Thanks, Chuck and Pip, for starting the discussion on this. I recommend looking at this article by Mary Celeste Kearney, Guest Post: How Film Schools Lead to Pipelines Full of Weinsteins: https://blog.womenandhollywood.com/guest-post-how-film-schools-lead-to-pipelines-full-of-weinsteins-f49f4c69d78
I don't teach at a film school, but we still have been having a lively discussion here at HKU on the consequences of the Weinstein revelations. In fact, we've started to collect some articles on our Faculty of Arts Committee on Gender Equality and Diversity website. Here's the link: http://arts.hku.hk/about-us/CGED/Bibliography/sexual-harassment-and-climate-in-units I am eager to add to this bibliography, so feel free to contact me off list if you have material to add. I also recommend following the discussion on UFVA Facebook. Vaun Monroe, who coordinates the Gender/Diversity caucus, does an excellent job of pointing out the ways that discrimination works in film schools (where many in the experimental film community are based). https://www.facebook.com/groups/416283385163176/ (I am copying Vaun here.) Given the centrality of commercial film in the popular consciousness, the amount of press given to Weinstein has opened up the conversation in many ways. My colleague, Sylvia Martin, gave a fascinating talk on this here recently. I'm copying her, since I'm not sure she's part of the experimental film community. Even when the stakes are low, women still suffer disproportionately from sexual violence, harassment, lack of access to resources, and a cool climate that makes it difficult for them to excel. In my years of following experimental film (particularly women in punk), I think that we still have far to go in breaking down barriers. Looking forward to seeing more on this topic here. (I am copying some other colleagues, who may be interested in this thread as well.) Best, Gina (University of Hong Kong) On Fri, Nov 24, 2017 at 10:21 AM, Pip Chodorov <framewo...@re-voir.com> wrote: > Asking for a friend? Hilarious subject line. > > I think experiemental film's freedom comes from its marginality. > In this business there is no money or power because these films are > outside the film industry and outside the art market. There is only > passion, sharing, and working in cooperative communities. > > That is not to say that there is no competition or territoriality between > people or groups, we feel that maybe even stronger than in the film > industry or the art market. But there is certainly no sense of entitlement > over others due to one's position. There are no bosses, no job interviews, > no big opportunities, no moguls... Also the nature of these film works are > self-expression and thrashing out issues of difference and marginality and > self-identity so it is a very welcoming community in those terms. > > Of course there are other kinds of negative energies that can crop up in > our communitiy besides sexual haassment, other, more "experimental" > harassments that could be interseting to discuss... > > - Pip Chodorov > > > > > > At 21:06 +0000 23/11/17, Chuck Kleinhans wrote: > >> Given the proliferation of items in the news about sexual harassment in >> the film industry, and entertainment, and politics and academe, etc. why is >> this listserv so quiet on these issues? Nothing to report? >> >> Chuck Kleinhans >> _______________________________________________ >> FrameWorks mailing list >> FrameWorks@jonasmekasfilms.com >> https://mailman-mail5.webfaction.com/listinfo/frameworks >> > > _______________________________________________ > FrameWorks mailing list > FrameWorks@jonasmekasfilms.com > https://mailman-mail5.webfaction.com/listinfo/frameworks >
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