Joan Braderman Filmography
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Media‑Aktivisme
Media‑aktivisme Tegn, motstand og organisatoriske prosesser. Paper Tiger Tv, New York: ”Smashing the myths of the information industry” Hovedoppgave innlevert som del av Cand.Polit graden ved Sosialantropologisk Institutt UNIVERSITETET I OSLO, Våren 2007 Berit Nilsen Bua 2 Kort sammendrag av oppgaven: Denne oppgaven handler om en gruppe uavhengige Tv produsenter i New York kalt The Paper Tiger Television Collective. De lager Tv programmer med et uttalt mål om å åpne opp for større deltakelse i offentligheten ved å demokratisere tilgangen til medieproduksjon. I utgangspunktet stiller de seg kritiske til at massemedier som de hevder er en storindustri med hovedfokus på økonomisk profitt. Denne holdningen gir gruppen et politisk grunnlag for samarbeidet. De hevder selv at de ikke støtter seg til en større ideologisk plattform. Likevel tar de utgangspunkt i at ”mainstream” media oppleves som sterkt ideologisk, disiplinerende og begrensende, og kjemper med egne aktivistiske metoder mot dette. Paper Tiger kaller seg ”alternative”, og hovedmål for oppgaven er å belyse hva dette innebærer. I USA på midten av nittitallet kom en ny telekommunikasjons-lovgivning. I den forbindelse fulgte jeg aktivistenes arbeid med å synliggjøre og diskutere regjeringens motiver for lovgivningen. Temaet for oppgaven er å se på hvordan samarbeidet i Paper Tiger foregår, og måten de organiserer seg på. Gruppen definerer seg selv som en åpen og fri enhet uten leder eller rammebetingelser, der medlemmene kan komme og gå, og gjøre som de vil. Ut ifra denne definisjonen er det kanskje et paradoks at gruppen fortsatt er i drift, etter 25 år. I oppgaven ønsker jeg å sette søkelys på hva som gjør at gruppen fortsatt eksisterer. -
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. -
Civil Disobedience July 18 – October 29, 2017
MIT List Visual Arts Center 20 Ames Street, Building E15 Cambridge MA 02139 listart.mit.edu Civil Disobedience July 18 – October 29, 2017 COVER Patricia Silva, Mass Swell (still),2016, single-channel video, sound, 14:07 min. Courtesy the artist. ABOVE Third World Newsreel, America (still), 1969, single-channel video, sound, 30 min. Courtesy Third World Newsreel. Civil Disobedience Bakalar Gallery July 18 – October 29, 2017 List Projects: Civil Disobedience presents a program of documentaries, news footage, artist’s films and videos focusing on moments of political resistance and public demonstration from the early 20th century through today. Featuring records from 1930s “hunger marches,” the historic Civil Rights and women’s movements, anti-war action, gay liberation and AIDS activism, the Black Lives Matter movement, and recent Women’s Marches, the exhibition considers the history of resistance as well as the role that artists and documentarians play in chronicling and confronting abuses of power and social injustice. DAILY SCREENING PROGRAM 1. The Workers Film and Photo League The National Hunger March, 1931; 11 min. writers, and projectionists in the 1930s, America Today and The World in Review, dedicated to documenting the US Labor 1932; 11 min. Movement and using film and photography The Workers Film and Photo League was an for social change. Courtesy MoMA organization of filmmakers, photographers, Circulating Film & Video Library. 2. The 1960s: Civil Rights Movement Videofreex, Fred Hampton: Black Panthers Madeline Anderson, I Am Somebody, 1970; in Chicago, 1969; 23:10 min. 29:43 min. Formed in 1969 when David Cort and Madeline Anderson is a pioneering African- Parry Teasdale met at the Woodstock American television and documentary Music Festival, the Videofreex was a video producer, director, editor, and writer. -
Advertising Age, Recognizing That Reagan's Election Was a Marketing Coup, Unashamedly Honored Richard Wirthlin As 1980'S
1 Number 1 Winter 1987/88 EdItoriaI 1 The Propaganda Environment by Marcy Darnovsky Introducing PROPAGANDA REVIEW ... a new magazine that explores techniques of manipulation, our vulnerability to them, anda society obsessed with the “engineering of consent.” Departments 5 Ad Watch by Marina Hirsch Notes from an advertising addict. 7 Propaganda Watch The PROPAGANDA REVIEW Believe-It-or-Not. 32 Resources We are not alone: groups and publications you’ll want to know about. Features 9 Marketing Reagan by Johan Carlisle (Research assistance by Sheila O’Donnellj What makes Reagan popular? Sophisticated computers, strategic polling, and “Populus Speedpulse” are part of the answer. Meet the man who manufactures the teflon, Richard Wirthlin. 14 The Propaganda System: Orwell’s and Ours by Noam Chomsky In totalitarian states, everyone recognizes propaganda. In our country, it’s a different story. 19 Photography and Propaganda by David Levi Strauss Richard Cross and John Hoagland were award-winning photojournalists who worked and were killed in Central America. They had hoped to change the world by “photographing the truth.” 24 Vox Populi by Nina Eliasoph Olliemania has come and gone. On-the-street interviews tell us why-in more depth than a hundred high-tech polls. 27 That’s Entertainment by Jay Rosen The techniques of the consciousness industries-TV, advertising, entertainment-grow ever flashier. Will audiences burn out? Reviews 30 What Reagan Reads by Philip Paull Terrorism: How the West Can Win by Benjamin Netanyahu. The manufacture of Reagan’s campaign against “international terrorism.” PROPAGANDA REVIEW Winter 87/88 2 Editorial Editor Political Discourse Marcy Darnovsky in the Propaganda Environment Executive Editor Frederic Stout The problem with calling a magazine Propaganda USA Promotion Director Propaganda Review is that “propaganda” In the American political arena, the Rea- Philip Paull is a slippery concept, difficult to define. -
Access Television and Participatory Political Communication
DEMOCRATIC TALK, ACCESS TELEVISION AND PARTICIPATORY POLITICAL COMMUNICATION LAURA STEIN Abstract This study draws on the participatory political philosophy Laura Stein is Assistant of Benjamin Barber to assess the contribution of public Professor at the access cable television to political communication in the Department of United States. In contrast to neo-liberal political theory Communication, which views government-mandated media access as University of San infringing on the speech rights of media owners, Barbers Francisco. participatory democratic theory positions direct and widespread access to the media as a vital aspect of democratic processes. Barber puts forward a set of concepts which describe the various functions of democratic talk and which provide a theoretical framework for understanding some of the ways in which access television functions as a political communication resource. Using interviews and original source materials, the study examines the political uses of access television by radical media projects, a type of media seldom granted access to commercial or public television. In their attempts to organise and empower communities that have been under Vol.5 (1998), 2 represented or excluded from mainstream political dis- cussions and debates, these projects perform many of the functions Barber attributes to democratic talk. Conclusions drawn from the study suggest that access television hosts a range of democratic speech which is largely absent from professional media industries and which merits the support and protection of democratic states. 21 In the late 1960s and early 1970s, citizens around the United States established centres for the production and distribution of non-profit, community-oriented television. The movement for public access cable television, or community television, attempted to realise what was widely perceived at the time as the democratic potential of cable television. -
Annual Report 2015-2016
Weatherhead East Asian Institute Columbia University International Affairs Building 9th Floor, MC 3333 420 West 118th Street New York, NY 10027 ANNUAL REPORT Tel: 212-854-2592 Fax: 212-749-1497 2015-2016 WEATHERHEAD EAST ASIAN INSTITUTE ASIAN EAST WEATHERHEAD 2015–2016 REPORT ANNUAL UNIVERSITY COLUMBIA weai.columbia.edu TABLE OF CONTENTS COLUMBIA UNIVERSITY MAP: MORNINGSIDE CAMPUS & ENVIRONS 1 LETTER FROM THE DIRECTOR 1 2 THE WEATHERHEAD EAST ASIAN INSTITUTE 2 3 THE RESEARCH COMMUNITY 3 4 PUBLICATIONS 37 5 RESEARCH PROGRAMS OF THE WEATHERHEAD EAST ASIAN INSTITUTE AND AFFILIATED COLUMBIA CENTERS 40 6 PUBLIC PROGRAMMING 46 7 GRADUATE AND POSTDOCTORAL STUDIES 55 8 STUDENTS 57 9 ASIA FOR EDUCATORS PROGRAM 61 10 STAFF OF THE WEATHERHEAD EAST ASIAN INSTITUTE 63 11 FUNDING SOURCES 64 1 LETTER FROM THE DIRECTOR During the 2015–16 academic year, I have had the pleasure of directing the Weatherhead East Asian Institute at a time of exciting expansion. While the Institute remains strong in its traditional fields of East Asian social sciences, we have been growing in the direction of Asian humanities and Southeast Asian studies, and we have been innovating in the areas of digital humanities. And, while the Institute remains committed to deep local and regional knowledge, we have also been committed to updating traditional area studies by developing support for research and curriculum that link East Asia with the world and conceptualize East Asia in global terms. To support scholarship and teaching that examines East Asia through a global lens, the Institute suc- cessfully launched the Dorothy Borg Research Program this year. -
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. -
Chris Hill Interviews Deedee Halleck 5/18/95
Chris Hill interviews DeeDee Halleck 5/18/95 CH: We spoke before about activities that you were involved with in the 1970s, which eventually led to the formation of Paper Tiger TV and Communications Update as programs for public access cable in the late 70s, early 80s. Your experience with Shirley Clarke and her TP Video Space Troupe and with Videofreex and various education projects were very important in shaping your agenda. Your remarks have pointed to the value you found working collectively in the 70s and doing education with youth using film in the 1960s. DH: It probably started in the 50s because when I was in high school I worked at a commercial animation house in Chattanooga, Tennessee. I did inking and opaquing of animations for pork sausage commercials-Parks Pork Sausages . That was the first and last time I worked for the industry. It wasn't that bad of a place; I got 25 cents an hour and I worked my way up from being an opaquer to being an inker to being an inbetweener, which was traveling rapidly up the hierarchy of animation work. I was pretty good at it. I could probably have had a career in animation. But what blew me away at the same time was seeing Norman MCLaran's films where he actually painted directly on film. I knew what it took to make commercial images. That somebody could actually take a film and draw on it was enormously liberating for me. It completely demystified the whole process of animation. Actually the guy I worked with at the commercial house was really talented. -
Media Arts Centers As Alternative Archival Spaces: Investigating the Development of Archival Practices in Non-Profit Media Organizations
MEDIA ARTS CENTERS AS ALTERNATIVE ARCHIVAL SPACES: INVESTIGATING THE DEVELOPMENT OF ARCHIVAL PRACTICES IN NON-PROFIT MEDIA ORGANIZATIONS by Lindsay Kistler Mattock BA Film Studies, University of Pittsburgh, 2004 MLIS, University of Pittsburgh, 2009 Submitted to the Graduate Faculty of the School of Information Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2014 UNIVERSITY OF PITTSBURGH SCHOOL OF INFORMATION SCIENCES This dissertation was presented by Lindsay Kistler Mattock It was defended on June 10, 2014 and approved by Dr. Brian Beaton, Assistant Professor, Library and Information Science Dr. Sheila Corrall, Professor, Library and Information Science Dr. Annette Vee, Assistant Professor, Department of English Dissertation Advisor: Dr. Richard J. Cox, Professor, Library and Information Science ii Copyright © by Lindsay Kistler Mattock 2014 iii MEDIA ARTS CENTERS AS ALTERNATIVE ARCHIVAL SPACES: INVESTIGATING THE DEVELOPMENT OF ARCHIVAL PRACTICES IN NON- PROFIT MEDIA ORGANIZATIONS Lindsay Kistler Mattock, MLIS, PhD University of Pittsburgh, 2014 In the United States, archival institutions have prioritized the preservation of commercial and Hollywood cinema overlooking small-scale media production by non-professionals and independent media artists. Media arts centers, however, have played a pivotal role in the continued access, use, and preservation of materials produced by the communities that they serve. These non-profit media collectives were imagined as a distributed network of organizations supporting the production, exhibition and study of media; serving as information centers about media resources; and supporting regional preservation efforts. However, media arts centers have remained over-looked and unexplored by the archival field. This dissertation seeks to shift this balance, including these artist-run organizations as part of the network of archives and collecting institutions preserving independent media. -
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. -
Feminism and Video: a View from the Village Joan
Joan Braderman’s Feminism Through Video: A View From the Village 1 A R C H I V E F O R T H E F U T U R E Feminism and Video: A View from the Village Joan Braderman My first undergraduate filmmaking class circa 1968 at Harvard had fifteen students; fourteen of them were men – boys, really—and I was the one female. It was the only film production class at the entire university. The professor, Robert Gardner, was very much a man, an old‐fashioned gentleman artist, a documentarian, alternately gallant to or oblivious of me—as was the general wont in those bygone days between older men and their female students, at least when no lechery was involved. Though hardly shy, I barely spoke, so sure was I that a mere question of mine would reveal the depth of my stupidity when it came to cameras. At the time, I probably thought that the gap in my comfort zone in the world—the mechanical and electronic—was genetic: women were inherent Luddites. We shot on Bolexes and edited on Movieolas. Since I was unable to speak in the class, I sat by the Charles River with the manuals, the camera and the light meter for hours, trying out everything without peer surveillance. Student strikes against the way in Vietnam were key features of my film education. You often didn’t finish editing because you would not cross the picket line by the middle of spring semester (1968‐1970) to enter the art building where the equipment was. -
Nancy Kranich 136 N
NANCY KRANICH 136 N. 7th Avenue Highland Park, NJ 08904-2932 732-985-1599 [email protected] EDUCATION M.P.A. New York University Graduate School of Public Administration, 1978, graduated with highest scholastic standing. PhD work (56 credits completed), 1982-1984. M.A. University of Wisconsin--Madison, Library Science, 1973, initiated into Beta Phi Mu Honorary Society. B.A. University of Wisconsin--Madison, Anthropology, 1972, graduated with honors. University of Pennsylvania, Historical Archaeology fieldwork, 1970. EXPERIENCE Rutgers University, 2009- . (1/2 time). Libraries, Librarian I (eqv. Full Professor--Promoted 2015), Special Projects Librarian; and School of Communication and Information, Lecturer—MLIS Program: Community Engagement; Information Policy; Intellectual Freedom; Colloquium; Guest Lecturer in Management of Library and Information Services, Transformative Library Leadership, Digital Libraries, Social Informatics, Digital Divide, Leadership Doctoral Seminar. Guest Lecturer for U. of IL, GSLIS, and U. of Washington Community Engagement Classes, 2003 – date. University of Wisconsin—Milwaukee, School of Information Studies, 2008-2009. Online Instructor, Free Speech and Information Ethics. Center for Information Policy, Information Ethics Fellowship, 2008-2009. Consultant and Guest Lecturer, 2004- . Policy, Planning, Programs, Promotion, Publishing, Teaching. Free Expression Policy Project, 2003-2004. Senior Research Fellow. American Library Association, President Elect, 1999-2000; President, 2000-2001. Immediate Past President, 2001-2002. Elected President of this 66,000-member association. Theme--Libraries: the Cornerstone of Democracy. Projects: advocacy, information literacy partnerships, civil society building, demOcracy forums, smart voting, emerging democracies, and bridging the digital divide. New York University Libraries, 1978-2002. Associate Dean, 1992-2001. (On leave 2000-2002; retired 6/02 following 25 years of service) Chief operating officer for a major research library, university press, and academic media services.