[Frameworks] Conner/Marker and women of color suggestions

Thu Sep 13 20:02:37 UTC 2018

THANK YOU for all the folks that made suggestions on Conner/Marker
alternatives. I greatly appreciate you taking the effort and am excited
about what new works I can include in my classes.
ALSO, on a side note EXPLODED VIEW MICROCINEMA in Tucson is still here, but
we are taking a programming break to focus on other projects. That being
said, if experimental filmmakers are going to be passing through the area,
please connect with me about doing a show while you are here.
Best, David

On Thu, Aug 30, 2018 at 11:29 AM, Chrissie Iles, Curatorial <
chrissie_iles at whitney.org> wrote:

> Arthur Jafa said recently “If you point a camera at a Black person, on a
> psychoanalytical level it functions as a White gaze. It therefore triggers
> a whole set of survival modalities that Black Americans have. It doesn’t
> matter if a Black person is behind the camera or not, because the camera
> itself functions as an instrument of the White gaze. In other words, it’s
> recording evidence of people speaking; hence there are certain things you
> can say, certain things you can’t say.” There are profound implications for
> black filmmakers’ use of found footage and collage in A.J.’s observation.
> Here are some suggestions. 1,3,5, 6 and 9 are in the Whitney’s collection;
> the others are in the process of being acquired.
>
>
>
> Gunvor Nelson and Dorothy Wiley’s film, though two white women, is also
> important to mention, and is an important counterpoint to the sexist
> imagery of ‘A Movie’ and other similar collage films of the time.
>
>
>
> 1.       Ja’Tovia Gary’s ‘An Ecstatic Experience’ (on show at the Whitney
> for the past nine months in ‘An Incomplete History of Protest’)
>
>
>
> 2.       Crystal Z. Campbell, ‘Go-Rilla Means War’ (2017) (collaged from
> a discarded 35mm film found in a former black civil rights movie theater in
> Brooklyn)
>
>
>
> 3.       Akusoa Adoma Owusu, ‘Split Ends (I Feel Wonderful)’ (2012) made
> from 1970s found footage of black women’s hair salons in New York, collaged
> images and soundtrack
>
>
>
> 4.       Yulan Grant, ‘Dis/Place’
>
>
>
> 5.       Diamond Stingily, ‘How Did he Die?’ (2016)
>
>
>
> 6.       Phillip Mallory Jones, ‘No Crystal Stair’ (1976) – viewable on
> Vimeo
>
>
>
> 7.       Tony Cokes, ‘Black Celebration’, 1988
>
>
>
> 8.       Theaster Gates, Do you hear me calling? (Mama Mamama or What Is
> Black Power?) 2018 – an installation using historical collaged footage
>
>
>
> 9.       Raphael Ortiz, ‘ “Cowboy” and “Indian” Film’ 1957-1958 – very
> early example of an indigenous voice critiquing the racist Hollywood
> portrayal of native Americans using collaged film clips.
>
>
>
> 10.   Gunvor Nelson and Dorothy Wiley’s ‘Schmeergunz’, 1966
>
>
>
> 11.   John Akomfrah (several of his films are currently being shown in
> his New Museum surveyin New York)
>
>
>
>
>
>
>
>
>
> *From:* FrameWorks <frameworks-bounces at jonasmekasfilms.com> *On Behalf Of
> *Warren Cockerham
> *Sent:* Thursday, August 30, 2018 1:50 PM
> *To:* Experimental Film Discussion List <frameworks at jonasmekasfilms.com>
> *Subject:* Re: [Frameworks] Conner/Marker and women of color suggestions
>
>
>
> Also Cauleen Smith (along with lots of other chicago-based folks) was
> commissioned a few years back to make a short piece from their collection..
> this is it:
>
>
>
> Songs for Earh and Folk <https://vimeo.com/71024774>
>
>
>
> she has at least one other found footage short... I don't think it's
> readily available .. called T Minus Two
>
>
>
>
>
> also Buki Bodunrin's
>
>
>
> even when live is sad people still have a good time
> <http://www.adebukolabodunrin.com/even-when-life-is-sad/>    uh... made
> in Roger Beebe's 16mm class circa 2005...
>
>
>
>
>
>
>
>
>
> On Thu, Aug 30, 2018 at 1:30 PM, Beebe, Roger W. <beebe.77 at osu.edu> wrote:
>
> I just saw An Ecstatic Experience by Ja’Tovia Gary for the second time
> last weekend at the Columbus Black International Film Festival & think it’s
> really doing interesting work with found footage:
>
>
>
> http://www.jatovia.com/an-ecstatic-experience-new/
>
>
>
> Not a black woman, but equally worthy of attention is Christopher Harris’s
> “Reckless Eyeballing”:
>
>
>
> https://www.viennale.at/en/films/reckless-eyeballing  [Chris, where’s
> your website???  Couldn’t find it with a quick google search…]
>
>
>
> As for composition & sequence, again not a black woman (just a woman), but
> I showed Katherin McInnis’s “Hat Trick” in my intro film production class
> to set up a flip book assignment this week, and I think the way she uses
> contact sheets of found images could be really interesting for both
> conversations:
>
>
>
> https://vimeo.com/98387497
>
>
>
> And Jen Proctor’s remake of Bruce Conner’s “A Movie” is already becoming a
> classic of the genre (for the YouTube era):
>
>
>
> https://vimeo.com/11531028
>
>
>
> Lots of non-white-dude options out there…
>
> Roger
>
>
>
> On Aug 30, 2018, at 11:30 AM, David Sherman <davidgatessherman at gmail.com>
> wrote:
>
>
>
> In a university production course have shown both Conner's  "A Movie" as a
> prompt for student found footage editing assignment and Marker's "La Jete"
> for photographic composition and sequencing.  I would be grateful for
> suggestions of short works by specifically women of  color that could be
> used as I mentioned above.
>
> Many thanks,
>
> David
>
>
>
> --
>
> David Sherman
>
>  520-366-1573
>
> www.explodedviewgallery.org
>
> www.davidshermanfilms.com
>
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-- 
David Sherman
 520-366-1573
www.explodedviewgallery.org
www.davidshermanfilms.com
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