DOCSLIB.ORG

The Risky Visions of BARBARA HAMMER American Experimental Filmaker 12/06 – 01/07/2012 / Cinema

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Risky Visions of BARBARA HAMMER American Experimental Filmaker 12/06 – 01/07/2012 / Cinema THe risky visions of Press kit BArBArA HAMMER american experimental filmaker 12/06 – 01/07/2012 / CINema de Barbara Hammer, 1995 de Barbara Hammer, Tender Fictions, Tender 1, PLACe De LA CONCOrDe · PARIS 8e · M° CONCO rDe WWW.JeUDePAUMe.OrG ❙ curators Barbara Hammer and Danièle Hibon ❙ partners produced with the assistance of simone de Beauvoir audiovisual center. Jeu de paume receives a subsidy from the ministry of Culture and Communication. it gratefully acknowledges support from Neuflize Vie, its global partner. ❙ MEDIA PARTNERS OUÏ FM, tÊTU. ❙ information rate: 3 euros / free with entry ticket to the exhibitions and for subscribers. 01 47 03 13 31 / [email protected] ❙ contacts Press relations: Carole Brianchon +33 (0)1 47 03 13 22 / [email protected] Communication: Anne Racine +33 (0)1 47 03 13 29 / [email protected] BarBara hammer Cinéma THe risky visions of BArBArA HAMMER american experimental filmaker 12/06 – 01/07/2012 / CINema since the early 1970s, Barbara Hammer has claimed the double identity of feminist and lesbian activist. Pioneer of queer cinema, she has gained an international reputation in the field of American experimental cinema. from her earliest films (X, Dyketactics, Superdyke), her boldness is evident in the enthusiastic and lyrical exploration of sexuality and women’s pleasure, previously terra incognita in the geography of cinema. for this, it invents new formal representations of flower and plant outbursts (Women I Love) to a symbolic vocabulary close to surrealism, revealing its proximity with maya Deren, and claude cahun (I Was / Am I, Psychosynthesis) and two recent works (Maya Deren’s Sink and Lover Other: Claude Cahun and Marcel Moore). the creative energy of Barbara Hammer fires up all of the rich technical syntax of the avant- garde: superimposed layering of images, visual collage, coloring or alteration of the film, de-framing, use of solarized and negative film, and editing in post production to transform the movie into poetic form by manipulating the film before our eyes (endangered). all these effects contribute to the technical deployment of a work rich in radiant colors and sounds more and more skillfully worked (Generations). even in her many films shot in black and white, Barbara Hammer is a filmmaker of light and perceptual experiments.s he is also highly attentive to the accompanying sound of her films: music and sound effects that give a color, a tone, sometimes lyrical and sometimes humorous, to films that accompany the memory they hold. 3 BarBara hammer Cinéma from the first shooting in super 8mm, she films alone or with her friends, making public the most private chapters of her life. parallel to the personal films are works of memory archives and hidden lesbian and gay histories, forming a trilogy: Nitrate Kisses (1992), Tender Fiction (1995) and History Lessons (2000). Her work evolves over time: in 2000, she filmedDevotion in Japan about a kind of “community” of filmmakers centered around a charismatic producer, and Resisting Paradise in 2003, which questions “how to be an artist in during war?” in 2007, she made a documentary about women divers from the korean island of Jeju-Do, south korea. in 2011, her latest film is a tribute to the filmmakerm aya Deren which she made after finishing in 2008, a painful movie A Horse Is Not A Metaphor where her fight against cancer is assisted by her of love of energy and life both intimately connected to the beauty of nature. 4 BarBara hammer Cinéma Lover Other, Barbara Hammer, 2006 5 BarBara hammer Cinéma BArBArA HAMMER Barbara Hammer was born on may 15, 1939 in Hollywood, california. she is a visual artist working primarily in film and video and has made over 80 works in a career that spans 30 years. she is considered a pioneer of queer cinema. she recently had a tribute retrospective at the chinese cultural university in taiwan where she also led a workshop “strategic planning for film/Video artists.” Her experimental films of the 1970’s often dealt with taboo subjects such as menstruation, female orgasm and lesbian sexuality. in the 80’s she used optical printing to explore perception and the fragility of 16mm film life itself. Optic Nerve (1985) and endangered (1988) were selected for the Whitney museum of american art Biennials (’85,’89). Her documentaries tell the stories of marginalized peoples who have been hidden from history and are often essay films that are multi-leveled and engage audiences viscerally and intellectually with the goal of activating them to make social change. Nitrate Kisses (1992) was chosen for the 1993 Whitney Biennial.Hammer was a fulbright senior specialist in fall 2005 at the Bratislava academy of art and Design, slovakia; she received the first shirley clarke avant-Garde filmmaker award in october 2006 and the Women in film award 2006 from the st. louis international film festival. in february 2007, she was awarded a tribute and retrospective at the chinese cultural university Digital imaging center in taipei, taiwan sponsored by Women make Waves film festival. in april, 2008, Diving Women of Jeju-do premiered at the seoul international Women’s film festival where Hammer presented followed by a trip to Beijing where she showed her 1970 lesbian films to a feminist seminar and a new lGtQi center. Her most recent work is an experimental film on cancer and hope, A Horse Is Not A Metaphor, which she premiered in June, 2008 at the 32nd frameline international lesbian and Gay film festival in san francisco. it is selected for the Berlin international film festival in february, 2009 and Doc fortnight at the museum of modern art, february, 2009. it is in the short film competition at punta de Vista film festival in pamplona, spain and festival des films des femmes, creteil, france. she has had retrospectives at the Berlin film festival and centre pompidou, paris in 1985, the Digital university taiwan in 2005, universitad complutense in madrid in 2008. Hammer received an IASPIS artist residency for 2009 in sweden. Her memoir, HAMMER, making it in sex and movies is forthcoming from the feminist press at CUNY in spring 2010 and will coincide with a retrospective at the museum of modern art in new York city. she teaches each summer at the european Graduate school in saas-fee, switzerland. she lives and works in new York city. 6 BarBara hammer Cinéma Nitrate Kisses, Barbara Hammer, 1992 7 BarBara hammer Cinéma sCHeDULe of Projections Tuesday june 12, 7pm opening night, in presence of the filmmaker and Danièle Hibon reservation required: [email protected] > Two bad Daughters (directed with paula levine), 12’ > Sanctus, 19’ > Meshes of the Afternoon by maya Deren, 14’ > Maya Deren’s Sink, 29’ Wednesday, june 13, 7pm in presence of the filmmaker > I Was /I Am, 6’ > X, US, 1973, 8’ > Psychosynthesis, 1975, 8’ > History Lessons, 2000, 66’ friday, june 15 juin, 7pm in presence of the filmmaker > Tender Fictions, 58’ > A Horse Is Not A Metaphor, 30’ saturday, june 16, 4pm special session: « voyages from Lesbos », meeting with Barbara Hammer and elisabeth Lebovici, art critic and art historian. > Superdyke, 25’ > Women I Love, 25’ > Nitrate Kisses, 77’ sunday, june 17, 4pm in presence of the filmmaker > Lover Other, 55’, subtitled in french > Resisting Paradise, 80’, subtitled in french 8 BarBara hammer Cinéma sunday, june 17, 7pm Performance of rosa Barba and Barbara Hammer. reservation required: [email protected] a performatic dialogue between two artists of different contexts who use film as an experimental tool to create radical new art languages. Tuesday, june 19, 7pm > Generations, 30’ (directed with Gina carducci) > The Female Closet, 58’ saturday, june 23, 5pm « Terre et eau » > Pools, 9’ (directed with Barbara klutinis) > Pond and Waterfall, 15’ > Stone Circles, 12’ > Bent Time, 22’ > Diving Women of Jeju-Do, 25’ sunday, june 24, 5pm « Lumière fragile » > Machu Piccu, 16’ > Tourists, 4’ > Parisian Blinds, 8’ > Doll House, 4’ > Place Mattes, 9’ > No No Nooky T.V., 12’ > Endangered, 19’ > Sanctus, 19’ Tuesday, june 26, 7pm > I Was /I Am, 6’ > My Babushka: Searching Ukrainian Indentities, 53’ saturday, june 30, 5pm > Devotion, A Film about Ogawa Productions, 84’ sunday, july 1, 5pm > Resisting Paradise, 80’, subtitled in french 9 BarBara hammer Cinéma PRESS Images the images are available for press uses solely in connection with the cinema program “the riskyvisions of Barbara Hammer Barba” at Jeu de paume, from 12/06 until 01/07/2012. BH 00 Barbara Hammer, 2012 photo adrien chevrot © Jeu de paume 2012 BH 01 A Horse Is Not A Metaphor, Barbara Hammer, 2008 BH 02 Barbara Hammer and florrie Burke in Tender Fictions, Barbara Hammer, 1995 photo Joyce culver 10 BarBara hammer Cinéma BH 03 Barbara Hammer, 2003 photo suzanne kuhn BH 04 Devotion, A Film about Ogawa Productions, Barbara Hammer, 2000 BH 05 Diving Women of Jeju-Do, Barbara Hammer, 2007 BH 06 Endangered, Barbara Hammer, 1988 11 BarBara hammer Cinéma BH 07 Endangered, Barbara Hammer, 1998 BH 08 History Lessons, Barbara Hammer, 2000 BH 09 Lover Other, Barbara Hammer, 2006 BH 10 Maya Deren’s Sink, Barbara Hammer, 2011 12 BarBara hammer Cinéma BH 11 My Babushka: Searching Ukrainian Indentities, Barbara Hammer, 2001 BH 12 Nitrate Kisses, Barbara Hammer, 1992 BH 13 No No Nooky T.V., Barbara Hammer, 1987 BH 14 Pond and Waterfall, Barbara Hammer, 1982 13 BarBara hammer Cinéma BH 15 Resisting Paradise, Barbara Hammer, 2003 BH 16 Sanctus, Barbara Hammer, 1990 BH 17 Tender Fictions, Barbara Hammer, 1995 BH 18 The Female Closet, Barbara Hammer, 1997 14 BarBara hammer Cinéma BH 19 Women I Love, Barbara Hammer, 1976 BH 20 X, Barbara Hammer, 1975 15.
Load more

Recommended publications
  • Barbara Hammer, 70 Years Old, Hands the Camera to Gina Carducci, a Young Queer Film- Maker
    Generations is a film about mentoring and passing on the tradi- tion of personal experimental filmmaking. Barbara Hammer, 70 years old, hands the camera to Gina Carducci, a young queer film- maker. Shooting during the last days of Astroland at Coney Is- land, New York, the filmmakers find that the inevitable fact of ageing echoes in the architecture of the amusement park and in the emulsion of the film medium itself. Editing completely sep- arately both picture and sound, the filmmakers join their films in the middle when they’ve finished, making a true generational and experimental experiment. In a time when digital dominates the art domain, a DIY aesthet- ic is embraced by Gina Carducci, a young thirty-year-old filmmak- er who hand processes 16mm film and a seventy-year-old pioneer of queer experimental cinema, Barbara Hammer. Hammer invites Carducci to collaborate on a new film, Generations. Barbara Hammer Celebrating Hammer’s spontaneous shooting style and dense ed- Maya Deren’s Sink iting montage with Carducci’s studied cinematography, the two filmmakers, generations apart in age, shoot the last days of Astro- land in Coney Island, New York. The aged but vibrant amusement Eine Hommage an die Mutter des amerikanischen Avantgarde- park, characteristic of the 70-year-old Hammer, is a fitting envi- films. Der Film beschwört durch Gespräche mit WeggefährtInnen ronment for the photoplay of the two Bolex filmmakers. und ZeitgenossInnen den Geist einer überlebensgroßen Person. Teiji Itos Familie, Carolee Schneemann und Judith Malvina schwe- Inspired by the revolutionary Shirley Clarke film,Bridges Go ben durch Derens Wohnorte und erinnern sich an kleinste Details Round (1953), where Clarke printed the same footage twice us- der architektonischen und persönlichen Innenräume.
    [Show full text]
  • Barbara Hammer – Technology of Touch Chapter 2
    !1 ! The concerns of O’Neill’s first 15 years of filmmaking — the graphic qualities of the image, the role of stasis in the context of a time-based art form, and the process-based applications of technology in making art — are writ large in the second phase of his career, in which he shifted to 35mm for a series of extraordinarily accomplished feature-length films. In these films, which include Water and Power (1989) and Decay of Fiction (2002), the sketch- based experimentation of his earlier work is supplanted with a symphonic form that seeks to unify its disparate elements into a thematically cohesive whole, often with more pronounced political engagement. In both phases of his career, O’Neill has used the optical printer to experiment with form, which is often linked to art historical ideas about design, process, and perspective. This stands in contrast to Barbara Hammer, whose own innovative use of the printer is tied directly to its capacity to provide an emotionally accurate representation of her personal feelings and desires. ! Barbara Hammer: The Technology of Touch If ever there were a meta-film about optical printing, materiality, and the marginalization of the avant-garde filmmaker, Barbara Hammer’s Endangered (1988) is it. An urgent warning about the precarious position of experimental filmmakers, light, and life on planet Earth, this fragile film begins with an off-kilter double exposure of Hammer working steadily on her optical printer while snowflakes, depicted as particles of light energy, swirl around her silhouette. In a series of traveling mattes, boxes-within-boxes expand and contract, dividing abstract patterns of light into discontinuous fragments.
    [Show full text]
  • Eat Like a Republican and You Won't Get AIDS
    TRANSMISSIONS: THE JOURNAL OF FILM AND MEDIA STUDIES 2017, VOL.2, NO. 1, PP. 150-160. Andrzej Pitrus Jagiellonian University Eat like a Republican and you won’t get AIDS - a conversation with Barbara Hammer Andrzej Pitrus: In 2009 I had the honor to speak to Jonas Mekas. Many people consider him the father of American avant-garde. Do you agree? Barbara Hammer: I don’t agree. Should I tell you why? Yes, sure. I think Jonas Mekas did a lot to contribute to avant-garde film in the United States and internationally, but in terms of American avant-garde, I think we have to look to Maya Deren, and even before – to James Sibley Watson, his Fall of the House of Usher in 1928. His Lot in Sodom was shown,—I was shocked to read this—in Times Square in 1933 without any censorship at all. Before Mekas there were many American experimental filmmakers, but he was a person promoted their works. Of course I asked Jonas: “Do you feel more Lithuanian or American?” He answered “No, I’m not American, I’m from New York. When I go outside the city, I’m a foreigner again.” I also asked him for his definition of experimental film and he said: “There’s no such thing! Scientists make experiments, I don’t really believe that there’s something like experimental film”. It was a difficult conversation in a way. I wonder if you agree with him? I definitely think there’s something like experimental film. In Sanctus (1990), which is composed of moving x-rays of a human body that Dr.
    [Show full text]
  • JUMP CUT the Films of Barbara Hammer Countercurrencies of A
    JUMP CUT A REVIEW OF CONTEMPORARY MEDIA The films of Barbara Hammer Counter­currencies of a lesbian iconography by Jacquelyn Zita from Jump Cut, no. 24-25, March 1981, pp. 31-32 copyright Jump Cut: A Review of Contemporary Media, 1981, 2005 Initially the lesbian body has no meaning. The presumption of difference is a cultural artifact, composed of signs and images that have been bartered for the meaning of a lesbian's experience and the use of her body. The currency for the most part has belonged to men, as has the exchange. The body named carried the burden of a language not its own and a shameful silence imposed by those who signified its meaning. Lesbian voices remained smothered by the many levels of meta-discourse, translation, explanation, diagnosis, and condemnation. Lesbian bodies remained stilled by the force of another discourse, which extracted, displayed, and ridiculed the unfathomable difference of lesbian desire. With the proliferation of psychoanalytic categories, the lesbian became a specimen of medical curiosity. Her crime against nature was translated into a new text of aberration and illness, but the intention of the text remained the same: denial and negation of the lesbian body. The symbolic burial of the lesbian body has assumed many different forms, each with its own mode of cultural liquidation. This social oppression is transhistorical under patriarchy, but not ahistorical. It changes historically to fit the variety of father-tongues and the predominant modes of patriarchal hegemony belonging to various periods. Yet withstanding the immensity of repressive regimes, the "crime" of lesbianism remained restive and uncontained.
    [Show full text]
  • Ogrady My Attraction to the Surrealists
    for Simone Leigh & Performa’s conference on Black Surrealism SKETCHY THOUGHTS ON MY ATTRACTION TO THE SURREALISTS* © Lorraine O’Grady, 2013 O'Grady taught a course on Futurism, Dada and Surrealism at SVA for 20 years but had not written of the movements' effect on her work. These rough notes made for a conference presenter indicate why she loved their methodologies more than their art. **** Well, I taught the European Dadas and Surrealists at SVA for several years before making my own work. I loved the artists in those groups — especially Tzara and Duchamp, Ernst and Breton. Perhaps I was looking for a deeper understanding of my experience than the rational language of Western culture could give. But later I felt those artists were after something different than other Surrealists I loved more. like Aimé Césaire, the Martinican poet. like the Cuban painter Wifredo Lam. and like the New York filmmaker Maya Deren. It seemed as if the Europeans missed the boat by leaving the project at “play,” albeit serious. As if they’d been content just to flip the bird at their parents, at the repressive and false rationality of the West. But if, instead of merely picturing rationality’s opposite, they had pushed on to image a truer composite of both sides, perhaps they could have created that “changed life” they yearned for. Of course this is impossible. No * Unpublished first draft, for Simone Leigh’s presentation at the Performa Institute conference, Get Ready for the Marvelous: Black Surrealism in Dakar, Fort-de-France, Havana, Johannesburg, New York City, Paris, Port-au-Prince, 1932-2013.
    [Show full text]
  • A Toast to the 2019 Alumni World Reunion Laurie Munn: the Portraits of a Lady a Chapter Is Born
    ECOLINT MAGAZINE • N°24 AUTUMN / AUTOMNE 2019 A toast to the 2019 Alumni World Reunion Laurie Munn: the portraits of a lady A chapter is born... Create your own! N°24 | autumn / automne 2019 CONTENTS 3 A word from the DG 7 8 4 News and views 6 Continuing education: teachers who are still students 7 Calling for equal rights: Ecolint’s first gender 10 18 equality conference CONTACTS EMAIL & TELEPHONE 8 Laurie Munn: Foundation [email protected] +41 (0)22 787 24 00 The portraits of a lady Admissions [email protected] +41 (0)22 787 26 30 Alumni Office [email protected] +41 (0)22 787 25 55 9 Ne jamais abandonner La Grande Boissière [email protected] +41 (0)22 787 24 00 La Châtaigneraie [email protected] +41 (0)22 960 91 11 10 Toasting to the 2019 Campus des Nations [email protected] +41 (0)22 770 47 00 Alumni World Reunion! WEB 12 The returnees Foundation: www.ecolint.ch Ecolint Camps: www.ecolint-camps.ch Alumni: alumni.ecolint.ch Centre des arts: www.ecolint-cda.ch Institute: www.ecolint-institute.ch 14 ESP work placements: A hands-on approach to Inclusion MAKE A GIFT Ecolint is a not-for-profit Foundation. Our Director of Development Antonello Barbaro is available to discuss ways of providing additional support via a regular or once-off donation. 16 Write on! Taxpayers from various jurisdictions, including the US, the UK and Switzerland, can benefit from tax deductions (see page 5). 18 A chapter is born… Visit: www.ecolint.ch/support Contact: antonello [email protected] Create your own ! +41 (0)22 787 24
    [Show full text]
  • Ladyslipper Catalog
    Ladyslipper Catalog -i. "•:>;;;-•, •iy. ?_.*.-• :':.-:xv«> -»W ' | 1 \ aw/ Resource Guide • Recordings WfiMEl by OCT . 8 1991 Women ll__y_i_iU U L_ . • 1992 Table of Contents Ordering Information 2 Native American 44 Order Blank 3 Jewish 46 About Ladyslipper 4 Calypso 47 Musical Month Club 5 Country 48 Donor Discount Club 5 Folk * Traditional 49 Gift Order Blank 6 Rock 55 Gift Certificates 6 R&B * Rap * Dance 59 Free Gifts 7 Gospel 60 Be A Slipper Supporter 7 Blues 61 Ladyslipper Mailing List 8 Jazz 62 Ladyslippers Top 40 8 Classical 63 Especially Recommended New Titles 9 Spoken 65 Womens Spirituality * New Age 10 Babyslipper Catalog 66 Recovery 22 "Mehn's Music" 70 Women's Music * Feminist Music 23 Videos 72 Comedy 35 Kids'Videos 76 Holiday 35 Songbooks, Posters, Grab-Bag 77 International: African 38 Jewelry, Books 78 Arabic * Middle Eastern 39 Resources 80 Asian 39 Calendars, T-Shirts, Cards 8J Celtic * British Isles 40 Extra Order Blank 85 European 43 Readers' Comments 86 Latin American 43 Artist Index 86 MAIL: Ladyslipper, PO Box 3124-R, Durham, NC 27715 ORDERS: 800-634-6044 M-F 9-6 Ordering Info CUSTOMER SERVICE: 919-683-1570 M-F 9-6 FAX: 919-682-5601 Anytime! . PAYMENT: Orders can be prepaid or charged (we BACK-ORDERS AND ALTERNATIVES: If we are CHARGE CARD ORDERS: are processed as prepaid don't bill or ship C.O.D. except to stores, libraries and temporarily out of stock on a title, we will automati­ orders, just like checks with your entire order billed schools). Make check or money order payable to cally back-order it unless you include alternatives up front.
    [Show full text]
  • Review of Bessette, Jean. Retroactivism in the Lesbian Archives: Composing Past and Futures. Southern Illinois UP, 2017. 202 Pages
    Review of Bessette, Jean. Retroactivism in the Lesbian Archives: Composing Past and Futures. Southern Illinois UP, 2017. 202 pages. Alexis Ramsey-Tobienne Arguing for the rhetoricity of the archives and culling from a variety of primary sources, particularly those crafted and curated by and for lesbians, Jean Besette’s Retroactivism in the Lesbian Archive: Composing Past and Futures, traces the process of historicizing lesbian identity. She calls such a process retroactivism, defined as the displacement of singular, often exclusionary, histories with newer versions in an attempt to effect change in the present. Retroactivism enables the writing of new, more inclusive, more queered histo- ries, which in turn foster in the present a collective identity of and for lesbians. In effect, we broaden history in order to re-articulate the present. Further, she argues that histories of lesbianism have been composed “not merely to col- lect and record the figures, acts, and accomplishments of women with same- sex desire, but also to forge a sense of shared identity across time and differ- ence….these historiographic acts actually helped mobilize lesbian identity” (7, emphasis in original). The archives are built both to preserve the past, but also to help understand and delineate a sense of what it meant and what it means to be lesbian. Throughout the book, in emphasizing the constructed nature of the archives, she reminds her readers that archives are not infallible and that the process of retroactivism can and perhaps should be applied toward other mis- or underrepresented groups. As Bessette lays out in the introduction, her project of recovery and re-reading of lesbian archives brings together feminist, queer, and rhetorical historiographical methodologies.
    [Show full text]
  • From Hyrstorians to Bolex Dudes:​ the Many Descendants of Barbara Hammer
    From Hyrstorians to Bolex Dudes​: The Many Descendants of Barbara Hammer Last autumn, ​NYFF55 kicked off​ a citywide retrospective of works by the prolific experimental filmmaker Barbara Hammer. Well-attended screenings followed at the Museum of the Moving Image, the Whitney Museum, and Anthology Film Archives—for good reason: a handful of Hammer’s films, thanks to a National Film Preservation Grant and archivist Carmel Curtis, are newly restored. 50 years and over 100 films later, there’s never been a better time to know Barbara Hammer—as much as one can, anyway. As she inquired during the Q&A following NYFF’s ​Barbara Hammer Program​, “Do we ever know anyone? I don’t think we do. I think we die alone and we are born alone and I do my damndest to show who I am by making films.” Instead of focusing on Hammer’s own movies, many of which are rubbing up against audiences for the first time in decades, IFC Center, in partnership with Queer | Art | Film, enriched the retrospective by ​screening seven early feminist experimental films​ that motivated Hammer (once an aspiring painter) to grab life by the Bolex. The mildly devoted Hammer viewer can reiterate the origin story. ​Dyketactics​’ twirling intimacy and idealism echo Carolee Schneeman’s Fuses​ (1965); ​History Lessons​’ feminist snicker, Martha Rossler’s ​Semiotics of the Kitchen​ (1975); and Place Mattes​’ erotic fixation on the hands, Yvonne Ranier’s ​Hand Movie​ (1966). Who influenced Barbara Hammer’s work? It is IFC Center’s thorough answer to this question which compels me to ask another one: Who is influenced​ by ​Barbara Hammer’s work? In ​The Argonauts​, the poet Maggie Nelson’s memoir on her relationship with the video artist and director Harry Dodge (​By Hook or by Crook​), she observes, “A lot of lesbian sex writing from the 70s was about being turned on, and even politically transformed, by an encounter with sameness.
    [Show full text]
  • Table of Contents
    1 •••I I Table of Contents Freebies! 3 Rock 55 New Spring Titles 3 R&B it Rap * Dance 59 Women's Spirituality * New Age 12 Gospel 60 Recovery 24 Blues 61 Women's Music *• Feminist Music 25 Jazz 62 Comedy 37 Classical 63 Ladyslipper Top 40 37 Spoken 65 African 38 Babyslipper Catalog 66 Arabic * Middle Eastern 39 "Mehn's Music' 70 Asian 39 Videos 72 Celtic * British Isles 40 Kids'Videos 76 European 43 Songbooks, Posters 77 Latin American _ 43 Jewelry, Books 78 Native American 44 Cards, T-Shirts 80 Jewish 46 Ordering Information 84 Reggae 47 Donor Discount Club 84 Country 48 Order Blank 85 Folk * Traditional 49 Artist Index 86 Art exhibit at Horace Williams House spurs bride to change reception plans By Jennifer Brett FROM OUR "CONTROVERSIAL- SUffWriter COVER ARTIST, When Julie Wyne became engaged, she and her fiance planned to hold (heir SUDIE RAKUSIN wedding reception at the historic Horace Williams House on Rosemary Street. The Sabbats Series Notecards sOk But a controversial art exhibit dis­ A spectacular set of 8 color notecards^^ played in the house prompted Wyne to reproductions of original oil paintings by Sudie change her plans and move the Feb. IS Rakusin. Each personifies one Sabbat and holds the reception to the Siena Hotel. symbols, phase of the moon, the feeling of the season, The exhibit, by Hillsborough artist what is growing and being harvested...against a Sudie Rakusin, includes paintings of background color of the corresponding chakra. The 8 scantily clad and bare-breasted women. Sabbats are Winter Solstice, Candelmas, Spring "I have no problem with the gallery Equinox, Beltane/May Eve, Summer Solstice, showing the paintings," Wyne told The Lammas, Autumn Equinox, and Hallomas.
    [Show full text]
  • Maya Deren - Biography
    Maya Deren - Biography Maya Deren did not launch the American film avant-garde, but more than any of her contemporaries, she galvanized, popularized, and feminized it. Famed for her 1943 masterpiece Meshes of the Afternoon, one of the most widely viewed and analyzed of all experimental films, Deren was a tireless proponent of independent movie production and distribution, constantly writing, touring, and lecturing in support of her craft. She not only distributed her own films, but also financed her projects with the aid of fees and grants, in 1946 receiving a Guggenheim Fellowship -- the first awarded for creative filmmaking, and the first ever bequeathed to a woman. While her films lack an overtly feminist consciousness, Deren was arguably the first true woman auteur in American cinema, and her work challenged not only the medium's gender stratification but also its thematic principles, probing issues of sensuality and identity clearly distinct from the efforts of her male counterparts. And although many of Deren's films and writings drifted into obscurity following her 1961 death, her reputation has been greatly rehabilitated in later years, and her aesthetics and ethics alike remain a touchstone for independent filmmakers of all persuasions -- as the pioneering avant-garde director Stan Brakhage once said, "She is the mother of us all." Deren was born Elenora Derenkowsky in Kiev, Ukraine, on April 29, 1917. Her family fled to the U.S. in 1922 following a series of anti-Semitic pogroms, and settled in Syracuse, NY; her father, a psychiatrist, and her mother, an artist, were made naturalized American citizens in 1928, at that time adopting the abbreviated surname "Deren." While attending the League of Nations International School in Switzerland, Deren developed an interest in writing poetry, and upon returning to New York she studied journalism and political science at Syracuse University, where she also became fascinated with filmmaking.
    [Show full text]
  • Introducción Al Documental Colección
    Introducción al documental COLECCIÓN MIRADAS EN LA OSCURIDAD CENTRO UNIVERSITARIO DE ESTUDIOS CINEMATOGRÁFICOS DIRECCIÓN GENERAL DE PUBLICACIONES Y FOMENTO EDITORIAL Bill Nichols Introducción al documental segunda edición UNIVERSIDAD NACIONAL AUTÓNOMA DE MÉXICO MÉXICO, 2013 © Introducción al documental segunda edición del autor © UNIVERSIDAD NACIONAL AUTÓNOMA DE MÉXICO versión en español para todo el mundo CENTRO UNIVERSITARIO DE ESTUDIOS CINEMATOGRÁFICOS Circuito Mario de la Cueva s/n, Ciudad Universitaria, Coyoacán, México, 04510, DF Primera edición en español, 2013 Fecha de edición: 30 de octubre, 2013 Introduction to Documentary, second edition, by Bill Nichols Copyright © 2010 by Indiana University Press, Spanish-language translation rights licensed from the English-language Publisher, Indiana University Press Nichols, Bill, autor [Introduction to documentary. Español] Introducción al documental / Bill Nichols; traducción Miguel Bustos García. – Primera edición 368 páginas ISBN: 978-607-02-4799-6 1. Películas documentales--Historia y crítica. I. de: Nichols, Bill. Introduction to documentary. II. Bustos García, Miguel, traductor. III. Título PN1995.9.D6.N49618 2013 Traducción: Miguel Bustos García, para la Universidad Nacional Autónoma de México ©, 2013 Edición y diseño de portada: Rodolfo Peláez Fotografía de portada: Maquilapolis (Vicki Funari y Sergio de la Torre, 2006) Cortesía de California Newsreel. D.R.© 2013, UNIVERSIDAD NACIONAL AUTÓNOMA DE MÉXICO, Ciudad Universitaria, Coyoacán, México, 04510, DF CENTRO UNIVERSITARIO DE
    [Show full text]