Tisch School of the Arts

18 Visible TISCH SCHOOL New York University EOFvidence THE ARTS August 11-14, 2011

NEW YORK, WELCOME EVER VIGILANT, IS THE CITY THAT never sleeps, a perfect setting for an international TO YOU ALL! conference on documentary film. We extend our thanks to Tisch School of the Arts, Cinema Studies Pro- WITHIN THE BROADER CONTEXT fessor, and Visible Evidence 18 Conference Director, Jon- of our Moving Image Archiving and Preservation Program athan Kahana for his energetic efforts to bring the confer- and Certificate Program in Culture and Media, the De- ence to the Big Apple. Professor Kahana has deployed his superb organizational skills to assemble an impressive set of partment of Cinema Studies at NYU is committed to sponsoring institutions and panelists over the four days of the developing both pedagogy and practice in the field conference and we are grateful to him and the legion of vol- of documentary. The fact that this year we are unteers and participating institutions who made hosting Visible Evidence 18 is a demonstra- this event possible. The Visible Evidence 18 Con- ference is a bittersweet occasion: we celebrate a tion of that commitment as well as a validation, great filmmaker, the “dean” of documentary film, as Jonathan Kahana writes, of documentary film-mak- George Stoney, Professor Emeritus in the Tisch ers’ long love affair with New York. I want to congratulate School’s Kanbar Institute of Film and Television, Professor Kahana for putting together this stellar conference and we pay tribute to our school’s beloved and renowned theorist and historian, the late Rob- and mobilizing such a wide range of institutional collabora- ert Sklar, Professor Emeritus in the department tors across the city. The rapid development of definitions and of Cinema Studies. We pay tribute as well to the modes of documentary practice makes this an exciting time in pioneering documentary cinematographer, the the field and I join with you in anticipation of a truly remark- late Richard Leacock. Their accomplishments inspire and motivate us. Welcome to New York able conference and the projects and collaborations that City, New York University, the Tisch School of the will undoubtedly grow out of it. Arts and enjoy the conference. Richard Allen, Professor and Chair of Cinema Mary Schmidt Campbell, Dean Studies, Tisch School of the Arts / Tisch School of the Arts / New York University New York University

1 FOR DECADES, the city has been a hotbed of the documentary arts, a constantly-shifting ground of contrasts first figured in the original city symphony, Charles Sheeler and Paul Strand’s Manhat- ta, a film whose metro-normative view of modern life was soon enough shaded by Jay Leyda’s out- DOCUMENTARY erborough answer song, A Bronx Morning. Within and between them, these films lyricized the social CAN CLAIM MANY and cultural tensions that energized their period: between poetry and prose, dark and light, high BIRTHPLACES, and low, rich and poor, labor and capital, modern but any reasonable shortlist of sites of and traditional, old and young, downtown and up- origin would have to include new york town, local business and global marketplace, the city, where subjects, methods, techno- monumentality of stone and steel syncopated logies, critics, curators, scholars, audi- by the ephemerality of smoke, steam, and trash, ences, and institutions of documentary the change and movement of the street played photography, film, television, video, audio, against the weight and stasis of the skyscraper. prose, and performance have emerged or (Or so we used to think.) In the decades since settled for well over a century. these films bookended the formative years of the medium, similar themes have preoccupied docu- FROM JACOB RIIS AND LEWIS HINE to Berenice mentary practice and theory. If New York didn’t Abbott and Diane Arbus; from Robert Frank to invent documentary, it has certainly set the tones Grandmaster Flash; from the Workers Film and and kept the beat for many of its phases. Photo League to Third World Newsreel; from Arthur Mayer and Iris Barry to Bill Sloan and the ON A COLD DAY IN DECEMBER a few years ago Donnell Film Library; from Anthology Film Ar- in Bochum, Germany, it certainly seemed, for chives to Women Make Movies; from Emile de these reasons and others, like a good idea to hold Antonio to Jonas Mekas; from Lionel Rogosin Visible Evidence in New York in August. And we to Spike Lee; from Carl Marzani and George hope that when the gum and asphalt stick to the Stoney to William Greaves and Al and Da- soles of your shoes, the din from tourists, jack- vid Maysles; from Jon Alpert and Barbara hammers, and taxi horns rings in your ears, and Kopple to Shirley Clarke and Jill Godmilow; the smells of urine and street food make you gag from Martha Rosler to Barbara Hammer; and drool, you will merely take these as signs that from CBS Reports to Paper Tiger Television; from Lower Manhattan is an especially empirical place, DIVA-TV to Anna Deveare Smith, Laurie Ander- particularly in the hot dog days of summer, and son to Lynne Sachs, Michael Moore to 16beaver… that you ask yourself what we asked ourselves

2 in Bochum: why did it take so long to get VE to also as close as the conference comes this time around the city. All of these supporters and col- NYC? We would never have gotten here with- to marking a universal condition of reality. Many laborators are named in our lists of sponsors and out the dedication and collective effort of many of our presenters address this ongoing state of committees at the back of the program. All of us people, lots of them unpaid students, and some emergency, speaking to the ways that documen- – and especially those of us connected to “VisEv” of them well outside the five boroughs. (Montreal tary can observe, lament, protest, even celebrate since the last millennium – feel privileged to host and Syracuse became honorary sixth boroughs.) life during wartime as a crisis, even while, as the this edition of Visible Evidence. We welcome you And this large group of steerers, programmers, Talking Heads once sang, we’re getting used to it to NYU and New York City with the same wish designers, web-traffickers, and heavy-lifters col- now. From a wide and impressive range of pro- that Jacob Riis prefaces How The Other Half laborated throughout on the shape and direction posals, our program committee had no trouble – Lives: “that every man’s experience ought to be of the conference, attempting to walk the fine line despite the high number of submissions and low worth something to the community from which Visible Evidence has always walked (like Philippe acceptance rate – assembling a (record!) number he drew it, no matter what that experience may Petit, one might say) between local and global of panels on these themes and many other non- be.” structures. aligned topics. And we’ve experimented in other ways this year, including workshops on problems VISIBLE EVIDENCE 18 is dedicated to the mem- ALTHOUGH THE CONFER- of critical and artistic practice, ories of Richard Leacock and Robert Sklar, who ENCE will in many ways seem with a day on expanded docu- made it possible for us to experience communi- to the habitué the same as it mentary at Hunter College, ties of and in cinema in entirely new ways. ever was, we attempted to Let us and a full-on cinematheque, give it a particular set of New showcasing the breadth and York accents. To this end, VE18 consider energy of independent docu- was loosely imagined around mentary making, program- a set of themes – archiving, the Bowery ming and distribution around Jonathan Kahana preservation, and the material the city. of actuality and documentary; again… Conference Director, Visible Evidence 18 talking heads and other docu- LITTLE OF THIS EMBAR- mentary sounds; radical and RASSMENT of documentary Department of Cinema Studies, experimental New York; trans- Martha Rosler riches would now be available Tisch School of the Arts, national cities – reflective of in, around, and afterthoughts (on to us without the generous New York University this particular city and its spe- documentary photography) (1981) financial support of the De- cial place in the history of doc- partment of Cinema Studies, umentary film and media, and, in turn, of the way Tisch School of the Arts and Dean Mary Schmidt that New York reflects the world. Although some Campbell, and a long list of co-sponsors at NYU might claim that, approaching the tenth anniver- and other institutions in and around the city. Nor sary of 9/11, New Yorkers have a special relation to would there have been anything to fund with- this year’s overarching and most populous theme, out the tireless work of staff, graduate students, it is just as true to say that “life during wartime” is faculty, curators, and programmers at NYU and

3 TRAVEL TIMES MEDIA LOUNGE CINEMATHEQUE

In addition to the panels and workshops taking This year we are excited to introduce the Visible WALK place at Hunter College on Saturday, work by Evidence Cinematheque (see pp. 8-9 for overview), BUS TAXI NYU conference participants and other SUNY and a specially curated series of screenings and discus- SUBWAY CUNY faculty and students, developing some sions that will run concurrently with panel sessions. of the notions of expanded documentary Eight of New York City’s most dynamic curators, explored in panels and workshops, will be on distributors, and producers have been invited to Columbia 25 view throughout the conference: present a program of works that push the boundar- 40 ies of documentary and non-fiction media. These programs form a picture of the NYC non-fiction Kelly Anderson 15 programming landscape, one that asks attendees Hunter Sarah Friedland 20 to experience the varied contexts that each of our Lise Gantheret programming partners fosters. In addition to these 15 Anthology Melissa Hacker programs, the VE18 Cinematheque organizers Film 5 have also selected four additional films to comple- Mél Hogan Archives 10 ment our partners’ programs. Through these twelve Joe McKay programs, we hope to introduce to the international 15 documentary community a set of complex and New 5 Liz Phillips School rich works and a group of vital organizations, and to Stephanie Rothenberg inspire dialogue around the ideas that they provoke. Brooke Singer

Samara Smith We look forward to sharing these works with you. Times shown in minutes. Florian Thalhofer Jason Fox & Chi-hui Yang Ricardo Miranda Zúñiga Visible Evidence Cinematheque curators NB During rush hour, the subway is usually much faster than a taxi! CINEMATHEQUE CONTENTS

Words of Welcome 1-3

Travel Times 4

Contents 5

Conference Overview 6-7

Cinematheque Overview 8-9

Sessions 1-6: Thursday/Friday 10-25

Maps: NYU, Columbia, Hunter 26-27

Sessions 7-12: Saturday/Sunday 28-42

Directory: Eat, Drink, Exercise 44-45

Credits 46-47

5 Coffee and pastries every day Registration every day Lunch every day All rooms are at NYU, 8:30-9am and 10:30-11am 8:30-3:30pm 12:30-2pm unless otherwise stated. Riese Student Lounge, Riese Student Lounge, Abe Burrows Theater / 721 Broadway, 1st fl oor 721 Broadway, 1st fl oor Riese Student Lounge, 721 Broadway, 1st fl oor

Hu Ci ABCDE HUNTER CINEMATHEQUE

721 Broadway, 721 Broadway, Dean’s 721 Broadway, 721 Broadway, Room 648 721 Broadway, 721 Broadway, Conference Room 017 Room 018 (Michelson Room 674 Room 670 room (basement) (basement) th Theater) (12th fl oor)

Negotiating The Future of Historical Transnational Activist dGenerate Documentary Perspectives New Indexical Spaces in Political Films: Disorder Studies on State Technologies Global First- 1 Economies (China, 2009) (workshop) Propaganda Person 9 - 10:30 AM Documentary

Crises, Subjectivities, Time Bends: Cinema and Practices Feminist Social Arts of The Living Temporality Tropical: in Post-Statist Imaginaries Surveillance Archive and Multimedia Santiago Independent 2 Documentary (Brazil 2006) Documentary 11 - 12:30 PM Cinema in India

The Ethics and Ernie Larsen & Pre- and Post- Open Spaces Sherry Millner Sounds Revolutionary “The People of Human Camera Bodies Against the American Latin American to Come” Rights Social Grain 3 Documentary 2 - 3:30 PM Media (Shorts)

4 - 6 P.M. 6:30 - 8 P.M. OPENING RECEPTION PLENARY SESSION 1 The Discourses of Insobriety Happy Hour Leandro Katz, The Alphabets Introduction by Jesse Lerner THURSDAY 11 THURSDAY Housing Works Bookstore Cafe, 126 Crosby St. Anthology Film Archives, 32 Second Ave. (at 2nd St.)

Sasha Waters th Freyer: Transgressive Ethnography The Rethinking the Picturing Chekhov For 4 Documentary and Citizenship Talking Head Documentary the Invisible Children (USA, 2010) 9 - 10:30 AM

The Reality Process Sites The Sacred and Drum-taps Light Industry: Principle and Product of Cinema the Profane Das Schleyerband 5 (1977-1978) 11 - 12:30 PM 12:30 - 2 P.M. Agenda: Visible Evidence 2012 and beyond; organizational and VISIBLE EVIDENCE BUSINESS LUNCH administrative challenges. Come with your questions, gripes, 721 Broadway, Room 652 suggestions, and proposals. No experience necessary; all welcome. Union Docs: Presenting Animation, Family Feminist Victimage: Last Rites of and Producing Mobility, and Resemblance: Documentaries Atrocity, Realism Expanded the Aesthetics Personal Now and Then Abjection, 6 Nonfi ction of Freedom Archives Accountability 2 - 3:30 PM (Shorts)

4:30 - 6:30 P.M. 6:30 - 7:30 P.M. 7:30 - 9 P.M. 7:30 - 9:30 P.M.

FRIDAY 12 FRIDAY PLENARY SESSION 2 COLUMBIA RECEPTION A Boatload of Wild Irishmen The Korsakow System Documentary: The Archival Double Columbia University Columbia University (Workshop) Columbia University School of Journalism School of Journalism NYU School of Journalism 2950 Broadway (at 116th St.) 2950 Broadway (at 116th St.) 721 Broadway, Room 652 2950 Broadway (at 116th St.)

721 Broadway, 721 Broadway, Dean’s 721 Broadway, 721 Broadway, 721 Broadway, HUNTER 721 Broadway, Room 648 Conference Room 017 th Room 612 Room 674 COLLEGE Room 670 (Michelson room (basement) Theater) (12th fl oor)

Charles There is The Musser: Errol Always The Urban Documentary Queer Politics, Documentary / Displacements: Morris: A Something to Documentary Hothouse Camp Tactics Value Global Cities Lightning 7 Listen To (workshop) (workshop) Sketch 9 - 10:30 AM (USA 2011)

Women Make Fascinations Mourning, Movies: Documentary Sensing the The Database of the Trauma, and Publics and Gender and and Political Political Documentary Found Story National Counterpublics Documentary Modernism (workshop) 8 Structure Memory 1 Form 11 - 12:30 PM (Shorts)

Maysles SUNY Cinema: Contemporary Documenting Race, Class, Revisitations: Interactive and Site Specifi c: Staging Chinese the and Histories in/of Multimedia Programming Dissent 9 Documentary Documentary Community Travelogue Documentary a Harlem Store- (workshop) front Cinema 2 - 3:30 PM (Shorts)

4:30 - 6:30 P.M. PLENARY SESSION 3: (In)Visible Evidence of War Tishman Auditorium, The New School, 66 West 12th St.

SATURDAY 13 SATURDAY (between Fifth Ave. and Sixth Ave.)

721 Broadway, 721 Broadway, Dean’s 721 Broadway, 721 Broadway, Room 648 721 Broadway, 721 Broadway, 721 Broadway, Conference Room 017 Room 018 (Michelson Room 612 Room 674 Room 670 room (basement) (basement) Theater) (12th fl oor) th

Comparative Mourning, Perspectives Center for Radical Video Acoustem- Trauma, and Documenting on State Power Contemplative Media, Culture, in the ologies National the Child and Geographies and History 10 Americas Memory 2 Documentary (Shorts) 9 - 10:30 AM Film

National Black Case Studies Programming in Global Old Left A Message Consortium: Documentary Documentary Tracking Lives Intimate Voices From the Life During and Political 1946-1968 Sponsor 11 Wartime and Modernism 11 - 12:30 PM Disasters

Documentary’s Icarus Films: Colonial Celebrity and New New York Mea Culpa Haunted Spaces Petropolis Documentary Star Bodies 12 (workshop) (Canada, 2010) 2 - 3:30 PM

4 - 6 P.M. 6:30 - 9 P.M. SUNDAY 14 SUNDAY PLENARY SESSION 4: Archival screening: Anthology Film The Party Like It’s 1899! Closing Reception Archives and the History of the Documentary Avant-garde Nom Wah Tea Parlor, 13 Doyers St. Anthology Film Archives, 32 Second Ave. (at 2nd St.)

Hu Ci ABCDE HUNTER CINEMATHEQUE

VE18 CONFERENCE OVERVIEW Coffee and pastries every day Registration every day Lunch every day All rooms are at NYU, 8:30-9am and 10:30-11am 8:30-3:30pm 12:30-2pm unless otherwise stated. Riese Student Lounge, Riese Student Lounge, Abe Burrows Theater / 721 Broadway, 1st fl oor 721 Broadway, 1st fl oor Riese Student Lounge, 721 Broadway, 1st fl oor

Hu Ci ABCDE HUNTER CINEMATHEQUE

Sasha Waters th Freyer: Transgressive Ethnography The Rethinking the Picturing Chekhov For 4 Documentary and Citizenship Talking Head Documentary the Invisible Children (USA, 2010) 9 - 10:30 AM

4:30 - 6:30 P.M. 6:30 - 7:30 P.M. 7:30 - 9 P.M. 7:30 - 9:30 P.M.

4:30 - 6:30 P.M. PLENARY SESSION 3: (In)Visible Evidence of War Tishman Auditorium, The New School, 66 West 12th St.

SATURDAY 13 SATURDAY (between Fifth Ave. and Sixth Ave.)

Documentary’s Icarus Films: Colonial Celebrity and New New York Mea Culpa Haunted Spaces Petropolis Documentary Star Bodies 12 (workshop) (Canada, 2010) 2 - 3:30 PM

Hu Ci ABCDE HUNTER CINEMATHEQUE

VE18 CONFERENCE OVERVIEW All Cinematheque events take place For more information in 721 Broadway, Room 670. see the daily schedule.

Huang Weikai’s one-of-a-kind news documentary captures, with remarkable dGenerate freedom, the anarchy, violence, and seething anxiety animating China’s major cities today. As urbanization in China advances at a breakneck pace, Chinese Films: cities teeter on the brink of mayhem. One man dances in the middle of traffi c I Disorder while another attempts to jump from a bridge before dozens of onlookers. Pigs THURSDAY run wild on a highway while dignitaries swim in a polluted river. Unshowable on 9 - 10:30 AM Dir. Huang Weikai China’s heavily controlled television networks, Disorder reveals an emerging underground media, one that has the potential to truly capture the ground-level China, 2009, 58 min. upheaval of Chinese society.

In the early nineties, João Moreira Salles decided to interview Santiago, the fam- Cinema ily’s longtime fl amboyant Argentine butler, with the intention of making a fi lm. Tropical: Yet he abandoned the project, disappointed by the material he had shot. Years II later, after the death of Santiago, the fi lmmaker returned to the unused footage Santiago and decided to take up the project. Hailed by critic Robert Koehler (Variety) as THURSDAY “a deeply human work of art,” Santiago is ultimately a poignant and delicate 11 - 12:30 PM Dir. João Moreira Salles refl ection on the nature of documentary fi lmmaking. Program curated by Carlos Brazil, 2006, 80 min. Gutiérrez.

Ernie Larsen The politically resistant fi lms in this program - most of them once banned, censored, or otherwise blocked from view, thought lost, or made on the spur of and Sherry the moment, with the means at hand - all resonate with a radical approach to III Millner: history (historical struggle) that seizes on the mistake, the rupture, the forgotten, the marginal, the illegitimate, and the unlegitimated. They might therefore THURSDAY Against be said to privilege or, let’s say, to melt, for the too-few minutes of their dura- 2 - 3:30 PM the Grain tion, the frozen potential for radical upheaval we believe to be always latent in history, around the next corner perhaps. Program of shorts

Chekhov for Children tells the inspiring story of an ambitious undertaking - the 1979 staging on Broadway of Uncle Vanya by New York City public schoolchil- dren directed by the celebrated writer Phillip Lopate. Using a wealth of never- Chekhov before-screened student documentary videos and dramatic Super 8mm fi lms IV For Children from the era, Chekhov for Children explores the interplay between art and life for a dozen friends - including the fi lmmaker - across 30 years. Writing in FRIDAY Dir. Sasha Waters Freyer Artforum, Amy Taubin said that Chekhov for Children “challenges current 9 - 10:30 AM USA, 2010; 72 min. standardized, exam-oriented public school education [and] deserves to be in the collection of any serious performing arts library.” The fi lm premiered at the Telluride Film Festival in September 2010. With Sasha Waters Freyer.

This program draws compelling works in fi lm, video, radio, and photography UnionDocs: from recent presentations at UnionDocs, providing examples of the non-profi t Presenting media arts organization’s broad approach to documentary art, including experimental city fi lms, home movies, ethno-graphic sound, fi lm essay, and V and observational work. UnionDocs will also provide a preview of Looking at Los Sures, a interactive documentary that explores South Williamsburg, the FRIDAY Producing neighborhood UnionDocs has been part of since 2005. This project is being 11 - 12:30 PM Expanded produced through three cycles of the UnionDocs Collaborative, a program for non-fi ction media research and group production, and is piloting Zeega, an Nonfi ction open-source HTML5 platform for publishing immersive multimedia projects.

“Das Schleyerband (The Schleyer Tape) is a compilation of television and news footage comprising two hours of media accounts regarding the infamous Light Baader-Meinhof gang. Klaus vom Bruch’s material begins with the September 1977 kidnapping of Hanns-Martin Schleyer and the dramatic news reportage Industry: from the scene of the car accident in Cologne where Schleyer was abducted. Vom Bruch then proceeds to chronologically relay footage from offi cial press VI Das conferences, talkshow speculation, public interviews and the news, giving a FRIDAY Schleyerband broad and detailed account of the events leading up to the fi nal downfall of the Red Army Faction and group suicide of Andreas Baader, Ulrike Meinhof, and 2 - 3:30 PM Dir. Klaus vom Bruch other RAF leaders. Bruch contrasts this with short episodes from other aspects Germany, 1977-78; 112 min. of popular culture: a fashion commercial advertising lipstick, images of a space shuttle launch, disco shows, and John Lennon’s song ‘Working Class Hero.’” – Klaus vom Bruch

Errol Morris:

A Lightning A 72-minute documentary portrait of fi lmmaker-writer Errol Morris VII Sketch shot at Fourth Floor Productions in Cambridge, MA. With Charles Musser (Yale University, USA) SATURDAY Dir. Charles Musser 9 - 10:30 AM and Carina Tautu USA, 2011; 72 min.

Jessica Green, Director of the Maysles Cinema, will highlight excerpts of documentaries and selections from post-screening discussions that occurred Maysles at the Maysles Cinema in the last year of programming. These highlights are meant to exemplify the approach the Cinema takes to documentary program- Cinema: Site ming, emphasizing fi lms and discussions that bring together multi-class, multi- Specifi c: generational, and multi-ethnic communities in dialogue. Green will contextualize VIII the fi lms screened, lead discussion on how these selected highlights celebrate Programming the type of discussion space that the Cinema aims to foster, and she will speak SATURDAY a Harlem to the varying ways that New York-based funders are responding to this new 11 - 12:30 PM kind of arts and advocacy interface. Queensbridge: The Other Side dir. Selena Storefront Blake (USA, 2005; DVD; 56 min. excerpt). Tragedy: The Story of Queensbridge Cinema dir. Booker Sim (USA, 2005; DVD; 80 min.). Video excerpt from a March ‘09 post-screening discussion. Malcolmology dir. Michael Tyner (USA, 2011; 14 min. excerpt.). Video excerpt from a May 2011 post-screening discussion.

In this program, Women Make Movies Executive Director Debbie Zimmerman Women Make will present clips and screenings of fi lms which offer a look at how women Movies: directors are working and experimenting with documentary form. El General dir. Natalia Almada (USA, 2009; video; 83min., in Spanish with English subtitles). IX Gender and Rachel dir. Simone Bitton (France/Belgium, 2009; video; 100 min, in French, SATURDAY Documentary Hebrew, and Arabic with English subtitles). Pink Saris dir. Kim Longinotto. UK/ India, 2010; video; 93min, in Hindi with English subtitles. Arresting Ana, Anorexia 2 - 3:30 PM Form Online dir. Lucie Schwartz (USA/France, 2009; video; 25min., in French and Program of shorts English with English subtitles).

In this session, NYU’s Center for Media, Culture and History will offer a screening NYU Center of three fi lms that have been presented in past Center public programs. Each for Media, will focus on a different aspect of the Center’s inquiry into the social uses of media, including how personal identity, indigenous communities, and disability X Culture voices are shaped and articulated through documentary. Program curated by SUNDAY and History Faye Ginsburg. Sea in the Blood dir. Richard Fung (Canada, 2000; video; 26 9 - 10:30 AM min.). I’ve Already Become An Image dir. Zezinho Yube (Brazil, 2008; video; 32 Program of shorts min, in Hunikui with English subtitles). Escape Velocity dir. Scott Ligon (USA, 2006; video; 24 min.)

Documentary imagery depicting people of the African Diaspora during wartime National Black are more often composed of dead or maimed bodies, children or women crying, Programming men running from or with guns, or the “white savior” moving from tent to tent checking on patients. But how often do those images accompany the voices and Consortium: the perspectives of the people who are living during or after the crisis? How often XI Life During are we able to reject the westernized approach to the “other”? The fi lms in this SUNDAY program reject that “assembly line” perspective that distills these images into Wartime and simplifi ed sound bytes and rote news media clips, forever keeping us from con- 11 - 12:30 PM Disasters necting with the true complexities of human suffering behind the spectacle of disaster—sometimes mundane, sometimes shocking, but often revealing of the Program of shorts true resilience of a universal human spirit. Program curated by Leslie Fields-Cruz.

Shot primarily from a helicopter, Petropolis: Aerial Perspectives on the Alberta Tar Icarus Films: Sands offers an unparalleled view of the world’s largest industrial, capital, and energy project. Canada’s tar sands are an oil reserve the size of England. Extracting the XII Petropolis crude oil called bitumen from underneath unspoiled wilderness requires a massive industrialized effort with far-reaching effects on the land, air, water, and climate. It’s SUNDAY Dir. Peter Mettler an extraordinary spectacle, whose scope can only be understood from far above. In 11 - 12:30 PM Canada, 2010, 43 min. a hypnotic fl ight of image and sound, one machine’s perspective on the choreography of others suggests a dehumanized world where petroleum’s power is supreme.

CINEMATHEQUE OVERVIEW All Cinematheque events take place For more information in 721 Broadway, Room 670. see the daily schedule.

Errol Morris:

CINEMATHEQUE OVERVIEW THURSDAY, AUGUST 11 9 - 10:30 A.M. 1 A 1 B 1 C The Future of Documentary Historical Perspectives on New Indexical Technologies Studies (workshop) State Propaganda 721 Broadway, Room 674 721 Broadway, Room 648 721 Broadway, Dean’s (Michelson Theater) Conference Room (12th Floor) CHAIR: Bella Honess Roe University of Surrey, UK WORKSHOP LEADERS: CHAIR: Nate Brennan New York University, USA Documenting the ‘World Emanation’: Towards an Interdisciplinary Documentary Studies Raoul Hausmann’s Infra-Red Photography CHAIR: Roger Hallas Documentary Intelligence: Siegfried Kracauer’s Daniel David Hackbarth Stanford University, USA Syracuse University, USA Theory of National Socialist ‘Realism’, 1941-1943 Nate Brennan New York University, USA The Performance of Indexicality in David Lynch’s Looking Off Screen: The Work of Documentary Documentary Website The Interview Project (2010) in the 21st Century Animated Ideology. Czechoslovak Short Anne Jerslev University of Copenhagen, Denmark Faye Ginsburg New York University, USA Propaganda Films (1945-1955) Lucie Cesalkova Augmentation/Reality/Document What Are ‘Documentary Films’ Anyway? Masaryk University, Brno, Czech Republic Heidi Rae Cooley Scott MacDonald Hamilton College, USA University of South Carolina, USA Light in the Times of War. Documentary in the Hands of Propaganda Practice as Research Ansgar Schaefer Documentary Online: Viruses, Virality, Networks Alisa Lebow Brunel University, UK IHC, Universidade Nova Lisbon, Portugal and Arteries Alexandra Juhasz (Pitzer College, USA) All Films Aren’t Fiction Films Brian Winston Lincoln University, UK

Documentary Across Disciplines: The SocDoc Model B. Ruby Rich University of California, Santa Cruz, USA

SESSION 1 10 FOR CAMPUS AND BUILDING LOCATIONS, SEE MAP ON CENTER PAGES

1 D 1 E CINEMATHEQUE I Negotiating Transnational Activist Political Economies: dGenerate Films: Disorder Spaces in Global First-Person Theory and Practice Dir. Huang Weikai (China, 2009, Documentary in Circulation DVD, 58 min.)

721 Broadway, Room 017 721 Broadway, Room 018 721 Broadway, Room 670

CHAIR: Angelica Fenner CHAIR: Cynthia Chris University of Toronto, Canada CUNY Staten Island, USA FOR FULL DESCRIPTION SEE PAGES 8-9.

Roots and Routes: Mapping Spatial Practices in Turkish-German Diasporic Documentary Documentary and Social Change: Re-thinking Documentary Theory Through Angelica Fenner University of Toronto, Canada the Framework of Practice Angela J. Aguayo The Heterotopia of Memory: Southern Illinois University, Carbondale, USA Robert Frank’s Autobiographical Films Petra Löffler University of Vienna, Austria Towards Accountability in Social Change Documentary: Prototype for a Design Protocol Subjective Cityscape and Cultural Discourse in Lawrence Daressa California Newsreel, USA Chantal Akerman’s News From Home Iván Villarmea Álvarez Universidad de Zaragoza, Spain Celluloid Cells: The Virus in Prison Documentary Marty Fink Concordia University, Canada

11 WWW.VISIBLE EVIDENCE.ORG THURSDAY, AUGUST 11 11 A.M. – 12:30 P.M. 2 A 2 B 2 C Feminist Social Imaginaries Arts of Surveillance The Living Archive: Exploring Regional Identity and Political 721 Broadway, Room 648 721 Broadway, Dean’s History Through the Lens of (Michelson Theater) Conference Room (12th Floor) Appalshop Films (workshop)

CHAIR: Jane M. Gaines Columbia University, USA CHAIR: Tess Leina Takahashi 721 Broadway, Room 674 York University, Canada

Talking Heads, Moving Bodies: Documentary Workshop Leaders: Practices and Feminist Imaginaries The World Viewed: Documentary Observing and the Culture of Surveillance Shilyh Warren Duke University, USA CHAIR: Tom Hansell Elizabeth Cowie University of Kent, UK Appalshop Media Arts Center, USA

Women’s Rights as Human Rights: Documentary and Feature Film Strategies ‘This System of Secret Informers’: Snitching as a Key Aspect of Modern Surveillance Societies Elizabeth Barret Patricia White Swarthmore College, USA Appalshop Media Arts Center, USA Elena Razlogova Concordia University, Canada

‘Re-Orientations’: New Positions on Identity and Politics in Films by Young Israeli Women ‘As I photograph the night sky, the other night Caroline Rubens sky photographs back’: Surveillance, Appalshop Media Arts Center, USA Marcy Goldberg Transparency, and the Frenzy of Disclosure University of Zurich, Switzerland Lisa Lynch Concordia University, Canada Dan Streible New York University, USA Complex Regimes of Truth: Surveillance, Disclosure, and Affect in You Don’t Like the Truth: 4 Days Inside Guantanamo (2010) Brenda Longfellow York University, Canada

SESSION 2 12 THURSDAY, AUGUST 11 11 A.M. – 12:30 P.M. FOR CAMPUS AND BUILDING LOCATIONS, SEE MAP ON CENTER PAGES 2 D 2 E CINEMATHEQUE II Time Bends: Temporality and Crises, Subjectivities and Cinema Tropical: Santiago, Multimedia Documentary Practices in Post-Statist dir. João Moreira Salles Independent Documentary (Brazil, 2006, digibeta, 80 min.) 721 Broadway, Room 017 Cinema in India 721 Broadway, Room 670 CHAIR: Christopher Pavsek Simon Fraser University, Canada 721 Broadway, Room 018 FOR FULL DESCRIPTION SEE PAGES 8-9. After the Fact, Beyond the Vestige: Documentary CHAIR: Swati Bandi Fiction and the Poetics of Enactment Edinboro University of Pennsylvania, USA Malin Wahlberg Stockholm University, Sweden Representing Crisis: Cinema and Citizenship in the Post-Secular World Damaged Time in Omer Fast’s The Casting Anuja Jain Tina Wasserman New York University, USA Tufts University/The School of the Museum of Fine Arts, Boston, USA The Violent Image: Documenting Women’s Bodies and Voices in The Lightning Testimonies Swati Bandi Edinboro University of Pennsylvania, USA

New Subjectivities and the First-Person Documentary in India Veena Hariharan University of Southern California, USA

13 WWW.VISIBLE EVIDENCE.ORG THURSDAY, AUGUST 11 2 – 3:30 P.M. 3 A 3 B 3 C Sounds American: Community, Pre- and Post-Revolutionary The Ethics and Open Spaces Country, and Conspiracy Latin American Documentary of Human Rights Social Media: in Music, Noise, and Voice Towards Provisional 721 Broadway, Dean’s Ethical Working Principles and 721 Broadway, Room 648 Conference Room (12th Floor) Dialogues (workshop) (Michelson Theater)

CHAIR: B. Ruby Rich 721 Broadway, Room 674 University of California, Santa Cruz, USA

CHAIR: Cynthia Chris Workshop Leaders: City University of New York, Staten Island, USA Fernando Birri’s Magical Act: Tire Dié and the Reemergence of the Left CO-CHAIR: Sam Gregory Ernesto Livon-Grosman WITNESS, USA Sounding Out the City: Varieties of Audio- Boston College, USA Mimesis and Sound/Image Relationships in Three CO-CHAIR: Patricia R. Zimmermann Postwar New York Experimental City Films Ithaca College, USA Cortland W. Rankin Filming Allende and the Chilean Revolution: New York University, USA Aesthetics of Contradiction in Littin’s Helen De Michiel Compañero Presidente (1971) Thirty Leaves Productions, USA Jose Miguel Palacios Hearing Secondary Explosions: Columbia University, USA Negar Mottahedeh Audiovisual (A)synchronization and Duke University, USA the Limits of Documentary Realism in the Naudet Brothers’ 9/11 Noise to Signal: Venezuelan Documentary To Go Randolph Jordan Nilo F. Couret Concordia University, Canada University of Iowa, USA

Documentary Noise: The Soundscape of Appalachia in the 1970s Grace Elizabeth Hale University of Virginia, USA

SESSION 3 14 FOR CAMPUS AND BUILDING LOCATIONS, SEE MAP ON CENTER PAGES

3 D 3 E CINEMATHEQUE III Camera Bodies: Diaries, Notes “The People to Come”: Ernie Larsen & Sherry Millner: and the Projection of Identity Religion, Allegory, Community Against the Grain (program of shorts) 721 Broadway, Room 017 721 Broadway, Room 018 721 Broadway, Room 670 CHAIR: Timothy Corrigan CHAIR: Alisa Lebow University of Pennsylvania, USA Brunel University, UK FOR FULL DESCRIPTION SEE PAGES 8-9.

Combining the Making-of Formula, Documentary Fabulation and the Creation Ausfegen (Sweeping Up) dir. Joseph Beuys Filmed Notes and Fiction: Three Documentaries of Collectivity (West Germany, 1972; 16mm original, to be by Pier Paolo Pasolini Ilona Hongisto screened on DVD; 26 min.) Donatella Maraschin University of Turku, Finland London South Bank University, UK Black Film dir. Zelimir Zilnik (Yugoslavia, 1971; 16mm original, to be screened on DVD; 14 min.) The Powerless Image: Artur Aristakisyan’s Face A Face B dir. Rabih Mroue (Lebanon, 2003; Kidlat Tahimik’s ‘Third World’ Projector Documentary Allegories video; 9 min.) Christopher Pavsek Anat Pick Le Glas (The Death-Knell) dir. Rene Vautier Simon Fraser University, Canada University of East London, UK (France, 1964; 16mm original, to be screened on DVD; 5 min.) Voco-centrism and the Body within the Crossing Cameras: Religious Aesthetics and Social The Route dir. Chen Chieh-Jen (Taiwan, 2006; Essay Film Form Ownership in Chinese Documentary Making video; 14 min, silent) David Oscar Harvey Angela Zito Remorse dir. Rene Vautier (France, 1973; 16mm University of Iowa, USA New York University, USA original, to be screened on DVD; 10 min.) Partial Critique of Separation dir. Sherry Millner & Ernie Larsen (USA, 2008; video; 19 min.)

15 WWW.VISIBLE EVIDENCE.ORG THURSDAY, AUGUST 11 4 – 6 P.M. 6:30 – 8 P.M.

Opening Reception: PLENARY SESSION 1: Leandro Katz screening/ The Discourses of Insobriety performance: The Alphabets Happy Hour

Housing Works Bookstore Cafe Anthology Film Archives, 32 Second Avenue (at 2nd St.) 121 Crosby Street With Leandro Katz. Introduction by Jesse Lerner (Pitzer College, USA) (Half a block South of Houston) Over the past fifty years, Leandro Katz

Eat, drink, and be reasonably merry – in an has created a complex and thrilling body ethical and socially-responsible manner, of of work that is truly American in the most course – under the mahogany bookshelves and rigorous sense: continental, anti-colonial, spiral staircases of this local institution, one and transnational. This oeuvre includes face of Housing Works, the largest community- installations, photographs, artist books, based, minority-controlled AIDS service poetry, and documentary films and organization in the U.S. Experience a full 120 minutes of irrational exuberance, knowing that videos that have been exhibited all over all the monies spent here go to lifesaving ser- the world. Tonight, Katz visits lower vices and social support to more than 20,000 Manhattan, his former home, from his homeless and low-income New Yorkers. What current base in Buenos Aires for a better way to toast our guest of honor, George screening and artist’s talk that presents Stoney? Plenty of free condoms, too. Proyecto Para El Día.... #S, fotografía cromogénica, his invented alphabets, a work recently Leandro Katz, 1995 acquired by the Museum of Modern Art; documents of a fundamental encounter with speech and the cosmos, these alphabets use malacology and lunar phases to spell out witty phrases about language and art. Photo © Housing Works Bookstore Café

16 FILM STUDIES FROM

OPENING BAZIN HOW TO READ A FILM GLOBAL ART CINEMA STARRING NEW YORK Postwar Film Theory and Its Afterlife Movies, Media, and Beyond New Theories and Histories Filming the Grime and the DUDLEY ANDREW with Fourth Edition Edited by ROSALIND GALT and Glamour of the Long 1970s Forthcoming! HERVÉ JOUBERT-LAURENCIN JAMES MONACO KARL SCHOONOVER STANLEY CORKIN “An invaluable and vivid picture of “Anyone who writes about film, or “This is a rich and stimulating book.” “Corkin is brilliant at reading LEARNING WITH THE Bazin as film theorist, film critic, and who is interested in film seriously, —Colin MacCabe, University the city’s demise, its class LIGHTS OFF engaged intellectual.” just has to have it.”—Richard Roud, of Pittsburgh and race remaking, and its Educational Film in the —Laura Mulvey, University of London Director of the New York Film Festival 2010 408 pp. 38 illus. subsequent amnesiac lurch United States 2011 384 pp. Paperback $34.95 2009 736 pp. 425 illus. Paperback $29.95 Hardback $99.00 toward a differently dystopic Edited by DEVIN ORGERON, Hardback $99.00 Paperback $29.95 gentrification.”—Neil Smith, MARSHA ORGERON, and New Editon! author of New Urban Frontier DAN STREIBLE DOCUMENTARY SAVING CINEMA A CINEMA OF LONELINESS 2011 240 pp. 40 illus. The first collection of essays A History of the Non-Fiction Film The Politics of Preservation Fourth Edition Paperback $27.95 Hardback $99.00 to address the phenomenon Second Revised Edition CAROLINE FRICK ROBERT KOLKER of film’s education uses in 20th ERIK BARNOUW “Frick makes a smart and timely “Brings the films into clearer focus for MECHANICAL century America. “A concise, accurate and indispensable contribution to the intellectual ferment film-goers. The filmmakers themselves WITNESS November 2011 368 pp. 90 illus. book for any lover of documentary film.” taking place at the nexus of media will find Kolker’s analysis of their works A History of Motion Picture Paperback $29.95 Hardback $99.00 —Lynne Jackson, St. Francis College studies and film archiving. ” extremely accurate.”—Martin Scorsese Evidence in U.S. Courts DOCUMENTARY 1993 416 pp. 180 illus. —Dan Streible, Orphan Film Symposium 2011 568 pp. 91 illus. Paperback $27.95 LOUIS-GEORGES SCHWARTZ Paperback $19.99 2011 232 pp. 16 illus. “This pathbreaking study of case FILM READER Paperback $27.95 Hardback $99.00 THE ESSAY FILM law rescues film studies from Edited by JONATHAN KAHANA Foreword by CHARLES MUSSER THE OXFORD HANDBOOK From Montaigne, After Marker the cloisters by tracing the use of This collection presents OF FILM AND MEDIA STUDIES DOCUMENTARY FILM TIMOTHY CORRIGAN cinema in the U.S. courts.Valuable an international perspective Edited by ROBERT KOLKER A Very Short Introduction “Corrigan’s reflections offer a for its research and a model of on the most significant develop- Original analysis by 20 leading scholars PATRICIA AUFDERHEIDE passionate and convincing testimony exposition, this is a marvelous ments and debates from and industry professionals on the A lively, compact introduction to to the transformative power of the book.” —Toby Miller, author several decades of critical intersection of film and media studies. documentary film. essay film.” —Lynne Sachs, filmmaker of Makeover Nation writing about documentary. 2008 640 pp. 60 illus. 2007 176 pp. 13 illus. 2011 256 pp. 73 illus. 2009 144 pp. Fall 2012 Hardback $150.00 Paperback $11.95 Paperback $27.95 Hardback $99.00 Hardback $74.00 Paperback $21.95

Prices are subject to change and apply only in the US. To order or for more information visit our website at www.oup.com/us FRIDAY, AUGUST 12 9 – 10:30 A.M. 4 A 4 B 4 C Transgressive Documentary: Ethnography and Citizenship The Talking Head: Substance, Spaces, Ethics, and Bodies Subjectivity, and Subjugation 721 Broadway, Dean’s 721 Broadway, Room 648 Conference Room (12th Floor) 721 Broadway, Room 674 (Michelson Theater)

CHAIR: Faye Ginsburg CHAIR: Patrik Sjöberg New York University, USA Karlstad University, Sweden CHAIR: Jaimie Baron University of California, Los Angeles/ Pitzer College, USA “I Forgot Who I Was Talking To There For A Afrique Sur Seine: Voice and Collectivity in Second”: The Re-Contextualized Subject as Eavesdropping in The Cove: Interspecies Postwar Documentary High Comedy in Marc Singer’s Dark Days and Ethics, Public and Private Space, and Media Paul Fileri Alina Skrzeszewska’s Songs From The Nickel under Water New York University, USA Deron Williams Janet Walker Southern Illinois University, University of California, Carbondale, USA Santa Barbara, USA Thresholds of Belonging: Intimacies, Ethnographies and Citizenship in Contemporary Cuban Documentaries Blurred Figures of Speech: The Speaking Ulrich Seidl’s Ethical Investigations Susan Lord Subject in the Anonymous Interview Asbjørn Grønstad Queen’s University, Canada Patrik Sjöberg University of Bergen, Norway Karlstad University, Sweden

Documentary Filmmaking in Times of Social Media: Transgressive Bodies, Bodily Transgressions: Contemporary Slovene Documentaries Retrospective or Real Time Revolutionary? Exposure and Occlusion Melita Zajc Historical Truths and the Presence and Absence in Recent Documentary Films University of Maribor, Slovenia of Talking Heads in Biographical Documentaries Jaimie Baron Don’t Look Back and Aoki University of California, Los Angeles/ Allie Lee Pitzer College, USA Southern Illinois University, Carbondale, USA

SESSION 4 18 FOR CAMPUS AND BUILDING LOCATIONS, SEE MAP ON CENTER PAGES

4 D 4 E CINEMATHEQUE IV

Rethinking the Documentary: Picturing the Invisible: Chekhov For Children The Doc-Fiction Hybrid The New Landscapes of Global dir. Sasha Waters Freyer Conflict and Defense (USA, 2010; 72 min.). 721 Broadway, Room 017 721 Broadway, Room 018 CHAIR: Ohad Landesman 721 Broadway, Room 670 New York University, USA

CHAIR: Øyvind Vågnes FOR FULL DESCRIPTION SEE PAGES 8-9. University of Bergen, Norway Parallax Dislocations: Time Bends and Fictive Kinships in Ke Kulana He Mahu: Remembering a Sense of Place The In/visible Army: Visualizing Military Space, Jih-Fei Cheng Power and Process in the British Landscape University of Southern California, USA Matthew Flintham Royal College of Art, UK The People are Still Missing: Abbas Kiarostami’s and Pedro Costa’s Cinema of Becoming Covert Conflicts: Territories of Never-Ending-War Vered Maimon from Hidden (Paul Seawright, 2002) to Invisible Bezalel Academy of Arts and Design, Israel (Travor Paglen, 2010) Henrik Gustafsson University of Bergen, Norway Heretical Histories: Documentary History as Immemory William Kaizen Images from the Dark Side: Picturing the War University of Massachusetts, Lowell, USA on Terror Øyvind Vågnes University of Bergen, Norway

19 WWW.VISIBLE EVIDENCE.ORG FRIDAY, AUGUST 12 11 A.M. – 12:30 P.M. 5 A 5 B 5 C

The Reality Principle: Process and Product: Sites of Cinema: Epistemologies of Television Re-thinking Exhibiting Documentary Political Documentary Media 721 Broadway, Room 648 721 Broadway, Room 674 (Michelson Theater) 721 Broadway, Dean’s Conference Room (12th Floor) CHAIR: Yvonne Zimmermann New York University, USA CHAIR: Susan Murray CHAIR: Paige Sarlin New York University, USA Brown University, USA Marquee Survivals: Inhabiting Cinema/ Transforming South Broadway The History of Now: Genealogies of Liveness Feminist Pre-histories of Tactical Media: Veronica Andrea Paredes in Television News Sheep and Dinosaurs Against the Pigs University of Southern California, USA Mark J. Williams Dara Greenwald Dartmouth College, USA Rensselaer Polytechnic Institute, USA The Rueben H. Fleet Space Theater and the Origins of OMNIMAX Moving Tears Moving Images: A Critique of The Personal and the Political: The Role Allison Whitney Judgment in Documentary Television of the Interview in Filming Women’s Work Texas Tech University, USA Silke Panse Paige Sarlin University for the Creative Arts, UK Brown University, USA Re-screening Cultural Memory in the Dutch Multi-Platform Documentary In Europe Documenting the Confession of Pleasure: Public Stances Berber Hagedoorn Pornographic Parodies and Reality Television Kathy High Utrecht University, The Netherlands Lindsay Palmer Rensselaer Polytechnic Institute, USA University of California, Santa Barbara, USA

SESSION 5 20 FOR CAMPUS AND BUILDING LOCATIONS, SEE MAP ON CENTER PAGES

5 D 5 E CINEMATHEQUE V The Sacred and the Profane: Drum-taps: UnionDocs: Presenting and Ontological and Ethical War and Audiovisual Memory Producing Expanded Nonfiction Confrontation in Avant-Garde Non-Fiction of the 20th Century 721 Broadway, Room 018 721 Broadway, Room 670

FOR FULL DESCRIPTION SEE PAGES 8-9. 721 Broadway, Room 017 CHAIR: Noah Tsika New York University, USA New York City Street Photography, Various (USA; Digital; 4 min.) CHAIR: Juan Carlos Kase University of North Carolina, The Dachau Line (and Mine) Pigs. Dir. Pawel Wojtasik, USA, 2010, Digital, 7 min. Wilmington, USA Seth Robert Feldman York University, Canada 200 000 Phantoms. Dir. Jean-Gabriel Periot, France, 2007, Digital, 10 min. Profane Realism: Of Big Toes and Beasts James Leo Cahill Keep in Touch: On Politics, Feelings and Familial Radio Diaries: Josh Cutler. Produced by Joe University of Toronto, Canada Intimacy in Israeli Memorial Films Richman, USA, 1996, Digital audio file, 5 min. Laliv Melamed New York University, USA Disneyland Dream. Dir. Robbins Barstow, USA, 1956, Violence, Excess, and Provocation in the Filmic Digital (original format Super 8mm), 12 min excerpt. Collaborations of Kurt Kren and the Viennese Actionists The Reactive Camera: Images and Sound Los Sures. Dir. Diego Echeverria, USA, 1983, Digital, 12 min excerpt. Juan Carlos Kase Blake Fitzpatrick University of North Carolina, Ryerson University, Canada Wilmington, USA Excerpts from UnionDocs collaborative project, Looking at Los Sures. USA, 2005-2011, 25 min.

Seeing the Unspeakable Allen Weiss New York University, USA

21 WWW.VISIBLE EVIDENCE.ORG FRIDAY, AUGUST 12 2 – 3:30 P.M. 6 A 6 B 6 C Animating the Ephemeral: Family Resemblance: Feminist Documentaries Ethics, Affect and Personal Archives Now and Then Materiality in Experiments with Documentary 721 Broadway, Dean’s 721 Broadway, Room 674 Conference Room (12th Floor)

721 Broadway, Room 648 CHAIR: Julia Lesage (Michelson Theater) CHAIR: Michael Renov Jump Cut: A Review of University of Southern California, USA Contemporary Media, USA

CHAIR: Tess Leina Takahashi Feminist Nonfictions: Healthcaring and York University, Canada Melodrama Interrupted: WWII Stock Footage in Sam Fuller’s Verboten! Documentary at Women Make Movies Marsha Gabrielle Orgeron Kristen Fallica Animating Ethics: Documentary, Realism, North Carolina State University, USA University of Pittsburgh, USA and the Historical Subject Karen Beckman Hearts of Glass: Women, Community Access University of Pennsylvania, USA The Family Analog and the Online Image Archive TV, and the Downtown Art Scene Rachel Stevens Hunter College, USA Joan Hawkins Animation, Mobility, and the Aesthetics Indiana University, USA of Freedom Tess Leina Takahashi Unfinished Films in the Multimedia Archive Finding, Seeing, and Using Feminist York University, Canada Monika Kin Gagnon Documentaries Concordia University, Canada Julia Lesage Moving Documents: The Affective Histories Jump Cut: A Review of of Lewis Klahr Contemporary Media, USA Jeffrey Skoller Wellesley College, USA

SESSION 6 22 FOR CAMPUS AND BUILDING LOCATIONS, SEE MAP ON CENTER PAGES

CINEMATHEQUE VI 6 D 6 E Victimage: Atrocity, Last Rites of Realism: Post-war Light Industry: Das Schleyer- Abjection, Accountability and Post-Colonial Avant-Gardes band dir. Klaus vom Bruch (Germany, 1977-78; 112 min.) 721 Broadway, Room 017 721 Broadway, Room 018 721 Broadway, Room 670 CHAIR: Ivone Margulies CHAIR: Irina Leimbacher Hunter College, USA Keene State College, USA FOR FULL DESCRIPTION SEE PAGES 8-9. Can a Post-colonial Retrospective Transform Kids With Cameras: Agency, Art and Fiction into Documentary over the Course Time? Victimization in Born Into Brothels Utilizing African, Asian, and Middle Eastern War Christie Milliken Prisoners as Actors in German Colonial Brock University, Canada Propaganda Cinema During Word War I Linnea J. Hussein Columbia University, USA Archiving the Living and the Dead: On the Documentary Practice of Donigan Cumming Marit Kathryn Corneil Eli Lotar, Aubervilliers, & Postwar French Norwegian University of Technology Documentary and Science, Norway Steven Ungar University of Iowa, USA

Birth of an Image: Mueda, Memória e Massacre (Mueda, Memory and Massacre), by Ruy Guerra (1979) Raquel Schefer University of Paris, France

23 WWW.VISIBLE EVIDENCE.ORG FRIDAY, AUGUST 12 4:30 – 6:30 p.m. 6:30 – 7: 30 p.m.

PLENARY SESSION 2: Documentary: The Archival Double COLUMBIA RECEPTION

Columbia University School of Journalism Columbia University School 2950 Broadway (at 116th St.) of Journalism 2950 Broadway (at 116th St.)

The idea of a plenary panel devoted to documentary and archive came about when we started to see the parallels between documentary theory and practice CHAIR: Jane M. Gaines and archival theory and practice. Some of the very Columbia University, USA questions that have kept the Visible Evidence conferences alive and vital for eighteen years have re- Panel Coordinator: Rachel Schaff appeared in another form in the discussions around Columbia University, USA archival practice: the investment in the originary moment is echoed in the discourse around the value of Mona Jimenez the original artifact, and the ideology of realness re- New York University, USA turns, now shifted from the world before the camera Louis Massiah Scribe Video Center, Philadelphia, USA to the artifactual object. Once deposited in an archive, Abraham Ravett documentary work (as feet of footage, hours of tape Hampshire College, USA or megabytes of hard drive storage) becomes some- JoAnne Stober thing else again. It is both documentary work with a National Archives, Canada privileged relation to the event and another kind of Thomas Waugh document, a document governed by an additional set Concordia University, Canada of institutional rules. This is what we mean by the “archival double”: documentary transcription becomes documentary archival material; documentary work becomes documentary archival document.

24 7:30 – 9 p.m. 7:30 – 9 p.m.

SCREENING: A Boatload of WORKSHOP: An Introduction Wild Irishmen, dir. Mac Dara to the Korsakow System Ó’Curraidhín; written by Brian Winston (Ireland, 2010; 90 min.) 721 Broadway, Room 652 Columbia University School With Florian Thalhofer and Matt Soar of Journalism Interactive, web-based documentaries are a rapidly 2950 Broadway (at 116th St.) emerging medium. Outstanding recent examples include the National Film Board of Canada’s Out My Window and Welcome to Pine Point; the ARTE- Introduced by Brian Winston produced films Gaza/Sderot and Prison Valley; and The Whale Hunt - all produced using Adobe Flash.

Robert Flaherty was the first to transform film Korsakow films, by contrast, are not merely inter- observing real people from mere shapeless active; they are also dynamic. In other words, their surveillance into dramatic narrative – but at a structure is not mapped out in advance as a set of considerable ethical cost. Although accused of fixed paths; rather, the author of a Korsakow-film being an undisciplined neo-colonial romantic creates the environment for a self-organizing story- given to fakery and careless of his subjects’ dignity space, through which each viewer can walk on his and safety, some think him a genius, correctly or her individual path. credited with the discovering of a wholly different way of making films. A Boatload of Wild Irish- The Korsakow System was invented by Florian men follows in his footsteps from Arctic Canada to Thalhofer in 2000, and has evolved into a powerful Samoa, from the swamps of Louisiana to the Aran tool for documentary storytellers, as demonstrated Islands, finding the few left who knew him, worked in his award-winning Korsakow films Planet Galata with him or are the children of those who did. (for ARTE); 7 Sons; 13th Floor; and Forgotten Flags (these and other outstanding k-films are accessible Contemporary voices and rare archival materials via www.thalhofer.com and via the Showcase sec- highlight the impact of Man of Aran (1934) on tion on the www.korsakow.org website). that island community for the last three-quarters of a century. Richard Leacock, his cameraman on This workshop will offer a conceptual and practi- Louisiana Story, shares, in one of his last cal overview of Korsakow, the creation of a basic interviews before his death in March, previously example, and recommended workflows. It will not undocumented insights in Flaherty’s working be held in a computer lab, so please bring your methods. In Flaherty’s cinema can be found all laptops! For more information and to prepare for the issues that confront today’s documentary the workshop, please visit: filmmaker. www.korsakow.org/learn/workshops

25 COLUMBIA UNIVERSITY School of Journalism 2950 Broadway HUNTER COLLEGE Film and Media Studies 695 Park Avenue 4th & 5th Fl, Hunter North

NYU Dept. of Cinema Studies Tisch School of the Arts 721 Broadway, 6th Fl.

ANTHOLOGY FILM ARCHIVES 32 Second Avenue (at 2nd St.)

OPENING RECEPTION Housing Works Bookstore Cafe 126 Crosby St.

CLOSING RECEPTION Nom Wah Tea House 13 Doyers St.

THE NEW SCHOOL Tishman Auditorium 66 W 12th St.

MAIN CONFERENCE VENUES (Please see Google map for more info including subway options.) COLUMBIA UNIVERSITY School of Journalism 2950 Broadway HUNTER COLLEGE Film and Media Studies 695 Park Avenue 4th & 5th Fl, Hunter North

NYU Dept. of Cinema Studies Tisch School of the Arts 721 Broadway, 6th Fl.

ANTHOLOGY FILM ARCHIVES 32 Second Avenue (at 2nd St.)

OPENING RECEPTION Housing Works Bookstore Cafe 126 Crosby St.

CLOSING RECEPTION Nom Wah Tea House 13 Doyers St.

THE NEW SCHOOL Tishman Auditorium 66 W 12th St.

MAIN CONFERENCE VENUES (Please see Google map for more info including subway options.) SATURDAY, AUGUST 13 9 – 10:30 A.M. 7 A 7 B 7 C The Documentary Hothouse: Queer Politics, Camp Tactics Documentary/Value Building a Sustainable Documentary Film Culture 721 Broadway, Room 612 721 Broadway, Dean’s (workshop) Conference Room (12th Floor) CHAIR: Roger Hallas Syracuse University, USA 721 Broadway, Room 648 CHAIR: Ben Stork (Michelson Theater) University of Minnesota, Twin Cities, USA Performativity and Camp Aesthetic in Two Taiwanese Queer Documentaries The Enigma of Value: Toward a Theory of CHAIR: Michael Renov Shi-Yan Chao Documentary Value New York University, USA University of Southern California, USA Ben Stork University of Minnesota, Twin Cities, USA Workshop Leaders: Camp, Style and Testimony: The Emergence of Queer Independent Films Documenting Every Dollar: Data Visualization Judith Helfand Shohini Ghosh as Documentary on Recovery.gov New York University, USA Jamia Millia Islamia, India Kris Fallon University of California, Berkeley, USA TBA Dismantling the Tableau Effect in Re (constructed) Documentary: The Case of Rex vs. Singh The Real Piece of Work: Documentary in the Kass Banning Age of Digital Distribution University of Toronto, Canada Kevin McDonald University of Iowa, USA

SESSION 7 28 FOR CAMPUS AND BUILDING LOCATIONS, SEE MAP ON CENTER PAGES 7 D 7 E 7 F Displacements: Global Cities There is Always Something The Urban Documentary: to Listen to: Silence New Forms for New Cities 721 Broadway, Room 674 in Documentary Discourse (workshop)

CHAIR: Michelle Stewart 721 Broadway, Room 017 IMA/Hunter College: 544 Hunter SUNY Purchase, USA North, 695 Park Ave.; entrance

CHAIR: Josep Maria Català on E 68th and Lexington Ave. The Hidden Recess of a Global City: Universidad Autonoma de Barcelona, Spain La République Marseille Workshop Leaders: Geneviève Daphné Van Cauwenberge University of Liège, Belgium Silent Language/Hidden Language: Comic book CHAIR: Martin Lucas and other non-photographic documentaries CUNY Hunter College, USA Josep Maria Català Kelly Anderson City Symphony Remix: Megacities and Beyond Universidad Autonoma de Barcelona, Spain Hunter College, USA Eric Ames University of Washington, USA Gabriella Bendiner-Viani The Sound of Silence: Found Footage The New School, USA Documentary in the Colombian Armed Conflict Lise Gantheret Documenting The Malls: Maria Luna Kenbela Productions, Canada Locality in a Transnational Urban Environment Universidad Autonoma de Barcelona, Spain Samara Smith Gabrielle Finnane SUNY Old Westbury, USA University of New South Wales, Australia Silence Becomes Complex: Documentary Images on Gender-based Violence Birgit Wolf CINEMATHEQUE VII Universidad Autonoma de Barcelona, Spain Errol Morris: A Lightning Sketch dir. Charles Musser and Carina Tautu (USA, 2011; 72 min.) 721 Broadway, Room 670

FOR FULL DESCRIPTION SEE PAGES 8-9.

29 WWW.VISIBLE EVIDENCE.ORG SATURDAY, AUGUST 13 11 A.M. – 12:30 P.M. 8 A 8 B 8 C Documentary and Political Fascinations of the Sensing the Political: Modernism: Histories, Found Story Structure Aesthetics, Affect, and Ethics Geographies, Theories in Contemporary Media (workshop) 721 Broadway, Room 612 721 Broadway, Dean’s

721 Broadway, Room 648 CHAIR: Jane M. Gaines Conference Room (12th Floor) (Michelson Theater) Columbia University, USA

CHAIR: Orit Halpern Do Found Stories “Tell Themselves”? The New School, USA CHAIRS: Joshua Malitsky Indiana University, USA Jane M. Gaines Columbia University, USA Suicidal Robots: Sovereignty, Documentary, and Masha Salazkina Autonomy in 1960’s America Concordia University, Canada Found Stories: The Dramatic Film as Revisionist Orit Halpern History OR The Ballad of Valerie Plame The New School, USA Workshop Leaders: Stephen Molton Writer/Filmmaker, USA John Mowitt Gestural Disorder and the Optical Girl Machine University of Minnesota, Twin Cities, USA Deborah Levitt Degrees Of Probability – An Exploration of The New School, USA Philip Rosen a True Unsolved Murder Mystery Brown University, USA Andrew Bienen Screenwriter, USA The Ethics of Atrocity Photos in Scholarly Work Sharrona Pearl University of Pennsylvania, USA

Ethnography; Sexual Deviance; Free Love: The Park and Rhetorics of Light Margot Bouman The New School, USA

SESSION 8 30 FOR CAMPUS AND BUILDING LOCATIONS, SEE MAP ON CENTER PAGES 8 D 8 E 8 F Mourning, Trauma Publics and Counterpublics: The Database Documentary: and National Memory 1 Advocacy, Activism, and Meet the Makers (workshop) Audience in African-American IMA/Hunter College: 544 Hunter 721 Broadway, Room 674 Documentary North, 695 Park Ave.; entrance on E 68th and Lexington Ave. CHAIR: Neil Narine 721 Broadway, Room 017 University of Toronto, Canada Workshop leaders: CHAIR: Matt Soar CHAIR: Charles Musser Concordia University, Canada Problems in the Cinematic Representation of Yale University, USA Sharon Daniel Memory in the Autobiographical Documentary University of California, Santa Cruz, USA Jill Daniels Liz Miller University of East London, UK Documenting Uplift: African American Motion Pic- ture Companies at Tuskegee Institute (1909-1912) Concordia University, Canada Allyson Nadia Field Michelle Smith Revealing Turkey’s Badly Kept Secret: University of California, Los Angeles, USA Artist, Canada Remembrance and the Politics of Truth Florian Thalhofer Louise Spence Artist, Germany Kadir Has University, Turkey Emmett Till’s Disappearance in the White Press Martin A. Berger University of California, Santa Cruz, USA CINEMATHEQUE VIII The Mark of Cain Jesse Lerner Maysles Cinema: Site Specific: Pitzer College, USA From the Evidentiary to the Educational: The NAACP’s Use of Nonfiction Media in the Early Programming a Harlem Civil Rights Movement Storefront Cinema Michelle Kelley New York University, USA 721 Broadway, Room 670 Queensbridge: The Other Side dir. Selena Blake (USA, 2005; DVD; 56 min. excerpt). Tragedy: The Story of Queensbridge dir. Booker Sim (USA, 2005; DVD; 80 min.). Video excerpt from a March ‘09 post-screening discussion. Malcolmology dir. Michael Tyner (USA, 2011; 14 min. excerpt.). Video excerpt from a May 2011 post-screening discussion.

31 WWW.VISIBLE EVIDENCE.ORG SATURDAY, AUGUST 13 2 – 3:30 P.M. 9 A 9 B 9 C Contemporary Chinese Staging Dissent: Documenting the Documentary: Documentary Poetics and Theatrics of Protest Archival Remnants

721 Broadway, Room 648 721 Broadway, Room 612 721 Broadway, Dean’s (Michelson Theater) Conference Room (12th Floor) CHAIR: Paige Sarlin CHAIR: Zhen Zhang Brown University, USA New York University, USA CHAIR: Dan Streible New York University, USA Rough Stone: A Poetic Film that Reverberates Zhao Dayong’s Ghost Town and the Haunting Esther Imperio Hamburger of Contemporary Chinese Documentary Universidade de São Paulo, Brazil Of Things Salvaged & Saved: The Archive of Augusta Palmer Everything and the Kitchen Sink Independent Scholar/Filmmaker Sarah Keller Publicity for Peace: Live Theatre Colby College, USA and Documentary Film Against War Radical Politics, Avant-garde Arts and Megan Lewis Filming Theatre: A Response and Reflections University of Massachusetts Amherst, USA A Process-Oriented Analysis of a Labor by a Chinese Diasporic Film Essayist Documentary’s Archive Evans Chan Chuck Kleinhans From Fiction to Documentary – and Back. Critic/Independent Filmmaker Jump Cut: A Review of Visualizing Migrants and Aliens in Post-Apartheid Contemporary Media, USA South Africa Art, Affect, and Activism in Chinese Marietta Kesting DV Documentary Humboldt University of Berlin, Germany Documentary Preservation at the Cuban Film Archive: Zhen Zhang ICAIC’s Latin American Newsreel New York University, USA Mariana Johnson University of North Carolina, Wilmington, USA

SESSION 9 32 FOR CAMPUS AND BUILDING LOCATIONS, SEE MAP ON CENTER PAGES 9 D 9 E 9 F Race, Class, and Community: Revisitations: SUNY Interactive Media and American Non-fiction Media Histories in/of the Travelogue Documentary (workshop) and Urban Activism IMA/Hunter College: 544 Hunter 721 Broadway, Room 017 North, 695 Park Ave.; entrance 721 Broadway, Room 674 CHAIR: Hadi Gharabaghi on E 68th and Lexington Ave. New York University, USA CHAIR: Allyson Field University of California, Los Angeles, USA CHAIR: Michelle Stewart SUNY Purchase, USA Kamei Fumio and Vladimir Erofeev: The Tradition of Travelogue in Germany, Russia and Japan Filming the City Workshop Leaders: Anastasia Fedorova George Stoney Here/Hear: Manhattan is an Island Kyoto University, Japan New York University, USA Liz Phillips SUNY Purchase, USA Paula Rabinowitz “You Will Live and Kill Abroad”: The Travelogue Channeling Community: Non-Fiction Media University of Minnesota, Twin Cities, USA in World War II Training Films and Buffalo’s Squeaky Wheel Noah Tsika Documenting Immaterial Labor Ruth Goldman New York University, USA State University of New York, Buffalo, USA Stephanie Rothenberg SUNY Buffalo, USA I hope you “Like” my presentation “It’s Not Part of the Story”: Diasporic Depictions Joe McKay SUNY Purchase, USA of Migration and Dislocation in the ‘New China’ Barbara Evans York University, Canada CINEMATHEQUE IX Women Make Movies: Gender and Documentary Form (program of shorts) 721 Broadway, Room 670

FOR FULL DESCRIPTION SEE PAGES 8-9.

33 WWW.VISIBLE EVIDENCE.ORG SATURDAY, AUGUST 13 4:30 – 6:30 P.M.

PLENARY SESSION 3: (In)Visible Evidence of War

Tishman Auditorium, The New School, 66 West 12th St. (between Fifth Ave. and Sixth Ave.)

Chair and Panel Coordinator: Deirdre Boyle The New School, USA

Panelists: John Greyson (York University, Canada) Laura Poitras (USA)

(In)Visible Evidence of War explores the many ways documentary makers have found to rep- resent wars that are often denied, forgotten or marginalized by contemporary society. Award- includes a series of videos for the movement for winning film and video makers will debate the Boycott, Divestment and Sanctions against Israel. ethics and aesthetics of representation, re-en- Laura Poitras is an award-winning director of films actment, animation, and other alternative strate- about America and the war on terrorism; her trilogy gies for engaging with the visible and invisible on the past decade of war includes My Country, aspects of war in its many guises. My Country and The Oath (bottom left). She also co-directed and co-produced (as well as shot) Flag John Greyson is a teacher, cultural theorist and Wars (2003), a widely-exhibited film about prop- film/video artist, whose many documentary erty, class, and civil rights in Columbus, Ohio. works about the war on homosexuality and (Peo- ple Living With) AIDS include Urinal, Zero Pa- Deirdre Boyle is Associate Professor and Director tience, and, most recently, Fig Trees (top right), a of the Graduate Certificate in Documentary Studies documentary opera about antiretroviral activism at The New School. in Canada and South Africa; recent short work

34 forthcoming Intelligence Work Counter-Archive Shivers Down Your Spine Camera Historica The Politics of Film, the Everyday, Cinema, Museums, and the The Century in Cinema American Documentary and Albert Kahn’s Immersive View Antoine de Baecque Archives de la Planète Jonathan Kahana Alison Griffiths Translated by Ninon Vinsonneau “Intelligence Work is destined to Paula Amad A groundbreaking study of the visceral and Jonathan Magidoff become part of the canon of crucial “[The book] brilliantly reflects the experience of spectacle. “Thanks to this book I now under- works about American documen- visual character of philosophy, geog- “This volume is a stunning work, rich stand precisely why and how I am tary cinema. Cleverly engaging the raphy, and historiography in twen- in research, sharp in its own analysis gothic.” — Tim Burton political questions regarding the public tieth-century France. Organized of that research, and far-reaching in its discourse of documentary, Kahana hermetically and crafted meticulously, “Antoine de Baecque’s book marks implications for further scholarship explains some of the most important this volume offers a wealth of informa- a new stage in thinking the relation- in cinema studies, pre-cinema histo- reasons we care about documentary. tion as it considers film theory.” ship between cinema (as art) and riography, visual culture, and cultural He manages to address these ques- — Tom Conley, Harvard University history (as both real and narrative). studies in general.” tions across the entire history of the Going beyond the classic “histories — Dana Polan, New York University genre, demonstrating a rare model of of cinema,” the book reveals what ‘intelligence’ at ‘work’!” cinema makes of history, its way of — Linda Williams, University of making history visible and of California allowing us to judge it.” — Alain Badiou

www.cup.columbia.edu · cupblog.org · To order: 800-343-4499 SUNDAY, AUGUST 14 9 – 10:30 A.M. 10 A 10 B 10 C Acoustemologies: Mourning, Trauma, Documenting the Child Sound as Traumatic Evidence and National Memory 2 721 Broadway, Dean’s 721 Broadway, Room 648 721 Broadway, Room 612 Conference Room (12th Floor) (Michelson Theater) CHAIR: Laliv Melamed CHAIR: Pooja Rangan New York University, USA Brown University, USA CHAIR: Irina Leimbacher Keene State College, USA Civil Spaces of Mourning: Documentary Children’s Testimony and the Frames of Citizenship and the Trauma of History in Humanitarian Mediation The Evidentiary Status of Sound in Ibtisam Mara’ana’s Paradise Lost Documentary Practice Pooja Rangan and Yulie Cohen Gerstel’s My Land Zion Brown University, USA Debra Catherine Beattie Sarah Barkin Griffith University, Australia Syracuse University, USA Our Tender Infancies: Child Saving and Scientific Motherhood in Our Children (1919), Well Born Hidden Bodies, Visible Traumas: The Body How I Shot the War – Ideology and Accountability (1923), Best-Fed Baby (1925), and Sun Babies of the Subject in Animated Documentary in Personal Israeli War Documentaries (1926) Heather Blackmore Shmulik Duvdevani Jennifer Horne University of Southern California, USA Tel-Aviv University, Israel The Catholic University of America, USA

Live Dispatch: The Ethics of Audio and Vision DIY Dying - On Activist Memory and the The Iconic Family Portrait and the Formation of Media Coverage in Trauma and the Legacy of Construction of Martyrdom in Online the Indian Middle Class Sound from Shell Shock to 9/11 Commemoration Videos Jyotsna Kapur Beatrice Jeanhee Choi Tina Riis Askanius Southern Illinois University, New York University, USA Lund University, Sweden Carbondale. USA

SESSION 10 36 FOR CAMPUS AND BUILDING LOCATIONS, SEE MAP ON CENTER PAGES 10 D 10 E 10 F Comparative Perspectives Radical Video in the Americas Contemplative Geographies: on State Power The Spatial Construction of and Documentary Film 721 Broadway, Room 017 Self in Auteurist Documentary

CHAIR: Deirdre Boyle 721 Broadway, Room 674 The New School, USA 721 Broadway, Room 018 CHAIR: Hudson Moura CHAIR: Seth Fein Ryerson University, Canada Columbia University, USA Brazilian Experimental Television: The Experience of the Documentary Film in the 1970s Spatializing and “thinking otherwise”: The Studio Documentary in the Post-Classical Era: Gilberto Alexandre Sobrinho Universidade Estadual de Campinas, Brazil first-person documentary in Torossian’s Wolper Productions and the Media Landscape Stone Time Touch of John F. Kennedy’s New Frontier Hudson Moura Ryerson University, Canada Josh Glick Steal This Station: Videofreex’s Pirate Television Yale University, USA and Guerrilla Video Elegy of Space: Landscape and Museum in Alek- Kris Paulsen sander Sokurov’s Contemplative Documentary Ohio State University, USA “I had a great trip”: Rossellini, India and Television Oksana Chefranova New York University, USA Luca Caminati Concordia University, Canada “Alternative Video” in Latin America: Irony and Public Engagement in the Essay: Teleanálisis, Images of the Invisible Country Herzog’s Lessons of Darkness Rodrigo Moreno del Canto Steven Doles Syracuse University, USA Dispatches from the “Flaming Island”: Catholic University of Chile, Chile 1960s Cuban Films of Roman Karmen Raisa Sidenova Yale University, USA CINEMATHEQUE X NYU Center for Media, Culture, and History

721 Broadway, Room 670

FOR FULL DESCRIPTION SEE PAGES 8-9.

37 WWW.VISIBLE EVIDENCE.ORG SUNDAY, AUGUST 14 11 A.M. – 12:30 P.M. 11 A 11 B 11 C Case Studies in Global Old Left Documentary Tracking Lives: Documentary and Political 1946-1968 Longitudinal Documentary Modernism and Autobiography 721 Broadway, Room 612 721 Broadway, Room 648 721 Broadway, Dean’s CHAIR: Thomas Waugh (Michelson Theater) Concordia University, Canada Conference Room (12th Floor)

CHAIR: Alice Lovejoy CHAIR: Richard W. Kilborn University of Minnesota, Twin Cities, USA Echoes of Indonesia Calling University of Sterling, UK John Hughes Australia Vertov’s Marxism Putting Oneself in the Frame: the John MacKay Autobiographical Turn in Winfried and Yale University, USA Joris Ivens, Peace Will Win, and Barbara Junge’s The Children of Golzow Cold War Documentary Richard W. Kilborn Thomas Waugh University of Sterling, UK The Czechoslovak Army and the Avant-Garde Concordia University, Canada Alice Lovejoy University of Minnesota, Twin Cities, USA Autobiographical Documentaries as Long Docs Pan American Migrations: from the Old Left Efrén Cuevas to Third Cinema, from Hour of the Furnaces Universidad de Navarra, Spain Police, Politics, and Landscape: The to Killer of Sheep Rise of Fûkeiron Ben Lenzner Yuriko Furuhata Ryerson University, Canada Love Lust and Lies: 30 years with Gillian McGill University, Canada Armstrong Catherine Summerhayes Joris Ivens in Chile and the Rise of Social The Australian National University, Cinema in Latin America Australia Tiziana Panizza University of Chile, Chile

SESSION 11 38 FOR CAMPUS AND BUILDING LOCATIONS, SEE MAP ON CENTER PAGES 11 D 11 E CINEMATHEQUE XI Intimate Voices: A Message From the Sponsor: National Black Programming Problems of Form and Advertising, Authorship and Consortium: Life During Ethics of the Interview Authority Wartime and Disasters (program of shorts) 721 Broadway, Room 674 721 Broadway, Room 017 721 Broadway, Room 670 CHAIR: Irina Leimbacher CHAIR: Jennifer Horne Keene State College, USA The Catholic University of America, USA FOR FULL DESCRIPTION SEE PAGES 8-9.

Big Emotions, Naked Bodies: Talking Men and the Sponsored Social Change: The Industrial, but Politics of Intimate Documentary Political, Films of Chuck Olin Haiti: One Day, One Destiny. Produced by Anu Koivunen Andy Uhrich National Black Programming Consortium, (USA, Stockholm University, Sweden Indiana University, USA 2010; 18 shorts, approx. 5-10 min each) Uprooted. Produced by Human Pictures (USA, Talking Voices & Looking Heads: Documentary Selling it Softly: 2007; 44 min.) Devices in Question Truth, Advertising, and the American Auteur Nora. Produced by Movement Revolution Susana de Sousa Dias Devin A. Orgeron Productions (Zimbabwe, 2008; 35 min.) University of Lisbon, Portugal/University North Carolina State University, USA of Paris, France

Iranian Newsreel Parody in VOA’s Parazit: Rendering the Invisible in the Movement from Imperial Self-reflexivity and Diasporic Talkback Sonic to Animated Spaces in the Age of Cyber-democracy Larry Andrews Hadi Gharabaghi University of California, Santa Cruz, USA New York University, USA

39 WWW.VISIBLE EVIDENCE.ORG SUNDAY, AUGUST 14 2 – 3:30 P.M. 12 A 12 B 12 C Colonial Documentary: New New York: Celebrity and Star Bodies Power, Politics, and Resistance Revisionist Histories of the City in Documentary 721 Broadway, Dean’s 721 Broadway, Room 648 Conference Room (12th Floor) (Michelson Theater) 721 Broadway, Room 612 CHAIR: Priyadarshini Shankar New York University, USA CHAIR: Rachel Gabara CHAIR: Cortland W. Rankin University of Georgia, USA New York University, USA Bootlegs, B-Sides, and the Fragmented Star Body: Rockumentaries and the Question of Performance Radio-cinema Governmentality in Street Life: Between the New Deal and Malaya Speaks (1958) Direct Cinema Alison Wielgus University of Iowa, USA Peter J. Bloom Deane M. Williams University of California, Monash University, Australia Santa Barbara, USA Performance and Display: A Rockumentary Called The Outer World of Shah Rukh Khan William Klein’s New York and the Question La France est un empire 1939-1943: Vichy, of Community Priyadarshini Shanker New York University, USA Documentary Film, and Imperial Propaganda Louis Kaplan Alison Murray Levine University of Toronto, Canada University of Virginia, USA Stardom’s Documentary Traces: Accidents, Death and the Biological in Fiction Films The Homeless Movies of the New American Ethnography and Documentary in Cinema Group, 1959-64 Neepa Majumdar University of Pittsburgh, USA Francophone Africa Josh Guilford Rachel Gabara Brown University, USA University of Georgia, USA

SESSION 12 40 FOR CAMPUS AND BUILDING LOCATIONS, SEE MAP ON CENTER PAGES 12 D 12 E CINEMATHEQUE XII Mea Culpa: Documentary’s Icarus Films: Petropolis Visual Confessions of Haunted Spaces (workshop) Dir. Peter Mettler (Canada, 2010, Israeli Soldiers HD Cam, 43 min.) 721 Broadway, Room 017 721 Broadway, Room 674 721 Broadway, Room 670 CHAIR: Kristen Fuhs University of Southern California, USA CHAIR: Ilana Szobel Brandeis University, USA FOR FULL DESCRIPTION SEE PAGES 8-9. Workshop Leaders:

‘Breaking the Silence’: Reflections on Noah Shenker Shot primarily from a helicopter, Petropolis: Israeli Soldiers’ Guilt and Responsibility McMaster University, Canada Aerial Perspectives on the Alberta Tar Sands Yael Munk offers an unparalleled view of the world’s largest Open University, Israel Jennifer Malkowski industrial, capital, and energy project. Canada’s University of California, Berkeley, USA tar sands are an oil reserve the size of England. Extracting the crude oil called bitumen from Personal Memory, Collective Masculinity: Katherine Model underneath unspoiled wilderness requires a Documenting Israeli Soldiers’ Confessions New York University, USA massive industrialized effort with far-reaching Ilana Szobel Brandeis University, USA effects on the land, air, water, and climate. It’s Tim Schwab an extraordinary spectacle, whose scope can Concordia University, Canada only be understood from far above. In a To Show that I’m Shaming: Shame Confessions hypnotic flight of image and sound, one in the Film To See if I’m Smiling machine’s perspective on the choreography of Shirly Bahar others suggests a dehumanized world where New York University, USA petroleum’s power is supreme.

41 WWW.VISIBLE EVIDENCE.ORG SUNDAY, AUGUST 14 4 – 6 p.m. 6:30 – 9 p.m.

PLENARY SESSION 4: ARCHIVAL SCREENING: THE PARTY LIKE IT’S 1899! Anthology Film Archives and the CLOSING RECEPTION History of the Documentary Avant Garde Nom Wah Tea Parlor Anthology Film Archives, 32 Second Ave. (at 2nd St.) 13 Doyers Street (off Bowery)

Dedicated to Richard Leacock “Where Mulberry Street crooks like an elbow within hail of the old depravity of the Five Points is ‘the With special guests TBA Bend,’ foul core of New York’s slums … Corruption could not have chosen ground for its stand with Short difficult- or otherwise-impossible-to- see Eyes on Russia: From the Caucasus to Moscow, better promise of success. The whole district is a non-fiction masterpieces from Anthology’s Dir. Margaret Bourke-White (USA, 1934; 9 min.; maze of narrow, often unsuspected passageways collection, selected by Anthology programmers 16mm, b&w) – necessarily, for there is scarce a lot that has not Jed Rapfogel and Andrew Lampert: the two, three, or four tenements upon it, swarming Toby and the Tall Corn. Dir. Ricky Leacock with unwholesome crowds.” exceedingly rare film Eyes On Russia, by the (USA, 1953; 30 min.; 35mm-to-video) photographer Margaret Bourke-White; Toby And The Tall Corn, by documentary legend Film Magazine of the Arts. Dir. Jonas Mekas (USA, Jacob Riis, How The Other Half Lives Ricky Leacock; Film Magazine Of The Arts, the 1963; 20 min.; 16mm workprint) only surviving (work)print of a sponsored film by Anthology’s own co-founder Jonas Mekas; Rituals and Demonstrations. Dir. Jerry Jofen Put VE18 to bed with a sultry evening of gossip, Rituals And Demonstrations, a fascinating (USA, 1977; 42 min.; 16mm) drinks and all the delicious dim sum you can record of Jewish religious rituals in 1970s swallow at one of the best and oldest restaurants Brooklyn by the gifted Jerry Jofen; and other in Chinatown. Depraved and unwholesome Total running time: ca. 105 minutes. surprises. friends and family welcome.

COLOPHON CREDITS

VE18 meme/flyer, program, poster, Conference director F. Brady Fletcher (NYU) animated website banner, and bumper Jonathan Kahana (NYU) Hadi Gharabaghi (NYU) designed by Mél Hogan and Matt Soar. Leo Goldsmith (NYU) Steering committee Bruno Guaraná (NYU) Program and poster typeset mainly in Barbara Abrash (NYU) Roger Hallas (Syracuse U.) Gotham. Gotham was designed by Deirdre Boyle (The New School) Anuja Jain (NYU) Manhattan-based type designers Cynthia Chris (CUNY Staten Island) Martin Johnson (NYU) Hoefler & Frere-Jones and introduced Paul Fileri (NYU) Ohad Landesman (NYU) in 2000. Gotham’s design was inspired Jane Gaines (Columbia U.) Martin Lucas (Hunter College) by the vernacular lettering of Faye Ginsburg (NYU) Ivone Margulies (Hunter College) New York, especially the Port Authority Roger Hallas (Syracuse U.) Laliv Melamed (NYU) Bus Terminal. Mona Jimenez (NYU) Susan Murray (NYU) Martin Lucas (Hunter College) Cortland Rankin (NYU) Other typefaces used: Jane Austen Ivone Margulies (Hunter College) Priyanjali Sen (NYU) (script), Bell Gothic (Food & Drink list- Nicholas Mirzoeff (NYU) Michelle Stewart (SUNY Purchase) ings), and Rosewood Std (ornate ‘18’). Susan Murray (NYU) Noah Tsika (NYU) Michelle Stewart (SUNY Purchase) Zhen Zhang (NYU) Map designed by Rachel Stevens. Marita Sturken (NYU) Jennifer Zwarich (NYU) ‘Location’ icon designed by The Noun Zhen Zhang (NYU) Project and used under a CC license. CINEMATHEQUE organizers Map icons on the Google map are Program committee Chi-hui Yang (NYU/independent curator) adapted from designs by AIGA and Nate Brennan (NYU) Jason Fox (Vassar College) the American DOT. Valeria G. Castelli (NYU) Leo Goldsmith (NYU) Cynthia Chris (CUNY Staten Island) Paul Fileri (NYU)

44 CINEMATHEQUE program partners: Graphic design Department of Media, Culture, and Cinema Tropical Mél Hogan (Concordia U.) Communication, Steinhardt School of Culture, Education, and Human Develop- dGenerate Films Matt Soar (Concordia U.) ment, NYU Sasha Waters Freyer Department of Media Studies and Film and Icarus Films Directions the Graduate Certificate in Documentary Ernie Larsen and Sherry Millner Paul Fileri (NYU): restaurants Studies at The New School Light Industry Rachel Stevens (Hunter College): maps Department of Performance Studies, Tisch Maysles Cinema School of the Arts, NYU Charles Musser Webmaster National Black Programming Consortium Scott Prentice (Concordia U.) Humanities Initiative, NYU NYU Center for Media, Culture, History Integrated Media Arts Program at UnionDocs Primary sponsor Hunter College Women Make Movies Department of Cinema Studies, Tisch M.A. in Film Studies, School of the Arts, School of the Arts, NYU Columbia University Administration, space, and budget Orphan Film Symposium, NYU Liza Greenfield (NYU) Co-sponsors Jeff Richardson (NYU) Anthology Film Archives Rare Book and Manuscripts Library, Columbia University Center for Media, Culture and History, NYU VE18 blog School of Film and Media Studies, Columbia University Center for New Media Martin Johnson (NYU) Teaching and Learning Purchase College, SUNY Ohad Landesman (NYU) Columbia University School of Journalism Jennifer Zwarich (NYU) CV Starr East Asian Library, Columbia University Advertising Nate Brennan (NYU)

MudSpot; MudTruck Coffee ($8-12) Caracas Arepa Bar ($5-14) John’s Pizzeria of Bleecker Street FOOD, 307 E 9th St (btw Second Ave and 93 _ E 7th St (btw First Ave and Ave ($12-20) First Ave); MudTruck at Astor Pl, E A); 212-228-5062. Delicious 278 Bleecker St (near Jones St); 212- DRINK, 8th St and Fourth Ave. Coffee, good Venezualan fare, specializing in arepas. 243-1680. Small room, lively atmos- salads and breakfast, vegan phere, excellent brick-oven pizza. RECREATION and vegetarian meals. Num Pang Sandwich Shop ($7-10) 21 E 12th St (btw Fifth Ave and Otto Enoteca and Pizzeria ($10-20) & OTHER Third Rail Coffee University Pl); 212-255-3271 1 Fifth Avenue (at E 8th St); 212- 240 Sullivan St (at W 3rd). Some Excellent Cambodian num pang 995-9559. Mario Batali’s pizza place; NECESSITIES people (Dana Polan, for instance) sandwiches (similar to Vietnamese great antipasti and pasta and an WITHIN will go nowhere else. banh mi). Counters, no seats. extensive wine list. Loud. WALKING Peels ($14-26) Momofuku Noodle Bar ($9-16) Ippudo NY ($12-20) 325 Bowery (btw E. 2nd St and E 3rd 65 Fourth Ave (btw 9th and 10th 171 First Ave (near E 11th St); 212- St); 646-602-7015. Food, including St), 212 388-0088. First New York DISTANCE 777-7773. Where star chef David tasty scones, and Stumptown coffee outpost of fine Japanese ramen noodle Chang made his name with Japanese OF NYU to go at the first-floor counter. restaurant. A wait after 7pm. American Southern-accented dishes noodles and pork buns. Loud. served in this scene-y restaurant. Hecho en Dumbo ($10-25) NB Prices for restaurants are for Moderately loud. Great Jones Café ($9-17) main courses. Expect a take-out 354 Bowery (near E 4th St); 212- 54 Great Jones St (btw Lafayette St coffee to cost $2.50-$3+. Count 937-4245. Upscale take on Mexican and Bowery) Creole and cajun-inspired on a wait at many restaurants for food; also good cocktails. fare at this bar and restaurant. dinner and/or call ahead. RESTAURANTS (cheapest to most expensive) Five Points Restaurant ($18-26) Katz’s Delicatessen ($8-20) COFFEE, TEA & SNACKS 31 Great Jones St (btw Lafayette 205 E. Houston St. (at Ludlow St.) Mamoun’s Falafel (Under $10) and Bowery). Seasonal American and Oren’s Daily Roast Sidney Lumet wanted to eat his last 119 MacDougal St (near W 3rd St) Mediterranean cuisine; nice bar. Not meal at this New York institution, 31 Waverly Pl (btw Greene St and Best falafels around, very convenient super-loud. and with good reason. Washington Sq East). Most reliable and very cheap. coffee and tea near 721 Broadway. The Spotted Pig ($18-32) No tables, no attitude. Meskerem Ethiopian Restaurant Chop’t ($6-10) ($11-16) 314 W 11th (at Greenwich St); 212- 620-0393. Hardy, delectable fare, Think Coffee 24 E 17th St (near Broadway) Union 124 MacDougall St (near W. 3rd St); Square location of the make-your- excellent seafood and good bar at this 248 Mercer St (btw E 3rd St and 212-777-8111. Ethiopian food and own-salad mini-chain. popular West Village gastropub. E 4th St); also across from 721 generous portions. Broadway in main NYU Book Center, Apiary ($22-27) Chipotle ($6-10) Hung Ry ($12-20) 726 Broadway (btw Waverly Pl and 60 Third Ave (near E 10th St); Washington Pl). Great coffee, tea and 55 E 8th Street (near University Pl) 55 Bond St (near Lafayette) treats, as well as some sandwiches and Ubiquitous, fast, reliable burrito chain. Awful name, fantastic hand-pulled 212-254-0888. Excellent, inventive soups. Plenty of tables and attitude. organic noodles and soups. Not loud. American cuisine.

VEGETARIAN/VEGAN Van Leeuwen Ice Cream ($5-10) Jerome S. Coles Sport Center The High Line (cheapest to most expensive) 48 1/2 E 7th St (at Second Ave) 181 Mercer St., at Bleecker. Less expansive but more expensive Artisanal ice cream, homemade August 11 only, 7:30am-9:30pm is the beautiful new High Line park, Sacred Chow ($5-15) pastries, and coffee. Also runs an running north from the Meat Pack- 227 Sullivan St # 1 (near 3rd St); ice cream truck near E 12th St. Palladium Athletic Facility ing District, for those who need to be near a Commes des Garçon bou- 212-337-0863. Tasty, small vegan 141 E.14th St., between 3rd & 4th Ave. tique during exercise; http://www. restaurant. Amorino Gelato ($6-12) August 12 only, 8:30am-11pm; thehighline.org/ 60 University Pl (at E 10th St); 212- August 13-14, noon-9pm. Bring your The Organic Grill ($7.50-13) 253-5599. Addictive gelato from a VE18 badge and photo ID; ask the small Italian chain. reception staff to check your name BOOKSTORES 123 First Ave (near E 7th St); 212- on the Visible Evidence attendee list. 477-7177. Vegetarian, vegan friendly Use of a locker and lock is compli- St Mark’s Bookshop restaurant. Cozy and often crowded. DRUGSTORES mentary; towels are $2. 31 Third Ave (at E 9th St). An East Village institution for literature, Angelica Kitchen ($8-15) Duane Reade Hudson River Park ‘theory,’ magazines, etc. 300 E 12th St (btw First and Second 769 Broadway (btw E 8th St and E Head west from NYU to the Hud- Ave); 212-228-2909. An East Village Strand Bookstore 9th St), 646-602-8274. 4 W 4th St son River to walk, run, or cycle in vegan staple. Medium sized and (btw Broadway and Mercer St) the brand new park/trail that runs 828 Broadway (at E 12th St). Miles usually busy. five miles north from Battery Park; of used books, many of them more CVS Pharmacy www.hudsonriverpark.org or less brand new. Souen ($8-25) 20 University Pl (at E 8th St), 212- 28 E 13th Street (btw University Pl 260-3052. and Fifth Ave); 212-627-7150. A longtime outpost for Japanese- Walgreens Pharmacy accented vegan and macrobiotic food. 20 Astor Pl (at Lafayette St), 212- 375-0734

ICE CREAM & DESSERTS University Chemists

Sundaes and Cones ($3-8) 74 University Pl (at E 11th St), 212- 473-0277 95 E. 10th St (near Third Ave); 212- 979-9398. Excellent ice cream and sorbet shop, ordinary and exotic (red bean, wasabi) selection. EXERCISE

Momofuku Milk Bar ($2-12) Registered VE18 participants can use the NYU athletic facilities 251 E 13th St (near Second Ave); (www.gonyuathletics.com/ > Facili- 212-254-3500. Sugary and inventive ties) for free during the conference, ice cream, pie, cookies; Stumptown on the following schedule: coffee. No seating, counters only. THE END