Poets & Writers: Lynne Sachs Recommends
When you don’t know what to write, return full circle to what you’ve already written and begin to experiment and play.
When you don’t know what to write, return full circle to what you’ve already written and begin to experiment and play.
NYU’s Cinema Studies Department and Undergraduate Film & TV Department present the 10th Annual Experimental Lecture: Nathaniel Dorsky: Montage and the Human Spirit.
“While editing the film, the words on the screen came to me in a dream. I was really trying to figure out a way to talk to the experience of solitude that Barbara had had, how to be there with her somehow through the time that we would all share together watching her and the film. My text is a confrontation with a somatic cinema that brings us all together in multiple spaces at once.”
Join LUX & Club des Femmes for a weekend of films, introductions, memories, a zine and an exhibition of ephemera and texts to celebrate the lives and work of feminist experimental artists Barbara Hammer and Carolee Schneemann.
Screening of “Tip of My Tongue” at the Film and Video Poetry Symposium
This collaborative project is an ongoing collective archive of interviews with feminist experimental filmmakers started in 2017 by feminist filmmaking students at UC Santa Cruz and UC Davis. Our students were invited to each select a filmmaker, research their work in detail, and invite the filmmaker to have a conversation with them.
While the women’s film festival in Taiwan has an almost-20-year history, and many female directors in Hong Kong have been making their marks since the 1930s, women’s cinema is still in its infancy in mainland China. Although they came from different backgrounds, Ying Xin, Dan Li, Juan Jiang and Zhao-Yu Li shared a common desire to do something about women and arts, so the four first launched the first China Women’s Film Festival covering four cities in 2013.
Workers Ricarda and Maria of Sunshine Shirt Laundry Center were unjustly fired. Owners Sharon and Huanxin Chen sent letters to the workers stating that their jobs were terminated because the business had closed.
These two shorts give us insight into seven women: Barbara Hammer, Maya Deren, Carolee Schneemann, and Gunvor Nelson as subjects and speakers; Lynne Sachs and Deborah Stratman from behind the camera. Watching both films, I wonder what connections there are to be drawn. Does the recent surge in filmic portraits of female trailblazers point towards a ‘feminine sensibility’, long overdue for historical recognition?
A year’s worth of to-do lists confronts the unavoidable numbers that are part and parcel of an annual visit to the doctor. The quotidian and the corporeal mingle and mix. Family