Explore the work and process of Sachs’ intermedia practice at the DMCA. This event is sponsored by the Digital Media Center for the Arts, Film and Media Studies, and Films at the Whitney.
For the first three years of my twin niece’s and nephew’s lives, I used my 16mm Bolex camera to film them growing up in New York City with their two dads (my brother Ira Sachs and his husband Boris Torres) and their mom (Kirsten Johnson). The film ends with a Gay Pride Day embrace.
I spent a day with my mother and stepfather shooting Super 8mm film in my childhood home in Memphis, Tennessee.
lntermedial Palimpsests in Lynne Sachs’s experimental documentary films
Ethnography is describing the Other. In the 1920s, writer and anthropologist Zora Neale Hurston reacted to this established view with her own artistic and scholarly works on everyday cultures in her own home in America’s black south. Hurston political and poetic studies of “folk cultures” that were mostly disparaged at the time are an expression of unmitigated appreciation and a way of taking up a position within the debate on “high” and “low” art in Harlem between the wars.
My first viewing of Bruce Baillie’s Mass for the Dakota Sioux (1964) sent a shiver through my body and mind that ricochets to this very day.
I’m a graduate student in the Nonfiction Writing Program at the University of Iowa. I’m enrolled in an essay film class this semester, and this week, I’m putting together a presentation on you and your film, States of Unbelonging.
Video: Lynne Sachs’ Seven Forms of Filmmaking Seven Forms of Filmmaking: Lynne Sachs from Fandor Keyframe on Vimeo. By Joel Bocko March 19, 2016 All of Lynne Sachs‘ films blur the lines between avant-garde, documentary and narrative, but few employ as many different styles and mediums as States of Unbelonging. This essay film, as much […]
NYU’s Cinema Studies Department and Undergraduate Film & TV Department present the 7th Annual Experimental Lecture.
Gunvor Nelson was an extremely influential teacher of mine. Between 1985 and 1995 I lived in San Francisco and was deeply inspired and supported by other artists and curators in the Bay Area experimental film community including Trinh T. Minh-ha, Karen Holmes, Steve Anker, Kathy Geritz, Jeanne Finley, Craig Baldwin, and George Kuchar. It was in San Francisco that I met Mark Street my soulmate and collaborator. In 2015, I traveled to Sweden with Mark to visit and shoot film with Guvnor Nelson in her home studio, two decades after she had left the Bay Area.
