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DTSTART;TZID=America/New_York:20100312T193000
DTEND;TZID=America/New_York:20100312T213000
DTSTAMP:20260408T065539
CREATED:20100116T050000Z
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SUMMARY:The River & The Fight for Life
DESCRIPTION:[vc_row][vc_column][vc_text_separator title=”Program” color=”white” border_width=”2″][vc_column_text] \nThe River\nPare Lorentz\, USA\, 1938\, 31 minutes\, DVD \n  \nIn The River\, Pare Lorentz deploys powerful images\, a poetic Pulitzer Prize-nominated script and another score by Virgil Thomson to illustrate the problems of flood control on the Mississippi River and the efforts to correct it. While arguing that the building of dams would put an end to the destruction of crops and property brought about by the havoc of annual floods\, Lorentz reveals the ways the river has been misused\, and presents a stirring paen to America’s natural landscape\, and the proud history with which it is imbued. \nThe Fight for Life\nPare Lorentz\, USA\, 1941\, 69 minutes\, DVD \n   \nIn this short feature\, based on a book by Paul De Kruit\, Lorentz presents a staged re-enactment of an emergency childbirth in an urban hospital. As the story of the mother’s difficult delivery and death in spite of valiant efforts by the doctors to save her unfolds\, The Fight For Life reveals the crisis of health and pre-natal care among the urban poor of the period\, and explores the impoverished lives of the working people of the cities\, who live in slums and tenements where they are forced to suffer from the disabling diseases endemic in such environments.[/vc_column_text][vc_text_separator title=”90 min”][vc_column_text] \nThis event is part of the International Documentary Association (IDA) presented traveling Pare Lorentz Film Festival in celebration of the modern evolution of the documentary film. This program is supported by the New York Community Trust. \n\n\n\n[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/the-river-the-fight-for-life/
CATEGORIES:Screenings & Events
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DTSTART;TZID=America/New_York:20100313T193000
DTEND;TZID=America/New_York:20100313T213000
DTSTAMP:20260408T065539
CREATED:20100117T050000Z
LAST-MODIFIED:20190314T203749Z
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SUMMARY:Works by Jack Waters and Peter Cramer
DESCRIPTION:[vc_row][vc_column][vc_empty_space height=”40px”][vc_separator color=”custom” accent_color=”#ffffff”][vc_empty_space height=”40px”][vc_column_text]This event is part of a monthly screening series with The Film-Makers’ Cooperative. \nThe program launches two videos which examine the construction of performance\, both which are distributed by the Film-makers’ Coop. One comes from the perspective of contemporary art practice\, the other as a strategic query into ways in which veracity and information are constructed and disseminated into a cultural mainstream.[/vc_column_text][vc_empty_space height=”40px”][vc_text_separator title=”Program” color=”white” el_class=”h1″][vc_custom_heading text=”Giornalisti En Maschera ” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_custom_heading text=”30 min.\, 2009″ font_container=”tag:p|text_align:left” use_theme_fonts=”yes”][vc_column_text]Did painting die\, or simply meiotically reproduce as video art? Has nationalism outlived its cultural relevance? These familiar questions and others are reconstituted and posed at the press previews of the  2001Venice Biennial. The director/performers investigate relations of art\, business\, and politics in the guise of objective journalists three months preceding 9/11. Other interviewees include Special Prize winners Janet Cardiff and George Bures Miller (Canada)\, and other artists; woven together with excerpts from Thomas Mann’s Death in Venice.[/vc_column_text][vc_empty_space height=”40px”][vc_custom_heading text=”Söma Söma Söma” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_custom_heading text=”34 min.\, 2000″ font_container=”tag:p|text_align:left” use_theme_fonts=”yes”][vc_column_text]Examining three generations of conceptual\, performance\, and installation  by artists Geoffrey Hendricks\, William Pope L.\, and Patty Chang with interviews and footage of their exhibition performances. A documentary video of the exhibition of the same title curated by William Pope L. at NYC’s Sculpture Center at its former location on East 69th St. Originally conceived as a private commission by artist Geoffrey Hendricks to document his performances\, Cramer & Waters had access to include the artists  regarding their participation to provide a wider context for the exhibition.[/vc_column_text][vc_empty_space height=”40px”][vc_empty_space height=”40px”][vc_text_separator title=”84 min” color=”white” el_class=”h1″][vc_empty_space height=”40px”][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”58851″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text]Peter Cramer and Jack Waters have been partners for over two decades in their combined experience in performing\, visual and media arts. Their films\, videos\, installations\, and performances have shown in New York City\, throughout the U.S.\, and internationally. Visit http://www.alliedproductions.org for more information.[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/investigation-performance-works-by-jack-waters-peter-cramer/
LOCATION:UnionDocs\, 352 Onderdonk Avenue\, 352 Onderdonk Avenue\, Ridgewood\, NY\, 11385\, United States
CATEGORIES:Screenings & Events
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DTSTART;TZID=America/New_York:20100314T193000
DTEND;TZID=America/New_York:20100314T213000
DTSTAMP:20260408T065539
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SUMMARY:War Against The Weak
DESCRIPTION:[vc_row][vc_column][vc_text_separator title=”Program” color=”white” border_width=”2″][vc_column_text] \nWar Against the Weak\nJustin Strawhand\, 2009\, USA\, 90 minutes\, DVD \nWar Against the Weak is a shocking investigation of American eugenics\, arguably the most dangerous pseudoscience of all time\, which became the largely unknown foundation for Nazi genocide. Even before Hitler’s rise to power\, a powerful mix of American corporate\, scientific\, academic and political elite was formulating a sinister racial and ethnic purification movement that attempted to breed a Nordic master race through the elimination of those deemed physically or mentally unfit. Under the Nazis\, eugenic principles were applied without restraint\, and with the support of Ivy League scientists funded by the Carnegie Institution\, the Rockefeller Foundation and others. Ingeniously condensed from the book by award-winning journalist Edwin Black\, this film is a gripping account of bad science at its worst\, and a warning bell in our impending genetic age. \n[/vc_column_text][vc_empty_space][vc_text_separator title=”90 min”][vc_empty_space][vc_column_text] \n\nJustin Strawhand’s first film\,  8 BIT: A Documentary about Art and Videogames\, which he produced and co-directed\, premiered at the  MoMA\, was featured in Wired Magazine\, and has toured the world to international acclaim. Artforum put it on their “Top Ten Films of 2006.” His sophomore effort\, War Against the Weak\, a visual history of the American Eugenics movement and its direct influence on the Holocaust\, is currently touring the festival circuit. Justin is beginning work on a new film\, Thinking Horror\, an exploration of the philosophy of extreme nihilism. \n \nPeter Demas is a Film/Television Producer in NYC experimenting with photography full time. He really loves his camera. \n\n[/vc_column_text][vc_empty_space][vc_separator color=”white”][vc_empty_space][vc_column_text] \nPresented with Kings County Cinema Society. \nAn informal organization devoted to the unfettered\, unbiased love of film and the moving image in the borough of Brooklyn\, and occasionally beyond.\n \n[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/war-against-the-weak/
CATEGORIES:Screenings & Events
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DTSTART;TZID=America/New_York:20100320T193000
DTEND;TZID=America/New_York:20100320T213000
DTSTAMP:20260408T065539
CREATED:20100302T050000Z
LAST-MODIFIED:20190314T214428Z
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SUMMARY:Craig Baldwin: Mock up on Mu; Accelerated Underdevelopment & Other Cinema Shorts
DESCRIPTION:[vc_row][vc_column][vc_text_separator title=”Program”][vc_custom_heading text=”Saturday\, March 20 – 7:30pm”][vc_custom_heading text=”Mock up on Mu by Craig Baldwin (2009\, USA\, 110 min\, 16mm to DigiBeta)”][vc_column_text]A radical hybrid of spy\, sci-fi\, Western\, and even horror genres\, Craig Baldwin’s Mock Up On Mu cobbles together a feature-length “collage-narrative” based on (mostly) true stories of California’s post-War sub-cultures of rocket pioneers\, alternative religions\, and Beat lifestyles. Pulp-serial snippets\, industrial-film imagery\, and B- (and Z-) fiction clips are intercut with newly shot live-action material\, powering a playful\, allegorical trajectory through the now-mythic occult matrix of Jack Parsons (Crowleyite founder of the Jet Propulsion Lab)\, L.Ron Hubbard (sci-fi author turned cult-leader)\, and Marjorie Cameron (bohemian artist and “mother of the New Age movement”). Their intertwined tales spin out into a speculative farce on the militarization of space\, and the corporate take-over of spiritual fulfillment and leisure-time. \n“…this new work hits your synapses like a cluster bomb\, assailing your tremulous gray matter with a barrage of cinematic fragments (most recycled\, some newly shot)\, miscellaneous rants and ruminations”––Manohla Dargis of the New York Times \n“…Mock Up on Mu is a modern American myth fashioned from all manner of cultural detritus”––Jim Hoberman of the Village Voice \nBoško Blagojevic will join Craig in a discussion following  the screening. Boško  lives in New York and exhibited last fall at NYU’s Kimmel gallery. His writing has most recently appeared in Anton Vidokle: Produce\, Distribute\, Discuss\, Repeat edited by Brian Sholis and published by Sternberg Press. He has lectured at the Parsons School of Design and is co-founder of Platform for Pedagogy. \n[/vc_column_text][vc_custom_heading text=”(2003\, USA\, 55 min)”][vc_custom_heading text=”Accelerated Underdevelopment by Travis Wilkerson”][vc_column_text]Acclaimed documentary on Santiago Alvarez\, an unashamedly didactic\, partisan portrait in its subject’s own style: brash intertitles\, involving music\, stark images.[/vc_column_text][vc_custom_heading text=”Other Cinema Selects curated by Craig Baldwin”][vc_custom_heading text=”Key West (Coast)-ern Subcultural short works\, fragments\, and experimental exercises.”][vc_column_text] \n\nThad Povey: Thine Inward-Looking Eyes. Relax; Take a deep breath.  (1993\, 2 min)\nSarah Christman: Dear Bill Gates; A simple correspondence evolves into a poetic visual essay exploring the ownership of our visual history and culture. Combining original and archival film\, video and images from the internet\, “Dear Bill Gates” draws unexpected connections among mining\, memory and Microsoft. (2006\, 17min)\nSylvia Schedelbauer: Remote Intimacy; Stream of consciousness with fictitious and found stories and a personal reference. (2008\, 14 min)\nDavis Sherman: Tuning the Sleep Machine; “TUNING THE SLEEPING MACHINE maintains a dreamy oscillation between visual abstraction and a disjointedly submerged narrative of sexual menace. … [It] recalls our shared experience of late-night television in which lambent images emerge from the screen and turn strange as they percolate through our half-conscious thoughts and reveries.” – Paul Arthur\, Film Comment (1996\, 13 min)\nKelly Sears: Voice on the Line; Voice on the Line is a collage animation made from figures cut out of archival ephemeral films from the late 1950s. This animation mixes the history of these films with events of this era which results in a large scale secret operation that veers bizarrely off course. The film also reflects on current and troubled relationships between the areas of national security\, civil liberties and telephone companies. Voice on the Line explores how technology can be used to shape our fears\, desires and how we feel connected. (2009\, 7 min)\nDamon Packard: Tom Jones\nTony Gault: TBD\n\n[/vc_column_text][vc_empty_space][vc_text_separator title=”165 min”][vc_empty_space][/vc_column][/vc_row][vc_row][vc_column][vc_column_text]Craig Baldwin is an American experimental filmmaker. He uses “found” footage from the fringes of popular consciousness as well as images from the mass media to undermine and transform the traditional documentary\, infusing it with the energy of high-speed montage and a provocative commentary that targets subjects from intellectual property rights to rampant consumerism. He is the founder of Other Cinema\, a long-standing bastion of experimental film\, video\, and performance in San Francisco’s Mission District.[/vc_column_text][/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/a-weekend-with-craig-baldwin/
LOCATION:UnionDocs\, 352 Onderdonk Avenue\, 352 Onderdonk Avenue\, Ridgewood\, NY\, 11385\, United States
CATEGORIES:Screenings & Events
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20100324T193000
DTEND;TZID=America/New_York:20100324T213000
DTSTAMP:20260408T065539
CREATED:20100310T050000Z
LAST-MODIFIED:20190124T213110Z
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SUMMARY:Don Siegel Tribute: Last of the Independents
DESCRIPTION:[vc_row][vc_column][vc_column_text] \n\nWith a career spanning from the 1940s to the 1980s\, Don Siegel is something of a Hollywood legend\, a maverick who rebelled from within the system to create tough\, gritty\, personal movies. As part of our on-going Docs on Auteurs series\, we will be honoring Siegel with a presentation of Thys Ockersen’s rare documentary Don Siegel: The Last of the Independents (1980). Shot on the set of Siegel’s penultimate film Rough Cut (1980)\, Ockersen gives us not only a privileged glimpse of the artist at work\, but also Siegel’s reflections on his own life and career. \n  \nWorking his way up from carrying cans of film\, Siegel became a director right as the Hollywood studios were falling apart in the wake of antitrust suits and the rise of television. Weathering all the changes in the industry\, Siegel’s long and illustrious career included such films as Invasion of the Body Snatchers (1956)\, Madigan (1968) and Dirty Harry (1971). UnionDocs is honored to announce that film historian Foster Hirsch will be joining us for a post-screening discussion about Siegel’s legacy and career. \n  \nPraise for the work of Don Siegel: \n  \n“Don Siegel was the outstanding American action director of his generation\, a worthy successor to Raoul Walsh and Howard Hawks. His finest work is to be found in a series of male-oriented pictures—tough and tight thrills\, Westerns\, war movies\, noirs. It’s an oeuvre that would be unthinkable in today’s Hollywood\, consisting as it does of stylish but unpretentious mainstream films made with intelligence and vitality.” \n– Elliott Stein\, The Village Voice \n  \n“Laced with the irresistibly cinematic energy of human malice\, Siegel films defined American genre filmmaking with unparalleled precision and unyielding clarity.” \n– Bruce Bennett\, The New York Sun \n  \nMore information on the films of Thys Ockersen are available on his website: http://www.thysockersenfilms.com/ \n\n  \n\n\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\n  \n\n\nPresented with Cullen Gallagher as part of Docs on Auteurs. \nCullen Gallagher is a Brooklyn-based critic whose writings have appeared in The L Magazine\, Not Coming to a Theater Near You\, Hammer to Nail\, Moving Image Source\, Reverse Shot\, The Brooklyn Rail\, and Guitar Review. A graduate of The New School in New York City\, he is currently pursuing his MA in Cinema Studies at NYU. \n Film historian Foster Hirsch is the author of numerous books\, including the seminal text The Dark Side of the Screen: Film Noir (1981)\, Detours and Lost Highways: A Map of Neo-Noir (1999)\, as well as the recent biographyOtto Preminger: The Man Who Would Be King (2007). He received his Ph.D. from Columbia University and is currently a Professor at Brooklyn College. He has also contributed to many DVD commentary tracks\, including Douglas Sirk’s Imitation of Life\, Otto Preminger’s Daisy Kenyon\, and Joseph L. Mankiewicz’s House of Strangers. \n[/vc_column_text][vc_empty_space][vc_empty_space][vc_separator][vc_empty_space][vc_empty_space][/vc_column][/vc_row]
URL:https://uniondocs.org/event/tribute-to-don-siegel/
LOCATION:UnionDocs\, 352 Onderdonk Avenue\, 352 Onderdonk Avenue\, Ridgewood\, NY\, 11385\, United States
CATEGORIES:Screenings & Events
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20100327T160000
DTEND;TZID=America/New_York:20100327T190000
DTSTAMP:20260408T065539
CREATED:20100302T050000Z
LAST-MODIFIED:20181023T174524Z
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SUMMARY:Cut and Run: An Experimental Film Tour from San Francisco
DESCRIPTION:[vc_row][vc_column][vc_column_text]Cut and Run kicked off its first screening in April of 2009 at the Artists’ Television Access in San Francisco\, and was co-presented with Pirate Cat Radio. Following the show\, it was decided that the Cut and Run would live on and produce various types of film screenings including a tour of micro-cinemas and other venues along the US West Coast\, a guerilla screening on the SF MUNI rail system\, and now a national tour of experimental shorts. This is the first program from Cut and Run which has only played on the West Coast\, until now. \nSelective Service System by Warren Haack and Dan Lovejoy (USA\, 1970\, 13 minutes\, DVD)\n“Since 1956 the United States has been involved in a ground war in Asia. The American commitment had led to an ever increasing involvement in that area of the world – despite growing dissatisfaction here at home. To implement this country’s mobilization\, the draft system had been stepped up. This system made virtually no exemptions for those who felt this war was immoral and unjust. These young men either had to serve in a war in which they did not believe\, or face the bleak alternatives to service. Some chose prison. Some sought refuge in other countries. This film documents another alternative. There was no attempt to alter the proceedings that took place.” \nDeviations From the Wheel by JG Solondz (USA\, 2007\, 6 minutes\, DVD)\nPercussively condensed re-edit of promo videos found at a 2007 military “defense systems” conference. The source footage’s heavy metal soundtrack having undergone the same edit system resulted in the heavily modulated feedback. \nDo It Yourself Macroscopic Microscope by Mackenzie Mathis (USA\, 2008\, 7 minutes\, DVD)\nThe world of the large and small as viewed through the lens of the gargantuan and the tiny.” \nSensuous Geographies by Emily Davis (USA\, 2008\, 5 minutes\, DVD)\nBye\, Bye! She’s giving you up. P.S. You are now officially a cabbage patch kid with your very own special adoption papers. \nNo Name Nostalgia by Mallary Abel (USA\, 2008\, 3 minutes\, DVD)\nThis montage uses images with sounds to express something personal regarding biology\, femininity\, and most of all\, sexuality. \nSally’s Dream by Diana Stasko\n(USA\, 2008\, 3 minutes\, DVD) \nSally’s Dream’ uses found and super 8 footage\, layering and blending images to create a surreal dreamscape which explores themes of feminine appearance\, and the visible and hidden roles women historically inhabit.” \nSupplanted Environment\, Subsequent Adaptation by Lucky Gesher (USA\, 2008\, 3 minutes\, DVD)\nBirds equal trees. Humans equal concrete. Birds equal concrete. Humans don’t equal trees. Birds don’t equal trees. Birds don’t equal humans. \nMirror Mirror by Paula Levine (USA\, 1987\, 3 minutes\, DVD)\nShot in Venice\, California at Muscle Beach\, this is a short vignette about viewing and being viewed. \nStraightboy Lessons by Ray Rea (USA\, 1999\, 10 minutes\, DVD)\nStraighboy Lessons is the recreation of one drive in a truck after I told a co-worker\, Bo\, that I was transitioning female to male. \nYankee Doodle by Hand by Unknown (USA\, 1933\, 30 seconds\, DVD)\nThis is a filmed performance of farmer Cecil H. Dill of Traverse County\, Michigan\, performing “Yankee Doodle” in a most unusual way. \nWhere’s my Boyfriend? by Gretchen Hogue (USA\, 2005\, 2 minutes\, DVD)\nA biological clock explosion. Penises and Fetuses. This one is for the ladies. Can you hear the ticking? \nHorn by Milenko Skoknic (USA\, 2008\, 2 minutes)\nHorn is an experimental documentary about a car blaring it’s horn for hours inside an empty parking lot\, and its acoustic effects on the neighborhood. \nDISILLUSIONED by Brenda Contreras (USA\, 2007\, 3 minutes\, DVD)\nHere my aim it to tackle the concept of futile wars but I do not offer a single interpretation. Accordingly to the title and the subject matter\, this film aims to create disillusionment for the viewer through its abstracted audio design and by limiting the viewer to what they are allowed to see. \nTomoko Uemura in Her Bath by Phillip Villarreal (USA\, 2009\, 5 minutes\, DVD)\nTomoko Uemura in Her Bath is a pop music video inspired by the famous\, eponymous photograph\, in which a mother bathes her deformed daughter\, who suffers from severe congenital mercury poisoning. The video and song are part of a greater project exploring the theme of motherhood within the context of widespread environmental pollution. \nFLOAT by Mackenzie Mathis (USA\, 2007\, 3 minutes\, DVD)\nAt an opportune moment\, a restless feather makes its long awaited escape from the Earth. \nTwo Things at One Time by Jenny Gag (USA\, 2007\, 4 minutes\, DVD)\nTwo Things at One Time is a four minute single channel video performance. This is what I do on a typical day\, twice\, and then four times. The begins with a banal activity meant to be a singular action\, and then complicates\, as it is interwoven with another singular action. This piece points to the capacity and process of video production: the ability to capture anything and everything. However\, this apparent limitlessness is contradicted by the linear unfolding of time based media.” \nA Conversation with Enthusiasts: Mushroom People by John Robert Moore\, Jocelyn Jones\, Lisa Winsor\, and Danielle Didonato (USA\, 2008\, 18 minutes\, DVD)\n“Why mushrooms\, and for what reason” A film that taps into obsession and admiration of something many don’t understand.” \nSee the trailer here![/vc_column_text][vc_text_separator title=”90 min”][vc_column_text] Brenda Contreras\, a Southern California native\, moved up to San Francisco for fresher air and safer bike rides. Working with an assortment of experimental film forms\, her interests lie in exploring and bring light to human rights\, feminist issues\, and the marginalized. \n  \n Mallary Abel\, filmmaker\, curator\, poet. Born February 21\, 1986 in Indiana. Relocated to California in 1997. BA in Cinema from San Francisco State University\, honors. Interest in cinematheque\, experimental film\, semiology and semantics began here. She can be reached at mallaryabel@gmail.com.[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/cut-and-run-an-experimental-film-tour-from-san-francisco/
CATEGORIES:Screenings & Events
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20100328T193000
DTEND;TZID=America/New_York:20100328T213000
DTSTAMP:20260408T065539
CREATED:20100316T040000Z
LAST-MODIFIED:20181107T182440Z
UID:10002176-1269804600-1269811800@uniondocs.org
SUMMARY:51 Birch Street With Doug Block
DESCRIPTION:[vc_row][vc_column][vc_text_separator title=”Program” color=”white”][vc_column_text] \n51 Birch Street\n[/vc_column_text][vc_column_text] \nDoug Block\, 2005\, 1 hour 28 minutes \n[/vc_column_text][vc_column_text]Documentary filmmaker Doug Block had every reason to believe his parent’s 54-year marriage was a good one. So he isn’t prepared when\, just a few months after his mothers’ unexpected death\, his 83-year old father\, Mike\, phones to announce that he’s moving to Florida to live with “Kitty”\, his secretary from 40 years before.  Always close to his mother and equally distant from his father\, he’s stunned and suspicious. \nWhen Mike and Kitty marry and sell the longtime family home\, Doug returns to suburban Long Island with camera in hand for one last visit.  And there\, among the lifetime of memories being packed away forever\, he discovers 3 large boxes filled with his moms’ daily diaries going back 35 years. \nRealizing he has only a few short weeks before the movers come and his dad will be gone for good\, the veteran documentarian sticks around\, determined to investigate the mystery of his parents’ marriage.  Through increasingly candid conversations with family members and friends\, and constantly surprising diary revelations\, Doug finally comes to peace with two parents who are far more complex and troubled than he ever imagined. \nBoth unexpectedly funny and heartbreaking\, 51 Birch Street is the first-person account of Block’s unpredictable journey through a whirlwind of dramatic life-changing events: the death of his mother\, the uncovering of decades of family secrets\, and the ensuing reconciliation with his father. What begins as his own intimate\, autobiographical story\, soon evolves into a broader meditation on the universal themes of love\, marriage\, fidelity and the mystery of family. \n“One of the most moving and fascinating documentaries I’ve seen this year… Mr. Block has put his parents’ life\, and his own\, into this film with such warmth and candor that it may take more than one viewing to recognize it as a work of art.” – New York Times \n“A warm and honest portrait of a marriage at its most mysterious\, and ordinary.” – Entertainment Weekly[/vc_column_text][vc_text_separator title=”88 min” color=”white”][vc_column_text] \nDoug Block • Director\, Producer\, Writer\, Camera \nDoug Block is New York-based documentary director\, producer and cameraman. His films have all been released theatrically in the U.S\, won awards at leading international film festivals and have been broadcast around the world. \nHis first feature\, The Heck With Hollywood!\, followed 3 first-time filmmakers over the course of 3 years as they struggled to finish and find distribution for their films.   His next film\, the Emmy-nominated Home Page\, was a look at the earliest days of blogging and online culture. The subject inspired Block to found and co-host an online community for documentary filmmakers called The D-Word\, which now has over 4\,000 members from 80 countries. \n51 Birch Street\, his next and best known film\, was a re-examination of his parent’s marriage in light of his mother’s unexpected death\, his father’s sudden re-marriage to a former secretary and the discovery of 40 years of his mother’s diaries. It was named one of the 10 Best Films of 2006 by a number of leading critics\, including the New York Times\, and was selected as one of the outstanding documentaries of the year by the National Board of Review. \nHis latest film\, The Kids Grow Up\, is about his relationship with his daughter and only child\, Lucy\, shot over a period of 18 years and focusing on her last year at home before she left for college. The film is set for a early fall theatrical release and a later broadcast on HBO. \nIn addition to his own films\, Doug works as a producer for other documentaries.  His credits as producer include: Silverlake Life\, Jupiter’s Wife\, Love and Diane and A Walk Into the Sea: Danny Williams and the Warhol Factory\, among many others. Between them they’ve won grand jury prizes at the Sundance\, Berlin and Tribeca film festivals\, multiple Emmys\, a Peabody and an Independent Spirit Award.[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/51-birch-street/
CATEGORIES:Screenings & Events
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20100403T193000
DTEND;TZID=America/New_York:20100403T213000
DTSTAMP:20260408T065539
CREATED:20100324T040000Z
LAST-MODIFIED:20180508T180011Z
UID:10002182-1270323000-1270330200@uniondocs.org
SUMMARY:Jonathan Caouette Evening: Tarnation & More
DESCRIPTION:[vc_row][vc_column][vc_column_text]Jonathan Caouette will be present to present his groundbreaking doc Tarnation\, along with some surprise sneak-peak new work. \nCaouette emerged as the emo golden boy of the 2004 Sundance with Tarnation\, his iMovie magnum opus about a troubled southern childhood and schizophrenic mother. Sundance programmer Shari Frilot called it a “sensual masterpiece of self-destruction and re-birth.” It’s the kind of film — excruciatingly intimate\, full of startlingly raw material — that unnerves as much as it impresses\, causing critics to reach\, almost defensively\, for the hyperbole that would fend off its relentless psychic charge. Tarnation also had talking points out the yin yang: along with being the first feature made on iMovie\, in almost every story on the film its price tag — which was reported\, with several variations\, as an absurdly accurate figure in the realm of $213.18 — was mentioned\, along with the fact that both Gus Van Sant and John Cameron Mitchell signed on as producer and consultant\, respectively\, after seeing long cuts of the film. Mitchell was especially excited\, predicting a huge directing career for Caouette\, who in the film is also clearly an incorrigible performer. \nIn a Sundance report\, Movie City News called Tarnation a “cinema landmark\,” and Wellspring seemed to agree\, signing on as co-producer (funding an upgrade to 35 mm) and distributor in April 2004. When it closeded in October of 2004\, after a showing at the New York Film Festival\, Tarnation could not have been more poised for documentary sleeper-dom. Caouette turned to acting for a couple of years and is now working on a music documentary tentatively titled “All Tomorrow’s Parties.” —Michelle Orange \nOfficial Selection Sundance\, Cannes\, New York\, Toronto\, Tarnation went on to win awards including Best Documentary from the National Society of Film Critics\, the Independent Spirits\, the Gotham Awards\, and the LA and London International Film Festivals. \nMore information to come! \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_video link=”http://www.youtube.com/watch?v=mLDQL23nutw”][/vc_column][/vc_row]
URL:https://uniondocs.org/event/jonathan-caouette-evening-tarnation-more/
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2010/03/tarnation_05_03.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20100408T180000
DTEND;TZID=America/New_York:20101004T220000
DTSTAMP:20260408T065539
CREATED:20100328T040000Z
LAST-MODIFIED:20180508T172909Z
UID:10002184-1270749600-1286229600@uniondocs.org
SUMMARY:Thisisnotashop presents The Writing Workshop
DESCRIPTION:[vc_row][vc_column][vc_column_text]Thu April 8 – Sat April 10\, 6-10pm daily \nBased in Dublin\, Ireland since 2007 and supported by Thisisnotashop Gallery\, The Writing Workshop has become an closed hub for people to explore &; develop writing. The Workshop is catalysed by a shared desire to explore the expansive &; pervasive possibilities of text &; words\, particularly when extended through transdisciplinary arts practices. \nCore member artists of The Writing Workshop (Jessica Foley\, Susan Thomson\, Áine Ivers and Jessamyn Fiore) are journeying from Ireland to present their work and host a series of writing workshops at UnionDocs in Williamsberg\, Brooklyn and P.S.1 Contemporary Art Center in Long Island City\, Queens. This series will include sculptural/film installation\, screenings\, live readings and participatory workshops that will explore the work and also launch a New York branch of The Writing Workshop. \nAll Workshops are closed to the public- please come along if you are at all interested in text (closed to artists\, writers\, filmmakers… anyone who wishes to explore and play with words &; ideas) \nDaily 6pm-8pm: Installation \n– Jessica Foley’s film/audio installation entiled for one\, for all. \nArtist Statement: This work has developed in my head mostly\, and only of late has become ‘visible’. In November 2008 I visited America for the first time with the resolve to film in Super 8 a personal experience of accompanying my friend to make her vote in what was predicted by many to be ‘an historic’ presidential election for America &; the World. The films have only come to light (as in literally projected) in the past number of weeks\, and during this time I have attempted to articulate for myself\, &; for whomever might come across this work\, a kind of minor personal inquiry of Democracy\, of Vision &; of Unity. for one\, for all is incomplete\, though I hope that it will evolve through it’s exhibiting\, through the eyes &; voices &; ears of those who encounter it… \n– Áine Ivers sculptural installation entitled Pattern for moving through an element. \nAnimals who roam our cities freely in the future… \nThis installation is an attempt to manifest in New York a pack of wolves\, based on a pattern I have been developing over the past few months. A pattern for a wolf that moves over ground\, that I can bring anywhere\, and build where desired. \nThu Apr 8 at 8pm: Workshop \nJessica Foley will lead a Writing Workshop based on ideas extended from her work for one\, for all\, exploring the realtionship between writing and democracy. \nFri Apr 9 at 8pm: Screening \nFire Practice Theatre by Susan Thomson. Residing somewhere between fiction and documentary\, this two screen film shows firefighters practicing their skills on a tall purpose built house in a fire station. This is depicted as if it were a piece of theatre\, a rehearsal or ritual in a theatre where only one play is performed. There are different levels of fiction. A script is performed by actors playing firefighters; lines are swapped\, dramatically forgotten and a scene arrives early. The house is unlived-in\, sinister\, the piece reminiscent of a psyche where trauma and desire are endlessly replayed. \nFire Practice Theatre runs for approx 15 minutes and will be followed by audience discussion with the artist. \nSat Apr 10 at 8pm: Reading \nLive readings of members work including a theatrical reading of A Play About Lee Lozano by Jessamyn Fiore followed by audience discussion. A Play About Lee Lozano uses found text (articles/interviews/statement) to explore the mystery of 1960’s New York painter/conceptual performance artist Lee Lozano whose work led her to boycott the art world and women in general. The extremity of her boycott created a void that others have attempted to fill in order to understand her life and work. \nThe Writing Workshop is generously supported by Culture Ireland. \nFor more information please visit www.thisisnotashop.com \nIf you have any specific questions about workshops or events please email jessamyn@thisisnotashop.com \nat P.S.1 Contemporary Art Center Sat April 3 &; Sat April 10\, 2-4pm \nArtist Bios and Statements \nJessica Foley \nStatement \nJessica Foley’s work involves writing\, image making\, both visual &; sonic\, and collaborative activities. Her research interests draw upon pedagogical methodologies\, philosophy\, history and narratives of science &; art. \nThrough writing Foley responds to actual and imagined environments &; situations\, weaving narratives &; thoughts\, often through a kind of poetry\, or through site specific installations or workshops\, in an effort to explore time &; experience\, systems &; technologies. Her writing is an attempt to build meaningful connections\, or to identify significant dissonnances between the actual and the imaginary\, truths\, fictions &; metafictions between people &; their environment. \nFoley’s writings &; installations variously draw connections between her subjective experiences\, contemporary art practices\, scientific developments &; histories\, concepts of discourse and pedagogical methodologies. \nJessica Foley holds a Masters (Art in the Contemporary World) from NCAD and is currently lecturing in Visual Art Education at MIC\, Limerick\, Ireland. She has written for such publications as CIRCA and Variant\, and works closely with artists on various writing projects. \nFor more information visit www.jessicadfoley.com or you can contact Jessica at jessica.dylan.foley@gmail.com \nSusan Thomson \nBiography \nSusan Thomson is an artist and writer who has performed and exhibited her work at venues in Europe and beyond including the UK National Review of Live Art\, the International Video Art festivals of Alcoi and Valencia\, Spain and X Initiative\, New York. She has written for many books and publications including Circa\, The Times and Women’s News. She holds an M.A. in Visual Arts Practices at DLIADT\, Dublin\, a degree in Modern Languages from Trinity Hall\, Cambridge University and a Masters in European Literature from Magdalen College\, Oxford University. She has received a number of Visual Arts bursaries\, including an Arts Council New Work Award (2008)\, a South Dublin County Council Award (2003) and Culture Ireland Award (2009). \nArtist statement \nMy practice is fundamentally grounded in writing\, but unfolds into the visual and conceptual\, video and film work. I am particularly interested in the area where visual art and literature meet\, whether that be in text based art\, conceptual literature or in film. \nThis could mean that the word count has a symbolic importance or that words literally and digitally turn into other words (thus extending through technology the ‘polyglot’ literature of Joyce\, Cixous etc) or creating stories which predict their own endings. I am influenced by ‘Oulipo’\, Workshop for Potential Literature\, as well as by contemporary video art and film. \nThe psychoanalytic and autobiographical play a large role in my work\, which explores themes of trauma and desire\, the theatrical (and tragedy in particular)\, choreography and translation. \nÁine Ivers \nÁine Ivers is a visual artist. Her art practice has at its core an ongoing investigation into panic. This investigation materializes in many ways; weaves through media such as drawing\, writing\, sculpture\, installation\, craft\, teaching\, facilitation and participation; incorporates tangential thoughts and ideas\, manifests through sustained solo studio practice and through collaborations across disciplines. She is currently looking at ecological narratives and thinking a lot about the presence of animals in the human psyche. \nShe has worked extensively in Ireland and Finland\, Russia and Estonia. She is currently based in Dublin\, Ireland. \nwww.aineivers.org \nJessamyn Fiore – About the Artist \nJessamyn Fiore was raised in the New York City art world and attended Sarah Lawrence College where she focused on playwriting and international peace and conflict studies. After graduating in 2002 she moved to Ireland and founded The Road Show Theatre for which she wrote two productions\, The Mysterious World of Birds (2003) and SANDWICH (2005). Her plays have been produced in Galway\, Dublin\, London\, Edinburgh\, Prague\, and New York City. \nIn March 2007 she became co-director of Thisisnotashop Gallery. She founded the Writing Workshop at Thisisnotashop with Jessica Foley in July 2007. Working with Aideen Darcy to curate the overall gallery program\, she has also curated three major exhibitions for the gallery- Gordon Matta-Clark FOOD (DEC 2007)\, Fluxus with Larry Miller (MAY 2009) and Thisisnotashop @ No Soul For Sale\, X Initiative in New York City (JUN 2009). Jessamyn became the sole Director of Thisisnotashop in June\, 2009. She completed an MA in Art in the Contemporary World at the National College of Art &; Design\, Dublin\, Ireland\, in 2009. \nFor more information email jessamyn@thisisnotashop.com \n  \n  \n  \n \n \n[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/thisisnotashop-presents-the-writing-workshop-in-new-york-city/
CATEGORIES:Workshops & Labs
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2010/03/Jessica-Foley-page4_03.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20100411T193000
DTEND;TZID=America/New_York:20100411T213000
DTSTAMP:20260408T065539
CREATED:20100328T040000Z
LAST-MODIFIED:20180515T205951Z
UID:10001676-1271014200-1271021400@uniondocs.org
SUMMARY:Archeology of the Image: Retrospective of Experimental Cinema in Uruguay
DESCRIPTION:[vc_row][vc_column][vc_column_text] \nUruguayan visual artist\, film historian\, and curator Angela Lòpez Ruiz presents  “Archeology of the Image”\, a review of the history of Uruguayan cinema between the 20s and the 70s. Ruiz’s research makes connections between cinema and other artistic disciplines during the modern age\, and how these “blank pages” have had their effect on contemporary thinking.  The evenings program will be divided into two parts showcasing Uruguayan experimental cinema; the first looking at historical films and the second contemporary pieces.  Following this will be a panel discussion with Lòpez Ruiz\, Bill Brand\, and Mark Street. \nLòpez Ruiz will also present the 1958 short Color by Lidia García Millán as part of the Orphan Film Symposium‘s closing program on Saturday evening\, April 10:  Around the World Time Travel Diary (1897 – 2010). \nThis program is presented with CINEMA TROPICAL. \nHistorical Uruguayan Experimental Cinema \nA selection of prizewinning Uruguayan films at the Festival de Cine Experimental y Documental (Festival of Experimental and Documentary Cinema) organized by CineArte SODRE between the 1950s and the 1970s. It is part of a research project called “Archaeology of Image”\, which has its origins in the almost complete loss of the archives of CINEARTE in the fire that took place in the 70s. This fire was a watershed in local film production\, since the dictatorship severed the spaces generated by the said festival\, thus bringing this unique experience to an end\, an experience that subverted the hegemonic values of commercial cinema and turned Montevideo into a ground-breaking city. \n“18 de Julio” –Lidia García Millán-1951- 4 minutes-black and white-mute.  Restored copy of original 16mm.                                                             This film was the First Prize in the first competition organized by Cine Universitario\, artistic documentary about the principal avenue of the city filmed in 16mm developed with hand-crafted techniques . \n“Cariri” – Miguel Castro-1953-3 minutes-black and white-mute. \nThe camera films the shifting landscape from a train in motion\, then begins to descend\, showing the moving rails. Guitar music starts to \nplay. Later the film alternates between different takes of the rails\,sleepers and land\, which move past from different angles within squares \n“Images” –   Miguel Castro-  1955- 4 minutes-black and white-mute \nA romantic tale narrated on still photographs. \n.“Color” – Lidia García Millán-1955- 4 mins –color \nThe first color experimental film on Uruguay. The music was improvisated by the Hot Jazz Club of Montevideo on a filmproyection of the film. \n“Elíptica” –  Carlos Bayarrés and Horacio Ferreira-1962- 3 mins –animation\, black and white  on the restored copy. \nAnimation Experimental film  aesthetically influenced by Norman McLaren. \n“La ciudad de la playa” – Ferruccio Mussitelli-1961- 18 mins\, \nArtistic documentary awarded a prize by the Ministry of Tourism. Karlovy Vary Festival prize winner. \nRUNNING:25 mins (approach)  All the films will be screened from digital copies. \nContemporary Uruguayan Experimental Cinema  \nThis portion connects contemporary film production with historical production. Its aim is to reveal their common factor\, the emphasis on the “poetic image”.  These films are a proof of the results arising from a particular conception of the moving image\, where the micro is amplified by the light crossing the image\, and by using a local dialect\, engages in dialogue with global cinema.  The filmmakers use film as a basis for their cinematic discourse\, regardless of the ultimate formats their images adopt during exhibition. \nBack Home-Federico Veiroj.2001  7 minutes \nFour men cruise around the street of Montevideo trying to find their way home.  Experimental Film awarded on the International Festival of Uruguay. \nRainMontevideo-Teresa Puppo\,2009 1\,45 minutes  16mm \nSelf-referential film based on the evolution of the space around us. \nAai 956-Guillermo Zabaleta\,2009 1\,10 minutes\,35mm \nA found footage version of “Gran Torino”. Awarded by “Fotograma09”. \nPopping Eyes-Maximiliano Contenti\,2008  3 minutes\,black and white\,-16mm hand crafted development. \n“Waking up to the morning light\, drinking morning tea\, making morning time stop\, and popping eyes” \nA girl is waking up in her apartment on the city town.Her reflexive mood is described on the cloudy landscape\,until she took the tea her interior time stopped the other time. \nElegbé-Guillermo Zabaleta\,2008. 3 minutes\, black and white\, mute – 16 mm hand crafted development \nThis short has the frame references of a rite of African root (Exú\,African deity come to America with the slaves yorubas). The film plays with the look of the elements that integrate this ritual\, the gunpowder\, the simbology\, the combustion\, the visions that it provokes\, the autorreferencial experience of it. \nGround for Divorce I-Jessie Young \, 2007. 1\,45 minutes\, 16mm \nA ten year old girl all dressed up in uniform is wandering by the fields of her school when she runs into a giant chewing gum. After a while she can’t resist the temptations of the unknown wonderful object and she takes a bite… \nGround for Divorce II-Jessie Young\, 2008 1\,45 minutes\, 16mm \nThree guys are sitting in a couch staring at nothing. The chewing gum goes from one person to the other like something that empowers them. The juice from each bite increases the dripping from there faces… \nRUNNING:25 mins (approach)  All the films will be screened from digital copies. \nThis program was made possible with the generous support of Fundaciòn de Arte Contemporaneo and the National Image Archive -SODRE-. \n        [/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/archeology-of-the-image-retrospective-of-experimental-cinema-in-uruguay/
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2010/03/Historical-Experimental-Cin1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20100416T193000
DTEND;TZID=America/New_York:20100416T213000
DTSTAMP:20260408T065539
CREATED:20100330T040000Z
LAST-MODIFIED:20180515T182941Z
UID:10001679-1271446200-1271453400@uniondocs.org
SUMMARY:Adam Sekuler Presents: CASCADIAN FACTS AND FICTIONS
DESCRIPTION:[vc_row][vc_column][vc_column_text]The Pacific Northwest\, stretching from Oregon to British Columbia\, has become a vital home for some of the North America’s most promising film talents. CASCADIAN FACTS AND FICTIONS gives us insight into some of that regions most vibrant non-fiction filmmakers. This program\, introduced by Northwest Film Forum program director Adam Sekuler\, features films from Webster Crowell\, Serge Gregory\, Vanessa Renwick\, Craig Downing\, Sarah Jane Lapp\, Larry Kent\, and Matt McCormick\,  displaying just the tip of the iceberg from the regions wide-ranging talents. \n\nLast Call 1 – 5  <span”>by Webster Crowell \n( Seattle\, WA\, 2010\, 7 minutes\, DVD) \nAnimation based on recordings from the filmmakers apartment window at 2am. \n\nWhen Herons Dream by Serge Gregory \n(Seattle\, WA\, 2009\, 10:34 minutes\, DVD) \nThe film imagines the perspective of a Great Blue Heron as it moves throughout the seasons and Northwest landscape shaped by water. But more than this\, “When Herons Dream” is a distilled medative work in black and white shot on real film and utterly beautiful in its simplicity. \nPortrait #3: House of Sound by Vanessa Renwick \n(Portland\, OR\, 2009\, 11 minutes\, DVD) \nRadio reminiscences and a photography-driven visit to the neighborhood of record shop “House of Sound” long after the wrecking ball\, this film reflects the heart of a pre-digital era of music. Renwick’s latest in her ongoing Portrait series of stories in Portland\, Oregon. \nThis True Story of Dad Club by Craig Downing \n(Seattle\, WA \, 2008\, 5 minutes\, DVD) \nA memoir about the dark distance between a daughter and her dad. \nChronicles of A Professional Eulogist by Sarah Jane Lapp  \n(Seattle\, WA\, 2009\, 25 minutes\, DVD) \nDIRECTOR IN ATTENDANCE! \nSarah Jane Lapp is a Seattle-based Renaissance woman\, visual artist and filmmaker\, who typically takes on abstract and ethnographic subjects in her finely rendered hand-drawn experimental animations. This is her semi-factual\, hand-drawn animation (India ink\, gouache\, and wax) reminiscent of the work of John and Faith Hubley\, and scored by Mark Dresser\, was made possible by interviews with eulogists galore. The film follows a eulogist-in-training and his encounter with the spaces our communal memories create between mortality and immortality. \nHastings Street by Larry Kent \n(Vancouver\, BC\, 2007\, 20 minutes\, DVD) \nA dramatic portrait of a vulnerable young man set in downtown Vancouver. Filmed in 1963\, this monochromatic film is a flashback to a notorious street and a bygone era of Canadian cinema. \nIt Was A Crushing Defeat by Matt McCormick \n(Portland\, OR\, 2007\, 4 minutes\, DVD) \nIn hi-8 night vision\, this film features beautiful images of a late night at the Portland Police horse paddock beside Centennial Mills. \n\nImage from Sarah Jane Lapp’s Chronicles of A Professional Eulogist \n[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/cascadian-facts-and-fictions/
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2010/03/cope_02.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20100417T193000
DTEND;TZID=America/New_York:20100417T213000
DTSTAMP:20260408T065539
CREATED:20100330T040000Z
LAST-MODIFIED:20180515T182521Z
UID:10001719-1271532600-1271539800@uniondocs.org
SUMMARY:Scott Nyerges & Ryan Marino Present: TACTILE TOPOGRAPHIES
DESCRIPTION:[vc_row][vc_column][vc_column_text]The camera surveys its surrounding in this program of classic and rarely seen films from the Filmmakers’ Cooperative library. Whether an industrial urban wasteland or a pristine rural landscape\, filmmakers have long used the camera to explore\, interpret and re-imagine the landscapes they inhabit\, transporting us from the familiar to the foreign and back again.  Curated by Scott Nyerges and Ryan Marino. \nAtmos Fear Tom DeWitt (USA\, 1966\, 6 minutes\, color\, sound\, 16mm)  \n“Things to watch for include: the way DeWitt thinks inside his camera\, the use of single-frame techniques to enhance certain images\, the lens-integrity in zoom and focusing effects (he borrowed Vanderbeek’s equipment to make this film)\, and the moderate use of solarization (re-exposed/negative print) and multiple exposure. There is a lot to be learned from ATMOS FEAR.” – David Buehler \nGo Go Go Marie Menken \n(USA\, 1964\, color\, silent\, 12 minutes\, 16mm)  \nTaken from a moving vehicle\, for much of the footage. The rest uses stationary frame\, stop-motion. In the harbor sequence\, I had to wait for the right amount of activity\, to show effectively the boats darting about; some sequences took over an hour to shoot\, and last perhaps a minute on the screen. The “strength and health” sequence was shot at a body beautiful convention. Various parts of the city of New York\, the busy man’s engrossment in his busy-ness\, make up the major part of the film … a tour-de-force on man’s activities. – Marie Menken \nSilvercup Jim Jennings \n(USA\, 1998 black and white\, silent\, 12 minutes\, 16m) \n“A tender ode to the industrial neighborhood of Long Island City\, Queens\, strung together with Manhattan across the East River by the Queensborough Bridge and the elevated subway line. “The trains and webs of steel enslave and at the same time bring us together. The past haunts me\, and at the same time its memories are precious. Much of the film was edited in the camera. About half of what I shot was discarded\, and in the editing room I very slowly removed and arranged what remained after several screenings.” -Jim Jennings \nEarth Saga Rosalind Schneider  \n(USA\, 1980\, color\, sound\, 20 minutes\, 16mm) \n“Based on Icelandic Landscape\, Earth Saga reveals the powerful beauty of a land formed by volcanic explosion. From steaming lava ash to moss-covered fields\, the film redefines color and black and white images\, superimposing abstract and surreal visions of nature. Original shooting was done in both 16mm and super 8mm enabling the filmmaker to alter the inherent texture of the compositions through optical printing techniques of extended sequences\, re-framing and superimposing the resulting footage forms new flowing and rhythmic patterns in an illusionistic translation of landscape.”- Rosalind Schneider \nPorter Springs 3 Henry Hills \n(USA\, 1977\,  color\, silent\, 6 minutes\, 16mm) \n“These beautiful\, intricately animated reflections were unfortunately shot in ECO which has proved to be remarkably unstable\, turning blue before I had an internegative made. Therefore\, this is one of only three prints of this “elegant and serene experience”-Pat O’Neill \nMaas Observation Karel Doing & Greg Pope \n(USA\, 1997\, black-and-white\, sound\, 11 minutes\, 16mm) \n“In MAAS OBSERVATION Doing and Pope demonstrate their fascination in the bizarre landscape of the port of Rotterdam\, a stretch of ‘neo-nature’ with little place for humans\, where huge machines seem to move around according to a logic of their own. The film begins with images of windmills on the edge of the Maas plain in a montage sequence based on the steady rhythm of the rotating sails. The focus gradually shifts towards activities on the river further upstream. The montage tempo slows down as the mechanical motion gives way to the play of reflections in the water.” \nDozer Anna Geyer \n(USA\, 1999\, color & black-and-white\, sound\, 14 minutes\, 16mm) \nAs long as I can remember\, I have had an affection for bulldozers — their power and their grandeur. My fascination with them continues to grow as I observe their ceaseless efforts. With this film I explore the awe inspired by such a destructive force. DOZER features the bulldozer as an icon of American culture and examines the continuous reconstruction of our surroundings. An important point of focus is the impact of the automobile and its infrastructure on our society\, environment\, and general quality of life\, as bulldozers exchange natural landscapes for freeways – landscapes of an industrialized society. This film explores how and why the advent of the automobile has reshaped our lives with an emphasis on several questions: what was there before? What has changed due to the car? My grandmother provides voiceover accounts of life during the emergence of the automobile. She perfectly illustrates pivotal moments of history in very human terms. The naively optimistic text of The Prayer of America’s Road Builders adds a subtle irony. Industrial sounds (piledrivers\, edgecode printers\, trains\, the freeway itself\, etc.) are manipulated\, looped\, and layered to function as music. As an aural atmosphere of rhythm\, the effects at times create fake sync sound and at others act contrapuntally\, contributing to the visual images to form a unique filmic space. The visual aesthetic of DOZER is an exploration of structure and construction as well. I utilize many forms of image layering (multiple projection\, optical printing and in-camera effects) which create an even greater distance between subject and viewer. \nTotal Run time: 80 minutes[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/scott-nyerges-ryan-marino-present-tactile-topographies/
CATEGORIES:Screenings & Events
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20100418T193000
DTEND;TZID=America/New_York:20100418T213000
DTSTAMP:20260408T065539
CREATED:20100330T040000Z
LAST-MODIFIED:20180515T180226Z
UID:10001683-1271619000-1271626200@uniondocs.org
SUMMARY:SMALL-GAUGE: Super-8mm Films by Kevin T. Allen  & Jen Heuson
DESCRIPTION:Kevin and Jen have been making small-gauge films for over a decade. Using Super-8mm film\, they have documented places such as Sri Lanka\, India\, Thailand\, Peru\, Bolivia\, Greece\, Vietnam\, Argentina\, Bolivia\, Southern Florida and the American West. Tonight’s program highlights the use of small-gauge film as ethnographic and documentary practice. The artists introduce their films by discussing how the small-gauge format shapes a documentary subject and why super-8mm is gaining such popularity within the current media landscape. An in-depth discussion with the filmmakers will follow the screening. \nKevin T. Allen is filmmaker and sound artist. He has created sound installation work for the Canadian Centre for Architecture\, Third Coast International Audio Festival\, Film(less) Festival\, and Deep Wireless Festival of Radio Art. Kevin’s films have shown at the Museum of Modern Art\, Margaret Mead Film Festival\, Ann Arbor Film Festival\, and Portland Documentary and Experimental Film Festival. His film KIEU won first prize at the 2006 Black Maria Film Festival and was featured on Michigan Public Broadcasting. Kevin is currently shooting his next project\, LUTHIER\, a documentary portrait of an aging instrument maker in Patagonia. \nJen Heuson is a filmmaker\, scholar\, and activist. She has conducted fieldwork in Southeast Asia\, South America\, and the United States. Jennifer’s works include: Sounds of the Amazon\, a sound ethnography of the Peruvian Amazon; Welcome\, a documentary about tourism in Asia; and Colors of New York City\, an audio-visual exploration of race in New York City. She is currently investigating tourist soundscapes of the Black Hills of South Dakota and shooting an experimental ethnography about cowboys\, Indians\, family\, and the politics of memory. \nLANKA: Time Loss in Refrain by Kevin T. Allen \n(Sri Lanka/USA\, 2005\, 6 minutes\, Super-8mm/Video) \nAn experimental portrait of Sri Lanka and the decrepit colonial railway that still weaves its way through the island. A personal film about loss\, solitude\, and the transience of experience. \n***Best Experimental Film\, U.S. Super 8 Film Festival\, 2006 \nKIEU by Kevin T. Allen \n(Vietnam/USA\, 2006\, 18 minutes\, Super-8mm/Video) \nKieu\, loosely translated as “foreign\,” is the name given to thousands of Vietnamese refugees and their children who have journeyed “home.” We traverse notions of origin and cultural alienation by way of luscious Kodachrome travel footage. Through an intricate weaving of field recordings and the vivid stories of three Viet-Kieu voices we “return” to Vietnam. Their culturally fragmented narratives pose questions relevant to all those who travel. The camera too becomes a voice in this cinematic journey\, a kinesthetic query of being and belonging. \n***First-Prize\, Black Maria Film Festival\, 2007 \nSTILL LIFE WITH HO CHI MINHby Kevin T. Allen \n(Vietnam/USA\, 2008\, 3 minutes\, Hand-processed Super-8mm/Video) \nAn ethnographic encounter with Ho Chi Minh’s personal photographer. Mr. Bay recalls secretly traveling the jungles with Ho Chi Minh during the war against the French and\, with great emotion\, the day that the Vietnamese flag flew from the U.S. My sister and I met Mr. Bay in Ha Noi\, he invited us to his house to show us some of his photographs. This single hand-processed roll of Super-8mm film documents our encounter. \n***Documentary Fortnight\, Museum of Modern Art (MoMA)\, 2009 \nImmokalee\, My Homeby Kevin T. Allen + Jen Heuson \n(USA\, 2009\, 28 minutes\, Hand-processed Super-8mm/Video) \nA portrait of life in Immokalee\, Florida\, the heart of industrial agriculture in the United States and home to its largest population of migrant farm workers. Through visits to carnivals\, churches\, tomato fields\, and workers’ homes\, a narrative emerges. The surface story is of one community’s struggle for farm worker rights. Florida farm workers live in slave-like conditions. Some are beaten\, not given food or water\, or not paid. Yet\, they continue to come. This is the deeper tale revealed. Ultimately\, it is a tale of migration\, of immigration\, and of the persistent hope for a better life. \n***Margaret Mead Film & Video Festival\, 2009 \nDesamparadosby Kevin T. Allen + Jen Heuson \n(Peru/Bolivia/USA\, 2010\, 11 minutes\, Super-8mm/Video) \nDesamparados (the forsaken) is the name of an abandoned train station in Lima and the origin of a month-long journey to Machu Picchu. By rail\, by foot we encounter the ghosts of colonial relics\, from Catholicism to industrialism to a lost Incan fortress. We transport between the bucolic\, crestfallen mountaintops and dejected mining towns\, tracing the scars of conquest upon the Andean landscape.
URL:https://uniondocs.org/event/small-gauge-super-8mm-films-by-kevin-t-allen-jen-heuson/
CATEGORIES:Screenings & Events
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DTSTART;TZID=America/New_York:20100424T193000
DTEND;TZID=America/New_York:20100424T213000
DTSTAMP:20260408T065539
CREATED:20100330T040000Z
LAST-MODIFIED:20180515T170144Z
UID:10001687-1272137400-1272144600@uniondocs.org
SUMMARY:Joel Schlemowitz: Film Portraits and Experimental Documentaries
DESCRIPTION:Silo (2007\, 3 minutes\, color\, sound\, 16mm) \nA single camera roll shot in time lapse documenting the final night of the arts and performance center\, ISSUE Project Room\, at their former space inside of a converted silo on the Gowanus Canal\, Brooklyn. Accompanying this on the soundtrack is a montage of field recordings from the Gowanus environs. \nTeslamania (2007\, 6 minutes\, color\, sound\, 16mm) \nTwo camera rolls shot at the Collective Unconscious during a performance of “Teslamania” featuring Gecko Saccomanno and Tesla Coil Engineer Jamie Mereness. The film’s visual effects\, double exposures\, and refracted images\, were all done in camera\, just as we see them here. \nOn the soundtrack Gecko provides various “Tesla tidbits\,” including Tesla’s scheme to provide free electricity transmitted through the air\, anecdotes about the Collective’s Tesla Coil performances\, “Tesla cooking\,” and a list of the inventor Nikola Tesla’s many exotic phobias. \nMusic by Dorit Chrysler. \nDame Darcy – a film portrait (2007\, 5 minutes\, b&w\, sound\, 16mm) \nA short and lively 16mm portrait of comic book artist and performer Dame Darcy\, seen through a filmic rollercoaster tour of her comic book\, “Meat Cake\,” and ending with the artist herself. On the soundtrack\, a turn-of-the-last-century recording from a 78rpm Victrola record. \nLoudmouth Collective / Ugly Duckling Presse (2003\, 20 minutes\, b&w\, sound\, 16mm) \nA film-portrait of the Loudmouth Collective and Ugly Duckling Presse. These poet-provocateurs are the creators of the infamous “Anti-Reading” series\, a carnival-like alternative to the traditional poetry reading. On the film’s soundtrack we hear how the Anti-Readings were started\, descriptions of various Anti-Reading activities including the Poetry Fishing Pond\, the Typewriter Inferno\, Poetry-Poker\, Poem Portraits\, the smokable poems known as Poetry Cigarettes\, the memory tester called “I Forgot\,” and the Diary in the shape of a Bunny. The film includes footage shot at Anti-Readings\, with time-lapse\, double exposures\, distorting lenses\, and frenetic non-traditional camerawork evocative of the playfully chaotic spirit of the events. \nAwarded BEST DOCUMENTARY SHORT\, Chicago Underground Film Festival\, 2004 \nMoving Images – the Film-Makers Cooperative relocates (2001\, 14 minutes\, b&w/color\, sound\, 16mm)voices: Jonas Mekas\, MM Serra \nJonas Mekas\, one of the Film-Makers’ Cooperative’s founders\, and MM Serra\, the current executive director\, describe the Coop’s beginnings\, the organization’s recent struggles\, and the difficulties of finding space for the arts\, over richly layered images of the Coop’s recent move. \nThe Film-Makers’ Cooperative\, founded in 1962 as a filmmaker-run distribution center\, is now the largest archive and distributor of independent and avant-garde films in the world\, with over 5\,000 films and videos. Since 1967 the Coop had its offices at Lexington and 31st Street\, but as documented in this film\, it has now relocated to the Clocktower Gallery at 108 Leonard Street\, New York City. \nAwarded SILVER PLAQUE\, Chicago International Film Festival \nJoel Schlemowitz has made over forty short experimental films\, and numerous film installation pieces. He has received grants from the Jerome Foundation and New York State Council on the Arts. His work has been shown at the Whitney Museum of American Art\, MoMA\, Anthology Film Archives\, Millennium Film Workshop\, Berks Filmmakers\, and at various festivals including the London Film Festival\, the Sydney Film Festival\, the Chicago International Film Festival\, the Ann Arbor Film Festival\, the Denver Film Festival\, the New York Underground Film Festival\, and elsewhere. His short film Reverie was broadcast on the Sundance Channel in the “Underground Shorts” series. Another short work\, Moving Images – the Film-Makers’ Cooperative relocates\, received Honorable Mentions from the Thaw02 Film & Video Festival and NY Short Film Expo\, and was awarded a silver plaque from the Chicago International Film Festival. He has received Best Short Documentary awards at the Chicago Underground Film Festival in 2004 and 2005. He teaches filmmaking at the New School\, and is President of ACT-UAW\, Local 7902\, union of adjunct and part-time faculty at New School and NYU. \nJoel Schlemowitz Official Website
URL:https://uniondocs.org/event/joel-schlemowitz-film-portraits-and-experimental-documentaries/
CATEGORIES:Screenings & Events
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DTSTART;TZID=America/New_York:20100425T160000
DTEND;TZID=America/New_York:20100425T160000
DTSTAMP:20260408T065539
CREATED:20100401T040000Z
LAST-MODIFIED:20180515T165038Z
UID:10001722-1272211200-1272211200@uniondocs.org
SUMMARY:Doc/Fest's Hussain Currimbhoy UK Doc Funding Workshop & Bastardy Screening
DESCRIPTION:[vc_row][vc_column][vc_column_text] \n4-6pm: Sheffield Doc/Fest – Doc Funding Workshop with Hussain Currimbhoy\nHussain Currimbhoy of Doc/Fest will lead a workshop on the current state of documentary funding in the UK.  Currimbhoy will give us insight into how docs are being financed and what filmmakers can expect when trying to get their projects out there.  Talk will include an overview of Doc/Fest’s financing initiative the MeetMarket and touch on the differences in funding with European sources versus those in the United States\, and also present an overview of his experiences programming documentaries and what distribution outlooks are for films following festival runs. \n7:30pm: Bastardy by Amiel Courtin-Wilson (Australia\, 2008\, 84 minutes\, DVD)\nVideo Q&A with Courtin-Wilson following the screening. \nProvocative\, funny and profoundly moving\, Bastardy is the inspirational story of a self proclaimed Robin Hood of the streets. For Forty years and with infectious humour and optimism\, Jack Charles has juggled a life of crime with another successful career- acting. Since founding the first Aboriginal theatre company in the 1970’s\, Jack has performed with Australia’s most renowned actors (Geoffrey Rush\, David Gulpilil\, Bill Hunter) and directors in feature films (The Chant of Jimmie Blacksmith\, Bedevil) TV series and hundreds of plays. Filmmaker Amiel Courtin-Wilson follows Jack over seven years- gradually blurring the line between director and accomplice as Jack continually traverses the criminal and acting worlds. However the law finally catches up with Jack and when he faces a jail sentence he might not survive\, he is forced to decide if he can go straight for the first time in his life. Bastardy is the story of one man’s journey into the light. \n“Documentaries come from an insatiable curiosity” -Amiel Courtin-Wilson\, The Age \n“Jack’s personal philosophy is so life affirming\, infectious and effervescent…” -Film Ink \n“A deeply compassionate documentary…” -Sun Herald \nHussain Currimbhoy worked in programming for the Melbourne\, Brisbane\, and Adelaide Film Festivals in Australia before taking over as the programmer of Sheffield Doc/Fest in 2008.  Hussain fell into programming. Before the festival addiction took hold\, Hussain completed a bachelor of arts in film from Curtin University in Perth\, Australia and a postgraduate diploma  in film from the Victorian College of Art in Melbourne\, writing and directing seven short narrative films in the process. Hussain is a champion of the independent documentary and lover of the documentary audience.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_video link=”https://vimeo.com/5031137″][/vc_column][/vc_row]
URL:https://uniondocs.org/event/docfests-hussain-currimbhoy-presents-bastardy/
CATEGORIES:Workshops & Labs
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DTSTART;TZID=America/New_York:20100501T193000
DTEND;TZID=America/New_York:20100501T213000
DTSTAMP:20260408T065539
CREATED:20100402T040000Z
LAST-MODIFIED:20180508T171316Z
UID:10001726-1272742200-1272749400@uniondocs.org
SUMMARY:Zachary Levy's STRONGMAN
DESCRIPTION:[vc_row][vc_column][vc_column_text]One of the most poignant and hauntingly original American documentaries in years\, Strongman tells the up-close-and-personal story of Stanley “Stanless Steel” Pleskun\, who can lift dump trucks and bend pennies with his bare hands\, but who struggles to transcend his chaotic New Jersey home life and the toll of his slowly-but-surely advancing age. Years in the making and assembled with rare skill and intelligence\, Strongman is tender and tough\, comic and tragic\, simple and endlessly rich – a Fellini-esque testament (in the best sense) to the unlimited possibilities of independent\, nonfiction filmmaking and the most hypnotic example of the Maysles-style “direct cinema” tradition in years. Winner of the Grand Jury Prize at the Slamdance Festival and a smash at the South-by-Southwest (SXSW) Film Festival.– Elliot Wilhelm\, Detroit Institute of the Arts \nFunded in large part by the success of a DIY start-up project\, Levy never gave up on this film which took ten years to complete.  Read about his story here. \n“A strange and strangely beautiful film…” -Variety \n“A startlingly\, emotionally intimate study.” Chris Kaltenbach\, The Baltimore Sun \n“Breaks new ground in its approach…a true respect not only for its subject but for the documentary form.”– Ross Kauffman (Born Into Brothels) \n“A phenomenal film\, profoundly touch and honest… the debut of a new important American documentary filmmaker.”– Ramin Bahrani (Goodbye Solo) \nZachary Levy has been a country music disc jockey\, a patented inventor\, a cameraman for Oprah and 60 Minutes\, and is the creator of the best-selling Bush Cards.  He is a graduate of Columbia University. Strongman is his first feature film. \nPresented with\n\n\n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_video link=”http://vimeo.com/6982586″][/vc_column][/vc_row]
URL:https://uniondocs.org/event/zachary-levys-strongman/
CATEGORIES:Screenings & Events
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DTSTART;TZID=America/New_York:20100508T160000
DTEND;TZID=America/New_York:20100508T190000
DTSTAMP:20260408T065539
CREATED:20100404T040000Z
LAST-MODIFIED:20180417T205125Z
UID:10001730-1273334400-1273345200@uniondocs.org
SUMMARY:Scene: Brooklyn - Documentary Criticism Panel & Good Fortune
DESCRIPTION:[vc_row][vc_column][vc_column_text] \nDocumentary Film: Catching the Critics Eye\n4:00-6:00 pm \nThe past decade witnessed an explosion of documentary film production. Non-fiction films are being distributed more widely\, and exhibited in grander settings than ever before. Filmgoers across the country are hungrier than ever for docs of every stripe\, dealing with any range of subjects. But the growth in documentary production has not been met by a reciprocal growth in documentary criticism.  Richard Brody (New Yorker)\, Ed Halter (Light Industry)\, Thom Powers (Toronto International Film Festival\, DOC NYC\, Stranger than Fiction)\, Lisa Rosman (New Deal Sally)\, Aaron Hillis (GreenCine Daily\, Benten Films)\, and Karin Chien (dGenerate Films) will discuss the challenges of getting documentaries critically reviewed and brainstorm solutions during this lively panel.Moderated by Steve Holmgren (UnionDocs Programmer) and Colin Beckett (UnionDocs Writing Fellow). Full biographies below. \n  \nGood Fortune Screening\nPurchase Tickets \n7:30-9:30pm \nDir. Landon Van Soest; Producers: Jeremy Levine & Landon Van Soest. Followed by Q & A with the filmmakers. \nThrough the personal stories of two Kenyans battling to save their homes from large-scale development organizations\, Good Fortune explores ways in which massive international efforts to alleviate poverty in Africa may be undermining the very communities they aim to benefit. Recipient of 2007 Sundance Documentary Fund grant and Winner of the 2007 Fledgling Fund Award for Socially Conscious Documentaries. \n[youtube]http://www.youtube.com/watch?v=SQKkqCiJT4k[/youtube] \nClick here for more information on the film. \nDOCUMENTARY PANELISTS BIOGRAPHIES: \n Richard Brody is the movie listings editor at The New Yorker\, where he writes film reviews\, a DVD column\, and the blog The Front Row; among his publications there are articles about François Truffaut\, Jean-Luc Godard\, Samuel Fuller\, and Wes Anderson. He is the author of “Everything Is Cinema: The Working Life of Jean-Luc Godard”\, published in 2008 by Metropolitan Books. \n Ed Halter is a critic and curator living in New York City. His writing has appeared in Artforum\, Arthur\, The Believer\, Cinema Scope\, Kunstforum\, Millennium Film Journal\, Moving Image Source\, Rhizome\, The Village Voice and elsewhere\, and he is a 2009 recipient of the Creative Capital | Warhol Foundation Arts Writers Grant. From 1995 to 2005\, he programmed and oversaw the New York Underground Film Festival\, and has organized screenings and exhibitions for the Brooklyn Academy of Music\, Cinematexas\, Eyebeam\, the Flaherty Film Seminar\, the Museum of Modern Art\, and San Francisco Cinematheque. He currently teaches in the Film and Electronic Arts department at Bard College\, and has lectured at Harvard\, NYU\, Yale\, and other schools as well as at Art in General\, Aurora Picture Show\, the Foundation for Art and Creative Technology\, the Images Festival\, the Impakt Festival\, and Pacific Film Archive. His book From Sun Tzu to Xbox: War and Video Games was published in 2006. With Andrea Grover\, he is currently editing the collection A Microcinema Primer: A Brief History of Small Cinemas. He is a founder and director of Light Industry\, a venue for film and electronic art in Brooklyn\, New York. \n Thom Powers is the creator of the documentary series Stranger Than Fiction that takes place at the IFC Center. Now in its 13th season\, STF has featured guests such as Jonathan Demme\, Albert Maysles\, and Barbara Kopple. Powers also serves as the documentary programmer for the Toronto International Film Festival (TIFF) where he has presented world premieres such as  “Art of the Steal\,” “Food\, Inc\,” and “Encounters at the Edge of the World.” He has taught at New York University SCPS for 10 years. He co-founded the Cinema Eye Honors\, an annual award for documentary excellence; and the Garrett Scott Development grant for first time filmmakers. He has directed documentaries for HBO\, PBS and Sundance Channel. His essay “Wanted: Documentary Critics” was published in 2008 on www.STFdocs.com.  He is also setting up DOC NYC with his partner Raphaela Neihausen\, a festival of nonfiction storytelling kicking off in November. \n Lisa Rosman is a former labor organizer\, and now writes the Indiewire film and television blog New Deal Sally. Her work regularly appears in Time Out New York\, Salon.com\, usmagazine.com\, and IFC.com\, and she previously served as the Flavorpill film editor from 2005-2009\, the Brooklyn Rail film editor from 2003-2005\, and the mistress of the film blog The Broad View from 2005-2008. She also has served as the official blogger for Roger Ebert’s Overlooked Film Festival since 2006 and has commented on TNT\, the IFC\, PBS and NPR. Most notably\, she once served as an assistant for Elmo on Sesame Street. \n Aaron Hillis is Vice-President of the boutique label Benten Films\, the editor of GreenCine Daily\, and a regular contributor to The Village Voice\, LA Weekly\, IFC\, and Time Out New York. His co-directorial feature debut\, Fish Kill Flea\, played at UnionDocs in 2007. \n Karin Chien is an independent film producer based in New York City\, and the recipient of the 2010 Piaget Producers Award from the Independent Spirit Awards. Karin has produced seven feature-length films\, including THE EXPLODING GIRL (2009)\, THE MOTEL (2005) and ROBOT STORIES (2002)\, which have won over 75 festival awards\, premiered at Sundance and Berlin\, and received international distribution. Karin is currently in post-production on two Sundance Filmmaker Lab projects\, CIRCUMSTANCE and AYITI\, AYITI\, and in pre-production on Bradley Rust Gray’s JACK & DIANE. Karin is the president and founder of dGenerate Films\, the leading distributor of independent\, uncensored Chinese cinema. Karin is also the curator of the Chinatown Film Project\, an inaugural film exhibition for the Museum of Chinese in America. \nPresented with\n\n[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2010-05-08-scene-brooklyn-documentary-criticism-panel-good-fortune/
CATEGORIES:Screenings & Events
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20100515T193000
DTEND;TZID=America/New_York:20100515T213000
DTSTAMP:20260408T065539
CREATED:20100418T040000Z
LAST-MODIFIED:20180424T184005Z
UID:10001734-1273951800-1273959000@uniondocs.org
SUMMARY:Thirty-Four Short Films About Nine Things: Personal Documentaries from the New School
DESCRIPTION:[vc_row][vc_column][vc_column_text]Independent filmmaker Caveh Zahedi\, best known for his autobiographical films (I Am A Sex Addict\, Tripping With Caveh\, In the Bathtub of the World)\, also teaches a personal documentary class at the New School in which students are asked to make a film every week on a given topic. “The Personal Documentary” showcases the work of his students.  All of the films are approximately 3 minutes long\, and all of them were made in 2010. \n\nSelf-Portraits – Nina Bowers\, Stephanie Wowk\nFilms About Something Embarrassing – John Pack\, Vanessa Rose\, Stephanie Wowk\nFilms About a Family Member – Terese Classen\, Anna Robilotta\, Zuzu Snyder\nFilms About Your Love Life – Nina Bowers\, Terese Classen\, Amaya Keller\, Kamala Randjelovic\, Vanessa Rose\nFilms About Your Job and/or Finances: Nancy Moore\, Anne Sullivan\, Pablo Zequiera\nFilms About Where You Grew Up: Nina Bowers\, Terese Classen\, Amaya Keller\, Nancy Moore\, Anna Robilotta\, Anne Sullivan\nFilms About Something You Love: Nancy Moore\, Kamala Randjelovic\, Zuzu Snyder\, Stephanie Wowk\, Pablo Zequiera\nFilms About Something You Hate: Pablo Zequiera\nFilms About A Challenge in Your Life: Amaya Keller\, Kamala Randjelovic\, Anna Robilotta\, John Pack\, Vanessa Rose\, Zuzu Snyder\, Anne Sullivan\n\nEstimated Program Run-Time: 90 minutes[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/thirty-four-short-films-about-nine-things-personal-documentaries-with-the-new-school/
CATEGORIES:Screenings & Events
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DTSTART;TZID=America/New_York:20100516T193000
DTEND;TZID=America/New_York:20100516T213000
DTSTAMP:20260408T065539
CREATED:20100419T040000Z
LAST-MODIFIED:20180424T182815Z
UID:10001738-1274038200-1274045400@uniondocs.org
SUMMARY:Remake/Remodel 1: Thomas Zummer presents Stefaan Decostere
DESCRIPTION:Screening and discussion of two works by Stefaan Decostere\, curated by Thomas Zummer. \nPart 1: Screening \nWarum Wir Männer die Technik so lieben/Why We Men Love Technology So Much \n(1985\, 57 minutes\, color\, sound\, video\, produced by BRTN/Belgian television) \nA program on war\, technology and perception\, with interviews with Paul Virilio\, Jack Goldstein\, and Klaus vom Bruch \nLessen in Bescheidenheid/ Lessons in Modesty (selections from) \n(1995\, 90 minutes\, color\, sound\, video) \nDecostere looks at the inherent paradox in the conception of the future by scientists from the San Francisco area\, who praise the merits of an on-line virtual community which will ultimately allow users to never leave the periphery of their neighbourhoods. In ‘Lessons in Modesty’\, artists are made to experience and comment on the fiction of empowerment through high technology. Clearly two models of artists are set up before us. There are those who come out of studios\, taking their work to in situ performance spaces\, away from art institutions which are still suspicious of high tech\, using their bodies as sites and receptacles of the techno-experience. And there are those whose studios are corporations such as Xerox and NASA\, and who project a distance from the body. The first category addresses issues touching the materiality of the body head on. The second category is invested with a mission\, a task: constructing a new time for a new body. This task is neither sacred nor profane; it is divine creation itself and the Mecca is the American West Coast. \nPart 2: Seminar \nIndex\, Affect\, Artifact: Philosophical Aspects of Documentary Practice \n‘Machines for seeing modify perception.’ -Paul Virilio \nThis seminar will examine contemporary accounts of documentary from a philosophical\, critical and theoretical perspective\, starting with early accounts\, inherited from photographic practices\, of the indexical relation between the media apparatus\, the world\, and media artifacts. From Walter Benjamin to Friedrich Kittler\, via Bergson\, Deleuze\, Foucault\, Virilio\, Stiegler\, Bolz\, Derrida\, and others\, the philosophical interrogation of technically reproduced ‘realism’ circumscribes an immensely complex\, rich\, and roductive field. We will discuss aspects of a contempory theory of mediation/remediation by looking firsthand at a variety of works and excerpts. We will also discuss texts by Jay Leyda\, Joris Ivens\, Theodor Adorno\, Giorgio Agamben\, and others. References and Reading lists will be made available in class. \nscreenings of excerpts: \n—Land Without Bread\, Luis Buñuel \n—Arbeiter Verlassen die Fabrik/Workers Leaving the Factory\, Harun Farocki \n—Videogramme Einer Revolution/Videograms of a Revolution Harun Farocki/Andrei Ujica \n—CBS News\, Dan Rather in China (broadcast television) \nStefaan Decostere studied film direction at the National Film School RITS in Brussels. Finishing in 1978\, he directed his first documentary on Marcel Duchamp. From 1979 until 1998\, he worked as director and producer for the Arts Department of the Flemish Belgian Television (the former BRTN). He was amongst a handful of truly innovative directors working in television\, creating new forms for increasingly complex ideas. Decostere approached the television medium as a serious platform for his specific ideas about media analysis\, structural experimentation and video-graphic creation. In his documentaries he became increasingly critical of the medium he employed\, a form of essay in which he responded to codes that uphold mainstream television programming. His television documentaries include productions for Belgian Television BRTN\, co-productions for the Banff Center for the Arts\, CBS\, Channel Four\, INA\, NOS\, TVE and VPRO.??Central to Decostere’s journey of discovery towards a radical\, new visual language was his creative use of editing. Because of this\, even today\, his documentaries remain more than a report about their subject. Unlike ‘normal’ television productions\, for the viewer\, Decostere’s programmes offer a challenge. Because they approach themes and subjects from several perspectives\, or offer an opportunity for reflection and introspection\, they force the viewer to take an active stance. \nThomas Zummer is an independent scholar and writer\, artist and curator. He is the author of articles on mediation and virtuality\, including “Projection and Dis/embodiment: Genealogies of the Virtual\,” in Into the Light: The Projected Image in American Art 1964-1977\,” Chrissie Iles\, ed.\, Whitney Museum of American Art/Harry Abrams\, “Arrestments: Corporeality and Mediation\,” in Suturas y fragmentos: Cuerpos y territories en la ciencoa-ficción/Stitch and Split: Bodies and Territories in Science Fiction\, Nuria Homs\, Laurence Rassel\, eds.\, Fundacion Antoni Tapies/Constant vzw\, Barcelona/Brussels\, and “Variables: Notations on Stability\, Permeability\, and Plurality in Media Artifacts\,” in Saving the Image: Art After Film\, ed. Tanya Leighton\, Pavel Buchler\, [Glasgow and Manchester: Center for Photography/Glasgow and Manchester Metropolitan University]. Other publications include an e-book entitled “What the Hell is That?” (Beehive\, 2000) an experimental and humorous look at the rhetoric of cinematic monstrosity; he has also written essays on Eleanor Antin\, Vik Muniz\, Leslie Thornton\, Heleen Decuininck\, Harun Farocki and others\, and he is currently completing a book on photography\, and working on Intercessionary Technologies: Database\, Archive\, Interface\, a study of the early history of reference systems. In 1994 Mr. Zummer curated CRASH: Nostalgia for the Absence of Cyberspace\, with Robert Reynolds\, one of the first major exhibitions to have a significant portion of digital/online works and works in/as other forms of transmission. He and Mr. Reynolds also edited the book accompanying the exhibition. Mr. Zummer has also curated exhibitions at the Wexner Center for the Arts\, CinéClub/Anthology Film Archives\, Thread Waxing Space\, the Katonah Museum of Art\, and the Palais des Beaux-arts/Brussels In 1995 Thomas Zummer won 5th Prize in the ACA/CODA Architectural Design Competition for the City of Atlanta for the 1996 Olympics. Thomas Zummer’s drawings\, media\, and sculptural works have shown worldwide\, with recent exhibitions at the Museum van Hedendaagse Kunst/Antwerpen\, Fundacio Antoni Tapies\, Barcelona\, Mütter Museum\, Philadelphia\, Frederieke Taylor Gallery\, Marcel Sitcoske Gallery\, and White Box. Thomas Zummer is a frequent lecturer on philosophy\, aesthetics\, and the history of technology\, and has taught at Brown University\, New York University\, The New School\, the Transart Institute/Linz\, and Tyler School of Art/Temple University. He is currently a Regular Visiting Professor in the Transmedia programme/post-graduate at the Hogeschool Sint-Lukas/Universite Leuven in Brussels\, and Faculty in Philosophy at the Europäische Universität für Intisziplinare Studien/European Graduate School  (EUFIS/EGS)\, Saas-Fee\, Switzerland. Thomas Zummer currently lives and works in Brooklyn\, NY. \nKeith Sanborn is a media artist\, theorist and translator based in New York. His work has been the subject of a number of one-person shows and has been included in major survey exhibitions such as the Whitney Biennial (twice)\, and festivals such as OVNI (Barcelona)\, Video Vortex\, The Rotterdam International Film Festival\, EMAF\, and Oberhausen. \nHis theoretical work has appeared in publications ranging from Artforum and Kunst nach Ground Zero to exhibition catalogues published by MoMA (New York)\, Exit Art\, and the San Francisco Cinematheque. He has translated into English the work of Guy Debord\, Georges Bataille\, Lev Kuleshov\, Esther Shub\, Paolo Gioli and Napoleon\, among others. \nHe teaches at Princeton University and the Milton Avery Graduate School in the Arts of Bard College. In 2008\, he taught at Smolny Institute in St. Petersburg on a Fulbright Fellowship while researching media in Russia.
URL:https://uniondocs.org/event/thomas-zummer-remakeremodel-with-stefaan-decostere/
CATEGORIES:Screenings & Events
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DTSTART;TZID=America/New_York:20100523T193000
DTEND;TZID=America/New_York:20100523T213000
DTSTAMP:20260408T065539
CREATED:20100421T040000Z
LAST-MODIFIED:20180424T174334Z
UID:10002187-1274643000-1274650200@uniondocs.org
SUMMARY:Godard\, Miéville & Lynne Sachs: Movie-making and the Stubborn\, Unruly Galaxy of Childhood
DESCRIPTION:Leave it to Jean-Luc Godard and Anne Marie Miéville to figure out how to use television to reveal the latent brilliance of a child. Created for French television during the radical days of the late 1970s \, “France/tour/detour/deux enfant” (1978) is an intimate\, provocative and quotidian  video essay that uses  avant-garde cinema’s techniques in a visual experiment that will change anyone’s perception of the developing mind of a human being. \nTonight Lynne Sachs will discuss the way that “France/tour…” influenced her own work as she reflects  on the presence of childhood in her twenty-year film career.  Beginning in her early twenties when the ambiguity of femininity seemed daunting and problematic to more recent years when motherhood has given her quick access to the conundrums of youth\, Sachs\, like Godard and Melville\, ponders her relationship as an artist to this unavoidable eighteen year odyssey.  Sachs will screen Photograph of Wind (3 min.\, 2001)\, Atalanta: 32 Years Later (5 min. 2006)\, and The Last Happy Day (38 min.) in their entirety along with brief scenes from The House of Science (1991) and Wind in Our Hair (2010). \nProgram: \nFrance/Tour/Detour/Deux Enfants by Jean Luc Godard and Ann Marie Miéville \n(excerpt from 12 part TV series\, 1977\, France) \nGodard and Miéville take a detour through the everyday lives of two children in contemporary France. Sachs will present excerpts from the series. \n  \nPhotograph of Wind by Lynne Sachs \n(4 min.\,16mm\, b&w and color\, 2001) \n“My daughter’s name is Maya.  I’ve been told that the word maya means illusion in Hindu philosophy.  As I watch her growing up\, spinning like a top around me\, I realize that her childhood is not something I can grasp but rather  – like the wind – something I feel tenderly brushing across my cheek.”  (Lynne Sachs) \n“Sachs suspends in time a single moment of her daughter.”  Fred Camper\, Chicago Reader \n  \nAtalanta: 32 Years Later by Lynne Sachs \n(5 min. color sound\, 16mm to video\, 2006) \nA retelling of the age-old fairy tale of the beautiful princess in search of the perfect prince.  In 1974\, Marlo Thomas’ hip\, liberal celebrity gang created a feminist version of the children’s parable for mainstream TV’s “Free To Be You and Me”. Now in 2006\, Sachs dreamed up this new experimental film reworking\, a homage to girl/girl romance. \n“Very gentle and evocative of foreign feelings.”  George Kuchar \nThe Last Happy Day by Lynne Sachs \n( 38 min. 2009) \nThe Last Happy Day is an experimental documentary portrait of Sandor (Alexander) Lenard\, a Hungarian medical doctor and a distant cousin of filmmaker Lynne Sachs.  In 1938 Lenard\, a writer with a Jewish background\, fled the Nazis to a safe haven in Rome. Shortly thereafter\, the U.S. Army Graves Registration Service hired Lenard to reconstruct the bones — small and large — of dead American soldiers.  Eventually he found himself in remotest Brazil where he embarked on  the translation of “Winnie the Pooh” into Latin\, an eccentric task that catapulted him to brief world-wide fame.  Sachs’ essay film uses personal letters\, abstracted war imagery\, home movies\, interviews\, and a children’s performance to create an intimate meditation on the destructive power of war. \n“A fascinating\, unconventional approach to a Holocaust-related story … a frequently charming work that makes no effort to disguise an underlying melancholy.”    George Robinson\, The Jewish Week \nExcerpts from: \nThe House of Science: A Museum of False Facts (30 min.\, 16mm\,1991) \n“Throughout The House of Science an image of a woman\, her brain revealed\, is a leitmotif.  It suggests that the mind/body split so characteristic of Western thought is particularly troubling for women\, who may feel themselves moving between the territories of the film’s title –house\, science\, and museum\, or private\, public and idealized space — without wholly inhabiting any of them.  This film explores society’s representation and conceptualization of women through home movies\, personal reminiscences\, staged scenes\, found footage and voice.  Sachs’ personal memories recall the sense of her body being divided\, whether into sexual and functional territories\, or ‘the body of the body’ and ‘the body of the mind.’” (Kathy Geritz\, Pacific Film Archive) \n  \nWind in Our Hair/Con viento en el pelo  (16mm\, Super 8 and digital on video\, English and Spanish\, 2010) \n“Inspired by the writings of Julio Cortázar\, whose work not only influenced a generation of Latin American writers but film directors such as Antonioni and Godard\, Lynne Sachs’ Wind in Our Hair/Con viento en el pelo is an experimental narrative that explores the interior and exterior worlds of four early-teens\, and how through play they come to discover themselves and their world. “Freedom takes us by the hand–it seizes the whole of our bodies\,” a young narrator describes as they head towards the tracks. This is their kingdom\, a place where–dawning fanciful masks\, feather boas\, and colorful scarves — the girls pose as statues and perform for each other and for passengers speeding by.” \n– Carolyn Tennant\, Media Arts Director\, Hallwalls Contemporary Arts Center\, Buffalo\, New York \n“Wind in Our Hair moves from childhood’s earthbound\, cloistered spaces\, into the skittering beyond of adolescence\, exploding with anticipation and possibility.”  Todd Lillethun\, Artistic Director\, Chicago Filmmakers \nProgram Run Time: 119 minutes \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 will present a full retrospective of her work. Lynne teaches experimental film and video at New York University and lives in Brooklyn. \n  \n  \nJosetxo Cerdán Los Arcos is an assistant professor at the URV and the artistic director of Punto de Vista. He has edited the books ‘Mirada\, Memoria y Fascinación’ (2001); ‘Documental y Vanguardia’ (2005); ‘Al Otro Lado de la Ficción’ (2007); and ‘Suevia Films-Caesáreo González’ (2005); ‘Signal Fires: The Cinema of Jem Cohen’ (2010). He is author of ‘Ricardo Urgoiti. Los trabajos y los días’ (2007). He has coordinated an M. A. in  from 1998 to 2008. Principal interest areas are non-fiction film\, Spanish cinema\, and television. \nKelly Anderson is an award-winning independent producer and director of documentary and narrative films. Her most recent production is NEVER ENOUGH\, a documentary about American’s relationship with their material possessions\, which is premiering at the 2010 Big Sky Documentary Film Festival. Other recent directing work includes SOMEPLACE LIKE HOME\, a documentary about the redevelopment of Fulton Mall in Downtown Brooklyn\, which she made for FUREE (Families United for Racial and Economic Equality). In 2004 Kelly produced and directed (with Tami Gold) and edited EVERY MOTHER’S SON\, a documentary for ITVS about mothers whose children have been killed by police officers and who have become national spokespeople on the issue of police brutality.  EVERY MOTHER’S SON premiered at Tribeca Film Festival\, where it won the Audience Award\, and had its broadcast premiere on PBS’s P.O.V. series. Kelly produced\, directed and edited OVERCOMING THE ODDS\, a short documentary that was distributed to more than 2\,500 people internationally as part of a successful campaign to pass the groundbreaking Framework Convention on Tobacco Control\, which set global standards on the promotion and marketing of tobacco. This film was a follow-up to MAKING A KILLING\, a half-hour documentary Kelly produced and directed (with Tami Gold) and edited that addresses the marketing practices of the tobacco industry in the developing world.  MAKING A KILLING premiered at the Slamdance Film Festival\, was screened for delegates at the World Health Organization and aired on television in Nigeria\, Serbia\, Lagos and Vietnam.  In 2000 Kelly completed SHIFT\, a one-hour drama for ITVS about the volatile relationship between a North Carolina waitress and a telemarketing prison inmate\, which premiered at the Rotterdam International Film Festival and aired on many PBS stations.  Kelly’s other documentaries include OUT AT WORK (with Tami Gold)\, which was screened at the 1997 Sundance Film Festival and was shown on HBO. She is an Associate Professor in the Department of Film and Media Studies at Hunter College in New York City.
URL:https://uniondocs.org/event/godard-melville-lynne-sachs-movie-making-and-the-stubborn-unruly-galaxy-of-childhood/
CATEGORIES:Screenings & Events
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DTSTART;TZID=America/New_York:20100528T193000
DTEND;TZID=America/New_York:20100528T213000
DTSTAMP:20260408T065539
CREATED:20100428T040000Z
LAST-MODIFIED:20180424T172050Z
UID:10002193-1275075000-1275082200@uniondocs.org
SUMMARY:VideoKills: INVISIBLE CITY SYMPHONIES
DESCRIPTION:VideoKills is a Berlin based artist platform for video art\, visual & sound multimedia\, and performance artists. \nThe Explorer Series: Invisible City Symphonies \n  \n“This experimental work aims at creating a truly international absolute language of cinema…” \n– Dziga Vertov Man With a Movie Camera \nThe Explorer Series: Invisible City Symphonies is a contemporary take on a traditional filmic form. The genre explores the experience of a city\, or a series of cities – contemporarily\, historically\, visibly or invisibly and contains elements of the abstract\, narrative\, documentary. It has come to incorporate found footage\, animation\, and meta-narratives. \nThe program of City Symphonies will be accompanied by original scores composed specifically for each piece\, and performed live in the tradition of the early silent cinematic experience. Utilizing the outdoor and indoor spaces of UnionDocs\, we will also exhibit site-specific sculpture and installation work that evokes the experience of a city – embracing found objects\, interactive sculpture\, and the materiality and dimension of the local exhibition space. \nAfter its debut at UnionDocs\, the The Explorer Series will travel to Berlin\, London and Sydney later this summer. Each location will use variable sound and image pairings to create complex and varied experiences – as each city will use a different pool of live accompaniments for a growing series of images. The purpose is to connect international artists and the landscapes of different cities with a visceral sound and image experience – blurring boundaries of how we see space\, urbanity\, and the growing internationalization and globalization of visual and aural perception. \nJJ Hurvich\, a native of New York City\, is a curator\, filmmaker writer and musician currently based in Berlin. She is co-director of VIDEOKILLS – an international community and platform for video art\, sound\, multimedia and performance artists. She is also co-founder and editor of ThePostRaum\, a DIY online magazine for literature\, photography and cultural exploration written and designed by its contributors. She is very excited to be collaborating with Will and Uniondocs on the first in the Explorer Series. For more information about VIDEOKILLS\, ThePostRaum and to get involved visit \nWill Martin grew up in Denver\, CO before attending Middlebury College in Vermont where he studied International Development and French. After leaving Vermont he lived and worked in Argentina practicing architecture and teaching art. He currently works at a small design+build studio in Brooklyn. Will is an aspiring visual and audio artist and curator with a focused interested on spatial expression\, memory and connectivity. His work\, which he hopes pushes the limits of what is considered documentary art\, aims to encourage both a heightened social and sensual awareness of the built environment in order to connect people more deeply\, physically and metaphysically\, with the places they inhabit. \nwww.videokills.com \nor contact JJ@videokills.com
URL:https://uniondocs.org/event/videokills-invisible-city-symphonies/
CATEGORIES:Screenings & Events
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DTSTART;TZID=America/New_York:20100529T190000
DTEND;TZID=America/New_York:20100529T210000
DTSTAMP:20260408T065539
CREATED:20100429T040000Z
LAST-MODIFIED:20180424T171545Z
UID:10002199-1275159600-1275166800@uniondocs.org
SUMMARY:Blood Into Wine
DESCRIPTION:[vc_row][vc_column][vc_column_text] \nSee Trailer \nBlood Into Wine by Ryan Page and Christopher Pomerenke (USA\, 2010\, 100 minutes\, color\, DVD)\nMaynard James Keenan\, internationally known as the front man for Tool\, A Perfect Circle and Puscifer\, is one of music’s most mysterious figures.  A multi-million selling artist\, little is known about the reclusive rock star who often dresses in costume and rarely gives interviews.  In the mid-1990’s\, on a whim\, Keenan left Los Angeles and moved to an Arizona ghost town (population 300).  A wine enthusiast\, he began to envision a world class wine region on the Verde Valley’s craggy slopes and with wine mentor Eric Glomski (former David Bruce winemaker and current owner of the award-winning Page Springs Cellars)\, Keenan began the long road to bringing credibility and notoriety to Caduceus and Arizona Stronghold Vineyards amidst wine industry prejudice and the harsh Arizona terrain. Blood Into Wine takes viewers into the struggles and triumphs with a unique blend of comedy and master storytelling. \n“The frisson between his [Keenan] well-crafted personal mystique and the way the film presents him as a dedicated new winemaker learning his craft is intriguing.” – Los Angeles Times \n“…a rock ‘n roll version of Sideways.” – FilmCritic.com \nCITY WINERY will also host Blood Into Wine Screenings on May 27 & May 28. \n[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/blood-into-wine/
CATEGORIES:Screenings & Events
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DTSTART;TZID=America/New_York:20100530T193000
DTEND;TZID=America/New_York:20100530T213000
DTSTAMP:20260408T065539
CREATED:20100503T040000Z
LAST-MODIFIED:20180420T214640Z
UID:10002204-1275247800-1275255000@uniondocs.org
SUMMARY:Last Summer at Coney Island: Benefit Preview Screening with JL Aronson
DESCRIPTION:[vc_row][vc_column][vc_column_text]In recognition of Coney Island’s newest amusement park closeding Memorial Weekend\, we’re hosting a benefit preview screening of JL Aronson’s upcoming documentary\, Last Summer at Coney Island. We will screen a 93 minute fine cut version of the documentary.  The film will be going to festivals soon but needs to raise money first to pay for all the archival imagery and music licensing.  Last Summer is a thorough rendering of Coney Island’s roller coaster relationship with redevelopment\, focusing on the last few years as the City\, a private developer and the public all wrestled over the future of this legendary amusement destination. This is an important film about an important place and what better weekend to support it? \nRSVP to info@creativearson.com to confirm your seat. \nCan’t make it to the screening but still want to support this monumental project? Check out the Kickstarter page. \nJL Aronson is the founder of Creative Arson\, a Brooklyn-based documentary production company. His films include “Punk Rock/ Heavy Metal Karaoke\,” “Up on the Roof\,” and “Danielson: a Family Movie\,” for which he won numerous film festival awards. JL first got involved in Coney Island professionally almost ten years ago while working for the Siren Music Festival and subsequently directed a TV commercial for Astroland Amusement Park. He enjoys funnel cakes\, long walks on the beach and hopes that\, if nothing else\, the revamped Coney Island will offer soy hot dogs alongside the classic fare. \nWe are welcoming back\, JL Aronson whose documentary highlights Williamsburg pigeon coops\, Up On the Roof\, and screened with us last year.[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/last-summer-at-coney-island-benefit-preview-screening-with-jl-aronson/
CATEGORIES:Screenings & Events
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DTSTART;TZID=America/New_York:20100605T193000
DTEND;TZID=America/New_York:20100605T213000
DTSTAMP:20260408T065539
CREATED:20100504T040000Z
LAST-MODIFIED:20180312T201412Z
UID:10002208-1275766200-1275773400@uniondocs.org
SUMMARY:Died Young\, Stayed Pretty with Eileen Yaghoobian
DESCRIPTION:[vc_row][vc_column][vc_column_text] \n(USA\, 2009\, 95 minutes\, color\, DVD) \nDied Young\, Stayed Pretty is a candid look at the underground poster culture in North America. This unique documentary examines the creative spirit that drives these indie graphic artists. They pick through the dregs of America’s schizophrenic culture and piece them back together. What you end up with is a caricature of the black and bloated heart that pulses greed through the US economy. The artists push further into the pulp to grab the attention of passersby\, plastering art that’s both vulgar and intensely visceral onto the gnarled surfaces of the urban landscape. The film gives us intimate look at some of the giants of this modern subculture. Outside of their own circle\, they’re virtually unknown. But within their ranks they make up an army of bareknuckle brawlers\, publicly arguing the aesthetic merits of octopus imagery and hairy 70s porn stars. They’ve created their own visual language for describing the spotty underbelly of western civilization and they’re not shy about throwing it in the face of polite society. Along the way\, they manage to create posters that are strikingly obscene\, unflinchingly blasphemous and often quite beautiful. Yaghoobian shows these artists for what they are: the vivisectionists of America’s morbidly obese consumer culture. \n“Raw — an outlaw movie about outlaw artists.”- Peter Rainer\, NPR \n“A captivating artifact of an era.”  –The Village Voice \n“The Citizen Kane of underground rock poster art documentaries” –LA Weekly \n  \n  \n  \nEileen Yaghoobian is an Iranian-born Canadian filmmaker Eileen Yaghoobian has spent the past four years shooting her first\, full-length documentary film Died Young\, Stayed Pretty\, a candid look at the underground poster culture in North America. Yaghoobian’s formal training in filmmaking\, 3D animation\, theatre\, and photography provided a foundation for her diverse career as a director\, production designer\, and set decorator for numerous independent productions in Canada and the United States. Yaghoobian’s short films and videos have screened at national and international festivals as well as art exhibitions. Her still photography can be found in the permanent collections at the George Eastman House International Museum of Photography and Film; the Museum of Fine Arts\, Houston; Bibliothèque Nationale\, Paris; and Art Bank: Canada Council for the Arts\, Ottawa. She recently directed Tennesse Williams’ play The Night of the Iguana in Boston. Yaghoobian has just completed the prestigious Lincoln Center Director’s Lab 2008 and is in the midst of developing a feature narrative for her next feature film. \nRobert Newman is a consultant for print and online publications. He has been the design director of Vibe\, Details\, Fortune\, Real Simple\, Entertainment Weekly\, New York\, The Village Voice\, and Guitar World. He was the editor of the Seattle music magazine\, The Rocket from 1982-86. Check out selection of his band posters here. \nJoe Newton: Both artist and art director Joe has worked both sides of the table. As an art director he has assigned hundreds of illustrations for Rolling Stone and Seattle’s The Stranger. As an illustrator his work has appeared in publications like the New York Times\, Vibe and Nickelodeon magazine\, and for clients like Sony Music and Publicis. His illustrations have been honored by American Illustration\, Communications Arts\, and Print magazine. His design work for The Stranger has been recognized by the Society of Publication Designers\, and the Society of Illustrators awarded him for his art direction of a piece by Nathan Fox. \nKayrock: click here for website \n[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/died-young-stayed-pretty-by-eileen-yaghoobian/
CATEGORIES:Screenings & Events
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DTSTART;TZID=America/New_York:20100606T193000
DTEND;TZID=America/New_York:20100606T213000
DTSTAMP:20260408T065539
CREATED:20100525T040000Z
LAST-MODIFIED:20180320T145800Z
UID:10001748-1275852600-1275859800@uniondocs.org
SUMMARY:Florida Experimental Film/Video Festival: Spacey Space
DESCRIPTION:[vc_row row_type=”row_full_center_content”][vc_column][vc_column_text]FLEX— The Florida Experimental Film/Video Festival– presents Spacey Space\, a selection of some of their favorite entries from past festivals. The selection of these particular works was inspired by the theme of one of the festivals most popular programs of the 2009 competitive festival. While capturing the broad scope of work submitted each year to the festival\, the individual works contained in this program all manage to share a common interest in exploring the notion of space–both inner and outer. \nWhile some of these works implore us to pull from the void in order to recognize and remember that which appears lost–be it forgotten people\, memories\, ideas\, yet others reveal what is already there\, and unseen to the naked eye– electrons\, devices of control and isolation\, and ghosts. By exploring the expanses of inner and outer space\, the phantom zones existing beside us and within us\, these pieces demand of us a closer inspection of the unseen\, the in between\, and the forgotten. \nEnergie! by Thorsten Fleisch (Germany\, 2007\, 6 minutes\, DVD)\n \nFrom a more technical point of view\, the TV/video screen comes alive by a controlled beam of electron in the cathode ray tube. For Energie! and uncontrolled high voltage discharge of approximately 30\,000 volts exposes photographic paper which is then arranged in time to create new visual systems of electron organization. \nThorsten Fleisch’s experimentation of materials in his work results in a  heightened state of awareness of unseen elements and captured ephemera. He began experimenting with super 8 film in high school. He went on to study with Peter Kubelka at the Stadelschule in Frankfurt where he began working with 16mm film. \nDay/Night (Devil’s Millhopper) by Andres Arocha (USA\, 2009\, 5 minutes\, 16mm)\nEnter a space. A one hundred feet deep hole dwarfs invaders with visions of immeasurably tall trees in an almost pristine natural setting. How do you see it? Inspired by the grandeur of nature\, Day/Night (Devil’s Millhopper) limits itself to this setting and explores it through different eyes. \nSpaceghost by Laurie Jo Reynolds (USA\, 2007\, 26 minutes\, DVD)\n \nSpace Ghost compares the experiences of astronauts and prisoners\, using popular depictions of space travel to illustrate the physical and existential aspects of incarceration: sensory deprivation\, the perception of time as chaotic and indistinguishable\, the displacement of losing face-to-face contact\, and the sense of existing in a different but parallel universe with family and loved ones. \nLaurie Jo Reynolds is an artist\, educator\, and activist. In addition to being an advocate for prisoners’ rights\, she is also involved with creative collaborative projects for prisoners and ex-offenders. She teaches at Columbia College and Loyola University in Chicago \nRosewell by Bill Brown\n (USA\, 1994\, 23 minutes\, 16mm) \n \nA space kid borrows dad’s UFO for a joyride\, but winds up crashing near Roswell\, New Mexico. An amnesiac filmmaker goes looking for answers. \nBill Brown makes movies about ghosts that masquerade as movies about landscapes– or maybe it’s the other way around. He studied filmmaking at Harvard University\, and received his MFA from the California Institute of the Arts. \nAll Through the Night by Michael Robinson\n(USa\, 2008\, 4 minutes\, DVD) \nA charred visitation with an icy language of control; there is no room for love. \nSince the year 2000\, Michael Robinson has created a body of film\, video and photography work exploring the poetics of loss and the dangers of mediated experience. Originally from upstate NY\, he holds a BFA from Ithaca College\, and a MFA from the University of Illinois at Chicago. \nPhantogram by Kerry Laitala\n(USA\, 2008\, 6 minutes\, 16mm) \nA communication between the maker\, pure light\, and the shadow?graphic spirits of cinema. A telegram from the dead using the medium of film. Slippery shimmers slide across the celluloid strip\, to embed themselves on the consciousness of the viewers. \nKerry Laitala is an experimental filmmaker from San Francisco whose handcrafted films are masterful\, tactile\, manipulations of celluloid. She studied film and photography at Massachusetts College of Art\, and has a masters degree from the San Francisco Art Institution. \nIt Will Die Out in the Mind by Deborah Stratman\n(USA\, 2006\, 4 minutes\, DVD) \n \nA short meditation on the possibility of spiritual existence and the paranormal in our information age. Texts are lifted from Andrei Tarkovsky’s film Stalker in which Stalker’s daughter redeems his otherwise doomed spiritual journey. She offers him something more expansive and less explicable than logic or technology as the conceptual pillar of the human spirit. \nThe title is taken from a passage about the time from Fyodor Dostoyevsky’s The Possessed: \nStavrogin: …in the Apocalypse the angel swears that there’ll be no more time. \nKirillov: I know. It’s quite true\, it’s said very clearly ad exactly. When the whole of man has achieved happiness\, there won’t be any time\, because it won’t be needed. It’s perfectly true. \nStavrogin: Where will they put it then? \nKirillov: They won’t put it anywhere. Time isn’t a thing\, it’s an idea. It’ll die out in the mind. \nDeborah Stratman is a Chicago-based filmmaker who leaves town a lot. Her films blur the lines between experimental and documentary genres\, and she frequently works in other media including photography\, sound\, drawing and architectural intervention. Deborah teaches at the University of Illinois at Chicago\, the School of the Art Institute of Chicago and Cal Arts. \nFLEX–the Florida Experimental Film/Video Festival–has sought to provide a year-round home for the exhibition of experimental cinema from around the world since 2004.  Our hope is that this annual event can serve as an important venue for artists to share their work\, while also allowing local audiences a unique opportunity to see significant works that do not have a regular home elsewhere in the State. \nStarted by experimental filmmaker and University of Florida professor Roger Beebe in Gainesville\, Florida\, FLEX has earned itself a reputation for quality programing and events. In addition to the alternating festivals\, one competitive and the other invitational\, FLEX regularly presents film-centric events. These other events\, like gong shows featuring industrial and educational films\, Cinema Under the Stars- 16mm movie classics screened outside\, and Silent Films\, Loud Music- local musicians score music to silent films\, all serve to promote the communal experience of film viewing. \nBetween splitting her time mining the internet for the most gruesome pics for her psychology lab job and working at Gainesville’s finest independent video store\, Alisson Bittiker\, once the FLEX chair wrangler\, is now the Managing Director of FLEX. Dreams\, of constant stress\, work\, and no pay\, really do come true. She studied photography and video at the University of Florida. \n\n[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/flexfest-florida-experimental-filmvideo-fest/
CATEGORIES:Screenings & Events
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20100611T160000
DTEND;TZID=America/New_York:20100611T160000
DTSTAMP:20260408T065539
CREATED:20100629T040000Z
LAST-MODIFIED:20180410T154032Z
UID:10001677-1276272000-1276272000@uniondocs.org
SUMMARY:Documenting Mythologies - A Boston Preview
DESCRIPTION:[vc_row][vc_column][vc_column_text]“Documenting Mythologies” is an investigation of myth in contemporary society created by the 2009-2010 UnionDocs Collaborative. The story follows eleven non-fiction media artists on a trip from Brooklyn\, NY through New England to rural Maine\, a kind of ritual escape from the city on a holiday weekend. Their simple journey becomes the frame for a series of complex short works in film\, video\, and radio. Diverse aesthetic approaches to documentary are used to develop the theme\, which is inspired in part by the 1957 collection of essays by French author Roland Barthes titled “Mythologies.” For Barthes\, myths aren’t only the traditional stories we tell; there are myths everywhere within our everyday lives. They are the meanings that we take for granted\, “the falsely obvious\,” a confusion of Nature and History\, and a site of significant ideological abuse. \nInterspersed between gas station stops\, bonfires on the beach\, and a small town’s blues festival\, the group considers multiple myths including: the metaphysical attraction to one of the most popular wedding gifts in America; the growth of ambiguity in the word “Whatever”; the experience of queer interracial desire; a experiment in collaborative filmmaking via a game of broken telephone; the logic that underlies the phrase “New York is the Big Apple”; politicians’ obfuscation of reality in approaching “The Third Rail”; and the drama of online persona\, among others. \nIn Boston on July 11th\, as a final stop for this documented group trip\, Artists in Context and Harvard University’s Sensory Ethnography Lab will present a work-in-progress screening and discussion of “Documenting Mythologies.” Highlights from the project will be shown\, including rushes from the New England production\, and conversation will be structured on issues of myth\, collaboration\, and documentary arts practice. All participants in the UnionDocs Collaborative will be present and the event will be recorded and incorporated as a scene in the final project. \nPRESENTATIONS BY\nUnionDocs  Collaborative Program Directors \n  \nChristopher Allen \nKara Oehler \nJesse Shapins \n2009-2010 UnionDocs Collaborative Participants \n  \nAndre Almeida \nTina Antolini \nBen Brown \nRahul Chadha \nHyatt Michaels \nKatia Maguire \nWill Martin \nJolene Pinder \nJoshua Gen Solondz \nShawn Wen \nRobbie Wilkins \n\n<span; text-decoration: underline;”>PRESENTED WITH\n\n\n\n\n\n\n\n\n\n[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/documenting-mythologies-a-boston-preview-2/
CATEGORIES:Screenings & Events
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20100611T193000
DTEND;TZID=America/New_York:20100611T213000
DTSTAMP:20260408T065539
CREATED:20100525T040000Z
LAST-MODIFIED:20180410T153034Z
UID:10002214-1276284600-1276291800@uniondocs.org
SUMMARY:Brian Doyle presents: Glassing the Landscape
DESCRIPTION:[vc_row][vc_column][vc_column_text] \nFollowing the theme of Brian Doyle’s artwork – phenomena and ephemera found in the collision between the natural and cultural – “Glassing the Landscape” highlights the quasi-fictionalized documentary. These films uncover realities just beneath the surface of recognition. Doyle offers us a look through his telescope\, a squinting perspective on the modern landscape that allows us to observe our environment’s latent realities. Doyle will present “Launch”\, which imagines NASA’s space center in a future where nature has begun to reclaim the complex. Works by Jem Cohen\, Bill Brown\, Semiconductor and other artists further the theme of quiet vision and lurking power. \n“When it was light enough to use the binoculars he glassed the valley below. Everything paling away into the murk. The soft ash blowing in loose swirls over the blacktop. He studied what he could see. The segments of road down there among the dead trees. Looking for anything of color. Any movement. Any trace of standing smoke. He lowered the glasses and pulled down the cotton mask from his face and wiped his nose on the back of his wrist and then glassed the country again. Then he just sat there holding the binoculars and watching the ashen daylight congeal over the land.” \n* from Cormac McCarthy’s “The Road” where a man with his boy\, two of the last people alive on earth\, “glasses” the landscape looking for signs of life. \nLaunch by Brian Doyle (USA\, 2007\, 24 minutes\, color\, super 8 transferred to video)\nThis film imagines a deserted\, storm-ravaged Kennedy Space Center. With wildlife encroaching\, radio transmissions track a massive hurricane and direct any remaining people to escape. Finally\, a rocket (in fact the space shuttle Discovery\, in the first liftoff since the Columbia disaster) launches through the eye of the storm. \nA number of contemporary issues inform “Launch”: the many recent large-scale natural disasters that have shaken the world; the ever-increasing human impact and manipulation of the weather; and our varied ambitions for space and conquest. The film imagines the day when humankind must face the overwhelming force of nature and attempt to escape it. It is a meditation on the end of an era and the beginning of a drastically different and unpredictable future. \nScience’s 10 most Beautiful Experiments :#2 Galileo by Jeanne Liotta (USA\, 2006\, 2 min.\, color\, dv)\nOne of the first experimentalists was Galileo\, who supposedly dropped a feather and a hammer simultaneously from the Leaning Tower of Pisa in order to demonstrate that the two would hit the ground at the same time. Approx. 400 years later that trick still works. \n(courtesy: NASA 1971) \nLittle Flags by Jem Cohen (USA\, 2000\, 6 minutes\, black-and-white)\nA “victory” parade for the 1991 Gulf War filmed in the area of lower Manhattan near the World Trade Towers known as the Canyon of Heroes. Cohen shelved the footage until 2000 when the film was completed. The events of Sept. 11\, 2001 recast the film as a mirror facing past and future. Everyone loves a parade\, except for the dead. \nCity Beat by Skip Blumberg (USA\, 1980\, 7:10 minutes\, color)\nIn this early 3-channel art video that was recently restored\, the repetition of urban action becomes a symphony of rhythms\, leading to cacophony and back. Conceived and collaboratively produced by Skip Blumberg with 12 local video artists and producers at Intermedia Arts\, Minneapolis. Originally a 3-TV-monitor installation in the Crystal Court at the IDS Center – a skyscraper featured in the video (Minneapolis)\, Institute of North America (Barcelona\, Spain)\, Contemporary Art Museum (Chicago\, and Museum of Modern Art (NYC). \nBelow Sea Level (single channel) by Pawel Wojtasik (USA\, 2009\, 5 min. 45 sec.\, color\, HD)\nThe work is an evocation of the spirit of the city of New Orleans and its surrounding wetlands. It attempts to speak in images and sound about the continuing plight of the place\, of the human and ecological crisis occurring there. The film is not specifically about Hurricane Katrina—rather it contemplates an acute sense of impermanence inherent in the New Orleans location. The film emphasizes water as the lifeblood of the city. \nBuffalo Common by Bill Brown (USA\, 2001\, 23 minutes\, black and white)\nBill Brown’s personal\, observant film\, “Buffalo Common” is witty and filled with philosophical statements. Traveling to North Dakota researching the psyches of the townsfolk who lived among armed missile silos for thirty-five years. In ‘99 half of them were decommissioned. The colorful black and white cinematography is excellent and Bill’s stream of consciousness narration is thoughtful and provoking. Something different and definitely worth a look. \nHeliocentricby Semiconductor (a collaboration of Ruth Jarman and Joe Gerhardt)\, Sound by Semiconductor and BJ Nilsen (UK\, 2010\, 15 minutes\, HD)\nHeliocentric uses time-lapse photography and astronomical tracking to plot the sun’s trajectory across a series of landscapes. The entire environment feels to pan past the camera whilst the sun stays in the centre of each frame\, enabling us to gauge the earth’s rotation and orbit around the sun. As the Suns light becomes disrupted by passing weather conditions and the environment through which we encounter it\, it audibly plays them as if it were a stylus. \nAtomic Park by Dominique Gonzalez-Foerster (France\, 2004\, 8 minutes\, black and white and color\, 35mm) \nCourtesy Camera Lucida \nThe White Sands desert is located near the Trinity Site. It was here\, in July 1945\, that the very first atomic bomb was tested. The voice of Marilyn Monroe\, in John Huston’s film “The Misfits”\, can be heard in the distance. Arthur Miller wrote the script. \nBrian Doyle’s videos\, installations and photos question the notion of the common experience. His award winning artwork has been shown around the world on television (PBS\, ARTE\, TVE)\, in film festivals (Slamdance\, International Film Festival Rotterdam\, Tribeca Film Festival)\, and in museums (Henry Art Gallery\, Museo Nacional Centro de Arte Reina Sofia\, Australian Center for the Moving Image). Doyle’s videos can be found in the video file of Pierogi 2000 in Brooklyn\, NY and are distributed by Annexia in Toulouse\, France and Vtape in Toronto\, Canada. He graduated with a BFA from Florida State University and an MFA from the School of the Art Institute of Chicago’s Sculpture Department. He lives and works in Beacon\, NY. \nBrian Doyle is a 2009 Artists’ Fellowship recipient of the New York Foundation for the Arts (NYFA). This presentation is co-sponsored by Artists and Audiences Exchange\, a public program of NYFA. \nSkip Blumberg is an Emmy Award-winning producer and influential figure in the evolution of the independent video documentary. From his seminal guerrilla television work of the late 1970s and early explorations of the graphics of video (JGLNG\, 1976) to his recent documentaries about world culture (Weekend in Moscow\, 2002 and Return to Tibet\, 2003) and performance videos (ConCreep\, 2000)\, he brings a distinctive\, personal approach to the documentary form that\, in his words\, “warms up the cool medium of television.” His work has has shown in settings\, such as PBS\, National Geographic TV\, Showtime\, Bravo\, the Learning Channel as well as the Museum of Modern Art\, Pompidou Center (Paris)\, and Everson Museum of Art (Syracuse\, NY). He was appointed Special Assistant Professor at Hofstra University’s School of Communications in 2008. Blumberg curated two of Doyle’s works “Current” and “The Light” in “US Express”\, a history of single channel video art spanning from the early 70’s to present day that toured worldwide through the U.S. Department of State\, 2005-2008.[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/glassing-the-landscape-a-selection-of-films-with-guest-artist-brian-doyle-friday-june-11/
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2016/07/image-1.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20100613T190000
DTEND;TZID=America/New_York:20100613T220000
DTSTAMP:20260408T065539
CREATED:20100602T040000Z
LAST-MODIFIED:20180403T181533Z
UID:10001752-1276455600-1276466400@uniondocs.org
SUMMARY:Now & Later: Oral History in Present & Future Tense
DESCRIPTION:Please join us as a group of diverse panelists discuss how and why they use oral history in their fields\, including human rights\, public health\, radio\, and more. We know that oral history is a rich source of “future history\,” but how is oral history transformative in the present moment\, for interviewer\, interviewee\, and audience? \nCollectively\, the panel will cover some of oral history’s therapeutic\, historical\, social\, and political applications. \nStacy Parker Aab has worked on The Katrina Experience since August of 2005\, when she began taking oral histories from evacuees who stayed at the George R. Brown Convention Center in Houston\, TX. As of March 2008\, she has interviewed over 125 survivors and those who came to their need\, traveling through Texas\, Mississippi\, Louisiana and points north to do so. In addition to her work on The Katrina Experience\, she served as primary contributor and project coordinator to Voices from the Storm: The People of New Orleans on Hurricane Katrina and Its Aftermath.(McSweeney’s). Stacy is the author of a memoir about what it was like to be young and female working in the White House\, entitled Government Girl (Ecco/HarperCollins). She also writes political and social commentary for The Huffington Post. She lives in New York City. \n \nMichael Garofalo joined StoryCorps in early 2004\, shortly after the project launched.  He has recorded hundreds of interviews across the country in StoryCorps’ recording booths as well as in the field.  As a member of the Peabody Award (2006) winning production team\, Michael has had a hand in creating nearly all of the project’s content — from producing StoryCorps’ weekly national broadcasts on NPR’s Morning Edition and hosting the podcast\, to contributing to the first StoryCorps book\, to co-producing an series of animated shorts to premiere on PBS’ POV in summer 2010.  Michael also makes music using radios—among other things—as a member of the electro-acoustic trio Latitude/Longitude. He is a Transmission Artist with the nonprofit arts organization free103point9. \n \nRachael Weiss is project head of the Newtown Creek Community Health and Harms Narrative Project (CHHNP)\, which aims to interview residents in communities surrounding the Newtown Creek (i.e.\, Greenpoint\, East Williamsburg and Maspeth) about environmental burdens in their neighborhood and associated health problems. The interviews will be thematically analyzed and disseminated in a comprehensive report with additional historical\, environmental\, and health data from various secondary sources.  In addition\, audio clips and transcripts will be available to the public on an environmental justice/community mapping Web site HabitatMap. Ultimately\, the goal of the CHHNP is to add a personal face to the environmental burdens of those living near the Newtown Creek\, which can hopefully assist in community empowerment and advocacy. Rachael is a graduate student in the CUNY Doctor of Public Health Program at the Graduate Center. \nAgnes Umunna (Straight From the Heart\, Liberia) is a Journalist\, Radio Producer/Presenter and Community Activist. She helps to record stories from survivors of the war in Liberia and see how best we can talk about the trauma they have gone through during the 14 years of war. As Executive Director and founder of Straight from the Heart Project\, she used the project to engage victims\, witnesses and perpetrators of the Liberian conflicts\, and established it as a Non-Governmental and Not-For-Profit Media network that engages in nationwide advocacy program on radio\, for War Victims to voluntarily give accounts of their participation in the Liberian conflict. \nSuzanne Snider is a frequent contributor to The Believer and several literary journals. She has contributed podcasts to The Guardian and co-curates the weekly nonfiction series\, TRUE STORY. At the New School and NYU\, she teaches nonfiction writing\, documentary experiments\, oral history\, and song hunting courses. This year\, she received a fellowship from the Radcliffe Institute to initiate an oral history project on presses founded and run by women between 1960 and 1985\, and is currently completing a book about two rival communes on adjacent land.
URL:https://uniondocs.org/event/now-and-later-oral-history-in-present-and-future-tense-sunday-june-13th/
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2016/07/221.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20100620T193000
DTEND;TZID=America/New_York:20100620T213000
DTSTAMP:20260408T065539
CREATED:20100608T040000Z
LAST-MODIFIED:20190314T203858Z
UID:10001668-1277062200-1277069400@uniondocs.org
SUMMARY:Cinereach presents: Short Docs from The Reach Film Fellowship
DESCRIPTION:[vc_row][vc_column][vc_empty_space height=”40px”][vc_separator color=”custom” accent_color=”#ffffff”][vc_empty_space height=”40px”][vc_column_text]Join us for a screening of short documentaries by past Reach Film Fellows with a special discussion to follow. \nCinereach’s Reach Film Fellowship is a unique annual granting and mentorship program for emerging filmmakers making socially conscious short films. About to enter its fourth year\, the program results in the production of meaningful new works by fresh voices in filmmaking. It celebrates the spirit of mentorship and the always-instructive value of the production process. Two documentaries produced by Fellowship alum have been licensed for Broadcast by P.O.V. on PBS. \nThe discussion will touch on the making of the films\, an inside look at the fellowship\, and insight into how short documentaries are licensed for broadcast. Cinereach will also answer questions about it’s funding priorities and programs. \n[/vc_column_text][vc_empty_space height=”40px”][vc_text_separator title=”Program” color=”white” el_class=”h1″][vc_custom_heading text=”Bye” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_custom_heading text=”10 min.\, 2010\, Anthony Morrison” font_container=”tag:p|text_align:left” use_theme_fonts=”yes”][vc_column_text] \nJayden\, a two year old just diagnosed with autism\, goes through his first months of school in the Bronx. \n[/vc_column_text][vc_empty_space height=”40px”][vc_custom_heading text=”Love Lockdown” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_custom_heading text=”19 min.\, 2010\, Nadia Hallgren” font_container=”tag:p|text_align:left” use_theme_fonts=”yes”][vc_column_text] \nA young mother from the Bronx waits to learn the verdict of her incarcerated boyfriend’s case\, while she keeps his spirits high via late-night shout-outs on a popular NYC radio show. \n[/vc_column_text][vc_empty_space height=”40px”][vc_custom_heading text=”So the Wind Won’t Blow it all Away” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_custom_heading text=”10 min.\, 2008\, Annie Waldman” font_container=”tag:p|text_align:left” use_theme_fonts=”yes”][vc_column_text] \nA moving portrait of teenagers displaced by Hurricane Katrina who are grappling with a new concept of home. \n[/vc_column_text][vc_empty_space height=”40px”][vc_empty_space height=”40px”][vc_text_separator title=”39 min” color=”white” el_class=”h1″][vc_empty_space height=”40px”][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”115257″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text] \nReva Goldberg is Communications & Fellowships Manager at Cinereach\, a NYC not-for-profit film foundation and production company that champions vital stories\, artfully told. She has an extensive background in film and TV production and audience building. Before joining Cinereach\, she was a producer at Pureland Pictures where she produced the documentary All of Us\, which aired on Showtime. Goldberg also co-produced Pureland’s Toe to Toe\, a narrative feature that premiered at Sundance ‘09. In 2004\, Goldberg was Associate Producer of an Emmy-nominated History Channel documentary on the 9/11 Commission (produced by CBS). She has worked with TLC\, UPN\, Discovery\, The Travel Channel\, Washington Square Films/Arts\, Cronkite Productions and the Michael J. Fox Foundation for Parkinson’s Research. Goldberg is a graduate of Syracuse University’s Newhouse School of Public Communications. \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”115258″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text] \nDuring the day\, Yance Ford works as Series Producer of POV\, PBS’ icon series of independent documentary films. She is responsible for coordinating all aspects POV’s annual call for entries and oversees POV’s annual programming advisory board. As a core member of the POV programming team\, Yance screens all films submitted to POV and has input on the final schedule. Yance frequently represents American Documentary| POV at conferences\, festivals and markets procuring work from filmmakers both nationally and internationally. Privately\, Yance is a Programming Consultant and Pre Screener for film festivals around the country. She has served on juries at Full Frame\, Silverdocs and ITVS\, appeared on panels at Sunny Side of the Doc and DocuClub and serves on the IFP Advisory Committee. A graduate of Hamilton College and the production workshop at Third World Newsreel\, Yance is a former Production Stage Manager for the Girls Choir of Harlem and has worked as a Production Manager on numerous productions for the Discovery Health and History channels and on several independent films. A trained visual artist and sculptural metalworker\, she is in production on her first documentary film. \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”115254″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text] \nAnthony Hayden Morrison is the product of two clinical psychologists. Raised in North Carolina\, he attended NYU in undergraduate film. In 2006 he co-directed Body Soldiers\, a documentary about the role of protest music in fighting HIV in post-apartheid South Africa\, winner of a production grant from the Kaiser Family Foundation. Most recently\, he worked as a researcher for This Is Not A Robbery\, for Andrew Lauren Productions\, which premiered at the Tribeca Film Festival in 2008. Morrison recently completed a short documentary\, Bye\, while participating in Cinereach’s Reach Film Fellowship program. His film received the Reach Out 2010 Award for excellence in artful\, vital storytelling and a broadcast premiere for the film will be announced soon. \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”115256″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text] \nNadia Hallgren is a director and cinematographer from the Bronx\, NY. Her camera credits include the Academy Award nominated and 2008 Sundance Grand Jury prize winner Trouble the Water and projects for directors Michael Moore and Morgan Spurlock. She has traveled over five continents making films and working with prominent figures such as Dan Rather\, Desmond Tutu\, Britney Spears and Cameron Diaz. Her first short film\, Sanza Hanza\, screened last year at Slamdance and SilverDocs. She recently directed a second documentary short\, Love Lockdown\, while participating in Cinereach’s Reach Film Fellowship program. \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”115253″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text] \nA New York-based filmmaker\, Annie P. Waldman graduated from New York University’s Tisch School of the Arts with a degree in Film & Television. Waldman worked under several documentary filmmakers in the New York area before becoming a Cinereach Reach Film Fellow and directing and producing a short documentary\, So the Wind Won’t Blow It All Away. The film focused on homeless high school students growing up on their own in New Orleans. Celebrated as possessing a “lyrical\, expressive mise-en-scene” by NY Magazine\, the piece has been showcased at numerous festivals\, including Sundance and CMJ. A screening of the film was also held at the Yerba Buena Center in San Francisco\, and in September\, it had its national broadcast premiere on PBS’s P.O.V. documentary series. She is currently in production on her first documentary feature\, Phantom Cowboys(with support from a Cinereach grant)\, a portrait of three industry towns in America on the brink of decline. She is also a recent recipient of a Fulbright Fellowship to Israel. \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”115255″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text] \nMad Hot Ballroom\, Marilyn Agrelo’s directorial debut was the surprise hit of summer 2005. It enjoyed a theatrical run of over 24 weeks and is among the top 10 highest grossing documentary films of all time. Marilyn’s narrative feature film debut\, An Invisible Sign\, based on the highly acclaimed novel and starring Jessica Alba\, is currently in post-production. Born in Cuba\, Marilyn came to the US with her parents and three siblings at the age of 3. She is currently at work on a personal documentary entitled Us and Them\, inspired by her family life. It is being filmed in both the US and Cuba. Marilyn has worked in film for over 15 years and has directed commercials\, dramatic shorts\, and interactive museum installations. \n[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2010-06-20-uniondocs-presents-an-evening-with-cinereachs-reach-film-fellowship/
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/2010/06/Love_Lockdown_Family-Portrait_Small.jpg
GEO:40.7099952;-73.9507576
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=UnionDocs 352 Onderdonk Avenue 352 Onderdonk Avenue Ridgewood NY 11385 United States;X-APPLE-RADIUS=500;X-TITLE=352 Onderdonk Avenue:geo:-73.9507576,40.7099952
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20100627T180000
DTEND;TZID=America/New_York:20100627T210000
DTSTAMP:20260408T065539
CREATED:20100610T040000Z
LAST-MODIFIED:20180320T160436Z
UID:10001673-1277661600-1277672400@uniondocs.org
SUMMARY:Gen MEX: Eugenio Polgovsky & Pedro González-Rubio
DESCRIPTION:[vc_row row_type=”row_full_center_content”][vc_column][vc_column_text]Join us for an evening with two of Mexico’s most talented up-and-coming filmmakers: Eugenio Polgovksy and Pedro González Rubio\, as they present their acclaimed debut documentary films. Both Polgovsky and González-Rubio belong to an exciting generation of young directors that are rapidly changing the landscape of local filmmaking in Mexico and are pushing the boundaries of traditional representations. Trópico de Cáncer and Toro Negro are examples of intense and powerful filmmaking that are in tune with the country’s current political and social struggles. \nGonzález-Rubio’s latest effort\, Alamar\, will closed theatrically in New York City at Film Forum on July 14th\, courtesy of Film Movement. \n6pm: \nTrópico de Cáncer / Tropic of Cancer by Eugenio Polgovsky (Mexico\, 2004\, 52 minutes\, Minimal dialogue in Spanish with English subtitles)\n “An honest depiction of people’s everyday struggle for survival – in the venerable tradition of Buñuel’s Land Without Bread\, or Kalatozishvili’s Salt For Svaneti.” -Neil Young\, Film Lounge \nA poignant and powerful documentary\, Trópico de Cáncer is a meticulous account of the perilous conditions of a group of families living in the arid desert of San Luis Potosí in their quest for survival hunting animals to sell them on the highway. Both visually and narrative astonishing\, the film is Eugenio Polgovsky’s documentary debut which was screened in numerous film festivals around the world. \nDiscussion with directors Eugenio Polgovsky\, Pedro González-Rubio\, and Carlos Gutiérrez following screening. \n8pm: \nToro Negro by Pedro González-Rubio and Carlos Armella (Mexico\, 2005\, 87 minutes\, in Spanish with English subtitles)\n “Harsh\, intense\, yet artfully shaped filmmaking that continually takes you one step further than you thought you’d go.” – Stuart Klawans\, The Nation \nToro Negro gives deep insight into the life of Fernando Pacheco a.k.a El Suicida (The Suicidal)\, a young bullfighter who fights not in big arenas but at popular parties of small Mayan communities in the Yucatán Peninsula. Fernando is heart-warming and honest\, but also an alcoholic\, violent and impulsive. Pedro González-Rubio and Carlos Armella follow\, almost from the character’s inside\, and sometimes with a disturbing closeness. Toro Negro is a documentary that shows human passions and conflicts with rawness and humor. \nIntroduction by co-director Pedro González-Rubio. \n Eugenio Polgovsky was born in Mexico City in 1977. In 1994 he won the world photography contest “Living together\,” organized by UNESCO. He studied directing and cinematography at the Centro de Capacitación Cinematografíca in Mexico City\, graduated cum laude. His work as a director comprises short films and documentaries. He has also worked as cinematographer in documentaries and fiction films. Trópico de Cáncer / Tropic of Cancer\, his first documentary\, won several prizes around the world (Ariel for Best First documentary by the Mexican Academy of Cinematography\, Joris Ivens Prize at Cinema du Réel\, Best Documentary in Lebanon\, Korea\, Morelia\, FICCO\, among others). Trópico de Cáncer also had a special screening at Cannes’ Critic’s Week and was part of Frontier selection at Sundance. In 2004 Polgovsky received Mexico’s National Youth Prize. His new documentary\, Los herederos / The Inheritors\, produced with support of the Hubert Bals Fund and Visions Sud Est had its world premier at the 65th Venice Film Festival. \n Pedro González-Rubio is a Mexican filmmaker born in Brussels. His initiation to visual arts came at the age of 16 while living in New Delhi. He studied media in Mexico before attending the London Film School. He worked as a cinematographer on the film Nacido sin / Born Without (2007) by Eva Norvind. His directorial debut\, Toro Negro (2005\, co-director)\, received several awards including the Horizontes Award for Best Latin American film from the San Sebastian Film Festival and the Best Documentary Award at the Morelia Film Festival. Alamar is his feature film debut\, which nonetheless remains true to real life. The film has won numerous awards including the Tiger Award at the Rotterdam Film Festival\, The Jury Award for Best Iberoamerican Film at the Miami Film Festival and the Best Film Prize at the Buenos Aires Independent Film Festival. \nPRESENTED WITH\n \n \n[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/mexican-documentary-spotlight-pedro-gonzalez-rubio-eugenio-polgovsky/
CATEGORIES:Screenings & Events
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