voiceover is eloquent and effusive\, yet finds no resolution to issues that haunt him. Near the conclusion of the film\, a dramatic offscreen event complicates our understanding of the images and spaces we have seen. \nSpecial M ention\, Tiger Awards for Short Film\, I FFR 2006?Girot. \nAward for Editing and Editorial\, 45th Ann Arbor Film Festival\, 2006 \nTwo Coronations by Stephen Connolly \nUK\, 2010\, 16 minutes\, digital projection \nTwo Coronations reworks 16mm film from a family archive\, temporally framed by the eponymous ceremonies in the UK of 1937 and 1953. From the archive\, documents the activity of ’ the procession’ \, which feature both public events and private occasions\, were selected. Through montage\, notions of social collectivity are placed in question. \nPostcard from Istanbul by Stephen Connolly \nUK\, 2002\, 7 minutes\, digital projection \nThe camera in Postcard from Istanbul seeks out the shoeshines of the city and exchanges the price of a shine for a short portrait on super8. A film shot in mid September 2001 while wandering through Beyoglu and encountering those working there. \nThe Whale by Stephen Connolly \nUK\, 2003\, 9 minutes\, 16mm \n“A deliberation on the state of nature and the nature of the State…. The Whale combines several disparate components (including a parent-child dialogue on the relative threats posed by wild animals\, an archival television interview with notorious RAF operative Ulrike Meinhof and citations from Thomas Hobbes’ Leviathan) to consider the need for a renewed communal sensibility in contemporary society.”- Jeremy Rigsby\, Images Festival\, Toronto 2005 \nGreat American Desert by Stephen Connolly \nUK\, 2007\, 16 minutes\, 16 mm \nThe camera of Great American Desert observes a scrubby Arizona desert\, occupied by thousands of ‘Snow Birds’ in the Winter months. Fragmentary discourses emerge in montage\, including an account of the men who carried out the Hiroshima bombing and details of a Navy Day Spectacular\, staged in the Los Angeles Coliseum\, in celebration of the end of hostilities. \nMás Se Perdió by Stephen Connolly \nUK\, 2008\, 14 minutes\, 16 mm \nExplores a number of filmic options of showing place – in this case sites in Havana\, Cuba. A public exercise area is shown in a single shot unfolding in real time. The ruins of the National School of Ballet – an example of a unique form of modern architecture – is explored through spatial movement and narrative. A street scene is repeated three times – with different sound treatments\, suggesting questions around the sufficiency of the representation. This contested place is shown as a dialogue with representation – abstracted and ambiguous. \nRecipient of the Ghostly Award for Sound Design\, 47th Ann Arbor Film Festival 2009.[/vc_column_text][vc_text_separator title=”Presenter”][/vc_column][/vc_row][vc_row][vc_column][vc_column_text]Stephen Connolly\, born 1964 in Montreal\, Canada\, is a London based artist filmmaker who has shown extensively in international film festivals\, had solo screenings at the National Film Theatre\, BFI London\, and the Institute of Contemporary Art\, London\, and a recipient of Arts Council England film production funding. He is to be an Ann Arbor Film Festival Juror in 2011. \nRichard Birkett is curator at Artists Space\, New York. He was previously curator at the Institute of Contemporary Arts\, London\, and co-founder and director of Whitechapel Project Space\, also in London. He has contributed texts to artist’s monographs and art periodicals\, and has edited publications including Dispersion (with Polly Staple)\, 2008 and Cosey Complex (with Maria Fusco)\, 2011. \n[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/documentary-poetry-cinema-by-stephen-connolly/
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/2011/02/18.jpg
GEO:40.7099952;-73.9507576
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20110325T193000
DTEND;TZID=America/New_York:20110325T213000
DTSTAMP:20260617T094652
CREATED:20110225T050000Z
LAST-MODIFIED:20181107T183547Z
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SUMMARY:The Indian Boundary Line and The Mountain State
DESCRIPTION:[vc_row][vc_column][vc_separator color=”white”][vc_column_text]Since the mid 1990’s\, Bill Brown and Thomas Comerford have been studying the landscapes of North America. With film cameras and sound recorders\, Comerford and Brown give quiet attention to our everyday surroundings\, offering glimpses into histories of North America\, those commemorated as well as those long-forgotten. This evening’s films — Comerford’s The Indian Boundary Line and Brown’s The Mountain State — focus on the regions of Illinois and West Virginia\, respectively\, but in exploring these sites\, find recurring ideas\, patterns\, practices and designs that speak to the construction of the United States.[/vc_column_text][vc_empty_space][vc_text_separator title=”Program” color=”white”][vc_column_text] \nThe Indian Boundary Line\nThomas Comerford\,USA\, 2010\, 41 minutes\, digital projection \nThe Indian Boundary Line follows a road in Chicago\, Rogers Avenue\, that traces the 1816 Treaty of St. Louis boundary between the United States and “Indian Territory.” In doing so\, it examines the collision between the vernacular landscape\, with its storefronts\, short-cut footpaths and picnic tables\, and the symbolic one\, replete with historical markers\, statues\, and fences. Through its observations and audio-visual juxtapositions\, The Indian Boundary Line meditates on a span of land in Chicago about 12 miles long\, but suggests how this land and its history are an index for the shifting inhabitants\, relationships\, boundaries and ideas of landscape — as well as the consequences — which have accompanied the transformation of the “New World.” \n“Playing on the tensions between the conditions of the two worlds present and past\, comfortable and unconquered\, developed and free\, Comerford’s movie displays a resonant compassion and a visual patience that infuses forgotten history with new life.”- CINE-FILE \nThe Mountain State\nBill Brown\, USA\, 2003\, 23 minutes\, 16 mm  \nA brief history of the westward march of the United States across West Virginia\,as told by 25 roadside historical markers and the restless ghosts who haunt them. \nThe Mountain State screened at the Museum of Modern Art in 2010\, and won ‘Best 16mm Film’ at the 42nd Ann Arbor Film Festival in 2004.[/vc_column_text][vc_text_separator title=”64 min” color=”white”][vc_empty_space][vc_column_text]Thomas Comerford is a media artist\, musician\, and educator residing in Chicago. In 1997\, he embarked on an influential series of films\, made with a pinhole motion picture camera and home-made microphone\, under the title\, Cinema Obscura (1997-2002). His recent films are site-specific to Chicago and explore the evidence and revision of histories in the landscape. His work has screened at many festivals and venues\, including the Gene Siskel Film Center\, Anthology Film Archives\, Pacific Film Archive\, and the London Film Festival. In collaboration with filmmaker Bill Brown\, Comerford also has toured the United States with his films\, screening in spaces ranging from church basements and backyards to regular old movie theaters. \nBill Brown is a filmmaker from the “Paris of the Plains\,” Lubbock\, Texas. He has made several short experimental documentaries about the dusty corners of the North American landscape. Along with filmmaker Thomas Comerford\, Brown created the Lo Fi Landscapes tour\, traveling across country in 2002 and 2005 with a program of short films concerned with history and place. The Museum of Modern Art hosted a retrospective of Brown’s work in 2003 as part of its MediaScope series. \nPaul Lloyd Sargent is an artist and writer living between Brooklyn and Wellesley Island\, NY. His recent work examines the impact of the international shipping industry on the ecologies\, economies\, and communities along the Great Lakes and St. Lawrence River. He has published in AREA|Chicago and Proximity Magazine and presented his multi-media work at such venues as Exit Art\, Conflux\, and Smack Mellon in New York; Para/Site Art Space in Hong Kong; Gallery M in Berlin; BaseKamp in Philadelphia; Big Orbit and the University at Buffalo Art Gallery in Buffalo; Mess Hall\, Hyde Park Art Center\, and Gallery 400 at the University of Illinois in Chicago.[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/the-indian-boundary-line-and-the-mountain-state/
LOCATION:NY
CATEGORIES:Screenings & Events
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20110326T193000
DTEND;TZID=America/New_York:20110326T213000
DTSTAMP:20260617T094652
CREATED:20110201T050000Z
LAST-MODIFIED:20190131T203709Z
UID:10001694-1301167800-1301175000@uniondocs.org
SUMMARY:Varieties of Documentary With Fred Camper
DESCRIPTION:[vc_row][vc_column][vc_column_text]The thesis behind this program is the absence of any single thesis. Superb films come in all varieties\, and the best ways to see any film are not through the grid of any particular theory. The history of cinema is glorious in its diversity. If the essence of documentary is rooted in the use of footage of scenes in the world that the filmmaker did not construct\, then even Robert Breer’s animated Fuji begins as a documentary\, with a snippet of home movie footage of a train trip which Breer then uses to generate all manner of abstraction — before returning to the train footage at the end\, thus providing a “lesson” in imaginative seeing not unrelated to the aesthetic of Stan Brakhage. Brian Frye’s Mirror Manhattan has home movie aspects too\, being a record of Manhattan seen from the archetypical tourist boat\, a Circle Line tour\, except that by playing with superimposition and inverting the image Frye suggests more about the vertical density of New York than would be conveyed by more ordinary footage. Christ Welsby’s Seven Days uses stop motion to condense seven days in nature into twenty minutes\, but more\, he chooses to let his camera angle be entirely determined by the sun\, pointing directly at it when it is behind clouds and pointing opposite it when it is shining. Welsby thus also records the rotation of the earth\, and also surrenders much more control\, in this case to nature\, than a typical documentarian gives up. John Smith\, one of cinema’s finest humorists\, parodies the megalomania of the film director as control freak in The Girl Chewing Gum by accompanying long takes of an ordinary street scene with a voiceover that implies he is controlling everyone’s movements\, and even\, that he omnisciently knows their purposes. \nSusie Benally’s A Navajo Weaver and Shelby Adams and Mimi Pickering’s Mountain Farmer stand a bit apart from the aesthetic\, art-aware tradition of the first four films. Both films were spawned by 1960s movements to allow people in distinct cultures to make films — Navajo who had seen little of Western media in the first instance\, Kentucky hill people in the second. Both films display a rawness and a lack of artifice\, and\, especially in the case of A Navajo Weaver\, owe little debt to traditional film grammar. Instead they depict\, and establish\, a direct relationship to the physical world that is rare in its sincerity and wondrous in its sensuality[/vc_column_text][vc_empty_space][vc_text_separator title=”Program”][vc_empty_space][/vc_column][/vc_row][vc_row][vc_column][vc_column_text] \nMirror Manhattan by Brian Frye USA\, 2001\, 3 minutes\, 16 mm\, silent\nFuji by Robert Breer USA\, 1973\, 8 minutes\, 16 mm\nSeven Days by Chris Welsby UK\, 1974\, 20 minutes\, 16 mm\nThe Girl Chewing Gum by John Smith UK\, 1976\, 12 minutes\, 16 mm\nMountain Farmer by Shelby Adams and Mimi Pickering USA\, 1973\, 9 minutes\, 16 mm\nA Navajo Weaver by Susie Benally USA\, 1966\, 22 minutes\, 16 mm\n[/vc_column_text][vc_empty_space][vc_text_separator title=”Presenter”][vc_empty_space][/vc_column][/vc_row][vc_row][vc_column][vc_column_text]Fred Camper is an artist\, a writer and lecturer on film and art\, and a former filmmaker. He lives in Chicago. He has taught at a number of colleges and universities and presented film programs in the US and internationally. He has written extensively on avant-garde film\, on the films of Stan Brakhage\, on classical Hollywood cinema\, and on other types of film as well. \n  \nPresented with \n \n \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][/vc_column][/vc_row]
URL:https://uniondocs.org/event/varieties-of-documentary-with-fred-camper/
LOCATION:UnionDocs\, 352 Onderdonk Avenue\, 352 Onderdonk Avenue\, Ridgewood\, NY\, 11385\, United States
CATEGORIES:Screenings & Events
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20110327T223000
DTEND;TZID=America/New_York:20110328T000000
DTSTAMP:20260617T094652
CREATED:20110213T050000Z
LAST-MODIFIED:20190124T211640Z
UID:10001696-1301265000-1301270400@uniondocs.org
SUMMARY:Joe Richman presents Radio Diaries: 15 Years of Stories
DESCRIPTION:[vc_row][vc_column][vc_column_text]For 15 years\, Radio Diaries has been giving people tape recorders and working with them to report on their own lives and histories for NPR. With this approach\, Radio Diaries has helped create a new form of citizen journalism and has produced some of the most acclaimed and innovative documentaries ever heard on public radio: Teenage Diaries\, Prison Diaries\, Diary of a Retirement Home\, My So-Called Lungs\, Thembi’s AIDS Diary\, Mandela: An Audio History (winner of the du-Pont-Columbia Award)\,  Willie McGee and the Traveling Electric Chair\, and others. \nExecutive producer Joe Richman will be joined by two former diarists\, Amanda Brand and Josh Cutler\, from Teenage Diaries to talk about what it’s like to document your own life\, and how the best scenes are the ones that happen by accident. \nRadio Diaries Video Retrospective: 15 Years of Stories \n[youtube width=”385″ height=”312″]http://www.youtube.com/watch?v=-4D6krZWeJc&feature=player_embedded[/youtube] \n[/vc_column_text][vc_empty_space][vc_empty_space][vc_separator][vc_empty_space][vc_empty_space][/vc_column][/vc_row][vc_row][vc_column][vc_column_text] \n\n \nJoe Richman is an award-winning independent producer and reporter for NPR’s All Things Considered and the founder of Radio Diaries\, a non-profit organization. Over the past 15 years\, Radio Diaries has helped to pioneer a model for working with people to document their own lives for public radio.  Richman worked for many years as a producer on NPR programs All Things Considered\, Weekend Edition-Saturday\, Car Talk\, and Heat. He also teaches at Columbia University’s Graduate School of Journalism. The Los Angeles Times called Richman “A kind of Studs Terkel of the airwaves.”[/vc_column_text][vc_empty_space][vc_empty_space][vc_separator][/vc_column][/vc_row]
URL:https://uniondocs.org/event/joe-richman-presents-radio-diaries-15-years-of-stories/
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/2009/10/banner.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:20110401T210000
DTEND;TZID=America/New_York:20110401T220000
DTSTAMP:20260617T094652
CREATED:20110218T050000Z
LAST-MODIFIED:20180515T215739Z
UID:10001700-1301691600-1301695200@uniondocs.org
SUMMARY:The Surprise Tour\, featuring The Best Thing Ever
DESCRIPTION:[vc_row][vc_column][vc_column_text]The debut screening of The Surprise Tour will be followed by a discussion with the band and filmmaker\, a special look at deleted scenes from the film\, and a special performance by the band. We’ll also be screening an unreleased short about The Best Thing Ever by Ben Safdie and Red Bucket Films. \nThe Best Thing Ever is an underground musical/comedy/performance art group known for holding free public performances in non-traditional venues. The Surprise Tour showcases the band’s second tour and follows them for three weeks across the country as they perform surprise concerts in unusual locations for unsuspecting audiences. \nThe Surprise Tourby Eric Williams\nUsa\, 2011\, 75 minutes\, Digital Projection \nThe Surprise Tour documents The Best Thing Ever’s 2007 national tour\, where they played exclusively at uninvited concerts in unusual venues\, from Waffle Houses to The White House. \n“A few days ago\, we met The Best Thing Ever\, and they sort of are.” –The Boston Phoenix \n“Britton has this lanky\, melancholic-genius thing about him and this deep\, Stephin Merritt-ate-the-National-frontman voice”- The Boston Phoenix \n“Consider this a hearty endorsement.” – The Village Voice \nThe Best Thing Ever\, a band formed in 2003 by Jen Page\, Alex Billig\, Emily Brodsky and autistic singer/songwriter Noah Britton\, have become renowned for performing uninvited at non-musical venues\, starting with 2006’s The Bathroom Tour\, which premiered on film at the Galapagos Gallery in 2007\, and\, most recently\, 2010’s Animals Tour\, where they performed for animals at venues including a zoo\, an aquarium\, and a dog shelter. \nEric Williams is a filmmaker for Flipswitch Films. His previous credits include The Best Thing Ever’s Bathroom Tour\, The Showpaper Documentary\, and The Bourne Ultimatum. He also sings for the Brooklyn band\, The Eskalators. \nBen Safdie is a New York-based filmmaker\, and a founding member of Red Bucket Films. His most recent film\, Daddy Longlegs\, was cowritten by his brother\, Josh\, and inspired by their experiences as children of divorced parents. It was debuted at the 2009 Cannes Film Festival\, premiered in the US at the 2010 Sundance Film Festival\, and is currently being distributed by IFC Films. \nJeffrey Lewis is a singer/songwriter\, cartoonist and journalist from New York City\, whose bands include The Jeffrey Lewis band\, The Bundles (with Kimya Dawson)\, and Antsy Pants\, who were featured on the best-selling soundtrack to Juno.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_video link=”http://www.youtube.com/watch?v=u3z9sZqL71I “][/vc_column][/vc_row]
URL:https://uniondocs.org/event/the-surprise-tour-featuring-the-best-thing-ever/
LOCATION:NY
CATEGORIES:Screenings & Events
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20110402T203000
DTEND;TZID=America/New_York:20110402T203000
DTSTAMP:20260617T094652
CREATED:20110325T040000Z
LAST-MODIFIED:20180515T174418Z
UID:10001691-1301776200-1301776200@uniondocs.org
SUMMARY:Mono No Aware Filmmaking Workshops Screening and Party
DESCRIPTION:Come and see the finished film works of our 16 mm filmmaking and Stop-Motion Puppet animation workshop participants! 22 inspired film works projected on 16mm presented by the filmmakers. Afterwards\, we’ll be celebrating with the Mono No Aware group as well as many of the participants of our recently completed first round of filmmaking workshops. Come to the screening or come out to the party at 10pm for drinks and dancing.
URL:https://uniondocs.org/event/mono-no-aware-filmmaking-workshops-screening-and-party/
LOCATION:NY
CATEGORIES:Workshops & Labs
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20110403T193000
DTEND;TZID=America/New_York:20110403T213000
DTSTAMP:20260617T094652
CREATED:20110219T050000Z
LAST-MODIFIED:20180508T175757Z
UID:10001711-1301859000-1301866200@uniondocs.org
SUMMARY:Down the Road: Modern New York Street Photography
DESCRIPTION:[vc_row][vc_column][vc_column_text]New York City has a long history of street photography\, tracing back to the 1800’s and early practitioners like Jacob Riis and Alfred Stieglitz. While rooted in Parisian traditions\, New York street photography developed by its own rules. “New York was\, in contrast to Paris\, a tough graceless town\,” according to Bystander: A History of Street Photography. “It demanded another kind of imagery.” \nBy the 1940’s\, the work of street photographers like Weegee and Helen Levitt led to the “so-called ‘hard boiled’ strain of photography – cynical\, gritty\, raw – of post-war American photographers such as Robert Frank\, William Klein\, Garry Winogrand\,” according to Street Photography: From Atget to Cartier-Bresson. \nFaced with the challenge of capturing “The Greatest City in the World\,” New York’s street photographers often labored obsessively\, building massive bodies of work\, while struggling to be published. Entire photo archives sometimes remained unseen\, as in the case of Angelo Rizzuto\, who died unknown in 1967 and left 60\,000 unpublished images to the Library of Congress\, which were only compiled into a retrospective book – Angel’s World – in 2006. \nToday\, however\, the wide availability of digital cameras and computers has resulted in an explosion of new photographers roaming the streets of New York\, who publish their work on photo blogs and photo networking websites like Flickr. Emerging street photographers no longer need to work in obscurity\, and can immediately present new work to a large audience online or self-publish a book with a few clicks of the mouse. \nBut it takes more than a camera and a computer to be a successful contemporary street photographer. This conversation with several practicing New York street photographers will discuss the current state of street photography\, and consider what may lie ahead\, down the road. – Nathan Kensinger\, curator \nNathan Kensinger is a documentary filmmaker and photographer living in Brooklyn. He photographs New York City’s abandoned and industrial edges. Nathan publishes two photo essays a month at his website\, which was nominated as one of NYC’s Best Photo Blogs by the 2010 Village Voice Web Awards. His photographs have been published in the NY Times\, NY Post\, NY Daily News\, NY Magazine\, NY Sun and The Village Voice.  Nathan previously exhibited some of his street photography at UnionDocs\, in his showcase Abandoned Brooklyn. He has exhibited his photographs at the Brooklyn Museum\, the Museum of Contemporary African Diasporan Arts\, and in solo shows at the Brooklyn Library and UnionDocs. Nathan is also the Director of Programming for the Brooklyn Film Festival. \nJake Dobkin was born and raised in Brooklyn\, and continues to live there today. He is a documentary photographer focused on urban landscapes. Jake publishes his photographs of street art at Streetsy.com and his own street photography at  Bluejake.com. His photography has been covered by the NY Times\, featured on WNYC: Street Shots\, and has been exhibited at the Factory Fresh Gallery in Bushwick. In his spare time Jake is also the publisher of Gothamist and its network of local websites. \n  \n \nClayton Patterson is a photographer and artist living in the Lower East Side. In 2008\, his life and work were featured in the documentary film Captured \, which states: “Since 1979 Clayton Patterson has dedicated his life to documenting the final era of raw creativity and lawlessness in New York City’s Lower East Side\, a neighborhood famed for art\, music and revolutionary minds.” Clayton’s photography archive numbers in the hundreds of thousands\, and his books include Front Door (2009) and Wildstyle (2003). His work has been widely published and exhibited\, and in 2010\, Clayton appeared in Everybody Street\,  a documentary film about New York street photographers. \n  \nMatt Weber was born in New York City in 1958 and started taking photos while driving a taxi back in 1984. His first monograph – The Urban Prisoner – was published by Sanctuary Books in 2004. His work has been published in Popular Photography\, Photographica\, Hamburger Eyes and many other publications\, and he has had solo exhibits at the Jan Van Der Donk Gallery (NYC) and the Peninsula Arts Center (Newport News). Matt is represented by Harper Levine of East Hampton. \n [/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/new-york-street-photographers/
LOCATION:NY
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2011/02/patrick-downey-IMG_1979union.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20110410T193000
DTEND;TZID=America/New_York:20110410T213000
DTSTAMP:20260617T094652
CREATED:20110221T050000Z
LAST-MODIFIED:20180515T213621Z
UID:10001717-1302463800-1302471000@uniondocs.org
SUMMARY:Vanessa Renwick: The Oregon Department of Kick Ass
DESCRIPTION:[vc_row][vc_column][vc_column_text]Vanessa Renwick is pretty much as punk rock as they come. She’s been self-producing films and videos in her own indomitable style since the early 1980s. Her DIY aesthetic can present a challenge to an indie film scene that sometimes seems to care more about slickness and commercial success than originality of spirit. Which is not to say she can’t be slick when she needs to be. It’s just that with Renwick\, there are no rules; only surprises. \nThis program for UnionDocs is Part One of Renwick’s slam-dunk two-night NYC career retrospective. (Part Two\, focused on newer work\, is at Anthology Film Archives Monday\, April 11). “The Oregon Department of Kickass” is an eclectic sampling of her very best work\, spanning over twenty years and in almost every moving image medium there is. It will be fast and aggressive\, and also slow and contemplative. It will be achingly beautiful and horrifically ugly. Without fail\, however\, it will be seriously intense\, hard to pin down\, and harder to forget. \nAnd the music… Oh\, the music! Renwick has commissioned some of the most badass original scores in the history of no-budget film. This program features scores by some of the Pacific Northwest’s best musicians (Sam Coomes\, Chris Sand\, Tara Jane O’Neil\, Johnne Eschleman\, Donovan Skirvin). Vanessa Renwick does not come to NYC very often\, so this is not an event you’ll want to miss. \nVanessa will also be presenting a different collection of her new work with the Flaherty at Anthology Film Archives on the following Monday\, April 11. \nToxic Shock by Vanessa Renwick\nUSA\, 1983\,  3 minutes\,  16mm \nPenetration up the wazoo\, blood\, fire\, gas\, needles\, tampons\, liquid power and cocktails of the burning sort. My experimental response to sweating out near death with Toxic Shock Syndrome. \nBritton\, South Dakota by Vanessa Renwick\nUSA\, 2003\, 9 minutes\, digital projection \nIvan Besse was the Strand movie theater manager in Britton\, S. Dakota during the Depression. He had a 16mm camera and went about town shooting people at their various activities during the day. The lack of narrative invites dressing these cinematic dolls with futures\, now histories. The melancholic drone of the accompanying organ music tends to lead them into sad tragic finery. \nCrowdog by Vanessa Renwick\nUSA\, 1984-1998\, 7 minutes\, digital projection \nFilmed on super-8 during a 9-month barefoot hitchhiking trip across the US\, this film records filmmaker Renwick’s visit to the Pine Ridge Indian Reservation in South Dakota to investigate the remnants of the FBI’s “Reign of Terror” on the American Indian Movement. On daily walks to the river with her wolf dog she meditates on her experiences as a barefooted person in a shoe-wearing world. \nThe Yodeling Lesson by Vanessa Renwick\nUSA\, 1998\, 3 minutes\, digital projection \nYodeling bagpipe bicycling booty. \nRichart by Vanessa Renwick and Dawn Smallman\nUSA\, 2001\, 23 minutes\, digital projection \nA tour through the mind of obsessive collagist and front yard artist Richard Tracy. While confined to a psychiatric ward at age 50\, “Richart” Tracy made this discovery: “If you want to get out of the hospital – start making art like this. They will get rid of you – fast!” Seventeen years later\, he’s turned three residential lots into a massive black and white maze of his visions. This documentary takes a trip through his yard\, art\, methods and his mind. Wait until you see what he keeps in his basement! \n9 is a secret by Vanessa Renwick \nUSA\, 2002\, 6 minutes\, digital projection \nRenwick recounts a sad time in her life\, when a friend was dying and she suddenly became aware of the presence of crows. The dark birds in turn point her to the practice of counting crows\, which is both a children’s rhyming game and a form of divination in which the number of crows suggests events in the future. Eight crows auger death: nine crows reference a secret. Renwick combines these fragments with glimpses of imagery- a bed\, the crows captures as silhouettes\, a man’s twisted body – to craft a lyrical and moving essay that works its magic through poetic accretion rather than narrative logic. -Holly Willis\, L.A. Weekly \nMighty Tacoma  By Vanessa Renwick\nUSA\, 2011\, 9 minutes\, digital projection \nVanessa Renwick frames the powerful mechanical operations of the industrial tide flats between the languid waters of Puget Sound and the towering splendor of Mount Rainier. Her film honors the ongoing importance of Tacoma as a port city while continually emphasizing the city’s geographical setting. Renwick’s deft balancing of the manmade city and the region’s natural ecosystems illuminate range and qualities of beauty that inform our day-to-day life in Tacoma. Renwick’s dichotomy also serves a gentle but eloquent reminder of the fleeting and miniscule qualities of human endeavor. \nPortrait #1: Cascadia Terminal by Vanessa Renwick\nUSA\, 2005\, 6 minutes\, digital projection \nA mesmerizing stare with a hypnotic score at the most efficient grain terminal at the port of Vancouver\, B.C. \nPortrait #2: Trojan by Vanessa Renwick\nUSA\, 2006\, 5 minutes\, digital projection \nThe astonishing five-minute color film was shot in 35MM and transferred to video\, sporting a perfectly synched musical score by Quasi’s Sam Coomes. No narrative\, just a picturesque haunting reminder of our lives under the totem of a nuclear state. Long defunct\, the monumental tower was imploded earlier this year and Renwick (of Oregon Department of Kick Ass) decided to capture the haunting silhouette that has simply stood there menacingly for years. She calmly documents its demise\, which is very much an anti-climax. The short film adores its subject\, the towering cement structure. Over a varying course of time\, with lapse and stills we view a building painted in pastel light\, stark at night\, at dawn and dusk. Its inevitable course in its history would be told through a moment in time when it was no more. In essence\, the very moment of implosion infers the ultimate destructive potential of its former chilling power. The film\, shot by veteran cameraman Eric Alan Edwards (To Die For\, Copland\, The Break-Up)\, is stunning to watch\, and perfectly blunt. –TJ Norris \nPortrait #3: House of Sound by Vanessa Renwick\nUSA\, 2009\, 11 minutes\,  digital projection \nCircling the empty corner where a historic Portland record store once stood among a strip of black jazz clubs\, Portrait #3: House of Sound is a testimonial to a community and cultural space recently demolished. The beautiful black and white 35mm footage\, subtly tinged with loneliness\, both juxtaposes and compliments the rich\, vibrant voices sampled from a radio broadcast tribute to the record shop. The film moves between laughter\, fond memories\, melancholy and finally\, conviction that despite physical destruction\, the House of Sound will never die. -MIXFEST \nVanessa Renwick is the founder and janitor of the Oregon Department of Kick Ass. Daughter of the American Revolution. Born 1961 in Chicago\, Illinois. Film / Video / Installation artist. Lives in Portland\, Oregon. A filmmaker by nature\, not by stress of research. She puts scholars to rout by solving through Nature’s teaching problems that have fretted their trained minds. Her iconoclastic work reflects an interest in place\, relationships between bodies and landscapes\, and all sorts of borders. Working in experimental and poetic documentary forms\, she produces films\, videos and installations that explore the possibility of hope in contemporary society. She is a naturalist\, born\, not made : a true barefoot\, cinematic rabblerouser\, of grand physique\, calm pulse and a magnetism that demands the most profound attention. Represented by PDX Contemporary Art. \nPresented with: \n \n \n[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/vanessa-renwick-the-oregon-department-of-kick-ass/
LOCATION:NY
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2011/02/racc_black_vert.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20110417T193000
DTEND;TZID=America/New_York:20110417T213000
DTSTAMP:20260617T094652
CREATED:20110401T040000Z
LAST-MODIFIED:20180515T182239Z
UID:10001804-1303068600-1303075800@uniondocs.org
SUMMARY:The Changing World of Long-Form Journalism
DESCRIPTION:[vc_row][vc_column][vc_column_text]In a time of upheaval for the printed word\, we have organized a conversation on the changing landscape of long-form journalism. With panelists from four organizations invested in the future of the form\, we’ll discuss new approaches to funding\, creating\, and distributing long form pieces. We’ll talk about new organizations producing investigative journalism\, new technologies like the iPad for presenting long-form work\, and social media’s impact on how it’s dispersed. We’ll talk about what’s already happened\, what we can look forward to in the future\, and how people in the field will be able to continue to make a living. \nPaul Kiel is a reporter at ProPublica\, where he’s been covering the foreclosure crisis for the last two years. Before ProPublica\, Paul wrote for TPMmuckraker\, Talking Points Memo’s investigative reporting blog\, from 2006 to 2008. TPM’s coverage of the firings of U.S. attorneys and politicization of the Department of Justice won a George Polk Award for legal reporting. Paul was also one of the founding members of UnionDocs. \n  \nProPublica is an independent\, non-profit newsroom that produces investigative journalism in the public interest. In addition to appearing on its website\, many of ProPublica’s stories are offered exclusively to a traditional news organization\, free of charge\, for publication or broadcast. Partners have included Frontline\, The New York Times\, NPR and many others. \nMax Linsky is the co-creator of Longform.org and Zagazine\, an iPad app featuring longform journalism from a host of top magazines in a dedicated reading environment. The former online managing editor for the second-largest chain of alternative weeklies in the country\, Max began his journalism career in Cape Town. He now lives in Brooklyn. \nAaron Lammer is the co-creator of Longform.org and Zagazine\, an iPad app featuring longform journalism from a host of top magazines in a dedicated reading environment. He works as an editor\, ghostwriter\, and web designer\, and is involved with the band Francis and the Lights. He lives in Brooklyn\, NY. \nLongform.org features new and classic non-fiction articles\, curated from across the web\, that are too long and too interesting to be read on a web browser. Launched in April 2010\, the site offers readers an easy way to add top-shelf writing to their phones and tablets using services like Instapaper and Read It Later. Longform.org has been featured by Slate\, New York Magazine\, and The Guardian\, among others. \nThessaly La Force is the web editor of The Paris Review. Before that\, she worked for The New Yorker online\, blogging primarily for The Book Bench. At The Paris Review\, she launched The Daily\, the Review‘s first blog\, and lead the redesign of the quarterly’s Web site. In September of 2010\, The Paris Review made all of their Writers at Work interviews available online. As Dwight Garner\, book critic at The New York Times wrote: “If there’s a better place to lose yourself online right now\, I don’t know what it is.” \nThe Paris Review was founded in Paris in 1953 by Harold L. Humes\, Peter Matthiessen\, and George Plimpton.  “Dear reader\,” William Styron wrote in a letter in the inaugural issue\, “The Paris Review hopes to emphasize creative work—fiction and poetry—not to the exclusion of criticism\, but with the aim in mind of merely removing criticism from the dominating place it holds in most literary magazines and putting it pretty much where it belongs\, i.e.\, somewhere near the back of the book. I think The Paris Review should welcome these people into its pages: the good writers and good poets\, the non-drumbeaters and non-axe-grinders. So long as they’re good.” Decade after decade\, the Review has introduced the important writers of the day. Adrienne Rich was first published in its pages\, as were Philip Roth\, V. S. Naipaul\, T. Coraghessan Boyle\, Mona Simpson\, Edward P. Jones\, and Rick Moody.The magazine was edited by George Plimpton until his death in 2003. Lorin Stein is the current editor. \nEvan Ratliff\, the editor and CEO of The Atavist is an award-winning journalist and contributing editor at Wired magazine. In addition to Wired\, his writing appears in The New Yorker\, Outside\, Men’s Journal\, National Geographic\, and many other publications. He is the co-author of “Safe: The Race to Protect Ourselves in a Newly Dangerous World” (HarperCollins\, 2005). His 2009 Wired story “Vanish\,” about his attempt to disappear and the public’s effort to find him\, was a finalist for the  National Magazine Award for Feature Writing. He is a two-time finalist for the Livingston Award\, and his writing has appeared in numerous anthologies\, including “The Best of Technology Writing” 2006 and 2010\, “The Best American Magazine Writing 2010\,” and “The Best American Nonrequired Writing 2010.” Evan also serves as the story editor for Pop-Up Magazine\, the world’s first live magazine\, which showcases the work of some of the country’s most interesting writers\, documentary filmmakers\, photographers\, and radio producers. \nThe Atavist is a boutique publishing house producing original nonfiction stories for digital\, mobile reading devices. We like to think of Atavist pieces as a new genre of nonfiction\, a digital form that lies in the space between long narrative magazine articles and traditional books and e-books. Publishing them digitally and offering them individually—a bit like music singles in iTunes—allows us to present stories longer and in more depth than typical magazines\, less expensive and more dynamic than traditional books. Each story is available on the iPhone\, iPad\, and iPod (through The Atavist app); on the Kindle and Kindle apps (through Kindle Singles); and on the Nook—with several other platforms launching soon. All of our stories are researched\, reported and crafted by experienced long-form reporters and writers who’ve spent months chasing them down. The topics may vary\, but every Atavist story is a narrative—around a crime\, a scientific mystery\, an adventure\, or any other human drama—with characters and events. Each piece is laced with photography\, sound\, and video\, where appropriate. Each piece will be edited and fact-checked. But Atavist stories aren’t static: Some may evolve in response to our readers\, or simply expand and change as new facts come to light. Fast Company calls The Atavist “a just-right blend of digital and print magazine\,” while Gizmodo says that it “combines text and multimedia in a distinctly new way.” A New York Times reviewer raved that The Atavist “integrates clever tools into the text…without the digressions that normally turn me off ebooks.” \nPresented with: \n[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/the-changing-world-of-long-form-journalism/
LOCATION:NY
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/png:https://uniondocs.org/wp-content/uploads/2011/04/1.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20110418T193000
DTEND;TZID=America/New_York:20110418T223000
DTSTAMP:20260617T094652
CREATED:20110325T040000Z
LAST-MODIFIED:20180515T175953Z
UID:10001801-1303155000-1303165800@uniondocs.org
SUMMARY:Get What You Want: Laurel Nakadate presents with Ruwen Ogien
DESCRIPTION:[vc_row][vc_column][vc_column_text]Prolific video artist\, filmmaker\, and photographer\, Laurel Nakadate will present selections from her recent work in an closed dialogue with philosopher Ruwen Ogien\, known for his compelling\, numerous\, and potentially controversial texts on morality and ethics. Nakadate’s work\, currently on display in a large exhibition at PS1\, often makes significant\, unusual and complicated demands on her real world subjects\, on her art world audience\, and\, just as regularly\, on herself. Questions arise regarding voyeurism\, the power of the camera\, binaries of exploitation and connection in art\, and the social norms of desire. Ogien’s philosophical inquiry will drive the discussion\, referencing his extensive writing on topics such as (bio)ethics\, pornography\, the undesirables in society\, commodification and the body\, and moral panic. \nLaurel Nakadate is a photographer\, video artist and filmmaker. She was born in Austin\, Texas and raised in Ames\, Iowa. She received a B.F.A. from Tufts University and The School of The Museum of Fine Arts\, Boston and an M.F.A. in photography from Yale University. Her work has been exhibited at MoMA\, The Yerba Buena\, The Getty Museum\, and The Reina Sofia. In 2009\, her first feature film\, STAY THE SAME NEVER CHANGE\, premiered at the Sundance Film Festival and went on to be featured in New Directors/ New Films at The Museum of Modern Art and Lincoln Center. Her second feature film\, THE WOLF KNIFE\, premiered at the 2010 Los Angeles Film Festival and was nominated for a 2010 Gotham Independent Film Award and a 2011 Independent Spirit Award. Her solo show\, “Only the Lonely”\, is on view at MoMA P.S.1 until August 8\, 2011. She is represented by Leslie Tonkonow Artworks + Projects and lives in New York City. \nRuwen Ogien holds doctorates in philosophy and in social anthropology. He is a director of research in philosophy at the CNRS and sits on the editorial board of the review Raison Publique. His work builds a non-paternalist\, “minimal ethics”\, which rules out all moral duties to the self and concentrates on the duty not to harm others. \nThis event is part of \n[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/get-what-you-want/
LOCATION:NY
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2011/03/5-e13016789508601.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20110423T193000
DTEND;TZID=America/New_York:20110423T213000
DTSTAMP:20260617T094652
CREATED:20110401T040000Z
LAST-MODIFIED:20180515T170602Z
UID:10001809-1303587000-1303594200@uniondocs.org
SUMMARY:The Film-Makers’ Coop: Chick Docs- I Hate You
DESCRIPTION:[vc_row][vc_column][vc_column_text]Boredom\, murder\, dress-up\, dress-down\, the underworld and the inner world. Angry lost resigned women navigate you through a hormonal roller coaster with this collection of documents of events and emotions. This is a biography of the shadowlands of the female psyche\, with no cause or apology. Curated from the Film-Makers’ Cooperative collection by Jasmine Hirst and Katherine Bauer. \nI Was a Teenage Serial Killer by Sarah Jacobson\nUSA\, 1993\, 27 minutes\, Digital Projection\, Black and White \n \n  \n  \nMary was a good girl until she decides to kill all the “sexist pigs.” She of course encounters many\, of which\, and enjoys killing them. \nPsycho Pussy Slaughter by Katherine Bauer\nUSA\, 2007\, 10 minutes\, Digital Projection \n \n  \n  \nThe Egyptian Goddess Sekhmet is brought back from her long slumber on the wine of the Nile. She is defeated\, shortly after sacrificing several felines and females in her bloody revenant rituals. \nTrailers by Jasmine Hirst\nUSA\, 2011\, 30 minutes\, Digital Projection\, Color and Black and White \n \n  \n  \nI met and filmed Aileen Wuornos on death row in Florida in 1997. We had been corresponding for 5 years when Aileen asked me to film her talking about the truth of her life and crimes as part of her preparation to die. I have been trying to finish this feature length documentary since then. But can’t. There is something wrong with me. Instead I make two minute trailers about other films I’d like to make. This is a trailer of trailers. \nLiar by Anne Hanavan \nUSA\, 2006\, 2 minutes\, Digital Projection \n \n  \n  \nFourth in a series of sexually explicit self portraits where the artist works through issues surrounding her past experiences with sex work\, rape\, and Catholicism. \nHeaven by Linda Dement\nUSA\, 1986\, 3 minutes\, Digital Projection \n \n  \n  \nPunk surreal darkness from the streets of early 1980’s Sydney; artist Jasmine Hirst eats diamonds\, a dead pig’s eye is gouged out\, a girl aims her rifle & shoots while a voice reads from Bataille’s “The Story of the Eye” \nStill Life With Woman and Four Objects by Lynne Sachs\nUSA\, 1986\, 4 minutes\, Digital Projection\, Black and White \n \n  \n  \nA film portrait that falls somewhere between a painting and a prose poem\, a look at a woman’s daily routines and thoughts via an exploration of her as a “character”. By interweaving threads of history and fiction\, the film is also a tribute to a real woman. – Emma Goldman\, 1986 \nTrick Film by Lotta Teasin\nUSA\, 1996\, 6 minutes\, Digital Projection \nActivities at home with the Mistress and her naughty pet. Starring Y.B. naughty and Ima Bottom. \nDeath Love by Katherine Bauer\nUSA\, 2011\, 3 minutes\,  16mm \nA girl digs out of the earth what she has lost. \nDouble Your Pleasure by M. M. Serra\nUSA\, 2002\, 4 minutes\, 16mm\, Black and White  \nSound by Jennifer Reeves. Part of the “Ad It Up” series of shorts that are parodies of commercials. \ni hate you by Michelle Handelman\nUSA\, 2002\, 3 minutes\, Digital Projection \n \n  \n  \nRiffing off of Nauman’s early performance tapes\, Handelman chants this negative affirmation into a song of personal endearment. Simultaneously self- reflexive\, self-conscious\, meditative and pathetically funny. \n  \nJasmine Hirst is an Australian photographic artist and filmmaker who has been living and working in New York City for six years. Jasmine’s art is represented by Illuminated Metropolis Gallery in New York and the Mori Gallery in Sydney. Her film ‘Trailers’ was recently screened at the California Museum of Contemporary Art in Los Angeles and the Horse Hospital Gallery in London to great acclaim. Hirst’s films are collected by the New York Filmmakers Co-op of the New American Cinema Group\, which is the largest archive and distributor of independent and avant-garde films in the world. Hirst’s photographic art and film work has been exhibited internationally\, including at the Casa Del Pane in Milan\, Sprengel Museum in Hanover\, Bulletspace Gallery and Gene Frankel Theater in New York and Perth Institute of Contemporary Art. Hirst is currently completing a feature length documentary about Aileen Wuornos (Charlize Theron won the academy award for her portrayal of Aileen in ‘Monster’)\, who she filmed on death row and corresponded with for 10 years until her execution. Jasmine’s photographic and film work delves into the darkest recesses of humanity’s most ferocious wounds: abuse\, broken hearts\, suicide and murder. Jasmine makes art to try make sense of the senselessness and brutality of this world. \n  \nKatherine Bauer is an artist who works primarily with 16mm film. She often uses film in a way that incorporates sculpture\, photography and installation. Much of her work uses mythologies and narratives adapted from her travels across the United States and Southeastern Asia. The materiality of celluloid is important to her work\, giving bodily presence to her themes of decay\, sex and horror. Katherine received a BA from Bard College where she majored in Film and Electronic Arts. She is currently working on a MFA from NYU in Studio Art where she also teaches 16mm filmmaking. Her work has been shown across the United States in a variety of venues and galleries. Recently she has performed or shown work at the Knitting Factory\, NYU Rosenburg Gallery\, Anthology Film Archives\, Nicole Fiacco Gallery\, Kimmerich Gallery\, St. Cecilias Convent\, Work Gallery\, The Bruce High Quality Foundation University\, Unsmoke Systems Gallery in Braddock\, New York Underground Film Festival\, Television Access Gallery in San Francisco\, Mono No Aware among others. Her films are available for rent from The Film-Makers Cooperative in New York City. \nPresented With: \n[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/the-film-makers-coop-chick-docs-i-hate-you/
LOCATION:NY
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2011/04/SerialKiller.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20110430T193000
DTEND;TZID=America/New_York:20110430T213000
DTSTAMP:20260617T094652
CREATED:20110411T040000Z
LAST-MODIFIED:20180508T175128Z
UID:10002253-1304191800-1304199000@uniondocs.org
SUMMARY:1 Hour - 99 Years & Eve and Adam with Negin Kianfar
DESCRIPTION:[vc_row][vc_column][vc_column_text] \n1 hour – 99 years by Negin Kianfar\nIran\, 2009\, 49 minutes\, Digital Projection\, Farsi with English subtitles \nFor most young Iranians\, Tehran is a frustrating place to live. The press is censored\, boys and girls are often separated and everything that has to do with sex is taboo. \nWith sixty percent of the population under the age of thirty\, authorities are getting more aware of the problems young people face. Sighe\, a temporary marriage for between 1 hour and 99 years\, could be a way to release some of the frustrations and give young people some room in this country where extra-marital sex remains out of the question.. Even though some influential people try to promote temporary marriages\, the issue has triggered heated debates\, as many see it as legalized prostitution. \nIn 1 hour – 99 years we follow two young people who have entered into a temporary marriage. Both Sahab and Maryam are surprisingly closed and honest about the topic and show us the pros and cons. A heated discussion between Sahab and his mother illustrates there are very different views on the issue\, even within one family. While Sahab believes Sighe is a good opportunity for young people\, his mother finds it a hypocritical and unacceptable practice. Maryam\, a divorced woman with a young son\, shows that doing a temporary marriage is sometimes the only way to stay off the street in this country where there is hardly any social support system. \nWe meet a popular Mullah in the Southern suburbs of Tehran who legalizes temporary marriages\, and a matchmaker in Iran’s religious centre Qom. 1 hour – 99 years gives an intriguing insight into the lives of people in this young\, frustrated and confused society and the way old religious practices like Sighe are being used in an attempt to solve contemporary problems. \nEve and Adam By Negin Kianfar\nIran\, 2009\, 20 minutes\, Digital Projection\, Farsi with English subtitles \n \n  \n  \nNegrin Kianfar’s latest documentary follows an elderly Iranian couple in their nineties keen on environment protection\, as they try to clean up Tehran. Deeply concerned with the environment they live in\, they begin a non-government organization to protect their city. In the busy and overcrowded Iranian capital\, they start by helping the council educate people in recycling. Not too many people are interested in what they have started but nevertheless they keep on organizing seminars in Tehran University\, even if only 5 people join. After decades of determination and hard work\, Eve and Adam finally see their efforts begin to make a difference. \n  \nSpecial thanks to Stranger than Fiction. \nNegin was ten years old when Ayatollah Khomeni returned to Iran and vividly remembers the revolution and the various impacts it had and continues to have on her life and the lives of her family and friends. She has continued to work on a variety of incredibly important issues and has had a rather colorful career in post revolution\, contemporary Iran. \nIn the late eighties Negin started working at the state owned IRIB (Islamic Republic of Iran Broadcasting) and the Ministry of Culture. Her job was unusual and brought her quick fame\, making her almost household voice in Tehran. In a highly censored environment she started doing voice-overs for Hollywood films in Farsi—re-packaged at the Ministry and made ‘”safe” for Iranian consumption. \nDuring a two decade period Negin was the voice of Uma Thurman for “Pulp Fiction” and “Kill Bill”\, Meryl Streep for “Kramer vs. Kramer”\, Cate Blanchett for “Lord of the Rings” and “Aviator” \, Halle Berry for “ James Bond-Die Another Day” and many more. She has been seen how the various software used by the Iranian state turn sleeveless tops and skirts into Islamically acceptable clothing and how kisses are edited at exactly the right moment. \nNegin has spent her entire life in Iran\, leaving the country for the first time when she was 12 for a vacation to Turkey (Iranians don’t need visa’s for Turkey) and visiting a Western country for the first time only a little over a decade ago. She has been an active blogger and writer about her daily life and her many lives in Tehran—for various European outlets. \nShe has during these years continued to produce remarkable documentary films\, which can never been shown publicly in Iran. Like the rest of her work—Negin’s films are made with a very unique Iranian voice—amongst other things–a divorced\, heterosexual woman pushing the boundaries of state sanctioned misogyny to probe the many schizophrenia’s of sexual life in a country where morality is policed by a deeply religious and profoundly mistrusted regime. While there have been many films about Iran’s transsexuals or its Shia sanctioned concept of “Sigeh”—there have been none made by a born and raised Tehran local. \nNegin was awarded three gold coins (roughly worth a thousand dollars) by the Iranian Ministry of Culture in February last year for being the “Best Dubbing Actress” under their “New Generation Talent” category\, an award that meant a big deal to her parents who were especially proud of the certificate that came with it. Negin has very mixed feelings about the recognition. \nParvez Sharma is a New York based writer and filmmaker. His first feature\, which he directed and produced\, “A Jihad for Love” is an international phenomenon with an estimated 8 million viewers in more than 50 nations in the first two years of its release. The leading progressive journal UTNE Reader has named Parvez a “visionary” in its list of “50 Visionaries Who are Changing Your World” in a list headed by the Dalai Lama. He has been featured on Fox\, BBC\, CNN\, MSNBC and much media around the world. His book “My Jihad” (working title) comes out in 2012 (Beacon Press). The film has been premiered at most major international festival venues including a world premier at Toronto International Film Festival and a European premiere (as the closeding film of Panorama Documentary) at the Berlinale. He is a prominent speaker on Muslim issues and has conducted more than 200 live events around the world including many on US campuses which include Stanford\, Berkeley\, UCLA\, USC\, Northwestern\, Yale\, Harvard\, NYU\, Columbia and Chicago University. Parvez is a columnist for The Huffington Post\, The Daily Beast\, The Guardian and CNN-IBN in India. In 2009 his reporting on Iran’s Green Revolution was widely recognized. He has been working closely with Kianfar for many years and they have future writing and film projects in collaboration. \nArteEast presents the works of contemporary artists from the Middle East\, North Africa and their diasporas to a wide audience in order to foster a more complex understanding of the regions’ arts and cultures and to encourage artistic excellence. \nThrough 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. \n  \nPresented with \n \n \n  \n[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/1-hour-99-years-eve-and-adam-with-negin-kianfar/
LOCATION:NY
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/gif:https://uniondocs.org/wp-content/uploads/2011/04/arteeast_banner-e1303755073752.gif
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20110501T203000
DTEND;TZID=America/New_York:20110501T223000
DTSTAMP:20260617T094652
CREATED:20110401T040000Z
LAST-MODIFIED:20180508T170858Z
UID:10001695-1304281800-1304289000@uniondocs.org
SUMMARY:I'm not a documentary but I play one on the internet: a panel on interactive documentary
DESCRIPTION:[vc_row][vc_column][vc_column_text]Documentary filmmakers are seizing the opportunity to use emerging technologies and expand their linear films into digital platforms to engage with audiences in new ways. In this panel\, meet three of the most exciting experts on the subject who have cultivated and perfected the interactive\, digital form as their primary way of representing reality: Berlin-based media artist Florian Thalhofer\, maker of online documentaries and the creator of the Korsakow System -a leading software for the creation of nonlinear documentaries-; Jonathan Harris\, award winning artist behind the We Feel Fine project with a mission to find ways for technology to deepen our understanding of ourselves and our lives; and Fred Ritchin\, Professor at NYU’s Tisch School of the Arts\, author of After Photography\, and director of PixelPress. The panel will be moderated by Hanne-Lovise Skartveit\, film producer with a PhD on Interactive and Hybrid documentary forms. The panel will explore different forms of “Interactive Documentary”\, show examples\, and discuss the possibilities and limits of the formats\, including funding\, audiences and distribution. An event curated by Andre Valentim Almeida and Hanne-Lovise Skartveit. \nFlorian Thalhofer is a Berlin media-artist and documentary-filmmaker. He is the inventor of Korsakow\, a software (and a principle) to create rulebased\, nonlinear and interactive narrations. He made around 15 Korsakow-films\, 4 Korsakow-installations and more than 25 Korsakow-shows. Florian has made countless talks at conferences\, festivals and universities and has run around 40 one-week workshops around the world. He was a guest-professor at the German Literature-Institute Leipzig (DLL)\, lecturer at University of the Arts\, Department of Experimental Media-Design and lecturer at the DFFB. \n  \nFred Ritchin is professor of Photography & Imaging at New York University’s Tisch School of the Arts\, and author of the recently published After Photography (2009) on the potentials for new image strategies in the digital era. He has been writing about the impact of the digital environment on documentary imagery since 1984. Ritchin is also director and co-founder of PixelPress\, an organization that has collaborated with many human rights organizations on various kinds of media campaigns\, and also experimented with new documentary approaches online. The non-linear documentary website he created in 1996 for the New York Times with photographer Gilles Peress\, “Bosnia: Uncertain Paths to Peace\,” was nominated by the Times for a Pulitzer Prize in public service. He has also contributed essays to books such as Under Fire: Great Photographers and Writers in Vietnam\, Sahel: The End of the Road\, In Our Time: The World as Seen by Magnum Photographers\, and Felice Beato: A Photographer on the Eastern Road. \n  \nJonathan Harris makes projects that reimagine how humans relate to technology and to each other. His projects range from building the world’s largest time capsule (with Yahoo!) to documenting an Alaskan Eskimo whale hunt on the Arctic Ocean. He is the co-creator of We Feel Fine. After studying computer science at Princeton University\, he won a 2005 Fabrica fellowship and three Webby Awards. His work has also been recognized by AIGA\, Ars Electronica\, The World Economic Forum (which named him a 2009 Young Global Leader). His work is in the permanent collections of The Museum of Modern Art and The Museum of Fine Arts\, Houston. Jonathan has also been exhibited at Le Centre Pompidou and The Victoria and Albert Museum\, and has appeared on CNN\, NPR\, BBC. He has given talks at Google\, Princeton and Stanford Universities and the TED Conference among others. \n  \nHanne-Lovise Skartveit is a producer who has made documentaries and commercials for UNICEF\, a documentary series for Ecuadorian television\, and an animated interactive documentary. She is currently producing a narrative feature film to be shot in Ecuador in January 2012. She has also directed documentaries and digital art projects\, and in collaboration with the Museum of London and UNESCO\, she edited the book Changes in Museum Practice: New Media\, Refugees and Participation (Berghahn Books\, New York/Oxford\, 2010) on innovative strategies for engaging young voices through media production. She holds a Master in Screenwriting from the University of Bergen\, Norway\, and a PhD in Film and New Media from the same institution. Her PhD thesis explored interactive and hybrid documentary forms. \n  \nAndré Valentim Almeida is an Assistant Professor at the University of Porto\, now pursuing his PhD degree in Interactive Documentary. He has been involved in several video productions\, namely directing the feature documentaries Uma na Bravo Outra na Ditadura and From New York with Love. He was the Scientific Coordinator of a large-scale video and audio training program at the Portuguese News Agency\, spending several months training journalists and editors in the newsroom. Andre\, was part of the 2010-2011 UnionDocs’ Collaborative during which his work has been screened at the MoMA\, the Carpenter Center for Visual Arts (Cambridge)\, and TEDx Brooklyn\, among others. \n[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/im-not-a-documentary-but-i-play-one-on-the-internet-a-panel-on-interactive-documentary/
LOCATION:NY
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2011/04/Photo-23.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20110507T130000
DTEND;TZID=America/New_York:20110508T170000
DTSTAMP:20260617T094652
CREATED:20110401T040000Z
LAST-MODIFIED:20180417T210052Z
UID:10002244-1304773200-1304874000@uniondocs.org
SUMMARY:Fictional Realities: Bringing the Imagination to the Practice of Documentary- A workshop by Lynne Sachs
DESCRIPTION:[vc_row][vc_column][vc_column_text]During our workshop\, we will each create a character that represents a composite of our real and imaginary self. Through a series of writing prompts that will evoke a multitude of responses\, each participant will write a brief diary of things he or she has experienced in the neighborhood around UnionDocs or elsewhere in NYC. For example\, we will each write a confession for an emotional crime our character has committed. We will then describe the crime while the character looks out the window at the city’s landscape. After completing this pen and paper phase of the workshop\, we will go outside to shoot from the perspective of our character. After shooting\, we will put the material into an closed repository from which any one of us could take material. \nWe encourage workshop participants to bring a camera of any kind that can record a moving image. Even cell phone cameras are okay. If you don’t have a camera\, we will provide a shared one for the group. In addition to the art-making side of the workshop\, Lynne will also present related films and short fiction pieces. \n*Following this event we are screening a series of experimental films curated by Lorenzo Gattorna and all workshop participants are welcome to attend this event free of charge. \nLynne Sachs makes films\, videos\, installations and web projects that explore the intricate relationship between personal observations and broader historical experiences by weaving together poetry\, collage\, painting\, politics and layered sound design. Since 1994\, her five essay films have taken her to Vietnam\, Bosnia\, Israel and Germany — sites affected by international war–where she tries to work in the space between a community’s collective memory and her own subjective perceptions. Strongly committed to a dialogue between cinematic theory and practice\, Lynne searches for a rigorous play between image and sound\, pushing the visual and aural textures in her work with each and every new project. Since 2006\, she has collaborated with her partner Mark Street in a series of playful\, mixed-media performance collaborations they call The XY Chromosome Project. In addition to her work with the moving image\, Lynne co-edited the 2009 Millennium Film Journal issue on “Experiments in Documentary”. Supported by fellowships from the Rockefeller and Jerome Foundations and the New York State Council on the Arts\, Lynne’s films have screened at the Museum of Modern Art\, the New York Film Festival\, the Sundance Film Festival and recently in a five film survey at the Buenos Aires Film Festival. In 2010\, the San Francisco Cinematheque published a monograph with four original essays in conjunction with a full retrospective of Lynne’s work. Lynne teaches experimental film and video at New York University and lives in Brooklyn. \nPresented with \n[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/fictional-realities-bringing-the-imagination-to-the-practice-of-documentary-a-workshop-by-lynne-sachs/
LOCATION:NY
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2011/04/SBLogo_2010.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20110507T193000
DTEND;TZID=America/New_York:20110507T213000
DTSTAMP:20260617T094652
CREATED:20110415T040000Z
LAST-MODIFIED:20180417T205838Z
UID:10002259-1304796600-1304803800@uniondocs.org
SUMMARY:Near and Dear: An Album of Experimental Film and Video
DESCRIPTION:[vc_row][vc_column][vc_column_text]”These film and video makers\, close friends and celebrated figures\, were selected for their commonality of embrace with nostalgic environments. This gathering manifests recreations of intimate memories and reflections of the natural world amidst rejuvenated and rejected keepsakes that define these personal testimonies. The exhibition will be an intimate encounter touching upon intuitive as well as structured disciplines and tutelage. A communal kinship and initiative can be found in this cross-generational dialogue amongst moving image practitioners.  Near and Dear is dedicated to Mr. E\, an avid participant of the closed screenings at Millennium Film Workshop\, whose groundbreaking films on 8mm and constant concern for shared viewings have inspired the reasoning and realization of what will take place on this special evening.” -Lorenzo Gattorna\, event curator. \n*Preceding this event we are hosting a workshop regarding experimental filmmaking with Lynne Sachs and all workshop participants are welcome to attend this event free of charge. \nWhat Was Was by David Baker\nUSA\, 2011\, 7 minutes\, digital projection\, Music by Florian Wittenburg \n  \n \n  \n  \nWherein an alphabet of surges and shadows bloom like Rorschach indices\, clouds of indeterminate origin in a continuous refulgent hierophany\, hierophany from the Greek roots “hieros” meaning sacred or holy and “phainein” meaning to reveal or to bring to light. \n“…The true God mimics the universe…debris no longer noticed…Lurking\, the true God literally ambushes reality and us as well…Hence we say\, the true God is in the habit of concealing himself…‘Latent form is the master of obvious form.’” – Philip K.Dick\, Valis \nFor more information about this film’s score\, go here. \nWatercolors by Ann Deborah Levy USA\, 2007\, 13 minutes\, 16mm\, color\, silent\n  \n \n  \n  \nThe surface of a pond serves as a canvas on which nature creates a continually changing painting that mirrors but alters details of the landscape surrounding it. Beginning in late winter\, just before leaves appear on trees\, the film records changes in weather\, foliage\, color and light as reflected on the water over a course of a year. Sunlight falls on the leafless woods on a March afternoon and creates unexpected hues in the water; wind ruffles the water\, creating abstract op art paintings; ice and snow texture shadows that fall on the surface; and light changes color from bright white of early summer to gold in August to cloudy sky on a rainy October day. \nWhat’s Out Tonight is Lost by Phil Solomon USA\, 1983\, 8 minutes\, 16mm\, color\, silent\n  \n \n  \n  \n“Adopting its title from a poem by Edna St. Vincent Millay\, WHAT’S OUT TONIGHT IS LOST is an elegaic film sifting through the unrecoverable. The film is a reflecting pool where vision breaks up. The home we recognize is swallowed in the brume\, the light barely penetrates; and the yellow school bus steals us away\, delivering us into new clouds\, embracing fear. The film has a surface of cracked porcelain and intaglio: the allergic childhood skin of cracks and bruises. This is a film of transubstantiations\, the discorporation of human forms into embers. Air looms and blossoms into solidity and nearness … I hear it breathing…” –Mark MacElhatten \nnight side by Rebecca Meyers USA\, 2009\, 5 minutes\, 16mm\, color\n \n  \n  \n“night side is a tone poem of twilight images\, colors\, and lights that privilege isolation\, even loneliness. Birds appear alone\, perched sentinel-like on winter branches. Interiors\, though absent of human presence\, nevertheless beckon through warmly lit reflections of lamps in windows.” – Tony Pipolo \nVineland by Laura Kraning USA\, 2009\, 10 minutes\, digital projection\n \n  \n  \nVineland is a short experimental documentary filmed at the last drive-in movie theater in Los Angeles\, located in a desolate area called the City of Industry. Floating within a backdrop of smokestacks\, beacon towers\, and passing trains\, dislocated Hollywood images filled with apocalyptic angst are re-framed and reflected through car windows and mirrors as the displacement of the radio broadcast soundtrack collides with the projections upon and surrounding the multiple screens. In Vineland\, the nocturnal landscape is seen as a border zone aglow with dreamlike illusions revealing overlapping realities at the intersection of nostalgia and alienation. \nThe Anatomy of Melancholy by Brian Frye USA\, 1999\, 11 minutes\, 16mm\, black and white\n\n  \n  \n  \nSometime in the 1960s\, a chiropractor from Kansas City directed a short film titled “A Portrait in Fear.” In 1999\, I bought the outtakes from the cinematographer. The poetry came naturally. \nThe Absent One by Peter Buntaine  USA\, 2011\, 6 minutes\, digital projection\n  \n \n  \n  \n  \nA love separated by great distance\, relived in the ruins of memory. An edict; to keep loving. ‘The Absent One’ is a film about loneliness and longing which borrows its title from Roland Barthes’ ‘A Lover’s Discourse.’ It is filmed in two French locations; the mountaintop ruins of Chateau Peyrepertuse (one of the final Cathar strongholds against the Catholic Inquisition) and Europe’s oldest botanical garden\, ‘Le Jardin des Plantes’ (literally ‘Garden of Plants’) in Montepellier. Both locations\, though beautiful\, seemed full of sadness. The epitaph displayed at the end of the film is a cautionary mandate: ‘Live Joyously.’ \nThe Enchanted Forest by Lorenzo Gattorna  USA\, 2011\, 7 minutes\, digital projection\n  \n \n  \n  \n  \nA 16mm portrait that weaves together the beauty of both the abandoned and restored landscapes of the theme park that still remains in Baltimore County. Subtle superimpositions of the vibrant attractions amidst the forgotten forest present the possibility of a nostalgic return to a former glory. The imagery that unfolds is set to the Ave Maria as performed by the Philadelphia Orchestra under the direction of Leopold Stokowski. Many thanks to Clark’s Elioak Farm for their cooperation in the production of this film. \nA Love Supremeby Thomas CampbellUSA\, 1995\, 16 minutes\, digital projection\, black and white\n \n  \n  \n  \nWell\, I am not a huge fan of using words to describe art and every time I am asked to write an artist statement my gut instinct is just to say\, “Um\, I make stuff.” And in reality that is what I do. I am a creative person by nature and by trial and error — and I just enjoy adapting to different creative scenarios and moving with them. If I was arm wrestled into stating what my work is about…I would say that the basic theme’s are affirmational in a self-referential sense…sometimes addressing personal or societal issues as simple reflection\, just to say get your stuff together\, don’t be a turd or just be thankful for what is — and usually having. In general\, I really rather people have there own unhindered experience with the work\, than with so much back story… \nDavid Baker is a painter and filmmaker. He divides his time between New York City and a 148 year-old brick schoolhouse located one hundred miles north of the city on the Hudson River. \nHe has exhibited his paintings at the Tony Shafrazi\, Annina Nosei\, Tibor de Nagy\, John Good and Postmasters galleries in NYC as well as in Tampa\, FL and at the S.L. Simpson Gallery in Toronto. A catalog of a show entitled “Avatars of the Tortoise” was published by the University of South Florida with an essay by Jerry Saltz. Baker’s paintings have been written about in Artforum\, Arts Magazine and the New York Times. Baker has written articles for Detour Magazine on Jack Smith and Willem De Kooning’s late paintings. \nBaker’s films and videos have been shown in two “Personal Cinema” programs at the Millennium Film Workshop in New York City (2008\, 2010). He has also shown his work in Lorenzo Gattorna and Peter Buntaine’s curatorial project “The Experiment” at Maysles Cinema in Harlem \, NYC. Baker showed “Ten Tha” in the 2009 Migrating Forms Film Festival as part of “Void For Film”\, a seven hour screening of imageless cinema. On Jan. 3\, 2010\, Baker’s film “A Secret Location On Seventh Avenue” was part of Brian McCarthy’s program “The Lure Of Space\,Part 1”. at Union Docs. Baker participated in the E.P.I.C. (Extreme Private Intimate Cinema) program during the 2010 Migrating Forms Festival. Three of his digital films were shown at the 2010 Milwaukee Underground Film Festival: “The Subterraneans”\, “Ab Ovo”\, and “Sotto Voce”. In November of 2010 he was part of a program called “New Forms In Moving Picture Art” at Microscope Gallery in Bushwick\, Brooklyn NY along with Ken Jacobs\, Richard Garet\, Nisi Jacobs and Michael Schumacher. From Feb.13-27\, 2011 Baker was included in a group exhibition entitled “What Tornado” also at Microscope Gallery. \nWhen he isn’t working\, the artist can be found somewhere on the Hudson River between the Kingston Rhinecliff Bridge and the Rip Van Winkle Bridge in Catskill paddling a West Greenland style kayak or more probably out in his play boat on any of numerous Class 4 water courses. \nLorenzo Gattorna is an experimental documentary filmmaker and curator residing in New York City. For almost three years\, he has programmed screenings for Maysles Cinema of Harlem and UnionDocs of Brooklyn. Past program credits include Missing Allen/The Grandfather Trilogy\, New York(er) Shorts\, The Playing Field and The Experiment. Since 2009 he has co-curated a regular series\, The Experiment\, at Maysles Cinema that screens experimental work exploring the borderland between the ‘experimental’ and ‘documentary’ genres of cinema. Recently he participated in the Migrating Forms E.P.I.C. artist dialogue series and presented his work at NYU’s Experimental Film Workshop as a visiting artist. His 16mm films produced within the last five years have realized personal sentiments through rhythmic interpretations of natural landscape and body language. He has previously worked for Millennium Film Workshop as a Manager of Operations and received grants from Warner Brothers and The Malcolm Ross Memorial Foundation. Lorenzo Gattorna continues the promotion of alternative approaches to cinema through personal productions and public exhibitions. \nAnn Deborah Levy is an artist and filmmaker based in New York. Though originally trained as a painter\, she has also made photographs and installations\, designed and performed in experimental theater\, and more recently made films. She has been a recipient of fellowships to both Yaddo and the MacDowell Colony.  Her films have screened in festivals\, art galleries\, and alternative venues in the U.S. and Europe.  Her latest films are Watercolors and its longer companion piece\, Waterscape: illusions\, a meditation on myth and reality that deconstructs the documentary filmmaking process\, revealing it as another form of “illusion-making.”  She is currently at work on two digital video projects that explore what travelers record in images\, diaries\, and letters.[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/lorenzo-gattorna-presents-experimental-documentary-shorts/
LOCATION:NY
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/png:https://uniondocs.org/wp-content/uploads/2011/04/the-anatomy-of-melancholy.png
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20110508T193000
DTEND;TZID=America/New_York:20110508T213000
DTSTAMP:20260617T094652
CREATED:20110404T040000Z
LAST-MODIFIED:20180417T204935Z
UID:10002251-1304883000-1304890200@uniondocs.org
SUMMARY:Video Objects: Contemporary Czech cinema from PAF\, Festival of Film Animation
DESCRIPTION:[vc_row][vc_column][vc_column_text]Comprised entirely of works made in the Czech Republic in the past five years\, the video selection Objects of Video was prepared by the PAF Festival for Audiovisual Arts. The program displays contemporary Czech animation as well as a pattern of current tendencies towards manipulation of the image in the gallery and cinema environment. The title Objects of Video was chosen so as to represent its three integral parts; film\, photography\, and sculpture. The videos will be screened and discussed by Czech artists and curators. \nVideo Objects represents various forms of manipulated animations. The first part is based on experimental and fiction film in the form of historical allusions or citations. These allusions are employed to construct new meaning\, missing the fictional basis and thus tending towards image abstraction. The second part of the program presents videos featuring a sculpture or a sculptural concept further “formed” in the video. By means of framing and simple editing\, a documentation that shifts the meaning of the original “sculptural” works is frequently produced. The third part of the program is comprised of several videos employing stage-managed or documentary photography. As static elements\, the photographs are examined as such or are projected in the form of a slide-show\, a presentation or image destruction. \nSpecial thanks to Irena Kovarova and Andrew Lampert. \nPart 1: Historical Allusions\,  22 minutes\nPhilipsBy Jirí Thýn  2010 \nAbsolut Richetr by Matej Strnad \n2009 \nDiegoby Martin Kohout \n2009 \nYou Don’t Want Me You Just Like the Attentionby Dominik Gajarský \n2010 \nPart 2: Sculptural Conceptions\, 32 minutes\nMoving In\, Moving Out; Krabicovanie by Pavla Sceranková 2008 \nPractice Solo part 1 & 2by Roman Štetina 2010 \nBefore the Seaby Filip Cenek & Tereza Sochorová 2009 \nPart 3: Static Photography\,  28 minutes\nUntitled by Vilém Novák 2010 \nDie Grenze by Katerina Držková 2007 \n… You’re Telling Me That the Future Continues in the Past? by Viktor Takáe 2008 \nPassenget Trainby Michal Pechoucek 2005 \nLost Architect by Daniel Pitín 2009 \nAlexandr Jancík is the director of PAF\, a theorist and cinema historian at Palacký University\, and the editor of Olomouc. Heis credited with the curation of; On-line database (research)\, Polyekran (program)\, and  Aport Animation (concept). \nMartin Mazanec is the program manager of PAF\, a curator and media theorist\, and an editor for FAMU Prague. He curated the following; Live Animation: Color Music (program and reader)\, Valie Export (program with artist)\, The Object of Animation\, Third Sense (exhibition) and the book Peter Kubelka. \nFilip Cenek is a visual artist and curator. He works at the Intermedia Department\, FAVU (Brno)\, and has showcased his work in the following exhibits; L’immagine leggera (Palerm)\, Centre Pompidou (Paris)\, and EMAF (Osnabruck)\, among others. \nDominik Gajarský  is a visual artist and a musician. His work has been shown at the following exhibits; Gallery Petrohrad (Pilsen)\, Gallery AVU (Prague)\, and Karlin Studios (Prague)\, among others. \nRoman Štetina is a visual artist\, musician\, and radio programmer. His work has been shown at the following exhibits; Meetfactory (Prague)\, Space Gallery (Bratislava)\, and the Pavilon Art Gallery (Prague)\, among others. \nJirí Thýn is a visual artist and photographer based in Prague. His work has been shown in the following exhibits; Prague City Gallery\, Old Town Hall (Prague)\, MoCP (Chicago)\, Gallery of Young Artists\, and the Galerie u dobrého Pastyr?e (Brno). \nPresented with \n[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/video-objects-contemporary-czech-cinema-from-the-paf-animation-festival/
LOCATION:NY
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2011/04/PAF-logo.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20110514T180000
DTEND;TZID=America/New_York:20110514T200000
DTSTAMP:20260617T094652
CREATED:20110304T050000Z
LAST-MODIFIED:20180424T185246Z
UID:10001795-1305396000-1305403200@uniondocs.org
SUMMARY:Player Hating: A Love Story with Maggie Hadleigh-West
DESCRIPTION:[vc_row][vc_column][vc_column_text] \nOnline pre-sale tickets are almost out. There will be a limited number of walk up tickets available night of the show. Please arrive early to get a seat.\nPlayer Hating: A Love Storyby Maggie Hadleigh-West\nUSA\, 2010\, 95 minutes\, Digital Projection \nHalf-a-Mill is a 26 year old Hip Hop artist making rhymes from the Albany Projects in Crown Heights\, Brooklyn. He has a good sound\, he’s talented and hungry to get out of the projects to make a life for himself and his family. But so is everyone else in the projects. Welcome to Player Hating: a carcinogenic industry affliction of jealousy and back stabbing that consumes anyone struggling towards success. With family and loved ones dying all around him\, Half-a-Mill has to defeat Player Hating if he has any chance of making it out. Maggie Hadleigh-West’s unflinching vérité doc tracks Half-a-Mill during the recording processes of his first album and delves deep into the wild underworld of the recording industry. Life in the ‘hood is short\, cheap and dangerous. The beautiful thing about this film is it emphasises this world we rarely see is the world that makes the music what it is. The film’s raw authenticity makes use of the exceptional access allowing a very rare insight into the Player Hating game and exposes audiences to the immense competition\, courage and pain of existence artists feel on the social and musical fringes. — Sheffield Doc/Fest \n“Player Hating IS NOT just another hip hop movie. Maggie gained unprecedented access and insight into the reality of ‘thug life”\, and I believe that this is going to be THE DOCUMENT of a time and place in American life.” -Peter Sprier\, Academy Award Nominated Filmmaker and CEO of Rugged Entertainment” \nMaggie Hadleigh-West is an internationally recognized independent filmmaker\, activist and an inspirational public speaker. She has been writing\, directing and producing in film\, television and for corporations since 1991.Her work is often considered to be controversial\, provocative\, radical and irreverent. \nMaggie is particularly adept at creating original programming for television and the Internet\, which is content laden and character driven. Her independent films\, employ arresting cinematic styles and social justice messages. As a Producer for television\, her work has included researching\, writing and producing original segments for Dateline NBC\, Life Time Television\, Independent Film Channel and more.Maggie’s films and presentations have been used around the world in theaters\, the Internet\, broadcast television\, cable outlets\, nonprofit organizations\, conferences\, corporations\, colleges and government agencies\, including the Departments of Defense\, Justice and State. \nIn 2009\, 2006 and 2005 Maggie was an Alcyon Grantee\, a 2004 New York State Council on the Arts Grantee\, 2001 University of Louisville Distinguished Professor Nominee\, 2000 Rockefeller Fellow Nominee\, 2000 Tiny Tony Award Winner and nominee of the 1998 Caligari Prize at the Berlin Film Festival in Germany. She received a Bachelor of Arts degree with Honors in Visual Communications from George Washington University. She also holds a Master of Fine Arts with a Merit Award from the School of Visual Arts in New York City.[/vc_column_text][vc_video link=”https://vimeo.com/10934387″][/vc_column][/vc_row]
URL:https://uniondocs.org/event/player-hating-a-love-story-with-maggie-hadleigh-west/
LOCATION:NY
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2011/03/member_10283870.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20110515T190000
DTEND;TZID=America/New_York:20110515T210000
DTSTAMP:20260617T094652
CREATED:20110418T040000Z
LAST-MODIFIED:20180424T183615Z
UID:10002267-1305486000-1305493200@uniondocs.org
SUMMARY:Godard's The Kids Play Russia and Pudovkin's Storm Over Asia
DESCRIPTION:[vc_row][vc_column][vc_column_text]Two monuments\, of and to the Soviet silent epic. “I must have everything in its true circumstances\,” said V.I. Pudovkin about his films\, the great innovator of action montage asserting himself some sort of documentarian. But “doesn’t reality have to be worth saving\,” suggests Godard slyly in his video-essay The Kids Play Russia\, “for us to come to its rescue?” Godard\, playing Dostoevsky’s Idiot\, surrounded by Russian dolls\, hawks the Soviet silent cinema that saw truth and fiction as different ways of seeing the same thing. To prove the point\, he sends his DP to Russia\, has her film everyday life\, and edits to synchronize her movements with his\, her hotel’s maids and train rides with each other so that\, somehow\, juxtaposed\, they play out the outlines of Chekhov or Tolstoy. They could be Chekhov’s characters—but that says as much about them as it does about Chekhov’s enduring society. \nA video essay\, a post-script to Histoire(s) du cinema\, The Kids Play Russia reveals Soviet porn and propaganda as potential historical realties and real places and people as items of potential fictions: each\, somehow\, is an abstracted form of the other\, a screen memory to preserve it for posterity. It’s a matter of placing them in context\, or montage. No film makes the point more cruelly than Pudovkin’s masterpiece\, Storm Over Asia\, captured on location in Mongolian markets and festivals. In his action epic of a herdsmen who finds himself heir to Genghis Kahn\, inheritor of an empire\, and model of a bow-tie\, Pudovkin cuts his most spectacular scenes as invocations of nature brewing\, and his most intimate as spectacles of moneyed romance. \nReality or fiction? Everyone becomes capital for melodrama and an all-consuming commodity fetish; the story Pudovkin tells “in its true circumstances\,” is of the lies lived out by men at the thrust of the stories they tell. When Godard asserts with patent foxiness that the West invades Russia “because it is the home of fiction\, and the West doesn’t know what to invent anymore\,” he could be talking about the trek of Pudovkin and his imperialists into the wilderness. —David Phelps \nStorm Over Asia by Vsevolod Pudovkin \nSoviet Union\, 1928\, 16mm\, black and white\, silent \n \n  \n  \n“a film of amazing visual hardness\, lushness\, and vigor\, one of the great works of the Soviet avant-garde”—Chris Fujiwara \nA Mongolian herdsman fights a capitalist fur trader over cheating profits and finds himself puppet king to British imperialists. If they can’t shoot him\, the British conspire as they realize he’s Genghis Khan’s heir\, they can determine him as well by decking him out in tuxedos; all that matters is the maintenance of the image. Pudovkin’s final film in his “revolutionary trilogy” tears through its shots in one of the most sophisticated\, and captivating displays of manic montage; it’s a film that seems to expose its own foundations more incisively at every beat. \n  \nThe Kids Play Russia by Jean-Luc Godard\nFrance/Russia\, 1993\, 60 minutes\, digital projection\, color and black and white\, with subtitles. \n \n  \n  \nOne of Godard’s rarest and very best\, this essay-thriller-comedy on Soviet films and Russian invasion starts with a film reel punning as a plane’s propeller\, watches modern Russia and Soviet films through Godard’s oracular Kino-Eye\, and is perhaps his clearest statement of intent that fiction\, as he says\, is only an arrangement of reality. Or rather that fiction’s in the beholder’s eyes. Film is linked to flying\, flying to uprising\, uprising to Chekhov’s Seagull\, the projection of film to the projection of ideas; Godard scouts for people and motions as potential masses that might have taken shape\, in an author’s eyes\, as stories. Anna Karenina is filmed in modern-day as a woman walks along the train tracks; Chekhov is acted on a backyard swing-set. \n  \nSpecial thanks to Seagull Films. \nJohn MacKay is Professor of Slavic Languages and Literatures and Chair of Film Studies at Yale University. He is the author of Inscription and Modernity: From Wordsworth to Mandelstam\, Four Russian Serf Narratives\, and numerous articles and translations. His book on Dziga Vertov’s life and work is forthcoming from Indiana University Press. \n \nDavid Phelps is a New York-based film critic for mubi.com; he has contributed to various publications\, including Cinema Scope\, Film Comment\, The L Magazine\, BOMB\, and Slant\, and translated for various sites. \n[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/storm-over-asia-and-the-kids-play-russia/
LOCATION:NY
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2011/04/pudovkinsoa.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20110520T203000
DTEND;TZID=America/New_York:20110521T170000
DTSTAMP:20260617T094652
CREATED:20110425T040000Z
LAST-MODIFIED:20180424T175047Z
UID:10002269-1305923400-1305997200@uniondocs.org
SUMMARY:Mono No Aware S8mm & 16mm Filmmaking Workshops Screening and Party
DESCRIPTION:Come and see the finished film works of our Super 8 mm and 16 mm filmmaking workshop participants! Inspired film works projected and presented by the filmmakers. Afterwards\, we’ll be celebrating with the Mono No Aware group as well as many of the participants so come to the screening or come out to the party at 10pm for drinks and dancing! \nFinished works from the following classes will be screened. \nSUPER 8 MM FILMMAKING \nInstructor – Lucas Millard \nStudents in this class covered all aspects of Super-8mm filmmaking from cameras\, angle\, story\, timing\, lighting\, editing and sound. All students have conceived\, shot\, and edited their own silent one reel films. \n16 MM FILMMAKING 101 \nInstructor: Katherine Bauer \nIn this class students learned 16 mm filmmaking techniques from start to finish. Students conceived\, directed\, shot\, and splice edited short films on 16 mm. \nPINHOLE CAMERA FILMMAKING \nInstructor – Steve Cossman \nThrough modification of the Bolex 16 mm camera\, students created a pinhole effect and shot footage with the beautiful vignetting effects only a pinhole camera can bring.
URL:https://uniondocs.org/event/mono-no-aware-filmmaking-workshops-screening-and-party-2/
LOCATION:NY
CATEGORIES:Workshops & Labs
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20110522T193000
DTEND;TZID=America/New_York:20110522T213000
DTSTAMP:20260617T094652
CREATED:20110429T040000Z
LAST-MODIFIED:20180424T174707Z
UID:10001698-1306092600-1306099800@uniondocs.org
SUMMARY:Kiarostami Kids: ABC Africa and shorts
DESCRIPTION:[vc_row][vc_column][vc_column_text]Long before he made his meta-masterful excursion to Tuscany with Juliette Binoche (Certified Copy)\, the great Iranian director Abbas Kiarostami honed his skills writing and directing instructional shorts for Iran’s Institute for the Intellectual Development of Children and Young Adults (IIDCYA). His talent for eliciting superb child performances is evident right from his debut—the sublime\, deceptively straightforward Bread and Alley (1970)\, which we’re screening here with two other IIDCYA shorts\, Breaktime (1972) and Two Solutions for One Problem (1975). Those expecting “duck and cover”-like propaganda will be surprised by the films’ emotional directness and philosophical complexity. They are poems in motion\, with no facile resolutions. We’ve also programmed Kiarostami’s ABC Africa (2001)\, his first video feature (shot on consumer-grade cameras)\, which takes an intimate look at Africa’s AIDS crisis. Surprisingly\, the tone is often buoyant\, especially whenever children are onscreen. The juxtaposition of their curious play with the ceaseless devastation surrounding them is deeply affecting.-Keith Uhlich \nABC Africa by Abbas Kiarostami\nIran/Uganda\, 2001\, 84 minutes\, 16mm\, English and Farsi with English subtitles. \nA documentary shot on digital video about the ravages of AIDS and civil war in Uganda\, may seem at first like a radical departure for the director of “Taste of Cherry” and “The Wind Will Carry Us”.  But one of the most remarkable things about “ABC Africa” is the way Iran’s most celebrated autuer makes such unlikely material very much his own.  Invited by the UN’s International Fund for Agricultural Development  to shoot a documentary about Uganda’s orphans\, Kiarostami and his cameraman Seifollah Samadian travelled around the country scouting locations\, using mini-dv cameras to make visual notes.  In true Kiarostami style\, these jottings become the movie itself: an impressionistic\, deceptively simple record of a visit\, a journey\, and a people struggling to survive.  Most strongly reminiscent of “And Life Goes On…” (in which a filmmaker journeys to the site of a devastating earthquake)\, “ABC Africa” is full of echoes of his previous films: the hypnotic  tracking shots from car windows\, the dirt-road villages\, and especially the emphasis on the resilience and resourcefulness of children.  Out of a population of 22 million\, Uganda has 2 million people infected with HIV\, 2 million already dead\, and 1.6 million orphans\, and\, over the course of the ten day visit\, Kiarostami comes across many heart-breaking sights (a child’s body being wrapped in cardboard; a village where al the men have dies)  Yet “ABC Africa” is ultimately an optimistic film\, full of smiling faces\, and\, above all\, full of music–heard on the street\, played on car radios\, and sung rapturously in school yards. \nBread and Alley\nIran\, 1970\, 10 minutes\, digital projection \n  \nKiarostami’s debut: A (not-so) simple tale of boy vs. dog. \nBreaktimeIran\, 1972\, 14 minutes\, digital projection\nIt ain’t easy being a soccer-lover\, in school or out. \nTwo Solutions for One ProblemIran\, 1975\, 4 minutes\, digital projection\nThe problem: A ripped notebook. Two (equally valid?) solutions. \n Aaron Cutler has written about Kiarostami for Cineaste\, Moving Image Source\, and Slant Magazine. He lived in New York for three years while earning an MFA in Nonfiction Writing at Columbia before moving to São Paulo\, where he currently lives. His film writings can be found at here. \n  \nKeith Uhlich is a staff film critic at Time Out New York and the editor of The House Next Door\, the official blog of Slant Magazine. \n  \n  \nPresented with \n[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/abc-africa/
LOCATION:NY
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2011/04/NYer-logo-sm.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20110528T193000
DTEND;TZID=America/New_York:20110528T213000
DTSTAMP:20260617T094652
CREATED:20110506T040000Z
LAST-MODIFIED:20180424T171843Z
UID:10001702-1306611000-1306618200@uniondocs.org
SUMMARY:Cineaste Magazine: One Man's War
DESCRIPTION:[vc_row][vc_column][vc_column_text] \nOne Man’s War (La Guerre d’un seul homme) by Edgardo Cozarinsky Argentina/France\, 1981\, 105 mins\, B&W\, In French with English subtitles\n“A frightening descent into the garbage can of history” -New York Film Festival. “The basis of my film\,” writes Argentine-born director Edgardo Cozarinsky\, “is an idea of Walter Benjamin’s to write a book consisting entirely of quotations. I wanted to let quotations talk to each other\, so that by the process of confrontation alone they would say more.” Juxtaposing German writer and army officer Ernst Jünger’s Paris Diaries\, which describe German-occupied Paris\, with French newsreel footage of the period\, “Aryan” music by Hans Pfiltzner and Richard Strauss\, and “degenerate” music by Arnold Schönberg and Franz Schreker\, Cozarinsky creates a “documentary fiction\,” finding each in the other. With this collage of quotations\, he is concerned not with delineating a historically accurate portrait of the time\, but rather with creating a sense of the web of lies\, half-truths\, and deceptions spun by both the mass media and private individuals.” –Kathy Geritz\, Pacific Film Archive \nSpecial thanks to Cindi Rowell. \n  \nEdgardo Cozarinsky was born in Buenos Aires in 1939. Writer and filmmaker\, among his books are La novia de Odessa (2002)\, El rufián moldavo (2004) and Lejos de dónde (2009). Some of his films are One Man’s War (1982)\, Sunset Boulevards (1992)\, Le Violon de Rothschild (1996) and Night Watch (2005). \nRobert O. Paxton is a Mellon Professor Emeritus of Social Science at Columbia University. He specializes in the social and political history of Modern Europe\, particularly Vichy France during the World War II era. Paxton has worked on two issues within the general area of modern European history: France during the Nazi occupation of 1940-1944; and the rise and spread of fascism. He was the first in the 1960s and 1970s to establish\, on the basis of German archives\, the active collaboration of Vichy France within Hitler’s Europe\, a finding received coolly at first in France and now largely accepted. He continues to speak\, write\, and research in these fields. In 2009 he served as guest curator for an exhibition at the New York Public Library entitled “Between Collaboration and Resistance: French Literary Life Under Nazi Occupation.” He has published several books\, including Vichy France: Old Guard and New Order\, 1940-1944 (2nd edition\, 2001) and The Anatomy of Fascism (2004)\, and contributed to the liner notes for Criterion’s home video release of Jean-Pierre Melville’s Army of Shadows (1969). You can read his film essay on the Criterion Collection website. \nPresented with \n \n[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/cineaste-magazine-one-mans-war/
LOCATION:NY
CATEGORIES:Screenings & Events
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20110604T193000
DTEND;TZID=America/New_York:20110604T213000
DTSTAMP:20260617T094652
CREATED:20110228T050000Z
LAST-MODIFIED:20180312T203103Z
UID:10001791-1307215800-1307223000@uniondocs.org
SUMMARY:Wasteland Utopias with David Sherman
DESCRIPTION:[vc_row][vc_column][vc_column_text]Wasteland Utopias explores the intersection of two radically different utopian thinkers: mega-developer Del Webb and outsider psychiatrist/naturalist Wilhelm Reich. Each found his way into southern Arizona’s Sonoran Desert in the late 1950s—Webb building his colossal\, panoptically-planned retirement community Sun City and Reich conducting his weather manipulation experiments using Orgone Energy. This unlikely pairing provokes a hallucinatory\, magic-conceptualist examination of the disintegrating fabric that connects man with nature\, evoking questions about both ecological and social sustainability. Using found footage\, documentary interviews\, and narrative tableaux\, the film interweaves contradictory narratives and critically poetic observations. By juxtaposing these two thinkers—who represent ostensibly opposing visions of a still-undefined future—Sherman asks viewers to consider a multiplicity of perspectives on our endangered natural and social environments. \n\n\nWasteland Utopias by David Sherman\nUSA\, 2010\, 91 minutes\, Digital projection \nThis cine-essay probes the unlikely 1950’s meeting of outsider psychiatrist/naturalist Wilhelm Reich. and mega-developer Del Webb in the Arizona’s Sonoran Desert prompting a contemporary examination of environmental and psychological sustainability. \n“Masterpiece”-Craig Baldwin \n“It’s rare to see a film whose aesthetic principles so elementally parallel the subjects they intend to depict.”-Owen O’Toole\, Wide closed Cinema \nScreenings:  \nAnn Arbor Film Festival \nChicago Underground Film Festival \nHidden Cinema of the Southwest \nMexico Symposium \nEuropean Media Arts Festival \n  \n  \nDavid Sherman is a filmmaker and media artist\, whose appropriation and collage based\, experimental films and videos have been exhibited extensively at film festivals\, museums and alternative venues throughout the world. Sherman’s 2010 feature cine–essay Wasteland Utopias premiered at the Ann Arbor Film Festival. His 2002 experimental documentary To Re-edit the World premiered at the San Francisco International Film. Sherman’s Tuning the Sleeping Machine was included in the 1997 Whitney Biennial and The New York Film Festival. He co-founded Total Mobile Home the world’s first microcinema in San Francisco in 1993. Sherman has been Administrative Director of Canyon Cinema and was a Professor of Media Arts at California College of the Arts. He currently resides in Bisbee\, AZ. \nPaul Roth is the Executive Director of the Richard Avedon Foundation. Prior to that\, Roth served as senior curator of photograph and media arts at the Corcoran Gallery of Art\, one of the most respected American institutions for the exhibition of photography since the 1970s. During his 14-year tenure at the museum\, from 1995 through 2009\, he served as assistant and associate curator before becoming the Corcoran’s lead photography curator in 2006. While there Roth helped to organize more than 50 exhibitions. His recent projects include American Falls: Phil Solomon (2010)\, Edward Burtynsky: Oil (2009)\, Richard Avedon: Portraits of Power (2008)\, and Sally Mann: What Remains (2004). Roth previously held curatorial positions at the National Gallery of Art in Washington\, where he was archivist for the Robert Frank Collection\, and at the Center for Creative Photography in Tucson\, Arizona\, where he was the Ansel Adams Fellow. He has organized film series for the National Gallery of Art\, including the major retrospectives I…Dreaming: The Visionary Cinema of Stan Brakhage (2002)\, and The Films of Gordon Parks (1997). He has also been a teacher of film history at St. Mary’s College of Maryland and at the Corcoran College of Art and Design. Roth has written on photography and film for The Nation\, The Washington Post\, Katalog\, and Photo Review\, among other publications.[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/wasteland-utopias-with-david-sherman/
LOCATION:NY
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2011/02/19.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20110605T190000
DTEND;TZID=America/New_York:20110605T210000
DTSTAMP:20260617T094652
CREATED:20110509T040000Z
LAST-MODIFIED:20180312T204224Z
UID:10001707-1307300400-1307307600@uniondocs.org
SUMMARY:Landscape & Portraiture: Films by Jon Beacham\, Peter Hutton\, and Larry Jordan
DESCRIPTION:[vc_row][vc_column][vc_column_text]This program focuses on the films and interdisciplinary works of Jon Beacham who is working in the mediums of film\, letterpress printing\, collage and photography. The program will include a screening outside in back of Union Docs\, and an indoor gallery installation of work. The focus of the film program is on landscape and the idea of portraiture while thinking on landscapes. Three short films; Return\, The Last Roll of Kodachrome and What I Saw on the Periphery: A Film in VIII Parts will be screened by Beacham\, along with New York Portrait No. 1 by Peter Hutton\, and Triptych in Four Parts by Larry Jordan. These two films chosen for the screening by Beacham are influential works that explore ideas of recording place\, and what is possible as a “portrait” compared to our usual sense of the word. \nA gathering of other media including collage\, photography and letterpress will also be on view. Over this past winter while Beacham was editing the film What I Saw on the Periphery\, a number of other works took place including a body of photographs\, collages\, and an artist publication titled Photographing Buildings. The sense of editing a film\, and gathering materials to create other works were deeply intertwined. Photographic film stills were taken alongside shooting on 16mm\, and that work finds itself in the collages and publication. The use of multiple mediums and the “editing” of a body of work\, is what this program focuses on. The screening will take place outside\, and the indoor space at Union Docs will be used as a gallery space to display a series of works on paper\, photographs\, and mixed media works. \n\n\nNY Portrait 1 by Peter Hutton\nUSA\, 1978–79\, 15 minutes\, 16 mm \n“Hutton’s sketchbook of mid-1970s New York\, edited in three parts over twelve years\, is a chronicle of indelible impressions and an act of urban archeology. The artist evokes the city’s delicate rhythms\, tonal contrasts\, and shifts of scale—scrims of white mist and black smoke\, of gauze\, cloud\, and fluttering pennant; the shadowy geometries of tenements and water towers; palimpsests of graffiti\, skywriting\, and painted signs; ecstatic sunlight glinting off the wings of homing pigeons as they traverse a pillowy sky; the slight rustle of a homeless man’s shirt; the flowery patterns of rainwater draining from a flooded street; a blimp’s lazy progress between two buildings whose balconies resemble film sprockets; and a winter fog rolling over the sandy rivulets of Coney Island\, making of it a lunar park\, removed from time.” – Josh Siegel\, Associate Film Curator\, MoMA \nReturn by Jon Beacham\nUSA\, 2006\, 10 Minutes\, 16 mm\, color\, silent \nA film gathered from footage taken over the course of exactly one year in which the filmmaker moved between coasts\, and traveled a fair share in between. Locations of focus in the film include Bolinas CA\, San Francisco CA\, NYC\, and Cleveland Ohio. Shot on Kodachrome Reversal Film. \nThe Last Roll of Kodachrome by Jon Beacham\nUSA\, 2007\, 3 minutes\, 16mm\, color\, silent \nThis short film is one camera roll unedited. It was shot with the intention of being rewound in the camera to be run through once more for a complete roll of double exposure. It was shot in the summer of 2007 while living in Catskill NY and then stored for a moment. Upon finding out that Kodak had finally discontinued the Kodachrome film stock\, something they had been threatening for years\, this roll was sent to the lab to be processed as it was\, shot only once. The outcome was a testament to the process of shooting film. What the filmmaker found was that this roll in itself was a film\, and a testament to Kodachrome as a medium unto itself. Haunting shots of negative space and subtle detail originally intended to be layered are found throughout this roll resting on their own\, and bringing attention to detail of what one can find in the summer landscape of the Catskills. \nWhat I Saw on the Periphery: A Film in VIII Parts by Jon Beacham\nUSA\, 2010\, 16 mm\, 9 minutes\, silent \nA film that focuses on urban and rural areas in the American Landscape. The filming took place through an 8000 mile road trip across America\, and from revisiting places of familiarity and interest to make a statement on what this country looks like now. Industrial areas and buildings\, wide closed landscapes\, the specifics of houses and homes\, and written text are edited together to give this filmmakers’ perspective on place in America. \nTriptych in Four Parts by Larry Jordan\nUSA\, 1958\,  12 minutes\, 16mm\, color\, sound \nOne of the few remaining authentically “Beat” films\, made from the inside of that particular North Beach movement. Features artists Wallace Berman and family\, poets Michael McClure and Phillip Lamantia\, and artist John Reed\, plus the growers of peyote in southern Texas. The film begins with a North Beach portrait of John Reed\, proceeds to a grail-like search (and discovery) of the sacred peyote grounds\, then returns to the Berman’s home in SF. A spiritual drug odyssey seeking religious epiphany. \n  \n  \nJon Beacham was born in Cleveland Ohio in 1979. He moved to NYC at the age of 20\, and has since lived his time between there\, San Francisco\, and smaller towns within reach. Between 2007-2009 he ran the space Hermitage in Beacon\, New York. Hermitage operated as an alternative space focusing on specific gallery exhibitions of art and publishing history\, a well curated bookstore dealing mostly with post war American small press poetry\, and as a letterpress print studio. Beacham’s art work encompasses letterpress printing\, collage\, 16mm film\, and his publishing imprint The Brother In Elysium. He currently resides in Brooklyn. More information on his work and projects can be found at www.thebrotherinelysium.com \n  \nPresented with \n \n \n[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/landscape-portraiture-films-by-jon-beacham-peter-hutton-and-larry-jordan/
LOCATION:NY
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2011/05/return3-scaled.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20110611T193000
DTEND;TZID=America/New_York:20110611T213000
DTSTAMP:20260617T094652
CREATED:20110528T040000Z
LAST-MODIFIED:20180410T152748Z
UID:10002273-1307820600-1307827800@uniondocs.org
SUMMARY:Looking at Los Sures: A Preview of the 2011 UnionDocs Collaborative Project
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. Largely Puerto Rican and Dominican\, 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. \nFor the past year\, documentary artists in the Collaborative Program have taken this now-undistributed film as a starting point\, treating it as an archival document\, experimenting with different ways to explore the immediate neighborhood which UnionDocs has been part of since 2005.. Ultimately\, the group is creating a constellation of new projects that annotate\, challenge\, update and spiral off from the original film. \nQuestions arise: From one of the worst ghettos in America to what? How do we understand and represent the unique stories of a specific place? How can we capture the diversity contained in a square mile of Brooklyn blocks? As the globe becomes increasingly urban\, and local identity becomes increasingly fractured and contentious\, UnionDocs proposes that place-based storytelling includes multiple voices\, multiple layers on a deep map\, and multiple pathways for an audience to discover. \nThis special preview event will include an outdoor screening of a selection of these projects along with live performative elements and a gallery installation. It provides an early look at a broad-scale project that will be developed over three year-long cycles with three different collections of artists. Plans anticipate an iterative release of the project in the form of a multi-faceted interactive documentary\, to culminate in late 2014\, exactly thirty years after the release of Echeverria’s original film. \n \nOf Memory & Los Sures by Laurie Sumiye\, Andrew Parsons\n14 minutes \nA hybrid animated documentary film using oral histories of longtime residents of Los Sures (“the South Streets”)\, a neighborhood in Williamsburg\, Brooklyn. The film weaves their stories\, reflecting unique glimpses into collective memory of a place undergoing rapid changes. Through these explorations of urban space\, the film unearths fragments of history and culture\, and recreates those memories through video\, photography\, archival documents and animation \nCouchsurferz by Emma Brenner-Malin\, Josh Solondz\, Stephanie Chang\nSelections from a 12 part cycle. 30 minutes \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. \nSelections will also be presented in a 3 channel video installation. \nBefore After by Daniel Terna\, Michael Kugler\n13 minutes \n \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. \nThe 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.” \nOf birds and boundaries by Annie Berman\, Laura Mayer\, Matt Yoka\n30 minutes \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. \nThe Sauce by Ashley Panzera\, Rosa White\n11 minutes \nAs the residents in Los Sures change\, so does its sound track. The old Latin rhythms echoing through the neighborhood\, now blend with the sounds of indie rock music. The Sauce explores the rich history of New York Salsa and the continuation of its tradition of blending musical art forms\, taking risks\, and bridging cultural gaps. So\, grab your timbalas and sample the flavors of the neighborhood.[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/looking-at-los-sures-a-preview-of-the-2011-uniondocs-collaborative-project/
LOCATION:NY
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2011/05/lossures01.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20110612T190000
DTEND;TZID=America/New_York:20110612T210000
DTSTAMP:20260617T094652
CREATED:20110513T040000Z
LAST-MODIFIED:20180410T152520Z
UID:10001713-1307905200-1307912400@uniondocs.org
SUMMARY:DocPoint NYC: The Best of Finnish Documentary Student Shorts
DESCRIPTION:[vc_row][vc_column][vc_column_text]These two programs represent the top student documentaries screened at DocPoint over the past decade. Presented with DocPoint NYC. \nProgram One: \nPetit Mal – Light Seizures by Mari Clusius \nFinland\, 2004\, 16 minutes\, digital projection\, Finnish with English subtitles \nOne day\, music starts to play inside Mari’s head\, but no one else can hear it. Fear soon replaces the initial fright. Is my mind ill? Am I only imagining it? The fear of not fitting in the community and anxiety about the state of her identity culminate at her brother’s wedding after years of distress. The only option is to seek professional help. \nPetit Mal is an autobiographical portrayal of a peculiar illness and the feeling of otherness it causes. This documentary\, which was made as a final thesis for the Radio and Television Studies programme of the Helsinki Polytechnic Stadia\, raises questions about society’s approach to different individuals and about old-fashioned attitudes to “madness”. \nThe documentary is thoroughly its director’s work: the auteur writes\, directs\, edits\, and performs in the film. This personal touch emphasizes Petit Mal’s small-scale approach to big questions about the relationship between the private and the public. \nSeal by Miia Tervo\nFinland\, 2006\, 8 minutes\, digital projection\, Finnish with English subtitles \n“When I went to the hospital\, all my friends were at their grandmother’s or they had a cold”\, states the young main character of the film The Seal laconically. When there is no one to accompany you to a hospital but a plastic toy seal clutched in your fist\, you are pretty alone in the world. The Seal is an essayistic\, contemplating\, and immensely visual film\, where the image is given room to speak. The landscapes of Lapland\, the herds of reindeer\, and the seemingly permanent ice function as the landscapes of the mind of the main character when she lets go with her kick sledge on the smooth snow and tells her story. What happened to the young woman in hospital is left up to the viewer\, but it is something so difficult and personal that it changed the course of her life\, causing her to make surprising choices: “I went to work in an orphanage in the Fiji Islands\, even though I can’t prevent sex and famine. That’s the way I paid my debt to the children of the world.” \nLilli by Oliwia Tonteri Finland\, 2008\, 26 minutes\, digital projection\, Finnish with English subtitles\nTeenage opiate addict Lilli keeps a diary where she records her observations\, feelings\, and experiences. In this stylized biography\, her recorderswes of falling in and out of love\, partying\, and messing around are transformed into a dream-like weaving. The topic of this bitteet film is a highly personal one. Oliwia Tonteri has directed the film with extreme sensitivity. \nSummerchild by Iris Olsson Finland\, 2008\, 50 minutes\, digital projection\, Finnish with English subtitles. \n \nSummerchild tells the story of 11-year-old Svetlana who lives in an orphanage in Karelia\, Russia\, and her first visit to Finland. She spends her summer holiday at her godparents’ place as a member of their family. The film depicts her encounters with the Western excess of commodities\, problems caused by a language barrier\, and the godparents’ discussions about their responsibilities. Moments of joy and contradictions are both present in this insightful film. \nProgram Two: \nThe Dry Dock by Tuukka Hari Finland\, 2002\, 21 minutes\, digital projection\, Finnish with English subtitles.\nA poetic\, dreamlike story describing one year at the dry dock of Suomenlinna fortress. The year of the dry dock and changes of the seasons have been shot in the time-lapse technique. \n  \nBarbeiros  by Mervi JunkkonenFinland\, 2002\, 12 minutes\, digital projection\, Finnish with English subtitles.\nMervi Junkkonen depicts her family as it faces a great change. The film starts with her parents deciding to give up keeping cattle. The transition of traditions from one generation to another becomes one of the film’s most important issues. Junkkonen feels guilty for not being able to continue maintaining the farm. As a young girl\, she wasn’t at all interested in working on the fields\, and after high school she set her sights on Helsinki. “At that time I didn’t realize that a history of hundreds of years would end with me.” Her parents are threatened by unemployment\, and her mother doubts they will find new jobs. Her father is busy with his hobbies: he films with a home camcorder and takes care of his collection of old tractors. The family’s worries increase when the little sister is diagnosed with cancer. The film is set against a tender atmosphere. The coming of spring and a new beginning follow the frightening phases. Even though Mervi Junkkonen would have learned how to keep cattle\, the farm’s history would probably still have ended in a few years. The laws of economics have also made their way to the cowsheds\, and it takes great investments to succeed in the face of competition. But the daughter’s worry about the ending of traditions is partly unnecessary. Her father has passed on to her an important skill: making films and documents. \nDurotshka by Reetta Aalto Finland\, 2005\, 10 minutes\, digital projection\, Finnish with English subtitles.\nDurochka is a diary-like journey to document director Reetta Aalto’s years in St. Petersburg\, where she moved to at the age 19 to gain more life experiences. However\, life in an artist commune in a squatted house had its downsides\, and Aalto had to return to Finland accompanied by some tragic memories. This film is a way of dealing with these experiences along the journey and channeling them into a beautiful onscreen story. Although the story progresses through personally experienced emotions\, it touches the viewer. The narrator is addressing a lost friend\, but also exposes events and invites the viewer to witness an era in the director’s life. Experiences and emotions reach a conclusion by the end of the film. \nHow to Pick Berries by Elina Talvensaari Finland\, 2010\, 19 minutes\, digital projection\, Finnish with English subtitles.\nThe cinematography of How to Pick Berries is very precise: the way of composing the lights and colors of the forest is fascinating. Among the twigs\, domestic and foreign berry pickers crisscross – and life together isn’t always peachy. They take our jobs and now our berries too. Both sides are suspicious of the other. \nParadise – Three Journeys in this World by Elina Hirvonen Finland\, 2007\, 50 minutes\, digital projection\, Finnish with English subtitles.\nWhy would a young African rather die on his or her way to Europe than stay in Africa? Elina Hirvonen’s film takes the viewer on an unforgettable journey into illegal immigration: to Spanish tomato fields\, to Morocco and Mali. This poetic\, visually impressive film illuminates extremely unequal starting points. Paradise won the Student Award at IDFA\, Amsterdam. \nDeirdre Boyle is Associate Professor and Director of the Graduate Certificate in Documentary Studies at The New School. She has taught courses in documentary for nearly 35 years at The New School as well as at Fordham University\, City College and New York University among other schools. She is the author of Subject to Change: Guerrilla Television Revisited (Oxford UP)\, a history of Seventies’ video doc collectives and has edited seven other books and hundreds of essays on independent film and video art and documentary. She has received an ACE award for best documentary series on cable TV and has organized many exhibitions of video and film for museums\, galleries\, universities\, and broadcasting stations around the world. Her latest writing has focused on re-enacment in documentaries of genocide and the hybrid documentary of Jia Zhang-ke. Her past students include Laura Poitras (My Country\, My Country; The Oath)\, Linda Hattendorf (The Cats of Mirikitani)\, Yonghi Yang (Dear Pyongyang; Sona\, The Other Myself)\, Chow Keung (producer/editor for Jia Zhang-ke\, and Maya Mumma (associate editor of Restrepo)\, among many others. She gave a lecture on new documentaries for the Finnish Broadcasting Company in 1990 and was a guest lecturer at Tampere University in 1992. \n\nNiki Bhattacharya is the Director of Operations of the MFA program in Social Documentary Film at the School of Visual Arts in New York City. Prior to joining SVA she worked on the production staff at Show of Force\, a New York based non-fiction production company. Niki s an adjunct lecturer in the Television and Radio department at Brooklyn College and is involved in numerous freelance production projects. \n\nNiki received a Bachelor of Science degree in Radio-Television and Film Communications from The University of Texas at Austin and her Master of Fine Arts degree in Television and Radio Production from Brooklyn College of The City University of New York.[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/docpoint-nyc-the-best-of-finnish-documentary-student-shorts/
LOCATION:NY
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2011/05/paradise.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20110616T200000
DTEND;TZID=America/New_York:20110616T220000
DTSTAMP:20260617T094652
CREATED:20110528T040000Z
LAST-MODIFIED:20180403T175536Z
UID:10002279-1308254400-1308261600@uniondocs.org
SUMMARY:Northside DIY Filmmaking Competition: Shorts Program #1 and Funeral Season with Three Envelopes
DESCRIPTION:[vc_row][vc_column][vc_column_text] \n8pm: Short Program #1\nMore information \n\nUnstrung by Meerkat Media CollectiveUSA\, 2010\, 5 minutes\nWhat happens when the lights go down at the Puppet Kitchen? The Meerkat Media Collective is a self-organized community of makers committed to creating innovative and thought-provoking films through shared authorship and consensus process. Since 2005\, the collective has produced and distributed over twenty short films and two features. Their first feature documentary\, “Stages” (2009)\, was awarded Best Documentary and Audience Award at the HBO New York International Latino Film Festival\, their short “Brooklyn Boondoggle” won Best Documentary of the 2009 Red Hook International Film Festival and “How Wal-Mart Came to Haslett” and “Every Third Bite” were both featured in Arts Engine’s Media That Matters Film Festival. They are currently working on their next feature documentary “Brasslands” which chronicles the growing Balkan brass movement from NYC to a tiny town in Serbia that plays host to the world’s largest brass festival. Meerkat Media also pioneers sustainable filmmaking methods by operating a like-minded production company to help fund its passion projects\, and is proud to be a Brooklyn-based organization. \nYou Have the Right to an Attorney by Matt Bockelman\nUSA\, 2011\, 12 minutes \n*Director Matt Bockelman will be in attendance along with two attorneys from the film. \nYou Have the Right to an Attorney enters the daily grind of two young public defenders in the South Bronx as they strive to resolve hundreds of client cases\, while facing the weighty emotional burden of working within a system they consider fundamentally broken. \nYou Have the Right to an Attorney is a documentary set in the offices of the Bronx Defenders\, a non-profit organization in the South Bronx comprised of public defense attorneys\, social workers and community organizers. The film gives a glimpse into the passion that motivates the defense lawyers and the seemingly never-ending caseloads they shoulder in their day-to-day work. Through client meetings\, candid interviews\, and routine office work\, You Have the Right to an Attorney portrays Matt and Scott as they search to find a balance between their ambition to change a system they see as fundamentally broken and the immediate\, numerous\, daily needs of their clients. Matt is a New York-based documentary director and cinematographer. His most recent projects include The Unofficial House Band\, about a music and arts program at Sing Sing Prison (commissioned by Rehabilitation Through The Arts)\, Communitas\, an experimental documentary about theater director Richard Schechner’s famed performance workshop\, and Meet the Gardeners\, a web series profiling the employees of Madison Square Garden. Matt founded Fly’s Eye Films in 2010 with the goal of creating substantive documentaries\, objectively rendered and with a strong visual aesthetic. He started production on You Have The Right To An Attorney after receiving a 2011 Cinereach Film Fellowship. \nKitty Kitty by Michael Medaglia\nUSA\, 2010\, 10 Minutes \n*Producer David Woods will be in attendance. \nThere’s something VERY wrong with Val’s boyfriend. Kitty Kitty is a short horror film about love\, cats and brain parasites. Inspired by a true-life disease\, which affects over a quarter of the world-population. Portland-based filmmaker Michael Medaglia is uniquely prepared for this new era of film innovation. With a background in computer programming\, it’s no surprise he is particularly adept at combining multiple technologies to tell a story. Utilizing an idiosyncratic palette\, his films tend towards the surreal\, the dark\, and the unexplored sides of the human psyche. When he’s not spending too much time in front of a computer\, Medaglia is directing promos\, music videos and documentaries for broadcast and internet. His work has screened internationally in festivals\, art galleries\, on television\, and even in public restrooms. \nLullaby for Ray by Marina Shron\nUSA\, 2011\, 18 minutes \nThe film attempts to capture danger and wonder inherent in intimacy. Christina\, a young girl of unidentified age and origin and her partner\, Ray\, who transforms in the course of the film from her “daddy” to her “lover” to her “pimp”\, wonder the streets of New York\, the Big Apple\, like modern day Adam and Eve after the fall. As the characters shed one disguise after another\, so does the film — evoking a broad range of genres from cinema verite to film noir to art film — and stripping them all in search for the moment of “naked truth” which may or may not strike at the film’s disturbing climax. The landscape shifts from the external and familiar – to the internal\, increasingly surreal terrain. It is as if the audience is forced to get inside the characters minds and look at the world through their eyes – without getting a chance to ever figure them out… \nFor the Children by Roxanne Kratt\nUSA\, 2011\, 24 minutes \n*Cinematographer Edward Herrara will be in attendance. \nA brother and sister inherit a haunted townhouse from their missing father\, and are forced to defend it against a development company who want to knock it down to build a condo. Dwayne and Anabelle\, an estranged brother and sister find themselves living together under the same roof in a decrepit townhouse inherited from their missing father. When a predatory real estate development company wants to buy the house to knock it down and build a condo\, the house’s various hauntings begin to appear. Roxanne Kratt was born and raised in New York. When not writing and directing films\, she works as a production designer\, prop fabricator and monster maker. \nJeannie by Olivia Jampol\nUSA\, 2010\, 13 minutes \n*Director Olivian Jampol will be in attendance. \nA girl\, a boy\, and game of hide and seek. In a world of endless summer and effortless play\, 13-year-old Jeannie finds it difficult to fit in. On this hot summer day\, during an ordinary game of hide and seek\, Jeannie finds herself under the bed with her 16-year-old neighbor– and the childish game quickly becomes an ambiguous sexual encounter. Confused\, Jeannie turns to the one person she trusts\, her Dominican nanny\, only to realize that her love for her is more than just filial. Not knowing how to make sense of her feelings\, she acts in ways that leave her isolated and alone\, unable to give up the innocent eccentricities of her childhood. Olivia Jampol’s work combines images from her childhood in Costa Rica and emblematic exports of Americana. She is a 2010 graduate of Harvard’s undergraduate Film Production program\, where she produced JEANNIE as her Senior Thesis. She now lives in Brooklyn. \nNot Too Thin by Brian Paul Butnick\nUSA\, 2011\, 2 minutes \n*Director Brian Paul Butnick will be in attendance. \nA lonesome fatman finds a hot date in the classified ads only to discover he’s bitten off more than he can chew. Brian has been living in New York City for nearly eight years as a writer and producer for film\, art and photography. A graduate of NYU’s Department for Dramatic Writing\, he is currently based in Williamsburg working full time as a creative director. \nHello I Like You by Mixtape Club (Chris Smith\, Michelle Higa\, and Jesse Casey)\nUSA\, 2011\, 1 minute \n*Co-director Michelle Higa will be in attendance. \nWhat better way to express our happiness than to distill the essence of our craft\, to serve up a creamy shot of artistic espresso? When we were prompted to do a short film conveying happiness\, we thought what better way to express our happiness than to distill the essence of our craft\, to serve up a creamy shot of artistic espresso? The goal here was simply to explore materials\, themes\, and techniques that have always made us happy – the things that drew us to filmmaking in the first place. So we’ve gone back to the basics\, the simplest of inanimate objects\, and transformed them into a tapestry of playful\, choreographed dance for your enjoyment. Too technical for the arts\, too creative for the sciences; Chris Smith\, Jesse Casey\, and Michelle Higa knew they had to work together as soon as they met. They funneled their collective love of music\, computer science and semiotics into the world of animation\, and Mixtape Club was born. The members of Mixtape Club believe their diverse interests and talents together produce something more powerful than the sum of their parts\, leading to inevitable arguments as to whether they more closely resemble Voltron\, Captain Planet or the Wu-Tang Clan. \nMermaids of New York by Ilise (The Lady Aye) Carter\, Mica Scalin\nUSA\, 2011\, 15 minutes \n*Directors Mica Scalin and Ilise Carter will be in attendance. \nWhere the seas of imagination collide with the streets of New York and mermaids live in enchanted grottoes everywhere from the East Village to Bensonhurst\, Brooklyn. You may not believe this now\, but it is true; real mermaids are living in the greatest metropolis on earth! Since Henry Hudson’s crew first spotted the mythical creatures off the coast of Coney Island\, mermaids have captivated the imagination of this city’s inhabitants. Mermaids of New York is a documentary project created by filmmakers Ilise S. Carter and Mica Scalin. This film introduces some of the truly amazing\, beautiful and genuine mermaids that live on and around the island of Manhattan. A vérité style narrative is woven from conversations and observations of New York’s most mermaid obsessed artists\, performers and environmentalists\, to create a beguiling portrait of these unlikely urban sirens. The film features some of New York’s most noteworthy sea creatures: Bambi the Mermaid\, a burlesque performer and “Mermaid Queen of Coney Island”; Pam\, the “Brooklyn Babydoll\,” a pinup model and go-go dancer; and Dame Darcy\, an author\, artist and singer of sea shanties and Mara Haseltine environmentalist and sculptor committed to preserving the cities aquatic creatures. Ilise ‘The Lady Aye’ Carter is a well-known New York fire eater\, sword swallower\, and emcee; and noted burlesque producer and writer. She holds the unique distinction of being the world’s only Jewish female sword swallower. Her film background includes a BA from Columbia University in American Film History and post-graduate work at NYU-SCPS; award nominations for her screenwriting from The Sundance Screenwriters’ Lab\, The Chesterfield Fellowship\, and others; and production credits with Todd Haynes\, PT Anderson\, Ron Howard and more. Mica Scalin is an artist\, filmmaker and enthusiast for all things awesome. Credits include Associate Producer for feature documentaries Same Sex America (Showtime Networks/Corra Films) and Thinking on Their Feet: The Women of The Tap Renaissance (JamJam Productions). \n\n10:30pm: Three Envelopes\, Funeral Season (ou La Saison des funérailles)\nMore information \n\nThree Envelopes by James P. Gannon and Joseph K. Gannon\nUSA\, 2011\, 14 minutes \n*Co-director James Gannon will be in attendance. \n“These are my parents\, one day they are going to die.” Concerned about the inevitable death of their parents\, filmmakers Joseph and James Gannon sit down with their parents for an intimate conversation about death. Hoping to get answers from them before its too late. They ask what its like to go through the loss of a parent and how to deal with it. What follows is a very personal observation of the closed wounds that never fully heal from the loss and the realization that your parents are thinking about their own death as much as you are. Joseph and James Gannon are from Levittown\, PA and are the 4th and 6th of 8 children. In 1998 Joseph moved to NYC to pursue acting\, James followed in 2005 to pursue directing. James’ film “Cochran” screened in a dozen film festivals in 2009 including SXSW. This is the first film that they have directed together. \nFuneral Season (ou La Saison des funérailles) by Matthew Lancit\nCanada\, 2010\, 87 minutes \nThe dead are not dead. In this comedic ghost story\, a Canadian Jew wanders through an African culture where “the dead are not dead.” Embarking on a road trip across Cameroon’s most joyous funeral celebrations\, the foreigner befriends his guides and becomes increasingly haunted by memories of his own ancestors. Matthew Lancit grew up in Toronto\, Canada before leaving for New York to study filmmaking at NYU’s Tisch School of the Arts\, and the liberal arts at Sarah Lawrence. Since graduating\, his experimental works have been invited to screen at Chasma and the Film Anthology Archives in New York\, the art department at UCLA\, and on the Saatchi Gallery website. His short fictional film Death of a Gentleman competed in festivals like: Rhode Island International Film Festival\, Montreal World Film Festival\, San Francisco International Short Film Festival\, and Festival International de curtas-metragens de Sao Paulo. After leaving his advertising job as a director/producer in a New York based animation studio to live in Africa\, Lancit embarked on the making of his first feature length documentary (Funeral Season)\, for which he was a recipient of the prestigious 2011 Rising Star award at the Canada International Film Festival. Aside from making film and video art\, Lancit has published heavily personalized essays on a wide range of topics – from the art of cartography to bibliotherapy. He currently divides his time between Toronto and Paris. \n\nDIY Filmmaking Competition Guidelines: \nThe winning feature and short will receive a Rooftop Films screening held on Friday\, July 1\, on the lawn at Automotive High School in Williamsburg\, along with a Canon 7D Deluxe Kit week rental (or equivalent equipment/post services) courtesy of DCTV. The runner-up feature and short will each be awarded a pass to to IFP’s Independent Film Week\, September 18-22\, at their new home at Lincoln Center.The short winner will be selected by our jury: independent producer Ted Hope\, actress Rosie Perez\, MoMA Chief Curator Rajendra Roy\, concert organizer Todd P\, and Patricia Swinney Kaufman of the NY State Governor’s Office for Motion Picture and Television Development. The feature winner will be determined by audience vote.[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/northside-diy-filmmaking-competition-day-1/
LOCATION:NY
CATEGORIES:Screenings & Events
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20110617T200000
DTEND;TZID=America/New_York:20110617T220000
DTSTAMP:20260617T094652
CREATED:20110528T040000Z
LAST-MODIFIED:20180403T175002Z
UID:10001720-1308340800-1308348000@uniondocs.org
SUMMARY:Northside DIY Filmmaking Competition: Raiders of the Lost Ark: The Adaptation with Eric Zala and Chris Strompolos
DESCRIPTION:[vc_row][vc_column][vc_column_text]It’s 1981. Raiders of the Lost Ark hits the big screen. Particularly impressed are three highly motivated twelve-year olds who conceive a shot-for-shot remake of Raiders\, stunts and all. It would take them seven years. So how do you make a Hollywood film on an allowance? Boy Scout uniforms become Nazi costumes\, and Mom’s basement transforms into a Tibetan tavern (which nearly burns down). The boys’ enthusiasm is a joy to behold\, but part of the fun is watching them hit puberty. Voices change\, actors appear short in one scene\, tall the next. The actor playing Indy even shared his first-ever kiss on-screen with Marion! Raiders: The Adaptation is unavailable on DVD and has screened publicly in only a handful of venues. After a tour of Skywalker Ranch and a meeting with Steven Spielberg\, the boys (who are now in their late 30s) sold their life story to Paramount Pictures & producer Scott Rudin (The Social Network). Oscar-nominated screenwriter Daniel Clowes (Ghost World) completed the script as a potential project for director Terry Zwigoff (Bad Santa). \nThis program is a joint effort with the Cinema Arts Center in Long Island and Lake Placid Film Forum\, who are both also hosting screenings. Special thanks to Anthology Film Archives. \nChris Strompolos and Eric Zala met while attending Christ Episcopal Day School\, an elementary school in South Mississippi\, at ages 9-10. Initially\, they were merely acquaintances\, but when Chris saw the movie Raiders of the Lost Ark when it was released in 1981\, he was completely captivated by the movie’s adventurous spirit and taken with the character of Indiana Jones. He came up with the idea to remake the film\, with himself playing the part of Indiana Jones. He called up Eric\, who had asked to borrow his Raiders comic book on the bus and done a film for class\, besides – and asked if he wanted to help. \nEric also loved Raiders\, and was excited by the idea. They met in the summer of ’82\, two eleven-year olds figuring out where to begin in remaking the Spielberg-Lucas blockbuster that had a $26 million production budget. \nChris played the part of Indiana Jones. Eric took on the role of Director (as well as playing the part of Belloq\, Indy’s arch nemesis). For the next seven years\, from 1982-1989\, they worked together on the project. In that time\, the relationship was tested\, by changes that come with moving from age 12 to 19\, as well as by working alongside each other through experiences that ran the gamut of human emotion. Though they experienced some falling outs\, the friendship endured and they were able to finally complete the labor of love in the summer of ’89\, holding the premiere to a receptive hometown crowd in Mississippi. \nIt seemed the journey was at an end\, and eventually the trio scattered. Fifteen years passed since the ’89 premiere. Chris lived in Los Angeles\, Eric in Orlando when they were each contacted out-of-the-blue by film-maker Eli Roth (director of Cabin Fever) who had gotten a copy of their film through six degrees of separation\, and passed it on to Steven Spielberg\, director of the original Raiders. Spielberg wrote each of them a letter\, expressing “how impressed I was with your very loving and detailed tribute.” This event set off a chain of events which quickly led to the trio reuniting after years\, their meeting Steven Spielberg in person\, and ultimately\, the purchase of their life rights by Hollywood mega-producer Scott Rudin. As a result\, this true childhood story of these young friends remaking Raiders is now set to be a book from St. Martin’s Press\, release date summer 2012. The end…?[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/of-the-lost-arknorthside-diy-filmmaking-competition-raiders-the-adaptation-with-eric-zala-and-chris-strompolos/
LOCATION:NY
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2011/05/Brooklyn_Screening_3.jpg
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DTSTART;TZID=America/New_York:20110618T170000
DTEND;TZID=America/New_York:20110618T190000
DTSTAMP:20260617T094652
CREATED:20110528T040000Z
LAST-MODIFIED:20180403T174309Z
UID:10001712-1308416400-1308423600@uniondocs.org
SUMMARY:Northside DIY Filmmaking Competition: Shorts Program #2  Incredibly Small with Celluloid\, & Bad Fever with Cochran
DESCRIPTION:[vc_row][vc_column][vc_column_text] \n5pm: Celluloid\, Incredibly Small\nMore information \n\nCelluloid by Ethan Knecht\nUSA\, 2 minutes \n*Director Ethan Knecht in attendance. \nCelluloid is a short film about the affect of the present on memory and love. Celluloid is a short experimental/documentary about the affect of the present on memory and love. Shot in 16mm\, HD video\, and using a myriad of avant-guard techniques the film explores the relationship between time\, love\, and the processes of revisiting old footage.  Ethan Knecht’s previous films–Glass and A Film About Violence–have shown on IFC.com\, PBS Reel13 Shorts\, Rooftop Films\, and The Atlanta Underground Film Festival. He lives and works as a teacher in New York City. \nIncredibly Small by Dean Peterson\nUSA\, 2010\, 83 minutes \n*Director Dean Peterson in attendance. \nA 300 Square Foot Love Story. Anne and Amir are an unlikely pair. Amir is an escalator attendant by day and aspiring sculptor by night. Even though he has never sculpted anything before\, he hopes to one day fulfill his lifelong dream of making a marble bust of Charles Barkley. Anne comes from a well-to-do family and just started law school where she spends most of her days studying. Against the odds they decide to move into a shabby 300 square foot apartment and try to start a life together. But things don’t exactly go as planned. The combination of their small apartment\, their threateningly charming neighbor next door and unexpected visitors from the past make them realize that maybe they aren’t as perfect for each other as they previously had thought. Director Dean Peterson is a filmmaker from Minneapolis\, MN. He studied film in New York\, Paris and Chicago. His interests include: black coffee\, Siberian Huskies and David Bowie. He currently lives in Chicago\, IL. Incredibly Small is his first feature. \n\n8pm: Shorts Program #2\nMore information \n\nYoung Bird Season by Nellie Kluz\nUSA\, 2011\, 19min \n*Director Nellie Kluz in attendance. \nYoung Bird Season is about the rhythms and logistics of pigeon racing\, the guys who fly\, and the birds themselves. Each week\, the pigeon flyers at the Braintree Pigeon Racing Club send their birds hundreds of miles away\, and then they let them race home. YOUNG BIRD SEASON is a movie that handles the details. Nellie Kluz grew up in Upstate New York and England and now lives in Boston. YOUNG BIRD SEASON has been shown at the  Chicago Underground Film Festival and the Independent Film Festival Boston. \nPow Pow Pow by Dianne Bellino\nUSA\, 2011\, 17 minutes \n*Director Dianne Bellino in attendance. \nSend in the clowns. After losing a series of menial jobs\, Danny\, 39\, a sometimes artist\, launches himself as BOBO\, a children’s birthday party clown. Armed with a joke book and a duffle bag full of props\, Danny goes to a gig at a large house in the Rhode Island suburbs\, where he has a moment of unexpected self?reckoning. Dianne Bellino’s short films have screened at festivals such as SXSW\, Hamburg\, Maryland\, MadCat\, Ann Arbor; on television (MTV); and at the RISD Museum and the Coolidge Corner Theater. Her work is distributed independently and by Drag City. She currently teaches in the department of Media Studies and Film at the New School in New York City. \nThe Virgin Herod by Xander Robin\nUSA\, 2011\, 7 minutes \n*Director Xander Robin in attendance. \nIt’s called a crush cause it hurts. Herod has an obsessive crush on Miriam. She accidentally invites him to a party. On the way\, Herod’s anxiety incites the gradual and excessive breakdown of his body and mind. Xander Robin is a filmmaker studying at the FSU College of Motion Picture Arts. Born in Chicago\, IL to Russian-Israeli parents\, his films often explore a state of frenzy\, the human body and its hair\, doomed romance\, and explosions of dairy products. In his spare time\, Xander likes to drink coffee and listen to soul music. \nDaud by Joel Fendelman\nUSA\,  2010\,  13 minutes \n*Director Joel Fendelman in attendance. \nSet in Brooklyn\, a slice of life story of a 10 year old religious Muslim boy who one day finds himself wanting to play softball with the other kids. After changing to what he thinks is acceptable\, he learns it’s not so easy. For the last six years\, Joel Fendelman has been in New York producing and directing award winning films. His documentary feature debut  “Needle Through Brick” which surveys the quickly vanishing art of traditional arts in Borneo through the eyes Kung Fu Masters won the Silver Palm award from the Mexico International film festival. He has directed a number of award winning short films that have been accepted and shown at prestigious film festivals\, including Cannes\, Chicago\, Miami\, Woodstock and IDFA. “David” will be Joel’s narrative feature debut\, a very personal yet universal film about identity told through the unlikely friendship of a young Muslim and orthodox Jewish boy living in Brooklyn. Joel received his BFA in film and television from the Savannah College of Art and Design and currently lives in Brooklyn. \nSun in My Mouth by Jessica Yatrofsky\nUSA\, 2010\, 35 minutes \n*Director Jessica Yatrotsky in attendance. \nCan you hear the light? Sun In My Mouth is an experimental coming-of-age story about a young man who confesses his sexual past to an unseen phone sex operator. He reflects on his sexual identity as we follow him on a solitary excursion to a beach. Ultimately\, it’s a film about how we attempt to connect and understand other people by understanding ourselves. Jessica Yatrofsky is a New York–based artist\, known for her film and photographic work with male subjects and the founder of iheartboy.com. Yatrofsky’s artwork also includes live performances as well as films that explore male beauty and sexual politics. She received an MFA from Parsons The New School and has just published her first monograph titled\, I Heart Boy\, with Powerhouse Books. \n*Sun in My Mouth features erotic language (in the form of an erotic phone call) and a boy who masturbates to completion. \nDoppleganger by Micheline Durocher\nCanada\, 2009\, 4 minutes \n*Director Micheline Durocher in attendance. \nThis recent experimental video is inspired by the autobiography of Goethe\, conveying the uncanny feeling of being confronted with your double coming toward you.… and here one of the most singular forebodings took possession of me.. I saw my own figure coming toward me\, attired in a dress which I had never worn… it was pike-gray\, with somewhat of gold. As soon as I shook myself out of this dream\, the figure had entirely disappeared. It is strange\, however\, eight years afterward\, I found myself on the very road\, to pay one more visit to her\, in the dress of which I had dreamed\, and which I wore\, not from choice\, but by accident.  (Truth and Fiction\, Goethe) \nPrologue to a Cyclops by Nathan Punwar\nUSA\, 2010\, 5 minutes \n*Director Nathan Punwar in attendance. \nA stereoscopic presentation of modern day cyclops trying to find his way in a two-eyed world. Francis\, a cyclops\, cannot see the world the same way as everyone else. Ashamed and depressed\, he lives in total seclusion until he is plucked from obscurity by the mysterious Lina Rae\, delivery girl and photographer extraordinaire. When she shows him her way of interpreting the world through a camera’s lens\, he becomes obsessed with the idea of building a device that will give him two-eyed vision. Nathan Punwar writes and makes films in Brooklyn\, NY. A graduate of the University of Southern California’s School of Cinematic Arts\, he is currently working on his next short film and a series of episodic shorts. His various work in animation\, photography\, and design is collected at kettlecornrock.net. \nSister Fight by Jen and Crystal Campbell\nUSA\, 2010\, 2 minutes \n*Directors Jen and Crystal Campbell in attendance. \nIdentical twin sisters face off in a humorous battle over beer in the animated short comedy\, Sister Fight. Sister Fight is a stop-motion film portraying a fight between a set of identical twins.  The images and film are comedic and highly stylized\, and the fight is instigated by a trivial dispute.  Beneath the humor\, however\, is an exploration of the difficulties of self-identity for the twins.  In the film\, Jen and Crystal are dressed very similarly and\, as a result\, easily confused in the unknowing viewer’s eyes.  The explosive fight hints at the intensity of Jen’s and Crystal’s underlying struggle for a distinguished identity and individualized self.  Run through with heavy doses of playfulness and numerous references to significant aspects of the sisters’ shared background\, the film reveals the interwoven tensions and convergences of each sister’s self-identity and her relationship to her sister. Jen and Crystal Campbell are identical twin sisters born in Springfield\, MO. They moved to New York City in 1996 to attend Columbia University. Jen majored in Art History and Crystal majored in Film. Their collaboration started as kids working on school projects and self entertainment. Recently\, they have embarked on a series of photographs and stop motion films portraying fight scenes. The series is comedic and often the fights are instigated by seemingly meaningless reasons.  However\, while the animation is run through with heavy doses of playfulness\, it reveals the interwoven tensions of the sisters and the competitive spirit of sibling rivalry. Jen and Crystal both live in Brooklyn. Jen works as a portrait and fashion photographer while Crystal works in film and commercial production.(full RT: 103min) \n\n10:30pm: Cochran\, Bad Fever\nMore information \n\nBad Fever by Dustin Guy Defa\nUSA\, 2011\, 77 minutes \n*Director Dustin Guy Defa in attendance. \nA humorless loner attempts to win the admiration of a drifter with his debut performance at the local comedy club. Alternatingly quiet and delirious\, always desperate\, Bad Fever is a witness to one man’s broken American Dream and his eternal longing to find someone\, anyone\, who understands or even pretends to understand. Eddie bumbles his way through an agonizing courtship with Irene\, a manipulating drifter who videotapes their fleeting moments together. To express his true feelings for her\, he painstakingly orchestrates his debut stand-up performance at the local comedy club.    Here is a portrait of two lonely trains passing each other by on the emotional railroad tracks of a forgotten city. Dustin Guy Defa has been making movies since he was eleven. He lives in Brooklyn. \nCochran by James P. Gannon\nUSA\, 2009\,  8 minutes \n*Director James Gannon in attendance. \nJim Cochran hates his job\, he wishes he could just shoot clay pigeons all day. Jim Cochran floats through his days dreaming about being somewhere else and reflecting on his past. He works a job delivering packages to residences that seem to never be home. He hates his job more than anything and despises the delivery truck he must drive. In his free time he finds solace in shooting clay pigeons at the local shooting range. In contrast to his delivery truck his shotgun is his favorite thing in the world and he considers it his “nightly companion”. He also has a slight love affair with performing magic tricks\, and practices them alone in his backyard. Jim’s life is stagnant; he makes no attempt to change and instead accepts his fate\, living inside of his head with his memories of the past. One fateful day while walking alone in the woods he finds something on the ground\, his decision to pick it up will change his life forever. “Cochran” is a story about the inability to escape the past\, and what happens when the present intervenes. It’s a story about acceptance\, and about how something that seemed bad at one point could turn out to be something good in the long run. James P. Gannon was born in Levittown Pennsylvania in 1982. He is the 6th of 7 children and he has had an interesting childhood. He began telling stories in comic book form at a young age and eventually turned toward making films. He moved to Brooklyn in 2005\, where he worked on many films in a variety of positions. During this time he wrote\, directed and produced 2 short films and directed a third.(Full RT: 85min) \n\nDIY Filmmaking Competition Guidelines: \nThe winning feature and short will receive a Rooftop Films screening held on Friday\, July 1\, on the lawn at Automotive High School in Williamsburg\, along with a Canon 7D Deluxe Kit week rental (or equivalent equipment/post services) courtesy of DCTV. The runner-up feature and short will each be awarded a pass to to IFP’s Independent Film Week\, September 18-22\, at their new home at Lincoln Center.The short winner will be selected by our jury: independent producer Ted Hope\, actress Rosie Perez\, MoMA Chief Curator Rajendra Roy\, concert organizer Todd P\, and Patricia Swinney Kaufman of the NY State Governor’s Office for Motion Picture and Television Development. The feature winner will be determined by audience vote.[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/northside-diy-filmmaking-competition-day-3/
LOCATION:NY
CATEGORIES:Screenings & Events
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