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Toxic Trespass
w omeN 2010 make New Releases movies WMM www.wmm.com Women Make Movies Staff Jen Ahlstrom Finance Coordinator Liza Brice Online Marketing ABOUT & Outreach Coordinator Jessica Drammeh IT/Facilities Coordinator WOMEN MAKE MOVIES Kristen Fitzpatrick A NON-PROFIT INDEPENDENT MEDIA DISTRIBUTOR Distribution Manager Tracie Holder Production Assistance From cutting-edge documentaries that give depth to today’s headlines to smart, Program Consultant stunning fi lms that push artistic and intellectual boundaries in all genres, Stephanie Houghton Educational Sales Women Make Movies (WMM), a non-profi t media organization, is the world’s & Marketing Coordinator leading distributor of independent fi lms by and about women. WMM’s Maya Jakubowicz Finance & Administrative Manager commitment to groundbreaking fi lms continues in 2010 with 24 new, astonishing Cristela Melendez and inspiring works that tackle, with passion and intelligence, everything Administrative Aide from portraits of courageous and inspiring women affecting social change in Amy O’Hara PATSY MINK: AHEAD OF THE MAJORITY, A CRUSHING LOVE, and AFRICA RISING, Offi ce Manager to three new fi lms on issues facing young women today: COVER GIRL CULTURE, Merrill Sterritt Production Assistance ARRESTING ANA, and WIRED FOR SEX, LIES AND POWER TRIPS. Other highlights Program Coordinator include THE HERETICS, a look at the Second Wave of feminism, and two new Julie Whang fi lms in our growing green collection, MY TOXIC BABY and TOXIC TRESPASS. Sales & Marketing Manager Debra Zimmerman Executive Director The WMM collection is used by thousands of educational, cultural, and community organizations across North America. In the last fi ve years dozens Board of Directors of WMM fi lms have been broadcast on PBS, HBO, and the Sundance Channel Claire Aguilar among others, and have garnered top awards from Sundance to Cannes, as Vanessa Arteaga well as Academy Awards®, Emmy Awards®, and Peabody Awards. -
Heretics Proposal.Pdf
A New Feature Film Directed by Joan Braderman Produced by Crescent Diamond OVERVIEW ry in the first person because, in 1975, when we started meeting, I was one of 21 women who THE HERETICS is a feature-length experimental founded it. We did worldwide outreach through documentary film about the Women’s Art Move- the developing channels of the Women’s Move- ment of the 70’s in the USA, specifically, at the ment, commissioning new art and writing by center of the art world at that time, New York women from Chile to Australia. City. We began production in August of 2006 and expect to finish shooting by the end of June One of the three youngest women in the earliest 2007. The finish date is projected for June incarnation of the HERESIES collective, I remem- 2008. ber the tremendous admiration I had for these accomplished women who gathered every week The Women’s Movement is one of the largest in each others’ lofts and apartments. While the political movement in US history. Why then, founding collective oversaw the journal’s mis- are there still so few strong independent films sion and sustained it financially, a series of rela- about the many specific ways it worked? Why tively autonomous collectives of women created are there so few movies of what the world felt every aspect of each individual themed issue. As like to feminists when the Movement was going a result, hundreds of women were part of the strong? In order to represent both that history HERESIES project. We all learned how to do lay- and that charged emotional experience, we out, paste-ups and mechanicals, assembling the are making a film that will focus on one group magazines on the floors and walls of members’ in one segment of the larger living spaces. -
Entire Dissertation Noviachen Aug2021.Pages
Documentary as Alternative Practice: Situating Contemporary Female Filmmakers in Sinophone Cinemas by Novia Shih-Shan Chen M.F.A., Ohio University, 2008 B.F.A., National Taiwan University, 2003 Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in the Department of Gender, Sexuality, and Women’s Studies Faculty of Arts and Social Sciences © Novia Shih-Shan Chen 2021 SIMON FRASER UNIVERSITY SUMMER 2021 Copyright in this work rests with the author. Please ensure that any reproduction or re-use is done in accordance with the relevant national copyright legislation. Declaration of Committee Name: Novia Shih-Shan Chen Degree: Doctor of Philosophy Thesis title: Documentary as Alternative Practice: Situating Contemporary Female Filmmakers in Sinophone Cinemas Committee: Chair: Jen Marchbank Professor, Department of Gender, Sexuality and Women’s Studies Helen Hok-Sze Leung Supervisor Professor, Department of Gender, Sexuality and Women’s Studies Zoë Druick Committee Member Professor, School of Communication Lara Campbell Committee Member Professor, Department of Gender, Sexuality and Women’s Studies Christine Kim Examiner Associate Professor, Department of English The University of British Columbia Gina Marchetti External Examiner Professor, Department of Comparative Literature The University of Hong Kong ii Abstract Women’s documentary filmmaking in Sinophone cinemas has been marginalized in the film industry and understudied in film studies scholarship. The convergence of neoliberalism, institutionalization of pan-Chinese documentary films and the historical marginalization of women’s filmmaking in Taiwan, Hong Kong, and the People’s Republic of China (PRC), respectively, have further perpetuated the marginalization of documentary films by local female filmmakers. -
Hallmarks of Gender-Based Violence Prevention & Response At
Hallmarks of Gender-Based Violence Prevention & Response at PLU A timeline snapshot of investments in programs, events, and initiatives Fall 2005: PLU receives $300,000 in grant funding from Department of Justice Office on Violence Against Women to address sexual assault, dating/domestic violence, and stalking on campus. Coordinated Community Response (CCR) Team formed consisting of campus and community partners to lead prevention and response efforts for gender-based violence related to the DOJ grant. Spring 2006: Victim Advocate (Jennifer Warwick) and Men Against Violence (MAV) Coordinator (Jonathan Grove) hired to implement goals of the “Voices Against Violence” (VAV) grant project. CCR team members attend the first of many quarterly Training and Technical Institutes hosted by the Office on Violence Against Women. Fall 2006: VAV beings annual training for Campus Safety, Residential Life, and Student Leaders to help individuals recognize instances of gender-based violence within the scope of their roles and refer to appropriate resources. Victim Advocate begins providing services (emotional support, safety planning, resources referrals) to students, faculty, and staff impacted by gender-based violence. Advocates work with an average of 50-60 clients each academic year. The first student peer education coordinator (Abi McLane, ‘08) is hired to implement SAPET presentations on campus. The first annual White Ribbon Campaign is hosted at PLU, encouraging men to pledge to not commit or condone violence against women. Spring 2007: PLU appoints Title IX Coordinator (Teri Phillips). Circles of Healing psycho-educational support group for survivors of sexual or domestic violence begins. CCR develops “Sexual Assault, Intimate Partner Violence and Stalking: Help is Available Brochure” to highlight the resources available on campus and in the local community for victims/survivors. -
Coalition Chronicles 33-2: Domestic
A newsletter of End Domestic Abuse WI Volume 33 Issue 2 In This Issue The Double Imprisonment of Battered Women Who Are Incarcerated From End Abuse Director, Patti Seger Wisconsin’s women’s prisons are filled with survivors of domestic and sexual violence. These women are Women’s Experiences of doubly imprisoned: first, by trauma from the violence Abuse as Risk Factors for they have suffered, and second, by the iron bars and Incarceration Click to read razor wire fences that surround them daily. They are Best Practice Toolkit incarcerated by a criminal legal system that does not Click to read consider their histories of abuse when deciding their fates. Intersection: Victimization, Mental Illness, & The experience of interpersonal violence is a significant factor in the crimes Incarceration Click to read committed by the majority of incarcerated women. Some women land in prison because they killed or seriously hurt an abuser, almost always in self-defense. Brenda Clubine Some are there because an abuser threatened to kill them if they didn’t forge a Click to read name on a check, steal, deal drugs, or engage in prostitution. They may be there Betty’s Story Click to read because they stole to feed themselves and their children. The crimes that result in incarceration are often acts of survival. Collateral Consequences Click to read Behind bars and far from homes, families, children, and domestic violence agencies that might offer assistance, too often these women are forgotten Asha Family Services victims of domestic abuse: they are left with few ways to heal from trauma, both Click to read from the initial abuse and from the circumstances of their present lives in prison. -
Black Widows: Battered Mothers Who Kill
Black Widows: Battered Mothers Who Kill Jay Berta Klyman Submitted under the supervision of Rebecca Shlafer-Nealy to the University Honors Program at the University of Minnesota-Twin Cities in partial fulfillment of the requirements for the degree of Bachelor of Science magna cum laude in Authentic Community Engagement. May 12, 2016 Summary The following paper examines battered mothers who kill their abusers. Through estimation, we find that this population is made up of 16,000 women who are presently incarcerated in the United States. Research examines the cases of Artiesha Love and Natalie Pollard, two mothers in the St. Paul/Minneapolis area who allegedly murdered their abusers. Through media analysis of over 15 sources, it is clear that the media lacks an understanding of domestic violence in the cases of battered mothers who kill. Turning to existing research, it is clear that very little research has been done around the role of motherhood. Of the literature examined, no previous research has done to make sense of how motherhood might affect a woman’s decision to kill or not kill her abuser. There is hope when it comes to case studies such as the Sin by Silence bills and documentary in California, and the #SayHerName component of the #BlackLivesMatter movement. The issue of battered mothers who kill their abusers intersects with police brutality, racial disparities, and the criminalization of people of color and the movement to end domestic violence. Introduction Our cultural narrative in the United States around domestic violence brings to mind a woman and her children, bruised and bloodied sitting in a battered women’s shelter. -
Tang Shu Shuen
FILMING MARGINS TANG SHU SHUEN A Forgonen Hong Kong Woman Director Yau Ching # jg . *. * & ft& f± \^£ 7 HONG KON G UNIVERSIT Y PRES S Hong Kon g University Pres s 14/F Hing Wai Centr e 7 Tin Wan Pray a Roa d Aberdeen Hong Kon g © Hong Kong University Pres s 200 4 ISBN 96 2 20 9 689 1 All rights reserved. No portion o f this publication ma y be reproduce d or transmitted i n any form o r by any means, electronic o r mechanical, includin g photocopy, recording, or any information storag e or retrieval system , without permissio n i n writing from th e publisher . Secure On-line Orderin g http://www.hkupress.org British Librar y Cataloguing-in-Publicatio n Dat a A catalogu e record fo r thi s book i s available from th e British Library . Printed an d bound b y United Leagu e Graphic & Printing Co. Ltd., in Hong Kong, China Hong Kon g Universit y Pres s i s honoured tha t X u Bing , whos e ar t explores the comple x theme s o f language acros s cultures, has writte n m the Press' s nam e i n hi s Squar e Wor d Calligraphy . Thi s signal s ou r £91 commitmen t t o cross-cultura l thinkin g an d th e distinctiv e natur e o f our English-languag e book s publishe d i n China . "At firs t glance, Square Word Calligraphy appear s to be nothing mor e J&EL unusual tha n Chines e characters , bu t i n fac t i t i s a ne w wa y o f rendering Englis h word s i n th e forma t o f a squar e s o the y resembl e Chinese characters. -
216631157.Pdf
The Alternative Media Handbook ‘Alternative media’ are media produced by the socially, culturally and politically e xcluded: they are always independently run and often community-focused, ranging from pirate radio to activist publications, from digital video experiments to ra dical work on the Web. The Alternative Media Handbook explores the many and dive rse media forms that these non-mainstream media take. The Alternative Media Hand book gives brief histories of alternative radio, video and lm, press and activity on the Web, then offers an overview of global alternative media work through nu merous case studies, before moving on to provide practical information about alt ernative media production and how to get involved in it. The Alternative Media H andbook includes both theoretical and practical approaches and information, incl uding sections on: • • • • • • • • successful fundraising podcasting blogging publishing pitch g a project radio production culture jamming access to broadcasting. Kate Coyer is an independent radio producer, media activist and post-doctoral re search fellow with the Annenberg School for Communication at the University of P ennsylvania and Central European University in Budapest. Tony Dowmunt has been i nvolved in alternative video and television production since 1975 and is now cou rse tutor on the MA in Screen Documentary at Goldsmiths, University of London. A lan Fountain is currently Chief Executive of European Audiovisual Entrepreneurs (EAVE), a professional development programme for lm and television producers. He was the rst Commissioning Editor for Independent Film and TV at Channel Four, 198 1–94. Media Practice Edited by James Curran, Goldsmiths, University of London The Media Practice hand books are comprehensive resource books for students of media and journalism, and for anyone planning a career as a media professional. -
03.Elizabeth Koepping(49-74)
03.ElizabethKoepping(49-74) 2011.6.9 4:44 AM 49 CTP-1 2400DPI 175LPI T Madang, Vol. 15 (June, 2011), 49-74 Silence, Collusion and Sin: Domestic Violence among Christians. Elizabeth Koepping* Underlying this essay is the issue of contextualisation and inculturation in every context and every country of this world, whether the self- actualising, blessed-by-wealth-and-happiness congregations of the meritocratic American Mid-West or the various congregations here discussed. An intentional, elite-controlled contextualisation easily risks the retrospective worship of culture. Where this includes unequal relationships between men and women, it sanctifies a profound and even salvific difference between males and females. Wives, be subject to your husband as to the Lord, for the husband is the head of the wife. (Eph, 5: 22-23) I hate divorce, says the Lord the God of Israel, and covering one s garment with violence. (Mal, 2:16) She is Senior Lecturer in World Christianity and Religious Studies at the University of Edinburgh, and also Associate Director of the Centre for the Study of World Chrisitianity there. Trained in social anthropology as well as theology, she has taught at universities in Australia and Germany, given workshops and lectures in many countries, including Myanmar, India and Korea, and does long-term research in Malaysia and South Australia. In 2011 Routledge published her four-volume set of readers in World Christianity. She is writing a textbook on World Christianity, also for Routledge, completing a four-year study on domestic violence among Christians across the world, and contributes to the Scottish Episcopal Church as a priest. -
A Film by Florence Ayisi and Kim Longinotto
A film by Florence Ayisi and Kim Longinotto A WOMEN MAKE MOVIES RELEASE Women Make Movies • 462 Broadway, 5th Floor • New York, NY 10013 Tel: 212.925.0606 x 360 • e-mail: [email protected] • www.wmm.com Synopsis The only documentary selected for the 2005 Directors’ Fortnight in Cannes and a selection of the 2005 Toronto International Film Festival, SISTERS IN LAW is the latest film from internationally acclaimed director and festival favorite Kim Longinotto, co-directed by Florence Ayisi. Longinotto’s award-winning films include the 2005 Emmy-nominated film THE DAY I WILL NEVER FORGET, which premiered in the U.S. at the 2003 Sundance Film Festival, DIVORCE IRANIAN STYLE, DREAM GIRLS and SHINJUKU BOYS, among others. SISTERS IN LAW is a totally fascinating, often hilarious look at the work of one small courthouse in Cameroon. The tough-minded state prosecutor Vera Ngassa and court president Beatrice Ntuba are helping women in their Muslim village find the courage to fight often-difficult cases of abuse, despite pressures from family and their community to remain silent. With fierce compassion, they dispense wisdom, wisecracks and justice in fair measure—handing down stiff sentences to those convicted. A cross between Judge Judy and The No.1 Ladies’ Detective Agency, SISTERS IN LAW has audiences cheering when justice is served. In signature style, Longinotto’s unobtrusive camera captures an abundance of colorful characters, allowing their powerful stories to unfold effortlessly without need for narration. Both insightful and uplifting, SISTERS IN LAW presents a rare strong and positive view of African women—and captures the emerging spirit of courage, hope and possibility for change. -
Chinese Americans in Los Angeles, 1850-1980
LOS ANGELES CITYWIDE HISTORIC CONTEXT STATEMENT Context: Chinese Americans in Los Angeles, 1850-1980 Prepared for: City of Los Angeles Department of City Planning Office of Historic Resources October 2018 National Park Service, Department of the Interior Grant Disclaimer This material is based upon work assisted by a grant from the Historic Preservation Fund, National Park Service, Department of the Interior. Any opinions, findings, conclusions, or recommendations expressed in this material are those of the authors and do not necessarily reflect the views of the Department of the Interior. SurveyLA Citywide Historic Context Statement Chinese Americans in Los Angeles, 1850-1980 TABLE OF CONTENTS PURPOSE AND SCOPE 1 CONTRIBUTORS 2 PREFACE 3 HISTORIC CONTEXT 11 Introduction 11 Terms and Definitions 11 Chinese Immigration to California, 1850-1870 11 Early Settlement: Los Angeles’ First Chinatown, 1870-1933 16 Agriculture and Farming, 1870-1950 28 City Market and Market Chinatown, 1900-1950 31 East Adams Boulevard, 1920-1965 33 New Chinatown and China City, 1938-1950 33 World War II 38 Greater Chinatown and Postwar Growth & Expansion, 1945-1965 40 Residential Integration, 1945-1965 47 Chinatown and Chinese Dispersion and Upward Mobility Since 1965 49 ASSOCIATED PROPERTY TYPES AND ELIGIBILITY REQUIREMENTS 55 BIBLIOGRAPHY 79 APPENDICES: Appendix A: Chinese American Known and Designated Resources Appendix B: SurveyLA’s Asian American Historic Context Statement Advisory Committee SurveyLA Citywide Historic Context Statement Chinese Americans in Los Angeles, 1850-1980 PURPOSE AND SCOPE In 2016, the City of Los Angeles Office of Historic Resources (OHR) received an Underrepresented Communities grant from the National Park Service (NPS) to develop a National Register of Historic Places Multiple Property Documentation Form (MPDF) and associated historic contexts for five Asian American communities in Los Angeles: Chinese, Japanese, Korean, Thai, and Filipino. -
Artist Writings: Critical Essays, Reception, and Conditions of Production Since the 60S
Artist Writings: Critical Essays, Reception, and Conditions of Production since the 60s by Leanne Katherine Carroll A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy—History of Art Department of Art University of Toronto © Copyright by Leanne Katherine Carroll 2013 Artist Writings: Critical Essays, Reception, and Conditions of Production since the 60s Leanne Carroll Doctor of Philosophy—History of Art Department of Art University of Toronto 2013 Abstract This dissertation uncovers the history of what is today generally accepted in the art world, that artists are also artist-writers. I analyse a shift from writing by artists as an ostensible aberration to artist writing as practice. My structuring methodology is assessing artist writings and their conditions and reception in their moment of production and in their singularity. In Part 1, I argue that, while the Abstract-Expressionist artist-writers were negatively received, a number of AbEx- inflected conditions influenced and made manifest the valuing of artist writings. I demonstrate that Donald Judd conceived of writing as stemming from the same methods and responsibilities of the artist—following the guiding principle that art comes from art, from taking into account developments of the recent past—and as an essayistic means to argumentatively air his extra-art concerns; that writing for Dan Graham was an art world right of entry; and that Robert Smithson treated words as primary substances in a way that complicates meaning in his articles and in his objects and earthworks, in the process introducing a modernist truth to materials that gave the writing cachet while also serving as the basis for its domestication.