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DTSTART;TZID=America/New_York:20160307T193000
DTEND;TZID=America/New_York:20160307T213000
DTSTAMP:20260507T130110
CREATED:20160223T050000Z
LAST-MODIFIED:20181017T204202Z
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SUMMARY:The Closer We Get
DESCRIPTION:[vc_row][vc_column][vc_column_text]This is a powerful and exquisitely-shot autobiographical portrait of loyalty\, broken dreams and redemption told by its director –  reluctantly-dutiful daughter Karen\, who takes you under the skin of the household she returns to for this long goodbye. \nKaren’s mother Ann suffers a devastating stroke that brings her daughter back home when she least expects it. But Karen isn’t the only one who returns to help care for Ann in the crisis: Her prodigal father Ian – endearing and unfathomable – and who’s been separated from Ann for years\, also reappears. Armed with her camera\, Karen seizes this last chance to go under the skin of the family story before it’s too late\, to come to terms with the aftermath of the secret her father had tried – and failed – to keep from them all\, and to find that Ann’s stroke has in fact thrown them all a life raft. \nWith candour\, warmth and much unexpected humour\, Karen’s role as family confidante\, busybody\, therapist and spy illuminates this extraordinary story of contemporary family survival. \n– Winner\, Best International Feature\, HotDocs 2015[/vc_column_text][vc_separator color=”white” border_width=”2″][vc_column_text]About the Director: \nKaren Guthrie was raised in Scotland and now lives in the rural Lake District (England). She met longterm collaborator Nina Pope whilst they were fine art students at Edinburgh College of Art and they have since worked together on many art projects and commissions as well as on three feature documentaries – Jaywick Escapes (2012)\, Living with the Tudors (2007) and Bata-ville: We Are Not Afraid of the Future (2005). Karen continues to work as an artist on diverse projects including recent commissions for University of Cambridge and Hauser & Wirth.[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2016-03-07-the-closer-we-get/
LOCATION:NY
CATEGORIES:Screenings & Events
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20160310T193000
DTEND;TZID=America/New_York:20160310T213000
DTSTAMP:20260507T130110
CREATED:20160223T050000Z
LAST-MODIFIED:20190218T151559Z
UID:10002128-1457638200-1457645400@uniondocs.org
SUMMARY:BLACK PANTHERS: VANGUARD OF THE REVOLUTION
DESCRIPTION:[vc_row][vc_column][vc_column_text]Change was coming to America and the fault lines could no longer be ignored—cities were burning\, Vietnam was exploding\, and disputes raged over equality and civil rights. A new revolutionary culture was emerging and it sought to drastically transform the system. The Black Panther Party for Self-Defense would\, for a short time\, put itself at the vanguard of that change. \nTHE BLACK PANTHERS: VANGUARD OF THE REVOLUTION is the first feature length documentary to explore the Black Panther Party\, its significance to the broader American culture\, its cultural and political awakening for black people\, and the painful lessons wrought when a movement derails. Master documentarian Stanley Nelson goes straight to the source\, weaving a treasure trove of rare archival footage with the voices of the people who were there: police\, FBI informants\, journalists\, white supporters and detractors\, and Black Panthers who remained loyal to the party and those who left it. Featuring Kathleen Cleaver\, Jamal Joseph\, and many others\, THE BLACK PANTHERS: VANGUARD OF THE REVOLUTION is an essential history and a vibrant chronicle of this pivotal movement that birthed a new revolutionary culture in America.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”40px”][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”40px”][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”40px”][/vc_column][/vc_row][vc_row][vc_column][vc_separator color=”white”][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”40px”][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”113946″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text]Stanley Nelson (Director\, Producer\, Writer) is an Emmy Award-winning documentary filmmaker\, MacArthur “genius” Fellow\, and member of the Academy of Motion Picture Arts and Sciences. He was awarded the National Humanities Medal by President Obama in August 2014. THE BLACK PANTHERS: VANGUARD OF THE REVOLUTION is Nelson’s 8th film to premiere at Sundance Film Festival. He is also the co-founder and Executive Director of Firelight Films and co-founder of Firelight Media\, which provides technical support to emerging documentarians.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”113947″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text]Marcia Smith served as President of Firelight Media for most of its first decade. During her tenure\, Firelight produced over 18 hours of film for national broadcast on PBS\, and garnered every major award in television\, including multiple Primetime Emmy\, Peabody\, Sundance\, DuPont\, and International Documentary Association (IDA) awards.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”113948″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text]Yvette Alberdingk Thijm (Executive Director\, WITNESS) Yvette envisions a citizen-driven human rights movement that effectively utilizes media and technology\, and WITNESS as a human rights organization that bridges the worlds of human rights\, media and technology by incorporating cutting edge innovations into traditional approaches to advocacy. Before becoming its ED\, Yvette served on the WITNESS Board\, worked globally in start-ups (incl. the technology start-up JOOST by the founders of Skype) and established companies in media\, content and new technologies (incl. MTV Networks). \nShe is a member of the Board of Trustees of the Foundation Center\, a leading authority on organized philanthropy. Yvette is a Board Member of Access\, a global movement for digital freedom; Mideast Youth\, a creator of powerful platforms to amplify voices of dissent; and the Public Good Projects. She is also an Advisory Board Member of Uncensored Interview\, a digital platform for independent musicians.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”113949″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text]Dante Barry (Executive Director of Million Hoodies Movement for Justice)is a grassroots organizer and communications strategist. Dante leads Million Hoodies Movement for Justice\, a national racial justice network of students\, artists\, and young people organizing to end mass criminalization and gun violence. Previously\, Dante led organizing and leadership development programs building new leaders for a participatory democracy at the Center for Media Justice\, the Roosevelt Institute\, and School Based Health Alliance. Dante is committed to creating a safer and more just society valuing the leadership and dignity of all Black and marginalized communities. \nDante has appeared on the Daily Show with Jon Stewart\, NPR\, MSNBC\, and is a frequent commentator on Al Jazeera America. Dante has written extensively on racial justice and democracy for the Nation Magazine\, MSNBC\, Huffington Post\, EBONY\, Truthout\, and more. As a student organizer\, Dante graduated from Monmouth University with a degree in Political Science and Communications and now currently sits on the board of the Andrew Goodman Foundation and is an Opportunity Agenda Fellow.[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2016-03-10-black-panthers-vanguard-of-the-revolution/
LOCATION:UnionDocs\, 352 Onderdonk Avenue\, 352 Onderdonk Avenue\, Ridgewood\, NY\, 11385\, United States
CATEGORIES:Screenings & Events
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20160320T193000
DTEND;TZID=America/New_York:20160320T213000
DTSTAMP:20260507T130110
CREATED:20160308T050000Z
LAST-MODIFIED:20190314T212204Z
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SUMMARY:Theatre Of The World:  Videos And Installation Works By Salomé Lamas
DESCRIPTION:[vc_row][vc_column][vc_column_text] \nThe work of Salomé Lamas aims to redefine non-fiction filmmaking. Her cubistic editing\, subjective camera\, and unassuming attitude are not interested in changing facts\, not even in documenting them. Instead\, her works push the spectator to create their own new thoughts and discourses. She stages a society where rules are replaced\, and roles shift unexpectedly. By testing time\, the surreal becomes real. The world is an overlooked scenario inhabited by the characters of Raúl Ruiz’s books and films\, modern pirates and dreamers dealing with the philosophical curiosity and contradictions that layer Johan van der Keuken’s filmmaking. Lamas reclaims individual critical traits\, many of which have been historically\, politically\, and artistically threatened—and she does so fearlessly. –M.S. \nTwo months after the U.S. premiere of THE TOWER (2015) at the Museum of the Moving Image in New York (“First Look” Festival)\, and just two days before her feature film ELDORADO XXI has its North American premiere at Lincoln Center and MoMA’s (“New Directors/New Films” series)\, we have the opportunity to experience a selection of Salomé Lamas’ earlier work at UnionDocs. \n[/vc_column_text][vc_empty_space][vc_text_separator title=”Program”][vc_empty_space][vc_column_text] \nTEATRUM ORBIS TERRARUM  \n2013\, 26 min\, 1-channel projection adapted from 3-channel installation\, color\, sound\, HD. U.S. Premiere. \n“The [nautical chart] Padrão Real was a secret map\, guarded from the eyes of foreign spies\, changed and reworked with the comings and goings of each expedition. The map that the navigators followed has been lost\, and what remains of it is a stolen copy\, made from memory by one of the cartographers in order to outwit enemies” (Salomé Lamas). \nExhibited at: National Museum of Contemporary Art in partnership with Temps d’Images (Portugal\, 2013); DocLisboa (Portugal\, 2013); Rome Film Festival (Italy\, 2013); Arsenal\, Institut fur Film and Videokunst e.V. (Germany\, 2014); Nouveau Cinéma de Montréal (Canada\, 2014); Les Rencontres Internationales Paris/Berlin/Madrid (France\, 2014); Serralves Museum (Portugal\, 2015); Panorama of European Cinema (Egypt\, 2015); etc. \nENCOUNTERS WITH LANDSCAPE (3X) \n2012\, 29 min\, color\, sound\, HD. North American Premiere. \nInspired by Bas Jan Ader’s film series FALL (1970-1971)\, and shot at the center of a volcanic crater referred to as Sete Cidades\, in the Portuguese archipelago of the Azores. “While filming I felt the urge to formalize landscape through language games. Landscape becomes a dangerous playground. When one is young one is daring and stupid\, you grow older and you tend to lose the daringness and get less stupid. We change the rules as we go along”-S. Lamas. \nExhibited at: Centre d’Art Contemporain Genève (Switzerland\, 2015); Tampere Film Festival (Finland\, 2015); VIS-Vienna Independent Shorts (Austria\, 2015); Museo de Arte Carrillo Gil (Mexico\, 2015); Cinéphémère-FIAC Foire Internationale d’Art Contemporain (France\, 2013); Lima Independiente (Peru\, 2014); Arsenal\, Institut fur Film and Videokunst e.V. (Germany\, 2014); FID International Film Festival\, Marseille (France\, 2013); Rencontres Internationales in Berlin\, Haus der Kulturen der Welt (Germany\, 2013); Kassel Documentary Film and Video Festival (Germany\, 2012); etc. New Talent/FNAC Award – Indie Lisboa\, 2012; Best Short Film – International Short Festival Belgium\, 2012. \nVHS – VIDEO HOME SYSTEM  \n2010-2012\, 39 min\, color\, sound\, including video footage by Cristina Lamas\, HD. North American Premiere. \nSalomé Lamas: “The embroidery draws maps\, the relation between a mother and a daughter. Time past and time present\, if all time is eternally present all time is unredeemable. ‘It was a school exercise\, I would use what was close to me\, what was domestic and you were part of it’. Fourteen years have past. I take her images; I compel her to answer me. She is the mother. She is the daughter. She is my mother”. \nExhibited at: Darb1718 (Egypt\, 2015); Circo 2.12 Cineclub Revolución (Mexico\, 2014); Transcinema (Peru\, 2014); Slowtrack Gallery Madrid (Spain\, 2013); Mar del Plata International Film Festival (Argentina\, 2013); Impakt Film Festival Utrecht (The Netherlands\, 2010); etc. \nAs a complement to the screening of ENCOUNTERS WITH LANDSCAPE (3X)\, here there is FALL II (2011)\, a 1-minute video by Salomé Lamas\, “an homage to Bas Jan Ader’s homonymous film work\, where he rides a bicycle into an Amsterdam canal”: \nSpecial thanks to the Portuguese Short Film Agency\, O Som e a Fúria\, the Collectif Jeune Cinéma\, Lincoln Center\, and MoMA. \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_text_separator title=”95 min”][/vc_column][/vc_row][vc_row][vc_column][vc_column_text] \nAbout the Filmmaker: \nSalomé Lamas (Lisbon) studied cinema and fine arts both in Portugal and Amsterdam\, and has exhibited her work widely both in the context of the art gallery and the film theater. Rather than conventionally dwelling in the periphery between cinema and the visual arts\, fiction and documentary\, she has made these languages her own\, challenging the lines between genres and modes of exhibition. Her work has been awarded and showcased at NIMK Nederlands Instituut voor Mediakunst\, BAFICI\, Museo Nacional Centro de Arte Reina Sofia\, Mar del Plata Film Festival\, Rome Film Festival\, MNAC Museu Nacional de Arte Contemporânea\, DocLisboa\, MoMA\, Guggenheim Bilbao\, Pacific Film Archive\, Milano Film Festival\, Harvard Film Archive\, Museum of Moving Images NY\, Fid Marseille\, Cinéma du Réel\, UCLA Hammer Museum\, Jewish Museum NY\, etc. Lamas has been awarded fellowships at CPH: LAB\, Rockefeller Foundation Bellagio Center\, DAAD Berliner Künstlerprogramm\, Yaddo\, and MacDowell Colony. \nAbout the curator: \nMónica Savirón (Madrid) studied Latin literature\, art history\, and journalism in Spain. She is an experimental filmmaker\, writer\, and curator whose work explores the cinematic possibilities of sound and avant-garde poetics. A Consulting Editor of the film journal La Furia Umana\, her essays about avant-garde and artists’ cinema have been published internationally. As a programmer\, she has organized shows at Microscope Gallery\, Anthology Film Archives\, and the Museum of the Moving Image in New York\, among others. Her films and videos have been exhibited at more than fifty major festivals around the world\, including Artists’ Film and Moving Image Biennial in London; EXiS\, Experimental Film and Video Festival in Seoul; Projections New York Film Festival; Internationale Kurzfilmtage Oberhausen; Edinburgh International Film Festival; ARKIPEL in Jakarta; MESSAGE TO MAN in Saint-Petersburg; and National Gallery of Art in Washington DC.  \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][/vc_column][/vc_row][vc_row][vc_column][vc_column_text] \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][/vc_column][/vc_row][vc_row][vc_column][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2016-03-20-theater-of-the-world-videos-and-installation-works/
LOCATION:UnionDocs\, 352 Onderdonk Avenue\, 352 Onderdonk Avenue\, Ridgewood\, NY\, 11385\, United States
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2016/03/HEADSHOT-MÓNICA-SAVIRÓN.jpg
GEO:40.7099952;-73.9507576
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=UnionDocs 352 Onderdonk Avenue 352 Onderdonk Avenue Ridgewood NY 11385 United States;X-APPLE-RADIUS=500;X-TITLE=352 Onderdonk Avenue:geo:-73.9507576,40.7099952
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20160324T193000
DTEND;TZID=America/New_York:20160324T213000
DTSTAMP:20260507T130110
CREATED:20160311T050000Z
LAST-MODIFIED:20181023T155908Z
UID:10001984-1458847800-1458855000@uniondocs.org
SUMMARY:Hiroshima Bound
DESCRIPTION:[vc_row][vc_column][vc_column_text] \nHiroshima Bound\nMartin Lucas • 56min. Color\, HD video\, 2015 \n“It’s my Bomb. It’s been waiting for me for sixty years…” \nHiroshima Bound is a personal documentary that tracks the construction of America’s collective memory (or lack of one) of the bombings of Hiroshima and Nagasaki. It follows the obscure histories of specific photos and photographers\, both Japanese and American\, who visited Nagasaki and Hiroshima in the aftermath of the bombings\, counterposing this visual legacy with the stories of survivors\, whose practice of speaking to small groups of students offers a modest but powerful counter-history to the official record. The film uses its maker’s own legacy as a child of the Atomic Age to look at the complexity of the representation of mass death\, and the role of the archive in the digital era\, taking viewers to the Lawrence Radiation Laboratory at Berkeley\, the International Center of Photography in New York\, and to contemporary Hiroshima\, in order to explore and ‘unpack’ the trauma and myth surrounding the culture of Hiroshima representation.[/vc_column_text][vc_column_text] \n56 min \n[/vc_column_text][vc_column_text] \n Martin Lucas is a artist\, educator and media activist. Since his first film\, Tighten Your Belts\, Bite the Bullet (with Jon Miller and James Gaffney\, NYFF 1980) about the bankrupting of NYC in the 1970s he has used the tools of film\, video and still imaging to look at social injustice in the contexts of communications\, economics and war. His work has featured at locales in Europe\, Asia and North America. His most recent film\, Cold Shutdown\, looks at citizen scientists dealing with the radiation blanketing the Fukushima region of Japan. Martin teaches documentary production\, history and theory at Hunter College\, City University of New MFA Program. \n \nReiko Tahara is an independent documentary filmmaker whose work has been exhibited across the states at festivals and art venues including SXSW\, Hawaii Int’l Film Festival\, Margaret Mead\, Walker Art Center\, Japan Society\, Pacific Film Archive\, and various Asian American film festivals\, also internationally in Brazil\, Sri Lanka\, Japan\, Canada\, Singapore\, etc. She has been a recipient of grants from NEA\, NYSCA\, Jerome Foundation\, and Center for Asian American Media\, among others\, and a few fellowships including the emerging artists overseas program from the Japanese government. She is Co-founder and Curator of the Uno Port Art Films (est. 2010)\, an annual summer outdoor film festival in Okayama\, Japan. UPAF\, with its theme of “Life\, Art\, Films\,” aims to connect unexpected dots by introducing cutting edge independent films mainly from or about underrepresented world communities to underserved rural populations in Japan. She has BA in Humanities from Waseda University in Tokyo\, MA in Media Studies from the New School for Social Research\, studied journalism at the University of Illinois at Urbana-Champaign\, and mentored under a legendary documentary professor-author Deirdre Boyle. She has taught at the New School\, Temple University (PA)\, and City College in the past\, and has been teaching at NYU and the Hunter MFA IMA since 2010. The courses taught include: documentary history and theory; documentary production; world cinema; Japanese cinema; fundraising for independent media; and new currents in documentary. \n \nJason Fox is a filmmaker and professor based in New York City. He has taught at Vassar College\, Cooper Union and at CUNY Hunter College. As well\, he has worked as a documentary programmer in conjunction with The American Museum of Natural History\, The Flaherty Seminar\, and Maysles Cinema\, among others. He also serves on the Board of Organization for Visual Progression\, an organization that partners with social justice organizations to provide training on using visual media in their advocacy efforts. He holds an MA from New York University and and MFA from CUNY Hunter College.[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/hiroshima-bound/
LOCATION:NY
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/png:https://uniondocs.org/wp-content/uploads/2016/03/Hiroshima-Bound-11.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20160326T193000
DTEND;TZID=America/New_York:20160326T213000
DTSTAMP:20260507T130110
CREATED:20160317T040000Z
LAST-MODIFIED:20181023T154729Z
UID:10001995-1459020600-1459027800@uniondocs.org
SUMMARY:Julio of Jackson Heights
DESCRIPTION:[vc_row][vc_column][vc_column_text]Julio Rivera was murdered on July 2\, 1990 in the P.S. 69 schoolyard by three young men who went out that night armed with a claw hammer\, a plumber’s wrench and a kitchen knife\, hunting for “a gay guy to stretch out.” The next day\, the press didn’t report on the homicide\, the police were looking to write the murder off as a drug deal gone bad\, and the community wasn’t going to do anything about it: business as usual in Jackson Heights where during the 70s and 80s over a dozen murders of gay men had never been solved. \nJulio of Jackson Heights is the story of how all this changed. It is the story of how a handful of people – Julio’s friends and family – decided that they would not accept the official police report\, and learned how to organize\, ultimately bringing their case to the attention of then Mayor Dinkins. And it is the story of how their actions sparked a movement that founded the Queens Pride Parade\, supported the creation of over a dozen LGBT organizations and ultimately served as the platform that elected two closedly gay candidates to the New York City Council. \nTwenty years later\, the Rivera family\, Julio’s friends\, community leaders and the police speak of the decisions they made and reflect upon the changes they set in motion. \n“In 2007\, when my father died in the same hospital in which Julio died (though under very different circumstances) I realized that I had never profoundly experienced the loss of death. And up to that point\, I had believed that asking people like Alan Sack\, Julio’s friend and ex-lover\, and Teddy Rivera\, his brother\, to talk about losing someone they loved on camera was somehow cruel and intrusive. The loss of my father made me see things differently: as the documentarian of the Parade\, I now felt obligated to at least offer them the opportunity to keep the memory of Julio and their work alive through a film. \n“I decided I would reach out to Alan and the Rivera family and got their phone numbers from a mutual friend. Less than five minutes after Danny gave me the numbers I went to Lety’s – that same bakery-café where I first learned of the Pride Parade – to sit down and make the phone calls\, and when I walked in there was Alan Sack sitting with a friend\, having a coffee. I introduced myself and this is where the film begins.” Richard Shpuntoff.[/vc_column_text][vc_column_text] \n90 min \n[/vc_column_text][vc_column_text]Born and raised in Jackson Heights\, Queens\, Richard Shpuntoff has directed a dozen short films that have screened at over 30 festivals and venues internationally including Epiphany of Returning\, Morning Dance\, In Queens my ambitious soul I bare and El Grand 97. Prior to his work in film\, he was a documentary photographer whose works include the black and white photography book God\, Gold and Glory\, and a 20 year documentary project of the Queens Pride Parade (1993 – 2012). Julio of Jackson Heights is his first feature length film. \nEdgar Rivera Colón\, Ph.D. teaches at Columbia University’s Narrative Medicine Program.  He is also Visiting Assistant Professor of Sociology and Urban Studies at Saint Peter’s University\, the Jesuit University of New Jersey. Dr. Rivera Colón is a sexuality/gender and medical anthropologist who has spent two decades engaged in training frontline African American and Latino/a LGBT HIV/AIDS preventionists in the use of ethnographic research methods in developing community-level interventions.[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2016-03-25-julio-of-jackson-heights/
LOCATION:NY
CATEGORIES:Screenings & Events
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20160327T193000
DTEND;TZID=America/New_York:20160327T213000
DTSTAMP:20260507T130110
CREATED:20160315T040000Z
LAST-MODIFIED:20181023T170926Z
UID:10001989-1459107000-1459114200@uniondocs.org
SUMMARY:CAO: Short films by Cao Guimarães
DESCRIPTION:[vc_row][vc_column][vc_column_text]In conjunction with the upcoming Cao Guimarães first solo exhibition in New York and the publication of the monograph book Cao\, UnionDocs\, Cinema Tropical and Galeria Nara Roesler\, present a special evening with the acclaimed Brazilian artist. The program includes a screening some of Guimarães’ short works\, followed by a conversation with the artist and curator Moacir dos Anjos. \nProgram \nLimbo\n2011\, 17 min. \nA place out of place\, an in-between. A hole in space and in time. Playground for the ones that came before\, those who have gone early. Eternal windy Sunday. \nNanofania\n2003\, 3 min \nSoap bubbles bursting. Flies jumping about. The beating of micro- phenomenon pulsed by a toy piano. \nQuarta-feira de cinzas\n2003\, 7 min. \nAfter the Brazilian carnival\, in the melancholy aftermath of Ash Wednesday\, the ants begin their own profane\, multicolored feast to the rhythm of matchbox samba. \nSin Peso\n2007\, 7 min \nThe air emitted from the chests of multiform voices in the flea markets is not the same air that shakes the multicolored awnings that protect the owners of those same voices from the sun and the rain. Two different weights configure the fragile life balance of the streets in Mexico City. \nConcerto para Clorofila (Concert for Chlorophyll)\n2004\, 7 min. \nThis film is a conjunction of light and shadow\, forms\, colors and textures that herald the necessary interrelationship of all that is alive and vibrant. \nInquilino (The Tenant)\n2010\, 10 min. \nThe film follows the trajectory of a soap bubble as it floats through the empty rooms of a house under renovation. The bubble never bursts as it drifts from one room to the next in a permanent state of suspension. The soundtrack by Brazilian duo O Grivo consists of the sounds of an empty house\, a human presence\, and synthesizers. \nDe Janela Do Meu Quarto (From the Window of My Room)\n2004\, 5 min. \nFrom the window of my room I’ve seen under the rain a lovely fight of two children.[/vc_column_text][vc_text_separator title=”56 min”][vc_column_text] \n\nCao Guimarães works on the crossing between the cinema and the visual arts. With intense production since the late 80s\, the artist has been collected by prestigious names such as Tate Modern (United Kingdom)\, MoMA and the Guggenheim Museum (USA)\, Fondation Cartier (France)\, Colección Jumex (Mexico)\, Inhotim (Brazil)\, Museo Thyssen-Bornemisza (Spain) and others. Is the author of nine feature films: The Man of the Crowd (2013)\, Otto (2012)\, Elvira Lorelay Alma de Drago?n (2012)\, Ex It (2010)\, Drifter (2007)\, Accident (2006)\, The Soul of the Bone (2004)\, Two Way Street (2002) and The End of the Endless (2001). Cao Guimarães has been invited to display his works at renowned international film festivals such as Cannes\, Locarno\, Sundance\, Venice\, Rotterdam and Berlin. \nIn 2011\, MoMA held a retrospective of his films. In 2014\, BAFICI (Buenos Aires) and Mexico’s Cinematheque also held retrospectives of his work. Is represented by Galeria Nara Roesler. \n\nGaleria Nara Roesler is one of the leading contemporary art galleries in Brazil\, with locations in São Paulo and Rio de Janeiro\, in addition to a new viewing room in New York. Founded in 1989 by Nara Roesler\, the gallery has consistently fomented curatorial and artistic practice through an ambitious exhibitions program\, created in close collaboration with its artists and invited curators; and has participated in major international art fairs. Firmly committed in advancing the career of its artists\, Galeria Nara Roesler collaborates in the publication of monographic books and extends continuous support beyond the gallery space. \n\nCinema Tropical is the leading presenter of Latin American cinema in the U.S. \nFounded in 2001 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 asAmores Perros and Y Tu Mamá También. \n\nThrough 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.[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2016-03-27-cao-short-films-by-cao-guimaraes/
LOCATION:NY
CATEGORIES:Screenings & Events
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20160401T193000
DTEND;TZID=America/New_York:20160401T213000
DTSTAMP:20260507T130110
CREATED:20160324T040000Z
LAST-MODIFIED:20180515T213957Z
UID:10001990-1459539000-1459546200@uniondocs.org
SUMMARY:APRIL FOOLS! TRUTH AND LIES IN DOCUMENTARY FILM  WITH PENNY LANE
DESCRIPTION:[vc_row][vc_column][vc_column_text]DOCUMENTARY / dok-yuh-men-tuh-ree / Adjective. Movies\, Television.  based on or re-creating an actual event\, era\, lifestory\, etc.\, that purports to be factually accurate and contains no fictional elements. \nHow often do we equate “documentary” with “truth\,” and is that a valid demand or an unfair restriction on the filmmaker? Director Penny Lane takes us on a raucous journey through tales of mermaids\, conspiracy theories\, quack doctors\, and her own recent “mostly-true” film\, NUTS! (Sundance 2016) to explore why we believe what documentaries tell us\, and the common creative liberties most documentary filmmakers won’t admit to having taken in order to tell a good story. Through various documentary excerpts\, including an exclusive preview of both NUTS!\, and the unique Notes on NUTS!\, an appendix of footnotes on the film\, Lane examines the perceived epistemic authority of archival materials\, and other tropes of the documentary form\, as well as the ethics inherent in the process of nonfiction storytelling.  \n \n“Lane is the answer to [the] question: who’s the great documentarian of this generation?” – The Verge \n“Will surely cement [Lane’s] status as one of the most fascinating documentarians around.” – Paper Magazine \nAbout the filmmaker: \nPenny Lane’s film NUTS! premiered at Sundance 2016\, where it won a special jury award for editing. She was named one of Filmmaker Magazine’s “25 New Faces of Independent Film” in 2012. Her debut feature-length documentary\, Our Nixon\, world premiered at Rotterdam\, had its North American premiere at SXSW\, won the Ken Burns Award for “Best of the Festival” at Ann Arbor\, and was selected as the Closing Night Film at New Directors/New Films. The film is currently in wide distribution\, and has aired on CNN\, ARTE and television outlets worldwide. Her second feature-length documentary\, NUTS!\, world-premiered in competition at Sundance in January 2016 where it won a Special Jury Prize for Editing. She has been awarded grants from Creative Capital\, Cinereach\, TFI Documentary Fund\, Jerome Foundation\, LEF Foundation\, NYSCA\, Experimental Television Center\, IFP and Puffin Foundation. She was named “Most Badass!” At the Iowa City Documentary Film Festival in 2009. Penny is currently a professor in the Department of Art and Art History at Colgate University\, where she lives in a very old house and shows movies in her barn when she is not working on new films. And yes\, Penny Lane is her real name. \n  \nAbout the moderator: \nMalika Zouhali-Worrall is an award-winning director\, producer and editor of British/Moroccan origin. She is one of the directors of the documentary film Call Me Kuchu\,  which premiered at the Berlin Film Festival in 2012\, where it won the Teddy Award for Best Documentary and the Cinema Fairbindet Prize. It has since screened at more than 150 film festivals\, and was theatrically released in North America and Europe to critical acclaim. Malika’s second film\, Thank You For Playing\, directed and produced in partnership with David Osit\, is an ITVS/POV co-production and premiered at the 2015 Tribeca Film Festival. Malika is a Chaz & Roger Ebert Directing Fellow and an alumnus of the Film Independent Documentary Lab\, the Tribeca All Access program\, the Firelight Producers Lab\, and the Garrett Scott Documentary Development Grant at Full Frame Documentary Film Festival. In 2012\, Filmmaker Magazine named Malika one of 25 New Faces of Independent Film. Malika is a graduate of Cambridge University\, and holds an M.A. in International Affairs from the Paris Institute of Political Studies (Sciences Po)\, where she studied with a full scholarship from the Entente Cordiale Scholarship Scheme. She lives in Brooklyn\, NY with her husband\, journalist Andy Greenberg. [/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2016-04-01-april-fools/
LOCATION:NY
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2014/04/ThankYouForPlaying_MalikaZouhaliWorrall_headshot.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20160407T193000
DTEND;TZID=America/New_York:20160407T213000
DTSTAMP:20260507T130110
CREATED:20160325T040000Z
LAST-MODIFIED:20180508T173518Z
UID:10002000-1460057400-1460064600@uniondocs.org
SUMMARY:SHERPA: Trouble on Everest
DESCRIPTION:[vc_row][vc_column][vc_column_text] \nCan a climber justify playing a game of Russian Roulette with a Sherpa’s life\, to make the trip of a life-time up a melting Mount Everest?\n  \nWinner of the Grierson Award at the 2015 BFI London Festival and an official selection of the 2015 Telluride Film Festival\, SHERPA: Trouble on Everest looks at how Mount Everest’s Sherpa community united in grief and anger to reclaim the mountain following this devastating avalanche in 2014\, killing 16 Sherpas.  Directed by Jennifer Peedom (“Solo”)\, SHERPA features exclusive access with members of the Sherpa community\, their families\, and western adventurers who were getting ready to climb Mount Everest before the tragic event. The film highlights this volatile time in the Everest climbing industry\, which served as a turning point for many of the Sherpas and their families as they considered whether to continue working on the mountain. \n“Visually magnificent…richly textured…packs an emotional punch” – VARIETY \n“Exquisitely crafted film” – LA TIMES \n \nSherpa\, Jennifer Peedom\, 2015\, 96 minutes\, Nepal\n\n\nAbout the filmmaker: \nJen Peedom is a BAFTA nominated director\, well-known for her gripping\, intimate portraits of people in extreme circumstances. Her credits include the internationally renowned documentaries MIRACLE ON EVEREST\, LIVING THE END and SOLO\, which played in the Official Selection of major documentary festivals including IDFA and Sheffield and won numerous awards including an AFI for Best Documentary. \n  \n  \nAbout the special guest: \nJohn Hoffman\, serves as Executive Vice President\, Documentaries and Specials for Discovery Channel\, Animal Planet\, and Science Channel.  He has oversight for all development activities for documentaries and specials\, produces original documentary programming from development through production\, commissions and acquires films and specials\, and is responsible for developing cross-platform programming. \nBefore joining Discovery\, Hoffman served as CEO of The Public Good Projects\, a non-profit production company he founded in 2013 to provide innovative media that makes complex health problems easier to understand so people can take better care of themselves and their families. His company’s first film\, Sleepless in America\, explored the sleep loss epidemic in the U.S.\, and aired on National Geographic Television in 2014. Hoffman served as both director and executive producer on the film. \nEarlier\, Hoffman was a part of HBO Documentary Films for 17 years where\, in addition to his executive role as vice president\, he most recently executive produced and directed the multiple-Emmy®-nominated The Weight of the Nation\, the groundbreaking four-part documentary series\, featuring case studies and interviews with our nation’s leading experts and the stories of individuals and families struggling with obesity. \nHoffman’s work has received numerous awards\, including five Prime Time Emmy® awards with 14 nominations. Additional honors include a Peabody Award\, two duPont-Columbia awards\, and nine News & Documentary Emmy® Award nominations\, among others. Hoffman is a graduate of Cornell University and is based in New York.[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2016-04-07-sherpa-trouble-everest/
LOCATION:NY
CATEGORIES:Screenings & Events
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20160410T193000
DTEND;TZID=America/New_York:20160410T213000
DTSTAMP:20260507T130110
CREATED:20160328T040000Z
LAST-MODIFIED:20180515T212352Z
UID:10002004-1460316600-1460323800@uniondocs.org
SUMMARY:We have to talk about heroism
DESCRIPTION:[vc_row][vc_column][vc_column_text] \nHow do we talk about heroism in our non-heroic time filled with fear of the other? One answer is to find those moments of extraordinary that co-exist within the ordinary. This is precisely the trajectory of Gluklya’s work…  \n \n“Looking for Zoya\,” by Natalya Pershina-Yakimanskaya (Gluklya) / \nRussia/ 2014/ 28 min \nThe film addresses the complexity of the issue of heroism in Putin’s Russia after the annexation of Crimea and invasion in East Ukraine in 2014. It provokes the new thoughts on the subject via imaging the figure of a frustrated American professor\, who are tirelessly running while “looking for” WWII Russian hero\, Zoya Kosmodemyanskay. He appears simultaneously longing for the luck of ritual\, heroic act and sexuality\, while interacting\, along with Chto Delat school’s students\, with locals in Russian town Tambov\, by the monument to Zoya. \n“The method of “becoming Zoya” became the subject of a collective performance\, where the participants were invited to find within themselves the core of unity in relation to the main task of the artist: overcoming ourselves for the sake of something bigger\, for the sake of a higher idea\, but somehow starting from their weakness or fear. \nIt may be that a suitable phrase here would be heroism with a human face\, otherwise how else can we apologize in an elegant way for our interest in the superman and heroism in an era when culture has completely abandoned those concepts for well-known historical reasons?” \nGluklya /Natalia -Pershina -Yakimanskaya  \nWe want to look at Zoya as a lost erotic object\, as a work of sculpture\, as something sublime. But this image calls to us with its ecstasy\, the ecstasy of militant endurance beyond the threshold of death\, beyond the phallus\, beyond gendered desire and its meager pleasures. Militant Zoya’s ecstasy is one of pure volition and will. “This is my death\, my achievement\,” she said from the scaffold (and Lidov was also protecting us when he rewrote these words as “It is happiness to die for one’s people”). I choose this extermination you would foist upon me. I will never look upon you with the pale eyes of victimhood. Nothing can be taken from the militant once she has crossed over into the territory of ecstasy. All that is left is the instrument of the will\, the body\, and its slow decomposition\, always incomplete.  \nJonathan Platt \n \n“Utopian Multi –Culti\,” by Natalya Pershina-Yakimanskaya (Gluklya)/Netherlands/ 2014/ 30 min \nThe film results from project “Utopian Union Multi Culti” Gluklya organized in Bijlmer\, a neighbourhood in Amsterdam known because of its diverse immigrant population. She invited Bijlmer inhabitants to meet and share their dreams and fears with each other. These meetings and numerous interviews that Gluklya took with them entertained the idea of utopian union in a post-utopian place: the whole neighbourhood came to life on a belief in a possibility of construction of society not upon government plans\, but upon the needs of their citizens. The film consists of several pieces\, or video-encounters\, particularly\, of those in which Gluklya visits people’s homes and ask them to describe their clothes “that have stories”. The surreal video filmed on Chroma box features people singing and realizing their dream to become a pop-singer star with the help of Utopian Union. \nAbout the guests: \n \nNatalya Pershina-Yakimanskaya (Gluklya). Born in Leningrad (now St. Petersburg)\, Russia\, Natalya Pershina-Yakimanskaya (also known as Gluklya) lives and works in St. Petersburg and Amsterdam. After graduating from the Mukhina Academy of Art and Design in Leningrad\, Russia\, textile department in 1991\, she co-founded artists’ collective The Factory of Found Clothes (FFC) with Olga Egorova (Tsaplya). FFC (1995-2012) used installations\, performance\, video\, text and “social research” to develop the concept of “fragility\,” which is understood not as “beauty\,” but invisible strength\, the ability to see things which can be easily destroyed by brutal reality of life. FFC recruited young female participants in developing a form of art that used vintage clothes and underwear – a dead empire’s waste found in the old St. Petersburg apartments inherited from grandparents – conceptualizing them through poetry and personal stories stitched into the items.  \nIn her latest projects\, Gluklya constructs situations that allow different social groups — illegal migrants and ballet dancers\, pensioners\, students\, and unemployed — to meet. This method encourages processes of self-organization\, giving all the participants equal status and allowing us to learn about the capacity of different minorities and marginal communities\, coping with difficult life situations with the help of art. Films\, such as “Utopian Multi-Culti“ and “Looking for Zoya” are resulted from the theatrical nature of those projects. \nGluklya is also a co-founder of educational and political art platform “Chto Delat\,” a group’s active member since 2003. Her work has been widely exhibited – as both an independent artist and member of collectives – at the art centers and galleries around the world\, as well as international art biennales including the 56th Venice Biennale of Art\, main project “All the World’s Futures” (2015). \nWebsites: \nwww.factoryoffoundclothes.org \nwww.chtodelat.org \nhttps://www.facebook.com/movingmuseumofclothes/ \n Julia Loktev is a Brooklyn-based independent film director. Her films include The Loneliest Planet\, Day Night Day Night\, and Moment of Impact. \nAbout the curator:  \nOlga Kclosedkina is a Belarus-born\, New York-based independent curator and art critic. Her exhibitions and projects include upcoming Feminism is Politics! at Pratt Institute\, 2016; Lenin Icebreaker Revisited\, NY Austrian Cultural Forum\, 2015; Sound of Silence: Art during Dictatorship\, EFA Project Space\, NY\, 2012; Reading Lenin with Corporations (2008-2012); Russia: Significant Other\, Anna Akhmatova Museum\, St. Petersburg\, Russia\, 2006\, Post-Diasporas: Voyages and Missions at the First Moscow Biennale\, Moscow\, 2005. Kclosedkina is a contributor to publications such as Art Journal\, Moscow Art Magazine\, ArtMargins\, Manifesta Journal\, Modern Painters\, Afterimage\, and others. She is an adjunct professor at New York University\, Steinhardt\, Department of Media\, Culture and Communication. \n[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2016-04-10-we-have-to-talk-about-heroism/
LOCATION:NY
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2016/03/DSC04891-1-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20160414T193000
DTEND;TZID=America/New_York:20160414T213000
DTSTAMP:20260507T130110
CREATED:20160330T040000Z
LAST-MODIFIED:20180515T185134Z
UID:10002009-1460662200-1460669400@uniondocs.org
SUMMARY:The Word Made Flesh - A Night with João Vieira Torres
DESCRIPTION:[vc_row][vc_column][vc_column_text] As a Brazilian artist working in France\, João Vieira Torres is keenly aware of the borders imposed upon him by his identity. More importantly\, however\, he understands that borders only exist to be transgressed. \n \n In short\, his works are intellectual\, yet sensual; provocative\, yet tender. In The Annunciation\, Torres imagines the Virgin Mary as a boy (Vieira Torres himself)\, as s/he is visited by the angel Gabriel announcing her/his conception of the baby Jesus. Le Bain offers a striking image of a catatonic Christ-like boy being washed. In The Library At Night\, words themselves take on human (or ghostly) form\, as a sleepless librarian encounters the different ghosts wandering through the bookshelves. Here\, There\, and Lisboa takes the form of a monologue spoken in half-Portuguese\, half-French. A wholly sensory experience\, we hear sentences that are brutally split in half by the two languages while images of separate body parts come together through touch.  \nLastly\, the night will be topped off by a performance piece\, Cannibal Love\, in which Vieira Torres will recite a love poem to a succession of anonymous men seeking sex through ChatRoulette. \nWork Specifics: \n– The Annunciation\, João Vieira Torres\, France\, 2010\, Digital video\, 4 minutes \n– Le Bain\, João Vieira Torres\, France\, 2010\, Digital video\, 4 minutes \n– The Library At Night\, João Vieira Torres\, France\, 2012\, 16mm\, 17 minutes \n– Here\, There\, and Lisboa\, João Vieira Torres\, France\, 2012\, Thermographic camera\, 18 minutes \n– Cannibal Love (performance)\, João Vieira Torres\, France\, 2014\, Computer with internet and speakers\, approx. 20 minutes \n  \nPress quotes: \n“[Here\, There\, and Lisboa] is akin to Malick’s work in its intent\, Lynch’s in its cinematography\, and Weerasethakul’s in its atmosphere; it is a stirring and imaginative piece of work.”- The Glass Magazine \n“[A] new iconoclast voice that I’m sure will revolutionize Brazilian cinema.”- João Pedro Rodrigues\, filmmaker (To Die Like a Man)  \n  \nJoão Vieira Torres’ film in collaboration with Tanawi Xucuru Kariri\, “Toré” will be screened  at Lincoln Center’s Art of the Real April 17th as part of Shorts Program 1.\nBio \nBorn in Recife Brazil in 1981\, João Vieira Torres lives and works in between Brazil and France. He has presented work at the Ann Arbor Film Festival\, Rencontres Internationales Paris and Berlin\, FIDMarseille\, Rencontres Internationales Documentaire Montréal\, Olhar de Cinema\, Anthology Film Archives\, Centre Pompidou\, Palais de Tokyo\, Villa Arson\, MIS São Paulo\, LABoral (Spain)\, CPH:Dox\, IndieLisboa\, Tampere Short Film Fest\, Vilnius CAC\, Alexandrina Arts Center\, St Petersburg Musuem of Photo and the Pingyao Photo Festival. \n[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2016-04-14-the-word-made-flesh/
LOCATION:NY
CATEGORIES:Screenings & Events
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20160415T100000
DTEND;TZID=America/New_York:20160417T170000
DTSTAMP:20260507T130110
CREATED:20170130T225453Z
LAST-MODIFIED:20180228T041352Z
UID:10002113-1460714400-1460912400@uniondocs.org
SUMMARY:Interactive Documentary and VR: Designing the Digital Documentary
DESCRIPTION:[vc_row][vc_column][vc_column_text]Digital technologies such as the web\, mobile devices and VR headsets have given filmmakers and media artists a new suite of tools and techniques for capturing and presenting documentary stories. Interactive screens offer the potential to more deeply engage audiences in representations of reality\, but they also force producers to give up some degree of control and allow users the choice of where to look\, what to click\, and how to experience a story. \nDesigned by Sean Flynn in collaboration with UnionDocs\, this workshop will explore the creative possibilities and challenges of making documentaries for digital platforms. In presentations and workshops led by guest speakers\, students will be exposed to a range of design strategies and production/distribution processes for making interactive\, participatory and immersive narratives\, including on emerging VR platforms like the Oculus Rift. \nThroughout the weekend\, students will have an opportunity to put these ideas into practice by developing their own concepts\, prototypes or treatments for a digital documentary project\, while refining these ideas through feedback sessions with experienced producers. They will leave better equipped to communicate their ideas to funders and potential collaborators. \nThe workshop takes place on the days before and after the Tribeca Film Institute’s “Interactive Day” conference\, giving students additional opportunities to experience the latest interactive documentary and connect with other producers.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_text_separator title=”Details” color=”white” el_class=”h1″][vc_empty_space height=”40px”][vc_tta_accordion style=”outline” shape=”square” color=”white” active_section=”8″ no_fill=”true” collapsible_all=”true”][vc_tta_section title=”Who is eligible?” tab_id=”1477608256488-ac7d3d1a-ae9063c4-8f9c”][vc_column_text]Open to everyone\, though the workshop setting is best suited for filmmakers\, interactive storytellers and producers. \nGive us an idea of who you are and why you are coming. When you register you will be asked for a short statement of interest that should briefly describe your experience in filmmaking practice and your project\, plus a bio. There’s also a spot for a link to a work sample that will be reviewed by one speaker. \nPlease note: Participants are accepted on a first-come\, first-serve basis. Focus is on discussion and workshopping students’ projects. The goal is to help you design and develop your interactive documentary. \nThis workshop is three full days; please only enroll if you can commit to the entire schedule.[/vc_column_text][/vc_tta_section][vc_tta_section title=”Cost” tab_id=”1477608256642-4c32d845-e84363c4-8f9c”][vc_column_text]$350 early bird registration by November 14th\, 2016 at 5PM. \n$400 regular registration.[/vc_column_text][/vc_tta_section][vc_tta_section title=”Refund Policy” tab_id=”1477608441051-60d28267-92bf63c4-8f9c”][vc_column_text]The deposit is non-refundable. Should you need to cancel\, you’ll receive half of your registration fee back until November 14th. After November 14th\, the fee is non-refundable.[/vc_column_text][/vc_tta_section][vc_tta_section title=”Technology Requirements” tab_id=”1477608488046-a8fa4720-501663c4-8f9c”][vc_column_text]In order to keep costs down\, this workshop is a BYOL\, i.e. bring your own laptop. Students must be fully proficient using and operating their computers.[/vc_column_text][/vc_tta_section][vc_tta_section title=”Registration & Cancellation Policy” tab_id=”1477612055387-51381642-d1c763c4-8f9c”][vc_column_text]To register for a workshop\, students must pay in full via PayPal. After the early bird registration deadline of November 14th\, 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.[/vc_column_text][/vc_tta_section][/vc_tta_accordion][vc_empty_space height=”40px”][vc_empty_space height=”40px”][vc_message message_box_style=”solid” style=”square” message_box_color=”orange”]Please note: Participants are accepted on a first-come\, first-serve basis.[/vc_message][vc_empty_space height=”40px”][vc_empty_space height=”40px”][vc_text_separator title=”Schedule” color=”white” el_class=”h1″][vc_empty_space height=”40px”][vc_row_inner][vc_column_inner][vc_custom_heading text=”Friday\, April 15: 10:00 – 5:00 pm” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_separator color=”white”][vc_column_text]FRIDAY: \nStorytelling in a User-Centered World (or: Immersive Storytelling) \n9:45 – 10:30am: Introduction \n10:30 – 11:00am: Travel to Tribeca Storyscapes (50 Varick St) \n11:00am – 12:00pm: Q&A with Kel O’Neill @ Tribeca Storyscapes (project: The Ark by Jongsma + O’Neill) \n12:00 – 1:00pm: Lunch (on your own) \n1:00 – 1:30pm: Travel back to UnionDocs \n1:30 – 3:00pm: Workshop (user-centered design\, paper prototyping) \n3:00 – 5:00pm: Presentation by Sean Flynn + viewing/discussion of VR projects \n5:00 – 5:30pm: Debrief \n[/vc_column_text][vc_empty_space height=”40px”][vc_custom_heading text=”Saturday\, April 16: 10:00 am – 5:00 pm” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_separator color=”white”][vc_column_text]SATURDAY: \nDocumentary in the Digital Age \n11:00am – 6:00pm: This day is allocated for Tribeca Film Institute’s Interactive Day. \nProgram available here: tribecafilminstitute.org[/vc_column_text][vc_empty_space height=”40px”][vc_custom_heading text=”Sunday\, April 17 – 10:00a – 5:00p” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_separator color=”white”][vc_column_text]SUNDAY:\n \nInteractive VR and Documentary Co-Creation \n10:00am – 11:00am: Workshop \n11:00am – 1:00pm: Presentation by Oscar Raby (Project: Assent)+ discussion with students\n \n1:00pm: Lunch (on your own) \n2:00pm – 4:00pm: Presentation by Francesca Panetta (Project: 6X9. An Immersive Experience of Solitary Confinement)+ discussion with students\n \n4:00pm – 5:00pm: Critique / feedback on projects / debrief[/vc_column_text][vc_empty_space height=”40px”][/vc_column_inner][/vc_row_inner][vc_empty_space height=”40px”][vc_custom_heading text=”Each day follows this general structure\, with some minor variations and substitutions:” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_empty_space height=”40px”][/vc_column][/vc_row][vc_row][vc_column width=”1/6″][vc_column_text]10:00a[/vc_column_text][/vc_column][vc_column width=”5/6″][vc_column_text]Warm up\, inspiring references\, case study\, eye training.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/6″][vc_column_text]10:30a[/vc_column_text][/vc_column][vc_column width=”5/6″][vc_column_text]Presentation by guest speaker + individual work-in-progress critique[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/6″][vc_column_text]11:45a[/vc_column_text][/vc_column][vc_column width=”5/6″][vc_column_text]Discussion[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/6″][vc_column_text]12:30p[/vc_column_text][/vc_column][vc_column width=”5/6″][vc_column_text]Share / Discussion / Exercise[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/6″][vc_column_text]1:00p[/vc_column_text][/vc_column][vc_column width=”5/6″][vc_column_text]Lunch (on your own)[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/6″][vc_column_text]2:00p[/vc_column_text][/vc_column][vc_column width=”5/6″][vc_column_text]Presentation by guest speaker + individual work-in-progress critique[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/6″][vc_column_text]3:15p[/vc_column_text][/vc_column][vc_column width=”5/6″][vc_column_text]Discussion[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/6″][vc_column_text]4:00p[/vc_column_text][/vc_column][vc_column width=”5/6″][vc_column_text]Workshop Exercise + Critique[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/6″][vc_column_text]5:00p[/vc_column_text][/vc_column][vc_column width=”5/6″][vc_column_text]Wrap Up[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”40px”][vc_text_separator title=”Bios” color=”white” el_class=” \n“][vc_empty_space height=”40px”][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”53050″ img_size=”200×200″][/vc_column][vc_column width=”2/3″][vc_column_text]Sean Flynn is the Director of the Points North Documentary Forum at Camden International Film Festival\, where he develops and produces programs that advance the work of nonfiction filmmakers and media artists. In 2015\, Sean completed a master’s degree at MIT’s Comparative Media Studies department\, where he worked as a researcher at the MIT Open Documentary Lab and wrote the thesis “Evaluating Interactive Documentaries: Audience\, Impact and Innovation in Public Interest Media.” While at MIT\, Sean co-founded the Datalore Hack and contributed writing to IndieWire\, Reverse Shot and a MacArthur-funded research report on interactive documentary and digital journalism. Sean began his filmmaking career as an Associate Producer and Co-Director of Photography on the feature documentary BEYOND BELIEF\, which premiered at the 2007 Tribeca Film Festival and aired on Sundance Channel. Sean was also a Producer on the ITVS-supported feature THE LIST\, which premiered at the 2012 Tribeca Film Festival. In 2012\, he was a Fulbright Senior Research Fellow in Mumbai\, India.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”53051″ img_size=”200×200″][/vc_column][vc_column width=”2/3″][vc_column_text]Francesca Panetta is a multi-award winning sound artist and journalist. She works for the Guardian as a Special Projects Editor leading on projects which innovate in storytelling. Working with journalists and multimedia producers\, developers and designers\, she has commissioned and directed flagship pieces such as Firestorm\, The Shirt on Your Back\, the View from the Shard\, The First World War: an interactive multilingual interactive documentary. In addition to her work at the Guardian\, Francesca works as a sound artist specialising in binaural sound design and non-linear storytelling\, usually in physical landscapes. Francesca talks around the world about digital storytelling and innovation in audio.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”53052″ img_size=”200×200″][/vc_column][vc_column width=”2/3″][vc_column_text]Oscar Raby is an award-winning multimedia artist. His work has ranged from feature documentary to installation and live performance. Oscar’s interest is in using interactive media to explore the placement of the individual experience inside larger historical narratives and how this history is built by institutions. Oscar has worked with the Memory and Human Rights Museum in Chile and the National Gallery of Victoria in Australia. His Virtual Reality immersive experience ‘Assent’\, about the Chilean dictatorship\, has been exhibited world-wide including screening at the Ocular Evolution show at the 2015 Sundance New Frontier exhibition\, and receiving the Audience Choice Award for Interactive Storytelling at Sheffield Doc/Fest 2014. Oscar is a regularly invited guest speaker at interactive art and new media festivals and symposia around the world. His artistic practise has been supported by organisations including Australia Council for the Arts\, Arts Council England and Tribeca All Access. Along with Producer Katy Morrison they run the VR production studio VRTOV from Melbourne\, Australia.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”53053″ img_size=”200×200″][/vc_column][vc_column width=”2/3″][vc_column_text]Kel O’Neill is a director\, writer and producer working at the intersection of documentary\, art and technology. He is the co-creator (with Eline Jongsma) of PBS’s Emmy-nominated\, Webby-honored interactive documentary “Empire\,” and the winner of the inaugural Tim Hetherington Visionary Award.  http://www.jongsmaoneill.com/[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_column_text]\n[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/interactive-documentary-vr-designing-digital-documentary/
LOCATION:UnionDocs\, 352 Onderdonk Avenue\, 352 Onderdonk Avenue\, Ridgewood\, NY\, 11385\, United States
CATEGORIES:Workshops & Labs
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2017/01/feature.jpg
GEO:40.7099952;-73.9507576
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=UnionDocs 352 Onderdonk Avenue 352 Onderdonk Avenue Ridgewood NY 11385 United States;X-APPLE-RADIUS=500;X-TITLE=352 Onderdonk Avenue:geo:-73.9507576,40.7099952
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20160415T193000
DTEND;TZID=America/New_York:20160602T193000
DTSTAMP:20260507T130110
CREATED:20160302T050000Z
LAST-MODIFIED:20180515T184813Z
UID:10001982-1460748600-1464895800@uniondocs.org
SUMMARY:Los Sures at Metrograph - Final Days!
DESCRIPTION:[vc_row][vc_column][vc_column_text] \nTickets available for Los Sures via Metrograph\nNo.7 Ludlow Street\, New York\, NY 10002 \n  \nFINAL DAYS!\nMay 27 – June 2\nFri\, May 27:  6:30pm \nSat\, May 28:  4:45pm \nSun\, May 29:  4:45pm \nMon\, May 30:  5:30pm \nTues\, May 31:  5:00pm \nWeds\, June 1:  6:15pm \nThurs\, June 2:  6:15pm \n  \nLos Sures\nIn the early 1980s\, Diego Echeverría 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\, Echeverría finds a thriving street culture in which music\, breakdancing\, and graffiti abound. \nLos Sures skillfully represents the challenges residents of the Southside faced: poverty\, drugs\, gang violence\, crime\, abandoned real estate\, racial tension\, single-parent homes\, and inadequate local resources. The complex portrait also celebrates the vitality of this largely Puerto Rican and Dominican community\, showing the strength of their culture\, their creativity\, and their determination to overcome a desperate situation. Beautifully restored for the 30th anniversary premiere at the New York Film Festival\, this documentary is an invaluable piece of New York City history. \n“An authenticity that has been captured by no fiction film I’ve ever seen.” \n– L.A. Weekly \n“Both an invaluable record of pre-gentrification Brooklyn and an ode to a community’s resilience.” \n– BAMcinématek \n“See this neighborhood preserved in amber.” \n– The Believer \n“Trenchant and eye-closeding.” \n– The Hollywood Reporter \nLOS SURES courtesy of the Reserve Film and Video Collection of The New York Public Library for the Performing Arts. \n  \nDiego Echeverría 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 METROGRAPH\nMetrograph is a unique experience of seeing prestigious films; of stepping into a special\, curated world of cinema\, a world of hospitality harkening back to the great New York movie theaters of the 1920s\, as well as the Commissaries of the Hollywood Studio back lots\, a world inhabited by movie professionals screening their work\, taking meetings\, watching films. It’s the ultimate place for movie enthusiasts. \nFrom exclusive premieres to rare archival print screenings\, book signings\, special dinners\, and events\, Metrograph offers experiences for a wide spectrum of audiences\, attracting diverse communities all drawn to the excitement of cinema and the magic of having a place to celebrate it. \nFounded and designed by Alexander Olch\, Metrograph projects archive quality 35mm and state of the art digital video\, and features the Commissary restaurant\, a balcony lounge\, a bookstore\, and candy shop. \nAddress: No.7 Ludlow Street\, New York\, NY 10002 \nABOUT LIVING LOS SURES\nProduced over 5 years by 60 artists at UnionDocs Center for Documentary Art\, LIVING LOS SURES is an expansive project about the Southside of Williamsburg\, Brooklyn. Known by its long-term Latino residents as Los Sures\, the neighborhood was one of the poorest in New York City in the late 70s and early 80s. In fact\, it had been called the worst ghetto in America. Today\, it is the site of a battle between local identity and luxury lifestyle. With the restoration of LOS SURES\, a brilliant work of cinéma vérité filmmaking as a starting point\, the project has developed into a collection of 40 short films\, the interactive documentary 89 STEPS\, and the cinematic people’s history SHOT BY SHOT\, demonstrating new possibilities for collaboration between an arts institution and its surrounding community to collect memories and share local culture. \n“A massive mixed-media project that defies easy categorization.” – IndieWire \n“It’s enough to make fans of the Up series salivate.” – Brooklyn Magazine \nExplore the project at http://lossur.es/[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_video link=”https://vimeo.com/157494585″][/vc_column][/vc_row]
URL:https://uniondocs.org/event/los-sures-at-metrograph/
LOCATION:NY
CATEGORIES:Screenings & Events
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20160422T100000
DTEND;TZID=America/New_York:20160424T170000
DTSTAMP:20260507T130110
CREATED:20170206T174014Z
LAST-MODIFIED:20180228T041352Z
UID:10002343-1461319200-1461517200@uniondocs.org
SUMMARY:Sound Walks - Stories Taking Place
DESCRIPTION:[vc_row][vc_column][vc_column_text]Technological developments have sparked a new generation of creative sonic experiences and uncommon tours through site-specific audio programs that are easily downloadable on mobile devices: a recorded and intimate voice guides an individual in a place and plays with the body\, the imagination\, the memory and the surroundings. \nThis seminar has been specially designed to teach and encourage audio producers and creative writers to reimagine the city\, foster their creativity and sharpen their writing skills. To produce a successful site-specific audio program many skills are required\, from research and journalism to sound storytelling to app designing\, in addition to a considerable dose of observation\, creativity and writing. \nProduced by UnionDocs in partnership with Mathilde Walker-Billaud and Pejk Malinovski\, the seminar will go into the various creative practices of site-specific audio walks and interventions. It will offer technical tools and skill sets for navigating through this medium and finding your own path in this emergent art. \nOver the course of three days\, 10 to 14 participants will learn from a team of seasoned guest speakers and practitioners — radio auteurs & producers\, performance artists\, writers\, entrepreneurs\, documentarists. The seminar will explore site-specific storytelling\, sound design\, audience engagement\, instruction-based practice and more. Workshops\, discussions\, exercises\, walks in the city (field trips) and a work-in-progress critiques will help put this new knowledge into practice. \nPejk Malinovski\, radio producer and poet\, will lead the seminar as main instructor.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_text_separator title=”Details” color=”white” el_class=”h1″][vc_empty_space height=”40px”][vc_tta_accordion style=”outline” shape=”square” color=”white” active_section=”8″ no_fill=”true” collapsible_all=”true”][vc_tta_section title=”Who is eligible?” tab_id=”1477608256488-ac7d3d1a-ae902c1a-01fa”][vc_column_text]Open to everyone. We are looking for radio producers\, media & sound artists\, app designers and writers interested in places\, audio practice and writing.\nGive us an idea of who you are and why you are coming. When you register you will be asked for a short statement of interest that should briefly describe your experience in audio practice and a project idea (if you have one)\, plus a bio. There’s a spot for a link to a work sample and CV\, which would also be nice\, but is not required.[/vc_column_text][/vc_tta_section][vc_tta_section title=”Cost” tab_id=”1477608256642-4c32d845-e8432c1a-01fa”][vc_column_text]$385 early bird registration by April 1st.\n$450 regular\nPlease note that the service charge (about 3% of the amount) is waived if payment is made via check.\nChecks can be made out to UnionDocs and mailed to 322 Union Ave\, Brooklyn NY 11211.[/vc_column_text][/vc_tta_section][vc_tta_section title=”Refund Policy” tab_id=”1477608441051-60d28267-92bf2c1a-01fa”][vc_column_text]The deposit is non-refundable. Should you need to cancel\, you’ll receive half of your registration fee back until November 14th. After November 14th\, the fee is non-refundable.[/vc_column_text][/vc_tta_section][vc_tta_section title=”Technology Requirements” tab_id=”1477608488046-a8fa4720-50162c1a-01fa”][vc_column_text]In order to keep costs down\, this workshop is a BYOL\, i.e. bring your own laptop. Students must be fully proficient using and operating their computers.[/vc_column_text][/vc_tta_section][vc_tta_section title=”Registration & Cancellation Policy” tab_id=”1477612055387-51381642-d1c72c1a-01fa”][vc_column_text]To register for a workshop\, students must pay in full via PayPal. After the early bird registration deadline of November 14th\, 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.[/vc_column_text][/vc_tta_section][/vc_tta_accordion][vc_empty_space height=”40px”][vc_empty_space height=”40px”][vc_message message_box_style=”solid” style=”square” message_box_color=”orange”]Please note: Participants are accepted on a first-come\, first-serve basis.[/vc_message][vc_empty_space height=”40px”][vc_empty_space height=”40px”][vc_text_separator title=”Schedule” color=”white” el_class=”h1″][vc_empty_space height=”40px”][vc_row_inner][vc_column_inner][vc_custom_heading text=”Friday\, April 22\, – 10:00 – 5:00p” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_separator color=”white”][vc_column_text]Day 1: Site-specific storytelling\nAm: Pejk Malinovski\nPm: Alexandra Horowitz \nThe first day of the seminar looks in-depth at the ways we can tell stories about neighborhoods and places. It will include one field trip.[/vc_column_text][vc_empty_space height=”40px”][vc_custom_heading text=”Saturday\, April 23 – 10:00a – 5:00p” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_separator color=”white”][vc_column_text]Day 2 : Itineraries\nAm: Todd Shalom \nThe second day of the intensive focuses on writing and producing participatory walks in a specific site. It will include one field trip.[/vc_column_text][vc_empty_space height=”40px”][vc_custom_heading text=”Sunday\, April 24 – 10:00a – 5:00p” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_separator color=”white”][vc_column_text]Day 3 : The listener’s experience\nAm: Kara Oehler\nPm: Abraham Burickson (Odyssey Works) \nThe third day explores the multiple ways to build an audio experience and the possible tools to interact with the walker/listener.[/vc_column_text][vc_empty_space height=”40px”][/vc_column_inner][/vc_row_inner][vc_empty_space height=”40px”][vc_custom_heading text=”Each day follows this general structure\, with some minor variations and substitutions:” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_empty_space height=”40px”][/vc_column][/vc_row][vc_row][vc_column width=”1/6″][vc_column_text]10:00a[/vc_column_text][/vc_column][vc_column width=”5/6″][vc_column_text]Warm up\, inspiring references\, case study\, eye training.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/6″][vc_column_text]10:30a[/vc_column_text][/vc_column][vc_column width=”5/6″][vc_column_text]Presentation by guest speaker + individual work-in-progress critique[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/6″][vc_column_text]11:45a[/vc_column_text][/vc_column][vc_column width=”5/6″][vc_column_text]Discussion[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/6″][vc_column_text]12:30p[/vc_column_text][/vc_column][vc_column width=”5/6″][vc_column_text]Share / Discussion / Exercise[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/6″][vc_column_text]1:00p[/vc_column_text][/vc_column][vc_column width=”5/6″][vc_column_text]Lunch (on your own)[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/6″][vc_column_text]2:00p[/vc_column_text][/vc_column][vc_column width=”5/6″][vc_column_text]Presentation by guest speaker + individual work-in-progress critique[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/6″][vc_column_text]3:15p[/vc_column_text][/vc_column][vc_column width=”5/6″][vc_column_text]Discussion[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/6″][vc_column_text]4:00p[/vc_column_text][/vc_column][vc_column width=”5/6″][vc_column_text]Workshop Exercise + Critique[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/6″][vc_column_text]5:00p[/vc_column_text][/vc_column][vc_column width=”5/6″][vc_column_text]Wrap Up[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”40px”][vc_text_separator title=”Bios” color=”white” el_class=” \n“][vc_empty_space height=”40px”][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”53378″ img_size=”200×200″][/vc_column][vc_column width=”2/3″][vc_column_text]Todd Shalom works with text\, sound and image to re-contextualize the body in space using vocabulary of the everyday. He is the founder and director of non-profit participatory walks organization\, Elastic City. In this role\, Todd leads his own walks\, collaborates with artists to lead joint walks\, and works with artists in a variety of disciplines to adapt their expertise to the participatory walk format. He often collaborates with performance artist/director Niegel Smith. Together\, they conceive and stage interactive performances in public and private environments. Todd is also a ringleader of Willing Participant. Willing Participant whips up urgent poetic responses to crazy shit that happens.\nTodd is a member of the core faculty in Pratt Institute’s new MFA in Writing. His work has been presented by organizations such as Abrons Art Center\, Brooklyn Museum\, The Invisible Dog\, ISSUE Project Room\, The Museum of Modern Art\, The New Museum\, P.S. 122 and Printed Matter. Todd is a graduate of the MFA Writing Program at California College of the Arts and also holds a B.S. in Business Administration from Boston University.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”53379″ img_size=”200×200″][/vc_column][vc_column width=”2/3″][vc_column_text]Kara Oehler is a documentary artist\, radio producer and media entrepreneur. Over the past decade\, Kara has been leading innovation at the intersection of storytelling and technology\, building new structures for creative expression and interdisciplinary collaboration. She is the Co-Founder of GoPop\, an app for juxtaposing GIFs\, photos and videos; Zeega\, the revolutionary interactive storytelling platform; metaLAB (at) Harvard\, a research center focused on network culture housed at the Berkman Center for Internet and Society; the UnionDocs Collaborative Studio\, an innovative model for documentary arts education and production; Yellow Arrow:: Capitol of Punk\, an interactive documentary tracing DC’s punk rock history; and Mapping Main Street\, the collaborative documentary produced with NPR and featuring 10\,466 streets named Main. Her Peabody award-winning radio work has aired on shows like RadioLab\, Marketplace and Morning Edition and her interactive storytelling projects have been exhibited at MoMA and SFMoMA. She’s been a creative advisor at the Sundance Institute’s New Frontiers Story Lab\, a judge for the Knight News Challenge\, a Film Study Center Fellow at Harvard’s Radcliffe Institute for Advanced Study and a Rockefeller Fellow with United States Artists. Kara also worked with Detour\, a new immersive\, location-aware mobile app for audio walks. Currently\, she’s making a film about a family in Summers County\, West Virginia.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”53380″ img_size=”200×200″][/vc_column][vc_column width=”2/3″][vc_column_text]Pejk Malinovski is a poet and documentarian. His works have aired on Public Radio\, BBC and radio stations around the world and been shown in museums and galleries. They have won prizes at festivals and competitions like Prix Europa\, Sheffield International Doc festival and Third Coast International Audio Festival. In 2012 he launched Passing Stranger\, an audio walking tour of the East Village’s poetry history. He was the co-creator and host of Thirdear\, an online audio magazine and he continues to edit and translate books for Basilisk\, a poet-run publishing house in Copenhagen. He is currently working on an audio walk about internet infrastructure in Lower Manhattan.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”53381″ img_size=”200×200″][/vc_column][vc_column width=”2/3″][vc_column_text]Alexandra Horowitz teaches psychology at Barnard College\, Columbia University. She earned her PhD in Cognitive Science at the University of California at San Diego\, and has studied the cognition of humans\, rhinoceros\, bonobos\, and dogs. For seventeen years she shared her home with an unwitting research subject\, Pumpernickel\, a wonderful mixed breed. Before her scientific career\, Horowitz worked as a lexicographer at Merriam-Webster and served on the staff of The New Yorker. She lives in New York City with her husband\, young son\, and Finnegan\, a dog of indeterminate parentage and determinate character. Her book\, On Looking: Eleven Walks with Expert Eyes\, was published January\, 2013.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”53382″ img_size=”200×200″][/vc_column][vc_column width=”2/3″][vc_column_text]Abraham Burickson is the co-founder and Artistic Director of Odyssey Works\, an interdisciplinary performance group that makes community-engaged bespoke performances for one-person audiences. Trained in architecture at Cornell University\, Burickson’s work spans writing\, design\, performance\, and sound art. For more than a decade with Odyssey Works\, he has continually sought to push the boundaries of interdisciplinarity and participatory art\, working in collaboration with poets\, actors\, sound artists\, composers\, psychologists\, designers\, architects\, filmmakers\, and more in an attempt to develop an artistic process that is as rigorous in its craft as it is devoted to the continual re-evaluation of traditional form. The New York Times has called his approach “a beautiful inefficiency.” His work has been profiled in the New York Times\, The Believer\, ArtInfo\, Fast Company\, Vulture\, the Marina Abramovic Institute’s Immaterial\, Archinect\,the Stanford Storytelling Project\, the SF Bay Guardian\, SF Weekly\, ARTE television\, Metro NY\, The Alcalde\, and elsewhere\, and he has lectured at such places as Gallaudet University\, The Brooklyn Museum\, Cornell University\, Fordham University\, The GoGame\, and Southern Exposure Gallery. Burickson was trained in Architecture at Cornell University\, and received his MFA in Poetry and Playwriting from the UT Michener Center for Writers in 2008.  In 2010\, Charlie\, a collection of his poems\, was published on Codhill Press.2013 year saw the publication of Isolation and Amazement\, a book about his 2012 New York Odyssey Works production He is the co-author (with Ayden LeRoux) of Odyssey Works: Transformative Experiences for an Audience of One\, a book about new approaches to art and performance to be published by Princeton Architectural Press in the Fall of 2016. Burickson makes his home in Baltimore\, MD.[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/sound-walks-stories-taking-place/
LOCATION:UnionDocs\, 352 Onderdonk Avenue\, 352 Onderdonk Avenue\, Ridgewood\, NY\, 11385\, United States
CATEGORIES:Workshops & Labs
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2017/02/sounds-scaled.jpg
GEO:40.7099952;-73.9507576
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=UnionDocs 352 Onderdonk Avenue 352 Onderdonk Avenue Ridgewood NY 11385 United States;X-APPLE-RADIUS=500;X-TITLE=352 Onderdonk Avenue:geo:-73.9507576,40.7099952
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20160422T193000
DTEND;TZID=America/New_York:20160422T223000
DTSTAMP:20260507T130110
CREATED:20160401T040000Z
LAST-MODIFIED:20180515T171319Z
UID:10001993-1461353400-1461364200@uniondocs.org
SUMMARY:IN THE COMPANY OF MEN
DESCRIPTION:[vc_row][vc_column][vc_column_text] \n\nHow is masculinity performed? A screening of films by William Greaves\, Nathan Silver and Mike Ott\, which use dramatization\, role­-playing and self­-presentation to investigate the American male\, now and then.\nProgrammed by James N. Kienitz Wilkins as part of the upcoming UNDOING podcast series. \n  \nOn the heels of the US premiere of Nathan Silver and Mike Ott’s ACTOR MARTINEZ (2015) at the 2016 Tribeca Film Festival\, and last year’s premiere of Silver’s group therapy drama\, STINKING HEAVEN (2015)\, come two new short films in conversation with a vastly under-seen mid-­length film by William Greaves\, whose innovative use of psychodrama as both subject matter and tool in filmmaking resonates to this day. \nIn Silver’s RIOT (2015)\, a white Jewish boy enacts a largely African­-American riot occurring in real­-time across the country\, conflating among many things\, directorial frustrations with state violence\, and the desire for a sort of power which eludes even grown men. Mike Ott’s LANCASTER\, CA (2015) is a funny and manipulative portrait of a late adolescent ne’er­-do-­well who may or may not be performing a confession about his complicated maleness. Greaves’s IN THE COMPANY OF MEN (1969) “uses psychodrama to help bridge the communication gap between a group of the so­-called ‘hard­-core unemployed’—largely Black and ‘underclass’—and the men who hire\, train and supervise them—mostly white and middle class.” Originally commissioned by Newsweek and the recipient of many film festival awards\, In the Company of Men is a management training tool\, social documentary and absorbing experiment. \n-JNKW \n  \n \nRIOT / Nathan Silver / 4 min / Video ­to ­HD / 2015 \nScreenings: Locarno IFF 2015\, New York Film Festival 2015\, Rotterdam IFF 2016\, True/False 2016 \n  \n \nLANCASTER\, CA / Mike Ott / 12:30 min / HD / 2015 \nScreenings: Vienalle 2015\, AFI Fest 2015\, Reykjavik 2015 \n  \n \nIN THE COMPANY OF MEN / William Greaves / 52 min / 16mm­ to ­DVD / 1969 / \nScreenings: Chicago IFF 1969 (winner)\, Atlanta IFF 1969 (winner)\, San Francisco IFF 1970 (winner)\, Melbourne IFF 1970\, Blue Ribbon American Festival 1970 (winner) \nIn the Company of Men and images courtesy Louise Archambault and William Greaves Productions. \n  \nAbout the filmmakers: \n  \nNathan Silver graduated from NYU’s Tisch School of the Arts in 2005. Since then he has written and directed five short films and six feature films\, including Soft in the Head (2013)\, Uncertain Terms (2014)\, and Stinking Heaven (2015). His films have played in countless festivals around the world\, including Locarno\, New York\, Rotterdam\, Viennale\, Vancouver\, AFI\, Torino\, Munich\, and BAFICI and venues including MoMA and the Film Society of Lincoln Center in New York City. \n  \n \n  \nMike Ott studied under Thom Andersen at Cal Arts where he received his MFA degree in Film/Video. Mike’s films have won numerous awards including\, an Audience Award at AFI Fest\, a Gotham Award and an Independent Spirit Award for “Someone to Watch.” \n  \n  \nWilliam Greaves (1926 ­ 2014) began his career as a featured actor on Broadway and in motion pictures. His work behind the camera earned him over 70 international film festival awards including an Emmy and four Emmy nominations. In 1980\, he was inducted into the Black Filmmakers Hall of Fame. A long­time member of The Actors Studio in New York\, William Greaves was honored by the Studio in 1980 as one the first recipients of its first Dusa award. From 1969 to 1982\, he taught acting for film and television for the late Lee Strasberg at the Strasberg Theatre Institute in New York. His directing and producing work includes the pioneering network television series Black Journal\, classic documentaries in African American history such as Ida B. Wells: A Passion for Justice (1989) and From These Roots (1974)\, as well as innovative feature films such as Symbiopsychotaxiplasm: Take One (1968) and Symbiopsychotaxiplasm: Take 2 1/2 (2005). Retrospectives of William Greaves work have been held at the Museum of Modern Art and the Brooklyn Museum in New York. \n  \nAbout the programmer: \n  \nJames N. Kienitz Wilkins is a filmmaker and artist living in Brooklyn. His work has been presented at international film festivals and venues including the New York Film Festival\, Rotterdam IFF\, CPH:DOX\, MoMA PS1\, Edinburgh IFF\, BAMcinématek\, and many more. Past movies includes the experimental documentary feature\, Public Hearing (2012)\, and the short\, Special Features (2014)\, which won the Founder’s Spirit Award at the Ann Arbor Film Festival 2015 and a Grand Prix at the 25 FPS Festival 2015. He is the 2016 recipient of LICHTER Art Award from the LICHTER Filmfest Frankfurt International.[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2016-04-22-in-the-company-of-men/
LOCATION:NY
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2016/03/Bill_Greaves.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20160428T193000
DTEND;TZID=America/New_York:20160428T223000
DTSTAMP:20260507T130110
CREATED:20160412T040000Z
LAST-MODIFIED:20180508T180254Z
UID:10002013-1461871800-1461882600@uniondocs.org
SUMMARY:Cursed Be Your Name\, Liberty
DESCRIPTION:[vc_row][vc_column][vc_column_text] \nMaldito Sea Tu Nombre\, Libertad (Cursed Be Your Name\, Liberty)\, Vladimir Ceballos\, Cuba / USA\, 1995\, 60 min \nhttps://youtu.be/E3rTSIqgTJc \nBetween 1989 and 1995 over a hundred young Cubans willingly contracted HIV by injecting themselves with each other’s blood. This was an act of political suicide\, a protest against a regime that oppressed them with systematic police brutality and dogmatic ideology. What do statistics mean? What does it do to be “out of the statistics?” You are out of history. You literally don’t count. You are an “odd ball.” You are better out of the “public” record. Of the general memory. Of the field of experience. \n“All the forms of enjoyment for young people are politicized completely. This form of recreation that we enjoy right now\, they’ll say: is thanks to Fidel\, is thanks to the revolution. The education system is so thorough in its restriction of thought and imagination that postrevolutionary generations are literally incapable of free thought. And so rebellion takes quite simple forms: disguise\, impersonation\, suicide.”–Vladimir Ceballos\,1994 \nBeginning in 1989 and up to the mid 1990s groups of young Cuban rock enthusiast [‘roqueros’ or ‘frikis’] were severely repressed by Castro’s regime\, which saw their music and aesthetic tendencies as expressions of individualism and “disidencia” against communist ideals. In response to the police’s harassment and incarceration of this sub-culture\, a significant amount of these ‘roqueros’––numbers go up to the hundreds––decided to inoculate themselves with HIV to live their short lives inside sanatoria created by the Cuban government to contain the epidemic. Maldito Sea Tu Nombre\, Libertad is a raw and urgent document of this phenomenon. Shot secretly over a weekend in 1994 with borrowed equipment this tape presents one of the few existing testimonies of a complex social tragedy that responded to political repression utilizing death by AIDS as an entrance to freedom. \n\n\n\n\n\n\n\nVladimir Ceballos is a film and video editor based in Providence\, Rhode Island. He directed the documentary Maldito Sea Tu Nombre\, Libertad in 1994 in Cuba. \n Clara López Menéndez is an art worker\, practicing in the curatorial field\, art criticism\, performance\, and other writings. She ran the BOFFO Fire Island Art Residency in 2014 and 2015\, she is the director of Dirty Looks LA\, has done projects in Berlin\, São Paulo\, and New York\, and written for a bunch of magazines including Mousse\, Art News\, Little Joe and Girls Like Us. In 2016 -17 she will present a two-part project with Andrew Kachel called A new job to unwork at (LACE\, Los Angeles; Artspace\, New Haven\, CT) and No Play\, a feminist training camp at the neue gesellschaft für bildende kunst (ngbk) in Berlin. \n\n[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2016-04-28-cursed-be-your-name-liberty/
LOCATION:NY
CATEGORIES:Screenings & Events
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20160501T193000
DTEND;TZID=America/New_York:20160501T213000
DTSTAMP:20260507T130110
CREATED:20160419T040000Z
LAST-MODIFIED:20180508T165158Z
UID:10002026-1462131000-1462138200@uniondocs.org
SUMMARY:Long Story Short
DESCRIPTION:[vc_row][vc_column][vc_column_text]Long Story Short explores the rise of poverty and income inequality in the US\, using tools of the sharing economy to amplify the voices of those most displaced and dispossessed by it. While individuals filmed in separate spaces appear in isolation\, trapped within their own video frames\, mirroring the isolating aspects of the media forms it appropriates\, words flow across the screen like a musical ensemble. This choral voice moves across a social body of common experiences and variations on shared themes\, as narrators momentarily join together\, and then splinter part. Through this process\, shared experiences and commonalities among strangers are highlighted\, instigating unexpected links\, and stipulating connections between and among strangers\, revealing that poverty\, much like social media\, is viral\, iterative\, part of a web of connected experiences. \n\n\n\nIt is through this modular and polyphonic compilation of short image fragments\, condensed from a potentially limitless archive that Long Story Short aims to reveal patterns without using abstractions\, establishing links within and across the many small\, singular\, and short stories that in their collectivity make up the ‘big picture’\, yet without subordinating the small and the singular to the collective composition. In their conjunction\, these many small frames of images and fragments of voices create something larger\, and more akin to the social\, than either each of the voices alone. In this way\, Long Story Short offers a glimpse of a different notion of the social and the collective\, distinct from that of social media\, which appeals to the most precious of human values\, that is solidarity and compassion\, with all its possibilities and potential still to be realized. \n\nAwards: \n– Cinéma du réel Grand Prize \n– Second Prize\, “Documentary Feature” 2016 Athens International Film + \nVideo Festival. \nWorld premiered at Museum of Modern Art Doc Fortnight 2016 \n\n\nABOUT \nNatalie Bookchin is an artist whose work explores some of the far-reaching consequences of the digital on a range of spheres including aesthetics\, labor\, leisure\, and political speech. \nHer media works have received national and international acclaim and are exhibited and screened widely\, including at LACMA\, PS1\, Mass MOCA\, the Walker Art Center\, the Pompidou Centre\, MOCA Los Angeles\, the Whitney Museum\, the Tate\, and Creative Time. \n\nShe has received numerous awards including from Creative Capital\, California Arts Council\, the Guggenheim\, the Durfee Foundation\, the Rockefeller\, California Community Foundation\, Daniel Langlois Foundation\, the Center for Cultural Innovation\, a MacArthur Foundation Film Grant\, and most recently a NYSCA Individual Artist award among others. \nBookchin was on the faculty of the Photography & Media Program at CalArts in Los Angeles from 1998–2015\, chair and co-chair of the program for seven years. She currently lives in Brooklyn and is a professor of Media and Associate Chair in the Visual Arts Department at Mason Gross School of the Arts at Rutgers University. \n\n\n \n  \n  \nTHE STANDBY PROGRAM\, INC. is a non-profit media arts service organization founded in 1983. Standby’s mission is to foster the creation and preservation of media art work by democratizing access to media technology\, providing technical information and consultation\, and creating resources which advance the development of the field as a whole. Standby provides artists and independent makers access to state-of-the-art media services at affordable rates. Standby is an innovative program that allows the arts community access to the resources of the private sector. The program operates out of several top-rated media post-production studios located in New York City. These facilities drastically discount their rates for Standby clients by as much as 25 -85% off list prices. \n\n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_video link=”https://vimeo.com/145783029″][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2016-05-01-long-story-short/
LOCATION:NY
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2017/09/Jill-Godmilow.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20160505T193000
DTEND;TZID=America/New_York:20160505T220000
DTSTAMP:20260507T130110
CREATED:20160504T040000Z
LAST-MODIFIED:20180417T213132Z
UID:10002137-1462476600-1462485600@uniondocs.org
SUMMARY:Personal Documentary with Caveh Zahedi and The New School
DESCRIPTION:  \nIndependent Filmmaker Caveh Zahedi teaches a personal documentary class at the New School and will be at UnionDocs (along with his students) to present their work. \nFree and closed to the public \n8:00pm \nThursday\, May 5th\nFull Program: 91 minutes\nPROGRAM DETAILS: \nFather \nThe Stepfather by Jazmin Jones (3:00)  \nAsleep by Sage Smith (2:00) \nMother \nUntitled 04 by Andy Egelhoff (5:00)  \nMom by Michele Mansoor (3:00)  \nEcstatic by Jazmin Jones (3:00) \nFriend/ Sibling \nKole by Sage Smith (2:00) \nForbidden Games by Yeelen Cohen (2:30) \nLove Life \nMy Love Be Like by Stella Sender (2:00) \n? by Yeelen Cohen (3:00) \nWhy We Broke Up by Jazmin Jones (3:00) \nBody \nJust a Game by Sienna Fekete (2:00) \nIn the Shower by Sage Smith (2:30) \nBody by MIchele Mansoor (4:00) \nBaby Phat by Stella Sender (2:00) \nBlack Nose\, Jew Nose by Yeelen Cohen (2:00) \nMosquito Bites by Roxana Barbosa-Pereira (1:00) \nPeriod Piece by Jazmin Jones (5:00) \nMoney \nDaddy’s Money by Esha Mehta (1:00) \nThe Quilt by Sienna Fekete (4:00) \nGirl by Michele Mansoor (3:00) \nLang Makes Money Off of Me by Yeelen Cohen (3:00) \nFear \nClass by Esha Mehta (1:00) \nMonotony by Sienne Fekete (1:30) \nSecond Guess by Smith McLean (1:00) \nDAPS by Jazmin Jones (5:00) \nShame \nMoments That Made Me Love You by Sage Smith (2:30) \nMy Princess by Michele Mansoor (3:00) \nLIES by Smith McLean (3:00) \nWhat A Shame by Stella Sender (1:30) \nP by Roxana Barbosa-Pereira (2:00) \nMedium Rare by Samantha Groff (3:00) \nIndividual \nIn Union Square by Sage Smith (1:00) \nUTI by Samantha Groff (3:00) \nSex with Me by Stella Sender (3:00)
URL:https://uniondocs.org/event/2016-05-05-caveh-zahedi-new-school/
LOCATION:NY
CATEGORIES:Workshops & Labs
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20160509T193000
DTEND;TZID=America/New_York:20160509T210000
DTSTAMP:20260507T130110
CREATED:20160418T040000Z
LAST-MODIFIED:20180417T203923Z
UID:10002023-1462822200-1462827600@uniondocs.org
SUMMARY:What You Get Is What You see: Towards a Politics of Listening
DESCRIPTION:[vc_row][vc_column][vc_column_text] \n \nSince 2010 Lawrence Abu Hamdan has been dedicated to understanding the role of voice in law and the changing nature of testimony in the face of new regimes of border control\, algorithmic technologies\, medical sciences\, and modes of surveillance. His projects have taken the form of audiovisual installations\, performances\, graphic works\, photography\, Islamicsermons\, cassette tape compositions\, texts\, forensic audio analysis\, advocacy\, expert testimony and even potato chip packets.  For the 2016 season of “What You Get Is What You See“\, Abu Hamdan will present a body of work that attempts to define a politics of listening\, that moves away from classic notions of advocacy and of giving people a voice. A politics of listening that does not simply seek to amplify voices but attempt to redefine what constitutes speech itself. \n  \nAbout \nLawrence Abu Hamdan is an artist\, “private ear\,” and currently a fellow at the Vera List Center for Art and Politics at the New School\, NYC. The artist’s forensic audio investigations are conducted as part of his research for Forensic Architecture at Goldsmiths\, College University of London\, where he is also a PhD candidate. His solo exhibitions include\, Earshot at Portikus Frankfurt (2016); (Taqiyya) at Kunsthalle St Gallen (2015); Tape Echo (2013/14) at in Beirut in\, Cairo\, and at Van AbbeMuseum\, Eindhoven; The Freedom Of Speech Itself (2012) at The Showroom\, London; and The Whole Truth (2012) at Casco\, Utrecht. Additionally his works have been exhibited and performed at The New Museum Triennial (2015)\, The Shanghai Biennial (2014)\, and at the The Whitechapel Gallery\, the MACBA Barcelona\, Tate Modern London\, Museu d’Art Contemporani de Barcelona (MACBA)\, and the Museum of Modern Art Antwerp (MuHKA) Antwerp. \n  \n \nMathilde Walker-Billaud trained and worked as an art editor in Paris. She was a Program Officer for the Book Office at the French Embassy and for Villa Gillet in the USA. She is now an independent curator and cultural producer based in New York City. \n  \n  \n  \nWhat You Get Is What You See: A Series On Spectatorship  \nIn What You Get Is What You See\, Mathilde Walker-Billaud invites artists and writers to show us how to become more active\, more engaged–and perhaps better–spectators. The speakers share their experiences and personal observations as viewers\, readers\, watchers\, listeners and audience members of visual and performance arts\, graphic design\, radio\, TV and cinema. Through their trained gaze and skilled sensitivity\, they disturb and displace our perception of contemporary culture and expose spectatorship as an everyday dynamic act. \n\n\n\n[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2016-05-09-politics-of-listening/
LOCATION:NY
CATEGORIES:Screenings & Events
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20160511T193000
DTEND;TZID=America/New_York:20160511T193000
DTSTAMP:20260507T130110
CREATED:20160503T040000Z
LAST-MODIFIED:20180424T191019Z
UID:10001999-1462995000-1462995000@uniondocs.org
SUMMARY:Brooklyn Barrio: Short Films Inspired by Los Sures
DESCRIPTION:[vc_row][vc_column][vc_column_text] \nTickets available for program via Metrograph\nA collection of award-winning short documentaries by fellows in the UnionDocs Collaborative Studio that were inspired by Diego Echeverria’s documentary Los Sures from 1984. These films look at the local flavors of the Southside neighborhood of Williamsburg\, Brooklyn today. Featured filmmakers: Maria Rosa Badia\, Elizabeth Warren\, Danya Abt\, and Sebastian Diaz will be in attendance for post-screening Q+A discussion. \n\nBrooklyn Barrio: Short Films Inspired by Los Sures (70 min.)\nFor Sale in Los Sures (2013) \nby Andrew Hinton Federica Sasso and Maria Rosa Badia \nMicro films about things you can buy in the Southside of Williamsburg. \nBrooklyn Cupcake (2012) \nby Oresti Tsonopoulos \nA Latino family joins forces to start a vibrant cupcake shop in Los Sures. \nLa Marqueta (2012) \nby Elizabeth Lawrence and Sonia Gonzalez \nSo much to learn from a long-standing Latino marketplace. \nRooted/Uprooted (2014) \nby Sam Richardson\, Danya Abt\, and Elizabeth Delaune Warren \nA family-owned flower shop brings Los Sures together in ritual\, memory and celebration. \nComo Preparar Patitas de Cerdo (2013) \nby Tamer Hassan\, Constanza Mirré\, Maria Rosa Badía \nA look into the neighborhood through a unique culinary tradition. \nToñita’s (2014) \nby Beyza Boyacioglu and Sebastian Diaz \nA  portrait of the last Puerto Rican social club in Los Sures. \n\nABOUT LIVING LOS SURES\nProduced over 5 years by 60 artists at UnionDocs Center for Documentary Art\, LIVING LOS SURES is an expansive project about the Southside of Williamsburg\, Brooklyn. Known by its long-term Latino residents as Los Sures\, the neighborhood was one of the poorest in New York City in the late 70s and early 80s. In fact\, it had been called the worst ghetto in America. Today\, it is the site of a battle between local identity and luxury lifestyle. With the restoration of LOS SURES\, a brilliant work of cinéma vérité filmmaking as a starting point\, the project has developed into a collection of 40 short films\, the interactive documentary 89 STEPS\, and the cinematic people’s history SHOT BY SHOT\, demonstrating new possibilities for collaboration between an arts institution and its surrounding community to collect memories and share local culture. \n“A massive mixed-media project that defies easy categorization.” – IndieWire \n“It’s enough to make fans of the Up series salivate.” – Brooklyn Magazine \n“One of the most comprehensive\, incredible and in-depth interactive projects we at the film society have ever seen.” —The New York Film Festival \nExplore the project at http://lossur.es/[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/brooklyn-barrio-at-metrograph/
LOCATION:NY
CATEGORIES:Screenings & Events
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20160512T193000
DTEND;TZID=America/New_York:20160512T213000
DTSTAMP:20260507T130110
CREATED:20160426T040000Z
LAST-MODIFIED:20180424T190531Z
UID:10002132-1463081400-1463088600@uniondocs.org
SUMMARY:I Am Still Here (Sigo Siendo)
DESCRIPTION:[vc_row][vc_column][vc_column_text] \nSigo Siendo is about music but not a story just about musicians\, is a film about a hidden country. I was born in Peru and lived the most important part of my life in Lima\, that great city where families came from all corners of the country. Millions of people landed in the coastal capital leaving their communities\, their culture\, their sounds. The great migration that began in the forties and fifties turned Lima and its slums in a place of refuge for the other Peru\, who came in search of a better life. Here they found a new life but not always what they sought. This film is about those people who came to the big city and never parted with their identity\, which kept singing in their language\, that maintained a unique way of playing the guitar\, violin\, harp\, box drum\, a way to tell stories\, to say who they are. From music and from the great masters of our music\, the film tells the diversity of Peruvian culture\, the complexity of the country\, its past and its present. The film is a story of return\, the characters return to their places of origin where they composed their first songs. Personally this documentary is also for me a way to return a debt to a country I left behind\, a place to tell and sing. — Javier Corcuera (Director). \n  \n“I AM STILL HERE (Sigo Siendo) is not a musical film\, it’s a film about music and silence\, tradition and change\, the struggle to heal social wounds and vindication\, humanity and nature and the overall syncretic reality of a country that still needs to come to terms with that. \nThe montage struggles from time to time to carry some of the characters but this is a minor issue in a complex mise-en-scène and what amounts to a commendable effort to pack the vastness that is Peru into under two hours.” — Úrsula Cox for Spanish Review Club. \n\nAbout the filmmaker: \n\nJavier Corcuera is a Peruvian director\, who has been dedicated to documentary filmmaking since his first film\, released in 1994. Corcuera films cover a gamut of themes and span the globe\, but are connected by common thread– righting wrongs\, and bringing to light violations of human rights. Each of his films including Winter in Baghdad\, filmed during the American occupation in Iraq\, won top prize at the Malaga (Spain) Film Festival and Best Documentary Film at the International Latino Film Festival of Los Angeles; The Back of the World\, has it’s US premiere at the Sundance Film Festival and won the Critic’s Prize at the San Sebastian Film Festival. His film Invisible  produced by Javier Bardem won the Goya Award Spanish Film Academy Best Documentary. In 2005 Corcuera founded the FiSahara Film Festival in the Polisario Refugee Camps in the liberated zone of Morocco. The festival just celebrated it’s 10th anniversary. \n\nAbout the moderator:\nPaco de Onís grew up in several Latin American countries and is multi-lingual. Most recently\, de Onís produced Skylight Pictures’ film Disruption\, about women’s economic empowerment in Colombia\, Peru and Brazil. In 2011 he produced Granito: How to Nail a Dictator (world premiere at Sundance 2011)\, a documentary detective story focused on the role of filmic and archival documentation in the prosecution of a genocide case against Guatemalan generals\, and launched Granito: Every Memory Matters\, a companion mixed media project developed to restore the collective memory of the Guatemalan genocide.  One year after the release ofGranito: How to Nail a Dictator\, the dictator of the title was charged with genocide and put on trial in Guatemala. Paco also served as the producer on Skylight’s film The Reckoning: The Battle for the International Criminal Court (world premiere Sundance 2009)\, a documentary accompanied by IJCentral\, an interactive audience engagement initiative promoting global rule of law\, developed at the BAVC Producer?s Institute in 2008. Prior to that\, he produced State of Fear\, a Skylight Pictures film about Peru?s 20-year “war on terror” based on the findings of the Peruvian Truth and Reconciliation Commission. Paco the Executive Director at Skylight. Prior to his work at Skylight he produced documentaries for PBS (“On Our Own Terms” with Bill Moyers)\, National Geographic (“Secrets from the Grave”)\, and a range of other programs. Before producing television documentaries\, he created music festivals in South America & the Caribbean\, renovated and operated an arts/performance theater in Miami Beach\, (The Cameo Theater) and owned and operated a Spanish-style tapas tavern in a 500-year old colonial house in Cartagena\, Colombia. \n[/vc_column_text][vc_video link=”https://youtu.be/Ll1XUprnVzU”][vc_video link=”https://youtu.be/WFzmD1bvfmU “][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2016-05-12-still-here-sigo-siendo/
LOCATION:NY
CATEGORIES:Screenings & Events
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20160513T193000
DTEND;TZID=America/New_York:20160516T233000
DTSTAMP:20260507T130110
CREATED:20160412T040000Z
LAST-MODIFIED:20180424T190050Z
UID:10002017-1463167800-1463441400@uniondocs.org
SUMMARY:Every Fold Matters
DESCRIPTION:[vc_row][vc_column][vc_column_text] \nTickets available via Eventbrite\nLocation: UnionDocs – 322 Union Avenue\, Brooklyn\, NY 11211 \nMay 13th – May 16th\n  \nFri\, May 13 8:00pm \nSat\, May 14 8:00pm \nSun\, May 15 3:00pm \nMon\, May 16 8:00pm \n  \n \nEvery Fold Matters is a live performance with film that looks at the charged\, intimate\, unseen and underpaid work of cleaning other people’s clothes in a public space. As told by employees inside a neighborhood laundromat\, this hybrid performance uses heightened dialogue and gestural choreography to reveal personal stories of dirt\, stains\, money\, exposure\, identity\, and immigration. \nIn keeping with its mission to educate\, illuminate and motivate audiences with a wide-ranging view of workers\, their lives and their struggle for dignity and fair wages\, the Workers Unite Film Festival will present the premiere of a new expanded Every Fold Matters. This hybrid documentary and fiction event is the co-creation of experimental filmmaker Lynne Sachs and playwright Lizzie Olesker who spent a year gathering stories from laundromat workers and customers. This genre-bending event is an ode to the communal exchange and cultural crossroads of the neighborhood laundry\, a place that is fast disappearing from many gentrifying urban areas. Every Fold Matters unfolds on May 13\, 14\, 15 and 16 at Union Docs with acclaimed downtown actors Ching Valdes-Aran\, Jasmine Holloway\, Veraalba Santa\, and Tony Torn\, design by Chris Maltby\, film editing by Amanda Katz\, producing by Nick McCarthy and original music derived from the sounds of a real\, working laundromat by Stephen Vitiello. \n \n  \nAn interview with Lynne Sachs and Lizzie Olesker by Emily von Hoffman from Pixel Magazine\n–This could be a story about gentrification (as laundromats dwindle in number)\, gendered work and invisible workers\, the periodic strangeness of life in New York\, or the taboo of airing one’s actual dirty laundry in public. The laundry workers perform a private task in a public space\, and therefore are allowed to observe private details of their customers’ lives. Because of this\, it seems like you decided to frame this story primarily as one about intimacy. Would you say that’s accurate\, and can you elaborate more on how these themes will manifest in the film? \n–OLESKER & SACHS: The array of quotidian experiences that each of us has as city dwellers is astonishing. Restaurant customers walk into French bistros or Japanese sushi bars and expect to be transported by the tastes of the food\, the unfamiliar music and the exotic objects on the walls. But still\, there remains a quality of distance between the cook and the person who eats her food. In a nail salon\, a woman bows down to color and file her customer’s toes. These experiences are an inherent aspect of the social contract that structures city life. In a laundromat\, there is also a very specific and precise closeness that develops. When you bring your shirts and pants to the store to have them cleaned by someone\, you are literally sharing your “dirty secrets.” The fabric is like a new epidermal layer that connects you to a total stranger who becomes responsible for this extension of your body. We are trying to convey something about this link between total strangers through the abstracted textures\, the choreographed movements and\, of course\, the texts of “Every Fold Matters”. Our research for the original performance and now the film\, began with a year long series of informal interviews with Spanish\, Chinese (we worked with a wonderful translator) and sometimes English speaking workers in laundries in Brooklyn and Manhattan. This immersive documentary-style engagement also revealed to us how precarious this service industry has really become. Several of the stores where we have performed our piece have closed – to be replaced by more lucrative\, less personal apartment buildings or businesses. \n \n“The legacy of domestic work\, the issues surrounding power\, and the exchange of money for services are all potent themes which rise to the surface and bubble over in dramatic\, thrilling escalations of the everyday.” \n–Brooklyn Rail \n“Spotlights the often-invisible workers who fold the clothes\, maintain the machines and know your secrets.” \n–In These Times \n“The intersection of film and performance\, reality and imagination\, employee and customer\, historical fact and personal anecdote…You made us rethink the laundromat as a site of urban convergence\, where strangers (of different races\, religions\, languages and classes) make ritualistic visits to a public space that’s also a functional extension of their own homes.” \n–Alan Berliner\, filmmaker \nEVERY FOLD MATTERS has received support from New York State Council on the Arts\, The Guggenheim Foundation\, Brooklyn Arts Council\, Lower Manhattan Cultural Council (through Dirty Laundry/Loads of Prose)\, Women and Media Coalition Award\, and Fandor FIX Filmmakers. \nProduction \nLizzie Olesker (co-director) presented her solo piece Tiny Lights: Infinite Miniature at the New Ohio Theater and Invisible Dog in Brooklyn. She was an Audrey Fellow with New Georges\, with her new play Embroider Past. Other plays have been presented at Dixon Place\, Brave New World Repertory\, Clubbed Thumb\, the Cherry Lane Theater and the Public. Published in the Brooklyn Rail and Heinemann Press\, she’s received support from the Brooklyn Arts Council\, New York Foundation for the Arts and the Dramatists Guild. Also worked with the Talking Band (at the Ohio Theater and at Here) and teaches playwriting at Tisch/NYU and the New School. \nLynne Sachs (co-director) makes films and performances that explore the intricate relationship between personal observations and broader historical experiences by weaving together poetry\, collage\, painting\, politics and layered sound design. Fascinated by the interplay of live performance and the moving image\, Lynne produced a theatrical version of her hybrid documentary Your Day is My Night in alternative spaces around New York City. Lynne is a 2014 Guggenheim Fellow in the Creative Arts. She will be a visiting artist at Princeton University in 2016. www.lynnesachs.com \nAndrew Tilson (executive producer) received his MA in Labor Studies from The Murphy Institute of CUNY in 2011. His admiration for all struggles for workplace dignity led him to form the Workers Unite Film Festival in 2012. Since then\, he has partnered with CUNY\, SVA\, Workmen’s Circle\, Penn South in Chelsea and other organizations to promote and screen films from around the world that celebrate global labor solidarity. www.workersunitefilmfestival.org \nStephen Vitiello (music) is an electronic musician and sound artist Stephen Vitiello who transforms incidental atmospheric noises into mesmerizing soundscapes that alter our perception of the surrounding environment. He has composed music for independent films\, experimental video projects and installations\, collaborating with such artists as Nam June Paik\, Tony Oursler\, Pauline Oliveros\, Taylor Deupree and Ryuichi Sakamoto. This is Stephen’s fourth collaboration with EFM co-director Lynne Sachs. Stephen teaches in the department of Kinetic Imaging at Virginia Commonwealth University. www.stephenvitiello.com \nSean Hanley (cinematographer) is a non-fiction filmmaker based in Brooklyn\, New York. His short works have screened at the Ann Arbor Film Festival\, the Edinburgh International Film Festival\, the New Orleans Film Festival. Sean teaches cinematography at Hunter College and was a cinematographer and co-producer on Lynne Sachs’s Your Day is My Night (2013). Sean is a MFA candidate in Integrated Media Arts at Hunter College. \nAmanda Katz (editor) works professionally as a film editor and is currently working with Lynne Sachs to craft her latest feature film. Her own work has screened at the Ann Arbor Film Festival\, Doc NYC\, Encuentros del Otros Cine Festival International\, and Microscope Gallery. Her most recent film received funding from the New York State Council on The Arts and The Austrian Cultural Forum in New York. Amanda is a MFA candidate in Integrated Media Arts at Hunter College. \nChris Maltby (live performance technical design) serves as Director of Technical Services for The Workers Unite Film Festival\, now in its fifth year in NYC. When not writing scathing film critique for publications like Bleeding Cool or Showbusiness Weekly\, he is also  Executive Director for The Movie Filth! and CEO of Rest Easy Custom Installations. When not doing any of these\, you can find him working behind the wood\, slinging cocktails at his new restaurant Bar Truman. \nNick McCarthy (live performance producer) serves as Operations Manager and a Programmer at NewFest\, NY’s LGBT Film Festival\, as well as a film curator at The Tank. He has written about film for such publications as Slant Magazine\, Time Out New York\, and The Boston Phoenix\, and has covered The New York Film Festival\, the Toronto International Film Festival\, New Directors/New Films\, SXSW\, and the Tribeca Film Festival. \n \nCast \nJasmine Holloway (performer) is a singer and actress who has performed in productions at the Harlem Repertory Theatre as well as in the highly acclaimed Generations at Soho Rep. Jasmine was nominated for the Richard Maltby Jr. Award for Musical Theatre Excellence during the 2013 Kennedy Center College Theatre Festival. \nVeraalba Santa (performer) is an actress and dancer and a member of Caborca Theater. She has degrees in Theater and Dance from the University of Puerto Rico and the Neighborhood Playhouse School of the Theater. In New York City\, Veraalba has worked with Sally Silvers\, Rojo Robles\, Viveca Vazquez and Rosa Luisa Marquez. \nTony Torn (performer) was last seen on stage in the title role of Ubu Sings Ubu at B.B. King’s\, a rock opera adaptation of Alfred Jarry’s Ubu Roi which he created and co-directed. An actor and director known for his extensive work with Reza Abdoh and Richard Foreman\, Tony recently made his Broadway debut in Breakfast At Tiffany’s. \nChing Valdes-Aran (performer) is an Obie award-winning actor who has appeared on and off Broadway\, including The Public Theater\, New York Theater Workshop\, La Mama\, Women’s Project\, CSC\, Mabou Mines\, Ma-Yi Theater Company\, La Jolla\, Center Stage\, Yale Rep\, and ACT.   Her film work includes roles in Lav Diaz’s From What is Before (Golden Leopard Award\, Locarno Int’l Festival)\, Julie Taymor’s Across the Universe and Ira Sachs’ Little Men. \n \nAbout The Workers Unite Film Festival \nThe Workers Unite Film Festival features student and professional films from both the US and around the world. These films highlight and publicize the struggles\, successes and daily lives of workers in their efforts to unite and organize for better living conditions and social justice. \nMore information:http://www.workersunitefilmfestival.org/ \n[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2016-05-13-16-every-fold-matters/
LOCATION:NY
CATEGORIES:Screenings & Events
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20160519T193000
DTEND;TZID=America/New_York:20160519T213000
DTSTAMP:20260507T130110
CREATED:20160506T040000Z
LAST-MODIFIED:20180424T180142Z
UID:10002001-1463686200-1463693400@uniondocs.org
SUMMARY:The City Machine (Máquina de Cidade)
DESCRIPTION:[vc_row][vc_column][vc_column_text] \nIn Brasília\, Contradições de Uma Cidade Nova\, the film’s narrator speaks of “satellite or dormitory cities” that “grow horizontally\, according to obsolete urbanistic plans\, the very opposite of Brasilia.” This program maps both the official city of monumentalist gestures and the zones that fall outside of any dominant urban imaginary. These films track not only how given spaces and structures can generate or promote patterns of behavior\, but also the adaptive strategies invented by residents and laborers. These films constitute counter-histories of the urban situation\, and their discursive richness is reflected in the diversity of their soundtracks\, which range from polemical narration to interviews to source sound to more essayistic ruminations. \n  \n \nBrasília\, Contradições de Uma Cidade Nova\, Joaquim Pedro de Andrade\, Brazil\, 1967\, 23′ \nA film about the “contradictions” of Brazil’s new national capital\, co-written by a filmmaker\, an architect\, and a film critic. Commissioned but subsequently rejected by the Olivetti company and considered missing for decades until a copy was found hidden in the archives of the Museum of Modern Art\, Rio de Janeiro. \n  \n \nForma Livre\, Clara Ianni\, Brazil\, 2013\, 7′ \nDuring the construction of Brasilia\, a workers strike was brutally repressed by the police force\, killing more than 100 laborers. Lucio Costa\, the city’s urban planner\, and Oscar Niemeyer\, its architect\, were asked about the event years later. The accompanying images are based in Costa’s sketches and Marcel Gautherot’s photographs of Brasilia’s construction. \n \nFaixa de Pedestres\, Corpos Informáticos\, Brazil\, 2013\, 4′ \nCorpos Informáticos does not make urban intervention – it makes urban composition…. If art is life\, it composes and decomposes. In the streets and alleys\, it develops disorder so that the passerby becomes a wanderer. (Bia Medeiros\, founding member of Corpos Informáticos) \n \nE\, Alexandre Wahrhaftig / Miguel Antunes Ramos/ Helena Ungaretti\, Brazil\, 2013\, 17′ \nParking as non-being (an old cinema\, a vacant lot\, a construction site\, the ruins of residences). A film that seeks to map this empty space. (Juliano Gomes) \n  \n \nMind the Gap\, Cristian Silva-Avária\, Brazil\, 2012-2014\, 12′ \n“A video-essay that proposes a reflection on the experience of the temporal dimension in contemporary societies\, in contrast to those subjects who remain on the margins of the current chrono-political imposition.” (Cristian Silva-Avária) In Germany\, Brazil\, and Chile: time as human labor\, as automated system\, as geological history. \n  \n \nEl hueco\, Carlos Silva\, Chile\, 2013\, 9′ \nThree people in a small empty place of the city stress from the point of view of the absurd\, the notion of urban landscape with the territory of ideology\, design and the forms of economy for their survival. \nABOUT \n \nFederico Windhausen is a film scholar and curator based in Buenos Aires. Most recently he curated “El Pueblo: Searching for Contemporary Latin America\,” the Theme section for the International Short Film Festival Oberhausen\, consisting of 8 programs and 53 films. In 2015 he presented the films of Marie Louise Alemann at TIFF Bell Lightbox (Toronto)\, the London Film Festival\, and Cine Tonalá (Mexico City). His writing has been published in October\, Hitchcock Annual\, MIRAJ\, Millennium Film Journal\, Senses of Cinema and others. He is editing A Companion to Experimental Cinema and writing a book on Argentine experimental film. \nPaula Halperin Assistant Professor of Latin American History\, Purchase College BA\, University of Buenos Aires; PhD\, University of Maryland Paula Halperin\, a specialist in the history of Latin America\, earned her BA with honors at the University of Buenos Aires and her PhD in history at the University of Maryland. Her doctoral thesis examines film and photojournalism in mid-20th-century Argentina and Brazil. Halperin’s research and teaching interests include visual culture studies as well as the social history of the Americas. \n\nFilm Festival Oberhausen  \nThe 62nd International Short Film Festival Oberhausen takes place from May 5th-10th\, 2016\, featuring five competitions (International\, German\, NRW\, Children’s and Youth Films and the MuVi Award) and a number of special programmes. \nCinema Tropical is the leading presenter of Latin American cinema in the U.S. Founded in 2001 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\n[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2016-05-19-city-machine/
LOCATION:NY
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2016/05/20-mind-the-gap.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20160520T100000
DTEND;TZID=America/New_York:20160522T170000
DTSTAMP:20260507T130110
CREATED:20170130T222543Z
LAST-MODIFIED:20180228T041352Z
UID:10002331-1463738400-1463936400@uniondocs.org
SUMMARY:Cinematography Weekend Intensive: Higher Visions within Lower Budgets
DESCRIPTION:[vc_row][vc_column][vc_column_text]Today’s most innovative cinematography is happening within micro and small budget cinema. Contemporary cinematographers are inspired by these constraints to push toward new ways of filmmaking. \nThis weekend workshop will provide hands-on classes and lectures geared toward practical application of the strategies used by top cinematographers in documentary and fiction filmmaking. \nThe workshop will be lead by Yoni Brook (Spirit Award for Cinematography nominee “Valley of Saints”)\, who will lead discussions with guest instructors Omar Mullick (These Birds Walk)\, and Paul Yee (The Fits)\, Nadia Hallgren (Trouble The Water\, Trapped\, Citizen Koch)\, Luke Geissbuhler (Borat)\, Michael Simmonds (Man Push Cart\, Chop Shop) Sessions will be structured as masterclasses\, consisting of screenings from each cinematographer’s work\, followed by discussions to break down the specific story approaches and tools. We’ll investigate the fluidity between fiction and documentary filmmaking\, and how techniques from each genre can be applied toward the other. \nParticipants in the workshop should be intermediate to advanced practitioners of cinematography\, either as a working professionals or advanced students. Participants should come prepared to present examples of their work for feedback and discussion from the visiting lecturers and fellow participants. \nThis workshop is three full days; please only enroll if you can commit to the entire schedule.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_text_separator title=”Details” color=”white” el_class=”h1″][vc_empty_space height=”40px”][vc_tta_accordion style=”outline” shape=”square” color=”white” active_section=”8″ no_fill=”true” collapsible_all=”true”][vc_tta_section title=”Who is eligible?” tab_id=”1477608256488-ac7d3d1a-ae903860-fcff”][vc_column_text]Open to everyone\, though the workshop setting is best suited for intermediate to advanced practitioners of cinematography and filmmaking \nGive us an idea of who you are and why you are coming. When you register you will be asked for a short statement of interest that should briefly describe your experience in filmmaking practice and a project in progress\, plus a bio. There’s a spot for a link to a work sample and CV\, which would also be nice\, but is not required. \nFocus is on screening\, discussion and workshopping with guest speakers and participants. The goal is to help the students define and develop a strong cinematography strategy for their current and future film projects.[/vc_column_text][/vc_tta_section][vc_tta_section title=”Cost” tab_id=”1477608256642-4c32d845-e8433860-fcff”][vc_column_text]$350 early bird registration by November 14th\, 2016 at 5PM. \n$400 regular registration.[/vc_column_text][/vc_tta_section][vc_tta_section title=”Refund Policy” tab_id=”1477608441051-60d28267-92bf3860-fcff”][vc_column_text]The deposit is non-refundable. Should you need to cancel\, you’ll receive half of your registration fee back until November 14th. After November 14th\, the fee is non-refundable.[/vc_column_text][/vc_tta_section][vc_tta_section title=”Technology Requirements” tab_id=”1477608488046-a8fa4720-50163860-fcff”][vc_column_text]In order to keep costs down\, this workshop is a BYOL\, i.e. bring your own laptop. Students must be fully proficient using and operating their computers.[/vc_column_text][/vc_tta_section][vc_tta_section title=”Registration & Cancellation Policy” tab_id=”1477612055387-51381642-d1c73860-fcff”][vc_column_text]To register for a workshop\, students must pay in full via PayPal. After the early bird registration deadline of November 14th\, 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.[/vc_column_text][/vc_tta_section][/vc_tta_accordion][vc_empty_space height=”40px”][vc_empty_space height=”40px”][vc_message message_box_style=”solid” style=”square” message_box_color=”orange”]Please note: Participants are accepted on a first-come\, first-serve basis.[/vc_message][vc_empty_space height=”40px”][vc_empty_space height=”40px”][vc_text_separator title=”Schedule” color=”white” el_class=”h1″][vc_empty_space height=”40px”][vc_row_inner][vc_column_inner][vc_custom_heading text=”Friday\, May 20. 10 am” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_separator color=”white”][vc_column_text]Day I \nLecture I: Cinematography: a creative process \nA personal introduction by Yoni Brook. Examining his own career and influences\, Brook will introduce micro-budget cinematography\, and the creative possibilities embodied within limitations. \nLecture II: Relationships \nWith cinematographer and filmmaker Nadia Hallgren\, we’ll talk about the methods of verite documentary filmmaking. We’ll explore how cinematographers build relationships with our subjects in front of the camera\, as well as directors and producers on the creative team. \nGuest Speaker: Nadia Hallgren\, cinematographer of Trouble The Water\, Trapped\, Citizen Koch\, Tough Love\, War Don Don and The New Black.[/vc_column_text][vc_empty_space height=”40px”][vc_custom_heading text=”Saturday\, May 21 – 10:00a” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_separator color=”white”][vc_column_text]Day II \nWorkshop I: Lighting \nWith limited resources\, cinematographers must improvise ways of conveying emotion with lighting and camera positions. We’ll discuss strategies of lighting and camera placement with an emphasis on pre-production with cinematographer Paul Yee. We’ll conduct a brief hand-ons workshop about creating lighting schemes on a limited budget. \nGuest Speaker: Paul Yee\, cinematographer of The Fits\, Bob’s Burgers Live The Movie\, and HBO’s East of Main Street. \nLecture III: On Location \nLuke Geissbuhler has shot projects requiring high degrees of precision as well as documentaries produced within uncontrollable contexts (Buck\, Borat\, Urbanized). We’ll explore situations from his filmography where he has maximized limited budgets (including sending a homemade balloon to the edge of space). \nGuest speaker: Luke Geissbuhler: cinematographer of Borat\, Buck\, Helvetica\, Urbanized and narrative features\, including Match\, with Sir Patrick Stewart.[/vc_column_text][vc_empty_space height=”40px”][vc_custom_heading text=”Sunday\, May 22 – 10:00a ” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_separator color=”white”][vc_column_text]Day III \nWorkshop II: Handheld camera \nWe’ll examine strategies for using the handheld camera as a storytelling device. With guest Omar Mullick we’ll conduct a handheld workshop out on the streets of Brooklyn. Students should bring camera (or even a mobile phone) to shoot a sample scene for discussion. \nGuest speaker: Omar Mullick: director and cinematographer of These Birds Walk. Clients HBO\, VICE\, CNN\, PBS\, Discovery and The Gates Foundation. \nLecture IV:  Genre \nWith Michael Simmonds\, we’ll discuss the differences between shooting documentary and narrative features. Michael has shot documentaries that look like narrative features (Project Nim) and narrative features that look like documentaries (Chop Shop\, White Girl\, Paranormal Activity 2) We’ll discuss each genre’s cinematic conventions\, and how the cinematographer can subvert them to shape the narrative. \nGuest Speaker: Michael Simmonds\, Cinematographer of Man Push Cart\, Chop Shop\, Big Fan\, White Girl\, and documentaries The Order of Myths and Project Nim.[/vc_column_text][vc_empty_space height=”40px”][/vc_column_inner][/vc_row_inner][vc_empty_space height=”40px”][vc_custom_heading text=”Each day follows this general structure\, with some minor variations and substitutions:” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_empty_space height=”40px”][/vc_column][/vc_row][vc_row][vc_column width=”1/6″][vc_column_text]10:00a[/vc_column_text][/vc_column][vc_column width=”5/6″][vc_column_text]Warm up\, inspiring references\, case study\, eye training.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/6″][vc_column_text]10:30a[/vc_column_text][/vc_column][vc_column width=”5/6″][vc_column_text]Presentation by guest speaker + individual work-in-progress critique[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/6″][vc_column_text]11:45a[/vc_column_text][/vc_column][vc_column width=”5/6″][vc_column_text]Discussion[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/6″][vc_column_text]12:30p[/vc_column_text][/vc_column][vc_column width=”5/6″][vc_column_text]Share / Discussion / Exercise[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/6″][vc_column_text]1:00p[/vc_column_text][/vc_column][vc_column width=”5/6″][vc_column_text]Lunch (on your own)[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/6″][vc_column_text]2:00p[/vc_column_text][/vc_column][vc_column width=”5/6″][vc_column_text]Presentation by guest speaker + individual work-in-progress critique[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/6″][vc_column_text]3:15p[/vc_column_text][/vc_column][vc_column width=”5/6″][vc_column_text]Discussion[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/6″][vc_column_text]4:00p[/vc_column_text][/vc_column][vc_column width=”5/6″][vc_column_text]Workshop Exercise + Critique[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/6″][vc_column_text]5:00p[/vc_column_text][/vc_column][vc_column width=”5/6″][vc_column_text]Wrap Up[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”40px”][vc_text_separator title=”Bios” color=”white” el_class=” \n“][vc_empty_space height=”40px”][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”53029″ img_size=”200×200″][/vc_column][vc_column width=”2/3″][vc_column_text]Yoni Brook is a director and an Independent Spirit Award-nominated cinematographer. He shot his first feature film\, VALLEY OF SAINTS\, winner of the Audience Award at the 2012 Sundance Film Festival\, with a makeshift crew under a military curfew in Kashmir. He is the cinematographer of Syeed’s upcoming feature film A STRAY (SXSW ‘16). As a cinematographer\, he has also collaborated with directors Sam Green\, Matt Wolf\, Marilyn Ness\, Eric Gottesman\, and Pacho Velez. In collaboration with Musa Syeed\, he has directed three documentary films: BRONX PRINCESS (PBS POV\, Berlinale)\, THE CALLING (PBS Independent Lens)\, and A SON’S SACRIFICE (PBS Independent Lens\, Winner Best Documentary Short at the Tribeca Film Festival).[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”53032″ img_size=”200×200″][/vc_column][vc_column width=”2/3″][vc_column_text]Omar Mullick is a film director and cinematographer known for his work on the 2013 feature film THESE BIRDS WALK. In 2012\, Filmmaker Magazine named Omar one of the 25 New Faces of Independent Film. Premiering at SXSW in 2013 and distributed theatrically by Oscilloscope Laboratories\, THESE BIRDS WALK went on to be named as one of the best films of the year by the New Yorker Magazine\, Indiewire\, and Sight + Sound Magazine. It currently ranks as one of the best ever rated documentaries on Rotten Tomatoes. Trained as a photographer\, Omar’s work was published in The New York Times\, Foreign Policy Magazine\, National Geographic and TIME\, receiving awards from the Doris Duke Foundation\, the Western Knight Center for Journalism\, Annenberg and Kodak. In 2009 he was granted a solo show of his photographs titled ‘Can’t Take It With You’ at the Gallery FCB in Chelsea\, New York. His current work as a cinematographer and director includes as clients HBO\, VICE\, CNN\, PBS\, Discovery\, Al Jazeera America and The Gates Foundation.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”53034″ img_size=”200×200″][/vc_column][vc_column width=”2/3″][vc_column_text]Paul Yee is a cinematographer based in New York City. He recently lensed The Fits (Venice 2015\, Sundance 2016\, New Directors/ New Films 2016)\, Anna Holmer’s debut narrative feature. It will be released by Oscilloscope Laboratories in the summer of 2016. He has worked on the award-winning HBO documentary series East of Main Street since its inception in 2010. He is also the additional cinematographer for It’s Me\, Hilary: The Man Who Drew Eloise (Sundance 2015). He has shot music videos for artists ranging from Aimee Mann to ZZ Top which have gone on to screen at film festivals such as SXSW and the LA Film Festival. Paul has also shot short-form documentaries for the Whitney Museum\, MOMA\, and the New Museum and worked on a variety of commercial projects for clients such as L’Oreal\, DIRECTV\, and Clear Channel.  He is an avid cook and food photographer\, which has led him to direct and/or shoot for Barilla\, Sabra\, and Campbell’s. Prior to becoming a cinematographer\, Paul spent several years as a gaffer on independent films\, experience that provided him with a strong technical background in lighting.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”53036″ img_size=”200×200″][/vc_column][vc_column width=”2/3″][vc_column_text]Nadia Hallgren is an award winning filmmaker and cinematographer from the Bronx\, New York with over a decade of experience working across 5 continents. She has DP’d numerous feature films including the Academy Award nominated and Sundance grand jury prize winner Trouble the Water\, Trapped\, Citizen Koch\, Tough Love\, War Don Don\, and The New Black. Hallgren has also contributed photography to Fahrenheit 9/11\, Searching for Sugarman\, The Hunting Ground\, Suited\, Southern Rites and How To Dance in Ohio. Nadia has worked closely with top documentary filmmakers including\, Sharmeen Obaid-Chinoy\, Joe Berlinger\, Morgan Spurlock\,\, and recently co-directed a short film with Laura Poitras. Nadia specializes in cinema verite and was trained under the tutelage of KIrsten Johnson. Hallgren is a Sundance Fellow\, a Cinereach fellow\, and an alum of International Center of Photography. Nadia serves on the board of the Bronx Documentary Center\, a non-profit organization dedicated to sharing photography and film with underserved Bronx Communities.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”53037″ img_size=”200×200″][/vc_column][vc_column width=”2/3″][vc_column_text]Luke Geissbühler has excelled as a cinematographer in nearly all genres of filmmaking with over 25 feature films\, 20 documentaries\, and countless television shows\, commercials\, and web content to his name. His achievements include having shot Borat\, the documentaries Buck and Helvetica\, as well as Sir Patrick Stewarts’s tour de force performance in the film Match.  He has been entrusted to photograph the most beautiful women in the world working with Victoria’s Secret consistently for many years.  Luke became unexpectedly world renowned when he and his eight year old son launched a camera into astonishing near space in a homemade capsule\, as seen in the short filmSpace Balloon.  A native New Yorker and self taught engineer\, he received a Bachelor of Fine Arts from New York University’s Tisch School before starting his career at R/GA doing special effects and tabletop photography.  Since then\, he has traveled the globe many times over to orchestrate elaborate shoots for OK Go\, The Muppets\, Nike\, Amazon\, Adam McKay\, Doug Liman\, Barry Levinson\, and Katherine Bigelow\, among many others.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_column_text]\n[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/cinematography-weekend-intensive-higher-visions-within-lower-budgets-2/
LOCATION:322 UNION AVE\, BROOKLYN\, NY\, 11211\, United States
CATEGORIES:Workshops & Labs
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2017/01/MG_1839-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20160529T193000
DTEND;TZID=America/New_York:20160529T213000
DTSTAMP:20260507T130110
CREATED:20160513T040000Z
LAST-MODIFIED:20180409T192606Z
UID:10002145-1464550200-1464557400@uniondocs.org
SUMMARY:On Performing: Pereda & Piñeiro (Greatest Hits & Viola)
DESCRIPTION:[vc_row][vc_column][vc_column_text] \nDOUBLE FEATURE: two beguiling films about performance and the realities it engenders. \nAmong the many schisms dividing the cinema world\, the split between documentary and fiction seems to be the harshest. Yet\, as long as a film features a human subject\, it will always rely on the performance of the subject to engender the reality depicted. The veracity/truthfulness of a performance may be questioned\, but rarely do we doubt its effects. Here\, we present two films that explicitly problematize the effectiveness of performance and attempt to ask whether or not it matters? \nNicolás Pereda’s Greatest Hits begins as a fiction film about a mother-and-son duo whose routine is shattered when the son’s father intrudes into their lives after a long absence. This reality is soon displaced when a different actor is brought in\, midway through the film\, to portray the father figure\, creating a mise-en-abyme of recreated memories. At the opposite end of the spectrum is Matías Piñeiro’s Viola\, which begins with an already-fractured reality. As an all-women theater troupe rehearses Love’s Labour’s Lost\, the performance of the play starts to gain a reality of its own and identities are gradually replaced/displaced within/without the play. (Daniel Hui) \n“Nicolás Pereda has distinguished himself as one of Mexico’s most treasured young writer-directors.” (Film Society of Lincoln Center) \n“A rising star of contemporary Mexican cinema” (Haden Guest\, Harvard Film Archive) \n \nGreatest Hits\, Nicolás Pereda\, Mexico\, 2012\, HD\, 103 minutes \nFestivals: \n\nFestival del Film Locarno (international competition)\nFestival International du Film La Roche-Sur-Yon 2012 (awarded Grand Prize of Ciné+ Jury) \nTIFF Cinematheque. Toronto – Retrospective “Where Are the Films of Nicolas Pereda?”\n\n“[Piñeiro’s] most outstanding film to date” (Quintín\, Cinema Scope) \n“Wonderfully inventive … A triumph of narrative imagination and bottom-line ingenuity” (Manohla Dargis\, The New York Times). \n \nViola\, Matías Piñeiro\, Argentina\, 2012\, HD\, 65 minutes \nFestivals: \n\nToronto International Film Festival\nBerlin International Film Festival\nBuenos Aires Festival Internacional de Cine Independiente (BAFICI) (awarded FIPRESCI Prize)\nNew Directors/New Films\, Film Society of Lincoln Center\n\n  \n  \nPARTICIPANTS \n \nNicolás Pereda was born in 1982. He has directed 12 films that have been exhibited in festivals like Cannes\, Berlin\, Venice\, Locarno\, Rotterdam and Toronto. His work has also been exhibited in museums like MoMA\, Guggenheim and Reina Sofia. He was given his first retrospective by Cine las Americas in Austin\, Texas in 2010\, following others held in Jeonju\, Anthology Film Archives\, Harvard Film Archive\, Madrid\, Berkeley\, Vancouver\, Seattle and San Francisco. He is currently the director of the Rutgers Filmmaking Center. \n \nMatías Piñeiro born in Buenos Aires in 1982\, studied at la Universidad del Cine. Piñeiro started as an assistant director in various short films and feature films. In 2006 he was one of eleven directors in the collective feature\, Regarding Buenos Aires\, and in 2007 he screened his first feature\, The Stolen Man\, winning the Best New Director Award in Las Palmas Film Festival and the Best Film in Jeonju International Film Festival. In 2009\, he finished his second They All Lie and in 2010 he has joined the 11º Jeonju Digital Project with his film Rosalinda. He has since made two other feature films\, Viola and The Princess of France\, released to great acclaim around the world. \nDaniel Hui is a filmmaker and writer. A graduate of the film program in California Institute of the Arts\, his films have been screened at film festivals in Rotterdam\, Hawaii\, Manila\, Seoul\, Bangkok\, and Vladivostok. His writings have been published in prominent cinema journals\, including the Cinematheque Quarterly of the National Museum Singapore. He is the contributing editor to the Network for the Promotion of Asian Cinema (NETPAC) online journal\, Cinemas of Asia.  He is also one of the founding members of 13 Little Pictures\, an independent film collective whose films have garnered critical acclaim all around the world. He recently won the Special Jury Award at the TFFDoc section of the Torino Film Festival for his second feature film Snakeskin. \n[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2016-05-29-nicolas-pereda-matias-pinero/
LOCATION:NY
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/png:https://uniondocs.org/wp-content/uploads/2016/05/viola.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20160602T193000
DTEND;TZID=America/New_York:20160602T213000
DTSTAMP:20260507T130110
CREATED:20160513T040000Z
LAST-MODIFIED:20180409T220036Z
UID:10002141-1464895800-1464903000@uniondocs.org
SUMMARY:Radio Diaries: Diary of a Saudi Girl
DESCRIPTION:[vc_row row_type=”row_full_center_content”][vc_column][vc_column_text][su_spoiler title=” GET TICKETS” class=”my-custom-spoiler”] Oops! We could not locate your form.  [/su_spoiler]  \nRadio Diaries: Diary of a Saudi Girl \n \nIn a country where women aren’t allowed to drive\, Majd Abdulghani wants to be a scientist. From the age of 19 to 21\, Majd has been chronicling her life with a microphone\, taking us inside a society where the voices of women are rarely heard.  She records herself practicing karate\, conducting experiments in a genetics lab\, and fending off pressure to accept an arranged marriage. In her audio diary\, Majd documents everything from arguments with her brother about how much she should cover herself in front of men\, to late night thoughts about loneliness\, arranged marriages\, and the possibility of true love. \nFor 20 years\, Radio Diaries has been giving people tape recorders and working with them to report on their own lives and histories for public radio. With this approach\, Radio Diaries has helped create a new form of citizen journalism and has produced some of the most acclaimed and innovative documentaries ever heard on NPR. When it comes to Radio Diaries\, “The characters grab you\, their stories crackling with passion and truth”\, according to The Washington Post. Ira Glass says: “Radio Diaries stories do the rarest thing that any kind of journalism does. They truly make us see what it would be like to live someone else’s life.” \nIn this program at UnionDocs\, Radio Diaries will pull back the curtain on the unique process of producing audio diaries\, and will present their latest diary\, from a young woman in Saudi Arabia\, in its entirety. Radio Diaries Executive Producer Joe Richman and Producer Sarah Kate Kramer will facilitate a discussion after the screening. \n\nParticipants \n \nSarah Kate Kramer joined Radio Diaries as a producer in the summer of 2012. Sarah first got hooked on collecting stories as a StoryCorps facilitator\, then traveled the world with a microphone for a few years before settling down in her hometown of New York City. She was a Fulbright Fellow in Morocco\, where she produced radio stories and an oral history project. Before coming to Radio Diaries\, she was the editor of Feet in 2 Worlds and a freelance reporter for WNYC Radio and other outlets. \n  \nJoe Richman is a Peabody Award-winning producer and reporter and the founder of Radio Diaries\, a non-profit organization. For almost two decades\, Radio Diaries has helped to pioneer a model for working with people to document their own lives for public radio. Joe has collaborated with teenagers and octogenarians\, prisoners and prison guards\, gospel preachers and bra saleswomen\, the famous and the unknown. Award-winning productions include: Teenage Diaries\, Prison Diaries\, My So-Called Lungs\, New York Works\, Thembi’s AIDS Diary\, Mandela: An Audio History\, Willie McGee and the Traveling Electric Chair\, and Teen Contender. Joe also teaches at Columbia University’s Graduate School of Journalism. The LA Times called Joe “a kind of Studs Terkel of the airwaves.”[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2016-06-02-radio-diaries/
LOCATION:NY
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2016/05/diary-of-a-saudi-girl-e1523302189493.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20160604T193000
DTEND;TZID=America/New_York:20160605T040000
DTSTAMP:20260507T130110
CREATED:20160523T040000Z
LAST-MODIFIED:20180320T150805Z
UID:10002154-1465068600-1465099200@uniondocs.org
SUMMARY:Collaborative Studio Preview in the Park + Party: Just To Get By
DESCRIPTION:[vc_row row_type=”row_full_center_content”][vc_column][vc_column_text]Over the past nine months\, twelve fellows in the UnionDocs Collaborative Studio (CoLAB) have developed short documentaries for a new project entitled\, JUST TO GET BY. This collection focuses on the creative solutions and exceptional sacrifices made ordinary at a time in NYC when\, by many measures\, inequality is increasing. Multiple perspectives on this central theme are considered: from health care and disability\, to homelessness and the 24 hr service economy\, from police brutality and the right to memorial after death\, to access to the internet and support from spiritual communities. Examples have been found in people across the city who’s personal actions\, both everyday and at times difficult imagine\, enrich our shared social fabric and create new definitions of opportunity. \nIn recording and producing these stories\, images\, and sounds\, CoLAB fellows have also been challenged to resist conventional approaches to the filmmaker-subject relationship\, seeking modalities that might extend or complicate the idea of individual authorship. Some projects have involved adaptations of works by other artists and craftspeople outside of the group\, while others have forged creative partnerships across perceived boundaries of generation\, race or class. The resulting body of work grapples with the ideal of equality and realities of difference\, in process as well as product. \nTo celebrate this new work\, a special public preview will be held at The Farm on Kent (320 Kent Ave)\, a riverside green-space situated with an incredible view of the Williamsburg Bridge on Saturday June 4th starting at 8:30pm. \nStay tuned for updates to the timeline for the night! The programs will be preceded by festive drinks\, food and performances followed by an after-party over at UnionDocs. \nSchedule: \n7:30pm – 8:15pm (closed Bar): Reception with complimentary beer from Lagunitas and food from Sazon Perez\, suggested donation. \nFeaturing a performance by artists John Bjerklie\, Matt Blackwell and others: \nIn an effort to paint a portrait of every person in the world by the end of the 21st century\, Super Duper Pleinaire Painter “BigHat”\, under the direction of John Bjerklie and with the help of Matt Blackwell and other visiting artists\, will be painting in a LIVE on TV performance with the use of the “Portrait Painting Video Machine”\, a device that operates through the alchemical mashup of analog surveillance cameras\, shellac\, TV monitors\, paint and canvas. \n8:15pm – 9:30pm (Sunset): Program 1 of short films from the UnionDocs Collaborative Studio \nThe program will be proceeded by two films from Brooklyn Prep High School Students\, who created trailers as part of a six-week course on the basics of film production. They were introduced to the fundamentals of documentary filmmaking and collaborative production using UnionDocs’ Living Los Sures project as a model. The resulting films are: \nA Day in the Life of a Teenager in Southside (1:46min) by Cristina Figueroa\, Mariana Garcia\, Danielle Marshall\, Elazia Skinner \nInterviews with teenagers who either attend school or live in Williamsburg and their thoughts about the neighborhood. \n9 Stops (3:06min) by Maribel Garcia and Nayelis Lopez \nA personal film about the daily commute between Bushwick and Williamsburg and the differences between the neighborhoods. \n9:30pm – 9:45pm: Break  \n9:45pm – 10:45pm: Program 2 of short films from the UnionDocs Collaborative Studio \n11:30pm – 4:00am: after-party at UnionDocs\, 322 Union Ave\, Brooklyn NY 11211 \nWith DJ set by Stewey Decimal  \nABOUT THE UNIONDOCS COLLABORATIVE STUDIO \nThe UnionDocs Collaborative Studio is a fellowship program for non-fiction media research and group production. It seeks to bring together individual talents\, voices\, and stories to create multi-dimensional documentaries. For the past 10 months\, fellows have been immersed in research\, idea generation\, planning\, recording\, edits\, critiques\, and re-edits. Teams were formed around a set of select proposals\, which all moved through the stages of production in tandem. In addition to this production work\, fellows engage in masterclasses\, seminars\, and workshops on the history\, theory and practice of documentary arts. Applications for the 2018 Collaborative Studio will closed in January.   \n2016 Project Details\n \nAlphabet on Air\nIn Alphabet City\, a group of filmmakers began broadcasting podcasts from inside a tiny glass box. \nAlphabet on Air is a cinematic collage of collective memory\, of process and of the people who came. \n\nCo-Directors: Carly Anne Kenneally & James Nguyen \nEditor: Patrick Offenheiser \nCo-Producers: Ann Chen\, Carly-Anne Kenneally & James Nguyen \nBroadcasters: Beata Calinska\, Ann Chen\, Sarah Jacobson\, Carly-Anne Kenneally\, \nJames Nguyen & Patrick Offenheiser \n\n\n  \n\nFeatured artwork by: \nLori Der Hagopian \nLuis Mitchell \nJohn Bjerklie \nMatt Blackwell \nWhat Will You Leave Behind \n\n \nThe Big Party on the Other Side \n  \n“The Big Party on the Other Side” follows Rosalee Grable as she comes to terms with her impending death\, while reflecting on her relationship with her family\, her mental illness and her last wish\, to be buried in New York City’s pauper cemetery\, known as Hart Island. \nDirector: Jenny Catherall \nCinematographer: Livia Vonaesch \nAdditional Camera: Jenny Catherall \nEditor: Carly Anne Kenneally \nAdditional Editing: Jenny Catherall \nSound: Jenny Catherall\, Carly Anne Kenneally\, Livia Vonaesch \nMusic: Fraser Campbell \nFeaturing an except from Rosalee Grable’s “Pages From the Book of Life” \n \nComing Soon\nA short visual essay exploring the geography of internet infrastructure in New York City\, how it is charted and situated in our urban landscape as seen through the different people who build it\, research it and use it. \nDirector: Ann Chen \nCinematography: James Nguyen\, Ann Chen \nEditor: Beata Calinska \nSound: Angel Urrutia\, James Nguyen\, Ann Chen \nMusic: Todd Brozman \nContent Advisor & Illustrator: Ingrid Burrington \nAdapted from Ingrid Burrington’s book and project “Seeing Networks in New York: a field guide to Internet infrastructure” \n\nHave No Fear\nLed by founder and choreographer\, Adia Whitaker\, The Ase Dance Theatre Collective prepares a piece in New York City on police brutality\, as a form of resistance\, a way to empower their community and pass lessons of strength to their children through performance. \nCo-directors: Beata Calinska & Sarah Jacobson in collaboration with Adia Whitaker \nDirector of Photography: Tracie Williams \n2nd Camera Operator: James Nguyen \nSound and Editing: Sarah Jacobson\, Beata Calinska \nAdditional Camera: Sarah Jacobson and Beata Calinska \n \nIt’s All Academic\nA black guy and a white guy who hate racism join forces to make a film together. As their relationship deepens and their cliche personas unravel\, the film takes a life of its own. \n\n  \n\nDirector\, Writer:  Jon Appel \n Writer\, Co-Director:  James Calinda \n Sound:  Emile Klein \n Camera:  Angel Urrutia \n Editor:  Sarah Jacobson \n Second Camera:  Jenny Catherall \n\n  \n \nLove you Madly\n\nLove you Madly is an experimental documentary film shaped by the encounters and conversations with Mr. Steve Cannon – a playwright\, mentor\, poet\, and retired professor – who has been a fixture in the Lower East Side art scene since the 1960’s. \nDirector: Tracie Williams \nCreative Consultant: Angel Urrutia \nProducer: Carly Anne Kenneally \nSound Design: Emile Klein \nDirector of Animation: Jon Appel \n\nMoved Every Way \n\nDrifting through the boroughs of New York\, a LGBTQ church\, surviving on meager funds and with no place to call its own\, holds itself together with labor and devotion. Moved Every Way reveals the work it takes for a church to survive and why its members refuse to let it disappear. \nDirection: Emile Klein (Sound) – Patrick Offenheiser (DP) \nEditing: Jon Appel \n 2nd Camera and Sound: Beata Calinska – Livia Vonaesch \n \n\nNight Shift. Every Day!\n\nRay has not taken a night off in 43 years. His day is our night. \nSometimes Whitney and Arya come and help him in his 24-hours candy store. Why did it become a second home for them? \nAudio-diaries will give us an intimate view of this micro-cosmos on Avenue A. \nDirector: Livia Vonaesch \nCinematographer: Livia Vonaesch \nSecond Camera: Jenny Catherall \nSound: Jenny Catherall\, Emile B. Klein\, Livia Vonaesch \nEditor: Ann Chen \nMusic: Cam Scott \n\n\nWith support from: \nThe Municipal Art Society of New York (MAS) is a leading independent advocacy organization that inspires\, educates\, and empowers New Yorkers to engage in the betterment of their city. This year\, MAS welcomes you to join Celebrating the City: Jane Jacobs at 100\, a celebration dedicated to legendary urban activist Jane Jacobs on the 100th anniversary of her birth.[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2016-06-04-just-get-preview-park-party/
LOCATION:NY
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2016/05/20824215804_c62021cb09_k-e1464043297611.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20160609T193000
DTEND;TZID=America/New_York:20160609T213000
DTSTAMP:20260507T130110
CREATED:20160531T040000Z
LAST-MODIFIED:20180409T194308Z
UID:10002175-1465500600-1465507800@uniondocs.org
SUMMARY:Shorts from The Meerkat Media Collective
DESCRIPTION:[vc_row][vc_column][vc_column_text] \n \nJoin us for SHORTS FROM THE MEERKAT MEDIA COLLECTIVE for snapshots of local social movements. These short documentaries reflect on the group’s unique creative collaboration and consensus process. This program includes two brand new films: The Black Women’s Truth and Reconciliation Commission and Public Money\, a broad look at an NYC experiment in participatory democracy told through the perspective of one neighborhood\, as well as other influential Meerkat short films Into the Streets (People’s Climate March)\, Consensus (Direct Democracy at Occupy Wall Street) and We Got This (Occupy Sandy.) Through this review of the collective’s work\, we’ll explore the role that collaboratively made media can play in social movements and confront the inherent tensions that arise when you combine art\, journalism and activism. \nMeerkats Alex Mallis\, Dara Messinger\, Jay Arthur Sterrenberg\, and Zara Serabian-Arthur will be present for discussion following the program. \nThe Meerkat media collective is an arts collective and worker co-op production company\, committed to making artful and thought-provoking films through a non-hierarchical collaborative process. \n  \n \nBK@24FPS is Skylight Pictures INC’s monthly Brooklyn-based screening series which highlights documentary films as a way to to expand dialogue around the intersection of human rights and art. Born out of a three-way collaboration between Skylight\, UnionDocs\, and WITNESS\, these monthly events aim to strengthen the ties between people interested in human rights in Brooklyn and will consist of\, a 10-part series of film screenings followed by a partner-moderated discussion between the filmmaker\, movement actors\, and the audience. During our discussions we will debate the conventional framework for human rights and challenge the definition of what constitutes human rights media. \n \n  \nWITNESS is an international organization that trains and supports people using video in their fight for human rights. WITNESS trains and supports activists and citizens around the world to use video safely\, ethically\, and effectively to expose human rights abuse and fight for human rights change.[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2016-06-09-meerkat-media-screening/
LOCATION:NY
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2016/05/PublicMoney_Still8.jpg
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DTSTART;TZID=America/New_York:20160610T193000
DTEND;TZID=America/New_York:20160610T220000
DTSTAMP:20260507T130110
CREATED:20160525T040000Z
LAST-MODIFIED:20180410T154406Z
UID:10002006-1465587000-1465596000@uniondocs.org
SUMMARY:What You Get Is What You See: Progress vs Regress with Melanie Bonajo
DESCRIPTION:[vc_row][vc_column][vc_column_text]Melanie Bonajo digs into our internet enthusiasm and watching obsessions\, highlighting the funny but grotesque dramatization of nature and reality. \nIn this screening / presentation\, she will look at spectatorship through two her recents projects: Progress vs Regress\, a film about the way elderly people experience and think about our ultra-mediated social relationships\, and Matrix Botanica\, a publication about how amateur animal photography online changed our idea of Nature. \n  \n \nPart One of the Night Soil Trilogy\, a Film by Melanie Bonajo \nProgress vs Regress \nProgress vs Regress is a film about how technological inventions changed social relations seen through the eyes of people who are now almost one hundred years old years old. The film implicitly speaks about how different generations deal with technology and how we as a society treat our elderly. \n \n  \nMatrix Botanica   \nThis publication is about the future of animals in relation to education and preservation through information we receive about them via popular images on the Internet.  In how far are typical Nature photography categories designed by the hands of science replaced by the images of amateurs who all document the disappearing surrounding of wildlife by ever expanding urbanization. Do we need complete revised categories of science? When does a lion stop being a lion? Can dying as a species be polite? Will zoos need to be turned in to shelters? And will we\, in the nearby future\, end up with a midget elephant as a pet in our garden\, because all wildlife is transformed in to cattle. What do these images tell us about the state of the planet and the future of humans ? \nOur enormous access to animal pictures on the internet trample down our awareness that only humans poses self awareness\, language\, culture\, land and customs. But what do we really see on these images? We see animals who are taken out of their local habitat or whose natural landscape has been too much invaded by humans. The rupture of the lands of animals\, their lives and history is mirror in the legacy of rupture in their brains\, bodies and behavior and you can see that through their representation. These species have been confronted with so many changes they have now a bi-cultural identity\, that of human and of their own. Taking in to perspective that variation on how we are raised are responsible for the many variations on the theme of being an animal. \nSince the popularization of the internet\, about 10 years ago\, I have been collecting extensively animal images online. These mostly amateur photographs show an eclectic image of the rapidly changing human-animal relationship which was just fifty years ago impossible to even imagine. The object of my interest is not just the animal or environment\, but the dialogical space in between\, which turns out to be a site of drama\, seen through funny images\, which give people a sigh of relief making the destruction of their earth less painful. \n  \n \n \nAbout \n \nMelanie Bonajo is a Dutch artist working with performance\, installations\, music\, event organizing\, and photography. Her works address themes of eroding intimacy and isolation in an increasingly sterile\, technological world. Her experimental documentaries often explore communities living or working on the margins of society\, either through illegal means or cultural exclusion. \nHer work has been exhibited and screened internationally\, from De Appel Arts Centre and Stedelijk Museum in Amsterdam to the Center for Contemporary Art\, Warsaw\, the Moscow Biennial\, International Documentary Film Festical (IDFA)\, the Berlinale\, the International Film Festival Rotterdam\, and Treefort Film Fest. \nwww.melaniebonajo.com \n \nMathilde Walker-Billaud trained and worked as an art editor in Paris. She was a Program Officer for the Book Office at the French Embassy and for Villa Gillet in the USA. She is now an independent curator and cultural producer based in New York City. \n  \n  \nWhat You Get Is What You See: A Series On Spectatorship  \nIn What You Get Is What You See\, Mathilde Walker-Billaud invites artists and writers to show us how to become more active\, more engaged–and perhaps better–spectators. The speakers share their experiences and personal observations as viewers\, readers\, watchers\, listeners and audience members of visual and performance arts\, graphic design\, radio\, TV and cinema. Through their trained gaze and skilled sensitivity\, they disturb and displace our perception of contemporary culture and expose spectatorship as an everyday dynamic act.\n[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/get-see-progress-vs-regress-melanie-bonajo/
LOCATION:NY
CATEGORIES:Screenings & Events
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20160612T193000
DTEND;TZID=America/New_York:20160612T193000
DTSTAMP:20260507T130110
CREATED:20160518T040000Z
LAST-MODIFIED:20180410T150914Z
UID:10002150-1465759800-1465759800@uniondocs.org
SUMMARY:DIE JIM CROW
DESCRIPTION:[vc_row][vc_column][vc_column_text] \n \nDie Jim Crow EP by Die Jim Crow \n“I’m a Jew from the Lower East Side of New York City who has never been to prison. So why did I care? For starters\, the book in my hand. I was reading about this very current and domestic human rights crisis\, so well researched in Alexander’s book\, so beautifully articulated – but I was lacking the personal stories. I wanted to hear it from the folks who were living it.” \n– Fury Young \nUnionDocs presents four short films with Fury Young—a poet and activist who intertwines music\, poetry\, filmmaking\, politics\, and history—to examine themes and processes leading to his ambitious Die Jim Crow project\, a music album by incarcerated and formerly incarcerated black songwriters from across the country. Recently released as an EP with a forthcoming LP\, Die Jim Crow is an eclectic concept album inspired by Pink Floyd’s The Wall\, R&B\, hip hop and more. With an accompanying book (available at the event)\, it is a growing multimedia project about racism and the de facto “New Jim Crow” laws which disproportionately target black people for mass incarceration and surveillance. \nWaiting for Godot in San Quentin (a work in progress) (1988) is a short documentary by John Reilly\, founder of Global Village and New York’s first documentary festival. As the title suggests\, it follows the production of Samuel Beckett’s play with an all­ prisoner cast\, demonstrating how art can resonate within the prison system (and briefly featuring well­ known poet\, Spoon Jackson\, a collaborating musician on Die Jim Crow). \nE=MC2 (2006) was directed by Young when he was sixteen living in the Lower East Side. It is an utterly unclassifiable experimental film about various forms of entrapment\, as well as a stunning document of a furious young mind suggestive of Polanski\, Lynch and Aronofsky run amok in the inner city. Young’s short 16mm documentary\, Pridgen (2009)\, elegantly switches gears to portray Alexander Pridgen\, a man confined to a wheelchair after a colorful life as bodyguard to Muhammad Ali\, numbers runner for the Harlem mafia\, drug dealer and user\, and father of several children. Finally\, behind­ the­ scenes footage of the Die Jim Crow recording process with B.L. Shirelle showcases Young’s current use of video diary to move from filmmaking as a primary form of expression to a tool for music and activism\, while retaining his uniquely personal style. \n-JNKW \n  \n \nWaiting for Godot in San Quentin (a work in progress) \nProduced and directed by John Reilly \n23 min / 16mm ­to ­DVD / 1988 \n  \n \nE=MC2 \n28 min / MiniDV / 2006 \n  \n \nPridgen \n13 min / 16mm­to­HD / 2009 \n  \n \nRecording Die Jim Crow \n9 min / iPhone / 2016 \nConversation and special performances to follow. \nParticipants \nFury Young is a musician and poet whose biggest passion is the concept album\, Die Jim Crow. For several years\, Young aspired to be a filmmaker until his gears shifted to music and activism and eventually\, Die Jim Crow. He took on the idea in 2013 after reading Michelle Alexander’s book\, “The New Jim Crow”. It was this historical knowledge mixed with Fury’s personal experiences with friends who had been to prison that led to him taking on the project. Originally from the Lower East Side\, he lives and work in Brooklyn. \n  \nJames N. Kienitz Wilkins (programmer) is a filmmaker and artist living in Brooklyn. His work has been presented at international film festivals and venues including the New York Film Festival\, Rotterdam IFF\, CPH:DOX\, MoMA PS1\, Edinburgh IFF\, Migrating Forms\, and many more. Past movies includes the experimental documentary feature\, Public Hearing (2012)\, and the short\, Special Features (2014)\, which won the Founder’s Spirit Award at the Ann Arbor Film Festival 2015 and a Grand Prix at the 25 FPS Festival 2015. He is the 2016 recipient of LICHTER Art Award from the LICHTER Filmfest Frankfurt International. \nPurchase Die Jim Crow EP: https://diejimcrow.bandcamp.com/album/die-jim-crow-ep[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/die-jim-crow/
LOCATION:NY
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2016/05/EMC2-1.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20160613T193000
DTEND;TZID=America/New_York:20160613T213000
DTSTAMP:20260507T130110
CREATED:20160606T040000Z
LAST-MODIFIED:20180403T180844Z
UID:10002624-1465846200-1465853400@uniondocs.org
SUMMARY:Fear Indexing the X-Files
DESCRIPTION:[vc_row][vc_column][vc_column_text]Artists Steve Warwick and Nora Khan combed through seminal episodes of the X- Files to closely examine the evolving climate of fear during the Clinton era. This period is remarkable in that it marked the birth of the Internet and an era of networked communication\, while also operating within an increasingly dense cloud of paranoia. The X-Files spoke to the psychological anxieties of this complex time: Aliens replaced Communism\, and fear of ghosts\, and the paranormal prefaced our current Islamophobic climate\, with deregulated neoliberalism continually hovering\, like an invisible man in the room. The show allows us to track a collective need for an enemy of the state\, manifested in earnest (often comical) conspiracy theories\, urban legends\, and endless figurations of bogeymen. \nOur June Rhizome feature explores the use of the Internet within important episodes of the show\, along with the series’ impact on early Internet use\, as it was one of the first with a global Internet fan base. The X-Files was perfectly suited for its target demographic\, suburban teenagers and young adults who were learning to use the Internet\, logging onto dedicated forums and manic chat rooms to discuss episode content\, to speculate on theories and their basis in the real world\, and come up with urban legends of their own.  They used the early Internet to map the unknown world. Over successive seasons\, characters become more engaged with the Internet\, using it to construct theories\, navigate an increasingly uncertain world\, and sort and pick through the inexplicable and weird.  – Nora Khan \nOn Monday\, Warwick will present this research\, featuring images\, clips\, and ephemera that Khan and he compiled for a short film in development and an extensive Rhizome feature Discussion surrounding the interplay between seminal X-Files episodes\, ‘90s Internet culture\, and paranoia in the American networked imaginary will take place with Warwick following the presentation.  \nBios: \nSteven Warwick is a British artist and musician living and working in Berlin. \nHis practice is multidisciplinary\, ranging from durational multi sensual performances\, installations\, directing plays\, films\, self published books\, hosting a radio talk show and curating exhibitions. \nHe also performs and records music under the solo monicker Heatsick releasing on the acclaimed club/ experimental label PAN and also as a duo with Luke Younger called Birds of Delay and most recently with LA performance artist and improv musician Anna Homler under the hybrid dance/ sound/ theatre project Breadwoman. \nHe has exhibited work at SMK Cclosedhagen\, the Modern Institute Glasgow\, ICA London\, Balice Hertling NYC\,Exile Galerie Berlin\, Kinderhook & Caracas\, Kurator CH\, New Theater Berlin\, Schinkel Pavillon and was artist in residence at Villa Aurora\, Los Angeles 2015. \nWith Heatsick\, music is created in real time based upon loops that are moulded\, stretched and reduced to interlink\, merging with one another ; live dance music that expands and unlocks the senses.Heatsick: Extended Play is a performance series often stretched beyond three hours and augmented by elements of his broader art practice\, favourably received at venues worldwide including Berghain\, MoMa PS1\, V&A Museum London\, Malmö Konsthall\, Kunsthaus Bregenz\, Mutek and Unsound Festival. \nNora Khan is a writer and a contributing editor at Rhizome. She’s 2016 Thoma Foundation Arts Writing Fellow in Digital Art\, and an artist-in-residence at Industry Lab in Cambridge. She writes fiction and criticism about digital art\, artificial intelligence\, literature\, games\, and electronic music. She has published in Rhizome\, Kill Screen\, Conjunctions\, After Us\, Ran Dian\, AVANT\, DIS\, and many other places. In 2015 she was a contributing critic for Åzone Futures Market\, the Guggenheim’s first digital exhibition\, organized around speculative bets on the future of technology and society. \nHer website is at: http://noranahidkhan.com. \n[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2016-06-13-fear-indexing-x-files/
LOCATION:NY
CATEGORIES:Screenings & Events
ATTACH;FMTTYPE=image/jpeg:https://uniondocs.org/wp-content/uploads/2011/02/headshot.jpg
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