The Women’s Film Preservation Fund Presents Two Films on Art and Survival:
Ariel Dougherty and Carol Clement’s SURVIVA and Lisa Crafts’ GLASS GARDENS
March 22, 2023 at 7:00pm
Anthology Film Archives
Second Avenue at 2nd Street, New York City
Discussion and Q & A with the filmmakers to follow the screening
The two films in the program view the idea of art and survival from different perspectives and reflect distinct approaches to filmmaking.
Surviva, 1980, 32 minutes, a WFPF preservation premiere
The last film produced by Women Make Movies when it was a production company, SURVIVA is an outgrowth of an actual women artists’ support group. Non-actors play themselves as they face the issues of making and defining their art and the challenges of getting their work shown in the male-dominated art world. A document of Second Wave feminist activity and filmmaking in the late 1970s and early 1980s, SURVIVA utilizes live-action footage and animated sequences to portray the women’s hopes and visions. An original score with female vocals and acoustic guitar echoes the folk music of the protest movements of the era.
Glass Gardens, 1982, 6 minutes, an earlier WFPF preservation
In this elegantly hand-drawn animated film, set in the dystopian ruins of consumer society, the protagonist has an unquenchable urge to create art and beauty out of relics and waste. Her art fuels her will to survive and forges a path to a more optimistic and hopeful future.
Curated by Ann Deborah Levy, former Co-Chair, the Women’s Film Preservation Fund.
$7 discounted tickets for NYWIFT members are available on the Anthology Film Archives’ website:
Kavery Kaul’s award-winning 1988 documentary One Hand Don’t Clap chronicling the titans of calypso and soca music will make its U.S. restoration premiere at the Museum of Modern Art this January 27th and 31st, 2023.
To Save and Project festival has become the museum’s showcase for presenting new restorations from its archive, as well as work from colleagues around the world engaged in maintaining and presenting precious audiovisual heritage.
Digitally restored by the Academy Film Archive and the Women’s Film Preservation Fund of New York Women in Film & Television with additional support from the Leon Levy Foundation, One Hand Don’t Clap reflects the legacy of a vast West Indian-American population, the incredible entrepreneurial growth of their music industry in the US, and their ongoing ties to the traditions that flourish in the Caribbean.
“seductively rhythmic and poetic…Not just about music and musicians, but an examination of cultures. A credit to the film and its creators.”
~ New York Newsday
Historically acting as an avenue for political expression, lyrics frequently illuminate topical themes that continue to resonate.
“Solomon, why the hell you harassing me? You can see that both of us can’t agree. Every day is a fighting’ inside the place. You treat me bad, you black and blue up my face.”
~ Calypso Rose, Solomon (Steppin’ Out album, 1986)
Captured is the vibrant story of calypso and the emergence of soca, or soul calypso, through the eyes of two legendary artists. In One Hand Don’t Clap, Lord Kitchener (1922-2000), the Grandmaster of the music and Calypso Rose (b. 1940), the first woman to break through in a traditionally male arena, move with the infectious rhythms and forceful irreverence of calypso music.
Kitchener addresses the musicality of calypso, the significance of its origins and its accessibility to broader audience. “The foreigner is not so acquainted with this beat. Because when he was born, he was born in 4/4 time”, laughs Lord Kitchener, his first album recorded in London in 1948, just before Harry Belafonte turned the international spotlight on calypso. When Rose won the crown at the 1978 Carnival time competition, the old title of Calypso King gave way to the reign of the new Calypso Monarch.
Additional performer appearances include David Rudder (b. 1953), Black Stalin (b. 1941), Growling Tiger (1916-1993), Lord Pretender (1917-2002), The Mighty Duke (1932-2009) and Natasha Wilson (b.1975?). With the deaths of Kitchener, and the even older Growling Tiger and Lord Pretender, the many generations in Kaul’s film trace the evolution of a musical style.
One Hand Don’t Clap originally premiered at the Telluride Film Festival and enjoyed theatrical runs in the US and Japan. Critics called One Hand Don’t Clap “an enticing introduction to an appealing and unique form of music” (New York Post). Down Beat predicted, “Along with Don’t Look Back, the best of all is One Hand Don’t Clap. This’ll look — and sound — just as good 25 years from now.”
To purchase tickets to a screening of this new beautiful 4K restoration of One Hand Don’t Clap visit: https://www.moma.org/calendar/events/8363
Women’s film Preservation Fund of New York Women in Film and Television presents
“Home Movie Night ” streaming Metrograph at Home
October 15th-31st 2022
“Home Movie Night illuminates the creative and entrepreneurial spirit of women in cinema, showcasing a diverse range of home movies and amateur narratives, which have been preserved by the Women’s Film Preservation Fund of New York Women In Film & Television and edited together into one unique reel. The program shows women capturing the times in which they lived with humor and inventiveness. Highlights include the orphan recording at a ’50s lesbian bar; images from regional silent-era filmmakers such as Angela Murray Gibson and Margaret Cram Showalter; the private world of The Washington Post’s Katharine Meyer Graham’s childhood, Miami artist Conni Gordon’s 1960s painting parties, and Chicago’s Amateur Cinema League humorist and filmmaker Margaret Conneely.”
Features clips from the following home movies and amateur recordings, preserved by WFPF
Belfast Movie Queen(1935) – Margaret Cram Showalter
Elwins to Calcutta(1934) – Adelaide Pearson
Florida Vacation (1958) – Sklar Family
French Quarter, New Orleans (2000-2005) – Helen Hill
Eugene & Agnes Meyer Home Movies (1920s) – Agnes Meyer, Eugene Meyer
Mona’s Candlelight (c.1950) – Unknown
Artist Conni Gordon (1961) – Conni Gordon
Arrested For Life (1923) – Angela Murray Gibson
Mister E (1959) – Margaret Conneely
Curators: Erika Yeomans, Kirsten Larvick
Program editor: Amy Aquilino
Narration: Erinn Ruth
Thank you to the following archives and preservationists:
Academic Film Archive of North America
Bill Snyder Films
Chicago Film Archives
Harvard Film Archive
Library of Congress
Lynn and Louis Wolfson II Florida Moving Image Archives
Northeast Historic Film
State Historical Society of North Dakota
THE WOBBLIES RESTORATION WORLD PREMIERE AT METROGRAPH
2021 Library of Congress National Film Registry Inductee
A Film by Stewart Bird & Deborah Shaffer
Kino Lorber Presents a New 4k Restoration of the Landmark Labor Movement Documentary
OPENS APRIL 29 IN NYC AT METROGRAPH
NYWIFT members receive discounted tickets at box office
MAY 2 WFPF SCREENING & RECEPTION EVENT
Introduction and Q&A by the Women’s Film Preservation Fund with filmmaker Deborah Shaffer. Post reception in lobby bar to follow. Screening at 6:45p.m.
When we started production on The Wobblies in 1977 our goal was to rescue and record an almost completely neglected chapter of American history as told by its elderly survivors. We never imagined then that the themes of labor exploitation, anti-immigrant legislation, and racial and gender discrimination would resonate as strongly today. We couldn’t be prouder to have the film included last year in the National Film Registry, and to have Kino Lorber present the new MoMA restoration nationwide on International Workers Day.
– Stewart Bird & Deborah Shaffer
The Wobblies was originally preserved to film by the Women’s Film Preservation Fund in 2003. The new beautiful digital restoration is getting re-released in theaters in NYC and online via the Metrograph streaming service, as well as nationwide on May 1st.
Watch the re-release trailer for Bird & Shaffer’s doc The Wobblies.
Discounted $12 tickets are available to members who use the code NYWIFT at the box office. To purchase a Metrograph trial membership, which grants access to its streaming platform and $10 member tickets use code NYWIFT at checkout.
June 2021 – In celebration of Juneteenth, we will be programming That Man of Mine (1947) a musical revue film starring a young Ruby Dee. It will stream on HERFLIX.com beginning June 1.
April 2021 – AMIA selected a film we preserved – Sheila Paige’s Women’s Happy Time Commune (1972) as part of their annual conference which highlights important preserved films. http://www.amiaconference.net
March 2021 – For Women’s History Month HERFLIX released the Trailblazers of Early Cinema program along with a bonus program of the recorded Q&A panel discussion. Register for free to stream on HERFLIX.com.
January – Feb 2021 – NYWIFT streamed Trailblazers of Early Cinema: a silent film program of pioneer filmmakers Angela Murray Gibson, Grace Cunard, Lois Weber and Alice Guy-Blaché | Q&A Moderated by WFPF Founder Barbara Moss with guest panelists Kim Tomadjoglou and Buckey Grimm.
Women’s Film Preservation Fund Films are currently streaming on several channels:
National Gallery of Art, Washington, D.C:
Collecting, Restoring: Archival Focus, focusing on important preserved films that are often overlooked:
Julie Dash’s Illusions, 1983, 34 minutes, about a Black woman producer passing as white in 1940’s Hollywood. The film touches on issues of both racism and sexual harassment that have special relevance today.
Through July 21st, free at:
On the Criterion Channel in the series “Tell Me” that is showcasing documentary films by women:
- Liane Brandon’s Betty Tells Her Story
- Julia Reichert and Kevin Klein’s Growing Up Female
- The Newsreel Collective’s Janie’s Janie
- Christine Choy and Cynthia Maurizio’s Inside Women Inside
More on the Criterion Channel:
- Sarah Driver’s You Are Not I
- Betty Gordon (co-directed with James Benning). Gordon’s two early short experimental films co-directed with James Benning:
- Julia Reichert’s Growing Up Female, https://www.kanopy.com/product/growing-female
- Julia Reichert’s Union Maids, https://www.kanopy.com/product/union-maids
- Julie Dash’s Illusions, a Black female producer passing for White in 1940’s Hollywood exposes the racism and sexual harassment there. https://www.kanopy.com/product/illusions-0
- Lisa Craft’s Glass Gardens, https://vimeo.com/111805845
- Rachel Reichman’s A Child’s Introduction to the Wonders of Space, https://vimeo.com/197515954
- Jane Aaron’s experimental animations including five films preserved by the WFPF at: https://experimentalanimationsbyjaneaaron.vhx.tv/
- Interior Designs
- Remains To Be Seen
- Traveling Light
- Set in Motion
- This Time Around
Two films directed by Julia Reichert:
Union Maids (1976)
Growing Up Female (1970)
Thursday, January 30th, 2020
Metrograph, 7 Ludlow Street, New York NY 10002
Sitdowns, scabs, goon squads, unemployment, hunger marches, red baiting and finally the energetic birth of the CIO: the 1930s were a landmark period for the American labor movement. Union Maids (1976) is the story of three women who lived that history and make it come alive today. It was the first film of its kind–an oral history, using a wealth of footage from the National Archives to chronicle the fight to form industrial unions as seen through the eyes of rank and file women.
Growing Up Female (1970) is a lyrical examination of the socialization of American women. In concise portraits, the film introduces the audience to girls and women ages five to 34 and looks at the ways their lives and self-concepts are shaped by the institutions of marriage, school, advertising and popular culture.
Three female union organizers, veterans of the Depression era, reminisce over all they’ve seen and done for the camera in this stirring oral history, which brings to life memories of strikes, scabs, street fights, and the battle to birth the CIO. “Characters whose hearts and minds leap off the screen with… grace and nobility.”—The New York Times. With Growing Up Female, Reichert’s debut work, praised by Susan Sontag and often considered the first film of the modern women’s movement, which examines female socialization through the lives of six women, aged four to 35.
Home Movie (1973) directed by Jan Oxenberg
Saturday, January 11th, 2020 @ 6:30PM
Thursday January 16th, 2020 @ 4:30PM
MoMA, 11 W 53rd St, New York, NY 10019
This first work by Jan Oxenberg (Thank You and Goodnight) is frequently cited as one of the first lesbian feminist films. Speaking over home movies shot by her parents, Oxenberg wryly reflects on her traditionally “girly” childhood, juxtaposing these memory images with contemporary footage of political demonstrations and an all-female football game. New 4K Restoration by IndieCollect, made possible with funding from Women’s Film Preservation Fund of New York Women in Film & Television, Hollywood Foreign Press, and Andy Warhol Foundation for the Visual Arts.
Home Movie will screen along with The Amusement Park, by George A. Romero, this coming Saturday: January 11th at 6:30 with Jan Oxenberg in person, and again on Thursday, January 16th at 4:30. More information and tickets.
Attica (1974) directed by Cinda Firestone
Saturday, November 16th, 2019
Sunday, November 17th, 2019
Metrograph, 7 Ludlow Street, New York, NY 10002
In September of 1971, more than half of the 2,800 inmates at the correctional facility in Attica, New York rose up and took staff hostage, demanding address of their pleas for better treatment. Firestone’s investigative film retraces the peaceful petitioning that led up to this standoff and the bloodbath that followed when negotiations broke down. One of the greatest examples of filmmaking journalism, and an outraged eulogy whose poignancy has only increased in the intervening years.
Preservation of this film was made possible by a grant from the Women’s Film Preservation Fund of New York Women in Film and Television.
WILL (1983) Screening
Saturday, October 20th, 2019
Metrograph, 7 Ludlow Street, New York, NY 10002
Filmmaker, Jessie Maple, will be available in person for a Q&A following the screening.
Written, produced, and directed by Jessie Maple, WILL depicts a man, Will (Obaka Adedunyo), a former All-American basketball player, trying to kick his drug habit. He and his wife take in and nurture a homeless boy called Little Brother. A New Yorker, Maples also pictures Harlem and its street life in the early eighties as part of a lively, complex neighborhood without the sensational violence or melodrama of contemporaneous Blaxploitation movies.
Archivist’s Round Table of Metropolitan New York’s 2019 Outstanding Support of Archives Award
Sunday, October 21, 2019
Brooklyn Historical Society, 128 Pierrepont St, Brooklyn, NY 11201
The Women’s Film Preservation Fund (WFPF) of New York Women in Film & Television is honored to receive the Archivist’s Round Table of Metropolitan New York’s 2019 Outstanding Support of Archives award this October 21st, 2019. WFPF steering committee member and former NYWIFT Executive Director, Terry Lawler and NYWIFT Board President, Jamie Zelermyer will attend to make introductions and accept the award for WFPF.
The Women’s Film Preservation Fund of New York Women in Film & Television, founded in conjunction with the Museum of Modern Art, has been working closely with archives, filmmakers, and preservation specialists since 1995 to preserve nearly 150 American made films by and about women. These important films, many made by independent pioneers and under-represented voices, span silent era to contemporary works of all genres that would have been lost from cinema history without preservation.
Two films by Barbara Hammer, preserved by the WFPF will screen in the retrospective: Barbara Hammer, Superdyke
Saturday, July 20th
Museum of the Moving Image – Bartos Screening Room, 36-01 35 Avenue, Astoria, Queens
SISTERS!, 1973, Barbara Hammer, 16mm, color, sound, 8 minutes
Will screen in the program “Declarations of Identity,” introduced by KJ Reith and Mark Toscano
Bent Time 1984, Barbara Hammer, 16mm, color, sound, 20 minutes
Will screen in the program “Ecstatic Subjectivity,” introduced by KJ Reith and Mark Toscano.
(The original film-to-film preservation was funded by the WFPF, but the new 4K restoration made by the Academy Film Archives will be screened.)
More information on Barbara Hammer.
SELECTED EXPERIMENTAL AND ANIMATED WORKS FROM THE WOMEN’S FILM PRESERVATION FUND
June 21-22, 2019
Anthology Film Archives, 32 Second Avenue at 2nd Street, New York City
Since 1996 the Women’s Film Preservation Fund has preserved a number of significant experimental and animated works by American women, many of which reflect pioneering approaches and unique voices. These include works by Storm de Hirsch, Barbara Hammer, Peggy Ahwesh, Bette Gordon, and Helen Hill among others.
The filmmakers approach their films from many directions and a range of sub-genres within experimental film and animation that include structuralist cinema, surreal films, experimental documentaries, improvised comedies, feminist films, and unedited footage. They utilize optical printing, stop action and hand-drawn animation, hand-altered negatives, as well as live action and documentary footage. A selection of these works is featured in three programs, including films preserved in collaboration with Anthology Film Archives.
The screening series was guest-curated for Anthology by Ann Deborah Levy, Co Chair of the Women’s Film Preservation Fund.
June 21st at 7:30pm
Program I: Expanding Notions of Time, Space, and Reality
The makers of these films have manipulated time, space, and/or motion to give us a broader view of reality. Their varied approaches include optical printing, animation, drawing and scratching on the film negative itself, editing choices, and moving camera.
Divinations, 1964, Storm de Hirsch, 16mm, color, sound, 6 minutes
Utilizing hand-altered film stock and live footage, negative and positive images of daily objects, a chant of Maori medicine man and music performed on Jews harp, the film takes the viewer to a psychic, ritualistic place.
Bent Time, 1984, Barbara Hammer, 16mm, color, sound, 20 minutes
A film constantly in motion, it journeys across the US linking disparate historic and geographic places, past and present, and using optical printing single frame to slow down and speed up motion to “bend” time.
Meditation on Violence, 1948, Maya Deren, 16mm, b/w, sound, 13 minutes
As a Chinese martial artist performs, time and space become fluid through moving camera, editing, and rearrangement of the sequence of movements.
Homage to Magritte, 1974, Anita Thacher, 16mm, color, sound, 10 minutes
A woman’s interior monologue is evoked through optically printed juxtapositions of images of water and interiors, and of glimpses of a woman, the sky and the universe seen through a window and a mirror.
Traveling Light, 1985, Jane Aaron, 16mm, color, sound, 2 minutes
Sunlight from a window moving through the interior of a house during the course of a day ends with an unexpected revelation in this animated film.
An Algorithm, 1977, Bette Gordon, 16mm, color, sound, 10 minutes
In this structuralist film, the arc of a dive into a swimming pool is dissected and repeated through optical printing to examine the relationship between diver and space and time and the nature of motion itself.
Program running time: 63 minute
WOMAN’S HAPPY TIME COMMUNE
Sheila Paige, director
June 22nd at 5:45pm
Program 2: Reflections, Dreams, Experiments
These films represent changing ideas on the possibilities of womanhood from different viewpoints.
Windy Day, 1967, Faith and Jon Hubley, 35mm, sound, color, 9 minutes
In this animated film, two young girls view love and marriage through fairy tale fantasies.
Doppelganger, 1987, Peggy Ahwesh, 16mm, color, sound, 5 minutes
An experimental portrait of a woman reflecting on her past and looking to the future.
Women’s Happy Time Commune, 1972, Sheila Paige, 16mm, color, sound, 42 minutes
In this “improv-Western” a group of women go to the Old West to start a commune where they will live without men.
SISTERS!, 1973, Barbara Hammer, 16mm, color, sound, 8 minutes
A collage of documentary footage, poetry, and dreams envisions a new future for lesbians.
Desire Pie, 1976, Lisa Crafts, 16mm, color, sound, 5 minutes
A woman and man are depicted in hand drawn animation in a humorous and joyous romp that shows what female desire can be.
Program running time 74 minutes
Strip of negative from HELEN HILL’S HOME MOVIES
June 22nd at 8:00pm
Program 3: Marie Menken and Helen Hill: Camera Rolls
Unedited footage of two distinctive filmmakers, provides insight into each maker’s thought process and what informs her completed works.
The Grave Diggers from Gaudix, 1960’s, Marie Menken, 16mm, b/w and color, silent, 45 minutes
In 1958 Marie Menken traveled to Spain in the company of Kenneth Anger. They visited the Alhambra in Granada where she shot her film Arrabesque for Kenneth Anger. The gorgeous Kodachrome footage in this compilation was shot at the same time for this Menken-titled yet unfinished project. In 2003, Martina Kudlácek discovered the original, unedited reels among Menken’s belongings held by the family. Gravediggers is a remarkable example of Menken’s fluid handheld movement as well as an instructive peek at how she intuitively conceived her work behind the camera.
Helen Hill’s Home Movies, 2000-2005, original format super 8, preserved on 16mm, b/w and color, silent, 23 minutes
These unedited rolls of live-action footage shot by the animator capture images of New Orleans rituals and events and glimpses of several neighborhoods both before Hurricane Katrina and in its aftermath. The footage, too, was a victim of the storm and despite preservation shows clear signs of water damage.
Program running time 68 minutes.
Tickets available at the Anthology Film Archives box office nights of the screenings:
$12 general admission, $9 for students, seniors & children, $7 for Anthology and NYWIFT members.
for more information please visit: http://anthologyfilmarchives.org/film_screenings/series/51020
TWO WOMEN’S FILM PRESERVATION FUND PRESERVATIONS:
PRISON IMAGES: INCARCERATION AND THE CINEMA
Anthology Film Archives, 32 Second Avenue at 2nd Street, New York City
June 27, 2019 @ 6:30pm
Inside Women Inside, 1978, Christine Choy and Cynthia Maurizio, Color, 28 minutes
How does a woman cope with such common occurrences as illness, pregnancy and family conflicts when she is sent away to prison? At the North Carolina Correctional Center for Women and the Correctional Institute for Women at Rikers Island, a number of women answer these questions quite candidly.
June 30, 2019 @ 6:30pm
July 8, 2019 @ 9:00pm
Attica, 1974, Cinda Firestone, Color, 1 hour 20 minutes
From September 9-13, 1971, prisoners at Attica Correctional Facility in New York took control of sections of the prison. Uniting across lines of race and ideology, they created a manifesto of practical demands for the improvement of prison conditions, and after four days of negotiations, Governor Nelson Rockefeller ordered state police and the National Guard to retake the prison by force. Forty-three men were killed in the government-sponsored massacre, including twenty-nine inmates shot by police bullets, and surviving prisoners were beaten and tortured. Cinda Firestone documented the events, and her film testifies to the need for opposition to the state violence that makes up the very fabric of the prison system.
For more information please visit Anthology Film Archives
Meredith Monk & Amram Nowak
1975/77, 82 min, 16mm-to-DCP
Screening Monday May 20
7:30 PM at Anthology Film Archives, 32 Second Avenue at 2nd Street, NYC
WORLD PREMIERE OF NEW RESTORATION!
Composer, singer, director/choreographer, and filmmaker Meredith Monk created QUARRY: AN OPERA IN 3 MOVEMENTS as a live stage work between 1975-76 – with her company, The House – as a mosaic of music, images, movement, dialogue, film, sound, and light. A meditation on WWII and recurring cycles of intolerance, fascism, and cruelty in history, QUARRY centers on a sick American child (played by Monk herself) whose world darkens as her illness progresses. This film version, shot in the Lepercq Space at the Brooklyn Academy of Music in 1977, was directed by Amram Nowak and supervised by Monk, and includes her 1975 short silent film of the same name. Considered a masterwork of the 20th century, the piece is as prescient today as it was 40 years ago. It is at once a myth, a documentary, and a memorial.
Preserved with funds from the National Film Preservation Fund, the Women’s Film Preservation Fund of New York Women in Film & Television, and individual donors.
Meredith Monk will attend for a Q&A following the screening!
Quarry received the WFPF Grant in 2001.
Bette Gordon’s An Algorithm screening in the program:
Bette Gordon’s An Algorithm + JODI’s All Wrongs Reversed ©1982
Monday, April 8, 2019 at 7pm
Light Industry, 155 Freeman Street, Brooklyn
Tickets – $8, available at door.
Please note: seating is limited. First-come, first-served. Box office opens at 6:30pm.
Before Bette Gordon made her 1983 feature Variety, she made several short experimental films influenced by feminist theory in the 1970s. One of these is An Algorithm, a structuralist film of a female diver making three dives, shows her on going fascination with women as desired object and eroticism. The mathematical frame by frame printing and male and female voices reciting frame counts, frustrates the male gaze at this potentially sexual subject, never allowing the diver to complete her dive.
An Algorithm was preserved by Anthology Film Archives, with funding from the Women’s Film Preservation Fund.
Sheila Paige Women’s Happy Time Commune screening in:
Excavating Feminist Film Histories: Early Productions from Women Make Movies
Wednesday, April 24, 2019
Michelson Theater, NYU Tisch School of the Arts, 721 Broadway, NYC
In the late 1960s and 1970s, numerous media organizations arose driven by the desire to give voice to those ordinarily marginalized by the mainstream media. Among this wave was Women Make Movies, a female-led, community-based media education center founded in New York in 1969 to empower women to tell their own stories by teaching them the technical production skills to pursue their own film and videos projects.
While Women Make Movies, Inc. has since become one of the most impactful and important distributors of independent film produced by women, its early origins as a production and community-based teaching group have been largely forgotten.
- The Women’s Happy Time Commune, Sheila Paige, Director, Ariel Dougherty, Producer; (1972), 47 minutes, digital projection, film preserved with help from Women’s Film Preservation Fund of New York Women in Film & Television
- Sweet Bananas (1974), Ariel Dougherty, Director, 30 minutes, digital projection, not yet preserved.
- A Street Harassment Film (1975), Sheila Paige, Director, 12 minutes, digital projection
A roundtable discussion moderated by Tanya Goldman, Cinema Studies PHD candidate, will follow the screening. The panel will include Women Make Movies co-founders Ariel Dougherty and Sheila Paige, and Dr. Alexandra Juhasz, Chair of the Film Department, Brooklyn College, CUNY.
For additional information: https://tisch.nyu.edu/cinema-studies/events/spring-2019/excavating-histories-women-make-movies?fbclid=IwAR2zFmrgYk7WtbtMO-HWL9aRehlW5APuGbCLZ8tnNjfWsxjGynrjOrm_et4
The most recent Women’s Film Preservation Fund grant cycle closed June 15th, 2018.
ARTISTS AND ACTIVISTS:
Second Wave Feminist Filmmakers
June 2-3, 2018
The Women’s Film Preservation Fund (WFPF) brings a series of six programs of Second Wave Feminist films, mostly WFPF preservations, to screen at the Barbican Centre, London, on June 2nd and 3rd.
The Women’s Movement of the 1970’s in the United States spawned an increase in women making films. Their focus, women’s experience, had rarely been a topic for the screen before. Along the way, they reshaped filmmaking in ways that have impacted it even today.
Finding it difficult to attain creative positions in the film industry, women made films on the outside. Largely uncensored, they sought new means of expression, utilizing innovative approaches to storytelling and introducing dream imagery, diary excerpts, poetry, animation, and experimental techniques in films of all genres.
Artists and Activists features WFPF’s roster of feminist preserved filmmakers: Julie Dash, Lourdes Portillo, Bette Gordon, Barbara Hammer, Lisa Crafts, Julia Reichert, Maxi Cohen, and the Newsreel and Kartemquin Films collectives. Other important feminist voices are included: Joyce Chopra, Su Friedrich, Amalie Rothschild, and Madeline Anderson whose works have not been preserved by the WFPF.
Curated by: Ann Deborah Levy and Kirsten Larvick, WFPF Co-Chairs,
with programming assistance from Susan Lazarus and Amy Aquilino.
To see the entire film schedule, please click here.
That Ice Ticket (1923), Angela Murray Gibson
April 11th – 14th, 2018
Orphan Film Symposium
Museum of Moving Image, Queens, New York
Professor and author, Marsha Gordon and independent researcher, Charles “Buckey” Grimm present Camerawoman Angela Murray Gibson Films Herself into History, 1921-1925 at Orphan Film Symposium.
Included in their study on silent era North Dakotan filmmaker, Angela Murray Gibson, the recent Women’s Film Preservation Fund and Kino Lober preservation of THAT ICE TICKET (1923) will screen for symposium attendees.
The Women’s Film Preservation Fund: Four Experimental Films
January 22, 2018 7:15 p.m.
Museum of Modern Art, New York, New York
Newly restored films from Women’s Film Preservation Fund and its preservation partners.
Sisters! 1974. USA. Directed by Barbara Hammer. 8 min.
Metroliner. 1975. USA. Directed by Victoria Hochberg. 35 min.
Doppelganger. 1987. USA. Directed by Peggy Ahwesh. 8 min.
The Women’s Happy Time Commune. 1972. USA. Directed by Sheila Paige. 47 min.
Closing Panel for From The Vault: Women’s Advocacy on Film:
Introduction to Archiving and Preservation for Film and Video
UnionDocs, Brooklyn, New York
Now that you’ve finished your documentary feature and it is a file on your hard drive, have you thought about how to make sure it will last? Do you have a movie, shot on film, that can no longer be shown because the print is in tatters and no one is screening 16mm anymore? Do you have a documentary master on an obsolescent videotape format? Have you ever wondered if storing your film, video or digital work in your home or studio is a good idea, and why placing it in an archive will ensure its longevity?
Join Women’s Film Preservation Fund, UnionDocs and other archival and preservation collaborators to get answers to some of these questions in an introductory presentation on archiving and preserving film and video. This event offers a basic overview and first steps for the long-term safeguarding of motion pictures, making work accessible for exhibition and monetization over a lifetime.
FROM THE VAULT: WOMEN’S ADVOCACY ON FILM
Co-presented with UnionDocs Fall 2017 through Spring 2018.
To view the full program schedule please click here.
In celebration of NYWIFT’s 40th Anniversary, the Women’s Film Preservation Fund (WFPF) and UnionDocs present the film series From the Vault: Women’s Advocacy on Film which features restored documentary films by women filmmakers. All films in the series were preserved by the WFPF.
Documentarians reveal the impact of events and contexts for changing attitudes that affect our communities, society, and the world. From the Vault: Women’s Advocacy on Film presents nonfiction films that have shaped movements and provided perspectives on political, environmental, and human rights issues; and ideas around gender identity and roles, sexuality, health and family, all from a woman’s perspective. These explorations of story and truth, their innovative approaches to documentary film-making, and their subjects continue to be relevant today to filmmakers, activists, and media consumers creatively effecting change.
UnionDocs and the WFPF invite filmmakers and cinephiles to consider what can learn from our past explorers of story and truth, and how the film’s subjects and their filmmaker’s methodologies remain important and therefore essential to preserve and keep watching.
To see the full program schedule please click here.
This series is curated by WFPF Co-Chair Kirsten Larvick, with programming assistance from Co-Chair Ann Deborah Levy and Raquel Salazar-Foster.
November 5th and 8th, 2016 — Celebrating filmmaker, animator, Jane Aaron at the 14th Annual To Save and Project Series at The Museum of Modern Art. Set In Motion (1980) and Interior Designs (1986) are short animation pieces preserved by NYWIFT’s Women’s Film Preservation Fund and will screen under the series’ Animation and Experimental Cinema category. Both works exhibit Aaron’s unique stop-motion animation and live-action footage collages that became her signature. (more info)
The five-Blu-ray box set titled, Pioneers: First Women Filmmakers, produced and distributed by Kino Lorber will include approximately twenty hours of material – showcasing the work o, under-appreciated filmmakers, while illuminating the gradual changes in how women directors were perceived (and treated) by the Hollywood establishment. The collection will include some of the Women’s Film Preservation Fund’s most significant silent era preservations. Check out the project’s campaign, which ends on November 18th.
September 24th, 2016 — Visions: TV Dramas by Maya Angelou and Momoko Iko in the series Changing the Picture, presented by Museum of the Moving Image, in collaboration with the Women’s Film Preservation Fund of New York Women in Film and Television. (more info)
June 1st, 2016 — WFPF Grant Application Deadline.
May 5th, 2016 — Ann Deborah Levy writes about the Women’s Film Preservation Fund on NYWIFT’s blog. Read “Protecting the Legacy for Over 20 Years”here.
April 14th & 27th, 2016 — Variety screened at MoMa in Modern Matinees: Six New York Independents. (more info)
March 11th, 2016 — Student Nurses screened at The Metrograph with director Stephanie Rothman. (more info)
March 27th, 2016 — You Are Not I, Underground USA: Indie Cinema of the 80’s Cinefamily Showcase. Sara Driver’s film was awarded the WFPF grant. (more info)
Janurary 30th, 2016 — Re-Visions: Bette Gordon, Program 1, Anthology Archives.This eclectic selection of films includes her masterful early feature Variety, alongside other works restored by Anthology. The programs also include WFPF brand new scans of recently uncovered early experiments .(more info)
January 21-31, 2016 — Committee Member Susan Lazarus screens Sophie and the Rising Sun at Sundance 2016, a film she co-produced.
Sadly, we lost our friend and grantee, Jane Aaron, on June 27th. A Jane Aaron Fund has been set up by the WFPF. Funds collected will be used to preserve a film by a woman filmmaker in Jane’s memory. Jane Aaron was an internationally recognized award-winning animator and a best-selling children’s book illustrator. Jane’s independently produced experimental films have been shown around the world,including in the Whitney Biennial and the Museum of Modern Art, and are in the permanent collections of MoMA, the Metropolitan Museum of Art, the Hirshhorn Museum, and the Walker Art Center. The Women’s Film Preservation Fund preserved five of Jane’s films.
December 2015 — WFPF Co-Chair Kirsten Larvick announces first recipients of the Al Larvick North Dakota Grant . The fund’s purpose is to promote the preservation of amateur and home movies. (more info)
November 4-25, 2015 — To Save and Project: The 13th MoMA International Festival of Film Preservation. These films join dozens of others in a three-week overview of the exciting work being done to reclaim endangered films and revive forgotten treasures. (more info)
Sept 2-4, 2015 — WFPF Co-Chair Kirsten Larvick screens films preserved by The Al Larvick Conservation Fund, which she founded in honor of her grandfather. This grant provides support to individuals and organizations for the conservation, digital transfer and exhibition of home and amateur movies which were recorded in North Dakota State.
April 21, 2015 — On Restoration Panel, Tribeca Film Festival WFPF Committee Member Susan Lazarus will join the preservation panel.
March 25, 2015 — WFPF Committee Member Ann Deborah Levy screens her film “On the Train to Kutná Hora” at Another Experiment by Women Film Festival, at Anthology Film Archives.
March 24, 2015 — NYWIFT Preservation Fund Screening: The Last To Know
March 21, 2015 — Suzanne Pancrazi, NYWIFT WFPF Committee Member passes away.
February 2 -13, 2015 — Carte Blanche: Women’s Film Preservation Fund—Women Writing the Language of Cinema
The Museum of Modern Art, New York, NY
Established in 1995 by New York Women in Film and Television (NYWIFT) and The Museum of Modern Art, the Women’s Film Preservation Fund (WFPF) is the only program in the world exclusively dedicated to the preservation of the cultural legacy of women in the film industry.
Since 1995 the WFPF has provided support for more than 100 American short and feature films. The fund’s core mission is to identify and preserve works in which the role of women was fundamental to the production; to present the preserved films in a public forum; to encourage scholarship about women in film history; and to partner with organizations demonstrating similar goals. The WFPF is especially respected at MoMA as a former Chief Curator of the Department of Film, Mary Lea Bandy (1943–2014), was a founder.
In celebration of WFPF’s 20th anniversary, MoMA has invited the WFPF programming committee to select films that reflect the essential role of women in the continuing development of cinema as an art form.
Organized by Anne Morra, Associate Curator, Department of Film, MoMA, with WFPF programming committee members Ina Archer, Kirsten Larvick, Susan Lazarus, Raquel Salazar-Foster, and Kim Tomadjoglu.
October 31, 2014 — The Real Indies – A Close Look at Orphan Films Academy of Motion Picture Arts and Sciences, at New York University and the Orphan Film Symposium.
October 1, 2013 — The WFPF received numerous applications for the 2013-2014 Grants Cycle.
Oct 13, 2013 — Committee Member Susan Lazarus presents screenings and introduces panelists at the 10th Anniversary Screening of NYU’s Moving Image Archiving & Preservation(MIAP) program, at NYU Tisch Cinema Studies. (more info)
February 2013 — WFPF launched an Indiegogo campaign to raise money to preserve Seven Women Seven Sins (1986) directed by Maxi Cohen, Helke Sander, Bette Gordon, Chantal Akerman, Valie Export, Laurence Gavron, and Ulrike Ottinger. (more info)
August 2012 — WFPF unveiled a new video highlighting its preservation work. The video included footage from Barbara Kopple’s Oscar-winning documentary Harlan County U.S.A. (1976), That Man of Mine (1947) starring Ruby Dee, and You Are Not I (1981) by Sara Driver, among many others.
July 1, 2012 — Susan Lazarus represented the WFPF at the celebration of the birth of the first woman director, Alice Guy Blache, and the unveiling of a new grave marker from the Fort Lee Film Commission in NJ. (more info)
June 25, 2012 — WFPF was proud to be honored by Anthology Film Archives at its annual Film Preservation Honors.
November 2, 2011 — MoMA’s Save & Project Series, at Museum of Modern Art. (more info)
October 6, 2011 — New York Film Festival ‘11 Masterworks: Sara Driver’s You Are Not I, The Walter Reade Theatre at Lincoln Center. (more info)
October 24, , 2011 — Restoration Premiere Screening of Make Out, Growing Up Female, and Janie’s Janie at The Film Society of Lincoln Center.
Tribeca Film Festival ‘11 — Independent Women: 15 Years of NYWIFT Funded Film Preservation. (more info)