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DTSTART;TZID=America/New_York:20150609T193000
DTEND;TZID=America/New_York:20150609T193000
DTSTAMP:20260429T065427
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:20260429T065427
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
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20150610T193000
DTEND;TZID=America/New_York:20150610T193000
DTSTAMP:20260429T065427
CREATED:20150528T040000Z
LAST-MODIFIED:20180410T155149Z
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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:20260429T065427
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:20260429T065427
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:20260429T065427
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:20260429T065427
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:20260429T065427
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
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20150621T193000
DTEND;TZID=America/New_York:20150621T213000
DTSTAMP:20260429T065427
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
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20150626T193000
DTEND;TZID=America/New_York:20150626T220000
DTSTAMP:20260429T065427
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
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20150627T193000
DTEND;TZID=America/New_York:20150627T220000
DTSTAMP:20260429T065427
CREATED:20150416T040000Z
LAST-MODIFIED:20180320T153127Z
UID:10002050-1435433400-1435442400@uniondocs.org
SUMMARY:Documentary Fundamentals Financing
DESCRIPTION:[vc_row row_type=”row_full_center_content”][vc_column][vc_column_text] \nABOUT DOCUMENTARY FUNDAMENTALS FINANCING:\nThis session will address the eternal question: how to finance your doc? What are the pros and cons of different fundraising models (grants\, equity investment\, pre-sales\, crowdsourcing)? We will also have veteran independent film accountant Fred Siegel to talk about tax ramifications and planning around financing as well as investor relations. Budgeting\, how to find and successfully apply for grants\, tips and tools for crowdfunding and other approaches to getting funded will be discussed in addition for this can’t-miss session. \nFeatured Presenters:\nTracie Holder is an award-winning filmmaker\, fundraising consultant and engagement campaign specialist.Clients include Women Make Movies\, Active Voice\, European Documentary Network\, DocNomads and the Made in NY Media Center. She leads workshops both in the U.S. and abroad\, consults on numerous documentary projects and runs engagement campaigns using social issue films to help shape public opinion and influence public policy. Holder is a former board member of NY Women in Film & Television and Manhattan Neighborhood Network and grant panelist for national and local funders. She has raised nearly $2 million for her projects from a mix of government funders\, private foundations and individuals. Holder co-produced/directed/ wrote Joe Papp in Five Acts\, which premiered at the Tribeca Film Festival and screened at more than 40 festivals internationally. She is currently producing Mudflow\, a documentary set in Indonesia\, directed by Academy Award-winner Cynthia Wade and Executive Producer\, Abby Disney. \nSarah Meister currently serves as Head of Projects at Vann Alexandra\, a creative services agency that finances projects through crowdfunding. Her film campaigns have included the Joan Didion documentary\, We Tell Ourselves Stories in Order to Live(The Carter Office)\, Check It (Olive Productions\, Macro Pictures)\, To the Edge of the Sky (Wider Film Projects) and The Earth Moves (Mr. Mudd) a documentary about Philip Glass and Bob Wilson’s opera Einstein on the Beach\, which is currently live on Kickstarter. Her other projects at Vann Alexandra have included TLC’s final album\, the NYCTA Graphic Standards manual\, and Jane Green’s cookbook. Sarah is a New-York-based Texan with a background in post production and live TV as well as freelance public relations\, social media and marketing. Past work experience includes Martha Stewart Living\, Of A Kind\, Mast Brothers Chocolate\, Spot Welders and Centerbridge Partners. Sarah graduated from The University of Puget Sound with a bachelor’s in History and a minor in Sociology. \n David Koh is an independent producer\, distributor\, sales agent\, curator & programmer. He has been involved in the acquisition\, distribution\, marketing\, production\, financing\, release and sale of over 300 films. He is currently a partner with Josh Braun & Dan Braun at Submarine Entertainment\, one of the leading sales agents in the world; and is partnered with Stanley Buchthal & Maja Hoffmann’s Dakota Group Ltd where he currently co-manages a combined slate and portfolio of approximately 50+ projects a year — 75% non-fiction and 25% fiction — in addition to producing & co-producing 10-15 projects a year. Prior to that he ran Chris Blackwell’s (founder of Island Records & Island Pictures) label\, Palm Pictures\, which included Manga Entertainment\, RES Media Group\, sputnik7\, and several music labels and prior to that served as the Head of Acquisitions & Co-Productions for Wellspring Media one of the leading foreign language and independent film distributors which was subsequently sold to the Weinstein Co. David founded the boutique distributino imprint Arthouse Films and has worked with world renowned artist Nam June Paik as a Producer and served as an Editor of Film Culture Magazine with Jonas Mekas. He has worked in the Film Curatorial Departments of MoMA\, Guggenheim Museum\, and Anthology Film Archives and was the Founder & Artistic Director of the Santa Fe Film Festival & Goldeneye Film Festival in Jamaica. He has recently been a Curator at the Core Club in NYC and the Vincent Van Gogh Museum in Arles\, France and co-hosts a series of screenings & Film Salons with the Andre Balazs Hotel Group. He has served as a Curator for Microsoft. \nDavid’s most recent and upcoming projects include: the launch of Submarine Deluxe distribution imprint\, NFP Submarine Doks – a German distribution imprint\, Submarine 360 a museum distribution imprint\, and the films Peggy Guggenheim: Art Addict\, Chris Burden: Double Bind\, Yayoi Kusama: a Life in Polka Dots\, Troublemakers: the Story of Land Art\, Station to Station\, The Record Man\, Danny Says\, Mavis!\, the Heady Days of Hedy Lamarr\, Rats NYC\, Leica x 100\, 22 Short Films about Kenny Scharf\, 20 Feet from Stardom\, Citizenfour\, Dior & I\, Iris\, Searching for Sugar Man\, Marina Abramovic: the Artist is Present\, Jean-Michel Basquiat the Radiant Child\, Waste Land\, Cutie & the Boxer\, Herb & Dorothy\, Chasing Ice\, Bill Cunningham New York\, Finding Vivian Maier\, Muscle Shoals\, Nas: Time Is Illmatic. David studied Philosophy & Literature at the New School for Social Research and has been on the selection committee for Creative Capital Foundation. \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. Doors will close at 7:15 and we will begin each session promptly at 7:30pm. \nDOCUMENTARY FUNDAMENTALS FULL SCHEDULE:\nFRI 6/26 – 7:00PM | 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/2015-06-27-1-documentary-fundamentals-financing/
LOCATION:NY
CATEGORIES:Workshops & Labs
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2015/04/Meru-5.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20150627T193000
DTEND;TZID=America/New_York:20150627T220000
DTSTAMP:20260429T065427
CREATED:20150416T040000Z
LAST-MODIFIED:20180320T153956Z
UID:10002057-1435433400-1435442400@uniondocs.org
SUMMARY:Documentary Fundamentals Shooting and Directing
DESCRIPTION:[vc_row][vc_column][vc_column_text] \nAbout Documentary Fundamentals Shooting and Directing:\nDocumentary filmmakers produce and shoot in a wide variety of locations under many different practical\, financial\, technical and legal constraints. What kind of equipment do you need? Who do you need on your production team? How do you deal with emergencies during shooting and how do you pick out a camera and DP? Should I be thinking of archival material in advance? \nFeatured Presenters: \nHeidi Ewing Co-owner of New York’s Loki Films\, Ewing is a documentary filmmaker that shines lights on the myriad of unseen worlds in our midst. She is the co-director of “Jesus Camp” (2007 Oscar nominee)\, “The Boys of Baraka” (2005\, Emmy nominee) 12th & Delaware (2010\, Peabody winner) and DETROPIA (2012\, Sundance and Emmy winner). She is currently at work on “The Arrivals\,” an innovative scripted/documentary hybrid about two successful gay immigrants in Brooklyn searching for a path to legalization. Heidi is a member of the Directors Guild and the Academy of Motion Picture Arts and Sciences. \nKirsten Johnson is an award-winning New York-based documentary filmmaker and cinematographer. Her feature film script MY HABIBI was selected for the 2006 Sundance Writer’s Lab and Director’s Lab and is the recipient of an Annenberg grant. Her documentary\, DEADLINE\, (co-directed with Katy Chevigny)\, premiered at Sundance in 2004\, was broadcast on primetime NBC\, and won the Thurgood Marshall Award. As a cinematographer\, her film credits include Derrida (2002)\, a documentary on French philosopher Jacques Derrida\, the documentary Darfur Now (2006)\, and Pray the Devil Back to Hell (2008) which won the Tribeca Film Festival Best Documentary. Her most recent works are The Oath (2010) and Citizenfour (2014)\, both directed by Laura Poitras. The Oath is about Osama bin Laden’s driver\, Abu Jandal\, for which Johnson won an award from Sundance. Citizenfour concerns Edward Snowden and his revelations about the NSA. Johnson is a 1987 graduate of Brown University. Her 1999 film Innocent Until Proven Guilty examined the numbers of African American men in the U.S. criminal justice system. \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. \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. Doors will closed at 7:15 and we will being each session promptly at 7:30pm. \nDocumentary Fundamentals Full Schedule:\nFRI 6/26 – 7:30PM | 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/2015-06-27-4-documentary-fundamentals-shooting-and-directing/
LOCATION:NY
CATEGORIES:Workshops & Labs
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2015/04/Meru-21.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20150627T193000
DTEND;TZID=America/New_York:20150627T220000
DTSTAMP:20260429T065427
CREATED:20150416T040000Z
LAST-MODIFIED:20180320T155116Z
UID:10002060-1435433400-1435442400@uniondocs.org
SUMMARY:Documentary Fundamentals Editing
DESCRIPTION:[vc_row row_type=”row_full_center_content”][vc_column][vc_column_text] \nAbout Documentary Fundamentals Editing:\nHow can documentary directors work effectively with editors\, sound designers\, and other essential post-production talent?  How does a story emerge from a pile of footage?  Can you really “fix it in post”?  What is an online edit and can you do it yourself?  How does a good sound designer work\, and how does post-production sound enhance your documentary \nFeatured Presenters:\nEditor Bob Eisenhardt\, A.C.E. (Meru\, Valentino: The Last Emperor\, Living Emergency: Stories of Doctors without Borders\, Shut Up & Sing Bearing Witness) and sound engineer\, Tom Fleischman (Meru\, The 50 Year Argument\, Neil Young: Heart of Gold\, Stations of the Elevated\, Gates of Heaven). \nBob Eisenhardt is a three-time Emmy Award winner and Oscar nominee with over sixty films to his credit. Recent films include WAGNER’S DREAM\, which received an Emmy nomination for editing\, VALENTINO: THE LAST EMPEROR\, DIXIE CHICKS: SHUT UP & SING\, and LIVING EMERGENCY: STORIES OF DOCTORS WITHOUT BORDERS. His latest film\, MERU\, won the Audience Award at the 2015 Sundance Film Festival and was the closeding night selection at the Full Frame Film Festival. Currently he is editing the HBO film\, EVERYTHING IS COPY\, on the life of Nora Ephron. \nTom Fleischman was born and raised in New York City\, the son of legendary film editor Dede Allen and television documentary writer/producer/director Stephen Fleischman. Although Tom began his career in 1969 as an apprentice film editor\, it was not until he went to work for Image Sound Studios in 1971 that he became truly interested in sound. At Image Sound he began by cataloging and creating a sound effects library and recording sound effects and foley. In 1973 Tom joined Trans/Audio Inc. where he worked in the transfer department and was given the opportunity to begin mixing under the tutelage of the well respected New York re-recording mixer Richard Vorisek. In 1979\, he mixed his first commercial feature film\, Jonathan Demme’s “Melvin And Howard”\, and in 1981 he and Dick Vorisek were nominated for an Academy Award for Best Sound for their work on Warren Beatty’s\, “Reds”. In 1985 Tom moved to Sound One where he continued to develop long-term working relationships with many illustrious directors\, including Martin Scorsese\, Jonathan Demme\, Spike Lee\, Barbet Schroeder\, John Sayles\, Warren Beatty\, Oliver Stone\, and Ron Howard. Over the next twenty years Tom earned Academy Award nominations for Demme’s\, “The Silence of the Lambs” (1991)\, Martin Scorsese’s “Gangs Of New York”(2002) and “The Aviator” (2004) for which he also won the Cinema Audio Society award for Outstanding Sound Mixing for a Television Series\, and was most recently recognized by the Academy with an Oscar win for Scorsese’s “Hugo” in 2012. Tom has also won sound mixing Emmy Awards for Scorsese’s documentary\, “Bob Dylan: No Direction Home” in 2010\, and in 2013 won Emmys for the television series “Boardwalk Empire”\, and Alex Gibney’s music documentary\, “The History of the Eagles”. Tom’s home base for the past dozen years has been at Soundtrack Film & Television in the heart of Chelsea\, NYC. \n Over the past thirty years\, Deborah Wallach has established herself as one of the most sought after sound editors in the film industry. With her roots in documentary picture editing\, Deborah eventually made the move into audio post-production\, focusing in particular on ADR work for feature films. She has collaborated with some of the most important directors in cinema – Ron Howard\, Mike Nichols\, Jonathan Demme\, Julie Taymor – and her credits include the Oscar winning/nominated films Silence of the Lambs\, Philadelphia\, A Beautiful Mind\, Frost/ Nixon\, and Across the Universe (or Frida – since it had more nominations)\, as well as numerous award-winning documentaries. She lives and works in New York City. \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 – 7:00PM | 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/2015-06-27-7-documentary-fundamentals-editing/
LOCATION:NY
CATEGORIES:Workshops & Labs
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2015/04/Meru-31.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20150628T193000
DTEND;TZID=America/New_York:20150628T220000
DTSTAMP:20260429T065427
CREATED:20150416T040000Z
LAST-MODIFIED:20180320T152132Z
UID:10002066-1435519800-1435528800@uniondocs.org
SUMMARY:Documentary Fundamentals Graphics\, Music\, and Transmedia Campaigns
DESCRIPTION:[vc_row row_type=”row_full_center_content”][vc_column][vc_column_text] \nAbout Documentary Fundamentals Graphics\, Music\, and Transmedia:\nHow can title design and graphics be effectively utilized in documentary? What about my approach to music? What is transmedia and why should documentary filmmakers pay attention to it?  This session will dig in to graphics and music issues that come together during post production. We will also explore broad strokes of how to plan and execute transmedia campaigns. \nFeatured Presenters:\nAdnaan Wasey (@adnaanwasey) is the Executive Producer of POV Digital\, the Webby Award-winning department that drives storytelling innovation for the PBS documentary series POV (@povdocs). At POV\, Adnaan oversees digital production\, programming and licensing\, the POV Hackathon lab and POV’s digital marketing. POV is the longest-running showcase on American television to feature the work of today’s best independent documentary filmmakers. POV films have won every major film and broadcasting award\, including 33 Emmys\, 17 George Foster Peabody Awards\, 12 Alfred I. duPont-Columbia University Awards and three Academy Awards. \nKina Pickett is owner and executive producer of Helio & Company (www.wearehelio.com). Helio is a digital creative agency\, specializing in storytelling and motion design. We tell stories. From napkin sketch to cinematic piece — it doesn’t matter which landscape\, what product\, whose purpose — story is everywhere and anywhere. Our passion is the creation of profound story; where we thrive is in the strategic selection of that story. This means research\, concept\, creation\, execution. Platforms and leverage are our bread and butter\, the everyday instruments for the content we create. We cultivate ideas into beautiful products: collaboratively working to create a complete\, deployable package with a strategic preplan. \nBrand ID in a digital world is all about motion design. Your logo is the single most important marker of your brand’s identity. We bridge the gap between analog and animation\, and utilize the strengths of both depending on the opportunity\, application\, and core values of a brand. Motion graphics is a vehicle that delivers messaging across all branded content: commercials\, digital shorts\, title sequences\, feature length projects. With beautifully crafted motion design\, we help your brand separate itself in an ocean of standard\, digitized work. \nJ. Ralph is an Academy Award nominated composer and producer from NYC whose music has sold more than 10 million records worldwide and reached the No.1 spot in over 22 countries. His career began with the signing to Atlantic Records as a recording artist and since then J. Ralph has written and produced the music for numerous Grammy Award winning artists\, symphony orchestras\, The United Nations\, The President of The United States and more Oscar winning/nominated documentaries then any other composer in the history of the Academy Awards. Such films include Man On Wire\, The Cove\, Hell And Back Again\, Chasing Ice\, Finding Vivian Maier and Virunga. He is widely regarded for the original songs he writes and produces for these films such as the Oscar nominated “Before My Time” performed by Scarlett Johansson and Joshua Bell\, “Hell & Back” performed by Willie Nelson\, “We Will Not Go” performed by Youssou Ndour\, Salif Keita & Fally Ipupa and “Until The End” performed by Liza Minnelli & Wynton Marsalis. J. Ralph is the only composer to win two consecutive A.I.C.P. awards. Several of Mr. Ralph’s works are included in the Museum of Modern Art’s permanent collection of film and media in New York City. \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.  \n  \nDocumentary Fundamentals Full Schedule:\nFRI 6/26 – 7:00PM | 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/2015-06-28-1-documentary-fundamentals-graphics-music-and-transmedia-campaigns/
LOCATION:NY
CATEGORIES:Workshops & Labs
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2015/04/Meru-41.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20150628T193000
DTEND;TZID=America/New_York:20150628T220000
DTSTAMP:20260429T065427
CREATED:20150416T040000Z
LAST-MODIFIED:20180320T152625Z
UID:10002072-1435519800-1435528800@uniondocs.org
SUMMARY:Documentary Fundamentals How to Release Your Documentary
DESCRIPTION:[vc_row row_type=”row_full_center_content”][vc_column][vc_column_text] \nABOUT DOCUMENTARY FUNDAMENTALS HOW TO RELEASE YOUR DOCUMENTARY:\nHow can you find and build audiences for your film?  How do you know if your film is best suited for theatrical\, broadcast\, or both?  How do digital platforms affect “traditional” models of distribution and release? How can you best utilize your film festival campaign?  What does a sales agent do and how do I get one? Another can’t-miss session! \nFeatured Presenters: \nRyan Werner is a Senior Executive at Cinetic Media and Programmer-at-Large at BAMcinemtek. He previously held the title of Senior Vice President of Marketing and Publicity for IFC Entertainment for almost eight years. An industry veteran\, Werner has also held positions at Wellspring Media\, Palm Pictures\, and Magnolia Pictures. \n Since 2007\, Ed Arentz\, has been co-founder and managing director of Music Box Films\, one of the US’s leading art house distributors. In a 25 year career in specialty distribution has acquired and released over 100 foreign language and documentary features. Prominent past releases include the original Swedish version of THE GIRL WITH THE DRAGON TATTOO; the Emmy award winning French TV series “Les Revenants” (The Returned); and Pawel Pawlikowski’s Best Foreign Language Oscar winner IDA. Also programmed one of Manhattan’s oldest art cinemas\, Cinema Village\, from 1993 to 2014. \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 – 7:00PM | 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/2015-06-28-4-documentary-fundamentals-how-to-release-your-documentary/
LOCATION:NY
CATEGORIES:Workshops & Labs
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2015/04/Meru-62.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20150710T193000
DTEND;TZID=America/New_York:20150710T214500
DTSTAMP:20260429T065427
CREATED:20150630T040000Z
LAST-MODIFIED:20180312T191329Z
UID:10002557-1436556600-1436564700@uniondocs.org
SUMMARY:Field Visits for Chelsea Manning
DESCRIPTION:[vc_row][vc_column][vc_column_text] \n\n\nThis first-person travelogue maps the surrounding areas where former Army intelligence analyst Chelsea Manning was imprisoned before her trial for releasing classified documents to Wikileaks. In an attempt to piece together disparate landscapes and events into a larger narrative\, this essay film tracks Manning’s places of detention from Kuwait to Virginia\, Kansas\, and Maryland. Following in the footsteps of Adachi’s theory of landscape and the peripatetic tradition of road movies\, Field Visits for Chelsea Manning reflects a landscape of mass-detention\, endless war\, whistleblowers\, and America’s unresolved history of race.\n\nField Visits for Chelsea Manning dir. Lance Wakeling\, USA\, 2014\, HD video\, 49 minutes. \nThis screening will be followed by a discussion with the director\, Lance Wakeling\, moderated by Karl McCool\, moving image archivist and curator.\n  \n  \n  \nLance Wakeling lives and works in Brooklyn\, NY. His recent films include “Field Visits for Chelsea Manning (2014)\,” “Subida al cielo (2013)\,” and “A Tour of the AC-1 Transatlantic Submarine Cable (2011).” His artworks and videos have shown at BAM\, NYC\, Ullens Center for Contemporary Art\, Beijing\, Supplement Gallery\, London\, NiMK\, Amsterdam\, The Woodmill\, London\, Import Projects\, Berlin\, Capricious Gallery\, Brooklyn\, and Future Gallery\, Berlin. His work has appeared in Flash Art\, The New York Times\, ubu.com and Artforum.com\, among other publications and websites. \nKarl McCool is a moving image archivist and curator. Associate director of Dirty Looks NYC and distribution manager at Electronic Arts Intermix (EAI)\, he received his MA in Moving Image Archiving and Preservation from New York University. He lives in New York City. \n\n\n[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2015-07-10-field-visits-for-chelsea-manning/
LOCATION:NY
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2015/06/FieldVisits1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20150718T193000
DTEND;TZID=America/New_York:20150718T193000
DTSTAMP:20260429T065427
CREATED:20150527T040000Z
LAST-MODIFIED:20240130T030831Z
UID:10001924-1437247800-1437247800@uniondocs.org
SUMMARY:Little Raptures for the Uncommitted and Fissures by Patrick O'Hare
DESCRIPTION:[vc_row][vc_column][vc_column_text]Filmmaker Patrick O’Hare is interested in the sidelong glance at the world and the natural elisions and illusions found there\, as well as those created through the editing of vastly disparate subject matter. Utilizing the language of merging and omission that can alter time\, allowing reality to slip\, hinting at the invisible. \nThe aim is to reveal a state of mind investigating\, coalescing\, faltering and fusing into its own landscape. That recognizes and embraces the half seen\, flashes and slow reveals of perception. Attuned as possible to phenomena of light\, stasis\, form\, movement and the echoes of intimation. Through the cracks something startles and vanishes\, the shape shifting riddle of inside and outside. Obliquely\, these films try to convey the poignancy of the abstracted universe we move through\, inhabit and have become inured to. \nLittle Raptures for the Uncommitted\, USA\, 2014\, HD\, voiceover\, 45:33 \nA road trip that perpetually circles in upon itself. A disembodied voice muses from within the slipstream of life and attempts to find some meaning there. Searching through a series of desolate terrains and spectral visions\, many seen through prisms of weather and windshields\, it follows a trajectory that accepts the push and pull of memory\, while simultaneously being aware of\, and taking leave of the senses. Tracing inner and outer fault lines\, Little Raptures becomes a journey of haunted self awareness. \nFissures\, USA\, HD\, 2014\, silent\, 16:43 \nA succession of scenes exploring shards of city and rural settings\, various interiors\, still lifes and fleeting moments\, Fissures aspires to a sense of fragmented harmony. It sharply observes the everyday and the uncommon\, splitting their differences into something more elusive and closed-ended without surrendering to seamlessness. Invoking a constant state of transition\, it attempts to find something luminous through the breeches\, gaps\, reflections and broken mirrors of existence. \nTotal runtime: approx. 62 min. \n  \n  \n  \nPatrick O’Hare has been making films since 2012. Prior to that\, he worked as a still photographer exploring the modern landscape. His photographs have been exhibited at  MoMA PS1\, Parsons School of Design and the Rotunda Gallery. His work has been published in Camera Austria\, Harpers and The New York Times. His photographs and book\, “Slipstream” are included in various collections including The New York Public Library\, MoMA Library\, the Amon Carter Museum of American Art Research Library\,  and the Samuel Dorsky Museum. \n[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2015-07-18-patrick-o-hare/
LOCATION:NY
CATEGORIES:Screenings & Events
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20150722T193000
DTEND;TZID=America/New_York:20150722T210000
DTSTAMP:20260429T065427
CREATED:20150706T040000Z
LAST-MODIFIED:20180305T230350Z
UID:10002560-1437593400-1437598800@uniondocs.org
SUMMARY:Through His Documents: Remembering Christopher Lee
DESCRIPTION:[vc_row][vc_column][vc_column_text]Christopher’s Chronicles\, Christopher Lee & Elise Hurwitz\, US\, 1996\, 30 min. \nTrappings of Transhood\, Christopher Lee & Elise Hurwitz\, US\, 1997\, 27 min. \nThis program highlights the documentary work of late transgender filmmaker and activist Christopher Lee. Lee’s first film\, Christopher’s Chronicles\, a record of the artist’s transition from female to male was among the very first films made by and about a transgender man of color and premiered at the 1997 Frameline Festival. Through his use of interviews\, video collage\, and music (including transgender artist Chloe Dzubilo’s band\, Transisters)\, Lee’s second feature documentary film\, Trappings of Transhood focuses on the stories and lived experiences of a multi­racial group of transmen who candidly share their experiences of negotiating issues of race\, ethnicity\, sexuality\, gender\, and the medical industry within their process of transition. Trappings of Transhood was the first known feature­length work to document the experiences of transmen\, and has been screened internationally. This will be both the first NYC screening of Lee’s two documentary films since his death in 2012 and within an NYC festival setting since 1997. \n1997 Frameline Film Festival \n1997 MIX New York Queer Experimental Film Festival \n1997 Seattle Lesbian & Gay Film Festival \n1999 Northwest Transgender Film Festival \n2000 Lesben Film Festival Berlin \nFollowed by a post­screening conversation with curator Leeroy Kun Young Kang and scholar and public health research scientist Sel J. Hwahng. This screening is part of Dirty Looks: On Location. \nDirty Looks: On Location is a series of queer intervention in New York City spaces. Over the course of July\, artist film and video will appear in these queer social spaces and former sites of queer sociality (like shuttered bars\, bathhouses\, and former meeting zones). A new piece\, a different setting on each night of July. The summer in New York is hot\, sticky and social. Installing moving image works around the city in bars\, centers and “haunted” venues allows for the free flow of viewers to engage and celebrate with work\, in evening events that commemorate contemporary moving­image production and its precedents in queer culture. \n  \n  \n  \n  \n \nChristopher Lee (1964­-2012) was responsible for making the world’s first feature film starring FTM people of color and the first ever FTM trans pornographic movies. Lee and Alex Austin co­-founded Trannyfest in 1997\, now known as the San Francisco Transgender Film Festival. In addition to being a filmmaker\, Lee was a leading activist of the San Francisco Bay Area transgender community and served as the world’s first FTM Grand Marshal of San Francisco’s LGBT Pride in 2002. Lee’s work has screened at various underground\, queer\, and experimental film festivals and universities both nationally and internationally. Elise Hurwitz ?worked in film and video through 2003 and then changed careers to work in consumer electronics as an Engineering Program Manager. She lives in Berkeley\, California with her husband and 15 year old daughter who is a fierce gender rights advocate and activist. \nElise Hurwitz worked in film and video through 2003 and then changed careers to work in consumer electronics as an Engineering Program Manager. She lives in Berkeley\, California with her husband and 15 year old daughter who is a fierce gender rights advocate and activist. \n  \nLeeroy Kun Young Kang is an archivist\, visual artist\, and independent film curator based in Brooklyn\, NY. Leeroy received a BA in Studio Art from UC Santa Barbara with an emphasis in experimental video and holds a Master of Library Science from CUNY. He is a guest curator for Dirty Looks: On Location 2015 and co­-curator of the LGBTQ Shorts Program for the Los Angeles Asian Pacific Film Festival. \nSel J. Hwahng\, Ph.D. is a Co-Investigator at the Baron Edmond de Rothschild Chemical Dependency Institute\, Mount Sinai Beth Israel and has received numerous grants\, awards\,and fellowships from such organizations/institutions as the National Institute on Drug Abuse (NIDA)\, the National Institutes of Health\, the American Public Health Association\, the International AIDS Society\, and the Association for Women in Psychology. Publications include over 25 sole-\, first-\, and co-authored articles and book chapters in peer-reviewed journals and edited volumes as well as first-author on multiple public health reports. Sel has taught as faculty at Columbia University\, New York University\, Parsons School of Design\, and other institutions and is Program Chair of the Lesbian\, Gay\, Bisexual\, and Transgender Caucus of the American Public Health Association. Sel has also curated film/video programs on LGBTQ people of color and transmasculine identities and communities for both the New York LGBT Film Festival (NewFest) and the New York Queer Experimental Film Festival (Mix NYC)\, and nationally toured a lecture and film/video clip show called “Queer Colored Girls.” \n\nEvent Sponsor \nApicha Community Health Center (Apicha CHC) is a healthcare provider located in Chinatown that specializes in healthcare for the LGBT community\, People Living with HIV/AIDS\, and People of Color. They are excited to sponsor this event because the health and happiness of the trans* community is a priority for Apicha CHC. To help make sure New York’s trans* community thrives\,  Apicha CHC has a Trans* Health Clinic. In fact\, nearly a quarter of their patients are trans* identified and Apicha CHC has many trans*-identified staff\, including one of their Primary Care Providers.  All of Apicha CHC’s service are on a sliding-fee scale based on income\, so everyone can afford the quality of health care they deserve.\n  [/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2015-07-22-remembering-christopher-lee/
LOCATION:NY
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2015/07/Christopher-Lee-Footer-e1435854030253.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20150724T193000
DTEND;TZID=America/New_York:20150724T193000
DTSTAMP:20260429T065427
CREATED:20150715T040000Z
LAST-MODIFIED:20180305T225929Z
UID:10001934-1437766200-1437766200@uniondocs.org
SUMMARY:Spacetime Singularities
DESCRIPTION:[vc_row][vc_column][vc_column_text]UnionDocs invites you to the closeding reception of Space Singularities\, presented by Peephole Cinema and Microscope Gallery. The program will feature new works by Bradley Eros\, Sarah Halpern\, Andrew Lampert\, and is guest curated by Elle Burchill and Andrea Monti (Microscope Gallery\, Brooklyn). Beginning July 24th\, the films in the program will be available to view 24/7 via the Peephole Cinema outside of UnionDocs until September 17th. \nReception and BBQ will start at 7:30PM on Friday\, July 24th\, and feature live music by the Brooklyn-based group Odd Rumblings. \n  \nSpace Singularities (July 24th-September 17th) \nSpacetime Singularities is a program of new moving image works made for the occasion of Peephole Cinema by Bradley Eros\, Sarah Halpern and Andrew Lampert. The works\, hand shot by each artist in the darkness – of a cave\, a nightclub and on the streets of NYC in the wee morning hours – collapse sensations and sounds into a single focus viewing experience in which stalactites appear as sonograms\, Kenneth Anger conducts a ceremony on the theremin\, and liquid nitrogen tanks become ticking time bombs in the city’s rain-slicked streets. – EB & AM \nFEATURING: \nBradley Eros\nNitrogen Ghost\, 2015\ndigital video\, color and b&w\, sound\, 3 minutes\n“A speculative fiction on the mysterious tanks that populate the streets of New York City. A haunted abstraction of metal\, steam & luminous objects moving through urban spaces.” – BE\n  \n\n\n\nSarah Halpern\nInterior\, 2015\n16mm film transferred to digital\, color\, silent\, 2 minutes\n“An optically printed cave sonogram for hole peeping.” – SH\n  \n\nAndrew Lampert\nPrelude In Anger\, 2015\nSuper 8mm transferred to digital\, color\, silent\, 1 minute 50 seconds\n“Silent documentation of a loud event that you don’t need to hear in order to feel. Kenneth Anger\, filmmaker and author\, live on the theremin\, May 19 2010.” – AL\n\n  \n  \n  \nABOUT THE ARTISTS \nBradley Eros is a New York-based artist working in various mediums including film & video\, collage\, performance\, contracted and expanded cinema & installation. Eros works have exhibited and screened extensively in the US and abroad including at The Whitney Biennial\, The Whitney Museum’s series “The American Century\,” The Museum of Modern Art (MoMA)\, The Andy Warhol Museum\, MoMA P.S.1\, The New Museum\, Anthology Film Archives\, Participant Inc.\, The Kitchen\, Performa09\, Arsenal (Berlin)\, Camden Arts Center (London)\, and The New York\, London and Rotterdam Film Festivals. Collaborations include the Alchemical Theater\, the band Circle X\, Voom HD Lab\, and the expanded cinema groups kinoSonik\, Arcane Project and currently Optipus. Eros works and lives in Brooklyn\, NY. \nSarah Halpern works with 16mm film\, collage on paper\, 35mm slides\, music and performance. Her work is largely focused on cinematic time and the active role of the viewer\, and has been shown previously at venues including The Museum of Moving Image\, The Kitchen\, Participant Inc\, Anthology Film Archives\, and Microscope Gallery. Halpern holds a B.A. in Film and Electronic Arts from Bard College and was awarded a MacDowell Colony Fellowship in 2014. She works and lives in Brooklyn\, NY. \nAndrew Lampert makes moving images\, photographs and live performances that deal with whatever he is thinking about\, fascinated by or concerned with around the time of production. He has no single focus and is strategically inconsistent\, which may or may not be apparent. Lampert has widely exhibited at institutions and festivals including the Whitney Museum of American Art\, The Art Gallery of Ontario\, MoMA P.S.1\, The Getty Museum\, The British Film Institute\, The International Rotterdam Film Festival\, The Toronto International Film Festival and The New York Film Festival. Musical collaborators have included Chris Corsano\, Peter Evans\, Okkyung Lee\, Alan Licht and C. Spencer Yeh among many others. He is editor of the book THE GEORGE KUCHAR READER (Primary Information\, 2014) and co-editor of both volumes of HARRY SMITH COLLECTIONS CATALOGUE RAISONNE (J&L Books\, 2015). Electronic Arts Intermix (EAI) in NYC distributes many of his works. Lampert works and lives in Brooklyn\, NY. \nOdd Rumblings is an electronic duo based in Brooklyn. “The tension between the holy voices and the sensual machines feels like watching an alien invasion from a church\,” wrote 20 Jazz Funk Greats of their music\, while Dummy Magazine has likened their sound to “eerie signals bubbling up from beneath\, disrupting the earth’s crust.” Their debut EP “Thieves” is out now on London-based label Public Information. \nABOUT THE PROJECT \nNearly two hundred years before the invention of cinema\, the peepshow\, raree show\, or boîte optique—a closed box with at least one peephole revealing a hidden “view”—was a form of both visual entertainment and optical experimentation. Peephole Cinema\, a “miniature cinema” collective\, revives this unique viewing apparatus\, along with the attendant tensions it produces between public and private\, authorized viewing and voyeurism\, and seeing and being seen. \nPeephole Cinema features satellite projects in three cities: Brooklyn\, San Francisco and Los Angeles. In each city\, silent film shorts are screened 24/7 through a dime-sized peephole installed in a public location. Peephole Cinema Brooklyn is hosted by UnionDocs in Williamsburg and organized by Laurie O’Brien. Guest curators are chosen every two months. For more information\, visit the Peephole Cinema website. \n\n[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2015-07-24-space-singularities/
LOCATION:NY
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2015/07/IMG_70601.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20150726T193000
DTEND;TZID=America/New_York:20150726T193000
DTSTAMP:20260429T065427
CREATED:20150714T040000Z
LAST-MODIFIED:20180306T193041Z
UID:10001932-1437939000-1437939000@uniondocs.org
SUMMARY:Los Sures (1984) at BAM
DESCRIPTION:[vc_row row_type=”row_full_center_content”][vc_column][vc_column_text]Come see the film that inspired UnionDocs’ Living Los Sures project on the big screen. The original film from 1984\, Los Sures\, will be screened at the Brooklyn Academy of Music Rose Cinemas on Sunday\, July 26th in two showings: 2pm and 6:30pm. \nTickets for this unique opportunity to watch the film in theaters are available on the BAM website here. Following the second showing\, there will be an after party (details TBD). \nLos Sures\, Diego Echeverria\, USA\, 1984\, 16mm\, 56m\nIn the early 1980s\, Diego Echeverria took a 16mm camera into the streets of the Southside of Williamsburg\, then a primarily Puerto Rican neighborhood and one of the city’s poorest\, most crime-ridden areas. Still\, amidst the urban blight\, Echeverria finds a thriving street culture in which music\, breakdancing\, and graffiti abound. \nLos Sures skillfully represents the challenges of its time: drugs\, gang violence\, crime\, abandoned real estate\, racial tension\, single-parent homes\, and inadequate local resources in Brooklyn’s Los Sures neighborhood. Yet Echeverria’s portrait also celebrates the vitality of this community\, showing the strength of their culture\, their creativity\, and their determination to overcome a desperate situation. Los Sures is both an invaluable record of pre-gentrification Brooklyn and an ode to a community’s resilience. \n  \nDiego Echeverria is a filmmaker born in Chile and raised in Puerto Rico. He studied film at Columbia University and was for many years a producer/director of News and Current Affairs documentaries for WNET and WNBC in New York\, and for NBC News and CBS News in network television. Later\, as an independent producer\, he directed documentaries for PBS and for European television and developed projects on health promotion\, education and in support of social programs in the national and international arenas. Based in Latin America\, he was for several years Regional Advisor on Communications for UNICEF\, overseeing programs directed to the wellbeing of children and women. Through his company\, Terra Associates\, he produced a wide array of multimedia\, television programs\, and audio visual projects targeted for classroom use\, health organizations and corporate sponsors. His work in television was awarded two Emmys. \nABOUT BAM\nBAM (Brooklyn Academy of Music) is a multi-arts center located in Brooklyn\, New York.  For more than 150 years\, BAM has been the home for adventurous artists\, audiences\, and ideas—engaging both global and local communities. With world-renowned programming in theater\, dance\, music\, opera\, film\, and much more\, BAM showcases the work of emerging artists and innovative modern masters. \n[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2015-07-26-los-sures-screening-bam/
LOCATION:NY
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2015/07/Diego-Echeverria-Square.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20150731T193000
DTEND;TZID=America/New_York:20150731T213000
DTSTAMP:20260429T065427
CREATED:20150721T040000Z
LAST-MODIFIED:20180305T225715Z
UID:10001935-1438371000-1438378200@uniondocs.org
SUMMARY:Tomorrow We Disappear
DESCRIPTION:[vc_row][vc_column][vc_column_text] \nAt first glance\, the Kathputli Colony looks like any other Indian slum. Flies swarm its putrid canals. Children climb on drooping electrical wires. Construction cranes and an ever-expanding metro line loom on the horizon. \nBut Kathputli is a place of fading traditions. For half a century 2\,800 artist families have called its narrow alleyways home; there are jugglers and acrobats\, puppeteers and painters\, folk singers and magicians\, many of whom are well-respected artists in India and abroad. \nIn 2009 the New Delhi government sold Kathputli to developers for a fraction of its worth. The land is to be bulldozed to make room for the city’s first-ever skyscraper\, The Raheja Phoenix. \nTomorrow We Disappear\, directed by Jimmy Goldblum and Adam Weber\, follows three of Kathputli’s most-talented performers as they wrangle with the reality of their approaching eviction. The story begins with the fate of thousands of marginalized performers in Delhi\, India. The film chronicles a turning point in the lives of these performers\, with the hopes of anticipating what’s to come in India’s future and preserving what’s being left behind. \n  \n  \nJimmy Goldblum  began his career as an interactive director and producer. In 2008\, Goldblum won the Emmy for “New Approaches to Documentary” for Live Hope Love\, an interactive documentary he produced for the Pulitzer Center. Goldblum also wrote\, filmed\, and produced “The Institute for Human Continuity\,” an online narrative for Sony Pictures’ film 2012\, which is widely considered one of the most successful transmedia campaigns of all time. Through his production company\, Old Friend (oldfriend.tv)\, Goldblum has directed commercials for Google\, Budweiser\, and Nature’s Variety\, and his interactive films have won an Emmy\, a Webby for Best Art Project\, and been featured in the New York Times\, Washington Post\, Time Magazine\, and USA Today. \nAdam Weber is an editor\, director\, and writer who has worked for major film and TV studios in both New York and Los Angeles. Weber edited Michel Gondry’s Is the Man Who is Tall Also Happy?\, was an assistant editor on Gondry’s The Green Hornet\, and previously worked as the apprentice editor on Quentin Tarantino’s Inglorious Basterds.[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2015-07-31-tomorrow-we-disappear/
LOCATION:NY
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2017/02/jimmy-goldblum-and-adam-weber.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20150904T193000
DTEND;TZID=America/New_York:20150904T213000
DTSTAMP:20260429T065427
CREATED:20150804T040000Z
LAST-MODIFIED:20180302T212711Z
UID:10002579-1441395000-1441402200@uniondocs.org
SUMMARY:Kiss Me\, Gentlemen – In Pursuit of Realness
DESCRIPTION:[vc_row][vc_column][vc_column_text] \nOur bodies belong to others; parents first\, then lovers. A mother’s body belongs to her child. We are subjected to education systems; consumer desires demand to be satisfied through contracts of labor. Our bodies belong to institutions; institutions for criminals\, the sick\, and the insane; institutions in the end too\, for all of us\, via the medical\, care\, and funerary systems. \n When we agree to participate in films\, our bodies belong to the filmmaker. A contractual agreement places the image\, sound – and by metaphorical extension – the body\, in the ownership of the filmmaker. Its care is entangled with the politics of filmic history and filmic experience. The filmmaker’s own body is also invested\, navigating space\, time\, and the ‘contaminated projections’ of their own ideologies. As we watch carefully\, or repeatedly\, our knowledge may be ruptured\, our feelings disturbed. \nIn one way or another all the films in this program deal with the mechanisms and technologies of entrapment: the destitute body\, the incarcerated body\, the body as a self-replicating system\, bodies of soldiers performing military rituals\, Greek mythology made contemporary through performative acts of defiance. Strategies in the pursuit of ‘realness’ range from injecting humor; others incite horror\, follow a performative impulse\, or straddle precariously on the ethical tightrope of representation. All point powerfully towards the condition of embodied subjects that have become specular\, schizoid\, internally disjointed.  \nSelected by Minou Norouzi\, filmmaker and programmer\, doctoral candidate at Goldsmiths\, University of London. \nKISS ME\, GENTLEMEN\nFeaturing works by Alexander Lorenz\, Nelmarie du Preez\, Sirah Foighel\, Daniel Mann\, Eitan Efrat\, Miranda Pennell\, Chelsea Knight\, Michel Wenzer\, Yaron Lapid\, Elise Rasmussen. \nTotal running time: 75 min. \nPROGRAM: \nArcadia\, downtown Yaron Lapid (Israel 2008) 15’ \nComplex Sirah Foighel\, Daniel Mann\, Eitan Efrat (Israel 2008) 9’ \nThree Poems by Spoon Jackson Michel Wenzer (Sweden 2003) 14’ \nVon Ordnung der Gesellschaft / Of the Order of Society Alexander Lorenz (Germany 2013) 12’30” \n TATTOO Miranda Pennell (UK 2001) 9’ \nTo Stab Nelmarie du Preez (UK 2013) 45” \n I Lay Claim to You Chelsea Knight (USA 2009) 4’ 45” \nI Am Not a Man\, Not Now Elise Rasmussen\, Chelsea Knight (USA 2012) 9’ \nIn attendance: Chelsea Knight \nFEATURED GUESTS \nChelsea Knight was born in Vermont and lives and works in New York. She received her B.A. from Oberlin College and her M.F.A. from the School of the Art Institute of Chicago. Knight completed residencies at the Whitney Independent Study Program (2010) and the Skowhegan School of Painting and Sculpture (2008)\, and was a Fulbright Fellow in Italy (2007). Solo exhibitions and performances include: The St. Louis Art Museum; The Brooklyn Museum; Aspect Ratio Gallery (Chicago); Momenta Art (Brooklyn); DiverseWorks (Houston); Night Gallery (LA\, with Elise Rasmussen) and Julius Caesar Gallery (Chicago). Knight has exhibited and screened her work in group shows including Nouvelles Vagues at the Palais de Tokyo (Paris); Anti-Establishment at Bard CCS Hessel Museum (NY); the Young Artists’ Biennial (Bucharest); the 10th Annual Istanbul Biennial; Werkschauhalle Gallery (Leipzig); the Michelangelo Pistoletto Foundation\, (Biella\, Italy) and Harvard University. Knight was a 2015 VAN artist resident at Project Row Houses (Houston) and is a Spring 2015 Research and Development Artist in Residence at the New Museum (NYC). \nJess Wilcox is Programs Manager at the Elizabeth A. Sackler Center for Feminist Art at the Brooklyn Museum\, where she organizes public programs and has worked on the public artworks Between the Door and the Street a performance initiated by Suzanne Lacy and A Butterfly for Brooklyn a pyrotechnic performance by Judy Chicago. She has worked on curatorial projects at Abrons Art Center\, the International Studio and Curatorial Program\, Performa\, SculptureCenter\, and Storm King Art Center\, among others. Recurring interests of hers are translation\, performativity\, the choreographic\, and personal and political identity. \nMinou Norouzi is an Austrian-born Iranian artist working mainly with moving image portraiture. She received her BA from the University of the Arts London\, majoring in cinematography\, and her MA from Goldsmiths College in 2007. Whilst giving the impression of layered fiction\, her video works are routed in documentary practice. Her thematic preoccupation lies in the psychological landscapes of incubated desire\, displacement\, authoritarianism & surrender\, misplaced femininity\, often framed within the mundane. \nAnatomy of Failure\, her first full-length documentary work\, premiered in Toronto at Hot Docs in 2008. All Shades of Grey\, supported by the British Council\, showed at the 55th Oberhausen Festival in Germany. She is a recipient of the TED Fellowship and a AHRC funded Practice-PhD Researcher at Goldsmiths University of London. Minou divides her time between London & Linz. \n[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2015-09-04-kiss-me-gentlemen/
LOCATION:NY
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2015/08/Arcadia03.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20150905T193000
DTEND;TZID=America/New_York:20150905T193000
DTSTAMP:20260429T065427
CREATED:20150806T040000Z
LAST-MODIFIED:20180303T020754Z
UID:10002586-1441481400-1441481400@uniondocs.org
SUMMARY:MADE AT KUVA - Moving Image from Helsinki
DESCRIPTION:[su_spoiler title=” GET TICKETS” class=”my-custom-spoiler”] Oops! We could not locate your form.  [/su_spoiler] \n \n  \n  \nMADE AT KUVA – moving image from Helsinki \nCurated by Caspar Stracke\, Helsinki \nA note from the curator: \nWhen thinking of Finnish culture\, moving image arts in particular\, one should avoid thinking of melancholia\, or silence\, or darkness\, or the forest\, and definitely not of ultra-dry humor. \nEverything else is very much preferred. Despite any undeniable pre-conceptions of Finnish moving image art\, this program invites viewers to discover a Finnish cultural identity that defined itself in-between the prevalent set of century-old clichés\, situated among such large topics as narrativity\, affect\, and the sublime. These aspects reverberate in this collection of such contrasting films as a documentary of blind people in a ultra-gentrified Helsinki neighborhood (Anu Pennanen) and performative interventions in a traditional cultural rituals (Pilvi Takala). \nThe commonality amongst the films of this program is the place of the program’s production: Kuva is the short form of “Kuvataideakatemia\,” the Finnish Academy of Fine Arts. Since 2012 I have taught the moving image as part of the Academy’s Time and Space Arts program – an employment that made me move from New York to the miraculous\, wonderful Helsinki. \nThis program is a small part of a larger research project and screening series at Kuva. The selected work shown here spans over the past three decades\, and includes work by artists who have studied at and/or graduated from the academy\, such as internationally-recognized alumni Eija-Liisa Ahtila and Salla Tykkää. This concept offers a rare look at the very first works by some of Finland’s most sophisticated moving image artists. It is especially attractive to a foreign audience to study the creative origins of Ahtila and Tykkää\, and to recognize their (and others’) early emerging artistic signatures. \n\nPROGRAM: \n\n\n\n\nAnimal Experiment A/1\, Sami van Ingen (1990)\nPower\, Salla Tykkää (1999)\nPopcorn\, Liisa Lounilla (2001)\nReverse Engineering\, Jaakko Palasvuo (2013)\nA Monument for the Invisible\, Anu Pennanen (2003)\nContrapuntal\, Jani Ruscica (2005)\nWall Flower\, Pilvi Takala (2006)\nMe/We\, OKAY\, GRAY\, Eija-Liisa Ahtila (1993)\n\n\n\n\n  \nTRT: 78 minutes \n\nThis program was compiled with the generous help of AV-Arkki\, Finland’s Media Art distribution center. Special thanks to its director\, Hanna Maria Anttila. \nThe Finnish Academy of Fine arts is part of Helsinki’s newly formed University of Arts.
URL:https://uniondocs.org/event/made-at-kuva-moving-image-from-helsinki/
LOCATION:NY
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2015/08/W_C1656_L.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20150911T193000
DTEND;TZID=America/New_York:20150911T213000
DTSTAMP:20260429T065427
CREATED:20150729T040000Z
LAST-MODIFIED:20180305T174007Z
UID:10002564-1441999800-1442007000@uniondocs.org
SUMMARY:The River of Life
DESCRIPTION:[vc_row][vc_column][vc_column_text] \nTHE RIVER OF LIFE (SHENGMING DE HELIU)\nDirected by Yang Pingdao\, 2014\, 101 min\, digital. In Mandarin and Cantonese with English subtitles. \nYang Pingdao is one of China’s most exciting emerging filmmakers. His astonishingly creative camera eye brings unexpected beauty to his new feature length film. Using an innovative structure\, based on the distinctive texture of family memory through space and time\, Yang invents something poised delicately between fiction and documentary to capture crystallized moments in his family history\, to recreate in cinematic form its emotional weight and variety\, woven around the life and death of his grandmother\, and the birth of his child. In order to combine extended family chronicle\, implicit national history\, and intimate soul-bearing autobiography\, Yang employs gentle formal experimentation to invent new cinematic pathways. \n“Sometimes I shoot films just so I can hear my inner voice. But in China doing this may not be “permitted”. Therefore\, many artists will censor themselves. It’s a question of making a choice. I absolutely need Chinese audiences to see my films\, because I shoot stories that this land itself gives rise to.” Yang Pingdao \n  \n  \nAbout Cinema On The Edge \nA film series unlike any other\, “Cinema on the Edge: Best of Beijing Independent Film 2012-2014” celebrates the daring spirit and creative innovation of independent filmmakers and festival organizers in mainland China. \nThis film series features 18 programs of outstanding recent Chinese independent cinema\, showcasing the work of such acclaimed filmmakers as Ai Weiwei\, Li Luo\, Hu Jie\, Zou Xueping and Yang Mingming.  The series is organized and curated by three of Chinese independent cinema’s most committed supporters: producer and distributor Karin Chien\, critic and curator Shelly Kraicer\, and filmmaker and anthropologist J.P. Sniadecki. Seven of NYC’s most revered film and cultural institutions will present these works: Anthology Film Archives\, Made in NY Media Center by IFP\, Asia Society\, Maysles Cinematheque\, Museum of Chinese in America\, Weatherhead East Asian Institute\, and UnionDocs.[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2015-09-11-the-river-of-life/
LOCATION:NY
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2011/04/31.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20150912T193000
DTEND;TZID=America/New_York:20150912T193000
DTSTAMP:20260429T065427
CREATED:20150729T040000Z
LAST-MODIFIED:20180305T223954Z
UID:10001938-1442086200-1442086200@uniondocs.org
SUMMARY:Spark
DESCRIPTION:[vc_row][vc_column][vc_column_text] \nSPARK (XINGHUO)\nDirected by Hu Jie 2014\, 101 min\, digital. In Mandarin with English subtitles. \nProbably China’s most important unofficial historian-filmmaker\, Hu Jie documents with his camera episodes that Chinese official history\, for now\, ignores. Spark was an underground magazine published in 1960 by four young intellectuals who wanted to expose the devastating famine caused by Mao’s Great Leap Forward\, a horrendous period of national suffering that is still unmentioned in China’s history textbooks today. This is filmmaking as urgent historical investigation: with a shoestring budget Hu combines years of research\, and a knack for getting people to talk without fear about the most taboo subjects in China’s recent past. His alternative oral history approach knits together courageous and frequently moving interviews with the magazine’s surviving editor\, supporters\, and readers\, who were ready to sacrifice themselves to alert their countrymen to unprecedented disaster. \n“The beauty of independent cinema lies in its independence. The opposite of this independence is a media controlled by a propaganda mechanism under centralized command. Independence\, exploration\, and discovery grant you freedom.” – Hu Jie \n  \n  \n  \nAbout Cinema On The Edge \nA film series unlike any other\, “Cinema on the Edge: Best of Beijing Independent Film 2012-2014” celebrates the daring spirit and creative innovation of independent filmmakers and festival organizers in mainland China. \nThis film series features 18 programs of outstanding recent Chinese independent cinema\, showcasing the work of such acclaimed filmmakers as Ai Weiwei\, Li Luo\, Hu Jie\, Zou Xueping and Yang Mingming.  The series is organized and curated by three of Chinese independent cinema’s most committed supporters: producer and distributor Karin Chien\, critic and curator Shelly Kraicer\, and filmmaker and anthropologist J.P. Sniadecki. Seven of NYC’s most revered film and cultural institutions will present these works: Anthology Film Archives\, Made in NY Media Center by IFP\, Asia Society\, Maysles Cinematheque\, Museum of Chinese in America\, Weatherhead East Asian Institute\, and UnionDocs. \nAbout the presenter \nAndrew J. Nathan is Class of 1919 Professor of Political Science at Columbia University. His teaching and research interests include Chinese politics and foreign policy\, the comparative study of political participation and political culture\, and human rights. Nathan has served at Columbia as chair of the Department of Political Science\, 2003-2006\, chair of the Executive Committee of the Faculty of Arts and Sciences\, 2002- 2003\, and director of the Weatherhead East Asian Institute\, 1991-1995. He is currently chair of the Morningside Institutional Review Board (IRB). Off campus\, he is a member of the boards of Freedom House\, the National Endowment for Democracy\, and Human Rights in China\, and a member of the Advisory Committee of Human Rights Watch\, Asia. He is the regular Asia and Pacific book reviewer for Foreign Affairs.[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2015-09-12-spark/
LOCATION:NY
CATEGORIES:Screenings & Events
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DTSTART;TZID=America/New_York:20150912T193000
DTEND;TZID=America/New_York:20150912T220000
DTSTAMP:20260429T065427
CREATED:20150729T040000Z
LAST-MODIFIED:20180306T180959Z
UID:10002569-1442086200-1442095200@uniondocs.org
SUMMARY:STRATUM 1: THE VISITORS
DESCRIPTION:[vc_row row_type=”row_full_center_content”][vc_column][vc_column_text] \nSTRATUM 1: THE VISITORS (DICENG 1: LAIKE)\nDirected by Cong Feng\, 2013\, 71 min\, digital. In Mandarin with English subtitles. \nPoet and filmmaker Cong Feng started to film a documentary about whole-scale urban demolition in the Beijing suburb of Tongzhou\, but discovered that the extraordinary rapidity of change and the furious power of China’s history of destruction required something more experimental\, more essay-like. From hallucinatory (are they perhaps utopian? despairing?) images of a bulldozer seeming to conjure up a building from its rubble\, we follow two characters wandering through debris\, telling stories of childhood trauma (featuring canine\, not human loyalty during a horrific episode from the Cultural Revolution). Cong\, like a visual paleo-geologist\, unearths surreal\, chilling images of otherworldly beauty emanating from the buried strata of this collapsing world\, whose history threatens to be suffocated by layers of experience\, of loss\, of unremembered suffering. \nAbout Cinema On The Edge \nA film series unlike any other\, “Cinema on the Edge: Best of Beijing Independent Film 2012-2014” celebrates the daring spirit and creative innovation of independent filmmakers and festival organizers in mainland China. \nThis film series features 18 programs of outstanding recent Chinese independent cinema\, showcasing the work of such acclaimed filmmakers as Ai Weiwei\, Li Luo\, Hu Jie\, Zou Xueping and Yang Mingming.  The series is organized and curated by three of Chinese independent cinema’s most committed supporters: producer and distributor Karin Chien\, critic and curator Shelly Kraicer\, and filmmaker and anthropologist J.P. Sniadecki. Seven of NYC’s most revered film and cultural institutions will present these works: Anthology Film Archives\, Made in NY Media Center by IFP\, Asia Society\, Maysles Cinematheque\, Museum of Chinese in America\, Weatherhead East Asian Institute\, and UnionDocs.[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2015-09-12-stratum-1/
LOCATION:NY
CATEGORIES:Screenings & Events
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20150913T193000
DTEND;TZID=America/New_York:20150913T193000
DTSTAMP:20260429T065427
CREATED:20150729T040000Z
LAST-MODIFIED:20180305T174248Z
UID:10002573-1442172600-1442172600@uniondocs.org
SUMMARY:I Want to be a People's Representative
DESCRIPTION:[vc_row][vc_column][vc_column_text] \nI WANT TO BE A PEOPLE’S REPRESENTATIVE\n(WO YAO DANG RENMIN DAIBIAO) \nDirected by Jia Zhitan\, 2014\, 78 min\, digital. In Hunanese with English subtitles. \nCan a documentary camera be a tool for democracy in China? Jia Zhitan certainly thinks so\, and wields his camera like an anti-bureaucratic weapon. Jia\, a member of Caochangdi’s influential Villagers Documentary Project (organizer Wu Wenguang has been training local villagers to use digital video cameras to record their participation in ultra-local politics)\, wants to run to be a delegate to the National People’s Congress. He wins the first round\, but is deemed unqualified by officials for reasons they keep to themselves. As the irrepressibly scrappy and stubborn Jia seeks explanations and redress from ever higher levels of authority\, he records their interactions scenes that would play as entertaining satiric comedy if they weren’t so frustratingly real. \n  \n  \nAbout Cinema On The Edge \nA film series unlike any other\, “Cinema on the Edge: Best of Beijing Independent Film 2012-2014” celebrates the daring spirit and creative innovation of independent filmmakers and festival organizers in mainland China. \nThis film series features 18 programs of outstanding recent Chinese independent cinema\, showcasing the work of such acclaimed filmmakers as Ai Weiwei\, Li Luo\, Hu Jie\, Zou Xueping and Yang Mingming.  The series is organized and curated by three of Chinese independent cinema’s most committed supporters: producer and distributor Karin Chien\, critic and curator Shelly Kraicer\, and filmmaker and anthropologist J.P. Sniadecki. Seven of NYC’s most revered film and cultural institutions will present these works: Anthology Film Archives\, Made in NY Media Center by IFP\, Asia Society\, Maysles Cinematheque\, Museum of Chinese in America\, Weatherhead East Asian Institute\, and UnionDocs.[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2015-09-12-peoples-representative/
LOCATION:NY
CATEGORIES:Screenings & Events
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20150913T193000
DTEND;TZID=America/New_York:20150913T203000
DTSTAMP:20260429T065427
CREATED:20150729T040000Z
LAST-MODIFIED:20180305T173421Z
UID:10001940-1442172600-1442176200@uniondocs.org
SUMMARY:Satiated Village
DESCRIPTION:[vc_row][vc_column][vc_column_text] \nSATIATED VILLAGE CHIBAO DE CUNZI\nDirected by Zou Xueping\, 2011\, 88 min. In Shandong dialect with English subtitles. \nZou Xueping’s took her first documentary The Hungry Village (part of Caochangdi Workstation’s Folk Memory Project) — made up of first-person testimony about the effects of the Great Famine of 1960 (see Hu Jie’s Spark for another view) on her home village in Shandong —  back home to show her subjects. They unanimously disapproved. Frustrated and full of doubt\, Zou then made this second documentary discussing the villagers’ reactions to her first. This wonderful\, searching\, self-reflexive film questions the necessity and usefulness of truth-telling via cinema\, when it brings pain and even shame upon neighbours and family. Zou’s 9-year-old niece emerges as its star\, a girl who can balance competing exigencies of truth and love with a wisdom beyond her years. \nAbout Cinema On The Edge \nA film series unlike any other\, “Cinema on the Edge: Best of Beijing Independent Film 2012-2014” celebrates the daring spirit and creative innovation of independent filmmakers and festival organizers in mainland China. \nThis film series features 18 programs of outstanding recent Chinese independent cinema\, showcasing the work of such acclaimed filmmakers as Ai Weiwei\, Li Luo\, Hu Jie\, Zou Xueping and Yang Mingming.  The series is organized and curated by three of Chinese independent cinema’s most committed supporters: producer and distributor Karin Chien\, critic and curator Shelly Kraicer\, and filmmaker and anthropologist J.P. Sniadecki. Seven of NYC’s most revered film and cultural institutions will present these works: Anthology Film Archives\, Made in NY Media Center by IFP\, Asia Society\, Maysles Cinematheque\, Museum of Chinese in America\, Weatherhead East Asian Institute\, and UnionDocs.[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2015-09-13-satiated-village/
LOCATION:NY
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2017/03/static1.squarespace.jpg
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DTSTART;TZID=America/New_York:20150918T193000
DTEND;TZID=America/New_York:20150918T193000
DTSTAMP:20260429T065427
CREATED:20150902T040000Z
LAST-MODIFIED:20180302T221429Z
UID:10001944-1442604600-1442604600@uniondocs.org
SUMMARY:Memories of the Future
DESCRIPTION:[vc_row][vc_column][vc_column_text] \nUS National Premiere\, presented by Cinema Tropical.  \nMemories of the Future\, Rodrigo Reyes\, 2009-2012\, 70 minutes \nA woman writes increasingly passionate love letters without answer. Her passion and frustration are interwoven with a sense of impending doom\, a vision of the coming Mexican apocalypse. A single personal tragedy mirrors the struggle of an entire country trying\, in the midst of increasing chaos\, to find itself. \nWinner of the LCI AWARD at the 2012 FICUNAM Film Festival. \nFollowing the screening\, there will be discussion between Cinema Tropical’s Carlos Gutierrez and director Rodrigo Reyes. Following the discussion will be a birthday party at UnionDocs for Gutierrez and closed to all attendees. \nA note from the director: \nI shot this film on a shoestring over several months on the road\, living in the back of a minivan. Memories is a catalogue of my concerns and struggles\, a deliberate digging into shadows of the Mexican soul\, a mad universe of visceral images and characters on the edge of reality. \nThis is the film’s first public screening in the US. I feel anxious and confused by the context. On the one hand\, this work was my very own film school\, raw and incredibly painful. On the other\, I don’t ever want to see it again because I may find that I have not strayed too far from its universe. \n\nJoin UnionDocs before the screening for the closeding reception of Kinetoscopic Records\, presented by Peephole Cinema and programmed by Dan Streible (NYU / Orphan Film Symposium. Free; from 5pm – 7pm. \nBios: \nRodrigo Reyes (b. 1983) is a Mexican-American filmmaker working in narratives and documentaries. His films have screened at many festivals around the world\, garnering several awards. \nCarlos A. Gutiérrez is co-founder and executive director of Cinema Tropical. As a guest curator\, he has presented several film/video series at different cultural institutions\, including The Museum of Modern Art\, the Solomon R. Guggenheim Museum\, BAMcinématek\, and the IFC Center\, among others. In 2007\, he co-curated the 53rd edition of the Robert Flaherty Film Seminar under the banner “South of the Other”. He is a contributing editor to BOMB magazine and has served as a member of the jury for various film festivals including the Morelia\, SANFIC\, DocsDF\, Austin’s Cine Las Americas\, and the Havana Film Festival in New York. He has served as both expert nominator and panelist for the Rockefeller Fellowship Program for Mexican Film & Media Arts\, Sundance Documentary Fund\, the Tribeca Film Institute’s LatinAmerica Media Arts Fund\, and The Rolex Mentor and Protégé Arts Initiative. \nAbout Cinema Tropical \nNew York-based Cinema Tropical (CT) is the leading presenter of Latin American cinema in the U.S. Founded in 2001 by Carlos A. Gutiérrez and Mónika Wagenberg with the mission of distributing\, programming and promoting what was to become the biggest boom of Latin American cinema in decades\, CT brought U.S. audiences some of the first screening of films such as Amores Perros and Y Tu Mamá También. Through a diversity of programs and initiatives\, CT is thriving as a dynamic and groundbreaking 501(c)(3) non-profit media arts organization experimenting in the creation of better and more effective strategies for the distribution and exhibition of foreign cinema in this country. \n[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/memories-of-the-future/
LOCATION:NY
CATEGORIES:Screenings & Events
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DTSTART;TZID=America/New_York:20150918T193000
DTEND;TZID=America/New_York:20150918T193000
DTSTAMP:20260429T065427
CREATED:20150910T040000Z
LAST-MODIFIED:20180302T222407Z
UID:10001948-1442604600-1442604600@uniondocs.org
SUMMARY:Peephole Cinema Presents: Kinetoscopic Records
DESCRIPTION:[vc_row][vc_column][vc_column_text] \nUnionDocs invites you to the closeding reception of Kinetoscopic Records\, presented by Peephole Cinema and programmed by Dan Streible (NYU / Orphan Film Symposium) on Friday\, September 18 from 5pm – 7pm. \nPeephole Cinema exhibitions showcase contemporary media artists while also evoking the proto- and early cinema experiences of the peep show. This UnionDocs program\, Kinetoscopic Records\, invites a collision of the old and new\, the earliest movies and born-digital works. The ten pieces replicate qualities of the earliest film shows\, an incongruous variety of kinetic\, flickery\, silent pictures in motion\, each less than a minute long. \nThis program’s inspiration is the recent rebirth of one of the first motion pictures ever made\, Edison Kinetoscopic Record of a Sneeze\, January 7\, 1894 (aka Fred Ott’s Sneeze). Although its copyrighted images appeared in print in 1894\, the Sneeze was not seen in motion until reanimated on 16mm film in 1953. However\, only now has the entire recording been reproduced. The new Library of Congress version reveals The Sneeze to be nearly twice as long as presumed\, with Mr. Ott sneezing twice in one unedited take. This is its premier public run.    \n \nThe ten movies in five minutes are: \n\nW. K.-L. Dickson\, Edison Kinetoscopic Record of a Sneeze  \nEvan Meaney\, Re_Sneeze   \nJodie Mack\, All Stars  \nJoel Schlemowitz\, The Invention of the Gramophone  \nDanielle Ash\, Creature of the Gowanus  \nTom Whiteside & Anna Kipervaser\, Ott Gotcha  \nAndrea Callard\, Something Medical   \nBill Brand\, Ornithology 4   \nMono No Aware\, Sneezes  \nBill Morrison\, Dancing Decay   \n\nThree new pieces derive directly from the Sneeze. Evan Meaney takes the new version and digitally explodes its halftone printing. Tom Whiteside (who actually collects film prints of Fred Ott’s Sneeze) and Anna Kipervaser create a 16mm found footage jest\, while the Mono No Aware collective made a pilgrimage-homage\, traveling to the Edison Historic Site in New Jersey to shoot Sneezes on black-and-white 16mm film inside the Black Maria building.  \nTwo others works\, also born on celluloid\, reference the era of early cinema. Joel Schlemowitz shot black-and-white film for his Mélièsian féerie about the Kinetoscope’s exact contemporary\, the gramophone. Bill Morrison’s uncanny piece of decaying nitrate 35mm film reveals dancers (a frequent Kinetoscope subject) dancing in a pink cobweb of swirling emulsion. (It too came from the Library of Congress\, but from its discard bin.) \nThe remaining pieces deliver a variety of arresting images for the peep show viewing context. Jodie Mack’s cameraless animation stars rapid-fire geometric forms\, while fellow animator Danielle Ash creates an ethereal aerial view of an imagined Brooklyn\, lit up by lengthy exposures of thousands of pinholes. Bill Brand’s dual-layered duel of abstraction and HD realism pushes the kinetic accelerator even further with a traveling matte that flutters over every frame. The medical imaging technology put to use in Andrea Callard’s memento mori piece pulls in yet another direction\, a reminder that early cinema combined optical toys and scientific devices. \nPeephole Cinema Brooklyn is part of a “miniature cinema” collective with satellite projects in three cities: San Francisco\, Brooklyn\, and Los Angeles. In each location\, silent film shorts are screened 24/7 through a dime-sized peephole installed in a public location.  \nHearkening back to the peep show or raree show—a closed box with at least one peephole revealing a hidden “view”—which was a popular form of entertainment throughout the 18th and 19th centuries\, Peephole Cinema plays on age-old tensions between public and private\, authorized viewing and voyeurism\, seeing and being seen. \nPeephole Cinema Brooklyn is located on the façade of UnionDocs\, Center for Documentary Art in Williamsburg.  Films will change about every two months.  \nFor more information please go to http://www.peepholecinema.com \n[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2015-09-18-kinetoscopic-records/
LOCATION:NY
CATEGORIES:Screenings & Events
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