|WFPF Past Events
Wednesday, November 2, 2011, Museum of Modern Art: 4:30 & 7pm
As part of MoMA's Save and Project series, we present the following 2 programs:
Program One: 4:30 pm
Elaine Summers: Film and Dance Performances, 1964–1977
This compilation revisits the films of choreographer/dancer Elaine Summers, whose innovative performances at New York’s Judson Memorial Church in the early 1960s remain influential. Screenings include Judson Fragments (1964, USA), with cinematography by Stan Vanderbeek, Ka Kwong, and Summers; Another Pilgrim (1968, USA), with Jon Hendricks, Rev. Al Carmines, Remy Charlip, and Sandra Neals; and Windows in the Kitchen (1977, USA), featuring a performance in The Kitchen’s 1970s Broome Street space with Matt Turney and music by Jay Clayton. Preservation coordinated by Orphan Film Symposium director Dan Streible, New York University Moving Image Archiving Preservation Program, Bill Brand, and the New York Public Library with support from the National Film Preservation Foundation.
Prints courtesy Jerome Robbins Dance Division, The New York Public Library for the Performing Arts.
Followed by a discussion with Elaine Summers and Tanisha Jones
Elaine Summers, choreographer, filmmaker and founder of The Experimental Intermedia Foundation, whose purpose was described in the Foundation’s statement “intermedia research explores the potential of technologies for multi-media spatial interaction”, is a pioneering figure in the rapidly growing field of Multimedia performance, Interactive video installation, or whatever one might decide to call it tomorrow. She realized the first intermedia performance piece Split Screen & By Chance Dance & Film in 1962 and developed a dazzling array of Intermedia Film/Dance performances throughout her career, such as Crow’s Nest which premiered at the Guggenheim Museum in 1980 and Energy Changes at MoMA in 1973. On top of realizing numerous major Intermedia pieces, she started Experimental Intemedia Foundation which provided space, equipment and guidance for research by dancers, composers, visual artists and filmmakers with emphasis on the interrelationship between dance and film.
Tanisha Jones is the Director of the Jerome Robbins Archive of the Recorded Moving Image in the Jerome Robbins Dance Division at The New York Public Library for the Performing Arts. Prior to joining the Dance Division in July 2007, she was the 2006-2007 Moving Image Archiving and Preservation (MIAP) Research Fellow in the Barbara Goldsmith Preservation and Conservation Department at New York University (NYU) Libraries. Ms. Jones has presented her work at professional conferences and organizations such as the American Library Association (ALA), Association of Moving Image Archivists
(AMIA), Joint Technical Symposium (JTS), and the Archivists’ Round Table of New York (ART). She served on the Board of Directors of the New York-based nonprofit organization Independent Media Arts
Preservation, Inc. (IMAP) from 2005 – 2009, and since 2009 is on IMAP’s Advisory Council. From 2009 to the present, Ms. Jones serves as the moving image preservation consultant for the Dance Heritage
Coalition (DHC). In 2011, Ms. Jones was an adjunct professor in Tisch School of the Arts’ Moving Image Archiving and Preservation (MIAP) program at New York University; the program she received her M.A. from in 2005 as a graduate of MIAP’s inaugural class.
Program Two: 7:00 pm
All Women Are Equal
1974. USA. Directed by Marguerite Paris. A documentary about Paula, a male-to-female transsexual. Paris made this radically progressive film portrait at a time when tolerance for transgendered persons was far from common. Preserved by MIX NYC: The New York Lesbian & Gay Experimental Film Festival. 15 min.
1946. USA. Directed by Hazel Greenwald. Screenplay by Mildred Barish Vermont. The Jewish women’s organization Hadassah was founded by Baltimore native Henrietta Szold in 1912. Thirty years later, national board member Hazel Greenwald created a film department in order to document various Hadassah philanthropic projects throughout the United States and Israel. This 1946 film portrait of Szold features a rare 1930s sound recording and the only known moving-image footage of her. Preserved by Hadassah Archives at The Center for Jewish Research. 32 min.
Dodge House 1916
1965. USA. Directed by Esther McCoy. In the shadow of the wrecking ball, architectural historian McCoy races to document and save the Walter Luther Dodge house in West Hollywood, California. The house was destroyed five years later. Preserved by the Archives of American Art, Smithsonian Institution. 18 min.
Followed by a panel discussion with Susan Morgan, Susan Woodland and Stephen Kent Jusick, moderated by Drake Stutesman.
Representing ALL WOMEN ARE EQUAL
STEPHEN KENT JUSICK has been curating experimental film since 1989, and making films since 1992. In October 2005 he was named Executive Director of MIX NYC, presenters of the New York Queer Experimental Film Festival. In 1995 he founded Fever Films to distribute experimental film and video for public exhibition. In 1998 he co-founded (with Scott Berry) the micro-cinema Brooklyn Babylon Cinema. Jusick has curated programs and exhibited at Anthology Film Archives, the Baltimore Museum of Art, Art in General, Exit Art, Dixon Place, HERE Arts Center, Joe’s Pub, the Bronx Academy of Arts and Dance (BAAD), Princeton University, University of Chicago, University of Michigan, MIX: New York Lesbian & Gay Experimental Film/Video Festival, the SF Lesbian and Gay Film Festival, the SF Cinematheque, the Vancouver Queer Film Festival, and others. His writing has appeared in Out in All Directions (Warner Books, 1995), That’s Revolting: Queer Strategies for Resisting Assimilation (Soft Skull Press, 2004),
IndieWIRE, New York Blade News, Intervalometer, MIXZINE, Crucial Anatomy and others. Jusick has sat on various grant panels, including those for the Lower Manhattan Cultural Council and the New York City Department of Cultural Affairs.
Representing HENRIETTA SZOLD
SUSAN WOODLAND was the Director of the Hadassah archives from 1996 to 2011. Through the generosity of NYWIFT and other generous funders, 3 films to date have had new masters and new prints made, and have been digitized. All 3 were made by women and are available online. More than 50 additional titles are still awaiting funding.
Susan holds a Masters of Science degree in Library and Information Science from Pratt Institute in Brooklyn. Her professional affiliations include: the Society of American Archivists, the Archivists Round Table of New York, where she has been the Vice President in charge of monthly programs, and the Mid-Atlantic Region Archives Conference. She became a certified archivist in 2010. Since July Susan has been a Senior Archivist at the American Jewish Historical Society where she is working on a project to make accessible 5000 boxes from another 100 year old Jewish organization.
Representing DODGE HOUSE
SUSAN MORGAN has written extensively about art, design, and cultural biography. A former contributing editor for Interview, Mirabella, and Metropolitan Home, she is a contributing editor for Aperture and www.eastofborneo.org, a collaborative on-line art journal and archive. With support from Graham Foundation for the Advancement of Art and Architecture and the Beverly Willis Architecture Foundation, Morgan has been researching the life and work of writer Esther McCoy (1904-1989). Most recently, Morgan has edited Piecing Together Los Angeles: An Esther McCoy Reader, the first anthology dedicated to McCoy’s writing and, with Kimberli Meyer, co-curated Sympathetic Seeing, an exhibition about McCoy currently on view (through January 2012) at the MAK Center at the R.M. Schindler House in West Hollywood, California.
DRAKE STUTESMAN (moderator) is the editor of Framework: The Journal of Cinema and Media and the Co-Chair of The Women’s Film Preservation Fund. She writes fiction and non-fiction and has had work published by MoMA, the British Film Institute, Koenig Press, Indian University Press, Schirmer Press and Bookforum, among other. She teaches Costume Design in Film at New York University.
Please visit www.moma.org for more information.
October 6, 2011: Sara Driver's You Are Not I was screened as part of the Masterworks section of the 2011 New York Film Festival at The Walter Reade Theatre at Lincoln Center.
NYWIFT is proud to announce that You Are Not I is the first recipient of the LOIS BIANCHI AWARD of the Women's Film Preservation Fund. Lois was a beloved member of our committee and dedicated to the preservation of women's films.
October 24, 2011: The Film Society of Lincoln Center premiered the newly restored prints of three landmark 16 mm films from 1970 - Make Out, Growing Up Female, and Janie’s Janie - each preserved with a grant from The Women’s Film Preservation Fund, a part of New York Women in Film & Television. These films, emerging in the onset of feminism's second wave, were a strong part of that movement's politically driven cinema. Make Out, directed by Geri Ashur and Peter Schlaifer, shows a young couple making out in a car while a voice over reveals the young woman’s real thoughts about what is happening; Growing Up Female, directed by Julia Reichert and Jim Klein, lyrically examines the socialization of American women and looks at the ways their lives and self-concepts are shaped by the institutions of marriage, school, advertising and popular culture; Janie's Janie, created by the Filmmaker Collective and combining the talents of Geri Ashur, Bev Grant, Marilyn Mulford, and Stephanie Palewski, uses both interviews and verité material to make a kind of “personal documentary” which follows a woman as she comes to realize that she has to control her own life, after years of experiencing physical and mental abuse.
The screening was followed by a panel discussion, moderated by Marjorie Rosen, and Q &A with award-winning filmmakers Deborah Shaffer, Julia Reichert, Stephanie Palewski , Marilyn Mulford , Jim Klein, and Peter Barton.
The 2011 Tribeca Film Festival:
Independent women: 15 years of NYWIFT funded film preservation at the Tribeca Film Festival
This program celebrates 15 years of direct financial support for preservation of films by female filmmakers through the Women’s Film Preservation Fund of New York Women in Film & Television. The cumulative list of films is impressive, spanning an entire century of the movies, beginning with silent
films directed by Alice Guy Blaché and Lois Weber in the 1910s. This preservation project helps bring long-term attention to historically under-recognized films and filmmakers in the history of the moving
This program presented at Tribeca includes films that date from 1950 to 1984, and that are made in the experimental narrative, personal documentary, and abstract animation modes. This program helps reclaim the place of women filmmakers in the postwar canon of the American experimental avant-garde, presenting films by Mary Ellen Bute, Storm de Hirsch, Faith Hubley and Marie Menken, as well as
contemporary voices of living female artists. The screening will be followed by a panel discussion with filmmakers and preservationists.
Pastorale (1950, Mary Ellen Bute), 6 min.
Made by pioneering animator, Mary Ellen Bute, this lively, abstract animation is set to Bach's "Sheep May Safely Graze."
Divination (1964, Storm de Hirsch), 6 min.
A major '60s and '70s filmmaker, De Hirsch described Divination as a "film poem that records a psychic event in color, shape and sound."
Windy Day (1967, Faith Hubley), 9 min.
This classic of American animation, interpreting a couple's fantasies about love, marriage and life as voiced by their children, was hailed as "a midget masterpiece" in Newsweek.
Zenscapes (1969, Marie Menken), 3 min.
Zenscapes, an abstract film on light, shows why Menken's legendary talent influenced American avant-garde film in ways second only to that of Maya Deren.
Anything You Want to Be (1971, Liane Brandon), 8 min.
One of the first independent films of the early women's movement to explore the intense external pressures and the more subtle internal pressures a girl faces in finding her identity.
Homage to Magritte (1974, Anita Thacher), 10 min.
Evoking an interior monologue through her use of images, Thacher composed this film on an optical printer before the general use of digital tools.
Michigan Avenue (1973, Bette Gordon), 3 min.
Gordon was a major part of the avant-garde, structuralist film movement of the '70s.
Coney (1975, Frank and Caroline Ahlfors Mouris), 5 min.
Replete with an experimental soundtrack, Coney is a five minute pixilated tour of New York's amusement park and a unique early example of an "animated" documentary.
Desire Pie (1976, Lisa Crafts), 5 min.
This explicit, humorous, warm and fantasy-filled celebration of lovemaking from a woman's point of view is set to a magnetic jazz score.
Remains to Be Seen (1983, Jane Aaron), 7 min.
Aaron is known for her award-winning, inventive, meticulous stop frame and line drawing animations that delight in life.
Bent Time (1984, Barbara Hammer), 22 min.
Inspired by the idea that time might bend in ways similar to light rays, Hammer's optically printed, single frame film, set to Pauline Oliveros's score, attempts to simulate the concept of bent time.
Playing For Time:
Wednesday, March 23, 2011 at 6:30 PM
Museum of Jewish Heritage
36 Battery Place
New York Women in Film & Television’s Women’s Film Preservation Fund invites you to attend the 30th Anniversary presentation of Playing for Time, the ground-breaking 1980 television special starring Vanessa Redgrave and Jane Alexander.
Written by Arthur Miller, the story dramatizes the true, heart-wrenching plight of musician Fania Fénelon and a group of women prisoners who hoped to escape death in Auschwitz by playing in an orchestra. Winner of numerous awards, including an Emmy and a Peabody, it is one of the few television films to be screened at Cannes.
Produced by Linda Yellen and Directed by Daniel Mann.
Playing for Time, USA, 1980, HD Cam, 150 min.
Wednesday, March 23, 6:30 P.M.
$15, $12 students/seniors, $10 for NYWIFT & Museum members