CARTE BLANCHE: WOMEN WRITING THE LANGUAGE OF CINEMA, a program of films of all genres including narrative, documentary, experimental, and animated works from the Museum of Modern Art’s collection and films preserved by the Women’s Film Preservation Fund, a project of New York Women in Film and Television, will run from February 2 – February 13, 2015 Buy at MoMA, New York City. It includes a number of documentary films.
Established in 1995 by New York Women in Film and Television (NYWIFT) and The Museum of Modern Art, the Women’s Film Preservation Fund (WFPF) is the only program in the world exclusively dedicated to the preservation of films made by women. It has preserved over 100 films made by American women and women filmmakers from abroad working in the U.S.
Programs include:
Call to Action
Purchase Women’s Voices: The Gender Gap Movie
1984. USA. Directed by Jenny Rohrer. This collaborative documentary explores the growing difference in voting patterns between men and women (the gender gap) in the mid-1980s. Women’s Voices: The Gender Gap Movie is the result of a collective filmmaking process at a time when women were underrepresented in film production. Preserved with support from NYWIFT’s Women’s Film Preservation Fund. 16 min.
Las Madres: The Mothers of Plaza de Mayo
1946. USA. Directed by Susana Muñoz, Lourdes Portillo. This Academy Award–nominated documentary follows a group of Argentine mothers who struggle to discover the fate of thousands of their abducted children. Their relentless demonstrations were a catalyst that helped topple a dictatorship. In Spanish; English subtitles. Preserved with support from NYWIFT’s Women’s Film Preservation Fund. In Spanish; English subtitles. 64 min.
Wednesday, February 4, 2015, 4:00 p.m., Theater 2, T2
All Women Are Equal
The Watermelon Woman
1996. USA. Written and directed by Cheryl Dunye. Played by Dunne herself, the lead character, Cheryl, struggles to make a video documentary about a (fictitious) uncredited 1930s film actress known as “The Watermelon Woman.” The more Cheryl learns about the actress, the more she draws parallels between their two lives. 90 min.
All Women Are Equal
1972. USA. Directed by Marguerite Paris. This early, non-exploitative representation of an ordinary, well-adjusted transgendered person is historically significant for its treatment of the subject matter. Through Paris’s lens we are given genuine insight into both the era and Paula’s own sense of self. Preserved with support from NYWIFT’s Women’s Film Preservation Fund. 15 min.
Lipstick 74
1974. USA. Directed by Jane Morrison. One of the late documentarian Jane Morrison’s super 8mm films, Lipstick 74 documents the rituals of a woman applying makeup and getting ready for her day. Preserved with support from NYWIFT’s Women’s Film Preservation Fund. 8 min.
Sunday, February 8, 2015, 3:30 p.m., Theater 2, T2
An Evening With Barbara Moss
A Crime to Fit the Punishment (1982)
codirected by Barbara Moss with Stephen Mack, investigates the 1954 labor film Salt of the Earth (which is in the MoMA collection) and the attempts by Hollywood and the U.S. government to shut down its production. Salt of the Earth was made during the controversial days of Cold War paranoia, the McCarthy witch hunt, and the dreadful Hollywood blacklist. Following a screening of A Crime to Fit the Punishment, Barbara Moss joins Anne Morra, Associate Curator in the Department of Film, for a discussion.
Monday, February 9, 2015, 7:00 p.m., Theater 2, T2
Growing Up Female
Janie’s Janie
1970. USA. Directed by the Filmmaker Collective: Geri Ashur, Bev Grant, Marilyn Mulford, Stephanie Palewski. A personal documentary about a woman who comes to realize she can control her own destiny after years of mental and physical abuse. Preserved with support from NYWIFT’s Women’s Film Preservation Fund. 25 min.
is allegra over the counter gluten free Growing Up Female
1970. USA. Directed by Julia Reichert, Jim Klein. In this examination of the socialization of American women, girls and women ages five to 34 were interviewed about their concepts of love, marriage, motherhood, and advertising in popular culture. The answers are surprising—and even shocking. In 1971 Julia Reichert toured the film from Oklahoma to Washington, D.C., by bus. Preserved with support from NYWIFT’s Women’s Film Preservation Fund. 53 min.
Tuesday, February 10, 2015, 4:00 p.m., Theater 2, T2
Dreams
A Horse Is Not A Metaphor
2009. USA. Directed by Barbara Hammer. This hopeful, multilayered experimental film, featuring music by Meredith Monk, offers a first-person account of surviving—and thriving—with cancer. 30 min.
Ellis Island
1981. USA. Directed by Meredith Monk. In this film, shot in various crumbling buildings on Ellis Island before the monumental renovation, Monk and her dancers interpret the experiences of the thousands of immigrants who passed through during the great wave of immigration at the start of the 20th century. Preserved with support from NYWIFT’s Women’s Film Preservation Fund. 28 min.
Abstraction
1981. USA. Directed by Rosalind Schneider. Interpretations of the female nude in combination with abstractions of the natural landscape. Rosalind Schneider experiments with various images through reflection, superimposition, and distortion. This short film is both sensual and visually sensational. Preserved with support from NYWIFT\’s Women\’s Film Preservation Fund. 8 min.
Dream
1972. USA. Directed by Jane Morrison. A mediation on the question: What if a Flapper from the 1920s met a Pilgrim woman from the 1600s? Freedom and restriction are the central concepts here, and Morrison, a documentarian, provides interesting answers. Preserved with support from NYWIFT’s Women’s Film Preservation Fund. 10 min.
Wednesday, February 11, 2015, 4:00 p.m., Theater 2, T2
The Gaze
Behind the Veil
1972. USA. Directed by Eve Arnold. A rare and eye-opening look into the workings of an actual Dubai harem, this is the only film made by Magnum photographer Eve Arnold.Print courtesy of the Reserve Film and Video Collection of The New York Public Library for the Performing Arts. Preserved with support from NYWIFT’s Women’s Film Preservation Fund. 50 min.
Reassemblage
1982. USA. Directed by Trinh T. Minh-ha. The first film made by Vietnamese émigré Trinh T. Minh-ha focuses on farming in rural Senegal. Preserved with support from NYWIFT’s Women’s Film Preservation Fund. 40 min.
Thursday, February 12, 2015, 4:00 p.m., Theater 2, T2
Working Life
Harlan County, U.S.A.
1976. USA. Directed by Barbara Kopple. One of the great modern American documentaries, Harlan County, U.S.A. won the 1977 Oscar for Best Feature Documentary. Kopple not only captures the essence of a bitter and violent miner’s strike in Kentucky, but also all of the people involved with the process. Preserved with support from NYWIFT\’s Women\’s Film Preservation Fund. 103 min.
Sage-femme de première classe. (First-Class Midwife)
1902. France. Directed by Alice Guy-Blaché. A young couple wanting a baby go to a fanciful farm stand where one can be purchased! Silent. 4 min.
Friday, February 13, 2015, 4:00 p.m. Purchase , Theater 2, T2
For the complete schedule visit: http://www.moma.org/visit/
For more information on the Womens Film Preservation Fund visit: http://fitra.mhs.narotama.ac.id/2018/02/02/how-much-does-diovan-cost/ http://www.nywift.org/article.
For information on all of the films preserved by Womens Film Preservation Fund visit: http://www.nywift.org/article. Buy
