[Frameworks] Tenure-track position in Multi-Platform Screen Storytelling and Producing at York University

[Michael Zryd]

Please see the link below for more information on this Tenure-track position in 
Multi-Platform Screen Storytelling and Producing at York University

> http://webapps.yorku.ca/academichiringviewer/viewposition.jsp?positionnumber=1909
>  
> 
--
Michael Zryd
Associate Professor, Department of Cinema and Media Arts
York University
CFT 236, 4700 Keele St., Toronto, ON M3J 1P3 CANADA
tel: 416-736-2100 x22173 / fax: 416-736-5710 / cell: 647-430-8680 / 
z...@yorku.ca / https://ampd.yorku.ca/profile/michael-zryd/




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Re: [Frameworks] Conner/Marker and women of color suggestions

[Seth Pimlott]

This a collaboration between me and Ladan Hussein from the group Cold Specks. 
It uses optical printing, in camera-collage and masking techniques to re-run 
footage shot on mobile phones of the protests in Ferguson USA through 16mm, 
ghosted onto a portrait of Ladan as she sings. It’s called ‘Season of Doubt’.

It’s on show at MIMA in the UK on 16mm at the moment and was shown on 16mm by 
Cauleen Smith at Crossroads festival earlier the year, and selected for New 
Contemporaries as well. It’s bit of a curve ball but might be of interest:

http://sethpimlott.com/cold-specks---season-of-doubt.html 




> On 13 Sep 2018, at 21:02, David Sherman  wrote:
> 
> 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 
> mailto: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)
> 
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> 
> 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
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> 
> 4.   Yulan Grant, ‘Dis/Place’  
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> 5.   Diamond Stingily, ‘How Did he Die?’ (2016)
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> 6.   Phillip Mallory Jones, ‘No Crystal Stair’ (1976) – viewable on Vimeo
> 
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> 
> 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
> 
>  
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> 11.   John Akomfrah (several of his films are currently being shown in his 
> New Museum surveyin New York)
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> 
> From: FrameWorks  > On Behalf Of Warren Cockerham
> Sent: Thursday, August 30, 2018 1:50 PM
> To: Experimental Film Discussion List  >
> 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 
>  
> 
> she has at least one other found footage short... I don't think it's readily 
> available .. called T Minus Two
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> 
> also Buki Bodunrin's
> 
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> 
> even when live is sad people still have a good time 
> uh... made in 
> Roger Beebe's 16mm class circa 2005...
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> On Thu, Aug 30, 2018 at 1:30 PM, Beebe, Roger W.  > 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/ 
>