Tag Archives: teaching

The Body in Space: An Interactive Workshop | Women Make Waves International Film Festival

https://www.wmw.org.tw/en/category/173

9/29/24 Virtual Meeting
10/26/24 In-Person Session and Performance
Taipei, Taiwan

Women Make Waves International Film Festival

Cinema Program 2024

Established in 1993, Women Make Waves Int’l Film Festival, Taiwan has been one of the major film festivals in Taiwan and has established itself as the biggest one dedicated to supporting female talents. It is also the longest running and largest issue-oriented film festival in Taiwan. Women Make Waves Int’l Film Festival aims to celebrate the achievements of outstanding female talents, to explore different aspects of female experiences, feminism, and beyond, and to promote equality and rights of all genders. By covering a wide range of genres, issues, and representations of gender, WMWIFF seeks to promote great cinematic arts by female talents and to advocate gender equality through films with feminist consciousness and various subjects.

In 1993, the inaugural Women Make Waves, jointly organized by the Awakening Foundation and B&W Film Studio, was the predecessor of Women Make Waves Int’l Film Festival Taiwan. In 2000, Women Make Waves was renamed as Women Make Waves Film/Video Festival. This marked the first time the film festival hosted screenings at the cinema. The film festival expanded significantly, solidifying itself as one of the major cultural events. In 2012, the film festival was officially renamed as Women Make Waves Int’l Film Festival Taiwan. 

In 1998, as the film festival entered its 5th edition, gender studies and discourses had become prominent in Taiwan. To ensure the prospect of the film festival, Taipei Women’s Film Association was founded in September of the same year. HUANG Yu-Shan served as the first chairwoman of the Association.  In 2001, the film festival established the model of nation-wide film tours, marking one of the first film festivals to do so in Taiwan. It has jointly held screenings with local theaters, organizations, universities, educational institutions, and cultural venues, in order to reduce rural-urban differences and promote gender equity through films beyond Taipei. 

The Body in Space——An Interactive Workshop

In this fast-paced, exhilarating, collaborative and interactive workshop, experimental filmmaker Lynne Sachs will guide her participants through her own evolution as a filmmaker, her own conception a “somatic cinema,” and work as a group to create our own live film performance, which will be presented to the public on 10/26.

Words from Lynne…

In filmmaking, we are always negotiating the photographing of images that contain the body. We bring experiential, political or aesthetic contingencies to both the making and viewing of a cinema that contains the human form. If a body is different from our own – in terms of gender, skin color, or age – perhaps we frame it differently without even realizing it. We all know that looking at a body on screen affects us emotionally, psychologically and physically? When we speak of “space,” we must consider three dimensional issues of the here and now as well as more speculative conditions that arrive when we contemplate the future.


Union Docs | From Clue to Chronicle: The Art of the Forensic Documentary

https://uniondocs.org/event/tracing-the-document-investigating-the-encounter/#1477608256488-ac7d3d1a-ae9084d0-801ebd47-97fc

Nov 8, 2024 at 10:00 am – Nov 10, 2024 at 5:00 pm

Join us for an intensive workshop led by renowned filmmaker Lynne Sachs, where we will explore how one of the most challenging yet enthralling aspects of the documentary process can be the investigative nature of the practice.

In this workshop Lynne Sachs will take us on her own journey through the making of her soon-to-be-completed essay film “Every Contact Leaves a Trace”. By laying bare her own revelations and disappointments, she will help us to navigate how the “search” in and of itself can be as interesting as the discovery.  While celebrating the shared sensibility of the documentary maker and the detective, Sachs will ask us to expand our understanding of forensics, evidence, and proof within the parameters of her own artistic practice.

On Friday, interdisciplinary artist A.S.M. Kobayashi (Say Something Bunny!)  will share her approach to incorporating forensics into performative work, focusing on how research can function as a form of proof and artistic expression. On Saturday, Jennifer Reeves (The Time We Killed, When It Was Blue) will discuss the psychological dimensions of her filmmaking process, shedding light on how she navigates the inner lives of her subjects while investigating deeper themes of introspection. On Sunday, director, producer and cinematographer Miryam Charles (Cette maison) will explore how filmmakers can refract aspects of reality, offering innovative ways to think about representation and storytelling.

Over the course of the workshop, we will engage in discussions about hybrid approaches to depicting reality, experiment with techniques that challenge conventional expectations of documentary, and reflect on the role of performance in the creative process. Whether you are just beginning a project or are already in the midst of production, this workshop provides a space to investigate your own work through new and creative methods.

The workshop is open to filmmakers, media artists, scholars, and creatives at any stage of their projects. It will offer practical tools, fresh ideas, and a supportive environment for those eager to explore the investigative aspects of documentary filmmaking.

Seats are limited, so be sure to sign up soon. Please note that this workshop requires in-person participation, and all attendees must present proof of vaccination. For any questions, feel free to reach out to raphaelle@uniondocs.org.

With Lynne Sachs, Miryam Charles, Jennifer Reeves & A.S.M Kobayashi

Invocaciones Workshop Ambulante Mexico City

Frames and Stanzas: a master class on film and poetry

Lynne Sachs
Centro de cultura digital  and Ambulante
La Cineteca Nacional, Mexico City

April 11, 2024 – 5 to 6:30 PM / 17 h to 18:30 h

Filmmaker and poet Lynne Sachs will share insights she has in bridging poetry with cinema. Participants will explore the intersection between moving images and written or spoken words. Lynne will share excerpts from her own films that explore the activation of archival images, visualization of poetic texts, overlaying text on image, expanded cinema performance, oral history, and the film essay.  This master class will include excerpts from Lynne’s films includingStarfish Aorta Colossus, Tip of My Tongue, The Washing Society, Visit to Bernadette Mayer’s Childhood Home, and Swerve.  As part of the class experience, participants will write a poem.

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Opening the Family Album / “Abrir el álbum familiar”
Lynne Sachs
Ambulante Festival and Centro de Cultura Digital, Mexico City


Sesiones virtuales: Jueves 14 de marzo, de 19 a 20 horas (9 to 10 PM NYC) y viernes 5 de abril de 17 a 18 horas (7 to 8 PM NYC)
Sábado presenciales: Sábado 13 y domingo 14 de abril, de 11 a 14 horas, final performance April 14 at 6 PM

Opening the Family Album is a workshop in which we will explore the ways in which images of our mother, father, sister, brother, child, cousin, grand-parent, aunt or uncle might become material for the making of a personal film. We will meet virtually twice for one hour: March 14 and April 5. Then we will meet in-person with Lynne for two days (April 13 & 14, 11 am to 14 pm and for a final, public showing later that day at 6 pm), all at Centro Cultural Digital.  Please join Lynne between our workshop and our final performance for her 16mm film program

Each participant will come to the workshop with a single photograph (both in hand and digital) they want to examine.  During the workshop, you will write text in response to this image by incorporating storytelling and performance. In the process, we will discuss and challenge notions of truth-telling and language. Your final work will then be a completed film with sound or a film with live narration. Previous filmmaking and editing experience is appreciated but not required. Participants may use their own digital cameras or cell phones to make images and sounds.  Please register early so that you can be part of our first meeting which will be in March and will be virtual.

This workshop is inspired by the work of Italian novelist Natalia Ginzburg, whose writing explores family relationships during the Fascist years and World War II. Ginzburg was a prescient artist who enjoyed mixing up conventional distinctions between fiction and non-fiction: “Every time that I have found myself inventing something in accordance with my old habits as a novelist, I have felt compelled at once to destroy it. The places, events, and people are all real.” We will also read texts from Roland Barthes and Clarise Lispector.

Participants are encouraged to have their own cameras, but cell phone cameras are FINE.  Also, if you know how to edit digitally that is helpful but not critical.


Hunter College / The Accident that Pricks: Family and Photography

The MFA Program in Integrated Media Arts (IMA) offers advanced studies in multimedia documentary arts. The IMA Program educates multi-disciplinary, socially engaged media makers in a diverse range of skills across the media landscape. Working with faculty from film, emerging media, and journalism backgrounds, students learn to conceptualize, create and distribute innovative, politically and socially engaged expression using contemporary media technologies.

The Accident that Pricks: Family and Photography
Lynne Sachs
3 sessions, 1 credit – Fall 2022 and Spring 2024
Final Showcase Friday February 23, 2024

Course Description:
The Accident that Pricks: Family and Photography is a course in which we will explore the ways in which images of our mother, father, sister, brother, cousin, grand-parent, aunt or uncle might become material for the making of a personal film.  Each participant will come to the first day with a single photograph they want to examine.  You will then create a cinematic presence for this image by incorporating storytelling and performance. In the process, we will discuss and challenge notions of truth-telling and language.  This course is inspired by French theorist Roland Barthes’ theory of the punctum, the intensely subjective effect of a photograph, and Italian novelist Natalia Ginzburg’s writing on her family living under Fascism during World War II.  Ginzburg was a prescient artist who enjoyed mixing up conventional distinctions between fiction and non-fiction: “Every time that I have found myself inventing something in accordance with my old habits as a novelist, I have felt compelled at once to destroy it. The places, events, and people are all real.”  Each student participant will produce a live performance with moving image which will be presented at the end of our third class meeting.