How do we negotiate the photographing of images that contain the body? What experiential, political or aesthetic contingencies do we bring to both the making and viewing of a cinema that contains the human form? If a body is different from our own—in terms of gender, skin color, or age—do we frame it differently? As […]
NYU’s Cinema Studies Department and Undergraduate Film & TV Department present the 7th Annual Experimental Lecture.
Collected posters from the “Experimental Lecture” series presented by NYU’s Film and Television and Cinema Studies departments. Curated by Lynne Sachs with Jonathan Kahana & Dan Streible.
When filmmaker Lynne Sachs turned fifty, she dedicated herself to writing a poem for every year of her life, so far. Each of the fifty poems investigates the relationship between a singular event in Sachs’ life and the swirl of events beyond her domestic universe.
Lynne Sachs talks process and inspiration with Rob McLennan.
New York poets Valery Oisteanu and Lynne Sachs make distillations, sometimes with words, sometimes with images.
As women in the director’s chair or anywhere else on a set, we should celebrate the bonds we build together behind the camera.
To celebrate the press’s 30th birthday and the publication of the new Tender Omnibus collection, Greenlight hosts a night of reading and conversation featuring three Tender Buttons poets.
I would make a few films that allowed me to “open the door” on a person, group of people or place that I knew little about in order to develop a deeper understanding through my filmmaking. Then, I would turn the camera back on myself and my immediate surroundings to produce more personal, introspective films.
As much I call myself a cinéphile, there are certain times in my filmmaking process — be it the production or post-production phase — when I try not to watch anything that is not going to help me strategize on how to solve a particular obstacle in front of me.
