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Experimental filmmaker Lynne Sachs donates films to Hunter College Libraries / Hunter College Libraries

Experimental filmmaker Lynne Sachs donates films to Hunter College Libraries
Hunter College Libraries
July 26, 2023
https://library.hunter.cuny.edu/news/experimental-filmmaker-lynne-sachs-donates-films-hunter-college-libraries

Experimental filmmaker Lynne Sachs donates films to Hunter College Libraries

Feminist, artist, experimental documentary filmmaker, and poet Lynne Sachs’ donation of DVDs to Hunter College Libraries completes the Libraries’ collection of  Sachs’ films on DVD. The films are available for CUNY students, staff, and faculty to borrow. Scroll down to see the list.

I asked Lynne about her teaching experience at Hunter College. Here is her reply:

“I started at Hunter in September 2001, and of course you know what happened that month.  My relationship to the school has been consistent and meaningful for all of these years.  In that first semester, I witnessed the way that the school became a real home and place of solace for the students, especially the international ones.  Every class was like a therapy session, blending the emotional and intellectual into a single impactful experience (or at least that’s how it is in my memory). I was also at Hunter for the very first conversations around their IMA Grad program which has turned into a deeply respected and supportive community.”

Lynne taught the follwing classes:

Graduate courses in the Integrated Media Arts MFA program:
The Accident that Pricks: Family and Photography
Day Residue: Hybrid Media and Performance
Film as a Collaborative Art
Frames and Stanzas: Film and Poetry
Non Fiction Graduate Seminar

Undergraduate Courses:
Introduction to Film and Media
Developing the Documentary
Sound for Film and Video
Film 1

“What I do in the world when I’m in the act of shooting film is ask myself how and if I can work in concert with something that exists in reality.”  – From an interview with the poet Paulo Javier in Bomb Magazine, March 2014.

Lynne Sachs’ films have been featured in a number of retrospectives, including one at The Museum of Moving Image, Lynne Sachs: Between Thought and Expression, organized by assistant curator Edo Choi. In a review of the retrospective, Kat Sachs (no relation), highlights themes of Sachs’ work and the personal and experimental approach the filmmaker takes to communicate through the medium of film.

“A Reality Between Words and Images: Films by Lynne Sachs,” a program screening in October, 2022 at e-flux Screening Room featured six of the filmmaker’s works. In a review of the program on Screenslate.com, the author discusses the filmmaker’s exploration of  the subjects.

A retrospective of Lynne Sachs’ work was included in the Ghosts and Apparitions section of the virtual Sheffield Doc/Fest in 2020. Reviews of the retrospective appeared on Hyperallergic and ubiquarian. In an interview in Modern Times Review, the filmmaker discusses her films in the Sheffiled Doc/Fest. Two of the films in the Festival, The Washing Society (co-directed with playwright Lizzie Oleskar) and Your Day is My Night, investigate the experiences of immigrants working in service jobs, a timely subject during the height of the Covid-19 pandemic.

Reviews of Lynne Sachs’ Film About a Father Who can be found on Cineaste, and was a Critic’s Pick on the New York Times.

A two-part interview with the experimental filmmaker is available on A Masters Edition episode of Docs in Orbit. “In part one of the conversation, Lynne Sachs discusses how feminist film theory has shaped her work and her approach to experimental filmmaking. We also discuss her collaborative process in her films, including her short documentary film A MONTH OF SINGLE FRAMES (for Barbara Hammer). Part two discusses her latest feature-length documentary film, FILM ABOUT A FATHER WHO (2020).”

Films by Lynne Sachs available at Hunter College Libraries

Film about a father who
Sachs, Lynne, film director, director of photography, narrator, on-screen participant.; Sachs, Ira, Sr., interviewee, on-screen participant.; Sachs, Ira, cinematographer, on-screen participant.; Shapass, Rebecca, editor of moving image work.; Vitiello, Stephen, composer (expression); Allen, Kevin T., remix artist.; Cinema Guild, publisher.
2021?

The washing society
Olesker, Lizzie, filmmaker.; Sachs, Lynne, filmmaker.; Hanley, Sean (Film producer), director of photography.; Katz, Amanda, editor of moving image work.; Vitiello, Stephen, composer (expression); Holloway, Jasmine, actor.; Santa, Veraalba, actor.; Ching, Valdes-Aran, actor.; Torn, Tony, actor.; Canyon Cinema Foundation (Firm), film distributor.
2019

Tip of my tongue
Katz, Amanda.; Sachs, Lynne, film director, author, participant.; Cinema Guild, film distributor.
2018

Your day is my night = 你的白天是我的黑夜 / Argot Pictures ; a film by Lynne Sachs ; produced by Lynne Sachs and Sean Hanley ; directed by Lynne Sachs. ; Your day is my night = Ni de bai tian shi wo de hei ye
Argot Pictures (Firm), film production company.; Cinema Guild, publisher.; Sachs, Lynne, film director, film producer, screenwriter.; Robles, Rojo, screenwriter.; Hanley, Seán, film producer, editor of moving image work, director of photography.; Cao, Yi Chan, performer, interviewee (expression); Chan, Linda, performer, interviewee (expression); Che, Chung Qing, performer, interviewee (expression); Ho, Ellen, performer, interviewee (expression); Huang, Yun Xiu, performer, interviewee (expression); Lee, Sheut Hing, performer, interviewee (expression); Santa, Veraalba, performer, interviewee (expression); Tsui, Kam Yin, performer, interviewee (expression); Mass, Ethan, editor of moving image work.; Vitiello, Stephen, composer (expression)
2013

Con viento en el pelo = Wind in our hair
Sachs, Lynne.; Gallisá, Sofía.; Molina, Juana.; Peroni, Lena.; Peroni, Chiara.; Street-Sachs, Maya.; Street-Sachs, Noa.; Cortázar, Julio.
2011

The last happy day : with 4 short films
Sachs, Lynne. film director.; Mass, Ethan, director of photography.; Lenard, Hansgerd. interviewee (expression); Lenard, Andrietta. interviewee (expression); Gerendas, Israel John. actor; Moss, Donald. actor; Fagen, Lucas. actor; Reade, Isabel. actor; Street-Sachs, Maya. actor; Street-Sachs, Noa. actor
2011

10 short films. Vol. 3
Sachs, Lynne. ; Microcinema, Inc.
2008

Which way is east
Sachs, Lynne.; Sachs, Dana.
2007

States of unbelonging : a film
New Day Films.; Sachs, Lynne.; Zats, Nir.; Reichman, Ted.
2006

Films of Lynne Sachs
Charming Hostess (Musical group); Sachs, Lynne.; Z, Pamela, 1956-
2005

Sermons and sacred pictures
Sachs, Lynne.; Taylor, L. O., 1900-1977.; Center for Southern Folklore.; First Run/Icarus Films.
2004

Investigation of a flame : a documentary portrait of the Catonsville nine
Sachs, Lynne.
2003, 2001

A Century of 16mm / Indiana University Moving Image Archive

A Century of 16mm
Indiana University Moving Image Archive
July 25, 2023
Main page: https://centuryof16mm.com/?page_id=33
Commissioned films: https://centuryof16mm.com/?page_id=142
Schedule: https://centuryof16mm.com/?page_id=1483

Celebrating a Rich History

2023 will mark the 100-year anniversary of the introduction of non-flammable 16mm safety motion picture film, a format that played an essential role in the development of cinema over much of the twentieth century. Eastman Kodak developed and marketed 16mm as a smaller, less expensive, safer alternative to the 35mm nitrate film, then used for shooting all of Hollywood’s product and for the prints shown in America’s thousands of movie theaters. But 16mm turned out to be much more than a type of “small-gauge” celluloid stock with the familiar rectangular aspect ratio of 1.3 to 1. It was a novel technology for creating, circulating, and screening films, requiring special—but not necessarily costly or complicated–cameras and projectors. Designed from the outset not to compete with or replace 35mm, 16mm served, encouraged, and expanded non-theatrical cinema, a potentially enormous field (and market).

Particularly boosted by educators, advertisers, manufacturers, and the American military, 16mm had achieved an extraordinary level of success by the immediate post-World War II years. 16mm cameras opened vast new possibilities for amateur filmmakers, political activists, academic researchers, and experimental artists, for local entrepreneurs, government agencies, public relation firms, and major corporations. Most home movies were shot and shown using low-cost consumer-oriented 8mm equipment, but outside American dens and family rooms 16mm thrived as a flexible, durable, and efficient way of delivery for all manner of audio-visual content. As one measure of its ubiquity, consider that in 1959, approximately 596,000 16mm projectors were in use in the US; by 1966, the number had grown to 934,000, almost all of which were found outside the home.

Typically designed to be portable and easy-to-operate but also available in a range of specialized models intended for close analysis of motion picture images or for looped sales displays, 16mm projectors immeasurably expanded the reach of cinema to a host of occasions and sites, including–but well beyond–classrooms, churches, museums, libraries, military installations, YMCA’s, expositions, and department stores. 16mm proved to be an eminently useful, multi-purpose technology. This standardized format was regularly deployed as an instructional or merchandising tool for delivering public service messages and public relations campaigns, boosting church attendance, preaching good “social hygiene,” promoting political candidates, spreading propaganda, and encouraging community dialogue. 16mm was likewise widely adopted as a means of documenting social ills, capturing local news events, recording scientific experiments, circulating sexually explicit content, and enlivening the teaching of virtually every subject in primary schools and colleges alike.

From the 1910s, non-theatrical cinema in the United States had a particularly important, mutually beneficial, relationship with higher education, and, most notably, with major state universities in the Midwest. University personnel figured prominently in the institutionalization and the commercial viability of 16mm, creating films, serving as expert advisors on educational films, teaching courses in “new” audio-visual media practices, collaborating with government agencies, and participating in national and international organizations dedicated to non-theatrical cinema. Even before World War II, institutions like IU had not only begun to purchase 16mm films of all sorts for classroom use but also had established film libraries or audio-visual centers that circulated 16mm films to schools, churches, community groups, and various other sponsors of film screenings.

By the 1960s the ready availability of 16mm prints of classic American films, newer releases, cult movies, experimental works, and international art cinema meant that on-campus movie theaters—and community film societies—flourished, encouraging the sort of media literacy and cinephilia that had previously been restricted mainly to moviegoers in metropolitan areas. There is no question that the distribution of 16mm prints of Bergman and Kurosawa masterpieces along with Italian neo-realist and French New Wave films and silent film comedy played a key role in the development of film studies as an academic discipline. At the same time, the availability of 16mm equipment democratized the opportunities for student film production. 16mm not only made film a prime resource for institutions, agencies, and businesses, but it also expanded and extended the access to shooting and screening motion pictures by artists, activists, and community organizers well beyond the highly restricted racial, gender, and social class parameters of the commercial film industry.

Commissioned 16mm Films

As part of the Century of 16mm celebration a host of 16mm films will be commissioned by established artists and filmmakers, IU students, and alumni to create a variety of 3 minute films, about the runtime of a 100ft. roll of 16mm!

Working with a diverse group of prominent filmmakers and students the range of creative possibilities are vast. The commissioned films will be screened at the IU Cinema and will become part of a screening series that can travel to other theaters and institutions to help celebrate the innovative history of the 16mm format.

Screening of films by:
Peggy Ahwesh
Ina Archer
Charles Cadkin
Andrea Callard
Crystal Campbell
Anne Chamberlain
Emily Chao
Nazil Dinçel
Christopher Harris
John Klacsmann
Bernd Lützeler
Lindsay McIntyre
Jeannette Muñoz
Tomonari Nishikawa
Lynne Sachs
Mark Street

Schedule & Registration

Schedule Overview
Wednesday, September 13th
Daytime: Tours of archives and film vaults
5:00pm-7:00pm: Opening reception
7:00pm: Special film screening at IU Cinema

Thursday, September 14th
9:00am-5:30pm: Conference, panels, and screenings
7:00pm: Special film screening

Friday, September 15th
9:00am-5:00pm: Conference, panels, and screenings
7:00pm: Special film screening

Saturday, September 16th
9:00am-5:00pm: Conference, panels, and screenings
7:00pm: Closing reception

Session Registrations: Some aspects of the conference require additional individual event registrations in order to participate. Make sure to examine the schedule in detail and follow the instructions in order to attend all desired aspects.

Cost: $200

See below for a full conference schedule, descriptions of screenings, programs, and presentations, and presenter information!

FILM ABOUT A FATHER WHO & Short Films by Mark Street and Lynne Sachs / Ybor Microcinema

FILM ABOUT A FATHER WHO & Short Films by Mark Street and Lynne Sachs
Ybor Microcinema
July 22 & 23, 2023

Ybor Microcinema:
https://ybormicrocinema.org/

Film About A Father Who (2021) by Lynne Sachs

Sachs has created an indelible work that, like those within it, perseveres by way of honesty and love.

Date and time
Saturday, July 22 · 7 – 10pm EDT

Location
Screen Door Cinema Kress Annex 1624 East 7th Avenue Tampa, FL 33605

About this event
In Horace’s Odes, one among many texts where this sentiment endures, the Roman poet wrote, “For the sins of your fathers you, though guiltless, must suffer.” It’s hardly an esoteric dictum, but nevertheless it’s duly reflected in experimental filmmaker Lynne Sachs’ wholehearted documentary portrait of her father, Ira Sachs Sr. Something of a longstanding work-in-progress, the film draws from decades of footage shot by Sachs, her father, and her filmmaker brother, Ira Sachs Jr. (whose own 2005 film FORTY SHADES OF BLUE was inspired by the same so-called “Hugh Hefner of Park City”), plus others, documenting not just the sybaritic “hippie-businessman” patriarch, but also his numerous descendants. Sachs’ knotty chronicle reveals that her father has a total of nine children with several different women, two of whom the other siblings found out about only a few years back. (The film opens with Sachs brushing her elderly father’s hair, working out a particularly unpleasant snarl. “Sorry, dad,” she says. “There’s just one part that’s very tangly.” The irony is faint and benevolent, but present even so.) Sachs considers the enveloping imbroglio from her own perspective, but also takes into account the viewpoints of her eight siblings, her father’s ex-wives (including her own mother) and girlfriends, plus Ira’s mother, a gracefully cantankerous old woman in a certain amount of denial over her son’s wanton predilections and the role she played in his dysfunction. FILM ABOUT A FATHER WHO—the title an homage to Yvonne Rainer’s FILM ABOUT A WOMAN WHO…—is comprised of footage recorded between 1965 and 2019 and shot on 8mm, 16mm, VHS, Hi8, Mini DV, and digital; the fusion of all this material (by editor Rebecca Shapass) ranks among the most astounding use of personal archives that I’ve ever seen. It all exists in a state between documentary and home-movie footage, a paradigm that aptly reflects the conflict between reality and perspective, and the uncomfortable middle-ground that bisects the two. Sachs’ work often features her family, but this feels like an apotheosis of her autobiographical predisposition, likewise a question—why do the sins of the father linger?—and an answer. Among the most affecting scenes are round table discussions between the siblings where they consider revelations about their father and the implications of his actions. These scenes are heartrending not for their sadness, but rather for their naked honesty; it’s not just a film about a father who, but also a film about a love that defines a family. Sachs’ filmography is centered on infinite poetic quandaries (in voice over, she explores some of them here, such as when she muses on her father’s profession as a developer in Utah: “What happens when you own a horizon?”) and this feels like a logical conclusion to a lifetime of such profound impasses, though I’ve no doubt she’ll continue to probe life and its enigmas in a similarly masterful fashion. For all the suffering on display, Sachs has created an indelible work that, like those within it, perseveres by way of honesty and love.

_________

Screen Door Microcinema celebrates the works of Lynne Sachs, along with her feature documentary, ‘A Film About a Father Who’

Followed by a special Q/A with Aditya Sudhakaran on Saturday, July 22, 2022

In a career spanning over 30 years of filmmaking, Lynne Sachs shares her collections of compassion with an introspective lens that often centers and returns to the filmmaker herself. As in many of her films, Sachs’ personal life and struggle are deeply connected with the themes she presents. In her latest work, ‘A Film about a Father Who,’ Sachs presents an intense study of her charismatic father and unravels the strands of his lasting impacts on their family.

There is something rhythmic and inexplicably resonant when a filmmaker can point the camera at a subject and examine familial connections and tensions just with someone’s face, body and words. For Sachs, her filmmaking affirms that it’s not just the characters who should be on an adventure, but the filmmaker as well. With her latest film, Sachs skillfully persists  in the sensation of being fragile while voicing that to be an artist is to be possibly caught in the conundrum of failure.

Lynne Sachs is no stranger to the Tampa Bay area and joins us for a special Q/A at Screen Door Microcinema. Her moving image work ranges from short experimental films to hybrid live performances to essay films, which have screened, won awards or been included in retrospectives at New York Film Festival, Museum of Modern Art, Sundance, Oberhausen, Viennale, Sheffield Doc/Fest.

In the spirit of great documentary filmmakers, Screendoor presents a screening of Werner Herzog’s Fitzcarraldo followed by Tampa’s own Les Blank and his study of the making of Werner Herzog’s feature in Burden of Dreams the following week.

By Aditya Sudhakaran

‘A Film about a Father Who’ plays at Screen Door Microcinema on Saturday, July 22 followed by a Q/A with Lynne Sachs. A collection of short films by Sachs’ and her spouse, filmmaker Mark Street plays Sunday, July 23.

Short Films by Lynne Sachs and Mark Street

Various Short Films introduced by the directors themselves.

Date and time
Sunday, July 23 · 3 – 6pm EDT

Location
Screen Door Cinema Kress Annex 1624 East 7th Avenue Tampa, FL 33605

The XY Chromosome Project follows the career paths of Lynne Sachs and Mark Street. To follow this path is to trace a blueprint on devotion. Working both together and individually for the past 30 years, each artist has carved out their own niche without the obvious influences of being married. They part ways to be left alone to their own creations. It is the respect for the other’s work that bonds them. Left alone, their work could not be more different. Lynne’s work is cerebral and emotional. As seen in her full length films “Your Day is My Night” and “Tip of My Tongue”. She collages the art of storytelling by layering stunning visuals while swimming between reality and performance.

Mark is the experimental film hero, a pioneer in film manipulation, an encyclopedia in the world of experimental films. His film work is solely connected to what is possible in the organics of film manipulation. They celebrate experimentation in its truest form. Yet both come down on the same line when it matters most. The line of captivation which as any artist knows is the hardest to achieve.

__________

Screen Door Cinema and Flexfest are hosting Lynne Sachs & Mark Street live and in-person at Screen Door this Sunday at 3pm! 16mm & digital program

Sunday 7/23/23
Doors 3pm
Showtime 3:30

THE X/Y CHROMOSOME PROJECT:
short films by Lynne Sachs and Mark Street

**an in-person conversation with Lynne Sachs & Mark Street follow the screening**

In 2010, Mark Street and Lynne Sachs created The XY Chromosome Project, an umbrella for their collaborative ventures. Together they have produced an array of collaborative installations, performances, and two-dimensional art works. To follow this path is to trace a blueprint on devotion. Working both together and individually for the past 30 years, each artist has carved out their own niche without the obvious influences of being married. They part ways to be left alone to their own creations. It is the respect for the other’s work that bonds them. Left alone, their work could not be more different. Lynne’s work is cerebral and emotional. She collages the art of storytelling by layering stunning visuals while swimming between reality and performance. Mark is the experimental film hero, a pioneer in film manipulation, an encyclopedia in the world of experimental films. His film work is solely connected to what is possible in the organics of film manipulation. They celebrate experimentation in its truest form. Yet both come down on the same line when it matters most. The line of captivation which as any artist knows is the hardest to achieve.” (Stephen Lipuma, Court Tree Gallery)

BLUE MOVIE, Mark Street, 1994, 5min, 16mm
DRAWN AND QUARTERED, Lynne Sachs, 1987, 4 min., silent, 16mm
ECHO ANTHEM, Mark Street, 1991, 8min, sound, 16mm
WINTERWEHEAT, Mark Street, 1989, 8min. 16mm
EPISTOLARY: LETTER TO JEAN VIGO, Lynne Sachs, 2021, 4 min., digital
GEORGIC FOR A FORGOTTEN PLANET, Lynne Sachs, 2007, 8 min., digital
THE GRAIN OF BELFAST, Mark Street, 2022, 6min Super 8 to digital
DRIFT AND BOUGH, Lynne Sachs, 2015, 6 min., 16mm to digital
CLEAR ICE FERN, Mark Street, 2023, 12min, Super 8 to digital
FLUTTER, Mark Street, 2022, 14min, digital

The Land Will Wake Up and Devour Us / UnionDocs

The Land Will Wake Up and Devour Us
UnionDocs
July 20, 2023
https://uniondocs.org/event/the-land-will-wake-up-and-devour-us-2023-07-20/

Jul 20, 2023 at 7:30 pm

The Land Will Wake Up and Devour Us

With Yehui Zhao & Lynne Sachs

We’re delighted to bring you an evening of cinema and live performance with multimedia artist Yehui Zhao!

As an immigrant born in China and living in the US, Yehui thinks of film as her third language. Her work takes root in the intimate family histories of her mother and her grandmother. Their feminist legacies create openings for her to contemplate their experiences within broader political contexts like migration, decolonization, feminist movements and generational love and heritage.

Her films present a collagic view of time as they travel easily between her own memories, historical events and dreamtime. To express these complex temporal dimensions, her work seamlessly employs performance, stop motion animation, puppetry, cyanotype prints, paintings, drawings and poetry. Yehui creates an inimitable visual world, one that lulls and startles all at once.

We can’t wait to share her rich and expressive oeuvre as we screen three short films as well as a never before seen excerpt from her in progress feature film Xi Jiao Gou. We’re also thrilled to include a live reading of Ride Home, an illustrated essay by Yehui, published by the Brooklyn Rail earlier this year!

We are so lucky to have longtime collaborator of UnionDocs, the beloved and brilliant Lynne Sachs in conversation with Zhao after the event. Both artists’ fiercely feminist practices strive to translate how personal experiences often have sweeping resonances within broader historical contexts. They demonstrate a singular commitment to exploring the body as well as stretching the film form into a hybrid ground where anything may happen. This is a conversation you don’t want to miss!

FILM PROGRAM

Hei’er
20 min. | 2022 | HD single-channel video
The filmmaker and a mannequin explore the world through its solar terms. The mannequin embodies the soul of Lin Heier, the leader of the Red Lanterns who resisted and fought colonial invasions during late Qing Dynasty, China. Through poetry and performance, the filmmaker resurrects and unravels the many layers of Hei’er’s spirit. They relive a life of love and revolution.

To You
9 min. | 2021 | HD single-channel video
A letter written by a daughter to her mom about their diasporic womanhood and daughtership. Using drawings, cyanotype, old photographs, live action, and stop-motion animation, the film provides a lens through which home can feel both close and foreign.

To Grandma
7 min. | 2021 | HD single-channel video
A shadow puppetry animation that centers around the filmmaker’s grandmother, Zhang Xiuying, who grew up in a village on the barren land of Loess Plateau, in Shanxi, China. This village has since disappeared.

Xi Jiao Gou
A work in progress | 20 min.
The filmmaker revisits her great-grandfather’s now empty village Xi Jiao Gou in Loess Plateau, China. Through the landscape she finds her family’s sweat and blood, love and resilience that spans four generations.

Ride Home
A live reading of an essay published in the Brooklyn Rail
The author travels in the belly of a mother sperm whale on her way to a seven-day quarantine at a hotel in Fujian Province en route to visiting her family in China.

BIO

Yehui Zhao is a multi-media artist, whose work explores land and its people, folk memory and history, womanhood and love. Yehui’s films have been shown at DOC NYC, Prismatic Ground, Asian American International Film Festival, Festival of Animated Objects, Timeless Awards, Microscope Gallery and other programs. Yehui is the Art Director of 128 Lit, an international art and literary magazine. She is currently working on her first feature documentary Xi Jiao Gou. 

“Where do framed bodies go?” by Lynne Sachs / Analog Cookbook Issue #7 – Analog Erotica

“Where do framed bodies go?”
by Lynne Sachs
Analog Cookbook Issue #7 – Analog Erotica
June 28, 2023
https://analogcookbook.com/

Analog Cookbook Issue #7 – Analog Erotica
University of North Carolina Press
Edited by Kate E. Hinshaw
June 28, 2023
https://uncpress.org/book/9781469677767/analog-cookbook-issue-7/

Distributed for Analog Cookbook LLC

The 7th issue of Analog Cookbook, titled Analog Erotica, looks at sexuality, erotic imagery, and pornography’s contributions to radical artistic practices in relation to analog media.

Human sexuality is a ubiquitous part of our film culture; magazines, television, books, & the internet. Often used to oppress and objectify the complicated lived experiences of both subjects and makers, a less reductive platform might explore the ways in which sexuality has been a useful tool for liberation, expression, agency, and personal exploration. Analog artists and filmmakers have used celluloid to explore sexuality, the body, and queer identity outside of traditional filmmaking modes and societal norms.

From found pornography films that contain footage from the golden porn years of 1970s New York, to hand-crafted cinema that explores performance of sexuality and gender–artists have used the film medium to expand on, reclaim, and reframe sexuality, pornography, and erotic imagery to look at culture and our personhood. This issue will look at these analog makers, past and present, continuing the conversation, while bringing new ideas to the table.

About Analog Cookbook

Analog Cookbook is a film publication dedicated to promoting accessibility in celluloid filmmaking. Emerging from DIY roots, we are committed to sharing darkroom recipes, featuring artists working with analog film, photography, and video, and building a platform for celluloid enthusiasts all over the world.

Pride at the Film-Makers’ Cooperative: Groundbreaking Queer Films and Filmmakers / The Film-makers’ Cooperative

Pride at the Film-Makers’ Cooperative: Groundbreaking Queer Films and Filmmakers
The Film-makers’ Cooperative
June 29, 2023
https://film-makerscoop.com/programs/pride-at-the-film-makers-cooperative-groundbreaking-queer-fi

PROGRAMS
Pride at the Film-Makers’ Cooperative: Groundbreaking Queer Films and Filmmakers
A two-night program of paradigm-shifting queer shorts and features in honor of Pride month
9 films

In honor of Pride month, join us at the FMC Screening Room (475 Park Avenue South, 6th Floor) on Thursday, June 29th, and Friday, June 30th, 2023, at 7pm, for a two-night program of groundbreaking queer, experimental films by legendary filmmakers in our archive, curated by Matt McKinzie.

Description

IN HONOR OF PRIDE MONTH, JOIN US AT THE FMC SCREENING ROOM (475 PARK AVENUE SOUTH, 6TH FLOOR) ON THURSDAY, JUNE 29TH, AND FRIDAY, JUNE 30TH, 2023, AT 7PM, FOR A TWO-NIGHT PROGRAM OF GROUNDBREAKING QUEER, EXPERIMENTAL FILMS BY LEGENDARY FILMMAKERS IN OUR ARCHIVE, CURATED BY MATT MCKINZIE.

A haven for “outsider” artists since its inception, the Film-Makers’ Cooperative houses some of the most vital and groundbreaking queer films in history. In honor of Pride month, this two-night program showcases a handful of these paradigm-shifting works.

Internal Combustion (1995) by prolific and award-winning multimedia artist and 2017 Guggenheim fellow Cynthia Madansky, in collaboration with filmmaker, scholar, and practitioner Alisa Lebow, is a pioneering work that breaks the many silences surrounding lesbians and AIDS, and reflects on the often unspoken tensions within this epidemic of survival, power, mourning, and loss. Nikolai Ursin’s Behind Every Good Man… (1966) offers one of the first filmic portraits — an uncommonly sensitive and non- sensationalistic one, at that — of the lived experiences of a Black trans woman in 1960s Los Angeles; just last year, the film was selected for preservation in the National Film Registry by the Library of Congress for “cultural, historic, and aesthetic significance.” Elegy in the Streets (1989) sees Jim Hubbard — the founder and president of MIX: the New York Lesbian and Gay Experimental Film Festival — exploring the AIDS crisis from both a personal and a political perspective, with a work that intertwines two motifs: memories of Roger Jacoby, a filmmaker who died of AIDS, and the development of a mass response to AIDS. Meanwhile, Flaming Creatures (1962) — an incendiary, pre- Stonewall depiction of drag queens, trans folks, intersex folks, and queer sexuality — remains one of the most controversial films ever made, having been confiscated by the police shortly following its premiere and soon thereafter landing filmmaker Jack Smith in New York Supreme Court on obscenity charges.

Atalanta: 32 Years Later (2006), dedicated to trailblazing lesbian filmmaker Barbara Hammer, finds the legendary Lynne Sachs reworking the age-old fairytale of a princess looking for her “perfect prince” into “an homage to girl/girl romance” via reappropriated footage and audio from Marlo Thomas’ 1974 feminist version of the children’s parable for TV’s Free to Be You and Me. Peter Cramer’s Black & White Study depicts Cramer’s interracial relationship with fellow filmmaker and activist Jack Waters in a groundbreaking “tableau vivant of opposites and attractions” that premiered at Jim Hubbard’s MIX in 1990. Amnesia (2000) “uses found footage, 19th century photographs of affectionate men, digitized video imagery, and gay ephemera to imagine a past and create a future,” and was directed by Jerry Tartaglia, who passed away just last year and was one of the major champions and preservationists of the work of Jack Smith (not to mention a highly influential filmmaker in his own right). José Rodriguez-Soltero’s Lupe (1966) — an “underground classic of the stature of Flaming Creatures, Scorpio Rising, Hold Me While I’m Naked, or The Chelsea Girls” — offers a “color-saturated, dime store baroque” account of the life of Lupe Vélez (played by Mario Montez in drag) and has influenced everyone from Pedro Almodóvar to Vivienne Dick to Bruce LaBruce. Last but not least, Jean Genet’s lyrical Un Chant D’Amour (1950) predates the founding of the Film-Makers’ Cooperative, and depicts the fantasy of a gay male prisoner and that of his captor. The iconic French writer’s only film, it would shape the future work of cinematic titans like Kenneth Anger and Robert Bresson.

*** PROGRAM:

THURSDAY, JUNE 29th (Total Run Time = 88 minutes):

Internal Combustion (1995), Cynthia Madansky, 7 minutes, digital, sound, color

Behind Every Good Man… (1966), Nikolai Ursin, 8 minutes, 16mm, sound, B&W

Elegy in the Streets (1989), Jim Hubbard, 30 minutes, 16mm, silent, color

Flaming Creatures (1962), Jack Smith, 43 minutes, 16mm, sound, B&W

FRIDAY, JUNE 30th (Total Run Time = 92.5 minutes):

Atalanta: 32 Years Later (2006), Lynne Sachs, 5 minutes, digital, sound, color

Black & White Study (1990), Peter Cramer, 4 minutes 29 seconds, digital transfer from 16mm print, silent, B&W

Amnesia (2000), Jerry Tartaglia, 7 minutes, 16mm, sound, color

Lupe (1966), José Rodriguez-Soltero, 50 minutes, 16mm, sound, color

Un Chant D’Amour (1950), Jean Genet, 26 minutes, 16mm, silent, B&W

‘Which Way Is East: Notebooks from Vietnam’ and ‘Celaje (Cloudscape)’ at MoMA / Museum of Modern Art

Which Way Is East: Notebooks from Vietnam and Celaje (Cloudscape) at MoMA
Museum of Modern Art
https://www.moma.org/calendar/events/8846

Which Way Is East: Notebooks from Vietnam. 1994.
Directed by Lynne Sachs in collaboration with Dana Sachs

Celaje (Cloudscape). 2020.
Directed by Sofía Gallisá Muriente

Next on Wed, Aug 16, 8:00 p.m.
MoMA

Here and There: Journeying through Film
Organized by Sophie Cavoulacos, Associate Curator, Department of Film

What is summer other than a time of becoming? This wide-ranging selection of contemporary films from around the world, all drawn from MoMA’s collection, chronicles states of transformation and transit. Whether exploring the relationship between a person and their surroundings, revealing how bonds are tested or can deepen far from home, or seizing on the poetic potential of coming into one’s own, these works expand on storylines quintessential to the summer film. Encompassing fiction, documentary, and experimental forms, this series brings critical engagement and imagination to journeys both emotional and physical, offering new favorites to delight and inspire before the first cool nights settle in.

Wed, Aug 16, 2023 – Opening Night
8:00 p.m.
MoMA, Floor 1
The Abby Aldrich Rockefeller
Sculpture Garden

Lynne and Dana Sachs present to introduce their film.

Tue, Aug 22, 2023
5:00 p.m.
Titus 2 Theater

In this intergenerational double bill, physical and metaphorical journeys intertwine, revealing intimate excavations of history and place. Which Way Is East: Notebooks from Vietnam chronicles a voyage sisters Lynne and Dana Sachs—one a filmmaker, the other a writer—made from Ho Chi Minh City to Hanoi in 1994. Reveling in the kaleidoscopic sounds and images of Vietnamese daily life, their road trip morphs into a reckoning with untold histories as the pair openly juxtapose travelogue with their own childhood memories of America’s first televised war.

A different family bond frames Celaje, in which Sofía Gallisá Muriente combines old, new, and found Super8 and 16mm footage to tell her grandmother’s life story and the history of Puerto Rico as twinned narratives. Hand-developing film reels to expose them to the salt, heat, humidity, and wind that whipped around the family home in Levittown, Toa Baja, Gallisá Muriente poignantly gestures to the impermanence of archives both personal and collective on the island. Frequently connecting climate and memory, she has written about the film, “Memories move around like clouds, images rot and age, and the traces of the process are visible on the film and in the country, like ghosts.”

Which Way Is East: Notebooks from Vietnam. 1994. USA. Directed by Lynne Sachs in collaboration with Dana Sachs. In English, Vietnamese; English subtitles. 33 min.

Celaje (Cloudscape). 2020. Puerto Rico. Directed by Sofía Gallisá Muriente. In Spanish; English subtitles. 41 min.

This film accompanies Here and There: Journeying through Film

This film is part of Film in the Sculpture Garden.

Lynne & Dana Sachs Screening Introduction at MoMA

New Films / Canadian Filmmakers Distribution Centre

New Films
CFMDC
June 16, 2023
https://mailchi.mp/f4f27f6ad1ca/cfmdc-march-news?fbclid=IwAR34CiF6W7ZKwPeEjXzVdTi2JALdTo1icatRmMxbnXKqHgiwSjRKoadWWSQ

NEW FILMS

Check out the new additions to our collection this month! You can view the trailers here. Password: cfmdcmarch23

With new films by Christina Battle, Louise Bourque, Celina de Leon, Mivan Makia, Wrik Mead, Calla Moya, Jennifer Reeves, Robin Riad, Lynne Sachs, and Barbara Sternberg. Enjoy the previews!

ARCHIVES OF RESISTANCE

NGOYMALAYIÑ

By Catrileo-Carrión Community
Online Now

Ngoymalayiñ is a word in the Mapuche language of Mapuzugun which translates to “We do not forget.” This phrase responds to the perseverance of Indigenous communities in seeking justice despite the continued violence and denial of their rights by the Chilean government. This exhibition includes a series of nine short videos combining archives in mainstream media, video performances enacted in historically relevant sites, and audio bytes by members of the community.

Online now at archivesofresistance.com.

UPCOMING SCREENINGS

HIGHLIGHTS FOR MARCH:

Films by Michael Snow in Montreal at Cinémathèque Québécoise (March 22) and FIFA Éxperimental (March 25).

Toronto Queer Film Festival & Symposium: Online March 23 – April 23. This year’s theme Queer Wonderlands invokes realms full of transitions, joy, and love, inspired by imagination with the anticipation of what is to come.

Whorehouse Cinema: sex worker film & art festival in Amsterdam, March 31 – April 2. Including CFMDC films Positions by Justin Ducharme, Strip by Kateřina Turečková, Stripped by Jevon Boreland, Every Day Burns by Aidan Jung.

Follow CFMDC on Instagram, Facebook, and Twitter for news about additional screenings and events.