How do you return to a sensation of not knowing when you do indeed now know? I am going to try to revisit the days before Hurricane Sandy, to piece together the moments and the sensations we all experienced prior, during and after the storm.
Back in 2004, I proposed to my husband Mark Street that I start a Torah study group for our half-Jewish-half-secular-humanist (the only unofficial faith or –ism he would embrace) 9 and 7 year-old daughters Maya and Noa Street-Sachs. He agreed reluctantly and skeptically, convinced that this passing fancy of mine for constructing a homemade form of religious learning would certainly go the way of Pilates or learning to cook.
New Day filmmakers live all over the United States, although many are concentrated on the East and West Coasts. In the following interviews, New Day filmmakers from the Midwest reveal how living there has impacted their personal – and filmmaking – choices.
In San Francisco in the mid-1980s, I saw Chris Marker’s “Sans Soleil”. I witnessed his mode of daring, wandering filmmaking with a camera. Alone, he traveled to Japan, Sweden and West Africa where he pondered revolution, shopping, family, and the gaze in a sweeping but intimate film essay that shook the thinking of more filmmakers than any film I know. Marker’s essay film blended an intense empathy with a global picaresque. Simultaneously playful and engaged, the film presented me with the possibility of merging my interests in cultural theory, politics, history and poetry — all aspects of my life I did not yet know how to bring together – into one artistic expression.
We are here to discuss the various ways digital technologies have, and have not, impacted experimental filmmaking. There was a time, in the mid-1990s, if not before, when some people argued that digital technologies were revolutionary and that they would fundamentally change filmmaking. Now that the dust has settled, or at least started to settle, and we can look back over the last fifteen or twenty years, the “digital revolution” might not seem like a revolution at all. We want to talk about both what has stayed the same and what has changed in experimental filmmaking thanks to the advent of digital technologies.
The first time I saw Gunvor’s brash, feminist 1966 moving image carnival “Schmeerguntz”, I was about 25 years old, still too young (I thought) to identify with her funky discourse on motherhood and domesticity. In a sense, I watched Gunvor’s cinematic collaboration with her friend Dorothy Wiley as a child might furtively read her mother’s journals.