We are gathering CINEMA OF RESISTANCE videos from all over the US/ World beginning with the historical Jan. 21, 2017 Women’s March. Be a part of our video/film collective. It’s extremely easy.
“To mark her 50th birthday, filmmaker Lynne Sachs gathers a group of her contemporaries—all New Yorkers but originally hailing from all corners of the globe—for a weekend of recollection and reflection on the most life-altering personal, local, and international events of the past half-century, creating a collective distillation of their times. Interspersed with poetry and […]
Lynne Sachs and others reflect on the making & viewing of Chris Marker’s “Three Cheers for the Whale”.
These new films create spatial contemplations or film essays from Chicago, San Francisco, Berlin, New York, Canada, from a historical literature connection (Kerouac) or even the virtual space of a Si-Fi film series.
As part of the Sub-Indie Cinema series programmed by Professor Roger Beebe from the Department of Art, join director Lynne Sachs for a screening and Q&A of her film, Your Day is My Night.
Explore the work and process of Sachs’ intermedia practice at the DMCA. This event is sponsored by the Digital Media Center for the Arts, Film and Media Studies, and Films at the Whitney.
For the first three years of my twin niece’s and nephew’s lives, I used my 16mm Bolex camera to film them growing up in New York City with their two dads (my brother Ira Sachs and his husband Boris Torres) and their mom (Kirsten Johnson). The film ends with a Gay Pride Day embrace.
I spent a day with my mother and stepfather shooting Super 8mm film in my childhood home in Memphis, Tennessee.
lntermedial Palimpsests in Lynne Sachs’s experimental documentary films
Ethnography is describing the Other. In the 1920s, writer and anthropologist Zora Neale Hurston reacted to this established view with her own artistic and scholarly works on everyday cultures in her own home in America’s black south. Hurston political and poetic studies of “folk cultures” that were mostly disparaged at the time are an expression of unmitigated appreciation and a way of taking up a position within the debate on “high” and “low” art in Harlem between the wars.
