Re: [Frameworks] Conner/Marker and women of color suggestions

[Seth Pimlott]

This a collaboration between me and Ladan Hussein from the group Cold Specks. 
It uses optical printing, in camera-collage and masking techniques to re-run 
footage shot on mobile phones of the protests in Ferguson USA through 16mm, 
ghosted onto a portrait of Ladan as she sings. It’s called ‘Season of Doubt’.

It’s on show at MIMA in the UK on 16mm at the moment and was shown on 16mm by 
Cauleen Smith at Crossroads festival earlier the year, and selected for New 
Contemporaries as well. It’s bit of a curve ball but might be of interest:

http://sethpimlott.com/cold-specks---season-of-doubt.html 
<http://sethpimlott.com/cold-specks---season-of-doubt.html>



> On 13 Sep 2018, at 21:02, David Sherman  wrote:
> 
> THANK YOU for all the folks that made suggestions on Conner/Marker 
> alternatives. I greatly appreciate you taking the effort and am excited about 
> what new works I can include in my classes. 
> ALSO, on a side note EXPLODED VIEW MICROCINEMA in Tucson is still here, but 
> we are taking a programming break to focus on other projects. That being 
> said, if experimental filmmakers are going to be passing through the area, 
> please connect with me about doing a show while you are here.
> Best, David
> 
> On Thu, Aug 30, 2018 at 11:29 AM, Chrissie Iles, Curatorial 
> mailto:chrissie_i...@whitney.org>> wrote:
> Arthur Jafa said recently “If you point a camera at a Black person, on a 
> psychoanalytical level it functions as a White gaze. It therefore triggers a 
> whole set of survival modalities that Black Americans have. It doesn’t matter 
> if a Black person is behind the camera or not, because the camera itself 
> functions as an instrument of the White gaze. In other words, it’s recording 
> evidence of people speaking; hence there are certain things you can say, 
> certain things you can’t say.” There are profound implications for black 
> filmmakers’ use of found footage and collage in A.J.’s observation. Here are 
> some suggestions. 1,3,5, 6 and 9 are in the Whitney’s collection; the others 
> are in the process of being acquired.
> 
>  
> 
> Gunvor Nelson and Dorothy Wiley’s film, though two white women, is also 
> important to mention, and is an important counterpoint to the sexist imagery 
> of ‘A Movie’ and other similar collage films of the time.
> 
>  
> 
> 1.   Ja’Tovia Gary’s ‘An Ecstatic Experience’ (on show at the Whitney for 
> the past nine months in ‘An Incomplete History of Protest’)
> 
>  
> 
> 2.   Crystal Z. Campbell, ‘Go-Rilla Means War’ (2017) (collaged from a 
> discarded 35mm film found in a former black civil rights movie theater in 
> Brooklyn)
> 
>  
> 
> 3.   Akusoa Adoma Owusu, ‘Split Ends (I Feel Wonderful)’ (2012) made from 
> 1970s found footage of black women’s hair salons in New York, collaged images 
> and soundtrack
> 
>  
> 
> 4.   Yulan Grant, ‘Dis/Place’  
> 
>  
> 
> 5.   Diamond Stingily, ‘How Did he Die?’ (2016)
> 
>  
> 
> 6.   Phillip Mallory Jones, ‘No Crystal Stair’ (1976) – viewable on Vimeo
> 
>  
> 
> 7.   Tony Cokes, ‘Black Celebration’, 1988
> 
>  
> 
> 8.   Theaster Gates, Do you hear me calling? (Mama Mamama or What Is 
> Black Power?) 2018 – an installation using historical collaged footage
> 
>  
> 
> 9.   Raphael Ortiz, ‘ “Cowboy” and “Indian” Film’ 1957-1958 – very early 
> example of an indigenous voice critiquing the racist Hollywood portrayal of 
> native Americans using collaged film clips.
> 
>  
> 
> 10.   Gunvor Nelson and Dorothy Wiley’s ‘Schmeergunz’, 1966
> 
>  
> 
> 11.   John Akomfrah (several of his films are currently being shown in his 
> New Museum surveyin New York)
> 
>  
> 
>  
> 
>  
> 
>  
> 
> From: FrameWorks  <mailto:frameworks-boun...@jonasmekasfilms.com>> On Behalf Of Warren Cockerham
> Sent: Thursday, August 30, 2018 1:50 PM
> To: Experimental Film Discussion List  <mailto:frameworks@jonasmekasfilms.com>>
> Subject: Re: [Frameworks] Conner/Marker and women of color suggestions
> 
>  
> 
> Also Cauleen Smith (along with lots of other chicago-based folks) was 
> commissioned a few years back to make a short piece from their collection.. 
> this is it:
> 
>  
> 
> Songs for Earh and Folk <https://vimeo.com/71024774>
>  
> 
> she has at least one other found footage short... I don't think it's readily 
> available .. called T Minus Two
> 
>  
> 
>  
> 
> also Buki Bodunrin's
> 
>  
> 
> even when live is sad people still have a good time 
> <http://www.adebukolabodunrin.com/even-when-life-is-sad/>uh... made in 
> Roger Beebe's 16mm class circa 2005...
> 
>  
> 
&g

Re: [Frameworks] Conner/Marker and women of color suggestions

[David Sherman]

THANK YOU for all the folks that made suggestions on Conner/Marker
alternatives. I greatly appreciate you taking the effort and am excited
about what new works I can include in my classes.
ALSO, on a side note EXPLODED VIEW MICROCINEMA in Tucson is still here, but
we are taking a programming break to focus on other projects. That being
said, if experimental filmmakers are going to be passing through the area,
please connect with me about doing a show while you are here.
Best, David

On Thu, Aug 30, 2018 at 11:29 AM, Chrissie Iles, Curatorial <
chrissie_i...@whitney.org> wrote:

> Arthur Jafa said recently “If you point a camera at a Black person, on a
> psychoanalytical level it functions as a White gaze. It therefore triggers
> a whole set of survival modalities that Black Americans have. It doesn’t
> matter if a Black person is behind the camera or not, because the camera
> itself functions as an instrument of the White gaze. In other words, it’s
> recording evidence of people speaking; hence there are certain things you
> can say, certain things you can’t say.” There are profound implications for
> black filmmakers’ use of found footage and collage in A.J.’s observation.
> Here are some suggestions. 1,3,5, 6 and 9 are in the Whitney’s collection;
> the others are in the process of being acquired.
>
>
>
> Gunvor Nelson and Dorothy Wiley’s film, though two white women, is also
> important to mention, and is an important counterpoint to the sexist
> imagery of ‘A Movie’ and other similar collage films of the time.
>
>
>
> 1.   Ja’Tovia Gary’s ‘An Ecstatic Experience’ (on show at the Whitney
> for the past nine months in ‘An Incomplete History of Protest’)
>
>
>
> 2.   Crystal Z. Campbell, ‘Go-Rilla Means War’ (2017) (collaged from
> a discarded 35mm film found in a former black civil rights movie theater in
> Brooklyn)
>
>
>
> 3.   Akusoa Adoma Owusu, ‘Split Ends (I Feel Wonderful)’ (2012) made
> from 1970s found footage of black women’s hair salons in New York, collaged
> images and soundtrack
>
>
>
> 4.   Yulan Grant, ‘Dis/Place’
>
>
>
> 5.   Diamond Stingily, ‘How Did he Die?’ (2016)
>
>
>
> 6.   Phillip Mallory Jones, ‘No Crystal Stair’ (1976) – viewable on
> Vimeo
>
>
>
> 7.   Tony Cokes, ‘Black Celebration’, 1988
>
>
>
> 8.   Theaster Gates, Do you hear me calling? (Mama Mamama or What Is
> Black Power?) 2018 – an installation using historical collaged footage
>
>
>
> 9.   Raphael Ortiz, ‘ “Cowboy” and “Indian” Film’ 1957-1958 – very
> early example of an indigenous voice critiquing the racist Hollywood
> portrayal of native Americans using collaged film clips.
>
>
>
> 10.   Gunvor Nelson and Dorothy Wiley’s ‘Schmeergunz’, 1966
>
>
>
> 11.   John Akomfrah (several of his films are currently being shown in
> his New Museum surveyin New York)
>
>
>
>
>
>
>
>
>
> *From:* FrameWorks  *On Behalf Of
> *Warren Cockerham
> *Sent:* Thursday, August 30, 2018 1:50 PM
> *To:* Experimental Film Discussion List 
> *Subject:* Re: [Frameworks] Conner/Marker and women of color suggestions
>
>
>
> Also Cauleen Smith (along with lots of other chicago-based folks) was
> commissioned a few years back to make a short piece from their collection..
> this is it:
>
>
>
> Songs for Earh and Folk <https://vimeo.com/71024774>
>
>
>
> she has at least one other found footage short... I don't think it's
> readily available .. called T Minus Two
>
>
>
>
>
> also Buki Bodunrin's
>
>
>
> even when live is sad people still have a good time
> <http://www.adebukolabodunrin.com/even-when-life-is-sad/>uh... made
> in Roger Beebe's 16mm class circa 2005...
>
>
>
>
>
>
>
>
>
> On Thu, Aug 30, 2018 at 1:30 PM, Beebe, Roger W.  wrote:
>
> I just saw An Ecstatic Experience by Ja’Tovia Gary for the second time
> last weekend at the Columbus Black International Film Festival & think it’s
> really doing interesting work with found footage:
>
>
>
> http://www.jatovia.com/an-ecstatic-experience-new/
>
>
>
> Not a black woman, but equally worthy of attention is Christopher Harris’s
> “Reckless Eyeballing”:
>
>
>
> https://www.viennale.at/en/films/reckless-eyeballing  [Chris, where’s
> your website???  Couldn’t find it with a quick google search…]
>
>
>
> As for composition & sequence, again not a black woman (just a woman), but
> I showed Katherin McInnis’s “Hat Trick” in my intro film production class
> to set up a flip book assignment this week, and I think the way she uses
> contact sheets of found images could be really interesting for both

Re: [Frameworks] Conner/Marker and women of color suggestions

[Dinorah de Jesús Rodríguez]

Many of my films feature found footage collage, including Sonámbula, Is It True 
Blondes Have More Fun?, elixir, You Are the Product of a Sex Tabú, XXX, Global 
Medea, and several others. I am a Latina filmmaker based between Havana and 
Miami. check out my website at the link below or drop me a line to learn more 
about my work. so glad to see ppl wanting to show more work by women of color. 
also hats off to the work of Akosua Adoma Owusu. 

enjoy today...

Dinorah de Jesús Rodríguez
Filmmaker, Artist, Writer   

solislandmediaworks.com <http://solislandmediaworks.com/>
artcinematic.blogspot.com <http://artcinematic.blogspot.com/>
youtube.com/user/solisland <http://www.youtube.com/user/solisland>



> On Aug 30, 2018, at 9:14 PM, Cinema Project  wrote:
> 
> Just thinking of found footage: 
> 
> Ina Archer's Hattie McDaniel: Or a Credit to the Motion Picture Industry from 
> 2002 . I put together a program last year for the Northwest Film Center that 
> focused on artists of color re-purposing / re-enacting footage, both male and 
> female (but fwiw, I am a white woman): 
> https://miacooperferm.com/filmprogramming/reconstructingidentity/ 
> <https://miacooperferm.com/filmprogramming/reconstructingidentity/> 
> 
> From Akosua Adoma Owusu, others have mentioned her,  Bus Nut and Intermittent 
> Delight 
> Jennifer Chan also works a lot of with internet-sourced footage. 
> 
> Sincerely,
> Mia Ferm
> 
> 
> On Thu, Aug 30, 2018 at 11:37 AM, jimmyschaus1  <mailto:jimmysch...@gmail.com>> wrote:
> if i recall correctly cauleen smith's Chronicles of a Lying Spirit (by Kelly 
> Gabron), shown as part of the traveling canyon program that played chicago 
> recently, utilized a lot of still photographic ephemera (photos, magazine 
> clippings, notes etc.) 
> 
> On Thu, Aug 30, 2018 at 1:29 PM Chrissie Iles, Curatorial 
> mailto:chrissie_i...@whitney.org>> wrote:
> Arthur Jafa said recently “If you point a camera at a Black person, on a 
> psychoanalytical level it functions as a White gaze. It therefore triggers a 
> whole set of survival modalities that Black Americans have. It doesn’t matter 
> if a Black person is behind the camera or not, because the camera itself 
> functions as an instrument of the White gaze. In other words, it’s recording 
> evidence of people speaking; hence there are certain things you can say, 
> certain things you can’t say.” There are profound implications for black 
> filmmakers’ use of found footage and collage in A.J.’s observation. Here are 
> some suggestions. 1,3,5, 6 and 9 are in the Whitney’s collection; the others 
> are in the process of being acquired.
> 
>  
> 
> Gunvor Nelson and Dorothy Wiley’s film, though two white women, is also 
> important to mention, and is an important counterpoint to the sexist imagery 
> of ‘A Movie’ and other similar collage films of the time.
> 
>  
> 
> 1.   Ja’Tovia Gary’s ‘An Ecstatic Experience’ (on show at the Whitney for 
> the past nine months in ‘An Incomplete History of Protest’)
> 
>  
> 
> 2.   Crystal Z. Campbell, ‘Go-Rilla Means War’ (2017) (collaged from a 
> discarded 35mm film found in a former black civil rights movie theater in 
> Brooklyn)
> 
>  
> 
> 3.   Akusoa Adoma Owusu, ‘Split Ends (I Feel Wonderful)’ (2012) made from 
> 1970s found footage of black women’s hair salons in New York, collaged images 
> and soundtrack
> 
>  
> 
> 4.   Yulan Grant, ‘Dis/Place’  
> 
>  
> 
> 5.   Diamond Stingily, ‘How Did he Die?’ (2016)
> 
>  
> 
> 6.   Phillip Mallory Jones, ‘No Crystal Stair’ (1976) – viewable on Vimeo
> 
>  
> 
> 7.   Tony Cokes, ‘Black Celebration’, 1988
> 
>  
> 
> 8.   Theaster Gates, Do you hear me calling? (Mama Mamama or What Is 
> Black Power?) 2018 – an installation using historical collaged footage
> 
>  
> 
> 9.   Raphael Ortiz, ‘ “Cowboy” and “Indian” Film’ 1957-1958 – very early 
> example of an indigenous voice critiquing the racist Hollywood portrayal of 
> native Americans using collaged film clips.
> 
>  
> 
> 10.   Gunvor Nelson and Dorothy Wiley’s ‘Schmeergunz’, 1966
> 
>  
> 
> 11.   John Akomfrah (several of his films are currently being shown in his 
> New Museum surveyin New York)
> 
>  
> 
>  
> 
>  
> 
>  
> 
> From: FrameWorks  <mailto:frameworks-boun...@jonasmekasfilms.com>> On Behalf Of Warren Cockerham
> Sent: Thursday, August 30, 2018 1:50 PM
> To: Experimental Film Discussion List  <mailto:frameworks@jonasmekasfilms.com>>
> Subject: Re: [Frameworks] Conner/Marker and women of color suggestions
> 
>  
> 
> Also Cauleen Smith (along with lots of other chicago-base

Re: [Frameworks] Conner/Marker and women of color suggestions

[Mark Mcelhatten]

On Aug 30, 2018, at 2:31 PM, Chrissie Iles, Curatorial 
mailto:chrissie_i...@whitney.org>> wrote:

Arthur Jafa said recently “If you point a camera at a Black person, on a 
psychoanalytical level it functions as a White gaze. It therefore triggers a 
whole set of survival modalities that Black Americans have. It doesn’t matter 
if a Black person is behind the camera or not, because the camera itself 
functions as an instrument of the White gaze. In other words, it’s recording 
evidence of people speaking; hence there are certain things you can say, 
certain things you can’t say.” There are profound implications for black 
filmmakers’ use of found footage and collage in A.J.’s observation. Here are 
some suggestions. 1,3,5, 6 and 9 are in the Whitney’s collection; the others 
are in the process of being acquired.

Gunvor Nelson and Dorothy Wiley’s film, though two white women, is also 
important to mention, and is an important counterpoint to the sexist imagery of 
‘A Movie’ and other similar collage films of the time.


1.   Ja’Tovia Gary’s ‘An Ecstatic Experience’ (on show at the Whitney for 
the past nine months in ‘An Incomplete History of Protest’)


2.   Crystal Z. Campbell, ‘Go-Rilla Means War’ (2017) (collaged from a 
discarded 35mm film found in a former black civil rights movie theater in 
Brooklyn)


3.   Akusoa Adoma Owusu, ‘Split Ends (I Feel Wonderful)’ (2012) made from 
1970s found footage of black women’s hair salons in New York, collaged images 
and soundtrack



4.   Yulan Grant, ‘Dis/Place’


5.   Diamond Stingily, ‘How Did he Die?’ (2016)


6.   Phillip Mallory Jones, ‘No Crystal Stair’ (1976) – viewable on Vimeo


7.   Tony Cokes, ‘Black Celebration’, 1988



8.   Theaster Gates, Do you hear me calling? (Mama Mamama or What Is Black 
Power?) 2018 – an installation using historical collaged footage



9.   Raphael Ortiz, ‘ “Cowboy” and “Indian” Film’ 1957-1958 – very early 
example of an indigenous voice critiquing the racist Hollywood portrayal of 
native Americans using collaged film clips.



10.   Gunvor Nelson and Dorothy Wiley’s ‘Schmeergunz’, 1966



11.   John Akomfrah (several of his films are currently being shown in his New 
Museum surveyin New York)





From: FrameWorks 
mailto:frameworks-boun...@jonasmekasfilms.com>>
 On Behalf Of Warren Cockerham
Sent: Thursday, August 30, 2018 1:50 PM
To: Experimental Film Discussion List 
mailto:frameworks@jonasmekasfilms.com>>
Subject: Re: [Frameworks] Conner/Marker and women of color suggestions

Also Cauleen Smith (along with lots of other chicago-based folks) was 
commissioned a few years back to make a short piece from their collection.. 
this is it:

Songs for Earh and Folk<https://vimeo.com/71024774>

she has at least one other found footage short... I don't think it's readily 
available .. called T Minus Two


also Buki Bodunrin's

even when live is sad people still have a good 
time<http://www.adebukolabodunrin.com/even-when-life-is-sad/>uh... made in 
Roger Beebe's 16mm class circa 2005...




On Thu, Aug 30, 2018 at 1:30 PM, Beebe, Roger W. 
mailto:beebe...@osu.edu>> wrote:
I just saw An Ecstatic Experience by Ja’Tovia Gary for the second time last 
weekend at the Columbus Black International Film Festival & think it’s really 
doing interesting work with found footage:

http://www.jatovia.com/an-ecstatic-experience-new/

Not a black woman, but equally worthy of attention is Christopher Harris’s 
“Reckless Eyeballing”:

https://www.viennale.at/en/films/reckless-eyeballing  [Chris, where’s your 
website???  Couldn’t find it with a quick google search…]

As for composition & sequence, again not a black woman (just a woman), but I 
showed Katherin McInnis’s “Hat Trick” in my intro film production class to set 
up a flip book assignment this week, and I think the way she uses contact 
sheets of found images could be really interesting for both conversations:

https://vimeo.com/98387497

And Jen Proctor’s remake of Bruce Conner’s “A Movie” is already becoming a 
classic of the genre (for the YouTube era):

https://vimeo.com/11531028

Lots of non-white-dude options out there…
Roger

On Aug 30, 2018, at 11:30 AM, David Sherman 
mailto:davidgatessher...@gmail.com>> wrote:

In a university production course have shown both Conner's  "A Movie" as a 
prompt for student found footage editing assignment and Marker's "La Jete" for 
photographic composition and sequencing.  I would be grateful for suggestions 
of short works by specifically women of  color that could be used as I 
mentioned above.
Many thanks,
David

--
David Sherman
 520-366-1573
www.explodedviewgallery.org<http://www.explodedviewgallery.org/>
www.davidshermanfilms.com<http://www.davidshermanfilms.com/>
___
FrameWorks mailing list
FrameWorks@jonasmekasfilms.com<mailto:Fra

Re: [Frameworks] Conner/Marker and women of color suggestions

[Cinema Project]

Just thinking of found footage:

Ina Archer's *Hattie McDaniel: Or a Credit to the Motion Picture Industry* from
2002 . I put together a program last year for the Northwest Film Center
that focused on artists of color re-purposing / re-enacting footage, both
male and female (but fwiw, I am a white woman):
https://miacooperferm.com/filmprogramming/reconstructingidentity/

>From Akosua Adoma Owusu, others have mentioned her,  *Bus Nut* and
*Intermittent Delight *
Jennifer Chan also works a lot of with internet-sourced footage.

Sincerely,
Mia Ferm


On Thu, Aug 30, 2018 at 11:37 AM, jimmyschaus1 
wrote:

> if i recall correctly cauleen smith's Chronicles of a Lying Spirit (by
> Kelly Gabron), shown as part of the traveling canyon program that played
> chicago recently, utilized a lot of still photographic ephemera (photos,
> magazine clippings, notes etc.)
>
> On Thu, Aug 30, 2018 at 1:29 PM Chrissie Iles, Curatorial <
> chrissie_i...@whitney.org> wrote:
>
>> Arthur Jafa said recently “If you point a camera at a Black person, on a
>> psychoanalytical level it functions as a White gaze. It therefore triggers
>> a whole set of survival modalities that Black Americans have. It doesn’t
>> matter if a Black person is behind the camera or not, because the camera
>> itself functions as an instrument of the White gaze. In other words, it’s
>> recording evidence of people speaking; hence there are certain things you
>> can say, certain things you can’t say.” There are profound implications for
>> black filmmakers’ use of found footage and collage in A.J.’s observation.
>> Here are some suggestions. 1,3,5, 6 and 9 are in the Whitney’s collection;
>> the others are in the process of being acquired.
>>
>>
>>
>> Gunvor Nelson and Dorothy Wiley’s film, though two white women, is also
>> important to mention, and is an important counterpoint to the sexist
>> imagery of ‘A Movie’ and other similar collage films of the time.
>>
>>
>>
>> 1.   Ja’Tovia Gary’s ‘An Ecstatic Experience’ (on show at the
>> Whitney for the past nine months in ‘An Incomplete History of Protest’)
>>
>>
>>
>> 2.   Crystal Z. Campbell, ‘Go-Rilla Means War’ (2017) (collaged from
>> a discarded 35mm film found in a former black civil rights movie theater in
>> Brooklyn)
>>
>>
>>
>> 3.   Akusoa Adoma Owusu, ‘Split Ends (I Feel Wonderful)’ (2012) made
>> from 1970s found footage of black women’s hair salons in New York, collaged
>> images and soundtrack
>>
>>
>>
>> 4.   Yulan Grant, ‘Dis/Place’
>>
>>
>>
>> 5.   Diamond Stingily, ‘How Did he Die?’ (2016)
>>
>>
>>
>> 6.   Phillip Mallory Jones, ‘No Crystal Stair’ (1976) – viewable on
>> Vimeo
>>
>>
>>
>> 7.   Tony Cokes, ‘Black Celebration’, 1988
>>
>>
>>
>> 8.   Theaster Gates, Do you hear me calling? (Mama Mamama or What Is
>> Black Power?) 2018 – an installation using historical collaged footage
>>
>>
>>
>> 9.   Raphael Ortiz, ‘ “Cowboy” and “Indian” Film’ 1957-1958 – very
>> early example of an indigenous voice critiquing the racist Hollywood
>> portrayal of native Americans using collaged film clips.
>>
>>
>>
>> 10.   Gunvor Nelson and Dorothy Wiley’s ‘Schmeergunz’, 1966
>>
>>
>>
>> 11.   John Akomfrah (several of his films are currently being shown in
>> his New Museum surveyin New York)
>>
>>
>>
>>
>>
>>
>>
>>
>>
>> *From:* FrameWorks  *On Behalf
>> Of *Warren Cockerham
>> *Sent:* Thursday, August 30, 2018 1:50 PM
>> *To:* Experimental Film Discussion List 
>> *Subject:* Re: [Frameworks] Conner/Marker and women of color suggestions
>>
>>
>>
>> Also Cauleen Smith (along with lots of other chicago-based folks) was
>> commissioned a few years back to make a short piece from their collection..
>> this is it:
>>
>>
>>
>> Songs for Earh and Folk <https://vimeo.com/71024774>
>>
>>
>>
>> she has at least one other found footage short... I don't think it's
>> readily available .. called T Minus Two
>>
>>
>>
>>
>>
>> also Buki Bodunrin's
>>
>>
>>
>> even when live is sad people still have a good time
>> <http://www.adebukolabodunrin.com/even-when-life-is-sad/>uh... made
>> in Roger Beebe's 16mm class circa 2005...
>>
>>
>>
>>
>>
>>
>>
>>
>>
>> On Thu, Aug 30, 2018 at 1:30 PM, Beebe, Roger W. 
>> wrote:
>&g

Re: [Frameworks] Conner/Marker and women of color suggestions

[jimmyschaus1]

if i recall correctly cauleen smith's Chronicles of a Lying Spirit (by
Kelly Gabron), shown as part of the traveling canyon program that played
chicago recently, utilized a lot of still photographic ephemera (photos,
magazine clippings, notes etc.)

On Thu, Aug 30, 2018 at 1:29 PM Chrissie Iles, Curatorial <
chrissie_i...@whitney.org> wrote:

> Arthur Jafa said recently “If you point a camera at a Black person, on a
> psychoanalytical level it functions as a White gaze. It therefore triggers
> a whole set of survival modalities that Black Americans have. It doesn’t
> matter if a Black person is behind the camera or not, because the camera
> itself functions as an instrument of the White gaze. In other words, it’s
> recording evidence of people speaking; hence there are certain things you
> can say, certain things you can’t say.” There are profound implications for
> black filmmakers’ use of found footage and collage in A.J.’s observation.
> Here are some suggestions. 1,3,5, 6 and 9 are in the Whitney’s collection;
> the others are in the process of being acquired.
>
>
>
> Gunvor Nelson and Dorothy Wiley’s film, though two white women, is also
> important to mention, and is an important counterpoint to the sexist
> imagery of ‘A Movie’ and other similar collage films of the time.
>
>
>
> 1.   Ja’Tovia Gary’s ‘An Ecstatic Experience’ (on show at the Whitney
> for the past nine months in ‘An Incomplete History of Protest’)
>
>
>
> 2.   Crystal Z. Campbell, ‘Go-Rilla Means War’ (2017) (collaged from
> a discarded 35mm film found in a former black civil rights movie theater in
> Brooklyn)
>
>
>
> 3.   Akusoa Adoma Owusu, ‘Split Ends (I Feel Wonderful)’ (2012) made
> from 1970s found footage of black women’s hair salons in New York, collaged
> images and soundtrack
>
>
>
> 4.   Yulan Grant, ‘Dis/Place’
>
>
>
> 5.   Diamond Stingily, ‘How Did he Die?’ (2016)
>
>
>
> 6.   Phillip Mallory Jones, ‘No Crystal Stair’ (1976) – viewable on
> Vimeo
>
>
>
> 7.   Tony Cokes, ‘Black Celebration’, 1988
>
>
>
> 8.   Theaster Gates, Do you hear me calling? (Mama Mamama or What Is
> Black Power?) 2018 – an installation using historical collaged footage
>
>
>
> 9.   Raphael Ortiz, ‘ “Cowboy” and “Indian” Film’ 1957-1958 – very
> early example of an indigenous voice critiquing the racist Hollywood
> portrayal of native Americans using collaged film clips.
>
>
>
> 10.   Gunvor Nelson and Dorothy Wiley’s ‘Schmeergunz’, 1966
>
>
>
> 11.   John Akomfrah (several of his films are currently being shown in
> his New Museum surveyin New York)
>
>
>
>
>
>
>
>
>
> *From:* FrameWorks  *On Behalf Of
> *Warren Cockerham
> *Sent:* Thursday, August 30, 2018 1:50 PM
> *To:* Experimental Film Discussion List 
> *Subject:* Re: [Frameworks] Conner/Marker and women of color suggestions
>
>
>
> Also Cauleen Smith (along with lots of other chicago-based folks) was
> commissioned a few years back to make a short piece from their collection..
> this is it:
>
>
>
> Songs for Earh and Folk <https://vimeo.com/71024774>
>
>
>
> she has at least one other found footage short... I don't think it's
> readily available .. called T Minus Two
>
>
>
>
>
> also Buki Bodunrin's
>
>
>
> even when live is sad people still have a good time
> <http://www.adebukolabodunrin.com/even-when-life-is-sad/>uh... made
> in Roger Beebe's 16mm class circa 2005...
>
>
>
>
>
>
>
>
>
> On Thu, Aug 30, 2018 at 1:30 PM, Beebe, Roger W.  wrote:
>
> I just saw An Ecstatic Experience by Ja’Tovia Gary for the second time
> last weekend at the Columbus Black International Film Festival & think it’s
> really doing interesting work with found footage:
>
>
>
> http://www.jatovia.com/an-ecstatic-experience-new/
>
>
>
> Not a black woman, but equally worthy of attention is Christopher Harris’s
> “Reckless Eyeballing”:
>
>
>
> https://www.viennale.at/en/films/reckless-eyeballing  [Chris, where’s
> your website???  Couldn’t find it with a quick google search…]
>
>
>
> As for composition & sequence, again not a black woman (just a woman), but
> I showed Katherin McInnis’s “Hat Trick” in my intro film production class
> to set up a flip book assignment this week, and I think the way she uses
> contact sheets of found images could be really interesting for both
> conversations:
>
>
>
> https://vimeo.com/98387497
>
>
>
> And Jen Proctor’s remake of Bruce Conner’s “A Movie” is already becoming a
> classic of the genre (for the YouTube era):
>
>
>
> https

Re: [Frameworks] Conner/Marker and women of color suggestions

[Chrissie Iles, Curatorial]

Arthur Jafa said recently “If you point a camera at a Black person, on a 
psychoanalytical level it functions as a White gaze. It therefore triggers a 
whole set of survival modalities that Black Americans have. It doesn’t matter 
if a Black person is behind the camera or not, because the camera itself 
functions as an instrument of the White gaze. In other words, it’s recording 
evidence of people speaking; hence there are certain things you can say, 
certain things you can’t say.” There are profound implications for black 
filmmakers’ use of found footage and collage in A.J.’s observation. Here are 
some suggestions. 1,3,5, 6 and 9 are in the Whitney’s collection; the others 
are in the process of being acquired.

Gunvor Nelson and Dorothy Wiley’s film, though two white women, is also 
important to mention, and is an important counterpoint to the sexist imagery of 
‘A Movie’ and other similar collage films of the time.


1.   Ja’Tovia Gary’s ‘An Ecstatic Experience’ (on show at the Whitney for 
the past nine months in ‘An Incomplete History of Protest’)


2.   Crystal Z. Campbell, ‘Go-Rilla Means War’ (2017) (collaged from a 
discarded 35mm film found in a former black civil rights movie theater in 
Brooklyn)


3.   Akusoa Adoma Owusu, ‘Split Ends (I Feel Wonderful)’ (2012) made from 
1970s found footage of black women’s hair salons in New York, collaged images 
and soundtrack



4.   Yulan Grant, ‘Dis/Place’


5.   Diamond Stingily, ‘How Did he Die?’ (2016)


6.   Phillip Mallory Jones, ‘No Crystal Stair’ (1976) – viewable on Vimeo


7.   Tony Cokes, ‘Black Celebration’, 1988



8.   Theaster Gates, Do you hear me calling? (Mama Mamama or What Is Black 
Power?) 2018 – an installation using historical collaged footage



9.   Raphael Ortiz, ‘ “Cowboy” and “Indian” Film’ 1957-1958 – very early 
example of an indigenous voice critiquing the racist Hollywood portrayal of 
native Americans using collaged film clips.



10.   Gunvor Nelson and Dorothy Wiley’s ‘Schmeergunz’, 1966



11.   John Akomfrah (several of his films are currently being shown in his New 
Museum surveyin New York)





From: FrameWorks  On Behalf Of Warren 
Cockerham
Sent: Thursday, August 30, 2018 1:50 PM
To: Experimental Film Discussion List 
Subject: Re: [Frameworks] Conner/Marker and women of color suggestions

Also Cauleen Smith (along with lots of other chicago-based folks) was 
commissioned a few years back to make a short piece from their collection.. 
this is it:

Songs for Earh and Folk<https://vimeo.com/71024774>

she has at least one other found footage short... I don't think it's readily 
available .. called T Minus Two


also Buki Bodunrin's

even when live is sad people still have a good 
time<http://www.adebukolabodunrin.com/even-when-life-is-sad/>uh... made in 
Roger Beebe's 16mm class circa 2005...




On Thu, Aug 30, 2018 at 1:30 PM, Beebe, Roger W. 
mailto:beebe...@osu.edu>> wrote:
I just saw An Ecstatic Experience by Ja’Tovia Gary for the second time last 
weekend at the Columbus Black International Film Festival & think it’s really 
doing interesting work with found footage:

http://www.jatovia.com/an-ecstatic-experience-new/

Not a black woman, but equally worthy of attention is Christopher Harris’s 
“Reckless Eyeballing”:

https://www.viennale.at/en/films/reckless-eyeballing  [Chris, where’s your 
website???  Couldn’t find it with a quick google search…]

As for composition & sequence, again not a black woman (just a woman), but I 
showed Katherin McInnis’s “Hat Trick” in my intro film production class to set 
up a flip book assignment this week, and I think the way she uses contact 
sheets of found images could be really interesting for both conversations:

https://vimeo.com/98387497

And Jen Proctor’s remake of Bruce Conner’s “A Movie” is already becoming a 
classic of the genre (for the YouTube era):

https://vimeo.com/11531028

Lots of non-white-dude options out there…
Roger

On Aug 30, 2018, at 11:30 AM, David Sherman 
mailto:davidgatessher...@gmail.com>> wrote:

In a university production course have shown both Conner's  "A Movie" as a 
prompt for student found footage editing assignment and Marker's "La Jete" for 
photographic composition and sequencing.  I would be grateful for suggestions 
of short works by specifically women of  color that could be used as I 
mentioned above.
Many thanks,
David

--
David Sherman
 520-366-1573
www.explodedviewgallery.org<http://www.explodedviewgallery.org/>
www.davidshermanfilms.com<http://www.davidshermanfilms.com/>
___
FrameWorks mailing list
FrameWorks@jonasmekasfilms.com<mailto:FrameWorks@jonasmekasfilms.com>
https://mailman-mail5.webfaction.com/listinfo/frameworks


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Re: [Frameworks] Conner/Marker and women of color suggestions

[Warren Cockerham]

Also Cauleen Smith (along with lots of other chicago-based folks) was
commissioned a few years back to make a short piece from their collection..
this is it:

Songs for Earh and Folk 

she has at least one other found footage short... I don't think it's
readily available .. called T Minus Two


also Buki Bodunrin's

even when live is sad people still have a good time
uh... made in
Roger Beebe's 16mm class circa 2005...




On Thu, Aug 30, 2018 at 1:30 PM, Beebe, Roger W.  wrote:

> I just saw An Ecstatic Experience by Ja’Tovia Gary for the second time
> last weekend at the Columbus Black International Film Festival & think it’s
> really doing interesting work with found footage:
>
> http://www.jatovia.com/an-ecstatic-experience-new/
>
> Not a black woman, but equally worthy of attention is Christopher Harris’s
> “Reckless Eyeballing”:
>
> https://www.viennale.at/en/films/reckless-eyeballing  [Chris, where’s
> your website???  Couldn’t find it with a quick google search…]
>
> As for composition & sequence, again not a black woman (just a woman), but
> I showed Katherin McInnis’s “Hat Trick” in my intro film production class
> to set up a flip book assignment this week, and I think the way she uses
> contact sheets of found images could be really interesting for both
> conversations:
>
> https://vimeo.com/98387497
>
> And Jen Proctor’s remake of Bruce Conner’s “A Movie” is already becoming a
> classic of the genre (for the YouTube era):
>
> https://vimeo.com/11531028
>
> Lots of non-white-dude options out there…
> Roger
>
> On Aug 30, 2018, at 11:30 AM, David Sherman 
> wrote:
>
> In a university production course have shown both Conner's  "A Movie" as a
> prompt for student found footage editing assignment and Marker's "La Jete"
> for photographic composition and sequencing.  I would be grateful for
> suggestions of short works by specifically women of  color that could be
> used as I mentioned above.
> Many thanks,
> David
>
> --
> David Sherman
>  520-366-1573
> www.explodedviewgallery.org
> www.davidshermanfilms.com
> ___
> FrameWorks mailing list
> FrameWorks@jonasmekasfilms.com
> https://mailman-mail5.webfaction.com/listinfo/frameworks
>
>
>
> ___
> FrameWorks mailing list
> FrameWorks@jonasmekasfilms.com
> https://mailman-mail5.webfaction.com/listinfo/frameworks
>
>
___
FrameWorks mailing list
FrameWorks@jonasmekasfilms.com
https://mailman-mail5.webfaction.com/listinfo/frameworks

Re: [Frameworks] Conner/Marker and women of color suggestions

[Beebe, Roger W.]

I just saw An Ecstatic Experience by Ja’Tovia Gary for the second time last 
weekend at the Columbus Black International Film Festival & think it’s really 
doing interesting work with found footage:

http://www.jatovia.com/an-ecstatic-experience-new/

Not a black woman, but equally worthy of attention is Christopher Harris’s 
“Reckless Eyeballing”:

https://www.viennale.at/en/films/reckless-eyeballing  [Chris, where’s your 
website???  Couldn’t find it with a quick google search…]

As for composition & sequence, again not a black woman (just a woman), but I 
showed Katherin McInnis’s “Hat Trick” in my intro film production class to set 
up a flip book assignment this week, and I think the way she uses contact 
sheets of found images could be really interesting for both conversations:

https://vimeo.com/98387497

And Jen Proctor’s remake of Bruce Conner’s “A Movie” is already becoming a 
classic of the genre (for the YouTube era):

https://vimeo.com/11531028

Lots of non-white-dude options out there…
Roger

On Aug 30, 2018, at 11:30 AM, David Sherman 
mailto:davidgatessher...@gmail.com>> wrote:

In a university production course have shown both Conner's  "A Movie" as a 
prompt for student found footage editing assignment and Marker's "La Jete" for 
photographic composition and sequencing.  I would be grateful for suggestions 
of short works by specifically women of  color that could be used as I 
mentioned above.
Many thanks,
David

--
David Sherman
 520-366-1573
www.explodedviewgallery.org
www.davidshermanfilms.com
___
FrameWorks mailing list
FrameWorks@jonasmekasfilms.com
https://mailman-mail5.webfaction.com/listinfo/frameworks

___
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FrameWorks@jonasmekasfilms.com
https://mailman-mail5.webfaction.com/listinfo/frameworks

[Frameworks] Conner/Marker and women of color suggestions

[David Sherman]

In a university production course have shown both Conner's  "A Movie" as a
prompt for student found footage editing assignment and Marker's "La Jete"
for photographic composition and sequencing.  I would be grateful for
suggestions of short works by specifically women of  color that could be
used as I mentioned above.
Many thanks,
David

-- 
David Sherman
 520-366-1573
www.explodedviewgallery.org
www.davidshermanfilms.com
___
FrameWorks mailing list
FrameWorks@jonasmekasfilms.com
https://mailman-mail5.webfaction.com/listinfo/frameworks