if i recall correctly cauleen smith's Chronicles of a Lying Spirit (by Kelly Gabron), shown as part of the traveling canyon program that played chicago recently, utilized a lot of still photographic ephemera (photos, magazine clippings, notes etc.)
On Thu, Aug 30, 2018 at 1:29 PM Chrissie Iles, Curatorial < chrissie_i...@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-boun...@jonasmekasfilms.com> *On Behalf Of > *Warren Cockerham > *Sent:* Thursday, August 30, 2018 1:50 PM > *To:* Experimental Film Discussion List <frameworks@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...@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 <davidgatessher...@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 > > _______________________________________________ > 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 > > > _______________________________________________ > FrameWorks mailing list > FrameWorks@jonasmekasfilms.com > https://mailman-mail5.webfaction.com/listinfo/frameworks >
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