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DTSTART:20150308T070000
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DTSTART;TZID=America/New_York:20150301T193000
DTEND;TZID=America/New_York:20150301T213000
DTSTAMP:20260425T121611
CREATED:20150212T050000Z
LAST-MODIFIED:20181113T223911Z
UID:10001887-1425238200-1425245400@uniondocs.org
SUMMARY:The Uprising
DESCRIPTION:[vc_row][vc_column][vc_separator color=”white”][vc_column_text]The Uprising shows us the Arab revolutions from the inside. It is a multi-camera\, first-person account of that fragile\, irreplaceable moment when life ceases to be a prison\, and everything becomes possible again.[/vc_column_text][vc_text_separator title=”Program”][vc_column_text] \nThe Uprising\n2013\, Belgium/Great Britain\, 79 mins. \nThis feature-length documentary is composed entirely of videos made by citizens and long-term residents of Tunisia\, Egypt\, Bahrain\, Libya\, Syria and Yemen. The film uses this footage\, not to recount the actual chronology of events or analyze their causes\, but to create an imaginary pan-Arab uprising that exists (for the moment) only on the screen. It has screened at over twenty international film festivals\, including Turin\, Edinburgh\, Bratislava\, and MoMA’s Doc Fortnight \nPeter will be joined by artist Ganzeer for a discussion to follow the screening. \nDirector’s statement: The Uprising is based\, not on a naive belief in the power of spontaneous rebellion to usher in a perfect and just world\, but on the incontrovertible evidence that video works. That it communicates an energy that can break down walls of isolation and fear\, and transform people’s lives. That it can preserve the individual voice without which the largest crowd is worth nothing. And that this call to refuse the humiliation and ridicule that governments heap upon those they govern\, and to try and live instead with honour and with dignity\, can speak directly not only to the people of these six Arab nations\, but to all of us\, everywhere.[/vc_column_text][vc_text_separator title=”79 min.”][vc_column_text]Peter Snowdon was born and brought up in Northumberland\, England.  He moved to Paris in 1992 to teach English and to write.  In a moment of creative misunderstanding\, he gave up poetry for political activism after reading Ivan Illich.  From 1997 to 2000 he lived in Egypt\, where he was a journalist with Al-Ahram Weekly.  On his return to Europe\, he began making agit-prop documentary films in collaboration with grassroots citizens’ groups.  Over time\, his work has evolved beyond the purely political to engage with the experimental and avant-garde traditions\, and to address wider philosophical issues.  His short films are distributed by the Collectif Jeune Cinema (Paris). The Uprising is his first feature-length film\, and was produced as part of a practice-based Phd at the MAD Faculty (University of Hasselt/PXL)\, Belgium.  Peter is currently based in Glasgow\, where teaches filmmaking at the University of the West of Scotland. \nGanzeer is the pseudonym of an Egyptian artist operating mainly between graphic design and contemporary art since 2007. He is not an author\, comicbook artist\, installation artist\, painter\, speaker\, street artist\, or videographer\, though he has assumed these roles in a number of places around the world. His art has been shown in Bahrain\, Belgium\, Brazil\, Canada\, Finland\, Germany\, Jordan\, the Netherlands\, Switzerland\, United Arab Emirates\, and the United States\, as well as in myriad Cairo galleries.  Art in America Magazine has referred to Ganzeer’s work as “New Realism\,” and the Huffington Post ranked him among “25 Street Artists from Around the World who are Shaking Up Public Art\,” but Ganzeer rejects both labels and regards Bidoun magazine’s description of him as a “contingency artist” as probably the most accurate\, while Ganzeer refers to his own practice as Concept Pop. Al-Monitor.com has placed him on a list of “50 People Shaping the Culture of the Middle East” (2013)\, and he is also one of the protagonists in a critically acclaimed documentary “Art War” (2014) by German director Marco Wilms.  Ganzeer is currently based in Brooklyn\, New York. He can be reached by emailing shout(at)ganzeer.com[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2015-03-01-the-uprising/
LOCATION:NY
CATEGORIES:Screenings & Events
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20150306T193000
DTEND;TZID=America/New_York:20150306T213000
DTSTAMP:20260425T121611
CREATED:20150207T050000Z
LAST-MODIFIED:20181017T202227Z
UID:10001884-1425670200-1425677400@uniondocs.org
SUMMARY:The Klansmen\, the Journalist\, and the Artist
DESCRIPTION:[vc_row][vc_column][vc_column_text]On the occasion of the exhibition Traces in the Dark presented at the Institute of Contemporary Art\, the University of Pennsylvania\, UnionDocs presents an artist presentation\, screening and conversation with the Toronto-based artist Deanna Bowen. She presents the findings from her meticulous research on Canadian and American Ku Klux Klan activities in performance\, prints\, bookwork\, and collage at ICA in a group exhibition about the things that lie in the margins of recorded history. Through this body of work\, Bowen advances her argument that iconic images of civil rights protest ironically occlude the Klan’s activities\, and\, in response\, she shines light on the invisible perpetrators. At UnionDocs\, she discusses her research and screens her 2012 short film Paul Good at Notasulga\, based on an original audio recording from 1964 of the late civil rights journalist Paul Good’s coverage of a violent incident. Liz Park\, Whitney-Lauder Curatorial Fellow at ICA and the curator of the exhibition\, will moderate a conversation about the burden and privileges of being the keeper of an archive and of being the storyteller with Bowen and the late journalist’s daughter Regan Good. \nTraces in the Dark is on view at ICA through March 22\, with performances by Deanna Bowen presented on select Wednesdays and Sundays. Please check the website for details: icaphila.org. \nThe price of admission to this UnionDocs event includes a complimentary copy of the Traces in the Dark exhibition catalogue\, normally on sale for $12. \n \nConceptualized and produced as an analogue of the exhibition of the same title\, Traces in the Dark is a collection of essays and artist folios that nest inside each other. The artist folios are: Imaginary Archive by Gregory Sholette and Olga Kclosedkina; “Hunting the Nigs” in Philadelphia: or an alternative chronology of events leading up to and one year beyond the Columbia Avenue Uprisings\, August 28-30\, 1964. by Deanna Bowen; and We were the mist\, the smoke curtain\, that hid everything by Harold Mendez. A curatorial essay by Liz Park and a new text by Sholette\, “Heart of Darkness: 1956\, 2015\, 2065\,” contextualize the artist folios. \nPaul Good at Notasulga\, Canada/US\, 2012\, 20 mins. \n \n– Paul Good in Nashville\, interviewing John Lewis and Lester McKinnie (Photo: Archie E. Allen) \n \n– Monson Motor Lodge\, St. Augustine\, FL\, 1964. \nInstallation photos by Aaron Igler/Greenhouse Media[/vc_column_text][vc_separator color=”white”][vc_column_text] \nDeanna Bowen is a descendant of the Alabama- and Kentucky-born Black Prairie pioneers of Amber Valley and Campsie\, Alberta.  Winner of the 2014 William H. Johnson Prize\, she is an interdisciplinary artist whose work has been exhibited internationally in numerous film festivals and museums\, including the Images Festival\, Toronto; the Kassel Documentary Film and Video Festival; Oberhausen Film Festival; Nasher Museum of Art at Duke University\, Durham\, North Carolina; and the Canadian Museum of Immigration at Pier 21\, Halifax.  Bowen teaches video art and ethnographic documentary production in the Department of Arts\, Culture and Media at the University of Toronto Scarborough. \nLiz Park is a curator and writer from Vancouver\, Canada\, currently based in Philadelphia as Whitney-Lauder Curatorial Fellow at the Institute of Contemporary Art. After receiving an MA in Art History/Curatorial Studies at the University of British Columbia\, she held various curatorial positions including Curator-in-Residence at Western Front\, Co-Director/Curator of Access Gallery\, and Public Programmer at the Vancouver Art Gallery. She curated a number of exhibitions internationally including at the Glenbow Museum in Calgary\, the Kitchen in New York\, and Seoul Art Space_Geumcheon in Seoul\, and her writing has been published by Afterall Online\, Performa Magazine\, Fillip\, Yishu: A Journal of Contemporary Chinese Art\, Pluto Press\, and Ryerson University Press\, among other places. The topics of her curatorial research and writing include the politics of visibility\, the representation of violence\, artist-run institutions\, and non-Western art in the global context of contemporary art. In 2011–2012\, Park was Helena Rubinstein Fellow in the Curatorial Program at the Whitney Independent Study Program. \nRegan Good is a poet and writer living in Brooklyn.  She currently teaches creative writing at the Fashion Institute.  She is writing a memoir (tentatively called The Good Family) about growing up in Westport\, CT in the sixties and seventies when the town had a soul and money didn’t matter as much.  Her father’s work during the Civil Rights Movement is at the heart of the memoir.[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2015-03-06-the-klansmen-the-journalist-and-the-artist/
LOCATION:NY
CATEGORIES:Screenings & Events
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20150314T193000
DTEND;TZID=America/New_York:20150314T213000
DTSTAMP:20260425T121611
CREATED:20150216T050000Z
LAST-MODIFIED:20181107T220831Z
UID:10001891-1426361400-1426368600@uniondocs.org
SUMMARY:Field Niggas and Antonyms of Beauty
DESCRIPTION:[vc_row][vc_column][vc_text_separator title=”Program” color=”white” border_width=”2″][vc_empty_space][vc_column_text] \nField Niggas\n2014 USA\, HD\, 60min \n“Set entirely at night\, Field Niggas takes us to the corner of 125th Street and Lexington Avenue in Harlem and introduces us to its faces. Not just avoiding but repudiating condescension\, Khalik Allah’s camera\, a longtime\, welcome presence in the neighborhood\, spotlights his subjects in stunningly composed\, dignified portraits that are hypnotically woven with street images. The non-synch audio track consists of conversations with and among those faces: dreams\, regrets\, arguments\, affection\, observations\, opinions. Field Niggas is a mesmerizing viewing experience\, that finds its rhythm using field hollers. The title draws from Malcolm X’s “Message to the Grass Roots” speech\, in which he targets the power balance that creates a dangerous wedge between the “house slaves” and the “field slaves.” Khalik Allah’s singular\, trenchant film serves as an ardent call to rise above social constructs.” As told by Chris Boeckmann of True/False Films. \nAntonyms of Beauty\n2013\, USA\, 8/35 mm\, 27min  \nPointing to my head : You got no idea how deep this goes\, and coherent all the way through. I read thousands of books that had me vacillating between insanity and sanity. Now I walk the precipice of death until there’s nothing left. \n“I’ve been staring into the sun since I was a child. Some people told me not to do that. I did it anyway. I made Antonyms of Beauty for the same reason. I have to stare at what nobody wants to look at.” From Fotogragia Magazine. \nArtist Statement: \nI don’t see other photographers where I shoot\, only surveillance cameras. When asked if fear was the main theme of my work I said it’s not fear\, but the removal of fear leading to the awareness of Love that interest me. We don’t react to anything directly in the world\, only to our interpretation of things. And our interpretations are mostly wrong. Photography is a therapeutic tool I use to confront my own perception\, and challenge my ego. It strengthens my spirit when I see passed appearances and approach people who I would’ve otherwise avoided.[/vc_column_text][vc_empty_space][vc_text_separator title=”87 min” color=”white” border_width=”2″][vc_empty_space][vc_column_text]Khalik Allah\, b. 1985\, is a self taught filmmaker and photographer. His work has been described as visceral\, hauntingly beautiful\, penetrative and profoundly personal. In August of 2010 Khalik asked his father to loan him a camera to take some casual photographs of his emcee friend\, The Genius of The Wu- Tang Clan. But when Khalik was given a fully manual\, analogue film camera\, his casual interest quickly became serious. Up until that point he was focused mainly on film-making. Photography became and extension of that film-making\, allowing Khalik to create more quickly by telling stories in a single frame. Photography and film-making are two overlapping circles that form a venn diagram in Khalik Allah’s mind; the area where they overlap is the space he inhabits as an artist. \n Omar Mullick is a film director and cinematographer known for his work on the 2013 feature film THESE BIRDS WALK. In 2012\, Filmmaker Magazine named Omar one of the 25 New Faces of Independent Film. Premiering at SXSW in 2013 and distributed theatrically by Oscilloscope Laboratories\, THESE BIRDS WALK went on to be named as one of the best films of the year by the New Yorker Magazine\, Indiewire\, and Sight + Sound Magazine. It currently ranks as one of the best ever rated documentaries on Rotten Tomatoes. \nTrained as a photographer\, Omar’s work was published in The New York Times\, Foreign Policy Magazine\, National Geographic and TIME\, receiving awards from the Doris Duke Foundation\, the Western Knight Center for Journalism\, Annenberg and Kodak. In 2009 he was granted a solo show of his photographs titled ‘Can’t Take It With You’ at the Gallery FCB in Chelsea\, New York. His current work as a cinematographer and director includes as clients HBO\, CNN\, PBS\, Discovery\, Al Jazeera America and The Gates Foundation.[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2015-03-14-field-niggas-and-antonyms-of-beauty/
LOCATION:NY
CATEGORIES:Screenings & Events
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20150321T193000
DTEND;TZID=America/New_York:20150321T213000
DTSTAMP:20260425T121611
CREATED:20150216T050000Z
LAST-MODIFIED:20190314T211549Z
UID:10001888-1426966200-1426973400@uniondocs.org
SUMMARY:A Cocktail of Mistakes\, or a Mistake of Cocktails: The (Notorious) Legend of Robert Beck Memorial Cinema in 2 or 3 Easy Lessons
DESCRIPTION:[vc_row][vc_column][vc_column_text] \n\nEvery Tuesday night for more than a hex of years\, the RBMC illuminated the snowy-white screen of the Collective Unconscious on Manhattan’s Lower East Side. Initiated by Brian Frye & immediately joined by Bradley Eros\, both shared the core curating frenzy of this no-budget operation\, managing to produce over 300 programs and exhibiting more than a thousand artists. When Frye left\, it relocated & regrouped\, mutating into Roberta Beck Mercurial Cinema at Participant Inc’s gallery just around the corner\, for a year\, with a team of at least six\, but primarily & irrepressibly Eros & Joel Schlemowitz. It later became a restless\, nomadic cinema\, mushrooming & mutating in myriad incarnations\, most notoriously at Issue Project Room on the Gowanus Canal in Brooklyn\, both indoors and out.  Lastly\, it explored more artworld and musical contexts\, transforming the field of experimental film\, as both quixotic and quicksilver.\n\n\n\n\n\n\n[/vc_column_text][vc_empty_space][vc_text_separator title=”90 min”][vc_empty_space][/vc_column][/vc_row][vc_row][vc_column][vc_column_text] \n \n  \nThe Legend of Robert Beck / Sanitarium Cinema\, Brian Frye & Bradley Eros / Bradley Eros & Maria Losier\, 1999\, DVD\, 3 min/7 min. \nThe history told & enacted. \nRobert Beck is Alive & Well & Living in NYC\, Brian Frye with Stuart Sherman\, 2000\, 16mm\, 4 min. \nThe myth performed. \n \nburn (or\, The 2nd Law of Thermodynamics)\, Bradley Eros\, 2004\, DVD\, 5 min. \nAn accident of modulated destruction; an offshoot of the original “Mistakes” show. \nPunch n’ Judy Santa (double projection)\, found films – Eros/Frye intervention\, 2000\, 16mm\, 10 min. \nAn RBMC fave. \n \nX times X\, Bradley Eros\, 1998\, R-8mm/16mm\, 4 min. \nThe X-Rated x-ray film\, a subterranean science experiment. [/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space][vc_text_separator title=”Program”][vc_empty_space][vc_column_text] \nBradley Eros: An artist working in myriad media: experimental film & video\, collage\, photography\, performance\, sound\, text\, contracted and expanded cinema and installation. Also a maverick curator\, composer\, designer & investigator.  Concepts include: ephemeral cinema\, mediamystics\, subterranean science\, erotic psyche\, cinema povera\, poetic accidents\, and musique plastique. Work has been exhibited at Whitney Biennial & The American Century MoMA\, Performa09\, The New York\, London\, and Rotterdam Film Festivals\, The Kitchen\, and Microscope Gallery.  Worked for many years with the New York Filmmakers’ Cooperative\, Anthology Film Archives & co-directed the Robert Beck Memorial/Roberta Beck Mercurial Cinema. \n  \nBrian L. Frye is a filmmaker\, writer and law professor. His films explore relationships between history\, society\, and cinema through archival and amateur images. His films have appeared in places like The Whitney Biennial\, New York Film Festival’s “Views from the Avant-Garde”\, New York Underground Film Festival\, San Francisco Museum of Modern Art\, The Warhol Museum\, Pleasure Dome\, Media City and Images Festival. His short films are in the permanent collection of the Whitney Museum and distributed by the Filmmaker’s Coop. He’s been awarded grants from the Jerome Foundation and ETC. His writing on film and art has appeared in October\, The New Republic\, Film Comment\, Cineaste\, Millennium Film Journal and the Village Voice. He is currently a visiting assistant professor at Hofstra Law School and is developing a beer-brewing hobby. \n  \nJon Dieringer is a programmer\, writer\, filmmaker\, and media conservator. As the editor and publisher of Screen Slate\, Dieringer provides a daily resource for listings and commentary on New York City moving image culture. He is also one of the principle programmers\, administrators\, and trailer editors at Brooklyn’s Spectacle and has additionally organized screenings at 92YTribeca\, Anthology Film Archives\, The International House\, The Museum of Arts and Design\, and UnionDocs. His collaborative videos\, often brain-burning takes on the shape and construction of meaning through popular reappropriation\, have screened at Anthology\, Flux Factory\, MAD\, MoMA PS1\, The Nightingale (Chicago)\, and Spectacle. Dieringer has also written for TIME.com\, TIME Magazine’s LightBox\, and INCITE Journal of Experimental Media. Professionally\, he is the Technical Director at Electronic Arts Intermix—following in the lineage of unintended RMBC namesake\, video artist Robert Beck.[/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/2015-03-21-a-cocktail-of-mistakes-or-a-mistake-of-cocktails-the-notorious-legend-of-robert-beck-memorial-cinema-in-2-or-3-easy-lessons/
LOCATION:UnionDocs\, 352 Onderdonk Avenue\, 352 Onderdonk Avenue\, Ridgewood\, NY\, 11385\, United States
CATEGORIES:Screenings & Events
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GEO:40.7099952;-73.9507576
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=UnionDocs 352 Onderdonk Avenue 352 Onderdonk Avenue Ridgewood NY 11385 United States;X-APPLE-RADIUS=500;X-TITLE=352 Onderdonk Avenue:geo:-73.9507576,40.7099952
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20150322T193000
DTEND;TZID=America/New_York:20150322T213000
DTSTAMP:20260425T121611
CREATED:20150218T050000Z
LAST-MODIFIED:20181127T221805Z
UID:10002516-1427052600-1427059800@uniondocs.org
SUMMARY:Terrible Resonance: A Live Podcast about Subversive Sound\, Earthquakes\, Ghosts\, Outer Space\, Sonic Weaponry\, and Whales
DESCRIPTION:[vc_row][vc_column][vc_column_text]There is a murky and uncertain world of sound below the bassiest bass we can hear.  Despite the physical limitations of our ears\, these rumbles\, called “infrasounds” affect us\, in wildly different ways–sometimes beautiful\, sometimes terrifying. \nTerrible Resonance is a journey from 0-20hz\, telling stories from the well-studied rumbles of Earth’s crust\, songs of whales and elephants\, and resonant points in the human body to the areas of the unknown that lead to wild speculation: hauntings\, the “brown” note\, spontaneous orgasm and not-so-secret weapons programs from the Pentagon. \nThe show runs roughly 90 minutes and includes a live infrasound demonstration from Brooklyn-based musician Joe Morgan.  Earplugs will be provided.  Children and service animals should use extra precaution during this portion of the show. \n[/vc_column_text][vc_text_separator title=”90 min”][vc_column_text]Jeff Emtman is a Seattle-based artist. He is the creator of Here Be Monsters\, a philosophy/science/storytelling podcast about fear and the unknown.  He also manages The Dream Tapes Project\, which mails tape recorders around the world to capture semi-consious stories from drowsy people. \n\n\n\n\n \n\nJoe Morgan is a Brooklyn-based sound designer\, video artist\, and electronic music composer. He has created original music videos for artists such as Kyle Bobby Dunn and Iyez and is one half the ambient music duo Phantom Fauna.\n\n [/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2015-03-22-terrible-resonance-a-live-podcast-about-subversive-sound-earthquakes-ghosts-outer-space-sonic-weaponry-and-whales/
LOCATION:NY
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/png:https://uniondocs.org/wp-content/uploads/2017/06/unnamed.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20150322T193000
DTEND;TZID=America/New_York:20150322T230000
DTSTAMP:20260425T121611
CREATED:20150305T050000Z
LAST-MODIFIED:20190314T203335Z
UID:10001894-1427052600-1427065200@uniondocs.org
SUMMARY:Terrible Resonance: A Live Podcast about Subversive Sound\, Earthquakes\, Ghosts\, Outer Space\, Sonic Weaponry\, and Whales (Late Show)
DESCRIPTION:[vc_row][vc_column][vc_column_text]Terrible Resonance is a journey from 0-20hz\, telling stories from the well-studied rumbles of Earth’s crust\, songs of whales and elephants\, and resonant points in the human body to the areas of the unknown that lead to wild speculation: hauntings\, the “brown” note\, spontaneous orgasm and not-so-secret weapons programs from the Pentagon. \nThe show includes a live infrasound demonstration from Brooklyn-based musician Joe Morgan.  Earplugs will be provided. \n[/vc_column_text][vc_text_separator title=”90 min”][/vc_column][/vc_row][vc_row][vc_column][vc_column_text]Jeff Emtman is a Seattle-based artist. He is the creator of Here Be Monsters\, a philosophy/science/storytelling podcast about fear and the unknown.  He also manages The Dream Tapes Project\, which mails tape recorders around the world to capture semi-consious stories from drowsy people. \n  \n\n \n\nJoe Morgan is a Brooklyn-based sound designer\, video artist\, and electronic music composer. He has created original music videos for artists such as Kyle Bobby Dunn and Iyez and is one half the ambient music duo Phantom Fauna. \n\n [/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2015-03-22-930-terrible-resonance-live-podcast-subversive-sound-earthquakes-ghosts-outer-space-sonic-weaponry-whales-late-show/
LOCATION:UnionDocs\, 352 Onderdonk Avenue\, 352 Onderdonk Avenue\, Ridgewood\, NY\, 11385\, United States
CATEGORIES:Screenings & Events
GEO:40.7099952;-73.9507576
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=UnionDocs 352 Onderdonk Avenue 352 Onderdonk Avenue Ridgewood NY 11385 United States;X-APPLE-RADIUS=500;X-TITLE=352 Onderdonk Avenue:geo:-73.9507576,40.7099952
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20150410T193000
DTEND;TZID=America/New_York:20150410T213000
DTSTAMP:20260425T121611
CREATED:20150226T050000Z
LAST-MODIFIED:20180515T213231Z
UID:10001893-1428694200-1428701400@uniondocs.org
SUMMARY:The Story of Telling
DESCRIPTION:[vc_row][vc_column][vc_column_text]Tirtza Even’s presentation\, “The Story of Telling\,” will review her efforts to communicate social and political realities in visual media. Even’s linear and interactive video work have consistently been engaged with representing the encounter with a variety of groups and individuals\, typically ones whose lives embody complex or decentralized social/political settings (in Palestine\, Turkey\, the U.S and Germany\, among other locations).  At the same time (and perhaps especially) the work could also be described as an exploration of the inevitable\, yet nuanced\, failure of this very act of representation. \nEven’s most recent projects include Land Mine (A feature length documentary\, 2014\, work-in progress); Natural Life (a feature length documentary on incarcerated youth\, 2014)\, and Once a Wall\, or Ripple Remains (a multi-channel video / 3-D animation reflecting on personal encounters in Palestine\, 2009. \nLand Mine (Tirtza Even\, Palestine/Israel\, 2014\, feature length work-in progress) — segment \nNatural Life (Tirtza Even\, USA\, 2014\, 77 minutes) — segment \nOnce a Wall\, or Ripple Remains (Tirtza Even\, Palestine/Israel\, 2009\, 59 minutes/ multi channel installation) — segment \nVideo artist Tirtza Even takes a documentary approach to sociopolitical issues and uses interactive installations to communicate her ideas; her latest work\, designed as a dual projection for museum exhibition\, employs split-screen imagery to look at the crimes of six adult prisoners\, each sentenced as youths to life without parole\, or “natural life.” The paradox that someone might lead a natural life behind bars is central to the film; the director couples interviews with archival footage and staged scenarios to create a sense of confusion and injustice; she never pardons her subjects’ actions\, but she convincingly condemns the more archaic aspects of our penal and judiciary systems as they process lower-class minority teens. Unlike other recent documentaries on prison issues\, this has a riveting performance element that transcends stodgy journalism. \n-Drew Hunt\, The Chicago Reader \nA practicing documentary maker and video artist for over fifteen years\, Tirtza Even has produced both linear and interactive video work representing the less overt manifestations of complex and sometimes extreme social/political dynamics in specific locations (e.g. Palestine\, Turkey\, Spain\, the U.S. and Germany\, among others).  Even’s work has appeared at the Museum of Modern Art\, NY\, at the Whitney Biennial\, the Johannesburg Biennial\, as well as in many other galleries\, museums and festivals in the United States\, Israel and Europe\, including Rotterdam Film Festival\, San Francisco Film Festival and The New York Video Festival\, Lincoln Center. It has won numerous grants and awards\, including Fledgling Fund; Artadia Awards\, Chicago (winner of top award); Golden Gate Awards Certificate of Merit\, San Francisco International Film Festival; Best Experimental Film\, Syracuse Film Festival; Media Arts Award\, The Jerome Foundation; First Prize\, L’immagine Leggera Festival\, Italy; Individual Artists Program Awards\, NYSCA\, and many others; and has been purchased for the permanent collection of the Museum of Modern Art (NY)\, the Jewish Museum (NY)\, the Israel Museum (Jerusalem)\, among others. She has been an invited guest and featured speaker at many conferences and university programs\, including the Whitney Museum Seminar series\, the Digital Flaherty Seminar\, Art Pace annual panel\, ACM Multimedia\, the Performance Studies International conference (PSI)\, the Society for Literature\, Science\, and the Arts conference (SLSA) and others. Even’s work is distributed by Heure Exquise\, France\, Video Data Bank (VDB)\, USA\, and Groupe Intervention Video (GIV)\, Canada. She is an Associate Professor in SAIC’s Film\, Video\, New Media\, and Animation department \n\n\nIva Radivojevic is an award winning filmmaker based in Brooklyn. She spent her early years in Yugoslavia and Cyprus before settling in NYC over a decade ago. Her work explores the theme of identity\, migration and belonging. Iva’s films have screened at various film festivals including SXSW\, IFF Rotterdam\, HotDocs\, The Museum Of Modern Art\, were broadcast on PBS and published by the New York Times Op-Docs. Iva was named one of 25 New Faces of Independent Film of 2013 by Filmmaker Magazine. Her feature length documentary “Evaporating Borders” has won several awards internationally and was recently nominated for an International Documentary Association (IDA) Award as well as a Cinema Eye Honors Spotlight Award and is currently touring the world. Follow what she’s up to at www.ivaasks.com \n\n\n\n\n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_video link=”https://vimeo.com/89713384″][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2015-04-10-the-story-of-telling/
LOCATION:NY
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2017/02/unnamed-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20150417T193000
DTEND;TZID=America/New_York:20150417T213000
DTSTAMP:20260425T121611
CREATED:20150316T040000Z
LAST-MODIFIED:20180515T182026Z
UID:10001898-1429299000-1429306200@uniondocs.org
SUMMARY:What You Get is What You See: Two Turntables\, An Image Macro\, and a Bear Named Mr. Truffles
DESCRIPTION:[vc_row][vc_column][vc_column_text]A spectator of spectators\, Kenyatta Cheese will show how Internet meme and pop culture communities actively defy the traditional narrative of spectator passivity and reveal an experience that is communal\, participatory\, and emotional. \nKenyatta will argue that the audience has always desired participation and that this desire was only rendered passive in order to fit the needs of large scale\, industrialized commerce. He then suggests that we change the discourse around the creative process towards a model of networked participation that embraces varying levels of effort and expertise. \nFollowed by a complimentary cocktail reception. \n \nsponsored by El Buho Mezcal \nKenyatta Cheese is a professional internet enthusiast best known for co-creating the web series and internet meme database Know Your Meme. He built interesting things at Rocketboom\, Unmediated\, the Eyebeam Center for Art and Technology\, Screensaversgroup\, and Manhattan Neighborhood Network. Nowadays he is Creative Director at Everybody at Once\, a consultancy dedicated to audience development for media\, entertainment\, and sports. \nWhat You Get Is What You See: A Series on Spectatorship\n \n(WYGIWYS gif by Alison S. M. Kobayashi) \nWhat hides behind simple gestures of attending?\nIn this series\, UnionDocs invites artists and writers to show us how to become more active\, more engaged–and perhaps better–spectators. The speakers share their experiences and personal observations as viewers\, readers\, watchers\, listeners and audience members of visual\, video and performance arts\, graphic design\, radio\, TV and cinema. Through their trained gaze and skilled sensitivity\, they disturb and displace our perception of contemporary culture and expose spectatorship as an everyday dynamic act. \nA series presented by Mathilde Walker-Billaud.[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2015-04-17-two-turntables/
LOCATION:NY
CATEGORIES:Screenings & Events
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20150418T193000
DTEND;TZID=America/New_York:20150418T213000
DTSTAMP:20260425T121611
CREATED:20150324T040000Z
LAST-MODIFIED:20180515T175817Z
UID:10002523-1429385400-1429392600@uniondocs.org
SUMMARY:Life: Before\, During and After
DESCRIPTION:[vc_row][vc_column][vc_column_text]Niagara’s Fury\, Benjamin R. Taylor\, 2013\, HD\, 27:00 \nNiagara’s Fury is the study of the transformation that the prying eyes of the tourist inflict upon the world. Something like ethnography or anthropology\, the film moves through the seemingly abandoned city that surrounds one of the world’s natural wonders. We watch it\, listen to it. Monuments to entertainment\, absurd idols and apparatuses sit in the stillness of the day as the waters flow by unabated. The film looks at how we reign the natural world into absurd conceptual frameworks and ponders the reflections of the waters and what they may see in us when gazing back. \nI See a Light\, Aaron Zhegers\, 2011\, 16MM and digital found footage\, 1:30 \nA brief glimpse into the final moments of a lifetime. Created from found 16mm\, video and audio footage. \n11 Parking Lots and One Gradual Sunset\, Aaron Zhegers\, 2014\, 8:28 \nBoth beauty and destruction. Both homage and critique. Sincere insincerity amidst the concrete jungle. \n“Nature here is vile and base… I see fornication and asphyxiation and choking and fighting for survival and growing and just rotting away… it’s a land that God\, if he exists\, has created in anger. It’s the only land where creation is unfinished yet. Taking a close look at what’s around us here\, there is some sort of a harmony…” \nTerroir\, Shannon Harris\, 2012\, 6:45 \nRoughly translated terroir can mean a sense of place and coming from a place. This piece is an image/sound portrait of a personal geography as well as formal investigation of digital media. Captured entirely on a cell phone\, the camera records a landscape in constant motion and disintegration. This fluctuating image is married to a sound-scape that grasps for connection that reaches over distance. It is generated from the messages left by friends and loved ones on my cellphone over the course of several years. The raw material of both image and sound come from the same place\, the cell phone\, which I use to record the environment around me as I move across the Canadian landscape. Rarely does one stay where one is born\, we move\, modern life almost necessitates it. This piece explores notions of communication and distance\, technology and intimacy. \nLacuna\, Shannon Harris\, 2008\, 9:40 \nLacuna: 1. an empty space or a missing part; a gap; an absence. 2. a discontinuity in an anatomical structure. \nDifferent textures of grief and acceptance emerge and the camera eye becomes a lens into the interior. Space is inhabited by memory; memory becomes a gesture that seeks the past. Lacuna is a poetic meditation that navigates a landscape of absence\, memory and transformation though image and sound. \nThe process of shooting and editing this film was an intuitive one that was very attached to the process of working through a loss. In the summer of 2007 my mother died suddenly and unexpectedly from cancer. My connection to her is strong; it is one between mother and daughter and between place and home. This film is an image/sound poem as well as a document of the experience and grief of the loss of my mother. \nFracas\, Eduardo Menz\, 2007\, Digital8\, 4:30 \nThe juxtaposition of children’s school portraits with the anxious voices of an elementary spelling bee reveals a haunting reality of innocence that has vanished.  In this experimental documentary\, Eduardo Menz repurposes found images with great effect to create an emotionally compelling montage that lingers long after the film ends. \nLas Mujeres de Pinochet (Les Femmes de Pinochet / Pinochet’s Women)\, Eduardo Menz\, 2005\, Hi8\, 12:00 \nIn this experimental short\, the viewer is forced to role-play through the repeated employment and alteration of the text\, sound and image until his or her expectations have been truthfully realized. The video examines class structure\, the meaning of beauty and forgotten history through two very different but significant women during Pinochet’s brutal regime of the late 1980’s. \nShannon Lynn Harris is an artist whose film and digital work reflect a creative practice rooted in personal experience. She is interested in the intersection of documentary\, avant-garde film and video practices as well as the potential of expanded notions of documentary. She is currently based in Montreal\, Canada and originates from Vancouver\, British Columbia. \nBenjamin R. Taylor is a filmmaker working in experimental and documentary forms. His work focusses on geography\, architecture\, nature and spirituality.He is the curator of the monthly experimental documentary screening series Visions in Montréal. His works have been presented in festivals and galleries in Canada\, Europe\, Asia and Australia. \nEduardo Menz was born in 1977 in Edmonton\, Alberta\, Canada from Chilean descent and has called Montreal home for the past nine years. Eduardo completed his BFA in film production at Concordia University in 2006. He is a member of the Double Negative Collective who showcase international experimental filmmaker’s works as well as exhibit their own films and videos at numerous festivals locally and worldwide. Eduardo’s film work has always attempted to transgress and interweave the boundaries of what defines fiction\, documentary and experimental film genres. Eduardo has also been the fortunate recipient of several federal and provincial media grants for his writing and film work. His films & videos have won awards at Big Muddy in Illinois\, NextFrame Touring Film Festival in the U.S.\, Les Rendez-Vous du Cinema Quebecois in Montreal\, Hot Docs and Images Festival in Toronto and have been shown at several distinguished festivals worldwide. \n \nAaron Zeghers is a Winnipeg-based artist working in film and video. He often works with analogue mediums (super 8 & 16mm)\, found footage and experimental processes. He is a founder of the closed City Cinema collective and the Winnipeg Underground Film Festival. Zeghers’ films have played in marginalized venues the world around. \n[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2015-04-18-life-before-during-and-after/
LOCATION:NY
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2015/03/4428094_orig.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20150419T193000
DTEND;TZID=America/New_York:20150419T193000
DTSTAMP:20260425T121611
CREATED:20150326T040000Z
LAST-MODIFIED:20180515T174911Z
UID:10001897-1429471800-1429471800@uniondocs.org
SUMMARY:Bloody Marys with Scott Carrier
DESCRIPTION:[vc_row][vc_column][vc_column_text] \nPeabody Award-winning journalist Scott Carrier has been all over.  His work\, both written and spoken\, has taken him around the globe and back\, each time with a new story of the road.  Recently\, he has taken a step into new territory\, the world of podcasts.  With Home of the Brave\, Scott provides a weekly story “from the archives\, the road\, and the end of the world.”  Join UnionDocs for a discussion\, and a Bloody Mary\, with Scott. \n Scott Carrier is a writer\, photographer\, and radio producer. He was born\, raised and still lives in Salt Lake City\, Utah. His print articles and photos have appeared in Harper’s\, Esquire\, GQ\, Rolling Stone and Mother Jones. His radio stories have been broadcast by NPR All Things Considered\, NPR Day to Day\, APM The Story\, Savvy Traveler\, Hearing Voices from NPR\, and PRI This American Life. \nJonathan Goldstein is a frequent contributor to This American Life. He is author of ‘Lenny Bruce is Dead’ and ‘Ladies and Gentlemen\, The Bible!’. His latest book\, ‘I’ll Seize the Day Tomorrow’\, is available for purchase online. He hosts and produces PRI’s Wiretap\, now in its 11th season.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_video link=”https://vimeo.com/120756514″][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2015-04-19-bloody-marys-with-scott-carrier/
LOCATION:NY
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2016/12/jonathan-goldstein.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20150419T193000
DTEND;TZID=America/New_York:20150419T213000
DTSTAMP:20260425T121611
CREATED:20150330T040000Z
LAST-MODIFIED:20180515T174636Z
UID:10001901-1429471800-1429479000@uniondocs.org
SUMMARY:Still Matters: A Screening of Archival and Found Footage Re-Appropriation
DESCRIPTION:[vc_row][vc_column][vc_column_text] \nIn 2009\, the Beijing-based archivist and artist Thomas Sauvin salvaged over half a million discarded negatives from a recycling plant on the outskirts of the city. Sauvin processed\, archived\, and curated selections of these photographs in a project called Beijing Silvermine. The images were taken between 1985 and 2005\, a period of tremendous social and economic change in mainland China\, as well as the height of consumer film photography in the region. \nFrom 2011 to 2012\, a collaboration between Sauvin and the Chinese animator Lei Lei led to the creation of Recycled\, an experimental video work that animates over 3000 of the Beijing Silvermine photos\, reconstructing anonymous memories of place and personal history in China over a 20 year timespan. \nTaking Recycled as a point of departure\, this screening will include a selection of works from experimental filmmakers and artists who explore innovative formal approaches in their reconstructions of place and memory on moving image. \nThe concept behind this program was partially inspired by RECYCLED CINEMA\, an earlier screening program held in Boston that was developed and curated by the new Boston-based film initiative Crows & Sparrows in collaboration with the Balagan Film Series. \n  \nSummer of 1969\, Cao Kai\, China\, 2002\, 8 mins \nOne of the earliest found footage attempts from China\, veteran curator and experimental filmmaker Cao Kai juxtaposes television footage of Mao’s cultural revolution with Bryan Adams’ summer concert\, both in 1969. \n  \nOff-White Tulips\, Aykan Safoglu\, Germany/Turkey\, 2013\, 24 mins. \n“Concentrating on James Baldwin’s extended stays in Istanbul in 60’s and 70’s\, the film explores the limits of an autobiography mostly relying on found materials such as Sedat Pakay’s photography. Racism\, transnational discourses\, queer politics and appropriation art are also being investigated throughout the video-essay.” – Ann Arbor Film Festival \n  \n200\,000 Phantoms\, Jean-Gabriel Périot\, 2007\, France\, 10 mins. \n“In 1914\, the Genbaku Dome in Hiroshima was a dazzling center of elegant urban life in Japan. On August 6\, 1945\, the atomic bomb called Little Boy detonated 500 feet away from the building\, killing 78\,000 people and leveling the city within a single second. But the dome miraculously survived\, and in 2006 it stands as a silent reminder of the horrors of nuclear power. In this experimental short film\, the history of the 20th century flies past\, illustrated by 600 photographs of the Genbaku Dome.In 1914\, the Genbaku Dome in Hiroshima was a dazzling center of elegant urban life in Japan. On August 6\, 1945\, the atomic bomb called Little Boy detonated 500 feet away from the building\, killing 78\,000 people and leveling the city within a single second. But the dome miraculously survived\, and in 2006 it stands as a silent reminder of the horrors of nuclear power. In this experimental short film\, the history of the 20th century flies past\, illustrated by 600 photographs of the Genbaku Dome.” – Tribeca Film Festival \n  \nErinnerungen (Memories)\, Sylvia Schedelbauer\, Germany\, 2004\, 19 mins. \n“A woman grows up during the bubble economy in Japan. Why did her parents never speak about the past? Using a box full of photos found in her family archive\, Schedelbauer tries toconstruct one version of a family history.” – Anthology Film Archives \n  \nRecycled\, Lei Lei and Thomas Sauvin\, China\, 2013\, 6 mins. \nFilmmaker in attendance. “In 2009\, the Beijing-based archivist and artist Thomas Sauvin salvaged over half a million discarded negatives from a recycling plant on the outskirts of the city. Sauvin processed\, archived\, and curated selections of these photographs in a project called Beijing Silvermine. The images were taken between 1985 and 2005\, a period of tremendous social and economic change in mainland China\, as well as the height of consumer film photography in the region. From 2011 to 2012\, a collaboration between Sauvin and the Chinese animator Lei Lei led to the creation of Recycled\, an experimental video work that animates over 3000 of the Beijing Silvermine photos\, reconstructing anonymous memories of place and personal history in China over a 20 year timespan.” – Genevieve Carmel / Crows & Sparrows \n  \nFollowed by a 15-min lecture by Daniel Traub on Little North Road / Xiaobeilu Project. \n“Its nicknames are “Chocolate City” and “Little Africa.” Located in Guangzhou\, China’s third-largest city and a major industrial hub attracting workers from across China and the world\, the Xiaobeilu neighborhood reflects China’s recent invsestment in the African continent – It is now home to thousands of African tradesmen and salesmen. For centuries people and trade have flowed from one region to another\, but Daniel Traub’s Xiaobeilu project captures an entirely twenty-first century phenomenon.” – Aperture Magazine \n  \n  \nLei Lei is a Chinese artist and independent animator based in Beijing. His animation and short video works have been shown in a variety of international film and animation festivals\, such as IFF Rotterdam\, Annecy Festival\, and elsewhere. From 2011 – 2012\, he collaborated with Beijing-based French collector Thomas Sauvin’s Beijing Silvermine Project for Recycled\, a short video of 3\,000 photographs selected from half a million discarded amateur photo negatives of a recycling plant on the outskirts of city. He is the recipient of a 2015 Asian Cultural Council grant and is currently visiting until the end of April. \nDaniel Traub is a Brooklyn-based photographer and filmmaker. Since 1999\, he has been engaged with a long term photographic projects in China including Simplified Characters which explore the transformation of China’s cities\, and Peripheries which looks at the border region where urban and rural China meet. Traub’s photographs have been exhibited internationally\, including solo exhibitions at the Catherine Edelman Gallery in Chicago and the Print Center in Philadelphia\, and are in public and private collections\, such as the Margulies Collection at the Warehouse and the San Francisco Museum of Modern Art. His work has appeared in publications including Aperture\, European Photography and The New York Times Magazine. His first monograph\, North Philadelphia\, was published in 2014 by Kehrer Verlag. \nXin Zhou is a curator and writer based in Brooklyn\, NY. He has curated public programs and film series at Anthology Film Archives (NYC)\, UnionDocs (Brooklyn)\, OCT Loft (Shenzhen)\, The Wooster Group (NYC)\, and elsewhere. His writing has appeared in Artforum (China)\, The Brooklyn Rail\, Film Comment\, Indiewire\, and Modern Weekly.  Zhou also has worked with several film festivals and arts institutions in a variety of capacities\, including the China Independent Film Festival (Nanjing)\, the Robert Flaherty Film Seminar (New York) and Wu Wenguang Studio (Beijing). He holds a MA in Cinema Studies from New York University.[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2015-04-19-still-matters-a-screening-of-archival-and-found-footage-re-appropriation/
LOCATION:NY
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2017/02/unnamed-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20150424T193000
DTEND;TZID=America/New_York:20150424T213000
DTSTAMP:20260425T121611
CREATED:20150331T040000Z
LAST-MODIFIED:20180515T165849Z
UID:10002529-1429903800-1429911000@uniondocs.org
SUMMARY:Eclipses
DESCRIPTION:[vc_row][vc_column][vc_column_text] \nEclipses\, Daniel Hui\, Singapore\, 2011\, 103 minutes \nA woman begins to come to terms with society after having withdrawn into her own world to mourn her late husband. The film splinters away to document the characters surrounding her – people from different classes\, including the director’s own family. An investigation of the landscapes in which we live\, work\, and play\, this is Singapore seen through the prisms of family\, class and race. \n\nDocLisboa International Film Festival\, Portugal 2013 \nawarded Pixel Bunker Award for International New Talent \n\nWorld Film Festival Bangkok\, Thailand 2013 \nReggio Emilia Asian Film Festival\, Italy 2012 \nSingapore International Film Festival\, Singapore 2011 \n  \n“Never before has cinema spoken to me in ways as such\, and the experience from having two characters speak straight to you is both liberating and intimate.” – Ivan Tan\, Sindie \n“Eclipses [is] extraordinary\, because what [it presents] is not only the information\, but the souls of the persons.” – Jit Prokeaw \nDaniel Hui will be present at the Eleanor Bunin Film Center for the U.S. Premiere of his film Snakeskin on April 18th at 6:30 PM.  This screening is part of the Film Society of Lincoln Center’s ‘Art of the Real’ Series. \nDaniel Hui is a filmmaker and writer. A graduate of the film program in California Institute of the Arts\, his films have been screened at film festivals in Rotterdam\, Hawaii\, Manila\, Seoul\, Bangkok\, and Vladivostok. His writings have been published in prominent cinema journals\, including the Cinematheque Quarterly of the National Museum Singapore. He is the contributing editor to the Network for the Promotion of Asian Cinema (NETPAC) online journal\, Cinemas of Asia.  He is also one of the founding members of 13 Little Pictures\, an independent film collective whose films have garnered critical acclaim all around the world. He recently won the Special Jury Award at the TFFDoc section of the Torino Film Festival for his second feature film Snakeskin. \nJames N. Kienitz Wilkins is an artist and filmmaker based in Brooklyn\, NY. Working mostly in film and video\, his projects have screened internationally. He’s received grants and support from Jerome Foundation\, NYSCA\, Lower Manhattan Cultural Council\, Foundation for Contemporary Arts\, Experimental Television Center\, and elsewhere. Residencies include the Volunteer Lawyers for the Arts’ Art & Law Program\, Jihlava Inspiration Forum\, Berlin Talents\, and the MacDowell Colony. He produces and distributes his work through The Automatic Moving Co.\, an artist group and production company based in New York. He is a graduate of the Cooper Union School of Art.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_video link=”https://www.youtube.com/watch?v=MPVtPvC9Uh4″][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2015-04-24-eclipses/
LOCATION:NY
CATEGORIES:Screenings & Events
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20150426T193000
DTEND;TZID=America/New_York:20150426T213000
DTSTAMP:20260425T121611
CREATED:20150331T040000Z
LAST-MODIFIED:20180515T162847Z
UID:10002533-1430076600-1430083800@uniondocs.org
SUMMARY:Theater of War with In Country
DESCRIPTION:[vc_row][vc_column][vc_column_text]Americans have been bombarded by photographs and videos from battlefields far removed from the safety of our cities and towns. War stories come home through veterans’ very personal experiences and images which influence popular video games and are rehearsed through the growing phenomenon of live-action military simulation and recreation. On Sunday evening\, borrowing the focus of documentary photographer Meredith Davenport’s new book\, we ask questions about the Theater of War. How do images of war enter into and influence our personal narratives\, our cultural psyche? Do iconic images of conflict perpetuate trauma? Can games or play using these representations help metabolize the violence? Have war photographs lost their meaning? Is there a new visual vocabulary that could be used to discuss war? Seeking answers and discussion\, Meredith Davenport will present her photography alongside presentations from Jessica Catherine Lieberman and Fred Ritchin\, both experts on the topic who have written essays for the book. Clips will be shown of the recently released feature\, In Country\, which documents a community of men who gather each year to dutifully recreate battles from the Vietnam War. The directors of this fascinating film\, Mike Attie and Meghan O’Hara will join in the conversation remotely. \n  \n \nTheater of War\nEdited by Meredith Davenport with essays by Alfredo Cramerotti\, Fred Ritchen\,Jessica Catherine Lieberman and Esther MacCallum-Stewart\, Intellect Press\, 2014. \nFor five years\, Meredith Davenport has photographed and interviewed men who play live-action games based on contemporary conflicts\, such as a recreation of the hunt for Osama Bin Laden that took place thousands of miles from the conflict zone on a campground in Northern Virginia. Her images speak about the way that trauma and conflict penetrate a culture sheltered from the horrors of war. Bringing together a series of two dozen photographs with essays discussing and analyzing the influence of the media\, particularly photographs and video\, on the culture at large and how conflict is “discussed” in the visual realm\, Theater of War is a unique look at the influence of contemporary conflict\, and their omni-presence in the media on popular culture. Written by an experienced photojournalist who has covered a variety of human rights issues worldwide\, this book is an essential addition to the library of anyone interested in the confluence of war and media. \n  \n“Davenport’s images begin to question some of what war is about by dwelling in the realm of make-believe. Given media’s repetitive fantasies\, in some ways her approach may be\, paradoxically\, more real.” – Fred Ritchen \n  \n \n  \nIn Country\nDirected by Mike Attie and Meghan O’Hara \nTo many of us\, the idea of Civil War re-enactment is a familiar concept. But the men of Delta 2/5(R) recreate the battles of a far more charged conflict: The Vietnam War. For one weekend a year\, the woods of Oregon transform as a mix of combat enthusiasts\, Iraq veterans\, and even a former South Vietnamese Army officer\, revive — by choice — a war that a whole generation would much rather forget. Disquieting and provocative\, In Country blurs fantasy with trauma\, deftly tugging at the imposing question: what compels these men to don the vintage uniforms and meticulously bring this controversial war back to life? \nAvailable on iTunes and VOD April 24th. \n  \n“This movie delicately shares a fascinating aspect of our culture that few people are aware of. But more than the oddity of the reenactments\, Mike and Meghan’s film gets to the root of why these men would bring a painful war back to life and its healing process for their PTSD.” – Marc Schiller\, BOND/360 \n  \n  \nMeredith Davenport has a distinguished career in documentary photography. Her photographs have appeared in National Geographic\, The New York Times\, and on the cover of Newsweek magazine as well as in the highly acclaimed HBO documentary “Child Soldiers.” She is the recipient of a Pew Fellowship in International Journalism. She currently teaches at the Rochester Institute of Technology. \nJessica Catherine Lieberman is Assistant Professor of Visual Culture at Rochester Institute of Technology in New York\, where she teaches in the College of Liberal Arts and for the Graduate Photography program in the College of Imaging Arts and Sciences. She has authored three books and is currently working on a manuscript\, Terror\, Images and Traumatic Augmentation\, a study of the circulation and reception of images from the advent of photography through the digital era. Lieberman s teaching focuses on issues of gender\, ethnicity and identity in contemporary American visual culture with particular emphases on the role of visual technologies and the ideation of illness and death. \nFred Ritchin is Dean of the School at ICP (International Center of Photography) Ritchin was the founding director of the Documentary Photography and Photojournalism Program at the School of ICP and was appointed Dean in 2014. Prior to joining ICP\, Fred Ritchin was professor of Photography and Imaging at New York University’s Tisch School of the Arts\, and co-director of the NYU/Magnum Foundation Photography and Human Rights educational program. Previously the picture editor of the New York Times Magazine (1978–82)\, executive editor of Camera Arts magazine (1982–83)\, and founding director of the Photojournalism and Documentary Photography Program at the International Center of Photography (1983–86)\, Ritchin has written and lectured internationally about the challenges and possibilities implicit in the digital revolution. Ritchin is a prolific author and curator\, focusing on digital media and the rapid changes occurring in photography. He wrote the first book on the impact of digital imaging on photography\, In Our Own Image: The Coming Revolution in Photography (Aperture\, 1990\, 1999\, 2010)\, which was followed by two more books on the future of imaging in the digital era\, After Photography (W.W. Norton\, 2008)\, and Bending the Frame: Photojournalism\, Documentary\, and the Citizen (Aperture\, 2013) Ritchin co-founded PixelPress in 1999\, serving as director of an organization that has created multimedia documentary and photojournalism projects online\, and collaborated with humanitarian organizations such as UNICEF\, WHO\, UNFPA\, Crimes of War\, and the Rwanda Project. \nMike Attie’s award-winning short documentaries have shown at major documentary festivals including San Francisco International\, SilverDocs\, and Cinequest. Prior to receiving his MFA from Stanford University’s Documentary Film program\, Attie worked as a production assistant and assistant editor for Academy Award-winning filmmakers Alan and Susan Raymond on films for HBO and PBS. Attie’s film\, FAMOUS 4A was nominated for the International Documentary Association’s David Wolper Award and won 1st Jury Prize for short films at the Kos International Film Festival and CILECT’s Documentary Film Prize. Attie received a BA in American History from Vassar College. Attie is a lecturer in the Department of Radio/Television/Film at Northwestern University\, and the associate director of the department’s new MFA Program in Documentary Media. He is a 2014 Sundance Documentary Film Program Fellow and was named one of The Independent’s “10 Filmmakers to Watch in 2014.” \nMeghan O’Hara is a San Francisco-based filmmaker whose short films have received recognition from major film festivals in the United States and abroad\, including the Edinburgh International Film Festival\, the Mill Valley Film Festival\, Big Sky Documentary Film Festival\, and Slamdance. She is a 2014 Sundance Documentary Film Program Fellow\, recipient of an Eastman/Kodak award for Excellence in Cinematography\, and was named one of The Independent’s “10 Filmmakers to Watch in 2014.” O’Hara holds a MFA in Documentary Production from Stanford University and a BA in experimental film and video from Hampshire College. She is an Adjunct Professor of Film and Design at California College of the Arts.[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2015-04-26-theater-of-war-with-in-country/
LOCATION:NY
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2017/10/unnamed.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20150502T193000
DTEND;TZID=America/New_York:20150502T213000
DTSTAMP:20260425T121611
CREATED:20150416T040000Z
LAST-MODIFIED:20180424T175742Z
UID:10002046-1430595000-1430602200@uniondocs.org
SUMMARY:Capital: A City Symphony with Cast in India
DESCRIPTION:[vc_row][vc_column][vc_column_text]CAPITAL: A CITY SYMPHONY\, 2010\, 72 min. \nA film by Maxim Pozdorovkin and Joe Bender. \nNew York City Premiere \nWhat does it mean for a nation to start anew? For Kazakhstan\, the answer is to build Astana\, the world’s youngest capital\, a utopian city of the future where skyscrapers and cranes stretch as far as the eye can see. Construction workers\, TV reporters\, and official tour guides spend their lives in the service of this city-in-progress. Capital tells the story of Kazakhstan’s new capital as it celebrates its tenth anniversary. Military parades\, monumental architecture\, song competitions\, and human pyramids are only one side of the story; the other tells of thousands of migrants arriving to take part in their nation’s new experiment. They come to Astana to build its golden monuments\, to keep its markets closed long after dark\, and to push the city’s frontiers deeper into the empty plains. Longtime residents watch as a glistening new city rises up across the river and their dusty Soviet village turns into a “pearl of the steppe.” As fear over the global financial climate spreads\, leaving construction sites empty and the future of Kazakhstan’s dream city uncertain\, the residents find themselves caught between the official vision of Astana and the realities of life on utopia’s outskirts. \n \nCapital\, a film by Maxim Pozdorovkin and Joe Bender — Trailer from Third Party Fllms on Vimeo. \n  \nCast in India\, 2014\, 26 min. \nDirected\, Produced\, Shot\, and Edited by Natasha Raheja \nIconic and ubiquitous\, thousands of manhole covers dot the streets of New York City. Enlivening the everyday objects around us\, this short film is a glimpse of the working lives of the men behind the manhole covers in New York City. \nScreenings and Awards: \nMargaret Mead Film Festival\, Codes and Modes: The Character of Documentary Culture\, DOC NYC Film Festival\, Montclair Film Festival \nInternational Documentary Association Best Student Documentary Nominee\, Social Impact Media Awards Short Documentary Special Mention \n \nCast in India Trailer from Natasha Raheja on Vimeo. \nMaxim Pozdorovkin is an award-winning filmmaker\, writer and media curator based in New York City. His documentary PUSSY RIOT: A PUNK PRAYER premiered at the 2013 Sundance Film Festival where it won a Special Jury Award. Released theatrically around the world\, the film was shortlisted for an Academy Award. Maxim holds a PhD from Harvard University for a dissertation on Soviet newsreel and is currently an artist fellow at Harvard’s Society of Fellows. Maxim’s most recent film\, THE NOTORIOUS MR. BOUT\, about the Russian arms dealer Viktor Bout\, premiered at the 2014 Sundance Film Festival and has been shown at festivals around the world and will released in August 2015. Maxim’s first feature film\, CAPITAL\, is a modern-day city symphony about the construction of Astana\, a utopian city in the center of Kazakhstan. Recent curatorial work includes designer Julia Ramsey’s knitwear installation PELT as well as Flicker Alley’s Landmarks of Early Soviet Film box-set. \nMaxim is an executive producer on HBO’s upcoming Bolshoi Babylon. \nJoe Bender is a filmmaker\, cinematographer and media artist whose work spans documentary and transmedia\, from the contemporary city symphony CAPITAL to the multimedia platform THE GUN SHOW and music videos for Pussy Riot and The Budos Band. Joe holds a Ph.D. from Harvard University\, where he is a postdoctoral fellow. His current projects include FORWARD TO BETTER DAYS\, the story of the militant film collective Audiopradif\, and DIFFERENCE ENGINE\, a meditation on randomness and prediction at the frontiers of science and technology. \n  \n Natasha Raheja is a Brooklyn-based filmmaker. She is currently pursuing a PhD in Sociocultural Anthropology at New York University with a Certificate in Culture and Media. Her research interests are in the areas of migration\, material flows\, and belonging. In Cast in India\, she raises questions around the disparate conditions that shape the geographies of production of everyday urban objects. How does the built infrastructure of New York City conceal the labor infrastructure on which it stands? \n  \nBradley Samuels is a founding partner of SITU Studio and Director of SITU Research. The practice\, founded in 2005 and based in Brooklyn\, remains committed to material investigation as well as research and writing. SITU was selected as one of six interdisciplinary teams to participate in the current MoMA exhibition UnevenGrowth: Tactical Urbanisms for Expanding Megacities and recently presented L+ as part of a design study\, Re-envisioning Branch Libraries co-sponsored by the Center for an Urban Future and The Architectural League of New York. SITU has received numerous awards including Interior Design Best of Year in 2014 and 2011 as well as an award for Excellence in Design by the Art Commission of the City of New York. The firm was a recipient of the 2014 Emerging Voices Award from The Architectural League of New York and their work has been featured in the Architectural Record\, Domus\, Dwell\, Interior Design\, The New York Times\, Surface magazine and the Wall Street Journal. Bradley teaches in the undergraduate architecture program at Barnard/Columbia College. He holds a Bachelor of Arts degree in art history from Vassar College and a Bachelor of Architecture from The Cooper Union. \n  \n Urban Omnibus is the Architectural League’s online publication dedicated to defining and enriching the culture of citymaking. Through weekly long-form features and periodic short-form posts\, we explore projects and perspectives in architecture\, planning\, art\, policy\, and activism – tried and tested in New York City – that offer new ways of understanding\, representing\, and improving urban life and landscape worldwide.[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2015-05-02-capital-a-city-symphony/
LOCATION:NY
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2015/04/CAPITAL_still-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20150508T193000
DTEND;TZID=America/New_York:20150508T213000
DTSTAMP:20260425T121611
CREATED:20150324T040000Z
LAST-MODIFIED:20180417T204706Z
UID:10001908-1431113400-1431120600@uniondocs.org
SUMMARY:What You Get is What You See: The City Has Eyes
DESCRIPTION:[vc_row][vc_column][vc_column_text]The first part of this talk will attempt to look at security professionals\, at those who look for a living—to watch the watchers—and to understand urban security as a different kind of spectatorship\, with its own narrative expectations and interpretive cinematography. Whether this involves staring for hours at a time at multiple video feeds or simply reorienting CCTV cameras to watch—and thus protect—their own cars parked outside the office\, guards are the very definition of urban spectatorship\, literally looking at how the metropolis is used or inhabited. \nThe second part of this talk will look the other way\, so to speak\, at those who seek not to be looked at\, who wish to remain invisible and anonymous: how burglars\, vandals\, and everyday criminals see the city\, as an arena of crimes both real and imagined. \nThe point is to reveal the city as a stadium of looking: on the lookout for criminals hiding in the shadows\, and looking out for police waiting around the next corner. \nFollowed by a complimentary cocktail reception. \n \nsponsored by El Buho Mezcal \nGeoff Manaugh is a freelance writer and curator based in New York. His work has appeared in The New York Times\, New Scientist\, Popular Science\, Domus\, newyorker.com\, and many other publications\, including multiple books\, exhibition catalogs\, and artist monographs. He is most widely known as the author of BLDGBLOG (http://bldgblog.blogspot.com)\, a long-running online catalog of architectural and spatial ideas\, across various scales and genres. His newest book\, investigating the relationship between burglary and architecture\, is forthcoming from Farrar\, Straus and Giroux in October 2015. \n  \nWhat You Get Is What You See: A Series on Spectatorship\n \n(WYGIWYS gif by Alison S. M. Kobayashi) \nWhat hides behind simple gestures of attending?\nIn this series\, UnionDocs invites artists and writers to show us how to become more active\, more engaged–and perhaps better–spectators. The speakers share their experiences and personal observations as viewers\, readers\, watchers\, listeners and audience members of visual\, video and performance arts\, graphic design\, radio\, TV and cinema. Through their trained gaze and skilled sensitivity\, they disturb and displace our perception of contemporary culture and expose spectatorship as an everyday dynamic act. \nA series curated by Mathilde Walker-Billaud.[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2015-05-08-the-city-has-eyes/
LOCATION:NY
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2014/08/Manaugh_SpectatingShot.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20150510T193000
DTEND;TZID=America/New_York:20150510T213000
DTSTAMP:20260425T121611
CREATED:20150423T040000Z
LAST-MODIFIED:20180508T164248Z
UID:10001916-1431286200-1431293400@uniondocs.org
SUMMARY:Refracting Lumiere: Avant Garde Revisions of the Lumiere Brothers
DESCRIPTION:[vc_row][vc_column][vc_column_text]Cinema’s origins have held an enduring appeal for the avant-garde. In the act of returning to cinema’s earliest productions\, experimental filmmakers from different eras and regions have discovered a highly flexible and productive artistic gesture. Such returns facilitate interrogations of film history as well as efforts to renew film form or criticize modern media cultures; at their most fruitful\, they question the terms of avant-garde film practice itself. The films of the Lumière brothers have lent themselves especially well to such endeavors. As a series of recent screenings produced at film venues such as Cornell Cinema\, Mad Stork Cinema\, and MoMA PS1 have demonstrated\, remakes and revisions of works by the Lumières constitute a veritable sub-genre of avant-garde film: a common form through which highly disparate practitioners have repeatedly reframed our understanding of the cinematic\, positioning our filmic present in relation to films past. \n“Refracting Lumière” presents a highly distinctive subset of experimental films that re-stage\, re-situate\, or re-purpose filmic scenarios initiated by the Lumières. The program is drawn from the collection of the avant-garde film distributor\, the Film-Makers’ Cooperative\, and focuses on works produced in the 1970s\, a decade of experimental film practice characterized by sustained inquiries into cinematic specificity\, as well as innovative contributions to narrative\, found footage\, and diaristic film forms. Works exemplifying these tendencies by Malcolm Le Grice\, Chick Strand\, Hollis Frampton\, and Bill Brand will be presented alongside a short compilation reel that reproduces the Lumière brothers’ first public exhibition program in 1895\, provided by the New York Public Library’s Reserve Film and Video Collection. The screening will be followed by a Q&A with the artist Bill Brand. \n  \nLumiere Premiere Program: 1895\, Auguste and Louis Lumière\, 1895\, 16mm\, b&w\, silent\, 5 min \n“A compilation of the earliest films of the brothers Auguste and Louis Lumière\, French pioneers in cinema. Includes their first film\, shown March 22\, 1895\, Workers leaving the Lumière factory; Congress of Photographers\, Lyons\, June 1895 (the first news film). Others from the first public exhibition of projected films in France on December 28\, 1895 at the Grand Cafe\, Paris: Watering the gardener\, Baby’s breakfast\, Demolition of a wall\, Arrival of a train at station\, and A game of cards.” – New York Public Library \n  \nAfter Lumiere – L’Arroseur Arrose\, Malcolm Le Grice\, 1974\, 16mm\, color\, sound\, 13.5 min \n“Like all the works I have done which refer directly to another artist\, AFTER LUMIERE is not directly ‘about’ the Lumiere original. It is the starting point for an investigation. In this case it is an investigation into consequentiality\, or at least the significance of sequentiality in the construction of meaning and concept. As such\, the film encroaches on ‘narrative’ cinema\, but in a way which treats narrativization as problematic\, not transparent.” – Malcolm Le Grice \n“The LUMIERE film is especially interesting… It is not simply a series of optical re-combinations\, like cinematic anagrams\, but an investigation into narration itself\, which by counterpointing different narrative tones\, so to speak\, neither dissolves nor repeats Lumiere’s simple story… but foregrounds the process of narration itself.” – Peter Wollen \n  \nLoose Ends\, Chick Strand\, 1979\, 16mm\, b&w\, sound\, 25 min \n“LOOSE ENDS is a collage film about the process of internalizing the information that bombards us through a combination of personal experience and media in all forms. Speeding through our senses in ever-­increasing numbers and complicated mixtures of fantasy\, dream and reality from both outside and in\, these fragmented images of life\, sometimes shared by all\, sometimes isolated and obscure\, but with common threads\, lead us to a state of psychological entropy tending toward a uniform inertness … an insensitive uninvolvement in the human condition and our own humanity.” – Chick Strand \n“[LOOSE ENDS] is a tour de force of polyvalent montage: virtually every shot develops the context established by its neighbors… Strand’s editing is so startling because it conceptually and graphically matches images that shift so radically in mood.” – James Peterson \n  \nStraits of Magellan: Drafts and Fragments\, Hollis Frampton\, 1974\, 16mm\, color\, 20 min excerpt of total 52 min \n“A sampling of forty-­nine fragments from Frampton’s catalogue of ‘actualities’\, the films from STRAITS OF MAGELLAN; DRAFTS AND FRAGMENTS\, are all silent and unedited. Several invoke\, directly\, the work of the Lumieres…” – Bruce Jenkins \n“I have already made 12 or 14 of these one-minute anti-extravaganzas\, and they have been very instructive […] an closed imitation of the Lumiere brothers. […] The reason I put these things at the Straits\, at the most perilous passage of Magellan’s voyage\, is that I have come to feel that the qualities of the image itself\, of the illusionistic image […] that’s what the magic comes out of. […] the bedrock is still the illusion… the frame… and the poignancy and the resonance of what the frame can contain\, so that Magellan on his voyage has got to pass through that\, that’s the tough one. If you can do that […] that may expatiate upon or underline some particular quality of that vast metaphor for consciousness that film is slowly becoming.” – Hollis Frampton \nDemolition of a Wall\, Bill Brand\, 1973\, 16mm\, b&w\, sound\, 27 min \n“After showing 1896 Lumiere film\, DEMOLITION OF A WALL in its entirety\, this film takes six frames of the falling wall and shows them in all their permutations. Meanwhile\, a piano track follows a similar pattern and plays with sound/image relationships. In the original version\, we see Lumiere himself directing the demolition of a wall by workers while a mysterious man in the background watches. In the first commercial film show\, of which this was a part. Lumiere reversed the projection causing the wall appear to reconstitute itself and thus created an additional spectacle. Here\, we celebrate that spectacle by watching 718 additional variations on the theme of deconstruction/reconstruction.” – Bill Brand \n“DEMOLITION OF A WALL is perhaps a final didactic work involving variations within a limited system. The film serves as a ritual of excoriation while standing as a challenge to the possibility of transcending systems… [It] is a plea for escape from the diminishing vantage point of rational systems.” – Bill Brand \nJosh Guilford is a film scholar and curator currently living in New York City. He manages print traffic at the Film-Makers’ Cooperative\, and is a part-time faculty member at the New School. Between 2010-14\, he co-organized the Providence-based experimental film series Magic Lantern Cinema. He holds a Ph.D. in Modern Culture and Media from Brown University. \n  \nBill Brand‘s films\, videos and art installations have been exhibited extensively in the US and abroad in museums\, film festivals and microcinemas. His 1980 Masstransiscope\, an animated mural installed in the New York City subway\, is in the MTA Arts for Transit permanent collection. Bill Brand lives in New York City and is Professor of Film and Photography at Hampshire College in Amherst\, Massachusetts as well as Adjunct Professor of Film Preservation at New York University’s Moving Image Archiving and Preservation graduate program.  His company BB Optics specializes in archival film preservation of small gauge films and films by artists.  In 2006 he was named an Anthology Film Archives Film Preservation Honoree and given a month long retrospective to celebrate BB Optics’ 30th anniversary. \nBrand’s films and videos have been featured at museums including Museum of Modern Art\, Whitney Museum\, National Gallery of Art\, and Shanghai Duolun Museum of Modern Art as well as at major film festivals including the Berlin Film Festival\, New Directors/ New Films Festival\, Tribeca Film Festival and Rotterdam Film Festival.  The work is discussed in histories of cinema including the books Documentary\, A History of the Non-Fiction Film\,  (1992) by Erik Barnouw; Allegories of  Cinema\,  (1990) by David James and in a chapter by Robin Blaetz titled “Avant-Garde Cinema of the Seventies” in Lost Illusions\, American Cinema in the Shadow of Watergate and Vietnam 1970-1979  by David Cook.   Brand’s work has also been written about in news and journal articles by Janet Maslin\, Paul Arthur\, J. Hoberman\, B. Ruby Rich\, Ian Christie\, Noel Carroll\, Brian Frye and Randy Kennedy among others. \nBill Brand founded the showcase and workshop Chicago Filmmakers in 1973\, and served on the Board of Directors of the Collective for Living Cinema until 1991 in New York City.  He co-founded Parabola Arts in 1981 and is currently an artistic director.  He has served as a member of the board of trustees for The Flaherty and is an advisor to the Orphan Film Symposium. \n[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2015-05-10-refracting-lumiere-avant-garde-revisions-of-the-lumiere-brothers/
LOCATION:NY
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2015/04/billbrandheadshot.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20150606T193000
DTEND;TZID=America/New_York:20150606T220000
DTSTAMP:20260425T121611
CREATED:20150529T040000Z
LAST-MODIFIED:20180320T145439Z
UID:10001925-1433619000-1433628000@uniondocs.org
SUMMARY:LIVING LOS SURES: PREVIEW IN THE PARK & PARTY
DESCRIPTION:[vc_row row_type=”row_full_center_content”][vc_column][vc_column_text] \nLiving Los Sures is a collaborative documentary about the Southside of Williamsburg\, Brooklyn.\nTo celebrate the creation of the new documentary projects made this year as part of the UnionDocs Collaborative Production Living Los Sures\, a special public preview will be held in Sternberg (aka Lindsay) Park on Saturday June 6th starting at 8:00pm. Activities start at 6pm – come early to hang out and grab a seat before 8! \nThis event is part of A Brooklyn Barrio: Living Los Sures\, a day of art\, story\, and local experience. \n3pm – Get Legit: A pop-up school of local experience. \n6pm – Park Hangout: Food\, music\, dominoes\, and more. \n8pm – Outdoor Screening: New short films about Los Sures. \n10pm – After party: Live music\, backyard drinks\, and DJs. \nA Brooklyn Barrio: Living Los Sures was produced as part of Van Alen Institute’s June 4 – 13 program series HANGOUTS! \nABOUT THE UNIONDOCS COLLABORATIVE STUDIO\nThe UnionDocs Collaborative Studio is a fellowship program for nonfiction media research and group production. It seeks to bring together individual talents\, voices\, and stories to create multidimensional documentaries. For the past 10 months\, fellows have been immersed in research\, idea generation\, planning\, recording\, edits\, critique\, and re-edits. Teams were formed around a set of select proposals\, which all moved through the stages of production in tandem. Through this effort\, eight new projects were created that explore stories about local neighborhood\, its community\, history and rich culture. \n2015 Projects include: \n149 S. 4th Street (Zack Khalil\, Mitra Azar\, Chelsi Bullard) \n149 S. 4th St. re-enacts the 1968 tenant takeover of a building in Los Sures which sparked a grassroots community housing movement in NYC. \n300 Nassau (Marina Lameiro\, Michela Monte\, Mariangela Ciccarello\, Adam Golub\, 9min) \nGentrification in New York City\, as elsewhere\, frequently conceals criminal practices that have been widely tolerated for years. The story of 300 Nassau is one example.  \nI Was Here First (Adam Golub\, Katherin Machalek\, Chelsi Bullard\, Michela Monte\, 23min) \nA story about DIY art spaces migrating from neighborhood to neighborhood within New York City\, in the face of the rising cost of living. \nMy Little Napoli (Mariangela Ciccarello\, Irene Bartolomé and Sophie Hamacher\, 16min) \nAn unlikely encounter in New York City with a family of Southern Italian immigrants returns the filmmaker to her origins\, to unresolved questions about her identity. \nNight Bus (Sophie Hamacher\, Sarah Stein Kerr and Tessa Rex\, 13min) \nA film about the movements and mindscapes of workers in America’s 24 hour economy as they travel through the night by bus. \nOverall Strategy (Marina Lameiro\, Michela Monte\, Mariangela Ciccarello\, Adam Golub\, 20min) \nBrooklyn is one of the least affordable places to live in the country. You either get out or you fight. For older residents of Los Sures\, staying in their own houses has become an act of resistance.   \nThe Quick Brown Fox Jumps Over The Lazy Dog (Sarah Stein Kerr\, Marina Lameiro\, Katherin Machalek\, 6min) \nAn alphabetical portrait of the south side of Williamsburg through its non-human residents. \nThe Williamsburg Houses (Tessa Rex and Irene Bartelomé\, 13min) \nIn this film we discover the life of The Williamsburg Houses\, the most expensive model of public housing ever constructed in the United States and home to 3000 low-income tenants at a time since 1935. The architecture of The Williamsburg Houses comes to life through the voices of its occupants and its hidden history. In this timeless mise-en-scène we become immersed in a community often dismissed. \n  \nJoin us after the screening for an afterparty at UnionDocs\, 322 Union Ave\, Brooklyn NY. Complimentary beer (while supplies last!) provided by Brooklyn Brewery \nABOUT LIVING LOS SURES \nIn the late seventies and early eighties\, the Southside of Williamsburg was one of the poorest neighborhoods in New York City. Los Sures\, a documentary from 1984 by Diego Echeverria\, skillfully represents the challenges of this time; drugs\, gang violence\, crime\, abandoned real estate\, racial tension\, single parent homes\, and inadequate local resources. Echeverria’s portrait also celebrates the vitality of the largely Puerto Rican community\, showing the strength of their culture\, their creativity and determination to overcome a desperate situation. Living Los Sures is a multi-year production that partners with Echeverria to revisit his powerful film\, make it accessible online for the first time\, create a collection of companion documentary projects that update\, annotate\, challenge\, and spiral off from the original\, and activate the community to share stories around remarkable local histories and important civic issues.[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2015-06-06-living-los-sures-preview-in-the-park/
LOCATION:NY
CATEGORIES:Screenings & Events
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20150606T193000
DTEND;TZID=America/New_York:20150606T230000
DTSTAMP:20260425T121611
CREATED:20150420T040000Z
LAST-MODIFIED:20180320T144837Z
UID:10001912-1433619000-1433631600@uniondocs.org
SUMMARY:A Brooklyn Barrio: Living Los Sures
DESCRIPTION:[vc_row row_type=”row_full_center_content”][vc_column][vc_column_text]How can the physical spaces of a neighborhood help build local relationships among neighbors? How do you gain a deeper understanding of a place? \nYou hang out! That’s what documentary filmmaker Diego Echeverria did when he made Los Sures. Diego spent a lot of time on the streets of the Southside of Williamsburg\, a neighborhood that had been called one of the worst ghettos in America; meeting people\, being seen\, building trust\, hanging out. UnionDocs\, a Center for Documentary Art has been hanging out on the Southside for many years. By obsessively exploring every aspect of Los Sures and documenting the longstanding Latino community as they fight displacement and survive the growth machine\, they’ve produced a multi-faceted production of their own called Living Los Sures. \nUsing the original film and this impressive body of new work as points of departure\, we have organized a pop-up school of local experiences including talks\, tours\, installations\, interviews\, artist interventions\, music and play across the barrio of Los Sures. Come for a roaming celebration of street life and neighborhood space and expand your view of how the past pervades the present. \n \n3:00 PM – 6:00 PM\nGet Legit: A pop-up school of local experience. \nStop by UnionDocs or nearby subway stations (Marcy J/M\, Bedford L\, Metropolitan G) to grab a map. Class is in session\, but you have permission to wander. Visit community gardens and social clubs\, meet housing activists and artists\, and learn the social history of the neighborhood. Fill your report card and be rewarded at Sternberg Park for your exploration. \n \nSITES:\nA) A new public artwork & comic book trilogy launch by local artist José Luis Medina. Meet the author in person. (Ongoing; Reception 5:30p; UnionDocs\, 322 Union Ave) \nB) Play the interactive web-doc 89 Steps\, installed on the site of production. Climb a 6 story walk-up with Marta Avilés. (Ongoing; 330 S. 3rd St) \nC) What is a barrio? Johana Londoño presents her research in dialogue with local activist & poet David Lopez. (Ongoing; Talks 3/4/5pm\, 153 S. 4th St) \nD) The BQE split the Southside. Envision a green space built over the highway. (Ongoing; Talk w/ deputy Borough Pres. Diana Reyna – 4:30pm\, Rodney St. & S. 3rd St) \nE) El Timbiriche is a mobile kiosk that collects & shares traditional healing practices. Meet El Puente’s team in the Earth Spirit Garden. (Ongoing\, 203 S. 2nd St) \nF) See how tenants fought for affordable housing through the photography of community organizer & artist Fernan Luna. (Ongoing; Talks 3:30/5pm\, 149 S. 4th St) \nG) Relax at Spectacle\, a collectively-run screening space. A program of award-winning short docs from Living Los Sures plays on loop. (Ongoing\, 124 S. 3rd St) \nH) Contextualize at El Museo de Los Sures. View (Dis)Placed Histories exhibit & UnionDocs innovative Los Sures: Shot By Shot. (Ongoing\, 120 S. 1st St) \nI) Retired Domino Sugar worker\, Johnny Mendez won battles for the Berry St. community garden. Hear his story & help him plant. (Ongoing\, 301 Berry St.) \nJ) Have a bite on us at The Caribbean\, the last Puerto Rican social club in Los Sures. Look out for owner Maria Toñita. (Ongoing\, 244 Grand St) \nK) Put on your headphones and take a 15 block audio walk. Hear voices and stories of the long-term residents on location. (Ongoing\, Start at 182 Bedford Ave) \nExtra credit: Find Tamara Gayer’s site-specific LED signs at UnionDocs\, Sternberg Park\, and coded into shops across the ‘hood to unravel a pattern in the messages. \n  \n6:00 PM – 8:00 PM\n  \nLeading up to the screening\, enjoy local food\, music\, and a round of dominoes on tables custom designed by Bien Conectao. Display report cards for rewards. Live Talk Show hosted by La Respuesta magazine authors Gabriel José Maldonado and Andre Lee Muñiz. (Sternberg Park\, Lorimer St. & Montrose Ave.) \n  \n8:00 PM\n \nFind chair on the handball court for preview of new films about the Southside by the fellows from the UnionDocs Collaborative Studio. Hosted by David “D-stroy” Melendez. Learn more about the film program here. (Sternberg Park\, Lorimer St & Montrose Ave) \n  \n10:00 PM-LATE\n \nWrap up the day with live music\, backyard drinks\, and DJ Beto (iBomba). Curated by Fresthetic. Co-presented by Remezcla and the Northside Festival. (UnionDocs\, 322 Union Ave) \nWith Support from:\n \n [/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2015-06-06-a-brooklyn-barrio-living-los-sures/
LOCATION:NY
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2015/04/LLS_lvdocs.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20150608T193000
DTEND;TZID=America/New_York:20150608T193000
DTSTAMP:20260425T121611
CREATED:20150521T040000Z
LAST-MODIFIED:20180320T144315Z
UID:10001920-1433791800-1433791800@uniondocs.org
SUMMARY:Documentary Block Part I
DESCRIPTION:[vc_row row_type=”row_full_center_content”][vc_column][vc_column_text] \nProgram:\nBob Spells Backwards\, Josh Polon and Ryan Maxey\, 2 minutes \nBob demonstrates his strange compulsion to spell every word he hears backwards. \nStella Walsh\, Rob Lucas\, 15 minutes \nThe tragic story of Stella Walsh\, the greatest female athlete in the world\, her murder\, and the gender controversy that followed. \nTime\, Theodore Collatos\, 7 minutes \nConversations oscillate between family\, politics and sexuality in an voyeuristic contemplation of prison. \nTerms of Intimacy\, Melissa Langer\, 9 minutes \nA glimpse into the emerging industry of professional cuddling and the lives of the clients that use this \nservice. \nThis is Not the End (New York Premiere)\, Hilary Campbell\, 7 minutes \nThe Campbell Family as they are now. \nComic Book Heaven\, E.J. McLeavey-Fisher\, 12 minutes \nComic Book Heaven is a short documentary follows 81-year-old Joe Leisner\, owner of Comic Book Heaven in Sunnyside\, Queens\, NY\, as he cantankerously assesses the status of his business\, the comic book industry\, and his future. \n  \n \nThe Northside Film Festival seeks to give emerging filmmakers a platform to showcase their work to new audiences.  During the Northside DIY Film Competition submission process for short and feature films\, cult film jury geniuses choose the work to be screened.  Northside Film takes place during the first three days of the Northside Festival at Nitehawk Cinemas\, Videology\, the Wythe Hotel and UnionDocs.[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/northside-film-festival-documentary-shorts-part-1/
LOCATION:NY
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2015/05/BobSpellsBackwards1-copy-e1432835589746.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20150608T193000
DTEND;TZID=America/New_York:20150608T210000
DTSTAMP:20260425T121611
CREATED:20150521T040000Z
LAST-MODIFIED:20180312T193128Z
UID:10001917-1433791800-1433797200@uniondocs.org
SUMMARY:A Day’s Work (Brooklyn Premiere)
DESCRIPTION:[vc_row][vc_column][vc_column_text]A Day’s Work\, David Garcia\, 2015\, 55 minutes \nWhen a young temporary employee is killed 90 minutes into his first day on the job\, his sister searches for answers as an investigation reveals how the $100 billion staffing industry is putting millions of American workers at risk. \nNorthside Film Festival – Official Selection \nManhattan Film Festival – Official Selection \n \n  \n  \n  \n \nDavid Garcia has worked as a director and producer on projects ranging from music videos to political news\, commercials to branded content\, and documentary films for over a decade. His varied background has led to large-scale projects with Samsung\, eBay\, Unilever and Converse\, among others. For several years\, David worked as a director and producer for the advertising / marketing divisions of Edelman\, the world’s largest independent public relations firm\, and he is an abstract mixed media artist that has shown in NYC galleries.  David lives with his wife\, Danielle\, and their daughter\, Makena\, on Manhattan’s Lower East Side. \n  \n  \n \n  \n  \nThe Northside Film Festival seeks to give emerging filmmakers a platform to showcase their work to new audiences.  During the Northside DIY Film Competition submission process for short and feature films\, cult film jury geniuses choose the work to be screened.  Northside Film takes place during the first three days of the Northside Festival at Nitehawk Cinemas\, Videology\, the Wythe Hotel and UnionDocs.[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/a-days-work-brooklyn-premiere/
LOCATION:NY
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2015/05/ADAYWORK.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20150609T193000
DTEND;TZID=America/New_York:20150609T193000
DTSTAMP:20260425T121611
CREATED:20150521T040000Z
LAST-MODIFIED:20180312T193532Z
UID:10002078-1433878200-1433878200@uniondocs.org
SUMMARY:Aspie Seeks Love (New York Premiere)
DESCRIPTION:[vc_row][vc_column][vc_column_text]Aspie Seeks Love\, Julie Sokolow\, 2015\, 73 minutes \nThis award-winning documentary follows a fearless outsider’s quest for love. David Matthews wasn’t diagnosed with Asperger’s until age 41\, at which point his entire life changed\, including his strategy for winning love and achieving his artistic dreams. \nBEST DOCUMENTARY FEATURE FILM – CINEQUEST 2015 \n*BEST DOCUMENTARY FEATURE FILM – OMAHA FILM FESTIVAL 2015 \n \n  \n  \nJulie Sokolow started out as a lo-fi singer-songwriter. Her album Something About Violins was released by Austin\, Texas label Western Vinyl and acclaimed by Pitchfork\, Wire\, and theWashington Post.  Since then\, she’s made short films that have appeared in the New York Times\, TIME\, and Huffington Post.  She is the director of the Healthy Artists series\, which profiles over forty uninsured artists who struggle to afford health care.  Aspie Seeks Love is her first feature-length movie\, and she composed a large portion of the soundtrack. \n  \n  \n \n  \nThe Northside Film Festival seeks to give emerging filmmakers a platform to showcase their work to new audiences.  During the Northside DIY Film Competition submission process for short and feature films\, cult film jury geniuses choose the work to be screened.  Northside Film takes place during the first three days of the Northside Festival at Nitehawk Cinemas\, Videology\, the Wythe Hotel and UnionDocs.[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/aspie-seeks-love-new-york-premiere/
LOCATION:NY
CATEGORIES:Screenings & Events
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20150609T193000
DTEND;TZID=America/New_York:20150609T210000
DTSTAMP:20260425T121611
CREATED:20150528T040000Z
LAST-MODIFIED:20180320T143953Z
UID:10002092-1433878200-1433883600@uniondocs.org
SUMMARY:Shorts Block III
DESCRIPTION:[vc_row row_type=”row_full_center_content”][vc_column][vc_column_text] \nProgram:\nDaniel\, Amanda Ring\,  3 minutes \n“And the visions of my mind terrify me.” \nMujer\, Sofia Canales\, 10 minutes \nThree Latinas of different generations take pleasure in helping each other bathe\, dress up\, and cook dinner. \nEye in Tuna Care\, John Walter Lustig\, 5 minutes \nEye in Tuna Care is a work of shameless plagiarism; filmmaker John W. Lustig stole the idea from a character in a dream. Didn’t even bother to change the title. In the film\, a dentist’s expertise is put to the test when an unusual patient seeks his help. \nRhythm of a City\, Julie Gratz\, 3 minutes \nAn invitation into the heart of New York City through the atmospheric art of BUA. With the music of DJ Qbert and Dana Leong\, escape into moments in the streets that are filled with artistic expression from hip hop culture of a vibrant metropolis. Directed and arranged by Julie Gratz and animated by KALEIDA. \nAlvaro (World Premiere)\, Alexandra Lazarowich\, 13 minutes \nA meditation on memory and perseverance\, ÁLVARO follows 75 year-old South Williamsburg\, Brooklyn resident Álvaro Brandon on his daily route to feed 40 stray cats living in the abandoned lots of his neighborhood. \nPalm Rot\, Ryan Gillis\, 8 minutes \nInvestigating a mysterious explosion in the Florida Everglades\, an old crop-duster discovers a lone crate that survived the wreckage. And it ruins his day. \nIt Hit Upon a Roof\, Teymour Ghaderi\, 4 minutes \nA house in a village\, where only an old woman and a child live\, the rain falls and starts dripping from the ceiling. The child tries to do something about the drips. \nTick Tock (Brooklyn Premiere)\, Zeynep Kocak\, 10 minutes \nThe beautiful thing is not the goal you achieve; it is the road that takes you there with hope! \nHam Over Rice\, 4 minutes\, Ying Liu \nHouyi saves the world but loses his immortality. \nN6-4Q Born Free\, Sasha Gransjean\, 12 minutes \nShort film series exploring themes of biology and technology through documentary and fiction. \n  \n \n  \nThe Northside Film Festival seeks to give emerging filmmakers a platform to showcase their work to new audiences.  During the Northside DIY Film Competition submission process for short and feature films\, cult film jury geniuses choose the work to be screened.  Northside Film takes place during the first three days of the Northside Festival at Nitehawk Cinemas\, Videology\, the Wythe Hotel and UnionDocs.[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/northside-film-festival-shorts-block-iii/
LOCATION:NY
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2015/05/AlvaroStill4-copy2.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20150610T193000
DTEND;TZID=America/New_York:20150610T193000
DTSTAMP:20260425T121611
CREATED:20150528T040000Z
LAST-MODIFIED:20180410T155149Z
UID:10002088-1433964600-1433964600@uniondocs.org
SUMMARY:Documentary Block II
DESCRIPTION:[vc_row][vc_column][vc_column_text] \nProgram:\nGreen Card\, Pilar Rico and David Whitmer\, 8 minutes \nA film about a song and its author\, Mohammad Rahman\, a convenience store owner from Bangladesh living in Brooklyn\, who writes song lyrics about the immigrant experience. \nEl Porvenir\, Josh Chertoff\, Alfredo Alcantara\, 14 mintues \nEl Porvenir is an inside look at the world of Mexican cockfighting\, where men and roosters meet at the intersection of life\, death\, and sport. \nSandorkraut\, Emily Lobsenz\, 12 minutes \nAn intimate portrait of Sandor Katz\, America’s foremost home fermentation revivalist. \nCada Noche: Every Night (World Premiere)\, Ian Phillips\, 8 minutes \nSazon Perez Restaurant in Brooklyn serves over five-hundred customers\, daily. Not including the men who line up outside…every night. \nNelly’s\, Danya Abt and Samantha Richardson\, 12 minutes \nNelly’s is a portrait of Nelly’s\, a family-owned flower shop in the Southside of Williamsburg. Sandwiched between elevated tracks and congested streets\, we watch as this tiny oasis brings the local population together in ritual\, memory and celebration. Through customer portraits\, candid interviews with the store’s owner Nelly\, and observational footage captured inside and outside the shop\, this nontraditional documentary considers our varied relationship with plants and flowers and how these living things are use to redefine our ever-changing urban landscapes. As we watch the seasons turn\, subtle changes are observed in the store and the surrounding neighborhood. \n  \n  \n \nThe Northside Film Festival seeks to give emerging filmmakers a platform to showcase their work to new audiences.  During the Northside DIY Film Competition submission process for short and feature films\, cult film jury geniuses choose the work to be screened.  Northside Film takes place during the first three days of the Northside Festival at Nitehawk Cinemas\, Videology\, the Wythe Hotel and UnionDocs.[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/northside-film-festival-documentary-block-ii/
LOCATION:NY
CATEGORIES:Screenings & Events
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20150610T193000
DTEND;TZID=America/New_York:20150610T210000
DTSTAMP:20260425T121611
CREATED:20150521T040000Z
LAST-MODIFIED:20180410T154849Z
UID:10002082-1433964600-1433970000@uniondocs.org
SUMMARY:The Winds that Scatter (World Premiere)
DESCRIPTION:[vc_row][vc_column][vc_column_text]The Winds that Scatter\, Christopher Bell\, 2015\, 79 minutes \nAhmad is a refugee from Syria living in the U.S. who hopes to start his own taxi service. After losing a menial job at a gas station\, he attempts to navigate the American economy with optimism. Soon\, however\, reality sets in and he finds consistent work to be scarce. Creeping hopelessness begins to take a toll on his relationships\, faith and sense of self\, his dream slipping quickly from his grasp. \n \nNOMINATED FOR BEST FOREIGN LANGUAGE FEATURE – MADRID INTERNATIONAL FILM FESTIVAL 2015 \nChristopher Jason Bell is a producer and director\, known for Bridges (2012)\, Mural (2008) and Bus Stop (2008). \n  \n  \n  \n \nThe Northside Film Festival seeks to give emerging filmmakers a platform to showcase their work to new audiences.  During the Northside DIY Film Competition submission process for short and feature films\, cult film jury geniuses choose the work to be screened.  Northside Film takes place during the first three days of the Northside Festival at Nitehawk Cinemas\, Videology\, the Wythe Hotel and UnionDocs.[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/the-winds-that-scatter-world-premiere/
LOCATION:NY
CATEGORIES:Screenings & Events
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20150612T193000
DTEND;TZID=America/New_York:20150612T193000
DTSTAMP:20260425T121611
CREATED:20150528T040000Z
LAST-MODIFIED:20180410T151856Z
UID:10002548-1434137400-1434137400@uniondocs.org
SUMMARY:Kingdom of Shadows
DESCRIPTION:[vc_row][vc_column][vc_column_text]Kingdom of Shadows\, Bernardo Ruiz\, 2015\, 74 minutes \nBernardo Ruiz takes an unflinching look at the hard choices and destructive consequences of the U.S.-Mexico “drug war\,” weaving together the stories of a U.S. drug enforcement agent on the border\, an activist nun in violence- scarred Monterrey\, Mexico\, and a former Texas smuggler\, to reveal the human side of an often misunderstood conflict that has resulted in a growing human-rights crisis that only recently has made international headlines. \nPresented by Participant Media in association with Boiling Pot and Quiet Pictures. \n“Many documentaries have chronicled the drug war in the U.S. and Mexico\, but few have humanized it as poignantly as Kingdom of Shadows… [It] is more observant than crusading…rooted in first-rate journalism.” — Slackerwood | March 21\, 2015 \n“‘Kingdom of Shadows’\, produced through Participant\, stands out for its measured look at deep structure.” — IDA | March 27\, 2015 \nSouth by Southwest\, March 2015\, World Premiere \nFull Frame Documentary Festival\, April 2015 \nAmbulante\, April 28-29\, 2015\, Mexico Special Preview \nAmnesty International Mexico\, May 7\, 2015\, Mexico Special Preview \n  \nImage courtesy Bryan De La Garza.\n \nBernardo Ruiz is an award-winning documentary filmmaker. His directorial feature debut\, “Reportero” (POV\, 2013) about attacks on the press in Mexico\, was nominated for a 2014 News and Documentary Emmy® Award and premiered at Full Frame (U.S.)\, IDFA (Europe) and Ambulante (Mexico). Ruiz founded Quiet Pictures\, a New York-based production company\, in 2007. Through Quiet\, he Executive-Produced the two part bilingual PBS series\, “The Graduates/Los Graduados” for PBS’s Independent Lens. He is a recipient of a New York Foundation for the Arts fellowship in film and was awarded the Rockefeller Bellagio residency.\n \nKatia Maguire is a partner and producer at Quiet Pictures\, where she recently produced Kingdom of Shadows for Participant Media and the bilingual series The Graduates/Los Graduados for PBS’ Independent Lens.  Katia’s forthcoming projects include directing and producing Jessica Gonzales vs. the United States of America\, a documentary that examines an influential Supreme Court case about the effectiveness of restraining orders in domestic violence cases.  The project has received funding from Latino Public Broadcasting and ITVS\, and the Garrett Scott Documentary Development Grant.\n\n  \n  \n\nPamela Yates is a Co-founder and Creative Director of Skylight\, a company dedicated to creating feature length documentary films and digital media tools that advance awareness of human rights and the quest for justice by implementing multi-year outreach campaigns designed to engage\, educate and activate social change. She is the Director of the Sundance Special Jury award winning When the Mountains Tremble; the Executive Producer of the Academy Award winning Witness to War; and the Director of State of Fear: The Truth About Terrorism\, which has been translated into 47 languages and broadcast in 154 countries. Her film Granito: How to Nail a Dictator\, for which she was awarded a Guggenheim fellowship\, was used as key forensic evidence in the Ríos Montt genocide trial in Guatemala. She is currently working on “500 Years”\, the third in the Guatemalan trilogy. [/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/kingdom-of-shadows/
LOCATION:NY
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2015/05/59830019_3088-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20150614T193000
DTEND;TZID=America/New_York:20150614T213000
DTSTAMP:20260425T121611
CREATED:20150610T040000Z
LAST-MODIFIED:20180403T180504Z
UID:10001929-1434310200-1434317400@uniondocs.org
SUMMARY:Frantz Fanon: Black Skin\, White Mask
DESCRIPTION:[vc_row][vc_column][vc_column_text] \nFrantz Fanon: Black Skin\, White Mask explores for the first time on film the pre-eminent theorist of the anti-colonial movements of this century. Fanon’s two major works\, Black Skin\, White Masks and The Wretched of the Earth\, were pioneering studies of the psychological impact of racism on both colonized and colonizer. Jean-Paul Sartre recognized Fanon as the figure “through whose voice the Third World finds and speaks for itself.” This innovative film biography restores Fanon to his rightful place at the center of contemporary discussions around post-colonial identity. \nIsaac Julien\, the celebrated black British director of such provocative films as Looking for Langston and Young Soul Rebels\, integrates the facts of Fanon’s brief but remarkably eventful life with his long and tortuous inner journey. Julien elegantly weaves together interviews with family members and friends\, documentary footage\, readings from Fanon’s work and dramatizations of crucial moments in Fanon’s life. Cultural critics Stuart Hall and Françoise Verges position Fanon’s work in his own time and draw out its implications for our own. \nThis screening\, co-hosted by the Brooklyn Institute for Social Research\, will be followed by a discussion with Anjuli Raza Kolb\, Assistant Professor of English and Comparative Literature at Williams College\, Anthony Alessandrini\, author of Frantz Fanon and the Future of Cultural Politics and Associate Professor of English at Kingsborough Community College\, and Elizabeth Marcus\, doctoral candidate in French at Columbia University. \nFrantz Fanon: Black Skin\, White Mask dir. Isaac Julien United Kingdom\, 1996\, 52 minutes \n\n-“It is a tribute to Julien…that we are now confronted with a Fanon that articulates both the great mid-century moment of anti-colonial struggle and the insurgencies and intimacies of our own post-colonial condition.” Homi Bhaba\, Harvard University \n\n-“Visually stunning and intellectually provocative\, Isaac Julien’s film is an eloquent and complex exploration of the life and legacy of this century’s most compelling theorist of racism and colonialism.” Angela Davis\, University of California\, Santa Cruz \n\n-“Immediately riveting and intensely thought-provoking…makes available to a wide audience the central role and legacy of this pre-eminent theorist of colonial domination.” Annette Michelson\, editor\, October \n\n-“There is artistry in abundance in Isaac Julien’s singularly ambitious portrait… He does justice to the complexity of his intriguing subject.” The Guardian (U.K.) \n  \n \n\n[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2015-06-14-frantz-fanon/
LOCATION:NY
CATEGORIES:Screenings & Events
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20150619T193000
DTEND;TZID=America/New_York:20150619T213000
DTSTAMP:20260425T121611
CREATED:20150526T040000Z
LAST-MODIFIED:20181023T163330Z
UID:10001921-1434742200-1434749400@uniondocs.org
SUMMARY:Magic Lantern Presents: Masses and Swarms
DESCRIPTION:[vc_row row_type=”row_full_center_content”][vc_column][vc_column_text] \n\nIt is known that crowd scenes in the cinema produce a rhythmic\, poetic\, photogenic effect when there is a real\, actively thinking crowd involved. The reason is that the cinema can pick this cadence up better than the human eye and by other means; it can record this fundamental rhythm and its harmonics.—Jean Epstein \n\nFrom the earliest Lumière actualities to the contemporary disaster film\, cinema has given apt expression to masses and what they seemingly do best: massing. This program presents a survey of crowds\, masses\, and swarms in their many and varied manifestations: from the elemental to the complex\, and from the archaic to the contemporary. Though often hidden beneath a veneer of solidity\, masses and swarms are the very stuff of life. Gathering and dispersing\, contracting and expanding\, are the formal figures most proper to them. They exist at the level of particles and parades\, demonstrations and desktop icons\, spermatozoa and shopping mallers. Even the grain of film\, the noise of video\, the pixilation of a buffering stream—they\, too\, with their swirling and spreading\, justly merit the name of “crowd.” Wherever division\, multiplicity\, and movement co-exist\, masses and swarms are sure to follow: on the street\, in the density of a throng; in the depths of the body\, cell against cell. \nFeaturing works by Bray Animation Studios\, Monica Duncan\, Leonard M. Henny\, JODI\, Karl Kels\, Rick Liss\, Len Lye\, Marie Menken\, Chris Oakley\, Alice Anne Parker\, Hans Richter. \nCurated by Seth Watter. \nProgram \nHow We Breathe\, Bray Studios\, 1920\, 8 min\, b&w/silent\, 35mm to digital video \nVintage educational animation from Bray Studios (Colonel Heeza Liar\, Krazy Kat)\, detailing the working of respiration in cellular organisms. Courtesy of the Prelinger Archive. \nParticles in Space\, Len Lye\, 1979\, 4 min\, b&w/sound\, 16mm \nA sequel of sorts to Free Radicals (1958)\, Lye’s last completed film was made by scratching directly on black film leader. Set to the rhythms of African drumming\, its tornado-like vortices and insectoid swarms create the illusion of depth through their infectious movement. \nStarlings\, Karl Kels\, 1991\, 9 min\, b&w/silent\, 16mm \nStarlings delivers on the promise of its title: the film is indeed a static shot of a massive flock of starlings as they stream across the starry night. But Kels has put the original film through a series of print generations\, causing the image to progressively deteriorate as it loses resolution. The different prints are edited together\, metrically\, to create a pulsating rhythm. The continuity of the original event is maintained\, even as the starlings fade in and out of visibility\, often dissolving into a mere pattern of grain. \nHurry! Hurry!\, Marie Menken\, 1957\, 3 min\, color/sound\, 16mm \nA most unusual work by Menken—best remembered as a pioneer of the lyrical and diaristic modes of avant-garde filmmaking—Hurry! Hurry! layers micrographic footage of spermatozoa with the dancing rhythms of fire\, while the soundtrack is culled from a stock recording of aerial bombardments. Brakhage speculated that a lone and struggling spermatozoon could be read as a stand-in for Menken’s wayward husband\, poet-filmmaker Willard Maas. \nAnimals Running\, Alice Anne Parker (Severson)\, 1974\, 23 min\, b&w/sound\, 16mm \nAnimals Running is one of the last works by Anne Severson\, a feminist filmmaker who gained notoriety for her shockingly blunt\, gynecological expose titled Near the Big Chakra (1971). Animals Running is “[a] serenely beautiful … study of animal life in continual movement—bees swarming\, birds in flight\, deer running… like a series of engravings come to life” (LA Times). Severson changed her name to Alice Anne Parker and is now Hawaii’s best-known psychic\, having authored several popular books on dream interpretation. \nEverything Turns\, Hans Richter\, Everything Revolves\, 1929\, 3.5 min\, b&w/sound\, 16mm \nIn Richter’s first sound film\, the great Dadaist applies all his trademark techniques to the representation of a carnival spectacle. Plates are juggled\, things are precariously balanced\, a great he-man type struts across the stage and onto the ceiling. Reflections in distorted mirrors\, slow-motion\, freeze frames\, negative printing\, elaborate superimpositions\, and fragmented bodies abound. \nBlack Power: We’re Goin Survive America\, Leonard M. Henny\, 1968\, 15 min\, color/sound\, 16mm \nVintage footage of Stokely Carmichael delivering a powerful speech in Oakland on the occasion of a merger between the Student Non-Violent Coordinating Committee and the Black Panther Party\, intercut with the performances of several dance troupes. It was also the birthday of Huey Newton\, then being held for the shooting of a police officer. \nN.Y.C. (No York City)\, Rick Liss\, 1983\, 6 min\, color/sound\, 16mm on DVD \nFrom the ocean to the MoMA\, from the subway to the park\, the city explodes in a staccato assault of single-frames\, propelled by the filmmaker’s near-continuous forward motion—both pedestrian and vehicular—through the urban throng. Music by Laurie Anderson and Jeff Meyer. \nThe Catalogue\, Chris Oakley\, 2004\, 5.5 min\, color/sound\, digital video \nIn what appears to be standard surveillance footage of a shopping mall’s interior\, a computer program proceeds to “tag” each individual patron as a numbered entity. Using motion tracking to follow them through a crowd\, the program displays their entrance and exit times\, purchase history and preferences\, skin color\, health statistics\, and other details relevant to the perfection of consumerism. \nMy Desktop\, JODI\, 2007\, 8 min\, color/sound\, DVD \nDocumentation of an Apple desktop performance. Hundreds of icons are mercilessly copy-and-pasted\, too many folders closed at once\, widgets proliferate\, and no work is accomplished. \nHundred Hands\, Monica Duncan\, 2005\, 2 min\, b&w/sound\, DVD \nA beautifully simple and concise meditation on gesture and repetition\, using image feedback\, luminance keying\, and frame buffering to create the illusion of a monstrous\, hundred-handed creature erupting from within the body’s interior. \n[/vc_column_text][vc_column_text] \n90 min \n[/vc_column_text][vc_column_text] \nSeth Watter is a doctoral candidate in Modern Culture & Media at Brown University and a co-director of Magic Lantern Cinema\, an experimental film and video series based in Providence\, RI. His writing is forthcoming in Camera Obscura 90. \n  \n The Providence\, Rhode Island-based Magic Lantern is a series of curated experimental short films\, videos\, and new media art. Founded in 2004\, the series has been organized by a rotating group of students\, artists\, and Providence locals. Seth Watter\, Beth Capper\, and Faith Holland serve as its current organizers. Magic Lantern is generously funded by the Forbes Center for Culture and Media Studies at Brown University and the Robert Rauschenberg Foundation. \n[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2015-06-19-masses-and-swarms/
LOCATION:NY
CATEGORIES:Screenings & Events
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20150620T193000
DTEND;TZID=America/New_York:20150620T193000
DTSTAMP:20260425T121611
CREATED:20150610T040000Z
LAST-MODIFIED:20180403T173724Z
UID:10001926-1434828600-1434828600@uniondocs.org
SUMMARY:Shorts after the Flaherty Seminar 2015
DESCRIPTION:[vc_row][vc_column][vc_column_text] \n2015 Flaherty Film Seminar\nJUNE 13-19\, 2015\, COLGATE UNIVERSITY\, HAMILTON\, NY \nPROGRAMMER: LAURA U. MARKS \nThe title “The Scent of Places” suggests the ways cinema makes the subtlest of presences perceptible. It brings lost or forgotten events into present awareness. It gives form to unbidden feelings. It invents stories more truthful than fact. It detects patterns—emotional\, social\, and political. It sharpens perception so that we can see and hear\, smell and feel more clearly. \nFilmmakers from the Arab world are some of the most adept at these creative strategies. Living in the Arab world in recent decades\, with its barrage of external and internal pressures\, demands filmmakers and artists to come up with smart and subtle ways to express forces\, histories\, and experiences that lie under the radar. The goal of the program is to focus not on the works’ geographic\, social\, and political context\, but on their aesthetic qualities: the scents of places that they make present. So the program brings Arab artists together with other international filmmakers who share creative strategies with them. The program also diminishes large-scale politics to focus on more intimate and playful gestures. The richest and strangest scents—those of ordinary life—float through these works. They discover patterns in the chaos of the world. They fabulate\, or invent fictions that become true. They engage in psychodynamics\, teasing people into expressive acts. They crackle like Geiger counters in the presence of invisible forces. With rhythm and performance they shake up the world and squeeze it for its juice. \nFeatured Guests\nJUAN MANUEL SEPÚLVEDA is a documentary Filmmaker and Cinematographer\, in 2006 he received the Ariel Award from the Mexican Academy of Motion Picture Arts and Sciences for his documentary UNDER THE GROUND. In 2008\, THE INFINITE BORDER\, his debut film\, was selected to participate in the Berlin International Film Festival\, and also won the Joris Ivens Award at the International Documentary Film Festival Cinema du Réel in Paris. He was cinematographer on the film LEAP YEAR\, which won the Caméra d´Or at the 2010 Cannes Film Festival. He recently won the Best Documentary Short Award at the 2011 Cinema du Réel Festival in Paris\, with the film THE STRANGE SOUND OF THE LAND BEING closedED IN A FURROW. \n ARTHUR JAFA (born 1960) uses film to investigate issues surrounding black cultural politics and black cultural nationalism. He is interested in ways in which black film can be used to investigate what he calls “Black Artificial Intelligence\,” and to reflect black ways of life in the diaspora. Jafa has also developed an idea that he calls “Black visual intonation\,” in which irregular camera rates and frame replication is used to create filmic movement which approximates black vocal intonation. Jafa’s cinematography work includes a collaboration with Julie Dash on Daughters of the Dust\, a portrayal of a little-known Gullah subculture on a barrier island off the coast of South Carolina\, which received the Sundance Film Festival Award in 1991. He also worked with Spike Lee on Crooklyn and with Manthia Diawara on Rouch in Reverse. His writings include the essay 69\, published in Black Popular Culture (1992). – See more at: http://gallery400.uic.edu/events/voices-arthur-jafa#sthash.7RIBTElZ.dpuf \nJOSH WEISSBACH is an experimental filmmaker. He lives in a house next to an abandoned village with his wife\, daughter\, and three cats. His ongoing film series\, The Addresses\, focuses on the relationship between the intimate and the uncanny within domestic spaces. Central to this process is an investigation of the visual agency of the (un)built form and the manner in which it implicates a history of trauma. He is the recipient of the 2008 Cary Grant Film Award from the Princess Grace Foundation-USA\, a 2013 Mary L. Nohl Fellowship for Emerging Artists from the Greater Milwaukee Foundation\, and a 2015 LEF New England Fellowship from the Robert Flaherty Film Seminar. \nAbout the Flaherty Seminar\nThe Robert Flaherty Film Seminar is the longest continuously running film event in North America. Named after Robert Flaherty (Nanook of the North\, Man of Aran\, Louisiana Story) who is considered by many to be the father of documentary film\, The Seminar began in 1955 when Flaherty’s widow\, Frances\, convened a group of filmmakers\, critics\, curators\, musicians\, and other film enthusiasts at the Flaherty farm in Vermont. For more than fifty years the Flaherty Seminar has been firmly established as a one-of-a-kind institution that seeks to encourage filmmakers and other artists to explore the potential of the moving image. The films of such directors as Robert Drew\, Louis Malle\, the Maysles brothers\, Mira Nair\, Satyajit Ray\, John Cassavetes\, Yasujiro Ozu\, Pedro Costa and Robert M. Young were shown at the Seminar before they were known generally in the American film community. New cinematic techniques and approaches first presented at the Seminar have routinely made their way into mainstream film. \nThe weeklong Seminar brings together over 160 filmmakers\, artists\, curators\, scholars\, students\, and film enthusiasts to celebrate the power of the moving image. Registration is closed to the public and participants gather for a communal living experience that includes meals\, social hours\, special events\, and at least three screening sessions daily followed by discussion. A different programmer is selected each year to shape the Seminar’s theme and objective\, which relates to a regional or national cinema\, examines a stylistic feature\, or responds to current world events. The Seminar is an intimate and intense experience where the traditional barriers between maker and audience are gradually obliterated. The structure of the event ensures that participants have greater access to the featured artists than would be found at festivals or conferences.[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2015-06-20-flaherty-shorts/
LOCATION:NY
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2015/06/Flaherty_2015_Poster.jpg
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DTSTART;TZID=America/New_York:20150621T193000
DTEND;TZID=America/New_York:20150621T213000
DTSTAMP:20260425T121611
CREATED:20150610T040000Z
LAST-MODIFIED:20181127T211113Z
UID:10002555-1434915000-1434922200@uniondocs.org
SUMMARY:Concerning Violence: Nine Scenes from the Anti-Imperialistic Self-Defense
DESCRIPTION:[vc_row row_type=”row_full_center_content”][vc_column][vc_text_separator title=”Program” color=”white” border_width=”2″][vc_column_text]Concerning Violence (2014) is both an archive-driven documentary covering the most daring moments in the struggle for liberation in the Third World\, as well as an exploration into the mechanisms of decolonization through text from Frantz Fanon’s The Wretched of the Earth. Fanon’s landmark book\, written over 50 years ago\, is still a major tool for understanding and illuminating the neocolonialism happening today\, as well as the violence and reactions against it. \n\nIn the middle of the Cold War\, radical Swedish filmmakers set out to capture the anti-imperialist liberation movements in Africa first hand. With their 16mm footage\, found in the Swedish Television archives\, filmmaker Göran Hugo Olsson create[s] a visual narrative from Africa – images of the pursuit of freedom\, the Cold War and Sweden. Swedish filmmakers\, with their sense of solidarity with anti-imperial and socialist struggles around the world at the time\, created images and stories which still resonate today\, and can change and deepen our impression of the globalized world we live in. \n\nThis screening\, co-hosted by the Brooklyn Institute for Social Research\, will be followed by a discussion with Anjuli Raza Kolb\, Assistant Professor of English and Comparative Literature at Williams College\, Anthony Alessandrini\, author of Frantz Fanon and the Future of Cultural Politics and Associate Professor of English at Kingsborough Community College\, and Ajay Singh Chaudhary\, Core Lecturer at Columbia University and Director of the Brooklyn Institute for Social Research. \nConcerning Violence: Nine Scenes from the Anti-Imperialistic Self-Defense. dir. Göran Hugo Olsson\, 2014 \n\n\nSundance Film Festival 2014\, World Cinema Documentary Competition \nGothenburg International Film Festival 2014\, Dragon Award Best Nordic Documentary \nBerlin 64th International Film Festival 2014\, Panorama Section \n“Göran Hugo Olsson doesnt make documentaries so much as incendiary devices\, diving deep into Swedish film archives for vintage clips that have sat like so much undetonated ordnance all these years.” — Variety \n“Concerning Violence isn’t out to soothe its audience with platitudes about peace\, love\, and understanding.” — Keith Uhlich\, A.V. Club \n“Olsson’s detachment from showing Algeria or\, in fact\, anything biographical about Fanon\, including even a photo of him\, is refreshing. There is no hagiography at all in this film\, only a commitment to the subaltern histories.” — Warscapes \n\n\n\n\nl)\n\n[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2015-06-21-concerning-violence/
LOCATION:NY
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/png:https://uniondocs.org/wp-content/uploads/2012/06/UNDO-BLUE.png
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DTSTART;TZID=America/New_York:20150626T193000
DTEND;TZID=America/New_York:20150626T220000
DTSTAMP:20260425T121611
CREATED:20150416T040000Z
LAST-MODIFIED:20180320T162429Z
UID:10001909-1435347000-1435356000@uniondocs.org
SUMMARY:Documentary Fundamentals Planning
DESCRIPTION:[vc_row][vc_column][vc_column_text] \nAbout Documentary Fundamentals Planning:\nWhat are the essential business and legal issues to consider as you plan your documentary film? What can you do now to avoid problems later? Do you need an LLC? What is E&O insurance? This session covers issues of legal rights and clearances\, business basics for filmmakers\, budgeting\, structuring agreements for talent and crew\, and more. \nFeatured Presenters:\nNicole Page is Partner of Reavis Parent Lehrer LLP and practices in the areas of media\, entertainment\, intellectual property and employment law. She has broad experience in providing advice with respect to all aspects of motion picture\, television and new media productions\, and in counseling writers\, producers and other creative personnel and entertainment industry executives concerning all facets of their work. She regularly serves as production counsel for film\, television and digital productions and assists in structuring private equity investments and other types of production financing. Ms. Page works with authors in connection with their collaboration\, literary agent and publishing agreements. Her extensive intellectual property practice includes advice on protection and exploitation of copyrights and trademarks across multi-media platforms. Ms. Page also works with clients in connection with cross-platform branding and licensing in the worlds of media\, fashion\, lifestyle\, sports and entertainment. \nMs. Page regularly lectures and writes on legal issues in the arts and media. She has appeared on panels at SXSW\, Hot Docs\, The Napa Valley Film Festival\, Slamdance\, The Hamptons International Film Festival\, The World Congress of Science and Factual Producers\, IFP and Real Screen\, among other festivals and conferences. Ms. Page also produces a Business and Legal Seminar Series for New York Women in Film and Television covering topics including production company formation and management\, copyright and fair use and various employment issues. She has been a guest lecturer at NYU’s Tisch School of the Arts and School of Continuing Education\, Hunter College’s Department of Film and Media Studies\, Cardozo Law School\, The Fashion Institute of Technology and The Department of Film and Media Studies at Hunter College. Ms. Page is the Chair of the Board of Women Make Movies. She is also a member of New York Women in Film and Television\, and the Independent Feature Project. \nSam Cullman is an award-winning cinematographer\, producer and director of documentaries. His latest film\, ART AND CRAFT (2014)\, which Cullman shot\, produced and directed with Jennifer Grausman and co-director Mark Becker\, won the National Board of Review Top 5 Documentaries in 2014 and was shortlisted for the 2015 Academy Awards. Cullman also produced and shot the Peabody and Sundance Grand Jury prize-winning THE HOUSE I LIVE IN (2012)\, directed by Eugene Jarecki. Later that year his short film\, BLACK CHEROKEE (2012)\, which Cullman directed\, shot and produced with Benjamin Rosen\, premiered at DOC NYC. With director Marshall Curry\, Cullman also co-directed\, shot and produced IF A TREE FALLS (2011)\, which won the U.S. Documentary Editing Award at the 2011 Sundance Film Festival and later received an Academy Award® nomination for Best Documentary Feature. In addition to camerawork on his own films\, Cullman’s cinematography has also appeared in dozens of other documentaries including WATCHERS OF THE SKY (2014)\, REAGAN (2011)\, and KING CORN (2006). A graduate of Brown University (1999) with Honors in Visual Art and a second major in Urban Studies\, Cullman currently lives and works in Brooklyn\, New York. \n  \nAbout Documentary Fundamentals:\nA nuts-and-bolts professional development series designed for the beginning or intermediate documentary filmmaker\, Documentary Fundamentals @ UnionDocs is six-week course culminating in a certificate of completion. Registrants can also attend individual sessions. This curriculum developed out of our experience hearing what fundamentals documentarians need to understand to plan\, produce\, and release an independent documentary today. \nHosted by the Chai Vasarhelyi of Little Monster Films\, Documentary Fundamentals is essential learning for the documentary filmmaker\, covering business basics\, fundraising and financing\, production and post-production strategies\, transmedia campaigns\, sales and distribution models. Each session features guest speakers sharing tips and secrets of the trade\, with an emphasis on real-life case studies and best practices. For 2015\, the series will use the feature documentary Meru as a case study. Meru was co-directed by Vasarhelyi and premiered this year in competition at the Sundance Film Festival. Full guest speaker list to be announced. \nDocumentary Fundamentals is designed for beginning or intermediate filmmakers with projects in any stage of development or production (even the daydreaming stage!).  Sessions combine formal presentations with extensive time for in-depth discussions with participants. \nRegistrants completing all six sessions will receive a Certificate of Completion\, and will have special opportunities to promote their projects within the UnionDocs network.  Specific guests and topics are subject to change.  \nDocumentary Fundamentals Full Schedule:\nFRI 6/26 – 7:00 PM | Planning Your Documentary – \nSAT 6/27 – 1:00PM | Financing Your Documentary – \nSAT 6/27 – 4:00PM | Directing and Shooting Your Documentary – \nSAT 6/27 – 7:00PM | Editing Your Documentary – \nSUN 6/28 – 1:00PM | Graphics\, Music\, and Your Transmedia Campaign – \nSUN 6/28 – 4:00PM | Releasing Your Documentary – \n  \nChai Vasarhelyi is an award-winning director and producer.  Her first film\, A Normal Life\, won Best Documentary at the Tribeca Film Festival in 2003.  Her second film\, Youssou N’Dour: I Bring What I Love\, was released in theaters in the U.S. and internationally. The film premiered at the Telluride and Toronto Film Festivals and won numerous awards including the Special Jury Prize at the Middle East International Film Festival in 2008 and a nomination for the Pare Lorentz Award at the 2009 International Documentary Association Awards.  Touba\, a visceral documentary experience that takes the viewer through each step of the annual Mouride pilgrimage\, the Grand Magaal in Touba\, Senegal\, premiered at SXSW 2013 where it won the Special Jury Prize for Best Cinematography.  She returned to Senegal in 2012 to document the heated Presidential elections.  Incorruptible (formerly An African Spring)\, the intense and unflinching story of Senegalese democracy is currently in post-production. She is also currently working on two American stories: The Home Front (formerly Little Troopers)\, a film about the impact of American soldiers’ deployments on their families left behind; and Father School\, a glimpse into the Korean American movement towards becoming more in-touch fathers and husbands.  Vasarhelyi has received grants from several foundations including the Sundance Documentary Fund\, National Endowment for the Arts\, BRITDOC\, Ford Foundation\, Rockefeller Brothers Fund\, and the William and Mary Greve Foundation.   She was selected as a 2013 Sundance Documentary Film Fellow\, named one of Filmmaker Magazine’s “25 New Faces of Independent Film” in 2005 and received an Achievement Award from Creative Visions foundation in 2008.   She has been featured in numerous publications including\, The New Yorker\, The Wall Street Journal\, Vogue and New York Magazine. Chai has a B.A. from Princeton University in Comparative Literature. \n  \nWorkshop Policies:\nRegistration & Cancellation To register for a workshop\, students must pay in full via PayPal. In the event a student must withdraw from a class\, he or she may do so any time before the start of the workshop\, and will receive a 75% refund of class costs. After this deadline\, course fees are not refundable or transferable and any withdrawals or deadlines will result in the full cost of the class being forfeit. There will be no exceptions. To withdraw from a course please email info-at-uniondocs.org. \nIn the event that a workshop does not receive sufficient enrollment\, it may be canceled. Students will be notified at least 48 hours prior to the start of a cancelled workshop and will be refunded within 5 business days. If we reschedule a workshop to another date\, students are also entitled to a full refund. UnionDocs reserves the right to change instructors without prior notification\, and to change class location and meeting times by up to an hour with 48 hours prior notice. \n[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2015-06-26-documentary-fundamentals-planning/
LOCATION:NY
CATEGORIES:Workshops & Labs
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2015/04/Meru-11.jpg
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