Flash Flaherty,the much-anticipated follow-up volume to The Flaherty: Decades in the Cause of Independent Cinema, offers a people’shistory of the world-renowned Robert Flaherty Film Seminar, an annual event where participants confront and reimagine the creative process surrounding multiple document/documentary forms and modes of the moving image.
Lynne Sachs discusses her work and process with Italian newspaper, Il Maifesto.
As women in the director’s chair or anywhere else on a set, we should celebrate the bonds we build together behind the camera.
I would make a few films that allowed me to “open the door” on a person, group of people or place that I knew little about in order to develop a deeper understanding through my filmmaking. Then, I would turn the camera back on myself and my immediate surroundings to produce more personal, introspective films.
As much I call myself a cinéphile, there are certain times in my filmmaking process — be it the production or post-production phase — when I try not to watch anything that is not going to help me strategize on how to solve a particular obstacle in front of me.
Let us begin with the statement “English is spoken here.” I’ve been thinking about what the implications of this pronouncement might be in terms of an anchoring of a singular language and the drowning of others.
My first viewing of Bruce Baillie’s Mass for the Dakota Sioux (1964) sent a shiver through my body and mind that ricochets to this very day.
Jonas Mekas died yesterday, but with this close to a full, feisty and mostly extraordinarily fun life, he leaves us all with so much. From an early age, Jonas came to understand that living the life of an artist to the very fullest meant that you were expected to create something that would last beyond your last breath. Before anyone was really using the word “community”, Jonas was building a formidable infrastructure that would be the very foundation for the survival of the personal cinema he loved so dearly.
BBC Talking Pictures host Tom Brooks interviews Barbara Hammer and Lynne Sachs on the work of Maya Deren.
In this Filmwax podcast discussion, we re-unite 4 of the 12 people from that unforgettable weekend a few summers back during the shooting for “Tip of My Tongue”, including myself, Accra Shepp, Andrea Kannapell and Lynne.
